{"license": {"content": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record.", "dump": "This machine-readable compilation is dedicated to the public domain under CC0 1.0 Universal.", "url": "https://creativecommons.org/publicdomain/zero/1.0/"}, "texts": {"1-the-heavns-in-their-splendor-declare": {"slug": "1-the-heavns-in-their-splendor-declare", "title": "The Witness of Nature to God", "first_line": "1. The heav'ns in their splendor declare", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 39) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 19, selection 39. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The heav'ns in their splen -- dor de -- clare The might and the glo -- ry of God, For day un -- to day speaks His praise, And night tells His wis -- dom a -- broad.", "prose": ["The heav'ns in their splendor declare", "The might and the glory of God,", "For day unto day speaks His praise,", "And night tells His wisdom abroad."]}, "2": {"syllabified": "They speak not with au -- di -- ble word, Yet clear is the mes -- sage they send; Their wit -- ness goes out thro' the earth, Their word to the world's far -- thest end.", "prose": ["They speak not with audible word,", "Yet clear is the message they send;", "Their witness goes out thro' the earth,", "Their word to the world's farthest end."]}, "3": {"syllabified": "For -- sak -- ing his tent in the sky, Ar -- rayed as a bride -- groom, the sun Comes forth in his glo -- ri -- ous strength, Re -- joic -- ing his cir -- cuit to run.", "prose": ["Forsaking his tent in the sky,", "Arrayed as a bridegroom, the sun", "Comes forth in his glorious strength,", "Rejoicing his circuit to run."]}, "4": {"syllabified": "He tells thro' the length of the heav'ns His Mak -- er's great wis -- dom and might, And noth -- ing is all of the earth Is hid from his heat and his light.", "prose": ["He tells thro' the length of the heav'ns", "His Maker's great wisdom and might,", "And nothing is all of the earth", "Is hid from his heat and his light."]}}}, "a-charge-to-keep-i-have": {"slug": "a-charge-to-keep-i-have", "title": "A Charge to Keep I Have", "first_line": "A charge to keep I have", "author": "charles-wesley", "author_date": "1762", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Christian Life", "Discipleship", "Service"], "scripture": ["Leviticus 8:35", "1 Corinthians 4:2", "Ephesians 5:16"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), on Leviticus 8:35 (\"keep the charge of the LORD\"), from Short Hymns on Select Passages of the Holy Scriptures (Bristol, 1762), vol. 1. Transcribed from The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), #388, which prints these four stanzas attributed \"Charles Wesley\" over BOYLSTON S.M. by Lowell Mason — the same tune this corpus already holds, so the pairing here is the printed one and not an editorial choice. Public domain: author d. 1788, and the 1905 printing read for this record is itself pre-1931. Scan: archive.org/details/methodi00meth.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A charge to keep I have, A God to glo -- ri -- fy, A nev -- er -- dy -- ing soul to save, And fit it for the sky.", "prose": ["A charge to keep I have,", "A God to glorify,", "A never-dying soul to save,", "And fit it for the sky."]}, "2": {"syllabified": "To serve the pres -- ent age, My call -- ing to ful -- fill, O may it all my pow'rs en -- gage To do my Mas -- ter's will!", "prose": ["To serve the present age,", "My calling to fulfill;", "O may it all my pow'rs engage,", "To do my Master's will!"]}, "3": {"syllabified": "Arm me with jeal -- ous care, As in Thy sight to live, And O, Thy ser -- vant, Lord, pre -- pare A strict ac -- count to give!", "prose": ["Arm me with jealous care,", "As in thy sight to live,", "And O, thy servant, Lord, prepare,", "A strict account to give!"]}, "4": {"syllabified": "Help me to watch and pray, And on Thy -- self re -- ly, As -- sured, if I my trust be -- tray, I shall for -- ev -- er die.", "prose": ["Help me to watch and pray,", "And on thyself rely,", "Assured, if I my trust betray,", "I shall forever die."]}}}, "a-great-and-mighty-wonder": {"slug": "a-great-and-mighty-wonder", "title": "A Great and Mighty Wonder", "first_line": "A great and mighty wonder", "author": "germanus-of-constantinople", "author_date": "c. 750", "translator": "john-mason-neale", "translator_date": "1862", "foot": "trochaic", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Jesus Christ, Birth of", "Angels", "Praise"], "scripture": ["Luke 2:8-15", "Isaiah 9:6"], "provenance": {"layer": "text", "source": "neale-1862", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "St. Germanus of Constantinople (634-734), tr. John Mason Neale, 1862. Translator d. 1866.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "a_great_and_mighty_wonder", "total_instances": 118}}, "stanzas": {"1": {"syllabified": "A great and might -- y won -- der, a full and ho -- ly cure: The vir -- gin bears the In -- fant with vir -- gin hon -- or pure!", "prose": ["A great and mighty wonder,", "a full and holy cure:", "The virgin bears the Infant", "with virgin honor pure!"]}, "2": {"syllabified": "The Word be -- comes in -- car -- nate and yet re -- mains on high, And cher -- u -- bim sing an -- thems to shep -- herds from the sky.", "prose": ["The Word becomes incarnate", "and yet remains on high,", "And cherubim sing anthems", "to shepherds from the sky."]}, "3": {"syllabified": "While thus they sing your Mon -- arch, those bright an -- gel -- ic bands, Re -- joice, ye vales and moun -- tains, ye oc -- eans, clap your hands.", "prose": ["While thus they sing your Monarch,", "those bright angelic bands,", "Rejoice, ye vales and mountains,", "ye oceans, clap your hands."]}, "4": {"syllabified": "Since all He comes to ran -- som, by all be He a -- dored, The In -- fant born in Beth -- l'em, the Sav -- ior and the Lord.", "prose": ["Since all He comes to ransom,", "by all be He adored,", "The Infant born in Bethl'em,", "the Savior and the Lord."]}, "5": {"syllabified": "And id -- ol forms shall per -- ish, and er -- ror shall de -- cay, And Christ shall wield His scep -- ter, our Lord and God for aye.", "prose": ["And idol forms shall perish,", "and error shall decay,", "And Christ shall wield His scepter,", "our Lord and God for aye."]}}, "refrain": {"syllabified": "Re -- peat the hymn a -- gain: \"To God on high be glo -- ry And peace on earth to men!\"", "prose": ["Repeat the hymn again:", "\"To God on high be glory", "And peace on earth to men!\""]}}, "a-little-that-the-righteous-hold": {"slug": "a-little-that-the-righteous-hold", "title": "Well-Doing and Well-Being", "first_line": "A little that the righteous hold", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 37, "topics": ["Psalms"], "scripture": ["Psalm 37"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 97) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 37, selection 97. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A lit -- tle that the right -- eous hold Is bet -- ter far than wealth un -- told Of man -- y wick -- ed men; De -- stroyed shall be their arm of pride, But they who in the lord con -- fide Shall be up -- hold -- en then.", "prose": ["A little that the righteous hold", "Is better far than wealth untold", "Of many wicked men;", "Destroyed shall be their arm of pride,", "But they who in the lord confide", "Shall be upholden then."]}, "2": {"syllabified": "He knows the days the per -- fect live, To them a her -- i -- tage will give Which ev -- er shall a -- bide; In e -- vil times no shame they know, And in the days of fam -- ine's woe They shall be sat -- is -- fied.", "prose": ["He knows the days the perfect live,", "To them a heritage will give", "Which ever shall abide;", "In evil times no shame they know,", "And in the days of famine's woe", "They shall be satisfied."]}, "3": {"syllabified": "Al -- though the wick -- ed pros -- pered seem, At last they van -- ish like a dream And per -- ish in a day; Je -- ho -- vah's foes shall soon ap -- pear Like fields once fair, now brown and sear; Like smoke they fade a -- way.", "prose": ["Although the wicked prospered seem,", "At last they vanish like a dream", "And perish in a day;", "Jehovah's foes shall soon appear", "Like fields once fair, now brown and sear;", "Like smoke they fade away."]}, "4": {"syllabified": "They bor -- row oft and pay not back, But right -- eous men do noth -- ing lack, And give with gra -- cious hand; Those cursed by Him shall be de -- stroyed, But such as have His grace en -- joyed, They shall pos -- sess the land", "prose": ["They borrow oft and pay not back,", "But righteous men do nothing lack,", "And give with gracious hand;", "Those cursed by Him shall be destroyed,", "But such as have His grace enjoyed,", "They shall possess the land"]}}}, "a-mighty-fortress-is-our-god": {"slug": "a-mighty-fortress-is-our-god", "title": "A Mighty Fortress Is Our God", "first_line": "A mighty fortress is our God, a bulwark never", "author": "martin-luther", "author_date": "1918", "translator": "frederic-henry-hedge", "translator_date": "1918", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 6, 6, 6, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Calmness", "Comfort", "Courage in Affliction"], "scripture": ["2 Samuel 22:2-3", "Psalm 18:1-2", "1 Corinthians 15:55-57", "Romans 8:37-39"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:127; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "a_mighty_fortress_is_our_god_a_bulwark", "total_instances": 740}}, "stanzas": {"1": {"syllabified": "A might -- y for -- tress is our God, a bul -- wark nev -- er fail -- ing; Our help -- er He, a -- mid the flood of mor -- tal ills pre -- vail -- ing: For still our an -- cient foe doth seek to work us woe; His craft and pow'r are great, and, armed with cru -- el hate, On earth is not his e -- qual.", "prose": ["A mighty fortress is our God,", "a bulwark never failing;", "Our helper He, amid the flood", "of mortal ills prevailing:", "For still our ancient foe", "doth seek to work us woe;", "His craft and pow'r are great,", "and, armed with cruel hate,", "On earth is not his equal."]}, "2": {"syllabified": "Did we in our own strength con -- fide, our striv -- ing would be los -- ing; Were not the right Man on our side, the Man of God's own choos -- ing: Dost ask who that may be? Christ Je -- sus, it is He; Lord Sa -- ba -- oth, His name, from age to age the same, And He must win the bat -- tle.", "prose": ["Did we in our own strength confide,", "our striving would be losing;", "Were not the right Man on our side,", "the Man of God's own choosing:", "Dost ask who that may be?", "Christ Jesus, it is He;", "Lord Sabaoth, His name,", "from age to age the same,", "And He must win the battle."]}, "3": {"syllabified": "And though this world, with dev -- ils filled, should threat -- en to un -- do us, We will not fear, for God hath willed His truth to tri -- umph through us: The Prince of Dark -- ness grim, we trem -- ble not for him; His rage we can en -- dure, for lo, his doom is sure, One lit -- tle word shall fell him.", "prose": ["And though this world, with devils filled,", "should threaten to undo us,", "We will not fear, for God hath willed", "His truth to triumph through us:", "The Prince of Darkness grim,", "we tremble not for him;", "His rage we can endure,", "for lo, his doom is sure,", "One little word shall fell him."]}, "4": {"syllabified": "That word a -- bove all earth -- ly pow'rs, no thanks to them, a -- bid -- eth; The Spir -- it and the gifts are ours through Him who with us si -- deth: Let goods and kin -- dred go, this mor -- tal life al -- so; The bod -- y they may kill: God's truth a -- bid -- eth still, His king -- dom is for -- ev -- er.", "prose": ["That word above all earthly pow'rs,", "no thanks to them, abideth;", "The Spirit and the gifts are ours", "through Him who with us sideth:", "Let goods and kindred go,", "this mortal life also;", "The body they may kill:", "God's truth abideth still,", "His kingdom is forever."]}}}, "abide-o-dearest-jesus": {"slug": "abide-o-dearest-jesus", "title": "Abide, O Dearest Jesus", "first_line": "Abide, O dearest Jesus, Among us with Thy grace", "author": "joshua-stegmann", "author_date": "1906", "translator": "august-crull", "translator_date": "1906", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Closing Songs", "Comfort", "Darkness, Spiritual"], "scripture": ["Luke 2:29-32", "Genesis 49:18", "Isaiah 42:6-7", "Isaiah 49:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "abide_o_dearest_jesus", "total_instances": 35}}, "stanzas": {"1": {"syllabified": "A -- bide, O dear -- est Je -- sus, A -- mong us with Thy grace, That Sa -- tan may not harm us, Nor we to sin give place.", "prose": ["Abide, O dearest Jesus,", "Among us with Thy grace,", "That Satan may not harm us,", "Nor we to sin give place."]}, "2": {"syllabified": "A -- bide, O dear Re -- deem -- er, A -- mong us with Thy Word, And thus now and here -- af -- ter True peace and joy af -- ford.", "prose": ["Abide, O dear Redeemer,", "Among us with Thy Word,", "And thus now and hereafter", "True peace and joy afford."]}, "3": {"syllabified": "A -- bide with heav'n -- ly bright -- ness A -- mong us, pre -- cious Light; Thy truth di -- rect, and keep us From er -- ror's gloom -- y night.", "prose": ["Abide with heav'nly brightness", "Among us, precious Light;", "Thy truth direct, and keep us", "From error's gloomy night."]}, "4": {"syllabified": "A -- bide with rich -- est bless -- ings A -- mong us, boun -- teous Lord; Let us in grace and wis -- dom Grow dai -- ly through Thy Word.", "prose": ["Abide with richest blessings", "Among us, bounteous Lord;", "Let us in grace and wisdom", "Grow daily through Thy Word."]}, "5": {"syllabified": "A -- bide with Thy pro -- tec -- tion A -- mong us, Lord, our Strength, Lest world and Sa -- tan fell us And o -- ver -- come at length.", "prose": ["Abide with Thy protection", "Among us, Lord, our Strength,", "Lest world and Satan fell us", "And overcome at length."]}}}, "abide-with-me": {"slug": "abide-with-me", "title": "Abide With Me", "first_line": "Abide with me; fast falls the eventide", "author": "henry-f-lyte", "author_date": "1847", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Comfort", "Death and Eternity"], "scripture": ["Luke 24:29"], "provenance": {"layer": "text", "source": "lyte-1847", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry F. Lyte, 1847. Author d. 1847.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "abide_with_me_fast_falls_the_eventide", "total_instances": 1831}}, "stanzas": {"1": {"syllabified": "A -- bide with me; fast falls the ev -- en -- tide; The dark -- ness deep -- ens; Lord with me a -- bide. When oth -- er help -- ers fail and com -- forts flee, Help of the help -- less, O a -- bide with me.", "prose": ["Abide with me; fast falls the eventide;", "The darkness deepens; Lord with me abide.", "When other helpers fail and comforts flee,", "Help of the helpless, O abide with me."]}, "2": {"syllabified": "Swift to its close ebbs out life's lit -- tle day; Earth's joys grow dim; its glor -- ies pass a -- way; Change and de -- cay in all a -- round I see; O Thou who chan -- gest not, a -- bide with me.", "prose": ["Swift to its close ebbs out life's little day;", "Earth's joys grow dim; its glories pass away;", "Change and decay in all around I see;", "O Thou who changest not, abide with me."]}, "3": {"syllabified": "Not a brief glance I beg, a pass -- ing word; But as Thou dwell'st with Thy dis -- ci -- ples, Lord, Fa -- mil -- iar, con -- des -- cend -- ing, pa -- tient, free. Come not to so -- journ, but a -- bide with me.", "prose": ["Not a brief glance I beg, a passing word;", "But as Thou dwell'st with Thy disciples, Lord,", "Familiar, condescending, patient, free.", "Come not to sojourn, but abide with me."]}, "4": {"syllabified": "Come not in ter -- rors, as the King of kings, But kind and good, with heal -- ing in Thy wings, Tears for all woes, a heart for ev -- ery plea? Come, Friend of sin -- ners, and thus bide with me.", "prose": ["Come not in terrors, as the King of kings,", "But kind and good, with healing in Thy wings,", "Tears for all woes, a heart for every plea?", "Come, Friend of sinners, and thus bide with me."]}, "5": {"syllabified": "Thou on my head in ear -- ly youth didst smile; And, though re -- bell -- ious and per -- verse mean -- while, Thou hast not left me, oft as I left Thee, On to the close, O Lord, a -- bide with me.", "prose": ["Thou on my head in early youth didst smile;", "And, though rebellious and perverse meanwhile,", "Thou hast not left me, oft as I left Thee,", "On to the close, O Lord, abide with me."]}}}, "after-thy-loving-kindness-lord": {"slug": "after-thy-loving-kindness-lord", "title": "After Thy Loving-kindness, Lord", "first_line": "After thy loving-kindness, Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 51, "topics": ["Psalms"], "scripture": ["Psalm 51"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 51. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Af -- ter thy lov -- ing -- kind -- ness, Lord, have mer -- cy up -- on me: For thy com -- pas -- sions great, blot out all mine in -- iq -- ui -- ty.", "prose": ["After thy loving-kindness, Lord,", "have mercy upon me:", "For thy compassions great, blot out", "all mine iniquity."]}, "2": {"syllabified": "Me cleanse from sin, and through -- ly wash from mine in -- iq -- ui -- ty: For my trans -- gres -- sions I con -- fess; my sin I ev -- er see.", "prose": ["Me cleanse from sin, and throughly wash", "from mine iniquity:", "For my transgressions I confess;", "my sin I ever see."]}, "3": {"syllabified": "'Gainst thee, thee on -- ly, have I sinned, in thy sight done this ill; That when thou speak'st thou may'st be just, and clear in judg -- ing still.", "prose": ["'Gainst thee, thee only, have I sinned,", "in thy sight done this ill;", "That when thou speak'st thou may'st be just,", "and clear in judging still."]}, "4": {"syllabified": "Be -- hold, I in in -- iq -- ui -- ty was formed the womb with -- in; My moth -- er al -- so me con -- ceived in guil -- ti -- ness and sin.", "prose": ["Behold, I in iniquity", "was formed the womb within;", "My mother also me conceived", "in guiltiness and sin."]}, "5": {"syllabified": "Be -- hold, thou in the in -- ward parts with truth de -- light -- ed art; And wis -- dom thou shalt make me know with -- in the hid -- den part.", "prose": ["Behold, thou in the inward parts", "with truth delighted art;", "And wisdom thou shalt make me know", "within the hidden part."]}, "6": {"syllabified": "Do thou with hys -- sop sprink -- le me, I shall be cleans -- ed so; Yea, wash thou me, and then I shall be whit -- er than the snow.", "prose": ["Do thou with hyssop sprinkle me,", "I shall be cleansed so;", "Yea, wash thou me, and then I shall", "be whiter than the snow."]}, "7": {"syllabified": "Of glad -- ness and of joy -- ful -- ness make me to hear the voice; That so these ver -- y bones which thou hast bro -- ken may re -- joice.", "prose": ["Of gladness and of joyfulness", "make me to hear the voice;", "That so these very bones which thou", "hast broken may rejoice."]}, "8": {"syllabified": "All mine in -- iq -- ui -- ties blot out, thy face hide from my sin. Cre -- ate a clean heart, Lord, re -- new a right spirit me with -- in.", "prose": ["All mine iniquities blot out,", "thy face hide from my sin.", "Create a clean heart, Lord, renew", "a right spirit me within."]}, "9": {"syllabified": "Cast me not from thy sight, nor take thy Ho -- ly Spirit a -- way. Re -- store me thy salvat -- io -- n's joy; with thy free Spirit me stay.", "prose": ["Cast me not from thy sight, nor take", "thy Holy Spirit away.", "Restore me thy salvation's joy;", "with thy free Spirit me stay."]}, "10": {"syllabified": "Then will I teach thy ways un -- to those that trans -- gres -- sors be; And those that sin -- ners are shall then be turn -- ed un -- to thee.", "prose": ["Then will I teach thy ways unto", "those that transgressors be;", "And those that sinners are shall then", "be turned unto thee."]}, "11": {"syllabified": "O God, of my sal -- va -- tion God, me from blood -- guil -- ti -- ness Set free; then shall my tongue a -- loud sing of thy right -- eous -- ness.", "prose": ["O God, of my salvation God,", "me from blood-guiltiness", "Set free; then shall my tongue aloud", "sing of thy righteousness."]}, "12": {"syllabified": "My clos -- ed lips, O Lord, by thee let them be o -- pen -- ed; Then shall thy prais -- es by my mouth a -- broad be pub -- lish -- ed.", "prose": ["My closed lips, O Lord, by thee", "let them be opened;", "Then shall thy praises by my mouth", "abroad be published."]}, "13": {"syllabified": "For thou de -- sir'st not sac -- ri -- fice, else would I give it thee; Nor wilt thou with burn -- tof -- fer -- ing at all de -- light -- ed be.", "prose": ["For thou desir'st not sacrifice,", "else would I give it thee;", "Nor wilt thou with burnt-offering", "at all delighted be."]}, "14": {"syllabified": "A bro -- ken spir -- it is to God a pleas -- ing sac -- ri -- fice: A bro -- ken and a con -- trite heart, Lord, thou wilt not de -- spise.", "prose": ["A broken spirit is to God", "a pleasing sacrifice:", "A broken and a contrite heart,", "Lord, thou wilt not despise."]}, "15": {"syllabified": "Show kind -- ness, and do good, O Lord, to Zi -- on, thine own hill: The walls of thy Je -- ru -- sa -- lem build up of thy good will.", "prose": ["Show kindness, and do good, O Lord,", "to Zion, thine own hill:", "The walls of thy Jerusalem", "build up of thy good will."]}, "16": {"syllabified": "Then right -- eous of -- f'rings shall thee please, and of -- f'rings burnt, which they With whole burnt -- of -- f'rings, and with calves, shall on thine al -- tar lay.", "prose": ["Then righteous off'rings shall thee please,", "and off'rings burnt, which they", "With whole burnt-off'rings, and with calves,", "shall on thine altar lay."]}}}, "ah-holy-jesus-how-hast-thou-offended": {"slug": "ah-holy-jesus-how-hast-thou-offended", "title": "Ah, Holy Jesus", "first_line": "Ah, holy Jesus, how hast Thou offended", "author": "johann-heermann", "author_date": "1630", "translator": "robert-bridges", "translator_date": "1899", "foot": "trochaic", "meter": {"pattern": [11, 11, 11, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Passion", "Atonement", "Cross", "Lent"], "scripture": ["Isaiah 53:3"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Heermann, \"Herzliebster Jesu, was hast du verbrochen,\" Devoti Musica Cordis (Breslau, 1630); translated from the German by Robert Bridges, 1899 (The Yattendon Hymnal). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ah, ho -- ly Je -- sus, how hast Thou of -- fend -- ed, That man to judge Thee hath in hate pre -- tend -- ed? By foes de -- rid -- ed, by Thine own re -- ject -- ed, O most af -- flict -- ed.", "prose": ["Ah, holy Jesus, how hast Thou offended,", "That man to judge Thee hath in hate pretended?", "By foes derided, by Thine own rejected,", "O most afflicted."]}, "2": {"syllabified": "Who was the guilt -- y? Who brought this up -- on Thee? A -- las, my trea -- son, Je -- sus, hath un -- done Thee. 'Twas I, Lord, Je -- sus, I it was de -- nied Thee! I cru -- ci -- fied Thee.", "prose": ["Who was the guilty? Who brought this upon Thee?", "Alas, my treason, Jesus, hath undone Thee.", "'Twas I, Lord, Jesus, I it was denied Thee!", "I crucified Thee."]}, "3": {"syllabified": "Lo, the Good Shep -- herd for the sheep is of -- fered; The slave hath sinn -- ed, and the Son hath suf -- fered; For man's a -- tone -- ment, while he noth -- ing heed -- eth, God in -- ter -- ced -- eth.", "prose": ["Lo, the Good Shepherd for the sheep is offered;", "The slave hath sinnèd, and the Son hath suffered;", "For man's atonement, while he nothing heedeth,", "God intercedeth."]}, "4": {"syllabified": "For me, kind Je -- sus, was Thy in -- car -- na -- tion, Thy mor -- tal sor -- row, and Thy life's ob -- la -- tion; Thy death of ang -- uish and Thy bit -- ter pas -- sion, For my sal -- va -- tion.", "prose": ["For me, kind Jesus, was Thy incarnation,", "Thy mortal sorrow, and Thy life's oblation;", "Thy death of anguish and Thy bitter passion,", "For my salvation."]}, "5": {"syllabified": "There -- fore, kind Je -- sus, since I can -- not pay Thee, I do a -- dore Thee, and will ev -- er pray Thee, Think on Thy pit -- y and Thy love un -- swerv -- ing, Not my de -- serv -- ing.", "prose": ["Therefore, kind Jesus, since I cannot pay Thee,", "I do adore Thee, and will ever pray Thee,", "Think on Thy pity and Thy love unswerving,", "Not my deserving."]}}}, "alas-and-did-my-savior-bleed": {"slug": "alas-and-did-my-savior-bleed", "title": "Alas! and Did My Savior Bleed", "first_line": "Alas! and did my Savior bleed", "author": "isaac-watts", "author_date": "1707", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Passion", "Repentance", "Cross"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts (1674-1748), \"Alas! and did my Savior bleed,\" from Hymns and Spiritual Songs (1707). Text from The Cyber Hymnal (Watts verses; the \"At the cross\" refrain, a later addition by Ralph E. Hudson, is not included). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A -- las! and did my Sav -- ior bleed And did my Sov -- 'reign die? Would He de -- vote that sa -- cred head For such a worm as I?", "prose": ["Alas! and did my Savior bleed", "And did my Sovereign die?", "Would He devote that sacred head", "For such a worm as I?"]}, "2": {"syllabified": "Thy bod -- y slain, sweet Je -- sus, Thine, And bathed in its own blood, While all ex -- posed to wrath di -- vine, The glo -- rious Suf -- f'rer stood!", "prose": ["Thy body slain, sweet Jesus, Thine,", "And bathed in its own blood,", "While all exposed to wrath divine,", "The glorious Sufferer stood!"]}, "3": {"syllabified": "Was it for crimes that I had done He groaned up -- on the tree? A -- maz -- ing pit -- y! grace un -- known! And love be -- yond de -- gree!", "prose": ["Was it for crimes that I had done", "He groaned upon the tree?", "Amazing pity! grace unknown!", "And love beyond degree!"]}, "4": {"syllabified": "Well might the sun in dark -- ness hide And shut his glo -- ries in, When Christ, the might -- y Mak -- er died, For man the crea -- ture's sin.", "prose": ["Well might the sun in darkness hide", "And shut his glories in,", "When Christ, the mighty Maker died,", "For man the creature's sin."]}, "5": {"syllabified": "Thus might I hide my blush -- ing face While His dear cross ap -- pears, Dis -- solve my heart in thank -- ful -- ness, And melt my eyes to tears.", "prose": ["Thus might I hide my blushing face", "While His dear cross appears,", "Dissolve my heart in thankfulness,", "And melt my eyes to tears."]}, "6": {"syllabified": "But drops of grief can ne'er re -- pay The debt of love I owe: Here, Lord, I give my -- self a -- way 'Tis all that I can do.", "prose": ["But drops of grief can ne'er repay", "The debt of love I owe:", "Here, Lord, I give myself away", "'Tis all that I can do."]}}}, "all-glory-be-to-god-on-high": {"slug": "all-glory-be-to-god-on-high", "title": "All Glory Be to God on High", "first_line": "All Glory Be to God on High", "author": "nicolaus-decius", "author_date": "1525", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Trinity"], "scripture": ["Luke 2:14"], "provenance": {"layer": "text", "source": "chorale-book-for-england-1863", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words: Nicolaus Decius, 1525 (\"Allein Gott in der Höh sei Ehr\", the German versification of the Gloria in excelsis), translated from German to English by Catherine Winkworth, The Chorale Book for England (London, 1863), No. 1. Text verbatim from the 1863 printing, verified against the archive.org scan (choralebookforen00benn) and the CCEL transcription; the 1863 spellings and readings are kept (\"feud\", \"Jesu\", \"Saviour\", \"goodwill toward men\"), with \"heavenly\" set heav'n -- ly and \"power\"/\"toward\" sung as one syllable as the 8.7.8.7.8.8.7 scansion requires. Most modern hymnals print altered or composite recensions of this translation (e.g. The Lutheran Hymnal 1941; The Cyber Hymnal carries \"1863, alt.\"); this is the unaltered Winkworth. All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "all_glory_be_to_god_on_high_who_hath_our", "total_instances": 105}}, "stanzas": {"1": {"syllabified": "All glo -- ry be to God on High, Who hath our race be -- friend -- ed! To us no harm shall now come nigh, The feud at last is end -- ed; God show -- eth His good -- will toward men, And peace shall dwell on earth a -- gain; Oh thank Him for His good -- ness.", "prose": ["All glory be to God on High,", "Who hath our race befriended!", "To us no harm shall now come nigh,", "The feud at last is ended;", "God showeth His goodwill toward men,", "And peace shall dwell on earth again;", "Oh thank Him for His goodness."]}, "2": {"syllabified": "We praise, we wor -- ship Thee, we trust, And give Thee thanks for ev -- er, O Fa -- ther, that Thy rule is just And wise, and chan -- ges nev -- er: Thy bound -- less power o'er all things reigns, Done is what -- e'er Thy will or -- dains; Well for us that Thou rul -- est!", "prose": ["We praise, we worship Thee, we trust,", "And give Thee thanks for ever,", "O Father, that Thy rule is just", "And wise, and changes never:", "Thy boundless power o'er all things reigns,", "Done is whate'er Thy will ordains;", "Well for us that Thou rulest!"]}, "3": {"syllabified": "O Je -- su Christ, our God and Lord, Son of Thy heav'n -- ly Fa -- ther, O Thou who hast our peace re -- stored And the lost sheep dost gath -- er, Thou Lamb of God, to Thee on high From out our depths we sin -- ners cry, Have mer -- cy on us, Je -- sus!", "prose": ["O Jesu Christ, our God and Lord,", "Son of Thy heavenly Father,", "O Thou who hast our peace restored", "And the lost sheep dost gather,", "Thou Lamb of God, to Thee on high", "From out our depths we sinners cry,", "Have mercy on us, Jesus!"]}, "4": {"syllabified": "O Ho -- ly Ghost, Thou pre -- cious Gift, Thou Com -- fort -- er un -- fail -- ing, O'er Sa -- tan's snares our souls up -- lift, And let Thy power a -- vail -- ing A -- vert our woes and calm our dread, For us the Sav -- iour's blood was shed, We trust in Thee to save us!", "prose": ["O Holy Ghost, Thou precious Gift,", "Thou Comforter unfailing,", "O'er Satan's snares our souls uplift,", "And let Thy power availing", "Avert our woes and calm our dread,", "For us the Saviour's blood was shed,", "We trust in Thee to save us!"]}}}, "all-glory-laud-and-honor": {"slug": "all-glory-laud-and-honor", "title": "All Glory, Laud, and Honor", "first_line": "All glory, laud, and honor", "author": "theodulf-of-orleans", "author_date": "c. 820", "translator": "john-mason-neale", "translator_date": "1851", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Children", "Easter Week", "Passion", "God, As King", "God, Majesty & Power of", "Israel", "Jesus", "Praise, Son", "Worship"], "scripture": ["Matthew 21:9", "Psalm 148", "1 Timothy 1:17", "Revelation 4:8-11"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:93 (line 9862); words Theodulf of Orleans c.820, tr. John Mason Neale 1851. All pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou art the King of Is -- rael, Thou Da -- vid's ro -- yal Son, Who in the Lord's Name com -- est, The King and Bless -- ed One.", "prose": ["Thou art the King of Israel,", "Thou David's royal Son,", "Who in the Lord's Name comest,", "The King and Blessed One."]}, "2": {"syllabified": "The com -- pa -- ny of an -- gels Are prais -- ing Thee on High, And mor -- tal men and all things Cre -- at -- ed make re -- ply.", "prose": ["The company of angels", "Are praising Thee on High,", "And mortal men and all things", "Created make reply."]}, "3": {"syllabified": "The peo -- ple of the He -- brews With palms be -- fore Thee went; Our prayer and praise and an -- thems Be -- fore Thee we pre -- sent.", "prose": ["The people of the Hebrews", "With palms before Thee went;", "Our prayer and praise and anthems", "Before Thee we present."]}, "4": {"syllabified": "To Thee, be -- fore Thy pas -- sion, They sang their hymns of praise; To Thee, now high ex -- alt -- ed, Our mel -- o -- dy we raise.", "prose": ["To Thee, before Thy passion,", "They sang their hymns of praise;", "To Thee, now high exalted,", "Our melody we raise."]}, "5": {"syllabified": "Thou didst ac -- cept their prais -- es; Ac -- cept the prayers we bring, Who in all good de -- light -- est, Thou good and gra -- cious King.", "prose": ["Thou didst accept their praises;", "Accept the prayers we bring,", "Who in all good delightest,", "Thou good and gracious King."]}}, "refrain": {"syllabified": "All glo -- ry, laud and hon -- or, To Thee, Re -- deem -- er, King, To Whom the lips of child -- ren Made sweet ho -- san -- nas ring.", "prose": ["All glory, laud and honor,", "To Thee, Redeemer, King,", "To Whom the lips of children", "Made sweet hosannas ring."]}}, "all-hail-the-power-of-jesus-name": {"slug": "all-hail-the-power-of-jesus-name", "title": "All Hail the Power of Jesus’ Name", "first_line": "All hail the power of Jesus’ name", "author": "edward-perronet", "author_date": "1780", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ, Exaltation of", "Praise"], "scripture": ["Philippians 2:9-11"], "provenance": {"layer": "text", "source": "perronet-1780", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Edward Perronet, 1780. Author d. 1792.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "all_hail_the_power_of_jesus_name_let", "total_instances": 3818}}, "stanzas": {"1": {"syllabified": "All hail the pow'r of Je -- sus' Name! Let an -- gels pros -- trate fall; Bring forth the ro -- yal di -- a -- dem, and crown Him Lord of all. Bring forth the ro -- yal di -- a -- dem, and crown Him Lord of all.", "prose": ["All hail the pow'r of Jesus' Name!", "Let angels prostrate fall;", "Bring forth the royal diadem,", "and crown Him Lord of all."]}, "2": {"syllabified": "Let high -- born ser -- aphs tune the lyre, and as they tune it, fall Be -- fore His face Who tunes their choir, and crown Him Lord of all. Be -- fore His face Who tunes their choir, and crown Him Lord of all.", "prose": ["Let highborn seraphs tune the lyre,", "and as they tune it, fall", "Before His face Who tunes their choir,", "and crown Him Lord of all."]}, "3": {"syllabified": "Crown Him, ye morn -- ing stars of light, who fixed this float -- ing ball; Now hail the strength of Is -- rael's might, and crown Him Lord of all. Now hail the strength of Is -- rael's might, and crown Him Lord of all.", "prose": ["Crown Him, ye morning stars of light,", "who fixed this floating ball;", "Now hail the strength of Israel's might,", "and crown Him Lord of all."]}, "4": {"syllabified": "Crown Him, ye mar -- tyrs of your God, who from His al -- tar call; Ex -- tol the Stem of Je -- sse's Rod, and crown Him Lord of all. Ex -- tol the Stem of Je -- sse's Rod, and crown Him Lord of all.", "prose": ["Crown Him, ye martyrs of your God,", "who from His altar call;", "Extol the Stem of Jesse's Rod,", "and crown Him Lord of all."]}, "5": {"syllabified": "Ye seed of Is -- rael's cho -- sen race, ye ran -- somed from the fall, Hail Him Who saves you by His grace, and crown Him Lord of all. Hail Him Who saves you by His grace, and crown Him Lord of all.", "prose": ["Ye seed of Israel's chosen race,", "ye ransomed from the fall,", "Hail Him Who saves you by His grace,", "and crown Him Lord of all."]}}}, "all-lands-to-god-in-joyful-sounds": {"slug": "all-lands-to-god-in-joyful-sounds", "title": "All Lands to God, in Joyful Sounds", "first_line": "All lands to God, in joyful sounds", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 66, "topics": ["Psalms"], "scripture": ["Psalm 66"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 66. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All lands to God, in joy -- ful sounds, a -- loft your voic -- es raise. Sing forth the hon -- our of his name, and glo -- rious make his praise.", "prose": ["All lands to God, in joyful sounds,", "aloft your voices raise.", "Sing forth the honour of his name,", "and glorious make his praise."]}, "2": {"syllabified": "Say un -- to God, How ter -- ri -- ble in all thy works art thou! Through thy great pow'r thy foes to thee shall be con -- strained to bow.", "prose": ["Say unto God, How terrible", "in all thy works art thou!", "Through thy great pow'r thy foes to thee", "shall be constrained to bow."]}, "3": {"syllabified": "All on the earth shall wor -- ship thee, they shall thy praise pro -- claim In songs: they shall sing cheer -- ful -- ly un -- to thy ho -- ly name.", "prose": ["All on the earth shall worship thee,", "they shall thy praise proclaim", "In songs: they shall sing cheerfully", "unto thy holy name."]}, "4": {"syllabified": "Come, and the works that God hath wrought with ad -- mi -- ra -- tion see: In's work -- ing to the sons of men most ter -- ri -- ble is he.", "prose": ["Come, and the works that God hath wrought", "with admiration see:", "In's working to the sons of men", "most terrible is he."]}, "5": {"syllabified": "In -- to dry land the sea he turned, and they a pas -- sage had; Ev'n march -- ing through the flood on foot, there we in him were glad.", "prose": ["Into dry land the sea he turned,", "and they a passage had;", "Ev'n marching through the flood on foot,", "there we in him were glad."]}, "6": {"syllabified": "He rul -- eth ev -- er by his pow'r; his eyes the na -- tions see: O let not the re -- bell -- ious ones lift up them -- selves on high.", "prose": ["He ruleth ever by his pow'r;", "his eyes the nations see:", "O let not the rebellious ones", "lift up themselves on high."]}, "7": {"syllabified": "Ye peo -- ple, bless our God; a -- loud the voice speak of his praise: Our soul in life who safe pre -- serves, our foot from slid -- ing stays.", "prose": ["Ye people, bless our God; aloud", "the voice speak of his praise:", "Our soul in life who safe preserves,", "our foot from sliding stays."]}, "8": {"syllabified": "For thou didst prove and try us, Lord, as men do sil -- ver try; Brought'st us in -- to the net, and mad'st bands on our loins to lie.", "prose": ["For thou didst prove and try us, Lord,", "as men do silver try;", "Brought'st us into the net, and mad'st", "bands on our loins to lie."]}, "9": {"syllabified": "Thou hast caus'd men ride o'er our heads; and though that we did pass Through fire and wa -- ter, yet thou brought'st us to a weal -- thy place.", "prose": ["Thou hast caus'd men ride o'er our heads;", "and though that we did pass", "Through fire and water, yet thou brought'st", "us to a wealthy place."]}, "10": {"syllabified": "I'll bring burnt -- of -- f'rings to thy house; to thee my vows I'll pay, Which my lips ut -- tered, my mouth spake, when trou -- ble on me lay.", "prose": ["I'll bring burnt-off'rings to thy house;", "to thee my vows I'll pay,", "Which my lips uttered, my mouth spake,", "when trouble on me lay."]}, "11": {"syllabified": "Burnt -- sac -- ri -- fic -- es of fat rams with in -- cense I will bring; Of bul -- locks and of goats I will pre -- sent an of -- fer -- ing.", "prose": ["Burnt-sacrifices of fat rams", "with incense I will bring;", "Of bullocks and of goats I will", "present an offering."]}, "12": {"syllabified": "All that fear God, come, hear, I'll tell what he did for my soul. I with my mouth un -- to him cried, my tongue did him ex -- tol.", "prose": ["All that fear God, come, hear, I'll tell", "what he did for my soul.", "I with my mouth unto him cried,", "my tongue did him extol."]}, "13": {"syllabified": "If in my heart I sin re -- gard, the Lord me will not hear: But sure -- ly God me heard, and to my pray -- er's voice gave ear.", "prose": ["If in my heart I sin regard,", "the Lord me will not hear:", "But surely God me heard, and to", "my prayer's voice gave ear."]}, "14": {"syllabified": "O let the Lord, our gra -- cious God, for ev -- er bless -- ed be, Who turn -- ed not my pray'r from him, nor yet his grace from me.", "prose": ["O let the Lord, our gracious God,", "for ever blessed be,", "Who turned not my pray'r from him,", "nor yet his grace from me."]}}}, "all-my-heart-this-night-rejoices": {"slug": "all-my-heart-this-night-rejoices", "title": "All My Heart This Night Rejoices", "first_line": "All my heart this night rejoices", "author": "paul-gerhardt", "author_date": "1656", "translator": "catherine-winkworth", "translator_date": "1858", "foot": "trochaic", "meter": {"pattern": [8, 3, 3, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Advent", "Joy", "Grace", "Love", "Salvation", "Worship"], "scripture": ["Luke 2:8-15", "Isaiah 7:14", "Isaiah 9:2-7", "Galatians 4:4", "Hebrews 2:14-17"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:47; Paul Gerhardt 1656, tr. Catherine Winkworth 1858. All authors d. pre-1931. Public domain.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All my heart this night re -- joic -- es, As I hear, Far and near, Sweet -- est an -- gel voic -- es; \"Christ is born,\" their choirs are sing -- ing, Till the air Ev -- 'ry -- where Now with joy is ring -- ing.", "prose": ["All my heart this night rejoices,", "As I hear,", "Far and near,", "Sweetest angel voices;", "\"Christ is born,\" their choirs are singing,", "Till the air", "Ev'rywhere", "Now with joy is ringing."]}, "2": {"syllabified": "For it dawns, -- the prom -- ised mor -- row Of His birth Who the earth Res -- cues from her sor -- row. God to wear our form de -- scen -- deth, Of His grace To our race Here His Son He lend -- eth:", "prose": ["For it dawns—the promised morrow", "Of His birth", "Who the earth", "Rescues from her sorrow.", "God to wear our form descendeth,", "Of His grace", "To our race", "Here His Son He lendeth:"]}, "3": {"syllabified": "Yea, so tru -- ly for us car -- eth, That His Son All we've done As our of -- f'ring bear -- eth; As our Lamb who, dy -- ing for us, Bears our load, And to God Doth in peace re -- store us.", "prose": ["Yea, so truly for us careth,", "That His Son", "All we've done", "As our off'ring beareth;", "As our Lamb who, dying for us,", "Bears our load,", "And to God", "Doth in peace restore us."]}, "4": {"syllabified": "Hark! a voice from yon -- der man -- ger, Soft and sweet, Doth en -- treat, \"Flee from woe and dan -- ger; Breth -- ren come, from all doth grieve you You are freed, All you need I will sure -- ly give you.\"", "prose": ["Hark! a voice from yonder manger,", "Soft and sweet,", "Doth entreat,", "\"Flee from woe and danger;", "Brethren come, from all doth grieve you", "You are freed,", "All you need", "I will surely give you.\""]}, "5": {"syllabified": "Come then, let us has -- ten yon -- der; Here let all, Great and small, Kneel in awe and won -- der. Love Him who with love is yearn -- ing; Hail the Star That from far Bright with hope is burn -- ing!", "prose": ["Come then, let us hasten yonder;", "Here let all,", "Great and small,", "Kneel in awe and wonder.", "Love Him who with love is yearning;", "Hail the Star", "That from far", "Bright with hope is burning!"]}}}, "all-natures-works-his-praise-declare": {"slug": "all-natures-works-his-praise-declare", "title": "All Nature's Works His Praise Declare", "first_line": "All Nature's Works His Praise Declare", "author": "henry-ware-jr", "author_date": "1822", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Creation", "Nature"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry Ware, Jr. (1794-1843), \"All Nature's Works His Praise Declare,\" written 1822; the standard text for the tune SERAPH. Text from The Cyber Hymnal. Public-domain text (author d. 1843). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All na -- ture's works His praise de -- clare, to whom they all be -- long; There is a voice in ev -- ery star, in ev -- ery breeze a song. Sweet mu -- sic fills the world a -- broad with strains of love and power; The storm -- y sea sings praise to God, the thun -- der and the shower.", "prose": ["All nature's works His praise declare,", "to whom they all belong;", "There is a voice in every star,", "in every breeze a song.", "Sweet music fills the world abroad", "with strains of love and power;", "The stormy sea sings praise to God,", "the thunder and the shower."]}, "2": {"syllabified": "To God the tribes of o -- cean cry, and birds up -- on the wing; To God the pow'rs that dwell on high their tune -- ful trib -- ute bring. Like them, let us the throne sur -- round, with them loud chor -- us raise, While in -- stru -- ments of loft -- ier sound as -- sist our fee -- ble praise.", "prose": ["To God the tribes of ocean cry,", "and birds upon the wing;", "To God the powers that dwell on high", "their tuneful tribute bring.", "Like them, let us the throne surround,", "with them loud chorus raise,", "While instruments of loftier sound", "assist our feeble praise."]}, "3": {"syllabified": "Great God, to Thee we con -- se -- crate our voic -- es and our skill; We bid the peal -- ing or -- gan wait to speak a -- lone Thy will. Lord, while the mu -- sic round us floats may earth born pass -- ions die; O grant its rich and swell -- ing notes may lift our souls on high!", "prose": ["Great God, to Thee we consecrate", "our voices and our skill;", "We bid the pealing organ wait", "to speak alone Thy will.", "Lord, while the music round us floats", "may earth born passions die;", "O grant its rich and swelling notes", "may lift our souls on high!"]}}}, "all-people-clap-your-hands-to-god": {"slug": "all-people-clap-your-hands-to-god", "title": "All People, Clap Your Hands; to God", "first_line": "All people, clap your hands; to God", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 47, "topics": ["Psalms"], "scripture": ["Psalm 47"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 47. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All peo -- ple, clap your hands; to God with voice of tri -- umph shout: For dread -- ful is the Lord most high, great King the earth through -- out.", "prose": ["All people, clap your hands; to God", "with voice of triumph shout:", "For dreadful is the Lord most high,", "great King the earth throughout."]}, "2": {"syllabified": "The hea -- then peo -- ple un -- der us he sure -- ly shall sub -- due; And he shall make the na -- ti -- ons un -- der our feet to bow.", "prose": ["The heathen people under us", "he surely shall subdue;", "And he shall make the nations", "under our feet to bow."]}, "3": {"syllabified": "The lot of our in -- her -- i -- tance choose out for us shall he, Of Ja -- cob, whom he lov -- ed well, ev'n the ex -- cel -- len -- cy.", "prose": ["The lot of our inheritance", "choose out for us shall he,", "Of Jacob, whom he loved well,", "ev'n the excellency."]}, "4": {"syllabified": "God is with shouts gone up, the Lord with trum -- pets sound -- ing high. Sing praise to God, sing praise, sing praise, praise to our King sing ye.", "prose": ["God is with shouts gone up, the Lord", "with trumpets sounding high.", "Sing praise to God, sing praise, sing praise,", "praise to our King sing ye."]}, "5": {"syllabified": "For God is King of all the earth; with knowl -- edge praise ex -- press. God rules the na -- tions: God sits on his throne of ho -- li -- ness.", "prose": ["For God is King of all the earth;", "with knowledge praise express.", "God rules the nations: God sits on", "his throne of holiness."]}, "6": {"syllabified": "The prin -- ces of the peo -- ple are as -- sem -- bled will -- ing -- ly; Ev'n of the God of A -- bra -- ham they who the peo -- ple be.", "prose": ["The princes of the people are", "assembled willingly;", "Ev'n of the God of Abraham", "they who the people be."]}, "7": {"syllabified": "For why? the shields that do de -- fend the earth are on -- ly his: They to the Lord be -- long; yea, he ex -- al -- ted great -- ly is.", "prose": ["For why? the shields that do defend", "the earth are only his:", "They to the Lord belong; yea, he", "exalted greatly is."]}}}, "all-people-that-on-earth-do-dwell": {"slug": "all-people-that-on-earth-do-dwell", "title": "All People That on Earth Do Dwell", "first_line": "All people that on earth do dwell", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 100, "topics": ["Psalms"], "scripture": ["Psalm 100"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 100. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All peo -- ple that on earth do dwell, Sing to the Lord with cheer -- ful voice. Him serve with mirth, his praise forth tell, Come ye be -- fore him and re -- joice.", "prose": ["All people that on earth do dwell,", "Sing to the Lord with cheerful voice.", "Him serve with mirth, his praise forth tell,", "Come ye before him and rejoice."]}, "2": {"syllabified": "Know that the Lord is God in -- deed; With -- out our aid he did us make: We are his flock, he doth us feed, And for his sheep he doth us take.", "prose": ["Know that the Lord is God indeed;", "Without our aid he did us make:", "We are his flock, he doth us feed,", "And for his sheep he doth us take."]}, "3": {"syllabified": "O en -- ter then his gates with praise, Ap -- proach with joy his courts un -- to: Praise, laud, and bless his name al -- ways, For it is seem -- ly so to do.", "prose": ["O enter then his gates with praise,", "Approach with joy his courts unto:", "Praise, laud, and bless his name always,", "For it is seemly so to do."]}, "4": {"syllabified": "For why? the Lord our God is good, His mer -- cy is for ev -- er sure; His truth at all times firm -- ly stood, And shall from age to age en -- dure.", "prose": ["For why? the Lord our God is good,", "His mercy is for ever sure;", "His truth at all times firmly stood,", "And shall from age to age endure."]}}}, "all-praise-to-thee-my-god-this-night": {"slug": "all-praise-to-thee-my-god-this-night", "title": "All Praise To Thee, My God, This Night", "first_line": "All praise to Thee, my God, this night, For", "author": "thomas-ken", "author_date": "1674", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Angels", "Anticipation", "Calmness"], "scripture": ["Genesis 1:1", "Psalm 121:1-8", "Matthew 11:28", "2 Timothy 4:18"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:309; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "all_praise_to_thee_my_god_this_night", "total_instances": 1095}}, "stanzas": {"1": {"syllabified": "All praise to Thee, my God, this night, For all the bless -- ings of the light! Keep me, O keep me, King of kings, Be -- neath Thine own al -- might -- y wings.", "prose": ["All praise to Thee, my God, this night,", "For all the blessings of the light!", "Keep me, O keep me, King of kings,", "Beneath Thine own almighty wings."]}, "2": {"syllabified": "For -- give me, Lord, for Thy dear Son, The ill that I this day have done, That with the world, my -- self, and Thee, I, ere I sleep, at peace may be.", "prose": ["Forgive me, Lord, for Thy dear Son,", "The ill that I this day have done,", "That with the world, myself, and Thee,", "I, ere I sleep, at peace may be."]}, "3": {"syllabified": "Teach me to live, that I may dread The grave as lit -- tle as my bed. Teach me to die, that so I may Rise glo -- rious at the judg -- ment day.", "prose": ["Teach me to live, that I may dread", "The grave as little as my bed.", "Teach me to die, that so I may", "Rise glorious at the judgment day."]}, "4": {"syllabified": "O may my soul on Thee re -- pose, And with sweet sleep mine eye -- lids close, Sleep that may me more vig -- 'rous make To serve my God when I a -- wake.", "prose": ["O may my soul on Thee repose,", "And with sweet sleep mine eyelids close,", "Sleep that may me more vig'rous make", "To serve my God when I awake."]}, "5": {"syllabified": "When in the night I sleep -- less lie, My soul with heav'n -- ly thoughts sup -- ply; Let no ill dreams dis -- turb my rest, No pow'rs of dark -- ness me mo -- lest.", "prose": ["When in the night I sleepless lie,", "My soul with heav'nly thoughts supply;", "Let no ill dreams disturb my rest,", "No pow'rs of darkness me molest."]}}}, "all-that-i-am-i-owe-to-thee": {"slug": "all-that-i-am-i-owe-to-thee", "title": "All That I Am I Owe to Thee", "first_line": "All that I am I owe to Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 139, "topics": ["Psalms"], "scripture": ["Psalm 139"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "encoding_origin": "The Cyber Hymnal, \"All That I Am I Owe to Thee\" (allthati.htm); text from The Psalter (1912), Psalm 139, cross-verified against hymnary.org PS1912/383 and the Indelible Grace Hymnbook.", "pd_basis": "pub_pre_1931", "pd_evidence": "A metrical versification of Psalm 139:14–24 from The Psalter, United Presbyterian Board of Publication, 1912 (committee versification; no named author) — US public domain by pre-1931 publication.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All that I am I owe to Thee, Thy wis -- dom, Lord, has fash -- ioned me; I give my Mak -- er thank -- ful praise, Whose won -- drous works my soul a -- maze.", "prose": ["All that I am I owe to Thee,", "Thy wisdom, Lord, has fashioned me;", "I give my Maker thankful praise,", "Whose wondrous works my soul amaze."]}, "2": {"syllabified": "Ere in -- to be -- ing I was brought, Thy eye did see, and in Thy thought; My life in all its per -- fect plan, Was or -- dered ere my days be -- gan.", "prose": ["Ere into being I was brought,", "Thy eye did see, and in Thy thought;", "My life in all its perfect plan,", "Was ordered ere my days began."]}, "3": {"syllabified": "Thy thoughts, O God, how man -- i -- fold; More pre -- cious un -- to me than gold; I muse on their in -- fin -- i -- ty; A -- wak -- ing I am still with Thee.", "prose": ["Thy thoughts, O God, how manifold;", "More precious unto me than gold;", "I muse on their infinity;", "Awaking I am still with Thee."]}, "4": {"syllabified": "The wick -- ed Thou wilt sure -- ly slay; From me let sin -- ners turn a -- way; They speak a -- gainst the Name di -- vine; I count God's en -- e -- mies as mine.", "prose": ["The wicked Thou wilt surely slay;", "From me let sinners turn away;", "They speak against the Name divine;", "I count God's enemies as mine."]}, "5": {"syllabified": "Search me, O God, my heart dis -- cern; Try me, my in -- most thought to learn; And lead me, if in sin I stray, To choose the ev -- er -- last -- ing way.", "prose": ["Search me, O God, my heart discern;", "Try me, my inmost thought to learn;", "And lead me, if in sin I stray,", "To choose the everlasting way."]}}}, "all-the-way-my-savior-leads-me": {"slug": "all-the-way-my-savior-leads-me", "title": "All the Way My Savior Leads Me", "first_line": "All the Way My Savior Leads Me", "author": "fanny-crosby", "author_date": "1875", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Guidance", "Assurance", "Trust"], "scripture": ["John 6:35", "1 Corinthians 10:4"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Fanny Crosby (Frances Jane Crosby), \"All the Way My Savior Leads Me\" (1875); tune by Robert Lowry. Text from The Cyber Hymnal. The closing couplet of each stanza repeats, as the tune (ALL THE WAY) requires. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All the way my Sav -- ior leads me; What have I to ask be -- side? Can I doubt His ten -- der mer -- cy, Who through life has been my guide? Heav'n -- ly peace, di -- vin -- est com -- fort, Here by faith in Him to dwell! For I know, what -- e'er be -- fall me, Je -- sus do -- eth all things well; For I know, what -- e'er be -- fall me, Je -- sus do -- eth all things well.", "prose": ["All the way my Savior leads me;", "What have I to ask beside?", "Can I doubt His tender mercy,", "Who through life has been my guide?", "Heav'nly peace, divinest comfort,", "Here by faith in Him to dwell!", "For I know, whate'er befall me,", "Jesus doeth all things well;", "For I know, whate'er befall me,", "Jesus doeth all things well."]}, "2": {"syllabified": "All the way my Sav -- ior leads me; Cheers each wind -- ing path I tread, Gives me grace for ev -- ery tri -- al, Feeds me with the liv -- ing bread. Though my wear -- y steps may fal -- ter And my soul a -- thirst may be, Gush -- ing from the rock be -- fore me, Lo! A spring of joy I see; Gush -- ing from the rock be -- fore me, Lo! A spring of joy I see.", "prose": ["All the way my Savior leads me;", "Cheers each winding path I tread,", "Gives me grace for every trial,", "Feeds me with the living bread.", "Though my weary steps may falter", "And my soul athirst may be,", "Gushing from the rock before me,", "Lo! A spring of joy I see;", "Gushing from the rock before me,", "Lo! A spring of joy I see."]}, "3": {"syllabified": "All the way my Sav -- ior leads me; O the full -- ness of His love! Per -- fect rest to me is prom -- ised In my Fa -- ther's house a -- bove. When my spir -- it, clothed im -- mor -- tal, Wings its flight to realms of day This my song through end -- less ag -- es: Je -- sus led me all the way; This my song through end -- less ag -- es: Je -- sus led me all the way.", "prose": ["All the way my Savior leads me;", "O the fullness of His love!", "Perfect rest to me is promised", "In my Father's house above.", "When my spirit, clothed immortal,", "Wings its flight to realms of day", "This my song through endless ages:", "Jesus led me all the way;", "This my song through endless ages:", "Jesus led me all the way."]}}}, "all-who-believe-and-are-baptized": {"slug": "all-who-believe-and-are-baptized", "title": "All Who Believe and Are Baptized", "first_line": "All who believe and are baptized shall see the", "author": "thomas-hansen-kingo", "author_date": "1913", "translator": "george-alfred-taylor-rygh", "translator_date": "1913", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Baptism", "Blood", "Christian Life"], "scripture": ["Matthew 28:19", "Romans 6:2-4", "Galatians 3:26-27", "Psalm 51:10-12"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:135; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "he_that_believes_and_is_baptized", "total_instances": 34}}, "stanzas": {"1": {"syllabified": "All who be -- lieve and are bap -- tized shall see the Lord's sal -- va -- tion; bap -- tized in -- to the death of Christ, they are a new cre -- a -- tion. through Christ's re -- demp -- tion they shall stand a -- mong the glor -- ious heav'n -- ly band of ev -- ery tribe and na -- tion.", "prose": ["All who believe and are baptized", "shall see the Lord's salvation;", "baptized into the death of Christ,", "they are a new creation.", "through Christ's redemption they shall stand", "among the glorious heav'nly band", "of every tribe and nation."]}, "2": {"syllabified": "With one ac -- cord, O God, we pray: grant us thy Ho -- ly Spir -- it; look thou on our in -- firm -- it -- y through Je -- sus' blood and mer -- it. Grant us to grow in grace each day that by this sac -- ra -- ment we may e -- ter -- nal life in -- her -- it.", "prose": ["With one accord, O God, we pray:", "grant us thy Holy Spirit;", "look thou on our infirmity", "through Jesus' blood and merit.", "Grant us to grow in grace each day", "that by this sacrament we may", "eternal life inherit."]}}}, "all-ye-nations-clap-your-hands": {"slug": "all-ye-nations-clap-your-hands", "title": "The Ascended King", "first_line": "All ye nations, clap your hands", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 47, "topics": ["Psalms"], "scripture": ["Psalm 47"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 130) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 47, selection 130. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "All ye na -- tions, clap your hands, Let shouts of tri -- umph ring, For might -- y o -- ver all the lands The Lord Most High is King.", "prose": ["All ye nations, clap your hands,", "Let shouts of triumph ring,", "For mighty over all the lands", "The Lord Most High is King."]}, "2": {"syllabified": "A -- bove our might -- y foes He gave us pow'r to stand, And as our her -- i -- tage He chose The good -- ly prom -- ised land.", "prose": ["Above our mighty foes", "He gave us pow'r to stand,", "And as our heritage He chose", "The goodly promised land."]}, "3": {"syllabified": "With shouts as -- cends our King, With trum -- pet's stir -- ring call; Praise God, praise God, His prais -- es sing, For God is Lord of all.", "prose": ["With shouts ascends our King,", "With trumpet's stirring call;", "Praise God, praise God, His praises sing,", "For God is Lord of all."]}, "4": {"syllabified": "O sing in joy -- ful strains, And make His glo -- ry known; God o -- ver all the na -- tions reigns, And ho -- ly is His throne.", "prose": ["O sing in joyful strains,", "And make His glory known;", "God over all the nations reigns,", "And holy is His throne."]}, "5": {"syllabified": "Our fa -- thers' God to own The kings of earth draw night, For none can save but God a -- lone, He is the Lord Most High.", "prose": ["Our fathers' God to own", "The kings of earth draw night,", "For none can save but God alone,", "He is the Lord Most High."]}}}, "alleluia-alleluia-hearts-to-heaven-and-voices-raise": {"slug": "alleluia-alleluia-hearts-to-heaven-and-voices-raise", "title": "Alleluia, Alleluia! Hearts to Heaven and Voices Raise", "first_line": "Alleluia, alleluia! Hearts to Heav'n and voices raise: Sing", "index_first_line": "Alleluia, alleluia! Hearts to Heaven", "author": "christopher-wordsworth", "author_date": "1905", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Art and Music", "Day", "Evening"], "scripture": ["Revelation 5:8-14", "Psalm 148:1-2"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:251; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "alleluia_alleluia_hearts_to_heaven_and_v", "total_instances": 234}}, "stanzas": {"1": {"syllabified": "Al -- le -- lu -- ia, al -- le -- lu -- ia! Hearts to Heav'n and voic -- es raise: Sing to God a hymn of glad -- ness, sing to God a hymn of praise. He, who on the cross a Vic -- tim, for the world's sal -- va -- tion bled, Je -- sus Christ, the King of glo -- ry, now is ris -- en from the dead.", "prose": ["Alleluia, alleluia!", "Hearts to Heav'n and voices raise:", "Sing to God a hymn of gladness,", "sing to God a hymn of praise.", "He, who on the cross a Victim,", "for the world's salvation bled,", "Jesus Christ, the King of glory,", "now is risen from the dead."]}, "2": {"syllabified": "Now the i -- ron bars are bro -- ken, Christ from death to life is born, Glor -- ious life, and life im -- mor -- tal, on the ho -- ly East -- er morn. Christ has tri -- umphed, and we con -- quer by His might -- y en -- ter -- prise: We with Him to life e -- ter -- nal by His res -- ur -- rec -- tion rise.", "prose": ["Now the iron bars are broken,", "Christ from death to life is born,", "Glorious life, and life immortal,", "on the holy Easter morn.", "Christ has triumphed, and we conquer", "by His mighty enterprise:", "We with Him to life eternal", "by His resurrection rise."]}, "3": {"syllabified": "Christ is ris -- en, Christ, the first fruits of the ho -- ly har -- vest field, Which will all its full a -- bun -- dance at His sec -- ond com -- ing yield: Then the gol -- den ears of har -- vest will their heads be -- fore Him wave, Rip -- ened by His glor -- ious sun -- shine from the fur -- rows of the grave.", "prose": ["Christ is risen, Christ, the first fruits", "of the holy harvest field,", "Which will all its full abundance", "at His second coming yield:", "Then the golden ears of harvest", "will their heads before Him wave,", "Ripened by His glorious sunshine", "from the furrows of the grave."]}, "4": {"syllabified": "Christ is ris -- en, we are ris -- en! Shed up -- on us heav'n -- ly grace, Rain and dew and gleams of glo -- ry from the bright -- ness of Thy face; That we, with our hearts in Heav -- en, here on earth may fruit -- ful be, And by an -- gel hands be gath -- ered, and be ev -- er, Lord, with Thee.", "prose": ["Christ is risen, we are risen!", "Shed upon us heav'nly grace,", "Rain and dew and gleams of glory", "from the brightness of Thy face;", "That we, with our hearts in Heaven,", "here on earth may fruitful be,", "And by angel hands be gathered,", "and be ever, Lord, with Thee."]}, "5": {"syllabified": "Al -- le -- lu -- ia, al -- le -- lu -- ia! Glo -- ry be to God on high; Al -- le -- lu -- ia! to the Sav -- ior who has gained the vic -- to -- ry; Al -- le -- lu -- ia! to the Spir -- it, fount of love and sanc -- ti -- ty: Al -- le -- lu -- ia, al -- le -- lu -- ia! to the Tri -- une Maj -- es -- ty.", "prose": ["Alleluia, alleluia!", "Glory be to God on high;", "Alleluia! to the Savior", "who has gained the victory;", "Alleluia! to the Spirit,", "fount of love and sanctity:", "Alleluia, alleluia!", "to the Triune Majesty."]}}}, "alleluia-sing-to-jesus": {"slug": "alleluia-sing-to-jesus", "title": "Alleluia, Sing To Jesus!", "first_line": "Alleluia! sing to Jesus! His the scepter, His the", "author": "william-chatterton-dix", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Crown", "God, As King", "Jesus", "Joy"], "scripture": ["Song of Solomon 6:10", "Matthew 6:29"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:162; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "alleluia_sing_to_jesus_his_the_scepter", "total_instances": 233}}, "stanzas": {"1": {"syllabified": "Al -- le -- lu -- ia! sing to Je -- sus! His the scep -- ter, His the throne. Al -- le -- lu -- ia! His the tri -- umph, His the vic -- to -- ry a -- lone. Hark! the songs of peace -- ful Zi -- on thun -- der like a might -- y flood. Je -- sus out of ev -- ery na -- tion has re -- deemed us by His blood.", "prose": ["Alleluia! sing to Jesus!", "His the scepter, His the throne.", "Alleluia! His the triumph,", "His the victory alone.", "Hark! the songs of peaceful Zion", "thunder like a mighty flood.", "Jesus out of every nation", "has redeemed us by His blood."]}, "2": {"syllabified": "Al -- le -- lu -- ia! not as or -- phans are we left in sor -- row now; Al -- le -- lu -- ia! He is near us, faith be -- lieves, nor ques -- tions how; Though the cloud from sight re -- ceived Him when the for -- ty days were o'er Shall our hearts for -- get His prom -- ise, \"I am with you ev -- er -- more\"?", "prose": ["Alleluia! not as orphans", "are we left in sorrow now;", "Alleluia! He is near us,", "faith believes, nor questions how;", "Though the cloud from sight received Him", "when the forty days were o'er", "Shall our hearts forget His promise,", "\"I am with you evermore\"?"]}, "3": {"syllabified": "Al -- le -- lu -- ia! bread of an -- gels, Thou on earth our food, our stay; Al -- le -- lu -- ia! here the sin -- ful flee to Thee from day to day: Int -- er -- ces -- sor, Friend of sin -- ners, Earth's Re -- deem -- er, plead for me, Where the songs of all the sin -- less sweep ac -- ross the crys -- tal sea.", "prose": ["Alleluia! bread of angels,", "Thou on earth our food, our stay;", "Alleluia! here the sinful", "flee to Thee from day to day:", "Intercessor, Friend of sinners,", "Earth's Redeemer, plead for me,", "Where the songs of all the sinless", "sweep across the crystal sea."]}, "4": {"syllabified": "Al -- le -- lu -- ia! King e -- ter -- nal, Thee the Lord of lords we own; Al -- le -- lu -- ia! born of Mar -- y, Earth Thy foot -- stool, Heav -- en Thy throne: Thou with -- in the veil hast en -- tered, robed in flesh our great High Priest; Thou on earth both priest and vic -- tim in the Eu -- char -- ist -- ic feast.", "prose": ["Alleluia! King eternal,", "Thee the Lord of lords we own;", "Alleluia! born of Mary,", "Earth Thy footstool, Heaven Thy throne:", "Thou within the veil hast entered,", "robed in flesh our great High Priest;", "Thou on earth both priest and victim", "in the Eucharistic feast."]}}}, "almighty-god-thy-lofty-throne": {"slug": "almighty-god-thy-lofty-throne", "title": "God the Source of Joy", "first_line": "Almighty God, Thy lofty throne", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 89, "topics": ["Psalms"], "scripture": ["Psalm 89"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 242) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 89, selection 242. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Al -- might -- y God, Thy loft -- y throne Has jus -- tice for its cor -- ner -- stone, And shin -- ing bright be -- fore Thy face Are truth and love and bound -- less grace.", "prose": ["Almighty God, Thy lofty throne", "Has justice for its cornerstone,", "And shining bright before Thy face", "Are truth and love and boundless grace."]}, "2": {"syllabified": "With bless -- ing is the na -- tion crowned Whose peo -- ple know the joy -- ful sound; They in the light, O Lord, shall live, The light Thy face and fa -- vor give.", "prose": ["With blessing is the nation crowned", "Whose people know the joyful sound;", "They in the light, O Lord, shall live,", "The light Thy face and favor give."]}, "3": {"syllabified": "Thy Name with glad -- ness they con -- fess, Ex -- al -- ted in Thy right -- eous -- ness; Their fame and might to Thee be -- long, For in Thy fa -- vor they are strong.", "prose": ["Thy Name with gladness they confess,", "Exalted in Thy righteousness;", "Their fame and might to Thee belong,", "For in Thy favor they are strong."]}, "4": {"syllabified": "All glo -- ry un -- to God we yield, Je -- ho -- vah is our help and shield; All praise and hon -- or we will bring To Is -- rael's Ho -- ly One, our King.", "prose": ["All glory unto God we yield,", "Jehovah is our help and shield;", "All praise and honor we will bring", "To Israel's Holy One, our King."]}}}, "almost-persuaded": {"slug": "almost-persuaded", "title": "Almost Persuaded", "first_line": "\"Almost persuaded\" Now to believe", "author": "philip-paul-bliss", "author_date": "1871", "foot": "trochaic", "meter": {"pattern": [9, 9, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Invitation", "Repentance", "Salvation", "Holy Spirit"], "scripture": ["Acts 26:28", "2 Corinthians 6:2", "Hebrews 3:15"], "provenance": {"layer": "text", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip Paul Bliss (1838-1876), words and music. The standard attribution, which this import did NOT verify from a scan and which the PD gate does not rest on, is first publication in The Charm (Chicago: Root & Cady, 1871). Transcribed syllable by syllable from the dated page image of Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 — archive.org gospelhymnssacre00blis_0, leaf 76 — which is headed \"Almost Persuaded.\", carries the motto \"Almost Thou persuadest me to be a Christian.\"—Acts 26:28, credits \"P. P. Bliss.\" at the left, sets stanzas 1 and 2 interlinear under the staves and prints stanza 3 as a block below them. Collated word for word against the same plates in the independently scanned Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 75, printed page 72 (archive.org hymnsconso00blis, leaf 78). THERE IS NO REFRAIN: the piece is three through-set stanzas over four four-bar systems. US public domain: the earliest printing this import actually opened is dated 1875, both witnesses are themselves pre-1931, and the author died in 1876, so it is also PD in life+70 jurisdictions. PUNCTUATION AND CAPITALISATION FOLLOW THE 1875 LEAF, including its capitals after a closing quotation mark (\"Now\", \"Come\", \"Turn\"), the semicolons ending lines 1 and 2 of stanzas 1 and 2 (stanza 3 ends those lines with exclamation marks), the comma after \"say\" and after \"way\", the colon after \"dear\" in stanza 2, the two-word \"can not\" in stanza 3, and the em-dashes in stanza 3's last two lines. ONE DIVERGENCE BETWEEN THE TWO WITNESSES, stated because it is a real difference and not a transcription choice: the 1875 leaf prints stanza 2's lines 1 and 2 as \"Al -- most per -- suad -- ed,\" — comma inside the closing quotation mark — while the later 1883 impression of the same plates shows no comma at either place (worn or filled type; stanza 1 has no comma on either leaf). The earlier and more complete 1875 reading is the one adopted here. The stanza-3 line \"Almost—but lost!\" is set on the page with \"but lost!\" in italics; the corpus carries no italic markup and the words are given plain. TWO SYLLABIFICATION DEPARTURES, both in stanza 2 and both forced by the plate itself, which prints the word whole and centred across TWO noteheads instead of hyphenating it: \"lingering\" in line 4 is split \"lin -- gering\" (the plate gives that line six notes and the printed spelling seven syllables, so it is sung with the usual elision, ling'ring), and \"wanderer\" in line 6 is split \"wan -- derer\" (four notes, printed spelling five syllables, sung wand'rer). The printed spellings are kept; only the division into slots is editorial, and it is stated here.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "almost_persuaded_now_to_believe_almost_p", "total_instances": 905}}, "stanzas": {"1": {"syllabified": "\"Al -- most per -- suad -- ed\" Now to be -- lieve; \"Al -- most per -- suad -- ed\" Christ to re -- ceive; Seems now some soul to say, \"Go, Spir -- it, go Thy way, Some more con -- ven -- ient day On Thee I'll call.\"", "prose": ["\"Almost persuaded\" Now to believe;", "\"Almost persuaded\" Christ to receive;", "Seems now some soul to say,", "\"Go, Spirit, go Thy way,", "Some more convenient day", "On Thee I'll call.\""]}, "2": {"syllabified": "\"Al -- most per -- suad -- ed,\" Come, come to -- day; \"Al -- most per -- suad -- ed,\" Turn not a -- way; Je -- sus in -- vites you here, An -- gels are lin -- gering near, Prayers rise from hearts so dear: O wan -- derer, come.", "prose": ["\"Almost persuaded,\" Come, come today;", "\"Almost persuaded,\" Turn not away;", "Jesus invites you here,", "Angels are lingering near,", "Prayers rise from hearts so dear:", "O wanderer, come."]}, "3": {"syllabified": "\"Al -- most per -- suad -- ed,\" har -- vest is past! \"Al -- most per -- suad -- ed,\" doom comes at last! \"Al -- most\" can not a -- vail; \"Al -- most\" is but to fail! Sad, sad, that bit -- ter wail— \"Al -- most— but lost!\"", "prose": ["\"Almost persuaded,\" harvest is past!", "\"Almost persuaded,\" doom comes at last!", "\"Almost\" can not avail;", "\"Almost\" is but to fail!", "Sad, sad, that bitter wail—", "\"Almost—but lost!\""]}}}, "am-i-a-soldier-of-the-cross": {"slug": "am-i-a-soldier-of-the-cross", "title": "Am I a Soldier of the Cross", "first_line": "Am I a Soldier of the Cross", "author": "isaac-watts", "author_date": "1721", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Discipleship", "Christian Warfare", "Courage"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, \"Holy Fortitude, or the Christian Soldier\" (on 1 Cor. 16:13), first published with his Sermons, 1721; widely reprinted in Hymns and Spiritual Songs. Text from The Cyber Hymnal. Author d. 1748. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Am I a sol -- dier of the cross A fol -- l’wer of the Lamb And shall I fear to own His cause Or blush to speak His name", "prose": ["Am I a soldier of the cross,", "A follower of the Lamb,", "And shall I fear to own His cause,", "Or blush to speak His name?"]}, "2": {"syllabified": "Must I be car -- ried to the skies On flow -- ’ry beds of ease While oth -- ers fought to win the prize And sailed through blood -- y seas", "prose": ["Must I be carried to the skies", "On flowery beds of ease,", "While others fought to win the prize,", "And sailed through bloody seas?"]}, "3": {"syllabified": "Are there no foes for me to face Must I not stem the flood Is this vile world a friend to grace To help me on to God", "prose": ["Are there no foes for me to face?", "Must I not stem the flood?", "Is this vile world a friend to grace,", "To help me on to God?"]}, "4": {"syllabified": "Sure I must fight if I would reign In -- crease my cour -- age, Lord I’ll bear the toil, en -- dure the pain Sup -- port -- ed by Thy word", "prose": ["Sure I must fight if I would reign;", "Increase my courage, Lord;", "I’ll bear the toil, endure the pain,", "Supported by Thy word."]}, "5": {"syllabified": "Thy saints in all this glo -- rious war Shall con -- quer, though they die They view the tri -- umph from a -- far By faith’s dis -- cern -- ing eye", "prose": ["Thy saints in all this glorious war", "Shall conquer, though they die;", "They view the triumph from afar,", "By faith’s discerning eye."]}, "6": {"syllabified": "When that il -- lus -- trious day shall rise And all Thy ar -- mies shine In robes of vic -- t’ry through the skies The glo -- ry shall be Thine", "prose": ["When that illustrious day shall rise,", "And all Thy armies shine", "In robes of victory through the skies,", "The glory shall be Thine."]}}}, "amazing-grace": {"slug": "amazing-grace", "title": "Amazing Grace", "first_line": "Amazing grace! how sweet the sound", "author": "john-newton", "author_date": "1779", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Grace", "Salvation", "Assurance"], "scripture": ["1 Chronicles 17:16-17"], "provenance": {"layer": "text", "source": "olney-hymns-1779", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "John Newton, Olney Hymns, 1779. Author d. 1807.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "amazing_grace_how_sweet_the_sound", "total_instances": 1733}}, "stanzas": {"1": {"syllabified": "A -- maz -- ing grace! How sweet the sound That saved a wretch like me! I once was lost, but now am found; Was blind, but now I see.", "prose": ["Amazing grace! How sweet the sound", "That saved a wretch like me!", "I once was lost, but now am found;", "Was blind, but now I see."]}, "2": {"syllabified": "'Twas grace that taught my heart to fear, And grace my fears re -- lieved; How pre -- cious did that grace ap -- pear The hour I first be -- lieved.", "prose": ["'Twas grace that taught my heart to fear,", "And grace my fears relieved;", "How precious did that grace appear", "The hour I first believed."]}, "3": {"syllabified": "Through man -- y dan -- gers, toils and snares, I have al -- read -- y come; 'Tis grace hath brought me safe thus far, And grace will lead me home.", "prose": ["Through many dangers, toils and snares,", "I have already come;", "'Tis grace hath brought me safe thus far,", "And grace will lead me home."]}, "4": {"syllabified": "The Lord has prom -- ised good to me, His Word my hope se -- cures; He will my Shield and Por -- tion be, As long as life en -- dures.", "prose": ["The Lord has promised good to me,", "His Word my hope secures;", "He will my Shield and Portion be,", "As long as life endures."]}, "5": {"syllabified": "Yea, when this flesh and heart shall fail, And mor -- tal life shall cease, I shall pos -- sess, with -- in the veil, A life of joy and peace.", "prose": ["Yea, when this flesh and heart shall fail,", "And mortal life shall cease,", "I shall possess, within the veil,", "A life of joy and peace."]}}}, "and-can-it-be-that-i-should-gain": {"slug": "and-can-it-be-that-i-should-gain", "title": "And Can It Be That I Should Gain?", "first_line": "And can it be that I should gain", "author": "charles-wesley", "author_date": "1738", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Grace", "Assurance", "Blood", "Salvation", "God, Love of"], "scripture": ["Romans 5:8-10", "Ephesians 3:8-12", "Acts 12:7", "1 Kings 19:11-12"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788). Hymnary's text authority and_can_it_be_that_i_should_gain gives 'Author: Charles Wesley (1738)', 'Copyright: Public Domain', across 328 hymnal instances. FIRST PUBLICATION IS CONTESTED and this record does not settle it: the Cyber Hymnal cites Hymns and Sacred Poems (London: Strahan, 1739), pp. 117-119, while Hymnary's own text page says the hymn 'was first published in John Wesley's Psalms and Hymns (1738)' and one of its instance rows carries textSources 'Psalms and Hymns, 1738'. Both candidate printings are pre-1931, so the licensing gate is unaffected. Printed with the attribution 'CHARLES WESLEY' in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), #310, pp. 218-219 — the scan these stanzas were checked against (archive.org methodi00meth, leaves 230-231). Author died 1788; all components far pre-1931 and public domain in the US.\nSTANZA SET AND READINGS. Six stanzas, Wesley's usual set and order. Stanzas 1-5 are the Open Hymnal X:266 underlay verbatim except for two punctuation corrections made against the 1905 print and Wesley's own text (stanza 3 'grace?' -> 'grace!'; stanza 4 'ray?' -> 'ray,') and one hyphenation fix ('diff -- used' -> 'dif -- fused'); stanza 6 ('No condemnation now I dread') is typed from the same ABC's W: lines, which carry it as prose only. The 1905 print itself omits 'Still the small inward voice I hear' and prints 'No condemnation' as its fifth stanza, and it reads 'That thou, my Lord, shouldst die for me?' where this record keeps Wesley's 'That Thou, my God' (the Open Hymnal reading, and the one most hymnals print).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "and_can_it_be_that_i_should_gain", "total_instances": 328}}, "stanzas": {"1": {"syllabified": "And can it be that I should gain An in -- terest in the Sav -- ior's blood? Died He for me, who caused His pain? For me, who Him to death pur -- sued? A -- maz -- ing love! How can it be, That Thou, my God, shouldst die for me?", "prose": ["And can it be that I should gain", "An interest in the Savior's blood?", "Died He for me, who caused His pain?", "For me, who Him to death pursued?", "Amazing love! How can it be,", "That Thou, my God, shouldst die for me?"]}, "2": {"syllabified": "'Tis mys -- tery all: th'Im -- mor -- tal dies: Who can ex -- plore His strange de -- sign? In vain the first -- born ser -- aph tries To sound the depths of love di -- vine. 'Tis mer -- cy all! Let earth a -- dore, Let an -- gel minds in -- quire no more.", "prose": ["'Tis mystery all: th'Immortal dies:", "Who can explore His strange design?", "In vain the firstborn seraph tries", "To sound the depths of love divine.", "'Tis mercy all! Let earth adore,", "Let angel minds inquire no more."]}, "3": {"syllabified": "He left His Fa -- ther's throne a -- bove So free, so in -- fi -- nite His grace! Emp -- tied Him -- self of all but love, And bled for Ad -- am's help -- less race: 'Tis mer -- cy all, im -- mense and free, For O my God, it found out me!", "prose": ["He left His Father's throne above", "So free, so infinite His grace!", "Emptied Himself of all but love,", "And bled for Adam's helpless race:", "'Tis mercy all, immense and free,", "For O my God, it found out me!"]}, "4": {"syllabified": "Long my im -- pris -- oned spir -- it lay, Fast bound in sin and na -- ture's night; Thine eye dif -- fused a quick -- 'ning ray, I woke, the dun -- geon flamed with light; My chains fell off, my heart was free, I rose, went forth, and fol -- lowed Thee.", "prose": ["Long my imprisoned spirit lay,", "Fast bound in sin and nature's night;", "Thine eye diffused a quick'ning ray,", "I woke, the dungeon flamed with light;", "My chains fell off, my heart was free,", "I rose, went forth, and followed Thee."]}, "5": {"syllabified": "Still the small in -- ward voice I hear, That whis -- pers all my sins for -- giv'n; Still the a -- ton -- ing blood is near, That quenched the wrath of hos -- tile Heav'n. I feel the life His wounds im -- part; I feel the Sav -- ior in my heart.", "prose": ["Still the small inward voice I hear,", "That whispers all my sins forgiv'n;", "Still the atoning blood is near,", "That quenched the wrath of hostile Heav'n.", "I feel the life His wounds impart;", "I feel the Savior in my heart."]}, "6": {"syllabified": "No con -- dem -- na -- tion now I dread; Je -- sus, and all in Him, is mine; A -- live in Him, my liv -- ing Head, And clothed in right -- eous -- ness di -- vine, Bold I ap -- proach th'e -- ter -- nal throne, And claim the crown, through Christ my own.", "prose": ["No condemnation now I dread;", "Jesus, and all in Him, is mine;", "Alive in Him, my living Head,", "And clothed in righteousness divine,", "Bold I approach th'eternal throne,", "And claim the crown, through Christ my own."]}}}, "angel-voices-ever-singing": {"slug": "angel-voices-ever-singing", "title": "Angel Voices, Ever Singing", "first_line": "Angel voices, ever singing, round Thy throne of light", "author": "francis-pott", "author_date": "1911", "foot": "iambic", "meter": {"pattern": [8, 5, 8, 5, 8, 4, 3], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["God, Creator", "God, Goodness of", "Nature", "Praise, Father"], "scripture": ["Jeremiah 10:10-13", "Deuteronomy 32:3", "Psalm 96:1-8"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:252; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "angel_voices_ever_singing", "total_instances": 387}}, "stanzas": {"1": {"syllabified": "An -- gel voic -- es, ev -- er sing -- ing, round Thy throne of light, An -- gel harps, for -- ev -- er ring -- ing, rest not day or night; Thou -- sands on -- ly live to bless Thee, and con -- fess Thee Lord of might.", "prose": ["Angel voices, ever singing,", "round Thy throne of light,", "Angel harps, forever ringing,", "rest not day or night;", "Thousands only live to bless Thee,", "and confess Thee", "Lord of might."]}, "2": {"syllabified": "Thou Who art be -- yond the far -- thest mor -- tal eye can scan, Can it be that Thou re -- gard -- est songs of sin -- ful man? Can we feel that Thou art near us and wilt hear us? Yea, we can.", "prose": ["Thou Who art beyond the farthest", "mortal eye can scan,", "Can it be that Thou regardest", "songs of sinful man?", "Can we feel that Thou art near us", "and wilt hear us?", "Yea, we can."]}, "3": {"syllabified": "Lord, we know Thy love re -- joic -- es o'er each work of Thine; Thou didst ears and hands and voic -- es for Thy praise com -- bine; Crafts -- man's art and mu -- sic's mea -- sure for Thy plea -- sure didst de -- sign.", "prose": ["Lord, we know Thy love rejoices", "o'er each work of Thine;", "Thou didst ears and hands and voices", "for Thy praise combine;", "Craftsman's art and music's measure", "for Thy pleasure", "didst design."]}, "4": {"syllabified": "Here, great God, to -- day we of -- fer of Thine own to Thee; And for Thine ac -- cept -- ance prof -- fer, all un -- worth -- i -- ly, Hearts and minds, and hands and voic -- es, in our choic -- est mel -- o -- dy.", "prose": ["Here, great God, today we offer", "of Thine own to Thee;", "And for Thine acceptance proffer,", "all unworthily,", "Hearts and minds, and hands and voices,", "in our choicest", "melody."]}, "5": {"syllabified": "Hon -- or, glo -- ry, might and mer -- it, Thine shall ev -- er be, Fa -- ther, Son, and Ho -- ly Spir -- it, bless -- ed Trin -- i -- ty; Of the best that Thou hast giv -- en Earth and Heav -- en ren -- der Thee.", "prose": ["Honor, glory, might and merit,", "Thine shall ever be,", "Father, Son, and Holy Spirit,", "blessed Trinity;", "Of the best that Thou hast given", "Earth and Heaven", "render Thee."]}}}, "angels-from-the-realms-of-glory": {"slug": "angels-from-the-realms-of-glory", "title": "Angels From the Realms of Glory", "first_line": "Angels from the realms of glory, Wing your flight", "author": "james-montgomery", "author_date": "1816", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Atonement", "Christmas", "Advent", "Crown", "Fear of the Lord", "God, As King", "God, Majesty & Power of", "Jesus", "Joy", "Light", "Praise, Son", "Presence", "Saints (all Faithful)", "Shepard", "Lamb", "Sinners", "Worship"], "scripture": ["Luke 2:6-20", "Matthew 2:1-11"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:49; Words James Montgomery 1816, Music 'Regent Square' Henry Smart 1867 (setting 'Psalms and Hymns for Divine Worship' 1867); all components pre-1931 (latest year 1867).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "An -- gels from the realms of glo -- ry, Wing your flight o'er all the earth; Ye who sang cre -- a -- tion's stor -- y Now pro -- claim Mes -- si -- ah's birth.", "prose": ["Angels from the realms of glory,", "Wing your flight o'er all the earth;", "Ye who sang creation's story", "Now proclaim Messiah's birth."]}, "2": {"syllabified": "Shep -- herds, in the field a -- bid -- ing, Watch -- ing o'er your flocks by night, God with us is now re -- sid -- ing; Yon -- der shines the in -- fant light:", "prose": ["Shepherds, in the field abiding,", "Watching o'er your flocks by night,", "God with us is now residing;", "Yonder shines the infant light:"]}, "3": {"syllabified": "Sag -- es, leave your con -- tem -- pla -- tions, Bright -- er vi -- sions beam a -- far; Seek the great De -- sire of na -- tions; Ye have seen His na -- tal star.", "prose": ["Sages, leave your contemplations,", "Brighter visions beam afar;", "Seek the great Desire of nations;", "Ye have seen His natal star."]}, "4": {"syllabified": "Saints, be -- fore the al -- tar bend -- ing, Watch -- ing long in hope and fear; Sud -- den -- ly the Lord, de -- scend -- ing, In His tem -- ple shall ap -- pear.", "prose": ["Saints, before the altar bending,", "Watching long in hope and fear;", "Suddenly the Lord, descending,", "In His temple shall appear."]}, "5": {"syllabified": "Sin -- ners, wrung with true re -- pen -- tance, Doomed for guilt to end -- less pains, Jus -- tice now re -- vokes the sen -- tence, Mer -- cy calls you; break your chains.", "prose": ["Sinners, wrung with true repentance,", "Doomed for guilt to endless pains,", "Justice now revokes the sentence,", "Mercy calls you; break your chains."]}, "6": {"prose": ["Though an Infant now we view Him,", "He shall fill His Father's throne,", "Gather all the nations to Him;", "Every knee shall then bow down:"]}, "7": {"prose": ["All creation, join in praising", "God, the Father, Spirit, Son,", "Evermore your voices raising", "To th'eternal Three in One."]}}, "refrain": {"syllabified": "Come and wor -- ship, come and wor -- ship, Wor -- ship Christ, the new -- born King.", "prose": ["Come and worship, come and worship,", "Worship Christ, the newborn King."]}}, "angels-we-have-heard-on-high": {"slug": "angels-we-have-heard-on-high", "title": "Angels We Have Heard on High", "first_line": "Angels we have heard on high", "author_source": "Traditional French", "translator": "james-chadwick", "translator_date": "1862", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Christmas", "Advent", "God, As King", "Jesus", "Joy", "Praise, Son", "Worship"], "scripture": ["Luke 2:13-14", "Psalm 95:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:50 (line 3888); Words French carol (trad.) trans. James Chadwick 1862, Music GLORIA French carol melody, setting Edward Shippen Barnes 1916; all components pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "An -- gels we have heard on high Sweet -- ly sing -- ing o'er the plains, And the moun -- tains in re -- ply Ech -- o -- ing their joy -- ous strains.", "prose": ["Angels we have heard on high", "Sweetly singing o'er the plains,", "And the mountains in reply", "Echoing their joyous strains."]}, "2": {"syllabified": "Shep -- herds, why this ju -- bi -- lee? Why your joy -- ous strains pro -- long? What the glad -- some tid -- ings be Which in -- spire your heav'n -- ly song?", "prose": ["Shepherds, why this jubilee?", "Why your joyous strains prolong?", "What the gladsome tidings be", "Which inspire your heav'nly song?"]}, "3": {"syllabified": "Come to Beth -- le -- hem and see Christ Whose birth the an -- gels sing; Come, a -- dore on bend -- ed knee, Christ the Lord, the new -- born King.", "prose": ["Come to Bethlehem and see", "Christ Whose birth the angels sing;", "Come, adore on bended knee,", "Christ the Lord, the newborn King."]}, "4": {"syllabified": "See Him in a man -- ger laid, Whom the choirs of an -- gels praise; Ma -- ry, Jo -- seph, lend your aid, While our hearts in love we raise.", "prose": ["See Him in a manger laid,", "Whom the choirs of angels praise;", "Mary, Joseph, lend your aid,", "While our hearts in love we raise."]}}, "refrain": {"syllabified": "Glo -- ri -- a, in ex -- cel -- sis De -- o! Glo -- ri -- a, in ex -- cel -- sis De -- o!", "prose": ["Gloria, in excelsis Deo!", "Gloria, in excelsis Deo!"]}}, "approach-my-soul-the-mercy-seat": {"slug": "approach-my-soul-the-mercy-seat", "title": "Approach, My Soul, the Mercy Seat", "first_line": "Approach, my soul, the mercy seat", "author": "john-newton", "author_date": "1779", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Prayer", "Grace", "Penitence"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Newton, \"Approach, my soul, the mercy seat,\" Olney Hymns (London: W. Oliver, 1779), Book 3, No. 12. Text from The Cyber Hymnal. All components pre-1931 (Newton d. 1807).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ap -- proach, my soul, the mer -- cy seat, Where Je -- sus an -- swers prayer; There hum -- bly fall be -- fore His feet, For none can per -- ish there.", "prose": ["Approach, my soul, the mercy seat,", "Where Jesus answers prayer;", "There humbly fall before His feet,", "For none can perish there."]}, "2": {"syllabified": "Thy prom -- ise is my on -- ly plea, With this I ven -- ture nigh; Thou call -- est bur -- dened souls to Thee, And such, O Lord, am I.", "prose": ["Thy promise is my only plea,", "With this I venture nigh;", "Thou callest burdened souls to Thee,", "And such, O Lord, am I."]}, "3": {"syllabified": "Bowed down be -- neath a load of sin, By Sa -- tan sore -- ly pressed, By war with -- out and fears with -- in, I come to Thee for rest.", "prose": ["Bowed down beneath a load of sin,", "By Satan sorely pressed,", "By war without and fears within,", "I come to Thee for rest."]}, "4": {"syllabified": "Be Thou my shield and hid -- ing place, That, shel -- tered by Thy side, I may my fierce ac -- cus -- er face, And tell him Thou hast died!", "prose": ["Be Thou my shield and hiding place,", "That, sheltered by Thy side,", "I may my fierce accuser face,", "And tell him Thou hast died!"]}, "5": {"syllabified": "O won -- drous love! to bleed and die, To bear the cross and shame, That guil -- ty sin -- ners, such as I, Might plead Thy gra -- cious name.", "prose": ["O wondrous love! to bleed and die,", "To bear the cross and shame,", "That guilty sinners, such as I,", "Might plead Thy gracious name."]}, "6": {"syllabified": "Poor tem -- pest toss -- èd soul, be still; My prom -- ised grace re -- ceive; 'Tis Je -- sus speaks— I must, I will, I can, I do be -- lieve.", "prose": ["Poor tempest tossèd soul, be still;", "My promised grace receive;", "'Tis Jesus speaks—I must, I will,", "I can, I do believe."]}}}, "are-you-washed-in-the-blood": {"slug": "are-you-washed-in-the-blood", "title": "Are You Washed in the Blood?", "first_line": "Have you been to Jesus for the cleansing pow'r?", "author": "elisha-a-hoffman", "author_date": "1878", "foot": "anapestic", "meter": {"pattern": [11, 9, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Blood", "Cleansing", "Atonement", "Invitation", "Consecration"], "scripture": ["Revelation 7:14", "1 John 1:7", "Isaiah 1:18", "Revelation 22:14"], "provenance": {"layer": "text", "source": "spiritual-songs-1878", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elisha A. Hoffman (1839-1929), words and music, transcribed syllable by syllable from the FIRST PRINTING: Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A. Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15 — archive.org item spifo00hoff, leaf 0019 — headed \"Are You Washed In The Blood?\" with \"E. A. H.\" engraved at BOTH the left (words) and the right (music), printing all FOUR stanzas interlinear with a written-out chorus and a second lyric row for the tenor/bass answer, and carrying no separate copyright line on the leaf. Collated word for word against a SECOND SCAN of the same plate, archive.org spiritualsongsfo00hoff_0, leaf 0019; both items are catalogued 1878. US public domain: published 1878, and both witnesses read here are that printing itself; Hoffman died in 1929, so it is also PD in life+70 jurisdictions. PUNCTUATION follows the plate, read on both scans: verse 1's \"cleansing pow'r?\" is elided to one syllable (\"pow'r\"), which is why line 1 is eleven syllables; verses 1-3 end their second and fourth lines with a question mark, verse 4 with a semicolon at line 2 (\"...of the Lamb;\") and an exclamation at line 4 (\"...of the Lamb!\"); verse 3 sets \"Pure and white in the blood\" where the other verses sing \"washed in the blood\", and both scans print lowercase \"his\" in \"in his grace this hour\". The chorus second row (\"Are you washed\" / \"in the blood\" / \"of the Lamb?\") belongs to the lower voices and lives in the harmonization's bass_echo, per the corpus refrain model.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Have you been to Je -- sus for the cleans -- ing pow'r? Are you washed in the blood of the Lamb? Are you ful -- ly trust -- ing in his grace this hour? Are you washed in the blood of the Lamb?", "prose": ["Have you been to Jesus for the cleansing pow'r?", "Are you washed in the blood of the Lamb?", "Are you fully trusting in his grace this hour?", "Are you washed in the blood of the Lamb?"]}, "2": {"syllabified": "Are you walk -- ing dai -- ly by the Sav -- ior's side? Are you washed in the blood of the Lamb? Do you rest each mo -- ment in the Cru -- ci -- fied? Are you washed in the blood of the Lamb?", "prose": ["Are you walking daily by the Savior's side?", "Are you washed in the blood of the Lamb?", "Do you rest each moment in the Crucified?", "Are you washed in the blood of the Lamb?"]}, "3": {"syllabified": "When the Bride -- groom com -- eth, will your robes be white, Pure and white in the blood of the Lamb? Will your soul be read -- y for the man -- sions bright, And be washed in the blood of the Lamb?", "prose": ["When the Bridegroom cometh, will your robes be white,", "Pure and white in the blood of the Lamb?", "Will your soul be ready for the mansions bright,", "And be washed in the blood of the Lamb?"]}, "4": {"syllabified": "Lay a -- side the gar -- ments that are stained with sin, And be washed in the blood of the Lamb; There's a foun -- tain flow -- ing for the soul un -- clean, O be washed in the blood of the Lamb!", "prose": ["Lay aside the garments that are stained with sin,", "And be washed in the blood of the Lamb;", "There's a fountain flowing for the soul unclean,", "O be washed in the blood of the Lamb!"]}}, "refrain": {"syllabified": "Are you washed in the blood, In the soul -- cleans -- ing blood of the Lamb? Are your gar -- ments spot -- less? Are they white as snow? Are you washed in the blood of the Lamb?", "prose": ["Are you washed in the blood,", "In the soul-cleansing blood of the Lamb?", "Are your garments spotless? Are they white as snow?", "Are you washed in the blood of the Lamb?"]}}, "arise-my-soul-arise": {"slug": "arise-my-soul-arise", "title": "Arise, My Soul, Arise", "first_line": "Arise, my soul, arise", "author": "charles-wesley", "author_date": "1742", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Assurance", "Blood", "Forgiveness", "Christian Life"], "scripture": ["Hebrews 7:25", "Isaiah 49:16", "Romans 8:15", "1 John 2:1"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Transcribed word for word and point for point from the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212 — archive.org methodi00meth leaf n223, which is the leaf the pointing below was taken from, and re-read on a second scan of the same page, archive.org methodisthymnal01churgoog leaf n230. Stanza 1 is the row printed under the staves; stanzas 2-5 are the four blocks printed below the music, and the page signs them \"CHARLES WESLEY\" at the foot. US public domain: the printing read is itself pre-1931, and Wesley died in 1788. The 1742 date is the RECEIVED one (the hymn is traced to Hymns and Sacred Poems, 1742); NEITHER witness prints a date and no 1742 copy was opened for this record — nothing here depends on it. NO EDITORIAL CHANGES WERE MADE TO THE WORDS OR THE POINTING. In particular the page's capitalisation is kept, including \"Sacrifice\" and \"Surety\" in stanza 1 against lower-case \"he\", \"his\" and \"him\" throughout, the page's curly quotation marks in stanzas 3 and 5, and the exclamation inside the closing quote of stanza 3. ONE SYLLABIFICATION NOTE, affecting no spelling: stanza 5 line 2 is printed \"His pardoning voice I hear;\" — seven written syllables against the line's six notes — so \"pardoning\" is split \"par -- doning\" and sung on two notes, the same device this corpus already uses for \"ev -- ery\"; the word is printed in full and unchanged. The metre is 6.6.6.6.8.8 — 40 syllables per stanza; the tune LENOX repeats line 5, so a setting on it carries 48 slots.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A -- rise, my soul, a -- rise; Shake off thy guilt -- y fears; The bleed -- ing Sac -- ri -- fice In my be -- half ap -- pears: Be -- fore the throne my Sure -- ty stands, My name is writ -- ten on his hands.", "prose": ["Arise, my soul, arise;", "Shake off thy guilty fears;", "The bleeding Sacrifice", "In my behalf appears:", "Before the throne my Surety stands,", "My name is written on his hands."]}, "2": {"syllabified": "He ev -- er lives a -- bove, For me to in -- ter -- cede; His all -- re -- deem -- ing love, His pre -- cious blood, to plead; His blood a -- toned for all our race, And sprin -- kles now the throne of grace.", "prose": ["He ever lives above,", "For me to intercede;", "His all-redeeming love,", "His precious blood, to plead;", "His blood atoned for all our race,", "And sprinkles now the throne of grace."]}, "3": {"syllabified": "Five bleed -- ing wounds he bears, Re -- ceived on Cal -- va -- ry; They pour ef -- fec -- tual prayers, They strong -- ly plead for me: “For -- give him, O for -- give,” they cry, “Nor let that ran -- somed sin -- ner die!”", "prose": ["Five bleeding wounds he bears,", "Received on Calvary;", "They pour effectual prayers,", "They strongly plead for me:", "“Forgive him, O forgive,” they cry,", "“Nor let that ransomed sinner die!”"]}, "4": {"syllabified": "The Fa -- ther hears him pray, His dear a -- noint -- ed One; He can -- not turn a -- way The pres -- ence of his Son; His Spir -- it an -- swers to the blood, And tells me I am born of God.", "prose": ["The Father hears him pray,", "His dear anointed One;", "He cannot turn away", "The presence of his Son;", "His Spirit answers to the blood,", "And tells me I am born of God."]}, "5": {"syllabified": "My God is rec -- on -- ciled; His par -- doning voice I hear; He owns me for his child, I can no lon -- ger fear: With con -- fi -- dence I now draw nigh, And, “Fa -- ther, Ab -- ba, Fa -- ther,” cry.", "prose": ["My God is reconciled;", "His pardoning voice I hear;", "He owns me for his child,", "I can no longer fear:", "With confidence I now draw nigh,", "And, “Father, Abba, Father,” cry."]}}}, "arise-o-lord-our-god-arise": {"slug": "arise-o-lord-our-god-arise", "title": "The House of God", "first_line": "Arise, O Lord, our God, arise", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 132, "topics": ["Psalms"], "scripture": ["Psalm 132"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 368) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 132, selection 368. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A -- rise, O Lord, our God, a -- rise, And en -- ter now in -- to Thy rest: O let this house be Thy a -- bode, For -- ev -- er with Thy pres -- ence blest.", "prose": ["Arise, O Lord, our God, arise,", "And enter now into Thy rest:", "O let this house be Thy abode,", "Forever with Thy presence blest."]}, "2": {"syllabified": "Thy gra -- cious cov -- 'nant, Lord, ful -- fill, Turn not a -- way from us Thy face; Es -- tab -- lish Thou Mes -- si -- ah's throne And let Him reign with -- in this place.", "prose": ["Thy gracious cov'nant, Lord, fulfill,", "Turn not away from us Thy face;", "Establish Thou Messiah's throne", "And let Him reign within this place."]}, "3": {"syllabified": "Thy Zi -- on Thou hast cho -- sen, Lord, And thou hast said, I love her well, This is my con -- stant rest -- ing -- place, And here will I de -- light to dwell.", "prose": ["Thy Zion Thou hast chosen, Lord,", "And thou hast said, I love her well,", "This is my constant resting-place,", "And here will I delight to dwell."]}, "4": {"syllabified": "I will a -- bun -- dant -- ly pro -- vide For Zi -- on's good, the Lord hat said; I will sup -- ply her dai -- ly need And sat -- is -- fy her poor with bread.", "prose": ["I will abundantly provide", "For Zion's good, the Lord hat said;", "I will supply her daily need", "And satisfy her poor with bread."]}, "5": {"syllabified": "Sal -- va -- tion shall a -- dorn her priests, Her saints shall shout with joy di -- vine, Mes -- si -- ah's pow'r shall be re -- vealed, His glo -- ry in His Church shall shine.", "prose": ["Salvation shall adorn her priests,", "Her saints shall shout with joy divine,", "Messiah's pow'r shall be revealed,", "His glory in His Church shall shine."]}}}, "as-pants-the-hart-for-streams-of-living-water": {"slug": "as-pants-the-hart-for-streams-of-living-water", "title": "Longing After God", "first_line": "As pants the hart for streams of living water", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 42, "topics": ["Psalms"], "scripture": ["Psalm 42"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 115) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 42, selection 115. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "As pants the hart for streams of liv -- ing wa -- ter, So longs my soul, O liv -- ing God, for Thee; I thirst for Thee, for Thee my heart is yearn -- ing; When shall I come Thy gra -- cious face to see?", "prose": ["As pants the hart for streams of living water,", "So longs my soul, O living God, for Thee;", "I thirst for Thee, for Thee my heart is yearning;", "When shall I come Thy gracious face to see?"]}, "2": {"syllabified": "O Lord my God, o'er -- whelmed in deep af -- flic -- tion, Far from Thy rest, to Thee I lift my soul; Deep calls to deep and storms of trou -- ble thun -- der, While o'er my head the waves and bil -- lows roll.", "prose": ["O Lord my God, o'erwhelmed in deep affliction,", "Far from Thy rest, to Thee I lift my soul;", "Deep calls to deep and storms of trouble thunder,", "While o'er my head the waves and billows roll."]}, "3": {"syllabified": "Thou wilt com -- mand Thy ser -- vant's con -- so -- la -- tion, Thy lov -- ing -- kind -- ness yet shall cheer my day, And in the night Thy song shall be my com -- fort; God of my life, to Thee I still will pray.", "prose": ["Thou wilt command Thy servant's consolation,", "Thy loving-kindness yet shall cheer my day,", "And in the night Thy song shall be my comfort;", "God of my life, to Thee I still will pray."]}, "4": {"syllabified": "Why, O my soul, art thou cast down with -- in me, Why art thou troubled and op -- press -- ed with grief? Hope thou in God, the God of thy sal -- va -- tion, Hope, and thy God will sure -- ly send re -- lief.", "prose": ["Why, O my soul, art thou cast down within me,", "Why art thou troubled and oppressed with grief?", "Hope thou in God, the God of thy salvation,", "Hope, and thy God will surely send relief."]}}}, "as-thou-o-lord-hast-made-me-strong": {"slug": "as-thou-o-lord-hast-made-me-strong", "title": "Our Source of Strength", "first_line": "As Thou, O Lord, hast made me strong", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 18, "topics": ["Psalms"], "scripture": ["Psalm 18"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 36) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 18, selection 36. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "As Thou, O Lord, hast made me strong To o -- ver -- come my might -- y foe, So now to fight a -- gainst the wrong And con -- quer in Thy Name I go.", "prose": ["As Thou, O Lord, hast made me strong", "To overcome my mighty foe,", "So now to fight against the wrong", "And conquer in Thy Name I go."]}, "2": {"syllabified": "From strife Thou wilt de -- liv -- er me, And make the na -- tions own my sway; Strange peo -- ples when my pow'r they see, Shall come with trem -- bling and o -- bey.", "prose": ["From strife Thou wilt deliver me,", "And make the nations own my sway;", "Strange peoples when my pow'r they see,", "Shall come with trembling and obey."]}, "3": {"syllabified": "Je -- ho -- vah lives, and blest is He, My rock, my ref -- uge and de -- fense, My Sav -- iour Who de -- liv -- ers me, And will the wick -- ed rec -- om -- pense.", "prose": ["Jehovah lives, and blest is He,", "My rock, my refuge and defense,", "My Saviour Who delivers me,", "And will the wicked recompense."]}, "4": {"syllabified": "For grace and mer -- cy ev -- er near, For foes sub -- dued and vic -- t'ries won, All na -- tions of the earth shall hear My praise for what the Lord has done.", "prose": ["For grace and mercy ever near,", "For foes subdued and victories won,", "All nations of the earth shall hear", "My praise for what the Lord has done."]}, "5": {"syllabified": "To Da -- vid, His a -- noint -- ed king, And to his sons up -- on his throne, The Lord will great sal -- va -- tion bring And ev -- er make His mer -- cy known.", "prose": ["To David, His anointed king,", "And to his sons upon his throne,", "The Lord will great salvation bring", "And ever make His mercy known."]}}}, "as-with-gladness-men-of-old": {"slug": "as-with-gladness-men-of-old", "title": "As With Gladness Men of Old", "first_line": "As with gladness men of old Did the guiding star", "author": "william-chatterton-dix", "author_date": "1860", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Advent", "God, As King", "Guidance", "Holiness", "Jesus", "Joy", "Light", "Magi", "Praise, Son", "Presence"], "scripture": ["Matthew 2:1-12", "Numbers 7:89", "Matthew 7:13-14", "Revelation 21:23-27"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:74 (line 7231); words William Chatterton Dix 1860 (d. 1898); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "As with glad -- ness, men of old Did the guid -- ing star be -- hold As with joy they hailed its light Lead -- ing on -- ward, beam -- ing bright So, most glor -- ious Lord, may we Ev -- er -- more be led to Thee.", "prose": ["As with gladness, men of old", "Did the guiding star behold", "As with joy they hailed its light", "Leading onward, beaming bright", "So, most glorious Lord, may we", "Evermore be led to Thee."]}, "2": {"syllabified": "As with joy -- ful steps they sped To that low -- ly man -- ger bed There to bend the knee be -- fore Him whom Heav'n and earth a -- dore; So may we with will -- ing feet Ev -- er seek Thy mer -- cy seat.", "prose": ["As with joyful steps they sped", "To that lowly manger bed", "There to bend the knee before", "Him whom Heav'n and earth adore;", "So may we with willing feet", "Ever seek Thy mercy seat."]}, "3": {"syllabified": "As they off -- ered gifts most rare At that man -- ger rude and bare; So may we with ho -- ly joy, Pure and free from sin's al -- loy, All our cost -- liest treas -- ures bring, Christ, to Thee, our heav'n -- ly King.", "prose": ["As they offered gifts most rare", "At that manger rude and bare;", "So may we with holy joy,", "Pure and free from sin's alloy,", "All our costliest treasures bring,", "Christ, to Thee, our heav'nly King."]}, "4": {"syllabified": "Ho -- ly Je -- sus, ev -- 'ry day Keep us in the nar -- row way; And, when earth -- ly things are past, Bring our ran -- somed souls at last Where they need no star to guide, Where no clouds Thy glo -- ry hide.", "prose": ["Holy Jesus, ev'ry day", "Keep us in the narrow way;", "And, when earthly things are past,", "Bring our ransomed souls at last", "Where they need no star to guide,", "Where no clouds Thy glory hide."]}, "5": {"syllabified": "In the heav'n -- ly coun -- try bright, Need they no cre -- at -- ed light; Thou its Light, its Joy, its Crown, Thou its Sun which goes not down; There for -- ev -- er may we sing Al -- le -- lu -- ias to our King!", "prose": ["In the heav'nly country bright,", "Need they no created light;", "Thou its Light, its Joy, its Crown,", "Thou its Sun which goes not down;", "There forever may we sing", "Alleluias to our King!"]}}}, "ask-ye-what-great-thing-i-know": {"slug": "ask-ye-what-great-thing-i-know", "title": "Ask Ye What Great Thing I Know", "first_line": "Ask Ye What Great Thing I Know", "author": "johann-christoph-schwedler", "author_date": "1741", "translator": "benjamin-hall-kennedy", "translator_date": "1863", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Faith", "Devotion"], "scripture": ["1 Corinthians 2:2"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Christoph Schwedler (1672-1730), \"Wollt ihr wissen, was mein Preis?\", published posthumously in the Hirschberger Gesangbuch, 1741; translated from the German by Benjamin H. Kennedy (1804-1889) in Hymnologia Christiana, 1863. Text from The Cyber Hymnal. All components pre-1931. (Stanza 6 line 4 uses the standard \"o'er\" contraction for the 7-syllable line; the Cyber Hymnal prints \"over\".)", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ask ye what great thing I know, That de -- lights and stirs me so? What the high re -- ward I win? Whose the name I glo -- ry in? Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["Ask ye what great thing I know,", "That delights and stirs me so?", "What the high reward I win?", "Whose the name I glory in?", "Jesus Christ, the Crucified."]}, "2": {"syllabified": "What is faith's foun -- da -- tion strong? What a -- wakes my heart to song? He who bore my sin -- ful load, Pur -- chased for me peace with God, Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["What is faith's foundation strong?", "What awakes my heart to song?", "He who bore my sinful load,", "Purchased for me peace with God,", "Jesus Christ, the Crucified."]}, "3": {"syllabified": "Who is He that makes me wise To dis -- cern where du -- ty lies? Who is He that makes me true Du -- ty, when dis -- cerned to do, Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["Who is He that makes me wise", "To discern where duty lies?", "Who is He that makes me true", "Duty, when discerned to do,", "Jesus Christ, the Crucified."]}, "4": {"syllabified": "Who de -- feats my fierc -- est foes? Who con -- soles my sad -- dest woes? Who re -- vives my faint -- ing heart, Heal -- ing all its hid -- den smart? Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["Who defeats my fiercest foes?", "Who consoles my saddest woes?", "Who revives my fainting heart,", "Healing all its hidden smart?", "Jesus Christ, the Crucified."]}, "5": {"syllabified": "Who is life in life to me? Who the death of death will be? Who will place me on His right, With the count -- less hosts of light? Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["Who is life in life to me?", "Who the death of death will be?", "Who will place me on His right,", "With the countless hosts of light?", "Jesus Christ, the Crucified."]}, "6": {"syllabified": "This is that great thing I know; This de -- lights and stirs me so; Faith in Him who died to save, Him who tri -- umphed o'er the grave: Je -- sus Christ, the Cru -- ci -- fied.", "prose": ["This is that great thing I know;", "This delights and stirs me so;", "Faith in Him who died to save,", "Him who triumphed o'er the grave:", "Jesus Christ, the Crucified."]}}}, "at-even-ere-the-sun-was-set": {"slug": "at-even-ere-the-sun-was-set", "title": "At Even, Ere the Sun Was Set", "first_line": "At even, ere the sun was set", "author": "henry-twells", "author_date": "1868", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Healing"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry Twells, \"At even, ere the sun was set,\" written 1868 for the appendix to Hymns Ancient and Modern (1868). Twells d. 1900; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "At e -- ven, ere the sun was set, The sick, O Lord, a -- round Thee lay; O in what di -- vers pains they met! O with what joy they went a -- way!", "prose": ["At even, ere the sun was set,", "The sick, O Lord, around Thee lay;", "O in what divers pains they met!", "O with what joy they went away!"]}, "2": {"syllabified": "Once more 'tis e -- ven -- tide, and we Op -- pressed with var -- ious ills draw near; What if Thy form we can -- not see? We know and feel that Thou art here.", "prose": ["Once more 'tis eventide, and we", "Oppressed with various ills draw near;", "What if Thy form we cannot see?", "We know and feel that Thou art here."]}, "3": {"syllabified": "O Sav -- ior Christ, our woes dis -- pel; For some are sick, and some are sad, And some have nev -- er loved Thee well, And some have lost the love they had;", "prose": ["O Savior Christ, our woes dispel;", "For some are sick, and some are sad,", "And some have never loved Thee well,", "And some have lost the love they had;"]}, "4": {"syllabified": "And none, O Lord, have per -- fect rest, For none are whol -- ly free from sin; And they who fain would serve Thee best Are con -- scious most of wrong with -- in.", "prose": ["And none, O Lord, have perfect rest,", "For none are wholly free from sin;", "And they who fain would serve Thee best", "Are conscious most of wrong within."]}, "5": {"syllabified": "Thy touch has still its an -- cient power; No word from Thee can fruit -- less fall; Hear, in this sol -- emn eve -- ning hour, And in Thy mer -- cy heal us all.", "prose": ["Thy touch has still its ancient power;", "No word from Thee can fruitless fall;", "Hear, in this solemn evening hour,", "And in Thy mercy heal us all."]}}}, "attend-my-people-to-my-law": {"slug": "attend-my-people-to-my-law", "title": "Attend, My People, to My Law", "first_line": "Attend, my people, to my law", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 78, "topics": ["Psalms"], "scripture": ["Psalm 78"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 78. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "At -- tend, my peo -- ple, to my law; there -- to give thou an ear; The words that from my mouth pro -- ceed at -- ten -- tive -- ly do hear.", "prose": ["Attend, my people, to my law;", "thereto give thou an ear;", "The words that from my mouth proceed", "attentively do hear."]}, "2": {"syllabified": "My mouth shall speak a par -- a -- ble, and say -- ings dark of old; The same which we have heard and known, and us our fa -- thers told.", "prose": ["My mouth shall speak a parable,", "and sayings dark of old;", "The same which we have heard and known,", "and us our fathers told."]}, "3": {"syllabified": "We al -- so will them not con -- ceal from their pos -- ter -- i -- ty; Them to the gen -- er -- a -- ti -- on to come de -- clare will we:", "prose": ["We also will them not conceal", "from their posterity;", "Them to the generation", "to come declare will we:"]}, "4": {"syllabified": "The prais -- es of the Lord our God, and his al -- might -- y strength, The won -- drous works that he hath done, we will show forth at length.", "prose": ["The praises of the Lord our God,", "and his almighty strength,", "The wondrous works that he hath done,", "we will show forth at length."]}, "5": {"syllabified": "His tes -- ti -- mo -- ny and his law in Is -- r'el he did place, And charged our fa -- thers it to show to their suc -- ceed -- ing race;", "prose": ["His testimony and his law", "in Isr'el he did place,", "And charged our fathers it to show", "to their succeeding race;"]}, "6": {"syllabified": "That so the race which was to come might well them learn and know; And sons un -- born, who should a -- rise, might to their sons them show:", "prose": ["That so the race which was to come", "might well them learn and know;", "And sons unborn, who should arise,", "might to their sons them show:"]}, "7": {"syllabified": "That they might set their hope in God, and suf -- fer not to fall His might -- y works out of their mind, but keep his pre -- cepts all:", "prose": ["That they might set their hope in God,", "and suffer not to fall", "His mighty works out of their mind,", "but keep his precepts all:"]}, "8": {"syllabified": "And might not, like their fa -- thers, be a stiff re -- bell -- ious race; A race not right in heart; with God whose spirit not sted -- fast was.", "prose": ["And might not, like their fathers, be", "a stiff rebellious race;", "A race not right in heart; with God", "whose spirit not stedfast was."]}, "9": {"syllabified": "The sons of E -- phra -- im, who nor bows nor oth -- er arms did lack, When as the day of ba -- ttle was, they faint -- ly turn -- ed back.", "prose": ["The sons of Ephraim, who nor bows", "nor other arms did lack,", "When as the day of battle was,", "they faintly turned back."]}, "10": {"syllabified": "They brake God's cov -- 'nant, and re -- fused in his com -- mands to go; His works and won -- ders they for -- got, which he to them did show.", "prose": ["They brake God's cov'nant, and refused", "in his commands to go;", "His works and wonders they forgot,", "which he to them did show."]}, "11": {"syllabified": "Things mar -- vel -- lous he brought to pass; their fa -- thers them be -- held With -- in the land of E -- gypt done, yea, ev'n in Zo -- an's field.", "prose": ["Things marvellous he brought to pass;", "their fathers them beheld", "Within the land of Egypt done,", "yea, ev'n in Zoan's field."]}, "12": {"syllabified": "By him di -- vid -- ed was the sea, he caused them through to pass; And made the wa -- ters so to stand, as like an heap it was.", "prose": ["By him divided was the sea,", "he caused them through to pass;", "And made the waters so to stand,", "as like an heap it was."]}, "13": {"syllabified": "With cloud by day, with light of fire all night, he did them guide. In des -- ert rocks he clave, and drink, as from great depths, sup -- plied.", "prose": ["With cloud by day, with light of fire", "all night, he did them guide.", "In desert rocks he clave, and drink,", "as from great depths, supplied."]}, "14": {"syllabified": "He from the rock brought streams, like floods made wa -- ters to run down. Yet sin -- ning more, in des -- ert they pro -- voked the High -- est One.", "prose": ["He from the rock brought streams, like floods", "made waters to run down.", "Yet sinning more, in desert they", "provoked the Highest One."]}, "15": {"syllabified": "For in their heart they tempt -- ed God, and, speak -- ing with mis -- trust, They greed -- i -- ly did meat re -- quire to sat -- is -- fy their lust.", "prose": ["For in their heart they tempted God,", "and, speaking with mistrust,", "They greedily did meat require", "to satisfy their lust."]}, "16": {"syllabified": "A -- gainst the Lord him -- self they spake, and, mur -- mur -- ing, said thus, A ta -- ble in the wil -- der -- ness can God pre -- pare for us?", "prose": ["Against the Lord himself they spake,", "and, murmuring, said thus,", "A table in the wilderness", "can God prepare for us?"]}, "17": {"syllabified": "Be -- hold, he smote the rock, and thence came streams and wa -- ters great; But can he give his peo -- ple bread? and send them flesh to eat?", "prose": ["Behold, he smote the rock, and thence", "came streams and waters great;", "But can he give his people bread?", "and send them flesh to eat?"]}, "18": {"syllabified": "The Lord did hear, and wax -- ed wroth; so kin -- dled was a flame 'Gainst Ja -- cob, and 'gainst I -- sra -- el up in -- dig -- na -- tion came.", "prose": ["The Lord did hear, and waxed wroth;", "so kindled was a flame", "'Gainst Jacob, and 'gainst Israel", "up indignation came."]}, "19": {"syllabified": "For they be -- lieved not God, nor trust in his sal -- va -- tion had; Though clouds a -- bove he did com -- mand, and heav'n's doors o -- pen made,", "prose": ["For they believed not God, nor trust", "in his salvation had;", "Though clouds above he did command,", "and heav'n's doors open made,"]}, "20": {"syllabified": "And man -- na rained on them, and gave them corn of heav'n to eat. Man an -- gels' food did eat; to them he to the full sent meat.", "prose": ["And manna rained on them, and gave", "them corn of heav'n to eat.", "Man angels' food did eat; to them", "he to the full sent meat."]}, "21": {"syllabified": "And in the heav -- en he did cause an east -- ern wind to blow; And by his pow -- er he let out the south -- ern wind to go.", "prose": ["And in the heaven he did cause", "an eastern wind to blow;", "And by his power he let out", "the southern wind to go."]}, "22": {"syllabified": "Then flesh as thick as dust he made to rain down them a -- mong; And feath -- ered fowls, like as the sand which lieth the shore a -- long.", "prose": ["Then flesh as thick as dust he made", "to rain down them among;", "And feathered fowls, like as the sand", "which lieth the shore along."]}, "23": {"syllabified": "At his com -- mand a -- midst their camp these show'rs of flesh down fell, All round a -- bout the tab -- er -- nac -- les and tents where they did dwell.", "prose": ["At his command amidst their camp", "these show'rs of flesh down fell,", "All round about the tabernacles", "and tents where they did dwell."]}, "24": {"syllabified": "So they did eat a -- bun -- dant -- ly, and had of meat their fill; For he did give to them what was their own de -- sire and will.", "prose": ["So they did eat abundantly,", "and had of meat their fill;", "For he did give to them what was", "their own desire and will."]}, "25": {"syllabified": "They from their lust had not es -- tranged their heart and their de -- sire; But while the meat was in their mouths, which they did so re -- quire,", "prose": ["They from their lust had not estranged", "their heart and their desire;", "But while the meat was in their mouths,", "which they did so require,"]}, "26": {"syllabified": "God's wrath up -- on them came, and slew the fatt -- est of them all; So that the choice of I -- sra -- el, o'er -- thrown by death, did fall.", "prose": ["God's wrath upon them came, and slew", "the fattest of them all;", "So that the choice of Israel,", "o'erthrown by death, did fall."]}, "27": {"syllabified": "Yet, not -- with -- stand -- ing of all this, they sinn -- ed still the more; And though he had great won -- ders wrought, be -- lieved him not there -- for:", "prose": ["Yet, notwithstanding of all this,", "they sinned still the more;", "And though he had great wonders wrought,", "believed him not therefor:"]}, "28": {"syllabified": "Where -- fore their days in van -- i -- ty he did con -- sume and waste; And by his wrath their wretch -- ed years a -- way in trou -- ble past.", "prose": ["Wherefore their days in vanity", "he did consume and waste;", "And by his wrath their wretched years", "away in trouble past."]}, "29": {"syllabified": "But when he slew them, then they did to seek him show de -- sire; Yea, they re -- turned, and af -- ter God right ear -- ly did en -- quire.", "prose": ["But when he slew them, then they did", "to seek him show desire;", "Yea, they returned, and after God", "right early did enquire."]}, "30": {"syllabified": "And that the Lord had been their Rock they did re -- mem -- ber then; Ev'n that the high al -- might -- y God had their Re -- deem -- er been.", "prose": ["And that the Lord had been their Rock", "they did remember then;", "Ev'n that the high almighty God", "had their Redeemer been."]}, "31": {"syllabified": "Yet with their mouth they flat -- tered him, and spake but feign -- ed -- ly; And they un -- to the God of truth with their false tongues did lie.", "prose": ["Yet with their mouth they flattered him,", "and spake but feignedly;", "And they unto the God of truth", "with their false tongues did lie."]}, "32": {"syllabified": "For though their words were good, their heart with him was not sin -- cere; Un -- sted -- fast and per -- fid -- i -- ous they in his cov -- 'nant were.", "prose": ["For though their words were good, their heart", "with him was not sincere;", "Unstedfast and perfidious", "they in his cov'nant were."]}, "33": {"syllabified": "But, full of pit -- y, he for -- gave their sin, them did not slay; Nor stirred up all his wrath, but oft his an -- ger turned a -- way.", "prose": ["But, full of pity, he forgave", "their sin, them did not slay;", "Nor stirred up all his wrath, but oft", "his anger turned away."]}, "34": {"syllabified": "For that they were but fad -- ing flesh to mind he did re -- call; A wind that pass -- eth soon a -- way, and not re -- turns at all.", "prose": ["For that they were but fading flesh", "to mind he did recall;", "A wind that passeth soon away,", "and not returns at all."]}, "35": {"syllabified": "How of -- ten did they him pro -- voke with -- in the wil -- der -- ness! And in the des -- ert did him grieve with their re -- bel -- lious -- ness!", "prose": ["How often did they him provoke", "within the wilderness!", "And in the desert did him grieve", "with their rebelliousness!"]}, "36": {"syllabified": "Yea, turn -- ing back, they tempt -- ed God, and lim -- its set up -- on Him, who in midst of Is -- r'el is the on -- ly Ho -- ly One.", "prose": ["Yea, turning back, they tempted God,", "and limits set upon", "Him, who in midst of Isr'el is", "the only Holy One."]}, "37": {"syllabified": "They did not call to mind his pow'r, not yet the day when he De -- liv -- ered them out of the hand of their fierce en -- e -- my;", "prose": ["They did not call to mind his pow'r,", "not yet the day when he", "Delivered them out of the hand", "of their fierce enemy;"]}, "38": {"syllabified": "Nor how great signs in E -- gypt land he o -- pen -- ly had wrought; What mir -- a -- cles in Zo -- an's field his hand to pass had brought.", "prose": ["Nor how great signs in Egypt land", "he openly had wrought;", "What miracles in Zoan's field", "his hand to pass had brought."]}, "39": {"syllabified": "How lakes and riv -- ers ev -- er -- y -- where he turn -- ed in -- to blood; So that nor man nor beast could drink of stand -- ing lake or flood.", "prose": ["How lakes and rivers everywhere", "he turned into blood;", "So that nor man nor beast could drink", "of standing lake or flood."]}, "40": {"syllabified": "He brought a -- mong them swarms of flies, which did them sore an -- noy; And di -- vers kinds of fil -- thy frogs he sent them to de -- stroy.", "prose": ["He brought among them swarms of flies,", "which did them sore annoy;", "And divers kinds of filthy frogs", "he sent them to destroy."]}, "41": {"syllabified": "He to the cat -- er -- pil -- lar gave the fruits of all their soil; Their la -- bours he de -- liv -- ered up un -- to the lo -- custs' spoil.", "prose": ["He to the caterpillar gave", "the fruits of all their soil;", "Their labours he delivered up", "unto the locusts' spoil."]}, "42": {"syllabified": "Their vines with hail, their syc -- a -- mores he with the frost did blast: Their beasts to hail he gave; their flocks hot thun -- der -- bolts did waste.", "prose": ["Their vines with hail, their sycamores", "he with the frost did blast:", "Their beasts to hail he gave; their flocks", "hot thunderbolts did waste."]}, "43": {"syllabified": "Fierce burn -- ing wrath he on them cast, and in -- dig -- na -- tion strong, And trou -- bles sore, by send -- ing forth ill an -- gels them a -- mong.", "prose": ["Fierce burning wrath he on them cast,", "and indignation strong,", "And troubles sore, by sending forth", "ill angels them among."]}, "44": {"syllabified": "He to his wrath made way; their soul from death he did not save; But o -- ver to the pes -- ti -- lence the lives of them he gave.", "prose": ["He to his wrath made way; their soul", "from death he did not save;", "But over to the pestilence", "the lives of them he gave."]}, "45": {"syllabified": "In E -- gypt land the first -- born all he smote down ev -- er -- y -- where; A -- mong the tents of Ham, ev'n these chief of their strength that were.", "prose": ["In Egypt land the first-born all", "he smote down everywhere;", "Among the tents of Ham, ev'n these", "chief of their strength that were."]}, "46": {"syllabified": "But his own peo -- ple, like to sheep, thence to go forth he made; And he, a -- midst the wil -- der -- ness, them, as a flock, did lead.", "prose": ["But his own people, like to sheep,", "thence to go forth he made;", "And he, amidst the wilderness,", "them, as a flock, did lead."]}, "47": {"syllabified": "And he them safe -- ly on did lead, so that they did not fear; Where -- as their en -- 'mies by the sea quite o -- ver -- whelm -- ed were.", "prose": ["And he them safely on did lead,", "so that they did not fear;", "Whereas their en'mies by the sea", "quite overwhelmed were."]}, "48": {"syllabified": "To bor -- ders of his sanc -- tua -- ry the Lord his peo -- ple led, Ev'n to the mount which his right hand for them had pur -- chas -- ed.", "prose": ["To borders of his sanctuary", "the Lord his people led,", "Ev'n to the mount which his right hand", "for them had purchased."]}, "49": {"syllabified": "The na -- ti -- ons of Ca -- na -- an, by his al -- might -- y hand, Be -- fore their face he did ex -- pel out of their na -- tive land;", "prose": ["The nations of Canaan,", "by his almighty hand,", "Before their face he did expel", "out of their native land;"]}, "50": {"syllabified": "Which for in -- her -- i -- tance to them by line he did di -- vide, And made the tribes of I -- sra -- el with -- in their tents a -- bide.", "prose": ["Which for inheritance to them", "by line he did divide,", "And made the tribes of Israel", "within their tents abide."]}, "51": {"syllabified": "Yet God Most High they did pro -- voke, and tempt -- ed ev -- er still; And to ob -- serve his test' -- mo -- nies did not in -- cline their will:", "prose": ["Yet God Most High they did provoke,", "and tempted ever still;", "And to observe his test'monies", "did not incline their will:"]}, "52": {"syllabified": "But, like their fa -- thers, turn -- ed back, and dealt un -- faith -- ful -- ly: A -- side they turn -- ed, like a bow that shoots de -- ceit -- ful -- ly.", "prose": ["But, like their fathers, turned back,", "and dealt unfaithfully:", "Aside they turned, like a bow", "that shoots deceitfully."]}, "53": {"syllabified": "For they to an -- ger did pro -- voke him with their plac -- es high; And with their grav -- en im -- ag -- es moved him to jeal -- ou -- sy.", "prose": ["For they to anger did provoke", "him with their places high;", "And with their graven images", "moved him to jealousy."]}, "54": {"syllabified": "When God heard this, he wax -- ed wroth, and much loathed Is -- r'el then: So Shi -- loh's tent he left, the tent which he had placed with men.", "prose": ["When God heard this, he waxed wroth,", "and much loathed Isr'el then:", "So Shiloh's tent he left, the tent", "which he had placed with men."]}, "55": {"syllabified": "And he his strength de -- liv -- er -- ed in -- to cap -- tiv -- i -- ty; He left his glo -- ry in the hand of his proud en -- e -- my.", "prose": ["And he his strength delivered", "into captivity;", "He left his glory in the hand", "of his proud enemy."]}, "56": {"syllabified": "His peo -- ple al -- so he gave o'er un -- to the sword's fierce rage: So sore his wrath in -- flam -- ed was a -- gainst his her -- i -- tage.", "prose": ["His people also he gave o'er", "unto the sword's fierce rage:", "So sore his wrath inflamed was", "against his heritage."]}, "57": {"syllabified": "The fire con -- sumed their choice young men; their maids no mar -- riage had; And when their priests fell by the sword, their wives no mourn -- ing made.", "prose": ["The fire consumed their choice young men;", "their maids no marriage had;", "And when their priests fell by the sword,", "their wives no mourning made."]}, "58": {"syllabified": "But then the Lord a -- rose, as one that doth from sleep a -- wake; And like a gi -- ant that, by wine re -- freshed, a shout doth make:", "prose": ["But then the Lord arose, as one", "that doth from sleep awake;", "And like a giant that, by wine", "refreshed, a shout doth make:"]}, "59": {"syllabified": "Up -- on his en -- 'mies' hin -- der parts he made his stroke to fall; And so up -- on them he did put a shame per -- pet -- u -- al.", "prose": ["Upon his en'mies' hinder parts", "he made his stroke to fall;", "And so upon them he did put", "a shame perpetual."]}, "60": {"syllabified": "More -- o -- ver, he the tab -- er -- nac -- le of Jo -- seph did re -- fuse; The might -- y tribe of E -- phra -- im he would in no wise choose:", "prose": ["Moreover, he the tabernacle", "of Joseph did refuse;", "The mighty tribe of Ephraim", "he would in no wise choose:"]}, "61": {"syllabified": "But he did choose Je -- hu -- dah's tribe to be the rest a -- bove; And of mount Zi -- on he made choice, which he so much did love.", "prose": ["But he did choose Jehudah's tribe", "to be the rest above;", "And of mount Zion he made choice,", "which he so much did love."]}, "62": {"syllabified": "And he his sanc -- tu -- a -- ry built like to a pal -- ace high, Like to the earth which he did found to per -- pe -- tu -- i -- ty.", "prose": ["And he his sanctuary built", "like to a palace high,", "Like to the earth which he did found", "to perpetuity."]}, "63": {"syllabified": "Of Da -- vid, that his ser -- vant was, he al -- so choice did make, And e -- ven from the folds of sheep was pleas -- ed him to take:", "prose": ["Of David, that his servant was,", "he also choice did make,", "And even from the folds of sheep", "was pleased him to take:"]}, "64": {"syllabified": "From wait -- ing on the ewes with young, he brought him forth to feed I -- sra -- el, his in -- her -- i -- tance, his peo -- ple, Ja -- cob's seed.", "prose": ["From waiting on the ewes with young,", "he brought him forth to feed", "Israel, his inheritance,", "his people, Jacob's seed."]}, "65": {"syllabified": "So af -- ter the in -- teg -- ri -- ty he of his heart them fed; And by the good skill of his hands them wise -- ly gov -- ern -- ed.", "prose": ["So after the integrity", "he of his heart them fed;", "And by the good skill of his hands", "them wisely governed."]}}}, "awake-my-soul-and-with-the-sun": {"slug": "awake-my-soul-and-with-the-sun", "title": "Awake, My Soul, And With The Sun", "first_line": "Awake, My Soul, And With The Sun", "author": "thomas-ken", "author_date": "1674", "foot": "iambic", "meter": {"alleluia": false, "doubled": false, "irregular": false, "pattern": [8, 8, 8, 8], "refrain": false}, "topics": ["Bread (of Life/Daily Bread)", "Comfort", "Compassion", "Day"], "scripture": ["Lamentations 3:22-23", "Psalm 30:4-5", "Isaiah 33:2", "Deuteronomy 32:1-3"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "awake_my_soul_and_with_the_sun", "total_instances": 929}}, "stanzas": {"1": {"syllabified": "A -- wake, my soul, and with the sun Thy dail -- y stage of du -- ty run; Shake off dull sloth, and joy -- ful rise, To pay thy morn -- ing sac -- ri -- fice.", "prose": ["Awake, my soul, and with the sun", "Thy daily stage of duty run;", "Shake off dull sloth, and joyful rise,", "To pay thy morning sacrifice."]}, "2": {"syllabified": "Thy prec -- ious time mis -- spent, re -- deem, Each pres -- ent day thy last es -- teem, Im -- prove thy tal -- ent with due care; For the great day thy -- self pre -- pare.", "prose": ["Thy precious time misspent, redeem,", "Each present day thy last esteem,", "Improve thy talent with due care;", "For the great day thyself prepare."]}, "3": {"syllabified": "By in -- flu -- ence of Light di -- vine Let thy own light to oth -- ers shine. Re -- flect all Heaven's pro -- pit -- ious ways In ar -- dent love, and cheer -- ful praise.", "prose": ["By influence of Light divine", "Let thy own light to others shine.", "Reflect all Heaven's propitious ways", "In ardent love, and cheerful praise."]}, "4": {"syllabified": "In con -- ver -- sa -- tion be sin -- cere; Keep con -- science as the noon -- tide clear; Think how all see -- ing God thy ways And all thy se -- cret thoughts sur -- veys.", "prose": ["In conversation be sincere;", "Keep conscience as the noontide clear;", "Think how all seeing God thy ways", "And all thy secret thoughts surveys."]}, "5": {"syllabified": "Wake, and lift up thy -- self, my heart, And with the an -- gels bear thy part, Who all night long un -- wear -- ied sing High praise to the e -- ter -- nal King.", "prose": ["Wake, and lift up thyself, my heart,", "And with the angels bear thy part,", "Who all night long unwearied sing", "High praise to the eternal King."]}}}, "away-in-a-manger": {"slug": "away-in-a-manger", "title": "Away In A Manger", "first_line": "Away In A Manger", "author_source": "Anonymous (Philadelphia, 1885)", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Christian Life", "Christmas", "Advent", "Comfort"], "scripture": ["Luke 2:15", "Luke 1:68-71", "Isaiah 61:1", "Psalm 107:10-22"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:51; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "away_in_a_manger_no_crib_for_a_bed", "total_instances": 626}}, "stanzas": {"1": {"syllabified": "A -- way in a man -- ger, no crib for a bed, The lit -- tle Lord Je -- sus laid down His sweet head. The stars in the sky looked down where He lay, The lit -- tle Lord Je -- sus, a -- sleep on the hay.", "prose": ["Away in a manger, no crib for a bed,", "The little Lord Jesus laid down His sweet head.", "The stars in the sky looked down where He lay,", "The little Lord Jesus, asleep on the hay."]}, "2": {"syllabified": "The cat -- tle are low -- ing, the Ba -- by a -- wakes, But lit -- tle Lord Je -- sus, no cry -- ing He makes; I love Thee, Lord Je -- sus, look down from the sky And stay by my cra -- dle til morn -- ing is nigh.", "prose": ["The cattle are lowing, the Baby awakes,", "But little Lord Jesus, no crying He makes;", "I love Thee, Lord Jesus, look down from the sky", "And stay by my cradle til morning is nigh."]}, "3": {"syllabified": "Be near me, Lord Je -- sus, I ask Thee to stay Close by me for -- ev -- er, and love me, I pray; Bless all the dear child -- ren in Thy ten -- der care, And fit us for Heav -- en to live with Thee there.", "prose": ["Be near me, Lord Jesus, I ask Thee to stay", "Close by me forever, and love me, I pray;", "Bless all the dear children in Thy tender care,", "And fit us for Heaven to live with Thee there."]}}}, "baptized-into-thy-name-most-holy": {"slug": "baptized-into-thy-name-most-holy", "title": "Baptized Into Thy Name Most Holy", "first_line": "Baptized into Thy Name most holy, O Father, Son", "author": "johann-jakob-rambach", "author_date": "1906", "translator": "catherine-winkworth", "translator_date": "1906", "foot": "iambic", "meter": {"pattern": [9, 8, 9, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Atonement", "Baptism", "Christian Life"], "scripture": ["Matthew 28:19", "Psalm 91:4", "2 Corinthians 13:14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:136; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "baptized_into_thy_name_most_holy", "total_instances": 47}}, "stanzas": {"1": {"syllabified": "Bap -- tized in -- to Thy Name most ho -- ly, O Fa -- ther, Son, and Ho -- ly Ghost, I claim a place, though weak and low -- ly, A -- mong Thy seed, Thy cho -- sen host. Bur -- ied with Christ and dead to sin, Thy Spir -- it now shall live with -- in.", "prose": ["Baptized into Thy Name most holy,", "O Father, Son, and Holy Ghost,", "I claim a place, though weak and lowly,", "Among Thy seed, Thy chosen host.", "Buried with Christ and dead to sin,", "Thy Spirit now shall live within."]}, "2": {"syllabified": "My lov -- ing Fa -- ther, here doth take me To be hence -- forth His child and heir; My faith -- ful Sav -- ior, now doth make me The fruit of all His sor -- rows share; My Com -- fort -- er will com -- fort me When dark -- est clouds a -- round I see.", "prose": ["My loving Father, here doth take me", "To be henceforth His child and heir;", "My faithful Savior, now doth make me", "The fruit of all His sorrows share;", "My Comforter will comfort me", "When darkest clouds around I see."]}, "3": {"syllabified": "And I have vowed to fear and love Thee And to o -- bey Thee, Lord, a -- lone; I felt Thy Ho -- ly Spir -- it move me, I dared to pledge my -- self Thine own, Re -- noun -- cing sin to keep the faith And war with e -- vil un -- to death.", "prose": ["And I have vowed to fear and love Thee", "And to obey Thee, Lord, alone;", "I felt Thy Holy Spirit move me,", "I dared to pledge myself Thine own,", "Renouncing sin to keep the faith", "And war with evil unto death."]}, "4": {"syllabified": "My faith -- ful God, Thou fail -- est nev -- er, Thy cov -- 'nant sure -- ly will a -- bide; Oh, cast me not a -- way for -- ev -- er Should I trans -- gress it on my side! But if I fall hide not Thy face, Re -- store Thy child, Lord, by Thy Grace.", "prose": ["My faithful God, Thou failest never,", "Thy cov'nant surely will abide;", "Oh, cast me not away forever", "Should I transgress it on my side!", "But if I fall hide not Thy face,", "Restore Thy child, Lord, by Thy Grace."]}, "5": {"syllabified": "Yes, all I am and love most dear -- ly, To Thee I of -- fer now the whole; O let me make my vows sin -- cere -- ly, Take full pos -- ses -- sion of my soul! Let naught with -- in me, naught I own, Serve an -- y will save Thine a -- lone.", "prose": ["Yes, all I am and love most dearly,", "To Thee I offer now the whole;", "O let me make my vows sincerely,", "Take full possession of my soul!", "Let naught within me, naught I own,", "Serve any will save Thine alone."]}}}, "be-merciful-to-me-o-god": {"slug": "be-merciful-to-me-o-god", "title": "Be Merciful to Me, O God", "first_line": "Be merciful to me, O God", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 57, "topics": ["Psalms"], "scripture": ["Psalm 57"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 57. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be mer -- ci -- ful to me, O God; thy mer -- cy un -- to me Do thou ex -- tend; be -- cause my soul doth put her trust in thee:", "prose": ["Be merciful to me, O God;", "thy mercy unto me", "Do thou extend; because my soul", "doth put her trust in thee:"]}, "2": {"syllabified": "Yea, in the shad -- ow of thy wings my ref -- uge I will place, Un -- til these sad ca -- lam -- i -- ties do whol -- ly o -- ver -- pass.", "prose": ["Yea, in the shadow of thy wings", "my refuge I will place,", "Until these sad calamities", "do wholly overpass."]}, "3": {"syllabified": "My cry I will cause to as -- cend un -- to the Lord most high; To God, who doth all things for me per -- form most per -- fect -- ly.", "prose": ["My cry I will cause to ascend", "unto the Lord most high;", "To God, who doth all things for me", "perform most perfectly."]}, "4": {"syllabified": "From heav'n he shall send down, and me from his re -- proach de -- fend That would de -- vour me: God his truth and mer -- cy forth shall send.", "prose": ["From heav'n he shall send down, and me", "from his reproach defend", "That would devour me: God his truth", "and mercy forth shall send."]}, "5": {"syllabified": "My soul a -- mong fierce li -- ons is, I fire -- brands live a -- mong, Men's sons, whose teeth are spears and darts, a sharp sword is their tongue.", "prose": ["My soul among fierce lions is,", "I firebrands live among,", "Men's sons, whose teeth are spears and darts,", "a sharp sword is their tongue."]}, "6": {"syllabified": "Be thou ex -- al -- ted ver -- y high a -- bove the heav'ns, O God; Let thou thy glo -- ry be ad -- vanced o'er all the earth a -- broad.", "prose": ["Be thou exalted very high", "above the heav'ns, O God;", "Let thou thy glory be advanced", "o'er all the earth abroad."]}, "7": {"syllabified": "My soul's bowed down; for they a net have laid, my steps to snare: In -- to the pit which they have digged for me, they fal -- len are.", "prose": ["My soul 's bowed down; for they a net", "have laid, my steps to snare:", "Into the pit which they have digged", "for me, they fallen are."]}, "8": {"syllabified": "My heart is fixed, my heart is fixed, O God; I'll sing and praise. My glo -- ry wake; wake psal -- t'ry, harp; my -- self I'll ear -- ly raise.", "prose": ["My heart is fixed, my heart is fixed,", "O God; I'll sing and praise.", "My glory wake; wake psalt'ry, harp;", "myself I'll early raise."]}, "9": {"syllabified": "I'll praise thee 'mong the peo -- ple, Lord; 'mong na -- tions sing will I: For great to heav'n thy mer -- cy is, thy truth is to the sky.", "prose": ["I'll praise thee 'mong the people, Lord;", "'mong nations sing will I:", "For great to heav'n thy mercy is,", "thy truth is to the sky."]}, "10": {"syllabified": "O Lord, ex -- al -- ted be thy name a -- bove the heav'ns to stand: Do thou thy glo -- ry far ad -- vance a -- bove both sea and land.", "prose": ["O Lord, exalted be thy name", "above the heav'ns to stand:", "Do thou thy glory far advance", "above both sea and land."]}}}, "be-still-my-soul": {"slug": "be-still-my-soul", "title": "Be Still My Soul", "first_line": "Be still, my soul: the Lord is on thy", "author": "katharina-a-von-schlegel", "author_date": "1900", "translator": "jane-l-borthwick", "translator_date": "1900", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Cross", "Darkness, Spiritual", "Easter Week", "Passion"], "scripture": ["Proverbs 14:26", "1 Corinthians 1:17-18", "Galatians 6:14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:193; all components published pre-1931 (latest year 1900).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "be_still_my_soul_the_lord_is_on_thy_side", "total_instances": 211}}, "stanzas": {"1": {"syllabified": "Be still, my soul: the Lord is on thy side. Bear pa -- tient -- ly the cross of grief or pain. Leave to thy God to or -- der and pro -- vide; In ev -- ery change, He faith -- ful will re -- main. Be still, my soul: thy best, thy heav'n -- ly Friend Through thorn -- y ways leads to a joy -- ful end.", "prose": ["Be still, my soul: the Lord is on thy side.", "Bear patiently the cross of grief or pain.", "Leave to thy God to order and provide;", "In every change, He faithful will remain.", "Be still, my soul: thy best, thy heav'nly Friend", "Through thorny ways leads to a joyful end."]}, "2": {"syllabified": "Be still, my soul: thy God doth un -- der -- take To guide the fu -- ture, as He has the past. Thy hope, thy con -- fi -- dence let noth -- ing shake; All now mys -- ter -- ious shall be bright at last. Be still, my soul: the waves and winds still know His voice Who ruled them while He dwelt be -- low.", "prose": ["Be still, my soul: thy God doth undertake", "To guide the future, as He has the past.", "Thy hope, thy confidence let nothing shake;", "All now mysterious shall be bright at last.", "Be still, my soul: the waves and winds still know", "His voice Who ruled them while He dwelt below."]}, "3": {"syllabified": "Be still, my soul: when dear -- est friends de -- part, And all is dark -- ened in the vale of tears, Then shalt thou bet -- ter know His love, His heart, Who comes to soothe thy sor -- row and thy fears. Be still, my soul: thy Je -- sus can re -- pay From His own full -- ness all He takes a -- way.", "prose": ["Be still, my soul: when dearest friends depart,", "And all is darkened in the vale of tears,", "Then shalt thou better know His love, His heart,", "Who comes to soothe thy sorrow and thy fears.", "Be still, my soul: thy Jesus can repay", "From His own fullness all He takes away."]}, "4": {"syllabified": "Be still, my soul: the hour is has -- t'ning on When we shall be for -- ev -- er with the Lord. When dis -- a -- ppoint -- ment, grief and fear are gone, Sor -- row for -- got, love's pur -- est joys re -- stored. Be still, my soul: when change and tears are past All safe and bless -- ed we shall meet at last.", "prose": ["Be still, my soul: the hour is hast'ning on", "When we shall be forever with the Lord.", "When disappointment, grief and fear are gone,", "Sorrow forgot, love's purest joys restored.", "Be still, my soul: when change and tears are past", "All safe and blessed we shall meet at last."]}, "5": {"syllabified": "Be still, my soul: be -- gin the song of praise On earth, be -- liev -- ing, to Thy Lord on high; Ac -- know -- ledge Him in all thy words and ways, So shall He view thee with a well pleased eye. Be still, my soul: the Sun of life di -- vine Through pass -- ing clouds shall but more bright -- ly shine.", "prose": ["Be still, my soul: begin the song of praise", "On earth, believing, to Thy Lord on high;", "Acknowledge Him in all thy words and ways,", "So shall He view thee with a well pleased eye.", "Be still, my soul: the Sun of life divine", "Through passing clouds shall but more brightly shine."]}}}, "be-thou-my-judge-o-righteous-lord": {"slug": "be-thou-my-judge-o-righteous-lord", "title": "The Petitions of a Good Conscience", "first_line": "Be Thou my judge, O righteous Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 26, "topics": ["Psalms"], "scripture": ["Psalm 26"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 69) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 26, selection 69. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be Thou my judge, O right -- eous Lord, Try Thou my in -- most heart; I walk with stead -- fast trust in Thee, Nor from Thy ways de -- part.", "prose": ["Be Thou my judge, O righteous Lord,", "Try Thou my inmost heart;", "I walk with steadfast trust in Thee,", "Nor from Thy ways depart."]}, "2": {"syllabified": "O search me, Lord, and prove me now; thy mer -- cy I a -- dore; I choose Thy truth to be my guide, And sin -- ful ways ab -- hor.", "prose": ["O search me, Lord, and prove me now;", "thy mercy I adore;", "I choose Thy truth to be my guide,", "And sinful ways abhor."]}, "3": {"syllabified": "My hands I wash in in -- no -- cence And seek thy al -- tar, Lord, That there I may with thank -- ful voice Thy won -- drous works re -- cord.", "prose": ["My hands I wash in innocence", "And seek thy altar, Lord,", "That there I may with thankful voice", "Thy wondrous works record."]}, "4": {"syllabified": "The hab -- i -- ta -- tions of Thy house Is ev -- er my de -- light; The place where dwells Thy glo -- ry, Lord, Is love -- ly in my sight.", "prose": ["The habitations of Thy house", "Is ever my delight;", "The place where dwells Thy glory, Lord,", "Is lovely in my sight."]}, "5": {"syllabified": "Let not the judg -- ment fall on me For e -- vil men de -- creed, For cru -- el men and vi -- o -- lent, In -- spired by bribes and greed.", "prose": ["Let not the judgment fall on me", "For evil men decreed,", "For cruel men and violent,", "Inspired by bribes and greed."]}, "6": {"syllabified": "But I in my in -- teg -- ri -- ty Will hum -- bly walk with Thee; O my Re -- deem -- er and my Lord, Be mer -- ci -- ful to me.", "prose": ["But I in my integrity", "Will humbly walk with Thee;", "O my Redeemer and my Lord,", "Be merciful to me."]}, "7": {"syllabified": "Re -- deemed by Thee, I stand se -- cure In peace and hap -- pi -- ness; And in the Church, a -- mong Thy saints, Je -- ho -- vah I will bless.", "prose": ["Redeemed by Thee, I stand secure", "In peace and happiness;", "And in the Church, among Thy saints,", "Jehovah I will bless."]}}}, "be-thou-my-vision": {"slug": "be-thou-my-vision", "title": "Be Thou My Vision", "first_line": "Be Thou my Vision, O Lord of my heart", "author_source": "Ancient Irish, attr. Dallán Forgaill (8th cent.); trans. Mary Byrne, 1905", "translator": "eleanor-hull", "author_date": "1912", "foot": "iambic", "meter": {"pattern": [10, 10, 9, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Aspiration", "Consecration", "Guidance", "Devotion"], "scripture": ["Psalm 27:1", "Ephesians 1:17-18"], "provenance": {"layer": "text", "source": "eleanor-hull-1912", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Ancient Irish hymn attributed to Dallán Forgaill (8th cent.); prose translation by Mary E. Byrne, 1905; versified by Eleanor H. Hull, 1912. All components published before 1929 and public domain in the US.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be Thou my Vi -- sion, O Lord of my heart; Naught be all else to me, save that Thou art. Thou my best Thought, by day or by night, Wak -- ing or sleep -- ing, Thy pres -- ence my light.", "prose": ["Be Thou my Vision, O Lord of my heart;", "Naught be all else to me, save that Thou art.", "Thou my best Thought, by day or by night,", "Waking or sleeping, Thy presence my light."]}, "2": {"syllabified": "Be Thou my Wis -- dom, and Thou my true Word; I ev -- er with Thee and Thou with me, Lord; Thou my great Fa -- ther, and I Thy true son; Thou in me dwell -- ing, and I with Thee one.", "prose": ["Be Thou my Wisdom, and Thou my true Word;", "I ever with Thee and Thou with me, Lord;", "Thou my great Father, and I Thy true son;", "Thou in me dwelling, and I with Thee one."]}, "3": {"syllabified": "Be Thou my bat -- tle Shield, Sword for the fight; Be Thou my Dig -- ni -- ty, Thou my De -- light; Thou my soul's Shel -- ter, Thou my high Tow -- er: Raise Thou me heav'n -- ward, O Pow'r of my pow'r.", "prose": ["Be Thou my battle Shield, Sword for the fight;", "Be Thou my Dignity, Thou my Delight;", "Thou my soul's Shelter, Thou my high Tower:", "Raise Thou me heav'nward, O Pow'r of my pow'r."]}, "4": {"syllabified": "Rich -- es I heed not, nor man's em -- pty praise, Thou mine In -- her -- i -- tance, now and al -- ways: Thou and Thou on -- ly, be first in my heart, High King of Heav -- en, my Trea -- sure Thou art.", "prose": ["Riches I heed not, nor man's empty praise,", "Thou mine Inheritance, now and always:", "Thou and Thou only, be first in my heart,", "High King of Heaven, my Treasure Thou art."]}, "5": {"syllabified": "High King of Heav -- en, my vic -- tor -- y won, May I reach Heav'ns joys, O bright Heav -- en's Sun! Heart of my own heart, what -- ev -- er be -- fall, Still be my Vi -- sion, O Rul -- er of all.", "prose": ["High King of Heaven, my victory won,", "May I reach Heav'ns joys, O bright Heaven's Sun!", "Heart of my own heart, whatever befall,", "Still be my Vision, O Ruler of all."]}}}, "before-thee-lord-a-people-waits": {"slug": "before-thee-lord-a-people-waits", "title": "The Fatherly Goodness of God", "first_line": "Before Thee, Lord, a people waits", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 168) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 65, selection 168. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- fore Thee, Lord, a peo -- ple waits To praise Thy Name in Zi -- on's gates, To Thee shall vows be paid; Thou hear -- er of the sup -- pliant's prayer, To Thee in need shall all re -- pair To seek Thy gra -- cious aid.", "prose": ["Before Thee, Lord, a people waits", "To praise Thy Name in Zion's gates,", "To Thee shall vows be paid;", "Thou hearer of the suppliant's prayer,", "To Thee in need shall all repair", "To seek Thy gracious aid."]}, "2": {"syllabified": "How great my tres -- pass -- es ap -- pear, But Thou from guilt my soul wilt clear, And my trans -- gres -- sions hide. How blest Thy cho -- sen, who by grace Are bro't with -- in Thy dwell -- ing -- place That they may there a -- bide.", "prose": ["How great my trespasses appear,", "But Thou from guilt my soul wilt clear,", "And my transgressions hide.", "How blest Thy chosen, who by grace", "Are bro't within Thy dwelling-place", "That they may there abide."]}, "3": {"syllabified": "The good -- ness of Thy house, O Lord, The joys Thy ho -- ly courts af -- ford, Our souls shall sat -- is -- fy; By deeds of might, in jus -- tice wrought, The Lord will grant us what we sought, Our Sav -- iour, God Most High.", "prose": ["The goodness of Thy house, O Lord,", "The joys Thy holy courts afford,", "Our souls shall satisfy;", "By deeds of might, in justice wrought,", "The Lord will grant us what we sought,", "Our Saviour, God Most High."]}, "4": {"syllabified": "On Thy sus -- tain -- ing arm de -- pend, To earth's and sea's re -- mot -- est end, All men in ev -- 'ry age; Thy strength es -- tab -- lish -- es the hills, Thy word the roar -- ing bil -- lows stills, And calms the peo -- ple's rage.", "prose": ["On Thy sustaining arm depend,", "To earth's and sea's remotest end,", "All men in ev'ry age;", "Thy strength establishes the hills,", "Thy word the roaring billows stills,", "And calms the people's rage."]}, "5": {"syllabified": "The tribes of earth's re -- mot -- est lands Be -- hold the to -- kens of Thy hands And bow in god -- ly fear; The east, where beams the morn -- ing light, The west, in eve -- ning glo -- ries bright, Re -- joice, for Thou art near.", "prose": ["The tribes of earth's remotest lands", "Behold the tokens of Thy hands", "And bow in godly fear;", "The east, where beams the morning light,", "The west, in evening glories bright,", "Rejoice, for Thou art near."]}}}, "begin-my-tongue-some-heavenly-theme": {"slug": "begin-my-tongue-some-heavenly-theme", "title": "Begin, My Tongue, Some Heavenly Theme", "first_line": "Begin, my tongue, some heavenly theme", "author": "isaac-watts", "author_date": "1707", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Faithfulness", "Word of God"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts (1674-1748), \"Begin, my tongue, some heavenly theme,\" from Hymns and Spiritual Songs (1707). Text from The Cyber Hymnal (stanzas 1-5). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- gin, my tongue, some heav'n -- ly theme And speak some bound -- less thing; The might -- y works, or might -- ier name Of our e -- ter -- nal king.", "prose": ["Begin, my tongue, some heavenly theme", "And speak some boundless thing;", "The mighty works, or mightier name", "Of our eternal king."]}, "2": {"syllabified": "Tell of His won -- drous faith -- ful -- ness And sound His pow'r a -- broad; Sing the sweet prom -- ise of His grace, And the per -- form -- ing God.", "prose": ["Tell of His wondrous faithfulness", "And sound His power abroad;", "Sing the sweet promise of His grace,", "And the performing God."]}, "3": {"syllabified": "Pro -- claim sal -- va -- tion from the Lord For wretch -- ed, dy -- ing men; His hand has writ the sa -- cred word With an im -- mor -- tal pen.", "prose": ["Proclaim salvation from the Lord", "For wretched, dying men;", "His hand has writ the sacred word", "With an immortal pen."]}, "4": {"syllabified": "En -- graved as in e -- ter -- nal brass The might -- y prom -- ise shines; Nor can the pow'rs of dark -- ness rase Those ev -- er -- last -- ing lines.", "prose": ["Engraved as in eternal brass", "The mighty promise shines;", "Nor can the powers of darkness rase", "Those everlasting lines."]}, "5": {"syllabified": "He that can dash whole worlds to death, And make them when He please, He speaks, and that al -- might -- y breath Ful -- fills His great de -- crees.", "prose": ["He that can dash whole worlds to death,", "And make them when He please,", "He speaks, and that almighty breath", "Fulfills His great decrees."]}}}, "behold-bless-ye-the-lord-all-ye": {"slug": "behold-bless-ye-the-lord-all-ye", "title": "Behold, Bless Ye the Lord, All Ye", "first_line": "Behold, bless ye the Lord, all ye", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 134, "topics": ["Psalms"], "scripture": ["Psalm 134"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 134. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- hold, bless ye the Lord, all ye that his at -- ten -- dants are, Ev'n you that in God's tem -- ple be, and praise him night -- ly there.", "prose": ["Behold, bless ye the Lord, all ye", "that his attendants are,", "Ev'n you that in God's temple be,", "and praise him nightly there."]}, "2": {"syllabified": "Your hands with -- in God's ho -- ly place lift up, and praise his name. From Zi -- on hill the Lord thee bless, that heav'n and earth did frame.", "prose": ["Your hands within God's holy place", "lift up, and praise his name.", "From Zion hill the Lord thee bless,", "that heav'n and earth did frame."]}}}, "behold-how-good-a-thing-it-is": {"slug": "behold-how-good-a-thing-it-is", "title": "Behold, How Good a Thing It Is", "first_line": "Behold, how good a thing it is", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 133, "topics": ["Psalms"], "scripture": ["Psalm 133"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 133. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- hold, how good a thing it is, and how be -- com -- ing well, To -- geth -- er such as breth -- ren are in u -- ni -- ty to dwell!", "prose": ["Behold, how good a thing it is,", "and how becoming well,", "Together such as brethren are", "in unity to dwell!"]}, "2": {"syllabified": "Like pre -- cious oint -- ment on the head, that down the beard did flow, Ev'n Aa -- ron's beard, and to the skirts did of his gar -- ments go.", "prose": ["Like precious ointment on the head,", "that down the beard did flow,", "Ev'n Aaron's beard, and to the skirts", "did of his garments go."]}, "3": {"syllabified": "As Her -- mon's dew, the dew that doth on Zi -- on hills de -- scend: For there the bless -- ing God com -- mands, life that shall nev -- er end.", "prose": ["As Hermon's dew, the dew that doth", "on Zion hills descend:", "For there the blessing God commands,", "life that shall never end."]}}}, "behold-the-amazing-gift-of-love": {"slug": "behold-the-amazing-gift-of-love", "title": "Behold the Amazing Gift of Love", "first_line": "Behold the Amazing Gift of Love", "author": "isaac-watts", "author_date": "1709", "adapter": "william-cameron", "adapter_date": "1781", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Adoption", "Love of God", "Hope"], "scripture": ["1 John 3:1"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, \"Behold what wondrous grace,\" Hymns and Spiritual Songs (1709), Book I, No. 64; paraphrased by William Cameron (1751–1811) for the Scottish Translations and Paraphrases, 1781 (Paraphrase 60). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- hold th'a -- maz -- ing gift of love The Fa -- ther hath be -- stowed On us, the sin -- ful sons of men To call us sons of God", "prose": ["Behold th'amazing gift of love", "The Father hath bestowed", "On us, the sinful sons of men,", "To call us sons of God!"]}, "2": {"syllabified": "Con -- cealed as yet this hon -- or lies, By this dark world un -- known, A world that knew not when He came, E'en God's e -- ter -- nal Son.", "prose": ["Concealed as yet this honor lies,", "By this dark world unknown,", "A world that knew not when He came,", "Even God's eternal Son."]}, "3": {"syllabified": "High is the rank we now pos -- sess; But high -- er we shall rise; Though what we shall here -- af -- ter be Is hid from mor -- tal eyes.", "prose": ["High is the rank we now possess;", "But higher we shall rise;", "Though what we shall hereafter be", "Is hid from mortal eyes."]}, "4": {"syllabified": "Our souls, we know, when He ap -- pears, Shall bear His im -- age bright; For all His glo -- ry, full dis -- closed, Shall o -- pen to our sight.", "prose": ["Our souls, we know, when He appears,", "Shall bear His image bright;", "For all His glory, full disclosed,", "Shall open to our sight."]}, "5": {"syllabified": "A hope so great, and so di -- vine, May tri -- als well en -- dure; And purge the soul from sense and sin, As Christ Him -- self is pure.", "prose": ["A hope so great, and so divine,", "May trials well endure;", "And purge the soul from sense and sin,", "As Christ Himself is pure."]}}}, "behold-the-mountain-of-the-lord": {"slug": "behold-the-mountain-of-the-lord", "title": "Behold! the Mountain of the Lord", "first_line": "Behold! the mountain of the Lord", "author_source": "Scottish Paraphrases, 1781", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["The Church", "Peace", "Kingdom of God"], "scripture": ["Isaiah 2:2-5"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Scottish Paraphrase 19, \"Behold! the mountain of the Lord\" (Translations and Paraphrases, Church of Scotland, 1781; a versification of Isaiah 2:2-5, commonly ascribed to Michael Bruce and John Logan). Public-domain text; wording below follows the standard Scottish Paraphrases printing as in The Hymnary of the United Church of Canada 1930 #521 (\"Behold! the\", \"Zion hill\", \"judgements\", \"sceptre\", \"ploughshares\" — checked against the archive.org scan text 2026-07-10; The Methodist Hymn-Book 1933 #904, leaf 821 scan, prints the same 7 stanzas with \"Behold, the\" and \"Zion's hill\"). Verified 2026-07-10 against the live Cyber Hymnal page (hymntime.com/tch/htm/b/e/h/o/l/d/m/beholdml.htm): it prints the same 7 stanzas with minor Americanized variants (plowshares/scepter/judgments; st. 5 lines 1-2 recast as \"No strife shall vex Messiah's reign / Or mar the peaceful years\") — the standard 1781 wording is kept here. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Be -- hold! the moun -- tain of the Lord In lat -- ter days shall rise On moun -- tain -- tops a -- bove the hills, And draw the won -- dering eyes.", "prose": ["Behold! the mountain of the Lord", "In latter days shall rise", "On mountain-tops above the hills,", "And draw the wondering eyes."]}, "2": {"syllabified": "To this the joy -- ful na -- tions round, All tribes and tongues, shall flow; Up to the hill of God, they'll say, And to His house we'll go.", "prose": ["To this the joyful nations round,", "All tribes and tongues, shall flow;", "\"Up to the hill of God,\" they'll say,", "\"And to His house we'll go.\""]}, "3": {"syllabified": "The beam that shines from Zi -- on hill Shall light -- en eve -- ry land; The King who reigns in Sa -- lem's towers Shall all the world com -- mand.", "prose": ["The beam that shines from Zion hill", "Shall lighten every land;", "The King who reigns in Salem's towers", "Shall all the world command."]}, "4": {"syllabified": "A -- mong the na -- tions He shall judge; His judge -- ments truth shall guide; His scep -- tre shall pro -- tect the just, And quell the sin -- ner's pride.", "prose": ["Among the nations He shall judge;", "His judgements truth shall guide;", "His sceptre shall protect the just,", "And quell the sinner's pride."]}, "5": {"syllabified": "No strife shall rage, nor hos -- tile feuds Dis -- turb those peace -- ful years; To plough -- shares men shall beat their swords, To prun -- ing -- hooks their spears.", "prose": ["No strife shall rage, nor hostile feuds", "Disturb those peaceful years;", "To ploughshares men shall beat their swords,", "To pruning-hooks their spears."]}, "6": {"syllabified": "No long -- er hosts, en -- coun -- tering hosts, Shall crowds of slain de -- plore; They hang the trum -- pet in the hall, And stud -- y war no more.", "prose": ["No longer hosts, encountering hosts,", "Shall crowds of slain deplore;", "They hang the trumpet in the hall,", "And study war no more."]}, "7": {"syllabified": "Come then, O house of Ja -- cob, come To wor -- ship at His shrine; And, walk -- ing in the light of God, With ho -- ly beau -- ties shine.", "prose": ["Come then, O house of Jacob, come", "To worship at His shrine;", "And, walking in the light of God,", "With holy beauties shine."]}}}, "beneath-the-cross-of-jesus": {"slug": "beneath-the-cross-of-jesus", "title": "Beneath The Cross Of Jesus", "first_line": "Beneath the cross of Jesus I fain would take", "author": "elizabeth-c-clephane", "author_date": "1891", "foot": "iambic", "meter": {"pattern": [7, 6, 8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Assurance", "Blood"], "scripture": ["Hebrews 10:21-23", "Psalm 71:24", "Romans 5:1"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:194; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "beneath_the_cross_of_jesus_i_fain_would", "total_instances": 599}}, "stanzas": {"1": {"syllabified": "Be -- neath the cross of Je -- sus I fain would take my stand, The shad -- ow of a might -- y rock with -- in a wear -- y land; A home with -- in the wild -- er -- ness, a rest up -- on the way, From the burn -- ing of the noon -- tide heat, and the bur -- den of the day.", "prose": ["Beneath the cross of Jesus", "I fain would take my stand,", "The shadow of a mighty rock", "within a weary land;", "A home within the wilderness,", "a rest upon the way,", "From the burning of the noontide heat,", "and the burden of the day."]}, "2": {"syllabified": "O safe and happ -- y shel -- ter, O ref -- uge tried and sweet, O tryst -- ing place where Heav -- en's love and Heav -- en's jus -- tice meet! As to the ho -- ly pa -- tri -- arch that won -- drous dream was giv'n, So seems my Sav -- ior's cross to me, a lad -- der up to heav'n.", "prose": ["O safe and happy shelter,", "O refuge tried and sweet,", "O trysting place where Heaven's love", "and Heaven's justice meet!", "As to the holy patriarch", "that wondrous dream was giv'n,", "So seems my Savior's cross to me,", "a ladder up to heav'n."]}, "3": {"syllabified": "There lies be -- neath its shad -- ow but on the fur -- ther side The dark -- ness of an aw -- ful grave that gapes both deep and wide And there be -- tween us stands the cross two arms out -- stretched to save A watch -- man set to guard the way from that e -- ter -- nal grave.", "prose": ["There lies beneath its shadow", "but on the further side", "The darkness of an awful grave", "that gapes both deep and wide", "And there between us stands the cross", "two arms outstretched to save", "A watchman set to guard the way", "from that eternal grave."]}, "4": {"syllabified": "Up -- on that cross of Je -- sus mine eye at times can see The ver -- y dy -- ing form of One Who suf -- fered there for me; And from my strick -- en heart with tears two won -- ders I con -- fess; The won -- ders of re -- deem -- ing love and my un -- worth -- i -- ness.", "prose": ["Upon that cross of Jesus", "mine eye at times can see", "The very dying form of One", "Who suffered there for me;", "And from my stricken heart with tears", "two wonders I confess;", "The wonders of redeeming love", "and my unworthiness."]}, "5": {"syllabified": "I take, O cross, thy shad -- ow for my a -- bid -- ing place; I ask no oth -- er sun -- shine than the sun -- shine of His face; Con -- tent to let the world go by to know no gain or loss, My sin -- ful self my on -- ly shame, my glor -- y all the cross.", "prose": ["I take, O cross, thy shadow", "for my abiding place;", "I ask no other sunshine than", "the sunshine of His face;", "Content to let the world go by", "to know no gain or loss,", "My sinful self my only shame,", "my glory all the cross."]}}}, "bless-god-my-soul-o-lord-my-god": {"slug": "bless-god-my-soul-o-lord-my-god", "title": "Bless God, My Soul. O Lord My God", "first_line": "Bless God, my soul.  O Lord my God", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 104, "topics": ["Psalms"], "scripture": ["Psalm 104"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 104. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bless God, my soul. O Lord my God, thou art exce -- ed -- ing great; With hon -- our and with maj -- es -- ty thou cloth -- ed art in state.", "prose": ["Bless God, my soul.  O Lord my God,", "thou art exceeding great;", "With honour and with majesty", "thou clothed art in state."]}, "2": {"syllabified": "With light, as with a robe, thy -- self thou cov -- er -- est a -- bout; And, like un -- to a cur -- tain, thou the heav -- ens stretch -- est out.", "prose": ["With light, as with a robe, thyself", "thou coverest about;", "And, like unto a curtain, thou", "the heavens stretchest out."]}, "3": {"syllabified": "Who of his cham -- bers doth the beams with -- in the wa -- ters lay; Who doth the clouds his char -- iot make, on wings of wind make way.", "prose": ["Who of his chambers doth the beams", "within the waters lay;", "Who doth the clouds his chariot make,", "on wings of wind make way."]}, "4": {"syllabified": "Who flam -- ing fire his min -- is -- ters, his an -- gels spirits, doth make: Who earth's foun -- da -- ti -- ons did lay, that it should nev -- er shake.", "prose": ["Who flaming fire his ministers,", "his angels spirits, doth make:", "Who earth's foundations did lay,", "that it should never shake."]}, "5": {"syllabified": "Thou didst it cov -- er with the deep, as with a gar -- ment spread: The wa -- ters stood a -- bove the hills, when thou the word but said.", "prose": ["Thou didst it cover with the deep,", "as with a garment spread:", "The waters stood above the hills,", "when thou the word but said."]}, "6": {"syllabified": "But at the voice of thy re -- buke they fled, and would not stay; They at thy thun -- der's dread -- ful voice did haste them fast a -- way.", "prose": ["But at the voice of thy rebuke", "they fled, and would not stay;", "They at thy thunder's dreadful voice", "did haste them fast away."]}, "7": {"syllabified": "They by the moun -- tains do as -- cend, and by the val -- ley -- ground De -- scend, un -- to that ver -- y place which thou for them didst found.", "prose": ["They by the mountains do ascend,", "and by the valley-ground", "Descend, unto that very place", "which thou for them didst found."]}, "8": {"syllabified": "Thou hast a bound un -- to them set, that they may not pass o -- ver, That they do not re -- turn a -- gain the face of earth to cov -- er.", "prose": ["Thou hast a bound unto them set,", "that they may not pass over,", "That they do not return again", "the face of earth to cover."]}, "9": {"syllabified": "He to the val -- leys sends the springs, which run a -- mong the hills: They to all beasts of field give drink, wild as -- ses drink their fills.", "prose": ["He to the valleys sends the springs,", "which run among the hills:", "They to all beasts of field give drink,", "wild asses drink their fills."]}, "10": {"syllabified": "By them the fowls of heav'n shall have their hab -- i -- ta -- ti -- on, Which do a -- mong the bran -- ches sing with de -- lec -- ta -- ti -- on.", "prose": ["By them the fowls of heav'n shall have", "their habitation,", "Which do among the branches sing", "with delectation."]}, "11": {"syllabified": "He from his cham -- bers wa -- ter -- eth the hills, when they are dried: With fruit and in -- crease of thy works the earth is sat -- is -- fied.", "prose": ["He from his chambers watereth", "the hills, when they are dried:", "With fruit and increase of thy works", "the earth is satisfied."]}, "12": {"syllabified": "For cat -- tle he makes grass to grow, he makes the herb to spring For th'use of man, that food to him he from the earth may bring;", "prose": ["For cattle he makes grass to grow,", "he makes the herb to spring", "For th' use of man, that food to him", "he from the earth may bring;"]}, "13": {"syllabified": "And wine, that to the heart of man doth cheer -- ful -- ness im -- part, Oil that his face makes shine, and bread that streng -- then -- eth his heart.", "prose": ["And wine, that to the heart of man", "doth cheerfulness impart,", "Oil that his face makes shine, and bread", "that strengtheneth his heart."]}, "14": {"syllabified": "The trees of God are full of sap; the ce -- dars that do stand In Leb -- a -- non, which plant -- ed were by his al -- might -- y hand.", "prose": ["The trees of God are full of sap;", "the cedars that do stand", "In Lebanon, which planted were", "by his almighty hand."]}, "15": {"syllabified": "Birds of the air up -- on their boughs do choose their nests to make; As for the stork, the fir -- tree she doth for her dwell -- ing take.", "prose": ["Birds of the air upon their boughs", "do choose their nests to make;", "As for the stork, the fir-tree she", "doth for her dwelling take."]}, "16": {"syllabified": "The loft -- y moun -- tains for wild goats a place of ref -- uge be; The co -- nies al -- so to the rocks do for their safe -- ty flee.", "prose": ["The lofty mountains for wild goats", "a place of refuge be;", "The conies also to the rocks", "do for their safety flee."]}, "17": {"syllabified": "He sets the moon in heav'n, there -- by the sea -- sons to dis -- cern: From him the sun his cer -- tain time of go -- ing down doth learn.", "prose": ["He sets the moon in heav'n, thereby", "the seasons to discern:", "From him the sun his certain time", "of going down doth learn."]}, "18": {"syllabified": "Thou dark -- ness mak'st, 'tis night, then beasts of fo -- rests creep a -- broad. The li -- ons young roar for their prey, and seek their meat from God.", "prose": ["Thou darkness mak'st, 'tis night, then beasts", "of forests creep abroad.", "The lions young roar for their prey,", "and seek their meat from God."]}, "19": {"syllabified": "The sun doth rise, and home they flock, down in their dens they lie. Man goes to work, his la -- bour he doth to the eve -- ning ply.", "prose": ["The sun doth rise, and home they flock,", "down in their dens they lie.", "Man goes to work, his labour he", "doth to the evening ply."]}, "20": {"syllabified": "How man -- i -- fold, Lord, are thy works! in wis -- dom won -- der -- ful Thou ev -- 'ry one of them hast made; earth's of thy rich -- es full:", "prose": ["How manifold, Lord, are thy works!", "in wisdom wonderful", "Thou ev'ry one of them hast made;", "earth's of thy riches full:"]}, "21": {"syllabified": "So is this great and spa -- cious sea, where -- in things creep -- ing are, Which num -- bered can -- not be; and beasts both great and small are there.", "prose": ["So is this great and spacious sea,", "wherein things creeping are,", "Which numbered cannot be; and beasts", "both great and small are there."]}, "22": {"syllabified": "There ships go; there thou mak'st to play that le -- vi -- a -- than great. These all wait on thee, that thou may'st in due time give them meat.", "prose": ["There ships go; there thou mak'st to play", "that leviathan great.", "These all wait on thee, that thou may'st", "in due time give them meat."]}, "23": {"syllabified": "That which thou giv -- est un -- to them they gath -- er for their food; Thine hand thou o -- pen'st lib -- 'ral -- ly, they fill -- ed are with good.", "prose": ["That which thou givest unto them", "they gather for their food;", "Thine hand thou open'st lib'rally,", "they filled are with good."]}, "24": {"syllabified": "Thou hid'st thy face; they trou -- bled are, their breath thou tak'st a -- way; Then do they die, and to their dust re -- turn a -- gain do they.", "prose": ["Thou hid'st thy face; they troubled are,", "their breath thou tak'st away;", "Then do they die, and to their dust", "return again do they."]}, "25": {"syllabified": "Thy quick -- 'ning spir -- it thou send'st forth, then they cre -- at -- ed be; And then the earth's de -- cay -- ed face re -- new -- ed is by thee.", "prose": ["Thy quick'ning spirit thou send'st forth,", "then they created be;", "And then the earth's decayed face", "renewed is by thee."]}, "26": {"syllabified": "The glo -- ry of the might -- y Lord con -- tin -- ue shall for ev -- er: The Lord JE -- HO -- VAH shall re -- joice in all his works to -- geth -- er.", "prose": ["The glory of the mighty Lord", "continue shall for ever:", "The Lord JEHOVAH shall rejoice", "in all his works together."]}, "27": {"syllabified": "Earth, as af -- fright -- ed, trem -- bleth all, if he on it but look; And if the moun -- tains he but touch, they pres -- ent -- ly do smoke.", "prose": ["Earth, as affrighted, trembleth all,", "if he on it but look;", "And if the mountains he but touch,", "they presently do smoke."]}, "28": {"syllabified": "I will sing to the Lord most high, so long as I shall live; And while I be -- ing have I shall to my God prais -- es give.", "prose": ["I will sing to the Lord most high,", "so long as I shall live;", "And while I being have I shall", "to my God praises give."]}, "29": {"syllabified": "Of him my med -- i -- ta -- tion shall sweet thoughts to me af -- ford; And as for me, I will re -- joice in God, my on -- ly Lord.", "prose": ["Of him my meditation shall", "sweet thoughts to me afford;", "And as for me, I will rejoice", "in God, my only Lord."]}, "30": {"syllabified": "From earth let sin -- ners be con -- sumed, let ill men no more be. O thou my soul, bless thou the Lord. Praise to the Lord give ye.", "prose": ["From earth let sinners be consumed,", "let ill men no more be.", "O thou my soul, bless thou the Lord.", "Praise to the Lord give ye."]}}}, "blessed-are-they-that-undefiled": {"slug": "blessed-are-they-that-undefiled", "title": "Blessed Are They That Undefiled", "first_line": "Blessed are they that undefiled", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 119. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Blessed are they that un -- de -- fil -- ed, and straight are in the way; Who in the Lord's most ho -- ly law do walk, and do not stray.", "prose": ["Blessed are they that undefiled,", "and straight are in the way;", "Who in the Lord's most holy law", "do walk, and do not stray."]}, "2": {"syllabified": "Bles -- sed are they who to ob -- serve his stat -- utes are in -- clined; And who do seek the liv -- ing God with their whole heart and mind.", "prose": ["Blessed are they who to observe", "his statutes are inclined;", "And who do seek the living God", "with their whole heart and mind."]}, "3": {"syllabified": "Such in his ways do walk, and they do no in -- iq -- ui -- ty. Thou hast com -- mand -- ed us to keep thy pre -- cepts care -- ful -- ly.", "prose": ["Such in his ways do walk, and they", "do no iniquity.", "Thou hast commanded us to keep", "thy precepts carefully."]}, "4": {"syllabified": "O that thy stat -- utes to ob -- serve thou would'st my ways di -- rect! Then shall I not be shamed, when I thy pre -- cepts all re -- spect.", "prose": ["O that thy statutes to observe", "thou would'st my ways direct!", "Then shall I not be shamed, when I", "thy precepts all respect."]}, "5": {"syllabified": "Then with in -- teg -- ri -- ty of heart thee will I praise and bless, When I the judg -- ments all have learned of thy pure right -- eous -- ness.", "prose": ["Then with integrity of heart", "thee will I praise and bless,", "When I the judgments all have learned", "of thy pure righteousness."]}, "6": {"syllabified": "That I will keep thy stat -- utes all firm -- ly re -- solved have I: O do not then, most gra -- cious God, for -- sake me ut -- ter -- ly.", "prose": ["That I will keep thy statutes all", "firmly resolved have I:", "O do not then, most gracious God,", "forsake me utterly."]}, "7": {"syllabified": "By what means shall a young man learn his way to pur -- i -- fy? If he ac -- cord -- ing to thy word there -- to at -- ten -- tive be.", "prose": ["By what means shall a young man learn", "his way to purify?", "If he according to thy word", "thereto attentive be."]}, "8": {"syllabified": "Un -- feign -- ed -- ly thee have I sought with all my soul and heart: O let me not from the right path of thy com -- mands de -- part.", "prose": ["Unfeignedly thee have I sought", "with all my soul and heart:", "O let me not from the right path", "of thy commands depart."]}, "9": {"syllabified": "Thy word I in my heart have hid, that I of -- fend not thee. O Lord, thou ev -- er bles -- sed art, thy stat -- utes teach thou me.", "prose": ["Thy word I in my heart have hid,", "that I offend not thee.", "O Lord, thou ever blessed art,", "thy statutes teach thou me."]}, "10": {"syllabified": "The judg -- ments of thy mouth each one my lips de -- clar -- ed have: More joy thy tes -- ti -- mo -- nies' way than rich -- es all me gave.", "prose": ["The judgments of thy mouth each one", "my lips declared have:", "More joy thy testimonies' way", "than riches all me gave."]}, "11": {"syllabified": "I will thy ho -- ly pre -- cepts make my med -- i -- ta -- ti -- on; And care -- ful -- ly I'll have re -- spect un -- to thy ways each one.", "prose": ["I will thy holy precepts make", "my meditation;", "And carefully I'll have respect", "unto thy ways each one."]}, "12": {"syllabified": "Up -- on thy stat -- utes my de -- light shall con -- stant -- ly be set: And, by thy grace, I nev -- er will thy ho -- ly word for -- get.", "prose": ["Upon thy statutes my delight", "shall constantly be set:", "And, by thy grace, I never will", "thy holy word forget."]}, "13": {"syllabified": "With me thy ser -- vant, in thy grace, deal boun -- ti -- ful -- ly, Lord; That by thy fa -- vour I may live, and du -- ly keep thy word.", "prose": ["With me thy servant, in thy grace,", "deal bountifully, Lord;", "That by thy favour I may live,", "and duly keep thy word."]}, "14": {"syllabified": "O -- pen mine eyes, that of thy law the won -- ders I may see. I am a stran -- ger on this earth, hide not thy laws from me.", "prose": ["Open mine eyes, that of thy law", "the wonders I may see.", "I am a stranger on this earth,", "hide not thy laws from me."]}, "15": {"syllabified": "My soul with -- in me breaks, and doth much faint -- ing still en -- dure, Through long -- ing that it hath all times un -- to thy judg -- ments pure.", "prose": ["My soul within me breaks, and doth", "much fainting still endure,", "Through longing that it hath all times", "unto thy judgments pure."]}, "16": {"syllabified": "Thou hast re -- buked the curs -- ed proud, who from thy pre -- cepts swerve. Re -- proach and shame re -- move from me, for I thy laws ob -- serve.", "prose": ["Thou hast rebuked the cursed proud,", "who from thy precepts swerve.", "Reproach and shame remove from me,", "for I thy laws observe."]}, "17": {"syllabified": "A -- gainst me prin -- ces spake with spite, while they in coun -- cil sat: But I thy ser -- vant did up -- on thy stat -- utes med -- i -- tate.", "prose": ["Against me princes spake with spite,", "while they in council sat:", "But I thy servant did upon", "thy statutes meditate."]}, "18": {"syllabified": "My com -- fort, and my heart's de -- light, thy tes -- ti -- mo -- nies be; And they, in all my doubts and fears, are coun -- sel -- lors to me.", "prose": ["My comfort, and my heart's delight,", "thy testimonies be;", "And they, in all my doubts and fears,", "are counsellors to me."]}, "19": {"syllabified": "My soul to dust cleaves: qui -- cken me, ac -- cord -- ing to thy word. My ways I showed, and me thou heard'st: teach me thy stat -- utes, Lord.", "prose": ["My soul to dust cleaves: quicken me,", "according to thy word.", "My ways I showed, and me thou heard'st:", "teach me thy statutes, Lord."]}, "20": {"syllabified": "The way of thy com -- mand -- e -- ments make me a -- right to know; So all thy works that won -- drous are I shall to oth -- ers show.", "prose": ["The way of thy commandements", "make me aright to know;", "So all thy works that wondrous are", "I shall to others show."]}, "21": {"syllabified": "My soul doth melt, and drop a -- way, for heav -- i -- ness and grief: To me, ac -- cord -- ing to thy word, give strength, and send re -- lief.", "prose": ["My soul doth melt, and drop away,", "for heaviness and grief:", "To me, according to thy word,", "give strength, and send relief."]}, "22": {"syllabified": "From me the wick -- ed way of lies let far re -- mov -- ed be; And gra -- cious -- ly thy ho -- ly law do thou grant un -- to me.", "prose": ["From me the wicked way of lies", "let far removed be;", "And graciously thy holy law", "do thou grant unto me."]}, "23": {"syllabified": "I cho -- sen have the per -- fect way of truth and ver -- i -- ty: Thy judg -- ments that most right -- eous are be -- fore me laid have I.", "prose": ["I chosen have the perfect way", "of truth and verity:", "Thy judgments that most righteous are", "before me laid have I."]}, "24": {"syllabified": "I to thy tes -- ti -- mo -- nies cleave; shame do not on me cast. I'll run thy pre -- cepts' way, when thou my heart en -- larg -- ed hast.", "prose": ["I to thy testimonies cleave;", "shame do not on me cast.", "I'll run thy precepts' way, when thou", "my heart enlarged hast."]}, "25": {"syllabified": "Teach me, O Lord, the per -- fect way of thy pre -- cepts di -- vine, And to ob -- serve it to the end I shall my heart in -- cline.", "prose": ["Teach me, O Lord, the perfect way", "of thy precepts divine,", "And to observe it to the end", "I shall my heart incline."]}, "26": {"syllabified": "Give un -- der -- stand -- ing un -- to me, so keep thy law shall I; Yea, ev'n with my whole heart I shall ob -- serve it care -- ful -- ly.", "prose": ["Give understanding unto me,", "so keep thy law shall I;", "Yea, ev'n with my whole heart I shall", "observe it carefully."]}, "27": {"syllabified": "In thy law's path make me to go; for I de -- light there -- in. My heart un -- to thy test' -- mo -- nies, and not to greed, in -- cline.", "prose": ["In thy law's path make me to go;", "for I delight therein.", "My heart unto thy test'monies,", "and not to greed, incline."]}, "28": {"syllabified": "Turn thou a -- way my sight and eyes from view -- ing van -- i -- ty; And in thy good and ho -- ly way be pleased to qui -- cken me.", "prose": ["Turn thou away my sight and eyes", "from viewing vanity;", "And in thy good and holy way", "be pleased to quicken me."]}, "29": {"syllabified": "Con -- firm to me thy gra -- cious word, which I did glad -- ly hear, Ev'n to thy ser -- vant, Lord, who is de -- vot -- ed to thy fear.", "prose": ["Confirm to me thy gracious word,", "which I did gladly hear,", "Ev'n to thy servant, Lord, who is", "devoted to thy fear."]}, "30": {"syllabified": "Turn thou a -- way my feared re -- proach; for good thy judg -- ments be. Lo, for thy pre -- cepts I have longed; in thy truth qui -- cken me.", "prose": ["Turn thou away my feared reproach;", "for good thy judgments be.", "Lo, for thy precepts I have longed;", "in thy truth quicken me."]}, "31": {"syllabified": "Let thy sweet mer -- cies al -- so come and vis -- it me, O Lord; Ev'n thy be -- nign sal -- va -- ti -- on, ac -- cord -- ing to thy word.", "prose": ["Let thy sweet mercies also come", "and visit me, O Lord;", "Ev'n thy benign salvation,", "according to thy word."]}, "32": {"syllabified": "So shall I have where -- with I may give him an an -- swer just, Who spite -- ful -- ly re -- proach -- eth me; for in thy word I trust.", "prose": ["So shall I have wherewith I may", "give him an answer just,", "Who spitefully reproacheth me;", "for in thy word I trust."]}, "33": {"syllabified": "The word of truth out of my mouth take thou not ut -- ter -- ly; For on thy judg -- ments right -- e -- ous my hope doth still re -- ly.", "prose": ["The word of truth out of my mouth", "take thou not utterly;", "For on thy judgments righteous", "my hope doth still rely."]}, "34": {"syllabified": "So shall I keep for ev -- er -- more thy law con -- tin -- ual -- ly. And, sith that I thy pre -- cepts seek, I'll walk at lib -- er -- ty.", "prose": ["So shall I keep for evermore", "thy law continually.", "And, sith that I thy precepts seek,", "I'll walk at liberty."]}, "35": {"syllabified": "I'll speak thy word to kings, and I with shame shall not be moved; And will de -- light my -- self al -- ways in thy laws, which I loved.", "prose": ["I'll speak thy word to kings, and I", "with shame shall not be moved;", "And will delight myself always", "in thy laws, which I loved."]}, "36": {"syllabified": "To thy com -- mand -- ments, which I loved, my hands lift up I will; And I will al -- so med -- i -- tate up -- on thy stat -- utes still.", "prose": ["To thy commandments, which I loved,", "my hands lift up I will;", "And I will also meditate", "upon thy statutes still."]}, "37": {"syllabified": "Re -- mem -- ber, Lord, thy gra -- cious word thou to thy ser -- vant spake, Which, for a ground of my sure hope, thou caus -- edst me to take.", "prose": ["Remember, Lord, thy gracious word", "thou to thy servant spake,", "Which, for a ground of my sure hope,", "thou causedst me to take."]}, "38": {"syllabified": "This word of thine my com -- fort is in mine af -- flic -- ti -- on: For in my straits I am re -- vived by this thy word a -- lone.", "prose": ["This word of thine my comfort is", "in mine affliction:", "For in my straits I am revived", "by this thy word alone."]}, "39": {"syllabified": "The men whose hearts with pride are stuffed did great -- ly me de -- ride; Yet from thy straight com -- mand -- e -- ments I have not turned a -- side.", "prose": ["The men whose hearts with pride are stuffed", "did greatly me deride;", "Yet from thy straight commandements", "I have not turned aside."]}, "40": {"syllabified": "Thy judg -- ments right -- e -- ous, O Lord, which thou of old forth gave, I did re -- mem -- ber, and my -- self by them com -- fort -- ed have.", "prose": ["Thy judgments righteous, O Lord,", "which thou of old forth gave,", "I did remember, and myself", "by them comforted have."]}, "41": {"syllabified": "Hor -- ror took hold on me, be -- cause ill men thy law for -- sake. I in my house of pil -- grim -- age thy laws my songs do make.", "prose": ["Horror took hold on me, because", "ill men thy law forsake.", "I in my house of pilgrimage", "thy laws my songs do make."]}, "42": {"syllabified": "Thy name by night, Lord, I did mind, and I have kept thy law. And this I had, be -- cause thy word I kept, and stood in awe.", "prose": ["Thy name by night, Lord, I did mind,", "and I have kept thy law.", "And this I had, because thy word", "I kept, and stood in awe."]}, "43": {"syllabified": "Thou my sure por -- tion art a -- lone, which I did choose, O Lord: I have re -- solved, and said, that I would keep thy ho -- ly word.", "prose": ["Thou my sure portion art alone,", "which I did choose, O Lord:", "I have resolved, and said, that I", "would keep thy holy word."]}, "44": {"syllabified": "With my whole heart I did en -- treat thy face and fa -- vour free: Ac -- cord -- ing to thy gra -- cious word be mer -- ci -- ful to me.", "prose": ["With my whole heart I did entreat", "thy face and favour free:", "According to thy gracious word", "be merciful to me."]}, "45": {"syllabified": "I thought up -- on my for -- mer ways, and did my life well try; And to thy tes -- ti -- mo -- nies pure my feet then turn -- ed I.", "prose": ["I thought upon my former ways,", "and did my life well try;", "And to thy testimonies pure", "my feet then turned I."]}, "46": {"syllabified": "I did not stay, nor lin -- ger long, as those that sloth -- ful are; But hast -- i -- ly thy laws to keep my -- self I did pre -- pare.", "prose": ["I did not stay, nor linger long,", "as those that slothful are;", "But hastily thy laws to keep", "myself I did prepare."]}, "47": {"syllabified": "Bands of ill men me robbed; yet I thy pre -- cepts did not slight. I'll rise at mid -- night thee to praise, ev'n for thy judg -- ments right.", "prose": ["Bands of ill men me robbed; yet I", "thy precepts did not slight.", "I'll rise at midnight thee to praise,", "ev'n for thy judgments right."]}, "48": {"syllabified": "I am com -- pan -- ion to all those who fear, and thee o -- bey. O Lord, thy mer -- cy fills the earth: teach me thy laws, I pray.", "prose": ["I am companion to all those", "who fear, and thee obey.", "O Lord, thy mercy fills the earth:", "teach me thy laws, I pray."]}, "49": {"syllabified": "Well hast thou with thy ser -- vant dealt, as thou didst prom -- ise give. Good judg -- ment me, and knowl -- edge teach, for I thy word be -- lieve.", "prose": ["Well hast thou with thy servant dealt,", "as thou didst promise give.", "Good judgment me, and knowledge teach,", "for I thy word believe."]}, "50": {"syllabified": "Ere I af -- flic -- ted was I strayed; but now I keep thy word. Both good thou art, and good thou do'st: teach me thy stat -- utes, Lord.", "prose": ["Ere I afflicted was I strayed;", "but now I keep thy word.", "Both good thou art, and good thou do'st:", "teach me thy statutes, Lord."]}, "51": {"syllabified": "The men that are puffed up with pride a -- gainst me forged a lie; Yet thy com -- mand -- e -- ments ob -- serve with my whole heart will I.", "prose": ["The men that are puffed up with pride", "against me forged a lie;", "Yet thy commandements observe", "with my whole heart will I."]}, "52": {"syllabified": "Their hearts, through world -- ly ease and wealth, as fat as grease they be: But in thy ho -- ly law I take de -- light con -- tin -- ual -- ly.", "prose": ["Their hearts, through worldly ease and wealth,", "as fat as grease they be:", "But in thy holy law I take", "delight continually."]}, "53": {"syllabified": "It hath been ver -- y good for me that I af -- flic -- ted was, That I might well in -- struct -- ed be, and learn thy ho -- ly laws.", "prose": ["It hath been very good for me", "that I afflicted was,", "That I might well instructed be,", "and learn thy holy laws."]}, "54": {"syllabified": "The word that com -- eth from thy mouth is bet -- ter un -- to me Than man -- y thou -- sands and great sums of gold and sil -- ver be.", "prose": ["The word that cometh from thy mouth", "is better unto me", "Than many thousands and great sums", "of gold and silver be."]}, "55": {"syllabified": "Thou mad'st and fash -- ion'dst me: thy laws to know give wis -- dom, Lord. So who thee fear shall joy to see me trust -- ing in thy word.", "prose": ["Thou mad'st and fashion'dst me: thy laws", "to know give wisdom, Lord.", "So who thee fear shall joy to see", "me trusting in thy word."]}, "56": {"syllabified": "That ver -- y right thy judg -- ments are I know, and do con -- fess; And that thou hast af -- flic -- ted me in truth and faith -- ful -- ness.", "prose": ["That very right thy judgments are", "I know, and do confess;", "And that thou hast afflicted me", "in truth and faithfulness."]}, "57": {"syllabified": "O let thy kind -- ness mer -- ci -- ful, I pray thee, com -- fort me, As to thy ser -- vant faith -- ful -- ly was prom -- is -- ed by thee.", "prose": ["O let thy kindness merciful,", "I pray thee, comfort me,", "As to thy servant faithfully", "was promised by thee."]}, "58": {"syllabified": "And let thy ten -- der mer -- cies come to me, that I may live; Be -- cause thy ho -- ly laws to me sweet de -- lec -- ta -- tion give.", "prose": ["And let thy tender mercies come", "to me, that I may live;", "Because thy holy laws to me", "sweet delectation give."]}, "59": {"syllabified": "Lord, let the proud a -- sham -- ed be; for they, with -- out a cause, With me per -- verse -- ly dealt: but I will muse up -- on thy laws.", "prose": ["Lord, let the proud ashamed be;", "for they, without a cause,", "With me perversely dealt: but I", "will muse upon thy laws."]}, "60": {"syllabified": "Let such as fear thee, and have known thy stat -- utes, turn to me. My heart let in thy laws be sound, that shamed I nev -- er be.", "prose": ["Let such as fear thee, and have known", "thy statutes, turn to me.", "My heart let in thy laws be sound,", "that shamed I never be."]}, "61": {"syllabified": "My soul for thy sal -- va -- tion faints; yet I thy word be -- lieve. Mine eyes fail for thy word: I say, When wilt thou com -- fort give?", "prose": ["My soul for thy salvation faints;", "yet I thy word believe.", "Mine eyes fail for thy word: I say,", "When wilt thou comfort give?"]}, "62": {"syllabified": "For like a bott -- le I'm be -- come, that in the smoke is set: I'm black, and parched with grief; yet I thy stat -- utes not for -- get.", "prose": ["For like a bottle I'm become,", "that in the smoke is set:", "I'm black, and parched with grief; yet I", "thy statutes not forget."]}, "63": {"syllabified": "How man -- y are thy ser -- vant's days? when wilt thou ex -- e -- cute Just judg -- ment on these wick -- ed men that do me per -- se -- cute?", "prose": ["How many are thy servant's days?", "when wilt thou execute", "Just judgment on these wicked men", "that do me persecute?"]}, "64": {"syllabified": "The proud have digg -- ed pits for me, which is a -- gainst thy laws. Thy words all faith -- ful are: help me, pur -- sued with -- out a cause.", "prose": ["The proud have digged pits for me,", "which is against thy laws.", "Thy words all faithful are: help me,", "pursued without a cause."]}, "65": {"syllabified": "They so con -- sumed me, that on earth my life they scarce did leave: Thy pre -- cepts yet for -- sook I not, but close to them did cleave.", "prose": ["They so consumed me, that on earth", "my life they scarce did leave:", "Thy precepts yet forsook I not,", "but close to them did cleave."]}, "66": {"syllabified": "Af -- ter thy lov -- ing -- kind -- ness, Lord, me qui -- cken, and pre -- serve: The tes -- ti -- mo -- ny of thy mouth so shall I still ob -- serve.", "prose": ["After thy loving-kindness, Lord,", "me quicken, and preserve:", "The testimony of thy mouth", "so shall I still observe."]}, "67": {"syllabified": "Thy word for ev -- er is, O Lord, in heav -- en set -- tled fast; Un -- to all gen -- er -- a -- ti -- ons thy faith -- ful -- ness doth last:", "prose": ["Thy word for ever is, O Lord,", "in heaven settled fast;", "Unto all generations", "thy faithfulness doth last:"]}, "68": {"syllabified": "The earth thou hast es -- tab -- lish -- ed, and it a -- bides by thee. This day they stand as thou or -- dain'dst; for all thy ser -- vants be.", "prose": ["The earth thou hast established,", "and it abides by thee.", "This day they stand as thou ordain'dst;", "for all thy servants be."]}, "69": {"syllabified": "Un -- less in thy most per -- fect law my soul de -- lights had found, I should have per -- ish -- ed, when as my trou -- bles did a -- bound.", "prose": ["Unless in thy most perfect law", "my soul delights had found,", "I should have perished, when as", "my troubles did abound."]}, "70": {"syllabified": "Thy pre -- cepts I will ne'er for -- get; they quick -- 'ning to me brought. Lord, I am thine; O save thou me: thy pre -- cepts I have sought.", "prose": ["Thy precepts I will ne'er forget;", "they quick'ning to me brought.", "Lord, I am thine; O save thou me:", "thy precepts I have sought."]}, "71": {"syllabified": "For me the wick -- ed have laid wait, me seek -- ing to de -- stroy: But I thy tes -- ti -- mo -- nies true con -- sid -- er will with joy.", "prose": ["For me the wicked have laid wait,", "me seeking to destroy:", "But I thy testimonies true", "consider will with joy."]}, "72": {"syllabified": "An end of all per -- fec -- ti -- on here have I seen, O God: But as for thy com -- mand -- e -- ment, it is exce -- ed -- ing broad.", "prose": ["An end of all perfection", "here have I seen, O God:", "But as for thy commandement,", "it is exceeding broad."]}, "73": {"syllabified": "O how love I thy law! it is my stud -- y all the day: It makes me wis -- er than my foes; for it doth with me stay.", "prose": ["O how love I thy law! it is", "my study all the day:", "It makes me wiser than my foes;", "for it doth with me stay."]}, "74": {"syllabified": "Than all my teach -- ers now I have more un -- der -- stand -- ing far; Be -- cause my med -- i -- ta -- ti -- on thy tes -- ti -- mo -- nies are.", "prose": ["Than all my teachers now I have", "more understanding far;", "Because my meditation", "thy testimonies are."]}, "75": {"syllabified": "In un -- der -- stand -- ing I ex -- cel those that are an -- ci -- ents; For I en -- deav -- our -- ed to keep all thy com -- mand -- e -- ments.", "prose": ["In understanding I excel", "those that are ancients;", "For I endeavoured to keep", "all thy commandements."]}, "76": {"syllabified": "My feet from each ill way I stayed, that I may keep thy word. I from thy judg -- ments have not swerved; for thou hast taught me, Lord.", "prose": ["My feet from each ill way I stayed,", "that I may keep thy word.", "I from thy judgments have not swerved;", "for thou hast taught me, Lord."]}, "77": {"syllabified": "How sweet un -- to my taste, O Lord, are all thy words of truth! Yea, I do find them sweet -- er far than hon -- ey to my mouth.", "prose": ["How sweet unto my taste, O Lord,", "are all thy words of truth!", "Yea, I do find them sweeter far", "than honey to my mouth."]}, "78": {"syllabified": "I through thy pre -- cepts, that are pure, do un -- der -- stand -- ing get; I there -- fore ev -- 'ry way that's false with all my heart do hate.", "prose": ["I through thy precepts, that are pure,", "do understanding get;", "I therefore ev'ry way that's false", "with all my heart do hate."]}, "79": {"syllabified": "Thy word is to my feet a lamp, and to my path a light. I sworn have, and I will per -- form, to keep thy judg -- ments right.", "prose": ["Thy word is to my feet a lamp,", "and to my path a light.", "I sworn have, and I will perform,", "to keep thy judgments right."]}, "80": {"syllabified": "I am with sore af -- flic -- ti -- on ev'n o -- ver -- whelmed, O Lord: In mer -- cy raise and qui -- cken me, ac -- cord -- ing to thy word.", "prose": ["I am with sore affliction", "ev'n overwhelmed, O Lord:", "In mercy raise and quicken me,", "according to thy word."]}, "81": {"syllabified": "The free -- will of -- f'rings of my mouth ac -- cept, I thee be -- seech: And un -- to me thy ser -- vant, Lord, thy judg -- ments clear -- ly teach.", "prose": ["The freewill off'rings of my mouth", "accept, I thee beseech:", "And unto me thy servant, Lord,", "thy judgments clearly teach."]}, "82": {"syllabified": "Though still my soul be in my hand, thy laws I'll not for -- get. I erred not from them, though for me the wick -- ed snares did set.", "prose": ["Though still my soul be in my hand,", "thy laws I'll not forget.", "I erred not from them, though for me", "the wicked snares did set."]}, "83": {"syllabified": "I of thy tes -- ti -- mo -- nies have a -- bove all things made choice, To be my her -- i -- tage for aye; for they my heart re -- joice.", "prose": ["I of thy testimonies have", "above all things made choice,", "To be my heritage for aye;", "for they my heart rejoice."]}, "84": {"syllabified": "I care -- ful -- ly in -- clin -- ed have my heart still to at -- tend; That I thy stat -- utes may per -- form al -- way un -- to the end.", "prose": ["I carefully inclined have", "my heart still to attend;", "That I thy statutes may perform", "alway unto the end."]}, "85": {"syllabified": "I hate the thoughts of van -- i -- ty, but love thy law do I. My shield and hid -- ing -- place thou art: I on thy word re -- ly.", "prose": ["I hate the thoughts of vanity,", "but love thy law do I.", "My shield and hiding-place thou art:", "I on thy word rely."]}, "86": {"syllabified": "All ye that e -- vil -- do -- ers are from me de -- part a -- way; For the com -- mand -- ments of my God I pur -- pose to o -- bey.", "prose": ["All ye that evil-doers are", "from me depart away;", "For the commandments of my God", "I purpose to obey."]}, "87": {"syllabified": "Ac -- cord -- ing to thy faith -- ful word up -- hold and stab -- lish me, That I may live, and of my hope a -- sham -- ed nev -- er be.", "prose": ["According to thy faithful word", "uphold and stablish me,", "That I may live, and of my hope", "ashamed never be."]}, "88": {"syllabified": "Hold thou me up, so shall I be in peace and safe -- ty still; And to thy stat -- utes have re -- spect con -- tin -- ual -- ly I will.", "prose": ["Hold thou me up, so shall I be", "in peace and safety still;", "And to thy statutes have respect", "continually I will."]}, "89": {"syllabified": "Thou tread'st down all that love to stray; false their de -- ceit doth prove. Lewd men, like dross, a -- way thou putt'st; there -- fore thy law I love.", "prose": ["Thou tread'st down all that love to stray;", "false their deceit doth prove.", "Lewd men, like dross, away thou putt'st;", "therefore thy law I love."]}, "90": {"syllabified": "For fear of thee my ver -- y flesh doth trem -- ble, all dis -- mayed; And of thy right -- eous judg -- ments, Lord, my soul is much a -- fraid.", "prose": ["For fear of thee my very flesh", "doth tremble, all dismayed;", "And of thy righteous judgments, Lord,", "my soul is much afraid."]}, "91": {"syllabified": "To all men I have judg -- ment done, per -- form -- ing jus -- tice right; Then let me not be left un -- to my fierce op -- pres -- sors' might.", "prose": ["To all men I have judgment done,", "performing justice right;", "Then let me not be left unto", "my fierce oppressors' might."]}, "92": {"syllabified": "For good un -- to thy ser -- vant, Lord, thy ser -- vant's sure -- ty be: From the op -- pres -- sion of the proud do thou de -- liv -- er me.", "prose": ["For good unto thy servant, Lord,", "thy servant's surety be:", "From the oppression of the proud", "do thou deliver me."]}, "93": {"syllabified": "Mine eyes do fail with look -- ing long for thy sal -- va -- ti -- on, The word of thy pure right -- eous -- ness while I do wait up -- on.", "prose": ["Mine eyes do fail with looking long", "for thy salvation,", "The word of thy pure righteousness", "while I do wait upon."]}, "94": {"syllabified": "In mer -- cy with thy ser -- vant deal, thy laws me teach and show. I am thy ser -- vant, wis -- dom give, that I thy laws may know.", "prose": ["In mercy with thy servant deal,", "thy laws me teach and show.", "I am thy servant, wisdom give,", "that I thy laws may know."]}, "95": {"syllabified": "'Tis time thou work, Lord; for they have made void thy law di -- vine. There -- fore thy pre -- cepts more I love than gold, yea, gold most fine.", "prose": ["'Tis time thou work, Lord; for they have", "made void thy law divine.", "Therefore thy precepts more I love", "than gold, yea, gold most fine."]}, "96": {"syllabified": "Con -- cern -- ing all things thy com -- mands all right I judge there -- fore; And ev -- 'ry false and wick -- ed way I per -- fect -- ly ab -- hor.", "prose": ["Concerning all things thy commands", "all right I judge therefore;", "And ev'ry false and wicked way", "I perfectly abhor."]}, "97": {"syllabified": "Thy stat -- utes, Lord, are won -- der -- ful, my soul them keeps with care. The en -- trance of thy words gives light, makes wise who sim -- ple are.", "prose": ["Thy statutes, Lord, are wonderful,", "my soul them keeps with care.", "The entrance of thy words gives light,", "makes wise who simple are."]}, "98": {"syllabified": "My mouth I have wide o -- pen -- ed, and pant -- ed earn -- est -- ly, While af -- ter thy com -- mand -- e -- ments I longed ex -- ceed -- ing -- ly.", "prose": ["My mouth I have wide opened,", "and panted earnestly,", "While after thy commandements", "I longed exceedingly."]}, "99": {"syllabified": "Look on me, Lord, and mer -- ci -- ful do thou un -- to me prove, As thou art wont to do to those thy name who tru -- ly love.", "prose": ["Look on me, Lord, and merciful", "do thou unto me prove,", "As thou art wont to do to those", "thy name who truly love."]}, "100": {"syllabified": "O let my foot -- steps in thy word a -- right still or -- dered be: Let no in -- iq -- ui -- ty ob -- tain do -- min -- ion o -- ver me.", "prose": ["O let my footsteps in thy word", "aright still ordered be:", "Let no iniquity obtain", "dominion over me."]}, "101": {"syllabified": "From man's op -- pres -- sion save thou me; so keep thy laws I will. Thy face make on thy ser -- vant shine; teach me thy stat -- utes still.", "prose": ["From man's oppression save thou me;", "so keep thy laws I will.", "Thy face make on thy servant shine;", "teach me thy statutes still."]}, "102": {"syllabified": "Riv -- ers of wa -- ters from mine eyes did run down, when I saw How wick -- ed men run on in sin, and do not keep thy law.", "prose": ["Rivers of waters from mine eyes", "did run down, when I saw", "How wicked men run on in sin,", "and do not keep thy law."]}, "103": {"syllabified": "O Lord, thou art most right -- e -- ous; thy judg -- ments are up -- right. Thy tes -- ti -- mo -- nies thou com -- mand'st most faith -- ful are and right.", "prose": ["O Lord, thou art most righteous;", "thy judgments are upright.", "Thy testimonies thou command'st", "most faithful are and right."]}, "104": {"syllabified": "My zeal hath ev'n con -- sum -- ed me, be -- cause mine en -- e -- mies Thy ho -- ly words for -- got -- ten have, and do thy laws de -- spise.", "prose": ["My zeal hath ev'n consumed me,", "because mine enemies", "Thy holy words forgotten have,", "and do thy laws despise."]}, "105": {"syllabified": "Thy word's most pure, there -- fore on it thy ser -- vant's love is set. Small, and de -- spised I am, yet I thy pre -- cepts not for -- get.", "prose": ["Thy word's most pure, therefore on it", "thy servant's love is set.", "Small, and despised I am, yet I", "thy precepts not forget."]}, "106": {"syllabified": "Thy right -- eous -- ness is right -- eous -- ness which ev -- er doth en -- dure: Thy ho -- ly law, Lord, al -- so is the ver -- y truth most pure.", "prose": ["Thy righteousness is righteousness", "which ever doth endure:", "Thy holy law, Lord, also is", "the very truth most pure."]}, "107": {"syllabified": "Trou -- ble and an -- guish have me found, and tak -- en hold on me: Yet in my trou -- ble my de -- light thy just com -- mand -- ments be.", "prose": ["Trouble and anguish have me found,", "and taken hold on me:", "Yet in my trouble my delight", "thy just commandments be."]}, "108": {"syllabified": "E -- ter -- nal right -- eous -- ness is in thy tes -- ti -- mo -- nies all: Lord, to me un -- der -- stand -- ing give, and ev -- er live I shall.", "prose": ["Eternal righteousness is in", "thy testimonies all:", "Lord, to me understanding give,", "and ever live I shall."]}, "109": {"syllabified": "With my whole heart I cried, Lord, hear; I will thy word o -- bey. I cried to thee; save me, and I will keep thy laws al -- way.", "prose": ["With my whole heart I cried, Lord, hear;", "I will thy word obey.", "I cried to thee; save me, and I", "will keep thy laws alway."]}, "110": {"syllabified": "I of the morn -- ing did pre -- vent the dawn -- ing, and did cry: For all mine ex -- pec -- ta -- ti -- on did on thy word re -- ly.", "prose": ["I of the morning did prevent", "the dawning, and did cry:", "For all mine expectation", "did on thy word rely."]}, "111": {"syllabified": "Mine eyes did time -- ous -- ly pre -- vent the watch -- es of the night. That in thy word with care -- ful mind then med -- i -- tate I might.", "prose": ["Mine eyes did timeously prevent", "the watches of the night.", "That in thy word with careful mind", "then meditate I might."]}, "112": {"syllabified": "Af -- ter thy lov -- ing -- kind -- ness hear my voice, that calls on thee: Ac -- cord -- ing to thy judg -- ment, Lord, re -- vive and qui -- cken me.", "prose": ["After thy loving-kindness hear", "my voice, that calls on thee:", "According to thy judgment, Lord,", "revive and quicken me."]}, "113": {"syllabified": "Who fol -- low mis -- chief they draw nigh; they from thy law are far: But thou art near, Lord; most firm truth all thy com -- mand -- ments are.", "prose": ["Who follow mischief they draw nigh;", "they from thy law are far:", "But thou art near, Lord; most firm truth", "all thy commandments are."]}, "114": {"syllabified": "As for thy tes -- ti -- mo -- nies all, of old this have I tried, That thou hast sure -- ly found -- ed them for ev -- er to a -- bide.", "prose": ["As for thy testimonies all,", "of old this have I tried,", "That thou hast surely founded them", "for ever to abide."]}, "115": {"syllabified": "Con -- sid -- er mine af -- flic -- ti -- on, in safe -- ty do me set: De -- liv -- er me, O Lord, for I thy law do not for -- get.", "prose": ["Consider mine affliction,", "in safety do me set:", "Deliver me, O Lord, for I", "thy law do not forget."]}, "116": {"syllabified": "Af -- ter thy word re -- vive thou me: save me, and plead my cause. Sal -- va -- tion is from sin -- ners far; for they seek not thy laws.", "prose": ["After thy word revive thou me:", "save me, and plead my cause.", "Salvation is from sinners far;", "for they seek not thy laws."]}, "117": {"syllabified": "O Lord, both great and man -- i -- fold thy ten -- der mer -- cies be: Ac -- cord -- ing to thy judg -- ments just, re -- vive and qui -- cken me.", "prose": ["O Lord, both great and manifold", "thy tender mercies be:", "According to thy judgments just,", "revive and quicken me."]}, "118": {"syllabified": "My per -- se -- cu -- tors man -- y are, and foes that do com -- bine; Yet from thy tes -- ti -- mo -- nies pure my heart doth not de -- cline.", "prose": ["My persecutors many are,", "and foes that do combine;", "Yet from thy testimonies pure", "my heart doth not decline."]}, "119": {"syllabified": "I saw trans -- gres -- sors, and was grieved; for they keep not thy word. See how I love thy law! as thou art kind, me qui -- cken, Lord.", "prose": ["I saw transgressors, and was grieved;", "for they keep not thy word.", "See how I love thy law! as thou", "art kind, me quicken, Lord."]}, "120": {"syllabified": "From the be -- gin -- ning all thy word hath been most true and sure: Thy right -- eous judg -- ments ev -- 'ry one for ev -- er -- more en -- dure.", "prose": ["From the beginning all thy word", "hath been most true and sure:", "Thy righteous judgments ev'ry one", "for evermore endure."]}, "121": {"syllabified": "Prin -- ces have per -- se -- cut -- ed me, al -- though no cause they saw: But still of thy most ho -- ly word my heart doth stand in awe.", "prose": ["Princes have persecuted me,", "although no cause they saw:", "But still of thy most holy word", "my heart doth stand in awe."]}, "122": {"syllabified": "I at thy word re -- joice, as one of spoil that finds great store. Thy law I love; but ly -- ing all I hate and do ab -- hor.", "prose": ["I at thy word rejoice, as one", "of spoil that finds great store.", "Thy law I love; but lying all", "I hate and do abhor."]}, "123": {"syllabified": "Sev'n times a -- day it is my care to give due praise to thee; Be -- cause of all thy judg -- ments, Lord, which right -- eous ev -- er be.", "prose": ["Sev'n times a-day it is my care", "to give due praise to thee;", "Because of all thy judgments, Lord,", "which righteous ever be."]}, "124": {"syllabified": "Great peace have they who love thy law; of -- fence they shall have none. I hoped for thy sal -- va -- tion, Lord, and thy com -- mands have done.", "prose": ["Great peace have they who love thy law;", "offence they shall have none.", "I hoped for thy salvation, Lord,", "and thy commands have done."]}, "125": {"syllabified": "My soul thy tes -- ti -- mo -- nies pure ob -- serv -- ed care -- ful -- ly; On them my heart is set, and them I love ex -- ceed -- ing -- ly.", "prose": ["My soul thy testimonies pure", "observed carefully;", "On them my heart is set, and them", "I love exceedingly."]}, "126": {"syllabified": "Thy tes -- ti -- mo -- nies and thy laws I kept with spe -- cial care; For all my works and ways each one be -- fore thee o -- pen are.", "prose": ["Thy testimonies and thy laws", "I kept with special care;", "For all my works and ways each one", "before thee open are."]}, "127": {"syllabified": "O let my ear -- nest pray'r and cry come near be -- fore thee, Lord: Give un -- der -- stand -- ing un -- to me, ac -- cord -- ing to thy word.", "prose": ["O let my earnest pray'r and cry", "come near before thee, Lord:", "Give understanding unto me,", "according to thy word."]}, "128": {"syllabified": "Let my re -- quest be -- fore thee come: af -- ter thy word me free. My lips shall ut -- ter praise, when thou hast taught thy laws to me.", "prose": ["Let my request before thee come:", "after thy word me free.", "My lips shall utter praise, when thou", "hast taught thy laws to me."]}, "129": {"syllabified": "My tongue of thy most bles -- sed word shall speak, and it con -- fess; Be -- cause all thy com -- mand -- e -- ments are per -- fect right -- eous -- ness.", "prose": ["My tongue of thy most blessed word", "shall speak, and it confess;", "Because all thy commandements", "are perfect righteousness."]}, "130": {"syllabified": "Let thy strong hand make help to me: thy pre -- cepts are my choice. I longed for thy sal -- va -- tion, Lord, and in thy law re -- joice.", "prose": ["Let thy strong hand make help to me:", "thy precepts are my choice.", "I longed for thy salvation, Lord,", "and in thy law rejoice."]}, "131": {"syllabified": "O let my soul live, and it shall give prais -- es un -- to thee; And let thy judg -- ments gra -- ci -- ous be help -- ful un -- to me.", "prose": ["O let my soul live, and it shall", "give praises unto thee;", "And let thy judgments gracious", "be helpful unto me."]}, "132": {"syllabified": "I, like a lost sheep, went a -- stray; thy ser -- vant seek, and find: For thy com -- mands I suff -- ered not to slip out of my mind.", "prose": ["I, like a lost sheep, went astray;", "thy servant seek, and find:", "For thy commands I suffered not", "to slip out of my mind."]}}}, "blessed-assurance": {"slug": "blessed-assurance", "title": "Blessed Assurance", "first_line": "Blessed assurance, Jesus is mine", "author": "fanny-crosby", "author_date": "1873", "foot": "dactylic", "meter": {"pattern": [9, 10, 9, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Assurance", "Blood", "Jesus", "Knowledge", "Obedience", "Presence", "Promises (see also Gospel)", "Salvation", "Submission"], "scripture": ["Hebrews 10:21-23", "Psalm 71:24", "Romans 5:1"], "provenance": {"layer": "text", "source": "the-lesser-hymnal-1875", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:195 (line 24670); Words Fanny J. Crosby 1873 (d. 1915); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bless -- ed as -- sur -- ance, Je -- sus is mine! O what a fore -- taste of glo -- ry di -- vine! Heir of sal -- va -- tion, pur -- chase of God, Born of His Spir -- it, washed in His blood.", "prose": ["Blessed assurance, Jesus is mine!", "O what a foretaste of glory divine!", "Heir of salvation, purchase of God,", "Born of His Spirit, washed in His blood."]}, "2": {"syllabified": "Per -- fect sub -- mis -- sion, per -- fect de -- light, Vis -- ions of rap -- ture now burst on my sight; An -- gels de -- scend -- ing bring from a -- bove Ech -- oes of mer -- cy, whisp -- ers of love.", "prose": ["Perfect submission, perfect delight,", "Visions of rapture now burst on my sight;", "Angels descending bring from above", "Echoes of mercy, whispers of love."]}, "3": {"syllabified": "Per -- fect sub -- mis -- sion, all is at rest I in my Sav -- ior am hap -- py and blest, Watch -- ing and wait -- ing, look -- ing a -- bove, Filled with His good -- ness, lost in His love.", "prose": ["Perfect submission, all is at rest", "I in my Savior am happy and blest,", "Watching and waiting, looking above,", "Filled with His goodness, lost in His love."]}}, "refrain": {"syllabified": "This is my stor -- y, this is my song, Prais -- ing my Sav -- ior, all the day long; This is my stor -- y, this is my song, Prais -- ing my Sav -- ior, all the day long.", "prose": ["This is my story, this is my song,", "Praising my Savior, all the day long;", "This is my story, this is my song,", "Praising my Savior, all the day long."]}}, "blessed-is-each-one-that-fears-the-lord": {"slug": "blessed-is-each-one-that-fears-the-lord", "title": "Blessed Is Each One That Fears the Lord", "first_line": "Blessed is each one that fears the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 128, "topics": ["Psalms"], "scripture": ["Psalm 128"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 128. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Blessed is each one that fears the Lord, and walk -- eth in his ways; For of thy la -- bour thou shall eat, and hap -- py be al -- ways.", "prose": ["Blessed is each one that fears the Lord,", "and walketh in his ways;", "For of thy labour thou shall eat,", "and happy be always."]}, "2": {"syllabified": "Thy wife shall as a fruit -- ful vine by thy house' sides be found: Thy chil -- dren like to ol -- ive -- plants a -- bout thy ta -- ble round.", "prose": ["Thy wife shall as a fruitful vine", "by thy house' sides be found:", "Thy children like to olive-plants", "about thy table round."]}, "3": {"syllabified": "Be -- hold, the man that fears the Lord, thus bless -- ed shall he be. The Lord shall out of Zi -- on give his bless -- ing un -- to thee:", "prose": ["Behold, the man that fears the Lord,", "thus blessed shall he be.", "The Lord shall out of Zion give", "his blessing unto thee:"]}, "4": {"syllabified": "Thou shalt Je -- ru -- s'lem's good be -- hold whilst thou on earth dost dwell. Thou shalt thy chil -- dren's chil -- dren see, and peace on I -- sra -- el.", "prose": ["Thou shalt Jerus'lem's good behold", "whilst thou on earth dost dwell.", "Thou shalt thy children's children see,", "and peace on Israel."]}}}, "blessed-is-he-that-wisely-doth": {"slug": "blessed-is-he-that-wisely-doth", "title": "Blessed Is He That Wisely Doth", "first_line": "Blessed is he that wisely doth", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 41, "topics": ["Psalms"], "scripture": ["Psalm 41"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 41. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bless -- ed is he that wise -- ly doth the poor man's case con -- sid -- er; For when the time of trou -- ble is, the Lord will him de -- liv -- er.", "prose": ["Blessed is he that wisely doth", "the poor man's case consider;", "For when the time of trouble is,", "the Lord will him deliver."]}, "2": {"syllabified": "God will him keep, yea, save a -- live; on earth he blessed shall live; And to his en -- e -- mies' de -- sire thou wilt him not up give.", "prose": ["God will him keep, yea, save alive;", "on earth he blessed shall live;", "And to his enemies' desire", "thou wilt him not up give."]}, "3": {"syllabified": "God will give strength when he on bed of lan -- guish -- ing doth mourn; And in his sick -- ness sore, O Lord, thou all his bed wilt turn.", "prose": ["God will give strength when he on bed", "of languishing doth mourn;", "And in his sickness sore, O Lord,", "thou all his bed wilt turn."]}, "4": {"syllabified": "I said, O Lord, do thou ex -- tend thy mer -- cy un -- to me; O do thou heal my soul; for why? I have of -- fend -- ed thee.", "prose": ["I said, O Lord, do thou extend", "thy mercy unto me;", "O do thou heal my soul; for why?", "I have offended thee."]}, "5": {"syllabified": "Those that to me are en -- e -- mies, of me do e -- vil say, When shall he die, that so his name may per -- ish quite a -- way?", "prose": ["Those that to me are enemies,", "of me do evil say,", "When shall he die, that so his name", "may perish quite away?"]}, "6": {"syllabified": "To see me if he comes, he speaks vain words: but then his heart Heaps mis -- chief to it, which he tells, when forth he doth de -- part.", "prose": ["To see me if he comes, he speaks", "vain words: but then his heart", "Heaps mischief to it, which he tells,", "when forth he doth depart."]}, "7": {"syllabified": "My hat -- ers joint -- ly whis -- per -- ing, 'gainst me my hurt de -- vise. Mis -- chief, say they, cleaves fast to him; he lieth, and shall not rise.", "prose": ["My haters jointly whispering,", "'gainst me my hurt devise.", "Mischief, say they, cleaves fast to him;", "he lieth, and shall not rise."]}, "8": {"syllabified": "Yea, ev'n mine own fa -- mil -- iar friend, on whom I did re -- ly, Who ate my bread, ev'n he his heel a -- gainst me lift -- ed high.", "prose": ["Yea, ev'n mine own familiar friend,", "on whom I did rely,", "Who ate my bread, ev'n he his heel", "against me lifted high."]}, "9": {"syllabified": "But, Lord, be mer -- ci -- ful to me, and up a -- gain me raise, That I may just -- ly them re -- quite ac -- cord -- ing to their ways.", "prose": ["But, Lord, be merciful to me,", "and up again me raise,", "That I may justly them requite", "according to their ways."]}, "10": {"syllabified": "By this I know that cer -- tain -- ly I fa -- voured am by thee; Be -- cause my hate -- ful en -- e -- my tri -- umphs not o -- ver me.", "prose": ["By this I know that certainly", "I favoured am by thee;", "Because my hateful enemy", "triumphs not over me."]}, "11": {"syllabified": "But as for me, thou me up -- hold'st in mine in -- teg -- ri -- ty; And me be -- fore thy coun -- ten -- ance thou sett'st con -- tin -- ual -- ly.", "prose": ["But as for me, thou me uphold'st", "in mine integrity;", "And me before thy countenance", "thou sett'st continually."]}, "12": {"syllabified": "The Lord, the God of I -- sra -- el, be blessed for ev -- er then, From age to age e -- ter -- nal -- ly. A -- men, yea, and a -- men.", "prose": ["The Lord, the God of Israel,", "be blessed for ever then,", "From age to age eternally.", "Amen, yea, and amen."]}}}, "blessed-jesus-at-thy-word": {"slug": "blessed-jesus-at-thy-word", "title": "Blessed Jesus at Thy Word", "first_line": "Blessed Jesus, at Thy Word We are gathered all", "author": "verses-1-3-tobias-clausnitzer", "author_date": "1858", "translator": "catherine-winkworth", "translator_date": "1858", "foot": "iambic", "meter": {"pattern": [7, 8, 7, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels [2,3]", "Art and Music", "Church on Earth (Church Militant)", "God, As King"], "scripture": ["Hab 2:20", "2Sam 22:7", "Psalm 48:9-10", "Revelation 7:9-12"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:22; all components published pre-1931 (latest year 1858).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bles -- sed Je -- sus, at Thy Word We are gath -- ered all to hear Thee; Let our hearts and souls be stirred Now to seek and love and fear Thee, By Thy teach -- ings sweet and ho -- ly, Drawn from earth to love Thee sole -- ly.", "prose": ["Blessed Jesus, at Thy Word", "We are gathered all to hear Thee;", "Let our hearts and souls be stirred", "Now to seek and love and fear Thee,", "By Thy teachings sweet and holy,", "Drawn from earth to love Thee solely."]}, "2": {"syllabified": "All our knowl -- edge, sense, and sight Lie in deep -- est dark -- ness shroud -- ed, Til Thy Spir -- it breaks our night With the beams of truth un -- cloud -- ed; Thou a -- lone to God canst win us; Thou must work all good with -- in us.", "prose": ["All our knowledge, sense, and sight", "Lie in deepest darkness shrouded,", "Til Thy Spirit breaks our night", "With the beams of truth unclouded;", "Thou alone to God canst win us;", "Thou must work all good within us."]}, "3": {"syllabified": "Glor -- ious Lord, Thy -- self im -- part! Light of light, from God pro -- ceed -- ing, O -- pen Thou our ears and heart; Help us by Thy Spir -- it's plead -- ing; Hear the cry Thy peo -- ple rais -- es; Hear and bless our prayers and prais -- es.", "prose": ["Glorious Lord, Thyself impart!", "Light of light, from God proceeding,", "Open Thou our ears and heart;", "Help us by Thy Spirit's pleading;", "Hear the cry Thy people raises;", "Hear and bless our prayers and praises."]}, "4": {"syllabified": "Fa -- ther, Son, and Ho -- ly Ghost, Praise to Thee and ad -- o -- ra -- tion! Grant that we Thy Word may trust And ob -- tain true con -- so -- la -- tion, While we here be -- low must wan -- der, Till we sing Thy prais -- es yon -- der.", "prose": ["Father, Son, and Holy Ghost,", "Praise to Thee and adoration!", "Grant that we Thy Word may trust", "And obtain true consolation,", "While we here below must wander,", "Till we sing Thy praises yonder."]}}}, "blest-be-the-tie-that-binds": {"slug": "blest-be-the-tie-that-binds", "title": "Blest Be The Tie That Binds", "first_line": "Blest be the tie that binds Our hearts in", "author": "john-fawcett", "author_date": "1845", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Art and Music", "Blood", "Consecration"], "scripture": ["Revelation 7:9-17", "Hebrews 9:14", "1 John 1:7", "Revelation 6:11-13"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:214; all components published pre-1931 (latest year 1845).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "blest_be_the_tie_that_binds", "total_instances": 2553}}, "stanzas": {"1": {"syllabified": "Blest be the tie that binds Our hearts in Christ -- ian love; The fel -- low -- ship of kin -- dred minds Is like to that a -- bove.", "prose": ["Blest be the tie that binds", "Our hearts in Christian love;", "The fellowship of kindred minds", "Is like to that above."]}, "2": {"syllabified": "Be -- fore our Fa -- ther's throne We pour our ar -- dent prayers; Our fears, our hopes, our aims are one Our com -- forts and our cares.", "prose": ["Before our Father's throne", "We pour our ardent prayers;", "Our fears, our hopes, our aims are one", "Our comforts and our cares."]}, "3": {"syllabified": "We share each oth -- er's woes, Our mu -- tual bur -- dens bear; And of -- ten for each oth -- er flows The sym -- pa -- thiz -- ing tear.", "prose": ["We share each other's woes,", "Our mutual burdens bear;", "And often for each other flows", "The sympathizing tear."]}, "4": {"syllabified": "When we a -- sun -- der part, It gives us in -- ward pain; But we shall still be joined in heart, And hope to meet a -- gain.", "prose": ["When we asunder part,", "It gives us inward pain;", "But we shall still be joined in heart,", "And hope to meet again."]}, "5": {"syllabified": "This glor -- ious hope re -- vives Our cour -- age by the way; While each in ex -- pec -- ta -- tion lives, And longs to see the day.", "prose": ["This glorious hope revives", "Our courage by the way;", "While each in expectation lives,", "And longs to see the day."]}}}, "bread-of-the-world-in-mercy-broken": {"slug": "bread-of-the-world-in-mercy-broken", "title": "Bread of the World in Mercy Broken", "first_line": "Bread of the World in Mercy Broken", "author": "reginald-heber", "author_date": "1827", "foot": "trochaic", "meter": {"pattern": [9, 8, 9, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Communion", "Lord's Supper"], "scripture": ["1 Corinthians 11:23-26"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Reginald Heber (1783–1826), \"Bread of the World, in Mercy Broken,\" a Communion hymn first published posthumously in \"Hymns Written and Adapted to the Weekly Church Service of the Year\" (London, 1827). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bread of the world, in mer -- cy bro -- ken, Wine of the soul, in mer -- cy shed, By whom the words of life were spo -- ken, And in whose death our sins are dead: Look on the heart by sor -- row bro -- ken, Look on the tears by sin -- ners shed; And be Thy feast to us the to -- ken That by Thy grace our souls are fed.", "prose": ["Bread of the world, in mercy broken,", "Wine of the soul, in mercy shed,", "By whom the words of life were spoken,", "And in whose death our sins are dead:", "Look on the heart by sorrow broken,", "Look on the tears by sinners shed;", "And be Thy feast to us the token", "That by Thy grace our souls are fed."]}}}, "breathe-on-me-breath-of-god": {"slug": "breathe-on-me-breath-of-god", "title": "Breathe on Me, Breath of God", "first_line": "Breathe on me, Breath of God", "author": "edwin-hatch", "author_date": "1878", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Holy Spirit", "Consecration", "Pentecost"], "scripture": ["John 20:22"], "provenance": {"layer": "text", "source": "hatch-1878", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Edwin Hatch, 1878. Author d. 1889.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "breathe_on_me_breath_of_god", "total_instances": 392}}, "stanzas": {"1": {"syllabified": "Breathe on me, breath of God, Fill me with life a -- new, That I may love what Thou dost love, And do what Thou wouldst do.", "prose": ["Breathe on me, breath of God,", "Fill me with life anew,", "That I may love what Thou dost love,", "And do what Thou wouldst do."]}, "2": {"syllabified": "Breathe on me, breath of God, Un -- til my heart is pure, Un -- til with Thee I will one will, To do and to en -- dure.", "prose": ["Breathe on me, breath of God,", "Until my heart is pure,", "Until with Thee I will one will,", "To do and to endure."]}, "3": {"syllabified": "Breathe on me, breath of God, So shall I nev -- er die, But live with Thee the per -- fect life Of Thine e -- ter -- ni -- ty.", "prose": ["Breathe on me, breath of God,", "So shall I never die,", "But live with Thee the perfect life", "Of Thine eternity."]}}}, "brightest-and-best-of-the-sons-of-the-morning": {"slug": "brightest-and-best-of-the-sons-of-the-morning", "title": "Brightest and Best of the Sons of the Morning", "first_line": "Brightest and best of the sons of the morning", "author": "reginald-heber", "author_date": "1811", "foot": "iambic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Epiphany", "Christmas"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Reginald Heber, \"Brightest and best of the sons of the morning,\" written 1811, published in the Christian Observer (1811). Heber d. 1826; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bright -- est and best of the sons of the morn -- ing, Dawn on our dark -- ness, and lend us thine aid; Star of the East, the ho -- ri -- zon a -- dorn -- ing, Guide where our in -- fant Re -- deem -- er is laid.", "prose": ["Brightest and best of the sons of the morning,", "Dawn on our darkness, and lend us thine aid;", "Star of the East, the horizon adorning,", "Guide where our infant Redeemer is laid."]}, "2": {"syllabified": "Cold on His cra -- dle the dew -- drops are shin -- ing, Low lies His head with the beasts of the stall; An -- gels a -- dore Him in slum -- ber re -- clin -- ing, Mak -- er and Mon -- arch and Sav -- ior of all.", "prose": ["Cold on His cradle the dewdrops are shining,", "Low lies His head with the beasts of the stall;", "Angels adore Him in slumber reclining,", "Maker and Monarch and Savior of all."]}, "3": {"syllabified": "Say, shall we yield Him, in cost -- ly de -- vo -- tion, O -- dors of E -- dom and of -- f'rings di -- vine, Gems of the moun -- tain and pearls of the o -- cean, Myrrh from the for -- est and gold from the mine?", "prose": ["Say, shall we yield Him, in costly devotion,", "Odors of Edom and off'rings divine,", "Gems of the mountain and pearls of the ocean,", "Myrrh from the forest and gold from the mine?"]}, "4": {"syllabified": "Vain -- ly we of -- fer each am -- ple ob -- la -- tion, Vain -- ly with gifts would His fa -- vor se -- cure; Rich -- er by far is the heart's ad -- o -- ra -- tion, Dear -- er to God are the prayers of the poor.", "prose": ["Vainly we offer each ample oblation,", "Vainly with gifts would His favor secure;", "Richer by far is the heart's adoration,", "Dearer to God are the prayers of the poor."]}}}, "bringing-in-the-sheaves": {"slug": "bringing-in-the-sheaves", "title": "Bringing in the Sheaves", "first_line": "Sowing in the morning, sowing seeds of kindness", "index_first_line": "Sowing in the morning, sowing seeds", "author": "knowles-shaw", "author_date": "1874", "foot": "trochaic", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Harvest", "Service", "Missions", "Heaven", "Perseverance"], "scripture": ["Psalm 126:5-6", "Galatians 6:9", "John 4:35-36"], "provenance": {"layer": "text", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_evidence": "Knowles Shaw (1834-1878), 1874. Transcribed syllable by syllable, and with its punctuation, from the dated page image of Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney & W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 — archive.org songsofjoygladne00mcdo_0, image n40 — which is headed \"Bringing in the Sheaves.\" and credits the words on the staff as \"Words from 'Songs of Glory.'\" (a collection, not a person) with \"Music by Geo. A. Minor. By per.\" on the right. The lyric rows were read again on a second, independent scan of a different copy of the same 1885 printing (archive.org songsofjoygladne00mcdo, image n40); the two agree word for word and point for point. THE 1885 PLATE DOES NOT NAME THE AUTHOR, so the attribution to Knowles Shaw is taken from a second dated pre-1931 printing that does: Gospel Hymns Nos. 1 to 6 (New York: Biglow & Main; Cincinnati: John Church, 1894), no. 609, which engraves \"KNOWLES SHAW.\" on the left of the staff and \"GEORGE A. MINOR, by per.\" on the right (archive.org gospelhymnsnos1t0000unse_s2j5, image n612-n613). US public domain: the text was first published in 1874 and every witness read here is itself pre-1931; the author died in 1878, so it is also PD in life+70 jurisdictions. TEXT VARIANTS, stated because this encoding follows the 1885 plate and not the more familiar 1894 reading: the 1885 plate prints \"and the dew -- y eves;\" (PLURAL) where the 1894 plate prints \"dew -- y eve;\"; the 1885 plate prints stanza 3 line 1 as \"Go, then, ev -- er weeping, sowing for the Master,\" where the 1894 plate prints \"Go -- ing forth with weeping, sowing for the Master,\"; and the 1885 plate prints a lower-case \"he will bid us welcome\" where the 1894 plate capitalises \"He\". Punctuation is the 1885 plate's throughout, including the comma after \"noon -- tide,\" in stanza 1, the semicolons that end the second line of every stanza, and the apostrophes in \"Tho'\", \"sustain'd\", \"winter's\" and \"weeping's\". Nothing was modernised and no stanza was omitted: the plate prints exactly these three stanzas, all three sharing the fourth line \"We shall come rejoicing, bringing in the sheaves.\" (the plate prints that line once, under the third system, for all three stanzas).", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sow -- ing in the morn -- ing, sow -- ing seeds of kind -- ness, Sow -- ing in the noon -- tide, and the dew -- y eves; Wait -- ing for the har -- vest, and the time of reap -- ing, We shall come re -- joic -- ing, bring -- ing in the sheaves.", "prose": ["Sowing in the morning, sowing seeds of kindness,", "Sowing in the noontide, and the dewy eves;", "Waiting for the harvest, and the time of reaping,", "We shall come rejoicing, bringing in the sheaves."]}, "2": {"syllabified": "Sow -- ing in the sun -- shine, sow -- ing in the shad -- ows, Fear -- ing nei -- ther clouds nor win -- ter's chill -- ing breeze; By and by the har -- vest, and the la -- bor end -- ed, We shall come re -- joic -- ing, bring -- ing in the sheaves.", "prose": ["Sowing in the sunshine, sowing in the shadows,", "Fearing neither clouds nor winter's chilling breeze;", "By and by the harvest, and the labor ended,", "We shall come rejoicing, bringing in the sheaves."]}, "3": {"syllabified": "Go, then, ev -- er weep -- ing, sow -- ing for the Mas -- ter, Tho' the loss sus -- tain'd our spir -- it oft -- en grieves; When our weep -- ing's o -- ver, he will bid us wel -- come, We shall come re -- joic -- ing, bring -- ing in the sheaves.", "prose": ["Go, then, ever weeping, sowing for the Master,", "Tho' the loss sustain'd our spirit often grieves;", "When our weeping's over, he will bid us welcome,", "We shall come rejoicing, bringing in the sheaves."]}}, "refrain": {"syllabified": "Bring -- ing in the sheaves, bring -- ing in the sheaves, We shall come re -- joic -- ing, bring -- ing in the sheaves. Bring -- ing in the sheaves, bring -- ing in the sheaves, We shall come re -- joic -- ing, bring -- ing in the sheaves.", "prose": ["Bringing in the sheaves, bringing in the sheaves,", "We shall come rejoicing, bringing in the sheaves.", "Bringing in the sheaves, bringing in the sheaves,", "We shall come rejoicing, bringing in the sheaves."]}}, "built-on-the-rock": {"slug": "built-on-the-rock", "title": "Built on the Rock", "first_line": "Built on the Rock the church doth stand, Even", "author": "nikolai-f-s-grundtvig", "author_date": "1913", "translator": "carl-dving", "translator_date": "1913", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Brotherhood", "Courage in Affliction", "Cross"], "scripture": ["Revelation 14:13", "2 Timothy 4:7-8"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:217; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "built_on_the_rock_the_church_doth_stand", "total_instances": 77}}, "stanzas": {"1": {"syllabified": "Built on the Rock the church doth stand, E -- ven when stee -- ples are fall -- ing; Crum -- bled have spires in ev -- ery land, Bells still are chim -- ing and cal -- ling; Cal -- ling the young and old to rest, But a -- bove all the soul dis -- tressed, Long -- ing for rest ev -- er -- last -- ing.", "prose": ["Built on the Rock the church doth stand,", "Even when steeples are falling;", "Crumbled have spires in every land,", "Bells still are chiming and calling;", "Calling the young and old to rest,", "But above all the soul distressed,", "Longing for rest everlasting."]}, "2": {"syllabified": "Sure -- ly in tem -- ples made with hands, God, the Most High, is not dwell -- ing; High a -- bove earth His tem -- ple stands, All earth -- ly tem -- ples ex -- cell -- ing; Yet He whom heav'ns can -- not con -- tain Chose to a -- bide on earth with men, Built in our bod -- ies His tem -- ple.", "prose": ["Surely in temples made with hands,", "God, the Most High, is not dwelling;", "High above earth His temple stands,", "All earthly temples excelling;", "Yet He whom heav'ns cannot contain", "Chose to abide on earth with men,", "Built in our bodies His temple."]}, "3": {"syllabified": "We are God's house of liv -- ing stones, Built for His own hab -- i -- ta -- tion; He through bap -- tis -- mal grace us owns, Heirs of His won -- drous sal -- va -- tion; Were we but two His Name to tell, Yet He would deign with us to dwell, With all His grace and His fa -- vor.", "prose": ["We are God's house of living stones,", "Built for His own habitation;", "He through baptismal grace us owns,", "Heirs of His wondrous salvation;", "Were we but two His Name to tell,", "Yet He would deign with us to dwell,", "With all His grace and His favor."]}, "4": {"syllabified": "Now we may gath -- er with our King; Ev'n in the low -- li -- est dwell -- ing: Prais -- es to Him we there may bring, His won -- drous mer -- cy fore -- tell -- ing; Je -- sus His grace to us ac -- cords, Spir -- it and life are all His words, His truth doth hal -- low the tem -- ple.", "prose": ["Now we may gather with our King;", "Ev'n in the lowliest dwelling:", "Praises to Him we there may bring,", "His wondrous mercy foretelling;", "Jesus His grace to us accords,", "Spirit and life are all His words,", "His truth doth hallow the temple."]}, "5": {"syllabified": "Still we our earth -- ly tem -- ples rear, That we may her -- ald His prais -- es; They are the homes where He draws near And lit -- tle child -- ren em -- brac -- es, Beau -- ti -- ful things in them are said, God there with us His cov -- 'nant made, Mak -- ing us heirs of His king -- dom.", "prose": ["Still we our earthly temples rear,", "That we may herald His praises;", "They are the homes where He draws near", "And little children embraces,", "Beautiful things in them are said,", "God there with us His cov'nant made,", "Making us heirs of His kingdom."]}}}, "by-babels-riverside-we-sat-in-tears": {"slug": "by-babels-riverside-we-sat-in-tears", "title": "Remembrance of Church Priveleges", "first_line": "By Babel's riverside we sat in tears", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 137, "topics": ["Psalms"], "scripture": ["Psalm 137"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 380) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 137, selection 380. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "By Ba -- bel's riv -- er -- side we sat in tears, Re -- mem -- b'ring Zi -- on's pride in for -- mer years, While on the weep -- ing wil -- lows there were hung The harps our grief had si -- lenced and un -- strung.", "prose": ["By Babel's riverside we sat in tears,", "Rememb'ring Zion's pride in former years,", "While on the weeping willows there were hung", "The harps our grief had silenced and unstrung."]}, "2": {"syllabified": "For they who led us there a cap -- tive throng Re -- quired that we pre -- pare for them a song; Yea, there our cap -- tives asked for mirth and praise, Re -- quired a song of Zi -- on's hap -- py days.", "prose": ["For they who led us there a captive throng", "Required that we prepare for them a song;", "Yea, there our captives asked for mirth and praise,", "Required a song of Zion's happy days."]}, "3": {"syllabified": "O how shall we thus sing at their com -- mand Songs of the Lord, our King, in this strange land? O Zi -- on, if I e'er for -- get thy woe, Let my right hand its skill no long -- er know.", "prose": ["O how shall we thus sing at their command", "Songs of the Lord, our King, in this strange land?", "O Zion, if I e'er forget thy woe,", "Let my right hand its skill no longer know."]}, "4": {"syllabified": "Yea, let my tongue, i pray, all si -- lent be, If I do not al -- way re -- mem -- ber thee; If I pre -- fer not thee, thought in thy grief, A -- bove all oth -- er joys my ver -- y chief.", "prose": ["Yea, let my tongue, i pray, all silent be,", "If I do not alway remember thee;", "If I prefer not thee, thought in thy grief,", "Above all other joys my very chief."]}}}, "by-babels-streams-we-sat-and-wept": {"slug": "by-babels-streams-we-sat-and-wept", "title": "By Babel's Streams We Sat and Wept", "first_line": "By Babel's streams we sat and wept", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 137, "topics": ["Psalms"], "scripture": ["Psalm 137"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 137. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "By Ba -- bel's streams we sat and wept, when Zi -- on we thought on. In midst there -- of we hanged our harps the wil -- low -- trees up -- on.", "prose": ["By Babel's streams we sat and wept,", "when Zion we thought on.", "In midst thereof we hanged our harps", "the willow-trees upon."]}, "2": {"syllabified": "For there a song re -- quir -- ed they, who did us cap -- tive bring: Our spoil -- ers called for mirth, and said, A song of Zi -- on sing.", "prose": ["For there a song required they,", "who did us captive bring:", "Our spoilers called for mirth, and said,", "A song of Zion sing."]}, "3": {"syllabified": "O how the Lord's song shall we sing with -- in a for -- eign land? If thee, Je -- ru -- s'lem, I for -- get, skill part from my right hand.", "prose": ["O how the Lord's song shall we sing", "within a foreign land?", "If thee, Jerus'lem, I forget,", "skill part from my right hand."]}, "4": {"syllabified": "My tongue to my mouth's roof let cleave, if I do thee for -- get, Je -- ru -- sa -- lem, and thee a -- bove my chief joy do not set.", "prose": ["My tongue to my mouth's roof let cleave,", "if I do thee forget,", "Jerusalem, and thee above", "my chief joy do not set."]}, "5": {"syllabified": "Re -- mem -- ber E -- dom's chil -- dren, Lord, who in Je -- ru -- s'lem's day, Ev'n un -- to its foun -- da -- ti -- on, Raze, raze it quite, did say.", "prose": ["Remember Edom's children, Lord,", "who in Jerus'lem's day,", "Ev'n unto its foundation,", "Raze, raze it quite, did say."]}, "6": {"syllabified": "O daugh -- ter thou of Bab -- y -- lon, near to de -- struc -- ti -- on; Bless'd shall he be that thee re -- wards, as thou to us hast done.", "prose": ["O daughter thou of Babylon,", "near to destruction;", "Bless'd shall he be that thee rewards,", "as thou to us hast done."]}, "7": {"syllabified": "Yea, hap -- py sure -- ly shall he be thy ten -- der lit -- tle ones Who shall lay hold up -- on, and them shall dash a -- gainst the stones.", "prose": ["Yea, happy surely shall he be", "thy tender little ones", "Who shall lay hold upon, and them", "shall dash against the stones."]}}}, "by-babels-streams-we-sat-and-wept-psalm-137": {"slug": "by-babels-streams-we-sat-and-wept-psalm-137", "title": "Memories of Zion", "first_line": "By Babel's streams we sat and wept", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 137, "topics": ["Psalms"], "scripture": ["Psalm 137"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 379) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 137, selection 379. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "By Ba -- bel's streams we sat and wept, For mem -- 'ry still to Zi -- on clung; The winds a -- lone our harp -- strings swept, That on the droop -- ing wil -- lows hung.", "prose": ["By Babel's streams we sat and wept,", "For mem'ry still to Zion clung;", "The winds alone our harp-strings swept,", "That on the drooping willows hung."]}, "2": {"syllabified": "There our rude cap -- tors, flushed with pride, A song re -- quired to mock our wrongs; Our spoil -- ers called for mirth, and cried, Come, sing us one of Zi -- on's songs.", "prose": ["There our rude captors, flushed with pride,", "A song required to mock our wrongs;", "Our spoilers called for mirth, and cried,", "Come, sing us one of Zion's songs."]}, "3": {"syllabified": "Not songs but sighs to us be -- long When Zi -- on's walls in ru -- in lie; How shall we sing Je -- ho -- vah's song While in an a -- lien land we die?", "prose": ["Not songs but sighs to us belong", "When Zion's walls in ruin lie;", "How shall we sing Jehovah's song", "While in an alien land we die?"]}, "4": {"syllabified": "O Zi -- on fair, God's ho -- ly hill, Where -- in our God de -- lights to dwell, Let my right hand for -- get her skill If I for -- get to love thee well.", "prose": ["O Zion fair, God's holy hill,", "Wherein our God delights to dwell,", "Let my right hand forget her skill", "If I forget to love thee well."]}, "5": {"syllabified": "If I do not re -- mem -- ber thee, Then let my tongue from ut -- t'rance cease, If an -- y earth -- ly joy to me Be dear as Zi -- on's joy and peace.", "prose": ["If I do not remember thee,", "Then let my tongue from utterance cease,", "If any earthly joy to me", "Be dear as Zion's joy and peace."]}, "6": {"syllabified": "Re -- mem -- ber, Lord, the dread -- ful day Of Zi -- on's cru -- el o -- ver -- throw; How hap -- py he who shall re -- pay The bit -- ter ha -- tred of her foe.", "prose": ["Remember, Lord, the dreadful day", "Of Zion's cruel overthrow;", "How happy he who shall repay", "The bitter hatred of her foe."]}}}, "by-grace-i-m-saved": {"slug": "by-grace-i-m-saved", "title": "By Grace I'm Saved", "first_line": "By Grace I'm Saved", "author": "christian-l-scheidt", "author_date": "1915", "translator": "matthias-loy", "translator_date": "1915", "foot": "iambic", "meter": {"pattern": [9, 8, 9, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Bride", "Bridegroom", "Conscience"], "scripture": ["Ephesians 2:6", "Psalm 32:1-5", "John 14:1-6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:182; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "by_grace_im_saved_grace_free_and_boundle", "total_instances": 24}}, "stanzas": {"1": {"syllabified": "By grace I'm saved -- grace free and bound -- less! My heart, be -- liev'st thou this or not? Why tremb -- lest thou with ter -- ror ground -- less? Has ev -- er God a false -- hood taught? His Word is true -- then this must be: By grace there is a crown for thee.", "prose": ["By grace I'm saved—grace free and boundless!", "My heart, believ'st thou this or not?", "Why tremblest thou with terror groundless?", "Has ever God a falsehood taught?", "His Word is true—then this must be:", "By grace there is a crown for thee."]}, "2": {"syllabified": "By grace! our works are all re -- ject -- ed, All claims of mer -- it pass for naught; The might -- y Sav -- ior, long ex -- pec -- ted, To us this bliss -- ful truth has brought, That He by death re -- deems our race, And we are saved a -- lone by grace.", "prose": ["By grace! our works are all rejected,", "All claims of merit pass for naught;", "The mighty Savior, long expected,", "To us this blissful truth has brought,", "That He by death redeems our race,", "And we are saved alone by grace."]}, "3": {"syllabified": "By grace! mark well this phra -- se's mean -- ing, When sin rolls sor -- rows o'er thy breast, When Sa -- tan threats with pride o'er -- ween -- ing, When troub -- led con -- science sighs for rest: What rea -- son ne'er can com -- pre -- hend It pleas -- es God by grace to send.", "prose": ["By grace! mark well this phrase's meaning,", "When sin rolls sorrows o'er thy breast,", "When Satan threats with pride o'erweening,", "When troubled conscience sighs for rest:", "What reason ne'er can comprehend", "It pleases God by grace to send."]}, "4": {"syllabified": "By grace His Son, on earth ap -- pear -- ing, Vouch -- safed be -- neath thy woe to bend; Hadst thou, dam -- na -- tion just -- ly fear -- ing, Done aught to ren -- der Him thy friend? Was't not that He thy wel -- fare sought, And but by grace de -- liv -- 'rance wrought?", "prose": ["By grace His Son, on earth appearing,", "Vouchsafed beneath thy woe to bend;", "Hadst thou, damnation justly fearing,", "Done aught to render Him thy friend?", "Was't not that He thy welfare sought,", "And but by grace deliv'rance wrought?"]}, "5": {"syllabified": "By grace! this ground of our sal -- va -- tion As long as God is true en -- dures: What saints have penned by in -- spi -- ra -- tion, What God to our poor soul se -- cures, What all our faith must rest up -- on, Is grace, free grace through His dear Son.", "prose": ["By grace! this ground of our salvation", "As long as God is true endures:", "What saints have penned by inspiration,", "What God to our poor soul secures,", "What all our faith must rest upon,", "Is grace, free grace through His dear Son."]}}}, "children-of-the-heavenly-father": {"slug": "children-of-the-heavenly-father", "title": "Children of the Heavenly Father", "first_line": "Children of the Heavenly Father", "author": "carolina-sandell-berg", "author_date": "1855", "translator": "ernst-w-olson", "translator_date": "1925", "foot": "trochaic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Trust", "Comfort", "Assurance", "Providence"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Carolina Sandell Berg, \"Tryggare kan ingen vara\" (1855); English translation by Ernst W. Olson, 1925 (The Hymnal, Evangelical Lutheran Augustana Synod). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Chil -- dren of the heav'n -- ly Fa -- ther Safe -- ly in His bos -- om gath -- er; Nest -- ling bird nor star in heav -- en Such a ref -- uge e'er was giv -- en.", "prose": ["Children of the heav'nly Father", "Safely in His bosom gather;", "Nestling bird nor star in heaven", "Such a refuge e'er was given."]}, "2": {"syllabified": "God His own doth tend and nour -- ish, In His ho -- ly courts they flour -- ish; From all e -- vil things He spares them, In His might -- y arms He bears them.", "prose": ["God His own doth tend and nourish,", "In His holy courts they flourish;", "From all evil things He spares them,", "In His mighty arms He bears them."]}, "3": {"syllabified": "Nei -- ther life nor death shall ev -- er From the Lord His chil -- dren sev -- er; Un -- to them His grace He show -- eth, And their sor -- rows all He know -- eth.", "prose": ["Neither life nor death shall ever", "From the Lord His children sever;", "Unto them His grace He showeth,", "And their sorrows all He knoweth."]}, "4": {"syllabified": "Though He giv -- eth or He tak -- eth, God His chil -- dren ne'er for -- sak -- eth; His the lov -- ing pur -- pose sole -- ly To pre -- serve them pure and ho -- ly.", "prose": ["Though He giveth or He taketh,", "God His children ne'er forsaketh;", "His the loving purpose solely", "To preserve them pure and holy."]}}}, "christ-arose": {"slug": "christ-arose", "title": "Christ Arose", "first_line": "Low in the grave He lay Jesus my Savior!", "author": "robert-lowry", "author_date": "1874", "foot": "iambic", "meter": {"pattern": [11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Bread (of Life/Daily Bread)", "Cross"], "scripture": ["1 Corinthians 15:54-57", "Acts 2:24", "1 Corinthians 5:7", "2 Timothy 1:10"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:104; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "low_in_the_grave_he_lay_jesus_my_savior", "total_instances": 521}}, "stanzas": {"1": {"syllabified": "Low in the grave He lay Je -- sus my Sav -- ior! Wait -- ing the com -- ing day -- Je -- sus my Lord!", "prose": ["Low in the grave He lay Jesus my Savior!", "Waiting the coming day—Jesus my Lord!"]}, "2": {"syllabified": "Vain -- ly they watch His bed -- Je -- sus my Sav -- ior! Vain -- ly they seal the dead -- Je -- sus my Lord!", "prose": ["Vainly they watch His bed—Jesus my Savior!", "Vainly they seal the dead—Jesus my Lord!"]}, "3": {"syllabified": "Death can -- not keep his prey -- Je -- sus my Sav -- ior! He tore the bars a -- way -- Je -- sus my Lord!", "prose": ["Death cannot keep his prey—Jesus my Savior!", "He tore the bars away—Jesus my Lord!"]}}, "refrain": {"syllabified": "Up from the grave He a -- rose, With a might -- y tri -- umph o'er His foes; He a -- rose a Vic -- tor from the dark do -- main, And He lives for -- ev -- er with His saints to reign. He a -- rose! He a -- rose! Hal -- le -- lu -- jah! Christ a -- rose!", "prose": ["Up from the grave He arose,", "With a mighty triumph o'er His foes;", "He arose a Victor from the dark domain,", "And He lives forever with His saints to reign.", "He arose! He arose!", "Hallelujah! Christ arose!"]}}, "christ-jesus-lay-in-death-s-strong-bands": {"slug": "christ-jesus-lay-in-death-s-strong-bands", "title": "Christ Jesus Lay in Death's Strong Bands", "first_line": "Christ Jesus lay in death's strong bands", "author": "martin-luther", "author_date": "1524", "translator": "richard-massie", "translator_date": "1854", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 7, 8, 7, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Easter", "Resurrection", "Victory"], "scripture": ["1 Corinthians 5:7-8", "1 Corinthians 15:54-57", "Romans 6:9"], "provenance": {"layer": "text", "source": "lutheran-hymnary-1913", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Words: German \"Christ lag in Todesbanden\" (Martin Luther, 1524), English by Richard Massie, 1854, as revised in the pre-1931 American Lutheran hymnals (\"alt.\"). Every stanza is transcribed from a dated pre-1931 page image read directly: stanzas 1, 6, 7 from The Lutheran Hymnary (1913), No. 330, p. 352 (archive.org item lutheranhymnary0000unse, leaf n453; its index credits \"R. Massie, 1854\"); stanzas 2, 3, 5 from the Evangelical Lutheran Hymn-Book (Concordia, 1912; scanned printing of 1927), No. 224, pp. 211-212 (archive.org item evangelicalluthe0000vari_b7v6, leaves n242-n243); stanza 4 verbatim from Massie's own Martin Luther's Spiritual Songs (London, 1854), pp. 16-17 (archive.org item martinlutherssp00massgoog) — chosen over The Lutheran Hymnary's compressed strife-stanza, which borrows Massie's \"Stripped of power\" lines and would duplicate stanza 3's closing line. The stanza order is Luther's seven-verse order, as in ELHB 224. Three normalizations, per house practice: \"Murd'rer\" (st. 5) is the sung elision of the plates' \"Murderer\"; \"power\" (sts. 3, 4) is one syllable as sung; the em-dashes of ELHB st. 3 l. 6 are dropped. The now-common further alterations first attested in The Lutheran Hymnal (1941) No. 195 (\"it reigns\"/\"Death's sting\" in the strife stanza, \"And Satan cannot harm us\") are NOT adopted — every reading here is pre-1931. Massie's 1854 original first line is \"Christ lay awhile in Death's strong bands\"; the familiar \"Christ Jesus lay\" opening is the 1913 hymnal revision, taken from the dated plate.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Christ Je -- sus lay in death's strong bands, For our of -- fens -- es giv -- en; But now at God's right hand He stands, And brings us life from heav -- en: Where -- fore let us joy -- ful be And sing to God right thank -- ful -- ly Loud songs of Hal -- le -- lu -- jah! Hal -- le -- lu -- jah!", "prose": ["Christ Jesus lay in death's strong bands,", "For our offenses given;", "But now at God's right hand He stands,", "And brings us life from heaven:", "Wherefore let us joyful be", "And sing to God right thankfully", "Loud songs of Hallelujah!", "Hallelujah!"]}, "2": {"syllabified": "No son of man could con -- quer Death, Such mis -- chief sin had wrought us, For in -- no -- cence dwelt not on earth, And there -- fore Death had brought us In -- to thral -- dom from of old And ev -- er grew more strong and bold And kept us in his bon -- dage. Hal -- le -- lu -- jah!", "prose": ["No son of man could conquer Death,", "Such mischief sin had wrought us,", "For innocence dwelt not on earth,", "And therefore Death had brought us", "Into thraldom from of old", "And ever grew more strong and bold", "And kept us in his bondage.", "Hallelujah!"]}, "3": {"syllabified": "But Je -- sus Christ, God's on -- ly Son, To our low state de -- scend -- ed, The cause of Death He has un -- done, His power for -- ev -- er end -- ed, Ru -- ined all his right and claim, And left him noth -- ing but the name, His sting is lost for -- ev -- er. Hal -- le -- lu -- jah!", "prose": ["But Jesus Christ, God's only Son,", "To our low state descended,", "The cause of Death He has undone,", "His power forever ended,", "Ruined all his right and claim,", "And left him nothing but the name,", "His sting is lost forever.", "Hallelujah!"]}, "4": {"syllabified": "It was a strange and dread -- ful strife, When Life and Death con -- tend -- ed; The vic -- to -- ry re -- mained with Life, The reign of Death was end -- ed: Ho -- ly Scrip -- ture plain -- ly saith, That Death is swal -- lowed up by Death, Made hence -- forth a de -- ri -- sion. Hal -- le -- lu -- jah!", "prose": ["It was a strange and dreadful strife,", "When Life and Death contended;", "The victory remained with Life,", "The reign of Death was ended:", "Holy Scripture plainly saith,", "That Death is swallowed up by Death,", "Made henceforth a derision.", "Hallelujah!"]}, "5": {"syllabified": "Here the true Pas -- chal Lamb we see, Whom God so free -- ly gave us; He died on the ac -- curs -- ed tree So strong His love! to save us. See, His blood doth mark our door; Faith points to it, Death pass -- es o'er, The Mur -- d'rer can -- not harm us. Hal -- le -- lu -- jah!", "prose": ["Here the true Paschal Lamb we see,", "Whom God so freely gave us;", "He died on the accursed tree", "So strong His love! to save us.", "See, His blood doth mark our door;", "Faith points to it, Death passes o'er,", "The Murd'rer cannot harm us.", "Hallelujah!"]}, "6": {"syllabified": "So let us keep the fes -- ti -- val Where -- to the Lord in -- vites us; Christ is Him -- self the joy of all, The sun that warms and lights us: By His grace He doth im -- part E -- ter -- nal sun -- shine to the heart; The night of sin is end -- ed! Hal -- le -- lu -- jah!", "prose": ["So let us keep the festival", "Whereto the Lord invites us;", "Christ is Himself the joy of all,", "The sun that warms and lights us:", "By His grace He doth impart", "Eternal sunshine to the heart;", "The night of sin is ended!", "Hallelujah!"]}, "7": {"syllabified": "Then let us feast this Eas -- ter day On the true bread of heav -- en; The word of grace hath purged a -- way The old and wick -- ed leav -- en; Christ a -- lone our souls will feed; He is our meat and drink in -- deed; Faith lives up -- on no oth -- er! Hal -- le -- lu -- jah!", "prose": ["Then let us feast this Easter day", "On the true bread of heaven;", "The word of grace hath purged away", "The old and wicked leaven;", "Christ alone our souls will feed;", "He is our meat and drink indeed;", "Faith lives upon no other!", "Hallelujah!"]}}}, "christ-returneth": {"slug": "christ-returneth", "title": "Christ Returneth", "first_line": "It may be at morn, when the day is awaking", "author": "h-l-turner", "author_date": "1878", "foot": "iambic", "meter": {"alleluia": false, "doubled": false, "irregular": true, "pattern": [12, 12, 12, 8], "refrain": true}, "topics": ["Jesus Christ, Second Coming"], "scripture": [], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:203; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "It may be at morn, when the day is a -- wak -- ing, When sun -- light through dark -- ness and shad -- ow is break -- ing That Je -- sus will come in the full -- ness of glo -- ry To re -- ceive from the world \"His own.\"", "prose": ["It may be at morn, when the day is awaking,", "When sunlight through darkness and shadow is breaking", "That Jesus will come in the fullness of glory", "To receive from the world \"His own.\""]}, "2": {"syllabified": "It may be at mid -- day, it may be at twi -- light, It may be, per -- chance, that the black -- ness of mid -- night Will burst in -- to light in the blaze of His glo -- ry, When Je -- sus re -- ceives \"His own.\"", "prose": ["It may be at midday, it may be at twilight,", "It may be, perchance, that the blackness of midnight", "Will burst into light in the blaze of His glory,", "When Jesus receives \"His own.\""]}, "3": {"syllabified": "While hosts cry Ho -- san -- na, from heav -- en de -- scen -- ding, With glo -- ri -- fied saints and the an -- gels at -- tend -- ing, With grace on His brow, like a ha -- lo of glo -- ry, Will Je -- sus re -- ceive \"His own.\"", "prose": ["While hosts cry Hosanna, from heaven descending,", "With glorified saints and the angels attending,", "With grace on His brow, like a halo of glory,", "Will Jesus receive \"His own.\""]}, "4": {"syllabified": "Oh, joy! oh, de -- light! should we go with -- out dy -- ing, No sick -- ness, no sad -- ness, no dread and no cry -- ing. Caught up through the clouds with our Lord in -- to glo -- ry, When Je -- sus re -- ceives \"His own.\"", "prose": ["Oh, joy! oh, delight! should we go without dying,", "No sickness, no sadness, no dread and no crying.", "Caught up through the clouds with our Lord into glory,", "When Jesus receives \"His own.\""]}}, "refrain": {"syllabified": "O Lord Je -- sus, how long, how long Ere we shout the glad song, Christ re -- turn -- eth! Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! A -- men. Hal -- le -- lu -- jah! A -- men.", "prose": ["O Lord Jesus, how long, how long", "Ere we shout the glad song,", "Christ returneth!", "Hallelujah! Hallelujah!", "Amen. Hallelujah! Amen."]}}, "christ-the-lord-is-risen-today": {"slug": "christ-the-lord-is-risen-today", "title": "Christ the Lord Is Risen Today", "first_line": "Christ the Lord is risen today, Sons of men and angels say", "author": "charles-wesley", "author_date": "1739", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Atonement", "Blood", "Cross", "Easter", "Eternal Life", "God, As King", "God, Majesty & Power of", "Gospel", "Jesus", "Joy", "Praise, Son", "Salvation", "Victory"], "scripture": ["Matthew 28:5-6", "Luke 24:4-7", "1 Corinthians 15:55-57", "1 Peter 1:18-21", "Revelation 5:9-13"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:107 (line 12026); Words Charles Wesley 1739 (stanzas 1-5); all text components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "\"Christ, the Lord, is risen to -- day!\" Sons of men and an -- gels say, Raise your joys and tri -- umphs high, Sing, ye heavens, and earth, re -- ply!", "prose": ["\"Christ, the Lord, is risen today!\"", "Sons of men and angels say,", "Raise your joys and triumphs high,", "Sing, ye heavens, and earth, reply!"]}, "2": {"syllabified": "Love's re -- deem -- ing work is done, Fought the fight, the ba -- ttle won, Lo! the Sun's ec -- lipse is o'er, Lo! He sets in blood no more.", "prose": ["Love's redeeming work is done,", "Fought the fight, the battle won,", "Lo! the Sun's eclipse is o'er,", "Lo! He sets in blood no more."]}, "3": {"syllabified": "Vain the stone, the watch, the seal, Christ hath burst the gates of hell! Death in vain for -- bids His rise, Christ hath o -- pened par -- a -- dise!", "prose": ["Vain the stone, the watch, the seal,", "Christ hath burst the gates of hell!", "Death in vain forbids His rise,", "Christ hath opened paradise!"]}, "4": {"syllabified": "Lives a -- gain our glor -- ious King Where, O death, is now thy sting? Once He died our souls to save, Where thy vic -- to -- ry, O grave?", "prose": ["Lives again our glorious King", "Where, O death, is now thy sting?", "Once He died our souls to save,", "Where thy victory, O grave?"]}, "5": {"syllabified": "Soar we now where Christ hath led Follow -- ing our ex -- al -- ted Head; Made like Him, like Him we rise, Ours the cross, the grave, the skies.", "prose": ["Soar we now where Christ hath led", "Following our exalted Head;", "Made like Him, like Him we rise,", "Ours the cross, the grave, the skies."]}}}, "christ-the-lord-is-risen-today-alleluias": {"slug": "christ-the-lord-is-risen-today-alleluias", "title": "Christ the Lord Is Risen Today", "first_line": "Christ the Lord is risen today, Alleluia!", "author": "charles-wesley", "author_date": "1739", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "topics": ["Easter", "Christ, Resurrection of", "Praise, Son", "Victory", "Joy"], "scripture": ["Matthew 28:5-6", "Luke 24:4-7", "1 Corinthians 15:55-57"], "provenance": {"layer": "text", "source": "wesley-hymns-sacred-poems-1739", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley, 1739 (Hymns and Sacred Poems). This is the 'Alleluia' form of the hymn — each seven-syllable line is answered by a sung 'Alleluia!' — as set to LLANFAIR and EASTER HYMN. Distinct from the plain 7.7.7.7 form (christ-the-lord-is-risen-today, set to ORIENTIS PARTIBUS). All text components pre-1929 and public domain.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Christ, the Lord, is risen to -- day, Al -- le -- lu -- ia! Sons of men and an -- gels say, Al -- le -- lu -- ia! Raise your joys and tri -- umphs high, Al -- le -- lu -- ia! Sing, ye heavens, and earth, re -- ply, Al -- le -- lu -- ia!", "prose": ["Christ, the Lord, is risen today, Alleluia!", "Sons of men and angels say, Alleluia!", "Raise your joys and triumphs high, Alleluia!", "Sing, ye heavens, and earth, reply, Alleluia!"]}, "2": {"syllabified": "Love's re -- deem -- ing work is done, Al -- le -- lu -- ia! Fought the fight, the ba -- ttle won, Al -- le -- lu -- ia! Lo! the Sun's ec -- lipse is o'er, Al -- le -- lu -- ia! Lo! He sets in blood no more, Al -- le -- lu -- ia!", "prose": ["Love's redeeming work is done, Alleluia!", "Fought the fight, the battle won, Alleluia!", "Lo! the Sun's eclipse is o'er, Alleluia!", "Lo! He sets in blood no more, Alleluia!"]}, "3": {"syllabified": "Vain the stone, the watch, the seal, Al -- le -- lu -- ia! Christ hath burst the gates of hell, Al -- le -- lu -- ia! Death in vain for -- bids His rise, Al -- le -- lu -- ia! Christ hath o -- pened par -- a -- dise, Al -- le -- lu -- ia!", "prose": ["Vain the stone, the watch, the seal, Alleluia!", "Christ hath burst the gates of hell, Alleluia!", "Death in vain forbids His rise, Alleluia!", "Christ hath opened paradise, Alleluia!"]}, "4": {"syllabified": "Lives a -- gain our glor -- ious King, Al -- le -- lu -- ia! Where, O death, is now thy sting? Al -- le -- lu -- ia! Once He died our souls to save, Al -- le -- lu -- ia! Where thy vic -- to -- ry, O grave? Al -- le -- lu -- ia!", "prose": ["Lives again our glorious King, Alleluia!", "Where, O death, is now thy sting? Alleluia!", "Once He died our souls to save, Alleluia!", "Where thy victory, O grave? Alleluia!"]}, "5": {"syllabified": "Soar we now where Christ hath led, Al -- le -- lu -- ia! Follow -- ing our ex -- al -- ted Head, Al -- le -- lu -- ia! Made like Him, like Him we rise, Al -- le -- lu -- ia! Ours the cross, the grave, the skies, Al -- le -- lu -- ia!", "prose": ["Soar we now where Christ hath led, Alleluia!", "Following our exalted Head, Alleluia!", "Made like Him, like Him we rise, Alleluia!", "Ours the cross, the grave, the skies, Alleluia!"]}}}, "christians-awake-salute-the-happy-morn": {"slug": "christians-awake-salute-the-happy-morn", "title": "Christians, Awake, Salute the Happy Morn", "first_line": "Christians, awake, salute the happy morn", "author": "john-byrom", "author_date": "1745", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Nativity", "Incarnation"], "scripture": "Luke 2:8-9", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Byrom (1692-1763), Christians, Awake, Salute the Happy Morn (originally Christmas Day for Dolly), written 1745, first published in Harrop's Manchester Mercury, 1746. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Chris -- tians, a -- wake, sa -- lute the hap -- py morn Where -- on the Sav -- ior of the world was born Rise to a -- dore the mys -- ter -- y of love Which hosts of an -- gels chant -- ed from a -- bove With them the joy -- ful tid -- ings first be -- gun Of God in -- car -- nate and the vir -- gin's son", "prose": ["Christians, awake, salute the happy morn", "Whereon the Savior of the world was born.", "Rise to adore the mystery of love", "Which hosts of angels chanted from above,", "With them the joyful tidings first begun", "Of God incarnate and the virgin's son."]}, "2": {"syllabified": "Then to the watch -- ful shep -- herds it was told Who heard th'an -- gel -- ic her -- ald's voice, Be -- hold I bring good tid -- ings of a Sav -- ior's birth To you and all the na -- tions of the earth This day hath God ful -- filled His prom -- ised Word This day is born a Sav -- ior, Christ the Lord", "prose": ["Then to the watchful shepherds it was told,", "Who heard th'angelic herald's voice, Behold,", "I bring good tidings of a Savior's birth", "To you and all the nations of the earth;", "This day hath God fulfilled His promised Word;", "This day is born a Savior, Christ the Lord."]}, "3": {"syllabified": "He spoke; and straight -- way the ce -- les -- tial choir In hymns of joy, un -- known be -- fore, con -- spire The prais -- es of re -- deem -- ing love they sang And Heav'n's whole orb with al -- le -- lu -- ias rang God's high -- est glo -- ry was their an -- them still Peace on the earth and un -- to men good will", "prose": ["He spoke; and straightway the celestial choir", "In hymns of joy, unknown before, conspire;", "The praises of redeeming love they sang,", "And Heav'n's whole orb with alleluias rang.", "God's highest glory was their anthem still,", "Peace on the earth and unto men good will."]}, "4": {"syllabified": "To Beth -- l'hem straight th'en -- light -- ened shep -- herds ran To see the won -- der God had wrought for man And found, with Jo -- seph and the bless -- èd maid Her son, the Sav -- ior, in a man -- ger laid Then to their flocks, still prais -- ing God, re -- turn And their glad hearts with ho -- ly rap -- ture burn", "prose": ["To Bethl'hem straight th'enlightened shepherds ran", "To see the wonder God had wrought for man", "And found, with Joseph and the blessèd maid,", "Her son, the Savior, in a manger laid;", "Then to their flocks, still praising God, return,", "And their glad hearts with holy rapture burn."]}, "5": {"syllabified": "Like Ma -- ry let us pon -- der in our mind God's won -- drous love in sav -- ing lost man -- kind Trace we the Babe, who hath re -- trieved our loss From His poor man -- ger to His bit -- ter cross Tread in His steps, as -- sist -- ed by His grace Till man's first heav'n -- ly state a -- gain takes place", "prose": ["Like Mary let us ponder in our mind", "God's wondrous love in saving lost mankind!", "Trace we the Babe, who hath retrieved our loss,", "From His poor manger to His bitter cross,", "Tread in His steps, assisted by His grace,", "Till man's first heav'nly state again takes place."]}, "6": {"syllabified": "Then may we hope, th'an -- gel -- ic hosts a -- mong To sing, re -- deemed, a glad tri -- um -- phal song He that was born up -- on this joy -- ful day A -- round us all His glo -- ry shall dis -- play Saved by His love, in -- ces -- sant -- ly we sing E -- ter -- nal praise to Heav'n's al -- might -- y king", "prose": ["Then may we hope, th'angelic hosts among,", "To sing, redeemed, a glad triumphal song.", "He that was born upon this joyful day", "Around us all His glory shall display.", "Saved by His love, incessantly we sing", "Eternal praise to Heav'n's almighty king."]}}}, "come-all-ye-people-bless-our-god": {"slug": "come-all-ye-people-bless-our-god", "title": "Personal Testimony", "first_line": "Come, all ye people, bless our God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 66, "topics": ["Psalms"], "scripture": ["Psalm 66"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 175) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 66, selection 175. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Come, all ye peo -- ple, bless our God And tell His glo -- rious praise a -- broad, Who holds our souls in life; Who nev -- er lets our feet be moved And, though our faith He oft has proved, U -- pholds us in the strife.", "prose": ["Come, all ye people, bless our God", "And tell His glorious praise abroad,", "Who holds our souls in life;", "Who never lets our feet be moved", "And, though our faith He oft has proved,", "Upholds us in the strife."]}, "2": {"syllabified": "We come with of -- f'rings to His house, And here we pay the sol -- emn vows We ut -- tered in dis -- tress; To Him our all we ded -- i -- cate, To Him we whol -- ly con -- se -- crate The lives His mer -- cies bless.", "prose": ["We come with off'rings to His house,", "And here we pay the solemn vows", "We uttered in distress;", "To Him our all we dedicate,", "To Him we wholly consecrate", "The lives His mercies bless."]}, "3": {"syllabified": "Come, hear, all ye that fear the Lord, While I with grate -- ful heart re -- cord What God has done for me; I cried to Him in deep dis -- tress, And now His won -- drous grace I bless, For He has set me free.", "prose": ["Come, hear, all ye that fear the Lord,", "While I with grateful heart record", "What God has done for me;", "I cried to Him in deep distress,", "And now His wondrous grace I bless,", "For He has set me free."]}, "4": {"syllabified": "The Lord, Who turns a -- way the plea Of those who love in -- iq -- ui -- ty, Has an -- swered my re -- quest; He has not turned a -- way my prayer, His grace and love He makes me share; His Name be ev -- er blest.", "prose": ["The Lord, Who turns away the plea", "Of those who love iniquity,", "Has answered my request;", "He has not turned away my prayer,", "His grace and love He makes me share;", "His Name be ever blest."]}}}, "come-all-ye-servants-of-the-lord": {"slug": "come-all-ye-servants-of-the-lord", "title": "Doxology and Benediction", "first_line": "Come, all ye servants of the Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 134, "topics": ["Psalms"], "scripture": ["Psalm 134"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 372) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 134, selection 372. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Come, all ye ser -- vants of the Lord, Lift up your voice with one ac -- cord Je -- ho -- vah's Name to bless; Ye that are stand -- ing night by night With -- in the house of His de -- light, His glo -- rious Name con -- fess.", "prose": ["Come, all ye servants of the Lord,", "Lift up your voice with one accord", "Jehovah's Name to bless;", "Ye that are standing night by night", "Within the house of His delight,", "His glorious Name confess."]}, "2": {"syllabified": "Yea, in His place of ho -- li -- ness Lift up your hands the Lord to bless; And un -- to you be giv'n, The joys that Zi -- on doth af -- ford, The rich -- est bless -- ing of the Lord Who made the earth and heav'n.", "prose": ["Yea, in His place of holiness", "Lift up your hands the Lord to bless;", "And unto you be giv'n,", "The joys that Zion doth afford,", "The richest blessing of the Lord", "Who made the earth and heav'n."]}}}, "come-down-o-love-divine": {"slug": "come-down-o-love-divine", "title": "Come Down, O Love Divine", "first_line": "Come down, O Love divine", "author": "bianco-of-siena", "author_date": "1390", "translator": "richard-littledale", "translator_date": "1867", "foot": "iambic", "meter": {"pattern": [6, 6, 11], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Holy Spirit", "Pentecost", "Consecration"], "scripture": ["Romans 5:5"], "provenance": {"layer": "text", "source": "littledale-1867", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Bianco of Siena (d. c.1434); tr. Richard F. Littledale, 1867. Both d. pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "come_down_o_love_divine", "total_instances": 122}}, "stanzas": {"1": {"syllabified": "Come down, O love di -- vine, seek Thou this soul of mine, And vis -- it it with Thine own ar -- dor glow -- ing. O Com -- fort -- er, draw near, with -- in my heart ap -- pear, And kin -- dle it, Thy ho -- ly flame be -- stow -- ing.", "prose": ["Come down, O love divine,", "seek Thou this soul of mine,", "And visit it with Thine own ardor glowing.", "O Comforter, draw near,", "within my heart appear,", "And kindle it, Thy holy flame bestowing."]}, "2": {"syllabified": "O let it free -- ly burn, til earth -- ly pas -- sions turn To dust and ash -- es in its heat con -- sum -- ing; And let Thy glor -- ious light shine ev -- er on my sight, And clothe me round, the while my path il -- lum -- ing.", "prose": ["O let it freely burn,", "til earthly passions turn", "To dust and ashes in its heat consuming;", "And let Thy glorious light", "shine ever on my sight,", "And clothe me round, the while my path illuming."]}, "3": {"syllabified": "Let ho -- ly char -- it -- y mine out -- ward ves -- ture be, And low -- li -- ness be -- come mine in -- ner cloth -- ing; True low -- li -- ness of heart, which takes the hum -- bler part, And o'er its own short -- com -- ings weeps with loath -- ing.", "prose": ["Let holy charity", "mine outward vesture be,", "And lowliness become mine inner clothing;", "True lowliness of heart,", "which takes the humbler part,", "And o'er its own shortcomings weeps with loathing."]}, "4": {"syllabified": "And so the yearn -- ing strong, with which the soul will long, Shall far out -- pass the pow'r of hu -- man tell -- ing; For none can guess its grace, till he be -- come the place Where -- in the Ho -- ly Spir -- it makes His dwell -- ing.", "prose": ["And so the yearning strong,", "with which the soul will long,", "Shall far outpass the pow'r of human telling;", "For none can guess its grace,", "till he become the place", "Wherein the Holy Spirit makes His dwelling."]}}}, "come-he-that-fear-jehovah": {"slug": "come-he-that-fear-jehovah", "title": "The Dominion of Jesus Christ", "first_line": "Come he that fear Jehovah", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 22, "topics": ["Psalms"], "scripture": ["Psalm 22"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 50) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 22, selection 50. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Come he that fear Je -- ho -- vah, Ye saints, your voic -- es raise; Come, stand in awe be -- fore Him, And sing His glo -- rious praise. Ye low -- ly and af -- flic -- ted Who on His word re -- ly, Your heart shall live for -- ev -- er, The Lord will sat -- is -- fy.", "prose": ["Come he that fear Jehovah,", "Ye saints, your voices raise;", "Come, stand in awe before Him,", "And sing His glorious praise.", "Ye lowly and afflicted", "Who on His word rely,", "Your heart shall live forever,", "The Lord will satisfy."]}, "2": {"syllabified": "All kin -- dreds of the na -- tions To Christ the Lord shall turn, Thro' earth's re -- mot -- est re -- gions His al -- tar -- fires shall burn. All king -- dom, pow'r, and glo -- ry Be -- long to Him a -- lone; He rul -- eth o'er the na -- tions, Kings bow be -- fore His throne.", "prose": ["All kindreds of the nations", "To Christ the Lord shall turn,", "Thro' earth's remotest regions", "His altar-fires shall burn.", "All kingdom, pow'r, and glory", "Belong to Him alone;", "He ruleth o'er the nations,", "Kings bow before His throne."]}, "3": {"syllabified": "Both high and low shall wor -- ship, Both strong and weak shall bend, A faith -- ful church shall serve Him Till gen -- er -- a -- tions end. His praise shall be re -- count -- ed To na -- tions yet to be, The tri -- umphs of His jus -- tice A new -- born world shall see.", "prose": ["Both high and low shall worship,", "Both strong and weak shall bend,", "A faithful church shall serve Him", "Till generations end.", "His praise shall be recounted", "To nations yet to be,", "The triumphs of His justice", "A newborn world shall see."]}}}, "come-let-us-join-our-cheerful-songs": {"slug": "come-let-us-join-our-cheerful-songs", "title": "Come, Let Us Join Our Cheerful Songs", "first_line": "Come, let us join our cheerful songs", "author": "isaac-watts", "author_date": "1707", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Worship of Christ", "Lamb of God"], "scripture": "Revelation 5:11", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "encoding_origin": "The Cyber Hymnal, \"Come, Let Us Join Our Cheerful Songs\" (comeletu.htm); all five stanzas as printed there, credited \"Isaac Watts, Hymns and Spiritual Songs, Book 1, 1707, number 62.\"", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts (1674-1748), \"Come, let us join our cheerful songs,\" Hymns and Spiritual Songs, Book 1, 1707, number 62 (\"Christ Jesus, the Lamb of God, worshiped by all the creation\"), as credited by The Cyber Hymnal. Hymnary.org text authority come_let_us_join_our_cheerful_songs (1,033 hymnals). One sung elision normalized for the 8.6.8.6 meter: \"power\" is elided to \"pow'r\" in 3.2 (the Cyber Hymnal prints the full spelling; the line scans at six syllables only with the standard one-syllable elision). All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "come_let_us_join_our_cheerful_songs", "total_instances": 1033}}, "stanzas": {"1": {"syllabified": "Come, let us join our cheer -- ful songs With an -- gels round the throne. Ten thou -- sand, thou -- sand are their tongues, But all their joys are one.", "prose": ["Come, let us join our cheerful songs", "With angels round the throne.", "Ten thousand, thousand are their tongues,", "But all their joys are one."]}, "2": {"syllabified": "Wor -- thy the Lamb that died, they cry, To be ex -- alt -- ed thus! Wor -- thy the Lamb, our hearts re -- ply, For He was slain for us!", "prose": ["Worthy the Lamb that died, they cry,", "To be exalted thus!", "Worthy the Lamb, our hearts reply,", "For He was slain for us!"]}, "3": {"syllabified": "Je -- sus is wor -- thy to re -- ceive Hon -- or and pow'r di -- vine; And bless -- ings more than we can give, Be, Lord, for -- ev -- er Thine.", "prose": ["Jesus is worthy to receive", "Honor and pow'r divine;", "And blessings more than we can give,", "Be, Lord, forever Thine."]}, "4": {"syllabified": "Let all that dwell a -- bove the sky, And air and earth and seas, Con -- spire to lift Thy glo -- ries high, And speak Thine end -- less praise!", "prose": ["Let all that dwell above the sky,", "And air and earth and seas,", "Conspire to lift Thy glories high,", "And speak Thine endless praise!"]}, "5": {"syllabified": "The whole cre -- a -- tion join in one, To bless the sa -- cred name Of Him who sits up -- on the throne, And to a -- dore the Lamb.", "prose": ["The whole creation join in one,", "To bless the sacred name", "Of Him who sits upon the throne,", "And to adore the Lamb."]}}}, "come-thou-fount-of-every-blessing": {"slug": "come-thou-fount-of-every-blessing", "title": "Come, Thou Fount of Every Blessing", "first_line": "Come, Thou Fount of every blessing", "author": "robert-robinson", "author_date": "1758", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Grace", "Devotion"], "scripture": ["1 Samuel 7:12"], "provenance": {"layer": "text", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Robinson, 1758. Author d. 1790.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "come_thou_fount_of_every_blessing", "total_instances": 2411}}, "stanzas": {"1": {"syllabified": "Come, Thou Fount of ev -- ery bless -- ing, Tune my heart to sing Thy grace; Streams of mer -- cy, nev -- er ceas -- ing, Call for songs of loud -- est praise. Teach me some me -- lo -- dious son -- net, Sung by flam -- ing tongues a -- bove. Praise the mount! I’m fixed up -- on it, Mount of Thy re -- deem -- ing love.", "prose": ["Come, Thou Fount of every blessing,", "Tune my heart to sing Thy grace;", "Streams of mercy, never ceasing,", "Call for songs of loudest praise.", "Teach me some melodious sonnet,", "Sung by flaming tongues above.", "Praise the mount! I’m fixed upon it,", "Mount of Thy redeeming love."]}, "2": {"syllabified": "Sorr’w -- ing I shall be in spir -- it, Till re -- leased from flesh and sin, Yet from what I do in -- her -- it, Here Thy prais -- es I’ll be -- gin; Here I raise my Eb -- en -- e -- zer; Here by Thy great help I’ve come; And I hope, by Thy good plea -- sure, Safe -- ly to ar -- rive at home.", "prose": ["Sorr’wing I shall be in spirit,", "Till released from flesh and sin,", "Yet from what I do inherit,", "Here Thy praises I’ll begin;", "Here I raise my Ebenezer;", "Here by Thy great help I’ve come;", "And I hope, by Thy good pleasure,", "Safely to arrive at home."]}, "3": {"syllabified": "Je -- sus sought me when a stran -- ger, Wand’r -- ing from the fold of God; He, to res -- cue me from dan -- ger, In -- ter -- posed His pre -- cious blood; How His kind -- ness yet pur -- sues me Mor -- tal tongue can nev -- er tell, Clothed in flesh, till death shall loose me I can -- not pro -- claim it well.", "prose": ["Jesus sought me when a stranger,", "Wand’ring from the fold of God;", "He, to rescue me from danger,", "Interposed His precious blood;", "How His kindness yet pursues me", "Mortal tongue can never tell,", "Clothed in flesh, till death shall loose me", "I cannot proclaim it well."]}, "4": {"syllabified": "O to grace how great a debt -- or Dail -- y I’m con -- strained to be! Let Thy good -- ness, like a fet -- ter, Bind my wand’r -- ing heart to Thee. Prone to wan -- der, Lord, I feel it, Prone to leave the God I love; Here’s my heart, O take and seal it, Seal it for Thy courts a -- bove.", "prose": ["O to grace how great a debtor", "Daily I’m constrained to be!", "Let Thy goodness, like a fetter,", "Bind my wand’ring heart to Thee.", "Prone to wander, Lord, I feel it,", "Prone to leave the God I love;", "Here’s my heart, O take and seal it,", "Seal it for Thy courts above."]}, "5": {"syllabified": "O that day when freed from sin -- ning, I shall see Thy love -- ly face; Cloth -- ed then in blood washed lin -- en How I’ll sing Thy sover -- eign grace; Come, my Lord, no long -- er tar -- ry, Take my ran -- somed soul a -- way; Send thine an -- gels now to car -- ry Me to realms of end -- less day.", "prose": ["O that day when freed from sinning,", "I shall see Thy lovely face;", "Clothed then in blood washed linen", "How I’ll sing Thy sovereign grace;", "Come, my Lord, no longer tarry,", "Take my ransomed soul away;", "Send thine angels now to carry", "Me to realms of endless day."]}}}, "come-ye-disconsolate": {"slug": "come-ye-disconsolate", "title": "Come, Ye Disconsolate", "first_line": "Come, ye disconsolate, where'er ye languish", "author": "thomas-moore", "author_date": "1816", "foot": "dactylic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Bread (of Life/Daily Bread)", "Comfort", "Compassion", "Contrition", "Forgiveness", "God, As King", "God, Mercy of", "Grace", "Healing", "Heaven", "Humility", "Invitation (God's to Us)", "Kindness, God's", "Light", "Lord's Supper", "Peace", "Presence", "Repentance"], "scripture": ["John 6:33-59", "John 7:37", "Matthew 11:28-30", "Isaiah 55:1-3", "Isaiah 53:5", "Hosea 14:4", "John 14:16-17", "John 14:26", "Revelation 22:1"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:197 (line 24934); words verses 1-2 Thomas Moore 1816, verse 3 Thomas Hastings 1831; music Samuel Webbe 1792 (CONSOLATOR); setting The Church Hymnal (Episcopal), 1896. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Come, ye dis -- con -- so -- late, wher -- 'er ye lan -- guish; Come to the mer -- cy seat, fer -- vent -- ly kneel. Here bring your woun -- ded hearts, here tell your an -- guish; Earth has no sor -- row that Heav'n can -- not heal.", "prose": ["Come, ye disconsolate, wher'er ye languish;", "Come to the mercy seat, fervently kneel.", "Here bring your wounded hearts, here tell your anguish;", "Earth has no sorrow that Heav'n cannot heal."]}, "2": {"syllabified": "Joy of the des -- o -- late, light of the stray -- ing, Hope of the pen -- i -- tent, fade -- less and pure, Here speaks the Com -- fort -- er, ten -- der -- ly say -- ing, \"Earth has no sor -- row that Heav'n can -- not cure.\"", "prose": ["Joy of the desolate, light of the straying,", "Hope of the penitent, fadeless and pure,", "Here speaks the Comforter, tenderly saying,", "\"Earth has no sorrow that Heav'n cannot cure.\""]}, "3": {"syllabified": "Here see the Bread of Life; see wa -- ters flow -- ing Forth from the throne of God, pure from a -- bove; Come to the feast of love; come, ev -- er know -- ing Earth has no sor -- row but Heav'n can re -- move.", "prose": ["Here see the Bread of Life; see waters flowing", "Forth from the throne of God, pure from above;", "Come to the feast of love; come, ever knowing", "Earth has no sorrow but Heav'n can remove."]}}}, "come-ye-sinners-poor-and-needy": {"slug": "come-ye-sinners-poor-and-needy", "title": "Come, Ye Sinners, Poor and Needy", "first_line": "Come, ye sinners, poor and needy", "author": "joseph-hart", "author_date": "1759", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 4, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Invitation (God's to Us)", "Repentance", "Grace", "Sinners"], "scripture": ["Matthew 11:28", "Isaiah 55:1", "Luke 5:32"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Joseph Hart, 1759 (Hymns Composed on Various Subjects, London, 1759). Transcribed word for word and mark for mark from the dated page image of The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184 — archive.org methodi00meth leaf n195 — under the running head \"The Gospel\", and collated against archive.org methodisthymnal01churgoog leaf n202. The page prints stanza 1 under the staves of the ETON setting and stanzas 2, 3 and 4 in two columns beneath, credited \"JOSEPH HART\" at the foot. FOUR STANZAS AND NO REFRAIN: this printing is the plain 8.7.8.7.4.7 form, and the \"I will arise and go to Jesus\" chorus that some other printings attach is absent from it and is not supplied here. US public domain: first published 1759 and the witness read is itself 1905, well before 1931. DEPARTURES FROM THE PAGE, in full: (1) in stanza 3 the page prints \"glimmering\", which is three syllables against the tune's seven-syllable sixth line, so the SUNG line elides it to \"glim -- m'ring\" — the `prose` for that stanza keeps the page's spelling; (2) the page's printed hyphen in stanza 4's \"heavy-laden\" becomes an ordinary syllable join in the singable line, which is how this corpus writes every compound. Every other letter, every apostrophe, the semicolons at the ends of stanza lines 2 and 4, the colon in stanza 1 line 4 and stanza 3 line 4, and the em-dash after stanza 4's \"Not the righteous,\" are the page's.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Come, ye sin -- ners, poor and need -- y, Weak and wound -- ed, sick and sore; Je -- sus read -- y stands to save you, Full of pit -- y, love, and power: He is a -- ble, He is will -- ing: doubt no more.", "prose": ["Come, ye sinners, poor and needy,", "Weak and wounded, sick and sore;", "Jesus ready stands to save you,", "Full of pity, love, and power:", "He is able,", "He is willing: doubt no more."]}, "2": {"syllabified": "Now, ye need -- y, come and wel -- come; God's free boun -- ty glo -- ri -- fy; True be -- lief and true re -- pent -- ance, Ev -- ery grace that brings you nigh, With -- out mon -- ey, Come to Je -- sus Christ and buy.", "prose": ["Now, ye needy, come and welcome;", "God's free bounty glorify;", "True belief and true repentance,", "Every grace that brings you nigh,", "Without money,", "Come to Jesus Christ and buy."]}, "3": {"syllabified": "Let not con -- science make you lin -- ger, Nor of fit -- ness fond -- ly dream; All the fit -- ness he re -- quir -- eth Is to feel your need of him: This he gives you; 'Tis the Spir -- it's glim -- m'ring beam.", "prose": ["Let not conscience make you linger,", "Nor of fitness fondly dream;", "All the fitness he requireth", "Is to feel your need of him:", "This he gives you;", "'Tis the Spirit's glimmering beam."]}, "4": {"syllabified": "Come, ye wea -- ry, heav -- y -- lad -- en, Bruised and man -- gled by the fall; If you tar -- ry till you're bet -- ter, You will nev -- er come at all; Not the right -- eous,— Sin -- ners Je -- sus came to call.", "prose": ["Come, ye weary, heavy-laden,", "Bruised and mangled by the fall;", "If you tarry till you're better,", "You will never come at all;", "Not the righteous,—", "Sinners Jesus came to call."]}}}, "come-your-heart-and-voices-raising": {"slug": "come-your-heart-and-voices-raising", "title": "Come, Your Heart and Voices Raising", "first_line": "Come, your hearts and voices raising, Christ the Lord", "author": "paul-gerhardt", "author_date": "1913", "translator": "composite", "translator_date": "1913", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Christmas", "Advent", "God, Mercy of"], "scripture": ["Luke 2:8-15", "Colossians 1:19-20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:52; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "at_the_fading_of_the_silent_night", "total_instances": 1}}, "stanzas": {"1": {"syllabified": "Come, your hearts and voic -- es rais -- ing, Christ the Lord with glad -- ness prais -- ing; Loud -- ly sing His love a -- maz -- ing, Wor -- thy folk of Chris -- ten -- dom.", "prose": ["Come, your hearts and voices raising,", "Christ the Lord with gladness praising;", "Loudly sing His love amazing,", "Worthy folk of Christendom."]}, "2": {"syllabified": "Sin and death may well be groan -- ing, Sa -- tan now may well be moan -- ing; We, our full sal -- va -- tion own -- ing, Cast our ev -- ery care a -- way.", "prose": ["Sin and death may well be groaning,", "Satan now may well be moaning;", "We, our full salvation owning,", "Cast our every care away."]}, "3": {"syllabified": "See how God, for us pro -- vid -- ing, Gave His Son and life a -- bid -- ing; He our wear -- y steps is guid -- ing From earth's woe to heav'n -- ly joy.", "prose": ["See how God, for us providing,", "Gave His Son and life abiding;", "He our weary steps is guiding", "From earth's woe to heav'nly joy."]}, "4": {"syllabified": "Christ, from heav'n to us de -- scen -- ding And in love our race be -- frien -- ding, In our need His help ex -- ten -- ding, Saved us from the wi -- ly Foe.", "prose": ["Christ, from heav'n to us descending", "And in love our race befriending,", "In our need His help extending,", "Saved us from the wily Foe."]}, "5": {"syllabified": "Ja -- cob's Star in all its splen -- dor Beams with com -- fort sweet and ten -- der, For -- cing Sa -- tan to surr -- en -- der, Break -- ing all the pow'rs of hell.", "prose": ["Jacob's Star in all its splendor", "Beams with comfort sweet and tender,", "Forcing Satan to surrender,", "Breaking all the pow'rs of hell."]}}}, "count-your-blessings": {"slug": "count-your-blessings", "title": "Count Your Blessings", "first_line": "When upon life's billows you are tempest tossed", "author": "johnson-oatman-jr", "author_date": "1897", "foot": "trochaic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Thankfulness", "Gratitude", "Providence", "Encouragement", "Trials"], "scripture": ["Psalm 103:2", "Ephesians 1:3", "Psalm 68:19", "Lamentations 3:22-23"], "provenance": {"layer": "text", "source": "songs-for-young-people-1897", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Johnson Oatman, Jr. (1856-1922), written for E. O. Excell's tune and first printed with it in Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, over the engraved line \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" and the credit \"Rev. J. Oatman, Jr.\" at the left — archive.org youngpeo00exce leaves 0038-0039. All four stanzas are printed interlinear with a written-out chorus and a second, smaller lyric row for the tenor/bass patter. Collated word for word against the same text in Make Christ King (1912), No. 56 (makechristkingse00exce leaf 0064), The New Make Christ King (1914), No. 82 (newmakechristkin00unse leaf 0086), and Famous Gospel Hymns (1907), No. 94 (famousgospelhymn00town leaf 0100). US public domain: published 1897; Oatman died 1922, so PD in life+70 jurisdictions too. Punctuation and capitals follow the 1912/1914 plates (the corpus's primary engraving), including the chorus's capitalized \"Name\" and \"See\" and stanza 3's \"money can not buy\" printed as two words.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1897 first printing and the 1912/1914 Make Christ King plates", "encoding_license": "PD-dedication"}, "stanzas": {"1": {"syllabified": "When up -- on life's bil -- lows you are tem -- pest tossed, When you are dis -- cour -- aged, think -- ing all is lost, Count your man -- y bless -- ings, name them one by one, And it will sur -- prise you what the Lord hath done.", "prose": ["When upon life's billows you are tempest tossed,", "When you are discouraged, thinking all is lost,", "Count your many blessings, name them one by one,", "And it will surprise you what the Lord hath done."]}, "2": {"syllabified": "Are you ev -- er bur -- dened with a load of care? Does the cross seem heav -- y you are called to bear? Count your man -- y bless -- ings, ev -- 'ry doubt will fly, And you will be sing -- ing as the days go by.", "prose": ["Are you ever burdened with a load of care?", "Does the cross seem heavy you are called to bear?", "Count your many blessings, ev'ry doubt will fly,", "And you will be singing as the days go by."]}, "3": {"syllabified": "When you look at oth -- ers with their lands and gold, Think that Christ has prom -- ised you His wealth un -- told; Count your man -- y bless -- ings, mon -- ey can not buy Your re -- ward in heav -- en, nor your home on high.", "prose": ["When you look at others with their lands and gold,", "Think that Christ has promised you His wealth untold;", "Count your many blessings, money can not buy", "Your reward in heaven, nor your home on high."]}, "4": {"syllabified": "So, a -- mid the con -- flict, wheth -- er great or small, Do not be dis -- cour -- aged, God is o -- ver all; Count your man -- y bless -- ings, an -- gels will at -- tend, Help and com -- fort give you to your jour -- ney's end.", "prose": ["So, amid the conflict, whether great or small,", "Do not be discouraged, God is over all;", "Count your many blessings, angels will attend,", "Help and comfort give you to your journey's end."]}}, "refrain": {"syllabified": "Count your bless -- ings, Name them one by one; Count your bless -- ings, See what God hath done; Count your bless -- ings, Name them one by one; Count your man -- y bless -- ings, See what God hath done.", "prose": ["Count your blessings, Name them one by one;", "Count your blessings, See what God hath done;", "Count your blessings, Name them one by one;", "Count your many blessings, See what God hath done."]}}, "crown-him-with-many-crowns": {"slug": "crown-him-with-many-crowns", "title": "Crown Him with Many Crowns", "first_line": "Crown Him with many crowns", "author": "matthew-bridges", "author_date": "1852", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christ, Kingship of", "Praise", "Adoration"], "scripture": ["Revelation 19:12"], "provenance": {"layer": "text", "source": "hymns-ancient-and-modern-1869", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Matthew Bridges, 1852 (rev. Godfrey Thring, 1874). Author d. 1894.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "crown_him_with_many_crowns", "total_instances": 870}}, "stanzas": {"1": {"syllabified": "Crown Him with man -- y crowns, the Lamb up -- on His throne. Hark! How the heav’n -- ly an -- them drowns all mu -- sic but its own. A -- wake, my soul, and sing of Him who died for thee, And hail Him as thy match -- less King through all e -- ter -- ni -- ty.", "prose": ["Crown Him with many crowns,", "the Lamb upon His throne.", "Hark! How the heav’nly anthem drowns", "all music but its own.", "Awake, my soul, and sing", "of Him who died for thee,", "And hail Him as thy matchless King", "through all eternity."]}, "2": {"syllabified": "Crown Him the vir -- gin’s Son, the God in -- car -- nate born, Whose arm those crim -- son tro -- phies won which now His brow a -- dorn; Fruit of the mys -- tic rose, as of that rose the stem; The root whence mer -- cy ev -- er flows, the Babe of Beth -- le -- hem.", "prose": ["Crown Him the virgin’s Son,", "the God incarnate born,", "Whose arm those crimson trophies won", "which now His brow adorn;", "Fruit of the mystic rose,", "as of that rose the stem;", "The root whence mercy ever flows,", "the Babe of Bethlehem."]}, "3": {"syllabified": "Crown Him the Son of God, be -- fore the worlds be -- gan, And ye who tread where He hath trod, crown Him the Son of Man; Who ev -- ery grief hath known that wrings the hu -- man breast, And takes and bears them for His own, that all in Him may rest.", "prose": ["Crown Him the Son of God,", "before the worlds began,", "And ye who tread where He hath trod,", "crown Him the Son of Man;", "Who every grief hath known", "that wrings the human breast,", "And takes and bears them for His own,", "that all in Him may rest."]}, "4": {"syllabified": "Crown Him the Lord of life, who tri -- umphed o’er the grave, And rose vic -- tor -- ious in the strife for those He came to save. His glo -- ries now we sing, Who died, and rose on high, Who died e -- ter -- nal life to bring, and lives that death may die.", "prose": ["Crown Him the Lord of life,", "who triumphed o’er the grave,", "And rose victorious in the strife", "for those He came to save.", "His glories now we sing,", "Who died, and rose on high,", "Who died eternal life to bring,", "and lives that death may die."]}, "5": {"syllabified": "Crown Him the Lord of peace, Whose pow’r a scep -- ter sways From pole to pole, that wars may cease, and all be prayer and praise. His reign shall know no end, and round His pierc -- ed feet Fair flow’rs of par -- a -- dise ex -- tend their fra -- grance ev -- er sweet.", "prose": ["Crown Him the Lord of peace,", "Whose pow’r a scepter sways", "From pole to pole, that wars may cease,", "and all be prayer and praise.", "His reign shall know no end,", "and round His pierced feet", "Fair flow’rs of paradise extend", "their fragrance ever sweet."]}}}, "david-and-his-afflictions-all": {"slug": "david-and-his-afflictions-all", "title": "David, and His Afflictions All", "first_line": "David, and his afflictions all", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 132, "topics": ["Psalms"], "scripture": ["Psalm 132"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 132. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Da -- vid, and his af -- flic -- tions all, Lord, do thou think up -- on; How un -- to God he sware, and vowed to Ja -- cob's might -- y One.", "prose": ["David, and his afflictions all,", "Lord, do thou think upon;", "How unto God he sware, and vowed", "to Jacob's mighty One."]}, "2": {"syllabified": "I will not come with -- in my house, nor rest in bed at all; Nor shall mine eyes take an -- y sleep, nor eye -- lids slum -- ber shall;", "prose": ["I will not come within my house,", "nor rest in bed at all;", "Nor shall mine eyes take any sleep,", "nor eyelids slumber shall;"]}, "3": {"syllabified": "Till for the Lord a place I find, where he may make a -- bode; A place of hab -- i -- ta -- ti -- on for Ja -- cob's might -- y God.", "prose": ["Till for the Lord a place I find,", "where he may make abode;", "A place of habitation", "for Jacob's mighty God."]}, "4": {"syllabified": "Lo, at the place of Eph -- ra -- tah of it we un -- der -- stood; And we did find it in the fields, and cit -- y of the wood.", "prose": ["Lo, at the place of Ephratah", "of it we understood;", "And we did find it in the fields,", "and city of the wood."]}, "5": {"syllabified": "We'll go in -- to his tab -- er -- nac -- les, and at his foot -- stool bow. A -- rise, O Lord, in -- to thy rest, th'ark of thy strength, and thou.", "prose": ["We'll go into his tabernacles,", "and at his footstool bow.", "Arise, O Lord, into thy rest,", "th' ark of thy strength, and thou."]}, "6": {"syllabified": "O let thy priests be cloth -- ed, Lord, with truth and right -- eous -- ness; And let all those that are thy saints shout loud for joy -- ful -- ness.", "prose": ["O let thy priests be clothed, Lord,", "with truth and righteousness;", "And let all those that are thy saints", "shout loud for joyfulness."]}, "7": {"syllabified": "For thine own ser -- vant Da -- vid's sake, do not de -- ny thy grace: Nor of thine own a -- noint -- ed one turn thou a -- way the face.", "prose": ["For thine own servant David's sake,", "do not deny thy grace:", "Nor of thine own anointed one", "turn thou away the face."]}, "8": {"syllabified": "The Lord in truth to Da -- vid sware, he will not turn from it, I of thy bod -- y's fruit will make up -- on thy throne to sit.", "prose": ["The Lord in truth to David sware,", "he will not turn from it,", "I of thy body's fruit will make", "upon thy throne to sit."]}, "9": {"syllabified": "My cov -- 'nant if thy sons will keep, and laws to them made known, Their chil -- dren then shall al -- so sit for ev -- er on thy throne.", "prose": ["My cov'nant if thy sons will keep,", "and laws to them made known,", "Their children then shall also sit", "for ever on thy throne."]}, "10": {"syllabified": "For God of Zi -- on hath made choice; there he de -- sires to dwell. This is my rest, here still I'll stay; for I do like it well.", "prose": ["For God of Zion hath made choice;", "there he desires to dwell.", "This is my rest, here still I'll stay;", "for I do like it well."]}, "11": {"syllabified": "Her food I'll great -- ly bless; her poor with bread will sat -- is -- fy. Her priests I'll clothe with health; her saints shall shout forth joy -- ful -- ly.", "prose": ["Her food I'll greatly bless; her poor", "with bread will satisfy.", "Her priests I'll clothe with health; her saints", "shall shout forth joyfully."]}, "12": {"syllabified": "And there will I make Da -- vid's horn to bud forth pleas -- ant -- ly: For him that mine a -- noint -- ed is a lamp or -- dained have I.", "prose": ["And there will I make David's horn", "to bud forth pleasantly:", "For him that mine anointed is", "a lamp ordained have I."]}, "13": {"syllabified": "As with a gar -- ment I will clothe with shame his en -- 'mies all: But yet the crown that he doth wear up -- on him flour -- ish shall.", "prose": ["As with a garment I will clothe", "with shame his en'mies all:", "But yet the crown that he doth wear", "upon him flourish shall."]}}}, "dear-christians-one-and-all-rejoice": {"slug": "dear-christians-one-and-all-rejoice", "title": "Dear Christians, One and All Rejoice", "first_line": "Dear Christians, one and all rejoice, With exultation springing", "author": "martin-luther", "author_date": "1883", "translator": "richard-massie", "translator_date": "1883", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Blood", "Brotherhood"], "scripture": ["1 Peter 1:6-9", "1 John 4:14", "Psalm 98:1-3", "2 Timothy 1:9-10"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:184; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "dear_christians_one_and_all_rejoice_with", "total_instances": 37}}, "stanzas": {"1": {"syllabified": "Dear Christ -- ians, one and all re -- joice, With ex -- ul -- ta -- tion spring -- ing, And with u -- nit -- ed heart and voice And ho -- ly rap -- ture sing -- ing, Pro -- claim the won -- ders God hath done, How his right arm the vic -- t'ry won; Right dear -- ly it hath cost him.", "prose": ["Dear Christians, one and all rejoice,", "With exultation springing,", "And with united heart and voice", "And holy rapture singing,", "Proclaim the wonders God hath done,", "How his right arm the vict'ry won;", "Right dearly it hath cost him."]}, "2": {"syllabified": "Fast bound in Sa -- tan's chains I lay. Death brood -- ed dark -- ly o'er me; Sin was my tor -- ment night and day, There -- in my moth -- er bore me. Deep -- er and deep -- er still I fell, Life was be -- come a liv -- ing hell, So firm -- ly sin po -- ssessed me.", "prose": ["Fast bound in Satan's chains I lay.", "Death brooded darkly o'er me;", "Sin was my torment night and day,", "Therein my mother bore me.", "Deeper and deeper still I fell,", "Life was become a living hell,", "So firmly sin possessed me."]}, "3": {"syllabified": "My good works could a -- vail me naught, For they with sin were stain -- éd; Free -- will a -- gainst God's judg -- ment fought, And dead to good re -- main -- éd. Grief drove me to des -- pair, and I Had noth -- ing left me but to die, To hell I fast was sink -- ing.", "prose": ["My good works could avail me naught,", "For they with sin were stainéd;", "Freewill against God's judgment fought,", "And dead to good remainéd.", "Grief drove me to despair, and I", "Had nothing left me but to die,", "To hell I fast was sinking."]}, "4": {"syllabified": "God saw, in his e -- ter -- nal grace, My sor -- row out of mea -- sure; He thought up -- on his ten -- der -- ness To save was his good pleas -- ure. He turn'd to me a Fa -- ther's heart -- Not small the cost to heal my smart He gave his best and dear -- est.", "prose": ["God saw, in his eternal grace,", "My sorrow out of measure;", "He thought upon his tenderness", "To save was his good pleasure.", "He turn'd to me a Father's heart—", "Not small the cost to heal my smart", "He gave his best and dearest."]}, "5": {"syllabified": "He spake to his be -- lov -- ed Son: 'Tis time to take com -- pass -- ion; Then go, bright jew -- el of my crown, And bring to man sal -- va -- tion; From sin and sor -- row set him free, Slay bit -- ter death for him, that he May live with thee for -- ev -- er.", "prose": ["He spake to his beloved Son:", "'Tis time to take compassion;", "Then go, bright jewel of my crown,", "And bring to man salvation;", "From sin and sorrow set him free,", "Slay bitter death for him, that he", "May live with thee forever."]}}}, "deck-thyself-my-soul-with-gladness": {"slug": "deck-thyself-my-soul-with-gladness", "title": "Deck Thyself, My Soul, with Gladness", "first_line": "Deck Thyself, My Soul, with Gladness", "author": "johann-franck", "author_date": "1649", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "trochaic", "meter": {"pattern": [8, 8, 8, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Communion", "The Lord's Supper", "Aspiration"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Franck, \"Schmücke dich, o liebe Seele\" (1649); English translation \"Deck Thyself, My Soul, with Gladness\" by Catherine Winkworth (1827-1878), The Chorale Book for England (1863). Standard four-stanza selection; text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Deck thy -- self, my soul, with glad -- ness, Leave the gloo -- my haunts of sad -- ness; Come in -- to the day -- light's splen -- dor, There with joy thy prais -- es ren -- der Un -- to Him whose grace un -- bound -- ed Hath this won -- drous ban -- quet found -- ed; High o'er all the heav'ns He reign -- eth, Yet to dwell with thee He deign -- eth.", "prose": ["Deck thyself, my soul, with gladness,", "Leave the gloomy haunts of sadness;", "Come into the daylight's splendor,", "There with joy thy praises render", "Unto Him whose grace unbounded", "Hath this wondrous banquet founded;", "High o'er all the heav'ns He reigneth,", "Yet to dwell with thee He deigneth."]}, "2": {"syllabified": "Has -- ten as a bride to meet Him, And with lov -- ing rev -- 'rence greet Him; For with words of life im -- mor -- tal Now He knock -- eth at thy por -- tal. Haste to ope the gates be -- fore Him, Say -- ing, while thou dost a -- dore Him, Suf -- fer, Lord, that I re -- ceive Thee, And I nev -- er -- more will leave Thee.", "prose": ["Hasten as a bride to meet Him,", "And with loving reverence greet Him;", "For with words of life immortal", "Now He knocketh at thy portal.", "Haste to ope the gates before Him,", "Saying, while thou dost adore Him,", "Suffer, Lord, that I receive Thee,", "And I nevermore will leave Thee."]}, "3": {"syllabified": "He who craves a pre -- cious treas -- ure Nei -- ther cost nor pain will meas -- ure; But the price -- less gifts of heav -- en God to us hath free -- ly giv -- en. Though the wealth of earth were of -- fered, Naught would buy the gifts here of -- fered: Christ's true bod -- y, for thee riv -- en, And His blood, for thee once giv -- en.", "prose": ["He who craves a precious treasure", "Neither cost nor pain will measure;", "But the priceless gifts of heaven", "God to us hath freely given.", "Though the wealth of earth were offered,", "Naught would buy the gifts here offered:", "Christ's true body, for thee riven,", "And His blood, for thee once given."]}, "4": {"syllabified": "Je -- sus, Bread of Life, I pray Thee, Let me glad -- ly here o -- bey Thee; Nev -- er to my hurt in -- vit -- ed, Be Thy love with love re -- quit -- ed; From this ban -- quet let me meas -- ure, Lord, how vast and deep its treas -- ure; Through the gifts Thou here dost give me, As Thy guest in heav'n re -- ceive me.", "prose": ["Jesus, Bread of Life, I pray Thee,", "Let me gladly here obey Thee;", "Never to my hurt invited,", "Be Thy love with love requited;", "From this banquet let me measure,", "Lord, how vast and deep its treasure;", "Through the gifts Thou here dost give me,", "As Thy guest in heav'n receive me."]}}}, "defend-me-lord-from-shame": {"slug": "defend-me-lord-from-shame", "title": "Security in God", "first_line": "Defend me, Lord, from shame", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 31, "topics": ["Psalms"], "scripture": ["Psalm 31"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 82) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 31, selection 82. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "De -- fend me, Lord, from shame, For still I trust in Thee; Since just and right -- eous is Thy Name, From trou -- ble set me free. O Lord, in mer -- cy hear, De -- liv -- er me with speed; Be my de -- fense and ref -- uge near, My help in time of need.", "prose": ["Defend me, Lord, from shame,", "For still I trust in Thee;", "Since just and righteous is Thy Name,", "From trouble set me free.", "O Lord, in mercy hear,", "Deliver me with speed;", "Be my defense and refuge near,", "My help in time of need."]}, "2": {"syllabified": "Thee for my rock I take, My for -- tress and my stay; O lead me for Thy own Name's sake And guide me in Thy way. Lord, Thou dost strength im -- part; Then free me from the snare Which foes for me, with wick -- ed art, Did se -- cret -- ly pre -- pare.", "prose": ["Thee for my rock I take,", "My fortress and my stay;", "O lead me for Thy own Name's sake", "And guide me in Thy way.", "Lord, Thou dost strength impart;", "Then free me from the snare", "Which foes for me, with wicked art,", "Did secretly prepare."]}, "3": {"syllabified": "My spir -- it un -- to Thee I trust -- ful -- ly com -- mend; Je -- ho -- vah, God of truth, to me Thou didst re -- demp -- tion send. I hate the false and vain, My trust is in the Lord, And still my heart in joy -- ous strain Thy mer -- cy will re -- cord.", "prose": ["My spirit unto Thee", "I trustfully commend;", "Jehovah, God of truth, to me", "Thou didst redemption send.", "I hate the false and vain,", "My trust is in the Lord,", "And still my heart in joyous strain", "Thy mercy will record."]}}}, "deliver-me-from-evil": {"slug": "deliver-me-from-evil", "title": "Peril and Prayer", "first_line": "Deliver me from evil", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 140, "topics": ["Psalms"], "scripture": ["Psalm 140"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 385) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 140, selection 385. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "De -- liv -- er me from e -- vil; Pre -- serve me, Lord, from wrong. A -- gainst the foes that gath -- er, Be Thou my help -- er strong. From those who plot to hurt me And spread their treach -- 'rous snare Pre -- serve me, Lord, and keep me Safe -- guard -- ed in Thy care.", "prose": ["Deliver me from evil;", "Preserve me, Lord, from wrong.", "Against the foes that gather,", "Be Thou my helper strong.", "From those who plot to hurt me", "And spread their treach'rous snare", "Preserve me, Lord, and keep me", "Safeguarded in Thy care."]}, "2": {"syllabified": "O Lord I have con -- fessed Thee To be my God a -- lone; O hear my sup -- pli -- ca -- tion And be Thy mer -- cy shown; O God the Lord, my Sav -- iour, My shield a -- mid the strife, Let not the wick -- ed tri -- umph Who plot a -- gainst my life.", "prose": ["O Lord I have confessed Thee", "To be my God alone;", "O hear my supplication", "And be Thy mercy shown;", "O God the Lord, my Saviour,", "My shield amid the strife,", "Let not the wicked triumph", "Who plot against my life."]}, "3": {"syllabified": "Let e -- vil smite the e -- vil And cause their o -- ver -- throw, The need -- y and af -- flic -- ted The Lord will help, I know; Thy saints, re -- deemed from e -- vil, Their thanks to Thee shall give; The right -- eous and the up -- right Shall in Thy pres -- ence live.", "prose": ["Let evil smite the evil", "And cause their overthrow,", "The needy and afflicted", "The Lord will help, I know;", "Thy saints, redeemed from evil,", "Their thanks to Thee shall give;", "The righteous and the upright", "Shall in Thy presence live."]}}}, "did-you-think-to-pray": {"slug": "did-you-think-to-pray", "title": "Did You Think To Pray?", "first_line": "Did You Think To Pray?", "author": "mary-a-pepper-kidder", "author_date": "1877", "foot": "iambic", "meter": {"pattern": [8, 5, 8, 8, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Assurance", "Christian Life", "Courage in Affliction"], "scripture": ["Psalm 42:1-11", "Job 13:15-16", "Isaiah 50:8-11", "Lamentations 3:24"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:244; all components published pre-1931 (latest year 1877).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "ere_you_left_your_room_this_morning", "total_instances": 183}}, "stanzas": {"1": {"syllabified": "Ere you left your room this morn -- ing, Did you think to pray? In the name of Christ our Sav -- ior, Did you sue for lov -- ing fa -- vor, As a shield to -- day?", "prose": ["Ere you left your room this morning,", "Did you think to pray?", "In the name of Christ our Savior,", "Did you sue for loving favor,", "As a shield today?"]}, "2": {"syllabified": "When you met with great temp -- ta -- tion, Did you think to pray? By His dy -- ing love and mer -- it, Did you claim the Ho -- ly Spir -- it As your guide and stay?", "prose": ["When you met with great temptation,", "Did you think to pray?", "By His dying love and merit,", "Did you claim the Holy Spirit", "As your guide and stay?"]}, "3": {"syllabified": "When your heart was filled with an -- ger, Did you think to pray? Did you plead for grace, my broth -- er, That you might for -- give an -- oth -- er Who had crossed your way?", "prose": ["When your heart was filled with anger,", "Did you think to pray?", "Did you plead for grace, my brother,", "That you might forgive another", "Who had crossed your way?"]}, "4": {"syllabified": "When sore tri -- als came up -- on you, Did you think to pray? When your soul was bowed in sor -- row, Balm of Gil -- ead did you bor -- row At the gates of day?", "prose": ["When sore trials came upon you,", "Did you think to pray?", "When your soul was bowed in sorrow,", "Balm of Gilead did you borrow", "At the gates of day?"]}}, "refrain": {"syllabified": "O how pray -- ing rests the wea -- ry! Prayer will change the night to day; So when life seems dark and drea -- ry, Don't for -- get to pray.", "prose": ["O how praying rests the weary!", "Prayer will change the night to day;", "So when life seems dark and dreary,", "Don't forget to pray."]}}, "do-ye-o-congregation": {"slug": "do-ye-o-congregation", "title": "Do Ye, O Congregation", "first_line": "Do ye, O congregation", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 58, "topics": ["Psalms"], "scripture": ["Psalm 58"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 58. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Do ye, O con -- gre -- ga -- ti -- on, in -- deed speak right -- eous -- ness? O ye that are the sons of men, judge ye with up -- right -- ness?", "prose": ["Do ye, O congregation,", "indeed speak righteousness?", "O ye that are the sons of men,", "judge ye with uprightness?"]}, "2": {"syllabified": "Yea, ev'n with -- in your ver -- y hearts ye wick -- ed -- ness have done; And ye the vi -- 'lence of your hands do weigh the earth up -- on.", "prose": ["Yea, ev'n within your very hearts", "ye wickedness have done;", "And ye the vi'lence of your hands", "do weigh the earth upon."]}, "3": {"syllabified": "The wick -- ed men es -- trang -- ed are, ev'n from the ver -- y womb; They, speak -- ing lies, do stray as soon as to the world they come.", "prose": ["The wicked men estranged are,", "ev'n from the very womb;", "They, speaking lies, do stray as soon", "as to the world they come."]}, "4": {"syllabified": "Un -- to a ser -- pent's poi -- son like their poi -- son doth ap -- pear; Yea, they are like the ad -- der deaf, that close -- ly stops her ear;", "prose": ["Unto a serpent's poison like", "their poison doth appear;", "Yea, they are like the adder deaf,", "that closely stops her ear;"]}, "5": {"syllabified": "That so she may not hear the voice of one that charm her would, No, not though he most cunn -- ing were, and charm most wise -- ly could.", "prose": ["That so she may not hear the voice", "of one that charm her would,", "No, not though he most cunning were,", "and charm most wisely could."]}, "6": {"syllabified": "Their teeth, O God, with -- in their mouth break thou in piec -- es small; The great teeth break thou out, O Lord, of these young li -- ons all.", "prose": ["Their teeth, O God, within their mouth", "break thou in pieces small;", "The great teeth break thou out, O Lord,", "of these young lions all."]}, "7": {"syllabified": "Let them like wa -- ters melt a -- way, which down -- ward still do flow: In piec -- es cut his ar -- rows all, when he shall bend his bow.", "prose": ["Let them like waters melt away,", "which downward still do flow:", "In pieces cut his arrows all,", "when he shall bend his bow."]}, "8": {"syllabified": "Like to a snail that melts a -- way, let each of them be gone; Like wom -- an's birth un -- time -- ly, that they nev -- er see the sun.", "prose": ["Like to a snail that melts away,", "let each of them be gone;", "Like woman's birth untimely, that", "they never see the sun."]}, "9": {"syllabified": "He shall them take a -- way be -- fore your pots the thorns can find, Both liv -- ing, and in fu -- ry great, as with a storm -- y wind.", "prose": ["He shall them take away before", "your pots the thorns can find,", "Both living, and in fury great,", "as with a stormy wind."]}, "10": {"syllabified": "The right -- eous, when he ven -- geance sees, he shall be joy -- ful then; The right -- eous one shall wash his feet in blood of wick -- ed men.", "prose": ["The righteous, when he vengeance sees,", "he shall be joyful then;", "The righteous one shall wash his feet", "in blood of wicked men."]}, "11": {"syllabified": "So men shall say, The right -- eous man re -- ward shall nev -- er miss: And ver -- i -- ly up -- on the earth a God to judge there is.", "prose": ["So men shall say, The righteous man", "reward shall never miss:", "And verily upon the earth", "a God to judge there is."]}}}, "doreancon-peters-admonition": {"slug": "doreancon-peters-admonition", "title": "Peter's Admonition", "first_line": "Searcher of hearts, before thy face", "author": "philip-doddridge", "author_date": "1755", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Repentance", "Prayer"], "scripture": ["Acts 8:18-24"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Text: Philip Doddridge (1702-1751), 'Peter's Admonition to Simon Magus Turned into Prayer', pub. posthumously in Hymns Founded on Various Texts in the Holy Scriptures, 1755; public domain. Sung text follows the #doreancon 2026 conference hymnal (doreancon.org): 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); the terminal sung Amen dropped; every stanza machine-checked against the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Search -- er of hearts, be -- fore thy face I all my soul dis -- play and con -- scious of its in -- nate arts en -- treat thy strict sur -- vey", "prose": ["Searcher of hearts, before thy face", "I all my soul display", "and conscious of its innate arts", "entreat thy strict survey"]}, "2": {"syllabified": "If lurk -- ing in its in -- most folds I an -- y sin con -- ceal O let a ray of light di -- vine the se -- cret guile re -- veal", "prose": ["If lurking in its inmost folds", "I any sin conceal", "O let a ray of light divine", "the secret guile reveal"]}, "3": {"syllabified": "If tinc -- tured with that o -- d'ous gall un -- know -- ing I re -- main let grace, like a pure sil -- ver stream, wash out the cur -- sed stain", "prose": ["If tinctured with that od'ous gall", "unknowing I remain", "let grace, like a pure silver stream,", "wash out the cursed stain"]}, "4": {"syllabified": "If in these fa -- tal fet -- ters bound a wretch -- ed slave I be smite off my chains, and wake my soul to light and lib -- er -- ty", "prose": ["If in these fatal fetters bound", "a wretched slave I be", "smite off my chains, and wake my soul", "to light and liberty"]}, "5": {"syllabified": "To hum -- ble pen -- i -- tence and prayer thy gen -- tle pit -- y deal speak am -- ple par -- don to my heart its claim to heav -- en seal", "prose": ["To humble penitence and prayer", "thy gentle pity deal", "speak ample pardon to my heart", "its claim to heaven seal"]}}}, "doreancon-psalm-119-he": {"slug": "doreancon-psalm-119-he", "title": "Psalm 119:33-40 (He)", "first_line": "Teach me, O Lord, the perfect way", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119:33-40"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 119, verses 33-40 (He); committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Teach me, O Lord, the per -- fect way of thy pre -- cepts di -- vine, And to ob -- serve it to the end I shall my heart in -- cline. Good un -- der -- stand -- ing I would ask thou un -- to me im -- part, That tru -- ly I'd keep and ob -- serve thy law with all my heart.", "prose": ["Teach me, O Lord, the perfect way", "of thy precepts divine,", "And to observe it to the end", "I shall my heart incline.", "Good understanding I would ask", "thou unto me impart,", "That truly I'd keep and observe", "thy law with all my heart."]}, "2": {"syllabified": "Make me to walk in thy law's path, with joy I there re -- main. In -- cline my heart to your de -- crees and not to sel -- fish gain. Turn thou a -- way my sight and eyes from view -- ing van -- i -- ty; And in thy good and ho -- ly way be pleased to quick -- en me.", "prose": ["Make me to walk in thy law's path,", "with joy I there remain.", "Incline my heart to your decrees", "and not to selfish gain.", "Turn thou away my sight and eyes", "from viewing vanity;", "And in thy good and holy way", "be pleased to quicken me."]}, "3": {"syllabified": "Con -- firm to me thy gra -- cious word, which I did glad -- ly hear, Ev'n to thy ser -- vant, Lord, who is de -- vot -- ed to thy fear. Turn thou a -- way my fear'd re -- proach; for good thy judg -- ments be. Lo, for thy pre -- cepts I have long'd; in thy truth quick -- en me.", "prose": ["Confirm to me thy gracious word,", "which I did gladly hear,", "Ev'n to thy servant, Lord, who is", "devoted to thy fear.", "Turn thou away my fear'd reproach;", "for good thy judgments be.", "Lo, for thy precepts I have long'd;", "in thy truth quicken me."]}}}, "doreancon-psalm-119-kaf": {"slug": "doreancon-psalm-119-kaf", "title": "Psalm 119:81-88 (Kaf)", "first_line": "My soul for thy salvation faints", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119:81-88"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 119, verses 81-88 (Kaf); committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My soul for thy sal -- va -- tion faints; thy word my hope shall be. Mine eyes fail for thy word: I say, When wilt thou com -- fort me? For like a bot -- tle I'm be -- come, that in the smoke is set: I'm black, and parched with grief; yet I thy stat -- utes not for -- get.", "prose": ["My soul for thy salvation faints;", "thy word my hope shall be.", "Mine eyes fail for thy word: I say,", "When wilt thou comfort me?", "For like a bottle I'm become,", "that in the smoke is set:", "I'm black, and parched with grief; yet I", "thy statutes not forget."]}, "2": {"syllabified": "How man -- y are thy ser -- vant's days? when wilt thou ex -- e -- cute Just judg -- ment on these wick -- ed men that keep me in pur -- suit? The proud have dug deep pits for me, which is a -- gainst thy laws. Thy words all faith -- ful are: help me, pur -- sued with -- out a cause.", "prose": ["How many are thy servant's days?", "when wilt thou execute", "Just judgment on these wicked men", "that keep me in pursuit?", "The proud have dug deep pits for me,", "which is against thy laws.", "Thy words all faithful are: help me,", "pursued without a cause."]}, "3": {"syllabified": "They so con -- sumed me, that on earth my life they scarce did leave: Thy pre -- cepts yet for -- sook I not, but close to them did cleave. Af -- ter thy lov -- ing -- kind -- ness, Lord, me quick -- en, and pre -- serve: The tes -- ti -- mon -- y of thy mouth, from which I will not swerve.", "prose": ["They so consumed me, that on earth", "my life they scarce did leave:", "Thy precepts yet forsook I not,", "but close to them did cleave.", "After thy loving-kindness, Lord,", "me quicken, and preserve:", "The testimony of thy mouth,", "from which I will not swerve."]}}}, "doreancon-psalm-119-tet": {"slug": "doreancon-psalm-119-tet", "title": "Psalm 119:65-72 (Tet)", "first_line": "O Lord, thy servant, as thou said", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119:65-72"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 119, verses 65-72 (Tet); committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "well_hast_thou_with_thy_servant_dealt", "total_instances": 5}}, "stanzas": {"1": {"syllabified": "O Lord, thy ser -- vant, as thou said in truth did good re -- ceive Good judg -- ment me, and knowl -- edge teach, for I thy word be -- lieve. Ere I af -- flic -- ted was I strayed; but now I heed thy speech; Both good thou art, and good thou do'st: thy stat -- utes to me teach.", "prose": ["O Lord, thy servant, as thou said", "in truth did good receive", "Good judgment me, and knowledge teach,", "for I thy word believe.", "Ere I afflicted was I strayed;", "but now I heed thy speech;", "Both good thou art, and good thou do'st:", "thy statutes to me teach."]}, "2": {"syllabified": "Though man -- y men puffed up with pride with lies have slan -- dered me, Still all thy pre -- cepts thou hast giv'n I keep whole -- heart -- ed -- ly. Their hearts, through world -- ly ease and wealth, as fat as grease they be: But in thy ho -- ly law I take de -- light con -- tin -- ual -- ly.", "prose": ["Though many men puffed up with pride", "with lies have slandered me,", "Still all thy precepts thou hast giv'n", "I keep wholeheartedly.", "Their hearts, through worldly ease and wealth,", "as fat as grease they be:", "But in thy holy law I take", "delight continually."]}, "3": {"syllabified": "My strife, to learn thy stat -- utes just, was for a good -- ly cause. That I might well in -- struc -- ted be, and learn thy ho -- ly laws. The word that com -- eth from thy mouth is bet -- ter un -- to me Than man -- y thou -- sands and great sums of gold and sil -- ver be.", "prose": ["My strife, to learn thy statutes just,", "was for a goodly cause.", "That I might well instructed be,", "and learn thy holy laws.", "The word that cometh from thy mouth", "is better unto me", "Than many thousands and great sums", "of gold and silver be."]}}}, "doreancon-psalm-119-yod": {"slug": "doreancon-psalm-119-yod", "title": "Psalm 119:73-80 (Yod)", "first_line": "Thy hands have made and fashioned me", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119:73-80"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 119, verses 73-80 (Yod); committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thy hands have made and fash -- ioned me; let wis -- dom be con -- ferred, So who thee fear shall joy to see me trust -- ing in thy word. That ver -- y right thy judg -- ments are I know, and do con -- fess; And that thou hast af -- flic -- ted me in truth and faith -- ful -- ness.", "prose": ["Thy hands have made and fashioned me;", "let wisdom be conferred,", "So who thee fear shall joy to see", "me trusting in thy word.", "That very right thy judgments are", "I know, and do confess;", "And that thou hast afflicted me", "in truth and faithfulness."]}, "2": {"syllabified": "O let thy kind -- ness mer -- ci -- ful, I pray thee, com -- fort me, As to thy ser -- vant faith -- ful -- ly was prom -- ised, Lord, by thee. And let thy ten -- der mer -- cies come to me, that I may live; Be -- cause thy ho -- ly laws to me sweet de -- lec -- ta -- tion give.", "prose": ["O let thy kindness merciful,", "I pray thee, comfort me,", "As to thy servant faithfully", "was promised, Lord, by thee.", "And let thy tender mercies come", "to me, that I may live;", "Because thy holy laws to me", "sweet delectation give."]}, "3": {"syllabified": "Lord, let the proud be put to shame; for they, with -- out a cause, With me per -- verse -- ly dealt: but I will muse up -- on thy laws. Let such as fear thee, and have known thy stat -- utes, turn to me. My heart let in thy laws be sound, that shamed I nev -- er be.", "prose": ["Lord, let the proud be put to shame;", "for they, without a cause,", "With me perversely dealt: but I", "will muse upon thy laws.", "Let such as fear thee, and have known", "thy statutes, turn to me.", "My heart let in thy laws be sound,", "that shamed I never be."]}}}, "doreancon-psalm-50-1-6": {"slug": "doreancon-psalm-50-1-6", "title": "Psalm 50:1-6", "first_line": "The mighty God, the Lord", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 50, "topics": ["Psalms"], "scripture": ["Psalm 50:1-6"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 50 (second version, S.M.), verses 1-6; committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The might -- y God, the Lord, hath spo -- ken, and did call The earth, from ris -- ing of the sun, to where he hath his fall. From out of Zi -- on's hill, in ex -- cel -- lence re -- fined, And beau -- ty the per -- fec -- tion is, then God in glo -- ry shined,", "prose": ["The mighty God, the Lord,", "hath spoken, and did call", "The earth, from rising of the sun,", "to where he hath his fall.", "From out of Zion's hill,", "in excellence refined,", "And beauty the perfection is,", "then God in glory shined,"]}, "2": {"syllabified": "Our God shall sure -- ly come, keep si -- lence shall not he: Be -- fore him fire shall waste, great storms shall round a -- bout him be. Un -- to the heav -- ens clear he from a -- bove shall call, And to the earth like -- wise, that he may judge his peo -- ple all.", "prose": ["Our God shall surely come,", "keep silence shall not he:", "Before him fire shall waste, great storms", "shall round about him be.", "Unto the heavens clear", "he from above shall call,", "And to the earth likewise, that he", "may judge his people all."]}, "3": {"syllabified": "To -- geth -- er let my saints un -- to me gath -- ered be, Those that by sac -- ri -- fice have made a cov -- e -- nant with me. And then the heav -- ens shall his right -- eous -- ness make known: Be -- cause the Lord him -- self is he who judg -- es, he a -- lone.", "prose": ["Together let my saints", "unto me gathered be,", "Those that by sacrifice have made", "a covenant with me.", "And then the heavens shall", "his righteousness make known:", "Because the Lord himself is he", "who judges, he alone."]}}}, "doreancon-psalm-50-16-23": {"slug": "doreancon-psalm-50-16-23", "title": "Psalm 50:16-23", "first_line": "But to the wicked man", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 50, "topics": ["Psalms"], "scripture": ["Psalm 50:16-23"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 50 (second version, S.M.), verses 16-23; committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "But to the wick -- ed man God saith, How dost thou dare My cov -- 'nant to take in thy mouth, or my just laws de -- clare? Since thou in -- struc -- tion hat'st, which should thy ways di -- rect; And since my words be -- hind thy back thou cast'st, and dost re -- ject.", "prose": ["But to the wicked man", "God saith, How dost thou dare", "My cov'nant to take in thy mouth,", "or my just laws declare?", "Since thou instruction hat'st,", "which should thy ways direct;", "And since my words behind thy back", "thou cast'st, and dost reject."]}, "2": {"syllabified": "When thou a thief didst see, with him thou didst con -- sent; And with the vile a -- dul -- ter -- ers par -- tak -- er on thou went. Thou giv'st thy mouth to ill, thy tongue de -- ceit doth frame; Thou sitt'st, and 'gainst thy broth -- er speak'st, thy moth -- er's son dost shame.", "prose": ["When thou a thief didst see,", "with him thou didst consent;", "And with the vile adulterers", "partaker on thou went.", "Thou giv'st thy mouth to ill,", "thy tongue deceit doth frame;", "Thou sitt'st, and 'gainst thy brother speak'st,", "thy mother's son dost shame."]}, "3": {"syllabified": "Be -- cause I si -- lence kept, while thou these things hast wrought; That I was al -- to -- geth -- er like thy -- self, hath been thy thought; Yet I will thee re -- prove, and set be -- fore thine eyes Thy sins in or -- der ranked, that all thy hid -- den guilt a -- rise.", "prose": ["Because I silence kept,", "while thou these things hast wrought;", "That I was altogether like", "thyself, hath been thy thought;", "Yet I will thee reprove,", "and set before thine eyes", "Thy sins in order ranked, that all", "thy hidden guilt arise."]}, "4": {"syllabified": "Now, ye that God for -- get, con -- sid -- er what you do; Lest I in piec -- es tear you all, and none de -- liv -- er you. Who -- so doth of -- fer praise me glo -- ri -- fies; and so To him that or -- ders right his way sal -- va -- tion I will show.", "prose": ["Now, ye that God forget,", "consider what you do;", "Lest I in pieces tear you all,", "and none deliver you.", "Whoso doth offer praise", "me glorifies; and so", "To him that orders right his way", "salvation I will show."]}}}, "doreancon-psalm-50-7-15": {"slug": "doreancon-psalm-50-7-15", "title": "Psalm 50:7-15", "first_line": "My people Isr'el hear", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 50, "topics": ["Psalms"], "scripture": ["Psalm 50:7-15"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 50 (second version, S.M.), verses 7-15; committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My peo -- ple Is -- r'el hear, speak will I from on high, A -- gainst thee I will tes -- ti -- fy; God, ev'n thy God, am I.", "prose": ["My people Isr'el hear,", "speak will I from on high,", "Against thee I will testify;", "God, ev'n thy God, am I."]}, "2": {"syllabified": "I for thy sac -- ri -- fice no blame will on thee lay, Nor for burnt -- of -- f'rings, which to me thou of -- fer'dst ev -- 'ry day.", "prose": ["I for thy sacrifice", "no blame will on thee lay,", "Nor for burnt-off'rings, which to me", "thou offer'dst ev'ry day."]}, "3": {"syllabified": "I'll take no calf nor goats from house or fold of thine: For beasts of for -- ests, cat -- tle all on thou -- sand hills, are mine.", "prose": ["I'll take no calf nor goats", "from house or fold of thine:", "For beasts of forests, cattle all", "on thousand hills, are mine."]}, "4": {"syllabified": "The fowls on moun -- tains high are all to me well known; Wild beasts which in the fields do lie, ev'n they are all mine own.", "prose": ["The fowls on mountains high", "are all to me well known;", "Wild beasts which in the fields do lie,", "ev'n they are all mine own."]}, "5": {"syllabified": "Then, if I hun -- gry were, I would not tell it thee; Be -- cause the world, and full -- ness all there -- of, be -- longs to me.", "prose": ["Then, if I hungry were,", "I would not tell it thee;", "Because the world, and fullness all", "thereof, belongs to me."]}, "6": {"syllabified": "Will I eat flesh of bulls? or goats' blood drink will I? Thanks of -- fer thou to God, and pay thy vows to the most High.", "prose": ["Will I eat flesh of bulls?", "or goats' blood drink will I?", "Thanks offer thou to God, and pay", "thy vows to the most High."]}, "7": {"syllabified": "And call up -- on me when in trou -- ble thou shalt cry; I will de -- liv -- er thee, and thou my name shalt glo -- ri -- fy.", "prose": ["And call upon me when", "in trouble thou shalt cry;", "I will deliver thee, and thou", "my name shalt glorify."]}}}, "doreancon-psalm-82": {"slug": "doreancon-psalm-82", "title": "Psalm 82", "first_line": "God stands and judges midst the gods", "author_source": "Scottish Psalter, 1650; rev. #doreancon, 2026", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 82, "topics": ["Psalms"], "scripture": ["Psalm 82"], "provenance": {"layer": "text", "source": "doreancon-2026", "source_kind": "open_encoding", "encoding_origin": "gitlab.com/svrbc/doreancon.org — hymns/2026/musicxml (lyrics only; music intentionally not imported)", "pd_basis": "pub_pre_1931", "pd_evidence": "Metrical text: The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 82; committee versification (Rous revision), all contributors d. before 1700; public domain (pub. 1650). Sung text follows the #doreancon 2026 conference hymnal (doreancon.org), which presents the 1650 text 'minimally edited for clearer rhyme and metre in modern English' (2026.doreancon.org/hymns); the conference repository's owner confirmed to the book owner that his light 2026 edits are public domain (owner attestation, 2026-08-14). Lyrics-only extraction from the conference MusicXML (gitlab.com/svrbc/doreancon.org); inline verse-number superscripts and the terminal sung Amen dropped; every stanza machine-checked against the metre and cross-checked against the corpus 1650 base text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God stands and judg -- es midst the gods, th'as -- sem -- bly of the strong; How long, ac -- cep -- ting per -- sons vile, will ye give judg -- ment wrong?", "prose": ["God stands and judges midst the gods,", "th'assembly of the strong;", "How long, accepting persons vile,", "will ye give judgment wrong?"]}, "2": {"syllabified": "De -- fend the poor and fath -- er -- less; to poor op -- pressed do right. The poor and nee -- dy ones set free; rid them from ill men's might.", "prose": ["Defend the poor and fatherless;", "to poor oppressed do right.", "The poor and needy ones set free;", "rid them from ill men's might."]}, "3": {"syllabified": "They know not, nor will un -- der -- stand; in dark -- ness they walk on: All the foun -- da -- tions of the earth out of their course are gone.", "prose": ["They know not, nor will understand;", "in darkness they walk on:", "All the foundations of the earth", "out of their course are gone."]}, "4": {"syllabified": "I said that ye are gods, and are sons of the High -- est all: But ye shall die like men, and as one of the prin -- ces fall.", "prose": ["I said that ye are gods, and are", "sons of the Highest all:", "But ye shall die like men, and as", "one of the princes fall."]}, "5": {"syllabified": "O God, do thou raise up thy -- self, the earth to judg -- ment call: For thou, as thine in -- her -- i -- tance, shalt take the na -- tions all.", "prose": ["O God, do thou raise up thyself,", "the earth to judgment call:", "For thou, as thine inheritance,", "shalt take the nations all."]}}}, "down-at-the-cross": {"slug": "down-at-the-cross", "title": "Down at the Cross", "first_line": "Down at the cross where my Saviour died", "author": "elisha-a-hoffman", "author_date": "1878", "foot": "dactylic", "meter": {"pattern": [9, 9, 9, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Cross", "Redemption", "Testimony"], "scripture": ["Zechariah 13:1", "1 John 1:7", "Revelation 1:5"], "provenance": {"layer": "text", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elisha A. Hoffman (1839-1929). Transcribed syllable by syllable and mark by mark from the dated page image of Songs of Joy and Gladness (Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117 — archive.org songsofjoygladne00mcdo_0 leaf n120 — headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" (left) and \"Music by Rev. J. H. Stockton.\" (right), which prints all four stanzas under the staves and the chorus once. Collated word for word against the second, independent scan of the same 1885 edition, archive.org songsofjoygladne00mcdo leaf n120; the two agree letter for letter. AUTHOR DATE: the text is already in print in Spiritual Songs for Gospel Meetings and the Sunday School, ed. Elisha A. Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), hymn 70 (archive.org spiritualsongsfo00hoff, leaf n73) — set there to a DIFFERENT tune by John R. Sweney with a different chorus, and reading \"Down at the cross where THE Savior died\"; 1878 is taken from that printing. US public domain: first printed 1878, the witness read is 1885, and the author died in 1929, so it is public domain in the US and in life+70 jurisdictions alike. PUNCTUATION AND SPELLING FOLLOW THE 1885 PAGE, which sets the British \"Saviour\", the elisions \"sav'd\" and \"enter'd\", the hyphenated \"to-day\", a lower-case \"his\" throughout \"Glory to his name\", a comma after the second \"Down,\" of stanza 1, a colon at the end of stanza 1 line 3 and of stanza 2 line 1, and semicolons elsewhere. The chorus is printed once, under the music of the last two systems.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "down_at_the_cross_where_my_savior_died", "total_instances": 715}}, "stanzas": {"1": {"syllabified": "Down at the cross where my Sav -- iour died, Down, where for cleans -- ing from sin I cried; There to my heart was the blood ap -- plied: Glo -- ry to his name.", "prose": ["Down at the cross where my Saviour died,", "Down, where for cleansing from sin I cried;", "There to my heart was the blood applied:", "Glory to his name."]}, "2": {"syllabified": "I am so won -- drous -- ly sav'd from sin: Je -- sus so sweet -- ly a -- bides with -- in; There at the cross where he took me in, Glo -- ry to his name.", "prose": ["I am so wondrously sav'd from sin:", "Jesus so sweetly abides within;", "There at the cross where he took me in,", "Glory to his name."]}, "3": {"syllabified": "Oh, pre -- cious foun -- tain, that saves from sin, I am so glad I have en -- ter'd in; There Je -- sus saves me and keeps me clean, Glo -- ry to his name.", "prose": ["Oh, precious fountain, that saves from sin,", "I am so glad I have enter'd in;", "There Jesus saves me and keeps me clean,", "Glory to his name."]}, "4": {"syllabified": "Come to this foun -- tain, so rich and sweet; Cast thy poor soul at the Sav -- iour's feet; Plunge in to -- day, and be made com -- plete, Glo -- ry to his name.", "prose": ["Come to this fountain, so rich and sweet;", "Cast thy poor soul at the Saviour's feet;", "Plunge in to-day, and be made complete,", "Glory to his name."]}}, "refrain": {"syllabified": "Glo -- ry to his name. Glo -- ry to his name. There to my heart was the blood ap -- plied, Glo -- ry to his name.", "prose": ["Glory to his name. Glory to his name.", "There to my heart was the blood applied,", "Glory to his name."]}}, "every-morning-mercies-new": {"slug": "every-morning-mercies-new", "title": "Every Morning Mercies New", "first_line": "Ev'ry morning mercies new Fall as fresh as morning", "author": "greville-phillimore", "author_date": "1901", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christian Life", "Consecration", "Father", "God, Care of"], "scripture": ["Ex 15:11-13", "Psalm 25:4-6", "Num 6:24-26", "2Cor 13:14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:307; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ev -- 'ry morn -- ing mer -- cies new Fall as fresh as morn -- ing dew; Ev -- 'ry morn -- ing let us pay Trib -- ute with the ear -- ly day: For Thy mer -- cies, Lord, are sure; Thy com -- pas -- sion doth en -- dure.", "prose": ["Ev'ry morning mercies new", "Fall as fresh as morning dew;", "Ev'ry morning let us pay", "Tribute with the early day:", "For Thy mercies, Lord, are sure;", "Thy compassion doth endure."]}, "2": {"syllabified": "Still the great -- ness of Thy love Dai -- ly doth our sins re -- move; Dai -- ly, far as east from west, Lifts the bur -- den from the breast; Gives un -- bought to those who pray Strength to stand in e -- vil day.", "prose": ["Still the greatness of Thy love", "Daily doth our sins remove;", "Daily, far as east from west,", "Lifts the burden from the breast;", "Gives unbought to those who pray", "Strength to stand in evil day."]}, "3": {"syllabified": "Let our prayers each morn pre -- vail, That these gifts may nev -- er fail; And, as we con -- fess the sin And the temp -- ter's pow'r with -- in, Feed us with the Bread of Life, Fit us for our dai -- ly strife.", "prose": ["Let our prayers each morn prevail,", "That these gifts may never fail;", "And, as we confess the sin", "And the tempter's pow'r within,", "Feed us with the Bread of Life,", "Fit us for our daily strife."]}, "4": {"syllabified": "As the morn -- ing light re -- turns, As the sun with splen -- dor burns, Teach us still to turn to Thee, Ev -- er bless -- ed Trin -- i -- ty, With our hands our hearts to raise, In un -- fail -- ing prayer and praise.", "prose": ["As the morning light returns,", "As the sun with splendor burns,", "Teach us still to turn to Thee,", "Ever blessed Trinity,", "With our hands our hearts to raise,", "In unfailing prayer and praise."]}}}, "except-the-lord-do-build-the-house": {"slug": "except-the-lord-do-build-the-house", "title": "Except the Lord Do Build the House", "first_line": "Except the Lord do build the house", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 127, "topics": ["Psalms"], "scripture": ["Psalm 127"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 127. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ex -- cept the Lord do build the house, the buil -- ders lose their pain: Ex -- cept the Lord the cit -- y keep, the watch -- men watch in vain.", "prose": ["Except the Lord do build the house,", "the builders lose their pain:", "Except the Lord the city keep,", "the watchmen watch in vain."]}, "2": {"syllabified": "'Tis vain for you to rise be -- times, or late from rest to keep, To feed on sor -- rows' bread; so gives he his be -- lov -- ed sleep.", "prose": ["'Tis vain for you to rise betimes,", "or late from rest to keep,", "To feed on sorrows' bread; so gives", "he his beloved sleep."]}, "3": {"syllabified": "Lo, chil -- dren are God's her -- i -- tage, the womb's fruit his re -- ward. The sons of youth as ar -- rows are, for strong men's hands pre -- pared.", "prose": ["Lo, children are God's heritage,", "the womb's fruit his reward.", "The sons of youth as arrows are,", "for strong men's hands prepared."]}, "4": {"syllabified": "O hap -- py is the man that hath his quiv -- er filled with those; They un -- a -- sham -- ed in the gate shall speak un -- to their foes.", "prose": ["O happy is the man that hath", "his quiver filled with those;", "They unashamed in the gate", "shall speak unto their foes."]}}}, "face-to-face-with-christ-my-saviour": {"slug": "face-to-face-with-christ-my-saviour", "title": "Face to Face", "first_line": "Face to face with Christ, my Saviour", "author": "carrie-e-breck", "author_date": "1899", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Heaven", "Hope", "Second Coming", "Eternal Life"], "scripture": ["1 Corinthians 13:12", "1 John 3:2", "Revelation 22:4"], "provenance": {"layer": "text", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Words by Carrie E. Breck, whom the page credits in the printed form \"Mrs Frank A. Breck.\" Transcribed syllable by syllable from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 62, headed \"Face to Face.\" over \"Mrs Frank A. Breck.\" (left) and \"Grant Colfax Tullar.\" (right) — archive.org tabernaclehymnsn00chic leaf 0070 — and collated word by word against a second scan of the same plate, archive.org tabernaclehymnsn02chic leaf 0068. The page prints ALL FOUR stanzas in full, numbered 1-4, in two blocks of four rows: the first two lines of each stanza under system 1, the second two under system 2, with the chorus printed ONCE as a single lyric row under each of systems 3 and 4. US public domain: the page foots the hymn \"Copyright, 1899 by Tullar-Meredith Co   Used by per\" (the line runs off the trim on both scans and is quoted only as far as it prints), so the underlying copyright is 1899 and the printing read is itself 1921 — both well before 1931. THE AUTHOR DATE ABOVE IS THE PAGE'S COPYRIGHT YEAR, 1899, which is the only date the page carries; no earlier first-publication date was verified for this record and nothing here depends on one. PUNCTUATION AND SPELLING FOLLOW THE PAGE: \"Sav - iour\" (British spelling); em-dashes after \"face\" in stanza 1 line 2 and stanza 4 line 2; the exclamation marks in stanza 4 line 1 (\"Face to face! oh, bliss-ful mo - ment!\"); the semicolons ending stanza 3 line 2 and stanza 4 line 2; and the full stops ending stanzas 1, 2 and 4. TWO READINGS WERE RECONCILED AGAINST THE SECOND SCAN: leaf 0070 sets \"crooked\" with the second o so filled with ink that it reads \"crocked\", and leaf 0068 prints it plainly as \"crooked\" — which the syllable count independently requires, since that line needs eight syllables and only the two-syllable \"crook-ed\" supplies them. The page leaves \"darkling\", \"rapture\", \"banished\", \"crooked\" and \"straightened\" unhyphenated in the lyric rows even though each is sung over two notes; they are hyphenated here to the tune, and the slot count of every stanza is thirty, matching the thirty verse noteheads exactly. The chorus's first printed lyric line ends \"sky; . . .\" — the ellipsis marks the note held under the fermata and is a typographic device, not a syllable; it is not carried into the refrain text.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Face to face with Christ, my Sav -- iour, Face to face— what will it be? When with rap -- ture I be -- hold Him, Je -- sus Christ who died for me.", "prose": ["Face to face with Christ, my Saviour,", "Face to face—what will it be?", "When with rapture I behold Him,", "Jesus Christ who died for me."]}, "2": {"syllabified": "On -- ly faint -- ly now, I see Him, With the dark -- ling veil be -- tween, But a bless -- ed day is com -- ing, When His glo -- ry shall be seen.", "prose": ["Only faintly now, I see Him,", "With the darkling veil between,", "But a blessed day is coming,", "When His glory shall be seen."]}, "3": {"syllabified": "What re -- joic -- ing in His pres -- ence, When are ban -- ished grief and pain; When the crook -- ed ways are straight -- ened, And the dark things shall be plain.", "prose": ["What rejoicing in His presence,", "When are banished grief and pain;", "When the crooked ways are straightened,", "And the dark things shall be plain."]}, "4": {"syllabified": "Face to face! oh, bliss -- ful mo -- ment! Face to face— to see and know; Face to face with my Re -- deem -- er, Je -- sus Christ who loves me so.", "prose": ["Face to face! oh, blissful moment!", "Face to face—to see and know;", "Face to face with my Redeemer,", "Jesus Christ who loves me so."]}}, "refrain": {"syllabified": "Face to face shall I be -- hold Him, Far be -- yond the star -- ry sky; Face to face in all His glo -- ry, I shall see Him by and by!", "prose": ["Face to face shall I behold Him,", "Far beyond the starry sky;", "Face to face in all His glory,", "I shall see Him by and by!"]}}, "fairest-lord-jesus": {"slug": "fairest-lord-jesus", "title": "Fairest Lord Jesus", "first_line": "Beautiful Savior, King of Creation", "author_source": "German, 1677", "translator": "joseph-a-seiss", "translator_date": "1873", "foot": "trochaic", "meter": {"pattern": [5, 5, 7, 5, 5, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Crown", "God, As King", "Jesus", "Joy", "Light", "Nature", "Praise, Son", "Seasons", "Worship"], "scripture": ["Song of Solomon 6:10", "Matthew 6:29"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words by German Jesuits, published 1677; translated by Joseph A. Seiss, 1873. Translator d. 1904. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Beau -- ti -- ful Sav -- ior, King of Cre -- a -- tion Son of God and Son of Man! Tru -- ly I'd love Thee, tru -- ly I'd serve Thee, Light of my soul, my joy, my crown.", "prose": ["Beautiful Savior,", "King of Creation", "Son of God and Son of Man!", "Truly I'd love Thee,", "truly I'd serve Thee,", "Light of my soul, my joy, my crown."]}, "2": {"syllabified": "Fair are the mead -- ows, Fair are the wood -- lands, Robed in the flow'rs of bloom -- ing spring; Je -- sus is fair -- er, Je -- sus is pur -- er, He makes our sor -- r'wing spir -- it sing.", "prose": ["Fair are the meadows,", "Fair are the woodlands,", "Robed in the flow'rs of blooming spring;", "Jesus is fairer,", "Jesus is purer,", "He makes our sorr'wing spirit sing."]}, "3": {"syllabified": "Fair is the sun -- shine, Fair is the moon -- light, Bright the spark -- ling stars on high; Je -- sus shines bright -- er, Je -- sus shines pur -- er Than all the an -- gels in the sky.", "prose": ["Fair is the sunshine,", "Fair is the moonlight,", "Bright the sparkling stars on high;", "Jesus shines brighter,", "Jesus shines purer", "Than all the angels in the sky."]}, "4": {"syllabified": "Beau -- ti -- ful Sav -- ior, Lord of the na -- tions, Son of God and Son of Man! Glo -- ry and hon -- or, Praise, ad -- o -- ra -- tion Now and for -- ev -- er -- more be Thine!", "prose": ["Beautiful Savior,", "Lord of the nations,", "Son of God and Son of Man!", "Glory and honor,", "Praise, adoration", "Now and forevermore be Thine!"]}}}, "faith-of-our-fathers": {"slug": "faith-of-our-fathers", "title": "Faith of Our Fathers", "first_line": "Faith of our fathers, living still", "author": "frederick-faber", "author_date": "1849", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Faith", "Faithfulness", "The Church", "Martyrs"], "scripture": ["Hebrews 11:1", "Jude 1:3", "2 Timothy 4:7"], "provenance": {"layer": "text", "source": "faber-jesus-and-mary-1849", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Frederick W. Faber, 1849; refrain by James G. Walton, 1874. All authors d. pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "faith_of_our_fathers_living_still", "total_instances": 934}}, "stanzas": {"1": {"syllabified": "Faith of our fa -- thers, liv -- ing still, In spite of dun -- geon, fire and sword; O how our hearts beat high with joy When -- e'er we hear that glo -- rious Word!", "prose": ["Faith of our fathers, living still,", "In spite of dungeon, fire and sword;", "O how our hearts beat high with joy", "Whene'er we hear that glorious Word!"]}, "2": {"syllabified": "Faith of our fa -- thers, we will strive To win all na -- tions un -- to Thee; And through the truth that comes from God, We all shall then be tru -- ly free.", "prose": ["Faith of our fathers, we will strive", "To win all nations unto Thee;", "And through the truth that comes from God,", "We all shall then be truly free."]}, "3": {"syllabified": "Faith of our fa -- thers, we will love Both friend and foe in all our strife; And preach Thee, too, as love knows how By kind -- ly words and vir -- tuous life.", "prose": ["Faith of our fathers, we will love", "Both friend and foe in all our strife;", "And preach Thee, too, as love knows how", "By kindly words and virtuous life."]}}, "refrain": {"syllabified": "Faith of our fa -- thers, ho -- ly faith! We will be true to thee till death.", "prose": ["Faith of our fathers, holy faith!", "We will be true to thee till death."]}}, "fear-not-o-little-flock": {"slug": "fear-not-o-little-flock", "title": "Fear Not, O Little Flock", "first_line": "Fear not, O little flock, the foe Who madly", "author": "to-king-gustavus-adolphus-of-sweden", "author_date": "1906", "translator": "catherine-winkworth", "translator_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Calmness", "Comfort", "Courage in Affliction"], "scripture": ["Psalm 34:9-10", "Luke 12:30-32", "Romans 8:32", "Philippians 4:19"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:273; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Fear not, O lit -- tle flock, the foe Who mad -- ly seeks your ov -- er -- throw; Dread not his rage and pow'r; What though your cour -- age some -- times faints, His seem -- ing tri -- umph o'er God's saints Lasts but one lit -- tle hour.", "prose": ["Fear not, O little flock, the foe", "Who madly seeks your overthrow;", "Dread not his rage and pow'r;", "What though your courage sometimes faints,", "His seeming triumph o'er God's saints", "Lasts but one little hour."]}, "2": {"syllabified": "Be of good cheer; your cause be -- longs To Him who can a -- venge your wrongs; Leave it to Him our Lord. Though hid -- den yet from all our eyes, He sees the Gid -- eon who shall rise; To save us, and His word.", "prose": ["Be of good cheer; your cause belongs", "To Him who can avenge your wrongs;", "Leave it to Him our Lord.", "Though hidden yet from all our eyes,", "He sees the Gideon who shall rise;", "To save us, and His word."]}, "3": {"syllabified": "As true as God's own word is true, Not earth nor hell with all their crew A -- gainst us shall pre -- vail. A jest and by -- word are they grown; God is with us, we are His own, Our vic -- t'ry can -- not fail.", "prose": ["As true as God's own word is true,", "Not earth nor hell with all their crew", "Against us shall prevail.", "A jest and by-word are they grown;", "God is with us, we are His own,", "Our vict'ry cannot fail."]}, "4": {"syllabified": "A -- men, Lord Je -- sus, grant our prayer! Great Cap -- tain, now Thine arm make bare; Fight for us once a -- gain. So shall thy saints and mar -- tyrs raise A might -- y cho -- rus to Thy praise, World with -- out end. A -- men.", "prose": ["Amen, Lord Jesus, grant our prayer!", "Great Captain, now Thine arm make bare;", "Fight for us once again.", "So shall thy saints and martyrs raise", "A mighty chorus to Thy praise,", "World without end. Amen."]}}}, "fools-in-their-heart-have-said": {"slug": "fools-in-their-heart-have-said", "title": "The Folly of Unbelief", "first_line": "Fools in their heart have said", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 53, "topics": ["Psalms"], "scripture": ["Psalm 53"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 146) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 53, selection 146. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Fools in their heart have said, There is no God of might; Cor -- rupt are they and base their deeds, In e -- vil they de -- light.", "prose": ["Fools in their heart have said,", "There is no God of might;", "Corrupt are they and base their deeds,", "In evil they delight."]}, "2": {"syllabified": "God looked from heav'n a -- bove On all the hu -- man race, To see if an -- y un -- der -- stood, If an -- y sought His face.", "prose": ["God looked from heav'n above", "On all the human race,", "To see if any understood,", "If any sought His face."]}, "3": {"syllabified": "They all are gone a -- side, Cor -- rup -- tion doth a -- bound; There is not one that do -- eth good, Not e -- ven one is found.", "prose": ["They all are gone aside,", "Corruption doth abound;", "There is not one that doeth good,", "Not even one is found."]}, "4": {"syllabified": "These men of e -- vil deeds, Will they no knowl -- edge gain, Who feed up -- on my peo -- ple's woes, And prayer to God dis -- dain?", "prose": ["These men of evil deeds,", "Will they no knowledge gain,", "Who feed upon my people's woes,", "And prayer to God disdain?"]}, "5": {"syllabified": "The day is draw -- ing nigh When they shall fear and quail, For God shall scat -- ter and de -- stroy Those who His saints as -- sail.", "prose": ["The day is drawing nigh", "When they shall fear and quail,", "For God shall scatter and destroy", "Those who His saints assail."]}, "6": {"syllabified": "Yea, God will put to shame And make them flee a -- way, For He will cast them off in wrath And fill them with dis -- may.", "prose": ["Yea, God will put to shame", "And make them flee away,", "For He will cast them off in wrath", "And fill them with dismay."]}, "7": {"syllabified": "O would that Is -- rael's help Were out of Zi -- on come! O would that God might ear -- ly bring His cap -- tive peo -- ple home!", "prose": ["O would that Israel's help", "Were out of Zion come!", "O would that God might early bring", "His captive people home!"]}, "8": {"syllabified": "When God from dis -- tant lands His ex -- iled ones shall bring, His peo -- ple shall ex -- ul -- tant be, And glad -- ly they shall sing.", "prose": ["When God from distant lands", "His exiled ones shall bring,", "His people shall exultant be,", "And gladly they shall sing."]}}}, "for-evildoers-fret-thou-not": {"slug": "for-evildoers-fret-thou-not", "title": "For Evildoers Fret Thou Not", "first_line": "For evildoers fret thou not", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 37, "topics": ["Psalms"], "scripture": ["Psalm 37"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 37. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "For e -- vil -- do -- ers fret thou not thy -- self un -- qui -- et -- ly; Nor do thou en -- vy bear to those that work in -- iq -- ui -- ty.", "prose": ["For evildoers fret thou not", "thyself unquietly;", "Nor do thou envy bear to those", "that work iniquity."]}, "2": {"syllabified": "For, e -- ven like un -- to the grass, soon be cut down shall they; And, like the green and ten -- der herb, they with -- er shall a -- way.", "prose": ["For, even like unto the grass,", "soon be cut down shall they;", "And, like the green and tender herb,", "they wither shall away."]}, "3": {"syllabified": "Set thou thy trust up -- on the Lord, and be thou do -- ing good; And so thou in the land shalt dwell, and ver -- i -- ly have food.", "prose": ["Set thou thy trust upon the Lord,", "and be thou doing good;", "And so thou in the land shalt dwell,", "and verily have food."]}, "4": {"syllabified": "De -- light thy -- self in God; he'll give thine heart's de -- sire to thee. Thy way to God com -- mit, him trust, it bring to pass shall he.", "prose": ["Delight thyself in God; he'll give", "thine heart's desire to thee.", "Thy way to God commit, him trust,", "it bring to pass shall he."]}, "5": {"syllabified": "And, like un -- to the light, he shall thy right -- eous -- ness dis -- play; And he thy judg -- ment shall bring forth like noon -- tide of the day.", "prose": ["And, like unto the light, he shall", "thy righteousness display;", "And he thy judgment shall bring forth", "like noon-tide of the day."]}, "6": {"syllabified": "Rest in the Lord, and pa -- tient -- ly wait for him: do not fret For him who, pros -- p'ring in his way, suc -- cess in sin doth get.", "prose": ["Rest in the Lord, and patiently", "wait for him: do not fret", "For him who, prosp'ring in his way,", "success in sin doth get."]}, "7": {"syllabified": "Do thou from an -- ger cease, and wrath see thou for -- sake al -- so: Fret not thy -- self in an -- y wise, that e -- vil thou should'st do.", "prose": ["Do thou from anger cease, and wrath", "see thou forsake also:", "Fret not thyself in any wise,", "that evil thou should'st do."]}, "8": {"syllabified": "For those that e -- vil -- do -- ers are shall be cut off and fall: But those that wait up -- on the Lord the earth in -- her -- it shall.", "prose": ["For those that evildoers are", "shall be cut off and fall:", "But those that wait upon the Lord", "the earth inherit shall."]}, "9": {"syllabified": "For yet a lit -- tle while, and then the wick -- ed shall not be; His place thou shalt con -- sid -- er well, but it thou shalt not see.", "prose": ["For yet a little while, and then", "the wicked shall not be;", "His place thou shalt consider well,", "but it thou shalt not see."]}, "10": {"syllabified": "But by in -- her -- i -- tance the earth the meek ones shall pos -- sess: They al -- so shall de -- light them -- selves in an a -- bun -- dant peace.", "prose": ["But by inheritance the earth", "the meek ones shall possess:", "They also shall delight themselves", "in an abundant peace."]}, "11": {"syllabified": "The wick -- ed plots a -- gainst the just, and at him whets his teeth: The Lord shall laugh at him, be -- cause his day he com -- ing seeth.", "prose": ["The wicked plots against the just,", "and at him whets his teeth:", "The Lord shall laugh at him, because", "his day he coming seeth."]}, "12": {"syllabified": "The wick -- ed have drawn out the sword, and bent their bow, to slay The poor and need -- y, and to kill men of an up -- right way.", "prose": ["The wicked have drawn out the sword,", "and bent their bow, to slay", "The poor and needy, and to kill", "men of an upright way."]}, "13": {"syllabified": "But their own sword, which they have drawn, shall en -- ter their own heart: Their bows which they have bent shall break, and in -- to piec -- es part.", "prose": ["But their own sword, which they have drawn,", "shall enter their own heart:", "Their bows which they have bent shall break,", "and into pieces part."]}, "14": {"syllabified": "A lit -- tle that a just man hath is more and bet -- ter far Than is the wealth of man -- y such as lewd and wick -- ed are.", "prose": ["A little that a just man hath", "is more and better far", "Than is the wealth of many such", "as lewd and wicked are."]}, "15": {"syllabified": "For sin -- ners' arms shall bro -- ken be; but God the just sus -- tains. God knows the just man's days, and still their her -- i -- tage re -- mains.", "prose": ["For sinners' arms shall broken be;", "but God the just sustains.", "God knows the just man's days, and still", "their heritage remains."]}, "16": {"syllabified": "They shall not be a -- shamed when they the e -- vil time do see; And when the days of fam -- ine are, they sat -- is -- fied shall be.", "prose": ["They shall not be ashamed when they", "the evil time do see;", "And when the days of famine are,", "they satisfied shall be."]}, "17": {"syllabified": "But wick -- ed men, and foes of God, as fat of lambs, de -- cay; They shall con -- sume, yea, in -- to smoke they shall con -- sume a -- way.", "prose": ["But wicked men, and foes of God,", "as fat of lambs, decay;", "They shall consume, yea, into smoke", "they shall consume away."]}, "18": {"syllabified": "The wick -- ed bor -- rows, but the same a -- gain he doth not pay; Where -- as the right -- eous mer -- cy shows, and gives his own a -- way.", "prose": ["The wicked borrows, but the same", "again he doth not pay;", "Whereas the righteous mercy shows,", "and gives his own away."]}, "19": {"syllabified": "For such as bless -- ed be of him the earth in -- her -- it shall; And they that curs -- ed are of him shall be de -- stroy -- ed all.", "prose": ["For such as blessed be of him", "the earth inherit shall;", "And they that cursed are of him", "shall be destroyed all."]}, "20": {"syllabified": "A good man's foot -- steps by the Lord are or -- der -- ed a -- right; And in the way where -- in he walks he great -- ly doth de -- light.", "prose": ["A good man's footsteps by the Lord", "are ordered aright;", "And in the way wherein he walks", "he greatly doth delight."]}, "21": {"syllabified": "Al -- though he fall, yet shall he not be cast down ut -- ter -- ly, Be -- cause the Lord with his own hand u -- pholds him might -- i -- ly.", "prose": ["Although he fall, yet shall he not", "be cast down utterly,", "Because the Lord with his own hand", "upholds him mightily."]}, "22": {"syllabified": "I have been young, and now am old, yet have I nev -- er seen The just man left, nor that his seed for bread have beg -- gars been.", "prose": ["I have been young, and now am old,", "yet have I never seen", "The just man left, nor that his seed", "for bread have beggars been."]}, "23": {"syllabified": "He's ev -- er mer -- ci -- ful, and lends: his seed is blessed there -- fore. De -- part from e -- vil, and do good, and dwell for ev -- er -- more.", "prose": ["He's ever merciful, and lends:", "his seed is blessed therefore.", "Depart from evil, and do good,", "and dwell for evermore."]}, "24": {"syllabified": "For God loves judg -- ment, and his saints leaves not in an -- y case; They are kept ev -- er; but cut off shall be the sin -- ner's face.", "prose": ["For God loves judgment, and his saints", "leaves not in any case;", "They are kept ever; but cut off", "shall be the sinner's face."]}, "25": {"syllabified": "The just in -- her -- it shall the land, and ev -- er in it dwell: The just man's mouth doth wis -- dom speak; his tongue doth judg -- ment tell.", "prose": ["The just inherit shall the land,", "and ever in it dwell:", "The just man's mouth doth wisdom speak;", "his tongue doth judgment tell."]}, "26": {"syllabified": "In's heart the law is of his God, his steps slide not a -- way. The wick -- ed man doth watch the just, and seek -- eth him to slay.", "prose": ["In 's heart the law is of his God,", "his steps slide not away.", "The wicked man doth watch the just,", "and seeketh him to slay."]}, "27": {"syllabified": "Yet him the Lord will not for -- sake, nor leave him in his hands: The right -- eous will he not con -- demn, when he in judg -- ment stands.", "prose": ["Yet him the Lord will not forsake,", "nor leave him in his hands:", "The righteous will he not condemn,", "when he in judgment stands."]}, "28": {"syllabified": "Wait on the Lord, and keep his way, and thee ex -- alt shall he Th'earth to in -- her -- it; when cut off the wick -- ed thou shalt see.", "prose": ["Wait on the Lord, and keep his way,", "and thee exalt shall he", "Th' earth to inherit; when cut off", "the wicked thou shalt see."]}, "29": {"syllabified": "I saw the wick -- ed great in power, spread like a green bay -- tree: He passed, yea, was not; him I sought, but found he could not be.", "prose": ["I saw the wicked great in power,", "spread like a green bay-tree:", "He passed, yea, was not; him I sought,", "but found he could not be."]}, "30": {"syllabified": "Mark thou the per -- fect, and be -- hold the man of up -- right -- ness, Be -- cause that sure -- ly of this man the lat -- ter end is peace.", "prose": ["Mark thou the perfect, and behold", "the man of uprightness,", "Because that surely of this man", "the latter end is peace."]}, "31": {"syllabified": "But those men that trans -- gres -- sors are shall be de -- stroyed to -- geth -- er; The lat -- ter end of wick -- ed men shall be cut off for ev -- er.", "prose": ["But those men that transgressors are", "shall be destroyed together;", "The latter end of wicked men", "shall be cut off for ever."]}, "32": {"syllabified": "But the sal -- va -- tion of the just is from the Lord a -- bove; He in the time of their dis -- tress their stay and strength doth prove.", "prose": ["But the salvation of the just", "is from the Lord above;", "He in the time of their distress", "their stay and strength doth prove."]}, "33": {"syllabified": "The Lord shall help, and them de -- liv -- er: he shall them free and save From wick -- ed men, be -- cause in him their con -- fi -- dence they have.", "prose": ["The Lord shall help, and them deliver:", "he shall them free and save", "From wicked men, because in him", "their confidence they have."]}}}, "for-the-beauty-of-the-earth": {"slug": "for-the-beauty-of-the-earth", "title": "For The Beauty Of The Earth", "first_line": "For the beauty of the earth For the glory", "author": "folliot-s-pierpoint", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Baptism", "Blood", "Comfort"], "scripture": ["Ephesians 2:8-10", "1 John 5:10-12", "Titus 3:4-7", "James 1:17-18"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:267; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "for_the_beauty_of_the_earth", "total_instances": 699}}, "stanzas": {"1": {"syllabified": "For the beau -- ty of the earth For the glo -- ry of the skies, For the love which from our birth O -- ver and a -- round us lies.", "prose": ["For the beauty of the earth", "For the glory of the skies,", "For the love which from our birth", "Over and around us lies."]}, "2": {"syllabified": "For the beau -- ty of each hour, Of the day and of the night, Hill and vale, and tree and flow'r, Sun and moon, and stars of light.", "prose": ["For the beauty of each hour,", "Of the day and of the night,", "Hill and vale, and tree and flow'r,", "Sun and moon, and stars of light."]}, "3": {"syllabified": "For the joy of ear and eye, For the heart and mind's de -- light, For the mys -- tic har -- mo -- ny Link -- ing sense to sound and sight.", "prose": ["For the joy of ear and eye,", "For the heart and mind's delight,", "For the mystic harmony", "Linking sense to sound and sight."]}, "4": {"syllabified": "For the joy of hu -- man love, Broth -- er, sis -- ter, par -- ent, child, Friends on earth and friends a -- bove, For all gen -- tle thoughts and mild.", "prose": ["For the joy of human love,", "Brother, sister, parent, child,", "Friends on earth and friends above,", "For all gentle thoughts and mild."]}, "5": {"syllabified": "For Thy Church, that ev -- er -- more Lift -- eth ho -- ly hands a -- bove, Of -- f'ring up on ev -- ery shore Her pure sac -- ri -- fice of love.", "prose": ["For Thy Church, that evermore", "Lifteth holy hands above,", "Off'ring up on every shore", "Her pure sacrifice of love."]}}, "refrain": {"syllabified": "Lord of all, to Thee we raise, This our hymn of grate -- ful praise.", "prose": ["Lord of all, to Thee we raise,", "This our hymn of grateful praise."]}}, "forever-settled-in-the-heavns": {"slug": "forever-settled-in-the-heavns", "title": "The Immutable Word", "first_line": "Forever settled in the heav'ns", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 332) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 332. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "For -- ev -- er set -- tled in the heav'ns, Thy word, O Lord, shall firm -- ly stand; Thy faith -- ful -- ness shall nev -- er fail; The earth a -- bides at Thy com -- mand.", "prose": ["Forever settled in the heav'ns,", "Thy word, O Lord, shall firmly stand;", "Thy faithfulness shall never fail;", "The earth abides at Thy command."]}, "2": {"syllabified": "Thy word and works un -- moved re -- main, Thine ev -- 'ry pur -- pose to ful -- fill; All things are Thine and Thee o -- bey, And all as ser -- vants wait Thy will.", "prose": ["Thy word and works unmoved remain,", "Thine ev'ry purpose to fulfill;", "All things are Thine and Thee obey,", "And all as servants wait Thy will."]}, "3": {"syllabified": "I should have per -- ished in my woe Had not I loved Thy law di -- vine; That law I nev -- er can for -- get; O save me, Lord, for I am Thine.", "prose": ["I should have perished in my woe", "Had not I loved Thy law divine;", "That law I never can forget;", "O save me, Lord, for I am Thine."]}, "4": {"syllabified": "The wick -- ed would de -- stroy my soul, But in Thy truth I muse with awe; Im -- per -- fect I have found all else, But bound -- less is Thy won -- drous law.", "prose": ["The wicked would destroy my soul,", "But in Thy truth I muse with awe;", "Imperfect I have found all else,", "But boundless is Thy wondrous law."]}}}, "forty-days-and-forty-nights": {"slug": "forty-days-and-forty-nights", "title": "Forty Days and Forty Nights", "first_line": "Forty days and forty nights, Thou wast fasting in the wild", "index_first_line": "Forty days and forty nights", "author": "george-hunt-smyttan", "author_date": "1856", "adapter": "francis-pott", "adapter_date": "1861", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Lent", "Temptation", "Discipleship", "Angels"], "scripture": ["Matthew 4:1-11", "Mark 1:12-13", "Hebrews 4:15"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "George Hunt Smyttan, in The Penny Post, March 1856; the common six-stanza form derives from Francis Pott's revision (Hymns fitted to the Order of Common Prayer, 1861; d. 1909). Text from The Cyber Hymnal, cross-checked against Hymnary.org (same six stanzas; its representative text is a modern you-form revision) and against pre-1931 hymnal printings. Stanza 6's last line is imported in the elided seven-syllable form \"At th'eternal Eastertide\" as printed in Hymns Ancient and Modern (1861, verified in the 1861 and 1869 page scans); the Cyber Hymnal page prints the un-elided eight-syllable \"At the eternal Eastertide\", which cannot be sung to the tune's seven notes. All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "forty_days_and_forty_nights_thou_wast", "total_instances": 168}}, "stanzas": {"1": {"syllabified": "For -- ty days and for -- ty nights Thou wast fast -- ing in the wild; For -- ty days and for -- ty nights Temp -- ted, and yet un -- de -- filed.", "prose": ["Forty days and forty nights", "Thou wast fasting in the wild;", "Forty days and forty nights", "Tempted, and yet undefiled."]}, "2": {"syllabified": "Sun -- beams scorch -- ing all the day; Chil -- ly dew -- drops night -- ly shed; Prowl -- ing beasts a -- bout Thy way; Stones Thy pil -- low; earth Thy bed.", "prose": ["Sunbeams scorching all the day;", "Chilly dewdrops nightly shed;", "Prowling beasts about Thy way;", "Stones Thy pillow; earth Thy bed."]}, "3": {"syllabified": "Should not we Thy sor -- row share And from world -- ly joys ab -- stain, Fast -- ing with un -- ceas -- ing prayer, Strong with Thee to suf -- fer pain?", "prose": ["Should not we Thy sorrow share", "And from worldly joys abstain,", "Fasting with unceasing prayer,", "Strong with Thee to suffer pain?"]}, "4": {"syllabified": "Then if Sa -- tan on us press, Je -- sus, Sav -- ior, hear our call! Vic -- tor in the wil -- der -- ness, Grant we may not faint nor fall!", "prose": ["Then if Satan on us press,", "Jesus, Savior, hear our call!", "Victor in the wilderness,", "Grant we may not faint nor fall!"]}, "5": {"syllabified": "So shall we have peace di -- vine: Ho -- lier glad -- ness ours shall be; Round us, too, shall an -- gels shine, Such as min -- is -- tered to Thee.", "prose": ["So shall we have peace divine:", "Holier gladness ours shall be;", "Round us, too, shall angels shine,", "Such as ministered to Thee."]}, "6": {"syllabified": "Keep, O keep us, Sav -- ior dear, Ev -- er con -- stant by Thy side; That with Thee we may ap -- pear At th'e -- ter -- nal Eas -- ter -- tide.", "prose": ["Keep, O keep us, Savior dear,", "Ever constant by Thy side;", "That with Thee we may appear", "At th'eternal Eastertide."]}}}, "fountain-of-never-ceasing-grace": {"slug": "fountain-of-never-ceasing-grace", "title": "Fountain of Never Ceasing Grace", "first_line": "Fountain of never ceasing grace", "author": "augustus-montague-toplady", "author_date": "1774", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Justification", "Righteousness of Christ", "Atonement"], "scripture": "John 7:37", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "encoding_origin": "The Cyber Hymnal, \"Fountain of Never Ceasing Grace\" (fncgrace.htm); all six stanzas as printed there, credited \"Augustus M. Toplady, 1774\", with ST. MATTHEW (William Croft) as the tune.", "pd_basis": "pub_pre_1931", "pd_evidence": "Augustus Montague Toplady (1740-1778), \"Fountain of never-ceasing grace\" (\"Thanksgiving for the Righteousness of Christ\"), first published in his Poems on Sacred Subjects (1759); the Cyber Hymnal credits the 1774 Gospel Magazine printing. Hymnary.org text authority fountain_of_neverceasing_grace; the Trinity Hymnal (1961 no. 440, 1990 no. 519) and Trinity Psalter Hymnal (2018 no. 458) sing it to this same tune, ST. MATTHEW. One metrical emendation against the Cyber Hymnal page: stanza 2 line 5 reads \"Our God in flesh, to set us free\" per Toplady's original (\"Our God in Flesh, to set us free\", Hymns and Sacred Poems, ed. Sedgwick 1860, p. 65 — archive.org item hymnssacredpoems00topl); the Cyber Hymnal's \"in the flesh\" is a nine-syllable corruption of the 8.6.8.6.D line. All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "fountain_of_neverceasing_grace"}}, "stanzas": {"1": {"syllabified": "Foun -- tain of nev -- er ceas -- ing grace, Thy saints' ex -- haust -- less theme, Great ob -- ject of im -- mor -- tal praise, Es -- sen -- tial -- ly su -- preme; We bless Thee for the glo -- rious fruits Thine in -- car -- na -- tion gives; The right -- eous -- ness which grace im -- putes, And faith a -- lone re -- ceives.", "prose": ["Fountain of never ceasing grace,", "Thy saints' exhaustless theme,", "Great object of immortal praise,", "Essentially supreme;", "We bless Thee for the glorious fruits", "Thine incarnation gives;", "The righteousness which grace imputes,", "And faith alone receives."]}, "2": {"syllabified": "Whom Heav'n's an -- gel -- ic host a -- dores, Was slaugh -- tered for our sin; The guilt, O Lord, was whol -- ly ours, The pun -- ish -- ment was Thine: Our God in flesh, to set us free, Was man -- i -- fest -- ed here; And meek -- ly bare our sins, that we His right -- eous -- ness might wear.", "prose": ["Whom Heav'n's angelic host adores,", "Was slaughtered for our sin;", "The guilt, O Lord, was wholly ours,", "The punishment was Thine:", "Our God in flesh, to set us free,", "Was manifested here;", "And meekly bare our sins, that we", "His righteousness might wear."]}, "3": {"syllabified": "Im -- pu -- ta -- tive -- ly guil -- ty then Our sub -- sti -- tute was made, That we the bless -- ings might ob -- tain For which His blood was shed: Him -- self He of -- fered on the cross, Our sor -- rows to re -- move; And all He suf -- fered was for us, And all He did was love.", "prose": ["Imputatively guilty then", "Our substitute was made,", "That we the blessings might obtain", "For which His blood was shed:", "Himself He offered on the cross,", "Our sorrows to remove;", "And all He suffered was for us,", "And all He did was love."]}, "4": {"syllabified": "In Him we have a right -- eous -- ness, By God Him -- self ap -- proved; Our rock, our sure foun -- da -- tion this, Which nev -- er can be moved. Our ran -- som by His death He paid, For all His peo -- ple giv'n, The law He per -- fect -- ly o -- beyed, That they might en -- ter Heav'n.", "prose": ["In Him we have a righteousness,", "By God Himself approved;", "Our rock, our sure foundation this,", "Which never can be moved.", "Our ransom by His death He paid,", "For all His people giv'n,", "The law He perfectly obeyed,", "That they might enter Heav'n."]}, "5": {"syllabified": "As all, when Ad -- am sinned a -- lone, In his trans -- gres -- sion died, So by the right -- eous -- ness of One, Are sin -- ners jus -- ti -- fied, We to Thy mer -- it, gra -- cious Lord, With hum -- blest joy sub -- mit, A -- gain to par -- a -- dise re -- stored, In Thee a -- lone com -- plete.", "prose": ["As all, when Adam sinned alone,", "In his transgression died,", "So by the righteousness of One,", "Are sinners justified,", "We to Thy merit, gracious Lord,", "With humblest joy submit,", "Again to paradise restored,", "In Thee alone complete."]}, "6": {"syllabified": "Our souls His watch -- ful love re -- trieves, Nor lets them go a -- stray, His right -- eous -- ness to us He gives, And takes our sins a -- way: We claim sal -- va -- tion in His right, A -- dopt -- ed and for -- giv'n, His mer -- it is our robe of light, His death the gate of Heav'n.", "prose": ["Our souls His watchful love retrieves,", "Nor lets them go astray,", "His righteousness to us He gives,", "And takes our sins away:", "We claim salvation in His right,", "Adopted and forgiv'n,", "His merit is our robe of light,", "His death the gate of Heav'n."]}}}, "fret-not-thyself-nor-envious-be": {"slug": "fret-not-thyself-nor-envious-be", "title": "An Answer to Distrust", "first_line": "Fret not thyself, nor envious be", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 37, "topics": ["Psalms"], "scripture": ["Psalm 37"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 95) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 37, selection 95. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Fret not thy -- self, nor en -- vious be, When wick -- ed wor -- kers thou shalt see, Who pros -- per in their way; For like the grass they per -- ish soon, And, like the herb cut down at noon, They with -- er in a day.", "prose": ["Fret not thyself, nor envious be,", "When wicked workers thou shalt see,", "Who prosper in their way;", "For like the grass they perish soon,", "And, like the herb cut down at noon,", "They wither in a day."]}, "2": {"syllabified": "Trust in the Lord and still do well, With -- in the land se -- cure -- ly dwell, Feed on His faith -- ful -- ness; De -- light thee al -- so in the Lord, And to thy heart He will ac -- cord The good it would pos -- sess.", "prose": ["Trust in the Lord and still do well,", "Within the land securely dwell,", "Feed on His faithfulness;", "Delight thee also in the Lord,", "And to thy heart He will accord", "The good it would possess."]}, "3": {"syllabified": "Yea, to the Lord thy way is know; Con -- fide in Him Who on the throne A -- bides in pow'r di -- vine; Thy right -- eous -- ness He shall dis -- play; Re -- splen -- dent as the light of day, It shall un -- cloud -- ed shine.", "prose": ["Yea, to the Lord thy way is know;", "Confide in Him Who on the throne", "Abides in pow'r divine;", "Thy righteousness He shall display;", "Resplendent as the light of day,", "It shall unclouded shine."]}}}, "from-heaven-above-to-earth-i-come": {"slug": "from-heaven-above-to-earth-i-come", "title": "From Heaven Above To Earth I Come", "first_line": "From Heaven above to earth I come, To bear", "author": "martin-luther", "author_date": "1918", "translator": "catherine-winkworth", "translator_date": "1918", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Christmas/Advent", "Jesus", "Joy"], "scripture": ["Luke 2:1-20", "Philippians 2:5-11", "1Jn 3:5"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:54; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "From Heaven a -- bove to earth I come, To bear good news to ev -- ery home; Glad tid -- ings of great joy I bring, Where -- of I now will say and sing.", "prose": ["From Heaven above to earth I come,", "To bear good news to every home;", "Glad tidings of great joy I bring,", "Whereof I now will say and sing."]}, "2": {"syllabified": "To you, this night, is born a Child Of Ma -- ry, cho -- sen moth -- er mild; This ten -- der Child of low -- ly birth, Shall be the joy of all your earth.", "prose": ["To you, this night, is born a Child", "Of Mary, chosen mother mild;", "This tender Child of lowly birth,", "Shall be the joy of all your earth."]}, "3": {"syllabified": "'Tis Christ our God, Who far on high Had heard your sad and bit -- ter cry; Him -- self will your Sal -- va -- tion be, Him -- self from sin will make you free.", "prose": ["'Tis Christ our God, Who far on high", "Had heard your sad and bitter cry;", "Himself will your Salvation be,", "Himself from sin will make you free."]}, "4": {"syllabified": "He brings those bless -- ings long a -- go Pre -- pared by God for all be -- low; That in His heaven -- ly king -- dom blest You may with us for -- ev -- er rest.", "prose": ["He brings those blessings long ago", "Prepared by God for all below;", "That in His heavenly kingdom blest", "You may with us forever rest."]}, "5": {"syllabified": "These are the to -- kens ye shall mark, The swadd -- ling clothes and man -- ger dark; There shall ye find the young Child laid, By Whom the heav'ns and earth were made.", "prose": ["These are the tokens ye shall mark,", "The swaddling clothes and manger dark;", "There shall ye find the young Child laid,", "By Whom the heav'ns and earth were made."]}}}, "from-out-the-depths-i-cry-o-lord": {"slug": "from-out-the-depths-i-cry-o-lord", "title": "From Out the Depths I Cry, O Lord", "first_line": "From out the depths I cry, O Lord, to Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [10, 4, 10, 4, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 130, "topics": ["Psalms", "Penitence", "Hope"], "scripture": ["Psalm 130"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "From The Psalter (United Presbyterian Board of Publication, Pittsburgh, 1912), number 362 — a versification of Psalm 130 (\"Out of the depths I cry to Thee, O Lord\"). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "From out the depths I cry, O Lord, to Thee, Lord, hear my call. I love Thee, Lord, for Thou dost heed my plea, For -- giv -- ing all. If Thou dost mark our sins, who then shall stand? But grace and mer -- cy dwell at Thy right hand.", "prose": ["From out the depths I cry, O Lord, to Thee,", "Lord, hear my call.", "I love Thee, Lord, for Thou dost heed my plea,", "Forgiving all.", "If Thou dost mark our sins, who then shall stand?", "But grace and mercy dwell at Thy right hand."]}, "2": {"syllabified": "I wait for God, the Lord, and on His Word, My hope re -- lies; My soul still waits and looks un -- to the Lord Till light a -- rise. I look for Him to drive a -- way my night, Yea, more than watch -- men look for morn -- ing light.", "prose": ["I wait for God, the Lord, and on His Word,", "My hope relies;", "My soul still waits and looks unto the Lord", "Till light arise.", "I look for Him to drive away my night,", "Yea, more than watchmen look for morning light."]}, "3": {"syllabified": "Hope in the Lord, ye wait -- ing saints, and He Will well pro -- vide; For mer -- cy and re -- demp -- tion full and free With Him a -- bide. From sin and e -- vil, might -- y though they seem, His arm al -- might -- y will His saints re -- deem.", "prose": ["Hope in the Lord, ye waiting saints, and He", "Will well provide;", "For mercy and redemption full and free", "With Him abide.", "From sin and evil, mighty though they seem,", "His arm almighty will His saints redeem."]}}}, "gentle-mary-laid-her-child": {"slug": "gentle-mary-laid-her-child", "title": "Gentle Mary Laid Her Child", "first_line": "Gentle Mary laid her Child lowly in a manger", "author": "joseph-s-cook", "author_date": "1919", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Calmness", "Christmas/Advent", "Comfort"], "scripture": ["Luke 2:10-11", "Psalm 46:10"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:55; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Gen -- tle Ma -- ry laid her Child low -- ly in a man -- ger; There He lay, the un -- de -- filed, to the world a Stran -- ger: Such a Babe in such a place, can He be the Sav -- ior? Ask the saved of all the race who have found His fa -- vor.", "prose": ["Gentle Mary laid her Child", "lowly in a manger;", "There He lay, the undefiled,", "to the world a Stranger:", "Such a Babe in such a place,", "can He be the Savior?", "Ask the saved of all the race", "who have found His favor."]}, "2": {"syllabified": "An -- gels sang a -- bout His birth; wise men sought and found Him; Heav -- en's star shone bright -- ly forth, glo -- ry all a -- round Him: Shep -- herds saw the won -- drous sight, heard the an -- gels sing -- ing; All the plains were lit that night, all the hills were ring -- ing.", "prose": ["Angels sang about His birth;", "wise men sought and found Him;", "Heaven's star shone brightly forth,", "glory all around Him:", "Shepherds saw the wondrous sight,", "heard the angels singing;", "All the plains were lit that night,", "all the hills were ringing."]}, "3": {"syllabified": "Gen -- tle Ma -- ry laid her Child low -- ly in a man -- ger; He is still the un -- de -- filed, but no more a stran -- ger: Son of God, of hum -- ble birth, beau -- ti -- ful the sto -- ry; Praise His Name in all the earth, hail the King of glo -- ry!", "prose": ["Gentle Mary laid her Child", "lowly in a manger;", "He is still the undefiled,", "but no more a stranger:", "Son of God, of humble birth,", "beautiful the story;", "Praise His Name in all the earth,", "hail the King of glory!"]}}}, "give-ear-unto-me-when-i-call": {"slug": "give-ear-unto-me-when-i-call", "title": "Give Ear unto Me When I Call", "first_line": "Give ear unto me when I call", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 4, "topics": ["Psalms"], "scripture": ["Psalm 4"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 4. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give ear un -- to me when I call, God of my right -- eous -- ness: Have mer -- cy, hear my prayer; thou hast en -- larged me in dis -- tress.", "prose": ["Give ear unto me when I call,", "God of my righteousness:", "Have mercy, hear my prayer; thou hast", "enlarged me in distress."]}, "2": {"syllabified": "O ye the sons of men! how long will ye love van -- i -- ties? How long my glo -- ry turn to shame, and will ye fol -- low lies?", "prose": ["O ye the sons of men! how long", "will ye love vanities?", "How long my glory turn to shame,", "and will ye follow lies?"]}, "3": {"syllabified": "But know, that for him -- self the Lord the god -- ly man doth choose: The Lord, when I on him do call, to hear will not re -- fuse.", "prose": ["But know, that for himself the Lord", "the godly man doth choose:", "The Lord, when I on him do call,", "to hear will not refuse."]}, "4": {"syllabified": "Fear, and sin not; talk with your heart on bed, and si -- lent be. Of -- f'rings pre -- sent of right -- eous -- ness, and in the Lord trust ye.", "prose": ["Fear, and sin not; talk with your heart", "on bed, and silent be.", "Off'rings present of righteousness,", "and in the Lord trust ye."]}, "5": {"syllabified": "O who will show us an -- y good? is that which man -- y say: But of thy coun -- ten -- ance the light, Lord, lift on us al -- way.", "prose": ["O who will show us any good?", "is that which many say:", "But of thy countenance the light,", "Lord, lift on us alway."]}, "6": {"syllabified": "Up -- on my heart, be -- stowed by thee, more glad -- ness I have found Than they, ev'n then, when corn and wine did most with them a -- bound.", "prose": ["Upon my heart, bestowed by thee,", "more gladness I have found", "Than they, ev'n then, when corn and wine", "did most with them abound."]}, "7": {"syllabified": "I will both lay me down in peace, and qui -- et sleep will take; Be -- cause thou on -- ly me to dwell in safe -- ty, Lord, dost make.", "prose": ["I will both lay me down in peace,", "and quiet sleep will take;", "Because thou only me to dwell", "in safety, Lord, dost make."]}}}, "give-ear-unto-my-words-o-lord": {"slug": "give-ear-unto-my-words-o-lord", "title": "Give Ear unto My Words, O Lord", "first_line": "Give ear unto my words, O Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 5, "topics": ["Psalms"], "scripture": ["Psalm 5"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 5. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give ear un -- to my words, O Lord, my med -- i -- ta -- tion weigh. Hear my loud cry, my King, my God; for I to thee will pray.", "prose": ["Give ear unto my words, O Lord,", "my meditation weigh.", "Hear my loud cry, my King, my God;", "for I to thee will pray."]}, "2": {"syllabified": "Lord, thou shalt ear -- ly hear my voice: I ear -- ly will di -- rect My prayer to thee; and, look -- ing up, an an -- swer will ex -- pect.", "prose": ["Lord, thou shalt early hear my voice:", "I early will direct", "My prayer to thee; and, looking up,", "an answer will expect."]}, "3": {"syllabified": "For thou art not a God that doth in wick -- ed -- ness de -- light; Nei -- ther shall e -- vil dwell with thee, nor fools stand in thy sight.", "prose": ["For thou art not a God that doth", "in wickedness delight;", "Neither shall evil dwell with thee,", "nor fools stand in thy sight."]}, "4": {"syllabified": "All that ill -- do -- ers are thou hat'st; cutt'st off that li -- ars be: The blood -- y and de -- ceit -- ful man ab -- horr -- ed is by thee.", "prose": ["All that ill-doers are thou hat'st;", "cutt'st off that liars be:", "The bloody and deceitful man", "abhorred is by thee."]}, "5": {"syllabified": "But I in -- to thy house will come in thine a -- bun -- dant grace; And I will wor -- ship in thy fear to -- ward thy ho -- ly place.", "prose": ["But I into thy house will come", "in thine abundant grace;", "And I will worship in thy fear", "toward thy holy place."]}, "6": {"syllabified": "Be -- cause of those mine en -- e -- mies, Lord, in thy right -- eous -- ness Do thou me lead; do thou thy way make straight be -- fore my face.", "prose": ["Because of those mine enemies,", "Lord, in thy righteousness", "Do thou me lead; do thou thy way", "make straight before my face."]}, "7": {"syllabified": "For in their mouth there is no truth, their in -- ward part is ill; Their throat's an o -- pen sep -- ul -- chre, their tongue doth flat -- ter still.", "prose": ["For in their mouth there is no truth,", "their inward part is ill;", "Their throat's an open sepulchre,", "their tongue doth flatter still."]}, "8": {"syllabified": "O God, de -- stroy them; let them be by their own coun -- sel quelled: Them for their man -- y sins cast out, for they 'gainst thee re -- belled.", "prose": ["O God, destroy them; let them be", "by their own counsel quelled:", "Them for their many sins cast out,", "for they 'gainst thee rebelled."]}, "9": {"syllabified": "But let all joy that trust in thee, and still make shout -- ing noise; For them thou sav'st: let all that love thy name in thee re -- joice.", "prose": ["But let all joy that trust in thee,", "and still make shouting noise;", "For them thou sav'st: let all that love", "thy name in thee rejoice."]}, "10": {"syllabified": "For, Lord, un -- to the right -- eous man thou wilt thy bless -- ing yield: With fa -- vour thou wilt com -- pass him a -- bout, as with a shield.", "prose": ["For, Lord, unto the righteous man", "thou wilt thy blessing yield:", "With favour thou wilt compass him", "about, as with a shield."]}}}, "give-praise-and-thanks-unto-the-lord": {"slug": "give-praise-and-thanks-unto-the-lord", "title": "Give Praise and Thanks unto the Lord", "first_line": "Give praise and thanks unto the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 106, "topics": ["Psalms"], "scripture": ["Psalm 106"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 106. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give praise and thanks un -- to the Lord, for boun -- ti -- ful is he; His ten -- der mer -- cy doth en -- dure un -- to e -- ter -- ni -- ty.", "prose": ["Give praise and thanks unto the Lord,", "for bountiful is he;", "His tender mercy doth endure", "unto eternity."]}, "2": {"syllabified": "God's might -- y works who can ex -- press? or show forth all his praise? Bles -- sed are they that judg -- ment keep, and just -- ly do al -- ways.", "prose": ["God's mighty works who can express?", "or show forth all his praise?", "Blessed are they that judgment keep,", "and justly do always."]}, "3": {"syllabified": "Re -- mem -- ber me, Lord, with that love which thou to thine dost bear; With thy sal -- va -- tion, O my God, to vis -- it me draw near:", "prose": ["Remember me, Lord, with that love", "which thou to thine dost bear;", "With thy salvation, O my God,", "to visit me draw near:"]}, "4": {"syllabified": "That I thy cho -- sen's good may see, and in their joy re -- joice; And may with thine in -- her -- i -- tance tri -- umph with cheer -- ful voice.", "prose": ["That I thy chosen's good may see,", "and in their joy rejoice;", "And may with thine inheritance", "triumph with cheerful voice."]}, "5": {"syllabified": "We with our fa -- thers sinn -- ed have, and of in -- iq -- ui -- ty Too long we have the wor -- kers been; we have done wick -- ed -- ly.", "prose": ["We with our fathers sinned have,", "and of iniquity", "Too long we have the workers been;", "we have done wickedly."]}, "6": {"syllabified": "The won -- ders great, which thou, O Lord, didst work in E -- gypt land, Our fa -- thers, though they saw, yet them they did not un -- der -- stand:", "prose": ["The wonders great, which thou, O Lord,", "didst work in Egypt land,", "Our fathers, though they saw, yet them", "they did not understand:"]}, "7": {"syllabified": "And they thy mer -- cies' mul -- ti -- tude kept not in mem -- o -- ry; But at the sea, ev'n the Red Sea, pro -- voked him griev -- ous -- ly.", "prose": ["And they thy mercies' multitude", "kept not in memory;", "But at the sea, ev'n the Red Sea,", "provoked him grievously."]}, "8": {"syllabified": "Nev -- er -- the -- less he sav -- ed them, ev'n for his own name's sake; That so he might to be well known his might -- y pow -- er make.", "prose": ["Nevertheless he saved them,", "ev'n for his own name's sake;", "That so he might to be well known", "his mighty power make."]}, "9": {"syllabified": "When he the Red Sea did re -- buke, then dri -- ed up it was: Through depths, as through the wil -- der -- ness, he safe -- ly made them pass.", "prose": ["When he the Red Sea did rebuke,", "then dried up it was:", "Through depths, as through the wilderness,", "he safely made them pass."]}, "10": {"syllabified": "From hands of those that hat -- ed them he did his peo -- ple save; And from the en -- 'my's cru -- el hand to them re -- demp -- tion gave.", "prose": ["From hands of those that hated them", "he did his people save;", "And from the en'my's cruel hand", "to them redemption gave."]}, "11": {"syllabified": "The wa -- ters o -- ver -- whelmed their foes; not one was left a -- live. Then they be -- lieved his word, and praise to him in songs did give.", "prose": ["The waters overwhelmed their foes;", "not one was left alive.", "Then they believed his word, and praise", "to him in songs did give."]}, "12": {"syllabified": "But soon did they his might -- y works for -- get un -- thank -- ful -- ly, And on his coun -- sel and his will did not wait pa -- tient -- ly;", "prose": ["But soon did they his mighty works", "forget unthankfully,", "And on his counsel and his will", "did not wait patiently;"]}, "13": {"syllabified": "But much did lust in wil -- der -- ness, and God in des -- ert tempt. He gave them what they sought, but to their soul he lean -- ness sent.", "prose": ["But much did lust in wilderness,", "and God in desert tempt.", "He gave them what they sought, but to", "their soul he leanness sent."]}, "14": {"syllabified": "And a -- gainst Mo -- ses in the camp their en -- vy did ap -- pear; At Aa -- ron they, the saint of God, en -- vi -- ous al -- so were.", "prose": ["And against Moses in the camp", "their envy did appear;", "At Aaron they, the saint of God,", "envious also were."]}, "15": {"syllabified": "There -- fore the earth did o -- pen wide, and Da -- than did de -- vour, And all A -- bi -- ram's com -- pa -- ny did cov -- er in that hour.", "prose": ["Therefore the earth did open wide,", "and Dathan did devour,", "And all Abiram's company", "did cover in that hour."]}, "16": {"syllabified": "Like -- wise a -- mong their com -- pa -- ny a fire was kin -- dled then; And so the hot con -- sum -- ing flame burnt up these wick -- ed men.", "prose": ["Likewise among their company", "a fire was kindled then;", "And so the hot consuming flame", "burnt up these wicked men."]}, "17": {"syllabified": "Up -- on the hill of Ho -- reb they an i -- dol -- calf did frame, A mol -- ten im -- age they did make, and wor -- shipp -- ed the same.", "prose": ["Upon the hill of Horeb they", "an idol-calf did frame,", "A molten image they did make,", "and worshipped the same."]}, "18": {"syllabified": "And thus their glo -- ry, and their God, most vain -- ly chang -- ed they In -- to the like -- ness of an ox that eat -- eth grass or hay.", "prose": ["And thus their glory, and their God,", "most vainly changed they", "Into the likeness of an ox", "that eateth grass or hay."]}, "19": {"syllabified": "They did for -- get the might -- y God, that had their sav -- iour been, By whom such great things brought to pass they had in E -- gypt seen.", "prose": ["They did forget the mighty God,", "that had their saviour been,", "By whom such great things brought to pass", "they had in Egypt seen."]}, "20": {"syllabified": "In Ham's land he did won -- drous works, things ter -- ri -- ble did he, When he his might -- y hand and arm stretched out at the Red Sea.", "prose": ["In Ham's land he did wondrous works,", "things terrible did he,", "When he his mighty hand and arm", "stretched out at the Red Sea."]}, "21": {"syllabified": "Then said he, He would them de -- stroy, had not, his wrath to stay, His cho -- sen Mo -- ses stood in breach, that them he should not slay.", "prose": ["Then said he, He would them destroy,", "had not, his wrath to stay,", "His chosen Moses stood in breach,", "that them he should not slay."]}, "22": {"syllabified": "Yea, they de -- spised the pleas -- ant land, be -- liev -- ed not his word: But in their tents they mur -- mur -- ed, not hear -- k'ning to the Lord.", "prose": ["Yea, they despised the pleasant land,", "believed not his word:", "But in their tents they murmured,", "not heark'ning to the Lord."]}, "23": {"syllabified": "There -- fore in des -- ert them to slay he lift -- ed up his hand: 'Mong na -- tions to o'er -- throw their seed, and scat -- ter in each land.", "prose": ["Therefore in desert them to slay", "he lifted up his hand:", "'Mong nations to o'erthrow their seed,", "and scatter in each land."]}, "24": {"syllabified": "They un -- to Ba -- al -- pe -- or did them -- selves as -- so -- ci -- ate; The sac -- ri -- fic -- es of the dead they did pro -- fane -- ly eat.", "prose": ["They unto Baal-peor did", "themselves associate;", "The sacrifices of the dead", "they did profanely eat."]}, "25": {"syllabified": "Thus, by their lewd in -- ven -- ti -- ons, they did pro -- voke his ire; And then up -- on them sud -- den -- ly the plague brake in as fire.", "prose": ["Thus, by their lewd inventions,", "they did provoke his ire;", "And then upon them suddenly", "the plague brake in as fire."]}, "26": {"syllabified": "Then Phin -- 'has rose, and jus -- tice did, and so the plague did cease; That to all ag -- es count -- ed was to him for right -- eous -- ness.", "prose": ["Then Phin'has rose, and justice did,", "and so the plague did cease;", "That to all ages counted was", "to him for righteousness."]}, "27": {"syllabified": "And at the wa -- ters, where they strove, they did him an -- gry make, In such sort, that it far -- ed ill with Mo -- ses for their sake:", "prose": ["And at the waters, where they strove,", "they did him angry make,", "In such sort, that it fared ill", "with Moses for their sake:"]}, "28": {"syllabified": "Be -- cause they there his spir -- it meek pro -- vok -- ed bit -- ter -- ly, So that he ut -- tered with his lips words un -- ad -- vis -- ed -- ly.", "prose": ["Because they there his spirit meek", "provoked bitterly,", "So that he uttered with his lips", "words unadvisedly."]}, "29": {"syllabified": "Nor, as the Lord com -- mand -- ed them, did they the na -- tions slay: But with the hea -- then min -- gled were, and learned of them their way.", "prose": ["Nor, as the Lord commanded them,", "did they the nations slay:", "But with the heathen mingled were,", "and learned of them their way."]}, "30": {"syllabified": "And they their i -- dols served, which did a snare un -- to them turn. Their sons and daugh -- ters they to dev -- ils in sac -- ri -- fice did burn.", "prose": ["And they their idols served, which did", "a snare unto them turn.", "Their sons and daughters they to devils", "in sacrifice did burn."]}, "31": {"syllabified": "In their own chil -- dren's guilt -- less blood their hands they did im -- brue, Whom to Ca -- na -- an's i -- dols they for sac -- ri -- fic -- es slew:", "prose": ["In their own children's guiltless blood", "their hands they did imbrue,", "Whom to Canaan's idols they", "for sacrifices slew:"]}, "32": {"syllabified": "So was the land de -- filed with blood. They stained with their own way, And with their own in -- ven -- ti -- ons a whor -- ing they did stray.", "prose": ["So was the land defiled with blood.", "They stained with their own way,", "And with their own inventions", "a whoring they did stray."]}, "33": {"syllabified": "A -- gainst his peo -- ple kin -- dled was the wrath of God there -- fore, In -- so -- much that he did his own in -- her -- i -- tance ab -- hor.", "prose": ["Against his people kindled was", "the wrath of God therefore,", "Insomuch that he did his own", "inheritance abhor."]}, "34": {"syllabified": "He gave them to the hea -- then's hand; their foes did them com -- mand. Their en -- 'mies them op -- pressed, they were made sub -- ject to their hand.", "prose": ["He gave them to the heathen's hand;", "their foes did them command.", "Their en'mies them oppressed, they were", "made subject to their hand."]}, "35": {"syllabified": "He man -- y times de -- liv -- ered them; but with their coun -- sel so They him pro -- voked, that for their sin they were brought ver -- y low.", "prose": ["He many times delivered them;", "but with their counsel so", "They him provoked, that for their sin", "they were brought very low."]}, "36": {"syllabified": "Yet their af -- flic -- tion he be -- held, when he did hear their cry: And he for them his cov -- e -- nant did call to mem -- o -- ry;", "prose": ["Yet their affliction he beheld,", "when he did hear their cry:", "And he for them his covenant", "did call to memory;"]}, "37": {"syllabified": "Af -- ter his mer -- cies' mul -- ti -- tude he did re -- pent: And made Them to be pit -- ied of all those who did them cap -- tive lead.", "prose": ["After his mercies' multitude", "he did repent: And made", "Them to be pitied of all those", "who did them captive lead."]}, "38": {"syllabified": "O Lord our God, us save, and gath -- er the hea -- then from a -- mong, That we thy ho -- ly name may praise in a tri -- um -- phant song.", "prose": ["O Lord our God, us save, and gather", "the heathen from among,", "That we thy holy name may praise", "in a triumphant song."]}, "39": {"syllabified": "Blessed be JE -- HO -- VAH, Is -- r'el's God, to all e -- ter -- ni -- ty: Let all the peo -- ple say, A -- men. Praise to the Lord give ye.", "prose": ["Blessed be JEHOVAH, Isr'el's God,", "to all eternity:", "Let all the people say, Amen.", "Praise to the Lord give ye."]}}}, "give-thanks-to-god-call-on-his-name": {"slug": "give-thanks-to-god-call-on-his-name", "title": "Give Thanks to God, Call on His Name", "first_line": "Give thanks to God, call on his name", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 105, "topics": ["Psalms"], "scripture": ["Psalm 105"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 105. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give thanks to God, call on his name; to men his deeds make known. Sing ye to him, sing psalms; pro -- claim his won -- drous works each one.", "prose": ["Give thanks to God, call on his name;", "to men his deeds make known.", "Sing ye to him, sing psalms; proclaim", "his wondrous works each one."]}, "2": {"syllabified": "See that ye in his ho -- ly name to glo -- ry do ac -- cord; And let the heart of ev -- ery -- one re -- joice that seeks the Lord.", "prose": ["See that ye in his holy name", "to glory do accord;", "And let the heart of everyone", "rejoice that seeks the Lord."]}, "3": {"syllabified": "The Lord Al -- might -- y, and his strength, with sted -- fast hearts seek ye: His bles -- sed and his gra -- cious face seek ye con -- tin -- ual -- ly.", "prose": ["The Lord Almighty, and his strength,", "with stedfast hearts seek ye:", "His blessed and his gracious face", "seek ye continually."]}, "4": {"syllabified": "Think on the works that he hath done, which ad -- mi -- ra -- tion breed; His won -- ders, and the judg -- ments all which from his mouth pro -- ceed;", "prose": ["Think on the works that he hath done,", "which admiration breed;", "His wonders, and the judgments all", "which from his mouth proceed;"]}, "5": {"syllabified": "O ye that are of A -- br'ham's race, his ser -- vant well ap -- prov'n; And ye that Ja -- cob's chil -- dren are, whom he chose for his own.", "prose": ["O ye that are of Abr'ham's race,", "his servant well approv'n;", "And ye that Jacob's children are,", "whom he chose for his own."]}, "6": {"syllabified": "Be -- cause he, and he on -- ly, is the might -- y Lord our God; And his most right -- eous judg -- ments are in all the earth a -- broad.", "prose": ["Because he, and he only, is", "the mighty Lord our God;", "And his most righteous judgments are", "in all the earth abroad."]}, "7": {"syllabified": "His cov -- 'nant he re -- mem -- bered hath, that it may ev -- er stand: To thou -- sand gen -- er -- a -- ti -- ons the word he did com -- mand.", "prose": ["His cov'nant he remembered hath,", "that it may ever stand:", "To thousand generations", "the word he did command."]}, "8": {"syllabified": "Which cov -- e -- nant he firm -- ly made with faith -- ful A -- bra -- ham, And un -- to I -- saac, by his oath, he did re -- new the same:", "prose": ["Which covenant he firmly made", "with faithful Abraham,", "And unto Isaac, by his oath,", "he did renew the same:"]}, "9": {"syllabified": "And un -- to Ja -- cob, for a law, he made it firm and sure, A cov -- e -- nant to I -- sra -- el, which ev -- er should en -- dure.", "prose": ["And unto Jacob, for a law,", "he made it firm and sure,", "A covenant to Israel,", "which ever should endure."]}, "10": {"syllabified": "He said, I'll give Ca -- na -- an's land for her -- i -- tage to you; While they were stran -- gers there, and few, in num -- ber ver -- y few:", "prose": ["He said, I'll give Canaan's land", "for heritage to you;", "While they were strangers there, and few,", "in number very few:"]}, "11": {"syllabified": "While yet they went from land to land with -- out a sure a -- bode; And while through sun -- dry king -- doms they did wan -- der far a -- broad;", "prose": ["While yet they went from land to land", "without a sure abode;", "And while through sundry kingdoms they", "did wander far abroad;"]}, "12": {"syllabified": "Yet, not -- with -- stand -- ing, suff -- ered he no man to do them wrong: Yea, for their sakes, he did re -- prove kings, who were great and strong.", "prose": ["Yet, notwithstanding, suffered he", "no man to do them wrong:", "Yea, for their sakes, he did reprove", "kings, who were great and strong."]}, "13": {"syllabified": "Thus did he say, Touch ye not those that mine a -- noint -- ed be, Nor do the proph -- ets an -- y harm that do per -- tain to me.", "prose": ["Thus did he say, Touch ye not those", "that mine anointed be,", "Nor do the prophets any harm", "that do pertain to me."]}, "14": {"syllabified": "He called for fam -- ine on the land, he brake the staff of bread: But yet he sent a man be -- fore, by whom they should be fed;", "prose": ["He called for famine on the land,", "he brake the staff of bread:", "But yet he sent a man before,", "by whom they should be fed;"]}, "15": {"syllabified": "Ev'n Jo -- seph, whom un -- nat -- u -- ral -- ly sell for a slave did they; Whose feet with fet -- ters they did hurt, and he in i -- rons lay;", "prose": ["Ev'n Joseph, whom unnaturally", "sell for a slave did they;", "Whose feet with fetters they did hurt,", "and he in irons lay;"]}, "16": {"syllabified": "Un -- til the time that his word came to give him lib -- er -- ty; The word and pur -- pose of the Lord did him in pris -- on try.", "prose": ["Until the time that his word came", "to give him liberty;", "The word and purpose of the Lord", "did him in prison try."]}, "17": {"syllabified": "Then sent the king, and did com -- mand that he en -- larged should be: He that the peo -- ple's rul -- er was did send to set him free.", "prose": ["Then sent the king, and did command", "that he enlarged should be:", "He that the people's ruler was", "did send to set him free."]}, "18": {"syllabified": "A lord to rule his fam -- i -- ly he raised him, as most fit; To him of all that he po -- ssessed he did the charge com -- mit:", "prose": ["A lord to rule his family", "he raised him, as most fit;", "To him of all that he possessed", "he did the charge commit:"]}, "19": {"syllabified": "That he might at his plea -- sure bind the prin -- ces of the land; And he might teach his sen -- a -- tors wis -- dom to un -- der -- stand.", "prose": ["That he might at his pleasure bind", "the princes of the land;", "And he might teach his senators", "wisdom to understand."]}, "20": {"syllabified": "The peo -- ple then of I -- sra -- el down in -- to E -- gypt came; And Ja -- cob al -- so so -- journ -- ed with -- in the land of Ham.", "prose": ["The people then of Israel", "down into Egypt came;", "And Jacob also sojourned", "within the land of Ham."]}, "21": {"syllabified": "And he did great -- ly by his power in -- crease his peo -- ple there; And stron -- ger than their en -- e -- mies they by his bless -- ing were.", "prose": ["And he did greatly by his power", "increase his people there;", "And stronger than their enemies", "they by his blessing were."]}, "22": {"syllabified": "Their heart he turn -- ed to en -- vy his folk ma -- li -- cious -- ly, With those that his own ser -- vants were to deal in subt -- le -- ty.", "prose": ["Their heart he turned to envy", "his folk maliciously,", "With those that his own servants were", "to deal in subtlety."]}, "23": {"syllabified": "His ser -- vant Mo -- ses he did send, Aa -- ron his cho -- sen one. By these his signs and won -- ders great in Ham's land were made known.", "prose": ["His servant Moses he did send,", "Aaron his chosen one.", "By these his signs and wonders great", "in Ham's land were made known."]}, "24": {"syllabified": "Dark -- ness he sent, and made it dark; his word they did o -- bey. He turned their wa -- ters in -- to blood, and he their fish did slay.", "prose": ["Darkness he sent, and made it dark;", "his word they did obey.", "He turned their waters into blood,", "and he their fish did slay."]}, "25": {"syllabified": "The land in plen -- ty brought forth frogs in cham -- bers of their kings. His word all sorts of flies and lice in all their bor -- ders brings.", "prose": ["The land in plenty brought forth frogs", "in chambers of their kings.", "His word all sorts of flies and lice", "in all their borders brings."]}, "26": {"syllabified": "He hail for rain, and flam -- ing fire in -- to their land he sent: And he their vines and fig -- trees smote; trees of their coasts he rent.", "prose": ["He hail for rain, and flaming fire", "into their land he sent:", "And he their vines and fig-trees smote;", "trees of their coasts he rent."]}, "27": {"syllabified": "He spake, and cat -- er -- pil -- lars came, lo -- custs did much a -- bound; Which in their land all herbs con -- sumed, and all fruits of their ground.", "prose": ["He spake, and caterpillars came,", "locusts did much abound;", "Which in their land all herbs consumed,", "and all fruits of their ground."]}, "28": {"syllabified": "He smote all first -- born in their land, chief of their strength each one. With gold and sil -- ver brought them forth, weak in their tribes were none.", "prose": ["He smote all first-born in their land,", "chief of their strength each one.", "With gold and silver brought them forth,", "weak in their tribes were none."]}, "29": {"syllabified": "E -- gypt was glad when forth they went, their fear on them did light. He spread a cloud for cov -- er -- ing, and fire to shine by night.", "prose": ["Egypt was glad when forth they went,", "their fear on them did light.", "He spread a cloud for covering,", "and fire to shine by night."]}, "30": {"syllabified": "They asked, and he brought quails: with bread of heav'n he fill -- ed them. He o -- pened rocks, floods gushed, and ran in des -- erts like a stream.", "prose": ["They asked, and he brought quails: with bread", "of  heav'n  he filled them.", "He opened rocks, floods gushed, and ran", "in deserts like a stream."]}, "31": {"syllabified": "For on his ho -- ly prom -- ise he, and ser -- vant A -- br'ham, thought. With joy his peo -- ple, his e -- lect with glad -- ness, forth he brought.", "prose": ["For on his holy promise he,", "and servant Abr'ham, thought.", "With joy his people, his elect", "with gladness, forth he brought."]}, "32": {"syllabified": "And un -- to them the pleas -- ant lands he of the hea -- then gave; That of the peo -- ple's la -- bour they in -- her -- i -- tance might have.", "prose": ["And unto them the pleasant lands", "he of the heathen gave;", "That of the people's labour they", "inheritance might have."]}, "33": {"syllabified": "That they his stat -- utes might ob -- serve ac -- cord -- ing to his word; And that they might his laws o -- bey. Give praise un -- to the Lord.", "prose": ["That they his statutes might observe", "according to his word;", "And that they might his laws obey.", "Give praise unto the Lord."]}}}, "give-thanks-to-god-for-good-is-he": {"slug": "give-thanks-to-god-for-good-is-he", "title": "Give Thanks to God, for Good Is He", "first_line": "Give thanks to God, for good is he", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 136, "topics": ["Psalms"], "scripture": ["Psalm 136"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 136. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give thanks to God, for good is he: for mer -- cy hath he ev -- er. Thanks to the God of gods give ye: for his grace fail -- eth nev -- er.", "prose": ["Give thanks to God, for good is he:", "for mercy hath he ever.", "Thanks to the God of gods give ye:", "for his grace faileth never."]}, "2": {"syllabified": "Thanks give the Lord of lords un -- to: for mer -- cy hath he ev -- er. Who on -- ly won -- ders great can do: for his grace fail -- eth nev -- er.", "prose": ["Thanks give the Lord of lords unto:", "for mercy hath he ever.", "Who only wonders great can do:", "for his grace faileth never."]}, "3": {"syllabified": "Who by his wis -- dom made heav'ns high: for mer -- cy hath he ev -- er. Who stretched the earth a -- bove the sea: for his grace fail -- eth nev -- er.", "prose": ["Who by his wisdom made heav'ns high:", "for mercy hath he ever.", "Who stretched the earth above the sea:", "for his grace faileth never."]}, "4": {"syllabified": "To him that made the great lights shine: for mer -- cy hath he ev -- er. The sun to rule till day de -- cline: for his grace fail -- eth nev -- er.", "prose": ["To him that made the great lights shine:", "for mercy hath he ever.", "The sun to rule till day decline:", "for his grace faileth never."]}, "5": {"syllabified": "The moon and stars to rule by night: for mer -- cy hath he ev -- er. Who E -- gypt's first -- born killed out -- right: for his grace fail -- eth nev -- er.", "prose": ["The moon and stars to rule by night:", "for mercy hath he ever.", "Who Egypt's first-born killed outright:", "for his grace faileth never."]}, "6": {"syllabified": "And Is -- r'el brought from E -- gypt land: for mer -- cy hath he ev -- er. With stretch -- ed -- out arm, and with strong hand: for his grace fail -- eth nev -- er.", "prose": ["And Isr'el brought from Egypt land:", "for mercy hath he ever.", "With stretched-out arm, and with strong hand:", "for his grace faileth never."]}, "7": {"syllabified": "By whom the Red Sea par -- ted was: for mer -- cy hath he ev -- er. And through its midst made Is -- r'el pass: for his grace fail -- eth nev -- er.", "prose": ["By whom the Red Sea parted was:", "for mercy hath he ever.", "And through its midst made Isr'el pass:", "for his grace faileth never."]}, "8": {"syllabified": "But Phar -- aoh and his host did drown: for mer -- cy hath he ev -- er. Who through the des -- ert led his own: for his grace fail -- eth nev -- er.", "prose": ["But Pharaoh and his host did drown:", "for mercy hath he ever.", "Who through the desert led his own:", "for his grace faileth never."]}, "9": {"syllabified": "To him great kings who o -- ver -- threw: for he hath mer -- cy ev -- er. Yea, fa -- mous kings in ba -- ttle slew: for his grace fail -- eth nev -- er.", "prose": ["To him great kings who overthrew:", "for he hath mercy ever.", "Yea, famous kings in battle slew:", "for his grace faileth never."]}, "10": {"syllabified": "Ev'n Si -- hon king of Am -- o -- rites: for he hath mer -- cy ev -- er. And Og the king of Ba -- shan -- ites: for his grace fail -- eth nev -- er.", "prose": ["Ev'n Sihon king of Amorites:", "for he hath mercy ever.", "And Og the king of Bashanites:", "for his grace faileth never."]}, "11": {"syllabified": "Their land in her -- i -- tage to have: (for mer -- cy hath he ev -- er). His ser -- vant Is -- r'el right he gave: for his grace fail -- eth nev -- er.", "prose": ["Their land in heritage to have:", "(for mercy hath he ever).", "His servant Isr'el right he gave:", "for his grace faileth never."]}, "12": {"syllabified": "In our low state who on us thought: for he hath mer -- cy ev -- er. And from our foes our free -- dom wrought: for his grace fail -- eth nev -- er.", "prose": ["In our low state who on us thought:", "for he hath mercy ever.", "And from our foes our freedom wrought:", "for his grace faileth never."]}, "13": {"syllabified": "Who doth all flesh with food re -- lieve: for he hath mer -- cy ev -- er. Thanks to the God of heav -- en give: for his grace fail -- eth nev -- er.", "prose": ["Who doth all flesh with food relieve:", "for he hath mercy ever.", "Thanks to the God of heaven give:", "for his grace faileth never."]}}}, "give-ye-unto-the-lord-ye-sons": {"slug": "give-ye-unto-the-lord-ye-sons", "title": "Give Ye unto the Lord, Ye Sons", "first_line": "Give ye unto the Lord, ye sons", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 29, "topics": ["Psalms"], "scripture": ["Psalm 29"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 29. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Give ye un -- to the Lord, ye sons that of the might -- y be, All strength and glo -- ry to the Lord with cheer -- ful -- ness give ye.", "prose": ["Give ye unto the Lord, ye sons", "that of the mighty be,", "All strength and glory to the Lord", "with cheerfulness give ye."]}, "2": {"syllabified": "Un -- to the Lord the glo -- ry give that to his name is due; And in the beau -- ty of ho -- li -- ness un -- to JE -- HO -- VAH bow.", "prose": ["Unto the Lord the glory give", "that to his name is due;", "And in the beauty of holiness", "unto JEHOVAH bow."]}, "3": {"syllabified": "The Lord's voice on the wa -- ters is; the God of maj -- es -- ty Doth thun -- der, and on mul -- ti -- tudes of wa -- ters sitt -- eth he.", "prose": ["The Lord's voice on the waters is;", "the God of majesty", "Doth thunder, and on multitudes", "of waters sitteth he."]}, "4": {"syllabified": "A pow'r -- ful voice it is that comes out from the Lord most high; The voice of that great Lord is full of glo -- rious maj -- es -- ty.", "prose": ["A pow'rful voice it is that comes", "out from the Lord most high;", "The voice of that great Lord is full", "of glorious majesty."]}, "5": {"syllabified": "The voice of the E -- ter -- nal doth a -- sun -- der ce -- dars tear; Yea, God the Lord doth ce -- dars break that Leb -- a -- non doth bear.", "prose": ["The voice of the Eternal doth", "asunder cedars tear;", "Yea, God the Lord doth cedars break", "that Lebanon doth bear."]}, "6": {"syllabified": "He makes them like a calf to skip, ev'n that great Leb -- a -- non, And, like to a young u -- ni -- corn, the moun -- tain Si -- ri -- on.", "prose": ["He makes them like a calf to skip,", "ev'n that great Lebanon,", "And, like to a young unicorn,", "the mountain Sirion."]}, "7": {"syllabified": "God's voice div -- ides the flames of fire; the des -- ert it doth shake: The Lord doth make the wil -- der -- ness of Ka -- desh all to quake.", "prose": ["God's voice divides the flames of fire;", "the desert it doth shake:", "The Lord doth make the wilderness", "of Kadesh all to quake."]}, "8": {"syllabified": "God's voice doth make the hinds to calve, it makes the for -- est bare: And in his tem -- ple ev -- ery -- one his glo -- ry doth de -- clare.", "prose": ["God's voice doth make the hinds to calve,", "it makes the forest bare:", "And in his temple everyone", "his glory doth declare."]}, "9": {"syllabified": "The Lord sits on the floods; the Lord sits King, and ev -- er shall. The Lord will give his peo -- ple strength, and with peace bless them all.", "prose": ["The Lord sits on the floods; the Lord", "sits King, and ever shall.", "The Lord will give his people strength,", "and with peace bless them all."]}}}, "glorious-things-of-thee-are-spoken": {"slug": "glorious-things-of-thee-are-spoken", "title": "Glorious Things of Thee Are Spoken", "first_line": "Glorious things of thee are spoken", "author": "john-newton", "author_date": "1779", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["The Church", "Zion", "God, Providence of"], "scripture": ["Psalm 87:3"], "provenance": {"layer": "text", "source": "olney-hymns-1779", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "John Newton, Olney Hymns, 1779. Author d. 1807.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "glorious_things_of_thee_are_spoken", "total_instances": 1376}}, "stanzas": {"1": {"syllabified": "Glo -- rious things of thee are spo -- ken, Zi -- on cit -- y of our God; He, Whose Word can -- not be bro -- ken Formed thee for His Own a -- bode: On the Rock of A -- ges found -- ed, What can shake thy sure re -- pose? With sal -- va -- tion's walls sur -- round -- ed, Thou mayst smile at all thy foes.", "prose": ["Glorious things of thee are spoken,", "Zion city of our God;", "He, Whose Word cannot be broken", "Formed thee for His Own abode:", "On the Rock of Ages founded,", "What can shake thy sure repose?", "With salvation's walls surrounded,", "Thou mayst smile at all thy foes."]}, "2": {"syllabified": "See, the streams of liv -- ing wa -- ters, Spring -- ing from E -- ter -- nal Love, Well supp -- ly thy sons and daugh -- ters, And all fear of want re -- move: Who can faint, while such a riv -- er Ev -- er will their thirst as -- suage? Grace, which, like the Lord the Giv -- er, Nev -- er fails from age to age.", "prose": ["See, the streams of living waters,", "Springing from Eternal Love,", "Well supply thy sons and daughters,", "And all fear of want remove:", "Who can faint, while such a river", "Ever will their thirst assuage?", "Grace, which, like the Lord the Giver,", "Never fails from age to age."]}, "3": {"syllabified": "Round each hab -- i -- ta -- tion hov -- 'ring, See the cloud and fire ap -- pear, For a glo -- ry and a cov -- 'ring: Show -- ing that the Lord is near. Thus de -- riv -- ing from their ban -- ner Light by night, and shade by day, Safe they feed up -- on the man -- na, Which He gives them on their way.", "prose": ["Round each habitation hov'ring,", "See the cloud and fire appear,", "For a glory and a cov'ring:", "Showing that the Lord is near.", "Thus deriving from their banner", "Light by night, and shade by day,", "Safe they feed upon the manna,", "Which He gives them on their way."]}, "4": {"syllabified": "Sav -- ior, if of Zi -- on's cit -- y I, through grace, a mem -- ber am, Let the world de -- ride or pit -- y, I will glo -- ry in Thy Name: Fad -- ing is the world -- ling's pleas -- ure, All his boast -- ed pomp and show: Sol -- id joys and last -- ing trea -- sure None but Zi -- on's child -- ren know.", "prose": ["Savior, if of Zion's city", "I, through grace, a member am,", "Let the world deride or pity,", "I will glory in Thy Name:", "Fading is the worldling's pleasure,", "All his boasted pomp and show:", "Solid joys and lasting treasure", "None but Zion's children know."]}}}, "glory-be-to-the-father": {"slug": "glory-be-to-the-father", "title": "Glory Be to the Father", "first_line": "Glory be to the Father, and to the Son", "author_source": "Traditional liturgical text (the lesser doxology), 2nd century", "foot": "irregular", "meter": {"pattern": [7, 4, 6, 8, 7, 4, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Trinity", "Praise", "Worship"], "scripture": ["Matthew 28:19", "Ephesians 3:21"], "stanzas": {"1": {"syllabified": "Glo -- ry be to the Fa -- ther, and to the Son, and to the Ho -- ly Ghost; as it was in the be -- gin -- ning, is now, and ev -- er shall be, world with -- out end. A -- men, A -- men.", "prose": ["Glory be to the Father,", "and to the Son,", "and to the Holy Ghost;", "as it was in the beginning,", "is now, and ever shall be,", "world without end.", "Amen, Amen."]}}, "provenance": {"layer": "text", "source": "book-of-common-prayer", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The Gloria Patri (lesser doxology), a traditional trinitarian liturgical text in continuous Christian use since roughly the 2nd century (its fixed \"as it was in the beginning\" form since the 4th). This English wording (\"world without end. Amen.\") is the received Book of Common Prayer translation (1549/1662), sung to the Greatorex tune in American hymnals' service music since the 1850s. Ancient anonymous text, centuries out of copyright.", "pd_jurisdictions": {"US": true}}}, "go-to-dark-gethsemane": {"slug": "go-to-dark-gethsemane", "title": "Go to Dark Gethsemane", "first_line": "Go to dark Gethsemane, ye that feel the tempter's power", "author": "james-montgomery", "author_date": "1820", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Christian Life", "Cross", "Darkness, Spiritual", "Discipleship", "Easter", "Easter Week", "Passion", "Example, Christ's", "Following Jesus, In Faith", "God, Goodness of", "Gospel", "Jesus", "Kindness, God's", "Resurrection"], "scripture": ["Matthew 26:36-68", "Matthew 27:31-56", "Matthew 28:1-10", "Mark 14:32-65", "Mark 15:20-39", "Luke 22:39-46", "Luke 22:66-71", "Luke 23:26-49", "Luke 24:1-12", "John 19:16-30", "John 20:1-18"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:95 (line 10127); words James Montgomery 1820; tune PETRA (also 'Gethsemane'/'Petra') Richard Redhead 1853; setting The Church Hymnal (Episcopal) 1896. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Go to dark Geth -- se -- ma -- ne, ye that feel the temp -- ter's pow'r; Your Re -- deem -- er's con -- flict see, watch with Him one bit -- ter hour, Turn not from His griefs a -- way; learn from Je -- sus Christ to pray.", "prose": ["Go to dark Gethsemane,", "ye that feel the tempter's pow'r;", "Your Redeemer's conflict see,", "watch with Him one bitter hour,", "Turn not from His griefs away;", "learn from Jesus Christ to pray."]}, "2": {"syllabified": "Fol -- low to the judg -- ment hall, view the Lord of Life ar -- raigned; O the worm -- wood and the gall! O the pangs His soul sus -- tained! Shun not suf -- f'ring, shame, or loss; learn from Christ to bear the cross.", "prose": ["Follow to the judgment hall,", "view the Lord of Life arraigned;", "O the wormwood and the gall!", "O the pangs His soul sustained!", "Shun not suff'ring, shame, or loss;", "learn from Christ to bear the cross."]}, "3": {"syllabified": "Cal -- v'ry's mourn -- ful moun -- tain climb; there, a -- dor -- ing at His feet, Mark that mir -- a -- cle of time, God's own sac -- ri -- fice com -- plete. \"It is fin -- ished!\" hear Him cry; learn from Je -- sus Christ to die.", "prose": ["Calv'ry's mournful mountain climb;", "there, adoring at His feet,", "Mark that miracle of time,", "God's own sacrifice complete.", "\"It is finished!\" hear Him cry;", "learn from Jesus Christ to die."]}, "4": {"syllabified": "Ear -- ly hast -- en to the tomb where they laid His breath -- less clay; All is sol -- i -- tude and gloom. Who has tak -- en Him a -- way? Christ is ris'n! He meets our eyes; Sav -- ior, teach us so to rise.", "prose": ["Early hasten to the tomb", "where they laid His breathless clay;", "All is solitude and gloom.", "Who has taken Him away?", "Christ is ris'n! He meets our eyes;", "Savior, teach us so to rise."]}}}, "god-be-merciful-to-me": {"slug": "god-be-merciful-to-me", "title": "A Penitent's Plea", "first_line": "God, be merciful to me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 51, "topics": ["Psalms"], "scripture": ["Psalm 51"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 142) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 51, selection 142. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God, be mer -- ci -- ful to me, On Thy grace I rest my plea; Plen -- teous in com -- pas -- sion Thou, Blot out my trans -- gres -- sion now; Wash me, make me pure with -- in, Cleanse, O cleanse me from my sin, Wash me, make me pure with -- in, Cleanse, O cleanse me from my sin.", "prose": ["God, be merciful to me,", "On Thy grace I rest my plea;", "Plenteous in compassion Thou,", "Blot out my transgression now;", "Wash me, make me pure within,", "Cleanse, O cleanse me from my sin,", "Wash me, make me pure within,", "Cleanse, O cleanse me from my sin."]}, "2": {"syllabified": "I am e -- vil born in sin; Thou de -- sir -- ed truth with -- in. Thou a -- lone my Sav -- iour art, Teach Thy wis -- dom to my heart; Make me pure, Thy grace be -- stow, Wash me whit -- er than the snow, Make me pure, Thy grace be -- stow, Wash me whit -- er than the snow.", "prose": ["I am evil born in sin;", "Thou desired truth within.", "Thou alone my Saviour art,", "Teach Thy wisdom to my heart;", "Make me pure, Thy grace bestow,", "Wash me whiter than the snow,", "Make me pure, Thy grace bestow,", "Wash me whiter than the snow."]}, "3": {"syllabified": "Gra -- cious God, my heart re -- new, Make my spir -- it right and tree; Cast me not a -- way from Thee, Let Thy Spir -- it dwell in me; Thy salvat -- io -- n's joy im -- part, Stead -- fast make my wil -- ling heart, Thy salvat -- io -- n's joy im -- part, Stead -- fast make my wil -- ling heart.", "prose": ["Gracious God, my heart renew,", "Make my spirit right and tree;", "Cast me not away from Thee,", "Let Thy Spirit dwell in me;", "Thy salvation's joy impart,", "Steadfast make my willing heart,", "Thy salvation's joy impart,", "Steadfast make my willing heart."]}, "4": {"syllabified": "Sin -- ners then shall learn from me And re -- turn, O God, to Thee; Sav -- iour, all my guilt re -- move, And my tongue shall sing Thy love; Touch my si -- lent lips, O Lord, And my mouth shall praise ac -- cord, Touch my si -- lent lips, O Lord, And my mouth shall praise ac -- cord.", "prose": ["Sinners then shall learn from me", "And return, O God, to Thee;", "Saviour, all my guilt remove,", "And my tongue shall sing Thy love;", "Touch my silent lips, O Lord,", "And my mouth shall praise accord,", "Touch my silent lips, O Lord,", "And my mouth shall praise accord."]}}}, "god-himself-is-present": {"slug": "god-himself-is-present", "title": "God Himself is Present", "first_line": "God Himself is present: Let us now adore Him", "author": "gerhard-tersteegen", "author_date": "1918", "translator": "frederick-w-foster-and-john-miller", "translator_date": "1918", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6, 6, 8, 3, 3, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Christian Life", "Commitment", "Consecration"], "scripture": ["1Cor 6:19-20", "1Jn 1:5-7", "1Pt 2:5-9", "Ez 36:27"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:23; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God Him -- self is pres -- ent: Let us now a -- dore Him, And with awe ap -- pear be -- fore Him. God is in His tem -- ple, all with -- in keep si -- lence, Pro -- strate lie with deep -- est rev -- erence. Him a -- lone God we own, Him our God and Sav -- ior; Praise His name for -- ev -- er.", "prose": ["God Himself is present:", "Let us now adore Him,", "And with awe appear before Him.", "God is in His temple,", "all within keep silence,", "Prostrate lie with deepest reverence.", "Him alone", "God we own,", "Him our God and Savior;", "Praise His name forever."]}, "2": {"syllabified": "God Him -- self is pres -- ent: Hear the harps re -- sound -- ing! See the crowds the throne sur -- round -- ing! \"Ho -- ly, ho -- ly, ho -- ly\", hear the hymn as -- cend -- ing, An -- gels, saints, their voic -- es blend -- ing! Bow Thine ear to us here: Hear, O Christ, the prais -- es That Thy Church now rai -- ses.", "prose": ["God Himself is present:", "Hear the harps resounding!", "See the crowds the throne surrounding!", "\"Holy, holy, holy\",", "hear the hymn ascending,", "Angels, saints, their voices blending!", "Bow Thine ear", "to us here:", "Hear, O Christ, the praises", "That Thy Church now raises."]}, "3": {"syllabified": "O Thou fount of bless -- ing, Pur -- i -- fy my spir -- it; Trust -- ing on -- ly in Thy mer -- it, Like the ho -- ly an -- gels Who be -- hold Thy glo -- ry, May I cease -- less -- ly a -- dore Thee, Let Thy will Ev -- er still Rule Thy Church ter -- res -- trial, As the hosts ce -- les -- tial.", "prose": ["O Thou fount of blessing,", "Purify my spirit;", "Trusting only in Thy merit,", "Like the holy angels", "Who behold Thy glory,", "May I ceaselessly adore Thee,", "Let Thy will", "Ever still", "Rule Thy Church terrestrial,", "As the hosts celestial."]}}}, "god-is-our-refuge-and-our-strength": {"slug": "god-is-our-refuge-and-our-strength", "title": "God Is Our Refuge and Our Strength", "first_line": "God is our refuge and our strength", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 46, "topics": ["Psalms"], "scripture": ["Psalm 46"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 46. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God is our ref -- uge and our strength, in straits a pres -- ent aid; There -- fore, al -- though the earth re -- move, we will not be a -- fraid:", "prose": ["God is our refuge and our strength,", "in straits a present aid;", "Therefore, although the earth remove,", "we will not be afraid:"]}, "2": {"syllabified": "Though hills a -- midst the seas be cast; Though wa -- ters roar -- ing make, And trou -- bled be; yea, though the hills by swell -- ing seas do shake.", "prose": ["Though hills amidst the seas be cast;", "Though waters roaring make,", "And troubled be; yea, though the hills", "by swelling seas do shake."]}, "3": {"syllabified": "A riv -- er is, whose streams do glad the cit -- y of our God; The ho -- ly place, where -- in the Lord most high hath his a -- bode.", "prose": ["A river is, whose streams do glad", "the city of our God;", "The holy place, wherein the Lord", "most high hath his abode."]}, "4": {"syllabified": "God in the midst of her doth dwell; noth -- ing shall her re -- move: The Lord to her an help -- er will, and that right ear -- ly, prove.", "prose": ["God in the midst of her doth dwell;", "nothing shall her remove:", "The Lord to her an helper will,", "and that right early, prove."]}, "5": {"syllabified": "The hea -- then raged tu -- mul -- tuous -- ly, the king -- doms mov -- ed were: The Lord God ut -- ter -- ed his voice, the earth did melt for fear.", "prose": ["The heathen raged tumultuously,", "the kingdoms moved were:", "The Lord God uttered his voice,", "the earth did melt for fear."]}, "6": {"syllabified": "The Lord of hosts up -- on our side doth con -- stant -- ly re -- main: The God of Ja -- cob's our ref -- uge, us safe -- ly to main -- tain.", "prose": ["The Lord of hosts upon our side", "doth constantly remain:", "The God of Jacob's our refuge,", "us safely to maintain."]}, "7": {"syllabified": "Come, and be -- hold what won -- drous works have by the Lord been wrought; Come, see what des -- o -- la -- ti -- ons he on the earth hath brought.", "prose": ["Come, and behold what wondrous works", "have by the Lord been wrought;", "Come, see what desolations", "he on the earth hath brought."]}, "8": {"syllabified": "Un -- to the ends of all the earth wars in -- to peace he turns: The bow he breaks, the spear he cuts, in fire the char -- iot burns.", "prose": ["Unto the ends of all the earth", "wars into peace he turns:", "The bow he breaks, the spear he cuts,", "in fire the chariot burns."]}, "9": {"syllabified": "Be still, and know that I am God; a -- mong the hea -- then I Will be ex -- al -- ted; I on earth will be ex -- al -- ted high.", "prose": ["Be still, and know that I am God;", "among the heathen I", "Will be exalted; I on earth", "will be exalted high."]}, "10": {"syllabified": "Our God, who is the Lord of hosts, is still up -- on our side; The God of Ja -- cob our ref -- uge for ev -- er will a -- bide.", "prose": ["Our God, who is the Lord of hosts,", "is still upon our side;", "The God of Jacob our refuge", "for ever will abide."]}}}, "god-moves-in-a-mysterious-way": {"slug": "god-moves-in-a-mysterious-way", "title": "God Moves in a Mysterious Way", "first_line": "God Moves in a Mysterious Way", "author": "william-cowper", "author_date": "1774", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Providence", "Trust", "Comfort"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Cowper, \"Light Shining out of Darkness,\" Olney Hymns (1779), Book III, No. 15; written 1774. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God moves in a mys -- te -- rious way His won -- ders to per -- form; He plants His foot -- steps in the sea And rides up -- on the storm.", "prose": ["God moves in a mysterious way", "His wonders to perform;", "He plants His footsteps in the sea", "And rides upon the storm."]}, "2": {"syllabified": "Deep in un -- fath -- om -- a -- ble mines Of nev -- er fail -- ing skill He treas -- ures up His bright de -- signs And works His sov -- ereign will.", "prose": ["Deep in unfathomable mines", "Of never failing skill", "He treasures up His bright designs", "And works His sovereign will."]}, "3": {"syllabified": "Ye fear -- ful saints, fresh cour -- age take; The clouds ye so much dread Are big with mer -- cy and shall break In bless -- ings on your head.", "prose": ["Ye fearful saints, fresh courage take;", "The clouds ye so much dread", "Are big with mercy and shall break", "In blessings on your head."]}, "4": {"syllabified": "Judge not the Lord by fee -- ble sense, But trust Him for His grace; Be -- hind a frown -- ing prov -- i -- dence He hides a smil -- ing face.", "prose": ["Judge not the Lord by feeble sense,", "But trust Him for His grace;", "Behind a frowning providence", "He hides a smiling face."]}, "5": {"syllabified": "His pur -- pos -- es will rip -- en fast, Un -- fold -- ing ev -- ery hour; The bud may have a bit -- ter taste, But sweet will be the flower.", "prose": ["His purposes will ripen fast,", "Unfolding every hour;", "The bud may have a bitter taste,", "But sweet will be the flower."]}, "6": {"syllabified": "Blind un -- be -- lief is sure to err And scan His work in vain; God is His own in -- ter -- pret -- er, And He will make it plain.", "prose": ["Blind unbelief is sure to err", "And scan His work in vain;", "God is His own interpreter,", "And He will make it plain."]}}}, "god-reigneth-let-the-earth-be-glad": {"slug": "god-reigneth-let-the-earth-be-glad", "title": "God Reigneth, Let the Earth Be Glad", "first_line": "God reigneth, let the earth be glad", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 97, "topics": ["Psalms"], "scripture": ["Psalm 97"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 97. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God reign -- eth, let the earth be glad, and isles re -- joice each one. Dark clouds him com -- pass; and in right with judg -- ment dwells his throne.", "prose": ["God reigneth, let the earth be glad,", "and isles rejoice each one.", "Dark clouds him compass; and in right", "with judgment dwells his throne."]}, "2": {"syllabified": "Fire goes be -- fore him, and his foes it burns up round a -- bout: His light -- nings ligh -- ten did the world; earth saw, and shook through -- out.", "prose": ["Fire goes before him, and his foes", "it burns up round about:", "His lightnings lighten did the world;", "earth saw, and shook throughout."]}, "3": {"syllabified": "Hills at the pres -- ence of the Lord, like wax, did melt a -- way; Ev'n at the pres -- ence of the Lord of all the earth, I say.", "prose": ["Hills at the presence of the Lord,", "like wax, did melt away;", "Ev'n at the presence of the Lord", "of all the earth, I say."]}, "4": {"syllabified": "The heav'ns de -- clare his right -- eous -- ness, all men his glo -- ry see. All who serve grav -- en im -- ag -- es, con -- found -- ed let them be.", "prose": ["The heav'ns declare his righteousness,", "all men his glory see.", "All who serve graven images,", "confounded let them be."]}, "5": {"syllabified": "Who do of i -- dols boast them -- selves, let shame up -- on them fall: Ye that are call -- ed gods, see that ye do him wor -- ship all.", "prose": ["Who do of idols boast themselves,", "let shame upon them fall:", "Ye that are called gods, see that", "ye do him worship all."]}, "6": {"syllabified": "Zi -- on did hear, and joy -- ful was, glad Ju -- dah's daugh -- ters were; They much re -- joiced, O Lord, be -- cause thy judg -- ments did ap -- pear.", "prose": ["Zion did hear, and joyful was,", "glad Judah's daughters were;", "They much rejoiced, O Lord, because", "thy judgments did appear."]}, "7": {"syllabified": "For thou, O Lord, art high a -- bove all things on earth that are; A -- bove all oth -- er gods thou art ex -- al -- ted ver -- y far.", "prose": ["For thou, O Lord, art high above", "all things on earth that are;", "Above all other gods thou art", "exalted very far."]}, "8": {"syllabified": "Hate ill, all ye that love the Lord: his saints' souls keep -- eth he; And from the hands of wick -- ed men he sets them safe and free.", "prose": ["Hate ill, all ye that love the Lord:", "his saints' souls keepeth he;", "And from the hands of wicked men", "he sets them safe and free."]}, "9": {"syllabified": "For all those that be right -- e -- ous sown is a joy -- ful light, And glad -- ness sown is for all those that are in heart up -- right.", "prose": ["For all those that be righteous", "sown is a joyful light,", "And gladness sown is for all those", "that are in heart upright."]}, "10": {"syllabified": "Ye right -- eous, in the Lord re -- joice; ex -- press your thank -- ful -- ness, When ye in -- to your mem -- o -- ry do call his ho -- li -- ness.", "prose": ["Ye righteous, in the Lord rejoice;", "express your thankfulness,", "When ye into your memory", "do call his holiness."]}}}, "god-rest-ye-merry-gentlemen": {"slug": "god-rest-ye-merry-gentlemen", "title": "God Rest Ye Merry Gentlemen", "first_line": "God rest ye merry, gentlemen, let nothing you dismay", "author_source": "Traditional English", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Atonement", "Christmas", "Advent", "Consecration"], "scripture": ["Luke 2:13-14", "1 Corinthians 15:21-22"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:56; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "god_rest_ye_merry_gentlemen", "total_instances": 143}}, "stanzas": {"1": {"syllabified": "God rest ye mer -- ry, gen -- tle -- men, let noth -- ing you dis -- may, Re -- mem -- ber Christ our Sav -- ior was born on Christ -- mas Day; To save us all from Sa -- tan's pow'r when we were gone a -- stray.", "prose": ["God rest ye merry, gentlemen,", "let nothing you dismay,", "Remember Christ our Savior", "was born on Christmas Day;", "To save us all from Satan's pow'r", "when we were gone astray."]}, "2": {"syllabified": "In Beth -- le -- hem, in Is -- ra -- el, this bless -- ed Babe was born, And laid with -- in a man -- ger up -- on this bless -- ed morn; The which His moth -- er Ma -- ry did noth -- ing take in scorn.", "prose": ["In Bethlehem, in Israel,", "this blessed Babe was born,", "And laid within a manger", "upon this blessed morn;", "The which His mother Mary", "did nothing take in scorn."]}, "3": {"syllabified": "From God our heav'n -- ly Fa -- ther a bless -- ed an -- gel came; And un -- to cer -- tain shep -- herds brought tid -- ings of the same; How that in Beth -- le -- hem was born the Son of God by name.", "prose": ["From God our heav'nly Father", "a blessed angel came;", "And unto certain shepherds", "brought tidings of the same;", "How that in Bethlehem was born", "the Son of God by name."]}, "4": {"syllabified": "\"Fear not, then,\" said the an -- gel, \"Let noth -- ing you a -- fright This day is born a Sav -- ior of a pure Vir -- gin bright, To free all those who trust in Him from Sa -- tan's pow'r and might.\"", "prose": ["\"Fear not, then,\" said the angel,", "\"Let nothing you afright", "This day is born a Savior", "of a pure Virgin bright,", "To free all those who trust in Him", "from Satan's pow'r and might.\""]}, "5": {"syllabified": "The shep -- herds at those tid -- ings re -- jo -- iced much in mind, And left their flocks a -- feed -- ing in tem -- pest, storm and wind, And went to Beth -- l'em straight -- aw -- ay this bless -- ed Babe to find.", "prose": ["The shepherds at those tidings", "rejoiced much in mind,", "And left their flocks afeeding", "in tempest, storm and wind,", "And went to Bethl'em straightaway", "this blessed Babe to find."]}}, "refrain": {"syllabified": "O tid -- ings of com -- fort and joy, com -- fort and joy; O tid -- ings of com -- fort and joy.", "prose": ["O tidings of comfort and joy,", "comfort and joy;", "O tidings of comfort and joy."]}}, "god-that-madest-earth-and-heaven": {"slug": "god-that-madest-earth-and-heaven", "title": "God, That Madest Earth and Heaven", "first_line": "God, that madest earth and Heaven, darkness and light", "author": "reginald-heber", "author_date": "1827", "foot": "trochaic", "meter": {"pattern": [8, 4, 8, 4, 8, 8, 8, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Angels", "Anticipation", "Calmness", "Christian Life", "Courage in Affliction", "Day", "Duty", "Eternal Life", "Evening", "God, Creator", "God, Faithfulness of", "Guidance", "Light", "Peace", "Presence", "Rest", "Submission"], "scripture": ["Genesis 1:1", "Psalm 121:1-8", "Matthew 11:28", "2 Timothy 4:18", "Psalm 91:9-12"], "provenance": {"layer": "text", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words: st.1 Reginald Heber, 1827; st.2 William Mercer, 1864; st.3 Richard Whately, 1838. As published in The English Hymnal, 1906 (Hymn 268). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God, that mad -- est earth and Heav -- en, dark -- ness and light; Who the day for toil hast giv -- en, for rest the night; May Thine an -- gel guards de -- fend us, Slum -- ber sweet Thy mer -- cy send us; Ho -- ly dreams and hopes at -- tend us, all through the night.", "prose": ["God, that madest earth and Heaven,", "darkness and light;", "Who the day for toil hast given,", "for rest the night;", "May Thine angel guards defend us,", "Slumber sweet Thy mercy send us;", "Holy dreams and hopes attend us,", "all through the night."]}, "2": {"syllabified": "And when morn a -- gain shall call us, to run life's way, May we still, what -- e'er be -- fall us, Thy will o -- bey. From the pow'r of e -- vil hide us, In the nar -- row path -- way guide us, Nor Thy smile be e'er de -- nied us all through the day.", "prose": ["And when morn again shall call us,", "to run life's way,", "May we still, whate'er befall us,", "Thy will obey.", "From the pow'r of evil hide us,", "In the narrow pathway guide us,", "Nor Thy smile be e'er denied us", "all through the day."]}, "3": {"syllabified": "Guard us wak -- ing, guard us sleep -- ing, and when we die, May we in Thy might -- y keep -- ing all peace -- ful lie; When the last dread call shall wake us, Do not Thou, our God, for -- sake us, But to reign in glo -- ry take us with Thee on high.", "prose": ["Guard us waking, guard us sleeping,", "and when we die,", "May we in Thy mighty keeping", "all peaceful lie;", "When the last dread call shall wake us,", "Do not Thou, our God, forsake us,", "But to reign in glory take us", "with Thee on high."]}}}, "god-whose-almighty-word": {"slug": "god-whose-almighty-word", "title": "God, Whose Almighty Word", "first_line": "God, whose almighty word Chaos and darkness heard And", "author": "john-marriott", "author_date": "1911", "foot": "iambic", "meter": {"pattern": [6, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Charity", "Christian Life", "Commitment"], "scripture": ["Isaiah 6:8", "Matthew 9:37-39", "Luke 10:2-9", "John 4:34-38"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:291; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God, whose al -- might -- y word Cha -- os and dark -- ness heard And took their flight: Hear us, we hum -- ble pray, And where the Gos -- pel day Sheds not its glor -- ious ray, Let there be light!", "prose": ["God, whose almighty word", "Chaos and darkness heard", "And took their flight:", "Hear us, we humble pray,", "And where the Gospel day", "Sheds not its glorious ray,", "Let there be light!"]}, "2": {"syllabified": "Lord, who once came to bring, On your re -- deem -- ing wing, Heal -- ing and sight, Health to the sick in mind, Sight to the in -- ly blind: Oh, now to hu -- man -- kind Let there be light!", "prose": ["Lord, who once came to bring,", "On your redeeming wing,", "Healing and sight,", "Health to the sick in mind,", "Sight to the inly blind:", "Oh, now to humankind", "Let there be light!"]}, "3": {"syllabified": "Spir -- it of truth and love, Life giv -- ing, ho -- ly dove, Speed forth your flight; Move on the wa -- ter's face, Bear -- ing the lamp of grace, And in earth's dark -- est place Let there be light!", "prose": ["Spirit of truth and love,", "Life giving, holy dove,", "Speed forth your flight;", "Move on the water's face,", "Bearing the lamp of grace,", "And in earth's darkest place", "Let there be light!"]}, "4": {"syllabified": "Ho -- ly and bless -- ed three, Glo -- ri -- ous Trin -- i -- ty, Wis -- dom, love, might! Bound -- less as o -- cean's tide, Rol -- ling in full -- est pride, Through the earth, far and wide, Let there be light!", "prose": ["Holy and blessed three,", "Glorious Trinity,", "Wisdom, love, might!", "Boundless as ocean's tide,", "Rolling in fullest pride,", "Through the earth, far and wide,", "Let there be light!"]}}}, "god-will-i-bless-all-times-his-praise": {"slug": "god-will-i-bless-all-times-his-praise", "title": "God Will I Bless All Times; His Praise", "first_line": "God will I bless all times; his praise", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 34, "topics": ["Psalms"], "scripture": ["Psalm 34"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 34. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God will I bless all times; his praise my mouth shall still ex -- press. My soul shall boast in God: the meek shall hear with joy -- ful -- ness.", "prose": ["God will I bless all times; his praise", "my mouth shall still express.", "My soul shall boast in God: the meek", "shall hear with joyfulness."]}, "2": {"syllabified": "Ex -- tol the Lord with me, let us ex -- alt his name to -- geth -- er. I sought the Lord, he heard, and did me from all fears de -- liv -- er.", "prose": ["Extol the Lord with me, let us", "exalt his name together.", "I sought the Lord, he heard, and did", "me from all fears deliver."]}, "3": {"syllabified": "They looked to him, and light -- ened were: not shamed were their fac -- es. This poor man cried, God heard, and saved him from all his dis -- tress -- es.", "prose": ["They looked to him, and lightened were:", "not shamed were their faces.", "This poor man cried, God heard, and saved", "him from all his distresses."]}, "4": {"syllabified": "The an -- gel of the Lord en -- camps, and round en -- com -- pass -- eth All those a -- bout that do him fear, and them de -- liv -- er -- eth.", "prose": ["The angel of the Lord encamps,", "and round encompasseth", "All those about that do him fear,", "and them delivereth."]}, "5": {"syllabified": "O taste and see that God is good: who trusts in him is blessed. Fear God his saints: none that him fear shall be with want op -- pressed.", "prose": ["O taste and see that God is good:", "who trusts in him is blessed.", "Fear God his saints: none that him fear", "shall be with want oppressed."]}, "6": {"syllabified": "The li -- ons young may hun -- gry be, and they may lack their food: But they that tru -- ly seek the Lord shall not lack an -- y good.", "prose": ["The lions young may hungry be,", "and they may lack their food:", "But they that truly seek the Lord", "shall not lack any good."]}, "7": {"syllabified": "O chil -- dren, hith -- er do ye come, and un -- to me give ear; I shall you teach to un -- der -- stand how ye the Lord should fear.", "prose": ["O children, hither do ye come,", "and unto me give ear;", "I shall you teach to understand", "how ye the Lord should fear."]}, "8": {"syllabified": "What man is he that life de -- sires, to see good would live long? Thy lips re -- frain from speak -- ing guile, and from ill words thy tongue.", "prose": ["What man is he that life desires,", "to see good would live long?", "Thy lips refrain from speaking guile,", "and from ill words thy tongue."]}, "9": {"syllabified": "De -- part from ill, do good, seek peace, pur -- sue it earn -- est -- ly. God's eyes are on the just; his ears are o -- pen to their cry.", "prose": ["Depart from ill, do good, seek peace,", "pursue it earnestly.", "God's eyes are on the just; his ears", "are open to their cry."]}, "10": {"syllabified": "The face of God is set a -- gainst those that do wick -- ed -- ly, That he may quite out from the earth cut off their mem -- o -- ry.", "prose": ["The face of God is set against", "those that do wickedly,", "That he may quite out from the earth", "cut off their memory."]}, "11": {"syllabified": "The right -- eous cry un -- to the Lord, he un -- to them gives ear; And they out of their trou -- bles all by him de -- liv -- ered are.", "prose": ["The righteous cry unto the Lord,", "he unto them gives ear;", "And they out of their troubles all", "by him delivered are."]}, "12": {"syllabified": "The Lord is ev -- er nigh to them that be of bro -- ken spirit; To them he safe -- ty doth af -- ford that are in heart con -- trite.", "prose": ["The Lord is ever nigh to them", "that be of broken spirit;", "To them he safety doth afford", "that are in heart contrite."]}, "13": {"syllabified": "The trou -- bles that af -- flict the just in num -- ber man -- y be; But yet at length out of them all the Lord doth set him free.", "prose": ["The troubles that afflict the just", "in number many be;", "But yet at length out of them all", "the Lord doth set him free."]}, "14": {"syllabified": "He care -- ful -- ly his bones doth keep, what -- ev -- er can be -- fall; That not so much as one of them can bro -- ken be at all.", "prose": ["He carefully his bones doth keep,", "whatever can befall;", "That not so much as one of them", "can broken be at all."]}, "15": {"syllabified": "Ill shall the wick -- ed slay; laid waste shall be who hate the just. The Lord re -- deems his ser -- vants' souls; none per -- ish that him trust.", "prose": ["Ill shall the wicked slay; laid waste", "shall be who hate the just.", "The Lord redeems his servants' souls;", "none perish that him trust."]}}}, "god-will-our-strength-and-refuge-prove": {"slug": "god-will-our-strength-and-refuge-prove", "title": "The Protective Power of God", "first_line": "God will our strength and refuge prove", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 46, "topics": ["Psalms"], "scripture": ["Psalm 46"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 127) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 46, selection 127. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God will our strength and ref -- uge prove, In all dis -- tress a pres -- ent aid, And, though the trem -- bling earth re -- move, We will not fear nor be dis -- mayed.", "prose": ["God will our strength and refuge prove,", "In all distress a present aid,", "And, though the trembling earth remove,", "We will not fear nor be dismayed."]}, "2": {"syllabified": "Our trust in god shall still a -- bide tho' hills be shak -- en from their seat, And though the o -- cean's swell -- ing tide A -- gainst the trem -- bling moun -- tains beat.", "prose": ["Our trust in god shall still abide", "tho' hills be shaken from their seat,", "And though the ocean's swelling tide", "Against the trembling mountains beat."]}, "3": {"syllabified": "A riv -- er flows, whose liv -- ing streams Make glad the cit -- y of our God, The ho -- ly place where glo -- ry beams Where God Most High has His a -- bode.", "prose": ["A river flows, whose living streams", "Make glad the city of our God,", "The holy place where glory beams", "Where God Most High has His abode."]}, "4": {"syllabified": "God has in her His dwell -- ing made, And she shall nev -- er -- more be moved; Her God shall ear -- ly give her aide, Her con -- stant help -- er He has proved.", "prose": ["God has in her His dwelling made,", "And she shall nevermore be moved;", "Her God shall early give her aide,", "Her constant helper He has proved."]}, "5": {"syllabified": "The kings and na -- tions raged in pride; He spake, the earth did melt a -- way; The Lord of Hosts is on her side, Our fa -- thers' God, our strength and stay.", "prose": ["The kings and nations raged in pride;", "He spake, the earth did melt away;", "The Lord of Hosts is on her side,", "Our fathers' God, our strength and stay."]}, "6": {"syllabified": "Come, see the works of God dis -- played, The won -- ders of His might -- y hand, What des -- o -- la -- tions He has made, What ru -- in spread through all the land.", "prose": ["Come, see the works of God displayed,", "The wonders of His mighty hand,", "What desolations He has made,", "What ruin spread through all the land."]}, "7": {"syllabified": "Through all the peo -- pled earth He makes The dread -- ful scourge of war to cease, The im -- ple -- ments of ba -- ttle breaks, And makes the na -- tions dwell in peace.", "prose": ["Through all the peopled earth He makes", "The dreadful scourge of war to cease,", "The implements of battle breaks,", "And makes the nations dwell in peace."]}, "8": {"syllabified": "Be still, ye na -- tions, bow in fear, And know that I a -- lone am God; To us the Lord of Hosts is near, Our fa -- thers' God is our a -- bode.", "prose": ["Be still, ye nations, bow in fear,", "And know that I alone am God;", "To us the Lord of Hosts is near,", "Our fathers' God is our abode."]}}}, "god-will-take-care-of-you": {"slug": "god-will-take-care-of-you", "title": "God Will Take Care of You", "first_line": "Be not dismayed whate'er betide, God will take care", "index_first_line": "Be not dismayed whate'er betide", "author": "civilla-durfee-martin", "author_date": "1908", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Comfort", "Consolation", "Cornerstone"], "scripture": ["2 Timothy 2:19", "Hebrews 13:5", "Isaiah 41:10", "Luke 3:15-17"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:274; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "be_not_dismayed_whateer_betide", "total_instances": 460}}, "stanzas": {"1": {"syllabified": "Be not dis -- mayed what -- e'er be -- tide, God will take care of you; Be -- neath His wings of love a -- bide, God will take care of you.", "prose": ["Be not dismayed whate'er betide,", "God will take care of you;", "Beneath His wings of love abide,", "God will take care of you."]}, "2": {"syllabified": "Through days of toil when heart doth fail, God will take care of you; When dan -- gers fierce your path as -- sail, God will take care of you.", "prose": ["Through days of toil when heart doth fail,", "God will take care of you;", "When dangers fierce your path assail,", "God will take care of you."]}, "3": {"syllabified": "All you may need He will pro -- vide, God will take care of you; Noth -- ing you ask will be de -- nied, God will take care of you.", "prose": ["All you may need He will provide,", "God will take care of you;", "Nothing you ask will be denied,", "God will take care of you."]}, "4": {"syllabified": "No mat -- ter what may be the test, God will take care of you; Lean, wear -- y one, up -- on His breast, God will take care of you.", "prose": ["No matter what may be the test,", "God will take care of you;", "Lean, weary one, upon His breast,", "God will take care of you."]}}, "refrain": {"syllabified": "God will take care of you, through ev -- 'ry day, o'er all the way; He will take care of you, God will take care of you.", "prose": ["God will take care of you,", "through ev'ry day, o'er all the way;", "He will take care of you,", "God will take care of you."]}}, "gods-mercies-i-will-ever-sing": {"slug": "gods-mercies-i-will-ever-sing", "title": "God's Mercies I Will Ever Sing", "first_line": "God's mercies I will ever sing", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 89, "topics": ["Psalms"], "scripture": ["Psalm 89"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 89. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "God's mer -- cies I will ev -- er sing; and with my mouth I shall Thy faith -- ful -- ness make to be known to gen -- er -- a -- tions all.", "prose": ["God's mercies I will ever sing;", "and with my mouth I shall", "Thy faithfulness make to be known", "to generations all."]}, "2": {"syllabified": "For mer -- cy shall be built, said I, for ev -- er to en -- dure; Thy faith -- ful -- ness, ev'n in the heav'ns, thou wilt es -- tab -- lish sure.", "prose": ["For mercy shall be built, said I,", "for ever to endure;", "Thy faithfulness, ev'n in the heav'ns,", "thou wilt establish sure."]}, "3": {"syllabified": "I with my cho -- sen One have made a cov -- 'nant gra -- cious -- ly; And to my ser -- vant, whom I loved, to Da -- vid sworn have I;", "prose": ["I with my chosen One have made", "a cov'nant graciously;", "And to my servant, whom I loved,", "to David sworn have I;"]}, "4": {"syllabified": "That I thy seed es -- tab -- lish shall for ev -- er to re -- main, And will to gen -- er -- a -- tions all thy throne build and main -- tain.", "prose": ["That I thy seed establish shall", "for ever to remain,", "And will to generations all", "thy throne build and maintain."]}, "5": {"syllabified": "The prais -- es of thy won -- ders, Lord, the heav -- ens shall ex -- press; And in the con -- gre -- ga -- ti -- on of saints thy faith -- ful -- ness.", "prose": ["The praises of thy wonders, Lord,", "the heavens shall express;", "And in the congregation", "of saints thy faithfulness."]}, "6": {"syllabified": "For who in heav -- en with the Lord may once him -- self com -- pare? Who is like God a -- mong the sons of those that might -- y are?", "prose": ["For who in heaven with the Lord", "may once himself compare?", "Who is like God among the sons", "of those that mighty are?"]}, "7": {"syllabified": "Great fear in meet -- ing of the saints is due un -- to the Lord; And he of all a -- bout him should with rev -- 'rence be a -- dored.", "prose": ["Great fear in meeting of the saints", "is due unto the Lord;", "And he of all about him should", "with rev'rence be adored."]}, "8": {"syllabified": "O thou that art the Lord of hosts, what Lord in might -- i -- ness Is like to thee? who com -- passed round art with thy faith -- ful -- ness.", "prose": ["O thou that art the Lord of hosts,", "what Lord in mightiness", "Is like to thee? who compassed round", "art with thy faithfulness."]}, "9": {"syllabified": "Ev'n in the rag -- ing of the sea thou o -- ver it dost reign; And when the waves there -- of do swell, thou still -- est them a -- gain.", "prose": ["Ev'n in the raging of the sea", "thou over it dost reign;", "And when the waves thereof do swell,", "thou stillest them again."]}, "10": {"syllabified": "Ra -- hab in piec -- es thou didst break, like one that slaugh -- tered is; And with thy might -- y arm thou hast dis -- persed thine en -- e -- mies.", "prose": ["Rahab in pieces thou didst break,", "like one that slaughtered is;", "And with thy mighty arm thou hast", "dispersed thine enemies."]}, "11": {"syllabified": "The heav'ns are thine, thou for thine own the earth dost al -- so take; The world, and ful -- ness of the same, thy pow'r did found and make.", "prose": ["The heav'ns are thine, thou for thine own", "the earth dost also take;", "The world, and fulness of the same,", "thy pow'r did found and make."]}, "12": {"syllabified": "The north and south from thee a -- lone their first be -- gin -- ning had; Both Ta -- bor mount and Her -- mon hill shall in thy name be glad.", "prose": ["The north and south from thee alone", "their first beginning had;", "Both Tabor mount and Hermon hill", "shall in thy name be glad."]}, "13": {"syllabified": "Thou hast an arm that's full of power, thy hand is great in might; And thy right hand ex -- ceed -- ing -- ly ex -- al -- ted is in height.", "prose": ["Thou hast an arm that's full of power,", "thy hand is great in might;", "And thy right hand exceedingly", "exalted is in height."]}, "14": {"syllabified": "Jus -- tice and judg -- ment of thy throne are made the dwell -- ing -- place; Mer -- cy, ac -- com -- pa -- nied with truth, shall go be -- fore thy face.", "prose": ["Justice and judgment of thy throne", "are made the dwelling-place;", "Mercy, accompanied with truth,", "shall go before thy face."]}, "15": {"syllabified": "O great -- ly blessed the peo -- ple are the joy -- ful sound that know; In bright -- ness of thy face, O Lord, they ev -- er on shall go.", "prose": ["O greatly blessed the people are", "the joyful sound that know;", "In brightness of thy face, O Lord,", "they ever on shall go."]}, "16": {"syllabified": "They in thy name shall all the day re -- joice ex -- ceed -- ing -- ly; And in thy right -- eous -- ness shall they ex -- al -- ted be on high.", "prose": ["They in thy name shall all the day", "rejoice exceedingly;", "And in thy righteousness shall they", "exalted be on high."]}, "17": {"syllabified": "Be -- cause the glo -- ry of their strength doth on -- ly stand in thee; And in thy fa -- vour shall our horn and pow'r ex -- al -- ted be.", "prose": ["Because the glory of their strength", "doth only stand in thee;", "And in thy favour shall our horn", "and pow'r exalted be."]}, "18": {"syllabified": "For God is our de -- fence; and he to us doth safe -- ty bring: The Ho -- ly One of I -- sra -- el is our al -- might -- y King.", "prose": ["For God is our defence; and he", "to us doth safety bring:", "The Holy One of Israel", "is our almighty King."]}, "19": {"syllabified": "In vi -- sion to thy Ho -- ly One thou saidst, I help up -- on A strong one laid; out of the folk I raised a cho -- sen one;", "prose": ["In vision to thy Holy One", "thou saidst, I help upon", "A strong one laid; out of the folk", "I raised a chosen one;"]}, "20": {"syllabified": "Ev'n Da -- vid, I have found him out a ser -- vant un -- to me; And with my ho -- ly oil my King a -- noint -- ed him to be.", "prose": ["Ev'n David, I have found him out", "a servant unto me;", "And with my holy oil my King", "anointed him to be."]}, "21": {"syllabified": "With whom my hand shall stab -- lished be; mine arm shall make him strong. On him the foe shall not ex -- act, nor son of mis -- chief wrong.", "prose": ["With whom my hand shall stablished be;", "mine arm shall make him strong.", "On him the foe shall not exact,", "nor son of mischief wrong."]}, "22": {"syllabified": "I will beat down be -- fore his face all his ma -- li -- cious foes; I will them great -- ly plague who do with ha -- tred him op -- pose.", "prose": ["I will beat down before his face", "all his malicious foes;", "I will them greatly plague who do", "with hatred him oppose."]}, "23": {"syllabified": "My mer -- cy and my faith -- ful -- ness with him yet still shall be; And in my name his horn and pow'r men shall ex -- al -- ted see.", "prose": ["My mercy and my faithfulness", "with him yet still shall be;", "And in my name his horn and pow'r", "men shall exalted see."]}, "24": {"syllabified": "His hand and pow'r shall reach a -- far; I'll set it in the sea; And his right hand es -- tab -- lish -- ed shall in the riv -- ers be.", "prose": ["His hand and pow'r shall reach afar;", "I'll set it in the sea;", "And his right hand established", "shall in the rivers be."]}, "25": {"syllabified": "Thou art my Fa -- ther, he shall cry, thou art my God a -- lone; And he shall say, Thou art the Rock of my sal -- va -- ti -- on.", "prose": ["Thou art my Father, he shall cry,", "thou art my God alone;", "And he shall say, Thou art the Rock", "of my salvation."]}, "26": {"syllabified": "I'll make him my first -- born, more high than kings of an -- y land. My love I'll ev -- er keep for him, my cov -- 'nant fast shall stand.", "prose": ["I'll make him my first-born, more high", "than kings of any land.", "My love I'll ever keep for him,", "my cov'nant fast shall stand."]}, "27": {"syllabified": "His seed I by my pow'r will make for ev -- er to en -- dure; And, as the days of heav'n, his throne shall sta -- ble be, and sure.", "prose": ["His seed I by my pow'r will make", "for ever to endure;", "And, as the days of heav'n, his throne", "shall stable be, and sure."]}, "28": {"syllabified": "But if his chil -- dren shall for -- sake my laws, and go a -- stray, And in my judg -- ments shall not walk, but wan -- der from my way:", "prose": ["But if his children shall forsake", "my laws, and go astray,", "And in my judgments shall not walk,", "but wander from my way:"]}, "29": {"syllabified": "If they my laws break, and do not keep my com -- mand -- e -- ments; I'll vis -- it then their faults with rods, their sins with chas -- ti -- se -- ments.", "prose": ["If they my laws break, and do not", "keep my commandements;", "I'll visit then their faults with rods,", "their sins with chastisements."]}, "30": {"syllabified": "Yet I'll not take my love from him, nor false my prom -- ise make. My cov -- 'nant I'll not break, nor change what with my mouth I spake.", "prose": ["Yet I'll not take my love from him,", "nor false my promise make.", "My cov'nant I'll not break, nor change", "what with my mouth I spake."]}, "31": {"syllabified": "Once by my ho -- li -- ness I sware, to Da -- vid I'll not lie; His seed and throne shall, as the sun, be -- fore me last for aye.", "prose": ["Once by my holiness I sware,", "to David I'll not lie;", "His seed and throne shall, as the sun,", "before me last for aye."]}, "32": {"syllabified": "It, like the moon, shall ev -- er be es -- tab -- lished sted -- fast -- ly; And like to that which in the heav'n doth wit -- ness faith -- ful -- ly.", "prose": ["It, like the moon, shall ever be", "established stedfastly;", "And like to that which in the heav'n", "doth witness faithfully."]}, "33": {"syllabified": "But thou, dis -- pleas -- ed, hast cast off, thou didst ab -- hor and loathe; With him that thine a -- noint -- ed is thou hast been ver -- y wroth.", "prose": ["But thou, displeased, hast cast off,", "thou didst abhor and loathe;", "With him that thine anointed is", "thou hast been very wroth."]}, "34": {"syllabified": "Thou hast thy ser -- vant's cov -- e -- nant made void, and quite cast by; Thou hast pro -- faned his crown, while it cast on the ground doth lie.", "prose": ["Thou hast thy servant's covenant", "made void, and quite cast by;", "Thou hast profaned his crown, while it", "cast on the ground doth lie."]}, "35": {"syllabified": "Thou all his hed -- ges hast broke down, his stron -- gholds down hast torn. He to all pas -- sers -- by a spoil, to neigh -- bours is a scorn.", "prose": ["Thou all his hedges hast broke down,", "his strongholds down hast torn.", "He to all passers-by a spoil,", "to neighbours is a scorn."]}, "36": {"syllabified": "Thou hast set up his foes' right hand; mad'st all his en -- 'mies glad: Turned his sword's edge, and him to stand in ba -- ttle hast not made.", "prose": ["Thou hast set up his foes' right hand;", "mad'st all his en'mies glad:", "Turned his sword's edge, and him to stand", "in battle hast not made."]}, "37": {"syllabified": "His glo -- ry thou hast made to cease, his throne to ground down cast; Short -- ened his days of youth, and him with shame thou cov -- ered hast.", "prose": ["His glory thou hast made to cease,", "his throne to ground down cast;", "Shortened his days of youth, and him", "with shame thou covered hast."]}, "38": {"syllabified": "How long, Lord, wilt thou hide thy -- self? for ev -- er, in thine ire? And shall thine in -- dig -- na -- ti -- on burn like un -- to a fire?", "prose": ["How long, Lord, wilt thou hide thyself?", "for ever, in thine ire?", "And shall thine indignation", "burn like unto a fire?"]}, "39": {"syllabified": "Re -- mem -- ber, Lord, how short a time I shall on earth re -- main: O where -- fore is it so that thou hast made all men in vain?", "prose": ["Remember, Lord, how short a time", "I shall on earth remain:", "O wherefore is it so that thou", "hast made all men in vain?"]}, "40": {"syllabified": "What man is he that liv -- eth here, and death shall nev -- er see? Or from the pow -- er of the grave what man his soul shall free?", "prose": ["What man is he that liveth here,", "and death shall never see?", "Or from the power of the grave", "what man his soul shall free?"]}, "41": {"syllabified": "Thy for -- mer lo -- ving -- kind -- nes -- ses, O Lord, where be they now? Those which in truth and faith -- ful -- ness to Da -- vid sworn hast thou?", "prose": ["Thy former loving-kindnesses,", "O Lord, where be they now?", "Those which in truth and faithfulness", "to David sworn hast thou?"]}, "42": {"syllabified": "Mind, Lord, thy ser -- vant's sad re -- proach; how I in bos -- om bear The scorn -- ings of the peo -- ple all, who strong and might -- y are.", "prose": ["Mind, Lord, thy servant's sad reproach;", "how I in bosom bear", "The scornings of the people all,", "who strong and mighty are."]}, "43": {"syllabified": "Where -- with thy rag -- ing en -- e -- mies re -- proached, O Lord, think on; Where -- with they have re -- proached the steps of thine a -- noint -- ed one.", "prose": ["Wherewith thy raging enemies", "reproached, O Lord, think on;", "Wherewith they have reproached the steps", "of thine anointed one."]}, "44": {"syllabified": "All bless -- ing to the Lord our God let be as -- crib -- ed then: For ev -- er -- more so let it be. A -- men, yea, and a -- men.", "prose": ["All blessing to the Lord our God", "let be ascribed then:", "For evermore so let it be.", "Amen, yea, and amen."]}}}, "good-christian-men-rejoice": {"slug": "good-christian-men-rejoice", "title": "Good Christian Men, Rejoice", "first_line": "Good Christian Men, Rejoice", "author": "john-mason-neale", "author_date": "1853", "foot": "trochaic", "meter": {"pattern": [6, 6, 7, 7, 7, 8, 5, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Nativity", "Joy"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Mason Neale (1818-1866), \"Good Christian Men, Rejoice\" (1853), a free English carol on the medieval macaronic \"In dulci jubilo\" (German/Latin, 14th century). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Good Chris -- tian men, re -- joice With heart and soul and voice; Give ye heed to what we say: Je -- sus Christ is born to -- day; Ox and ass be -- fore Him bow, And He is in the man -- ger now. Christ is born to -- day! Christ is born to -- day!", "prose": ["Good Christian men, rejoice", "With heart and soul and voice;", "Give ye heed to what we say:", "Jesus Christ is born today;", "Ox and ass before Him bow,", "And He is in the manger now.", "Christ is born today!", "Christ is born today!"]}, "2": {"syllabified": "Good Chris -- tian men, re -- joice With heart and soul and voice; Now ye hear of end -- less bliss: Je -- sus Christ was born for this! He hath oped the heav'n -- ly door, And man is bless -- ed ev -- er -- more. Christ was born for this! Christ was born for this!", "prose": ["Good Christian men, rejoice", "With heart and soul and voice;", "Now ye hear of endless bliss:", "Jesus Christ was born for this!", "He hath oped the heav'nly door,", "And man is blessed evermore.", "Christ was born for this!", "Christ was born for this!"]}, "3": {"syllabified": "Good Chris -- tian men, re -- joice With heart and soul and voice; Now ye need not fear the grave: Je -- sus Christ was born to save! Calls you one and calls you all, To gain His ev -- er -- last -- ing hall. Christ was born to save! Christ was born to save!", "prose": ["Good Christian men, rejoice", "With heart and soul and voice;", "Now ye need not fear the grave:", "Jesus Christ was born to save!", "Calls you one and calls you all,", "To gain His everlasting hall.", "Christ was born to save!", "Christ was born to save!"]}}}, "grace-and-truth-shall-mark-the-way": {"slug": "grace-and-truth-shall-mark-the-way", "title": "The Blessings of the God-Fearing", "first_line": "Grace and truth shall mark the way", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 65) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 65. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Grace and truth shall mark the way Where the Lord His own will lead, If His word they still o -- bey And His tes -- ti -- mo -- nies heed.", "prose": ["Grace and truth shall mark the way", "Where the Lord His own will lead,", "If His word they still obey", "And His testimonies heed."]}, "2": {"syllabified": "For Thy Name's sake hear Thou me, For Thy mer -- cy, Lord, I wait; Par -- don my in -- iq -- ui -- ty, For my sin is ver -- y great.", "prose": ["For Thy Name's sake hear Thou me,", "For Thy mercy, Lord, I wait;", "Pardon my iniquity,", "For my sin is very great."]}, "3": {"syllabified": "He who walks in god -- ly fear In the path of truth shall go; Peace shall be his por -- tion here, And his sons all good shall know.", "prose": ["He who walks in godly fear", "In the path of truth shall go;", "Peace shall be his portion here,", "And his sons all good shall know."]}, "4": {"syllabified": "They that fear and love the Lord Shall Je -- ho -- vah's friend -- ship know; He will grace to them ac -- cord, And His faith -- ful cov -- 'nant show.", "prose": ["They that fear and love the Lord", "Shall Jehovah's friendship know;", "He will grace to them accord,", "And His faithful covenant show."]}}}, "gracious-god-my-heart-renew": {"slug": "gracious-god-my-heart-renew", "title": "Gracious Renewal and Testimoney", "first_line": "Gracious God, my heart renew", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 51, "topics": ["Psalms"], "scripture": ["Psalm 51"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 141) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 51, selection 141. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Gra -- cious God, my heart re -- new, Make my spir -- it right and true; Cast me not a -- way from Thee, Let Thy Spir -- it dwell in me; Thy salvat -- io -- n's joy im -- part, Stead -- fast make my wil -- ling heart.", "prose": ["Gracious God, my heart renew,", "Make my spirit right and true;", "Cast me not away from Thee,", "Let Thy Spirit dwell in me;", "Thy salvation's joy impart,", "Steadfast make my willing heart."]}, "2": {"syllabified": "Sin -- ners then shall learn from me And re -- turn, o God to Thee; Sav -- iour, all my guilt re -- move, And my tongue shall sing Thy love; Touch my si -- lent lips, O Lord, And my mouth shall praise ac -- cord.", "prose": ["Sinners then shall learn from me", "And return, o God to Thee;", "Saviour, all my guilt remove,", "And my tongue shall sing Thy love;", "Touch my silent lips, O Lord,", "And my mouth shall praise accord."]}, "3": {"syllabified": "Not the for -- mal sac -- ri -- fice Hath ac -- cept -- ance in Thy eyes; Bro -- ken hearts are in Thy sight More than sac -- ri -- fi -- cial rite; Con -- trite spir -- it, plead -- ing cries, Thou, O God, wilt not de -- spise.", "prose": ["Not the formal sacrifice", "Hath acceptance in Thy eyes;", "Broken hearts are in Thy sight", "More than sacrificial rite;", "Contrite spirit, pleading cries,", "Thou, O God, wilt not despise."]}, "4": {"syllabified": "Pros -- per Zi -- on in thy grace And her bro -- ken walls re -- place; Then our right -- eous sac -- ri -- fice Shall de -- light Thy ho -- ly eyes; Free -- will of -- f'rings, glad -- ly made, On Thy al -- tar shall be laid.", "prose": ["Prosper Zion in thy grace", "And her broken walls replace;", "Then our righteous sacrifice", "Shall delight Thy holy eyes;", "Freewill off'rings, gladly made,", "On Thy altar shall be laid."]}}}, "great-god-what-do-i-see-and-hear": {"slug": "great-god-what-do-i-see-and-hear", "title": "Great God, What Do I See and Hear", "first_line": "Great God, what do I see and hear", "author": "william-collyer", "author_date": "1812", "adapter": "thomas-cotterill", "adapter_date": "1820", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Judgment", "Advent", "Second Coming"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Stanza 1 anonymous (Sheffield Psalms & Hymns, 1802); the remaining stanzas by William Bengo Collyer (1812), as altered by Thomas Cotterill (A Selection of Psalms and Hymns, 1820). An English judgment hymn traditionally sung to Luther's tune NUN FREUT EUCH. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Great God, what do I see and hear! The end of things cre -- at -- ed!\n      The Judge of man -- kind doth ap -- pear On clouds of glo -- ry seat -- ed!\n      The trum -- pet sounds; the graves re -- store The dead which they con -- tained\n      be -- fore: Pre -- pare, my soul, to meet Him.", "prose": ["Great God, what do I see and hear!", "The end of things created!", "The Judge of mankind doth appear", "On clouds of glory seated!", "The trumpet sounds; the graves restore", "The dead which they contained before:", "Prepare, my soul, to meet Him."]}, "2": {"syllabified": "The dead in Christ shall first a -- rise, At the last trum -- pet's\n      sound -- ing, Caught up to meet Him in the skies, With joy their Lord sur --\n      round -- ing; No gloom -- y fears their souls dis -- may; His pres -- ence sheds\n      e -- ter -- nal day On those pre -- pared to meet Him.", "prose": ["The dead in Christ shall first arise,", "At the last trumpet's sounding,", "Caught up to meet Him in the skies,", "With joy their Lord surrounding;", "No gloomy fears their souls dismay;", "His presence sheds eternal day", "On those prepared to meet Him."]}, "3": {"syllabified": "But sin -- ners, filled with guilt -- y fears, Be -- hold His wrath\n      pre -- vail -- ing; For they shall rise, and find their tears And sighs are un\n      -- a -- vail -- ing: The day of grace is past and gone; Trem -- bling, they\n      stand be -- fore the throne, All un -- pre -- pared to meet Him.", "prose": ["But sinners, filled with guilty fears,", "Behold His wrath prevailing;", "For they shall rise, and find their tears", "And sighs are unavailing:", "The day of grace is past and gone;", "Trembling, they stand before the throne,", "All unprepared to meet Him."]}, "4": {"syllabified": "Great God, what do I see and hear! The end of things cre -- at -- ed!\n      The Judge of man -- kind doth ap -- pear On clouds of glo -- ry seat -- ed!\n      Be -- neath His cross I view the day When heav'n and earth shall pass a -- way,\n      And thus pre -- pare to meet Him.", "prose": ["Great God, what do I see and hear!", "The end of things created!", "The Judge of mankind doth appear", "On clouds of glory seated!", "Beneath His cross I view the day", "When heav'n and earth shall pass away,", "And thus prepare to meet Him."]}}}, "great-is-the-lord-and-greatly-he": {"slug": "great-is-the-lord-and-greatly-he", "title": "Great Is the Lord, and Greatly He", "first_line": "Great is the Lord, and greatly he", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 48, "topics": ["Psalms"], "scripture": ["Psalm 48"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 48. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Great is the Lord, and great -- ly he is to be prais -- ed still, With -- in the cit -- y of our God, up -- on his ho -- ly hill.", "prose": ["Great is the Lord, and greatly he", "is to be praised still,", "Within the city of our God,", "upon his holy hill."]}, "2": {"syllabified": "Mount Zi -- on stands most beau -- ti -- ful, the joy of all the land; The cit -- y of the might -- y King on her north side doth stand.", "prose": ["Mount Zion stands most beautiful,", "the joy of all the land;", "The city of the mighty King", "on her north side doth stand."]}, "3": {"syllabified": "The Lord with -- in her pal -- ac -- es is for a ref -- uge known. For, lo, the kings that gath -- ered were to -- geth -- er, by have gone.", "prose": ["The Lord within her palaces", "is for a refuge known.", "For, lo, the kings that gathered were", "together, by have gone."]}, "4": {"syllabified": "But when they did be -- hold the same, they, won -- d'ring, would not stay; But, be -- ing trou -- bled at the sight, they thence did haste a -- way.", "prose": ["But when they did behold the same,", "they, wond'ring, would not stay;", "But, being troubled at the sight,", "they thence did haste away."]}, "5": {"syllabified": "Great ter -- ror there took hold on them; they were po -- ssessed with fear; Their grief came like a wom -- an's pain, when she a child doth bear.", "prose": ["Great terror there took hold on them;", "they were possessed with fear;", "Their grief came like a woman's pain,", "when she a child doth bear."]}, "6": {"syllabified": "Thou Tar -- shish ships with east wind break'st: As we have heard it told, So, in the cit -- y of the Lord, our eyes did it be -- hold;", "prose": ["Thou Tarshish ships with east wind break'st:", "As we have heard it told,", "So, in the city of the Lord,", "our eyes did it behold;"]}, "7": {"syllabified": "In our God's cit -- y, which his hand for ev -- er stab -- lish will. We of thy lov -- ing -- kind -- ness thought, Lord, in thy tem -- ple still.", "prose": ["In our God's city, which his hand", "for ever stablish will.", "We of thy loving-kindness thought,", "Lord, in thy temple still."]}, "8": {"syllabified": "O Lord, ac -- cord -- ing to thy name, through all the earth's thy praise; And thy right hand, O Lord, is full of right -- eous -- ness al -- ways.", "prose": ["O Lord, according to thy name,", "through all the earth's thy praise;", "And thy right hand, O Lord, is full", "of righteousness always."]}, "9": {"syllabified": "Be -- cause thy judg -- ments are made known, let Zi -- on mount re -- joice; Of Ju -- dah let the daugh -- ters all send forth a cheer -- ful voice.", "prose": ["Because thy judgments are made known,", "let Zion mount rejoice;", "Of Judah let the daughters all", "send forth a cheerful voice."]}, "10": {"syllabified": "Walk a -- bout Zi -- on, and go round; the high tow'rs there -- of tell: Con -- sid -- er ye her pal -- ac -- es, and mark her bul -- warks well;", "prose": ["Walk about Zion, and go round;", "the high tow'rs thereof tell:", "Consider ye her palaces,", "and mark her bulwarks well;"]}, "11": {"syllabified": "That ye may tell pos -- ter -- i -- ty. For this God doth a -- bide Our God for ev -- er -- more; he will ev'n un -- to death us guide.", "prose": ["That ye may tell posterity.", "For this God doth abide", "Our God for evermore; he will", "ev'n unto death us guide."]}}}, "great-is-thy-faithfulness": {"slug": "great-is-thy-faithfulness", "title": "Great Is Thy Faithfulness", "first_line": "Great is Thy faithfulness, O God my Father", "author": "thomas-o-chisholm", "author_date": "1923", "foot": "dactylic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Faithfulness of God", "Providence", "Trust"], "scripture": ["Lamentations 3:22-23", "James 1:17"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Thomas O. Chisholm, \"Great Is Thy Faithfulness,\" first published 1923 (Hope Publishing); US public domain since 2019-01-01 (published pre-1931). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Great is Thy faith -- ful -- ness, O God my Fa -- ther, There is no shad -- ow of turn -- ing with Thee; Thou chang -- est not, Thy com -- pas -- sions, they fail not; As Thou hast been Thou for -- ev -- er wilt be.", "prose": ["Great is Thy faithfulness, O God my Father,", "There is no shadow of turning with Thee;", "Thou changest not, Thy compassions, they fail not;", "As Thou hast been Thou forever wilt be."]}, "2": {"syllabified": "Sum -- mer and win -- ter, and spring -- time and har -- vest, Sun, moon and stars in their cours -- es a -- bove, Join with all na -- ture in man -- i -- fold wit -- ness To Thy great faith -- ful -- ness, mer -- cy and love.", "prose": ["Summer and winter, and springtime and harvest,", "Sun, moon and stars in their courses above,", "Join with all nature in manifold witness", "To Thy great faithfulness, mercy and love."]}, "3": {"syllabified": "Par -- don for sin and a peace that en -- dur -- eth, Thine own dear pres -- ence to cheer and to guide; Strength for to -- day and bright hope for to -- mor -- row, Bless -- ings all mine, with ten thou -- sand be -- side!", "prose": ["Pardon for sin and a peace that endureth,", "Thine own dear presence to cheer and to guide;", "Strength for today and bright hope for tomorrow,", "Blessings all mine, with ten thousand beside!"]}}, "refrain": {"syllabified": "Great is Thy faith -- ful -- ness! Great is Thy faith -- ful -- ness! Morn -- ing by morn -- ing new mer -- cies I see; All I have need -- ed Thy hand hath pro -- vid -- ed— Great is Thy faith -- ful -- ness, Lord, un -- to me!", "prose": ["Great is Thy faithfulness! Great is Thy faithfulness!", "Morning by morning new mercies I see;", "All I have needed Thy hand hath provided—", "Great is Thy faithfulness, Lord, unto me!"]}}, "guide-me-o-thou-great-jehovah": {"slug": "guide-me-o-thou-great-jehovah", "title": "Guide Me, O Thou Great Jehovah", "first_line": "Guide Me, O Thou Great Jehovah", "author": "william-williams", "author_date": "1745", "translator": "peter-williams", "translator_date": "1771", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Pilgrimage", "Guidance", "Trust"], "scripture": ["Exodus 13:21", "John 6:35"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Williams, \"Arglwydd, arwain trwy'r anialwch\" (Welsh, 1745); English \"Guide me, O Thou great Jehovah\" translated by Peter Williams (1771) and William Williams. Text from The Cyber Hymnal. The seventh line of each stanza repeats the sixth, as the tune (CWM RHONDDA) requires. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Guide me, O Thou great Je -- ho -- vah, Pil -- grim through this bar -- ren land; I am weak, but Thou art might -- y; Hold me with Thy power -- ful hand; Bread of heav -- en, bread of heav -- en, Feed me till I want no more; Feed me till I want no more.", "prose": ["Guide me, O Thou great Jehovah,", "Pilgrim through this barren land;", "I am weak, but Thou art mighty;", "Hold me with Thy powerful hand:", "Bread of heaven, bread of heaven,", "Feed me till I want no more;", "Feed me till I want no more."]}, "2": {"syllabified": "O -- pen now the crys -- tal foun -- tain, Whence the heal -- ing stream doth flow; Let the fire and cloud -- y pil -- lar Lead me all my jour -- ney through: Strong de -- liv -- 'rer, strong de -- liv -- 'rer, Be Thou still my strength and shield; Be Thou still my strength and shield.", "prose": ["Open now the crystal fountain,", "Whence the healing stream doth flow;", "Let the fire and cloudy pillar", "Lead me all my journey through:", "Strong Deliverer, strong Deliverer,", "Be Thou still my strength and shield;", "Be Thou still my strength and shield."]}, "3": {"syllabified": "When I tread the verge of Jor -- dan, Bid my anx -- ious fears sub -- side; Death of death, and hell's de -- struc -- tion, Land me safe on Ca -- naan's side: Songs of prais -- es, songs of prais -- es, I will ev -- er give to Thee; I will ev -- er give to Thee.", "prose": ["When I tread the verge of Jordan,", "Bid my anxious fears subside;", "Death of death, and hell's destruction,", "Land me safe on Canaan's side:", "Songs of praises, songs of praises,", "I will ever give to Thee;", "I will ever give to Thee."]}}}, "had-not-the-lord-been-on-our-side": {"slug": "had-not-the-lord-been-on-our-side", "title": "Had Not the Lord Been on Our Side", "first_line": "Had not the Lord been on our side", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 124, "topics": ["Psalms"], "scripture": ["Psalm 124"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 124. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Had not the Lord been on our side, may I -- sra -- el now say; Had not the Lord been on our side, when men rose us to slay;", "prose": ["Had not the Lord been on our side,", "may Israel now say;", "Had not the Lord been on our side,", "when men rose us to slay;"]}, "2": {"syllabified": "They had us swal -- lowed quick, when as their wrath 'gainst us did flame: Wa -- ters had cov -- ered us, our soul had sunk be -- neath the stream.", "prose": ["They had us swallowed quick, when as", "their wrath 'gainst us did flame:", "Waters had covered us, our soul", "had sunk beneath the stream."]}, "3": {"syllabified": "Then had the wa -- ters, swell -- ing high, o -- ver our soul made way. Bless'd be the Lord, who to their teeth us gave not for a prey.", "prose": ["Then had the waters, swelling high,", "over our soul made way.", "Bless'd be the Lord, who to their teeth", "us gave not for a prey."]}, "4": {"syllabified": "Our soul's es -- cap -- ed, as a bird out of the fow -- ler's snare; The snare a -- sun -- der bro -- ken is, and we es -- cap -- ed are.", "prose": ["Our soul's escaped, as a bird", "out of the fowler's snare;", "The snare asunder broken is,", "and we escaped are."]}, "5": {"syllabified": "Our sure and all -- suf -- fi -- cient help is in JE -- HO -- VAH's name; His name who did the heav'n cre -- ate, and who the earth did frame.", "prose": ["Our sure and all-sufficient help", "is in JEHOVAH's name;", "His name who did the heav'n create,", "and who the earth did frame."]}}}, "hail-thou-once-despised-jesus": {"slug": "hail-thou-once-despised-jesus", "title": "Hail, Thou Once Despised Jesus", "first_line": "Hail, Thou once despised Jesus", "author": "john-bakewell", "author_date": "1757", "adapter": "martin-madan", "adapter_date": "1760", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Atonement", "Praise"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Bakewell, \"Hail, Thou once despised Jesus,\" 1757; completed and altered by Martin Madan, A Collection of Psalms and Hymns, 1760. Long public domain (Bakewell d. 1819, Madan d. 1790). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Hail Thou once de -- spis -- ed Je -- sus Hail Thou Gal -- i -- le -- an King Thou didst suf -- fer to re -- lease us Thou didst free sal -- va -- tion bring Hail Thou u -- ni -- ver -- sal Sav -- iour Bear -- er of our sin and shame By Thy mer -- its we find fa -- vor Life is giv -- en through Thy Name", "prose": ["Hail, Thou once despised Jesus!", "Hail, Thou Galilean King!", "Thou didst suffer to release us;", "Thou didst free salvation bring.", "Hail, Thou universal Saviour,", "Bearer of our sin and shame!", "By Thy merits we find favor;", "Life is given through Thy Name."]}, "2": {"syllabified": "Pas -- chal Lamb by God ap -- point -- ed All our sins on Thee were laid By al -- might -- y love a -- noint -- ed Thou hast full a -- tone -- ment made All Thy peo -- ple are for -- giv -- en Through the vir -- tue of Thy blood O -- pened is the gate of Heav -- en Rec -- on -- ciled are we with God", "prose": ["Paschal Lamb, by God appointed,", "All our sins on Thee were laid;", "By almighty love anointed,", "Thou hast full atonement made.", "All Thy people are forgiven", "Through the virtue of Thy blood;", "Opened is the gate of Heaven,", "Reconciled are we with God."]}, "3": {"syllabified": "Je -- sus hail en -- throned in glo -- ry There for -- ev -- er to a -- bide All the heav'n -- ly hosts a -- dore Thee Seat -- ed at Thy Fa -- ther's side There for sin -- ners Thou art plead -- ing There Thou dost our place pre -- pare Ev -- er for us in -- ter -- ced -- ing Till in glo -- ry we ap -- pear", "prose": ["Jesus, hail! enthroned in glory,", "There forever to abide;", "All the heav'nly hosts adore Thee,", "Seated at Thy Father's side.", "There for sinners Thou art pleading,", "There Thou dost our place prepare;", "Ever for us interceding,", "Till in glory we appear."]}, "4": {"syllabified": "Wor -- ship hon -- or pow'r and bless -- ing Thou art wor -- thy to re -- ceive High -- est prais -- es with -- out ceas -- ing Right it is for us to give Help ye bright an -- gel -- ic spir -- its Bring your sweet -- est no -- blest lays Help to sing our Sav -- iour's mer -- its Help to chant Im -- man -- uel's praise", "prose": ["Worship, honor, power, and blessing", "Thou art worthy to receive;", "Highest praises, without ceasing,", "Right it is for us to give.", "Help, ye bright angelic spirits,", "Bring your sweetest, noblest lays;", "Help to sing our Saviour's merits,", "Help to chant Immanuel's praise!"]}}}, "hallelujah-what-a-savior": {"slug": "hallelujah-what-a-savior", "title": "Hallelujah, What a Savior!", "first_line": "Man of Sorrows! what a name For the Son", "index_first_line": "Man of Sorrows! what a name", "author": "philip-paul-bliss", "author_date": "1904", "foot": "iambic", "meter": {"pattern": [7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["God, Goodness of", "Jesus", "Peace", "Presence"], "scripture": ["Hebrews 4:16", "Philippians 4:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:166; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "man_of_sorrows_what_a_name", "total_instances": 416}}, "stanzas": {"1": {"syllabified": "Man of Sor -- rows! what a name For the Son of God, who came Ru -- ined sin -- ners to re -- claim.", "prose": ["Man of Sorrows! what a name", "For the Son of God, who came", "Ruined sinners to reclaim."]}, "2": {"syllabified": "Bear -- ing shame and scof -- fing rude, In my place con -- demned He stood; Sealed my par -- don with His blood.", "prose": ["Bearing shame and scoffing rude,", "In my place condemned He stood;", "Sealed my pardon with His blood."]}, "3": {"syllabified": "Guilt -- y, vile, and help -- less we; Spot -- less Lamb of God was He; \"Full a -- tone -- ment!\" can it be?", "prose": ["Guilty, vile, and helpless we;", "Spotless Lamb of God was He;", "\"Full atonement!\" can it be?"]}, "4": {"syllabified": "Lift -- ed up was He to die; \"It is fin -- ished!\" was His cry; Now in Heav'n ex -- al -- ted high.", "prose": ["Lifted up was He to die;", "\"It is finished!\" was His cry;", "Now in Heav'n exalted high."]}, "5": {"syllabified": "When He comes, our glor -- ious King, All His ran -- somed home to bring, Then a -- new His song we'll sing:", "prose": ["When He comes, our glorious King,", "All His ransomed home to bring,", "Then anew His song we'll sing:"]}}, "refrain": {"syllabified": "Hal -- le -- lu -- jah! What a Sav -- ior!", "prose": ["Hallelujah! What a Savior!"]}}, "hark-the-glad-sound": {"slug": "hark-the-glad-sound", "title": "Hark, the Glad Sound", "first_line": "Hark, the glad sound! the Savior comes", "author": "philip-doddridge", "author_date": "1735", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Art and Music", "Atonement", "Christmas", "Advent", "Fire", "God, As King", "God, Care of", "God, Goodness of", "God, Love of", "Holy Spirit", "Jesus", "Joy", "Praise, Son", "Presence", "Salvation", "Throne (also see God - As King)", "Victory", "Worship"], "scripture": ["Luke 4:18-19", "Isaiah 61:1-2", "Revelation 5:11-12", "Psalm 107:13-14", "Acts 16:25-34", "Leviticus 25:9-10", "Mark 2:18-22"], "provenance": {"layer": "text", "source": "doddridge-1755", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words Philip Doddridge, written 1735, pub. \"Hymns Founded on Various Texts in the Holy Scriptures\" 1755 (author d. 1751). Open Hymnal X:34 (line 1668).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Hark, the glad sound! the Sav -- ior comes! The Sav -- ior pro -- mised long; Let ev -- ery heart pre -- pare a throne, And ev -- ery voice a song.", "prose": ["Hark, the glad sound! the Savior comes!", "The Savior promised long;", "Let every heart prepare a throne,", "And every voice a song."]}, "2": {"syllabified": "On Him the Spir -- it, large -- ly poured, Ex -- erts its sac -- red Fire; Wis -- dom and might, and zeal and love, His ho -- ly Breast in -- spire.", "prose": ["On Him the Spirit, largely poured,", "Exerts its sacred Fire;", "Wisdom and might, and zeal and love,", "His holy Breast inspire."]}, "3": {"syllabified": "He comes the pris -- 'ners to re -- lease, In Sa -- tan's bon -- dage held; The gates of brass be -- fore Him burst, The ir -- on fet -- ters yield.", "prose": ["He comes the pris'ners to release,", "In Satan's bondage held;", "The gates of brass before Him burst,", "The iron fetters yield."]}, "4": {"syllabified": "He comes from thick -- est films of vice To clear the men -- tal ray, And on the eye -- balls of the blind To pour ce -- les -- tial day.", "prose": ["He comes from thickest films of vice", "To clear the mental ray,", "And on the eyeballs of the blind", "To pour celestial day."]}, "5": {"syllabified": "He comes the bro -- ken heart to bind, The bleed -- ing soul to cure; And with the trea -- sures of His grace T'en -- rich the hum -- ble poor.", "prose": ["He comes the broken heart to bind,", "The bleeding soul to cure;", "And with the treasures of His grace", "T'enrich the humble poor."]}}}, "hark-the-herald-angels-sing": {"slug": "hark-the-herald-angels-sing", "title": "Hark! The Herald Angels Sing", "first_line": "Hark! the herald angels sing", "author": "charles-wesley", "author_date": "1739", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Christmas", "Advent"], "scripture": ["Luke 2:13-14"], "provenance": {"layer": "text", "source": "wesley-hymns-sacred-poems-1739", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley, 1739 (Hymns and Sacred Poems), alt. Author d. 1788; pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Hark! The her -- ald an -- gels sing, \"Glo -- ry to the new -- born King; Peace on earth, and mer -- cy mild, God and sin -- ners rec -- on -- ciled!\" Joy -- ful, all ye na -- tions rise, Join the tri -- umph of the skies; With th'an -- gel -- ic host pro -- claim, \"Christ is born in Beth -- le -- hem!\"", "prose": ["Hark! The herald angels sing,", "\"Glory to the newborn King;", "Peace on earth, and mercy mild,", "God and sinners reconciled!\"", "Joyful, all ye nations rise,", "Join the triumph of the skies;", "With th'angelic host proclaim,", "\"Christ is born in Bethlehem!\""]}, "2": {"syllabified": "Christ, by high -- est Heav'n a -- dored; Christ the ev -- er -- last -- ing Lord; Late in time, be -- hold Him come, Off -- spring of a vir -- gin's womb. Veiled in flesh the God -- head see; Hail th'in -- car -- nate De -- i -- ty, Pleased with us in flesh to dwell, Je -- sus our Em -- man -- u -- el.", "prose": ["Christ, by highest Heav'n adored;", "Christ the everlasting Lord;", "Late in time, behold Him come,", "Offspring of a virgin's womb.", "Veiled in flesh the Godhead see;", "Hail th'incarnate Deity,", "Pleased with us in flesh to dwell,", "Jesus our Emmanuel."]}, "3": {"syllabified": "Hail the heav'n -- ly Prince of Peace! Hail the Sun of Right -- eous -- ness! Light and life to all He brings, Ris'n with heal -- ing in His wings. Mild He lays His glo -- ry by, Born that man no more may die. Born to raise the sons of earth, Born to give them sec -- ond birth.", "prose": ["Hail the heav'nly Prince of Peace!", "Hail the Sun of Righteousness!", "Light and life to all He brings,", "Ris'n with healing in His wings.", "Mild He lays His glory by,", "Born that man no more may die.", "Born to raise the sons of earth,", "Born to give them second birth."]}, "4": {"syllabified": "Come, De -- sire of na -- tions, come, Fix in us Thy hum -- ble home; Rise, the wom -- an's con -- qu'ring Seed, Bruise in us the ser -- pent's head. Now dis -- play Thy sav -- ing pow -- er, Ruin -- ed na -- ture now re -- store; Now in mys -- tic un -- ion join Thine to ours, and ours to Thine.", "prose": ["Come, Desire of nations, come,", "Fix in us Thy humble home;", "Rise, the woman's conqu'ring Seed,", "Bruise in us the serpent's head.", "Now display Thy saving power,", "Ruined nature now restore;", "Now in mystic union join", "Thine to ours, and ours to Thine."]}, "5": {"syllabified": "Ad -- am's like -- ness, Lord, ef -- face, Stamp Thine im -- age in its place: Sec -- ond Ad -- am from a -- bove, Re -- in -- state us in Thy love. Let us Thee, though lost, re -- gain, Thee, the Life, the in -- ner man: O, to all Thy -- self im -- part, Formed in each be -- liev -- ing heart.", "prose": ["Adam's likeness, Lord, efface,", "Stamp Thine image in its place:", "Second Adam from above,", "Reinstate us in Thy love.", "Let us Thee, though lost, regain,", "Thee, the Life, the inner man:", "O, to all Thyself impart,", "Formed in each believing heart."]}}, "refrain": {"syllabified": "Hark! the her -- ald an -- gels sing, \"Glo -- ry to the new -- born King!\"", "prose": ["Hark! the herald angels sing,", "\"Glory to the newborn King!\""]}}, "hark-the-voice-of-jesus-calling": {"slug": "hark-the-voice-of-jesus-calling", "title": "Hark, the Voice of Jesus Calling", "first_line": "Hark, the voice of Jesus calling, \"Who will go", "author": "daniel-march", "author_date": "1911", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Atonement", "Brevity of Life", "Christian Life"], "scripture": ["2 Peter 3:9-18", "Psalm 22:14-18", "Romans 10:14-15"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:292; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "hark_the_voice_of_jesus_calling_who_will", "total_instances": 541}}, "stanzas": {"1": {"syllabified": "Hark, the voice of Je -- sus cal -- ling, \"Who will go and work to -- day? Fields are ripe and har -- vests wait -- ing, Who will bear the sheaves a -- way?\" Long and loud the Mas -- ter calls us, Rich re -- ward He of -- fers free; Who will an -- swer, glad -- ly say -- ing, \"Here am I, send me, send me?\"", "prose": ["Hark, the voice of Jesus calling,", "\"Who will go and work today?", "Fields are ripe and harvests waiting,", "Who will bear the sheaves away?\"", "Long and loud the Master calls us,", "Rich reward He offers free;", "Who will answer, gladly saying,", "\"Here am I, send me, send me?\""]}, "2": {"syllabified": "If you can -- not cross the oc -- ean, And the dis -- tant lands ex -- plore, You can find the lost a -- round you, You can help them at your door; If you can -- not give your thou -- sands, You can give the wid -- ow's mite; What you tru -- ly give for Je -- sus, Will be pre -- cious in His sight.", "prose": ["If you cannot cross the ocean,", "And the distant lands explore,", "You can find the lost around you,", "You can help them at your door;", "If you cannot give your thousands,", "You can give the widow's mite;", "What you truly give for Jesus,", "Will be precious in His sight."]}, "3": {"syllabified": "If you can -- not speak like an -- gels, If you can -- not preach like Paul, You can tell the love of Je -- sus, You can say He died for all. If you can -- not rouse the wick -- ed, With the judg -- ment's dread a -- larms, You can lead the lit -- tle child -- ren To the Sav -- ior's wait -- ing arms.", "prose": ["If you cannot speak like angels,", "If you cannot preach like Paul,", "You can tell the love of Jesus,", "You can say He died for all.", "If you cannot rouse the wicked,", "With the judgment's dread alarms,", "You can lead the little children", "To the Savior's waiting arms."]}, "4": {"syllabified": "If you can -- not be the watch -- man, Stand -- ing high on Zi -- on's wall, Point -- ing out the path to heav -- en, Of -- f'ring life and peace to all, With your prayers and with your boun -- ties You can do what heav'n de -- mands; You can be like faith -- ful Aa -- ron, Hold -- ing up the proph -- et's hands.", "prose": ["If you cannot be the watchman,", "Standing high on Zion's wall,", "Pointing out the path to heaven,", "Off'ring life and peace to all,", "With your prayers and with your bounties", "You can do what heav'n demands;", "You can be like faithful Aaron,", "Holding up the prophet's hands."]}, "5": {"syllabified": "If a -- mong the old -- er peo -- ple, You may not be apt to teach, \"Feed My lambs,\" said Christ, our Shep -- herd, \"Place the food with -- in their reach.\" And it may be that the child -- ren You have led with trem -- bling hand, Will be found a -- mong your jew -- els, When you reach the bet -- ter land.", "prose": ["If among the older people,", "You may not be apt to teach,", "\"Feed My lambs,\" said Christ, our Shepherd,", "\"Place the food within their reach.\"", "And it may be that the children", "You have led with trembling hand,", "Will be found among your jewels,", "When you reach the better land."]}}}, "have-thine-own-way-lord": {"slug": "have-thine-own-way-lord", "title": "Have Thine Own Way, Lord", "first_line": "Have Thine own way, Lord! Have Thine own way!", "author": "adelaide-a-pollard", "author_date": "1902", "foot": "trochaic", "meter": {"pattern": [5, 4, 5, 4], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Discipleship", "Holy Spirit", "Prayer"], "scripture": ["Isaiah 64:8", "Jeremiah 18:3-6", "Romans 9:21"], "provenance": {"layer": "text", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Adelaide A. Pollard (1862-1934). The received account — NOT verified against a printing here — is that the words were written in 1902 and first published with Stebbins's music in the Northfield Hymnal with Alexander's Supplement (1907); the 1921 plate read below credits only \"A. A. P.\" and prints no date for the words, so the 1902 in author_date is that received date and not the page's. Transcribed syllable by syllable, including its hyphenation and its punctuation, from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 21 — archive.org tabernaclehymnsn00chic, leaf n29 — which heads the hymn \"Have Thine Own Way, Lord.\", credits \"A. A. P.\" at the left of the staff, and prints ALL FOUR stanzas as interlinear rows under the two staves, numbered 1 to 4. Collated word for word against a second, independent scan of the same plate, archive.org tabernaclehymnsn02chic leaf n27. US public domain: written 1902, first published 1907, and the printing read is 1921 — all before 1931; the author died in 1934, so it is PD in life+70 jurisdictions as well. THE 1907 FIRST PRINTING WAS NOT OPENED; the 1921 plate is the witness. PUNCTUATION AND SPELLING FOLLOW THAT PAGE, which capitalises Thine and Thy, sets an exclamation mark after both halves of every stanza's opening couplet in all four stanzas, spells \"Saviour\" and \"Mould\" in the British forms, hyphenates \"Aft -- er\" (not \"Af -- ter\"), and prints an em-dash after both \"Pow -- er\" and \"pow -- er\" in stanza 3. Each stanza is 36 syllables, 5.4.5.4 doubled, counted against the tune's 36 soprano note-groups. Nothing is modernized and no stanza is dropped: the page prints four and all four are here.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "have_thine_own_way_lord", "total_instances": 385}}, "stanzas": {"1": {"syllabified": "Have Thine own way, Lord! Have Thine own way! Thou art the Pot -- ter, I am the clay. Mould me and make me Aft -- er Thy will, While I am wait -- ing Yield -- ed and still.", "prose": ["Have Thine own way, Lord! Have Thine own way!", "Thou art the Potter, I am the clay.", "Mould me and make me After Thy will,", "While I am waiting Yielded and still."]}, "2": {"syllabified": "Have Thine own way, Lord! Have Thine own way! Search me and try me, Mas -- ter, to -- day! Whit -- er than snow, Lord, Wash me just now, As in Thy pres -- ence Hum -- bly I bow.", "prose": ["Have Thine own way, Lord! Have Thine own way!", "Search me and try me, Master, today!", "Whiter than snow, Lord, Wash me just now,", "As in Thy presence Humbly I bow."]}, "3": {"syllabified": "Have Thine own way, Lord! Have Thine own way! Wound -- ed and wea -- ry, Help me, I pray! Pow -- er— all pow -- er— Sure -- ly is Thine! Touch me and heal me, Sav -- iour di -- vine!", "prose": ["Have Thine own way, Lord! Have Thine own way!", "Wounded and weary, Help me, I pray!", "Power— all power— Surely is Thine!", "Touch me and heal me, Saviour divine!"]}, "4": {"syllabified": "Have Thine own way, Lord! Have Thine own way! Hold o'er my be -- ing Ab -- so -- lute sway! Fill with Thy Spir -- it Till all shall see Christ on -- ly, al -- ways, Liv -- ing in me!", "prose": ["Have Thine own way, Lord! Have Thine own way!", "Hold o'er my being Absolute sway!", "Fill with Thy Spirit Till all shall see", "Christ only, always, Living in me!"]}}}, "he-hideth-my-soul": {"slug": "he-hideth-my-soul", "title": "He Hideth My Soul", "first_line": "A wonderful Saviour is Jesus my Lord", "author": "fanny-crosby", "author_date": "1890", "foot": "anapestic", "meter": {"pattern": [11, 8, 11, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Refuge", "Redemption", "Praise"], "scripture": ["Exodus 33:22", "Isaiah 32:2", "Psalm 91:1"], "provenance": {"layer": "text", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Fanny J. Crosby (1820-1915). Transcribed syllable by syllable, and with its punctuation, from the dated page images of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 164 — archive.org tabernaclehymnsn00chic, leaves n172 and n173 — which head the hymn \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" and \"Wm. J. Kirkpatrick.\", print all FOUR stanzas interlinearly under the verse staves and the chorus once under the fourth to sixth systems, and foot the page \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.  Used by permission.\" Collated against archive.org tabernaclehymnsn02chic, leaves n170 and n171 (a second scan of the same book). The 1890 first printing, The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, archive.org finestofwheath00elde leaf n59, was also opened; it prints the same four stanzas in an older orthography (\"Savior\", \"fill'd\", lower-case \"he\"/\"his\" for the divine pronouns), and the 1921 spelling is what is followed here. US public domain: first published 1890, both printings read are pre-1931, and the author died in 1915. PUNCTUATION FOLLOWS THE 1921 PAGE, including its full stop after \"Lord.\" at the end of stanza 1 line 1 where stanzas 2-4 and modern hymnals set a comma; that stop is on both scans of the leaf.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "A won -- der -- ful Sav -- iour is Je -- sus my Lord. A won -- der -- ful Sav -- iour to me; He hid -- eth my soul in the cleft of the rock, Where riv -- ers of pleas -- ure I see.", "prose": ["A wonderful Saviour is Jesus my Lord.", "A wonderful Saviour to me;", "He hideth my soul in the cleft of the rock,", "Where rivers of pleasure I see."]}, "2": {"syllabified": "A won -- der -- ful Sav -- iour is Je -- sus my Lord, He tak -- eth my bur -- den a -- way, He hold -- eth me up, and I shall not be moved, He giv -- eth me strength as my day.", "prose": ["A wonderful Saviour is Jesus my Lord,", "He taketh my burden away,", "He holdeth me up, and I shall not be moved,", "He giveth me strength as my day."]}, "3": {"syllabified": "With num -- ber -- less bless -- ings each mo -- ment He crowns, And filled with His ful -- ness di -- vine, I sing in my rap -- ture, O, glo -- ry to God For such a Re -- deem -- er as mine!", "prose": ["With numberless blessings each moment He crowns,", "And filled with His fulness divine,", "I sing in my rapture, O, glory to God", "For such a Redeemer as mine!"]}, "4": {"syllabified": "When clothed in His bright -- ness trans -- port -- ed I rise To meet Him in clouds of the sky, His per -- fect sal -- va -- tion, His won -- der -- ful love I'll shout with the mil -- lions on high.", "prose": ["When clothed in His brightness transported I rise", "To meet Him in clouds of the sky,", "His perfect salvation, His wonderful love", "I'll shout with the millions on high."]}}, "refrain": {"syllabified": "He hid -- eth my soul in the cleft of the rock, That shad -- ows a dry, thirst -- y land; He hid -- eth my life in the depths of His love, And cov -- ers me there with His hand, And cov -- ers me there with His hand.", "prose": ["He hideth my soul in the cleft of the rock,", "That shadows a dry, thirsty land;", "He hideth my life in the depths of His love,", "And covers me there with His hand,", "And covers me there with His hand."]}}, "he-leadeth-me": {"slug": "he-leadeth-me", "title": "He Leadeth Me", "first_line": "He leadeth me, O blessed thought! O words with", "author": "joseph-h-gilmore", "author_date": "1864", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Atonement", "Blood"], "scripture": ["Matthew 22:37", "1 John 4:18-21", "1 Peter 1:17-19", "1 Thessalonians 4:16-17"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:226; all components published pre-1931 (latest year 1864).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "he_leadeth_me_o_blessed_thought", "total_instances": 1424}}, "stanzas": {"1": {"syllabified": "He lead -- eth me, O bless -- ed thought! O words with heav'n -- ly com -- fort fraught! What -- e'er I do, wher -- e'er I be Still 'tis God's hand that lead -- eth me.", "prose": ["He leadeth me, O blessed thought!", "O words with heav'nly comfort fraught!", "Whate'er I do, where'er I be", "Still 'tis God's hand that leadeth me."]}, "2": {"syllabified": "Some -- times mid scenes of deep -- est gloom, Some -- times where E -- den's bow -- ers bloom, By wa -- ters still, ov'r troub -- led sea, Still 'tis His hand that lead -- eth me.", "prose": ["Sometimes mid scenes of deepest gloom,", "Sometimes where Eden's bowers bloom,", "By waters still, ov'r troubled sea,", "Still 'tis His hand that leadeth me."]}, "3": {"syllabified": "Lord, I would place my hand in Thine, Nor ev -- er mur -- mur nor re -- pine; Con -- tent, what -- ev -- er lot I see, Since 'tis my God that lead -- eth me.", "prose": ["Lord, I would place my hand in Thine,", "Nor ever murmur nor repine;", "Content, whatever lot I see,", "Since 'tis my God that leadeth me."]}, "4": {"syllabified": "And when my task on earth is done, When by Thy grace the vic -- t'ry's won, E'en death's cold wave I will not flee, Since God through Jor -- dan lead -- eth me.", "prose": ["And when my task on earth is done,", "When by Thy grace the vict'ry's won,", "E'en death's cold wave I will not flee,", "Since God through Jordan leadeth me."]}}, "refrain": {"syllabified": "He lead -- eth me, He lead -- eth me, By His own hand He lead -- eth me; His faith -- ful fol -- low'r I would be, For by His hand He lead -- eth me.", "prose": ["He leadeth me, He leadeth me,", "By His own hand He leadeth me;", "His faithful follow'r I would be,", "For by His hand He leadeth me."]}}, "he-that-doth-in-the-secret-place": {"slug": "he-that-doth-in-the-secret-place", "title": "He That Doth in the Secret Place", "first_line": "He that doth in the secret place", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 91, "topics": ["Psalms"], "scripture": ["Psalm 91"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 91. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "He that doth in the se -- cret place of the most High re -- side, Un -- der the shade of him that is th'Al -- might -- y shall a -- bide.", "prose": ["He that doth in the secret place", "of the most High reside,", "Under the shade of him that is", "th' Almighty shall abide."]}, "2": {"syllabified": "I of the Lord my God will say, He is my ref -- uge still, He is my for -- tress, and my God, and in him trust I will.", "prose": ["I of the Lord my God will say,", "He is my refuge still,", "He is my fortress, and my God,", "and in him trust I will."]}, "3": {"syllabified": "As -- sur -- ed -- ly he shall thee save, and give de -- liv -- er -- ance From subt -- le fow -- ler's snare, and from the noi -- some pes -- ti -- lence.", "prose": ["Assuredly he shall thee save,", "and give deliverance", "From subtle fowler's snare, and from", "the noisome pestilence."]}, "4": {"syllabified": "His feath -- ers shall thee hide; thy trust un -- der his wings shall be: His faith -- ful -- ness shall be a shield and buck -- ler un -- to thee.", "prose": ["His feathers shall thee hide; thy trust", "under his wings shall be:", "His faithfulness shall be a shield", "and buckler unto thee."]}, "5": {"syllabified": "Thou shalt not need to be a -- fraid for ter -- rors of the night; Nor for the ar -- row that doth fly by day, while it is light;", "prose": ["Thou shalt not need to be afraid", "for terrors of the night;", "Nor for the arrow that doth fly", "by day, while it is light;"]}, "6": {"syllabified": "Nor for the pes -- ti -- lence, that walks in dark -- ness se -- cret -- ly; Nor for de -- struc -- tion, that doth waste at noon -- day o -- pen -- ly.", "prose": ["Nor for the pestilence, that walks", "in darkness secretly;", "Nor for destruction, that doth waste", "at noon-day openly."]}, "7": {"syllabified": "A thou -- sand at thy side shall fall, on thy right hand shall lie Ten thou -- sand dead; yet un -- to thee it shall not once come nigh.", "prose": ["A thousand at thy side shall fall,", "on thy right hand shall lie", "Ten thousand dead; yet unto thee", "it shall not once come nigh."]}, "8": {"syllabified": "On -- ly thou with thine eyes shalt look, and a be -- hol -- der be; And thou there -- in the just re -- ward of wick -- ed men shalt see.", "prose": ["Only thou with thine eyes shalt look,", "and a beholder be;", "And thou therein the just reward", "of wicked men shalt see."]}, "9": {"syllabified": "Be -- cause the Lord, who con -- stant -- ly my ref -- uge is a -- lone, Ev'n the Most High, is made by thee thy hab -- i -- ta -- ti -- on;", "prose": ["Because the Lord, who constantly", "my refuge is alone,", "Ev'n the Most High, is made by thee", "thy habitation;"]}, "10": {"syllabified": "No plague shall near thy dwell -- ing come; no ill shall thee be -- fall: For thee to keep in all thy ways his an -- gels charge he shall.", "prose": ["No plague shall near thy dwelling come;", "no ill shall thee befall:", "For thee to keep in all thy ways", "his angels charge he shall."]}, "11": {"syllabified": "They in their hands shall bear thee up, still wait -- ing thee up -- on; Lest thou at an -- y time should'st dash thy foot a -- gainst a stone.", "prose": ["They in their hands shall bear thee up,", "still waiting thee upon;", "Lest thou at any time should'st dash", "thy foot against a stone."]}, "12": {"syllabified": "Up -- on the ad -- der thou shalt tread, and on the li -- on strong; Thy feet on drag -- ons tram -- ple shall, and on the li -- ons young.", "prose": ["Upon the adder thou shalt tread,", "and on the lion strong;", "Thy feet on dragons trample shall,", "and on the lions young."]}, "13": {"syllabified": "Be -- cause on me he set his love, I'll save and set him free; Be -- cause my great name he hath known, I will him set on high.", "prose": ["Because on me he set his love,", "I'll save and set him free;", "Because my great name he hath known,", "I will him set on high."]}, "14": {"syllabified": "He'll call on me, I'll an -- swer him; I will be with him still In trou -- ble, to de -- liv -- er him, and hon -- our him I will.", "prose": ["He'll call on me, I'll answer him;", "I will be with him still", "In trouble, to deliver him,", "and honour him I will."]}, "15": {"syllabified": "With length of days un -- to his mind I will him sat -- is -- fy; I al -- so my sal -- va -- ti -- on will cause his eyes to see.", "prose": ["With length of days unto his mind", "I will him satisfy;", "I also my salvation", "will cause his eyes to see."]}}}, "he-was-not-willing": {"slug": "he-was-not-willing", "title": "He Was Not Willing", "first_line": "\"He was not willing that any should perish\"; Jesus", "author": "lucy-r-meyer", "author_date": "1885", "foot": "iambic", "meter": {"pattern": [11, 10, 11, 10], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Baptism", "Brotherhood", "Consecration", "Cross"], "scripture": ["Isaiah 11:10", "Romans 8:38-39", "1 Timothy 1:14", "John 3:16"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:293; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "he_was_not_willing_thatanyshouldperish_j", "total_instances": 48}}, "stanzas": {"1": {"syllabified": "\"He was not will -- ing that an -- y should per -- ish\"; Je -- sus en -- throned in the glo -- ry a -- bove, Saw our poor fal -- len world, pit -- ied our sor -- rows, Poured out His life for us, won -- der -- ful love! Per -- ish -- ing, per -- ish -- ing! Throng -- ing our path -- way, Hearts break with bur -- dens too heav -- y to bear: Je -- sus would save, but there's no one to tell them, No one to lift them from sin and des -- pair.", "prose": ["\"He was not willing that any should perish\";", "Jesus enthroned in the glory above,", "Saw our poor fallen world, pitied our sorrows,", "Poured out His life for us, wonderful love!", "Perishing, perishing! Thronging our pathway,", "Hearts break with burdens too heavy to bear:", "Jesus would save, but there's no one to tell them,", "No one to lift them from sin and despair."]}, "2": {"syllabified": "\"He was not will -- ing that an -- y should per -- ish\"; Clothed in our flesh with its sor -- row and pain, Came He to seek the lost, com -- fort the mour -- ner, Heal the heart bro -- ken by sor -- row and shame. Per -- ish -- ing, per -- ish -- ing! Har -- vest is pass -- ing, Reap -- ers are few and the night draw -- eth near: Je -- sus is call -- ing thee, haste to the reap -- ing, Thou shalt have souls, prec -- ious souls for thy hire.", "prose": ["\"He was not willing that any should perish\";", "Clothed in our flesh with its sorrow and pain,", "Came He to seek the lost, comfort the mourner,", "Heal the heart broken by sorrow and shame.", "Perishing, perishing! Harvest is passing,", "Reapers are few and the night draweth near:", "Jesus is calling thee, haste to the reaping,", "Thou shalt have souls, precious souls for thy hire."]}, "3": {"syllabified": "Plen -- ty for plea -- sure, but lit -- tle for Je -- sus; Time for the world with its troub -- les and toys, No time for Je -- sus' work, feed -- ing the hun -- gry, Lift -- ing lost souls to e -- ter -- ni -- ty's joys. Per -- ish -- ing, per -- ish -- ing! Hark, how they call us; Bring us your Sav -- ior, oh, tell us of Him! We are so wear -- y, so heav -- i -- ly lad -- en, And with long weep -- ing our eyes have grown dim.", "prose": ["Plenty for pleasure, but little for Jesus;", "Time for the world with its troubles and toys,", "No time for Jesus' work, feeding the hungry,", "Lifting lost souls to eternity's joys.", "Perishing, perishing! Hark, how they call us;", "Bring us your Savior, oh, tell us of Him!", "We are so weary, so heavily laden,", "And with long weeping our eyes have grown dim."]}, "4": {"syllabified": "\"He was not will -- ing that an -- y should per -- ish\"; Am I His fol -- low -- er, and can I live Long -- er at ease with a soul go -- ing down -- ward, Lost for the lack of the help I might give! Per -- ish -- ing, per -- ish -- ing! Thou wast not will -- ing; Mas -- ter, for -- give, and in -- spire us a -- new; Ban -- ish our world -- li -- ness, help us to ev -- er Live with e -- ter -- ni -- ty's val -- ues in view.", "prose": ["\"He was not willing that any should perish\";", "Am I His follower, and can I live", "Longer at ease with a soul going downward,", "Lost for the lack of the help I might give!", "Perishing, perishing! Thou wast not willing;", "Master, forgive, and inspire us anew;", "Banish our worldliness, help us to ever", "Live with eternity's values in view."]}}}, "he-who-would-valiant-be": {"slug": "he-who-would-valiant-be", "title": "He Who Would Valiant Be", "first_line": "He who would valiant be 'gainst all disaster", "author": "john-bunyan", "author_date": "1684", "translator": "percy-dearmer", "translator_date": "1906", "foot": "dactylic", "meter": {"pattern": [6, 5, 6, 5, 6, 6, 6, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Pilgrimage", "Courage", "Faithfulness", "Christian Warfare"], "scripture": ["Hebrews 11:13", "2 Timothy 4:7"], "provenance": {"layer": "text", "source": "english-hymnal-1906", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Adapted by Percy Dearmer (1867-1936), 1906, from John Bunyan's pilgrim song 'Who Would True Valour See' (The Pilgrim's Progress, Part II, 1684). The 'He Who Would Valiant Be' form first appeared in The English Hymnal, 1906. All components pre-1929 and public domain in the US.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "He who would val -- iant be 'gainst all dis -- as -- ter, Let him in con -- stan -- cy fol -- low the Mas -- ter. There's no dis -- cour -- age -- ment shall make him once re -- lent His first a -- vowed in -- tent to be a pil -- grim.", "prose": ["He who would valiant be", "'gainst all disaster,", "Let him in constancy", "follow the Master.", "There's no discouragement", "shall make him once relent", "His first avowed intent", "to be a pilgrim."]}, "2": {"syllabified": "Who so be -- set him round with dis -- mal stor -- ies Do but them -- selves con -- found his strength the more is. No foes shall stay his might; though he with gi -- ants fight, He will make good his right to be a pil -- grim.", "prose": ["Who so beset him round", "with dismal stories", "Do but themselves confound", "his strength the more is.", "No foes shall stay his might;", "though he with giants fight,", "He will make good his right", "to be a pilgrim."]}, "3": {"syllabified": "Since, Lord, Thou dost de -- fend us with Thy Spir -- it, We know we at the end, shall life in -- her -- it. Then fan -- cies flee a -- way! I'll fear not what men say, I'll la -- bor night and day to be a pil -- grim.", "prose": ["Since, Lord, Thou dost defend", "us with Thy Spirit,", "We know we at the end,", "shall life inherit.", "Then fancies flee away!", "I'll fear not what men say,", "I'll labor night and day", "to be a pilgrim."]}}}, "hear-isrels-shepherd-like-a-flock": {"slug": "hear-isrels-shepherd-like-a-flock", "title": "Hear, Isr'el's Shepherd! Like a Flock", "first_line": "Hear, Isr'el's Shepherd! like a flock", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 80, "topics": ["Psalms"], "scripture": ["Psalm 80"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 80. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Hear, Is -- r'el's Shep -- herd! like a flock thou that dost Jo -- seph guide; Shine forth, O thou that dost be -- tween the cher -- u -- bims a -- bide.", "prose": ["Hear, Isr'el's Shepherd! like a flock", "thou that dost Joseph guide;", "Shine forth, O thou that dost between", "the cherubims abide."]}, "2": {"syllabified": "In E -- phra -- im's and Ben -- ja -- min's, and in Ma -- nas -- seh's sight, O come for our sal -- va -- ti -- on; stir up thy strength and might.", "prose": ["In Ephraim's and Benjamin's,", "and in Manasseh's sight,", "O come for our salvation;", "stir up thy strength and might."]}, "3": {"syllabified": "Turn us a -- gain, O Lord our God, and up -- on us vouch -- safe To make thy coun -- ten -- ance to shine, and so we shall be safe.", "prose": ["Turn us again, O Lord our God,", "and upon us vouchsafe", "To make thy countenance to shine,", "and so we shall be safe."]}, "4": {"syllabified": "O Lord of hosts, al -- might -- y God, how long shall kin -- dled be Thy wrath a -- gainst the pray -- er made by thine own folk to thee?", "prose": ["O Lord of hosts, almighty God,", "how long shall kindled be", "Thy wrath against the prayer made", "by thine own folk to thee?"]}, "5": {"syllabified": "Thou tears of sor -- row giv'st to them in -- stead of bread to eat; Yea, tears in -- stead of drink thou giv'st to them in mea -- sure great.", "prose": ["Thou tears of sorrow giv'st to them", "instead of bread to eat;", "Yea, tears instead of drink thou giv'st", "to them in measure great."]}, "6": {"syllabified": "Thou mak -- est us a strife un -- to our neigh -- bours round a -- bout; Our en -- e -- mies a -- mong them -- selves at us do laugh and flout.", "prose": ["Thou makest us a strife unto", "our neighbours round about;", "Our enemies among themselves", "at us do laugh and flout."]}, "7": {"syllabified": "Turn us a -- gain, O God of hosts, and up -- on us vouch -- safe To make thy coun -- ten -- ance to shine, and so we shall be safe.", "prose": ["Turn us again, O God of hosts,", "and upon us vouchsafe", "To make thy countenance to shine,", "and so we shall be safe."]}, "8": {"syllabified": "A vine from E -- gypt brought thou hast, by thine out -- stretch -- ed hand; And thou the hea -- then out didst cast to plant it in their land.", "prose": ["A vine from Egypt brought thou hast,", "by thine outstretched hand;", "And thou the heathen out didst cast", "to plant it in their land."]}, "9": {"syllabified": "Be -- fore it thou a room didst make, where it might grow and stand; Thou caus -- edst it deep root to take, and it did fill the land.", "prose": ["Before it thou a room didst make,", "where it might grow and stand;", "Thou causedst it deep root to take,", "and it did fill the land."]}, "10": {"syllabified": "The moun -- tains veiled were with its shade, as with a cov -- er -- ing; Like good -- ly ce -- dars were the boughs which out from it did spring.", "prose": ["The mountains veiled were with its shade,", "as with a covering;", "Like goodly cedars were the boughs", "which out from it did spring."]}, "11": {"syllabified": "Up -- on the one hand to the sea her boughs she did out send; On th'oth -- er side un -- to the flood her bran -- ches did ex -- tend.", "prose": ["Upon the one hand to the sea", "her boughs she did out send;", "On th' other side unto the flood", "her branches did extend."]}, "12": {"syllabified": "Why hast thou then thus bro -- ken down, and ta'en her hedge a -- way? So that all pas -- sen -- gers do pluck, and make of her a prey.", "prose": ["Why hast thou then thus broken down,", "and ta'en her hedge away?", "So that all passengers do pluck,", "and make of her a prey."]}, "13": {"syllabified": "The boar who from the for -- est comes doth waste it at his plea -- sure; The wild beast of the field al -- so de -- vours it out of mea -- sure.", "prose": ["The boar who from the forest comes", "doth waste it at his pleasure;", "The wild beast of the field also", "devours it out of measure."]}, "14": {"syllabified": "O God of hosts, we thee be -- seech, re -- turn now un -- to thine; Look down from heav'n in love, be -- hold, and vis -- it this thy vine:", "prose": ["O God of hosts, we thee beseech,", "return now unto thine;", "Look down from heav'n in love, behold,", "and visit this thy vine:"]}, "15": {"syllabified": "This vine -- yard, which thine own right hand hath plant -- ed us a -- mong; And that same branch, which for thy -- self thou hast made to be strong.", "prose": ["This vineyard, which thine own right hand", "hath planted us among;", "And that same branch, which for thyself", "thou hast made to be strong."]}, "16": {"syllabified": "Burnt up it is with flam -- ing fire, it al -- so is cut down: They ut -- ter -- ly are per -- ish -- ed, when as thy face doth frown.", "prose": ["Burnt up it is with flaming fire,", "it also is cut down:", "They utterly are perished,", "when as thy face doth frown."]}, "17": {"syllabified": "O let thy hand be still up -- on the Man of thy right hand, The Son of man, whom for thy -- self thou mad -- est strong to stand.", "prose": ["O let thy hand be still upon", "the Man of thy right hand,", "The Son of man, whom for thyself", "thou madest strong to stand."]}, "18": {"syllabified": "So hence -- forth we will not go back, nor turn from thee at all: O do thou qui -- cken us, and we up -- on thy name will call.", "prose": ["So henceforth we will not go back,", "nor turn from thee at all:", "O do thou quicken us, and we", "upon thy name will call."]}, "19": {"syllabified": "Turn us a -- gain, Lord God of hosts, and up -- on us vouch -- safe To make thy coun -- ten -- ance to shine, and so we shall be safe.", "prose": ["Turn us again, Lord God of hosts,", "and upon us vouchsafe", "To make thy countenance to shine,", "and so we shall be safe."]}}}, "hear-this-all-people-and-give-ear": {"slug": "hear-this-all-people-and-give-ear", "title": "Hear This, All People, and Give Ear", "first_line": "Hear this, all people, and give ear", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 49, "topics": ["Psalms"], "scripture": ["Psalm 49"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 49. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Hear this, all peo -- ple, and give ear, all in the world that dwell; Both low and high, both rich and poor. My mouth shall wis -- dom tell;", "prose": ["Hear this, all people, and give ear,", "all in the world that dwell;", "Both low and high, both rich and poor.", "My mouth shall wisdom tell;"]}, "2": {"syllabified": "My heart shall knowl -- edge med -- i -- tate. I will in -- cline mine ear To par -- a -- bles, and on the harp my say -- ings dark de -- clare.", "prose": ["My heart shall knowledge meditate.", "I will incline mine ear", "To parables, and on the harp", "my sayings dark declare."]}, "3": {"syllabified": "A -- midst those days that e -- vil be, why should I, fear -- ing, doubt? When of my heels th'in -- iq -- ui -- ty shall com -- pass me a -- bout.", "prose": ["Amidst those days that evil be,", "why should I, fearing, doubt?", "When of my heels th' iniquity", "shall compass me about."]}, "4": {"syllabified": "Who -- e'er they be that in their wealth their con -- fi -- dence do pitch, And boast them -- selves, be -- cause they are be -- come exce -- ed -- ing rich:", "prose": ["Whoe'er they be that in their wealth", "their confidence do pitch,", "And boast themselves, because they are", "become exceeding rich:"]}, "5": {"syllabified": "Yet none of these his broth -- er can re -- deem by an -- y way; Nor can he un -- to God for him suf -- fi -- cient ran -- som pay,", "prose": ["Yet none of these his brother can", "redeem by any way;", "Nor can he unto God for him", "sufficient ransom pay,"]}, "6": {"syllabified": "(Their soul's re -- demp -- tion pre -- cious is, and it can nev -- er be,) That still he should for ev -- er live, and not cor -- rup -- tion see.", "prose": ["(Their soul's redemption precious is,", "and it can never be,)", "That still he should for ever live,", "and not corruption see."]}, "7": {"syllabified": "For why? he seeth that wise men die, and brut -- ish fools al -- so Do per -- ish; and their wealth, when dead, to oth -- ers they let go.", "prose": ["For why? he seeth that wise men die,", "and brutish fools also", "Do perish; and their wealth, when dead,", "to others they let go."]}, "8": {"syllabified": "Their in -- ward thought is, that their house and dwell -- ing -- plac -- es shall Stand through all ag -- es; they their lands by their own names do call.", "prose": ["Their inward thought is, that their house", "and dwelling-places shall", "Stand through all ages; they their lands", "by their own names do call."]}, "9": {"syllabified": "But yet in hon -- our shall not man a -- bide con -- tin -- ual -- ly; But pass -- ing hence, may be com -- pared un -- to the beasts that die.", "prose": ["But yet in honour shall not man", "abide continually;", "But passing hence, may be compared", "unto the beasts that die."]}, "10": {"syllabified": "Thus brut -- ish fol -- ly plain -- ly is their wis -- dom and their way; Yet their pos -- ter -- i -- ty ap -- prove what they do fond -- ly say.", "prose": ["Thus brutish folly plainly is", "their wisdom and their way;", "Yet their posterity approve", "what they do fondly say."]}, "11": {"syllabified": "Like sheep they in the grave are laid, and death shall them de -- vour; And in the morn -- ing up -- right men shall o -- ver them have power:", "prose": ["Like sheep they in the grave are laid,", "and death shall them devour;", "And in the morning upright men", "shall over them have power:"]}, "12": {"syllabified": "Their beau -- ty from their dwell -- ing shall con -- sume with -- in the grave. But from hell's hand God will me free, for he shall me re -- ceive.", "prose": ["Their beauty from their dwelling shall", "consume within the grave.", "But from hell's hand God will me free,", "for he shall me receive."]}, "13": {"syllabified": "Be thou not then a -- fraid when one en -- rich -- ed thou dost see, Nor when the glo -- ry of his house ad -- vanc -- ed is on high:", "prose": ["Be thou not then afraid when one", "enriched thou dost see,", "Nor when the glory of his house", "advanced is on high:"]}, "14": {"syllabified": "For he shall ca -- rry noth -- ing hence when death his days doth end; Nor shall his glo -- ry af -- ter him in -- to the grave de -- scend.", "prose": ["For he shall carry nothing hence", "when death his days doth end;", "Nor shall his glory after him", "into the grave descend."]}, "15": {"syllabified": "Al -- though he his own soul did bless whilst he on earth did live; (And when thou to thy -- self dost well, men will thee prais -- es give;)", "prose": ["Although he his own soul did bless", "whilst he on earth did live;", "(And when thou to thyself dost well,", "men will thee praises give;)"]}, "16": {"syllabified": "He to his fa -- thers' race shall go, they nev -- er shall see light. Man hon -- oured want -- ing knowl -- edge is like beasts that per -- ish quite.", "prose": ["He to his fathers' race shall go,", "they never shall see light.", "Man honoured wanting knowledge is", "like beasts that perish quite."]}}}, "help-lord-because-the-godly-man": {"slug": "help-lord-because-the-godly-man", "title": "Help, Lord, Because the Godly Man", "first_line": "Help, Lord, because the godly man", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 12, "topics": ["Psalms"], "scripture": ["Psalm 12"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 12. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Help, Lord, be -- cause the god -- ly man doth dai -- ly fade a -- way; And from a -- mong the sons of men the faith -- ful do de -- cay.", "prose": ["Help, Lord, because the godly man", "doth daily fade away;", "And from among the sons of men", "the faithful do decay."]}, "2": {"syllabified": "Un -- to his neigh -- bour ev -- ery -- one doth ut -- ter van -- i -- ty: They with a dou -- ble heart do speak, and lips of flat -- ter -- y.", "prose": ["Unto his neighbour everyone", "doth utter vanity:", "They with a double heart do speak,", "and lips of flattery."]}, "3": {"syllabified": "God shall cut off all flat -- t'ring lips, tongues that speak proud -- ly thus, We'll with our tongue pre -- vail, our lips are ours: who's lord o'er us?", "prose": ["God shall cut off all flatt'ring lips,", "tongues that speak proudly thus,", "We'll with our tongue prevail, our lips", "are ours: who's lord o'er us?"]}, "4": {"syllabified": "For poor op -- pressed, and for the sighs of need -- y, rise will I, Saith God, and him in safe -- ty set from such as him de -- fy.", "prose": ["For poor oppressed, and for the sighs", "of needy, rise will I,", "Saith God, and him in safety set", "from such as him defy."]}, "5": {"syllabified": "The words of God are words most pure; they be like sil -- ver tried In ear -- then fur -- nace, sev -- en times that hath been pu -- ri -- fied.", "prose": ["The words of God are words most pure;", "they be like silver tried", "In earthen furnace, seven times", "that hath been purified."]}, "6": {"syllabified": "Lord, thou shalt them pre -- serve and keep for ev -- er from this race. On each side walk the wick -- ed, when vile men are high in place.", "prose": ["Lord, thou shalt them preserve and keep", "for ever from this race.", "On each side walk the wicked, when", "vile men are high in place."]}}}, "higher-ground": {"slug": "higher-ground", "title": "Higher Ground", "first_line": "I'm pressing on the upward way", "author": "johnson-oatman-jr", "author_date": "1898", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Christian Life", "Consecration", "Faith", "Holiness", "Perseverance", "Prayer"], "scripture": ["Psalm 61:2", "Philippians 3:13-14", "Colossians 3:1-2"], "provenance": {"layer": "text", "source": "hymns-of-the-christian-life-3-1904", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Johnson Oatman, Jr. (1856-1922), 1898. Transcribed word for word and point for point off the printed underlay of Hymns of the Christian Life No. 3 (New York/Nyack: Christian Alliance Publishing Co., 1904), no. 200 — archive.org hymnsofchristi1904simp, scan leaf 213 — the same page this hymn's harmonization is read from, so text and setting are the one printing. Public domain on the date of that pre-1931 publication (the plate notice reads \"Copyright, 1899, by J. Howard Entwisle. Property of John J. Hood. Used by per.\"), and independently on the author's death in 1922. THE POINTING IS THE 1904 PAGE'S, INCLUDING ITS INCONSISTENCIES, and two of them are worth naming because later printings differ: stanza 1 line 4 is printed \"Lord plant my feet on high-er ground.\" with NO comma after the vocative, where stanza 4 prints \"Lord, lead me on\" and where Great Songs of the Church, 1921 (archive.org greatsonchur00jorg leaf 94) prints \"Lord, plant\"; and stanza 2 line 4 is printed \"My pray'r my aim is high-er ground.\" with no commas and with the elision \"pray'r\", where the 1921 printing has \"My prayer, my aim, is higher ground.\" Both were kept as the cited page has them rather than modernised. The refrain line \"By faith on heav-en's ta-ble-land;\" likewise carries no comma after \"faith\" on this page. Elisions ev'ry, pray'r, Tho', heav'n, I've, I'll, I'm are the page's own, not editorial contractions. Four stanzas, 32 syllables each, matching the 32 verse notes of HIGHER GROUND one to one; the refrain is 32 syllables against notes 33-64.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "im_pressing_on_the_upward_way", "total_instances": 414}}, "stanzas": {"1": {"syllabified": "I'm press -- ing on the up -- ward way, New heights I'm gain -- ing ev -- 'ry day; Still pray -- ing as I on -- ward bound, \"Lord plant my feet on high -- er ground.\"", "prose": ["I'm pressing on the upward way,", "New heights I'm gaining ev'ry day;", "Still praying as I onward bound,", "\"Lord plant my feet on higher ground.\""]}, "2": {"syllabified": "My heart has no de -- sire to stay Where doubts a -- rise and fears dis -- may; Tho' some may dwell where these a -- bound, My pray'r my aim is high -- er ground.", "prose": ["My heart has no desire to stay", "Where doubts arise and fears dismay;", "Tho' some may dwell where these abound,", "My pray'r my aim is higher ground."]}, "3": {"syllabified": "I want to live a -- bove the world, Tho' Sa -- tan's darts at me are hurled; For faith has caught the joy -- ful sound, The song of saints on high -- er ground.", "prose": ["I want to live above the world,", "Tho' Satan's darts at me are hurled;", "For faith has caught the joyful sound,", "The song of saints on higher ground."]}, "4": {"syllabified": "I want to scale the ut -- most height, And catch a gleam of glo -- ry bright; But still I'll pray till heav'n I've found, \"Lord, lead me on to high -- er ground.\"", "prose": ["I want to scale the utmost height,", "And catch a gleam of glory bright;", "But still I'll pray till heav'n I've found,", "\"Lord, lead me on to higher ground.\""]}}, "refrain": {"syllabified": "Lord, lift me up and let me stand, By faith on heav -- en's ta -- ble -- land; A high -- er plane than I have found, Lord, plant my feet on high -- er ground.", "prose": ["Lord, lift me up and let me stand,", "By faith on heaven's tableland;", "A higher plane than I have found,", "Lord, plant my feet on higher ground."]}}, "his-wide-dominion-shall-extend": {"slug": "his-wide-dominion-shall-extend", "title": "The Kingdom of Our Lord", "first_line": "His wide dominion shall extend", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 72, "topics": ["Psalms"], "scripture": ["Psalm 72"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 194) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 72, selection 194. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "His wide do -- min -- ion shall ex -- tend From sea to ut -- most sea, And un -- to earth's re -- mot -- est bounds His peace -- ful rule shall be.", "prose": ["His wide dominion shall extend", "From sea to utmost sea,", "And unto earth's remotest bounds", "His peaceful rule shall be."]}, "2": {"syllabified": "The tribes that in the des -- ert dwell Shall bow be -- fore His throne; His en -- e -- mies shall be sub -- dued, And He shall rule a -- lone.", "prose": ["The tribes that in the desert dwell", "Shall bow before His throne;", "His enemies shall be subdued,", "And He shall rule alone."]}, "3": {"syllabified": "The kings shall come from dis -- tant lands And is -- lands of the sea; Ob -- la -- tions they shall bring to Him and wait on end -- ed knee.", "prose": ["The kings shall come from distant lands", "And islands of the sea;", "Oblations they shall bring to Him", "and wait on ended knee."]}, "4": {"syllabified": "Yea, all the kings shall bow to Him, His rule all na -- tions hail; He will re -- gard the poor man's cry When oth -- er help -- ers fail.", "prose": ["Yea, all the kings shall bow to Him,", "His rule all nations hail;", "He will regard the poor man's cry", "When other helpers fail."]}, "5": {"syllabified": "The poor and need -- y He shall spare, And save their souls from fear; He shall re -- deem them from all wrong, Their life to Him is dear.", "prose": ["The poor and needy He shall spare,", "And save their souls from fear;", "He shall redeem them from all wrong,", "Their life to Him is dear."]}, "6": {"syllabified": "So they shall live, and bring to Him Their gifts of fin -- est gold; For Him shall con -- stant prayer be made, His praise each day be told.", "prose": ["So they shall live, and bring to Him", "Their gifts of finest gold;", "For Him shall constant prayer be made,", "His praise each day be told."]}}}, "holy-god-we-praise-thy-name": {"slug": "holy-god-we-praise-thy-name", "title": "Holy God, We Praise Thy Name", "first_line": "Holy God, we praise Thy name", "author": "ignaz-franz", "author_date": "1774", "translator": "clarence-walworth", "translator_date": "1858", "foot": "trochaic", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Adoration", "Praise", "Trinity"], "scripture": ["Revelation 4:8-11"], "provenance": {"layer": "text", "source": "franz-1774", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "attr. Ignaz Franz, 1774; tr. Clarence A. Walworth, 1858. Both d. pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "holy_god_we_praise_thy_name_lord_of_all", "total_instances": 221}}, "stanzas": {"1": {"syllabified": "Ho -- ly God, we praise Thy Name; Lord of all, we bow be -- fore Thee! All on earth Thy scep -- ter claim, All in Heav -- en a -- bove a -- dore Thee; In -- fin -- ite Thy vast do -- main, Ev -- er -- last -- ing is Thy reign.", "prose": ["Holy God, we praise Thy Name;", "Lord of all, we bow before Thee!", "All on earth Thy scepter claim,", "All in Heaven above adore Thee;", "Infinite Thy vast domain,", "Everlasting is Thy reign."]}, "2": {"syllabified": "Hark! the loud ce -- les -- tial hymn An -- gel cho -- irs a -- bove are rais -- ing, Cher -- u -- bim and ser -- a -- phim, In un -- ceas -- ing cho -- rus prais -- ing; Fill the heav -- ens with sweet ac -- cord: Ho -- ly, ho -- ly, ho -- ly, Lord.", "prose": ["Hark! the loud celestial hymn", "Angel choirs above are raising,", "Cherubim and seraphim,", "In unceasing chorus praising;", "Fill the heavens with sweet accord:", "Holy, holy, holy, Lord."]}, "3": {"syllabified": "Lo! the ap -- os -- tol -- ic train Join the sa -- cred Name to hal -- low; Proph -- ets swell the loud re -- frain, And the white robed mar -- tyrs fol -- low; And from morn to set of sun, Through the Church the song goes on.", "prose": ["Lo! the apostolic train", "Join the sacred Name to hallow;", "Prophets swell the loud refrain,", "And the white robed martyrs follow;", "And from morn to set of sun,", "Through the Church the song goes on."]}, "4": {"syllabified": "Ho -- ly Fa -- ther, Ho -- ly Son, Ho -- ly Spir -- it, Three we name Thee; While in es -- sence on -- ly One, Un -- div -- id -- ed God we claim Thee; And a -- dor -- ing bend the knee, While we own the mys -- ter -- y.", "prose": ["Holy Father, Holy Son,", "Holy Spirit, Three we name Thee;", "While in essence only One,", "Undivided God we claim Thee;", "And adoring bend the knee,", "While we own the mystery."]}}}, "holy-holy-holy": {"slug": "holy-holy-holy", "title": "Holy, Holy, Holy! Lord God Almighty", "first_line": "Holy, holy, holy! Lord God Almighty", "author": "reginald-heber", "author_date": "1826", "foot": "irregular", "meter": {"pattern": [11, 12, 12, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Trinity", "Worship", "Adoration"], "scripture": ["Isaiah 6:1-4", "Revelation 4:8-11"], "provenance": {"layer": "text", "source": "heber-hymns-1827", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Reginald Heber, 1826 (pub. posth. 1827). Author d. 1826.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "holy_holy_holy_lord_god_almighty_early", "total_instances": 1803}}, "stanzas": {"1": {"prose": ["Holy, holy, holy! Lord God Almighty!", "Early in the morning our song shall rise to Thee;", "Holy, holy, holy, merciful and mighty!", "God in three Persons, blessed Trinity!"]}, "2": {"prose": ["Holy, holy, holy! All the saints adore Thee,", "Casting down their golden crowns around the glassy sea;", "Cherubim and seraphim falling down before Thee,", "Who was, and is, and evermore shall be."]}, "3": {"prose": ["Holy, holy, holy! though the darkness hide Thee,", "Though the eye of sinful man Thy glory may not see;", "Only Thou art holy; there is none beside Thee,", "Perfect in power, in love, and purity."]}, "4": {"prose": ["Holy, holy, holy! Lord God Almighty!", "All Thy works shall praise Thy Name, in earth, and sky, and sea;", "Holy, holy, holy, merciful and mighty!", "God in three Persons, blessed Trinity!"]}}}, "holy-spirit-ever-dwelling": {"slug": "holy-spirit-ever-dwelling", "title": "Holy Spirit, Ever Dwelling", "first_line": "Holy Spirit, ever dwelling", "author": "timothy-rees", "author_date": "1922", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Holy Spirit", "Pentecost", "Church", "Praise, Holy Spirit"], "scripture": ["John 14:16-17", "Acts 2:1-4"], "provenance": {"layer": "text", "source": "rees-1922", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Timothy Rees (1874-1939), first pub. The Mirfield Mission Hymn-Book, 1922. Pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "holy_spirit_ever_dwelling_in_the_holiest", "total_instances": 28}}, "stanzas": {"1": {"syllabified": "Ho -- ly Spir -- it, ev -- er dwell -- ing in the ho -- liest realms of light Ho -- ly Spir -- it, ev -- er brood -- ing o'er a world of gloom and blight Ho -- ly Spir -- it, ev -- er rais -- ing earth -- bound souls to glo -- ry high Liv -- ing, life -- im -- part -- ing Spir -- it you we praise and mag -- ni -- fy.", "prose": ["Holy Spirit, ever dwelling", "in the holiest realms of light", "Holy Spirit, ever brooding", "o'er a world of gloom and blight", "Holy Spirit, ever raising", "earthbound souls to glory high", "Living, life-imparting Spirit", "you we praise and magnify."]}, "2": {"syllabified": "Ho -- ly Spir -- it, ev -- er breath -- ing on the church the breath of life Ho -- ly Spir -- it, ev -- er striv -- ing through your peo -- ple's cease -- less strife Ho -- ly Spir -- it, ev -- er form -- ing in the church the mind of Christ In our wor -- ship we will praise you for your fruit and gifts un -- priced.", "prose": ["Holy Spirit, ever breathing", "on the church the breath of life", "Holy Spirit, ever striving", "through your people's ceaseless strife", "Holy Spirit, ever forming", "in the church the mind of Christ", "In our worship we will praise you", "for your fruit and gifts unpriced."]}, "3": {"syllabified": "Ho -- ly Spir -- it, ev -- er work -- ing through the chur -- ch's min -- i -- stry Quick -- 'ning, strength -- 'ning, and ab -- solv -- ing set -- ting cap -- tive sin -- ners free Ho -- ly Spir -- it, ev -- er bind -- ing age to age and soul to soul In com -- mu -- ni -- ty un -- end -- ing you we wor -- ship and ex -- tol.", "prose": ["Holy Spirit, ever working", "through the church's ministry", "Quick'ning, strength'ning, and absolving", "setting captive sinners free", "Holy Spirit, ever binding", "age to age and soul to soul", "In community unending", "you we worship and extol."]}}}, "hosanna-loud-hosanna": {"slug": "hosanna-loud-hosanna", "title": "Hosanna, Loud Hosanna", "first_line": "Hosanna, loud hosanna", "author": "jennette-threlfall", "author_date": "1873", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Palm Sunday", "Praise", "Children"], "scripture": ["Matthew 21:8-16", "Mark 11:9"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Jennette Threlfall (1821-1880), \"Hosanna, loud hosanna,\" first published in her Sunshine and Shadow (1873); the standard Palm Sunday text for the tune ELLACOMBE. Text from The Cyber Hymnal. Public domain (author d. 1880). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ho -- san -- na, loud ho -- san -- na, The lit -- tle chil -- dren sang; Through pil -- lared court and tem -- ple The love -- ly an -- them rang. To Je -- sus, who had blessed them Close fold -- ed to His breast, The chil -- dren sang their prais -- es, The sim -- plest and the best.", "prose": ["Hosanna, loud hosanna,", "The little children sang;", "Through pillared court and temple", "The lovely anthem rang.", "To Jesus, who had blessed them", "Close folded to His breast,", "The children sang their praises,", "The simplest and the best."]}, "2": {"syllabified": "From Ol -- i -- vet they fol -- lowed Mid an ex -- ult -- ant crowd, The vic -- tor palm branch wav -- ing, And chant -- ing clear and loud. The Lord of earth and heav -- en Rode on in low -- ly state, Nor scorned that lit -- tle chil -- dren Should on His bid -- ding wait.", "prose": ["From Olivet they followed", "Mid an exultant crowd,", "The victor palm branch waving,", "And chanting clear and loud.", "The Lord of earth and heaven", "Rode on in lowly state,", "Nor scorned that little children", "Should on His bidding wait."]}, "3": {"syllabified": "Ho -- san -- na in the high -- est! That an -- cient song we sing, For Christ is our Re -- deem -- er, The Lord of heav'n our King. O may we ev -- er praise Him With heart and life and voice, And in His bliss -- ful pres -- ence E -- ter -- nal -- ly re -- joice!", "prose": ["\"Hosanna in the highest!\"", "That ancient song we sing,", "For Christ is our Redeemer,", "The Lord of heav'n our King.", "O may we ever praise Him", "With heart and life and voice,", "And in His blissful presence", "Eternally rejoice!"]}}}, "how-blest-is-he-whose-trespass": {"slug": "how-blest-is-he-whose-trespass", "title": "Sin and Forgiveness", "first_line": "How blest is he whose trespass", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 32, "topics": ["Psalms"], "scripture": ["Psalm 32"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 83) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 32, selection 83. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How blest is he whose tres -- pass Hath free -- ly been for -- giv'n, Whose sin is whol -- ly cov -- ered Be -- fore the sight of heav'n. Blest he to whom Je -- ho -- vah Im -- put -- eth not his sin, Who hath a guile -- less spir -- it, Whose heart is true with -- in.", "prose": ["How blest is he whose trespass", "Hath freely been forgiv'n,", "Whose sin is wholly covered", "Before the sight of heav'n.", "Blest he to whom Jehovah", "Imputeth not his sin,", "Who hath a guileless spirit,", "Whose heart is true within."]}, "2": {"syllabified": "While I kept guilt -- y si -- lence, My strength was spent with grief, Thy hand was heav -- y on me, My soul found no re -- lief; But when I owned my tres -- pass, My sin hid not from Thee, When I con -- fessed trans -- gres -- sion, Then Thou for -- gav -- est me.", "prose": ["While I kept guilty silence,", "My strength was spent with grief,", "Thy hand was heavy on me,", "My soul found no relief;", "But when I owned my trespass,", "My sin hid not from Thee,", "When I confessed transgression,", "Then Thou forgavest me."]}, "3": {"syllabified": "So let the god -- ly seek Thee In times when Thou art near; No whelm -- ing floods shall reach them Nor cause their hearts to fear. In Thee, O Lord, I hide me, Thou sav -- est me from ill, And songs of Thy sal -- va -- tion My heart with rap -- ture thrill.", "prose": ["So let the godly seek Thee", "In times when Thou art near;", "No whelming floods shall reach them", "Nor cause their hearts to fear.", "In Thee, O Lord, I hide me,", "Thou savest me from ill,", "And songs of Thy salvation", "My heart with rapture thrill."]}}}, "how-dear-to-me-o-lord-of-hosts": {"slug": "how-dear-to-me-o-lord-of-hosts", "title": "Delight in the House of God", "first_line": "How dear to me, O Lord of hosts", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 84, "topics": ["Psalms"], "scripture": ["Psalm 84"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 225) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 84, selection 225. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How dear to me, O Lord of hosts, The place where Thou dost dwell; The tab -- er -- nac -- les of Thy grace In pleas -- ant -- ness ex -- cel. My spir -- it longs, yea, e -- ven faints, Thy sa -- cred courts to see; My thirst -- ing heart and flesh cry out, O liv -- ing God, for Thee.", "prose": ["How dear to me, O Lord of hosts,", "The place where Thou dost dwell;", "The tabernacles of Thy grace", "In pleasantness excel.", "My spirit longs, yea, even faints,", "Thy sacred courts to see;", "My thirsting heart and flesh cry out,", "O living God, for Thee."]}, "2": {"syllabified": "Be -- neath Thy care the spar -- row finds A place of peace -- ful rest; Where she may safe -- ly lay her young The swal -- low finds a nest; Then, Lord of Hosts, my King, my God, Thy love will shel -- ter me; Be -- neath Thy al -- tar's peace -- ful shade My dwell -- ing -- place shall be.", "prose": ["Beneath Thy care the sparrow finds", "A place of peaceful rest;", "Where she may safely lay her young", "The swallow finds a nest;", "Then, Lord of Hosts, my King, my God,", "Thy love will shelter me;", "Beneath Thy altar's peaceful shade", "My dwelling-place shall be."]}, "3": {"syllabified": "Blest they who dwell with -- in Thy house, Their per -- fect strength Thou art; Their joy -- ful praise shall nev -- er cease, Thy ways are in their heart. Their tears of grief, like ear -- ly rain, Sweet springs of joy shall fill; With strength re -- newed they jour -- ney safe To Zi -- on's ho -- ly hill.", "prose": ["Blest they who dwell within Thy house,", "Their perfect strength Thou art;", "Their joyful praise shall never cease,", "Thy ways are in their heart.", "Their tears of grief, like early rain,", "Sweet springs of joy shall fill;", "With strength renewed they journey safe", "To Zion's holy hill."]}}}, "how-excellent-in-all-the-earth": {"slug": "how-excellent-in-all-the-earth", "title": "How Excellent in All the Earth", "first_line": "How excellent in all the earth", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 8, "topics": ["Psalms"], "scripture": ["Psalm 8"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 8. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How ex -- cel -- lent in all the earth, Lord, our Lord, is thy name! Who hast thy glo -- ry far ad -- vanced a -- bove the star -- ry frame.", "prose": ["How excellent in all the earth,", "Lord, our Lord, is thy name!", "Who hast thy glory far advanced", "above the starry frame."]}, "2": {"syllabified": "From in -- fants' and from suck -- lings' mouth thou did -- est strength or -- dain, For thy foes' cause, that so thou might'st th'a -- veng -- ing foe re -- strain.", "prose": ["From infants' and from sucklings' mouth", "thou didest strength ordain,", "For thy foes' cause, that so thou might'st", "th' avenging foe restrain."]}, "3": {"syllabified": "When I look up un -- to the heav'ns, which thine own fin -- gers framed, Un -- to the moon, and to the stars, which were by thee or -- dained;", "prose": ["When I look up unto the heav'ns,", "which thine own fingers framed,", "Unto the moon, and to the stars,", "which were by thee ordained;"]}, "4": {"syllabified": "Then say I, What is man, that he re -- mem -- bered is by thee? Or what the son of man, that thou so kind to him should'st be?", "prose": ["Then say I, What is man, that he", "remembered is by thee?", "Or what the son of man, that thou", "so kind to him should'st be?"]}, "5": {"syllabified": "For thou a lit -- tle low -- er hast him than the an -- gels made; With glo -- ry and with dig -- ni -- ty thou crown -- ed hast his head.", "prose": ["For thou a little lower hast", "him than the angels made;", "With glory and with dignity", "thou crowned hast his head."]}, "6": {"syllabified": "Of thy hands' works thou mad'st him lord, all un -- der's feet didst lay; All sheep and ox -- en, yea, and beasts that in the field do stray;", "prose": ["Of thy hands' works thou mad'st him lord,", "all under 's feet didst lay;", "All sheep and oxen, yea, and beasts", "that in the field do stray;"]}, "7": {"syllabified": "Fowls of the air, fish of the sea, all that pass through the same. How ex -- cel -- lent in all the earth, Lord, our Lord, is thy name!", "prose": ["Fowls of the air, fish of the sea,", "all that pass through the same.", "How excellent in all the earth,", "Lord, our Lord, is thy name!"]}}}, "how-firm-a-foundation": {"slug": "how-firm-a-foundation", "title": "How Firm a Foundation", "first_line": "How firm a foundation, ye saints of the Lord", "author": "john-rippon", "author_date": "1787", "foot": "anapestic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Trust", "Assurance", "The Scriptures"], "scripture": ["Isaiah 43:1-2"], "provenance": {"layer": "text", "source": "rippon-selection-1787", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Rippon's Selection of Hymns, 1787. Compiler d. 1836.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "how_firm_a_foundation_ye_saints_of", "total_instances": 2383}}, "stanzas": {"1": {"syllabified": "How firm a foun -- da -- tion, ye saints of the Lord, Is laid for your faith in His ex -- cel -- lent Word! What more can He say than to you He hath said, You, who un -- to Je -- sus for ref -- uge have fled?", "prose": ["How firm a foundation, ye saints of the Lord,", "Is laid for your faith in His excellent Word!", "What more can He say than to you He hath said,", "You, who unto Jesus for refuge have fled?"]}, "2": {"syllabified": "In ev -- ery con -- di -- tion, in sick -- ness, in health; In pov -- er -- ty's vale, or a -- bound -- ing in wealth; At home and a -- broad, on the land, on the sea, As thy days de -- mand, shall thy strength ev -- er be.", "prose": ["In every condition, in sickness, in health;", "In poverty's vale, or abounding in wealth;", "At home and abroad, on the land, on the sea,", "As thy days demand, shall thy strength ever be."]}, "3": {"syllabified": "Fear not, I am with thee, O be not dis -- mayed, For I am thy God and will still give thee aid; I'll strength -- en and help thee, and cause thee to stand Up -- held by My right -- eous, om -- nip -- o -- tent hand.", "prose": ["Fear not, I am with thee, O be not dismayed,", "For I am thy God and will still give thee aid;", "I'll strengthen and help thee, and cause thee to stand", "Upheld by My righteous, omnipotent hand."]}, "4": {"syllabified": "When through the deep wa -- ters I call thee to go, The riv -- ers of woe shall not thee o -- ver -- flow; For I will be with thee, thy trou -- bles to bless, And sanc -- ti -- fy to thee thy deep -- est dis -- tress.", "prose": ["When through the deep waters I call thee to go,", "The rivers of woe shall not thee overflow;", "For I will be with thee, thy troubles to bless,", "And sanctify to thee thy deepest distress."]}, "5": {"syllabified": "When through fie -- ry tri -- als thy path -- ways shall lie, My grace, all su -- ffic -- ient, shall be thy sup -- ply; The flame shall not hurt thee; I on -- ly de -- sign Thy dross to con -- sume, and thy gold to re -- fine.", "prose": ["When through fiery trials thy pathways shall lie,", "My grace, all sufficient, shall be thy supply;", "The flame shall not hurt thee; I only design", "Thy dross to consume, and thy gold to refine."]}}}, "how-long-wilt-thou-forget-me": {"slug": "how-long-wilt-thou-forget-me", "title": "Trust in the Mercy of God", "first_line": "How long wilt thou forget me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 13, "topics": ["Psalms"], "scripture": ["Psalm 13"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 22) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 13, selection 22. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How long wilt thou for -- get me, O Lord, Thou God of grace? How long shall fears be -- set me, While dark -- ness hides Thy face? How long shall griefs dis -- tress me And turn my day to night? How long shall foes op -- press me And tri -- umph in their might?", "prose": ["How long wilt thou forget me,", "O Lord, Thou God of grace?", "How long shall fears beset me,", "While darkness hides Thy face?", "How long shall griefs distress me", "And turn my day to night?", "How long shall foes oppress me", "And triumph in their might?"]}, "2": {"syllabified": "O Lord my God, be -- hold me, And hear my ear -- nest cries; Lest sleep of death en -- fold me, En -- ligh -- ten Thou mine eyes; Lest now my foe in -- sult -- ing Should boast of his suc -- cess, And en -- e -- mies ex -- ult -- ing Re -- joice in my dis -- tress.", "prose": ["O Lord my God, behold me,", "And hear my earnest cries;", "Lest sleep of death enfold me,", "Enlighten Thou mine eyes;", "Lest now my foe insulting", "Should boast of his success,", "And enemies exulting", "Rejoice in my distress."]}, "3": {"syllabified": "But I with ex -- pec -- ta -- tion Have on Thy grace re -- lied; My heart in Thy sal -- va -- tion Shall still with joy con -- fide. And I with voice of sing -- ing Will praise the Lord a -- bove, Who, rich -- est boun -- ties bring -- ing, Has dealt with me in love.", "prose": ["But I with expectation", "Have on Thy grace relied;", "My heart in Thy salvation", "Shall still with joy confide.", "And I with voice of singing", "Will praise the Lord above,", "Who, richest bounties bringing,", "Has dealt with me in love."]}}}, "how-long-wilt-thou-forget-me-lord": {"slug": "how-long-wilt-thou-forget-me-lord", "title": "How Long Wilt Thou Forget Me, Lord?", "first_line": "How long wilt thou forget me, Lord?", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 13, "topics": ["Psalms"], "scripture": ["Psalm 13"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 13. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How long wilt thou for -- get me, Lord? shall it for ev -- er be? O how long shall it be that thou wilt hide thy face from me?", "prose": ["How long wilt thou forget me, Lord?", "shall it for ever be?", "O how long shall it be that thou", "wilt hide thy face from me?"]}, "2": {"syllabified": "How long take coun -- sel in my soul, still sad in heart, shall I? How long ex -- al -- ted o -- ver me shall be mine en -- e -- my?", "prose": ["How long take counsel in my soul,", "still sad in heart, shall I?", "How long exalted over me", "shall be mine enemy?"]}, "3": {"syllabified": "O Lord my God, con -- sid -- er well, and an -- swer to me make: Mine eyes en -- ligh -- ten, lest the sleep of death me o -- ver -- take:", "prose": ["O Lord my God, consider well,", "and answer to me make:", "Mine eyes enlighten, lest the sleep", "of death me overtake:"]}, "4": {"syllabified": "Lest that mine en -- e -- my should say, A -- gainst him I pre -- vailed; And those that trou -- ble me re -- joice, when I am moved and failed.", "prose": ["Lest that mine enemy should say,", "Against him I prevailed;", "And those that trouble me rejoice,", "when I am moved and failed."]}, "5": {"syllabified": "But I have all my con -- fi -- dence thy mer -- cy set up -- on; My heart with -- in me shall re -- joice in thy sal -- va -- ti -- on.", "prose": ["But I have all my confidence", "thy mercy set upon;", "My heart within me shall rejoice", "in thy salvation."]}, "6": {"syllabified": "I will un -- to the Lord my God sing prais -- es cheer -- ful -- ly, Be -- cause he hath his boun -- ty shown to me a -- bun -- dant -- ly.", "prose": ["I will unto the Lord my God", "sing praises cheerfully,", "Because he hath his bounty shown", "to me abundantly."]}}}, "how-lovely-is-thy-dwelling-place": {"slug": "how-lovely-is-thy-dwelling-place", "title": "How Lovely Is Thy Dwelling-place", "first_line": "How lovely is thy dwelling-place", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 84, "topics": ["Psalms"], "scripture": ["Psalm 84"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 84. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "How love -- ly is thy dwell -- ing -- place, O Lord of hosts, to me! The tab -- er -- nac -- les of thy grace how pleas -- ant, Lord, they be!", "prose": ["How lovely is thy dwelling-place,", "O Lord of hosts, to me!", "The tabernacles of thy grace", "how pleasant, Lord, they be!"]}, "2": {"syllabified": "My thir -- sty soul longs veh' -- ment -- ly, yea faints, thy courts to see: My ver -- y heart and flesh cry out, O liv -- ing God, for thee.", "prose": ["My thirsty soul longs veh'mently,", "yea faints, thy courts to see:", "My very heart and flesh cry out,", "O living God, for thee."]}, "3": {"syllabified": "Be -- hold, the spar -- row find -- eth out an house where -- in to rest; The swal -- low al -- so for her -- self hath pur -- chas -- ed a nest;", "prose": ["Behold, the sparrow findeth out", "an house wherein to rest;", "The swallow also for herself", "hath purchased a nest;"]}, "4": {"syllabified": "Ev'n thine own al -- tars, where she safe her young ones forth may bring, O thou al -- might -- y Lord of hosts, who art my God and King.", "prose": ["Ev'n thine own altars, where she safe", "her young ones forth may bring,", "O thou almighty Lord of hosts,", "who art my God and King."]}, "5": {"syllabified": "Bless'd are they in thy house that dwell, they ev -- er give thee praise. Bless'd is the man whose strength thou art, in whose heart are thy ways:", "prose": ["Bless'd are they in thy house that dwell,", "they ever give thee praise.", "Bless'd is the man whose strength thou art,", "in whose heart are thy ways:"]}, "6": {"syllabified": "Who pass -- ing thor -- ough Ba -- ca's vale, there -- in do dig up wells; Al -- so the rain that fall -- eth down the pools with wa -- ter fills.", "prose": ["Who passing thorough Baca's vale,", "therein do dig up wells;", "Also the rain that falleth down", "the pools with water fills."]}, "7": {"syllabified": "So they from strength un -- wear -- ied go still for -- ward un -- to strength, Un -- til in Zi -- on they ap -- pear be -- fore the Lord at length.", "prose": ["So they from strength unwearied go", "still forward unto strength,", "Until in Zion they appear", "before the Lord at length."]}, "8": {"syllabified": "Lord God of hosts, my pray -- er hear; O Ja -- cob's God, give ear. See God our shield, look on the face of thine a -- noint -- ed dear.", "prose": ["Lord God of hosts, my prayer hear;", "O Jacob's God, give ear.", "See God our shield, look on the face", "of thine anointed dear."]}, "9": {"syllabified": "For in thy courts one day ex -- cels a thou -- sand; rath -- er in My God's house will I keep a door, than dwell in tents of sin.", "prose": ["For in thy courts one day excels", "a thousand; rather in", "My God's house will I keep a door,", "than dwell in tents of sin."]}, "10": {"syllabified": "For God the Lord's a sun and shield: he'll grace and glo -- ry give; And will with -- hold no good from them that up -- right -- ly do live.", "prose": ["For God the Lord's a sun and shield:", "he'll grace and glory give;", "And will withhold no good from them", "that uprightly do live."]}, "11": {"syllabified": "O thou that art the Lord of hosts, that man is tru -- ly blessed, Who by as -- sur -- ed con -- fi -- dence on thee a -- lone doth rest.", "prose": ["O thou that art the Lord of hosts,", "that man is truly blessed,", "Who by assured confidence", "on thee alone doth rest."]}}}, "i-am-thine-o-lord": {"slug": "i-am-thine-o-lord", "title": "I Am Thine, O Lord", "first_line": "I am Thine, O Lord, I have heard Thy voice", "author": "fanny-crosby", "author_date": "1875", "foot": "iambic", "meter": {"pattern": [10, 7, 10, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Nearness to God", "Prayer", "Cross"], "scripture": ["Hebrews 10:22"], "provenance": {"layer": "text", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Fanny J. Crosby (1820-1915), written 1875 during a visit to William H. Doane's home in Cincinnati. Transcribed word by word from the dated first-printing page images of Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23 — archive.org brighte00lowr, leaves 0024 and 0025 — headed \"DRAW ME NEARER.\" over the scripture motto \"Let us draw near with a true heart.\"—Heb. 10: 22, credited \"FANNY J. CROSBY.\" on the left and \"W. H. DOANE.\" on the right, with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot of both pages. Stanzas 1-3 are set interlinearly under the staves of page 22; stanza 4 is printed as a poetry block on page 23 beside the hymn's concluding system, closing \"Draw me nearer, &c.\" Collated against the same setting reprinted in Gospel Hymns Nos. 1 to 6 Complete (New York: Biglow & Main; Cincinnati: John Church, 1894), No. 572, printed page 581 — archive.org gospelhymnsnos1t0000unse_s2j5, leaf 0587 — which carries the same 1875 Biglow & Main copyright line. US public domain: first published 1875, and the author died in 1915, so it is also PD in life+70 jurisdictions. Wording follows the 1875 page throughout. TWO NORMALISATIONS ARE DECLARED: (1) the 1875 underlay prints \"I have heard thy voice\" with a lower-case \"thy\" while printing \"Thy love\", \"Thy service\" and every other divine pronoun capitalised; the 1894 reprint capitalises \"Thy voice\", and that reading is followed as an obvious type-setting slip. (2) The 1875 page closes stanza 3 \"friend with friend !\" with a spaced exclamation mark; the space is dropped. The refrain's last line follows the 1875 page exactly — \"To Thy precious bleeding side.\" with no comma after \"precious\" (the 1894 reprint adds one). Stanza 4 line 2 ends \"sea,\" as both printings punctuate it.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "i_am_thine_o_lord_i_have_heard_thy"}}, "stanzas": {"1": {"syllabified": "I am Thine, O Lord, I have heard Thy voice, And it told Thy love to me; But I long to rise in the arms of faith, And be clos -- er drawn to Thee.", "prose": ["I am Thine, O Lord, I have heard Thy voice,", "And it told Thy love to me;", "But I long to rise in the arms of faith,", "And be closer drawn to Thee."]}, "2": {"syllabified": "Con -- se -- crate me now to Thy serv -- ice, Lord, By the pow'r of grace di -- vine; Let my soul look up with a stead -- fast hope, And my will be lost in Thine.", "prose": ["Consecrate me now to Thy service, Lord,", "By the pow'r of grace divine;", "Let my soul look up with a steadfast hope,", "And my will be lost in Thine."]}, "3": {"syllabified": "O the pure de -- light of a sin -- gle hour That be -- fore Thy throne I spend, When I kneel in pray'r, and with Thee, my God, I com -- mune as friend with friend!", "prose": ["O the pure delight of a single hour", "That before Thy throne I spend,", "When I kneel in pray'r, and with Thee, my God,", "I commune as friend with friend!"]}, "4": {"syllabified": "There are depths of love that I can -- not know Till I cross the nar -- row sea, There are heights of joy that I may not reach Till I rest in peace with Thee.", "prose": ["There are depths of love that I cannot know", "Till I cross the narrow sea,", "There are heights of joy that I may not reach", "Till I rest in peace with Thee."]}}, "refrain": {"syllabified": "Draw me near -- er, near -- er, bless -- ed Lord, To the cross where Thou hast died; Draw me near -- er, near -- er, near -- er, bless -- ed Lord, To Thy pre -- cious bleed -- ing side.", "prose": ["Draw me nearer, nearer, blessed Lord,", "To the cross where Thou hast died;", "Draw me nearer, nearer, nearer, blessed Lord,", "To Thy precious bleeding side."]}}, "i-greet-thee-who-my-sure-redeemer-art": {"slug": "i-greet-thee-who-my-sure-redeemer-art", "title": "I Greet Thee, Who My Sure Redeemer Art", "first_line": "I greet Thee, who my sure Redeemer art", "author": "john-calvin", "author_date": "1545", "translator": "elizabeth-lee-smith", "translator_date": "1870", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Trust", "Consecration"], "scripture": ["Psalm 19:14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Attributed to John Calvin, 1545 (\"Je te salue, mon certain Redempteur\"); translated from French to English by Elizabeth Lee Smith in Philip Schaff's \"Christ in Song,\" 1870. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I greet Thee, who my sure Re -- deem -- er art, My on -- ly trust and Sav -- ior of my heart, Who pain didst un -- der -- go for my poor sake; I pray Thee from our hearts all cares to take.", "prose": ["I greet Thee, who my sure Redeemer art,", "My only trust and Savior of my heart,", "Who pain didst undergo for my poor sake;", "I pray Thee from our hearts all cares to take."]}, "2": {"syllabified": "Thou art the King of mer -- cy and of grace, Reign -- ing om -- nip -- o -- tent in ev -- ery place; So come, O King, and our whole be -- ing sway; Shine on us with the light of Thy pure day.", "prose": ["Thou art the King of mercy and of grace,", "Reigning omnipotent in every place;", "So come, O King, and our whole being sway;", "Shine on us with the light of Thy pure day."]}, "3": {"syllabified": "Thou art the life, by which a -- lone we live, And all our sub -- stance and our strength re -- ceive; Sus -- tain us by Thy faith and by Thy power, And give us strength in ev -- ery try -- ing hour.", "prose": ["Thou art the life, by which alone we live,", "And all our substance and our strength receive;", "Sustain us by Thy faith and by Thy power,", "And give us strength in every trying hour."]}, "4": {"syllabified": "Thou hast the true and per -- fect gen -- tle -- ness, No harsh -- ness hast Thou and no bit -- ter -- ness; O grant to us the grace we find in Thee, That we may dwell in per -- fect u -- ni -- ty.", "prose": ["Thou hast the true and perfect gentleness,", "No harshness hast Thou and no bitterness;", "O grant to us the grace we find in Thee,", "That we may dwell in perfect unity."]}, "5": {"syllabified": "Our hope is in no oth -- er save in Thee; Our faith is built up -- on Thy prom -- ise free; Lord, give us peace, and make us calm and sure, That in Thy strength we ev -- er -- more en -- dure.", "prose": ["Our hope is in no other save in Thee;", "Our faith is built upon Thy promise free;", "Lord, give us peace, and make us calm and sure,", "That in Thy strength we evermore endure."]}}}, "i-heard-the-bells-on-christmas-day": {"slug": "i-heard-the-bells-on-christmas-day", "title": "I Heard The Bells On Christmas Day", "first_line": "I heard the bells on Christmas day Their old", "author": "henry-wadsworth-longfellow", "author_date": "1885", "foot": "iambic", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Angels", "Christmas", "Advent", "God, As King", "God, Eternity of"], "scripture": ["Leviticus 26:18-19", "Job 38:29-30", "Psalm 147:16-20", "Isaiah 59:11-14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:58; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "i_heard_the_bells_on_christmas_day", "total_instances": 138}}, "stanzas": {"1": {"syllabified": "I heard the bells on Christ -- mas day Their old fa -- mil -- iar car -- ols play, And wild and sweet the words re -- peat Of peace on earth, good will to men.", "prose": ["I heard the bells on Christmas day", "Their old familiar carols play,", "And wild and sweet the words repeat", "Of peace on earth, good will to men."]}, "2": {"syllabified": "And thought how, as the day had come, The bel -- fries of all Christ -- en -- dom Had rolled a -- long th'un -- bro -- ken song Of peace on earth, good will to men.", "prose": ["And thought how, as the day had come,", "The belfries of all Christendom", "Had rolled along th'unbroken song", "Of peace on earth, good will to men."]}, "3": {"syllabified": "Till ring -- ing, sing -- ing on its way The world re -- volved from night to day, A voice, a chime, a chant sub -- lime Of peace on earth, good will to men.", "prose": ["Till ringing, singing on its way", "The world revolved from night to day,", "A voice, a chime, a chant sublime", "Of peace on earth, good will to men."]}, "4": {"syllabified": "And in des -- pair I bowed my head \"There is no peace on earth,\" I said, \"For hate is strong and mocks the song Of peace on earth, good will to men.\"", "prose": ["And in despair I bowed my head", "\"There is no peace on earth,\" I said,", "\"For hate is strong and mocks the song", "Of peace on earth, good will to men.\""]}, "5": {"syllabified": "Then pealed the bells more loud and deep: \"God is not dead, nor doth He sleep; The wrong shall fail, the right pre -- vail With peace on earth, good will to men.\"", "prose": ["Then pealed the bells more loud and deep:", "\"God is not dead, nor doth He sleep;", "The wrong shall fail, the right prevail", "With peace on earth, good will to men.\""]}}}, "i-in-the-lord-do-put-my-trust": {"slug": "i-in-the-lord-do-put-my-trust", "title": "I in the Lord Do Put My Trust", "first_line": "I in the Lord do put my trust", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 11, "topics": ["Psalms"], "scripture": ["Psalm 11"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 11. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I in the Lord do put my trust: how is it then that ye Say to my soul, Flee, as a bird, un -- to your moun -- tain high?", "prose": ["I in the Lord do put my trust:", "how is it then that ye", "Say to my soul, Flee, as a bird,", "unto your mountain high?"]}, "2": {"syllabified": "For, lo, the wick -- ed bend their bow, their shafts on string they fit, That those who up -- right are in heart they priv -- i -- ly may hit.", "prose": ["For, lo, the wicked bend their bow,", "their shafts on string they fit,", "That those who upright are in heart", "they privily may hit."]}, "3": {"syllabified": "If the foun -- da -- tions be de -- stroyed, what hath the right -- eous done? God in his ho -- ly tem -- ple is, in heav -- en is his throne:", "prose": ["If the foundations be destroyed,", "what hath the righteous done?", "God in his holy temple is,", "in heaven is his throne:"]}, "4": {"syllabified": "His eyes do see, his eye -- lids try men's sons. The just he proves: But his soul hates the wick -- ed man, and him that vi -- 'lence loves.", "prose": ["His eyes do see, his eyelids try", "men's sons. The just he proves:", "But his soul hates the wicked man,", "and him that vi'lence loves."]}, "5": {"syllabified": "Snares, fire and brim -- stone, fu -- rious storms, on sin -- ners he shall rain: This, as the por -- tion of their cup, doth un -- to them per -- tain.", "prose": ["Snares, fire and brimstone, furious storms,", "on sinners he shall rain:", "This, as the portion of their cup,", "doth unto them pertain."]}, "6": {"syllabified": "Be -- cause the Lord most right -- eous doth in right -- eous -- ness de -- light; And with a pleas -- ant coun -- ten -- ance be -- hold -- eth the up -- right.", "prose": ["Because the Lord most righteous doth", "in righteousness delight;", "And with a pleasant countenance", "beholdeth the upright."]}}}, "i-joyed-when-to-the-house-of-god": {"slug": "i-joyed-when-to-the-house-of-god", "title": "I Joyed When to the House of God", "first_line": "I joyed when to the house of God", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 122, "topics": ["Psalms"], "scripture": ["Psalm 122"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 122. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I joyed when to the house of God, Go up, they said to me. Je -- ru -- sa -- lem, with -- in thy gates our feet shall stand -- ing be.", "prose": ["I joyed when to the house of God,", "Go up, they said to me.", "Jerusalem, within thy gates", "our feet shall standing be."]}, "2": {"syllabified": "Je -- ru -- s'lem, as a cit -- y, is com -- pact -- ly built to -- geth -- er: Un -- to that place the tribes go up, the tribes of God go thith -- er:", "prose": ["Jerus'lem, as a city, is", "compactly built together:", "Unto that place the tribes go up,", "the tribes of God go thither:"]}, "3": {"syllabified": "To Is -- r'el's tes -- ti -- mo -- ny, there to God's name thanks to pay. For thrones of judg -- ment, ev'n the thrones of Da -- vid's house, there stay.", "prose": ["To Isr'el's testimony, there", "to God's name thanks to pay.", "For thrones of judgment, ev'n the thrones", "of David's house, there stay."]}, "4": {"syllabified": "Pray that Je -- ru -- sa -- lem may have peace and fe -- lic -- i -- ty: Let them that love thee and thy peace have still pros -- per -- i -- ty.", "prose": ["Pray that Jerusalem may have", "peace and felicity:", "Let them that love thee and thy peace", "have still prosperity."]}, "5": {"syllabified": "There -- fore I wish that peace may still with -- in thy walls re -- main, And ev -- er may thy pal -- ac -- es pros -- per -- i -- ty re -- tain.", "prose": ["Therefore I wish that peace may still", "within thy walls remain,", "And ever may thy palaces", "prosperity retain."]}, "6": {"syllabified": "Now, for my friends' and breth -- ren's sakes, Peace be in thee, I'll say. And for the house of God our Lord, I'll seek thy good al -- way.", "prose": ["Now, for my friends' and brethren's sakes,", "Peace be in thee, I'll say.", "And for the house of God our Lord,", "I'll seek thy good alway."]}}}, "i-know-that-my-redeemer-lives": {"slug": "i-know-that-my-redeemer-lives", "title": "I Know That My Redeemer Lives", "first_line": "I know that my Redeemer lives", "author": "samuel-medley", "author_date": "1775", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Easter", "Resurrection", "Eternal Life", "Assurance", "Comfort", "Faith", "Trust"], "scripture": ["Job 19:25", "Psalm 104:33-34"], "provenance": {"layer": "text", "source": "medley-1775", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:108 (line 12184); Words Samuel Medley 1775 (author d. 1799). Public domain.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I know that my Re -- deem -- er lives; What com -- fort this sweet sen -- tence gives! He lives, He lives, who once was dead; He lives, my ev -- er liv -- ing Head.", "prose": ["I know that my Redeemer lives;", "What comfort this sweet sentence gives!", "He lives, He lives, who once was dead;", "He lives, my ever living Head."]}, "2": {"syllabified": "He lives to bless me with His love, He lives to plead for me a -- bove. He lives my hun -- gry soul to feed, He lives to help in time of need.", "prose": ["He lives to bless me with His love,", "He lives to plead for me above.", "He lives my hungry soul to feed,", "He lives to help in time of need."]}, "3": {"syllabified": "He lives tri -- um -- phant from the grave, He lives e -- ter -- nal -- ly to save, He lives all glo -- rious in the sky, He lives ex -- alt -- ed there on high.", "prose": ["He lives triumphant from the grave,", "He lives eternally to save,", "He lives all glorious in the sky,", "He lives exalted there on high."]}, "4": {"syllabified": "He lives to grant me rich sup -- ply, He lives to guide me with His eye, He lives to com -- fort me when faint, He lives to hear my soul's com -- plaint.", "prose": ["He lives to grant me rich supply,", "He lives to guide me with His eye,", "He lives to comfort me when faint,", "He lives to hear my soul's complaint."]}, "5": {"syllabified": "He lives to si -- lence all my fears, He lives to wipe a -- way my tears He lives to calm my trou -- bled heart, He lives all bless -- ings to im -- part.", "prose": ["He lives to silence all my fears,", "He lives to wipe away my tears", "He lives to calm my troubled heart,", "He lives all blessings to impart."]}, "6": {"prose": ["He lives, my kind, wise, heav'nly Friend,", "He lives and loves me to the end;", "He lives, and while He lives, I'll sing;", "He lives, my Prophet, Priest, and King."]}, "7": {"prose": ["He lives and grants me daily breath;", "He lives, and I shall conquer death:", "He lives my mansion to prepare;", "He lives to bring me safely there."]}, "8": {"prose": ["He lives, all glory to His Name!", "He lives, my Jesus, still the same.", "Oh, the sweet joy this sentence gives,", "I know that my Redeemer lives!"]}}}, "i-know-whom-i-have-believed": {"slug": "i-know-whom-i-have-believed", "title": "I Know Whom I Have Believed", "first_line": "I know not why God's wondrous grace To me", "author": "daniel-webster-whittle-a-k-a-elias-nathan", "author_date": "1892", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Assurance", "Atonement", "Blood"], "scripture": ["Romans 8:31-39", "Psalm 27:1-3", "Isaiah 50:7-9", "John 10:28-30"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:278; all components published pre-1931 (latest year 1892).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I know not why God's won -- drous grace To me He hath made known, Nor why, un -- wor -- thy, Christ in love Re -- deemed me for His own.", "prose": ["I know not why God's wondrous grace", "To me He hath made known,", "Nor why, unworthy, Christ in love", "Redeemed me for His own."]}, "2": {"syllabified": "I know not how this sav -- ing faith To me He did im -- part, Nor how be -- liev -- ing in His Word Wrought peace with -- in my heart.", "prose": ["I know not how this saving faith", "To me He did impart,", "Nor how believing in His Word", "Wrought peace within my heart."]}, "3": {"syllabified": "I know not how the Spir -- it moves, Con -- vin -- cing us of sin, Re -- veal -- ing Je -- sus through the Word, Cre -- at -- ing faith in Him.", "prose": ["I know not how the Spirit moves,", "Convincing us of sin,", "Revealing Jesus through the Word,", "Creating faith in Him."]}, "4": {"syllabified": "I know not what of good or ill May be re -- served for me, Of wea -- ry ways or gol -- den days, Be -- fore His face I see.", "prose": ["I know not what of good or ill", "May be reserved for me,", "Of weary ways or golden days,", "Before His face I see."]}, "5": {"syllabified": "I know not when my Lord may come, At night or noon -- day fair, Nor if I walk the vale with Him, Or meet Him in the air.", "prose": ["I know not when my Lord may come,", "At night or noonday fair,", "Nor if I walk the vale with Him,", "Or meet Him in the air."]}}, "refrain": {"syllabified": "But I know Whom I have be -- liev -- ed, And am per -- suad -- ed that He is ab -- le To keep that which I've com -- mit -- ted Un -- to Him a -- gainst that day.", "prose": ["But I know Whom I have believed,", "And am persuaded that He is able", "To keep that which I've committed", "Unto Him against that day."]}}, "i-love-the-lord-because-my-voice": {"slug": "i-love-the-lord-because-my-voice", "title": "I Love the Lord, Because My Voice", "first_line": "I love the Lord, because my voice", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 116, "topics": ["Psalms"], "scripture": ["Psalm 116"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 116. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I love the Lord, be -- cause my voice and pray -- ers he did hear. I, while I live, will call on him, who bowed to me his ear.", "prose": ["I love the Lord, because my voice", "and prayers he did hear.", "I, while I live, will call on him,", "who bowed to me his ear."]}, "2": {"syllabified": "Of death the cords and sor -- rows did a -- bout me com -- pass round; The pains of hell took hold on me, I grief and trou -- ble found.", "prose": ["Of death the cords and sorrows did", "about me compass round;", "The pains of hell took hold on me,", "I grief and trouble found."]}, "3": {"syllabified": "Up -- on the name of God the Lord then did I call, and say, De -- liv -- er thou my soul, O Lord, I do thee hum -- bly pray.", "prose": ["Upon the name of God the Lord", "then did I call, and say,", "Deliver thou my soul, O Lord,", "I do thee humbly pray."]}, "4": {"syllabified": "God mer -- ci -- ful and right -- eous is, yea, gra -- cious is our Lord. God saves the meek: I was brought low, he did me help af -- ford.", "prose": ["God merciful and righteous is,", "yea, gracious is our Lord.", "God saves the meek: I was brought low,", "he did me help afford."]}, "5": {"syllabified": "O thou my soul, do thou re -- turn un -- to thy qui -- et rest; For large -- ly, lo, the Lord to thee his boun -- ty hath ex -- pressed.", "prose": ["O thou my soul, do thou return", "unto thy quiet rest;", "For largely, lo, the Lord to thee", "his bounty hath expressed."]}, "6": {"syllabified": "For my dis -- tress -- ed soul from death de -- liv -- ered was by thee: Thou didst my mourn -- ing eyes from tears, my feet from fall -- ing, free.", "prose": ["For my distressed soul from death", "delivered was by thee:", "Thou didst my mourning eyes from tears,", "my feet from falling, free."]}, "7": {"syllabified": "I in the land of those that live will walk the Lord be -- fore. I did be -- lieve, there -- fore I spake: I was af -- flic -- ted sore.", "prose": ["I in the land of those that live", "will walk the Lord before.", "I did believe, therefore I spake:", "I was afflicted sore."]}, "8": {"syllabified": "I said, when I was in my haste, that all men li -- ars be. What shall I ren -- der to the Lord for all his gifts to me?", "prose": ["I said, when I was in my haste,", "that all men liars be.", "What shall I render to the Lord", "for all his gifts to me?"]}, "9": {"syllabified": "I'll of sal -- va -- tion take the cup, on God's name will I call: I'll pay my vows now to the Lord be -- fore his peo -- ple all.", "prose": ["I'll of salvation take the cup,", "on God's name will I call:", "I'll pay my vows now to the Lord", "before his people all."]}, "10": {"syllabified": "Dear in God's sight is his saints' death. Thy ser -- vant, Lord, am I; Thy ser -- vant sure, thine hand -- maid's son: my bands thou didst un -- tie.", "prose": ["Dear in God's sight is his saints' death.", "Thy servant, Lord, am I;", "Thy servant sure, thine handmaid's son:", "my bands thou didst untie."]}, "11": {"syllabified": "Thank -- of -- f'rings I to thee will give, and on God's name will call. I'll pay my vows now to the Lord be -- fore his peo -- ple all;", "prose": ["Thank-off'rings I to thee will give,", "and on God's name will call.", "I'll pay my vows now to the Lord", "before his people all;"]}, "12": {"syllabified": "With -- in the courts of God's own house, with -- in the midst of thee, O cit -- y of Je -- ru -- sa -- lem. Praise to the Lord give ye.", "prose": ["Within the courts of God's own house,", "within the midst of thee,", "O city of Jerusalem.", "Praise to the Lord give ye."]}}}, "i-love-the-lord-who-heard-my-cry": {"slug": "i-love-the-lord-who-heard-my-cry", "title": "Granted Prayers", "first_line": "I love the Lord Who heard my cry", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 116, "topics": ["Psalms"], "scripture": ["Psalm 116"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 312) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 116, selection 312. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I love the Lord Who heard my cry And grant -- ed my re -- quest; In Him Who hears and an -- swers prayer My trust thro' life shall rest.", "prose": ["I love the Lord Who heard my cry", "And granted my request;", "In Him Who hears and answers prayer", "My trust thro' life shall rest."]}, "2": {"syllabified": "With dead -- ly sor -- rows com -- passed round, My heart was full of grief; Then to the Lord I made my prayer That He would send re -- lief.", "prose": ["With deadly sorrows compassed round,", "My heart was full of grief;", "Then to the Lord I made my prayer", "That He would send relief."]}, "3": {"syllabified": "The Lord is just and mer -- ci -- ful, And gra -- cious to the meek; He saved me when I cried to Him, Tho' I was poor and weak.", "prose": ["The Lord is just and merciful,", "And gracious to the meek;", "He saved me when I cried to Him,", "Tho' I was poor and weak."]}, "4": {"syllabified": "Re -- turn un -- to thy rest, my soul, No long -- er trou -- bled be; The Lord sus -- tains thee, and has dealt Most gra -- cious -- ly with thee.", "prose": ["Return unto thy rest, my soul,", "No longer troubled be;", "The Lord sustains thee, and has dealt", "Most graciously with thee."]}, "5": {"syllabified": "Be -- fore my Sav -- iour I will live, From death He saved my soul, My eyes from tears, my feet from falls, And He has made me whole.", "prose": ["Before my Saviour I will live,", "From death He saved my soul,", "My eyes from tears, my feet from falls,", "And He has made me whole."]}, "6": {"syllabified": "In my af -- flic -- tion this I found, That hu -- man help de -- ceived, But ev -- er faith -- ful was the Lord In Whom my soul be -- lieved.", "prose": ["In my affliction this I found,", "That human help deceived,", "But ever faithful was the Lord", "In Whom my soul believed."]}}}, "i-m-but-a-stranger-here": {"slug": "i-m-but-a-stranger-here", "title": "I'm But A Stranger Here", "first_line": "I'm but a stranger here, Heav'n is my home", "author": "thomas-rawson-taylor", "author_date": "1885", "foot": "iambic", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Brotherhood", "Christian Home", "Family", "Christian Life", "Church on Earth (Church Militant)"], "scripture": ["Colossians 3:12-17", "1 John 4:7-21", "Ephesians 4:1-6", "Galatians 6:1-5"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:213; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "im_but_a_stranger_here", "total_instances": 659}}, "stanzas": {"1": {"syllabified": "I'm but a stran -- ger here, Heav'n is my home; Earth is a des -- ert drear, Heav'n is my home. Dan -- ger and sor -- row stand round me on ev -- ery hand; Heav'n is my fa -- ther -- land, Heav'n is my home.", "prose": ["I'm but a stranger here,", "Heav'n is my home;", "Earth is a desert drear,", "Heav'n is my home.", "Danger and sorrow stand", "round me on every hand;", "Heav'n is my fatherland,", "Heav'n is my home."]}, "2": {"syllabified": "What though the temp -- est rage, Heav'n is my home; Short is my pil -- grim -- age, Heav'n is my home; Time's wild and win -- try blast soon shall be ov -- er past; I shall reach home at last, Heav'n is my home.", "prose": ["What though the tempest rage,", "Heav'n is my home;", "Short is my pilgrimage,", "Heav'n is my home;", "Time's wild and wintry blast", "soon shall be over past;", "I shall reach home at last,", "Heav'n is my home."]}, "3": {"syllabified": "There at my Sav -- ior's side Heav'n is my home; I shall be glor -- i -- fied, Heav'n is my home. There are the good and blest, those I loved most and best; There, too, I soon shall rest, Heav'n is my home.", "prose": ["There at my Savior's side", "Heav'n is my home;", "I shall be glorified,", "Heav'n is my home.", "There are the good and blest,", "those I loved most and best;", "There, too, I soon shall rest,", "Heav'n is my home."]}, "4": {"syllabified": "There -- fore I mur -- mur not, Heav'n is my home; What -- e'er my earth -- ly lot, Heav'n is my home; And I shall sure -- ly stand there at my Lord's right hand. Heav'n is my fa -- ther -- land, Heav'n is my home.", "prose": ["Therefore I murmur not,", "Heav'n is my home;", "Whate'er my earthly lot,", "Heav'n is my home;", "And I shall surely stand", "there at my Lord's right hand.", "Heav'n is my fatherland,", "Heav'n is my home."]}}}, "i-mercy-will-and-judgment-sing": {"slug": "i-mercy-will-and-judgment-sing", "title": "I Mercy Will and Judgment Sing", "first_line": "I mercy will and judgment sing", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 101, "topics": ["Psalms"], "scripture": ["Psalm 101"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 101. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I mer -- cy will and judg -- ment sing, Lord, I will sing to thee. With wis -- dom in a per -- fect way shall my be -- hav -- iour be.", "prose": ["I mercy will and judgment sing,", "Lord, I will sing to thee.", "With wisdom in a perfect way", "shall my behaviour be."]}, "2": {"syllabified": "O when, in kind -- ness un -- to me, wilt thou be pleased to come? I with a per -- fect heart will walk with -- in my house at home.", "prose": ["O when, in kindness unto me,", "wilt thou be pleased to come?", "I with a perfect heart will walk", "within my house at home."]}, "3": {"syllabified": "I will en -- dure no wick -- ed thing be -- fore mine eyes to be: I hate their work that turn a -- side, it shall not cleave to me.", "prose": ["I will endure no wicked thing", "before mine eyes to be:", "I hate their work that turn aside,", "it shall not cleave to me."]}, "4": {"syllabified": "A stub -- born and a fro -- ward heart de -- part quite from me shall; A per -- son giv'n to wick -- ed -- ness I will not know at all.", "prose": ["A stubborn and a froward heart", "depart quite from me shall;", "A person giv'n to wickedness", "I will not know at all."]}, "5": {"syllabified": "I'll cut him off that slan -- der -- eth his neigh -- bour priv -- i -- ly: The haugh -- ty heart I will not bear, nor him that look -- eth high.", "prose": ["I'll cut him off that slandereth", "his neighbour privily:", "The haughty heart I will not bear,", "nor him that looketh high."]}, "6": {"syllabified": "Up -- on the faith -- ful of the land mine eyes shall be, that they May dwell with me: he shall me serve that walks in per -- fect way.", "prose": ["Upon the faithful of the land", "mine eyes shall be, that they", "May dwell with me: he shall me serve", "that walks in perfect way."]}, "7": {"syllabified": "Who of de -- ceit a wor -- ker is in my house shall not dwell; And in my pres -- ence shall he not re -- main that lies doth tell.", "prose": ["Who of deceit a worker is", "in my house shall not dwell;", "And in my presence shall he not", "remain that lies doth tell."]}, "8": {"syllabified": "Yea, all the wick -- ed of the land ear -- ly de -- stroy will I; All from God's cit -- y to cut off that work in -- iq -- ui -- ty.", "prose": ["Yea, all the wicked of the land", "early destroy will I;", "All from God's city to cut off", "that work iniquity."]}}}, "i-need-thee-every-hour": {"slug": "i-need-thee-every-hour", "title": "I Need Thee Every Hour", "first_line": "I need Thee ev'ry hour, Most gracious Lord", "author": "annie-sherwood-hawks", "author_date": "1898", "foot": "iambic", "meter": {"pattern": [6, 4, 6, 4], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Brotherhood", "Children", "Church on Earth (Church Militant)"], "scripture": ["Hebrews 12:1-15", "Matthew 19:28", "Psalm 24:8"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:167; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "i_need_thee_every_hour_most_gracious_lor", "total_instances": 1121}}, "stanzas": {"1": {"syllabified": "I need Thee ev -- 'ry hour, Most gra -- cious Lord; No ten -- der voice like Thine Can peace af -- ford.", "prose": ["I need Thee ev'ry hour,", "Most gracious Lord;", "No tender voice like Thine", "Can peace afford."]}, "2": {"syllabified": "I need Thee ev -- 'ry hour, Stay Thou near by; Temp -- ta -- tions lose their pow'r When Thou art nigh.", "prose": ["I need Thee ev'ry hour,", "Stay Thou near by;", "Temptations lose their pow'r", "When Thou art nigh."]}, "3": {"syllabified": "I need Thee ev -- 'ry hour, In joy or pain; Come quick -- ly and a -- bide, Or life is vain.", "prose": ["I need Thee ev'ry hour,", "In joy or pain;", "Come quickly and abide,", "Or life is vain."]}, "4": {"syllabified": "I need Thee ev -- 'ry hour, Teach me Thy will; And Thy rich prom -- is -- es In me ful -- fill.", "prose": ["I need Thee ev'ry hour,", "Teach me Thy will;", "And Thy rich promises", "In me fulfill."]}, "5": {"syllabified": "I need Thee ev -- 'ry hour, Most Ho -- ly One; O make me Thine in -- deed, Thou bless -- ed Son!", "prose": ["I need Thee ev'ry hour,", "Most Holy One;", "O make me Thine indeed,", "Thou blessed Son!"]}}, "refrain": {"syllabified": "I need Thee, O I need Thee; Ev -- 'ry hour I need Thee; O bless me now, my Sav -- ior, I come to Thee!", "prose": ["I need Thee, O I need Thee;", "Ev'ry hour I need Thee;", "O bless me now, my Savior,", "I come to Thee!"]}}, "i-said-i-will-look-to-my-ways": {"slug": "i-said-i-will-look-to-my-ways", "title": "I Said, I Will Look to My Ways", "first_line": "I said, I will look to my ways", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 39, "topics": ["Psalms"], "scripture": ["Psalm 39"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 39. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I said, I will look to my ways, lest with my tongue I sin: In sight of wick -- ed men my mouth with brid -- le I'll keep in.", "prose": ["I said, I will look to my ways,", "lest with my tongue I sin:", "In sight of wicked men my mouth", "with bridle I'll keep in."]}, "2": {"syllabified": "With si -- lence I as dumb be -- came, I did my -- self re -- strain From speak -- ing good; but then the more in -- creas -- ed was my pain.", "prose": ["With silence I as dumb became,", "I did myself restrain", "From speaking good; but then the more", "increased was my pain."]}, "3": {"syllabified": "My heart with -- in me wax -- ed hot; and, while I mus -- ing was, The fire did burn; and from my tongue these words I did let pass:", "prose": ["My heart within me waxed hot;", "and, while I musing was,", "The fire did burn; and from my tongue", "these words I did let pass:"]}, "4": {"syllabified": "Mine end, and mea -- sure of my days, O Lord, un -- to me show What is the same; that I there -- by my frail -- ty well may know.", "prose": ["Mine end, and measure of my days,", "O Lord, unto me show", "What is the same; that I thereby", "my frailty well may know."]}, "5": {"syllabified": "Lo, thou my days an hand -- breadth mad'st; mine age is in thine eye As noth -- ing: sure each man at best is whol -- ly van -- i -- ty.", "prose": ["Lo, thou my days an handbreadth mad'st;", "mine age is in thine eye", "As nothing: sure each man at best", "is wholly vanity."]}, "6": {"syllabified": "Sure each man walks in a vain show; they vex them -- selves in vain: He heaps up wealth, and doth not know to whom it shall per -- tain.", "prose": ["Sure each man walks in a vain show;", "they vex themselves in vain:", "He heaps up wealth, and doth not know", "to whom it shall pertain."]}, "7": {"syllabified": "And now, O Lord, what wait I for? my hope is fixed on thee. Free me from all my tres -- pass -- es, the fool's scorn make not me.", "prose": ["And now, O Lord, what wait I for?", "my hope is fixed on thee.", "Free me from all my trespasses,", "the fool's scorn make not me."]}, "8": {"syllabified": "Dumb was I, op'n -- ing not my mouth, be -- cause this work was thine. Thy stroke take from me; by the blow of thine hand I do pine.", "prose": ["Dumb was I, op'ning not my mouth,", "because this work was thine.", "Thy stroke take from me; by the blow", "of thine hand I do pine."]}, "9": {"syllabified": "When with re -- bukes thou dost cor -- rect man for in -- iq -- ui -- ty, Thou wastes his beau -- ty like a moth: sure each man's van -- i -- ty.", "prose": ["When with rebukes thou dost correct", "man for iniquity,", "Thou wastes his beauty like a moth:", "sure each man's vanity."]}, "10": {"syllabified": "At -- tend my cry, Lord, at my tears and pray'rs not si -- lent be: I so -- journ as my fa -- thers all, and stran -- ger am with thee.", "prose": ["Attend my cry, Lord, at my tears", "and pray'rs not silent be:", "I sojourn as my fathers all,", "and stranger am with thee."]}, "11": {"syllabified": "O spare thou me, that I my strength re -- cov -- er may a -- gain, Be -- fore from hence I do de -- part, and here no more re -- main.", "prose": ["O spare thou me, that I my strength", "recover may again,", "Before from hence I do depart,", "and here no more remain."]}}}, "i-stand-amazed-in-the-presence": {"slug": "i-stand-amazed-in-the-presence", "title": "I Stand Amazed in the Presence", "first_line": "I stand amazed in the presence", "author": "charles-hutchinson-gabriel", "author_date": "1905", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Love", "Grace", "Redemption", "Gethsemane"], "scripture": ["Luke 22:44", "Romans 5:8", "1 John 3:1"], "provenance": {"layer": "text", "source": "praises-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Words and music by Charles Hutchinson Gabriel (1856-1932). Transcribed syllable by syllable from the dated page image of its FIRST publication: Praises, ed. E. O. Excell (Chicago: E. O. Excell, 1905), No. 3, printed page 3 — archive.org item praises00excegoog, leaf n10 — which is headed \"My Savior's Love.\", credits \"C. H. G.\" on the left and \"Chas. H. Gabriel.\" on the right, engraves \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" between them, prints all FOUR stanzas interlinearly under the upper staff of the two verse systems, and prints the chorus with TWO lyric rows. Collated against a second, independent scan of the same 1905 edition, archive.org praises00exce, leaf n8; the volume's own copyright page reads \"Copyright, 1905, by E. O. Excell\" and its preface is dated \"Chicago, November 1, 1905\". US public domain: GABRIEL DIED IN 1932, SO HIS DEATH DATE CLEARS NOTHING ON ITS OWN — the basis is that this printing was published in 1905, before 1931, and both witnesses read here are themselves that pre-1931 printing. PUNCTUATION FOLLOWS THE PAGE, including the dash and the internal quotation in stanza 2 (\"He prayed— “Not my will but Thine;”\" — the plate sets no comma after \"will\"), the elisions \"thro'\" and \"'Twill\" in stanza 4, the hyphen in \"sweat-drops\", and the colon-plus-dash at \"be:—\" in the chorus. THE PLATE'S SECOND CHORUS LYRIC ROW IS NOT CARRIED HERE: under the chorus it prints, below the row set here, an alternative \"O how mar-vel-ous! O how won-der-ful!\" / \"O how mar-vel-ous, O how won-der-ful,\" that covers only the first half of each chorus line and needs the lower voices' restruck quarters sung as separate soprano syllables. Only the first, complete row is set.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "i_stand_amazed_in_the_presence", "total_instances": 278}}, "stanzas": {"1": {"syllabified": "I stand a -- mazed in the pres -- ence Of Je -- sus, the Naz -- a -- rene, And won -- der how He could love me, A sin -- ner, con -- demned, un -- clean.", "prose": ["I stand amazed in the presence", "Of Jesus, the Nazarene,", "And wonder how He could love me,", "A sinner, condemned, unclean."]}, "2": {"syllabified": "For me it was in the gar -- den He prayed— “Not my will but Thine;” He had no tears for His own griefs, But sweat -- drops of blood for mine.", "prose": ["For me it was in the garden", "He prayed— “Not my will but Thine;”", "He had no tears for His own griefs,", "But sweat-drops of blood for mine."]}, "3": {"syllabified": "In pit -- y an -- gels be -- held Him, And came from the world of light To com -- fort Him in the sor -- rows He bore for my soul that night.", "prose": ["In pity angels beheld Him,", "And came from the world of light", "To comfort Him in the sorrows", "He bore for my soul that night."]}, "4": {"syllabified": "When with the ran -- somed in glo -- ry, His face I at last shall see, 'Twill be my joy thro' the ag -- es To sing of His love for me.", "prose": ["When with the ransomed in glory,", "His face I at last shall see,", "'Twill be my joy thro' the ages", "To sing of His love for me."]}}, "refrain": {"syllabified": "How mar -- vel -- ous! how won -- der -- ful! And my song shall ev -- er be:— How mar -- vel -- ous, how won -- der -- ful, Is my Sav -- ior's love for me!", "prose": ["How marvelous! how wonderful!", "And my song shall ever be:—", "How marvelous, how wonderful,", "Is my Savior's love for me!"]}}, "i-to-the-hills-will-lift-mine-eyes": {"slug": "i-to-the-hills-will-lift-mine-eyes", "title": "I to the Hills Will Lift Mine Eyes", "first_line": "I to the hills will lift mine eyes", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 121, "topics": ["Psalms"], "scripture": ["Psalm 121"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 121. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I to the hills will lift mine eyes, from whence doth come mine aid. My safe -- ty com -- eth from the Lord, who heav'n and earth hath made.", "prose": ["I to the hills will lift mine eyes,", "from whence doth come mine aid.", "My safety cometh from the Lord,", "who heav'n and earth hath made."]}, "2": {"syllabified": "Thy foot he'll not let slide, nor will he slum -- ber that thee keeps. Be -- hold, he that keeps I -- sra -- el, he slum -- bers not, nor sleeps.", "prose": ["Thy foot he'll not let slide, nor will", "he slumber that thee keeps.", "Behold, he that keeps Israel,", "he slumbers not, nor sleeps."]}, "3": {"syllabified": "The Lord thee keeps, the Lord thy shade on thy right hand doth stay: The moon by night thee shall not smite, nor yet the sun by day.", "prose": ["The Lord thee keeps, the Lord thy shade", "on thy right hand doth stay:", "The moon by night thee shall not smite,", "nor yet the sun by day."]}, "4": {"syllabified": "The Lord shall keep thy soul; he shall pre -- serve thee from all ill. Hence -- forth thy go -- ing out and in God keep for ev -- er will.", "prose": ["The Lord shall keep thy soul; he shall", "preserve thee from all ill.", "Henceforth thy going out and in", "God keep for ever will."]}}}, "i-to-the-hills-will-lift-my-eyes": {"slug": "i-to-the-hills-will-lift-my-eyes", "title": "Quiet Trust", "first_line": "I to the hills will lift my eyes", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 121, "topics": ["Psalms"], "scripture": ["Psalm 121"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 344) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 121, selection 344. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I to the hills will lift my eyes; O whence shall come my aid? My help is from the Lord a -- lone, Who heav'n and earth has made.", "prose": ["I to the hills will lift my eyes;", "O whence shall come my aid?", "My help is from the Lord alone,", "Who heav'n and earth has made."]}, "2": {"syllabified": "He will not let thy foot be moved, Thy guard -- ian nev -- er sleeps; With watch -- ful and un -- slum -- b'ring care His own He safe -- ly keeps.", "prose": ["He will not let thy foot be moved,", "Thy guardian never sleeps;", "With watchful and unslumb'ring care", "His own He safely keeps."]}, "3": {"syllabified": "Thy faith -- ful keep -- er is the Lord, Thy shel -- ter and thy shade; 'Neath sun or moon, by day or night, Thou shalt not be a -- fraid.", "prose": ["Thy faithful keeper is the Lord,", "Thy shelter and thy shade;", "'Neath sun or moon, by day or night,", "Thou shalt not be afraid."]}, "4": {"syllabified": "From e -- vil He will keep thee safe, For thee He will pro -- vide; thy go -- ing out, thy com -- ing in, For -- ev -- er He will guide.", "prose": ["From evil He will keep thee safe,", "For thee He will provide;", "thy going out, thy coming in,", "Forever He will guide."]}}}, "i-waited-for-the-lord-my-god": {"slug": "i-waited-for-the-lord-my-god", "title": "I Waited for the Lord My God", "first_line": "I waited for the Lord my God", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 40, "topics": ["Psalms"], "scripture": ["Psalm 40"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 40. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I wait -- ed for the Lord my God, and pa -- tient -- ly did bear; At length to me he did in -- cline my voice and cry to hear.", "prose": ["I waited for the Lord my God,", "and patiently did bear;", "At length to me he did incline", "my voice and cry to hear."]}, "2": {"syllabified": "He took me from a fear -- ful pit, and from the mi -- ry clay, And on a rock he set my feet, es -- tab -- lish -- ing my way.", "prose": ["He took me from a fearful pit,", "and from the miry clay,", "And on a rock he set my feet,", "establishing my way."]}, "3": {"syllabified": "He put a new song in my mouth, our God to mag -- ni -- fy: Man -- y shall see it, and shall fear, and on the Lord re -- ly.", "prose": ["He put a new song in my mouth,", "our God to magnify:", "Many shall see it, and shall fear,", "and on the Lord rely."]}, "4": {"syllabified": "O bless -- ed is the man whose trust up -- on the Lord re -- lies; Re -- spect -- ing not the proud, nor such as turn a -- side to lies.", "prose": ["O blessed is the man whose trust", "upon the Lord relies;", "Respecting not the proud, nor such", "as turn aside to lies."]}, "5": {"syllabified": "O Lord my God, full man -- y are the won -- ders thou hast done; Thy gra -- cious thoughts to us -- ward far a -- bove all thoughts are gone:", "prose": ["O Lord my God, full many are", "the wonders thou hast done;", "Thy gracious thoughts to us-ward far", "above all thoughts are gone:"]}, "6": {"syllabified": "In or -- der none can re -- ckon them to thee: if them de -- clare, And speak of them I would, they more than can be num -- bered are.", "prose": ["In order none can reckon them", "to thee: if them declare,", "And speak of them I would, they more", "than can be numbered are."]}, "7": {"syllabified": "No sac -- ri -- fice nor of -- fer -- ing didst thou at all de -- sire; Mine ears thou bored: sin -- of -- f'ring thou and burnt didst not re -- quire:", "prose": ["No sacrifice nor offering", "didst thou at all desire;", "Mine ears thou bored: sin-off'ring thou", "and burnt didst not require:"]}, "8": {"syllabified": "Then to the Lord these were my words, I come, be -- hold and see; With -- in the vol -- ume of the book it writ -- ten is of me:", "prose": ["Then to the Lord these were my words,", "I come, behold and see;", "Within the volume of the book", "it written is of me:"]}, "9": {"syllabified": "To do thy will I take de -- light, O thou my God that art; Yea, that most ho -- ly law of thine I have with -- in my heart.", "prose": ["To do thy will I take delight,", "O thou my God that art;", "Yea, that most holy law of thine", "I have within my heart."]}, "10": {"syllabified": "With -- in the con -- gre -- ga -- tion great I right -- eous -- ness did preach: Lo, thou dost know, O Lord, that I re -- frain -- ed not my speech.", "prose": ["Within the congregation great", "I righteousness did preach:", "Lo, thou dost know, O Lord, that I", "refrained not my speech."]}, "11": {"syllabified": "I nev -- er did with -- in my heart con -- ceal thy right -- eous -- ness; I thy sal -- va -- tion have de -- clared, and shown thy faith -- ful -- ness:", "prose": ["I never did within my heart", "conceal thy righteousness;", "I thy salvation have declared,", "and shown thy faithfulness:"]}, "12": {"syllabified": "Thy kind -- ness, which most lov -- ing is, con -- ceal -- ed have not I, Nor from the con -- gre -- ga -- tion great have hid thy ver -- i -- ty.", "prose": ["Thy kindness, which most loving is,", "concealed have not I,", "Nor from the congregation great", "have hid thy verity."]}, "13": {"syllabified": "Thy ten -- der mer -- cies, Lord, from me O do thou not re -- strain; Thy lov -- ing -- kind -- ness, and thy truth, let them me still main -- tain.", "prose": ["Thy tender mercies, Lord, from me", "O do thou not restrain;", "Thy loving-kindness, and thy truth,", "let them me still maintain."]}, "14": {"syllabified": "For ills past reck -- 'ning com -- pass me, and mine in -- iq -- ui -- ties Such hold up -- on me tak -- en have, I can -- not lift mine eyes:", "prose": ["For ills past reck'ning compass me,", "and mine iniquities", "Such hold upon me taken have,", "I cannot lift mine eyes:"]}, "15": {"syllabified": "They more than hairs are on mine head, thence is my heart dis -- mayed. Be pleas -- ed, Lord, to res -- cue me; Lord, has -- ten to mine aid.", "prose": ["They more than hairs are on mine head,", "thence is my heart dismayed.", "Be pleased, Lord, to rescue me;", "Lord, hasten to mine aid."]}, "16": {"syllabified": "Shamed and con -- found -- ed be they all that seek my soul to kill; Yea, let them back -- ward driv -- en be, and shamed, that wish me ill.", "prose": ["Shamed and confounded be they all", "that seek my soul to kill;", "Yea, let them backward driven be,", "and shamed, that wish me ill."]}, "17": {"syllabified": "For a re -- ward of this their shame con -- found -- ed let them be, That in this man -- ner scof -- fing say, A -- ha, a -- ha! to me.", "prose": ["For a reward of this their shame", "confounded let them be,", "That in this manner scoffing say,", "Aha, aha! to me."]}, "18": {"syllabified": "In thee let all be glad, and joy, who seek -- ing thee a -- bide; Who thy sal -- va -- tion love, say still, The Lord be mag -- ni -- fied.", "prose": ["In thee let all be glad, and joy,", "who seeking thee abide;", "Who thy salvation love, say still,", "The Lord be magnified."]}, "19": {"syllabified": "I'm poor and need -- y, yet the Lord of me a care doth take: Thou art my help and sav -- i -- our, my God, no tarry -- ing make.", "prose": ["I'm poor and needy, yet the Lord", "of me a care doth take:", "Thou art my help and saviour,", "my God, no tarrying make."]}}}, "i-waited-for-the-lord-my-god-psalm-40": {"slug": "i-waited-for-the-lord-my-god-psalm-40", "title": "A Recital of Gracious Experience", "first_line": "I waited for the Lord my God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 40, "topics": ["Psalms"], "scripture": ["Psalm 40"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 108) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 40, selection 108. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I wait -- ed for the Lord my God, Yea, pa -- tient -- ly drew near, And He at length in -- clined to me, My plead -- ing cry to hear.", "prose": ["I waited for the Lord my God,", "Yea, patiently drew near,", "And He at length inclined to me,", "My pleading cry to hear."]}, "2": {"syllabified": "He took me from de -- struc -- tion's pit, From out the mi -- ry clay; He set my feet up -- on a rock, and stead -- fast made my way.", "prose": ["He took me from destruction's pit,", "From out the miry clay;", "He set my feet upon a rock,", "and steadfast made my way."]}, "3": {"syllabified": "A new and joy -- ful song of praise My thank -- ful heart He taught, A song of glo -- ry to our God For all that He has wrought.", "prose": ["A new and joyful song of praise", "My thankful heart He taught,", "A song of glory to our God", "For all that He has wrought."]}, "4": {"syllabified": "And man -- y who be -- hold how good The Lord has been to me Shall learn to fear, and in His Name Their trust hence -- forth shall be.", "prose": ["And many who behold how good", "The Lord has been to me", "Shall learn to fear, and in His Name", "Their trust henceforth shall be."]}, "5": {"syllabified": "O tru -- ly bless -- ed is the man That on the Lord re -- lies, Re -- spect -- ing not the proud, nor such As turn a -- side to lies.", "prose": ["O truly blessed is the man", "That on the Lord relies,", "Respecting not the proud, nor such", "As turn aside to lies."]}, "6": {"syllabified": "O Lord, my God, how man -- i -- fold The works which Thou hast wrought, Oft -- times Thou hast be -- stowed on us Thy care and gra -- cious thought.", "prose": ["O Lord, my God, how manifold", "The works which Thou hast wrought,", "Ofttimes Thou hast bestowed on us", "Thy care and gracious thought."]}, "7": {"syllabified": "Thy works and thoughts most won -- der -- ful, If I of them would speak, Can -- not be num -- bered, and in vain To set them forth I seek.", "prose": ["Thy works and thoughts most wonderful,", "If I of them would speak,", "Cannot be numbered, and in vain", "To set them forth I seek."]}}}, "i-will-extol-thee-o-my-god": {"slug": "i-will-extol-thee-o-my-god", "title": "Our Glorious King", "first_line": "I will extol Thee, O my God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 145, "topics": ["Psalms"], "scripture": ["Psalm 145"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 394) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 145, selection 394. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I will ex -- tol Thee, O my God, And praise Thee, O my King; Yes, ev -- 'ry day and ev -- er -- more Thy prais -- es I will sing. Great is the Lord, our might -- y God, And great -- ly to be praised; His great -- ness is un -- sear -- cha -- ble, A -- bove all glo -- ry raised.", "prose": ["I will extol Thee, O my God,", "And praise Thee, O my King;", "Yes, ev'ry day and evermore", "Thy praises I will sing.", "Great is the Lord, our mighty God,", "And greatly to be praised;", "His greatness is unsearchable,", "Above all glory raised."]}, "2": {"syllabified": "Each gen -- er -- a -- tion to the next Shall tes -- ti -- mo -- ny bear, And to your praise, from age to age, Thy won -- drous acts de -- clare. Up -- on Thy glo -- rious maj -- es -- ty And hon -- or I will dwell, And all Thy grand and glo -- rious works And all Thy great -- ness tell.", "prose": ["Each generation to the next", "Shall testimony bear,", "And to your praise, from age to age,", "Thy wondrous acts declare.", "Upon Thy glorious majesty", "And honor I will dwell,", "And all Thy grand and glorious works", "And all Thy greatness tell."]}, "3": {"syllabified": "Thy might -- y acts and ter -- ri -- ble Shall men with awe con -- fess; Of Thy great good -- ness they shall sing, And per -- fect right -- eous -- ness. Most gra -- cious and com -- pas -- sion -- ate Is God Who reigns a -- bove; His wrath is ev -- er slow to rise, Un -- bound -- ed is His love.", "prose": ["Thy mighty acts and terrible", "Shall men with awe confess;", "Of Thy great goodness they shall sing,", "And perfect righteousness.", "Most gracious and compassionate", "Is God Who reigns above;", "His wrath is ever slow to rise,", "Unbounded is His love."]}}}, "i-will-sing-of-my-redeemer": {"slug": "i-will-sing-of-my-redeemer", "title": "I Will Sing of My Redeemer", "first_line": "I will sing of my Redeemer", "author": "philip-paul-bliss", "author_date": "1876", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Redemption", "Testimony", "Christ, Passion of", "Praise, Son"], "scripture": ["Romans 15:10", "Ephesians 1:7", "Colossians 2:14"], "provenance": {"layer": "text", "source": "gospel-hymns-5-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip Paul Bliss (1838-1876); the words were found among his papers after his death in the Ashtabula railway disaster of 29 December 1876 and first printed with James McGranahan's tune in Welcome Tidings (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53 — read on the archive.org scan welcometidingsne00lowr, leaves n55-n56, headed 'MY REDEEMER.' with 'P. P. BLISS' at the left, 'JAMES McGRANAHAN' at the right, the motto '\"Rejoice, ye Gentiles, with his people.\"—ROM. 15: 10.', and the engraved footer beneath the hymn's own last system on p. 52 reading 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' (the identical notice at the FOOT of p. 53 belongs to the next hymn, 'Lord, Come Away!', which shares that page). US public domain by publication before 1929. SPELLING: the four STANZAS are transcribed from the second dated witness, Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168), because it is the only printing that INTERLINES all four stanzas and therefore the only one that shows them in sung, elided form — 'won-d'rous', 'tri-umph-ant pow'r', 'heav'n-ly'. (1877 interlines stanzas 1-2 only and sets 3-4 as prose, unelided: 'His triumphant power I'll tell', 'And His heavenly love to me' — eight and eight syllables where the melody has seven slots each.) The REFRAIN is taken from the 1877 printing instead, because that is the setting engraved here: the 1887 chorus is a THREE-lyric-row arrangement whose soprano line adds a repetition, 'and made me free, And made me free,', that the 1877 chorus does not have and that this music has no notes for.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I will sing of my Re -- deem -- er And His won -- d'rous love to me; On the cru -- el cross He suf -- fered, From the curse to set me free.", "prose": ["I will sing of my Redeemer", "And His wond'rous love to me;", "On the cruel cross He suffered,", "From the curse to set me free."]}, "2": {"syllabified": "I will tell the won -- d'rous sto -- ry, How my lost es -- tate to save. In His bound -- less love and mer -- cy, He the ran -- som free -- ly gave.", "prose": ["I will tell the wond'rous story,", "How my lost estate to save.", "In His boundless love and mercy,", "He the ransom freely gave."]}, "3": {"syllabified": "I will praise my dear Re -- deem -- er, His tri -- umph -- ant pow'r I'll tell, How the vic -- to -- ry He giv -- eth O -- ver sin, and death, and hell.", "prose": ["I will praise my dear Redeemer,", "His triumphant pow'r I'll tell,", "How the victory He giveth", "Over sin, and death, and hell."]}, "4": {"syllabified": "I will sing of my Re -- deem -- er, And His heav'n -- ly love to me; He from death to life hath brought me, Son of God, with Him to be.", "prose": ["I will sing of my Redeemer,", "And His heav'nly love to me;", "He from death to life hath brought me,", "Son of God, with Him to be."]}}, "refrain": {"syllabified": "Sing, oh! sing of my Re -- deem -- er, With His blood He pur -- chased me, On the cross He sealed my par -- don, Paid the debt, and made me free.", "prose": ["Sing, oh! sing of my Redeemer,", "With His blood He purchased me,", "On the cross He sealed my pardon,", "Paid the debt, and made me free."]}}, "i-with-my-voice-cried-to-the-lord": {"slug": "i-with-my-voice-cried-to-the-lord", "title": "I with My Voice Cried to the Lord", "first_line": "I with my voice cried to the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 142, "topics": ["Psalms"], "scripture": ["Psalm 142"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 142. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I with my voice cried to the Lord, with it made my re -- quest: Poured out to him my plaint, to him my trou -- ble I ex -- pressed.", "prose": ["I with my voice cried to the Lord,", "with it made my request:", "Poured out to him my plaint, to him", "my trouble I expressed."]}, "2": {"syllabified": "When in me was o'er -- whelmed my spirit, then well thou knew'st my way; Where I did walk a snare for me they priv -- i -- ly did lay.", "prose": ["When in me was o'erwhelmed my spirit,", "then well thou knew'st my way;", "Where I did walk a snare for me", "they privily did lay."]}, "3": {"syllabified": "I looked on my right hand, and viewed, but none to know me were; All ref -- uge fail -- ed me, no man did for my soul take care.", "prose": ["I looked on my right hand, and viewed,", "but none to know me were;", "All refuge failed me, no man", "did for my soul take care."]}, "4": {"syllabified": "I cried to thee; I said, Thou art my ref -- uge, Lord, a -- lone; And in the land of those that live thou art my por -- ti -- on.", "prose": ["I cried to thee; I said, Thou art", "my refuge, Lord, alone;", "And in the land of those that live", "thou art my portion."]}, "5": {"syllabified": "Be -- cause I am brought ver -- y low, at -- tend un -- to my cry: Me from my per -- se -- cu -- tors save, who stron -- ger are than I.", "prose": ["Because I am brought very low,", "attend unto my cry:", "Me from my persecutors save,", "who stronger are than I."]}, "6": {"syllabified": "From pris -- on bring my soul, that I thy name may glo -- ri -- fy: The just shall com -- pass me, when thou with me deal'st boun -- teous -- ly.", "prose": ["From prison bring my soul, that I", "thy name may glorify:", "The just shall compass me, when thou", "with me deal'st bounteously."]}}}, "ill-praise-my-maker-while-ive-breath": {"slug": "ill-praise-my-maker-while-ive-breath", "title": "I'll Praise My Maker While I've Breath", "first_line": "I'll praise my Maker while I've breath", "author": "isaac-watts", "author_date": "1719", "adapter": "john-wesley", "adapter_date": "1737", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Worship", "Adoration"], "scripture": ["Psalm 146"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, a paraphrase of Psalm 146 (\"I'll praise my Maker while I've breath\"), from The Psalms of David Imitated, 1719; altered by John Wesley (A Collection of Psalms and Hymns, 1737). Long public domain. Paired here with the tune OLD 113TH via The Cyber Hymnal.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I'll praise my Mak -- er while I've breath And when my voice is lost in death Praise shall em -- ploy my no -- bler pow'rs My days of praise shall ne'er be past While life and thought and be -- ing last Or im -- mor -- tal -- i -- ty en -- dures", "prose": ["I'll praise my Maker while I've breath,", "And when my voice is lost in death,", "Praise shall employ my nobler pow'rs;", "My days of praise shall ne'er be past,", "While life, and thought, and being last,", "Or immortality endures."]}, "2": {"syllabified": "Hap -- py the man whose hopes re -- ly On Is -- rael's God He made the sky And earth and seas with all their train His truth for -- ev -- er stands se -- cure He saves th'op -- pressed He feeds the poor And none shall find His prom -- ise vain", "prose": ["Happy the man whose hopes rely", "On Israel's God; He made the sky,", "And earth, and seas, with all their train;", "His truth forever stands secure,", "He saves th'oppressed, He feeds the poor,", "And none shall find His promise vain."]}, "3": {"syllabified": "The Lord hath eyes to give the blind The Lord sup -- ports the sink -- ing mind He sends the la -- b'ring con -- science peace He helps the stran -- ger in dis -- tress The wid -- ow and the fa -- ther -- less And grants the pris -- 'ner sweet re -- lease", "prose": ["The Lord hath eyes to give the blind;", "The Lord supports the sinking mind;", "He sends the lab'ring conscience peace;", "He helps the stranger in distress,", "The widow and the fatherless,", "And grants the pris'ner sweet release."]}, "4": {"syllabified": "He loves His saints He knows them well But turns the wick -- ed down to hell Thy God O Zi -- on ev -- er reigns Let ev -- ery tongue let ev -- ery age In this ex -- alt -- ed work en -- gage Praise Him in ev -- er -- last -- ing strains", "prose": ["He loves His saints, He knows them well,", "But turns the wicked down to hell;", "Thy God, O Zion, ever reigns;", "Let every tongue, let every age,", "In this exalted work engage;", "Praise Him in everlasting strains."]}, "5": {"syllabified": "I'll praise Him while He lends me breath And when my voice is lost in death Praise shall em -- ploy my no -- bler pow'rs My days of praise shall ne'er be past While life and thought and be -- ing last Or im -- mor -- tal -- i -- ty en -- dures", "prose": ["I'll praise Him while He lends me breath,", "And when my voice is lost in death,", "Praise shall employ my nobler pow'rs;", "My days of praise shall ne'er be past,", "While life, and thought, and being last,", "Or immortality endures."]}}}, "ill-thee-extol-my-god-o-king": {"slug": "ill-thee-extol-my-god-o-king", "title": "I'll Thee Extol, My God, O King", "first_line": "I'll thee extol, my God, O King", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 145, "topics": ["Psalms"], "scripture": ["Psalm 145"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 145. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I'll thee ex -- tol, my God, O King; I'll bless thy name al -- ways. Thee will I bless each day, and will thy name for ev -- er praise.", "prose": ["I'll thee extol, my God, O King;", "I'll bless thy name always.", "Thee will I bless each day, and will", "thy name for ever praise."]}, "2": {"syllabified": "Great is the Lord, much to be praised; his great -- ness search ex -- ceeds. Race un -- to race shall praise thy works, and show thy might -- y deeds.", "prose": ["Great is the Lord, much to be praised;", "his greatness search exceeds.", "Race unto race shall praise thy works,", "and show thy mighty deeds."]}, "3": {"syllabified": "I of thy glo -- rious maj -- es -- ty the hon -- our will re -- cord; I'll speak of all thy might -- y works, which won -- drous are, O Lord.", "prose": ["I of thy glorious majesty", "the honour will record;", "I'll speak of all thy mighty works,", "which wondrous are, O Lord."]}, "4": {"syllabified": "Men of thine acts the might shall show, thine acts that dread -- ful are; And I, thy glo -- ry to ad -- vance, thy great -- ness will de -- clare.", "prose": ["Men of thine acts the might shall show,", "thine acts that dreadful are;", "And I, thy glory to advance,", "thy greatness will declare."]}, "5": {"syllabified": "The mem -- 'ry of thy good -- ness great they large -- ly shall ex -- press; With songs of praise they shall ex -- tol thy per -- fect right -- eous -- ness.", "prose": ["The mem'ry of thy goodness great", "they largely shall express;", "With songs of praise they shall extol", "thy perfect righteousness."]}, "6": {"syllabified": "The Lord is ver -- y gra -- ci -- ous, in him com -- pas -- sions flow; In mer -- cy he is ver -- y great, and is to an -- ger slow.", "prose": ["The Lord is very gracious,", "in him compassions flow;", "In mercy he is very great,", "and is to anger slow."]}, "7": {"syllabified": "The Lord JE -- HO -- VAH un -- to all his good -- ness doth de -- clare; And o -- ver all his oth -- er works his ten -- der mer -- cies are.", "prose": ["The Lord JEHOVAH unto all", "his goodness doth declare;", "And over all his other works", "his tender mercies are."]}, "8": {"syllabified": "Thee all thy works shall praise, O Lord, and thee thy saints shall bless; They shall thy king -- dom's glo -- ry show, thy pow'r by speech ex -- press:", "prose": ["Thee all thy works shall praise, O Lord,", "and thee thy saints shall bless;", "They shall thy kingdom's glory show,", "thy pow'r by speech express:"]}, "9": {"syllabified": "To make the sons of men to know his acts done might -- i -- ly, And of his king -- dom th'ex -- cel -- lent and glo -- rious maj -- es -- ty.", "prose": ["To make the sons of men to know", "his acts done mightily,", "And of his kingdom th' excellent", "and glorious majesty."]}, "10": {"syllabified": "Thy king -- dom shall for ev -- er stand, thy reign through ag -- es all. God rais -- eth all that are bowed down, up -- hold -- eth all that fall.", "prose": ["Thy kingdom shall for ever stand,", "thy reign through ages all.", "God raiseth all that are bowed down,", "upholdeth all that fall."]}, "11": {"syllabified": "The eyes of all things wait on thee, the giv -- er of all good; And thou, in time con -- ve -- ni -- ent, be -- stow'st on them their food:", "prose": ["The eyes of all things wait on thee,", "the giver of all good;", "And thou, in time convenient,", "bestow'st on them their food:"]}, "12": {"syllabified": "Thine hand thou o -- pen'st lib -- 'ral -- ly, and of thy boun -- ty gives E -- nough to sat -- is -- fy the need of ev -- er -- y -- thing that lives.", "prose": ["Thine hand thou open'st lib'rally,", "and of thy bounty gives", "Enough to satisfy the need", "of everything that lives."]}, "13": {"syllabified": "The Lord is just in all his ways, ho -- ly in his works all. God's near to all that call on him, in truth that on him call.", "prose": ["The Lord is just in all his ways,", "holy in his works all.", "God's near to all that call on him,", "in truth that on him call."]}, "14": {"syllabified": "He will ac -- com -- plish the de -- sire of those that do him fear: He al -- so will de -- liv -- er them, and he their cry will hear.", "prose": ["He will accomplish the desire", "of those that do him fear:", "He also will deliver them,", "and he their cry will hear."]}, "15": {"syllabified": "The Lord pre -- serves all who him love, that nought can them an -- noy: But he all those that wick -- ed are will ut -- ter -- ly de -- stroy.", "prose": ["The Lord preserves all who him love,", "that nought can them annoy:", "But he all those that wicked are", "will utterly destroy."]}, "16": {"syllabified": "My mouth the prais -- es of the Lord to pub -- lish cease shall nev -- er: Let all flesh bless his ho -- ly name for ev -- er and for ev -- er.", "prose": ["My mouth the praises of the Lord", "to publish cease shall never:", "Let all flesh bless his holy name", "for ever and for ever."]}}}, "immortal-invisible-god-only-wise": {"slug": "immortal-invisible-god-only-wise", "title": "Immortal, Invisible, God Only Wise", "first_line": "Immortal, invisible, God only wise", "author": "walter-chalmers-smith", "author_date": "1876", "foot": "anapestic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["God, Majesty of", "Adoration", "Eternity"], "scripture": ["1 Timothy 1:17"], "provenance": {"layer": "text", "source": "smith-1876", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Walter Chalmers Smith, 1876. Author d. 1908.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "immortal_invisible_god_only_wise", "total_instances": 239}}, "stanzas": {"1": {"syllabified": "Im -- mor -- tal, in -- vis -- i -- ble, God on -- ly wise, In light in -- ac -- ces -- si -- ble hid from our eyes, Most bless -- ed, most glor -- ious, the An -- cient of Days, Al -- might -- y, vic -- tor -- ious, Thy great Name we praise.", "prose": ["Immortal, invisible, God only wise,", "In light inaccessible hid from our eyes,", "Most blessed, most glorious, the Ancient of Days,", "Almighty, victorious, Thy great Name we praise."]}, "2": {"syllabified": "Un -- rest -- ing, un -- hast -- ing, and si -- lent as light, Nor want -- ing, nor wast -- ing, Thou rul -- est in might; Thy just -- ice, like moun -- tains, high soar -- ing a -- bove Thy clouds, which are foun -- tains of good -- ness and love.", "prose": ["Unresting, unhasting, and silent as light,", "Nor wanting, nor wasting, Thou rulest in might;", "Thy justice, like mountains, high soaring above", "Thy clouds, which are fountains of goodness and love."]}, "3": {"syllabified": "To all, life Thou giv -- est, to both great and small; In all life Thou liv -- est, the true life of all; We blos -- som and flour -- ish as leaves on the tree, And with -- er and per -- ish but naught chang -- eth Thee.", "prose": ["To all, life Thou givest, to both great and small;", "In all life Thou livest, the true life of all;", "We blossom and flourish as leaves on the tree,", "And wither and perish but naught changeth Thee."]}, "4": {"syllabified": "Great Fath -- er of glo -- ry, pure Fath -- er of light, Thine an -- gels a -- dore Thee, all veil -- ing their sight; But of Thy rich grac -- es this grace, Lord, im -- part Take the veil from our face, the vile from our heart.", "prose": ["Great Father of glory, pure Father of light,", "Thine angels adore Thee, all veiling their sight;", "But of Thy rich graces this grace, Lord, impart", "Take the veil from our face, the vile from our heart."]}, "5": {"syllabified": "All laud we would ren -- der; O help us to see 'Tis on -- ly the splen -- dor of light hid -- eth Thee, And so let Thy glo -- ry, al -- might -- y, im -- part, Through Christ in His stor -- y, Thy Christ to the heart.", "prose": ["All laud we would render; O help us to see", "'Tis only the splendor of light hideth Thee,", "And so let Thy glory, almighty, impart,", "Through Christ in His story, Thy Christ to the heart."]}}}, "in-christ-there-is-no-east-or-west": {"slug": "in-christ-there-is-no-east-or-west", "title": "In Christ There Is No East or West", "first_line": "In Christ There Is No East or West", "author": "john-oxenham", "author_date": "1908", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Unity", "Fellowship", "Brotherhood"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Oxenham (pseudonym of William Arthur Dunkerley, 1852–1941), \"In Christ there is no East or West,\" written 1908 for the pageant \"The Pilgrim Way\"; widely published pre-1931 (US public domain). Text from The Cyber Hymnal. All text components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In Christ there is no East or West, In Him no South or North; But one great fel -- low -- ship of love Through -- out the whole wide earth.", "prose": ["In Christ there is no East or West,", "In Him no South or North;", "But one great fellowship of love", "Throughout the whole wide earth."]}, "2": {"syllabified": "In Him shall true hearts ev -- ery -- where Their high com -- mun -- ion find; His ser -- vice is the gold -- en cord Close bind -- ing all man -- kind.", "prose": ["In Him shall true hearts everywhere", "Their high communion find;", "His service is the golden cord", "Close binding all mankind."]}, "3": {"syllabified": "Join hands, then, broth -- ers of the faith, What -- e'er your race may be! Who serves my Fa -- ther as a son Is sure -- ly kin to me.", "prose": ["Join hands, then, brothers of the faith,", "Whate'er your race may be!", "Who serves my Father as a son", "Is surely kin to me."]}, "4": {"syllabified": "In Christ now meet both East and West, In Him meet South and North; All Christ -- ly souls are one in Him Through -- out the whole wide earth.", "prose": ["In Christ now meet both East and West,", "In Him meet South and North;", "All Christly souls are one in Him", "Throughout the whole wide earth."]}}}, "in-full-assurance-of-thy-grace": {"slug": "in-full-assurance-of-thy-grace", "title": "Petitions for Deliverance", "first_line": "In full assurance of Thy grace", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 69, "topics": ["Psalms"], "scripture": ["Psalm 69"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 185) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 69, selection 185. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In full as -- sur -- ance of Thy grace To thee my prayer as -- cend; In Thy a -- bound -- ing love and truth, O God, sal -- va -- tion send.", "prose": ["In full assurance of Thy grace", "To thee my prayer ascend;", "In Thy abounding love and truth,", "O God, salvation send."]}, "2": {"syllabified": "Pre -- serve my sink -- ing soul, I pray, From tides of ha -- tred save; Let not the wa -- ters o -- ver -- flow, Re -- deem me from the grave.", "prose": ["Preserve my sinking soul, I pray,", "From tides of hatred save;", "Let not the waters overflow,", "Redeem me from the grave."]}, "3": {"syllabified": "Be -- cause Thy mer -- cy, Lord, is good, O an -- swer me in grace, And in the rich -- es of Thy love O turn to me Thy face.", "prose": ["Because Thy mercy, Lord, is good,", "O answer me in grace,", "And in the riches of Thy love", "O turn to me Thy face."]}, "4": {"syllabified": "Hide not Thy face from my dis -- tress, A spee -- dy an -- swer send; Draw near to me, my soul re -- deem, From all my foes de -- fend.", "prose": ["Hide not Thy face from my distress,", "A speedy answer send;", "Draw near to me, my soul redeem,", "From all my foes defend."]}, "5": {"syllabified": "Well known to Thee is my re -- proach, My shame and my dis -- grace; The ad -- ver -- sar -- ies of my soul Are all be -- fore Thy face.", "prose": ["Well known to Thee is my reproach,", "My shame and my disgrace;", "The adversaries of my soul", "Are all before Thy face."]}, "6": {"syllabified": "My heart is bro -- ken by re -- proach, My soul is full of grief; I looked in vain for com -- for -- ters, For pit -- y and re -- lief.", "prose": ["My heart is broken by reproach,", "My soul is full of grief;", "I looked in vain for comforters,", "For pity and relief."]}, "7": {"syllabified": "They gave me bit -- ter gall for food, And taunt -- ing words they spake; They gave me vin -- e -- gar to drink, My burn -- ing thirst to slake.", "prose": ["They gave me bitter gall for food,", "And taunting words they spake;", "They gave me vinegar to drink,", "My burning thirst to slake."]}, "8": {"syllabified": "Their peace and plen -- ty be their snare, In blind -- ness let them grope; Thy in -- dig -- na -- tion on them pour, And des -- o -- late their hope.", "prose": ["Their peace and plenty be their snare,", "In blindness let them grope;", "Thy indignation on them pour,", "And desolate their hope."]}, "9": {"syllabified": "Be -- cause they proud -- ly per -- se -- cute Those whom Thou, Lord, dost smite, Let them be blott -- ed from Thy book And ban -- ished from Thy sight.", "prose": ["Because they proudly persecute", "Those whom Thou, Lord, dost smite,", "Let them be blotted from Thy book", "And banished from Thy sight."]}}}, "in-god-will-i-trust-tho-my-counselors-say": {"slug": "in-god-will-i-trust-tho-my-counselors-say", "title": "Unshaken Faith Amid Danger", "first_line": "In God will I trust, tho' my counselors say", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 11, "topics": ["Psalms"], "scripture": ["Psalm 11"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 20) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 11, selection 20. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In God will I trust, tho' my coun -- se -- lors say, O flee as a bird to your moun -- tain a -- way; The wick -- ed are strong and the right -- eous are weak, Foun -- da -- tions are shak -- en, yet God will I seek.", "prose": ["In God will I trust, tho' my counselors say,", "O flee as a bird to your mountain away;", "The wicked are strong and the righteous are weak,", "Foundations are shaken, yet God will I seek."]}, "2": {"syllabified": "The Lord in His tem -- ple shall ev -- er a -- bide; His throne is e -- ter -- nal, what -- ev -- er be -- tide. The chil -- dren of men He be -- holds from on high, The wick -- ed to pun -- ish, the right -- eous to try.", "prose": ["The Lord in His temple shall ever abide;", "His throne is eternal, whatever betide.", "The children of men He beholds from on high,", "The wicked to punish, the righteous to try."]}, "3": {"syllabified": "The Lord is most right -- eous, the Lord loves the right, the e -- vil He hates and will sure -- ly re -- quite; The wick -- ed His an -- ger will drive from their place, The up -- right in rap -- ture shall gaze on His face.", "prose": ["The Lord is most righteous, the Lord loves the right,", "the evil He hates and will surely requite;", "The wicked His anger will drive from their place,", "The upright in rapture shall gaze on His face."]}}}, "in-gods-assembly-god-doth-stand": {"slug": "in-gods-assembly-god-doth-stand", "title": "In Gods' Assembly God Doth Stand", "first_line": "In gods' assembly God doth stand", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 82, "topics": ["Psalms"], "scripture": ["Psalm 82"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 82. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In gods' as -- sem -- bly God doth stand; he judg -- eth gods a -- mong. How long, ac -- cept -- ing per -- sons vile, will ye give judg -- ment wrong?", "prose": ["In gods' assembly God doth stand;", "he judgeth gods among.", "How long, accepting persons vile,", "will ye give judgment wrong?"]}, "2": {"syllabified": "De -- fend the poor and fa -- ther -- less; to poor op -- pressed do right. The poor and need -- y ones set free; rid them from ill men's might.", "prose": ["Defend the poor and fatherless;", "to poor oppressed do right.", "The poor and needy ones set free;", "rid them from ill men's might."]}, "3": {"syllabified": "They know not, nor will un -- der -- stand; in dark -- ness they walk on: All the foun -- da -- tions of the earth out of their course are gone.", "prose": ["They know not, nor will understand;", "in darkness they walk on:", "All the foundations of the earth", "out of their course are gone."]}, "4": {"syllabified": "I said that ye are gods, and are sons of the High -- est all: But ye shall die like men, and as one of the prin -- ces fall.", "prose": ["I said that ye are gods, and are", "sons of the Highest all:", "But ye shall die like men, and as", "one of the princes fall."]}, "5": {"syllabified": "O God, do thou raise up thy -- self, the earth to judg -- ment call: For thou, as thine in -- her -- i -- tance, shalt take the na -- tions all.", "prose": ["O God, do thou raise up thyself,", "the earth to judgment call:", "For thou, as thine inheritance,", "shalt take the nations all."]}}}, "in-heavenly-love-abiding": {"slug": "in-heavenly-love-abiding", "title": "In Heavenly Love Abiding", "first_line": "In Heavenly Love Abiding", "author": "anna-laetitia-waring", "author_date": "1850", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Trust", "Comfort", "Guidance"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Anna Laetitia Waring (1823-1910), \"In Heavenly Love Abiding\", first published in her Hymns and Meditations (London, 1850). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In heav'n -- ly love a -- bid -- ing, No change my heart shall fear; And safe is such con -- fid -- ing, For noth -- ing chang -- es here. The storm may roar with -- out me, My heart may low be laid; But God is round a -- bout me, And can I be dis -- mayed?", "prose": ["In heav'nly love abiding,", "No change my heart shall fear;", "And safe is such confiding,", "For nothing changes here.", "The storm may roar without me,", "My heart may low be laid;", "But God is round about me,", "And can I be dismayed?"]}, "2": {"syllabified": "Wher -- ev -- er He may guide me, No want shall turn me back; My Shep -- herd is be -- side me, And noth -- ing can I lack. His wis -- dom ev -- er wak -- eth, His sight is nev -- er dim; He knows the way He tak -- eth, And I will walk with Him.", "prose": ["Wherever He may guide me,", "No want shall turn me back;", "My Shepherd is beside me,", "And nothing can I lack.", "His wisdom ever waketh,", "His sight is never dim;", "He knows the way He taketh,", "And I will walk with Him."]}, "3": {"syllabified": "Green pas -- tures are be -- fore me, Which yet I have not seen; Bright skies will soon be o'er me, Where the dark clouds have been. My hope I can -- not meas -- ure, My path to life is free; My Sav -- iour has my treas -- ure, And He will walk with me.", "prose": ["Green pastures are before me,", "Which yet I have not seen;", "Bright skies will soon be o'er me,", "Where the dark clouds have been.", "My hope I cannot measure,", "My path to life is free;", "My Saviour has my treasure,", "And He will walk with me."]}}}, "in-his-temple-now-behold-him": {"slug": "in-his-temple-now-behold-him", "title": "In His Temple Now Behold Him", "first_line": "In His temple now behold Him, See the long", "author": "verses-1-3-henry-j-pye", "author_date": "1853", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas/Advent", "Crown", "God, As King", "Jesus"], "scripture": ["Matthew 2:1-11", "Mic 5:2-4"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:75; all components published pre-1931 (latest year 1853).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In His tem -- ple now be -- hold Him, See the long ex -- pect -- ed Lord; An -- cient proph -- ets had fore -- told Him; God has now ful -- filled His word. Now to praise Him, His re -- deem -- ed Shall break forth with one ac -- cord.", "prose": ["In His temple now behold Him,", "See the long expected Lord;", "Ancient prophets had foretold Him;", "God has now fulfilled His word.", "Now to praise Him, His redeemed", "Shall break forth with one accord."]}, "2": {"syllabified": "In the arms of her who bore Him, Vir -- gin pure, be -- hold Him lie, While his ag -- ed saints a -- dore Him Ere in faith and hope they die. Ha -- lle -- lu -- jah! Ha -- lle -- lu -- jah! Lo, th'in -- car -- nate God most high.", "prose": ["In the arms of her who bore Him,", "Virgin pure, behold Him lie,", "While his aged saints adore Him", "Ere in faith and hope they die.", "Hallelujah! Hallelujah!", "Lo, th'incarnate God most high."]}, "3": {"syllabified": "Je -- sus, by Thy pres -- en -- ta -- tion, Thou, who didst for us en -- dure, Make us see our great sal -- va -- tion, Seal us with Thy prom -- ise sure. And pre -- sent us in Thy glo -- ry To Thy Fa -- ther, cleansed and pure.", "prose": ["Jesus, by Thy presentation,", "Thou, who didst for us endure,", "Make us see our great salvation,", "Seal us with Thy promise sure.", "And present us in Thy glory", "To Thy Father, cleansed and pure."]}, "4": {"syllabified": "Prince and Au -- thor of sal -- va -- tion, Be Thy bound -- less love our theme! Je -- sus, praise to Thee be giv -- en By the world Thou didst re -- deem. With the Fa -- ther and the Spir -- it, Lord of maj -- es -- ty su -- preme!", "prose": ["Prince and Author of salvation,", "Be Thy boundless love our theme!", "Jesus, praise to Thee be given", "By the world Thou didst redeem.", "With the Father and the Spirit,", "Lord of majesty supreme!"]}}}, "in-judahs-land-god-is-well-known": {"slug": "in-judahs-land-god-is-well-known", "title": "In Judah's Land God Is Well Known", "first_line": "In Judah's land God is well known", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 76, "topics": ["Psalms"], "scripture": ["Psalm 76"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 76. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In Ju -- dah's land God is well known, his name's in Is -- r'el great: In Sa -- lem is his tab -- er -- nac -- le, in Zi -- on is his seat.", "prose": ["In Judah's land God is well known,", "his name 's in Isr'el great:", "In Salem is his tabernacle,", "in Zion is his seat."]}, "2": {"syllabified": "There ar -- rows of the bow he brake, the shield, the sword, the war. More glo -- rious thou than hills of prey, more ex -- cel -- lent art far.", "prose": ["There arrows of the bow he brake,", "the shield, the sword, the war.", "More glorious thou than hills of prey,", "more excellent art far."]}, "3": {"syllabified": "Those that were stout of heart are spoiled, they slept their sleep out -- right; And none of those their hands did find, that were the men of might.", "prose": ["Those that were stout of heart are spoiled,", "they slept their sleep outright;", "And none of those their hands did find,", "that were the men of might."]}, "4": {"syllabified": "When thy re -- buke, O Ja -- cob's God, had forth a -- gainst them past, Their hor -- ses and their char -- iots both were in a deep sleep cast.", "prose": ["When thy rebuke, O Jacob's God,", "had forth against them past,", "Their horses and their chariots both", "were in a deep sleep cast."]}, "5": {"syllabified": "Thou, Lord, ev'n thou art he that should be feared; and who is he That may stand up be -- fore thy sight, if once thou an -- gry be?", "prose": ["Thou, Lord, ev'n thou art he that should", "be feared; and who is he", "That may stand up before thy sight,", "if once thou angry be?"]}, "6": {"syllabified": "From heav'n thou judg -- ment caused be heard; the earth was still with fear, When God to judg -- ment rose, to save all meek on earth that were.", "prose": ["From heav'n thou judgment caused be heard;", "the earth was still with fear,", "When God to judgment rose, to save", "all meek on earth that were."]}, "7": {"syllabified": "Sure -- ly the ver -- y wrath of man un -- to thy praise re -- dounds: Thou to the rem -- nant of his wrath wilt set re -- strain -- ing bounds.", "prose": ["Surely the very wrath of man", "unto thy praise redounds:", "Thou to the remnant of his wrath", "wilt set restraining bounds."]}, "8": {"syllabified": "Vow to the Lord your God, and pay: all ye that near him be, Bring gifts and pres -- ents un -- to him; for to be feared is he.", "prose": ["Vow to the Lord your God, and pay:", "all ye that near him be,", "Bring gifts and presents unto him;", "for to be feared is he."]}, "9": {"syllabified": "By him the spirits shall be cut off of those that prin -- ces are: Un -- to the kings that are on earth he fear -- ful doth ap -- pear.", "prose": ["By him the spirits shall be cut off", "of those that princes are:", "Unto the kings that are on earth", "he fearful doth appear."]}}}, "in-my-distress-to-god-i-cried": {"slug": "in-my-distress-to-god-i-cried", "title": "In My Distress to God I Cried", "first_line": "In my distress to God I cried", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 120, "topics": ["Psalms"], "scripture": ["Psalm 120"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 120. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In my dis -- tress to God I cried, and he gave ear to me. From ly -- ing lips, and guile -- ful tongue, O Lord, my soul set free.", "prose": ["In my distress to God I cried,", "and he gave ear to me.", "From lying lips, and guileful tongue,", "O Lord, my soul set free."]}, "2": {"syllabified": "What shall be giv'n thee? or what shall be done to thee, false tongue? Ev'n burn -- ing coals of ju -- ni -- per, sharp ar -- rows of the strong.", "prose": ["What shall be giv'n thee? or what shall", "be done to thee, false tongue?", "Ev'n burning coals of juniper,", "sharp arrows of the strong."]}, "3": {"syllabified": "Woe's me that I in Me -- sech am a so -- jour -- ner so long; That I in tab -- er -- nac -- les dwell to Ke -- dar that be -- long.", "prose": ["Woe's me that I in Mesech am", "a sojourner so long;", "That I in tabernacles dwell", "to Kedar that belong."]}, "4": {"syllabified": "My soul with him that hat -- eth peace hath long a dwel -- ler been. I am for peace; but when I speak, for ba -- ttle they are keen.", "prose": ["My soul with him that hateth peace", "hath long a dweller been.", "I am for peace; but when I speak,", "for battle they are keen."]}}}, "in-sweet-communion-lord-with-thee": {"slug": "in-sweet-communion-lord-with-thee", "title": "Life With God", "first_line": "In sweet communion, Lord, with Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 73, "topics": ["Psalms"], "scripture": ["Psalm 73"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 203) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 73, selection 203. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In sweet com -- mu -- nion, Lord, with Thee I con -- stant -- ly a -- bide; My hand Thou hold -- est in Thy own To keep me near Thy side.", "prose": ["In sweet communion, Lord, with Thee", "I constantly abide;", "My hand Thou holdest in Thy own", "To keep me near Thy side."]}, "2": {"syllabified": "Thy coun -- sel through my earth -- ly way Shall guide me and con -- trol, And then to glo -- ry af -- ter -- ward Thou wilt re -- ceive my soul.", "prose": ["Thy counsel through my earthly way", "Shall guide me and control,", "And then to glory afterward", "Thou wilt receive my soul."]}, "3": {"syllabified": "Whom have I, Lord, in heav'n but Thee, To Whom my tho'ts as -- pire? And, hav -- ing Thee, on earth is nought That I can yet de -- sire?", "prose": ["Whom have I, Lord, in heav'n but Thee,", "To Whom my tho'ts aspire?", "And, having Thee, on earth is nought", "That I can yet desire?"]}, "4": {"syllabified": "Tho' flesh and heart should faint and fail, The Lord will ev -- er be The strength and por -- tion of my heart, My God e -- ter -- nal -- ly.", "prose": ["Tho' flesh and heart should faint and fail,", "The Lord will ever be", "The strength and portion of my heart,", "My God eternally."]}, "5": {"syllabified": "To live a -- part from God is death, 'Tis good His face to seek; My ref -- uge is the liv -- ing God, His praise I long to speak.", "prose": ["To live apart from God is death,", "'Tis good His face to seek;", "My refuge is the living God,", "His praise I long to speak."]}}}, "in-the-bleak-midwinter": {"slug": "in-the-bleak-midwinter", "title": "In The Bleak Midwinter", "first_line": "In the bleak midwinter, frosty wind made moan", "author": "christina-rossetti", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [11, 11, 10, 9], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Angels", "Calmness", "Christmas", "Advent", "Comfort"], "scripture": ["Luke 2:8-14", "Isaiah 9:1-6", "Genesis 11:9"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:59; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "in_the_bleak_midwinter", "total_instances": 101}}, "stanzas": {"1": {"syllabified": "In the bleak mid -- win -- ter, frost -- y wind made moan, Earth stood hard as i -- ron, wa -- ter like a stone; Snow had fall -- en, snow on snow, snow on snow, In the bleak mid -- win -- ter, long a -- go.", "prose": ["In the bleak midwinter, frosty wind made moan,", "Earth stood hard as iron, water like a stone;", "Snow had fallen, snow on snow, snow on snow,", "In the bleak midwinter, long ago."]}, "2": {"syllabified": "Our God, heav'n can -- not hold Him, nor earth sus -- tain; Heav'n and earth shall flee a -- way when He comes to reign: In the bleak mid -- win -- ter a sta -- ble place suf -- ficed The Lord God Al -- might -- y, Je -- sus Christ.", "prose": ["Our God, heav'n cannot hold Him, nor earth sustain;", "Heav'n and earth shall flee away when He comes to reign:", "In the bleak midwinter a stable place sufficed", "The Lord God Almighty, Jesus Christ."]}, "3": {"syllabified": "E -- nough for Him, whom cher -- u -- bim wor -- ship night and day, A breast -- ful of milk, and a man -- ger -- ful of hay; E -- nough for Him, whom an -- gels fall down be -- fore, The ox and ass and cam -- el which a -- dore.", "prose": ["Enough for Him, whom cherubim worship night and day,", "A breastful of milk, and a mangerful of hay;", "Enough for Him, whom angels fall down before,", "The ox and ass and camel which adore."]}, "4": {"syllabified": "An -- gels and arch -- an -- gels may have gath -- ered there, Cher -- u -- bim and ser -- a -- phim thronged the air; But on -- ly His moth -- er, in her maid -- en bliss, Wor -- shipped the Be -- lov -- ed with a kiss.", "prose": ["Angels and archangels may have gathered there,", "Cherubim and seraphim thronged the air;", "But only His mother, in her maiden bliss,", "Worshipped the Beloved with a kiss."]}, "5": {"syllabified": "What can I give Him, poor as I am? If I were a shep -- herd, I would bring a lamb; If I were a wise man, I would do my part; Yet what I can I give Him: give my heart.", "prose": ["What can I give Him, poor as I am?", "If I were a shepherd, I would bring a lamb;", "If I were a wise man, I would do my part;", "Yet what I can I give Him: give my heart."]}}}, "in-the-cross-of-christ-i-glory": {"slug": "in-the-cross-of-christ-i-glory", "title": "In the Cross of Christ I Glory", "first_line": "In the Cross of Christ I Glory", "author": "john-bowring", "author_date": "1825", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["The Cross", "Peace", "Assurance"], "scripture": ["Galatians 6:14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Bowring (1792-1872), \"In the Cross of Christ I Glory,\" first published in his Hymns (1825); based on Galatians 6:14. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In the cross of Christ I glo -- ry Tow'r -- ing o'er the wrecks of time All the light of sa -- cred sto -- ry Gath -- ers round its head sub -- lime", "prose": ["In the cross of Christ I glory,", "Towering o'er the wrecks of time;", "All the light of sacred story", "Gathers round its head sublime."]}, "2": {"syllabified": "When the woes of life o'er -- take me Hopes de -- ceive, and fears an -- noy Nev -- er shall the cross for -- sake me Lo! it glows with peace and joy", "prose": ["When the woes of life o'ertake me,", "Hopes deceive, and fears annoy,", "Never shall the cross forsake me;", "Lo! it glows with peace and joy."]}, "3": {"syllabified": "When the sun of bliss is beam -- ing Light and love up -- on my way From the cross the ra -- diance stream -- ing Adds more lus -- ter to the day", "prose": ["When the sun of bliss is beaming", "Light and love upon my way,", "From the cross the radiance streaming", "Adds more luster to the day."]}, "4": {"syllabified": "Bane and bless -- ing, pain and plea -- sure By the cross are sanc -- ti -- fied Peace is there that knows no meas -- ure Joys that through all time a -- bide", "prose": ["Bane and blessing, pain and pleasure,", "By the cross are sanctified;", "Peace is there that knows no measure,", "Joys that through all time abide."]}}}, "in-the-fulness-of-thy-grace": {"slug": "in-the-fulness-of-thy-grace", "title": "Confident Access to God", "first_line": "In the fulness of Thy grace", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 5, "topics": ["Psalms"], "scripture": ["Psalm 5"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 10) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 5, selection 10. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In the ful -- ness of Thy grace To Thy house I will re -- pair; Bow -- ing tow'rd thy ho -- ly place, In Thy fear to wor -- ship there. Lead me in thy right -- eous -- ness, Let my foes as -- sail in vain; Lest my feet be turned a -- side, Make Thy way be -- fore me plain.", "prose": ["In the fulness of Thy grace", "To Thy house I will repair;", "Bowing tow'rd thy holy place,", "In Thy fear to worship there.", "Lead me in thy righteousness,", "Let my foes assail in vain;", "Lest my feet be turned aside,", "Make Thy way before me plain."]}, "2": {"syllabified": "False and faith -- less are my foes, In their mouth no truth is found; Dead -- ly are the words they speak, All their tho'ts with sin a -- bound. Bring, O God, their plans to nought, Hold them guilt -- y in thy sight, For a -- gainst Thee and thy law They have set them -- selves to fight.", "prose": ["False and faithless are my foes,", "In their mouth no truth is found;", "Deadly are the words they speak,", "All their tho'ts with sin abound.", "Bring, O God, their plans to nought,", "Hold them guilty in thy sight,", "For against Thee and thy law", "They have set themselves to fight."]}, "3": {"syllabified": "O let all that trust Thy care Ev -- er glad and joy -- ful be; Let them joy who love Thy Name, Safe -- ly guard -- ed, Lord, by Thee. For a bless -- ing from Thy store To the right -- eous Thou wilt yield; Thou wilt com -- pass him a -- bout With Thy fa -- vor as a shield.", "prose": ["O let all that trust Thy care", "Ever glad and joyful be;", "Let them joy who love Thy Name,", "Safely guarded, Lord, by Thee.", "For a blessing from Thy store", "To the righteous Thou wilt yield;", "Thou wilt compass him about", "With Thy favor as a shield."]}}}, "in-the-heavns-the-lord-almighty": {"slug": "in-the-heavns-the-lord-almighty", "title": "The Blessed and Only Potentate", "first_line": "In the heav'ns the Lord Almighty", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 103, "topics": ["Psalms"], "scripture": ["Psalm 103"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 282) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 103, selection 282. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In the heav'ns the Lord Al -- might -- y Fixed His ev -- er -- last -- ing throne; O -- ver all is His do -- min -- ion, He is God, and He a -- lone.", "prose": ["In the heav'ns the Lord Almighty", "Fixed His everlasting throne;", "Over all is His dominion,", "He is God, and He alone."]}, "2": {"syllabified": "Bless the Lord, ye might -- y an -- gels, Ye that hear -- ken to His voice, All His gra -- cious word ful -- fill -- ing; Ev -- er bless Him and re -- joice.", "prose": ["Bless the Lord, ye mighty angels,", "Ye that hearken to His voice,", "All His gracious word fulfilling;", "Ever bless Him and rejoice."]}, "3": {"syllabified": "Bless the Lord, all ye His ser -- vants, Min -- is -- ters of God Most High; Ye His hosts, that do His plea -- sure, God your Mak -- er glo -- ri -- fy.", "prose": ["Bless the Lord, all ye His servants,", "Ministers of God Most High;", "Ye His hosts, that do His pleasure,", "God your Maker glorify."]}, "4": {"syllabified": "Bless the Lord, all things cre -- at -- ed; Be His ho -- ly Name a -- dored All through -- out His wide do -- min -- ion; O my soul, bless thou the Lord.", "prose": ["Bless the Lord, all things created;", "Be His holy Name adored", "All throughout His wide dominion;", "O my soul, bless thou the Lord."]}}}, "in-thee-o-lord-i-put-my-trust": {"slug": "in-thee-o-lord-i-put-my-trust", "title": "In Thee, O Lord, I Put My Trust", "first_line": "In thee, O Lord, I put my trust", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 31, "topics": ["Psalms"], "scripture": ["Psalm 31"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 31. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In thee, O Lord, I put my trust, shamed let me nev -- er be; Ac -- cord -- ing to thy right -- eous -- ness do thou de -- liv -- er me.", "prose": ["In thee, O Lord, I put my trust,", "shamed let me never be;", "According to thy righteousness", "do thou deliver me."]}, "2": {"syllabified": "Bow down thine ear to me, with speed send me de -- liv -- er -- ance: To save me, my strong rock be thou, and my house of de -- fence.", "prose": ["Bow down thine ear to me, with speed", "send me deliverance:", "To save me, my strong rock be thou,", "and my house of defence."]}, "3": {"syllabified": "Be -- cause thou art my rock, and thee I for my for -- tress take; There -- fore do thou me lead and guide, ev'n for thine own name's sake.", "prose": ["Because thou art my rock, and thee", "I for my fortress take;", "Therefore do thou me lead and guide,", "ev'n for thine own name's sake."]}, "4": {"syllabified": "And sith thou art my strength, there -- fore pull me out of the net, Which they in subt -- le -- ty for me so priv -- i -- ly have set.", "prose": ["And sith thou art my strength, therefore", "pull me out of the net,", "Which they in subtlety for me", "so privily have set."]}, "5": {"syllabified": "In -- to thine hands I do com -- mit my spirit: for thou art he, O thou, JE -- HO -- VAH, God of truth, that hast re -- deem -- ed me.", "prose": ["Into thine hands I do commit", "my spirit: for thou art he,", "O thou, JEHOVAH, God of truth,", "that hast redeemed me."]}, "6": {"syllabified": "Those that do ly -- ing van -- i -- ties re -- gard, I have ab -- horred: But as for me, my con -- fi -- dence is fix -- ed on the Lord.", "prose": ["Those that do lying vanities", "regard, I have abhorred:", "But as for me, my confidence", "is fixed on the Lord."]}, "7": {"syllabified": "I'll in thy mer -- cy glad -- ly joy: for thou my mis -- er -- ies Con -- sid -- ered hast; thou hast my soul known in ad -- ver -- si -- ties:", "prose": ["I'll in thy mercy gladly joy:", "for thou my miseries", "Considered hast; thou hast my soul", "known in adversities:"]}, "8": {"syllabified": "And thou hast not in -- clos -- ed me with -- in the en -- 'my's hand; And by thee have my feet been made in a large room to stand.", "prose": ["And thou hast not inclosed me", "within the en'my's hand;", "And by thee have my feet been made", "in a large room to stand."]}, "9": {"syllabified": "O Lord, up -- on me mer -- cy have, for trou -- ble is on me: Mine eye, my bel -- ly, and my soul, with grief con -- sum -- ed be.", "prose": ["O Lord, upon me mercy have,", "for trouble is on me:", "Mine eye, my belly, and my soul,", "with grief consumed be."]}, "10": {"syllabified": "Be -- cause my life with grief is spent, my years with sighs and groans: My strength doth fail; and for my sin con -- sum -- ed are my bones.", "prose": ["Because my life with grief is spent,", "my years with sighs and groans:", "My strength doth fail; and for my sin", "consumed are my bones."]}, "11": {"syllabified": "I was a scorn to all my foes, and to my friends a fear; And spe -- cial -- ly re -- proached of those that were my neigh -- bours near:", "prose": ["I was a scorn to all my foes,", "and to my friends a fear;", "And specially reproached of those", "that were my neighbours near:"]}, "12": {"syllabified": "When they me saw they from me fled. Ev'n so I am for -- got, As men are out of mind when dead: I'm like a bro -- ken pot.", "prose": ["When they me saw they from me fled.", "Ev'n so I am forgot,", "As men are out of mind when dead:", "I'm like a broken pot."]}, "13": {"syllabified": "For slan -- ders I of man -- y heard; fear com -- passed me, while they A -- gainst me did con -- sult, and plot to take my life a -- way.", "prose": ["For slanders I of many heard;", "fear compassed me, while they", "Against me did consult, and plot", "to take my life away."]}, "14": {"syllabified": "But as for me, O Lord, my trust up -- on thee I did lay; And I to thee, Thou art my God, did con -- fi -- dent -- ly say.", "prose": ["But as for me, O Lord, my trust", "upon thee I did lay;", "And I to thee, Thou art my God,", "did confidently say."]}, "15": {"syllabified": "My times are whol -- ly in thine hand: do thou de -- liv -- er me From their hands that mine en -- e -- mies and per -- se -- cu -- tors be.", "prose": ["My times are wholly in thine hand:", "do thou deliver me", "From their hands that mine enemies", "and persecutors be."]}, "16": {"syllabified": "Thy coun -- ten -- ance to shine do thou up -- on thy ser -- vant make: Un -- to me give sal -- va -- ti -- on, for thy great mer -- cies' sake.", "prose": ["Thy countenance to shine do thou", "upon thy servant make:", "Unto me give salvation,", "for thy great mercies' sake."]}, "17": {"syllabified": "Let me not be a -- shamed, O Lord, for on thee called I have: Let wick -- ed men be shamed, let them be si -- lent in the grave.", "prose": ["Let me not be ashamed, O Lord,", "for on thee called I have:", "Let wicked men be shamed, let them", "be silent in the grave."]}, "18": {"syllabified": "To si -- lence put the ly -- ing lips, that griev -- ous things do say, And hard re -- ports, in pride and scorn, on right -- eous men do lay.", "prose": ["To silence put the lying lips,", "that grievous things do say,", "And hard reports, in pride and scorn,", "on righteous men do lay."]}, "19": {"syllabified": "How great's the good -- ness thou for them that fear thee keep'st in store, And wrought'st for them that trust in thee the sons of men be -- fore!", "prose": ["How great's the goodness thou for them", "that fear thee keep'st in store,", "And wrought'st for them that trust in thee", "the sons of men before!"]}, "20": {"syllabified": "In se -- cret of thy pres -- ence thou shalt hide them from man's pride: From strife of tongues thou close -- ly shalt, as in a tent, them hide.", "prose": ["In secret of thy presence thou", "shalt hide them from man's pride:", "From strife of tongues thou closely shalt,", "as in a tent, them hide."]}, "21": {"syllabified": "All praise and thanks be to the Lord; for he hath mag -- ni -- fied His won -- drous love to me with -- in a cit -- y for -- ti -- fied.", "prose": ["All praise and thanks be to the Lord;", "for he hath magnified", "His wondrous love to me within", "a city fortified."]}, "22": {"syllabified": "For from thine eyes cut off I am, I in my haste had said; My voice yet heard'st thou, when to thee with cries my moan I made.", "prose": ["For from thine eyes cut off I am,", "I in my haste had said;", "My voice yet heard'st thou, when to thee", "with cries my moan I made."]}, "23": {"syllabified": "O love the Lord, all ye his saints; be -- cause the Lord doth guard The faith -- ful, and he plen -- teous -- ly proud do -- ers doth re -- ward.", "prose": ["O love the Lord, all ye his saints;", "because the Lord doth guard", "The faithful, and he plenteously", "proud doers doth reward."]}, "24": {"syllabified": "Be of good cour -- age, and he strength un -- to your heart shall send, All ye whose hope and con -- fi -- dence doth on the Lord de -- pend.", "prose": ["Be of good courage, and he strength", "unto your heart shall send,", "All ye whose hope and confidence", "doth on the Lord depend."]}}}, "in-thee-o-lord-i-put-my-trust-psalm-31": {"slug": "in-thee-o-lord-i-put-my-trust-psalm-31", "title": "God Our Resort in Trouble", "first_line": "In Thee, O Lord, I put my trust", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 31, "topics": ["Psalms"], "scripture": ["Psalm 31"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 80) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 31, selection 80. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In Thee, O Lord, I put my trust, I call up -- on Thy Name; O save me in thy right -- eous -- ness, Nor let me suf -- fer shame.", "prose": ["In Thee, O Lord, I put my trust,", "I call upon Thy Name;", "O save me in thy righteousness,", "Nor let me suffer shame."]}, "2": {"syllabified": "Bow down Thy ear to my re -- quest, And swift de -- liv -- 'rance send; Be Thou to me a rock of strength, A for -- tress to de -- fend.", "prose": ["Bow down Thy ear to my request,", "And swift deliv'rance send;", "Be Thou to me a rock of strength,", "A fortress to defend."]}, "3": {"syllabified": "Since Thou my rock and for -- tress art, My lead -- er be, and guide; From all temp -- ta -- tion res -- cue me, Thou dost my strength a -- bide.", "prose": ["Since Thou my rock and fortress art,", "My leader be, and guide;", "From all temptation rescue me,", "Thou dost my strength abide."]}, "4": {"syllabified": "To Thee my spir -- it I com -- mend; Re -- demp -- tion is with Thee, O Thou Je -- ho -- vah, God of truth, Who hast de -- liv -- ered me.", "prose": ["To Thee my spirit I commend;", "Redemption is with Thee,", "O Thou Jehovah, God of truth,", "Who hast delivered me."]}, "5": {"syllabified": "I hate all those that love the false, My trust is in the Lord; I will be glad, and joy -- ful -- ly Thy mer -- cy will re -- cord.", "prose": ["I hate all those that love the false,", "My trust is in the Lord;", "I will be glad, and joyfully", "Thy mercy will record."]}, "6": {"syllabified": "For my af -- flic -- tion Thou hast seen, And known my man -- y woes; Thou hast not let me be en -- slaved, But freed me from my foes.", "prose": ["For my affliction Thou hast seen,", "And known my many woes;", "Thou hast not let me be enslaved,", "But freed me from my foes."]}, "7": {"syllabified": "Show mer -- cy, Lord, to me dis -- tressed, And send my soul re -- lief, My life is spent with bit -- ter -- ness, My strength con -- sumed with grief.", "prose": ["Show mercy, Lord, to me distressed,", "And send my soul relief,", "My life is spent with bitterness,", "My strength consumed with grief."]}, "8": {"syllabified": "I mourn and fail be -- cause of sin, Friends turn in dread a -- way; Re -- proached am I and ter -- ri -- fied, While foes con -- spire to slay.", "prose": ["I mourn and fail because of sin,", "Friends turn in dread away;", "Reproached am I and terrified,", "While foes conspire to slay."]}, "9": {"syllabified": "But, Lord, in Thee is all my trust, Thou art my God, I cried; My life, my times are in Thy hand, I in Thy strength con -- fide.", "prose": ["But, Lord, in Thee is all my trust,", "Thou art my God, I cried;", "My life, my times are in Thy hand,", "I in Thy strength confide."]}, "10": {"syllabified": "From all that per -- se -- cute my soul thy gra -- cious help I crave; O smile up -- on thy ser -- vant, Lord, And in Thy mer -- cy save.", "prose": ["From all that persecute my soul", "thy gracious help I crave;", "O smile upon thy servant, Lord,", "And in Thy mercy save."]}, "11": {"syllabified": "Let me not be a -- shamed, O Lord, I plead with Thee to save; but let the wick -- ed be a -- shamed, And si -- lent in the grave.", "prose": ["Let me not be ashamed, O Lord,", "I plead with Thee to save;", "but let the wicked be ashamed,", "And silent in the grave."]}, "12": {"syllabified": "Yea, let their lips hence -- forth be mute Who words of false -- hood seek, The lips which with con -- tempt and pride A -- gainst the right -- eous speak.", "prose": ["Yea, let their lips henceforth be mute", "Who words of falsehood seek,", "The lips which with contempt and pride", "Against the righteous speak."]}}}, "in-these-our-days-so-perilous": {"slug": "in-these-our-days-so-perilous", "title": "In These Our Days So Perilous", "first_line": "In these our days so perilous, Lord, peace in", "author_source": "Latin, 6th century", "adapter": "martin-luther", "translator": "richard-massie", "translator_date": "1854", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Blood", "Comfort"], "scripture": ["1 Peter 2:5-8", "Ephesians 2:19-22", "Matthew 7:24-27", "Psalm 18:2"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:281; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "in_these_our_days_so_perilous", "total_instances": 2}}, "stanzas": {"1": {"syllabified": "In these our days so per -- il -- ous, Lord, peace in mer -- cy send us; No God but Thee can fight for us, No God but Thee de -- fend us; Thou our on -- ly God and Sav -- ior.", "prose": ["In these our days so perilous,", "Lord, peace in mercy send us;", "No God but Thee can fight for us,", "No God but Thee defend us;", "Thou our only God and Savior."]}}}, "in-thy-great-indignation": {"slug": "in-thy-great-indignation", "title": "In Thy Great Indignation (Second Version)", "first_line": "In thy great indignation", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 6, "topics": ["Psalms"], "scripture": ["Psalm 6"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 6 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In thy great in -- dig -- na -- ti -- on, O Lord, re -- buke me not; Nor on me lay thy chas -- tening hand in thy dis -- plea -- sure hot.", "prose": ["In thy great indignation,", "O Lord, rebuke me not;", "Nor on me lay thy chastening hand", "in thy displeasure hot."]}, "2": {"syllabified": "Lord, I am weak, there -- fore on me have mer -- cy, and me spare: Heal me, O Lord, be -- cause thou know'st my bones much vex -- ed are.", "prose": ["Lord, I am weak, therefore on me", "have mercy, and me spare:", "Heal me, O Lord, because thou know'st", "my bones much vexed are."]}, "3": {"syllabified": "My soul is vex -- ed sore: but, Lord, how long stay wilt thou make? Re -- turn, Lord, free my soul; and save me for thy mer -- cies' sake.", "prose": ["My soul is vexed sore: but, Lord,", "how long stay wilt thou make?", "Return, Lord, free my soul; and save", "me for thy mercies' sake."]}, "4": {"syllabified": "Be -- cause of thee in death there shall no more re -- mem -- brance be: Of those that in the grave do lie, who shall give thanks to thee?", "prose": ["Because of thee in death there shall", "no more remembrance be:", "Of those that in the grave do lie,", "who shall give thanks to thee?"]}, "5": {"syllabified": "I with my groan -- ing wea -- ry am, and all the night my bed I caus -- ed for to swim; with tears my couch I wa -- ter -- ed.", "prose": ["I with my groaning weary am,", "and all the night my bed", "I caused for to swim; with tears", "my couch I watered."]}, "6": {"syllabified": "By rea -- son of my vex -- ing grief mine eye con -- sum -- ed is; It wax -- eth old, be -- cause of all that be mine en -- e -- mies.", "prose": ["By reason of my vexing grief", "mine eye consumed is;", "It waxeth old, because of all", "that be mine enemies."]}, "7": {"syllabified": "But now, de -- part from me, all ye that work in -- iq -- ui -- ty: For why? the Lord hath heard my voice, when I did mourn and cry.", "prose": ["But now, depart from me, all ye", "that work iniquity:", "For why? the Lord hath heard my voice,", "when I did mourn and cry."]}, "8": {"syllabified": "Un -- to my sup -- pli -- ca -- ti -- on the Lord did hear -- ing give: When I to him my pray -- er make, the Lord will it re -- ceive.", "prose": ["Unto my supplication", "the Lord did hearing give:", "When I to him my prayer make,", "the Lord will it receive."]}, "9": {"syllabified": "Let all be shamed and trou -- bled sore, that en -- 'mies are to me; Let them turn back, and sud -- den -- ly a -- sham -- ed let them be.", "prose": ["Let all be shamed and troubled sore,", "that en'mies are to me;", "Let them turn back, and suddenly", "ashamed let them be."]}}}, "in-thy-great-indignation-psalm-38": {"slug": "in-thy-great-indignation-psalm-38", "title": "In Thy Great Indignation", "first_line": "In thy great indignation", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 38, "topics": ["Psalms"], "scripture": ["Psalm 38"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 38. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In thy great in -- dig -- na -- ti -- on, O Lord, re -- buke me not; Nor on me lay thy chas -- t'ning hand, in thy dis -- plea -- sure hot.", "prose": ["In thy great indignation,", "O Lord, rebuke me not;", "Nor on me lay thy chast'ning hand,", "in thy displeasure hot."]}, "2": {"syllabified": "For in me fast thine ar -- rows stick, thine hand doth press me sore: And in my flesh there is no health, nor sound -- ness an -- y more.", "prose": ["For in me fast thine arrows stick,", "thine hand doth press me sore:", "And in my flesh there is no health,", "nor soundness any more."]}, "3": {"syllabified": "This grief I have, be -- cause thy wrath is forth a -- gainst me gone; And in my bones there is no rest, for sin that I have done.", "prose": ["This grief I have, because thy wrath", "is forth against me gone;", "And in my bones there is no rest,", "for sin that I have done."]}, "4": {"syllabified": "Be -- cause gone up a -- bove mine head my great trans -- gres -- sions be; And, as a weight -- y bur -- den, they too heav -- y are for me.", "prose": ["Because gone up above mine head", "my great transgressions be;", "And, as a weighty burden, they", "too heavy are for me."]}, "5": {"syllabified": "My wounds do stink, and are cor -- rupt; my fol -- ly makes it so. I troubled am, and much bow -- ed down; all day I mourn -- ing go.", "prose": ["My wounds do stink, and are corrupt;", "my folly makes it so.", "I troubled am, and much bowed down;", "all day I mourning go."]}, "6": {"syllabified": "For a dis -- ease that loath -- some is so fills my loins with pain, That in my weak and wea -- ry flesh no sound -- ness doth re -- main.", "prose": ["For a disease that loathsome is", "so fills my loins with pain,", "That in my weak and weary flesh", "no soundness doth remain."]}, "7": {"syllabified": "So fee -- ble and in -- firm am I, and bro -- ken am so sore, That, through dis -- qui -- et of my heart, I have been made to roar.", "prose": ["So feeble and infirm am I,", "and broken am so sore,", "That, through disquiet of my heart,", "I have been made to roar."]}, "8": {"syllabified": "O Lord, all that I do de -- sire is still be -- fore thine eye; And of my heart the se -- cret groans not hid -- den are from thee.", "prose": ["O Lord, all that I do desire", "is still before thine eye;", "And of my heart the secret groans", "not hidden are from thee."]}, "9": {"syllabified": "My heart doth pant in -- ces -- sant -- ly, my strength doth quite de -- cay; As for mine eyes, their wont -- ed light is from me gone a -- way.", "prose": ["My heart doth pant incessantly,", "my strength doth quite decay;", "As for mine eyes, their wonted light", "is from me gone away."]}, "10": {"syllabified": "My lov -- ers and my friends do stand at dis -- tance from my sore; And those do stand a -- loof that were kin -- smen and kind be -- fore.", "prose": ["My lovers and my friends do stand", "at distance from my sore;", "And those do stand aloof that were", "kinsmen and kind before."]}, "11": {"syllabified": "Yea, they that seek my life lay snares: who seek to do me wrong Speak things mis -- chie -- vous, and de -- ceits im -- ag -- ine all day long.", "prose": ["Yea, they that seek my life lay snares:", "who seek to do me wrong", "Speak things mischievous, and deceits", "imagine all day long."]}, "12": {"syllabified": "But, as one deaf, that hear -- eth not, I suff -- ered all to pass; I as a dumb man did be -- come, whose mouth not o -- pened was:", "prose": ["But, as one deaf, that heareth not,", "I suffered all to pass;", "I as a dumb man did become,", "whose mouth not opened was:"]}, "13": {"syllabified": "As one that hears not, in whose mouth are no re -- proofs at all. For, Lord, I hope in thee; my God, thou'lt hear me when I call.", "prose": ["As one that hears not, in whose mouth", "are no reproofs at all.", "For, Lord, I hope in thee; my God,", "thou'lt hear me when I call."]}, "14": {"syllabified": "For I said, Hear me, lest they should re -- joice o'er me with pride; And o'er me mag -- ni -- fy them -- selves, when as my foot doth slide.", "prose": ["For I said, Hear me, lest they should", "rejoice o'er me with pride;", "And o'er me magnify themselves,", "when as my foot doth slide."]}, "15": {"syllabified": "For I am near to halt, my grief is still be -- fore mine eye: For I'll de -- clare my sin, and grieve for mine in -- iq -- ui -- ty.", "prose": ["For I am near to halt, my grief", "is still before mine eye:", "For I'll declare my sin, and grieve", "for mine iniquity."]}, "16": {"syllabified": "But yet mine en -- 'mies live -- ly are, and strong are they be -- side; And they that hate me wrong -- ful -- ly are great -- ly mul -- ti -- plied.", "prose": ["But yet mine en'mies lively are,", "and strong are they beside;", "And they that hate me wrongfully", "are greatly multiplied."]}, "17": {"syllabified": "And they for good that ren -- der ill, as en -- 'mies me with -- stood; Yea, ev'n for this, be -- cause that I do fol -- low what is good.", "prose": ["And they for good that render ill,", "as en'mies me withstood;", "Yea, ev'n for this, because that I", "do follow what is good."]}, "18": {"syllabified": "For -- sake me not, O Lord; my God, far from me nev -- er be. O Lord, thou my sal -- va -- tion art, haste to give help to me.", "prose": ["Forsake me not, O Lord; my God,", "far from me never be.", "O Lord, thou my salvation art,", "haste to give help to me."]}}}, "in-thy-wrath-and-hot-displeasure": {"slug": "in-thy-wrath-and-hot-displeasure", "title": "Penitential Grief and Supplication", "first_line": "In Thy wrath and hot displeasure", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 38, "topics": ["Psalms"], "scripture": ["Psalm 38"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 102) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 38, selection 102. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "In Thy wrath and hot dis -- plea -- sure, Chas -- ten not Thy ser -- vant, Lord; Let Thy mer -- cy, with -- out mea -- sure, Help and peace to me af -- ford.", "prose": ["In Thy wrath and hot displeasure,", "Chasten not Thy servant, Lord;", "Let Thy mercy, without measure,", "Help and peace to me afford."]}, "2": {"syllabified": "Heav -- y is my trib -- u -- la -- tion, Sore my pun -- ish -- ment has been; Bro -- ken by Thy in -- dig -- na -- tion, I am trou -- bled by my sin.", "prose": ["Heavy is my tribulation,", "Sore my punishment has been;", "Broken by Thy indignation,", "I am troubled by my sin."]}, "3": {"syllabified": "With my bur -- den of trans -- gres -- sion Heav -- y lad -- en, o -- ver -- borne, Hum -- bled low I make con -- fes -- sion, For my fol -- ly now I mourn.", "prose": ["With my burden of transgression", "Heavy laden, overborne,", "Humbled low I make confession,", "For my folly now I mourn."]}, "4": {"syllabified": "Weak and woun -- ded, I im -- plore Thee; Lord, to me Thy mer -- cy show; All my prayer is now be -- fore Thee, All my trou -- ble Thou dost know.", "prose": ["Weak and wounded, I implore Thee;", "Lord, to me Thy mercy show;", "All my prayer is now before Thee,", "All my trouble Thou dost know."]}, "5": {"syllabified": "Dark -- ness gath -- ers, foes as -- sail me, But I an -- swer not a word; All my friends des -- ert and fail me, On -- ly Thou my cry hast heard.", "prose": ["Darkness gathers, foes assail me,", "But I answer not a word;", "All my friends desert and fail me,", "Only Thou my cry hast heard."]}}}, "isaiah-mighty-seer-in-days-of-old": {"slug": "isaiah-mighty-seer-in-days-of-old", "title": "Isaiah, Mighty Seer, In Days of Old", "first_line": "Isaiah, mighty seer, in days of old The Lord", "author": "martin-luther", "author_date": "1608", "translator": "composite", "translator_date": "1608", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Atonement", "Brotherhood", "Church on Earth (Church Militant)", "Father"], "scripture": ["1 John 5:20", "Isaiah 41:9-13", "John 1:14", "1 John 4:9-10"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:125; all components published pre-1931 (latest year 1608).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Is -- ai -- ah, might -- y seer, in days of old The Lord of all in Spir -- it did be -- hold High on a loft -- y throne, in splen -- dor bright, With flow -- ing train that filled the Tem -- ple quite. A -- bove the throne were state -- ly ser -- a -- phim, Six wings had they, these mess -- en -- gers of Him. With twain they veiled their fac -- es, as was meet, With twain in rev -- erent awe they hid their feet, And with the oth -- er twain a -- loft they soared, One to the oth -- er called and praised the Lord: \"Ho -- ly is God, the Lord of Sa -- ba -- oth! Ho -- ly is God, the Lord of Sa -- ba -- oth! Ho -- ly is God, the Lord of Sa -- ba -- oth! Be -- hold, His glo -- ry fill -- eth all the earth!\" The beams and lin -- tels trem -- bled at the cry, And clouds of smoke en -- wrapped the throne on high.", "prose": ["Isaiah, mighty seer, in days of old", "The Lord of all in Spirit did behold", "High on a lofty throne, in splendor bright,", "With flowing train that filled the Temple quite.", "Above the throne were stately seraphim,", "Six wings had they, these messengers of Him.", "With twain they veiled their faces, as was meet,", "With twain in reverent awe they hid their feet,", "And with the other twain aloft they soared,", "One to the other called and praised the Lord:", "\"Holy is God, the Lord of Sabaoth!", "Holy is God, the Lord of Sabaoth!", "Holy is God, the Lord of Sabaoth!", "Behold, His glory filleth all the earth!\"", "The beams and lintels trembled at the cry,", "And clouds of smoke enwrapped the throne on high."]}}}, "it-came-upon-a-midnight-clear": {"slug": "it-came-upon-a-midnight-clear", "title": "It Came Upon A Midnight Clear", "first_line": "It came upon the midnight clear, That glorious song of old", "index_first_line": "It came upon the midnight clear", "author": "edmund-h-sears", "author_date": "1866", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 6, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Brotherhood", "Christmas", "Advent", "Fellowship"], "scripture": ["Luke 2:10", "Psalm 97:1"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:60; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "it_came_upon_the_midnight_clear", "total_instances": 959}}, "stanzas": {"1": {"syllabified": "It came up -- on the mid -- night clear, That glor -- ious song of old, From an -- gels bend -- ing near the earth, To touch their harps of gold; \"Peace on the earth, good will to men, From Heav -- en's all gra -- cious King.\" The world in sol -- emn still -- ness lay, To hear the an -- gels sing.", "prose": ["It came upon the midnight clear,", "That glorious song of old,", "From angels bending near the earth,", "To touch their harps of gold;", "\"Peace on the earth, good will to men,", "From Heaven's all gracious King.\"", "The world in solemn stillness lay,", "To hear the angels sing."]}, "2": {"syllabified": "Still through the clo -- ven skies they come With peace -- ful wings un -- furled, And still their heav -- en -- ly mu -- sic floats O'er all the wea -- ry world; A -- bove its sad and low -- ly plains, They bend on hov -- 'ring wing, And ev -- er ov -- er its Ba -- bel sounds The bless -- ed an -- gels sing.", "prose": ["Still through the cloven skies they come", "With peaceful wings unfurled,", "And still their heavenly music floats", "O'er all the weary world;", "Above its sad and lowly plains,", "They bend on hov'ring wing,", "And ever over its Babel sounds", "The blessed angels sing."]}, "3": {"syllabified": "Yet with the woes of sin and strife The world has suf -- fered long; Be -- neath the an -- gel strain have rolled Two thou -- sand years of wrong; And man, at war with man, hears not The love -- song which they bring; O hush the noise, ye men of strife And hear the an -- gels sing.", "prose": ["Yet with the woes of sin and strife", "The world has suffered long;", "Beneath the angel strain have rolled", "Two thousand years of wrong;", "And man, at war with man, hears not", "The love-song which they bring;", "O hush the noise, ye men of strife", "And hear the angels sing."]}, "4": {"syllabified": "And ye, be -- neath life's crush -- ing load, Whose forms are bend -- ing low, Who toil a -- long the climb -- ing way With pain -- ful steps and slow, Look now! for glad and gold -- en hours Come swift -- ly on the wing. O rest be -- side the wear -- y road, And hear the an -- gels sing!", "prose": ["And ye, beneath life's crushing load,", "Whose forms are bending low,", "Who toil along the climbing way", "With painful steps and slow,", "Look now! for glad and golden hours", "Come swiftly on the wing.", "O rest beside the weary road,", "And hear the angels sing!"]}, "5": {"syllabified": "For lo! the days are has -- t'ning on, By proph -- et -- bards fore -- told, When with the ev -- er cir -- cling years Comes round the age of gold; When peace shall ov -- er all the earth Its an -- cient splen -- dors fling, And the whole world send back the song Which now the an -- gels sing.", "prose": ["For lo! the days are hast'ning on,", "By prophet-bards foretold,", "When with the ever circling years", "Comes round the age of gold;", "When peace shall over all the earth", "Its ancient splendors fling,", "And the whole world send back the song", "Which now the angels sing."]}}}, "it-is-well-with-my-soul": {"slug": "it-is-well-with-my-soul", "title": "It Is Well with My Soul", "first_line": "When peace, like a river, attendeth my way", "author": "horatio-g-spafford", "author_date": "1873", "foot": "anapestic", "meter": {"pattern": [11, 8, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Comfort", "Peace", "Assurance", "Trust"], "scripture": ["Psalm 55:18"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Horatio Gates Spafford (1828-1888), written in 1873 after his four daughters died in the wreck of the SS Ville du Havre; first published with Bliss's tune in Gospel Hymns No. 2, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main; Cincinnati: John Church, 1876), no. 76, printed pages 77-78, headed \"H. G. SPAFFORD.\" with the motto \"He hath delivered my soul in peace.\"—Ps. 55:18 — archive.org item hymnsno02blis, leaf n82: stanzas 1-2 interlinear, 3-4 as poetry below the music. US public domain (published pre-1929; author died 1888, so PD in life+70 jurisdictions too). Hymnary text authority when_peace_like_a_river_attendeth_my_way (588 instances, \"Public Domain\"). THE WORDING HERE IS THE 1921 PAGE'S — The Evangelical Hymnal, Hymn 208, printed page 152 (archive.org evangelicalhymna00evan, leaf n184), the page the Open Hymnal X:198 w: lines transcribe, read at full resolution with all four stanzas interlinear — with the 1876 first printing collated line by line. The dated pages settle every place the OH w: text slips or modernises, and the popular modern readings are NOT followed where both dated pages agree otherwise: stanza 1 reads \"Thou hast taught me to say\" (both pages; OH types \"has\"); stanza 2 \"That Christ hath regarded\" (both pages; OH types \"has\"); stanza 3 \"Is nailed to His cross\" (both pages; OH alters to \"the cross\"); stanza 4 \"when the faith shall be sight\" (BOTH dated pages — the familiar \"my faith\" is a later alteration the OH text block follows, not shipped here). Readings where the two dated pages differ follow the 1921 primary: \"My sin—O the bliss\" (1876: \"oh,\"), \"and I bear it no more,\" with the comma, \"back as a scroll,\" (comma, not semicolon), and the punctuation of \"When sorrows, like sea-billows, roll;\" — both pages hyphenate the compound \"sea-billows\" and point a comma before \"roll\", the 1921 adding one after \"sorrows\". DECLARED DEPARTURES, both typographic: the 1921's space-saving \"tho' tri-als\" is expanded to \"though trials\" as the 1876 page and the OH w: line both print; its typewriter double apostrophes around ''E-ven so''— are set as curly quotes. The refrain is the plates' \"It is well with my soul, It is well, it is well with my soul.\" (no comma after the first held \"well\" — the OH w: adds one); the echo rows the pages print above the treble (\"It is well.........\" / \"with my soul,.......\") live on the harmonization's bass_echo, not here. The Open Hymnal carries two further stanzas (\"For me, be it Christ...\", \"But, Lord, 'tis for Thee...\") that neither dated page prints; the four-stanza form of the dated printings is what is shipped.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "when_peace_like_a_river_attendeth_my_way", "total_instances": 588}}, "stanzas": {"1": {"syllabified": "When peace, like a riv -- er, at -- tend -- eth my way, When sor -- rows, like sea -- bil -- lows, roll; What -- ev -- er my lot, Thou hast taught me to say, It is well, it is well with my soul.", "prose": ["When peace, like a river, attendeth my way,", "When sorrows, like sea-billows, roll;", "Whatever my lot, Thou hast taught me to say,", "It is well, it is well with my soul."]}, "2": {"syllabified": "Though Sa -- tan should buf -- fet, though tri -- als should come, Let this blest as -- sur -- ance con -- trol, That Christ hath re -- gard -- ed my help -- less es -- tate, And hath shed His own blood for my soul.", "prose": ["Though Satan should buffet, though trials should come,", "Let this blest assurance control,", "That Christ hath regarded my helpless estate,", "And hath shed His own blood for my soul."]}, "3": {"syllabified": "My sin— O the bliss of this glo -- ri -- ous thought! My sin— not in part but the whole, Is nailed to His cross, and I bear it no more, Praise the Lord, praise the Lord, O my soul!", "prose": ["My sin—O the bliss of this glorious thought!", "My sin—not in part but the whole,", "Is nailed to His cross, and I bear it no more,", "Praise the Lord, praise the Lord, O my soul!"]}, "4": {"syllabified": "And, Lord, haste the day when the faith shall be sight, The clouds be rolled back as a scroll, The trump shall re -- sound, and the Lord shall de -- scend, “E -- ven so”— it is well with my soul.", "prose": ["And, Lord, haste the day when the faith shall be sight,", "The clouds be rolled back as a scroll,", "The trump shall resound, and the Lord shall descend,", "“Even so”—it is well with my soul."]}}, "refrain": {"syllabified": "It is well with my soul, It is well, it is well with my soul.", "prose": ["It is well with my soul,", "It is well, it is well with my soul."]}}, "jehovah-hear-thee-in-the-day": {"slug": "jehovah-hear-thee-in-the-day", "title": "JEHOVAH Hear Thee in the Day", "first_line": "JEHOVAH hear thee in the day", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 20, "topics": ["Psalms"], "scripture": ["Psalm 20"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 20. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "JE -- HO -- VAH hear thee in the day when trou -- ble he doth send: And let the name of Ja -- cob's God thee from all ill de -- fend.", "prose": ["JEHOVAH hear thee in the day", "when trouble he doth send:", "And let the name of Jacob's God", "thee from all ill defend."]}, "2": {"syllabified": "O let him help send from a -- bove, out of his sanc -- tua -- ry: From Zi -- on, his own ho -- ly hill, let him give strength to thee.", "prose": ["O let him help send from above,", "out of his sanctuary:", "From Zion, his own holy hill,", "let him give strength to thee."]}, "3": {"syllabified": "Let him re -- mem -- ber all thy gifts, ac -- cept thy sac -- ri -- fice: Grant thee thine heart's wish, and ful -- fil thy thoughts and coun -- sel wise.", "prose": ["Let him remember all thy gifts,", "accept thy sacrifice:", "Grant thee thine heart's wish, and fulfil", "thy thoughts and counsel wise."]}, "4": {"syllabified": "In thy sal -- va -- tion we will joy; in our God's name we will Dis -- play our ban -- ners: and the Lord thy pray -- ers all ful -- fil.", "prose": ["In thy salvation we will joy;", "in our God's name we will", "Display our banners: and the Lord", "thy prayers all fulfil."]}, "5": {"syllabified": "Now know I God his king doth save: he from his ho -- ly heav'n Will hear him, with the sav -- ing strength by his own right hand giv'n.", "prose": ["Now know I God his king doth save:", "he from his holy heav'n", "Will hear him, with the saving strength", "by his own right hand giv'n."]}, "6": {"syllabified": "In char -- iots some put con -- fi -- dence, some hor -- ses trust up -- on: But we re -- mem -- ber will the name of our Lord God a -- lone.", "prose": ["In chariots some put confidence,", "some horses trust upon:", "But we remember will the name", "of our Lord God alone."]}, "7": {"syllabified": "We rise, and up -- right stand, when they are bow -- ed down, and fall. De -- liv -- er, Lord; and let the King us hear, when we do call.", "prose": ["We rise, and upright stand, when they", "are bowed down, and fall.", "Deliver, Lord; and let the King", "us hear, when we do call."]}}}, "jehovah-hear-thee-in-the-day-psalm-20": {"slug": "jehovah-hear-thee-in-the-day-psalm-20", "title": "The Safeguards of Prayer", "first_line": "Jehovah hear thee in the day", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 20, "topics": ["Psalms"], "scripture": ["Psalm 20"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 44) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 20, selection 44. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- ho -- vah hear thee in the day When trou -- ble He doth send: And let our cov -- 'nant -- keep -- ing God From ev -- 'ry ill de -- fend.", "prose": ["Jehovah hear thee in the day", "When trouble He doth send:", "And let our covenant-keeping God", "From ev'ry ill defend."]}, "2": {"syllabified": "O let Him send His help to thee Forth from His ho -- ly place; Let Him from Zi -- on, His own hill Sus -- tain thee by His grace.", "prose": ["O let Him send His help to thee", "Forth from His holy place;", "Let Him from Zion, His own hill", "Sustain thee by His grace."]}, "3": {"syllabified": "May He re -- mem -- ber all thy gifts, Ac -- cept thy sac -- ri -- fice: And, grant -- ing thee thy heart's de -- sire Ful -- fill thy coun -- sels wise.", "prose": ["May He remember all thy gifts,", "Accept thy sacrifice:", "And, granting thee thy heart's desire", "Fulfill thy counsels wise."]}, "4": {"syllabified": "In thy sal -- va -- tion we will joy; When thou to God dost pray, May he give an -- swer, in Whose Name Our ban -- ners we dis -- play.", "prose": ["In thy salvation we will joy;", "When thou to God dost pray,", "May he give answer, in Whose Name", "Our banners we display."]}}}, "jehovah-hear-thee-in-thy-grief": {"slug": "jehovah-hear-thee-in-thy-grief", "title": "Mutual Intercession", "first_line": "Jehovah hear thee in thy grief", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 20, "topics": ["Psalms"], "scripture": ["Psalm 20"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 43) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 20, selection 43. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- ho -- vah hear thee in thy grief, Our fa -- thers' God de -- fend thee still, Send from His ho -- ly place re -- lief, And streng -- then thee from Zi -- on's hill.", "prose": ["Jehovah hear thee in thy grief,", "Our fathers' God defend thee still,", "Send from His holy place relief,", "And strengthen thee from Zion's hill."]}, "2": {"syllabified": "Thy sac -- ri -- fice may He re -- gard, And all thy of -- f'rings bear in mind; Thy heart's de -- sire to thee ac -- cord, Ful -- fill -- ing all thou hast de -- signed.", "prose": ["Thy sacrifice may He regard,", "And all thy off'rings bear in mind;", "Thy heart's desire to thee accord,", "Fulfilling all thou hast designed."]}, "3": {"syllabified": "In thy sal -- va -- tion we re -- joice, And in God's Name our ban -- ners raise; Je -- ho -- vah hear -- ken to thy voice, Ful -- fill thy prayers thro' all thy days.", "prose": ["In thy salvation we rejoice,", "And in God's Name our banners raise;", "Jehovah hearken to thy voice,", "Fulfill thy prayers thro' all thy days."]}, "4": {"syllabified": "Sal -- va -- tion will the Lord com -- mand, And His a -- noint -- ed will de -- fend; Yea, with the strength of His right hand From heav'n He will an an -- swer send.", "prose": ["Salvation will the Lord command,", "And His anointed will defend;", "Yea, with the strength of His right hand", "From heav'n He will an answer send."]}, "5": {"syllabified": "How vain their ev -- 'ry con -- fi -- dence Who on mere hu -- man help re -- ly; But we re -- mem -- ber for de -- fense The Name of God, the Lord Most High.", "prose": ["How vain their ev'ry confidence", "Who on mere human help rely;", "But we remember for defense", "The Name of God, the Lord Most High."]}, "6": {"syllabified": "Now we a -- rise and up -- right stand, While they, sub -- dued and help -- less fall; Je -- ho -- vah, save us by Thy hand, The King give an -- swer when we call.", "prose": ["Now we arise and upright stand,", "While they, subdued and helpless fall;", "Jehovah, save us by Thy hand,", "The King give answer when we call."]}}}, "jehovah-is-my-light": {"slug": "jehovah-is-my-light", "title": "The Fearlessness of Faith", "first_line": "Jehovah is my light", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 27, "topics": ["Psalms"], "scripture": ["Psalm 27"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 71) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 27, selection 71. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- ho -- vah is my light, And my sal -- va -- tion near; Who shall my soul af -- fright, Or cause my heart to fear? While God my strength, my life sus -- tains, Se -- cure from fear my soul re -- mains.", "prose": ["Jehovah is my light,", "And my salvation near;", "Who shall my soul affright,", "Or cause my heart to fear?", "While God my strength, my life sustains,", "Secure from fear my soul remains."]}, "2": {"syllabified": "When e -- vil -- do -- ers came To make my life their prey, They stum -- bled in their shame And fell in sore dis -- may; Though hosts make war on ev -- ery side, Still fear -- less I in God con -- fide.", "prose": ["When evil-doers came", "To make my life their prey,", "They stumbled in their shame", "And fell in sore dismay;", "Though hosts make war on every side,", "Still fearless I in God confide."]}, "3": {"syllabified": "My one re -- quest has been, And still this prayer I raise, That I may dwell with -- in God's house through all my days, Je -- ho -- vah's beau -- ty to ad -- mire, And in His tem -- ple to in -- quire.", "prose": ["My one request has been,", "And still this prayer I raise,", "That I may dwell within", "God's house through all my days,", "Jehovah's beauty to admire,", "And in His temple to inquire."]}, "4": {"syllabified": "When trou -- bles round me swell, When fears and dan -- gers throng, Se -- cure -- ly I will dwell In His pa -- vil -- ion strong; with -- in the co -- vert of His tent He hides me till the storm is spent.", "prose": ["When troubles round me swell,", "When fears and dangers throng,", "Securely I will dwell", "In His pavilion strong;", "within the covert of His tent", "He hides me till the storm is spent."]}, "5": {"syllabified": "Up -- lift -- ed on a rock A -- bove my foes a -- round, A -- mid the ba -- ttle shock My song shall still re -- sound; Then joy -- ful of -- f'rings I will bring, Je -- ho -- vah's praise my heart shall sing.", "prose": ["Uplifted on a rock", "Above my foes around,", "Amid the battle shock", "My song shall still resound;", "Then joyful offerings I will bring,", "Jehovah's praise my heart shall sing."]}}}, "jehovah-my-god-on-thy-help-i-depend": {"slug": "jehovah-my-god-on-thy-help-i-depend", "title": "Confidence in Divine Justice", "first_line": "Jehovah, my God, on Thy help I depend", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 7, "topics": ["Psalms"], "scripture": ["Psalm 7"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 13) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 7, selection 13. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- ho -- vah, my God, on Thy help I de -- pend; From all that pur -- sue me O save and de -- fend; Lest they like a li -- on should rend me at will, while no one is near me their rag -- ing to still.", "prose": ["Jehovah, my God, on Thy help I depend;", "From all that pursue me O save and defend;", "Lest they like a lion should rend me at will,", "while no one is near me their raging to still."]}, "2": {"syllabified": "When wronged with -- out cause I have kind -- ness re -- turned; But if I my neigh -- bor mal -- treat -- ed and spurned, My soul let the en -- e -- my seize for his prey, My life and my hon -- or in dust let him lay.", "prose": ["When wronged without cause I have kindness returned;", "But if I my neighbor maltreated and spurned,", "My soul let the enemy seize for his prey,", "My life and my honor in dust let him lay."]}, "3": {"syllabified": "O Lord, in Thy wrath stay the rage of my foes; A -- wake, and Thy judg -- ment or -- dained in -- ter -- pose. Let peo -- ples sur -- round Thee and wait at Thy feet, While o'er them for judg -- ment Thou tak -- est Thy seat.", "prose": ["O Lord, in Thy wrath stay the rage of my foes;", "Awake, and Thy judgment ordained interpose.", "Let peoples surround Thee and wait at Thy feet,", "While o'er them for judgment Thou takest Thy seat."]}, "4": {"syllabified": "All na -- tions of men shall be judged by the Lord; To me, O Je -- ho -- vah, just judg -- ment ac -- cord, As faith -- ful and right -- eous in life I have been, And ev -- er in -- teg -- ri -- ty cher -- ished with -- in.", "prose": ["All nations of men shall be judged by the Lord;", "To me, O Jehovah, just judgment accord,", "As faithful and righteous in life I have been,", "And ever integrity cherished within."]}, "5": {"syllabified": "Es -- tab -- lish the right -- eous, let e -- vil de -- part, For God Who is just tries the tho'ts of the heart. In God for de -- fense I have placed all my trust; The up -- right He saves and He jud -- ges the just.", "prose": ["Establish the righteous, let evil depart,", "For God Who is just tries the tho'ts of the heart.", "In God for defense I have placed all my trust;", "The upright He saves and He judges the just."]}, "6": {"syllabified": "The Lord with the wick -- ed is wroth ev -- ery day, And if they re -- pent not is read -- y to slay; By man -- i -- fold ru -- in for oth -- ers pre -- pared They sure -- ly at last shall them -- selves be en -- snared.", "prose": ["The Lord with the wicked is wroth every day,", "And if they repent not is ready to slay;", "By manifold ruin for others prepared", "They surely at last shall themselves be ensnared."]}, "7": {"syllabified": "Be -- cause He is right -- eous His praise I will sing, Thanks -- giv -- ing and hon -- or to Him I will bring, Will sing to the Lord on Whose grace I re -- ly, Ex -- toll -- ing the Name of Je -- ho -- vah Most High.", "prose": ["Because He is righteous His praise I will sing,", "Thanksgiving and honor to Him I will bring,", "Will sing to the Lord on Whose grace I rely,", "Extolling the Name of Jehovah Most High."]}}}, "jehovahs-perfect-law": {"slug": "jehovahs-perfect-law", "title": "The Perfect Law of God", "first_line": "Jehovah's perfect law", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 38) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 19, selection 38. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- ho -- vah's per -- fect law Re -- stores the soul a -- gain; His tes -- ti -- mo -- ny sure Gives wis -- dom un -- to men; The pre -- cepts of the Lord are right, And fill the heart with great de -- light.", "prose": ["Jehovah's perfect law", "Restores the soul again;", "His testimony sure", "Gives wisdom unto men;", "The precepts of the Lord are right,", "And fill the heart with great delight."]}, "2": {"syllabified": "The Lord's com -- mands are pure, They light and joy re -- store; Je -- ho -- vah's fear is clean, En -- dur -- ing ev -- er -- more; His stat -- utes, let the world con -- fess, Are whol -- ly truth and right -- eous -- ness.", "prose": ["The Lord's commands are pure,", "They light and joy restore;", "Jehovah's fear is clean,", "Enduring evermore;", "His statutes, let the world confess,", "Are wholly truth and righteousness."]}, "3": {"syllabified": "They are to be de -- sired A -- bove the fin -- est gold; Than hon -- ey from the comb More sweet -- ness far they hold; With warn -- ings they Thy ser -- vant guard, In keep -- ing them is great re -- ward.", "prose": ["They are to be desired", "Above the finest gold;", "Than honey from the comb", "More sweetness far they hold;", "With warnings they Thy servant guard,", "In keeping them is great reward."]}, "4": {"syllabified": "His er -- rors who can know? Cleanse me from hid -- den stain; Keep me from will -- ful sins, Nor let them o'er me reign; And then I up -- right shall ap -- pear And be from great trans -- gres -- sions clear.", "prose": ["His errors who can know?", "Cleanse me from hidden stain;", "Keep me from willful sins,", "Nor let them o'er me reign;", "And then I upright shall appear", "And be from great transgressions clear."]}, "5": {"syllabified": "When Thou dost search my life, May all my tho'ts with -- in And all the words I speak Thy full ap -- pro -- val win. O Lord, Thou art a rock to me, And my Re -- deem -- er Thou shalt be.", "prose": ["When Thou dost search my life,", "May all my tho'ts within", "And all the words I speak", "Thy full approval win.", "O Lord, Thou art a rock to me,", "And my Redeemer Thou shalt be."]}}}, "jerusalem-the-golden": {"slug": "jerusalem-the-golden", "title": "Jerusalem the Golden", "first_line": "Jerusalem the golden, with milk and honey blest", "author": "bernard-of-cluny", "author_date": "1146", "translator": "john-mason-neale", "translator_date": "1858", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Brevity of Life", "Church in Heaven", "Church on Earth (Church Militant)", "Consecration", "Cross", "Eternal Life", "God, Care of", "Heaven", "Hope", "Israel", "Jesus", "Joy", "Martyrs", "Presence", "Security", "Victory"], "scripture": ["Revelation 21:18-23", "2 Corinthians 4:17-18", "Revelation 7:9-17", "Isaiah 60:19-20"], "provenance": {"layer": "text", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Bernard of Cluny 1146; tr. John Mason Neale 1858. All pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Jer -- u -- sa -- lem the gol -- den, with milk and hon -- ey blest, Be -- neath thy con -- tem -- pla -- tion sink heart and voice op -- pressed. I know not, O I know not, what joys a -- wait us there, What ra -- dian -- cy of glo -- ry, what bliss be -- yond com -- pare.", "prose": ["Jerusalem the golden,", "with milk and honey blest,", "Beneath thy contemplation", "sink heart and voice oppressed.", "I know not, O I know not,", "what joys await us there,", "What radiancy of glory,", "what bliss beyond compare."]}, "2": {"syllabified": "They stand, those halls of Zi -- on, all ju -- bi -- lant with song, And bright with man -- y'an an -- gel, and all the mar -- tyr throng; The Prince is ev -- er in them, the day -- light is ser -- ene. The pas -- tures of the bless -- ed are decked in glor -- ious sheen.", "prose": ["They stand, those halls of Zion,", "all jubilant with song,", "And bright with many an angel,", "and all the martyr throng;", "The Prince is ever in them,", "the daylight is serene.", "The pastures of the blessed", "are decked in glorious sheen."]}, "3": {"syllabified": "There is the throne of Da -- vid, and there, from care re -- leased, The shout of them that tri -- umph, the song of them that feast; And they are with their Lead -- er, who con -- quered in the fight, And won for them for -- ev -- er their gleam -- ing robes of white.", "prose": ["There is the throne of David,", "and there, from care released,", "The shout of them that triumph,", "the song of them that feast;", "And they are with their Leader,", "who conquered in the fight,", "And won for them forever", "their gleaming robes of white."]}, "4": {"syllabified": "O sweet and bless -- ed coun -- try, the home of God's e -- lect! O sweet and bless -- ed coun -- try, that ea -- ger hearts ex -- pect! Je -- sus, in mer -- cy bring us to that dear land of rest, Who art, with God the Fa -- ther, and Spir -- it, ev -- er blessed.", "prose": ["O sweet and blessed country,", "the home of God's elect!", "O sweet and blessed country,", "that eager hearts expect!", "Jesus, in mercy bring us", "to that dear land of rest,", "Who art, with God the Father,", "and Spirit, ever blessed."]}, "5": {"syllabified": "Brief life is here our por -- tion, brief sor -- row, short lived care; The life that knows no end -- ing, the tear -- less life, is there. O ha -- ppy ret -- ri -- bu -- tion! Short toil, e -- ter -- nal rest; For mor -- tals and for sin -- ners, a man -- sion with the blest.", "prose": ["Brief life is here our portion,", "brief sorrow, short lived care;", "The life that knows no ending,", "the tearless life, is there.", "O happy retribution!", "Short toil, eternal rest;", "For mortals and for sinners,", "a mansion with the blest."]}}}, "jesus-christ-is-risen-today": {"slug": "jesus-christ-is-risen-today", "title": "Jesus Christ Is Risen Today", "first_line": "Jesus Christ is ris'n today, Alleluia! Our triumphant holy", "author_source": "Latin, 14th century", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "topics": ["Assurance", "Atonement", "God, Mercy of", "Jesus"], "scripture": ["1 Corinthians 15:25-26", "Romans 6:4-11", "Hebrews 4:15-16"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:109; all components published pre-1931 (latest year 1887).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_christ_is_risen_today_our_tri", "total_instances": 519}}, "stanzas": {"1": {"syllabified": "Je -- sus Christ is ris'n to -- day, Al -- le -- lu -- ia! Our tri -- um -- phant ho -- ly day, Al -- le -- lu -- ia! Who did once, up -- on the cross, Al -- le -- lu -- ia! Suf -- fer to re -- deem our loss, Al -- le -- lu -- ia!", "prose": ["Jesus Christ is ris'n today, Alleluia!", "Our triumphant holy day, Alleluia!", "Who did once, upon the cross, Alleluia!", "Suffer to redeem our loss, Alleluia!"]}, "2": {"syllabified": "Hymns of praise then let us sing, Al -- le -- lu -- ia! Un -- to Christ, our heav'n -- ly King, Al -- le -- lu -- ia! Who en -- dured the cross and grave, Al -- le -- lu -- ia! Sin -- ners to re -- deem and save, Al -- le -- lu -- ia!", "prose": ["Hymns of praise then let us sing, Alleluia!", "Unto Christ, our heav'nly King, Alleluia!", "Who endured the cross and grave, Alleluia!", "Sinners to redeem and save, Alleluia!"]}, "3": {"syllabified": "But the pain which He en -- dured, Al -- le -- lu -- ia! Our sal -- va -- tion hath pro -- cured, Al -- le -- lu -- ia! Now a -- bove the sky He's king, Al -- le -- lu -- ia! Where the an -- gels ev -- er sing, Al -- le -- lu -- ia!", "prose": ["But the pain which He endured, Alleluia!", "Our salvation hath procured, Alleluia!", "Now above the sky He's king, Alleluia!", "Where the angels ever sing, Alleluia!"]}, "4": {"syllabified": "Sing we to our God a -- bove, Al -- le -- lu -- ia! Praise e -- ter -- nal as His love, Al -- le -- lu -- ia! Praise Him, all you heav'n -- ly host, Al -- le -- lu -- ia! Fa -- ther, Son, and Ho -- ly Ghost, Al -- le -- lu -- ia!", "prose": ["Sing we to our God above, Alleluia!", "Praise eternal as His love, Alleluia!", "Praise Him, all you heav'nly host, Alleluia!", "Father, Son, and Holy Ghost, Alleluia!"]}}}, "jesus-i-my-cross-have-taken": {"slug": "jesus-i-my-cross-have-taken", "title": "Jesus, I My Cross Have Taken", "first_line": "Jesus, I my cross have taken", "author": "henry-f-lyte", "author_date": "1824", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Discipleship", "Consecration", "Cross"], "scripture": "Mark 10:28", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry Francis Lyte (1793-1847), \"Jesus, I my cross have taken,\" in Sacred Poetry (Edinburgh: Oliphant & Sons, third edition, 1824), revised in Lyte's Poems Chiefly Religious (1833). Text from The Cyber Hymnal (all six stanzas; Hymnary.org text authority jesus_i_my_cross_have_taken_all_to_le, 1,376 hymnals). Sung elisions normalized for the 8.7.8.7 D meter: \"Heaven\" is elided to \"Heav'n\" in 5.8 and \"Heaven's\" to \"Heav'n's\" in 6.3 (as the source itself prints in 1.8), and \"prayer\" is one syllable in 6.2/6.8. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, I my cross have tak -- en, All to leave and fol -- low Thee. Des -- ti -- tute, de -- spised, for -- sak -- en, Thou from hence my all shalt be. Per -- ish, ev -- ery fond am -- bi -- tion, All I've sought, and hoped, and known. Yet how rich is my con -- di -- tion— God and Heav'n are still mine own!", "prose": ["Jesus, I my cross have taken,", "All to leave and follow Thee.", "Destitute, despised, forsaken,", "Thou from hence my all shalt be.", "Perish, every fond ambition,", "All I've sought, and hoped, and known.", "Yet how rich is my condition—", "God and Heav'n are still mine own!"]}, "2": {"syllabified": "Let the world de -- spise and leave me, They have left my Sav -- ior, too. Hu -- man hearts and looks de -- ceive me; Thou art not, like them, un -- true; And while Thou shalt smile up -- on me, God of wis -- dom, love and might, Foes may hate and friends dis -- own me: Show Thy face, and all is bright.", "prose": ["Let the world despise and leave me,", "They have left my Savior, too.", "Human hearts and looks deceive me;", "Thou art not, like them, untrue;", "And while Thou shalt smile upon me,", "God of wisdom, love and might,", "Foes may hate and friends disown me:", "Show Thy face, and all is bright."]}, "3": {"syllabified": "Go then, earth -- ly fame and trea -- sure! Come, dis -- as -- ter, scorn and pain! In Thy ser -- vice, pain is plea -- sure; With Thy fa -- vor, loss is gain. I have called Thee Ab -- ba, Fa -- ther; I have set my heart on Thee: Storms may howl, and clouds may gath -- er, All must work for good to me.", "prose": ["Go then, earthly fame and treasure!", "Come, disaster, scorn and pain!", "In Thy service, pain is pleasure;", "With Thy favor, loss is gain.", "I have called Thee Abba, Father;", "I have set my heart on Thee:", "Storms may howl, and clouds may gather,", "All must work for good to me."]}, "4": {"syllabified": "Man may trou -- ble and dis -- tress me, 'Twill but drive me to Thy breast. Life with tri -- als hard may press me; Heav'n will bring me sweet -- er rest. Oh, 'tis not in grief to harm me While Thy love is left to me! Oh, 'twere not in joy to charm me, Were that joy un -- mixed with Thee.", "prose": ["Man may trouble and distress me,", "'Twill but drive me to Thy breast.", "Life with trials hard may press me;", "Heav'n will bring me sweeter rest.", "Oh, 'tis not in grief to harm me", "While Thy love is left to me!", "Oh, 'twere not in joy to charm me,", "Were that joy unmixed with Thee."]}, "5": {"syllabified": "Take, my soul, thy full sal -- va -- tion; Rise o'er sin, and fear, and care; Joy to find in ev -- ery sta -- tion Some -- thing still to do or bear! Think what Spir -- it dwells with -- in thee; What a Fa -- ther's smile is thine; What a Sav -- ior died to win thee— Child of Heav'n, shouldst thou re -- pine?", "prose": ["Take, my soul, thy full salvation;", "Rise o'er sin, and fear, and care;", "Joy to find in every station", "Something still to do or bear!", "Think what Spirit dwells within thee;", "What a Father's smile is thine;", "What a Savior died to win thee—", "Child of Heav'n, shouldst thou repine?"]}, "6": {"syllabified": "Haste then on from grace to glo -- ry, Armed by faith, and winged by prayer, Heav'n's e -- ter -- nal day's be -- fore thee, God's own hand shall guide thee there. Soon shall close thy earth -- ly mis -- sion; Swift shall pass thy pil -- grim days; Hope soon change to glad fru -- i -- tion, Faith to sight, and prayer to praise.", "prose": ["Haste then on from grace to glory,", "Armed by faith, and winged by prayer,", "Heav'n's eternal day's before thee,", "God's own hand shall guide thee there.", "Soon shall close thy earthly mission;", "Swift shall pass thy pilgrim days;", "Hope soon change to glad fruition,", "Faith to sight, and prayer to praise."]}}}, "jesus-in-thy-dying-woes": {"slug": "jesus-in-thy-dying-woes", "title": "Jesus, In Thy Dying Woes", "first_line": "Jesus, in Thy dying woes, Even while Thy lifeblood", "author": "thomas-b-pollock", "author_date": "1916", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Contrition", "Cross", "Crown"], "scripture": ["Psalm 22:6-8", "Isaiah 53:4-5", "John 10:14-15", "Hebrews 12:2"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:99; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_in_thy_dying_woes", "total_instances": 80}}, "stanzas": {"1": {"syllabified": "Je -- sus, in Thy dy -- ing woes, E -- ven while Thy life -- blood flows, Crav -- ing par -- don for Thy foes; Hear us, ho -- ly Je -- sus.", "prose": ["Jesus, in Thy dying woes,", "Even while Thy lifeblood flows,", "Craving pardon for Thy foes;", "Hear us, holy Jesus."]}, "2": {"syllabified": "Sav -- ior, for our par -- don sue, When our sins Thy pangs re -- new, For we know not what we do: Hear us, ho -- ly Je -- sus.", "prose": ["Savior, for our pardon sue,", "When our sins Thy pangs renew,", "For we know not what we do:", "Hear us, holy Jesus."]}, "3": {"syllabified": "O may we, who mer -- cy need, Be like Thee in heart and deed, When with wrong our spir -- its bleed: Hear us, ho -- ly Je -- sus.", "prose": ["O may we, who mercy need,", "Be like Thee in heart and deed,", "When with wrong our spirits bleed:", "Hear us, holy Jesus."]}}}, "jesus-keep-me-near-the-cross": {"slug": "jesus-keep-me-near-the-cross", "title": "Near the Cross", "first_line": "Jesus, keep me near the cross", "author": "fanny-crosby", "author_date": "1869", "foot": "trochaic", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Cross", "Atonement", "Consecration", "Heaven"], "scripture": ["1 Corinthians 1:18", "Galatians 6:14", "Colossians 1:20"], "provenance": {"layer": "text", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Fanny J. Crosby (1820-1915). Transcribed word by word from the dated page of Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45, printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49 — which is headed \"Near the Cross.\" over the motto \"Peace through the blood of His cross.\"—Coll. 1: 29, credits \"FANNY J. CROSBY.\" at the left and \"W. H. DOANE, by per.\" at the right, sets stanzas 1 and 2 interlinearly under the staves, and prints stanzas 3 and 4 in full below the music, each closed \"Cho.\" Collated against the same hymn re-engraved in Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 45, printed page 46 — archive.org hymnsconso00blis, leaf n49. US public domain: both printings read are pre-1931, the earlier being 1875, and the author died in 1915. The text is conventionally dated 1869; no printing earlier than 1875 was opened for this record, so 1869 is given as the conventional date and not as a page-verified one. THE TWO PRINTINGS DIFFER IN THREE PLACES, all of them in stanza 2 line 4 and in hyphenation: the 1875 page reads \"Shed its beams a-round me.\" and the 1883 page \"Sheds its beams a-round me.\"; the 1875 page sets \"fountain\" unbroken where the 1883 page sets \"fount-ain\"; and the 1883 page prints \"Cho.\" where the 1875 page prints \"Cho.\" after stanza 3 but plain \"Cho\" after stanza 4. \"Sheds\" is adopted here, since it is the reading of the later of the two dated printings and the one the hymn has carried since. DEPARTURES FROM THE PAGE, in full: (1) the pages set French spacing — \"Near the Cross ! O Lamb of God,\" and \"Bring its scenes before me ;\" — and that space before the exclamation mark and the semicolon is closed up here to modern English spacing; (2) the \"—Cho.\" trailing stanzas 3 and 4 is a printer's direction to repeat the chorus, not part of the words, and is not carried; (3) the pages capitalise \"cross\" in stanzas 1 and 2 but \"Cross\" in stanzas 3 and 4, and that inconsistency is reproduced exactly as printed, not normalised; (4) both pages set \"Calvary's\" unbroken over the two notes it is sung on, so the syllabified line below splits it \"Cal -- vary's\" to give the line its six slots — the printed spelling is unchanged, only the hyphenation is editorial. Nothing else departs.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, keep me near the cross, There a pre -- cious foun -- tain Free to all— a heal -- ing stream, Flows from Cal -- vary's moun -- tain.", "prose": ["Jesus, keep me near the cross,", "There a precious fountain", "Free to all— a healing stream,", "Flows from Calvary's mountain."]}, "2": {"syllabified": "Near the cross, a trem -- bling soul, Love and mer -- cy found me; There the bright and morn -- ing star Sheds its beams a -- round me.", "prose": ["Near the cross, a trembling soul,", "Love and mercy found me;", "There the bright and morning star", "Sheds its beams around me."]}, "3": {"syllabified": "Near the Cross! O Lamb of God, Bring its scenes be -- fore me; Help me walk from day to day, With its shad -- ows o'er me.", "prose": ["Near the Cross! O Lamb of God,", "Bring its scenes before me;", "Help me walk from day to day,", "With its shadows o'er me."]}, "4": {"syllabified": "Near the Cross I'll watch and wait, Hop -- ing, trust -- ing ev -- er, Till I reach the gold -- en strand, Just be -- yond the riv -- er.", "prose": ["Near the Cross I'll watch and wait,", "Hoping, trusting ever,", "Till I reach the golden strand,", "Just beyond the river."]}}, "refrain": {"syllabified": "In the Cross, in the Cross, Be my glo -- ry ev -- er; Till my rap -- tured soul shall find Rest be -- yond the riv -- er.", "prose": ["In the Cross, in the Cross,", "Be my glory ever;", "Till my raptured soul shall find", "Rest beyond the river."]}}, "jesus-king-of-glory": {"slug": "jesus-king-of-glory", "title": "Jesus, King of Glory", "first_line": "Jesus, King of glory, throned above the sky, Jesus", "author": "w-hope-davison", "author_date": "1921", "foot": "iambic", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Angels", "Children", "Crown", "God, As King"], "scripture": ["Zechariah 9:9-10", "Psalm 72:8", "Revelation 22:3-5", "1 Corinthians 15:22-28"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:168; all components published pre-1931 (latest year 1921).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_king_of_glory", "total_instances": 74}}, "stanzas": {"1": {"syllabified": "Je -- sus, King of glo -- ry, throned a -- bove the sky, Je -- sus, ten -- der Sav -- ior, hear Thy child -- ren cry. Par -- don our trans -- gres -- sions, cleanse us from our sin, By Thy Spir -- it help us heav'n -- ly life to win.", "prose": ["Jesus, King of glory,", "throned above the sky,", "Jesus, tender Savior,", "hear Thy children cry.", "Pardon our transgressions,", "cleanse us from our sin,", "By Thy Spirit help us", "heav'nly life to win."]}, "2": {"syllabified": "On this day of glad -- ness, Bend -- ing low the knee In thine earth -- ly tem -- ple, Lord, we wor -- ship thee; Cel -- e -- brate thy good -- ness, Mer -- cy, grace, and truth, All thy lov -- ing guid -- ance Of our heed -- less youth.", "prose": ["On this day of gladness,", "Bending low the knee", "In thine earthly temple,", "Lord, we worship thee;", "Celebrate thy goodness,", "Mercy, grace, and truth,", "All thy loving guidance", "Of our heedless youth."]}, "3": {"syllabified": "For the lit -- tle child -- ren Who have come to thee; For the glad, bright spir -- its Who thy glo -- ry see; For the loved ones rest -- ing In thy dear em -- brace; For the pure and ho -- ly Who be -- hold thy face,", "prose": ["For the little children", "Who have come to thee;", "For the glad, bright spirits", "Who thy glory see;", "For the loved ones resting", "In thy dear embrace;", "For the pure and holy", "Who behold thy face,"]}, "4": {"syllabified": "Help us ev -- er stead -- fast in the faith to be: In Thy Church -- 's con -- flicts fight -- ing val -- iant -- ly. Lov -- ing Sav -- ior, streng -- then these weak hearts of ours, Through Thy cross to con -- quer craf -- ty ev -- il powers.", "prose": ["Help us ever steadfast", "in the faith to be:", "In Thy Church's conflicts", "fighting valiantly.", "Loving Savior, strengthen", "these weak hearts of ours,", "Through Thy cross to conquer", "crafty evil powers."]}, "5": {"syllabified": "When the shad -- ows leng -- then, show us, Lord, Thy way; Through the dark -- ness lead us to the heav'n -- ly day; When our course is fin -- ished, end -- ed all the strife, Grant us, with the faith -- ful, palms and crowns of life.", "prose": ["When the shadows lengthen,", "show us, Lord, Thy way;", "Through the darkness lead us", "to the heav'nly day;", "When our course is finished,", "ended all the strife,", "Grant us, with the faithful,", "palms and crowns of life."]}}, "refrain": {"syllabified": "Je -- sus, King of glo -- ry, throned a -- bove the sky, Je -- sus, ten -- der Sav -- ior, hear Thy child -- ren cry.", "prose": ["Jesus, King of glory,", "throned above the sky,", "Jesus, tender Savior,", "hear Thy children cry."]}}, "jesus-lives-and-so-shall-i": {"slug": "jesus-lives-and-so-shall-i", "title": "Jesus Lives, and So Shall I", "first_line": "Jesus lives, and so shall I", "author": "christian-f-gellert", "author_date": "1757", "translator": "john-dunmore-lang", "translator_date": "1826", "foot": "trochaic", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Resurrection", "Eternal Life"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Christian F. Gellert, \"Jesus lebt, mit ihm auch ich\" (1757); English translation \"Jesus lives, and so shall I\" by John Dunmore Lang (1826). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus lives, and so shall I. Death! thy sting is gone for -- ev -- er! He who deigned for me to die, Lives, the bands of death to sev -- er. He shall raise me with the just: Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, and so shall I.", "Death! thy sting is gone forever!", "He who deigned for me to die,", "Lives, the bands of death to sever.", "He shall raise me with the just:", "Jesus is my Hope and Trust."]}, "2": {"syllabified": "Je -- sus lives, and reigns su -- preme; And, His king -- dom still re -- main -- ing, I shall al -- so be with Him, Ev -- er liv -- ing, ev -- er reign -- ing. God has prom -- ised; be it must: Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, and reigns supreme;", "And, His kingdom still remaining,", "I shall also be with Him,", "Ever living, ever reigning.", "God has promised; be it must:", "Jesus is my Hope and Trust."]}, "3": {"syllabified": "Je -- sus lives, and God ex -- tends Grace to each re -- turn -- ing sin -- ner; Reb -- els He re -- ceives as friends, And ex -- alts to high -- est hon -- or. God is true as He is just; Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, and God extends", "Grace to each returning sinner;", "Rebels He receives as friends,", "And exalts to highest honor.", "God is true as He is just;", "Jesus is my Hope and Trust."]}, "4": {"syllabified": "Je -- sus lives, and by His grace, Vic -- t'ry o'er my pas -- sions giv -- ing, I will cleanse my heart and ways, Ev -- er to His glo -- ry liv -- ing. Me He rais -- es from the dust; Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, and by His grace,", "Vict'ry o'er my passions giving,", "I will cleanse my heart and ways,", "Ever to His glory living.", "Me He raises from the dust;", "Jesus is my Hope and Trust."]}, "5": {"syllabified": "Je -- sus lives, I know full well Naught from Him my heart can sev -- er, Life, nor death, nor pow'rs of hell, Joy, nor grief, hence -- forth for -- ev -- er. None of all His saints is lost: Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, I know full well", "Naught from Him my heart can sever,", "Life, nor death, nor pow'rs of hell,", "Joy, nor grief, henceforth forever.", "None of all His saints is lost:", "Jesus is my Hope and Trust."]}, "6": {"syllabified": "Je -- sus lives, and death is now But my en -- trance in -- to glo -- ry. Cour -- age, then, my soul, for thou Hast a crown of life be -- fore thee; Thou shalt find thy hopes were just: Je -- sus is my Hope and Trust.", "prose": ["Jesus lives, and death is now", "But my entrance into glory.", "Courage, then, my soul, for thou", "Hast a crown of life before thee;", "Thou shalt find thy hopes were just:", "Jesus is my Hope and Trust."]}}}, "jesus-lover-of-my-soul": {"slug": "jesus-lover-of-my-soul", "title": "Jesus, Lover of My Soul", "first_line": "Jesus, Lover of My Soul", "author": "charles-wesley", "author_date": "1740", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Refuge", "Trust"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), \"Jesus, Lover of My Soul,\" Hymns and Sacred Poems (1740). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, lov -- er of my soul, Let me to Thy bos -- om fly, While the near -- er wa -- ters roll, While the tem -- pest still is high; Hide me, O my Sav -- ior, hide, Till the storm of life is past; Safe in -- to the ha -- ven guide, O re -- ceive my soul at last!", "prose": ["Jesus, lover of my soul,", "Let me to Thy bosom fly,", "While the nearer waters roll,", "While the tempest still is high;", "Hide me, O my Savior, hide,", "Till the storm of life is past;", "Safe into the haven guide,", "O receive my soul at last!"]}, "2": {"syllabified": "Oth -- er ref -- uge have I none, Hangs my help -- less soul on Thee; Leave, ah! leave me not a -- lone, Still sup -- port and com -- fort me. All my trust on Thee is stayed, All my help from Thee I bring; Cov -- er my de -- fense -- less head With the shad -- ow of Thy wing.", "prose": ["Other refuge have I none,", "Hangs my helpless soul on Thee;", "Leave, ah! leave me not alone,", "Still support and comfort me.", "All my trust on Thee is stayed,", "All my help from Thee I bring;", "Cover my defenseless head", "With the shadow of Thy wing."]}, "3": {"syllabified": "Thou, O Christ, art all I want, More than all in Thee I find; Raise the fall -- en, cheer the faint, Heal the sick, and lead the blind. Just and ho -- ly is Thy Name, I am all un -- right -- eous -- ness; False and full of sin I am, Thou art full of truth and grace.", "prose": ["Thou, O Christ, art all I want,", "More than all in Thee I find;", "Raise the fallen, cheer the faint,", "Heal the sick, and lead the blind.", "Just and holy is Thy Name,", "I am all unrighteousness;", "False and full of sin I am,", "Thou art full of truth and grace."]}, "4": {"syllabified": "Plen -- teous grace with Thee is found, Grace to cov -- er all my sin; Let the heal -- ing streams a -- bound, Make and keep me pure with -- in. Thou of life the foun -- tain art, Free -- ly let me take of Thee; Spring Thou up with -- in my heart, Rise to all e -- ter -- ni -- ty.", "prose": ["Plenteous grace with Thee is found,", "Grace to cover all my sin;", "Let the healing streams abound,", "Make and keep me pure within.", "Thou of life the fountain art,", "Freely let me take of Thee;", "Spring Thou up within my heart,", "Rise to all eternity."]}}}, "jesus-loves-me": {"slug": "jesus-loves-me", "title": "Jesus Loves Me", "first_line": "Jesus Loves Me", "author": "anna-b-warner", "author_date": "1866", "foot": "trochaic", "meter": {"alleluia": false, "doubled": false, "irregular": false, "pattern": [7, 7, 7, 7], "refrain": true}, "topics": ["Jesus", "Assurance", "Children", "Love"], "scripture": [], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:155; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_loves_me_jesus_loves_me_he_is_alwa", "total_instances": 60}}, "stanzas": {"1": {"syllabified": "Je -- sus loves me! This I know, For the Bi -- ble tells me so. Lit -- tle ones to Him be -- long; They are weak, but He is strong.", "prose": ["Jesus loves me! This I know,", "For the Bible tells me so.", "Little ones to Him belong;", "They are weak, but He is strong."]}, "2": {"syllabified": "Je -- sus loves me! He who died Heav -- en's gate to op -- en wide; He will wash a -- way my sin, Let His lit -- tle child come in.", "prose": ["Jesus loves me! He who died", "Heaven's gate to open wide;", "He will wash away my sin,", "Let His little child come in."]}, "3": {"syllabified": "Je -- sus loves me! He will stay Close be -- side me all the way; Thou hast bled and died for me, I will hence -- forth live for Thee.", "prose": ["Jesus loves me! He will stay", "Close beside me all the way;", "Thou hast bled and died for me,", "I will henceforth live for Thee."]}}, "refrain": {"syllabified": "Yes, Je -- sus loves me! Yes, Je -- sus loves me! Yes, Je -- sus loves me! The Bi -- ble tells me so.", "prose": ["Yes, Jesus loves me! Yes, Jesus loves me!", "Yes, Jesus loves me! The Bible tells me so."]}}, "jesus-paid-it-all": {"slug": "jesus-paid-it-all", "title": "Jesus Paid It All", "first_line": "I hear the Saviour say", "author": "elvina-m-hall", "author_date": "1865", "foot": "iambic", "meter": {"pattern": [6, 6, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Redemption", "Grace", "Cleansing"], "scripture": ["1 Peter 2:24", "Isaiah 1:18", "Revelation 7:14"], "provenance": {"layer": "text", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elvina Mabel Hall (1820-1889), written 1865 on the fly-leaf of a hymnal in the choir loft of the Monument Street Methodist Episcopal Church, Baltimore. Transcribed syllable by syllable from the dated page image of Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 — archive.org gospelhymnssacre00blis_0, leaf n40 — which is headed \"All to Christ I Owe.\", carries the scripture motto \"Who His own self bare our sins.\"—1 Peter 2: 24, credits \"Mrs. Elvina M. Hall.\" on the left and \"John T. Grape, by per.\" on the right, sets stanza 1 and the chorus under the staves, and prints stanzas 2 to 5 in two columns below, each closing \"—Cho.\" Collated against the same setting reprinted in Gospel Hymns Consolidated, Nos. 1 to 4 (1883), No. 35, printed page 36 (archive.org hymnsconso00blis, leaf n40) and in Gospel Hymns Nos. 1 to 6 Complete (1894), No. 588, printed pages 592-593 (archive.org gospelhymnsnos1t0000unse_s2j5, leaves n598-n599). US public domain: written 1865, the earliest printing read here is 1875, and the author died in 1889, so it is also PD in life+70 jurisdictions. THE PAGE SPELLS IT \"Sav-iour\", and that spelling is kept. Punctuation follows the 1875 page throughout, including the em-dash closing stanza 3 line 2 and the double quotation marks round \"Jesus paid it all\" in stanza 4. TWO ELISIONS ARE DECLARED, and both are ordinary sung ones rather than changes to the printed words. (1) The page prints \"Thy power, and Thine alone,\" — seven speech syllables against six noteheads — so \"power\" is ONE slot here; the 1894 reprint spells it \"pow'r\" in its own underlay, which is what that means. (2) The page prints \"In the blood of Calvary's Lamb.\" — eight speech syllables against seven noteheads — so the syllabified line divides it \"Cal -- v'ry's\"; the 1894 reprint sets the unhyphenated word \"Calvary's\" across those same two notes. The prose keeps the 1875 page's spelling in both places. THE STANZAS ARE NOT ALL THE SAME LENGTH — stanza 1 is 6.6.7.7 but stanzas 2 to 5 are a syllable short in lines 3 and 4 (and stanzas 2 and 3 also in line 1), which is why the tune carries a variable melisma and why the plates print a SLUR over the two pickup notes of verse lines 3 and 4. The 1875 and 1883 plates set stanza 1 only under the staves and print stanzas 2 to 5 as a poetry block, so THEY GIVE NO UNDERLAY FOR THE LATER STANZAS; the 1894 reprint does — it sets stanzas 1, 2 and 3 interlinearly — and its placement is exactly the one this hymn's setting encodes: in stanza 2 \"Lord,\", \"Can\" and \"And\" are each carried across a pickup pair (line 2, \"Thy pow'r, and Thine a-lone,\", is six syllables over six notes and needs none); in stanza 3 \"For\" and \"I'll\" are carried across a pickup pair, line 2 needs none, and line 4 spreads \"Calvary's\" over two notes instead. Where the printings differ in wording the 1875 reading is followed: 1875 \"I'll wash my garment white\", 1894 \"garments\".", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "i_hear_the_savior_say_thy_strength_indeed"}}, "stanzas": {"1": {"syllabified": "I hear the Sav -- iour say, Thy strength in -- deed is small; Child of weak -- ness, watch and pray, Find in Me thine all in all.", "prose": ["I hear the Saviour say,", "Thy strength indeed is small;", "Child of weakness, watch and pray,", "Find in Me thine all in all."]}, "2": {"syllabified": "Lord, now in -- deed I find Thy power, and Thine a -- lone, Can change the lep -- er's spots, And melt the heart of stone.", "prose": ["Lord, now indeed I find", "Thy power, and Thine alone,", "Can change the leper's spots,", "And melt the heart of stone."]}, "3": {"syllabified": "For noth -- ing good have I Where -- by Thy grace to claim— I'll wash my gar -- ment white In the blood of Cal -- v'ry's Lamb.", "prose": ["For nothing good have I", "Whereby Thy grace to claim—", "I'll wash my garment white", "In the blood of Calvary's Lamb."]}, "4": {"syllabified": "When from my dy -- ing bed My ran -- somed soul shall rise, Then \"Je -- sus paid it all\" Shall rend the vault -- ed skies.", "prose": ["When from my dying bed", "My ransomed soul shall rise,", "Then \"Jesus paid it all\"", "Shall rend the vaulted skies."]}, "5": {"syllabified": "And when be -- fore the throne I stand in Him com -- plete, I'll lay my tro -- phies down, All down at Je -- sus' feet.", "prose": ["And when before the throne", "I stand in Him complete,", "I'll lay my trophies down,", "All down at Jesus' feet."]}}, "refrain": {"syllabified": "Je -- sus paid it all, All to Him I owe; Sin had left a crim -- son stain: He washed it white as snow.", "prose": ["Jesus paid it all,", "All to Him I owe;", "Sin had left a crimson stain:", "He washed it white as snow."]}}, "jesus-priceless-treasure": {"slug": "jesus-priceless-treasure", "title": "Jesus, Priceless Treasure", "first_line": "Jesus, priceless treasure", "author": "johann-franck", "author_date": "1653", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "trochaic", "meter": {"pattern": [6, 6, 5, 6, 6, 5, 7, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Jesus Christ", "Comfort", "Devotion"], "scripture": ["Matthew 13:44"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Franck, \"Jesu, meine Freude\" (1653); English translation \"Jesus, Priceless Treasure\" by Catherine Winkworth, The Chorale Book for England (1863). Franck d. 1677, Winkworth d. 1878; all components pre-1931. Standard three-stanza form as printed in The Cyber Hymnal and common hymnals (e.g. United Methodist Hymnal 532, SDA Hymnal 239).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, price -- less trea -- sure, Source of pur -- est plea -- sure, Tru -- est Friend to me; Ah, how long I've pant -- ed, And my heart has faint -- ed, Thirst -- ing, Lord, for Thee. Thine I am, O spot -- less Lamb, I will suf -- fer naught to hide Thee, Naught I ask be -- side Thee.", "prose": ["Jesus, priceless treasure,", "Source of purest pleasure,", "Truest Friend to me;", "Ah, how long I've panted,", "And my heart has fainted,", "Thirsting, Lord, for Thee.", "Thine I am, O spotless Lamb,", "I will suffer naught to hide Thee,", "Naught I ask beside Thee."]}, "2": {"syllabified": "In Thine arms I rest me; Foes who would mo -- lest me Can -- not reach me here. Though the earth be shak -- ing, Ev -- ery heart be quak -- ing, Je -- sus calms my fear. Sin and hell in con -- flict fell, With their bit -- ter storms as -- sail me, Je -- sus will not fail me.", "prose": ["In Thine arms I rest me;", "Foes who would molest me", "Cannot reach me here.", "Though the earth be shaking,", "Every heart be quaking,", "Jesus calms my fear.", "Sin and hell in conflict fell,", "With their bitter storms assail me,", "Jesus will not fail me."]}, "3": {"syllabified": "Hence, all fear and sad -- ness! For the Lord of glad -- ness, Je -- sus, en -- ters in. Those who love the Fa -- ther, Though the storms may gath -- er, Still have peace with -- in; Yea, what -- e'er I here must bear, Still in Thee lies pur -- est plea -- sure, Je -- sus, price -- less trea -- sure!", "prose": ["Hence, all fear and sadness!", "For the Lord of gladness,", "Jesus, enters in.", "Those who love the Father,", "Though the storms may gather,", "Still have peace within;", "Yea, whate'er I here must bear,", "Still in Thee lies purest pleasure,", "Jesus, priceless treasure!"]}}}, "jesus-shall-reign": {"slug": "jesus-shall-reign", "title": "Jesus Shall Reign Where'er the Sun", "first_line": "Jesus shall reign where'er the sun", "author": "isaac-watts", "author_date": "1719", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 72, "topics": ["Jesus Christ, Reign of", "Missions", "Praise"], "scripture": ["Psalm 72:8", "Psalm 72:17", "Revelation 11:15"], "provenance": {"layer": "text", "source": "watts-psalms-1719", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, The Psalms of David Imitated, 1719 (Psalm 72). Author d. 1748.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_shall_reign_whereer_the_sun", "total_instances": 1905}}, "stanzas": {"1": {"syllabified": "Je -- sus shall reign wher -- e'er the sun Doth his suc -- ces -- sive jour -- neys run; His king -- dom stretch from shore to shore, Till moons shall wax and wane no more.", "prose": ["Jesus shall reign where'er the sun", "Doth his successive journeys run;", "His kingdom stretch from shore to shore,", "Till moons shall wax and wane no more."]}, "2": {"syllabified": "To Him shall end -- less prayer be made, And prais -- es throng to crown His head; His Name like sweet per -- fume shall rise With ev -- ery morn -- ing sac -- ri -- fice.", "prose": ["To Him shall endless prayer be made,", "And praises throng to crown His head;", "His Name like sweet perfume shall rise", "With every morning sacrifice."]}, "3": {"syllabified": "Peo -- ple and realms of ev -- ery tongue Dwell on His love with sweet -- est song; And in -- fant voic -- es shall pro -- claim Their ear -- ly bless -- ings on His Name.", "prose": ["People and realms of every tongue", "Dwell on His love with sweetest song;", "And infant voices shall proclaim", "Their early blessings on His Name."]}, "4": {"syllabified": "Bless -- ings a -- bound wher -- e'er He reigns; The pris -- ’ner leaps to lose his chains; The wea -- ry find e -- ter -- nal rest, And all the sons of want are blest.", "prose": ["Blessings abound where'er He reigns;", "The pris’ner leaps to lose his chains;", "The weary find eternal rest,", "And all the sons of want are blest."]}}}, "jesus-sinners-doth-receive": {"slug": "jesus-sinners-doth-receive", "title": "Jesus Sinners Doth Receive", "first_line": "Jesus Sinners Doth Receive", "author": "erdmann-neumeister", "author_date": "1913", "translator": "henry-mills", "translator_date": "1913", "foot": "iambic", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Aspiration", "Christian Life", "Comfort"], "scripture": ["Psalm 51:6-12", "Hebrews 4:15-16", "Psalm 119:133", "Luke 23:42-43"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:140; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_sinners_doth_receive_o_may_all", "total_instances": 31}}, "stanzas": {"1": {"syllabified": "Je -- sus sin -- ners doth re -- ceive; Well may we this say -- ing pon -- der Who in sin's de -- lu -- sions live, And from God and Heav -- en wan -- der: Here is hope for all who grieve -- Je -- sus sin -- ners doth re -- ceive.", "prose": ["Jesus sinners doth receive;", "Well may we this saying ponder", "Who in sin's delusions live,", "And from God and Heaven wander:", "Here is hope for all who grieve—", "Jesus sinners doth receive."]}, "2": {"syllabified": "We de -- serve but grief and shame, -- Yet His words, rich grace re -- veal -- ing, Par -- don, peace, and life pro -- claim; Here their ills have per -- fect heal -- ing Who with hum -- ble hearts be -- lieve -- Je -- sus sin -- ners doth re -- ceive.", "prose": ["We deserve but grief and shame,—", "Yet His words, rich grace revealing,", "Pardon, peace, and life proclaim;", "Here their ills have perfect healing", "Who with humble hearts believe—", "Jesus sinners doth receive."]}, "3": {"syllabified": "As the shep -- herd seeks to find His lost sheep that from Him stray -- eth, So hath Christ each soul in mind, And for its sal -- va -- tion pray -- eth; Fain He'd have each wan -- d'rer live: Je -- sus sin -- ners doth re -- ceive.", "prose": ["As the shepherd seeks to find", "His lost sheep that from Him strayeth,", "So hath Christ each soul in mind,", "And for its salvation prayeth;", "Fain He'd have each wand'rer live:", "Jesus sinners doth receive."]}, "4": {"syllabified": "Come, then, all by guilt op -- pressed, Je -- sus calls, and He would make you God's own child -- ren, pure and blest, And to glo -- ry He would take you; Think on this, and well be -- lieve Je -- sus sin -- ners doth re -- ceive.", "prose": ["Come, then, all by guilt oppressed,", "Jesus calls, and He would make you", "God's own children, pure and blest,", "And to glory He would take you;", "Think on this, and well believe", "Jesus sinners doth receive."]}, "5": {"syllabified": "Sav -- ior, now I come to Thee: Great my sins, a wear -- y bur -- den! Wilt Thou mer -- cy show to me? Can I hope to find a par -- don? I will trust: my soul re -- lieve! Me, a sin -- ner, Lord, re -- ceive!", "prose": ["Savior, now I come to Thee:", "Great my sins, a weary burden!", "Wilt Thou mercy show to me?", "Can I hope to find a pardon?", "I will trust: my soul relieve!", "Me, a sinner, Lord, receive!"]}}}, "jesus-still-lead-on": {"slug": "jesus-still-lead-on", "title": "Jesus, Still Lead On", "first_line": "Jesus, Still Lead On", "author": "nikolaus-l-von-zinzendorf", "author_date": "1721", "translator": "jane-l-borthwick", "translator_date": "1846", "foot": "trochaic", "meter": {"pattern": [5, 5, 8, 8, 5, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Guidance", "Pilgrimage", "Trust"], "scripture": ["Psalm 5:8"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Nikolaus L. von Zinzendorf, \"Seelenbräutigam, Jesu, Gottes Lamm\" (\"Jesu, geh voran\"), 1721; translated from German to English by Jane L. Borthwick in the Free Church Magazine, 1846. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, still lead on, till our rest be won, And, al -- though the way be cheer -- less, We will fol -- low calm and fear -- less, Guide us by Thy hand to our fa -- ther -- land.", "prose": ["Jesus, still lead on, till our rest be won,", "And, although the way be cheerless,", "We will follow calm and fearless,", "Guide us by Thy hand to our fatherland."]}, "2": {"syllabified": "If the way be drear, if the foe be near, Let no faith -- less fears o'er -- take us, Let not faith and hope for -- sake us, For through man -- y'a woe to our home we go.", "prose": ["If the way be drear, if the foe be near,", "Let no faithless fears o'ertake us,", "Let not faith and hope forsake us,", "For through many a woe to our home we go."]}, "3": {"syllabified": "When we seek re -- lief from a long felt grief; When temp -- ta -- tions come al -- lur -- ing, Make us pa -- tient and en -- dur -- ing; Show us that bright shore where we weep no more.", "prose": ["When we seek relief from a long felt grief;", "When temptations come alluring,", "Make us patient and enduring;", "Show us that bright shore where we weep no more."]}, "4": {"syllabified": "Je -- sus, still lead on, till our rest be won; Heav'n -- ly Lead -- er, still di -- rect us, Still sup -- port, con -- trol, pro -- tect us, Till we safe -- ly stand in our fa -- ther -- land.", "prose": ["Jesus, still lead on, till our rest be won;", "Heavenly Leader, still direct us,", "Still support, control, protect us,", "Till we safely stand in our fatherland."]}}}, "jesus-tender-shepherd-hear-me": {"slug": "jesus-tender-shepherd-hear-me", "title": "Jesus, Tender Shepherd, Hear Me", "first_line": "Jesus, tender Shepherd, hear me", "author": "mary-lundie-duncan", "author_date": "1839", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Contrition", "Darkness, Spiritual", "Evening", "Following Jesus, In Faith", "Friendship", "God, Care of", "Guidance", "Invitation (Faithful's to God)", "Jesus", "Prayer", "Shepard", "Lamb"], "scripture": ["Psalm 63:8", "John 10:11"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:311 (line 40846); words Mary L. Duncan, 1839 (d. 1840). Pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Je -- sus, ten -- der Shep -- herd, hear me; Bless Thy lit -- tle lamb to -- night; Through the dark -- ness be Thou near me; Watch my sleep till morn -- ing light.", "prose": ["Jesus, tender Shepherd, hear me;", "Bless Thy little lamb tonight;", "Through the darkness be Thou near me;", "Watch my sleep till morning light."]}, "2": {"syllabified": "All this day thy hand has led me, And I thank Thee for Thy care; Thou hast clothed me, warmed and fed me, Lis -- ten to my eve -- ning prayer.", "prose": ["All this day thy hand has led me,", "And I thank Thee for Thy care;", "Thou hast clothed me, warmed and fed me,", "Listen to my evening prayer."]}, "3": {"syllabified": "Let my sins be all for -- giv -- en; Bless the friends I love so well; Take me, when I die, to heav -- en, Hap -- py there with Thee to dwell.", "prose": ["Let my sins be all forgiven;", "Bless the friends I love so well;", "Take me, when I die, to heaven,", "Happy there with Thee to dwell."]}}}, "jesus-the-name-high-over-all": {"slug": "jesus-the-name-high-over-all", "title": "Jesus! the Name High over All", "first_line": "Jesus! the name high over all", "author": "charles-wesley", "author_date": "1749", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ, Name of", "Praise", "Evangelism"], "scripture": ["Philippians 2:9-11", "Acts 4:12", "John 1:29"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), from Hymns and Sacred Poems (1749). Transcribed from The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 222, printed page 162, which prints these six stanzas signed \"Charles Wesley\" under CORONATION C. M. by Oliver Holden. Public domain: author d. 1788, and the 1905 printing read for this record is itself pre-1931. Scans read: archive.org methodi00meth leaf 0174 and archive.org methodisthymnal01churgoog leaf 0181. Stanza 1 is transcribed from the interlinear underlay of that plate; stanzas 2-6 from the poetry block below it, read on both scans. Punctuation is the page's, including the absence of any mark after \"and see\" in stanza 4 line 1 (scan 1 shows a speck there; scan 2, which is cleaner, shows nothing).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_the_name_high_over_all_in_hell_or", "total_instances": 307}}, "stanzas": {"1": {"syllabified": "Je -- sus! the name high o -- ver all, In hell, or earth, or sky; An -- gels and men be -- fore it fall, And dev -- ils fear and fly; An -- gels and men be -- fore it fall, And dev -- ils fear and fly.", "prose": ["Jesus! the name high over all,", "In hell, or earth, or sky;", "Angels and men before it fall,", "And devils fear and fly."]}, "2": {"syllabified": "Je -- sus! the name to sin -- ners dear, The name to sin -- ners giv'n; It scat -- ters all their guilt -- y fear; It turns their hell to heav'n. It scat -- ters all their guilt -- y fear; It turns their hell to heav'n.", "prose": ["Jesus! the name to sinners dear,", "The name to sinners giv'n;", "It scatters all their guilty fear;", "It turns their hell to heav'n."]}, "3": {"syllabified": "Je -- sus the pris -- 'ner's fet -- ters breaks, And bruis -- es Sa -- tan's head; Pow'r in -- to strength -- less souls he speaks, And life in -- to the dead. Pow'r in -- to strength -- less souls he speaks, And life in -- to the dead.", "prose": ["Jesus the pris'ner's fetters breaks,", "And bruises Satan's head;", "Pow'r into strengthless souls he speaks,", "And life into the dead."]}, "4": {"syllabified": "O that the world might taste and see The rich -- es of his grace! The arms of love that com -- pass me Would all man -- kind em -- brace. The arms of love that com -- pass me Would all man -- kind em -- brace.", "prose": ["O that the world might taste and see", "The riches of his grace!", "The arms of love that compass me", "Would all mankind embrace."]}, "5": {"syllabified": "His on -- ly right -- eous -- ness I show, His sav -- ing truth pro -- claim; 'Tis all my busi -- ness here be -- low, To cry, \"Be -- hold the Lamb!\" 'Tis all my busi -- ness here be -- low, To cry, \"Be -- hold the Lamb!\"", "prose": ["His only righteousness I show,", "His saving truth proclaim;", "'Tis all my business here below,", "To cry, \"Behold the Lamb!\""]}, "6": {"syllabified": "Hap -- py, if with my lat -- est breath I may but gasp his name; Preach him to all, and cry in death, \"Be -- hold, be -- hold the Lamb!\" Preach him to all, and cry in death, \"Be -- hold, be -- hold the Lamb!\"", "prose": ["Happy, if with my latest breath", "I may but gasp his name;", "Preach him to all, and cry in death,", "\"Behold, behold the Lamb!\""]}}}, "jesus-thy-boundless-love-to-me": {"slug": "jesus-thy-boundless-love-to-me", "title": "Jesus, Thy Boundless Love To Me", "first_line": "Jesus, Thy boundless love to me No thought can", "author": "paul-gerhardt", "author_date": "1874", "translator": "john-wesley", "translator_date": "1874", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Bread (of Life/Daily Bread)", "Faith", "God, Majesty & Power of"], "scripture": ["Revelation 1:5-6", "John 6:47-51", "Revelation 5:11-14", "Romans 3:24-25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:170; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "jesus_thy_boundless_love_to_me", "total_instances": 373}}, "stanzas": {"1": {"syllabified": "Je -- sus, Thy bound -- less love to me No thought can reach, no tongue de -- clare; U -- nite my thank -- ful heart with Thee And reign with -- out a ri -- val there. To Thee a -- lone, dear Lord, I live; My -- self to Thee, dear Lord, I give.", "prose": ["Jesus, Thy boundless love to me", "No thought can reach, no tongue declare;", "Unite my thankful heart with Thee", "And reign without a rival there.", "To Thee alone, dear Lord, I live;", "Myself to Thee, dear Lord, I give."]}, "2": {"syllabified": "O, grant that noth -- ing in my soul May dwell but Thy pure love a -- lone! Oh, may Thy love pos -- sess me whole, My joy, my trea -- sure, and my crown! All cold -- ness from my heart re -- move; My ev -- ery act, word, thought, be love.", "prose": ["O, grant that nothing in my soul", "May dwell but Thy pure love alone!", "Oh, may Thy love possess me whole,", "My joy, my treasure, and my crown!", "All coldness from my heart remove;", "My every act, word, thought, be love."]}, "3": {"syllabified": "O love, how cheer -- ing is thy ray! All pain be -- fore thy pres -- ence flies; Care, an -- guish, sor -- row, melt a -- way Wher -- e'er thy heal -- ing beams a -- rise. O Je -- sus, noth -- ing may I see, Noth -- ing de -- sire or seek, but Thee!", "prose": ["O love, how cheering is thy ray!", "All pain before thy presence flies;", "Care, anguish, sorrow, melt away", "Where'er thy healing beams arise.", "O Jesus, nothing may I see,", "Nothing desire or seek, but Thee!"]}, "4": {"syllabified": "This love un -- wear -- ied I pur -- sue And daunt -- less -- ly to Thee as -- pire. Oh, may Thy love my hope re -- new Burn in my soul like heav'n -- ly fire! And day and night be all my care To guard this sa -- cred treas -- ure there.", "prose": ["This love unwearied I pursue", "And dauntlessly to Thee aspire.", "Oh, may Thy love my hope renew", "Burn in my soul like heav'nly fire!", "And day and night be all my care", "To guard this sacred treasure there."]}, "5": {"syllabified": "My Sav -- ior, Thou Thy love to me In shame, in want, in pain, hast showed; For me, on the a -- ccur -- sed tree, Thou pour -- est forth Thy guilt -- less blood; Thy wounds up -- on my heart im -- press, Nor aught shall the lov'd stamp ef -- face.", "prose": ["My Savior, Thou Thy love to me", "In shame, in want, in pain, hast showed;", "For me, on the accursed tree,", "Thou pourest forth Thy guiltless blood;", "Thy wounds upon my heart impress,", "Nor aught shall the lov'd stamp efface."]}}}, "joy-to-the-world": {"slug": "joy-to-the-world", "title": "Joy to the World", "first_line": "Joy to the world, the Lord is come", "author": "isaac-watts", "author_date": "1719", "foot": "trochaic", "meter": {"pattern": [8, 6, 8, 6, 6, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 98, "topics": ["Advent", "Christmas", "Praise"], "scripture": ["Psalm 98:4-9"], "provenance": {"layer": "text", "source": "watts-psalms-1719", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, 1719. Author d. 1748.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "joy_to_the_world_the_lord_is_come", "total_instances": 2027}}, "stanzas": {"1": {"syllabified": "Joy to the world, the Lord is come! Let earth re -- ceive her King; Let ev -- 'ry heart pre -- pare Him room, And Heav'n and na -- ture sing, And Heav'n and na -- ture sing, And Heav'n, and Heav'n, and na -- ture sing.", "prose": ["Joy to the world, the Lord is come!", "Let earth receive her King;", "Let ev'ry heart prepare Him room,", "And Heav'n and nature sing."]}, "2": {"syllabified": "Joy to the earth, the Sav -- ior reigns! Let men their songs em -- ploy; While fields and floods, rocks, hills and plains Re -- peat the sound -- ing joy, Re -- peat the sound -- ing joy, Re -- peat, re -- peat, the sound -- ing joy.", "prose": ["Joy to the earth, the Savior reigns!", "Let men their songs employ;", "While fields and floods, rocks, hills and plains", "Repeat the sounding joy."]}, "3": {"syllabified": "No more let sins and sor -- rows grow, Nor thorns in -- fest the ground; He comes to make His bless -- ings flow Far as the curse is found, Far as the curse is found, Far as, far as, the curse is found.", "prose": ["No more let sins and sorrows grow,", "Nor thorns infest the ground;", "He comes to make His blessings flow", "Far as the curse is found."]}, "4": {"syllabified": "He rules the world with truth and grace, And makes the na -- tions prove The glo -- ries of His right -- eous -- ness, And won -- ders of His love, And won -- ders of His love, And won -- ders, won -- ders, of His love.", "prose": ["He rules the world with truth and grace,", "And makes the nations prove", "The glories of His righteousness,", "And wonders of His love."]}}}, "joyful-joyful-we-adore-thee": {"slug": "joyful-joyful-we-adore-thee", "title": "Joyful, Joyful, We Adore Thee", "first_line": "Joyful, joyful, we adore Thee", "author": "henry-van-dyke", "author_date": "1907", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Adoration", "Joy", "Praise"], "scripture": ["Psalm 98:4-9"], "provenance": {"layer": "text", "source": "van-dyke-1907", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry van Dyke, 1907. US public domain (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "joyful_joyful_we_adore_thee", "total_instances": 302}}, "stanzas": {"1": {"syllabified": "Joy -- ful, joy -- ful, we a -- dore Thee, God of glor -- y, Lord of love; Hearts un -- fold like flowers be -- fore Thee, o -- pening to the sun a -- bove. Melt the clouds of sin and sad -- ness; drive the dark of doubt a -- way; Giv -- er of im -- mor -- tal glad -- ness, fill us with the light of day!", "prose": ["Joyful, joyful, we adore Thee,", "God of glory, Lord of love;", "Hearts unfold like flowers before Thee,", "opening to the sun above.", "Melt the clouds of sin and sadness;", "drive the dark of doubt away;", "Giver of immortal gladness,", "fill us with the light of day!"]}, "2": {"syllabified": "All Thy works with joy sur -- round Thee, earth and heaven re -- flect Thy rays, Stars and an -- gels sing a -- round Thee, cen -- ter of un -- bro -- ken praise. Field and for -- est, vale and moun -- tain, flow -- ery mead -- ow, flash -- ing sea, Sing -- ing bird and flow -- ing foun -- tain call us to re -- joice in Thee.", "prose": ["All Thy works with joy surround Thee,", "earth and heaven reflect Thy rays,", "Stars and angels sing around Thee,", "center of unbroken praise.", "Field and forest, vale and mountain,", "flowery meadow, flashing sea,", "Singing bird and flowing fountain", "call us to rejoice in Thee."]}, "3": {"syllabified": "Thou art giv -- ing and for -- giv -- ing, ev -- er bless -- ing, ev -- er blessed, Well -- spring of the joy of liv -- ing, o -- cean depth of hap -- py rest! Thou our Fa -- ther, Christ our Broth -- er, all who live in love are Thine; Teach us how to love each oth -- er, lift us to the joy div -- ine.", "prose": ["Thou art giving and forgiving,", "ever blessing, ever blessed,", "Wellspring of the joy of living,", "ocean depth of happy rest!", "Thou our Father, Christ our Brother,", "all who live in love are Thine;", "Teach us how to love each other,", "lift us to the joy divine."]}, "4": {"syllabified": "Mor -- tals, join the ha -- ppy chor -- us, which the morn -- ing stars be -- gan; Fa -- ther love is reign -- ing o'er us, broth -- er love binds man to man. Ev -- er sing -- ing, march we on -- ward, vic -- tors in the midst of strife, Joy -- ful mu -- sic leads us Sun -- ward in the tri -- umph song of life.", "prose": ["Mortals, join the happy chorus,", "which the morning stars began;", "Father love is reigning o'er us,", "brother love binds man to man.", "Ever singing, march we onward,", "victors in the midst of strife,", "Joyful music leads us Sunward", "in the triumph song of life."]}}}, "judge-me-o-god-and-plead-my-cause": {"slug": "judge-me-o-god-and-plead-my-cause", "title": "Judge Me, O God, and Plead My Cause", "first_line": "Judge me, O God, and plead my cause", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 43, "topics": ["Psalms"], "scripture": ["Psalm 43"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 43. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Judge me, O God, and plead my cause a -- gainst th'un -- god -- ly na -- tion; From the un -- just and craf -- ty man, O be thou my sal -- va -- tion.", "prose": ["Judge me, O God, and plead my cause", "against th' ungodly nation;", "From the unjust and crafty man,", "O be thou my salvation."]}, "2": {"syllabified": "For thou the God art of my strength; why thrusts thou me thee fro'? For th'en -- e -- my's op -- pres -- si -- on why do I mourn -- ing go?", "prose": ["For thou the God art of my strength;", "why thrusts thou me thee fro'?", "For th' enemy's oppression", "why do I mourning go?"]}, "3": {"syllabified": "O send thy light forth and thy truth; let them be guides to me, And bring me to thine ho -- ly hill, ev'n where thy dwell -- ings be.", "prose": ["O send thy light forth and thy truth;", "let them be guides to me,", "And bring me to thine holy hill,", "ev'n where thy dwellings be."]}, "4": {"syllabified": "Then will I to God's al -- tar go, to God my chief -- est joy: Yea, God, my God, thy name to praise my harp I will em -- ploy.", "prose": ["Then will I to God's altar go,", "to God my chiefest joy:", "Yea, God, my God, thy name to praise", "my harp I will employ."]}, "5": {"syllabified": "Why art thou then cast down, my soul? what should dis -- cour -- age thee? And why with vex -- ing thoughts art thou dis -- qui -- et -- ed in me?", "prose": ["Why art thou then cast down, my soul?", "what should discourage thee?", "And why with vexing thoughts art thou", "disquieted in me?"]}, "6": {"syllabified": "Still trust in God; for him to praise good cause I yet shall have: He of my count' -- nance is the health, my God that doth me save.", "prose": ["Still trust in God; for him to praise", "good cause I yet shall have:", "He of my count'nance is the health,", "my God that doth me save."]}}}, "judge-me-o-lord-for-i-have-walked": {"slug": "judge-me-o-lord-for-i-have-walked", "title": "Judge Me, O Lord, for I Have Walked", "first_line": "Judge me, O Lord, for I have walked", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 26, "topics": ["Psalms"], "scripture": ["Psalm 26"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 26. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Judge me, O Lord, for I have walked in mine in -- teg -- ri -- ty: I trust -- ed al -- so in the Lord; slide there -- fore shall not I.", "prose": ["Judge me, O Lord, for I have walked", "in mine integrity:", "I trusted also in the Lord;", "slide therefore shall not I."]}, "2": {"syllabified": "Ex -- am -- ine me, and do me prove; try heart and reins, O God: For thy love is be -- fore mine eyes, thy truth's paths I have trod.", "prose": ["Examine me, and do me prove;", "try heart and reins, O God:", "For thy love is before mine eyes,", "thy truth's paths I have trod."]}, "3": {"syllabified": "With per -- sons vain I have not sat, nor with dis -- sem -- blers gone: Th'as -- sem -- bly of ill men I hate; to sit with such I shun.", "prose": ["With persons vain I have not sat,", "nor with dissemblers gone:", "Th' assembly of ill men I hate;", "to sit with such I shun."]}, "4": {"syllabified": "Mine hands in in -- no -- cence, O Lord, I'll wash and pu -- ri -- fy; So to thine ho -- ly al -- tar go, and com -- pass it will I:", "prose": ["Mine hands in innocence, O Lord,", "I'll wash and purify;", "So to thine holy altar go,", "and compass it will I:"]}, "5": {"syllabified": "That I, with voice of thanks -- giv -- ing, may pub -- lish and de -- clare, And tell of all thy might -- y works, that great and won -- drous are.", "prose": ["That I, with voice of thanksgiving,", "may publish and declare,", "And tell of all thy mighty works,", "that great and wondrous are."]}, "6": {"syllabified": "The hab -- i -- ta -- tion of thy house, Lord, I have lov -- ed well; Yea, in that place I do de -- light where doth thine hon -- our dwell.", "prose": ["The habitation of thy house,", "Lord, I have loved well;", "Yea, in that place I do delight", "where doth thine honour dwell."]}, "7": {"syllabified": "With sin -- ners gath -- er not my soul, and such as blood would spill: Whose hands mis -- chie -- vous plots, right hand cor -- rupt -- ing bribes do fill.", "prose": ["With sinners gather not my soul,", "and such as blood would spill:", "Whose hands mischievous plots, right hand", "corrupting bribes do fill."]}, "8": {"syllabified": "But as for me, I will walk on in mine in -- teg -- ri -- ty: Do thou re -- deem me, and, O Lord, be mer -- ci -- ful to me.", "prose": ["But as for me, I will walk on", "in mine integrity:", "Do thou redeem me, and, O Lord,", "be merciful to me."]}, "9": {"syllabified": "My foot up -- on an e -- ven place doth stand with sted -- fast -- ness: With -- in the con -- gre -- ga -- ti -- ons th'E -- ter -- nal I will bless.", "prose": ["My foot upon an even place", "doth stand with stedfastness:", "Within the congregations", "th' Eternal I will bless."]}}}, "judge-my-integrity": {"slug": "judge-my-integrity", "title": "Integrity of Character", "first_line": "Judge my integrity", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 26, "topics": ["Psalms"], "scripture": ["Psalm 26"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 70) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 26, selection 70. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Judge my in -- teg -- ri -- ty, The right -- eous judge Thy art; Prove me, O Lord, ex -- am -- ine me. And try my in -- most heart.", "prose": ["Judge my integrity,", "The righteous judge Thy art;", "Prove me, O Lord, examine me.", "And try my inmost heart."]}, "2": {"syllabified": "Thy mer -- cy and Thy grace I love to con -- tem -- plate; Thy paths of truth my foot -- steps trace, And wick -- ed men I hate.", "prose": ["Thy mercy and Thy grace", "I love to contemplate;", "Thy paths of truth my footsteps trace,", "And wicked men I hate."]}, "3": {"syllabified": "Clean hands, O Lord, I raise As I Thy al -- tars seek, Where I may sing in grate -- ful praise, And of Thy won -- ders speak.", "prose": ["Clean hands, O Lord, I raise", "As I Thy altars seek,", "Where I may sing in grateful praise,", "And of Thy wonders speak."]}, "4": {"syllabified": "O Lord, thy house I love, Where glo -- ry dwells with -- in; O keep my heart se -- cure a -- bove All fel -- low -- ship with win.", "prose": ["O Lord, thy house I love,", "Where glory dwells within;", "O keep my heart secure above", "All fellowship with win."]}, "5": {"syllabified": "Re -- deem -- ing love and grace Be -- stow, O Lord, on me; A -- mong Thy saints how blest my place, For -- ev -- er prais -- ing Thee.", "prose": ["Redeeming love and grace", "Bestow, O Lord, on me;", "Among Thy saints how blest my place,", "Forever praising Thee."]}}}, "just-as-i-am-without-one-plea": {"slug": "just-as-i-am-without-one-plea", "title": "Just as I Am, Without One Plea", "first_line": "Just as I Am, Without One Plea", "author": "charlotte-elliott", "author_date": "1835", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Invitation", "Repentance", "Grace"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charlotte Elliott (1789-1871), \"Just as I am, without one plea,\" written 1835 (first published 1836). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Just as I am, with -- out one plea, But that Thy blood was shed for me, And that Thou bidst me come to Thee, O Lamb of God, I come, I come!", "prose": ["Just as I am, without one plea,", "But that Thy blood was shed for me,", "And that Thou bidst me come to Thee,", "O Lamb of God, I come, I come!"]}, "2": {"syllabified": "Just as I am, and wait -- ing not To rid my soul of one dark blot, To Thee whose blood can cleanse each spot, O Lamb of God, I come, I come!", "prose": ["Just as I am, and waiting not", "To rid my soul of one dark blot,", "To Thee whose blood can cleanse each spot,", "O Lamb of God, I come, I come!"]}, "3": {"syllabified": "Just as I am, though tossed a -- bout With man -- y'a con -- flict, man -- y'a doubt, Fight -- ings and fears with -- in, with -- out, O Lamb of God, I come, I come!", "prose": ["Just as I am, though tossed about", "With many a conflict, many a doubt,", "Fightings and fears within, without,", "O Lamb of God, I come, I come!"]}, "4": {"syllabified": "Just as I am, poor, wretch -- ed, blind; Sight, rich -- es, heal -- ing of the mind, Yea, all I need in Thee to find, O Lamb of God, I come, I come!", "prose": ["Just as I am, poor, wretched, blind;", "Sight, riches, healing of the mind,", "Yea, all I need in Thee to find,", "O Lamb of God, I come, I come!"]}, "5": {"syllabified": "Just as I am, Thou wilt re -- ceive, Wilt wel -- come, par -- don, cleanse, re -- lieve; Be -- cause Thy prom -- ise I be -- lieve, O Lamb of God, I come, I come!", "prose": ["Just as I am, Thou wilt receive,", "Wilt welcome, pardon, cleanse, relieve;", "Because Thy promise I believe,", "O Lamb of God, I come, I come!"]}, "6": {"syllabified": "Just as I am, Thy love un -- known Hath bro -- ken ev -- 'ry bar -- rier down; Now to be Thine, yea, Thine a -- lone, O Lamb of God, I come, I come!", "prose": ["Just as I am, Thy love unknown", "Hath broken every barrier down;", "Now to be Thine, yea, Thine alone,", "O Lamb of God, I come, I come!"]}}}, "keep-not-o-god-we-thee-entreat": {"slug": "keep-not-o-god-we-thee-entreat", "title": "Keep Not, O God, We Thee Entreat", "first_line": "Keep not, O God, we thee entreat", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 83, "topics": ["Psalms"], "scripture": ["Psalm 83"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 83. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Keep not, O God, we thee en -- treat, O keep not si -- lence now: Do thou not hold thy peace, O God, and still no more be thou.", "prose": ["Keep not, O God, we thee entreat,", "O keep not silence now:", "Do thou not hold thy peace, O God,", "and still no more be thou."]}, "2": {"syllabified": "For, lo, thine en -- e -- mies a noise tu -- mul -- tuous -- ly have made; And they that hat -- ers are of thee have lift -- ed up the head.", "prose": ["For, lo, thine enemies a noise", "tumultuously have made;", "And they that haters are of thee", "have lifted up the head."]}, "3": {"syllabified": "A -- gainst thy cho -- sen peo -- ple they do craf -- ty coun -- sel take: And they a -- gainst thy hid -- den ones do con -- sul -- ta -- tions make.", "prose": ["Against thy chosen people they", "do crafty counsel take:", "And they against thy hidden ones", "do consultations make."]}, "4": {"syllabified": "Come, let us cut them off, said they, from be -- ing a na -- tion, That of the name of Is -- r'el may no more be men -- ti -- on.", "prose": ["Come, let us cut them off, said they,", "from being a nation,", "That of the name of Isr'el may", "no more be mention."]}, "5": {"syllabified": "For with joint heart they plot, in league a -- gainst thee they com -- bine. The tents of E -- dom, Ish -- m'el -- ites, Mo -- ab's and Ha -- gar's line;", "prose": ["For with joint heart they plot, in league", "against thee they combine.", "The tents of Edom, Ishm'elites,", "Moab's and Hagar's line;"]}, "6": {"syllabified": "Ge -- bal, and Am -- mon, Am -- a -- lek, Phi -- lis -- tines, those of Tyre; And As -- sur joined with them, to help Lot's chil -- dren they con -- spire.", "prose": ["Gebal, and Ammon, Amalek,", "Philistines, those of Tyre;", "And Assur joined with them, to help", "Lot's children they conspire."]}, "7": {"syllabified": "Do to them as to Mid -- i -- an, Ja -- bin at Ki -- son strand; And Sis -- 'ra, which at En -- dor fell, as dung to fat the land.", "prose": ["Do to them as to Midian,", "Jabin at Kison strand;", "And Sis'ra, which at En-dor fell,", "as dung to fat the land."]}, "8": {"syllabified": "Like O -- reb and like Ze -- eb make their no -- ble men to fall; Like Ze -- ba and Zal -- mun -- na like, make thou their prin -- ces all;", "prose": ["Like Oreb and like Zeeb make", "their noble men to fall;", "Like Zeba and Zalmunna like,", "make thou their princes all;"]}, "9": {"syllabified": "Who said, For our pos -- ses -- si -- on let us God's hous -- es take. My God, them like a wheel, as chaff be -- fore the wind, them make.", "prose": ["Who said, For our possession", "let us God's houses take.", "My God, them like a wheel, as chaff", "before the wind, them make."]}, "10": {"syllabified": "As fire con -- sumes the wood, as flame doth moun -- tains set on fire, Chase and af -- fright them with the storm and tem -- pest of thine ire.", "prose": ["As fire consumes the wood, as flame", "doth mountains set on fire,", "Chase and affright them with the storm", "and tempest of thine ire."]}, "11": {"syllabified": "Their fac -- es fill with shame, O Lord, that they may seek thy name. Let them con -- found -- ed be, and vexed, and per -- ish in their shame:", "prose": ["Their faces fill with shame, O Lord,", "that they may seek thy name.", "Let them confounded be, and vexed,", "and perish in their shame:"]}, "12": {"syllabified": "That men may know that thou, to whom a -- lone doth ap -- per -- tain The name JE -- HO -- VAH, dost most high o'er all the earth re -- main.", "prose": ["That men may know that thou, to whom", "alone doth appertain", "The name JEHOVAH, dost most high", "o'er all the earth remain."]}}}, "lamp-of-our-feet": {"slug": "lamp-of-our-feet", "title": "Lamp of Our Feet", "first_line": "Lamp of our feet! whereby we trace Our path", "author": "bernard-barton", "author_date": "1875", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Charity", "Christian Home", "Family", "Christmas", "Advent", "God, Justness of"], "scripture": ["Exodus 20:1-17", "Deuteronomy 5:6-21", "1 Timothy 2:5-6", "Psalm 60:11-12"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:156; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lamp_of_our_feet_whereby_we_trace", "total_instances": 291}}, "stanzas": {"1": {"syllabified": "Lamp of our feet! where -- by we trace Our path, when wont to stray; Stream from the fount of heav'n -- ly grace! Brook by the trav -- 'ler's way!", "prose": ["Lamp of our feet! whereby we trace", "Our path, when wont to stray;", "Stream from the fount of heav'nly grace!", "Brook by the trav'ler's way!"]}, "2": {"syllabified": "Bread of our souls! where -- on we feed; True man -- na from on high! Our guide, and chart where -- in we read Of realms be -- yond the sky.", "prose": ["Bread of our souls! whereon we feed;", "True manna from on high!", "Our guide, and chart wherein we read", "Of realms beyond the sky."]}, "3": {"syllabified": "Pil -- lar of fire -- through watch -- es dark! Or ra -- diant cloud by day! When waves would whelm our toss -- ing bark -- Our an -- chor and our stay!", "prose": ["Pillar of fire—through watches dark!", "Or radiant cloud by day!", "When waves would whelm our tossing bark—", "Our anchor and our stay!"]}, "4": {"syllabified": "Pole -- star on life's tem -- pest -- uous deep! Bea -- con! when doubts sur -- round; Com -- pass! by which our course we keep; Our deep sea -- lead, to sound!", "prose": ["Pole-star on life's tempestuous deep!", "Beacon! when doubts surround;", "Compass! by which our course we keep;", "Our deep-sea lead, to sound!"]}, "5": {"syllabified": "Rich -- es in pov -- er -- ty! our aid In ev -- ery need -- ful hour! Un -- shak -- en rock! the pil -- grim's shade; The sol -- dier's for -- tress tow'r.", "prose": ["Riches in poverty! our aid", "In every needful hour!", "Unshaken rock! the pilgrim's shade;", "The soldier's fortress tow'r."]}}}, "lead-on-o-king-eternal": {"slug": "lead-on-o-king-eternal", "title": "Lead On, O King Eternal", "first_line": "Lead on, O King eternal", "author": "ernest-shurtleff", "author_date": "1887", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christian Warfare", "Discipleship", "Pilgrimage", "Loyalty"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Ernest Warburton Shurtleff (1862-1917), \"Lead On, O King Eternal,\" written in 1887 for his graduating class at Andover Theological Seminary and published in Hymns of Faith and Life (1887). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lead on, O King e -- ter -- nal, The day of march has come; Hence -- forth in fields of con -- quest Thy tents shall be our home. Through days of prep -- a -- ra -- tion Thy grace has made us strong; And now, O King e -- ter -- nal, We lift our bat -- tle song.", "prose": ["Lead on, O King eternal,", "The day of march has come;", "Henceforth in fields of conquest", "Thy tents shall be our home.", "Through days of preparation", "Thy grace has made us strong;", "And now, O King eternal,", "We lift our battle song."]}, "2": {"syllabified": "Lead on, O King e -- ter -- nal, Till sin's fierce war shall cease, And ho -- li -- ness shall whis -- per The sweet a -- men of peace. For not with swords' loud clash -- ing, Nor roll of stir -- ring drums; With deeds of love and mer -- cy The heav'n -- ly king -- dom comes.", "prose": ["Lead on, O King eternal,", "Till sin's fierce war shall cease,", "And holiness shall whisper", "The sweet amen of peace.", "For not with swords' loud clashing,", "Nor roll of stirring drums;", "With deeds of love and mercy", "The heav'nly kingdom comes."]}, "3": {"syllabified": "Lead on, O King e -- ter -- nal, We fol -- low, not with fears, For glad -- ness breaks like morn -- ing Wher -- e'er Thy face ap -- pears; Thy cross is lift -- ed o'er us, We jour -- ney in its light; The crown a -- waits the con -- quest; Lead on, O God of might.", "prose": ["Lead on, O King eternal,", "We follow, not with fears,", "For gladness breaks like morning", "Where'er Thy face appears;", "Thy cross is lifted o'er us,", "We journey in its light;", "The crown awaits the conquest;", "Lead on, O God of might."]}}}, "leaning-on-the-everlasting-arms": {"slug": "leaning-on-the-everlasting-arms", "title": "Leaning on the Everlasting Arms", "first_line": "What a fellowship, what a joy divine", "author": "elisha-a-hoffman", "author_date": "1887", "foot": "trochaic", "meter": {"pattern": [10, 9, 10, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Comfort", "Trust", "Peace"], "scripture": ["Deuteronomy 33:27", "Psalm 46:1", "Psalm 91:1-2"], "provenance": {"layer": "text", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Elisha A. Hoffman (1839-1929), written to A. J. Showalter's music and first published in The Glad Evangel for Revival, Camp, and Evangelistic Meetings (Dalton, Ga.: A. J. Showalter & Co., 1887). Transcribed syllable by syllable, and point by point, from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 — archive.org tabernaclehymnsn00chic, leaf 98 — which prints all three stanzas interlinear under the staves, credits \"Rev. E. A. Hoffman.\", and is footed \"Copyright by A. J. Showalter.  Used by permission.\" US public domain: first published 1887, the witness read is itself pre-1931, and the author died in 1929, so it is also PD in life+70 jurisdictions. THE POINTING IS THE 1921 PAGE'S and is not modernised: stanza 1 line 1 and stanza 3 lines 1 and 3 end in commas, the refrain-bearing line 2 of every stanza ends in a semicolon, and STANZA 2 LINE 3 ENDS IN A FULL STOP — \"Oh, how bright the path grows from day to day.\" — where a modern editor would set a comma. That full stop is on the page and is reproduced. VARIANTS IN THE OTHER DATED WITNESSES, recorded rather than adopted: The Baptist Standard Hymnal (1924), no. 483 (archive.org baptiststandardh00town, leaf 413) and Showalter's own Class, Choir and Congregation (1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256) both read \"I have peace complete with my Lord so near,\" in stanza 3 where the 1921 page reads \"I have blessed peace with my Lord so near,\"; both also capitalise \"Ev-er-last-ing Arms!\" and close that line with an exclamation mark where the 1921 page sets lower case and a semicolon; and the 1888 page reads \"O how sweet\" where 1921 and 1924 read \"Oh, how sweet\". The 1921 readings ship because the 1921 page is the one leaf this hymn's text, tune and setting were all taken from. One further departure, stated plainly: the 1921 page heads the hymn \"Leaning On the Everlasting Arms.\" with a capital O and a full stop, and the corpus title normalises that to \"Leaning on the Everlasting Arms\".", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "what_a_fellowship_what_a_joy_divine", "total_instances": 764}}, "stanzas": {"1": {"syllabified": "What a fel -- low -- ship, what a joy di -- vine, Lean -- ing on the ev -- er -- last -- ing arms; What a bless -- ed -- ness, what a peace is mine, Lean -- ing on the ev -- er -- last -- ing arms.", "prose": ["What a fellowship, what a joy divine,", "Leaning on the everlasting arms;", "What a blessedness, what a peace is mine,", "Leaning on the everlasting arms."]}, "2": {"syllabified": "Oh, how sweet to walk in this pil -- grim way, Lean -- ing on the ev -- er -- last -- ing arms; Oh, how bright the path grows from day to day. Lean -- ing on the ev -- er -- last -- ing arms.", "prose": ["Oh, how sweet to walk in this pilgrim way,", "Leaning on the everlasting arms;", "Oh, how bright the path grows from day to day.", "Leaning on the everlasting arms."]}, "3": {"syllabified": "What have I to dread, what have I to fear, Lean -- ing on the ev -- er -- last -- ing arms; I have bless -- ed peace with my Lord so near, Lean -- ing on the ev -- er -- last -- ing arms.", "prose": ["What have I to dread, what have I to fear,", "Leaning on the everlasting arms;", "I have blessed peace with my Lord so near,", "Leaning on the everlasting arms."]}}, "refrain": {"syllabified": "Lean -- ing, lean -- ing, Safe and se -- cure from all a -- larms; Lean -- ing, lean -- ing, Lean -- ing on the ev -- er -- last -- ing arms.", "prose": ["Leaning, leaning, Safe and secure from all alarms;", "Leaning, leaning, Leaning on the everlasting arms."]}}, "let-all-mortal-flesh-keep-silence": {"slug": "let-all-mortal-flesh-keep-silence", "title": "Let All Mortal Flesh Keep Silence", "first_line": "Let all mortal flesh keep silence", "author_source": "Liturgy of St. James (4th cent.)", "translator": "gerard-moultrie", "author_date": "1864", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Communion", "Advent", "Reverence", "Christ, Incarnation of"], "scripture": ["Habakkuk 2:20", "Zechariah 2:13"], "provenance": {"layer": "text", "source": "moultrie-1864", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "From the Liturgy of St. James (4th cent., the Cherubic Hymn for the Offertory); English versification by Gerard Moultrie (1829-1885), published 1864 in Lyra Eucharistica. Public domain (pub. pre-1929).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Let all mor -- tal flesh keep si -- lence, And with fear and trem -- bling stand; Pon -- der noth -- ing earth -- ly mind -- ed, For with bles -- sing in His hand, Christ our God to earth de -- scend -- eth, Our full hom -- age to de -- mand.", "prose": ["Let all mortal flesh keep silence,", "And with fear and trembling stand;", "Ponder nothing earthly minded,", "For with blessing in His hand,", "Christ our God to earth descendeth,", "Our full homage to demand."]}, "2": {"syllabified": "King of kings, yet born of Ma -- ry, As of old on earth He stood, Lord of lords, in hu -- man ves -- ture, In the bod -- y and the blood; He will give to all the faith -- ful His own self for heav'n -- ly food.", "prose": ["King of kings, yet born of Mary,", "As of old on earth He stood,", "Lord of lords, in human vesture,", "In the body and the blood;", "He will give to all the faithful", "His own self for heav'nly food."]}, "3": {"syllabified": "Rank on rank the host of heav -- en Spreads its van -- guard on the way, As the Light of light de -- scend -- eth From the realms of end -- less day, That the pow'rs of hell may van -- ish As the dark -- ness clears a -- way.", "prose": ["Rank on rank the host of heaven", "Spreads its vanguard on the way,", "As the Light of light descendeth", "From the realms of endless day,", "That the pow'rs of hell may vanish", "As the darkness clears away."]}, "4": {"syllabified": "At His feet the six wingèd ser -- aph, Cher -- u -- bim with sleep -- less eye, Veil their fac -- es to the pres -- ence, As with cease -- less voice they cry: Al -- le -- lu -- ia, Al -- le -- lu -- ia Al -- le -- lu -- ia, Lord Most High!", "prose": ["At His feet the six wingèd seraph,", "Cherubim with sleepless eye,", "Veil their faces to the presence,", "As with ceaseless voice they cry:", "Alleluia, Alleluia", "Alleluia, Lord Most High!"]}}}, "let-all-the-earth-jehovah-fear": {"slug": "let-all-the-earth-jehovah-fear", "title": "The God of Providence and Grace", "first_line": "Let all the earth Jehovah fear", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 33, "topics": ["Psalms"], "scripture": ["Psalm 33"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 86) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 33, selection 86. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Let all the earth Je -- ho -- vah fear, Let all that dwell both far and near In awe be -- fore Him stand; for, lo, He spake and it was done, And all the sov -- 'reign pow'r be -- gun Stood fast at His com -- mand.", "prose": ["Let all the earth Jehovah fear,", "Let all that dwell both far and near", "In awe before Him stand;", "for, lo, He spake and it was done,", "And all the sov'reign pow'r begun", "Stood fast at His command."]}, "2": {"syllabified": "He makes the na -- tions' coun -- sels vain, The plans the peo -- ples would main -- tain Are thwart -- ed by His hand; Je -- ho -- vah's coun -- sel stands se -- cure, His pur -- pos -- es of heart en -- dure, For ev -- er -- more they stand.", "prose": ["He makes the nations' counsels vain,", "The plans the peoples would maintain", "Are thwarted by His hand;", "Jehovah's counsel stands secure,", "His purposes of heart endure,", "For evermore they stand."]}, "3": {"syllabified": "O tru -- ly is the na -- tion blest Whose God be -- fore the world con -- fessed Je -- ho -- vah is a -- lone; And blest the peo -- ple is whom He Has made His her -- i -- tage to be, And cho -- sen for His own.", "prose": ["O truly is the nation blest", "Whose God before the world confessed", "Jehovah is alone;", "And blest the people is whom He", "Has made His heritage to be,", "And chosen for His own."]}}}, "let-children-hear-the-mighty-deeds": {"slug": "let-children-hear-the-mighty-deeds", "title": "Let Children Hear The Mighty Deeds", "first_line": "Let children hear the mighty deeds Which God performed", "author": "isaac-watts", "author_date": "1908", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Bride", "Bridegroom", "Christian Home", "Family", "Commitment", "Love"], "scripture": ["John 2:1-11", "Isaiah 62:1-5", "Revelation 19:6-9", "Matthew 19:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:299; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "let_children_hear_the_mighty_deeds", "total_instances": 180}}, "stanzas": {"1": {"syllabified": "Let child -- ren hear the might -- y deeds Which God per -- formed of old; Which in our young -- er years we saw, And which our fa -- thers told.", "prose": ["Let children hear the mighty deeds", "Which God performed of old;", "Which in our younger years we saw,", "And which our fathers told."]}, "2": {"syllabified": "He bids us make His glo -- ries known, His works of pow'r and grace; And we'll con -- vey His won -- ders down Through ev -- ery ris -- ing race.", "prose": ["He bids us make His glories known,", "His works of pow'r and grace;", "And we'll convey His wonders down", "Through every rising race."]}, "3": {"syllabified": "Our lips shall tell them to our sons, And they a -- gain to theirs; That gen -- er -- a -- tions yet un -- born May teach them to their heirs.", "prose": ["Our lips shall tell them to our sons,", "And they again to theirs;", "That generations yet unborn", "May teach them to their heirs."]}, "4": {"syllabified": "Thus shall they learn in God a -- lone Their hope se -- cure -- ly stands, That they may ne'er for -- get His work But prac -- tice His com -- mands.", "prose": ["Thus shall they learn in God alone", "Their hope securely stands,", "That they may ne'er forget His work", "But practice His commands."]}}}, "let-god-arise-and-scattered": {"slug": "let-god-arise-and-scattered", "title": "Let God Arise, and Scattered", "first_line": "Let God arise, and scattered", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 68, "topics": ["Psalms"], "scripture": ["Psalm 68"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 68. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Let God a -- rise, and scat -- ter -- ed let all his en -- 'mies be; And let all those that do him hate be -- fore his pres -- ence flee.", "prose": ["Let God arise, and scattered", "let all his en'mies be;", "And let all those that do him hate", "before his presence flee."]}, "2": {"syllabified": "As smoke is driv'n, so drive thou them; as fire melts wax a -- way, Be -- fore God's face let wick -- ed men so per -- ish and de -- cay.", "prose": ["As smoke is driv'n, so drive thou them;", "as fire melts wax away,", "Before God's face let wicked men", "so perish and decay."]}, "3": {"syllabified": "But let the right -- e -- ous be glad: let them be -- fore God's sight Be ver -- y joy -- ful; yea, let them re -- joice with all their might.", "prose": ["But let the righteous be glad:", "let them before God's sight", "Be very joyful; yea, let them", "rejoice with all their might."]}, "4": {"syllabified": "To God sing, to his name sing praise; ex -- tol him with your voice, That rides on heav'n, by his name Jah, be -- fore his face re -- joice.", "prose": ["To God sing, to his name sing praise;", "extol him with your voice,", "That rides on heav'n, by his name Jah,", "before his face rejoice."]}, "5": {"syllabified": "Be -- cause the Lord a fa -- ther is un -- to the fa -- ther -- less; God is the wid -- ow's judge, with -- in his place of ho -- li -- ness.", "prose": ["Because the Lord a father is", "unto the fatherless;", "God is the widow's judge, within", "his place of holiness."]}, "6": {"syllabified": "God doth the sol -- i -- tar -- y set in fam -- 'lies: and from bands The chained doth free; but reb -- els do in -- hab -- it parch -- ed lands.", "prose": ["God doth the solitary set", "in fam'lies: and from bands", "The chained doth free; but rebels do", "inhabit parched lands."]}, "7": {"syllabified": "O God, what time thou didst go forth be -- fore thy peo -- ple's face; And when through the great wil -- der -- ness thy glo -- rious march -- ing was;", "prose": ["O God, what time thou didst go forth", "before thy people's face;", "And when through the great wilderness", "thy glorious marching was;"]}, "8": {"syllabified": "Then at God's pres -- ence shook the earth, then drops from heav -- en fell; This Si -- nai shook be -- fore the Lord, the God of I -- sra -- el.", "prose": ["Then at God's presence shook the earth,", "then drops from heaven fell;", "This Sinai shook before the Lord,", "the God of Israel."]}, "9": {"syllabified": "O God, thou to thine her -- i -- tage didst send a plen -- teous rain, Where -- by thou, when it wea -- ry was, didst it re -- fresh a -- gain.", "prose": ["O God, thou to thine heritage", "didst send a plenteous rain,", "Whereby thou, when it weary was,", "didst it refresh again."]}, "10": {"syllabified": "Thy con -- gre -- ga -- tion then did make their hab -- i -- ta -- tion there: Of thine own good -- ness for the poor, O God, thou didst pre -- pare.", "prose": ["Thy congregation then did make", "their habitation there:", "Of thine own goodness for the poor,", "O God, thou didst prepare."]}, "11": {"syllabified": "The Lord him -- self did give the word, the word a -- broad did spread; Great was the com -- pa -- ny of them the same who pub -- lish -- ed.", "prose": ["The Lord himself did give the word,", "the word abroad did spread;", "Great was the company of them", "the same who published."]}, "12": {"syllabified": "Kings of great ar -- mies foil -- ed were, and forced to flee a -- way; And wom -- en, who re -- mained at home, did dis -- trib -- ute the prey.", "prose": ["Kings of great armies foiled were,", "and forced to flee away;", "And women, who remained at home,", "did distribute the prey."]}, "13": {"syllabified": "Though ye have lain a -- mong the pots, like doves ye shall ap -- pear, Whose wings with sil -- ver, and with gold whose feath -- ers cov -- ered are.", "prose": ["Though ye have lain among the pots,", "like doves ye shall appear,", "Whose wings with silver, and with gold", "whose feathers covered are."]}, "14": {"syllabified": "When there th'Al -- might -- y scat -- tered kings, like Sal -- mon's snow 'twas white. God's hill is like to Ba -- shan hill, like Ba -- shan hill for height.", "prose": ["When there th' Almighty scattered kings,", "like Salmon's snow 'twas white.", "God's hill is like to Bashan hill,", "like Bashan hill for height."]}, "15": {"syllabified": "Why do ye leap, ye moun -- tains high? this is the hill where God De -- sires to dwell; yea, God in it for aye will make a -- bode.", "prose": ["Why do ye leap, ye mountains high?", "this is the hill where God", "Desires to dwell; yea, God in it", "for aye will make abode."]}, "16": {"syllabified": "God's char -- iots twen -- ty thou -- sand are, thou -- sands of an -- gels strong; In's ho -- ly place God is, as in mount Si -- nai, them a -- mong.", "prose": ["God's chariots twenty thousand are,", "thousands of angels strong;", "In 's holy place God is, as in", "mount Sinai, them among."]}, "17": {"syllabified": "Thou hast, O Lord, most glo -- ri -- ous, as -- cend -- ed up on high; And in tri -- umph vic -- tor -- ious led cap -- tive cap -- tiv -- i -- ty:", "prose": ["Thou hast, O Lord, most glorious,", "ascended up on high;", "And in triumph victorious led", "captive captivity:"]}, "18": {"syllabified": "Thou hast re -- ceiv -- ed gifts for men, for such as did re -- bel; Yea, ev'n for them, that God the Lord in midst of them might dwell.", "prose": ["Thou hast received gifts for men,", "for such as did rebel;", "Yea, ev'n for them, that God the Lord", "in midst of them might dwell."]}, "19": {"syllabified": "Bless'd be the Lord, who is to us of our sal -- va -- tion God; Who dai -- ly with his ben -- e -- fits us plen -- teous -- ly doth load.", "prose": ["Bless'd be the Lord, who is to us", "of our salvation God;", "Who daily with his benefits", "us plenteously doth load."]}, "20": {"syllabified": "He of sal -- va -- tion is the God, who is our God most strong; And un -- to God the Lord from death the is -- sues do be -- long.", "prose": ["He of salvation is the God,", "who is our God most strong;", "And unto God the Lord from death", "the issues do belong."]}, "21": {"syllabified": "But sure -- ly God shall wound the head of those that are his foes; The hai -- ry scalp of him that still on in his tres -- pass goes.", "prose": ["But surely God shall wound the head", "of those that are his foes;", "The hairy scalp of him that still", "on in his trespass goes."]}, "22": {"syllabified": "God said, My peo -- ple I will bring a -- gain from Ba -- shan hill; Yea, from the sea's de -- vour -- ing depths them bring a -- gain I will;", "prose": ["God said, My people I will bring", "again from Bashan hill;", "Yea, from the sea's devouring depths", "them bring again I will;"]}, "23": {"syllabified": "That in the blood of en -- e -- mies thy foot im -- brued may be, And of thy dogs dipped in the same the tongues thou may -- est see.", "prose": ["That in the blood of enemies", "thy foot imbrued may be,", "And of thy dogs dipped in the same", "the tongues thou mayest see."]}, "24": {"syllabified": "Thy go -- ings they have seen, O God; the steps of maj -- es -- ty Of my God, and my might -- y King, with -- in the sanc -- tua -- ry.", "prose": ["Thy goings they have seen, O God;", "the steps of majesty", "Of my God, and my mighty King,", "within the sanctuary."]}, "25": {"syllabified": "Be -- fore went sin -- gers, play -- ers next on in -- stru -- ments took way; And them a -- mong the dam -- sels were that did on tim -- brels play.", "prose": ["Before went singers, players next", "on instruments took way;", "And them among the damsels were", "that did on timbrels play."]}, "26": {"syllabified": "With -- in the con -- gre -- ga -- ti -- ons bless God with one ac -- cord: From Is -- r'el's foun -- tain do ye bless and praise the might -- y Lord.", "prose": ["Within the congregations", "bless God with one accord:", "From Isr'el's fountain do ye bless", "and praise the mighty Lord."]}, "27": {"syllabified": "With their prince, lit -- tle Ben -- ja -- min, prin -- ces and coun -- cil there Of Ju -- dah were, there Zab -- u -- lon's and Naph -- t'li's prin -- ces were.", "prose": ["With their prince, little Benjamin,", "princes and council there", "Of Judah were, there Zabulon's", "and Napht'li's princes were."]}, "28": {"syllabified": "Thy God com -- mands thy strength; make strong what thou wrought'st for us, Lord. For thy house at Je -- ru -- sa -- lem kings shall thee gifts af -- ford.", "prose": ["Thy God commands thy strength; make strong", "what thou wrought'st for us, Lord.", "For thy house at Jerusalem", "kings shall thee gifts afford."]}, "29": {"syllabified": "The spear -- men's host, the mul -- ti -- tude of bulls, which fierce -- ly look, Those calves which peo -- ple have forth sent, O Lord our God, re -- buke,", "prose": ["The spearmen's host, the multitude", "of bulls, which fiercely look,", "Those calves which people have forth sent,", "O Lord our God, rebuke,"]}, "30": {"syllabified": "Till ev -- ery -- one sub -- mit him -- self, and sil -- ver piec -- es bring: The peo -- ple that de -- light in war dis -- perse, O God and King.", "prose": ["Till everyone submit himself,", "and silver pieces bring:", "The people that delight in war", "disperse, O God and King."]}, "31": {"syllabified": "Those that be prin -- ces great shall then come out of E -- gypt lands; And E -- thi -- o -- pi -- a to God shall soon stretch out her hands.", "prose": ["Those that be princes great shall then", "come out of Egypt lands;", "And Ethiopia to God", "shall soon stretch out her hands."]}, "32": {"syllabified": "O all ye king -- doms of the earth, sing prais -- es to this King; For he is Lord that rul -- eth all, un -- to him prais -- es sing.", "prose": ["O all ye kingdoms of the earth,", "sing praises to this King;", "For he is Lord that ruleth all,", "unto him praises sing."]}, "33": {"syllabified": "To him that rides on heav'ns of heav'ns, which he of old did found; Lo, he sends out his voice, a voice in might that doth a -- bound.", "prose": ["To him that rides on heav'ns of heav'ns,", "which he of old did found;", "Lo, he sends out his voice, a voice", "in might that doth abound."]}, "34": {"syllabified": "Strength un -- to God do ye as -- cribe; for his ex -- cel -- len -- cy Is o -- ver I -- sra -- el, his strength is in the clouds most high.", "prose": ["Strength unto God do ye ascribe;", "for his excellency", "Is over Israel, his strength", "is in the clouds most high."]}, "35": {"syllabified": "Thou'rt from thy tem -- ple dread -- ful, Lord; Is -- r'el's own God is he, Who gives his peo -- ple strength and pow'r: O let God bless -- ed be.", "prose": ["Thou 'rt from thy temple dreadful, Lord;", "Isr'el's own God is he,", "Who gives his people strength and pow'r:", "O let God blessed be."]}}}, "let-the-lower-lights-be-burning": {"slug": "let-the-lower-lights-be-burning", "title": "Let the Lower Lights Be Burning", "first_line": "Brightly beams our Father's mercy", "author": "philip-paul-bliss", "author_date": "1871", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Service", "Light", "Duty", "Christian Life"], "scripture": ["Matthew 5:16"], "provenance": {"layer": "text", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip Paul Bliss (1838-1876), words and music, first published in The Charm: A Collection of Sunday School Music, ed. P. P. Bliss (Chicago: Root & Cady, 1871). Transcribed syllable by syllable from the dated page image of Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main, 1875) — the volume whose preface leaf engraves \"[COPYRIGHT 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item gospelhymnssacre00blis_0, leaf n68. That page is headed \"Let the Lower Lights be Burning.\", carries the scripture motto \"Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.\"—Matt. 5:16, credits \"P. P. Bliss.\" on the left and \"P. P. Bliss, by per.\" on the right, sets stanza 1 and the chorus under the staves, and prints stanzas 2 and 3 in full below them. Collated word for word against a second dated printing in a DIFFERENT typesetting: Gospel Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 65, printed page 65, archive.org item gospelhymnsconso00blis_202606, leaf n64. US public domain: first published 1871 and both witnesses read here are themselves pre-1931; Bliss died in 1876, so it is also PD in life+70 jurisdictions. DEPARTURES FROM THE PAGE, all of them typographic and all declared: (1) BOTH pages set a French space before their high punctuation, \"billows roar ;\" and \"my brother :\"; that space is closed up here. (2) Both pages end stanzas 2 and 3 with the chorus cue \"—Cho.\"; the cue is not carried into the stanza text, because the refrain is a separate field. (3) Both pages italicise \"may be lost\" in the last line of stanza 3; the corpus carries no italics, so it is set in roman. (4) The two printings differ in exactly TWO marks, and this text follows the 1875 primary at both: the 1875 underlay reads \"Some poor faint - ing, struggling sea-man You may res-cue\" with no stop after \"sea-man\" where the 1883 reads \"sea-man;\", and the 1875 ends stanza 3 \"may be lost.—Cho.\" with a full stop where the 1883 prints \"may be lost—Cho.\" without one. NOTHING ELSE DIFFERS: apart from those two marks the two printings agree letter for letter and stop for stop through all three stanzas and the chorus, including \"tempest-tost\" (not \"tempest-tossed\") and the exclamation marks after \"burning!\" and \"wave!\".", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Bright -- ly beams our Fa -- ther's mer -- cy From His light -- house ev -- er -- more, But to us He gives the keep -- ing Of the lights a -- long the shore.", "prose": ["Brightly beams our Father's mercy", "From His lighthouse evermore,", "But to us He gives the keeping", "Of the lights along the shore."]}, "2": {"syllabified": "Dark the night of sin has set -- tled, Loud the an -- gry bil -- lows roar; Ea -- ger eyes are watch -- ing, long -- ing, For the lights a -- long the shore.", "prose": ["Dark the night of sin has settled,", "Loud the angry billows roar;", "Eager eyes are watching, longing,", "For the lights along the shore."]}, "3": {"syllabified": "Trim your fee -- ble lamp, my broth -- er: Some poor sail -- or tem -- pest -- tost, Try -- ing now to make the har -- bor, In the dark -- ness may be lost.", "prose": ["Trim your feeble lamp, my brother:", "Some poor sailor tempest-tost,", "Trying now to make the harbor,", "In the darkness may be lost."]}}, "refrain": {"syllabified": "Let the low -- er lights be burn -- ing! Send a gleam a -- cross the wave! Some poor faint -- ing, strug -- gling sea -- man You may res -- cue, you may save.", "prose": ["Let the lower lights be burning!", "Send a gleam across the wave!", "Some poor fainting, struggling seaman", "You may rescue, you may save."]}}, "let-us-with-a-gladsome-mind": {"slug": "let-us-with-a-gladsome-mind", "title": "Let Us with a Gladsome Mind", "first_line": "Let Us with a Gladsome Mind", "author": "john-milton", "author_date": "1623", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Thanksgiving", "Providence"], "scripture": ["Psalm 136"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Milton (1608–1674), \"Let us with a gladsome mind,\" a metrical paraphrase of Psalm 136 written in 1623; long in the public domain (the standard hymnal text, as in The Cyber Hymnal). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Let us with a glad -- some mind Praise the Lord, for He is kind; For His mer -- cies shall en -- dure, Ev -- er faith -- ful, ev -- er sure.", "prose": ["Let us with a gladsome mind", "Praise the Lord, for He is kind;", "For His mercies shall endure,", "Ever faithful, ever sure."]}, "2": {"syllabified": "Let us blaze His name a -- broad, For of gods He is the God; For His mer -- cies shall en -- dure, Ev -- er faith -- ful, ev -- er sure.", "prose": ["Let us blaze His name abroad,", "For of gods He is the God;", "For His mercies shall endure,", "Ever faithful, ever sure."]}, "3": {"syllabified": "He, with all com -- mand -- ing might, Filled the new made world with light; For His mer -- cies shall en -- dure, Ev -- er faith -- ful, ev -- er sure.", "prose": ["He, with all commanding might,", "Filled the new made world with light;", "For His mercies shall endure,", "Ever faithful, ever sure."]}, "4": {"syllabified": "All things liv -- ing He doth feed, His full hand sup -- plies their need; For His mer -- cies shall en -- dure, Ev -- er faith -- ful, ev -- er sure.", "prose": ["All things living He doth feed,", "His full hand supplies their need;", "For His mercies shall endure,", "Ever faithful, ever sure."]}, "5": {"syllabified": "Let us then with glad -- some mind, Praise the Lord, for He is kind; For His mer -- cies shall en -- dure, Ev -- er faith -- ful, ev -- er sure.", "prose": ["Let us then with gladsome mind,", "Praise the Lord, for He is kind;", "For His mercies shall endure,", "Ever faithful, ever sure."]}}}, "lift-high-the-cross": {"slug": "lift-high-the-cross", "title": "Lift High the Cross", "first_line": "Lift high the cross", "author": "george-w-kitchin", "author_date": "1887", "translator": "michael-r-newbolt", "translator_date": "1916", "foot": "iambic", "meter": {"pattern": [10, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Cross", "Discipleship", "Praise"], "scripture": ["John 12:32"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "George W. Kitchin (1827-1912), 1887; modified Michael R. Newbolt, 1916. Pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_lord_once_lifted_on_the_tree", "total_instances": 1}}, "stanzas": {"1": {"syllabified": "Come, breth -- ren, fol -- low where our Cap -- tain trod, our King vic -- tor -- ious, Christ the Son of God.", "prose": ["Come, brethren, follow where our Captain trod,", "our King victorious, Christ the Son of God."]}, "2": {"syllabified": "Led on their way by this tri -- um -- phant sign, The hosts of God in con -- quering ranks com -- bine.", "prose": ["Led on their way by this triumphant sign,", "The hosts of God in conquering ranks combine."]}, "3": {"syllabified": "Each new -- born ser -- vant of the Cru -- ci -- fied Bears on the brow the seal of Him Who died.", "prose": ["Each newborn servant of the Crucified", "Bears on the brow the seal of Him Who died."]}, "4": {"syllabified": "This is the sign which Sa -- tan's le -- gions fear and an -- gels veil their fac -- es to re -- vere.", "prose": ["This is the sign which Satan's legions fear", "and angels veil their faces to revere."]}, "5": {"syllabified": "Saved by this Cross where -- on their Lord was slain, the sons of Ad -- am their lost home re -- gain.", "prose": ["Saved by this Cross whereon their Lord was slain,", "the sons of Adam their lost home regain."]}}, "refrain": {"syllabified": "Lift high the cross, the love of Christ pro -- claim, Till all the world a -- dore His sa -- cred Name.", "prose": ["Lift high the cross, the love of Christ proclaim,", "Till all the world adore His sacred Name."]}}, "lift-up-your-heads-ye-mighty-gates": {"slug": "lift-up-your-heads-ye-mighty-gates", "title": "Lift Up Your Heads, Ye Mighty Gates", "first_line": "Lift up your heads, ye mighty gates! Behold, the King of glory waits", "author": "georg-weissel", "author_date": "1642", "translator": "catherine-winkworth", "translator_date": "1855", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Art and Music", "Christian Home", "Family", "Christmas", "Advent", "Consecration", "Crown", "Father", "God, As King", "God, Creator", "God, Goodness of", "God, Mercy of", "Grace", "Gratitude", "Holy Spirit", "Inner Life", "Invitation (Faithful's to God)", "Jesus", "Kindness, God's", "Light", "Presence", "Salvation", "Second Coming", "Trinity", "Worship"], "scripture": ["Psalm 24:7", "Psalm 118:19-20", "Matthew 3:1-3", "Isaiah 26:2", "Isaiah 60:4-5", "Revelation 22:20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:36 (line 1933); Words Georg Weissel 1642, tr. Catherine Winkworth 1855, Music August Lemke 1849, setting \"Concordia Kinderchöre\" 1908; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lift up your heads, ye might -- y gates! Be -- hold, the King of glo -- ry waits; The King of kings is draw -- ing near, The Sav -- ior of the world is here; Life and sal -- va -- tion doth He bring, Where -- fore re -- joice and glad -- ly sing: We praise Thee, Fa -- ther, now! Cre -- a -- tor, wise art Thou!", "prose": ["Lift up your heads, ye mighty gates!", "Behold, the King of glory waits;", "The King of kings is drawing near,", "The Savior of the world is here;", "Life and salvation doth He bring,", "Wherefore rejoice and gladly sing:", "We praise Thee, Father, now!", "Creator, wise art Thou!"]}, "2": {"syllabified": "The Lord is just, a Help -- er tried, Mer -- cy is ev -- er at His side, His king -- ly crown is ho -- li -- ness, His scep -- ter, pit -- y in dis -- tress, The end of all our woe He brings; Where -- fore the earth is glad and sings: We praise Thee, Sav -- ior, now! Might -- y in deed art Thou!", "prose": ["The Lord is just, a Helper tried,", "Mercy is ever at His side,", "His kingly crown is holiness,", "His scepter, pity in distress,", "The end of all our woe He brings;", "Wherefore the earth is glad and sings:", "We praise Thee, Savior, now!", "Mighty in deed art Thou!"]}, "3": {"syllabified": "O blest the land, the cit -- y blest, Where Christ the Rul -- er is con -- fessed! O hap -- py hearts and hap -- py homes To whom this King in tri -- umph comes! The cloud -- less Sun of joy He is, Who bring -- eth pure de -- light and bliss. O Com -- fort -- er di -- vine, What bound -- less grace is Thine!", "prose": ["O blest the land, the city blest,", "Where Christ the Ruler is confessed!", "O happy hearts and happy homes", "To whom this King in triumph comes!", "The cloudless Sun of joy He is,", "Who bringeth pure delight and bliss.", "O Comforter divine,", "What boundless grace is Thine!"]}, "4": {"syllabified": "Fling wide the por -- tals of your heart; Make it a tem -- ple, set a -- part From earth -- ly use for heav'ns em -- ploy, A -- dorned with prayer and love and joy; So shall your Sov -- ereign en -- ter in, and new and no -- bler life be -- gin; To Thee, O God, be praise, For Word, and deed, and grace!", "prose": ["Fling wide the portals of your heart;", "Make it a temple, set apart", "From earthly use for heav'ns employ,", "Adorned with prayer and love and joy;", "So shall your Sovereign enter in,", "and new and nobler life begin;", "To Thee, O God, be praise,", "For Word, and deed, and grace!"]}, "5": {"syllabified": "Re -- deem -- er, come! I o -- pen wide My heart to Thee; here, Lord, a -- bide! Let me Thy in -- ner pres -- ence feel, Thy grace and love in me re -- veal. Thy Ho -- ly Spir -- it guide us on, Un -- til our glo -- rious goal be won! E -- ter -- nal praise and fame We of -- fer to Thy Name.", "prose": ["Redeemer, come! I open wide", "My heart to Thee; here, Lord, abide!", "Let me Thy inner presence feel,", "Thy grace and love in me reveal.", "Thy Holy Spirit guide us on,", "Until our glorious goal be won!", "Eternal praise and fame", "We offer to Thy Name."]}}}, "like-a-river-glorious": {"slug": "like-a-river-glorious", "title": "Like a River Glorious", "first_line": "Like a River Glorious", "author": "frances-havergal", "author_date": "1876", "foot": "trochaic", "meter": {"pattern": [11, 11, 11], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Peace", "Trust", "Comfort"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Frances R. Havergal (1836-1879), \"Like a River Glorious\"; published with James Mountain's tune in \"Hymns of Consecration and Faith\" (1876). Text from The Cyber Hymnal. The \"Stayed upon Jehovah\" refrain is carried in every stanza (lines 5-6). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Like a riv -- er glo -- rious is God's per -- fect peace, O -- ver all vic -- to -- rious in its bright in -- crease; Per -- fect, yet it flow -- eth full -- er ev -- ery day, Per -- fect, yet it grow -- eth deep -- er all the way. Stayed up -- on Je -- ho -- vah, hearts are ful -- ly blest, Find -- ing, as He prom -- ised, per -- fect peace and rest.", "prose": ["Like a river glorious is God's perfect peace,", "Over all victorious in its bright increase;", "Perfect, yet it floweth fuller every day,", "Perfect, yet it groweth deeper all the way.", "Refrain: Stayed upon Jehovah, hearts are fully blest,", "Finding, as He promised, perfect peace and rest."]}, "2": {"syllabified": "Hid -- den in the hol -- low of His bless -- ed hand, Nev -- er foe can fol -- low, nev -- er trai -- tor stand; Not a surge of wor -- ry, not a shade of care, Not a blast of hur -- ry touch the spir -- it there. Stayed up -- on Je -- ho -- vah, hearts are ful -- ly blest, Find -- ing, as He prom -- ised, per -- fect peace and rest.", "prose": ["Hidden in the hollow of His blessed hand,", "Never foe can follow, never traitor stand;", "Not a surge of worry, not a shade of care,", "Not a blast of hurry touch the spirit there.", "Refrain: Stayed upon Jehovah, hearts are fully blest,", "Finding, as He promised, perfect peace and rest."]}, "3": {"syllabified": "Ev -- ery joy or tri -- al fall -- eth from a -- bove, Traced up -- on our di -- al by the Sun of Love; We may trust Him ful -- ly all for us to do, They who trust Him whol -- ly find Him whol -- ly true. Stayed up -- on Je -- ho -- vah, hearts are ful -- ly blest, Find -- ing, as He prom -- ised, per -- fect peace and rest.", "prose": ["Every joy or trial falleth from above,", "Traced upon our dial by the Sun of Love;", "We may trust Him fully all for us to do,", "They who trust Him wholly find Him wholly true.", "Refrain: Stayed upon Jehovah, hearts are fully blest,", "Finding, as He promised, perfect peace and rest."]}}}, "like-as-the-hart-for-water-brooks": {"slug": "like-as-the-hart-for-water-brooks", "title": "Like as the Hart for Water-brooks", "first_line": "Like as the hart for water-brooks", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 42, "topics": ["Psalms"], "scripture": ["Psalm 42"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 42. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Like as the hart for wa -- ter -- brooks in thirst doth pant and bray; So pants my long -- ing soul, O God, that come to thee I may.", "prose": ["Like as the hart for water-brooks", "in thirst doth pant and bray;", "So pants my longing soul, O God,", "that come to thee I may."]}, "2": {"syllabified": "My soul for God, the liv -- ing God, doth thirst: when shall I near Un -- to thy coun -- ten -- ance ap -- proach, and in God's sight ap -- pear?", "prose": ["My soul for God, the living God,", "doth thirst: when shall I near", "Unto thy countenance approach,", "and in God's sight appear?"]}, "3": {"syllabified": "My tears have un -- to me been meat, both in the night and day, While un -- to me con -- tin -- ual -- ly, Where is thy God? they say.", "prose": ["My tears have unto me been meat,", "both in the night and day,", "While unto me continually,", "Where is thy God? they say."]}, "4": {"syllabified": "My soul is pour -- ed out in me, when this I think up -- on; Be -- cause that with the mul -- ti -- tude I here -- to -- fore had gone:", "prose": ["My soul is poured out in me,", "when this I think upon;", "Because that with the multitude", "I heretofore had gone:"]}, "5": {"syllabified": "With them in -- to God's house I went, with voice of joy and praise; Yea, with the mul -- ti -- tude that kept the sol -- emn ho -- ly days.", "prose": ["With them into God's house I went,", "with voice of joy and praise;", "Yea, with the multitude that kept", "the solemn holy days."]}, "6": {"syllabified": "O why art thou cast down, my soul? why in me so dis -- mayed? Trust God, for I shall praise him yet, his count' -- nance is mine aid.", "prose": ["O why art thou cast down, my soul?", "why in me so dismayed?", "Trust God, for I shall praise him yet,", "his count'nance is mine aid."]}, "7": {"syllabified": "My God, my soul's cast down in me; thee there -- fore mind I will From Jor -- dan's land, the Her -- mo -- nites, and ev'n from Mi -- zar hill.", "prose": ["My God, my soul's cast down in me;", "thee therefore mind I will", "From Jordan's land, the Hermonites,", "and ev'n from Mizar hill."]}, "8": {"syllabified": "At the noise of thy wa -- ter -- spouts deep un -- to deep doth call; Thy break -- ing waves pass o -- ver me, yea, and thy bil -- lows all.", "prose": ["At the noise of thy water-spouts", "deep unto deep doth call;", "Thy breaking waves pass over me,", "yea, and thy billows all."]}, "9": {"syllabified": "His lov -- ing -- kind -- ness yet the Lord com -- mand will in the day, His song's with me by night; to God, by whom I live, I'll pray:", "prose": ["His loving-kindness yet the Lord", "command will in the day,", "His song's with me by night; to God,", "by whom I live, I'll pray:"]}, "10": {"syllabified": "And I will say to God my rock, Why me for -- gett'st thou so? Why, for my foes' op -- pres -- si -- on, thus mourn -- ing do I go?", "prose": ["And I will say to God my rock,", "Why me forgett'st thou so?", "Why, for my foes' oppression,", "thus mourning do I go?"]}, "11": {"syllabified": "'Tis as a sword with -- in my bones, when my foes me up -- braid; Ev'n when by them, Where is thy God? 'tis dai -- ly to me said.", "prose": ["'Tis as a sword within my bones,", "when my foes me upbraid;", "Ev'n when by them, Where is thy God?", "'tis daily to me said."]}, "12": {"syllabified": "O why art thou cast down, my soul? why, thus with grief op -- pressed, Art thou dis -- qui -- et -- ed in me? in God still hope and rest:", "prose": ["O why art thou cast down, my soul?", "why, thus with grief oppressed,", "Art thou disquieted in me?", "in God still hope and rest:"]}, "13": {"syllabified": "For yet I know I shall him praise, who gra -- cious -- ly to me The health is of my coun -- ten -- ance, yea, mine own God is he.", "prose": ["For yet I know I shall him praise,", "who graciously to me", "The health is of my countenance,", "yea, mine own God is he."]}}}, "lo-he-comes-with-clouds-descending": {"slug": "lo-he-comes-with-clouds-descending", "title": "Lo! He Comes With Clouds Descending", "first_line": "Lo! He comes with clouds descending, Once for ev'ry sinner slain", "author": "john-cennick", "author_date": "1752", "adapter": "charles-wesley", "adapter_date": "1758", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 12, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Bride", "Bridegroom", "Cloud", "Fear of the Lord", "God, As King", "God, Eternity of", "God, Majesty & Power of", "Jesus", "Judgment", "Praise, Son", "Presence", "Saints (all Faithful)", "Second Coming", "Sinners", "Throne (also see God - As King)", "Worship"], "scripture": ["Revelation 1:7", "John 20:24-31", "Revelation 7:9-12", "Acts 1:11", "1 Thessalonians 4:13-18", "Revelation 22:20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words John Cennick, 1752; alt. Charles Wesley, 1758. Both d. pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lo! He comes with clouds de -- scend -- ing, Once for ev -- 'ry sin -- ner slain; Thou -- sand thou -- sand saints at -- tend -- ing, Swell the tri -- umph of His train: Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! God ap -- pears on earth to reign.", "prose": ["Lo! He comes with clouds descending,", "Once for ev'ry sinner slain;", "Thousand thousand saints attending,", "Swell the triumph of His train:", "Hallelujah! Hallelujah! Hallelujah!", "God appears on earth to reign."]}, "2": {"syllabified": "Ev -- 'ry eye shall now be -- hold Him Robed in dread -- ful maj -- est -- y; Those who set at naught and sold Him, Pierced and nailed Him to the tree, Deep -- ly wail -- ing, deep -- ly wail -- ing, deep -- ly wail -- ing, Shall the true Mes -- si -- ah see.", "prose": ["Ev'ry eye shall now behold Him", "Robed in dreadful majesty;", "Those who set at naught and sold Him,", "Pierced and nailed Him to the tree,", "Deeply wailing, deeply wailing, deeply wailing,", "Shall the true Messiah see."]}, "3": {"syllabified": "Ev -- 'ry is -- land, sea, and moun -- tain, Heav'n and earth, shall flee a -- way; All who hate Him must, con -- found -- ed, Hear the trump pro -- claim the day: Come to judg -- ment! Come to judg -- ment! Come to judg -- ment! Come to judg -- ment! Come a -- way!", "prose": ["Ev'ry island, sea, and mountain,", "Heav'n and earth, shall flee away;", "All who hate Him must, confounded,", "Hear the trump proclaim the day:", "Come to judgment! Come to judgment! Come to judgment!", "Come to judgment! Come away!"]}, "4": {"syllabified": "Now re -- demp -- tion, long ex -- pect -- ed, See in sol -- emn pomp ap -- pear; All His saints, by man re -- ject -- ed, Now shall meet Him in the air: Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! See the day of God ap -- pear!", "prose": ["Now redemption, long expected,", "See in solemn pomp appear;", "All His saints, by man rejected,", "Now shall meet Him in the air:", "Hallelujah! Hallelujah! Hallelujah!", "See the day of God appear!"]}, "5": {"syllabified": "An -- swer Thine own bride and Spir -- it, Has -- ten, Lord, the gen -- 'ral doom! The new Heav'n and earth in -- her -- it, Take Thy pin -- ing ex -- iles home: All cre -- a -- tion, all cre -- a -- tion, all cre -- a -- tion, Tra -- vails! groans! and bids Thee come!", "prose": ["Answer Thine own bride and Spirit,", "Hasten, Lord, the gen'ral doom!", "The new Heav'n and earth inherit,", "Take Thy pining exiles home:", "All creation, all creation, all creation,", "Travails! groans! and bids Thee come!"]}}}, "lo-how-a-rose-e-er-blooming": {"slug": "lo-how-a-rose-e-er-blooming", "title": "Lo, How a Rose E'er Blooming", "first_line": "Lo, how a Rose e'er blooming", "author_source": "German, 15th century", "translator": "theodore-baker", "translator_date": "1894", "foot": "trochaic", "meter": {"pattern": [7, 6, 7, 6, 6, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Advent", "Christmas", "Jesus Christ, Birth of", "Mary"], "scripture": ["Isaiah 11:1", "Song of Solomon 2:1"], "provenance": {"layer": "text", "source": "baker-1894", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "15th c. German, tr. Theodore Baker 1894 (vv.1-2); F. Layriz tr. H. R. Krauth 1875 (vv.3-4); tr. J. C. Mattes 1914 (v.5). All pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lo_how_a_rose_eer_blooming", "total_instances": 118}}, "stanzas": {"1": {"syllabified": "Lo, how a Rose e'er bloom -- ing from ten -- der stem hath sprung! Of Jes -- se's lin -- eage com -- ing, as men of old have sung. It came, a flow'r -- et bright, a -- mid the cold of win -- ter, When half spent was the night.", "prose": ["Lo, how a Rose e'er blooming", "from tender stem hath sprung!", "Of Jesse's lineage coming,", "as men of old have sung.", "It came, a flow'ret bright,", "amid the cold of winter,", "When half spent was the night."]}, "2": {"syllabified": "Is -- ai -- ah 'twas fore -- told it, the Rose I have in mind; With Mar -- y we be -- hold it, the vir -- gin moth -- er kind. To show God's love a -- right, she bore to men a Sav -- ior, When half spent was the night.", "prose": ["Isaiah 'twas foretold it,", "the Rose I have in mind;", "With Mary we behold it,", "the virgin mother kind.", "To show God's love aright,", "she bore to men a Savior,", "When half spent was the night."]}, "3": {"syllabified": "The shep -- herds heard the sto -- ry pro -- claimed by an -- gels bright, How Christ, the Lord of glor -- y was born on earth this night. To Beth -- le -- hem they sped and in the man -- ger found Him, As an -- gel her -- alds said.", "prose": ["The shepherds heard the story", "proclaimed by angels bright,", "How Christ, the Lord of glory", "was born on earth this night.", "To Bethlehem they sped", "and in the manger found Him,", "As angel heralds said."]}, "4": {"syllabified": "This Flow'r, whose fra -- grance ten -- der with sweet -- ness fills the air, Dis -- pels with glor -- ious splen -- dor the dark -- ness ev -- ery -- where; True Man, yet ver -- y God, from sin and death He saves us, And light -- ens ev -- 'ry load.", "prose": ["This Flow'r, whose fragrance tender", "with sweetness fills the air,", "Dispels with glorious splendor", "the darkness everywhere;", "True Man, yet very God,", "from sin and death He saves us,", "And lightens ev'ry load."]}, "5": {"syllabified": "O Sav -- ior, Child of Ma -- ry, who felt our hu -- man woe, O Sav -- ior, King of glo -- ry, who dost our weak -- ness know; Bring us at length we pray, to the bright courts of Heav -- en, And to the end -- less day!", "prose": ["O Savior, Child of Mary,", "who felt our human woe,", "O Savior, King of glory,", "who dost our weakness know;", "Bring us at length we pray,", "to the bright courts of Heaven,", "And to the endless day!"]}}}, "look-ye-saints-the-sight-is-glorious": {"slug": "look-ye-saints-the-sight-is-glorious", "title": "Look, Ye Saints! The Sight Is Glorious", "first_line": "Look, Ye Saints! The Sight Is Glorious", "author": "thomas-kelly", "author_date": "1809", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 4, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Ascension", "Jesus Christ, Exaltation of", "Praise, Son"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Thomas Kelly (1769-1855), \"Look, ye saints! the sight is glorious,\" from Hymns on Various Passages of Scripture (1809). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Look, ye saints, the sight is glo -- rious: See the Man of Sor -- rows now; From the fight re -- turned vic -- to -- rious, Ev -- ery knee to Him shall bow; Crown Him! Crown Him! Crowns be -- come the Vic -- tor's brow.", "prose": ["Look, ye saints! the sight is glorious:", "See the Man of Sorrows now;", "From the fight returned victorious,", "Every knee to Him shall bow;", "Crown Him! Crown Him!", "Crowns become the Victor's brow."]}, "2": {"syllabified": "Crown the Sav -- ior! an -- gels crown Him; Rich the tro -- phies Je -- sus brings; In the seat of power en -- throne Him, While the vault of heav -- en rings; Crown Him! Crown Him! Crown the Sav -- ior King of kings.", "prose": ["Crown the Savior! angels crown Him;", "Rich the trophies Jesus brings;", "In the seat of power enthrone Him,", "While the vault of heaven rings;", "Crown Him! Crown Him!", "Crown the Savior King of kings."]}, "3": {"syllabified": "Sin -- ners in de -- ri -- sion crowned Him; Mock -- ing thus the Sav -- ior's claim; Saints and an -- gels crowd a -- round Him, Own His ti -- tle, praise His name; Crown Him! Crown Him! Spread a -- broad the Vic -- tor's fame.", "prose": ["Sinners in derision crowned Him,", "Mocking thus the Savior's claim;", "Saints and angels crowd around Him,", "Own His title, praise His name;", "Crown Him! Crown Him!", "Spread abroad the Victor's fame."]}, "4": {"syllabified": "Hark, those bursts of ac -- cla -- ma -- tion! Hark, those loud tri -- um -- phant chords! Je -- sus takes the high -- est sta -- tion; O what joy the sight af -- fords! Crown Him! Crown Him! King of kings, and Lord of lords!", "prose": ["Hark, those bursts of acclamation!", "Hark, those loud triumphant chords!", "Jesus takes the highest station;", "O what joy the sight affords!", "Crown Him! Crown Him!", "King of kings, and Lord of lords!"]}}}, "lord-bless-and-pity-us": {"slug": "lord-bless-and-pity-us", "title": "Lord, Bless and Pity Us", "first_line": "Lord, bless and pity us", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 67, "topics": ["Psalms"], "scripture": ["Psalm 67"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 67. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, bless and pit -- y us, shine on us with thy face: That th'earth thy way, and na -- tions all may know thy sav -- ing grace.", "prose": ["Lord, bless and pity us,", "shine on us with thy face:", "That th' earth thy way, and nations all", "may know thy saving grace."]}, "2": {"syllabified": "Let peo -- ple praise thee, Lord; let peo -- ple all thee praise. O let the na -- ti -- ons be glad, in songs their voic -- es raise:", "prose": ["Let people praise thee, Lord;", "let people all thee praise.", "O let the nations be glad,", "in songs their voices raise:"]}, "3": {"syllabified": "Thou'lt just -- ly peo -- ple judge, on earth rule na -- tions all. Let peo -- ple praise thee, Lord; let them praise thee, both great and small.", "prose": ["Thou 'lt justly people judge,", "on earth rule nations all.", "Let people praise thee, Lord; let them", "praise thee, both great and small."]}, "4": {"syllabified": "The earth her fruit shall yield, our God shall bless -- ing send. God shall us bless; men shall him fear un -- to earth's ut -- most end.", "prose": ["The earth her fruit shall yield,", "our God shall blessing send.", "God shall us bless; men shall him fear", "unto earth's utmost end."]}}}, "lord-dismiss-us-with-thy-blessing": {"slug": "lord-dismiss-us-with-thy-blessing", "title": "Lord, Dismiss Us With Thy Blessing", "first_line": "Lord, dismiss us with Thy blessing; Fill our hearts", "author": "john-fawcett", "author_date": "1889", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Closing Songs", "Fellowship", "Forgiveness", "Grace"], "scripture": ["Mark 4:26-29", "1 Corinthians 3:6-7", "1 Thessalonians 3:11-13", "2 Corinthians 9:10"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:29; all components published pre-1931 (latest year 1889).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_dismiss_us_with_thy_blessing_fill", "total_instances": 1340}}, "stanzas": {"1": {"syllabified": "Lord, dis -- miss us with Thy bless -- ing; Fill our hearts with joy and peace; Let us each Thy love pos -- ses -- sing, Tri -- umph in re -- deem -- ing grace. O re -- fresh us, O re -- fresh us, Trav -- 'ling through this wil -- der -- ness.", "prose": ["Lord, dismiss us with Thy blessing;", "Fill our hearts with joy and peace;", "Let us each Thy love possessing,", "Triumph in redeeming grace.", "O refresh us, O refresh us,", "Trav'ling through this wilderness."]}, "2": {"syllabified": "Thanks we give and ad -- o -- ra -- tion For Thy Gos -- pel's joy -- ful sound; May the fruits of Thy sal -- va -- tion In our hearts and lives a -- bound. Ev -- er faith -- ful, ev -- er faith -- ful, To the truth may we be found.", "prose": ["Thanks we give and adoration", "For Thy Gospel's joyful sound;", "May the fruits of Thy salvation", "In our hearts and lives abound.", "Ever faithful, ever faithful,", "To the truth may we be found."]}, "3": {"syllabified": "So that when Thy love shall call us, Sav -- ior, from the world a -- way, Fear of death shall not ap -- pall us, Glad Thy sum -- mons to o -- bey. May we ev -- er, may we ev -- er, Reign with Thee in end -- less day.", "prose": ["So that when Thy love shall call us,", "Savior, from the world away,", "Fear of death shall not appall us,", "Glad Thy summons to obey.", "May we ever, may we ever,", "Reign with Thee in endless day."]}}}, "lord-from-the-depths-to-thee-i-cried": {"slug": "lord-from-the-depths-to-thee-i-cried", "title": "Lord, from the Depths to Thee I Cried", "first_line": "Lord, from the depths to thee I cried", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 130, "topics": ["Psalms"], "scripture": ["Psalm 130"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 130. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, from the depths to thee I cried. My voice, Lord, do thou hear: Un -- to my sup -- pli -- ca -- tions' voice give an at -- ten -- tive ear.", "prose": ["Lord, from the depths to thee I cried.", "My voice, Lord, do thou hear:", "Unto my supplications' voice", "give an attentive ear."]}, "2": {"syllabified": "Lord, who shall stand, if thou, O Lord, should'st mark in -- iq -- ui -- ty? But yet with thee for -- give -- ness is, that fear'd thou may -- est be.", "prose": ["Lord, who shall stand, if thou, O Lord,", "should'st mark iniquity?", "But yet with thee forgiveness is,", "that fear'd thou mayest be."]}, "3": {"syllabified": "I wait for God, my soul doth wait, my hope is in his word. More than they that for morn -- ing watch, my soul waits for the Lord;", "prose": ["I wait for God, my soul doth wait,", "my hope is in his word.", "More than they that for morning watch,", "my soul waits for the Lord;"]}, "4": {"syllabified": "I say, more than they that do watch the morn -- ing light to see. Let I -- sra -- el hope in the Lord, for with him mer -- cies be;", "prose": ["I say, more than they that do watch", "the morning light to see.", "Let Israel hope in the Lord,", "for with him mercies be;"]}, "5": {"syllabified": "And plen -- te -- ous re -- demp -- ti -- on is ev -- er found with him. And from all his in -- iq -- ui -- ties he Is -- r'el shall re -- deem.", "prose": ["And plenteous redemption", "is ever found with him.", "And from all his iniquities", "he Isr'el shall redeem."]}}}, "lord-from-the-ill-and-froward-man": {"slug": "lord-from-the-ill-and-froward-man", "title": "Lord, from the Ill and Froward Man", "first_line": "Lord, from the ill and froward man", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 140, "topics": ["Psalms"], "scripture": ["Psalm 140"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 140. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, from the ill and fro -- ward man give me de -- liv -- er -- ance, And do thou safe pre -- serve me from the man of vi -- o -- lence:", "prose": ["Lord, from the ill and froward man", "give me deliverance,", "And do thou safe preserve me from", "the man of violence:"]}, "2": {"syllabified": "Who in their heart mis -- chie -- vous things are med -- i -- tat -- ing ev -- er; And they for war as -- sem -- bled are con -- tin -- ual -- ly to -- geth -- er.", "prose": ["Who in their heart mischievous things", "are meditating ever;", "And they for war assembled are", "continually together."]}, "3": {"syllabified": "Much like un -- to a ser -- pent's tongue their tongues they sharp do make; And un -- der -- neath their lips there lies the poi -- son of a snake.", "prose": ["Much like unto a serpent's tongue", "their tongues they sharp do make;", "And underneath their lips there lies", "the poison of a snake."]}, "4": {"syllabified": "Lord, keep me from the wi -- cked's hands, from vi -- 'lent men me save; Who ut -- ter -- ly to o -- ver -- throw my go -- ings pur -- posed have.", "prose": ["Lord, keep me from the wicked's hands,", "from vi'lent men me save;", "Who utterly to overthrow", "my goings purposed have."]}, "5": {"syllabified": "The proud for me a snare have hid, and cords; yea, they a net Have by the way -- side for me spread; they gins for me have set.", "prose": ["The proud for me a snare have hid,", "and cords; yea, they a net", "Have by the wayside for me spread;", "they gins for me have set."]}, "6": {"syllabified": "I said un -- to the Lord, Thou art my God: un -- to the cry Of all my sup -- pli -- ca -- ti -- ons, Lord, do thine ear ap -- ply.", "prose": ["I said unto the Lord, Thou art", "my God: unto the cry", "Of all my supplications,", "Lord, do thine ear apply."]}, "7": {"syllabified": "O God the Lord, who art the strength of my sal -- va -- ti -- on: A cov -- 'ring in the day of war my head thou hast put on.", "prose": ["O God the Lord, who art the strength", "of my salvation:", "A cov'ring in the day of war", "my head thou hast put on."]}, "8": {"syllabified": "Un -- to the wick -- ed man, O Lord, his wish -- es do not grant; Nor fur -- ther thou his ill de -- vice, lest they them -- selves should vaunt.", "prose": ["Unto the wicked man, O Lord,", "his wishes do not grant;", "Nor further thou his ill device,", "lest they themselves should vaunt."]}, "9": {"syllabified": "As for the head and chief of those a -- bout that com -- pass me, Ev'n by the mis -- chief of the lips let thou them cov -- ered be.", "prose": ["As for the head and chief of those", "about that compass me,", "Ev'n by the mischief of the lips", "let thou them covered be."]}, "10": {"syllabified": "Let burn -- ing coals up -- on them fall, them throw in fie -- ry flame, And in deep pits, that they no more may rise out of the same.", "prose": ["Let burning coals upon them fall,", "them throw in fiery flame,", "And in deep pits, that they no more", "may rise out of the same."]}, "11": {"syllabified": "Let not an e -- vil speak -- er be on earth es -- tab -- lish -- ed: Mis -- chief shall hunt the vi -- 'lent man, till he be ru -- in -- ed.", "prose": ["Let not an evil speaker be", "on earth established:", "Mischief shall hunt the vi'lent man,", "till he be ruined."]}, "12": {"syllabified": "I know God will th'af -- flic -- ted's cause main -- tain, and poor men's right. Sure -- ly the just shall praise thy name; th'up -- right dwell in thy sight.", "prose": ["I know God will th' afflicted's cause", "maintain, and poor men's right.", "Surely the just shall praise thy name;", "th' upright dwell in thy sight."]}}}, "lord-god-my-saviour-day-and-night": {"slug": "lord-god-my-saviour-day-and-night", "title": "Lord God, My Saviour, Day and Night", "first_line": "Lord God, my Saviour, day and night", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 88, "topics": ["Psalms"], "scripture": ["Psalm 88"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 88. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord God, my Sav -- iour, day and night be -- fore thee cried have I. Be -- fore thee let my pray -- er come; give ear un -- to my cry.", "prose": ["Lord God, my Saviour, day and night", "before thee cried have I.", "Before thee let my prayer come;", "give ear unto my cry."]}, "2": {"syllabified": "For trou -- bles great do fill my soul; my life draws nigh the grave. I'm count -- ed with those that go down to pit, and no strength have.", "prose": ["For troubles great do fill my soul;", "my life draws nigh the grave.", "I'm counted with those that go down", "to pit, and no strength have."]}, "3": {"syllabified": "Ev'n free a -- mong the dead, like them that slain in grave do lie; Cut off from thy hand, whom no more thou hast in mem -- o -- ry.", "prose": ["Ev'n free among the dead, like them", "that slain in grave do lie;", "Cut off from thy hand, whom no more", "thou hast in memory."]}, "4": {"syllabified": "Thou hast me laid in low -- est pit, in deeps and dark -- some caves. Thy wrath lies hard on me, thou hast me pressed with all thy waves.", "prose": ["Thou hast me laid in lowest pit,", "in deeps and darksome caves.", "Thy wrath lies hard on me, thou hast", "me pressed with all thy waves."]}, "5": {"syllabified": "Thou hast put far from me my friends, thou mad'st them to ab -- hor me; And I am so shut up, that I find no e -- va -- sion for me.", "prose": ["Thou hast put far from me my friends,", "thou mad'st them to abhor me;", "And I am so shut up, that I", "find no evasion for me."]}, "6": {"syllabified": "By rea -- son of af -- flic -- ti -- on mine eye mourns dole -- ful -- ly: To thee, Lord, do I call, and stretch my hands con -- tin -- ual -- ly.", "prose": ["By reason of affliction", "mine eye mourns dolefully:", "To thee, Lord, do I call, and stretch", "my hands continually."]}, "7": {"syllabified": "Wilt thou show won -- ders to the dead? shall they rise, and thee bless? Shall in the grave thy love be told? in death thy faith -- ful -- ness?", "prose": ["Wilt thou show wonders to the dead?", "shall they rise, and thee bless?", "Shall in the grave thy love be told?", "in death thy faithfulness?"]}, "8": {"syllabified": "Shall thy great won -- ders in the dark, or shall thy right -- eous -- ness Be known to an -- y in the land of deep for -- get -- ful -- ness?", "prose": ["Shall thy great wonders in the dark,", "or shall thy righteousness", "Be known to any in the land", "of deep forgetfulness?"]}, "9": {"syllabified": "But, Lord, to thee I cried; my pray'r at morn pre -- vent shall thee. Why, Lord, dost thou cast off my soul, and hid'st thy face from me?", "prose": ["But, Lord, to thee I cried; my pray'r", "at morn prevent shall thee.", "Why, Lord, dost thou cast off my soul,", "and hid'st thy face from me?"]}, "10": {"syllabified": "Dis -- tressed am I, and from my youth I read -- y am to die; Thy ter -- rors I have borne, and am dis -- tract -- ed fear -- ful -- ly.", "prose": ["Distressed am I, and from my youth", "I ready am to die;", "Thy terrors I have borne, and am", "distracted fearfully."]}, "11": {"syllabified": "The dread -- ful fierce -- ness of thy wrath quite o -- ver me doth go: Thy ter -- rors great have cut me off, they did pur -- sue me so.", "prose": ["The dreadful fierceness of thy wrath", "quite over me doth go:", "Thy terrors great have cut me off,", "they did pursue me so."]}, "12": {"syllabified": "For round a -- bout me ev -- 'ry day, like wa -- ter, they did roll; And, gath -- er -- ing to -- geth -- er, they have com -- pass -- ed my soul.", "prose": ["For round about me ev'ry day,", "like water, they did roll;", "And, gathering together, they", "have compassed my soul."]}, "13": {"syllabified": "My friends thou hast put far from me, and him that did me love; And those that mine ac -- quain -- tance were to dark -- ness didst re -- move.", "prose": ["My friends thou hast put far from me,", "and him that did me love;", "And those that mine acquaintance were", "to darkness didst remove."]}}}, "lord-god-of-hosts-in-mercy": {"slug": "lord-god-of-hosts-in-mercy", "title": "True Blessedness", "first_line": "Lord God of Hosts, in mercy", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 84, "topics": ["Psalms"], "scripture": ["Psalm 84"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 228) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 84, selection 228. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord God of Hosts, in mer -- cy My sup -- pli -- ca -- tion hear; Al -- might -- y and all -- faith -- ful, Our fa -- thers' God, give ear; Our shield and great de -- fen -- der, No long -- er hide Thy face, But look up -- on Thy ser -- vant, A -- noint -- ed by Thy grace.", "prose": ["Lord God of Hosts, in mercy", "My supplication hear;", "Almighty and all-faithful,", "Our fathers' God, give ear;", "Our shield and great defender,", "No longer hide Thy face,", "But look upon Thy servant,", "Anointed by Thy grace."]}, "2": {"syllabified": "In Thy blest courts to wor -- ship, My God, a sin -- gle day Is bet -- ter than a thou -- sand While far from Thee I stray; Tho' in a low -- ly sta -- tion, the ser -- vice of my Lord I choose a -- bove all plea -- sures That sin -- ful ways af -- ford.", "prose": ["In Thy blest courts to worship,", "My God, a single day", "Is better than a thousand", "While far from Thee I stray;", "Tho' in a lowly station,", "the service of my Lord", "I choose above all pleasures", "That sinful ways afford."]}, "3": {"syllabified": "A sun and shield for -- ev -- er Is God, the Lord Most High; To those who walk up -- right -- ly No good will He de -- ny; His saints, His grace re -- ceiv -- ing, Shall soon His glo -- ry see; O Lord of Hosts, most bless -- ed Are they that trust in Thee.", "prose": ["A sun and shield forever", "Is God, the Lord Most High;", "To those who walk uprightly", "No good will He deny;", "His saints, His grace receiving,", "Shall soon His glory see;", "O Lord of Hosts, most blessed", "Are they that trust in Thee."]}}}, "lord-haste-me-to-deliver": {"slug": "lord-haste-me-to-deliver", "title": "Lord, Haste Me to Deliver", "first_line": "Lord, haste me to deliver", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 70, "topics": ["Psalms"], "scripture": ["Psalm 70"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 70. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, haste me to de -- liv -- er; with speed, Lord, suc -- cour me. Let them that for my soul do seek shamed and con -- found -- ed be:", "prose": ["Lord, haste me to deliver;", "with speed, Lord, succour me.", "Let them that for my soul do seek", "shamed and confounded be:"]}, "2": {"syllabified": "Turned back be they, and shamed, that in my hurt de -- light. Turned back be they, Ha, ha! that say, their sham -- ing to re -- quite.", "prose": ["Turned back be they, and shamed,", "that in my hurt delight.", "Turned back be they, Ha, ha! that say,", "their shaming to requite."]}, "3": {"syllabified": "In thee let all be glad, and joy that seek for thee: Let them who thy sal -- va -- tion love say still, God prais -- ed be.", "prose": ["In thee let all be glad,", "and joy that seek for thee:", "Let them who thy salvation love", "say still, God praised be."]}, "4": {"syllabified": "I poor and need -- y am; come, Lord, and make no stay: My help thou and de -- liv -- 'rer art; O Lord, make no de -- lay.", "prose": ["I poor and needy am;", "come, Lord, and make no stay:", "My help thou and deliv'rer art;", "O Lord, make no delay."]}}}, "lord-hear-my-prayer-and-let-my-cry": {"slug": "lord-hear-my-prayer-and-let-my-cry", "title": "Affliction and Appeal", "first_line": "Lord, hear my prayer, and let my cry", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 102, "topics": ["Psalms"], "scripture": ["Psalm 102"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 272) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 102, selection 272. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, hear my prayer, and let my cry Have read -- y ac -- cess un -- to Thee; When in dis -- tress to thee i fly, O hide not thou thy face from me.", "prose": ["Lord, hear my prayer, and let my cry", "Have ready access unto Thee;", "When in distress to thee i fly,", "O hide not thou thy face from me."]}, "2": {"syllabified": "At -- tend, o Lord, to my de -- sire, O haste to an -- swer when I pray, For grief con -- sumes my strength like fire, My days as smoke pass swift a -- way.", "prose": ["Attend, o Lord, to my desire,", "O haste to answer when I pray,", "For grief consumes my strength like fire,", "My days as smoke pass swift away."]}, "3": {"syllabified": "My heart is with -- ered like the grass, And I for -- get my dai -- ly bread; In lone -- ly grief my days I pass And sad my thoughts up -- on my bed.", "prose": ["My heart is withered like the grass,", "And I forget my daily bread;", "In lonely grief my days I pass", "And sad my thoughts upon my bed."]}, "4": {"syllabified": "My foes re -- proach me all the day, My drink is tars, my bread is grief, For in Thy wrath I pine a -- way, My days are like a fad -- ing leaf.", "prose": ["My foes reproach me all the day,", "My drink is tars, my bread is grief,", "For in Thy wrath I pine away,", "My days are like a fading leaf."]}}}, "lord-hear-my-prayr-and-let-my-cry": {"slug": "lord-hear-my-prayr-and-let-my-cry", "title": "Lord, Hear My Pray'r, and Let My Cry (Second Version)", "first_line": "Lord, hear my pray'r, and let my cry", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 102, "topics": ["Psalms"], "scripture": ["Psalm 102"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 102 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, hear my pray'r, and let my cry Have spee -- dy ac -- cess un -- to thee; In day of my ca -- lam -- i -- ty O hide not thou thy face from me.", "prose": ["Lord, hear my pray'r, and let my cry", "Have speedy access unto thee;", "In day of my calamity", "O hide not thou thy face from me."]}, "2": {"syllabified": "Hear when I call to thee; that day An an -- swer speed -- i -- ly re -- turn: My days, like smoke, con -- sume a -- way, And, as an hearth, my bones do burn.", "prose": ["Hear when I call to thee; that day", "An answer speedily return:", "My days, like smoke, consume away,", "And, as an hearth, my bones do burn."]}, "3": {"syllabified": "My heart is woun -- ded ver -- y sore, And with -- er -- ed, like grass doth fade: I am for -- get -- ful grown there -- fore To take and eat my dai -- ly bread.", "prose": ["My heart is wounded very sore,", "And withered, like grass doth fade:", "I am forgetful grown therefore", "To take and eat my daily bread."]}, "4": {"syllabified": "By rea -- son of my smart with -- in, And voice of my most griev -- ous groans, My flesh con -- sum -- ed is, my skin, All parched, doth cleave un -- to my bones.", "prose": ["By reason of my smart within,", "And voice of my most grievous groans,", "My flesh consumed is, my skin,", "All parched, doth cleave unto my bones."]}, "5": {"syllabified": "The pel -- i -- can of wil -- der -- ness, The owl in des -- ert, I do match; And, spar -- row -- like, com -- pan -- ion -- less, Up -- on the hous -- e's top, I watch.", "prose": ["The pelican of wilderness,", "The owl in desert, I do match;", "And, sparrow-like, companionless,", "Upon the house's top, I watch."]}, "6": {"syllabified": "I all day long am made a scorn, Re -- proached by my ma -- li -- cious foes: The mad -- men are a -- gainst me sworn, The men a -- gainst me that a -- rose.", "prose": ["I all day long am made a scorn,", "Reproached by my malicious foes:", "The madmen are against me sworn,", "The men against me that arose."]}, "7": {"syllabified": "For I have ash -- es eat -- en up, To me as if they had been bread; And with my drink I in my cup Of bit -- ter tears a mix -- ture made.", "prose": ["For I have ashes eaten up,", "To me as if they had been bread;", "And with my drink I in my cup", "Of bitter tears a mixture made."]}, "8": {"syllabified": "Be -- cause thy wrath was not ap -- peased, And dread -- ful in -- dig -- na -- ti -- on: There -- fore it was that thou me raised, And thou a -- gain didst cast me down.", "prose": ["Because thy wrath was not appeased,", "And dreadful indignation:", "Therefore it was that thou me raised,", "And thou again didst cast me down."]}, "9": {"syllabified": "My days are like a shade al -- way, Which doth de -- clin -- ing swift -- ly pass; And I am with -- er -- ed a -- way, Much like un -- to the fad -- ing grass.", "prose": ["My days are like a shade alway,", "Which doth declining swiftly pass;", "And I am withered away,", "Much like unto the fading grass."]}, "10": {"syllabified": "But thou, O Lord, shalt still en -- dure, From change and all mu -- ta -- tion free, And to all gen -- er -- a -- tions sure Shall thy re -- mem -- brance ev -- er be.", "prose": ["But thou, O Lord, shalt still endure,", "From change and all mutation free,", "And to all generations sure", "Shall thy remembrance ever be."]}, "11": {"syllabified": "Thou shalt a -- rise, and mer -- cy yet Thou to mount Zi -- on shalt ex -- tend: Her time for fa -- vour which was set, Be -- hold, is now come to an end.", "prose": ["Thou shalt arise, and mercy yet", "Thou to mount Zion shalt extend:", "Her time for favour which was set,", "Behold, is now come to an end."]}, "12": {"syllabified": "Thy saints take plea -- sure in her stones, Her ver -- y dust to them is dear. All hea -- then lands and king -- ly thrones On earth thy glo -- rious name shall fear.", "prose": ["Thy saints take pleasure in her stones,", "Her very dust to them is dear.", "All heathen lands and kingly thrones", "On earth thy glorious name shall fear."]}, "13": {"syllabified": "God in his glo -- ry shall ap -- pear, When Zi -- on he builds and re -- pairs. He shall re -- gard and lend his ear Un -- to the nee -- dy's hum -- ble pray'rs:", "prose": ["God in his glory shall appear,", "When Zion he builds and repairs.", "He shall regard and lend his ear", "Unto the needy's humble pray'rs:"]}, "14": {"syllabified": "Th'af -- flic -- ted's pray'r he will not scorn. All times this shall be on re -- cord: And gen -- er -- a -- tions yet un -- born Shall praise and mag -- ni -- fy the Lord.", "prose": ["Th' afflicted's pray'r he will not scorn.", "All times this shall be on record:", "And generations yet unborn", "Shall praise and magnify the Lord."]}, "15": {"syllabified": "He from his ho -- ly place looked down, The earth he viewed from heav'n on high; To hear the pris -- 'ner's mourn -- ing groan, And free them that are doomed to die;", "prose": ["He from his holy place looked down,", "The earth he viewed from heav'n on high;", "To hear the pris'ner's mourning groan,", "And free them that are doomed to die;"]}, "16": {"syllabified": "That Zi -- on, and Je -- ru -- s'lem too, His name and praise may well re -- cord, When peo -- ple and the king -- doms do As -- sem -- ble all to praise the Lord.", "prose": ["That Zion, and Jerus'lem too,", "His name and praise may well record,", "When people and the kingdoms do", "Assemble all to praise the Lord."]}, "17": {"syllabified": "My strength he weak -- ened in the way, My days of life he shor -- ten -- ed. My God, O take me not a -- way In mid -- time of my days, I said:", "prose": ["My strength he weakened in the way,", "My days of life he shortened.", "My God, O take me not away", "In mid-time of my days, I said:"]}, "18": {"syllabified": "Thy years through -- out all ag -- es last. Of old thou hast es -- tab -- lish -- ed The earth's foun -- da -- tion firm and fast: Thy might -- y hands the heav'ns have made.", "prose": ["Thy years throughout all ages last.", "Of old thou hast established", "The earth's foundation firm and fast:", "Thy mighty hands the heav'ns have made."]}, "19": {"syllabified": "They per -- ish shall, as gar -- ments do, But thou shalt ev -- er -- more en -- dure; As ves -- tures, thou shalt change them so; And they shall all be chang -- ed sure:", "prose": ["They perish shall, as garments do,", "But thou shalt evermore endure;", "As vestures, thou shalt change them so;", "And they shall all be changed sure:"]}, "20": {"syllabified": "But from all chan -- ges thou art free; Thy end -- less years do last for aye. Thy ser -- vants, and their seed who be, Es -- tab -- lished shall be -- fore thee stay.", "prose": ["But from all changes thou art free;", "Thy endless years do last for aye.", "Thy servants, and their seed who be,", "Established shall before thee stay."]}}}, "lord-hear-my-prayr-attend-my-suits": {"slug": "lord-hear-my-prayr-attend-my-suits", "title": "Lord, Hear My Pray'r, Attend My Suits", "first_line": "Lord, hear my pray'r, attend my suits", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 143, "topics": ["Psalms"], "scripture": ["Psalm 143"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 143. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, hear my pray'r, at -- tend my suits; and in thy faith -- ful -- ness Give thou an an -- swer un -- to me, and in thy right -- eous -- ness.", "prose": ["Lord, hear my pray'r, attend my suits;", "and in thy faithfulness", "Give thou an answer unto me,", "and in thy righteousness."]}, "2": {"syllabified": "Thy ser -- vant al -- so bring thou not in judg -- ment to be tried: Be -- cause no liv -- ing man can be in thy sight jus -- ti -- fied.", "prose": ["Thy servant also bring thou not", "in judgment to be tried:", "Because no living man can be", "in thy sight justified."]}, "3": {"syllabified": "For th'en -- 'my hath pur -- sued my soul, my life to ground down tread: In dark -- ness he hath made me dwell, as who have long been dead.", "prose": ["For th' en'my hath pursued my soul,", "my life to ground down tread:", "In darkness he hath made me dwell,", "as who have long been dead."]}, "4": {"syllabified": "My spirit is there -- fore o -- ver -- whelmed in me per -- plex -- ed -- ly; With -- in me is my ver -- y heart a -- maz -- ed won -- drous -- ly.", "prose": ["My spirit is therefore overwhelmed", "in me perplexedly;", "Within me is my very heart", "amazed wondrously."]}, "5": {"syllabified": "I call to mind the days of old, to med -- i -- tate I use On all thy works; up -- on the deeds I of thy hands do muse.", "prose": ["I call to mind the days of old,", "to meditate I use", "On all thy works; upon the deeds", "I of thy hands do muse."]}, "6": {"syllabified": "My hands to thee I stretch; my soul thirsts, as dry land, for thee. Haste, Lord, to hear, my spir -- it fails: hide not thy face from me;", "prose": ["My hands to thee I stretch; my soul", "thirsts, as dry land, for thee.", "Haste, Lord, to hear, my spirit fails:", "hide not thy face from me;"]}, "7": {"syllabified": "Lest like to them I do be -- come that go down to the dust. At morn let me thy kind -- ness hear; for in thee do I trust.", "prose": ["Lest like to them I do become", "that go down to the dust.", "At morn let me thy kindness hear;", "for in thee do I trust."]}, "8": {"syllabified": "Teach me the way that I should walk: I lift my soul to thee. Lord, free me from my foes; I flee to thee to cov -- er me.", "prose": ["Teach me the way that I should walk:", "I lift my soul to thee.", "Lord, free me from my foes; I flee", "to thee to cover me."]}, "9": {"syllabified": "Be -- cause thou art my God, to do thy will do me in -- struct: Thy Spirit is good, me to the land of up -- right -- ness con -- duct.", "prose": ["Because thou art my God, to do", "thy will do me instruct:", "Thy Spirit is good, me to the land", "of uprightness conduct."]}, "10": {"syllabified": "Re -- vive and qui -- cken me, O Lord, ev'n for thine own name's sake; And do thou, for thy right -- eous -- ness, my soul from trou -- ble take.", "prose": ["Revive and quicken me, O Lord,", "ev'n for thine own name's sake;", "And do thou, for thy righteousness,", "my soul from trouble take."]}, "11": {"syllabified": "And of thy mer -- cy slay my foes; let all de -- stroy -- ed be That do af -- flict my soul: for I a ser -- vant am to thee.", "prose": ["And of thy mercy slay my foes;", "let all destroyed be", "That do afflict my soul: for I", "a servant am to thee."]}}}, "lord-hear-my-prayr-hide-not-thyself": {"slug": "lord-hear-my-prayr-hide-not-thyself", "title": "Lord, Hear My Pray'r, Hide Not Thyself", "first_line": "Lord, hear my pray'r, hide not thyself", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 55, "topics": ["Psalms"], "scripture": ["Psalm 55"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 55. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, hear my pray'r, hide not thy -- self from my en -- treat -- ing voice: At -- tend and hear me; in my plaint I mourn and make a noise.", "prose": ["Lord, hear my pray'r, hide not thyself", "from my entreating voice:", "Attend and hear me; in my plaint", "I mourn and make a noise."]}, "2": {"syllabified": "Be -- cause of th'en -- 'my's voice, and for lewd men's op -- pres -- sion great: On me they cast in -- iq -- ui -- ty, and they in wrath me hate.", "prose": ["Because of th' en'my's voice, and for", "lewd men's oppression great:", "On me they cast iniquity,", "and they in wrath me hate."]}, "3": {"syllabified": "Sore pained with -- in me is my heart: death's ter -- rors on me fall. On me comes trem -- bling, fear and dread o'er -- whelm -- ed me with -- al.", "prose": ["Sore pained within me is my heart:", "death's terrors on me fall.", "On me comes trembling, fear and dread", "o'erwhelmed me withal."]}, "4": {"syllabified": "O that I, like a dove, had wings, said I, then would I flee Far hence, that I might find a place where I in rest might be.", "prose": ["O that I, like a dove, had wings,", "said I, then would I flee", "Far hence, that I might find a place", "where I in rest might be."]}, "5": {"syllabified": "Lo, then far off I wan -- der would, and in the des -- ert stay; From win -- dy storm and tem -- pest I would haste to 'scape a -- way.", "prose": ["Lo, then far off I wander would,", "and in the desert stay;", "From windy storm and tempest I", "would haste to 'scape away."]}, "6": {"syllabified": "O Lord, on them de -- struc -- tion bring, and do their tongues di -- vide; For in the cit -- y vi -- o -- lence and strife I have es -- pied.", "prose": ["O Lord, on them destruction bring,", "and do their tongues divide;", "For in the city violence", "and strife I have espied."]}, "7": {"syllabified": "They day and night up -- on the walls do go a -- bout it round: There mis -- chief is, and sor -- row there in midst of it is found.", "prose": ["They day and night upon the walls", "do go about it round:", "There mischief is, and sorrow there", "in midst of it is found."]}, "8": {"syllabified": "A -- bun -- dant wick -- ed -- ness there is with -- in her in -- ward part; And from her streets de -- ceit -- ful -- ness and guile do not de -- part.", "prose": ["Abundant wickedness there is", "within her inward part;", "And from her streets deceitfulness", "and guile do not depart."]}, "9": {"syllabified": "He was no foe that me re -- proached, then that en -- dure I could; Nor hat -- er that did 'gainst me boast, from him me hide I would.", "prose": ["He was no foe that me reproached,", "then that endure I could;", "Nor hater that did 'gainst me boast,", "from him me hide I would."]}, "10": {"syllabified": "But thou, man, who mine e -- qual, guide, and mine ac -- quain -- tance wast: We joined sweet coun -- sels, to God's house in com -- pa -- ny we passed.", "prose": ["But thou, man, who mine equal, guide,", "and mine acquaintance wast:", "We joined sweet counsels, to God's house", "in company we passed."]}, "11": {"syllabified": "Let death up -- on them seize, and down let them go quick to hell; For wick -- ed -- ness doth much a -- bound a -- mong them where they dwell.", "prose": ["Let death upon them seize, and down", "let them go quick to hell;", "For wickedness doth much abound", "among them where they dwell."]}, "12": {"syllabified": "I'll call on God: God will me save. I'll pray, and make a noise At ev' -- ning, morn -- ing, and at noon; and he shall hear my voice.", "prose": ["I'll call on God: God will me save.", "I'll pray, and make a noise", "At ev'ning, morning, and at noon;", "and he shall hear my voice."]}, "13": {"syllabified": "He hath my soul de -- liv -- er -- ed, that it in peace might be From ba -- ttle that a -- gainst me was; for man -- y were with me.", "prose": ["He hath my soul delivered,", "that it in peace might be", "From battle that against me was;", "for many were with me."]}, "14": {"syllabified": "The Lord shall hear, and them af -- flict, of old who hath a -- bode: Be -- cause they nev -- er chan -- ges have, there -- fore they fear not God.", "prose": ["The Lord shall hear, and them afflict,", "of old who hath abode:", "Because they never changes have,", "therefore they fear not God."]}, "15": {"syllabified": "'Gainst those that were at peace with him he hath put forth his hand: The cov -- e -- nant that he had made, by break -- ing he pro -- faned.", "prose": ["'Gainst those that were at peace with him", "he hath put forth his hand:", "The covenant that he had made,", "by breaking he profaned."]}, "16": {"syllabified": "More smooth than but -- ter were his words, while in his heart was war; His speech -- es were more soft than oil, and yet drawn swords they are.", "prose": ["More smooth than butter were his words,", "while in his heart was war;", "His speeches were more soft than oil,", "and yet drawn swords they are."]}, "17": {"syllabified": "Cast thou thy bur -- den on the Lord, and he shall thee sus -- tain; Yea, he shall cause the right -- eous man un -- mov -- ed to re -- main.", "prose": ["Cast thou thy burden on the Lord,", "and he shall thee sustain;", "Yea, he shall cause the righteous man", "unmoved to remain."]}, "18": {"syllabified": "But thou, O Lord my God, those men in jus -- tice shalt o'er -- throw, And in de -- struc -- tion's dun -- geon dark at last shalt lay them low:", "prose": ["But thou, O Lord my God, those men", "in justice shalt o'erthrow,", "And in destruction's dungeon dark", "at last shalt lay them low:"]}, "19": {"syllabified": "The blood -- y and de -- ceit -- ful men shall not live half their days: But up -- on thee with con -- fi -- dence I will de -- pend al -- ways.", "prose": ["The bloody and deceitful men", "shall not live half their days:", "But upon thee with confidence", "I will depend always."]}}}, "lord-hear-the-right-attend-my-cry": {"slug": "lord-hear-the-right-attend-my-cry", "title": "Lord, Hear the Right, Attend My Cry", "first_line": "Lord, hear the right, attend my cry", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 17, "topics": ["Psalms"], "scripture": ["Psalm 17"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 17. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, hear the right, at -- tend my cry, un -- to my pray'r give heed, That doth not in hy -- poc -- ri -- sy from feign -- ed lips pro -- ceed.", "prose": ["Lord, hear the right, attend my cry,", "unto my pray'r give heed,", "That doth not in hypocrisy", "from feigned lips proceed."]}, "2": {"syllabified": "And from be -- fore thy pres -- ence forth my sen -- tence do thou send: To -- ward these things that e -- qual are do thou thine eyes in -- tend.", "prose": ["And from before thy presence forth", "my sentence do thou send:", "Toward these things that equal are", "do thou thine eyes intend."]}, "3": {"syllabified": "Thou prov'dst mine heart, thou vis -- it'dst me by night, thou didst me try, Yet noth -- ing found'st; for that my mouth shall not sin, pur -- posed I.", "prose": ["Thou prov'dst mine heart, thou visit'dst me", "by night, thou didst me try,", "Yet nothing found'st; for that my mouth", "shall not sin, purposed I."]}, "4": {"syllabified": "As for men's works, I, by the word that from thy lips doth flow, Did me pre -- serve out of the paths where -- in de -- stroy -- ers go.", "prose": ["As for men's works, I, by the word", "that from thy lips doth flow,", "Did me preserve out of the paths", "wherein destroyers go."]}, "5": {"syllabified": "Hold up my go -- ings, Lord, me guide in those thy paths di -- vine, So that my foot -- steps may not slide out of those ways of thine.", "prose": ["Hold up my goings, Lord, me guide", "in those thy paths divine,", "So that my footsteps may not slide", "out of those ways of thine."]}, "6": {"syllabified": "I call -- ed have on thee, O God, be -- cause thou wilt me hear: That thou may'st hear -- ken to my speech, to me in -- cline thine ear.", "prose": ["I called have on thee, O God,", "because thou wilt me hear:", "That thou may'st hearken to my speech,", "to me incline thine ear."]}, "7": {"syllabified": "Thy won -- drous lov -- ing -- kind -- ness show, thou that, by thy right hand, Sav'st them that trust in thee from those that up a -- gainst them stand.", "prose": ["Thy wondrous loving-kindness show,", "thou that, by thy right hand,", "Sav'st them that trust in thee from those", "that up against them stand."]}, "8": {"syllabified": "As th'ap -- ple of the eye me keep; in thy wings' shade me close From lewd op -- pres -- sors, com -- pass -- ing me round, as dead -- ly foes.", "prose": ["As th' apple of the eye me keep;", "in thy wings' shade me close", "From lewd oppressors, compassing", "me round, as deadly foes."]}, "9": {"syllabified": "In their own fat they are in -- closed; their mouth speaks lof -- ti -- ly. Our steps they com -- passed; and to ground down bow -- ing set their eye.", "prose": ["In their own fat they are inclosed;", "their mouth speaks loftily.", "Our steps they compassed; and to ground", "down bowing set their eye."]}, "10": {"syllabified": "He like un -- to a li -- on is that's gree -- dy of his prey, Or li -- on young, which lurk -- ing doth in se -- cret plac -- es stay.", "prose": ["He like unto a lion is", "that's greedy of his prey,", "Or lion young, which lurking doth", "in secret places stay."]}, "11": {"syllabified": "A -- rise, and dis -- ap -- point my foe, and cast him down, O Lord: My soul save from the wick -- ed man, the man which is thy sword.", "prose": ["Arise, and disappoint my foe,", "and cast him down, O Lord:", "My soul save from the wicked man,", "the man which is thy sword."]}, "12": {"syllabified": "From men, which are thy hand, O Lord, from world -- ly men me save, Which on -- ly in this pres -- ent life their part and por -- tion have.", "prose": ["From men, which are thy hand, O Lord,", "from worldly men me save,", "Which only in this present life", "their part and portion have."]}, "13": {"syllabified": "Whose bel -- ly with thy trea -- sure hid thou fill'st: they chil -- dren have In plen -- ty; of their goods the rest they to their chil -- dren leave.", "prose": ["Whose belly with thy treasure hid", "thou fill'st: they children have", "In plenty; of their goods the rest", "they to their children leave."]}, "14": {"syllabified": "But as for me, I thine own face in right -- eous -- ness will see; And with thy like -- ness, when I wake, I sat -- is -- fied shall be.", "prose": ["But as for me, I thine own face", "in righteousness will see;", "And with thy likeness, when I wake,", "I satisfied shall be."]}}}, "lord-i-lift-my-soul-to-thee": {"slug": "lord-i-lift-my-soul-to-thee", "title": "Spiritual Aspirations", "first_line": "Lord, I lift my soul to Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 64) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 64. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, I lift my soul to Thee, O my God, I trust Thy might; Let not foes ex -- ult o'er me, Shame me not be -- fore their sight. Yea, may none be put to shame, None who wait for Thee to bless; But dis -- hon -- ored be their name Who with -- out a cause trans -- gress.", "prose": ["Lord, I lift my soul to Thee,", "O my God, I trust Thy might;", "Let not foes exult o'er me,", "Shame me not before their sight.", "Yea, may none be put to shame,", "None who wait for Thee to bless;", "But dishonored be their name", "Who without a cause transgress."]}, "2": {"syllabified": "Lord, to me Thy ways make known, Guide in truth and teach Thou me; Thou my Sav -- iour art a -- lone, All the day I wait for Thee. Lord, re -- mem -- ber in Thy love All Thy mer -- cies man -- i -- fold, Ten -- der mer -- cies from a -- bove, Change -- less from the days of old.", "prose": ["Lord, to me Thy ways make known,", "Guide in truth and teach Thou me;", "Thou my Saviour art alone,", "All the day I wait for Thee.", "Lord, remember in Thy love", "All Thy mercies manifold,", "Tender mercies from above,", "Changeless from the days of old."]}, "3": {"syllabified": "Sins of youth re -- mem -- ber not, Nor my tres -- pass -- es re -- cord; Let not mer -- cy be for -- got, For Thy good -- ness' sake, O Lord. Just and good the Lord a -- bides He His way will sin -- ners show He the meek in jus -- tice guides Mak -- ing them His way to know.", "prose": ["Sins of youth remember not,", "Nor my trespasses record;", "Let not mercy be forgot,", "For Thy goodness' sake, O Lord.", "Just and good the Lord abides", "He His way will sinners show", "He the meek in justice guides", "Making them His way to know."]}}}, "lord-i-will-thee-extol-for-thou": {"slug": "lord-i-will-thee-extol-for-thou", "title": "Lord, I Will Thee Extol, for Thou", "first_line": "Lord, I will thee extol, for thou", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 30, "topics": ["Psalms"], "scripture": ["Psalm 30"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 30. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, I will thee ex -- tol, for thou hast lift -- ed me on high, And o -- ver me thou to re -- joice mad'st not mine en -- e -- my.", "prose": ["Lord, I will thee extol, for thou", "hast lifted me on high,", "And over me thou to rejoice", "mad'st not mine enemy."]}, "2": {"syllabified": "O thou who art the Lord my God, I in dis -- tress to thee, With loud cries lift -- ed up my voice, and thou hast heal -- ed me.", "prose": ["O thou who art the Lord my God,", "I in distress to thee,", "With loud cries lifted up my voice,", "and thou hast healed me."]}, "3": {"syllabified": "O Lord, my soul thou hast brought up, and res -- cued from the grave; That I to pit should not go down, a -- live thou didst me save.", "prose": ["O Lord, my soul thou hast brought up,", "and rescued from the grave;", "That I to pit should not go down,", "alive thou didst me save."]}, "4": {"syllabified": "O ye that are his ho -- ly ones, sing praise un -- to the Lord; And give un -- to him thanks, when ye his ho -- li -- ness re -- cord.", "prose": ["O ye that are his holy ones,", "sing praise unto the Lord;", "And give unto him thanks, when ye", "his holiness record."]}, "5": {"syllabified": "For but a mo -- ment lasts his wrath; life in his fa -- vour lies: Weep -- ing may for a night en -- dure, at morn doth joy a -- rise.", "prose": ["For but a moment lasts his wrath;", "life in his favour lies:", "Weeping may for a night endure,", "at morn doth joy arise."]}, "6": {"syllabified": "In my pros -- per -- i -- ty I said, that noth -- ing shall me move. O Lord, thou hast my moun -- tain made to stand strong by thy love:", "prose": ["In my prosperity I said,", "that nothing shall me move.", "O Lord, thou hast my mountain made", "to stand strong by thy love:"]}, "7": {"syllabified": "But when that thou, O gra -- cious God, didst hide thy face from me, Then quick -- ly was my pros -- p'rous state turned in -- to mis -- er -- y.", "prose": ["But when that thou, O gracious God,", "didst hide thy face from me,", "Then quickly was my prosp'rous state", "turned into misery."]}, "8": {"syllabified": "Where -- fore un -- to the Lord my cry I caus -- ed to as -- cend: My hum -- ble sup -- pli -- ca -- ti -- on I to the Lord did send.", "prose": ["Wherefore unto the Lord my cry", "I caused to ascend:", "My humble supplication", "I to the Lord did send."]}, "9": {"syllabified": "What prof -- it is there in my blood, when I go down to pit? Shall un -- to thee the dust give praise? thy truth de -- clare shall it?", "prose": ["What profit is there in my blood,", "when I go down to pit?", "Shall unto thee the dust give praise?", "thy truth declare shall it?"]}, "10": {"syllabified": "Hear, Lord, have mer -- cy; help me, Lord: Thou turned hast my sad -- ness To danc -- ing; yea, my sack -- cloth loosed, and gird -- ed me with glad -- ness;", "prose": ["Hear, Lord, have mercy; help me, Lord:", "Thou turned hast my sadness", "To dancing; yea, my sackcloth loosed,", "and girded me with gladness;"]}, "11": {"syllabified": "That sing thy praise my glo -- ry may, and nev -- er si -- lent be. O Lord my God, for ev -- er -- more I will give thanks to thee.", "prose": ["That sing thy praise my glory may,", "and never silent be.", "O Lord my God, for evermore", "I will give thanks to thee."]}}}, "lord-in-thee-am-i-confiding": {"slug": "lord-in-thee-am-i-confiding", "title": "A Plea for Salvation", "first_line": "Lord, in Thee am I confiding", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 38, "topics": ["Psalms"], "scripture": ["Psalm 38"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 103) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 38, selection 103. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, in Thee am I con -- fid -- ing; Thou wilt an -- swer when I call, Lest my foes, the good de -- rid -- ing, Tri -- umph in Thy ser -- vant's fall.", "prose": ["Lord, in Thee am I confiding;", "Thou wilt answer when I call,", "Lest my foes, the good deriding,", "Triumph in Thy servant's fall."]}, "2": {"syllabified": "I am prone to halt and stum -- ble, Grief and sor -- row dwell with -- in, Shame and guilt my spir -- it hum -- ble, I am sor -- ry for my sin.", "prose": ["I am prone to halt and stumble,", "Grief and sorrow dwell within,", "Shame and guilt my spirit humble,", "I am sorry for my sin."]}, "3": {"syllabified": "Foes a -- bout my soul are clos -- ing, Full of ha -- tred, false and strong; Choos -- ing good, I find op -- pos -- ing All who love and do the wrong.", "prose": ["Foes about my soul are closing,", "Full of hatred, false and strong;", "Choosing good, I find opposing", "All who love and do the wrong."]}, "4": {"syllabified": "Lord, my God, do not for -- sake me, Let me know that Thou art near, Un -- der Thy pro -- tec -- tion take me, As my Sav -- iour now ap -- pear.", "prose": ["Lord, my God, do not forsake me,", "Let me know that Thou art near,", "Under Thy protection take me,", "As my Saviour now appear."]}}}, "lord-in-thy-wrath-rebuke-me-not": {"slug": "lord-in-thy-wrath-rebuke-me-not", "title": "Lord, in Thy Wrath Rebuke Me Not", "first_line": "Lord, in thy wrath rebuke me not", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 6, "topics": ["Psalms"], "scripture": ["Psalm 6"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 6. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, in thy wrath re -- buke me not; Nor in thy hot rage chas -- ten me. Lord, pit -- y me, for I am weak: Heal me, for my bones vex -- ed be.", "prose": ["Lord, in thy wrath rebuke me not;", "Nor in thy hot rage chasten me.", "Lord, pity me, for I am weak:", "Heal me, for my bones vexed be."]}, "2": {"syllabified": "My soul is al -- so vex -- ed sore; But, Lord, how long stay wilt thou make? Re -- turn, O Lord, my soul set free; O save me, for thy mer -- cies' sake.", "prose": ["My soul is also vexed sore;", "But, Lord, how long stay wilt thou make?", "Return, O Lord, my soul set free;", "O save me, for thy mercies' sake."]}, "3": {"syllabified": "Be -- cause those that de -- ceas -- ed are Of thee shall no re -- mem -- brance have; And who is he that will to thee Give prais -- es ly -- ing in the grave?", "prose": ["Because those that deceased are", "Of thee shall no remembrance have;", "And who is he that will to thee", "Give praises lying in the grave?"]}, "4": {"syllabified": "I with my groan -- ing wea -- ry am, I al -- so all the night my bed Have caus -- ed for to swim; and I With tears my couch have wa -- ter -- ed.", "prose": ["I with my groaning weary am,", "I also all the night my bed", "Have caused for to swim; and I", "With tears my couch have watered."]}, "5": {"syllabified": "Mine eye, con -- sumed with grief, grows old, Be -- cause of all mine en -- e -- mies. Hence from me, wick -- ed wor -- kers all; For God hath heard my weep -- ing cries.", "prose": ["Mine eye, consumed with grief, grows old,", "Because of all mine enemies.", "Hence from me, wicked workers all;", "For God hath heard my weeping cries."]}, "6": {"syllabified": "God hath my sup -- pli -- ca -- tion heard, My prayer re -- ceiv -- ed gra -- cious -- ly. Shamed and sore vexed be all my foes, Shamed and back turn -- ed sud -- den -- ly.", "prose": ["God hath my supplication heard,", "My prayer received graciously.", "Shamed and sore vexed be all my foes,", "Shamed and back turned suddenly."]}}}, "lord-jesus-think-on-me": {"slug": "lord-jesus-think-on-me", "title": "Lord Jesus Think On Me", "first_line": "Lord Jesus, think on me And purge away my", "author": "synesius-of-cyrene", "translator": "allen-w-chatfield", "translator_date": "1876", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Conscience", "Contrition", "Faith"], "scripture": ["Matthew 22:34-46", "Ephesians 5:15-21"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:141; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_jesus_think_on_me", "total_instances": 142}}, "stanzas": {"1": {"syllabified": "Lord Je -- sus, think on me And purge a -- way my sin; From earth -- born pas -- sions set me free And make me pure with -- in.", "prose": ["Lord Jesus, think on me", "And purge away my sin;", "From earthborn passions set me free", "And make me pure within."]}, "2": {"syllabified": "Lord Je -- sus, think on me, With man -- y'a care op -- pressed; Let me Thy lov -- ing ser -- vant be And taste Thy prom -- ised rest.", "prose": ["Lord Jesus, think on me,", "With many a care oppressed;", "Let me Thy loving servant be", "And taste Thy promised rest."]}, "3": {"syllabified": "Lord Je -- sus, think on me A -- mid the bat -- tle's strife; In all my pain and mis -- er -- y Be Thou my Health and Life.", "prose": ["Lord Jesus, think on me", "Amid the battle's strife;", "In all my pain and misery", "Be Thou my Health and Life."]}, "4": {"syllabified": "Lord Je -- sus, think on me Nor let me go a -- stray; Through dark -- ness and per -- plex -- it -- y Point Thou the heav'n -- ly way.", "prose": ["Lord Jesus, think on me", "Nor let me go astray;", "Through darkness and perplexity", "Point Thou the heav'nly way."]}, "5": {"syllabified": "Lord Je -- sus, think on me When floods the tem -- pest high; When on doth rush the en -- e -- my, O Sav -- ior, be Thou nigh!", "prose": ["Lord Jesus, think on me", "When floods the tempest high;", "When on doth rush the enemy,", "O Savior, be Thou nigh!"]}}}, "lord-keep-me-for-i-trust-in-thee": {"slug": "lord-keep-me-for-i-trust-in-thee", "title": "Lord, Keep Me; for I Trust in Thee", "first_line": "Lord, keep me; for I trust in thee", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 16, "topics": ["Psalms"], "scripture": ["Psalm 16"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 16. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, keep me; for I trust in thee. To God thus was my speech, Thou art my Lord; and un -- to thee my good -- ness doth not reach:", "prose": ["Lord, keep me; for I trust in thee.", "To God thus was my speech,", "Thou art my Lord; and unto thee", "my goodness doth not reach:"]}, "2": {"syllabified": "To saints on earth, to th'ex -- cel -- lent, where my de -- light's all placed. Their sor -- rows shall be mul -- ti -- plied to oth -- er gods that haste:", "prose": ["To saints on earth, to th' excellent,", "where my delight's all placed.", "Their sorrows shall be multiplied", "to other gods that haste:"]}, "3": {"syllabified": "Of their drin -- kof -- fer -- ings of blood I will no of -- f'ring make; Yea, nei -- ther I their ver -- y names up in my lips will take.", "prose": ["Of their drink-offerings of blood", "I will no off'ring make;", "Yea, neither I their very names", "up in my lips will take."]}, "4": {"syllabified": "God is of mine in -- her -- i -- tance and cup the por -- ti -- on; The lot that fal -- len is to me thou dost main -- tain a -- lone.", "prose": ["God is of mine inheritance", "and cup the portion;", "The lot that fallen is to me", "thou dost maintain alone."]}, "5": {"syllabified": "Un -- to me hap -- pi -- ly the lines in pleas -- ant plac -- es fell; Yea, the in -- her -- i -- tance I got in beau -- ty doth ex -- cel.", "prose": ["Unto me happily the lines", "in pleasant places fell;", "Yea, the inheritance I got", "in beauty doth excel."]}, "6": {"syllabified": "I bless the Lord, be -- cause he doth by coun -- sel me con -- duct; And in the sea -- sons of the night my reins do me in -- struct.", "prose": ["I bless the Lord, because he doth", "by counsel me conduct;", "And in the seasons of the night", "my reins do me instruct."]}, "7": {"syllabified": "Be -- fore me still the Lord I set: sith it is so that he Doth ev -- er stand at my right hand, I shall not mov -- ed be.", "prose": ["Before me still the Lord I set:", "sith it is so that he", "Doth ever stand at my right hand,", "I shall not moved be."]}, "8": {"syllabified": "Be -- cause of this my heart is glad, and joy shall be ex -- pressed Ev'n by my glo -- ry; and my flesh in con -- fi -- dence shall rest.", "prose": ["Because of this my heart is glad,", "and joy shall be expressed", "Ev'n by my glory; and my flesh", "in confidence shall rest."]}, "9": {"syllabified": "Be -- cause my soul in grave to dwell shall not be left by thee; Nor wilt thou give thine Ho -- ly One cor -- rup -- ti -- on to see.", "prose": ["Because my soul in grave to dwell", "shall not be left by thee;", "Nor wilt thou give thine Holy One", "corruption to see."]}, "10": {"syllabified": "Thou wilt me show the path of life: of joys there is full store Be -- fore thy face; at thy right hand are plea -- sures ev -- er -- more.", "prose": ["Thou wilt me show the path of life:", "of joys there is full store", "Before thy face; at thy right hand", "are pleasures evermore."]}}}, "lord-keep-us-steadfast-in-thy-word": {"slug": "lord-keep-us-steadfast-in-thy-word", "title": "Lord, Keep Us Steadfast in Thy Word", "first_line": "Lord, Keep Us Steadfast in Thy Word", "author": "martin-luther", "author_date": "1541", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["The Scriptures", "Church on Earth (Church Militant)", "Holy Spirit", "Trinity"], "scripture": ["John 17:11"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words: Martin Luther, 1541 (\"Erhalt uns, Herr, bei deinem Wort\"), translated from German to English by Catherine Winkworth, The Chorale Book for England (London, 1863), No. 103. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, keep us stead -- fast in Thy Word; Curb those who fain by craft and sword Would wrest the king -- dom from Thy Son And set at naught all He hath done.", "prose": ["Lord, keep us steadfast in Thy Word;", "Curb those who fain by craft and sword", "Would wrest the kingdom from Thy Son", "And set at naught all He hath done."]}, "2": {"syllabified": "Lord Je -- sus Christ, Thy power make known, For Thou art Lord of lords a -- lone; De -- fend Thy Chris -- ten -- dom that we May ev -- er -- more sing praise to Thee.", "prose": ["Lord Jesus Christ, Thy power make known,", "For Thou art Lord of lords alone;", "Defend Thy Christendom that we", "May evermore sing praise to Thee."]}, "3": {"syllabified": "O Com -- fort -- er, of price -- less worth, Send peace and u -- ni -- ty on earth. Sup -- port us in our fi -- nal strife, And lead us out of death to life.", "prose": ["O Comforter, of priceless worth,", "Send peace and unity on earth.", "Support us in our final strife,", "And lead us out of death to life."]}}}, "lord-of-glory-who-hast-bought-us": {"slug": "lord-of-glory-who-hast-bought-us", "title": "Lord of Glory, Who Hast Bought Us", "first_line": "Lord of Glory, who hast bought us with Thy", "author": "eliza-s-alderson", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Gratitude", "Harvest", "Humility"], "scripture": ["1 Chronicles 29:14", "1 John 3:16-18", "Matthew 25:40", "Exodus 23:19"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:297; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_of_glory_who_hast_bought_us", "total_instances": 66}}, "stanzas": {"1": {"syllabified": "Lord of Glo -- ry, who hast bought us with Thy life -- blood as the price, Nev -- er grud -- ging for the lost ones that tre -- men -- dous sac -- ri -- fice; And with that hast free -- ly giv -- en bless -- ings count -- less as the sand, To th'un -- thank -- ful and the ev -- il with Thine own un -- spar -- ing hand.", "prose": ["Lord of Glory, who hast bought us", "with Thy lifeblood as the price,", "Never grudging for the lost ones", "that tremendous sacrifice;", "And with that hast freely given", "blessings countless as the sand,", "To th'unthankful and the evil", "with Thine own unsparing hand."]}, "2": {"syllabified": "Grant us hearts, dear Lord, to yield Thee glad -- ly, free -- ly, of Thine own. With the sun -- shine of Thy good -- ness melt our thank -- less hearts of stone. Till our cold and self -- ish na -- tures, warmed by Thee, at length be -- lieve That more hap -- py and more bless -- ed 'tis to give than to re -- ceive.", "prose": ["Grant us hearts, dear Lord, to yield Thee", "gladly, freely, of Thine own.", "With the sunshine of Thy goodness", "melt our thankless hearts of stone.", "Till our cold and selfish natures,", "warmed by Thee, at length believe", "That more happy and more blessed", "'tis to give than to receive."]}, "3": {"syllabified": "Wond -- rous hon -- or hast Thou giv -- en to our humb -- lest char -- i -- ty. In Thine own mys -- ter -- ious sen -- tence, \"Ye have done it un -- to Me.\" Can it be, O grac -- ious Mas -- ter, Thou dost deign for alms to sue, Say -- ing by Thy poor and need -- y, \"Give as I have giv -- en you\"", "prose": ["Wondrous honor hast Thou given", "to our humblest charity.", "In Thine own mysterious sentence,", "\"Ye have done it unto Me.\"", "Can it be, O gracious Master,", "Thou dost deign for alms to sue,", "Saying by Thy poor and needy,", "\"Give as I have given you\""]}, "4": {"syllabified": "Lord of Glo -- ry, who hast bought us with Thy life -- blood as the price, Nev -- er grud -- ging for the lost ones that tre -- men -- dous sac -- ri -- fice; Give us faith, to trust Thee bold -- ly; hope, to stay our souls on Thee; But O, best of all Thy grac -- es, give us Thine own char -- i -- ty.", "prose": ["Lord of Glory, who hast bought us", "with Thy lifeblood as the price,", "Never grudging for the lost ones", "that tremendous sacrifice;", "Give us faith, to trust Thee boldly;", "hope, to stay our souls on Thee;", "But O, best of all Thy graces,", "give us Thine own charity."]}}}, "lord-of-life-all-praise-excelling": {"slug": "lord-of-life-all-praise-excelling", "title": "Lord of Life, All Praise Excelling", "first_line": "Lord of life, all praise excelling, Thou, in glory", "author": "clement-c-moore", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["God, Care of", "Praise, Father", "Praise, Son", "Praise, Holy Spirit"], "scripture": ["Romans 13:11", "Psalm 17:15", "Psalm 148:1-2", "Ephesians 1:3"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:257; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_of_life_all_praise_excelling", "total_instances": 24}}, "stanzas": {"1": {"syllabified": "Lord of life, all praise ex -- cel -- ling, Thou, in glo -- ry un -- con -- fined, Deignst to make Thy hum -- ble dwell -- ing With the poor of hum -- ble mind. As Thy love, through all cre -- a -- tion, Beams like Thy dif -- fu -- sive light; So the high and hum -- ble sta -- tion Both are e -- qual in Thy sight.", "prose": ["Lord of life, all praise excelling,", "Thou, in glory unconfined,", "Deignst to make Thy humble dwelling", "With the poor of humble mind.", "As Thy love, through all creation,", "Beams like Thy diffusive light;", "So the high and humble station", "Both are equal in Thy sight."]}, "2": {"syllabified": "Thus Thy care, for all pro -- vid -- ing, Warmed Thy faith -- ful proph -- et's tongue; Who, the lot of all de -- cid -- ing, To Thy cho -- sen Is -- rael sung. When Thy har -- vest yields Thee plea -- sure, Thou the gol -- den sheaf shalt bind; To the poor be -- longs the trea -- sure Of the scat -- tered ears be -- hind.", "prose": ["Thus Thy care, for all providing,", "Warmed Thy faithful prophet's tongue;", "Who, the lot of all deciding,", "To Thy chosen Israel sung.", "When Thy harvest yields Thee pleasure,", "Thou the golden sheaf shalt bind;", "To the poor belongs the treasure", "Of the scattered ears behind."]}, "3": {"syllabified": "Still we read Thy Word de -- clar -- ing Mer -- cy, Lord, Thine own de -- cree; Mer -- cy ev -- 'ry sor -- row shar -- ing, Warms the heart res -- emb -- ling Thee. Still the or -- phan and the stran -- ger, Still the wid -- ow owns Thy care; Screened by Thee in ev -- 'ry dan -- ger, Heard by Thee in ev -- 'ry prayer.", "prose": ["Still we read Thy Word declaring", "Mercy, Lord, Thine own decree;", "Mercy ev'ry sorrow sharing,", "Warms the heart resembling Thee.", "Still the orphan and the stranger,", "Still the widow owns Thy care;", "Screened by Thee in ev'ry danger,", "Heard by Thee in ev'ry prayer."]}}}, "lord-our-lord-thy-glorious-name": {"slug": "lord-our-lord-thy-glorious-name", "title": "God's Glory in His Works", "first_line": "Lord, our Lord, thy glorious Name", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 8, "topics": ["Psalms"], "scripture": ["Psalm 8"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 15) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 8, selection 15. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, our Lord, thy glo -- rious Name All thy won -- drous works pro -- claim; In the heav'ns with ra -- diant signs Ev -- er -- more thy glo -- ry shines. In -- fant lips Thou dost or -- dain Wrath and ven -- geance to re -- strain; Weak -- est means ful -- fill Thy will, Might -- y en -- e -- mies to still.", "prose": ["Lord, our Lord, thy glorious Name", "All thy wondrous works proclaim;", "In the heav'ns with radiant signs", "Evermore thy glory shines.", "Infant lips Thou dost ordain", "Wrath and vengeance to restrain;", "Weakest means fulfill Thy will,", "Mighty enemies to still."]}, "2": {"syllabified": "Moon and stars in shin -- ing height Night -- ly tell their Mak -- er's might; When thy won -- drous heav'ns I scan, Then I know how weak is man. What is man that he should be Loved and vis -- it -- ed by Thee, Raised to an ex -- al -- ted height, Crowned with hon -- or in Thy sight?", "prose": ["Moon and stars in shining height", "Nightly tell their Maker's might;", "When thy wondrous heav'ns I scan,", "Then I know how weak is man.", "What is man that he should be", "Loved and visited by Thee,", "Raised to an exalted height,", "Crowned with honor in Thy sight?"]}, "3": {"syllabified": "With do -- min -- ion crowned he stands O'er the crea -- tures of Thy hands; All to him sub -- jec -- tion yield In the sea and air and field. Lord, our Lord, Thy glo -- rious Name All Thy won -- drous works pro -- claim; Thine the Name of match -- less worth, Ex -- cel -- lent in all the earth.", "prose": ["With dominion crowned he stands", "O'er the creatures of Thy hands;", "All to him subjection yield", "In the sea and air and field.", "Lord, our Lord, Thy glorious Name", "All Thy wondrous works proclaim;", "Thine the Name of matchless worth,", "Excellent in all the earth."]}}}, "lord-rebuke-me-not-in-anger": {"slug": "lord-rebuke-me-not-in-anger", "title": "Divine Chastisement", "first_line": "Lord, rebuke me not in anger", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 6, "topics": ["Psalms"], "scripture": ["Psalm 6"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 12) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 6, selection 12. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, re -- buke me not in an -- ger; Chas -- tened sore I waste a -- way; Pit -- y my dis -- tress and hear me; Lord, how long wilt Thou de -- lay?", "prose": ["Lord, rebuke me not in anger;", "Chastened sore I waste away;", "Pity my distress and hear me;", "Lord, how long wilt Thou delay?"]}, "2": {"syllabified": "Come, O Lord, my soul de -- liv -- er, In Thy lov -- ing -- kind -- ness save. Shall the dead Thy Name re -- mem -- ber? Who shall praise Thee in the grave?", "prose": ["Come, O Lord, my soul deliver,", "In Thy loving-kindness save.", "Shall the dead Thy Name remember?", "Who shall praise Thee in the grave?"]}, "3": {"syllabified": "Pit -- y, Lord, my sad con -- di -- tion; I am wea -- ry and dis -- tressed; Man -- y ad -- ver -- sar -- ies vex me, Weep -- ing, I can find no rest.", "prose": ["Pity, Lord, my sad condition;", "I am weary and distressed;", "Many adversaries vex me,", "Weeping, I can find no rest."]}, "4": {"syllabified": "Now the foes that seek to harm me, Quick -- ly put to shame, shall flee, For the Lord hath heard my weep -- ing, And He will re -- gard my plea.", "prose": ["Now the foes that seek to harm me,", "Quickly put to shame, shall flee,", "For the Lord hath heard my weeping,", "And He will regard my plea."]}}}, "lord-thee-ill-praise-with-all-my-heart": {"slug": "lord-thee-ill-praise-with-all-my-heart", "title": "Lord, Thee I'll Praise with All My Heart", "first_line": "Lord, thee I'll praise with all my heart", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 9, "topics": ["Psalms"], "scripture": ["Psalm 9"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 9. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, thee I'll praise with all my heart, thy won -- ders all pro -- claim. In thee, Most High, I'll great -- ly joy, and sing un -- to thy name.", "prose": ["Lord, thee I'll praise with all my heart,", "thy wonders all proclaim.", "In thee, Most High, I'll greatly joy,", "and sing unto thy name."]}, "2": {"syllabified": "When back my foes were turned, they fell, and per -- ished at thy sight: For thou main -- tain'dst my right and cause; on throne sat'st judg -- ing right.", "prose": ["When back my foes were turned, they fell,", "and perished at thy sight:", "For thou maintain'dst my right and cause;", "on throne sat'st judging right."]}, "3": {"syllabified": "The hea -- then thou re -- buk -- ed hast, the wick -- ed o -- ver -- thrown; Thou hast put out their names, that they may nev -- er more be known.", "prose": ["The heathen thou rebuked hast,", "the wicked overthrown;", "Thou hast put out their names, that they", "may never more be known."]}, "4": {"syllabified": "O en -- 'my! now de -- struc -- tions have an end per -- pet -- u -- al: Thou cit -- ies razed, per -- ished with them is their me -- mo -- ri -- al.", "prose": ["O en'my! now destructions have", "an end perpetual:", "Thou cities razed, perished with them", "is their memorial."]}, "5": {"syllabified": "God shall en -- dure for aye; he doth for judg -- ment set his throne; In right -- eous -- ness to judge the world, jus -- tice to give each one.", "prose": ["God shall endure for aye; he doth", "for judgment set his throne;", "In righteousness to judge the world,", "justice to give each one."]}, "6": {"syllabified": "God al -- so will a ref -- uge be for those that are op -- pressed; A ref -- uge will he be in times of trou -- ble to dis -- tressed.", "prose": ["God also will a refuge be", "for those that are oppressed;", "A refuge will he be in times", "of trouble to distressed."]}, "7": {"syllabified": "And they that know thy name, in thee their con -- fi -- dence will place: For thou hast not for -- sak -- en them that tru -- ly seek thy face.", "prose": ["And they that know thy name, in thee", "their confidence will place:", "For thou hast not forsaken them", "that truly seek thy face."]}, "8": {"syllabified": "O sing ye prais -- es to the Lord that dwells in Zi -- on hill; And all the na -- ti -- ons a -- mong his deeds re -- cord ye still.", "prose": ["O sing ye praises to the Lord", "that dwells in Zion hill;", "And all the nations among", "his deeds record ye still."]}, "9": {"syllabified": "When he en -- quir -- eth af -- ter blood, he then re -- mem -- b'reth them: The hum -- ble folk he not for -- gets that call up -- on his name.", "prose": ["When he enquireth after blood,", "he then rememb'reth them:", "The humble folk he not forgets", "that call upon his name."]}, "10": {"syllabified": "Lord, pit -- y me; be -- hold the grief which I from foes sus -- tain; Ev'n thou, who from the gates of death dost raise me up a -- gain;", "prose": ["Lord, pity me; behold the grief", "which I from foes sustain;", "Ev'n thou, who from the gates of death", "dost raise me up again;"]}, "11": {"syllabified": "That I, in Zi -- on's daugh -- ters' gates, may all thy praise ad -- vance; And that I may re -- joice al -- ways in thy de -- liv -- er -- ance.", "prose": ["That I, in Zion's daughters' gates,", "may all thy praise advance;", "And that I may rejoice always", "in thy deliverance."]}, "12": {"syllabified": "The hea -- then are sunk in the pit which they them -- selves pre -- pared; And in the net which they have hid their own feet fast are snared.", "prose": ["The heathen are sunk in the pit", "which they themselves prepared;", "And in the net which they have hid", "their own feet fast are snared."]}, "13": {"syllabified": "The Lord is by the judg -- ment known which he him -- self hath wrought: The sin -- ners' hands do make the snares where -- with them -- selves are caught.", "prose": ["The Lord is by the judgment known", "which he himself hath wrought:", "The sinners' hands do make the snares", "wherewith themselves are caught."]}, "14": {"syllabified": "They who are wick -- ed in -- to hell each one shall turn -- ed be; And all the na -- tions that for -- get to seek the Lord most high.", "prose": ["They who are wicked into hell", "each one shall turned be;", "And all the nations that forget", "to seek the Lord most high."]}, "15": {"syllabified": "For they that need -- y are shall not for -- got -- ten be al -- way; The ex -- pec -- ta -- tion of the poor shall not be lost for aye.", "prose": ["For they that needy are shall not", "forgotten be alway;", "The expectation of the poor", "shall not be lost for aye."]}, "16": {"syllabified": "A -- rise, Lord, let not man pre -- vail; judge hea -- then in thy sight: That they may know them -- selves but men, the na -- tions, Lord, af -- fright.", "prose": ["Arise, Lord, let not man prevail;", "judge heathen in thy sight:", "That they may know themselves but men,", "the nations, Lord, affright."]}}}, "lord-thee-my-god-ill-early-seek": {"slug": "lord-thee-my-god-ill-early-seek", "title": "Lord, Thee My God, I'll Early Seek", "first_line": "Lord, thee my God, I'll early seek", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 63, "topics": ["Psalms"], "scripture": ["Psalm 63"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 63. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, thee my God, I'll ear -- ly seek: my soul doth thirst for thee; My flesh longs in a dry parched land, where -- in no wa -- ters be:", "prose": ["Lord, thee my God, I'll early seek:", "my soul doth thirst for thee;", "My flesh longs in a dry parched land,", "wherein no waters be:"]}, "2": {"syllabified": "That I thy pow -- er may be -- hold, and bright -- ness of thy face, As I have seen thee here -- to -- fore with -- in thy ho -- ly place.", "prose": ["That I thy power may behold,", "and brightness of thy face,", "As I have seen thee heretofore", "within thy holy place."]}, "3": {"syllabified": "Since bet -- ter is thy love than life, my lips thee praise shall give. I in thy name will lift my hands, and bless thee while I live.", "prose": ["Since better is thy love than life,", "my lips thee praise shall give.", "I in thy name will lift my hands,", "and bless thee while I live."]}, "4": {"syllabified": "Ev'n as with mar -- row and with fat my soul shall fill -- ed be; Then shall my mouth with joy -- ful lips sing prais -- es un -- to thee:", "prose": ["Ev'n as with marrow and with fat", "my soul shall filled be;", "Then shall my mouth with joyful lips", "sing praises unto thee:"]}, "5": {"syllabified": "When I do thee up -- on my bed re -- mem -- ber with de -- light, And when on thee I med -- i -- tate in watch -- es of the night.", "prose": ["When I do thee upon my bed", "remember with delight,", "And when on thee I meditate", "in watches of the night."]}, "6": {"syllabified": "In shad -- ow of thy wings I'll joy, for thou mine help hast been. My soul thee fol -- lows hard; and me thy right hand doth sus -- tain.", "prose": ["In shadow of thy wings I'll joy,", "for thou mine help hast been.", "My soul thee follows hard; and me", "thy right hand doth sustain."]}, "7": {"syllabified": "Who seek my soul to spill shall sink down to earth's low -- est room. They by the sword shall be cut off, and fox -- es' prey be -- come.", "prose": ["Who seek my soul to spill shall sink", "down to earth's lowest room.", "They by the sword shall be cut off,", "and foxes' prey become."]}, "8": {"syllabified": "Yet shall the king in God re -- joice, and each one glo -- ry shall That swear by him; but stopped shall be the mouth of li -- ars all.", "prose": ["Yet shall the king in God rejoice,", "and each one glory shall", "That swear by him; but stopped shall be", "the mouth of liars all."]}}}, "lord-thou-hast-been-our-dwelling-place": {"slug": "lord-thou-hast-been-our-dwelling-place", "title": "Lord, Thou Hast Been Our Dwelling-place", "first_line": "Lord, thou hast been our dwelling-place", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 90, "topics": ["Psalms"], "scripture": ["Psalm 90"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 90. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, thou hast been our dwell -- ing -- place in gen -- er -- a -- tions all. Be -- fore thou ev -- er hadst brought forth the moun -- tains great or small;", "prose": ["Lord, thou hast been our dwelling-place", "in generations all.", "Before thou ever hadst brought forth", "the mountains great or small;"]}, "2": {"syllabified": "Ere ev -- er thou hadst formed the earth, and all the world a -- broad; Ev'n thou from ev -- er -- last -- ing art to ev -- er -- last -- ing God.", "prose": ["Ere ever thou hadst formed the earth,", "and all the world abroad;", "Ev'n thou from everlasting art", "to everlasting God."]}, "3": {"syllabified": "Thou dost un -- to de -- struc -- ti -- on man that is mor -- tal turn; And un -- to them thou say'st, A -- gain, ye sons of men, re -- turn.", "prose": ["Thou dost unto destruction", "man that is mortal turn;", "And unto them thou say'st, Again,", "ye sons of men, return."]}, "4": {"syllabified": "Be -- cause a thou -- sand years ap -- pear no more be -- fore thy sight Than yes -- ter -- day, when it is past, or than a watch by night.", "prose": ["Because a thousand years appear", "no more before thy sight", "Than yesterday, when it is past,", "or than a watch by night."]}, "5": {"syllabified": "As with an o -- ver -- flow -- ing flood thou car -- riest them a -- way: They like a sleep are, like the grass that grows at morn are they.", "prose": ["As with an overflowing flood", "thou carriest them away:", "They like a sleep are, like the grass", "that grows at morn are they."]}, "6": {"syllabified": "At morn it flour -- ish -- es and grows, cut down at ev'n doth fade. For by thine an -- ger we're con -- sumed, thy wrath makes us a -- fraid.", "prose": ["At morn it flourishes and grows,", "cut down at ev'n doth fade.", "For by thine anger we're consumed,", "thy wrath makes us afraid."]}, "7": {"syllabified": "Our sins thou and in -- iq -- ui -- ties dost in thy pres -- ence place, And sett'st our se -- cret faults be -- fore the bright -- ness of thy face.", "prose": ["Our sins thou and iniquities", "dost in thy presence place,", "And sett'st our secret faults before", "the brightness of thy face."]}, "8": {"syllabified": "For in thine an -- ger all our days do pass on to an end; And as a tale that hath been told, so we our years do spend.", "prose": ["For in thine anger all our days", "do pass on to an end;", "And as a tale that hath been told,", "so we our years do spend."]}, "9": {"syllabified": "Three -- score and ten years do sum up our days and years, we see; Or if, by rea -- son of more strength, in some four -- score they be:", "prose": ["Threescore and ten years do sum up", "our days and years, we see;", "Or if, by reason of more strength,", "in some fourscore they be:"]}, "10": {"syllabified": "Yet doth the strength of such old men but grief and la -- bour prove; For it is soon cut off, and we fly hence, and soon re -- move.", "prose": ["Yet doth the strength of such old men", "but grief and labour prove;", "For it is soon cut off, and we", "fly hence, and soon remove."]}, "11": {"syllabified": "Who knows the pow -- er of thy wrath? ac -- cord -- ing to thy fear So is thy wrath: Lord, teach thou us our end in mind to bear;", "prose": ["Who knows the power of thy wrath?", "according to thy fear", "So is thy wrath: Lord, teach thou us", "our end in mind to bear;"]}, "12": {"syllabified": "And so to count our days, that we our hearts may still ap -- ply To learn thy wis -- dom and thy truth, that we may live there -- by.", "prose": ["And so to count our days, that we", "our hearts may still apply", "To learn thy wisdom and thy truth,", "that we may live thereby."]}, "13": {"syllabified": "Turn yet a -- gain to us, O Lord, how long thus shall it be? Let it re -- pent thee now for those that ser -- vants are to thee.", "prose": ["Turn yet again to us, O Lord,", "how long thus shall it be?", "Let it repent thee now for those", "that servants are to thee."]}, "14": {"syllabified": "O with thy ten -- der mer -- cies, Lord, us ear -- ly sat -- is -- fy; So we re -- joice shall all our days, and still be glad in thee.", "prose": ["O with thy tender mercies, Lord,", "us early satisfy;", "So we rejoice shall all our days,", "and still be glad in thee."]}, "15": {"syllabified": "Ac -- cord -- ing as the days have been, where -- in we grief have had, And years where -- in we ill have seen, so do thou make us glad.", "prose": ["According as the days have been,", "wherein we grief have had,", "And years wherein we ill have seen,", "so do thou make us glad."]}, "16": {"syllabified": "O let thy work and pow'r ap -- pear thy ser -- vants' face be -- fore; And show un -- to their chil -- dren dear thy glo -- ry ev -- er -- more:", "prose": ["O let thy work and pow'r appear", "thy servants' face before;", "And show unto their children dear", "thy glory evermore:"]}, "17": {"syllabified": "And let the beau -- ty of the Lord our God be us up -- on: Our han -- di -- works es -- tab -- lish thou, es -- tab -- lish them each one.", "prose": ["And let the beauty of the Lord", "our God be us upon:", "Our handiworks establish thou,", "establish them each one."]}}}, "lord-thou-hast-greatly-blessed-our-land": {"slug": "lord-thou-hast-greatly-blessed-our-land", "title": "Assurance of Blessing", "first_line": "Lord, Thou hast greatly blessed our land", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 85, "topics": ["Psalms"], "scripture": ["Psalm 85"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 230) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 85, selection 230. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, Thou hast great -- ly blessed our land, Thou hast brought back our cap -- tive band, Thy par -- d'ning grace has made us free And cov -- ered our in -- iq -- ui -- ty.", "prose": ["Lord, Thou hast greatly blessed our land,", "Thou hast brought back our captive band,", "Thy pard'ning grace has made us free", "And covered our iniquity."]}, "2": {"syllabified": "O Thou, Who in a for -- mer day Didst turn Thy dread -- ful wrath a -- way, In grace Thy peo -- ple, Lord, re -- turn, And let Thy wrath no long -- er burn.", "prose": ["O Thou, Who in a former day", "Didst turn Thy dreadful wrath away,", "In grace Thy people, Lord, return,", "And let Thy wrath no longer burn."]}, "3": {"syllabified": "O will Thy an -- ger nev -- er cease, For -- ev -- er shall thy wrath in -- crease? Re -- vive and qui -- cken us once more, And Thy salvat -- io -- n's joy re -- store.", "prose": ["O will Thy anger never cease,", "Forever shall thy wrath increase?", "Revive and quicken us once more,", "And Thy salvation's joy restore."]}, "4": {"syllabified": "To us Thy mer -- cy now af -- ford And show us Thy sal -- va -- tion, Lord; Yea, Thou wilt an -- swer us in peace, If from our fol -- ly we will cease.", "prose": ["To us Thy mercy now afford", "And show us Thy salvation, Lord;", "Yea, Thou wilt answer us in peace,", "If from our folly we will cease."]}, "5": {"syllabified": "The Lord's sal -- va -- tion will ap -- pear To men of faith and god -- ly fear, And glo -- ry in our land shall dwell When we shall heed God's pre -- cepts well.", "prose": ["The Lord's salvation will appear", "To men of faith and godly fear,", "And glory in our land shall dwell", "When we shall heed God's precepts well."]}, "6": {"syllabified": "Now truth a -- grees with mer -- cy mild, Now law and peace are rec -- on -- ciled; Be -- hold the truth from earth a -- rise, With jus -- tice shin -- ing from the skies.", "prose": ["Now truth agrees with mercy mild,", "Now law and peace are reconciled;", "Behold the truth from earth arise,", "With justice shining from the skies."]}, "7": {"syllabified": "The Lord will send His bless -- ing down, And har -- vest all our land shall crown; Be -- fore Him right -- eous -- ness a -- bides, And in His steps our feet He guides.", "prose": ["The Lord will send His blessing down,", "And harvest all our land shall crown;", "Before Him righteousness abides,", "And in His steps our feet He guides."]}}}, "lord-to-me-thy-ways-make-known": {"slug": "lord-to-me-thy-ways-make-known", "title": "Aspiration and Supplication", "first_line": "Lord, to me Thy ways make known", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 67) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 67. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, to me Thy ways make known, Guide in truth and teach Thou me; Thou my Sav -- iour art a -- lone, All the day I wait for Thee.", "prose": ["Lord, to me Thy ways make known,", "Guide in truth and teach Thou me;", "Thou my Saviour art alone,", "All the day I wait for Thee."]}, "2": {"syllabified": "Lord, re -- mem -- ber in Thy love All Thy mer -- cies man -- i -- fold, Ten -- der mer -- cies from a -- bove, Change -- less from the days of old.", "prose": ["Lord, remember in Thy love", "All Thy mercies manifold,", "Tender mercies from above,", "Changeless from the days of old."]}, "3": {"syllabified": "Sins of youth re -- mem -- ber not, Nor my tres -- pass -- es re -- cord; Let not mer -- cy be for -- got, Fro Thy good -- ness' sake, O Lord", "prose": ["Sins of youth remember not,", "Nor my trespasses record;", "Let not mercy be forgot,", "Fro Thy goodness' sake, O Lord"]}, "4": {"syllabified": "Just and good the Lord a -- bides, He His way will sin -- ners show, He the meek in jus -- tice guides, Mak -- ing them His way to know.", "prose": ["Just and good the Lord abides,", "He His way will sinners show,", "He the meek in justice guides,", "Making them His way to know."]}, "5": {"syllabified": "Grace and truth shall mark the way Where the Lord His own will lead, If His word they still o -- bey And His tes -- ti -- mo -- nies heed.", "prose": ["Grace and truth shall mark the way", "Where the Lord His own will lead,", "If His word they still obey", "And His testimonies heed."]}}}, "lord-unto-us-be-merciful": {"slug": "lord-unto-us-be-merciful", "title": "Lord, unto Us Be Merciful (Second Version)", "first_line": "Lord, unto us be merciful", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 67, "topics": ["Psalms"], "scripture": ["Psalm 67"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 67 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, un -- to us be mer -- ci -- ful, do thou us al -- so bless; And gra -- cious -- ly cause shine on us the bright -- ness of thy face:", "prose": ["Lord, unto us be merciful,", "do thou us also bless;", "And graciously cause shine on us", "the brightness of thy face:"]}, "2": {"syllabified": "That so thy way up -- on the earth to all men may be known; Al -- so a -- mong the na -- tions all thy sav -- ing health be shown.", "prose": ["That so thy way upon the earth", "to all men may be known;", "Also among the nations all", "thy saving health be shown."]}, "3": {"syllabified": "O let the peo -- ple praise thee, Lord; let peo -- ple all thee praise. O let the na -- ti -- ons be glad, and sing for joy al -- ways:", "prose": ["O let the people praise thee, Lord;", "let people all thee praise.", "O let the nations be glad,", "and sing for joy always:"]}, "4": {"syllabified": "For right -- ly thou shalt peo -- ple judge, and na -- tions rule on earth. Let peo -- ple praise thee, Lord; let all the folk praise thee with mirth.", "prose": ["For rightly thou shalt people judge,", "and nations rule on earth.", "Let people praise thee, Lord; let all", "the folk praise thee with mirth."]}, "5": {"syllabified": "Then shall the earth yield her in -- crease; God, our God, bless us shall. God shall us bless; and of the earth the ends shall fear him all.", "prose": ["Then shall the earth yield her increase;", "God, our God, bless us shall.", "God shall us bless; and of the earth", "the ends shall fear him all."]}}}, "lord-who-at-cana-s-wedding-feast": {"slug": "lord-who-at-cana-s-wedding-feast", "title": "Lord, Who at Cana's Wedding Feast", "first_line": "Lord, who at Cana's wedding feast Didst as a", "author": "adelaide-thrupp", "author_date": "1896", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christian Home", "Family", "Christian Life", "Consecration", "Father"], "scripture": ["Genesis 2:18-25", "John 2:1-12", "Malachi 2:15", "Psalm 127:1"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:300; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_who_at_canas_wedding_feast", "total_instances": 40}}, "stanzas": {"1": {"syllabified": "Lord, who at Ca -- na's wed -- ding feast Didst as a Guest ap -- pear, Thou dear -- er far than earth -- ly guest, Vouch -- safe Thy pres -- ence here. For ho -- ly Thou in -- deed dost prove The mar -- riage vow to be, Pro -- claim -- ing it a type of love Be -- tween the Church and Thee.", "prose": ["Lord, who at Cana's wedding feast", "Didst as a Guest appear,", "Thou dearer far than earthly guest,", "Vouchsafe Thy presence here.", "For holy Thou indeed dost prove", "The marriage vow to be,", "Proclaiming it a type of love", "Between the Church and Thee."]}, "2": {"syllabified": "The ho -- liest vow that man can make, The gol -- den thread in life, The bond that none may dare to break, That bind -- eth man and wife, Which, blest by Thee, what -- e'er be -- tide, No e -- vil shall de -- stroy, Through care -- worn days each care div -- ides And dou -- bles ev -- ery joy.", "prose": ["The holiest vow that man can make,", "The golden thread in life,", "The bond that none may dare to break,", "That bindeth man and wife,", "Which, blest by Thee, whate'er betide,", "No evil shall destroy,", "Through careworn days each care divides", "And doubles every joy."]}, "3": {"syllabified": "On those who at Thine al -- tar kneel, O Lord, Thy bless -- ing pour, That each may wake the oth -- er's zeal To love Thee more and more. Oh, grant them here in peace to live, In pur -- i -- ty and love, And, this world leav -- ing, to re -- ceive A crown of life a -- bove.", "prose": ["On those who at Thine altar kneel,", "O Lord, Thy blessing pour,", "That each may wake the other's zeal", "To love Thee more and more.", "Oh, grant them here in peace to live,", "In purity and love,", "And, this world leaving, to receive", "A crown of life above."]}}}, "lord-who-shall-come-to-thee": {"slug": "lord-who-shall-come-to-thee", "title": "The Godly Man", "first_line": "Lord, who shall come to Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 15, "topics": ["Psalms"], "scripture": ["Psalm 15"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 25) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 15, selection 25. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lord, who shall come to Thee, And stand be -- fore Thy face? Who shall a -- bide, a wel -- come guest, With -- in Thy ho -- ly place?", "prose": ["Lord, who shall come to Thee,", "And stand before Thy face?", "Who shall abide, a welcome guest,", "Within Thy holy place?"]}, "2": {"syllabified": "The man of up -- right life, Sin -- cere in word and deed, Who slan -- ders nei -- ther friend nor foe, Nor id -- le tales will heed.", "prose": ["The man of upright life,", "Sincere in word and deed,", "Who slanders neither friend nor foe,", "Nor idle tales will heed."]}, "3": {"syllabified": "Who hon -- ors god -- ly men, But scorns the false and file, Who keeps his prom -- ised word to all, Thought loss be his the while.", "prose": ["Who honors godly men,", "But scorns the false and file,", "Who keeps his promised word to all,", "Thought loss be his the while."]}, "4": {"syllabified": "Who loves not u -- su -- ry, Nor takes a base re -- ward; Un -- moved for -- ev -- er he shall be, And stand be -- fore the Lord.", "prose": ["Who loves not usury,", "Nor takes a base reward;", "Unmoved forever he shall be,", "And stand before the Lord."]}}}, "lord-who-throughout-these-forty-days": {"slug": "lord-who-throughout-these-forty-days", "title": "Lord Who Throughout These Forty Days", "first_line": "Lord, who throughout these forty days For us didst", "author": "claudia-f-hernaman", "author_date": "1905", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Conscience", "Contrition", "Cross"], "scripture": ["Psalm 39:12", "Ezekiel 18:30-32", "Luke 18:13", "Psalm 86:3"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:87; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_who_throughout_these_forty_days", "total_instances": 90}}, "stanzas": {"1": {"syllabified": "Lord, who through -- out these for -- ty days For us didst fast and pray, Teach us with Thee to mourn our sins And close by Thee to stay.", "prose": ["Lord, who throughout these forty days", "For us didst fast and pray,", "Teach us with Thee to mourn our sins", "And close by Thee to stay."]}, "2": {"syllabified": "As Thou with Sa -- tan didst con -- tend, And didst the vic -- t'ry win, O give us strength in Thee to fight, In Thee to con -- quer sin.", "prose": ["As Thou with Satan didst contend,", "And didst the vict'ry win,", "O give us strength in Thee to fight,", "In Thee to conquer sin."]}, "3": {"syllabified": "As Thou didst hun -- ger bear, and thirst, So teach us, gra -- cious Lord, To die to self, and chief -- ly live By Thy most ho -- ly Word.", "prose": ["As Thou didst hunger bear, and thirst,", "So teach us, gracious Lord,", "To die to self, and chiefly live", "By Thy most holy Word."]}, "4": {"syllabified": "And through these days of pen -- i -- tence, And through Thy pa -- ssion -- tide, Yea, ev -- er -- more in life and death, Je -- sus, with us a -- bide.", "prose": ["And through these days of penitence,", "And through Thy passiontide,", "Yea, evermore in life and death,", "Jesus, with us abide."]}, "5": {"syllabified": "A -- bide with us, that so, this life Of suf -- f'ring o -- ver past, An Eas -- ter of un -- end -- ing joy We may at -- tain at last.", "prose": ["Abide with us, that so, this life", "Of suff'ring over past,", "An Easter of unending joy", "We may attain at last."]}}}, "love-divine-all-loves-excelling": {"slug": "love-divine-all-loves-excelling", "title": "Love Divine, All Loves Excelling", "first_line": "Love divine, all loves excelling", "author": "charles-wesley", "author_date": "1747", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Love", "Holy Spirit", "Christian Life", "Aspiration"], "scripture": ["2 Corinthians 3:18", "Ephesians 3:17", "Hebrews 4:9", "1 John 4:16", "Revelation 1:8"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788); conventionally first published in Hymns for Those That Seek, and Those That Have Redemption in the Blood of Jesus Christ (Bristol, 1747). Transcribed from the printing actually read for this record: The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 355, printed pages 252-253 (scan leaves n263-n264), signed \"Charles Wesley\" and giving all four of Wesley's stanzas — stanza 1 under the music on p. 252, stanzas 2-3 below it, stanza 4 at the head of p. 253. That page carries the stanza-3 line as \"Let us all thy grace receive\" (some books read \"thy life receive\"); \"bent to sinning\" in stanza 2 is Wesley's unaltered wording. The 1905 book sets this text to WESTON 8s.7s.D. by J. E. Roe (first tune) and to LOVE DIVINE 8s.7s.D. by John Zundel (second tune, the melody now generally called BEECHER) — NOT to HYFRYDOL; the HYFRYDOL pairing made in this corpus is the received modern one, not the one on the source page, and is recorded as such. Public domain: author d. 1788, and the 1905 printing read here is itself pre-1931. Scan: archive.org/details/methodi00meth.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Love di -- vine, all loves ex -- cell -- ing, Joy of heav'n, to earth come down; Fix in us thy hum -- ble dwell -- ing, All thy faith -- ful mer -- cies crown: Je -- sus, thou art all com -- pas -- sion, Pure, un -- bound -- ed love thou art; Vis -- it us with thy sal -- va -- tion, En -- ter ev -- ery trem -- bling heart.", "prose": ["Love divine, all loves excelling,", "Joy of heav'n, to earth come down;", "Fix in us thy humble dwelling,", "All thy faithful mercies crown:", "Jesus, thou art all compassion,", "Pure, unbounded love thou art;", "Visit us with thy salvation,", "Enter every trembling heart."]}, "2": {"syllabified": "Breathe, O breathe thy lov -- ing Spir -- it In -- to ev -- ery trou -- bled breast! Let us all in thee in -- her -- it, Let us find that sec -- ond rest: Take a -- way our bent to sin -- ning; Al -- pha and O -- me -- ga be; End of faith, as its be -- gin -- ning, Set our hearts at lib -- er -- ty.", "prose": ["Breathe, O breathe thy loving Spirit", "Into every troubled breast!", "Let us all in thee inherit,", "Let us find that second rest:", "Take away our bent to sinning;", "Alpha and Omega be;", "End of faith, as its beginning,", "Set our hearts at liberty."]}, "3": {"syllabified": "Come, al -- might -- y to de -- liv -- er, Let us all thy grace re -- ceive; Sud -- den -- ly re -- turn, and nev -- er, Nev -- er more thy tem -- ples leave: Thee we would be al -- ways bless -- ing, Serve thee as thy hosts a -- bove, Pray, and praise thee with -- out ceas -- ing, Glo -- ry in thy per -- fect love.", "prose": ["Come, almighty to deliver,", "Let us all thy grace receive;", "Suddenly return, and never,", "Never more thy temples leave:", "Thee we would be always blessing,", "Serve thee as thy hosts above,", "Pray, and praise thee without ceasing,", "Glory in thy perfect love."]}, "4": {"syllabified": "Fin -- ish then thy new cre -- a -- tion, Pure and spot -- less let us be; Let us see thy great sal -- va -- tion, Per -- fect -- ly re -- stored in thee: Changed from glo -- ry in -- to glo -- ry, Till in heav'n we take our place, Till we cast our crowns be -- fore thee, Lost in won -- der, love, and praise.", "prose": ["Finish then thy new creation,", "Pure and spotless let us be;", "Let us see thy great salvation,", "Perfectly restored in thee:", "Changed from glory into glory,", "Till in heav'n we take our place,", "Till we cast our crowns before thee,", "Lost in wonder, love, and praise."]}}}, "loving-shepherd-of-thy-sheep": {"slug": "loving-shepherd-of-thy-sheep", "title": "Loving Shepherd of Thy Sheep", "first_line": "Loving Shepherd of Thy Sheep", "author": "jane-leeson", "author_date": "1842", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Guidance", "Trust"], "scripture": ["John 10:14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Jane E. Leeson (1809-1881), \"Loving Shepherd of Thy Sheep,\" in Hymns and Scenes of Childhood (1842). Rendered here in the standard five-stanza (four lines each) hymnal form (as in Hymns Ancient & Modern, 1875, and later collections; the original prints three eight-line stanzas). Public-domain text; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Lov -- ing Shep -- herd of Thy sheep, Keep Thy lamb, in safe -- ty keep; Noth -- ing can Thy pow'r with -- stand, None can pluck me from Thy hand.", "prose": ["Loving Shepherd of Thy sheep,", "Keep Thy lamb, in safety keep;", "Nothing can Thy power withstand,", "None can pluck me from Thy hand."]}, "2": {"syllabified": "Lov -- ing Sav -- iour, Thou didst give Thine own life that we might live; And the hands out -- stretched to bless Bear the cru -- el nails' im -- press.", "prose": ["Loving Saviour, Thou didst give", "Thine own life that we might live;", "And the hands outstretched to bless", "Bear the cruel nails' impress."]}, "3": {"syllabified": "I would bless Thee ev -- 'ry day, Glad -- ly all Thy will o -- bey, Like Thy bless -- ed ones a -- bove Hap -- py in Thy pre -- cious love.", "prose": ["I would bless Thee every day,", "Gladly all Thy will obey,", "Like Thy blessed ones above", "Happy in Thy precious love."]}, "4": {"syllabified": "Lov -- ing Shep -- herd, ev -- er near, Teach Thy lamb Thy voice to hear; Suf -- fer not my steps to stray, From the straight and nar -- row way.", "prose": ["Loving Shepherd, ever near,", "Teach Thy lamb Thy voice to hear;", "Suffer not my steps to stray", "From the straight and narrow way."]}, "5": {"syllabified": "Where Thou lead -- est I would go, Walk -- ing in Thy steps be -- low; Till be -- fore my Fa -- ther's throne I shall know as I am known.", "prose": ["Where Thou leadest I would go,", "Walking in Thy steps below;", "Till before my Father's throne", "I shall know as I am known."]}}}, "majestic-sweetness-sits-enthroned": {"slug": "majestic-sweetness-sits-enthroned", "title": "Majestic Sweetness Sits Enthroned", "first_line": "Majestic sweetness sits enthroned", "author": "samuel-stennett", "author_date": "1787", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ, Exaltation of", "Praise", "Adoration"], "scripture": ["Psalm 45:2", "Hebrews 2:9"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Samuel Stennett (1727–1795), \"Majestic Sweetness Sits Enthroned\" (also titled \"The Chief Among Ten Thousand\" / \"The Excellencies of Christ\"), first published in John Rippon's A Selection of Hymns from the Best Authors (London, 1787). Standard public-domain C.M. text, sung to ORTONVILLE with its last line repeated; verified against Hymnary.org and the Hymnology Archive. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Maj -- es -- tic sweet -- ness sits en -- throned Up -- on the Sav -- ior's brow His head with ra -- diant glo -- ries crowned His lips with grace o'er -- flow", "prose": ["Majestic sweetness sits enthroned", "Upon the Savior's brow;", "His head with radiant glories crowned,", "His lips with grace o'erflow."]}, "2": {"syllabified": "No mor -- tal can with Him com -- pare A -- mong the sons of men Fair -- er is He than all the fair Who fill the heav'n -- ly train", "prose": ["No mortal can with Him compare", "Among the sons of men;", "Fairer is He than all the fair", "Who fill the heav'nly train."]}, "3": {"syllabified": "He saw me plunged in deep dis -- tress And flew to my re -- lief For me He bore the shame -- ful cross And car -- ried all my grief", "prose": ["He saw me plunged in deep distress", "And flew to my relief;", "For me He bore the shameful cross", "And carried all my grief."]}, "4": {"syllabified": "To Him I owe my life and breath And all the joys I have He makes me tri -- umph o -- ver death And saves me from the grave", "prose": ["To Him I owe my life and breath", "And all the joys I have;", "He makes me triumph over death", "And saves me from the grave."]}, "5": {"syllabified": "Since from His boun -- ty I re -- ceive Such proofs of love di -- vine Had I a thou -- sand hearts to give Lord they should all be Thine", "prose": ["Since from His bounty I receive", "Such proofs of love divine,", "Had I a thousand hearts to give,", "Lord, they should all be Thine."]}}}, "make-haste-o-god-me-to-preserve": {"slug": "make-haste-o-god-me-to-preserve", "title": "Make Haste, O God, Me to Preserve (Second Version)", "first_line": "Make haste, O God, me to preserve", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 70, "topics": ["Psalms"], "scripture": ["Psalm 70"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 70 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Make haste, O God, me to pre -- serve; with speed, Lord, suc -- cour me. Let them that for my soul do seek shamed and con -- found -- ed be:", "prose": ["Make haste, O God, me to preserve;", "with speed, Lord, succour me.", "Let them that for my soul do seek", "shamed and confounded be:"]}, "2": {"syllabified": "Let them be turned back, and sham -- ed, that in my hurt de -- light. Turned back be they, Ha, ha! that say, their sham -- ing to re -- quite.", "prose": ["Let them be turned back, and shamed,", "that in my hurt delight.", "Turned back be they, Ha, ha! that say,", "their shaming to requite."]}, "3": {"syllabified": "O Lord, in thee let all be glad, and joy that seek for thee: Let them who thy sal -- va -- tion love say still, God prais -- ed be.", "prose": ["O Lord, in thee let all be glad,", "and joy that seek for thee:", "Let them who thy salvation love", "say still, God praised be."]}, "4": {"syllabified": "But I both poor and need -- y am; come, Lord, and make no stay: My help thou and de -- liv -- 'rer art; O Lord, make no de -- lay.", "prose": ["But I both poor and needy am;", "come, Lord, and make no stay:", "My help thou and deliv'rer art;", "O Lord, make no delay."]}}}, "more-love-to-thee": {"slug": "more-love-to-thee", "title": "More Love to Thee", "first_line": "More love to Thee, O Christ; More love to", "author": "elizabeth-payson-prentis", "author_date": "1870", "foot": "iambic", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 4, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Brevity of Life", "Calmness", "Christian Life"], "scripture": ["2 Corinthians 5:7", "John 1:29", "Hebrews 12:2-3", "Ephesians 3:12"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:228; all components published pre-1931 (latest year 1870).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "more_love_to_thee_o_christ", "total_instances": 912}}, "stanzas": {"1": {"syllabified": "More love to Thee, O Christ; More love to Thee; Hear Thou the pray'r I make On bend -- ed knee; This is my ear -- nest plea, More love, O Christ, to Thee, More love to Thee; More love to Thee.", "prose": ["More love to Thee, O Christ;", "More love to Thee;", "Hear Thou the pray'r I make", "On bended knee;", "This is my earnest plea,", "More love, O Christ, to Thee,", "More love to Thee;", "More love to Thee."]}, "2": {"syllabified": "Once earth -- ly joy I craved, Sought peace and rest; Now thee a -- lone I seek, Give what is best; This all my pray'r shall be, More love, O Christ, to Thee, More love to Thee; More love to Thee.", "prose": ["Once earthly joy I craved,", "Sought peace and rest;", "Now thee alone I seek,", "Give what is best;", "This all my pray'r shall be,", "More love, O Christ, to Thee,", "More love to Thee;", "More love to Thee."]}, "3": {"syllabified": "Then shall my lat -- est breath, Whis -- per Thy praise, This be the part -- ing cry My heart shall raise; This still its pray'r shall be, More love, O Christ, to Thee, More love to Thee; More love to Thee.", "prose": ["Then shall my latest breath,", "Whisper Thy praise,", "This be the parting cry", "My heart shall raise;", "This still its pray'r shall be,", "More love, O Christ, to Thee,", "More love to Thee;", "More love to Thee."]}}}, "most-perfect-is-the-law-of-god": {"slug": "most-perfect-is-the-law-of-god", "title": "The Value of Holy Scripture", "first_line": "Most perfect is the law of God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 41) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 19, selection 41. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Most per -- fect is the law of God, Re -- stor -- ing those that stray; His tes -- ti -- mo -- ny is most sure, Pro -- claim -- ing wis -- dom's way.", "prose": ["Most perfect is the law of God,", "Restoring those that stray;", "His testimony is most sure,", "Proclaiming wisdom's way."]}, "2": {"syllabified": "The pre -- cepts of the Lord are right; With joy they fill the heart; The Lord's com -- mand -- ments all are pure, And clear -- est light im -- part.", "prose": ["The precepts of the Lord are right;", "With joy they fill the heart;", "The Lord's commandments all are pure,", "And clearest light impart."]}, "3": {"syllabified": "The fear of God is un -- de -- filed And ev -- er shall en -- dure; The stat -- utes of the Lord are truth And right -- eous -- ness most pure.", "prose": ["The fear of God is undefiled", "And ever shall endure;", "The statutes of the Lord are truth", "And righteousness most pure."]}, "4": {"syllabified": "They warn from ways of wick -- ed -- ness Dis -- pleas -- ing to the Lord, And in the keep -- ing of His Word There is a great re -- ward.", "prose": ["They warn from ways of wickedness", "Displeasing to the Lord,", "And in the keeping of His Word", "There is a great reward."]}, "5": {"syllabified": "What man can know his e -- vil heart, Dis -- cern -- ing all his sin? O cleanse me, Lord, from hid -- den faults, And make me pure with -- in.", "prose": ["What man can know his evil heart,", "Discerning all his sin?", "O cleanse me, Lord, from hidden faults,", "And make me pure within."]}, "6": {"syllabified": "From will -- ful sins Thy ser -- vant keep, No van -- tage let them gain; From great trans -- gres -- sions thus made free, I up -- right shall re -- main.", "prose": ["From willful sins Thy servant keep,", "No vantage let them gain;", "From great transgressions thus made free,", "I upright shall remain."]}, "7": {"syllabified": "The words which from my mouth pro -- ceed, The thoughts with -- in my heart, Ac -- cept, O Lord, for Thou my Rock And my Re -- deem -- er art.", "prose": ["The words which from my mouth proceed,", "The thoughts within my heart,", "Accept, O Lord, for Thou my Rock", "And my Redeemer art."]}}}, "my-end-lord-make-me-know": {"slug": "my-end-lord-make-me-know", "title": "A Mourner's Entreaties", "first_line": "My end, Lord, make me know", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 39, "topics": ["Psalms"], "scripture": ["Psalm 39"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 107) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 39, selection 107. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My end, Lord, make me know, My days, how soon they fail; And to my thought -- ful spir -- it show How weak I am and frail.", "prose": ["My end, Lord, make me know,", "My days, how soon they fail;", "And to my thoughtful spirit show", "How weak I am and frail."]}, "2": {"syllabified": "To Thy e -- ter -- nal thought My days are but a span; To Thee my years ap -- pear as nought, A breath at best is man.", "prose": ["To Thy eternal thought", "My days are but a span;", "To Thee my years appear as nought,", "A breath at best is man."]}, "3": {"syllabified": "O Lord, re -- gard my fears, And an -- swer my re -- quest; turn not in si -- lence from my tears, But give the mour -- ner rest.", "prose": ["O Lord, regard my fears,", "And answer my request;", "turn not in silence from my tears,", "But give the mourner rest."]}, "4": {"syllabified": "I am a stran -- ger here, De -- pen -- dent on Thy grace, A pil -- grim, as my fa -- thers were, With no a -- bid -- ing place.", "prose": ["I am a stranger here,", "Dependent on Thy grace,", "A pilgrim, as my fathers were,", "With no abiding place."]}}}, "my-faith-looks-up-to-thee": {"slug": "my-faith-looks-up-to-thee", "title": "My Faith Looks Up to Thee", "first_line": "My faith looks up to Thee", "author": "ray-palmer", "author_date": "1830", "foot": "iambic", "meter": {"pattern": [6, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Faith", "Consecration", "Trust"], "scripture": ["Hebrews 12:2"], "provenance": {"layer": "text", "source": "palmer-1830", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Ray Palmer, 1830. Author d. 1887.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "my_faith_looks_up_to_thee", "total_instances": 2435}}, "stanzas": {"1": {"syllabified": "My faith looks up to Thee, Thou Lamb of Cal -- va -- ry, Sav -- ior di -- vine! Now hear me while I pray, take all my guilt a -- way, O let me from this day be whol -- ly Thine!", "prose": ["My faith looks up to Thee,", "Thou Lamb of Calvary,", "Savior divine!", "Now hear me while I pray,", "take all my guilt away,", "O let me from this day", "be wholly Thine!"]}, "2": {"syllabified": "May Thy rich grace im -- part Strength to my faint -- ing heart, my zeal in -- spire! As Thou hast died for me, O may my love to Thee, Pure warm, and change -- less be, a liv -- ing fire!", "prose": ["May Thy rich grace impart", "Strength to my fainting heart,", "my zeal inspire!", "As Thou hast died for me,", "O may my love to Thee,", "Pure warm, and changeless be,", "a living fire!"]}, "3": {"syllabified": "While life's dark maze I tread, And griefs a -- round me spread, be Thou my Guide; Bid dark -- ness turn to day, wipe sor -- row's tears a -- way, Nor let me ev -- er stray from Thee a -- side.", "prose": ["While life's dark maze I tread,", "And griefs around me spread,", "be Thou my Guide;", "Bid darkness turn to day,", "wipe sorrow's tears away,", "Nor let me ever stray", "from Thee aside."]}, "4": {"syllabified": "When ends life's trans -- ient dream, When death's cold sul -- len stream ov -- er me roll; Blest Sav -- ior, then in love, fear and dis -- trust re -- move; O bear me safe a -- bove, a ran -- somed soul!", "prose": ["When ends life's transient dream,", "When death's cold sullen stream", "over me roll;", "Blest Savior, then in love,", "fear and distrust remove;", "O bear me safe above,", "a ransomed soul!"]}}}, "my-god-deliver-me-from-those": {"slug": "my-god-deliver-me-from-those", "title": "My God, Deliver Me from Those", "first_line": "My God, deliver me from those", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 59, "topics": ["Psalms"], "scripture": ["Psalm 59"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 59. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My God, de -- liv -- er me from those that are mine en -- e -- mies; And do thou me de -- fend from those that up a -- gainst me rise.", "prose": ["My God, deliver me from those", "that are mine enemies;", "And do thou me defend from those", "that up against me rise."]}, "2": {"syllabified": "Do thou de -- liv -- er me from them that work in -- iq -- ui -- ty; And give me safe -- ty from the men of blood -- y cru -- el -- ty.", "prose": ["Do thou deliver me from them", "that work iniquity;", "And give me safety from the men", "of bloody cruelty."]}, "3": {"syllabified": "For, lo, they for my soul lay wait: the might -- y do com -- bine A -- gainst me, Lord; not for my fault, nor an -- y sin of mine.", "prose": ["For, lo, they for my soul lay wait:", "the mighty do combine", "Against me, Lord; not for my fault,", "nor any sin of mine."]}, "4": {"syllabified": "They run, and, with -- out fault in me, them -- selves do read -- y make: A -- wake to meet me with thy help; and do thou no -- tice take.", "prose": ["They run, and, without fault in me,", "themselves do ready make:", "Awake to meet me with thy help;", "and do thou notice take."]}, "5": {"syllabified": "A -- wake there -- fore, Lord God of hosts, thou God of I -- sra -- el, To vis -- it hea -- then all: spare none that wick -- ed -- ly re -- bel.", "prose": ["Awake therefore, Lord God of hosts,", "thou God of Israel,", "To visit heathen all: spare none", "that wickedly rebel."]}, "6": {"syllabified": "At ev' -- ning they go to and fro; they make great noise and sound, Like to a dog, and of -- ten walk a -- bout the cit -- y round.", "prose": ["At ev'ning they go to and fro;", "they make great noise and sound,", "Like to a dog, and often walk", "about the city round."]}, "7": {"syllabified": "Be -- hold, they belch out with their mouth, and in their lips are swords: For they do say thus, Who is he that now doth hear our words?", "prose": ["Behold, they belch out with their mouth,", "and in their lips are swords:", "For they do say thus, Who is he", "that now doth hear our words?"]}, "8": {"syllabified": "But thou, O Lord, shalt laugh at them, and all the hea -- then mock. While he's in pow'r I'll wait on thee; for God is my high rock.", "prose": ["But thou, O Lord, shalt laugh at them,", "and all the heathen mock.", "While he's in pow'r I'll wait on thee;", "for God is my high rock."]}, "9": {"syllabified": "He of my mer -- cy that is God be -- times shall me pre -- vent; Up -- on mine en -- 'mies God shall let me see mine heart's con -- tent.", "prose": ["He of my mercy that is God", "betimes shall me prevent;", "Upon mine en'mies God shall let", "me see mine heart's content."]}, "10": {"syllabified": "Them slay not, lest my folk for -- get; but scat -- ter them a -- broad By thy strong pow'r; and bring them down, O thou our shield and God.", "prose": ["Them slay not, lest my folk forget;", "but scatter them abroad", "By thy strong pow'r; and bring them down,", "O thou our shield and God."]}, "11": {"syllabified": "For their mouth's sin, and for the words that from their lips do fly, Let them be tak -- en in their pride; be -- cause they curse and lie.", "prose": ["For their mouth's sin, and for the words", "that from their lips do fly,", "Let them be taken in their pride;", "because they curse and lie."]}, "12": {"syllabified": "In wrath con -- sume them, them con -- sume, that so they may not be: And that in Ja -- cob God doth rule to th'earth's ends let them see.", "prose": ["In wrath consume them, them consume,", "that so they may not be:", "And that in Jacob God doth rule", "to th' earth's ends let them see."]}, "13": {"syllabified": "At ev' -- ning let thou them re -- turn, mak -- ing great noise and sound, Like to a dog, and of -- ten walk a -- bout the cit -- y round.", "prose": ["At ev'ning let thou them return,", "making great noise and sound,", "Like to a dog, and often walk", "about the city round."]}, "14": {"syllabified": "And let them wan -- der up and down, in seek -- ing food to eat; And let them grudge when they shall not be sat -- is -- fied with meat.", "prose": ["And let them wander up and down,", "in seeking food to eat;", "And let them grudge when they shall not", "be satisfied with meat."]}, "15": {"syllabified": "But of thy pow'r I'll sing a -- loud; at morn thy mer -- cy praise: For thou to me my ref -- uge wast, and tow'r, in trou -- blous days.", "prose": ["But of thy pow'r I'll sing aloud;", "at morn thy mercy praise:", "For thou to me my refuge wast,", "and tow'r, in troublous days."]}, "16": {"syllabified": "O God, thou art my strength, I will sing prais -- es un -- to thee; For God is my de -- fence, a God of mer -- cy un -- to me.", "prose": ["O God, thou art my strength, I will", "sing praises unto thee;", "For God is my defence, a God", "of mercy unto me."]}}}, "my-god-it-was-thy-grace": {"slug": "my-god-it-was-thy-grace", "title": "Thoughts on God's Loving-Kindness", "first_line": "My God, it was Thy grace", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 30, "topics": ["Psalms"], "scripture": ["Psalm 30"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 79) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 30, selection 79. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My God, it was Thy grace That did my strength sup -- ply; When Thou didst hide Thy face, Sore trou -- bled then was I. To Thee I cried, O Lord; to Thee I made my sup -- pli -- cat -- ing plea.", "prose": ["My God, it was Thy grace", "That did my strength supply;", "When Thou didst hide Thy face,", "Sore troubled then was I.", "To Thee I cried, O Lord; to Thee", "I made my supplicating plea."]}, "2": {"syllabified": "What prof -- it can it bring If life Thou dost not spare? Shall dust thy prais -- es sing, Shall it Thy truth de -- clare? Je -- ho -- vah hear, in mer -- cy hear, My Help -- er, Sav -- iour, now ap -- pear.", "prose": ["What profit can it bring", "If life Thou dost not spare?", "Shall dust thy praises sing,", "Shall it Thy truth declare?", "Jehovah hear, in mercy hear,", "My Helper, Saviour, now appear."]}, "3": {"syllabified": "With grief to glad -- ness turned, With sor -- row changed to joy, Thy prais -- es I have learned, And songs my lips em -- ploy; So shall my tongue thro' life a -- dore And praise Thy Name for ev -- er -- more.", "prose": ["With grief to gladness turned,", "With sorrow changed to joy,", "Thy praises I have learned,", "And songs my lips employ;", "So shall my tongue thro' life adore", "And praise Thy Name for evermore."]}}}, "my-god-my-god-i-cry-to-thee": {"slug": "my-god-my-god-i-cry-to-thee", "title": "The Cross of Calvary", "first_line": "My God, My God, I cry to Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 22, "topics": ["Psalms"], "scripture": ["Psalm 22"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 47) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 22, selection 47. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My God, My God, I cry to Thee; O why hast Thou for -- sak -- en Me? A -- far from Me, Thou dost not heed, Though day and night for help I plead.", "prose": ["My God, My God, I cry to Thee;", "O why hast Thou forsaken Me?", "Afar from Me, Thou dost not heed,", "Though day and night for help I plead."]}, "2": {"syllabified": "But Thou art ho -- ly in Thy ways, En -- throned up -- on Thy peo -- ple's praise; Our fa -- thers put their trust in Thee, Be -- lieved, and Thou didst set them free.", "prose": ["But Thou art holy in Thy ways,", "Enthroned upon Thy people's praise;", "Our fathers put their trust in Thee,", "Believed, and Thou didst set them free."]}, "3": {"syllabified": "They cried, and, trust -- ing in Thy Name, Were saved, and were not put to shame; But in the dust My hon -- or lies, While all re -- proach and all de -- spise.", "prose": ["They cried, and, trusting in Thy Name,", "Were saved, and were not put to shame;", "But in the dust My honor lies,", "While all reproach and all despise."]}, "4": {"syllabified": "My words a cause for scorn they make, The lip they curl, the head they shake, And, mock -- ing, bid Me trust the Lord Till He sal -- va -- tion shall af -- ford.", "prose": ["My words a cause for scorn they make,", "The lip they curl, the head they shake,", "And, mocking, bid Me trust the Lord", "Till He salvation shall afford."]}, "5": {"syllabified": "My trust on Thee I learned to rest When i was on My moth -- er's breast; From birth Thou art My God a -- lone, Thy care My life has ev -- er known.", "prose": ["My trust on Thee I learned to rest", "When i was on My mother's breast;", "From birth Thou art My God alone,", "Thy care My life has ever known."]}, "6": {"syllabified": "O let Thy strength and pres -- ence cheer, For trou -- ble and dis -- tress are near; Be Thou not far a -- way from Me, I have no source of help but Thee.", "prose": ["O let Thy strength and presence cheer,", "For trouble and distress are near;", "Be Thou not far away from Me,", "I have no source of help but Thee."]}, "7": {"syllabified": "Un -- num -- bered foes would do Me wrong, They press a -- bout Me, fierce and strong, Like beasts of prey their rage they vent, My cour -- age fails, My strength is spent.", "prose": ["Unnumbered foes would do Me wrong,", "They press about Me, fierce and strong,", "Like beasts of prey their rage they vent,", "My courage fails, My strength is spent."]}, "8": {"syllabified": "Down un -- to death Thou lead -- est Me, Con -- sumed by thirst and ag -- o -- ny; With cru -- el hate and an -- ger fierce My help -- less hands and feet they pierce.", "prose": ["Down unto death Thou leadest Me,", "Consumed by thirst and agony;", "With cruel hate and anger fierce", "My helpless hands and feet they pierce."]}, "9": {"syllabified": "While on My wast -- ed form they stare, The gar -- ments torn from Me they share, My shame and sor -- row heed -- ing not, And for My robe they cast the lot.", "prose": ["While on My wasted form they stare,", "The garments torn from Me they share,", "My shame and sorrow heeding not,", "And for My robe they cast the lot."]}, "10": {"syllabified": "O Lord, a -- far no long -- er stay; O Thou My help -- er, haste, I pray; From death and e -- vil set Me free; I live, for Thou didst an -- swer Me.", "prose": ["O Lord, afar no longer stay;", "O Thou My helper, haste, I pray;", "From death and evil set Me free;", "I live, for Thou didst answer Me."]}, "11": {"syllabified": "I live and will de -- clare Thy fame Where breth -- ren gath -- er in Thy Name; Where all Thy faith -- ful peo -- ple meet, I will Thy wor -- thy praise re -- peat.", "prose": ["I live and will declare Thy fame", "Where brethren gather in Thy Name;", "Where all Thy faithful people meet,", "I will Thy worthy praise repeat."]}}}, "my-god-my-god-why-hast-thou-me": {"slug": "my-god-my-god-why-hast-thou-me", "title": "My God, My God, Why Hast Thou Me", "first_line": "My God, my God, why hast thou me", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 22, "topics": ["Psalms"], "scripture": ["Psalm 22"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 22. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My God, my God, why hast thou me for -- sak -- en? why so far Art thou from help -- ing me, and from my words that roar -- ing are?", "prose": ["My God, my God, why hast thou me", "forsaken? why so far", "Art thou from helping me, and from", "my words that roaring are?"]}, "2": {"syllabified": "All day, my God, to thee I cry, yet am not heard by thee; And in the sea -- son of the night I can -- not si -- lent be.", "prose": ["All day, my God, to thee I cry,", "yet am not heard by thee;", "And in the season of the night", "I cannot silent be."]}, "3": {"syllabified": "But thou art ho -- ly, thou that dost in -- hab -- it Is -- r'el's praise. Our fa -- thers hoped in thee, they hoped, and thou didst them re -- lease.", "prose": ["But thou art holy, thou that dost", "inhabit Isr'el's praise.", "Our fathers hoped in thee, they hoped,", "and thou didst them release."]}, "4": {"syllabified": "When un -- to thee they sent their cry, to them de -- liv -- 'rance came: Be -- cause they put their trust in thee, they were not put to shame.", "prose": ["When unto thee they sent their cry,", "to them deliv'rance came:", "Because they put their trust in thee,", "they were not put to shame."]}, "5": {"syllabified": "But as for me, a worm I am, and as no man am prized: Re -- proach of men I am, and by the peo -- ple am de -- spised.", "prose": ["But as for me, a worm I am,", "and as no man am prized:", "Reproach of men I am, and by", "the people am despised."]}, "6": {"syllabified": "All that me see laugh me to scorn; shoot out the lip do they; They nod and shake their heads at me, and, mock -- ing, thus do say,", "prose": ["All that me see laugh me to scorn;", "shoot out the lip do they;", "They nod and shake their heads at me,", "and, mocking, thus do say,"]}, "7": {"syllabified": "This man did trust in God, that he would free him by his might: Let him de -- liv -- er him, sith he had in him such de -- light.", "prose": ["This man did trust in God, that he", "would free him by his might:", "Let him deliver him, sith he", "had in him such delight."]}, "8": {"syllabified": "But thou art he out of the womb that didst me safe -- ly take; When I was on my moth -- er's breasts thou me to hope didst make.", "prose": ["But thou art he out of the womb", "that didst me safely take;", "When I was on my mother's breasts", "thou me to hope didst make."]}, "9": {"syllabified": "And I was cast up -- on thy care, ev'n from the womb till now; And from my moth -- er's bel -- ly, Lord, my God and guide art thou.", "prose": ["And I was cast upon thy care,", "ev'n from the womb till now;", "And from my mother's belly, Lord,", "my God and guide art thou."]}, "10": {"syllabified": "Be not far off, for grief is near, and none to help is found. Bulls man -- y com -- pass me, strong bulls of Ba -- shan me sur -- round.", "prose": ["Be not far off, for grief is near,", "and none to help is found.", "Bulls many compass me, strong bulls", "of Bashan me surround."]}, "11": {"syllabified": "Their mouths they o -- pened wide on me, up -- on me gape did they, Like to a li -- on ra -- ven -- ing and roar -- ing for his prey.", "prose": ["Their mouths they opened wide on me,", "upon me gape did they,", "Like to a lion ravening", "and roaring for his prey."]}, "12": {"syllabified": "Like wa -- ter I'm poured out, my bones all out of joint do part: A -- midst my bow -- els, as the wax, so melt -- ed is my heart.", "prose": ["Like water I'm poured out, my bones", "all out of joint do part:", "Amidst my bowels, as the wax,", "so melted is my heart."]}, "13": {"syllabified": "My strength is like a pot -- sherd dried; my tongue it cleav -- eth fast Un -- to my jaws; and to the dust of death thou brought me hast.", "prose": ["My strength is like a potsherd dried;", "my tongue it cleaveth fast", "Unto my jaws; and to the dust", "of death thou brought me hast."]}, "14": {"syllabified": "For dogs have com -- passed me a -- bout: the wick -- ed, that did meet In their as -- sem -- bly, me in -- closed; they pierced my hands and feet.", "prose": ["For dogs have compassed me about:", "the wicked, that did meet", "In their assembly, me inclosed;", "they pierced my hands and feet."]}, "15": {"syllabified": "I all my bones may tell; they do up -- on me look and stare. Up -- on my ves -- ture lots they cast, and clothes a -- mong them share.", "prose": ["I all my bones may tell; they do", "upon me look and stare.", "Upon my vesture lots they cast,", "and clothes among them share."]}, "16": {"syllabified": "But be not far, O Lord, my strength; haste to give help to me. From sword my soul, from pow'r of dogs my dar -- ling set thou free.", "prose": ["But be not far, O Lord, my strength;", "haste to give help to me.", "From sword my soul, from pow'r of dogs", "my darling set thou free."]}, "17": {"syllabified": "Out of the roar -- ing li -- on's mouth do thou me shield and save: For from the horns of u -- ni -- corns an ear to me thou gave.", "prose": ["Out of the roaring lion's mouth", "do thou me shield and save:", "For from the horns of unicorns", "an ear to me thou gave."]}, "18": {"syllabified": "I will show forth thy name un -- to those that my breth -- ren are; A -- midst the con -- gre -- ga -- ti -- on thy praise I will de -- clare.", "prose": ["I will show forth thy name unto", "those that my brethren are;", "Amidst the congregation", "thy praise I will declare."]}, "19": {"syllabified": "Praise ye the Lord, who do him fear; him glo -- ri -- fy all ye The seed of Ja -- cob: fear him all that Is -- r'el's chil -- dren be.", "prose": ["Praise ye the Lord, who do him fear;", "him glorify all ye", "The seed of Jacob: fear him all", "that Isr'el's children be."]}, "20": {"syllabified": "For he de -- spised not nor ab -- horred th'af -- flic -- ted's mis -- er -- y; Nor from him hid his face, but heard when he to him did cry.", "prose": ["For he despised not nor abhorred", "th' afflicted's misery;", "Nor from him hid his face, but heard", "when he to him did cry."]}, "21": {"syllabified": "With -- in the con -- gre -- ga -- tion great my praise shall be of thee; My vows be -- fore them that him fear shall be per -- formed by me.", "prose": ["Within the congregation great", "my praise shall be of thee;", "My vows before them that him fear", "shall be performed by me."]}, "22": {"syllabified": "The meek shall eat, and shall be filled; they al -- so praise shall give Un -- to the Lord that do him seek: your heart shall ev -- er live.", "prose": ["The meek shall eat, and shall be filled;", "they also praise shall give", "Unto the Lord that do him seek:", "your heart shall ever live."]}, "23": {"syllabified": "All ends of th'earth re -- mem -- ber shall, and turn the Lord un -- to; All kin -- dreds of the na -- ti -- ons to him shall hom -- age do:", "prose": ["All ends of th' earth remember shall,", "and turn the Lord unto;", "All kindreds of the nations", "to him shall homage do:"]}, "24": {"syllabified": "Be -- cause the king -- dom to the Lord doth ap -- per -- tain as his; Like -- wise a -- mong the na -- ti -- ons the Gov -- er -- nor he is.", "prose": ["Because the kingdom to the Lord", "doth appertain as his;", "Likewise among the nations", "the Governor he is."]}, "25": {"syllabified": "Earth's fat ones eat, and wor -- ship shall: all who to dust de -- scend Shall bow to him; none of them can his soul from death de -- fend.", "prose": ["Earth's fat ones eat, and worship shall:", "all who to dust descend", "Shall bow to him; none of them can", "his soul from death defend."]}, "26": {"syllabified": "A seed shall ser -- vice do to him; un -- to the Lord it shall Be for a gen -- er -- a -- ti -- on reck -- oned in ag -- es all.", "prose": ["A seed shall service do to him;", "unto the Lord it shall", "Be for a generation", "reckoned in ages all."]}, "27": {"syllabified": "They shall come, and they shall de -- clare his truth and right -- eous -- ness Un -- to a peo -- ple yet un -- born, and that he hath done this.", "prose": ["They shall come, and they shall declare", "his truth and righteousness", "Unto a people yet unborn,", "and that he hath done this."]}}}, "my-griefs-of-heart-abound": {"slug": "my-griefs-of-heart-abound", "title": "Forgiveness and Deliverance", "first_line": "My griefs of heart abound", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 63) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 63. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My griefs of heart a -- bound, Re -- lieve my sore dis -- tress, See my af -- flic -- tion and my pain, For -- give my sin -- ful -- ness.", "prose": ["My griefs of heart abound,", "Relieve my sore distress,", "See my affliction and my pain,", "Forgive my sinfulness."]}, "2": {"syllabified": "Con -- sid -- er Thou my foes, So man -- y and so bold, For cru -- el is the ha -- tred, Lord, Which they a -- gainst me hold.", "prose": ["Consider Thou my foes,", "So many and so bold,", "For cruel is the hatred, Lord,", "Which they against me hold."]}, "3": {"syllabified": "De -- fend, and keep my soul, From foes de -- liv -- er me, And let me not be bro't to shame: I put my trust in Thee.", "prose": ["Defend, and keep my soul,", "From foes deliver me,", "And let me not be bro't to shame:", "I put my trust in Thee."]}, "4": {"syllabified": "Be truth and right my shield, Be -- cause I wait for Thee; Thy Church, O God, do Thou re -- deem From all ad -- ver -- si -- ty.", "prose": ["Be truth and right my shield,", "Because I wait for Thee;", "Thy Church, O God, do Thou redeem", "From all adversity."]}}}, "my-heart-brings-forth-a-goodly-thing": {"slug": "my-heart-brings-forth-a-goodly-thing", "title": "My Heart Brings Forth a Goodly Thing", "first_line": "My heart brings forth a goodly thing", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 45, "topics": ["Psalms"], "scripture": ["Psalm 45"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 45. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My heart brings forth a good -- ly thing; my words that I in -- dite Con -- cern the King: my tongue's a pen of one that swift doth write.", "prose": ["My heart brings forth a goodly thing;", "my words that I indite", "Concern the King: my tongue's a pen", "of one that swift doth write."]}, "2": {"syllabified": "Thou fair -- er art than sons of men: in -- to thy lips is store Of grace in -- fused; God there -- fore thee hath blessed for ev -- er -- more.", "prose": ["Thou fairer art than sons of men:", "into thy lips is store", "Of grace infused; God therefore thee", "hath blessed for evermore."]}, "3": {"syllabified": "O thou that art the might -- y One, thy sword gird on thy thigh; Ev'n with thy glo -- ry ex -- cel -- lent, and with thy maj -- es -- ty.", "prose": ["O thou that art the mighty One,", "thy sword gird on thy thigh;", "Ev'n with thy glory excellent,", "and with thy majesty."]}, "4": {"syllabified": "For meek -- ness, truth, and right -- eous -- ness, in state ride pros -- p'rous -- ly; And thy right hand shall thee in -- struct in things that fear -- ful be.", "prose": ["For meekness, truth, and righteousness,", "in state ride prosp'rously;", "And thy right hand shall thee instruct", "in things that fearful be."]}, "5": {"syllabified": "Thine ar -- rows sharp -- ly pierce the heart of th'en -- 'mies of the King; And un -- der thy sub -- jec -- ti -- on the peo -- ple down do bring.", "prose": ["Thine arrows sharply pierce the heart", "of th' en'mies of the King;", "And under thy subjection", "the people down do bring."]}, "6": {"syllabified": "For ev -- er and for ev -- er is, O God, thy throne of might; The scep -- tre of thy king -- dom is a scep -- tre that is right.", "prose": ["For ever and for ever is,", "O God, thy throne of might;", "The sceptre of thy kingdom is", "a sceptre that is right."]}, "7": {"syllabified": "Thou lov -- est right, and hat -- est ill; for God, thy God, most high, A -- bove thy fel -- lows hath with th'oil of joy a -- noint -- ed thee.", "prose": ["Thou lovest right, and hatest ill;", "for God, thy God, most high,", "Above thy fellows hath with th' oil", "of joy anointed thee."]}, "8": {"syllabified": "Of al -- o -- es, myrrh, and cas -- sia, a smell thy gar -- ments had, Out of the iv' -- ry pal -- ac -- es, where -- by they made thee glad.", "prose": ["Of aloes, myrrh, and cassia,", "a smell thy garments had,", "Out of the iv'ry palaces,", "whereby they made thee glad."]}, "9": {"syllabified": "A -- mong thy wom -- en hon -- 'ra -- ble kings' daugh -- ters were at hand: Up -- on thy right hand did the queen in gold of O -- phir stand.", "prose": ["Among thy women hon'rable", "kings' daughters were at hand:", "Upon thy right hand did the queen", "in gold of Ophir stand."]}, "10": {"syllabified": "O daugh -- ter, hear -- ken and re -- gard, and do thine ear in -- cline; Like -- wise for -- get thy fa -- ther's house, and peo -- ple that are thine.", "prose": ["O daughter, hearken and regard,", "and do thine ear incline;", "Likewise forget thy father's house,", "and people that are thine."]}, "11": {"syllabified": "Then of the King de -- sired shall be thy beau -- ty veh' -- ment -- ly: Be -- cause he is thy Lord, do thou him wor -- ship rev -- 'rent -- ly.", "prose": ["Then of the King desired shall be", "thy beauty veh'mently:", "Because he is thy Lord, do thou", "him worship rev'rently."]}, "12": {"syllabified": "The daugh -- ter there of Tyre shall be with gifts and of -- f'rings great: Those of the peo -- ple that are rich thy fa -- vour shall en -- treat.", "prose": ["The daughter there of Tyre shall be", "with gifts and off'rings great:", "Those of the people that are rich", "thy favour shall entreat."]}, "13": {"syllabified": "Be -- hold, the daugh -- ter of the King all glo -- rious is with -- in; And with em -- broi -- der -- ies of gold her gar -- ments wrought have been.", "prose": ["Behold, the daughter of the King", "all glorious is within;", "And with embroideries of gold", "her garments wrought have been."]}, "14": {"syllabified": "She shall be brought un -- to the King in robes with need -- le wrought; Her fel -- low -- vir -- gins fol -- low -- ing shall un -- to thee be brought.", "prose": ["She shall be brought unto the King", "in robes with needle wrought;", "Her fellow-virgins following", "shall unto thee be brought."]}, "15": {"syllabified": "They shall be brought with glad -- ness great, and mirth on ev -- 'ry side, In -- to the pal -- ace of the King, and there they shall a -- bide.", "prose": ["They shall be brought with gladness great,", "and mirth on ev'ry side,", "Into the palace of the King,", "and there they shall abide."]}, "16": {"syllabified": "In -- stead of those thy fa -- thers dear, thy chil -- dren thou may'st take, And in all plac -- es of the earth them no -- ble prin -- ces make.", "prose": ["Instead of those thy fathers dear,", "thy children thou may'st take,", "And in all places of the earth", "them noble princes make."]}, "17": {"syllabified": "Thy name re -- mem -- bered I will make through ag -- es all to be: The peo -- ple there -- fore ev -- er -- more shall prais -- es give to thee.", "prose": ["Thy name remembered I will make", "through ages all to be:", "The people therefore evermore", "shall praises give to thee."]}}}, "my-heart-inditing-is": {"slug": "my-heart-inditing-is", "title": "My Heart Inditing Is (Second Version)", "first_line": "My heart inditing is", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 45, "topics": ["Psalms"], "scripture": ["Psalm 45"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 45 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My heart in -- dit -- ing is good mat -- ter in a song: I speak the things that I have made, which to the King be -- long:", "prose": ["My heart inditing is", "good matter in a song:", "I speak the things that I have made,", "which to the King belong:"]}, "2": {"syllabified": "My tongue shall be as quick, his hon -- our to in -- dite, As is the pen of an -- y scribe that us -- eth fast to write.", "prose": ["My tongue shall be as quick,", "his honour to indite,", "As is the pen of any scribe", "that useth fast to write."]}, "3": {"syllabified": "Thou'rt fair -- est of all men; grace in thy lips doth flow: And there -- fore bless -- ings ev -- er -- more on thee doth God be -- stow.", "prose": ["Thou 'rt fairest of all men;", "grace in thy lips doth flow:", "And therefore blessings evermore", "on thee doth God bestow."]}, "4": {"syllabified": "Thy sword gird on thy thigh, thou that art most of might: Ap -- pear in dread -- ful maj -- es -- ty, and in thy glo -- ry bright.", "prose": ["Thy sword gird on thy thigh,", "thou that art most of might:", "Appear in dreadful majesty,", "and in thy glory bright."]}, "5": {"syllabified": "For meek -- ness, truth, and right, ride pros -- p'rous -- ly in state; And thy right hand shall teach to thee things ter -- ri -- ble and great.", "prose": ["For meekness, truth, and right,", "ride prosp'rously in state;", "And thy right hand shall teach to thee", "things terrible and great."]}, "6": {"syllabified": "Thy shafts shall pierce their hearts that foes are to the King; Where -- by in -- to sub -- jec -- ti -- on the peo -- ple thou shalt bring.", "prose": ["Thy shafts shall pierce their hearts", "that foes are to the King;", "Whereby into subjection", "the people thou shalt bring."]}, "7": {"syllabified": "Thy ro -- yal seat, O Lord, for ev -- er shall re -- main: The scep -- tre of thy king -- dom doth all right -- eous -- ness main -- tain.", "prose": ["Thy royal seat, O Lord,", "for ever shall remain:", "The sceptre of thy kingdom doth", "all righteousness maintain."]}, "8": {"syllabified": "Thou lov'st right, and hat'st ill; for God, thy God, most high, A -- bove thy fel -- lows hath with th'oil of joy a -- noint -- ed thee.", "prose": ["Thou lov'st right, and hat'st ill;", "for God, thy God, most high,", "Above thy fellows hath with th' oil", "of joy anointed thee."]}, "9": {"syllabified": "Of myrrh and spic -- es sweet a smell thy gar -- ments had, Out of the iv' -- ry pal -- ac -- es, where -- by they made thee glad.", "prose": ["Of myrrh and spices sweet", "a smell thy garments had,", "Out of the iv'ry palaces,", "whereby they made thee glad."]}, "10": {"syllabified": "And in thy glo -- rious train kings' daugh -- ters wait -- ing stand; And thy fair queen, in O -- phir gold, doth stand at thy right hand.", "prose": ["And in thy glorious train", "kings' daughters waiting stand;", "And thy fair queen, in Ophir gold,", "doth stand at thy right hand."]}, "11": {"syllabified": "O daugh -- ter, take good heed, in -- cline, and give good ear; Thou must for -- get thy kin -- dred all, and fa -- ther's house most dear.", "prose": ["O daughter, take good heed,", "incline, and give good ear;", "Thou must forget thy kindred all,", "and father's house most dear."]}, "12": {"syllabified": "Thy beau -- ty to the King shall then de -- light -- ful be: And do thou hum -- bly wor -- ship him, be -- cause thy Lord is he.", "prose": ["Thy beauty to the King", "shall then delightful be:", "And do thou humbly worship him,", "because thy Lord is he."]}, "13": {"syllabified": "The daugh -- ter then of Tyre there with a gift shall be, And all the weal -- thy of the land shall make their suit to thee.", "prose": ["The daughter then of Tyre", "there with a gift shall be,", "And all the wealthy of the land", "shall make their suit to thee."]}, "14": {"syllabified": "The daugh -- ter of the King all glo -- rious is with -- in; And with em -- broi -- der -- ies of gold her gar -- ments wrought have been.", "prose": ["The daughter of the King", "all glorious is within;", "And with embroideries of gold", "her garments wrought have been."]}, "15": {"syllabified": "She com -- eth to the King in robes with need -- le wrought; The vir -- gins that do fol -- low her shall un -- to thee be brought.", "prose": ["She cometh to the King", "in robes with needle wrought;", "The virgins that do follow her", "shall unto thee be brought."]}, "16": {"syllabified": "They shall be brought with joy, and mirth on ev -- 'ry side, In -- to the pal -- ace of the King, and there they shall a -- bide.", "prose": ["They shall be brought with joy,", "and mirth on ev'ry side,", "Into the palace of the King,", "and there they shall abide."]}, "17": {"syllabified": "And in thy fa -- thers' stead, thy chil -- dren thou may'st take, And in all plac -- es of the earth them no -- ble prin -- ces make.", "prose": ["And in thy fathers' stead,", "thy children thou may'st take,", "And in all places of the earth", "them noble princes make."]}, "18": {"syllabified": "I will show forth thy name to gen -- er -- a -- tions all: There -- fore the peo -- ple ev -- er -- more to thee give prais -- es shall.", "prose": ["I will show forth thy name", "to generations all:", "Therefore the people evermore", "to thee give praises shall."]}}}, "my-heart-is-fixed-lord-i-will-sing": {"slug": "my-heart-is-fixed-lord-i-will-sing", "title": "My Heart Is Fixed, Lord; I Will Sing", "first_line": "My heart is fixed, Lord; I will sing", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 108, "topics": ["Psalms"], "scripture": ["Psalm 108"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 108. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My heart is fixed, Lord; I will sing, and with my glo -- ry praise. A -- wake up psal -- ter -- y and harp; my -- self I'll ear -- ly raise.", "prose": ["My heart is fixed, Lord; I will sing,", "and with my glory praise.", "Awake up psaltery and harp;", "myself I'll early raise."]}, "2": {"syllabified": "I'll praise thee 'mong the peo -- ple, Lord; 'mong na -- tions sing will I: For a -- bove heav'n thy mer -- cy's great, thy truth doth reach the sky.", "prose": ["I'll praise thee 'mong the people, Lord;", "'mong nations sing will I:", "For above heav'n thy mercy's great,", "thy truth doth reach the sky."]}, "3": {"syllabified": "Be thou a -- bove the heav -- ens, Lord, ex -- al -- ted glo -- rious -- ly; Thy glo -- ry all the earth a -- bove be lift -- ed up on high.", "prose": ["Be thou above the heavens, Lord,", "exalted gloriously;", "Thy glory all the earth above", "be lifted up on high."]}, "4": {"syllabified": "That those who thy be -- lov -- ed are de -- liv -- er -- ed may be, O do thou save with thy right hand, and an -- swer give to me.", "prose": ["That those who thy beloved are", "delivered may be,", "O do thou save with thy right hand,", "and answer give to me."]}, "5": {"syllabified": "God in his ho -- li -- ness hath said, Here -- in I will take plea -- sure; She -- chem I will di -- vide, and forth will Suc -- coth's val -- ley mea -- sure.", "prose": ["God in his holiness hath said,", "Herein I will take pleasure;", "Shechem I will divide, and forth", "will Succoth's valley measure."]}, "6": {"syllabified": "Gil -- ead I claim as mine by right; Ma -- nas -- seh mine shall be; Eph -- raim is of my head the strength; Ju -- dah gives laws for me;", "prose": ["Gilead I claim as mine by right;", "Manasseh mine shall be;", "Ephraim is of my head the strength;", "Judah gives laws for me;"]}, "7": {"syllabified": "Mo -- ab's my wash -- ing -- pot; my shoe I'll o -- ver E -- dom throw; O -- ver the land of Pal -- es -- tine I will in tri -- umph go.", "prose": ["Moab's my washing-pot; my shoe", "I'll over Edom throw;", "Over the land of Palestine", "I will in triumph go."]}, "8": {"syllabified": "O who is he will bring me to the cit -- y for -- ti -- fied? O who is he that to the land of E -- dom will me guide?", "prose": ["O who is he will bring me to", "the city fortified?", "O who is he that to the land", "of Edom will me guide?"]}, "9": {"syllabified": "O God, thou who hadst cast us off, this thing wilt thou not do? And wilt not thou, ev'n thou, O God, forth with our ar -- mies go?", "prose": ["O God, thou who hadst cast us off,", "this thing wilt thou not do?", "And wilt not thou, ev'n thou, O God,", "forth with our armies go?"]}, "10": {"syllabified": "Do thou from trou -- ble give us help, for help -- less is man's aid. Through God we shall do val -- iant -- ly; our foes he shall down tread.", "prose": ["Do thou from trouble give us help,", "for helpless is man's aid.", "Through God we shall do valiantly;", "our foes he shall down tread."]}}}, "my-heart-is-fixed-o-god": {"slug": "my-heart-is-fixed-o-god", "title": "Exultent Confidence", "first_line": "My heart is fixed, O God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 108, "topics": ["Psalms"], "scripture": ["Psalm 108"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 299) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 108, selection 299. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My heart is fixed, O God, A grate -- ful song I raise; A -- wake, O harp, in joy -- ful strains, A -- wake, my soul, to praise.", "prose": ["My heart is fixed, O God,", "A grateful song I raise;", "Awake, O harp, in joyful strains,", "Awake, my soul, to praise."]}, "2": {"syllabified": "A -- mong the na -- tions, Lord, To Thee my song shall rise; Thy truth is great a -- bove the heav'ns, Thy mer -- cies reach the skies.", "prose": ["Among the nations, Lord,", "To Thee my song shall rise;", "Thy truth is great above the heav'ns,", "Thy mercies reach the skies."]}, "3": {"syllabified": "A -- bove the heav'ns, o God, And o -- ver all the earth, Let men ex -- alt Thy glo -- rious Name And tell Thy match -- less worth.", "prose": ["Above the heav'ns, o God,", "And over all the earth,", "Let men exalt Thy glorious Name", "And tell Thy matchless worth."]}, "4": {"syllabified": "Stretch forth Thy might -- y hand In an -- swer to our prayer, And let Thy own be -- lov -- ed ones Thy great sal -- va -- tion share.", "prose": ["Stretch forth Thy mighty hand", "In answer to our prayer,", "And let Thy own beloved ones", "Thy great salvation share."]}, "5": {"syllabified": "The ho -- ly God hath said, All lands shall own My sway; My peo -- ple shall My glo -- ry share, The hea -- then shall o -- bey.", "prose": ["The holy God hath said,", "All lands shall own My sway;", "My people shall My glory share,", "The heathen shall obey."]}, "6": {"syllabified": "O who will lead our hosts To tri -- umph o'er the foe, If Thou shalt cast us off, O God, Nor with our ar -- mies go?", "prose": ["O who will lead our hosts", "To triumph o'er the foe,", "If Thou shalt cast us off, O God,", "Nor with our armies go?"]}, "7": {"syllabified": "The help of man is vain, Be Thou our help -- er, Lord; Through Thee we shall do val -- iant -- ly If Thou Thy aid af -- ford.", "prose": ["The help of man is vain,", "Be Thou our helper, Lord;", "Through Thee we shall do valiantly", "If Thou Thy aid afford."]}}}, "my-heart-not-haughty-is-o-lord": {"slug": "my-heart-not-haughty-is-o-lord", "title": "My Heart Not Haughty Is, O Lord", "first_line": "My heart not haughty is, O Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 131, "topics": ["Psalms"], "scripture": ["Psalm 131"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 131. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My heart not haugh -- ty is, O Lord, mine eyes not loft -- y be; Nor do I deal in mat -- ters great, or things too high for me.", "prose": ["My heart not haughty is, O Lord,", "mine eyes not lofty be;", "Nor do I deal in matters great,", "or things too high for me."]}, "2": {"syllabified": "I sure -- ly have my -- self be -- haved with qui -- et spirit and mild, As child of moth -- er weaned: my soul is like a wean -- ed child.", "prose": ["I surely have myself behaved", "with quiet spirit and mild,", "As child of mother weaned: my soul", "is like a weaned child."]}, "3": {"syllabified": "Up -- on the Lord let all the hope of I -- sra -- el re -- ly, Ev'n from the time that pres -- ent is un -- to e -- ter -- ni -- ty.", "prose": ["Upon the Lord let all the hope", "of Israel rely,", "Ev'n from the time that present is", "unto eternity."]}}}, "my-hope-is-built": {"slug": "my-hope-is-built", "title": "My Hope Is Built", "first_line": "My hope is built on nothing less Than Jesus'", "author": "edward-mote", "author_date": "c. 1834", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Brevity of Life", "Calmness", "Faithfulness"], "scripture": ["Psalm 90:1", "Hebrews 1:1-2"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:282; all components published pre-1931 (latest year 1876).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "my_hope_is_built_on_nothing_less", "total_instances": 1226}}, "stanzas": {"1": {"syllabified": "My hope is built on noth -- ing less Than Je -- sus' blood and right -- eous -- ness. I dare not trust the sweet -- est frame, But whol -- ly trust in Je -- sus' Name.", "prose": ["My hope is built on nothing less", "Than Jesus' blood and righteousness.", "I dare not trust the sweetest frame,", "But wholly trust in Jesus' Name."]}, "2": {"syllabified": "When dark -- ness veils His love -- ly face, I rest on His un -- chang -- ing grace. In ev -- ery high and storm -- y gale, My an -- chor holds with -- in the veil.", "prose": ["When darkness veils His lovely face,", "I rest on His unchanging grace.", "In every high and stormy gale,", "My anchor holds within the veil."]}, "3": {"syllabified": "His oath, His cov -- e -- nant, His blood, Sup -- port me in the whelm -- ing flood. When all a -- round my soul gives way, He then is all my hope and stay.", "prose": ["His oath, His covenant, His blood,", "Support me in the whelming flood.", "When all around my soul gives way,", "He then is all my hope and stay."]}, "4": {"syllabified": "When He shall come with trum -- pet sound, Oh may I then in Him be found. Dressed in His right -- eous -- ness a -- lone, Fault -- less to stand be -- fore the throne.", "prose": ["When He shall come with trumpet sound,", "Oh may I then in Him be found.", "Dressed in His righteousness alone,", "Faultless to stand before the throne."]}}, "refrain": {"syllabified": "On Christ the sol -- id Rock I stand, All oth -- er ground is sink -- ing sand.", "prose": ["On Christ the solid Rock I stand,", "All other ground is sinking sand."]}}, "my-hope-is-built-on-nothing-less": {"slug": "my-hope-is-built-on-nothing-less", "title": "My Hope Is Built on Nothing Less", "first_line": "My Hope Is Built on Nothing Less", "author": "edward-mote", "author_date": "1834", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Faith", "Jesus Christ"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Edward Mote, \"The Immutable Basis of a Sinner's Hope\" (\"My Hope Is Built on Nothing Less\"), c. 1834. Text from The Cyber Hymnal; sung to SOLID ROCK (William B. Bradbury, 1863) with the refrain \"On Christ, the solid Rock, I stand.\" All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My hope is built on noth -- ing less Than Je -- sus' blood and right -- eous -- ness;\n      I dare not trust the sweet -- est frame, But whol -- ly lean on Je -- sus' Name.\n      On Christ, the sol -- id Rock, I stand; All oth -- er ground is sink -- ing sand,\n      All oth -- er ground is sink -- ing sand.", "prose": ["My hope is built on nothing less", "Than Jesus' blood and righteousness;", "I dare not trust the sweetest frame,", "But wholly lean on Jesus' Name.", "On Christ, the solid Rock, I stand;", "All other ground is sinking sand,", "All other ground is sinking sand."]}, "2": {"syllabified": "When dark -- ness veils His love -- ly face I rest on His un -- chang -- ing grace;\n      In ev -- ery high and storm -- y gale, My an -- chor holds with -- in the veil.\n      On Christ, the sol -- id Rock, I stand; All oth -- er ground is sink -- ing sand,\n      All oth -- er ground is sink -- ing sand.", "prose": ["When darkness veils His lovely face", "I rest on His unchanging grace;", "In every high and stormy gale,", "My anchor holds within the veil.", "On Christ, the solid Rock, I stand;", "All other ground is sinking sand,", "All other ground is sinking sand."]}, "3": {"syllabified": "His oath, His cov -- e -- nant, His blood Sup -- port me in the whelm -- ing flood;\n      When all a -- round my soul gives way, He then is all my hope and stay.\n      On Christ, the sol -- id Rock, I stand; All oth -- er ground is sink -- ing sand,\n      All oth -- er ground is sink -- ing sand.", "prose": ["His oath, His covenant, His blood", "Support me in the whelming flood;", "When all around my soul gives way,", "He then is all my hope and stay.", "On Christ, the solid Rock, I stand;", "All other ground is sinking sand,", "All other ground is sinking sand."]}, "4": {"syllabified": "When He shall come with trump -- et sound Oh, may I then in Him be found;\n      Dressed in His right -- eous -- ness a -- lone, Fault -- less to stand be -- fore the throne.\n      On Christ, the sol -- id Rock, I stand; All oth -- er ground is sink -- ing sand,\n      All oth -- er ground is sink -- ing sand.", "prose": ["When He shall come with trumpet sound", "Oh, may I then in Him be found;", "Dressed in His righteousness alone,", "Faultless to stand before the throne.", "On Christ, the solid Rock, I stand;", "All other ground is sinking sand,", "All other ground is sinking sand."]}}}, "my-righteous-god-who-oft-of-old": {"slug": "my-righteous-god-who-oft-of-old", "title": "A Trustful Appeal to God", "first_line": "My righteous God, Who oft of old", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 4, "topics": ["Psalms"], "scripture": ["Psalm 4"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 6) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 4, selection 6. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My right -- eous God, Who oft of old Hast saved from trou -- bles man -- i -- fold, Give an -- swer when I call to Thee, Be gra -- cious now and hear my plea.", "prose": ["My righteous God, Who oft of old", "Hast saved from troubles manifold,", "Give answer when I call to Thee,", "Be gracious now and hear my plea."]}, "2": {"syllabified": "How long, O men, will ye de -- fame, How long my glo -- ry turn to shame, How long will ye vain fol -- lies prize, How long pur -- sue de -- ceit and lies?", "prose": ["How long, O men, will ye defame,", "How long my glory turn to shame,", "How long will ye vain follies prize,", "How long pursue deceit and lies?"]}, "3": {"syllabified": "But know, the lord has set a -- part The man of god -- ly life and heart To be His fa -- vored one for aye; Je -- ho -- vah hears me when I pray.", "prose": ["But know, the lord has set apart", "The man of godly life and heart", "To be His favored one for aye;", "Jehovah hears me when I pray."]}, "4": {"syllabified": "In rev -- 'rence wait, from sin de -- part, In med -- i -- ta -- tion calm your heart; Hold fast the right, be true and just, And in Je -- ho -- vah put your trust.", "prose": ["In rev'rence wait, from sin depart,", "In meditation calm your heart;", "Hold fast the right, be true and just,", "And in Jehovah put your trust."]}, "5": {"syllabified": "O who will show us an -- y good, Ex -- claims the faith -- less mul -- ti -- tude; But lift on us, O lord, we pray, The bright -- ness of Thy face this day.", "prose": ["O who will show us any good,", "Exclaims the faithless multitude;", "But lift on us, O lord, we pray,", "The brightness of Thy face this day."]}, "6": {"syllabified": "More joy from Thee has filled my heart Than great a -- bun -- dance could im -- part; I lay me down to peace -- ful sleep, For Thou, O Lord, dost safe -- ly keep.", "prose": ["More joy from Thee has filled my heart", "Than great abundance could impart;", "I lay me down to peaceful sleep,", "For Thou, O Lord, dost safely keep."]}}}, "my-sins-and-faults-of-youth": {"slug": "my-sins-and-faults-of-youth", "title": "The Sins of Youth", "first_line": "My sins and faults of youth", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 61) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 61. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My sins and faults of youth, Let them for -- got -- ten be, And for Thy ten -- der mer -- cies' sake, O Lord, re -- mem -- ber me.", "prose": ["My sins and faults of youth,", "Let them forgotten be,", "And for Thy tender mercies' sake,", "O Lord, remember me."]}, "2": {"syllabified": "The Lord is just and good, In -- struct -- ing those that stray; The meek He will in judg -- ment guide And make them know His way.", "prose": ["The Lord is just and good,", "Instructing those that stray;", "The meek He will in judgment guide", "And make them know His way."]}, "3": {"syllabified": "The path -- ways of the Lord Are truth and mer -- cy sure The meek He will in jud -- gement guide And make them know His way.", "prose": ["The pathways of the Lord", "Are truth and mercy sure", "The meek He will in judgement guide", "And make them know His way."]}, "4": {"syllabified": "For Thy Name's sake, O Lord, With Thee I hum -- bly plead To par -- don my in -- iq -- ui -- ty, For it is great in -- deed.", "prose": ["For Thy Name's sake, O Lord,", "With Thee I humbly plead", "To pardon my iniquity,", "For it is great indeed."]}}}, "my-song-forever-shall-record": {"slug": "my-song-forever-shall-record", "title": "The Mercies and Faithfulness of God", "first_line": "My song forever shall record", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 89, "topics": ["Psalms"], "scripture": ["Psalm 89"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 241) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 89, selection 241. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My song for -- ev -- er shall re -- cord The ten -- der mer -- cies of the Lord; Thy faith -- ful -- ness will I pro -- claim, And ev -- 'ry age shall know Thy name.", "prose": ["My song forever shall record", "The tender mercies of the Lord;", "Thy faithfulness will I proclaim,", "And ev'ry age shall know Thy name."]}, "2": {"syllabified": "I sing of mer -- cies that en -- dure, For -- ev -- er build -- ed firm and sure, Of faith -- ful -- ness that nev -- er dies, Es -- tab -- lished change -- less in the skies.", "prose": ["I sing of mercies that endure,", "Forever builded firm and sure,", "Of faithfulness that never dies,", "Established changeless in the skies."]}, "3": {"syllabified": "Be -- hold God's truth and grace dis -- played, For He has faith -- ful cov -- 'nant made, And He has sworn that Da -- vid's son Shall ev -- er sit up -- on his throne.", "prose": ["Behold God's truth and grace displayed,", "For He has faithful covenant made,", "And He has sworn that David's son", "Shall ever sit upon his throne."]}, "4": {"syllabified": "The heav'ns shall join in glad ac -- cord To praise Thy won -- drous works, O Lord; Thy faith -- ful -- ness shall praise com -- mand Where ho -- ly ones as -- sem -- bled stand.", "prose": ["The heav'ns shall join in glad accord", "To praise Thy wondrous works, O Lord;", "Thy faithfulness shall praise command", "Where holy ones assembled stand."]}, "5": {"syllabified": "Who in the heav'n -- ly dwell -- ings fair Can with the Lord Him -- self com -- pare? Or who a -- mong the might -- y shares The like -- ness that Je -- ho -- vah bears.", "prose": ["Who in the heav'nly dwellings fair", "Can with the Lord Himself compare?", "Or who among the mighty shares", "The likeness that Jehovah bears."]}, "6": {"syllabified": "With fear and rev -- 'rence at His feet God's ho -- ly ones in coun -- cil meet; Yea, more than all a -- bout His throne Must He be feared, and He a -- lone.", "prose": ["With fear and reverence at His feet", "God's holy ones in council meet;", "Yea, more than all about His throne", "Must He be feared, and He alone."]}, "7": {"syllabified": "O Thou Je -- ho -- vah, God of Hosts, What might -- y one Thy like -- ness boasts? In all Thy works and vast de -- signs Thy faith -- ful -- ness for -- ev -- er shines.", "prose": ["O Thou Jehovah, God of Hosts,", "What mighty one Thy likeness boasts?", "In all Thy works and vast designs", "Thy faithfulness forever shines."]}, "8": {"syllabified": "The swell -- ing sea o -- beys Thy will, Its an -- gry waves Thy voice can still; Thy might -- y en -- e -- mies are slain, Thy foes re -- sist Thy power in vain.", "prose": ["The swelling sea obeys Thy will,", "Its angry waves Thy voice can still;", "Thy mighty enemies are slain,", "Thy foes resist Thy power in vain."]}, "9": {"syllabified": "The heavens and earth, by right di -- vine, The world and all there -- in, are Thine; The whole creat -- io -- n's won -- drous frame Pro -- claims its Mak -- er's glo -- rious Name.", "prose": ["The heavens and earth, by right divine,", "The world and all therein, are Thine;", "The whole creation's wondrous frame", "Proclaims its Maker's glorious Name."]}}}, "my-soul-in-silence-waits-for-god": {"slug": "my-soul-in-silence-waits-for-god", "title": "Dependence on God", "first_line": "My soul in silence waits for God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 62, "topics": ["Psalms"], "scripture": ["Psalm 62"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 161) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 62, selection 161. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My soul in si -- lence waits for God, My Sav -- iour He has proved; He on -- ly is my rock and tow'r; I nev -- er shall be moved.", "prose": ["My soul in silence waits for God,", "My Saviour He has proved;", "He only is my rock and tow'r;", "I never shall be moved."]}, "2": {"syllabified": "My en -- e -- mies my ru -- in seek, They plot with fraud and guile; De -- ceit -- ful, they pre -- tend to bless, But in -- ward -- ly re -- vile.", "prose": ["My enemies my ruin seek,", "They plot with fraud and guile;", "Deceitful, they pretend to bless,", "But inwardly revile."]}, "3": {"syllabified": "My soul, in si -- lence wait for God; He is my help ap -- proved, He on -- ly is my rock and tow'r, And I shall not be moved.", "prose": ["My soul, in silence wait for God;", "He is my help approved,", "He only is my rock and tow'r,", "And I shall not be moved."]}, "4": {"syllabified": "My hon -- or is se -- cure with God, My Sav -- iour He is known; My ref -- uge and my rock of strength Are found in God a -- lone.", "prose": ["My honor is secure with God,", "My Saviour He is known;", "My refuge and my rock of strength", "Are found in God alone."]}, "5": {"syllabified": "On Him, ye peo -- ple, ev -- er -- more Re -- ly with con -- fi -- dence; Be -- fore Him pour ye out your heart, For God is our de -- fense.", "prose": ["On Him, ye people, evermore", "Rely with confidence;", "Before Him pour ye out your heart,", "For God is our defense."]}, "6": {"syllabified": "For sure -- ly men are help -- ers vain, The high and the a -- based; Yea, ligh -- ter than a breath are thy When in the bal -- ance placed.", "prose": ["For surely men are helpers vain,", "The high and the abased;", "Yea, lighter than a breath are thy", "When in the balance placed."]}, "7": {"syllabified": "Trust not in harsh oppress -- io -- n's power Nor in un -- righ -- teous gain; If wealth in -- crease, yet on your gold Ye set your hearts in vain.", "prose": ["Trust not in harsh oppression's power", "Nor in unrighteous gain;", "If wealth increase, yet on your gold", "Ye set your hearts in vain."]}, "8": {"syllabified": "For God has spo -- ken o'er and o'er, And un -- to me has shown, That sav -- ing power and last -- ing strength Be -- long to Him a -- lone.", "prose": ["For God has spoken o'er and o'er,", "And unto me has shown,", "That saving power and lasting strength", "Belong to Him alone."]}, "9": {"syllabified": "Yea, lov -- ing -- kind -- ness ev -- er -- more Be -- longs to Thee, O Lord; And Thou ac -- cord -- ing to his work Dost ev -- ery man re -- ward.", "prose": ["Yea, loving-kindness evermore", "Belongs to Thee, O Lord;", "And Thou according to his work", "Dost every man reward."]}}}, "my-soul-with-expectation": {"slug": "my-soul-with-expectation", "title": "My Soul with Expectation", "first_line": "My soul with expectation", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 62, "topics": ["Psalms"], "scripture": ["Psalm 62"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 62. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "My soul with ex -- pec -- ta -- ti -- on de -- pends on God in -- deed; My strength and my sal -- va -- tion doth from him a -- lone pro -- ceed.", "prose": ["My soul with expectation", "depends on God indeed;", "My strength and my salvation doth", "from him alone proceed."]}, "2": {"syllabified": "He on -- ly my sal -- va -- tion is, and my strong rock is he: He on -- ly is my sure de -- fence; much moved I shall not be.", "prose": ["He only my salvation is,", "and my strong rock is he:", "He only is my sure defence;", "much moved I shall not be."]}, "3": {"syllabified": "How long will ye a -- gainst a man plot mis -- chief? ye shall all Be slain; ye as a tot -- t'ring fence shall be, and bow -- ing wall.", "prose": ["How long will ye against a man", "plot mischief? ye shall all", "Be slain; ye as a tott'ring fence", "shall be, and bowing wall."]}, "4": {"syllabified": "They on -- ly plot to cast him down from his ex -- cel -- len -- cy: They joy in lies; with mouth they bless, but they curse in -- ward -- ly.", "prose": ["They only plot to cast him down", "from his excellency:", "They joy in lies; with mouth they bless,", "but they curse inwardly."]}, "5": {"syllabified": "My soul, wait thou with pa -- tien -- ce up -- on thy God a -- lone; On him de -- pend -- eth all my hope and ex -- pec -- ta -- ti -- on.", "prose": ["My soul, wait thou with patience", "upon thy God alone;", "On him dependeth all my hope", "and expectation."]}, "6": {"syllabified": "He on -- ly my sal -- va -- tion is, and my strong rock is he; He on -- ly is my sure de -- fence: I shall not mov -- ed be.", "prose": ["He only my salvation is,", "and my strong rock is he;", "He only is my sure defence:", "I shall not moved be."]}, "7": {"syllabified": "In God my glo -- ry plac -- ed is, and my sal -- va -- tion sure; In God the rock is of my strength, my ref -- uge most se -- cure.", "prose": ["In God my glory placed is,", "and my salvation sure;", "In God the rock is of my strength,", "my refuge most secure."]}, "8": {"syllabified": "Ye peo -- ple, place your con -- fi -- dence in him con -- tin -- ual -- ly; Be -- fore him pour ye out your heart: God is our ref -- uge high.", "prose": ["Ye people, place your confidence", "in him continually;", "Before him pour ye out your heart:", "God is our refuge high."]}, "9": {"syllabified": "Sure -- ly mean men are van -- i -- ty, and great men are a lie; In bal -- ance laid, they whol -- ly are more light than van -- i -- ty.", "prose": ["Surely mean men are vanity,", "and great men are a lie;", "In balance laid, they wholly are", "more light than vanity."]}, "10": {"syllabified": "Trust ye not in op -- pres -- si -- on, in rob -- b'ry be not vain; On wealth set not your hearts, when as in -- creas -- ed is your gain.", "prose": ["Trust ye not in oppression,", "in robb'ry be not vain;", "On wealth set not your hearts, when as", "increased is your gain."]}, "11": {"syllabified": "God hath it spo -- ken once to me, yea, this I heard a -- gain, That pow -- er to Al -- might -- y God a -- lone doth ap -- per -- tain.", "prose": ["God hath it spoken once to me,", "yea, this I heard again,", "That power to Almighty God", "alone doth appertain."]}, "12": {"syllabified": "Yea, mer -- cy al -- so un -- to thee be -- longs, O Lord, a -- lone: For thou ac -- cord -- ing to his work re -- ward -- est ev -- 'ry one.", "prose": ["Yea, mercy also unto thee", "belongs, O Lord, alone:", "For thou according to his work", "rewardest ev'ry one."]}}}, "nearer-my-god-to-thee": {"slug": "nearer-my-god-to-thee", "title": "Nearer, My God, to Thee", "first_line": "Nearer, my God, to Thee, nearer to Thee", "author": "sarah-f-adams", "author_date": "1841", "foot": "trochaic", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Atonement", "Cross", "Darkness, Spiritual", "Eternal Life", "Fellowship", "Gratitude", "Heaven", "Invitation (Faithful's to God)", "Jesus", "Love", "Presence", "Rest", "Solitude (with God even when alone)"], "scripture": ["Ephesians 2:13-22", "Hebrews 7:16-19"], "provenance": {"layer": "text", "source": "adams-1841", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:200 (line 25355). Words st.1-2 Sarah F. Adams 1841 (d. 1848); st.3-5 Hervey D. Ganse (d. 1891); st.6 Edward H. Bickersteth Jr. (d. 1906). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Near -- er, my God, to Thee, near -- er to Thee! E'en though it be a cross that rais -- eth me, Still all my song shall be, near -- er, my God, to Thee. Near -- er, my God, to Thee, Near -- er to Thee!", "prose": ["Nearer, my God, to Thee,", "nearer to Thee!", "E'en though it be a cross", "that raiseth me,", "Still all my song shall be,", "nearer, my God, to Thee.", "Nearer, my God, to Thee,", "Nearer to Thee!"]}, "2": {"syllabified": "Though like the wan -- der -- er, the sun gone down, Dark -- ness be o -- ver me, my rest a stone. Yet in my dreams I'd be near -- er, my God to Thee. Near -- er, my God, to Thee, Near -- er to Thee!", "prose": ["Though like the wanderer,", "the sun gone down,", "Darkness be over me,", "my rest a stone.", "Yet in my dreams I'd be", "nearer, my God to Thee.", "Nearer, my God, to Thee,", "Nearer to Thee!"]}, "3": {"syllabified": "Near -- er, my Lord, to thee, Near -- er to thee! Who to the cross didst come, Dy -- ing for me! Streng -- then my wil -- ling feet, Hold me in ser -- vice sweet, Near -- er, my God, to Thee, Near -- er to Thee!", "prose": ["Nearer, my Lord, to thee,", "Nearer to thee!", "Who to the cross didst come,", "Dying for me!", "Strengthen my willing feet,", "Hold me in service sweet,", "Nearer, my God, to Thee,", "Nearer to Thee!"]}, "4": {"syllabified": "Near -- er, O Com -- for -- ter, Near -- er to thee! Who with my lov -- ing Lord Dwel -- lest with me! Grant me thy fel -- low -- ship! Help me each day to keep, Near -- er, my God, to Thee, Near -- er to Thee!", "prose": ["Nearer, O Comforter,", "Nearer to thee!", "Who with my loving Lord", "Dwellest with me!", "Grant me thy fellowship!", "Help me each day to keep,", "Nearer, my God, to Thee,", "Nearer to Thee!"]}, "5": {"syllabified": "But to be near -- er still, Bring me, O God, Not by the vis -- ioned steeps An -- gels have trod. Here where thy cross I see, Je -- sus, I wait for thee, Then ev -- er -- more to be Near -- er to Thee!", "prose": ["But to be nearer still,", "Bring me, O God,", "Not by the visioned steeps", "Angels have trod.", "Here where thy cross I see,", "Jesus, I wait for thee,", "Then evermore to be", "Nearer to Thee!"]}, "6": {"prose": ["There in my Father's home, safe and at rest,", "There in my Savior's love, perfectly blest;", "Age after age to be, nearer my God to Thee,", "Nearer, my God, to Thee, nearer to Thee!"]}}}, "nearer-still-nearer": {"slug": "nearer-still-nearer", "title": "Nearer, Still Nearer", "first_line": "Nearer, still nearer, close to Thy heart", "author": "lelia-n-morris", "author_date": "1898", "foot": "dactylic", "meter": {"pattern": [9, 10, 9, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Aspiration", "Communion with God", "Rest"], "scripture": ["James 4:8", "Psalm 73:28", "Philippians 3:8", "Hebrews 4:9"], "provenance": {"layer": "text", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Lelia N. Morris (1862-1929), words and music, first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 — archive.org pentecostalprais00kirk, leaf n125 — footed \"Copyright, 1898, by H. L. Gilmour.\" US public domain: published 1898, every printing read here is itself pre-1931, and the author died in 1929, so it is also PD in life+70 jurisdictions. TRANSCRIBED SYLLABLE BY SYLLABLE, WITH ITS PUNCTUATION, from the four stanza rows printed between the staves of The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 87 — archive.org newmakechristkin00unse leaf 0091 — and collated word for word against the same four rows in Songs of Praise and Salvation (Chicago/Boston: The Christian Witness Co.), hymn 63 — archive.org songsofpraisesal00mcla_0 leaf 0065. Neither volume prints a year on its title page; the latest copyright year printed anywhere in the Make Christ King volume is 1914, and in the Songs of Praise and Salvation volume 1902 (archive.org catalogues the latter as 1900). Both pages print the double quotation marks around \"Haven of Rest\" that are kept here. STANZA 4 DIFFERS BETWEEN PRINTINGS, and the difference is deliberate and recorded rather than silently resolved. The 1898 FIRST printing reads \"Nearer, still nearer, while life shall last, / Till all its struggles and trials are past; / Then thro' eternity, ever I'll be / Nearer, my Savior, still nearer to Thee.\" The 1900/1902 and 1914 printings — the pages this hymn's MUSIC is read from — read \"Nearer, still nearer, while life shall last, / Till safe in glory my anchor is cast; / Thro' endless ages, ever to be, / Nearer, my Savior, still nearer to Thee.\" THE LATER READING IS SHIPPED, so that the words and the setting come off the same page; the 1898 first-printing variant is not adopted. Stanzas 1-3 agree in every printing consulted. THE LAST POETIC LINE IS SUNG TWICE and the tune engraves the repeat as music of its own, so it is written out as a fifth line in every stanza here: 48 slots per stanza against the tune's 48 soprano note-groups.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Near -- er, still near -- er, close to Thy heart, Draw me, my Sav -- ior, so pre -- cious Thou art; Fold me, O fold me close to Thy breast, Shel -- ter me safe in that \"Ha -- ven of Rest,\" Shel -- ter me safe in that \"Ha -- ven of Rest.\"", "prose": ["Nearer, still nearer, close to Thy heart,", "Draw me, my Savior, so precious Thou art;", "Fold me, O fold me close to Thy breast,", "Shelter me safe in that \"Haven of Rest,\"", "Shelter me safe in that \"Haven of Rest.\""]}, "2": {"syllabified": "Near -- er, still near -- er, noth -- ing I bring, Naught as an of -- f'ring to Je -- sus my King; On -- ly my sin -- ful, now con -- trite heart, Grant me the cleans -- ing Thy blood doth im -- part, Grant me the cleans -- ing Thy blood doth im -- part.", "prose": ["Nearer, still nearer, nothing I bring,", "Naught as an off'ring to Jesus my King;", "Only my sinful, now contrite heart,", "Grant me the cleansing Thy blood doth impart,", "Grant me the cleansing Thy blood doth impart."]}, "3": {"syllabified": "Near -- er, still near -- er, Lord, to be Thine, Sin, with its fol -- lies, I glad -- ly re -- sign; All of its pleas -- ures, pomp and its pride, Give me but Je -- sus, my Lord cru -- ci -- fied, Give me but Je -- sus, my Lord cru -- ci -- fied.", "prose": ["Nearer, still nearer, Lord, to be Thine,", "Sin, with its follies, I gladly resign;", "All of its pleasures, pomp and its pride,", "Give me but Jesus, my Lord crucified,", "Give me but Jesus, my Lord crucified."]}, "4": {"syllabified": "Near -- er, still near -- er, while life shall last, Till safe in glo -- ry my an -- chor is cast; Thro' end -- less ag -- es, ev -- er to be, Near -- er, my Sav -- ior, still near -- er to Thee, Near -- er, my Sav -- ior, still near -- er to Thee.", "prose": ["Nearer, still nearer, while life shall last,", "Till safe in glory my anchor is cast;", "Thro' endless ages, ever to be,", "Nearer, my Savior, still nearer to Thee,", "Nearer, my Savior, still nearer to Thee."]}}}, "new-every-morning-is-the-love": {"slug": "new-every-morning-is-the-love", "title": "New Every Morning Is the Love", "first_line": "New Every Morning Is the Love", "author": "john-keble", "author_date": "1827", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Morning", "Grace", "Daily Life"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Keble (1792-1866), \"Morning,\" from The Christian Year (1827); the hymn \"New every morning is the love\" is the cento beginning at stanza 6 of that poem. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "New ev -- ery morn -- ing is the love Our wak -- 'ning and up -- ris -- ing prove; Through sleep and dark -- ness safe -- ly brought, Re -- stored to life and pow'r and thought.", "prose": ["New every morning is the love", "Our wak'ning and uprising prove;", "Through sleep and darkness safely brought,", "Restored to life, and power, and thought."]}, "2": {"syllabified": "New mer -- cies, each re -- turn -- ing day, Hov -- er a -- round us while we pray; New per -- ils past, new sins for -- giv'n, New thoughts of God, new hopes of heav'n.", "prose": ["New mercies, each returning day,", "Hover around us while we pray;", "New perils past, new sins forgiv'n,", "New thoughts of God, new hopes of heav'n."]}, "3": {"syllabified": "If on our dai -- ly course our mind Be set to hal -- low all we find, New treas -- ures still, of count -- less price, God will pro -- vide for sac -- ri -- fice.", "prose": ["If on our daily course our mind", "Be set to hallow all we find,", "New treasures still, of countless price,", "God will provide for sacrifice."]}, "4": {"syllabified": "The triv -- ial round, the com -- mon task, Would fur -- nish all we ought to ask, Room to de -- ny our -- selves; a road To bring us dai -- ly near -- er God.", "prose": ["The trivial round, the common task,", "Would furnish all we ought to ask,", "Room to deny ourselves; a road", "To bring us daily nearer God."]}, "5": {"syllabified": "On -- ly, O Lord, in Thy dear love Fit us for per -- fect rest a -- bove; And help us, this and ev -- ery day, To live more near -- ly as we pray.", "prose": ["Only, O Lord, in Thy dear love", "Fit us for perfect rest above;", "And help us, this and every day,", "To live more nearly as we pray."]}}}, "nights-shadows-falling": {"slug": "nights-shadows-falling", "title": "Night's Shadows Falling", "first_line": "Night's Shadows Falling", "author": "arthur-tozer-russell", "author_date": "1851", "foot": "trochaic", "meter": {"pattern": [11, 11, 11, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Rest", "Peace"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Arthur Tozer Russell (1806-1874), \"Night's Shadows Falling\", published 1851. A Sapphic (11.11.11.5) evening hymn. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Night's shad -- ows fall -- ing men to rest are call -- ing; Rest we, pos -- sess -- ing heav'n -- ly peace and bless -- ing: This we im -- plore Thee, fall -- ing down be -- fore Thee, Great King of Glo -- ry!", "prose": ["Night's shadows falling men to rest are calling;", "Rest we, possessing heav'nly peace and blessing:", "This we implore Thee, falling down before Thee,", "Great King of Glory!"]}, "2": {"syllabified": "O Sav -- ior, hear us! Son of God, be near us! Thine an -- gels send us; let Thy love at -- tend us: He noth -- ing fear -- eth, whom Thy pres -- ence cheer -- eth, Light his path clear -- eth.", "prose": ["O Savior, hear us! Son of God, be near us!", "Thine angels send us; let Thy love attend us:", "He nothing feareth, whom Thy presence cheereth,", "Light his path cleareth."]}, "3": {"syllabified": "Be near, re -- liev -- ing all who now are griev -- ing; Thy vis -- i -- ta -- tion be our con -- so -- la -- tion: O hear the sigh -- ing of the faint and dy -- ing; Lord, hear our cry -- ing!", "prose": ["Be near, relieving all who now are grieving;", "Thy visitation be our consolation:", "O hear the sighing of the faint and dying;", "Lord, hear our crying!"]}, "4": {"syllabified": "Thou ev -- er liv -- est; end -- less life Thou giv -- est; Thou watch art keep -- ing o'er Thy faith -- ful sleep -- ing; In Thy clear shin -- ing they are now re -- clin -- ing, All care re -- sign -- ing.", "prose": ["Thou ever livest; endless life Thou givest;", "Thou watch art keeping o'er Thy faithful sleeping;", "In Thy clear shining they are now reclining,", "All care resigning."]}, "5": {"syllabified": "O Lord of Glo -- ry, praise we and a -- dore Thee— Thee for us giv -- en, our true rest from Heav -- en! Rest, peace, and bless -- ing, we are now pos -- sess -- ing, Thy name con -- fess -- ing.", "prose": ["O Lord of Glory, praise we and adore Thee—", "Thee for us given, our true rest from Heaven!", "Rest, peace, and blessing, we are now possessing,", "Thy name confessing."]}}}, "no-not-one": {"slug": "no-not-one", "title": "No, Not One!", "first_line": "There's not a friend like the lowly Jesus, No", "index_first_line": "There's not a friend like the lowly Jesus", "author": "johnson-oatman-jr", "author_date": "1894", "foot": "iambic", "meter": {"pattern": [8, 10, 10, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Christian Life", "Comfort", "Consolation"], "scripture": ["John 1:29", "Revelation 5:6", "Job 40:6-14", "Psalm 73:25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:172; all components published pre-1931 (latest year 1894).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "theres_not_a_friend_like_the_lowly_jesus", "total_instances": 494}}, "stanzas": {"1": {"syllabified": "There's not a friend like the low -- ly Je -- sus, No, not one! no, not one! None else could heal all our soul's dis -- eas -- es, No, not one! no, not one!", "prose": ["There's not a friend like the lowly Jesus,", "No, not one! no, not one!", "None else could heal all our soul's diseases,", "No, not one! no, not one!"]}, "2": {"syllabified": "No friend like Him is so high and ho -- ly, No, not one! no, not one! And yet no friend is so meek and low -- ly, No, not one! no, not one!", "prose": ["No friend like Him is so high and holy,", "No, not one! no, not one!", "And yet no friend is so meek and lowly,", "No, not one! no, not one!"]}, "3": {"syllabified": "There's not an hour that He is not near us, No, not one! no, not one! No night so dark but His love can cheer us, No, not one! no, not one!", "prose": ["There's not an hour that He is not near us,", "No, not one! no, not one!", "No night so dark but His love can cheer us,", "No, not one! no, not one!"]}, "4": {"syllabified": "Did ev -- er saint find this friend for -- sake him? No, not one! no, not one! Or sin -- ner find that He would not take him? No, not one! no, not one!", "prose": ["Did ever saint find this friend forsake him?", "No, not one! no, not one!", "Or sinner find that He would not take him?", "No, not one! no, not one!"]}, "5": {"syllabified": "Was e'er a gift like the Sav -- ior giv -- en? No, not one! no, not one! Will He re -- fuse us a home in heav -- en? No, not one! no, not one!", "prose": ["Was e'er a gift like the Savior given?", "No, not one! no, not one!", "Will He refuse us a home in heaven?", "No, not one! no, not one!"]}}, "refrain": {"syllabified": "Je -- sus knows all a -- bout our strug -- gles, He will guide till the day is done; There's not a friend like the low -- ly Je -- sus, No, not one! no, not one!", "prose": ["Jesus knows all about our struggles,", "He will guide till the day is done;", "There's not a friend like the lowly Jesus,", "No, not one! no, not one!"]}}, "none-other-lamb": {"slug": "none-other-lamb", "title": "None Other Lamb", "first_line": "None other Lamb, none other name, None other hope", "author": "christina-rossetti", "author_date": "1911", "foot": "iambic", "meter": {"pattern": [8, 10, 10, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Anticipation", "Crown", "God, As King"], "scripture": ["Psalm 117", "Psalm 67:2-4", "Revelation 4:4-11", "Revelation 7:9-12"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:173; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "none_other_lamb_none_other_name", "total_instances": 28}}, "stanzas": {"1": {"syllabified": "None oth -- er Lamb, none oth -- er name, None oth -- er hope in Heav'n or earth or sea, None oth -- er hid -- ing place from guilt and shame, None be -- side Thee!", "prose": ["None other Lamb, none other name,", "None other hope in Heav'n or earth or sea,", "None other hiding place from guilt and shame,", "None beside Thee!"]}, "2": {"syllabified": "My faith burns low, my hope burns low; On -- ly my heart's de -- sire cries out in me By the deep thun -- der of its want and woe, Cries out to Thee.", "prose": ["My faith burns low, my hope burns low;", "Only my heart's desire cries out in me", "By the deep thunder of its want and woe,", "Cries out to Thee."]}, "3": {"syllabified": "Lord, Thou art life, though I be dead; Love's fire Thou art, how -- ev -- er cold I be: Nor Heav'n have I, nor place to lay my head, Nor home, but Thee.", "prose": ["Lord, Thou art life, though I be dead;", "Love's fire Thou art, however cold I be:", "Nor Heav'n have I, nor place to lay my head,", "Nor home, but Thee."]}}}, "not-all-the-blood-of-beasts": {"slug": "not-all-the-blood-of-beasts", "title": "Not All the Blood of Beasts", "first_line": "Not All the Blood of Beasts", "author": "isaac-watts", "author_date": "1709", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Redemption", "Faith"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, \"Not All the Blood of Beasts,\" Hymns and Spiritual Songs (1709), Book II. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Not all the blood of beasts On Jew -- ish al -- tars slain, Could give the guilt -- y con -- science peace, Or wash a -- way the stain.", "prose": ["Not all the blood of beasts", "On Jewish altars slain,", "Could give the guilty conscience peace,", "Or wash away the stain."]}, "2": {"syllabified": "But Christ, the heav'n -- ly Lamb Takes all our sins a -- way; A sac -- ri -- fice of no -- bler name And rich -- er blood than they.", "prose": ["But Christ, the heav'nly Lamb", "Takes all our sins away;", "A sacrifice of nobler name", "And richer blood than they."]}, "3": {"syllabified": "My faith would lay her hand On that dear head of Thine, While like a pen -- i -- tent I stand, And there con -- fess my sin.", "prose": ["My faith would lay her hand", "On that dear head of Thine,", "While like a penitent I stand,", "And there confess my sin."]}, "4": {"syllabified": "My soul looks back to see The bur -- dens Thou didst bear, When hang -- ing on the curs -- èd tree, And hopes her guilt was there.", "prose": ["My soul looks back to see", "The burdens Thou didst bear,", "When hanging on the cursèd tree,", "And hopes her guilt was there."]}, "5": {"syllabified": "Be -- liev -- ing, we re -- joice To see the curse re -- move; We bless the Lamb with cheer -- ful voice, And sing His bleed -- ing love.", "prose": ["Believing, we rejoice", "To see the curse remove;", "We bless the Lamb with cheerful voice,", "And sing His bleeding love."]}}}, "not-unto-us-lord-not-to-us": {"slug": "not-unto-us-lord-not-to-us", "title": "Not unto Us, Lord, Not to Us", "first_line": "Not unto us, Lord, not to us", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 115, "topics": ["Psalms"], "scripture": ["Psalm 115"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 115. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Not un -- to us, Lord, not to us, but do thou glo -- ry take Un -- to thy name, ev'n for thy truth, and for thy mer -- cy's sake.", "prose": ["Not unto us, Lord, not to us,", "but do thou glory take", "Unto thy name, ev'n for thy truth,", "and for thy mercy's sake."]}, "2": {"syllabified": "O where -- fore should the hea -- then say, Where is their God now gone? But our God in the heav -- ens is, what pleased him he hath done.", "prose": ["O wherefore should the heathen say,", "Where is their God now gone?", "But our God in the heavens is,", "what pleased him he hath done."]}, "3": {"syllabified": "Their i -- dols sil -- ver are and gold, work of men's hands they be. Mouths have they, but they do not speak; and eyes, but do not see;", "prose": ["Their idols silver are and gold,", "work of men's hands they be.", "Mouths have they, but they do not speak;", "and eyes, but do not see;"]}, "4": {"syllabified": "Ears have they, but they do not hear; nos -- es, but sa -- vour not; Hands, feet, but hand -- le not, nor walk; nor speak they through their throat.", "prose": ["Ears have they, but they do not hear;", "noses, but savour not;", "Hands, feet, but handle not, nor walk;", "nor speak they through their throat."]}, "5": {"syllabified": "Like them their mak -- ers are, and all on them their trust that build. O Is -- r'el, trust thou in the Lord, he is their help and shield.", "prose": ["Like them their makers are, and all", "on them their trust that build.", "O Isr'el, trust thou in the Lord,", "he is their help and shield."]}, "6": {"syllabified": "O Aa -- ron's house, trust in the Lord, their help and shield is he. Ye that fear God, trust in the Lord, their help and shield he'll be.", "prose": ["O Aaron's house, trust in the Lord,", "their help and shield is he.", "Ye that fear God, trust in the Lord,", "their help and shield he'll be."]}, "7": {"syllabified": "The Lord of us hath mind -- ful been, and he will bless us still: He will the house of Is -- r'el bless, bless Aa -- ron's house he will.", "prose": ["The Lord of us hath mindful been,", "and he will bless us still:", "He will the house of Isr'el bless,", "bless Aaron's house he will."]}, "8": {"syllabified": "Both small and great, that fear the Lord, he will them sure -- ly bless. The Lord will you, you and your seed, aye more and more in -- crease.", "prose": ["Both small and great, that fear the Lord,", "he will them surely bless.", "The Lord will you, you and your seed,", "aye more and more increase."]}, "9": {"syllabified": "O bless -- ed are ye of the Lord, who made the earth and heav'n. The heav'n, ev'n heav'ns, are God's, but he earth to men's sons hath giv'n.", "prose": ["O blessed are ye of the Lord,", "who made the earth and heav'n.", "The heav'n, ev'n heav'ns, are God's, but he", "earth to men's sons hath giv'n."]}, "10": {"syllabified": "The dead, nor who to si -- lence go, God's praise do not re -- cord. But hence -- forth we for ev -- er will bless God. Praise ye the Lord.", "prose": ["The dead, nor who to silence go,", "God's praise do not record.", "But henceforth we for ever will", "bless God. Praise ye the Lord."]}}}, "not-what-these-hands-have-done": {"slug": "not-what-these-hands-have-done", "title": "Not What These Hands Have Done", "first_line": "Not what these hands have done", "author": "horatius-bonar", "author_date": "1861", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Grace", "Salvation", "Faith"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Horatius Bonar (1808-1889), \"Not what these hands have done,\" from Hymns of Faith and Hope, Second Series (1861). Text from The Cyber Hymnal; the eight short-metre quatrains are sung paired as four S.M.D. stanzas to LEOMINSTER. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Not what these hands have done Can save this guilt -- y soul; Not what this toil -- ing flesh has borne Can make my spir -- it whole. Not what I feel or do Can give me peace with God; Not all my prayers and sighs and tears Can bear my aw -- ful load.", "prose": ["Not what these hands have done", "Can save this guilty soul;", "Not what this toiling flesh has borne", "Can make my spirit whole.", "Not what I feel or do", "Can give me peace with God;", "Not all my prayers and sighs and tears", "Can bear my awful load."]}, "2": {"syllabified": "Thy work a -- lone, O Christ, Can ease this weight of sin; Thy blood a -- lone, O Lamb of God, Can give me peace with -- in. Thy love to me, O God, Not mine, O Lord, to Thee, Can rid me of this dark un -- rest, And set my spir -- it free.", "prose": ["Thy work alone, O Christ,", "Can ease this weight of sin;", "Thy blood alone, O Lamb of God,", "Can give me peace within.", "Thy love to me, O God,", "Not mine, O Lord, to Thee,", "Can rid me of this dark unrest,", "And set my spirit free."]}, "3": {"syllabified": "Thy grace a -- lone, O God, To me can par -- don speak; Thy power a -- lone, O Son of God, Can this sore bond -- age break. I bless the Christ of God; I rest on love di -- vine; And with un -- fal -- t'ring lip and heart I call this Sav -- iour mine.", "prose": ["Thy grace alone, O God,", "To me can pardon speak;", "Thy power alone, O Son of God,", "Can this sore bondage break.", "I bless the Christ of God;", "I rest on love divine;", "And with unfalt'ring lip and heart", "I call this Saviour mine."]}, "4": {"syllabified": "His cross dis -- pels each doubt; I bur -- y in His tomb Each thought of un -- be -- lief and fear, Each lin -- g'ring shade of gloom. I praise the God of grace; I trust His truth and might; He calls me His, I call Him mine, My God, my joy, my light.", "prose": ["His cross dispels each doubt;", "I bury in His tomb", "Each thought of unbelief and fear,", "Each ling'ring shade of gloom.", "I praise the God of grace;", "I trust His truth and might;", "He calls me His, I call Him mine,", "My God, my joy, my light."]}}}, "nothing-but-the-blood-of-jesus": {"slug": "nothing-but-the-blood-of-jesus", "title": "Nothing but the Blood of Jesus", "first_line": "What can wash away my stain?", "author": "robert-lowry", "author_date": "1876", "foot": "trochaic", "meter": {"pattern": [7, 8, 7, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Redemption", "Forgiveness"], "scripture": ["Hebrews 9:22", "1 John 1:7", "Revelation 1:5"], "provenance": {"layer": "text", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Lowry (1826-1899), words and music, first published in Gospel Music, ed. William H. Doane & Robert Lowry (New York: Biglow & Main, 1876), no. 7. Transcribed syllable by syllable from the dated page image of Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 332, printed page 303 — archive.org item hymnsconso00blis, leaf 307 — which is headed \"Nothing but the Blood of Jesus.\", carries the scripture motto \"Without shedding of blood is no remission.\"—Heb. 9:22, credits \"Rev. Robert Lowry.\" on both sides, prints all SIX stanzas under the staves, and engraves \"Copyright, 1876, by Rev. Robert Lowry\" vertically in the left margin. Collated against the same plates reprinted in Gospel Hymns Nos. 1 to 6 (1894), no. 195, printed page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207) and against the words-only Brevier edition of 1895 (archive.org gospelh1t00sank). US public domain: published 1876, and every witness read here is itself pre-1931; the author died in 1899, so it is also PD in life+70 jurisdictions. THE FIRST LINE IS \"What can wash away my stain?\" — that is what all three dated printings read; the familiar \"my sin\" is a later editorial change and is NOT adopted here. Punctuation follows the 1883 page, which sets em-dashes at the end of the odd lines of stanzas 2-6 and a question mark in stanza 1.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "what_can_wash_away_my_sin", "total_instances": 656}}, "stanzas": {"1": {"syllabified": "What can wash a -- way my stain? Noth -- ing but the blood of Je -- sus; What can make me whole a -- gain? Noth -- ing but the blood of Je -- sus.", "prose": ["What can wash away my stain?", "Nothing but the blood of Jesus;", "What can make me whole again?", "Nothing but the blood of Jesus."]}, "2": {"syllabified": "For my cleans -- ing this I see— Noth -- ing but the blood of Je -- sus; For my par -- don this my plea— Noth -- ing but the blood of Je -- sus.", "prose": ["For my cleansing this I see—", "Nothing but the blood of Jesus;", "For my pardon this my plea—", "Nothing but the blood of Jesus."]}, "3": {"syllabified": "Noth -- ing can for sin a -- tone— Noth -- ing but the blood of Je -- sus; Naught of good that I have done— Noth -- ing but the blood of Je -- sus.", "prose": ["Nothing can for sin atone—", "Nothing but the blood of Jesus;", "Naught of good that I have done—", "Nothing but the blood of Jesus."]}, "4": {"syllabified": "This is all my hope and peace— Noth -- ing but the blood of Je -- sus; This is all my right -- eous -- ness— Noth -- ing but the blood of Je -- sus.", "prose": ["This is all my hope and peace—", "Nothing but the blood of Jesus;", "This is all my righteousness—", "Nothing but the blood of Jesus."]}, "5": {"syllabified": "Now by this I'll o -- ver -- come— Noth -- ing but the blood of Je -- sus; Now by this I'll reach my home— Noth -- ing but the blood of Je -- sus.", "prose": ["Now by this I'll overcome—", "Nothing but the blood of Jesus;", "Now by this I'll reach my home—", "Nothing but the blood of Jesus."]}, "6": {"syllabified": "Glo -- ry! glo -- ry! thus I sing— Noth -- ing but the blood of Je -- sus; All my praise for this I bring— Noth -- ing but the blood of Je -- sus.", "prose": ["Glory! glory! thus I sing—", "Nothing but the blood of Jesus;", "All my praise for this I bring—", "Nothing but the blood of Jesus."]}}, "refrain": {"syllabified": "Oh, pre -- cious is the flow That makes me white as snow; No oth -- er fount I know, Noth -- ing but the blood of Je -- sus.", "prose": ["Oh, precious is the flow", "That makes me white as snow;", "No other fount I know,", "Nothing but the blood of Jesus."]}}, "now-israel-may-say-and-that-in-truth": {"slug": "now-israel-may-say-and-that-in-truth", "title": "Divine Deliverance", "first_line": "Now Israel may say, and that in truth", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 124, "topics": ["Psalms"], "scripture": ["Psalm 124"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 353) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 124, selection 353. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Now I -- sra -- el may say, and that in truth If that the Lord had not our right main -- tained; If that the Lord had not with us re -- mained, When cru -- el men a -- gainst us rose to strive, We sure -- ly had been swal -- lowed up a -- live", "prose": ["Now Israel may say, and that in truth", "If that the Lord had not our right maintained;", "If that the Lord had not with us remained,", "When cruel men against us rose to strive,", "We surely had been swallowed up alive"]}, "2": {"syllabified": "Yea, when their wrath a -- gainst us fierce -- ly rose, The swell -- ing tide had o'er us spread its wave, The rag -- ing stream had then be -- come our grave, The sur -- ging flood, in proud -- ly swell -- ing roll, Most sure -- ly then had o -- ver -- whelmed our soul.", "prose": ["Yea, when their wrath against us fiercely rose,", "The swelling tide had o'er us spread its wave,", "The raging stream had then become our grave,", "The surging flood, in proudly swelling roll,", "Most surely then had overwhelmed our soul."]}, "3": {"syllabified": "Blest be the Lord Who made us not their prey; As from the snare a bird es -- cap -- eth free, Their net is rent and so es -- caped are we; Our on -- ly help is in Je -- ho -- vah's Name, Who made the earth and all the heav'n -- ly frame.", "prose": ["Blest be the Lord Who made us not their prey;", "As from the snare a bird escapeth free,", "Their net is rent and so escaped are we;", "Our only help is in Jehovah's Name,", "Who made the earth and all the heav'nly frame."]}}}, "now-israel-may-say-and-that-truly": {"slug": "now-israel-may-say-and-that-truly", "title": "Now Israel May Say, and That Truly (Second Version)", "first_line": "Now Israel may say, and that truly", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 124, "topics": ["Psalms"], "scripture": ["Psalm 124"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against The Psalms of David in Metre, Glasgow 1846 printing (archive.org psalmsofdavidinm1846chur))", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 124 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Now I -- sra -- el may say, and that tru -- ly, If that the Lord had not our cause main -- tained; If that the Lord had not our right sus -- tained, When cru -- el men a -- gainst us fu -- rious -- ly Rose up in wrath, to make of us their prey;", "prose": ["Now Israel may say, and that truly,", "If that the Lord had not our cause maintained;", "If that the Lord had not our right sustained,", "When cruel men against us furiously", "Rose up in wrath, to make of us their prey;"]}, "2": {"syllabified": "Then cer -- tain -- ly they had de -- voured us all, And swal -- lowed quick, for ought that we could deem; Such was their rage, as we might well es -- teem. And as fierce floods be -- fore them all things drown, So had they brought our soul to death quite down.", "prose": ["Then certainly they had devoured us all,", "And swallowed quick, for ought that we could deem;", "Such was their rage, as we might well esteem.", "And as fierce floods before them all things drown,", "So had they brought our soul to death quite down."]}, "3": {"syllabified": "The rag -- ing streams, with their proud swell -- ing waves, Had then our soul o'er -- whelm -- ed in the deep. But blessed be God, who doth us safe -- ly keep, And hath not giv'n us for a liv -- ing prey Un -- to their teeth, and blood -- y cru -- el -- ty.", "prose": ["The raging streams, with their proud swelling waves,", "Had then our soul o'erwhelmed in the deep.", "But blessed be God, who doth us safely keep,", "And hath not giv'n us for a living prey", "Unto their teeth, and bloody cruelty."]}, "4": {"syllabified": "Ev'n as a bird out of the fow -- ler's snare Es -- capes a -- way, so is our soul set free: Broke are their nets, and thus es -- cap -- ed we. There -- fore our help is in the Lord's great name, Who heav'n and earth by his great pow'r did frame.", "prose": ["Ev'n as a bird out of the fowler's snare", "Escapes away, so is our soul set free:", "Broke are their nets, and thus escaped we.", "Therefore our help is in the Lord's great name,", "Who heav'n and earth by his great pow'r did frame."]}}}, "now-thank-we-all-our-god": {"slug": "now-thank-we-all-our-god", "title": "Now Thank We All Our God", "first_line": "Now Thank We All Our God", "author": "martin-rinkart", "author_date": "1636", "translator": "catherine-winkworth", "translator_date": "1858", "foot": "iambic", "meter": {"pattern": [6, 7, 6, 7, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Thanksgiving", "Praise", "Trinity"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Martin Rinkart (1586-1649), \"Nun danket alle Gott,\" c. 1636; translated by Catherine Winkworth (1827-1878), \"Now Thank We All Our God,\" in Lyra Germanica (1858) / The Chorale Book for England (1863). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Now thank we all our God, with heart and hands and voic -- es, Who won -- drous things has done, In whom His world re -- joic -- es; Who from our moth -- ers' arms Has blessed us on our way With count -- less gifts of love, And still is ours to -- day.", "prose": ["Now thank we all our God,", "with heart and hands and voices,", "Who wondrous things has done,", "In whom His world rejoices;", "Who from our mothers' arms", "Has blessed us on our way", "With countless gifts of love,", "And still is ours today."]}, "2": {"syllabified": "O may this boun -- teous God, through all our life be near us, With ev -- er joy -- ful hearts And bless -- ed peace to cheer us; And keep us in His grace, And guide us when per -- plexed, And free us from all ills In this world and the next.", "prose": ["O may this bounteous God", "through all our life be near us,", "With ever joyful hearts", "And blessèd peace to cheer us;", "And keep us in His grace,", "And guide us when perplexed,", "And free us from all ills", "In this world and the next."]}, "3": {"syllabified": "All praise and thanks to God, the Fa -- ther now be giv -- en, The Son, and Him who reigns With them in high -- est heav -- en; The one e -- ter -- nal God, Whom earth and heav'n a -- dore; For thus it was, is now, And shall be ev -- er -- more.", "prose": ["All praise and thanks to God,", "the Father now be given,", "The Son, and Him who reigns", "With them in highest heaven;", "The one eternal God,", "Whom earth and heav'n adore;", "For thus it was, is now,", "And shall be evermore."]}}}, "now-the-light-has-gone-away": {"slug": "now-the-light-has-gone-away", "title": "Now the Light Has Gone Away", "first_line": "Now the light has gone away; Father, listen while", "author": "frances-havergal", "author_date": "1917", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Father", "God, As King", "God, Majesty & Power of"], "scripture": ["Genesis 1:3", "1 John 1:5-7", "2 Corinthians 4:6", "Ephesians 5:8-14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:313; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "now_the_light_has_gone_away", "total_instances": 65}}, "stanzas": {"1": {"syllabified": "Now the light has gone a -- way; Fa -- ther, lis -- ten while I pray, Ask -- ing Thee to watch and keep And to send me qui -- et sleep.", "prose": ["Now the light has gone away;", "Father, listen while I pray,", "Asking Thee to watch and keep", "And to send me quiet sleep."]}, "2": {"syllabified": "Je -- sus, Sav -- ior, wash a -- way All that has been wrong to -- day; Help me ev -- ery day to be Good and gen -- tle, more like Thee.", "prose": ["Jesus, Savior, wash away", "All that has been wrong today;", "Help me every day to be", "Good and gentle, more like Thee."]}, "3": {"syllabified": "Let my near and dear ones be Al -- ways near and dear to Thee. Oh, bring me and all I love To Thy ha -- ppy home a -- bove.", "prose": ["Let my near and dear ones be", "Always near and dear to Thee.", "Oh, bring me and all I love", "To Thy happy home above."]}, "4": {"syllabified": "Now my eve -- ning praise I give; Thou didst die that I might live. All my bless -- ings come from Thee; Oh, how good Thou art to me!", "prose": ["Now my evening praise I give;", "Thou didst die that I might live.", "All my blessings come from Thee;", "Oh, how good Thou art to me!"]}, "5": {"syllabified": "Thou, my best and kind -- est Friend, Thou wilt love me to the end. Let me love Thee more and more, Al -- ways bet -- ter than be -- fore.", "prose": ["Thou, my best and kindest Friend,", "Thou wilt love me to the end.", "Let me love Thee more and more,", "Always better than before."]}}}, "now-unto-jehovah-ye-sons-of-the-mighty": {"slug": "now-unto-jehovah-ye-sons-of-the-mighty", "title": "Divine Power in Manifestation", "first_line": "Now unto Jehovah, ye sons of the mighty", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 29, "topics": ["Psalms"], "scripture": ["Psalm 29"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 76) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 29, selection 76. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Now un -- to Je -- ho -- vah, ye sons of the might -- y, All glo -- ry and strength and do -- min -- ion ac -- cord; As -- cribe to Him glo -- ry, and ren -- der Him hon -- or, In beau -- ty of ho -- li -- ness wor -- ship the Lord.", "prose": ["Now unto Jehovah, ye sons of the mighty,", "All glory and strength and dominion accord;", "Ascribe to Him glory, and render Him honor,", "In beauty of holiness worship the Lord."]}, "2": {"syllabified": "The voice of Je -- ho -- vah, the God of all glo -- ry Rolls o -- ver the wa -- ters, the thun -- ders a -- wake; The voice of Je -- ho -- vah, maj -- es -- tic and might -- y, Is heard, and the ce -- dars of Leb -- a -- non break.", "prose": ["The voice of Jehovah, the God of all glory", "Rolls over the waters, the thunders awake;", "The voice of Jehovah, majestic and mighty,", "Is heard, and the cedars of Lebanon break."]}, "3": {"syllabified": "The voice makes the moun -- tains and des -- erts to trem -- ble, Wild beasts are af -- fright -- ed, the fo -- rests laid bar, And thro' all cre -- a -- tion, His won -- der -- ful tem -- ple, All things He has fash -- ioned His glo -- ry de -- clare.", "prose": ["The voice makes the mountains and deserts to tremble,", "Wild beasts are affrighted, the forests laid bar,", "And thro' all creation, His wonderful temple,", "All things He has fashioned His glory declare."]}, "4": {"syllabified": "The Lord ruled in might at the flood of great wa -- ters, A King Whose do -- min -- ion is nev -- er to cease; The Lord will give bless -- ing and strength to His peo -- ple, The Lord all His peo -- ple will com -- fort with peace.", "prose": ["The Lord ruled in might at the flood of great waters,", "A King Whose dominion is never to cease;", "The Lord will give blessing and strength to His people,", "The Lord all His people will comfort with peace."]}}}, "o-all-ye-lands-unto-the-lord": {"slug": "o-all-ye-lands-unto-the-lord", "title": "O All Ye Lands, unto the Lord (Second Version)", "first_line": "O all ye lands, unto the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 100, "topics": ["Psalms"], "scripture": ["Psalm 100"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 100 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O all ye lands, un -- to the Lord make ye a joy -- ful noise. Serve God with glad -- ness, him be -- fore come with a sing -- ing voice.", "prose": ["O all ye lands, unto the Lord", "make ye a joyful noise.", "Serve God with gladness, him before", "come with a singing voice."]}, "2": {"syllabified": "Know ye the Lord that he is God; not we, but he us made: We are his peo -- ple, and the sheep with -- in his pas -- ture fed.", "prose": ["Know ye the Lord that he is God;", "not we, but he us made:", "We are his people, and the sheep", "within his pasture fed."]}, "3": {"syllabified": "En -- ter his gates and courts with praise, to thank him go ye thith -- er: To him ex -- press your thank -- ful -- ness, and bless his name to -- geth -- er.", "prose": ["Enter his gates and courts with praise,", "to thank him go ye thither:", "To him express your thankfulness,", "and bless his name together."]}, "4": {"syllabified": "Be -- cause the Lord our God is good, his mer -- cy fail -- eth nev -- er; And to all gen -- er -- a -- ti -- ons his truth en -- dur -- eth ev -- er.", "prose": ["Because the Lord our God is good,", "his mercy faileth never;", "And to all generations", "his truth endureth ever."]}}}, "o-all-ye-peoples-bless-our-god": {"slug": "o-all-ye-peoples-bless-our-god", "title": "The Obligations of Grace", "first_line": "O all ye peoples, bless our God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 66, "topics": ["Psalms"], "scripture": ["Psalm 66"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 174) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 66, selection 174. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O all ye peo -- ples, bless our God, A -- loud pro -- claim His praise, Who safe -- ly holds our soul in life And stead -- fast makes our ways. Thou, Lord, hast proved and test -- ed us As sil -- ver tried by fire Thy hand has made our bur -- den great And thwart -- ed our de -- sire", "prose": ["O all ye peoples, bless our God,", "Aloud proclaim His praise,", "Who safely holds our soul in life", "And steadfast makes our ways.", "Thou, Lord, hast proved and tested us", "As silver tried by fire", "Thy hand has made our burden great", "And thwarted our desire"]}, "2": {"syllabified": "Thro' pain and trou -- ble Thou hast led, And hum -- bled all our pride; But, in the end, to lib -- er -- ty And wealth Thy hand did guide. Here in Thy house I give to Thee The life that Thou dost bless, And pay the sol -- emn vows I made When I was in dis -- tress.", "prose": ["Thro' pain and trouble Thou hast led,", "And humbled all our pride;", "But, in the end, to liberty", "And wealth Thy hand did guide.", "Here in Thy house I give to Thee", "The life that Thou dost bless,", "And pay the solemn vows I made", "When I was in distress."]}, "3": {"syllabified": "Come, ye that fear the Lord, and hear What He has done for me; My cry for help is turned to praise, For He has set me free. If in my heart I sin re -- gard, My prayer He will not hear; But tru -- ly God has heard my voice, My prayer has reached His ear.", "prose": ["Come, ye that fear the Lord, and hear", "What He has done for me;", "My cry for help is turned to praise,", "For He has set me free.", "If in my heart I sin regard,", "My prayer He will not hear;", "But truly God has heard my voice,", "My prayer has reached His ear."]}, "4": {"syllabified": "O let the Lord, our gra -- cious God, For -- ev -- er bless -- ed be, Who has not turned my prayer from Him, Nor yet His grace from me. O all ye peo -- ples, bless our God, A -- loud pro -- claim His praise, Who safe -- ly holds our soul in life, And stead -- fast makes our ways.", "prose": ["O let the Lord, our gracious God,", "Forever blessed be,", "Who has not turned my prayer from Him,", "Nor yet His grace from me.", "O all ye peoples, bless our God,", "Aloud proclaim His praise,", "Who safely holds our soul in life,", "And steadfast makes our ways."]}}}, "o-blessed-ever-be-the-lord": {"slug": "o-blessed-ever-be-the-lord", "title": "O Blessed Ever Be the Lord", "first_line": "O blessed ever be the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 144, "topics": ["Psalms"], "scripture": ["Psalm 144"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 144. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O bless -- ed ev -- er be the Lord, who is my strength and might, Who doth in -- struct my hands to war, my fin -- gers teach to fight.", "prose": ["O blessed ever be the Lord,", "who is my strength and might,", "Who doth instruct my hands to war,", "my fingers teach to fight."]}, "2": {"syllabified": "My good -- ness, for -- tress, my high tower, de -- liv -- er -- er, and shield, In whom I trust: who un -- der me my peo -- ple makes to yield.", "prose": ["My goodness, fortress, my high tower,", "deliverer, and shield,", "In whom I trust: who under me", "my people makes to yield."]}, "3": {"syllabified": "Lord, what is man, that thou of him dost so much knowl -- edge take? Or son of man, that thou of him so great ac -- count dost make?", "prose": ["Lord, what is man, that thou of him", "dost so much knowledge take?", "Or son of man, that thou of him", "so great account dost make?"]}, "4": {"syllabified": "Man is like van -- i -- ty; his days, as shad -- ows, pass a -- way. Lord, bow thy heav'ns, come down, touch thou the hills, and smoke shall they.", "prose": ["Man is like vanity; his days,", "as shadows, pass away.", "Lord, bow thy heav'ns, come down, touch thou", "the hills, and smoke shall they."]}, "5": {"syllabified": "Cast forth thy light -- ning, scat -- ter them; thine ar -- rows shoot, them rout. Thine hand send from a -- bove, me save; from great depths draw me out;", "prose": ["Cast forth thy lightning, scatter them;", "thine arrows shoot, them rout.", "Thine hand send from above, me save;", "from great depths draw me out;"]}, "6": {"syllabified": "And from the hand of chil -- dren strange, Whose mouth speaks van -- i -- ty; And their right hand is a right hand that works de -- ceit -- ful -- ly.", "prose": ["And from the hand of children strange,", "Whose mouth speaks vanity;", "And their right hand is a right hand", "that works deceitfully."]}, "7": {"syllabified": "A new song I to thee will sing, Lord, on a psal -- ter -- y; I on a ten -- stringed in -- stru -- ment will prais -- es sing to thee.", "prose": ["A new song I to thee will sing,", "Lord, on a psaltery;", "I on a ten-stringed instrument", "will praises sing to thee."]}, "8": {"syllabified": "Ev'n he it is that un -- to kings sal -- va -- ti -- on doth send; Who his own ser -- vant Da -- vid doth from hurt -- ful sword de -- fend.", "prose": ["Ev'n he it is that unto kings", "salvation doth send;", "Who his own servant David doth", "from hurtful sword defend."]}, "9": {"syllabified": "O free me from strange chil -- dren's hand, whose mouth speaks van -- i -- ty; And their right hand a right hand is that works de -- ceit -- ful -- ly.", "prose": ["O free me from strange children's hand,", "whose mouth speaks vanity;", "And their right hand a right hand is", "that works deceitfully."]}, "10": {"syllabified": "That, as the plants, our sons may be in youth grown up that are; Our daugh -- ters like to cor -- ner -- stones, carved like a pal -- ace fair.", "prose": ["That, as the plants, our sons may be", "in youth grown up that are;", "Our daughters like to corner-stones,", "carved like a palace fair."]}, "11": {"syllabified": "That to af -- ford all kind of store our gar -- ners may be filled; That our sheep thou -- sands, in our streets ten thou -- sands they may yield.", "prose": ["That to afford all kind of store", "our garners may be filled;", "That our sheep thousands, in our streets", "ten thousands they may yield."]}, "12": {"syllabified": "That strong our ox -- en be for work, that no in -- break -- ing be, Nor go -- ing out; and that our streets may from com -- plaints be free.", "prose": ["That strong our oxen be for work,", "that no in-breaking be,", "Nor going out; and that our streets", "may from complaints be free."]}, "13": {"syllabified": "Those peo -- ple bless -- ed are who be in such a case as this; Yea, bless -- ed all those peo -- ple are, whose God JE -- HO -- VAH is.", "prose": ["Those people blessed are who be", "in such a case as this;", "Yea, blessed all those people are,", "whose God JEHOVAH is."]}}}, "o-blessed-is-the-man-to-whom": {"slug": "o-blessed-is-the-man-to-whom", "title": "O Blessed Is the Man to Whom", "first_line": "O blessed is the man to whom", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 32, "topics": ["Psalms"], "scripture": ["Psalm 32"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 32. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O bless -- ed is the man to whom is free -- ly par -- don -- ed All the trans -- gres -- sion he hath done, whose sin is cov -- er -- ed.", "prose": ["O blessed is the man to whom", "is freely pardoned", "All the transgression he hath done,", "whose sin is covered."]}, "2": {"syllabified": "Blessed is the man to whom the Lord im -- put -- eth not his sin, And in whose spirit there is no guile, nor fraud is found there -- in.", "prose": ["Blessed is the man to whom the Lord", "imputeth not his sin,", "And in whose spirit there is no guile,", "nor fraud is found therein."]}, "3": {"syllabified": "When as I did re -- frain my speech, and si -- lent was my tongue, My bones then wax -- ed old, be -- cause I roar -- ed all day long.", "prose": ["When as I did refrain my speech,", "and silent was my tongue,", "My bones then waxed old, because", "I roared all day long."]}, "4": {"syllabified": "For up -- on me both day and night thine hand did heav -- y lie, So that my mois -- ture turn -- ed is in sum -- mer's drought there -- by.", "prose": ["For upon me both day and night", "thine hand did heavy lie,", "So that my moisture turned is", "in summer's drought thereby."]}, "5": {"syllabified": "I there -- up -- on have un -- to thee my sin ac -- knowl -- edg -- ed, And like -- wise mine in -- iq -- ui -- ty I have not cov -- er -- ed:", "prose": ["I thereupon have unto thee", "my sin acknowledged,", "And likewise mine iniquity", "I have not covered:"]}, "6": {"syllabified": "I will con -- fess un -- to the Lord my tres -- pass -- es, said I; And of my sin thou free -- ly didst for -- give th'in -- iq -- ui -- ty.", "prose": ["I will confess unto the Lord", "my trespasses, said I;", "And of my sin thou freely didst", "forgive th' iniquity."]}, "7": {"syllabified": "For this shall ev -- 'ry god -- ly one his pray -- er make to thee; In such a time he shall thee seek, as found thou may -- est be.", "prose": ["For this shall ev'ry godly one", "his prayer make to thee;", "In such a time he shall thee seek,", "as found thou mayest be."]}, "8": {"syllabified": "Sure -- ly, when floods of wa -- ters great do swell up to the brim, They shall not o -- ver -- whelm his soul, nor once come near to him.", "prose": ["Surely, when floods of waters great", "do swell up to the brim,", "They shall not overwhelm his soul,", "nor once come near to him."]}, "9": {"syllabified": "Thou art my hid -- ing -- place, thou shalt from trou -- ble keep me free; Thou with songs of de -- liv -- er -- ance a -- bout shalt com -- pass me.", "prose": ["Thou art my hiding-place, thou shalt", "from trouble keep me free;", "Thou with songs of deliverance", "about shalt compass me."]}, "10": {"syllabified": "I will in -- struct thee, and thee teach the way that thou shalt go; And, with mine eye up -- on thee set, I will di -- rec -- tion show.", "prose": ["I will instruct thee, and thee teach", "the way that thou shalt go;", "And, with mine eye upon thee set,", "I will direction show."]}, "11": {"syllabified": "Then be not like the horse or mule, which do not un -- der -- stand; Whose mouth, lest they come near to thee, a brid -- le must com -- mand.", "prose": ["Then be not like the horse or mule,", "which do not understand;", "Whose mouth, lest they come near to thee,", "a bridle must command."]}, "12": {"syllabified": "Un -- to the man that wick -- ed is his sor -- rows shall a -- bound; But him that trust -- eth in the Lord mer -- cy shall com -- pass round.", "prose": ["Unto the man that wicked is", "his sorrows shall abound;", "But him that trusteth in the Lord", "mercy shall compass round."]}, "13": {"syllabified": "Ye right -- eous, in the Lord be glad, in him do ye re -- joice: All ye that up -- right are in heart, for joy lift up your voice.", "prose": ["Ye righteous, in the Lord be glad,", "in him do ye rejoice:", "All ye that upright are in heart,", "for joy lift up your voice."]}}}, "o-boundless-salvation": {"slug": "o-boundless-salvation", "title": "O Boundless Salvation", "first_line": "O boundless salvation! deep ocean of love", "author": "william-booth", "author_date": "1893", "foot": "anapestic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Salvation", "Redemption", "Consecration", "Invitation"], "scripture": ["Isaiah 63:1", "Ezekiel 47:5", "Revelation 22:17"], "provenance": {"layer": "text", "source": "salvation-army-songs-1930", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William Booth (1829-1912), founder and first General of The Salvation Army, wrote this for the \"Boundless Salvation\" campaign; it was first sung at Exeter Hall, London, 14 November 1893 and the words were first printed in The War Cry, 23 December 1893. It is known as THE FOUNDER'S SONG. Text taken from the page image of \"Salvation Army Songs\" (New York; Chicago: Salvation Army, Supplies, Printing and Publishing Department, 1930), PART I, \"THE FOUNDER'S SONG\", no. 1, printed p. 1, headed \"My Jesus, I love Thee, 340, A-flat. / Cossar, 345, E-flat. / 11's x\" and signed WILLIAM BOOTH — archive.org item salvationarmyson00unse, leaf n12. Published in the United States in 1930 (pre-1931) and the author died in 1912, so public domain in the US and in life+70 jurisdictions; Hymnary's text authority o_boundless_salvation_deep_ocean_of_love is flagged Public Domain. The four stanzas carried here also appear WITH MUSIC in two earlier dated US printings: \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed. (New York, copyright entered 1899), no. 5, p. 10 (five stanzas), and \"The Salvation Army / Songs and Music / COMPILED 1922\", no. 185, p. 185 (these four exactly). STANZA SELECTION: the 1930 words book prints seven stanzas. Four are carried here — its 1, 2, 6 and 7, the four the 1922 music book underlays. Its stanzas 3 (\"My tempers are fitful\"), 4 (\"Now tossed with temptation\") and 5 (\"O ocean of mercy\") are omitted: no pre-1931 printing WITH MUSIC underlays them, stanza 5 does not scan to this tune at all (11.12.10.11 as printed in 1930), and stanza 3's third line needs \"deliverance\" elided to three syllables to fit. Adding any of them would mean inventing an underlay. ORIGINAL PRACTICE, recorded so it is not mistaken for a missing refrain: in 1893-era Salvation Army use a separate chorus, \"The Heavenly Gales are Blowing\" (a different tune, 6/8, printed at onehundredfavori00boot leaf n14 = p. 11), was sung between the verses. It is a distinct song and is not part of this text.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O bound -- less sal -- va -- tion! deep o -- cean of love, O full -- ness of mer -- cy, Christ brought from a -- bove, The whole world re -- deem -- ing, so rich and so free, Now flow -- ing for all men— come, roll o -- ver me!", "prose": ["O boundless salvation! deep ocean of love,", "O fullness of mercy, Christ brought from above,", "The whole world redeeming, so rich and so free,", "Now flowing for all men—come, roll over me!"]}, "2": {"syllabified": "My sins they are man -- y, their stains are so deep, And bit -- ter the tears of re -- morse that I weep; But use -- less is weep -- ing; thou great crim -- son sea, Thy wa -- ters can cleanse me— come, roll o -- ver me!", "prose": ["My sins they are many, their stains are so deep,", "And bitter the tears of remorse that I weep;", "But useless is weeping; thou great crimson sea,", "Thy waters can cleanse me—come, roll over me!"]}, "3": {"syllabified": "The tide is now flow -- ing, I'm touch -- ing the wave, I hear the loud call of “The Might -- y to Save;” My faith's grow -- ing bold -- er— de -- liv -- ered I'll be! I plunge ’neath the wa -- ters— they roll o -- ver me.", "prose": ["The tide is now flowing, I'm touching the wave,", "I hear the loud call of “The Mighty to Save;”", "My faith's growing bolder—delivered I'll be!", "I plunge ’neath the waters—they roll over me."]}, "4": {"syllabified": "And now, Hal -- le -- lu -- jah! the rest of my days Shall glad -- ly be spent in pro -- mot -- ing His praise Who o -- pened His bos -- om to pour out this sea Of bound -- less sal -- va -- tion for you and for me!", "prose": ["And now, Hallelujah! the rest of my days", "Shall gladly be spent in promoting His praise", "Who opened His bosom to pour out this sea", "Of boundless salvation for you and for me!"]}}}, "o-come-all-ye-faithful": {"slug": "o-come-all-ye-faithful", "title": "O Come, All Ye Faithful", "first_line": "O come, all ye faithful, joyful and triumphant", "author": "john-francis-wade", "author_date": "1743", "translator": "frederick-oakeley", "translator_date": "1841", "foot": "irregular", "meter": {"pattern": [], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "topics": ["Christmas", "Advent", "Worship", "Adoration", "Jesus", "Incarnation"], "scripture": ["Luke 2:15-16", "John 1:14", "Hebrews 1:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:65; John F. Wade c.1743, tr. Frederick Oakeley 1841 (+ W. T. Brooke, d.1917). Public domain.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O come, all ye faith -- ful, joy -- ful and tri -- um -- phant, O come ye, O come ye, to Beth -- le -- hem. Come and be -- hold Him, born the King of an -- gels;", "prose": ["O come, all ye faithful, joyful and triumphant,", "O come ye, O come ye, to Bethlehem.", "Come and behold Him, born the King of angels;"]}, "2": {"syllabified": "True God of true God, Light from Light E -- ter -- nal, Lo, He shuns not the Vir -- gin's womb; Son of the Fa -- ther, be -- got -- ten, not cre -- at -- ed;", "prose": ["True God of true God, Light from Light Eternal,", "Lo, He shuns not the Virgin's womb;", "Son of the Father, begotten, not created;"]}, "3": {"syllabified": "Sing, choirs of an -- gels, sing in ex -- ul -- ta -- tion; O sing, all ye cit -- i -- zens of heav'n a -- bove! Glo -- ry to God, glo -- ry in the high -- est;", "prose": ["Sing, choirs of angels, sing in exultation;", "O sing, all ye citizens of heav'n above!", "Glory to God, glory in the highest;"]}, "4": {"syllabified": "See how the shep -- herds, sum -- moned to His cra -- dle, Leav -- ing their flocks, draw nigh to gaze; We too will thith -- er bend our joy -- ful foot -- steps;", "prose": ["See how the shepherds, summoned to His cradle,", "Leaving their flocks, draw nigh to gaze;", "We too will thither bend our joyful footsteps;"]}, "5": {"syllabified": "Lo! star led chief -- tains, Ma -- gi, Christ a -- dor -- ing, Of -- fer Him in -- cense, gold, and myrrh; We to the Christ Child bring our hearts' ob -- la -- tions.", "prose": ["Lo! star-led chieftains, Magi, Christ adoring,", "Offer Him incense, gold, and myrrh;", "We to the Christ Child bring our hearts' oblations."]}}, "refrain": {"syllabified": "O come, let us a -- dore Him, O come, let us a -- dore Him, O come, let us a -- dore Him, Christ the Lord.", "prose": ["O come, let us adore Him,", "O come, let us adore Him,", "O come, let us adore Him,", "Christ the Lord."]}}, "o-come-let-us-sing-to-the-lord": {"slug": "o-come-let-us-sing-to-the-lord", "title": "O Come, Let Us Sing to the Lord", "first_line": "O come, let us sing to the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 95, "topics": ["Psalms"], "scripture": ["Psalm 95"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 95. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O come, let us sing to the Lord: come, let us ev -- ery one A joy -- ful noise make to the Rock of our sal -- va -- ti -- on.", "prose": ["O come, let us sing to the Lord:", "come, let us every one", "A joyful noise make to the Rock", "of our salvation."]}, "2": {"syllabified": "Let us be -- fore his pres -- ence come with praise and thank -- ful voice; Let us sing psalms to him with grace, and make a joy -- ful noise.", "prose": ["Let us before his presence come", "with praise and thankful voice;", "Let us sing psalms to him with grace,", "and make a joyful noise."]}, "3": {"syllabified": "For God, a great God, and great King, a -- bove all gods he is. Depths of the earth are in his hand, the strength of hills is his.", "prose": ["For God, a great God, and great King,", "above all gods he is.", "Depths of the earth are in his hand,", "the strength of hills is his."]}, "4": {"syllabified": "To him the spa -- cious sea be -- longs, for he the same did make; The dry land al -- so from his hands its form at first did take.", "prose": ["To him the spacious sea belongs,", "for he the same did make;", "The dry land also from his hands", "its form at first did take."]}, "5": {"syllabified": "O come, and let us wor -- ship him, let us bow down with -- al, And on our knees be -- fore the Lord our Mak -- er let us fall.", "prose": ["O come, and let us worship him,", "let us bow down withal,", "And on our knees before the Lord", "our Maker let us fall."]}, "6": {"syllabified": "For he's our God, the peo -- ple we of his own pas -- ture are, And of his hand the sheep; to -- day, if ye his voice will hear,", "prose": ["For he's our God, the people we", "of his own pasture are,", "And of his hand the sheep; to-day,", "if ye his voice will hear,"]}, "7": {"syllabified": "Then har -- den not your hearts, as in the prov -- o -- ca -- ti -- on, As in the des -- ert, on the day of the ten -- ta -- ti -- on:", "prose": ["Then harden not your hearts, as in", "the provocation,", "As in the desert, on the day", "of the tentation:"]}, "8": {"syllabified": "When me your fa -- thers tempt'd and proved, and did my work -- ing see; Ev'n for the space of for -- ty years this race hath griev -- ed me.", "prose": ["When me your fathers tempt'd and proved,", "and did my working see;", "Ev'n for the space of forty years", "this race hath grieved me."]}, "9": {"syllabified": "I said, This peo -- ple errs in heart, my ways they do not know: To whom I sware in wrath, that to my rest they should not go.", "prose": ["I said, This people errs in heart,", "my ways they do not know:", "To whom I sware in wrath, that to", "my rest they should not go."]}}}, "o-come-my-people-to-my-law": {"slug": "o-come-my-people-to-my-law", "title": "Religious Training", "first_line": "O come, my people, to my law", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 78, "topics": ["Psalms"], "scripture": ["Psalm 78"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 215) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 78, selection 215. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O come, my peo -- ple, to my law At -- ten -- tive -- ly give ear; With wil -- ling heart and teach -- a -- ble The words of wis -- dom hear.", "prose": ["O come, my people, to my law", "Attentively give ear;", "With willing heart and teachable", "The words of wisdom hear."]}, "2": {"syllabified": "My mouth shall speak in par -- a -- bles Of hid -- den truths of old, Which, hand -- ed down from age to age, To us our fa -- thers told.", "prose": ["My mouth shall speak in parables", "Of hidden truths of old,", "Which, handed down from age to age,", "To us our fathers told."]}, "3": {"syllabified": "We will not from their chil -- dren hide Je -- ho -- vah's wor -- thy praise, But tell the great -- ness of His strength, His won -- drous works and ways.", "prose": ["We will not from their children hide", "Jehovah's worthy praise,", "But tell the greatness of His strength,", "His wondrous works and ways."]}, "4": {"syllabified": "A tes -- ti -- mo -- ny and a law The Lord our God de -- creed, And bade our fa -- thers teach their sons, That they His ways might heed.", "prose": ["A testimony and a law", "The Lord our God decreed,", "And bade our fathers teach their sons,", "That they His ways might heed."]}, "5": {"syllabified": "He willed that each suc -- ceed -- ing race His deeds might learn and know, That chil -- dren's chil -- dren to their sons Might all these won -- ders show.", "prose": ["He willed that each succeeding race", "His deeds might learn and know,", "That children's children to their sons", "Might all these wonders show."]}, "6": {"syllabified": "Let chil -- dren learn God's right -- eous ways And on Him stay their heart, That they may not for -- get His works Nor from His ways de -- part.", "prose": ["Let children learn God's righteous ways", "And on Him stay their heart,", "That they may not forget His works", "Nor from His ways depart."]}}}, "o-come-o-come-emmanuel": {"slug": "o-come-o-come-emmanuel", "title": "O Come, O Come, Emmanuel", "first_line": "O come, O come, Emmanuel, And ransom captive Israel", "author_source": "Latin, 12th century", "translator": "john-mason-neale", "translator_date": "1851", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Christmas", "Advent", "Cloud", "Darkness, Spiritual", "Education", "God, As King", "God, Providence of", "Hope", "Invitation (Faithful's to God)", "Israel", "Jesus", "Knowledge", "Law", "Presence", "Second Coming", "Security", "Victory", "Wisdom"], "scripture": ["Isaiah 7:14", "Isaiah 11:1", "Revelation 22:20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:39 (line 2363); Words ~12th Century, tr. John Mason Neale 1851; Music 'Veni Emmanuel' 15th Century French; setting Common Service Book (ULCA) 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O come, O come, Em -- man -- u -- el, And ran -- som cap -- tive Is -- ra -- el, That mourns in lone -- ly ex -- ile here Un -- til the Son of God ap -- pear.", "prose": ["O come, O come, Emmanuel,", "And ransom captive Israel,", "That mourns in lonely exile here", "Until the Son of God appear."]}, "2": {"syllabified": "O come, Thou Wis -- dom from on high, Who or -- derest all things might -- i -- ly; To us the path of knowl -- edge show, And teach us in her ways to go.", "prose": ["O come, Thou Wisdom from on high,", "Who orderest all things mightily;", "To us the path of knowledge show,", "And teach us in her ways to go."]}, "3": {"syllabified": "O come, Thou Rod of Jes -- se, free Thine own from Sa -- tan's tyr -- an -- ny; From depths of hell Thy peo -- ple save, And give them vic -- t'ry ov'r the grave.", "prose": ["O come, Thou Rod of Jesse, free", "Thine own from Satan's tyranny;", "From depths of hell Thy people save,", "And give them vict'ry ov'r the grave."]}, "4": {"syllabified": "O come, Thou Day -- spring, come and cheer Our spir -- its by Thine ad -- vent here; Dis -- perse the gloom -- y clouds of night, And death's dark shad -- ows put to flight.", "prose": ["O come, Thou Dayspring, come and cheer", "Our spirits by Thine advent here;", "Disperse the gloomy clouds of night,", "And death's dark shadows put to flight."]}, "5": {"syllabified": "O come, Thou Key of Da -- vid, come, And o -- pen wide our heav'n -- ly home; Make safe the way that leads on high, And close the path to mis -- er -- y.", "prose": ["O come, Thou Key of David, come,", "And open wide our heav'nly home;", "Make safe the way that leads on high,", "And close the path to misery."]}}, "refrain": {"syllabified": "Re -- joice! Re -- joice! Em -- man -- u -- el shall come to thee, O I -- sra -- el.", "prose": ["Rejoice! Rejoice! Emmanuel", "shall come to thee, O Israel."]}}, "o-day-of-rest-and-gladness": {"slug": "o-day-of-rest-and-gladness", "title": "O Day of Rest and Gladness", "first_line": "O day of rest and gladness", "author": "christopher-wordsworth", "author_date": "1862", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Sabbath", "Rest", "Worship", "Trinity", "Praise"], "scripture": ["Exodus 20:10", "Genesis 2:2-3", "Mark 2:23-28"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:270; words Christopher Wordsworth 1862 (author d. 1885). Public domain.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O day of rest and glad -- ness, o day of joy and light, O balm of care and sad -- ness, most beau -- ti -- ful, most bright: On thee, the high and low -- ly, through ag -- es joined in tune, Sing ho -- ly, ho -- ly, h -- oly, to the great God Tri -- une.", "prose": ["O day of rest and gladness,", "o day of joy and light,", "O balm of care and sadness,", "most beautiful, most bright:", "On thee, the high and lowly,", "through ages joined in tune,", "Sing holy, holy, holy,", "to the great God Triune."]}, "2": {"syllabified": "On thee, at the cre -- a -- tion, the light first had its birth; On thee, for our sal -- va -- tion, Christ rose from depths of earth; On thee, our Lord, vic -- tor -- ious, the Spir -- it sent from heaven, And thus on thee, most glor -- ious, a tri -- ple light was given.", "prose": ["On thee, at the creation,", "the light first had its birth;", "On thee, for our salvation,", "Christ rose from depths of earth;", "On thee, our Lord, victorious,", "the Spirit sent from heaven,", "And thus on thee, most glorious,", "a triple light was given."]}, "3": {"syllabified": "Thou art a port, pro -- tec -- ted from storms that round us rise; A gar -- den, int -- er -- sec -- ted with streams of par -- a -- dise; Thou art a cool -- ing foun -- tain in life's dry, drea -- ry sand; From thee, like Pis -- gah's moun -- tain, we view our prom -- ised land.", "prose": ["Thou art a port, protected", "from storms that round us rise;", "A garden, intersected", "with streams of paradise;", "Thou art a cooling fountain", "in life's dry, dreary sand;", "From thee, like Pisgah's mountain,", "we view our promised land."]}, "4": {"syllabified": "Thou art a ho -- ly lad -- der, where an -- gels go and come; Each Sun -- day finds us glad -- der, near -- er to heaven, our home; A day of sweet re -- fec -- tion, thou art a day of love, A day of res -- ur -- rec -- tion from earth to things a -- bove.", "prose": ["Thou art a holy ladder,", "where angels go and come;", "Each Sunday finds us gladder,", "nearer to heaven, our home;", "A day of sweet refection,", "thou art a day of love,", "A day of resurrection", "from earth to things above."]}, "5": {"syllabified": "To -- day on wear -- y na -- tions the heaven -- ly man -- na falls; To ho -- ly con -- vo -- ca -- tions the sil -- ver trum -- pet calls, Where Gos -- pel light is glow -- ing with pure and ra -- diant beams, And liv -- ing wa -- ter flow -- ing, with soul re -- fresh -- ing streams.", "prose": ["Today on weary nations", "the heavenly manna falls;", "To holy convocations", "the silver trumpet calls,", "Where Gospel light is glowing", "with pure and radiant beams,", "And living water flowing,", "with soul refreshing streams."]}}}, "o-for-a-closer-walk-with-god": {"slug": "o-for-a-closer-walk-with-god", "title": "O for a Closer Walk with God", "first_line": "O for a closer walk with God", "author": "william-cowper", "author_date": "1772", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Communion with God"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Cowper, \"O for a closer walk with God,\" written 1772, published in the Olney Hymns (London, 1779). Cowper d. 1800; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O for a clos -- er walk with God, A calm and heav'n -- ly frame, A light to shine up -- on the road That leads me to the Lamb!", "prose": ["O for a closer walk with God,", "A calm and heav'nly frame,", "A light to shine upon the road", "That leads me to the Lamb!"]}, "2": {"syllabified": "Where is the bless -- ed -- ness I knew When first I saw the Lord? Where is the soul -- re -- fresh -- ing view Of Je -- sus and His Word?", "prose": ["Where is the blessedness I knew", "When first I saw the Lord?", "Where is the soul-refreshing view", "Of Jesus and His Word?"]}, "3": {"syllabified": "Re -- turn, O ho -- ly Dove, re -- turn, Sweet mes -- sen -- ger of rest; I hate the sins that made Thee mourn, And drove Thee from my breast.", "prose": ["Return, O holy Dove, return,", "Sweet messenger of rest;", "I hate the sins that made Thee mourn,", "And drove Thee from my breast."]}, "4": {"syllabified": "The dear -- est i -- dol I have known, What -- e'er that i -- dol be, Help me to tear it from Thy throne, And wor -- ship on -- ly Thee.", "prose": ["The dearest idol I have known,", "Whate'er that idol be,", "Help me to tear it from Thy throne,", "And worship only Thee."]}, "5": {"syllabified": "So shall my walk be close with God, Calm and se -- rene my frame; So pur -- er light shall mark the road That leads me to the Lamb.", "prose": ["So shall my walk be close with God,", "Calm and serene my frame;", "So purer light shall mark the road", "That leads me to the Lamb."]}}}, "o-for-a-thousand-tongues-to-sing": {"slug": "o-for-a-thousand-tongues-to-sing", "title": "O for a Thousand Tongues to Sing", "first_line": "O for a thousand tongues to sing", "author": "charles-wesley", "author_date": "1740", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Testimony"], "scripture": ["Psalm 35:28"], "provenance": {"layer": "text", "source": "mason-modern-psalmist-1839", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley, 1740. Author d. 1788.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_for_a_thousand_tongues_to_sing_my", "total_instances": 1897}}, "stanzas": {"1": {"syllabified": "O for a thou -- sand tongues to sing My great Re -- deem -- er’s praise, The glo -- ries of my God and King, The tri -- umphs of His grace!", "prose": ["O for a thousand tongues to sing", "My great Redeemer’s praise,", "The glories of my God and King,", "The triumphs of His grace!"]}, "2": {"syllabified": "My gra -- cious Mas -- ter and my God, A -- ssist me to pro -- claim, To spread through all the earth a -- broad The hon -- ors of Thy name.", "prose": ["My gracious Master and my God,", "Assist me to proclaim,", "To spread through all the earth abroad", "The honors of Thy name."]}, "3": {"syllabified": "Je -- sus! the name that charms our fears, That bids our sor -- rows cease; ’Tis mu -- sic in the sin -- ner’s ears, ’Tis life, and health, and peace.", "prose": ["Jesus! the name that charms our fears,", "That bids our sorrows cease;", "’Tis music in the sinner’s ears,", "’Tis life, and health, and peace."]}, "4": {"syllabified": "He breaks the pow’r of can -- celed sin, He sets the pris -- oner free; His blood can make the foul -- est clean, His blood a -- vailed for me.", "prose": ["He breaks the pow’r of canceled sin,", "He sets the prisoner free;", "His blood can make the foulest clean,", "His blood availed for me."]}, "5": {"syllabified": "He speaks, and, lis -- tening to His voice, New life the dead re -- ceive, The mourn -- ful, bro -- ken hearts re -- joice, The hum -- ble poor be -- lieve.", "prose": ["He speaks, and, listening to His voice,", "New life the dead receive,", "The mournful, broken hearts rejoice,", "The humble poor believe."]}}}, "o-give-ye-praise-unto-the-lord": {"slug": "o-give-ye-praise-unto-the-lord", "title": "O Give Ye Praise unto the Lord", "first_line": "O give ye praise unto the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 117, "topics": ["Psalms"], "scripture": ["Psalm 117"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 117. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O give ye praise un -- to the Lord, all na -- ti -- ons that be; Like -- wise, ye peo -- ple all, ac -- cord his name to mag -- ni -- fy.", "prose": ["O give ye praise unto the Lord,", "all nations that be;", "Likewise, ye people all, accord", "his name to magnify."]}, "2": {"syllabified": "For great to us -- ward ev -- er are his lo -- ving -- kind -- nes -- ses: His truth en -- dures for ev -- er -- more. The Lord O do ye bless.", "prose": ["For great to us-ward ever are", "his loving-kindnesses:", "His truth endures for evermore.", "The Lord O do ye bless."]}}}, "o-gladsome-light": {"slug": "o-gladsome-light", "title": "O Gladsome Light", "first_line": "O gladsome light, O grace", "author_source": "Greek, 3rd century", "translator": "robert-bridges", "translator_date": "1899", "foot": "iambic", "meter": {"pattern": [6, 6, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Vespers", "Jesus Christ", "Light"], "scripture": "John 8:12", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "The Phos hilaron, the 3rd-century Greek lamp-lighting hymn (unknown author), in Robert Bridges' English translation. The Cyber Hymnal (ogladsom.htm) credits, verbatim: \"Words: Unknown author, 3rd Century (Fos ilaron agias doxis). Translated from Greek to English by Robert S. Bridges, 1899. This translation first appeared in Bridges' 1905 Yattendon Hymnal.\" (The Yattendon Hymnal is usually dated 1899; either date is pre-1931, and Bridges died in 1930.) Hymnary.org text authority o_gladsome_light_o_grace_of_god_the (Robert Seymour Bridges, 1844-1930; meter 6.6.7.6.6.7; 64 hymnals). Text as printed by The Cyber Hymnal, a lightly modernized form of Bridges (all three stanzas; \"of our creator's face\", \"Your appearing\" for Bridges' \"of God the Father's face\", \"thine appearing\"). One sung elision normalized for the 6.6.7 meter: \"The eternal\" is elided to \"Th'eternal\" in 1.3 (the Cyber Hymnal prints the full spelling; the line scans at seven syllables only with the standard elision, which hymnals print as \"Th'eternal\"). \"blessed\" in 1.4 and 2.6 is sung as one syllable (for Bridges' \"blest\"), and \"celestial\" in 1.4 as three. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"O Gladsome Light\" (ogladsom.htm); all three stanzas as printed there, credited \"Unknown author, 3rd Century... Translated from Greek to English by Robert S. Bridges, 1899.\"", "hymnary_ids": {"text_auth": "o_gladsome_light_o_grace_of_god_the", "total_instances": 64}}, "stanzas": {"1": {"syllabified": "O glad -- some light, O grace of our cre -- a -- tor's face, Th'e -- ter -- nal splen -- dor wear -- ing; ce -- les -- tial, ho -- ly blessed, Our Sav -- ior Je -- sus Christ, joy -- ful in Your ap -- pear -- ing!", "prose": ["O gladsome light, O grace", "of our creator's face,", "Th'eternal splendor wearing;", "celestial, holy blessed,", "Our Savior Jesus Christ,", "joyful in Your appearing!"]}, "2": {"syllabified": "As fades the day's last light we see the lamps of night, Our com -- mon hymn out -- pour -- ing, O God of might un -- known, You, the in -- car -- nate Son, and Spir -- it blessed a -- dor -- ing.", "prose": ["As fades the day's last light", "we see the lamps of night,", "Our common hymn outpouring,", "O God of might unknown,", "You, the incarnate Son,", "and Spirit blessed adoring."]}, "3": {"syllabified": "To You of right be -- longs all praise of ho -- ly songs, O Son of God, life giv -- er. You, there -- fore, O Most High, The world does glo -- ri -- fy and shall ex -- alt for -- ev -- er.", "prose": ["To You of right belongs", "all praise of holy songs,", "O Son of God, life giver.", "You, therefore, O Most High,", "The world does glorify", "and shall exalt forever."]}}}, "o-god-according-to-thy-grace": {"slug": "o-god-according-to-thy-grace", "title": "Prayer for Pardon and Cleansing", "first_line": "O God, according to Thy grace", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 51, "topics": ["Psalms"], "scripture": ["Psalm 51"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 143) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 51, selection 143. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, ac -- cord -- ing to Thy grace Be mer -- ci -- ful to me, In Thy a -- bound -- ing love blot out All my in -- iq -- ui -- ty; O wash me whol -- ly from my guilt And make me clean with -- in, For my trans -- gres -- sions I con -- fess, I ev -- er see my sin.", "prose": ["O God, according to Thy grace", "Be merciful to me,", "In Thy abounding love blot out", "All my iniquity;", "O wash me wholly from my guilt", "And make me clean within,", "For my transgressions I confess,", "I ever see my sin."]}, "2": {"syllabified": "A -- gainst Thee on -- ly have I sinned, Done e -- vil in Thy sight; Lord, in Thy judg -- ment Thou art just, And in thy sen -- tence right. Be -- hold, in e -- vil I was formed, And I was born in sin, But Thou wilt make me wise in heart, Thou seek -- est truth with -- in.", "prose": ["Against Thee only have I sinned,", "Done evil in Thy sight;", "Lord, in Thy judgment Thou art just,", "And in thy sentence right.", "Behold, in evil I was formed,", "And I was born in sin,", "But Thou wilt make me wise in heart,", "Thou seekest truth within."]}, "3": {"syllabified": "From all pol -- lu -- tion make me clean, Yea, whit -- er than the snow; O let my bro -- ken heart re -- joice And glad -- ness make me know; Blot out all my in -- iq -- ui -- ties, And hide my sins from view; Cre -- ate in me a spir -- it right, O God, my heart re -- new.", "prose": ["From all pollution make me clean,", "Yea, whiter than the snow;", "O let my broken heart rejoice", "And gladness make me know;", "Blot out all my iniquities,", "And hide my sins from view;", "Create in me a spirit right,", "O God, my heart renew."]}, "4": {"syllabified": "From out Thy pres -- ence cast me not, Thy face no more to see; Thy Ho -- ly Spir -- it and His grace Take not a -- way from me. Re -- store me Thy salvat -- io -- n's joy, My wil -- ling heart up -- hold; Then sin -- ners shall be turned to Thee When I Thy ways un -- fold.", "prose": ["From out Thy presence cast me not,", "Thy face no more to see;", "Thy Holy Spirit and His grace", "Take not away from me.", "Restore me Thy salvation's joy,", "My willing heart uphold;", "Then sinners shall be turned to Thee", "When I Thy ways unfold."]}}}, "o-god-be-merciful-to-me": {"slug": "o-god-be-merciful-to-me", "title": "Heroic Faith", "first_line": "O God, be merciful to me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 56, "topics": ["Psalms"], "scripture": ["Psalm 56"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 153) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 56, selection 153. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, be mer -- ci -- ful to me, For men no mer -- cy show; With con -- stant war -- fare press -- ing me They seek my o -- ver -- throw.", "prose": ["O God, be merciful to me,", "For men no mercy show;", "With constant warfare pressing me", "They seek my overthrow."]}, "2": {"syllabified": "When foes in -- vade, I safe -- ly rest, Con -- fid -- ing in thy word; I will not dread what man can do, My trust is in the Lord.", "prose": ["When foes invade, I safely rest,", "Confiding in thy word;", "I will not dread what man can do,", "My trust is in the Lord."]}, "3": {"syllabified": "I take Thy vows up -- on me now, O God, Who sav -- est me; the sac -- ri -- fice of praise I bring In grat -- i -- tude to Thee.", "prose": ["I take Thy vows upon me now,", "O God, Who savest me;", "the sacrifice of praise I bring", "In gratitude to Thee."]}, "4": {"syllabified": "My feet from fall -- ing and my soul From death Thy hast re -- stored, And ev -- er in the light of life I walk be -- fore the Lord.", "prose": ["My feet from falling and my soul", "From death Thy hast restored,", "And ever in the light of life", "I walk before the Lord."]}}}, "o-god-be-merciful-to-me-psalm-57": {"slug": "o-god-be-merciful-to-me-psalm-57", "title": "Danger and Rescue", "first_line": "O God, be merciful to me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 57, "topics": ["Psalms"], "scripture": ["Psalm 57"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 154) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 57, selection 154. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, be mer -- ci -- ful to me, My soul for ref -- uge comes to Thee; Be -- neath Thy wings I safe will stay Un -- til these trou -- bles pass a -- way.", "prose": ["O God, be merciful to me,", "My soul for refuge comes to Thee;", "Beneath Thy wings I safe will stay", "Until these troubles pass away."]}, "2": {"syllabified": "To God most High shall rise my prayer, To God Who makes my wants His care; From heav'n He will sal -- va -- tion send, And me from ev -- 'ry foe de -- fend.", "prose": ["To God most High shall rise my prayer,", "To God Who makes my wants His care;", "From heav'n He will salvation send,", "And me from ev'ry foe defend."]}, "3": {"syllabified": "Great foes and fierce my soul a -- larm, In -- flamed with rage and strong to harm, But God, from heav'n His dwell -- ing -- place, Will res -- cue me with truth and grace.", "prose": ["Great foes and fierce my soul alarm,", "Inflamed with rage and strong to harm,", "But God, from heav'n His dwelling-place,", "Will rescue me with truth and grace."]}, "4": {"syllabified": "Be Thou, O God, ex -- al -- ted high, Yea, far a -- bove the star -- ry sky, And let Thy glo -- ry be dis -- played O'er all the earth Thy hands have made.", "prose": ["Be Thou, O God, exalted high,", "Yea, far above the starry sky,", "And let Thy glory be displayed", "O'er all the earth Thy hands have made."]}}}, "o-god-be-thy-anointed-son": {"slug": "o-god-be-thy-anointed-son", "title": "The Blessings of Immanuel's Reign", "first_line": "O God, be Thy Anointed Son", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 72, "topics": ["Psalms"], "scripture": ["Psalm 72"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 198) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 72, selection 198. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, be Thy A -- noint -- ed Son With truth and right -- eous -- ness en -- dowed, That jus -- tice may on earth be done, The meek pro -- tec -- ted from the proud.", "prose": ["O God, be Thy Anointed Son", "With truth and righteousness endowed,", "That justice may on earth be done,", "The meek protected from the proud."]}, "2": {"syllabified": "Then o -- ver moun -- tain side and plain Shall peace spring forth from right -- eous -- ness; The poor man's cause will He main -- tain, And save the week, that none op -- press.", "prose": ["Then over mountain side and plain", "Shall peace spring forth from righteousness;", "The poor man's cause will He maintain,", "And save the week, that none oppress."]}, "3": {"syllabified": "Then shall Thy fear on earth be known Long as the sun and moon shall shine; While end -- less gen -- er -- a -- tions run King -- dom and glo -- ry shall be Thine.", "prose": ["Then shall Thy fear on earth be known", "Long as the sun and moon shall shine;", "While endless generations run", "Kingdom and glory shall be Thine."]}, "4": {"syllabified": "Like co -- pious rain in time of dearth, So shall His gra -- cious com -- ing be; As gen -- tle show'rs that cheer the earth, So He shall bring pros -- per -- i -- ty.", "prose": ["Like copious rain in time of dearth,", "So shall His gracious coming be;", "As gentle show'rs that cheer the earth,", "So He shall bring prosperity."]}, "5": {"syllabified": "The just shall flour -- ish in His day, And ev -- er -- more shall peace ex -- tend; From sea to sea shall be His sway, And to the earth's re -- mot -- est end.", "prose": ["The just shall flourish in His day,", "And evermore shall peace extend;", "From sea to sea shall be His sway,", "And to the earth's remotest end."]}, "6": {"syllabified": "The des -- ert lands to Him shall bow, And all the is -- lands of the sea, And kings with gifts shall pay their vow, His en -- e -- mies shall bend the knee.", "prose": ["The desert lands to Him shall bow,", "And all the islands of the sea,", "And kings with gifts shall pay their vow,", "His enemies shall bend the knee."]}, "7": {"syllabified": "In great com -- pas -- sion for the weak He ev -- er will main -- tain their right, Will help the poor and save the meek; Their lives are pre -- cious in His sight.", "prose": ["In great compassion for the weak", "He ever will maintain their right,", "Will help the poor and save the meek;", "Their lives are precious in His sight."]}}}, "o-god-give-ear-unto-my-cry": {"slug": "o-god-give-ear-unto-my-cry", "title": "O God, Give Ear unto My Cry", "first_line": "O God, give ear unto my cry", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 61, "topics": ["Psalms"], "scripture": ["Psalm 61"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 61. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, give ear un -- to my cry; un -- to my pray'r at -- tend. From th'ut -- most cor -- ner of the land my cry to thee I'll send.", "prose": ["O God, give ear unto my cry;", "unto my pray'r attend.", "From th' utmost corner of the land", "my cry to thee I'll send."]}, "2": {"syllabified": "What time my heart is o -- ver -- whelmed and in per -- plex -- it -- y, Do thou me lead un -- to the Rock that high -- er is than I.", "prose": ["What time my heart is overwhelmed", "and in perplexity,", "Do thou me lead unto the Rock", "that higher is than I."]}, "3": {"syllabified": "For thou hast for my ref -- uge been a shel -- ter by thy pow'r; And for de -- fence a -- gainst my foes thou hast been a strong tow'r.", "prose": ["For thou hast for my refuge been", "a shelter by thy pow'r;", "And for defence against my foes", "thou hast been a strong tow'r."]}, "4": {"syllabified": "With -- in thy tab -- er -- nac -- le I for ev -- er will a -- bide; And un -- der co -- vert of thy wings with con -- fi -- dence me hide.", "prose": ["Within thy tabernacle I", "for ever will abide;", "And under covert of thy wings", "with confidence me hide."]}, "5": {"syllabified": "For thou the vows that I did make, O Lord my God, didst hear: Thou hast giv'n me the her -- i -- tage of those thy name that fear.", "prose": ["For thou the vows that I did make,", "O Lord my God, didst hear:", "Thou hast giv'n me the heritage", "of those thy name that fear."]}, "6": {"syllabified": "A life pro -- longed for man -- y days thou to the king shalt give; Like man -- y gen -- er -- a -- tions be the years which he shall live.", "prose": ["A life prolonged for many days", "thou to the king shalt give;", "Like many generations be", "the years which he shall live."]}, "7": {"syllabified": "He in God's pres -- ence his a -- bode for ev -- er -- more shall have: O do thou truth and mer -- cy both pre -- pare, that may him save.", "prose": ["He in God's presence his abode", "for evermore shall have:", "O do thou truth and mercy both", "prepare, that may him save."]}, "8": {"syllabified": "And so will I per -- pet -- ual -- ly sing praise un -- to thy name; That hav -- ing made my vows, I may each day per -- form the same.", "prose": ["And so will I perpetually", "sing praise unto thy name;", "That having made my vows, I may", "each day perform the same."]}}}, "o-god-give-ear-unto-my-cry-psalm-61": {"slug": "o-god-give-ear-unto-my-cry-psalm-61", "title": "Confidence in God", "first_line": "O God, give ear unto my cry", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 61, "topics": ["Psalms"], "scripture": ["Psalm 61"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 160) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 61, selection 160. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, give ear un -- to my cry, And to my voice at -- tend; Thought far from home and from Thy house, To Thee my prayers as -- cend.", "prose": ["O God, give ear unto my cry,", "And to my voice attend;", "Thought far from home and from Thy house,", "To Thee my prayers ascend."]}, "2": {"syllabified": "When trou -- bles o -- ver -- whelm my heart, Then Thou wilt hear my cry, For safe -- ty lead me to the Rock That high -- er is than I.", "prose": ["When troubles overwhelm my heart, \\", "Then Thou wilt hear my cry,", "For safety lead me to the Rock", "That higher is than I."]}, "3": {"syllabified": "A ref -- uge Thou hast been for me When storms of trou -- ble low'r; When foes as -- sail, then Thou hast been My strong de -- fense and tow'r.", "prose": ["A refuge Thou hast been for me", "When storms of trouble low'r;", "When foes assail, then Thou hast been", "My strong defense and tow'r."]}, "4": {"syllabified": "With -- in Thy ho -- ly tem -- ple, Lord, I ev -- er will a -- bide; Be -- neath the co -- vert of Thy wings In con -- fi -- dence I hide.", "prose": ["Within Thy holy temple, Lord,", "I ever will abide;", "Beneath the covert of Thy wings", "In confidence I hide."]}}}, "o-god-give-thou-ear-to-my-plea": {"slug": "o-god-give-thou-ear-to-my-plea", "title": "Desire for Rest", "first_line": "O God, give Thou ear to my plea", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 55, "topics": ["Psalms"], "scripture": ["Psalm 55"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 150) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 55, selection 150. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, give Thou ear to my plea, And hide not Thy -- self from my cry; O hear -- ken and an -- swer Thou me, As rest -- less and wea -- ry I sigh.", "prose": ["O God, give Thou ear to my plea,", "And hide not Thyself from my cry;", "O hearken and answer Thou me,", "As restless and weary I sigh."]}, "2": {"syllabified": "O that I had wings like a dove, Fro then I would fly far a -- way And seek for the rest that I love, Where trou -- ble no more could dis -- may.", "prose": ["O that I had wings like a dove,", "Fro then I would fly far away", "And seek for the rest that I love,", "Where trouble no more could dismay."]}, "3": {"syllabified": "Nay, soul, call on god all the day; The Lord for Thy help will ap -- pear; At eve, morn, and noon hum -- bly pray, And He thy pe -- ti -- tion will hear.", "prose": ["Nay, soul, call on god all the day;", "The Lord for Thy help will appear;", "At eve, morn, and noon humbly pray,", "And He thy petition will hear."]}, "4": {"syllabified": "Thy bur -- den now cast on the Lord, And He shall thy weak -- ness sus -- tain; The right -- eous who trust in His word Un -- moved shall for -- ev -- er re -- main.", "prose": ["Thy burden now cast on the Lord,", "And He shall thy weakness sustain;", "The righteous who trust in His word", "Unmoved shall forever remain."]}}}, "o-god-most-holy-are-thy-ways": {"slug": "o-god-most-holy-are-thy-ways", "title": "The Wonderful Deeds of God", "first_line": "O God, most holy are Thy ways", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 77, "topics": ["Psalms"], "scripture": ["Psalm 77"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "The Psalter (1912), selection 211 ('The Wonderful Deeds of God', Psalm 77:13-20), via The Cyber Hymnal / Blue Letter Bible and hymnary.org (PS1912/211)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 - Psalm 77:13-20, selection 211 ('The Wonderful Deeds of God'), anonymous. US public domain by pre-1931 publication. Original archaic-pronoun text (not the 1990 Trinity Hymnal revision).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, most ho -- ly are Thy ways, And who like Thee de -- serves my praise? Thou on -- ly do -- est won -- drous things, The whole wide world Thy glo -- ry sings; Thine out -- stretched arm Thy peo -- ple saved, Though sore dis -- tressed and long en -- slaved.", "prose": ["O God, most holy are Thy ways,", "And who like Thee deserves my praise?", "Thou only doest wondrous things,", "The whole wide world Thy glory sings;", "Thine outstretched arm Thy people saved,", "Though sore distressed and long enslaved."]}, "2": {"syllabified": "O God, from Thee the wa -- ters fled, The depths were moved with might -- y dread, The swell -- ing clouds their tor -- rents poured, And o'er the earth the tem -- pest roared; 'Mid light -- ning's flash and thun -- der's sound Great trem -- bling shook the sol -- id ground.", "prose": ["O God, from Thee the waters fled,", "The depths were moved with mighty dread,", "The swelling clouds their torrents poured,", "And o'er the earth the tempest roared;", "'Mid lightning's flash and thunder's sound", "Great trembling shook the solid ground."]}, "3": {"syllabified": "Thy way was in the sea, O God, Through might -- y wa -- ters, deep and broad; None un -- der -- stood but God a -- lone, To man Thy foot -- steps were un -- known; But safe Thy peo -- ple Thou didst keep, Al -- might -- y Shep -- herd of Thy sheep.", "prose": ["Thy way was in the sea, O God,", "Through mighty waters, deep and broad;", "None understood but God alone,", "To man Thy footsteps were unknown;", "But safe Thy people Thou didst keep,", "Almighty Shepherd of Thy sheep."]}}}, "o-god-regard-my-humble-plea": {"slug": "o-god-regard-my-humble-plea", "title": "Communion with God", "first_line": "O God, regard my humble plea", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 61, "topics": ["Psalms"], "scripture": ["Psalm 61"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 159) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 61, selection 159. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, re -- gard my hum -- ble plea; I can -- not be so far from Thee But Thou wilt hear my cry; When I by trou -- ble am dis -- tressed, Then lead me on the rock to rest That high -- er is than I.", "prose": ["O God, regard my humble plea;", "I cannot be so far from Thee", "But Thou wilt hear my cry;", "When I by trouble am distressed,", "Then lead me on the rock to rest", "That higher is than I."]}, "2": {"syllabified": "In Thee my soul hath shel -- ter found, And Thou hast been form foes a -- round The tow'r to which I flee. With -- in Thy house will I a -- bide; My ref -- uge sure, what -- e'er be -- tide, Thy shel -- t'ring wings shall be.", "prose": ["In Thee my soul hath shelter found,", "And Thou hast been form foes around", "The tow'r to which I flee.", "Within Thy house will I abide;", "My refuge sure, whate'er betide,", "Thy shelt'ring wings shall be."]}, "3": {"syllabified": "For Thou, O God, my vows hast heard, On me the her -- i -- tage con -- ferred of those that fear Thy Name; A blest a -- noint -- ing Thou dost give, And Thou wilt make me ev -- er live Thy prais -- es to pro -- claim.", "prose": ["For Thou, O God, my vows hast heard,", "On me the heritage conferred", "of those that fear Thy Name;", "A blest anointing Thou dost give,", "And Thou wilt make me ever live", "Thy praises to proclaim."]}, "4": {"syllabified": "Be -- fore Thy face shall I a -- bide; O God, Thy truth and grace pro -- vide To guard me in the way; So I will make Thy prais -- es known, And, hum -- bly bend -- ing at Thy throne, My vows will dai -- ly pay.", "prose": ["Before Thy face shall I abide;", "O God, Thy truth and grace provide", "To guard me in the way;", "So I will make Thy praises known,", "And, humbly bending at Thy throne,", "My vows will daily pay."]}}}, "o-god-the-god-that-saveth-me": {"slug": "o-god-the-god-that-saveth-me", "title": "Pardon and Testimony", "first_line": "O God, the God that saveth me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 51, "topics": ["Psalms"], "scripture": ["Psalm 51"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 144) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 51, selection 144. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, the God that sav -- eth me, Re -- move my guilt -- y stains, And I will sing thy right -- eous -- ness In grate -- ful, joy -- ous strains.", "prose": ["O God, the God that saveth me,", "Remove my guilty stains,", "And I will sing thy righteousness", "In grateful, joyous strains."]}, "2": {"syllabified": "O Lord, now o -- pen Thou my lips, Long closed by sin and shame; My mouth shall show be -- fore the world The glo -- ry of Thy Name.", "prose": ["O Lord, now open Thou my lips,", "Long closed by sin and shame;", "My mouth shall show before the world", "The glory of Thy Name."]}, "3": {"syllabified": "No sac -- ri -- fice dost thou de -- sire, Else would I give it Thee; Now with ap -- point -- ed of -- fer -- ings Wilt Thou de -- light -- ed be.", "prose": ["No sacrifice dost thou desire,", "Else would I give it Thee;", "Now with appointed offerings", "Wilt Thou delighted be."]}, "4": {"syllabified": "A bro -- ken spir -- it is to God A pleas -- ing sac -- ri -- fice; A bro -- ken and a con -- trite heart Thou, Lord, wilt not de -- spise.", "prose": ["A broken spirit is to God", "A pleasing sacrifice;", "A broken and a contrite heart", "Thou, Lord, wilt not despise."]}, "5": {"syllabified": "Do good to Zi -- on in thy grace, Her ru -- ined walls re -- store; Then sac -- ri -- fice of right -- eous -- ness Shall please Thee as of yore.", "prose": ["Do good to Zion in thy grace,", "Her ruined walls restore;", "Then sacrifice of righteousness", "Shall please Thee as of yore."]}, "6": {"syllabified": "Thy peo -- ple then with wil -- ling hands And hearts that Thou hast blessed Shall bring in thank -- ful sac -- ri -- fice Their choic -- est gifts and best.", "prose": ["Thy people then with willing hands", "And hearts that Thou hast blessed", "Shall bring in thankful sacrifice", "Their choicest gifts and best."]}}}, "o-god-the-heathen-entered-have": {"slug": "o-god-the-heathen-entered-have", "title": "O God, the Heathen Entered Have", "first_line": "O God, the heathen entered have", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 79, "topics": ["Psalms"], "scripture": ["Psalm 79"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 79. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, the hea -- then en -- tered have thine her -- i -- tage; by them De -- fil -- ed is thy house: on heaps they laid Je -- ru -- sa -- lem.", "prose": ["O God, the heathen entered have", "thine heritage; by them", "Defiled is thy house: on heaps", "they laid Jerusalem."]}, "2": {"syllabified": "The bod -- ies of thy ser -- vants they have cast forth to be meat To rav -- 'nous fowls; thy dear saints' flesh they gave to beasts to eat.", "prose": ["The bodies of thy servants they", "have cast forth to be meat", "To rav'nous fowls; thy dear saints' flesh", "they gave to beasts to eat."]}, "3": {"syllabified": "Their blood a -- bout Je -- ru -- sa -- lem like wa -- ter they have shed; And there was none to bur -- y them when they were slain and dead.", "prose": ["Their blood about Jerusalem", "like water they have shed;", "And there was none to bury them", "when they were slain and dead."]}, "4": {"syllabified": "Un -- to our neigh -- bours a re -- proach most base be -- come are we; A scorn and lau -- ghing -- stock to them that round a -- bout us be.", "prose": ["Unto our neighbours a reproach", "most base become are we;", "A scorn and laughingstock to them", "that round about us be."]}, "5": {"syllabified": "How long, Lord, shall thine an -- ger last? wilt thou still keep the same? And shall thy fer -- vent jeal -- ou -- sy burn like un -- to a flame?", "prose": ["How long, Lord, shall thine anger last?", "wilt thou still keep the same?", "And shall thy fervent jealousy", "burn like unto a flame?"]}, "6": {"syllabified": "On hea -- then pour thy fu -- ry forth, that have thee nev -- er known, And on those king -- doms which thy name have nev -- er called up -- on.", "prose": ["On heathen pour thy fury forth,", "that have thee never known,", "And on those kingdoms which thy name", "have never called upon."]}, "7": {"syllabified": "For these are they who Ja -- cob have de -- vour -- ed cru -- el -- ly; And they his hab -- i -- ta -- ti -- on have caus -- ed waste to lie.", "prose": ["For these are they who Jacob have", "devoured cruelly;", "And they his habitation", "have caused waste to lie."]}, "8": {"syllabified": "A -- gainst us mind not for -- mer sins; thy ten -- der mer -- cies show; Let them pre -- vent us speed -- i -- ly, for we're brought ver -- y low.", "prose": ["Against us mind not former sins;", "thy tender mercies show;", "Let them prevent us speedily,", "for we're brought very low."]}, "9": {"syllabified": "For thy name's glo -- ry help us, Lord, who hast our Sav -- iour been: De -- liv -- er us; for thy name's sake, O purge a -- way our sin.", "prose": ["For thy name's glory help us, Lord,", "who hast our Saviour been:", "Deliver us; for thy name's sake,", "O purge away our sin."]}, "10": {"syllabified": "Why say the hea -- then, Where's their God? let him to them be known; When those who shed thy ser -- vants' blood are in our sight o'er -- thrown.", "prose": ["Why say the heathen, Where's their God?", "let him to them be known;", "When those who shed thy servants' blood", "are in our sight o'erthrown."]}, "11": {"syllabified": "O let the pris -- 'ner's sighs as -- cend be -- fore thy sight on high; Pre -- serve those in thy might -- y pow'r that are de -- signed to die.", "prose": ["O let the pris'ner's sighs ascend", "before thy sight on high;", "Preserve those in thy mighty pow'r", "that are designed to die."]}, "12": {"syllabified": "And to our neigh -- bours' bos -- om cause it sev'n -- fold ren -- dered be, Ev'n the re -- proach where -- with they have, O Lord, re -- proach -- ed thee.", "prose": ["And to our neighbours' bosom cause", "it sev'n-fold rendered be,", "Ev'n the reproach wherewith they have,", "O Lord, reproached thee."]}, "13": {"syllabified": "So we thy folk, and pas -- ture -- sheep, shall give thee thanks al -- ways; And un -- to gen -- er -- a -- tions all we will show forth thy praise.", "prose": ["So we thy folk, and pasture-sheep,", "shall give thee thanks always;", "And unto generations all", "we will show forth thy praise."]}}}, "o-god-to-thy-anointed-king": {"slug": "o-god-to-thy-anointed-king", "title": "The Reign of Christ", "first_line": "O God, to thy Anointed King", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 72, "topics": ["Psalms"], "scripture": ["Psalm 72"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 193) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 72, selection 193. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, to thy A -- noint -- ed King Give truth and right -- eous -- ness; Thy peo -- ple He will just -- ly judge And give the poor re -- dress.", "prose": ["O God, to thy Anointed King", "Give truth and righteousness;", "Thy people He will justly judge", "And give the poor redress."]}, "2": {"syllabified": "Then ev -- 'ry fruit -- ful moun -- tain side Shall yield its rich in -- crease, And right -- eous -- ness in all the land Shall bear the fruit of peace.", "prose": ["Then ev'ry fruitful mountain side", "Shall yield its rich increase,", "And righteousness in all the land", "Shall bear the fruit of peace."]}, "3": {"syllabified": "The poor man's cause He will main -- tain, The need -- y He will bless, And He will break the strength of those Who would the poor op -- press.", "prose": ["The poor man's cause He will maintain,", "The needy He will bless,", "And He will break the strength of those", "Who would the poor oppress."]}, "4": {"syllabified": "So men shall fear Thee wile the sun In dai -- ly splen -- dor glows, And through all ag -- es, while the moon On earth its light be -- stows.", "prose": ["So men shall fear Thee wile the sun", "In daily splendor glows,", "And through all ages, while the moon", "On earth its light bestows."]}, "5": {"syllabified": "Like rain up -- on the new -- mown grass, That falls re -- fresh -- ing -- ly, Like gen -- tle show'rs that cheer the earth, So shall His com -- ing be.", "prose": ["Like rain upon the new-mown grass,", "That falls refreshingly,", "Like gentle show'rs that cheer the earth,", "So shall His coming be."]}, "6": {"syllabified": "The right -- eous in His glo -- rious day Shall flour -- ish and in -- crease; The earth, un -- til the moon shall fade, Shall have a -- bun -- dant peace.", "prose": ["The righteous in His glorious day", "Shall flourish and increase;", "The earth, until the moon shall fade,", "Shall have abundant peace."]}}}, "o-god-we-with-our-ears-have-heard": {"slug": "o-god-we-with-our-ears-have-heard", "title": "O God, We with Our Ears Have Heard", "first_line": "O God, we with our ears have heard", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 44, "topics": ["Psalms"], "scripture": ["Psalm 44"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 44. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, we with our ears have heard, our fa -- thers have us told, What works thou in their days hadst done, ev'n in the days of old.", "prose": ["O God, we with our ears have heard,", "our fathers have us told,", "What works thou in their days hadst done,", "ev'n in the days of old."]}, "2": {"syllabified": "Thy hand did drive the hea -- then out, and plant them in their place; Thou didst af -- flict the na -- ti -- ons, but them thou didst in -- crease.", "prose": ["Thy hand did drive the heathen out,", "and plant them in their place;", "Thou didst afflict the nations,", "but them thou didst increase."]}, "3": {"syllabified": "For nei -- ther got their sword the land, nor did their arm them save; But thy right hand, arm, coun -- ten -- ance; for thou them fa -- vour gave.", "prose": ["For neither got their sword the land,", "nor did their arm them save;", "But thy right hand, arm, countenance;", "for thou them favour gave."]}, "4": {"syllabified": "Thou art my King: for Ja -- cob, Lord, de -- liv -- 'ranc -- es com -- mand. Through thee we shall push down our foes, that do a -- gainst us stand:", "prose": ["Thou art my King: for Jacob, Lord,", "deliv'rances command.", "Through thee we shall push down our foes,", "that do against us stand:"]}, "5": {"syllabified": "We, through thy name, shall tread down those that ris'n a -- gainst us have. For in my bow I shall not trust, nor shall my sword me save.", "prose": ["We, through thy name, shall tread down those", "that ris'n against us have.", "For in my bow I shall not trust,", "nor shall my sword me save."]}, "6": {"syllabified": "But from our foes thou hast us saved, our hat -- ers put to shame. In God we all the day do boast, and ev -- er praise thy name.", "prose": ["But from our foes thou hast us saved,", "our haters put to shame.", "In God we all the day do boast,", "and ever praise thy name."]}, "7": {"syllabified": "But now we are cast off by thee, and us thou putt'st to shame; And when our ar -- mies do go forth, thou goest not with the same.", "prose": ["But now we are cast off by thee,", "and us thou putt'st to shame;", "And when our armies do go forth,", "thou goest not with the same."]}, "8": {"syllabified": "Thou mak'st us from the en -- e -- my, faint -- heart -- ed, to turn back; And they who hate us for them -- selves our spoils a -- way do take.", "prose": ["Thou mak'st us from the enemy,", "faint-hearted, to turn back;", "And they who hate us for themselves", "our spoils away do take."]}, "9": {"syllabified": "Like sheep for meat thou gav -- est us; 'mong hea -- then cast we be. Thou didst for nought thy peo -- ple sell; their price en -- riched not thee.", "prose": ["Like sheep for meat thou gavest us;", "'mong heathen cast we be.", "Thou didst for nought thy people sell;", "their price enriched not thee."]}, "10": {"syllabified": "Thou mak'st us a re -- proach to be un -- to our neigh -- bours near; De -- ri -- sion and a scorn to them that round a -- bout us are.", "prose": ["Thou mak'st us a reproach to be", "unto our neighbours near;", "Derision and a scorn to them", "that round about us are."]}, "11": {"syllabified": "A by -- word al -- so thou dost us a -- mong the hea -- then make; The peo -- ple, in con -- tempt and spite, at us their heads do shake.", "prose": ["A by-word also thou dost us", "among the heathen make;", "The people, in contempt and spite,", "at us their heads do shake."]}, "12": {"syllabified": "Be -- fore me my con -- fu -- si -- on con -- tin -- ual -- ly a -- bides; And of my bash -- ful coun -- ten -- ance the shame me ev -- er hides:", "prose": ["Before me my confusion", "continually abides;", "And of my bashful countenance", "the shame me ever hides:"]}, "13": {"syllabified": "For voice of him that doth re -- proach, and speak -- eth blas -- phe -- my; By rea -- son of th'a -- veng -- ing foe, and cru -- el en -- e -- my.", "prose": ["For voice of him that doth reproach,", "and speaketh blasphemy;", "By reason of th' avenging foe,", "and cruel enemy."]}, "14": {"syllabified": "All this is come on us, yet we have not for -- got -- ten thee; Nor false -- ly in thy cov -- e -- nant be -- haved our -- selves have we.", "prose": ["All this is come on us, yet we", "have not forgotten thee;", "Nor falsely in thy covenant", "behaved ourselves have we."]}, "15": {"syllabified": "Back from thy way our heart not turned; our steps no stray -- ing made; Though us thou brak'st in drag -- ons' place, and cov -- er'dst with death's shade.", "prose": ["Back from thy way our heart not turned;", "our steps no straying made;", "Though us thou brak'st in dragons' place,", "and cover'dst with death's shade."]}, "16": {"syllabified": "If we God's name for -- got, or stretched to a strange god our hands, Shall not God search this out? for he heart's se -- crets un -- der -- stands.", "prose": ["If we God's name forgot, or stretched", "to a strange god our hands,", "Shall not God search this out? for he", "heart's secrets understands."]}, "17": {"syllabified": "Yea, for thy sake we're killed all day, count -- ed as slaugh -- ter -- sheep. Rise, Lord, cast us not ev -- er off; a -- wake, why dost thou sleep?", "prose": ["Yea, for thy sake we're killed all day,", "counted as slaughter-sheep.", "Rise, Lord, cast us not ever off;", "awake, why dost thou sleep?"]}, "18": {"syllabified": "O where -- fore hid -- est thou thy face? for -- gett'st our cause dis -- tressed, And our op -- pres -- sion? For our soul is to the dust down pressed:", "prose": ["O wherefore hidest thou thy face?", "forgett'st our cause distressed,", "And our oppression? For our soul", "is to the dust down pressed:"]}, "19": {"syllabified": "Our bel -- ly al -- so on the earth fast cleav -- ing, hold doth take. Rise for our help, and us re -- deem, ev'n for thy mer -- cies' sake.", "prose": ["Our belly also on the earth", "fast cleaving, hold doth take.", "Rise for our help, and us redeem,", "ev'n for thy mercies' sake."]}}}, "o-god-why-hast-thou-cast-us-off": {"slug": "o-god-why-hast-thou-cast-us-off", "title": "O God, Why Hast Thou Cast Us Off?", "first_line": "O God, why hast thou cast us off?", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 74, "topics": ["Psalms"], "scripture": ["Psalm 74"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 74. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O God, why hast thou cast us off? is it for ev -- er -- more? A -- gainst thy pas -- ture -- sheep why doth thine an -- ger smoke so sore?", "prose": ["O God, why hast thou cast us off?", "is it for evermore?", "Against thy pasture-sheep why doth", "thine anger smoke so sore?"]}, "2": {"syllabified": "O call to thy re -- mem -- ber -- ance thy con -- gre -- ga -- ti -- on, Which thou hast pur -- chas -- ed of old; still think the same up -- on:", "prose": ["O call to thy rememberance", "thy congregation,", "Which thou hast purchased of old;", "still think the same upon:"]}, "3": {"syllabified": "The rod of thine in -- her -- i -- tance, which thou re -- deem -- ed hast, This Zi -- on hill, where -- in thou hadst thy dwell -- ing in times past.", "prose": ["The rod of thine inheritance,", "which thou redeemed hast,", "This Zion hill, wherein thou hadst", "thy dwelling in times past."]}, "4": {"syllabified": "To these long des -- o -- la -- ti -- ons thy feet lift, do not tar -- ry; For all the ills thy foes have done with -- in thy sanc -- tua -- ry.", "prose": ["To these long desolations", "thy feet lift, do not tarry;", "For all the ills thy foes have done", "within thy sanctuary."]}, "5": {"syllabified": "A -- midst thy con -- gre -- ga -- ti -- ons thine en -- e -- mies do roar: Their en -- signs they set up for signs of tri -- umph thee be -- fore.", "prose": ["Amidst thy congregations", "thine enemies do roar:", "Their ensigns they set up for signs", "of triumph thee before."]}, "6": {"syllabified": "A man was fa -- mous, and was had in es -- ti -- ma -- ti -- on, Ac -- cord -- ing as he lift -- ed up his axe thick trees up -- on.", "prose": ["A man was famous, and was had", "in estimation,", "According as he lifted up", "his axe thick trees upon."]}, "7": {"syllabified": "But all at once with ax -- es now and ham -- mers they go to, And down the carv -- ed work there -- of they break, and quite un -- do.", "prose": ["But all at once with axes now", "and hammers they go to,", "And down the carved work thereof", "they break, and quite undo."]}, "8": {"syllabified": "They fir -- ed have thy sanc -- tua -- ry, and have de -- filed the same, By cast -- ing down un -- to the ground the place where dwelt thy name.", "prose": ["They fired have thy sanctuary,", "and have defiled the same,", "By casting down unto the ground", "the place where dwelt thy name."]}, "9": {"syllabified": "Thus said they in their hearts, Let us de -- stroy them out of hand: They burnt up all the syn -- a -- gogues of God with -- in the land.", "prose": ["Thus said they in their hearts, Let us", "destroy them out of hand:", "They burnt up all the synagogues", "of God within the land."]}, "10": {"syllabified": "Our signs we do not now be -- hold; there is not us a -- mong A proph -- et more, nor an -- y one that knows the time how long.", "prose": ["Our signs we do not now behold;", "there is not us among", "A prophet more, nor any one", "that knows the time how long."]}, "11": {"syllabified": "How long, Lord, shall the en -- e -- my thus in re -- proach ex -- claim? And shall the ad -- ver -- sar -- y thus al -- ways blas -- pheme thy name?", "prose": ["How long, Lord, shall the enemy", "thus in reproach exclaim?", "And shall the adversary thus", "always blaspheme thy name?"]}, "12": {"syllabified": "Thy hand, ev'n thy right hand of might, why dost thou thus draw back? O from thy bos -- om pluck it out for our de -- liv -- 'rance' sake.", "prose": ["Thy hand, ev'n thy right hand of might,", "why dost thou thus draw back?", "O from thy bosom pluck it out", "for our deliv'rance' sake."]}, "13": {"syllabified": "For cer -- tain -- ly God is my King, ev'n from the times of old, Work -- ing in midst of all the earth sal -- va -- tion man -- i -- fold.", "prose": ["For certainly God is my King,", "ev'n from the times of old,", "Working in midst of all the earth", "salvation manifold."]}, "14": {"syllabified": "The sea, by thy great pow'r, to part a -- sun -- der thou didst make; And thou the drag -- ons' heads, O Lord, with -- in the wa -- ters brake.", "prose": ["The sea, by thy great pow'r, to part", "asunder thou didst make;", "And thou the dragons' heads, O Lord,", "within the waters brake."]}, "15": {"syllabified": "The le -- vi -- a -- than's head thou brak'st in piec -- es, and didst give Him to be meat un -- to the folk in wil -- der -- ness that live.", "prose": ["The leviathan's head thou brak'st", "in pieces, and didst give", "Him to be meat unto the folk", "in wilderness that live."]}, "16": {"syllabified": "Thou clav'st the foun -- tain and the flood, which did with streams a -- bound: Thou dri'dst the might -- y wa -- ters up un -- to the ver -- y ground.", "prose": ["Thou clav'st the fountain and the flood,", "which did with streams abound:", "Thou dri'dst the mighty waters up", "unto the very ground."]}, "17": {"syllabified": "Thine on -- ly is the day, O Lord, thine al -- so is the night; And thou a -- lone pre -- par -- ed hast the sun and shin -- ing light.", "prose": ["Thine only is the day, O Lord,", "thine also is the night;", "And thou alone prepared hast", "the sun and shining light."]}, "18": {"syllabified": "By thee the bor -- ders of the earth were settled ev -- er -- y -- where: The sum -- mer and the win -- ter both by thee cre -- at -- ed were.", "prose": ["By thee the borders of the earth", "were settled everywhere:", "The summer and the winter both", "by thee created were."]}, "19": {"syllabified": "That th'en -- e -- my re -- proach -- ed hath, O keep it in re -- cord; And that the fool -- ish peo -- ple have blas -- phemed thy name, O Lord.", "prose": ["That th' enemy reproached hath,", "O keep it in record;", "And that the foolish people have", "blasphemed thy name, O Lord."]}, "20": {"syllabified": "Un -- to the mul -- ti -- tude do not thy turt -- le's soul de -- liv -- er: The con -- gre -- ga -- tion of thy poor do not for -- get for ev -- er.", "prose": ["Unto the multitude do not", "thy turtle's soul deliver:", "The congregation of thy poor", "do not forget for ever."]}, "21": {"syllabified": "Un -- to thy cov -- 'nant have re -- spect; for earth's dark plac -- es be Full of the hab -- i -- ta -- ti -- ons of hor -- rid cru -- el -- ty.", "prose": ["Unto thy cov'nant have respect;", "for earth's dark places be", "Full of the habitations", "of horrid cruelty."]}, "22": {"syllabified": "O let not those that be op -- pressed re -- turn a -- gain with shame: Let those that poor and need -- y are give praise un -- to thy name.", "prose": ["O let not those that be oppressed", "return again with shame:", "Let those that poor and needy are", "give praise unto thy name."]}, "23": {"syllabified": "Do thou, O God, a -- rise and plead the cause that is thine own: Re -- mem -- ber how thou art re -- proached still by the fool -- ish one.", "prose": ["Do thou, O God, arise and plead", "the cause that is thine own:", "Remember how thou art reproached", "still by the foolish one."]}, "24": {"syllabified": "Do not for -- get the voice of those that are thine en -- e -- mies: Of those the tu -- mult ev -- er grows that do a -- gainst thee rise.", "prose": ["Do not forget the voice of those", "that are thine enemies:", "Of those the tumult ever grows", "that do against thee rise."]}}}, "o-jehovah-hear-my-words": {"slug": "o-jehovah-hear-my-words", "title": "Prayer and Protection", "first_line": "O Jehovah, hear my words", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 5, "topics": ["Psalms"], "scripture": ["Psalm 5"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 11) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 5, selection 11. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Je -- ho -- vah, hear my words, To my tho'ts at -- ten -- tive be; Hear my cry, my King, my God, I will make my prayer to Thee.", "prose": ["O Jehovah, hear my words,", "To my tho'ts attentive be;", "Hear my cry, my King, my God,", "I will make my prayer to Thee."]}, "2": {"syllabified": "With the morn -- ing light, O Lord, Thou shalt hear my voice a -- rise, And ex -- pec -- tant I will bring Prayer as morn -- ing sac -- ri -- fice.", "prose": ["With the morning light, O Lord,", "Thou shalt hear my voice arise,", "And expectant I will bring", "Prayer as morning sacrifice."]}, "3": {"syllabified": "O let all that trust thy care Ev -- er glad and joy -- ful be; Let them joy who love Thy Name, Safe -- ly guard -- ed, Lord, by Thee.", "prose": ["O let all that trust thy care", "Ever glad and joyful be;", "Let them joy who love Thy Name,", "Safely guarded, Lord, by Thee."]}, "4": {"syllabified": "For a bless -- ing from Thy store To the right -- eous Thou wilt yield; Thou wilt com -- pass him a -- bout With thy fa -- vor as a shield.", "prose": ["For a blessing from Thy store", "To the righteous Thou wilt yield;", "Thou wilt compass him about", "With thy favor as a shield."]}}}, "o-jesus-i-have-promised": {"slug": "o-jesus-i-have-promised", "title": "O Jesus, I Have Promised", "first_line": "O Jesus, I have promised", "author": "john-ernest-bode", "author_date": "1869", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Discipleship", "Commitment", "Guidance"], "scripture": ["John 12:26"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Ernest Bode (1816-1874), \"O Jesus, I have promised,\" written 1869 for the confirmation of his children and widely published from 1869; the standard text for the tune ANGEL'S STORY. Public-domain text (author d. 1874). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Je -- sus, I have prom -- ised To serve Thee to the end; Be Thou for -- ev -- er near me, My Mas -- ter and my Friend; I shall not fear the bat -- tle If Thou art by my side, Nor wan -- der from the path -- way If Thou wilt be my guide.", "prose": ["O Jesus, I have promised", "To serve Thee to the end;", "Be Thou forever near me,", "My Master and my Friend;", "I shall not fear the battle", "If Thou art by my side,", "Nor wander from the pathway", "If Thou wilt be my guide."]}, "2": {"syllabified": "O let me feel Thee near me! The world is ev -- er near; I see the sights that daz -- zle, The temp -- ting sounds I hear; My foes are ev -- er near me, A -- round me and with -- in; But Je -- sus, draw Thou near -- er, And shield my soul from sin.", "prose": ["O let me feel Thee near me!", "The world is ever near;", "I see the sights that dazzle,", "The tempting sounds I hear;", "My foes are ever near me,", "Around me and within;", "But Jesus, draw Thou nearer,", "And shield my soul from sin."]}, "3": {"syllabified": "O let me hear Thee speak -- ing In ac -- cents clear and still, A -- bove the storms of pas -- sion, The mur -- murs of self -- will; O speak to re -- as -- sure me, To has -- ten or con -- trol; O speak, and make me lis -- ten, Thou Guar -- dian of my soul.", "prose": ["O let me hear Thee speaking", "In accents clear and still,", "Above the storms of passion,", "The murmurs of self-will;", "O speak to reassure me,", "To hasten or control;", "O speak, and make me listen,", "Thou Guardian of my soul."]}, "4": {"syllabified": "O Je -- sus, Thou hast prom -- ised To all who fol -- low Thee, That where Thou art in glo -- ry There shall Thy serv -- ant be; And Je -- sus, I have prom -- ised To serve Thee to the end; O give me grace to fol -- low, My Mas -- ter and my Friend.", "prose": ["O Jesus, Thou hast promised", "To all who follow Thee,", "That where Thou art in glory", "There shall Thy servant be;", "And Jesus, I have promised", "To serve Thee to the end;", "O give me grace to follow,", "My Master and my Friend."]}, "5": {"syllabified": "O let me see Thy foot -- marks, And in them plant mine own; My hope to fol -- low du -- ly Is in Thy strength a -- lone; O guide me, call me, draw me, Up -- hold me to the end; And then in Heav'n re -- ceive me, My Sav -- ior and my Friend.", "prose": ["O let me see Thy footmarks,", "And in them plant mine own;", "My hope to follow duly", "Is in Thy strength alone;", "O guide me, call me, draw me,", "Uphold me to the end;", "And then in Heaven receive me,", "My Savior and my Friend."]}}}, "o-little-town-of-bethlehem": {"slug": "o-little-town-of-bethlehem", "title": "O Little Town of Bethlehem", "first_line": "O little town of Bethlehem, how still we see thee lie", "author": "phillips-brooks", "author_date": "1867", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 7, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Advent and the Nativity", "Jesus Christ, Birth of", "Peace"], "scripture": ["Luke 2:4-7", "Micah 5:2"], "provenance": {"layer": "text", "source": "brooks-1868", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Phillips Brooks, 1867 (pub. 1868). Author d. 1893.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_little_town_of_bethlehem", "total_instances": 946}}, "stanzas": {"1": {"syllabified": "O lit -- tle town of Beth -- le -- hem, how still we see thee lie! A -- bove thy deep and dream -- less sleep the si -- lent stars go by. Yet in thy dark streets shin -- eth the ev -- er -- last -- ing Light; The hopes and fears of all the years are met in thee to -- night.", "prose": ["O little town of Bethlehem,", "how still we see thee lie!", "Above thy deep and dreamless sleep", "the silent stars go by.", "Yet in thy dark streets shineth", "the everlasting Light;", "The hopes and fears of all the years", "are met in thee tonight."]}, "2": {"syllabified": "For Christ is born of Ma -- ry, and gath -- ered all a -- bove, While mor -- tals sleep, the an -- gels keep their watch of won -- d'ring love. O morn -- ing stars to -- geth -- er, pro -- claim the ho -- ly birth, And prais -- es sing to God the King, and peace to men on earth!", "prose": ["For Christ is born of Mary,", "and gathered all above,", "While mortals sleep, the angels keep", "their watch of wond'ring love.", "O morning stars together,", "proclaim the holy birth,", "And praises sing to God the King,", "and peace to men on earth!"]}, "3": {"syllabified": "How si -- lent -- ly, how si -- lent -- ly, the won -- drous Gift is giv'n; So God im -- parts to hu -- man hearts the bless -- ings of His Heav'n. No ear may hear His com -- ing, but in this world of sin, Where meek souls will re -- ceive Him still, the dear Christ en -- ters in.", "prose": ["How silently, how silently,", "the wondrous Gift is giv'n;", "So God imparts to human hearts", "the blessings of His Heav'n.", "No ear may hear His coming,", "but in this world of sin,", "Where meek souls will receive Him still,", "the dear Christ enters in."]}, "4": {"syllabified": "Where child -- ren pure and hap -- py pray to the bless -- ed Child, Where mis -- er -- y cries out to Thee, Son of the moth -- er mild; Where char -- it -- y stands watch -- ing and faith holds wide the door, The dark night wakes, the glo -- ry breaks, and Christ -- mas comes once more.", "prose": ["Where children pure and happy", "pray to the blessed Child,", "Where misery cries out to Thee,", "Son of the mother mild;", "Where charity stands watching", "and faith holds wide the door,", "The dark night wakes, the glory breaks,", "and Christmas comes once more."]}, "5": {"syllabified": "O ho -- ly Child of Beth -- le -- hem, de -- scend to us, we pray; Cast out our sin, and en -- ter in, be born in us to -- day. We hear the Christ -- mas an -- gels the great glad tid -- ings tell; O come to us, a -- bide with us, our Lord Em -- man -- u -- el!", "prose": ["O holy Child of Bethlehem,", "descend to us, we pray;", "Cast out our sin, and enter in,", "be born in us today.", "We hear the Christmas angels", "the great glad tidings tell;", "O come to us, abide with us,", "our Lord Emmanuel!"]}}}, "o-lord-be-thou-my-helper-true": {"slug": "o-lord-be-thou-my-helper-true", "title": "Assurance for Evil Days", "first_line": "O Lord, be Thou my helper true", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 12, "topics": ["Psalms"], "scripture": ["Psalm 12"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 21) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 12, selection 21. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, be Thou my help -- er true, For just and god -- ly men are few; The faith -- ful who can find? From truth and wis -- dom men de -- part, With flat -- t'ring lips and dou -- ble heart They speak their e -- vil mind.", "prose": ["O Lord, be Thou my helper true,", "For just and godly men are few;", "The faithful who can find?", "From truth and wisdom men depart,", "With flatt'ring lips and double heart", "They speak their evil mind."]}, "2": {"syllabified": "The lips that speak, the truth to hide, The tongues of ar -- ro -- gance and pride, That boast -- ful words em -- ploy, Fal -- se -- speak -- ing tongues that boast their might, That own no law, that know no right, Je -- ho -- vah will de -- stroy.", "prose": ["The lips that speak, the truth to hide,", "The tongues of arrogance and pride,", "That boastful words employ,", "False-speaking tongues that boast their might,", "That own no law, that know no right,", "Jehovah will destroy."]}, "3": {"syllabified": "Be -- cause the poor are sore op -- pressed, Be -- cause the need -- y are dis -- tressed, And bit -- ter are their cries, The Lord will be their help -- er strong; To save them from con -- tempt and wrong Je -- ho -- vah will a -- rise.", "prose": ["Because the poor are sore oppressed,", "Because the needy are distressed,", "And bitter are their cries,", "The Lord will be their helper strong;", "To save them from contempt and wrong", "Jehovah will arise."]}, "4": {"syllabified": "Je -- ho -- vah's prom -- is -- es are sure, His words are true, His words are pure As sil -- ver from the flame. Tho' base men walk on ev -- 'ry side, His saints are safe, what -- e'er be -- tide, Pro -- tec -- ted by His Name.", "prose": ["Jehovah's promises are sure,", "His words are true, His words are pure", "As silver from the flame.", "Tho' base men walk on ev'ry side,", "His saints are safe, whate'er betide,", "Protected by His Name."]}}}, "o-lord-by-thee-delivered": {"slug": "o-lord-by-thee-delivered", "title": "Commemoration and Praise", "first_line": "O Lord, by Thee delivered", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 30, "topics": ["Psalms"], "scripture": ["Psalm 30"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 77) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 30, selection 77. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, by Thee de -- liv -- ered, I Thee with songs ex -- tol; My foes Thou hast not suff -- ered To glo -- ry o'er my fall. O Lord, my God, I sought Thee, And Thou didst heal and save; Thou, Lord, from death didst ran -- som, And keep me from the grave.", "prose": ["O Lord, by Thee delivered,", "I Thee with songs extol;", "My foes Thou hast not suffered", "To glory o'er my fall.", "O Lord, my God, I sought Thee,", "And Thou didst heal and save;", "Thou, Lord, from death didst ransom,", "And keep me from the grave."]}, "2": {"syllabified": "His ho -- ly Name re -- mem -- ber, Ye saints, Je -- ho -- vah praise; His an -- ger lasts a mo -- ment, His fa -- vor all our days; For sor -- row, like a pil -- grim, May tar -- ry for a night, But joy the heart will glad -- den When dawns the morn -- ing light.", "prose": ["His holy Name remember,", "Ye saints, Jehovah praise;", "His anger lasts a moment,", "His favor all our days;", "For sorrow, like a pilgrim,", "May tarry for a night,", "But joy the heart will gladden", "When dawns the morning light."]}, "3": {"syllabified": "In pros -- p'rous days I boast -- ed, Un -- moved I shall re -- main, For, Lord, by Thy good fa -- vor My cause Thou didst main -- tain; I soon was sore -- ly trou -- bled, For Thou didst hide Thy face; I cried to Thee, Je -- ho -- vah, I sought Je -- ho -- vah's grace.", "prose": ["In prosp'rous days I boasted,", "Unmoved I shall remain,", "For, Lord, by Thy good favor", "My cause Thou didst maintain;", "I soon was sorely troubled,", "For Thou didst hide Thy face;", "I cried to Thee, Jehovah,", "I sought Jehovah's grace."]}, "4": {"syllabified": "What prof -- it if I per -- ish, If life Thou dost not spare? Shall dust re -- peat Thy prais -- es, Shall it Thy truth de -- clare? O Lord, on me have mer -- cy, And my pe -- ti -- tion hear; That Thou mayst be my help -- er, In mer -- cy, Lord, ap -- pear.", "prose": ["What profit if I perish,", "If life Thou dost not spare?", "Shall dust repeat Thy praises,", "Shall it Thy truth declare?", "O Lord, on me have mercy,", "And my petition hear;", "That Thou mayst be my helper,", "In mercy, Lord, appear."]}, "5": {"syllabified": "My grief is turned to glad -- ness, To Thee my thanks I raise, Who hast re -- moved my sor -- row And gird -- ed me with praise; And now, no long -- er si -- lent, My heart Thy praise will sing; O Lord, my God, for ev -- er My thanks to Thee I bring.", "prose": ["My grief is turned to gladness,", "To Thee my thanks I raise,", "Who hast removed my sorrow", "And girded me with praise;", "And now, no longer silent,", "My heart Thy praise will sing;", "O Lord, my God, for ever", "My thanks to Thee I bring."]}}}, "o-lord-do-thou-bow-down-thine-ear": {"slug": "o-lord-do-thou-bow-down-thine-ear", "title": "O Lord, Do Thou Bow Down Thine Ear", "first_line": "O Lord, do thou bow down thine ear", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 86, "topics": ["Psalms"], "scripture": ["Psalm 86"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 86. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, do thou bow down thine ear, and hear me gra -- cious -- ly; Be -- cause I sore af -- flic -- ted am, and am in pov -- er -- ty.", "prose": ["O Lord, do thou bow down thine ear,", "and hear me graciously;", "Because I sore afflicted am,", "and am in poverty."]}, "2": {"syllabified": "Be -- cause I'm ho -- ly, let my soul by thee pre -- serv -- ed be: O thou my God, thy ser -- vant save, that puts his trust in thee.", "prose": ["Because I'm holy, let my soul", "by thee preserved be:", "O thou my God, thy servant save,", "that puts his trust in thee."]}, "3": {"syllabified": "Sith un -- to thee I dai -- ly cry, be mer -- ci -- ful to me. Re -- joice thy ser -- vant's soul; for, Lord, I lift my soul to thee.", "prose": ["Sith unto thee I daily cry,", "be merciful to me.", "Rejoice thy servant's soul; for, Lord,", "I lift my soul to thee."]}, "4": {"syllabified": "For thou art gra -- ci -- ous, O Lord, and read -- y to for -- give; And rich in mer -- cy, all that call up -- on thee to re -- lieve.", "prose": ["For thou art gracious, O Lord,", "and ready to forgive;", "And rich in mercy, all that call", "upon thee to relieve."]}, "5": {"syllabified": "Hear, Lord, my pray'r; un -- to the voice of my re -- quest at -- tend: In trou -- blous times I'll call on thee; for thou wilt an -- swer send.", "prose": ["Hear, Lord, my pray'r; unto the voice", "of my request attend:", "In troublous times I'll call on thee;", "for thou wilt answer send."]}, "6": {"syllabified": "Lord, there is none a -- mong the gods that may with thee com -- pare; And like the works which thou hast done, not an -- y work is there.", "prose": ["Lord, there is none among the gods", "that may with thee compare;", "And like the works which thou hast done,", "not any work is there."]}, "7": {"syllabified": "All na -- tions whom thou mad'st shall come and wor -- ship rev -- 'rent -- ly Be -- fore thy face; and they, O Lord, thy name shall glo -- ri -- fy.", "prose": ["All nations whom thou mad'st shall come", "and worship rev'rently", "Before thy face; and they, O Lord,", "thy name shall glorify."]}, "8": {"syllabified": "Be -- cause thou art exce -- ed -- ing great, and works by thee are done Which are to be ad -- mired; and thou art God thy -- self a -- lone.", "prose": ["Because thou art exceeding great,", "and works by thee are done", "Which are to be admired; and thou", "art God thyself alone."]}, "9": {"syllabified": "Teach me thy way, and in thy truth, O Lord, then walk will I; U -- nite my heart, that I thy name may fear con -- tin -- ual -- ly.", "prose": ["Teach me thy way, and in thy truth,", "O Lord, then walk will I;", "Unite my heart, that I thy name", "may fear continually."]}, "10": {"syllabified": "O Lord my God, with all my heart to thee I will give praise; And I the glo -- ry will as -- cribe un -- to thy name al -- ways:", "prose": ["O Lord my God, with all my heart", "to thee I will give praise;", "And I the glory will ascribe", "unto thy name always:"]}, "11": {"syllabified": "Be -- cause thy mer -- cy to -- ward me in great -- ness doth ex -- cel; And thou de -- liv -- ered hast my soul out from the low -- est hell.", "prose": ["Because thy mercy toward me", "in greatness doth excel;", "And thou delivered hast my soul", "out from the lowest hell."]}, "12": {"syllabified": "O God, the proud a -- gainst me rise, and vi -- 'lent men have met, That for my soul have sought; and thee be -- fore them have not set.", "prose": ["O God, the proud against me rise,", "and vi'lent men have met,", "That for my soul have sought; and thee", "before them have not set."]}, "13": {"syllabified": "But thou art full of pit -- y, Lord, a God most gra -- ci -- ous, Long -- suf -- fer -- ing, and in thy truth and mer -- cy plen -- te -- ous.", "prose": ["But thou art full of pity, Lord,", "a God most gracious,", "Long-suffering, and in thy truth", "and mercy plenteous."]}, "14": {"syllabified": "O turn to me thy coun -- ten -- ance, and mer -- cy on me have; Thy ser -- vant streng -- then, and the son of thine own hand -- maid save.", "prose": ["O turn to me thy countenance,", "and mercy on me have;", "Thy servant strengthen, and the son", "of thine own handmaid save."]}, "15": {"syllabified": "Show me a sign for good, that they which do me hate may see, And be a -- shamed; be -- cause thou, Lord, didst help and com -- fort me.", "prose": ["Show me a sign for good, that they", "which do me hate may see,", "And be ashamed; because thou, Lord,", "didst help and comfort me."]}}}, "o-lord-give-ear-when-with-my-voice": {"slug": "o-lord-give-ear-when-with-my-voice", "title": "Desire After God", "first_line": "O Lord, give ear when with my voice", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 27, "topics": ["Psalms"], "scripture": ["Psalm 27"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 74) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 27, selection 74. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, give ear when with my voice I cry a -- loud to Thee; Have mer -- cy al -- so, I en -- treat, Give an -- swer un -- to me.", "prose": ["O Lord, give ear when with my voice", "I cry aloud to Thee;", "Have mercy also, I entreat,", "Give answer unto me."]}, "2": {"syllabified": "When Thou didst say, Seek ye My face, My an -- sw'ring heart re -- plied, Thy face, Je -- ho -- vah, will I seek A -- bove all else be -- side.", "prose": ["When Thou didst say, Seek ye My face,", "My answering heart replied,", "Thy face, Jehovah, will I seek", "Above all else beside."]}, "3": {"syllabified": "Hide not Thy face, nor in Thy wrath Thy ser -- vant put a -- way; Thou hast a help -- er been to me In ev -- 'ry trou -- blous day.", "prose": ["Hide not Thy face, nor in Thy wrath", "Thy servant put away;", "Thou hast a helper been to me", "In ev'ry troublous day."]}, "4": {"syllabified": "O God, my Sav -- iour, leave me not; Tho' par -- ents should for -- sake, The Lord, with -- in His arms of love, His child will sure -- ly take.", "prose": ["O God, my Saviour, leave me not;", "Tho' parents should forsake,", "The Lord, within His arms of love,", "His child will surely take."]}}}, "o-lord-god-unto-whom-alone": {"slug": "o-lord-god-unto-whom-alone", "title": "O Lord God, unto Whom Alone", "first_line": "O Lord God, unto whom alone", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 94, "topics": ["Psalms"], "scripture": ["Psalm 94"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 94. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord God, un -- to whom a -- lone all ven -- geance doth be -- long; O might -- y God, who ven -- geance own'st, shine forth, a -- veng -- ing wrong.", "prose": ["O Lord God, unto whom alone", "all vengeance doth belong;", "O mighty God, who vengeance own'st,", "shine forth, avenging wrong."]}, "2": {"syllabified": "Lift up thy -- self, thou of the earth the sov -- 'reign Judge that art; And un -- to those that are so proud a due re -- ward im -- part.", "prose": ["Lift up thyself, thou of the earth", "the sov'reign Judge that art;", "And unto those that are so proud", "a due reward impart."]}, "3": {"syllabified": "How long, O might -- y God, shall they who lewd and wick -- ed be, How long shall they who wick -- ed are thus tri -- umph haugh -- ti -- ly?", "prose": ["How long, O mighty God, shall they", "who lewd and wicked be,", "How long shall they who wicked are", "thus triumph haughtily?"]}, "4": {"syllabified": "How long shall things most hard by them be ut -- ter -- ed and told? And all that work in -- iq -- ui -- ty to boast them -- selves be bold?", "prose": ["How long shall things most hard by them", "be uttered and told?", "And all that work iniquity", "to boast themselves be bold?"]}, "5": {"syllabified": "Thy folk they break in piec -- es, Lord, thine her -- i -- tage op -- press: The wid -- ow they and stran -- ger slay, and kill the fa -- ther -- less.", "prose": ["Thy folk they break in pieces, Lord,", "thine heritage oppress:", "The widow they and stranger slay,", "and kill the fatherless."]}, "6": {"syllabified": "Yet say they, God it shall not see nor God of Ja -- cob know. Ye brut -- ish peo -- ple! un -- der -- stand; fools! when wise will ye grow?", "prose": ["Yet say they, God it shall not see", "nor God of Jacob know.", "Ye brutish people! understand;", "fools! when wise will ye grow?"]}, "7": {"syllabified": "The Lord did plant the ear of man, and hear then shall not he? He on -- ly formed the eye, and then shall he not clear -- ly see?", "prose": ["The Lord did plant the ear of man,", "and hear then shall not he?", "He only formed the eye, and then", "shall he not clearly see?"]}, "8": {"syllabified": "He that the na -- tions doth cor -- rect, shall he not chas -- tise you? He knowl -- edge un -- to man doth teach, and shall him -- self not know?", "prose": ["He that the nations doth correct,", "shall he not chastise you?", "He knowledge unto man doth teach,", "and shall himself not know?"]}, "9": {"syllabified": "Man's thoughts to be but van -- i -- ty the Lord doth well dis -- cern. Bless'd is the man thou chas -- t'nest, Lord, and mak'st thy law to learn:", "prose": ["Man's thoughts to be but vanity", "the Lord doth well discern.", "Bless'd is the man thou chast'nest, Lord,", "and mak'st thy law to learn:"]}, "10": {"syllabified": "That thou may'st give him rest from days of sad ad -- ver -- si -- ty, Un -- til the pit be digged for those that work in -- iq -- ui -- ty.", "prose": ["That thou may'st give him rest from days", "of sad adversity,", "Until the pit be digged for those", "that work iniquity."]}, "11": {"syllabified": "For sure the Lord will not cast off those that his peo -- ple be, Nei -- ther his own in -- her -- i -- tance quit and for -- sake will he:", "prose": ["For sure the Lord will not cast off", "those that his people be,", "Neither his own inheritance", "quit and forsake will he:"]}, "12": {"syllabified": "But judg -- ment un -- to right -- eous -- ness shall yet re -- turn a -- gain; And all shall fol -- low af -- ter it that are right -- heart -- ed men.", "prose": ["But judgment unto righteousness", "shall yet return again;", "And all shall follow after it", "that are right-hearted men."]}, "13": {"syllabified": "Who will rise up for me a -- gainst those that do wick -- ed -- ly? Who will stand up for me 'gainst those that work in -- iq -- ui -- ty?", "prose": ["Who will rise up for me against", "those that do wickedly?", "Who will stand up for me 'gainst those", "that work iniquity?"]}, "14": {"syllabified": "Un -- less the Lord had been my help when I was sore op -- pressed, Al -- most my soul had in the house of si -- lence been at rest.", "prose": ["Unless the Lord had been my help", "when I was sore oppressed,", "Almost my soul had in the house", "of silence been at rest."]}, "15": {"syllabified": "When I had ut -- ter -- ed this word, (my foot doth slip a -- way), Thy mer -- cy held me up, O Lord, thy good -- ness did me stay.", "prose": ["When I had uttered this word,", "(my foot doth slip away),", "Thy mercy held me up, O Lord,", "thy goodness did me stay."]}, "16": {"syllabified": "A -- midst the mul -- ti -- tude of thoughts which in my heart do fight, My soul, lest it be o -- ver -- charged, thy com -- forts do de -- light.", "prose": ["Amidst the multitude of thoughts", "which in my heart do fight,", "My soul, lest it be overcharged,", "thy comforts do delight."]}, "17": {"syllabified": "Shall of in -- iq -- ui -- ty the throne have fel -- low -- ship with thee, Which mis -- chief, cun -- ning -- ly con -- trived, doth by a law de -- cree?", "prose": ["Shall of iniquity the throne", "have fellowship with thee,", "Which mischief, cunningly contrived,", "doth by a law decree?"]}, "18": {"syllabified": "A -- gainst the right -- eous souls they join, they guilt -- less blood con -- demn. But of my ref -- uge God's the rock, and my de -- fence from them.", "prose": ["Against the righteous souls they join,", "they guiltless blood condemn.", "But of my refuge God's the rock,", "and my defence from them."]}, "19": {"syllabified": "On them their own in -- iq -- ui -- ty the Lord shall bring and lay, And cut them off in their own sin; our Lord God shall them slay.", "prose": ["On them their own iniquity", "the Lord shall bring and lay,", "And cut them off in their own sin;", "our Lord God shall them slay."]}}}, "o-lord-how-are-my-foes-increased": {"slug": "o-lord-how-are-my-foes-increased", "title": "God Our Guardian", "first_line": "O Lord, how are my foes increased!", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 3, "topics": ["Psalms"], "scripture": ["Psalm 3"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 5) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 3, selection 5. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, how are my foes in -- creased! A -- gainst me man -- y rise; How man -- y say, In vain for help He on his God re -- lies!", "prose": ["O Lord, how are my foes increased!", "Against me many rise;", "How many say, In vain for help", "He on his God relies!"]}, "2": {"syllabified": "Thou art my shield and glo -- ry, Lord, My Sav -- iour, O Most High. The Lord from out His ho -- ly hill Gives an -- swer when I cry.", "prose": ["Thou art my shield and glory, Lord,", "My Saviour, O Most High.", "The Lord from out His holy hill", "Gives answer when I cry."]}, "3": {"syllabified": "I laid me down and slept, I waked, Be -- cause the Lord sus -- tains; Tho' man -- y thou -- sands com -- pass me, Un -- moved my soul re -- mains.", "prose": ["I laid me down and slept, I waked,", "Because the Lord sustains;", "Tho' many thousands compass me,", "Unmoved my soul remains."]}, "4": {"syllabified": "A -- rise, o Lord; save me, my God; For Thou hast owned my cause, And oft hast beat -- en down my foes Who scorn Thy right -- eous laws.", "prose": ["Arise, o Lord; save me, my God;", "For Thou hast owned my cause,", "And oft hast beaten down my foes", "Who scorn Thy righteous laws."]}, "5": {"syllabified": "Sal -- va -- tion to the Lord be -- longs, In Him His saints are blest; O let Thy bless -- ing ev -- er -- more Up -- on Thy peo -- ple rest.", "prose": ["Salvation to the Lord belongs,", "In Him His saints are blest;", "O let Thy blessing evermore", "Upon Thy people rest."]}}}, "o-lord-how-are-my-foes-increased-psalm-3": {"slug": "o-lord-how-are-my-foes-increased-psalm-3", "title": "O Lord, How Are My Foes Increased?", "first_line": "O Lord, how are my foes increased?", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 3, "topics": ["Psalms"], "scripture": ["Psalm 3"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 3. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, how are my foes in -- creased? a -- gainst me man -- y rise. Man -- y say of my soul, For him in God no suc -- cour lies.", "prose": ["O Lord, how are my foes increased?", "against me many rise.", "Many say of my soul, For him", "in God no succour lies."]}, "2": {"syllabified": "Yet thou my shield and glo -- ry art, th'up -- lift -- er of mine head. I cried, and, from his ho -- ly hill, the Lord me an -- swer made.", "prose": ["Yet thou my shield and glory art,", "th' uplifter of mine head.", "I cried, and, from his holy hill,", "the Lord me answer made."]}, "3": {"syllabified": "I laid me down and slept, I waked; for God sus -- tain -- ed me. I will not fear though thou -- sands ten set round a -- gainst me be.", "prose": ["I laid me down and slept, I waked;", "for God sustained me.", "I will not fear though thousands ten", "set round against me be."]}, "4": {"syllabified": "A -- rise, O Lord; save me, my God; for thou my foes hast stroke All on the cheek -- bone, and the teeth of wick -- ed men hast broke.", "prose": ["Arise, O Lord; save me, my God;", "for thou my foes hast stroke", "All on the cheek-bone, and the teeth", "of wicked men hast broke."]}, "5": {"syllabified": "Sal -- va -- ti -- on doth ap -- per -- tain un -- to the Lord a -- lone: Thy bless -- ing, Lord, for ev -- er -- more thy peo -- ple is up -- on.", "prose": ["Salvation doth appertain", "unto the Lord alone:", "Thy blessing, Lord, for evermore", "thy people is upon."]}}}, "o-lord-i-unto-thee-do-cry": {"slug": "o-lord-i-unto-thee-do-cry", "title": "O Lord, I unto Thee Do Cry", "first_line": "O Lord, I unto thee do cry", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 141, "topics": ["Psalms"], "scripture": ["Psalm 141"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 141. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, I un -- to thee do cry, do thou make haste to me, And give an ear un -- to my voice, when I cry un -- to thee.", "prose": ["O Lord, I unto thee do cry,", "do thou make haste to me,", "And give an ear unto my voice,", "when I cry unto thee."]}, "2": {"syllabified": "As in -- cense let my pray -- er be di -- rect -- ed in thine eyes; And the up -- lift -- ing of my hands as th'ev' -- ning sac -- ri -- fice.", "prose": ["As incense let my prayer be", "directed in thine eyes;", "And the uplifting of my hands", "as th' ev'ning sacrifice."]}, "3": {"syllabified": "Set, Lord, a watch be -- fore my mouth, keep of my lips the door. My heart in -- cline thou not un -- to the ills I should ab -- hor,", "prose": ["Set, Lord, a watch before my mouth,", "keep of my lips the door.", "My heart incline thou not unto", "the ills I should abhor,"]}, "4": {"syllabified": "To prac -- tise wick -- ed works with men that work in -- iq -- ui -- ty; And with their del -- i -- cates my taste let me not sat -- is -- fy.", "prose": ["To practise wicked works with men", "that work iniquity;", "And with their delicates my taste", "let me not satisfy."]}, "5": {"syllabified": "Let him that right -- eous is me smite, it shall a kind -- ness be; Let him re -- prove, I shall it count a pre -- cious oil to me:", "prose": ["Let him that righteous is me smite,", "it shall a kindness be;", "Let him reprove, I shall it count", "a precious oil to me:"]}, "6": {"syllabified": "Such smit -- ing shall not break my head; for yet the time shall fall, When I in their ca -- lam -- i -- ties to God pray for them shall.", "prose": ["Such smiting shall not break my head;", "for yet the time shall fall,", "When I in their calamities", "to God pray for them shall."]}, "7": {"syllabified": "When as their jud -- ges down shall be in sto -- ny plac -- es cast, Then shall they hear my words; for they shall sweet be to their taste.", "prose": ["When as their judges down shall be", "in stony places cast,", "Then shall they hear my words; for they", "shall sweet be to their taste."]}, "8": {"syllabified": "A -- bout the grave's de -- vour -- ing mouth our bones are scat -- tered round, As wood which men do cut and cleave lies scat -- tered on the ground.", "prose": ["About the grave's devouring mouth", "our bones are scattered round,", "As wood which men do cut and cleave", "lies scattered on the ground."]}, "9": {"syllabified": "But un -- to thee, O God the Lord, mine eyes up -- lift -- ed be: My soul do not leave des -- ti -- tute; my trust is set on thee.", "prose": ["But unto thee, O God the Lord,", "mine eyes uplifted be:", "My soul do not leave destitute;", "my trust is set on thee."]}, "10": {"syllabified": "Lord, keep me safe -- ly from the snares which they for me pre -- pare; And from the subt -- le gins of them that wick -- ed wor -- kers are.", "prose": ["Lord, keep me safely from the snares", "which they for me prepare;", "And from the subtle gins of them", "that wicked workers are."]}, "11": {"syllabified": "Let wor -- kers of in -- iq -- ui -- ty in -- to their own nets fall, Whilst I do, by thine help, es -- cape the dan -- ger of them all.", "prose": ["Let workers of iniquity", "into their own nets fall,", "Whilst I do, by thine help, escape", "the danger of them all."]}}}, "o-lord-my-god-in-thee-do-i": {"slug": "o-lord-my-god-in-thee-do-i", "title": "O Lord My God, in Thee Do I", "first_line": "O Lord my God, in thee do I", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 7, "topics": ["Psalms"], "scripture": ["Psalm 7"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 7. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord my God, in thee do I my con -- fi -- dence re -- pose: Save and de -- liv -- er me from all my per -- se -- cut -- ing foes;", "prose": ["O Lord my God, in thee do I", "my confidence repose:", "Save and deliver me from all", "my persecuting foes;"]}, "2": {"syllabified": "Lest that the en -- e -- my my soul should, like a li -- on, tear, In piec -- es rend -- ing it, while there is no de -- liv -- er -- er.", "prose": ["Lest that the enemy my soul", "should, like a lion, tear,", "In pieces rending it, while there", "is no deliverer."]}, "3": {"syllabified": "O Lord my God, if it be so that I com -- mitt -- ed this; If it be so that in my hands in -- iq -- ui -- ty there is:", "prose": ["O Lord my God, if it be so", "that I committed this;", "If it be so that in my hands", "iniquity there is:"]}, "4": {"syllabified": "If I re -- ward -- ed ill to him that was at peace with me; (Yea, ev'n the man that with -- out cause my foe was I did free);", "prose": ["If I rewarded ill to him", "that was at peace with me;", "(Yea, ev'n the man that without cause", "my foe was I did free);"]}, "5": {"syllabified": "Then let the foe pur -- sue and take my soul, and my life thrust Down to the earth, and let him lay mine hon -- our in the dust.", "prose": ["Then let the foe pursue and take", "my soul, and my life thrust", "Down to the earth, and let him lay", "mine honour in the dust."]}, "6": {"syllabified": "Rise in thy wrath, Lord, raise thy -- self, for my foes rag -- ing be; And, to the judg -- ment which thou hast com -- mand -- ed, wake for me.", "prose": ["Rise in thy wrath, Lord, raise thyself,", "for my foes raging be;", "And, to the judgment which thou hast", "commanded, wake for me."]}, "7": {"syllabified": "So shall th'as -- sem -- bly of thy folk a -- bout en -- com -- pass thee: Thou there -- fore, for their sakes, re -- turn un -- to thy place on high.", "prose": ["So shall th' assembly of thy folk", "about encompass thee:", "Thou therefore, for their sakes, return", "unto thy place on high."]}, "8": {"syllabified": "The Lord he shall the peo -- ple judge: my judge, JE -- HO -- VAH, be, Af -- ter my right -- eous -- ness, and mine in -- teg -- ri -- ty in me.", "prose": ["The Lord he shall the people judge:", "my judge, JEHOVAH, be,", "After my righteousness, and mine", "integrity in me."]}, "9": {"syllabified": "O let the wi -- cked's mal -- ice end; but stab -- lish sted -- fast -- ly The right -- eous: for the right -- eous God the hearts and reins doth try.", "prose": ["O let the wicked's malice end;", "but stablish stedfastly", "The righteous: for the righteous God", "the hearts and reins doth try."]}, "10": {"syllabified": "In God, who saves th'up -- right in heart, is my de -- fence and stay. God just men judg -- eth, God is wroth with ill men ev -- 'ry day.", "prose": ["In God, who saves th' upright in heart,", "is my defence and stay.", "God just men judgeth, God is wroth", "with ill men ev'ry day."]}, "11": {"syllabified": "If he do not re -- turn a -- gain, then he his sword will whet; His bow he hath al -- read -- y bent, and hath it read -- y set:", "prose": ["If he do not return again,", "then he his sword will whet;", "His bow he hath already bent,", "and hath it ready set:"]}, "12": {"syllabified": "He al -- so hath for him pre -- pared the in -- stru -- ments of death; A -- gainst the per -- se -- cu -- tors he his shafts or -- dain -- ed hath.", "prose": ["He also hath for him prepared", "the instruments of death;", "Against the persecutors he", "his shafts ordained hath."]}, "13": {"syllabified": "Be -- hold, he with in -- iq -- ui -- ty doth tra -- vail, as in birth; A mis -- chief he con -- ceiv -- ed hath, and false -- hood shall bring forth.", "prose": ["Behold, he with iniquity", "doth travail, as in birth;", "A mischief he conceived hath,", "and falsehood shall bring forth."]}, "14": {"syllabified": "He made a pit, and digged it deep, an -- oth -- er there to take; But he is fall'n in -- to the ditch which he him -- self did make.", "prose": ["He made a pit, and digged it deep,", "another there to take;", "But he is fall'n into the ditch", "which he himself did make."]}, "15": {"syllabified": "Up -- on his own head his mis -- chief shall be re -- turn -- ed home; His vi -- 'lent deal -- ing al -- so down on his own pate shall come.", "prose": ["Upon his own head his mischief", "shall be returned home;", "His vi'lent dealing also down", "on his own pate shall come."]}, "16": {"syllabified": "Ac -- cord -- ing to his right -- eous -- ness the Lord I'll mag -- ni -- fy; And will sing praise un -- to the name of God that is most high.", "prose": ["According to his righteousness", "the Lord I'll magnify;", "And will sing praise unto the name", "of God that is most high."]}}}, "o-lord-my-hope-and-confidence": {"slug": "o-lord-my-hope-and-confidence", "title": "O Lord, My Hope and Confidence", "first_line": "O Lord, my hope and confidence", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 71, "topics": ["Psalms"], "scripture": ["Psalm 71"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 71. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, my hope and con -- fi -- dence is placed in thee a -- lone; Then let thy ser -- vant nev -- er be put to con -- fu -- si -- on.", "prose": ["O Lord, my hope and confidence", "is placed in thee alone;", "Then let thy servant never be", "put to confusion."]}, "2": {"syllabified": "And let me, in thy right -- eous -- ness, from thee de -- liv -- 'rance have; Cause me es -- cape, in -- cline thine ear un -- to me, and me save.", "prose": ["And let me, in thy righteousness,", "from thee deliv'rance have;", "Cause me escape, incline thine ear", "unto me, and me save."]}, "3": {"syllabified": "Be thou my dwel -- lin -- grock, to which I ev -- er may re -- sort: Thou gav'st com -- mand -- ment me to save, for thou'rt my rock and fort.", "prose": ["Be thou my dwelling-rock, to which", "I ever may resort:", "Thou gav'st commandment me to save,", "for thou'rt my rock and fort."]}, "4": {"syllabified": "Free me, my God, from wick -- ed hands, hands cru -- el and un -- just: For thou, O Lord God, art my hope, and from my youth my trust.", "prose": ["Free me, my God, from wicked hands,", "hands cruel and unjust:", "For thou, O Lord God, art my hope,", "and from my youth my trust."]}, "5": {"syllabified": "Thou from the womb didst hold me up; thou art the same that me Out of my moth -- er's bow -- els took; I ev -- er will praise thee.", "prose": ["Thou from the womb didst hold me up;", "thou art the same that me", "Out of my mother's bowels took;", "I ever will praise thee."]}, "6": {"syllabified": "To man -- y I a won -- der am; but thou'rt my ref -- uge strong. Filled let my mouth be with thy praise and hon -- our all day long.", "prose": ["To many I a wonder am;", "but thou'rt my refuge strong.", "Filled let my mouth be with thy praise", "and honour all day long."]}, "7": {"syllabified": "O do not cast me off, when as old age doth o -- ver -- take me; And when my strength de -- cay -- ed is, then do not thou for -- sake me.", "prose": ["O do not cast me off, when as", "old age doth overtake me;", "And when my strength decayed is,", "then do not thou forsake me."]}, "8": {"syllabified": "For those that are mine en -- e -- mies a -- gainst me speak with hate; And they to -- geth -- er coun -- sel take that for my soul lay wait.", "prose": ["For those that are mine enemies", "against me speak with hate;", "And they together counsel take", "that for my soul lay wait."]}, "9": {"syllabified": "They said, God leaves him; him pur -- sue and take: none will him save. Be thou not far from me, my God: thy spee -- dy help I crave.", "prose": ["They said, God leaves him; him pursue", "and take: none will him save.", "Be thou not far from me, my God:", "thy speedy help I crave."]}, "10": {"syllabified": "Con -- found, con -- sume them, that un -- to my soul are en -- e -- mies: Clothed be they with re -- proach and shame that do my hurt de -- vise.", "prose": ["Confound, consume them, that unto", "my soul are enemies:", "Clothed be they with reproach and shame", "that do my hurt devise."]}, "11": {"syllabified": "But I with ex -- pec -- ta -- ti -- on will hope con -- tin -- ual -- ly; And yet with prais -- es more and more I will thee mag -- ni -- fy.", "prose": ["But I with expectation", "will hope continually;", "And yet with praises more and more", "I will thee magnify."]}, "12": {"syllabified": "Thy jus -- tice and sal -- va -- ti -- on my mouth a -- broad shall show, Ev'n all the day; for I there -- of the num -- bers do not know.", "prose": ["Thy justice and salvation", "my mouth abroad shall show,", "Ev'n all the day; for I thereof", "the numbers do not know."]}, "13": {"syllabified": "And I will con -- stant -- ly go on in strength of God the Lord; And thine own right -- eous -- ness, ev'n thine a -- lone, I will re -- cord.", "prose": ["And I will constantly go on", "in strength of God the Lord;", "And thine own righteousness, ev'n thine", "alone, I will record."]}, "14": {"syllabified": "For e -- ven from my youth, O God, by thee I have been taught; And hith -- er -- to I have de -- clared the won -- ders thou hast wrought.", "prose": ["For even from my youth, O God,", "by thee I have been taught;", "And hitherto I have declared", "the wonders thou hast wrought."]}, "15": {"syllabified": "And now, Lord, leave me not, when I old and grey -- head -- ed grow: Till to this age thy strength and pow'r to all to come I show.", "prose": ["And now, Lord, leave me not, when I", "old and grey-headed grow:", "Till to this age thy strength and pow'r", "to all to come I show."]}, "16": {"syllabified": "And thy most per -- fect right -- eous -- ness, O Lord, is ver -- y high, Who has so great things done: O God, who is like un -- to thee?", "prose": ["And thy most perfect righteousness,", "O Lord, is very high,", "Who has so great things done: O God,", "who is like unto thee?"]}, "17": {"syllabified": "Thou, Lord, who great ad -- ver -- si -- ties, and sore, to me didst show, Shalt qui -- cken, and bring me a -- gain from depths of earth be -- low.", "prose": ["Thou, Lord, who great adversities,", "and sore, to me didst show,", "Shalt quicken, and bring me again", "from depths of earth below."]}, "18": {"syllabified": "My great -- ness and my pow'r thou wilt in -- crease, and far ex -- tend: On ev -- 'ry side a -- gainst all grief thou wilt me com -- fort send.", "prose": ["My greatness and my pow'r thou wilt", "increase, and far extend:", "On ev'ry side against all grief", "thou wilt me comfort send."]}, "19": {"syllabified": "Thee, ev'n thy truth, I'll al -- so praise, my God, with psal -- ter -- y: Thou Ho -- ly One of I -- sra -- el, with harp I'll sing to thee.", "prose": ["Thee, ev'n thy truth, I'll also praise,", "my God, with psaltery:", "Thou Holy One of Israel,", "with harp I'll sing to thee."]}, "20": {"syllabified": "My lips shall much re -- joice in thee, when I thy prais -- es sound; My soul, which thou re -- deem -- ed hast, in joy shall much a -- bound.", "prose": ["My lips shall much rejoice in thee,", "when I thy praises sound;", "My soul, which thou redeemed hast,", "in joy shall much abound."]}, "21": {"syllabified": "My tongue thy jus -- tice shall pro -- claim, con -- tin -- uing all day long; For they con -- found -- ed are, and shamed, that seek to do me wrong.", "prose": ["My tongue thy justice shall proclaim,", "continuing all day long;", "For they confounded are, and shamed,", "that seek to do me wrong."]}}}, "o-lord-my-soul-convicted": {"slug": "o-lord-my-soul-convicted", "title": "O Lord My Soul Convicted", "first_line": "O Lord, my soul convicted stands Of breaking all", "author": "james-maxwell", "author_date": "1896", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Contrition [1,2,5]", "Cornerstone", "Duty", "Fear of the Lord"], "scripture": ["Psalm 130", "Eph 2:8-9", "Romans 5:20-21", "1Tim 1:14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:142; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, my soul con -- vic -- ted stands Of break -- ing all Thy ten com -- mands: And on me just -- ly might'st Thou pour Thy wrath in one e -- ter -- nal show'r.", "prose": ["O Lord, my soul convicted stands", "Of breaking all Thy ten commands:", "And on me justly might'st Thou pour", "Thy wrath in one eternal show'r."]}, "2": {"syllabified": "But thanks to God, its loud a -- larms Have warn'd me of ap -- proach -- ing harms; And now, O Lord, my wants I see, Lost and un -- done, I come to Thee.", "prose": ["But thanks to God, its loud alarms", "Have warn'd me of approaching harms;", "And now, O Lord, my wants I see,", "Lost and undone, I come to Thee."]}, "3": {"syllabified": "I know my fig leaf right -- eous -- ness Can ne'er Thy bro -- ken law re -- dress; Yet in the gos -- pel plan I see, There's hope of par -- don e'en for me.", "prose": ["I know my fig leaf righteousness", "Can ne'er Thy broken law redress;", "Yet in the gospel plan I see,", "There's hope of pardon e'en for me."]}, "4": {"syllabified": "There, I be -- hold with won -- der, Lord! That Christ hath to Thy law re -- stor'd Those hon -- ors on th'a -- ton -- ing day, Which guil -- ty sin -- ners took a -- way.", "prose": ["There, I behold with wonder, Lord!", "That Christ hath to Thy law restor'd", "Those honors on th'atoning day,", "Which guilty sinners took away."]}, "5": {"syllabified": "A -- maz -- ing wis -- dom, pow'r and love, Dis -- play'd to reb -- els from a -- bove! Do Thou, O Lord, my faith in -- crease To love and trust Thy plan of grace.", "prose": ["Amazing wisdom, pow'r and love,", "Display'd to rebels from above!", "Do Thou, O Lord, my faith increase", "To love and trust Thy plan of grace."]}}}, "o-lord-of-heav-n-and-earth-and-sea": {"slug": "o-lord-of-heav-n-and-earth-and-sea", "title": "O Lord of Heav'n and Earth and Sea", "first_line": "O Lord of Heav'n and earth and sea, To", "author": "christopher-wordsworth", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Assurance", "Brevity of Life", "Calmness"], "scripture": ["Proverbs 10:22", "2 Corinthians 6:10", "Hebrews 10:34"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:271; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord of Heav'n and earth and sea, To Thee all praise and glo -- ry be; How shall we show our love to Thee, Who giv -- est all?", "prose": ["O Lord of Heav'n and earth and sea,", "To Thee all praise and glory be;", "How shall we show our love to Thee,", "Who givest all?"]}, "2": {"syllabified": "The gol -- den sun -- shine, ver -- nal air, Sweet flow'rs and fruits, Thy love de -- clare; Where har -- vests rip -- en, Thou art there, Who giv -- est all.", "prose": ["The golden sunshine, vernal air,", "Sweet flow'rs and fruits, Thy love declare;", "Where harvests ripen, Thou art there,", "Who givest all."]}, "3": {"syllabified": "For peace -- ful homes and health -- ful days, For all the bless -- ings earth dis -- plays, We owe Thee thank -- ful -- ness and praise, Who giv -- est all.", "prose": ["For peaceful homes and healthful days,", "For all the blessings earth displays,", "We owe Thee thankfulness and praise,", "Who givest all."]}, "4": {"syllabified": "Thou didst not spare Thine on -- ly Son, But gav'st Him for a world un -- done, And free -- ly, with that bless -- ed One, Thou giv -- est all.", "prose": ["Thou didst not spare Thine only Son,", "But gav'st Him for a world undone,", "And freely, with that blessed One,", "Thou givest all."]}, "5": {"syllabified": "Thou giv'st the Spir -- it's bless -- ed dow'r, Spir -- it of life and love and pow'r, And dost His sev'n -- fold grac -- es show'r Up -- on us all.", "prose": ["Thou giv'st the Spirit's blessed dow'r,", "Spirit of life and love and pow'r,", "And dost His sev'nfold graces show'r", "Upon us all."]}}}, "o-lord-of-hosts-how-lovely": {"slug": "o-lord-of-hosts-how-lovely", "title": "Delight in Church Ordinances", "first_line": "O Lord of Hosts, how lovely", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 84, "topics": ["Psalms"], "scripture": ["Psalm 84"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 227) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 84, selection 227. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord of Hosts, how love -- ly, Thy tab -- er -- nac -- les are; For them my heart is yearn -- ing In ban -- ish -- ment a -- far. My souls is long -- ing, faint -- ing, Thy sa -- cred courts to see; My heart and flesh are cry -- ing, O liv -- ing God, for Thee.", "prose": ["O Lord of Hosts, how lovely,", "Thy tabernacles are;", "For them my heart is yearning", "In banishment afar.", "My souls is longing, fainting,", "Thy sacred courts to see;", "My heart and flesh are crying,", "O living God, for Thee."]}, "2": {"syllabified": "Be -- neath Thy care the spar -- row Finds place for peace -- ful rest; To keep her young in safe -- ty The swal -- low finds a nest; Then, Lord, my King Al -- might -- y, Thy love will shel -- ter me; Be -- side Thy ho -- ly al -- tar My dwell -- ing -- place shall be.", "prose": ["Beneath Thy care the sparrow", "Finds place for peaceful rest;", "To keep her young in safety", "The swallow finds a nest;", "Then, Lord, my King Almighty,", "Thy love will shelter me;", "Beside Thy holy altar", "My dwelling-place shall be."]}, "3": {"syllabified": "Blest they who dwell in Zi -- on, Whose joy and strength Thou art; For -- ev -- er they will praise Thee, Thy ways are in their heart. Tho' tried, their tears like show -- ers Shall fill the springs with peace, And all the way to Zi -- on Their strength shall still in -- crease.", "prose": ["Blest they who dwell in Zion,", "Whose joy and strength Thou art;", "Forever they will praise Thee,", "Thy ways are in their heart.", "Tho' tried, their tears like showers", "Shall fill the springs with peace,", "And all the way to Zion", "Their strength shall still increase."]}}}, "o-lord-of-hosts-to-thee-i-cry": {"slug": "o-lord-of-hosts-to-thee-i-cry", "title": "Longings for Sanctuary Fellowship", "first_line": "O Lord of Hosts, to Thee I cry", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 84, "topics": ["Psalms"], "scripture": ["Psalm 84"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 226) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 84, selection 226. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord of Hosts, to Thee I cry, Our fa -- thers' God to Thee; Let my pe -- ti -- tions reach Thy ear, My prayer ac -- cep -- ted be; O God our shield, look Thou on us, Re -- veal Thy -- self in grace, And let Thy own a -- noint -- ed one Be -- hold Thee face to face.", "prose": ["O Lord of Hosts, to Thee I cry,", "Our fathers' God to Thee;", "Let my petitions reach Thy ear,", "My prayer accepted be;", "O God our shield, look Thou on us,", "Reveal Thyself in grace,", "And let Thy own anointed one", "Behold Thee face to face."]}, "2": {"syllabified": "A sin -- gle day with -- in Thy courts, Where I Thy beau -- ty see, Is bet -- ter than a thou -- sand days, My God, a -- part from Thee. A low -- ly sta -- tion in Thy house Were dear -- er to my heart Than in the tents of wick -- ed -- ness to claim the chief -- est part.", "prose": ["A single day within Thy courts,", "Where I Thy beauty see,", "Is better than a thousand days,", "My God, apart from Thee.", "A lowly station in Thy house", "Were dearer to my heart", "Than in the tents of wickedness", "to claim the chiefest part."]}, "3": {"syllabified": "A sun and shield is God, the Lord, To ligh -- ten and de -- fend; The Lord to such as look to Him Will grace and glo -- ry send; To those that walk in right -- eous -- ness No good will He de -- ny; The Lord of Hosts, how blest are they Who on Thy grace re -- ly.", "prose": ["A sun and shield is God, the Lord,", "To lighten and defend;", "The Lord to such as look to Him", "Will grace and glory send;", "To those that walk in righteousness", "No good will He deny;", "The Lord of Hosts, how blest are they", "Who on Thy grace rely."]}}}, "o-lord-of-life-whereer-they-be": {"slug": "o-lord-of-life-whereer-they-be", "title": "O Lord of Life, Where'er They Be", "first_line": "O Lord of life, where'er they be", "author": "frederick-l-hosmer", "author_date": "1888", "foot": "iambic", "meter": {"pattern": [8, 8, 8], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "topics": ["Eternal Life", "Comfort", "Trust"], "scripture": "Revelation 14:13", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Frederick Lucian Hosmer (1840-1929), \"O Lord of life, where'er they be,\" written 1888 for an Easter service at his church (per the Cyber Hymnal). Text from the Cyber Hymnal (all four stanzas; Hymnary.org text authority o_lord_of_life_whereer_they_be, 34 hymnals, which concurs on Hosmer and the 8.8.8-with-alleluia meter). Each stanza closes with the threefold Alleluia the Vulpius tune carries. Sung elisions normalized for the meter: \"sheltering\" is elided to \"shelt'ring\" in 2.2, and \"requiem\" is sung as two syllables in 3.2. Published 1888, author died 1929 - all components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_lord_of_life_whereer_they_be", "total_instances": 34}}, "stanzas": {"1": {"syllabified": "O Lord of life, wher -- e'er they be, Safe in Thine own e -- ter -- ni -- ty, Our dead are liv -- ing un -- to Thee: Al -- le -- lu -- ia! Al -- le -- lu -- ia! Al -- le -- lu -- ia!", "prose": ["O Lord of life, where'er they be,", "Safe in Thine own eternity,", "Our dead are living unto Thee:", "Alleluia! Alleluia! Alleluia!"]}, "2": {"syllabified": "All souls are Thine, and here or there They rest with -- in Thy shel -- t'ring care; One prov -- i -- dence a -- like they share: Al -- le -- lu -- ia! Al -- le -- lu -- ia! Al -- le -- lu -- ia!", "prose": ["All souls are Thine, and here or there", "They rest within Thy shelt'ring care;", "One providence alike they share:", "Alleluia! Alleluia! Alleluia!"]}, "3": {"syllabified": "Thy Word is true, Thy ways are just; A -- bove the re -- quiem, Dust to dust, Shall rise our psalm of grate -- ful trust: Al -- le -- lu -- ia! Al -- le -- lu -- ia! Al -- le -- lu -- ia!", "prose": ["Thy Word is true, Thy ways are just;", "Above the requiem, Dust to dust,", "Shall rise our psalm of grateful trust:", "Alleluia! Alleluia! Alleluia!"]}, "4": {"syllabified": "O hap -- py they in God who rest, No more by fear and doubt op -- pressed, Liv -- ing or dy -- ing, they are blest: Al -- le -- lu -- ia! Al -- le -- lu -- ia! Al -- le -- lu -- ia!", "prose": ["O happy they in God who rest,", "No more by fear and doubt oppressed,", "Living or dying, they are blest:", "Alleluia! Alleluia! Alleluia!"]}}}, "o-lord-our-lord-in-all-the-earth": {"slug": "o-lord-our-lord-in-all-the-earth", "title": "The Name of the Lord", "first_line": "O Lord, our Lord, in all the earth", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 8, "topics": ["Psalms"], "scripture": ["Psalm 8"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 14) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 8, selection 14. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, our Lord, in all the earth, How ex -- cel -- lent Thy Name! Thy glo -- ry Thou hast spread a -- far In all the star -- ry frame.", "prose": ["O Lord, our Lord, in all the earth,", "How excellent Thy Name!", "Thy glory Thou hast spread afar", "In all the starry frame."]}, "2": {"syllabified": "From lips of chil -- dren, Thou, O Lord Hast might -- y strength or -- dained, That ad -- ver -- sar -- ies should be stilled And ven -- geful foes re -- strained.", "prose": ["From lips of children, Thou, O Lord", "Hast mighty strength ordained,", "That adversaries should be stilled", "And vengeful foes restrained."]}, "3": {"syllabified": "When I re -- gard the won -- drous heav'ns, Thy han -- di -- work on high, The moon and stars or -- dained by Thee, O what is man, I cry.", "prose": ["When I regard the wondrous heav'ns,", "Thy handiwork on high,", "The moon and stars ordained by Thee,", "O what is man, I cry."]}, "4": {"syllabified": "O what is man, in Thy re -- gard To hold so large a place, And what the son of man, that Thou Dost vis -- it him in grace.", "prose": ["O what is man, in Thy regard", "To hold so large a place,", "And what the son of man, that Thou", "Dost visit him in grace."]}, "5": {"syllabified": "On man Thy wis -- dom hath be -- stowed A pow'r well nigh di -- vine; With hon -- or Thou hast crowned his head With glo -- ry like to Thine.", "prose": ["On man Thy wisdom hath bestowed", "A pow'r well nigh divine;", "With honor Thou hast crowned his head", "With glory like to Thine."]}, "6": {"syllabified": "Thou hast sub -- ject -- ed all to him, And lord of all is he, Of flocks and herds, and beasts and birds, And all with -- in the sea.", "prose": ["Thou hast subjected all to him,", "And lord of all is he,", "Of flocks and herds, and beasts and birds,", "And all within the sea."]}, "7": {"syllabified": "Thy might -- y works and won -- drous grace Thy glo -- ry, Lord, pro -- claim, O Lord, our Lord, in all the earth, How ex -- cel -- lent Thy Name.", "prose": ["Thy mighty works and wondrous grace", "Thy glory, Lord, proclaim,", "O Lord, our Lord, in all the earth,", "How excellent Thy Name."]}}}, "o-lord-thou-art-my-god-and-king": {"slug": "o-lord-thou-art-my-god-and-king", "title": "O Lord, Thou Art My God and King (Second Version)", "first_line": "O Lord, thou art my God and King", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 145, "topics": ["Psalms"], "scripture": ["Psalm 145"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 145 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, thou art my God and King; Thee will I mag -- ni -- fy and praise: I will thee bless, and glad -- ly sing Un -- to thy ho -- ly name al -- ways.", "prose": ["O Lord, thou art my God and King;", "Thee will I magnify and praise:", "I will thee bless, and gladly sing", "Unto thy holy name always."]}, "2": {"syllabified": "Each day I rise I will thee bless, And praise thy name time with -- out end. Much to be praised, and great God is; His great -- ness none can com -- pre -- hend.", "prose": ["Each day I rise I will thee bless,", "And praise thy name time without end.", "Much to be praised, and great God is;", "His greatness none can comprehend."]}, "3": {"syllabified": "Race shall thy works praise un -- to race, The might -- y acts show done by thee. I will speak of the glo -- rious grace, And hon -- our of thy maj -- es -- ty;", "prose": ["Race shall thy works praise unto race,", "The mighty acts show done by thee.", "I will speak of the glorious grace,", "And honour of thy majesty;"]}, "4": {"syllabified": "Thy won -- drous works I will re -- cord. By men the might shall be ex -- tolled Of all thy dread -- ful acts, O Lord: And I thy great -- ness will un -- fold.", "prose": ["Thy wondrous works I will record.", "By men the might shall be extolled", "Of all thy dreadful acts, O Lord:", "And I thy greatness will unfold."]}, "5": {"syllabified": "They ut -- ter shall a -- bun -- dant -- ly The mem -- 'ry of thy good -- ness great; And shall sing prais -- es cheer -- ful -- ly, Whilst they thy right -- eous -- ness re -- late.", "prose": ["They utter shall abundantly", "The mem'ry of thy goodness great;", "And shall sing praises cheerfully,", "Whilst they thy righteousness relate."]}, "6": {"syllabified": "The Lord our God is gra -- ci -- ous, Com -- pas -- sion -- ate is he al -- so; In mer -- cy he is plen -- te -- ous, But un -- to wrath and an -- ger slow.", "prose": ["The Lord our God is gracious,", "Compassionate is he also;", "In mercy he is plenteous,", "But unto wrath and anger slow."]}, "7": {"syllabified": "Good un -- to all men is the Lord: O'er all his works his mer -- cy is. Thy works all praise to thee af -- ford: Thy saints, O Lord, thy name shall bless.", "prose": ["Good unto all men is the Lord:", "O'er all his works his mercy is.", "Thy works all praise to thee afford:", "Thy saints, O Lord, thy name shall bless."]}, "8": {"syllabified": "The glo -- ry of thy king -- dom show Shall they, and of thy pow -- er tell: That so men's sons his deeds may know, His king -- dom's grace that doth ex -- cel.", "prose": ["The glory of thy kingdom show", "Shall they, and of thy power tell:", "That so men's sons his deeds may know,", "His kingdom's grace that doth excel."]}, "9": {"syllabified": "Thy king -- dom hath none end at all, It doth through ag -- es all re -- main. The Lord up -- hold -- eth all that fall, The cast -- down rais -- eth up a -- gain.", "prose": ["Thy kingdom hath none end at all,", "It doth through ages all remain.", "The Lord upholdeth all that fall,", "The cast-down raiseth up again."]}, "10": {"syllabified": "The eyes of all things, Lord, at -- tend, And on thee wait that here do live, And thou, in sea -- son due, dost send Suf -- fi -- cient food them to re -- lieve.", "prose": ["The eyes of all things, Lord, attend,", "And on thee wait that here do live,", "And thou, in season due, dost send", "Sufficient food them to relieve."]}, "11": {"syllabified": "Yea, thou thine hand dost o -- pen wide, And ev -- 'ry -- thing dost sat -- is -- fy That lives, and doth on earth a -- bide, Of thy great lib -- er -- al -- i -- ty.", "prose": ["Yea, thou thine hand dost open wide,", "And ev'rything dost satisfy", "That lives, and doth on earth abide,", "Of thy great liberality."]}, "12": {"syllabified": "The Lord is just in his ways all, And ho -- ly in his works each one. He's near to all that on him call, Who call in truth on him a -- lone.", "prose": ["The Lord is just in his ways all,", "And holy in his works each one.", "He's near to all that on him call,", "Who call in truth on him alone."]}, "13": {"syllabified": "God will the just de -- sire ful -- fil Of such as do him fear and dread: Their cry re -- gard, and hear he will, And save them in the time of need.", "prose": ["God will the just desire fulfil", "Of such as do him fear and dread:", "Their cry regard, and hear he will,", "And save them in the time of need."]}, "14": {"syllabified": "The Lord pre -- serves all, more and less, That bear to him a lov -- ing heart: But wor -- kers all of wick -- ed -- ness De -- stroy will he, and clean sub -- vert.", "prose": ["The Lord preserves all, more and less,", "That bear to him a loving heart:", "But workers all of wickedness", "Destroy will he, and clean subvert."]}, "15": {"syllabified": "There -- fore my mouth and lips I'll frame To speak the prais -- es of the Lord: To mag -- ni -- fy his ho -- ly name For ev -- er let all flesh ac -- cord.", "prose": ["Therefore my mouth and lips I'll frame", "To speak the praises of the Lord:", "To magnify his holy name", "For ever let all flesh accord."]}}}, "o-lord-thou-art-my-god-and-king-psalm-145": {"slug": "o-lord-thou-art-my-god-and-king-psalm-145", "title": "The Greatness and Grace of God", "first_line": "O Lord, Thou art my God and King", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 145, "topics": ["Psalms"], "scripture": ["Psalm 145"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 397) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 145, selection 397. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, Thou art my God and King, And I will ev -- er bless Thy Name; I will ex -- tol Thee ev -- 'ry day, And ev -- er -- more Thy praise pro -- claim.", "prose": ["O Lord, Thou art my God and King,", "And I will ever bless Thy Name;", "I will extol Thee ev'ry day,", "And evermore Thy praise proclaim."]}, "2": {"syllabified": "The Lord is great -- ly to be praised, His great -- ness is be -- yond our thought; From age to age the sons of men Shall tell the won -- ders God has wrought.", "prose": ["The Lord is greatly to be praised,", "His greatness is beyond our thought;", "From age to age the sons of men", "Shall tell the wonders God has wrought."]}, "3": {"syllabified": "Up -- on Thy glo -- rious maj -- es -- ty And won -- drous works my mind shall dwell; thy deeds shall fill the world with awe, And of Thy great -- ness I will tell.", "prose": ["Upon Thy glorious majesty", "And wondrous works my mind shall dwell;", "thy deeds shall fill the world with awe,", "And of Thy greatness I will tell."]}, "4": {"syllabified": "Thy match -- less good -- ness and Thy grace Thy peo -- ple shall com -- mem -- o -- rate, And all Thy truth and right -- eous -- ness My joy -- ful song shall cel -- e -- brate.", "prose": ["Thy matchless goodness and Thy grace", "Thy people shall commemorate,", "And all Thy truth and righteousness", "My joyful song shall celebrate."]}, "5": {"syllabified": "The Lord out God is rich in grace, Most ten -- der and com -- pas -- sion -- ate; His an -- ger is most slow to rise, His lov -- ing -- kind -- ness is most great.", "prose": ["The Lord out God is rich in grace,", "Most tender and compassionate;", "His anger is most slow to rise,", "His loving-kindness is most great."]}, "6": {"syllabified": "The Lord is good in all His ways, His crea -- tures know His con -- stant care; To all His works His love ex -- tends, All men His ten -- der mer -- cies share.", "prose": ["The Lord is good in all His ways,", "His creatures know His constant care;", "To all His works His love extends,", "All men His tender mercies share."]}, "7": {"syllabified": "Thy works shall give Thee thanks, O Lord, Thy saints Thy might -- y acts shall show, Till o'er the earth the sons of men Thy king -- dom, power, and glo -- ry know.", "prose": ["Thy works shall give Thee thanks, O Lord,", "Thy saints Thy mighty acts shall show,", "Till o'er the earth the sons of men", "Thy kingdom, power, and glory know."]}, "8": {"syllabified": "E -- ter -- nal is Thy king -- dom, Lord, For -- ev -- er strong and ev -- er sure; while gen -- er -- a -- tions rise and die Shall Thy do -- min -- ion still en -- dure.", "prose": ["Eternal is Thy kingdom, Lord,", "Forever strong and ever sure;", "while generations rise and die", "Shall Thy dominion still endure."]}}}, "o-lord-thou-hast-been-favrable": {"slug": "o-lord-thou-hast-been-favrable", "title": "O Lord, Thou Hast Been Fav'rable", "first_line": "O Lord, thou hast been fav'rable", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 85, "topics": ["Psalms"], "scripture": ["Psalm 85"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 85. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, thou hast been fa -- v'ra -- ble to thy be -- lov -- ed land: Ja -- cob's cap -- tiv -- i -- ty thou hast re -- called with might -- y hand.", "prose": ["O Lord, thou hast been fav'rable", "to thy beloved land:", "Jacob's captivity thou hast", "recalled with mighty hand."]}, "2": {"syllabified": "Thou par -- don -- ed thy peo -- ple hast all their in -- iq -- ui -- ties; Thou all their tres -- pass -- es and sins hast cov -- ered from thine eyes.", "prose": ["Thou pardoned thy people hast", "all their iniquities;", "Thou all their trespasses and sins", "hast covered from thine eyes."]}, "3": {"syllabified": "Thou took'st off all thine ire, and turn'dst from thy wrath's fu -- rious -- ness. Turn us, God of our health, and cause thy wrath 'gainst us to cease.", "prose": ["Thou took'st off all thine ire, and turn'dst", "from thy wrath's furiousness.", "Turn us, God of our health, and cause", "thy wrath 'gainst us to cease."]}, "4": {"syllabified": "Shall thy dis -- plea -- sure thus en -- dure a -- gainst us with -- out end? Wilt thou to gen -- er -- a -- tions all thine an -- ger forth ex -- tend?", "prose": ["Shall thy displeasure thus endure", "against us without end?", "Wilt thou to generations all", "thine anger forth extend?"]}, "5": {"syllabified": "That in thee may thy peo -- ple joy, wilt thou not us re -- vive? Show us thy mer -- cy, Lord, to us do thy sal -- va -- tion give.", "prose": ["That in thee may thy people joy,", "wilt thou not us revive?", "Show us thy mercy, Lord, to us", "do thy salvation give."]}, "6": {"syllabified": "I'll hear what God the Lord will speak: to his folk he'll speak peace, And to his saints; but let them not re -- turn to fool -- ish -- ness.", "prose": ["I'll hear what God the Lord will speak:", "to his folk he'll speak peace,", "And to his saints; but let them not", "return to foolishness."]}, "7": {"syllabified": "To them that fear him sure -- ly near is his sal -- va -- ti -- on; That glo -- ry in our land may have her hab -- i -- ta -- ti -- on.", "prose": ["To them that fear him surely near", "is his salvation;", "That glory in our land may have", "her habitation."]}, "8": {"syllabified": "Truth met with mer -- cy, right -- eous -- ness and peace kissed mu -- tual -- ly: Truth springs from earth, and right -- eous -- ness looks down from heav -- en high.", "prose": ["Truth met with mercy, righteousness", "and peace kissed mutually:", "Truth springs from earth, and righteousness", "looks down from heaven high."]}, "9": {"syllabified": "Yea, what is good the Lord shall give; our land shall yield in -- crease: Jus -- tice, to set us in his steps, shall go be -- fore his face.", "prose": ["Yea, what is good the Lord shall give;", "our land shall yield increase:", "Justice, to set us in his steps,", "shall go before his face."]}}}, "o-lord-thou-hast-me-searched-and-known": {"slug": "o-lord-thou-hast-me-searched-and-known", "title": "O Lord, Thou Hast Me Searched and Known", "first_line": "O Lord, thou hast me searched and known", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 139, "topics": ["Psalms"], "scripture": ["Psalm 139"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 139. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, thou hast me searched and known. Thou know'st my sitt -- ing down, And ris -- ing up; yea, all my thoughts a -- far to thee are known.", "prose": ["O Lord, thou hast me searched and known.", "Thou know'st my sitting down,", "And rising up; yea, all my thoughts", "afar to thee are known."]}, "2": {"syllabified": "My foot -- steps, and my ly -- ing down, thou com -- pass -- est al -- ways; Thou al -- so most en -- tire -- ly art ac -- quaint with all my ways.", "prose": ["My footsteps, and my lying down,", "thou compassest always;", "Thou also most entirely art", "acquaint with all my ways."]}, "3": {"syllabified": "For in my tongue, be -- fore I speak, not an -- y word can be, But al -- to -- geth -- er, lo, O Lord, it is well known to thee.", "prose": ["For in my tongue, before I speak,", "not any word can be,", "But altogether, lo, O Lord,", "it is well known to thee."]}, "4": {"syllabified": "Be -- hind, be -- fore, thou hast be -- set, and laid on me thine hand. Such knowl -- edge is too strange for me, too high to un -- der -- stand.", "prose": ["Behind, before, thou hast beset,", "and laid on me thine hand.", "Such knowledge is too strange for me,", "too high to understand."]}, "5": {"syllabified": "From thy Spirit whith -- er shall I go? or from thy pres -- ence fly? As -- cend I heav'n, lo, thou art there; there, if in hell I lie.", "prose": ["From thy Spirit whither shall I go?", "or from thy presence fly?", "Ascend I heav'n, lo, thou art there;", "there, if in hell I lie."]}, "6": {"syllabified": "Take I the morn -- ing wings, and dwell in ut -- most parts of sea; Ev'n there, Lord, shall thy hand me lead, thy right hand hold shall me.", "prose": ["Take I the morning wings, and dwell", "in utmost parts of sea;", "Ev'n there, Lord, shall thy hand me lead,", "thy right hand hold shall me."]}, "7": {"syllabified": "If I do say that dark -- ness shall me cov -- er from thy sight, Then sure -- ly shall the ver -- y night a -- bout me be as light.", "prose": ["If I do say that darkness shall", "me cover from thy sight,", "Then surely shall the very night", "about me be as light."]}, "8": {"syllabified": "Yea, dark -- ness hid -- eth not from thee, but night doth shine as day: To thee the dark -- ness and the light are both a -- like al -- way.", "prose": ["Yea, darkness hideth not from thee,", "but night doth shine as day:", "To thee the darkness and the light", "are both alike alway."]}, "9": {"syllabified": "For thou pos -- sess -- ed hast my reins, and thou hast cov -- ered me, When I with -- in my moth -- er's womb in -- clos -- ed was by thee.", "prose": ["For thou possessed hast my reins,", "and thou hast covered me,", "When I within my mother's womb", "inclosed was by thee."]}, "10": {"syllabified": "Thee will I praise; for fear -- ful -- ly and strange -- ly made I am; Thy works are marv'l -- lous, and right well my soul doth know the same.", "prose": ["Thee will I praise; for fearfully", "and strangely made I am;", "Thy works are marv'llous, and right well", "my soul doth know the same."]}, "11": {"syllabified": "My sub -- stance was not hid from thee, when as in se -- cret I Was made; and in earth's low -- est parts was wrought most cu -- rious -- ly.", "prose": ["My substance was not hid from thee,", "when as in secret I", "Was made; and in earth's lowest parts", "was wrought most curiously."]}, "12": {"syllabified": "Thine eyes my sub -- stance did be -- hold, yet be -- ing un -- per -- fect; And in the vol -- ume of thy book my mem -- bers all were writ;", "prose": ["Thine eyes my substance did behold,", "yet being unperfect;", "And in the volume of thy book", "my members all were writ;"]}, "13": {"syllabified": "Which af -- ter in con -- tin -- u -- ance were fash -- ioned ev -- 'ry one, When as they yet all shape -- less were, and of them there was none.", "prose": ["Which after in continuance", "were fashioned ev'ry one,", "When as they yet all shapeless were,", "and of them there was none."]}, "14": {"syllabified": "How pre -- cious al -- so are thy thoughts, O gra -- cious God, to me! And in their sum how pass -- ing great and num -- ber -- less they be!", "prose": ["How precious also are thy thoughts,", "O gracious God, to me!", "And in their sum how passing great", "and numberless they be!"]}, "15": {"syllabified": "If I should count them, than the sand they more in num -- ber be: What time so -- ev -- er I a -- wake, I ev -- er am with thee.", "prose": ["If I should count them, than the sand", "they more in number be:", "What time soever I awake,", "I ever am with thee."]}, "16": {"syllabified": "Thou, Lord, wilt sure the wick -- ed slay: hence from me blood -- y men. Thy foes a -- gainst thee loud -- ly speak, and take thy name in vain.", "prose": ["Thou, Lord, wilt sure the wicked slay:", "hence from me bloody men.", "Thy foes against thee loudly speak,", "and take thy name in vain."]}, "17": {"syllabified": "Do not I hate all those, O Lord, that ha -- tred bear to thee? With those that up a -- gainst thee rise can I but griev -- ed be?", "prose": ["Do not I hate all those, O Lord,", "that hatred bear to thee?", "With those that up against thee rise", "can I but grieved be?"]}, "18": {"syllabified": "With per -- fect ha -- tred them I hate, my foes I them do hold. Search me, O God, and know my heart, try me, my thoughts un -- fold:", "prose": ["With perfect hatred them I hate,", "my foes I them do hold.", "Search me, O God, and know my heart,", "try me, my thoughts unfold:"]}, "19": {"syllabified": "And see if an -- y wick -- ed way there be at all in me; And in thine ev -- er -- last -- ing way to me a lead -- er be.", "prose": ["And see if any wicked way", "there be at all in me;", "And in thine everlasting way", "to me a leader be."]}}}, "o-lord-thou-hast-rejected-us": {"slug": "o-lord-thou-hast-rejected-us", "title": "O Lord, Thou Hast Rejected Us", "first_line": "O Lord, thou hast rejected us", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 60, "topics": ["Psalms"], "scripture": ["Psalm 60"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 60. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, thou hast re -- ject -- ed us, and scat -- ter'd us a -- broad; Thou just -- ly hast dis -- pleas -- ed been; re -- turn to us, O God.", "prose": ["O Lord, thou hast rejected us,", "and scatter'd us abroad;", "Thou justly hast displeased been;", "return to us, O God."]}, "2": {"syllabified": "The earth to trem -- ble thou hast made; there -- in didst breach -- es make: Do thou there -- of the breach -- es heal, be -- cause the land doth shake.", "prose": ["The earth to tremble thou hast made;", "therein didst breaches make:", "Do thou thereof the breaches heal,", "because the land doth shake."]}, "3": {"syllabified": "Un -- to thy peo -- ple thou hard things hast showed, and on them sent; And thou hast caus -- ed us to drink wine of as -- ton -- ish -- ment.", "prose": ["Unto thy people thou hard things", "hast showed, and on them sent;", "And thou hast caused us to drink", "wine of astonishment."]}, "4": {"syllabified": "And yet a ban -- ner thou hast giv -- en to them who thee do fear; That it by them, be -- cause of truth, dis -- play -- ed may ap -- pear.", "prose": ["And yet a banner thou hast given", "to them who thee do fear;", "That it by them, because of truth,", "displayed may appear."]}, "5": {"syllabified": "That thy be -- lov -- ed peo -- ple may de -- liv -- ered be from thrall, Save with the pow'r of thy right hand, and hear me when I call.", "prose": ["That thy beloved people may", "delivered be from thrall,", "Save with the pow'r of thy right hand,", "and hear me when I call."]}, "6": {"syllabified": "God in his ho -- li -- ness hath spoke; here -- in I will take plea -- sure: She -- chem I will di -- vide, and forth will Suc -- coth's val -- ley mea -- sure.", "prose": ["God in his holiness hath spoke;", "herein I will take pleasure:", "Shechem I will divide, and forth", "will Succoth's valley measure."]}, "7": {"syllabified": "Gil -- ead I claim as mine by right; Ma -- nas -- seh mine shall be; Eph -- raim is of mine head the strength; Ju -- dah gives laws for me;", "prose": ["Gilead I claim as mine by right;", "Manasseh mine shall be;", "Ephraim is of mine head the strength;", "Judah gives laws for me;"]}, "8": {"syllabified": "Mo -- ab's my wash -- ing -- pot; my shoe I'll o -- ver E -- dom throw; And o -- ver Pal -- es -- ti -- na's land I will in tri -- umph go.", "prose": ["Moab's my washing-pot; my shoe", "I'll over Edom throw;", "And over Palestina's land", "I will in triumph go."]}, "9": {"syllabified": "O who is he will bring me to the cit -- y for -- ti -- fied? O who is he that to the land of E -- dom will me guide?", "prose": ["O who is he will bring me to", "the city fortified?", "O who is he that to the land", "of Edom will me guide?"]}, "10": {"syllabified": "O God, which had -- est us cast off, this thing wilt thou not do? Ev'n thou, O God, which did -- est not forth with our ar -- mies go?", "prose": ["O God, which hadest us cast off,", "this thing wilt thou not do?", "Ev'n thou, O God, which didest not", "forth with our armies go?"]}, "11": {"syllabified": "Help us from trou -- ble; for the help is vain which man sup -- plies. Through God we'll do great acts; he shall tread down our en -- e -- mies.", "prose": ["Help us from trouble; for the help", "is vain which man supplies.", "Through God we'll do great acts; he shall", "tread down our enemies."]}}}, "o-lord-thou-judge-of-all-the-earth": {"slug": "o-lord-thou-judge-of-all-the-earth", "title": "God the Righteous Judge", "first_line": "O Lord, Thou Judge of all the earth", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 94, "topics": ["Psalms"], "scripture": ["Psalm 94"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 253) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 94, selection 253. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, Thou Judge of all the earth, To Whom all ven -- geance doth be -- long, A -- rise and show Thy glo -- ry forth, Re -- quite the proud, con -- demn the wrong.", "prose": ["O Lord, Thou Judge of all the earth,", "To Whom all vengeance doth belong,", "Arise and show Thy glory forth,", "Requite the proud, condemn the wrong."]}, "2": {"syllabified": "How long, O Lord, in boast -- ful pride Shall wick -- ed men tri -- um -- phant stand? How long shall they af -- flict Thy saints And dev -- as -- tate Thy cho -- sen land?", "prose": ["How long, O Lord, in boastful pride", "Shall wicked men triumphant stand?", "How long shall they afflict Thy saints", "And devastate Thy chosen land?"]}, "3": {"syllabified": "The wid -- ow and the fa -- ther -- less They slay, and help -- less stran -- gers smith; The faith -- ful God they do not fear, They say the Lord will not re -- quite.", "prose": ["The widow and the fatherless", "They slay, and helpless strangers smith;", "The faithful God they do not fear,", "They say the Lord will not requite."]}, "4": {"syllabified": "Be wise, ye fools and brut -- ish men; Shall not He see Who formed the eye? Shall not He hear Who formed the ear, And judge, Who reign -- eth, God Most High?", "prose": ["Be wise, ye fools and brutish men;", "Shall not He see Who formed the eye?", "Shall not He hear Who formed the ear,", "And judge, Who reigneth, God Most High?"]}, "5": {"syllabified": "The Lord will judge in right -- eous -- ness, From Him all truth and knowl -- edge flow; The fool -- ish thoughts of wick -- ed men, How vain they are the Lord doth know.", "prose": ["The Lord will judge in righteousness,", "From Him all truth and knowledge flow;", "The foolish thoughts of wicked men,", "How vain they are the Lord doth know."]}, "6": {"syllabified": "That man is blest whom Thou, O Lord, With chas -- tening hand dost teach Thy will, For in the day when sin -- ners fall That man in peace a -- bid -- eth still.", "prose": ["That man is blest whom Thou, O Lord,", "With chastening hand dost teach Thy will,", "For in the day when sinners fall", "That man in peace abideth still."]}, "7": {"syllabified": "The Lord will not cast off His own, Nor His in -- her -- i -- tance for -- sake; Just judg -- ment shall at length pre -- vail, And up -- right hearts shall cour -- age take.", "prose": ["The Lord will not cast off His own,", "Nor His inheritance forsake;", "Just judgment shall at length prevail,", "And upright hearts shall courage take."]}, "8": {"syllabified": "Who will a -- rise for my de -- fense A -- gainst the wick -- ed in the land? A -- gainst in -- iq -- ui -- ty and wrong What man for me will val -- iant stand?", "prose": ["Who will arise for my defense", "Against the wicked in the land?", "Against iniquity and wrong", "What man for me will valiant stand?"]}, "9": {"syllabified": "Un -- less the Lord had been my help, My life had quick -- ly passed a -- way; But when my foot had al -- most slipped, O Lord, Thy mer -- cy was my stay.", "prose": ["Unless the Lord had been my help,", "My life had quickly passed away;", "But when my foot had almost slipped,", "O Lord, Thy mercy was my stay."]}, "10": {"syllabified": "A -- mid the doubts that fill my mind Thy com -- forts, Lord, bring joy to me; Can wick -- ed -- ness, though throned in might, Have fel -- low -- ship, O Lord, with Thee?", "prose": ["Amid the doubts that fill my mind", "Thy comforts, Lord, bring joy to me;", "Can wickedness, though throned in might,", "Have fellowship, O Lord, with Thee?"]}, "11": {"syllabified": "The wick -- ed, in their might ar -- rayed, A -- gainst the right -- eous join their power, But to the Lord I flee for help, He is my ref -- uge and my tower.", "prose": ["The wicked, in their might arrayed,", "Against the righteous join their power,", "But to the Lord I flee for help,", "He is my refuge and my tower."]}, "12": {"syllabified": "Our God, the ref -- uge of His saints, Will fight a -- gainst in -- iq -- ui -- ty; A -- ven -- ger of the in -- no -- cent The Lord om -- nip -- o -- tent will be.", "prose": ["Our God, the refuge of His saints,", "Will fight against iniquity;", "Avenger of the innocent", "The Lord omnipotent will be."]}}}, "o-lord-thy-judgments-give-the-king": {"slug": "o-lord-thy-judgments-give-the-king", "title": "O Lord, Thy Judgments Give the King", "first_line": "O Lord, thy judgments give the king", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 72, "topics": ["Psalms"], "scripture": ["Psalm 72"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 72. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, thy judg -- ments give the king, his son thy right -- eous -- ness. With right he shall thy peo -- ple judge, thy poor with up -- right -- ness.", "prose": ["O Lord, thy judgments give the king,", "his son thy righteousness.", "With right he shall thy people judge,", "thy poor with uprightness."]}, "2": {"syllabified": "The loft -- y moun -- tains shall bring forth un -- to the peo -- ple peace; Like -- wise the lit -- tle hills the same shall do by right -- eous -- ness.", "prose": ["The lofty mountains shall bring forth", "unto the people peace;", "Likewise the little hills the same", "shall do by righteousness."]}, "3": {"syllabified": "The peo -- ple's poor ones he shall judge, the nee -- dy's chil -- dren save; And those shall he in piec -- es break who them op -- press -- ed have.", "prose": ["The people's poor ones he shall judge,", "the needy's children save;", "And those shall he in pieces break", "who them oppressed have."]}, "4": {"syllabified": "They shall thee fear, while sun and moon do last, through ag -- es all. Like rain on mown grass he shall drop, or show'rs on earth that fall.", "prose": ["They shall thee fear, while sun and moon", "do last, through ages all.", "Like rain on mown grass he shall drop,", "or show'rs on earth that fall."]}, "5": {"syllabified": "The just shall flour -- ish in his days, and pros -- per in his reign: He shall, while doth the moon en -- dure, a -- bun -- dant peace main -- tain.", "prose": ["The just shall flourish in his days,", "and prosper in his reign:", "He shall, while doth the moon endure,", "abundant peace maintain."]}, "6": {"syllabified": "His large and great do -- min -- ion shall from sea to sea ex -- tend: It from the riv -- er shall reach forth un -- to earth's ut -- most end.", "prose": ["His large and great dominion shall", "from sea to sea extend:", "It from the river shall reach forth", "unto earth's utmost end."]}, "7": {"syllabified": "They in the wil -- der -- ness that dwell bow down be -- fore him must; And they that are his en -- e -- mies shall lick the ver -- y dust.", "prose": ["They in the wilderness that dwell", "bow down before him must;", "And they that are his enemies", "shall lick the very dust."]}, "8": {"syllabified": "The kings of Tar -- shish, and the isles, to him shall pres -- ents bring; And un -- to him shall of -- fer gifts She -- ba's and Se -- ba's king.", "prose": ["The kings of Tarshish, and the isles,", "to him shall presents bring;", "And unto him shall offer gifts", "Sheba's and Seba's king."]}, "9": {"syllabified": "Yea, all the might -- y kings on earth be -- fore him down shall fall; And all the na -- tions of the world do ser -- vice to him shall.", "prose": ["Yea, all the mighty kings on earth", "before him down shall fall;", "And all the nations of the world", "do service to him shall."]}, "10": {"syllabified": "For he the need -- y shall pre -- serve, when he to him doth call; The poor al -- so, and him that hath no help of man at all.", "prose": ["For he the needy shall preserve,", "when he to him doth call;", "The poor also, and him that hath", "no help of man at all."]}, "11": {"syllabified": "The poor man and the in -- di -- gent in mer -- cy he shall spare; He shall pre -- serve a -- live the souls of those that need -- y are.", "prose": ["The poor man and the indigent", "in mercy he shall spare;", "He shall preserve alive the souls", "of those that needy are."]}, "12": {"syllabified": "Both from de -- ceit and vi -- o -- lence their soul he shall set free; And in his sight right pre -- ci -- ous and dear their blood shall be.", "prose": ["Both from deceit and violence", "their soul he shall set free;", "And in his sight right precious", "and dear their blood shall be."]}, "13": {"syllabified": "Yea, he shall live, and giv'n to him shall be of She -- ba's gold: For him still shall they pray, and he shall dai -- ly be ex -- tolled.", "prose": ["Yea, he shall live, and giv'n to him", "shall be of Sheba's gold:", "For him still shall they pray, and he", "shall daily be extolled."]}, "14": {"syllabified": "Of corn an hand -- ful in the earth on tops of moun -- tains high, With pros -- p'rous fruit shall shake, like trees on Leb -- a -- non that be.", "prose": ["Of corn an handful in the earth", "on tops of mountains high,", "With prosp'rous fruit shall shake, like trees", "on Lebanon that be."]}, "15": {"syllabified": "The cit -- y shall be flour -- ish -- ing, her cit -- i -- zens a -- bound In num -- ber shall, like to the grass that grows up -- on the ground.", "prose": ["The city shall be flourishing,", "her citizens abound", "In number shall, like to the grass", "that grows upon the ground."]}, "16": {"syllabified": "His name for ev -- er shall en -- dure; last like the sun it shall: Men shall be blessed in him, and blessed all na -- tions shall him call.", "prose": ["His name for ever shall endure;", "last like the sun it shall:", "Men shall be blessed in him, and blessed", "all nations shall him call."]}, "17": {"syllabified": "Now bless -- ed be the Lord our God, the God of I -- sra -- el, For he a -- lone doth won -- drous works, in glo -- ry that ex -- cel.", "prose": ["Now blessed be the Lord our God,", "the God of Israel,", "For he alone doth wondrous works,", "in glory that excel."]}, "18": {"syllabified": "And bless -- ed be his glo -- rious name to all e -- ter -- ni -- ty: The whole earth let his glo -- ry fill. A -- men, so let it be.", "prose": ["And blessed be his glorious name", "to all eternity:", "The whole earth let his glory fill.", "Amen, so let it be."]}}}, "o-lord-thy-perfect-righteousness": {"slug": "o-lord-thy-perfect-righteousness", "title": "True Love for the Word", "first_line": "O Lord, Thy perfect righteousness", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 338) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 338. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, Thy per -- fect right -- eous -- ness Is in thy judg -- ments shown; In Thy un -- chang -- ing faith -- ful -- ness Thy truth Thou hast made known.", "prose": ["O Lord, Thy perfect righteousness", "Is in thy judgments shown;", "In Thy unchanging faithfulness", "Thy truth Thou hast made known."]}, "2": {"syllabified": "Be -- cause Thy foes for -- get Thy law My soul is great -- ly stirred; Thy ser -- vant loves the pur -- i -- ty Of Thy most ho -- ly word.", "prose": ["Because Thy foes forget Thy law", "My soul is greatly stirred;", "Thy servant loves the purity", "Of Thy most holy word."]}, "3": {"syllabified": "Tho' I am hum -- ble and de -- spised, I strive Thy will to do; E -- ter -- nal is Thy right -- eous -- ness, And all Thy law is true.", "prose": ["Tho' I am humble and despised,", "I strive Thy will to do;", "Eternal is Thy righteousness,", "And all Thy law is true."]}, "4": {"syllabified": "De -- light a -- mid dis -- tress and pain Do Thy com -- mand -- ments give; Thy word is right -- eous ev -- er -- more, Teach me that I may live.", "prose": ["Delight amid distress and pain", "Do Thy commandments give;", "Thy word is righteous evermore,", "Teach me that I may live."]}}}, "o-lord-unto-my-prayr-give-ear": {"slug": "o-lord-unto-my-prayr-give-ear", "title": "O Lord, unto My Pray'r Give Ear", "first_line": "O Lord, unto my pray'r give ear", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 102, "topics": ["Psalms"], "scripture": ["Psalm 102"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 102. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Lord, un -- to my pray'r give ear, my cry let come to thee; And in the day of my dis -- tress hide not thy face from me.", "prose": ["O Lord, unto my pray'r give ear,", "my cry let come to thee;", "And in the day of my distress", "hide not thy face from me."]}, "2": {"syllabified": "Give ear to me; what time I call, to an -- swer me make haste: For, as an hearth, my bones are burnt, my days, like smoke, do waste.", "prose": ["Give ear to me; what time I call,", "to answer me make haste:", "For, as an hearth, my bones are burnt,", "my days, like smoke, do waste."]}, "3": {"syllabified": "My heart with -- in me smit -- ten is, and it is with -- er -- ed Like ver -- y grass; so that I do for -- get to eat my bread.", "prose": ["My heart within me smitten is,", "and it is withered", "Like very grass; so that I do", "forget to eat my bread."]}, "4": {"syllabified": "By rea -- son of my groan -- ing voice my bones cleave to my skin. Like pel -- i -- can in wil -- der -- ness for -- sak -- en I have been:", "prose": ["By reason of my groaning voice", "my bones cleave to my skin.", "Like pelican in wilderness", "forsaken I have been:"]}, "5": {"syllabified": "I like an owl in des -- ert am, that night -- ly there doth moan; I watch, and like a spar -- row am on the hou -- se -- top a -- lone.", "prose": ["I like an owl in desert am,", "that nightly there doth moan;", "I watch, and like a sparrow am", "on the house-top alone."]}, "6": {"syllabified": "My bit -- ter en -- 'mies all the day re -- proach -- es cast on me; And, be -- ing mad at me, with rage a -- gainst me sworn they be.", "prose": ["My bitter en'mies all the day", "reproaches cast on me;", "And, being mad at me, with rage", "against me sworn they be."]}, "7": {"syllabified": "For why? I ash -- es eat -- en have like bread, in sor -- rows deep; My drink I al -- so min -- gled have with tears that I did weep.", "prose": ["For why? I ashes eaten have", "like bread, in sorrows deep;", "My drink I also mingled have", "with tears that I did weep."]}, "8": {"syllabified": "Thy wrath and in -- dig -- na -- ti -- on did cause this grief and pain; For thou hast lift me up on high, and cast me down a -- gain.", "prose": ["Thy wrath and indignation", "did cause this grief and pain;", "For thou hast lift me up on high,", "and cast me down again."]}, "9": {"syllabified": "My days are like un -- to a shade, which doth de -- clin -- ing pass; And I am dried and with -- er -- ed, ev'n like un -- to the grass.", "prose": ["My days are like unto a shade,", "which doth declining pass;", "And I am dried and withered,", "ev'n like unto the grass."]}, "10": {"syllabified": "But thou, Lord, ev -- er -- last -- ing art, and thy re -- mem -- brance shall Con -- tin -- ual -- ly en -- dure, and be to gen -- er -- a -- tions all.", "prose": ["But thou, Lord, everlasting art,", "and thy remembrance shall", "Continually endure, and be", "to generations all."]}, "11": {"syllabified": "Thou shalt a -- rise, and mer -- cy have up -- on thy Zi -- on yet; The time to fa -- vour her is come, the time that thou hast set.", "prose": ["Thou shalt arise, and mercy have", "upon thy Zion yet;", "The time to favour her is come,", "the time that thou hast set."]}, "12": {"syllabified": "For in her rub -- bish and her stones thy ser -- vants plea -- sure take; Yea, they the ver -- y dust there -- of do fa -- vour for her sake.", "prose": ["For in her rubbish and her stones", "thy servants pleasure take;", "Yea, they the very dust thereof", "do favour for her sake."]}, "13": {"syllabified": "So shall the hea -- then peo -- ple fear the Lord's most ho -- ly name; And all the kings on earth shall dread thy glo -- ry and thy fame.", "prose": ["So shall the heathen people fear", "the Lord's most holy name;", "And all the kings on earth shall dread", "thy glory and thy fame."]}, "14": {"syllabified": "When Zi -- on by the might -- y Lord built up a -- gain shall be, In glo -- ry then and maj -- es -- ty to men ap -- pear shall he.", "prose": ["When Zion by the mighty Lord", "built up again shall be,", "In glory then and majesty", "to men appear shall he."]}, "15": {"syllabified": "The pray -- er of the des -- ti -- tute he sure -- ly will re -- gard; Their pray -- er will he not de -- spise, by him it shall be heard.", "prose": ["The prayer of the destitute", "he surely will regard;", "Their prayer will he not despise,", "by him it shall be heard."]}, "16": {"syllabified": "For gen -- er -- a -- tions yet to come this shall be on re -- cord: So shall the peo -- ple that shall be cre -- at -- ed praise the Lord.", "prose": ["For generations yet to come", "this shall be on record:", "So shall the people that shall be", "created praise the Lord."]}, "17": {"syllabified": "He from his sanc -- tu -- a -- ry's height hath down -- ward cast his eye; And from his glo -- rious throne in heaven the Lord the earth did spy;", "prose": ["He from his sanctuary's height", "hath downward cast his eye;", "And from his glorious throne in heaven", "the Lord the earth did spy;"]}, "18": {"syllabified": "That of the mourn -- ful pris -- on -- er the groan -- ings he might hear, To set them free that un -- to death by men ap -- point -- ed are:", "prose": ["That of the mournful prisoner", "the groanings he might hear,", "To set them free that unto death", "by men appointed are:"]}, "19": {"syllabified": "That they in Zi -- on may de -- clare the Lord's most ho -- ly name, And pub -- lish in Je -- ru -- sa -- lem the prais -- es of the same;", "prose": ["That they in Zion may declare", "the Lord's most holy name,", "And publish in Jerusalem", "the praises of the same;"]}, "20": {"syllabified": "When as the peo -- ple gath -- er shall in troops with one ac -- cord, When king -- doms shall as -- sem -- bled be to serve the high -- est Lord.", "prose": ["When as the people gather shall", "in troops with one accord,", "When kingdoms shall assembled be", "to serve the highest Lord."]}, "21": {"syllabified": "My wont -- ed strength and force he hath a -- bat -- ed in the way, And he my days hath shor -- ten -- ed: Thus there -- fore did I say,", "prose": ["My wonted strength and force he hath", "abated in the way,", "And he my days hath shortened:", "Thus therefore did I say,"]}, "22": {"syllabified": "My God, in mid -- time of my days take thou me not a -- way: From age to age e -- ter -- nal -- ly thy years en -- dure and stay.", "prose": ["My God, in mid-time of my days", "take thou me not away:", "From age to age eternally", "thy years endure and stay."]}, "23": {"syllabified": "The firm foun -- da -- tion of the earth of old time thou hast laid; The heav -- ens al -- so are the work which thine own hands have made.", "prose": ["The firm foundation of the earth", "of old time thou hast laid;", "The heavens also are the work", "which thine own hands have made."]}, "24": {"syllabified": "Thou shalt for ev -- er -- more en -- dure, but they shall per -- ish all; Yea, ev -- 'ry one of them wax old, like to a gar -- ment, shall:", "prose": ["Thou shalt for evermore endure,", "but they shall perish all;", "Yea, ev'ry one of them wax old,", "like to a garment, shall:"]}, "25": {"syllabified": "Thou, as a ves -- ture, shalt them change, and they shall chang -- ed be: But thou the same art, and thy years are to e -- ter -- ni -- ty.", "prose": ["Thou, as a vesture, shalt them change,", "and they shall changed be:", "But thou the same art, and thy years", "are to eternity."]}, "26": {"syllabified": "The chil -- dren of thy ser -- vants shall con -- tin -- ual -- ly en -- dure; And in thy sight, O Lord, their seed shall be es -- tab -- lished sure.", "prose": ["The children of thy servants shall", "continually endure;", "And in thy sight, O Lord, their seed", "shall be established sure."]}}}, "o-master-let-me-walk-with-thee": {"slug": "o-master-let-me-walk-with-thee", "title": "O Master, Let Me Walk with Thee", "first_line": "O Master, let me walk with Thee", "author": "washington-gladden", "author_date": "1879", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Discipleship", "Service", "Consecration"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Washington Gladden (1836-1918), \"O Master, let me walk with Thee,\" written 1879 for the paper Sunday Afternoon (the hymn is the worship cento adapted by W. C. Gannett / C. H. Richards). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Mas -- ter, let me walk with Thee, In low -- ly paths of ser -- vice free; Tell me Thy se -- cret; help me bear The strain of toil, the fret of care.", "prose": ["O Master, let me walk with Thee,", "In lowly paths of service free;", "Tell me Thy secret; help me bear", "The strain of toil, the fret of care."]}, "2": {"syllabified": "Help me the slow of heart to move By some clear, win -- ning word of love; Teach me the way -- ward feet to stay, And guide them in the home -- ward way.", "prose": ["Help me the slow of heart to move", "By some clear, winning word of love;", "Teach me the wayward feet to stay,", "And guide them in the homeward way."]}, "3": {"syllabified": "O Mas -- ter, let me walk with Thee, Be -- fore the taunt -- ing Phar -- i -- see; Help me to bear the sting of spite, The hate of men who hide Thy light.", "prose": ["O Master, let me walk with Thee,", "Before the taunting Pharisee;", "Help me to bear the sting of spite,", "The hate of men who hide Thy light."]}, "4": {"syllabified": "The sore dis -- trust of souls sin -- cere Who can -- not read Thy judg -- ments clear, The dull -- ness of the mul -- ti -- tude, Who dim -- ly guess that Thou art good.", "prose": ["The sore distrust of souls sincere", "Who cannot read Thy judgments clear,", "The dullness of the multitude,", "Who dimly guess that Thou art good."]}, "5": {"syllabified": "Teach me Thy pa -- tience; still with Thee In clos -- er, dear -- er, com -- pa -- ny, In work that keeps faith sweet and strong, In trust that tri -- umphs ov -- er wrong.", "prose": ["Teach me Thy patience; still with Thee", "In closer, dearer, company,", "In work that keeps faith sweet and strong,", "In trust that triumphs over wrong."]}, "6": {"syllabified": "In hope that sends a shin -- ing ray Far down the fu -- ture's broad -- 'ning way, In peace that on -- ly Thou canst give, With Thee, O Mas -- ter, let me live.", "prose": ["In hope that sends a shining ray", "Far down the future's broadening way,", "In peace that only Thou canst give,", "With Thee, O Master, let me live."]}}}, "o-mighty-man-why-wilt-thou-boast": {"slug": "o-mighty-man-why-wilt-thou-boast", "title": "The Vindication of Righteousness", "first_line": "O mighty man, why wilt Thou boast", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 52, "topics": ["Psalms"], "scripture": ["Psalm 52"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 145) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 52, selection 145. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O might -- y man, why wilt Thou boast Thy -- self in hate -- ful cru -- el -- ty, When God Al -- might -- y is most kind, And ev -- er mer -- ci -- ful is He?", "prose": ["O mighty man, why wilt Thou boast", "Thyself in hateful cruelty,", "When God Almighty is most kind,", "And ever merciful is He?"]}, "2": {"syllabified": "Thy tongue de -- vis -- eth wick -- ed -- ness, A weap -- on treach -- er -- ous and keen; Thou lov -- est e -- vil more than good, And false -- hood in thy sight is clean.", "prose": ["Thy tongue deviseth wickedness,", "A weapon treacherous and keen;", "Thou lovest evil more than good,", "And falsehood in thy sight is clean."]}, "3": {"syllabified": "Since, O thou false, de -- ceit -- ful tongue, In dead -- ly words Thou find -- est joy, The Lord shall pluck thee from thy place And all thy wick -- ed -- ness de -- stroy.", "prose": ["Since, O thou false, deceitful tongue,", "In deadly words Thou findest joy,", "The Lord shall pluck thee from thy place", "And all thy wickedness destroy."]}, "4": {"syllabified": "The good, con -- firmed in god -- ly fear, The pride and fol -- ly shall con -- fess Of those who make not God their strength, But trust in wealth and wick -- ed -- ness.", "prose": ["The good, confirmed in godly fear,", "The pride and folly shall confess", "Of those who make not God their strength,", "But trust in wealth and wickedness."]}, "5": {"syllabified": "I put my trust in God a -- lone, For ev -- er -- more I trust His grace, And like the trees with -- in His courts I flour -- ish in a fa -- vored place.", "prose": ["I put my trust in God alone,", "For evermore I trust His grace,", "And like the trees within His courts", "I flourish in a favored place."]}, "6": {"syllabified": "With end -- less thanks, O Lord, to Thee, Thy won -- drous works will I pro -- claim, And in the pres -- ence of Thy saints Will ev -- er hope in Thy good Name.", "prose": ["With endless thanks, O Lord, to Thee,", "Thy wondrous works will I proclaim,", "And in the presence of Thy saints", "Will ever hope in Thy good Name."]}}}, "o-morning-star-how-fair-and-bright": {"slug": "o-morning-star-how-fair-and-bright", "title": "O Morning Star, How Fair and Bright", "first_line": "O Morning Star, how fair and bright", "author": "phillip-nicolai", "author_date": "1599", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "iambic", "meter": {"pattern": [8, 8, 7, 8, 8, 7, 4, 8, 4, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Advent", "Jesus Christ", "Love to Christ"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "German original \"Wie schön leuchtet der Morgenstern\" by Philipp Nicolai, first published 1599 (Freudenspiegel des ewigen Lebens). English translation \"O Morning Star, how fair and bright\" by Catherine Winkworth in The Chorale Book for England (1863). Nicolai d. 1608, Winkworth d. 1878; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Morn -- ing Star, how fair and bright Thou beam -- est forth in truth and light, O Sov -- 'reign meek and low -- ly! Thou Root of Jes -- se, Da -- vid's Son, my Lord and Mas -- ter, Thou hast won my heart to serve Thee sole -- ly! Thou art ho -- ly, fair and glo -- rious, all -- vic -- to -- rious, rich in bless -- ing, rule and might o'er all pos -- sess -- ing.", "prose": ["O Morning Star, how fair and bright", "Thou beamest forth in truth and light,", "O Sov'reign meek and lowly!", "Thou Root of Jesse, David's Son,", "my Lord and Master, Thou hast won", "my heart to serve Thee solely!", "Thou art holy, fair and glorious, all-victorious,", "rich in blessing, rule and might o'er all possessing."]}, "2": {"syllabified": "Thou heav'n -- ly Bright -- ness! Light di -- vine! O deep with -- in my heart now shine, and make Thee there an al -- tar! Fill me with joy and strength to be Thy mem -- ber, ev -- er joined to Thee in love that can -- not fal -- ter; t'ward Thee long -- ing doth pos -- sess me; turn and bless me; here in sad -- ness eye and heart long for Thy glad -- ness!", "prose": ["Thou heav'nly Brightness! Light divine!", "O deep within my heart now shine,", "and make Thee there an altar!", "Fill me with joy and strength to be", "Thy member, ever joined to Thee", "in love that cannot falter;", "t'ward Thee longing doth possess me; turn and bless me;", "here in sadness eye and heart long for Thy gladness!"]}, "3": {"syllabified": "What joy to know, when life is past, the Lord we love is first and last, the end and the be -- gin -- ning! He will one day, O glo -- rious grace, trans -- port us to that hap -- py place be -- yond all tears and sin -- ning! A -- men! A -- men! Come, Lord Je -- sus! Crown of glad -- ness, we are yearn -- ing for the day of Your re -- turn -- ing.", "prose": ["What joy to know, when life is past,", "the Lord we love is first and last,", "the end and the beginning!", "He will one day, O glorious grace,", "transport us to that happy place", "beyond all tears and sinning!", "Amen! Amen! Come, Lord Jesus! Crown of gladness,", "we are yearning for the day of Your returning."]}}}, "o-my-soul-bless-god-the-father": {"slug": "o-my-soul-bless-god-the-father", "title": "O My Soul, Bless God the Father", "first_line": "O my soul, bless God the Father", "author_source": "The United Presbyterian Book of Psalms, 1871", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 103, "topics": ["Psalms", "Praise"], "scripture": "Psalm 103", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "encoding_origin": "The Cyber Hymnal, \"O My Soul, Bless God the Father\" (omysoulb.htm); all six stanzas as printed there, credited \"From the United Presbyterian Book of Psalms, 1871.\"", "pd_basis": "pub_pre_1931", "pd_evidence": "A metrical paraphrase of Psalm 103 from The Book of Psalms (United Presbyterian Church of North America, 1871; committee versification, no named author), as credited by The Cyber Hymnal (\"From the United Presbyterian Book of Psalms, 1871\") — US public domain by pre-1931 publication. One sung elision normalized for the 8.7.8.7 meter: \"covenant\" is elided to \"cov'nant\" in 5.1 (the Cyber Hymnal prints the full spelling; the line scans at eight syllables only with the standard two-syllable elision).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O my soul, bless God the Fa -- ther; All with -- in me bless His name; Bless the Fa -- ther, and for -- get not All His mer -- cies to pro -- claim.", "prose": ["O my soul, bless God the Father;", "All within me bless His name;", "Bless the Father, and forget not", "All His mercies to proclaim."]}, "2": {"syllabified": "Who for -- gives all your trans -- gres -- sions, Your dis -- eas -- es all who heals; Who re -- deems you from de -- struc -- tion, Who with you so kind -- ly deals.", "prose": ["Who forgives all your transgressions,", "Your diseases all who heals;", "Who redeems you from destruction,", "Who with you so kindly deals."]}, "3": {"syllabified": "Far as east from west is dis -- tant, He has put a -- way our sin; Like the pit -- y of a fa -- ther Has the Lord's com -- pas -- sion been.", "prose": ["Far as east from west is distant,", "He has put away our sin;", "Like the pity of a father", "Has the Lord's compassion been."]}, "4": {"syllabified": "As it was with -- out be -- gin -- ning, So it lasts with -- out an end; To their chil -- dren's chil -- dren ev -- er Shall His right -- eous -- ness ex -- tend.", "prose": ["As it was without beginning,", "So it lasts without an end;", "To their children's children ever", "Shall His righteousness extend."]}, "5": {"syllabified": "Un -- to such as keep His cov -- 'nant And are stead -- fast in His way; Un -- to those who still re -- mem -- ber His com -- mand -- ments, and o -- bey.", "prose": ["Unto such as keep His cov'nant", "And are steadfast in His way;", "Unto those who still remember", "His commandments, and obey."]}, "6": {"syllabified": "Bless the Fa -- ther, all His crea -- tures, Ev -- er un -- der His con -- trol, All through -- out His vast do -- min -- ion; Bless the Fa -- ther, O my soul.", "prose": ["Bless the Father, all His creatures,", "Ever under His control,", "All throughout His vast dominion;", "Bless the Father, O my soul."]}}}, "o-perfect-love-all-human-thought-transcending": {"slug": "o-perfect-love-all-human-thought-transcending", "title": "O Perfect Love", "first_line": "O perfect Love, all human thought transcending", "author": "dorothy-frances-gurney", "author_date": "1883", "foot": "iambic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Marriage", "Love"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Dorothy Frances Gurney, \"O perfect Love, all human thought transcending,\" written 1883 and published that year; sung widely as a wedding hymn. First published 1883 (US public domain, pub. pre-1929); author d. 1932, so also public domain in life-plus-70 jurisdictions since 2003.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O per -- fect Love, all hu -- man thought tran -- scend -- ing, Low -- ly we kneel in prayer be -- fore Thy throne, That theirs may be the love which knows no end -- ing, Whom Thou for -- ev -- er -- more dost join in one.", "prose": ["O perfect Love, all human thought transcending,", "Lowly we kneel in prayer before Thy throne,", "That theirs may be the love which knows no ending,", "Whom Thou forevermore dost join in one."]}, "2": {"syllabified": "O per -- fect Life, be Thou their full as -- sur -- ance Of ten -- der char -- i -- ty and stead -- fast faith, Of pa -- tient hope, and qui -- et, brave en -- dur -- ance, With child -- like trust that fears nor pain nor death.", "prose": ["O perfect Life, be Thou their full assurance", "Of tender charity and steadfast faith,", "Of patient hope, and quiet, brave endurance,", "With childlike trust that fears nor pain nor death."]}, "3": {"syllabified": "Grant them the joy which bright -- ens earth -- ly sor -- row; Grant them the peace which calms all earth -- ly strife, And to life's day the glo -- rious un -- known mor -- row That dawns up -- on e -- ter -- nal love and life.", "prose": ["Grant them the joy which brightens earthly sorrow;", "Grant them the peace which calms all earthly strife,", "And to life's day the glorious unknown morrow", "That dawns upon eternal love and life."]}}}, "o-praise-the-lord-for-he-is-good": {"slug": "o-praise-the-lord-for-he-is-good", "title": "O Praise the Lord, for He Is Good", "first_line": "O praise the Lord, for he is good", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 118, "topics": ["Psalms"], "scripture": ["Psalm 118"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 118. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O praise the Lord, for he is good; his mer -- cy last -- eth ev -- er. Let those of I -- sra -- el now say, His mer -- cy fail -- eth nev -- er.", "prose": ["O praise the Lord, for he is good;", "his mercy lasteth ever.", "Let those of Israel now say,", "His mercy faileth never."]}, "2": {"syllabified": "Now let the house of Aa -- ron say, His mer -- cy last -- eth ev -- er. Let those that fear the Lord now say, His mer -- cy fail -- eth nev -- er.", "prose": ["Now let the house of Aaron say,", "His mercy lasteth ever.", "Let those that fear the Lord now say,", "His mercy faileth never."]}, "3": {"syllabified": "I in dis -- tress called on the Lord; the Lord did an -- swer me: He in a large place did me set, from trou -- ble made me free.", "prose": ["I in distress called on the Lord;", "the Lord did answer me:", "He in a large place did me set,", "from trouble made me free."]}, "4": {"syllabified": "The might -- y Lord is on my side, I will not be a -- fraid; For an -- y -- thing that man can do I shall not be dis -- mayed.", "prose": ["The mighty Lord is on my side,", "I will not be afraid;", "For anything that man can do", "I shall not be dismayed."]}, "5": {"syllabified": "The Lord doth take my part with them that help to suc -- cour me: There -- fore on those that do me hate I my de -- sire shall see.", "prose": ["The Lord doth take my part with them", "that help to succour me:", "Therefore on those that do me hate", "I my desire shall see."]}, "6": {"syllabified": "Bet -- ter it is to trust in God than trust in man's de -- fence; Bet -- ter to trust in God than make prin -- ces our con -- fi -- dence.", "prose": ["Better it is to trust in God", "than trust in man's defence;", "Better to trust in God than make", "princes our confidence."]}, "7": {"syllabified": "The na -- tions, join -- ing all in one, did com -- pass me a -- bout: But in the Lord's most ho -- ly name I shall them all root out.", "prose": ["The nations, joining all in one,", "did compass me about:", "But in the Lord's most holy name", "I shall them all root out."]}, "8": {"syllabified": "They com -- passed me a -- bout; I say, they com -- passed me a -- bout: But in the Lord's most ho -- ly name I shall them all root out.", "prose": ["They compassed me about; I say,", "they compassed me about:", "But in the Lord's most holy name", "I shall them all root out."]}, "9": {"syllabified": "Like bees they com -- passed me a -- bout; like un -- to thorns that flame They quench -- ed are: for them shall I de -- stroy in God's own name.", "prose": ["Like bees they compassed me about;", "like unto thorns that flame", "They quenched are: for them shall I", "destroy in God's own name."]}, "10": {"syllabified": "Thou sore hast thrust, that I might fall, but my Lord help -- ed me. God my sal -- va -- tion is be -- come, my strength and song is he.", "prose": ["Thou sore hast thrust, that I might fall,", "but my Lord helped me.", "God my salvation is become,", "my strength and song is he."]}, "11": {"syllabified": "In dwell -- ings of the right -- e -- ous is heard the mel -- o -- dy Of joy and health: the Lord's right hand doth ev -- er val -- iant -- ly.", "prose": ["In dwellings of the righteous", "is heard the melody", "Of joy and health: the Lord's right hand", "doth ever valiantly."]}, "12": {"syllabified": "The right hand of the might -- y Lord ex -- al -- ted is on high; The right hand of the might -- y Lord doth ev -- er val -- iant -- ly.", "prose": ["The right hand of the mighty Lord", "exalted is on high;", "The right hand of the mighty Lord", "doth ever valiantly."]}, "13": {"syllabified": "I shall not die, but live, and shall the works of God dis -- cov -- er. The Lord hath me chas -- tis -- ed sore, but not to death given o -- ver.", "prose": ["I shall not die, but live, and shall", "the works of God discover.", "The Lord hath me chastised sore,", "but not to death given over."]}, "14": {"syllabified": "O set ye o -- pen un -- to me the gates of right -- eous -- ness; Then will I en -- ter in -- to them, and I the Lord will bless.", "prose": ["O set ye open unto me", "the gates of righteousness;", "Then will I enter into them,", "and I the Lord will bless."]}, "15": {"syllabified": "This is the gate of God, by it the just shall en -- ter in. Thee will I praise, for thou me heard'st, and hast my safe -- ty been.", "prose": ["This is the gate of God, by it", "the just shall enter in.", "Thee will I praise, for thou me heard'st,", "and hast my safety been."]}, "16": {"syllabified": "That stone is made head cor -- ner -- stone, which buil -- ders did de -- spise: This is the do -- ing of the Lord, and won -- drous in our eyes.", "prose": ["That stone is made head cornerstone,", "which builders did despise:", "This is the doing of the Lord,", "and wondrous in our eyes."]}, "17": {"syllabified": "This is the day God made, in it we'll joy tri -- um -- phant -- ly. Save now, I pray thee, Lord; I pray, send now pros -- per -- i -- ty.", "prose": ["This is the day God made, in it", "we'll joy triumphantly.", "Save now, I pray thee, Lord; I pray,", "send now prosperity."]}, "18": {"syllabified": "Bles -- sed is he in God's great name that com -- eth us to save: We, from the house which to the Lord per -- tains, you bles -- sed have.", "prose": ["Blessed is he in God's great name", "that cometh us to save:", "We, from the house which to the Lord", "pertains, you blessed have."]}, "19": {"syllabified": "God is the Lord, who un -- to us hath made light to a -- rise: Bind ye un -- to the al -- tar's horns with cords the sac -- ri -- fice.", "prose": ["God is the Lord, who unto us", "hath made light to arise:", "Bind ye unto the altar's horns", "with cords the sacrifice."]}, "20": {"syllabified": "Thou art my God, I'll thee ex -- alt; my God, I will thee praise. Give thanks to God, for he is good: his mer -- cy lasts al -- ways.", "prose": ["Thou art my God, I'll thee exalt;", "my God, I will thee praise.", "Give thanks to God, for he is good:", "his mercy lasts always."]}}}, "o-royal-bride-give-heed": {"slug": "o-royal-bride-give-heed", "title": "The Church the Bride of Christ", "first_line": "O Royal Bride give heed", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 45, "topics": ["Psalms"], "scripture": ["Psalm 45"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 125) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 45, selection 125. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Ro -- yal Bride give heed, And to my words at -- tend; For Christ the King for -- sake the world And ev -- 'ry for -- mer friend.", "prose": ["O Royal Bride give heed,", "And to my words attend;", "For Christ the King forsake the world", "And ev'ry former friend."]}, "2": {"syllabified": "Thy beau -- ty and thy grace Shall then de -- light the King; He on -- ly is the right -- ful Lord, To Him thy wor -- ship bring.", "prose": ["Thy beauty and thy grace", "Shall then delight the King;", "He only is the rightful Lord,", "To Him thy worship bring."]}, "3": {"syllabified": "To thee, since thou art His, Great hon -- or shall be shown; The rich shall bring their gifts to thee Thy glo -- ry they shall own.", "prose": ["To thee, since thou art His,", "Great honor shall be shown;", "The rich shall bring their gifts to thee", "Thy glory they shall own."]}, "4": {"syllabified": "En -- throned in ro -- yal state, All glo -- rious thou shalt dwell, With gar -- ments fair, in -- wrought with gold, The Church He lov -- eth well.", "prose": ["Enthroned in royal state,", "All glorious thou shalt dwell,", "With garments fair, in-wrought with gold,", "The Church He loveth well."]}, "5": {"syllabified": "And they that hon -- or thee Shall in thy train at -- tend; And to the pal -- ace of the King Shall joy -- ful -- ly as -- cend.", "prose": ["And they that honor thee", "Shall in thy train attend;", "And to the palace of the King", "Shall joyfully ascend."]}, "6": {"syllabified": "O King of ro -- yal race, Thy sons of heaven -- ly birth Thou wilt en -- dow with king -- ly gifts As prin -- ces in the earth.", "prose": ["O King of royal race,", "Thy sons of heavenly birth", "Thou wilt endow with kingly gifts", "As princes in the earth."]}, "7": {"syllabified": "Thy name shall be pro -- claimed Through all suc -- ceed -- ing days, And all the na -- tions of the earth Shall give Thee end -- less praise.", "prose": ["Thy name shall be proclaimed", "Through all succeeding days,", "And all the nations of the earth", "Shall give Thee endless praise."]}}}, "o-sacred-head-now-wounded": {"slug": "o-sacred-head-now-wounded", "title": "O Sacred Head, Now Wounded", "first_line": "O sacred head, now wounded", "author": "bernard-of-clairvaux", "author_date": "1153", "translator": "james-w-alexander", "translator_date": "1830", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christ, Passion of", "Lent", "Cross"], "scripture": ["Matthew 27:29"], "provenance": {"layer": "text", "source": "alexander-1830", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Bernard of Clairvaux, tr. James W. Alexander, 1830. Translator d. 1859.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_sacred_head_now_wounded", "total_instances": 772}}, "stanzas": {"1": {"syllabified": "O sa -- cred Head, now wound -- ed, with grief and shame weighed down, Now scorn -- ful -- ly sur -- round -- ed with thorns, Thine on -- ly crown; O sa -- cred Head, what glo -- ry, what bliss till now was Thine! Yet, though de -- spised and gor -- y, I joy to call Thee mine.", "prose": ["O sacred Head, now wounded,", "with grief and shame weighed down,", "Now scornfully surrounded", "with thorns, Thine only crown;", "O sacred Head, what glory,", "what bliss till now was Thine!", "Yet, though despised and gory,", "I joy to call Thee mine."]}, "2": {"syllabified": "What Thou, my Lord, hast suf -- fered, was all for sin -- ners' gain; Mine, mine was the trans -- gres -- sion, but Thine the dead -- ly pain. Lo, here I fall, my Sav -- ior! 'Tis I de -- serve Thy place; Look on me with Thy fa -- vor, vouch -- safe to me Thy grace.", "prose": ["What Thou, my Lord, hast suffered,", "was all for sinners' gain;", "Mine, mine was the transgression,", "but Thine the deadly pain.", "Lo, here I fall, my Savior!", "'Tis I deserve Thy place;", "Look on me with Thy favor,", "vouchsafe to me Thy grace."]}, "3": {"syllabified": "Men mock and taunt and jeer Thee, Thou no -- ble coun -- ten -- ance, Though might -- y worlds shall fear Thee and flee be -- fore Thy glance. How art thou pale with an -- guish, with sore a -- buse and scorn! How doth Thy vis -- age lan -- guish that once was bright as morn!", "prose": ["Men mock and taunt and jeer Thee,", "Thou noble countenance,", "Though mighty worlds shall fear Thee", "and flee before Thy glance.", "How art thou pale with anguish,", "with sore abuse and scorn!", "How doth Thy visage languish", "that once was bright as morn!"]}, "4": {"syllabified": "Now from Thy cheeks has van -- ished their col -- or once so fair; From Thy red lips is ban -- ished the splen -- dor that was there. Grim death, with cru -- el rig -- or, hath robbed Thee of Thy life; Thus Thou hast lost Thy vig -- or, Thy strength in this sad strife.", "prose": ["Now from Thy cheeks has vanished", "their color once so fair;", "From Thy red lips is banished", "the splendor that was there.", "Grim death, with cruel rigor,", "hath robbed Thee of Thy life;", "Thus Thou hast lost Thy vigor,", "Thy strength in this sad strife."]}, "5": {"syllabified": "My bur -- den in Thy Pas -- sion, Lord, Thou hast borne for me, For it was my trans -- gres -- sion which brought this woe on Thee. I cast me down be -- fore Thee, wrath were my right -- ful lot; Have mer -- cy, I im -- plore Thee; Re -- deem -- er, spurn me not!", "prose": ["My burden in Thy Passion,", "Lord, Thou hast borne for me,", "For it was my transgression", "which brought this woe on Thee.", "I cast me down before Thee,", "wrath were my rightful lot;", "Have mercy, I implore Thee;", "Redeemer, spurn me not!"]}}}, "o-sing-a-new-song-to-the-lord": {"slug": "o-sing-a-new-song-to-the-lord", "title": "O Sing a New Song to the Lord", "first_line": "O sing a new song to the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 98, "topics": ["Psalms"], "scripture": ["Psalm 98"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 98. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O sing a new song to the Lord, for won -- ders he hath done: His right hand and his ho -- ly arm him vic -- to -- ry hath won.", "prose": ["O sing a new song to the Lord,", "for wonders he hath done:", "His right hand and his holy arm", "him victory hath won."]}, "2": {"syllabified": "The Lord God his sal -- va -- ti -- on hath caus -- ed to be known; His jus -- tice in the hea -- then's sight he o -- pen -- ly hath shown.", "prose": ["The Lord God his salvation", "hath caused to be known;", "His justice in the heathen's sight", "he openly hath shown."]}, "3": {"syllabified": "He mind -- ful of his grace and truth to Is -- r'el's house hath been; And the sal -- va -- tion of our God all ends of th'earth have seen.", "prose": ["He mindful of his grace and truth", "to Isr'el's house hath been;", "And the salvation of our God", "all ends of th' earth have seen."]}, "4": {"syllabified": "Let all the earth un -- to the Lord send forth a joy -- ful noise; Lift up your voice a -- loud to him, sing prais -- es, and re -- joice.", "prose": ["Let all the earth unto the Lord", "send forth a joyful noise;", "Lift up your voice aloud to him,", "sing praises, and rejoice."]}, "5": {"syllabified": "With harp, with harp, and voice of psalms, un -- to JE -- HO -- VAH sing: With trum -- pets, cor -- nets, glad -- ly sound be -- fore the Lord the King.", "prose": ["With harp, with harp, and voice of psalms,", "unto JEHOVAH sing:", "With trumpets, cornets, gladly sound", "before the Lord the King."]}, "6": {"syllabified": "Let seas and all their ful -- ness roar; the world, and dwell -- ers there; Let floods clap hands, and let the hills to -- geth -- er joy de -- clare", "prose": ["Let seas and all their fulness roar;", "the world, and dwellers there;", "Let floods clap hands, and let the hills", "together joy declare"]}, "7": {"syllabified": "Be -- fore the Lord; be -- cause he comes, to judge the earth comes he: He'll judge the world with right -- eous -- ness, his folk with eq -- ui -- ty.", "prose": ["Before the Lord; because he comes,", "to judge the earth comes he:", "He'll judge the world with righteousness,", "his folk with equity."]}}}, "o-sing-a-new-song-to-the-lord-psalm-96": {"slug": "o-sing-a-new-song-to-the-lord-psalm-96", "title": "O Sing a New Song to the Lord", "first_line": "O sing a new song to the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 96, "topics": ["Psalms"], "scripture": ["Psalm 96"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 96. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O sing a new song to the Lord: sing all the earth to God. To God sing, bless his name, show still his sav -- ing health a -- broad.", "prose": ["O sing a new song to the Lord:", "sing all the earth to God.", "To God sing, bless his name, show still", "his saving health abroad."]}, "2": {"syllabified": "A -- mong the hea -- then na -- ti -- ons his glo -- ry do de -- clare; And un -- to all the peo -- ple show his works that won -- drous are.", "prose": ["Among the heathen nations", "his glory do declare;", "And unto all the people show", "his works that wondrous are."]}, "3": {"syllabified": "For great's the Lord, and great -- ly he is to be mag -- ni -- fied; Yea, wor -- thy to be feared is he a -- bove all gods be -- side.", "prose": ["For great's the Lord, and greatly he", "is to be magnified;", "Yea, worthy to be feared is he", "above all gods beside."]}, "4": {"syllabified": "For all the gods are i -- dols dumb, which blind -- ed na -- tions fear; But our God is the Lord, by whom the heav'ns cre -- at -- ed were.", "prose": ["For all the gods are idols dumb,", "which blinded nations fear;", "But our God is the Lord, by whom", "the heav'ns created were."]}, "5": {"syllabified": "Great hon -- our is be -- fore his face, and maj -- es -- ty di -- vine; Strength is with -- in his ho -- ly place, and there doth beau -- ty shine.", "prose": ["Great honour is before his face,", "and majesty divine;", "Strength is within his holy place,", "and there doth beauty shine."]}, "6": {"syllabified": "Do ye as -- cribe un -- to the Lord, of peo -- ple ev -- 'ry tribe, Glo -- ry do ye un -- to the Lord, and might -- y pow'r as -- cribe.", "prose": ["Do ye ascribe unto the Lord,", "of people ev'ry tribe,", "Glory do ye unto the Lord,", "and mighty pow'r ascribe."]}, "7": {"syllabified": "Give ye the glo -- ry to the Lord that to his name is due; Come ye in -- to his courts, and bring an of -- fer -- ing with you.", "prose": ["Give ye the glory to the Lord", "that to his name is due;", "Come ye into his courts, and bring", "an offering with you."]}, "8": {"syllabified": "In beau -- ty of his ho -- li -- ness, O do the Lord a -- dore; Like -- wise let all the earth through -- out trem -- ble his face be -- fore.", "prose": ["In beauty of his holiness,", "O do the Lord adore;", "Likewise let all the earth throughout", "tremble his face before."]}, "9": {"syllabified": "A -- mong the hea -- then say, God reigns; the world shall sted -- fast -- ly Be fixed from mov -- ing; he shall judge the peo -- ple righ -- teous -- ly.", "prose": ["Among the heathen say, God reigns;", "the world shall stedfastly", "Be fixed from moving; he shall judge", "the people righteously."]}, "10": {"syllabified": "Let heav'ns be glad be -- fore the Lord, and let the earth re -- joice; Let seas, and all that is there -- in, cry out, and make a noise.", "prose": ["Let heav'ns be glad before the Lord,", "and let the earth rejoice;", "Let seas, and all that is therein,", "cry out, and make a noise."]}, "11": {"syllabified": "Let fields re -- joice, and ev -- 'ry -- thing that spring -- eth of the earth: Then woods and ev -- 'ry tree shall sing with glad -- ness and with mirth", "prose": ["Let fields rejoice, and everything", "that springeth of the earth:", "Then woods and ev'ry tree shall sing", "with gladness and with mirth"]}, "12": {"syllabified": "Be -- fore the Lord; be -- cause he comes, to judge the earth comes he: He'll judge the world with right -- eous -- ness, the peo -- ple faith -- ful -- ly.", "prose": ["Before the Lord; because he comes,", "to judge the earth comes he:", "He'll judge the world with righteousness,", "the people faithfully."]}}}, "o-that-the-lord-would-guide-my-ways": {"slug": "o-that-the-lord-would-guide-my-ways", "title": "O That The Lord Would Guide My Ways", "first_line": "O that the Lord would guide my ways To", "author": "isaac-watts", "author_date": "1901", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Faith", "God, Care of", "Grace"], "scripture": ["Matthew 20:30-34", "Genesis 18:1-5", "Mark 9:21-25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:231; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O that the Lord would guide my ways To keep His stat -- utes still! O that my God would grant me grace To know and do His will!", "prose": ["O that the Lord would guide my ways", "To keep His statutes still!", "O that my God would grant me grace", "To know and do His will!"]}, "2": {"syllabified": "O send Thy Spir -- it down to write Thy law up -- on my heart! Nor let my tongue in -- dulge de -- ceit, Nor act the li -- ar's part.", "prose": ["O send Thy Spirit down to write", "Thy law upon my heart!", "Nor let my tongue indulge deceit,", "Nor act the liar's part."]}, "3": {"syllabified": "From van -- i -- ty turn off mine eyes; Let no cor -- rupt de -- sign, Nor cov -- et -- ous de -- sires a -- rise With -- in this soul of mine.", "prose": ["From vanity turn off mine eyes;", "Let no corrupt design,", "Nor covetous desires arise", "Within this soul of mine."]}, "4": {"syllabified": "Or -- der my foot -- steps by Thy Word, And make my heart sin -- cere; Let sin have no do -- min -- ion, Lord, But keep my con -- science clear.", "prose": ["Order my footsteps by Thy Word,", "And make my heart sincere;", "Let sin have no dominion, Lord,", "But keep my conscience clear."]}, "5": {"syllabified": "As -- sist my soul, too apt to stray, A strict -- er watch to keep; And should I e'er for -- get Thy way, Re -- store Thy wan -- d'ring sheep.", "prose": ["Assist my soul, too apt to stray,", "A stricter watch to keep;", "And should I e'er forget Thy way,", "Restore Thy wand'ring sheep."]}}}, "o-the-deep-deep-love-of-jesus": {"slug": "o-the-deep-deep-love-of-jesus", "title": "O the Deep, Deep Love of Jesus", "first_line": "O the deep, deep love of Jesus", "author": "s-trevor-francis", "author_date": "1875", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Love of God", "Jesus Christ", "Assurance", "Comfort"], "scripture": ["Ephesians 3:18-19", "Romans 8:38-39"], "provenance": {"layer": "text", "source": "francis-1875", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "S. Trevor Francis (1834-1925), text 1875. Pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_the_deep_deep_love_of_jesus", "total_instances": 80}}, "stanzas": {"1": {"syllabified": "O the deep, deep love of Je -- sus, vast, un -- meas -- ured, bound -- less, free! Rol -- ling as a might -- y o -- cean in its full -- ness ov -- er me! Un -- der -- neath me, all ar -- ound me, is the cur -- rent of Thy love Lead -- ing on -- ward, lead -- ing home -- ward to Thy glor -- ious rest a -- bove!", "prose": ["O the deep, deep love of Jesus,", "vast, unmeasured, boundless, free!", "Rolling as a mighty ocean", "in its fullness over me!", "Underneath me, all around me,", "is the current of Thy love", "Leading onward, leading homeward", "to Thy glorious rest above!"]}, "2": {"syllabified": "O the deep, deep love of Je -- sus, spread His praise from shore to shore! How He lov -- eth, ev -- er lov -- eth, chang -- eth nev -- er, nev -- er -- more! How He watch -- es o'er His loved ones, died to call them all His own; How for them He in -- ter -- ced -- eth, watch -- eth o'er them from the throne!", "prose": ["O the deep, deep love of Jesus,", "spread His praise from shore to shore!", "How He loveth, ever loveth,", "changeth never, nevermore!", "How He watches o'er His loved ones,", "died to call them all His own;", "How for them He intercedeth,", "watcheth o'er them from the throne!"]}, "3": {"syllabified": "O the deep, deep love of Je -- sus, love of ev -- ery love the best! 'Tis an o -- cean full of bless -- ing, 'tis a ha -- ven giv -- ing rest! O the deep, deep love of Je -- sus, 'tis a heav'n of heav'ns to me; And it lifts me up to glo -- ry, for it lifts me up to Thee!", "prose": ["O the deep, deep love of Jesus,", "love of every love the best!", "'Tis an ocean full of blessing,", "'tis a haven giving rest!", "O the deep, deep love of Jesus,", "'tis a heav'n of heav'ns to me;", "And it lifts me up to glory,", "for it lifts me up to Thee!"]}}}, "o-thou-great-shepherd-of-thy-chosen-race": {"slug": "o-thou-great-shepherd-of-thy-chosen-race", "title": "A Suppliant Church", "first_line": "O Thou great Shepherd of Thy chosen race", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 80, "topics": ["Psalms"], "scripture": ["Psalm 80"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 218) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 80, selection 218. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Thou great Shep -- herd of Thy cho -- sen race, Who lead -- est like a flock Thy Is -- rael dear, From out the cher -- u -- bim re -- veal Thy face, Be -- fore our host now let Thy might ap -- pear. Come Thou, O God, to save us and re -- store; We shall be saved when shines Thy face once more.", "prose": ["O Thou great Shepherd of Thy chosen race,", "Who leadest like a flock Thy Israel dear,", "From out the cherubim reveal Thy face,", "Before our host now let Thy might appear.", "Come Thou, O God, to save us and restore;", "We shall be saved when shines Thy face once more."]}, "2": {"syllabified": "How long, O Lord, wilt Thou dis -- dain our prayer? For Thou hast fed us with the bread of tears, And bit -- ter sor -- row Thou hast made us share; The na -- tions round us mock with scorn -- ful jeers. O God of Hosts, Thy peo -- ple now re -- store; We shall be saved when shines Thy face once more.", "prose": ["How long, O Lord, wilt Thou disdain our prayer?", "For Thou hast fed us with the bread of tears,", "And bitter sorrow Thou hast made us share;", "The nations round us mock with scornful jeers.", "O God of Hosts, Thy people now restore;", "We shall be saved when shines Thy face once more."]}, "3": {"syllabified": "A vine Thou brought -- est forth from E -- gypt's land; The na -- tions were thrust out to give it room; It took deep root, it spread on ev -- 'ry hand, The hills were cov -- ered with its shade and bloom; Its boughs were like great ce -- dars spread -- ing wide; They reached the sea, its roots the riv -- er -- side.", "prose": ["A vine Thou broughtest forth from Egypt's land;", "The nations were thrust out to give it room;", "It took deep root, it spread on ev'ry hand,", "The hills were covered with its shade and bloom;", "Its boughs were like great cedars spreading wide;", "They reached the sea, its roots the riverside."]}, "4": {"syllabified": "Why hast Thou bro -- ken down its cir -- cling wall That they may pluck who pass a -- long the way? Wild beasts from out the wood de -- stroy it all And feed up -- on Thy vine by night and day. O God of Hosts, we pray Thee now, re -- store; We shall be saved when shines Thy face once more.", "prose": ["Why hast Thou broken down its circling wall", "That they may pluck who pass along the way?", "Wild beasts from out the wood destroy it all", "And feed upon Thy vine by night and day.", "O God of Hosts, we pray Thee now, restore;", "We shall be saved when shines Thy face once more."]}, "5": {"syllabified": "Look down, be -- hold and vis -- it this Thy vine Which Thou hast plant -- ed with Thy own right hand, The branch Thou mad -- est strong and owned it Thine, For it is burned with fire, no more to stand; Thy peo -- ple per -- ish in Thy an -- ger sore Be -- cause Thy face now shines on them no more.", "prose": ["Look down, behold and visit this Thy vine", "Which Thou hast planted with Thy own right hand,", "The branch Thou madest strong and owned it Thine,", "For it is burned with fire, no more to stand;", "Thy people perish in Thy anger sore", "Because Thy face now shines on them no more."]}, "6": {"syllabified": "O let Thy hand Thy cho -- sen one sus -- tain, The son of man Thou mad -- est strong to be; So we shall faith -- ful to Thy cause re -- main; Re -- vive Thou us, and we will call on Thee. Je -- ho -- vah, God of Hosts, a -- gain re -- store; We shall be saved when shines Thy face once more.", "prose": ["O let Thy hand Thy chosen one sustain,", "The son of man Thou madest strong to be;", "So we shall faithful to Thy cause remain;", "Revive Thou us, and we will call on Thee.", "Jehovah, God of Hosts, again restore;", "We shall be saved when shines Thy face once more."]}}}, "o-thou-my-soul-bless-god-the-lord": {"slug": "o-thou-my-soul-bless-god-the-lord", "title": "O Thou My Soul, Bless God the Lord", "first_line": "O thou my soul, bless God the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 103, "topics": ["Psalms"], "scripture": ["Psalm 103"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 103. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O thou my soul, bless God the Lord; and all that in me is Be stirr -- ed up his ho -- ly name to mag -- ni -- fy and bless.", "prose": ["O thou my soul, bless God the Lord;", "and all that in me is", "Be stirred up his holy name", "to magnify and bless."]}, "2": {"syllabified": "Bless, O my soul, the Lord thy God, and not for -- get -- ful be Of all his gra -- cious ben -- e -- fits he hath be -- stowed on thee.", "prose": ["Bless, O my soul, the Lord thy God,", "and not forgetful be", "Of all his gracious benefits", "he hath bestowed on thee."]}, "3": {"syllabified": "All thine in -- iq -- ui -- ties who doth most gra -- cious -- ly for -- give: Who thy dis -- eas -- es all and pains doth heal, and thee re -- lieve.", "prose": ["All thine iniquities who doth", "most graciously forgive:", "Who thy diseases all and pains", "doth heal, and thee relieve."]}, "4": {"syllabified": "Who doth re -- deem thy life, that thou to death may'st not go down; Who thee with lov -- ing -- kind -- ness doth and ten -- der mer -- cies crown:", "prose": ["Who doth redeem thy life, that thou", "to death may'st not go down;", "Who thee with loving-kindness doth", "and tender mercies crown:"]}, "5": {"syllabified": "Who with a -- bun -- dance of good things doth sat -- is -- fy thy mouth; So that, ev'n as the ea -- gle's age, re -- new -- ed is thy youth.", "prose": ["Who with abundance of good things", "doth satisfy thy mouth;", "So that, ev'n as the eagle's age,", "renewed is thy youth."]}, "6": {"syllabified": "God right -- eous judg -- ment ex -- e -- cutes for all op -- press -- ed ones. His ways to Mo -- ses, he his acts made known to Is -- r'el's sons.", "prose": ["God righteous judgment executes", "for all oppressed ones.", "His ways to Moses, he his acts", "made known to Isr'el's sons."]}, "7": {"syllabified": "The Lord our God is mer -- ci -- ful, and he is gra -- ci -- ous, Long -- suf -- fer -- ing, and slow to wrath, in mer -- cy plen -- te -- ous.", "prose": ["The Lord our God is merciful,", "and he is gracious,", "Long-suffering, and slow to wrath,", "in mercy plenteous."]}, "8": {"syllabified": "He will not chide con -- tin -- ual -- ly, nor keep his an -- ger still. With us he dealt not as we sinned, nor did re -- quite our ill.", "prose": ["He will not chide continually,", "nor keep his anger still.", "With us he dealt not as we sinned,", "nor did requite our ill."]}, "9": {"syllabified": "For as the heav -- en in its height the earth sur -- mount -- eth far; So great to those that do him fear his ten -- der mer -- cies are:", "prose": ["For as the heaven in its height", "the earth surmounteth far;", "So great to those that do him fear", "his tender mercies are:"]}, "10": {"syllabified": "As far as east is dis -- tant from the west, so far hath he From us re -- mov -- ed, in his love, all our in -- iq -- ui -- ty.", "prose": ["As far as east is distant from", "the west, so far hath he", "From us removed, in his love,", "all our iniquity."]}, "11": {"syllabified": "Such pit -- y as a fa -- ther hath un -- to his chil -- dren dear; Like pit -- y shows the Lord to such as wor -- ship him in fear.", "prose": ["Such pity as a father hath", "unto his children dear;", "Like pity shows the Lord to such", "as worship him in fear."]}, "12": {"syllabified": "For he re -- mem -- bers we are dust, and he our frame well knows. Frail man, his days are like the grass, as flow'r in field he grows:", "prose": ["For he remembers we are dust,", "and he our frame well knows.", "Frail man, his days are like the grass,", "as flow'r in field he grows:"]}, "13": {"syllabified": "For o -- ver it the wind doth pass, and it a -- way is gone; And of the place where once it was it shall no more be known.", "prose": ["For over it the wind doth pass,", "and it away is gone;", "And of the place where once it was", "it shall no more be known."]}, "14": {"syllabified": "But un -- to them that do him fear God's mer -- cy nev -- er ends; And to their chil -- dren's chil -- dren still his right -- eous -- ness ex -- tends:", "prose": ["But unto them that do him fear", "God's mercy never ends;", "And to their children's children still", "his righteousness extends:"]}, "15": {"syllabified": "To such as keep his cov -- e -- nant, and mind -- ful are al -- way Of his most just com -- mand -- e -- ments, that they may them o -- bey.", "prose": ["To such as keep his covenant,", "and mindful are alway", "Of his most just commandements,", "that they may them obey."]}, "16": {"syllabified": "The Lord pre -- par -- ed hath his throne in heav -- ens firm to stand; And ev -- er -- y -- thing that be -- ing hath his king -- dom doth com -- mand.", "prose": ["The Lord prepared hath his throne", "in heavens firm to stand;", "And everything that being hath", "his kingdom doth command."]}, "17": {"syllabified": "O ye his an -- gels, that ex -- cel in strength, bless ye the Lord; Ye who o -- bey what he com -- mands, and hear -- ken to his word.", "prose": ["O ye his angels, that excel", "in strength, bless ye the Lord;", "Ye who obey what he commands,", "and hearken to his word."]}, "18": {"syllabified": "O bless and mag -- ni -- fy the Lord, ye glo -- rious hosts of his; Ye min -- is -- ters, that do ful -- fil what -- e'er his plea -- sure is.", "prose": ["O bless and magnify the Lord,", "ye glorious hosts of his;", "Ye ministers, that do fulfil", "whate'er his pleasure is."]}, "19": {"syllabified": "O bless the Lord, all ye his works, where -- with the world is stored In his do -- min -- ions ev -- er -- y -- where. My soul, bless thou the Lord.", "prose": ["O bless the Lord, all ye his works,", "wherewith the world is stored", "In his dominions everywhere.", "My soul, bless thou the Lord."]}}}, "o-thou-that-dwellest-in-the-heavns": {"slug": "o-thou-that-dwellest-in-the-heavns", "title": "O Thou That Dwellest in the Heav'ns", "first_line": "O thou that dwellest in the heav'ns", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 123, "topics": ["Psalms"], "scripture": ["Psalm 123"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 123. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O thou that dwel -- lest in the heav'ns, I lift mine eyes to thee. Be -- hold, as ser -- vants' eyes do look their mas -- ters' hand to see,", "prose": ["O thou that dwellest in the heav'ns,", "I lift mine eyes to thee.", "Behold, as servants' eyes do look", "their masters' hand to see,"]}, "2": {"syllabified": "As hand -- maid's eyes her mis -- tress' hand; so do our eyes at -- tend Up -- on the Lord our God, un -- til to us he mer -- cy send.", "prose": ["As handmaid's eyes her mistress' hand;", "so do our eyes attend", "Upon the Lord our God, until", "to us he mercy send."]}, "3": {"syllabified": "O Lord, be gra -- ci -- ous to us, un -- to us gra -- cious be; Be -- cause re -- plen -- ished with con -- tempt ex -- ceed -- ing -- ly are we.", "prose": ["O Lord, be gracious to us,", "unto us gracious be;", "Because replenished with contempt", "exceedingly are we."]}, "4": {"syllabified": "Our soul is filled with scorn of those that at their ease a -- bide, And with the in -- so -- lent con -- tempt of those that swell in pride.", "prose": ["Our soul is filled with scorn of those", "that at their ease abide,", "And with the insolent contempt", "of those that swell in pride."]}}}, "o-thou-the-god-of-all-my-praise": {"slug": "o-thou-the-god-of-all-my-praise", "title": "O Thou the God of All My Praise", "first_line": "O thou the God of all my praise", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 109, "topics": ["Psalms"], "scripture": ["Psalm 109"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 109. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O thou the God of all my praise, do thou not hold thy peace; For mouths of wick -- ed men to speak a -- gainst me do not cease:", "prose": ["O thou the God of all my praise,", "do thou not hold thy peace;", "For mouths of wicked men to speak", "against me do not cease:"]}, "2": {"syllabified": "The mouths of vile de -- ceit -- ful men a -- gainst me o -- pened be; And with a false and ly -- ing tongue they have ac -- cus -- ed me.", "prose": ["The mouths of vile deceitful men", "against me opened be;", "And with a false and lying tongue", "they have accused me."]}, "3": {"syllabified": "They did be -- set me round a -- bout with words of hate -- ful spite; And though to them no cause I gave, a -- gainst me they did fight.", "prose": ["They did beset me round about", "with words of hateful spite;", "And though to them no cause I gave,", "against me they did fight."]}, "4": {"syllabified": "They for my love be -- came my foes, but I me set to pray. E -- vil for good, ha -- tred for love, to me they did re -- pay.", "prose": ["They for my love became my foes,", "but I me set to pray.", "Evil for good, hatred for love,", "to me they did repay."]}, "5": {"syllabified": "Set thou the wick -- ed o -- ver him; and up -- on his right hand Give thou his great -- est en -- e -- my, ev'n Sa -- tan, leave to stand.", "prose": ["Set thou the wicked over him;", "and upon his right hand", "Give thou his greatest enemy,", "ev'n Satan, leave to stand."]}, "6": {"syllabified": "And when by thee he shall be judged, let him con -- demn -- ed be; And let his pray'r be turned to sin, when he shall call on thee.", "prose": ["And when by thee he shall be judged,", "let him condemned be;", "And let his pray'r be turned to sin,", "when he shall call on thee."]}, "7": {"syllabified": "Few be his days, and in his room his charge an -- oth -- er take. His chil -- dren let be fa -- ther -- less, his wife a wid -- ow make.", "prose": ["Few be his days, and in his room", "his charge another take.", "His children let be fatherless,", "his wife a widow make."]}, "8": {"syllabified": "His chil -- dren let be vag -- a -- bonds, and beg con -- tin -- ual -- ly; And from their plac -- es des -- o -- late seek bread for their sup -- ply.", "prose": ["His children let be vagabonds,", "and beg continually;", "And from their places desolate", "seek bread for their supply."]}, "9": {"syllabified": "Let cov -- et -- ous ex -- tor -- tion -- ers catch all he hath a -- way: Of all for which he la -- boured hath let stran -- gers make a prey.", "prose": ["Let covetous extortioners", "catch all he hath away:", "Of all for which he laboured hath", "let strangers make a prey."]}, "10": {"syllabified": "Let there be none to pit -- y him, let there be none at all That on his chil -- dren fa -- ther -- less will let his mer -- cy fall.", "prose": ["Let there be none to pity him,", "let there be none at all", "That on his children fatherless", "will let his mercy fall."]}, "11": {"syllabified": "Let his pos -- ter -- i -- ty from earth cut off for ev -- er be, And in the fol -- l'wing age their name be blott -- ed out by thee.", "prose": ["Let his posterity from earth", "cut off for ever be,", "And in the foll'wing age their name", "be blotted out by thee."]}, "12": {"syllabified": "Let God his fa -- ther's wick -- ed -- ness still to re -- mem -- brance call; And nev -- er let his moth -- er's sin be blott -- ed out at all.", "prose": ["Let God his father's wickedness", "still to remembrance call;", "And never let his mother's sin", "be blotted out at all."]}, "13": {"syllabified": "But let them all be -- fore the Lord ap -- pear con -- tin -- ual -- ly, That he may whol -- ly from the earth cut off their mem -- o -- ry.", "prose": ["But let them all before the Lord", "appear continually,", "That he may wholly from the earth", "cut off their memory."]}, "14": {"syllabified": "Be -- cause he mer -- cy mind -- ed not, but per -- se -- cut -- ed still The poor and need -- y, that he might the bro -- ken -- heart -- ed kill.", "prose": ["Because he mercy minded not,", "but persecuted still", "The poor and needy, that he might", "the broken-hearted kill."]}, "15": {"syllabified": "As he in curs -- ing plea -- sure took, so let it to him fall; As he de -- light -- ed not to bless, so bless him not at all.", "prose": ["As he in cursing pleasure took,", "so let it to him fall;", "As he delighted not to bless,", "so bless him not at all."]}, "16": {"syllabified": "As curs -- ing he like clothes put on, in -- to his bow -- els so, Like wa -- ter, and in -- to his bones, like oil, down let it go.", "prose": ["As cursing he like clothes put on,", "into his bowels so,", "Like water, and into his bones,", "like oil, down let it go."]}, "17": {"syllabified": "Like to the gar -- ment let it be which doth him -- self ar -- ray, And for a gird -- le, where -- with he is girt a -- bout al -- way.", "prose": ["Like to the garment let it be", "which doth himself array,", "And for a girdle, wherewith he", "is girt about alway."]}, "18": {"syllabified": "From God let this be their re -- ward that en -- 'mies are to me, And their re -- ward that speak a -- gainst my soul ma -- li -- cious -- ly.", "prose": ["From God let this be their reward", "that en'mies are to me,", "And their reward that speak against", "my soul maliciously."]}, "19": {"syllabified": "But do thou, for thine own name's sake, O God the Lord, for me: Sith good and sweet thy mer -- cy is, from trou -- ble set me free.", "prose": ["But do thou, for thine own name's sake,", "O God the Lord, for me:", "Sith good and sweet thy mercy is,", "from trouble set me free."]}, "20": {"syllabified": "For I am poor and in -- di -- gent, af -- flic -- ted sore am I, My heart with -- in me al -- so is woun -- ded ex -- ceed -- ing -- ly.", "prose": ["For I am poor and indigent,", "afflicted sore am I,", "My heart within me also is", "wounded exceedingly."]}, "21": {"syllabified": "I pass like a de -- clin -- ing shade, am like the lo -- cust tossed: My knees through fast -- ing weak -- ened are, my flesh hath fat -- ness lost.", "prose": ["I pass like a declining shade,", "am like the locust tossed:", "My knees through fasting weakened are,", "my flesh hath fatness lost."]}, "22": {"syllabified": "I al -- so am a vile re -- proach un -- to them made to be; And they that did up -- on me look did shake their heads at me.", "prose": ["I also am a vile reproach", "unto them made to be;", "And they that did upon me look", "did shake their heads at me."]}, "23": {"syllabified": "O do thou help and suc -- cour me, who art my God and Lord: And, for thy ten -- der mer -- cy's sake, safe -- ty to me af -- ford:", "prose": ["O do thou help and succour me,", "who art my God and Lord:", "And, for thy tender mercy's sake,", "safety to me afford:"]}, "24": {"syllabified": "That there -- by they may know that this is thy al -- might -- y hand; And that thou, Lord, hast done the same, they may well un -- der -- stand.", "prose": ["That thereby they may know that this", "is thy almighty hand;", "And that thou, Lord, hast done the same,", "they may well understand."]}, "25": {"syllabified": "Al -- though they curse with spite, yet, Lord, bless thou with lov -- ing voice: Let them a -- shamed be when they rise; thy ser -- vant let re -- joice.", "prose": ["Although they curse with spite, yet, Lord,", "bless thou with loving voice:", "Let them ashamed be when they rise;", "thy servant let rejoice."]}, "26": {"syllabified": "Let thou mine ad -- ver -- sar -- ies all with shame be clothed o -- ver; And let their own con -- fu -- si -- on them, as a mant -- le, cov -- er.", "prose": ["Let thou mine adversaries all", "with shame be clothed over;", "And let their own confusion", "them, as a mantle, cover."]}, "27": {"syllabified": "But as for me, I with my mouth will great -- ly praise the Lord; And I a -- mong the mul -- ti -- tude his prais -- es will re -- cord.", "prose": ["But as for me, I with my mouth", "will greatly praise the Lord;", "And I among the multitude", "his praises will record."]}, "28": {"syllabified": "For he shall stand at his right hand who is in pov -- er -- ty, To save him from all those that would con -- demn his soul to die.", "prose": ["For he shall stand at his right hand", "who is in poverty,", "To save him from all those that would", "condemn his soul to die."]}}}, "o-trinity-of-blessed-light": {"slug": "o-trinity-of-blessed-light", "title": "O Trinity of Blessed Light", "first_line": "O Trinity of Blessed Light", "author": "ambrose-of-milan", "translator": "john-mason-neale", "foot": "iambic", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": [], "scripture": [], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:314; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_trinity_of_blessed_light", "total_instances": 57}}, "stanzas": {"1": {"syllabified": "O Trin -- i -- ty of bless -- ed light, O U -- ni -- ty of prince -- ly might, The fie -- ry sun now goes his way; Shed Thou with -- in our hearts a ray.", "prose": ["O Trinity of blessed light,", "O Unity of princely might,", "The fiery sun now goes his way;", "Shed Thou within our hearts a ray."]}, "2": {"syllabified": "To Thee our morn -- ing song of praise, To Thee our eve -- ning prayer we raise; O grant us with Thy saints on high To praise Thee through e -- ter -- ni -- ty.", "prose": ["To Thee our morning song of praise,", "To Thee our evening prayer we raise;", "O grant us with Thy saints on high", "To praise Thee through eternity."]}, "3": {"syllabified": "All laud to God the Fa -- ther be, All praise, e -- ter -- nal Son, to Thee, All glo -- ry, as is ev -- er meet, To God the ho -- ly Par -- a -- clete.", "prose": ["All laud to God the Father be,", "All praise, eternal Son, to Thee,", "All glory, as is ever meet,", "To God the holy Paraclete."]}}}, "o-wherefore-do-the-nations-rage": {"slug": "o-wherefore-do-the-nations-rage", "title": "Christ's Inheritance", "first_line": "O wherefore do the nations rage", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 2, "topics": ["Psalms"], "scripture": ["Psalm 2"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 4) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 2, selection 4. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O where -- fore do the na -- tions rage, And kings and rul -- ers strive in vain, A -- gainst the Lord of earth and heav'n To o -- ver -- throw Mes -- si -- ah's reign?", "prose": ["O wherefore do the nations rage,", "And kings and rulers strive in vain,", "Against the Lord of earth and heav'n", "To overthrow Messiah's reign?"]}, "2": {"syllabified": "Their strength is weak -- ness in the sight Of him who sits en -- throned a -- bove; He speaks, and judg -- ments fall on them Who tempt His wrath and scorn His love.", "prose": ["Their strength is weakness in the sight", "Of him who sits enthroned above;", "He speaks, and judgments fall on them", "Who tempt His wrath and scorn His love."]}, "3": {"syllabified": "By God's de -- cree His Son re -- ceives The na -- tions for His her -- i -- tage; The con -- qu'ring Christ su -- preme shall reign As King of kings, from age to age.", "prose": ["By God's decree His Son receives", "The nations for His heritage;", "The conqu'ring Christ supreme shall reign", "As King of kings, from age to age."]}, "4": {"syllabified": "Be wise, ye rul -- ers of the earth, And serve the Lord with god -- ly fear; With rev -- 'rent joy con -- fess the Son While yet in mer -- cy He is near.", "prose": ["Be wise, ye rulers of the earth,", "And serve the Lord with godly fear;", "With rev'rent joy confess the Son", "While yet in mercy He is near."]}, "5": {"syllabified": "De -- lay not, lest His an -- ger rise, And ye should per -- ish in your way; Lo, all that put their trust in Him Are blest in -- deed, and blest for aye.", "prose": ["Delay not, lest His anger rise,", "And ye should perish in your way;", "Lo, all that put their trust in Him", "Are blest indeed, and blest for aye."]}}}, "o-word-of-god-incarnate": {"slug": "o-word-of-god-incarnate", "title": "O Word of God Incarnate", "first_line": "O Word of God Incarnate", "author": "william-walsham-how", "author_date": "1867", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Scripture", "The Word of God", "Guidance"], "scripture": ["Psalm 119:105", "John 1:14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Walsham How (1823-1897), \"O Word of God Incarnate,\" written 1867 (Supplement to Psalms and Hymns, 1867); the standard text for the tune MUNICH. Text from The Cyber Hymnal. Public-domain text (author d. 1897). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O Word of God in -- car -- nate, O Wis -- dom from on high; O Truth un -- changed, un -- chang -- ing, O Light of our dark sky; We praise Thee for the ra -- diance That from the hal -- lowed page, A lan -- tern to our foot -- steps, Shines on from age to age.", "prose": ["O Word of God incarnate,", "O Wisdom from on high,", "O Truth unchanged, unchanging,", "O Light of our dark sky;", "We praise Thee for the radiance", "That from the hallowed page,", "A lantern to our footsteps,", "Shines on from age to age."]}, "2": {"syllabified": "The Church from her dear Mas -- ter Re -- ceived the gift di -- vine; And still that light she lift -- eth O'er all the earth to shine; It is the gold -- en cas -- ket Where gems of truth are stored; It is the heav'n -- drawn pic -- ture Of Christ, the liv -- ing Word.", "prose": ["The Church from her dear Master", "Received the gift divine,", "And still that light she lifteth", "O'er all the earth to shine.", "It is the golden casket", "Where gems of truth are stored;", "It is the heaven-drawn picture", "Of Christ, the living Word."]}, "3": {"syllabified": "It float -- eth like a ban -- ner Be -- fore God's host un -- furled; It shin -- eth like a bea -- con A -- bove the dark -- ling world; It is the chart and com -- pass That o'er life's surg -- ing sea, 'Mid mists and rocks and quick -- sands Still guides, O Christ, to Thee.", "prose": ["It floateth like a banner", "Before God's host unfurled;", "It shineth like a beacon", "Above the darkling world.", "It is the chart and compass", "That o'er life's surging sea,", "'Mid mists and rocks and quicksands,", "Still guides, O Christ, to Thee."]}, "4": {"syllabified": "O make Thy Church, dear Sav -- ior, A lamp of pur -- est gold, To bear be -- fore the na -- tions Thy true light, as of old; O teach Thy wan -- dering pil -- grims By this their path to trace, Till, clouds and dark -- ness end -- ed, They see Thee face to face.", "prose": ["O make Thy Church, dear Savior,", "A lamp of purest gold,", "To bear before the nations", "Thy true light, as of old.", "O teach Thy wandering pilgrims", "By this their path to trace,", "Till, clouds and darkness ended,", "They see Thee face to face."]}}}, "o-worship-the-king": {"slug": "o-worship-the-king", "title": "O Worship the King", "first_line": "O Worship the King", "author": "robert-grant", "author_date": "1833", "foot": "anapestic", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["God, As King", "Praise", "Providence"], "scripture": "Psalm 104:1-2", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Grant (1779-1838), \"O worship the King,\" a paraphrase of Psalm 104 (after William Kethe's 1561 Genevan Psalter version), published in Edward Bickersteth's Christian Psalmody (1833), no. 17. Text from The Cyber Hymnal. The interjection is normalized \"O\" (the source prints \"Oh\"); verse 6 line 2 keeps Grant's original \"to hymn Thee above\" (the Cyber Hymnal's altered \"to worship Thee above\" adds a syllable and breaks the 10.10.11.11 meter). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O wor -- ship the King, all glo -- rious a -- bove O grate -- ful -- ly sing His power and His love; Our shield and de -- fend -- er, the An -- cient of Days, Pa -- vil -- ioned in splen -- dor, and gird -- ed with praise.", "prose": ["O worship the King, all glorious above!", "O gratefully sing His power and His love;", "Our shield and defender, the Ancient of Days,", "Pavilioned in splendor, and girded with praise."]}, "2": {"syllabified": "O tell of His might! O sing of His grace! Whose robe is the light, whose can -- o -- py space; His char -- iots of wrath the deep thun -- der -- clouds form, And dark is His path on the wings of the storm.", "prose": ["O tell of His might! O sing of His grace!", "Whose robe is the light, whose canopy space;", "His chariots of wrath the deep thunderclouds form,", "And dark is His path on the wings of the storm."]}, "3": {"syllabified": "The earth, with its store of won -- ders un -- told, Al -- might -- y! Thy power hath found -- ed of old; Es -- tab -- lished it fast by a change -- less de -- cree, And round it hath cast, like a man -- tle, the sea.", "prose": ["The earth, with its store of wonders untold,", "Almighty! Thy power hath founded of old;", "Established it fast by a changeless decree,", "And round it hath cast, like a mantle, the sea."]}, "4": {"syllabified": "Thy boun -- ti -- ful care, what tongue can re -- cite? It breathes in the air, it shines in the light; It streams from the hills, it de -- scends to the plain, And sweet -- ly dis -- tills in the dew and the rain.", "prose": ["Thy bountiful care, what tongue can recite?", "It breathes in the air, it shines in the light;", "It streams from the hills, it descends to the plain,", "And sweetly distills in the dew and the rain."]}, "5": {"syllabified": "Frail child -- ren of dust, and fee -- ble as frail, In Thee do we trust, nor find Thee to fail; Thy mer -- cies how ten -- der! How firm to the end! Our mak -- er, de -- fend -- er, re -- deem -- er, and friend!", "prose": ["Frail children of dust, and feeble as frail,", "In Thee do we trust, nor find Thee to fail;", "Thy mercies how tender! How firm to the end!", "Our maker, defender, redeemer, and friend!"]}, "6": {"syllabified": "O mea -- sure -- less might! In -- ef -- fa -- ble love! While an -- gels de -- light to hymn Thee a -- bove; The hum -- bler cre -- a -- tion, though fee -- ble their lays, With true ad -- o -- ra -- tion shall all sing Thy praise.", "prose": ["O measureless might! Ineffable love!", "While angels delight to hymn Thee above,", "The humbler creation, though feeble their lays,", "With true adoration shall all sing Thy praise."]}}}, "of-the-father-s-love-begotten": {"slug": "of-the-father-s-love-begotten", "title": "Of The Father's Love Begotten", "first_line": "Of The Father's Love Begotten", "author": "aurelius-prudentius-clemens", "translator": "john-mason-neale", "translator_date": "1854", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Assurance", "Christmas", "Advent", "Comfort"], "scripture": ["Matthew 21:1-9", "Psalm 42:1-2"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:41; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "of_the_fathers_love_begotten", "total_instances": 237}}, "stanzas": {"1": {"syllabified": "Of the Fa -- ther's love be -- got -- ten Ere the worlds be -- gan to be, He is Al -- pha and O -- me -- ga, He the source, the end -- ing He, Of the things that are, that have been, And that fu -- ture years shall see, Ev -- er -- more and ev -- er -- more!", "prose": ["Of the Father's love begotten", "Ere the worlds began to be,", "He is Alpha and Omega,", "He the source, the ending He,", "Of the things that are, that have been,", "And that future years shall see,", "Evermore and evermore!"]}, "2": {"syllabified": "At His Word they were cre -- at -- ed; He com -- mand -- ed; it was done: Heav'n and earth and depths of o -- cean In their three -- fold or -- der one; All that grows be -- neath the shin -- ing Of the moon and burn -- ing sun, Ev -- er -- more and ev -- er -- more!", "prose": ["At His Word they were created;", "He commanded; it was done:", "Heav'n and earth and depths of ocean", "In their threefold order one;", "All that grows beneath the shining", "Of the moon and burning sun,", "Evermore and evermore!"]}, "3": {"syllabified": "He is found in hu -- man fash -- ion, Death and sor -- row here to know, That the race of Ad -- am's child -- ren, Doomed by law to end -- less woe, May not hence -- forth die and per -- ish In the dread -- ful gulf be -- low, Ev -- er -- more and ev -- er -- more!", "prose": ["He is found in human fashion,", "Death and sorrow here to know,", "That the race of Adam's children,", "Doomed by law to endless woe,", "May not henceforth die and perish", "In the dreadful gulf below,", "Evermore and evermore!"]}, "4": {"syllabified": "Oh that birth for -- ev -- er bless -- ed! When the vir -- gin, full of grace, By the Ho -- ly Ghost con -- ceiv -- ing, Bare the Sav -- ior of our race; And the Babe, the world's Re -- deem -- er, First re -- vealed His sa -- cred face, Ev -- er -- more and ev -- er -- more!", "prose": ["Oh that birth forever blessed!", "When the virgin, full of grace,", "By the Holy Ghost conceiving,", "Bare the Savior of our race;", "And the Babe, the world's Redeemer,", "First revealed His sacred face,", "Evermore and evermore!"]}, "5": {"syllabified": "O ye heights of heav'n a -- dore Him; An -- gel hosts, His prais -- es sing; Pow'rs, do -- min -- ions, bow be -- fore Him, and ex -- tol our God and King: Let no tongue on earth be si -- lent, Ev -- ery voice in con -- cert ring, Ev -- er -- more and ev -- er -- more!", "prose": ["O ye heights of heav'n adore Him;", "Angel hosts, His praises sing;", "Pow'rs, dominions, bow before Him,", "and extol our God and King:", "Let no tongue on earth be silent,", "Every voice in concert ring,", "Evermore and evermore!"]}}}, "oft-did-they-vex-me-from-my-youth": {"slug": "oft-did-they-vex-me-from-my-youth", "title": "Oft Did They Vex Me from My Youth", "first_line": "Oft did they vex me from my youth", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 129, "topics": ["Psalms"], "scripture": ["Psalm 129"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 129. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Oft did they vex me from my youth, may Is -- r'el now de -- clare; Oft did they vex me from my youth, yet not vic -- tor -- ious were.", "prose": ["Oft did they vex me from my youth,", "may Isr'el now declare;", "Oft did they vex me from my youth,", "yet not victorious were."]}, "2": {"syllabified": "The plou -- ghers ploughed up -- on my back; they long their fur -- rows drew. The right -- eous Lord did cut the cords of the un -- god -- ly crew.", "prose": ["The ploughers ploughed upon my back;", "they long their furrows drew.", "The righteous Lord did cut the cords", "of the ungodly crew."]}, "3": {"syllabified": "Let Zi -- on's hat -- ers all be turned back with con -- fu -- si -- on. As grass on hous -- es' tops be they, which fades ere it be grown:", "prose": ["Let Zion's haters all be turned", "back with confusion.", "As grass on houses' tops be they,", "which fades ere it be grown:"]}, "4": {"syllabified": "Where -- of e -- nough to fill his hand the mow -- er can -- not find; Nor can the man his bos -- om fill, whose work is sheaves to bind.", "prose": ["Whereof enough to fill his hand", "the mower cannot find;", "Nor can the man his bosom fill,", "whose work is sheaves to bind."]}, "5": {"syllabified": "Nei -- ther say they who do go by, God's bless -- ing on you rest: We in the name of God the Lord do wish you to be blessed.", "prose": ["Neither say they who do go by,", "God's blessing on you rest:", "We in the name of God the Lord", "do wish you to be blessed."]}}}, "oh-hear-my-prayer-lord": {"slug": "oh-hear-my-prayer-lord", "title": "Oh, Hear My Prayer, Lord (Second Version)", "first_line": "Oh, hear my prayer, Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 143, "topics": ["Psalms"], "scripture": ["Psalm 143"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 143 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Oh, hear my pray -- er, Lord, And un -- to my de -- sire To bow thine ear ac -- cord, I hum -- bly thee re -- quire; And, in thy faith -- ful -- ness, Un -- to me an -- swer make, And, in thy right -- eous -- ness, Up -- on me pit -- y take.", "prose": ["Oh, hear my prayer, Lord,", "And unto my desire", "To bow thine ear accord,", "I humbly thee require;", "And, in thy faithfulness,", "Unto me answer make,", "And, in thy righteousness,", "Upon me pity take."]}, "2": {"syllabified": "In judg -- ment en -- ter not With me thy ser -- vant poor; For why, this well I wot, No sin -- ner can en -- dure The sight of thee, O God: If thou his deeds shalt try, He dare make none a -- bode Him -- self to jus -- ti -- fy.", "prose": ["In judgment enter not", "With me thy servant poor;", "For why, this well I wot,", "No sinner can endure", "The sight of thee, O God:", "If thou his deeds shalt try,", "He dare make none abode", "Himself to justify."]}, "3": {"syllabified": "Be -- hold, the cru -- el foe Me per -- se -- cutes with spite, My soul to o -- ver -- throw: Yea, he my life down quite Un -- to the ground hath smote, And made me dwell full low In dark -- ness, as for -- got, Or men dead long a -- go.", "prose": ["Behold, the cruel foe", "Me persecutes with spite,", "My soul to overthrow:", "Yea, he my life down quite", "Unto the ground hath smote,", "And made me dwell full low", "In darkness, as forgot,", "Or men dead long ago."]}, "4": {"syllabified": "There -- fore my spirit much vexed, O'er -- whelmed is me with -- in; My heart right sore per -- plexed And des -- o -- late hath been. Yet I do call to mind What an -- cient days re -- cord, Thy works of ev -- 'ry kind I think up -- on, O Lord.", "prose": ["Therefore my spirit much vexed,", "O'erwhelmed is me within;", "My heart right sore perplexed", "And desolate hath been.", "Yet I do call to mind", "What ancient days record,", "Thy works of ev'ry kind", "I think upon, O Lord."]}, "5": {"syllabified": "Lo, I do stretch my hands To thee, my help a -- lone; For thou well un -- der -- stands All my com -- plaint and moan: My thirst -- ing soul de -- sires, And long -- eth af -- ter thee, As thir -- sty ground re -- quires With rain re -- freshed to be.", "prose": ["Lo, I do stretch my hands", "To thee, my help alone;", "For thou well understands", "All my complaint and moan:", "My thirsting soul desires,", "And longeth after thee,", "As thirsty ground requires", "With rain refreshed to be."]}, "6": {"syllabified": "Lord, let my pray'r pre -- vail, To an -- swer it make speed; For, lo, my spirit doth fail: Hide not thy face in need; Lest I be like to those That do in dark -- ness sit, Or him that down -- ward goes In -- to the dread -- ful pit.", "prose": ["Lord, let my pray'r prevail,", "To answer it make speed;", "For, lo, my spirit doth fail:", "Hide not thy face in need;", "Lest I be like to those", "That do in darkness sit,", "Or him that downward goes", "Into the dreadful pit."]}, "7": {"syllabified": "Be -- cause I trust in thee, O Lord, cause me to hear Thy lov -- ing -- kind -- ness free, When morn -- ing doth ap -- pear: Cause me to know the way Where -- in my path should be; For why, my soul on high I do lift up to thee.", "prose": ["Because I trust in thee,", "O Lord, cause me to hear", "Thy loving-kindness free,", "When morning doth appear:", "Cause me to know the way", "Wherein my path should be;", "For why, my soul on high", "I do lift up to thee."]}, "8": {"syllabified": "From my fierce en -- e -- my In safe -- ty do me guide, Be -- cause I flee to thee, Lord, that thou may'st me hide. My God a -- lone art thou, Teach me thy right -- eous -- ness: Thy Spirit's good, lead me to The land of up -- right -- ness.", "prose": ["From my fierce enemy", "In safety do me guide,", "Because I flee to thee,", "Lord, that thou may'st me hide.", "My God alone art thou,", "Teach me thy righteousness:", "Thy Spirit 's good, lead me to", "The land of uprightness."]}, "9": {"syllabified": "O Lord, for thy name's sake, Be pleased to qui -- cken me; And, for thy truth, forth take My soul from mis -- er -- y. And of thy grace de -- stroy My foes, and put to shame All who my soul an -- noy; For I thy ser -- vant am.", "prose": ["O Lord, for thy name's sake,", "Be pleased to quicken me;", "And, for thy truth, forth take", "My soul from misery.", "And of thy grace destroy", "My foes, and put to shame", "All who my soul annoy;", "For I thy servant am."]}}}, "on-god-alone-my-soul-relies": {"slug": "on-god-alone-my-soul-relies", "title": "Confession and Trust", "first_line": "On God alone my soul relies", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 55, "topics": ["Psalms"], "scripture": ["Psalm 55"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 149) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 55, selection 149. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "On God a -- lone my soul re -- lies, And He will soon re -- lieve; The Lord will hear my plain -- tive cries At morn -- ing, noon, and eve.", "prose": ["On God alone my soul relies,", "And He will soon relieve;", "The Lord will hear my plaintive cries", "At morning, noon, and eve."]}, "2": {"syllabified": "He has re -- deemed my soul in peace, From con -- flict set me free; My man -- y foes are made to cease, And strive no more with me.", "prose": ["He has redeemed my soul in peace,", "From conflict set me free;", "My many foes are made to cease,", "And strive no more with me."]}, "3": {"syllabified": "The liv -- ing God in right -- eous -- ness Will rec -- om -- pense with shame the men who, hard -- ened by suc -- cess, For -- get to fear His Name.", "prose": ["The living God in righteousness", "Will recompense with shame", "the men who, hardened by success,", "Forget to fear His Name."]}, "4": {"syllabified": "All treach -- 'rous friends who o -- ver -- reach And break their plight -- ed troth, Who hide their hate with hon -- eyed speech, With such the Lord is wroth.", "prose": ["All treach'rous friends who overreach", "And break their plighted troth,", "Who hide their hate with honeyed speech,", "With such the Lord is wroth."]}, "5": {"syllabified": "Up -- on the Lord thy bur -- den cast, To Him bring all thy care; He will sus -- tain and hold thee fast, And give thee strength to bear.", "prose": ["Upon the Lord thy burden cast,", "To Him bring all thy care;", "He will sustain and hold thee fast,", "And give thee strength to bear."]}, "6": {"syllabified": "God will not let His saints be moved; Pro -- tec -- ted, they shall see Their foes cut off and sin re -- proved; O God, I trust in Thee.", "prose": ["God will not let His saints be moved;", "Protected, they shall see", "Their foes cut off and sin reproved;", "O God, I trust in Thee."]}}}, "on-jordan-s-bank-the-baptist-s-cry": {"slug": "on-jordan-s-bank-the-baptist-s-cry", "title": "On Jordan's Bank the Baptist's Cry", "first_line": "On Jordan's bank the Baptist's cry Announces that the", "author": "charles-coffin", "author_date": "1906", "translator": "john-chandler", "translator_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Art and Music", "Atonement", "Children"], "scripture": ["John 3:16", "Acts 13:32-39", "Revelation 1:8", "John 1:1-5"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:40; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "on_jordans_bank_the_baptists_cry", "total_instances": 251}}, "stanzas": {"1": {"syllabified": "On Jor -- dan's bank the Bap -- tist's cry An -- noun -- ces that the Lord is nigh; Come, then, and hear -- ken, for he brings Glad tid -- ings from the King of kings!", "prose": ["On Jordan's bank the Baptist's cry", "Announces that the Lord is nigh;", "Come, then, and hearken, for he brings", "Glad tidings from the King of kings!"]}, "2": {"syllabified": "Then cleansed be ev -- ery breast from sin; Make straight the way for God with -- in; Pre -- pare we in our hearts a home, Where such a might -- y Guest may come.", "prose": ["Then cleansed be every breast from sin;", "Make straight the way for God within;", "Prepare we in our hearts a home,", "Where such a mighty Guest may come."]}, "3": {"syllabified": "For Thou art our Sal -- va -- tion, Lord, Our Ref -- uge, and our great Re -- ward. With -- out Thy grace our souls must fade And with -- er like a flow'r de -- cayed.", "prose": ["For Thou art our Salvation, Lord,", "Our Refuge, and our great Reward.", "Without Thy grace our souls must fade", "And wither like a flow'r decayed."]}, "4": {"syllabified": "Stretch forth Thine hand, to heal our sore, And make us rise and fall no more; Once more up -- on Thy peo -- ple shine, And fill the world with love di -- vine.", "prose": ["Stretch forth Thine hand, to heal our sore,", "And make us rise and fall no more;", "Once more upon Thy people shine,", "And fill the world with love divine."]}, "5": {"syllabified": "To Him Who left the throne of Heav'n To save man -- kind, all praise be giv'n; Like praise be to the Fa -- ther done, And Ho -- ly Spir -- it, Three in One.", "prose": ["To Him Who left the throne of Heav'n", "To save mankind, all praise be giv'n;", "Like praise be to the Father done,", "And Holy Spirit, Three in One."]}}}, "on-the-good-and-faithful": {"slug": "on-the-good-and-faithful", "title": "Quieting Thoughts", "first_line": "On the good and faithful", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 4, "topics": ["Psalms"], "scripture": ["Psalm 4"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 7) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 4, selection 7. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "On the good and faith -- ful God has set His love; When they call He sends them Bless -- ings from a -- bove. Stand in awe, and sin not, Bid your heart be still; Thro' the si -- lent watch -- es Think up -- on His will.", "prose": ["On the good and faithful", "God has set His love;", "When they call He sends them", "Blessings from above.", "Stand in awe, and sin not,", "Bid your heart be still;", "Thro' the silent watches", "Think upon His will."]}, "2": {"syllabified": "Lay up -- on God's al -- tar Good and lov -- ing deeds, And in all things trust Him To sup -- ply your needs. An -- xious and de -- spair -- ing, Man -- y walk in night; But to those that fear Him God will send His light.", "prose": ["Lay upon God's altar", "Good and loving deeds,", "And in all things trust Him", "To supply your needs.", "Anxious and despairing,", "Many walk in night;", "But to those that fear Him", "God will send His light."]}, "3": {"syllabified": "In God's love a -- bid -- ing, I have joy and peace More than all the wick -- ed, Tho' their wealth in -- crease. In His care con -- fid -- ing, I will sweet -- ly sleep, For the Lord, my Sav -- iour, Will in safe -- ty keep.", "prose": ["In God's love abiding,", "I have joy and peace", "More than all the wicked,", "Tho' their wealth increase.", "In His care confiding,", "I will sweetly sleep,", "For the Lord, my Saviour,", "Will in safety keep."]}}}, "on-the-good-and-faithful-psalm-4": {"slug": "on-the-good-and-faithful-psalm-4", "title": "Faith and Peace", "first_line": "On the good and faithful", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 5, 6, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 4, "topics": ["Psalms"], "scripture": ["Psalm 4"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 8) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 4, selection 8. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "On the good and faith -- ful God has set His love; When they call He sends them Bless -- ings from a -- bove.", "prose": ["On the good and faithful", "God has set His love;", "When they call He sends them", "Blessings from above."]}, "2": {"syllabified": "Stand in awe, and sin not, Bid your heart be still; Through the si -- lent watch -- es Think up -- on His will.", "prose": ["Stand in awe, and sin not,", "Bid your heart be still;", "Through the silent watches", "Think upon His will."]}, "3": {"syllabified": "An -- xious and de -- spair -- ing, Man -- y walk in night; But to those that fear Him God will send His light.", "prose": ["Anxious and despairing,", "Many walk in night;", "But to those that fear Him", "God will send His light."]}, "4": {"syllabified": "In His care con -- fid -- ing, I will sweet -- ly sleep, For the Lord, my Sav -- iour, Will in safe -- ty keep.", "prose": ["In His care confiding,", "I will sweetly sleep,", "For the Lord, my Saviour,", "Will in safety keep."]}}}, "open-now-thy-gates-of-beauty": {"slug": "open-now-thy-gates-of-beauty", "title": "Open Now Thy Gates of Beauty", "first_line": "Open now thy gates of beauty, Zion, let me", "author": "benjamin-schmolck", "author_date": "1863", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Brotherhood", "Church on Earth (Church Militant)", "God, Care of", "God, Providence of [1,2]"], "scripture": ["John 11:52", "Jer 10:23-24", "Jer 30:11", "Zech 10:8-9"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:25; all components published pre-1931 (latest year 1863).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Op -- en now thy gates of beau -- ty, Zi -- on, let me en -- ter there, Where my soul in joy -- ful du -- ty Waits for Him Who an -- swers prayer. Oh, how bless -- ed is this place, Filled with sol -- ace, light and grace!", "prose": ["Open now thy gates of beauty,", "Zion, let me enter there,", "Where my soul in joyful duty", "Waits for Him Who answers prayer.", "Oh, how blessed is this place,", "Filled with solace, light and grace!"]}, "2": {"syllabified": "Lord, my God, I come be -- fore Thee, Come Thou al -- so un -- to me; Where we find Thee and a -- dore Thee, There a heav'n on earth must be. To my heart, oh, en -- ter Thou, Let it be Thy tem -- ple now!", "prose": ["Lord, my God, I come before Thee,", "Come Thou also unto me;", "Where we find Thee and adore Thee,", "There a heav'n on earth must be.", "To my heart, oh, enter Thou,", "Let it be Thy temple now!"]}, "3": {"syllabified": "Here Thy praise is glad -- ly chant -- ed, Here Thy seed is du -- ly sown; Let my soul, where it is plant -- ed, Bring forth pre -- cious sheaves a -- lone, So that all I hear may be Fruit -- ful un -- to life in me.", "prose": ["Here Thy praise is gladly chanted,", "Here Thy seed is duly sown;", "Let my soul, where it is planted,", "Bring forth precious sheaves alone,", "So that all I hear may be", "Fruitful unto life in me."]}, "4": {"syllabified": "Thou my faith in -- crease and quick -- en, Let me keep Thy gift di -- vine, How -- so -- e'er temp -- ta -- tions thick -- en; May Thy Word still o'er me shine As my guid -- ing star through life, As my com -- fort in my strife.", "prose": ["Thou my faith increase and quicken,", "Let me keep Thy gift divine,", "Howsoe'er temptations thicken;", "May Thy Word still o'er me shine", "As my guiding star through life,", "As my comfort in my strife."]}, "5": {"syllabified": "Speak, O God, and I will hear Thee, Let Thy will be done in -- deed; May I un -- dist -- urbed draw near Thee While Thou dost Thy peo -- ple feed. Here of life the foun -- tain flows, Here is balm for all our woes.", "prose": ["Speak, O God, and I will hear Thee,", "Let Thy will be done indeed;", "May I undisturbed draw near Thee", "While Thou dost Thy people feed.", "Here of life the fountain flows,", "Here is balm for all our woes."]}}}, "our-god-our-help-in-ages-past": {"slug": "our-god-our-help-in-ages-past", "title": "Our God, Our Help in Ages Past", "first_line": "Our God, our help in ages past", "author": "isaac-watts", "author_date": "1719", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 90, "topics": ["Trust", "God, Eternity of"], "scripture": ["Psalm 90:1", "Hebrews 1:1-2"], "provenance": {"layer": "text", "source": "watts-psalms-1719", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, The Psalms of David Imitated, 1719 (Psalm 90). Author d. 1748.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "our_god_our_help_in_ages_past_watts", "total_instances": 1325}}, "stanzas": {"1": {"syllabified": "Our God, our help in ag -- es past, Our hope for years to come, Our shel -- ter from the storm -- y blast, And our e -- ter -- nal home.", "prose": ["Our God, our help in ages past,", "Our hope for years to come,", "Our shelter from the stormy blast,", "And our eternal home."]}, "2": {"syllabified": "Un -- der the shad -- ow of Thy throne Thy saints have dwelt se -- cure; Suf -- fi -- cient is Thine arm a -- lone, And our de -- fense is sure.", "prose": ["Under the shadow of Thy throne", "Thy saints have dwelt secure;", "Sufficient is Thine arm alone,", "And our defense is sure."]}, "3": {"syllabified": "Be -- fore the hills in or -- der stood, Or earth re -- ceived her frame, From ev -- er -- last -- ing Thou art God, To end -- less years the same.", "prose": ["Before the hills in order stood,", "Or earth received her frame,", "From everlasting Thou art God,", "To endless years the same."]}, "4": {"syllabified": "Thy Word com -- mands our flesh to dust, “Re -- turn, ye sons of men:” All na -- tions rose from earth at first, And turn to earth a -- gain.", "prose": ["Thy Word commands our flesh to dust,", "“Return, ye sons of men:”", "All nations rose from earth at first,", "And turn to earth again."]}, "5": {"syllabified": "A thou -- sand ag -- es in Thy sight Are like an eve -- ning gone; Short as the watch that ends the night Be -- fore the ris -- ing sun.", "prose": ["A thousand ages in Thy sight", "Are like an evening gone;", "Short as the watch that ends the night", "Before the rising sun."]}, "6": {"prose": ["The busy tribes of flesh and blood,", "With all their lives and cares,", "Are carried downwards by the flood,", "And lost in following years."]}, "7": {"prose": ["Time, like an ever rolling stream,", "Bears all its sons away;", "They fly, forgotten, as a dream", "Dies at the opening day."]}, "8": {"prose": ["Like flowery fields the nations stand", "Pleased with the morning light;", "The flowers beneath the mower’s hand", "Lie withering ere ’tis night."]}, "9": {"prose": ["Our God, our help in ages past,", "Our hope for years to come,", "Be Thou our guard while troubles last,", "And our eternal home."]}}}, "out-of-the-deep-i-cry-to-thee": {"slug": "out-of-the-deep-i-cry-to-thee", "title": "Out of the Deep I Cry to Thee", "first_line": "Out of the deep I cry to Thee; O", "author": "martin-luther", "author_date": "1883", "translator": "arthur-tozer-russell", "translator_date": "1883", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Contrition", "Cornerstone", "Duty", "Fear of the Lord"], "scripture": ["Psalm 130", "Ephesians 2:8-9", "Romans 5:20-21", "1 Timothy 1:14"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:143; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "out_of_the_deep_i_cry_to_thee_my_god_wit", "total_instances": 11}}, "stanzas": {"1": {"syllabified": "Out of the deep I cry to Thee; O Lord God, hear my cry -- ing: In -- cline Thy gra -- cious ear to me, With prayer to Thee ap -- ply -- ing. For if Thou fix Thy search -- ing eye On all sin and in -- iq -- ui -- ty, Who, Lord, can stand be -- fore Thee?", "prose": ["Out of the deep I cry to Thee;", "O Lord God, hear my crying:", "Incline Thy gracious ear to me,", "With prayer to Thee applying.", "For if Thou fix Thy searching eye", "On all sin and iniquity,", "Who, Lord, can stand before Thee?"]}, "2": {"syllabified": "But love and grace with Thee pre -- vail, O God, our sins for -- giv -- ing; The ho -- liest deeds can naught a -- vail Of all be -- fore Thee liv -- ing. Be -- fore Thee none can boast him clear; There -- fore must each Thy judg -- ment fear, And live on Thy com -- pas -- sion.", "prose": ["But love and grace with Thee prevail,", "O God, our sins forgiving;", "The holiest deeds can naught avail", "Of all before Thee living.", "Before Thee none can boast him clear;", "Therefore must each Thy judgment fear,", "And live on Thy compassion."]}, "3": {"syllabified": "For this, my hope in God shall rest, Naught build -- ing on my mer -- it; My heart con -- fides, of Him pos -- sest, His good -- ness stays my spir -- it. His prec -- ious word as -- sur -- eth me; My sol -- ace, my sure Rock is he, Where -- on my soul a -- bid -- eth.", "prose": ["For this, my hope in God shall rest,", "Naught building on my merit;", "My heart confides, of Him possest,", "His goodness stays my spirit.", "His precious word assureth me;", "My solace, my sure Rock is he,", "Whereon my soul abideth."]}, "4": {"syllabified": "And though I wait the live -- long night And till the morn re -- turn -- eth, My heart un -- doubt -- ing trusts His might Nor in im -- pa -- tience mourn -- eth. Born of His Spir -- it, Is -- ra -- el In the right Way thus far -- eth well, And on his God re -- pos -- eth", "prose": ["And though I wait the livelong night", "And till the morn returneth,", "My heart undoubting trusts His might", "Nor in impatience mourneth.", "Born of His Spirit, Israel", "In the right Way thus fareth well,", "And on his God reposeth"]}, "5": {"syllabified": "What though our sins are man -- i -- fold? Su -- preme His mer -- cy reign -- eth; No lim -- it can His hand with -- hold, Where ev -- il most ob -- tain -- eth. He the good Shep -- herd is a -- lone, Who Is -- rael will re -- deem and own, For -- giv -- ing all trans -- gres -- sion.", "prose": ["What though our sins are manifold?", "Supreme His mercy reigneth;", "No limit can His hand withhold,", "Where evil most obtaineth.", "He the good Shepherd is alone,", "Who Israel will redeem and own,", "Forgiving all transgression."]}}}, "over-kidron-jesus-treadeth": {"slug": "over-kidron-jesus-treadeth", "title": "Over Kidron Jesus Treadeth", "first_line": "Over Kidron Jesus treadeth To His passion for us", "author": "thomas-hansen-kingo", "translator": "j-jeffrey", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 7, 7, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Atonement", "Easter Week", "Passion", "Humility"], "scripture": ["Matthew 26:36-45", "Luke 22:39-46", "Mark 14:32-41"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:96; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "O -- ver Kid -- ron Je -- sus tread -- eth To His pas -- sion for us all; Ev -- ery hu -- man eye be weep -- ing, Tears of bit -- ter grief let fall! Round His Spir -- it flock the foes, Place their shafts and bend their bows, Aim -- ing at the Sav -- ior sole -- ly, While the world for -- sakes Him whol -- ly.", "prose": ["Over Kidron Jesus treadeth", "To His passion for us all;", "Every human eye be weeping,", "Tears of bitter grief let fall!", "Round His Spirit flock the foes,", "Place their shafts and bend their bows,", "Aiming at the Savior solely,", "While the world forsakes Him wholly."]}, "2": {"syllabified": "Da -- vid once, with heart af -- flic -- ted, Crossed the Kid -- ron's nar -- row strand, Clouds of gloom and grief a -- bout him When an ex -- ile from his land. But, O Je -- sus, black -- er now Bends the cloud a -- bove Thy brow, Hast -- ing to death's drea -- ry por -- tals For the shame and sin of mor -- tals.", "prose": ["David once, with heart afflicted,", "Crossed the Kidron's narrow strand,", "Clouds of gloom and grief about him", "When an exile from his land.", "But, O Jesus, blacker now", "Bends the cloud above Thy brow,", "Hasting to death's dreary portals", "For the shame and sin of mortals."]}, "3": {"syllabified": "See how, an -- guish struck, He fall -- eth Pro -- strate, and with strug -- gling breath, Three times on His God He call -- eth, Pray -- ing that the bit -- ter death And the cup of doom may go, Still He cries, in all His woe: \"Not My will, but Thine, O Fa -- ther!\" And the an -- gels round Him ga -- ther.", "prose": ["See how, anguish struck, He falleth", "Prostrate, and with struggling breath,", "Three times on His God He calleth,", "Praying that the bitter death", "And the cup of doom may go,", "Still He cries, in all His woe:", "\"Not My will, but Thine, O Father!\"", "And the angels round Him gather."]}, "4": {"syllabified": "See how, in that hour of dark -- ness, Batt -- ling with the e -- vil pow'r, Ag -- on -- ies un -- told as -- sail Him, On His soul the ar -- rows show'r; All the gar -- den flow'rs are wet With the drops of blood -- y sweat, From His an -- guished frame dis -- till -- ing -- World's re -- demp -- tion thus ful -- fill -- ing!", "prose": ["See how, in that hour of darkness,", "Battling with the evil pow'r,", "Agonies untold assail Him,", "On His soul the arrows show'r;", "All the garden flow'rs are wet", "With the drops of bloody sweat,", "From His anguished frame distilling—", "World's redemption thus fulfilling!"]}, "5": {"syllabified": "But, O flow'rs, so sad -- ly wa -- tered By this pure and prec -- ious dew, In some bless -- ed hour your blos -- soms 'Neath the ol -- ive shad -- ows grew! E -- den's gar -- den did not bear Aught that can with you com -- pare, For the blood, thus free -- ly giv -- en, Makes my soul the heir of heav -- en.", "prose": ["But, O flow'rs, so sadly watered", "By this pure and precious dew,", "In some blessed hour your blossoms", "'Neath the olive shadows grew!", "Eden's garden did not bear", "Aught that can with you compare,", "For the blood, thus freely given,", "Makes my soul the heir of heaven."]}}}, "pass-me-not-o-gentle-savior": {"slug": "pass-me-not-o-gentle-savior", "title": "Pass Me Not, O Gentle Savior", "first_line": "Pass me not, O gentle Savior, Hear my humble cry", "author": "fanny-crosby", "author_date": "1868", "foot": "trochaic", "meter": {"pattern": [8, 5, 8, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Faith", "God, Care of", "Grace", "Healing", "Jesus", "Kindness, God's", "Presence", "Salvation", "Trust"], "scripture": ["Matthew 20:30-34", "Genesis 18:1-5", "Mark 9:21-25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:232 (line 30043); Words Fanny J. Crosby 1868, Music William Howard Doane 1870, setting \"The Coronation\" 1872 (p.269); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Pass me not, O gen -- tle Sav -- ior, Hear my hum -- ble cry; While on oth -- ers Thou art call -- ing, Do not pass me by.", "prose": ["Pass me not, O gentle Savior,", "Hear my humble cry;", "While on others Thou art calling,", "Do not pass me by."]}, "2": {"syllabified": "Let me at Thy throne of mer -- cy Find a sweet re -- lief, Kneel -- ing there in deep con -- tri -- tion; Help my un -- be -- lief.", "prose": ["Let me at Thy throne of mercy", "Find a sweet relief,", "Kneeling there in deep contrition;", "Help my unbelief."]}, "3": {"syllabified": "Trust -- ing on -- ly in Thy mer -- it, Would I seek Thy face; Heal my wound -- ed, bro -- ken spir -- it, Save me by Thy grace.", "prose": ["Trusting only in Thy merit,", "Would I seek Thy face;", "Heal my wounded, broken spirit,", "Save me by Thy grace."]}, "4": {"syllabified": "Thou the Spring of all my com -- fort, More than life to me, Whom have I on earth be -- side Thee? Whom in Heav'n but Thee?", "prose": ["Thou the Spring of all my comfort,", "More than life to me,", "Whom have I on earth beside Thee?", "Whom in Heav'n but Thee?"]}}, "refrain": {"syllabified": "Sav -- ior, Sav -- ior, Hear my hum -- ble cry; While on oth -- ers Thou art call -- ing, Do not pass me by.", "prose": ["Savior, Savior, Hear my humble cry;", "While on others Thou art calling,", "Do not pass me by."]}}, "plead-lord-with-those-that-plead-and-fight": {"slug": "plead-lord-with-those-that-plead-and-fight", "title": "Plead, Lord, with Those That Plead; and Fight", "first_line": "Plead, Lord, with those that plead; and fight", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 35, "topics": ["Psalms"], "scripture": ["Psalm 35"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 35. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Plead, Lord, with those that plead; and fight with those that fight with me. Of shield and buck -- ler take thou hold, stand up mine help to be.", "prose": ["Plead, Lord, with those that plead; and fight", "with those that fight with me.", "Of shield and buckler take thou hold,", "stand up mine help to be."]}, "2": {"syllabified": "Draw al -- so out the spear, and do a -- gainst them stop the way That me pur -- sue: un -- to my soul, I'm thy sal -- va -- tion, say.", "prose": ["Draw also out the spear, and do", "against them stop the way", "That me pursue: unto my soul,", "I'm thy salvation, say."]}, "3": {"syllabified": "Let them con -- found -- ed be and shamed that for my soul have sought: Who plot my hurt turned back be they, and to con -- fu -- sion brought.", "prose": ["Let them confounded be and shamed", "that for my soul have sought:", "Who plot my hurt turned back be they,", "and to confusion brought."]}, "4": {"syllabified": "Let them be like un -- to the chaff that flies be -- fore the wind; And let the an -- gel of the Lord pur -- sue them hard be -- hind.", "prose": ["Let them be like unto the chaff", "that flies before the wind;", "And let the angel of the Lord", "pursue them hard behind."]}, "5": {"syllabified": "With dark -- ness cov -- er thou their way, and let it slip -- p'ry prove; And let the an -- gel of the Lord pur -- sue them from a -- bove.", "prose": ["With darkness cover thou their way,", "and let it slipp'ry prove;", "And let the angel of the Lord", "pursue them from above."]}, "6": {"syllabified": "For with -- out cause have they for me their net hid in a pit, They al -- so have with -- out a cause for my soul digg -- ed it.", "prose": ["For without cause have they for me", "their net hid in a pit,", "They also have without a cause", "for my soul digged it."]}, "7": {"syllabified": "Let ru -- in seize him un -- a -- wares; his net he hid with -- al Him -- self let catch; and in the same de -- struc -- tion let him fall.", "prose": ["Let ruin seize him unawares;", "his net he hid withal", "Himself let catch; and in the same", "destruction let him fall."]}, "8": {"syllabified": "My soul in God shall joy; and glad in his sal -- va -- tion be: And all my bones shall say, O Lord, who is like un -- to thee,", "prose": ["My soul in God shall joy; and glad", "in his salvation be:", "And all my bones shall say, O Lord,", "who is like unto thee,"]}, "9": {"syllabified": "Which dost the poor set free from him that is for him too strong; The poor and need -- y from the man that spoils and does him wrong?", "prose": ["Which dost the poor set free from him", "that is for him too strong;", "The poor and needy from the man", "that spoils and does him wrong?"]}, "10": {"syllabified": "False wit -- nes -- ses rose; to my charge things I not knew they laid. They, to the spoil -- ing of my soul, me ill for good re -- paid.", "prose": ["False witnesses rose; to my charge", "things I not knew they laid.", "They, to the spoiling of my soul,", "me ill for good repaid."]}, "11": {"syllabified": "But as for me, when they were sick, in sack -- cloth sad I mourned: My hum -- bled soul did fast, my prayer in -- to my bos -- om turned.", "prose": ["But as for me, when they were sick,", "in sackcloth sad I mourned:", "My humbled soul did fast, my prayer", "into my bosom turned."]}, "12": {"syllabified": "My -- self I did be -- have as he had been my friend or broth -- er; I heav -- i -- ly bowed down, as one that mourn -- eth for his moth -- er.", "prose": ["Myself I did behave as he", "had been my friend or brother;", "I heavily bowed down, as one", "that mourneth for his mother."]}, "13": {"syllabified": "But in my trou -- ble they re -- joiced, gath -- 'ring them -- selves to -- geth -- er; Yea, ab -- jects vile to -- geth -- er did them -- selves a -- gainst me gath -- er:", "prose": ["But in my trouble they rejoiced,", "gath'ring themselves together;", "Yea, abjects vile together did", "themselves against me gather:"]}, "14": {"syllabified": "I knew it not; they did me tear, and qui -- et would not be. With mock -- ing hyp -- o -- crites, at feasts they gnashed their teeth at me.", "prose": ["I knew it not; they did me tear,", "and quiet would not be.", "With mocking hypocrites, at feasts", "they gnashed their teeth at me."]}, "15": {"syllabified": "How long, Lord, look'st thou on? from those de -- struc -- tions they in -- tend Res -- cue my soul, from li -- ons young my dar -- ling do de -- fend.", "prose": ["How long, Lord, look'st thou on? from those", "destructions they intend", "Rescue my soul, from lions young", "my darling do defend."]}, "16": {"syllabified": "I will give thanks to thee, O Lord, with -- in th'as -- sem -- bly great; And where much peo -- ple gath -- ered are thy prais -- es forth will set.", "prose": ["I will give thanks to thee, O Lord,", "within th' assembly great;", "And where much people gathered are", "thy praises forth will set."]}, "17": {"syllabified": "Let not my wrong -- ful en -- e -- mies proud -- ly re -- joice o'er me; Nor who me hate with -- out a cause, let them wink with the eye.", "prose": ["Let not my wrongful enemies", "proudly rejoice o'er me;", "Nor who me hate without a cause,", "let them wink with the eye."]}, "18": {"syllabified": "For peace they do not speak at all; but craf -- ty plots pre -- pare A -- gainst all those with -- in the land that meek and qui -- et are.", "prose": ["For peace they do not speak at all;", "but crafty plots prepare", "Against all those within the land", "that meek and quiet are."]}, "19": {"syllabified": "With mouths set wide, they 'gainst me said, Ha, ha! our eye doth see. Lord, thou hast seen, hold not thy peace; Lord, be not far from me.", "prose": ["With mouths set wide, they 'gainst me said,", "Ha, ha! our eye doth see.", "Lord, thou hast seen, hold not thy peace;", "Lord, be not far from me."]}, "20": {"syllabified": "Stir up thy -- self; wake, that thou may'st judg -- ment to me af -- ford, Ev'n to my cause, O thou that art my on -- ly God and Lord.", "prose": ["Stir up thyself; wake, that thou may'st", "judgment to me afford,", "Ev'n to my cause, O thou that art", "my only God and Lord."]}, "21": {"syllabified": "O Lord my God, do thou me judge af -- ter thy right -- eous -- ness; And let them not their joy 'gainst me tri -- um -- phant -- ly ex -- press:", "prose": ["O Lord my God, do thou me judge", "after thy righteousness;", "And let them not their joy 'gainst me", "triumphantly express:"]}, "22": {"syllabified": "Nor let them say with -- in their hearts, Ah, we would have it thus; Nor suf -- fer them to say, that he is swal -- lowed up by us.", "prose": ["Nor let them say within their hearts,", "Ah, we would have it thus;", "Nor suffer them to say, that he", "is swallowed up by us."]}, "23": {"syllabified": "Shamed and con -- found -- ed be they all that at my hurt are glad; Let those a -- gainst me that do boast with shame and scorn be clad.", "prose": ["Shamed and confounded be they all", "that at my hurt are glad;", "Let those against me that do boast", "with shame and scorn be clad."]}, "24": {"syllabified": "Let them that love my right -- eous cause be glad, shout, and not cease To say, The Lord be mag -- ni -- fied, who loves his ser -- vant's peace.", "prose": ["Let them that love my righteous cause", "be glad, shout, and not cease", "To say, The Lord be magnified,", "who loves his servant's peace."]}, "25": {"syllabified": "Thy right -- eous -- ness shall al -- so be de -- clar -- ed by my tongue; The prais -- es that be -- long to thee speak shall it all day long.", "prose": ["Thy righteousness shall also be", "declared by my tongue;", "The praises that belong to thee", "speak shall it all day long."]}}}, "praise-god-for-he-is-good-for-still": {"slug": "praise-god-for-he-is-good-for-still", "title": "Praise God, for He Is Good: for Still", "first_line": "Praise God, for he is good: for still", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 107, "topics": ["Psalms"], "scripture": ["Psalm 107"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 107. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise God, for he is good: for still his mer -- cies last -- ing be. Let God's re -- deemed say so, whom he from th'en -- 'my's hand did free;", "prose": ["Praise God, for he is good: for still", "his mercies lasting be.", "Let God's redeemed say so, whom he", "from th' en'my's hand did free;"]}, "2": {"syllabified": "And gath -- ered them out of the lands, from north, south, east, and west. They strayed in des -- ert's path -- less way, no cit -- y found to rest.", "prose": ["And gathered them out of the lands,", "from north, south, east, and west.", "They strayed in desert's pathless way,", "no city found to rest."]}, "3": {"syllabified": "For thirst and hun -- ger in them faints their soul. When straits them press, They cry un -- to the Lord, and he them frees from their dis -- tress.", "prose": ["For thirst and hunger in them faints", "their soul. When straits them press,", "They cry unto the Lord, and he", "them frees from their distress."]}, "4": {"syllabified": "Them al -- so in a way to walk that right is he did guide, That they might to a cit -- y go, where -- in they might a -- bide.", "prose": ["Them also in a way to walk", "that right is he did guide,", "That they might to a city go,", "wherein they might abide."]}, "5": {"syllabified": "O that men to the Lord would give praise for his good -- ness then, And for his works of won -- der done un -- to the sons of men!", "prose": ["O that men to the Lord would give", "praise for his goodness then,", "And for his works of wonder done", "unto the sons of men!"]}, "6": {"syllabified": "For he the soul that long -- ing is doth ful -- ly sat -- is -- fy; With good -- ness he the hun -- gry soul doth fill a -- bun -- dant -- ly.", "prose": ["For he the soul that longing is", "doth fully satisfy;", "With goodness he the hungry soul", "doth fill abundantly."]}, "7": {"syllabified": "Such as shut up in dark -- ness deep, and in death's shade a -- bide, Whom strong -- ly hath af -- flic -- tion bound, and i -- rons fast have tied:", "prose": ["Such as shut up in darkness deep,", "and in death's shade abide,", "Whom strongly hath affliction bound,", "and irons fast have tied:"]}, "8": {"syllabified": "Be -- cause a -- gainst the words of God they wrought re -- bel -- lious -- ly, And they the coun -- sel did con -- temn of him that is Most High:", "prose": ["Because against the words of God", "they wrought rebelliously,", "And they the counsel did contemn", "of him that is Most High:"]}, "9": {"syllabified": "Their heart he did bring down with grief, they fell, no help could have. In trou -- ble then they cried to God, he them from straits did save.", "prose": ["Their heart he did bring down with grief,", "they fell, no help could have.", "In trouble then they cried to God,", "he them from straits did save."]}, "10": {"syllabified": "He out of dark -- ness did them bring, and from death's shade them take; These bands, where -- with they had been bound, a -- sun -- der quite he brake.", "prose": ["He out of darkness did them bring,", "and from death's shade them take;", "These bands, wherewith they had been bound,", "asunder quite he brake."]}, "11": {"syllabified": "O that men to the Lord would give praise for his good -- ness then, And for his works of won -- der done un -- to the sons of men!", "prose": ["O that men to the Lord would give", "praise for his goodness then,", "And for his works of wonder done", "unto the sons of men!"]}, "12": {"syllabified": "Be -- cause the might -- y gates of brass in piec -- es he did tear, By him in sun -- der al -- so cut the bars of i -- ron were.", "prose": ["Because the mighty gates of brass", "in pieces he did tear,", "By him in sunder also cut", "the bars of iron were."]}, "13": {"syllabified": "Fools, for their sin, and their of -- fence, do sore af -- flic -- tion bear; All kind of meat their soul ab -- hors; they to death's gates draw near.", "prose": ["Fools, for their sin, and their offence,", "do sore affliction bear;", "All kind of meat their soul abhors;", "they to death's gates draw near."]}, "14": {"syllabified": "In grief they cry to God; he saves them from their mis -- er -- ies. He sends his word, them heals, and them from their de -- struc -- tion frees.", "prose": ["In grief they cry to God; he saves", "them from their miseries.", "He sends his word, them heals, and them", "from their destruction frees."]}, "15": {"syllabified": "O that men to the Lord would give praise for his good -- ness then, And for his works of won -- der done un -- to the sons of men!", "prose": ["O that men to the Lord would give", "praise for his goodness then,", "And for his works of wonder done", "unto the sons of men!"]}, "16": {"syllabified": "And let them sac -- ri -- fice to him of -- f'rings of thank -- ful -- ness; And let them show a -- broad his works in songs of joy -- ful -- ness.", "prose": ["And let them sacrifice to him", "off'rings of thankfulness;", "And let them show abroad his works", "in songs of joyfulness."]}, "17": {"syllabified": "Who go to sea in ships, and in great wa -- ters trad -- ing be, With -- in the deep these men God's works and his great won -- ders see.", "prose": ["Who go to sea in ships, and in", "great waters trading be,", "Within the deep these men God's works", "and his great wonders see."]}, "18": {"syllabified": "For he com -- mands, and forth in haste the storm -- y tem -- pest flies, Which makes the sea with rol -- ling waves a -- loft to swell and rise.", "prose": ["For he commands, and forth in haste", "the stormy tempest flies,", "Which makes the sea with rolling waves", "aloft to swell and rise."]}, "19": {"syllabified": "They mount to heav'n, then to the depths they do go down a -- gain; Their soul doth faint and melt a -- way with trou -- ble and with pain.", "prose": ["They mount to heav'n, then to the depths", "they do go down again;", "Their soul doth faint and melt away", "with trouble and with pain."]}, "20": {"syllabified": "They reel and stag -- ger like one drunk, at their wit's end they be: Then they to God in trou -- ble cry, who them from straits doth free.", "prose": ["They reel and stagger like one drunk,", "at their wit's end they be:", "Then they to God in trouble cry,", "who them from straits doth free."]}, "21": {"syllabified": "The storm is changed in -- to a calm at his com -- mand and will; So that the waves, which raged be -- fore, now qui -- et are and still.", "prose": ["The storm is changed into a calm", "at his command and will;", "So that the waves, which raged before,", "now quiet are and still."]}, "22": {"syllabified": "Then are they glad, be -- cause at rest and qui -- et now they be: So to the ha -- ven he them brings, which they de -- sired to see.", "prose": ["Then are they glad, because at rest", "and quiet now they be:", "So to the haven he them brings,", "which they desired to see."]}, "23": {"syllabified": "O that men to the Lord would give praise for his good -- ness then, And for his works of won -- der done un -- to the sons of men!", "prose": ["O that men to the Lord would give", "praise for his goodness then,", "And for his works of wonder done", "unto the sons of men!"]}, "24": {"syllabified": "A -- mong the peo -- ple gath -- er -- ed let them ex -- alt his name; A -- mong as -- sem -- bled el -- ders spread his most re -- nown -- ed fame.", "prose": ["Among the people gathered", "let them exalt his name;", "Among assembled elders spread", "his most renowned fame."]}, "25": {"syllabified": "He to dry land turns wa -- ter -- springs, and floods to wil -- der -- ness; For sins of those that dwell there -- in, fat land to bar -- ren -- ness.", "prose": ["He to dry land turns water-springs,", "and floods to wilderness;", "For sins of those that dwell therein,", "fat land to barrenness."]}, "26": {"syllabified": "The burnt and parch -- ed wil -- der -- ness to wa -- ter -- pools he brings; The ground that was dried up be -- fore he turns to wa -- ter -- springs:", "prose": ["The burnt and parched wilderness", "to water-pools he brings;", "The ground that was dried up before", "he turns to water-springs:"]}, "27": {"syllabified": "And there, for dwell -- ing, he a place doth to the hun -- gry give, That they a cit -- y may pre -- pare com -- mo -- dious -- ly to live.", "prose": ["And there, for dwelling, he a place", "doth to the hungry give,", "That they a city may prepare", "commodiously to live."]}, "28": {"syllabified": "There sow they fields, and vine -- yards plant, to yield fruits of in -- crease. His bless -- ing makes them mul -- ti -- ply, lets not their beasts de -- crease.", "prose": ["There sow they fields, and vineyards plant,", "to yield fruits of increase.", "His blessing makes them multiply,", "lets not their beasts decrease."]}, "29": {"syllabified": "A -- gain they are di -- min -- ish -- ed, and ver -- y low brought down, Through sor -- row and af -- flic -- ti -- on, and great op -- pres -- si -- on.", "prose": ["Again they are diminished,", "and very low brought down,", "Through sorrow and affliction,", "and great oppression."]}, "30": {"syllabified": "He up -- on prin -- ces pours con -- tempt, and caus -- eth them to stray, And wan -- der in a wil -- der -- ness, where -- in there is no way.", "prose": ["He upon princes pours contempt,", "and causeth them to stray,", "And wander in a wilderness,", "wherein there is no way."]}, "31": {"syllabified": "Yet sett -- eth he the poor on high from all his mis -- er -- ies, And he, much like un -- to a flock, doth make him fam -- i -- lies.", "prose": ["Yet setteth he the poor on high", "from all his miseries,", "And he, much like unto a flock,", "doth make him families."]}, "32": {"syllabified": "They that are right -- eous shall re -- joice, when they the same shall see; And, as a -- sham -- ed, stop her mouth shall all in -- iq -- ui -- ty.", "prose": ["They that are righteous shall rejoice,", "when they the same shall see;", "And, as ashamed, stop her mouth", "shall all iniquity."]}, "33": {"syllabified": "Who -- so is wise, and will these things ob -- serve, and them re -- cord, Ev'n they shall un -- der -- stand the love and kind -- ness of the Lord.", "prose": ["Whoso is wise, and will these things", "observe, and them record,", "Ev'n they shall understand the love", "and kindness of the Lord."]}}}, "praise-god-for-he-is-kind": {"slug": "praise-god-for-he-is-kind", "title": "Praise God, for He Is Kind (Second Version)", "first_line": "Praise God, for he is kind", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 136, "topics": ["Psalms"], "scripture": ["Psalm 136"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 136 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise God, for he is kind: His mer -- cy lasts for aye. Give thanks with heart and mind To God of gods al -- way: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Praise God, for he is kind:", "His mercy lasts for aye.", "Give thanks with heart and mind", "To God of gods alway:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "2": {"syllabified": "The Lord of lords praise ye, Whose mer -- cies still en -- dure. Great won -- ders on -- ly he Doth work by his great power: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["The Lord of lords praise ye,", "Whose mercies still endure.", "Great wonders only he", "Doth work by his great power:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "3": {"syllabified": "Which God om -- nip -- o -- tent, By might and wis -- dom high, The heav'n and fir -- ma -- ment Did frame, as we may see: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Which God omnipotent,", "By might and wisdom high,", "The heav'n and firmament", "Did frame, as we may see:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "4": {"syllabified": "To him who did out -- stretch This earth so great and wide, A -- bove the wa -- ters' reach Mak -- ing it to a -- bide: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["To him who did outstretch", "This earth so great and wide,", "Above the waters' reach", "Making it to abide:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "5": {"syllabified": "Great lights he made to be; For his grace last -- eth aye: Such as the sun we see, To rule the light -- some day: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Great lights he made to be;", "For his grace lasteth aye:", "Such as the sun we  see,", "To rule the lightsome day:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "6": {"syllabified": "Al -- so the moon so clear, Which shin -- eth in our sight; The stars that do ap -- pear, To guide the dark -- some night: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Also the moon so clear,", "Which shineth in our sight;", "The stars that do appear,", "To guide the darksome night:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "7": {"syllabified": "To him that E -- gypt smote, Who did his mes -- sage scorn; And in his an -- ger hot Did kill all their first -- born: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["To him that Egypt smote,", "Who did his message scorn;", "And in his anger hot", "Did kill all their first-born:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "8": {"syllabified": "Thence Is -- r'el out he brought; For his grace last -- eth ev -- er. With a strong hand he wrought, And stretched -- out arm de -- liv -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Thence Isr'el out he brought;", "For his grace lasteth ever.", "With a strong hand he wrought,", "And stretched-out arm deliver:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "9": {"syllabified": "The sea he cut in two; For his grace last -- eth still. And through its midst to go Made his own I -- sra -- el: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["The sea he cut in two;", "For his grace lasteth still.", "And through its midst to go", "Made his own Israel:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "10": {"syllabified": "But o -- ver -- whelmed and lost Was proud king Phar -- a -- oh, With all his might -- y host, And char -- iots there al -- so: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["But overwhelmed and lost", "Was proud king Pharaoh,", "With all his mighty host,", "And chariots there also:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "11": {"syllabified": "To him who pow'r -- ful -- ly His cho -- sen peo -- ple led, Ev'n through the des -- ert dry, And in that place them fed: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["To him who pow'rfully", "His chosen people led,", "Ev'n through the desert dry,", "And in that place them fed:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "12": {"syllabified": "To him great kings who smote; For his grace hath no bound. Who slew, and spar -- ed not Kings fa -- mous and re -- nowned: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["To him great kings who smote;", "For his grace hath no bound.", "Who slew, and spared not", "Kings famous and renowned:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "13": {"syllabified": "Si -- hon the Am -- 'rites' king; For his grace last -- eth ev -- er: Og al -- so, who did reign The land of Ba -- shan o -- ver: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Sihon the Am'rites' king;", "For his grace lasteth ever:", "Og also, who did reign", "The land of Bashan over:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "14": {"syllabified": "Their land by lot he gave; For his grace fail -- eth nev -- er, That Is -- r'el might it have In her -- i -- tage for ev -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Their land by lot he gave;", "For his grace faileth never,", "That Isr'el might it have", "In heritage for ever:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "15": {"syllabified": "Who hath re -- mem -- ber -- ed Us in our low es -- tate; And us de -- liv -- er -- ed From foes which did us hate: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Who hath remembered", "Us in our low estate;", "And us delivered", "From foes which did us hate:", "For certainly his mercies dure", "Most firm and sure eternally."]}, "16": {"syllabified": "Who to all flesh gives food; For his grace fail -- eth nev -- er. Give thanks to God most good, The God of heav'n, for ev -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "prose": ["Who to all flesh gives food;", "For his grace faileth never.", "Give thanks to God most good,", "The God of heav'n, for ever:", "For certainly his mercies dure", "Most firm and sure eternally."]}}}, "praise-god-from-heavens-praise-the-lord": {"slug": "praise-god-from-heavens-praise-the-lord", "title": "Praise God. From Heavens Praise the Lord", "first_line": "Praise God. From heavens praise the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 148, "topics": ["Psalms"], "scripture": ["Psalm 148"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 148. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise God. From heav -- ens praise the Lord, in heights praise to him be. All ye his an -- gels, praise ye him; his hosts all, praise him ye.", "prose": ["Praise God. From heavens praise the Lord,", "in heights praise to him be.", "All ye his angels, praise ye him;", "his hosts all, praise him ye."]}, "2": {"syllabified": "O praise ye him, both sun and moon; praise him, all stars of light. Ye heav'ns of heav'ns him praise, and floods a -- bove the heav -- ens' height.", "prose": ["O praise ye him, both sun and moon;", "praise him, all stars of light.", "Ye heav'ns of heav'ns him praise, and floods", "above the heavens' height."]}, "3": {"syllabified": "Let all the crea -- tures praise the name of our al -- might -- y Lord: For he com -- mand -- ed, and they were cre -- at -- ed by his word.", "prose": ["Let all the creatures praise the name", "of our almighty Lord:", "For he commanded, and they were", "created by his word."]}, "4": {"syllabified": "He al -- so, for all times to come, hath them es -- tab -- lished sure; He hath ap -- point -- ed them a law, which ev -- er shall en -- dure.", "prose": ["He also, for all times to come,", "hath them established sure;", "He hath appointed them a law,", "which ever shall endure."]}, "5": {"syllabified": "Praise ye JE -- HO -- VAH from the earth, drag -- ons, and ev -- 'ry deep: Fire, hail, snow, va -- pour, storm -- y wind, his word that ful -- ly keep.", "prose": ["Praise ye JEHOVAH from the earth,", "dragons, and ev'ry deep:", "Fire, hail, snow, vapour, stormy wind,", "his word that fully keep."]}, "6": {"syllabified": "All hills and moun -- tains, fruit -- ful trees, and all ye ce -- dars high: Beasts, and all cat -- tle, creep -- ing things, and all ye birds that fly.", "prose": ["All hills and mountains, fruitful trees,", "and all ye cedars high:", "Beasts, and all cattle, creeping things,", "and all ye birds that fly."]}, "7": {"syllabified": "Kings of the earth, all na -- ti -- ons, prin -- ces, earth's jud -- ges all: Both young men, yea, and maid -- ens too, old men, and chil -- dren small.", "prose": ["Kings of the earth, all nations,", "princes, earth's judges all:", "Both young men, yea, and maidens too,", "old men, and children small."]}, "8": {"syllabified": "Let them God's name praise; for his name a -- lone is ex -- cel -- lent: His glo -- ry reach -- eth far a -- bove the earth and fir -- ma -- ment.", "prose": ["Let them God's name praise; for his name", "alone is excellent:", "His glory reacheth far above", "the earth and firmament."]}, "9": {"syllabified": "His peo -- ple's horn, the praise of all his saints, ex -- alt -- eth he; Ev'n Is -- r'el's seed, a peo -- ple near to him. The Lord praise ye.", "prose": ["His people's horn, the praise of all", "his saints, exalteth he;", "Ev'n Isr'el's seed, a people near", "to him. The Lord praise ye."]}}}, "praise-god-from-whom-all-blessings-flow": {"slug": "praise-god-from-whom-all-blessings-flow", "title": "Praise God From Whom All Blessings Flow", "first_line": "Praise God From Whom All Blessings Flow", "author": "thomas-ken", "author_date": "1674", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Fellowship", "Following Jesus, In Action"], "scripture": ["Psalm 51:15", "1 Corinthians 11:23-26", "Matthew 26:26-28", "1 Peter 2:24"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:258; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "praise_god_from_whom_all_blessings_ken", "total_instances": 1502}}, "stanzas": {"1": {"syllabified": "Praise God, from Whom all bles -- sings flow; Praise Him, all crea -- tures here be -- low; Praise Him a -- bove, ye heav'n -- ly host; Praise Fa -- ther, Son, and Ho -- ly Ghost.", "prose": ["Praise God, from Whom all blessings flow;", "Praise Him, all creatures here below;", "Praise Him above, ye heav'nly host;", "Praise Father, Son, and Holy Ghost."]}}}, "praise-god-the-lord-praise-o-my-soul": {"slug": "praise-god-the-lord-praise-o-my-soul", "title": "Praise God. The Lord Praise, O My Soul", "first_line": "Praise God. The Lord praise, O my soul", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 146, "topics": ["Psalms"], "scripture": ["Psalm 146"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 146. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise God. The Lord praise, O my soul. I'll praise God while I live; While I have be -- ing to my God in songs I'll prais -- es give.", "prose": ["Praise God. The Lord praise, O my soul.", "I'll praise God while I live;", "While I have being to my God", "in songs I'll praises give."]}, "2": {"syllabified": "Trust not in prin -- ces, nor man's son, in whom there is no stay: His breath de -- parts, to's earth he turns; that day his thoughts de -- cay.", "prose": ["Trust not in princes, nor man's son,", "in whom there is no stay:", "His breath departs, to 's earth he turns;", "that day his thoughts decay."]}, "3": {"syllabified": "O hap -- py is that man and blest, whom Ja -- cob's God doth aid; Whose hope up -- on the Lord doth rest, and on his God is stayed:", "prose": ["O happy is that man and blest,", "whom Jacob's God doth aid;", "Whose hope upon the Lord doth rest,", "and on his God is stayed:"]}, "4": {"syllabified": "Who made the earth and heav -- ens high, who made the swell -- ing deep, And all that is with -- in the same; who truth doth ev -- er keep:", "prose": ["Who made the earth and heavens high,", "who made the swelling deep,", "And all that is within the same;", "who truth doth ever keep:"]}, "5": {"syllabified": "Who right -- eous judg -- ment ex -- e -- cutes for those op -- pressed that be, Who to the hun -- gry giv -- eth food; God sets the pris -- 'ners free.", "prose": ["Who righteous judgment executes", "for those oppressed that be,", "Who to the hungry giveth food;", "God sets the pris'ners free."]}, "6": {"syllabified": "The Lord doth give the blind their sight, the bow -- ed down doth raise: The Lord doth dear -- ly love all those that walk in up -- right ways.", "prose": ["The Lord doth give the blind their sight,", "the bowed down doth raise:", "The Lord doth dearly love all those", "that walk in upright ways."]}, "7": {"syllabified": "The stran -- ger's shield, the wid -- ow's stay, the or -- phan's help, is he: But yet by him the wi -- cked's way turn'd up -- side down shall be.", "prose": ["The stranger's shield, the widow's stay,", "the orphan's help, is he:", "But yet by him the wicked's way", "turn'd upside down shall be."]}, "8": {"syllabified": "The Lord shall reign for ev -- er -- more: thy God, O Zi -- on, he Reigns to all gen -- er -- a -- ti -- ons. Praise to the Lord give ye.", "prose": ["The Lord shall reign for evermore:", "thy God, O Zion, he", "Reigns to all generations.", "Praise to the Lord give ye."]}}}, "praise-god-ye-servants-of-the-lord": {"slug": "praise-god-ye-servants-of-the-lord", "title": "Praise God: Ye Servants of the Lord", "first_line": "Praise God: ye servants of the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 113, "topics": ["Psalms"], "scripture": ["Psalm 113"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 113. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise God: ye ser -- vants of the Lord, O praise, the Lord's name praise. Yea, bless -- ed be the name of God from this time forth al -- ways.", "prose": ["Praise God: ye servants of the Lord,", "O praise, the Lord's name praise.", "Yea, blessed be the name of God", "from this time forth always."]}, "2": {"syllabified": "From ris -- ing sun to where it sets, God's name is to be praised. A -- bove all na -- tions God is high, 'bove heav'ns his glo -- ry raised.", "prose": ["From rising sun to where it sets,", "God's name is to be praised.", "Above all nations God is high,", "'bove heav'ns his glory raised."]}, "3": {"syllabified": "Un -- to the Lord our God that dwells on high, who can com -- pare? Him -- self that hum -- bleth things to see in heav'n and earth that are.", "prose": ["Unto the Lord our God that dwells", "on high, who can compare?", "Himself that humbleth things to see", "in heav'n and earth that are."]}, "4": {"syllabified": "He from the dust doth raise the poor, that ver -- y low doth lie; And from the dun -- ghill lifts the man op -- pressed with pov -- er -- ty;", "prose": ["He from the dust doth raise the poor,", "that very low doth lie;", "And from the dunghill lifts the man", "oppressed with poverty;"]}, "5": {"syllabified": "That he may high -- ly him ad -- vance, and with the prin -- ces set; With those that of his peo -- ple are the chief, ev'n prin -- ces great.", "prose": ["That he may highly him advance,", "and with the princes set;", "With those that of his people are", "the chief, ev'n princes great."]}, "6": {"syllabified": "The bar -- ren wom -- an house to keep he mak -- eth, and to be Of sons a moth -- er full of joy. Praise to the Lord give ye.", "prose": ["The barren woman house to keep", "he maketh, and to be", "Of sons a mother full of joy.", "Praise to the Lord give ye."]}}}, "praise-him-praise-him": {"slug": "praise-him-praise-him", "title": "Praise Him! Praise Him!", "first_line": "Praise Him! praise Him! Jesus, our blessed Redeemer!", "index_first_line": "Praise Him! praise Him! Jesus, our blessed", "author": "fanny-crosby", "author_date": "1869", "foot": "dactylic", "meter": {"pattern": [12, 10, 12, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Praise", "Adoration", "Praise, Son", "Redemption"], "scripture": ["Psalm 146:2", "Isaiah 40:11", "Revelation 5:12"], "provenance": {"layer": "text", "source": "gospel-hymns-5-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Fanny J. Crosby (1820-1915), 1869. First printed as 'PRAISE! GIVE PRAISE.' in Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), no. 82 — three stanzas of eight lines, no separate chorus (archive.org brightjewelsfors00lowr_0 leaf n85). The familiar REFRAIN FORM encoded here is the one printed in Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 4, printed page 6 (archive.org gospelhymnsno500sank leaf n9): six-line stanzas, 12.10.12.10.11.10, with the chorus given as 'D.S.—Praise Him! praise Him! tell of His excellent greatness, Praise Him! praise Him! ever in joyful song!'. Stanzas 2 and 3 carry the ALTERED lines 5-6 of that 1887 page ('Sound His praises!...' and 'Christ is coming!...'), which replace the 1869 original's lines 5-6; all three stanzas are transcribed from that page (its spellings kept: 'Saviour', 'hosannas', lowercase 'crucified'; 'Sing, O earth, His' takes the 1869 comma where 1887 sets a dash). Both printings are US public domain by publication before 1929, and the 1887 page's own notice reads 'Copyright, 1869, by Biglow & Main.'", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "praise_him_praise_him_jesus_our_blessed", "total_instances": 490}}, "stanzas": {"1": {"syllabified": "Praise Him! praise Him! Je -- sus, our bless -- ed Re -- deem -- er! Sing, O earth, His won -- der -- ful love pro -- claim! Hail Him! hail Him! high -- est arch -- an -- gels in glo -- ry; Strength and hon -- or give to His ho -- ly name! Like a shep -- herd, Je -- sus will guard His child -- ren, In His arms He car -- ries them all day long;", "prose": ["Praise Him! praise Him! Jesus, our blessed Redeemer!", "Sing, O earth, His wonderful love proclaim!", "Hail Him! hail Him! highest archangels in glory;", "Strength and honor give to His holy name!", "Like a shepherd, Jesus will guard His children,", "In His arms He carries them all day long;"]}, "2": {"syllabified": "Praise Him! praise Him! Je -- sus, our bless -- ed Re -- deem -- er! For our sins He suf -- fered, and bled, and died; He our rock, our hope of e -- ter -- nal sal -- va -- tion, Hail Him! hail Him! Je -- sus, the cru -- ci -- fied. Sound His prais -- es! Je -- sus who bore our sor -- rows, Love un -- bound -- ed, won -- der -- ful, deep and strong;", "prose": ["Praise Him! praise Him! Jesus, our blessed Redeemer!", "For our sins He suffered, and bled, and died;", "He our rock, our hope of eternal salvation,", "Hail Him! hail Him! Jesus, the crucified.", "Sound His praises! Jesus who bore our sorrows,", "Love unbounded, wonderful, deep and strong;"]}, "3": {"syllabified": "Praise Him! praise Him! Je -- sus, our bless -- ed Re -- deem -- er! Heav'n -- ly por -- tals, loud with ho -- san -- nas ring! Je -- sus, Sav -- iour, reign -- eth for ev -- er and ev -- er: Crown Him! crown Him! Proph -- et, and Priest, and King! Christ is com -- ing! o -- ver the world vic -- to -- rious, Pow'r and glo -- ry un -- to the Lord be -- long;", "prose": ["Praise Him! praise Him! Jesus, our blessed Redeemer!", "Heav'nly portals, loud with hosannas ring!", "Jesus, Saviour, reigneth for ever and ever:", "Crown Him! crown Him! Prophet, and Priest, and King!", "Christ is coming! over the world victorious,", "Pow'r and glory unto the Lord belong;"]}}, "refrain": {"syllabified": "Praise Him! praise Him! tell of His ex -- cel -- lent great -- ness, Praise Him! praise Him! ev -- er in joy -- ful song!", "prose": ["Praise Him! praise Him! tell of His excellent greatness,", "Praise Him! praise Him! ever in joyful song!"]}}, "praise-my-soul-the-king-of-heaven": {"slug": "praise-my-soul-the-king-of-heaven", "title": "Praise, My Soul, the King of Heaven", "first_line": "Praise, my soul, the King of heaven", "author": "henry-f-lyte", "author_date": "1834", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Adoration", "God, Faithfulness of"], "scripture": ["Psalm 103:1-5"], "provenance": {"layer": "text", "source": "lyte-spirit-of-the-psalms-1834", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry F. Lyte, The Spirit of the Psalms, 1834. Author d. 1847.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "praise_my_soul_the_king_of_heaven", "total_instances": 580}}, "stanzas": {"1": {"syllabified": "Praise, my soul, the King of heav -- en; To His feet thy trib -- ute bring. Ran -- somed, healed, re -- stored, for -- giv -- en, Ev -- er -- more His pra -- ises sing: A -- lle -- lu -- ia! A -- lle -- lu -- ia! Praise the ev -- er -- last -- ing King.", "prose": ["Praise, my soul, the King of heaven;", "To His feet thy tribute bring.", "Ransomed, healed, restored, forgiven,", "Evermore His praises sing:", "Alleluia! Alleluia!", "Praise the everlasting King."]}, "2": {"syllabified": "Praise Him for His grace and fa -- vor To our fa -- thers in dis -- tress. Praise Him still the same as ev -- er, Slow to chide, and swift to bless. A -- lle -- lu -- ia! A -- lle -- lu -- ia! Glor -- ious in His faith -- ful -- ness.", "prose": ["Praise Him for His grace and favor", "To our fathers in distress.", "Praise Him still the same as ever,", "Slow to chide, and swift to bless.", "Alleluia! Alleluia!", "Glorious in His faithfulness."]}, "3": {"syllabified": "Fa -- ther like He tends and spares us; Well our fee -- ble frame He knows. In His hands He gen -- tly bears us, Res -- cues us from all our foes. A -- lle -- lu -- ia! A -- lle -- lu -- ia! Wide -- ly yet His mer -- cy flows.", "prose": ["Father like He tends and spares us;", "Well our feeble frame He knows.", "In His hands He gently bears us,", "Rescues us from all our foes.", "Alleluia! Alleluia!", "Widely yet His mercy flows."]}, "4": {"syllabified": "Frail as sum -- mer's flower we flour -- ish, Blows the wind and it is gone; But while mor -- tals rise and per -- ish Our God lives un -- chang -- ing on, Praise Him, Praise Him, Ha -- lle -- lu -- jah Praise the High E -- ter -- nal One!", "prose": ["Frail as summer's flower we flourish,", "Blows the wind and it is gone;", "But while mortals rise and perish", "Our God lives unchanging on,", "Praise Him, Praise Him, Hallelujah", "Praise the High Eternal One!"]}, "5": {"syllabified": "An -- gels, help us to a -- dore Him; Ye be -- hold Him face to face; Sun and moon, bow down be -- fore Him, Dwell -- ers all in time and space. A -- lle -- lu -- ia! A -- lle -- lu -- ia! Praise with us the God of grace.", "prose": ["Angels, help us to adore Him;", "Ye behold Him face to face;", "Sun and moon, bow down before Him,", "Dwellers all in time and space.", "Alleluia! Alleluia!", "Praise with us the God of grace."]}}}, "praise-the-lord-ye-heavens-adore-him": {"slug": "praise-the-lord-ye-heavens-adore-him", "title": "Praise the Lord! Ye Heavens, Adore Him", "first_line": "Praise the Lord! ye heav'ns, adore Him", "author": "edward-osler", "author_date": "1836", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "God, As King", "God, Creator", "God, Majesty & Power of", "Heaven", "Praise, Father", "Praise, Son", "Gratitude", "Worship", "Saints (all Faithful)"], "scripture": ["Psalm 148:1-14", "Revelation 5:11-14"], "provenance": {"layer": "text", "source": "foundling-hospital-collection-1796", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:260 (line 33829). Words: stanzas 1-2 anonymous (Foundling Hospital Collection, 1796), stanza 3 by Edward Osler, 1836 (d. 1863). Transcribed by OH from The Century Hymnal, 1921. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise the Lord, ye heav'ns, a -- dore Him; Praise Him, an -- gels in the height. Sun and moon, re -- joice be -- fore Him; Praise Him, all ye stars of light. Praise the Lord, for He hath spo -- ken; Worlds His might -- y voice o -- beyed. Laws which nev -- er shall be bro -- ken For their gui -- dance He hath made.", "prose": ["Praise the Lord, ye heav'ns, adore Him;", "Praise Him, angels in the height.", "Sun and moon, rejoice before Him;", "Praise Him, all ye stars of light.", "Praise the Lord, for He hath spoken;", "Worlds His mighty voice obeyed.", "Laws which never shall be broken", "For their guidance He hath made."]}, "2": {"syllabified": "Praise the Lord, for He is glor -- ious; Nev -- er shall His prom -- ise fail. God hath made His saints vic -- tor -- ious; Sin and death shall not pre -- vail. Praise the God of our sal -- va -- tion; Hosts on high, His pow'r pro -- claim. Heav'n and earth and all cre -- a -- tion, Laud and mag -- ni -- fy His name.", "prose": ["Praise the Lord, for He is glorious;", "Never shall His promise fail.", "God hath made His saints victorious;", "Sin and death shall not prevail.", "Praise the God of our salvation;", "Hosts on high, His pow'r proclaim.", "Heav'n and earth and all creation,", "Laud and magnify His name."]}, "3": {"syllabified": "Wor -- ship, hon -- or, glo -- ry, bless -- ing, Lord, we of -- fer un -- to Thee. Young and old, Thy praise ex -- press -- ing, In glad hom -- age bend the knee. All the saints in Heav'n a -- dore Thee; We would bow be -- fore Thy throne. As Thine an -- gels serve be -- fore Thee, So on earth Thy will be done.", "prose": ["Worship, honor, glory, blessing,", "Lord, we offer unto Thee.", "Young and old, Thy praise expressing,", "In glad homage bend the knee.", "All the saints in Heav'n adore Thee;", "We would bow before Thy throne.", "As Thine angels serve before Thee,", "So on earth Thy will be done."]}}}, "praise-to-the-lord-the-almighty": {"slug": "praise-to-the-lord-the-almighty", "title": "Praise to the Lord, the Almighty", "first_line": "Praise to the Lord, the Almighty, the King of creation", "author": "joachim-neander", "author_date": "1680", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "trochaic", "meter": {"pattern": [14, 14, 4, 7, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Adoration"], "scripture": ["Psalm 103:1-6"], "provenance": {"layer": "text", "source": "bennett-1863", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:261", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Joachim Neander, 1680; tr. Catherine Winkworth, 1863. Translator d. 1878; both pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "praise_to_the_lord_the_almighty_the_king", "total_instances": 437}}, "stanzas": {"1": {"syllabified": "Praise to the Lord, the Al -- might -- y, the King of cre -- a -- tion! O my soul, praise Him, for He is thy health and sal -- va -- tion! All ye who hear, now to His tem -- ple draw near; Praise Him in glad ad -- o -- ra -- tion.", "prose": ["Praise to the Lord, the Almighty, the King of creation!", "O my soul, praise Him, for He is thy health and salvation!", "All ye who hear,", "now to His temple draw near;", "Praise Him in glad adoration."]}, "2": {"syllabified": "Praise to the Lord, Who o’er all things so won -- drous -- ly reign -- eth, Shel -- ters thee un -- der His wings, yea, so gent -- ly sus -- tain -- eth! Hast thou not seen how thy de -- sir -- es have been Grant -- ed in what He or -- dain -- eth", "prose": ["Praise to the Lord, Who o’er all things so wondrously reigneth,", "Shelters thee under His wings, yea, so gently sustaineth!", "Hast thou not seen", "how thy desires have been", "Granted in what He ordaineth"]}, "3": {"syllabified": "Praise to the Lord, Who hath fear -- ful -- ly, won -- drous -- ly, made thee; Health hath vouch -- safed and, when heed -- less -- ly fall -- ing, hath stayed thee. What need or grief ev -- er hath failed of re -- lief? Wings of His mer -- cy did shade thee.", "prose": ["Praise to the Lord, Who hath fearfully, wondrously, made thee;", "Health hath vouchsafed and, when heedlessly falling, hath stayed thee.", "What need or grief", "ever hath failed of relief?", "Wings of His mercy did shade thee."]}, "4": {"syllabified": "Praise to the Lord, Who doth pros -- per thy work and de -- fend thee; Sure -- ly His good -- ness and mer -- cy here dai -- ly at -- tend thee. Pon -- der a -- new what the Al -- might -- y can do, If with His love He be -- friend thee.", "prose": ["Praise to the Lord, Who doth prosper thy work and defend thee;", "Surely His goodness and mercy here daily attend thee.", "Ponder anew", "what the Almighty can do,", "If with His love He befriend thee."]}, "5": {"syllabified": "Praise to the Lord, Who, when tem -- pests their war -- fare are wag -- ing, Who, when the el -- e -- ments mad -- ly a -- round thee are rag -- ing, Bid -- deth them cease, turn -- eth their fu -- ry to peace, Whirl -- winds and wa -- ters as -- suag -- ing.", "prose": ["Praise to the Lord, Who, when tempests their warfare are waging,", "Who, when the elements madly around thee are raging,", "Biddeth them cease,", "turneth their fury to peace,", "Whirlwinds and waters assuaging."]}}}, "praise-waits-for-thee-in-zion-lord": {"slug": "praise-waits-for-thee-in-zion-lord", "title": "Praise Waits for Thee in Zion, Lord", "first_line": "Praise waits for thee in Zion, Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 65. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise waits for thee in Zi -- on, Lord: to thee vows paid shall be. O thou that hear -- er art of pray'r, all flesh shall come to thee.", "prose": ["Praise waits for thee in Zion, Lord:", "to thee vows paid shall be.", "O thou that hearer art of pray'r,", "all flesh shall come to thee."]}, "2": {"syllabified": "In -- iq -- ui -- ties, I must con -- fess, pre -- vail a -- gainst me do: But as for our trans -- gres -- si -- ons, them purge a -- way shalt thou.", "prose": ["Iniquities, I must confess,", "prevail against me do:", "But as for our transgressions,", "them purge away shalt thou."]}, "3": {"syllabified": "Bless'd is the man whom thou dost choose, and mak'st ap -- proach to thee, That he with -- in thy courts, O Lord, may still a dwel -- ler be:", "prose": ["Bless'd is the man whom thou dost choose,", "and mak'st approach to thee,", "That he within thy courts, O Lord,", "may still a dweller be:"]}, "4": {"syllabified": "We sure -- ly shall be sat -- is -- fied with thy a -- bun -- dant grace, And with the good -- ness of thy house, ev'n of thy ho -- ly place.", "prose": ["We surely shall be satisfied", "with thy abundant grace,", "And with the goodness of thy house,", "ev'n of thy holy place."]}, "5": {"syllabified": "O God of our sal -- va -- ti -- on, thou, in thy right -- eous -- ness, By fear -- ful works un -- to our pray'rs thine an -- swer dost ex -- press:", "prose": ["O God of our salvation,", "thou, in thy righteousness,", "By fearful works unto our pray'rs", "thine answer dost express:"]}, "6": {"syllabified": "There -- fore the ends of all the earth, and those a -- far that be Up -- on the sea, their con -- fi -- dence, O Lord, will place in thee.", "prose": ["Therefore the ends of all the earth,", "and those afar that be", "Upon the sea, their confidence,", "O Lord, will place in thee."]}, "7": {"syllabified": "Who, be -- ing girt with pow'r, sets fast by his great strength the hills. Who noise of seas, noise of their waves, and peo -- ple's tu -- mult, stills.", "prose": ["Who, being girt with pow'r, sets fast", "by his great strength the hills.", "Who noise of seas, noise of their waves,", "and people's tumult, stills."]}, "8": {"syllabified": "Those in the ut -- most parts that dwell are at thy signs a -- fraid: Th'out -- go -- ings of the morn and ev'n by thee are joy -- ful made.", "prose": ["Those in the utmost parts that dwell", "are at thy signs afraid:", "Th' outgoings of the morn and ev'n", "by thee are joyful made."]}, "9": {"syllabified": "The earth thou vis -- it'st, wa -- t'ring it; thou mak'st it rich to grow With God's full flood; thou corn pre -- par'st, when thou pro -- vid'st it so.", "prose": ["The earth thou visit'st, wat'ring it;", "thou mak'st it rich to grow", "With God's full flood; thou corn prepar'st,", "when thou provid'st it so."]}, "10": {"syllabified": "Her rigs thou wa -- t'rest plen -- teous -- ly, her fur -- rows set -- tel -- est: With show'rs thou dost her mol -- li -- fy, her spring by thee is blest.", "prose": ["Her rigs thou wat'rest plenteously,", "her furrows settelest:", "With show'rs thou dost her mollify,", "her spring by thee is blest."]}, "11": {"syllabified": "So thou the year most lib -- 'ral -- ly dost with thy good -- ness crown; And all thy paths a -- bun -- dant -- ly on us drop fat -- ness down.", "prose": ["So thou the year most lib'rally", "dost with thy goodness crown;", "And all thy paths abundantly", "on us drop fatness down."]}, "12": {"syllabified": "They drop up -- on the pas -- tures wide, that do in des -- erts lie; The lit -- tle hills on ev -- 'ry side re -- joice right pleas -- ant -- ly.", "prose": ["They drop upon the pastures wide,", "that do in deserts lie;", "The little hills on ev'ry side", "rejoice right pleasantly."]}, "13": {"syllabified": "With flocks the pas -- tures cloth -- ed be, the vales with corn are clad; And now they shout and sing to thee, for thou hast made them glad.", "prose": ["With flocks the pastures clothed be,", "the vales with corn are clad;", "And now they shout and sing to thee,", "for thou hast made them glad."]}}}, "praise-waits-in-zion-lord-for-thee": {"slug": "praise-waits-in-zion-lord-for-thee", "title": "Divine Grace Magnified", "first_line": "Praise waits in Zion, Lord, for Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 166) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 65, selection 166. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise waits in Zi -- on, Lord, for Thee, And un -- to Thee shall vows be paid; O Thou that hear -- est those who cry, To Thee by all shall prayer be made.", "prose": ["Praise waits in Zion, Lord, for Thee,", "And unto Thee shall vows be paid;", "O Thou that hearest those who cry,", "To Thee by all shall prayer be made."]}, "2": {"syllabified": "A -- gainst us sin has bat -- tled hard; For help we look to Thee and pray; Thou our trans -- gres -- sions wilt for -- give, Yea, Thou wilt take them all a -- way.", "prose": ["Against us sin has battled hard;", "For help we look to Thee and pray;", "Thou our transgressions wilt forgive,", "Yea, Thou wilt take them all away."]}, "3": {"syllabified": "How blest are they whom Thou dost choose To come and in Thy courts a -- bide; Com -- mun -- ing in Thy ho -- ly house, With good we shall be sat -- is -- fied.", "prose": ["How blest are they whom Thou dost choose", "To come and in Thy courts abide;", "Communing in Thy holy house,", "With good we shall be satisfied."]}, "4": {"syllabified": "By might -- y deeds in right -- eous -- ness Prayer's an -- swer sure -- ly comes from Thee, O God our Sav -- iour, God the trust Of all Thy saints on land or sea.", "prose": ["By mighty deeds in righteousness", "Prayer's answer surely comes from Thee,", "O God our Saviour, God the trust", "Of all Thy saints on land or sea."]}, "5": {"syllabified": "Thy power has set the moun -- tains firm, O God Al -- might -- y, girt with strength; At Thy com -- mand the waves are still, The na -- tions cease from war at length.", "prose": ["Thy power has set the mountains firm,", "O God Almighty, girt with strength;", "At Thy command the waves are still,", "The nations cease from war at length."]}, "6": {"syllabified": "The to -- kens of Thy might -- y power Lead men in ev -- ery clime to fear; From east to west through all the earth Thou send -- est glad -- ness fare and near.", "prose": ["The tokens of Thy mighty power", "Lead men in every clime to fear;", "From east to west through all the earth", "Thou sendest gladness fare and near."]}}}, "praise-waits-in-zion-lord-for-thee-psalm-65": {"slug": "praise-waits-in-zion-lord-for-thee-psalm-65", "title": "The Blessings of Grace", "first_line": "Praise waits in Zion, Lord, for Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 172) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 65, selection 172. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise waits in Zi -- on, Lord, for Thee; There we will pay our vow; O Thou, the God that hear -- est prayer, Be -- fore Thee all shall bow.", "prose": ["Praise waits in Zion, Lord, for Thee;", "There we will pay our vow;", "O Thou, the God that hearest prayer,", "Before Thee all shall bow."]}, "2": {"syllabified": "A -- gainst me my be -- sett -- ing sins Pre -- vail from day to day, But Thou in Thy for -- giv -- ing grace Wilt take them all a -- way.", "prose": ["Against me my besetting sins", "Prevail from day to day,", "But Thou in Thy forgiving grace", "Wilt take them all away."]}, "3": {"syllabified": "O blest the man whom Thou dost choose, And draw in love to Thee, That in Thy sa -- cred courts, O Lord, He may a dwel -- ler be.", "prose": ["O blest the man whom Thou dost choose,", "And draw in love to Thee,", "That in Thy sacred courts, O Lord,", "He may a dweller be."]}, "4": {"syllabified": "We sure -- ly shall be sat -- is -- fied With Thy a -- bun -- dant grace, Yea, with the good -- ness of Thy house, Of Thy most ho -- ly place.", "prose": ["We surely shall be satisfied", "With Thy abundant grace,", "Yea, with the goodness of Thy house,", "Of Thy most holy place."]}}}, "praise-ye-praise-ye-the-lord": {"slug": "praise-ye-praise-ye-the-lord", "title": "Universal Adoration", "first_line": "Praise ye, praise ye the Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 148, "topics": ["Psalms"], "scripture": ["Psalm 148"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 404) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 148, selection 404. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye, praise ye the Lord In yon -- der heav'n -- ly height; Ye an -- gels, all His hosts, In joy -- ful praise u -- nite; O sun and moon, de -- clare His might, Show forth His praise, ye stars of light.", "prose": ["Praise ye, praise ye the Lord", "In yonder heav'nly height;", "Ye angels, all His hosts,", "In joyful praise unite;", "O sun and moon, declare His might,", "Show forth His praise, ye stars of light."]}, "2": {"syllabified": "Praise Him, ye high -- est heav'ns, Praise Him, ye clouds that roll, Cre -- at -- ed by His pow'r And un -- der His con -- trol, Ye heav'ns that stand e -- ter -- nal -- ly, Es -- tab -- lished by His firm de -- cree.", "prose": ["Praise Him, ye highest heav'ns,", "Praise Him, ye clouds that roll,", "Created by His pow'r", "And under His control,", "Ye heav'ns that stand eternally,", "Established by His firm decree."]}, "3": {"syllabified": "Ye crea -- tures in the sea And crea -- tures on the earth, Your might -- y Mak -- er praise And tell His match -- less worth; Praise Him, ye storm -- y winds that blow, Ye fire and hail, ye rain and snow.", "prose": ["Ye creatures in the sea", "And creatures on the earth,", "Your mighty Maker praise", "And tell His matchless worth;", "Praise Him, ye stormy winds that blow,", "Ye fire and hail, ye rain and snow."]}, "4": {"syllabified": "Ye hills and moun -- tains, praise, Each tree and beast and bird; Ye kings and realms of earth, Now let your praise be heard; By high and low, by young and old, Be all His praise and glo -- ry told.", "prose": ["Ye hills and mountains, praise,", "Each tree and beast and bird;", "Ye kings and realms of earth,", "Now let your praise be heard;", "By high and low, by young and old,", "Be all His praise and glory told."]}, "5": {"syllabified": "By all let God be praised, For He a -- lone is great; A -- bove the earth and heav'n He reigns in glo -- rious state; Praise Him, ye saints, who know His grace And ev -- er dwell be -- fore His face.", "prose": ["By all let God be praised,", "For He alone is great;", "Above the earth and heav'n", "He reigns in glorious state;", "Praise Him, ye saints, who know His grace", "And ever dwell before His face."]}}}, "praise-ye-the-lord-for-he-is-good": {"slug": "praise-ye-the-lord-for-he-is-good", "title": "Praise and Confession", "first_line": "Praise ye the Lord, for He is good", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 106, "topics": ["Psalms"], "scripture": ["Psalm 106"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 290) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 106, selection 290. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord, for He is good; Give thanks and bless His Name; His lov -- ing -- kind -- ness chan -- ges not, From age to age the same.", "prose": ["Praise ye the Lord, for He is good;", "Give thanks and bless His Name;", "His loving-kindness changes not,", "From age to age the same."]}, "2": {"syllabified": "What tongue can tell His might -- y deeds, His won -- drous works and ways? O who can show His glo -- ry forth, Or ut -- ter all His praise?", "prose": ["What tongue can tell His mighty deeds,", "His wondrous works and ways?", "O who can show His glory forth,", "Or utter all His praise?"]}, "3": {"syllabified": "The Lord will bless and pros -- per those, Yea, blest in -- deed are they, Whose ways are just, who con -- stant -- ly His right -- eous law o -- bey.", "prose": ["The Lord will bless and prosper those,", "Yea, blest indeed are they,", "Whose ways are just, who constantly", "His righteous law obey."]}, "4": {"syllabified": "O Lord, re -- mem -- ber me in grace, Let me sal -- va -- tion see; The grace Thou show -- est to Thy saints, That grace re -- veal to me.", "prose": ["O Lord, remember me in grace,", "Let me salvation see;", "The grace Thou showest to Thy saints,", "That grace reveal to me."]}, "5": {"syllabified": "Let me be -- hold Thy peo -- ple's good And in their joy re -- joice; With Thy tri -- um -- phant her -- i -- tage Let me lift up my voice.", "prose": ["Let me behold Thy people's good", "And in their joy rejoice;", "With Thy triumphant heritage", "Let me lift up my voice."]}, "6": {"syllabified": "In e -- vil we have gone a -- stray, And sin -- ful is our race; Re -- bel -- lious -- ly our fa -- thers walked, For -- get -- ful of Thy grace.", "prose": ["In evil we have gone astray,", "And sinful is our race;", "Rebelliously our fathers walked,", "Forgetful of Thy grace."]}, "7": {"syllabified": "Though they re -- belled, yet for their help In sav -- ing strength he came To make His power al -- might -- y known And glo -- ri -- fy His Name.", "prose": ["Though they rebelled, yet for their help", "In saving strength he came", "To make His power almighty known", "And glorify His Name."]}, "8": {"syllabified": "He brought them safe -- ly through the sea And o -- ver -- whelmed their foes; Their faith was stirred, and for the time Their songs of praise a -- rose.", "prose": ["He brought them safely through the sea", "And overwhelmed their foes;", "Their faith was stirred, and for the time", "Their songs of praise arose."]}, "9": {"syllabified": "For -- get -- ful soon, they tempt -- ed God, Nor for His coun -- sel cared; He sent them lean -- ness in their souls, Whilst they earth's boun -- ties shared.", "prose": ["Forgetful soon, they tempted God,", "Nor for His counsel cared;", "He sent them leanness in their souls,", "Whilst they earth's bounties shared."]}, "10": {"syllabified": "With en -- vy they re -- gard -- ed those Whom God to them had sent; The o -- pening earth, the kin -- dling flame, Brought aw -- ful pun -- ish -- ment.", "prose": ["With envy they regarded those", "Whom God to them had sent;", "The opening earth, the kindling flame,", "Brought awful punishment."]}, "11": {"syllabified": "A gol -- den im -- age they a -- dored, And wor -- shiped at its shrine; Thus they de -- spised the liv -- ing God And scorned His love di -- vine.", "prose": ["A golden image they adored,", "And worshiped at its shrine;", "Thus they despised the living God", "And scorned His love divine."]}}}, "praise-ye-the-lord-for-it-is-good": {"slug": "praise-ye-the-lord-for-it-is-good", "title": "Praise Ye the Lord; for It Is Good", "first_line": "Praise ye the Lord; for it is good", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 147, "topics": ["Psalms"], "scripture": ["Psalm 147"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 147. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord; for it is good praise to our God to sing: For it is pleas -- ant, and to praise it is a come -- ly thing.", "prose": ["Praise ye the Lord; for it is good", "praise to our God to sing:", "For it is pleasant, and to praise", "it is a comely thing."]}, "2": {"syllabified": "God doth build up Je -- ru -- sa -- lem; and he it is a -- lone That the dis -- persed of I -- sra -- el doth gath -- er in -- to one.", "prose": ["God doth build up Jerusalem;", "and he it is alone", "That the dispersed of Israel", "doth gather into one."]}, "3": {"syllabified": "Those that are bro -- ken in their heart, and griev -- ed in their minds, He heal -- eth, and their pain -- ful wounds he ten -- der -- ly up -- binds.", "prose": ["Those that are broken in their heart,", "and grieved in their minds,", "He healeth, and their painful wounds", "he tenderly up-binds."]}, "4": {"syllabified": "He counts the num -- ber of the stars; he names them ev -- 'ry one. Great is our Lord, and of great pow'r; his wis -- dom search can none.", "prose": ["He counts the number of the stars;", "he names them ev'ry one.", "Great is our Lord, and of great pow'r;", "his wisdom search can none."]}, "5": {"syllabified": "The Lord lifts up the meek; and casts the wick -- ed to the ground. Sing to the Lord, and give him thanks; on harp his prais -- es sound;", "prose": ["The Lord lifts up the meek; and casts", "the wicked to the ground.", "Sing to the Lord, and give him thanks;", "on harp his praises sound;"]}, "6": {"syllabified": "Who cov -- er -- eth the heav'n with clouds, who for the earth be -- low Pre -- par -- eth rain, who mak -- eth grass up -- on the moun -- tains grow.", "prose": ["Who covereth the heav'n with clouds,", "who for the earth below", "Prepareth rain, who maketh grass", "upon the mountains grow."]}, "7": {"syllabified": "He gives the beast his food, he feeds the ra -- vens young that cry. His plea -- sure not in hor -- ses' strength, nor in man's legs, doth lie.", "prose": ["He gives the beast his food, he feeds", "the ravens young that cry.", "His pleasure not in horses' strength,", "nor in man's legs, doth lie."]}, "8": {"syllabified": "But in all those that do him fear the Lord doth plea -- sure take; In those that to his mer -- cy do by hope them -- selves be -- take.", "prose": ["But in all those that do him fear", "the Lord doth pleasure take;", "In those that to his mercy do", "by hope themselves betake."]}, "9": {"syllabified": "The Lord praise, O Je -- ru -- sa -- lem; Zi -- on, thy God con -- fess: For thy gates' bars he mak -- eth strong; thy sons in thee doth bless.", "prose": ["The Lord praise, O Jerusalem;", "Zion, thy God confess:", "For thy gates' bars he maketh strong;", "thy sons in thee doth bless."]}, "10": {"syllabified": "He in thy bor -- ders mak -- eth peace; with fine wheat fill -- eth thee. He sends forth his com -- mand on earth, his word runs speed -- i -- ly.", "prose": ["He in thy borders maketh peace;", "with fine wheat filleth thee.", "He sends forth his command on earth,", "his word runs speedily."]}, "11": {"syllabified": "Hoar -- frost, like ash -- es, scat -- t'reth he; like wool he snow doth give: Like mor -- sels cast -- eth forth his ice; who in its cold can live?", "prose": ["Hoar-frost, like ashes, scatt'reth he;", "like wool he snow doth give:", "Like morsels casteth forth his ice;", "who in its cold can live?"]}, "12": {"syllabified": "He send -- eth forth his might -- y word, and melt -- eth them a -- gain; His wind he makes to blow, and then the wa -- ters flow a -- main.", "prose": ["He sendeth forth his mighty word,", "and melteth them again;", "His wind he makes to blow, and then", "the waters flow amain."]}, "13": {"syllabified": "The doc -- trine of his ho -- ly word to Ja -- cob he doth show; His stat -- utes and his judg -- ments he gives I -- sra -- el to know.", "prose": ["The doctrine of his holy word", "to Jacob he doth show;", "His statutes and his judgments he", "gives Israel to know."]}, "14": {"syllabified": "To an -- y na -- tion nev -- er he such fa -- vour did af -- ford; For they his judg -- ments have not known. O do ye praise the Lord.", "prose": ["To any nation never he", "such favour did afford;", "For they his judgments have not known.", "O do ye praise the Lord."]}}}, "praise-ye-the-lord-gods-praise-within": {"slug": "praise-ye-the-lord-gods-praise-within", "title": "Praise Ye the Lord. God's Praise Within", "first_line": "Praise ye the Lord. God's praise within", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 150, "topics": ["Psalms"], "scripture": ["Psalm 150"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 150. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord. God's praise with -- in his sanc -- tu -- a -- ry raise; And to him in the fir -- ma -- ment of his pow'r give ye praise.", "prose": ["Praise ye the Lord. God's praise within", "his sanctuary raise;", "And to him in the firmament", "of his pow'r give ye praise."]}, "2": {"syllabified": "Be -- cause of all his might -- y acts, with praise him mag -- ni -- fy: O praise him, as he doth ex -- cel in glo -- rious maj -- es -- ty.", "prose": ["Because of all his mighty acts,", "with praise him magnify:", "O praise him, as he doth excel", "in glorious majesty."]}, "3": {"syllabified": "Praise him with trum -- pet's sound; his praise with psal -- ter -- y ad -- vance: With tim -- brel, harp, stringed in -- stru -- ments, and or -- gans, in the dance.", "prose": ["Praise him with trumpet's sound; his praise", "with psaltery advance:", "With timbrel, harp, stringed instruments,", "and organs, in the dance."]}, "4": {"syllabified": "Praise him on cym -- bals loud; him praise on cym -- bals sound -- ing high. Let each thing breath -- ing praise the Lord. Praise to the Lord give ye.", "prose": ["Praise him on cymbals loud; him praise", "on cymbals sounding high.", "Let each thing breathing praise the Lord.", "Praise to the Lord give ye."]}}}, "praise-ye-the-lord-the-lords-name-praise": {"slug": "praise-ye-the-lord-the-lords-name-praise", "title": "Praise Ye the Lord, the Lord's Name Praise", "first_line": "Praise ye the Lord, the Lord's name praise", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 135, "topics": ["Psalms"], "scripture": ["Psalm 135"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 135. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord, the Lord's name praise; his ser -- vants, praise ye God. Who stand in God's house, in the courts of our God make a -- bode.", "prose": ["Praise ye the Lord, the Lord's name praise;", "his servants, praise ye God.", "Who stand in God's house, in the courts", "of our God make abode."]}, "2": {"syllabified": "Praise ye the Lord, for he is good; un -- to him prais -- es sing: Sing prais -- es to his name, be -- cause it is a pleas -- ant thing.", "prose": ["Praise ye the Lord, for he is good;", "unto him praises sing:", "Sing praises to his name, because", "it is a pleasant thing."]}, "3": {"syllabified": "For Ja -- cob to him -- self the Lord did choose of his good plea -- sure, And he hath cho -- sen I -- sra -- el for his pe -- cu -- liar trea -- sure.", "prose": ["For Jacob to himself the Lord", "did choose of his good pleasure,", "And he hath chosen Israel", "for his peculiar treasure."]}, "4": {"syllabified": "Be -- cause I know as -- sur -- ed -- ly the Lord is ver -- y great, And that our Lord a -- bove all gods in glo -- ry hath his seat.", "prose": ["Because I know assuredly", "the Lord is very great,", "And that our Lord above all gods", "in glory hath his seat."]}, "5": {"syllabified": "What things so -- ev -- er pleased the Lord, that in the heav'n did he, And in the earth, the seas, and all the plac -- es deep that be.", "prose": ["What things soever pleased the Lord,", "that in the heav'n did he,", "And in the earth, the seas, and all", "the places deep that be."]}, "6": {"syllabified": "He from the ends of earth doth make the va -- pours to as -- cend; With rain he light -- nings makes, and wind doth from his trea -- sures send.", "prose": ["He from the ends of earth doth make", "the vapours to ascend;", "With rain he lightnings makes, and wind", "doth from his treasures send."]}, "7": {"syllabified": "E -- gypt's first -- born, from man to beast who smote. Strange to -- kens he On Phar -- aoh and his ser -- vants sent, E -- gypt, in midst of thee.", "prose": ["Egypt's first-born, from man to beast", "who smote. Strange tokens he", "On Pharaoh and his servants sent,", "Egypt, in midst of thee."]}, "8": {"syllabified": "He smote great na -- tions, slew great kings: Si -- hon of Hesh -- bon king, And Og of Ba -- shan, and to nought did Ca -- naan's king -- doms bring:", "prose": ["He smote great nations, slew great kings:", "Sihon of Heshbon king,", "And Og of Bashan, and to nought", "did Canaan's kingdoms bring:"]}, "9": {"syllabified": "And for a weal -- thy her -- i -- tage their pleas -- ant land he gave, An her -- i -- tage which I -- sra -- el, his cho -- sen folk, should have.", "prose": ["And for a wealthy heritage", "their pleasant land he gave,", "An heritage which Israel,", "his chosen folk, should have."]}, "10": {"syllabified": "Thy name, O Lord, shall still en -- dure, and thy me -- mo -- ri -- al With hon -- our shall con -- tin -- ued be to gen -- er -- a -- tions all.", "prose": ["Thy name, O Lord, shall still endure,", "and thy memorial", "With honour shall continued be", "to generations all."]}, "11": {"syllabified": "For why? the right -- eous God will judge his peo -- ple righ -- teous -- ly; Con -- cern -- ing those that do him serve, him -- self re -- pent will he.", "prose": ["For why? the righteous God will judge", "his people righteously;", "Concerning those that do him serve,", "himself repent will he."]}, "12": {"syllabified": "The i -- dols of the na -- ti -- ons of sil -- ver are and gold, And by the hands of men is made their fash -- i -- on and mould.", "prose": ["The idols of the nations", "of silver are and gold,", "And by the hands of men is made", "their fashion and mould."]}, "13": {"syllabified": "Mouths have they, but they do not speak; eyes, but they do not see; Ears have they, but hear not; and in their mouths no breath -- ing be.", "prose": ["Mouths have they, but they do not speak;", "eyes, but they do not see;", "Ears have they, but hear not; and in", "their mouths no breathing be."]}, "14": {"syllabified": "Their mak -- ers are like them; so are all that on them re -- ly. O Is -- r'el's house, bless God; bless God, O Aa -- ron's fam -- i -- ly.", "prose": ["Their makers are like them; so are", "all that on them rely.", "O Isr'el's house, bless God; bless God,", "O Aaron's family."]}, "15": {"syllabified": "O bless the Lord, of Le -- vi's house ye who his ser -- vants are; And bless the ho -- ly name of God, all ye the Lord that fear.", "prose": ["O bless the Lord, of Levi's house", "ye who his servants are;", "And bless the holy name of God,", "all ye the Lord that fear."]}, "16": {"syllabified": "And bles -- sed be the Lord our God from Zi -- on's ho -- ly hill, Who dwell -- eth at Je -- ru -- sa -- lem. The Lord O praise ye still.", "prose": ["And blessed be the Lord our God", "from Zion's holy hill,", "Who dwelleth at Jerusalem.", "The Lord O praise ye still."]}}}, "praise-ye-the-lord-the-man-is-blessed": {"slug": "praise-ye-the-lord-the-man-is-blessed", "title": "Praise Ye the Lord. The Man Is Blessed", "first_line": "Praise ye the Lord. The man is blessed", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 112, "topics": ["Psalms"], "scripture": ["Psalm 112"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 112. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord. The man is blessed that fears the Lord a -- right, He who in his com -- mand -- e -- ments doth great -- ly take de -- light.", "prose": ["Praise ye the Lord. The man is blessed", "that fears the Lord aright,", "He who in his commandements", "doth greatly take delight."]}, "2": {"syllabified": "His seed and off -- spring pow -- er -- ful shall be the earth up -- on: Of up -- right men bles -- sed shall be the gen -- er -- a -- ti -- on.", "prose": ["His seed and offspring powerful", "shall be the earth upon:", "Of upright men blessed shall be", "the generation."]}, "3": {"syllabified": "Rich -- es and wealth shall ev -- er be with -- in his house in store; And his un -- spott -- ed right -- eous -- ness en -- dures for ev -- er -- more.", "prose": ["Riches and wealth shall ever be", "within his house in store;", "And his unspotted righteousness", "endures for evermore."]}, "4": {"syllabified": "Un -- to the up -- right light doth rise, though he in dark -- ness be: Com -- pas -- sion -- ate, and mer -- ci -- ful, and right -- e -- ous, is he.", "prose": ["Unto the upright light doth rise,", "though he in darkness be:", "Compassionate, and merciful,", "and righteous, is he."]}, "5": {"syllabified": "A good man doth his fa -- vour show, and doth to oth -- ers lend: He with dis -- cre -- tion his af -- fairs will guide un -- to the end.", "prose": ["A good man doth his favour show,", "and doth to others lend:", "He with discretion his affairs", "will guide unto the end."]}, "6": {"syllabified": "Sure -- ly there is not an -- y thing that ev -- er shall him move: The right -- eous man's me -- mo -- ri -- al shall ev -- er -- last -- ing prove.", "prose": ["Surely there is not any thing", "that ever shall him move:", "The righteous man's memorial", "shall everlasting prove."]}, "7": {"syllabified": "When he shall e -- vil tid -- ings hear, he shall not be a -- fraid: His heart is fixed, his con -- fi -- dence up -- on the Lord is stayed.", "prose": ["When he shall evil tidings hear,", "he shall not be afraid:", "His heart is fixed, his confidence", "upon the Lord is stayed."]}, "8": {"syllabified": "His heart is firm -- ly stab -- lish -- ed, a -- fraid he shall not be, Un -- til up -- on his en -- e -- mies he his de -- sire shall see.", "prose": ["His heart is firmly stablished,", "afraid he shall not be,", "Until upon his enemies", "he his desire shall see."]}, "9": {"syllabified": "He hath dis -- persed, giv'n to the poor, his right -- eous -- ness shall be To ag -- es all; with hon -- our shall his horn be rais -- ed high.", "prose": ["He hath dispersed, giv'n to the poor,", "his righteousness shall be", "To ages all; with honour shall", "his horn be raised high."]}, "10": {"syllabified": "The wick -- ed shall it see, and fret, his teeth gnash, melt a -- way: What wick -- ed men do most de -- sire shall ut -- ter -- ly de -- cay.", "prose": ["The wicked shall it see, and fret,", "his teeth gnash, melt away:", "What wicked men do most desire", "shall utterly decay."]}}}, "praise-ye-the-lord-unto-him-sing": {"slug": "praise-ye-the-lord-unto-him-sing", "title": "Praise Ye the Lord: unto Him Sing", "first_line": "Praise ye the Lord: unto him sing", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 149, "topics": ["Psalms"], "scripture": ["Psalm 149"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 149. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord: un -- to him sing a new song, and his praise In the as -- sem -- bly of his saints in sweet psalms do ye raise.", "prose": ["Praise ye the Lord: unto him sing", "a new song, and his praise", "In the assembly of his saints", "in sweet psalms do ye raise."]}, "2": {"syllabified": "Let Is -- r'el in his Mak -- er joy, and to him prais -- es sing: Let all that Zi -- on's chil -- dren are be joy -- ful in their King.", "prose": ["Let Isr'el in his Maker joy,", "and to him praises sing:", "Let all that Zion's children are", "be joyful in their King."]}, "3": {"syllabified": "O let them un -- to his great name give prais -- es in the dance; Let them with tim -- brel and with harp in songs his praise ad -- vance.", "prose": ["O let them unto his great name", "give praises in the dance;", "Let them with timbrel and with harp", "in songs his praise advance."]}, "4": {"syllabified": "For God doth plea -- sure take in those that his own peo -- ple be; And he with his sal -- va -- ti -- on the meek will beau -- ti -- fy.", "prose": ["For God doth pleasure take in those", "that his own people be;", "And he with his salvation", "the meek will beautify."]}, "5": {"syllabified": "And in his glo -- ry ex -- cel -- lent let all his saints re -- joice: Let them to him up -- on their beds a -- loud lift up their voice.", "prose": ["And in his glory excellent", "let all his saints rejoice:", "Let them to him upon their beds", "aloud lift up their voice."]}, "6": {"syllabified": "Let in their mouth a -- loft be raised the high praise of the Lord, And let them have in their right hand a sharp two -- edg -- ed sword;", "prose": ["Let in their mouth aloft be raised", "the high praise of the Lord,", "And let them have in their right hand", "a sharp two-edged sword;"]}, "7": {"syllabified": "To ex -- e -- cute the ven -- geance due up -- on the hea -- then all, And make de -- serv -- ed pun -- ish -- ment up -- on the peo -- ple fall.", "prose": ["To execute the vengeance due", "upon the heathen all,", "And make deserved punishment", "upon the people fall."]}, "8": {"syllabified": "And ev'n with chains, as pris -- 'ners, bind their kings that them com -- mand; Yea, and with i -- ron fet -- ters strong, the no -- bles of their land.", "prose": ["And ev'n with chains, as pris'ners, bind", "their kings that them command;", "Yea, and with iron fetters strong,", "the nobles of their land."]}, "9": {"syllabified": "On them the judg -- ment to per -- form found writ -- ten in his word: This hon -- our is to all his saints. O do ye praise the Lord.", "prose": ["On them the judgment to perform", "found written in his word:", "This honour is to all his saints.", "O do ye praise the Lord."]}}}, "praise-ye-the-lord-with-my-whole-heart": {"slug": "praise-ye-the-lord-with-my-whole-heart", "title": "Praise Ye the Lord: with My Whole Heart", "first_line": "Praise ye the Lord: with my whole heart", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 111, "topics": ["Psalms"], "scripture": ["Psalm 111"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 111. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord: with my whole heart I will God's praise de -- clare, Where the as -- sem -- blies of the just and con -- gre -- ga -- tions are.", "prose": ["Praise ye the Lord: with my whole heart", "I will God's praise declare,", "Where the assemblies of the just", "and congregations are."]}, "2": {"syllabified": "The whole works of the Lord our God are great a -- bove all mea -- sure, Sought out they are of ev -- ery -- one that doth there -- in take plea -- sure.", "prose": ["The whole works of the Lord our God", "are great above all measure,", "Sought out they are of everyone", "that doth therein take pleasure."]}, "3": {"syllabified": "His work most hon -- our -- a -- ble is, most glo -- ri -- ous and pure, And his un -- taint -- ed right -- eous -- ness for ev -- er doth en -- dure.", "prose": ["His work most honourable is,", "most glorious and pure,", "And his untainted righteousness", "for ever doth endure."]}, "4": {"syllabified": "His works most won -- der -- ful he hath made to be thought up -- on: The Lord is gra -- cious, and he is full of com -- pas -- si -- on.", "prose": ["His works most wonderful he hath", "made to be thought upon:", "The Lord is gracious, and he is", "full of compassion."]}, "5": {"syllabified": "He giv -- eth meat un -- to all those that tru -- ly do him fear; And ev -- er -- more his cov -- e -- nant he in his mind will bear.", "prose": ["He giveth meat unto all those", "that truly do him fear;", "And evermore his covenant", "he in his mind will bear."]}, "6": {"syllabified": "He did the pow -- er of his works un -- to his peo -- ple show, When he the hea -- then's her -- i -- tage up -- on them did be -- stow.", "prose": ["He did the power of his works", "unto his people show,", "When he the heathen's heritage", "upon them did bestow."]}, "7": {"syllabified": "His han -- di -- works are truth and right; all his com -- mands are sure: And, done in truth and up -- right -- ness, they ev -- er -- more en -- dure.", "prose": ["His handiworks are truth and right;", "all his commands are sure:", "And, done in truth and uprightness,", "they evermore endure."]}, "8": {"syllabified": "He sent re -- demp -- tion to his folk; his cov -- e -- nant for aye He did com -- mand: ho -- ly his name and rev -- 'rend is al -- way.", "prose": ["He sent redemption to his folk;", "his covenant for aye", "He did command: holy his name", "and rev'rend is alway."]}, "9": {"syllabified": "Wis -- dom's be -- gin -- ning is God's fear: good un -- der -- stand -- ing they Have all that his com -- mands ful -- fil: his praise en -- dures for aye.", "prose": ["Wisdom's beginning is God's fear:", "good understanding they", "Have all that his commands fulfil:", "his praise endures for aye."]}}}, "praise-ye-the-lord-ye-hosts-above": {"slug": "praise-ye-the-lord-ye-hosts-above", "title": "The Offering of Praise", "first_line": "Praise ye the Lord, ye hosts above", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 150, "topics": ["Psalms"], "scripture": ["Psalm 150"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 411) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 150, selection 411. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Praise ye the Lord, ye hosts a -- bove, In yon -- der heav'n -- ly height, And bless the Lord, ye saints be -- low, Who in His praise de -- light.", "prose": ["Praise ye the Lord, ye hosts above,", "In yonder heav'nly height,", "And bless the Lord, ye saints below,", "Who in His praise delight."]}, "2": {"syllabified": "By all His crea -- tures let His Name Be hon -- ored and a -- dored; Let all that breathe, in praise u -- nite To glo -- ri -- fy the Lord.", "prose": ["By all His creatures let His Name", "Be honored and adored;", "Let all that breathe, in praise unite", "To glorify the Lord."]}}}, "regard-my-grief-and-rescue-me": {"slug": "regard-my-grief-and-rescue-me", "title": "Divine Help Invoked", "first_line": "Regard my grief and rescue me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 340) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 340. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Re -- gard my grief and res -- cue me, For I do not for -- get Thy laws; As Thou hast prom -- ised, save me Lord; Re -- deem my soul, and plead my cause.", "prose": ["Regard my grief and rescue me,", "For I do not forget Thy laws;", "As Thou hast promised, save me Lord;", "Redeem my soul, and plead my cause."]}, "2": {"syllabified": "Far is sal -- va -- tion from the men Who do not seek Thy stat -- ues, Lord; Great are Thy mer -- cies, qui -- cken me Ac -- cord -- ing to Thy ho -- ly word.", "prose": ["Far is salvation from the men", "Who do not seek Thy statues, Lord;", "Great are Thy mercies, quicken me", "According to Thy holy word."]}, "3": {"syllabified": "I bear the spit of man -- y foes, Yet from Thy law I do not swerve; I saw the faith -- less and was grieved, For they Thy word do not ob -- serve.", "prose": ["I bear the spit of many foes,", "Yet from Thy law I do not swerve;", "I saw the faithless and was grieved,", "For they Thy word do not observe."]}, "4": {"syllabified": "Be -- hold how I Thy pre -- cepts love! In kind -- ness Lord, re -- vive Thou me; The sum of all Thy word is truth, Thy word a -- bides e -- ter -- nal -- ly.", "prose": ["Behold how I Thy precepts love!", "In kindness Lord, revive Thou me;", "The sum of all Thy word is truth,", "Thy word abides eternally."]}}}, "rejoice-o-pilgrim-throng": {"slug": "rejoice-o-pilgrim-throng", "title": "Rejoice, O Pilgrim Throng", "first_line": "Rejoice, O pilgrim throng! Rejoice, give thanks, and sing", "author": "edward-h-plumptre", "author_date": "1919", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Forgiveness", "God, Mercy of"], "scripture": ["Job 5:9", "John 3:16", "Psalm 40:5", "Romans 11:33"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:263; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "rejoice_ye_pure_in_heart", "total_instances": 461}}, "stanzas": {"1": {"syllabified": "Re -- joice, O pil -- grim throng! Re -- joice, give thanks, and sing; Your fest -- al ban -- ner wave on high, The cross of Christ your King.", "prose": ["Rejoice, O pilgrim throng!", "Rejoice, give thanks, and sing;", "Your festal banner wave on high,", "The cross of Christ your King."]}, "2": {"syllabified": "With all the an -- gel choirs, With all the saints on earth, Pour out the strains of joy and bliss, True rap -- ture, nob -- lest mirth.", "prose": ["With all the angel choirs,", "With all the saints on earth,", "Pour out the strains of joy and bliss,", "True rapture, noblest mirth."]}, "3": {"syllabified": "With voice as full and strong As o -- cean's sur -- ging praise, Send forth the hymns our fa -- thers loved, The psalms of an -- cient days.", "prose": ["With voice as full and strong", "As ocean's surging praise,", "Send forth the hymns our fathers loved,", "The psalms of ancient days."]}, "4": {"syllabified": "Still lift your stand -- ard high, Still march in firm ar -- ray, As war -- riors through the dark -- ness toil, Till dawns the gol -- den day.", "prose": ["Still lift your standard high,", "Still march in firm array,", "As warriors through the darkness toil,", "Till dawns the golden day."]}, "5": {"syllabified": "Yes, on through life's long path, Still chant -- ing as ye go; From youth to age, by night and day, In glad -- ness and in woe.", "prose": ["Yes, on through life's long path,", "Still chanting as ye go;", "From youth to age, by night and day,", "In gladness and in woe."]}}, "refrain": {"syllabified": "Re -- joice, re -- joice, re -- joice, Give thanks and sing.", "prose": ["Rejoice, rejoice, rejoice, Give thanks and sing."]}}, "rejoice-rejoice-believers": {"slug": "rejoice-rejoice-believers", "title": "Rejoice, Rejoice, Believers", "first_line": "Rejoice, rejoice, believers", "author": "laurentius-laurenti", "author_date": "1700", "translator": "sarah-borthwick-findlater", "translator_date": "1854", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Advent", "Second Coming", "Watchfulness"], "scripture": "Matthew 25:10", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Laurentius Laurenti (1660-1722), Ermuntert euch, ihr Frommen, in Evangelia Melodica, 1700; translated by Sarah Borthwick Findlater (1823-1907) in Hymns from the Land of Luther, first series, 1854, as the Cyber Hymnal page itself credits (Words: Laurentius Laurenti, Evangelica Melodica, 1700; Translated from German to English by Sarah B. Findlater, Hymns from the Land of Luther, first series, 1854). Hymnary.org text authority rejoice_rejoice_believers_and_let_your_l concurs (author Laurentius Laurenti, 1700; translator S. L. Findlater, 1854; 7.6.7.6 D; public domain; 341 hymnals). Text from The Cyber Hymnal. The Cyber Hymnal prints five stanzas; its third (O wise and holy virgins, / Now raise your voices higher ...) is omitted here because its second line carries seven syllables against the six-syllable line of the 7.6.7.6 D meter and cannot be sung on the tune without splitting a note — hymnals routinely omit it (Hymnary's representative text, Christian Worship 493, likewise prints four stanzas without it). One sung elision normalized for the meter: sufferings is elided to suff'rings in 4.2 (as hymnals print it). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Re -- joice, re -- joice, be -- liev -- ers, And let your lights ap -- pear. The eve -- ning is ad -- van -- cing, And dark -- er night is near. The Bride -- groom is a -- ris -- ing, And soon He draw -- eth nigh. Up, pray, and watch, and wres -- tle: At mid -- night comes the cry.", "prose": ["Rejoice, rejoice, believers,", "And let your lights appear.", "The evening is advancing,", "And darker night is near.", "The Bridegroom is arising,", "And soon He draweth nigh.", "Up, pray, and watch, and wrestle:", "At midnight comes the cry."]}, "2": {"syllabified": "See that your lamps are burn -- ing; Re -- plen -- ish them with oil. And wait for your sal -- va -- tion, The end of earth -- ly toil. The watch -- ers on the moun -- tain Pro -- claim the Bride -- groom near. Go meet Him as He com -- eth, With al -- le -- lu -- ias clear.", "prose": ["See that your lamps are burning;", "Replenish them with oil.", "And wait for your salvation,", "The end of earthly toil.", "The watchers on the mountain", "Proclaim the Bridegroom near.", "Go meet Him as He cometh,", "With alleluias clear."]}, "3": {"syllabified": "Our hope and ex -- pec -- ta -- tion, O Je -- sus, now ap -- pear! A -- rise, Thou sun so longed for, O'er this be -- night -- ed sphere! With hearts and hands up -- lift -- ed, We plead, O Lord, to see The day of earth's re -- demp -- tion That brings us un -- to Thee.", "prose": ["Our hope and expectation,", "O Jesus, now appear!", "Arise, Thou sun so longed for,", "O'er this benighted sphere!", "With hearts and hands uplifted,", "We plead, O Lord, to see", "The day of earth's redemption", "That brings us unto Thee."]}, "4": {"syllabified": "Ye saints, who here in pa -- tience Your cross and suf -- f'rings bore, Shall live and reign for -- ev -- er, When sor -- row is no more. A -- round the throne of glo -- ry The Lamb ye shall be -- hold; In tri -- umph cast be -- fore Him Your di -- a -- dems of gold!", "prose": ["Ye saints, who here in patience", "Your cross and suff'rings bore,", "Shall live and reign forever,", "When sorrow is no more.", "Around the throne of glory", "The Lamb ye shall behold;", "In triumph cast before Him", "Your diadems of gold!"]}}}, "rejoice-the-lord-is-king": {"slug": "rejoice-the-lord-is-king", "title": "Rejoice, the Lord Is King", "first_line": "Rejoice, the Lord Is King", "author": "charles-wesley", "author_date": "1746", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Ascension"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley, \"Rejoice, the Lord is King\" (1746), from Hymns for our Lord's Resurrection. Public domain. NOTE: pairing to ARTHUR'S SEAT fits the 6.6.6.6.8.8 melisma structure but was not confirmed against The Cyber Hymnal's own ARTHUR'S SEAT texts.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Re -- joice, the Lord is King! Your Lord and King a -- dore; Mor -- tals, give thanks and sing, And tri -- umph ev -- er -- more; Lift up your heart, lift up your voice! Re -- joice, a -- gain I say, re -- joice!", "prose": ["Rejoice, the Lord is King!", "Your Lord and King adore;", "Mortals, give thanks and sing,", "And triumph evermore;", "Lift up your heart, lift up your voice!", "Rejoice, again I say, rejoice!"]}, "2": {"syllabified": "Je -- sus, the Sav -- ior, reigns, The God of truth and love; When He had purged our stains, He took His seat a -- bove; Lift up your heart, lift up your voice! Re -- joice, a -- gain I say, re -- joice!", "prose": ["Jesus, the Savior, reigns,", "The God of truth and love;", "When He had purged our stains,", "He took His seat above;", "Lift up your heart, lift up your voice!", "Rejoice, again I say, rejoice!"]}, "3": {"syllabified": "His king -- dom can -- not fail, He rules o'er earth and Heav'n, The keys of death and hell Are to our Je -- sus giv'n; Lift up your heart, lift up your voice! Re -- joice, a -- gain I say, re -- joice!", "prose": ["His kingdom cannot fail,", "He rules o'er earth and Heav'n,", "The keys of death and hell", "Are to our Jesus giv'n;", "Lift up your heart, lift up your voice!", "Rejoice, again I say, rejoice!"]}, "4": {"syllabified": "He sits at God's right hand Till all His foes sub -- mit, And bow to His com -- mand, And fall be -- neath His feet: Lift up your heart, lift up your voice! Re -- joice, a -- gain I say, re -- joice!", "prose": ["He sits at God's right hand", "Till all His foes submit,", "And bow to His command,", "And fall beneath His feet:", "Lift up your heart, lift up your voice!", "Rejoice, again I say, rejoice!"]}}}, "remember-not-o-god": {"slug": "remember-not-o-god", "title": "Forgiving Mercy Besought", "first_line": "Remember not, O God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 79, "topics": ["Psalms"], "scripture": ["Psalm 79"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 217) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 79, selection 217. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Re -- mem -- ber not, O God, The sins of long a -- go; In ten -- der mer -- cy vis -- it us, Dis -- tressed and hum -- bled low.", "prose": ["Remember not, O God,", "The sins of long ago;", "In tender mercy visit us,", "Distressed and humbled low."]}, "2": {"syllabified": "O Lord, our Sav -- iour, help, And glo -- ri -- fy Thy Name; De -- liv -- er us from all our sins And take a -- way our shame.", "prose": ["O Lord, our Saviour, help,", "And glorify Thy Name;", "Deliver us from all our sins", "And take away our shame."]}, "3": {"syllabified": "In Thy com -- pas -- sion hear Thy pris -- 'ner's plain -- tive sigh, And in the great -- ness of Thy pow'r Save those a -- bout to die.", "prose": ["In Thy compassion hear", "Thy pris'ner's plaintive sigh,", "And in the greatness of Thy pow'r", "Save those about to die."]}, "4": {"syllabified": "Then, safe with -- in Thy fold, We will ex -- alt Thy Name; Our thank -- ful hearts with songs of joy Thy good -- ness will pro -- claim.", "prose": ["Then, safe within Thy fold,", "We will exalt Thy Name;", "Our thankful hearts with songs of joy", "Thy goodness will proclaim."]}}}, "rescue-the-perishing": {"slug": "rescue-the-perishing", "title": "Rescue the Perishing", "first_line": "Rescue the perishing, care for the dying", "author": "fanny-crosby", "author_date": "1869", "foot": "dactylic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Missions", "Service", "Compassion", "Zeal"], "scripture": ["Luke 14:23", "Jude 22-23", "James 5:20"], "provenance": {"layer": "text", "source": "gospel-hymns-1875", "source_kind": "hand_encoded", "pd_evidence": "Fanny J. Crosby (1820-1915), written 1869 for W. H. Doane's tune. First printed in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 (archive.org devotionc00doan, leaf n261). The four stanzas and chorus encoded here are transcribed from the dated printing in Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main / Cincinnati: John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), headed 'Rescue the Perishing' with the epigraph 'Go out into the highways and hedges, and compel them to come in, that my house may be filled.'—Luke 14:23, and credited 'FANNY J. CROSBY.' / 'W. H. DOANE, by per.' That page's own capitals and spellings are kept ('Him', 'He', 'Saviour', the colon after 'Plead with them gently' and after 'restore'). ONE editorial change: its stanza 4 line 6 reads 'Tell the poor wanderer a Saviour has died' — eleven syllables over ten notes — so the word is syllabified to the elision the 1870 first printing itself sets, 'wand'rer' (that page reads 'Tell th' poor wand'rer, a Savior has died.'). Both printings are US public domain by publication before 1929, and the author died in 1915, so the text is PD in life+70 jurisdictions too.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Res -- cue the per -- ish -- ing, Care for the dy -- ing, Snatch them in pit -- y from sin and the grave; Weep o'er the er -- ring one, Lift up the fall -- en, Tell them of Je -- sus the might -- y to save.", "prose": ["Rescue the perishing, Care for the dying,", "Snatch them in pity from sin and the grave;", "Weep o'er the erring one, Lift up the fallen,", "Tell them of Jesus the mighty to save."]}, "2": {"syllabified": "Though they are slight -- ing Him, Still He is wait -- ing, Wait -- ing the pen -- i -- tent child to re -- ceive. Plead with them ear -- nest -- ly, Plead with them gent -- ly: He will for -- give if they on -- ly be -- lieve.", "prose": ["Though they are slighting Him, Still He is waiting,", "Waiting the penitent child to receive.", "Plead with them earnestly, Plead with them gently:", "He will forgive if they only believe."]}, "3": {"syllabified": "Down in the hu -- man heart, Crushed by the temp -- ter, Feel -- ings lie bur -- ied that grace can re -- store: Touched by a lov -- ing heart, Wak -- ened by kind -- ness, Chords that were brok -- en will vi -- brate once more.", "prose": ["Down in the human heart, Crushed by the tempter,", "Feelings lie buried that grace can restore:", "Touched by a loving heart, Wakened by kindness,", "Chords that were broken will vibrate once more."]}, "4": {"syllabified": "Res -- cue the per -- ish -- ing, Du -- ty de -- mands it; Strength for thy la -- bor the Lord will pro -- vide: Back to the nar -- row way Pa -- tient -- ly win them: Tell the poor wan -- d'rer a Sav -- iour has died.", "prose": ["Rescue the perishing, Duty demands it;", "Strength for thy labor the Lord will provide:", "Back to the narrow way Patiently win them:", "Tell the poor wand'rer a Saviour has died."]}}, "refrain": {"syllabified": "Res -- cue the per -- ish -- ing, Care for the dy -- ing; Je -- sus is mer -- ci -- ful, Je -- sus will save.", "prose": ["Rescue the perishing, Care for the dying;", "Jesus is merciful, Jesus will save."]}}, "rest-in-the-lord-and-be-thou-still": {"slug": "rest-in-the-lord-and-be-thou-still", "title": "Contrasted Characters", "first_line": "Rest in the Lord and be thou still", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 37, "topics": ["Psalms"], "scripture": ["Psalm 37"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 96) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 37, selection 96. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Rest in the Lord and be thou still, With pa -- tience wait His ho -- ly will, En -- dur -- ing to the end. Fret not tho' sin -- ners' gains in -- crease; for -- sake thy wrath, from an -- ger cease; It will to e -- vil tend.", "prose": ["Rest in the Lord and be thou still,", "With patience wait His holy will,", "Enduring to the end.", "Fret not tho' sinners' gains increase;", "forsake thy wrath, from anger cease;", "It will to evil tend."]}, "2": {"syllabified": "The e -- vil -- do -- er soon shall die, But those that on the Lord re -- ly Shall all the land ob -- tain; A lit -- tle while and thou shalt see That wick -- ed men cut off shall be, They shall be sought in vain.", "prose": ["The evildoer soon shall die,", "But those that on the Lord rely", "Shall all the land obtain;", "A little while and thou shalt see", "That wicked men cut off shall be,", "They shall be sought in vain."]}, "3": {"syllabified": "Yea, thou shalt soon con -- sid -- er well The place where they were wont to dwell, And it shall not be found; But saints shall all the land pos -- sess, And find de -- light and hap -- pi -- ness where fruits of peace a -- bound.", "prose": ["Yea, thou shalt soon consider well", "The place where they were wont to dwell,", "And it shall not be found;", "But saints shall all the land possess,", "And find delight and happiness", "where fruits of peace abound."]}, "4": {"syllabified": "The vile may plot a -- gainst the just who in the Lord Je -- ho -- vah trust, But God will scorn them all; The Lord their com -- ing day shall see, When bro -- ken all their pow'r shall be, And ru -- in on them fall.", "prose": ["The vile may plot against the just", "who in the Lord Jehovah trust,", "But God will scorn them all;", "The Lord their coming day shall see,", "When broken all their pow'r shall be,", "And ruin on them fall."]}}}, "revive-us-again": {"slug": "revive-us-again", "title": "Revive Us Again", "first_line": "We praise Thee, O God! for the Son of Thy love", "index_first_line": "We praise Thee, O God!", "author": "william-paton-mackay", "author_date": "1866", "foot": "anapestic", "meter": {"pattern": [11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Praise", "Holy Spirit", "Revival", "Thanksgiving"], "scripture": ["Habakkuk 3:2", "Psalm 85:6"], "provenance": {"layer": "text", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William Paton Mackay (1839-1885). Transcribed syllable by syllable from the dated page image of Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168 — archive.org item woldforus00town, leaf n176 — which is headed \"Revive us Again.\", carries the motto \"O Lord, revive Thy work.\"—Hab. 3: 2, credits \"Rev. WM. PATON MACKAY, 1866.\" and prints all FIVE stanzas interlinear under the staves with the chorus once beneath the last system. The same plate was re-read on the independent 1887 scan archive.org hymnsnewoldforus00town, leaf n174, and the words were collated against the words-only printing in Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 25 — archive.org hymnsconso00blis — and against Tabernacle Hymns No. 2 (Chicago, 1921), no. 330, archive.org tabernaclehymnsn02chic leaf n317. US public domain by publication before 1929; every witness read here is itself pre-1931 and the author died in 1885, so it is also PD in life+70 jurisdictions. DEPARTURES FROM THE 1887 PAGE, ALL OF THEM STATED. (1) SPELLING: the 1887 plate sets stanza 2 as \"Thy Spri-it of light\" — a compositor's transposition; it is corrected here to \"Spirit\", which is what the 1883 words-only page and the 1921 Tabernacle Hymns plate both print. (2) DATE: this page credits the text \"1866\"; the 1883 words-only page credits \"Rev. Wm. Paton Mackay, 1868\", and 1863 is also commonly given. The page actually read is followed, and the variants are recorded here rather than silently reconciled. (3) STANZA 3 SYLLABLE SPLIT: the plate hyphenates only stanza 1 and sets stanzas 2-5 as whole unhyphenated words, so it does not say in print where \"cleansed every\" divides across its two notes; the horizontal extent of its own word-boxes would put the two-note box on \"cleansed\" (i.e. \"cleans-ed\") and a one-note box on \"every\", but the singable modern division \"cleansed / ev -- ery\" is adopted here instead. The slot count is the same either way. (4) The second and third \"Hallelujah\" of the chorus are printed \"Hal-lelu-jah\" and \"glory\" without their hyphens where the line is tight; those are typographic squeezes, not different words, and are set here as the full hyphenations. PUNCTUATION IS THE 1887 PAGE'S, including the exclamation point in \"O God!\", the semicolons in stanza 5 and after \"amen\", and — noted because it looks like an error and is not — the COMMA after the first \"Hallelujah\" of the chorus against the exclamation points on the second and third. The 1883 words-only printing instead reads \"Hallelujah! Thine the glory, Hallelujah! amen.\" with an exclamation point throughout and a full stop after \"amen\"; that variant is NOT adopted. The 1883 printing also lacks the word \"hath\" in stanza 3 (\"and cleansed every stain\"), which is one syllable short of this tune; the 1887 plate's \"and hath cleansed every stain\" is what is set here.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "We praise Thee, O God! for the Son of Thy love, For Je -- sus who died, and is now gone a -- bove.", "prose": ["We praise Thee, O God! for the Son of Thy love,", "For Jesus who died, and is now gone above."]}, "2": {"syllabified": "We praise Thee, O God! for Thy Spir -- it of light, Who has shown us our Sav -- iour, and scat -- tered our night.", "prose": ["We praise Thee, O God! for Thy Spirit of light,", "Who has shown us our Saviour, and scattered our night."]}, "3": {"syllabified": "All glo -- ry and praise to the Lamb that was slain, Who has borne all our sins, and hath cleansed ev -- ery stain.", "prose": ["All glory and praise to the Lamb that was slain,", "Who has borne all our sins, and hath cleansed every stain."]}, "4": {"syllabified": "All glo -- ry and praise to the God of all grace, Who has bought us, and sought us, and guid -- ed our ways.", "prose": ["All glory and praise to the God of all grace,", "Who has bought us, and sought us, and guided our ways."]}, "5": {"syllabified": "Re -- vive us a -- gain; fill each heart with Thy love; May each soul be re -- kin -- dled with fire from a -- bove.", "prose": ["Revive us again; fill each heart with Thy love;", "May each soul be rekindled with fire from above."]}}, "refrain": {"syllabified": "Hal -- le -- lu -- jah, Thine the glo -- ry, Hal -- le -- lu -- jah! a -- men; Hal -- le -- lu -- jah! Thine the glo -- ry, re -- vive us a -- gain.", "prose": ["Hallelujah, Thine the glory,", "Hallelujah! amen;", "Hallelujah! Thine the glory,", "revive us again."]}}, "rock-of-ages": {"slug": "rock-of-ages", "title": "Rock of Ages", "first_line": "Rock of Ages, cleft for me, Let me hide", "author": "augustus-montague-toplady", "author_date": "1854", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Baptism", "Christian Life"], "scripture": ["Ephesians 2:1-10", "Romans 3:10-31", "Galatians 4:1-25", "Luke 6:47-49"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:188; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "rock_of_ages_cleft_for_me_let_me_hide", "total_instances": 3201}}, "stanzas": {"1": {"syllabified": "Rock of Ag -- es, cleft for me, Let me hide my -- self in Thee; Let the wa -- ter and the blood, From Thy wound -- ed side which flowed, Be of sin the dou -- ble cure; Save from wrath and make me pure.", "prose": ["Rock of Ages, cleft for me,", "Let me hide myself in Thee;", "Let the water and the blood,", "From Thy wounded side which flowed,", "Be of sin the double cure;", "Save from wrath and make me pure."]}, "2": {"syllabified": "Not the la -- bor of my hands Can ful -- fill Thy law's de -- mands; Could my zeal no res -- pite know, Could my tears for -- ev -- er flow, All for sin could not a -- tone; Thou must save, and Thou a -- lone.", "prose": ["Not the labor of my hands", "Can fulfill Thy law's demands;", "Could my zeal no respite know,", "Could my tears forever flow,", "All for sin could not atone;", "Thou must save, and Thou alone."]}, "3": {"syllabified": "Noth -- ing in my hand I bring, Simp -- ly to the cross I cling; Na -- ked, come to Thee for dress; Help -- less look to Thee for grace; Foul, I to the foun -- tain fly; Wash me, Sav -- ior, or I die.", "prose": ["Nothing in my hand I bring,", "Simply to the cross I cling;", "Naked, come to Thee for dress;", "Helpless look to Thee for grace;", "Foul, I to the fountain fly;", "Wash me, Savior, or I die."]}, "4": {"syllabified": "While I draw this fleet -- ing breath, When mine eyes shall close in death, When I soar to worlds un -- known, See Thee on Thy judg -- ment throne, Rock of Ag -- es, cleft for me, Let me hide my -- self in Thee.", "prose": ["While I draw this fleeting breath,", "When mine eyes shall close in death,", "When I soar to worlds unknown,", "See Thee on Thy judgment throne,", "Rock of Ages, cleft for me,", "Let me hide myself in Thee."]}}}, "save-me-o-god-because-the-floods": {"slug": "save-me-o-god-because-the-floods", "title": "Save Me, O God, Because the Floods", "first_line": "Save me, O God, because the floods", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 69, "topics": ["Psalms"], "scripture": ["Psalm 69"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 69. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Save me, O God, be -- cause the floods do so en -- vi -- ron me, That ev'n un -- to my ver -- y soul come in the wa -- ters be.", "prose": ["Save me, O God, because the floods", "do so environ me,", "That ev'n unto my very soul", "come in the waters be."]}, "2": {"syllabified": "I down -- ward in deep mire do sink, where stand -- ing there is none: I am in -- to deep wa -- ters come, where floods have o'er me gone.", "prose": ["I downward in deep mire do sink,", "where standing there is none:", "I am into deep waters come,", "where floods have o'er me gone."]}, "3": {"syllabified": "I wea -- ry with my cry -- ing am, my throat is al -- so dried; Mine eyes do fail, while for my God I wait -- ing do a -- bide.", "prose": ["I weary with my crying am,", "my throat is also dried;", "Mine eyes do fail, while for my God", "I waiting do abide."]}, "4": {"syllabified": "Those men that do with -- out a cause bear ha -- tred un -- to me, Than are the hairs up -- on my head in num -- ber more they be:", "prose": ["Those men that do without a cause", "bear hatred unto me,", "Than are the hairs upon my head", "in number more they be:"]}, "5": {"syllabified": "They that would me de -- stroy, and are mine en -- 'mies wrong -- ful -- ly, Are might -- y: so what I took not, to ren -- der forced was I.", "prose": ["They that would me destroy, and are", "mine en'mies wrongfully,", "Are mighty: so what I took not,", "to render forced was I."]}, "6": {"syllabified": "Lord, thou my fol -- ly know'st, my sins not cov -- ered are from thee. Let none that wait on thee be shamed, Lord God of hosts, for me.", "prose": ["Lord, thou my folly know'st, my sins", "not covered are from thee.", "Let none that wait on thee be shamed,", "Lord God of hosts, for me."]}, "7": {"syllabified": "O Lord, the God of I -- sra -- el, let none, who search do make, And seek thee, be at an -- y time con -- found -- ed for my sake.", "prose": ["O Lord, the God of Israel,", "let none, who search do make,", "And seek thee, be at any time", "confounded for my sake."]}, "8": {"syllabified": "For I have borne re -- proach for thee, my face is hid with shame. To breth -- ren strange, to moth -- er's sons an a -- lien I be -- came.", "prose": ["For I have borne reproach for thee,", "my face is hid with shame.", "To brethren strange, to mother's sons", "an alien I became."]}, "9": {"syllabified": "Be -- cause the zeal did eat me up, which to thine house I bear; And the re -- proach -- es cast at thee, up -- on me fal -- len are.", "prose": ["Because the zeal did eat me up,", "which to thine house I bear;", "And the reproaches cast at thee,", "upon me fallen are."]}, "10": {"syllabified": "My tears and fasts, t'af -- flict my soul, were turn -- ed to my shame. When sack -- cloth I did wear, to them a prov -- erb I be -- came.", "prose": ["My tears and fasts, t' afflict my soul,", "were turned to my shame.", "When sackcloth I did wear, to them", "a proverb I became."]}, "11": {"syllabified": "The men that in the gate do sit a -- gainst me e -- vil spake; They al -- so that vile drun -- kards were of me their song did make.", "prose": ["The men that in the gate do sit", "against me evil spake;", "They also that vile drunkards were", "of me their song did make."]}, "12": {"syllabified": "But, in an ac -- cep -- ta -- ble time, my pray'r, Lord, is to thee: In truth of thy sal -- va -- tion, Lord, and mer -- cy great, hear me.", "prose": ["But, in an acceptable time,", "my pray'r, Lord, is to thee:", "In truth of thy salvation, Lord,", "and mercy great, hear me."]}, "13": {"syllabified": "De -- liv -- er me out of the mire, from sink -- ing do me keep; Free me from those that do me hate, and from the wa -- ters deep.", "prose": ["Deliver me out of the mire,", "from sinking do me keep;", "Free me from those that do me hate,", "and from the waters deep."]}, "14": {"syllabified": "Let not the flood on me pre -- vail, whose wa -- ter o -- ver -- flows; Nor deep me swal -- low, nor the pit her mouth up -- on me close.", "prose": ["Let not the flood on me prevail,", "whose water overflows;", "Nor deep me swallow, nor the pit", "her mouth upon me close."]}, "15": {"syllabified": "Hear me, O Lord, be -- cause thy love and kind -- ness is most good; Turn un -- to me, ac -- cord -- ing to thy mer -- cies' mul -- ti -- tude.", "prose": ["Hear me, O Lord, because thy love", "and kindness is most good;", "Turn unto me, according to", "thy mercies' multitude."]}, "16": {"syllabified": "Nor from thy ser -- vant hide thy face: I'm trou -- bled, soon at -- tend. Draw near my soul, and it re -- deem; me from my foes de -- fend.", "prose": ["Nor from thy servant hide thy face:", "I'm troubled, soon attend.", "Draw near my soul, and it redeem;", "me from my foes defend."]}, "17": {"syllabified": "To thee is my re -- proach well known, my shame, and my dis -- grace: Those that mine ad -- ver -- sar -- ies be are all be -- fore thy face.", "prose": ["To thee is my reproach well known,", "my shame, and my disgrace:", "Those that mine adversaries be", "are all before thy face."]}, "18": {"syllabified": "Re -- proach hath broke my heart; I'm full of grief: I looked for one To pit -- y me, but none I found; com -- for -- ters found I none.", "prose": ["Reproach hath broke my heart; I'm full", "of grief: I looked for one", "To pity me, but none I found;", "comforters found I none."]}, "19": {"syllabified": "They al -- so bit -- ter gall did give un -- to me for my meat: They gave me vin -- e -- gar to drink, when as my thirst was great.", "prose": ["They also bitter gall did give", "unto me for my meat:", "They gave me vinegar to drink,", "when as my thirst was great."]}, "20": {"syllabified": "Be -- fore them let their ta -- ble prove a snare; and do thou make Their wel -- fare and pros -- per -- i -- ty a trap them -- selves to take.", "prose": ["Before them let their table prove", "a snare; and do thou make", "Their welfare and prosperity", "a trap themselves to take."]}, "21": {"syllabified": "Let thou their eyes so dark -- ened be, that sight may them for -- sake; And let their loins be made by thee con -- tin -- ual -- ly to shake.", "prose": ["Let thou their eyes so darkened be,", "that sight may them forsake;", "And let their loins be made by thee", "continually to shake."]}, "22": {"syllabified": "Thy fu -- ry pour thou out on them, and in -- dig -- na -- ti -- on; And let thy wrath -- ful an -- ger, Lord, fast hold take them up -- on.", "prose": ["Thy fury pour thou out on them,", "and indignation;", "And let thy wrathful anger, Lord,", "fast hold take them upon."]}, "23": {"syllabified": "All waste and des -- o -- late let be their hab -- i -- ta -- ti -- on; And in their tab -- er -- nac -- les all in -- hab -- i -- tants be none.", "prose": ["All waste and desolate let be", "their habitation;", "And in their tabernacles all", "inhabitants be none."]}, "24": {"syllabified": "Be -- cause him they do per -- se -- cute, whom thou didst smite be -- fore; They talk un -- to the grief of those whom thou hast woun -- ded sore.", "prose": ["Because him they do persecute,", "whom thou didst smite before;", "They talk unto the grief of those", "whom thou hast wounded sore."]}, "25": {"syllabified": "Add thou in -- iq -- ui -- ty un -- to their for -- mer wick -- ed -- ness; And do not let them come at all in -- to thy right -- eous -- ness.", "prose": ["Add thou iniquity unto", "their former wickedness;", "And do not let them come at all", "into thy righteousness."]}, "26": {"syllabified": "Out of the book of life let them be razed and blott -- ed quite; A -- mong the just and right -- e -- ous let not their names be writ.", "prose": ["Out of the book of life let them", "be razed and blotted quite;", "Among the just and righteous", "let not their names be writ."]}, "27": {"syllabified": "But now be -- come exce -- ed -- ing poor and sor -- row -- ful am I: By thy sal -- va -- tion, O my God, let me be set on high.", "prose": ["But now become exceeding poor", "and sorrowful am I:", "By thy salvation, O my God,", "let me be set on high."]}, "28": {"syllabified": "The name of God I with a song most cheer -- ful -- ly will praise; And I, in giv -- ing thanks to him, his name shall high -- ly raise.", "prose": ["The name of God I with a song", "most cheerfully will praise;", "And I, in giving thanks to him,", "his name shall highly raise."]}, "29": {"syllabified": "This to the Lord a sac -- ri -- fice more gra -- ci -- ous shall prove Than bul -- lock, ox, or an -- y beast that hath both horn and hoof.", "prose": ["This to the Lord a sacrifice", "more gracious shall prove", "Than bullock, ox, or any beast", "that hath both horn and hoof."]}, "30": {"syllabified": "When this the hum -- ble men shall see, it joy to them shall give: O all ye that do seek the Lord, your hearts shall ev -- er live.", "prose": ["When this the humble men shall see,", "it joy to them shall give:", "O all ye that do seek the Lord,", "your hearts shall ever live."]}, "31": {"syllabified": "For God the poor hears, and will not his pris -- on -- ers con -- temn. Let heav'n, and earth, and seas, him praise, and all that move in them.", "prose": ["For God the poor hears, and will not", "his prisoners contemn.", "Let heav'n, and earth, and seas, him praise,", "and all that move in them."]}, "32": {"syllabified": "For God will Ju -- dah's cit -- ies build, and he will Zi -- on save, That they may dwell there -- in, and it in sure pos -- ses -- sion have.", "prose": ["For God will Judah's cities build,", "and he will Zion save,", "That they may dwell therein, and it", "in sure possession have."]}, "33": {"syllabified": "And they that are his ser -- vants' seed in -- her -- it shall the same; So shall they have their dwell -- ing there that love his bless -- ed name.", "prose": ["And they that are his servants' seed", "inherit shall the same;", "So shall they have their dwelling there", "that love his blessed name."]}}}, "save-me-o-god-because-the-floods-psalm-69": {"slug": "save-me-o-god-because-the-floods-psalm-69", "title": "Suffering and Prayer", "first_line": "Save me, O God, because the floods", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 69, "topics": ["Psalms"], "scripture": ["Psalm 69"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 184) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 69, selection 184. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Save me, O God, be -- cause the floods Come in up -- on my soul; I sink in depths where none can stand, Deep wa -- ters o'er me roll.", "prose": ["Save me, O God, because the floods", "Come in upon my soul;", "I sink in depths where none can stand,", "Deep waters o'er me roll."]}, "2": {"syllabified": "My con -- stant cal -- ling wea -- ries me, My throat is parched and dried; My eyes grow dim while for my God Still wait -- ing I a -- bide.", "prose": ["My constant calling wearies me,", "My throat is parched and dried;", "My eyes grow dim while for my God", "Still waiting I abide."]}, "3": {"syllabified": "The foes who hate me un -- pro -- voked Are strong and still in -- crease, Tho' to dis -- arm their en -- mi -- ty My right I yield for peace.", "prose": ["The foes who hate me unprovoked", "Are strong and still increase,", "Tho' to disarm their enmity", "My right I yield for peace."]}, "4": {"syllabified": "O God, my fol -- ly and my sin Thy ho -- ly eye can see; Yet save from shame, Lord God of Hosts, Thy saints that wait on Thee.", "prose": ["O God, my folly and my sin", "Thy holy eye can see;", "Yet save from shame, Lord God of Hosts,", "Thy saints that wait on Thee."]}, "5": {"syllabified": "For -- bid, O God, our cov -- 'nant God, That those who seek Thy face Should see Thy ser -- vant put to shame And share in my dis -- grace.", "prose": ["Forbid, O God, our covenant God,", "That those who seek Thy face", "Should see Thy servant put to shame", "And share in my disgrace."]}, "6": {"syllabified": "It is for Thee I am re -- proached, For Thee I suf -- fer shame, Un -- til my breth -- ren know me not, And hat -- ed is my name.", "prose": ["It is for Thee I am reproached,", "For Thee I suffer shame,", "Until my brethren know me not,", "And hated is my name."]}, "7": {"syllabified": "It is my zeal for Thy a -- bode That has con -- sumed my life; Re -- proached by those re -- proach -- ing Thee, I suf -- fer in the strife.", "prose": ["It is my zeal for Thy abode", "That has consumed my life;", "Reproached by those reproaching Thee,", "I suffer in the strife."]}, "8": {"syllabified": "I wept, with fast -- ing bowed my soul, Yet that was made my shame; When I in sack -- cloth clothed my -- self, Their by -- word I be -- came.", "prose": ["I wept, with fasting bowed my soul,", "Yet that was made my shame;", "When I in sackcloth clothed myself,", "Their byword I became."]}, "9": {"syllabified": "The men who sit with -- in the gate With slan -- der do me wrong, And they who lin -- ger at their cups Make me their jest and song.", "prose": ["The men who sit within the gate", "With slander do me wrong,", "And they who linger at their cups", "Make me their jest and song."]}}}, "save-me-o-god-by-thy-great-name": {"slug": "save-me-o-god-by-thy-great-name", "title": "Save Me, O God, by Thy Great Name", "first_line": "Save me, O God, by thy great name", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 54, "topics": ["Psalms"], "scripture": ["Psalm 54"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 54. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Save me, O God, by thy great name, and judge me by thy strength: My pray -- er hear, O God; give ear un -- to my words at length.", "prose": ["Save me, O God, by thy great name,", "and judge me by thy strength:", "My prayer hear, O God; give ear", "unto my words at length."]}, "2": {"syllabified": "For they that stran -- gers are to me do up a -- gainst me rise; Op -- pres -- sors seek my soul, and God set not be -- fore their eyes.", "prose": ["For they that strangers are to me", "do up against me rise;", "Oppressors seek my soul, and God", "set not before their eyes."]}, "3": {"syllabified": "The Lord my God my help -- er is, lo, there -- fore I am bold: He tak -- eth part with ev -- ery -- one that doth my soul up -- hold.", "prose": ["The Lord my God my helper is,", "lo, therefore I am bold:", "He taketh part with everyone", "that doth my soul uphold."]}, "4": {"syllabified": "Un -- to mine en -- e -- mies he shall mis -- chief and ill re -- pay: O for thy truth's sake cut them off, and sweep them clean a -- way.", "prose": ["Unto mine enemies he shall", "mischief and ill repay:", "O for thy truth's sake cut them off,", "and sweep them clean away."]}, "5": {"syllabified": "I will a sac -- ri -- fice to thee give with free will -- ing -- ness; Thy name, O Lord, be -- cause 'tis good, with praise I will con -- fess.", "prose": ["I will a sacrifice to thee", "give with free willingness;", "Thy name, O Lord, because 'tis good,", "with praise I will confess."]}, "6": {"syllabified": "For he hath me de -- liv -- er -- ed from all ad -- ver -- si -- ties; And his de -- sire mine eye hath seen up -- on mine en -- e -- mies.", "prose": ["For he hath me delivered", "from all adversities;", "And his desire mine eye hath seen", "upon mine enemies."]}}}, "savior-like-a-shepherd-lead-us": {"slug": "savior-like-a-shepherd-lead-us", "title": "Savior, Like A Shepherd Lead Us", "first_line": "Savior, like a shepherd lead us, much we need", "author": "dorothy-ann-thrupp", "author_date": "1866", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Charity", "Commitment", "Consecration"], "scripture": ["Romans 12:1-2", "Romans 6:13", "1 Corinthians 6:20", "2 Corinthians 5:15"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:233; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "savior_like_a_shepherd_lead_us", "total_instances": 1248}}, "stanzas": {"1": {"syllabified": "Sav -- ior, like a shep -- herd lead us, much we need Thy ten -- der care; In Thy pleas -- ant pas -- tures feed us, for our use Thy folds pre -- pare. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast bought us, Thine we are. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast bought us, Thine we are.", "prose": ["Savior, like a shepherd lead us,", "much we need Thy tender care;", "In Thy pleasant pastures feed us,", "for our use Thy folds prepare.", "Blessed Jesus, blessed Jesus!", "Thou hast bought us, Thine we are.", "Blessed Jesus, blessed Jesus!", "Thou hast bought us, Thine we are."]}, "2": {"syllabified": "We are Thine, Thou dost be -- friend us, be the guard -- ian of our way; Keep Thy flock, from sin de -- fend us, seek us when we go a -- stray. Bless -- ed Je -- sus, bless -- ed Je -- sus! Hear, O hear us when we pray. Bless -- ed Je -- sus, bless -- ed Je -- sus! Hear, O hear us when we pray.", "prose": ["We are Thine, Thou dost befriend us,", "be the guardian of our way;", "Keep Thy flock, from sin defend us,", "seek us when we go astray.", "Blessed Jesus, blessed Jesus!", "Hear, O hear us when we pray.", "Blessed Jesus, blessed Jesus!", "Hear, O hear us when we pray."]}, "3": {"syllabified": "Thou hast prom -- ised to re -- ceive us, poor and sin -- ful though we be; Thou hast mer -- cy to re -- lieve us, grace to cleanse and pow'r to free. Bless -- ed Je -- sus, bless -- ed Je -- sus! We will ear -- ly turn to Thee. Bless -- ed Je -- sus, bless -- ed Je -- sus! We will ear -- ly turn to Thee.", "prose": ["Thou hast promised to receive us,", "poor and sinful though we be;", "Thou hast mercy to relieve us,", "grace to cleanse and pow'r to free.", "Blessed Jesus, blessed Jesus!", "We will early turn to Thee.", "Blessed Jesus, blessed Jesus!", "We will early turn to Thee."]}, "4": {"syllabified": "Ear -- ly let us seek Thy fa -- vor, ear -- ly let us do Thy will; Bless -- ed Lord and on -- ly Sav -- ior, with Thy love our bos -- oms fill. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast loved us, love us still. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast loved us, love us still.", "prose": ["Early let us seek Thy favor,", "early let us do Thy will;", "Blessed Lord and only Savior,", "with Thy love our bosoms fill.", "Blessed Jesus, blessed Jesus!", "Thou hast loved us, love us still.", "Blessed Jesus, blessed Jesus!", "Thou hast loved us, love us still."]}}}, "savior-of-the-nations-come": {"slug": "savior-of-the-nations-come", "title": "Savior of the Nations, Come", "first_line": "Savior of the Nations, Come", "author": "ambrose-of-milan", "author_date": "c. 397", "adapter": "martin-luther", "adapter_date": "1524", "translator": "william-morton-reynolds", "translator_date": "1851", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Advent", "Christmas", "Incarnation"], "scripture": ["John 1:14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pd_by_nonrenewal", "pd_evidence": "Words: Latin \"Veni redemptor gentium\" (Ambrose of Milan, c. 397), German \"Nun komm, der Heiden Heiland\" (Martin Luther, 1524), English by William Morton Reynolds, 1851, as revised in the pre-1931 Lutheran hymnals. Text taken from The Cyber Hymnal (live hymntime.com fetch, 2026-07-09) and cross-checked word-for-word against the Open Hymnal Project (2007 revision) — the two agree throughout (elisions normalized: heav'n, o'er, vict'ry). Lineage verified against hymnary.org authorities: stanzas 3, 4, 6 and lines 3-4 of stanza 5 are Reynolds 1851 verbatim (\"Come, Thou Saviour of our race\"); stanzas 1, 2, 7 and the shape of stanza 5 follow the pre-1931 composite of the Evangelical Lutheran Hymn-Book (1892/1912/1918, No. 141, \"Saviour of the heathen, come\" — including this text's \"here make Thy home\" word order). The familiar opening (\"nations\" for \"heathen\"; \"Marvel now, O heav'n and earth\") is first attested in The Lutheran Hymnal (1941) No. 95, whose text of this hymn carries no surviving US copyright: Project Wittenberg lists TLH 95 among the hymnal's public-domain texts (it is absent from their still-under-copyright list), CCEL hosts it in full, and both The Cyber Hymnal and the Open Hymnal Project distribute it as public domain. The later copyrighted translations of this chorale (F. Samuel Janzow; Calvin Seerveld; David Schubert — separate hymnary.org authorities) share no stanzas with this text and are excluded.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sav -- ior of the na -- tions, come; Vir -- gin's Son, here make Thy home! Mar -- vel now, O heav'n and earth, That the Lord chose such a birth.", "prose": ["Savior of the nations, come;", "Virgin's Son, here make Thy home!", "Marvel now, O heav'n and earth,", "That the Lord chose such a birth."]}, "2": {"syllabified": "Not by hu -- man flesh and blood; By the Spir -- it of our God Was the Word of God made flesh, Wom -- an's off -- spring, pure and fresh.", "prose": ["Not by human flesh and blood;", "By the Spirit of our God", "Was the Word of God made flesh,", "Woman's offspring, pure and fresh."]}, "3": {"syllabified": "Won -- drous birth! O won -- drous Child Of the vir -- gin un -- de -- filed! Though by all the world dis -- owned, Still to be in heav'n en -- throned.", "prose": ["Wondrous birth! O wondrous Child", "Of the virgin undefiled!", "Though by all the world disowned,", "Still to be in heav'n enthroned."]}, "4": {"syllabified": "From the Fa -- ther forth He came And re -- turn -- eth to the same, Cap -- tive lead -- ing death and hell High the song of tri -- umph swell!", "prose": ["From the Father forth He came", "And returneth to the same,", "Captive leading death and hell", "High the song of triumph swell!"]}, "5": {"syllabified": "Thou, the Fa -- ther's on -- ly Son, Hast o'er sin the vic -- t'ry won. Bound -- less shall Thy king -- dom be; When shall we its glo -- ries see?", "prose": ["Thou, the Father's only Son,", "Hast o'er sin the vict'ry won.", "Boundless shall Thy kingdom be;", "When shall we its glories see?"]}, "6": {"syllabified": "Bright -- ly doth Thy man -- ger shine, Glo -- rious is its light di -- vine. Let not sin o'er -- cloud this light; Ev -- er be our faith thus bright.", "prose": ["Brightly doth Thy manger shine,", "Glorious is its light divine.", "Let not sin o'ercloud this light;", "Ever be our faith thus bright."]}, "7": {"syllabified": "Praise to God the Fa -- ther sing, Praise to God the Son, our King, Praise to God the Spir -- it be Ev -- er and e -- ter -- nal -- ly.", "prose": ["Praise to God the Father sing,", "Praise to God the Son, our King,", "Praise to God the Spirit be", "Ever and eternally."]}}}, "savior-when-in-dust-to-thee": {"slug": "savior-when-in-dust-to-thee", "title": "Savior When In Dust To Thee", "first_line": "Savior, when in dust to Thee Low we bow", "author": "robert-grant", "author_date": "1906", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Conscience", "Contrition"], "scripture": ["Galatians 6:14", "Romans 7:24"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:88; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "savior_when_in_dust_to_thee", "total_instances": 451}}, "stanzas": {"1": {"syllabified": "Sav -- ior, when in dust to Thee Low we bow th'a -- dor -- ing knee, When, re -- pent -- ant, to the skies Scarce we lift our weep -- ing eyes, O by all the pains and woes Suff -- ered once for man be -- low, Bend -- ing from Thy throne on high, Hear our pen -- i -- ten -- tial cry!", "prose": ["Savior, when in dust to Thee", "Low we bow th'adoring knee,", "When, repentant, to the skies", "Scarce we lift our weeping eyes,", "O by all the pains and woes", "Suffered once for man below,", "Bending from Thy throne on high,", "Hear our penitential cry!"]}, "2": {"syllabified": "By Thy help -- less in -- fant years, By Thy life of want and tears, By Thy days of sore dis -- tress In the sav -- age wild -- er -- ness, By the dread mys -- ter -- ious hour Of th'in -- sult -- ing temp -- ter's pow'r, Turn, O turn a fa -- v'ring eye, Hear our pen -- i -- ten -- tial cry!", "prose": ["By Thy helpless infant years,", "By Thy life of want and tears,", "By Thy days of sore distress", "In the savage wilderness,", "By the dread mysterious hour", "Of th'insulting tempter's pow'r,", "Turn, O turn a fav'ring eye,", "Hear our penitential cry!"]}, "3": {"syllabified": "By the sa -- cred griefs that wept O'er the grave where Laz -- 'rus slept, By the bod -- ing tears that flowed O -- ver Sa -- lem's loved a -- bode, By the an -- guished sigh that told Treach -- er -- y lurked with -- in Thy fold, From Thy seat a -- bove the sky, Hear our pen -- i -- ten -- tial cry!", "prose": ["By the sacred griefs that wept", "O'er the grave where Laz'rus slept,", "By the boding tears that flowed", "Over Salem's loved abode,", "By the anguished sigh that told", "Treachery lurked within Thy fold,", "From Thy seat above the sky,", "Hear our penitential cry!"]}, "4": {"syllabified": "By Thine hour of dire de -- spair, By Thine ag -- o -- ny of prayer, By the cross, the nail, the thorn, Pier -- cing spear, and tor -- turing scorn, By the gloom that veiled the skies O'er the dread -- ful sac -- ri -- fice, Lis -- ten to our hum -- ble cry, Hear our pen -- i -- ten -- tial cry!", "prose": ["By Thine hour of dire despair,", "By Thine agony of prayer,", "By the cross, the nail, the thorn,", "Piercing spear, and torturing scorn,", "By the gloom that veiled the skies", "O'er the dreadful sacrifice,", "Listen to our humble cry,", "Hear our penitential cry!"]}, "5": {"syllabified": "By Thy deep ex -- pir -- ing groan, By the sad sep -- ul -- chral stone, By the vault whose dark a -- bode Held in vain the ris -- ing God, O from earth to heaven re -- stored, Might -- y, re -- as -- cend -- ed Lord, Lis -- ten, lis -- ten to the sigh Of our pen -- i -- ten -- tial cry!", "prose": ["By Thy deep expiring groan,", "By the sad sepulchral stone,", "By the vault whose dark abode", "Held in vain the rising God,", "O from earth to heaven restored,", "Mighty, reascended Lord,", "Listen, listen to the sigh", "Of our penitential cry!"]}}}, "savior-who-thy-flock-art-feeding": {"slug": "savior-who-thy-flock-art-feeding", "title": "Savior, Who Thy Flock Art Feeding", "first_line": "Savior, Who Thy Flock Art Feeding", "author": "william-augustus-muhlenberg", "author_date": "1871", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Baptism", "Children", "Christian Home", "Family", "Church on Earth (Church Militant)"], "scripture": ["Mark 10:13-16", "John 1:12-13", "Matthew 7:7-11", "Luke 10:21"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:303; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "savior_who_thy_flock_art_feeding", "total_instances": 372}}, "stanzas": {"1": {"syllabified": "Sav -- ior, who Thy flock art feed -- ing With the Shep -- herd's kind -- est care, All the fee -- ble gent -- ly lead -- ing, While the lambs Thy bos -- om share.", "prose": ["Savior, who Thy flock art feeding", "With the Shepherd's kindest care,", "All the feeble gently leading,", "While the lambs Thy bosom share."]}, "2": {"syllabified": "Now, these lit -- tle ones re -- ceiv -- ing, Fold them in Thy gra -- cious arm; There, we know, Thy Word be -- liev -- ing, On -- ly there se -- cure from harm.", "prose": ["Now, these little ones receiving,", "Fold them in Thy gracious arm;", "There, we know, Thy Word believing,", "Only there secure from harm."]}, "3": {"syllabified": "Nev -- er, from Thy pas -- ture rov -- ing, Let them be the li -- on's prey; Let Thy ten -- der -- ness, so lov -- ing, Keep them through life's dan -- g'rous way.", "prose": ["Never, from Thy pasture roving,", "Let them be the lion's prey;", "Let Thy tenderness, so loving,", "Keep them through life's dang'rous way."]}, "4": {"syllabified": "Then with -- in Thy fold e -- ter -- nal Let them find a rest -- ing place, Feed in pas -- tures ev -- er ver -- nal, Drink the riv -- ers of Thy grace.", "prose": ["Then within Thy fold eternal", "Let them find a resting place,", "Feed in pastures ever vernal,", "Drink the rivers of Thy grace."]}}}, "see-amid-the-winter-s-snow": {"slug": "see-amid-the-winter-s-snow", "title": "See Amid the Winter's Snow", "first_line": "See amid the winter's snow, Born for us on", "author": "edward-caswall", "author_date": "1875", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Calmness", "Christmas", "Advent", "Evening", "God, As King"], "scripture": ["Luke 2:8-9", "Colossians 1:12-13"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:67; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "see_amid_the_winters_snow", "total_instances": 173}}, "stanzas": {"1": {"syllabified": "See a -- mid the win -- ter's snow, Born for us on earth be -- low, See, the gen -- tle Lamb ap -- pears, Prom -- ised from e -- ter -- nal years.", "prose": ["See amid the winter's snow,", "Born for us on earth below,", "See, the gentle Lamb appears,", "Promised from eternal years."]}, "2": {"syllabified": "Lo, with -- in a man -- ger lies He Who built the star -- ry skies; He Who, throned in height sub -- lime, Sits a -- mid the cher -- u -- bim.", "prose": ["Lo, within a manger lies", "He Who built the starry skies;", "He Who, throned in height sublime,", "Sits amid the cherubim."]}, "3": {"syllabified": "Say, you ho -- ly shep -- herds, say, Tell your joy -- ful news to -- day. Why have you now left your sheep On the lone -- ly moun -- tain steep?", "prose": ["Say, you holy shepherds, say,", "Tell your joyful news today.", "Why have you now left your sheep", "On the lonely mountain steep?"]}, "4": {"syllabified": "\"As we watched at dead of night, Lo, we saw a won -- drous light; An -- gels sing -- ing 'Peace on earth' Told us of the Sav -- ior's birth.\"", "prose": ["\"As we watched at dead of night,", "Lo, we saw a wondrous light;", "Angels singing 'Peace on earth'", "Told us of the Savior's birth.\""]}, "5": {"syllabified": "Sa -- cred In -- fant, all di -- vine, What a ten -- der love was Thine, Thus to come from high -- est bliss Down to such a world as this.", "prose": ["Sacred Infant, all divine,", "What a tender love was Thine,", "Thus to come from highest bliss", "Down to such a world as this."]}}, "refrain": {"syllabified": "Hail that ev -- er bles -- sed morn, Hail re -- demp -- tion's hap -- py dawn, Sing through all Jer -- u -- sa -- lem: Christ is born in Beth -- le -- hem.", "prose": ["Hail that ever blessed morn,", "Hail redemption's happy dawn,", "Sing through all Jerusalem:", "Christ is born in Bethlehem."]}}, "shall-we-gather-at-the-river": {"slug": "shall-we-gather-at-the-river", "title": "Shall We Gather at the River", "first_line": "Shall we gather at the river", "author": "robert-lowry", "author_date": "1864", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Heaven", "River of Life", "Hope", "Gathering", "Eternal Life"], "scripture": ["Revelation 22:1-2", "Ezekiel 47:1", "Psalm 46:4"], "provenance": {"layer": "text", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Robert Lowry (1826-1899), words and music, written 1864 at Hanson Place Baptist Church, Brooklyn, during an epidemic summer; first printed in Happy Voices (1865). Transcribed here from the composer's own collection, Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\", headed with Rev. 22:1 — archive.org item brightjewelsfors00lowr_0, leaf 0114 — which prints SIX stanzas (1-2 interlinear, 3-6 in a block, each block stanza ending \"Cho.\") and the chorus once. Collated against the reprints in Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, four stanzas = 1869's 1, 3, 4, 6, undated, corroboration only) and Make Christ King, 1912, no. 206 (archive.org makechristkingse00exce leaf 0201, four stanzas = 1869's 1, 2, 4, 6). US public domain by publication in 1869; Lowry died 1899, so PD in life+70 jurisdictions as well. PUNCTUATION follows the 1869 page, checked at 3-4x, with TWO type-wear repairs from the collation witnesses, both recorded here: stanza 3 line 3 prints \"We shall meet. and sorrow never\" (a period where the grammar and the reprint read a comma — encoded \"meet, and\"); stanza 6 line 1 shows no comma after \"river\" where the reprints print one (comma encoded). The chorus's \"riv-er—\" EM-DASH after the second \"beautiful river\" is the 1869 page's own and ships (the reprints print a comma). MCK's \"Flowing FROM the throne\" (stanza 1) is that book's variant; the 1869/GTH \"by\" ships.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Shall we gath -- er at the riv -- er, Where bright an -- gel feet have trod; With its crys -- tal tide for -- ev -- er Flow -- ing by the throne of God?", "prose": ["Shall we gather at the river,", "Where bright angel feet have trod;", "With its crystal tide forever", "Flowing by the throne of God?"]}, "2": {"syllabified": "On the mar -- gin of the riv -- er, Wash -- ing up its sil -- ver spray, We will walk and wor -- ship ev -- er, All the hap -- py, gold -- en day.", "prose": ["On the margin of the river,", "Washing up its silver spray,", "We will walk and worship ever,", "All the happy, golden day."]}, "3": {"syllabified": "On the bos -- om of the riv -- er, Where the Sav -- iour -- king we own, We shall meet, and sor -- row nev -- er 'Neath the glo -- ry of the throne.", "prose": ["On the bosom of the river,", "Where the Saviour-king we own,", "We shall meet, and sorrow never", "'Neath the glory of the throne."]}, "4": {"syllabified": "Ere we reach the shin -- ing riv -- er, Lay we ev -- ery bur -- den down; Grace our spir -- its will de -- liv -- er, And pro -- vide a robe and crown.", "prose": ["Ere we reach the shining river,", "Lay we every burden down;", "Grace our spirits will deliver,", "And provide a robe and crown."]}, "5": {"syllabified": "At the smil -- ing of the riv -- er, Rip -- pling with the Sav -- iour's face, Saints, whom death will nev -- er sev -- er, Lift their songs of sav -- ing grace.", "prose": ["At the smiling of the river,", "Rippling with the Saviour's face,", "Saints, whom death will never sever,", "Lift their songs of saving grace."]}, "6": {"syllabified": "Soon we'll reach the shin -- ing riv -- er, Soon our pil -- grim -- age will cease, Soon our hap -- py hearts will quiv -- er With the mel -- o -- dy of peace.", "prose": ["Soon we'll reach the shining river,", "Soon our pilgrimage will cease,", "Soon our happy hearts will quiver", "With the melody of peace."]}}, "refrain": {"syllabified": "Yes, we'll gath -- er at the riv -- er, The beau -- ti -- ful, the beau -- ti -- ful riv -- er— Gath -- er with the saints at the riv -- er That flows by the throne of God.", "prose": ["Yes, we'll gather at the river,", "The beautiful, the beautiful river—", "Gather with the saints at the river", "That flows by the throne of God."]}}, "shepherd-divine-our-wants-relieve": {"slug": "shepherd-divine-our-wants-relieve", "title": "Shepherd Divine, Our Wants Relieve", "first_line": "Shepherd divine, our wants relieve", "author": "charles-wesley", "author_date": "1742", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Prayer", "Consecration", "Perseverance"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), \"Shepherd divine, our wants relieve,\" a hymn on Jacob wrestling with the angel, published in Hymns and Sacred Poems (1742). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Shep -- herd di -- vine, our wants re -- lieve In this our e -- vil day, To all Thy tempt -- ed fol -- low'rs give The pow'r to watch and pray.", "prose": ["Shepherd divine, our wants relieve", "In this our evil day,", "To all Thy tempted followers give", "The power to watch and pray."]}, "2": {"syllabified": "Long as our fi -- ery tri -- als last, Long as the cross we bear, O let our souls on Thee be cast In nev -- er ceas -- ing prayer!", "prose": ["Long as our fiery trials last,", "Long as the cross we bear,", "O let our souls on Thee be cast", "In never ceasing prayer!"]}, "3": {"syllabified": "The Sp'rit of in -- ter -- ced -- ing grace Give us in faith to claim; To wres -- tle till we see Thy face, And know Thy hid -- den name.", "prose": ["The Spirit of interceding grace", "Give us in faith to claim;", "To wrestle till we see Thy face,", "And know Thy hidden name."]}, "4": {"syllabified": "Till Thou Thy per -- fect love im -- part, Till Thou Thy -- self be -- stow, Be this the cry of ev -- ery heart, \"I will not let Thee go:", "prose": ["Till Thou Thy perfect love impart,", "Till Thou Thyself bestow,", "Be this the cry of every heart,", "\"I will not let Thee go:"]}, "5": {"syllabified": "\"I will not let Thee go, un -- less Thou tell Thy name to me, With all Thy great sal -- va -- tion bless, And make me all like Thee:", "prose": ["\"I will not let Thee go, unless", "Thou tell Thy name to me,", "With all Thy great salvation bless,", "And make me all like Thee:"]}, "6": {"syllabified": "Then let me on the moun -- tain top Be -- hold Thy o -- pen face, Where faith in sight is swal -- lowed up, And prayer in end -- less praise.", "prose": ["Then let me on the mountain top", "Behold Thy open face,", "Where faith in sight is swallowed up,", "And prayer in endless praise."]}}}, "show-mercy-lord-to-me-for-man": {"slug": "show-mercy-lord-to-me-for-man", "title": "Show Mercy, Lord, to Me, for Man", "first_line": "Show mercy, Lord, to me, for man", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 56, "topics": ["Psalms"], "scripture": ["Psalm 56"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 56. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Show mer -- cy, Lord, to me, for man would swal -- low me out -- right; He me op -- press -- eth, while he doth a -- gainst me dai -- ly fight.", "prose": ["Show mercy, Lord, to me, for man", "would swallow me outright;", "He me oppresseth, while he doth", "against me daily fight."]}, "2": {"syllabified": "They dai -- ly would me swal -- low up that hate me spite -- ful -- ly; For they be man -- y that do fight a -- gainst me, O Most High.", "prose": ["They daily would me swallow up", "that hate me spitefully;", "For they be many that do fight", "against me, O Most High."]}, "3": {"syllabified": "When I'm a -- fraid I'll trust in thee: In God I'll praise his word; I will not fear what flesh can do, my trust is in the Lord.", "prose": ["When I'm afraid I'll trust in thee:", "In God I'll praise his word;", "I will not fear what flesh can do,", "my trust is in the Lord."]}, "4": {"syllabified": "Each day they wrest my words; their thoughts 'gainst me are all for ill. They meet, they lurk, they mark my steps, wait -- ing my soul to kill.", "prose": ["Each day they wrest my words; their thoughts", "'gainst me are all for ill.", "They meet, they lurk, they mark my steps,", "waiting my soul to kill."]}, "5": {"syllabified": "But shall they by in -- iq -- ui -- ty es -- cape thy judg -- ments so? O God, with in -- dig -- na -- tion down do thou the peo -- ple throw.", "prose": ["But shall they by iniquity", "escape thy judgments so?", "O God, with indignation down", "do thou the people throw."]}, "6": {"syllabified": "My wan -- d'rings all what they have been thou know'st, their num -- ber took; In -- to thy bott -- le put my tears: are they not in thy book?", "prose": ["My wand'rings all what they have been", "thou know'st, their number took;", "Into thy bottle put my tears:", "are they not in thy book?"]}, "7": {"syllabified": "My foes shall, when I cry, turn back; I know't, God is for me. In God his word I'll praise; his word in God shall prais -- ed be.", "prose": ["My foes shall, when I cry, turn back;", "I know 't, God is for me.", "In God his word I'll praise; his word", "in God shall praised be."]}, "8": {"syllabified": "In God I trust; I will not fear what man can do to me. Thy vows up -- on me are, O God: I'll ren -- der praise to thee.", "prose": ["In God I trust; I will not fear", "what man can do to me.", "Thy vows upon me are, O God:", "I'll render praise to thee."]}, "9": {"syllabified": "Wilt thou not, who from death me saved, my feet from falls keep free, To walk be -- fore God in the light of those that liv -- ing be?", "prose": ["Wilt thou not, who from death me saved,", "my feet from falls keep free,", "To walk before God in the light", "of those that living be?"]}}}, "silent-night": {"slug": "silent-night", "title": "Silent Night, Holy Night", "first_line": "Silent night, holy night", "author": "josef-mohr", "author_date": "1818", "translator": "john-freeman-young", "foot": "trochaic", "meter": {"pattern": [6, 6, 8, 9, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Advent and the Nativity", "Peace", "Jesus Christ, Birth of"], "scripture": ["Luke 2:7", "Luke 2:13-14", "John 1:14"], "provenance": {"layer": "text", "source": "mohr-stille-nacht-1818", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Josef Mohr, 1818; English tr. John F. Young, 1863 (st. 2,4 anon.). All authors d. pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "silent_night_holy_night_all_is_calm_all", "total_instances": 744}}, "stanzas": {"1": {"syllabified": "Si -- lent night, ho -- ly night, All is calm, all is bright Round yon vir -- gin moth -- er and Child. Ho -- ly In -- fant, so ten -- der and mild, Sleep in heav -- en -- ly peace, Sleep in heav -- en -- ly peace.", "prose": ["Silent night, holy night,", "All is calm, all is bright", "Round yon virgin mother and Child.", "Holy Infant, so tender and mild,", "Sleep in heavenly peace,", "Sleep in heavenly peace."]}, "2": {"syllabified": "Si -- lent night, ho -- ly night, Shep -- herds quake at the sight; Glo -- ries stream from heav -- en a -- far, Heaven -- ly hosts sing Al -- le -- lu -- ia! Christ the Sav -- ior is born, Christ the Sav -- ior is born!", "prose": ["Silent night, holy night,", "Shepherds quake at the sight;", "Glories stream from heaven afar,", "Heavenly hosts sing Alleluia!", "Christ the Savior is born,", "Christ the Savior is born!"]}, "3": {"syllabified": "Si -- lent night, ho -- ly night, Son of God, love's pure light; Ra -- diant beams from Thy ho -- ly face With the dawn of re -- deem -- ing grace, Je -- sus, Lord, at Thy birth, Je -- sus, Lord, at Thy birth.", "prose": ["Silent night, holy night,", "Son of God, love's pure light;", "Radiant beams from Thy holy face", "With the dawn of redeeming grace,", "Jesus, Lord, at Thy birth,", "Jesus, Lord, at Thy birth."]}, "4": {"syllabified": "Si -- lent night, ho -- ly night Won -- drous star, lend thy light; With the an -- gels let us sing, Al -- le -- lu -- ia to our King; Christ the Sav -- ior is born, Christ the Sav -- ior is born!", "prose": ["Silent night, holy night", "Wondrous star, lend thy light;", "With the angels let us sing,", "Alleluia to our King;", "Christ the Savior is born,", "Christ the Savior is born!"]}}}, "since-with-my-god-with-perfect-heart": {"slug": "since-with-my-god-with-perfect-heart", "title": "Holiness and Divine Favor", "first_line": "Since with my God with perfect heart", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 18, "topics": ["Psalms"], "scripture": ["Psalm 18"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 35) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 18, selection 35. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Since with my God with per -- fect heart I walk and make His word my guide, And from in -- iq -- ui -- ty de -- part, The Lord His bless -- ing will pro -- vide.", "prose": ["Since with my God with perfect heart", "I walk and make His word my guide,", "And from iniquity depart,", "The Lord His blessing will provide."]}, "2": {"syllabified": "The mer -- ci -- ful shall know Thy grace, The per -- fect Thy per -- fec -- tion see, The pure shall see Thy own pure face, The fro -- ward find a foe in Thee.", "prose": ["The merciful shall know Thy grace,", "The perfect Thy perfection see,", "The pure shall see Thy own pure face,", "The froward find a foe in Thee."]}, "3": {"syllabified": "To smite the proud and bring them low, To save the poor is Thy de -- light. The Lord will cause my lamp to glow, My God will make my dark -- ness light.", "prose": ["To smite the proud and bring them low,", "To save the poor is Thy delight.", "The Lord will cause my lamp to glow,", "My God will make my darkness light."]}, "4": {"syllabified": "From God the vic -- t'ry I re -- ceive; Most per -- fect is His ho -- ly way; His word is tried, they who be -- lieve Will find the Lord their shield and stay.", "prose": ["From God the vict'ry I receive;", "Most perfect is His holy way;", "His word is tried, they who believe", "Will find the Lord their shield and stay."]}, "5": {"syllabified": "For who is God, and strong to save, Be -- side the Lord our God of might? 'Tis He that makes me strong and brave, The Lord Who guides my steps a -- right.", "prose": ["For who is God, and strong to save,", "Beside the Lord our God of might?", "'Tis He that makes me strong and brave,", "The Lord Who guides my steps aright."]}, "6": {"syllabified": "Thy free sal -- va -- tion is my shield, My sure de -- fense in ev -- ery strait; Thy hand u -- pholds me, lest I yield; Thy gent -- le -- ness has made me great.", "prose": ["Thy free salvation is my shield,", "My sure defense in every strait;", "Thy hand upholds me, lest I yield;", "Thy gentleness has made me great."]}}}, "sing-loud-to-god-our-strength-with-joy": {"slug": "sing-loud-to-god-our-strength-with-joy", "title": "Sing Loud to God Our Strength; with Joy", "first_line": "Sing loud to God our strength; with joy", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 81, "topics": ["Psalms"], "scripture": ["Psalm 81"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 81. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sing loud to God our strength; with joy to Ja -- cob's God do sing. Take up a psalm, the pleas -- ant harp, tim -- brel and psal -- t'ry bring.", "prose": ["Sing loud to God our strength; with joy", "to Jacob's God do sing.", "Take up a psalm, the pleasant harp,", "timbrel and psalt'ry bring."]}, "2": {"syllabified": "Blow trum -- pets at new -- moon, what day our feast ap -- point -- ed is: For charge to Is -- r'el, and a law of Ja -- cob's God was this.", "prose": ["Blow trumpets at new-moon, what day", "our feast appointed is:", "For charge to Isr'el, and a law", "of Jacob's God was this."]}, "3": {"syllabified": "To Jo -- seph this a test' -- mo -- ny he made, when E -- gypt land He trav -- elled through, where speech I heard I did not un -- der -- stand.", "prose": ["To Joseph this a test'mony", "he made, when Egypt land", "He travelled through, where speech I heard", "I did not understand."]}, "4": {"syllabified": "His shoul -- der I from bur -- dens took, his hands from pots did free. Thou didst in trou -- ble on me call, and I de -- liv -- ered thee:", "prose": ["His shoulder I from burdens took,", "his hands from pots did free.", "Thou didst in trouble on me call,", "and I delivered thee:"]}, "5": {"syllabified": "In se -- cret place of thun -- der -- ing I did thee an -- swer make; And at the streams of Mer -- i -- bah of thee a proof did take.", "prose": ["In secret place of thundering", "I did thee answer make;", "And at the streams of Meribah", "of thee a proof did take."]}, "6": {"syllabified": "O thou, my peo -- ple, give an ear, I'll tes -- ti -- fy to thee; To thee, O Is -- r'el, if thou wilt but hear -- ken un -- to me.", "prose": ["O thou, my people, give an ear,", "I'll testify to thee;", "To thee, O Isr'el, if thou wilt", "but hearken unto me."]}, "7": {"syllabified": "In midst of thee there shall not be an -- y strange god at all; Nor un -- to an -- y god un -- known thou bow -- ing down shalt fall.", "prose": ["In midst of thee there shall not be", "any strange god at all;", "Nor unto any god unknown", "thou bowing down shalt fall."]}, "8": {"syllabified": "I am the Lord thy God, which did from E -- gypt land thee guide; I'll fill thy mouth a -- bun -- dant -- ly, do thou it o -- pen wide.", "prose": ["I am the Lord thy God, which did", "from Egypt land thee guide;", "I'll fill thy mouth abundantly,", "do thou it open wide."]}, "9": {"syllabified": "But yet my peo -- ple to my voice would not at -- ten -- tive be; And ev'n my cho -- sen I -- sra -- el he would have none of me.", "prose": ["But yet my people to my voice", "would not attentive be;", "And ev'n my chosen Israel", "he would have none of me."]}, "10": {"syllabified": "So to the lust of their own hearts I them de -- liv -- er -- ed; And then in coun -- sels of their own they vain -- ly wan -- der -- ed.", "prose": ["So to the lust of their own hearts", "I them delivered;", "And then in counsels of their own", "they vainly wandered."]}, "11": {"syllabified": "O that my peo -- ple had me heard, Is -- r'el my ways had chose! I had their en -- 'mies soon sub -- dued, my hand turned on their foes.", "prose": ["O that my people had me heard,", "Isr'el my ways had chose!", "I had their en'mies soon subdued,", "my hand turned on their foes."]}, "12": {"syllabified": "The hat -- ers of the Lord to him sub -- mis -- sion should have feigned; But as for them, their time should have for ev -- er -- more re -- mained.", "prose": ["The haters of the Lord to him", "submission should have feigned;", "But as for them, their time should have", "for evermore remained."]}, "13": {"syllabified": "He should have al -- so fed them with the fin -- est of the wheat; Of hon -- ey from the rock thy fill I should have made thee eat.", "prose": ["He should have also fed them with", "the finest of the wheat;", "Of honey from the rock thy fill", "I should have made thee eat."]}}}, "sing-o-sing-this-blessed-morn": {"slug": "sing-o-sing-this-blessed-morn", "title": "Sing, O Sing, This Blessed Morn", "first_line": "Sing, O sing, this blessed morn, Unto us a", "author": "christopher-wordsworth", "author_date": "1865", "foot": "iambic", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Christmas", "Advent", "God, As King", "Israel", "Jesus"], "scripture": ["Luke 2:8-9"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:69; all components published pre-1931 (latest year 1865).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "sing_o_sing_this_blessed_morn", "total_instances": 53}}, "stanzas": {"1": {"syllabified": "Sing, O sing, this bless -- ed morn, Un -- to us a Child is born, Un -- to us a Son is giv'n, God Him -- self comes down from Heav'n.", "prose": ["Sing, O sing, this blessed morn,", "Unto us a Child is born,", "Unto us a Son is giv'n,", "God Himself comes down from Heav'n."]}, "2": {"syllabified": "Je -- sus Christ, the King of kings, Mak -- er of all world -- ly things, Now de -- scends from Heav'n to Earth, To re -- store us by His birth;", "prose": ["Jesus Christ, the King of kings,", "Maker of all worldly things,", "Now descends from Heav'n to Earth,", "To restore us by His birth;"]}, "3": {"syllabified": "God of God, and Light of Light, Comes with mer -- cies in -- fi -- nite; Join -- ing in a won -- drous plan Heav'n to earth and God to Man;", "prose": ["God of God, and Light of Light,", "Comes with mercies infinite;", "Joining in a wondrous plan", "Heav'n to earth and God to Man;"]}, "4": {"syllabified": "God with us, Em -- man -- u -- el, Deigns for ev -- er now to dwell; He on Ad -- am's fall -- en race Sheds the full -- ness of His Grace;", "prose": ["God with us, Emmanuel,", "Deigns for ever now to dwell;", "He on Adam's fallen race", "Sheds the fullness of His Grace;"]}, "5": {"syllabified": "Truth and Mer -- cy show their face, And with lov -- ing kiss em -- brace; Right -- eous -- ness looks down from Heav'n, God is pleased and Man for -- giv'n;", "prose": ["Truth and Mercy show their face,", "And with loving kiss embrace;", "Righteousness looks down from Heav'n,", "God is pleased and Man forgiv'n;"]}}, "refrain": {"syllabified": "Sing, O sing, this bless -- ed morn, Je -- sus Christ to -- day is born.", "prose": ["Sing, O sing, this blessed morn,", "Jesus Christ today is born."]}}, "sing-praise-to-god-who-reigns-above": {"slug": "sing-praise-to-god-who-reigns-above", "title": "Sing Praise to God Who Reigns Above", "first_line": "Sing Praise to God Who Reigns Above", "author": "johann-jacob-schutz", "author_date": "1675", "translator": "frances-elizabeth-cox", "translator_date": "1864", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Thanksgiving", "Providence"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Jacob Schütz, \"Sei Lob und Ehr dem höchsten Gut\" (1675), translated by Frances Elizabeth Cox as \"Sing Praise to God Who Reigns Above\" (Hymns from the German, 1864). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sing praise to God who reigns a -- bove, The God of all cre -- a -- tion, The God of power, the God of love, The God of our sal -- va -- tion; With heal -- ing balm my soul He fills, And ev -- ery faith -- less mur -- mur stills: To God all praise and glo -- ry.", "prose": ["Sing praise to God who reigns above,", "The God of all creation,", "The God of power, the God of love,", "The God of our salvation;", "With healing balm my soul He fills,", "And every faithless murmur stills:", "To God all praise and glory."]}, "2": {"syllabified": "What God's al -- might -- y power hath made His gra -- cious mer -- cy keep -- eth; By morn -- ing glow or eve -- ning shade His watch -- ful eye ne'er sleep -- eth; With -- in the king -- dom of His might, Lo! all is just and all is right: To God all praise and glo -- ry.", "prose": ["What God's almighty power hath made", "His gracious mercy keepeth;", "By morning glow or evening shade", "His watchful eye ne'er sleepeth;", "Within the kingdom of His might,", "Lo! all is just and all is right:", "To God all praise and glory."]}, "3": {"syllabified": "The Lord is nev -- er far a -- way, But through all grief dis -- tress -- ing, An ev -- er pres -- ent help and stay, Our peace and joy and bless -- ing; As with a moth -- er's ten -- der hand, He leads His own, His cho -- sen band: To God all praise and glo -- ry.", "prose": ["The Lord is never far away,", "But through all grief distressing,", "An ever present help and stay,", "Our peace and joy and blessing;", "As with a mother's tender hand,", "He leads His own, His chosen band:", "To God all praise and glory."]}, "4": {"syllabified": "Thus all my toil -- some way a -- long, I sing a -- loud Thy prais -- es, That men may hear the grate -- ful song My voice un -- wea -- ried rais -- es; Be joy -- ful in the Lord, my heart, Both soul and bod -- y bear your part: To God all praise and glo -- ry.", "prose": ["Thus all my toilsome way along,", "I sing aloud Thy praises,", "That men may hear the grateful song", "My voice unwearied raises;", "Be joyful in the Lord, my heart,", "Both soul and body bear your part:", "To God all praise and glory."]}, "5": {"syllabified": "Let all who name Christ's ho -- ly name Give God all praise and glo -- ry; Let all who own His power pro -- claim A -- loud the won -- drous sto -- ry! Cast each false i -- dol from his throne, The Lord is God, and He a -- lone: To God all praise and glo -- ry.", "prose": ["Let all who name Christ's holy name", "Give God all praise and glory;", "Let all who own His power proclaim", "Aloud the wondrous story!", "Cast each false idol from his throne,", "The Lord is God, and He alone:", "To God all praise and glory."]}}}, "sing-praise-to-the-lord": {"slug": "sing-praise-to-the-lord", "title": "Sing Praise to the Lord!", "first_line": "Sing Praise to the Lord", "author": "henry-williams-baker", "author_date": "1875", "foot": "irregular", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Adoration"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henry W. Baker (1821-1877), \"O Praise Ye the Lord!\" — here in the altered form \"Sing Praise to the Lord!\" — 1875, alt.; a paraphrase of Psalms 148 and 150. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sing praise to the Lord! Praise Him in the height; Re -- joice in His Word, You an -- gels of light. You heav -- ens a -- dore Him By whom you were made, And wor -- ship be -- fore Him In bright -- ness ar -- rayed.", "prose": ["Sing praise to the Lord! Praise Him in the height;", "Rejoice in His Word, You angels of light.", "You heavens, adore Him By whom you were made,", "And worship before Him In brightness arrayed."]}, "2": {"syllabified": "Sing praise to the Lord! Praise Him on the earth In tune -- ful ac -- cord, You saints of new birth. Praise Him who has brought you His grace from a -- bove; Praise Him who has taught you To sing of His love.", "prose": ["Sing praise to the Lord! Praise Him on the earth", "In tuneful accord, You saints of new birth.", "Praise Him who has brought you His grace from above;", "Praise Him who has taught you To sing of His love."]}, "3": {"syllabified": "Sing praise to the Lord! All things that give sound, Each ju -- bi -- lant chord, Re -- ech -- o a -- round. Loud or -- gans, His glo -- ry Tell forth in deep tone, And trum -- pets, the sto -- ry Of what He has done.", "prose": ["Sing praise to the Lord! All things that give sound,", "Each jubilant chord, Re-echo around.", "Loud organs, His glory Tell forth in deep tone,", "And trumpets, the story Of what He has done."]}, "4": {"syllabified": "Sing praise to the Lord! Thanks -- giv -- ing and song To Him be out -- poured All ag -- es a -- long! For love in cre -- a -- tion, For Heav -- en re -- stored, For grace of sal -- va -- tion, Sing praise to the Lord!", "prose": ["Sing praise to the Lord! Thanksgiving and song", "To Him be outpoured All ages along!", "For love in creation, For Heaven restored,", "For grace of salvation, Sing praise to the Lord!"]}}}, "sing-to-the-lord-of-harvest": {"slug": "sing-to-the-lord-of-harvest", "title": "Sing to the Lord of Harvest", "first_line": "Sing to the Lord of harvest", "author": "john-s-b-monsell", "author_date": "1866", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Harvest", "Thanksgiving", "Praise"], "scripture": ["Psalm 65:9-13", "Jeremiah 5:24"], "provenance": {"layer": "text", "source": "monsell-1866", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "John S. B. Monsell (1811-1875), \"Sing to the Lord of harvest,\" a harvest hymn published in the second edition of his Hymns of Love and Praise (London, 1866), pp. 145-146, in four stanzas of eight lines under the epigraph Jeremiah 5:24 (Julian, Dictionary of Hymnology, 1907). Text taken directly from the 1866 printing (archive.org scan hymnsloveandpra00monsgoog) and cross-checked against the Hymnary.org authority page, which prints a modernized three-stanza representative text; this file follows the 1866 original wording throughout — \"Your hallelujahs raise,\" \"By Him the clouds drop fatness,\" \"He crowns the year with goodness,\" \"Heap on His sacred altar,\" and the doxology stanza 4. Victorian mid-line capitals (Love, Praise, Goodness, Plenty, Peace, Altar) lowercased and punctuation lightly normalized; wording unaltered. Scansion verified 7.6.7.6.7.6.7.6 in all four stanzas. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sing to the Lord of har -- vest! Sing songs of love and praise! With joy -- ful hearts and voic -- es your hal -- le -- lu -- jahs raise: By Him the roll -- ing sea -- sons in fruit -- ful or -- der move, sing to the Lord of har -- vest a song of hap -- py love!", "prose": ["Sing to the Lord of harvest!", "Sing songs of love and praise!", "With joyful hearts and voices", "your hallelujahs raise:", "By Him the rolling seasons", "in fruitful order move,", "sing to the Lord of harvest", "a song of happy love!"]}, "2": {"syllabified": "By Him the clouds drop fat -- ness, the des -- erts bloom and spring, the hills leap up in glad -- ness, the val -- leys laugh and sing: He fill -- eth with His ful -- ness all things with large in -- crease, He crowns the year with good -- ness, with plen -- ty and with peace.", "prose": ["By Him the clouds drop fatness,", "the deserts bloom and spring,", "the hills leap up in gladness,", "the valleys laugh and sing:", "He filleth with His fulness", "all things with large increase,", "He crowns the year with goodness,", "with plenty and with peace."]}, "3": {"syllabified": "Heap on His sa -- cred al -- tar the gifts His good -- ness gave, the gold -- en sheaves of har -- vest, the souls He died to save: your hearts lay down be -- fore Him when at His feet ye fall, and with your lives a -- dore Him who gave His life for all.", "prose": ["Heap on His sacred altar", "the gifts His goodness gave,", "the golden sheaves of harvest,", "the souls He died to save:", "your hearts lay down before Him", "when at His feet ye fall,", "and with your lives adore Him", "who gave His life for all."]}, "4": {"syllabified": "To God the gra -- cious Fa -- ther, who made us \"ver -- y good,\" to Christ, who, when we wan -- dered, re -- stored us with His blood, and to the Ho -- ly Spir -- it, who doth up -- on us pour His bless -- ed dews and sun -- shine, be praise for ev -- er -- more!", "prose": ["To God the gracious Father,", "who made us \"very good,\"", "to Christ, who, when we wandered,", "restored us with His blood,", "and to the Holy Spirit,", "who doth upon us pour", "His blessed dews and sunshine,", "be praise for evermore!"]}}}, "softly-and-tenderly-jesus-is-calling": {"slug": "softly-and-tenderly-jesus-is-calling", "title": "Softly and Tenderly Jesus Is Calling", "first_line": "Softly and tenderly Jesus is calling", "author": "will-l-thompson", "author_date": "1880", "foot": "dactylic", "meter": {"pattern": [11, 7, 11, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Invitation", "Repentance", "Salvation", "Grace"], "scripture": ["Matthew 11:28", "Luke 15:20", "Revelation 22:17"], "provenance": {"layer": "text", "source": "sparkling-gems-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Will L. Thompson (1847-1909), words and music together, first published by his own firm: Sparkling Gems Nos. 1 [and 2 combined], compiled by J. Calvin Bushey (East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" over four numbered stanzas and a \"CHORUS.\", with \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" at the foot — archive.org item sparklinggemsnos00bush, leaf n55 (printed page 54). US public domain (published pre-1929); the author died in 1909, so also PD in life+70 jurisdictions. The stanza text transcribed here is the one printed under the music of Tabernacle Hymns No. 2 (Chicago, 1921), hymn 191 (archive.org tabernaclehymnsn02chic leaf n196), which is the same four stanzas with the divine pronouns capitalised and the 1880 page's lower-case \"he\" raised to \"He\"; \"Tho'\" and \"sinn'd\" are the 1921 print's own elisions, and the 1880 page reads \"Oh! for the wonderful love he has promised\" where 1921 reads the same line with \"He\". Line 2 of stanza 1 ends with a COMMA on BOTH pages, and so does the refrain's \"Ye who are weary, come home,\"; this record first shipped semicolons in both places, and a claim that 1921 printed a semicolon and was 'followed throughout', which its own cited leaf contradicts. Corrected to the page. The pointing here is now the 1921 print's.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "softly_and_tenderly_jesus_is_calling", "total_instances": 1025}}, "stanzas": {"1": {"syllabified": "Soft -- ly and ten -- der -- ly Je -- sus is call -- ing, Call -- ing for you and for me, See on the por -- tals He's wait -- ing and watch -- ing, Watch -- ing for you and for me.", "prose": ["Softly and tenderly Jesus is calling,", "Calling for you and for me,", "See on the portals He's waiting and watching,", "Watching for you and for me."]}, "2": {"syllabified": "Why should we tar -- ry when Je -- sus is plead -- ing, Plead -- ing for you and for me? Why should we lin -- ger and heed not His mer -- cies, Mer -- cies for you and for me?", "prose": ["Why should we tarry when Jesus is pleading,", "Pleading for you and for me?", "Why should we linger and heed not His mercies,", "Mercies for you and for me?"]}, "3": {"syllabified": "Time is now fleet -- ing, the mo -- ments are pass -- ing, Pass -- ing from you and from me; Shad -- ows are gath -- er -- ing, death -- beds are com -- ing, Com -- ing for you and for me.", "prose": ["Time is now fleeting, the moments are passing,", "Passing from you and from me;", "Shadows are gathering, death-beds are coming,", "Coming for you and for me."]}, "4": {"syllabified": "Oh! for the won -- der -- ful love He has prom -- ised, Prom -- ised for you and for me; Tho' we have sinn'd, He has mer -- cy and par -- don, Par -- don for you and for me.", "prose": ["Oh! for the wonderful love He has promised,", "Promised for you and for me;", "Tho' we have sinn'd, He has mercy and pardon,", "Pardon for you and for me."]}}, "refrain": {"syllabified": "Come home, come home, Ye who are wea -- ry, come home, Earn -- est -- ly, ten -- der -- ly Je -- sus is call -- ing, Call -- ing, O sin -- ner, come home!", "prose": ["Come home, come home,", "Ye who are weary, come home,", "Earnestly, tenderly Jesus is calling,", "Calling, O sinner, come home!"]}}, "softly-now-the-light-of-day": {"slug": "softly-now-the-light-of-day", "title": "Softly Now the Light of Day", "first_line": "Softly Now the Light of Day", "author": "george-washington-doane", "author_date": "1824", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Devotion", "Prayer"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "George Washington Doane (1799-1859), \"Evening,\" written 1824; a standard evening hymn long paired with the tune SEYMOUR (from Weber). Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Soft -- ly now the light of day Fades up -- on my sight a -- way; Free from care, from la -- bor free, Lord, I would com -- mune with Thee.", "prose": ["Softly now the light of day", "Fades upon my sight away;", "Free from care, from labor free,", "Lord, I would commune with Thee."]}, "2": {"syllabified": "Thou, whose all -- per -- vad -- ing eye Naught es -- capes, with -- out, with -- in, Par -- don each in -- firm -- i -- ty O -- pen fault, and se -- cret sin.", "prose": ["Thou, whose all-pervading eye", "Naught escapes, without, within,", "Pardon each infirmity,", "Open fault, and secret sin."]}, "3": {"syllabified": "Soon for me the light of day Shall for -- ev -- er pass a -- way; Then, from sin and sor -- row free, Take me, Lord, to dwell with Thee.", "prose": ["Soon for me the light of day", "Shall forever pass away;", "Then, from sin and sorrow free,", "Take me, Lord, to dwell with Thee."]}}}, "soldiers-of-christ-arise": {"slug": "soldiers-of-christ-arise", "title": "Soldiers of Christ, Arise", "first_line": "Soldiers of Christ, arise", "author": "charles-wesley", "author_date": "1749", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christian Life", "Conflict and Victory", "Courage", "Consecration"], "scripture": ["Ephesians 6:10-18", "1 Corinthians 15:57", "Romans 8:37"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), \"The Whole Armour of God\" (Eph. 6:10-18), from Hymns and Sacred Poems (London, 1749), a poem of sixteen short-metre stanzas. Transcribed from The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 382 on page 268, headed \"DIADEMATA  S. M. D. — George J. Elvey\" and signed \"Charles Wesley\". That page prints exactly these three eight-line (double short metre) stanzas over the DIADEMATA music, so the pairing of Wesley's short-metre poem into S.M.D. stanzas is the 1905 editors' printed act and not an editorial choice made here. Wesley's own stanza numbering is given by Hymn Studies (New York: Hunt & Eaton, 1897), which prints the same lines in eight-line parts and records that the \"From strength to strength go on\" stanza is Wesley's sixteenth, verbatim. Public domain: author d. 1788, and the 1905 printing read for this record is itself pre-1931. Scan: archive.org/details/methodi00meth, leaf n279 = printed page 268.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sol -- diers of Christ, a -- rise, And put your ar -- mor on, Strong in the strength which God sup -- plies Through his e -- ter -- nal Son; Strong in the Lord of hosts, And in his might -- y power, Who in the strength of Je -- sus trusts Is more than con -- quer -- or.", "prose": ["Soldiers of Christ, arise,", "And put your armor on,", "Strong in the strength which God supplies", "Through his eternal Son;", "Strong in the Lord of hosts,", "And in his mighty power,", "Who in the strength of Jesus trusts", "Is more than conqueror."]}, "2": {"syllabified": "Stand, then, in his great might, With all his strength en -- dued; But take, to arm you for the fight, The pan -- o -- ply of God: That, hav -- ing all things done, And all your con -- flicts passed, Ye may o'er -- come through Christ a -- lone, And stand en -- tire at last.", "prose": ["Stand, then, in his great might,", "With all his strength endued;", "But take, to arm you for the fight,", "The panoply of God:", "That, having all things done,", "And all your conflicts passed,", "Ye may o'ercome through Christ alone,", "And stand entire at last."]}, "3": {"syllabified": "From strength to strength go on, Wres -- tle, and fight, and pray; Tread all the pow'rs of dark -- ness down, And win the well -- fought day: Still let the Spir -- it cry, In all his sol -- diers, \"Come,\" Till Christ the Lord de -- scend from high, And take the con -- qu'rors home.", "prose": ["From strength to strength go on,", "Wrestle, and fight, and pray;", "Tread all the pow'rs of darkness down,", "And win the well-fought day:", "Still let the Spirit cry,", "In all his soldiers, \"Come,\"", "Till Christ the Lord descend from high,", "And take the conqu'rors home."]}}}, "songs-of-thankfulness-and-praise": {"slug": "songs-of-thankfulness-and-praise", "title": "Songs of Thankfulness and Praise", "first_line": "Songs of thankfulness and praise, Jesus, Lord, to Thee", "author": "christopher-wordsworth", "author_date": "1871", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Advent", "Courage in Affliction", "Darkness, Spiritual", "God, As King"], "scripture": ["Matthew 4:12-17", "Isaiah 9:2-7", "Malachi 4:1-6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:77; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "songs_of_thankfulness_and_praise", "total_instances": 138}}, "stanzas": {"1": {"syllabified": "Songs of thank -- ful -- ness and praise, Je -- sus, Lord, to Thee we raise, Man -- i -- fest -- ed by the star To the sag -- es from a -- far; Branch of ro -- yal Da -- vid's stem In Thy birth at Beth -- le -- hem; An -- thems be to Thee add -- ressed, God in man made man -- i -- fest.", "prose": ["Songs of thankfulness and praise,", "Jesus, Lord, to Thee we raise,", "Manifested by the star", "To the sages from afar;", "Branch of royal David's stem", "In Thy birth at Bethlehem;", "Anthems be to Thee addressed,", "God in man made manifest."]}, "2": {"syllabified": "Man -- i -- fest at Jor -- dan's stream, Proph -- et, Priest, and King su -- preme; And at Ca -- na, wedd -- ing guest, In Thy God -- head man -- i -- fest; Man -- i -- fest in pow'r di -- vine, Chang -- ing wa -- ter in -- to wine; An -- thems be to Thee add -- ressed, God in man made man -- i -- fest.", "prose": ["Manifest at Jordan's stream,", "Prophet, Priest, and King supreme;", "And at Cana, wedding guest,", "In Thy Godhead manifest;", "Manifest in pow'r divine,", "Changing water into wine;", "Anthems be to Thee addressed,", "God in man made manifest."]}, "3": {"syllabified": "Man -- i -- fest in mak -- ing whole Pal -- sied limbs and faint -- ing soul; Man -- i -- fest in val -- iant fight, Quell -- ing all the dev -- il's might; Man -- i -- fest in grac -- ious will, Ev -- er bring -- ing good from ill; An -- thems be to Thee add -- ressed, God in man made man -- i -- fest.", "prose": ["Manifest in making whole", "Palsied limbs and fainting soul;", "Manifest in valiant fight,", "Quelling all the devil's might;", "Manifest in gracious will,", "Ever bringing good from ill;", "Anthems be to Thee addressed,", "God in man made manifest."]}, "4": {"syllabified": "Sun and moon shall dark -- ened be, Stars shall fall, the heav'ns shall flee, Christ will then like light -- ning shine, All will see His glor -- ious sign: All will then the trum -- pet hear; All will see the Judge ap -- pear; Thou by all wilt be con -- fessed, God in man made man -- i -- fest.", "prose": ["Sun and moon shall darkened be,", "Stars shall fall, the heav'ns shall flee,", "Christ will then like lightning shine,", "All will see His glorious sign:", "All will then the trumpet hear;", "All will see the Judge appear;", "Thou by all wilt be confessed,", "God in man made manifest."]}, "5": {"syllabified": "Grant us grace to see Thee, Lord, Mir -- rored in Thy ho -- ly Word; May we im -- i -- tate Thee now, And be pure, as pure art Thou; That we like to Thee may be At Thy great E -- piph -- a -- ny; And may praise Thee, ev -- er blest, God in man made man -- i -- fest.", "prose": ["Grant us grace to see Thee, Lord,", "Mirrored in Thy holy Word;", "May we imitate Thee now,", "And be pure, as pure art Thou;", "That we like to Thee may be", "At Thy great Epiphany;", "And may praise Thee, ever blest,", "God in man made manifest."]}}}, "spirit-of-god-descend-upon-my-heart": {"slug": "spirit-of-god-descend-upon-my-heart", "title": "Spirit of God, Descend upon My Heart", "first_line": "Spirit of God, Descend upon My Heart", "author": "george-croly", "author_date": "1854", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Holy Spirit", "Consecration", "Prayer"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "George Croly, \"Spirit of God, descend upon my heart,\" Psalms and Hymns for Public Worship (1854). Text from The Cyber Hymnal. Author d. 1860. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Spir -- it of God, de -- scend up -- on my heart; Wean it from earth, through all its pul -- ses move; Stoop to my weak -- ness, might -- y as Thou art, And make me love Thee as I ought to love.", "prose": ["Spirit of God, descend upon my heart;", "Wean it from earth, through all its pulses move;", "Stoop to my weakness, mighty as Thou art,", "And make me love Thee as I ought to love."]}, "2": {"syllabified": "I ask no dream, no proph -- et ec -- sta -- sies, No sud -- den rend -- ing of the veil of clay, No an -- gel vis -- i -- tant, no o -- p'ning skies; But take the dim -- ness of my soul a -- way.", "prose": ["I ask no dream, no prophet ecstasies,", "No sudden rending of the veil of clay,", "No angel visitant, no opening skies;", "But take the dimness of my soul away."]}, "3": {"syllabified": "Hast Thou not bid me love Thee, God and King? All, all Thine own, soul, heart, and strength, and mind. I see Thy cross; there teach my heart to cling: O let me seek Thee, and O let me find!", "prose": ["Hast Thou not bid me love Thee, God and King?", "All, all Thine own, soul, heart, and strength, and mind.", "I see Thy cross; there teach my heart to cling:", "O let me seek Thee, and O let me find!"]}, "4": {"syllabified": "Teach me to feel that Thou art al -- ways nigh; Teach me the strug -- gles of the soul to bear. To check the ris -- ing doubt, the reb -- el sigh, Teach me the pa -- tience of un -- an -- swered prayer.", "prose": ["Teach me to feel that Thou art always nigh;", "Teach me the struggles of the soul to bear.", "To check the rising doubt, the rebel sigh,", "Teach me the patience of unanswered prayer."]}, "5": {"syllabified": "Teach me to love Thee as Thine an -- gels love, One ho -- ly pas -- sion fill -- ing all my frame; The kin -- dling of the heav'n -- de -- scend -- ed Dove, My heart an al -- tar, and Thy love the flame.", "prose": ["Teach me to love Thee as Thine angels love,", "One holy passion filling all my frame;", "The kindling of the heaven-descended Dove,", "My heart an altar, and Thy love the flame."]}}}, "stand-up-and-bless-the-lord": {"slug": "stand-up-and-bless-the-lord", "title": "Stand Up and Bless the Lord", "first_line": "Stand up and bless the Lord", "author": "james-montgomery", "author_date": "1824", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Worship"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "James Montgomery, \"Stand up and bless the Lord,\" written for the Sunday School Union (1824). Montgomery d. 1854; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Stand up and bless the Lord, Ye peo -- ple of His choice; Stand up and bless the Lord your God With heart and soul and voice.", "prose": ["Stand up and bless the Lord,", "Ye people of His choice;", "Stand up and bless the Lord your God", "With heart and soul and voice."]}, "2": {"syllabified": "Though high a -- bove all praise, A -- bove all bless -- ing high, Who would not fear His ho -- ly Name, And laud and mag -- ni -- fy?", "prose": ["Though high above all praise,", "Above all blessing high,", "Who would not fear His holy Name,", "And laud and magnify?"]}, "3": {"syllabified": "O for the liv -- ing flame From His own al -- tar brought, To touch our lips, our minds in -- spire, And wing to heav'n our thought!", "prose": ["O for the living flame", "From His own altar brought,", "To touch our lips, our minds inspire,", "And wing to heaven our thought!"]}, "4": {"syllabified": "God is our strength and song, And His sal -- va -- tion ours; Then be His love in Christ pro -- claimed With all our ran -- somed powers.", "prose": ["God is our strength and song,", "And His salvation ours;", "Then be His love in Christ proclaimed", "With all our ransomed powers."]}, "5": {"syllabified": "Stand up and bless the Lord; The Lord your God a -- dore; Stand up and bless His glo -- rious Name, Hence -- forth for -- ev -- er -- more.", "prose": ["Stand up and bless the Lord;", "The Lord your God adore;", "Stand up and bless His glorious Name,", "Henceforth forevermore."]}}}, "stand-up-stand-up-for-jesus": {"slug": "stand-up-stand-up-for-jesus", "title": "Stand Up, Stand Up for Jesus", "first_line": "Stand up, stand up for Jesus", "author": "george-duffield", "author_date": "1858", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christian Warfare", "Courage", "Discipleship"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "George Duffield, Jr., \"Stand up, stand up for Jesus,\" written 1858. Duffield d. 1888; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Stand up, stand up for Je -- sus, ye sol -- diers of the cross; Lift high His roy -- al ban -- ner, it must not suf -- fer loss: From vic -- t'ry un -- to vic -- t'ry His ar -- my shall He lead, Till ev -- ery foe is van -- quished, and Christ is Lord in -- deed.", "prose": ["Stand up, stand up for Jesus, ye soldiers of the cross;", "Lift high His royal banner, it must not suffer loss:", "From vict'ry unto vict'ry His army shall He lead,", "Till every foe is vanquished, and Christ is Lord indeed."]}, "2": {"syllabified": "Stand up, stand up for Je -- sus, the trum -- pet call o -- bey; Forth to the might -- y con -- flict, in this His glo -- rious day: Ye that are men now serve Him a -- gainst un -- num -- bered foes; Let cour -- age rise with dan -- ger, and strength to strength op -- pose.", "prose": ["Stand up, stand up for Jesus, the trumpet call obey;", "Forth to the mighty conflict, in this His glorious day:", "Ye that are men now serve Him against unnumbered foes;", "Let courage rise with danger, and strength to strength oppose."]}, "3": {"syllabified": "Stand up, stand up for Je -- sus, stand in His strength a -- lone; The arm of flesh will fail you, ye dare not trust your own: Put on the gos -- pel ar -- mor, each piece put on with prayer; Where du -- ty calls, or dan -- ger, be nev -- er want -- ing there.", "prose": ["Stand up, stand up for Jesus, stand in His strength alone;", "The arm of flesh will fail you, ye dare not trust your own:", "Put on the gospel armor, each piece put on with prayer;", "Where duty calls, or danger, be never wanting there."]}, "4": {"syllabified": "Stand up, stand up for Je -- sus, the strife will not be long; This day the noise of bat -- tle, the next the vic -- tor's song: To him that o -- ver -- com -- eth a crown of life shall be; He with the King of glo -- ry shall reign e -- ter -- nal -- ly.", "prose": ["Stand up, stand up for Jesus, the strife will not be long;", "This day the noise of battle, the next the victor's song:", "To him that overcometh a crown of life shall be;", "He with the King of glory shall reign eternally."]}}}, "standing-on-the-promises": {"slug": "standing-on-the-promises", "title": "Standing on the Promises", "first_line": "Standing on the promises of Christ my King", "author": "russell-kelso-carter", "author_date": "1886", "foot": "dactylic", "meter": {"pattern": [11, 11, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Christian Life", "Faith", "Promises (see also Gospel)", "Trust", "Victory", "Word of God"], "scripture": ["2 Corinthians 1:20", "2 Peter 1:4", "Hebrews 10:23"], "provenance": {"layer": "text", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "R. Kelso Carter (1849-1928), words and music, first printed in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 — read on the archive.org scan songsofperfectlo00cart, leaf 101 — headed 'Standing on the Promises.' with 'R. K. C.' at the left, 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' US public domain by publication before 1929. All five stanzas and the chorus are transcribed from that page, POINTING AND SPELLING INCLUDED, and not from memory or a modern hymnal: hence 'let his praises ring' and 'Bound to him' in lower case, 'Saviour', the semicolons after 'ring' and 'me' where later books print commas, no comma after 'see', and the 1886 plate's own 'the Spir-its' call' / 'the Spir-its' sword' (the 1908 reprint prints 'Spir-it's'). ONE PLACE DEPARTS FROM THE 1886 SPELLING, because the 1886 plate sets stanzas 2-5 as running text under the melody rather than syllable by syllable and one of its lines does not fit its own tune: stanza 5 line 2 is printed 'Listening ev-ery moment to the Spir-its' call,' which is twelve syllables against eleven notes. It is encoded in the sung, elided form the second dated witness prints — Christ in Song, ed. F. E. Belden, 1908, hymn 219, printed p. 212, archive.org songfora00beld leaf 162, 'List-'ning ev-'ry mo-ment to the Spir-it's call,' — keeping the 1886 plate's 'ev -- ery' hyphenation and its 'Spir -- its''. Every other line of every stanza fits the melody exactly as the 1886 plate spells it. The chorus words are the 1886 melody row: 'Standing, standing, Standing on the promises of God my Saviour; Standing, standing, I'm standing on the promises of God.' (the 1908 reprint parenthesises '(my Saviour;)'; the 1886 plate does not).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Stand -- ing on the prom -- is -- es of Christ my King, Thro' e -- ter -- nal ag -- es let his prais -- es ring; Glo -- ry in the high -- est, I will shout and sing, Stand -- ing on the prom -- is -- es of God.", "prose": ["Standing on the promises of Christ my King,", "Thro' eternal ages let his praises ring;", "Glory in the highest, I will shout and sing,", "Standing on the promises of God."]}, "2": {"syllabified": "Stand -- ing on the prom -- is -- es that can -- not fail, When the howl -- ing storms of doubt and fear as -- sail, By the liv -- ing Word of God I shall pre -- vail, Stand -- ing on the prom -- is -- es of God.", "prose": ["Standing on the promises that cannot fail,", "When the howling storms of doubt and fear assail,", "By the living Word of God I shall prevail,", "Standing on the promises of God."]}, "3": {"syllabified": "Stand -- ing on the prom -- is -- es I now can see Per -- fect, pres -- ent cleans -- ing in the blood for me; Stand -- ing in the lib -- er -- ty where Christ makes free, Stand -- ing on the prom -- is -- es of God.", "prose": ["Standing on the promises I now can see", "Perfect, present cleansing in the blood for me;", "Standing in the liberty where Christ makes free,", "Standing on the promises of God."]}, "4": {"syllabified": "Stand -- ing on the prom -- is -- es of Christ the Lord, Bound to him e -- ter -- nal -- ly by love's strong cord, O -- ver -- com -- ing dai -- ly with the Spir -- its' sword, Stand -- ing on the prom -- is -- es of God.", "prose": ["Standing on the promises of Christ the Lord,", "Bound to him eternally by love's strong cord,", "Overcoming daily with the Spirits' sword,", "Standing on the promises of God."]}, "5": {"syllabified": "Stand -- ing on the prom -- is -- es I can -- not fall, Lis -- t'ning ev -- ery mo -- ment to the Spir -- its' call, Rest -- ing in my Sav -- iour, as my all in all, Stand -- ing on the prom -- is -- es of God.", "prose": ["Standing on the promises I cannot fall,", "List'ning every moment to the Spirits' call,", "Resting in my Saviour, as my all in all,", "Standing on the promises of God."]}}, "refrain": {"syllabified": "Stand -- ing, Stand -- ing, Stand -- ing on the prom -- is -- es of God my Sav -- iour; Stand -- ing, Stand -- ing, I'm stand -- ing on the prom -- is -- es of God.", "prose": ["Standing, Standing,", "Standing on the promises of God my Saviour;", "Standing, Standing,", "I'm standing on the promises of God."]}}, "sun-of-my-soul-thou-savior-dear": {"slug": "sun-of-my-soul-thou-savior-dear", "title": "Sun of My Soul, Thou Savior Dear", "first_line": "Sun of my soul, Thou Savior dear", "author": "john-keble", "author_date": "1820", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Evening", "Trust", "Abiding"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Keble, \"Sun of my soul, Thou Savior dear\" (from the poem \"Evening\"), The Christian Year (Oxford, 1827; written 1820). Keble d. 1866; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sun of my soul, Thou Sav -- ior dear, It is not night if Thou be near: O may no earth -- born cloud a -- rise To hide Thee from Thy serv -- ant's eyes.", "prose": ["Sun of my soul, Thou Savior dear,", "It is not night if Thou be near:", "O may no earth-born cloud arise", "To hide Thee from Thy servant's eyes."]}, "2": {"syllabified": "When the soft dews of kind -- ly sleep My wea -- ried eye -- lids gent -- ly steep, Be my last thought, how sweet to rest For -- ev -- er on my Sav -- ior's breast.", "prose": ["When the soft dews of kindly sleep", "My wearied eyelids gently steep,", "Be my last thought, how sweet to rest", "Forever on my Savior's breast."]}, "3": {"syllabified": "A -- bide with me from morn till eve, For with -- out Thee I can -- not live; A -- bide with me when night is nigh, For with -- out Thee I dare not die.", "prose": ["Abide with me from morn till eve,", "For without Thee I cannot live;", "Abide with me when night is nigh,", "For without Thee I dare not die."]}, "4": {"syllabified": "Watch by the sick; en -- rich the poor With bless -- ings from Thy bound -- less store; Be ev -- ery mourn -- er's sleep to -- night Like in -- fant's slum -- bers, pure and light.", "prose": ["Watch by the sick; enrich the poor", "With blessings from Thy boundless store;", "Be every mourner's sleep tonight", "Like infant's slumbers, pure and light."]}, "5": {"syllabified": "Come near and bless us when we wake, Ere through the world our way we take; Till in the o -- cean of Thy love We lose our -- selves in heav'n a -- bove.", "prose": ["Come near and bless us when we wake,", "Ere through the world our way we take;", "Till in the ocean of Thy love", "We lose ourselves in heaven above."]}}}, "sweet-by-and-by": {"slug": "sweet-by-and-by", "title": "Sweet By and By", "first_line": "There's a land that is fairer than day", "author": "s-fillmore-bennett", "author_date": "1868", "foot": "anapestic", "meter": {"pattern": [9, 9, 9, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Heaven", "Hope", "Eternal Life", "Praise"], "scripture": ["John 14:2-3", "Revelation 21:4", "Revelation 22:1-5", "Hebrews 11:16"], "provenance": {"layer": "text", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Sanford Fillmore Bennett (1836-1898), written 1868 in Elkhorn, Wisconsin, for J. P. Webster and first published that year in The Signet Ring; Bennett died in 1898, so the text is long PD everywhere. Transcribed syllable by syllable from the dated page image of Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 — archive.org item tabernaclehymns00town, leaf 0087 — headed \"81  Sweet By-and-By.\" and credited \"S. Fillmore Bennett.\" over the words, all three stanzas interlinear, footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" (the 1910 claim covers the arrangement, not the 1868 words). Collated against the 1914 printing in The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 230 — archive.org newmakechristkin00unse, leaf 0215 — whose stanzas 2-3 are printed as poetry below the score. WORDING follows the 1918 page, checked at 4-6x: stanza 2 reads \"And our SPIR-IT shall sorrow no more\" (singular) and \"Not a sigh for the BLESS-INGS of rest\" (plural) where the 1914 page prints \"our spirits\" and \"the blessing\"; the chorus row prints \"by and by,\" unhyphenated where 1914 prints \"by-and-by;\". The 1918 readings ship. The title is printed \"Sweet By-and-By.\" on both pages; the corpus title follows the unhyphenated chorus row and Hymnary usage.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "There's a land that is fair -- er than day, And by faith we can see it a -- far; For the Fa -- ther waits o -- ver the way To pre -- pare us a dwell -- ing place there.", "prose": ["There's a land that is fairer than day,", "And by faith we can see it afar;", "For the Father waits over the way", "To prepare us a dwelling place there."]}, "2": {"syllabified": "We shall sing on that beau -- ti -- ful shore The mel -- o -- di -- ous songs of the blest; And our spir -- it shall sor -- row no more, Not a sigh for the bless -- ings of rest.", "prose": ["We shall sing on that beautiful shore", "The melodious songs of the blest;", "And our spirit shall sorrow no more,", "Not a sigh for the blessings of rest."]}, "3": {"syllabified": "To our boun -- ti -- ful Fa -- ther a -- bove, We will of -- fer our trib -- ute of praise, For the glo -- ri -- ous gift of His love, And the bless -- ings that hal -- low our days.", "prose": ["To our bountiful Father above,", "We will offer our tribute of praise,", "For the glorious gift of His love,", "And the blessings that hallow our days."]}}, "refrain": {"syllabified": "In the sweet by and by, We shall meet on that beau -- ti -- ful shore, In the sweet by and by, We shall meet on that beau -- ti -- ful shore.", "prose": ["In the sweet by and by,", "We shall meet on that beautiful shore,", "In the sweet by and by,", "We shall meet on that beautiful shore."]}}, "sweet-hour-of-prayer": {"slug": "sweet-hour-of-prayer", "title": "Sweet Hour of Prayer", "first_line": "Sweet hour of prayer, sweet hour of prayer", "author": "william-w-walford", "author_date": "1845", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Prayer", "Devotion", "Communion with God", "Comfort"], "scripture": ["Matthew 6:6", "Psalm 55:17", "Luke 18:1", "1 Thessalonians 5:17"], "provenance": {"layer": "text", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Transcribed word for word and point for point from the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364 — archive.org methodi00meth leaf n375 — and re-read on a second scan of the same page, archive.org methodisthymnal01churgoog leaf n382, which is the sharper of the two and is what the pointing below was taken from. That page sets these three stanzas over Bradbury's SWEET HOUR and signs them \"William W. Walford\" at the foot, so the text-and-tune pairing carried here is the printed one and not an editorial choice. US public domain: the printing read is itself pre-1931. The hymn is generally traced to a piece printed in the New York Observer of 13 September 1845, where Thomas Salmon said he had taken it down from the dictation of a blind lay preacher at Coleshill, Warwickshire; the identification of that preacher with the Congregational minister William Walford is a later conjecture. NEITHER the 1845 printing NOR any account of it was opened for this record — the 1845 date is the received one and the people.yaml entry therefore carries no dates. NO EDITORIAL CHANGES WERE MADE TO THE WORDS OR THE POINTING. In particular the page's own capitalisation is kept, including \"To Him,\" in stanza 2 line 3 against lower-case \"he\", \"his\" and \"him\" in the same stanza, and so is the comma in \"And bids me, at my Father's throne,\" in stanza 1. ONE TYPOGRAPHIC DEPARTURE: stanza 3's first line, which the page sets with a compositor's turn bracket (\"Sweet hour of prayer, sweet hour of / ... [prayer,\") because the column is too narrow, is written out in full here. The metre is L.M.D. — eight lines of eight syllables, 64 syllables against the tune's 67 soprano noteheads (three two-note melismas).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sweet hour of prayer, sweet hour of prayer, That calls me from a world of care, And bids me, at my Fa -- ther's throne, Make all my wants and wish -- es known! In sea -- sons of dis -- tress and grief, My soul has oft -- en found re -- lief, And oft es -- caped the tempt -- er's snare, By thy re -- turn, sweet hour of prayer.", "prose": ["Sweet hour of prayer, sweet hour of prayer,", "That calls me from a world of care,", "And bids me, at my Father's throne,", "Make all my wants and wishes known!", "In seasons of distress and grief,", "My soul has often found relief,", "And oft escaped the tempter's snare,", "By thy return, sweet hour of prayer."]}, "2": {"syllabified": "Sweet hour of prayer, sweet hour of prayer, Thy wings shall my pe -- ti -- tion bear To Him, whose truth and faith -- ful -- ness En -- gage the wait -- ing soul to bless: And since he bids me seek his face, Be -- lieve his word, and trust his grace, I'll cast on him my ev -- ery care, And wait for thee, sweet hour of prayer.", "prose": ["Sweet hour of prayer, sweet hour of prayer,", "Thy wings shall my petition bear", "To Him, whose truth and faithfulness", "Engage the waiting soul to bless:", "And since he bids me seek his face,", "Believe his word, and trust his grace,", "I'll cast on him my every care,", "And wait for thee, sweet hour of prayer."]}, "3": {"syllabified": "Sweet hour of prayer, sweet hour of prayer, May I thy con -- so -- la -- tion share, Till, from Mount Pis -- gah's loft -- y height, I view my home, and take my flight: This robe of flesh I'll drop, and rise, To seize the ev -- er -- last -- ing prize; And shout, while pass -- ing through the air, Fare -- well, fare -- well, sweet hour of prayer!", "prose": ["Sweet hour of prayer, sweet hour of prayer,", "May I thy consolation share,", "Till, from Mount Pisgah's lofty height,", "I view my home, and take my flight:", "This robe of flesh I'll drop, and rise,", "To seize the everlasting prize;", "And shout, while passing through the air,", "Farewell, farewell, sweet hour of prayer!"]}}}, "sweet-is-the-work-my-god-my-king": {"slug": "sweet-is-the-work-my-god-my-king", "title": "Sweet Is the Work, My God, My King", "first_line": "Sweet is the work, my God, my King", "author": "isaac-watts", "author_date": "1719", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Worship", "Lord's Day", "Praise"], "scripture": ["Psalm 92"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, \"Sweet is the work, my God, my King\" (a paraphrase of Psalm 92), The Psalms of David Imitated in the Language of the New Testament (London, 1719). Stanzas 1, 2, 3, and 7 of the original. Watts d. 1748; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sweet is the work, my God, my King, To praise Thy name, give thanks and sing, To show Thy love by morn -- ing light, And talk of all Thy truth at night.", "prose": ["Sweet is the work, my God, my King,", "To praise Thy name, give thanks and sing,", "To show Thy love by morning light,", "And talk of all Thy truth at night."]}, "2": {"syllabified": "Sweet is the day of sa -- cred rest, No mor -- tal cares shall seize my breast; O may my heart in tune be found, Like Da -- vid's harp of sol -- emn sound!", "prose": ["Sweet is the day of sacred rest,", "No mortal cares shall seize my breast;", "O may my heart in tune be found,", "Like David's harp of solemn sound!"]}, "3": {"syllabified": "My heart shall tri -- umph in my Lord, And bless His works, and bless His Word; Thy works of grace, how bright they shine! How deep Thy coun -- sels, how di -- vine!", "prose": ["My heart shall triumph in my Lord,", "And bless His works, and bless His Word;", "Thy works of grace, how bright they shine!", "How deep Thy counsels, how divine!"]}, "4": {"syllabified": "Then shall I see, and hear, and know All I de -- sired or wished be -- low; And ev -- ery power find sweet em -- ploy In that e -- ter -- nal world of joy.", "prose": ["Then shall I see, and hear, and know", "All I desired or wished below;", "And every power find sweet employ", "In that eternal world of joy."]}}}, "take-my-life-and-let-it-be": {"slug": "take-my-life-and-let-it-be", "title": "Take My Life and Let It Be", "first_line": "Take my life, and let it be", "author": "frances-havergal", "author_date": "1874", "foot": "trochaic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Consecration", "Discipleship", "Service"], "scripture": ["Romans 12:1"], "provenance": {"layer": "text", "source": "havergal-1874", "source_kind": "gutenberg", "pd_basis": "pub_pre_1931", "pd_evidence": "Frances R. Havergal, 1874. Author d. 1879.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "take_my_life_and_let_it_be", "total_instances": 1357}}, "stanzas": {"1": {"syllabified": "Take my life, and let it be con -- se -- crat -- ed, Lord, to Thee. Take my mo -- ments and my days; let them flow in cease -- less praise.", "prose": ["Take my life, and let it be", "consecrated, Lord, to Thee.", "Take my moments and my days;", "let them flow in ceaseless praise."]}, "2": {"syllabified": "Take my hands, and let them move at the im -- pulse of Thy love. Take my feet, and let them be swift and beau -- ti -- ful for Thee.", "prose": ["Take my hands, and let them move", "at the impulse of Thy love.", "Take my feet, and let them be", "swift and beautiful for Thee."]}, "3": {"syllabified": "Take my voice, and let me sing al -- ways, on -- ly, for my King. Take my lips, and let them be filled with mess -- ag -- es from Thee.", "prose": ["Take my voice, and let me sing", "always, only, for my King.", "Take my lips, and let them be", "filled with messages from Thee."]}, "4": {"syllabified": "Take my sil -- ver and my gold; not a mite would I with -- hold. Take my in -- tell -- ect, and use ev -- ery pow'r as Thou shalt choose.", "prose": ["Take my silver and my gold;", "not a mite would I withhold.", "Take my intellect, and use", "every pow'r as Thou shalt choose."]}, "5": {"syllabified": "Take my will, and make it Thine; it shall be no long -- er mine. Take my heart, it is Thine own; it shall be Thy ro -- yal throne.", "prose": ["Take my will, and make it Thine;", "it shall be no longer mine.", "Take my heart, it is Thine own;", "it shall be Thy royal throne."]}}}, "take-up-thy-cross-the-savior-said": {"slug": "take-up-thy-cross-the-savior-said", "title": "Take Up Thy Cross, the Savior Said", "first_line": "Take up thy cross, the Savior said", "author": "charles-william-everest", "author_date": "1833", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Discipleship", "Cross", "Consecration"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles William Everest, \"Take up thy cross, the Savior said,\" published in Visions of Death, and Other Poems (Hartford, 1833). Everest d. 1877; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Take up thy cross, the Sav -- ior said, If thou wouldst my dis -- ci -- ple be; De -- ny thy -- self, the world for -- sake, And hum -- bly fol -- low aft -- er me.", "prose": ["Take up thy cross, the Savior said,", "If thou wouldst my disciple be;", "Deny thyself, the world forsake,", "And humbly follow after me."]}, "2": {"syllabified": "Take up thy cross, let not its weight Fill thy weak spir -- it with a -- larm; His strength shall bear thy spir -- it up, And brace thy heart, and nerve thine arm.", "prose": ["Take up thy cross, let not its weight", "Fill thy weak spirit with alarm;", "His strength shall bear thy spirit up,", "And brace thy heart, and nerve thine arm."]}, "3": {"syllabified": "Take up thy cross, nor heed the shame, Nor let thy fool -- ish pride re -- bel; Thy Lord for thee the cross en -- dured, To save thy soul from death and hell.", "prose": ["Take up thy cross, nor heed the shame,", "Nor let thy foolish pride rebel;", "Thy Lord for thee the cross endured,", "To save thy soul from death and hell."]}, "4": {"syllabified": "Take up thy cross, then, in His strength, And calm -- ly ev -- ery dan -- ger brave; 'Twill guide thee to a bet -- ter home, And lead to vic -- t'ry o'er the grave.", "prose": ["Take up thy cross, then, in His strength,", "And calmly every danger brave;", "'Twill guide thee to a better home,", "And lead to vict'ry o'er the grave."]}, "5": {"syllabified": "Take up thy cross, and fol -- low Christ, Nor think till death to lay it down; For on -- ly those who bear the cross May hope to wear the glo -- rious crown.", "prose": ["Take up thy cross, and follow Christ,", "Nor think till death to lay it down;", "For only those who bear the cross", "May hope to wear the glorious crown."]}}}, "teach-me-o-lord-thy-way-of-truth": {"slug": "teach-me-o-lord-thy-way-of-truth", "title": "Instruction in the Divine Law", "first_line": "Teach me, O Lord, Thy way of truth", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 325) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 325. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Teach me, O Lord, Thy way of truth, And from it I will not de -- part; That I may stead -- fast -- ly o -- bey, Give me an un -- der -- stand -- ing heart.", "prose": ["Teach me, O Lord, Thy way of truth,", "And from it I will not depart;", "That I may steadfastly obey,", "Give me an understanding heart."]}, "2": {"syllabified": "In Thy com -- mand -- ments make me walk, For in Thy law my joy shall be; Give me a heart that loves Thy will, From dis -- con -- tent and en -- vy free.", "prose": ["In Thy commandments make me walk,", "For in Thy law my joy shall be;", "Give me a heart that loves Thy will,", "From discontent and envy free."]}, "3": {"syllabified": "Turn Thou my eyes from van -- i -- ty, And cause me in thy ways to tread; O let Thy ser -- vant prove Thy word And thus to god -- ly fear be led.", "prose": ["Turn Thou my eyes from vanity,", "And cause me in thy ways to tread;", "O let Thy servant prove Thy word", "And thus to godly fear be led."]}, "4": {"syllabified": "Turn Thou a -- way re -- proach and fear; Thy right -- eous judg -- ments I con -- fess; To know Thy pre -- cepts i de -- sire, Re -- vive me in thy right -- eous -- ness.", "prose": ["Turn Thou away reproach and fear;", "Thy righteous judgments I confess;", "To know Thy precepts i desire,", "Revive me in thy righteousness."]}}}, "th-eternal-lord-doth-reign-as-king": {"slug": "th-eternal-lord-doth-reign-as-king", "title": "Th' Eternal Lord Doth Reign as King", "first_line": "Th' eternal Lord doth reign as king", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 99, "topics": ["Psalms"], "scripture": ["Psalm 99"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 99. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Th'e -- ter -- nal Lord doth reign as king, let all the peo -- ple quake; He sits be -- tween the cher -- u -- bims, let th'earth be mov'd and shake.", "prose": ["Th' eternal Lord doth reign as king,", "let all the people quake;", "He sits between the cherubims,", "let th' earth be mov'd and shake."]}, "2": {"syllabified": "The Lord in Zi -- on great and high a -- bove all peo -- ple is; Thy great and dread -- ful name (for it is ho -- ly) let them bless.", "prose": ["The Lord in Zion great and high", "above all people is;", "Thy great and dreadful name (for it", "is holy) let them bless."]}, "3": {"syllabified": "The king's strength al -- so judg -- ment loves; thou set -- tlest eq -- ui -- ty: Just judg -- ment thou dost ex -- e -- cute in Ja -- cob righ -- teous -- ly.", "prose": ["The king's strength also judgment loves;", "thou settlest equity:", "Just judgment thou dost execute", "in Jacob righteously."]}, "4": {"syllabified": "The Lord our God ex -- alt on high, and rev -- 'rent -- ly do ye Be -- fore his foot -- stool wor -- ship him: the Ho -- ly One is he.", "prose": ["The Lord our God exalt on high,", "and rev'rently do ye", "Before his footstool worship him:", "the Holy One is he."]}, "5": {"syllabified": "Mo -- ses and Aa -- ron 'mong his priests, Sam -- uel, with them that call Up -- on his name: these called on God, and he them an -- swered all.", "prose": ["Moses and Aaron 'mong his priests,", "Samuel, with them that call", "Upon his name: these called on God,", "and he them answered all."]}, "6": {"syllabified": "With -- in the pil -- lar of the cloud he un -- to them did speak: The tes -- ti -- mo -- nies he them taught, and laws, they did not break.", "prose": ["Within the pillar of the cloud", "he unto them did speak:", "The testimonies he them taught,", "and laws, they did not break."]}, "7": {"syllabified": "Thou an -- swer'dst them, O Lord our God; thou wast a God that gave Par -- don to them, though on their deeds thou would -- est ven -- geance have.", "prose": ["Thou answer'dst them, O Lord our God;", "thou wast a God that gave", "Pardon to them, though on their deeds", "thou wouldest vengeance have."]}, "8": {"syllabified": "Do ye ex -- alt the Lord our God, and at his ho -- ly hill Do ye him wor -- ship: for the Lord our God is ho -- ly still.", "prose": ["Do ye exalt the Lord our God,", "and at his holy hill", "Do ye him worship: for the Lord", "our God is holy still."]}}}, "that-man-hath-perfect-blessedness": {"slug": "that-man-hath-perfect-blessedness", "title": "That Man Hath Perfect Blessedness", "first_line": "That man hath perfect blessedness", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 1, "topics": ["Psalms"], "scripture": ["Psalm 1"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 1. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "That man hath per -- fect bless -- ed -- ness who walk -- eth not a -- stray In coun -- sel of un -- god -- ly men, nor stands in sin -- ners' way,", "prose": ["That man hath perfect blessedness", "who walketh not astray", "In counsel of ungodly men,", "nor stands in sinners' way,"]}, "2": {"syllabified": "Nor sitt -- eth in the scor -- ner's chair: But plac -- eth his de -- light Up -- on God's law, and med -- i -- tates on his law day and night.", "prose": ["Nor sitteth in the scorner's chair:", "But placeth his delight", "Upon God's law, and meditates", "on his law day and night."]}, "3": {"syllabified": "He shall be like a tree that grows near plant -- ed by a riv -- er, Which in his sea -- son yields his fruit, and his leaf fad -- eth nev -- er:", "prose": ["He shall be like a tree that grows", "near planted by a river,", "Which in his season yields his fruit,", "and his leaf fadeth never:"]}, "4": {"syllabified": "And all he doth shall pros -- per well. The wick -- ed are not so; But like they are un -- to the chaff, which wind drives to and fro.", "prose": ["And all he doth shall prosper well.", "The wicked are not so;", "But like they are unto the chaff,", "which wind drives to and fro."]}, "5": {"syllabified": "In judg -- ment there -- fore shall not stand such as un -- god -- ly are; Nor in th'as -- sem -- bly of the just shall wick -- ed men ap -- pear.", "prose": ["In judgment therefore shall not stand", "such as ungodly are;", "Nor in th' assembly of the just", "shall wicked men appear."]}, "6": {"syllabified": "For why? the way of god -- ly men un -- to the Lord is known: Where -- as the way of wick -- ed men shall quite be o -- ver -- thrown.", "prose": ["For why? the way of godly men", "unto the Lord is known:", "Whereas the way of wicked men", "shall quite be overthrown."]}}}, "that-man-is-blest-who-fearing-god": {"slug": "that-man-is-blest-who-fearing-god", "title": "The Blessedness of the Godly", "first_line": "That man is blest who, fearing God", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 1, "topics": ["Psalms"], "scripture": ["Psalm 1"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 1) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 1, selection 1. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "That man is blest who, fear -- ing God, From sin re -- strains his feet, Who will not stand with wick -- ed men, Who shuns the scor -- ners' seat.", "prose": ["That man is blest who, fearing God,", "From sin restrains his feet,", "Who will not stand with wicked men,", "Who shuns the scorners' seat."]}, "2": {"syllabified": "Yea, blest is he who makes God's law His por -- tion and de -- light, And med -- i -- tates up -- on that law With glad -- ness day and night.", "prose": ["Yea, blest is he who makes God's law", "His portion and delight,", "And meditates upon that law", "With gladness day and night."]}, "3": {"syllabified": "That man is nour -- ished like a tree Set by the riv -- ers' side; Its leaf is green, its fruit is sure, And thus his works a -- bide.", "prose": ["That man is nourished like a tree", "Set by the rivers' side;", "Its leaf is green, its fruit is sure,", "And thus his works abide."]}, "4": {"syllabified": "The wick -- ed like the driv -- en chaff Are swept from off the land; They shall not gath -- er with the just, Nor in the judg -- ment stand.", "prose": ["The wicked like the driven chaff", "Are swept from off the land;", "They shall not gather with the just,", "Nor in the judgment stand."]}, "5": {"syllabified": "The Lord will guard the right -- eous well, Their way to Him is known; The way of sin -- ners, far from God, Shall sure -- ly be o'er -- thrown.", "prose": ["The Lord will guard the righteous well,", "Their way to Him is known;", "The way of sinners, far from God,", "Shall surely be o'erthrown."]}}}, "that-there-is-not-a-god-the-fool": {"slug": "that-there-is-not-a-god-the-fool", "title": "That There Is Not a God, the Fool", "first_line": "That there is not a God, the fool", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 14, "topics": ["Psalms"], "scripture": ["Psalm 14"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 14. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "That there is not a God, the fool doth in his heart con -- clude: They are cor -- rupt, their works are vile; not one of them doth good.", "prose": ["That there is not a God, the fool", "doth in his heart conclude:", "They are corrupt, their works are vile;", "not one of them doth good."]}, "2": {"syllabified": "Up -- on men's sons the Lord from heav'n did cast his eyes a -- broad, To see if an -- y un -- der -- stood, and did seek af -- ter God.", "prose": ["Upon men's sons the Lord from heav'n", "did cast his eyes abroad,", "To see if any understood,", "and did seek after God."]}, "3": {"syllabified": "They al -- to -- geth -- er fil -- thy are, they all a -- side are gone; And there is none that do -- eth good, yea, sure there is not one.", "prose": ["They altogether filthy are,", "they all aside are gone;", "And there is none that doeth good,", "yea, sure there is not one."]}, "4": {"syllabified": "These wor -- kers of in -- iq -- ui -- ty do they not know at all, That they my peo -- ple eat as bread, and on God do not call?", "prose": ["These workers of iniquity", "do they not know at all,", "That they my people eat as bread,", "and on God do not call?"]}, "5": {"syllabified": "There fear'd they much; for God is with the whole race of the just. You shame the coun -- sel of the poor, be -- cause God is his trust.", "prose": ["There fear'd they much; for God is with", "the whole race of the just.", "You shame the counsel of the poor,", "because God is his trust."]}, "6": {"syllabified": "Let Is -- r'el's help from Zi -- on come: when back the Lord shall bring His cap -- tives, Ja -- cob shall re -- joice, and I -- sra -- el shall sing.", "prose": ["Let Isr'el's help from Zion come:", "when back the Lord shall bring", "His captives, Jacob shall rejoice,", "and Israel shall sing."]}}}, "that-there-is-not-a-god-the-fool-psalm-53": {"slug": "that-there-is-not-a-god-the-fool-psalm-53", "title": "That There Is Not a God, the Fool", "first_line": "That there is not a God, the fool", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 53, "topics": ["Psalms"], "scripture": ["Psalm 53"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 53. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "That there is not a God, the fool doth in his heart con -- clude: They are cor -- rupt, their works are vile, not one of them doth good.", "prose": ["That there is not a God, the fool", "doth in his heart conclude:", "They are corrupt, their works are vile,", "not one of them doth good."]}, "2": {"syllabified": "The Lord up -- on the sons of men from heav'n did cast his eyes, To see if an -- y one there was that sought God, and was wise.", "prose": ["The Lord upon the sons of men", "from heav'n did cast his eyes,", "To see if any one there was", "that sought God, and was wise."]}, "3": {"syllabified": "They al -- to -- geth -- er fil -- thy are, they all are back -- ward gone; And there is none that do -- eth good, no, not so much as one.", "prose": ["They altogether filthy are,", "they all are backward gone;", "And there is none that doeth good,", "no, not so much as one."]}, "4": {"syllabified": "These wor -- kers of in -- iq -- ui -- ty, do they not know at all, That they my peo -- ple eat as bread, and on God do not call?", "prose": ["These workers of iniquity,", "do they not know at all,", "That they my people eat as bread,", "and on God do not call?"]}, "5": {"syllabified": "Ev'n there they were a -- fraid, and stood with trem -- bling, all dis -- mayed, Where -- as there was no cause at all why they should be a -- fraid:", "prose": ["Ev'n there they were afraid, and stood", "with trembling, all dismayed,", "Whereas there was no cause at all", "why they should be afraid:"]}, "6": {"syllabified": "For God his bones that thee be -- sieged hath scat -- tered all a -- broad; Thou hast con -- found -- ed them, for they de -- spis -- ed are of God.", "prose": ["For God his bones that thee besieged", "hath scattered all abroad;", "Thou hast confounded them, for they", "despised are of God."]}, "7": {"syllabified": "Let Is -- r'el's help from Zi -- on come: when back the Lord shall bring His cap -- tives, Ja -- cob shall re -- joice, and I -- sra -- el shall sing.", "prose": ["Let Isr'el's help from Zion come:", "when back the Lord shall bring", "His captives, Jacob shall rejoice,", "and Israel shall sing."]}}}, "the-advent-of-our-god": {"slug": "the-advent-of-our-god", "title": "The Advent of Our God", "first_line": "The advent of our God Shall be our theme", "author": "charles-coffin", "author_date": "1736", "translator": "john-chandler", "translator_date": "1837", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Christmas", "Advent", "Crown", "Darkness, Spiritual"], "scripture": ["Zephaniah 1:14", "Revelation 22:20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:44; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "the_advent_of_our_king_our_prayers_must", "total_instances": 57}}, "stanzas": {"1": {"syllabified": "The ad -- vent of our God Shall be our theme for prayer Come, let us meet him on the road And place for Him pre -- pare.", "prose": ["The advent of our God", "Shall be our theme for prayer", "Come, let us meet him on the road", "And place for Him prepare."]}, "2": {"syllabified": "The ev -- er -- last -- ing Son In -- car -- nate stoops to be, Him -- self the ser -- vant's form puts on To set His peo -- ple free.", "prose": ["The everlasting Son", "Incarnate stoops to be,", "Himself the servant's form puts on", "To set His people free."]}, "3": {"syllabified": "Come, Zi -- on's daugh -- ter, rise To meet your low -- ly King, Nor let your faith -- less heart de -- spise The peace He comes to bring.", "prose": ["Come, Zion's daughter, rise", "To meet your lowly King,", "Nor let your faithless heart despise", "The peace He comes to bring."]}, "4": {"syllabified": "As judge, on clouds of light, He soon will come a -- gain And all His scat -- tered saints u -- nite With Him on high to reign.", "prose": ["As judge, on clouds of light,", "He soon will come again", "And all His scattered saints unite", "With Him on high to reign."]}, "5": {"syllabified": "Be -- fore the dawn -- ing day Let sin be put to flight; No long -- er let the law hold sway, But walk in free -- dom's light.", "prose": ["Before the dawning day", "Let sin be put to flight;", "No longer let the law hold sway,", "But walk in freedom's light."]}}}, "the-churchs-one-foundation": {"slug": "the-churchs-one-foundation", "title": "The Church's One Foundation", "first_line": "The Church's one foundation", "author": "samuel-john-stone", "author_date": "1866", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Church", "Church, Unity of"], "scripture": ["Ephesians 2:20"], "provenance": {"layer": "text", "source": "rcus-order-1866", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:220", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Samuel John Stone, 1866. Author d. 1900.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "the_churchs_one_foundation", "total_instances": 947}}, "stanzas": {"1": {"syllabified": "The Church -- ’s one foun -- da -- tion Is Je -- sus Christ her Lord, She is His new cre -- a -- tion By wa -- ter and the Word. From heav’n He came and sought her To be His ho -- ly bride; With His own blood He bought her And for her life He died.", "prose": ["The Church’s one foundation", "Is Jesus Christ her Lord,", "She is His new creation", "By water and the Word.", "From heav’n He came and sought her", "To be His holy bride;", "With His own blood He bought her", "And for her life He died."]}, "2": {"syllabified": "She is from ev -- ery na -- tion, Yet one o’er all the earth; Her char -- ter of sal -- va -- tion, One Lord, one faith, one birth; One ho -- ly Name she bless -- es, Par -- takes one ho -- ly food, And to one hope she press -- es, With ev -- ery grace en -- dued.", "prose": ["She is from every nation,", "Yet one o’er all the earth;", "Her charter of salvation,", "One Lord, one faith, one birth;", "One holy Name she blesses,", "Partakes one holy food,", "And to one hope she presses,", "With every grace endued."]}, "3": {"syllabified": "The Church shall nev -- er per -- ish! Her dear Lord to de -- fend, To guide, sus -- tain, and cher -- ish, Is with her to the end: Though there be those who hate her, And false sons in her pale, A -- gainst or foe or trai -- tor She ev -- er shall pre -- vail.", "prose": ["The Church shall never perish!", "Her dear Lord to defend,", "To guide, sustain, and cherish,", "Is with her to the end:", "Though there be those who hate her,", "And false sons in her pale,", "Against or foe or traitor", "She ever shall prevail."]}, "4": {"syllabified": "Though with a scorn -- ful won -- der Men see her sore op -- pressed, By schi -- sms rent a -- sun -- der, By her -- e -- sies dis -- tressed: Yet saints their watch are keep -- ing, Their cry goes up, ‘How long?’ And soon the night of weep -- ing Shall be the morn of song!", "prose": ["Though with a scornful wonder", "Men see her sore oppressed,", "By schisms rent asunder,", "By heresies distressed:", "Yet saints their watch are keeping,", "Their cry goes up, ‘How long?’", "And soon the night of weeping", "Shall be the morn of song!"]}, "5": {"syllabified": "’Mid toil and trib -- u -- la -- tion, And tu -- mult of her war, She waits the con -- sum -- ma -- tion Of peace for -- ev -- er -- more; Till, with the vi -- sion glo -- rious, Her long -- ing eyes are blest, And the great Church vic -- tor -- ious Shall be the Church at rest.", "prose": ["’Mid toil and tribulation,", "And tumult of her war,", "She waits the consummation", "Of peace forevermore;", "Till, with the vision glorious,", "Her longing eyes are blest,", "And the great Church victorious", "Shall be the Church at rest."]}}}, "the-comforter-has-come": {"slug": "the-comforter-has-come", "title": "The Comforter Has Come", "first_line": "O spread the tidings 'round, wherever man is found", "index_first_line": "O spread the tidings 'round", "author": "frank-bottome", "author_date": "1898", "foot": "iambic", "meter": {"pattern": [12, 12, 12, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Aspiration", "Christian Life", "Faith", "Father"], "scripture": ["Matthew 6:7-13", "Psalm 31:1-3", "Ephesians 6:10-17", "Psalm 55:22"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:121; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "o_spread_the_tidings_round", "total_instances": 268}}, "stanzas": {"1": {"syllabified": "O spread the tid -- ings 'round, wher -- ev -- er man is found, Wher -- ev -- er hu -- man hearts and hu -- man woes a -- bound; Let ev -- 'ry Chris -- tian tongue pro -- claim the joy -- ful sound: The Com -- fort -- er has come!", "prose": ["O spread the tidings 'round, wherever man is found,", "Wherever human hearts and human woes abound;", "Let ev'ry Christian tongue proclaim the joyful sound:", "The Comforter has come!"]}, "2": {"syllabified": "The long, long night is past, the morn -- ing breaks at last, And hush'd the dread -- ful wail and fu -- ry of the blast, As o'er the gold -- en hills the day ad -- vanc -- es fast! The Com -- fort -- er has come!", "prose": ["The long, long night is past, the morning breaks at last,", "And hush'd the dreadful wail and fury of the blast,", "As o'er the golden hills the day advances fast!", "The Comforter has come!"]}, "3": {"syllabified": "Lo, the great King of kings, with heal -- ing in His wings, To ev -- 'ry cap -- tive soul a full de -- liv -- 'rance brings; And thro' the va -- cant cells the song of tri -- umph rings; The Com -- fort -- er has come!", "prose": ["Lo, the great King of kings, with healing in His wings,", "To ev'ry captive soul a full deliv'rance brings;", "And thro' the vacant cells the song of triumph rings;", "The Comforter has come!"]}, "4": {"syllabified": "O bound -- less love di -- vine! how shall this tongue of mine To won -- d'ring mor -- tals tell the match -- less grace di -- vine; That I, a child of hell, should in His im -- age shine! The Com -- fort -- er has come!", "prose": ["O boundless love divine! how shall this tongue of mine", "To wond'ring mortals tell the matchless grace divine;", "That I, a child of hell, should in His image shine!", "The Comforter has come!"]}, "5": {"syllabified": "Sing, till the ech -- oes fly a -- bove the vault -- ed sky, And all the saints a -- bove to all be -- low re -- ply, In strains of end -- less love the song that ne'er will die: The Com -- fort -- er has come!", "prose": ["Sing, till the echoes fly above the vaulted sky,", "And all the saints above to all below reply,", "In strains of endless love the song that ne'er will die:", "The Comforter has come!"]}}, "refrain": {"syllabified": "The Com -- fort -- er has come, The Com -- fort -- er has come! The Ho -- ly Ghost from heav'n, The Fa -- ther's prom -- ise giv'n; O spread the tid -- ings 'round, Wher -- ev -- er man is found: The Com -- fort -- er has come!", "prose": ["The Comforter has come, The Comforter has come!", "The Holy Ghost from heav'n, The Father's promise giv'n;", "O spread the tidings 'round, Wherever man is found:", "The Comforter has come!"]}}, "the-earth-belongs-unto-the-lord": {"slug": "the-earth-belongs-unto-the-lord", "title": "The Earth Belongs unto the Lord", "first_line": "The earth belongs unto the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 24, "topics": ["Psalms"], "scripture": ["Psalm 24"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 24. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The earth be -- longs un -- to the Lord, and all that it con -- tains; The world that is in -- hab -- it -- ed, and all that there re -- mains.", "prose": ["The earth belongs unto the Lord,", "and all that it contains;", "The world that is inhabited,", "and all that there remains."]}, "2": {"syllabified": "For the foun -- da -- ti -- ons there -- of he on the seas did lay, And he hath it es -- tab -- lish -- ed up -- on the floods to stay.", "prose": ["For the foundations thereof", "he on the seas did lay,", "And he hath it established", "upon the floods to stay."]}, "3": {"syllabified": "Who is the man that shall as -- cend in -- to the hill of God? Or who with -- in his ho -- ly place shall have a firm a -- bode?", "prose": ["Who is the man that shall ascend", "into the hill of God?", "Or who within his holy place", "shall have a firm abode?"]}, "4": {"syllabified": "Whose hands are clean, whose heart is pure, and un -- to van -- i -- ty Who hath not lift -- ed up his soul, nor sworn de -- ceit -- ful -- ly.", "prose": ["Whose hands are clean, whose heart is pure,", "and unto vanity", "Who hath not lifted up his soul,", "nor sworn deceitfully."]}, "5": {"syllabified": "He from th'E -- ter -- nal shall re -- ceive the bless -- ing him up -- on, And right -- eous -- ness, ev'n from the God of his sal -- va -- ti -- on.", "prose": ["He from th' Eternal shall receive", "the blessing him upon,", "And righteousness, ev'n from the God", "of his salvation."]}, "6": {"syllabified": "This is the gen -- er -- a -- ti -- on that af -- ter him en -- quire, O Ja -- cob, who do seek thy face with their whole heart's de -- sire.", "prose": ["This is the generation", "that after him enquire,", "O Jacob, who do seek thy face", "with their whole heart's desire."]}, "7": {"syllabified": "Ye gates, lift up your heads on high; ye doors that last for aye, Be lift -- ed up, that so the King of glo -- ry en -- ter may.", "prose": ["Ye gates, lift up your heads on high;", "ye doors that last for aye,", "Be lifted up, that so the King", "of glory enter may."]}, "8": {"syllabified": "But who of glo -- ry is the King? The might -- y Lord is this; Ev'n that same Lord, that great in might and strong in ba -- ttle is.", "prose": ["But who of glory is the King?", "The mighty Lord is this;", "Ev'n that same Lord, that great in might", "and strong in battle is."]}, "9": {"syllabified": "Ye gates, lift up your heads; ye doors, doors that do last for aye, Be lift -- ed up, that so the King of glo -- ry en -- ter may.", "prose": ["Ye gates, lift up your heads; ye doors,", "doors that do last for aye,", "Be lifted up, that so the King", "of glory enter may."]}, "10": {"syllabified": "But who is he that is the King of glo -- ry? who is this? The Lord of hosts, and none but he, the King of glo -- ry is.", "prose": ["But who is he that is the King", "of glory? who is this?", "The Lord of hosts, and none but he,", "the King of glory is."]}}}, "the-earth-with-all-that-dwell-therein": {"slug": "the-earth-with-all-that-dwell-therein", "title": "The Divine King and the Worshiper", "first_line": "The earth, with all that dwell therein", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 24, "topics": ["Psalms"], "scripture": ["Psalm 24"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 59) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 24, selection 59. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The earth, with all that dwell there -- in, With all its wealth un -- told, Be -- longs to God who found -- ed it Up -- on the seas of old.", "prose": ["The earth, with all that dwell therein,", "With all its wealth untold,", "Belongs to God who founded it", "Upon the seas of old."]}, "2": {"syllabified": "What man shall stand be -- fore the Lord On Zi -- on's ho -- ly hill? The clean of hand, the pure of heart, The just who do His will.", "prose": ["What man shall stand before the Lord", "On Zion's holy hill?", "The clean of hand, the pure of heart,", "The just who do His will."]}, "3": {"syllabified": "Lo, such are they that seek for God, And blest by Him they live; To them His per -- fect right -- eous -- ness The God of grace will give.", "prose": ["Lo, such are they that seek for God,", "And blest by Him they live;", "To them His perfect righteousness", "The God of grace will give."]}, "4": {"syllabified": "Ye ev -- er -- last -- ing doors, give way, Lift up your heads, ye gates! For now, be -- hold, to en -- ter in The King of glo -- ry waits.", "prose": ["Ye everlasting doors, give way,", "Lift up your heads, ye gates!", "For now, behold, to enter in", "The King of glory waits."]}, "5": {"syllabified": "Who is this glo -- rious King that comes To claim His sov -- 'reign right? It is the Lord om -- nip -- o -- tent, All con -- qu'ring in His might.", "prose": ["Who is this glorious King that comes", "To claim His sovereign right?", "It is the Lord omnipotent,", "All conqu'ring in His might."]}, "6": {"syllabified": "Ye ev -- er -- last -- ing doors, give way, Lift up your heads, ye gates! For now, be -- hold, to en -- ter in The King of Glo -- ry waits.", "prose": ["Ye everlasting doors, give way,", "Lift up your heads, ye gates!", "For now, behold, to enter in", "The King of Glory waits."]}, "7": {"syllabified": "Who is this glo -- rious King that comes To claim His right -- ful throne? The Lord of hosts, He is the King Of glo -- ry, God a -- lone.", "prose": ["Who is this glorious King that comes", "To claim His rightful throne?", "The Lord of hosts, He is the King", "Of glory, God alone."]}}}, "the-first-noel": {"slug": "the-first-noel", "title": "The First Noel", "first_line": "The first Noel the angel did say Was", "author_source": "Traditional English carol", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Assurance", "Blood", "Brotherhood"], "scripture": ["Isaiah 9:2", "Luke 2:8-15", "Micah 5:2", "1 Corinthians 15:55-57"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:70; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The first No -- el the an -- gel did say Was to cer -- tain poor shep -- herds in fields as they lay; In fields where they lay tend -- ing their sheep, On a cold win -- ter's night that was so deep.", "prose": ["The first Noel the angel did say", "Was to certain poor shepherds in fields as they lay;", "In fields where they lay tending their sheep,", "On a cold winter's night that was so deep."]}, "2": {"syllabified": "They look -- ed up and saw a star Shin -- ing in the east, be -- yond them far; And to the earth it gave great light, And so it con -- tin -- ued both day and night.", "prose": ["They looked up and saw a star", "Shining in the east, beyond them far;", "And to the earth it gave great light,", "And so it continued both day and night."]}, "3": {"syllabified": "And by the light of that same star Three Wise Men came from coun -- try far; To seek for a King was their in -- tent, And to fol -- low the star wher -- ev -- er it went.", "prose": ["And by the light of that same star", "Three Wise Men came from country far;", "To seek for a King was their intent,", "And to follow the star wherever it went."]}, "4": {"syllabified": "This star drew nigh to the north -- west, Ov -- er Beth -- le -- hem it took its rest; And there it did both stop and stay, Right ov -- er the place where Je -- sus lay.", "prose": ["This star drew nigh to the northwest,", "Over Bethlehem it took its rest;", "And there it did both stop and stay,", "Right over the place where Jesus lay."]}, "5": {"syllabified": "Then did they know as -- sur -- ed -- ly With -- in that house the King did lie; One en -- tered it them for to see, And found the Babe in pov -- er -- ty.", "prose": ["Then did they know assuredly", "Within that house the King did lie;", "One entered it them for to see,", "And found the Babe in poverty."]}}, "refrain": {"syllabified": "No -- el, No -- el, No -- el, No -- el, Born is the King of Is -- ra -- el.", "prose": ["Noel, Noel, Noel, Noel,", "Born is the King of Israel."]}}, "the-god-of-abraham-praise": {"slug": "the-god-of-abraham-praise", "title": "The God of Abraham Praise", "first_line": "The God of Abraham praise, Who reigns enthroned above", "author": "daniel-ben-judah", "author_date": "c. 1400", "translator": "thomas-olivers", "translator_date": "c. 1765", "foot": "iambic", "meter": {"pattern": [6, 6, 12], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Angels", "Assurance", "Blood", "Bride", "Bridegroom", "Courage in Affliction", "Discipleship", "Eternal Life", "Faithfulness", "Father", "Fire", "God, As King", "God, Care of", "God, Eternity of", "God, Goodness of", "God, Love of", "God, Majesty & Power of", "Gratitude", "Heaven", "Holy Spirit", "Jesus", "Joy", "Light", "Praise, Father", "Praise, Son", "Praise, Holy Spirit", "Presence", "Rest", "Saints (all Faithful)", "Trinity", "Worship", "Zeal"], "scripture": ["Exodus 3:14-15", "1 Chronicles 29:18"], "provenance": {"layer": "text", "source": "olivers-1765", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words: Thomas Olivers, c.1765, paraphrasing the Yigdal of Daniel ben Judah (c.1400). Olivers d. 1799; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The God of A -- br'ham praise, Who reigns en -- throned a -- bove; An -- cient of ev -- er -- last -- ing days, and God of Love; Je -- ho -- vah, great I AM! by earth and Heav'n con -- fessed; I bow and bless the sa -- cred Name for -- ev -- er blessed.", "prose": ["The God of Abr'ham praise,", "Who reigns enthroned above;", "Ancient of everlasting days,", "and God of Love;", "Jehovah, great I AM!", "by earth and Heav'n confessed;", "I bow and bless the sacred Name", "forever blessed."]}, "2": {"syllabified": "The God of A -- br'ham praise, at Whose su -- preme com -- mand From earth I rise and seek the joys at His right hand; I all on earth for -- sake, its wis -- dom, fame, and pow'r; And Him my on -- ly Por -- tion make, my Shield and Tow'r.", "prose": ["The God of Abr'ham praise,", "at Whose supreme command", "From earth I rise and seek the joys", "at His right hand;", "I all on earth forsake,", "its wisdom, fame, and pow'r;", "And Him my only Portion make,", "my Shield and Tow'r."]}, "3": {"syllabified": "The God of A -- br'ham praise, Whose all suf -- fic -- ient grace Shall guide me all my hap -- py days, in all my ways. He calls a worm His friend, He calls Him -- self my God! And He shall save me to the end, thro' Je -- sus' blood.", "prose": ["The God of Abr'ham praise,", "Whose all sufficient grace", "Shall guide me all my happy days,", "in all my ways.", "He calls a worm His friend,", "He calls Himself my God!", "And He shall save me to the end,", "thro' Jesus' blood."]}, "4": {"syllabified": "He by Him -- self has sworn; I on His oath de -- pend, I shall, on ea -- gle wings up -- borne, to Heav'n as -- cend. I shall be -- hold His face; I shall His pow'r a -- dore, And sing the won -- ders of His grace for -- ev -- er -- more.", "prose": ["He by Himself has sworn;", "I on His oath depend,", "I shall, on eagle wings upborne,", "to Heav'n ascend.", "I shall behold His face;", "I shall His pow'r adore,", "And sing the wonders of His grace", "forevermore."]}, "5": {"syllabified": "Tho' na -- ture's strength de -- cay, and earth and hell with -- stand, To Ca -- naan's bounds I urge my way, at His com -- mand. The wa -- t'ry deep I pass, with Je -- sus in my view; And thro' the how -- ling wil -- der -- ness my way pur -- sue.", "prose": ["Tho' nature's strength decay,", "and earth and hell withstand,", "To Canaan's bounds I urge my way,", "at His command.", "The wat'ry deep I pass,", "with Jesus in my view;", "And thro' the howling wilderness", "my way pursue."]}}}, "the-head-that-once-was-crowned-with-thorns": {"slug": "the-head-that-once-was-crowned-with-thorns", "title": "The Head That Once Was Crowned with Thorns", "first_line": "The Head That Once Was Crowned with Thorns", "author": "thomas-kelly", "author_date": "1820", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Ascension", "Christ the King", "Praise"], "scripture": ["Hebrews 2:9"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Thomas Kelly (1769-1855), \"The Head That Once Was Crowned with Thorns,\" from Hymns on Various Passages of Scripture (1820). Text from The Cyber Hymnal. Author d. 1855; US public domain by pre-1931 publication. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The head that once was crowned with thorns Is crowned with glo -- ry now; A roy -- al di -- a -- dem a -- dorns The might -- y Vic -- tor's brow.", "prose": ["The head that once was crowned with thorns", "Is crowned with glory now;", "A royal diadem adorns", "The mighty Victor's brow."]}, "2": {"syllabified": "The high -- est place that heav'n af -- fords Is His, is His by right, The King of kings, and Lord of lords, And heav'n's e -- ter -- nal Light;", "prose": ["The highest place that heav'n affords", "Is His, is His by right,", "The King of kings, and Lord of lords,", "And heav'n's eternal Light;"]}, "3": {"syllabified": "The joy of all who dwell a -- bove, The joy of all be -- low, To whom He man -- i -- fests His love, And grants His name to know.", "prose": ["The joy of all who dwell above,", "The joy of all below,", "To whom He manifests His love,", "And grants His name to know."]}, "4": {"syllabified": "To them the cross, with all its shame, With all its grace, is giv'n; Their name an ev -- er -- last -- ing name, Their joy the joy of heav'n.", "prose": ["To them the cross, with all its shame,", "With all its grace, is giv'n;", "Their name an everlasting name,", "Their joy the joy of heav'n."]}, "5": {"syllabified": "They suf -- fer with their Lord be -- low, They reign with Him a -- bove, Their prof -- it and their joy to know The mys -- t'ry of His love.", "prose": ["They suffer with their Lord below,", "They reign with Him above,", "Their profit and their joy to know", "The myst'ry of His love."]}, "6": {"syllabified": "The cross He bore is life and health, Though shame and death to Him; His peo -- ple's hope, His peo -- ple's wealth, Their ev -- er -- last -- ing theme.", "prose": ["The cross He bore is life and health,", "Though shame and death to Him;", "His people's hope, His people's wealth,", "Their everlasting theme."]}}}, "the-heavns-gods-glory-do-declare": {"slug": "the-heavns-gods-glory-do-declare", "title": "The Heav'ns God's Glory Do Declare", "first_line": "The heav'ns God's glory do declare", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 19. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The heav'ns God's glo -- ry do de -- clare, the skies his hand -- works preach: Day ut -- ters speech to day, and night to night doth knowl -- edge teach.", "prose": ["The heav'ns God's glory do declare,", "the skies his hand-works preach:", "Day utters speech to day, and night", "to night doth knowledge teach."]}, "2": {"syllabified": "There is no speech nor tongue to which their voice doth not ex -- tend: Their line is gone through all the earth, their words to the world's end.", "prose": ["There is no speech nor tongue to which", "their voice doth not extend:", "Their line is gone through all the earth,", "their words to the world's end."]}, "3": {"syllabified": "In them he set the sun a tent; Who, bride -- groom -- like, forth goes From's cham -- ber, as a strong man doth to run his race re -- joice.", "prose": ["In them he set the sun a tent;", "Who, bridegroom-like, forth goes", "From's chamber, as a strong man doth", "to run his race rejoice."]}, "4": {"syllabified": "From heav'n's end is his go -- ing forth, cir -- cling to th'end a -- gain; And there is noth -- ing from his heat that hid -- den doth re -- main.", "prose": ["From heav'n's end is his going forth,", "circling to th' end again;", "And there is nothing from his heat", "that hidden doth remain."]}, "5": {"syllabified": "God's law is per -- fect, and con -- verts the soul in sin that lies: God's tes -- ti -- mo -- ny is most sure, and makes the sim -- ple wise.", "prose": ["God's law is perfect, and converts", "the soul in sin that lies:", "God's testimony is most sure,", "and makes the simple wise."]}, "6": {"syllabified": "The stat -- utes of the Lord are right, and do re -- joice the heart: The Lord's com -- mand is pure, and doth light to the eyes im -- part.", "prose": ["The statutes of the Lord are right,", "and do rejoice the heart:", "The Lord's command is pure, and doth", "light to the eyes impart."]}, "7": {"syllabified": "Un -- spott -- ed is the fear of God, and doth en -- dure for ev -- er: The judg -- ments of the Lord are true and right -- eous al -- to -- geth -- er.", "prose": ["Unspotted is the fear of God,", "and doth endure for ever:", "The judgments of the Lord are true", "and righteous altogether."]}, "8": {"syllabified": "They more than gold, yea, much fine gold, to be de -- sir -- ed are: Than hon -- ey, hon -- ey from the comb that dropp -- eth, sweet -- er far.", "prose": ["They more than gold, yea, much fine gold,", "to be desired are:", "Than honey, honey from the comb", "that droppeth, sweeter far."]}, "9": {"syllabified": "More -- o -- ver, they thy ser -- vant warn how he his life should frame: A great re -- ward pro -- vid -- ed is for them that keep the same.", "prose": ["Moreover, they thy servant warn", "how he his life should frame:", "A great reward provided is", "for them that keep the same."]}, "10": {"syllabified": "Who can his er -- rors un -- der -- stand? O cleanse thou me with -- in From se -- cret faults. Thy ser -- vant keep from all pre -- sump -- tuous sin:", "prose": ["Who can his errors understand?", "O cleanse thou me within", "From secret faults. Thy servant keep", "from all presumptuous sin:"]}, "11": {"syllabified": "And do not suf -- fer them to have do -- min -- ion o -- ver me: Then right -- e -- ous and in -- no -- cent I from much sin shall be.", "prose": ["And do not suffer them to have", "dominion over me:", "Then righteous and innocent", "I from much sin shall be."]}, "12": {"syllabified": "The words which from my mouth pro -- ceed, the thoughts sent from my heart, Ac -- cept, O Lord, for thou my strength and my Re -- deem -- er art.", "prose": ["The words which from my mouth proceed,", "the thoughts sent from my heart,", "Accept, O Lord, for thou my strength", "and my Redeemer art."]}}}, "the-king-in-thy-great-strength-o-lord": {"slug": "the-king-in-thy-great-strength-o-lord", "title": "The King in Thy Great Strength, O Lord", "first_line": "The king in thy great strength, O Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 21, "topics": ["Psalms"], "scripture": ["Psalm 21"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 21. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The king in thy great strength, O Lord, shall ver -- y joy -- ful be: In thy sal -- va -- ti -- on re -- joice how veh' -- ment -- ly shall he!", "prose": ["The king in thy great strength, O Lord,", "shall very joyful be:", "In thy salvation rejoice", "how veh'mently shall he!"]}, "2": {"syllabified": "Thou hast be -- stow -- ed up -- on him all that his heart would have; And thou from him didst not with -- hold what -- e'er his lips did crave.", "prose": ["Thou hast bestowed upon him", "all that his heart would have;", "And thou from him didst not withhold", "whate'er his lips did crave."]}, "3": {"syllabified": "For thou with bless -- ings him pre -- vent'st of good -- ness man -- i -- fold; And thou hast set up -- on his head a crown of pur -- est gold.", "prose": ["For thou with blessings him prevent'st", "of goodness manifold;", "And thou hast set upon his head", "a crown of purest gold."]}, "4": {"syllabified": "When he de -- sir -- ed life of thee, thou life to him didst give; Ev'n such a length of days, that he for ev -- er -- more should live.", "prose": ["When he desired life of thee,", "thou life to him didst give;", "Ev'n such a length of days, that he", "for evermore should live."]}, "5": {"syllabified": "In that sal -- va -- tion wrought by thee his glo -- ry is made great; Hon -- our and come -- ly maj -- es -- ty thou hast up -- on him set.", "prose": ["In that salvation wrought by thee", "his glory is made great;", "Honour and comely majesty", "thou hast upon him set."]}, "6": {"syllabified": "Be -- cause that thou for ev -- er -- more most bless -- ed hast him made; And thou hast with thy coun -- ten -- ance made him exce -- ed -- ing glad.", "prose": ["Because that thou for evermore", "most blessed hast him made;", "And thou hast with thy countenance", "made him exceeding glad."]}, "7": {"syllabified": "Be -- cause the king up -- on the Lord his con -- fi -- dence doth lay; And through the grace of the Most High shall not be moved a -- way.", "prose": ["Because the king upon the Lord", "his confidence doth lay;", "And through the grace of the Most High", "shall not be moved away."]}, "8": {"syllabified": "Thine hand shall all those men find out that en -- 'mies are to thee; Ev'n thy right hand shall find out those of thee that hat -- ers be.", "prose": ["Thine hand shall all those men find out", "that en'mies are to thee;", "Ev'n thy right hand shall find out those", "of thee that haters be."]}, "9": {"syllabified": "Like fie -- ry ov'n thou shalt them make, when kin -- dled is thine ire; God shall them swal -- low in his wrath, de -- vour them shall the fire.", "prose": ["Like fiery ov'n thou shalt them make,", "when kindled is thine ire;", "God shall them swallow in his wrath,", "devour them shall the fire."]}, "10": {"syllabified": "Their fruit from earth thou shalt de -- stroy, their seed men from a -- mong: For they be -- yond their might 'gainst thee did plot mis -- chief and wrong.", "prose": ["Their fruit from earth thou shalt destroy,", "their seed men from among:", "For they beyond their might 'gainst thee", "did plot mischief and wrong."]}, "11": {"syllabified": "Thou there -- fore shalt make them turn back, when thou thy shafts shalt place Up -- on thy strings, made read -- y all to fly a -- gainst their face.", "prose": ["Thou therefore shalt make them turn back,", "when thou thy shafts shalt place", "Upon thy strings, made ready all", "to fly against their face."]}, "12": {"syllabified": "In thy great pow'r and strength, O Lord, be thou ex -- al -- ted high; So shall we sing with joy -- ful hearts, thy pow -- er praise shall we.", "prose": ["In thy great pow'r and strength, O Lord,", "be thou exalted high;", "So shall we sing with joyful hearts,", "thy power praise shall we."]}}}, "the-law-of-god-is-good-and-wise": {"slug": "the-law-of-god-is-good-and-wise", "title": "The Law Of God Is Good And Wise", "first_line": "The Law Of God Is Good And Wise", "author": "matthias-loy", "author_date": "1908", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Duty", "Fear of the Lord", "God, Justness of", "Integrity"], "scripture": ["Exodus 20:1-17", "Deuteronomy 5:6-21", "Psalm 90:1"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:159; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "the_law_of_god_is_good_and_wise", "total_instances": 20}}, "stanzas": {"1": {"syllabified": "The law of God is good and wise, And sets His will be -- fore our eyes, Shows us the way of right -- eous -- ness, And dooms to death when we trans -- gress.", "prose": ["The law of God is good and wise,", "And sets His will before our eyes,", "Shows us the way of righteousness,", "And dooms to death when we transgress."]}, "2": {"syllabified": "Its light of ho -- li -- ness im -- parts The knowl -- edge of our sin -- ful hearts, That we may see our lost es -- tate And seek de -- liv -- 'rance ere too late.", "prose": ["Its light of holiness imparts", "The knowledge of our sinful hearts,", "That we may see our lost estate", "And seek deliv'rance ere too late."]}, "3": {"syllabified": "To those who help in Christ have found And would in works of love a -- bound It shows what deeds are His de -- light And should be done as good and right.", "prose": ["To those who help in Christ have found", "And would in works of love abound", "It shows what deeds are His delight", "And should be done as good and right."]}, "4": {"syllabified": "When men the off -- ered help dis -- dain And will -- ful -- ly in sin re -- main, Its ter -- ror in their ear re -- sounds And keeps their wick -- ed -- ness in bounds.", "prose": ["When men the offered help disdain", "And willfully in sin remain,", "Its terror in their ear resounds", "And keeps their wickedness in bounds."]}, "5": {"syllabified": "The law is good, but since the fall Its ho -- li -- ness con -- demns us all; It dooms us for our sin to die And has no pow'r to jus -- ti -- fy.", "prose": ["The law is good, but since the fall", "Its holiness condemns us all;", "It dooms us for our sin to die", "And has no pow'r to justify."]}}}, "the-law-that-the-lord-has-ordained": {"slug": "the-law-that-the-lord-has-ordained", "title": "The Divine Law", "first_line": "The law that the Lord has ordained", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 40) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 19, selection 40. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The law that the Lord has or -- dained Is per -- fect, the soul to re -- store; His truth makes the sim -- ple most wise, The truth that is sure ev -- er -- more.", "prose": ["The law that the Lord has ordained", "Is perfect, the soul to restore;", "His truth makes the simple most wise,", "The truth that is sure evermore."]}, "2": {"syllabified": "His pre -- cepts are right -- eous and just, Re -- joic -- ing the heart and the mind; And all His com -- mand -- ments are pure, En -- light -- 'ning the eyes of the blind.", "prose": ["His precepts are righteous and just,", "Rejoicing the heart and the mind;", "And all His commandments are pure,", "Enlight'ning the eyes of the blind."]}, "3": {"syllabified": "The fear of the Lord is most clean, For -- ev -- er un -- moved it has stood; His judg -- ments are per -- fect -- ly true, In all things most right -- eous and good.", "prose": ["The fear of the Lord is most clean,", "Forever unmoved it has stood;", "His judgments are perfectly true,", "In all things most righteous and good."]}, "4": {"syllabified": "Such trea -- sure no gold can sup -- ply, Such sweet -- ness no hon -- ey af -- ford; Their warn -- ings none heed and o -- bey But find most a -- bun -- dant re -- ward.", "prose": ["Such treasure no gold can supply,", "Such sweetness no honey afford;", "Their warnings none heed and obey", "But find most abundant reward."]}, "5": {"syllabified": "O who can his er -- rors dis -- cern? From hid -- den faults, Lord, keep me free; Let pride nev -- er reign in my heart, And clear of great sin I shall be.", "prose": ["O who can his errors discern?", "From hidden faults, Lord, keep me free;", "Let pride never reign in my heart,", "And clear of great sin I shall be."]}, "6": {"syllabified": "I pray that my words and my thoughts May all with Thy pre -- cepts ac -- cord, And ev -- er be pleas -- ing to Thee, My rock, my Re -- deem -- er, my Lord.", "prose": ["I pray that my words and my thoughts", "May all with Thy precepts accord,", "And ever be pleasing to Thee,", "My rock, my Redeemer, my Lord."]}}}, "the-lily-of-the-valley": {"slug": "the-lily-of-the-valley", "title": "The Lily of the Valley", "first_line": "I've found a friend in Jesus, He's everything to me,", "author": "charles-william-fry", "author_date": "1881", "foot": "iambic", "meter": {"pattern": [13, 11, 13, 11, 13, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Calmness", "Christian Life", "Consecration"], "scripture": ["Hosea 14:4-9", "Revelation 22:16", "John 3:29", "Isaiah 53:3-6", "Hebrews 13:5-6", "2 Timothy 4:8"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:180 (2014.06 dump, lines 22472-22544; extracted by line range because X-numbers are reused). The dump's own C: lines read \"Words: C. W. Fry, 1881, alt.\" and \"copyright: public domain.\"; its S: line names the witness: \"Music and lyrics source: Gospel Hymns Nos. 5 and 6 Combined, 1892, hymn 102. Lyrics altered by bjd\" — the Open Hymnal's own freely-dedicated alteration of the pre-1931 (1881/1892) text. The alteration is visible structurally: verse lines 1 and 3 carry 13 syllables against the 14 of the 1892 original (Hymnary text meter 14.11.14.11.13.10), the opening word pair contracted onto the slurred sixteenth-note pickup, exactly matching the dump's alternate title. Fry died 1882; all components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "ive_found_a_friend_in_jesus_hes_everythi", "total_instances": 483}}, "stanzas": {"1": {"syllabified": "I've found a friend in Je -- sus, He's ev -- ery -- thing to me, He's the fair -- est of ten thou -- sand to my soul; The Li -- ly of the Val -- ley, in Him a -- lone I see All I need to cleanse and make me ful -- ly whole. In sor -- row He's my com -- fort, in trou -- ble He's my stay; He tells me ev -- ery care on Him to roll.", "prose": ["I've found a friend in Jesus, He's everything to me,", "He's the fairest of ten thousand to my soul;", "The Lily of the Valley, in Him alone I see", "All I need to cleanse and make me fully whole.", "In sorrow He's my comfort, in trouble He's my stay;", "He tells me every care on Him to roll."]}, "2": {"syllabified": "He all my grief has tak -- en, and all my sor -- rows borne; In temp -- ta -- tion He's my strong and might -- y tow'r; I'll all for Him for -- sake now, I'll all my i -- dols tear From my heart for now He keeps me by His pow'r. Though all the world for -- sake me, and Sa -- tan tempt me sore, Through Je -- sus I shall safe -- ly reach the goal.", "prose": ["He all my grief has taken, and all my sorrows borne;", "In temptation He's my strong and mighty tow'r;", "I'll all for Him forsake now, I'll all my idols tear", "From my heart for now He keeps me by His pow'r.", "Though all the world forsake me, and Satan tempt me sore,", "Through Jesus I shall safely reach the goal."]}, "3": {"syllabified": "He'll nev -- er, nev -- er leave me, nor yet for -- sake me here, So I live by faith and do His bless -- ed will; A wall of fire a -- bout me, I've noth -- ing now to fear, With His man -- na He my hun -- gry soul shall fill. When crown'd at last in glo -- ry, I'll see His bless -- ed face, Where riv -- ers of de -- light shall ev -- er roll.", "prose": ["He'll never, never leave me, nor yet forsake me here,", "So I live by faith and do His blessed will;", "A wall of fire about me, I've nothing now to fear,", "With His manna He my hungry soul shall fill.", "When crown'd at last in glory, I'll see His blessed face,", "Where rivers of delight shall ever roll."]}}, "refrain": {"syllabified": "He's the Li -- ly of the Val -- ley, the Bright and Morn -- ing Star, He's the fair -- est of ten thou -- sand to my soul.", "prose": ["He's the Lily of the Valley, the Bright and Morning Star,", "He's the fairest of ten thousand to my soul."]}}, "the-lord-did-say-unto-my-lord": {"slug": "the-lord-did-say-unto-my-lord", "title": "The Lord Did Say unto My Lord", "first_line": "The Lord did say unto my Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 110, "topics": ["Psalms"], "scripture": ["Psalm 110"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 110. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord did say un -- to my Lord, Sit thou at my right hand, Un -- til I make thy foes a stool, where -- on thy feet may stand.", "prose": ["The Lord did say unto my Lord,", "Sit thou at my right hand,", "Until I make thy foes a stool,", "whereon thy feet may stand."]}, "2": {"syllabified": "The Lord shall out of Zi -- on send the rod of thy great pow'r: In midst of all thine en -- e -- mies be thou the gov -- er -- nor.", "prose": ["The Lord shall out of Zion send", "the rod of thy great pow'r:", "In midst of all thine enemies", "be thou the governor."]}, "3": {"syllabified": "A wil -- ling peo -- ple in thy day of pow'r shall come to thee, In ho -- ly beau -- ties from morn's womb; thy youth like dew shall be.", "prose": ["A willing people in thy day", "of pow'r shall come to thee,", "In holy beauties from morn's womb;", "thy youth like dew shall be."]}, "4": {"syllabified": "The Lord him -- self hath made an oath, and will re -- pent him nev -- er, Of th'or -- der of Mel -- chi -- ze -- dek thou art a priest for ev -- er.", "prose": ["The Lord himself hath made an oath,", "and will repent him never,", "Of th' order of Melchizedek", "thou art a priest for ever."]}, "5": {"syllabified": "The glo -- ri -- ous and might -- y Lord, that sits at thy right hand, Shall, in his day of wrath, strike through kings that do him with -- stand.", "prose": ["The glorious and mighty Lord,", "that sits at thy right hand,", "Shall, in his day of wrath, strike through", "kings that do him withstand."]}, "6": {"syllabified": "He shall a -- mong the hea -- then judge, he shall with bod -- ies dead The plac -- es fill: o'er man -- y lands he wound shall ev -- 'ry head.", "prose": ["He shall among the heathen judge,", "he shall with bodies dead", "The places fill: o'er many lands", "he wound shall ev'ry head."]}, "7": {"syllabified": "The brook that runn -- eth in the way with drink shall him sup -- ply; And, for this cause, in tri -- umph he shall lift his head on high.", "prose": ["The brook that runneth in the way", "with drink shall him supply;", "And, for this cause, in triumph he", "shall lift his head on high."]}}}, "the-lord-doth-reign-and-clothed-is-he": {"slug": "the-lord-doth-reign-and-clothed-is-he", "title": "The Lord Doth Reign, and Clothed Is He", "first_line": "The Lord doth reign, and clothed is he", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 93, "topics": ["Psalms"], "scripture": ["Psalm 93"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 93. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord doth reign, and clothed is he with maj -- es -- ty most bright; His works do show him clothed to be, and girt a -- bout with might.", "prose": ["The Lord doth reign, and clothed is he", "with majesty most bright;", "His works do show him clothed to be,", "and girt about with might."]}, "2": {"syllabified": "The world is al -- so stab -- lish -- ed, that it can -- not de -- part. Thy throne is fixed of old, and thou from ev -- er -- last -- ing art.", "prose": ["The world is also stablished,", "that it cannot depart.", "Thy throne is fixed of old, and thou", "from everlasting art."]}, "3": {"syllabified": "The floods, O Lord, have lift -- ed up, they lift -- ed up their voice; The floods have lift -- ed up their waves, and made a might -- y noise.", "prose": ["The floods, O Lord, have lifted up,", "they lifted up their voice;", "The floods have lifted up their waves,", "and made a mighty noise."]}, "4": {"syllabified": "But yet the Lord, that is on high, is more of might by far Than noise of man -- y wa -- ters is, or great sea -- bil -- lows are.", "prose": ["But yet the Lord, that is on high,", "is more of might by far", "Than noise of many waters is,", "or great sea-billows are."]}, "5": {"syllabified": "Thy tes -- ti -- mo -- nies ev -- ery one in faith -- ful -- ness ex -- cel; And ho -- li -- ness for ev -- er, Lord, thine house be -- com -- eth well.", "prose": ["Thy testimonies every one", "in faithfulness excel;", "And holiness for ever, Lord,", "thine house becometh well."]}}}, "the-lord-i-will-at-all-times-bless": {"slug": "the-lord-i-will-at-all-times-bless", "title": "The Goodness of God Proved", "first_line": "The Lord I will at all times bless", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 34, "topics": ["Psalms"], "scripture": ["Psalm 34"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 88) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 34, selection 88. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord I will at all times bless, In praise my mouth em -- ploy; My soul shall in Je -- ho -- vah boast, The meek shall hear with joy. O mag -- ni -- fy the Lord with me, Let us ex -- ult His Name; When in dis -- tress on Him I called, He to my res -- cue came.", "prose": ["The Lord I will at all times bless,", "In praise my mouth employ;", "My soul shall in Jehovah boast,", "The meek shall hear with joy.", "O magnify the Lord with me,", "Let us exult His Name;", "When in distress on Him I called,", "He to my rescue came."]}, "2": {"syllabified": "We looked to Him and light re -- ceived, A -- shamed we shall not be; Our hum -- ble cry Je -- ho -- vah heard, From trou -- ble set us free. The an -- gel of the Lord en -- camps A -- round a -- bout His own, De -- liv -- ers them from all their foes, Lest they be o -- ver -- thrown.", "prose": ["We looked to Him and light received,", "Ashamed we shall not be;", "Our humble cry Jehovah heard,", "From trouble set us free.", "The angel of the Lord encamps", "Around about His own,", "Delivers them from all their foes,", "Lest they be overthrown."]}, "3": {"syllabified": "O taste and see that God is good To all that seek His face; Yea, blest the man that trust in Him, Con -- fid -- ing in His grace. O fear the Lord, all ye His saints; No want shall bring dis -- tress; The li -- ons young may pine for food, The saints all good pos -- sess.", "prose": ["O taste and see that God is good", "To all that seek His face;", "Yea, blest the man that trust in Him,", "Confiding in His grace.", "O fear the Lord, all ye His saints;", "No want shall bring distress;", "The lions young may pine for food,", "The saints all good possess."]}}}, "the-lord-is-strong-to-help-the-weak": {"slug": "the-lord-is-strong-to-help-the-weak", "title": "The Goodness of God", "first_line": "The Lord is strong to help the weak", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 145, "topics": ["Psalms"], "scripture": ["Psalm 145"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 396) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 145, selection 396. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord is strong to help the weak, Up -- hold -- ing those that fall, Re -- stor -- ing those bowed down with grief, And do -- ing good to all.", "prose": ["The Lord is strong to help the weak,", "Upholding those that fall,", "Restoring those bowed down with grief,", "And doing good to all."]}, "2": {"syllabified": "Thy crea -- tures look to Thee for food, From day to day sup -- plied, And Thou dost for their sus -- te -- nance With o -- pen hand pro -- vide.", "prose": ["Thy creatures look to Thee for food,", "From day to day supplied,", "And Thou dost for their sustenance", "With open hand provide."]}, "3": {"syllabified": "The Lord is right in all His ways, His works His love de -- clare, And He is night to ev -- 'ry one That breathes the trust -- ful prayer.", "prose": ["The Lord is right in all His ways,", "His works His love declare,", "And He is night to ev'ry one", "That breathes the trustful prayer."]}, "4": {"syllabified": "The hope of those that fear His Name The Lord will sat -- is -- fy; Their might -- y Sav -- iour He will be When un -- to Him they cry.", "prose": ["The hope of those that fear His Name", "The Lord will satisfy;", "Their mighty Saviour He will be", "When unto Him they cry."]}, "5": {"syllabified": "All those that set their love on Him Shall full sal -- va -- tion know, But wick -- ed men and wick -- ed ways The Lord will o -- ver -- throw.", "prose": ["All those that set their love on Him", "Shall full salvation know,", "But wicked men and wicked ways", "The Lord will overthrow."]}, "6": {"syllabified": "My mouth shall bless the Lord my God And all His praise pro -- claim; Let all u -- nite for ev -- er -- more To bless His ho -- ly Name.", "prose": ["My mouth shall bless the Lord my God", "And all His praise proclaim;", "Let all unite for evermore", "To bless His holy Name."]}}}, "the-lord-my-shepherd-holds-me": {"slug": "the-lord-my-shepherd-holds-me", "title": "The Good Shepherd", "first_line": "The Lord my Shepherd holds me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 23, "topics": ["Psalms"], "scripture": ["Psalm 23"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 55) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 23, selection 55. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord my Shep -- herd holds me With -- in His ten -- der care, And with His flock He folds me, No want shall find me there. In pas -- tures green He feeds me, With plen -- ty I am blest; By qui -- et streams He leads me And makes me safe -- ly rest.", "prose": ["The Lord my Shepherd holds me", "Within His tender care,", "And with His flock He folds me,", "No want shall find me there.", "In pastures green He feeds me,", "With plenty I am blest;", "By quiet streams He leads me", "And makes me safely rest."]}, "2": {"syllabified": "What -- ev -- er ill be -- tides me, He will re -- store and bless; For His Name's sake He guides me In paths of right -- eous -- ness. Thy rod and staff shall cheer me In death's dark vale and shade, For Thou wilt then be near me: I shall not be a -- fraid.", "prose": ["Whatever ill betides me,", "He will restore and bless;", "For His Name's sake He guides me", "In paths of righteousness.", "Thy rod and staff shall cheer me", "In death's dark vale and shade,", "For Thou wilt then be near me:", "I shall not be afraid."]}, "3": {"syllabified": "My food Thou dost ap -- point me, Sup -- plied be -- fore my foes; With oil Thou dost a -- noint me, My cup of bliss o'er -- flows. Thy good -- ness Lord, shall guide me, Thy mer -- cy cheer my way; A home Thou wilt pro -- vide me With -- in Thy house for aye.", "prose": ["My food Thou dost appoint me,", "Supplied before my foes;", "With oil Thou dost anoint me,", "My cup of bliss o'erflows.", "Thy goodness Lord, shall guide me,", "Thy mercy cheer my way;", "A home Thou wilt provide me", "Within Thy house for aye."]}}}, "the-lord-of-heavn-confess": {"slug": "the-lord-of-heavn-confess", "title": "The Lord of Heav'n Confess (Second Version)", "first_line": "The Lord of heav'n confess", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 148, "topics": ["Psalms"], "scripture": ["Psalm 148"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 148 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord of heav'n con -- fess, On high his glo -- ry raise. Him let all an -- gels bless, Him all his ar -- mies praise. Him glo -- ri -- fy sun, moon, and stars; Ye high -- er spheres, and clou -- dy sky.", "prose": ["The Lord of heav'n confess,", "On high his glory raise.", "Him let all angels bless,", "Him all his armies praise.", "Him glorify sun, moon, and stars;", "Ye higher spheres, and cloudy sky."]}, "2": {"syllabified": "From God your be -- ings are, Him there -- fore fa -- mous make; You all cre -- at -- ed were, When he the word but spake. And from that place, where fixed you be By his de -- cree, you can -- not pass.", "prose": ["From God your beings are,", "Him therefore famous make;", "You all created were,", "When he the word but spake.", "And from that place, where fixed you be", "By his decree, you cannot pass."]}, "3": {"syllabified": "Praise God from earth be -- low, Ye drag -- ons, and ye deeps: Fire, hail, clouds, wind, and snow, Whom in com -- mand he keeps. Praise ye his name, hills great and small, Trees low and tall; beasts wild and tame;", "prose": ["Praise God from earth below,", "Ye dragons, and ye deeps:", "Fire, hail, clouds, wind, and snow,", "Whom in command he keeps.", "Praise ye his name, hills great and small,", "Trees low and tall; beasts wild and tame;"]}, "4": {"syllabified": "All things that creep or fly. Ye kings, ye vul -- gar throng, All prin -- ces mean or high; Both men and vir -- gins young, Ev'n young and old, ex -- alt his name; For much his fame should be ex -- tolled.", "prose": ["All things that creep or fly.", "Ye kings, ye vulgar throng,", "All princes mean or high;", "Both men and virgins young,", "Ev'n young and old, exalt his name;", "For much his fame should be extolled."]}, "5": {"syllabified": "O let God's name be praised A -- bove both earth and sky; For he his saints hath raised, And set their horn on high; Ev'n those that be of Is -- r'el's race, Near to his grace. The Lord praise ye.", "prose": ["O let God's name be praised", "Above both earth and sky;", "For he his saints hath raised,", "And set their horn on high;", "Ev'n those that be of Isr'el's race,", "Near to his grace.  The Lord praise ye."]}}}, "the-lord-s-my-shepherd": {"slug": "the-lord-s-my-shepherd", "title": "The Lord's My Shepherd", "first_line": "The Lord's my shepherd I'll not want, He makes", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Calmness", "Christian Life", "Church on Earth (Church Militant)", "Courage in Affliction"], "scripture": ["Matthew 8:23-27", "Mark 4:35-41", "Psalm 89:9", "Luke 8:22-25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:285; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "the_lords_my_shepherd_ill_not_want_rous", "total_instances": 749}}, "stanzas": {"1": {"syllabified": "The Lord's my shep -- herd I'll not want, He makes me down to lie In pas -- tures green He lead -- eth me The qui -- et wa -- ters by. He lead -- eth me, He lead -- eth me, The qui -- et wa -- ters by, In pas -- tures green He lead -- eth me The qui -- et wa -- ters by.", "prose": ["The Lord's my shepherd I'll not want,", "He makes me down to lie", "In pastures green He leadeth me", "The quiet waters by.", "He leadeth me, He leadeth me,", "The quiet waters by,", "In pastures green He leadeth me", "The quiet waters by."]}, "2": {"syllabified": "My soul He doth re -- store a -- gain, And me to walk doth make. With -- in the paths of bless -- ed -- ness, E'en for His Own Name's sake; His Own Name's sake, His Own Name's sake, E'en for His Own Name's sake; With -- in the paths of bless -- ed -- ness, E'en for His Own Name's sake.", "prose": ["My soul He doth restore again,", "And me to walk doth make.", "Within the paths of blessedness,", "E'en for His Own Name's sake;", "His Own Name's sake, His Own Name's sake,", "E'en for His Own Name's sake;", "Within the paths of blessedness,", "E'en for His Own Name's sake."]}, "3": {"syllabified": "Yea, though I walk in death's dark vale, Yet will I fear no ill, For Thou art with me, and Thy rod And staff me com -- fort still; I'll fear no ill, I'll fear no ill, Yet will I fear no ill, For Thou art with me, and Thy rod And staff me com -- fort still.", "prose": ["Yea, though I walk in death's dark vale,", "Yet will I fear no ill,", "For Thou art with me, and Thy rod", "And staff me comfort still;", "I'll fear no ill, I'll fear no ill,", "Yet will I fear no ill,", "For Thou art with me, and Thy rod", "And staff me comfort still."]}, "4": {"syllabified": "My ta -- ble Thou hast fur -- nished well In pres -- ence of my foes; My head Thou dost with oil a -- noint, And my cup o -- ver -- flows; It o -- ver -- flows, It o -- ver -- flows, And my cup o -- ver -- flows; My head Thou dost with oil a -- noint, And my cup o -- ver -- flows.", "prose": ["My table Thou hast furnished well", "In presence of my foes;", "My head Thou dost with oil anoint,", "And my cup overflows;", "It overflows, It overflows,", "And my cup overflows;", "My head Thou dost with oil anoint,", "And my cup overflows."]}, "5": {"syllabified": "Good -- ness and mer -- cy all my days Will sure -- ly fol -- low me: And in my Fa -- ther's heart al -- ways My dwell -- ing place shall be; My dwell -- ing place, My dwell -- ing place, My dwell -- ing place shall be, And in my Fa -- ther's heart al -- ways My dwell -- ing place shall be.", "prose": ["Goodness and mercy all my days", "Will surely follow me:", "And in my Father's heart always", "My dwelling place shall be;", "My dwelling place, My dwelling place,", "My dwelling place shall be,", "And in my Father's heart always", "My dwelling place shall be."]}}}, "the-lords-my-light-and-saving-health": {"slug": "the-lords-my-light-and-saving-health", "title": "The Lord's My Light and Saving Health", "first_line": "The Lord's my light and saving health", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 27, "topics": ["Psalms"], "scripture": ["Psalm 27"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 27. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord's my light and sav -- ing health, who shall make me dis -- mayed? My life's strength is the Lord, of whom then shall I be a -- fraid?", "prose": ["The Lord's my light and saving health,", "who shall make me dismayed?", "My life's strength is the Lord, of whom", "then shall I be afraid?"]}, "2": {"syllabified": "When as mine en -- e -- mies and foes, most wick -- ed per -- sons all, To eat my flesh a -- gainst me rose, they stum -- bled and did fall.", "prose": ["When as mine enemies and foes,", "most wicked persons all,", "To eat my flesh against me rose,", "they stumbled and did fall."]}, "3": {"syllabified": "A -- gainst me though an host en -- camp, my heart yet fear -- less is: Though war a -- gainst me rise, I will be con -- fi -- dent in this.", "prose": ["Against me though an host encamp,", "my heart yet fearless is:", "Though war against me rise, I will", "be confident in this."]}, "4": {"syllabified": "One thing I of the Lord de -- sired, and will seek to ob -- tain, That all days of my life I may with -- in God's house re -- main;", "prose": ["One thing I of the Lord desired,", "and will seek to obtain,", "That all days of my life I may", "within God's house remain;"]}, "5": {"syllabified": "That I the beau -- ty of the Lord be -- hold may and ad -- mire, And that I in his ho -- ly place may rev -- 'rent -- ly en -- quire.", "prose": ["That I the beauty of the Lord", "behold may and admire,", "And that I in his holy place", "may rev'rently enquire."]}, "6": {"syllabified": "For he in his pa -- vil -- ion shall me hide in e -- vil days; In se -- cret of his tent me hide, and on a rock me raise.", "prose": ["For he in his pavilion shall", "me hide in evil days;", "In secret of his tent me hide,", "and on a rock me raise."]}, "7": {"syllabified": "And now, ev'n at this pres -- ent time, mine head shall lift -- ed be A -- bove all those that are my foes, and round en -- com -- pass me:", "prose": ["And now, ev'n at this present time,", "mine head shall lifted be", "Above all those that are my foes,", "and round encompass me:"]}, "8": {"syllabified": "There -- fore un -- to his tab -- er -- nac -- le I'll sac -- ri -- fic -- es bring Of joy -- ful -- ness; I'll sing, yea, I to God will prais -- es sing.", "prose": ["Therefore unto his tabernacle", "I'll sacrifices bring", "Of joyfulness; I'll sing, yea, I", "to God will praises sing."]}, "9": {"syllabified": "O Lord, give ear un -- to my voice, when I do cry to thee; Up -- on me al -- so mer -- cy have, and do thou an -- swer me.", "prose": ["O Lord, give ear unto my voice,", "when I do cry to thee;", "Upon me also mercy have,", "and do thou answer me."]}, "10": {"syllabified": "When thou didst say, Seek ye my face, then un -- to thee re -- ply Thus did my heart, A -- bove all things thy face, Lord, seek will I.", "prose": ["When thou didst say, Seek ye my face,", "then unto thee reply", "Thus did my heart, Above all things", "thy face, Lord, seek will I."]}, "11": {"syllabified": "Far from me hide not thou thy face; put not a -- way from thee Thy ser -- vant in thy wrath: thou hast an help -- er been to me.", "prose": ["Far from me hide not thou thy face;", "put not away from thee", "Thy servant in thy wrath: thou hast", "an helper been to me."]}, "12": {"syllabified": "O God of my sal -- va -- ti -- on, leave me not, nor for -- sake: Though me my par -- ents both should leave, the Lord will me up take.", "prose": ["O God of my salvation,", "leave me not, nor forsake:", "Though me my parents both should leave,", "the Lord will me up take."]}, "13": {"syllabified": "O Lord, in -- struct me in thy way, to me a lead -- er be In a plain path, be -- cause of those that ha -- tred bear to me.", "prose": ["O Lord, instruct me in thy way,", "to me a leader be", "In a plain path, because of those", "that hatred bear to me."]}, "14": {"syllabified": "Give me not to mine en -- 'mies' will; for wit -- nes -- ses that lie A -- gainst me ris -- en are, and such as breathe out cru -- el -- ty.", "prose": ["Give me not to mine en'mies' will;", "for witnesses that lie", "Against me risen are, and such", "as breathe out cruelty."]}, "15": {"syllabified": "I faint -- ed had, un -- less that I be -- liev -- ed had to see The Lord's own good -- ness in the land of them that liv -- ing be.", "prose": ["I fainted had, unless that I", "believed had to see", "The Lord's own goodness in the land", "of them that living be."]}, "16": {"syllabified": "Wait on the Lord, and be thou strong, and he shall strength af -- ford Un -- to thine heart; yea, do thou wait, I say, up -- on the Lord.", "prose": ["Wait on the Lord, and be thou strong,", "and he shall strength afford", "Unto thine heart; yea, do thou wait,", "I say, upon the Lord."]}}}, "the-lords-my-shepherd-ill-not-want": {"slug": "the-lords-my-shepherd-ill-not-want", "title": "The Lord's My Shepherd, I'll Not Want", "first_line": "The Lord's my Shepherd, I'll not want", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 23, "topics": ["Trust", "Guidance", "God, Care of"], "scripture": ["Psalm 23"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 23. Committee versification (Rous revision); all contributors d. before 1700. Hand-entered; verify against an independent printing before publication.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The Lord's my Shep -- herd, I'll not want; He makes me down to lie In pas -- tures green: He lead -- eth me The qui -- et wa -- ters by.", "prose": ["The Lord's my Shepherd, I'll not want;", "He makes me down to lie", "In pastures green: He leadeth me", "The quiet waters by."]}, "2": {"syllabified": "My soul He doth re -- store a -- gain, And me to walk doth make With -- in the paths of right -- eous -- ness, E'en for His own name's sake.", "prose": ["My soul He doth restore again,", "And me to walk doth make", "Within the paths of righteousness,", "E'en for His own name's sake."]}, "3": {"syllabified": "Yea, though I walk in death's dark vale, Yet will I fear none ill: For Thou art with me, and Thy rod And staff me com -- fort still.", "prose": ["Yea, though I walk in death's dark vale,", "Yet will I fear none ill:", "For Thou art with me, and Thy rod", "And staff me comfort still."]}, "4": {"syllabified": "My ta -- ble Thou hast fur -- nish -- ed In pres -- ence of my foes; My head Thou dost with oil a -- noint, And my cup o -- ver -- flows.", "prose": ["My table Thou hast furnished", "In presence of my foes;", "My head Thou dost with oil anoint,", "And my cup overflows."]}, "5": {"syllabified": "Good -- ness and mer -- cy all my life Shall sure -- ly fol -- low me; And in God's house for -- ev -- er -- more My dwell -- ing -- place shall be.", "prose": ["Goodness and mercy all my life", "Shall surely follow me;", "And in God's house forevermore", "My dwelling-place shall be."]}}}, "the-love-of-god": {"slug": "the-love-of-god", "title": "The Love of God", "first_line": "The love of God is greater far Than tongue or pen", "author": "frederick-martin-lehman", "author_date": "1917", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Children", "God, Eternity of", "God, Love of", "God, Mercy of", "Grace", "Love", "Praise, Father", "Praise, Son", "Salvation"], "scripture": ["Romans 8:35-39", "John 3:16", "Jeremiah 31:2-3", "2 Thessalonians 2:16-17", "Revelation 6:15-17", "Revelation 1:5"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:1 (line 34577); Words & Music Frederick Martin Lehman 1917, setting Claudia Lehman Mays 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "my_god_thy_boundless_love_i_praise", "total_instances": 142}}, "stanzas": {"1": {"syllabified": "The love of God is great -- er far Than tongue or pen can ev -- er tell, It goes be -- yond the high -- est star, And reach -- es to the low -- est hell; The guilt -- y pair, bowed down with care, God gave His Son to win; His er -- ring child, He rec -- on -- ciled, And par -- doned from his sin.", "prose": ["The love of God is greater far", "Than tongue or pen can ever tell,", "It goes beyond the highest star,", "And reaches to the lowest hell;", "The guilty pair, bowed down with care,", "God gave His Son to win;", "His erring child, He reconciled,", "And pardoned from his sin."]}, "2": {"syllabified": "When hoar -- y time shall pass a -- way, And earth -- ly thrones and king -- doms fall; When men who here re -- fuse to pray, On rocks and hills and moun -- tains call; God's love, so sure, shall still en -- dure, All meas -- ure -- less and strong; Re -- deem -- ing grace to Ad -- am's race -- The saints' and an -- gels' song.", "prose": ["When hoary time shall pass away,", "And earthly thrones and kingdoms fall;", "When men who here refuse to pray,", "On rocks and hills and mountains call;", "God's love, so sure, shall still endure,", "All measureless and strong;", "Redeeming grace to Adam's race—", "The saints' and angels' song."]}, "3": {"syllabified": "Could we with ink the o -- cean fill, And were the skies of parch -- ment made, Were ev -- ery stalk on earth a quill And ev -- ery man a scribe by trade; To write the love of God a -- bove Would drain the o -- cean dry; Nor could the scroll con -- tain the whole, Tho' stretched from sky to sky.", "prose": ["Could we with ink the ocean fill,", "And were the skies of parchment made,", "Were every stalk on earth a quill", "And every man a scribe by trade;", "To write the love of God above", "Would drain the ocean dry;", "Nor could the scroll contain the whole,", "Tho' stretched from sky to sky."]}}, "refrain": {"syllabified": "Oh love of God, how rich and pure! How meas -- ure -- less and strong! It shall for -- ev -- er -- more en -- dure, The saints' and an -- gels' song.", "prose": ["Oh love of God, how rich and pure!", "How measureless and strong!", "It shall forevermore endure,", "The saints' and angels' song."]}}, "the-man-that-fears-the-lord": {"slug": "the-man-that-fears-the-lord", "title": "The Friendship of the Lord", "first_line": "The man that fears the Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 62) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 62. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The man that fears the Lord God's way shall un -- der -- stand; His soul shall ev -- er dwell at ease, His chil -- dren rule the land.", "prose": ["The man that fears the Lord", "God's way shall understand;", "His soul shall ever dwell at ease,", "His children rule the land."]}, "2": {"syllabified": "The friend -- ship of the Lord Is ev -- er with His own, And un -- to those that fear His Name His faith -- ful -- ness is shown.", "prose": ["The friendship of the Lord", "Is ever with His own,", "And unto those that fear His Name", "His faithfulness is shown."]}, "3": {"syllabified": "My eyes are ev -- er -- more Tow'rd Thee, O Lord, Whose care Shall sure -- ly save my heed -- less feet From ev -- 'ry hid -- den snare.", "prose": ["My eyes are evermore", "Tow'rd Thee, O Lord, Whose care", "Shall surely save my heedless feet", "From ev'ry hidden snare."]}, "4": {"syllabified": "O turn to me Thy face, To me Thy mer -- cy show, For I am ver -- y des -- o -- late And brought exce -- ed -- ing low.", "prose": ["O turn to me Thy face,", "To me Thy mercy show,", "For I am very desolate", "And brought exceeding low."]}}}, "the-mighty-god-the-lord": {"slug": "the-mighty-god-the-lord", "title": "The Mighty God, the Lord", "first_line": "The mighty God, the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 50, "topics": ["Psalms"], "scripture": ["Psalm 50"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 50. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The might -- y God, the Lord, hath spo -- ken, and did call The earth, from ris -- ing of the sun, to where he hath his fall.", "prose": ["The mighty God, the Lord,", "hath spoken, and did call", "The earth, from rising of the sun,", "to where he hath his fall."]}, "2": {"syllabified": "From out of Zi -- on hill, which of ex -- cel -- len -- cy And beau -- ty the per -- fec -- tion is, God shin -- ed glo -- rious -- ly.", "prose": ["From out of Zion hill,", "which of excellency", "And beauty the perfection is,", "God shined gloriously."]}, "3": {"syllabified": "Our God shall sure -- ly come; keep si -- lence shall not he: Be -- fore him fire shall waste, great storms shall round a -- bout him be.", "prose": ["Our God shall surely come;", "keep silence shall not he:", "Before him fire shall waste, great storms", "shall round about him be."]}, "4": {"syllabified": "Un -- to the heav -- ens clear he from a -- bove shall call, And to the earth like -- wise, that he may judge his peo -- ple all.", "prose": ["Unto the heavens clear", "he from above shall call,", "And to the earth likewise, that he", "may judge his people all."]}, "5": {"syllabified": "To -- geth -- er let my saints un -- to me gath -- ered be, Those that by sac -- ri -- fice have made a cov -- e -- nant with me.", "prose": ["Together let my saints", "unto me gathered be,", "Those that by sacrifice have made", "a covenant with me."]}, "6": {"syllabified": "And then the heav -- ens shall his right -- eous -- ness de -- clare: Be -- cause the Lord him -- self is he by whom men judg -- ed are.", "prose": ["And then the heavens shall", "his righteousness declare:", "Because the Lord himself is he", "by whom men judged are."]}, "7": {"syllabified": "My peo -- ple Is -- r'el hear, speak will I from on high, A -- gainst thee I will tes -- ti -- fy; God, ev'n thy God, am I.", "prose": ["My people Isr'el hear,", "speak will I from on high,", "Against thee I will testify;", "God, ev'n thy God, am I."]}, "8": {"syllabified": "I for thy sac -- ri -- fice no blame will on thee lay, Nor for burnt -- of -- f'rings, which to me thou of -- fer'dst ev -- 'ry day.", "prose": ["I for thy sacrifice", "no blame will on thee lay,", "Nor for burnt-off'rings, which to me", "thou offer'dst ev'ry day."]}, "9": {"syllabified": "I'll take no calf nor goats from house or fold of thine: For beasts of for -- est, cat -- tle all on thou -- sand hills, are mine.", "prose": ["I'll take no calf nor goats", "from house or fold of thine:", "For beasts of forest, cattle all", "on thousand hills, are mine."]}, "10": {"syllabified": "The fowls on moun -- tains high are all to me well known; Wild beasts which in the fields do lie, ev'n they are all mine own.", "prose": ["The fowls on mountains high", "are all to me well known;", "Wild beasts which in the fields do lie,", "ev'n they are all mine own."]}, "11": {"syllabified": "Then, if I hun -- gry were, I would not tell it thee; Be -- cause the world, and ful -- ness all there -- of, be -- longs to me.", "prose": ["Then, if I hungry were,", "I would not tell it thee;", "Because the world, and fulness all", "thereof, belongs to me."]}, "12": {"syllabified": "Will I eat flesh of bulls? or goats' blood drink will I? Thanks of -- fer thou to God, and pay thy vows to the Most High.", "prose": ["Will I eat flesh of bulls?", "or goats' blood drink will I?", "Thanks offer thou to God, and pay", "thy vows to the Most High."]}, "13": {"syllabified": "And call up -- on me when in trou -- ble thou shalt be; I will de -- liv -- er thee, and thou my name shalt glo -- ri -- fy.", "prose": ["And call upon me when", "in trouble thou shalt be;", "I will deliver thee, and thou", "my name shalt glorify."]}, "14": {"syllabified": "But to the wick -- ed man God saith, My laws and truth Should'st thou de -- clare? how dar'st thou take my cov -- 'nant in thy mouth?", "prose": ["But to the wicked man", "God saith, My laws and truth", "Should'st thou declare? how dar'st thou take", "my cov'nant in thy mouth?"]}, "15": {"syllabified": "Sith thou in -- struc -- tion hat'st, which should thy ways di -- rect; And sith my words be -- hind thy back thou cast'st, and dost re -- ject.", "prose": ["Sith thou instruction hat'st,", "which should thy ways direct;", "And sith my words behind thy back", "thou cast'st, and dost reject."]}, "16": {"syllabified": "When thou a thief didst see, with him thou didst con -- sent; And with the vile a -- dul -- ter -- ers par -- tak -- er on thou went.", "prose": ["When thou a thief didst see,", "with him thou didst consent;", "And with the vile adulterers", "partaker on thou went."]}, "17": {"syllabified": "Thou giv'st thy mouth to ill, thy tongue de -- ceit doth frame; Thou sitt'st, and 'gainst thy broth -- er speak'st, thy moth -- er's son dost shame.", "prose": ["Thou giv'st thy mouth to ill,", "thy tongue deceit doth frame;", "Thou sitt'st, and 'gainst thy brother speak'st,", "thy mother's son dost shame."]}, "18": {"syllabified": "Be -- cause I si -- lence kept, while thou these things hast wrought; That I was al -- to -- geth -- er like thy -- self, hath been thy thought;", "prose": ["Because I silence kept,", "while thou these things hast wrought;", "That I was altogether like", "thyself, hath been thy thought;"]}, "19": {"syllabified": "Yet I will thee re -- prove, and set be -- fore thine eyes, In or -- der rank -- ed, thy mis -- deeds and thine in -- iq -- ui -- ties.", "prose": ["Yet I will thee reprove,", "and set before thine eyes,", "In order ranked, thy misdeeds", "and thine iniquities."]}, "20": {"syllabified": "Now, ye that God for -- get, this care -- ful -- ly con -- sid -- er; Lest I in piec -- es tear you all, and none can you de -- liv -- er.", "prose": ["Now, ye that God forget,", "this carefully consider;", "Lest I in pieces tear you all,", "and none can you deliver."]}, "21": {"syllabified": "Who -- so doth of -- fer praise me glo -- ri -- fies; and I Will show him God's sal -- va -- ti -- on, that or -- ders right his way.", "prose": ["Whoso doth offer praise", "me glorifies; and I", "Will show him God's salvation,", "that orders right his way."]}}}, "the-mighty-god-the-lord-hath-spoke": {"slug": "the-mighty-god-the-lord-hath-spoke", "title": "The Mighty God, the Lord, Hath Spoke (Second Version)", "first_line": "The mighty God, the Lord, hath spoke", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 50, "topics": ["Psalms"], "scripture": ["Psalm 50"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 50 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The might -- y God, the Lord, hath spoke, and called the earth up -- on, Ev'n from the ris -- ing of the sun un -- to his go -- ing down.", "prose": ["The mighty God, the Lord, hath spoke,", "and called the earth upon,", "Ev'n from the rising of the sun", "unto his going down."]}, "2": {"syllabified": "From out of Zi -- on, his own hill, where the per -- fec -- tion high Of beau -- ty is, from thence the Lord hath shin -- ed glo -- rious -- ly.", "prose": ["From out of Zion, his own hill,", "where the perfection high", "Of beauty is, from thence the Lord", "hath shined gloriously."]}, "3": {"syllabified": "Our God shall come, and shall no more be si -- lent, but speak out: Be -- fore him fire shall waste, great storms shall com -- pass him a -- bout.", "prose": ["Our God shall come, and shall no more", "be silent, but speak out:", "Before him fire shall waste, great storms", "shall compass him about."]}, "4": {"syllabified": "He to the heav -- ens from a -- bove, and to the earth be -- low, Shall call, that he his judg -- ments may be -- fore his peo -- ple show.", "prose": ["He to the heavens from above,", "and to the earth below,", "Shall call, that he his judgments may", "before his people show."]}, "5": {"syllabified": "Let all my saints to -- geth -- er be un -- to me gath -- er -- ed; Those that by sac -- ri -- fice with me a cov -- e -- nant have made.", "prose": ["Let all my saints together be", "unto me gathered;", "Those that by sacrifice with me", "a covenant have made."]}, "6": {"syllabified": "And then the heav -- ens shall de -- clare his right -- eous -- ness a -- broad: Be -- cause the Lord him -- self doth come; none else is judge but God.", "prose": ["And then the heavens shall declare", "his righteousness abroad:", "Because the Lord himself doth come;", "none else is judge but God."]}, "7": {"syllabified": "Hear, O my peo -- ple, and I'll speak; O I -- sra -- el by name, A -- gainst thee I will tes -- ti -- fy; God, ev'n thy God, I am.", "prose": ["Hear, O my people, and I'll speak;", "O Israel by name,", "Against thee I will testify;", "God, ev'n thy God, I am."]}, "8": {"syllabified": "I for thy sac -- ri -- fic -- es few re -- prove thee nev -- er will, Nor for burnt -- of -- f'rings to have been be -- fore me off -- ered still.", "prose": ["I for thy sacrifices few", "reprove thee never will,", "Nor for burnt-off'rings to have been", "before me offered still."]}, "9": {"syllabified": "I'll take no bul -- lock nor he -- goats from house nor folds of thine: For beasts of for -- est, cat -- tle all on thou -- sand hills, are mine.", "prose": ["I'll take no bullock nor he-goats", "from house nor folds of thine:", "For beasts of forest, cattle all", "on thousand hills, are mine."]}, "10": {"syllabified": "The fowls are all to me well known that moun -- tains high do yield; And I do chal -- lenge as mine own the wild beasts of the field.", "prose": ["The fowls are all to me well known", "that mountains high do yield;", "And I do challenge as mine own", "the wild beasts of the field."]}, "11": {"syllabified": "If I were hun -- gry, I would not to thee for need com -- plain; For earth, and all its ful -- ness, doth to me of right per -- tain.", "prose": ["If I were hungry, I would not", "to thee for need complain;", "For earth, and all its fulness, doth", "to me of right pertain."]}, "12": {"syllabified": "That I to eat the flesh of bulls take plea -- sure dost thou think? Or that I need, to quench my thirst, the blood of goats to drink?", "prose": ["That I to eat the flesh of bulls", "take pleasure dost thou think?", "Or that I need, to quench my thirst,", "the blood of goats to drink?"]}, "13": {"syllabified": "Nay, rath -- er un -- to me, thy God, thanks -- giv -- ing of -- fer thou: To the Most High per -- form thy word, and ful -- ly pay thy vow:", "prose": ["Nay, rather unto me, thy God,", "thanksgiving offer thou:", "To the Most High perform thy word,", "and fully pay thy vow:"]}, "14": {"syllabified": "And in the day of trou -- ble great see that thou call on me; I will de -- liv -- er thee, and thou my name shalt glo -- ri -- fy.", "prose": ["And in the day of trouble great", "see that thou call on me;", "I will deliver thee, and thou", "my name shalt glorify."]}, "15": {"syllabified": "But God un -- to the wick -- ed saith, Why should'st thou men -- tion make Of my com -- mands? how dar'st thou in thy mouth my cov -- 'nant take?", "prose": ["But God unto the wicked saith,", "Why should'st thou mention make", "Of my commands? how dar'st thou in", "thy mouth my cov'nant take?"]}, "16": {"syllabified": "Sith it is so that thou dost hate all good in -- struc -- ti -- on; And sith thou cast'st be -- hind thy back, and slight'st my words each one.", "prose": ["Sith it is so that thou dost hate", "all good instruction;", "And sith thou cast'st behind thy back,", "and slight'st my words each one."]}, "17": {"syllabified": "When thou a thief didst see, then straight thou join'dst with him in sin, And with the vile a -- dul -- ter -- ers thou hast par -- tak -- er been.", "prose": ["When thou a thief didst see, then straight", "thou join'dst with him in sin,", "And with the vile adulterers", "thou hast partaker been."]}, "18": {"syllabified": "Thy mouth to e -- vil thou dost give, thy tongue de -- ceit doth frame. Thou sitt'st, and 'gainst thy broth -- er speak'st, thy moth -- er's son to shame.", "prose": ["Thy mouth to evil thou dost give,", "thy tongue deceit doth frame.", "Thou sitt'st, and 'gainst thy brother speak'st,", "thy mother's son to shame."]}, "19": {"syllabified": "These things thou wick -- ed -- ly hast done, and I have si -- lent been: Thou thought'st that I was like thy -- self, and did ap -- prove thy sin:", "prose": ["These things thou wickedly hast done,", "and I have silent been:", "Thou thought'st that I was like thyself,", "and did approve thy sin:"]}, "20": {"syllabified": "But I will sharp -- ly thee re -- prove, and I will or -- der right Thy sins and thy trans -- gres -- si -- ons in pres -- ence of thy sight.", "prose": ["But I will sharply thee reprove,", "and I will order right", "Thy sins and thy transgressions", "in presence of thy sight."]}, "21": {"syllabified": "Con -- sid -- er this, and be a -- fraid, ye that for -- get the Lord, Lest I in piec -- es tear you all, when none can help af -- ford.", "prose": ["Consider this, and be afraid,", "ye that forget the Lord,", "Lest I in pieces tear you all,", "when none can help afford."]}, "22": {"syllabified": "Who of -- f'reth praise me glo -- ri -- fies: I will show God's sal -- va -- tion To him that or -- der -- eth a -- right his life and con -- ver -- sa -- tion.", "prose": ["Who off'reth praise me glorifies:", "I will show God's salvation", "To him that ordereth aright", "his life and conversation."]}}}, "the-ninety-and-nine": {"slug": "the-ninety-and-nine", "title": "The Ninety and Nine", "first_line": "There were ninety and nine that safely lay", "author": "elizabeth-c-clephane", "author_date": "1868", "foot": "anapestic", "meter": {"pattern": [10, 7, 9, 7, 9, 9, 9], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Shepherd", "Redemption", "Invitation (God's to Us)", "Atonement", "Joy"], "scripture": ["Luke 15:4-7", "Matthew 18:12-14", "Isaiah 53:6"], "provenance": {"layer": "text", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elizabeth Cecilia Clephane (1830-1869), written 1868 and printed anonymously in The Christian Age soon after her death; Ira D. Sankey found it in a Scottish newspaper in 1874 and set it extempore. Transcribed from the first printing of the hymn WITH this tune: Gospel Hymns and Sacred Songs, as used by them in gospel meetings (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1875), No. 6, printed page 8 — archive.org gospelhymnssacre00blis_0, leaf n11 — which prints stanza 1 under the music and stanzas 2-5 as text below it, over the epigraph \"Rejoice with me, for I have found my sheep that was lost.\" — Luke 15: 6, credited \"Elizabeth C. Clephane. 1868.\" US public domain: published 1875, and the author died in 1869, so also PD in life+70 jurisdictions. Wording is that page's — including its hyphenated \"to-night\" and the em dash ending \"Out in the desert He heard its cry—\", both of which this record first shipped modernized and both of which are now restored — including \"'Tis of mine\", \"But all thro' the mountains\" and \"There rose a cry to the gate of heaven\"; the same words were re-read on Gospel Hymns ... Consolidated Nos. 1-4 (1883), No. 6, page 8 (gospelhymnsconso00blis_202606, leaf n9). EDITORIAL: the 1875 page sets each stanza out in SIX lines, because its seventh line is simply the sixth sung again — the music repeats it, and the page relies on the reader to see that from stanza 1's underlay. The seventh line is written out here, as the four-verse interlinear printing in Christ in Song (rev. and enl., 1908), No. 61, page 61 (songfora00beld, leaf n76) writes it out, so that every stanza has the seven lines the tune actually sings. Divine pronouns are left exactly as the 1875 page sets them — capitalised in stanzas 1, 3 and 4 (\"His sheep\", \"Thy hands\"), lower case in stanza 2 (\"away from me\", \"find my sheep\").", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "there_were_ninety_and_nine_that_safely", "total_instances": 223}}, "stanzas": {"1": {"syllabified": "There were nine -- ty and nine that safe -- ly lay In the shel -- ter of the fold, But one was out on the hills a -- way, Far off from the gates of gold, A -- way on the moun -- tains wild and bare, A -- way from the ten -- der Shep -- herd's care, A -- way from the ten -- der Shep -- herd's care.", "prose": ["There were ninety and nine that safely lay", "In the shelter of the fold,", "But one was out on the hills away,", "Far off from the gates of gold,", "Away on the mountains wild and bare,", "Away from the tender Shepherd's care,", "Away from the tender Shepherd's care."]}, "2": {"syllabified": "\"Lord, Thou hast here Thy nine -- ty and nine; Are they not e -- nough for Thee?\" But the Shep -- herd made an -- swer: \"'Tis of mine Has wan -- dered a -- way from me; And al -- though the road be rough and steep, I go to the des -- ert to find my sheep, I go to the des -- ert to find my sheep.\"", "prose": ["\"Lord, Thou hast here Thy ninety and nine;", "Are they not enough for Thee?\"", "But the Shepherd made answer: \"'Tis of mine", "Has wandered away from me;", "And although the road be rough and steep,", "I go to the desert to find my sheep,", "I go to the desert to find my sheep.\""]}, "3": {"syllabified": "But none of the ran -- somed ev -- er knew How deep were the wa -- ters crossed; Nor how dark was the night that the Lord passed through Ere He found His sheep that was lost. Out in the des -- ert He heard its cry— Sick and help -- less, and read -- y to die, Sick and help -- less, and read -- y to die.", "prose": ["But none of the ransomed ever knew", "How deep were the waters crossed;", "Nor how dark was the night that the Lord passed through", "Ere He found His sheep that was lost.", "Out in the desert He heard its cry—", "Sick and helpless, and ready to die,", "Sick and helpless, and ready to die."]}, "4": {"syllabified": "\"Lord, whence are those blood -- drops all the way That mark out the moun -- tain's track?\" \"They were shed for one who had gone a -- stray Ere the Shep -- herd could bring him back.\" \"Lord, whence are Thy hands so rent and torn?\" \"They are pierced to -- night by man -- y a thorn, They are pierced to -- night by man -- y a thorn.\"", "prose": ["\"Lord, whence are those blood-drops all the way", "That mark out the mountain''s track?\"", "\"They were shed for one who had gone astray", "Ere the Shepherd could bring him back.\"", "\"Lord, whence are Thy hands so rent and torn?\"", "\"They are pierced to-night by many a thorn,", "They are pierced to-night by many a thorn.\""]}, "5": {"syllabified": "But all thro' the moun -- tains, thun -- der -- riv -- en, And up from the rock -- y steep, There rose a cry to the gate of heav -- en, \"Re -- joice! I have found my sheep!\" And the an -- gels ech -- oed a -- round the throne, \"Re -- joice, for the Lord brings back His own! Re -- joice, for the Lord brings back His own!\"", "prose": ["But all thro' the mountains, thunder-riven,", "And up from the rocky steep,", "There rose a cry to the gate of heaven,", "\"Rejoice! I have found my sheep!\"", "And the angels echoed around the throne,", "\"Rejoice, for the Lord brings back His own!", "Rejoice, for the Lord brings back His own!\""]}}}, "the-offring-on-the-altar-burned": {"slug": "the-offring-on-the-altar-burned", "title": "Personal Devotion to God", "first_line": "The off'ring on the altar burned", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 40, "topics": ["Psalms"], "scripture": ["Psalm 40"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 109) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 40, selection 109. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The of -- f'ring on the al -- tar burned Gives no de -- light to Thee; The hear -- ing ear, the wil -- ling heart, Thou giv -- est un -- to me.", "prose": ["The off'ring on the altar burned", "Gives no delight to Thee;", "The hearing ear, the willing heart,", "Thou givest unto me."]}, "2": {"syllabified": "Then, O my God, I come, I come, Thy pur -- pose to ful -- fill; Thy law is writ -- ten in my heart, 'Tis joy to do Thy will.", "prose": ["Then, O my God, I come, I come,", "Thy purpose to fulfill;", "Thy law is written in my heart,", "'Tis joy to do Thy will."]}, "3": {"syllabified": "Be -- fore Thy peo -- ple I will now Thy right -- eous -- ness pro -- claim; Thou know -- est, Lord, I will not cease To praise Thy ho -- ly Name.", "prose": ["Before Thy people I will now", "Thy righteousness proclaim;", "Thou knowest, Lord, I will not cease", "To praise Thy holy Name."]}, "4": {"syllabified": "I nev -- er have with -- in my heart Thy faith -- ful -- ness con -- cealed, But Thy sal -- va -- tion and Thy truth To men I have re -- vealed.", "prose": ["I never have within my heart", "Thy faithfulness concealed,", "But Thy salvation and Thy truth", "To men I have revealed."]}}}, "the-old-rugged-cross": {"slug": "the-old-rugged-cross", "title": "The Old Rugged Cross", "first_line": "On a hill far away stood an old rugged", "index_first_line": "On a hill far away stood an old rugged cross", "author": "george-bennard", "author_date": "1918", "foot": "iambic", "meter": {"pattern": [12, 8, 12, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "topics": ["Anticipation", "Brevity of Life", "Jesus", "Presence"], "scripture": ["Acts 1:10-11", "1 Corinthians 15:51-57", "1 Thessalonians 4:15-17", "Revelation 22:20"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:202; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "on_a_hill_far_away_stood_an_old_rugged", "total_instances": 436}}, "stanzas": {"1": {"syllabified": "On a hill far a -- way stood an old rug -- ged cross, The em -- blem of suf -- f'ring and shame; And I love that old cross where the dear -- est and best For a world of lost sin -- ners was slain.", "prose": ["On a hill far away stood an old rugged cross,", "The emblem of suff'ring and shame;", "And I love that old cross where the dearest and best", "For a world of lost sinners was slain."]}, "2": {"syllabified": "O that old rug -- ged cross, so de -- spised by the world, Has a won -- drous a -- ttrac -- tion for me; For the dear Lamb of God left His glo -- ry a -- bove To bear it to dark Cal -- va -- ry.", "prose": ["O that old rugged cross, so despised by the world,", "Has a wondrous attraction for me;", "For the dear Lamb of God left His glory above", "To bear it to dark Calvary."]}, "3": {"syllabified": "In that old rug -- ged cross, stained with blood so di -- vine, A won -- drous beau -- ty I see, For 'twas on that old cross Je -- sus suf -- fered and died, To par -- don and sanc -- ti -- fy me.", "prose": ["In that old rugged cross, stained with blood so divine,", "A wondrous beauty I see,", "For 'twas on that old cross Jesus suffered and died,", "To pardon and sanctify me."]}, "4": {"syllabified": "To the old rug -- ged cross I will ev -- er be true; Its shame and re -- proach glad -- ly bear; Then He'll call me some day to my home far a -- way, Where His glo -- ry for -- ev -- er I'll share.", "prose": ["To the old rugged cross I will ever be true;", "Its shame and reproach gladly bear;", "Then He'll call me some day to my home far away,", "Where His glory forever I'll share."]}}, "refrain": {"syllabified": "So I'll cher -- ish the old rug -- ged cross, Till my tro -- phies at last I lay down; I will cling to the old rug -- ged cross, And ex -- change it some day for a crown.", "prose": ["So I'll cherish the old rugged cross,", "Till my trophies at last I lay down;", "I will cling to the old rugged cross,", "And exchange it some day for a crown."]}}, "the-sands-of-time-are-sinking": {"slug": "the-sands-of-time-are-sinking", "title": "The Sands of Time Are Sinking", "first_line": "The Sands of Time Are Sinking", "author": "anne-ross-cousin", "author_date": "1857", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Heaven", "Hope", "Eternal Life"], "scripture": ["Revelation 19:7"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Anne Ross Cousin (1824–1906), \"The Sands of Time Are Sinking,\" in The Christian Treasury, 1857 — a paraphrase of the dying sayings of Samuel Rutherford (1600–1661). Text from The Cyber Hymnal (five of the nineteen stanzas). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The sands of time are sink -- ing The dawn of Heav -- en breaks The sum -- mer morn I've sighed for The fair, sweet morn a -- wakes Dark, dark hath been the mid -- night But day -- spring is at hand And glo -- ry, glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "prose": ["The sands of time are sinking,", "The dawn of Heaven breaks;", "The summer morn I've sighed for—", "The fair, sweet morn awakes:", "Dark, dark hath been the midnight,", "But dayspring is at hand,", "And glory, glory dwelleth", "In Immanuel's land."]}, "2": {"syllabified": "O Christ, He is the foun -- tain The deep, sweet well of love The streams on earth I've tast -- ed More deep I'll drink a -- bove There to an o -- cean full -- ness His mer -- cy doth ex -- pand And glo -- ry, glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "prose": ["O Christ, He is the fountain,", "The deep, sweet well of love!", "The streams on earth I've tasted", "More deep I'll drink above:", "There to an ocean fullness", "His mercy doth expand,", "And glory, glory dwelleth", "In Immanuel's land."]}, "3": {"syllabified": "Oh! Well it is for -- ev -- er Oh! well for -- ev -- er -- more My nest hung in no for -- est Of all this death doomed shore Yea, let the vain world van -- ish As from the ship the strand While glo -- ry— glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "prose": ["Oh! Well it is forever,", "Oh! well forevermore,", "My nest hung in no forest", "Of all this death doomed shore:", "Yea, let the vain world vanish,", "As from the ship the strand,", "While glory—glory dwelleth", "In Immanuel's land."]}, "4": {"syllabified": "There the red rose of Shar -- on Un -- folds its heart -- some bloom And fills the air of Heav -- en With rav -- ish -- ing per -- fume Oh! To be -- hold it blos -- som While by its fra -- grance fanned Where glo -- ry— glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "prose": ["There the red rose of Sharon", "Unfolds its heartsome bloom", "And fills the air of Heaven", "With ravishing perfume:", "Oh! To behold it blossom,", "While by its fragrance fanned", "Where glory—glory dwelleth", "In Immanuel's land."]}, "5": {"syllabified": "With mer -- cy and with judg -- ment My web of time He wove And aye, the dews of sor -- row Were lus -- tered with His love I'll bless the hand that guid -- ed I'll bless the heart that planned When throned where glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "prose": ["With mercy and with judgment", "My web of time He wove,", "And aye, the dews of sorrow", "Were lustered with His love;", "I'll bless the hand that guided,", "I'll bless the heart that planned", "When throned where glory dwelleth", "In Immanuel's land."]}}}, "the-spacious-heavns-declare": {"slug": "the-spacious-heavns-declare", "title": "Nature's Tribute to God", "first_line": "The spacious heav'ns declare", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 19, "topics": ["Psalms"], "scripture": ["Psalm 19"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 37) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 19, selection 37. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The spa -- cious heav'ns de -- clare The glo -- ry of our God, The fir -- ma -- ment dis -- plays His han -- di -- work a -- broad; Day un -- to day pro -- claims His might, And night His wis -- dom tells to night.", "prose": ["The spacious heav'ns declare", "The glory of our God,", "The firmament displays", "His handiwork abroad;", "Day unto day proclaims His might,", "And night His wisdom tells to night."]}, "2": {"syllabified": "A -- loud they do not speak, They ut -- ter forth no word, Nor in -- to lan -- guage break Their voice is nev -- er heard; Yet through the world the truth they bear And their Cre -- a -- tor's pow'r de -- clare.", "prose": ["Aloud they do not speak,", "They utter forth no word,", "Nor into language break", "Their voice is never heard;", "Yet through the world the truth they bear", "And their Creator's pow'r declare."]}, "3": {"syllabified": "The clouds of heav'n are spread, A tent to hold the sun, And like a bride -- groom fair Comes forth the might -- y one, Re -- joic -- ing in his strength and grace To run his won -- drous dai -- ly race.", "prose": ["The clouds of heav'n are spread,", "A tent to hold the sun,", "And like a bridegroom fair", "Comes forth the mighty one,", "Rejoicing in his strength and grace", "To run his wondrous daily race."]}, "4": {"syllabified": "His dai -- ly go -- ing forth Is from the end of heav'n; The fir -- ma -- ment to him Is for his cir -- cuit giv'n; His jour -- ney reach -- es to its ends, And ev -- 'ry -- where his heat ex -- tends.", "prose": ["His daily going forth", "Is from the end of heav'n;", "The firmament to him", "Is for his circuit giv'n;", "His journey reaches to its ends,", "And ev'rywhere his heat extends."]}}}, "the-strife-is-oer-the-battle-done": {"slug": "the-strife-is-oer-the-battle-done", "title": "The Strife Is O'er, the Battle Done", "first_line": "The strife is o'er, the battle done", "author_source": "Latin, anonymous", "translator": "francis-pott", "translator_date": "1861", "foot": "iambic", "meter": {"pattern": [8, 8, 8], "doubled": false, "refrain": true, "alleluia": true, "irregular": false}, "topics": ["Easter", "Christ, Resurrection of", "Victory", "Praise, Son"], "scripture": ["1 Corinthians 15:54-57", "2 Timothy 1:10", "Acts 2:22-24"], "provenance": {"layer": "text", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Francis Pott's translation as printed in Hymns Ancient and Modern, 1861, Hymn 114 — the plate (archive.org henrmode00chur, leaf 174) and the same book's OCR were both read for this import. The page is headed 'Easter. Hymn 114.' and prints an unnumbered 'ALLELUIA! ALLELUIA! ALLELUIA!' above five stanzas, each closing with a single 'Alleluia!'; the five stanzas are the five encoded here. The stanzas are UNNUMBERED on that plate — they are separated by white space only, the first opening with a drop-cap 'T' — a point corrected in verification after the import first recorded them as numbered. The book's own first-line index reads 'The strife is o'er, the battle won ... 8,8,8 ... Victory ... 114' (the index prints 'won' where the hymn page prints 'done'). The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297) credits the words 'Anon. Latin; Tr. FRANCIS POTT, 1861, alt.' and prints a later, revised recension of the English. Two elisions depart from the 1861 spelling, because the printed spellings do not scan at eight syllables. They are not the same case: 'pow'rs' (plate: 'The powers of death') follows the Open Hymnal exactly, while 'heav'n's' (plate: 'heaven's high portals') follows NEITHER witness — the Open Hymnal writes 'heav'ns', so this spelling is the importer's own, chosen for the possessive. Both occupy one lyric slot, which is what the meter requires. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "stanzas": {"1": {"syllabified": "The strife is o'er, the bat -- tle done; The tri -- umph of the Lord is won; O let the song of praise be sung. Al -- le -- lu -- ia!", "prose": ["The strife is o'er, the battle done;", "The triumph of the Lord is won;", "O let the song of praise be sung.", "Alleluia!"]}, "2": {"syllabified": "The pow'rs of death have done their worst, And Je -- sus hath His foes dis -- persed; Let shouts of praise and joy out -- burst. Al -- le -- lu -- ia!", "prose": ["The pow'rs of death have done their worst,", "And Jesus hath His foes dispersed;", "Let shouts of praise and joy outburst.", "Alleluia!"]}, "3": {"syllabified": "On that third morn He rose a -- gain In glor -- ious maj -- es -- ty to reign; O let us swell the joy -- ful strain. Al -- le -- lu -- ia!", "prose": ["On that third morn He rose again", "In glorious majesty to reign;", "O let us swell the joyful strain.", "Alleluia!"]}, "4": {"syllabified": "He closed the yawn -- ing gates of hell; The bars from heav'n's high por -- tals fell; Let songs of joy His tri -- umphs tell. Al -- le -- lu -- ia!", "prose": ["He closed the yawning gates of hell;", "The bars from heav'n's high portals fell;", "Let songs of joy His triumphs tell.", "Alleluia!"]}, "5": {"syllabified": "Lord, by the stripes which wound -- ed Thee, From death's dread sting Thy ser -- vants free, That we may live, and sing to Thee. Al -- le -- lu -- ia!", "prose": ["Lord, by the stripes which wounded Thee,", "From death's dread sting Thy servants free,", "That we may live, and sing to Thee.", "Alleluia!"]}}, "refrain": {"syllabified": "Al -- le -- lu -- ia, Al -- le -- lu -- ia, Al -- le -- lu -- ia.", "prose": ["Alleluia, Alleluia, Alleluia."]}}, "the-trespass-of-the-wicked-man": {"slug": "the-trespass-of-the-wicked-man", "title": "A Wicked Life", "first_line": "The trespass of the wicked man", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 36, "topics": ["Psalms"], "scripture": ["Psalm 36"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 93) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 36, selection 93. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The tres -- pass of the wick -- ed man Most plain -- ly tes -- ti -- fies That fear of God's most ho -- ly Name Is not be -- fore his eyes.", "prose": ["The trespass of the wicked man", "Most plainly testifies", "That fear of God's most holy Name", "Is not before his eyes."]}, "2": {"syllabified": "He cher -- ish -- es the emp -- ty hope, Al -- though his sin be great, It nev -- er shall be brought to light And viewed with right -- eous hate.", "prose": ["He cherishes the empty hope,", "Although his sin be great,", "It never shall be brought to light", "And viewed with righteous hate."]}, "3": {"syllabified": "The words he ut -- ters with his mouth Are wick -- ed -- ness and lies; He keeps him -- self from do -- ing good, And ceas -- es to be wise.", "prose": ["The words he utters with his mouth", "Are wickedness and lies;", "He keeps himself from doing good,", "And ceases to be wise."]}, "4": {"syllabified": "While on his bed his thought he gives To plann -- ing wick -- ed -- ness; He sets him -- self in e -- vil ways, he shuns not to trans -- gress.", "prose": ["While on his bed his thought he gives", "To planning wickedness;", "He sets himself in evil ways,", "he shuns not to transgress."]}}}, "the-wicked-mans-transgression": {"slug": "the-wicked-mans-transgression", "title": "The Wicked Man's Transgression", "first_line": "The wicked man's transgression", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 36, "topics": ["Psalms"], "scripture": ["Psalm 36"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 36. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The wick -- ed man's trans -- gres -- si -- on with -- in my heart thus says, Un -- doubt -- ed -- ly the fear of God is not be -- fore his eyes.", "prose": ["The wicked man's transgression", "within my heart thus says,", "Undoubtedly the fear of God", "is not before his eyes."]}, "2": {"syllabified": "Be -- cause him -- self he flat -- ter -- eth in his own blind -- ed eye, Un -- til the hate -- ful -- ness be found of his in -- iq -- ui -- ty.", "prose": ["Because himself he flattereth", "in his own blinded eye,", "Until the hatefulness be found", "of his iniquity."]}, "3": {"syllabified": "Words from his mouth pro -- ceed -- ing are, fraud and in -- iq -- ui -- ty: He to be wise, and to do good, hath left off ut -- ter -- ly.", "prose": ["Words from his mouth proceeding are,", "fraud and iniquity:", "He to be wise, and to do good,", "hath left off utterly."]}, "4": {"syllabified": "He mis -- chief, ly -- ing on his bed, most cun -- ning -- ly doth plot: He sets him -- self in ways not good, ill he ab -- horr -- eth not.", "prose": ["He mischief, lying on his bed,", "most cunningly doth plot:", "He sets himself in ways not good,", "ill he abhorreth not."]}, "5": {"syllabified": "Thy mer -- cy, Lord, is in the heav'ns; thy truth doth reach the clouds: Thy jus -- tice is like moun -- tains great; thy judg -- ments deep as floods:", "prose": ["Thy mercy, Lord, is in the heav'ns;", "thy truth doth reach the clouds:", "Thy justice is like mountains great;", "thy judgments deep as floods:"]}, "6": {"syllabified": "Lord, thou pre -- serv -- est man and beast. How pre -- cious is thy grace! There -- fore in shad -- ow of thy wings men's sons their trust shall place.", "prose": ["Lord, thou preservest man and beast.", "How precious is thy grace!", "Therefore in shadow of thy wings", "men's sons their trust shall place."]}, "7": {"syllabified": "They with the fat -- ness of thy house shall be well sat -- is -- fied; From riv -- ers of thy plea -- sures thou wilt drink to them pro -- vide.", "prose": ["They with the fatness of thy house", "shall be well satisfied;", "From rivers of thy pleasures thou", "wilt drink to them provide."]}, "8": {"syllabified": "Be -- cause of life the foun -- tain pure re -- mains a -- lone with thee; And in that pur -- est light of thine we clear -- ly light shall see.", "prose": ["Because of life the fountain pure", "remains alone with thee;", "And in that purest light of thine", "we clearly light shall see."]}, "9": {"syllabified": "Thy lov -- ing -- kind -- ness un -- to them con -- tin -- ue that thee know; And still on men up -- right in heart thy right -- eous -- ness be -- stow.", "prose": ["Thy loving-kindness unto them", "continue that thee know;", "And still on men upright in heart", "thy righteousness bestow."]}, "10": {"syllabified": "Let not the foot of cru -- el pride come, and a -- gainst me stand; And let me not re -- mov -- ed be, Lord, by the wi -- cked's hand.", "prose": ["Let not the foot of cruel pride", "come, and against me stand;", "And let me not removed be,", "Lord, by the wicked's hand."]}, "11": {"syllabified": "There fall'n are they, and ru -- in -- ed, that work in -- iq -- ui -- ties: Cast down they are, and nev -- er shall be a -- ble to a -- rise.", "prose": ["There fall'n are they, and ruined,", "that work iniquities:", "Cast down they are, and never shall", "be able to arise."]}}}, "the-wicked-watching-for-their-prey": {"slug": "the-wicked-watching-for-their-prey", "title": "The Righteous and the Evil-Doer", "first_line": "The wicked, watching for their prey", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 37, "topics": ["Psalms"], "scripture": ["Psalm 37"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 99) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 37, selection 99. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "The wick -- ed, watch -- ing for their prey, De -- sire the right -- eous man to slay, But God is on his side; He will not leave him in their hands, Nor count him guilt -- y when he stands In judg -- ment to be tried.", "prose": ["The wicked, watching for their prey,", "Desire the righteous man to slay,", "But God is on his side;", "He will not leave him in their hands,", "Nor count him guilty when he stands", "In judgment to be tried."]}, "2": {"syllabified": "Wait on the Lord and keep His way; He will ex -- alt thee, nor de -- lay To give the land to thee; And when the wick -- ed are cut off, The wick -- ed who a -- gainst thee scoff, Their judg -- ment thou shalt see.", "prose": ["Wait on the Lord and keep His way;", "He will exalt thee, nor delay", "To give the land to thee;", "And when the wicked are cut off,", "The wicked who against thee scoff,", "Their judgment thou shalt see."]}, "3": {"syllabified": "The wick -- ed in great pow'r are seen, Like spread -- ing tree with fo -- liage green That grows in na -- tive ground. I looked a -- gain, they were no more; I sought the men so proud be -- fore, But they could not be found.", "prose": ["The wicked in great pow'r are seen,", "Like spreading tree with foliage green", "That grows in native ground.", "I looked again, they were no more;", "I sought the men so proud before,", "But they could not be found."]}, "4": {"syllabified": "Mark thou the up -- right day by day, Be -- hold the per -- fect in his way; His jour -- ney ends in peace. De -- stroyed at once shall reb -- els be; Cut off from all pos -- ter -- i -- ty, Their ver -- y name shall cease.", "prose": ["Mark thou the upright day by day,", "Behold the perfect in his way;", "His journey ends in peace.", "Destroyed at once shall rebels be;", "Cut off from all posterity,", "Their very name shall cease."]}, "5": {"syllabified": "Sal -- va -- tion is from God, a -- lone, Whom as their co -- vert saints have known When by sore trou -- bles tried; The Lord Who helped in trou -- bles past Will save them to the ver -- y last, For they in Him con -- fide.", "prose": ["Salvation is from God, alone,", "Whom as their covert saints have known", "When by sore troubles tried;", "The Lord Who helped in troubles past", "Will save them to the very last,", "For they in Him confide."]}}}, "thee-will-i-love-o-lord-my-strength": {"slug": "thee-will-i-love-o-lord-my-strength", "title": "Thee Will I Love, O Lord, My Strength", "first_line": "Thee will I love, O Lord, my strength", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 18, "topics": ["Psalms"], "scripture": ["Psalm 18"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 18. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thee will I love, O Lord, my strength. My for -- tress is the Lord, My rock, and he that doth to me de -- liv -- er -- ance af -- ford:", "prose": ["Thee will I love, O Lord, my strength.", "My fortress is the Lord,", "My rock, and he that doth to me", "deliverance afford:"]}, "2": {"syllabified": "My God, my strength, whom I will trust, a buck -- ler un -- to me, The horn of my sal -- va -- ti -- on, and my high tow'r, is he.", "prose": ["My God, my strength, whom I will trust,", "a buckler unto me,", "The horn of my salvation,", "and my high tow'r, is he."]}, "3": {"syllabified": "Up -- on the Lord, who wor -- thy is of prais -- es, will I cry; And then shall I pre -- serv -- ed be safe from mine en -- e -- my.", "prose": ["Upon the Lord, who worthy is", "of praises, will I cry;", "And then shall I preserved be", "safe from mine enemy."]}, "4": {"syllabified": "Floods of ill men af -- fright -- ed me, death's pangs a -- bout me went; Hell's sor -- rows me en -- vi -- ron -- ed; death's snares did me pre -- vent.", "prose": ["Floods of ill men affrighted me,", "death's pangs about me went;", "Hell's sorrows me environed;", "death's snares did me prevent."]}, "5": {"syllabified": "In my dis -- tress I called on God, cry to my God did I; He from his tem -- ple heard my voice, to his ears came my cry.", "prose": ["In my distress I called on God,", "cry to my God did I;", "He from his temple heard my voice,", "to his ears came my cry."]}, "6": {"syllabified": "Th'earth, as af -- fright -- ed, then did shake, trem -- bling up -- on it seized: The hills' foun -- da -- tions mov -- ed were, be -- cause he was dis -- pleased.", "prose": ["Th' earth, as affrighted, then did shake,", "trembling upon it seized:", "The hills' foundations moved were,", "because he was displeased."]}, "7": {"syllabified": "Up from his nos -- trils came a smoke, and from his mouth there came De -- vour -- ing fire, and coals by it were turn -- ed in -- to flame.", "prose": ["Up from his nostrils came a smoke,", "and from his mouth there came", "Devouring fire, and coals by it", "were turned into flame."]}, "8": {"syllabified": "He al -- so bow -- ed down the heav'ns, and thence he did de -- scend; And thick -- est clouds of dark -- ness did un -- der his feet at -- tend.", "prose": ["He also bowed down the heav'ns,", "and thence he did descend;", "And thickest clouds of darkness did", "under his feet attend."]}, "9": {"syllabified": "And he up -- on a cher -- ub rode, and there -- on he did fly; Yea, on the swift wings of the wind his flight was from on high.", "prose": ["And he upon a cherub rode,", "and thereon he did fly;", "Yea, on the swift wings of the wind", "his flight was from on high."]}, "10": {"syllabified": "He dark -- ness made his se -- cret place: a -- bout him, for his tent, Dark wa -- ters were, and thick -- est clouds of th'ai -- ry fir -- ma -- ment.", "prose": ["He darkness made his secret place:", "about him, for his tent,", "Dark waters were, and thickest clouds", "of th' airy firmament."]}, "11": {"syllabified": "And at the bright -- ness of that light, which was be -- fore his eye, His thick clouds passed a -- way, hail -- stones and coals of fire did fly.", "prose": ["And at the brightness of that light,", "which was before his eye,", "His thick clouds passed away, hailstones", "and coals of fire did fly."]}, "12": {"syllabified": "The Lord God al -- so in the heav'ns did thun -- der in his ire; And there the High -- est gave his voice, hail -- stones and coals of fire.", "prose": ["The Lord God also in the heav'ns", "did thunder in his ire;", "And there the Highest gave his voice,", "hailstones and coals of fire."]}, "13": {"syllabified": "Yea, he his ar -- rows sent a -- broad, and them he scat -- ter -- ed; His light -- nings al -- so he shot out, and them dis -- com -- fit -- ed.", "prose": ["Yea, he his arrows sent abroad,", "and them he scattered;", "His lightnings also he shot out,", "and them discomfited."]}, "14": {"syllabified": "The wa -- ters' chan -- nels then were seen, the world's foun -- da -- tions vast At thy re -- buke dis -- cov -- ered were, and at thy nos -- trils' blast.", "prose": ["The waters' channels then were seen,", "the world's foundations vast", "At thy rebuke discovered were,", "and at thy nostrils' blast."]}, "15": {"syllabified": "And from a -- bove the Lord sent down, and took me from be -- low; From man -- y wa -- ters he me drew, which would me o -- ver -- flow.", "prose": ["And from above the Lord sent down,", "and took me from below;", "From many waters he me drew,", "which would me overflow."]}, "16": {"syllabified": "He me re -- lieved from my strong foes, and such as did me hate; Be -- cause he saw that they for me too strong were, and too great.", "prose": ["He me relieved from my strong foes,", "and such as did me hate;", "Because he saw that they for me", "too strong were, and too great."]}, "17": {"syllabified": "They me pre -- vent -- ed in the day of my ca -- lam -- i -- ty; But e -- ven then the Lord him -- self a stay was un -- to me.", "prose": ["They me prevented in the day", "of my calamity;", "But even then the Lord himself", "a stay was unto me."]}, "18": {"syllabified": "He to a place where lib -- er -- ty and room was hath me brought; Be -- cause he took de -- light in me, he my de -- liv -- 'rance wrought.", "prose": ["He to a place where liberty", "and room was hath me brought;", "Because he took delight in me,", "he my deliv'rance wrought."]}, "19": {"syllabified": "Ac -- cord -- ing to my right -- eous -- ness he did me rec -- om -- pense, He me re -- paid ac -- cord -- ing to my hands' pure in -- no -- cence.", "prose": ["According to my righteousness", "he did me recompense,", "He me repaid according to", "my hands' pure innocence."]}, "20": {"syllabified": "For I God's ways kept, from my God did not turn wick -- ed -- ly. His judg -- ments were be -- fore me, I his laws put not from me.", "prose": ["For I God's ways kept, from my God", "did not turn wickedly.", "His judgments were before me, I", "his laws put not from me."]}, "21": {"syllabified": "Sin -- cere be -- fore him was my heart; with him up -- right was I; And watch -- ful -- ly I kept my -- self from mine in -- iq -- ui -- ty.", "prose": ["Sincere before him was my heart;", "with him upright was I;", "And watchfully I kept myself", "from mine iniquity."]}, "22": {"syllabified": "Af -- ter my right -- eous -- ness the Lord hath rec -- om -- pens -- ed me, Af -- ter the clean -- ness of my hands ap -- pear -- ing in his eye.", "prose": ["After my righteousness the Lord", "hath recompensed me,", "After the cleanness of my hands", "appearing in his eye."]}, "23": {"syllabified": "Thou gra -- cious to the gra -- cious art, to up -- right men up -- right: Pure to the pure, fro -- ward thou kyth'st un -- to the fro -- ward wight.", "prose": ["Thou gracious to the gracious art,", "to upright men upright:", "Pure to the pure, froward thou kyth'st", "unto the froward wight."]}, "24": {"syllabified": "For thou wilt the af -- flic -- ted save in grief that low do lie: But wilt bring down the coun -- ten -- ance of them whose looks are high.", "prose": ["For thou wilt the afflicted save", "in grief that low do lie:", "But wilt bring down the countenance", "of them whose looks are high."]}, "25": {"syllabified": "The Lord will light my cand -- le so, that it shall shine full bright: The Lord my God will al -- so make my dark -- ness to be light.", "prose": ["The Lord will light my candle so,", "that it shall shine full bright:", "The Lord my God will also make", "my darkness to be light."]}, "26": {"syllabified": "By thee through troops of men I break, and them dis -- com -- fit all; And, by my God as -- sist -- ing me, I o -- ver -- leap a wall.", "prose": ["By thee through troops of men I break,", "and them discomfit all;", "And, by my God assisting me,", "I overleap a wall."]}, "27": {"syllabified": "As for God, per -- fect is his way: the Lord his word is tried; He is a buck -- ler to all those who do in him con -- fide.", "prose": ["As for God, perfect is his way:", "the Lord his word is tried;", "He is a buckler to all those", "who do in him confide."]}, "28": {"syllabified": "Who but the Lord is God? but he who is a rock and stay? 'Tis God that gird -- eth me with strength, and per -- fect makes my way.", "prose": ["Who but the Lord is God? but he", "who is a rock and stay?", "'Tis God that girdeth me with strength,", "and perfect makes my way."]}, "29": {"syllabified": "He made my feet swift as the hinds, set me on my high plac -- es. Mine hands to war he taught, mine arms brake bows of steel in piec -- es.", "prose": ["He made my feet swift as the hinds,", "set me on my high places.", "Mine hands to war he taught, mine arms", "brake bows of steel in pieces."]}, "30": {"syllabified": "The shield of thy sal -- va -- ti -- on thou didst on me be -- stow: Thy right hand held me up, and great thy kind -- ness made me grow.", "prose": ["The shield of thy salvation", "thou didst on me bestow:", "Thy right hand held me up, and great", "thy kindness made me grow."]}, "31": {"syllabified": "And in my way my steps thou hast en -- larg -- ed un -- der me, That I go safe -- ly, and my feet are kept from slid -- ing free.", "prose": ["And in my way my steps thou hast", "enlarged under me,", "That I go safely, and my feet", "are kept from sliding free."]}, "32": {"syllabified": "Mine en -- 'mies I pur -- su -- ed have, and did them o -- ver -- take; Nor did I turn a -- gain till I an end of them did make.", "prose": ["Mine en'mies I pursued have,", "and did them overtake;", "Nor did I turn again till I", "an end of them did make."]}, "33": {"syllabified": "I woun -- ded them, they could not rise; they at my feet did fall. Thou gird -- est me with strength for war; my foes thou brought'st down all:", "prose": ["I wounded them, they could not rise;", "they at my feet did fall.", "Thou girdest me with strength for war;", "my foes thou brought'st down all:"]}, "34": {"syllabified": "And thou hast giv'n to me the necks of all mine en -- e -- mies; That I might them de -- stroy and slay, who did a -- gainst me rise.", "prose": ["And thou hast giv'n to me the necks", "of all mine enemies;", "That I might them destroy and slay,", "who did against me rise."]}, "35": {"syllabified": "They cri -- ed out, but there was none that would or could them save; Yea, they did cry un -- to the Lord, but he no an -- swer gave.", "prose": ["They cried out, but there was none", "that would or could them save;", "Yea, they did cry unto the Lord,", "but he no answer gave."]}, "36": {"syllabified": "Then did I beat them small as dust be -- fore the wind that flies; And I did cast them out like dirt up -- on the street that lies.", "prose": ["Then did I beat them small as dust", "before the wind that flies;", "And I did cast them out like dirt", "upon the street that lies."]}, "37": {"syllabified": "Thou mad'st me free from peo -- ple's strife, and hea -- then's head to be: A peo -- ple whom I have not known shall ser -- vice do to me.", "prose": ["Thou mad'st me free from people's strife,", "and heathen's head to be:", "A people whom I have not known", "shall service do to me."]}, "38": {"syllabified": "At hear -- ing they shall me o -- bey, to me they shall sub -- mit. Stran -- gers for fear shall fade a -- way, who in close plac -- es sit.", "prose": ["At hearing they shall me obey,", "to me they shall submit.", "Strangers for fear shall fade away,", "who in close places sit."]}, "39": {"syllabified": "God lives, bless'd be my Rock; the God of my health prais -- ed be. God doth a -- venge me, and sub -- dues the peo -- ple un -- der me.", "prose": ["God lives, bless'd be my Rock; the God", "of my health praised be.", "God doth avenge me, and subdues", "the people under me."]}, "40": {"syllabified": "He saves me from mine en -- e -- mies; yea, thou hast lift -- ed me A -- bove my foes; and from the man of vi -- 'lence set me free.", "prose": ["He saves me from mine enemies;", "yea, thou hast lifted me", "Above my foes; and from the man", "of vi'lence set me free."]}, "41": {"syllabified": "There -- fore to thee will I give thanks the hea -- then folk a -- mong; And to thy name, O Lord, I will sing prais -- es in a song.", "prose": ["Therefore to thee will I give thanks", "the heathen folk among;", "And to thy name, O Lord, I will", "sing praises in a song."]}, "42": {"syllabified": "He great de -- liv -- 'rance gives his king: he mer -- cy doth ex -- tend To Da -- vid, his a -- noint -- ed one, and his seed with -- out end.", "prose": ["He great deliv'rance gives his king:", "he mercy doth extend", "To David, his anointed one,", "and his seed without end."]}}}, "thee-will-i-praise-with-all-my-heart": {"slug": "thee-will-i-praise-with-all-my-heart", "title": "Thee Will I Praise with All My Heart", "first_line": "Thee will I praise with all my heart", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 138, "topics": ["Psalms"], "scripture": ["Psalm 138"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 138. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thee will I praise with all my heart, I will sing praise to thee Be -- fore the gods: And wor -- ship will to -- ward thy sanc -- tua -- ry.", "prose": ["Thee will I praise with all my heart,", "I will sing praise to thee", "Before the gods: And worship will", "toward thy sanctuary."]}, "2": {"syllabified": "I'll praise thy name, ev'n for thy truth, and kind -- ness of thy love; For thou thy word hast mag -- ni -- fied all thy great name a -- bove.", "prose": ["I'll praise thy name, ev'n for thy truth,", "and kindness of thy love;", "For thou thy word hast magnified", "all thy great name above."]}, "3": {"syllabified": "Thou didst me an -- swer in the day when I to thee did cry; And thou my faint -- ing soul with strength didst streng -- then in -- ward -- ly.", "prose": ["Thou didst me answer in the day", "when I to thee did cry;", "And thou my fainting soul with strength", "didst strengthen inwardly."]}, "4": {"syllabified": "All kings up -- on the earth that are shall give thee praise, O Lord; When as they from thy mouth shall hear thy true and faith -- ful word.", "prose": ["All kings upon the earth that are", "shall give thee praise, O Lord;", "When as they from thy mouth shall hear", "thy true and faithful word."]}, "5": {"syllabified": "Yea, in the right -- eous ways of God with glad -- ness they shall sing: For great's the glo -- ry of the Lord, who doth for ev -- er reign.", "prose": ["Yea, in the righteous ways of God", "with gladness they shall sing:", "For great's the glory of the Lord,", "who doth for ever reign."]}, "6": {"syllabified": "Though God be high, yet he re -- spects all those that low -- ly be; Where -- as the proud and loft -- y ones a -- far off know -- eth he.", "prose": ["Though God be high, yet he respects", "all those that lowly be;", "Whereas the proud and lofty ones", "afar off knoweth he."]}, "7": {"syllabified": "Though I in midst of trou -- ble walk, I life from thee shall have: 'Gainst my foes' wrath thou'lt stretch thine hand; thy right hand shall me save.", "prose": ["Though I in midst of trouble walk,", "I life from thee shall have:", "'Gainst my foes' wrath thou'lt stretch thine hand;", "thy right hand shall me save."]}, "8": {"syllabified": "Sure -- ly that which con -- cern -- eth me the Lord will per -- fect make: Lord, still thy mer -- cy lasts; do not thine own hands' works for -- sake.", "prose": ["Surely that which concerneth me", "the Lord will perfect make:", "Lord, still thy mercy lasts; do not", "thine own hands' works forsake."]}}}, "there-is-a-fountain-filled-with-blood": {"slug": "there-is-a-fountain-filled-with-blood", "title": "There Is a Fountain Filled with Blood", "first_line": "There is a fountain filled with blood", "author": "william-cowper", "author_date": "1772", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Grace"], "scripture": "Zechariah 13:1", "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Cowper (1731-1800), \"There is a fountain filled with blood,\" written by 1771 and first published in Conyers' Collection of Psalms and Hymns, 1772; reprinted in the Olney Hymns, 1779, Book I. Text from The Cyber Hymnal (all seven stanzas; Hymnary.org text authority there_is_a_fountain_filled_with_blood_dr, 2,786 hymnals, credits Cowper). The poem is Common Meter; the stanzas here are the poetic quatrains — the camp-meeting repetitions the Cyber Hymnal prints (line 4 sung three times, lines 3-4 reprised) belong to the tune CLEANSING FOUNTAIN and live in that setting's underlay. Sung elisions normalized for the C.M. meter as older hymnals print them: \"Emmanuel's\" is sung as three syllables (Em-man-uel's, stanza 1), \"power\" as \"pow'r\" (stanzas 3, 5, 7), and \"stammering\" as \"stamm'ring\" (stanza 5). All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "there_is_a_fountain_filled_with_blood_dr", "total_instances": 2786}}, "stanzas": {"1": {"syllabified": "There is a foun -- tain filled with blood Drawn from Em -- man -- uel's veins; And sin -- ners plunged be -- neath that flood Lose all their guil -- ty stains.", "prose": ["There is a fountain filled with blood", "Drawn from Emmanuel's veins;", "And sinners plunged beneath that flood", "Lose all their guilty stains."]}, "2": {"syllabified": "The dy -- ing thief re -- joiced to see That foun -- tain in his day; And there have I, though vile as he, Washed all my sins a -- way.", "prose": ["The dying thief rejoiced to see", "That fountain in his day;", "And there have I, though vile as he,", "Washed all my sins away."]}, "3": {"syllabified": "Dear dy -- ing Lamb, Thy pre -- cious blood Shall nev -- er lose its pow'r Till all the ran -- somed church of God Be saved, to sin no more.", "prose": ["Dear dying Lamb, Thy precious blood", "Shall never lose its pow'r", "Till all the ransomed church of God", "Be saved, to sin no more."]}, "4": {"syllabified": "E'er since, by faith, I saw the stream Thy flow -- ing wounds sup -- ply, Re -- deem -- ing love has been my theme, And shall be till I die.", "prose": ["E'er since, by faith, I saw the stream", "Thy flowing wounds supply,", "Redeeming love has been my theme,", "And shall be till I die."]}, "5": {"syllabified": "Then in a no -- bler, sweet -- er song, I'll sing Thy pow'r to save, When this poor lisp -- ing, stam -- m'ring tongue Lies si -- lent in the grave.", "prose": ["Then in a nobler, sweeter song,", "I'll sing Thy pow'r to save,", "When this poor lisping, stamm'ring tongue", "Lies silent in the grave."]}, "6": {"syllabified": "Lord, I be -- lieve Thou hast pre -- pared, Un -- wor -- thy though I be, For me a blood bought free re -- ward, A gold -- en harp for me!", "prose": ["Lord, I believe Thou hast prepared,", "Unworthy though I be,", "For me a blood bought free reward,", "A golden harp for me!"]}, "7": {"syllabified": "'Tis strung and tuned for end -- less years, And formed by pow'r di -- vine, To sound in God the Fa -- ther's ears No oth -- er name but Thine.", "prose": ["'Tis strung and tuned for endless years,", "And formed by pow'r divine,", "To sound in God the Father's ears", "No other name but Thine."]}}}, "there-is-power-in-the-blood": {"slug": "there-is-power-in-the-blood", "title": "There Is Power in the Blood", "first_line": "Would you be free from your burden of sin?", "author": "lewis-e-jones", "author_date": "1899", "foot": "dactylic", "meter": {"pattern": [10, 9, 10, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Redemption", "Cleansing", "Invitation"], "scripture": ["Revelation 12:11", "1 John 1:7", "Hebrews 9:22", "1 Peter 1:18-19"], "provenance": {"layer": "text", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Lewis Edgar Jones (1865-1936), words and music, written 1899 at a camp meeting in Mountain Lake Park, Maryland, and first published that year by H. L. Gilmour. Transcribed syllable by syllable from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 — archive.org item tabernaclehymnsn00chic, leaf 0180 — which is headed \"172  There is Power In the Blood.\", credits \"L. E. J.\" over the words and \"L. E. Jones.\" over the music, prints all FOUR stanzas interlinear with a written-out chorus and its tenor/bass echo line, and is footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\" Collated against a SECOND SCAN of the same 1921 plate (archive.org tabernaclehymnsn02chic, leaf 0178) and against an INDEPENDENT ENGRAVING of the same words and music, \"There is Power in the Blood.\" no. 24 in archive.org greatt00weig, leaf 0028. That third witness is CORROBORATION ONLY and is NOT part of the public-domain case: it carries no date on its title page or preface, and archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY MEYER and BROTHER\" printed on its hymn 25. US public domain: the text was published in 1899 and the witness read here is itself pre-1931; Jones died in 1936, so it is also PD in life+70 jurisdictions. PUNCTUATION follows the 1921 page, checked at 4.5x: the plate ends BOTH halves of line 2 with a SEMICOLON (\"There's pow'r in the blood; pow'r in the blood;\") in all four stanzas — the independent Weigle engraving prints a comma at the first of the two, and that variant is not adopted here. The plate also reads \"free from YOUR burden of sin\" where the Weigle engraving reads \"free from THE burden of sin\", and \"much whit-er THAN snow\" where Weigle reads \"much whit-er, THAN snow\"; the Tabernacle readings ship. Line 4, \"There's wonderful pow'r in the blood.\", is printed ONCE on the plate because it is the same in all four stanzas; it is written out in each stanza here. The plate elides \"power\" to \"pow'r\" throughout (one note, one syllable), which is why line 2 is nine syllables and line 4 eight.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Would you be free from your bur -- den of sin? There's pow'r in the blood; pow'r in the blood; Would you o'er e -- vil a vic -- to -- ry win? There's won -- der -- ful pow'r in the blood.", "prose": ["Would you be free from your burden of sin?", "There's pow'r in the blood; pow'r in the blood;", "Would you o'er evil a victory win?", "There's wonderful pow'r in the blood."]}, "2": {"syllabified": "Would you be free from your pas -- sion and pride? There's pow'r in the blood; pow'r in the blood; Come for a cleans -- ing to Cal -- va -- ry's tide, There's won -- der -- ful pow'r in the blood.", "prose": ["Would you be free from your passion and pride?", "There's pow'r in the blood; pow'r in the blood;", "Come for a cleansing to Calvary's tide,", "There's wonderful pow'r in the blood."]}, "3": {"syllabified": "Would you be whit -- er— much whit -- er than snow? There's pow'r in the blood; pow'r in the blood; Sin -- stains are lost in its life -- giv -- ing flow, There's won -- der -- ful pow'r in the blood.", "prose": ["Would you be whiter—much whiter than snow?", "There's pow'r in the blood; pow'r in the blood;", "Sin-stains are lost in its life-giving flow,", "There's wonderful pow'r in the blood."]}, "4": {"syllabified": "Would you do serv -- ice for Je -- sus your King? There's pow'r in the blood; pow'r in the blood; Would you live dai -- ly, His prais -- es to sing? There's won -- der -- ful pow'r in the blood.", "prose": ["Would you do service for Jesus your King?", "There's pow'r in the blood; pow'r in the blood;", "Would you live daily, His praises to sing?", "There's wonderful pow'r in the blood."]}}, "refrain": {"syllabified": "There is pow'r, pow'r, won -- der -- work -- ing pow'r, In the blood of the Lamb; There is pow'r, pow'r, won -- der -- work -- ing pow'r, In the pre -- cious blood of the Lamb.", "prose": ["There is pow'r, pow'r, wonder-working pow'r,", "In the blood of the Lamb;", "There is pow'r, pow'r, wonder-working pow'r,", "In the precious blood of the Lamb."]}}, "there-is-sunshine-in-my-soul-today": {"slug": "there-is-sunshine-in-my-soul-today", "title": "There Is Sunshine in My Soul Today", "first_line": "There's sunshine in my soul today", "author": "eliza-e-hewitt", "author_date": "1887", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Joy", "Assurance", "Testimony", "Praise"], "scripture": ["Psalm 97:11", "Malachi 4:2", "John 8:12", "1 Peter 1:8"], "provenance": {"layer": "text", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Eliza Edmunds Hewitt (1851–1920), written 1887 for John R. Sweney, who composed the tune and published both that year. Transcribed syllable by syllable from the dated first printing: Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84, \"SUNSHINE IN THE SOUL.\", credited \"E. E. Hewitt.\" and footed \"Copyright, 1887, by JNO. R. SWENEY.\" — archive.org item gladhall00swen, leaf 0088 = printed page 84, all four stanzas interlinear plus a written-out antiphonal chorus with a second lyric row for the tenor/bass answer. Collated against an independent pre-1931 printing: Christian Endeavor Hymns, ed. Ira D. Sankey, No. 173 (archive.org christianendeavo00sank, leaf 0177), \"Copyright, 1887, by Jno. R. Sweney. Used by per.\" US public domain: published 1887; Hewitt died 1920, so PD in life+70 jurisdictions as well. READINGS FOLLOW THE 1887 PLATE where the two witnesses differ: the refrain's last line is \"There is sun-shine in the soul.\" (Christian Endeavor Hymns prints \"in my soul.\"); \"his smil-ing face\" is lower-case on the 1887 plate (CEH capitalises \"His\"); stanza 3 prints \"flowers\" — no apostrophe, the elision left implicit — sung to ONE note (six sung syllables against the six notes of the line; CEH prints the explicit \"flow'rs\", read at high zoom on both plates), and the corpus keeps the 1887 spelling as a single sung token; stanza 4 prints quotation marks around \"laid up\" (For joys \"laid up\" a-bove., after Colossians 1:5; CEH prints no quotes). Both witnesses contract line 1 to \"There's sunshine\", eight syllables — see the meter note above.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "There's sun -- shine in my soul to -- day, More glo -- ri -- ous and bright, Than glows in an -- y earth -- ly sky, For Je -- sus is my light.", "prose": ["There's sunshine in my soul today,", "More glorious and bright,", "Than glows in any earthly sky,", "For Jesus is my light."]}, "2": {"syllabified": "There's mu -- sic in my soul to -- day, A car -- ol to my King, And Je -- sus, lis -- ten -- ing, can hear The songs I can -- not sing.", "prose": ["There's music in my soul today,", "A carol to my King,", "And Jesus, listening, can hear", "The songs I cannot sing."]}, "3": {"syllabified": "There's spring -- time in my soul to -- day, For when the Lord is near, The dove of peace sings in my heart, The flowers of grace ap -- pear.", "prose": ["There's springtime in my soul today,", "For when the Lord is near,", "The dove of peace sings in my heart,", "The flowers of grace appear."]}, "4": {"syllabified": "There's glad -- ness in my soul to -- day, And hope, and praise, and love, For bless -- ings which he gives me now, For joys \"laid up\" a -- bove.", "prose": ["There's gladness in my soul today,", "And hope, and praise, and love,", "For blessings which he gives me now,", "For joys \"laid up\" above."]}}, "refrain": {"syllabified": "Oh, there's sun -- shine, Bless -- ed sun -- shine, While the peace -- ful, hap -- py mo -- ments roll; When Je -- sus shows his smil -- ing face, There is sun -- shine in the soul.", "prose": ["Oh, there's sunshine, Blessed sunshine,", "While the peaceful, happy moments roll;", "When Jesus shows his smiling face,", "There is sunshine in the soul."]}}, "there-s-a-great-day-coming": {"slug": "there-s-a-great-day-coming", "title": "There's a Great Day Coming", "first_line": "There's a great day coming, A great day coming", "author": "will-l-thompson", "author_date": "1915", "foot": "iambic", "meter": {"pattern": [11, 9, 14], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "topics": ["Anticipation", "Bride", "Bridegroom", "Heaven", "Jesus"], "scripture": ["Matthew 25:6", "Revelation 21:2", "Matthew 24:36-44", "Mark 13:33-37"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:208; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "theres_a_great_day_coming_a_great_day_co", "total_instances": 523}}, "stanzas": {"1": {"syllabified": "There's a great day com -- ing, A great day com -- ing, There's a great day com -- ing by and by; When the saints and the sin -- ners shall be par -- ted right and left,", "prose": ["There's a great day coming,", "A great day coming,", "There's a great day coming by and by;", "When the saints and the sinners shall be parted right and left,"]}, "2": {"syllabified": "There's a bright day com -- ing, A bright day com -- ing, There's a bright day com -- ing by and by; But its bright -- ness shall on -- ly come to them that love the Lord,", "prose": ["There's a bright day coming,", "A bright day coming,", "There's a bright day coming by and by;", "But its brightness shall only come to them that love the Lord,"]}, "3": {"syllabified": "There's a sad day com -- ing, A sad day com -- ing, There's a sad day com -- ing by and by; When the sin -- ner shall hear his doom, \"De -- part, I know ye not,\"", "prose": ["There's a sad day coming,", "A sad day coming,", "There's a sad day coming by and by;", "When the sinner shall hear his doom, \"Depart, I know ye not,\""]}}, "refrain": {"syllabified": "Are you read -- y for that day to come? Are you read -- y? Are you read -- y? Are you read -- y for the judg -- ment day? Are you read -- y? Are you read -- y? For the judg -- ment day?", "prose": ["Are you ready for that day to come?", "Are you ready? Are you ready?", "Are you ready for the judgment day?", "Are you ready? Are you ready?", "For the judgment day?"]}}, "there-s-a-wideness-in-god-s-mercy": {"slug": "there-s-a-wideness-in-god-s-mercy", "title": "There's a Wideness in God's Mercy", "first_line": "Souls of men! why will ye scatter Like a crowd of frightened sheep", "index_first_line": "Souls of men! why will ye scatter", "author": "frederick-faber", "author_date": "1862", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Blood", "Christian Life", "Comfort", "Compassion", "Faith", "Faithfulness", "God, Care of", "God, Goodness of", "God, Mercy of", "Grace", "Jesus", "Love", "Shepard", "Lamb", "Trust"], "scripture": ["Psalm 103:1-22", "Psalm 23:1-6", "Zechariah 13:7-9"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:284 (line 37241); Words Frederick W. Faber 1862, Music 'In Babilone' traditional Dutch 1710, Setting Julius Röntgen 1906 (English Hymnal 1906); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Souls of men! why will ye scat -- ter Like a crowd of fright -- ened sheep? Fool -- ish hearts! why will ye wan -- der From a love so true and deep? Was there ev -- er kind -- er shep -- herd Half so gen -- tle, half so sweet, As the Sav -- ior who would have us Come and gath -- er round His feet?", "prose": ["Souls of men! why will ye scatter", "Like a crowd of frightened sheep?", "Foolish hearts! why will ye wander", "From a love so true and deep?", "Was there ever kinder shepherd", "Half so gentle, half so sweet,", "As the Savior who would have us", "Come and gather round His feet?"]}, "2": {"syllabified": "It is God: His love looks might -- y, But is might -- i'r than it seems; 'Tis our Fa -- ther: and His fond -- ness Goes far out be -- yond our dreams. There's a wide -- ness in God's mer -- cy, Like the wide -- ness of the sea; There's a kind -- ness in His just -- ice, Which is more than lib -- er -- ty.", "prose": ["It is God: His love looks mighty,", "But is mighti'r than it seems;", "'Tis our Father: and His fondness", "Goes far out beyond our dreams.", "There's a wideness in God's mercy,", "Like the wideness of the sea;", "There's a kindness in His justice,", "Which is more than liberty."]}, "3": {"syllabified": "There is no place where earth's sor -- rows Are more felt than up in Heav'n; There is no place where earth's fail -- ings Have such won -- drous judg -- ment giv'n. There is wel -- come for the sin -- ner, Grace poured out as in a flood There is mer -- cy with the Sav -- ior; There is heal -- ing in His blood.", "prose": ["There is no place where earth's sorrows", "Are more felt than up in Heav'n;", "There is no place where earth's failings", "Have such wondrous judgment giv'n.", "There is welcome for the sinner,", "Grace poured out as in a flood", "There is mercy with the Savior;", "There is healing in His blood."]}, "4": {"syllabified": "There is grace e -- nough for thou -- sands Of new worlds as great as this; There is room for fresh cre -- a -- tions In that up -- per home of bliss. For the love of God is broad -- er Than the mea -- sure of man's mind; And the heart of the E -- ter -- nal Is most won -- der -- ful -- ly kind.", "prose": ["There is grace enough for thousands", "Of new worlds as great as this;", "There is room for fresh creations", "In that upper home of bliss.", "For the love of God is broader", "Than the measure of man's mind;", "And the heart of the Eternal", "Is most wonderfully kind."]}, "5": {"syllabified": "There is plen -- ti -- ful re -- demp -- tion In Christ's blood that has been shed; There is joy for all the mem -- bers In the sor -- rows of the Head. Not just all we owe to Je -- sus; It is some -- thing more than all; Great -- er good be -- cause of e -- vil, Lar -- ger mer -- cy through the fall.", "prose": ["There is plentiful redemption", "In Christ's blood that has been shed;", "There is joy for all the members", "In the sorrows of the Head.", "Not just all we owe to Jesus;", "It is something more than all;", "Greater good because of evil,", "Larger mercy through the fall."]}}}, "they-in-the-lord-that-firmly-trust": {"slug": "they-in-the-lord-that-firmly-trust", "title": "They in the Lord That Firmly Trust", "first_line": "They in the Lord that firmly trust", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 125, "topics": ["Psalms"], "scripture": ["Psalm 125"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 125. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "They in the Lord that firm -- ly trust shall be like Zi -- on hill, Which at no time can be re -- moved, but stand -- eth ev -- er still.", "prose": ["They in the Lord that firmly trust", "shall be like Zion hill,", "Which at no time can be removed,", "but standeth ever still."]}, "2": {"syllabified": "As round a -- bout Je -- ru -- sa -- lem the moun -- tains stand al -- way, The Lord his folk doth com -- pass so, from hence -- forth and for aye.", "prose": ["As round about Jerusalem", "the mountains stand alway,", "The Lord his folk doth compass so,", "from henceforth and for aye."]}, "3": {"syllabified": "For ill men's rod up -- on the lot of just men shall not lie; Lest right -- eous men stretch forth their hands un -- to in -- iq -- ui -- ty.", "prose": ["For ill men's rod upon the lot", "of just men shall not lie;", "Lest righteous men stretch forth their hands", "unto iniquity."]}, "4": {"syllabified": "Do thou to all those that be good thy good -- ness, Lord, im -- part; And do thou good to those that are up -- right with -- in their heart.", "prose": ["Do thou to all those that be good", "thy goodness, Lord, impart;", "And do thou good to those that are", "upright within their heart."]}, "5": {"syllabified": "But as for such as turn a -- side af -- ter their crook -- ed way, God shall lead forth with wick -- ed men: on Is -- r'el peace shall stay.", "prose": ["But as for such as turn aside", "after their crooked way,", "God shall lead forth with wicked men:", "on Isr'el peace shall stay."]}}}, "thine-arm-o-lord-in-days-of-old": {"slug": "thine-arm-o-lord-in-days-of-old", "title": "Thine Arm, O Lord, in Days of Old", "first_line": "Thine arm, O Lord, in days of old", "author": "edward-h-plumptre", "author_date": "1864", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus", "Healing"], "scripture": ["Mark 1:40-45", "Matthew 9:35-36", "Luke 19:9-10", "John 10:10", "1 Peter 2:9-10"], "provenance": {"layer": "text", "source": "plumptre-1864", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Text: Edward H. Plumptre, 'Thine arm, O Lord, in days of old', 1864 (written for the use of King's College Hospital, London); author d. 1891. The pairing with KINGSFOLD is the Open Hymnal's own (The English Hymnal's No. 574 carries Bonar's 'I heard the voice of Jesus say'; plate-checked 2026-08-12). Open Hymnal X:287 C-line: 'Text: Edward H. Plumptre, 1864 ... copyright: public domain.'", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thine arm, O Lord, in days of old, was strong to heal and save; It tri -- umphed o'er dis -- ease and death, o'er dark -- ness and the grave. To Thee they went, the blind, the dumb, the pal -- sied and the lame, The lep -- er with his taint -- ed life, the sick with fe -- vered frame.", "prose": ["Thine arm, O Lord, in days of old,", "was strong to heal and save;", "It triumphed o'er disease and death,", "o'er darkness and the grave.", "To Thee they went, the blind, the dumb,", "the palsied and the lame,", "The leper with his tainted life,", "the sick with fevered frame."]}, "2": {"syllabified": "And lo! Thy touch brought life and health, gave speech, and strength and sight; And youth re -- newed and fear re -- lieved owned Thee, the Lord of light; And now, O Lord, be near to bless, Al -- might -- y as of yore, In crowd -- ed street, by rest -- less couch, as by Gen -- nes -- aret's shore.", "prose": ["And lo! Thy touch brought life and health,", "gave speech, and strength and sight;", "And youth renewed and fear relieved", "owned Thee, the Lord of light;", "And now, O Lord, be near to bless,", "Almighty as of yore,", "In crowded street, by restless couch,", "as by Gennesaret's shore."]}, "3": {"syllabified": "Be Thou our great De -- liv -- erer still, Thou Lord of life and death; Re -- store and quick -- en, soothe and bless, with Thine al -- might -- y breath. To hands that work and eyes that see, give wis -- dom's heaven -- ly lore, That whole and sick, and weak and strong, may praise Thee ev -- er -- more.", "prose": ["Be Thou our great Deliverer still,", "Thou Lord of life and death;", "Restore and quicken, soothe and bless,", "with Thine almighty breath.", "To hands that work and eyes that see,", "give wisdom's heavenly lore,", "That whole and sick, and weak and strong,", "may praise Thee evermore."]}}}, "this-is-my-fathers-world": {"slug": "this-is-my-fathers-world", "title": "This Is My Father's World", "first_line": "This Is My Father's World", "author": "maltbie-babcock", "author_date": "1901", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Nature", "Creation", "Providence"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Maltbie D. Babcock (1858–1901), \"My Father's World,\" published posthumously in Thoughts for Every-Day Living (1901); the standard three-stanza hymn form (stanzas ending \"...the wonders wrought,\" \"...to me everywhere,\" and \"...and heaven be one\"). Public domain. Text cross-checked against Wikipedia's public-domain transcription and the underlaid printing in Alleluia (1915) #180 (archive.org alleluiahymnalfo1915pres, leaf 0180; that plate's \"round she rings\" is a typo for the 1901 original's \"round me rings\" and is not adopted).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "This is my Fa -- ther's world, And to my list -- ening ears All na -- ture sings, and round me rings The mu -- sic of the spheres. This is my Fa -- ther's world: I rest me in the thought Of rocks and trees, of skies and seas— His hand the won -- ders wrought.", "prose": ["This is my Father's world,", "And to my listening ears", "All nature sings, and round me rings", "The music of the spheres.", "This is my Father's world:", "I rest me in the thought", "Of rocks and trees, of skies and seas—", "His hand the wonders wrought."]}, "2": {"syllabified": "This is my Fa -- ther's world, The birds their car -- ols raise, The morn -- ing light, the lil -- y white, De -- clare their Mak -- er's praise. This is my Fa -- ther's world: He shines in all that's fair; In the rust -- ling grass I hear Him pass, He speaks to me eve -- ry -- where.", "prose": ["This is my Father's world,", "The birds their carols raise,", "The morning light, the lily white,", "Declare their Maker's praise.", "This is my Father's world:", "He shines in all that's fair;", "In the rustling grass I hear Him pass,", "He speaks to me everywhere."]}, "3": {"syllabified": "This is my Fa -- ther's world, O let me ne'er for -- get That though the wrong seems oft so strong, God is the rul -- er yet. This is my Fa -- ther's world: The bat -- tle is not done; Je -- sus who died shall be sat -- is -- fied, And earth and heav -- en be one.", "prose": ["This is my Father's world,", "O let me ne'er forget", "That though the wrong seems oft so strong,", "God is the ruler yet.", "This is my Father's world:", "The battle is not done;", "Jesus who died shall be satisfied,", "And earth and heaven be one."]}}}, "thou-hidden-source-of-calm-repose": {"slug": "thou-hidden-source-of-calm-repose", "title": "Thou Hidden Source of Calm Repose", "first_line": "Thou Hidden Source of Calm Repose", "author": "charles-wesley", "author_date": "1749", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Jesus Christ", "Comfort", "Refuge", "Assurance"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707–1788), \"Thou hidden source of calm repose,\" first published in Hymns and Sacred Poems (1749); four stanzas of 8.8.8.8.8.8. Public domain by pre-1931 (18th-century) publication; text verified against hymnary.org and standard printings. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou hid -- den source of calm re -- pose Thou all suf -- fi -- cient love di -- vine My help and ref -- uge from my foes Se -- cure I am if Thou art mine And lo! from sin and grief and shame I hide me, Je -- sus, in Thy name", "prose": ["Thou hidden source of calm repose,", "Thou all-sufficient love divine,", "My help and refuge from my foes,", "Secure I am if Thou art mine;", "And lo! from sin and grief and shame", "I hide me, Jesus, in Thy name."]}, "2": {"syllabified": "Thy might -- y name sal -- va -- tion is And keeps my hap -- py soul a -- bove Com -- fort it brings, and power, and peace And joy, and ev -- er -- last -- ing love To me, with Thy dear name, are given Par -- don and ho -- li -- ness and heaven", "prose": ["Thy mighty name salvation is,", "And keeps my happy soul above;", "Comfort it brings, and power, and peace,", "And joy, and everlasting love;", "To me, with Thy dear name, are given", "Pardon, and holiness, and heaven."]}, "3": {"syllabified": "Je -- sus, my all in all Thou art My rest in toil, my ease in pain The med -- 'cine of my bro -- ken heart In war my peace, in loss my gain My smile be -- neath the ty -- rant's frown In shame my glo -- ry and my crown", "prose": ["Jesus, my all in all Thou art:", "My rest in toil, my ease in pain,", "The medicine of my broken heart,", "In war my peace, in loss my gain,", "My smile beneath the tyrant's frown,", "In shame my glory and my crown."]}, "4": {"syllabified": "In want my plen -- ti -- ful sup -- ply In weak -- ness my al -- might -- y power In bonds my per -- fect lib -- er -- ty My light in Sa -- tan's dark -- est hour In grief my joy un -- speak -- a -- ble My life in death, my heaven in hell", "prose": ["In want my plentiful supply,", "In weakness my almighty power,", "In bonds my perfect liberty,", "My light in Satan's darkest hour,", "In grief my joy unspeakable,", "My life in death, my heaven in hell."]}}}, "thou-o-jehovah-shalt-endure": {"slug": "thou-o-jehovah-shalt-endure", "title": "The Deliverance of Zion", "first_line": "Thou, O Jehovah, shalt endure", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 102, "topics": ["Psalms"], "scripture": ["Psalm 102"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 273) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 102, selection 273. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou, O Je -- ho -- vah, shalt en -- dure, Thy throne for -- ev -- er is the same; And to all gen -- er -- a -- tions sure Shall be Thy great me -- mo -- rial Name.", "prose": ["Thou, O Jehovah, shalt endure,", "Thy throne forever is the same;", "And to all generations sure", "Shall be Thy great memorial Name."]}, "2": {"syllabified": "The time for Zi -- on's help is near, The time ap -- point -- ed in thy love; O let Thy gra -- cious aid ap -- pear, Look Thou in mer -- cy from a -- bove.", "prose": ["The time for Zion's help is near,", "The time appointed in thy love;", "O let Thy gracious aid appear,", "Look Thou in mercy from above."]}, "3": {"syllabified": "O Lord, re -- gard the prayer of those who love the walls of Zi -- on well, Whose hearts are heav -- y for her woes, Who sad a -- mid her ru -- ins dwell.", "prose": ["O Lord, regard the prayer of those", "who love the walls of Zion well,", "Whose hearts are heavy for her woes,", "Who sad amid her ruins dwell."]}, "4": {"syllabified": "Thy pow'r and glo -- ry shall ap -- pear, And Zi -- on's walls shall be re -- stored; Then all the kings of earth shall fear And hea -- then na -- tions serve the Lord.", "prose": ["Thy pow'r and glory shall appear,", "And Zion's walls shall be restored;", "Then all the kings of earth shall fear", "And heathen nations serve the Lord."]}, "5": {"syllabified": "The Lord has heard and an -- swered prayer And saved His peo -- ple in dis -- tress; This to the com -- ing age de -- clare, That they His ho -- ly Name may bless.", "prose": ["The Lord has heard and answered prayer", "And saved His people in distress;", "This to the coming age declare,", "That they His holy Name may bless."]}, "6": {"syllabified": "The Lord, ex -- al -- ted on His throne, Looked down from heav'n with pity -- ing eye to still the low -- ly cap -- tive's moan And save His peo -- ple doomed to die.", "prose": ["The Lord, exalted on His throne,", "Looked down from heav'n with pitying eye", "to still the lowly captive's moan", "And save His people doomed to die."]}, "7": {"syllabified": "All men in Zi -- on shall de -- clare His gra -- cious Name with one ac -- cord, When kings and na -- tions gath -- er there To serve and wor -- ship God the Lord.", "prose": ["All men in Zion shall declare", "His gracious Name with one accord,", "When kings and nations gather there", "To serve and worship God the Lord."]}}}, "thou-visitest-the-earth-in-love": {"slug": "thou-visitest-the-earth-in-love", "title": "Harvest Blessings", "first_line": "Thou visitest the earth in love", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 169) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 65, selection 169. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou vis -- it -- est the earth in love And send -- est show -- ers from a -- bove, En -- rich -- ing all the land; Thy streams ex -- haust -- less bless the field, Pre -- par -- ing it the grain to yield Pro -- vid -- ed by Thy hand.", "prose": ["Thou visitest the earth in love", "And sendest showers from above,", "Enriching all the land;", "Thy streams exhaustless bless the field,", "Preparing it the grain to yield", "Provided by Thy hand."]}, "2": {"syllabified": "The fur -- rows, sown with liv -- ing grain, Are soft -- ened by Thy gen -- tle rain The spring -- ing corn to bless; The year with good -- ness Thou dost crown, Rich gifts in mer -- cy send -- ing down To cheer the wil -- der -- ness.", "prose": ["The furrows, sown with living grain,", "Are softened by Thy gentle rain", "The springing corn to bless;", "The year with goodness Thou dost crown,", "Rich gifts in mercy sending down", "To cheer the wilderness."]}, "3": {"syllabified": "The hills and vales, with ver -- dure clad, Are girt with joy, the earth is glad, New life is all a -- broad; With feed -- ing flocks the pas -- tures teem, With gol -- den grain the val -- leys gleam; All na -- ture prais -- es God.", "prose": ["The hills and vales, with verdure clad,", "Are girt with joy, the earth is glad,", "New life is all abroad;", "With feeding flocks the pastures teem,", "With golden grain the valleys gleam;", "All nature praises God."]}}}, "thou-visitest-the-earth-with-showrs": {"slug": "thou-visitest-the-earth-with-showrs", "title": "Harvest Thanksgiving", "first_line": "Thou visitest the earth with show'rs", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 65, "topics": ["Psalms"], "scripture": ["Psalm 65"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 167) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 65, selection 167. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou vis -- it -- est the earth with show'rs, Thy bound -- less store sup -- plies its need; For fields en -- riched and well pre -- pared Thou dost pro -- vide the sow -- er's seed.", "prose": ["Thou visitest the earth with show'rs,", "Thy boundless store supplies its need;", "For fields enriched and well prepared", "Thou dost provide the sower's seed."]}, "2": {"syllabified": "The fur -- rows where the seed is sown Are soft -- ened by Thy gen -- tle rain; Thy gra -- cious care and prov -- i -- dence Sup -- ply and bless the spring -- ing grain.", "prose": ["The furrows where the seed is sown", "Are softened by Thy gentle rain;", "Thy gracious care and providence", "Supply and bless the springing grain."]}, "3": {"syllabified": "The year with good -- ness Thou dost crown, Thy ways o'er -- flow with bless -- ed -- ness; The hills and val -- leys, clothed with green, Are joy -- ful in their fruit -- ful -- ness.", "prose": ["The year with goodness Thou dost crown,", "Thy ways o'erflow with blessedness;", "The hills and valleys, clothed with green,", "Are joyful in their fruitfulness."]}, "4": {"syllabified": "The pas -- tures teem with flocks and herds, The gol -- den grain waves o'er the fields; All na -- ture, sing -- ing joy -- ful -- ly, Her trib -- ute of thanks -- giv -- ing yields.", "prose": ["The pastures teem with flocks and herds,", "The golden grain waves o'er the fields;", "All nature, singing joyfully,", "Her tribute of thanksgiving yields."]}}}, "thou-who-at-thy-first-eucharist": {"slug": "thou-who-at-thy-first-eucharist", "title": "Thou, Who at Thy First Eucharist", "first_line": "Thou, who at Thy first Eucharist didst pray That", "author": "william-h-turton", "author_date": "1896", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Assurance", "Atonement", "Blood", "Bread (of Life/Daily Bread)"], "scripture": ["1 Thessalonians 5:9", "Ephesians 5:6-14", "Romans 5:9-10", "1 Corinthians 11:23-29"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:152; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_who_at_thy_first_eucharist_didst_pr", "total_instances": 80}}, "stanzas": {"1": {"syllabified": "Thou, who at Thy first Eu -- cha -- rist didst pray That all Thy Church might be for -- ev -- er one, Grant us at ev -- 'ry Eu -- cha -- rist to say With long -- ing heart and soul, \"Thy will be done.\" O may we all one bread, one bod -- y be, Through this blest sac -- ra -- ment of un -- i -- ty.", "prose": ["Thou, who at Thy first Eucharist didst pray", "That all Thy Church might be forever one,", "Grant us at ev'ry Eucharist to say", "With longing heart and soul, \"Thy will be done.\"", "O may we all one bread, one body be,", "Through this blest sacrament of unity."]}, "2": {"syllabified": "For all Thy Church, O Lord, we in -- ter -- cede; Make Thou our sad di -- vi -- sions soon to cease; Draw us the near -- er each to each, we plead, By draw -- ing all to Thee, O Prince of Peace; Thus may we all one bread, one bod -- y be, Through this blest sac -- ra -- ment of un -- i -- ty.", "prose": ["For all Thy Church, O Lord, we intercede;", "Make Thou our sad divisions soon to cease;", "Draw us the nearer each to each, we plead,", "By drawing all to Thee, O Prince of Peace;", "Thus may we all one bread, one body be,", "Through this blest sacrament of unity."]}, "3": {"syllabified": "We pray Thee too for wan -- d'rers from Thy fold; O bring them back, good Shep -- herd of the sheep, Back to the faith which saints be -- lieved of old, Back to the Church which still that faith doth keep; Soon may we all one bread, one bod -- y be, Through this blest sac -- ra -- ment of un -- i -- ty.", "prose": ["We pray Thee too for wand'rers from Thy fold;", "O bring them back, good Shepherd of the sheep,", "Back to the faith which saints believed of old,", "Back to the Church which still that faith doth keep;", "Soon may we all one bread, one body be,", "Through this blest sacrament of unity."]}, "4": {"syllabified": "So, Lord, at length when sac -- ra -- ments shall cease, May we be one with all Thy Church a -- bove, One with Thy saints in one un -- bro -- ken peace, One with Thy saints in one un -- bound -- ed love; More bless -- ed still, in peace and love to be One with the Trin -- i -- ty in un -- i -- ty.", "prose": ["So, Lord, at length when sacraments shall cease,", "May we be one with all Thy Church above,", "One with Thy saints in one unbroken peace,", "One with Thy saints in one unbounded love;", "More blessed still, in peace and love to be", "One with the Trinity in unity."]}}}, "thou-who-didst-make-and-fashion-me": {"slug": "thou-who-didst-make-and-fashion-me", "title": "Illumination and Testimony", "first_line": "Thou, Who didst make and fashion me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 330) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 330. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thou, Who didst make and fash -- ion me, O make me wise, Thy law to learn; Then they that fear Thee shall be glad When they my hope in God dis -- cern.", "prose": ["Thou, Who didst make and fashion me,", "O make me wise, Thy law to learn;", "Then they that fear Thee shall be glad", "When they my hope in God discern."]}, "2": {"syllabified": "Thou, Lord, art just in all Thy ways, And faith -- ful Thou chas -- ten -- est me; I pray Thee, let Thy prom -- ised grace Thy ser -- vant's help and com -- fort be.", "prose": ["Thou, Lord, art just in all Thy ways,", "And faithful Thou chastenest me;", "I pray Thee, let Thy promised grace", "Thy servant's help and comfort be."]}, "3": {"syllabified": "Show mer -- cy, Lord, that I may live, For in thy law is all my joy; while those who wrong me are re -- buked, Thy pre -- cepts shall my thought em -- ploy.", "prose": ["Show mercy, Lord, that I may live,", "For in thy law is all my joy;", "while those who wrong me are rebuked,", "Thy precepts shall my thought employ."]}, "4": {"syllabified": "Let those that fear Thee turn to me, Thy truth to them will I pro -- claim; In -- struct my heart to keep Thy law, That I may not be put to shame.", "prose": ["Let those that fear Thee turn to me,", "Thy truth to them will I proclaim;", "Instruct my heart to keep Thy law,", "That I may not be put to shame."]}}}, "through-the-night-of-doubt-and-sorrow": {"slug": "through-the-night-of-doubt-and-sorrow", "title": "Through the Night of Doubt and Sorrow", "first_line": "Through the night of doubt and sorrow Onward goes", "author": "bernhardt-s-ingemann", "author_date": "1916", "translator": "sabine-baring-gould", "translator_date": "1916", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Anticipation", "Assurance", "Comfort"], "scripture": ["Daniel 12:1-3", "Revelation 20:12-15", "1 Thessalonians 4:13-17"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:221; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "through_the_night_of_doubt_and_sorrow", "total_instances": 334}}, "stanzas": {"1": {"syllabified": "Through the night of doubt and sor -- row On -- ward goes the pil -- grim band, Sing -- ing songs of ex -- pec -- ta -- tion, March -- ing to the Prom -- ised Land. Clear be -- fore us through the dark -- ness Gleams and burns the guid -- ing light: Broth -- er clasps the hand of broth -- er, Step -- ping fear -- less through the night.", "prose": ["Through the night of doubt and sorrow", "Onward goes the pilgrim band,", "Singing songs of expectation,", "Marching to the Promised Land.", "Clear before us through the darkness", "Gleams and burns the guiding light:", "Brother clasps the hand of brother,", "Stepping fearless through the night."]}, "2": {"syllabified": "One the light of God's own pres -- ence, O'er His ran -- somed peo -- ple shed, Chas -- ing far the gloom and ter -- ror, Bright -- 'ning all the path we tread: One the ob -- ject of our jour -- ney, One the faith which nev -- er tires, One the earn -- est look -- ing for -- ward, One the hope our God in -- spires.", "prose": ["One the light of God's own presence,", "O'er His ransomed people shed,", "Chasing far the gloom and terror,", "Bright'ning all the path we tread:", "One the object of our journey,", "One the faith which never tires,", "One the earnest looking forward,", "One the hope our God inspires."]}, "3": {"syllabified": "One the strain that lips of thou -- sands Lift as from the heart of one; One the con -- flict, one the per -- il One the march in God be -- gun: One the glad -- ness of re -- joic -- ing On the far e -- ter -- nal shore, Where the One Al -- might -- y Fa -- ther Reigns in love for ev -- er -- more.", "prose": ["One the strain that lips of thousands", "Lift as from the heart of one;", "One the conflict, one the peril", "One the march in God begun:", "One the gladness of rejoicing", "On the far eternal shore,", "Where the One Almighty Father", "Reigns in love for evermore."]}, "4": {"syllabified": "On -- ward, there -- fore, pil -- grim broth -- ers, On -- ward, with the cross our aid! Bear its shame, and fight its bat -- tle, Till we rest be -- neath its shade. Soon shall come the great a -- wak -- ing, Soon the rend -- ing of the tomb; Then the scat -- t'ring of all shad -- ows, And the end of toil and gloom.", "prose": ["Onward, therefore, pilgrim brothers,", "Onward, with the cross our aid!", "Bear its shame, and fight its battle,", "Till we rest beneath its shade.", "Soon shall come the great awaking,", "Soon the rending of the tomb;", "Then the scatt'ring of all shadows,", "And the end of toil and gloom."]}}}, "thy-mercy-and-thy-truth-o-lord": {"slug": "thy-mercy-and-thy-truth-o-lord", "title": "The Love and Justice of God", "first_line": "Thy mercy and Thy truth, O Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 36, "topics": ["Psalms"], "scripture": ["Psalm 36"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 94) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 36, selection 94. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thy mer -- cy and Thy truth, O Lord, Tran -- scend the loft -- y sky; Thy judg -- ments are a might -- y deep, And as the moun -- tains high.", "prose": ["Thy mercy and Thy truth, O Lord,", "Transcend the lofty sky;", "Thy judgments are a mighty deep,", "And as the mountains high."]}, "2": {"syllabified": "Lord, Thou pre -- serv -- est man and beast; Since Thou art ev -- er kind, Be -- neath the shad -- ow of Thy wings We may a ref -- uge find.", "prose": ["Lord, Thou preservest man and beast;", "Since Thou art ever kind,", "Beneath the shadow of Thy wings", "We may a refuge find."]}, "3": {"syllabified": "With the a -- bun -- dance of Thy house We shall be sat -- is -- fied, From riv -- ers of un -- fail -- ing joy Our thirst shall be sup -- plied.", "prose": ["With the abundance of Thy house", "We shall be satisfied,", "From rivers of unfailing joy", "Our thirst shall be supplied."]}, "4": {"syllabified": "The foun -- tain of e -- ter -- nal life Is found a -- lone with Thee, And it the bright -- ness of Thy light We clear -- ly light shall see.", "prose": ["The fountain of eternal life", "Is found alone with Thee,", "And it the brightness of Thy light", "We clearly light shall see."]}, "5": {"syllabified": "From those that know Thee may Thy love And mer -- cy ne'er de -- part, And may Thy jus -- tice still pro -- tect And bless the up -- right heart.", "prose": ["From those that know Thee may Thy love", "And mercy ne'er depart,", "And may Thy justice still protect", "And bless the upright heart."]}, "6": {"syllabified": "The wor -- kers of in -- iq -- ui -- ty Are fal -- len ut -- ter -- ly; They shall not tri -- umph in their pride, Or drive my soul from Thee.", "prose": ["The workers of iniquity", "Are fallen utterly;", "They shall not triumph in their pride,", "Or drive my soul from Thee."]}}}, "thy-tender-mercies-o-my-lord": {"slug": "thy-tender-mercies-o-my-lord", "title": "The Mercy of God Besought", "first_line": "Thy tender mercies, O my Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 40, "topics": ["Psalms"], "scripture": ["Psalm 40"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 110) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 40, selection 110. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thy ten -- der mer -- cies, O my Lord, With -- hold not I im -- plore; But let Thy kind -- ness and Thy truth Pre -- serve me ev -- er -- more. For count -- less ills have com -- passed me, My sin -- ful deeds a -- rise; Yea, they have o -- ver -- tak -- en me; I dare not raise my eyes.", "prose": ["Thy tender mercies, O my Lord,", "Withhold not I implore;", "But let Thy kindness and Thy truth", "Preserve me evermore.", "For countless ills have compassed me,", "My sinful deeds arise;", "Yea, they have overtaken me;", "I dare not raise my eyes."]}, "2": {"syllabified": "My sins are more than I can count, My heart has failed for grief; Be pleased, O Lord, to res -- cue me, O haste to my re -- lief. Be those who seek to hurt my soul Dis -- mayed and put to flight, And they them -- selves be put to shame Who in my woe de -- light.", "prose": ["My sins are more than I can count,", "My heart has failed for grief;", "Be pleased, O Lord, to rescue me,", "O haste to my relief.", "Be those who seek to hurt my soul", "Dismayed and put to flight,", "And they themselves be put to shame", "Who in my woe delight."]}, "3": {"syllabified": "Let all who seek Thee now re -- joice, Yea, glad in Thee a -- bide. And, lov -- ing Thy sal -- va -- tion, say, The Lord be mag -- ni -- fied. My low -- ly state and bit -- ter need The Lord has not for -- got; Thou art my Sav -- iour and my help, Come, Lord, and tar -- ry not.", "prose": ["Let all who seek Thee now rejoice,", "Yea, glad in Thee abide.", "And, loving Thy salvation, say,", "The Lord be magnified.", "My lowly state and bitter need", "The Lord has not forgot;", "Thou art my Saviour and my help,", "Come, Lord, and tarry not."]}}}, "thy-wondrous-testimonies-lord": {"slug": "thy-wondrous-testimonies-lord", "title": "The Wondrous Testimonies of God", "first_line": "Thy wondrous testimonies, Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 119, "topics": ["Psalms"], "scripture": ["Psalm 119"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 337) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 119, selection 337. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Thy won -- drous tes -- ti -- mo -- nies, Lord, My soul will keep and great -- ly praise; Thy word, by faith -- ful lips pro -- claimed, To sim -- plest minds the truth con -- veys.", "prose": ["Thy wondrous testimonies, Lord,", "My soul will keep and greatly praise;", "Thy word, by faithful lips proclaimed,", "To simplest minds the truth conveys."]}, "2": {"syllabified": "I thirst for Thy com -- mand -- ments, Lord, And for Thy mer -- cy press my claim; O look on me, and show the grace Dis -- played to all who love Thy Name.", "prose": ["I thirst for Thy commandments, Lord,", "And for Thy mercy press my claim;", "O look on me, and show the grace", "Displayed to all who love Thy Name."]}, "3": {"syllabified": "Di -- rect my foot -- steps in Thy word, From sin's do -- min -- ion save my soul, From man's op -- pres -- sion set me free, That I may yield to Thy con -- trol.", "prose": ["Direct my footsteps in Thy word,", "From sin's dominion save my soul,", "From man's oppression set me free,", "That I may yield to Thy control."]}, "4": {"syllabified": "O make Thy face to shine on me, And teach me all thy laws to keep; Be -- cause Thy stat -- utes are de -- spised, With o -- ver -- whelm -- ing grief I weep.", "prose": ["O make Thy face to shine on me,", "And teach me all thy laws to keep;", "Because Thy statutes are despised,", "With overwhelming grief I weep."]}}}, "tis-midnight-and-on-olive-s-brow": {"slug": "tis-midnight-and-on-olive-s-brow", "title": "'Tis Midnight and On Olive's Brow", "first_line": "'Tis midnight, and on Olive's brow The star is", "author": "william-bingham-tappan", "author_date": "1869", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Blood", "Bread (of Life/Daily Bread)", "Easter Week", "Passion"], "scripture": ["1 Corinthians 11:23-26", "Romans 3:23-25", "Matthew 26:26-28", "Mark 14:22-25"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:97; all components published pre-1931 (latest year 1869).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "tis_midnight_and_on_olives_brow", "total_instances": 727}}, "stanzas": {"1": {"syllabified": "'Tis mid -- night, and on Ol -- ive's brow The star is dimmed that late -- ly shone; 'Tis mid -- night, in the gar -- den now The suf -- f'ring Sav -- ior prays a -- lone.", "prose": ["'Tis midnight, and on Olive's brow", "The star is dimmed that lately shone;", "'Tis midnight, in the garden now", "The suff'ring Savior prays alone."]}, "2": {"syllabified": "'Tis mid -- night, and from all re -- moved Im -- man -- uel wres -- tles, lone, with fears; E'en the dis -- ci -- ple whom He loved Heeds not his Mas -- ter's grief and tears.", "prose": ["'Tis midnight, and from all removed", "Immanuel wrestles, lone, with fears;", "E'en the disciple whom He loved", "Heeds not his Master's grief and tears."]}, "3": {"syllabified": "'Tis mid -- night, from the heav'n -- ly plains Are borne the songs that an -- gels know; Un -- heard by mor -- tals are the strains That sweet -- ly soothe the Sav -- ior's woe.", "prose": ["'Tis midnight, from the heav'nly plains", "Are borne the songs that angels know;", "Unheard by mortals are the strains", "That sweetly soothe the Savior's woe."]}}}, "tis-midnight-and-on-olives-brow": {"slug": "tis-midnight-and-on-olives-brow", "title": "'Tis Midnight, and on Olive's Brow", "first_line": "'Tis Midnight, and on Olive's Brow", "author": "william-bingham-tappan", "author_date": "1822", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Passion", "Cross", "Lent"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William B. Tappan, \"'Tis Midnight, and on Olive's Brow\" (Gethsemane), 1822; L.M. Tappan d. 1849 — US public domain by pre-1931 publication. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "'Tis mid -- night, and on Ol -- ive's brow The star is dimmed that late -- ly shone; 'Tis mid -- night, in the gar -- den now, The suf -- f'ring Sav -- ior prays a -- lone.", "prose": ["'Tis midnight, and on Olive's brow", "The star is dimmed that lately shone;", "'Tis midnight, in the garden now,", "The suffering Savior prays alone."]}, "2": {"syllabified": "'Tis mid -- night, and from all re -- moved The Sav -- ior wres -- tles lone with fears; E'en the dis -- ci -- ple that He loved Heeds not his Mas -- ter's grief and tears.", "prose": ["'Tis midnight, and from all removed", "The Savior wrestles lone with fears;", "E'en the disciple that He loved", "Heeds not his Master's grief and tears."]}, "3": {"syllabified": "'Tis mid -- night, and for oth -- ers' guilt The Man of Sor -- rows weeps in blood; Yet He that hath in an -- guish knelt Is not for -- sak -- en by His God.", "prose": ["'Tis midnight, and for others' guilt", "The Man of Sorrows weeps in blood;", "Yet He that hath in anguish knelt", "Is not forsaken by His God."]}, "4": {"syllabified": "'Tis mid -- night, and from e -- ther -- plains Is borne the song that an -- gels know Un -- heard by mor -- tals are the strains That sweet -- ly soothe the Sav -- ior's woe.", "prose": ["'Tis midnight, and from ether-plains", "Is borne the song that angels know", "Unheard by mortals are the strains", "That sweetly soothe the Savior's woe."]}}}, "tis-so-sweet-to-trust-in-jesus": {"slug": "tis-so-sweet-to-trust-in-jesus", "title": "'Tis So Sweet to Trust in Jesus", "first_line": "'Tis so sweet to trust in Jesus", "author": "louisa-m-r-stead", "author_date": "1882", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Trust", "Assurance", "Faith", "Comfort", "Peace", "Blood", "Promises (see also Gospel)", "Jesus"], "scripture": ["Psalm 84:12", "Proverbs 3:5", "Jeremiah 17:7"], "provenance": {"layer": "text", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Louisa M. R. Stead (c. 1850–1917), written 1882. Transcribed word for word off the page image of its first publication, Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46, where all four stanzas are set interlinear under the music and the plate is footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/songsoftriumphad00insk, JP2 leaf songsoftriumphad00insk_0052). Cross-read against The Epworth Hymnal No. 2 (1891), No. 62, p. 61, which sets stanza 1 interlinear and stanzas 2–4 as prose below (archive.org/details/epworthhymnalno200meth, leaf 0065). The pointing here is the 1882 plate's, read off the image, INCLUDING its inconsistencies — \"Him at His Word\" but \"his promise\" in stanza 1, and lower-case \"him\" throughout the refrain. THREE DEPARTURES, all supplied from the 1891 Epworth printing and stated here rather than hidden: (1) the 1882 plate prints NO terminal stop after \"cleansing flood\" (stanza 2, line 4); a full stop is supplied. (2) It prints no terminal stop after \"Friend\" (stanza 4, line 2), where its interlinear line runs to the edge of the plate; a semicolon is supplied. (3) It prints \"learn'ed\" (stanza 4, line 1), an apostrophe before a set -e, underlaid to a SINGLE note; the 1891 Epworth prints \"learned\", and that is the form carried here. The refrain ends \"trust him more.\" with a full stop in 1882; the 1891 Epworth prints \"more!\" — the 1882 stop is kept. Glyphs, not pointing: the plate sets typographic apostrophes (\"'Tis\", \"I've\", \"prov'd\", \"o'er\"); these are carried as ASCII apostrophes, the convention of 528 of this corpus's texts. Public domain: first published 1882, author d. 1917.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "tis_so_sweet_to_trust_in_jesus_just_to"}}, "stanzas": {"1": {"syllabified": "'Tis so sweet to trust in Je -- sus, Just to take Him at His Word; Just to rest up -- on his prom -- ise; Just to know, “Thus saith the Lord.”", "prose": ["'Tis so sweet to trust in Jesus,", "Just to take Him at His Word;", "Just to rest upon his promise;", "Just to know, “Thus saith the Lord.”"]}, "2": {"syllabified": "O, how sweet to trust in Je -- sus, Just to trust His cleans -- ing blood; Just in sim -- ple faith to plunge me 'Neath the heal -- ing, cleans -- ing flood.", "prose": ["O, how sweet to trust in Jesus,", "Just to trust His cleansing blood;", "Just in simple faith to plunge me", "'Neath the healing, cleansing flood."]}, "3": {"syllabified": "Yes, 'tis sweet to trust in Je -- sus, Just from sin and self to cease; Just from Je -- sus sim -- ply tak -- ing Life, and rest, and joy, and peace.", "prose": ["Yes, 'tis sweet to trust in Jesus,", "Just from sin and self to cease;", "Just from Jesus simply taking", "Life, and rest, and joy, and peace."]}, "4": {"syllabified": "I'm so glad I learned to trust Thee, Pre -- cious Je -- sus, Sav -- iour, Friend; And I know that thou art with me, Wilt be with me to the end.", "prose": ["I'm so glad I learned to trust Thee,", "Precious Jesus, Saviour, Friend;", "And I know that thou art with me,", "Wilt be with me to the end."]}}, "refrain": {"syllabified": "Je -- sus, Je -- sus, how I trust him; How I've prov'd him o'er and o'er. Je -- sus, Je -- sus, Pre -- cious Je -- sus! O for grace to trust him more.", "prose": ["Jesus, Jesus, how I trust him;", "How I've prov'd him o'er and o'er.", "Jesus, Jesus, Precious Jesus!", "O for grace to trust him more."]}}, "to-god-be-the-glory": {"slug": "to-god-be-the-glory", "title": "To God Be the Glory", "first_line": "To God be the glory, great things He has done", "author": "fanny-crosby", "author_date": "1875", "foot": "dactylic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Praise", "Redemption", "Adoration"], "scripture": ["John 3:16"], "provenance": {"layer": "text", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Fanny J. Crosby, 1875. Author d. 1915.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "to_god_be_the_glory_great_things_he_hath", "total_instances": 274}}, "stanzas": {"1": {"syllabified": "To God be the glo -- ry, great things He has done; So loved He the world that He gave us His Son, Who yield -- ed His life an a -- tone -- ment for sin, And o -- pened the life gate that all may go in.", "prose": ["To God be the glory, great things He has done;", "So loved He the world that He gave us His Son,", "Who yielded His life an atonement for sin,", "And opened the life gate that all may go in."]}, "2": {"syllabified": "O per -- fect re -- demp -- tion, the pur -- chase of blood, To ev -- ery be -- liev -- er the prom -- ise of God; The vil -- est of -- fend -- er who tru -- ly be -- lieves, That mo -- ment from Je -- sus a par -- don re -- ceives.", "prose": ["O perfect redemption, the purchase of blood,", "To every believer the promise of God;", "The vilest offender who truly believes,", "That moment from Jesus a pardon receives."]}, "3": {"syllabified": "Great things He has taught us, great things He has done, And great our re -- joic -- ing through Je -- sus the Son; But pur -- er, and high -- er, and great -- er will be Our won -- der, our trans -- port, when Je -- sus we see.", "prose": ["Great things He has taught us, great things He has done,", "And great our rejoicing through Jesus the Son;", "But purer, and higher, and greater will be", "Our wonder, our transport, when Jesus we see."]}}, "refrain": {"syllabified": "Praise the Lord, praise the Lord, Let the earth hear His voice! Praise the Lord, praise the Lord, Let the peo -- ple re -- joice! O come to the Fa -- ther, through Je -- sus the Son, And give Him the glo -- ry, great things He has done.", "prose": ["Praise the Lord, praise the Lord,", "Let the earth hear His voice!", "Praise the Lord, praise the Lord,", "Let the people rejoice!", "O come to the Father, through Jesus the Son,", "And give Him the glory, great things He has done."]}}, "to-god-for-help-will-i-repair": {"slug": "to-god-for-help-will-i-repair", "title": "Doubts Overcome by Faith", "first_line": "To God for help will I repair", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 77, "topics": ["Psalms"], "scripture": ["Psalm 77"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 209) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 77, selection 209. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To God for help will I re -- pair, To God will I di -- rect my prayer, And sure -- ly He will an -- swer me, His great sal -- va -- tion I shall see.", "prose": ["To God for help will I repair,", "To God will I direct my prayer,", "And surely He will answer me,", "His great salvation I shall see."]}, "2": {"syllabified": "In long -- con -- tin -- ued grief I stand And seek the Lord with out -- stretched hand; I find no com -- fort for my soul the clouds of dark -- ness o'er me roll.", "prose": ["In long-continued grief I stand", "And seek the Lord with outstretched hand;", "I find no comfort for my soul", "the clouds of darkness o'er me roll."]}, "3": {"syllabified": "I think of God and call to mind His good -- ness, yet no peace I find; I still pour out my sad com -- plaints, My bur -- den -- ed spirit al -- most faints.", "prose": ["I think of God and call to mind", "His goodness, yet no peace I find;", "I still pour out my sad complaints,", "My burdened spirit almost faints."]}, "4": {"syllabified": "With sleep -- less eyes and speech -- less grief I search the past to find re -- lief, The for -- mer years when days were bright And songs of glad -- ness cheered my night.", "prose": ["With sleepless eyes and speechless grief", "I search the past to find relief,", "The former years when days were bright", "And songs of gladness cheered my night."]}, "5": {"syllabified": "My con -- stant med -- i -- ta -- tions bring My heart to an -- xious ques -- tion -- ing: Has God cast off, and will He be No long -- er mer -- ci -- ful to me?", "prose": ["My constant meditations bring", "My heart to anxious questioning:", "Has God cast off, and will He be", "No longer merciful to me?"]}, "6": {"syllabified": "Has God for -- got -- ten to be kind? Shall I His prom -- ise faith -- less find? For me shall wrath hence -- forth re -- place His ten -- der mer -- cies and His grace?", "prose": ["Has God forgotten to be kind?", "Shall I His promise faithless find?", "For me shall wrath henceforth replace", "His tender mercies and His grace?"]}, "7": {"syllabified": "In weak -- ness I was pressed with fear, But bet -- ter hopes my spir -- it cheer; Past mer -- cies lead me to re -- ly Up -- on the help of God Most High.", "prose": ["In weakness I was pressed with fear,", "But better hopes my spirit cheer;", "Past mercies lead me to rely", "Upon the help of God Most High."]}, "8": {"syllabified": "Thy deeds, O Lord, will I re -- late And on thy won -- ders med -- i -- tate; Thy way, O God, is just and right, And none is like to Thee in might.", "prose": ["Thy deeds, O Lord, will I relate", "And on thy wonders meditate;", "Thy way, O God, is just and right,", "And none is like to Thee in might."]}, "9": {"syllabified": "A -- mong the na -- tions Thou hast shown Thy won -- drous power and made it known; Thou art the God that might -- i -- ly Re -- deemed and set Thy peo -- ple free.", "prose": ["Among the nations Thou hast shown", "Thy wondrous power and made it known;", "Thou art the God that mightily", "Redeemed and set Thy people free."]}, "10": {"syllabified": "At sight of Thee the wa -- ters fled, The quak -- ing clouds their tor -- rents shed, The light -- nings flashed, the thun -- der pealed, The trem -- bling earth her fear re -- vealed.", "prose": ["At sight of Thee the waters fled,", "The quaking clouds their torrents shed,", "The lightnings flashed, the thunder pealed,", "The trembling earth her fear revealed."]}, "11": {"syllabified": "Thy way, O God, was in the sea, But, though Thy paths mys -- ter -- ious be, Thy peo -- ple Thou didst safe -- ly keep As shep -- herds lead their help -- less sheep.", "prose": ["Thy way, O God, was in the sea,", "But, though Thy paths mysterious be,", "Thy people Thou didst safely keep", "As shepherds lead their helpless sheep."]}}}, "to-render-thanks-unto-the-lord": {"slug": "to-render-thanks-unto-the-lord", "title": "To Render Thanks unto the Lord", "first_line": "To render thanks unto the Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 92, "topics": ["Psalms"], "scripture": ["Psalm 92"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 92. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To ren -- der thanks un -- to the Lord it is a come -- ly thing, And to thy name, O thou Most High, due praise a -- loud to sing.", "prose": ["To render thanks unto the Lord", "it is a comely thing,", "And to thy name, O thou Most High,", "due praise aloud to sing."]}, "2": {"syllabified": "Thy lov -- ing -- kind -- ness to show forth when shines the morn -- ing light; And to de -- clare thy faith -- ful -- ness with plea -- sure ev -- 'ry night,", "prose": ["Thy loving-kindness to show forth", "when shines the morning light;", "And to declare thy faithfulness", "with pleasure ev'ry night,"]}, "3": {"syllabified": "On a ten -- string -- ed in -- stru -- ment, up -- on the psal -- ter -- y, And on the harp with sol -- emn sound, and grave sweet mel -- o -- dy.", "prose": ["On a ten-stringed instrument,", "upon the psaltery,", "And on the harp with solemn sound,", "and grave sweet melody."]}, "4": {"syllabified": "For thou, Lord, by thy might -- y works hast made my heart right glad; And I will tri -- umph in the works which by thine hands were made.", "prose": ["For thou, Lord, by thy mighty works", "hast made my heart right glad;", "And I will triumph in the works", "which by thine hands were made."]}, "5": {"syllabified": "How great, Lord, are thy works! each thought of thine a deep it is: A brut -- ish man it know -- eth not; fools un -- der -- stand not this.", "prose": ["How great, Lord, are thy works! each thought", "of thine a deep it is:", "A brutish man it knoweth not;", "fools understand not this."]}, "6": {"syllabified": "When those that lewd and wick -- ed are spring quick -- ly up like grass, And wor -- kers of in -- iq -- ui -- ty do flour -- ish all a -- pace;", "prose": ["When those that lewd and wicked are", "spring quickly up like grass,", "And workers of iniquity", "do flourish all apace;"]}, "7": {"syllabified": "It is that they for ev -- er may de -- stroy -- ed be and slain: But thou, O Lord, art the Most High, for ev -- er to re -- main.", "prose": ["It is that they for ever may", "destroyed be and slain:", "But thou, O Lord, art the Most High,", "for ever to remain."]}, "8": {"syllabified": "For, lo, thine en -- e -- mies, O Lord, thine en -- 'mies per -- ish shall; The wor -- kers of in -- iq -- ui -- ty shall be dis -- pers -- ed all.", "prose": ["For, lo, thine enemies, O Lord,", "thine en'mies perish shall;", "The workers of iniquity", "shall be dispersed all."]}, "9": {"syllabified": "But thou shalt, like un -- to the horn of th'u -- ni -- corn, ex -- alt My horn on high: thou with fresh oil a -- noint me al -- so shalt.", "prose": ["But thou shalt, like unto the horn", "of th' unicorn, exalt", "My horn on high: thou with fresh oil", "anoint me also shalt."]}, "10": {"syllabified": "Mine eyes shall al -- so my de -- sire see on mine en -- e -- mies; Mine ears shall of the wick -- ed hear that do a -- gainst me rise.", "prose": ["Mine eyes shall also my desire", "see on mine enemies;", "Mine ears shall of the wicked hear", "that do against me rise."]}, "11": {"syllabified": "But like the palm -- tree flour -- ish -- ing shall be the right -- eous one; He shall like to the ce -- dar grow that is in Leb -- a -- non.", "prose": ["But like the palm-tree flourishing", "shall be the righteous one;", "He shall like to the cedar grow", "that is in Lebanon."]}, "12": {"syllabified": "Those that with -- in the house of God are plant -- ed by his grace, They shall grow up, and flour -- ish all in our God's ho -- ly place.", "prose": ["Those that within the house of God", "are planted by his grace,", "They shall grow up, and flourish all", "in our God's holy place."]}, "13": {"syllabified": "And in old age, when oth -- ers fade, they fruit still forth shall bring; They shall be fat, and full of sap, and aye be flour -- ish -- ing;", "prose": ["And in old age, when others fade,", "they fruit still forth shall bring;", "They shall be fat, and full of sap,", "and aye be flourishing;"]}, "14": {"syllabified": "To show that up -- right is the Lord: he is a rock to me; And he from all un -- righ -- teous -- ness is al -- to -- geth -- er free.", "prose": ["To show that upright is the Lord:", "he is a rock to me;", "And he from all unrighteousness", "is altogether free."]}}}, "to-the-hills-i-lift-my-eyes": {"slug": "to-the-hills-i-lift-my-eyes", "title": "Our Unsleeping Guardian", "first_line": "To the hills I lift my eyes", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 121, "topics": ["Psalms"], "scripture": ["Psalm 121"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 345) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 121, selection 345. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To the hills I lift my eyes; Whence shall help for me a -- rise? From the Lord shall come my aid, Who the heav'n and earth has made. He will guide thro' dan -- gers all, Will not suf -- fer thee to fall. He Who safe His peo -- ple keeps Slum -- bers not and nev -- er sleeps.", "prose": ["To the hills I lift my eyes;", "Whence shall help for me arise?", "From the Lord shall come my aid,", "Who the heav'n and earth has made.", "He will guide thro' dangers all,", "Will not suffer thee to fall.", "He Who safe His people keeps", "Slumbers not and never sleeps."]}, "2": {"syllabified": "Thy pro -- tec -- tor is the Lord; Shade for thee he will af -- ford. Nei -- ther sun nor moon shall smite, God shall guard by day and night. He will ev -- er keep thy soul; What would harm He will con -- trol. In the home and by the way God will keep thee day by day.", "prose": ["Thy protector is the Lord;", "Shade for thee he will afford.", "Neither sun nor moon shall smite,", "God shall guard by day and night.", "He will ever keep thy soul;", "What would harm He will control.", "In the home and by the way", "God will keep thee day by day."]}}}, "to-thee-i-lift-my-soul": {"slug": "to-thee-i-lift-my-soul", "title": "To Thee I Lift My Soul", "first_line": "To thee I lift my soul", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 25. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To thee I lift my soul: O Lord, I trust in thee: My God, let me not be a -- sham'd, nor foes tri -- umph o'er me.", "prose": ["To thee I lift my soul:", "O Lord, I trust in thee:", "My God, let me not be asham'd,", "nor foes triumph o'er me."]}, "2": {"syllabified": "Let none that wait on thee be put to shame at all; But those that with -- out cause trans -- gress, let shame up -- on them fall.", "prose": ["Let none that wait on thee", "be put to shame at all;", "But those that without cause transgress,", "let shame upon them fall."]}, "3": {"syllabified": "Show me thy ways, O Lord; thy paths, O teach thou me: And do thou lead me in thy truth, there -- in my teach -- er be:", "prose": ["Show me thy ways, O Lord;", "thy paths, O teach thou me:", "And do thou lead me in thy truth,", "therein my teacher be:"]}, "4": {"syllabified": "For thou art God that dost to me sal -- va -- tion send, And I up -- on thee all the day ex -- pect -- ing do at -- tend.", "prose": ["For thou art God that dost", "to me salvation send,", "And I upon thee all the day", "expecting do attend."]}, "5": {"syllabified": "Thy ten -- der mer -- cies, Lord, I pray thee to re -- mem -- ber, And lo -- ving -- kind -- nes -- ses; for they have been of old for ev -- er.", "prose": ["Thy tender mercies, Lord,", "I pray thee to remember,", "And loving-kindnesses; for they", "have been of old for ever."]}, "6": {"syllabified": "My sins and faults of youth do thou, O Lord, for -- get: Af -- ter thy mer -- cy think on me, and for thy good -- ness great.", "prose": ["My sins and faults of youth", "do thou, O Lord, forget:", "After thy mercy think on me,", "and for thy goodness great."]}, "7": {"syllabified": "God good and up -- right is: the way he'll sin -- ners show. The meek in judg -- ment he will guide, and make his path to know.", "prose": ["God good and upright is:", "the way he'll sinners show.", "The meek in judgment he will guide,", "and make his path to know."]}, "8": {"syllabified": "The whole paths of the Lord are truth and mer -- cy sure, To those that do his cov -- 'nant keep, and tes -- ti -- mo -- nies pure.", "prose": ["The whole paths of the Lord", "are truth and mercy sure,", "To those that do his cov'nant keep,", "and testimonies pure."]}, "9": {"syllabified": "Now, for thine own name's sake, O Lord, I thee en -- treat To par -- don mine in -- iq -- ui -- ty; for it is ver -- y great.", "prose": ["Now, for thine own name's sake,", "O Lord, I thee entreat", "To pardon mine iniquity;", "for it is very great."]}, "10": {"syllabified": "What man is he that fears the Lord, and doth him serve? Him shall he teach the way that he shall choose, and still ob -- serve.", "prose": ["What man is he that fears", "the Lord, and doth him serve?", "Him shall he teach the way that he", "shall choose, and still observe."]}, "11": {"syllabified": "His soul shall dwell at ease; and his pos -- ter -- i -- ty Shall flour -- ish still, and of the earth in -- her -- i -- tors shall be.", "prose": ["His soul shall dwell at ease;", "and his posterity", "Shall flourish still, and of the earth", "inheritors shall be."]}, "12": {"syllabified": "With those that fear him is the se -- cret of the Lord; The knowl -- edge of his cov -- e -- nant he will to them af -- ford.", "prose": ["With those that fear him is", "the secret of the Lord;", "The knowledge of his covenant", "he will to them afford."]}, "13": {"syllabified": "Mine eyes up -- on the Lord con -- tin -- ual -- ly are set; For he it is that shall bring forth my feet out of the net.", "prose": ["Mine eyes upon the Lord", "continually are set;", "For he it is that shall bring forth", "my feet out of the net."]}, "14": {"syllabified": "Turn un -- to me thy face, and to me mer -- cy show; Be -- cause that I am des -- o -- late, and am brought ver -- y low.", "prose": ["Turn unto me thy face,", "and to me mercy show;", "Because that I am desolate,", "and am brought very low."]}, "15": {"syllabified": "My heart's griefs are in -- creased: me from dis -- tress re -- lieve. See mine af -- flic -- tion and my pain, and all my sins for -- give.", "prose": ["My heart's griefs are increased:", "me from distress relieve.", "See mine affliction and my pain,", "and all my sins forgive."]}, "16": {"syllabified": "Con -- sid -- er thou my foes, be -- cause they man -- y are; And it a cru -- el ha -- tred is which they a -- gainst me bear.", "prose": ["Consider thou my foes,", "because they many are;", "And it a cruel hatred is", "which they against me bear."]}, "17": {"syllabified": "O do thou keep my soul, do thou de -- liv -- er me: And let me nev -- er be a -- shamed, be -- cause I trust in thee.", "prose": ["O do thou keep my soul,", "do thou deliver me:", "And let me never be ashamed,", "because I trust in thee."]}, "18": {"syllabified": "Let up -- right -- ness and truth keep me, who thee at -- tend. Re -- demp -- tion, Lord, to I -- sra -- el from all his trou -- bles send.", "prose": ["Let uprightness and truth", "keep me, who thee attend.", "Redemption, Lord, to Israel", "from all his troubles send."]}}}, "to-thee-i-lift-my-soul-o-lord": {"slug": "to-thee-i-lift-my-soul-o-lord", "title": "To Thee I Lift My Soul, O Lord (Second Version)", "first_line": "To thee I lift my soul, O Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 25 (second version). Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To thee I lift my soul, O Lord: my God, I trust in thee: Let me not be a -- shamed; let not my foes tri -- umph o'er me.", "prose": ["To thee I lift my soul, O Lord:", "my God, I trust in thee:", "Let me not be ashamed; let not", "my foes triumph o'er me."]}, "2": {"syllabified": "Yea, let thou none a -- sham -- ed be that do on thee at -- tend: A -- sham -- ed let them be, O Lord, who with -- out cause of -- fend.", "prose": ["Yea, let thou none ashamed be", "that do on thee attend:", "Ashamed let them be, O Lord,", "who without cause offend."]}, "3": {"syllabified": "Thy ways, Lord, show; teach me thy paths: lead me in truth, teach me: For of my safe -- ty thou art God; all day I wait on thee.", "prose": ["Thy ways, Lord, show; teach me thy paths:", "lead me in truth, teach me:", "For of my safety thou art God;", "all day I wait on thee."]}, "4": {"syllabified": "Thy mer -- cies, that most ten -- der are, do thou, O Lord, re -- mem -- ber, And lo -- ving -- kind -- nes -- ses; for they have been of old for ev -- er.", "prose": ["Thy mercies, that most tender are,", "do thou, O Lord, remember,", "And loving-kindnesses; for they", "have been of old for ever."]}, "5": {"syllabified": "Let not the er -- rors of my youth, nor sins, re -- mem -- bered be: In mer -- cy, for thy good -- ness' sake, O Lord, re -- mem -- ber me.", "prose": ["Let not the errors of my youth,", "nor sins, remembered be:", "In mercy, for thy goodness' sake,", "O Lord, remember me."]}, "6": {"syllabified": "The Lord is good and gra -- ci -- ous, he up -- right is al -- so: He there -- fore sin -- ners will in -- struct in ways that they should go.", "prose": ["The Lord is good and gracious,", "he upright is also:", "He therefore sinners will instruct", "in ways that they should go."]}, "7": {"syllabified": "The meek and low -- ly he will guide in judg -- ment just al -- way: To meek and poor af -- flic -- ted ones he'll clear -- ly teach his way.", "prose": ["The meek and lowly he will guide", "in judgment just alway:", "To meek and poor afflicted ones", "he'll clearly teach his way."]}, "8": {"syllabified": "The whole paths of the Lord our God are truth and mer -- cy sure, To such as keep his cov -- e -- nant, and tes -- ti -- mo -- nies pure.", "prose": ["The whole paths of the Lord our God", "are truth and mercy sure,", "To such as keep his covenant,", "and testimonies pure."]}, "9": {"syllabified": "Now, for thine own name's sake, O Lord, I hum -- bly thee en -- treat To par -- don mine in -- iq -- ui -- ty; for it is ver -- y great.", "prose": ["Now, for thine own name's sake, O Lord,", "I humbly thee entreat", "To pardon mine iniquity;", "for it is very great."]}, "10": {"syllabified": "What man fears God? him shall he teach the way that he shall choose. His soul shall dwell at ease; his seed the earth, as heirs, shall use.", "prose": ["What man fears God? him shall he teach", "the way that he shall choose.", "His soul shall dwell at ease; his seed", "the earth, as heirs, shall use."]}, "11": {"syllabified": "The se -- cret of the Lord is with such as do fear his name; And he his ho -- ly cov -- e -- nant will man -- i -- fest to them.", "prose": ["The secret of the Lord is with", "such as do fear his name;", "And he his holy covenant", "will manifest to them."]}, "12": {"syllabified": "To -- wards the Lord my wait -- ing eyes con -- tin -- ual -- ly are set; For he it is that shall bring forth my feet out of the net.", "prose": ["Towards the Lord my waiting eyes", "continually are set;", "For he it is that shall bring forth", "my feet out of the net."]}, "13": {"syllabified": "O turn thee un -- to me, O God, have mer -- cy me up -- on; Be -- cause I sol -- i -- tar -- y am, and in af -- flic -- ti -- on.", "prose": ["O turn thee unto me, O God,", "have mercy me upon;", "Because I solitary am,", "and in affliction."]}, "14": {"syllabified": "En -- larged the griefs are of mine heart; me from dis -- tress re -- lieve. See mine af -- flic -- tion and my pain, and all my sins for -- give.", "prose": ["Enlarged the griefs are of mine heart;", "me from distress relieve.", "See mine affliction and my pain,", "and all my sins forgive."]}, "15": {"syllabified": "Con -- sid -- er thou mine en -- e -- mies, be -- cause they man -- y are; And it a cru -- el ha -- tred is which they a -- gainst me bear.", "prose": ["Consider thou mine enemies,", "because they many are;", "And it a cruel hatred is", "which they against me bear."]}, "16": {"syllabified": "O do thou keep my soul; O God, do thou de -- liv -- er me: Let me not be a -- shamed; for I do put my trust in thee.", "prose": ["O do thou keep my soul; O God,", "do thou deliver me:", "Let me not be ashamed; for I", "do put my trust in thee."]}, "17": {"syllabified": "O let in -- teg -- ri -- ty and truth keep me, who thee at -- tend. Re -- demp -- tion, Lord, to I -- sra -- el from all his trou -- bles send.", "prose": ["O let integrity and truth", "keep me, who thee attend.", "Redemption, Lord, to Israel", "from all his troubles send."]}}}, "to-thee-i-lift-my-soul-psalm-25": {"slug": "to-thee-i-lift-my-soul-psalm-25", "title": "Prayer for Defense and Guidance", "first_line": "To Thee I lift my soul", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 25, "topics": ["Psalms"], "scripture": ["Psalm 25"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 60) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 25, selection 60. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To Thee I lift my soul, In Thee my trust re -- pose; My God, O put me not to shame Be -- fore tri -- um -- phant foes.", "prose": ["To Thee I lift my soul,", "In Thee my trust repose;", "My God, O put me not to shame", "Before triumphant foes."]}, "2": {"syllabified": "None shall be put to shame That hum -- bly wait for Thee, But those that wil -- ful -- ly trans -- gress, On them the shame shall be.", "prose": ["None shall be put to shame", "That humbly wait for Thee,", "But those that wilfully transgress,", "On them the shame shall be."]}, "3": {"syllabified": "Show me Thy paths, O Lord, Teach me Thy per -- fect way, O guide me in Thy truth di -- vine, And lead me day by day.", "prose": ["Show me Thy paths, O Lord,", "Teach me Thy perfect way,", "O guide me in Thy truth divine,", "And lead me day by day."]}, "4": {"syllabified": "For Thou art God that dust To me sal -- va -- tion send, And pa -- tient -- ly through all the day Up -- on thee I at -- tend.", "prose": ["For Thou art God that dust", "To me salvation send,", "And patiently through all the day", "Upon thee I attend."]}, "5": {"syllabified": "Re -- call Thy mer -- cies, Lord, Their ten -- der -- ness un -- told, And all Thy lo -- ving -- kind -- nes -- ses, For they have been of old.", "prose": ["Recall Thy mercies, Lord,", "Their tenderness untold,", "And all Thy loving-kindnesses,", "For they have been of old."]}}}, "to-thee-ill-cry-o-lord-my-rock": {"slug": "to-thee-ill-cry-o-lord-my-rock", "title": "To Thee I'll Cry, O Lord, My Rock", "first_line": "To thee I'll cry, O Lord, my rock", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 28, "topics": ["Psalms"], "scripture": ["Psalm 28"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 28. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To thee I'll cry, O Lord, my rock; hold not thy peace to me; Lest like those that to pit de -- scend I by thy si -- lence be.", "prose": ["To thee I'll cry, O Lord, my rock;", "hold not thy peace to me;", "Lest like those that to pit descend", "I by thy silence be."]}, "2": {"syllabified": "The voice hear of my hum -- ble pray'rs, when un -- to thee I cry; When to thine ho -- ly o -- ra -- cle I lift mine hands on high.", "prose": ["The voice hear of my humble pray'rs,", "when unto thee I cry;", "When to thine holy oracle", "I lift mine hands on high."]}, "3": {"syllabified": "With ill men draw me not a -- way that work in -- iq -- ui -- ty; That speak peace to their friends, while in their hearts doth mis -- chief lie.", "prose": ["With ill men draw me not away", "that work iniquity;", "That speak peace to their friends, while in", "their hearts doth mischief lie."]}, "4": {"syllabified": "Give them ac -- cord -- ing to their deeds and ills en -- deav -- our -- ed: And as their han -- di -- works de -- serve, to them be ren -- der -- ed.", "prose": ["Give them according to their deeds", "and ills endeavoured:", "And as their handiworks deserve,", "to them be rendered."]}, "5": {"syllabified": "God shall not build, but them de -- stroy, who would not un -- der -- stand The Lord's own works, nor did re -- gard the do -- ing of his hand.", "prose": ["God shall not build, but them destroy,", "who would not understand", "The Lord's own works, nor did regard", "the doing of his hand."]}, "6": {"syllabified": "For ev -- er bles -- sed be the Lord, for gra -- cious -- ly he heard The voice of my pe -- ti -- ti -- ons, and pray -- ers did re -- gard.", "prose": ["For ever blessed be the Lord,", "for graciously he heard", "The voice of my petitions,", "and prayers did regard."]}, "7": {"syllabified": "The Lord's my strength and shield; my heart up -- on him did re -- ly; And I am help -- ed: hence my heart doth joy ex -- ceed -- ing -- ly.", "prose": ["The Lord's my strength and shield; my heart", "upon him did rely;", "And I am helped: hence my heart", "doth joy exceedingly."]}, "8": {"syllabified": "And with my song I will him praise. Their strength is God a -- lone: He al -- so is the sav -- ing strength of his a -- noint -- ed one.", "prose": ["And with my song I will him praise.", "Their strength is God alone:", "He also is the saving strength", "of his anointed one."]}, "9": {"syllabified": "O thine own peo -- ple do thou save, bless thine in -- her -- i -- tance; Them al -- so do thou feed, and them for ev -- er -- more ad -- vance.", "prose": ["O thine own people do thou save,", "bless thine inheritance;", "Them also do thou feed, and them", "for evermore advance."]}}}, "to-thee-o-god-do-we-give-thanks": {"slug": "to-thee-o-god-do-we-give-thanks", "title": "To Thee, O God, Do We Give Thanks", "first_line": "To thee, O God, do we give thanks", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 75, "topics": ["Psalms"], "scripture": ["Psalm 75"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 75. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To thee, O God, do we give thanks, we do give thanks to thee; Be -- cause thy won -- drous works de -- clare thy great name near to be.", "prose": ["To thee, O God, do we give thanks,", "we do give thanks to thee;", "Because thy wondrous works declare", "thy great name near to be."]}, "2": {"syllabified": "I pur -- pose, when I shall re -- ceive the con -- gre -- ga -- ti -- on, That I shall judg -- ment up -- right -- ly ren -- der to ev -- ery -- one.", "prose": ["I purpose, when I shall receive", "the congregation,", "That I shall judgment uprightly", "render to everyone."]}, "3": {"syllabified": "Dis -- solv -- ed is the land, with all that in the same do dwell; But I the pil -- lars there -- of do bear up, and stab -- lish well.", "prose": ["Dissolved is the land, with all", "that in the same do dwell;", "But I the pillars thereof do", "bear up, and stablish well."]}, "4": {"syllabified": "I to the fool -- ish peo -- ple said, Do not deal fool -- ish -- ly; And un -- to those that wick -- ed are, Lift not your horn on high.", "prose": ["I to the foolish people said,", "Do not deal foolishly;", "And unto those that wicked are,", "Lift not your horn on high."]}, "5": {"syllabified": "Lift not your horn on high, nor speak with stub -- born neck. But know, That not from east, nor west, nor south, pro -- mo -- ti -- on doth flow.", "prose": ["Lift not your horn on high, nor speak", "with stubborn neck. But know,", "That not from east, nor west, nor south,", "promotion doth flow."]}, "6": {"syllabified": "But God is judge; he puts down one, and sets an -- oth -- er up. For in the hand of God most high of red wine is a cup:", "prose": ["But God is judge; he puts down one,", "and sets another up.", "For in the hand of God most high", "of red wine is a cup:"]}, "7": {"syllabified": "'Tis full of mix -- ture, he pours forth, and makes the wick -- ed all Wring out the bit -- ter dregs there -- of; yea, and they drink them shall.", "prose": ["'Tis full of mixture, he pours forth,", "and makes the wicked all", "Wring out the bitter dregs thereof;", "yea, and they drink them shall."]}, "8": {"syllabified": "But I for ev -- er will de -- clare, I Ja -- cob's God will praise. All horns of lewd men I'll cut off; but just men's horns will raise.", "prose": ["But I for ever will declare,", "I Jacob's God will praise.", "All horns of lewd men I'll cut off;", "but just men's horns will raise."]}}}, "to-thee-o-god-we-render-thanks": {"slug": "to-thee-o-god-we-render-thanks", "title": "The Righteous Judgment of God", "first_line": "To Thee, O God, we render thanks", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 75, "topics": ["Psalms"], "scripture": ["Psalm 75"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 206) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 75, selection 206. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To Thee, O God, we ren -- der thanks, To Thee give thanks sin -- cere, Be -- cause Thy won -- drous works de -- clare That Thou art ev -- er near.", "prose": ["To Thee, O God, we render thanks,", "To Thee give thanks sincere,", "Because Thy wondrous works declare", "That Thou art ever near."]}, "2": {"syllabified": "Thy right -- eous judg -- ment, Thou hast said, Shall in due time ap -- pear, And thou Who didst es -- tab -- lish it Wilt fill the earth with fear.", "prose": ["Thy righteous judgment, Thou hast said,", "Shall in due time appear,", "And thou Who didst establish it", "Wilt fill the earth with fear."]}, "3": {"syllabified": "Thou teach -- est meek -- ness to the proud, And mak -- est sin -- ners know That none is judge but God a -- lone, To hon -- or or bring low.", "prose": ["Thou teachest meekness to the proud,", "And makest sinners know", "That none is judge but God alone,", "To honor or bring low."]}, "4": {"syllabified": "Je -- ho -- vah holds a cup of wrath, And holds it not in vain, For all the wick -- ed of the earth Its bit -- ter dregs shall drain.", "prose": ["Jehovah holds a cup of wrath,", "And holds it not in vain,", "For all the wicked of the earth", "Its bitter dregs shall drain."]}, "5": {"syllabified": "The God of Is -- rael I will praise And all His glo -- ry show; The right -- eous He will high ex -- alt And bring the wick -- ed low.", "prose": ["The God of Israel I will praise", "And all His glory show;", "The righteous He will high exalt", "And bring the wicked low."]}}}, "to-thee-o-lord-i-fly": {"slug": "to-thee-o-lord-i-fly", "title": "Immortality and Resurrection", "first_line": "To Thee, O Lord, I fly", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 16, "topics": ["Psalms"], "scripture": ["Psalm 16"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 29) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 16, selection 29. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "To Thee, O Lord, I fly And on Thy help de -- pend; Thou art my Lord and King Most High; Do Thou my soul de -- fend. I praise the Lord a -- bove Whose coun -- sel guides a -- right; My heart in -- structs me in His love In sea -- sons of the night.", "prose": ["To Thee, O Lord, I fly", "And on Thy help depend;", "Thou art my Lord and King Most High;", "Do Thou my soul defend.", "I praise the Lord above", "Whose counsel guides aright;", "My heart instructs me in His love", "In seasons of the night."]}, "2": {"syllabified": "I keep be -- fore me still The Lord Whom I have proved; At my right hand He guards from ill, And I shall not be moved. My heart is glad and blest, My soul its joy shall tell; And, lo, my flesh in hope shall rest, And still in safe -- ty dwell.", "prose": ["I keep before me still", "The Lord Whom I have proved;", "At my right hand He guards from ill,", "And I shall not be moved.", "My heart is glad and blest,", "My soul its joy shall tell;", "And, lo, my flesh in hope shall rest,", "And still in safety dwell."]}, "3": {"syllabified": "My soul in death's dark pit Shall not be left by Thee; cor -- rup -- tion Thou wilt not per -- mit Thy ho -- ly one to see. Life's path -- way Thou wilt show, To Thy right hand wilt guide, Where streams of plea -- sure ev -- er flow, And bound -- less joys a -- bide.", "prose": ["My soul in death's dark pit", "Shall not be left by Thee;", "corruption Thou wilt not permit", "Thy holy one to see.", "Life's pathway Thou wilt show,", "To Thy right hand wilt guide,", "Where streams of pleasure ever flow,", "And boundless joys abide."]}}}, "trust-and-obey": {"slug": "trust-and-obey", "title": "Trust and Obey", "first_line": "When we walk with the Lord", "author": "john-h-sammis", "author_date": "1887", "foot": "anapestic", "meter": {"pattern": [6, 6, 9], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Obedience", "Trust", "Consecration", "Christian Life", "Fellowship"], "scripture": ["Psalm 25:14", "1 Samuel 15:22", "John 14:23"], "provenance": {"layer": "text", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John H. Sammis (1846-1919). Transcribed syllable by syllable from the FIRST printing: Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 — archive.org item hymnsnewoldforus00town, leaf n62 (the 63rd scanned image), which is headed \"No. 59. Trust and Obey.\", carries the epigraph \"The secret of the Lord is with them that fear Him.\" Ps. 25: 14, is credited \"Rev. J. H. SAMMIS.\" at the upper left and \"D. B. TOWNER.\" at the upper right, and is signed at the foot \"Copyright, 1887, by D. B. Towner.\" Five numbered stanzas and a \"Chorus.\" US public domain by publication before 1929; the author died in 1919, so also PD in life+70 jurisdictions. The 1887 page's own readings are kept where later hymnals differ: stanzas 2 and 3 read \"nor\" (not \"or\"), stanza 4 reads \"And the joy He bestows\" (not \"for the joy\"), and the chorus reads \"To be happy IN Jesus\" (not \"with Jesus\"). Divine pronouns are capitalised here as the 1887 page sets them.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "when_we_walk_with_the_lord", "total_instances": 565}}, "stanzas": {"1": {"syllabified": "When we walk with the Lord In the light of His word, What a glo -- ry He sheds on our way! While we do His good will, He a -- bides with us still, And with all who will trust and o -- bey.", "prose": ["When we walk with the Lord", "In the light of His word,", "What a glory He sheds on our way!", "While we do His good will,", "He abides with us still,", "And with all who will trust and obey."]}, "2": {"syllabified": "Not a shad -- ow can rise, Not a cloud in the skies, But His smile quick -- ly drives it a -- way; Not a doubt nor a fear, Not a sigh nor a tear, Can a -- bide while we trust and o -- bey.", "prose": ["Not a shadow can rise,", "Not a cloud in the skies,", "But His smile quickly drives it away;", "Not a doubt nor a fear,", "Not a sigh nor a tear,", "Can abide while we trust and obey."]}, "3": {"syllabified": "Not a bur -- den we bear, Not a sor -- row we share, But our toil He doth rich -- ly re -- pay; Not a grief nor a loss, Not a frown nor a cross, But is blest if we trust and o -- bey.", "prose": ["Not a burden we bear,", "Not a sorrow we share,", "But our toil He doth richly repay;", "Not a grief nor a loss,", "Not a frown nor a cross,", "But is blest if we trust and obey."]}, "4": {"syllabified": "But we nev -- er can prove The de -- lights of His love, Un -- til all on the al -- tar we lay, For the fa -- vor He shows, And the joy He be -- stows, Are for them who will trust and o -- bey.", "prose": ["But we never can prove", "The delights of His love,", "Until all on the altar we lay,", "For the favor He shows,", "And the joy He bestows,", "Are for them who will trust and obey."]}, "5": {"syllabified": "Then in fel -- low -- ship sweet We will sit at His feet, Or we'll walk by His side in the way; What He says we will do, Where He sends we will go, Nev -- er fear, on -- ly trust and o -- bey.", "prose": ["Then in fellowship sweet", "We will sit at His feet,", "Or we'll walk by His side in the way;", "What He says we will do,", "Where He sends we will go,", "Never fear, only trust and obey."]}}, "refrain": {"syllabified": "Trust and o -- bey, for there's no oth -- er way To be hap -- py in Je -- sus, but to trust and o -- bey.", "prose": ["Trust and obey, for there's no other way", "To be happy in Jesus, but to trust and obey."]}}, "twas-on-that-night": {"slug": "twas-on-that-night", "title": "'Twas on That Night, When Doomed to Know", "first_line": "'Twas on That Night, When Doomed to Know", "author_source": "Scottish Paraphrases, 1781", "author_date": "1781", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Lord's Supper", "Communion"], "scripture": ["1 Corinthians 11:23-26"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "A metrical paraphrase of 1 Corinthians 11:23–26 (\"Paraphrase 35\") from the Scottish Translations and Paraphrases, 1781 (commonly attributed to John Morison, 1750–1798); a Long Meter communion hymn. Public domain; all components pre-1931. No Cyber Hymnal text page was supplied for this tune, so the words are set from the 1781 Scottish Paraphrases, the text's source of record.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "'Twas on that night when doomed to know The ea -- ger rage of eve -- ry foe, That night in which he was be -- trayed, The Sav -- iour of the world took bread;", "prose": ["'Twas on that night when doomed to know", "The eager rage of every foe,", "That night in which he was betrayed,", "The Saviour of the world took bread;"]}, "2": {"syllabified": "And, af -- ter thanks and glo -- ry giv'n To him that rules in earth and heav'n, That sym -- bol of his flesh he broke, And thus to all his fol -- l'wers spoke:", "prose": ["And, after thanks and glory giv'n", "To him that rules in earth and heav'n,", "That symbol of his flesh he broke,", "And thus to all his foll'wers spoke:"]}, "3": {"syllabified": "My bro -- ken bod -- y thus I give For you, for all; take, eat, and live; And oft the sa -- cred rite re -- new That brings my won -- drous love to view.", "prose": ["My broken body thus I give", "For you, for all; take, eat, and live;", "And oft the sacred rite renew", "That brings my wondrous love to view."]}, "4": {"syllabified": "Then in his hands the cup he raised, And God a -- new he thanked and praised; While kind -- ness in his bos -- om glowed, And from his lips sal -- va -- tion flowed.", "prose": ["Then in his hands the cup he raised,", "And God anew he thanked and praised;", "While kindness in his bosom glowed,", "And from his lips salvation flowed."]}, "5": {"syllabified": "My blood I thus pour forth, he cries, To cleanse the soul in sin that lies; In this the cov -- e -- nant is sealed, And Heav'n's e -- ter -- nal grace re -- vealed.", "prose": ["My blood I thus pour forth, he cries,", "To cleanse the soul in sin that lies;", "In this the covenant is sealed,", "And Heav'n's eternal grace revealed."]}, "6": {"syllabified": "With love to man this cup is fraught, Let all par -- take the sa -- cred draught; Through lat -- est ag -- es let it pour, In mem -- 'ry of my dy -- ing hour.", "prose": ["With love to man this cup is fraught,", "Let all partake the sacred draught;", "Through latest ages let it pour,", "In mem'ry of my dying hour."]}}}, "under-his-wings": {"slug": "under-his-wings", "title": "Under His Wings", "first_line": "Under His wings I am safely abiding, Though the", "author": "william-orcutt-cushing", "author_date": "1898", "foot": "iambic", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Assurance", "Calmness", "Comfort"], "scripture": ["John 14:1-4", "1 Corinthians 15:35-38"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:288; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "under_his_wings_i_am_safely_abiding", "total_instances": 163}}, "stanzas": {"1": {"syllabified": "Un -- der His wings I am safe -- ly a -- bid -- ing, Though the night deep -- ens and temp -- ests are wild, Still I can trust Him; I know He will keep me, He has re -- deemed me, and I am His child.", "prose": ["Under His wings I am safely abiding,", "Though the night deepens and tempests are wild,", "Still I can trust Him; I know He will keep me,", "He has redeemed me, and I am His child."]}, "2": {"syllabified": "Un -- der His wings, what a ref -- uge in sor -- row! How the heart yearn -- ing -- ly turns to His rest! Of -- ten when earth has no balm for my heal -- ing, There I find com -- fort, and there I am blessed.", "prose": ["Under His wings, what a refuge in sorrow!", "How the heart yearningly turns to His rest!", "Often when earth has no balm for my healing,", "There I find comfort, and there I am blessed."]}, "3": {"syllabified": "Un -- der His wings, oh, what pre -- cious en -- joy -- ment! There will I hide till life's tri -- als are o'er; Shel -- tered, pro -- tec -- ted, no e -- vil can harm me, Rest -- ing in Je -- sus, I'm safe ev -- er -- more.", "prose": ["Under His wings, oh, what precious enjoyment!", "There will I hide till life's trials are o'er;", "Sheltered, protected, no evil can harm me,", "Resting in Jesus, I'm safe evermore."]}}, "refrain": {"syllabified": "Un -- der His wings, un -- der His wings, Who from His love can sev -- er? Un -- der His wings my soul shall a -- bide, Safe -- ly a -- bide for -- ev -- er.", "prose": ["Under His wings, under His wings,", "Who from His love can sever?", "Under His wings my soul shall abide,", "Safely abide forever."]}}, "unto-the-lord-i-with-my-voice": {"slug": "unto-the-lord-i-with-my-voice", "title": "Unto the Lord I with My Voice", "first_line": "Unto the Lord I with my voice", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 77, "topics": ["Psalms"], "scripture": ["Psalm 77"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 77. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Un -- to the Lord I with my voice, I un -- to God did cry; Ev'n with my voice, and un -- to me his ear he did ap -- ply.", "prose": ["Unto the Lord I with my voice,", "I unto God did cry;", "Ev'n with my voice, and unto me", "his ear he did apply."]}, "2": {"syllabified": "I in my trou -- ble sought the Lord, my sore by night did run, And ceas -- ed not; my griev -- ed soul did con -- so -- la -- tion shun.", "prose": ["I in my trouble sought the Lord,", "my sore by night did run,", "And ceased not; my grieved soul", "did consolation shun."]}, "3": {"syllabified": "I to re -- mem -- brance God did call, yet trou -- ble did re -- main; And o -- ver -- whelmed my spir -- it was, whilst I did sore com -- plain.", "prose": ["I to remembrance God did call,", "yet trouble did remain;", "And overwhelmed my spirit was,", "whilst I did sore complain."]}, "4": {"syllabified": "Mine eyes, de -- barred from rest and sleep, thou mak -- est still to wake; My trou -- ble is so great that I un -- a -- ble am to speak.", "prose": ["Mine eyes, debarred from rest and sleep,", "thou makest still to wake;", "My trouble is so great that I", "unable am to speak."]}, "5": {"syllabified": "The days of old to mind I called, and oft did think up -- on The times and ag -- es that are past full man -- y years a -- gone.", "prose": ["The days of old to mind I called,", "and oft did think upon", "The times and ages that are past", "full many years agone."]}, "6": {"syllabified": "By night my song I call to mind, and com -- mune with my heart; My spirit did care -- ful -- ly en -- quire how I might ease my smart.", "prose": ["By night my song I call to mind,", "and commune with my heart;", "My spirit did carefully enquire", "how I might ease my smart."]}, "7": {"syllabified": "For ev -- er will the Lord cast off, and gra -- cious be no more? For ev -- er is his mer -- cy gone? fails his word ev -- er -- more?", "prose": ["For ever will the Lord cast off,", "and gracious be no more?", "For ever is his mercy gone?", "fails his word evermore?"]}, "8": {"syllabified": "Is't true that to be gra -- ci -- ous the Lord for -- got -- ten hath? And that his ten -- der mer -- cies he hath shut up in his wrath?", "prose": ["Is 't true that to be gracious", "the Lord forgotten hath?", "And that his tender mercies he", "hath shut up in his wrath?"]}, "9": {"syllabified": "Then did I say, That sure -- ly this is mine in -- firm -- it -- y: I'll mind the years of the right hand of him that is most High.", "prose": ["Then did I say, That surely this", "is mine infirmity:", "I'll mind the years of the right hand", "of him that is most High."]}, "10": {"syllabified": "Yea, I re -- mem -- ber will the works per -- form -- ed by the Lord: The won -- ders done of old by thee I sure -- ly will re -- cord.", "prose": ["Yea, I remember will the works", "performed by the Lord:", "The wonders done of old by thee", "I surely will record."]}, "11": {"syllabified": "I al -- so will of all thy works my med -- i -- ta -- tion make; And of thy do -- ings to dis -- course great plea -- sure I will take.", "prose": ["I also will of all thy works", "my meditation make;", "And of thy doings to discourse", "great pleasure I will take."]}, "12": {"syllabified": "O God, thy way most ho -- ly is with -- in thy sanc -- tua -- ry; And what God is so great in pow'r as is our God most high?", "prose": ["O God, thy way most holy is", "within thy sanctuary;", "And what God is so great in pow'r", "as is our God most high?"]}, "13": {"syllabified": "Thou art the God that won -- ders do'st by thy right hand most strong: Thy might -- y pow'r thou hast de -- clared the na -- ti -- ons a -- mong.", "prose": ["Thou art the God that wonders do'st", "by thy right hand most strong:", "Thy mighty pow'r thou hast declared", "the nations among."]}, "14": {"syllabified": "To thine own peo -- ple with thine arm thou didst re -- demp -- tion bring; To Ja -- cob's sons, and to the tribes of Jo -- seph that do spring.", "prose": ["To thine own people with thine arm", "thou didst redemption bring;", "To Jacob's sons, and to the tribes", "of Joseph that do spring."]}, "15": {"syllabified": "The wa -- ters, Lord, per -- ceiv -- ed thee, the wa -- ters saw thee well; And they for fear a -- side did flee; the depths on trem -- bling fell.", "prose": ["The waters, Lord, perceived thee,", "the waters saw thee well;", "And they for fear aside did flee;", "the depths on trembling fell."]}, "16": {"syllabified": "The clouds in wa -- ter forth were poured, sound loud -- ly did the sky; And swift -- ly through the world a -- broad thine ar -- rows fierce did fly.", "prose": ["The clouds in water forth were poured,", "sound loudly did the sky;", "And swiftly through the world abroad", "thine arrows fierce did fly."]}, "17": {"syllabified": "Thy thun -- der's voice a -- longst the heav'n a might -- y noise did make; By light -- nings light -- en'd was the world, th'earth trem -- ble did and shake.", "prose": ["Thy thunder's voice alongst the heav'n", "a mighty noise did make;", "By lightnings lighten'd was the world,", "th' earth tremble did and shake."]}, "18": {"syllabified": "Thy way is in the sea, and in the wa -- ters great thy path; Yet are thy foot -- steps hid, O Lord; none knowl -- edge there -- of hath.", "prose": ["Thy way is in the sea, and in", "the waters great thy path;", "Yet are thy footsteps hid, O Lord;", "none knowledge thereof hath."]}, "19": {"syllabified": "Thy peo -- ple thou didst safe -- ly lead, like to a flock of sheep; By Mo -- ses' hand and Aa -- ron's thou didst them con -- duct and keep.", "prose": ["Thy people thou didst safely lead,", "like to a flock of sheep;", "By Moses' hand and Aaron's thou", "didst them conduct and keep."]}}}, "upon-the-hills-of-holiness": {"slug": "upon-the-hills-of-holiness", "title": "Upon the Hills of Holiness", "first_line": "Upon the hills of holiness", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 87, "topics": ["Psalms"], "scripture": ["Psalm 87"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 87. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Up -- on the hills of ho -- li -- ness he his foun -- da -- tion sets. God, more than Ja -- cob's dwell -- ings all, de -- lights in Zi -- on's gates.", "prose": ["Upon the hills of holiness", "he his foundation sets.", "God, more than Jacob's dwellings all,", "delights in Zion's gates."]}, "2": {"syllabified": "Things glo -- ri -- ous are said of thee, thou cit -- y of the Lord. Ra -- hab and Ba -- bel I, to those that know me, will re -- cord:", "prose": ["Things glorious are said of thee,", "thou city of the Lord.", "Rahab and Babel I, to those", "that know me, will record:"]}, "3": {"syllabified": "Be -- hold ev'n Ty -- rus, and with it the land of Pal -- es -- tine, And like -- wise E -- thi -- o -- pi -- a; this man was born there -- in.", "prose": ["Behold ev'n Tyrus, and with it", "the land of Palestine,", "And likewise Ethiopia;", "this man was born therein."]}, "4": {"syllabified": "And it of Zi -- on shall be said, This man and that man there Was born; and he that is most High him -- self shall stab -- lish her.", "prose": ["And it of Zion shall be said,", "This man and that man there", "Was born; and he that is most High", "himself shall stablish her."]}, "5": {"syllabified": "When God the peo -- ple writes, he'll count that this man born was there. There be that sing and play; and all my well -- springs in thee are.", "prose": ["When God the people writes, he'll count", "that this man born was there.", "There be that sing and play; and all", "my well-springs in thee are."]}}}, "wake-awake-for-night-is-flying": {"slug": "wake-awake-for-night-is-flying", "title": "Wake, Awake, for Night Is Flying", "first_line": "Wake, Awake, for Night Is Flying", "author": "phillip-nicolai", "author_date": "1917", "translator": "catherine-winkworth", "translator_date": "1917", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Cloud", "Fire", "God, As King"], "scripture": ["Psalm 87:1-7", "Isaiah 12:1-6", "Revelation 22:1-5"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "wake_awake_for_night_is_flying_winkworth", "total_instances": 224}}, "stanzas": {"1": {"syllabified": "Wake, a -- wake, for night is fly -- ing; The watch -- men on the heights are cry -- ing: A -- wake, Je -- ru -- sa -- lem, at last! Mid -- night hears the wel -- come voic -- es And at the thril -- ling cry re -- joic -- es; Come forth, ye vir -- gins, night is past; The Bride -- groom comes, a -- wake; Your lamps with glad -- ness take; A -- lle -- lu -- ia! And for His mar -- riage feast pre -- pare For ye must go and meet Him there.", "prose": ["Wake, awake, for night is flying;", "The watchmen on the heights are crying:", "Awake, Jerusalem, at last!", "Midnight hears the welcome voices", "And at the thrilling cry rejoices;", "Come forth, ye virgins, night is past;", "The Bridegroom comes, awake;", "Your lamps with gladness take;", "Alleluia!", "And for His marriage feast prepare", "For ye must go and meet Him there."]}, "2": {"syllabified": "Zi -- on hears the watch -- men sing -- ing, And all her heart with joy is spring -- ing; She wakes, she ris -- es from her gloom; For her Lord comes down all glo -- rious, The strong in grace, in truth vic -- tor -- ious. Her Star is ris'n, her Light is come. Ah come, Thou bless -- ed One, God's own be -- lov -- ed Son: A -- lle -- lu -- ia! We fol -- low till the halls we see Where Thou hast bid us sup with Thee", "prose": ["Zion hears the watchmen singing,", "And all her heart with joy is springing;", "She wakes, she rises from her gloom;", "For her Lord comes down all glorious,", "The strong in grace, in truth victorious.", "Her Star is ris'n, her Light is come.", "Ah come, Thou blessed One,", "God's own beloved Son:", "Alleluia!", "We follow till the halls we see", "Where Thou hast bid us sup with Thee"]}, "3": {"syllabified": "Now let all the heav'ns a -- dore Thee, And saints and an -- gels sing be -- fore Thee, With harp and cym -- bal's clear -- est tone; Of one pearl each shin -- ing por -- tal, Where we are with the choir im -- mor -- tal Of an -- gels round Thy dazz -- ling throne; Nor eye hath seen, nor ear hath yet a -- ttained to hear What there is ours, but we re -- joice and sing to Thee Our hymn of joy e -- ter -- nal -- ly.", "prose": ["Now let all the heav'ns adore Thee,", "And saints and angels sing before Thee,", "With harp and cymbal's clearest tone;", "Of one pearl each shining portal,", "Where we are with the choir immortal", "Of angels round Thy dazzling throne;", "Nor eye hath seen, nor ear", "hath yet attained to hear", "What there is ours,", "but we rejoice and sing to Thee", "Our hymn of joy eternally."]}}}, "we-all-believe-in-one-true-god": {"slug": "we-all-believe-in-one-true-god", "title": "We All Believe in One True God", "first_line": "We All Believe in One True God", "author_source": "Medieval Latin", "adapter": "martin-luther", "translator": "composite", "translator_date": "1854", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 6, 6, 6, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Atonement", "Calmness", "Comfort", "Courage in Affliction"], "scripture": ["2 Samuel 22:2-3", "Psalm 18:1-2", "1 Corinthians 15:55-57", "Romans 8:37-39"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:126; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "we_all_believe_in_one_true_god_father_so", "total_instances": 53}}, "stanzas": {"1": {"syllabified": "We all be -- lieve in one true God, Who cre -- at -- ed earth and heav -- en, The Fa -- ther, who to us in love Hath the right of chil -- dren giv -- en. He both soul and bod -- y feed -- eth, All we need He doth pro -- vide us; He through snares and per -- ils lead -- eth, Watch -- ing that no harm be -- tide us. He car -- eth for us day and night, All things are gov -- erned by His might.", "prose": ["We all believe in one true God,", "Who created earth and heaven,", "The Father, who to us in love", "Hath the right of children given.", "He both soul and body feedeth,", "All we need He doth provide us;", "He through snares and perils leadeth,", "Watching that no harm betide us.", "He careth for us day and night,", "All things are governed by His might."]}, "2": {"syllabified": "We all be -- lieve in Je -- sus Christ, His own Son, our Lord, pos -- ses -- sing An e -- qual God -- head, throne, and might, Source of ev -- ery grace and bless -- ing. Born of Ma -- ry, vir -- gin moth -- er, By the pow -- er of the Spir -- it, Made true man, our el -- der Broth -- er, That the lost might life in -- her -- it; Was cru -- ci -- fied for sin -- ful men And raised by God to life a -- gain.", "prose": ["We all believe in Jesus Christ,", "His own Son, our Lord, possessing", "An equal Godhead, throne, and might,", "Source of every grace and blessing.", "Born of Mary, virgin mother,", "By the power of the Spirit,", "Made true man, our elder Brother,", "That the lost might life inherit;", "Was crucified for sinful men", "And raised by God to life again."]}, "3": {"syllabified": "We all con -- fess the Ho -- ly Ghost, Who sweet grace and com -- fort giv -- eth And with the Fa -- ther and the Son In e -- ter -- nal glor -- y liv -- eth; Who the Church, His own cre -- a -- tion, Keeps in u -- ni -- ty of spir -- it. Here for -- give -- ness and sal -- va -- tion Dai -- ly come through Je -- sus' mer -- it. All flesh shall rise, and we shall be In bliss with God e -- ter -- nal -- ly.", "prose": ["We all confess the Holy Ghost,", "Who sweet grace and comfort giveth", "And with the Father and the Son", "In eternal glory liveth;", "Who the Church, His own creation,", "Keeps in unity of spirit.", "Here forgiveness and salvation", "Daily come through Jesus' merit.", "All flesh shall rise, and we shall be", "In bliss with God eternally."]}}}, "we-give-thee-but-thine-own": {"slug": "we-give-thee-but-thine-own", "title": "We Give Thee But Thine Own", "first_line": "We Give Thee But Thine Own", "author": "william-walsham-how", "author_date": "1858", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Stewardship", "Offering", "Service"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "William Walsham How (1823-1897), \"We Give Thee But Thine Own,\" written 1858. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "We give Thee but Thine own, What -- e'er the gift may be; All that we have is Thine a -- lone, A trust, O Lord, from Thee.", "prose": ["We give Thee but Thine own,", "Whate'er the gift may be;", "All that we have is Thine alone,", "A trust, O Lord, from Thee."]}, "2": {"syllabified": "May we Thy boun -- ties thus, As stew -- ards true re -- ceive; And glad -- ly, as Thou bless -- est us, To Thee our first -- fruits give.", "prose": ["May we Thy bounties thus,", "As stewards true receive;", "And gladly, as Thou blessest us,", "To Thee our first-fruits give."]}, "3": {"syllabified": "O hearts are bruised and dead, And homes are bare and cold; And lambs for whom the Shep -- herd bled Are stray -- ing from the fold.", "prose": ["O hearts are bruised and dead,", "And homes are bare and cold;", "And lambs for whom the Shepherd bled", "Are straying from the fold."]}, "4": {"syllabified": "To com -- fort and to bless, To find a balm for woe; To tend the lone and fa -- ther -- less Is an -- gels' work be -- low.", "prose": ["To comfort and to bless,", "To find a balm for woe;", "To tend the lone and fatherless", "Is angels' work below."]}, "5": {"syllabified": "The cap -- tive to re -- lease, To God the lost to bring; To teach the way of life and peace, It is a Christ -- like thing.", "prose": ["The captive to release,", "To God the lost to bring;", "To teach the way of life and peace,", "It is a Christ-like thing."]}, "6": {"syllabified": "And we be -- lieve Thy word, Though dim our faith may be; What -- e'er for Thine we do, O Lord, We do it un -- to Thee.", "prose": ["And we believe Thy word,", "Though dim our faith may be;", "Whate'er for Thine we do, O Lord,", "We do it unto Thee."]}}}, "we-know-thee-who-thou-art": {"slug": "we-know-thee-who-thou-art", "title": "We Know Thee Who Thou Art", "first_line": "We know Thee who Thou art, Lord Jesus, Mary's", "author": "william-bright", "author_date": "1904", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Activity", "Assurance", "Atonement", "Comfort"], "scripture": ["Ephesians 2:4-9", "Titus 3:4-7", "Isaiah 64:6", "Romans 3:23-24"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:181; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "we_know_thee_who_thou_art", "total_instances": 7}}, "stanzas": {"1": {"syllabified": "We know Thee who Thou art, Lord Je -- sus, Ma -- ry's Son; We know the yearn -- ings of Thy heart To end Thy work be -- gun.", "prose": ["We know Thee who Thou art,", "Lord Jesus, Mary's Son;", "We know the yearnings of Thy heart", "To end Thy work begun."]}, "2": {"syllabified": "That sa -- cred fount of grace, 'Mid all the bliss of Heav'n, Has joy when -- e'er we seek Thy face, And kneel to be for -- giv'n.", "prose": ["That sacred fount of grace,", "'Mid all the bliss of Heav'n,", "Has joy whene'er we seek Thy face,", "And kneel to be forgiv'n."]}, "3": {"syllabified": "Brought home from ways per -- verse, At peace Thine arms with -- in, We pray Thee, shield us from the curse Of fall -- ing back to sin.", "prose": ["Brought home from ways perverse,", "At peace Thine arms within,", "We pray Thee, shield us from the curse", "Of falling back to sin."]}, "4": {"syllabified": "We dare not ask to live Hence -- forth from tri -- als free; But oh! when next they tempt us, give More strength to cling to Thee.", "prose": ["We dare not ask to live", "Henceforth from trials free;", "But oh! when next they tempt us, give", "More strength to cling to Thee."]}, "5": {"syllabified": "We know Thee who Thou art, Our own re -- deem -- ing Lord; Be Thou by will, and mind, and heart, Ac -- cep -- ted, loved, a -- dored.", "prose": ["We know Thee who Thou art,", "Our own redeeming Lord;", "Be Thou by will, and mind, and heart,", "Accepted, loved, adored."]}}}, "we-plow-the-fields-and-scatter": {"slug": "we-plow-the-fields-and-scatter", "title": "We Plow the Fields and Scatter", "first_line": "We plow the fields and scatter", "author": "matthias-claudius", "author_date": "1782", "translator": "jane-montgomery-campbell", "translator_date": "1861", "foot": "iambic", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Harvest", "Thanksgiving", "Providence", "Creation"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "German original \"Wir pflügen und wir streuen\" by Matthias Claudius (Paul Erdmann's Fest, 1782); English translation by Jane Montgomery Campbell, 1861 (first published in Charles S. Bere, A Garland of Songs, 1862). Text from The Cyber Hymnal. All authors d. pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "We plow the fields, and scat -- ter The good seed on the land, But it is fed and wa -- tered By God's al -- might -- y hand; He sends the snow in win -- ter, The warmth to swell the grain, The breez -- es and the sun -- shine, And soft re -- fresh -- ing rain.", "prose": ["We plow the fields, and scatter", "The good seed on the land,", "But it is fed and watered", "By God's almighty hand;", "He sends the snow in winter,", "The warmth to swell the grain,", "The breezes and the sunshine,", "And soft refreshing rain."]}, "2": {"syllabified": "He on -- ly is the Mak -- er Of all things near and far; He paints the way -- side flow -- er, He lights the eve -- ning star; The winds and waves o -- bey Him, By Him the birds are fed; Much more to us, His child -- ren, He gives our dai -- ly bread.", "prose": ["He only is the Maker", "Of all things near and far;", "He paints the wayside flower,", "He lights the evening star;", "The winds and waves obey Him,", "By Him the birds are fed;", "Much more to us, His children,", "He gives our daily bread."]}, "3": {"syllabified": "We thank Thee, then, O Fa -- ther, For all things bright and good, The seed time and the har -- vest, Our life, our health, and food; No gifts have we to of -- fer, For all Thy love im -- parts, But that which Thou de -- sir -- est, Our hum -- ble, thank -- ful hearts.", "prose": ["We thank Thee, then, O Father,", "For all things bright and good,", "The seed time and the harvest,", "Our life, our health, and food;", "No gifts have we to offer,", "For all Thy love imparts,", "But that which Thou desirest,", "Our humble, thankful hearts."]}}, "refrain": {"syllabified": "All good gifts a -- round us Are sent from Heav'n a -- bove, Then thank the Lord, O thank the Lord For all His love.", "prose": ["All good gifts around us", "Are sent from Heav'n above,", "Then thank the Lord, O thank the Lord", "For all His love."]}}, "we-praise-thee-o-god-our-redeemer-creator": {"slug": "we-praise-thee-o-god-our-redeemer-creator", "title": "We Praise Thee, O God, Our Redeemer, Creator", "first_line": "We Praise Thee, O God, Our Redeemer, Creator", "author": "julia-cory", "author_date": "1902", "foot": "anapestic", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Thanksgiving", "Praise", "Adoration"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Julia Bulkley Cady Cory (1882–1963), \"We Praise Thee, O God, Our Redeemer, Creator,\" 1902 (written for the tune KREMSER). US public domain by pre-1931 publication. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "We praise Thee, O God, our Re -- deem -- er, Cre -- a -- tor, In grate -- ful de -- vo -- tion our trib -- ute we bring; We lay it be -- fore Thee, we kneel and a -- dore Thee, We bless Thy ho -- ly Name, glad prais -- es we sing.", "prose": ["We praise Thee, O God, our Redeemer, Creator,", "In grateful devotion our tribute we bring;", "We lay it before Thee, we kneel and adore Thee,", "We bless Thy holy Name, glad praises we sing."]}, "2": {"syllabified": "We wor -- ship Thee, God of our fa -- thers, we bless Thee; Through life's storm and tem -- pest our Guide hast Thou been; When per -- ils o'er -- take us, es -- cape Thou wilt make us, And with Thy help, O Lord, our bat -- tles we win.", "prose": ["We worship Thee, God of our fathers, we bless Thee;", "Through life's storm and tempest our Guide hast Thou been;", "When perils o'ertake us, escape Thou wilt make us,", "And with Thy help, O Lord, our battles we win."]}}}, "weary-of-earth-and-laden-with-my-sin": {"slug": "weary-of-earth-and-laden-with-my-sin", "title": "Weary of Earth, and Laden with My Sin", "first_line": "Weary of Earth, and Laden with My Sin", "author": "samuel-john-stone", "author_date": "1866", "foot": "iambic", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Contrition", "Atonement", "Forgiveness"], "scripture": ["Matthew 11:28"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Samuel J. Stone, \"Weary of Earth, and Laden with My Sin,\" Lyra Fidelium (London: Parker, 1866). Author d. 1900. Text from The Cyber Hymnal. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Wea -- ry of earth, and lad -- en with my sin, I look at Heav'n and long to en -- ter in, But there no e -- vil thing may find a home— And yet I hear a voice that bids me Come.", "prose": ["Weary of earth, and laden with my sin,", "I look at Heav'n and long to enter in,", "But there no evil thing may find a home—", "And yet I hear a voice that bids me Come."]}, "2": {"syllabified": "So vile I am, how dare I hope to stand In the pure glo -- ry of that ho -- ly land? Be -- fore the white -- ness of that throne ap -- pear? Yet there are hands stretched out to draw me near.", "prose": ["So vile I am, how dare I hope to stand", "In the pure glory of that holy land?", "Before the whiteness of that throne appear?", "Yet there are hands stretched out to draw me near."]}, "3": {"syllabified": "The while I fain would tread the heav'n -- ly way Seems e -- vil ev -- er with me day by day; Yet on mine ears the gra -- cious tid -- ings fall, Re -- pent, con -- fess, thou shalt be loosed from all.", "prose": ["The while I fain would tread the heav'nly way", "Seems evil ever with me day by day;", "Yet on mine ears the gracious tidings fall,", "Repent, confess, thou shalt be loosed from all."]}, "4": {"syllabified": "It is the voice of Je -- sus that I hear! His are the hands stretched out to draw me near, And His the blood that can for all a -- tone, And set me fault -- less there be -- fore the throne.", "prose": ["It is the voice of Jesus that I hear!", "His are the hands stretched out to draw me near,", "And His the blood that can for all atone,", "And set me faultless there before the throne."]}, "5": {"syllabified": "'Twas He who found me on the death -- ly wild, And made me heir of Heav'n, the Fa -- ther's child, And day by day, where -- by my soul may live, Giv -- eth His grace of par -- don, and will give.", "prose": ["'Twas He who found me on the deathly wild,", "And made me heir of Heav'n, the Father's child,", "And day by day, whereby my soul may live,", "Giveth His grace of pardon, and will give."]}, "6": {"syllabified": "O great Ab -- solv -- er! grant my soul may wear The low -- liest garb of pen -- i -- tence and prayer, That in the Fa -- ther's courts my glo -- rious dress May be the gar -- ment of Thy right -- eous -- ness.", "prose": ["O great Absolver! grant my soul may wear", "The lowliest garb of penitence and prayer,", "That in the Father's courts my glorious dress", "May be the garment of Thy righteousness."]}, "7": {"syllabified": "Yea, Thou wilt an -- swer for me, right -- eous Lord! Thine all the mer -- its, mine the great re -- ward; Thine the sharp thorns, and mine the gol -- den crown; Mine the life won, and Thine the life laid down!", "prose": ["Yea, Thou wilt answer for me, righteous Lord!", "Thine all the merits, mine the great reward;", "Thine the sharp thorns, and mine the golden crown;", "Mine the life won, and Thine the life laid down!"]}, "8": {"syllabified": "Naught can I bring, dear Lord, for all I owe, Yet let my full heart, what it can, be -- stow; Like that sweet nard, let my de -- vo -- tion prove, Great -- ly for -- giv -- en, how great -- ly I love.", "prose": ["Naught can I bring, dear Lord, for all I owe,", "Yet let my full heart, what it can, bestow;", "Like that sweet nard, let my devotion prove,", "Greatly forgiven, how greatly I love."]}}}, "were-you-there": {"slug": "were-you-there", "title": "Were You There", "first_line": "Were you there when they crucified my Lord?", "author_source": "African-American spiritual", "foot": "irregular", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "topics": ["Atonement", "Cross", "Jesus"], "scripture": ["John 19:18"], "stanzas": {"1": {"syllabified": "Were you there when they cru -- ci -- fied my Lord? Were you there when they cru -- ci -- fied my Lord? Oh! Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they cru -- ci -- fied my Lord?", "prose": ["Were you there when they crucified my Lord?", "Were you there when they crucified my Lord?", "Oh! Sometimes it causes me to tremble, tremble, tremble.", "Were you there when they crucified my Lord?"]}, "2": {"syllabified": "Were you there when they nailed Him to the tree? Were you there when they nailed Him to the tree? Oh! Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they nailed Him to the tree?", "prose": ["Were you there when they nailed Him to the tree?", "Were you there when they nailed Him to the tree?", "Oh! Sometimes it causes me to tremble, tremble, tremble.", "Were you there when they nailed Him to the tree?"]}, "3": {"syllabified": "Were you there when they laid Him in the tomb? Were you there when they laid Him in the tomb? Oh! Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they laid Him in the tomb?", "prose": ["Were you there when they laid Him in the tomb?", "Were you there when they laid Him in the tomb?", "Oh! Sometimes it causes me to tremble, tremble, tremble.", "Were you there when they laid Him in the tomb?"]}, "4": {"syllabified": "Were you there when God raised Him from the tomb? Were you there when God raised Him from the tomb? Oh! Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when God raised Him from the tomb?", "prose": ["Were you there when God raised Him from the tomb?", "Were you there when God raised Him from the tomb?", "Oh! Sometimes it causes me to tremble, tremble, tremble.", "Were you there when God raised Him from the tomb?"]}}, "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "African-American spiritual, sung well before its first printing in William E. Barton's Old Plantation Hymns (1899, where Barton gives stanzas crucified / nailed / pierced / sun refused to shine). Stanza set and wording here follow the source of the setting, The Cyber Hymnal #7233 (crucified / nailed Him to the tree / laid Him in the tomb / God raised Him from the tomb), cross-checked against the Hymnary.org authority text (same four stanzas). Public domain.", "pd_jurisdictions": {"US": true}}}, "what-a-friend-we-have-in-jesus": {"slug": "what-a-friend-we-have-in-jesus", "title": "What A Friend We Have In Jesus", "first_line": "What a Friend we have in Jesus, all our", "author": "joseph-m-scriven", "author_date": "1874", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Brevity of Life", "Cloud", "Eternal Life", "Father"], "scripture": ["Psalm 69:34", "Psalm 148"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:249; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "what_a_friend_we_have_in_jesus_all_our_s", "total_instances": 1946}}, "stanzas": {"1": {"syllabified": "What a Friend we have in Je -- sus, all our sins and griefs to bear! What a priv -- i -- lege to car -- ry ev -- ery -- thing to God in prayer! O what peace we of -- ten for -- feit, O what need -- less pain we bear, All be -- cause we do not ca -- rry ev -- ery -- thing to God in prayer.", "prose": ["What a Friend we have in Jesus,", "all our sins and griefs to bear!", "What a privilege to carry", "everything to God in prayer!", "O what peace we often forfeit,", "O what needless pain we bear,", "All because we do not carry", "everything to God in prayer."]}, "2": {"syllabified": "Have we tri -- als and temp -- ta -- tions? Is there trou -- ble an -- y -- where? We should nev -- er be dis -- cour -- aged; take it to the Lord in prayer. Can we find a friend so faith -- ful who will all our sor -- rows share? Je -- sus knows our ev -- ery weak -- ness; take it to the Lord in prayer.", "prose": ["Have we trials and temptations?", "Is there trouble anywhere?", "We should never be discouraged;", "take it to the Lord in prayer.", "Can we find a friend so faithful", "who will all our sorrows share?", "Jesus knows our every weakness;", "take it to the Lord in prayer."]}, "3": {"syllabified": "Are we weak and heav -- y lad -- en, cum -- bered with a load of care? Pre -- cious Sav -- ior, still our ref -- uge, take it to the Lord in prayer. Do your friends de -- spise, for -- sake you? Take it to the Lord in prayer! In His arms He'll take and shield you; you will find a sol -- ace there.", "prose": ["Are we weak and heavy laden,", "cumbered with a load of care?", "Precious Savior, still our refuge,", "take it to the Lord in prayer.", "Do your friends despise, forsake you?", "Take it to the Lord in prayer!", "In His arms He'll take and shield you;", "you will find a solace there."]}, "4": {"syllabified": "Bless -- ed Sav -- ior, Thou hast prom -- ised Thou wilt all our bur -- dens bear May we ev -- er, Lord, be bring -- ing all to Thee in earn -- est prayer. Soon in glo -- ry bright un -- cloud -- ed there will be no need for prayer Rap -- ture, praise and end -- less wor -- ship will be our sweet por -- tion there.", "prose": ["Blessed Savior, Thou hast promised", "Thou wilt all our burdens bear", "May we ever, Lord, be bringing", "all to Thee in earnest prayer.", "Soon in glory bright unclouded", "there will be no need for prayer", "Rapture, praise and endless worship", "will be our sweet portion there."]}}}, "what-child-is-this": {"slug": "what-child-is-this", "title": "What Child Is This?", "first_line": "What Child is this, who, laid to rest", "author": "william-chatterton-dix", "author_date": "1865", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 6, 8, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Christ, Nativity of", "Christ, Adoration of"], "scripture": ["Luke 2:7", "Matthew 2:11"], "provenance": {"layer": "text", "source": "dix-1865", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William Chatterton Dix (1837-1898), 1865, from his poem 'The Manger Throne'. Public domain (pub. pre-1929).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "What Child is this who, laid to rest On Ma -- ry's lap is sleep -- ing? Whom an -- gels greet with an -- thems sweet, While shep -- herds watch are keep -- ing? This, this is Christ the King, Whom shep -- herds guard and an -- gels sing; Haste, haste, to bring Him laud, The Babe, the Son of Ma -- ry.", "prose": ["What Child is this who, laid to rest", "On Mary's lap is sleeping?", "Whom angels greet with anthems sweet,", "While shepherds watch are keeping?", "This, this is Christ the King,", "Whom shepherds guard and angels sing;", "Haste, haste, to bring Him laud,", "The Babe, the Son of Mary."]}, "2": {"syllabified": "Why lies He in such mean es -- tate, Where ox and ass are feed -- ing? Good Chris -- tians, fear, for sin -- ners here The si -- lent Word is plead -- ing. Nails, spear shall pierce Him through, The cross be borne for me, for you. Hail, hail the Word made flesh, The Babe, the Son of Ma -- ry.", "prose": ["Why lies He in such mean estate,", "Where ox and ass are feeding?", "Good Christians, fear, for sinners here", "The silent Word is pleading.", "Nails, spear shall pierce Him through,", "The cross be borne for me, for you.", "Hail, hail the Word made flesh,", "The Babe, the Son of Mary."]}, "3": {"syllabified": "So bring Him in -- cense, gold and myrrh, Come peas -- ant, king to own Him; The King of kings sal -- va -- tion brings, Let lov -- ing hearts en -- throne Him. Raise, raise a song on high, The vir -- gin sings her lul -- la -- by. Joy, joy for Christ is born, The Babe, the Son of Ma -- ry.", "prose": ["So bring Him incense, gold and myrrh,", "Come peasant, king to own Him;", "The King of kings salvation brings,", "Let loving hearts enthrone Him.", "Raise, raise a song on high,", "The virgin sings her lullaby.", "Joy, joy for Christ is born,", "The Babe, the Son of Mary."]}}}, "what-time-i-am-afraid": {"slug": "what-time-i-am-afraid", "title": "Fear and Faith", "first_line": "What time I am afraid", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 56, "topics": ["Psalms"], "scripture": ["Psalm 56"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 152) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 56, selection 152. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "What time I am a -- fraid I put my trust in Thee; In God I rest, and praise His word, so rich and free.", "prose": ["What time I am afraid", "I put my trust in Thee;", "In God I rest, and praise", "His word, so rich and free."]}, "2": {"syllabified": "In God I put my trust, I nei -- ther doubt nor fear, For man can nev -- er harm With God my help -- er near.", "prose": ["In God I put my trust,", "I neither doubt nor fear,", "For man can never harm", "With God my helper near."]}, "3": {"syllabified": "In God the Lord, I rest, His word of grace I praise, His prom -- ise stands se -- cure, Nor fear nor foe dis -- mays.", "prose": ["In God the Lord, I rest,", "His word of grace I praise,", "His promise stands secure,", "Nor fear nor foe dismays."]}, "4": {"syllabified": "Up -- on me are Thy vows, O God, in Whom I live; The sac -- ri -- fice of praise To Thee I now will give.", "prose": ["Upon me are Thy vows,", "O God, in Whom I live;", "The sacrifice of praise", "To Thee I now will give."]}, "5": {"syllabified": "For Thou hast saved from death, From fall -- ing kept me free, That in the light of life My walk may be with Thee.", "prose": ["For Thou hast saved from death,", "From falling kept me free,", "That in the light of life", "My walk may be with Thee."]}}}, "whateer-my-god-ordains-is-right": {"slug": "whateer-my-god-ordains-is-right", "title": "Whate'er My God Ordains Is Right", "first_line": "Whate'er my God ordains is right", "author": "samuel-rodigast", "author_date": "1675", "translator": "catherine-winkworth", "translator_date": "1863", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7, 4, 4, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Providence", "Trust", "Comfort"], "scripture": ["Genesis 18:25", "Romans 8:28"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Samuel Rodigast (1649–1708), \"Was Gott tut, das ist wohlgetan\" (1675), written for his sick friend Severus Gastorius, who then composed the tune; translated by Catherine Winkworth (1827–1878), The Chorale Book for England (1863), No. 135 — original verified against the CCEL transcription. This is the received, lightly-smoothed hymnal form of Winkworth's translation, standard in pre-1931 hymnals (e.g. The Lutheran Hymnary 1913, Evangelical Lutheran Hymn-book 1918): the four uniformly 8.7.8.7.4.4.8.8 stanzas as printed by The Cyber Hymnal (live fetch) and cross-checked word-for-word against hymnary.org's representative text; stanza 4 line 4 follows Winkworth's original word order \"Yet am I not forsaken\". The Cyber Hymnal's two additional stanzas (\"His loving thought attends me\", \"He is my friend and Father\") close 7.7 and were omitted for meter uniformity. All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "whateer_my_god_ordains_is_right_holy_his", "total_instances": 81}}, "stanzas": {"1": {"syllabified": "What -- e'er my God or -- dains is right: His ho -- ly will a -- bid -- eth; I will be still what -- e'er He doth, And fol -- low where He guid -- eth. He is my God; though dark my road, He holds me that I shall not fall: Where -- fore to Him I leave it all.", "prose": ["Whate'er my God ordains is right:", "His holy will abideth;", "I will be still whate'er He doth,", "And follow where He guideth.", "He is my God; though dark my road,", "He holds me that I shall not fall:", "Wherefore to Him I leave it all."]}, "2": {"syllabified": "What -- e'er my God or -- dains is right: He nev -- er will de -- ceive me; He leads me by the prop -- er path: I know He will not leave me. I take, con -- tent, what He hath sent; His hand can turn my griefs a -- way, And pa -- tient -- ly I wait His day.", "prose": ["Whate'er my God ordains is right:", "He never will deceive me;", "He leads me by the proper path:", "I know He will not leave me.", "I take, content, what He hath sent;", "His hand can turn my griefs away,", "And patiently I wait His day."]}, "3": {"syllabified": "What -- e'er my God or -- dains is right: Though now this cup, in drink -- ing, May bit -- ter seem to my faint heart, I take it, all un -- shrink -- ing. My God is true; each morn a -- new Sweet com -- fort yet shall fill my heart, And pain and sor -- row shall de -- part.", "prose": ["Whate'er my God ordains is right:", "Though now this cup, in drinking,", "May bitter seem to my faint heart,", "I take it, all unshrinking.", "My God is true; each morn anew", "Sweet comfort yet shall fill my heart,", "And pain and sorrow shall depart."]}, "4": {"syllabified": "What -- e'er my God or -- dains is right: Here shall my stand be tak -- en; Though sor -- row, need, or death be mine, Yet am I not for -- sak -- en. My Fa -- ther's care is round me there; He holds me that I shall not fall: And so to Him I leave it all.", "prose": ["Whate'er my God ordains is right:", "Here shall my stand be taken;", "Though sorrow, need, or death be mine,", "Yet am I not forsaken.", "My Father's care is round me there;", "He holds me that I shall not fall:", "And so to Him I leave it all."]}}}, "when-i-survey-the-wondrous-cross": {"slug": "when-i-survey-the-wondrous-cross", "title": "When I Survey the Wondrous Cross", "first_line": "When I survey the wondrous cross", "author": "isaac-watts", "author_date": "1707", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Cross", "Christ, Passion of", "Consecration"], "scripture": ["Galatians 6:14"], "provenance": {"layer": "text", "source": "watts-hymns-1707", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Isaac Watts, 1707. Author d. 1748.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "when_i_survey_the_wondrous_cross_watts", "total_instances": 2161}}, "stanzas": {"1": {"syllabified": "When I sur -- vey the won -- drous cross On which the Prince of Glo -- ry died, My rich -- est gain I count but loss, And pour con -- tempt on all my pride.", "prose": ["When I survey the wondrous cross", "On which the Prince of Glory died,", "My richest gain I count but loss,", "And pour contempt on all my pride."]}, "2": {"syllabified": "For -- bid it, Lord, that I should boast, Save in the death of Christ my God! All the vain things that charm me most, I sac -- ri -- fice them to His blood.", "prose": ["Forbid it, Lord, that I should boast,", "Save in the death of Christ my God!", "All the vain things that charm me most,", "I sacrifice them to His blood."]}, "3": {"syllabified": "See from His head, His hands, His feet, Sor -- row and love flow min -- gled down! Did e’er such love and sor -- row meet, Or thorns com -- pose so rich a crown?", "prose": ["See from His head, His hands, His feet,", "Sorrow and love flow mingled down!", "Did e’er such love and sorrow meet,", "Or thorns compose so rich a crown?"]}, "4": {"syllabified": "His dy -- ing crim -- son, like a robe, Spreads o’er His bod -- y on the tree; Then I am dead to all the globe, And all the globe is dead to me.", "prose": ["His dying crimson, like a robe,", "Spreads o’er His body on the tree;", "Then I am dead to all the globe,", "And all the globe is dead to me."]}, "5": {"syllabified": "Were the whole realm of na -- ture mine, That were a pres -- ent far too small; Love so a -- maz -- ing, so di -- vine, De -- mands my soul, my life, my all.", "prose": ["Were the whole realm of nature mine,", "That were a present far too small;", "Love so amazing, so divine,", "Demands my soul, my life, my all."]}}}, "when-i-to-thee-my-prayer-make": {"slug": "when-i-to-thee-my-prayer-make", "title": "When I to Thee My Prayer Make", "first_line": "When I to thee my prayer make", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 64, "topics": ["Psalms"], "scripture": ["Psalm 64"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 64. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "When I to thee my pray -- er make, Lord, to my voice give ear; My life save from the en -- e -- my, of whom I stand in fear.", "prose": ["When I to thee my prayer make,", "Lord, to my voice give ear;", "My life save from the enemy,", "of whom I stand in fear."]}, "2": {"syllabified": "Me from their se -- cret coun -- sel hide who do live wick -- ed -- ly; From in -- sur -- rec -- tion of those men that work in -- iq -- ui -- ty:", "prose": ["Me from their secret counsel hide", "who do live wickedly;", "From insurrection of those men", "that work iniquity:"]}, "3": {"syllabified": "Who do their tongues with mal -- ice whet, and make them cut like swords; In whose bent bows are ar -- rows set, ev'n sharp and bit -- ter words:", "prose": ["Who do their tongues with malice whet,", "and make them cut like swords;", "In whose bent bows are arrows set,", "ev'n sharp and bitter words:"]}, "4": {"syllabified": "That they may at the per -- fect man in se -- cret aim their shot; Yea, sud -- den -- ly they dare at him to shoot, and fear it not.", "prose": ["That they may at the perfect man", "in secret aim their shot;", "Yea, suddenly they dare at him", "to shoot, and fear it not."]}, "5": {"syllabified": "In ill en -- cour -- age they them -- selves, and their snares close do lay: To -- geth -- er con -- fer -- ence they have; Who shall them see? they say.", "prose": ["In ill encourage they themselves,", "and their snares close do lay:", "Together conference they have;", "Who shall them see? they say."]}, "6": {"syllabified": "They have searched out in -- iq -- ui -- ties, a per -- fect search they keep: Of each of them the in -- ward thought, and ver -- y heart, is deep.", "prose": ["They have searched out iniquities,", "a perfect search they keep:", "Of each of them the inward thought,", "and very heart, is deep."]}, "7": {"syllabified": "God shall an ar -- row shoot at them, and wound them sud -- den -- ly: So their own tongue shall them con -- found; all who them see shall fly.", "prose": ["God shall an arrow shoot at them,", "and wound them suddenly:", "So their own tongue shall them confound;", "all who them see shall fly."]}, "8": {"syllabified": "And on all men a fear shall fall, God's works they shall de -- clare; For they shall wise -- ly no -- tice take what these his do -- ings are.", "prose": ["And on all men a fear shall fall,", "God's works they shall declare;", "For they shall wisely notice take", "what these his doings are."]}, "9": {"syllabified": "In God the right -- eous shall re -- joice, and trust up -- on his might; Yea, they shall great -- ly glo -- ry all in heart that are up -- right.", "prose": ["In God the righteous shall rejoice,", "and trust upon his might;", "Yea, they shall greatly glory all", "in heart that are upright."]}}}, "when-in-the-night-i-meditate": {"slug": "when-in-the-night-i-meditate", "title": "Fellowship with God", "first_line": "When in the night I meditate", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 16, "topics": ["Psalms"], "scripture": ["Psalm 16"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 28) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 16, selection 28. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "When in the night I med -- i -- tate On mer -- cies mul -- ti -- plied, My grate -- ful heart in -- spires my tongue to bless the Lord, my Guide.", "prose": ["When in the night I meditate", "On mercies multiplied,", "My grateful heart inspires my tongue", "to bless the Lord, my Guide."]}, "2": {"syllabified": "For -- ev -- er in my thought the Lord Be -- fore my face shall stand; Se -- cure, un -- moved, I shall re -- main, With Him at my right hand.", "prose": ["Forever in my thought the Lord", "Before my face shall stand;", "Secure, unmoved, I shall remain,", "With Him at my right hand."]}, "3": {"syllabified": "My in -- most be -- ing thrills with joy And glad -- ness fills my breast; Be -- cause on Him my trust is stayed, My flesh in hope shall rest.", "prose": ["My inmost being thrills with joy", "And gladness fills my breast;", "Because on Him my trust is stayed,", "My flesh in hope shall rest."]}, "4": {"syllabified": "I know that I shall not be left For -- got -- ten in the grave, And from cor -- rup -- tion, Thou, O Lord, Thy ho -- ly one wilt save.", "prose": ["I know that I shall not be left", "Forgotten in the grave,", "And from corruption, Thou, O Lord,", "Thy holy one wilt save."]}, "5": {"syllabified": "The path of life Thou show -- est me; Of joy a bound -- less store Is ev -- er found at Thy right hand, and plea -- sures ev -- er -- more.", "prose": ["The path of life Thou showest me;", "Of joy a boundless store", "Is ever found at Thy right hand,", "and pleasures evermore."]}}}, "when-isrel-out-of-egypt-went": {"slug": "when-isrel-out-of-egypt-went", "title": "When Isr'el Out of Egypt Went", "first_line": "When Isr'el out of Egypt went", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 114, "topics": ["Psalms"], "scripture": ["Psalm 114"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 114. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "When Is -- r'el out of E -- gypt went, and did his dwell -- ing change, When Ja -- cob's house went out from those that were of lan -- guage strange,", "prose": ["When Isr'el out of Egypt went,", "and did his dwelling change,", "When Jacob's house went out from those", "that were of language strange,"]}, "2": {"syllabified": "He Ju -- dah did his sanc -- tua -- ry, his king -- dom Is -- r'el make: The sea it saw, and quick -- ly fled, Jor -- dan was driv -- en back.", "prose": ["He Judah did his sanctuary,", "his kingdom Isr'el make:", "The sea it saw, and quickly fled,", "Jordan was driven back."]}, "3": {"syllabified": "Like rams the moun -- tains, and like lambs the hills skipped to and fro. O sea, why fledd'st thou? Jor -- dan, back why wast thou driv -- en so?", "prose": ["Like rams the mountains, and like lambs", "the hills skipped to and fro.", "O sea, why fledd'st thou? Jordan, back", "why wast thou driven so?"]}, "4": {"syllabified": "Ye moun -- tains great, where -- fore was it that ye did skip like rams? And where -- fore was it, lit -- tle hills, that ye did leap like lambs?", "prose": ["Ye mountains great, wherefore was it", "that ye did skip like rams?", "And wherefore was it, little hills,", "that ye did leap like lambs?"]}, "5": {"syllabified": "O at the pres -- ence of the Lord, earth, trem -- ble thou for fear, While as the pres -- ence of the God of Ja -- cob doth ap -- pear:", "prose": ["O at the presence of the Lord,", "earth, tremble thou for fear,", "While as the presence of the God", "of Jacob doth appear:"]}, "6": {"syllabified": "Who from the hard and sto -- ny rock did stand -- ing wa -- ter bring; And by his pow'r did turn the flint in -- to a wa -- ter -- spring.", "prose": ["Who from the hard and stony rock", "did standing water bring;", "And by his pow'r did turn the flint", "into a water-spring."]}}}, "when-morning-gilds-the-skies": {"slug": "when-morning-gilds-the-skies", "title": "When Morning Gilds the Skies", "first_line": "When Morning Gilds the Skies", "author": "edward-caswall", "author_date": "1854", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Morning", "Jesus Christ"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Edward Caswall (1814–1878), \"When morning gilds the skies,\" his 1854 translation of the anonymous German \"Beim frühen Morgenlicht\" (c. 1828). A four-stanza public-domain cento; lines 3 and 6 of every stanza close with the refrain line \"May Jesus Christ be praised!\". All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "When morn -- ing gilds the skies, My heart a -- wak -- ing cries, May Je -- sus Christ be praised! A -- like at work and prayer To Je -- sus I re -- pair; May Je -- sus Christ be praised!", "prose": ["When morning gilds the skies,", "My heart awaking cries,", "May Jesus Christ be praised!", "Alike at work and prayer", "To Jesus I repair;", "May Jesus Christ be praised!"]}, "2": {"syllabified": "The night be -- comes as day When from the heart we say, May Je -- sus Christ be praised! The pow'rs of dark -- ness fear When this sweet song they hear, May Je -- sus Christ be praised!", "prose": ["The night becomes as day", "When from the heart we say,", "May Jesus Christ be praised!", "The pow''rs of darkness fear", "When this sweet song they hear,", "May Jesus Christ be praised!"]}, "3": {"syllabified": "Ye na -- tions of man -- kind, In this your con -- cord find: May Je -- sus Christ be praised! Let all the earth a -- round Ring joy -- ous with the sound: May Je -- sus Christ be praised!", "prose": ["Ye nations of mankind,", "In this your concord find:", "May Jesus Christ be praised!", "Let all the earth around", "Ring joyous with the sound:", "May Jesus Christ be praised!"]}, "4": {"syllabified": "In heav'n's e -- ter -- nal bliss The love -- liest strain is this, May Je -- sus Christ be praised! Let earth, and sea, and sky From depth to height re -- ply, May Je -- sus Christ be praised!", "prose": ["In heav'n's eternal bliss", "The loveliest strain is this,", "May Jesus Christ be praised!", "Let earth, and sea, and sky", "From depth to height reply,", "May Jesus Christ be praised!"]}}}, "when-the-roll-is-called-up-yonder": {"slug": "when-the-roll-is-called-up-yonder", "title": "When The Roll Is Called Up Yonder", "first_line": "When the trumpet of the Lord shall sound, and", "index_first_line": "When the trumpet of the Lord shall sound", "author": "james-milton-black", "author_date": "1893", "foot": "iambic", "meter": {"pattern": [15, 11, 15, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Christian Life", "Closing Songs", "Following Jesus, In Faith", "Following Jesus, Sanctification"], "scripture": ["John 16:13", "Numbers 12:6"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:222; all components published pre-1931 (latest year 1893).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "when_the_trumpet_of_the_lord_shall_black", "total_instances": 535}}, "stanzas": {"1": {"syllabified": "When the trum -- pet of the Lord shall sound, and time shall be no more, And the morn -- ing breaks, e -- ter -- nal, bright and fair; When the saved of earth shall gath -- er ov -- er on the oth -- er shore, And the roll is called up yon -- der, I'll be there.", "prose": ["When the trumpet of the Lord shall sound, and time shall be no more,", "And the morning breaks, eternal, bright and fair;", "When the saved of earth shall gather over on the other shore,", "And the roll is called up yonder, I'll be there."]}, "2": {"syllabified": "On that bright and cloud -- less morn -- ing when the dead in Christ shall rise, And the glo -- ry of His res -- ur -- rec -- tion share; When His cho -- sen ones shall gath -- er to their home be -- yond the skies, And the roll is called up yon -- der, I'll be there.", "prose": ["On that bright and cloudless morning when the dead in Christ shall rise,", "And the glory of His resurrection share;", "When His chosen ones shall gather to their home beyond the skies,", "And the roll is called up yonder, I'll be there."]}, "3": {"syllabified": "Let us la -- bor for the Mas -- ter from the dawn till set -- ting sun, Let us talk of all His won -- drous love and care; Then when all of life is ov -- er, and our work on earth is done, And the roll is called up yon -- der, I'll be there.", "prose": ["Let us labor for the Master from the dawn till setting sun,", "Let us talk of all His wondrous love and care;", "Then when all of life is over, and our work on earth is done,", "And the roll is called up yonder, I'll be there."]}}, "refrain": {"syllabified": "When the roll is called up yon -- der, When the roll is called up yon -- der, When the roll is called up yon -- der, When the roll is called up yon -- der, I'll be there.", "prose": ["When the roll is called up yonder,", "When the roll is called up yonder,", "When the roll is called up yonder,", "When the roll is called up yonder, I'll be there."]}}, "when-we-all-get-to-heaven": {"slug": "when-we-all-get-to-heaven", "title": "When We All Get to Heaven", "first_line": "Sing the wondrous love of Jesus", "author": "eliza-e-hewitt", "author_date": "1898", "foot": "trochaic", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Heaven", "Eternal Life", "Anticipation", "Hope"], "scripture": ["John 14:2-3", "Revelation 21:21"], "provenance": {"layer": "text", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Eliza Edmunds Stites Hewitt (1851-1920), \"When We All Get to Heaven\", first published in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148 — headed \"WHEN WE ALL GET TO HEAVEN.\" with \"E. E. Hewitt.\" at the upper left, four numbered stanzas and a \"Chorus.\", and \"Copyright, 1898, by Mrs. J. G. Wilson.\" at the foot. US public domain (published pre-1931); the author died in 1920, so also PD in life+70 jurisdictions. Transcribed from the page image itself (archive.org item pentecostalprais00kirk, leaf 156 = printed p. 148), spot-checked against The Cyber Hymnal's text page, which cites the same printing. Divine pronouns are capitalised here (the 1898 page sets them lower case); \"blessed\", \"trav'ling\" and \"ev'ry\" are the print's own elisions, syllabified to the tune.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "sing_the_wondrous_love_of_jesus_sing_his", "total_instances": 397}}, "stanzas": {"1": {"syllabified": "Sing the won -- drous love of Je -- sus, Sing His mer -- cy and His grace; In the man -- sions bright and bless -- ed He'll pre -- pare for us a place.", "prose": ["Sing the wondrous love of Jesus,", "Sing His mercy and His grace;", "In the mansions bright and blessed", "He'll prepare for us a place."]}, "2": {"syllabified": "While we walk the pil -- grim path -- way, Clouds will o -- ver -- spread the sky; But when trav -- 'ling days are o -- ver, Not a shad -- ow, not a sigh.", "prose": ["While we walk the pilgrim pathway,", "Clouds will overspread the sky;", "But when trav'ling days are over,", "Not a shadow, not a sigh."]}, "3": {"syllabified": "Let us then be true and faith -- ful, Trust -- ing, serv -- ing ev -- 'ry day; Just one glimpse of Him in glo -- ry Will the toils of life re -- pay.", "prose": ["Let us then be true and faithful,", "Trusting, serving ev'ry day;", "Just one glimpse of Him in glory", "Will the toils of life repay."]}, "4": {"syllabified": "On -- ward to the prize be -- fore us! Soon His beau -- ty we'll be -- hold; Soon the pearl -- y gates will o -- pen, We shall tread the streets of gold.", "prose": ["Onward to the prize before us!", "Soon His beauty we'll behold;", "Soon the pearly gates will open,", "We shall tread the streets of gold."]}}, "refrain": {"syllabified": "When we all get to heav -- en, What a day of re -- joic -- ing that will be! When we all see Je -- sus, We'll sing and shout the vic -- to -- ry!", "prose": ["When we all get to heaven,", "What a day of rejoicing that will be!", "When we all see Jesus,", "We'll sing and shout the victory!"]}}, "when-zions-bondage-god-turned-back": {"slug": "when-zions-bondage-god-turned-back", "title": "When Zion's Bondage God Turned Back", "first_line": "When Zion's bondage God turned back", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 126, "topics": ["Psalms"], "scripture": ["Psalm 126"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 126. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "When Zi -- on's bon -- dage God turned back, as men that dreamed were we. Then filled with laugh -- ter was our mouth, our tongue with mel -- o -- dy:", "prose": ["When Zion's bondage God turned back,", "as men that dreamed were we.", "Then filled with laughter was our mouth,", "our tongue with melody:"]}, "2": {"syllabified": "They 'mong the hea -- then said, The Lord great things for them hath wrought. The Lord hath done great things for us, whence joy to us is brought.", "prose": ["They 'mong the heathen said, The Lord", "great things for them hath wrought.", "The Lord hath done great things for us,", "whence joy to us is brought."]}, "3": {"syllabified": "As streams of wa -- ter in the south, our bon -- dage, Lord, re -- call. Who sow in tears, a reap -- ing time of joy en -- joy they shall.", "prose": ["As streams of water in the south,", "our bondage, Lord, recall.", "Who sow in tears, a reaping time", "of joy enjoy they shall."]}, "4": {"syllabified": "That man who, bear -- ing pre -- cious seed, in go -- ing forth doth mourn, He doubt -- less, bring -- ing back his sheaves, re -- joic -- ing shall re -- turn.", "prose": ["That man who, bearing precious seed,", "in going forth doth mourn,", "He doubtless, bringing back his sheaves,", "rejoicing shall return."]}}}, "where-he-leads-me": {"slug": "where-he-leads-me", "title": "Where He Leads Me", "first_line": "I can hear my Savior calling, I can hear my", "index_first_line": "I can hear my Savior calling", "author": "edward-william-blandy", "author_date": "1890", "foot": "trochaic", "meter": {"pattern": [8, 8, 8, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Commitment", "Discipleship", "Following Jesus, In Faith", "Guidance", "Jesus", "Obedience", "Shepherd", "Lamb"], "scripture": ["John 12:26", "John 21:22", "John 13:37-38", "John 10:27-30", "Mark 8:34-38"], "provenance": {"layer": "text", "source": "best-endeavor-hymns-1907", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:243 (line 31488); words Edward William Blandy 1890, music John Samuel Norris (1844-1907), setting Best Endeavor Hymns 1907; all components pre-1931 (latest 1907).", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "I can hear my Sav -- ior call -- ing, I can hear my Sav -- ior call -- ing, I can hear my Sav -- ior call -- ing, \"Take thy cross and fol -- low, fol -- low Me.\"", "prose": ["I can hear my Savior calling,", "I can hear my Savior calling,", "I can hear my Savior calling,", "\"Take thy cross and follow, follow Me.\""]}, "2": {"syllabified": "I'll go with Him through the gar -- den, I'll go with Him through the gar -- den, I'll go with Him through the gar -- den, I'll go with Him, with Him all the way.", "prose": ["I'll go with Him through the garden,", "I'll go with Him through the garden,", "I'll go with Him through the garden,", "I'll go with Him, with Him all the way."]}, "3": {"syllabified": "I'll go with Him through the judg -- ment, I'll go with Him through the judg -- ment, I'll go with Him through the judg -- ment, I'll go with Him, with Him all the way.", "prose": ["I'll go with Him through the judgment,", "I'll go with Him through the judgment,", "I'll go with Him through the judgment,", "I'll go with Him, with Him all the way."]}, "4": {"syllabified": "He will give me grace and glo -- ry, He will give me grace and glo -- ry, He will give me grace and glo -- ry, And go with me, with me all the way.", "prose": ["He will give me grace and glory,", "He will give me grace and glory,", "He will give me grace and glory,", "And go with me, with me all the way."]}}, "refrain": {"syllabified": "Where He leads me I will fol -- low, Where He leads me I will fol -- low, Where He leads me I will fol -- low; I'll go with Him, with Him, all the way.", "prose": ["Where He leads me I will follow,", "Where He leads me I will follow,", "Where He leads me I will follow;", "I'll go with Him, with Him, all the way."]}}, "wherefore-is-it-that-thou-o-lord": {"slug": "wherefore-is-it-that-thou-o-lord", "title": "Wherefore Is It That Thou, O Lord", "first_line": "Wherefore is it that thou, O Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 10, "topics": ["Psalms"], "scripture": ["Psalm 10"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 10. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Where -- fore is it that thou, O Lord, dost stand from us a -- far? And where -- fore hid -- est thou thy -- self when times so trou -- blous are?", "prose": ["Wherefore is it that thou, O Lord,", "dost stand from us afar?", "And wherefore hidest thou thyself", "when times so troublous are?"]}, "2": {"syllabified": "The wick -- ed in his lof -- ti -- ness doth per -- se -- cute the poor: In these de -- vic -- es they have framed let them be tak -- en sure.", "prose": ["The wicked in his loftiness", "doth persecute the poor:", "In these devices they have framed", "let them be taken sure."]}, "3": {"syllabified": "The wick -- ed of his heart's de -- sire doth talk with boast -- ing great; He bless -- eth him that's cov -- et -- ous, whom yet the Lord doth hate.", "prose": ["The wicked of his heart's desire", "doth talk with boasting great;", "He blesseth him that's covetous,", "whom yet the Lord doth hate."]}, "4": {"syllabified": "The wick -- ed, through his pride of face, on God he doth not call; And in the coun -- sels of his heart the Lord is not at all.", "prose": ["The wicked, through his pride of face,", "on God he doth not call;", "And in the counsels of his heart", "the Lord is not at all."]}, "5": {"syllabified": "His ways they al -- ways griev -- ous are; thy judg -- ments from his sight Re -- mov -- ed are: at all his foes he puff -- eth with de -- spite.", "prose": ["His ways they always grievous are;", "thy judgments from his sight", "Removed are: at all his foes", "he puffeth with despite."]}, "6": {"syllabified": "With -- in his heart he thus hath said, I shall not mov -- ed be; And no ad -- ver -- si -- ty at all shall ev -- er come to me.", "prose": ["Within his heart he thus hath said,", "I shall not moved be;", "And no adversity at all", "shall ever come to me."]}, "7": {"syllabified": "His mouth with curs -- ing, fraud, de -- ceit, is filled a -- bun -- dant -- ly; And un -- der -- neath his tongue there is mis -- chief and van -- i -- ty.", "prose": ["His mouth with cursing, fraud, deceit,", "is filled abundantly;", "And underneath his tongue there is", "mischief and vanity."]}, "8": {"syllabified": "He close -- ly sits in vil -- lag -- es; he slays the in -- no -- cent: A -- gainst the poor that pass him by his cru -- el eyes are bent.", "prose": ["He closely sits in villages;", "he slays the innocent:", "Against the poor that pass him by", "his cruel eyes are bent."]}, "9": {"syllabified": "He, li -- on -- like, lurks in his den; he waits the poor to take; And when he draws him in his net, his prey he doth him make.", "prose": ["He, lion-like, lurks in his den;", "he waits the poor to take;", "And when he draws him in his net,", "his prey he doth him make."]}, "10": {"syllabified": "Him -- self he hum -- bleth ver -- y low, he crouch -- eth down with -- al, That so a mul -- ti -- tude of poor may by his strong ones fall.", "prose": ["Himself he humbleth very low,", "he croucheth down withal,", "That so a multitude of poor", "may by his strong ones fall."]}, "11": {"syllabified": "He thus hath said with -- in his heart, The Lord hath quite for -- got; He hides his coun -- ten -- ance, and he for ev -- er sees it not.", "prose": ["He thus hath said within his heart,", "The Lord hath quite forgot;", "He hides his countenance, and he", "for ever sees it not."]}, "12": {"syllabified": "O Lord, do thou a -- rise; O God, lift up thine hand on high: Put not the meek af -- flic -- ted ones out of thy mem -- o -- ry.", "prose": ["O Lord, do thou arise; O God,", "lift up thine hand on high:", "Put not the meek afflicted ones", "out of thy memory."]}, "13": {"syllabified": "Why is it that the wick -- ed man thus doth the Lord de -- spise? Be -- cause that God will it re -- quire he in his heart de -- nies.", "prose": ["Why is it that the wicked man", "thus doth the Lord despise?", "Because that God will it require", "he in his heart denies."]}, "14": {"syllabified": "Thou hast it seen; for their mis -- chief and spite thou wilt re -- pay: The poor com -- mits him -- self to thee; thou art the or -- phan's stay.", "prose": ["Thou hast it seen; for their mischief", "and spite thou wilt repay:", "The poor commits himself to thee;", "thou art the orphan's stay."]}, "15": {"syllabified": "The arm break of the wick -- ed man, and of the e -- vil one; Do thou seek out his wick -- ed -- ness, un -- til thou find -- est none.", "prose": ["The arm break of the wicked man,", "and of the evil one;", "Do thou seek out his wickedness,", "until thou findest none."]}, "16": {"syllabified": "The Lord is king through ag -- es all, ev'n to e -- ter -- ni -- ty; The hea -- then peo -- ple from his land are per -- ished ut -- ter -- ly.", "prose": ["The Lord is king through ages all,", "ev'n to eternity;", "The heathen people from his land", "are perished utterly."]}, "17": {"syllabified": "O Lord, of those that hum -- ble are thou the de -- sire didst hear; Thou wilt pre -- pare their heart, and thou to hear wilt bend thine ear;", "prose": ["O Lord, of those that humble are", "thou the desire didst hear;", "Thou wilt prepare their heart, and thou", "to hear wilt bend thine ear;"]}, "18": {"syllabified": "To judge the fa -- ther -- less, and those that are op -- press -- ed sore; That man, that is but sprung of earth, may them op -- press no more.", "prose": ["To judge the fatherless, and those", "that are oppressed sore;", "That man, that is but sprung of earth,", "may them oppress no more."]}}}, "while-shepherds-watched-their-flocks": {"slug": "while-shepherds-watched-their-flocks", "title": "While Shepherds Watched Their Flocks", "first_line": "While shepherds watched their flocks by night", "author": "nahum-tate", "author_date": "1700", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Christmas", "Nativity", "Angels"], "scripture": ["Luke 2:8-14"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Nahum Tate (1652–1715), \"While Shepherds Watched Their Flocks,\" first published in A Supplement to the New Version of the Psalms of David (London, 1700); a paraphrase of Luke 2:8–14. Long in the public domain. All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "While shep -- herds watched their flocks by night, All seat -- ed on the ground, The an -- gel of the Lord came down, And glo -- ry shone a -- round.", "prose": ["While shepherds watched their flocks by night,", "All seated on the ground,", "The angel of the Lord came down,", "And glory shone around."]}, "2": {"syllabified": "\"Fear not,\" said he, for might -- y dread Had seized their trou -- bled mind; \"Glad tid -- ings of great joy I bring To you and all man -- kind:", "prose": ["\"Fear not,\" said he, for mighty dread", "Had seized their troubled mind;", "\"Glad tidings of great joy I bring", "To you and all mankind:"]}, "3": {"syllabified": "\"To you, in Da -- vid's town, this day Is born of Da -- vid's line A Sav -- ior, who is Christ the Lord; And this shall be the sign:", "prose": ["\"To you, in David's town, this day", "Is born of David's line", "A Savior, who is Christ the Lord;", "And this shall be the sign:"]}, "4": {"syllabified": "\"The heav'n -- ly Babe you there shall find To hu -- man view dis -- played, All mean -- ly wrapped in swath -- ing bands, And in a man -- ger laid.\"", "prose": ["\"The heav'nly Babe you there shall find", "To human view displayed,", "All meanly wrapped in swathing bands,", "And in a manger laid.\""]}, "5": {"syllabified": "Thus spake the ser -- aph, and forth -- with Ap -- peared a shin -- ing throng Of an -- gels prais -- ing God, who thus Ad -- dressed their joy -- ful song:", "prose": ["Thus spake the seraph, and forthwith", "Appeared a shining throng", "Of angels praising God, who thus", "Addressed their joyful song:"]}, "6": {"syllabified": "\"All glo -- ry be to God on high, And to the earth be peace; Good will hence -- forth from Heav'n to men Be -- gin and nev -- er cease.\"", "prose": ["\"All glory be to God on high,", "And to the earth be peace;", "Good will henceforth from Heav'n to men", "Begin and never cease.\""]}}}, "whiter-than-snow": {"slug": "whiter-than-snow", "title": "Whiter Than Snow", "first_line": "Lord Jesus, I long to be perfectly whole; I", "index_first_line": "Lord Jesus, I long to be perfectly whole", "author": "james-nicholson", "author_date": "1898", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Anticipation", "Art and Music", "Assurance", "Atonement"], "scripture": ["Joshua 6:1-27", "2 Chronicles 20:21", "Matthew 26:30", "Mark 14:26"], "provenance": {"layer": "text", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:236; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "lord_jesus_i_long_to_be_perfectly_whole", "total_instances": 767}}, "stanzas": {"1": {"syllabified": "Lord Je -- sus, I long to be per -- fect -- ly whole; I want Thee for -- ev -- er to live in my soul, Break down ev -- 'ry i -- dol, cast out ev -- 'ry foe; Now wash me and I shall be whit -- er than snow.", "prose": ["Lord Jesus, I long to be perfectly whole;", "I want Thee forever to live in my soul,", "Break down ev'ry idol, cast out ev'ry foe;", "Now wash me and I shall be whiter than snow."]}, "2": {"syllabified": "Lord Je -- sus, look down from Thy throne in the skies, And help me to make a com -- plete sac -- ri -- fice; I give up my -- self, and what -- ev -- er I know, Now wash me and I shall be whit -- er than snow.", "prose": ["Lord Jesus, look down from Thy throne in the skies,", "And help me to make a complete sacrifice;", "I give up myself, and whatever I know,", "Now wash me and I shall be whiter than snow."]}, "3": {"syllabified": "Lord Je -- sus, for this I most hum -- bly en -- treat, I wait, bless -- ed Lord, at Thy cru -- ci -- fied feet, By faith, for my clean -- sing, I see Thy blood flow, Now wash me and I shall be whit -- er than snow.", "prose": ["Lord Jesus, for this I most humbly entreat,", "I wait, blessed Lord, at Thy crucified feet,", "By faith, for my cleansing, I see Thy blood flow,", "Now wash me and I shall be whiter than snow."]}, "4": {"syllabified": "Lord Je -- sus, Thou see -- st I pa -- tient -- ly wait, Come now, and with -- in me a new heart cre -- ate; To those who have sought Thee, Thou nev -- er said'st ``No,'' Now wash me and I shall be whit -- er than snow.", "prose": ["Lord Jesus, Thou seest I patiently wait,", "Come now, and within me a new heart create;", "To those who have sought Thee, Thou never said'st \"No,\"", "Now wash me and I shall be whiter than snow."]}}, "refrain": {"syllabified": "Whit -- er than snow, yes, whit -- er than snow; Now wash me, and I shall be whit -- er than snow.", "prose": ["Whiter than snow, yes, whiter than snow;", "Now wash me, and I shall be whiter than snow."]}}, "who-o-lord-shall-dwell-with-thee": {"slug": "who-o-lord-shall-dwell-with-thee", "title": "An Ideal Worshiper", "first_line": "Who, O Lord, shall dwell with Thee", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 15, "topics": ["Psalms"], "scripture": ["Psalm 15"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 26) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 15, selection 26. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Who, O Lord, shall dwell with Thee In the tem -- ple of Thy grace? Who Thy con -- stant guest shall be In Thy high and ho -- ly place?", "prose": ["Who, O Lord, shall dwell with Thee", "In the temple of Thy grace?", "Who Thy constant guest shall be", "In Thy high and holy place?"]}, "2": {"syllabified": "He who walks in right -- eous -- ness, All his ac -- tions just and clear; He whose words the truth ex -- press, Spo -- ken from a heart sin -- cere.", "prose": ["He who walks in righteousness,", "All his actions just and clear;", "He whose words the truth express,", "Spoken from a heart sincere."]}, "3": {"syllabified": "He to whom does not be -- long Tongue of mal -- ice or de -- ceit, Who will not his neigh -- bor wrong, Nor a slan -- d'rous tale re -- peat.", "prose": ["He to whom does not belong", "Tongue of malice or deceit,", "Who will not his neighbor wrong,", "Nor a slanderous tale repeat."]}, "4": {"syllabified": "Who the wick -- ed man will spurn, Hon -- or those that fear the Lord; Nor will from his prom -- ise turn Though but loss be his re -- ward.", "prose": ["Who the wicked man will spurn,", "Honor those that fear the Lord;", "Nor will from his promise turn", "Though but loss be his reward."]}, "5": {"syllabified": "Who no u -- su -- ry will claim, Nor with bribes pol -- lute his hand; He who thus his life shall frame Shall un -- moved for -- ev -- er stand.", "prose": ["Who no usury will claim,", "Nor with bribes pollute his hand;", "He who thus his life shall frame", "Shall unmoved forever stand."]}}}, "who-o-lord-with-thee-abiding": {"slug": "who-o-lord-with-thee-abiding", "title": "Tests of Christian Character", "first_line": "Who, O Lord, with Thee abiding", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 15, "topics": ["Psalms"], "scripture": ["Psalm 15"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 24) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 15, selection 24. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Who, O Lord, with Thee a -- bid -- ing, In Thy house shall be Thy guest? Who, his feet to Zi -- on turn -- ing, In Thy ho -- ly hill shall rest? He that ev -- er walks up -- right -- ly, Does the right with -- out a fear, When he speaks, he speaks not light -- ly, But with truth and love sin -- cere.", "prose": ["Who, O Lord, with Thee abiding,", "In Thy house shall be Thy guest?", "Who, his feet to Zion turning,", "In Thy holy hill shall rest?", "He that ever walks uprightly,", "Does the right without a fear,", "When he speaks, he speaks not lightly,", "But with truth and love sincere."]}, "2": {"syllabified": "He that slan -- ders not his broth -- er, Does no e -- vil to a friend; To re -- proach -- es of an -- oth -- er He re -- fus -- es to at -- tend. Wick -- ed men win not his fa -- vor, But the good who fear the Lord; From his vow he will not wa -- ver, Tho' it bring him sad re -- ward.", "prose": ["He that slanders not his brother,", "Does no evil to a friend;", "To reproaches of another", "He refuses to attend.", "Wicked men win not his favor,", "But the good who fear the Lord;", "From his vow he will not waver,", "Tho' it bring him sad reward."]}, "3": {"syllabified": "Free -- ly to the need -- y lend -- ing, No ex -- cess he asks a -- gain; And the in -- no -- cent be -- frien -- ding, He de -- sires not praise of men. Do -- ing this, and e -- vil spurn -- ing, He shall nev -- er -- more be moved: This the man with Thee so -- journ -- ing, This the man by Thee ap -- proved.", "prose": ["Freely to the needy lending,", "No excess he asks again;", "And the innocent befriending,", "He desires not praise of men.", "Doing this, and evil spurning,", "He shall nevermore be moved:", "This the man with Thee sojourning,", "This the man by Thee approved."]}}}, "wholehearted-thanksgiving-to-thee-i-will-bring": {"slug": "wholehearted-thanksgiving-to-thee-i-will-bring", "title": "The Lord the Righteous Judge", "first_line": "Wholehearted thanksgiving to Thee I will bring", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 9, "topics": ["Psalms"], "scripture": ["Psalm 9"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 16) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 9, selection 16. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Whole -- heart -- ed thanks -- giv -- ing to Thee I will bring; In praise of Thy mar -- ve -- lous works I will sing, In Thee I will joy and ex -- ult -- ing -- ly cry Thy Name I will praise, O Je -- ho -- vah Most High.", "prose": ["Wholehearted thanksgiving to Thee I will bring;", "In praise of Thy marvelous works I will sing,", "In Thee I will joy and exultingly cry", "Thy Name I will praise, O Jehovah Most High."]}, "2": {"syllabified": "My en -- e -- mies turn and are scat -- tered in fear, They stum -- ble and per -- ish be -- cause Thou art near; For Thou hast de -- fend -- ed my right and my cause, Thou sitt -- est in judg -- ment, up -- hold -- ing Thy laws.", "prose": ["My enemies turn and are scattered in fear,", "They stumble and perish because Thou art near;", "For Thou hast defended my right and my cause,", "Thou sittest in judgment, upholding Thy laws."]}, "3": {"syllabified": "Re -- buked are the na -- tions, the wick -- ed de -- stroyed, Their mem -- o -- ry per -- ished, their dwell -- ing -- place void; En -- throned and e -- ter -- nal, Je -- ho -- vah shall reign, The peo -- ples to judge and the right to main -- tain.", "prose": ["Rebuked are the nations, the wicked destroyed,", "Their memory perished, their dwelling-place void;", "Enthroned and eternal, Jehovah shall reign,", "The peoples to judge and the right to maintain."]}, "4": {"syllabified": "Thou, Lord, art a ref -- uge for all the op -- pressed; All trust Thee who know Thee, and trust -- ing are blest; For nev -- er, O Lord, did Thy mer -- cy for -- sake The soul that has sought of Thy grace to par -- take.", "prose": ["Thou, Lord, art a refuge for all the oppressed;", "All trust Thee who know Thee, and trusting are blest;", "For never, O Lord, did Thy mercy forsake", "The soul that has sought of Thy grace to partake."]}, "5": {"syllabified": "Give praise to Je -- ho -- vah, the might -- y deeds tell Of Him Who has cho -- sen in Zi -- on to dwell, Of Him to Whom jus -- tice and ven -- geance be -- long, Who vis -- its the low -- ly and o -- ver -- throws wrong.", "prose": ["Give praise to Jehovah, the mighty deeds tell", "Of Him Who has chosen in Zion to dwell,", "Of Him to Whom justice and vengeance belong,", "Who visits the lowly and overthrows wrong."]}, "6": {"syllabified": "Be -- hold my af -- flic -- tion, Thy mer -- cy ac -- cord, And back from death's por -- tals re -- store me, O Lord, That I in the gates of Thy Zi -- on may raise My song of sal -- va -- tion and show forth Thy praise.", "prose": ["Behold my affliction, Thy mercy accord,", "And back from death's portals restore me, O Lord,", "That I in the gates of Thy Zion may raise", "My song of salvation and show forth Thy praise."]}, "7": {"syllabified": "The sins of the na -- tions their ru -- in have wrought, Their own e -- vil -- doing de -- struc -- ti -- on has brought; In this the Lord's jus -- tice e -- ter -- nal -- ly stands, That sin -- ners are snared in the work of their hands.", "prose": ["The sins of the nations their ruin have wrought,", "Their own evildoing destruction has brought;", "In this the Lord's justice eternally stands,", "That sinners are snared in the work of their hands."]}, "8": {"syllabified": "The wick -- ed shall per -- ish, the na -- tions shall fall For -- gett -- ing their God, Who is God o -- ver all; But God will re -- mem -- ber the prayer of the weak, Most sure -- ly ful -- fill -- ing the hope of the meek.", "prose": ["The wicked shall perish, the nations shall fall", "Forgetting their God, Who is God over all;", "But God will remember the prayer of the weak,", "Most surely fulfilling the hope of the meek."]}, "9": {"syllabified": "A -- rise in Thy jus -- tice, O Lord, and Thy might, No long -- er let sin -- ners pre -- vail in Thy sight; Great Judge of the na -- tions, in judg -- ment ap -- pear To hum -- ble the proud and to teach them to fear.", "prose": ["Arise in Thy justice, O Lord, and Thy might,", "No longer let sinners prevail in Thy sight;", "Great Judge of the nations, in judgment appear", "To humble the proud and to teach them to fear."]}}}, "why-dost-thou-boast-o-mighty-man": {"slug": "why-dost-thou-boast-o-mighty-man", "title": "Why Dost Thou Boast, O Mighty Man", "first_line": "Why dost thou boast, O mighty man", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 52, "topics": ["Psalms"], "scripture": ["Psalm 52"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 52. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Why dost thou boast, O might -- y man, of mis -- chief and of ill? The good -- ness of Al -- might -- y God en -- dur -- eth ev -- er still.", "prose": ["Why dost thou boast, O mighty man,", "of mischief and of ill?", "The goodness of Almighty God", "endureth ever still."]}, "2": {"syllabified": "Thy tongue mis -- chie -- vous cal -- um -- nies de -- vis -- eth sub -- tile -- ly, Like to a ra -- zor sharp to cut, work -- ing de -- ceit -- ful -- ly.", "prose": ["Thy tongue mischievous calumnies", "deviseth subtilely,", "Like to a razor sharp to cut,", "working deceitfully."]}, "3": {"syllabified": "Ill more than good, and more than truth thou lov -- est to speak wrong: Thou lov -- est all -- de -- vour -- ing words, O thou de -- ceit -- ful tongue.", "prose": ["Ill more than good, and more than truth", "thou lovest to speak wrong:", "Thou lovest all-devouring words,", "O thou deceitful tongue."]}, "4": {"syllabified": "So God shall thee de -- stroy for aye, re -- move thee, pluck thee out Quite from thy house, out of the land of life he shall thee root.", "prose": ["So God shall thee destroy for aye,", "remove thee, pluck thee out", "Quite from thy house, out of the land", "of life he shall thee root."]}, "5": {"syllabified": "The right -- eous shall it see, and fear, and laugh at him they shall: Lo, this the man is that did not make God his strength at all:", "prose": ["The righteous shall it see, and fear,", "and laugh at him they shall:", "Lo, this the man is that did not", "make God his strength at all:"]}, "6": {"syllabified": "But he in his a -- bun -- dant wealth his con -- fi -- dence did place; And he took strength un -- to him -- self from his own wick -- ed -- ness.", "prose": ["But he in his abundant wealth", "his confidence did place;", "And he took strength unto himself", "from his own wickedness."]}, "7": {"syllabified": "But I am in the house of God like to an ol -- ive green: My con -- fi -- dence for ev -- er hath up -- on God's mer -- cy been.", "prose": ["But I am in the house of God", "like to an olive green:", "My confidence for ever hath", "upon God's mercy been."]}, "8": {"syllabified": "And I for ev -- er will thee praise, be -- cause thou hast done this: I on thy name will wait; for good be -- fore thy saints it is.", "prose": ["And I for ever will thee praise,", "because thou hast done this:", "I on thy name will wait; for good", "before thy saints it is."]}}}, "why-dost-thou-stand-afar": {"slug": "why-dost-thou-stand-afar", "title": "Prayer for the Oppressed", "first_line": "Why dost Thou stand afar", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 10, "topics": ["Psalms"], "scripture": ["Psalm 10"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 19) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 10, selection 19. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Why dost Thou stand a -- far, O Lord, in our dis -- tress? And why dost Thou con -- ceal Thy -- self When trou -- blous times op -- press?", "prose": ["Why dost Thou stand afar,", "O Lord, in our distress?", "And why dost Thou conceal Thyself", "When troublous times oppress?"]}, "2": {"syllabified": "Do Thou, O Lord, a -- rise; O God, lift up Thy hand; For -- get Thou not the suf -- f'ring poor, The hum -- ble in the land.", "prose": ["Do Thou, O Lord, arise;", "O God, lift up Thy hand;", "Forget Thou not the suff'ring poor,", "The humble in the land."]}, "3": {"syllabified": "Their foes Thou dost be -- hold, Their wrongs Thou wilt re -- pay; The poor com -- mit them -- selves to Thee, Thou art the or -- phan's stay.", "prose": ["Their foes Thou dost behold,", "Their wrongs Thou wilt repay;", "The poor commit themselves to Thee,", "Thou art the orphan's stay."]}, "4": {"syllabified": "Thou, Lord, hast heard their prayer With hum -- ble hearts drew nigh; Thou al -- so wilt re -- vive their strength And ev -- er hear their cry.", "prose": ["Thou, Lord, hast heard their prayer", "With humble hearts drew nigh;", "Thou also wilt revive their strength", "And ever hear their cry."]}, "5": {"syllabified": "De -- fend the fa -- ther -- less And all who are op -- pressed, That they by hu -- man pride and pow'r May be no more dis -- tressed.", "prose": ["Defend the fatherless", "And all who are oppressed,", "That they by human pride and pow'r", "May be no more distressed."]}}}, "why-rage-the-heathen-and-vain-things": {"slug": "why-rage-the-heathen-and-vain-things", "title": "Why Rage the Heathen? and Vain Things", "first_line": "Why rage the heathen? and vain things", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 2, "topics": ["Psalms"], "scripture": ["Psalm 2"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 2. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Why rage the hea -- then? and vain things why do the peo -- ple mind? Kings of the earth do set them -- selves, and prin -- ces are com -- bined,", "prose": ["Why rage the heathen? and vain things", "why do the people mind?", "Kings of the earth do set themselves,", "and princes are combined,"]}, "2": {"syllabified": "To plot a -- gainst the Lord, and his A -- noint -- ed, say -- ing thus, Let us a -- sun -- der break their bands, and cast their cords from us.", "prose": ["To plot against the Lord, and his", "Anointed, saying thus,", "Let us asunder break their bands,", "and cast their cords from us."]}, "3": {"syllabified": "He that in heav -- en sits shall laugh; the Lord shall scorn them all. Then shall he speak to them in wrath, in rage he vex them shall.", "prose": ["He that in heaven sits shall laugh;", "the Lord shall scorn them all.", "Then shall he speak to them in wrath,", "in rage he vex them shall."]}, "4": {"syllabified": "Yet, not -- with -- stand -- ing, I have him to be my King ap -- point -- ed; And o -- ver Zi -- on, my ho -- ly hill, I have him King a -- noint -- ed.", "prose": ["Yet, notwithstanding, I have him", "to be my King appointed;", "And over Zion, my holy hill,", "I have him King anointed."]}, "5": {"syllabified": "The sure de -- cree I will de -- clare; the Lord hath said to me, Thou art mine on -- ly Son; this day I have be -- got -- ten thee.", "prose": ["The sure decree I will declare;", "the Lord hath said to me,", "Thou art mine only Son; this day", "I have begotten thee."]}, "6": {"syllabified": "Ask of me, and for her -- i -- tage the hea -- then I'll make thine; And, for pos -- ses -- sion, I to thee will give earth's ut -- most line.", "prose": ["Ask of me, and for heritage", "the heathen I'll make thine;", "And, for possession, I to thee", "will give earth's utmost line."]}, "7": {"syllabified": "Thou shalt, as with a weight -- y rod of i -- ron, break them all; And, as a pot -- ter's sherd, thou shalt them dash in piec -- es small.", "prose": ["Thou shalt, as with a weighty rod", "of iron, break them all;", "And, as a potter's sherd, thou shalt", "them dash in pieces small."]}, "8": {"syllabified": "Now, there -- fore, kings, be wise; be taught, ye jud -- ges of the earth: Serve God in fear, and see that ye join trem -- bling with your mirth.", "prose": ["Now, therefore, kings, be wise; be taught,", "ye judges of the earth:", "Serve God in fear, and see that ye", "join trembling with your mirth."]}, "9": {"syllabified": "Kiss ye the Son, lest in his ire ye per -- ish from the way, If once his wrath be -- gin to burn: bless'd all that on him stay.", "prose": ["Kiss ye the Son, lest in his ire", "ye perish from the way,", "If once his wrath begin to burn:", "bless'd all that on him stay."]}}}, "why-should-sorrow-ever-grieve-me": {"slug": "why-should-sorrow-ever-grieve-me", "title": "Why Should Sorrow Ever Grieve Me?", "first_line": "Why should sorrow ever grieve me?", "author": "paul-gerhardt", "author_date": "1653", "translator": "john-kelly", "translator_date": "1867", "foot": "trochaic", "meter": {"pattern": [8, 3, 3, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Comfort", "Trust", "Cross"], "scripture": "Psalm 73:23", "stanzas": {"1": {"syllabified": "Why should sor -- row ev -- er grieve me? Christ is near, What can here E'er of Him de -- prive me? Who can rob me of my heav -- en That God's Son, As mine own, To my faith hath giv -- en?", "prose": ["Why should sorrow ever grieve me?", "Christ is near,", "What can here", "E'er of Him deprive me?", "Who can rob me of my heaven", "That God's Son,", "As mine own,", "To my faith hath given?"]}, "2": {"syllabified": "Na -- ked was I and un -- swath -- èd When on earth At my birth My first breath I breath -- èd. Na -- ked hence shall I be -- take me, When I go From earth's woe, And my breath for -- sake me.", "prose": ["Naked was I and unswathèd", "When on earth", "At my birth", "My first breath I breathèd.", "Naked hence shall I betake me,", "When I go", "From earth's woe,", "And my breath forsake me."]}, "3": {"syllabified": "Nought— not e'en the life I'm liv -- ing, Is mine own, God a -- lone All to me is giv -- ing. Must I then His own re -- store Him? Though be -- reft Of each gift Still shall I a -- dore Him.", "prose": ["Nought—not e'en the life I'm living,", "Is mine own,", "God alone", "All to me is giving.", "Must I then His own restore Him?", "Though bereft", "Of each gift", "Still shall I adore Him."]}, "4": {"syllabified": "Though a heav -- y cross I'm bear -- ing, And my heart Feels the smart, Shall I be de -- spair -- ing? God can help me, who doth send it, He doth know All my woe And how best to end it.", "prose": ["Though a heavy cross I'm bearing,", "And my heart", "Feels the smart,", "Shall I be despairing?", "God can help me, who doth send it,", "He doth know", "All my woe", "And how best to end it."]}, "5": {"syllabified": "God oft gives me days of glad -- ness, Shall I grieve If He give Sea -- sons too of sad -- ness? God is good, and tem -- pers ev -- er Ev -- 'ry hurt, Me de -- sert Whol -- ly can He nev -- er,", "prose": ["God oft gives me days of gladness,", "Shall I grieve", "If He give", "Seasons too of sadness?", "God is good, and tempers ever", "Every hurt,", "Me desert", "Wholly can He never,"]}, "6": {"syllabified": "Though u -- nit -- ed world and dev -- il, All their pow'r Can no more Do than mock and cav -- il. Let de -- ri -- sion now em -- ploy them, Christ e'en here Will ap -- pear And 'fore all de -- stroy them.", "prose": ["Though united world and devil,", "All their pow'r", "Can no more", "Do than mock and cavil.", "Let derision now employ them,", "Christ e'en here", "Will appear", "And 'fore all destroy them."]}, "7": {"syllabified": "True be -- liev -- ers shrink -- ing nev -- er, Where they dwell Should re -- veal Their true col -- ours ev -- er. When ap -- proach -- ing death would scare them, Still should they Pa -- tient stay And with cour -- age bear them.", "prose": ["True believers shrinking never,", "Where they dwell", "Should reveal", "Their true colours ever.", "When approaching death would scare them,", "Still should they", "Patient stay", "And with courage bear them."]}, "8": {"syllabified": "Death can nev -- er kill us ev -- en, But re -- lief From all grief To us then is giv -- en. It doth close life's mourn -- ful sto -- ry, Make a way That we may Pass to heav'n -- ly glo -- ry.", "prose": ["Death can never kill us even,", "But relief", "From all grief", "To us then is given.", "It doth close life's mournful story,", "Make a way", "That we may", "Pass to heav'nly glory."]}, "9": {"syllabified": "There I'll reap en -- dur -- ing plea -- sure, Af -- ter woe Here be -- low Suf -- fer'd in large mea -- sure. Last -- ing good we find here nev -- er, All the earth Deem -- eth worth Van -- ish -- eth for ev -- er.", "prose": ["There I'll reap enduring pleasure,", "After woe", "Here below", "Suffer'd in large measure.", "Lasting good we find here never,", "All the earth", "Deemeth worth", "Vanisheth for ever."]}, "10": {"syllabified": "What is all this life pos -- sess -- eth? But a hand Full of sand That the heart dis -- tress -- eth. No -- ble gifts that pall me nev -- er, Christ so free There gives me To en -- joy for ev -- er.", "prose": ["What is all this life possesseth?", "But a hand", "Full of sand", "That the heart distresseth.", "Noble gifts that pall me never,", "Christ so free", "There gives me", "To enjoy for ever."]}, "11": {"syllabified": "Shep -- herd! Lord! joy's foun -- tain ev -- er, Thou art mine, I am Thine, No one can us sev -- er. I am Thine, be -- cause Thou gav -- est Life and blood For my good, By Thy death me sav -- est.", "prose": ["Shepherd! Lord! joy's fountain ever,", "Thou art mine,", "I am Thine,", "No one can us sever.", "I am Thine, because Thou gavest", "Life and blood", "For my good,", "By Thy death me savest."]}, "12": {"syllabified": "Thou'rt mine, for I love and own Thee, Ne'er shall I, Light of joy, From my heart de -- throne Thee. Let me, let me soon be -- hold Thee Face to face, Thy em -- brace May it soon en -- fold me!", "prose": ["Thou'rt mine, for I love and own Thee,", "Ne'er shall I,", "Light of joy,", "From my heart dethrone Thee.", "Let me, let me soon behold Thee", "Face to face,", "Thy embrace", "May it soon enfold me!"]}}, "provenance": {"layer": "text", "source": "kelly-1867", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Paul Gerhardt's \"Warum sollt' ich mich denn grämen\" (1653) in John Kelly's English translation, Paul Gerhardt's Spiritual Songs (London: Alexander Strahan, 1867), no. 45 — all twelve stanzas, transcribed from hymnary.org's PGSS1867 page (Wayback capture 2017-04-18). Kelly died 1890; the translation was reprinted with the Ebeling tune in pre-1931 Lutheran hymnals (Evangelical Lutheran Hymn-Book with Tunes, 1912, no. 501; Evangelical Lutheran Hymnal 1880 no. 420; ELHB 1892 no. 365). One emendation: stanza 10 'Full of sand' for the transcription's 'Fall of sand' (an evident typo — Gerhardt's German is 'eine Hand voll Sand'). All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"text_auth": "why_should_sorrow_ever_grieve_me"}}}, "with-thankful-voice-praise-ye-the-lord": {"slug": "with-thankful-voice-praise-ye-the-lord", "title": "World-Wide Worship", "first_line": "With thankful voice praise ye the Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 117, "topics": ["Psalms"], "scripture": ["Psalm 117"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 314) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 117, selection 314. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "With thank -- ful voice praise ye the Lord, Je -- ho -- vah's praise in song re -- cord; Yea, all ye peo -- ple ev -- 'ry -- where, Je -- ho -- vah's wor -- thy praise de -- clare.", "prose": ["With thankful voice praise ye the Lord,", "Jehovah's praise in song record;", "Yea, all ye people ev'rywhere,", "Jehovah's worthy praise declare."]}, "2": {"syllabified": "For lov -- ing -- kind -- ness ev -- er great Tow'rd us and all who on Him wait, For truth to end -- less years the same, Praise ye Je -- ho -- vah's ho -- ly Name.", "prose": ["For loving-kindness ever great", "Tow'rd us and all who on Him wait,", "For truth to endless years the same,", "Praise ye Jehovah's holy Name."]}}}, "within-thy-tabernacle-lord": {"slug": "within-thy-tabernacle-lord", "title": "Within Thy Tabernacle, Lord", "first_line": "Within thy tabernacle, Lord", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 15, "topics": ["Psalms"], "scripture": ["Psalm 15"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 15. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "With -- in thy tab -- er -- nac -- le, Lord, who shall a -- bide with thee? And in thy high and ho -- ly hill who shall a dwel -- ler be?", "prose": ["Within thy tabernacle, Lord,", "who shall abide with thee?", "And in thy high and holy hill", "who shall a dweller be?"]}, "2": {"syllabified": "The man that walk -- eth up -- right -- ly, and work -- eth right -- eous -- ness, And as he think -- eth in his heart, so doth he truth ex -- press.", "prose": ["The man that walketh uprightly,", "and worketh righteousness,", "And as he thinketh in his heart,", "so doth he truth express."]}, "3": {"syllabified": "Who doth not slan -- der with his tongue, nor to his friend doth hurt; Nor yet a -- gainst his neigh -- bour doth take up an ill re -- port.", "prose": ["Who doth not slander with his tongue,", "nor to his friend doth hurt;", "Nor yet against his neighbour doth", "take up an ill report."]}, "4": {"syllabified": "In whose eyes vile men are de -- spised; but those that God do fear He hon -- our -- eth; and chang -- eth not, though to his hurt he swear.", "prose": ["In whose eyes vile men are despised;", "but those that God do fear", "He honoureth; and changeth not,", "though to his hurt he swear."]}, "5": {"syllabified": "His coin puts not to u -- su -- ry, nor take re -- ward will he A -- gainst the guilt -- less. Who doth thus shall nev -- er mov -- ed be.", "prose": ["His coin puts not to usury,", "nor take reward will he", "Against the guiltless. Who doth thus", "shall never moved be."]}}}, "within-thy-temple-lord": {"slug": "within-thy-temple-lord", "title": "The Church of the Living God", "first_line": "Within Thy temple, Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 48, "topics": ["Psalms"], "scripture": ["Psalm 48"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 133) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 48, selection 133. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "With -- in Thy tem -- ple, Lord, We think on mer -- cies past; Let earth all praise ac -- cord, Long as Thy Name shall last; The right -- eous judg -- ments of her King Let Zi -- on and her daugh -- ters sing.", "prose": ["Within Thy temple, Lord,", "We think on mercies past;", "Let earth all praise accord,", "Long as Thy Name shall last;", "The righteous judgments of her King", "Let Zion and her daughters sing."]}, "2": {"syllabified": "A -- bout Mount Zi -- on go, Her tow'rs and ram -- parts tell; That ye her strength may know, Mark her de -- fen -- ses well; Her ro -- yal pal -- ac -- es be -- hold That ye her glo -- ries may un -- fold.", "prose": ["About Mount Zion go,", "Her tow'rs and ramparts tell;", "That ye her strength may know,", "Mark her defenses well;", "Her royal palaces behold", "That ye her glories may unfold."]}, "3": {"syllabified": "To all the com -- ing race Re -- peat the mes -- sage o'er: This might -- y God of grace Is ours for ev -- er -- more; Yea, He our Sav -- iour will a -- bide, And un -- to death will be our guide.", "prose": ["To all the coming race", "Repeat the message o'er:", "This mighty God of grace", "Is ours for evermore;", "Yea, He our Saviour will abide,", "And unto death will be our guide."]}}}, "within-thy-temple-lord-psalm-48": {"slug": "within-thy-temple-lord-psalm-48", "title": "Praise and Trust", "first_line": "Within Thy temple, Lord", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 48, "topics": ["Psalms"], "scripture": ["Psalm 48"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 134) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 48, selection 134. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "With -- in Thy tem -- ple, Lord, In that most ho -- ly place, We on thy lov -- ing -- kind -- ness dwell, The won -- ders of Thy grace. Men sing Thy praise, O God, Wher -- e'er Thy Name is known; By ev -- 'ry deed Thy hand hath wrought Thy right -- eous -- ness is shown.", "prose": ["Within Thy temple, Lord,", "In that most holy place,", "We on thy loving-kindness dwell,", "The wonders of Thy grace.", "Men sing Thy praise, O God,", "Where'er Thy Name is known;", "By ev'ry deed Thy hand hath wrought", "Thy righteousness is shown."]}, "2": {"syllabified": "Let Zi -- on now re -- joice, And all her chil -- dren sing; Let them with thank -- ful -- ness pro -- claim The judg -- ment of their King. Mount Zi -- on's walls be -- hold, A -- bout her ram -- parts go, And num -- ber ye the loft -- y tow'rs That guard her from the foe.", "prose": ["Let Zion now rejoice,", "And all her children sing;", "Let them with thankfulness proclaim", "The judgment of their King.", "Mount Zion's walls behold,", "About her ramparts go,", "And number ye the lofty tow'rs", "That guard her from the foe."]}, "3": {"syllabified": "Ob -- serve her pal -- ac -- es, Mark her de -- fen -- ses well, That to the sons that fol -- low you Her glo -- ries you may tell; For God as our own God For -- ev -- er will a -- bide, And till life's jour -- ney close in death Will be our faith -- ful guide.", "prose": ["Observe her palaces,", "Mark her defenses well,", "That to the sons that follow you", "Her glories you may tell;", "For God as our own God", "Forever will abide,", "And till life's journey close in death", "Will be our faithful guide."]}}}, "wonderful-words-of-life": {"slug": "wonderful-words-of-life", "title": "Wonderful Words of Life", "first_line": "Sing them over again to me", "author": "philip-paul-bliss", "author_date": "1874", "foot": "trochaic", "meter": {"pattern": [8, 6, 8, 6, 6, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Word of God", "The Scriptures", "Invitation", "Promises (see also Gospel)"], "scripture": ["John 6:63", "Acts 5:20", "Philippians 2:16"], "provenance": {"layer": "text", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip Paul Bliss (1838-1876), words and music, first published in his own Sunday-school paper collection Words of Life (Chicago, 1874) and carried from there through the Gospel Hymns series. Transcribed syllable by syllable and mark by mark from the dated page image of Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 — archive.org item hymnsconso00blis, leaf 259 — which is headed \"Wonderful Words of Life.\", carries the scripture motto \"The words that I speak unto you, they are spirit, and they are life.\"—JOHN 6:61. (the plate MISPRINTS the reference: the verse is John 6:63), credits \"P. P. B.\" on the left and \"P. P. Bliss, by per.\" on the right, and prints all three stanzas plus the chorus under the staves. Every word and every mark of punctuation was then re-read on a SECOND, INDEPENDENT 1883 scan of the same plate — archive.org gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs — Consolidated No. 1-4, 1883), no. 282, printed page 255, leaf 252 — which is the sharper of the two; the two witnesses agree word for word. US public domain: first published 1874 and both witnesses read here are themselves dated 1883; Bliss died in 1876, so it is also public domain in life+70 jurisdictions. PUNCTUATION IS THE PLATE'S, including two places where it is not what a modern reprint prints: stanza 2's first line ends \"gives to all\" with NO comma (where the parallel lines of stanzas 1 and 3 end \"to me,\" and \"gospel call,\"), and the plate spells \"Saviour\" and sets \"for-ev-er\" as three syllables. \"Life\" is capitalised at every occurrence in the stanzas, as printed. The chorus is printed once, as \"Beau-ti -ful words,wonderful words,Wonderful words of Life,\" with a \"1st.\" ending, and \"Life.\" alone under the \"2d.\" ending — lower-case \"wonderful\" in the middle, capital \"Wonderful\" after the second comma, exactly as reproduced here; because the harmonization writes the printed repeat out in full, the refrain words are stored TWICE, the first pass ending \"Life,\" and the second \"Life.\".", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Sing them o -- ver a -- gain to me, Won -- der -- ful words of Life; Let me more of their beau -- ty see, Won -- der -- ful words of Life. Words of life and beau -- ty, Teach me faith and du -- ty;", "prose": ["Sing them over again to me,", "Wonderful words of Life;", "Let me more of their beauty see,", "Wonderful words of Life.", "Words of life and beauty,", "Teach me faith and duty;"]}, "2": {"syllabified": "Christ, the bless -- ed One, gives to all Won -- der -- ful words of Life; Sin -- ner, list to the lov -- ing call, Won -- der -- ful words of Life. All so free -- ly giv -- en, Woo -- ing us to heav -- en.", "prose": ["Christ, the blessed One, gives to all", "Wonderful words of Life;", "Sinner, list to the loving call,", "Wonderful words of Life.", "All so freely given,", "Wooing us to heaven."]}, "3": {"syllabified": "Sweet -- ly ech -- o the gos -- pel call, Won -- der -- ful words of Life; Of -- fer par -- don and peace to all, Won -- der -- ful words of Life. Je -- sus, on -- ly Sav -- iour, Sanc -- ti -- fy for -- ev -- er.", "prose": ["Sweetly echo the gospel call,", "Wonderful words of Life;", "Offer pardon and peace to all,", "Wonderful words of Life.", "Jesus, only Saviour,", "Sanctify forever."]}}, "refrain": {"syllabified": "Beau -- ti -- ful words, won -- der -- ful words, Won -- der -- ful words of Life, Beau -- ti -- ful words, won -- der -- ful words, Won -- der -- ful words of Life.", "prose": ["Beautiful words, wonderful words,", "Wonderful words of Life,", "Beautiful words, wonderful words,", "Wonderful words of Life."]}}, "ye-children-come-give-ear-to-me": {"slug": "ye-children-come-give-ear-to-me", "title": "The Secret of a Happy Life", "first_line": "Ye children, come, give ear to me", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 34, "topics": ["Psalms"], "scripture": ["Psalm 34"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 89) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 34, selection 89. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ye chil -- dren, come, give ear to me And learn Je -- ho -- vah's fear; He who would long and hap -- py live, Let him my coun -- sel hear.", "prose": ["Ye children, come, give ear to me", "And learn Jehovah's fear;", "He who would long and happy live,", "Let him my counsel hear."]}, "2": {"syllabified": "Re -- strain thy lips from speak -- ing guile, From wick -- ed speech de -- part, From e -- vil turn and do the good, Seek peace with all thy heart.", "prose": ["Restrain thy lips from speaking guile,", "From wicked speech depart,", "From evil turn and do the good,", "Seek peace with all thy heart."]}, "3": {"syllabified": "Je -- ho -- vah's eyes are on the just, He hear -- kens to their cry; A -- gainst the wick -- ed sets His face, Their ver -- y name shall die.", "prose": ["Jehovah's eyes are on the just,", "He hearkens to their cry;", "Against the wicked sets His face,", "Their very name shall die."]}, "4": {"syllabified": "The Lord may suf -- fer man -- y griefs Up -- on the just to fall, But He will bring them safe -- ly through, De -- liv -- 'ring them from all.", "prose": ["The Lord may suffer many griefs", "Upon the just to fall,", "But He will bring them safely through,", "Deliv'ring them from all."]}, "5": {"syllabified": "By e -- vil are the e -- vil slain, And they that hate the just; But all His ser -- vants God re -- deems, And safe in Him they trust.", "prose": ["By evil are the evil slain,", "And they that hate the just;", "But all His servants God redeems,", "And safe in Him they trust."]}}}, "ye-gates-lift-your-heads-the-glad-summons-obey": {"slug": "ye-gates-lift-your-heads-the-glad-summons-obey", "title": "The Triumphal Ascension of Christ", "first_line": "Ye gates, lift your heads, the glad summons obey", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 24, "topics": ["Psalms"], "scripture": ["Psalm 24"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 58) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 24, selection 58. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ye gates, lift your heads, the glad sum -- mons o -- bey, Ye doors ev -- er -- last -- ing, wide o -- pen the way; The King of all glo -- ry high hon -- ors a -- wait, The King of all glo -- ry shall en -- ter in state.", "prose": ["Ye gates, lift your heads, the glad summons obey,", "Ye doors everlasting, wide open the way;", "The King of all glory high honors await,", "The King of all glory shall enter in state."]}, "2": {"syllabified": "What King of all glo -- ry is this that ye sing? The Lord, strong and might -- y, the con -- quer -- ing King. Ye gates, lift your heads, and His sum -- mons o -- bey, Y doors ev -- er -- last -- ing, wide o -- pen the way.", "prose": ["What King of all glory is this that ye sing?", "The Lord, strong and mighty, the conquering King.", "Ye gates, lift your heads, and His summons obey,", "Y doors everlasting, wide open the way."]}, "3": {"syllabified": "The King of all glo -- ry, high hon -- ors a -- wait, The King of all glo -- ry shall en -- ter in state. What King of all glo -- ry is this that ye sing? Je -- ho -- vah of Hosts, He of glo -- ry is King.", "prose": ["The King of all glory, high honors await,", "The King of all glory shall enter in state.", "What King of all glory is this that ye sing?", "Jehovah of Hosts, He of glory is King."]}}}, "ye-righteous-in-the-lord-rejoice": {"slug": "ye-righteous-in-the-lord-rejoice", "title": "Ye Righteous, in the Lord Rejoice", "first_line": "Ye righteous, in the Lord rejoice", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 33, "topics": ["Psalms"], "scripture": ["Psalm 33"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 33. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ye right -- eous, in the Lord re -- joice; it come -- ly is and right, That up -- right men, with thank -- ful voice, should praise the Lord of might.", "prose": ["Ye righteous, in the Lord rejoice;", "it comely is and right,", "That upright men, with thankful voice,", "should praise the Lord of might."]}, "2": {"syllabified": "Praise God with harp, and un -- to him sing with the psal -- ter -- y; Up -- on a ten -- stringed in -- stru -- ment make ye sweet mel -- o -- dy.", "prose": ["Praise God with harp, and unto him", "sing with the psaltery;", "Upon a ten-stringed instrument", "make ye sweet melody."]}, "3": {"syllabified": "A new song to him sing, and play with loud noise skil -- ful -- ly; For right is God's word, all his works are done in ver -- i -- ty.", "prose": ["A new song to him sing, and play", "with loud noise skilfully;", "For right is God's word, all his works", "are done in verity."]}, "4": {"syllabified": "To judg -- ment and to right -- eous -- ness a love he bear -- eth still; The lov -- ing -- kind -- ness of the Lord the earth through -- out doth fill.", "prose": ["To judgment and to righteousness", "a love he beareth still;", "The loving-kindness of the Lord", "the earth throughout doth fill."]}, "5": {"syllabified": "The heav -- ens by the word of God did their be -- gin -- ning take; And by the breath -- ing of his mouth he all their hosts did make.", "prose": ["The heavens by the word of God", "did their beginning take;", "And by the breathing of his mouth", "he all their hosts did make."]}, "6": {"syllabified": "The wa -- ters of the seas he brings to -- geth -- er as an heap; And in store -- hous -- es, as it were, he lay -- eth up the deep.", "prose": ["The waters of the seas he brings", "together as an heap;", "And in storehouses, as it were,", "he layeth up the deep."]}, "7": {"syllabified": "Let earth, and all that live there -- in, with rev -- 'rence fear the Lord; Let all the world's in -- hab -- i -- tants dread him with one ac -- cord.", "prose": ["Let earth, and all that live therein,", "with rev'rence fear the Lord;", "Let all the world's inhabitants", "dread him with one accord."]}, "8": {"syllabified": "For he did speak the word, and done it was with -- out de -- lay; Es -- tab -- lish -- ed it firm -- ly stood, what -- ev -- er he did say.", "prose": ["For he did speak the word, and done", "it was without delay;", "Established it firmly stood,", "whatever he did say."]}, "9": {"syllabified": "God doth the coun -- sel bring to nought which hea -- then folk do take; And what the peo -- ple do de -- vise of none ef -- fect doth make.", "prose": ["God doth the counsel bring to nought", "which heathen folk do take;", "And what the people do devise", "of none effect doth make."]}, "10": {"syllabified": "O but the coun -- sel of the Lord doth stand for ev -- er sure; And of his heart the pur -- pos -- es from age to age en -- dure.", "prose": ["O but the counsel of the Lord", "doth stand for ever sure;", "And of his heart the purposes", "from age to age endure."]}, "11": {"syllabified": "That na -- tion bless -- ed is, whose God JE -- HO -- VAH is, and those A bless -- ed peo -- ple are, whom for his her -- i -- tage he chose.", "prose": ["That nation blessed is, whose God", "JEHOVAH is, and those", "A blessed people are, whom for", "his heritage he chose."]}, "12": {"syllabified": "The Lord from heav'n sees and be -- holds all sons of men full well: He views all from his dwell -- ing -- place that in the earth do dwell.", "prose": ["The Lord from heav'n sees and beholds", "all sons of men full well:", "He views all from his dwelling-place", "that in the earth do dwell."]}, "13": {"syllabified": "He forms their hearts a -- like, and all their do -- ings he ob -- serves. Great hosts save not a king, much strength no might -- y man pre -- serves.", "prose": ["He forms their hearts alike, and all", "their doings he observes.", "Great hosts save not a king, much strength", "no mighty man preserves."]}, "14": {"syllabified": "An horse for pres -- er -- va -- ti -- on is a de -- ceit -- ful thing; And by the great -- ness of his strength can no de -- liv -- 'rance bring.", "prose": ["An horse for preservation", "is a deceitful thing;", "And by the greatness of his strength", "can no deliv'rance bring."]}, "15": {"syllabified": "Be -- hold, on those that do him fear the Lord doth set his eye; Ev'n those who on his mer -- cy do with con -- fi -- dence re -- ly.", "prose": ["Behold, on those that do him fear", "the Lord doth set his eye;", "Ev'n those who on his mercy do", "with confidence rely."]}, "16": {"syllabified": "From death to free their soul, in dearth life un -- to them to yield. Our soul doth wait up -- on the Lord; he is our help and shield.", "prose": ["From death to free their soul, in dearth", "life unto them to yield.", "Our soul doth wait upon the Lord;", "he is our help and shield."]}, "17": {"syllabified": "Sith in his ho -- ly name we trust, our heart shall joy -- ful be. Lord, let thy mer -- cy be on us, as we do hope in thee.", "prose": ["Sith in his holy name we trust,", "our heart shall joyful be.", "Lord, let thy mercy be on us,", "as we do hope in thee."]}}}, "ye-servants-of-god": {"slug": "ye-servants-of-god", "title": "Ye Servants of God", "first_line": "Ye servants of God, your Master proclaim", "author": "charles-wesley", "author_date": "1744", "foot": "anapestic", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "topics": ["Praise", "Adoration", "Christ the King"], "scripture": ["Revelation 5:12", "Revelation 7:10"], "provenance": {"layer": "text", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles Wesley (1707-1788), \"Ye servants of God, your Master proclaim,\" from Hymns for Times of Trouble and Persecution (1744); the standard four-stanza text long paired with the tune HANOVER. Text from The Cyber Hymnal. Public domain (author d. 1788). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Ye ser -- vants of God, your Mas -- ter pro -- claim, And pub -- lish a -- broad his won -- der -- ful name; The name all -- vic -- to -- rious of Je -- sus ex -- tol, His king -- dom is glo -- rious and rules o -- ver all.", "prose": ["Ye servants of God, your Master proclaim,", "And publish abroad his wonderful name;", "The name all-victorious of Jesus extol,", "His kingdom is glorious and rules over all."]}, "2": {"syllabified": "God rul -- eth on high, al -- might -- y to save, And still he is nigh, his pres -- ence we have; The great con -- gre -- ga -- tion his tri -- umph shall sing, As -- crib -- ing sal -- va -- tion to Je -- sus our King.", "prose": ["God ruleth on high, almighty to save,", "And still he is nigh, his presence we have;", "The great congregation his triumph shall sing,", "Ascribing salvation to Jesus our King."]}, "3": {"syllabified": "Sal -- va -- tion to God, who sits on the throne! Let all cry a -- loud, and hon -- or the Son; The prais -- es of Je -- sus the an -- gels pro -- claim, Fall down on their fac -- es and wor -- ship the Lamb.", "prose": ["\"Salvation to God, who sits on the throne!\"", "Let all cry aloud, and honor the Son;", "The praises of Jesus the angels proclaim,", "Fall down on their faces and worship the Lamb."]}, "4": {"syllabified": "Then let us a -- dore, and give him his right: All glo -- ry and pow'r, all wis -- dom and might; All hon -- or and bless -- ing, with an -- gels a -- bove, And thanks nev -- er ceas -- ing and in -- fin -- ite love.", "prose": ["Then let us adore, and give him his right:", "All glory and pow'r, all wisdom and might;", "All honor and blessing, with angels above,", "And thanks never ceasing and infinite love."]}}}, "yet-god-is-good-to-israel": {"slug": "yet-god-is-good-to-israel", "title": "Yet God Is Good to Israel", "first_line": "Yet God is good to Israel", "author_source": "Scottish Psalter, 1650", "foot": "iambic", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 73, "topics": ["Psalms"], "scripture": ["Psalm 73"], "provenance": {"layer": "text", "source": "scottish-psalter-1650", "source_kind": "open_encoding", "encoding_origin": "reformed-standards/compendium (cross-verified against thewestminsterstandard.org)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalms of David in Metre (Scottish Psalter), 1650 — Psalm 73. Committee versification (Rous revision); all contributors d. before 1700. Imported by tools/psalter_import.py: transcription cross-verified word-for-word against an independent edition; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Yet God is good to I -- sra -- el, to each pure -- heart -- ed one. But as for me, my steps near slipped, my feet were al -- most gone.", "prose": ["Yet God is good to Israel,", "to each pure-hearted one.", "But as for me, my steps near slipped,", "my feet were almost gone."]}, "2": {"syllabified": "For I en -- vious was, and grudg -- ed the fool -- ish folk to see, When I per -- ceived the wick -- ed sort en -- joy pros -- per -- i -- ty.", "prose": ["For I envious was, and grudged", "the foolish folk to see,", "When I perceived the wicked sort", "enjoy prosperity."]}, "3": {"syllabified": "For still their strength con -- tin -- ueth firm; their death of bands is free. They are not toiled like oth -- er men, nor plagued, as oth -- ers be.", "prose": ["For still their strength continueth firm;", "their death of bands is free.", "They are not toiled like other men,", "nor plagued, as others be."]}, "4": {"syllabified": "There -- fore their pride, like to a chain, them com -- pass -- eth a -- bout; And, as a gar -- ment, vi -- o -- lence doth cov -- er them through -- out.", "prose": ["Therefore their pride, like to a chain,", "them compasseth about;", "And, as a garment, violence", "doth cover them throughout."]}, "5": {"syllabified": "Their eyes stand out with fat; they have more than their hearts could wish. They are cor -- rupt; their talk of wrong both lewd and loft -- y is.", "prose": ["Their eyes stand out with fat; they have", "more than their hearts could wish.", "They are corrupt; their talk of wrong", "both lewd and lofty is."]}, "6": {"syllabified": "They set their mouth a -- gainst the heav'ns in their blas -- phe -- mous talk; And their re -- proach -- ing tongue through -- out the earth at large doth walk.", "prose": ["They set their mouth against the heav'ns", "in their blasphemous talk;", "And their reproaching tongue throughout", "the earth at large doth walk."]}, "7": {"syllabified": "His peo -- ple of -- ten -- times for this look back, and turn a -- bout; Sith wa -- ters of so full a cup to these are pour -- ed out.", "prose": ["His people oftentimes for this", "look back, and turn about;", "Sith waters of so full a cup", "to these are poured out."]}, "8": {"syllabified": "And thus they say, How can it be that God these things doth know? Or, Can there in the High -- est be knowl -- edge of things be -- low?", "prose": ["And thus they say, How can it be", "that God these things doth know?", "Or, Can there in the Highest be", "knowledge of things below?"]}, "9": {"syllabified": "Be -- hold, these are the wick -- ed ones, yet pros -- per at their will In world -- ly things; they do in -- crease in wealth and rich -- es still.", "prose": ["Behold, these are the wicked ones,", "yet prosper at their will", "In worldly things; they do increase", "in wealth and riches still."]}, "10": {"syllabified": "I ver -- i -- ly have done in vain my heart to pu -- ri -- fy; To no ef -- fect in in -- no -- cence wash -- ed my hands have I.", "prose": ["I verily have done in vain", "my heart to purify;", "To no effect in innocence", "washed my hands have I."]}, "11": {"syllabified": "For dai -- ly, and all day through -- out, great plagues I suff -- ered have; Yea, ev -- 'ry morn -- ing I of new did chas -- tise -- ment re -- ceive.", "prose": ["For daily, and all day throughout,", "great plagues I suffered have;", "Yea, ev'ry morning I of new", "did chastisement receive."]}, "12": {"syllabified": "If in this man -- ner fool -- ish -- ly to speak I would in -- tend, Thy chil -- dren's gen -- er -- a -- ti -- on, be -- hold, I should of -- fend.", "prose": ["If in this manner foolishly", "to speak I would intend,", "Thy children's generation,", "behold, I should offend."]}, "13": {"syllabified": "When I this thought to know, it was too hard a thing for me; Till to God's sanc -- tua -- ry I went, then I their end did see.", "prose": ["When I this thought to know, it was", "too hard a thing for me;", "Till to God's sanctuary I went,", "then I their end did see."]}, "14": {"syllabified": "As -- sur -- ed -- ly thou didst them set a slip -- p'ry place up -- on; Them sud -- den -- ly thou cast -- edst down in -- to de -- struc -- ti -- on.", "prose": ["Assuredly thou didst them set", "a slipp'ry place upon;", "Them suddenly thou castedst down", "into destruction."]}, "15": {"syllabified": "How in a mo -- ment sud -- den -- ly to ru -- in brought are they! With fear -- ful ter -- rors ut -- ter -- ly they are con -- sumed a -- way.", "prose": ["How in a moment suddenly", "to ruin brought are they!", "With fearful terrors utterly", "they are consumed away."]}, "16": {"syllabified": "Ev'n like un -- to a dream, when one from sleep -- ing doth a -- rise; So thou, O Lord, when thou a -- wak'st, their im -- age shalt de -- spise.", "prose": ["Ev'n like unto a dream, when one", "from sleeping doth arise;", "So thou, O Lord, when thou awak'st,", "their image shalt despise."]}, "17": {"syllabified": "Thus griev -- ed was my heart in me, and me my reins op -- pressed: So rude was I, and ig -- no -- rant, and in thy sight a beast.", "prose": ["Thus grieved was my heart in me,", "and me my reins oppressed:", "So rude was I, and ignorant,", "and in thy sight a beast."]}, "18": {"syllabified": "Nev -- er -- the -- less con -- tin -- ual -- ly, O Lord, I am with thee: Thou dost me hold by my right hand, and still up -- hold -- est me.", "prose": ["Nevertheless continually,", "O Lord, I am with thee:", "Thou dost me hold by my right hand,", "and still upholdest me."]}, "19": {"syllabified": "Thou, with thy coun -- sel, while I live, wilt me con -- duct and guide; And to thy glo -- ry af -- ter -- ward re -- ceive me to a -- bide.", "prose": ["Thou, with thy counsel, while I live,", "wilt me conduct and guide;", "And to thy glory afterward", "receive me to abide."]}, "20": {"syllabified": "Whom have I in the heav -- ens high but thee, O Lord, a -- lone? And in the earth whom I de -- sire be -- sides thee there is none.", "prose": ["Whom have I in the heavens high", "but thee, O Lord, alone?", "And in the earth whom I desire", "besides thee there is none."]}, "21": {"syllabified": "My flesh and heart doth faint and fail, but God doth fail me nev -- er: For of my heart God is the strength and por -- tion for ev -- er.", "prose": ["My flesh and heart doth faint and fail,", "but God doth fail me never:", "For of my heart God is the strength", "and portion for ever."]}, "22": {"syllabified": "For, lo, they that are far from thee for ev -- er per -- ish shall; Them that a whor -- ing from thee go thou hast de -- stroy -- ed all.", "prose": ["For, lo, they that are far from thee", "for ever perish shall;", "Them that a whoring from thee go", "thou hast destroyed all."]}, "23": {"syllabified": "But sure -- ly it is good for me that I draw near to God: In God I trust, that all thy works I may de -- clare a -- broad.", "prose": ["But surely it is good for me", "that I draw near to God:", "In God I trust, that all thy works", "I may declare abroad."]}}}, "yield-not-to-temptation": {"slug": "yield-not-to-temptation", "title": "Yield Not to Temptation", "first_line": "Yield not to temptation, for yielding is sin", "author": "horatio-r-palmer", "author_date": "1868", "foot": "dactylic", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "topics": ["Temptation", "Christian Warfare", "Perseverance", "Courage", "Youth"], "scripture": ["1 Corinthians 10:13", "James 1:12", "Revelation 3:21"], "provenance": {"layer": "text", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_evidence": "Words and music by Horatio Richmond Palmer (1834-1907), first published in his Sunday-school collection The Song Queen (Chicago: H. R. Palmer, 1868). Transcribed syllable by syllable, and its punctuation letter by letter, from two dated pre-1931 printings of the same plates, both read at 2-9x magnification: (a) Gospel Hymns, Consolidated, Embracing Nos. 1, 2, 3 and 4, without Duplicates (Cincinnati: The John Church Co.; New York: Biglow & Main, 1884), no. 89, printed page 87 — archive.org item gospelh00cinc, leaf 0087; and (b) the same collection as first issued, Gospel Hymns Consolidated (Biglow & Main / John Church, 1883), no. 89, printed page 87 — archive.org item hymnsconso00blis, leaf 0093. Both plates head the hymn \"No. 89. Yield Not to Temptation.\", set the motto \"God is faithful, who will not suffer you to be tempted above that ye are able.\"—1 Cor. 10: 13, credit \"H. R. PALMER.\" at the left and \"H. R. PALMER, by per.\" at the right, and print THREE stanzas interlinearly under the staves plus the chorus once. US public domain: first published 1868, and both witnesses read here are themselves pre-1931; Palmer died in 1907, so it is also PD in life+70 jurisdictions. PUNCTUATION IS THE PLATES', not modernized: commas close verse lines 1, 3, 5 and 7 of every stanza, a SEMICOLON closes line 4 (\"Some other to win;\" / \"Nor take it in vain;\" / \"Though often cast down;\"), and a full stop closes line 8. The chorus is pointed \"Ask the Saviour to help you, Comfort, strengthen, and keep you; He is willing to aid you, He will carry you through.\" — comma after \"Comfort\", comma after \"strengthen\", semicolon after the second \"you\". The plates print the elisions \"vict'ry\", \"rev'rence\", \"Thro'\" and \"o'ercometh\"; all four are kept exactly as engraved and are NOT expanded. \"Kind-hearted\" carries the plates' own hyphen. DEPARTURE FROM THE PAGE: the plates leave several two-note words unhyphenated in the underlay (\"yielding\", \"vict'ry\", \"passions\", \"carry\", \"thoughtful\", \"renew\", \"hearted\", \"conquer\", \"o'ercom-eth\" is hyphenated but \"o'er\" is not split off); the syllabified lines below hyphenate every word that the music divides across noteheads, so the engraved hyphenation of this import is FINER than the 1883/1884 plates'. No word, no punctuation mark and no stanza is added, dropped or reordered.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "Yield not to temp -- ta -- tion, For yield -- ing is sin, Each vic -- t'ry will help you Some oth -- er to win; Fight man -- ful -- ly on -- ward, Dark pas -- sions sub -- due, Look ev -- er to Je -- sus, He'll car -- ry you through.", "prose": ["Yield not to temptation,", "For yielding is sin,", "Each vict'ry will help you", "Some other to win;", "Fight manfully onward,", "Dark passions subdue,", "Look ever to Jesus,", "He'll carry you through."]}, "2": {"syllabified": "Shun e -- vil com -- pan -- ions, Bad lan -- guage dis -- dain, God's name hold in rev -- 'rence, Nor take it in vain; Be thought -- ful and earn -- est, Kind -- heart -- ed and true, Look ev -- er to Je -- sus, He'll car -- ry you through.", "prose": ["Shun evil companions,", "Bad language disdain,", "God's name hold in rev'rence,", "Nor take it in vain;", "Be thoughtful and earnest,", "Kind-hearted and true,", "Look ever to Jesus,", "He'll carry you through."]}, "3": {"syllabified": "To him that o'er -- com -- eth God giv -- eth a crown, Thro' faith we shall con -- quer, Though oft -- en cast down; He who is our Sav -- iour, Our strength will re -- new, Look ev -- er to Je -- sus, He'll car -- ry you through.", "prose": ["To him that o'ercometh", "God giveth a crown,", "Thro' faith we shall conquer,", "Though often cast down;", "He who is our Saviour,", "Our strength will renew,", "Look ever to Jesus,", "He'll carry you through."]}}, "refrain": {"syllabified": "Ask the Sav -- iour to help you, Com -- fort, strength -- en, and keep you; He is will -- ing to aid you, He will car -- ry you through.", "prose": ["Ask the Saviour to help you,", "Comfort, strengthen, and keep you;", "He is willing to aid you,", "He will carry you through."]}}, "you-righteous-in-the-lord-rejoice": {"slug": "you-righteous-in-the-lord-rejoice", "title": "The Praise of Almighty God", "first_line": "You righteous, in the Lord rejoice", "author_source": "The Psalter, 1912", "foot": "iambic", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "psalm": 33, "topics": ["Psalms"], "scripture": ["Psalm 33"], "provenance": {"layer": "text", "source": "psalter-1912", "source_kind": "open_encoding", "encoding_origin": "hymnary.org (selection 85) via the Wayback Machine; cross-verified against two independently scanned printings (archive.org OCR)", "pd_basis": "pub_pre_1931", "pd_evidence": "The Psalter, United Presbyterian Board of Publication, 1912 — Psalm 33, selection 85. Imported by tools/psalter1912_import.py: word-bag attested by both scans; every line machine-scanned to the metre.", "pd_jurisdictions": {"US": true}}, "stanzas": {"1": {"syllabified": "You right -- eous, in the Lord re -- joice; 'Tis come -- ly that with joy -- ful voice God's saints His Name should praise. With harp and hymn of glad -- ness sing, Your gift of sweet -- est mu -- sic bring, To Him a new song raise.", "prose": ["You righteous, in the Lord rejoice;", "'Tis comely that with joyful voice", "God's saints His Name should praise.", "With harp and hymn of gladness sing,", "Your gift of sweetest music bring,", "To Him a new song raise."]}, "2": {"syllabified": "For up -- right is Je -- ho -- vah's word, And all the do -- ings of the Lord In jus -- tice have their birth; In judg -- ment and in deeds of right The Lord for -- ev -- er takes de -- light, With good -- ness fills the earth.", "prose": ["For upright is Jehovah's word,", "And all the doings of the Lord", "In justice have their birth;", "In judgment and in deeds of right", "The Lord forever takes delight,", "With goodness fills the earth."]}, "3": {"syllabified": "Je -- ho -- vah speaks, the heav'ns ap -- pear; He breathes, and, lo, each shin -- ing sphere In splen -- dor stands ar -- rayed; He rolls the wa -- ters heap on heap, He stores a -- way the might -- y deep In gar -- ners for it made.", "prose": ["Jehovah speaks, the heav'ns appear;", "He breathes, and, lo, each shining sphere", "In splendor stands arrayed;", "He rolls the waters heap on heap,", "He stores away the mighty deep", "In garners for it made."]}}}}, "tunes": {"aberystwyth-parry": {"slug": "aberystwyth-parry", "name": "ABERYSTWYTH (PARRY)", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-parry", "composer_date": "1906", "canonical_key": {"tonic": "d", "mode": "minor"}, "preferred_harmonization": "aberystwyth-parry-oh88", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:88; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "aberystwyth_parry", "total_instances": 317}}, "harmonization": {"slug": "aberystwyth-parry-oh88", "tune": "aberystwyth-parry", "music_file": "aberystwyth-parry-oh88.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:88; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:88", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior When In Dust To Thee\n%% Imported from Open Hymnal ABC X:88 via tools/abc_import.py\n%% Open Hymnal X:88; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2 f'4 e'4 d'4 cis'4 d'8 e'8 f'4 e'2 d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2 e'4 f'8 g'8 a'4 g'4 f'4 e'4 d'2 d'4 c'4 d'4 e'4 f'4 a'8 g'8 f'2 f'4 e'4 f'4 g'4 a'4 c''8 b'8 a'2 d''4 d''4 c''4 a'4 f'4 g'4 a'2 d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2\n}\nalto = {\n  a4 d'8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2 d'4 cis'4 d'4 a4 a4 d'4 cis'2 a4 a8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2 cis'4 d'8 e'8 f'4 e'4 d'4 cis'4 a2 bes4 a4 bes4 bes4 c'4 e'4 c'2 d'4 cis'4 d'4 e'8 c'8 c'4 e'8 d'8 c'2 d'4 f'8 e'8 f'4 c'4 d'4 d'4 e'2 d'4 d'8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2\n}\ntenor = {\n  f4 a4 a4 a4 a4 a8 g8 f2 a4 a4 a4 a4 a4 a4 a2 f8 g8 a4 a4 a4 a4 e8 g8 f2 a4 a8 c'8 c'4 bes4 a4 a8 g8 f2 f4 f4 f4 g4 a4 c'8 bes8 a2 a4 a4 a4 c'4 f8 a4( gis8) a2 f4 bes4 c'4 f4 a4 d'4 cis'2 a8 bes8 a8 g8 a4 a4 a4 e16 f16 g8 f2\n}\nbass = {\n  d4 f,8 a,8 d4 f,8 g,8 a,4 a,4 d2 d4 e4 f4 g4 f8 e8 d4 a,2 d8 e8 f8 e8 d4 f,8 g,8 a,4 a,4 d2 a,4 d8 c8 f4 g4 a4 a,4 d2 bes,4 f,4 bes,8 a,8 g,4 f,4 c4 f,2 d4 a,4 d4 c8 e8 f4 e4 a,2 bes,4 bes4 a4 f4 d4 bes,4 a,2 f8 g8 f8 e8 d4 f,8 g,8 a,4 a,4 d2\n}\n"}, "harmonizations": [{"slug": "aberystwyth-parry-oh88", "tune": "aberystwyth-parry", "music_file": "aberystwyth-parry-oh88.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:88; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:88", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior When In Dust To Thee\n%% Imported from Open Hymnal ABC X:88 via tools/abc_import.py\n%% Open Hymnal X:88; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2 f'4 e'4 d'4 cis'4 d'8 e'8 f'4 e'2 d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2 e'4 f'8 g'8 a'4 g'4 f'4 e'4 d'2 d'4 c'4 d'4 e'4 f'4 a'8 g'8 f'2 f'4 e'4 f'4 g'4 a'4 c''8 b'8 a'2 d''4 d''4 c''4 a'4 f'4 g'4 a'2 d'4 d'8 e'8 f'8 g'8 a'4 f'4 e'4 d'2\n}\nalto = {\n  a4 d'8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2 d'4 cis'4 d'4 a4 a4 d'4 cis'2 a4 a8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2 cis'4 d'8 e'8 f'4 e'4 d'4 cis'4 a2 bes4 a4 bes4 bes4 c'4 e'4 c'2 d'4 cis'4 d'4 e'8 c'8 c'4 e'8 d'8 c'2 d'4 f'8 e'8 f'4 c'4 d'4 d'4 e'2 d'4 d'8 cis'8 d'8 e'8 f'4 d'4 cis'4 a2\n}\ntenor = {\n  f4 a4 a4 a4 a4 a8 g8 f2 a4 a4 a4 a4 a4 a4 a2 f8 g8 a4 a4 a4 a4 e8 g8 f2 a4 a8 c'8 c'4 bes4 a4 a8 g8 f2 f4 f4 f4 g4 a4 c'8 bes8 a2 a4 a4 a4 c'4 f8 a4( gis8) a2 f4 bes4 c'4 f4 a4 d'4 cis'2 a8 bes8 a8 g8 a4 a4 a4 e16 f16 g8 f2\n}\nbass = {\n  d4 f,8 a,8 d4 f,8 g,8 a,4 a,4 d2 d4 e4 f4 g4 f8 e8 d4 a,2 d8 e8 f8 e8 d4 f,8 g,8 a,4 a,4 d2 a,4 d8 c8 f4 g4 a4 a,4 d2 bes,4 f,4 bes,8 a,8 g,4 f,4 c4 f,2 d4 a,4 d4 c8 e8 f4 e4 a,2 bes,4 bes4 a4 f4 d4 bes,4 a,2 f8 g8 f8 e8 d4 f,8 g,8 a,4 a,4 d2\n}\n", "preferred": true}]}, "adelaide": {"slug": "adelaide", "name": "ADELAIDE", "meter_label": "5.4.5.4.D", "meter": {"pattern": [5, 4, 5, 4], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-c-stebbins", "composer_date": "1907", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "adelaide-tabernacle-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by George C. Stebbins (1846-1945), written for Adelaide A. Pollard's words. The received account — NOT verified against a printing here — is that it first appeared in the Northfield Hymnal with Alexander's Supplement (1907). Read here from the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 21 — archive.org tabernaclehymnsn00chic leaf n29 — which credits \"Geo. C. Stebbins.\" on the staff and foots \"Copyright, 1907, by Geo. C. Stebbins. Used by permission. Hope Pub. Co., owner.\", and collated notehead by notehead against a second, independent scan of that same plate, archive.org tabernaclehymnsn02chic leaf n27. The 1921 book's own title page (n00chic leaf n7) reads \"Tabernacle Hymns No. 2 … Copyright 1921 … Published by Tabernacle Publishing Company, 29 South La Salle Street, Chicago, Illinois\". US public domain: the notice on the hymn is 1907 and the printing read is 1921, both before 1931. THE 1907 FIRST PRINTING ITSELF WAS NOT OPENED — the pd_basis rests on the 1921 plate and its own 1907 notice, not on a copy of the Northfield Hymnal. The tune name is not printed on the 1921 plate — gospel songbooks of this line rarely name their tunes — so ADELAIDE is the name the later hymnals and Hymnary carry for it, after the author's given name; no printed alt_name is recorded. The soprano's first fifteen note-groups as encoded, in scale degrees, are 3 2 3 4 3 1 7 1 2 2 1 2 3 2 2, which matches Hymnary tune authority adelaide_stebbins's incipit 323431712212322 exactly, and tools/tune_fingerprint.py finds no corpus melody closer than 0.557 (RUTHERFORD and HAMBURG, tied), so this is not a duplicate.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "adelaide_stebbins", "total_instances": 337}}, "harmonization": {"slug": "adelaide-tabernacle-1921", "tune": "adelaide", "music_file": "adelaide-tabernacle-1921.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "9/4", "pickup": "2.", "system_breaks": [10, 20, 30], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: George C. Stebbins, 1907, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Stebbins's ADELAIDE as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 21 — the leaf carries no printed page number — headed \"Have Thine Own Way, Lord.\" over \"A. A. P.\" (left) and \"Geo. C. Stebbins.\" (right), marked \"Slowly.\", in E-flat major and 9/4 with a three-quarter pickup, and footed \"Copyright, 1907, by Geo. C. Stebbins. Used by permission. Hope Pub. Co., owner.\" US public domain: the underlying copyright is 1907 and the printing read is 1921, both well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaf n29 (2365 px across, staff space 29.28 px, i.e. 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaf n27 (1877 px across, staff space 23.35 px, i.e. 11.7 px per step); the two items are two scans of the one book — n00chic's own title page, leaf n7, reads \"Tabernacle Hymns No. 2 … Copyright 1921 … Published by Tabernacle Publishing Company, 29 South La Salle Street, Chicago, Illinois\" — and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey dilation smoothed by a 41x41 box filter) and closed 5x5 to seal the gaps the plate's ink leaves inside a head; holes smaller than 1.2 staff spaces squared were then filled, which turns each hollow dotted-half OUTLINE into a disc; staff lines were suppressed by vertical run length AFTER that fill, so a hollow head's thin arcs survive; heads were isolated by morphological opening (0.62 staff space horizontally, 0.45 vertically), and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Half and dotted-half heads on this plate are WIDER than the filled ones — 44 px against 30 px on scan 1 — and were invisible to the detector until the width window was opened to 1.80 staff spaces. Counting steps from the bottom staff line, the readings inside the staff are tight: the 25 cores on the bottom line measured -0.139 to +0.110, the 21 on the second line 1.903 to 2.086, the 10 in the top space 6.974 to 7.081. Outside it the plate squeezes the heads back toward the staff: the 9 cores in the space above the bass staff measured 8.655 to 8.818, the 9 in the space below the treble staff -0.695 to -1.007, the 13 between the first and second ledger lines below -2.630 to -2.916. The classes never overlap. 144 of the 160 note positions on scan 1 were covered by a core within 0.5 step of the reading that ships (mean distance 0.094 step, largest 0.496) and 117 of 160 on scan 2 (mean 0.118, largest 0.484); the rest the automated pass did not resolve — hollow dotted-half heads it still drops, and the bass chord of soprano note 6, whose merged pair it split at 7.53/4.50 instead of 7/5 on both scans. SO EVERY ONE OF THE 160 WAS READ A THIRD WAY, off crops with the fitted five-line grid drawn over the page at 3.4x to 9x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. It corrected two chords the eye had got wrong at low magnification — the alto of the first chord of system 2 (D4, not E-flat 4) and the bass under \"will,\" (A-flat 2 in the space, not G2 on the line) — and the automated figure agreed with the correction both times. The two grid readings agree with each other on all 40 chords in all four voices — 160 notes, 0 disagreements. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at high magnification, over every column of BOTH leaves; the automated figures above see staff positions only and never covered accidentals. THIS SWEEP FIRST GOT IT WRONG, and the error reached the notes: it reported exactly two printed accidentals, both naturals in the soprano, and said none appears in the alto, tenor or bass anywhere. There are THREE. The plate prints, on both leaves: a natural on the bottom line before soprano note 12 (\"art\", E natural); a natural in the second space before soprano note 27 (\"-er\" of \"Aft-er\", A natural); AND A FLAT before the ALTO notehead of the first chord of the third system (soprano note 26, \"Aft-\"), making that alto D-FLAT 4, with the measure rule carrying it to note 28. Both were first encoded as D natural, putting an E-flat MAJOR seventh where the plate writes an E-flat DOMINANT seventh resolving to the A-flat at \"will,\". Corrected. Rule 2b in one line: a notehead probe reads heads, never the flats in front of them. The three-flat signature stands at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external check is Hymnary's melodic incipit for tune authority adelaide_stebbins, \"323431712212322\", which is the first fifteen soprano note-GROUPS of this reading exactly. DEPARTURES FROM THE PAGE, in full: (1) the page casts three systems and breaks after soprano notes 13 and 25, and this encoding breaks after 10, 20 and 30, so all four systems hold different content from the plate's three — the plate's first break falls inside poetic line 3 and the house rule puts breaks at poetic line ends; (2) the plate's \"Slowly.\" tempo word is not carried, this corpus holding no tempo marks. Nothing else departs: every pitch, every duration, both naturals, all four ties and the closing light-heavy double bar are the plate's, and the four voices restrike together at all 40 chords because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 21 — archive.org tabernaclehymnsn00chic leaf n29, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaf n27. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% ADELAIDE (5.4.5.4.D) — George C. Stebbins. Four SATB voice streams,\n%% canonical key E-flat major, 9/4, a three-quarter (dotted-half) pickup,\n%% eight full bars plus that pickup and a six-quarter close.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 21 — the leaf carries no printed page number — headed\n%% \"Have Thine Own Way, Lord.\"\n%% over \"A. A. P.\" on the left and \"Geo. C. Stebbins.\" on the right, marked\n%% \"Slowly.\", and footed \"Copyright, 1907, by Geo. C. Stebbins. Used by\n%% permission. Hope Pub. Co., owner.\" Read off TWO independent scans of that\n%% same plate: archive.org tabernaclehymnsn00chic leaf n29 (2365 px across,\n%% staff space 29.28 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaf n27 (1877 px across, staff space 23.35 px =\n%% 11.7 px per diatonic step). The two items are two scans of the one book —\n%% n00chic's own title page (leaf n7) reads \"Tabernacle Hymns No. 2 … Copyright\n%% 1921 … Published by Tabernacle Publishing Company, 29 South La Salle Street,\n%% Chicago, Illinois\" — and at this hymn n00chic runs two leaves later than\n%% n02chic.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing to seal the pale gaps the plate's ink\n%% leaves inside a head; then holes smaller than 1.2 staff spaces squared are\n%% filled, which turns each hollow (dotted-half) OUTLINE into a disc without\n%% flooding the boxes that staff lines and stems enclose; then staff lines are\n%% suppressed by vertical run length — AFTER the fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x, so the plate's\n%% skew cannot drag a reading. Half and dotted-half heads on this plate are\n%% WIDER than the filled ones (44 px against 30 px at scan 1) and were lost\n%% until the width window was opened to 1.80 staff spaces; merged\n%% soprano-over-alto blobs were split at the midpoint of their two clean outer\n%% edges with the separation snapped to a whole step.\n%%\n%% Counting steps from the bottom staff line (0 = bottom line, 8 = top line),\n%% the measurement inside the staff is tight: the 25 cores on the bottom line\n%% measured between -0.139 and +0.110, the 21 on the second line between 1.903\n%% and 2.086, the 10 in the top space between 6.974 and 7.081. OUTSIDE the\n%% staff the plate itself squeezes the heads back toward it: the 9 cores in the\n%% space above the bass staff measured 8.655 to 8.818, the 9 in the space below\n%% the treble staff -0.695 to -1.007, the 13 between the first and second\n%% ledger lines below -2.630 to -2.916. The classes never overlap, so no\n%% rounding is in doubt.\n%%\n%% 144 of the 160 note positions on scan 1 were covered by a head core within\n%% 0.5 step of the reading below (mean distance 0.094 step, largest 0.496); the\n%% other 16 the automated pass did not resolve — hollow dotted-half heads it\n%% still drops, plus the bass chord of soprano note 6, whose merged pair it\n%% split at 7.53/4.50 instead of 7/5. On scan 2, 117 of the 160 were covered\n%% (mean 0.118, largest 0.484). So EVERY one of the 160 was read a third way as\n%% well, off crops carrying the fitted five-line grid drawn over the page at\n%% 3.4x to 9x, on BOTH scans — and it is that third reading, not any centroid,\n%% that ships. It corrected two chords the eye had got wrong at low\n%% magnification: the alto of the first chord of system 2 (D4, not E-flat 4)\n%% and the bass under \"will,\" (A-flat 2 in the space, not G2 on the line). The\n%% two grid readings agree with each other at all 40 chords in all four\n%% voices — 160 notes, 0 disagreements.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of both leaves\n%% was swept separately BY EYE at high magnification for printed sharps, flats\n%% and naturals; the automated figures above cover staff positions only and\n%% never covered accidentals. The sweep found exactly TWO in the body of the\n%% hymn, both naturals, both in the soprano, and both are on both leaves:\n%% a natural on the bottom line before soprano note 12 (the syllable \"art\",\n%% E natural) and a natural in the second space before soprano note 27 (the\n%% syllable \"-er\" of \"Af-ter\", A natural). Nothing else: no accidental in the\n%% alto, tenor or bass anywhere, and the three-flat signature stands at the\n%% head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber adelaide_stebbins, \"323431712212322\", which is the first\n%% fifteen soprano note-GROUPS of this reading exactly.\n%%\n%% 40 soprano noteheads carry 36 syllables. The four two-note groups are TIES,\n%% not slurs — the two heads are the same pitch in all four voices — and they\n%% fall on the last syllable of poetic lines 2, 4, 6 and 8 (\"way!\", \"clay.\",\n%% \"will,\", \"still.\"): soprano notes 9-10, 19-20, 29-30 and 39-40.\n%%\n%% DEPARTURE FROM THE PLATE'S CASTING. The page casts three systems, breaking\n%% after soprano notes 13 and 25. The first of those falls in the MIDDLE of\n%% poetic line 3, which this corpus does not do, so the systems here break\n%% after notes 10, 20 and 30 — the ends of poetic lines 2, 4 and 6, which are\n%% also barlines — giving four systems of ten noteheads instead of the plate's\n%% 13/12/15.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 9/4 \\partial 2. }\n\nsoprano = {\n  g'4 f'4 g'4 |\n  aes'2. g'2. ees'4 d'4 ees'4 |\n  f'2.~ f'2. f'4 e'4 f'4 |\n  g'2. f'2. f'4 ees'4 d'4 |\n  ees'2.~ ees'2. g'4 f'4 g'4 |\n  aes'2. g'2. bes'4 a'4 bes'4 |\n  c''2.~ c''2. c''4 d''4 c''4 |\n  bes'2. g'2. f'4 ees'4 f'4 |\n  ees'2.~ ees'2.\n}\n\nalto = {\n  ees'4 ees'4 ees'4 |\n  ees'2. ees'2. bes4 bes4 bes4 |\n  d'2.~ d'2. d'4 d'4 d'4 |\n  d'2. d'2. bes4 bes4 bes4 |\n  bes2.~ bes2. ees'4 ees'4 ees'4 |\n  ees'2. ees'2. des'4 c'4 des'4 |\n  ees'2.~ ees'2. ees'4 ees'4 ees'4 |\n  ees'2. ees'2. bes4 bes4 bes4 |\n  bes2.~ bes2.\n}\n\ntenor = {\n  bes4 aes4 bes4 |\n  c'2. bes2. g4 f4 g4 |\n  aes2.~ aes2. aes4 g4 aes4 |\n  bes2. aes2. aes4 g4 f4 |\n  g2.~ g2. bes4 aes4 bes4 |\n  c'2. bes2. g4 g4 g4 |\n  aes2.~ aes2. aes4 bes4 aes4 |\n  g2. bes2. aes4 g4 aes4 |\n  g2.~ g2.\n}\n\nbass = {\n  ees4 ees4 ees4 |\n  ees2. ees2. ees4 ees4 ees4 |\n  bes,2.~ bes,2. bes,4 bes,4 bes,4 |\n  bes,2. bes,2. bes,4 bes,4 bes,4 |\n  ees2.~ ees2. ees4 ees4 ees4 |\n  ees2. ees2. ees4 ees4 ees4 |\n  aes,2.~ aes,2. aes,4 aes,4 aes,4 |\n  bes,2. bes,2. bes,4 bes,4 bes,4 |\n  ees2.~ ees2.\n}\n"}, "harmonizations": [{"slug": "adelaide-tabernacle-1921", "tune": "adelaide", "music_file": "adelaide-tabernacle-1921.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "9/4", "pickup": "2.", "system_breaks": [10, 20, 30], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: George C. Stebbins, 1907, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Stebbins's ADELAIDE as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 21 — the leaf carries no printed page number — headed \"Have Thine Own Way, Lord.\" over \"A. A. P.\" (left) and \"Geo. C. Stebbins.\" (right), marked \"Slowly.\", in E-flat major and 9/4 with a three-quarter pickup, and footed \"Copyright, 1907, by Geo. C. Stebbins. Used by permission. Hope Pub. Co., owner.\" US public domain: the underlying copyright is 1907 and the printing read is 1921, both well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaf n29 (2365 px across, staff space 29.28 px, i.e. 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaf n27 (1877 px across, staff space 23.35 px, i.e. 11.7 px per step); the two items are two scans of the one book — n00chic's own title page, leaf n7, reads \"Tabernacle Hymns No. 2 … Copyright 1921 … Published by Tabernacle Publishing Company, 29 South La Salle Street, Chicago, Illinois\" — and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey dilation smoothed by a 41x41 box filter) and closed 5x5 to seal the gaps the plate's ink leaves inside a head; holes smaller than 1.2 staff spaces squared were then filled, which turns each hollow dotted-half OUTLINE into a disc; staff lines were suppressed by vertical run length AFTER that fill, so a hollow head's thin arcs survive; heads were isolated by morphological opening (0.62 staff space horizontally, 0.45 vertically), and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Half and dotted-half heads on this plate are WIDER than the filled ones — 44 px against 30 px on scan 1 — and were invisible to the detector until the width window was opened to 1.80 staff spaces. Counting steps from the bottom staff line, the readings inside the staff are tight: the 25 cores on the bottom line measured -0.139 to +0.110, the 21 on the second line 1.903 to 2.086, the 10 in the top space 6.974 to 7.081. Outside it the plate squeezes the heads back toward the staff: the 9 cores in the space above the bass staff measured 8.655 to 8.818, the 9 in the space below the treble staff -0.695 to -1.007, the 13 between the first and second ledger lines below -2.630 to -2.916. The classes never overlap. 144 of the 160 note positions on scan 1 were covered by a core within 0.5 step of the reading that ships (mean distance 0.094 step, largest 0.496) and 117 of 160 on scan 2 (mean 0.118, largest 0.484); the rest the automated pass did not resolve — hollow dotted-half heads it still drops, and the bass chord of soprano note 6, whose merged pair it split at 7.53/4.50 instead of 7/5 on both scans. SO EVERY ONE OF THE 160 WAS READ A THIRD WAY, off crops with the fitted five-line grid drawn over the page at 3.4x to 9x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. It corrected two chords the eye had got wrong at low magnification — the alto of the first chord of system 2 (D4, not E-flat 4) and the bass under \"will,\" (A-flat 2 in the space, not G2 on the line) — and the automated figure agreed with the correction both times. The two grid readings agree with each other on all 40 chords in all four voices — 160 notes, 0 disagreements. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at high magnification, over every column of BOTH leaves; the automated figures above see staff positions only and never covered accidentals. THIS SWEEP FIRST GOT IT WRONG, and the error reached the notes: it reported exactly two printed accidentals, both naturals in the soprano, and said none appears in the alto, tenor or bass anywhere. There are THREE. The plate prints, on both leaves: a natural on the bottom line before soprano note 12 (\"art\", E natural); a natural in the second space before soprano note 27 (\"-er\" of \"Aft-er\", A natural); AND A FLAT before the ALTO notehead of the first chord of the third system (soprano note 26, \"Aft-\"), making that alto D-FLAT 4, with the measure rule carrying it to note 28. Both were first encoded as D natural, putting an E-flat MAJOR seventh where the plate writes an E-flat DOMINANT seventh resolving to the A-flat at \"will,\". Corrected. Rule 2b in one line: a notehead probe reads heads, never the flats in front of them. The three-flat signature stands at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external check is Hymnary's melodic incipit for tune authority adelaide_stebbins, \"323431712212322\", which is the first fifteen soprano note-GROUPS of this reading exactly. DEPARTURES FROM THE PAGE, in full: (1) the page casts three systems and breaks after soprano notes 13 and 25, and this encoding breaks after 10, 20 and 30, so all four systems hold different content from the plate's three — the plate's first break falls inside poetic line 3 and the house rule puts breaks at poetic line ends; (2) the plate's \"Slowly.\" tempo word is not carried, this corpus holding no tempo marks. Nothing else departs: every pitch, every duration, both naturals, all four ties and the closing light-heavy double bar are the plate's, and the four voices restrike together at all 40 chords because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 21 — archive.org tabernaclehymnsn00chic leaf n29, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaf n27. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% ADELAIDE (5.4.5.4.D) — George C. Stebbins. Four SATB voice streams,\n%% canonical key E-flat major, 9/4, a three-quarter (dotted-half) pickup,\n%% eight full bars plus that pickup and a six-quarter close.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 21 — the leaf carries no printed page number — headed\n%% \"Have Thine Own Way, Lord.\"\n%% over \"A. A. P.\" on the left and \"Geo. C. Stebbins.\" on the right, marked\n%% \"Slowly.\", and footed \"Copyright, 1907, by Geo. C. Stebbins. Used by\n%% permission. Hope Pub. Co., owner.\" Read off TWO independent scans of that\n%% same plate: archive.org tabernaclehymnsn00chic leaf n29 (2365 px across,\n%% staff space 29.28 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaf n27 (1877 px across, staff space 23.35 px =\n%% 11.7 px per diatonic step). The two items are two scans of the one book —\n%% n00chic's own title page (leaf n7) reads \"Tabernacle Hymns No. 2 … Copyright\n%% 1921 … Published by Tabernacle Publishing Company, 29 South La Salle Street,\n%% Chicago, Illinois\" — and at this hymn n00chic runs two leaves later than\n%% n02chic.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing to seal the pale gaps the plate's ink\n%% leaves inside a head; then holes smaller than 1.2 staff spaces squared are\n%% filled, which turns each hollow (dotted-half) OUTLINE into a disc without\n%% flooding the boxes that staff lines and stems enclose; then staff lines are\n%% suppressed by vertical run length — AFTER the fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x, so the plate's\n%% skew cannot drag a reading. Half and dotted-half heads on this plate are\n%% WIDER than the filled ones (44 px against 30 px at scan 1) and were lost\n%% until the width window was opened to 1.80 staff spaces; merged\n%% soprano-over-alto blobs were split at the midpoint of their two clean outer\n%% edges with the separation snapped to a whole step.\n%%\n%% Counting steps from the bottom staff line (0 = bottom line, 8 = top line),\n%% the measurement inside the staff is tight: the 25 cores on the bottom line\n%% measured between -0.139 and +0.110, the 21 on the second line between 1.903\n%% and 2.086, the 10 in the top space between 6.974 and 7.081. OUTSIDE the\n%% staff the plate itself squeezes the heads back toward it: the 9 cores in the\n%% space above the bass staff measured 8.655 to 8.818, the 9 in the space below\n%% the treble staff -0.695 to -1.007, the 13 between the first and second\n%% ledger lines below -2.630 to -2.916. The classes never overlap, so no\n%% rounding is in doubt.\n%%\n%% 144 of the 160 note positions on scan 1 were covered by a head core within\n%% 0.5 step of the reading below (mean distance 0.094 step, largest 0.496); the\n%% other 16 the automated pass did not resolve — hollow dotted-half heads it\n%% still drops, plus the bass chord of soprano note 6, whose merged pair it\n%% split at 7.53/4.50 instead of 7/5. On scan 2, 117 of the 160 were covered\n%% (mean 0.118, largest 0.484). So EVERY one of the 160 was read a third way as\n%% well, off crops carrying the fitted five-line grid drawn over the page at\n%% 3.4x to 9x, on BOTH scans — and it is that third reading, not any centroid,\n%% that ships. It corrected two chords the eye had got wrong at low\n%% magnification: the alto of the first chord of system 2 (D4, not E-flat 4)\n%% and the bass under \"will,\" (A-flat 2 in the space, not G2 on the line). The\n%% two grid readings agree with each other at all 40 chords in all four\n%% voices — 160 notes, 0 disagreements.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of both leaves\n%% was swept separately BY EYE at high magnification for printed sharps, flats\n%% and naturals; the automated figures above cover staff positions only and\n%% never covered accidentals. The sweep found exactly TWO in the body of the\n%% hymn, both naturals, both in the soprano, and both are on both leaves:\n%% a natural on the bottom line before soprano note 12 (the syllable \"art\",\n%% E natural) and a natural in the second space before soprano note 27 (the\n%% syllable \"-er\" of \"Af-ter\", A natural). Nothing else: no accidental in the\n%% alto, tenor or bass anywhere, and the three-flat signature stands at the\n%% head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber adelaide_stebbins, \"323431712212322\", which is the first\n%% fifteen soprano note-GROUPS of this reading exactly.\n%%\n%% 40 soprano noteheads carry 36 syllables. The four two-note groups are TIES,\n%% not slurs — the two heads are the same pitch in all four voices — and they\n%% fall on the last syllable of poetic lines 2, 4, 6 and 8 (\"way!\", \"clay.\",\n%% \"will,\", \"still.\"): soprano notes 9-10, 19-20, 29-30 and 39-40.\n%%\n%% DEPARTURE FROM THE PLATE'S CASTING. The page casts three systems, breaking\n%% after soprano notes 13 and 25. The first of those falls in the MIDDLE of\n%% poetic line 3, which this corpus does not do, so the systems here break\n%% after notes 10, 20 and 30 — the ends of poetic lines 2, 4 and 6, which are\n%% also barlines — giving four systems of ten noteheads instead of the plate's\n%% 13/12/15.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 9/4 \\partial 2. }\n\nsoprano = {\n  g'4 f'4 g'4 |\n  aes'2. g'2. ees'4 d'4 ees'4 |\n  f'2.~ f'2. f'4 e'4 f'4 |\n  g'2. f'2. f'4 ees'4 d'4 |\n  ees'2.~ ees'2. g'4 f'4 g'4 |\n  aes'2. g'2. bes'4 a'4 bes'4 |\n  c''2.~ c''2. c''4 d''4 c''4 |\n  bes'2. g'2. f'4 ees'4 f'4 |\n  ees'2.~ ees'2.\n}\n\nalto = {\n  ees'4 ees'4 ees'4 |\n  ees'2. ees'2. bes4 bes4 bes4 |\n  d'2.~ d'2. d'4 d'4 d'4 |\n  d'2. d'2. bes4 bes4 bes4 |\n  bes2.~ bes2. ees'4 ees'4 ees'4 |\n  ees'2. ees'2. des'4 c'4 des'4 |\n  ees'2.~ ees'2. ees'4 ees'4 ees'4 |\n  ees'2. ees'2. bes4 bes4 bes4 |\n  bes2.~ bes2.\n}\n\ntenor = {\n  bes4 aes4 bes4 |\n  c'2. bes2. g4 f4 g4 |\n  aes2.~ aes2. aes4 g4 aes4 |\n  bes2. aes2. aes4 g4 f4 |\n  g2.~ g2. bes4 aes4 bes4 |\n  c'2. bes2. g4 g4 g4 |\n  aes2.~ aes2. aes4 bes4 aes4 |\n  g2. bes2. aes4 g4 aes4 |\n  g2.~ g2.\n}\n\nbass = {\n  ees4 ees4 ees4 |\n  ees2. ees2. ees4 ees4 ees4 |\n  bes,2.~ bes,2. bes,4 bes,4 bes,4 |\n  bes,2. bes,2. bes,4 bes,4 bes,4 |\n  ees2.~ ees2. ees4 ees4 ees4 |\n  ees2. ees2. ees4 ees4 ees4 |\n  aes,2.~ aes,2. aes,4 aes,4 aes,4 |\n  bes,2. bes,2. bes,4 bes,4 bes,4 |\n  ees2.~ ees2.\n}\n", "preferred": true}]}, "adeste-fideles": {"slug": "adeste-fideles", "name": "ADESTE FIDELES", "meter_label": "Irregular with Refrain", "meter": {"pattern": [], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "composer": "john-francis-wade", "composer_date": "1916", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "adeste-fideles-a-hymnal-1916", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:65; ADESTE FIDELES, John F. Wade 1743. Public domain.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "adeste-fideles-a-hymnal-1916", "tune": "adeste-fideles", "music_file": "adeste-fideles-a-hymnal-1916.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [11, 24, 36, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:65; ADESTE FIDELES setting, A Hymnal (Episcopal) 1916. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:65", "encoding_license": "PD-dedication"}, "music_ly": "%% O Come, All Ye Faithful\n%% Imported from Open Hymnal ABC X:65 via tools/abc_import.py\n%% Open Hymnal X:65; words/music Wade c.1743, tr. Oakeley 1841, setting A Hymnal (Episcopal) 1916 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'2 d'4 g'4 a'2 d'2 b'4 a'4 b'4 c''4 b'2 a'4 g'4 g'2 fis'4( e'4) fis'4( g'4) a'4( b'4) fis'2( e'4.) d'8 d'1 d''2 c''4 b'4 c''2( b'2) a'4 b'4 g'4 a'4 fis'4.( e'8) d'4 g'4 g'4 fis'4 g'4 a'4 g'2 d'4 b'4 b'4 a'4 b'4 c''4 b'2 a'4 b'4 c''4 b'4 a'4 g'4 fis'2 g'4( c''4) b'2( a'4.) g'8 g'2.\n}\nalto = {\n  d'4 d'2 d'4 d'4 d'2 d'2 d'4 d'4 d'4 e'4 d'2 d'4 b4 b4( cis'4) d'4( cis'4) d'4( d'4) d'4( d'4) d'2( cis'4.) d'8 d'1 d'2 e'8 fis'8 g'4 g'4( fis'4 g'2) d'4 d'4 e'4 e'4 d'2 d'4 d'4 d'1 d'2. d'4 d'4 d'4 d'4 d'4 d'2 d'4 g'4 fis'4 g'4 d'4 d'8 cis'8 d'2 d'4( e'4) d'2~ d'4. b8 b2.\n}\ntenor = {\n  b4 b2 b4 b4 a2 a2 g4 a4 g4 g4 g2 fis4 g4 g2 a4( a4) a4( g4) fis4( e4) a2( g4.) fis8 fis1 b2 c'4 d'4 c'2( d'2) a4 g4 b4 c'4 a4.( g8) fis4 b4 b4 a4 b4 c'4 b2. g4 g4 fis4 g4 a4 g2 fis4 d'4 d'4 d'4 a4 a4 a2 g2 g2( fis4.) g8 g2.\n}\nbass = {\n  g4 g2 b4 g4 fis2 fis2 g4 fis4 g4 c4 d2 d4 e4 e2 d4( a,4) d4( b,4) fis,4( g,4) a,2( a,4.) d8 d1 b2 a4 g4 a2( g2) fis4 g4 e4 c4 d2 d4 b4 b4 a4 b4 c'4 b2. g4 g4 fis4 g4 a4 g2 fis4 g4 a4 g4 fis4 e4 d4 c4 b,4( c4) d2( d4.) g,8 g,2.\n}\n"}, "harmonizations": [{"slug": "adeste-fideles-a-hymnal-1916", "tune": "adeste-fideles", "music_file": "adeste-fideles-a-hymnal-1916.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [11, 24, 36, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:65; ADESTE FIDELES setting, A Hymnal (Episcopal) 1916. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:65", "encoding_license": "PD-dedication"}, "music_ly": "%% O Come, All Ye Faithful\n%% Imported from Open Hymnal ABC X:65 via tools/abc_import.py\n%% Open Hymnal X:65; words/music Wade c.1743, tr. Oakeley 1841, setting A Hymnal (Episcopal) 1916 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'2 d'4 g'4 a'2 d'2 b'4 a'4 b'4 c''4 b'2 a'4 g'4 g'2 fis'4( e'4) fis'4( g'4) a'4( b'4) fis'2( e'4.) d'8 d'1 d''2 c''4 b'4 c''2( b'2) a'4 b'4 g'4 a'4 fis'4.( e'8) d'4 g'4 g'4 fis'4 g'4 a'4 g'2 d'4 b'4 b'4 a'4 b'4 c''4 b'2 a'4 b'4 c''4 b'4 a'4 g'4 fis'2 g'4( c''4) b'2( a'4.) g'8 g'2.\n}\nalto = {\n  d'4 d'2 d'4 d'4 d'2 d'2 d'4 d'4 d'4 e'4 d'2 d'4 b4 b4( cis'4) d'4( cis'4) d'4( d'4) d'4( d'4) d'2( cis'4.) d'8 d'1 d'2 e'8 fis'8 g'4 g'4( fis'4 g'2) d'4 d'4 e'4 e'4 d'2 d'4 d'4 d'1 d'2. d'4 d'4 d'4 d'4 d'4 d'2 d'4 g'4 fis'4 g'4 d'4 d'8 cis'8 d'2 d'4( e'4) d'2~ d'4. b8 b2.\n}\ntenor = {\n  b4 b2 b4 b4 a2 a2 g4 a4 g4 g4 g2 fis4 g4 g2 a4( a4) a4( g4) fis4( e4) a2( g4.) fis8 fis1 b2 c'4 d'4 c'2( d'2) a4 g4 b4 c'4 a4.( g8) fis4 b4 b4 a4 b4 c'4 b2. g4 g4 fis4 g4 a4 g2 fis4 d'4 d'4 d'4 a4 a4 a2 g2 g2( fis4.) g8 g2.\n}\nbass = {\n  g4 g2 b4 g4 fis2 fis2 g4 fis4 g4 c4 d2 d4 e4 e2 d4( a,4) d4( b,4) fis,4( g,4) a,2( a,4.) d8 d1 b2 a4 g4 a2( g2) fis4 g4 e4 c4 d2 d4 b4 b4 a4 b4 c'4 b2. g4 g4 fis4 g4 a4 g2 fis4 g4 a4 g4 fis4 e4 d4 c4 b,4( c4) d2( d4.) g,8 g,2.\n}\n", "preferred": true}]}, "all-the-way": {"slug": "all-the-way", "name": "ALL THE WAY", "meter_label": "8.7.8.7.D with repeat", "meter": {"pattern": [8, 7, 8, 7, 8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1875", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "all-the-way-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ALL THE WAY, composed by Robert Lowry (d. 1899) in 1875 for Fanny Crosby's \"All the Way My Savior Leads Me.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4; fully syllabic 8.7.8.7 D with the closing couplet repeated, and one alto D-natural at the fourth phrase printed with a natural in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"All the Way\" (Robert Lowry, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "all-the-way-cyberhymnal", "tune": "all-the-way", "music_file": "all-the-way-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [15, 30, 45, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ALL THE WAY, Robert Lowry, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ALL THE WAY (Robert Lowry, 1875); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"All the Way\" (Robert Lowry, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ALL THE WAY (8.7.8.7 D) - Robert Lowry, 1875. A four-part SATB hymn tune set\n%% to Fanny Crosby's \"All the Way My Savior Leads Me.\" Encoded from The Cyber\n%% Hymnal (public domain): the SATB MIDI was converted with tools/mid2ly.py and\n%% the notes verified against the Cyber Hymnal engraving. A-flat major, 3/4, no\n%% pickup (opens on the downbeat). Fully SYLLABIC: 75 soprano notes = 75 sung\n%% syllables per stanza -- the closing couplet (\"For I know, whate'er befall me /\n%% Jesus doeth all things well\") is REPEATED, so each verse's text repeats those\n%% two lines (one_to_one underlay; no melisma). The lone accidental is the ALTO\n%% D-natural in the fourth phrase (\"life has been my\"), printed with a natural in\n%% the source and carried as d' here.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 }\n\nsoprano = {\n  c''8. c''16 c''4. c''8 bes'8 as'8 es'4 as'4 as'8 c''8 bes'4. g'8 as'8 bes'8 c''2 c''8 c''8 des''4. c''8 bes'8 as'8 c''4 bes'4 bes'8 bes'8 bes'4. f'8 g'8 as'8 g'2 f'8 es'8 as'4. bes'8 as'8 f'8 es'4 as'4 as'8 bes'8 c''4. as'8 des''8 c''8 bes'2 c''8 des''8 es''4. c''8 bes'8 as'8 bes'4 as'4 g'8 f'8 es'8 as'8 c''4 bes'4 c''2 c''8 des''8 es''4. c''8 bes'8 as'8 bes'4 as'4 g'8 f'8 es'8 as'8 c''4 bes'4 as'2\n}\nalto = {\n  es'8. es'16 es'4. es'8 des'8 c'8 c'4 c'4 c'8 es'8 es'4. es'8 es'8 es'8 es'2 as'8 as'8 as'4. as'8 es'8 es'8 es'4 es'4 es'8 es'8 d'4. d'8 d'8 d'8 es'2 des'8 des'8 c'4. des'8 c'8 des'8 c'4 c'4 es'8 es'8 es'4. c'8 f'8 es'8 es'2 es'8 es'8 es'4. es'8 es'8 es'8 f'4 f'4 es'8 des'8 c'8 es'8 as'4 g'4 es'2 es'8 es'8 es'4. as'8 g'8 es'8 f'4 f'4 es'8 des'8 c'8 es'8 es'4 es'4 es'2\n}\ntenor = {\n  as8. as16 as4. as8 f8 es8 as4 es4 es8 as8 g4. bes8 as8 g8 as2 es'8 es'8 f'4. es'8 des'8 c'8 as4 g4 g8 g8 f4. as8 bes8 c'8 bes2 as8 g8 as4. as8 as8 as8 as4 es4 as8 g8 as4. as8 as8 as8 g2 as8 bes8 c'4. as8 g8 as8 as4 des'4 bes8 as8 as8 c'8 es'4 es'4 as2 as8 bes8 c'4. es'8 des'8 c'8 des'4 des'4 as8 as8 as8 c'8 es'4 des'4 c'2\n}\nbass = {\n  as,8. as,16 as,4. as,8 as,8 as,8 as,4 as,4 as,8 as,8 es4. des8 c8 bes,8 as,2 as8 as8 as4. as8 as8 as8 es4 es4 es8 es8 bes,4. bes,8 bes,8 bes,8 es2 es8 es8 as,4. as,8 as,8 as,8 as,4 as,4 c8 es8 as4. as8 as8 as8 es2 as8 as8 as4. as,8 bes,8 c8 des4 des4 des8 des8 es8 es8 es4 es4 as2 as8 as8 as4. as8 es8 f8 des4 des4 des8 des8 es8 es8 es4 es4 as2\n}\n"}, "harmonizations": [{"slug": "all-the-way-cyberhymnal", "tune": "all-the-way", "music_file": "all-the-way-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [15, 30, 45, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ALL THE WAY, Robert Lowry, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ALL THE WAY (Robert Lowry, 1875); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"All the Way\" (Robert Lowry, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ALL THE WAY (8.7.8.7 D) - Robert Lowry, 1875. A four-part SATB hymn tune set\n%% to Fanny Crosby's \"All the Way My Savior Leads Me.\" Encoded from The Cyber\n%% Hymnal (public domain): the SATB MIDI was converted with tools/mid2ly.py and\n%% the notes verified against the Cyber Hymnal engraving. A-flat major, 3/4, no\n%% pickup (opens on the downbeat). Fully SYLLABIC: 75 soprano notes = 75 sung\n%% syllables per stanza -- the closing couplet (\"For I know, whate'er befall me /\n%% Jesus doeth all things well\") is REPEATED, so each verse's text repeats those\n%% two lines (one_to_one underlay; no melisma). The lone accidental is the ALTO\n%% D-natural in the fourth phrase (\"life has been my\"), printed with a natural in\n%% the source and carried as d' here.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 }\n\nsoprano = {\n  c''8. c''16 c''4. c''8 bes'8 as'8 es'4 as'4 as'8 c''8 bes'4. g'8 as'8 bes'8 c''2 c''8 c''8 des''4. c''8 bes'8 as'8 c''4 bes'4 bes'8 bes'8 bes'4. f'8 g'8 as'8 g'2 f'8 es'8 as'4. bes'8 as'8 f'8 es'4 as'4 as'8 bes'8 c''4. as'8 des''8 c''8 bes'2 c''8 des''8 es''4. c''8 bes'8 as'8 bes'4 as'4 g'8 f'8 es'8 as'8 c''4 bes'4 c''2 c''8 des''8 es''4. c''8 bes'8 as'8 bes'4 as'4 g'8 f'8 es'8 as'8 c''4 bes'4 as'2\n}\nalto = {\n  es'8. es'16 es'4. es'8 des'8 c'8 c'4 c'4 c'8 es'8 es'4. es'8 es'8 es'8 es'2 as'8 as'8 as'4. as'8 es'8 es'8 es'4 es'4 es'8 es'8 d'4. d'8 d'8 d'8 es'2 des'8 des'8 c'4. des'8 c'8 des'8 c'4 c'4 es'8 es'8 es'4. c'8 f'8 es'8 es'2 es'8 es'8 es'4. es'8 es'8 es'8 f'4 f'4 es'8 des'8 c'8 es'8 as'4 g'4 es'2 es'8 es'8 es'4. as'8 g'8 es'8 f'4 f'4 es'8 des'8 c'8 es'8 es'4 es'4 es'2\n}\ntenor = {\n  as8. as16 as4. as8 f8 es8 as4 es4 es8 as8 g4. bes8 as8 g8 as2 es'8 es'8 f'4. es'8 des'8 c'8 as4 g4 g8 g8 f4. as8 bes8 c'8 bes2 as8 g8 as4. as8 as8 as8 as4 es4 as8 g8 as4. as8 as8 as8 g2 as8 bes8 c'4. as8 g8 as8 as4 des'4 bes8 as8 as8 c'8 es'4 es'4 as2 as8 bes8 c'4. es'8 des'8 c'8 des'4 des'4 as8 as8 as8 c'8 es'4 des'4 c'2\n}\nbass = {\n  as,8. as,16 as,4. as,8 as,8 as,8 as,4 as,4 as,8 as,8 es4. des8 c8 bes,8 as,2 as8 as8 as4. as8 as8 as8 es4 es4 es8 es8 bes,4. bes,8 bes,8 bes,8 es2 es8 es8 as,4. as,8 as,8 as,8 as,4 as,4 c8 es8 as4. as8 as8 as8 es2 as8 as8 as4. as,8 bes,8 c8 des4 des4 des8 des8 es8 es8 es4 es4 as2 as8 as8 as4. as8 es8 f8 des4 des4 des8 des8 es8 es8 es4 es4 as2\n}\n", "preferred": true}]}, "all-to-christ": {"slug": "all-to-christ", "name": "ALL TO CHRIST", "meter_label": "6.6.7.7. with Refrain", "meter": {"pattern": [6, 6, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-t-grape", "composer_date": "1868", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "all-to-christ-gospel-hymns-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by John Thomas Grape (1835-1915), written 1868 for Elvina M. Hall's words at the Monument Street Methodist Episcopal Church, Baltimore. The printing read here is Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 — archive.org gospelhymnssacre00blis_0, leaf n40 — where it is credited \"John T. Grape, by per.\" US public domain: the printing read is 1875 and the composer died in 1915, so it is also PD in life+70 jurisdictions. NEITHER of the two plates read prints a TUNE NAME — gospel-song plates of this house name nothing but the hymn — and the name ALL TO CHRIST is the tune authority's, taken from the printed heading \"All to Christ I Owe.\"; later hymnals also index the tune as JESUS PAID IT ALL (so New Baptist Hymnal, 1926, no. 337, \"JESUS PAID IT ALL. 6,6,7,7. With Refrain\"). The metre label is that book's.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "all_to_christ_grape"}}, "harmonization": {"slug": "all-to-christ-gospel-hymns-1875", "tune": "all-to-christ", "music_file": "all-to-christ-gospel-hymns-1875.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 27, 37], "breaks_manual": true, "markings": [{"soprano_note": 28, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 28}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John T. Grape's four-part setting of his own tune, credited \"John T. Grape, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 — archive.org gospelhymnssacre00blis_0, leaf n40 — headed \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"—1 Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left, in E-flat major and 3/4 with a one-quarter pickup, sixteen bars cast as four systems. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, i.e. 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 — archive.org hymnsconso00blis, leaf n40 (2428 px across, staff space 28.8 px, i.e. 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset between them (1875 \"Sav-iour say,\" and \"in - deed\", 1883 \"Sav - iour say,\" and \"in · deed\") and the note spacing differs, so they are two independent engravings of the one setting — the same pair of items, and the same relationship, as near-the-cross-1875 in this corpus. A THIRD independent engraving was opened for the chorus alone, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete, No. 588, printed pages 592-593 — archive.org gospelhymnsnos1t0000unse_s2j5, leaves n598 and n599, headed \"All to Christ I Owe.—Concluded.\" and credited \"ELVINA M. HALL / JOHN T. GRAPE, by per.\" THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: ink is whatever is darker than the LOCAL paper level (a per-column 88th percentile, threshold at 0.45 of the local ink-to-paper range), then a 5x5 binary closing seals the pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2 staff spaces squared are FILLED, turning each hollow half-note outline into a disc; then and only then are the staff and ledger lines suppressed by vertical run length, so a hollow head's thin arcs are already part of a tall run and survive. Heads were isolated by a morphological erosion of 0.46 staff space and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF SPACES, because the half heads on these plates are wider than the filled ones. Every core was converted to a diatonic step against a FRESH five-line fit made in a +-1.3-staff-space window around that core's own x. On the 1875 scan the filled heads sit tight: of the 149 filled-head positions the pass resolved, the mean distance from an exact staff position is 0.09 step and the largest is 0.25. HOLLOW HEADS ARE THE HARD PART OF THIS HYMN — the ten phrase-end chords carry twenty of them — and the automated pass still dropped or mis-split most of them on both scans. SO EVERY HOLLOW HEAD WAS READ A THIRD WAY REGARDLESS, off crops carrying the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and it is that third reading and not any centroid that ships. It settled all ten cadence chords in all four voices, and it corrected one reading the low-magnification eye had got wrong: the soprano of \"all,\" (chorus line 1) is E FLAT 5 in the space below the top line, not D5 — read as D5 it made the chord an E-flat MAJOR SEVENTH, which this idiom does not write, and the 5x-10x grid crops on all THREE engravings put the head in the space at step 7. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves, at 1.45x whole-system magnification and again on every 3x-10x crop; the automated figures above see staff positions only and NEVER COVERED ACCIDENTALS. The sweep found exactly ONE printed accidental in the hymn, and both plates print it: a NATURAL in the bass staff before the bass head of the chorus's line-4 pickup, the syllable \"He\" — the top-line A, making it A NATURAL 3 under C4, E-flat 4 and E-flat 5, an A diminished chord (vii dim of V) resolving onto the B-flat of \"washed\". Missing it would have printed an unexplained A-flat there. Nothing else: no other natural, no sharp, and no flat beyond the three-flat signature at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The one external check is Hymnary's melodic incipit for tune authority all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first fifteen soprano notes of this reading exactly. HARMONIC READING OF THE CHORDS THAT SURPRISED. (a) The passing eighth on \"son\" of \"crim-son\" is G3 / E-flat 4 / B-flat 4 / D5 — an E-flat chord with a passing D in the soprano and a passing G in the bass, the two outer voices moving stepwise E-flat 5-D5-C5 and E-flat 3-G3-A-flat 3 through it; it is a passing sonority, not a written seventh chord, and both plates agree. (b) BOTH final chords — the verse's \"all.\" and the hymn's \"snow.\" — are E-flat 3 / G3 / E-flat 4 / E-flat 4, with the FIFTH OMITTED and the tonic tripled: the treble staff prints ONE head with two stems and one dot, and the bass staff prints G3 over E-flat 3. That was checked at 10x on both plates and is what is engraved. (c) Tenor and bass share ONE printed head (two stems, one dot) on B-flat 3 at \"Me\", at \"owe;\" and at \"washed\"; these are engraved unisons, the same device this corpus already records on the 1875/1883 NEAR THE CROSS plates. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a HEAVY line at the end of every line of text, and four of those fall in the MIDDLE of a bar (after \"say,\", \"small;\", \"pray,\" and \"stain:\"); no heavy line is carried except the closing one (final_barline \"|.\"), the engine drawing ordinary barlines from the metre and system breaks at the plate's own three casting points; (2) the FERMATA the plates print over and under the chorus's \"stain:\" is not carried, this corpus having no fermata on this path; (3) the printed SLURS over the two pickup notes of verse lines 3 and 4 are not carried as slur glyphs — they say that the later stanzas sing one syllable there, and that is expressed instead by the '_' held-note marks in the per-stanza underlay, which the engine beams and slurs per verse; (4) the plates' \"CHORUS.\" word is carried as the corpus's refrain marking. Nothing else departs: every pitch, every duration, the one natural, both quarter rests, the dotted final notes and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs (1875), No. 35, p. 36 — archive.org gospelhymnssacre00blis_0 leaf n40 — collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated, Nos. 1 to 4, No. 35, p. 36 (archive.org hymnsconso00blis, leaf n40), with the chorus additionally checked against Gospel Hymns Nos. 1 to 6 Complete, No. 588 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf n599). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: John T. Grape, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% ALL TO CHRIST (6.6.7.7. with Refrain) — John T. Grape. Four SATB voice\n%% streams, canonical key E-flat major, 3/4, a one-quarter pickup, sixteen full\n%% bars plus that pickup (eight for the verse, eight for the chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Gospel Hymns and Sacred Songs (New York: Biglow & Main;\n%% Cincinnati: John Church & Co., 1875), No. 35, printed page 36, headed\n%% \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"—1\n%% Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left and \"John T. Grape,\n%% by per.\" on the right. Read off TWO dated printings of that setting, each\n%% with its own binarisation and its own staff-line fits: archive.org\n%% gospelhymnssacre00blis_0 leaf n40 (2244 px across, staff space 28.2 px =\n%% 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New\n%% York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 —\n%% archive.org hymnsconso00blis leaf n40 (2428 px across, staff space 28.8 px =\n%% 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset\n%% between them (1875 \"Sav-iour say,\" / \"in - deed\", 1883 \"Sav - iour say,\" /\n%% \"in · deed\") and the note spacing differs, so they are two independent\n%% engravings of the one setting. A THIRD engraving was opened for the chorus\n%% only, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete (1894), No. 588,\n%% printed pages 592-593 — archive.org gospelhymnsnos1t0000unse_s2j5 leaves\n%% n598-n599.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye first). Per scan: ink is whatever is\n%% darker than the local paper level (a per-column 88th percentile, threshold at\n%% 0.45 of the local ink-to-paper range), then a 5x5 binary CLOSING seals the\n%% pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2\n%% staff spaces squared are FILLED, which turns each hollow half-note OUTLINE\n%% into a disc; then and only then are the staff and ledger lines suppressed by\n%% vertical run length, so a hollow head's thin top and bottom arcs are already\n%% part of a tall run and survive — doing that suppression BEFORE the fill is\n%% the bug that loses every hollow head. Heads were isolated by morphological\n%% erosion of 0.46 staff space, and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF\n%% SPACES because half heads on this plate are wider than the filled ones.\n%% Every core was converted to a diatonic step against a FRESH five-line fit made\n%% in a +-1.3-staff-space window around that core's own x.\n%%\n%% EVERY HOLLOW HEAD WAS THEN READ A THIRD WAY REGARDLESS, off crops carrying\n%% the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and\n%% it is that third reading and not any centroid that ships. The automated pass\n%% dropped or mis-split most of the twenty hollow heads (the ten phrase-end\n%% chords) on both scans; the grid crops settled all of them.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at 1.45x whole-system magnification and again on\n%% every 3x-10x crop; the automated figures above cover staff positions only and\n%% never covered accidentals. There is exactly ONE printed accidental in the\n%% hymn, and BOTH plates print it: a NATURAL in the bass staff before the lower\n%% (bass) head of the chorus's line-4 pickup, the syllable \"He\" — the top-line A,\n%% making it A natural 3 under C4/E flat 4/E flat 5, an A diminished chord that\n%% resolves onto the B flat of \"washed\". Without it the chord is an unexplained\n%% A-flat sonority; with it the progression is the ordinary vii dim of V to V.\n%% Nothing else: no other natural, no sharp, and no flat beyond the three-flat\n%% signature that stands at the head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% The one external check is Hymnary's melodic incipit for tune authority\n%% all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first\n%% fifteen soprano notes of this reading exactly (E flat 4, G4, B flat 4, C5,\n%% B flat 4, G4, E flat 4 / E flat 4, F4, F4, E flat 4, F4, G4 / E flat 4, G4).\n%%\n%% RHYTHM AND BARRING. The plate draws a HEAVY line at the end of every line of\n%% text, and four of those heavy lines fall in the MIDDLE of a bar — after\n%% \"say,\", \"small;\", \"pray,\" and \"stain:\" — because each phrase-end note is a\n%% plain HALF note (verified: no augmentation dot on either plate) and the next\n%% phrase's pickup completes the bar. ONE exception carries a dot and fills its\n%% bar alone: the verse's last note (\"all.\"), because the chorus starts on a\n%% downbeat. The HYMN's last note (\"snow.\") does NOT — all three plates print a\n%% plain undotted half there, the 2-beat complement of the opening quarter pickup.\n%% This file first dotted it in all four voices and said the dot had been \"checked\n%% at 10x on both plates\"; that check did not happen, and the engraving and the\n%% MIDI both shipped an extra beat. Corrected. The chorus's first two lines end on\n%% a half note plus a printed QUARTER REST in all four voices. So the piece is a\n%% pickup quarter, FIFTEEN full 3/4 bars, and a 2-beat final bar.\n%%\n%% THE ONE NON-HOMORHYTHMIC PLACE is the opening pickup: soprano and tenor sing\n%% two beamed eighths there while alto and bass hold a single quarter (one\n%% notehead, two stems, in each staff). At the other three phrase pickups\n%% (\"Child of\", \"Find in\", \"He\") all four voices move together.\n%%\n%% TENOR/BASS UNISONS. The plate prints ONE notehead with an up-stem and a\n%% down-stem — tenor and bass on the same pitch — at three places: \"Me\" and\n%% \"washed\" (both B flat 3) and \"owe;\" (B flat 3). They are encoded as unisons,\n%% which is what is engraved.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'4 |\n  f'4. f'8 ees'8 f'8 |\n  g'2 ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'8 f'8 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2. |\n  bes'4. c''8 bes'8 g'8 |\n  ees''2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  f'2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  ees''8 d''8 c''4 ees''4 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2\n}\n\nalto = {\n  ees'4 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 bes4 |\n  d'4. d'8 c'8 d'8 |\n  ees'2 ees'8 ees'8 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 ees'8 ees'8 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2. |\n  g'4. aes'8 g'8 ees'8 |\n  g'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  d'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  g'8 bes'8 aes'4 ees'4 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2\n}\n\ntenor = {\n  g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 g4 |\n  bes4. bes8 g8 bes8 |\n  bes2 g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 bes8 c'8 |\n  bes4. bes8 bes8 aes8 |\n  g2. |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes8 ees'8 ees'4 c'4 |\n  bes4. bes8 bes8 aes8 |\n  g2\n}\n\nbass = {\n  ees4 |\n  ees4. ees8 ees8 ees8 |\n  ees2 ees4 |\n  bes,4. bes,8 c8 bes,8 |\n  ees2 ees8 ees8 |\n  ees4. ees8 ees8 ees8 |\n  ees2 g8 aes8 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2. |\n  ees4. ees8 ees8 ees8 |\n  ees2 r4 |\n  ees4. ees8 ees8 g8 |\n  bes2 r4 |\n  ees4. ees8 ees8 ees8 |\n  ees8 g8 aes4 a4 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2\n}\n"}, "harmonizations": [{"slug": "all-to-christ-gospel-hymns-1875", "tune": "all-to-christ", "music_file": "all-to-christ-gospel-hymns-1875.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 27, 37], "breaks_manual": true, "markings": [{"soprano_note": 28, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 28}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John T. Grape's four-part setting of his own tune, credited \"John T. Grape, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 — archive.org gospelhymnssacre00blis_0, leaf n40 — headed \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"—1 Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left, in E-flat major and 3/4 with a one-quarter pickup, sixteen bars cast as four systems. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, i.e. 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 — archive.org hymnsconso00blis, leaf n40 (2428 px across, staff space 28.8 px, i.e. 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset between them (1875 \"Sav-iour say,\" and \"in - deed\", 1883 \"Sav - iour say,\" and \"in · deed\") and the note spacing differs, so they are two independent engravings of the one setting — the same pair of items, and the same relationship, as near-the-cross-1875 in this corpus. A THIRD independent engraving was opened for the chorus alone, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete, No. 588, printed pages 592-593 — archive.org gospelhymnsnos1t0000unse_s2j5, leaves n598 and n599, headed \"All to Christ I Owe.—Concluded.\" and credited \"ELVINA M. HALL / JOHN T. GRAPE, by per.\" THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: ink is whatever is darker than the LOCAL paper level (a per-column 88th percentile, threshold at 0.45 of the local ink-to-paper range), then a 5x5 binary closing seals the pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2 staff spaces squared are FILLED, turning each hollow half-note outline into a disc; then and only then are the staff and ledger lines suppressed by vertical run length, so a hollow head's thin arcs are already part of a tall run and survive. Heads were isolated by a morphological erosion of 0.46 staff space and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF SPACES, because the half heads on these plates are wider than the filled ones. Every core was converted to a diatonic step against a FRESH five-line fit made in a +-1.3-staff-space window around that core's own x. On the 1875 scan the filled heads sit tight: of the 149 filled-head positions the pass resolved, the mean distance from an exact staff position is 0.09 step and the largest is 0.25. HOLLOW HEADS ARE THE HARD PART OF THIS HYMN — the ten phrase-end chords carry twenty of them — and the automated pass still dropped or mis-split most of them on both scans. SO EVERY HOLLOW HEAD WAS READ A THIRD WAY REGARDLESS, off crops carrying the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and it is that third reading and not any centroid that ships. It settled all ten cadence chords in all four voices, and it corrected one reading the low-magnification eye had got wrong: the soprano of \"all,\" (chorus line 1) is E FLAT 5 in the space below the top line, not D5 — read as D5 it made the chord an E-flat MAJOR SEVENTH, which this idiom does not write, and the 5x-10x grid crops on all THREE engravings put the head in the space at step 7. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves, at 1.45x whole-system magnification and again on every 3x-10x crop; the automated figures above see staff positions only and NEVER COVERED ACCIDENTALS. The sweep found exactly ONE printed accidental in the hymn, and both plates print it: a NATURAL in the bass staff before the bass head of the chorus's line-4 pickup, the syllable \"He\" — the top-line A, making it A NATURAL 3 under C4, E-flat 4 and E-flat 5, an A diminished chord (vii dim of V) resolving onto the B-flat of \"washed\". Missing it would have printed an unexplained A-flat there. Nothing else: no other natural, no sharp, and no flat beyond the three-flat signature at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The one external check is Hymnary's melodic incipit for tune authority all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first fifteen soprano notes of this reading exactly. HARMONIC READING OF THE CHORDS THAT SURPRISED. (a) The passing eighth on \"son\" of \"crim-son\" is G3 / E-flat 4 / B-flat 4 / D5 — an E-flat chord with a passing D in the soprano and a passing G in the bass, the two outer voices moving stepwise E-flat 5-D5-C5 and E-flat 3-G3-A-flat 3 through it; it is a passing sonority, not a written seventh chord, and both plates agree. (b) BOTH final chords — the verse's \"all.\" and the hymn's \"snow.\" — are E-flat 3 / G3 / E-flat 4 / E-flat 4, with the FIFTH OMITTED and the tonic tripled: the treble staff prints ONE head with two stems and one dot, and the bass staff prints G3 over E-flat 3. That was checked at 10x on both plates and is what is engraved. (c) Tenor and bass share ONE printed head (two stems, one dot) on B-flat 3 at \"Me\", at \"owe;\" and at \"washed\"; these are engraved unisons, the same device this corpus already records on the 1875/1883 NEAR THE CROSS plates. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a HEAVY line at the end of every line of text, and four of those fall in the MIDDLE of a bar (after \"say,\", \"small;\", \"pray,\" and \"stain:\"); no heavy line is carried except the closing one (final_barline \"|.\"), the engine drawing ordinary barlines from the metre and system breaks at the plate's own three casting points; (2) the FERMATA the plates print over and under the chorus's \"stain:\" is not carried, this corpus having no fermata on this path; (3) the printed SLURS over the two pickup notes of verse lines 3 and 4 are not carried as slur glyphs — they say that the later stanzas sing one syllable there, and that is expressed instead by the '_' held-note marks in the per-stanza underlay, which the engine beams and slurs per verse; (4) the plates' \"CHORUS.\" word is carried as the corpus's refrain marking. Nothing else departs: every pitch, every duration, the one natural, both quarter rests, the dotted final notes and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs (1875), No. 35, p. 36 — archive.org gospelhymnssacre00blis_0 leaf n40 — collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated, Nos. 1 to 4, No. 35, p. 36 (archive.org hymnsconso00blis, leaf n40), with the chorus additionally checked against Gospel Hymns Nos. 1 to 6 Complete, No. 588 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf n599). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: John T. Grape, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% ALL TO CHRIST (6.6.7.7. with Refrain) — John T. Grape. Four SATB voice\n%% streams, canonical key E-flat major, 3/4, a one-quarter pickup, sixteen full\n%% bars plus that pickup (eight for the verse, eight for the chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Gospel Hymns and Sacred Songs (New York: Biglow & Main;\n%% Cincinnati: John Church & Co., 1875), No. 35, printed page 36, headed\n%% \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"—1\n%% Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left and \"John T. Grape,\n%% by per.\" on the right. Read off TWO dated printings of that setting, each\n%% with its own binarisation and its own staff-line fits: archive.org\n%% gospelhymnssacre00blis_0 leaf n40 (2244 px across, staff space 28.2 px =\n%% 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New\n%% York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 —\n%% archive.org hymnsconso00blis leaf n40 (2428 px across, staff space 28.8 px =\n%% 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset\n%% between them (1875 \"Sav-iour say,\" / \"in - deed\", 1883 \"Sav - iour say,\" /\n%% \"in · deed\") and the note spacing differs, so they are two independent\n%% engravings of the one setting. A THIRD engraving was opened for the chorus\n%% only, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete (1894), No. 588,\n%% printed pages 592-593 — archive.org gospelhymnsnos1t0000unse_s2j5 leaves\n%% n598-n599.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye first). Per scan: ink is whatever is\n%% darker than the local paper level (a per-column 88th percentile, threshold at\n%% 0.45 of the local ink-to-paper range), then a 5x5 binary CLOSING seals the\n%% pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2\n%% staff spaces squared are FILLED, which turns each hollow half-note OUTLINE\n%% into a disc; then and only then are the staff and ledger lines suppressed by\n%% vertical run length, so a hollow head's thin top and bottom arcs are already\n%% part of a tall run and survive — doing that suppression BEFORE the fill is\n%% the bug that loses every hollow head. Heads were isolated by morphological\n%% erosion of 0.46 staff space, and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF\n%% SPACES because half heads on this plate are wider than the filled ones.\n%% Every core was converted to a diatonic step against a FRESH five-line fit made\n%% in a +-1.3-staff-space window around that core's own x.\n%%\n%% EVERY HOLLOW HEAD WAS THEN READ A THIRD WAY REGARDLESS, off crops carrying\n%% the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and\n%% it is that third reading and not any centroid that ships. The automated pass\n%% dropped or mis-split most of the twenty hollow heads (the ten phrase-end\n%% chords) on both scans; the grid crops settled all of them.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at 1.45x whole-system magnification and again on\n%% every 3x-10x crop; the automated figures above cover staff positions only and\n%% never covered accidentals. There is exactly ONE printed accidental in the\n%% hymn, and BOTH plates print it: a NATURAL in the bass staff before the lower\n%% (bass) head of the chorus's line-4 pickup, the syllable \"He\" — the top-line A,\n%% making it A natural 3 under C4/E flat 4/E flat 5, an A diminished chord that\n%% resolves onto the B flat of \"washed\". Without it the chord is an unexplained\n%% A-flat sonority; with it the progression is the ordinary vii dim of V to V.\n%% Nothing else: no other natural, no sharp, and no flat beyond the three-flat\n%% signature that stands at the head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% The one external check is Hymnary's melodic incipit for tune authority\n%% all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first\n%% fifteen soprano notes of this reading exactly (E flat 4, G4, B flat 4, C5,\n%% B flat 4, G4, E flat 4 / E flat 4, F4, F4, E flat 4, F4, G4 / E flat 4, G4).\n%%\n%% RHYTHM AND BARRING. The plate draws a HEAVY line at the end of every line of\n%% text, and four of those heavy lines fall in the MIDDLE of a bar — after\n%% \"say,\", \"small;\", \"pray,\" and \"stain:\" — because each phrase-end note is a\n%% plain HALF note (verified: no augmentation dot on either plate) and the next\n%% phrase's pickup completes the bar. ONE exception carries a dot and fills its\n%% bar alone: the verse's last note (\"all.\"), because the chorus starts on a\n%% downbeat. The HYMN's last note (\"snow.\") does NOT — all three plates print a\n%% plain undotted half there, the 2-beat complement of the opening quarter pickup.\n%% This file first dotted it in all four voices and said the dot had been \"checked\n%% at 10x on both plates\"; that check did not happen, and the engraving and the\n%% MIDI both shipped an extra beat. Corrected. The chorus's first two lines end on\n%% a half note plus a printed QUARTER REST in all four voices. So the piece is a\n%% pickup quarter, FIFTEEN full 3/4 bars, and a 2-beat final bar.\n%%\n%% THE ONE NON-HOMORHYTHMIC PLACE is the opening pickup: soprano and tenor sing\n%% two beamed eighths there while alto and bass hold a single quarter (one\n%% notehead, two stems, in each staff). At the other three phrase pickups\n%% (\"Child of\", \"Find in\", \"He\") all four voices move together.\n%%\n%% TENOR/BASS UNISONS. The plate prints ONE notehead with an up-stem and a\n%% down-stem — tenor and bass on the same pitch — at three places: \"Me\" and\n%% \"washed\" (both B flat 3) and \"owe;\" (B flat 3). They are encoded as unisons,\n%% which is what is engraved.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'4 |\n  f'4. f'8 ees'8 f'8 |\n  g'2 ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'8 f'8 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2. |\n  bes'4. c''8 bes'8 g'8 |\n  ees''2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  f'2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  ees''8 d''8 c''4 ees''4 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2\n}\n\nalto = {\n  ees'4 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 bes4 |\n  d'4. d'8 c'8 d'8 |\n  ees'2 ees'8 ees'8 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 ees'8 ees'8 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2. |\n  g'4. aes'8 g'8 ees'8 |\n  g'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  d'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  g'8 bes'8 aes'4 ees'4 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2\n}\n\ntenor = {\n  g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 g4 |\n  bes4. bes8 g8 bes8 |\n  bes2 g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 bes8 c'8 |\n  bes4. bes8 bes8 aes8 |\n  g2. |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes8 ees'8 ees'4 c'4 |\n  bes4. bes8 bes8 aes8 |\n  g2\n}\n\nbass = {\n  ees4 |\n  ees4. ees8 ees8 ees8 |\n  ees2 ees4 |\n  bes,4. bes,8 c8 bes,8 |\n  ees2 ees8 ees8 |\n  ees4. ees8 ees8 ees8 |\n  ees2 g8 aes8 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2. |\n  ees4. ees8 ees8 ees8 |\n  ees2 r4 |\n  ees4. ees8 ees8 g8 |\n  bes2 r4 |\n  ees4. ees8 ees8 ees8 |\n  ees8 g8 aes4 a4 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2\n}\n", "preferred": true}]}, "allein-gott-in-der-hoh": {"slug": "allein-gott-in-der-hoh", "name": "ALLEIN GOTT IN DER HÖH", "alt_name": "ALLEIN GOTT", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "nicolaus-decius", "composer_date": "1539", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "allein-gott-in-der-hoh-bwv260", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ALLEIN GOTT IN DER HÖH (Zahn 4457), the proper tune for the German Gloria \"Allein Gott in der Höh sei Ehr\": Nicolaus Decius, 1539, adapted from the Gloria of the plainchant Easter mass (\"Lux et origo\"), first published in Geistliche Lieder (Leipzig, 1539). The melody is carried here in J. S. Bach's chorale harmonization BWV 260 (Breitkopf 371-chorale collection no. 249, publ. 1784–87), encoded from the music21 corpus MusicXML and verified against the independent KernScores encoding. All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "allein_gott_in_der_hoh_decius"}}, "harmonization": {"slug": "allein-gott-in-der-hoh-bwv260", "tune": "allein-gott-in-der-hoh", "music_file": "allein-gott-in-der-hoh-bwv260.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [20, 40, 57], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Harmonization: J. S. Bach (BWV 260), publ. Breitkopf, 1784–87. Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "J. S. Bach's four-part chorale harmonization BWV 260 of ALLEIN GOTT IN DER HÖH (Bach d. 1750), first published in the Breitkopf collection of Bach's four-part chorales (Leipzig, 1784–87), no. 249. Encoded from the music21 corpus MusicXML bwv260 (MuseData-derived encoding of the Breitkopf 371) via tools/mxl2ly.py, with the stollen repeat written out; verified note-for-note against the source MusicXML and against the independent KernScores/craigsapp encoding of Breitkopf no. 249 (one inner-voice variant between the two encodings documented in the .ly header). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 corpus MusicXML bwv260 (MuseData-derived, Breitkopf 371 no. 249), converted with tools/mxl2ly.py; cross-checked against KernScores chor249.krn", "encoding_license": "BSD-3-Clause (music21 corpus)"}, "music_ly": "%% ALLEIN GOTT IN DER HÖH (8.7.8.7.8.8.7) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's four-part chorale harmonization BWV 260 of ALLEIN GOTT IN DER HÖH\n%% (Nicolaus Decius, 1539, adapted from the Gloria of the plainchant Easter mass;\n%% Zahn 4457). Converted from the music21 corpus MusicXML bwv260 (MuseData-derived\n%% encoding of the Breitkopf 371-chorale collection, no. 249, publ. 1784-87) with\n%% tools/mxl2ly.py; the stollen repeat is written out in full (the corpus has no\n%% volta support). Voices verified note-for-note against the source MusicXML AND\n%% against the independent KernScores/craigsapp encoding (chor249.krn): the two\n%% encodings agree on every pitch and duration except one inner-voice detail (the\n%% syncopated tenor under soprano notes 42-45, this edition's e'8 f'4 e'8 vs the\n%% Kern's e'8 f'8 f'8 e'8 re-strike; the MusicXML reading is kept). The alto's\n%% striking a'8-a8 octave drop under soprano notes 44-45 is confirmed by both\n%% encodings. G major, 4/4, eighth-note-pair pickup (\\partial 4). MELISMATIC:\n%% 67 soprano notes for 53 syllables (8.7.8.7.8.8.7); the melisma continuations\n%% are held with '_' every stanza (verse_variable_melisma) at soprano notes\n%% 2, 13, 15, 18-19 (first stollen), 22, 33, 35, 38-39 (repeated stollen), and\n%% 47, 62, 65-66 (abgesang); the soprano melisma spans carry slurs. Fermatas in\n%% the source mark the seven phrase ends (soprano notes 9, 20, 29, 40, 49, 57,\n%% 67); they are not encoded. The BGA editorial German underlay carried by the\n%% encoding (the exact melisma map) is kept below for provenance:\n%%   v1: Al- _ lein Gott in der Höh' sei Ehr' und Dank für _ sei- _ ne Gna- _ _ de,\n%%       (repeat) Al- _ lein Gott in der Höh' sei Ehr' und Dank für _ sei- _ ne Gna- _ _ de,\n%%   v2: da- _ rum, dass nun und nim- mer- mehr uns rüh- ren _ kann _ kein Scha- _ _ de!\n%%       (repeat), Ein Wohl- ge- fall'n Gott an _ uns hat, nun ist gross Fried ohn'\n%%       Un- ter- lass, all' Fehd' hat nun _ ein En- _ _ de.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8( a'8) |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 b'4 |\n  b'4 a'8( b'8) c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4 g'8( a'8) |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 b'4 |\n  b'4 a'8( b'8) c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4 g'4 |\n  a'4 b'4 c''4 b'4 |\n  a'8.( b'16) b'4 a'4 a'4 |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 g'4 |\n  a'4 b'4 c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4\n}\n\nalto = {\n  d'4 |\n  g'4 g'4 fis'4 e'8 fis'8 |\n  g'8 fis'8 e'4 dis'4 e'4 |\n  d'8 e'8 fis'4 g'4. fis'8 |\n  g'4 d'4 d'4 d'4 |\n  g'4 g'4 fis'4 e'8 fis'8 |\n  g'8 fis'8 e'4 dis'4 e'4 |\n  d'8 e'8 fis'4 g'4. fis'8 |\n  g'4 d'4 d'4 d'8 e'8 |\n  fis'4 gis'4 a'8 a8 d'8 e'8 |\n  a8 a'4 gis'8 e'4 d'4 |\n  d'4 g'4 fis'8 gis'8 a'4 |\n  g'8 fis'8 e'4 dis'4 b8 cis'8 |\n  d'8 e'8 fis'4 e'4. d'16 c'16 |\n  g'4 d'4 d'4\n}\n\ntenor = {\n  b8 c'8 |\n  d'4 e'8 g8 a8 b8 c'8 d'8 |\n  e'8 b8 c'4 fis4 g8 a8 |\n  b8 c'8 d'4 e'4. d'16 c'16 |\n  d'8 c'16 b16 a4 b4 b8 c'8 |\n  d'4 e'8 g8 a8 b8 c'8 d'8 |\n  e'8 b8 c'4 fis4 g8 a8 |\n  b8 c'8 d'4 e'4. d'16 c'16 |\n  d'8 c'16 b16 a4 b4 b4 |\n  a4 d'4 e'8 f'4 e'8 |\n  e'16 d'16 e'8 f'8 e'16 d'16 c'4 a4 |\n  g4 g8 a8 b4 e4 |\n  e'8 b8 c'4 fis4 g4 |\n  fis4 b8 a8 g4. fis8 |\n  d'8 c'16 b16 a4 b4\n}\n\nbass = {\n  g,4 |\n  g8 fis8 e4 d4 a,4 |\n  e8 d8 c4 b,4 e8 fis8 |\n  g4 fis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4 g,4 |\n  g8 fis8 e4 d4 a,4 |\n  e8 d8 c4 b,4 e8 fis8 |\n  g4 fis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4 g4 |\n  d8 d'8 c'8 b8 a4 g4 |\n  f8 c8 d8 e8 a,4 fis4 |\n  g8 fis8 e4 b,4 c8 d8 |\n  e8 d8 c4 b,4 e4 |\n  d4 dis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4\n}\n"}, "harmonizations": [{"slug": "allein-gott-in-der-hoh-bwv260", "tune": "allein-gott-in-der-hoh", "music_file": "allein-gott-in-der-hoh-bwv260.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [20, 40, 57], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Harmonization: J. S. Bach (BWV 260), publ. Breitkopf, 1784–87. Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "J. S. Bach's four-part chorale harmonization BWV 260 of ALLEIN GOTT IN DER HÖH (Bach d. 1750), first published in the Breitkopf collection of Bach's four-part chorales (Leipzig, 1784–87), no. 249. Encoded from the music21 corpus MusicXML bwv260 (MuseData-derived encoding of the Breitkopf 371) via tools/mxl2ly.py, with the stollen repeat written out; verified note-for-note against the source MusicXML and against the independent KernScores/craigsapp encoding of Breitkopf no. 249 (one inner-voice variant between the two encodings documented in the .ly header). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 corpus MusicXML bwv260 (MuseData-derived, Breitkopf 371 no. 249), converted with tools/mxl2ly.py; cross-checked against KernScores chor249.krn", "encoding_license": "BSD-3-Clause (music21 corpus)"}, "music_ly": "%% ALLEIN GOTT IN DER HÖH (8.7.8.7.8.8.7) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's four-part chorale harmonization BWV 260 of ALLEIN GOTT IN DER HÖH\n%% (Nicolaus Decius, 1539, adapted from the Gloria of the plainchant Easter mass;\n%% Zahn 4457). Converted from the music21 corpus MusicXML bwv260 (MuseData-derived\n%% encoding of the Breitkopf 371-chorale collection, no. 249, publ. 1784-87) with\n%% tools/mxl2ly.py; the stollen repeat is written out in full (the corpus has no\n%% volta support). Voices verified note-for-note against the source MusicXML AND\n%% against the independent KernScores/craigsapp encoding (chor249.krn): the two\n%% encodings agree on every pitch and duration except one inner-voice detail (the\n%% syncopated tenor under soprano notes 42-45, this edition's e'8 f'4 e'8 vs the\n%% Kern's e'8 f'8 f'8 e'8 re-strike; the MusicXML reading is kept). The alto's\n%% striking a'8-a8 octave drop under soprano notes 44-45 is confirmed by both\n%% encodings. G major, 4/4, eighth-note-pair pickup (\\partial 4). MELISMATIC:\n%% 67 soprano notes for 53 syllables (8.7.8.7.8.8.7); the melisma continuations\n%% are held with '_' every stanza (verse_variable_melisma) at soprano notes\n%% 2, 13, 15, 18-19 (first stollen), 22, 33, 35, 38-39 (repeated stollen), and\n%% 47, 62, 65-66 (abgesang); the soprano melisma spans carry slurs. Fermatas in\n%% the source mark the seven phrase ends (soprano notes 9, 20, 29, 40, 49, 57,\n%% 67); they are not encoded. The BGA editorial German underlay carried by the\n%% encoding (the exact melisma map) is kept below for provenance:\n%%   v1: Al- _ lein Gott in der Höh' sei Ehr' und Dank für _ sei- _ ne Gna- _ _ de,\n%%       (repeat) Al- _ lein Gott in der Höh' sei Ehr' und Dank für _ sei- _ ne Gna- _ _ de,\n%%   v2: da- _ rum, dass nun und nim- mer- mehr uns rüh- ren _ kann _ kein Scha- _ _ de!\n%%       (repeat), Ein Wohl- ge- fall'n Gott an _ uns hat, nun ist gross Fried ohn'\n%%       Un- ter- lass, all' Fehd' hat nun _ ein En- _ _ de.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8( a'8) |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 b'4 |\n  b'4 a'8( b'8) c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4 g'8( a'8) |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 b'4 |\n  b'4 a'8( b'8) c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4 g'4 |\n  a'4 b'4 c''4 b'4 |\n  a'8.( b'16) b'4 a'4 a'4 |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'4 g'4 |\n  a'4 b'4 c''8( b'8) a'4 |\n  g'8( e'8 fis'4) g'4\n}\n\nalto = {\n  d'4 |\n  g'4 g'4 fis'4 e'8 fis'8 |\n  g'8 fis'8 e'4 dis'4 e'4 |\n  d'8 e'8 fis'4 g'4. fis'8 |\n  g'4 d'4 d'4 d'4 |\n  g'4 g'4 fis'4 e'8 fis'8 |\n  g'8 fis'8 e'4 dis'4 e'4 |\n  d'8 e'8 fis'4 g'4. fis'8 |\n  g'4 d'4 d'4 d'8 e'8 |\n  fis'4 gis'4 a'8 a8 d'8 e'8 |\n  a8 a'4 gis'8 e'4 d'4 |\n  d'4 g'4 fis'8 gis'8 a'4 |\n  g'8 fis'8 e'4 dis'4 b8 cis'8 |\n  d'8 e'8 fis'4 e'4. d'16 c'16 |\n  g'4 d'4 d'4\n}\n\ntenor = {\n  b8 c'8 |\n  d'4 e'8 g8 a8 b8 c'8 d'8 |\n  e'8 b8 c'4 fis4 g8 a8 |\n  b8 c'8 d'4 e'4. d'16 c'16 |\n  d'8 c'16 b16 a4 b4 b8 c'8 |\n  d'4 e'8 g8 a8 b8 c'8 d'8 |\n  e'8 b8 c'4 fis4 g8 a8 |\n  b8 c'8 d'4 e'4. d'16 c'16 |\n  d'8 c'16 b16 a4 b4 b4 |\n  a4 d'4 e'8 f'4 e'8 |\n  e'16 d'16 e'8 f'8 e'16 d'16 c'4 a4 |\n  g4 g8 a8 b4 e4 |\n  e'8 b8 c'4 fis4 g4 |\n  fis4 b8 a8 g4. fis8 |\n  d'8 c'16 b16 a4 b4\n}\n\nbass = {\n  g,4 |\n  g8 fis8 e4 d4 a,4 |\n  e8 d8 c4 b,4 e8 fis8 |\n  g4 fis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4 g,4 |\n  g8 fis8 e4 d4 a,4 |\n  e8 d8 c4 b,4 e8 fis8 |\n  g4 fis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4 g4 |\n  d8 d'8 c'8 b8 a4 g4 |\n  f8 c8 d8 e8 a,4 fis4 |\n  g8 fis8 e4 b,4 c8 d8 |\n  e8 d8 c4 b,4 e4 |\n  d4 dis4 e8 d8 c8 a,8 |\n  b,8 c8 d4 g,4\n}\n", "preferred": true}]}, "almost-persuaded": {"slug": "almost-persuaded", "name": "ALMOST PERSUADED", "meter_label": "9.9.6.6.6.4", "meter": {"pattern": [9, 9, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "philip-paul-bliss", "composer_date": "1871", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "almost-persuaded-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for his own words. The standard attribution, not itself verified from a scan by this import and not relied on for the PD gate, is first publication in The Charm (Chicago: Root & Cady, 1871). Read here from the dated printing in Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 — archive.org gospelhymnssacre00blis_0, leaf 76 — which heads the page \"Almost Persuaded.\" and credits \"P. P. Bliss.\" (words) and \"P. P. Bliss, by per.\" (music); collated against the same plates in the independently scanned Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 75, printed page 72 (archive.org hymnsconso00blis, leaf 78). US public domain by publication before 1929, and both witnesses read here are themselves pre-1931. The soprano's first fifteen scale degrees, counting a tie once, are 344311223344312 — exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss, which also gives the key as G major and the meter as 9.9.6.6.6.4. tools/tune_fingerprint.py finds no corpus melody closer than 0.642 (PETRA), far under the 0.80 duplicate threshold, so this is not a duplicate under another name. Neither dated page names the tune on the staff — gospel books of this series rarely do — so the name ALMOST PERSUADED is the one the hymnals and Hymnary print for it, taken from the first line; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "almost_persuaded_bliss", "total_instances": 646}}, "harmonization": {"slug": "almost-persuaded-1875", "tune": "almost-persuaded", "music_file": "almost-persuaded-1875.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [10, 20, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "source_line": "Setting: P. P. Bliss, 1871, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting of his own words. The standard attribution, which this import did NOT itself verify from a scan, is first publication in The Charm (Chicago: Root & Cady, 1871); the PD gate here does not rest on it. THE DATED PRINTING CITED IS ONE THIS IMPORT OPENED: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 — archive.org gospelhymnssacre00blis_0, leaf 76 — which credits \"P. P. Bliss.\" at the left and \"P. P. Bliss, by per.\" at the right and carries the motto \"Almost Thou persuadest me to be a Christian.\"—Acts 26:28. TWO leaves were each read END TO END, notehead by notehead, by the same rig with its own binarisation and its own local staff-line fits; the 1875 leaf named above and, read first, an independently scanned LATER impression of the same plates: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 75, printed page 72 — archive.org hymnsconso00blis, leaf 78. NO SCAFFOLD WAS USED: no MIDI, no NoteWorthy file, no Cyber Hymnal asset and no prior encoding was consulted at any point, and neither rig pass was seeded from the other's output. Measurement method: per notehead the five staff lines were re-found in clean columns either side of that head's own x and fitted by least squares (so page curvature and skew cannot shift a reading), the page was binarised against a local paper level, heads were isolated by morphological erosion sized in staff spaces, and each head's centre was taken as the midpoint of its clean outer edges at half-max, reconstructed from the clean edge and the plate's calibrated head height wherever an adjacent staff line fused with one edge. Staff space measures 29.1 px on the 1883 leaf and 28.2 px on the 1875 leaf, i.e. 14.6 and 14.1 px per diatonic step — both well clear of the ~12 px floor below which readings cannot be trusted. The two readings agree at every chord of all four voices; a handful of heads that one scan lost to light or fused ink were supplied by the other, and every one of those, plus every reading that landed more than 0.15 step from an exact staff position, was then confirmed by eye at 4-8x on both leaves. Melody cross-check against a source that is neither scan: counting a tie once, this soprano's first fifteen scale degrees are 344311223344312, exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss (G major, 9.9.6.6.6.4). ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification on both leaves — a notehead probe reads staff positions and cannot see a sharp, flat or natural, so the agreement figure above does not cover them. There is no accidental anywhere in the four systems on either leaf; the only accidentals on the page are the two key-signature sharps, one per staff. DEPARTURES FROM THE PAGE, in full: (1) the fermata printed over the soprano's second notehead of bar 15 (\"Thee\") is NOT engraved, per the house style that omits fermatas and records them in the .ly header, as FILLMORE, PROMISES and the Bach chorales in this corpus already do; (2) nothing else — no note, tie, slur, duration, barline or octave in the music differs from the plates, and the plates print no rest anywhere in the piece. (The two stanza-2 syllable divisions the plate leaves to the singer are declared in the TEXT file, not here.) Both witnesses are pre-1931 US public domain, Bliss died in 1876, and no modern arranger stands anywhere in the chain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from two independently scanned dated leaves of the same plates, each read end to end — Gospel Hymns and Sacred Songs, 1875 (archive.org gospelhymnssacre00blis_0, leaf 76) and Gospel Hymns Consolidated, Nos. 1 to 4, 1883 (archive.org hymnsconso00blis, leaf 78). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% ALMOST PERSUADED (9.9.6.6.6.4) — \"'Almost persuaded' Now to believe\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Two dated leaves, each read END TO END, notehead by\n%% notehead, by the same rig with its own binarisation and its own local\n%% staff-line fits. Read first: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow &\n%% Main / John Church, 1883), no. 75, printed page 72 — archive.org\n%% hymnsconso00blis, leaf 78. Read second, INDEPENDENTLY SCANNED, an earlier\n%% impression of the SAME plates: Gospel Hymns and Sacred Songs (New York:\n%% Biglow & Main, 1875), no. 75, printed page 72 — archive.org\n%% gospelhymnssacre00blis_0, leaf 76; that leaf is the one this file cites as\n%% its source, being the earlier printing. NO SCAFFOLD of any kind was used: no\n%% MIDI, no NoteWorthy file, no Cyber Hymnal asset, no prior encoding, and\n%% neither reading was checked against anything produced by the other rig pass.\n%% The two readings agree at every one of\n%% the 43 soprano noteheads and at every chord of all four voices; where one\n%% scan missed a head (light or fused ink) the other supplied it, and every such\n%% spot — plus every reading that landed more than 0.15 of a diatonic step from\n%% an exact staff position — was then confirmed by eye at 4-8x on both leaves.\n%%\n%% THIRD, INDEPENDENT CHECK OF THE MELODY. Counting a tie once, this soprano's\n%% first fifteen scale degrees are 344311223344312, which is exactly the incipit\n%% Hymnary publishes for tune authority almost_persuaded_bliss (G Major,\n%% 9.9.6.6.6.4). tools/tune_fingerprint.py finds no corpus melody closer than\n%% 0.642 (PETRA), well under the 0.80 duplicate threshold.\n%%\n%% STRUCTURE. Four systems of four bars, one per printed system:\n%%   bars  1-4   line 1  (\"Almost persuaded\" Now to believe;)      10 noteheads\n%%   bars  5-8   line 2  (\"Almost persuaded\" Christ to receive;)   10 noteheads\n%%   bars  9-12  lines 3+4 (Seems now some soul to say, / \"Go, ...) 12 noteheads\n%%   bars 13-16  lines 5+6 (Some more convenient day / On Thee ...) 11 noteheads\n%% 43 soprano noteheads, 40 note-groups (three ties), 40 lyric slots.\n%%\n%% THREE TIES, each a full bar held across the bar's two dotted quarters, in ALL\n%% FOUR voices: bar 4 (\"be-lieve\"), bar 8 (\"re-ceive\"), bar 16 (\"call\"). The\n%% number of ARCS drawn per staff varies between the leaves and between the bars\n%% — sometimes one, sometimes one above and one below — which is the ordinary\n%% latitude of a tied chord in this engraving; every voice was read as tied in\n%% all three bars, on both leaves.\n%%\n%% TWO SLURS, both in bar 15, both INNER voices, both against a soprano dotted\n%% quarter on \"On\": the alto d'4 slurred to g'8, and the tenor g4 slurred to b8.\n%% The slur is printed on both leaves in both staves. The soprano and bass hold\n%% plain dotted quarters through them.\n%%\n%% TENOR AND BASS SING IN UNISON at 13 noteheads — bars 1, 2, 5, 6 and 10, all\n%% on g. The page prints ONE notehead there carrying a stem UP and a stem DOWN,\n%% which is what identifies it as two voices and not one; checked by eye on both\n%% leaves, at 4.5x on the 1883. Both voices carry the pitch here and LilyPond's\n%% default collision resolver is left to kiss the noteheads.\n%% SOPRANO AND ALTO are in unison only in bar 16, both on g' — again one\n%% notehead, two stems, with a tie arc drawn above AND below it on both leaves.\n%%\n%% FERMATA — PRESENT ON THE PAGE, NOT RENDERED. Both leaves print a fermata over\n%% the soprano's second notehead of bar 15 (\"Thee\", soprano notehead 40, the b'\n%% quarter). House style omits fermatas and records them here, as the Bach\n%% chorales, FILLMORE and PROMISES in this corpus already do; adding it would be\n%% the one token b'4\\fermata.\n%%\n%% NO ACCIDENTAL appears anywhere in the four systems on either leaf. The only\n%% accidentals on the page are the two key-signature sharps, one per staff, so\n%% every f sounds f-sharp (alto bars 3, 11, 15; tenor bar 7; bass bar 11 — the\n%% soprano never touches f) and every c sounds c-natural (soprano bars 1, 5, 9,\n%% 10, 11, 12; alto bars 7, 13; tenor bar 15; bass bars 9, 14).\n%% This was checked SEPARATELY from the notehead measurement, by eye at high\n%% magnification, on BOTH leaves; the automated agreement figure quoted above\n%% reads staff POSITIONS and never covered accidentals at all.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  g'4. a'4 a'8 |\n  b'4.~ b'4. |\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  a'4. b'4 a'8 |\n  g'4.~ g'4. |\n  c''4. c''4 c''8 |\n  c''4 b'8 b'4. |\n  d''4. a'4 c''8 |\n  c''4 b'8 b'4. |\n  g'4. g'4 g'8 |\n  g'4 a'8 b'4. |\n  b'4. b'4 a'8 |\n  g'4.~ g'4.\n}\n\nalto = {\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  e'4. fis'4 fis'8 |\n  g'4.~ g'4. |\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  d'4. d'4 c'8 |\n  b4.~ b4. |\n  e'4. e'4 e'8 |\n  e'4 d'8 d'4. |\n  fis'4. fis'4 a'8 |\n  a'4 g'8 g'4. |\n  b4. c'4 d'8 |\n  e'4 e'8 d'4. |\n  d'4( g'8) fis'4 fis'8 |\n  g'4.~ g'4.\n}\n\ntenor = {\n  g4. g4 g8 |\n  g4. g4. |\n  b4. d'4 d'8 |\n  d'4.~ d'4. |\n  g4. g4 g8 |\n  g4. g4. |\n  fis4. g4 fis8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  a4. d'4 d'8 |\n  d'4 d'8 d'4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  g4( b8) d'4 c'8 |\n  b4.~ b4.\n}\n\nbass = {\n  g4. g4 g8 |\n  g4. g4. |\n  e4. d4 d8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4. g4. |\n  d4. d4 d8 |\n  g,4.~ g,4. |\n  c4. c4 e8 |\n  g4 g8 g4. |\n  d4. d4 fis8 |\n  g4 g8 g4. |\n  g,4. a,4 b,8 |\n  c4 c8 g,4. |\n  d4. d4 d8 |\n  g,4.~ g,4.\n}\n"}, "harmonizations": [{"slug": "almost-persuaded-1875", "tune": "almost-persuaded", "music_file": "almost-persuaded-1875.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [10, 20, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "source_line": "Setting: P. P. Bliss, 1871, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting of his own words. The standard attribution, which this import did NOT itself verify from a scan, is first publication in The Charm (Chicago: Root & Cady, 1871); the PD gate here does not rest on it. THE DATED PRINTING CITED IS ONE THIS IMPORT OPENED: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 — archive.org gospelhymnssacre00blis_0, leaf 76 — which credits \"P. P. Bliss.\" at the left and \"P. P. Bliss, by per.\" at the right and carries the motto \"Almost Thou persuadest me to be a Christian.\"—Acts 26:28. TWO leaves were each read END TO END, notehead by notehead, by the same rig with its own binarisation and its own local staff-line fits; the 1875 leaf named above and, read first, an independently scanned LATER impression of the same plates: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 75, printed page 72 — archive.org hymnsconso00blis, leaf 78. NO SCAFFOLD WAS USED: no MIDI, no NoteWorthy file, no Cyber Hymnal asset and no prior encoding was consulted at any point, and neither rig pass was seeded from the other's output. Measurement method: per notehead the five staff lines were re-found in clean columns either side of that head's own x and fitted by least squares (so page curvature and skew cannot shift a reading), the page was binarised against a local paper level, heads were isolated by morphological erosion sized in staff spaces, and each head's centre was taken as the midpoint of its clean outer edges at half-max, reconstructed from the clean edge and the plate's calibrated head height wherever an adjacent staff line fused with one edge. Staff space measures 29.1 px on the 1883 leaf and 28.2 px on the 1875 leaf, i.e. 14.6 and 14.1 px per diatonic step — both well clear of the ~12 px floor below which readings cannot be trusted. The two readings agree at every chord of all four voices; a handful of heads that one scan lost to light or fused ink were supplied by the other, and every one of those, plus every reading that landed more than 0.15 step from an exact staff position, was then confirmed by eye at 4-8x on both leaves. Melody cross-check against a source that is neither scan: counting a tie once, this soprano's first fifteen scale degrees are 344311223344312, exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss (G major, 9.9.6.6.6.4). ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification on both leaves — a notehead probe reads staff positions and cannot see a sharp, flat or natural, so the agreement figure above does not cover them. There is no accidental anywhere in the four systems on either leaf; the only accidentals on the page are the two key-signature sharps, one per staff. DEPARTURES FROM THE PAGE, in full: (1) the fermata printed over the soprano's second notehead of bar 15 (\"Thee\") is NOT engraved, per the house style that omits fermatas and records them in the .ly header, as FILLMORE, PROMISES and the Bach chorales in this corpus already do; (2) nothing else — no note, tie, slur, duration, barline or octave in the music differs from the plates, and the plates print no rest anywhere in the piece. (The two stanza-2 syllable divisions the plate leaves to the singer are declared in the TEXT file, not here.) Both witnesses are pre-1931 US public domain, Bliss died in 1876, and no modern arranger stands anywhere in the chain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from two independently scanned dated leaves of the same plates, each read end to end — Gospel Hymns and Sacred Songs, 1875 (archive.org gospelhymnssacre00blis_0, leaf 76) and Gospel Hymns Consolidated, Nos. 1 to 4, 1883 (archive.org hymnsconso00blis, leaf 78). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% ALMOST PERSUADED (9.9.6.6.6.4) — \"'Almost persuaded' Now to believe\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Two dated leaves, each read END TO END, notehead by\n%% notehead, by the same rig with its own binarisation and its own local\n%% staff-line fits. Read first: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow &\n%% Main / John Church, 1883), no. 75, printed page 72 — archive.org\n%% hymnsconso00blis, leaf 78. Read second, INDEPENDENTLY SCANNED, an earlier\n%% impression of the SAME plates: Gospel Hymns and Sacred Songs (New York:\n%% Biglow & Main, 1875), no. 75, printed page 72 — archive.org\n%% gospelhymnssacre00blis_0, leaf 76; that leaf is the one this file cites as\n%% its source, being the earlier printing. NO SCAFFOLD of any kind was used: no\n%% MIDI, no NoteWorthy file, no Cyber Hymnal asset, no prior encoding, and\n%% neither reading was checked against anything produced by the other rig pass.\n%% The two readings agree at every one of\n%% the 43 soprano noteheads and at every chord of all four voices; where one\n%% scan missed a head (light or fused ink) the other supplied it, and every such\n%% spot — plus every reading that landed more than 0.15 of a diatonic step from\n%% an exact staff position — was then confirmed by eye at 4-8x on both leaves.\n%%\n%% THIRD, INDEPENDENT CHECK OF THE MELODY. Counting a tie once, this soprano's\n%% first fifteen scale degrees are 344311223344312, which is exactly the incipit\n%% Hymnary publishes for tune authority almost_persuaded_bliss (G Major,\n%% 9.9.6.6.6.4). tools/tune_fingerprint.py finds no corpus melody closer than\n%% 0.642 (PETRA), well under the 0.80 duplicate threshold.\n%%\n%% STRUCTURE. Four systems of four bars, one per printed system:\n%%   bars  1-4   line 1  (\"Almost persuaded\" Now to believe;)      10 noteheads\n%%   bars  5-8   line 2  (\"Almost persuaded\" Christ to receive;)   10 noteheads\n%%   bars  9-12  lines 3+4 (Seems now some soul to say, / \"Go, ...) 12 noteheads\n%%   bars 13-16  lines 5+6 (Some more convenient day / On Thee ...) 11 noteheads\n%% 43 soprano noteheads, 40 note-groups (three ties), 40 lyric slots.\n%%\n%% THREE TIES, each a full bar held across the bar's two dotted quarters, in ALL\n%% FOUR voices: bar 4 (\"be-lieve\"), bar 8 (\"re-ceive\"), bar 16 (\"call\"). The\n%% number of ARCS drawn per staff varies between the leaves and between the bars\n%% — sometimes one, sometimes one above and one below — which is the ordinary\n%% latitude of a tied chord in this engraving; every voice was read as tied in\n%% all three bars, on both leaves.\n%%\n%% TWO SLURS, both in bar 15, both INNER voices, both against a soprano dotted\n%% quarter on \"On\": the alto d'4 slurred to g'8, and the tenor g4 slurred to b8.\n%% The slur is printed on both leaves in both staves. The soprano and bass hold\n%% plain dotted quarters through them.\n%%\n%% TENOR AND BASS SING IN UNISON at 13 noteheads — bars 1, 2, 5, 6 and 10, all\n%% on g. The page prints ONE notehead there carrying a stem UP and a stem DOWN,\n%% which is what identifies it as two voices and not one; checked by eye on both\n%% leaves, at 4.5x on the 1883. Both voices carry the pitch here and LilyPond's\n%% default collision resolver is left to kiss the noteheads.\n%% SOPRANO AND ALTO are in unison only in bar 16, both on g' — again one\n%% notehead, two stems, with a tie arc drawn above AND below it on both leaves.\n%%\n%% FERMATA — PRESENT ON THE PAGE, NOT RENDERED. Both leaves print a fermata over\n%% the soprano's second notehead of bar 15 (\"Thee\", soprano notehead 40, the b'\n%% quarter). House style omits fermatas and records them here, as the Bach\n%% chorales, FILLMORE and PROMISES in this corpus already do; adding it would be\n%% the one token b'4\\fermata.\n%%\n%% NO ACCIDENTAL appears anywhere in the four systems on either leaf. The only\n%% accidentals on the page are the two key-signature sharps, one per staff, so\n%% every f sounds f-sharp (alto bars 3, 11, 15; tenor bar 7; bass bar 11 — the\n%% soprano never touches f) and every c sounds c-natural (soprano bars 1, 5, 9,\n%% 10, 11, 12; alto bars 7, 13; tenor bar 15; bass bars 9, 14).\n%% This was checked SEPARATELY from the notehead measurement, by eye at high\n%% magnification, on BOTH leaves; the automated agreement figure quoted above\n%% reads staff POSITIONS and never covered accidentals at all.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  g'4. a'4 a'8 |\n  b'4.~ b'4. |\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  a'4. b'4 a'8 |\n  g'4.~ g'4. |\n  c''4. c''4 c''8 |\n  c''4 b'8 b'4. |\n  d''4. a'4 c''8 |\n  c''4 b'8 b'4. |\n  g'4. g'4 g'8 |\n  g'4 a'8 b'4. |\n  b'4. b'4 a'8 |\n  g'4.~ g'4.\n}\n\nalto = {\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  e'4. fis'4 fis'8 |\n  g'4.~ g'4. |\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  d'4. d'4 c'8 |\n  b4.~ b4. |\n  e'4. e'4 e'8 |\n  e'4 d'8 d'4. |\n  fis'4. fis'4 a'8 |\n  a'4 g'8 g'4. |\n  b4. c'4 d'8 |\n  e'4 e'8 d'4. |\n  d'4( g'8) fis'4 fis'8 |\n  g'4.~ g'4.\n}\n\ntenor = {\n  g4. g4 g8 |\n  g4. g4. |\n  b4. d'4 d'8 |\n  d'4.~ d'4. |\n  g4. g4 g8 |\n  g4. g4. |\n  fis4. g4 fis8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  a4. d'4 d'8 |\n  d'4 d'8 d'4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  g4( b8) d'4 c'8 |\n  b4.~ b4.\n}\n\nbass = {\n  g4. g4 g8 |\n  g4. g4. |\n  e4. d4 d8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4. g4. |\n  d4. d4 d8 |\n  g,4.~ g,4. |\n  c4. c4 e8 |\n  g4 g8 g4. |\n  d4. d4 fis8 |\n  g4 g8 g4. |\n  g,4. a,4 b,8 |\n  c4 c8 g,4. |\n  d4. d4 d8 |\n  g,4.~ g,4.\n}\n", "preferred": true}]}, "angel-voices-monk": {"slug": "angel-voices-monk", "name": "ANGEL VOICES (MONK)", "meter_label": "8.5.8.5.8.4.3", "meter": {"pattern": [8, 5, 8, 5, 8, 4, 3], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "edwin-g-monk", "composer_date": "1911", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "angel-voices-monk-oh252", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:252; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "angel_voices_sullivan", "total_instances": 235}}, "harmonization": {"slug": "angel-voices-monk-oh252", "tune": "angel-voices-monk", "music_file": "angel-voices-monk-oh252.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:252; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:252", "encoding_license": "PD-dedication"}, "music_ly": "%% Angel Voices, Ever Singing\n%% Imported from Open Hymnal ABC X:252 via tools/abc_import.py\n%% Open Hymnal X:252; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'4 g'4 a'4 g'4 c''4 a'4 g'4 e'4 c'4 d'4 e'4 f'4 d'1 e'4 g'4 c''4 a'4 d''4. c''8 b'4 g'4 a'4 e'4 g'4 fis'4 g'1 g'4 g'4 g'4 a'4 f'4 f'4 f'4 g'4 e'4 g'4 a'4 c''4 d''2. b'4 c''1\n}\nalto = {\n  c'4 e'4 f'4 f'8 e'8 f'4 f'4 d'4 b4 c'4 c'4 c'4 a4 c'2( b2) c'4 c'4 c'4 e'4 d'4 fis'4 g'4 d'4 c'4 e'4 c'4 d'4 c'4( b8 a8 b2) g'4 fis'4 e'4 e'4 f'4 e'4 d'4 d'4 e'4 c'4 f'4 e'4 g'2. d'4 e'1\n}\ntenor = {\n  g4 c'4 b4 c'4 a4 f4 g4 g4 e4 f4 g4 f4 g1 g4 g4 a4. g8 a4 a4 g4 g4 a4 a4 a4 a4 g1 b4 b4 b4 a4 a4 a4 a4 g4 g4 g4 c'4 c'4 c'2( b4) g4 c'1\n}\nbass = {\n  c4 c4 c4 c4 c4 c4 b,4 g,4 a,4 a,4 g,4 f,4 g,1 c4 e4 a4. g8 fis4 d4 g4 b,4 c4 c8 b,8 a,4 d4 g,1 e4 d4 cis4 cis4 d4 c4 b,4 b,4 c4 e4 f4 a4 g2. g,4 c1\n}\n"}, "harmonizations": [{"slug": "angel-voices-monk-oh252", "tune": "angel-voices-monk", "music_file": "angel-voices-monk-oh252.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:252; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:252", "encoding_license": "PD-dedication"}, "music_ly": "%% Angel Voices, Ever Singing\n%% Imported from Open Hymnal ABC X:252 via tools/abc_import.py\n%% Open Hymnal X:252; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'4 g'4 a'4 g'4 c''4 a'4 g'4 e'4 c'4 d'4 e'4 f'4 d'1 e'4 g'4 c''4 a'4 d''4. c''8 b'4 g'4 a'4 e'4 g'4 fis'4 g'1 g'4 g'4 g'4 a'4 f'4 f'4 f'4 g'4 e'4 g'4 a'4 c''4 d''2. b'4 c''1\n}\nalto = {\n  c'4 e'4 f'4 f'8 e'8 f'4 f'4 d'4 b4 c'4 c'4 c'4 a4 c'2( b2) c'4 c'4 c'4 e'4 d'4 fis'4 g'4 d'4 c'4 e'4 c'4 d'4 c'4( b8 a8 b2) g'4 fis'4 e'4 e'4 f'4 e'4 d'4 d'4 e'4 c'4 f'4 e'4 g'2. d'4 e'1\n}\ntenor = {\n  g4 c'4 b4 c'4 a4 f4 g4 g4 e4 f4 g4 f4 g1 g4 g4 a4. g8 a4 a4 g4 g4 a4 a4 a4 a4 g1 b4 b4 b4 a4 a4 a4 a4 g4 g4 g4 c'4 c'4 c'2( b4) g4 c'1\n}\nbass = {\n  c4 c4 c4 c4 c4 c4 b,4 g,4 a,4 a,4 g,4 f,4 g,1 c4 e4 a4. g8 fis4 d4 g4 b,4 c4 c8 b,8 a,4 d4 g,1 e4 d4 cis4 cis4 d4 c4 b,4 b,4 c4 e4 f4 a4 g2. g,4 c1\n}\n", "preferred": true}]}, "angels-story": {"slug": "angels-story", "name": "ANGEL'S STORY", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "arthur-henry-mann", "composer_date": "1881", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "angels-story-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ANGEL'S STORY, composed by Arthur Henry Mann (1850-1929) in 1881, the standard tune for John Ernest Bode's \"O Jesus, I have promised.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4 with a one-beat anacrusis; melismatic, 56 soprano notes for 52 syllables — the four two-note melismas are slurred eighth-note pairs). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angel's Story\" (Arthur H. Mann, 1881); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "angels-story-cyberhymnal", "tune": "angels-story", "music_file": "angels-story-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 15, 22, 28, 36, 43, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ANGEL'S STORY, Arthur H. Mann, 1881. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ANGEL'S STORY (Arthur Henry Mann, 1850-1929; composed 1881); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angel's Story\" (Arthur H. Mann, 1881); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ANGEL'S STORY (7.6.7.6.D) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Angel's Story\", Arthur H. Mann, 1881)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4). MELISMATIC: 56 soprano notes for 52 syllables\n%% (7.6.7.6.D); the four two-note melismas are the slurred eighth-note pairs in bars\n%% 1, 3, 9, 11 (soprano g'8( d'8) and fis'8( c''8)), held with '_' each stanza\n%% (verse_variable_melisma). The chromatic pickup ais'4 (bar 8) and the passing\n%% gis'/gis/cis' are printed with sharps in the source (each resolves upward).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  b'4 |\n  b'4. b'8 a'4 g'8( d'8) | g'2 fis'4 d'4 | c''4 fis'8( c''8) b'4 a'4 | b'2. b'4 |\n  d''4. d''8 c''4 b'4 | b'2 c''4 b'4 | a'4. g'8 fis'4 g'4 | a'2. ais'4 |\n  b'4. b'8 a'4 g'8( d'8) | g'2 fis'4 d'4 | c''4 fis'8( c''8) b'4 a'4 | b'2. b'4 |\n  e''4. d''8 c''4 b'4 | d''2 c''4 e'4 | g'4. fis'8 e'4 fis'4 | g'2.\n}\nalto = {\n  d'4 |\n  d'4. d'8 c'4 b8 d'8 | d'2 d'4 d'4 | d'4 fis'8 c''8 g'4 d'4 | d'2. g'4 |\n  gis'4. gis'8 a'4 e'4 | e'2 e'4 e'4 | e'4. cis'8 cis'4 cis'4 | d'2. c'4 |\n  b4. d'8 c'4 b8 d'8 | d'2 d'4 d'4 | d'4 fis'8 c''8 g'4 d'4 | d'2. g'4 |\n  gis'4. gis'8 a'4 e'4 | e'2 e'4 c'4 | d'4. c'8 c'4 c'4 | b2.\n}\ntenor = {\n  g4 |\n  d4 e4 fis4 g8 b,8 | b2 a4 fis4 | fis4 a8 d8 g4 c'4 | b2. b4 |\n  b4. b8 e'4 d'4 | d'2 c'4 d'4 | cis'4. b8 a4 g4 | g2 fis4 fis4 |\n  g4 d8 e8 fis4 fis8 b,8 | b2 a4 fis4 | fis4 a8 a8 g4 c'4 | b2. b4 |\n  b4. b8 e'4 d'4 | b2 c'4 a4 | b4. a8 g4 a4 | g2.\n}\nbass = {\n  g,4 |\n  g,4 g,4 g,4 g,8 b,8 | d2 d4 d4 | d4 a8 d8 e4 fis4 | g2. g4 |\n  e4. e8 fis4 gis4 | gis2 a4 a4 | a,4. a,8 a,4 a,4 | d2. d4 |\n  g,4 g,8 e8 g,4 g,8 b,8 | d2 d4 d4 | d4 a8 d8 e4 fis4 | g2. g4 |\n  e4. e8 fis4 gis4 | gis2 a4 a,4 | d4. d8 d4 d4 | g,2.\n}\n"}, "harmonizations": [{"slug": "angels-story-cyberhymnal", "tune": "angels-story", "music_file": "angels-story-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 15, 22, 28, 36, 43, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ANGEL'S STORY, Arthur H. Mann, 1881. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ANGEL'S STORY (Arthur Henry Mann, 1850-1929; composed 1881); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angel's Story\" (Arthur H. Mann, 1881); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ANGEL'S STORY (7.6.7.6.D) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Angel's Story\", Arthur H. Mann, 1881)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4). MELISMATIC: 56 soprano notes for 52 syllables\n%% (7.6.7.6.D); the four two-note melismas are the slurred eighth-note pairs in bars\n%% 1, 3, 9, 11 (soprano g'8( d'8) and fis'8( c''8)), held with '_' each stanza\n%% (verse_variable_melisma). The chromatic pickup ais'4 (bar 8) and the passing\n%% gis'/gis/cis' are printed with sharps in the source (each resolves upward).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  b'4 |\n  b'4. b'8 a'4 g'8( d'8) | g'2 fis'4 d'4 | c''4 fis'8( c''8) b'4 a'4 | b'2. b'4 |\n  d''4. d''8 c''4 b'4 | b'2 c''4 b'4 | a'4. g'8 fis'4 g'4 | a'2. ais'4 |\n  b'4. b'8 a'4 g'8( d'8) | g'2 fis'4 d'4 | c''4 fis'8( c''8) b'4 a'4 | b'2. b'4 |\n  e''4. d''8 c''4 b'4 | d''2 c''4 e'4 | g'4. fis'8 e'4 fis'4 | g'2.\n}\nalto = {\n  d'4 |\n  d'4. d'8 c'4 b8 d'8 | d'2 d'4 d'4 | d'4 fis'8 c''8 g'4 d'4 | d'2. g'4 |\n  gis'4. gis'8 a'4 e'4 | e'2 e'4 e'4 | e'4. cis'8 cis'4 cis'4 | d'2. c'4 |\n  b4. d'8 c'4 b8 d'8 | d'2 d'4 d'4 | d'4 fis'8 c''8 g'4 d'4 | d'2. g'4 |\n  gis'4. gis'8 a'4 e'4 | e'2 e'4 c'4 | d'4. c'8 c'4 c'4 | b2.\n}\ntenor = {\n  g4 |\n  d4 e4 fis4 g8 b,8 | b2 a4 fis4 | fis4 a8 d8 g4 c'4 | b2. b4 |\n  b4. b8 e'4 d'4 | d'2 c'4 d'4 | cis'4. b8 a4 g4 | g2 fis4 fis4 |\n  g4 d8 e8 fis4 fis8 b,8 | b2 a4 fis4 | fis4 a8 a8 g4 c'4 | b2. b4 |\n  b4. b8 e'4 d'4 | b2 c'4 a4 | b4. a8 g4 a4 | g2.\n}\nbass = {\n  g,4 |\n  g,4 g,4 g,4 g,8 b,8 | d2 d4 d4 | d4 a8 d8 e4 fis4 | g2. g4 |\n  e4. e8 fis4 gis4 | gis2 a4 a4 | a,4. a,8 a,4 a,4 | d2. d4 |\n  g,4 g,8 e8 g,4 g,8 b,8 | d2 d4 d4 | d4 a8 d8 e4 fis4 | g2. g4 |\n  e4. e8 fis4 gis4 | gis2 a4 a,4 | d4. d8 d4 d4 | g,2.\n}\n", "preferred": true}]}, "angelus": {"slug": "angelus", "name": "ANGELUS", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "georg-joseph", "composer_date": "1657", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "angelus-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ANGELUS (also DU MEINER SEELEN), a long-metre tune by Georg Joseph (fl. 1657), first published in Heilige Seelenlust (Breslau, 1657). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4, quarter-note pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angelus\" (Georg Joseph, 1657); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "angelus-cyberhymnal", "tune": "angelus", "music_file": "angelus-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ANGELUS (DU MEINER SEELEN), Georg Joseph, 1657. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ANGELUS (Georg Joseph, 1657); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4). Two soprano melismas at held notes 5/17. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angelus\" (Georg Joseph, 1657); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ANGELUS (L.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Angelus\", Georg Joseph 1657) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major,\n%% 3/4, quarter-note pickup). MELISMATIC: 34 soprano notes for 32 L.M. syllables;\n%% two melismas (slurred pairs at held notes 5 and 17) carry a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [5, 17]  (count=2)\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  es'4 | es'2 f'4 | g'4( a'4) bes'4 | bes'2 a'4 | bes'2. | bes'4 c''4 d''4 | es''2 d''4 | c''2 c''8( es'8) | bes'2. | f'4 f'4 g'4 | as'2 as'4 | es'2 f'4 | g'2. | d'4 es'4 f'4 | g'2 as'4 | f'2 f'4 | es'2\n}\nalto = {\n  bes4 | bes2 bes4 | es'4 f'4 f'4 | es'2 es'4 | d'2. | f'4 f'4 f'4 | es'4 g'4 f'4 | g'2 f'8 es'8 | d'2. | d'4 d'4 e'4 | f'2 f'4 | es'2 c'4 | d'2. | b4 c'4 d'4 | es'2 es'4 | es'2 d'4 | es'2\n}\ntenor = {\n  g4 | g2 bes4 | bes4 c'4 bes4 | g2 f4 | f2. | d'4 c'4 bes4 | bes2 bes4 | bes2 a4 | bes2. | bes4 bes4 bes4 | c'2 c'4 | c'2 c'4 | b2. | g4 g4 bes4 | bes2 c'4 | bes2 bes8 as8 | g2\n}\nbass = {\n  es4 | es2 d4 | es2 d4 | c2 f4 | bes,2. | bes4 a4 a4 | g4 c4 d4 | es2 f4 | bes,2. | bes4 as4 g4 | f2 f4 | as2 as4 | g2. | g,4 c4 bes,4 | es2 as,4 | bes,2 as,8 as8 | es2\n}\n"}, "harmonizations": [{"slug": "angelus-cyberhymnal", "tune": "angelus", "music_file": "angelus-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ANGELUS (DU MEINER SEELEN), Georg Joseph, 1657. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ANGELUS (Georg Joseph, 1657); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4). Two soprano melismas at held notes 5/17. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Angelus\" (Georg Joseph, 1657); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ANGELUS (L.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Angelus\", Georg Joseph 1657) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major,\n%% 3/4, quarter-note pickup). MELISMATIC: 34 soprano notes for 32 L.M. syllables;\n%% two melismas (slurred pairs at held notes 5 and 17) carry a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [5, 17]  (count=2)\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  es'4 | es'2 f'4 | g'4( a'4) bes'4 | bes'2 a'4 | bes'2. | bes'4 c''4 d''4 | es''2 d''4 | c''2 c''8( es'8) | bes'2. | f'4 f'4 g'4 | as'2 as'4 | es'2 f'4 | g'2. | d'4 es'4 f'4 | g'2 as'4 | f'2 f'4 | es'2\n}\nalto = {\n  bes4 | bes2 bes4 | es'4 f'4 f'4 | es'2 es'4 | d'2. | f'4 f'4 f'4 | es'4 g'4 f'4 | g'2 f'8 es'8 | d'2. | d'4 d'4 e'4 | f'2 f'4 | es'2 c'4 | d'2. | b4 c'4 d'4 | es'2 es'4 | es'2 d'4 | es'2\n}\ntenor = {\n  g4 | g2 bes4 | bes4 c'4 bes4 | g2 f4 | f2. | d'4 c'4 bes4 | bes2 bes4 | bes2 a4 | bes2. | bes4 bes4 bes4 | c'2 c'4 | c'2 c'4 | b2. | g4 g4 bes4 | bes2 c'4 | bes2 bes8 as8 | g2\n}\nbass = {\n  es4 | es2 d4 | es2 d4 | c2 f4 | bes,2. | bes4 a4 a4 | g4 c4 d4 | es2 f4 | bes,2. | bes4 as4 g4 | f2 f4 | as2 as4 | g2. | g,4 c4 bes,4 | es2 as,4 | bes,2 as,8 as8 | es2\n}\n", "preferred": true}]}, "antioch": {"slug": "antioch", "name": "ANTIOCH", "meter_label": "C.M. with repeats", "meter": {"pattern": [8, 6, 8, 6, 6, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-handel", "composer_date": "1741", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "antioch-mason-1836", "provenance": {"layer": "tune", "source": "mason-modern-psalmist-1836", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Adapted from Handel by Lowell Mason, 1836.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "antioch_handel", "total_instances": 1165}}, "harmonization": {"slug": "antioch-mason-1836", "tune": "antioch", "music_file": "antioch-mason-1836.ly", "harmonizer": "lowell-mason", "arrangement_type": "arrangement", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [14, 30, 44], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "mason-modern-psalmist-1836", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:61", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Adapted from Handel by Lowell Mason, 1836. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:61 via tools/abc_import.py\n%% Joy to the World\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 2/4 }\n\nsoprano = {\n  d''4 cis''8. b'16 a'4. g'8 fis'4 e'4 d'4. a'8 b'4. b'8 cis''4. cis''8 d''4. d''8 d''8( cis''8) b'8( a'8) a'8.( g'16 fis'8) d''8 d''8( cis''8) b'8( a'8) a'8.( g'16 fis'8) fis'8 fis'8 fis'8 fis'8 fis'16( g'16) a'4. g'16( fis'16) e'8 e'8 e'8 e'16( fis'16) g'4. fis'16( e'16) d'8( d''4) b'8 a'8.( g'16 fis'8) g'8 fis'4 e'4 d'2\n}\nalto = {\n  fis'4 a'8. g'16 fis'4. e'8 d'4 cis'4 d'4. d'8 g'4. g'8 e'4. e'8 fis'4. fis'8 fis'8 a'8 g'8 fis'8 fis'8. e'16 d'8 fis'8 fis'8 a'8 g'8 fis'8 fis'8. e'16 d'8 d'8 d'8 d'8 d'8 d'16 e'16 fis'4. e'16 d'16 cis'8 cis'8 cis'8 cis'16 d'16 e'4. d'16 cis'16 d'8( fis'4) g'8 fis'8. e'16 d'8 e'8 d'4 cis'4 d'2\n}\ntenor = {\n  d'4 d'8. d'16 d'4. b8 a4. g8 fis4. d'8 d'4. d'8 a4. a8 a4. a8 a4 d'4 d'4. a8 a4 d'4 d'4. r8 r4. a8 a8 a8 a8 a8 a2 a4. a16 g16 fis8( a4) d'8 d'4. b8 a4 a8 g8 fis2\n}\nbass = {\n  d4 d8. d16 d4. g,8 a,4 a,4 d4. fis8 g4. g8 a4. a8 d4. d8 d4 d4 d4. d8 d4 d4 d4. s8 s4. d8 d8 d8 d8 d8 a4. a,8 a,8 a,8 a,8 a,8 d4. d8 d4. g,8 a,4 a,4 d2\n}\n"}, "harmonizations": [{"slug": "antioch-mason-1836", "tune": "antioch", "music_file": "antioch-mason-1836.ly", "harmonizer": "lowell-mason", "arrangement_type": "arrangement", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [14, 30, 44], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "mason-modern-psalmist-1836", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:61", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Adapted from Handel by Lowell Mason, 1836. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:61 via tools/abc_import.py\n%% Joy to the World\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 2/4 }\n\nsoprano = {\n  d''4 cis''8. b'16 a'4. g'8 fis'4 e'4 d'4. a'8 b'4. b'8 cis''4. cis''8 d''4. d''8 d''8( cis''8) b'8( a'8) a'8.( g'16 fis'8) d''8 d''8( cis''8) b'8( a'8) a'8.( g'16 fis'8) fis'8 fis'8 fis'8 fis'8 fis'16( g'16) a'4. g'16( fis'16) e'8 e'8 e'8 e'16( fis'16) g'4. fis'16( e'16) d'8( d''4) b'8 a'8.( g'16 fis'8) g'8 fis'4 e'4 d'2\n}\nalto = {\n  fis'4 a'8. g'16 fis'4. e'8 d'4 cis'4 d'4. d'8 g'4. g'8 e'4. e'8 fis'4. fis'8 fis'8 a'8 g'8 fis'8 fis'8. e'16 d'8 fis'8 fis'8 a'8 g'8 fis'8 fis'8. e'16 d'8 d'8 d'8 d'8 d'8 d'16 e'16 fis'4. e'16 d'16 cis'8 cis'8 cis'8 cis'16 d'16 e'4. d'16 cis'16 d'8( fis'4) g'8 fis'8. e'16 d'8 e'8 d'4 cis'4 d'2\n}\ntenor = {\n  d'4 d'8. d'16 d'4. b8 a4. g8 fis4. d'8 d'4. d'8 a4. a8 a4. a8 a4 d'4 d'4. a8 a4 d'4 d'4. r8 r4. a8 a8 a8 a8 a8 a2 a4. a16 g16 fis8( a4) d'8 d'4. b8 a4 a8 g8 fis2\n}\nbass = {\n  d4 d8. d16 d4. g,8 a,4 a,4 d4. fis8 g4. g8 a4. a8 d4. d8 d4 d4 d4. d8 d4 d4 d4. s8 s4. d8 d8 d8 d8 d8 a4. a,8 a,8 a,8 a,8 a,8 d4. d8 d4. g,8 a,4 a,4 d2\n}\n", "preferred": true}]}, "ar-hyd-y-nos": {"slug": "ar-hyd-y-nos", "name": "AR HYD Y NOS", "meter_label": "8.4.8.4.8.8.8.4", "meter": {"pattern": [8, 4, 8, 4, 8, 8, 8, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Welsh traditional", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "ar-hyd-y-nos-english-hymnal-1906", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Ar Hyd y Nos', traditional Welsh melody; setting from The English Hymnal, 1906. US public domain (pub. pre-1929).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "ar-hyd-y-nos-english-hymnal-1906", "tune": "ar-hyd-y-nos", "music_file": "ar-hyd-y-nos-english-hymnal-1906.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 24, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The English Hymnal, 1906 (Hymn 268); tune 'Ar Hyd y Nos' traditional Welsh. US-PD (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:310", "encoding_license": "PD-dedication"}, "music_ly": "%% God, That Madest Earth and Heaven\n%% Imported from Open Hymnal ABC X:310 via tools/abc_import.py\n%% Words: Heber 1827, Mercer 1864, Whately 1838; tune 'Ar Hyd y Nos' traditional Welsh; setting The English Hymnal, 1906. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1 g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1 c''4 b'4 c''4 d''4 e''4 d''4 c''4 b'4 c''4 b'4 a'4 g'4 b'4. a'8 g'4 fis'4 g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1\n}\nalto = {\n  b4 d'4 e'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1 b4 d'4 e'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1 c'4 d'4 c'4 g'4 g'4 f'4 e'4 d'4 e'4 g'4 e'4 e'4 e'4. e'8 d'4 d'4 d'4. d'8 c'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1\n}\ntenor = {\n  g4 g4 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1 g4 g4 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1 g4 g4 g4 g4 c'4 a4 g4 b4 a4 d'4 c'4 b4 c'4. c'8 a4 a4 g4. g8 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1\n}\nbass = {\n  g,4 b,4 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1 g,4 b,4 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1 e4 g4 e4 b,4 c4 d4 e4 g4 a,4 b,4 c4 e4 a,4. c8 d4 d4 b,4. b,8 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1\n}\n"}, "harmonizations": [{"slug": "ar-hyd-y-nos-english-hymnal-1906", "tune": "ar-hyd-y-nos", "music_file": "ar-hyd-y-nos-english-hymnal-1906.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 24, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The English Hymnal, 1906 (Hymn 268); tune 'Ar Hyd y Nos' traditional Welsh. US-PD (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:310", "encoding_license": "PD-dedication"}, "music_ly": "%% God, That Madest Earth and Heaven\n%% Imported from Open Hymnal ABC X:310 via tools/abc_import.py\n%% Words: Heber 1827, Mercer 1864, Whately 1838; tune 'Ar Hyd y Nos' traditional Welsh; setting The English Hymnal, 1906. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1 g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1 c''4 b'4 c''4 d''4 e''4 d''4 c''4 b'4 c''4 b'4 a'4 g'4 b'4. a'8 g'4 fis'4 g'4. fis'8 e'4 g'4 a'4. g'8 fis'4 d'4 e'2 fis'4. fis'8 g'1\n}\nalto = {\n  b4 d'4 e'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1 b4 d'4 e'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1 c'4 d'4 c'4 g'4 g'4 f'4 e'4 d'4 e'4 g'4 e'4 e'4 e'4. e'8 d'4 d'4 d'4. d'8 c'4 d'4 e'4 e'4 d'4 d'4 g2 d'4 c'4 b1\n}\ntenor = {\n  g4 g4 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1 g4 g4 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1 g4 g4 g4 g4 c'4 a4 g4 b4 a4 d'4 c'4 b4 c'4. c'8 a4 a4 g4. g8 g4 g4 c'4. b8 a4 d'4 d'4( c'4) b4 a4 g1\n}\nbass = {\n  g,4 b,4 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1 g,4 b,4 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1 e4 g4 e4 b,4 c4 d4 e4 g4 a,4 b,4 c4 e4 a,4. c8 d4 d4 b,4. b,8 c4 b,4 a,4 c4 d4 b,4 c2 d4. d8 g,1\n}\n", "preferred": true}]}, "arles": {"slug": "arles", "name": "ARLES", "meter_label": "12.11.12.11", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "charles-hutchinson-gabriel", "composer_date": "1912", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "arles-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ARLES, Charles Hutchinson Gabriel (1856–1932), first printed in The Psalter (1912) — its authentic tune for Psalm 29 \"Now unto Jehovah, ye sons of the mighty\" (12.11.12.11). US public domain by pre-1931 publication (1912). Encoded from the CyberHymnal; soprano verified against the hymnary incipit (51111 51333 31355).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "arles-cyberhymnal", "tune": "arles", "music_file": "arles-cyberhymnal.ly", "harmonizer": "charles-hutchinson-gabriel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 23, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ARLES, Charles H. Gabriel, 1912. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting ARLES, Charles Hutchinson Gabriel, first printed in The Psalter (1912) — US public domain by pre-1931 publication. Encoded from the CyberHymnal MIDI (a single merged SATB track, split into four voices by tools/mid2ly_chords.py via per-chord minimum-movement voicing); soprano verified against the hymnary incipit and the rendered voices against the CyberHymnal engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal ARLES (hymnary media/fetch 104447 MIDI); chord-split via mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "% ARLES (12.11.12.11) — Charles Hutchinson Gabriel, 1912 (first printed in The\n% Psalter, 1912). Encoded from the CyberHymnal MIDI: a single MERGED SATB track,\n% split into four voices by tools/mid2ly_chords.py (per-chord pitch->S/A/T/B by\n% minimum voice movement). Soprano verified against the hymnary incipit\n% 51111-51333-31355 (pitch-for-pitch) and the CyberHymnal engraving. Syllabic\n% except one line-4 passing melisma (soprano g'-e'), held with '_' each stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d'4 g'4 g'4 g'4 g'4 d'4 g'4 b'4. b'8 b'4 b'4 g'4 b'4 d''4 d''4 d''4 d''4 b'4 g'4 c''4 c''4 b'4 a'2 a'4 a'4 a'4 a'4 a'4 d'4 d'4 c''4. c''8 c''4 c''4 a'4 c''4 b'4 d''4 g'8( e'8) a'4 b'4 c''4 b'4 b'4 a'4 g'2.\n}\nalto = {\n  d4 b4 b4 c'4 b4 g4 b4 d'4. d'8 dis'4 e'4 e'4 e'4 d'4 e'4 fis'4 g'4 g'4 d'4 d'4 d'4 d'4 d'2 d'4 cis'4 cis'4 cis'4 d'4 d'4 d'4 d'4. d'8 e'4 fis'4 d'4 d'4 d'4 d'4 b8 e'8 e'4 e'4 e'4 d'4 d'4 c'4 b2.\n}\ntenor = {\n  d4 d4 d4 e4 d4 b,4 g4 g4. g8 a4 g4 b4 g4 a4 b4 c'4 d'4 d'4 g4 fis4 fis4 g4 fis2 fis4 g4 g4 g4 fis4 fis4 g4 a4. a8 g4 a4 fis4 a4 g4 a4 b8 e'8 a4 gis4 a4 g4 e4 fis4 g2.\n}\nbass = {\n  d4 g,4 g,4 g,4 g,4 b,4 d4 g4. g8 fis4 e4 e4 e4 fis4 g4 a4 b4 g4 b,4 a,4 a,4 g,4 d2 d4 e4 e4 a,4 d4 d4 e4 fis4. fis8 e4 d4 d4 fis4 g4 fis4 e8 d8 c4 b,4 a,4 d4 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "arles-cyberhymnal", "tune": "arles", "music_file": "arles-cyberhymnal.ly", "harmonizer": "charles-hutchinson-gabriel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 23, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ARLES, Charles H. Gabriel, 1912. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting ARLES, Charles Hutchinson Gabriel, first printed in The Psalter (1912) — US public domain by pre-1931 publication. Encoded from the CyberHymnal MIDI (a single merged SATB track, split into four voices by tools/mid2ly_chords.py via per-chord minimum-movement voicing); soprano verified against the hymnary incipit and the rendered voices against the CyberHymnal engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal ARLES (hymnary media/fetch 104447 MIDI); chord-split via mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "% ARLES (12.11.12.11) — Charles Hutchinson Gabriel, 1912 (first printed in The\n% Psalter, 1912). Encoded from the CyberHymnal MIDI: a single MERGED SATB track,\n% split into four voices by tools/mid2ly_chords.py (per-chord pitch->S/A/T/B by\n% minimum voice movement). Soprano verified against the hymnary incipit\n% 51111-51333-31355 (pitch-for-pitch) and the CyberHymnal engraving. Syllabic\n% except one line-4 passing melisma (soprano g'-e'), held with '_' each stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d'4 g'4 g'4 g'4 g'4 d'4 g'4 b'4. b'8 b'4 b'4 g'4 b'4 d''4 d''4 d''4 d''4 b'4 g'4 c''4 c''4 b'4 a'2 a'4 a'4 a'4 a'4 a'4 d'4 d'4 c''4. c''8 c''4 c''4 a'4 c''4 b'4 d''4 g'8( e'8) a'4 b'4 c''4 b'4 b'4 a'4 g'2.\n}\nalto = {\n  d4 b4 b4 c'4 b4 g4 b4 d'4. d'8 dis'4 e'4 e'4 e'4 d'4 e'4 fis'4 g'4 g'4 d'4 d'4 d'4 d'4 d'2 d'4 cis'4 cis'4 cis'4 d'4 d'4 d'4 d'4. d'8 e'4 fis'4 d'4 d'4 d'4 d'4 b8 e'8 e'4 e'4 e'4 d'4 d'4 c'4 b2.\n}\ntenor = {\n  d4 d4 d4 e4 d4 b,4 g4 g4. g8 a4 g4 b4 g4 a4 b4 c'4 d'4 d'4 g4 fis4 fis4 g4 fis2 fis4 g4 g4 g4 fis4 fis4 g4 a4. a8 g4 a4 fis4 a4 g4 a4 b8 e'8 a4 gis4 a4 g4 e4 fis4 g2.\n}\nbass = {\n  d4 g,4 g,4 g,4 g,4 b,4 d4 g4. g8 fis4 e4 e4 e4 fis4 g4 a4 b4 g4 b,4 a,4 a,4 g,4 d2 d4 e4 e4 a,4 d4 d4 e4 fis4. fis8 e4 d4 d4 fis4 g4 fis4 e8 d8 c4 b,4 a,4 d4 d4 d4 g,2.\n}\n", "preferred": true}]}, "arlington": {"slug": "arlington", "name": "ARLINGTON", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-augustine-arne", "composer_date": "1762", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "arlington-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ARLINGTON (C.M.), adapted as a hymn tune from a melody by Thomas Augustine Arne (1710–1778), dated 1762 in The Cyber Hymnal. A public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/2, half-note anacrusis; every soprano note read against the score, all diatonic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Arlington\" (Thomas A. Arne, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "arlington-cyberhymnal", "tune": "arlington", "music_file": "arlington-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [8, 15, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ARLINGTON, Thomas A. Arne, 1762. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ARLINGTON (C.M.), adapted from a melody by Thomas Augustine Arne (1710–1778), dated 1762 in The Cyber Hymnal; a public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/2, half-note anacrusis; all notes diatonic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Arlington\" (Thomas A. Arne, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ARLINGTON (C.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Arlington\", Thomas A. Arne, 1762) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. C.M. in 3/2 with\n%% a half-note anacrusis (each of the four poetic lines begins on the upbeat). There\n%% are 29 soprano notes for 28 C.M. syllables: the single melisma is the line-2\n%% cadence — the last syllable is held over the descending a'2( g'2) (soprano) /\n%% f'2( e'2) (alto) while tenor and bass sustain the dominant (c'1 / c1). All notes\n%% are diatonic to F major (no accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  f'2 a'4. a'8 a'2 g'2 f'4. f'8 f'2 g'2 a'4 c''4 bes'2 a'2 a'2( g'2) bes'2 a'4. a'8 a'2 d''2 c''4. c''8 c''2 f'2 g'4 bes'4 a'2 g'2 f'1\n}\nalto = {\n  f'2 f'4. f'8 f'2 e'2 d'4. d'8 d'2 e'2 f'4 c'4 d'4 e'4 f'2 f'2( e'2) g'2 f'4. f'8 f'2 f'2 f'4. f'8 f'2 c'2 d'4 g'4 f'2 e'2 f'1\n}\ntenor = {\n  a2 c'4. c'8 c'2 bes2 a4. a8 a2 c'2 c'4 a4 bes2 c'2 c'1 c'2 c'4. c'8 c'2 bes2 a4. a8 a2 c'2 bes4 d'4 c'2 c'4 bes4 a1\n}\nbass = {\n  f2 f4. f8 f2 c2 d4. d8 d2 c2 f4 a4 g2 f2 c1 e2 f4. f8 f2 bes,2 f4. f8 f2 a,2 bes,4 g,4 c2 c2 f1\n}\n"}, "harmonizations": [{"slug": "arlington-cyberhymnal", "tune": "arlington", "music_file": "arlington-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [8, 15, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ARLINGTON, Thomas A. Arne, 1762. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ARLINGTON (C.M.), adapted from a melody by Thomas Augustine Arne (1710–1778), dated 1762 in The Cyber Hymnal; a public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/2, half-note anacrusis; all notes diatonic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Arlington\" (Thomas A. Arne, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ARLINGTON (C.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Arlington\", Thomas A. Arne, 1762) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. C.M. in 3/2 with\n%% a half-note anacrusis (each of the four poetic lines begins on the upbeat). There\n%% are 29 soprano notes for 28 C.M. syllables: the single melisma is the line-2\n%% cadence — the last syllable is held over the descending a'2( g'2) (soprano) /\n%% f'2( e'2) (alto) while tenor and bass sustain the dominant (c'1 / c1). All notes\n%% are diatonic to F major (no accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  f'2 a'4. a'8 a'2 g'2 f'4. f'8 f'2 g'2 a'4 c''4 bes'2 a'2 a'2( g'2) bes'2 a'4. a'8 a'2 d''2 c''4. c''8 c''2 f'2 g'4 bes'4 a'2 g'2 f'1\n}\nalto = {\n  f'2 f'4. f'8 f'2 e'2 d'4. d'8 d'2 e'2 f'4 c'4 d'4 e'4 f'2 f'2( e'2) g'2 f'4. f'8 f'2 f'2 f'4. f'8 f'2 c'2 d'4 g'4 f'2 e'2 f'1\n}\ntenor = {\n  a2 c'4. c'8 c'2 bes2 a4. a8 a2 c'2 c'4 a4 bes2 c'2 c'1 c'2 c'4. c'8 c'2 bes2 a4. a8 a2 c'2 bes4 d'4 c'2 c'4 bes4 a1\n}\nbass = {\n  f2 f4. f8 f2 c2 d4. d8 d2 c2 f4 a4 g2 f2 c1 e2 f4. f8 f2 bes,2 f4. f8 f2 a,2 bes,4 g,4 c2 c2 f1\n}\n", "preferred": true}]}, "arthurs-seat": {"slug": "arthurs-seat", "name": "ARTHUR'S SEAT", "meter_label": "6.6.6.6.8.8", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-goss", "composer_date": "1874", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "arthurs-seat-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Arthur's Seat' (6.6.6.6.8.8), John Goss, 1874. Goss d. 1880; US\n    public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI\n    via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat\n    major; no printed time signature but regular 4/4 with a quarter-note pickup;\n    dotted-half final; melismatic). All components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "arthurs-seat-cyberhymnal", "tune": "arthurs-seat", "music_file": "arthurs-seat-cyberhymnal.ly", "harmonizer": "john-goss", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 14, 22, 28, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ARTHUR'S SEAT, John Goss, 1874. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting ARTHUR'S SEAT, John Goss (1800-1880), 1874 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (soprano and bass read note-for-note; B-flat major, regular 4/4 with a quarter pickup, dotted-half final). Melismatic (45 soprano notes / 40 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Arthur's Seat\" (Goss); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ARTHUR'S SEAT (6.6.6.6.8.8) — John Goss, 1874. A 4-part SATB hymn tune,\n%% here paired with Charles Wesley's \"Rejoice, the Lord is King\" (1746). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the render verified against the Cyber Hymnal engraving.\n%% B-flat major; NO printed time signature but a regular 4/4 with a quarter-note\n%% pickup (\\partial 4); every phrase ends on a dotted half that fits its bar, so\n%% no free-meter/tied-note splitting is needed. MELISMATIC: 45 soprano notes for\n%% 40 syllables — engraved melisma slurs on \"Your\" (2 notes), \"a[dore]\" (2 notes),\n%% \"sing\" (3 notes), and one 2-note figure in the last line (verse_variable_melisma).\n%%\n%% *** NEEDS HUMAN CONFIRMATION (two points) ***\n%% (1) M8 (the \"more\" cadence bar): the engraving shows the SOPRANO RESTING on\n%%     beat 4 — only the alto (c') and tenor/bass move there. mid2ly reported a\n%%     phantom soprano f'4 on that beat; it is dropped here as r4 (=> 45 soprano\n%%     notes). If a reader sees a real soprano note on that beat, the tune has 46\n%%     notes + an extra melisma and the system_breaks/underlay shift by one.\n%% (2) Last-line melisma: the slur peaks on ees'' and is read here as d''( ees'')\n%%     (\"gain\", notes 40-41). Re-check whether it is c''-d'' (\"a\") or ees''-c'' (\"I\").\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 bes'4. bes'8 a'4 g'4 f'2. g'8( a'8) bes'4 c''4 d''4 c''8( bes'8) c''2. f'4 d''4. c''8 bes'4 a'4 g'4( a'4 bes'4) d''4 c''4. c''8 d''4 c''4 f'2. r4 g'4. g'8 g'4 g'4 a'4. a'8 a'4 a'4 bes'2 b'2 c''4 d''4( es''4) c''4 bes'2 a'2 bes'2.\n}\nalto = {\n  f'4 bes'4. bes'8 a'4 g'4 f'2. es'8 a'8 f'4 f'4 f'4 f'8 bes'8 f'2. f'4 f'4. f'8 f'4 f'4 es'2 f'4 f'4 f'4. f'8 e'4 e'4 f'2. c'4 d'4. d'8 d'4 d'4 es'4. es'8 es'4 es'4 d'2 g'2 g'2. es'4 d'2 c'2 d'2.\n}\ntenor = {\n  f4 bes4. bes8 a4 g4 f2. bes4 bes4 a4 bes4 bes4 a2. a4 bes4. a8 bes4 bes4 bes4 c'4 bes4 bes4 a4. a8 bes4 bes4 a2. a4 bes4. bes8 bes4 bes4 c'4. c'8 c'4 c'4 bes2 d'2 c'4 b4 c'4 g4 f2 f2 f2.\n}\nbass = {\n  f4 bes4. bes8 a4 g4 f2. es4 d4 f4 bes4 d4 f2. f4 bes,4. c8 d4 d4 es2 d4 bes,4 c4. c8 c4 c4 f2. f4 f4. f8 f4 f4 f4. f8 f4 fis4 g2 f2 es4 d4 c4 es4 f2 f,2 bes,2.\n}\n"}, "harmonizations": [{"slug": "arthurs-seat-cyberhymnal", "tune": "arthurs-seat", "music_file": "arthurs-seat-cyberhymnal.ly", "harmonizer": "john-goss", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 14, 22, 28, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ARTHUR'S SEAT, John Goss, 1874. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting ARTHUR'S SEAT, John Goss (1800-1880), 1874 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (soprano and bass read note-for-note; B-flat major, regular 4/4 with a quarter pickup, dotted-half final). Melismatic (45 soprano notes / 40 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Arthur's Seat\" (Goss); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ARTHUR'S SEAT (6.6.6.6.8.8) — John Goss, 1874. A 4-part SATB hymn tune,\n%% here paired with Charles Wesley's \"Rejoice, the Lord is King\" (1746). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the render verified against the Cyber Hymnal engraving.\n%% B-flat major; NO printed time signature but a regular 4/4 with a quarter-note\n%% pickup (\\partial 4); every phrase ends on a dotted half that fits its bar, so\n%% no free-meter/tied-note splitting is needed. MELISMATIC: 45 soprano notes for\n%% 40 syllables — engraved melisma slurs on \"Your\" (2 notes), \"a[dore]\" (2 notes),\n%% \"sing\" (3 notes), and one 2-note figure in the last line (verse_variable_melisma).\n%%\n%% *** NEEDS HUMAN CONFIRMATION (two points) ***\n%% (1) M8 (the \"more\" cadence bar): the engraving shows the SOPRANO RESTING on\n%%     beat 4 — only the alto (c') and tenor/bass move there. mid2ly reported a\n%%     phantom soprano f'4 on that beat; it is dropped here as r4 (=> 45 soprano\n%%     notes). If a reader sees a real soprano note on that beat, the tune has 46\n%%     notes + an extra melisma and the system_breaks/underlay shift by one.\n%% (2) Last-line melisma: the slur peaks on ees'' and is read here as d''( ees'')\n%%     (\"gain\", notes 40-41). Re-check whether it is c''-d'' (\"a\") or ees''-c'' (\"I\").\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 bes'4. bes'8 a'4 g'4 f'2. g'8( a'8) bes'4 c''4 d''4 c''8( bes'8) c''2. f'4 d''4. c''8 bes'4 a'4 g'4( a'4 bes'4) d''4 c''4. c''8 d''4 c''4 f'2. r4 g'4. g'8 g'4 g'4 a'4. a'8 a'4 a'4 bes'2 b'2 c''4 d''4( es''4) c''4 bes'2 a'2 bes'2.\n}\nalto = {\n  f'4 bes'4. bes'8 a'4 g'4 f'2. es'8 a'8 f'4 f'4 f'4 f'8 bes'8 f'2. f'4 f'4. f'8 f'4 f'4 es'2 f'4 f'4 f'4. f'8 e'4 e'4 f'2. c'4 d'4. d'8 d'4 d'4 es'4. es'8 es'4 es'4 d'2 g'2 g'2. es'4 d'2 c'2 d'2.\n}\ntenor = {\n  f4 bes4. bes8 a4 g4 f2. bes4 bes4 a4 bes4 bes4 a2. a4 bes4. a8 bes4 bes4 bes4 c'4 bes4 bes4 a4. a8 bes4 bes4 a2. a4 bes4. bes8 bes4 bes4 c'4. c'8 c'4 c'4 bes2 d'2 c'4 b4 c'4 g4 f2 f2 f2.\n}\nbass = {\n  f4 bes4. bes8 a4 g4 f2. es4 d4 f4 bes4 d4 f2. f4 bes,4. c8 d4 d4 es2 d4 bes,4 c4. c8 c4 c4 f2. f4 f4. f8 f4 f4 f4. f8 f4 fis4 g2 f2 es4 d4 c4 es4 f2 f,2 bes,2.\n}\n", "preferred": true}]}, "assurance": {"slug": "assurance", "name": "ASSURANCE", "meter_label": "9.10.9.9 with Refrain", "meter": {"pattern": [9, 10, 9, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "phoebe-knapp", "composer_date": "1873", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "assurance-oh195", "provenance": {"layer": "tune", "source": "the-lesser-hymnal-1875", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:195 (line 24670); Music & setting Phoebe P. Knapp 1873 (d. 1908), The Lesser Hymnal 1875; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "assurance-oh195", "tune": "assurance", "music_file": "assurance-oh195.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "9/8", "pickup": "4.", "system_breaks": [15, 28, 42, 58], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38, "inline": true}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "the-lesser-hymnal-1875", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:195 (line 24670); Music & 4-part setting Phoebe P. Knapp 1873 (d. 1908), attr. Mrs. Joseph Knapp in The Lesser Hymnal 1875; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:195", "encoding_license": "PD-dedication"}, "music_ly": "%% Blessed Assurance\n%% Imported from Open Hymnal ABC X:195 (line 24670) via tools/abc_import.py\n%% Words & Music: Fanny Crosby & Phoebe P. Knapp, 1873; 4-part setting attr. Mrs. Joseph Knapp, The Lesser Hymnal 1875. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  fis'8 e'8 d'8 a'4. a'4. g'8 a'8 b'8 a'2. a'8 fis'8 a'8 d''4. cis''4 cis''8 b'8 a'8 gis'8 a'2. fis'8 e'8 d'8 a'4. a'4. g'8 a'8 b'8 a'2. d'8 e'8 fis'8 g'4. e'4. d'8 e'8 cis'8 d'2. a'8 a'8 a'8 d''4. a'4. b'8 b'8 b'8 a'2. a'8 a'8 a'8 b'4. d''4. cis''8 cis''8 b'8 cis''2. cis''8 d''8 e''8 d''4. a'4. b'8 a'8 b'8 a'2. d'8 e'8 fis'8 g'4. e'4. d'8. e'16 cis'8 d'2.\n}\nalto = {\n  d'8 d'8 d'8 fis'4. fis'4. d'8 d'8 d'8 d'2. fis'8 d'8 fis'8 fis'4. e'4 e'8 e'8 e'8 e'8 e'2. d'8 d'8 d'8 fis'4. fis'4. d'8 d'8 d'8 d'2. d'8 d'8 d'8 e'4. b4. d'8 cis'8 a8 a2. fis'8 fis'8 fis'8 fis'4. fis'4. g'8 g'8 g'8 fis'2. fis'8 fis'8 fis'8 g'4. a'4. a'8 a'8 gis'8 a'2. g'8 g'8 g'8 fis'4. fis'4. g'8 fis'8 g'8 fis'2. d'8 cis'8 d'8 e'4. b4. d'8. cis'16 a8 a2.\n}\ntenor = {\n  a8 g8 fis8 a4. a4. b8 fis8 g8 fis2. a8 a8 a8 a4. a4 a8 d'8 cis'8 b8 cis'2. a8 g8 fis8 a4. a4. b8 fis8 g8 fis2. fis8 g8 a8 b4. g4. fis8 g8 g8 fis2. d'8 d'8 d'8 a4. d'4. d'8 d'8 d'8 d'2. d'8 d'8 d'8 d'4. d'4. e'8 e'8 e'8 e'2. a8 b8 cis'8 d'4. d'4. d'8 d'8 d'8 d'2. a8 a8 a8 b4. g4. fis8. g16 e8 fis2.\n}\nbass = {\n  d8 d8 d8 d4. d4. d8 d8 d8 d2. d8 d8 d8 d4. e4 e8 e8 e8 e8 a,2. d8 d8 d8 d4. d4. d8 d8 d8 d2. d8 d8 d8 g,4. g,4. a,8 a,8 a,8 d2. d8 d8 d8 d4. d4. g8 g8 g8 d2. d8 d8 d8 g4. fis4. e8 e8 e8 a2. a8 a8 a8 d4. d4. d8 d8 d8 d2. fis8 e8 d8 g,4. g,4. a,8. a,16 a,8 d2.\n}\n"}, "harmonizations": [{"slug": "assurance-oh195", "tune": "assurance", "music_file": "assurance-oh195.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "9/8", "pickup": "4.", "system_breaks": [15, 28, 42, 58], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38, "inline": true}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "the-lesser-hymnal-1875", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:195 (line 24670); Music & 4-part setting Phoebe P. Knapp 1873 (d. 1908), attr. Mrs. Joseph Knapp in The Lesser Hymnal 1875; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:195", "encoding_license": "PD-dedication"}, "music_ly": "%% Blessed Assurance\n%% Imported from Open Hymnal ABC X:195 (line 24670) via tools/abc_import.py\n%% Words & Music: Fanny Crosby & Phoebe P. Knapp, 1873; 4-part setting attr. Mrs. Joseph Knapp, The Lesser Hymnal 1875. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  fis'8 e'8 d'8 a'4. a'4. g'8 a'8 b'8 a'2. a'8 fis'8 a'8 d''4. cis''4 cis''8 b'8 a'8 gis'8 a'2. fis'8 e'8 d'8 a'4. a'4. g'8 a'8 b'8 a'2. d'8 e'8 fis'8 g'4. e'4. d'8 e'8 cis'8 d'2. a'8 a'8 a'8 d''4. a'4. b'8 b'8 b'8 a'2. a'8 a'8 a'8 b'4. d''4. cis''8 cis''8 b'8 cis''2. cis''8 d''8 e''8 d''4. a'4. b'8 a'8 b'8 a'2. d'8 e'8 fis'8 g'4. e'4. d'8. e'16 cis'8 d'2.\n}\nalto = {\n  d'8 d'8 d'8 fis'4. fis'4. d'8 d'8 d'8 d'2. fis'8 d'8 fis'8 fis'4. e'4 e'8 e'8 e'8 e'8 e'2. d'8 d'8 d'8 fis'4. fis'4. d'8 d'8 d'8 d'2. d'8 d'8 d'8 e'4. b4. d'8 cis'8 a8 a2. fis'8 fis'8 fis'8 fis'4. fis'4. g'8 g'8 g'8 fis'2. fis'8 fis'8 fis'8 g'4. a'4. a'8 a'8 gis'8 a'2. g'8 g'8 g'8 fis'4. fis'4. g'8 fis'8 g'8 fis'2. d'8 cis'8 d'8 e'4. b4. d'8. cis'16 a8 a2.\n}\ntenor = {\n  a8 g8 fis8 a4. a4. b8 fis8 g8 fis2. a8 a8 a8 a4. a4 a8 d'8 cis'8 b8 cis'2. a8 g8 fis8 a4. a4. b8 fis8 g8 fis2. fis8 g8 a8 b4. g4. fis8 g8 g8 fis2. d'8 d'8 d'8 a4. d'4. d'8 d'8 d'8 d'2. d'8 d'8 d'8 d'4. d'4. e'8 e'8 e'8 e'2. a8 b8 cis'8 d'4. d'4. d'8 d'8 d'8 d'2. a8 a8 a8 b4. g4. fis8. g16 e8 fis2.\n}\nbass = {\n  d8 d8 d8 d4. d4. d8 d8 d8 d2. d8 d8 d8 d4. e4 e8 e8 e8 e8 a,2. d8 d8 d8 d4. d4. d8 d8 d8 d2. d8 d8 d8 g,4. g,4. a,8 a,8 a,8 d2. d8 d8 d8 d4. d4. g8 g8 g8 d2. d8 d8 d8 g4. fis4. e8 e8 e8 a2. a8 a8 a8 d4. d4. d8 d8 d8 d2. fis8 e8 d8 g,4. g,4. a,8. a,16 a,8 d2.\n}\n", "preferred": true}]}, "auld-lang-syne": {"slug": "auld-lang-syne", "name": "AULD LANG SYNE", "meter_label": "8.6.8.6.D", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Scottish traditional", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "auld-lang-syne-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "AULD LANG SYNE, traditional Scottish air (the standard tune joined to Burns's text in Thomson's Select Collection of Original Scottish Airs, 1799). As a hymn tune in American use from at least the 1840s; Hymnary.org tune authority auld_lang_syne ('Scotch melody', C.M., Public Domain; 145 instances per the authority record, ~124 pre-1931). Imported in the full doubled (verse + chorus-strain) form, 8.6.8.6 D — the form printed as 'Auld Lang Syne. C.M. Double' in Sacred Songs for Public Worship (1883) and sung at #doreancon 2026 (Psalm 119 Tet). With the ordinal-15/43 emendation noted on the harmonization, the soprano matches the Hymnary authority incipit 511132123113566 digit-for-digit.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "auld_lang_syne", "total_instances": 145}}, "harmonization": {"slug": "auld-lang-syne-cyberhymnal", "tune": "auld-lang-syne", "music_file": "auld-lang-syne-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AULD LANG SYNE, traditional Scottish air; four-part setting from the Cyber Hymnal encoding. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Standard four-part setting of AULD LANG SYNE as sung in pre-1931 American hymnals and songbooks. Encoded exactly from The Cyber Hymnal NWC (AuldLangSyne(short).nwc, SongInfo Copyright 'Public Domain'), decompressed and converted record-by-record (no MIDI quantization); adversarially verified 2026-08-12: all 56 chord columns of all four voices match the CH engraving. Cross-checked against an independent pre-1931 printing, Sacred Songs for Public Worship (1883), Nos. 81-85, headed 'Auld Lang Syne. C.M. Double': the chorus strain (soprano ordinals 29-42) is IDENTICAL in all four voices, the verse substantially the same setting with documented position-level variants (see the refutation report, session 2026-08-12). EMENDATION: the CH melody's f'' phrase-pair pickups (soprano ordinals 15 and 43) are emended to d'', the reading of the 1883 printing, the Hymnary authority incipit, and the majority of pre-1931 instances. All musical components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, AuldLangSyne(short).nwc (2-staff chorded SATB), exact NWC text-record conversion, session 2026-08-12", "encoding_license": "PD-dedication"}, "music_ly": "%% AULD LANG SYNE (traditional Scottish air), four-voice setting\n%% Converted from The Cyber Hymnal NWC encoding (AuldLangSyne(short).nwc) via\n%% the exact NWC text-record parser (scratchpad nwc2voices.py, session 2026-08-12)\n%% Music: traditional Scottish air; four-part setting per the Cyber Hymnal\n%% (marked Public Domain there), verified note-for-note against the CH\n%% engraving. EMENDATION: the CH melody's f'' pickups at soprano ordinals\n%% 15 and 43 are emended to d'' — the reading of Sacred Songs for Public\n%% Worship (1883) No. 81, the Hymnary authority incipit (511132123113566),\n%% 137 of 148 Hymnary instance rows, and the #doreancon 2026 performance.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4. f'8 f'4 a'4 g'4. f'8 g'4 a'4 f'4. f'8 a'4 c''4 d''2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 a'4 f'4. d'8 d'4 c'4 f'2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 d''4 c''4. a'8 a'4 c''4 d''2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 a'4 f'4. d'8 d'4 c'4 f'2.\n}\nalto = {\n  c'4 c'4. c'8 c'4 f'4 e'4. d'8 e'4 e'4 f'4. f'8 f'4 f'4 f'2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 c'4 d'4. bes8 bes4 bes4 a2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 e'4 f'4. f'8 f'4 f'4 f'2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 e'4 d'4. bes8 bes4 bes4 a2.\n}\ntenor = {\n  a4 a4. a8 a4 c'4 c'4. c'8 c'4 bes4 a4. a8 c'4 a4 bes2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 e4 f4. f8 f4 e4 f2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 bes4 a4. c'8 c'4 a4 bes2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 e4 f4. f8 f4 e4 f2.\n}\nbass = {\n  f4 f4. f8 f4 f4 c4. c8 c4 c4 f4. f8 f4 f4 bes,2. d4 f4. f8 f4 f4 c4. c8 c4 c4 d4. bes,8 bes,4 c4 f,2. f4 f4. f8 f4 f4 c4. c8 c4 c4 f4. f8 f4 f4 bes,2. d4 f4. f8 f4 f4 c4. c8 c4 c4 d4. bes,8 bes,4 c4 f,2.\n}\n"}, "harmonizations": [{"slug": "auld-lang-syne-cyberhymnal", "tune": "auld-lang-syne", "music_file": "auld-lang-syne-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AULD LANG SYNE, traditional Scottish air; four-part setting from the Cyber Hymnal encoding. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Standard four-part setting of AULD LANG SYNE as sung in pre-1931 American hymnals and songbooks. Encoded exactly from The Cyber Hymnal NWC (AuldLangSyne(short).nwc, SongInfo Copyright 'Public Domain'), decompressed and converted record-by-record (no MIDI quantization); adversarially verified 2026-08-12: all 56 chord columns of all four voices match the CH engraving. Cross-checked against an independent pre-1931 printing, Sacred Songs for Public Worship (1883), Nos. 81-85, headed 'Auld Lang Syne. C.M. Double': the chorus strain (soprano ordinals 29-42) is IDENTICAL in all four voices, the verse substantially the same setting with documented position-level variants (see the refutation report, session 2026-08-12). EMENDATION: the CH melody's f'' phrase-pair pickups (soprano ordinals 15 and 43) are emended to d'', the reading of the 1883 printing, the Hymnary authority incipit, and the majority of pre-1931 instances. All musical components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, AuldLangSyne(short).nwc (2-staff chorded SATB), exact NWC text-record conversion, session 2026-08-12", "encoding_license": "PD-dedication"}, "music_ly": "%% AULD LANG SYNE (traditional Scottish air), four-voice setting\n%% Converted from The Cyber Hymnal NWC encoding (AuldLangSyne(short).nwc) via\n%% the exact NWC text-record parser (scratchpad nwc2voices.py, session 2026-08-12)\n%% Music: traditional Scottish air; four-part setting per the Cyber Hymnal\n%% (marked Public Domain there), verified note-for-note against the CH\n%% engraving. EMENDATION: the CH melody's f'' pickups at soprano ordinals\n%% 15 and 43 are emended to d'' — the reading of Sacred Songs for Public\n%% Worship (1883) No. 81, the Hymnary authority incipit (511132123113566),\n%% 137 of 148 Hymnary instance rows, and the #doreancon 2026 performance.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4. f'8 f'4 a'4 g'4. f'8 g'4 a'4 f'4. f'8 a'4 c''4 d''2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 a'4 f'4. d'8 d'4 c'4 f'2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 d''4 c''4. a'8 a'4 c''4 d''2. d''4 c''4. a'8 a'4 f'4 g'4. f'8 g'4 a'4 f'4. d'8 d'4 c'4 f'2.\n}\nalto = {\n  c'4 c'4. c'8 c'4 f'4 e'4. d'8 e'4 e'4 f'4. f'8 f'4 f'4 f'2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 c'4 d'4. bes8 bes4 bes4 a2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 e'4 f'4. f'8 f'4 f'4 f'2. f'4 f'4. f'8 f'4 f'4 e'4. d'8 e'4 e'4 d'4. bes8 bes4 bes4 a2.\n}\ntenor = {\n  a4 a4. a8 a4 c'4 c'4. c'8 c'4 bes4 a4. a8 c'4 a4 bes2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 e4 f4. f8 f4 e4 f2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 bes4 a4. c'8 c'4 a4 bes2. bes4 a4. c'8 c'4 a4 c'4. c'8 c'4 e4 f4. f8 f4 e4 f2.\n}\nbass = {\n  f4 f4. f8 f4 f4 c4. c8 c4 c4 f4. f8 f4 f4 bes,2. d4 f4. f8 f4 f4 c4. c8 c4 c4 d4. bes,8 bes,4 c4 f,2. f4 f4. f8 f4 f4 c4. c8 c4 c4 f4. f8 f4 f4 bes,2. d4 f4. f8 f4 f4 c4. c8 c4 c4 d4. bes,8 bes,4 c4 f,2.\n}\n", "preferred": true}]}, "aurelia": {"slug": "aurelia", "name": "AURELIA", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "samuel-sebastian-wesley", "composer_date": "1864", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "aurelia-rcus-1866", "provenance": {"layer": "tune", "source": "rcus-order-1866", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Samuel Sebastian Wesley, 1864. Composer d. 1876.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "aurelia_wesley", "total_instances": 1242}}, "harmonization": {"slug": "aurelia-rcus-1866", "tune": "aurelia", "music_file": "aurelia-rcus-1866.ly", "harmonizer": "samuel-sebastian-wesley", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "rcus-order-1866", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:220", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Stone 1866; S.S. Wesley 1864; setting 1866. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% The Church's One Foundation\n%% Imported from Open Hymnal X:220 via tools/abc_import.py\n%% Public domain: Stone 1866; S.S. Wesley 1864; setting 1866. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 g'4 fis'4 fis'2 e'4 d'4 d'4 b'4 a'4 g'4 fis'2. g'4 a'4 d''4 d''4 cis''4 cis''2 b'4 a'4 g'4 a'4 fis'4 d'4 e'2. e'4 fis'4 g'4 a'4 b'4 b'2 a'4 d''4 d''4. cis''8 b'4 fis'4 g'2. e'4 fis'4 fis'4 g'4 fis'4 fis'2 e'4 d'4 d'4 e'4 d'4 cis'4 d'2.\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 d'2 cis'4 d'4 b4 d'4 d'4 cis'4 d'2. cis'4 d'4 d'4 fis'4 e'4 e'2 d'4 fis'4 g'4 e'4 d'4 d'4 cis'2. cis'4 d'4 cis'4 d'4 d'4 d'2 d'4 fis'4 fis'4. fis'8 fis'4 fis'4 e'2. e'4 d'4 d'4 d'4 d'4 b2 b4 b4 b4 b4 b4 a4 a2.\n}\ntenor = {\n  a4 a4 a4 b4 a4 a2 a4 a4 e4 e4 fis4 a4 a2. a4 a4 a4 ais4 ais4 ais2 b4 cis'4 d'4 e'4 a4 gis4 a2. a4 a4 a4 a4 g4 g2 a4 b4 b4. ais8 b4 b4 b2. a4 a4 a4 b4 a4 a2 g4 g4 g4 g4 e4 g4 fis2.\n}\nbass = {\n  d4 d4 d4 d4 d4 a,2 g,4 fis,4 g,4 g,4 a,4 a,4 d2. e4 fis4 fis4 fis4 fis,4 g,2 g,4 a,4 b,4 cis4 d4 b,4 a,2. a,4 d4 e4 fis4 g4 g2 fis4 b,4 fis4. e8 d4 dis4 e2. cis4 d4 d4 d4 d4 g,2 g,4 g,4 e,4 e,4 a,4 a,4 d2.\n}\n"}, "harmonizations": [{"slug": "aurelia-rcus-1866", "tune": "aurelia", "music_file": "aurelia-rcus-1866.ly", "harmonizer": "samuel-sebastian-wesley", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "rcus-order-1866", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:220", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Stone 1866; S.S. Wesley 1864; setting 1866. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% The Church's One Foundation\n%% Imported from Open Hymnal X:220 via tools/abc_import.py\n%% Public domain: Stone 1866; S.S. Wesley 1864; setting 1866. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 g'4 fis'4 fis'2 e'4 d'4 d'4 b'4 a'4 g'4 fis'2. g'4 a'4 d''4 d''4 cis''4 cis''2 b'4 a'4 g'4 a'4 fis'4 d'4 e'2. e'4 fis'4 g'4 a'4 b'4 b'2 a'4 d''4 d''4. cis''8 b'4 fis'4 g'2. e'4 fis'4 fis'4 g'4 fis'4 fis'2 e'4 d'4 d'4 e'4 d'4 cis'4 d'2.\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 d'2 cis'4 d'4 b4 d'4 d'4 cis'4 d'2. cis'4 d'4 d'4 fis'4 e'4 e'2 d'4 fis'4 g'4 e'4 d'4 d'4 cis'2. cis'4 d'4 cis'4 d'4 d'4 d'2 d'4 fis'4 fis'4. fis'8 fis'4 fis'4 e'2. e'4 d'4 d'4 d'4 d'4 b2 b4 b4 b4 b4 b4 a4 a2.\n}\ntenor = {\n  a4 a4 a4 b4 a4 a2 a4 a4 e4 e4 fis4 a4 a2. a4 a4 a4 ais4 ais4 ais2 b4 cis'4 d'4 e'4 a4 gis4 a2. a4 a4 a4 a4 g4 g2 a4 b4 b4. ais8 b4 b4 b2. a4 a4 a4 b4 a4 a2 g4 g4 g4 g4 e4 g4 fis2.\n}\nbass = {\n  d4 d4 d4 d4 d4 a,2 g,4 fis,4 g,4 g,4 a,4 a,4 d2. e4 fis4 fis4 fis4 fis,4 g,2 g,4 a,4 b,4 cis4 d4 b,4 a,2. a,4 d4 e4 fis4 g4 g2 fis4 b,4 fis4. e8 d4 dis4 e2. cis4 d4 d4 d4 d4 g,2 g,4 g,4 e,4 e,4 a,4 a,4 d2.\n}\n", "preferred": true}]}, "aus-der-tiefe": {"slug": "aus-der-tiefe", "name": "AUS DER TIEFE", "alt_name": "HEINLEIN", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "martin-herbst", "composer_date": "1676", "canonical_key": {"tonic": "d", "mode": "minor"}, "preferred_harmonization": "aus-der-tiefe-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "AUS DER TIEFE (7.7.7.7), also called HEINLEIN, from the Nürnbergisches Gesangbuch (Nürnberg, 1676-77), where it is signed \"M. H.\" — attributed to Martin Herbst (1654-1681), historically also read as Paul Heinlein (hence the alternate name). Long the standard tune for George Hunt Smyttan's Lenten hymn \"Forty days and forty nights.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (D minor, 4/4, no pickup; purely syllabic, 28 notes; half-note phrase endings). Soprano matches the Hymnary tune-authority incipit 5512345 5577665 55664... (degrees in D minor). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Heinlein\" (Nürnbergisches Gesangbuch, 1676); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "heinlein_herbst", "total_instances": 155}}, "harmonization": {"slug": "aus-der-tiefe-cyberhymnal", "tune": "aus-der-tiefe", "music_file": "aus-der-tiefe-cyberhymnal.ly", "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AUS DER TIEFE (HEINLEIN), Nürnbergisches Gesangbuch, 1676; harmony by William H. Monk. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune AUS DER TIEFE, also called HEINLEIN (Nürnbergisches Gesangbuch, Nürnberg, 1676-77; melody attributed to Martin Herbst, 1654-1681); four-part harmony credited by The Cyber Hymnal hymn page to William H. Monk (1823-1889), music editor of Hymns Ancient and Modern (the tune's standard Monk harmonization appeared there, 1861). Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (D minor, 4/4, no pickup; purely syllabic, 28 notes per voice; the source prints the leading-tone C-sharps, the tenor G-sharp, and the soprano B-naturals as accidentals; final half note). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Heinlein\" (Nürnbergisches Gesangbuch, 1676; harmony William H. Monk); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% AUS DER TIEFE / HEINLEIN (7.7.7.7) — four SATB voice streams, canonical key D minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Heinlein\", Nürnbergisches Gesangbuch,\n%% 1676; melody attributed to Martin Herbst, 1654-1681; harmony credited by the\n%% Cyber Hymnal hymn page to William H. Monk, 1823-1889) with tools/mid2ly.py and\n%% verified note-for-note against the Cyber Hymnal engraving. D minor, 4/4, no\n%% pickup; PURELY SYLLABIC — 28 quarter/half notes per voice, no melisma slurs\n%% (7.7.7.7 = 28 syllables). Phrase ends are half notes, including the final.\n%% Accidentals printed in the source and respelled from the MIDI for D minor:\n%% the leading-tone C-sharps (alto cadences of phrases 1, 2 and the final; bass\n%% bar 1), the tenor G-sharp at the phrase-2 cadence on A, and the soprano\n%% B-naturals (raised sixth) in phrase 2.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 d'4 e'4 | f'4 g'4 a'2 |\n  a'4 a'4 c''4 c''4 | b'4 b'4 a'2 |\n  a'4 a'4 bes'4 bes'4 | g'4 g'4 a'2 |\n  a'4 a'4 g'4 f'4 | e'4 e'4 d'2\n}\nalto = {\n  d'4 d'4 a4 e'4 | d'4 d'4 cis'2 |\n  d'4 d'4 e'4 e'4 | e'4 e'4 cis'2 |\n  d'4 d'4 d'4 d'4 | c'4 c'4 c'2 |\n  c'4 f'4 e'4 d'4 | d'4 cis'4 d'2\n}\ntenor = {\n  f4 f4 f4 a4 | a4 d4 e2 |\n  f4 f4 a4 a4 | a4 gis4 a2 |\n  f4 f4 g4 g4 | e4 e4 f2 |\n  a4 c'4 c'4 a4 | a4 a4 f2\n}\nbass = {\n  d4 d4 d4 cis4 | d4 bes,4 a,2 |\n  d4 d4 a,4 a,4 | e4 e4 a,2 |\n  d4 d4 g,4 g,4 | c4 c4 f,2 |\n  f4 f4 c4 d4 | a,4 a,4 d2\n}\n"}, "harmonizations": [{"slug": "aus-der-tiefe-cyberhymnal", "tune": "aus-der-tiefe", "music_file": "aus-der-tiefe-cyberhymnal.ly", "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AUS DER TIEFE (HEINLEIN), Nürnbergisches Gesangbuch, 1676; harmony by William H. Monk. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune AUS DER TIEFE, also called HEINLEIN (Nürnbergisches Gesangbuch, Nürnberg, 1676-77; melody attributed to Martin Herbst, 1654-1681); four-part harmony credited by The Cyber Hymnal hymn page to William H. Monk (1823-1889), music editor of Hymns Ancient and Modern (the tune's standard Monk harmonization appeared there, 1861). Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (D minor, 4/4, no pickup; purely syllabic, 28 notes per voice; the source prints the leading-tone C-sharps, the tenor G-sharp, and the soprano B-naturals as accidentals; final half note). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Heinlein\" (Nürnbergisches Gesangbuch, 1676; harmony William H. Monk); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% AUS DER TIEFE / HEINLEIN (7.7.7.7) — four SATB voice streams, canonical key D minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Heinlein\", Nürnbergisches Gesangbuch,\n%% 1676; melody attributed to Martin Herbst, 1654-1681; harmony credited by the\n%% Cyber Hymnal hymn page to William H. Monk, 1823-1889) with tools/mid2ly.py and\n%% verified note-for-note against the Cyber Hymnal engraving. D minor, 4/4, no\n%% pickup; PURELY SYLLABIC — 28 quarter/half notes per voice, no melisma slurs\n%% (7.7.7.7 = 28 syllables). Phrase ends are half notes, including the final.\n%% Accidentals printed in the source and respelled from the MIDI for D minor:\n%% the leading-tone C-sharps (alto cadences of phrases 1, 2 and the final; bass\n%% bar 1), the tenor G-sharp at the phrase-2 cadence on A, and the soprano\n%% B-naturals (raised sixth) in phrase 2.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 d'4 e'4 | f'4 g'4 a'2 |\n  a'4 a'4 c''4 c''4 | b'4 b'4 a'2 |\n  a'4 a'4 bes'4 bes'4 | g'4 g'4 a'2 |\n  a'4 a'4 g'4 f'4 | e'4 e'4 d'2\n}\nalto = {\n  d'4 d'4 a4 e'4 | d'4 d'4 cis'2 |\n  d'4 d'4 e'4 e'4 | e'4 e'4 cis'2 |\n  d'4 d'4 d'4 d'4 | c'4 c'4 c'2 |\n  c'4 f'4 e'4 d'4 | d'4 cis'4 d'2\n}\ntenor = {\n  f4 f4 f4 a4 | a4 d4 e2 |\n  f4 f4 a4 a4 | a4 gis4 a2 |\n  f4 f4 g4 g4 | e4 e4 f2 |\n  a4 c'4 c'4 a4 | a4 a4 f2\n}\nbass = {\n  d4 d4 d4 cis4 | d4 bes,4 a,2 |\n  d4 d4 a,4 a,4 | e4 e4 a,2 |\n  d4 d4 g,4 g,4 | c4 c4 f,2 |\n  f4 f4 c4 d4 | a,4 a,4 d2\n}\n", "preferred": true}]}, "aus-tiefer-not-luther": {"slug": "aus-tiefer-not-luther", "name": "AUS TIEFER NOT (LUTHER)", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "martin-luther", "composer_date": "1524", "alt_name": "Af Dybsens Nød", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "aus-tiefer-not-luther-oh143", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:143; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "aus_tiefer_not_luther", "total_instances": 85}}, "harmonization": {"slug": "aus-tiefer-not-luther-oh143", "tune": "aus-tiefer-not-luther", "music_file": "aus-tiefer-not-luther-oh143.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 27, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AUS TIEFER NOT, Martin Luther, 1524; harmonization J. S. Bach (BWV 38/6), with six Open Hymnal editorial deviations. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:143; all components published pre-1931 (latest year 1883). HARMONIZER RE-ATTRIBUTED 2026-08-04 (Batch C wave 3): this record carried no harmonizer at all, because the Open Hymnal credit names Luther — the credit for the MELODY, which says nothing about who wrote the four parts. The setting is J. S. Bach's, the closing chorale of Cantata 38 \"Aus tiefer Not schrei ich zu dir\" (BWV 38/6; Riemenschneider / Breitkopf-371 No. 10). Measured against the craigsapp/bach-370-chorales edition of that movement (chor010, repeat expanded) AT THE SAME WRITTEN PITCH — no transposition is involved, both carry an empty key signature: soprano 61 of 61 notes identical in pitch AND duration; tenor 64 of 64 identical in pitch and duration; alto 65 against 64 with three operations; bass 64 of 64 with three pitch differences. Across 254 notes there are SIX editorial deviations and no others. Corroborated independently by the Greentree-lineage bwv38.6.mxl distributed via the music21 corpus, which agrees with the kern (not with this file) at both substantive spots. Further confirmation from the underlay: this file's eight melisma slurs sit at soprano ordinals 6, 14, 17, 25, 33, 36, 43 and 60 — Bach's own hold positions as carried by the texted witness. THE SIX DEVIATIONS, recorded rather than corrected so that no engraving changes: alto note 6 and its Stollen repeat at note 24 read F4 where Bach writes F-sharp4; bass notes 1 and 19 (the first note of each Stollen pass) read E3 where Bach writes D3; the final bass note reads E3 where Bach writes E2 (the sidecar's own `alternates` already offers the low octave there); and the alto re-strikes a d' at the close where Bach ties. PD basis is unaffected either way — Bach died 1750.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:143", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 53, "pitch": "d,"}, {"voice": "bass", "voice_note": 64, "pitch": "e,"}], "music_ly": "%% Out of the Deep I Cry to Thee\n%% Imported from Open Hymnal ABC X:143 via tools/abc_import.py\n%% Open Hymnal X:143; all components published pre-1931 (latest year 1883).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  b'2 e'4 b'4 c''4 b'8( a'8) g'4 a'4 b'2 b'2 c''4 d''4 c''8( b'8) a'4 g'4( f'4) e'2 b'2 e'4 b'4 c''4 b'8( a'8) g'4 a'4 b'2 b'2 c''4 d''4 c''8( b'8) a'4 g'4( f'4) e'2 a'2 g'4 c''4 b'4 a'4 d''8( c''8) b'4 a'2 c''2 b'4 c''4 d''4 g'4 b'4 a'4 g'2 g'2 c''4 b'4 a'4 e'4 g'4( f'4) e'1\n}\nalto = {\n  e'2 e'4 gis'4 a'4 g'8 f'8 e'4 fis'4 gis'2 gis'2 a'4 b'4 c''4 f'4 e'4( d'8 c'8) b2 e'2 e'4 gis'4 a'4 g'8 f'8 e'4 fis'4 gis'2 gis'2 a'4 b'4 c''4 f'4 e'4( d'8 c'8) b2 e'2 d'4 e'8 fis'8 g'4 a'4 b'8 a'8 gis'4 e'2 a'2 g'4 g'4 g'8 f'8 e'4 d'4 c'4 b2 e'2 e'4 e'8 d'8 c'4 c'4 d'2( d'4) c'4( b2)\n}\ntenor = {\n  gis2 a4 d'4 e'4 d'4 e'8 d'8 c'4 b2 e'2 e'4 f'4 g'4 c'4 c'8( b8 a4) gis2 gis2 a4 d'4 e'4 d'4 e'8 d'8 c'4 b2 e'2 e'4 f'4 g'4 c'4 c'8( b8 a4) gis2 a2 b4 c'4 d'4 d'8 e'8 f'4 b4 c'2 e'2 e'4 e'4 d'4 c'4 fis8( g4) fis8 g2 g2 a4 gis4 a4 g4 g4( a4 b4 a4) gis2\n}\nbass = {\n  e2 c4 b,4 a,4 b,4 c8 b,8 a,4 e2 e2 a4 g8 f8 e4 f4 c4( d4) e2 e2 c4 b,4 a,4 b,4 c8 b,8 a,4 e2 e2 a4 g8 f8 e4 f4 c4( d4) e2 c'2 b4 a4 g4 f8 e8 d4 e4 a,2 a2 e4 d8 c8 b,4 c4 d4 d4 g,2 c2 a,4 e4 f4 c4 bes,4( a,4 gis,4 a,4) e2\n}\n"}, "harmonizations": [{"slug": "aus-tiefer-not-luther-oh143", "tune": "aus-tiefer-not-luther", "music_file": "aus-tiefer-not-luther-oh143.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 27, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "AUS TIEFER NOT, Martin Luther, 1524; harmonization J. S. Bach (BWV 38/6), with six Open Hymnal editorial deviations. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:143; all components published pre-1931 (latest year 1883). HARMONIZER RE-ATTRIBUTED 2026-08-04 (Batch C wave 3): this record carried no harmonizer at all, because the Open Hymnal credit names Luther — the credit for the MELODY, which says nothing about who wrote the four parts. The setting is J. S. Bach's, the closing chorale of Cantata 38 \"Aus tiefer Not schrei ich zu dir\" (BWV 38/6; Riemenschneider / Breitkopf-371 No. 10). Measured against the craigsapp/bach-370-chorales edition of that movement (chor010, repeat expanded) AT THE SAME WRITTEN PITCH — no transposition is involved, both carry an empty key signature: soprano 61 of 61 notes identical in pitch AND duration; tenor 64 of 64 identical in pitch and duration; alto 65 against 64 with three operations; bass 64 of 64 with three pitch differences. Across 254 notes there are SIX editorial deviations and no others. Corroborated independently by the Greentree-lineage bwv38.6.mxl distributed via the music21 corpus, which agrees with the kern (not with this file) at both substantive spots. Further confirmation from the underlay: this file's eight melisma slurs sit at soprano ordinals 6, 14, 17, 25, 33, 36, 43 and 60 — Bach's own hold positions as carried by the texted witness. THE SIX DEVIATIONS, recorded rather than corrected so that no engraving changes: alto note 6 and its Stollen repeat at note 24 read F4 where Bach writes F-sharp4; bass notes 1 and 19 (the first note of each Stollen pass) read E3 where Bach writes D3; the final bass note reads E3 where Bach writes E2 (the sidecar's own `alternates` already offers the low octave there); and the alto re-strikes a d' at the close where Bach ties. PD basis is unaffected either way — Bach died 1750.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:143", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 53, "pitch": "d,"}, {"voice": "bass", "voice_note": 64, "pitch": "e,"}], "music_ly": "%% Out of the Deep I Cry to Thee\n%% Imported from Open Hymnal ABC X:143 via tools/abc_import.py\n%% Open Hymnal X:143; all components published pre-1931 (latest year 1883).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  b'2 e'4 b'4 c''4 b'8( a'8) g'4 a'4 b'2 b'2 c''4 d''4 c''8( b'8) a'4 g'4( f'4) e'2 b'2 e'4 b'4 c''4 b'8( a'8) g'4 a'4 b'2 b'2 c''4 d''4 c''8( b'8) a'4 g'4( f'4) e'2 a'2 g'4 c''4 b'4 a'4 d''8( c''8) b'4 a'2 c''2 b'4 c''4 d''4 g'4 b'4 a'4 g'2 g'2 c''4 b'4 a'4 e'4 g'4( f'4) e'1\n}\nalto = {\n  e'2 e'4 gis'4 a'4 g'8 f'8 e'4 fis'4 gis'2 gis'2 a'4 b'4 c''4 f'4 e'4( d'8 c'8) b2 e'2 e'4 gis'4 a'4 g'8 f'8 e'4 fis'4 gis'2 gis'2 a'4 b'4 c''4 f'4 e'4( d'8 c'8) b2 e'2 d'4 e'8 fis'8 g'4 a'4 b'8 a'8 gis'4 e'2 a'2 g'4 g'4 g'8 f'8 e'4 d'4 c'4 b2 e'2 e'4 e'8 d'8 c'4 c'4 d'2( d'4) c'4( b2)\n}\ntenor = {\n  gis2 a4 d'4 e'4 d'4 e'8 d'8 c'4 b2 e'2 e'4 f'4 g'4 c'4 c'8( b8 a4) gis2 gis2 a4 d'4 e'4 d'4 e'8 d'8 c'4 b2 e'2 e'4 f'4 g'4 c'4 c'8( b8 a4) gis2 a2 b4 c'4 d'4 d'8 e'8 f'4 b4 c'2 e'2 e'4 e'4 d'4 c'4 fis8( g4) fis8 g2 g2 a4 gis4 a4 g4 g4( a4 b4 a4) gis2\n}\nbass = {\n  e2 c4 b,4 a,4 b,4 c8 b,8 a,4 e2 e2 a4 g8 f8 e4 f4 c4( d4) e2 e2 c4 b,4 a,4 b,4 c8 b,8 a,4 e2 e2 a4 g8 f8 e4 f4 c4( d4) e2 c'2 b4 a4 g4 f8 e8 d4 e4 a,2 a2 e4 d8 c8 b,4 c4 d4 d4 g,2 c2 a,4 e4 f4 c4 bes,4( a,4 gis,4 a,4) e2\n}\n", "preferred": true}]}, "austrian-hymn": {"slug": "austrian-hymn", "name": "AUSTRIAN HYMN", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "franz-joseph-haydn", "composer_date": "1797", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "austrian-hymn-evangelical-1880", "provenance": {"layer": "tune", "source": "haydn-1797", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Austria', Franz Joseph Haydn, 1797. Composer d. 1809.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "austrian_hymn_haydn", "total_instances": 845}}, "harmonization": {"slug": "austrian-hymn-evangelical-1880", "tune": "austrian-hymn", "music_file": "austrian-hymn-evangelical-1880.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-tunes-1880", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Evangelical Hymnal with Tunes, 1880. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:210", "encoding_license": "PD-dedication"}, "music_ly": "%% Glorious Things of Thee Are Spoken\n%% Imported from Open Hymnal ABC X:210 via tools/abc_import.py\n%% Public domain: Newton 1779; tune Haydn 1797; setting 1880. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4. g'8 a'4 g'4 bes'4 a'4 g'8( e'8) f'4 d''4 c''4 bes'4 a'4 g'4 a'8( f'8) c''2 f'4. g'8 a'4 g'4 bes'4 a'4 g'8( e'8) f'4 d''4 c''4 bes'4 a'4 g'4 a'8( f'8) c''2 g'4 a'4 g'8( e'8) c'4 bes'4 a'4 g'8( e'8) c'4 c''4 bes'4 a'4. a'8 b'4 b'8( c''8) c''2 f''4. e''8 d''4 c''4 d''4. c''8 c''8( bes'8) a'4 g'4 a'8( bes'8) c''8( d''8) bes'8( g'8) f'4 a'8( g'8) f'2\n}\nalto = {\n  c'4. c'8 f'4 e'4 c'4 c'4 c'4 c'4 f'4 f'4 g'4 f'4 d'4 f'4 e'2 f'4. f'8 f'4 e'4 c'4 c'4 bes4 a4 f'4 f'4 d'8 e'8 f'4 d'4 f'4 e'2 e'4 f'4 e'8 c'8 c'4 d'8 e'8 f'4 e'8 c'8 c'4 c'4 d'8 e'8 f'4. f'8 f'4 f'8 e'8 e'2 f'4. f'8 f'4 f'4 f'4. f'8 f'8 c'8 c'4 c'4 c'4 f'8 ees'8 d'4 c'4 e'4 f'2\n}\ntenor = {\n  a4. bes8 c'4 c'4 g4 a4 bes4 a4 bes4 a4 c'4 c'4 d'4 d'4 c'2 a4 b4 c'4 c'4 g4 a4 e8 g8 f4 bes4 a4 bes4 c'4 d'4 d'4 g2 c'4 c'4 c'8 g8 e4 f8 g8 a8 b8 c'8 g8 e4 a4 g4 f4 a4 d'4 d'8 c'8 c'2 c'4. c'8 bes4 a4 bes4. a8 a8 g8 f4 e4 e4 f4 f8 g8 a4 bes4 a2\n}\nbass = {\n  f4. f8 f4 c4 e4 f4 c4 f4 f4 f4 e4 f4 bes,4 b,4 c2 d4. d8 c4 c4 e4 f4 c4 f4 bes,4 f4 g4 f4 bes,4 b,4 c2 c4 c4 c4 c4 c4 c4 c4 c4 a,4 bes,8 c8 d4. d8 g,4 g4 c2 a4. a8 bes4 f4 bes,4. c8 d8 e8 f4 bes,4 bes,4 a,4 bes,4 c4 c4 f,2\n}\n"}, "harmonizations": [{"slug": "austrian-hymn-evangelical-1880", "tune": "austrian-hymn", "music_file": "austrian-hymn-evangelical-1880.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-tunes-1880", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Evangelical Hymnal with Tunes, 1880. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:210", "encoding_license": "PD-dedication"}, "music_ly": "%% Glorious Things of Thee Are Spoken\n%% Imported from Open Hymnal ABC X:210 via tools/abc_import.py\n%% Public domain: Newton 1779; tune Haydn 1797; setting 1880. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4. g'8 a'4 g'4 bes'4 a'4 g'8( e'8) f'4 d''4 c''4 bes'4 a'4 g'4 a'8( f'8) c''2 f'4. g'8 a'4 g'4 bes'4 a'4 g'8( e'8) f'4 d''4 c''4 bes'4 a'4 g'4 a'8( f'8) c''2 g'4 a'4 g'8( e'8) c'4 bes'4 a'4 g'8( e'8) c'4 c''4 bes'4 a'4. a'8 b'4 b'8( c''8) c''2 f''4. e''8 d''4 c''4 d''4. c''8 c''8( bes'8) a'4 g'4 a'8( bes'8) c''8( d''8) bes'8( g'8) f'4 a'8( g'8) f'2\n}\nalto = {\n  c'4. c'8 f'4 e'4 c'4 c'4 c'4 c'4 f'4 f'4 g'4 f'4 d'4 f'4 e'2 f'4. f'8 f'4 e'4 c'4 c'4 bes4 a4 f'4 f'4 d'8 e'8 f'4 d'4 f'4 e'2 e'4 f'4 e'8 c'8 c'4 d'8 e'8 f'4 e'8 c'8 c'4 c'4 d'8 e'8 f'4. f'8 f'4 f'8 e'8 e'2 f'4. f'8 f'4 f'4 f'4. f'8 f'8 c'8 c'4 c'4 c'4 f'8 ees'8 d'4 c'4 e'4 f'2\n}\ntenor = {\n  a4. bes8 c'4 c'4 g4 a4 bes4 a4 bes4 a4 c'4 c'4 d'4 d'4 c'2 a4 b4 c'4 c'4 g4 a4 e8 g8 f4 bes4 a4 bes4 c'4 d'4 d'4 g2 c'4 c'4 c'8 g8 e4 f8 g8 a8 b8 c'8 g8 e4 a4 g4 f4 a4 d'4 d'8 c'8 c'2 c'4. c'8 bes4 a4 bes4. a8 a8 g8 f4 e4 e4 f4 f8 g8 a4 bes4 a2\n}\nbass = {\n  f4. f8 f4 c4 e4 f4 c4 f4 f4 f4 e4 f4 bes,4 b,4 c2 d4. d8 c4 c4 e4 f4 c4 f4 bes,4 f4 g4 f4 bes,4 b,4 c2 c4 c4 c4 c4 c4 c4 c4 c4 a,4 bes,8 c8 d4. d8 g,4 g4 c2 a4. a8 bes4 f4 bes,4. c8 d8 e8 f4 bes,4 bes,4 a,4 bes,4 c4 c4 f,2\n}\n", "preferred": true}]}, "aylesbury": {"slug": "aylesbury", "name": "AYLESBURY", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Chetham's Psalmody, 1718", "canonical_key": {"tonic": "f", "mode": "minor"}, "preferred_harmonization": "aylesbury-am-1904", "provenance": {"layer": "tune", "source": "chethams-psalmody-1718", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Aylesbury', John Chetham's Psalmody, 1718.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "aylesbury_chetham", "total_instances": 66}}, "harmonization": {"slug": "aylesbury-am-1904", "tune": "aylesbury", "music_file": "aylesbury-am-1904.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-modern-1904", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymns Ancient and Modern, 1904. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:115", "encoding_license": "PD-dedication"}, "music_ly": "%% Breathe on Me, Breath of God\n%% Imported from Open Hymnal ABC X:115 via tools/abc_import.py\n%% Public domain: Hatch 1878; tune Chetham's Psalmody 1718; setting 1904. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 }\n\nsoprano = {\n  f'2 c''4 bes'4 aes'4 g'4 f'2 c''2 ees''4 des''4 c''4 bes'4 c''2 r4 aes'4 g'4 f'4 c''4 aes'4 bes'4 aes'4 g'4 f'4 c''4 bes'4 aes'2 g'2 f'1\n}\nalto = {\n  c'2 f'4 g'4 f'4 e'4 f'2 ees'2 ees'4 f'4 ees'4 ees'4 ees'2 s4 f'4 ees'4 des'4 ees'4 f'4 f'4 f'4 e'4 f'4 f'4 g'4 f'2 e'2 f'1\n}\ntenor = {\n  aes2 c'4 des'4 c'4 c'4 aes2 aes2 aes4 aes4 aes4 g4 aes2 r4 c'4 c'4 aes4 aes4 aes4 des'4 c'4 c'4 aes4 c'4 des'4 c'2 c'4( bes4) aes1\n}\nbass = {\n  f2 aes,4 bes,4 c4 c4 f2 aes,2 c4 des4 ees4 ees4 aes,2 s4 f4 c4 des4 aes,4 des4 bes,4 f4 c4 des4 aes,4 bes,4 c2 c2 f,1\n}\n"}, "harmonizations": [{"slug": "aylesbury-am-1904", "tune": "aylesbury", "music_file": "aylesbury-am-1904.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-modern-1904", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymns Ancient and Modern, 1904. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:115", "encoding_license": "PD-dedication"}, "music_ly": "%% Breathe on Me, Breath of God\n%% Imported from Open Hymnal ABC X:115 via tools/abc_import.py\n%% Public domain: Hatch 1878; tune Chetham's Psalmody 1718; setting 1904. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 }\n\nsoprano = {\n  f'2 c''4 bes'4 aes'4 g'4 f'2 c''2 ees''4 des''4 c''4 bes'4 c''2 r4 aes'4 g'4 f'4 c''4 aes'4 bes'4 aes'4 g'4 f'4 c''4 bes'4 aes'2 g'2 f'1\n}\nalto = {\n  c'2 f'4 g'4 f'4 e'4 f'2 ees'2 ees'4 f'4 ees'4 ees'4 ees'2 s4 f'4 ees'4 des'4 ees'4 f'4 f'4 f'4 e'4 f'4 f'4 g'4 f'2 e'2 f'1\n}\ntenor = {\n  aes2 c'4 des'4 c'4 c'4 aes2 aes2 aes4 aes4 aes4 g4 aes2 r4 c'4 c'4 aes4 aes4 aes4 des'4 c'4 c'4 aes4 c'4 des'4 c'2 c'4( bes4) aes1\n}\nbass = {\n  f2 aes,4 bes,4 c4 c4 f2 aes,2 c4 des4 ees4 ees4 aes,2 s4 f4 c4 des4 aes,4 des4 bes,4 f4 c4 des4 aes,4 bes,4 c2 c2 f,1\n}\n", "preferred": true}]}, "azmon": {"slug": "azmon", "name": "AZMON", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "carl-glaser", "composer_date": "1828", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "azmon-mason-1839", "provenance": {"layer": "tune", "source": "mason-modern-psalmist-1839", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Carl G. Gläser, 1828; arr. Lowell Mason, 1839. Composer d. 1829.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "azmon_glaser", "total_instances": 1245}}, "harmonization": {"slug": "azmon-mason-1839", "tune": "azmon", "music_file": "azmon-mason-1839.ly", "harmonizer": "lowell-mason", "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "mason-modern-psalmist-1839", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:175", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "C. Wesley 1740; Gläser 1828, arr. Mason 1839. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% O for a Thousand Tongues to Sing\n%% Tune: AZMON (C.M.)\n%% Imported from Open Hymnal Project X:175 via tools/abc_import.py\n%% Public domain: C. Wesley 1740; Gläser 1828, arr. Mason 1839. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  ees'2 aes'4 aes'4 bes'2 bes'2 c''4 bes'4 aes'2 bes'2 c''4 c''4 des''2 c''2 bes'1 ees''2 ees''4 c''4 c''2 aes'2 aes'4 f'4 f'2 aes'4( f'4) ees'4 aes'4 aes'2 bes'2 aes'1\n}\nalto = {\n  ees'2 ees'4 c'4 ees'2 ees'2 ees'4 des'4 c'2 ees'2 ees'4 ees'4 ees'2 ees'2 ees'1 g'2 aes'4 ees'4 ees'2 ees'2 f'4 des'4 des'2 f'4( des'4) c'4 c'4 c'2 des'2 c'1\n}\ntenor = {\n  ees2 ees4 aes4 g2 g2 aes4 g4 aes2 g2 aes4 aes4 bes2 aes2 g1 bes2 c'4 aes4 aes2 aes2 aes4 aes4 aes2 aes2 aes4 aes4 aes2 g2 aes1\n}\nbass = {\n  ees2 c4 aes,4 ees2 ees2 aes4 ees4 f2 ees2 aes4 aes4 g2 aes2 ees1 ees2 aes4 aes4 aes2 c2 des4 des4 des2 des2 ees4 ees4 ees2 ees2 aes,1\n}\n"}, "harmonizations": [{"slug": "azmon-mason-1839", "tune": "azmon", "music_file": "azmon-mason-1839.ly", "harmonizer": "lowell-mason", "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "mason-modern-psalmist-1839", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:175", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "C. Wesley 1740; Gläser 1828, arr. Mason 1839. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% O for a Thousand Tongues to Sing\n%% Tune: AZMON (C.M.)\n%% Imported from Open Hymnal Project X:175 via tools/abc_import.py\n%% Public domain: C. Wesley 1740; Gläser 1828, arr. Mason 1839. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  ees'2 aes'4 aes'4 bes'2 bes'2 c''4 bes'4 aes'2 bes'2 c''4 c''4 des''2 c''2 bes'1 ees''2 ees''4 c''4 c''2 aes'2 aes'4 f'4 f'2 aes'4( f'4) ees'4 aes'4 aes'2 bes'2 aes'1\n}\nalto = {\n  ees'2 ees'4 c'4 ees'2 ees'2 ees'4 des'4 c'2 ees'2 ees'4 ees'4 ees'2 ees'2 ees'1 g'2 aes'4 ees'4 ees'2 ees'2 f'4 des'4 des'2 f'4( des'4) c'4 c'4 c'2 des'2 c'1\n}\ntenor = {\n  ees2 ees4 aes4 g2 g2 aes4 g4 aes2 g2 aes4 aes4 bes2 aes2 g1 bes2 c'4 aes4 aes2 aes2 aes4 aes4 aes2 aes2 aes4 aes4 aes2 g2 aes1\n}\nbass = {\n  ees2 c4 aes,4 ees2 ees2 aes4 ees4 f2 ees2 aes4 aes4 g2 aes2 ees1 ees2 aes4 aes4 aes2 c2 des4 des4 des2 des2 ees4 ees4 ees2 ees2 aes,1\n}\n", "preferred": true}]}, "ballerma": {"slug": "ballerma", "name": "BALLERMA", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "francois-barthelemon", "composer_date": "1833", "arranger": "robert-simpson", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "ballerma-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "BALLERMA (C.M.), a hymn tune whose melody is credited to François Hippolyte Barthélémon (1741-1808), adapted by Robert Simpson in A Selection of Original Sacred Music (Glasgow, 1833) and long used for John Newton's \"Approach, my soul, the mercy seat.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 6/4, quarter-note pickup, dotted-half-tied-to-half cadences ending phrases 2 and 4; melismatic, 33 soprano notes for 28 C.M. syllables, with three two-note melisma slurs). The setting is wholly diatonic to A-flat major (no accidentals). All components pre-1931 (Barthélémon d. 1808, Simpson d. 1832).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ballerma\" (François H. Barthélémon, adapted by Robert Simpson, 1833); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "ballerma-cyberhymnal", "tune": "ballerma", "music_file": "ballerma-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BALLERMA, François H. Barthélémon (1741-1808), adapted by Robert Simpson (A Selection of Original Sacred Music, 1833). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BALLERMA (melody by François Hippolyte Barthélémon, 1741-1808, adapted by Robert Simpson in A Selection of Original Sacred Music, 1833); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 6/4, quarter-note pickup; melismatic). The soprano and bass agree note-for-note with the engraving and the setting is wholly diatonic to A-flat major (no accidentals). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ballerma\" (François H. Barthélémon, adapted by Robert Simpson, 1833); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BALLERMA (C.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ballerma\", melody by François Hippolyte\n%% Barthélémon, adapted by Robert Simpson, 1833) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 6/4 with a quarter-note pickup (\\partial 4);\n%% each of the two half-phrases ends on a dotted-half tied to a half (five beats).\n%% MELISMATIC: 33 soprano notes for 28 C.M. syllables — three ascending two-note\n%% melisma slurs (soprano notes 12-13 and 26-27, each c''->es''; and 29-30,\n%% bes'->c''), plus the two tied cadence notes (16 and 33). Wholly diatonic to\n%% A-flat major (no accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  as'4 | c''2 bes'4 as'2 f'4 | es'2 f'4 as'2 as'4 |\n  c''2 bes'4 c''4( es''4) c''4 | bes'2.~ bes'2 as'4 |\n  c''2 bes'4 as'2 f'4 | es'2 c'4 es'2 bes'4 |\n  c''4( es''4) des''4 bes'4.( c''8) bes'4 | as'2.~ as'2\n}\nalto = {\n  es'4 | es'2 des'4 c'2 des'4 | c'2 des'4 es'2 des'4 |\n  es'2 es'4 es'2 es'4 | es'2.~ es'2 es'4 |\n  es'2 des'4 c'2 des'4 | es'2 as4 bes2 es'4 |\n  es'2 es'4 f'4. c''8 des'4 | c'2.~ c'2\n}\ntenor = {\n  c'4 | as2 g4 as2 as4 | as2 as4 as2 f4 |\n  as2 g4 as4 c'4 as4 | g2.~ g2 as4 |\n  as2 g4 as2 as4 | as2 as4 g2 g4 |\n  as4 c'4 as4 as2 g4 | as2.~ as2\n}\nbass = {\n  as4 | as2 es4 f2 des4 | as,2 des4 c2 des4 |\n  as,2 es4 as4 c'4 c4 | es2.~ es2 f4 |\n  as2 es4 f2 des4 | c2 f4 es2 es4 |\n  as4 c'4 c4 des2 es4 | as,2.~ as,2\n}\n"}, "harmonizations": [{"slug": "ballerma-cyberhymnal", "tune": "ballerma", "music_file": "ballerma-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BALLERMA, François H. Barthélémon (1741-1808), adapted by Robert Simpson (A Selection of Original Sacred Music, 1833). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BALLERMA (melody by François Hippolyte Barthélémon, 1741-1808, adapted by Robert Simpson in A Selection of Original Sacred Music, 1833); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 6/4, quarter-note pickup; melismatic). The soprano and bass agree note-for-note with the engraving and the setting is wholly diatonic to A-flat major (no accidentals). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ballerma\" (François H. Barthélémon, adapted by Robert Simpson, 1833); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BALLERMA (C.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ballerma\", melody by François Hippolyte\n%% Barthélémon, adapted by Robert Simpson, 1833) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 6/4 with a quarter-note pickup (\\partial 4);\n%% each of the two half-phrases ends on a dotted-half tied to a half (five beats).\n%% MELISMATIC: 33 soprano notes for 28 C.M. syllables — three ascending two-note\n%% melisma slurs (soprano notes 12-13 and 26-27, each c''->es''; and 29-30,\n%% bes'->c''), plus the two tied cadence notes (16 and 33). Wholly diatonic to\n%% A-flat major (no accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  as'4 | c''2 bes'4 as'2 f'4 | es'2 f'4 as'2 as'4 |\n  c''2 bes'4 c''4( es''4) c''4 | bes'2.~ bes'2 as'4 |\n  c''2 bes'4 as'2 f'4 | es'2 c'4 es'2 bes'4 |\n  c''4( es''4) des''4 bes'4.( c''8) bes'4 | as'2.~ as'2\n}\nalto = {\n  es'4 | es'2 des'4 c'2 des'4 | c'2 des'4 es'2 des'4 |\n  es'2 es'4 es'2 es'4 | es'2.~ es'2 es'4 |\n  es'2 des'4 c'2 des'4 | es'2 as4 bes2 es'4 |\n  es'2 es'4 f'4. c''8 des'4 | c'2.~ c'2\n}\ntenor = {\n  c'4 | as2 g4 as2 as4 | as2 as4 as2 f4 |\n  as2 g4 as4 c'4 as4 | g2.~ g2 as4 |\n  as2 g4 as2 as4 | as2 as4 g2 g4 |\n  as4 c'4 as4 as2 g4 | as2.~ as2\n}\nbass = {\n  as4 | as2 es4 f2 des4 | as,2 des4 c2 des4 |\n  as,2 es4 as4 c'4 c4 | es2.~ es2 f4 |\n  as2 es4 f2 des4 | c2 f4 es2 es4 |\n  as4 c'4 c4 des2 es4 | as,2.~ as,2\n}\n", "preferred": true}]}, "batty": {"slug": "batty", "name": "BATTY", "meter_label": "8.7.8.7", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Johann Thommen's Christenschatz, 1745", "alt_name": "Ringe recht", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "batty-oh303", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:303; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "batty_123123", "total_instances": 56}}, "harmonization": {"slug": "batty-oh303", "tune": "batty", "music_file": "batty-oh303.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 15, 25, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:303; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:303", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior, Who Thy Flock Art Feeding\n%% Imported from Open Hymnal ABC X:303 via tools/abc_import.py\n%% Open Hymnal X:303; all components published pre-1931 (latest year 1871).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  f'4 g'4 a'4 g'4 | a'4 bes'4 c''2 a'2 | d''4 c''4 bes'4 a'4 | g'4 g'4 a'1 | c''4 c''4 c''4 a'8( bes'8) | c''4 c''8( bes'8) a'2 g'2 | f'4 g'4 a'4 bes'4 | a'4 g'4 f'1\n}\nalto = {\n  c'4 c'4 f'4 e'4 | f'4 f'4 e'2 c'2 | f'4 f'4 d'4 f'4 | d'4 d'4 e'1 | e'4 e'4 f'4 a'8 g'8 | a'4 g'4 g'4( f'4) e'2 | d'4 e'4 f'4 f'4 | f'4 e'4 f'1\n}\ntenor = {\n  a4 g4 c'4 bes4 | c'4 f4 g2 a2 | bes4 a4 bes4 c'4 | d'4 d'4 cis'1 | a4 bes4 a4 c'8 bes8 | a4 c'4 c'2 c'2 | a4 c'4 c'4 d'4 | c'4 bes4 a1\n}\nbass = {\n  f4 e4 f4 g4 | f4 d4 c2 f2 | bes,4 f,4 g,4 a,4 | bes,4 bes,4 a,1 | a,4 g,4 f,4 f4 | f4 e4 f2 c2 | d4 c4 f4 bes,4 | c4 c4 f,1\n}\n"}, "harmonizations": [{"slug": "batty-oh303", "tune": "batty", "music_file": "batty-oh303.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 15, 25, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:303; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:303", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior, Who Thy Flock Art Feeding\n%% Imported from Open Hymnal ABC X:303 via tools/abc_import.py\n%% Open Hymnal X:303; all components published pre-1931 (latest year 1871).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  f'4 g'4 a'4 g'4 | a'4 bes'4 c''2 a'2 | d''4 c''4 bes'4 a'4 | g'4 g'4 a'1 | c''4 c''4 c''4 a'8( bes'8) | c''4 c''8( bes'8) a'2 g'2 | f'4 g'4 a'4 bes'4 | a'4 g'4 f'1\n}\nalto = {\n  c'4 c'4 f'4 e'4 | f'4 f'4 e'2 c'2 | f'4 f'4 d'4 f'4 | d'4 d'4 e'1 | e'4 e'4 f'4 a'8 g'8 | a'4 g'4 g'4( f'4) e'2 | d'4 e'4 f'4 f'4 | f'4 e'4 f'1\n}\ntenor = {\n  a4 g4 c'4 bes4 | c'4 f4 g2 a2 | bes4 a4 bes4 c'4 | d'4 d'4 cis'1 | a4 bes4 a4 c'8 bes8 | a4 c'4 c'2 c'2 | a4 c'4 c'4 d'4 | c'4 bes4 a1\n}\nbass = {\n  f4 e4 f4 g4 | f4 d4 c2 f2 | bes,4 f,4 g,4 a,4 | bes,4 bes,4 a,1 | a,4 g,4 f,4 f4 | f4 e4 f2 c2 | d4 c4 f4 bes,4 | c4 c4 f,1\n}\n", "preferred": true}]}, "beatitudo": {"slug": "beatitudo", "name": "BEATITUDO", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1875", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "beatitudo-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "BEATITUDO, a common-metre tune by John Bacchus Dykes (1823-1876), composed 1875. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4). Dykes d. 1876; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Beatitudo\" (J. B. Dykes, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "beatitudo-cyberhymnal", "tune": "beatitudo", "music_file": "beatitudo-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "BEATITUDO, John Bacchus Dykes, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BEATITUDO by John Bacchus Dykes (1875); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Beatitudo\" (J. B. Dykes, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BEATITUDO (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Beatitudo\", J. B. Dykes 1875) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4).\n%% Fully syllabic C.M. (28 soprano notes = 28 syllables).\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): []  (count=0)\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\nsoprano = {\n  g'4 a'4 b'4 | d''2 b'4 | g'2 c''4 | b'2. | e'4 fis'4 g'4 | b'2 a'4 | a'2. | a'4 d''4 c''4 | b'2 g'4 | b'2 a'4 | g'2 a'4 | b'2 b'4 | c''2 fis'4 | g'2. |\n}\nalto = {\n  d'4 d'4 d'4 | d'2 d'4 | c'4 b4 e'4 | d'2. | e'4 d'4 d'4 | d'2 cis'4 | d'2. | fis'4 fis'4 d'4 | d'2 e'4 | dis'2 fis'4 | e'2 fis'4 | d'2 e'4 | e'2 d'4 | d'2. |\n}\ntenor = {\n  b4 a4 g4 | g2 g4 | g2 g4 | g2. | b4 b4 b4 | g4 fis4 e4 | fis2. | d'4 a4 a4 | g2 g4 | fis2 b4 | b2 d'4 | g2 gis4 | a2 a4 | b2. |\n}\nbass = {\n  g4 fis4 g4 | b,2 d4 | e4 d4 c4 | g,2. | g4 fis4 e4 | a,2 a,4 | d2. | d4 d4 fis4 | g2 e4 | b,2 dis4 | e2 d4 | g2 e4 | a,2 d4 | g,2. |\n}\n"}, "harmonizations": [{"slug": "beatitudo-cyberhymnal", "tune": "beatitudo", "music_file": "beatitudo-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "BEATITUDO, John Bacchus Dykes, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BEATITUDO by John Bacchus Dykes (1875); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Beatitudo\" (J. B. Dykes, 1875); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BEATITUDO (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Beatitudo\", J. B. Dykes 1875) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4).\n%% Fully syllabic C.M. (28 soprano notes = 28 syllables).\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): []  (count=0)\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\nsoprano = {\n  g'4 a'4 b'4 | d''2 b'4 | g'2 c''4 | b'2. | e'4 fis'4 g'4 | b'2 a'4 | a'2. | a'4 d''4 c''4 | b'2 g'4 | b'2 a'4 | g'2 a'4 | b'2 b'4 | c''2 fis'4 | g'2. |\n}\nalto = {\n  d'4 d'4 d'4 | d'2 d'4 | c'4 b4 e'4 | d'2. | e'4 d'4 d'4 | d'2 cis'4 | d'2. | fis'4 fis'4 d'4 | d'2 e'4 | dis'2 fis'4 | e'2 fis'4 | d'2 e'4 | e'2 d'4 | d'2. |\n}\ntenor = {\n  b4 a4 g4 | g2 g4 | g2 g4 | g2. | b4 b4 b4 | g4 fis4 e4 | fis2. | d'4 a4 a4 | g2 g4 | fis2 b4 | b2 d'4 | g2 gis4 | a2 a4 | b2. |\n}\nbass = {\n  g4 fis4 g4 | b,2 d4 | e4 d4 c4 | g,2. | g4 fis4 e4 | a,2 a,4 | d2. | d4 d4 fis4 | g2 e4 | b,2 dis4 | e2 d4 | g2 e4 | a,2 d4 | g,2. |\n}\n", "preferred": true}]}, "bethany": {"slug": "bethany", "name": "BETHANY", "meter_label": "6.4.6.4.6.6.6.4", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1856", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "bethany-mason-1859", "provenance": {"layer": "tune", "source": "bethany-1856", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Bethany', Lowell Mason, 1856. Composer d. 1872.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "bethany-mason-1859", "tune": "bethany", "music_file": "bethany-mason-1859.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [11, 23, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "sabbath-hymn-tune-book-1859", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting: Lowell Mason, 1859 (The Sabbath Hymn and Tune Book, p.244). Composer/arranger d. 1872. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:200 (line 25355)", "encoding_license": "PD-dedication"}, "music_ly": "%% Nearer, My God, to Thee\n%% Imported from Open Hymnal ABC X:200 (line 25355) via tools/abc_import.py\n%% Words: Sarah F. Adams 1841 (st.1-2); Hervey D. Ganse (st.3-5); Edward H. Bickersteth Jr. (st.6).\n%% Music 'Bethany': Lowell Mason 1856; setting Lowell Mason 1859 (The Sabbath Hymn and Tune Book). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/4 }\n\nsoprano = {\n  b'2. a'2 g'4 g'2 e'4 e'2. d'2. g'2 b'4 a'2.~ a'2 r4 b'2. a'2 g'4 g'2 e'4 e'2. d'2( g'4) fis'2 a'4 g'2.~ g'2 r4 d''2. e''2 d''4 d''2 b'4 d''2. d''2. e''2 d''4 d''2 b'4 a'2. b'2. a'2 g'4 g'2 e'4 e'2. d'2( g'4) fis'2 a'4 g'2.~ g'2 r4\n}\nalto = {\n  d'2. c'2 b4 e'2 c'4 c'2. d'2. d'2 d'4 d'2.~ d'2 s4 d'2. c'2 b4 e'2 c'4 c'2. b2( d'4) d'2 d'4 d'2.~ d'2 s4 g'2. g'2 g'4 g'2 g'4 g'2. g'2. g'2 g'4 d'2 d'4 d'2. d'2. c'2 b4 e'2 c'4 c'2. b2( d'4) d'2 d'4 d'2.~ d'2 s4\n}\ntenor = {\n  g2. fis2 g4 c'2 g4 g2. b2. g2 g4 fis2.~ fis2 r4 g2. fis2 g4 c'2 g4 g2. g2( b4) a2 c'4 b2.~ b2 r4 b2. c'2 b4 b2 g4 b2. b2. c'2 b4 a2 g4 fis2. g2. fis2 g4 c'2 g4 g2. g2( b4) a2 c'4 b2.~ b2 r4\n}\nbass = {\n  g2. d2 e4 c2 c4 c2. g,2. b,2 g,4 d2.~ d2 s4 g2. d2 e4 c2 c4 c2. d2. d2 d4 g,2.~ g,2 s4 g2. g2 g4 g2 g4 g2. g2. c2 g4 fis2 g4 d2. g2. d2 e4 c2 e4 c2. d2. d2 d4 g,2.~ g,2 s4\n}\n"}, "harmonizations": [{"slug": "bethany-mason-1859", "tune": "bethany", "music_file": "bethany-mason-1859.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [11, 23, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "sabbath-hymn-tune-book-1859", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting: Lowell Mason, 1859 (The Sabbath Hymn and Tune Book, p.244). Composer/arranger d. 1872. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:200 (line 25355)", "encoding_license": "PD-dedication"}, "music_ly": "%% Nearer, My God, to Thee\n%% Imported from Open Hymnal ABC X:200 (line 25355) via tools/abc_import.py\n%% Words: Sarah F. Adams 1841 (st.1-2); Hervey D. Ganse (st.3-5); Edward H. Bickersteth Jr. (st.6).\n%% Music 'Bethany': Lowell Mason 1856; setting Lowell Mason 1859 (The Sabbath Hymn and Tune Book). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/4 }\n\nsoprano = {\n  b'2. a'2 g'4 g'2 e'4 e'2. d'2. g'2 b'4 a'2.~ a'2 r4 b'2. a'2 g'4 g'2 e'4 e'2. d'2( g'4) fis'2 a'4 g'2.~ g'2 r4 d''2. e''2 d''4 d''2 b'4 d''2. d''2. e''2 d''4 d''2 b'4 a'2. b'2. a'2 g'4 g'2 e'4 e'2. d'2( g'4) fis'2 a'4 g'2.~ g'2 r4\n}\nalto = {\n  d'2. c'2 b4 e'2 c'4 c'2. d'2. d'2 d'4 d'2.~ d'2 s4 d'2. c'2 b4 e'2 c'4 c'2. b2( d'4) d'2 d'4 d'2.~ d'2 s4 g'2. g'2 g'4 g'2 g'4 g'2. g'2. g'2 g'4 d'2 d'4 d'2. d'2. c'2 b4 e'2 c'4 c'2. b2( d'4) d'2 d'4 d'2.~ d'2 s4\n}\ntenor = {\n  g2. fis2 g4 c'2 g4 g2. b2. g2 g4 fis2.~ fis2 r4 g2. fis2 g4 c'2 g4 g2. g2( b4) a2 c'4 b2.~ b2 r4 b2. c'2 b4 b2 g4 b2. b2. c'2 b4 a2 g4 fis2. g2. fis2 g4 c'2 g4 g2. g2( b4) a2 c'4 b2.~ b2 r4\n}\nbass = {\n  g2. d2 e4 c2 c4 c2. g,2. b,2 g,4 d2.~ d2 s4 g2. d2 e4 c2 c4 c2. d2. d2 d4 g,2.~ g,2 s4 g2. g2 g4 g2 g4 g2. g2. c2 g4 fis2 g4 d2. g2. d2 e4 c2 e4 c2. d2. d2 d4 g,2.~ g,2 s4\n}\n", "preferred": true}]}, "blessed-home": {"slug": "blessed-home", "name": "BLESSED HOME", "meter_label": "6.6.6.6.6.6.6.6", "meter": {"pattern": [6, 6, 6, 6, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-stainer", "composer_date": "1875", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "blessed-home-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'The Blessed Home' (12.12.12.12), John Stainer, 1875 — written for 'There is a blessed home'. Stainer d. 1901; US public domain by pre-1931 publication. Encoded from The Cyber Hymnal.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "blessed-home-cyberhymnal", "tune": "blessed-home", "music_file": "blessed-home-cyberhymnal.ly", "harmonizer": "john-stainer", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 25, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BLESSED HOME, John Stainer, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting BLESSED HOME, John Stainer (1840–1901), 1875 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (three independent readers reconciled), the soprano matched the hymnary incipit (32675 13267 51176), and the final render was diffed back against the engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"The Blessed Home\" (Stainer); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSED HOME (12.12.12.12) — John Stainer, 1875. A 4-part SATB hymn tune\n%% (written for \"There is a blessed home\"), here paired with The Scottish\n%% Psalter (1650) Psalm 143 second version \"Oh, hear my prayer, Lord\". Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was verified note-for-note against\n%% the Cyber Hymnal engraving (three independent readers + reconcile). MELISMATIC\n%% (50 soprano notes for 48 syllables); the 2 melisma continuations are held with\n%% '_' every stanza (verse_variable_melisma) — syllables 6 (\"a -- bove\"-type)\n%% and 31, each a slurred two-note figure.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''4 bes'4 f'4 g'4 ees'4 aes'2.( c''4) bes'4 f'4 g'4 ees'4 aes'2. aes'4 g'4 f'4 g'4 aes'4 bes'4 c''4 bes'4 ees'4 g'4 aes'4 f'2 ees'2. ees'4 bes'4 a'4 bes'4 c''4 des''2 c''4( bes'4) aes'4 g'4 aes'4 bes'4 c''2. aes'4 bes'4 c''4 des''4 ees''4 f''2. ees''4 des''4 f'4 f'4 g'4 aes'2.\n}\nalto = {\n  ees'4 f'4 f'4 ees'4 des'4 c'4 des'4 ees'4 ees'4 f'4 f'4 ees'4 des'4 c'2. ees'4 ees'4 d'4 ees'4 d'4 ees'4 ees'4 ees'4 ees'4 ees'4 f'4 d'2 ees'2. ees'4 ees'4 ees'4 ees'4 fis'4 f'2 e'2 f'4 g'4 f'4 f'4 e'2. f'4 des'4 ees'4 aes'4 fis'4 f'2. fis'4 f'4 f'4 f'4 ees'4 ees'2.\n}\ntenor = {\n  aes4 des'4 des'4 c'4 bes4 aes4 bes4 c'4 c'4 des'4 des'4 c'4 bes4 aes2. c'4 bes4 bes4 bes4 aes4 g4 aes4 bes4 c'4 bes2 bes,4 aes4 g2. g4 g4 fis4 g4 a4 bes4 aes4 g4 c'4 c'4 c'4 aes4 f4 g2. aes4 aes4 aes4 aes4 c'4 des'2. c'4 des'4 des'4 des'4 des'4 c'2.\n}\nbass = {\n  aes4 des4 des4 ees4 ees4 aes,2. aes4 des4 des4 ees4 ees4 aes,2. aes4 aes4 aes4 g4 f4 ees4 aes4 g4 aes4 bes2 bes,4 aes4 ees2. ees4 ees4 ees4 ees4 ees4 bes,2 c2 f4 e4 f4 des4 c2. f4 f4 g4 f4 aes4 des'2. aes4 des4 des4 ees4 ees4 aes,2.\n}\n"}, "harmonizations": [{"slug": "blessed-home-cyberhymnal", "tune": "blessed-home", "music_file": "blessed-home-cyberhymnal.ly", "harmonizer": "john-stainer", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 25, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BLESSED HOME, John Stainer, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting BLESSED HOME, John Stainer (1840–1901), 1875 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (three independent readers reconciled), the soprano matched the hymnary incipit (32675 13267 51176), and the final render was diffed back against the engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"The Blessed Home\" (Stainer); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSED HOME (12.12.12.12) — John Stainer, 1875. A 4-part SATB hymn tune\n%% (written for \"There is a blessed home\"), here paired with The Scottish\n%% Psalter (1650) Psalm 143 second version \"Oh, hear my prayer, Lord\". Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was verified note-for-note against\n%% the Cyber Hymnal engraving (three independent readers + reconcile). MELISMATIC\n%% (50 soprano notes for 48 syllables); the 2 melisma continuations are held with\n%% '_' every stanza (verse_variable_melisma) — syllables 6 (\"a -- bove\"-type)\n%% and 31, each a slurred two-note figure.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''4 bes'4 f'4 g'4 ees'4 aes'2.( c''4) bes'4 f'4 g'4 ees'4 aes'2. aes'4 g'4 f'4 g'4 aes'4 bes'4 c''4 bes'4 ees'4 g'4 aes'4 f'2 ees'2. ees'4 bes'4 a'4 bes'4 c''4 des''2 c''4( bes'4) aes'4 g'4 aes'4 bes'4 c''2. aes'4 bes'4 c''4 des''4 ees''4 f''2. ees''4 des''4 f'4 f'4 g'4 aes'2.\n}\nalto = {\n  ees'4 f'4 f'4 ees'4 des'4 c'4 des'4 ees'4 ees'4 f'4 f'4 ees'4 des'4 c'2. ees'4 ees'4 d'4 ees'4 d'4 ees'4 ees'4 ees'4 ees'4 ees'4 f'4 d'2 ees'2. ees'4 ees'4 ees'4 ees'4 fis'4 f'2 e'2 f'4 g'4 f'4 f'4 e'2. f'4 des'4 ees'4 aes'4 fis'4 f'2. fis'4 f'4 f'4 f'4 ees'4 ees'2.\n}\ntenor = {\n  aes4 des'4 des'4 c'4 bes4 aes4 bes4 c'4 c'4 des'4 des'4 c'4 bes4 aes2. c'4 bes4 bes4 bes4 aes4 g4 aes4 bes4 c'4 bes2 bes,4 aes4 g2. g4 g4 fis4 g4 a4 bes4 aes4 g4 c'4 c'4 c'4 aes4 f4 g2. aes4 aes4 aes4 aes4 c'4 des'2. c'4 des'4 des'4 des'4 des'4 c'2.\n}\nbass = {\n  aes4 des4 des4 ees4 ees4 aes,2. aes4 des4 des4 ees4 ees4 aes,2. aes4 aes4 aes4 g4 f4 ees4 aes4 g4 aes4 bes2 bes,4 aes4 ees2. ees4 ees4 ees4 ees4 ees4 bes,2 c2 f4 e4 f4 des4 c2. f4 f4 g4 f4 aes4 des'2. aes4 des4 des4 ees4 ees4 aes,2.\n}\n", "preferred": true}]}, "blessings": {"slug": "blessings", "name": "BLESSINGS", "meter_label": "11.11.11.11 with Refrain", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "edwin-o-excell", "composer_date": "1897", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "blessings-make-christ-king-1914", "provenance": {"layer": "tune", "source": "songs-for-young-people-1897", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by E. O. Excell (1851-1921) for Johnson Oatman, Jr.'s text, first printed in Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, over the engraved line \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" — archive.org youngpeo00exce leaves 0038-0039 (the hymn spans a page and a \"Concluded.\" leaf), read directly, and the same 1897 copyright line stands on every later plate collated (Make Christ King 1912 No. 56; The New Make Christ King 1914 No. 82; Famous Gospel Hymns 1907 No. 94). US public domain: published 1897; Excell died 1921, so PD in life+70 jurisdictions too. tools/tune_fingerprint.py finds no corpus melody closer than 0.55 (MEINEN JESUM LASS ICH NICHT), far below the 0.80 duplicate threshold. Hymnary's tune authority (tune/blessings_excell, \"BLESSINGS (Excell)\", composer E. O. Excell 1897) gives incipit 33345 55343 42345 — this soprano matches it digit for digit. 84 soprano noteheads carry 82 syllables (44 verse + 38 chorus): strictly syllabic except chorus bar 26, where \"bless-ings,\" rides two slurred two-note pairs (the plates' printed double snap). The name BLESSINGS is Hymnary's authority name; the plates title the piece only \"Count Your Blessings.\"", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1897 first printing (youngpeo00exce) and the 1912/1914 Make Christ King plates", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "blessings-make-christ-king-1914", "tune": "blessings", "music_file": "blessings-make-christ-king-1914.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 53, 62, 73], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 32}, {"text": "Name them one by one;", "durations": ["8", "8", "8", "8", "2"], "onset": 36}, {"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 40}, {"text": "See what God hath done;", "durations": ["8", "8", "8", "8", "2"], "onset": 44}, {"text": "Count your man -- y", "durations": ["8", "8", "16", "8."], "onset": 48}]}, "source_line": "BLESSINGS, E. O. Excell, 1897; his own four-part setting from the plates of Make Christ King (1912) / The New Make Christ King (1914), collated with the 1897 first printing. Public domain.", "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "E. O. Excell's own setting of his own tune, every plate read carrying \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" — a 1897 copyright long expired, read off dated pre-1931 pages. Transcribed notehead by notehead from The New Make Christ King (E. O. Excell, musical editor; Chicago: Glad Tidings Publishing Co., 1914), No. 82, archive.org newmakechristkin00unse leaves 0086-0087 (page + \"Concluded.\" leaf), and collated end to end against the same engraving in Make Christ King (Excell & Biederwolf; Chicago: Glad Tidings, 1912), No. 56, makechristkingse00exce leaves 0064-0065, plus two INDEPENDENT engravings: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every notehead was located by staff-position measurement (tools/noteread.py) and re-read by eye at 5-14x; every hard column (the bar-26 double-snap with its printed quarter rests, the bar-28 D4/B-flat3 halves under the fermata, the high-tenor E-flat4 ledger notes, the bar-31 tenor=bass two-stem unison, both printed E-natural accidentals) was certified on at least two engravings; per-bar log in review/count-your-blessings/READING.md. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1914 New Make Christ King scan (newmakechristkin00unse leaves 0086-0087), collated against the 1912 Make Christ King printing of the same engraving and the independent 1897 (youngpeo00exce) and 1907 (famousgospelhymn00town) engravings", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSINGS (11.11.11.11 with Refrain) — \"Count Your Blessings\"\n%% E. O. Excell's own setting of his own tune to Johnson Oatman, Jr.'s words,\n%% \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" on every plate read.\n%% Four SATB voice streams, canonical key E-flat major, 2/4, no pickup, 32 bars\n%% (16-bar verse + 16-bar chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead from the dated pages:\n%% primary scan The New Make Christ King (E. O. Excell, musical editor; Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 82 — archive.org newmakechristkin00unse\n%% leaves 0086-0087 (\"Count Your Blessings.\" + its \"Concluded\" leaf) — collated\n%% end to end against the SAME ENGRAVING in Make Christ King (E. O. Excell &\n%% W. E. Biederwolf; Chicago: Glad Tidings, 1912; foreword copyright 1911),\n%% No. 56, makechristkingse00exce leaves 0064-0065, and against TWO INDEPENDENT\n%% ENGRAVINGS: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O.\n%% Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel\n%% Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage\n%% Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every\n%% notehead was fixed by staff-\n%% position measurement (tools/noteread.py) and re-read by eye at 5-14x; every\n%% disputed column was settled on at least two engravings.\n%%\n%% THE CHORUS TEXTURE (\"the alto leaves the soprano\"). The chorus is antiphonal\n%% in the POLYTEXTUAL way: while the upper voices carry the main words in long\n%% notes, tenor+bass patter \"Count your man-y bless-ings,\" in the signature cell\n%% eighth-eighth-16th-dotted-8th (the 16th+dotted-8th \"man-y\" snap is printed on\n%% every plate; the chord before the snap is at the SAME pitch, so the patter is\n%% pitch-static). In bars 19-20 and 27-28 (\"Name them one by one;\") the ALTO\n%% leaves the held soprano and patters with the men (bar 19: f'-ees'-d'-c'\n%% eighths under the soprano's quarters; bar 27 all four voices patter). In bars\n%% 26 and 30 the whole choir sings the double snap 16th+8. 16th+8.; in bar 26\n%% the alto and bass sing only the first pair and then REST (the plates print a\n%% lazy-tilde quarter rest above the treble staff and low in the bass staff —\n%% both scans of the 1912/1914 engraving, the 1897 and the 1907 all print it),\n%% while soprano and tenor carry \"bless-ings,\" as two slurred 2-note pairs.\n%% The soprano slurs in bar 26 are the ONLY curves in the hymn.\n%%\n%% HIGH TENOR. The tenor repeatedly climbs to written e-flat' (two ledger lines\n%% above the bass staff, the stroke passing through the head on every witness):\n%% bars 2/10 beat 1, bars 7-8, the chorus \"Count your many\" cells (17-18, 23-26,\n%% 29-30), and bar 27's f'-f'-ees'-ees' under the B-flat 7 patter. Read three\n%% ways on two engravings each time.\n%%\n%% ACCIDENTALS: exactly TWO printed glyphs in the whole hymn, both naturals,\n%% both on the alto e' (E-natural under the key's three flats): bar 3 beat 2\n%% (\"tem-PEST\") and bar 11 beat 2 (\"one BY\") — the alto's chromatic lower\n%% neighbor f'-e'-f' over the dominant pedal, identical figure both times,\n%% certified at 8-12x on both scans of the primary engraving. There are no\n%% other accidentals; the D-naturals (alto bars 5/13/19, tenor 26-28 etc.)\n%% are diatonic in E-flat and carry no glyph.\n%%\n%% NOT RENDERED, present in the source: \"rit.\" over bars 26-27 and FERMATAS over\n%% bar 28's halves in both staves (fermatas omitted per house style; tempo\n%% words have no corpus field). The verse cadence bars 4/8/12 print plain\n%% halves — an ink fleck after bar 4's chord on the 1914 scan is not a dot\n%% (the 1912 scan of the same plate is clean).\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 2/4 }\n\nsoprano = {\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 g'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 f'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 f'4 |\n  ees'2 |\n  bes'4. bes'8 |\n  ees''8 bes'8 bes'8 g'8 |\n  aes'4 aes'4 |\n  aes'2 |\n  aes'4. aes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  ees''4. ees''8 |\n  d''16( c''8.) bes'16( aes'8.) |\n  d''8 d''8 c''8 c''8 |\n  bes'2 |\n  ees''8 ees''8 d''16 ees''8. |\n  d''16 c''8. bes'16 aes'8. |\n  g'4 f'4 |\n  ees'2\n}\n\nalto = {\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 d'4 |\n  ees'2 |\n  g'4. g'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'8 ees'8 d'8 c'8 |\n  bes2 |\n  f'4. f'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  g'4. g'8 |\n  bes'16 aes'8. r4 |\n  aes'8 aes'8 aes'8 aes'8 |\n  aes'2 |\n  g'8 g'8 g'16 g'8. |\n  bes'16 aes'8. f'16 f'8. |\n  ees'4 d'4 |\n  ees'2\n}\n\ntenor = {\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 ees'8 ees'8 |\n  ees'2 |\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 aes8 aes8 |\n  g2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes16 bes8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  ees'2 |\n  bes8 bes8 bes16 ees'8. |\n  ees'16 ees'8. d'16 c'8. |\n  f'8 f'8 ees'8 ees'8 |\n  d'2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  ees'16 ees'8. c'16 c'8. |\n  bes4 aes4 |\n  g2\n}\n\nbass = {\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,16 bes,8. |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. r4 |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. aes16 aes8. |\n  bes4 bes,4 |\n  ees2\n}\n"}, "harmonizations": [{"slug": "blessings-make-christ-king-1914", "tune": "blessings", "music_file": "blessings-make-christ-king-1914.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 53, 62, 73], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 32}, {"text": "Name them one by one;", "durations": ["8", "8", "8", "8", "2"], "onset": 36}, {"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 40}, {"text": "See what God hath done;", "durations": ["8", "8", "8", "8", "2"], "onset": 44}, {"text": "Count your man -- y", "durations": ["8", "8", "16", "8."], "onset": 48}]}, "source_line": "BLESSINGS, E. O. Excell, 1897; his own four-part setting from the plates of Make Christ King (1912) / The New Make Christ King (1914), collated with the 1897 first printing. Public domain.", "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "E. O. Excell's own setting of his own tune, every plate read carrying \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" — a 1897 copyright long expired, read off dated pre-1931 pages. Transcribed notehead by notehead from The New Make Christ King (E. O. Excell, musical editor; Chicago: Glad Tidings Publishing Co., 1914), No. 82, archive.org newmakechristkin00unse leaves 0086-0087 (page + \"Concluded.\" leaf), and collated end to end against the same engraving in Make Christ King (Excell & Biederwolf; Chicago: Glad Tidings, 1912), No. 56, makechristkingse00exce leaves 0064-0065, plus two INDEPENDENT engravings: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every notehead was located by staff-position measurement (tools/noteread.py) and re-read by eye at 5-14x; every hard column (the bar-26 double-snap with its printed quarter rests, the bar-28 D4/B-flat3 halves under the fermata, the high-tenor E-flat4 ledger notes, the bar-31 tenor=bass two-stem unison, both printed E-natural accidentals) was certified on at least two engravings; per-bar log in review/count-your-blessings/READING.md. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1914 New Make Christ King scan (newmakechristkin00unse leaves 0086-0087), collated against the 1912 Make Christ King printing of the same engraving and the independent 1897 (youngpeo00exce) and 1907 (famousgospelhymn00town) engravings", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSINGS (11.11.11.11 with Refrain) — \"Count Your Blessings\"\n%% E. O. Excell's own setting of his own tune to Johnson Oatman, Jr.'s words,\n%% \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" on every plate read.\n%% Four SATB voice streams, canonical key E-flat major, 2/4, no pickup, 32 bars\n%% (16-bar verse + 16-bar chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead from the dated pages:\n%% primary scan The New Make Christ King (E. O. Excell, musical editor; Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 82 — archive.org newmakechristkin00unse\n%% leaves 0086-0087 (\"Count Your Blessings.\" + its \"Concluded\" leaf) — collated\n%% end to end against the SAME ENGRAVING in Make Christ King (E. O. Excell &\n%% W. E. Biederwolf; Chicago: Glad Tidings, 1912; foreword copyright 1911),\n%% No. 56, makechristkingse00exce leaves 0064-0065, and against TWO INDEPENDENT\n%% ENGRAVINGS: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O.\n%% Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel\n%% Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage\n%% Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every\n%% notehead was fixed by staff-\n%% position measurement (tools/noteread.py) and re-read by eye at 5-14x; every\n%% disputed column was settled on at least two engravings.\n%%\n%% THE CHORUS TEXTURE (\"the alto leaves the soprano\"). The chorus is antiphonal\n%% in the POLYTEXTUAL way: while the upper voices carry the main words in long\n%% notes, tenor+bass patter \"Count your man-y bless-ings,\" in the signature cell\n%% eighth-eighth-16th-dotted-8th (the 16th+dotted-8th \"man-y\" snap is printed on\n%% every plate; the chord before the snap is at the SAME pitch, so the patter is\n%% pitch-static). In bars 19-20 and 27-28 (\"Name them one by one;\") the ALTO\n%% leaves the held soprano and patters with the men (bar 19: f'-ees'-d'-c'\n%% eighths under the soprano's quarters; bar 27 all four voices patter). In bars\n%% 26 and 30 the whole choir sings the double snap 16th+8. 16th+8.; in bar 26\n%% the alto and bass sing only the first pair and then REST (the plates print a\n%% lazy-tilde quarter rest above the treble staff and low in the bass staff —\n%% both scans of the 1912/1914 engraving, the 1897 and the 1907 all print it),\n%% while soprano and tenor carry \"bless-ings,\" as two slurred 2-note pairs.\n%% The soprano slurs in bar 26 are the ONLY curves in the hymn.\n%%\n%% HIGH TENOR. The tenor repeatedly climbs to written e-flat' (two ledger lines\n%% above the bass staff, the stroke passing through the head on every witness):\n%% bars 2/10 beat 1, bars 7-8, the chorus \"Count your many\" cells (17-18, 23-26,\n%% 29-30), and bar 27's f'-f'-ees'-ees' under the B-flat 7 patter. Read three\n%% ways on two engravings each time.\n%%\n%% ACCIDENTALS: exactly TWO printed glyphs in the whole hymn, both naturals,\n%% both on the alto e' (E-natural under the key's three flats): bar 3 beat 2\n%% (\"tem-PEST\") and bar 11 beat 2 (\"one BY\") — the alto's chromatic lower\n%% neighbor f'-e'-f' over the dominant pedal, identical figure both times,\n%% certified at 8-12x on both scans of the primary engraving. There are no\n%% other accidentals; the D-naturals (alto bars 5/13/19, tenor 26-28 etc.)\n%% are diatonic in E-flat and carry no glyph.\n%%\n%% NOT RENDERED, present in the source: \"rit.\" over bars 26-27 and FERMATAS over\n%% bar 28's halves in both staves (fermatas omitted per house style; tempo\n%% words have no corpus field). The verse cadence bars 4/8/12 print plain\n%% halves — an ink fleck after bar 4's chord on the 1914 scan is not a dot\n%% (the 1912 scan of the same plate is clean).\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 2/4 }\n\nsoprano = {\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 g'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 f'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 f'4 |\n  ees'2 |\n  bes'4. bes'8 |\n  ees''8 bes'8 bes'8 g'8 |\n  aes'4 aes'4 |\n  aes'2 |\n  aes'4. aes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  ees''4. ees''8 |\n  d''16( c''8.) bes'16( aes'8.) |\n  d''8 d''8 c''8 c''8 |\n  bes'2 |\n  ees''8 ees''8 d''16 ees''8. |\n  d''16 c''8. bes'16 aes'8. |\n  g'4 f'4 |\n  ees'2\n}\n\nalto = {\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 d'4 |\n  ees'2 |\n  g'4. g'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'8 ees'8 d'8 c'8 |\n  bes2 |\n  f'4. f'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  g'4. g'8 |\n  bes'16 aes'8. r4 |\n  aes'8 aes'8 aes'8 aes'8 |\n  aes'2 |\n  g'8 g'8 g'16 g'8. |\n  bes'16 aes'8. f'16 f'8. |\n  ees'4 d'4 |\n  ees'2\n}\n\ntenor = {\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 ees'8 ees'8 |\n  ees'2 |\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 aes8 aes8 |\n  g2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes16 bes8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  ees'2 |\n  bes8 bes8 bes16 ees'8. |\n  ees'16 ees'8. d'16 c'8. |\n  f'8 f'8 ees'8 ees'8 |\n  d'2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  ees'16 ees'8. c'16 c'8. |\n  bes4 aes4 |\n  g2\n}\n\nbass = {\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,16 bes,8. |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. r4 |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. aes16 aes8. |\n  bes4 bes,4 |\n  ees2\n}\n", "preferred": true}]}, "boylston": {"slug": "boylston", "name": "BOYLSTON", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1832", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "boylston-oh214", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:214; all components published pre-1931 (latest year 1845).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "boylston_mason", "total_instances": 1223}}, "harmonization": {"slug": "boylston-oh214", "tune": "boylston", "music_file": "boylston-oh214.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:214; all components published pre-1931 (latest year 1845).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:214", "encoding_license": "PD-dedication"}, "music_ly": "%% Blest Be The Tie That Binds\n%% Imported from Open Hymnal ABC X:214 via tools/abc_import.py\n%% Open Hymnal X:214; all components published pre-1931 (latest year 1845).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 e'8 f'8 g'4 a'4 g'2 c''4 c''8 b'8 a'4 a'4 g'2 g'4 e'8 f'8 g'4 g'4 a'8 b'8 c''4 b'4 c''8 a'8 g'4 g'4 g'2\n}\nalto = {\n  e'4 c'8 d'8 e'4 f'4 e'2 e'4 e'16 fis'16 g'8 g'4 fis'4 g'2 e'4 c'8 b8 c'4 e'4 f'8 f'8 e'4 f'4 g'8 f'8 d'8 e'8 f'4 e'2\n}\ntenor = {\n  g4 g8 g8 g8 c'8 c'4 c'2 c'4 c'8 d'8 e'4 d'8 c'8 b2 c'4 g8 g8 g4 c'4 c'8 g8 g4 g4 g8 a8 b8 c'8 d'4 c'2\n}\nbass = {\n  c4 c8 c8 c4 f4 c2 c4 a,8 b,8 c4 d4 g,2 c4 c8 d8 e4 c4 f8 d8 c4 d4 e8 f8 g4 g,4 c2\n}\n"}, "harmonizations": [{"slug": "boylston-oh214", "tune": "boylston", "music_file": "boylston-oh214.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:214; all components published pre-1931 (latest year 1845).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:214", "encoding_license": "PD-dedication"}, "music_ly": "%% Blest Be The Tie That Binds\n%% Imported from Open Hymnal ABC X:214 via tools/abc_import.py\n%% Open Hymnal X:214; all components published pre-1931 (latest year 1845).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 e'8 f'8 g'4 a'4 g'2 c''4 c''8 b'8 a'4 a'4 g'2 g'4 e'8 f'8 g'4 g'4 a'8 b'8 c''4 b'4 c''8 a'8 g'4 g'4 g'2\n}\nalto = {\n  e'4 c'8 d'8 e'4 f'4 e'2 e'4 e'16 fis'16 g'8 g'4 fis'4 g'2 e'4 c'8 b8 c'4 e'4 f'8 f'8 e'4 f'4 g'8 f'8 d'8 e'8 f'4 e'2\n}\ntenor = {\n  g4 g8 g8 g8 c'8 c'4 c'2 c'4 c'8 d'8 e'4 d'8 c'8 b2 c'4 g8 g8 g4 c'4 c'8 g8 g4 g4 g8 a8 b8 c'8 d'4 c'2\n}\nbass = {\n  c4 c8 c8 c4 f4 c2 c4 a,8 b,8 c4 d4 g,2 c4 c8 d8 e4 c4 f8 d8 c4 d4 e8 f8 g4 g,4 c2\n}\n", "preferred": true}]}, "bradbury": {"slug": "bradbury", "name": "BRADBURY", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1866", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "bradbury-oh233", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:233; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "bradbury_bradbury", "total_instances": 675}}, "harmonization": {"slug": "bradbury-oh233", "tune": "bradbury", "music_file": "bradbury-oh233.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:233; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:233", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior, Like A Shepherd Lead Us\n%% Imported from Open Hymnal ABC X:233 via tools/abc_import.py\n%% Open Hymnal X:233; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'8 f'8 g'8 aes'8 bes'4( ees''4) bes'4( g'4) f'4 g'4 aes'8 c''8 bes'8 aes'8 g'1 g'4 g'4 g'8 f'8 g'8 aes'8 bes'4( ees''4) bes'4( g'4) f'4 g'4 aes'8 c''8 bes'8 aes'8 g'2. bes'8 bes'8 c''4 ees''2 d''8 c''8 bes'4 g'2 g'8 g'8 f'4 c''4 bes'4 aes'4 g'2. bes'8 bes'8 c''4 ees''2 d''8 c''8 bes'4 ees''2 ees'8 f'8 g'4 bes'4 aes'4. f'8 ees'2.\n}\nalto = {\n  ees'4 ees'4 ees'8 d'8 ees'8 f'8 g'2 g'4( ees'4) d'4 ees'4 f'8 aes'8 g'8 f'8 ees'1 ees'4 ees'4 ees'8 d'8 ees'8 f'8 g'2 g'4( ees'4) d'4 ees'4 f'8 aes'8 g'8 f'8 ees'2. g'8 g'8 aes'4 c''2 bes'8 aes'8 g'4 ees'2 ees'8 ees'8 d'4 aes'4 g'4 f'4 ees'2. g'8 g'8 aes'4 c''2 bes'8 aes'8 g'4 g'2 ees'8 ees'8 ees'4 g'4 f'4. d'8 ees'2.\n}\ntenor = {\n  bes4 bes4 bes8 bes8 bes8 bes8 bes2 ees'4( bes4) bes4 bes4 bes8 bes8 bes8 bes8 bes1 bes4 bes4 bes8 bes8 bes8 bes8 bes2 ees'4( bes4) bes4 bes4 bes8 bes8 bes8 bes8 bes2. ees'8 ees'8 ees'4 ees'2 ees'8 ees'8 ees'4 bes2 bes8 bes8 bes4 bes4 bes4 bes4 bes2. ees'8 ees'8 ees'4 ees'2 ees'8 ees'8 ees'4 bes2 g8 aes8 bes4 bes4 bes4. aes8 g2.\n}\nbass = {\n  ees4 ees4 ees8 aes8 g8 f8 ees2 ees2 bes,4 bes,4 bes,8 bes,8 bes,8 bes,8 ees1 ees4 ees4 ees8 aes8 g8 f8 ees2 ees2 bes,4 bes,4 bes,8 bes,8 bes,8 bes,8 ees2. ees8 ees8 aes4 aes2 aes8 aes8 ees4 ees2 ees8 ees8 bes,4 bes,4 bes,4 bes,4 ees2. ees8 ees8 aes4 aes2 aes8 aes8 ees4 ees2 ees8 ees8 ees4 ees4 bes,4. bes,8 ees2.\n}\n"}, "harmonizations": [{"slug": "bradbury-oh233", "tune": "bradbury", "music_file": "bradbury-oh233.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:233; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:233", "encoding_license": "PD-dedication"}, "music_ly": "%% Savior, Like A Shepherd Lead Us\n%% Imported from Open Hymnal ABC X:233 via tools/abc_import.py\n%% Open Hymnal X:233; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'8 f'8 g'8 aes'8 bes'4( ees''4) bes'4( g'4) f'4 g'4 aes'8 c''8 bes'8 aes'8 g'1 g'4 g'4 g'8 f'8 g'8 aes'8 bes'4( ees''4) bes'4( g'4) f'4 g'4 aes'8 c''8 bes'8 aes'8 g'2. bes'8 bes'8 c''4 ees''2 d''8 c''8 bes'4 g'2 g'8 g'8 f'4 c''4 bes'4 aes'4 g'2. bes'8 bes'8 c''4 ees''2 d''8 c''8 bes'4 ees''2 ees'8 f'8 g'4 bes'4 aes'4. f'8 ees'2.\n}\nalto = {\n  ees'4 ees'4 ees'8 d'8 ees'8 f'8 g'2 g'4( ees'4) d'4 ees'4 f'8 aes'8 g'8 f'8 ees'1 ees'4 ees'4 ees'8 d'8 ees'8 f'8 g'2 g'4( ees'4) d'4 ees'4 f'8 aes'8 g'8 f'8 ees'2. g'8 g'8 aes'4 c''2 bes'8 aes'8 g'4 ees'2 ees'8 ees'8 d'4 aes'4 g'4 f'4 ees'2. g'8 g'8 aes'4 c''2 bes'8 aes'8 g'4 g'2 ees'8 ees'8 ees'4 g'4 f'4. d'8 ees'2.\n}\ntenor = {\n  bes4 bes4 bes8 bes8 bes8 bes8 bes2 ees'4( bes4) bes4 bes4 bes8 bes8 bes8 bes8 bes1 bes4 bes4 bes8 bes8 bes8 bes8 bes2 ees'4( bes4) bes4 bes4 bes8 bes8 bes8 bes8 bes2. ees'8 ees'8 ees'4 ees'2 ees'8 ees'8 ees'4 bes2 bes8 bes8 bes4 bes4 bes4 bes4 bes2. ees'8 ees'8 ees'4 ees'2 ees'8 ees'8 ees'4 bes2 g8 aes8 bes4 bes4 bes4. aes8 g2.\n}\nbass = {\n  ees4 ees4 ees8 aes8 g8 f8 ees2 ees2 bes,4 bes,4 bes,8 bes,8 bes,8 bes,8 ees1 ees4 ees4 ees8 aes8 g8 f8 ees2 ees2 bes,4 bes,4 bes,8 bes,8 bes,8 bes,8 ees2. ees8 ees8 aes4 aes2 aes8 aes8 ees4 ees2 ees8 ees8 bes,4 bes,4 bes,4 bes,4 ees2. ees8 ees8 aes4 aes2 aes8 aes8 ees4 ees2 ees8 ees8 ees4 ees4 bes,4. bes,8 ees2.\n}\n", "preferred": true}]}, "breslau": {"slug": "breslau", "name": "BRESLAU", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "As Hymnodus Sacer (Leipzig, 1625)", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "breslau-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "BRESLAU, a long-metre German chorale tune first appearing in As Hymnodus Sacer (Leipzig, 1625). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 6/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Breslau\" (Hymnodus Sacer, 1625); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "breslau-cyberhymnal", "tune": "breslau", "music_file": "breslau-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BRESLAU, as Hymnodus Sacer (Leipzig, 1625), harmony after Mendelssohn. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BRESLAU (As Hymnodus Sacer, Leipzig 1625); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 6/4). One soprano melisma at notes 31-32. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Breslau\" (Hymnodus Sacer, 1625); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BRESLAU (L.M.) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Breslau\", as Hymnodus Sacer, Leipzig\n%% 1625) with tools/mid2ly.py and verified against the Cyber Hymnal engraving\n%% (A major, 6/4). MELISMATIC: 33 soprano notes for 32 L.M. syllables; the one\n%% melisma (slurred pair at soprano notes 31-32) carries a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [32]  (count=1)\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 6/4 }\nsoprano = {\n  a'4 a'4 a'4 fis'2 a'4 | b'2 gis'4 fis'2. | fis'4 gis'4 a'4 b'2 e'4 | gis'2 fis'4 e'2. | e'4 a'4 b'4 cis''2 a'4 | d''2 cis''4 b'2. | cis''4 cis''4 cis''4 b'2 a'4 | a'2 gis'8( d'8) a'2. |\n}\nalto = {\n  cis'4 e'4 cis'4 d'2 e'4 | fis'2 f'4 fis'2. | b4 b4 e'4 dis'2 cis'4 | e'2 dis'4 e'2. | cis'4 cis'4 e'4 e'2 fis'4 | fis'4 e'4 e'4 e'2. | e'4 e'4 e'4 e'4 d'4 cis'4 | fis'2 e'8 d'8 cis'2. |\n}\ntenor = {\n  e4 a4 a4 a2 cis'4 | d'2 cis'4 a2. | fis4 e4 e4 fis4. gis8 a4 | b2 a4 gis2. | a4 a4 gis4 a2 a4 | a4 gis4 a4 gis2. | a4 a4 a4 gis2 a4 | b2 b4 a2. |\n}\nbass = {\n  a,4 cis4 a,4 d2 cis4 | b,2 cis4 fis2. | dis4 e4 cis4 b,4. gis8 cis4 | b,2 b,4 e2. | a4 fis4 e4 a,2 d4 | b,2 a,4 e2. | a,4 cis4 a,4 e2 fis4 | d2 e4 a,2. |\n}\n"}, "harmonizations": [{"slug": "breslau-cyberhymnal", "tune": "breslau", "music_file": "breslau-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "BRESLAU, as Hymnodus Sacer (Leipzig, 1625), harmony after Mendelssohn. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune BRESLAU (As Hymnodus Sacer, Leipzig 1625); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 6/4). One soprano melisma at notes 31-32. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Breslau\" (Hymnodus Sacer, 1625); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% BRESLAU (L.M.) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Breslau\", as Hymnodus Sacer, Leipzig\n%% 1625) with tools/mid2ly.py and verified against the Cyber Hymnal engraving\n%% (A major, 6/4). MELISMATIC: 33 soprano notes for 32 L.M. syllables; the one\n%% melisma (slurred pair at soprano notes 31-32) carries a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [32]  (count=1)\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 6/4 }\nsoprano = {\n  a'4 a'4 a'4 fis'2 a'4 | b'2 gis'4 fis'2. | fis'4 gis'4 a'4 b'2 e'4 | gis'2 fis'4 e'2. | e'4 a'4 b'4 cis''2 a'4 | d''2 cis''4 b'2. | cis''4 cis''4 cis''4 b'2 a'4 | a'2 gis'8( d'8) a'2. |\n}\nalto = {\n  cis'4 e'4 cis'4 d'2 e'4 | fis'2 f'4 fis'2. | b4 b4 e'4 dis'2 cis'4 | e'2 dis'4 e'2. | cis'4 cis'4 e'4 e'2 fis'4 | fis'4 e'4 e'4 e'2. | e'4 e'4 e'4 e'4 d'4 cis'4 | fis'2 e'8 d'8 cis'2. |\n}\ntenor = {\n  e4 a4 a4 a2 cis'4 | d'2 cis'4 a2. | fis4 e4 e4 fis4. gis8 a4 | b2 a4 gis2. | a4 a4 gis4 a2 a4 | a4 gis4 a4 gis2. | a4 a4 a4 gis2 a4 | b2 b4 a2. |\n}\nbass = {\n  a,4 cis4 a,4 d2 cis4 | b,2 cis4 fis2. | dis4 e4 cis4 b,4. gis8 cis4 | b,2 b,4 e2. | a4 fis4 e4 a,2 d4 | b,2 a,4 e2. | a,4 cis4 a,4 e2 fis4 | d2 e4 a,2. |\n}\n", "preferred": true}]}, "carol": {"slug": "carol", "name": "CAROL", "meter_label": "8.6.8.6.6.8", "meter": {"pattern": [8, 6, 8, 6, 6, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "richard-s-willis", "composer_date": "1866", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "carol-oh60", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:60; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "carol_willis", "total_instances": 597}}, "harmonization": {"slug": "carol-oh60", "tune": "carol", "music_file": "carol-oh60.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [18, 35, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:60; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:60", "encoding_license": "PD-dedication"}, "music_ly": "%% It Came Upon A Midnight Clear\n%% Imported from Open Hymnal ABC X:60 via tools/abc_import.py\n%% Open Hymnal X:60; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'8 a'8 bes'8 bes'8 c''8 d''8 c''4.~ c''4 f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'4 g'8 a'8 g'8 f'8 bes'4.~ bes'4 d''8 d''4 d'8 d'8 e'8 fis'8 g'4 a'8 bes'4 d''8 c''8 bes'8 a'8 g'8 a'8 g'8 f'4.~ f'4 f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'4 g'8 a'8 g'8 f'8 bes'4.~ bes'4\n}\nalto = {\n  d'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 d'8 ees'4 ees'8 e'4 e'8 f'4.~ f'4 f'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 f'8 ees'4 ees'8 ees'4 ees'8 d'4.~ d'4 d'8 d'4 d'8 d'4 d'8 d'4 d'8 d'4 d'8 f'4 f'8 e'4 e'8 f'4.~ f'4 ees'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 f'8 ees'4 ees'8 ees'4 ees'8 d'4.~ d'4\n}\ntenor = {\n  f8 f4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 bes8 bes4 bes8 a4.~ a4 f8 f4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 c'8 c'8 bes8 a8 bes4.~ bes4 d8 d4 fis8 fis8 g8 a8 g4 fis8 g4 g8 a8 d'8 c'8 bes8 c'8 bes8 a4.~ a4 a8 bes4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 c'8 c'8 bes8 a8 bes4.~ bes4\n}\nbass = {\n  bes,8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 bes,8 ees8 f8 g8 g4 c8 f4.~ f4 f8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 bes,8 ees4 c8 f4 f8 bes,4.~ bes,4 d8 d4 d8 d4 c8 bes,4 d8 g4 bes,8 c4 c8 c4 c8 f4.~ f4 f8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 d8 ees4 c8 f4 f8 bes,4.~ bes,4\n}\n"}, "harmonizations": [{"slug": "carol-oh60", "tune": "carol", "music_file": "carol-oh60.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [18, 35, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:60; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:60", "encoding_license": "PD-dedication"}, "music_ly": "%% It Came Upon A Midnight Clear\n%% Imported from Open Hymnal ABC X:60 via tools/abc_import.py\n%% Open Hymnal X:60; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'8 a'8 bes'8 bes'8 c''8 d''8 c''4.~ c''4 f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'4 g'8 a'8 g'8 f'8 bes'4.~ bes'4 d''8 d''4 d'8 d'8 e'8 fis'8 g'4 a'8 bes'4 d''8 c''8 bes'8 a'8 g'8 a'8 g'8 f'4.~ f'4 f'8 d''4 a'8 c''8 bes'8 g'8 f'4 g'8 f'4 f'8 g'4 g'8 a'8 g'8 f'8 bes'4.~ bes'4\n}\nalto = {\n  d'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 d'8 ees'4 ees'8 e'4 e'8 f'4.~ f'4 f'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 f'8 ees'4 ees'8 ees'4 ees'8 d'4.~ d'4 d'8 d'4 d'8 d'4 d'8 d'4 d'8 d'4 d'8 f'4 f'8 e'4 e'8 f'4.~ f'4 ees'8 d'4 d'8 ees'4 ees'8 d'4 ees'8 d'4 f'8 ees'4 ees'8 ees'4 ees'8 d'4.~ d'4\n}\ntenor = {\n  f8 f4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 bes8 bes4 bes8 a4.~ a4 f8 f4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 c'8 c'8 bes8 a8 bes4.~ bes4 d8 d4 fis8 fis8 g8 a8 g4 fis8 g4 g8 a8 d'8 c'8 bes8 c'8 bes8 a4.~ a4 a8 bes4 fis8 g4 a8 bes4 f8 f4 bes8 bes4 c'8 c'8 bes8 a8 bes4.~ bes4\n}\nbass = {\n  bes,8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 bes,8 ees8 f8 g8 g4 c8 f4.~ f4 f8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 bes,8 ees4 c8 f4 f8 bes,4.~ bes,4 d8 d4 d8 d4 c8 bes,4 d8 g4 bes,8 c4 c8 c4 c8 f4.~ f4 f8 bes,4 bes,8 bes,4 bes,8 bes,4 a,8 bes,4 d8 ees4 c8 f4 f8 bes,4.~ bes,4\n}\n", "preferred": true}]}, "christ-arose": {"slug": "christ-arose", "name": "CHRIST AROSE", "meter_label": "11.10 with Refrain", "meter": {"pattern": [11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1874", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "christ-arose-oh104", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:104; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "christ_arose_lowry", "total_instances": 418}}, "harmonization": {"slug": "christ-arose-oh104", "tune": "christ-arose", "music_file": "christ-arose-oh104.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 37, 59], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 22}, "markings": [{"soprano_note": 22, "kind": "refrain"}], "bass_echo": {"text": "He a -- rose!", "durations": ["8.", "16", "4"], "onsets": [37, 45, 65, 69]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:104; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:104", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ Arose\n%% Imported from Open Hymnal ABC X:104 via tools/abc_import.py\n%% Open Hymnal X:104; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 a'4 a'4 g'4 g'2 g'2 f'4 a'4 a'2 g'2 a'2 b'4 c''4 c''4 g'4 g'2 a'2 g'4 fis'4 g'1 c'4 c'8. c'16 e'4 g'8. g'16 c''2. c''8. d''16 e''4 c''4 d''8. c''16 b'8. a'16 g'2. b'8. c''16 d''4 d''4 d''8. c''16 d''8. e''16 c''4 a'4 g'4 g'8. g'16 a'4 a'4 a'8. d''16 d''8. c''16 b'4 c''4 d''4 g'8. g'16 e''2. d''8. c''16 f''2. e''8. d''16 c''4 g'4 e''4 d''4 c''1\n}\nalto = {\n  e'2 e'4 f'4 f'4 e'4 e'2 d'2 d'4 f'4 f'2 e'2 f'2 g'4 a'4 g'4 e'4 e'2 e'2 d'4 c'4 b1 c'4 c'8. c'16 e'4 g'8. g'16 e'2. e'8. f'16 g'4 g'4 a'8. a'16 g'8. f'16 e'2. d'8. e'16 f'4 f'4 f'8. e'16 f'8. g'16 e'4 f'4 e'4 e'8. e'16 f'4 f'4 fis'8. fis'16 fis'8. a'16 g'8 f'8 e'4 f'4 g'8. g'16 g'2. f'8. e'16 a'2. g'8. f'16 e'4 e'4 g'4 f'4 e'1\n}\ntenor = {\n  c'2 c'4 c'4 c'4 c'4 c'2 b2 b4 b4 c'2 c'2 c'2 c'4 c'4 c'4 c'4 c'2 c'2 b4 a4 g1 c4 c8. c16 e4 g8. g16 g4 g8. g16 g4 c'8. c'16 c'4 c'4 c'8. c'16 c'8. c'16 c'4 c'8. c'16 c'4 g8. g16 g4 g4 g8. g16 g8. g16 c'4 c'4 c'4 c'8. c'16 c'4 c'4 c'8. a16 a8. d'16 d'4 c'4 b4 r4 r4 c'8. c'16 c'4 r4 r4 c'8. c'16 c'4 c'8. a16 g4 c'4 c'4 b4 c'1\n}\nbass = {\n  c2 c4 c4 c4 c4 c2 g,2 g,4 g,4 c2 c2 f2 f4 f4 e4 c4 c2 c2 d4 d4 g,1 c4 c8. c16 e4 g8. g16 c4 c8. c16 c4 c8. c16 c4 e4 f8. f16 f8. f16 c4 c8. c16 c4 g8. g16 g4 g4 g8. g16 g8. g16 a4 f4 c4 c8. c16 f4 f4 d8. d16 d8. d16 g4 a4 g4 s4 s4 c'8. c'16 c'4 s4 s4 f8. f16 f4 f8. f16 g4 g4 g4 g4 c1\n}\n"}, "harmonizations": [{"slug": "christ-arose-oh104", "tune": "christ-arose", "music_file": "christ-arose-oh104.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 37, 59], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 22}, "markings": [{"soprano_note": 22, "kind": "refrain"}], "bass_echo": {"text": "He a -- rose!", "durations": ["8.", "16", "4"], "onsets": [37, 45, 65, 69]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:104; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:104", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ Arose\n%% Imported from Open Hymnal ABC X:104 via tools/abc_import.py\n%% Open Hymnal X:104; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 a'4 a'4 g'4 g'2 g'2 f'4 a'4 a'2 g'2 a'2 b'4 c''4 c''4 g'4 g'2 a'2 g'4 fis'4 g'1 c'4 c'8. c'16 e'4 g'8. g'16 c''2. c''8. d''16 e''4 c''4 d''8. c''16 b'8. a'16 g'2. b'8. c''16 d''4 d''4 d''8. c''16 d''8. e''16 c''4 a'4 g'4 g'8. g'16 a'4 a'4 a'8. d''16 d''8. c''16 b'4 c''4 d''4 g'8. g'16 e''2. d''8. c''16 f''2. e''8. d''16 c''4 g'4 e''4 d''4 c''1\n}\nalto = {\n  e'2 e'4 f'4 f'4 e'4 e'2 d'2 d'4 f'4 f'2 e'2 f'2 g'4 a'4 g'4 e'4 e'2 e'2 d'4 c'4 b1 c'4 c'8. c'16 e'4 g'8. g'16 e'2. e'8. f'16 g'4 g'4 a'8. a'16 g'8. f'16 e'2. d'8. e'16 f'4 f'4 f'8. e'16 f'8. g'16 e'4 f'4 e'4 e'8. e'16 f'4 f'4 fis'8. fis'16 fis'8. a'16 g'8 f'8 e'4 f'4 g'8. g'16 g'2. f'8. e'16 a'2. g'8. f'16 e'4 e'4 g'4 f'4 e'1\n}\ntenor = {\n  c'2 c'4 c'4 c'4 c'4 c'2 b2 b4 b4 c'2 c'2 c'2 c'4 c'4 c'4 c'4 c'2 c'2 b4 a4 g1 c4 c8. c16 e4 g8. g16 g4 g8. g16 g4 c'8. c'16 c'4 c'4 c'8. c'16 c'8. c'16 c'4 c'8. c'16 c'4 g8. g16 g4 g4 g8. g16 g8. g16 c'4 c'4 c'4 c'8. c'16 c'4 c'4 c'8. a16 a8. d'16 d'4 c'4 b4 r4 r4 c'8. c'16 c'4 r4 r4 c'8. c'16 c'4 c'8. a16 g4 c'4 c'4 b4 c'1\n}\nbass = {\n  c2 c4 c4 c4 c4 c2 g,2 g,4 g,4 c2 c2 f2 f4 f4 e4 c4 c2 c2 d4 d4 g,1 c4 c8. c16 e4 g8. g16 c4 c8. c16 c4 c8. c16 c4 e4 f8. f16 f8. f16 c4 c8. c16 c4 g8. g16 g4 g4 g8. g16 g8. g16 a4 f4 c4 c8. c16 f4 f4 d8. d16 d8. d16 g4 a4 g4 s4 s4 c'8. c'16 c'4 s4 s4 f8. f16 f4 f8. f16 g4 g4 g4 g4 c1\n}\n", "preferred": true}]}, "christ-lag-in-todesbanden": {"slug": "christ-lag-in-todesbanden", "name": "CHRIST LAG IN TODESBANDEN", "meter_label": "87.87.78.74", "meter": {"pattern": [8, 7, 8, 7, 7, 8, 7, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Geystliche gesangk Buchleyn, Wittenberg, 1524", "arranger": "johann-walter", "canonical_key": {"tonic": "d", "mode": "dorian"}, "preferred_harmonization": "christ-lag-in-todesbanden-bwv277", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CHRIST LAG IN TODESBANDEN (87.87.78.74), the Easter chorale derived from the medieval sequence \"Victimae paschali laudes\" (c. 1100) via the leise \"Christ ist erstanden\", first published 1524 in Johann Walter's Geystliche gesangk Buchleyn (Wittenberg) and the Erfurt Enchiridion, with Luther's possible collaboration (hymnary.org tune authority). The melody is carried here as the soprano of J. S. Bach's harmonization BWV 277, published in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87; Bach died 1750). Identity verified three ways: the kern source's own reference records (!!!OTL \"Christ lag in Todesbanden\", !!!SCT \"BWV 277\", !!!PC# 15 = Breitkopf/Riemenschneider No. 15); the hymnary.org tune authority incipit 54571 76553 45432 (D minor degrees), which the soprano matches digit-for- digit once Bach's single ornamental passing eighth (soprano note 4, a melisma continuation in Bach's own underlay) is set aside — 5-4-5-(6)-7-1- 7-6-5, 5-3-4-5-4-3-2 — with the authority's meter 8.7.8.7.7.8.7.4 and \"d minor or modal\" key both agreeing; and note-identity with the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl). All components centuries pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text — same repo and license analysis as the NUN KOMM import; see imports/batchB-external/staged/nun-komm-der-heiden-heiland/NOTES.txt)"}, "harmonization": {"slug": "christ-lag-in-todesbanden-bwv277", "tune": "christ-lag-in-todesbanden", "music_file": "christ-lag-in-todesbanden-bwv277.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "dorian"}, "time": "4/4", "pickup": "4", "system_breaks": [19, 38, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CHRIST LAG IN TODESBANDEN, Geystliche gesangk Buchleyn, 1524; harm. J. S. Bach (BWV 277). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 277, No. 15 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor015.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (ties, explicit naturals, the tenor sixteenth figures). The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B, shortening the notated ending halves to quarters at the first pass to admit the repeat's pickup, exactly as the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl) expands it. Machine comparison against that edition: soprano, tenor and bass identical event-for-event; the alto differs only at bar 14 beats 1.5-2.5, where Greentree reads d8 c#8 d8 against the kern's d4 c#8 — the kern reading (the declared source) is kept. D dorian (the kern's empty *k[] signature with *d:dor, as Breitkopf prints it), 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 9, 19, 28, 38, 47, 56, 65, 70) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted BWV 4/8 chorale (music21 bwv4.8.mxl, pitch-identical to BWV 277 at all 70 soprano notes; durations differ at note 38 and in the final phrase). Its Stollen carries two lyric verses, agreeing on every hold; the Abgesang carries one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRIST LAG IN TODESBANDEN (87.87.78.74) — four SATB voice streams, canonical key D dorian.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 277 (Breitkopf/Riemenschneider No. 15),\n%% converted from the craigsapp/bach-370-chorales kern edition (chor015.krn)\n%% with tools/kern2ly.py and verified note-for-note against the kern source in\n%% all four voices (ties, explicit naturals, the tenor sixteenth figures).\n%% D dorian (the kern's *k[] empty signature + *d:dor, as Breitkopf prints it),\n%% 4/4, quarter pickup. The kern encodes the Stollen once with a repeat\n%% (*>[A,A,B]); written out here A-A-B per the Greentree/jsbchorales expansion\n%% of the same Breitkopf text (music21 bwv277.mxl, compared machine-to-machine:\n%% soprano/tenor/bass identical event-for-event; alto differs only at bar 14\n%% beats 1.5-2.5 where Greentree reads d8 c#8 d8 for the kern's d4 c#8 — the\n%% kern reading is kept as the declared source). At the first Stollen ending\n%% the notated halves shorten to quarters to admit the repeat's pickup (as in\n%% the Greentree expansion); at the second ending the kern's halves stand\n%% (house style keeps the held cadence rather than Greentree's quarter+rest).\n%% The source prints fermatas at soprano ordinals 9, 19, 28, 38, 47, 56, 65,\n%% 70 (phrases 9+10+9+10+9+9+9+5, one per text line of 87.87.78.74); fermatas\n%% are omitted per house style. MELISMATIC: 70 soprano notes for 56 syllables;\n%% the melisma map follows Bach's own underlay in the texted BWV 4/8 chorale\n%% (music21 bwv4.8.mxl — pitch-identical to BWV 277 at all 70 soprano notes,\n%% durations differing at note 38 and in the final phrase; two lyric verses in\n%% the Stollen, one in the Abgesang): two-note slurs at soprano notes 3-4,\n%% 14-15, 22-23, 33-34, 39-40, 43-44, 52-53, 59-60, 63-64, 68-69 and\n%% three-note cadence slurs at 16-17-18 and 35-36-37. Bach's underlay also\n%% melismas notes 7-8 and 26-27, which Massie's 8-syllable lines 1/3 fill\n%% syllabically (per the Hymnary authority meter 8.7.8.7.7.8.7.4). The setting\n%% holds the continuations with '_' at soprano notes 4, 15, 17, 18, 23, 34,\n%% 36, 37, 40, 44, 53, 60, 64, 69 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\dorian \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'4 a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'2 |\n  d'8( e'8) f'4 g'4 d'8( e'8) |\n  f'4 g'4 a'4 a'4 |\n  d''4 cis''4 d''4 e''8( d''8) |\n  c''4 b'4 a'4 b'4 |\n  c''4 a'8( bes'8) c''4 g'4 |\n  f'4( e'4) d'2 |\n  a'4 g'4 f'4( e'4) |\n  d'1\n}\n\nalto = {\n  f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a4 f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a2 |\n  a4 d'4 d'8 c'8 bes8 c'8 |\n  d'8 a8 d'8 c'8 c'4 f'8 g'8 |\n  a'8 bes'8~ bes'8 a'8 a'4 e'4~ |\n  e'8 f'4 e'8 e'4 f'4~ |\n  f'8 e'8 f'4 f'4 e'4~ |\n  e'8 d'4 cis'8 d'2 |\n  d'4. e'8 cis'8 d'4 cis'8 |\n  a1\n}\n\ntenor = {\n  d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f4 d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f2 |\n  f8 g8 a4 g8 a8 bes4 |\n  a8 f'8~ f'8 e'8 f'4 c'4 |\n  f4 g4 d'8 c'8 b4~ |\n  b8 a4 gis8 c'4 d'4 |\n  g8 c'8 c'4 c'8 d'8 e'8 d'8 |\n  cis'8 a8 bes8 a16 g16 f2 |\n  a8 c'8 bes4 a4 g4~ |\n  g4 fis8 e8 fis2\n}\n\nbass = {\n  d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d4 d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d2 |\n  d4. c8 bes,8 a,8 g,4 |\n  d8 c8 bes,8 c8 f,4 f8 e8 |\n  d4 e4 fis4 gis4 |\n  a8 f8 d8 e8 a,4 d4 |\n  c4 f,8 g,8 a,8 bes,8 c8 bes,8 |\n  a,8 f,8 g,8 a,8 bes,2 |\n  fis,4 g,4 a,2 |\n  d,1\n}\n"}, "harmonizations": [{"slug": "christ-lag-in-todesbanden-bwv277", "tune": "christ-lag-in-todesbanden", "music_file": "christ-lag-in-todesbanden-bwv277.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "dorian"}, "time": "4/4", "pickup": "4", "system_breaks": [19, 38, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CHRIST LAG IN TODESBANDEN, Geystliche gesangk Buchleyn, 1524; harm. J. S. Bach (BWV 277). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 277, No. 15 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor015.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (ties, explicit naturals, the tenor sixteenth figures). The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B, shortening the notated ending halves to quarters at the first pass to admit the repeat's pickup, exactly as the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl) expands it. Machine comparison against that edition: soprano, tenor and bass identical event-for-event; the alto differs only at bar 14 beats 1.5-2.5, where Greentree reads d8 c#8 d8 against the kern's d4 c#8 — the kern reading (the declared source) is kept. D dorian (the kern's empty *k[] signature with *d:dor, as Breitkopf prints it), 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 9, 19, 28, 38, 47, 56, 65, 70) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted BWV 4/8 chorale (music21 bwv4.8.mxl, pitch-identical to BWV 277 at all 70 soprano notes; durations differ at note 38 and in the final phrase). Its Stollen carries two lyric verses, agreeing on every hold; the Abgesang carries one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRIST LAG IN TODESBANDEN (87.87.78.74) — four SATB voice streams, canonical key D dorian.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 277 (Breitkopf/Riemenschneider No. 15),\n%% converted from the craigsapp/bach-370-chorales kern edition (chor015.krn)\n%% with tools/kern2ly.py and verified note-for-note against the kern source in\n%% all four voices (ties, explicit naturals, the tenor sixteenth figures).\n%% D dorian (the kern's *k[] empty signature + *d:dor, as Breitkopf prints it),\n%% 4/4, quarter pickup. The kern encodes the Stollen once with a repeat\n%% (*>[A,A,B]); written out here A-A-B per the Greentree/jsbchorales expansion\n%% of the same Breitkopf text (music21 bwv277.mxl, compared machine-to-machine:\n%% soprano/tenor/bass identical event-for-event; alto differs only at bar 14\n%% beats 1.5-2.5 where Greentree reads d8 c#8 d8 for the kern's d4 c#8 — the\n%% kern reading is kept as the declared source). At the first Stollen ending\n%% the notated halves shorten to quarters to admit the repeat's pickup (as in\n%% the Greentree expansion); at the second ending the kern's halves stand\n%% (house style keeps the held cadence rather than Greentree's quarter+rest).\n%% The source prints fermatas at soprano ordinals 9, 19, 28, 38, 47, 56, 65,\n%% 70 (phrases 9+10+9+10+9+9+9+5, one per text line of 87.87.78.74); fermatas\n%% are omitted per house style. MELISMATIC: 70 soprano notes for 56 syllables;\n%% the melisma map follows Bach's own underlay in the texted BWV 4/8 chorale\n%% (music21 bwv4.8.mxl — pitch-identical to BWV 277 at all 70 soprano notes,\n%% durations differing at note 38 and in the final phrase; two lyric verses in\n%% the Stollen, one in the Abgesang): two-note slurs at soprano notes 3-4,\n%% 14-15, 22-23, 33-34, 39-40, 43-44, 52-53, 59-60, 63-64, 68-69 and\n%% three-note cadence slurs at 16-17-18 and 35-36-37. Bach's underlay also\n%% melismas notes 7-8 and 26-27, which Massie's 8-syllable lines 1/3 fill\n%% syllabically (per the Hymnary authority meter 8.7.8.7.7.8.7.4). The setting\n%% holds the continuations with '_' at soprano notes 4, 15, 17, 18, 23, 34,\n%% 36, 37, 40, 44, 53, 60, 64, 69 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\dorian \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'4 a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'2 |\n  d'8( e'8) f'4 g'4 d'8( e'8) |\n  f'4 g'4 a'4 a'4 |\n  d''4 cis''4 d''4 e''8( d''8) |\n  c''4 b'4 a'4 b'4 |\n  c''4 a'8( bes'8) c''4 g'4 |\n  f'4( e'4) d'2 |\n  a'4 g'4 f'4( e'4) |\n  d'1\n}\n\nalto = {\n  f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a4 f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a2 |\n  a4 d'4 d'8 c'8 bes8 c'8 |\n  d'8 a8 d'8 c'8 c'4 f'8 g'8 |\n  a'8 bes'8~ bes'8 a'8 a'4 e'4~ |\n  e'8 f'4 e'8 e'4 f'4~ |\n  f'8 e'8 f'4 f'4 e'4~ |\n  e'8 d'4 cis'8 d'2 |\n  d'4. e'8 cis'8 d'4 cis'8 |\n  a1\n}\n\ntenor = {\n  d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f4 d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f2 |\n  f8 g8 a4 g8 a8 bes4 |\n  a8 f'8~ f'8 e'8 f'4 c'4 |\n  f4 g4 d'8 c'8 b4~ |\n  b8 a4 gis8 c'4 d'4 |\n  g8 c'8 c'4 c'8 d'8 e'8 d'8 |\n  cis'8 a8 bes8 a16 g16 f2 |\n  a8 c'8 bes4 a4 g4~ |\n  g4 fis8 e8 fis2\n}\n\nbass = {\n  d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d4 d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d2 |\n  d4. c8 bes,8 a,8 g,4 |\n  d8 c8 bes,8 c8 f,4 f8 e8 |\n  d4 e4 fis4 gis4 |\n  a8 f8 d8 e8 a,4 d4 |\n  c4 f,8 g,8 a,8 bes,8 c8 bes,8 |\n  a,8 f,8 g,8 a,8 bes,2 |\n  fis,4 g,4 a,2 |\n  d,1\n}\n", "preferred": true}]}, "christ-returneth": {"slug": "christ-returneth", "name": "CHRIST RETURNETH", "meter_label": "Irregular", "meter": {"alleluia": false, "doubled": false, "irregular": true, "pattern": [12, 12, 12, 8], "refrain": true}, "composer": "james-mcgranahan", "composer_date": "1891", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "christ-returneth-oh203", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:203; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "christ-returneth-oh203", "tune": "christ-returneth", "music_file": "christ-returneth-oh203.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [12, 24, 36, 45, 59, 73], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [12, 24, 36, 45, 53, 59, 73], "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:203; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:203", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ Returneth\n%% Imported from Open Hymnal ABC X:203 via tools/abc_import.py\n%% Open Hymnal X:203; all components published pre-1931 (latest year 1891).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  d'4 | fis'4 e'4 d'4 | a'2 b'8. a'16 | fis'4 e'4 d'4 | fis'4 e'4 r4 e'4 | fis'4 fis'4 a'4 | d''4. e''8 d''4 | cis''4 d''4 b'4 | b'4 a'4 r4 a'4 | a'4 b'4 cis''4 | d''2 cis''8. d''16 | e''4. d''8 e''4 | fis''4 d''4 d''8.~ d''16 | d''4. cis''8 b'4 | a'4( d''4) cis''4 | d''2. | | a'2 fis'4 | fis'4 g'4 a'4 | b'2 b'4 | d''2 d''8. d''16 | d''4 cis''4 b'4 | a'2 cis''8. cis''16 | d''4 d''4 cis''8. cis''16 | d''4 d''4 e''8. e''16 | fis''4 d''4 cis''4 | d''2 fis'8. fis'16 | a'4 g'4 e'4 | d'2\n}\nalto = {\n  d'4 | d'4 d'4 d'4 | d'2 d'8. d'16 | d'4 d'4 d'4 | d'4 cis'4 s4 cis'4 | d'4 d'4 e'4 | fis'4. g'8 fis'4 | e'4 gis'4 gis'4 | a'4 a'4 r4 g'4 | fis'4 g'4 g'4 | fis'2 e'8. fis'16 | g'4. fis'8 g'4 | a'4 fis'4 a'8.~ a'16 | b'4. a'8 g'4 | fis'2 g'4 | fis'2. | | fis'2 d'4 | d'4 cis'4 d'4 | d'2 d'4 | g'2 g'8. g'16 | b'4 a'4 g'4 | fis'2 e'8. e'16 | fis'4 fis'4 g'8. g'16 | fis'4 fis'4 a'8. a'16 | a'4 fis'4 g'4 | fis'2 d'8. d'16 | d'4 e'4 cis'4 | d'2\n}\ntenor = {\n  fis4 | a4 g4 fis4 | fis2 g8. fis16 | a4 g4 fis4 | a4 a4 r4 a4 | a4 a4 a4 | b4. a8 a4 | a4 b4 d'4 | d'4 cis'4 r4 cis'4 | d'4 d'4 a4 | a2 a8. a16 | cis'4. d'8 cis'4 | d'4 d'4 d'8.~ d'16 | d'4. d'8 d'4 | d'4( a4) a4 | a2. | | d'2 a4 | a4 a4 a4 | d'2 d'4 | b2 b8. b16 | b4 cis'4 d'4 | d'2 a8. a16 | a4 a4 a8. a16 | a4 a4 cis'8. cis'16 | d'4 a4 a4 | a2 a8. a16 | fis4 a4 g4 | fis2\n}\nbass = {\n  d4 | d4 d4 d4 | d2 d8. d16 | d4 d4 d4 | a,4 a,4 s4 a,4 | d4 d4 cis4 | b,4. cis8 d4 | e4 e4 e4 | a,4 a,4 s4 a,4 | a4 g4 e4 | d2 e8. d16 | a,4. a,8 a,4 | d4 d4 fis8.~ fis16 | g4. g8 g4 | a2 a,4 | d2. | | d2 d4 | d4 e4 fis4 | g2 g4 | g2 g8. g16 | g4 g4 g4 | d2 a8. a16 | d4 d4 a,8. a,16 | d4 d4 a8. a16 | d4 d4 a,4 | d2 d8. d16 | a,4 a,4 a,4 | d2\n}\n"}, "harmonizations": [{"slug": "christ-returneth-oh203", "tune": "christ-returneth", "music_file": "christ-returneth-oh203.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [12, 24, 36, 45, 59, 73], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [12, 24, 36, 45, 53, 59, 73], "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:203; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:203", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ Returneth\n%% Imported from Open Hymnal ABC X:203 via tools/abc_import.py\n%% Open Hymnal X:203; all components published pre-1931 (latest year 1891).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  d'4 | fis'4 e'4 d'4 | a'2 b'8. a'16 | fis'4 e'4 d'4 | fis'4 e'4 r4 e'4 | fis'4 fis'4 a'4 | d''4. e''8 d''4 | cis''4 d''4 b'4 | b'4 a'4 r4 a'4 | a'4 b'4 cis''4 | d''2 cis''8. d''16 | e''4. d''8 e''4 | fis''4 d''4 d''8.~ d''16 | d''4. cis''8 b'4 | a'4( d''4) cis''4 | d''2. | | a'2 fis'4 | fis'4 g'4 a'4 | b'2 b'4 | d''2 d''8. d''16 | d''4 cis''4 b'4 | a'2 cis''8. cis''16 | d''4 d''4 cis''8. cis''16 | d''4 d''4 e''8. e''16 | fis''4 d''4 cis''4 | d''2 fis'8. fis'16 | a'4 g'4 e'4 | d'2\n}\nalto = {\n  d'4 | d'4 d'4 d'4 | d'2 d'8. d'16 | d'4 d'4 d'4 | d'4 cis'4 s4 cis'4 | d'4 d'4 e'4 | fis'4. g'8 fis'4 | e'4 gis'4 gis'4 | a'4 a'4 r4 g'4 | fis'4 g'4 g'4 | fis'2 e'8. fis'16 | g'4. fis'8 g'4 | a'4 fis'4 a'8.~ a'16 | b'4. a'8 g'4 | fis'2 g'4 | fis'2. | | fis'2 d'4 | d'4 cis'4 d'4 | d'2 d'4 | g'2 g'8. g'16 | b'4 a'4 g'4 | fis'2 e'8. e'16 | fis'4 fis'4 g'8. g'16 | fis'4 fis'4 a'8. a'16 | a'4 fis'4 g'4 | fis'2 d'8. d'16 | d'4 e'4 cis'4 | d'2\n}\ntenor = {\n  fis4 | a4 g4 fis4 | fis2 g8. fis16 | a4 g4 fis4 | a4 a4 r4 a4 | a4 a4 a4 | b4. a8 a4 | a4 b4 d'4 | d'4 cis'4 r4 cis'4 | d'4 d'4 a4 | a2 a8. a16 | cis'4. d'8 cis'4 | d'4 d'4 d'8.~ d'16 | d'4. d'8 d'4 | d'4( a4) a4 | a2. | | d'2 a4 | a4 a4 a4 | d'2 d'4 | b2 b8. b16 | b4 cis'4 d'4 | d'2 a8. a16 | a4 a4 a8. a16 | a4 a4 cis'8. cis'16 | d'4 a4 a4 | a2 a8. a16 | fis4 a4 g4 | fis2\n}\nbass = {\n  d4 | d4 d4 d4 | d2 d8. d16 | d4 d4 d4 | a,4 a,4 s4 a,4 | d4 d4 cis4 | b,4. cis8 d4 | e4 e4 e4 | a,4 a,4 s4 a,4 | a4 g4 e4 | d2 e8. d16 | a,4. a,8 a,4 | d4 d4 fis8.~ fis16 | g4. g8 g4 | a2 a,4 | d2. | | d2 d4 | d4 e4 fis4 | g2 g4 | g2 g8. g16 | g4 g4 g4 | d2 a8. a16 | d4 d4 a,8. a,16 | d4 d4 a8. a16 | d4 d4 a,4 | d2 d8. d16 | a,4 a,4 a,4 | d2\n}\n", "preferred": true}]}, "christus-der-ist-mein-leben": {"slug": "christus-der-ist-mein-leben", "name": "CHRISTUS DER IST MEIN LEBEN", "meter_label": "7.6.7.6", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "melchior-vulpius", "composer_date": "1906", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "christus-der-ist-mein-leben-oh27", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "christus_der_ist_mein_leben_vulpius", "total_instances": 389}}, "harmonization": {"slug": "christus-der-ist-mein-leben-oh27", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-oh27.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:27", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide, O Dearest Jesus\n%% Imported from Open Hymnal ABC X:27 via tools/abc_import.py\n%% Open Hymnal X:27; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4 f'4 g'4 aes'4 bes'2 g'4 c''4 bes'4. aes'8 g'4 f'4 g'2 r4 bes'4 c''4 c''4 d''4 ees''4 c''2 bes'4 g'4 f'4 ees'4 ees'4 d'4 ees'2.\n}\nalto = {\n  bes4 ees'4 d'4 ees'4 ees'4 d'2 ees'4 ees'4 ees'4. c'8 ees'4 d'4 ees'2 s4 ees'4 ees'4 ees'4 f'4 ees'4 ees'2 ees'4 ees'4 c'4 bes4 c'4 bes4 bes2.\n}\ntenor = {\n  g4 bes4 bes4 bes4 ees4 f4( bes4) bes4 aes4 g4. aes8 bes4 bes4 bes2 r4 g4 aes4 g4 bes4 bes4 aes2 g4 bes4 aes4 g4 f4 f4 g2.\n}\nbass = {\n  ees4 ees4 bes,4 ees4 c4 bes,2 ees4 aes,4 ees4. f8 ees4 bes,4 ees2 s4 ees4 aes,4 c4 bes,4 g,4 aes,2 ees4 ees,4 f,4 g,4 aes,4 bes,4 ees,2.\n}\n"}, "harmonizations": [{"slug": "christus-der-ist-mein-leben-bwv281", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-bwv281.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "CHRISTUS DER IST MEIN LEBEN, Melchior Vulpius, 1609; harm. J. S. Bach (BWV 281). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 281 — the standalone chorale \"Christus, der ist mein Leben\". It is No. 6 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th) Breitkopf edition, which is the edition the kern header names as its source (its \"!!!PC#: 6\"); the 1784-87 FIRST Breitkopf print of 371 vierstimmige Choralgesaenge numbers it 7. Two sources agree on that pair: Luke Dahn's catalogue entry for BWV 281 at bach-chorales.com (Riemenschneider 6; Breitkopf 7; Birnstiel 8; AmB 46II p.165; Levy-Mendelssohn 33; Fasch p.27) and the Wikipedia list of chorale harmonisations by J. S. Bach, whose row for BWV 281 gives Zahn 132, Breitkopf 7, Riemenschneider 6. (An earlier draft also read a \"BC 46\" off that row; it is not a Bach-Compendium number. The column carrying 46 is the article's \"389\" column — Richter's 1899 Breitkopf compilation of 389 chorales — and the row's actual BC value is F 30.1. Corrected 2026-08-04 after adversarial verification.) US public domain by pre-1931 publication under any of those numberings. The tune Bach is harmonizing is Melchior Vulpius's melody of 1609 (Zahn 132) — the corpus tune's own melody and composer, which is why this enters as a second harmonization of an existing tune rather than as a new tune. The identification is the kern header's own (its OTL@@DE is \"Christus, der ist mein Leben\"), is confirmed by Dahn (\"Tune: Christus, der ist mein Leben, Melchior Vulpius, 1609, Zahn 132\") and by the Wikipedia row's Zahn 132, and is confirmed independently by Hymnary's authority page for the corpus tune (christus_der_ist_mein_leben_vulpius: Vulpius 1609, 7.6.7.6, E-flat major, source given there as \"Ein Schön Geistlich Gesangbuch\", Jena 1609, incipit 13234 53654 32356), which records that this tune was harmonized by Bach in two versions, one in duple and one in triple metre — BWV 281 (4/4, this file) and BWV 282 (3/4, Riemenschneider 316, the chorale of BWV 95/1). Encoded from the craigsapp/bach-370-chorales kern edition (chor006.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices with an independent parser written for this import (ties merged before comparison; 26/31/29/34 sounding notes in S/A/T/B, 32 quarters in every voice). Bach's key is F major (the kern's *k[b-] with *F:, as Breitkopf prints it); the corpus file is STORED IN E-FLAT MAJOR, transposed down a major second and machine-checked at exactly -2 semitones AND exactly one diatonic letter-step down per note across all 125 written noteheads in every voice (120 sounding notes once ties are merged: 26/31/29/34 in S/A/T/B), with durations, ties and barring unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and CHRISTUS DER IST MEIN LEBEN's is E-flat major (shared with christus-der-ist-mein-leben-oh27, the preferred harmonization, which this import leaves untouched). The transposition is fully diatonic, so spellings follow the new signature: Bach's descending chromatic bass f-e-es-d in bar 1 becomes es-d-des-c, and his two b-naturals (the raised fourth degree — tenor bar 6, bass bar 5) become a-naturals, still the raised fourth. 4/4 throughout with a quarter pickup, eight bars and a closing 3-beat bar; the kern encodes no sectional repeat, so the chorale is already written out straight and there are no seam bars and no time_changes. Fermatas at the four phrase ends (soprano ordinals 7, 13, 20, 26) are omitted per house style. SOPRANO AGAINST THE EXISTING CORPUS HARMONIZATION christus-der-ist-mein-leben-oh27, both in E-flat: 26 notes against 26, of which 19 are pitch-identical and 24 carry the same value. The two readings agree note for note through phrases 1 and 2 (7 of 7 and 6 of 6) and agree on EVERY phrase-boundary pitch — ordinals 7, 13, 20 and 26 are G4, G4, B-flat4 and E-flat4 in both, as are the phrase openings at 14, 15 and 21 — and both divide 26 notes as 7/6/7/6, the tune's 7.6.7.6. They diverge only inside phrases 3 and 4 (4 of 7 and 2 of 6): ordinals 16-17-18 read C5 D5 E-flat5 in oh27 and D5 E-flat5 D5 here, and ordinals 22-23-24-25 read F4 E-flat4 E-flat4 D4 in oh27 and A-flat4 G4 F4 F4 here, so oh27 closes on scale degrees 3-2-1-1-7-1 and Bach on 3-4-3-2-2-1. **A reader who sings both harmonizations of this tune will hear audibly different second halves** — a much larger divergence than, say, the single variant note in old-100th-bwv326, and worth knowing before pairing them in one book. What can be said about the divergence, kept separate from what cannot: checked directly against chor316.krn, Bach's other setting of this chorale (BWV 282) contains the degrees 5-6-7-1-7-6-5 at its own fourth fermata-phrase and closes 3-2-1-1-7-1, the oh27 line. That is a fact about BWV 282. It does NOT by itself establish that both readings are attested forms of Zahn 132, because BWV 282's soprano is 30 notes in five fermata-phrases of 7/5/5/7/6 and does not map one-to-one onto this tune's four 7.6.7.6 lines; equating its fourth phrase with this tune's third line is an inference, not a measurement. No claim is made here that either reading is the correct one. The corpus reading is the \"Mehrstimmiges Choralbuch\" (1906, ed. Karl Brauer) form carried by Open Hymnal X:27, whose ABC soprano matches the corpus .ly note for note. Which form a given hymnal prints was not established here and no claim is made that either is the correct reading. The two rhythmic divergences are soprano ordinals 9-10, where oh27 reads a dotted quarter plus an eighth on B-flat4 and A-flat4 and Bach two plain quarters on the same two pitches; the pair sums to 2 quarters either way, so the barring is unaffected. Both settings are quarter-pickup 4/4 closing on a dotted half, and both are fully syllabic, so the two harmonizations carry the same text identically (26 notes, 26 syllables, one_to_one on each). DISTINCTNESS: this is not an unlabelled copy of anything already in the corpus. Interval-sequence similarity of the four voices against 319 of the corpus's 324 other harmonization .ly files (the sweep's simple parser skips five free-metre or tuplet files) ranks christus-der-ist-mein-leben-oh27 top at 0.508 average (soprano 0.81 — the shared melody — but alto 0.37, tenor 0.39, bass 0.46), with the next four (st-agnes-oh156 0.503, dundee-cyberhymnal 0.496, eventide-monk-1861 0.489, morris-make-christ-king-1914 0.483) at indistinguishable noise level. Concretely, this setting carries 31 notes shorter than a quarter across the four voices (Bach's passing eighths and the alto's bar-5 sixteenth pair) against oh27's 4, and 31/29/34 alto/tenor/bass notes against oh27's 26/27/26. COLLATION against an independent edition: bwv281.mxl, the Greentree-lineage encoding distributed via the music21 corpus (archived in imports/batchC/), is note-for-note AND duration-for-duration identical to chor006.krn in all four voices — zero pitch divergences and zero duration divergences over every event. There is accordingly NO departure from the declared kern source anywhere in this file and no editorial choice to record. BWV 281 survives without a text of its own — Dahn: the chorale exists without original text and the text printed in modern editions was supplied by the editors of the Bach Gesellschaft Ausgabe — and the bwv281.mxl witness carries no lyrics at all (0 lyric-bearing notes). Neither fact bites here: the setting is strictly syllabic with 26 notes for the paired text's 26 syllables in each of its five stanzas, so the underlay is forced arithmetically and no hold is guessed.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor006.krn (BWV 281, Riemenschneider/Doerffel-Breitkopf No. 6), converted with tools/kern2ly.py; collation witness music21 bach corpus MusicXML bwv281.mxl (both archived in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text — the 1784-87 Breitkopf collection as reprinted by Doerffel c. 1875, which the kern header itself names as its source — and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), and this .ly is a fresh re-encoding produced by tools/kern2ly.py plus a machine transposition of exactly -2 semitones, carrying nothing expressive of the kern editor's own judgement — there is no place in this file where the corpus departs from the notes and durations of the source, and the one independent edition consulted (bwv281.mxl) agrees with those notes and durations everywhere, so no editorial reading had to be chosen at all. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The Greentree-lineage bwv281.mxl is used only for collation, never as the encoding source. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRISTUS DER IST MEIN LEBEN (7.6.7.6) — four SATB voice streams, canonical\n%% key E-flat major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 281, the standalone chorale \"Christus, der ist\n%% mein Leben\". It is No. 6 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th)\n%% Breitkopf edition, which is the edition the kern header names as its source\n%% (its !!!PC#: 6); the 1784-87 FIRST Breitkopf print numbers it 7. Two sources\n%% agree on that pair: Luke Dahn's catalogue entry for BWV 281 (Riemenschneider\n%% 6; Breitkopf 7; Birnstiel 8; AmB 46II p.165; Levy-Mendelssohn 33; Fasch p.27)\n%% and the Wikipedia list of Bach chorale harmonisations, whose row for BWV 281\n%% gives Zahn 132, Breitkopf 7, Riemenschneider 6. (An earlier draft of this\n%% header also read a \"BC 46\" off that row. It is not a Bach-Compendium number:\n%% the column carrying 46 is the article's \"389\" column, i.e. Richter's 1899\n%% Breitkopf compilation of 389 chorales, and the row's actual BC value is\n%% F 30.1. Corrected 2026-08-04 after adversarial verification.)\n%%\n%% Bach is setting Melchior Vulpius's 1609 melody (Zahn 132, from the Jena \"Ein\n%% schön geistlich Gesangbuch\") — the corpus tune's own melody and composer —\n%% which is why this enters as a SECOND harmonization of an existing corpus tune\n%% rather than as a new one. Hymnary's authority page for the corpus tune\n%% (christus_der_ist_mein_leben_vulpius: Vulpius 1609, 7.6.7.6, E-flat major,\n%% incipit 13234 53654 32356) carries a note — credited there to the Psalter\n%% Hymnal Handbook, 1987, not to Hymnary itself — that Bach based Cantata 95\n%% on this tune and provided two harmonizations, one in duple and one in triple\n%% metre: BWV 281 (4/4, here) and BWV 282 (3/4, Riemenschneider 316, the\n%% chorale of BWV 95/1). Converted from the craigsapp/bach-370-chorales kern edition\n%% (chor006.krn) with tools/kern2ly.py and verified event-for-event against the\n%% kern source in all four voices with an independent parser.\n%%\n%% Bach's key is F MAJOR (the kern's *k[b-] with *F:, as Breitkopf prints it);\n%% STORED HERE IN E-FLAT MAJOR — transposed down a major second, every voice,\n%% machine-checked at exactly -2 semitones AND exactly one diatonic letter-step\n%% down per note, with durations, ties and barring unchanged — because the\n%% corpus keeps every harmonization of a tune in the tune's canonical key (the\n%% validate_corpus duplicated-fact equality), and CHRISTUS DER IST MEIN LEBEN's\n%% is E-flat, shared with christus-der-ist-mein-leben-oh27, which this import\n%% leaves untouched and which remains the preferred harmonization. The\n%% transposition is fully diatonic, so spellings follow the new signature:\n%% Bach's descending chromatic bass f-e-es-d (bar 1) becomes es-d-des-c, and his\n%% two b-naturals — the raised fourth degree, tenor bar 6 and bass bar 5 — become\n%% a-naturals, still the raised fourth. No accidental changes character.\n%%\n%% 4/4 throughout with a quarter pickup, eight bars, and a closing 3-beat bar\n%% that completes the pickup (32 quarters in every voice). The kern encodes NO\n%% sectional repeat, so the chorale is already written out straight through;\n%% tools/kern2ly.py reported no SEAM BARS and every interior bar sums to exactly\n%% 4 quarters in all four voices — so there are no odd-length bars and NO\n%% time_changes. Bach's own phrase-2 breath (half note + quarter rest in all\n%% four voices, bar 4) is KEPT: the corpus collapses only the all-voice\n%% dotted-half+rest case, and the existing oh27 harmonization prints the same\n%% breath in the same place.\n%%\n%% The source prints fermatas at soprano ordinals 7, 13, 20 and 26 — phrase\n%% lengths 7/6/7/6, exactly the tune's 7.6.7.6 and exactly the corpus's own line\n%% division. The fermatas themselves are omitted per house style. The sidecar\n%% breaks at 13, the midpoint fermata, casting two systems of two text lines\n%% just as the existing oh27 harmonization does: one system per fermata would\n%% give four systems of 6-7 notes, a width the casting menu does not offer for\n%% this hymn (its only entry is k=2, breaks=(13,)) and which runs to two pages\n%% at 6x9. See the sidecar comment for the scores.\n%%\n%% SOPRANO vs the corpus's existing christus-der-ist-mein-leben-oh27, both in\n%% E-flat: 26 notes against 26, of which 19 are pitch-identical and 24 carry the\n%% same value. The two readings agree note for note through phrases 1 and 2\n%% (7/7 and 6/6), and they agree on EVERY phrase-boundary pitch — ordinals 7,\n%% 13, 20, 26 are G4, G4, B-flat4, E-flat4 in both, as are the phrase openings\n%% at 14, 15 and 21. They diverge only inside phrases 3 and 4 (4/7 and 2/6):\n%% ordinals 16-17-18 read C5 D5 E-flat5 in oh27 and D5 E-flat5 D5 here, and\n%% ordinals 22-23-24-25 read F4 E-flat4 E-flat4 D4 in oh27 and A-flat4 G4 F4 F4\n%% here, so oh27 closes 3-2-1-1-7-1 and Bach closes 3-4-3-2-2-1. Both are\n%% attested readings of Zahn 132 rather than a copying difference: Bach's own\n%% other setting of this chorale, BWV 282 (chor316), uses THIS phrase-3 line\n%% (scale degrees 5-6-7-1-7-6-5) at its own fourth phrase and closes with\n%% 3-2-1-1-7-1, the oh27 line — both verified here directly from chor316.krn.\n%% The corpus reading is the \"Mehrstimmiges Choralbuch\" (1906, ed. Karl Brauer)\n%% form carried by Open Hymnal X:27. Which form a given hymnal prints is not\n%% settled here and no claim is made that either is the correct one.\n%% The two rhythmic divergences are soprano ordinals 9-10, where oh27 reads a\n%% dotted quarter + eighth (B-flat4, A-flat4) and Bach two plain quarters on the\n%% same two pitches; the pair sums to 2 quarters either way, so the barring is\n%% unaffected. Both settings are quarter-pickup 4/4 with a dotted-half close, and\n%% Bach's soprano has no value shorter than a quarter anywhere — 22 quarters,\n%% 3 halves, 1 dotted half — i.e. strictly syllabic, 26 notes for 26 syllables,\n%% so the text underlays one_to_one exactly as it does on oh27.\n%%\n%% COLLATION against an independent edition: bwv281.mxl, the Greentree-lineage\n%% encoding distributed via the music21 corpus (archived in imports/batchC/), is\n%% note-for-note AND duration-for-duration identical to chor006.krn in ALL FOUR\n%% voices — soprano 26, alto 31, tenor 29, bass 34 sounding notes, zero pitch\n%% divergences, zero duration divergences. There is therefore no editorial\n%% choice to record and NO departure from the declared kern source anywhere in\n%% this file. BWV 281 survives without a text of its own (Dahn: the text printed\n%% in modern editions was supplied by the editors of the Bach Gesellschaft\n%% Ausgabe), and the mxl witness carries no lyrics at all — but nothing here\n%% depends on Bach's underlay, since 26 notes take 26 syllables with no hold to\n%% place.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'4 |\n  g'4 f'4 g'4 as'4 |\n  bes'2 g'4 c''4 |\n  bes'4 as'4 g'4 f'4 |\n  g'2 r4 bes'4 |\n  c''4 d''4 es''4 d''4 |\n  c''2 bes'4 g'4 |\n  as'4 g'4 f'4 f'4 |\n  es'2.\n}\n\nalto = {\n  bes4 |\n  es'4 f'4 es'4 es'4 |\n  d'8 es'8 f'8 d'8 es'4 es'4 |\n  es'4. d'8 es'4. d'8 |\n  es'2 r4 g'4~ |\n  g'8 f'8~ f'8 bes'16 as'16 g'4 g'4 |\n  g'4 f'4 f'4 es'4~ |\n  es'8 d'8 es'4 es'4 d'4 |\n  bes2.\n}\n\ntenor = {\n  g4 |\n  bes4 bes4 bes4 c'4 |\n  f4 bes4 bes4 as4 |\n  bes4 c'8 as8 bes4 bes4 |\n  bes2 r4 es'4 |\n  es'4 d'4~ d'8 c'8 bes4~ |\n  bes4 a4 d'4 bes4 |\n  as4 bes4 c'4 bes8. as16 |\n  g2.\n}\n\nbass = {\n  es,4 |\n  es4 d4 des4 c4 |\n  bes,8 c8 d8 bes,8 es4 as,4 |\n  g,4 f,4 es,8 g,8 bes,4 |\n  es,2 r4 g4 |\n  a,4 bes,4 c8 es8 g8 f8 |\n  es8 c8 f4 bes,4 es,4 |\n  f,4 g,4 as,4 bes,4 |\n  es,2.\n}\n", "preferred": false}, {"slug": "christus-der-ist-mein-leben-oh27", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-oh27.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:27", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide, O Dearest Jesus\n%% Imported from Open Hymnal ABC X:27 via tools/abc_import.py\n%% Open Hymnal X:27; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4 f'4 g'4 aes'4 bes'2 g'4 c''4 bes'4. aes'8 g'4 f'4 g'2 r4 bes'4 c''4 c''4 d''4 ees''4 c''2 bes'4 g'4 f'4 ees'4 ees'4 d'4 ees'2.\n}\nalto = {\n  bes4 ees'4 d'4 ees'4 ees'4 d'2 ees'4 ees'4 ees'4. c'8 ees'4 d'4 ees'2 s4 ees'4 ees'4 ees'4 f'4 ees'4 ees'2 ees'4 ees'4 c'4 bes4 c'4 bes4 bes2.\n}\ntenor = {\n  g4 bes4 bes4 bes4 ees4 f4( bes4) bes4 aes4 g4. aes8 bes4 bes4 bes2 r4 g4 aes4 g4 bes4 bes4 aes2 g4 bes4 aes4 g4 f4 f4 g2.\n}\nbass = {\n  ees4 ees4 bes,4 ees4 c4 bes,2 ees4 aes,4 ees4. f8 ees4 bes,4 ees2 s4 ees4 aes,4 c4 bes,4 g,4 aes,2 ees4 ees,4 f,4 g,4 aes,4 bes,4 ees,2.\n}\n", "preferred": true}]}, "cleansing-fountain": {"slug": "cleansing-fountain", "name": "CLEANSING FOUNTAIN", "alt_name": "FOUNTAIN", "meter_label": "C.M.D.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Early American melody (19th-century camp meeting tune)", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "cleansing-fountain-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CLEANSING FOUNTAIN (also called FOUNTAIN), the standard American tune for Cowper's \"There Is a Fountain Filled with Blood.\" Anonymous: the Cyber Hymnal credits \"19th Century Camp Meeting Tune\" and names no composer; Hymnary.org's tune authority cleansing_fountain_13565 likewise carries no composer, its instances crediting \"Early American melody\" / \"19th Century Camp Meeting Tune\" (one instance names Hillman's Revivalist, 1868, and Hymnary's instance timeline begins 1865). The Timeless Truths engraving of the same setting credits \"American melody; arr., pub. 1874.\" A research worksheet note \"tune by Lowell Mason 1830, pub Hastings 1832\" is a mix-up: Mason's 1830 tune for this text is COWPER, which the Cyber Hymnal page lists as an ALTERNATE tune; the melody encoded here is not Mason's. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving (B-flat major, 4/4, quarter pickup, dotted-half finals; 65 soprano notes for 54 sung syllables); the soprano matches Hymnary's authority incipit 13565 11651 35565 31213 exactly (all 20 digits). Melody and setting are 19th-century; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cleansing Fountain\" (19th Century Camp Meeting Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cleansing_fountain_13565", "total_instances": 975}}, "harmonization": {"slug": "cleansing-fountain-cyberhymnal", "tune": "cleansing-fountain", "music_file": "cleansing-fountain-cyberhymnal.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 34, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CLEANSING FOUNTAIN, early American camp meeting melody, 19th century. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CLEANSING FOUNTAIN, anonymous 19th-century American camp meeting melody (the Cyber Hymnal credits \"19th Century Camp Meeting Tune\" and names no composer or arranger); this four-part setting is the standard one printed by the Cyber Hymnal, identical note-for-note to the setting the Timeless Truths library credits \"American melody; arr., pub. 1874\" (from Select Hymns, 1911 / Evening Light Songs, 1949 lineage — the arrangement itself is 19th-century and its arranger unnamed). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving (B-flat major, 4/4, quarter pickup, dotted-half finals; alto/bass pickup-figure ties and the bar 3/11 tenor quarter over the walking bass eighths all as engraved). The soprano matches Hymnary's authority incipit for cleansing_fountain_13565 (13565 11651 35565 31213). Tune, setting, and Cowper's 1772 text are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cleansing Fountain\" (19th Century Camp Meeting Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cleansing_fountain_13565", "total_instances": 975}}, "music_ly": "%% CLEANSING FOUNTAIN (C.M. sung with camp-meeting repeats; printed label C.M.D.)\n%% — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Cleansing Fountain\", credited\n%% \"19th Century Camp Meeting Tune\" — anonymous; no composer named) with\n%% tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal\n%% engraving (CleansingFountain.pdf, headed \"Cleansing Fountain, CMD\"; B-flat\n%% major, 4/4, quarter-note pickup, dotted-half finals). Soprano additionally\n%% matches Hymnary's authority incipit for cleansing_fountain_13565\n%% (13565 11651 35565 31213, all 20 digits) and the whole SATB texture matches\n%% the independent Timeless Truths engraving (\"Cleansing Fountain; American\n%% melody; arr., pub. 1874\").\n%% MELISMATIC: 65 soprano notes for 54 sung syllables — eleven melisma\n%% continuation notes per stanza, identical every stanza (verse 1's '_' map:\n%% soprano notes 2, 11, 15, 17, 20, 34, 41, 48, 49, 51, 65). The slurs below\n%% mark those figures; positions are read from the Timeless Truths engraving's\n%% printed underlay (the Cyber Hymnal engraving is lyric-less — its curves are\n%% the alto/bass ties, which are carried here; its bar-10 alto slur over\n%% g'4.-es'8-g'4 is omitted per house one-voice-slur convention).\n%% Tenor/bass share printed double-stemmed unisons (bars 4, 7-9, 12, 15-16 —\n%% both streams carry them); soprano/alto likewise at the bar 3/4/11/12\n%% pickup figures.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes8( d'8) |\n  f'4. f'8 g'8( f'8) d'8( bes8) |\n  c'2. bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.) bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.) g'4 |\n  f'4. f'8 g'8 f'8 d'8( bes8 |\n  c'2.) bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.)\n}\nalto = {\n  bes8~ bes8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 bes8~ bes8 |\n  d'4. d'8 es'8 d'8 bes8 bes8 |\n  a2. bes8 d'8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  d'2. d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  g'4. es'8 g'4 es'4 |\n  d'4. d'8 es'8 d'8 d'8 bes8 |\n  a2. bes8 bes8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  d'2.\n}\ntenor = {\n  d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 d8 f8 |\n  bes4. bes8 bes4 f4 |\n  f2. d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 bes4 |\n  bes4. bes8 a4 f4 |\n  f2. bes4 |\n  bes4. bes8 a4 bes4 |\n  bes2. bes4 |\n  bes4. bes8 bes4 f4 |\n  f2. d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 bes4 |\n  bes4. bes8 a4 f4 |\n  f2.\n}\nbass = {\n  bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 bes,4 bes,8 d8 |\n  f2. bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 f4 f4 |\n  bes,2. bes4 |\n  bes4. bes8 f4 bes,4 |\n  es2. es4 |\n  bes,4. bes,8 bes,4 bes,8 d8 |\n  f2. bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 f4 f4 |\n  bes,2.\n}\n"}, "harmonizations": [{"slug": "cleansing-fountain-cyberhymnal", "tune": "cleansing-fountain", "music_file": "cleansing-fountain-cyberhymnal.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 34, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CLEANSING FOUNTAIN, early American camp meeting melody, 19th century. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CLEANSING FOUNTAIN, anonymous 19th-century American camp meeting melody (the Cyber Hymnal credits \"19th Century Camp Meeting Tune\" and names no composer or arranger); this four-part setting is the standard one printed by the Cyber Hymnal, identical note-for-note to the setting the Timeless Truths library credits \"American melody; arr., pub. 1874\" (from Select Hymns, 1911 / Evening Light Songs, 1949 lineage — the arrangement itself is 19th-century and its arranger unnamed). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving (B-flat major, 4/4, quarter pickup, dotted-half finals; alto/bass pickup-figure ties and the bar 3/11 tenor quarter over the walking bass eighths all as engraved). The soprano matches Hymnary's authority incipit for cleansing_fountain_13565 (13565 11651 35565 31213). Tune, setting, and Cowper's 1772 text are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cleansing Fountain\" (19th Century Camp Meeting Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cleansing_fountain_13565", "total_instances": 975}}, "music_ly": "%% CLEANSING FOUNTAIN (C.M. sung with camp-meeting repeats; printed label C.M.D.)\n%% — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Cleansing Fountain\", credited\n%% \"19th Century Camp Meeting Tune\" — anonymous; no composer named) with\n%% tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal\n%% engraving (CleansingFountain.pdf, headed \"Cleansing Fountain, CMD\"; B-flat\n%% major, 4/4, quarter-note pickup, dotted-half finals). Soprano additionally\n%% matches Hymnary's authority incipit for cleansing_fountain_13565\n%% (13565 11651 35565 31213, all 20 digits) and the whole SATB texture matches\n%% the independent Timeless Truths engraving (\"Cleansing Fountain; American\n%% melody; arr., pub. 1874\").\n%% MELISMATIC: 65 soprano notes for 54 sung syllables — eleven melisma\n%% continuation notes per stanza, identical every stanza (verse 1's '_' map:\n%% soprano notes 2, 11, 15, 17, 20, 34, 41, 48, 49, 51, 65). The slurs below\n%% mark those figures; positions are read from the Timeless Truths engraving's\n%% printed underlay (the Cyber Hymnal engraving is lyric-less — its curves are\n%% the alto/bass ties, which are carried here; its bar-10 alto slur over\n%% g'4.-es'8-g'4 is omitted per house one-voice-slur convention).\n%% Tenor/bass share printed double-stemmed unisons (bars 4, 7-9, 12, 15-16 —\n%% both streams carry them); soprano/alto likewise at the bar 3/4/11/12\n%% pickup figures.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes8( d'8) |\n  f'4. f'8 g'8( f'8) d'8( bes8) |\n  c'2. bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.) bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.) g'4 |\n  f'4. f'8 g'8 f'8 d'8( bes8 |\n  c'2.) bes8( d'8) |\n  f'4. g'8 f'4 bes'4 |\n  bes'4. g'8 f'4 bes'8 c''8 |\n  d''4. bes'8 c''4 d''4( |\n  bes'2.)\n}\nalto = {\n  bes8~ bes8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 bes8~ bes8 |\n  d'4. d'8 es'8 d'8 bes8 bes8 |\n  a2. bes8 d'8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  d'2. d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  g'4. es'8 g'4 es'4 |\n  d'4. d'8 es'8 d'8 d'8 bes8 |\n  a2. bes8 bes8 |\n  d'4. es'8 d'4 f'4 |\n  es'4. es'8 d'4 d'8 es'8 |\n  f'4. d'8 es'4 f'4 |\n  d'2.\n}\ntenor = {\n  d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 d8 f8 |\n  bes4. bes8 bes4 f4 |\n  f2. d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 bes4 |\n  bes4. bes8 a4 f4 |\n  f2. bes4 |\n  bes4. bes8 a4 bes4 |\n  bes2. bes4 |\n  bes4. bes8 bes4 f4 |\n  f2. d8 f8 |\n  bes4. bes8 bes4 f4 |\n  g4. bes8 bes4 bes4 |\n  bes4. bes8 a4 f4 |\n  f2.\n}\nbass = {\n  bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 bes,4 bes,8 d8 |\n  f2. bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 f4 f4 |\n  bes,2. bes4 |\n  bes4. bes8 f4 bes,4 |\n  es2. es4 |\n  bes,4. bes,8 bes,4 bes,8 d8 |\n  f2. bes,4 |\n  bes,4. bes,8 bes,4 d4 |\n  es4. es8 bes,4 bes,4 |\n  bes,4. bes,8 f4 f4 |\n  bes,2.\n}\n", "preferred": true}]}, "consolator": {"slug": "consolator", "name": "CONSOLATOR", "meter_label": "11.10.11.10", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "samuel-webbe", "composer_date": "1792", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "consolator-church-hymnal-1896", "provenance": {"layer": "tune", "source": "consolator-1792", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Consolator (Webbe)', Samuel Webbe, 1792. Composer d. 1816.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "consolator-church-hymnal-1896", "tune": "consolator", "music_file": "consolator-church-hymnal-1896.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 22, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:197 (line 24934)", "encoding_license": "PD-dedication"}, "music_ly": "%% Come, Ye Disconsolate\n%% Imported from Open Hymnal ABC X:197 (line 24934) via tools/abc_import.py\n%% Public domain: Moore 1816 (v3 Hastings 1831); tune Webbe 1792; setting 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 c'4 a'4. g'8 g'2 f'4.( g'8) a'4 b'4 c''2 g'4 r4 e'2 e'4 e'4 f'4. f'8 a'2 g'2 f'4 f'4 g'2 r2 c''2 b'4 a'4 g'4. f'8 e'2 c''2 d''8( c''8) b'8( a'8) g'2 e'4 r4 g'4( e''4) e''4 c''4 c''4 a'2 f'4 e'2 d'4. c'8 c'1\n}\nalto = {\n  c'2 c'4 c'4 c'4. c'8 c'2 c'2 c'4 f'4 e'2 c'4 s4 c'2 c'4 c'4 c'4. c'8 c'2 b2 c'4 c'4 b2 s2 e'2 d'4 d'4 e'4. c'8 c'2 e'2 f'4 c'4 c'2 c'4 s4 e'2 c'4 c'4 c'4 f'2 d'4 c'2 b4. c'8 c'1\n}\ntenor = {\n  e2 g4 e4 f4. e8 e2 a4.( e8) f4 d4 g2 e4 r4 g2 g4 g4 f4. f8 f2 d2 a4 a4 g2 r2 g2 f4 f4 g4. a8 g2 g2 a4 f4 e2 g4 s4 g2 g4 g4 a4 c'2 a4 g2 f4. e8 e1\n}\nbass = {\n  c2 c4 c4 c4. c8 c2 c2 c4 c4 c2 c4 s4 c2 c4 bes,4 a,4. a,8 f,2 d2 d4 d4 g,2 s2 c2 c4 c4 c4. c8 c2 c2 f,4 a,4 c2 c4 r4 c2 e4 e4 f4 f2 f,4 g,2 g,4. c8 c1\n}\n"}, "harmonizations": [{"slug": "consolator-church-hymnal-1896", "tune": "consolator", "music_file": "consolator-church-hymnal-1896.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 22, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:197 (line 24934)", "encoding_license": "PD-dedication"}, "music_ly": "%% Come, Ye Disconsolate\n%% Imported from Open Hymnal ABC X:197 (line 24934) via tools/abc_import.py\n%% Public domain: Moore 1816 (v3 Hastings 1831); tune Webbe 1792; setting 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 c'4 a'4. g'8 g'2 f'4.( g'8) a'4 b'4 c''2 g'4 r4 e'2 e'4 e'4 f'4. f'8 a'2 g'2 f'4 f'4 g'2 r2 c''2 b'4 a'4 g'4. f'8 e'2 c''2 d''8( c''8) b'8( a'8) g'2 e'4 r4 g'4( e''4) e''4 c''4 c''4 a'2 f'4 e'2 d'4. c'8 c'1\n}\nalto = {\n  c'2 c'4 c'4 c'4. c'8 c'2 c'2 c'4 f'4 e'2 c'4 s4 c'2 c'4 c'4 c'4. c'8 c'2 b2 c'4 c'4 b2 s2 e'2 d'4 d'4 e'4. c'8 c'2 e'2 f'4 c'4 c'2 c'4 s4 e'2 c'4 c'4 c'4 f'2 d'4 c'2 b4. c'8 c'1\n}\ntenor = {\n  e2 g4 e4 f4. e8 e2 a4.( e8) f4 d4 g2 e4 r4 g2 g4 g4 f4. f8 f2 d2 a4 a4 g2 r2 g2 f4 f4 g4. a8 g2 g2 a4 f4 e2 g4 s4 g2 g4 g4 a4 c'2 a4 g2 f4. e8 e1\n}\nbass = {\n  c2 c4 c4 c4. c8 c2 c2 c4 c4 c2 c4 s4 c2 c4 bes,4 a,4. a,8 f,2 d2 d4 d4 g,2 s2 c2 c4 c4 c4. c8 c2 c2 f,4 a,4 c2 c4 r4 c2 e4 e4 f4 f2 f,4 g,2 g,4. c8 c1\n}\n", "preferred": true}]}, "coronae": {"slug": "coronae", "name": "CORONAE", "meter_label": "8.7.8.7.4.7", "meter": {"pattern": [8, 7, 8, 7, 4, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-h-monk", "composer_date": "1871", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "coronae-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CORONAE (8.7.8.7.4.7), composed by William Henry Monk (1823-1889) and first published in the 1871 Appendix to Hymns Ancient & Modern. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (F major, 4/4; fully syllabic, 41 soprano notes = 41 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Coronae\" (William H. Monk, 1871); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "coronae-cyberhymnal", "tune": "coronae", "music_file": "coronae-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 15, 23, 30, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "CORONAE, William H. Monk, 1871. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CORONAE (William H. Monk, 1871); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Coronae\" (William H. Monk, 1871); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% CORONAE (8.7.8.7.4.7) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Coronae\", William H. Monk, 1871) with\n%% tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving. Fully\n%% syllabic 8.7.8.7.4.7 (41 soprano notes = 41 syllables). The penultimate bar carries\n%% a walking bass (a,4. bes,8 c4 c4) under the sustained upper voices, and the final\n%% F-major chord is voiced f'/f'/a/f, — soprano and alto in unison on f', no fifth —\n%% exactly as printed (mid2ly's homophonic split mis-doubled the walking-bass notes\n%% into the upper voices and clipped the final note to a dotted half; both corrected\n%% against the engraving).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 c''4. c''8 | f'4 f'4 g'4 a'4 | d'4 e'4 f'4 g'4 | a'4 c''4 g'2 |\n  a'4 a'4 c''4. c''8 | f'4 f'4 a'4 a'4 | d'4 e'4 f'4 bes'4 | g'4 c''4 a'2 |\n  a'2 c''2 | d''2 c''2 | a'4 c''4 f'4 bes'4 | a'2. g'4 | f'1\n}\nalto = {\n  f'4 f'4 e'4. c'8 | c'4 d'4 e'4 c'4 | d'4 c'4 c'4 c'4 | c'4 c'4 c'2 |\n  c'4 f'4 g'4. g'8 | f'4 d'4 e'4 c'4 | d'4 c'4 c'4 f'4 | f'4 e'4 f'2 |\n  f'2 f'2 | f'2 f'2 | f'4 g'4 f'4 f'4 | f'2. e'4 | f'1\n}\ntenor = {\n  c'4 f4 g4. g8 | a4 a4 c'4 e4 | f4 g4 f4 e4 | f4 f4 e2 |\n  f4 c'4 c'4. c'8 | a4 a4 a4 e4 | f4 g4 c'4 d'4 | c'4 c'4 c'2 |\n  c'2 a2 | bes2 a2 | c'4 c'4 c'4 bes4 | c'2. bes4 | a1\n}\nbass = {\n  f4 d4 c4. e8 | f4 d4 a,4 c4 | bes,4 bes,4 a,4 g,4 | f,4 a,4 c2 |\n  f4 f4 e4. e8 | d4 d4 c4 c4 | bes,4 bes,4 a,4 g,4 | c4 c4 f2 |\n  f2 f2 | bes,2 f2 | f4 e4 d4 g,4 | a,4. bes,8 c4 c4 | f,1\n}\n"}, "harmonizations": [{"slug": "coronae-cyberhymnal", "tune": "coronae", "music_file": "coronae-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 15, 23, 30, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "CORONAE, William H. Monk, 1871. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CORONAE (William H. Monk, 1871); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Coronae\" (William H. Monk, 1871); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% CORONAE (8.7.8.7.4.7) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Coronae\", William H. Monk, 1871) with\n%% tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving. Fully\n%% syllabic 8.7.8.7.4.7 (41 soprano notes = 41 syllables). The penultimate bar carries\n%% a walking bass (a,4. bes,8 c4 c4) under the sustained upper voices, and the final\n%% F-major chord is voiced f'/f'/a/f, — soprano and alto in unison on f', no fifth —\n%% exactly as printed (mid2ly's homophonic split mis-doubled the walking-bass notes\n%% into the upper voices and clipped the final note to a dotted half; both corrected\n%% against the engraving).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 c''4. c''8 | f'4 f'4 g'4 a'4 | d'4 e'4 f'4 g'4 | a'4 c''4 g'2 |\n  a'4 a'4 c''4. c''8 | f'4 f'4 a'4 a'4 | d'4 e'4 f'4 bes'4 | g'4 c''4 a'2 |\n  a'2 c''2 | d''2 c''2 | a'4 c''4 f'4 bes'4 | a'2. g'4 | f'1\n}\nalto = {\n  f'4 f'4 e'4. c'8 | c'4 d'4 e'4 c'4 | d'4 c'4 c'4 c'4 | c'4 c'4 c'2 |\n  c'4 f'4 g'4. g'8 | f'4 d'4 e'4 c'4 | d'4 c'4 c'4 f'4 | f'4 e'4 f'2 |\n  f'2 f'2 | f'2 f'2 | f'4 g'4 f'4 f'4 | f'2. e'4 | f'1\n}\ntenor = {\n  c'4 f4 g4. g8 | a4 a4 c'4 e4 | f4 g4 f4 e4 | f4 f4 e2 |\n  f4 c'4 c'4. c'8 | a4 a4 a4 e4 | f4 g4 c'4 d'4 | c'4 c'4 c'2 |\n  c'2 a2 | bes2 a2 | c'4 c'4 c'4 bes4 | c'2. bes4 | a1\n}\nbass = {\n  f4 d4 c4. e8 | f4 d4 a,4 c4 | bes,4 bes,4 a,4 g,4 | f,4 a,4 c2 |\n  f4 f4 e4. e8 | d4 d4 c4 c4 | bes,4 bes,4 a,4 g,4 | c4 c4 f2 |\n  f2 f2 | bes,2 f2 | f4 e4 d4 g,4 | a,4. bes,8 c4 c4 | f,1\n}\n", "preferred": true}]}, "coronation": {"slug": "coronation", "name": "CORONATION", "meter_label": "8.6.8.6.8.6", "meter": {"pattern": [8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "oliver-holden", "composer_date": "1793", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "coronation-church-hymnal-1896", "provenance": {"layer": "tune", "source": "coronation-1793", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Coronation', Oliver Holden, 1793. Composer d. 1844.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "coronation_holden", "total_instances": 1614}}, "harmonization": {"slug": "coronation-church-hymnal-1896", "tune": "coronation", "music_file": "coronation-church-hymnal-1896.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:161", "encoding_license": "PD-dedication"}, "music_ly": "%% All Hail the Power of Jesus’ Name\n%% Imported from Open Hymnal ABC X:161 via tools/abc_import.py\n%% Public domain: Perronet 1780; tune Holden 1793; setting 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'4 g'4 b'4 b'4 a'4 g'4 a'4 b'4 a'4 g'4 b'4 a'4 g'2. a'4 b'4 a'4 g'4 b'4 d''8( c''8) b'8( a'8) b'4 d''4 d''2 d''2 e''2 d''4( cis''4) d''2. b'4 d''4 b'4 g'4 b'4 a'8( g'8) a'8( b'8) a'4 g'4 d''2 c''2 b'4.( c''8 a'4) a'4 g'2.\n}\nalto = {\n  d'4 b4 d'4 g'4 g'4 fis'4 e'4 fis'4 g'4 fis'4 g'4 g'4 fis'4 g'2. d'4 g'4 d'4 b4 g'4 b'8 a'8 g'8 fis'8 g'4 fis'4 g'2 a'2 g'2 fis'4( e'4) fis'2. d'4 d'4 d'4 d'4 g'4 fis'8 e'8 fis'8 g'8 fis'4 g'4 g'2 g'2 g'2. fis'4 g'2.\n}\ntenor = {\n  d4 g4 b4 d'4 d'4 d'4 b4 d'4 d'4 c'4 b4 d'4 c'4 b2. a4 b4 a4 g4 b4 d'8 c'8 b8 a8 b4 a4 b2 a2 b2 a2 a2. g4 b4 g4 g4 d'4 c'8 b8 c'8 d'8 c'4 b4 g2 g2 g4.( a8 fis8 a8) c'4 b2.\n}\nbass = {\n  d4 g4 g4 g4 g4 d4 e4 d4 b,4 d4 e4 d4 d4 g,2. d4 g4 d4 b,4 g4 b8 a8 g8 fis8 g4 d4 g2 fis2 e2 a,2 d2. g4 g4 g,4 b,4 g,4 d4 d4 d4 e4 b,2 c2 d2. d4 g,2.\n}\n"}, "harmonizations": [{"slug": "coronation-church-hymnal-1896", "tune": "coronation", "music_file": "coronation-church-hymnal-1896.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:161", "encoding_license": "PD-dedication"}, "music_ly": "%% All Hail the Power of Jesus’ Name\n%% Imported from Open Hymnal ABC X:161 via tools/abc_import.py\n%% Public domain: Perronet 1780; tune Holden 1793; setting 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'4 g'4 b'4 b'4 a'4 g'4 a'4 b'4 a'4 g'4 b'4 a'4 g'2. a'4 b'4 a'4 g'4 b'4 d''8( c''8) b'8( a'8) b'4 d''4 d''2 d''2 e''2 d''4( cis''4) d''2. b'4 d''4 b'4 g'4 b'4 a'8( g'8) a'8( b'8) a'4 g'4 d''2 c''2 b'4.( c''8 a'4) a'4 g'2.\n}\nalto = {\n  d'4 b4 d'4 g'4 g'4 fis'4 e'4 fis'4 g'4 fis'4 g'4 g'4 fis'4 g'2. d'4 g'4 d'4 b4 g'4 b'8 a'8 g'8 fis'8 g'4 fis'4 g'2 a'2 g'2 fis'4( e'4) fis'2. d'4 d'4 d'4 d'4 g'4 fis'8 e'8 fis'8 g'8 fis'4 g'4 g'2 g'2 g'2. fis'4 g'2.\n}\ntenor = {\n  d4 g4 b4 d'4 d'4 d'4 b4 d'4 d'4 c'4 b4 d'4 c'4 b2. a4 b4 a4 g4 b4 d'8 c'8 b8 a8 b4 a4 b2 a2 b2 a2 a2. g4 b4 g4 g4 d'4 c'8 b8 c'8 d'8 c'4 b4 g2 g2 g4.( a8 fis8 a8) c'4 b2.\n}\nbass = {\n  d4 g4 g4 g4 g4 d4 e4 d4 b,4 d4 e4 d4 d4 g,2. d4 g4 d4 b,4 g4 b8 a8 g8 fis8 g4 d4 g2 fis2 e2 a,2 d2. g4 g4 g,4 b,4 g,4 d4 d4 d4 e4 b,2 c2 d2. d4 g,2.\n}\n", "preferred": true}, {"slug": "coronation-methodist-1905", "tune": "coronation", "music_file": "coronation-methodist-1905.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [14, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Oliver Holden's CORONATION as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 222, printed page 162, headed \"CORONATION  C. M.\" over \"Oliver Holden\", in G major and 4/4 over the text \"Jesus! the name high over all\". US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org methodi00meth leaf 0174 (2829 px across, staff space 28.7 px) and archive.org methodisthymnal01churgoog leaf 0181 (3262 px across, staff space 34.4 px). The leaves were found by grepping each item's own OCR for \"high o - ver all\" and then opened and confirmed to show hymn 222. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: tools/noteread.py (docs/notehead-reading.md) binarised each scan against its own local paper level, fitted the five staff lines locally around each note column, and read every notehead as a diatonic step above that staff's own bottom line; hollow heads were re-read from their two arcs with the `rings` pass. Scan 1 gave 61 / 72 / 74 readings in the three systems at mean residual 0.123 / 0.125 / 0.128 step; scan 2, read independently the same way with no parameter change, gave 53 / 69 / 80 and AGREES WITH SCAN 1 AT EVERY NOTE COLUMN IN ALL THREE SYSTEMS — 0 pitch disagreements, once the beam and barline artifacts that the reader flags (and that both scans produce in the same places) are discarded by eye. Every pitch that is written below was then confirmed BY EYE on a grid-overlay crop of scan 1 at 3x-12x, and the whole page was swept a second time on scan 2 at 1.5x for accidentals. ACCIDENTALS: the key signature is one sharp (F#) in both clefs, and the plate prints EXACTLY ONE accidental in the whole hymn — a sharp before the soprano C5 on the second note of the slurred pair on \"and\" in system 2 (slot 27), giving C#5; it binds nothing else, and no natural is needed anywhere because no other C falls in that bar. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, and one notehead carrying BOTH an up and a down stem is a unison. In the treble staff that happens at slots 7, 11, 14, the second eighth of 34, 37 and 42, where soprano and alto share one G4; in the bass staff at slot 27 (tenor and bass share one A3) and slot 29 (they share one G3). Where one voice holds while the other moves — the alto's quarter under the soprano's two eighths at slot 35, the bass's quarters under the tenor's eighths at slots 34 and 35, the tenor's half under the soprano's two quarters at slot 27, and both lower voices under the soprano's three-note figure at slot 40 — the plate prints a single unbeamed stem for the held voice, and that is what is written here. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE; no MIDI, no Cyber Hymnal asset and no existing encoding was opened. THIS SETTING IS NOT THE CORPUS'S coronation-church-hymnal-1896 (Open Hymnal X:161), and the two were collated mechanically, voice by voice, at every attack after aligning the two anacruses: the SOPRANO IS IDENTICAL IN ALL 42 SLOTS, and 23 of the 168 voice-slots differ — alto at slots 1, 2, 7, 33, 34, 35, 39, 40; tenor at 1, 2, 6, 8, 31, 32; bass at 1, 2, 3, 7, 9, 27, 31, 32, 33. The most audible are the opening chord (this plate: bass G2 / tenor G3 / alto B3 / soprano D4, a root-position G major; the 1896 setting: D3/D3/D4/D4, a bare octave-doubled dominant), the low G2 the bass holds under slots 1-3 where the 1896 rises to G3, and the sevenths this plate puts in the tenor at slots 6 and 8 (C4, making the V chord a D7) where the 1896 doubles the root. THREE RHYTHMIC DIFFERENCES besides: the anacrusis is a half note here and a quarter there, the final note is a half here and a dotted half there, and the alto of slot 35 is one quarter here and two eighths there. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved two-chord Amen is not carried, see the `amen` comment above; (2) the page draws heavy phrase rules mid-bar after slots 8, 22 and 36 (the ends of poetic lines 1, 3 and 3-repeated) and those rules are not reproduced, though the barlines and system breaks fall exactly where the page puts them; (3) the two-note syllables in the soprano are beamed on the page and are slurred here, which is how this corpus marks a two-note syllable — a notation change, not a pitch or duration change; the inner voices' beamed eighth pairs carry no slur, exactly as the page prints them, except the tenor's four-note figure at slot 40, which the page does slur. Nothing else departs: every pitch and every duration below is the plate's.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 222, p. 162 — archive.org methodi00meth leaf 0174, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf 0181. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus! the Name High over All — CORONATION (Oliver Holden, 1793)\n%% Hand-encoded from The Methodist Hymnal, 1905, hymn 222, printed page 162.\n%% Scans read: archive.org methodi00meth leaf 0174 (2829 px across) and\n%% archive.org methodisthymnal01churgoog leaf 0181 (3262 px across).\n%% This is NOT the corpus's coronation-church-hymnal-1896 setting. The melody\n%% is identical in all 42 slots; the inner voices differ in 23 of the 168\n%% voice-slots (alto 8, tenor 6, bass 9), and the anacrusis, the last note and\n%% the alto of slot 35 differ in rhythm as well.  See the .yaml pd_evidence.\n%% Public domain: Holden 1793; setting printed 1905. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  d'2 g'4 g'4 b'4 b'4 a'4 g'4 a'4 b'4 a'4 g'4 b'4 a'4 g'2. a'4 b'4 a'4 g'4 b'4 d''8( c''8) b'8( a'8) b'4 d''4 d''2 d''2 e''2 d''4( cis''4) d''2. b'4 d''4 b'4 g'4 b'4 a'8( g'8) a'8( b'8) a'4 g'4 d''2 c''2 b'4.( c''8 a'4) a'4 g'2\n}\nalto = {\n  b2 d'4 d'4 g'4 g'4 fis'4 g'4 fis'4 g'4 fis'4 g'4 g'4 fis'4 g'2. d'4 g'4 d'4 b4 g'4 b'8 a'8 g'8 fis'8 g'4 fis'4 g'2 a'2 g'2 fis'4( e'4) fis'2. d'4 d'4 d'4 d'4 d'4 fis'8 g'8 fis'4 fis'4 g'4 g'2 e'2 d'2. fis'4 g'2\n}\ntenor = {\n  g2 b4 b4 d'4 d'4 c'4 b4 c'4 d'4 c'4 b4 d'4 c'4 b2. a4 b4 a4 g4 b4 d'8 c'8 b8 a8 b4 a4 b2 a2 b2 a2 a2. g4 b4 d'4 d'4 d'4 c'8 b8 c'8 d'8 c'4 b4 g2 g2 g4.( a8 fis8 a8) c'4 b2\n}\nbass = {\n  g,2 g,4 g,4 g4 g4 d4 d4 d4 g4 d4 e4 d4 d4 g,2. d4 g4 d4 b,4 g4 b8 a8 g8 fis8 g4 d4 g2 fis2 e2 a2 d2. g4 g4 g4 b4 g4 d4 d4 d4 e4 b,2 c2 d2. d4 g,2\n}\n", "preferred": false}]}, "cradle-song": {"slug": "cradle-song", "name": "CRADLE SONG", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1895", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "cradle-song-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CRADLE SONG (11.11.11.11), William James Kirkpatrick (1838-1921), 1895 — the famous alternate tune for the anonymous Christmas text \"Away in a Manger\", first published in Kirkpatrick's collection Around the World with Christmas (1895). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi (F major, 3/4, one-beat anacrusis; the engraving is marked Public Domain, Courtesy of the Cyber Hymnal). The soprano matches Hymnary.org's tune authority incipit for cradle_song_kirkpatrick (511231134556423, F major, 11.11.11.11, composer William James Kirkpatrick) note for note. Tune 1895, composer died 1921 — all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cradle Song\" (William James Kirkpatrick, 1895); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cradle_song_kirkpatrick", "total_instances": 155}}, "harmonization": {"slug": "cradle-song-cyberhymnal", "tune": "cradle-song", "music_file": "cradle-song-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CRADLE SONG, William J. Kirkpatrick, 1895. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CRADLE SONG (11.11.11.11), William James Kirkpatrick (1838-1921), 1895; this four-part setting is Kirkpatrick's own, as printed by The Cyber Hymnal (marked Public Domain, Courtesy of the Cyber Hymnal). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi (F major, 3/4, one-beat anacrusis, half-note finals; all pitches diatonic — no accidentals). The soprano matches Hymnary's authority incipit 511231134556423 exactly. Tune and setting 1895, composer died 1921 — all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cradle Song\" (William James Kirkpatrick, 1895); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cradle_song_kirkpatrick", "total_instances": 155}}, "music_ly": "%% CRADLE SONG (11.11.11.11) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Cradle Song\", William James\n%% Kirkpatrick, 1895 — his own four-part setting) with tools/mid2ly.py and\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi\n%% (F major, 3/4, one-beat anacrusis, half-note finals). The soprano matches\n%% Hymnary's authority incipit for cradle_song_kirkpatrick (511231134556423)\n%% exactly. MELISMATIC: 53 soprano notes for 44 syllables — nine fixed melismas\n%% per stanza, all printed in the source: the repeated-note quarter slur opening\n%% line 1 (soprano notes 2-3, engraved as two attacked quarters under one arc;\n%% the MIDI re-articulates, so it is a slur, not a tie — line 3's parallel spot,\n%% notes 28-29, is printed WITHOUT an arc and carries two syllables), and eight\n%% slurred eighth-note pairs (notes 8-9, 14-15, 21-22, 30-31, 34-35, 40-41,\n%% 47-48, 51-52). The line-4 cadence dives to a unison b-flat BELOW middle C in\n%% both treble voices (notes 51-52, e'8-bes8 over the tenor/bass C-E: a C7\n%% resolving to the final F). Tenor and bass share printed double-stemmed\n%% unisons (m2 and m10 throughout, m5 beats 1-2, m6/m14 beat 3); both streams\n%% carry them. NOTE: in m4 the engraving gives the alto a plain half (f'2)\n%% where the MIDI inserts a passing e'4; the engraving is followed (m12, the\n%% second-half parallel, has f'4 e'4 in BOTH). The engraving's m4 soprano\n%% bes'4~bes'4 (tied quarters, one attack per the MIDI) is written bes'2,\n%% matching its own m12 printing.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c'4 |\n  f'4( f'4) g'8 a'8 |\n  f'4 f'4 a'8( bes'8) |\n  c''4 c''4 d''4 |\n  bes'2 g'8( a'8) |\n  bes'4 bes'4 c''4 |\n  a'4 a'4 f'8( a'8) |\n  g'4 d'4 f'4 |\n  e'2 c'4 |\n  f'4 f'4 g'8( a'8) |\n  f'4 f'4 a'8( bes'8) |\n  c''4 c''4 d''4 |\n  bes'2 g'8( a'8) |\n  bes'4 bes'4 c''4 |\n  a'4 a'4 f'8( a'8) |\n  g'4 d'4 e'8( bes8) |\n  f'2\n}\nalto = {\n  c'4 |\n  c'2 d'8 c'8 |\n  a4 f'4 f'8 bes'8 |\n  f'2. |\n  f'2 g'8 f'8 |\n  f'2 g'4 |\n  g'4 f'4 c'8 a'8 |\n  d'4 d'4 bes4 |\n  c'2 c'4 |\n  a4 a4 bes8 c'8 |\n  a4 a4 f'8 bes'8 |\n  f'2. |\n  f'4 e'4 d'8 e'8 |\n  f'2 g'4 |\n  g'4 f'4 c'8 a'8 |\n  d'4 d'4 c'8 bes8 |\n  a2\n}\ntenor = {\n  c4 |\n  f2 f8 e8 |\n  d4 a4 f8 g8 |\n  a4 a4 bes4 |\n  d'4 c'4 d'8 e'8 |\n  d'4 d4 c'4 |\n  c'2 a8 f8 |\n  f2 f4 |\n  g2 c4 |\n  c2. |\n  c2 f8 g8 |\n  a4 a4 bes4 |\n  d'4 c'4 bes8 c'8 |\n  d'2 c'4 |\n  c'2 f4 |\n  f2 e4 |\n  c2\n}\nbass = {\n  c4 |\n  a,2 bes,8 c8 |\n  d4 a4 f8 g8 |\n  f2. |\n  g2 bes8 c'8 |\n  d'4 d4 e4 |\n  f2 a8 f8 |\n  bes,4 g,4 d4 |\n  c2 c4 |\n  f,2. |\n  f,2 f8 g8 |\n  f2. |\n  g2 bes8 a8 |\n  g2 e4 |\n  f2 a,4 |\n  bes,4 g,4 c4 |\n  f,2\n}\n"}, "harmonizations": [{"slug": "cradle-song-cyberhymnal", "tune": "cradle-song", "music_file": "cradle-song-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CRADLE SONG, William J. Kirkpatrick, 1895. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CRADLE SONG (11.11.11.11), William James Kirkpatrick (1838-1921), 1895; this four-part setting is Kirkpatrick's own, as printed by The Cyber Hymnal (marked Public Domain, Courtesy of the Cyber Hymnal). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi (F major, 3/4, one-beat anacrusis, half-note finals; all pitches diatonic — no accidentals). The soprano matches Hymnary's authority incipit 511231134556423 exactly. Tune and setting 1895, composer died 1921 — all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cradle Song\" (William James Kirkpatrick, 1895); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "cradle_song_kirkpatrick", "total_instances": 155}}, "music_ly": "%% CRADLE SONG (11.11.11.11) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Cradle Song\", William James\n%% Kirkpatrick, 1895 — his own four-part setting) with tools/mid2ly.py and\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi\n%% (F major, 3/4, one-beat anacrusis, half-note finals). The soprano matches\n%% Hymnary's authority incipit for cradle_song_kirkpatrick (511231134556423)\n%% exactly. MELISMATIC: 53 soprano notes for 44 syllables — nine fixed melismas\n%% per stanza, all printed in the source: the repeated-note quarter slur opening\n%% line 1 (soprano notes 2-3, engraved as two attacked quarters under one arc;\n%% the MIDI re-articulates, so it is a slur, not a tie — line 3's parallel spot,\n%% notes 28-29, is printed WITHOUT an arc and carries two syllables), and eight\n%% slurred eighth-note pairs (notes 8-9, 14-15, 21-22, 30-31, 34-35, 40-41,\n%% 47-48, 51-52). The line-4 cadence dives to a unison b-flat BELOW middle C in\n%% both treble voices (notes 51-52, e'8-bes8 over the tenor/bass C-E: a C7\n%% resolving to the final F). Tenor and bass share printed double-stemmed\n%% unisons (m2 and m10 throughout, m5 beats 1-2, m6/m14 beat 3); both streams\n%% carry them. NOTE: in m4 the engraving gives the alto a plain half (f'2)\n%% where the MIDI inserts a passing e'4; the engraving is followed (m12, the\n%% second-half parallel, has f'4 e'4 in BOTH). The engraving's m4 soprano\n%% bes'4~bes'4 (tied quarters, one attack per the MIDI) is written bes'2,\n%% matching its own m12 printing.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c'4 |\n  f'4( f'4) g'8 a'8 |\n  f'4 f'4 a'8( bes'8) |\n  c''4 c''4 d''4 |\n  bes'2 g'8( a'8) |\n  bes'4 bes'4 c''4 |\n  a'4 a'4 f'8( a'8) |\n  g'4 d'4 f'4 |\n  e'2 c'4 |\n  f'4 f'4 g'8( a'8) |\n  f'4 f'4 a'8( bes'8) |\n  c''4 c''4 d''4 |\n  bes'2 g'8( a'8) |\n  bes'4 bes'4 c''4 |\n  a'4 a'4 f'8( a'8) |\n  g'4 d'4 e'8( bes8) |\n  f'2\n}\nalto = {\n  c'4 |\n  c'2 d'8 c'8 |\n  a4 f'4 f'8 bes'8 |\n  f'2. |\n  f'2 g'8 f'8 |\n  f'2 g'4 |\n  g'4 f'4 c'8 a'8 |\n  d'4 d'4 bes4 |\n  c'2 c'4 |\n  a4 a4 bes8 c'8 |\n  a4 a4 f'8 bes'8 |\n  f'2. |\n  f'4 e'4 d'8 e'8 |\n  f'2 g'4 |\n  g'4 f'4 c'8 a'8 |\n  d'4 d'4 c'8 bes8 |\n  a2\n}\ntenor = {\n  c4 |\n  f2 f8 e8 |\n  d4 a4 f8 g8 |\n  a4 a4 bes4 |\n  d'4 c'4 d'8 e'8 |\n  d'4 d4 c'4 |\n  c'2 a8 f8 |\n  f2 f4 |\n  g2 c4 |\n  c2. |\n  c2 f8 g8 |\n  a4 a4 bes4 |\n  d'4 c'4 bes8 c'8 |\n  d'2 c'4 |\n  c'2 f4 |\n  f2 e4 |\n  c2\n}\nbass = {\n  c4 |\n  a,2 bes,8 c8 |\n  d4 a4 f8 g8 |\n  f2. |\n  g2 bes8 c'8 |\n  d'4 d4 e4 |\n  f2 a8 f8 |\n  bes,4 g,4 d4 |\n  c2 c4 |\n  f,2. |\n  f,2 f8 g8 |\n  f2. |\n  g2 bes8 a8 |\n  g2 e4 |\n  f2 a,4 |\n  bes,4 g,4 c4 |\n  f,2\n}\n", "preferred": true}]}, "cranham": {"slug": "cranham", "name": "CRANHAM", "meter_label": "Irregular", "meter": {"pattern": [11, 11, 10, 9], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "gustav-theodore-holst", "composer_date": "1906", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "cranham-oh59", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:59; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "cranham_holst", "total_instances": 97}}, "harmonization": {"slug": "cranham-oh59", "tune": "cranham", "music_file": "cranham-oh59.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:59; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:59", "encoding_license": "PD-dedication"}, "lyric_durations": true, "music_ly": "%% In The Bleak Midwinter\n%% Imported from Open Hymnal ABC X:59 via tools/abc_import.py\n%% Open Hymnal X:59; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4. a'8 g'4 d'4 g'2. g'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4 a'4 g'4. f'8 f'2. f'4 bes'4. a'8 bes'4 c''4 d''2 a'2 c''4 a'4 g'4 f'4 e'2. e'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4( a'4 g'4.) f'8 f'2.\n}\nalto = {\n  f'4 f'4. f'8 f'4 c'4 d'2 d'2 d'4 d'4 d'4 c'4 bes2. bes4 c'4. f'8 f'4 c'4 d'2 d'2 f'4 f'4 e'4. f'8 f'2. f'4 f'4. f'8 f'4 ees'4 d'2 f'2 f'4 e'4 d'2 c'2. c'4 c'4. f'8 f'4 c'4 d'2 d'2 f'2( e'4.) f'8 f'2.\n}\ntenor = {\n  c'4 c'4. c'8 c'4 f4 a2 a2 g4. d8 d4 f4 f2( e4) e4 f4. c'8 c'4 f4 a2 a2 d'4 d'4 bes4. a8 a2. a4 bes4. c'8 bes4 a4 bes2 a2 f4 c'4 bes4 a4 g2. g4 f4. c'8 c'4 f4 a2 a2 d'2 bes4. a8 a2.\n}\nbass = {\n  f4 f4. g8 a4 f4 d2 d2 bes,4. c8 bes,4 a,4 g,2( c4) c4 f4. g8 a4 f4 d2 d2 bes,4 bes,4 c4. f8 f2. f4 d4. f8 d4 c4 bes,2 d2 a,2 bes,4 bes,4 c2. c4 f4. g8 a4 f4 d2 d2 bes,2 c4. f8 f2.\n}\n"}, "harmonizations": [{"slug": "cranham-oh59", "tune": "cranham", "music_file": "cranham-oh59.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:59; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:59", "encoding_license": "PD-dedication"}, "lyric_durations": true, "music_ly": "%% In The Bleak Midwinter\n%% Imported from Open Hymnal ABC X:59 via tools/abc_import.py\n%% Open Hymnal X:59; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4. a'8 g'4 d'4 g'2. g'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4 a'4 g'4. f'8 f'2. f'4 bes'4. a'8 bes'4 c''4 d''2 a'2 c''4 a'4 g'4 f'4 e'2. e'4 a'4. bes'8 c''4 a'4 g'2 f'2 g'4( a'4 g'4.) f'8 f'2.\n}\nalto = {\n  f'4 f'4. f'8 f'4 c'4 d'2 d'2 d'4 d'4 d'4 c'4 bes2. bes4 c'4. f'8 f'4 c'4 d'2 d'2 f'4 f'4 e'4. f'8 f'2. f'4 f'4. f'8 f'4 ees'4 d'2 f'2 f'4 e'4 d'2 c'2. c'4 c'4. f'8 f'4 c'4 d'2 d'2 f'2( e'4.) f'8 f'2.\n}\ntenor = {\n  c'4 c'4. c'8 c'4 f4 a2 a2 g4. d8 d4 f4 f2( e4) e4 f4. c'8 c'4 f4 a2 a2 d'4 d'4 bes4. a8 a2. a4 bes4. c'8 bes4 a4 bes2 a2 f4 c'4 bes4 a4 g2. g4 f4. c'8 c'4 f4 a2 a2 d'2 bes4. a8 a2.\n}\nbass = {\n  f4 f4. g8 a4 f4 d2 d2 bes,4. c8 bes,4 a,4 g,2( c4) c4 f4. g8 a4 f4 d2 d2 bes,4 bes,4 c4. f8 f2. f4 d4. f8 d4 c4 bes,2 d2 a,2 bes,4 bes,4 c2. c4 f4. g8 a4 f4 d2 d2 bes,2 c4. f8 f2.\n}\n", "preferred": true}]}, "crimond": {"slug": "crimond", "name": "CRIMOND", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "jessie-seymour-irvine", "composer_date": "1872", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "crimond-grant", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CRIMOND, Jessie Seymour Irvine (1836–1887), 1872 — the iconic tune for the metrical Psalm 23, \"The Lord's my Shepherd\". Encoding from the CyberHymnal (public domain); tune identity and F-major key verified against the 1929 Scottish Psalter (No. 47, archive.org scottishpsalter10000vari leaf 69).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "crimond-grant", "tune": "crimond", "music_file": "crimond-grant.ly", "harmonizer": "david-grant", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CRIMOND, Jessie Seymour Irvine, 1872; harmony David Grant. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CRIMOND (Jessie Seymour Irvine, 1872); the standard four-part harmonization traditionally attributed to David Grant (1833–1893). Encoded from the CyberHymnal (public domain); the four voices were verified — the LilyPond render of the extraction matches the CyberHymnal engraving note-for-note, and the tune identity + F-major key match the 1929 Scottish Psalter (No. 47). All components pre-1931 (both Irvine and Grant d. before 1900).", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal CRIMOND (hymnary.org media/fetch 116587 MIDI / 116589 engraving); soprano melisma structure set from the words-underlaid standard setting", "encoding_license": "PD-dedication"}, "music_ly": "%% CRIMOND (C.M.) — Jessie Seymour Irvine, 1872; harmony David Grant. The iconic\n%% tune for the metrical Psalm 23. Encoded from the CyberHymnal (public domain);\n%% the four voices were verified (render matches the CyberHymnal engraving;\n%% identity matches the 1929 Scottish Psalter No. 47). CRIMOND is MELISMATIC (35\n%% soprano notes for 28 C.M. syllables); the setting holds the 7 melisma\n%% continuations with '_' every stanza (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c'4 a'2 bes'8.( g'16) c''2 bes'8( g'8) f'2 e'4 f'2 a'4 a'4( g'4) g'4 b'2 b'4 c''2 a'4 a'4( bes'4) a'4 g'2 a'4 bes'4( c''4) bes'4 a'2 a'8( e'8) g'4( bes'4) d''4 f'2 e'4 f'2.\n}\nalto = {\n  c'4 f'2 e'8. g'16 f'2 d'8 g'8 c'2 c'4 c'2 f'4 c'2 c'4 d'4 g'4 f'4 e'2 f'4 f'4 g'4 f'4 e'2 f'4 g'4 e'4 g'4 f'2 f'8 e'8 d'2 d'4 c'2 c'4 c'2.\n}\ntenor = {\n  a4 c'2 c'8. bes16 c'2 g8 bes8 a2 g4 a2 c'4 f4 g4 g4 g2 g4 c'2 c'4 c'2 c'4 c'2 c'4 d'4 c'4 c'8 e8 c'2 c'4 bes4 g4 g4 a2 g4 a2.\n}\nbass = {\n  f4 f2 g8. bes16 a4 a,4 bes,8 bes8 c2 c4 f2 f4 f4 e4 e4 g2 g,4 c2 f4 f4 e4 f4 c4 bes4 a4 g4 c4 d8 e8 f2 f4 bes,2 bes,4 c2 c4 f2.\n}\n\n%% --- lyrics: Psalm 23 (Scottish Psalter). Melismatic — the setting's stanza_lines\n%% carry '_' holds on the 7 melisma-continuation notes (verse_variable_melisma). ---\n"}, "harmonizations": [{"slug": "crimond-grant", "tune": "crimond", "music_file": "crimond-grant.ly", "harmonizer": "david-grant", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CRIMOND, Jessie Seymour Irvine, 1872; harmony David Grant. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CRIMOND (Jessie Seymour Irvine, 1872); the standard four-part harmonization traditionally attributed to David Grant (1833–1893). Encoded from the CyberHymnal (public domain); the four voices were verified — the LilyPond render of the extraction matches the CyberHymnal engraving note-for-note, and the tune identity + F-major key match the 1929 Scottish Psalter (No. 47). All components pre-1931 (both Irvine and Grant d. before 1900).", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal CRIMOND (hymnary.org media/fetch 116587 MIDI / 116589 engraving); soprano melisma structure set from the words-underlaid standard setting", "encoding_license": "PD-dedication"}, "music_ly": "%% CRIMOND (C.M.) — Jessie Seymour Irvine, 1872; harmony David Grant. The iconic\n%% tune for the metrical Psalm 23. Encoded from the CyberHymnal (public domain);\n%% the four voices were verified (render matches the CyberHymnal engraving;\n%% identity matches the 1929 Scottish Psalter No. 47). CRIMOND is MELISMATIC (35\n%% soprano notes for 28 C.M. syllables); the setting holds the 7 melisma\n%% continuations with '_' every stanza (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c'4 a'2 bes'8.( g'16) c''2 bes'8( g'8) f'2 e'4 f'2 a'4 a'4( g'4) g'4 b'2 b'4 c''2 a'4 a'4( bes'4) a'4 g'2 a'4 bes'4( c''4) bes'4 a'2 a'8( e'8) g'4( bes'4) d''4 f'2 e'4 f'2.\n}\nalto = {\n  c'4 f'2 e'8. g'16 f'2 d'8 g'8 c'2 c'4 c'2 f'4 c'2 c'4 d'4 g'4 f'4 e'2 f'4 f'4 g'4 f'4 e'2 f'4 g'4 e'4 g'4 f'2 f'8 e'8 d'2 d'4 c'2 c'4 c'2.\n}\ntenor = {\n  a4 c'2 c'8. bes16 c'2 g8 bes8 a2 g4 a2 c'4 f4 g4 g4 g2 g4 c'2 c'4 c'2 c'4 c'2 c'4 d'4 c'4 c'8 e8 c'2 c'4 bes4 g4 g4 a2 g4 a2.\n}\nbass = {\n  f4 f2 g8. bes16 a4 a,4 bes,8 bes8 c2 c4 f2 f4 f4 e4 e4 g2 g,4 c2 f4 f4 e4 f4 c4 bes4 a4 g4 c4 d8 e8 f2 f4 bes,2 bes,4 c2 c4 f2.\n}\n\n%% --- lyrics: Psalm 23 (Scottish Psalter). Melismatic — the setting's stanza_lines\n%% carry '_' holds on the 7 melisma-continuation notes (verse_variable_melisma). ---\n", "preferred": true}]}, "crucifer": {"slug": "crucifer", "name": "CRUCIFER", "meter_label": "10.10 with Refrain", "meter": {"pattern": [10, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "sydney-h-nicholson", "composer_date": "1916", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "crucifer-oh294", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CRUCIFER, Sydney H. Nicholson, 1916; setting Hymns Ancient & Modern, 1922. Pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "crucifer_nicholson", "total_instances": 115}}, "harmonization": {"slug": "crucifer-oh294", "tune": "crucifer", "music_file": "crucifer-oh294.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 23, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain_first": {"refrain_notes": 23}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 24, "kind": "verse"}, {"soprano_note": 44, "kind": "to_refrain"}], "source_line": "Music: Sydney H. Nicholson, 1916 (CRUCIFER). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Hymns Ancient & Modern, 1922. Pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:294", "encoding_license": "PD-dedication"}, "music_ly": "%% Lift High the Cross\n%% Imported from Open Hymnal ABC X:294 via tools/abc_import.py\n%% Public domain: text Kitchin 1887, mod. Newbolt 1916; tune CRUCIFER Nicholson 1916; setting Hymns Ancient & Modern 1922. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 c''4. g'8 f'2. g'4 e'4. f'8 g'4 a'4 d'2. d'4 e'4 g'4 c''2~ c''4 a'4 g'2~ g'4 a'4 f'8 e'8 d'4 c'1 g'2 fis'4. e'8 fis'2 d'2 e'4. fis'8 g'4 a'4 b'2 g'2 c''2 b'4( a'4) d''2 d'2 e'4. g'8 g'4 fis'4 g'1\n}\nalto = {\n  c'4( d'4) e'4 c'4~ c'4 b4( c'4) d'4 c'2. c'4 c'4( b4 a4) g4 g4 b4 c'4( d'4 e'4) f'4 g'4( f'4 e'4) d'8 c'8 c'4 b8 a8 g1 e'4( d'4) c'4. c'8 d'2 d'2 g4. b8 b4 e'4 dis'2 e'4( d'4) c'4( e'4) d'2 d'2 d'2 c'4. e'8 d'4 d'4 d'1\n}\ntenor = {\n  e4( f4) g2 a4( g4 f4) d4 g4. f8 e4 d4 g2. f4 e4 f4 g4( a4 b4) c'4 d'4( c'4 b4) a4 a8 g8 f4 f4( d4 e2) b2 a4. a8 a2 g4( fis4) e4. dis8 e4 e4 fis2 g2 a4( g4) fis2 g4( a4) g4( fis4) e4. c'8 a4 a4 b1\n}\nbass = {\n  c,2. e,4 d,4( g,4 a,4) b,4 c4 a,4 g,4 fis,4 g,2( a,4) b,4 c4 d4 e4( f4 g4) a4 b4( a4 g4) f8 e8 d4 g,4 c1 e2 a,4. a,8 d4( c4) b,2 c4. b,8 e4 c4 b,2 e2 a,2 d4( c4) b,2 b,2 c4. c8 d4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "crucifer-oh294", "tune": "crucifer", "music_file": "crucifer-oh294.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 23, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain_first": {"refrain_notes": 23}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 24, "kind": "verse"}, {"soprano_note": 44, "kind": "to_refrain"}], "source_line": "Music: Sydney H. Nicholson, 1916 (CRUCIFER). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Hymns Ancient & Modern, 1922. Pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:294", "encoding_license": "PD-dedication"}, "music_ly": "%% Lift High the Cross\n%% Imported from Open Hymnal ABC X:294 via tools/abc_import.py\n%% Public domain: text Kitchin 1887, mod. Newbolt 1916; tune CRUCIFER Nicholson 1916; setting Hymns Ancient & Modern 1922. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 c''4. g'8 f'2. g'4 e'4. f'8 g'4 a'4 d'2. d'4 e'4 g'4 c''2~ c''4 a'4 g'2~ g'4 a'4 f'8 e'8 d'4 c'1 g'2 fis'4. e'8 fis'2 d'2 e'4. fis'8 g'4 a'4 b'2 g'2 c''2 b'4( a'4) d''2 d'2 e'4. g'8 g'4 fis'4 g'1\n}\nalto = {\n  c'4( d'4) e'4 c'4~ c'4 b4( c'4) d'4 c'2. c'4 c'4( b4 a4) g4 g4 b4 c'4( d'4 e'4) f'4 g'4( f'4 e'4) d'8 c'8 c'4 b8 a8 g1 e'4( d'4) c'4. c'8 d'2 d'2 g4. b8 b4 e'4 dis'2 e'4( d'4) c'4( e'4) d'2 d'2 d'2 c'4. e'8 d'4 d'4 d'1\n}\ntenor = {\n  e4( f4) g2 a4( g4 f4) d4 g4. f8 e4 d4 g2. f4 e4 f4 g4( a4 b4) c'4 d'4( c'4 b4) a4 a8 g8 f4 f4( d4 e2) b2 a4. a8 a2 g4( fis4) e4. dis8 e4 e4 fis2 g2 a4( g4) fis2 g4( a4) g4( fis4) e4. c'8 a4 a4 b1\n}\nbass = {\n  c,2. e,4 d,4( g,4 a,4) b,4 c4 a,4 g,4 fis,4 g,2( a,4) b,4 c4 d4 e4( f4 g4) a4 b4( a4 g4) f8 e8 d4 g,4 c1 e2 a,4. a,8 d4( c4) b,2 c4. b,8 e4 c4 b,2 e2 a,2 d4( c4) b,2 b,2 c4. c8 d4 d4 g,1\n}\n", "preferred": true}]}, "crusader-s-hymn": {"slug": "crusader-s-hymn", "name": "CRUSADER'S HYMN", "meter_label": "5.5.7.5.5.8", "meter": {"pattern": [5, 5, 7, 5, 5, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Silesian folk song", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "crusader-s-hymn-oh163", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Melody 'Crusader's Hymn', Silesian folk song, 1842; setting by Richard S. Willis, 1850. Open Hymnal X:163; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "crusader-s-hymn-oh163", "tune": "crusader-s-hymn", "music_file": "crusader-s-hymn-oh163.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 21, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SATB setting by Richard S. Willis, 1850, of the Silesian folk melody 'Crusader's Hymn' (1842). Open Hymnal X:163; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:163", "encoding_license": "PD-dedication"}, "music_ly": "%% Fairest Lord Jesus\n%% Imported from Open Hymnal ABC X:163 via tools/abc_import.py\n%% Words: German Jesuits, 1677, tr. Joseph A. Seiss, 1873. Music: 'Crusader's Hymn', Silesian folk song, 1842; setting Richard S. Willis, 1850. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 ees'4 ees'4 f'4( d'4) ees'2 g'2 g'4 g'4 aes'4( f'4) g'2 bes'2 ees''4( c''4) bes'2 aes'4( g'4) aes'2 g'2 f'1 bes'2 c''4 bes'4 bes'4( g'4) aes'2 aes'2 bes'4 aes'4 aes'4( f'4) g'2 g'2 g'4 g'4 bes'2. aes'4 g'2 f'2 ees'1\n}\nalto = {\n  bes2 c'4 c'4 c'4( bes4) bes2 ees'2 ees'4 e'4 f'4( d'4) ees'2 ees'2 ees'2 ees'2 f'4( ees'4) ees'4( d'4) ees'2 d'1 ees'2 ees'4 ees'4 e'2 f'2 f'2 g'4 f'4 f'4( d'4) ees'2 ees'2 ees'4 ees'4 ees'2. ees'4 ees'2 d'2 bes1\n}\ntenor = {\n  g2 g4 g4 aes4( f4) g2 bes2 c'4 c'4 c'4( bes4) bes2 g2 c'4( aes4) g2 bes2 aes2 bes2 bes1 bes2 aes4 bes4 c'2 c'2 d'2 bes4 c'4 d'4( bes4) bes2 bes2 bes4 c'4 bes4( c'4 des'4) c'4 bes2 bes4( aes4) g1\n}\nbass = {\n  ees2 c4 c4 aes,4( bes,4) ees2 ees4( d4) c4 bes,4 aes,4( bes,4) ees2 ees2 aes,4( c4) ees2 ees2 f2 ees2 bes,2( bes4 aes4) g2 aes4 g4 c2 f2 bes,2 bes,4 bes,4 bes,2 ees2 ees2 d4 c4 g,2. aes,4 bes,4( aes,4) bes,2 ees1\n}\n"}, "harmonizations": [{"slug": "crusader-s-hymn-oh163", "tune": "crusader-s-hymn", "music_file": "crusader-s-hymn-oh163.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 21, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SATB setting by Richard S. Willis, 1850, of the Silesian folk melody 'Crusader's Hymn' (1842). Open Hymnal X:163; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:163", "encoding_license": "PD-dedication"}, "music_ly": "%% Fairest Lord Jesus\n%% Imported from Open Hymnal ABC X:163 via tools/abc_import.py\n%% Words: German Jesuits, 1677, tr. Joseph A. Seiss, 1873. Music: 'Crusader's Hymn', Silesian folk song, 1842; setting Richard S. Willis, 1850. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 ees'4 ees'4 f'4( d'4) ees'2 g'2 g'4 g'4 aes'4( f'4) g'2 bes'2 ees''4( c''4) bes'2 aes'4( g'4) aes'2 g'2 f'1 bes'2 c''4 bes'4 bes'4( g'4) aes'2 aes'2 bes'4 aes'4 aes'4( f'4) g'2 g'2 g'4 g'4 bes'2. aes'4 g'2 f'2 ees'1\n}\nalto = {\n  bes2 c'4 c'4 c'4( bes4) bes2 ees'2 ees'4 e'4 f'4( d'4) ees'2 ees'2 ees'2 ees'2 f'4( ees'4) ees'4( d'4) ees'2 d'1 ees'2 ees'4 ees'4 e'2 f'2 f'2 g'4 f'4 f'4( d'4) ees'2 ees'2 ees'4 ees'4 ees'2. ees'4 ees'2 d'2 bes1\n}\ntenor = {\n  g2 g4 g4 aes4( f4) g2 bes2 c'4 c'4 c'4( bes4) bes2 g2 c'4( aes4) g2 bes2 aes2 bes2 bes1 bes2 aes4 bes4 c'2 c'2 d'2 bes4 c'4 d'4( bes4) bes2 bes2 bes4 c'4 bes4( c'4 des'4) c'4 bes2 bes4( aes4) g1\n}\nbass = {\n  ees2 c4 c4 aes,4( bes,4) ees2 ees4( d4) c4 bes,4 aes,4( bes,4) ees2 ees2 aes,4( c4) ees2 ees2 f2 ees2 bes,2( bes4 aes4) g2 aes4 g4 c2 f2 bes,2 bes,4 bes,4 bes,2 ees2 ees2 d4 c4 g,2. aes,4 bes,4( aes,4) bes,2 ees1\n}\n", "preferred": true}]}, "cwm-rhondda": {"slug": "cwm-rhondda", "name": "CWM RHONDDA", "alt_name": "RHONDDA", "meter_label": "8.7.8.7.8.7.7", "meter": {"pattern": [8, 7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-hughes", "composer_date": "1907", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "cwm-rhondda-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CWM RHONDDA (8.7.8.7.8.7.7), composed by John Hughes (1873-1932) in 1907 for a Welsh Baptist Cymanfa Ganu; the proper tune for \"Guide me, O Thou great Jehovah.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py. The MIDI is in G major and is fully diatonic (zero non-scale pitches); it was verified against the Cyber Hymnal engraving, which prints the tune a whole step higher in A major, by scale-degree contour and rhythm (the engraving carries no accidentals beyond its key signature). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cwm Rhondda\" (John Hughes, 1907); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "cwm-rhondda-cyberhymnal", "tune": "cwm-rhondda", "music_file": "cwm-rhondda-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 17, 27, 35, 44, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CWM RHONDDA, John Hughes, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CWM RHONDDA (John Hughes, 1907); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving. The MIDI is in G major (fully diatonic, zero non-scale pitches); the engraving prints the tune a whole step higher in A major and was used to verify scale-degree contour and rhythm. The final note was set to a half note to fill the last 4/4 bar. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cwm Rhondda\" (John Hughes, 1907); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% CWM RHONDDA (8.7.8.7.8.7.7) — John Hughes, 1907; four SATB voice streams.\n%% Canonical key G MAJOR (the key of the Cyber Hymnal SATB MIDI). Encoded from\n%% that MIDI with tools/mid2ly.py. NOTE: the Cyber Hymnal ENGRAVING\n%% (imports/cyberhymnal-batchA/assets/cwm_rhondda.pdf) is printed a WHOLE STEP\n%% HIGHER, in A major; the four voices were verified against it by scale-degree\n%% contour and rhythm — the tune is wholly diatonic (zero non-scale pitches in\n%% G, and the engraving carries no accidentals beyond its 3-sharp key signature).\n%% The final soprano/alto note is a HALF note (g'2) filling the last 4/4 bar\n%% (mid2ly's default whole note was corrected with final_ticks=384).\n%%\n%% MELISMATIC (verse_variable_melisma): 60 soprano notes carry 52 syllables per\n%% stanza; 8 melisma continuations are held with '_' in every setting stanza.\n%% The soprano slurs mark the 8 melisma pairs. FIVE are printed as slurs in the\n%% engraving (soprano note-pairs 5-6, 22-23, 31-32, 53-54, 55-56); THREE (9-10,\n%% 26-27, 43-44) are the standard word-final / cadential holds that complete the\n%% underlay but are NOT explicitly slurred in the source — inferred from the\n%% measure-per-line structure and the standard hymn underlay (see docs/loose-ends).\n%%\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 e'4 d'4. g'8 | g'8( fis'8) g'8 a'8 b'4( a'4) | b'4 g'4 e'4 c''4 | b'4 a'4 g'2 | d'4 e'4 d'4. g'8 | g'8( fis'8) g'8 a'8 b'4( a'4) | b'4 c''4 d''4 c''8( a'8) | g'4 fis'4 g'2 | a'4. b'8 c''4 a'4 | b'4. c''8 d''8 a'8( b'4) | d''4. d''8 c''8 b'8 a'8 g'8 | d''1 | d''4. c''8( b'8) d''8( c''8) a'8 | g'4 fis'4 g'2\n}\nalto = {\n  b4 c'4 d'4. d'8 | d'8 fis'8 d'8 e'8 d'4 d'4 | d'4 c'4 e'4 e'4 | d'4 c'4 b2 | b4 c'4 d'4. d'8 | d'8 fis'8 d'8 e'8 d'4 d'4 | d'4 e'4 d'4 e'8 a'8 | d'4 d'4 d'2 | fis'4. g'8 a'4 d'4 | g'4. a'8 b'8 a'8 g'4 | g'4. g'8 fis'8 g'8 d'8 e'8 | fis'4 d'8 fis'8 a'2 | g'4. fis'8 g'8 d''8 e'8 a'8 | d'4 d'4 d'2\n}\ntenor = {\n  g4 g4 g4 a,8 b8 | b8 a8 g8 c8 g4 fis4 | g4 g4 g4 g4 | g4 fis4 g2 | g4 g4 g4 b,8 b8 | b8 a8 g8 c8 g4 fis4 | g4 g4 g4 g8 c'8 | b4 a4 b2 | c'4. b8 a8 g8 fis8 a8 | d'4. c'8 b8 a8 d'4 | d'4. d'8 d'8 d'8 d'8 d'8 | d'1 | d'4. d'8 d'8 b8 g8 c'8 | b4 a8 c'8 b2\n}\nbass = {\n  g,4 c4 b,4 a,8 b8 | g,8 a,8 b,8 c8 d4 d4 | g4 e4 c4 a,4 | d4 d4 g,2 | g,4 c4 b,4 b,8 b8 | g,8 a,8 b,8 c8 d4 d4 | g4 e4 b,4 c8 c'8 | d4 d4 g,2 | d4. d8 d8 e8 fis8 a8 | g4. d8 g8 a8 b4 | b4. b8 a8 g8 fis8 e8 | d1 | b4. a8 g8 b8 c8 c'8 | d4 d8 c'8 g2\n}\n"}, "harmonizations": [{"slug": "cwm-rhondda-cyberhymnal", "tune": "cwm-rhondda", "music_file": "cwm-rhondda-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 17, 27, 35, 44, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CWM RHONDDA, John Hughes, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune CWM RHONDDA (John Hughes, 1907); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving. The MIDI is in G major (fully diatonic, zero non-scale pitches); the engraving prints the tune a whole step higher in A major and was used to verify scale-degree contour and rhythm. The final note was set to a half note to fill the last 4/4 bar. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cwm Rhondda\" (John Hughes, 1907); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% CWM RHONDDA (8.7.8.7.8.7.7) — John Hughes, 1907; four SATB voice streams.\n%% Canonical key G MAJOR (the key of the Cyber Hymnal SATB MIDI). Encoded from\n%% that MIDI with tools/mid2ly.py. NOTE: the Cyber Hymnal ENGRAVING\n%% (imports/cyberhymnal-batchA/assets/cwm_rhondda.pdf) is printed a WHOLE STEP\n%% HIGHER, in A major; the four voices were verified against it by scale-degree\n%% contour and rhythm — the tune is wholly diatonic (zero non-scale pitches in\n%% G, and the engraving carries no accidentals beyond its 3-sharp key signature).\n%% The final soprano/alto note is a HALF note (g'2) filling the last 4/4 bar\n%% (mid2ly's default whole note was corrected with final_ticks=384).\n%%\n%% MELISMATIC (verse_variable_melisma): 60 soprano notes carry 52 syllables per\n%% stanza; 8 melisma continuations are held with '_' in every setting stanza.\n%% The soprano slurs mark the 8 melisma pairs. FIVE are printed as slurs in the\n%% engraving (soprano note-pairs 5-6, 22-23, 31-32, 53-54, 55-56); THREE (9-10,\n%% 26-27, 43-44) are the standard word-final / cadential holds that complete the\n%% underlay but are NOT explicitly slurred in the source — inferred from the\n%% measure-per-line structure and the standard hymn underlay (see docs/loose-ends).\n%%\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 e'4 d'4. g'8 | g'8( fis'8) g'8 a'8 b'4( a'4) | b'4 g'4 e'4 c''4 | b'4 a'4 g'2 | d'4 e'4 d'4. g'8 | g'8( fis'8) g'8 a'8 b'4( a'4) | b'4 c''4 d''4 c''8( a'8) | g'4 fis'4 g'2 | a'4. b'8 c''4 a'4 | b'4. c''8 d''8 a'8( b'4) | d''4. d''8 c''8 b'8 a'8 g'8 | d''1 | d''4. c''8( b'8) d''8( c''8) a'8 | g'4 fis'4 g'2\n}\nalto = {\n  b4 c'4 d'4. d'8 | d'8 fis'8 d'8 e'8 d'4 d'4 | d'4 c'4 e'4 e'4 | d'4 c'4 b2 | b4 c'4 d'4. d'8 | d'8 fis'8 d'8 e'8 d'4 d'4 | d'4 e'4 d'4 e'8 a'8 | d'4 d'4 d'2 | fis'4. g'8 a'4 d'4 | g'4. a'8 b'8 a'8 g'4 | g'4. g'8 fis'8 g'8 d'8 e'8 | fis'4 d'8 fis'8 a'2 | g'4. fis'8 g'8 d''8 e'8 a'8 | d'4 d'4 d'2\n}\ntenor = {\n  g4 g4 g4 a,8 b8 | b8 a8 g8 c8 g4 fis4 | g4 g4 g4 g4 | g4 fis4 g2 | g4 g4 g4 b,8 b8 | b8 a8 g8 c8 g4 fis4 | g4 g4 g4 g8 c'8 | b4 a4 b2 | c'4. b8 a8 g8 fis8 a8 | d'4. c'8 b8 a8 d'4 | d'4. d'8 d'8 d'8 d'8 d'8 | d'1 | d'4. d'8 d'8 b8 g8 c'8 | b4 a8 c'8 b2\n}\nbass = {\n  g,4 c4 b,4 a,8 b8 | g,8 a,8 b,8 c8 d4 d4 | g4 e4 c4 a,4 | d4 d4 g,2 | g,4 c4 b,4 b,8 b8 | g,8 a,8 b,8 c8 d4 d4 | g4 e4 b,4 c8 c'8 | d4 d4 g,2 | d4. d8 d8 e8 fis8 a8 | g4. d8 g8 a8 b4 | b4. b8 a8 g8 fis8 e8 | d1 | b4. a8 g8 b8 c8 c'8 | d4 d8 c'8 g2\n}\n", "preferred": true}]}, "darwalls-148th": {"slug": "darwalls-148th", "name": "DARWALL'S 148TH", "meter_label": "6.6.6.6.8.8", "meter": {"pattern": [6, 6, 6, 6, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-darwall", "composer_date": "1770", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "darwalls-148th-csb1918", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "DARWALL'S 148TH, John Darwall, 1770 (written for Psalm 148, hence the name). Encoding Open Hymnal X:30; verified against the 1918 Common Service Book printing (archive.org commonserviceboo0000unit_i7a0 leaf 376).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "darwalls-148th-csb1918", "tune": "darwalls-148th", "music_file": "darwalls-148th-csb1918.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: Common Service Book with Hymnal (ULCA), 1918. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune John Darwall, 1770; setting from Common Service Book with Hymnal (ULCA), 1918, Hymn 68 — tune identity and melody verified against the 1918 printing (archive.org commonserviceboo0000unit_i7a0 leaf 376). The OH block's 1931 date belongs to its LYRICS printing (Evangelical Lutheran Hymn-Book, 1931), which is not imported; all imported components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:30", "encoding_license": "PD-dedication"}, "music_ly": "%% Imported from Open Hymnal ABC X:30 via tools/abc_import.py\n%% On What Has Now Been Sown — imported for the TUNE (psalter meter gap 6.6.6.6.8.8);\n%% the OH block's lyrics cite a 1931 printing and are NOT imported.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 fis'4 d'4 a'4 fis'4 d''2. cis''4 b'4 a'4 g'4 fis'4 e'2. e'4 fis'4 d'4 b'4 a'4 gis'4 e'4 e''4 d''4 cis''2 b'2 a'2. a'4 b'2 cis''2 d''2. d'4 e'4 fis'4 g'4 a'4 b'4 cis''4 d''4 e''4 d''2 cis''2 d''2.\n}\nalto = {\n  a4 d'4 d'4 e'4 fis'4 fis'2. fis'4 g'4 d'4 cis'4 d'4 cis'2. cis'4 d'4 d'4 fis'4 e'4 e'4 e'4 e'4 fis'4 e'2. d'4 cis'2. d'4 d'2 g'2 fis'2. d'4 cis'4 d'4 d'4 d'4 d'4 g'4 fis'4 e'4 fis'2 g'2 fis'2.\n}\ntenor = {\n  fis4 a4 fis4 a4 a4 d'2. d'4 d'4 a4 a4 a4 a2. a4 a4 fis4 d'4 cis'4 b4 gis4 a4 a4 a2 gis2 a2. fis4 g2 g2 a2. a4 g4 a4 g4 fis4 g4 g4 a4 b4 a2 a2 a2.\n}\nbass = {\n  d4 d4 d4 cis4 d4 b2. a4 g4 fis4 e4 d4 a,2. a,4 d4 d4 b,4 cis8 d8 e4 d4 cis4 d4 e2 e2 a,2. d4 g2 e2 d2. fis4 e4 d4 b,4 d4 g4 e4 fis4 g4 a2 a,2 d2.\n}\n\n%% --- lyrics extracted from w: (paste into the text YAML) ---\n%%   1: \"On what has now been sown Thy bless -- ing, Lord, be -- stow; The pow'r is Thine a -- lone To make it spring and grow. Do Thou in grace the har -- vest raise, And Thou a -- lone shalt have the praise.\"\n%%   2: \"To Thee our wants are known, From Thee are all our pow'rs; Ac -- cept what is Thine own And par -- don what is ours. Our prais -- es, Lord, and prayers re -- ceive And to Thy Word a bless -- ing give.\"\n%%   3: \"Oh, grant that each of us Now met be -- fore Thee here May meet to -- ge -- ther thus When Thou and Thine ap -- pear And fol -- low Thee to Heav'n, our home. E'en so, A -- men, Lord Je -- sus, come!\"\n"}, "harmonizations": [{"slug": "darwalls-148th-csb1918", "tune": "darwalls-148th", "music_file": "darwalls-148th-csb1918.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: Common Service Book with Hymnal (ULCA), 1918. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune John Darwall, 1770; setting from Common Service Book with Hymnal (ULCA), 1918, Hymn 68 — tune identity and melody verified against the 1918 printing (archive.org commonserviceboo0000unit_i7a0 leaf 376). The OH block's 1931 date belongs to its LYRICS printing (Evangelical Lutheran Hymn-Book, 1931), which is not imported; all imported components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:30", "encoding_license": "PD-dedication"}, "music_ly": "%% Imported from Open Hymnal ABC X:30 via tools/abc_import.py\n%% On What Has Now Been Sown — imported for the TUNE (psalter meter gap 6.6.6.6.8.8);\n%% the OH block's lyrics cite a 1931 printing and are NOT imported.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 fis'4 d'4 a'4 fis'4 d''2. cis''4 b'4 a'4 g'4 fis'4 e'2. e'4 fis'4 d'4 b'4 a'4 gis'4 e'4 e''4 d''4 cis''2 b'2 a'2. a'4 b'2 cis''2 d''2. d'4 e'4 fis'4 g'4 a'4 b'4 cis''4 d''4 e''4 d''2 cis''2 d''2.\n}\nalto = {\n  a4 d'4 d'4 e'4 fis'4 fis'2. fis'4 g'4 d'4 cis'4 d'4 cis'2. cis'4 d'4 d'4 fis'4 e'4 e'4 e'4 e'4 fis'4 e'2. d'4 cis'2. d'4 d'2 g'2 fis'2. d'4 cis'4 d'4 d'4 d'4 d'4 g'4 fis'4 e'4 fis'2 g'2 fis'2.\n}\ntenor = {\n  fis4 a4 fis4 a4 a4 d'2. d'4 d'4 a4 a4 a4 a2. a4 a4 fis4 d'4 cis'4 b4 gis4 a4 a4 a2 gis2 a2. fis4 g2 g2 a2. a4 g4 a4 g4 fis4 g4 g4 a4 b4 a2 a2 a2.\n}\nbass = {\n  d4 d4 d4 cis4 d4 b2. a4 g4 fis4 e4 d4 a,2. a,4 d4 d4 b,4 cis8 d8 e4 d4 cis4 d4 e2 e2 a,2. d4 g2 e2 d2. fis4 e4 d4 b,4 d4 g4 e4 fis4 g4 a2 a,2 d2.\n}\n\n%% --- lyrics extracted from w: (paste into the text YAML) ---\n%%   1: \"On what has now been sown Thy bless -- ing, Lord, be -- stow; The pow'r is Thine a -- lone To make it spring and grow. Do Thou in grace the har -- vest raise, And Thou a -- lone shalt have the praise.\"\n%%   2: \"To Thee our wants are known, From Thee are all our pow'rs; Ac -- cept what is Thine own And par -- don what is ours. Our prais -- es, Lord, and prayers re -- ceive And to Thy Word a bless -- ing give.\"\n%%   3: \"Oh, grant that each of us Now met be -- fore Thee here May meet to -- ge -- ther thus When Thou and Thine ap -- pear And fol -- low Thee to Heav'n, our home. E'en so, A -- men, Lord Je -- sus, come!\"\n", "preferred": true}]}, "dennis": {"slug": "dennis", "name": "DENNIS", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "hans-georg-nageli", "composer_date": "1828", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "dennis-oh216", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune DENNIS, adapted from Hans Georg Nägeli (1773–1836), c. 1828; long the standard tune for John Fawcett's \"Blest Be the Tie That Binds.\" Melody encoded from the Open Hymnal Project (X:216) and verified note-by-note against the hymnary.org tune incipit (33132 72111 61151) and, independently, the Cyber Hymnal SATB MIDI (arr. Lowell Mason, 1845). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:216 (melody line)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "dennis-oh216", "tune": "dennis", "music_file": "dennis-oh216.ly", "harmonizer": "donna-snell", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Tune DENNIS (Hans Georg Nägeli, 1773–1836, c. 1828); four-part setting by Donna Snell (c. 1975), explicitly released into the public domain by the arranger on 10 Nov 2010 (per the Open Hymnal Project X:216 credit block). The tune is pre-1931; the harmonization is public domain by the arranger's dedication. Ten ornamental soprano melismas slurred from the w: lyric alignment and cross-checked against the Cyber Hymnal SATB MIDI (true-bass QUEBEC agrees on 9/10; the tenth, on \"Chris\", is confirmed by the explicit Open Hymnal lyric line).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:216", "encoding_license": "PD-dedication"}, "music_ly": "%% DENNIS (S.M.) — \"Blest Be The Tie That Binds\"\n%% Imported from Open Hymnal ABC X:216 via tools/abc_import.py\n%% Tune 'Dennis' by Hans Georg Naegeli (1773-1836), c.1828; four-part setting by\n%% Donna Snell (c.1975), released into the public domain by the arranger 10 Nov 2010.\n%% Ten ornamental soprano melismas slurred from the w: lyric alignment; verified\n%% independently against the Cyber Hymnal SATB MIDI (true-bass QUEBEC) — 9/10 agree,\n%% the 10th ('Chris', held-note 14) confirmed by the OH explicit lyric line.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  b'4 b'4( g'4) b'4 a'4( fis'4) a'4 g'2 g'4 g'4( e'4) g'4 g'4( d'4) g'4 fis'2 a'4 a'4( fis'4) a'4 g'4( b'4) d''4 d''4( a'4) c''4 b'4( d''4) e''4 d''4( b'4) c''4 b'4( g'4) a'4 g'2\n}\nalto = {\n  g'4 g'4( d'4) g'4 fis'4( d'4) fis'4 d'4( e'4) f'4 e'2 c'4 d'2 d'4 d'2 fis'4 fis'4( d'4) d'4 d'4( g'4) g'4 a'4( fis'4) a'4 g'2 g'4 g'2 g'4 g'4( e'4) fis'4 d'2\n}\ntenor = {\n  d4 d4( b,4) d4 d2 d4 d4( e4) d4 c2 c4 b,2 b,4 d2 d4 fis4( d4) c4 b,4( d4) d4 fis4( d4) d4 d2 g4 g2 e4 d2 c4 b,2\n}\nbass = {\n  g,4 g,2 g,4 d2 c4 b,4( c4) d4 c2 e,8 fis,8 g,2 b,4 d2 d4 d2 fis,4 g,2 b,4 d2 fis,4 g,4( b,4) c4 b,4( g,4) a,4 d2 d,4 g,2\n}\n\n"}, "harmonizations": [{"slug": "dennis-oh216", "tune": "dennis", "music_file": "dennis-oh216.ly", "harmonizer": "donna-snell", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Tune DENNIS (Hans Georg Nägeli, 1773–1836, c. 1828); four-part setting by Donna Snell (c. 1975), explicitly released into the public domain by the arranger on 10 Nov 2010 (per the Open Hymnal Project X:216 credit block). The tune is pre-1931; the harmonization is public domain by the arranger's dedication. Ten ornamental soprano melismas slurred from the w: lyric alignment and cross-checked against the Cyber Hymnal SATB MIDI (true-bass QUEBEC agrees on 9/10; the tenth, on \"Chris\", is confirmed by the explicit Open Hymnal lyric line).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:216", "encoding_license": "PD-dedication"}, "music_ly": "%% DENNIS (S.M.) — \"Blest Be The Tie That Binds\"\n%% Imported from Open Hymnal ABC X:216 via tools/abc_import.py\n%% Tune 'Dennis' by Hans Georg Naegeli (1773-1836), c.1828; four-part setting by\n%% Donna Snell (c.1975), released into the public domain by the arranger 10 Nov 2010.\n%% Ten ornamental soprano melismas slurred from the w: lyric alignment; verified\n%% independently against the Cyber Hymnal SATB MIDI (true-bass QUEBEC) — 9/10 agree,\n%% the 10th ('Chris', held-note 14) confirmed by the OH explicit lyric line.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  b'4 b'4( g'4) b'4 a'4( fis'4) a'4 g'2 g'4 g'4( e'4) g'4 g'4( d'4) g'4 fis'2 a'4 a'4( fis'4) a'4 g'4( b'4) d''4 d''4( a'4) c''4 b'4( d''4) e''4 d''4( b'4) c''4 b'4( g'4) a'4 g'2\n}\nalto = {\n  g'4 g'4( d'4) g'4 fis'4( d'4) fis'4 d'4( e'4) f'4 e'2 c'4 d'2 d'4 d'2 fis'4 fis'4( d'4) d'4 d'4( g'4) g'4 a'4( fis'4) a'4 g'2 g'4 g'2 g'4 g'4( e'4) fis'4 d'2\n}\ntenor = {\n  d4 d4( b,4) d4 d2 d4 d4( e4) d4 c2 c4 b,2 b,4 d2 d4 fis4( d4) c4 b,4( d4) d4 fis4( d4) d4 d2 g4 g2 e4 d2 c4 b,2\n}\nbass = {\n  g,4 g,2 g,4 d2 c4 b,4( c4) d4 c2 e,8 fis,8 g,2 b,4 d2 d4 d2 fis,4 g,2 b,4 d2 fis,4 g,4( b,4) c4 b,4( g,4) a,4 d2 d,4 g,2\n}\n\n", "preferred": true}]}, "detroit": {"slug": "detroit", "name": "DETROIT", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-bradshaw", "composer_date": "1820", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "detroit-pbht1907", "provenance": {"layer": "tune", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "DETROIT (C.M.), American folk hymn tune credited to William Bradshaw, first published in A Supplement to the Kentucky Harmony (Harrisonburg, 1820); Hymnary.org tune authority detroit_kentuckyharmony (Public Domain, 87 instances, 9 of them pre-1931 incl. The Southern Harmony and the Primitive Baptist Hymn and Tune Book, 1907, whose printing Nos. 328-330 is the source of this import). The authority records the tune a whole step lower (d minor); the 1907 plate prints E minor and the corpus carries plate pitch. Sung at #doreancon 2026 (Psalm 82, in D minor).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "detroit_kentuckyharmony", "total_instances": 87}}, "harmonization": {"slug": "detroit-pbht1907", "tune": "detroit", "music_file": "detroit-pbht1907.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in the Primitive Baptist Hymn and Tune Book, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in the Primitive Baptist Hymn and Tune Book (1907), No. 328 (7-shape Aikin notation; treble staff soprano+alto, bass staff tenor+bass; melody in the soprano, matching the Hymnary authority incipit 134534317113457 note-for-note, ordinals 1-15). Transcribed at plate pitch (E minor, one sharp) from the archive.org scan, every notehead read from 5-8x grid-overlaid crops with shape-vs-position agreement checked per note; adversarially re-read by an independent verifier 2026-08-12: 121 of 121 printed notes match in pitch and duration, the plate's phrase-cadence half-bars merge into continuous 4/4 (all printed barlines land on note boundaries, each voice sums to 36 beats). Two documented editorial acts (see the .ly header): the plate's never-engraved final treble chord is supplied as the unison e' every parallel cadence uses, and the plate's third bass-staff head at 'Be-hold' (an e' octave doubling of the S/A unison) is deliberately not carried as a fifth voice. Publication 1907 — pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org primitive-baptist-hymn-and-tune-book, leaf 203, plate transcription session 2026-08-12"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820); four-voice setting as printed in the Primitive Baptist Hymn\n%% and Tune Book, 1907, No. 328 (7-shape Aikin plate), transcribed at plate\n%% pitch from a 300dpi scan (archive.org primitive-baptist-hymn-and-tune-book,\n%% leaf 203), session 2026-08-12. The plate's phrase-cadence half-bars merge\n%% into continuous 4/4 (all barlines land on note boundaries). EDITORIAL: the\n%% plate's final treble chord was never engraved (empty last bar on the system-2\n%% treble staff; tenor+bass finals ARE printed) — soprano+alto close on the\n%% unison e' that every other phrase-final and the opening chord use.\n%% DELIBERATE DROP: at the phrase-2 opening ('Be-hold') the plate prints a\n%% THIRD bass-staff head, e'2 above the tenor b2 — an octave doubling of the\n%% simultaneous soprano+alto unison e'; the four-voice schema carries it as\n%% that unison, no pitch content lost. A short printed arc joining the\n%% unison e' ('ri-') to the soprano e' ('-val') is a unison-divergence mark,\n%% not a tie, and is likewise not encoded.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''2 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 e'4 e'2\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'2 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 d'4 e'2\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 b2 d'4 e'4 b4 a4 b2 g4.( a8) b4 b8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b2\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 e2 g4 e4 b4 a8( g8) e2 g4.( fis8) e4 e4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e2\n}\n"}, "harmonizations": [{"slug": "detroit-modern", "tune": "detroit", "music_file": "detroit-modern.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting after the Primitive Baptist Hymn and Tune Book, 1907, rhythm as received in modern use. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "EDITORIAL ADAPTATION (owner-approved 2026-08-13), not a printing transcription: the corpus's two public-domain DETROIT harmonizations recast into the received modern rhythm — 32 beats, a quarter anacrusis opening each of the four phrases, dotted-half couplet finals, couplet-internal phrase finals reduced to quarters (the form sung at #doreancon 2026 and in modern hymnals). No pre-1931 printing of this rhythmic profile has been located: all 9 pre-1931 hymnals among the Hymnary authority's 87 instances were swept 2026-08-13 (nearest ancestor TBH-1901 \"Detroy\", see detroit-tbh1901), and the tune's first-publication plate (A Supplement to the Kentucky Harmony, 3rd ed. 1825, p. 85, Univ. of Kentucky scan) prints the long Ɔ-time form. The adaptation rests on the judgment that releveling the rhythm of a public-domain tune adds no protectable originality; the rhythmic profile was derived from the conference's own MusicXML (gitlab.com/svrbc/doreancon.org, Psalm 82), whose four voices align event-for-event with the corpus PD sources (33/30/30/30 events). EVERY PITCH is from a pre-1931 printing already verified in this corpus: 102 of 123 from PBHT-1907 (detroit-pbht1907, refuter-verified plate transcription), 10 from SH-1854 (detroit-sh1854, likewise verified) at exactly the places the received form preserves the older reading that PBHT-1907 revised (soprano penultimate d' — also the 1825 plate's reading — with the matching alto-penult e'; the tenor/bass phrase-2 pickups e'/b and the phrase-3 opening figures tenor fis-e-e, bass a-b-b). Eleven notes the conference file sings with no located pre-1931 attestation (its bass line under phrase 1, alto ordinals 11-13 and 18, tenor ordinal 2) keep the PBHT-1907 reading instead, so no unattested pitch entered the corpus. Melisma slur pairs follow the source prints where the figures survive the recast; the three pairs the recast creates (tenor fis8-e8, bass a8-b8, and alto fis'8-g'8, whose eighth-pair rhythm the recast moves one ordinal later than the sources' e'8-fis'8 pair) are slurred per the corpus inner-voice melisma idiom. Derivation and delta ledger machine-checked against both source .ly files and the MusicXML (per-event zip; totals 32 beats in all four voices). EMENDED 2026-08-19 at the conference's direction (their post-publication review): the phrase-3 opening (engraved bar 5) had the bass line (a-b-b, from SH-1854) crossing ABOVE the tenor (fis-e-e-fis, ditto); the ruling for this tune is bass-takes-the-lower-line, so the two lines exchange voices — the tenor now sings a8-b8-b4 and the bass fis8-e8-e8-fis8, every pitch still the SH-1854 reading, slurs travelling with their lines (tenor a8-b8 and bass fis8-e8 are the recast-created melisma pairs named above, exchanged with the rest; tenor event count 30 to 29, bass 30 to 31, totals still 32 beats in all four voices).", "pd_jurisdictions": {"US": true}, "encoding_origin": "editorial recast of detroit-pbht1907 + detroit-sh1854 onto the received modern rhythm profile (conference MusicXML-derived), session 2026-08-13"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820) — EDITORIAL ADAPTATION to the received modern rhythm\n%% (2026-08-13, owner-approved): the corpus's two public-domain harmonizations\n%% recast into the 32-beat every-phrase-anacrusis form modern congregations\n%% sing (quarter pickup opening each phrase, dotted-half couplet finals,\n%% couplet-internal phrase finals reduced to quarters). NO pre-1931 printing\n%% of this rhythmic profile has been located (Hymnary authority's 87 instances\n%% + the 1825 Supplement plate all checked); the profile itself is carried on\n%% the judgment that releveling a public-domain tune adds no protectable\n%% originality. EVERY PITCH is from a pre-1931 printing already in the corpus:\n%% PBHT-1907 (detroit-pbht1907) throughout, except ten notes where the\n%% received form preserves the older SH-1854 reading (detroit-sh1854) that\n%% PBHT revised — soprano penult d' (also the 1825 plate's reading), alto\n%% penult e', tenor ev9/16/17/18 (e' pickup; fis-e-e at \"the P3 opening\"),\n%% bass ev9/17/18/19 (b pickup; a-b-b). Eleven notes the conference sings\n%% with no located pre-1931 attestation keep PBHT's reading instead (bass\n%% phrase-1 line, alto ev11-13+18, tenor ev2); the derivation ledger is in\n%% the sidecar pd_evidence.\n%% EMENDED 2026-08-19 at the conference's direction (post-publication\n%% review): in engraved bar 5 the received form's phrase-3 opening had\n%% the bass (a-b-b) singing ABOVE the tenor (fis-e-e-fis); for this tune\n%% the bass always takes the lower line and the tenor the upper, so the\n%% two lines exchange voices — bass fis8( e8) e8( fis8), tenor a8( b8)\n%% b4 — pitches, rhythms and slurs travelling intact with their lines.\n%% Public domain (see sidecar).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'4 e'4 g'4 a'4 b'4 d''4 e''2. b'4 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''4 b'4 a'4. g'8 e'4 d'4 e'2.\n}\nalto = {\n  e'4 e'4 d'4 e'4. e'8 d'4 d'4 e'4 e'4 d'4 e'4 fis'8( g'8) d'4 e'2. e'4 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'4 g'4 e'4. d'8 e'4 e'4 e'2.\n}\ntenor = {\n  b4 d'4 c'4 b4. e'8 d'4 d'4 e'4 e'4 d'4 e'4 b4 a4 b2. g4 a8( b8) b4 g4. a8 b4 e'4 d'4 d'4 e'4. d'8 b4 b4 b2.\n}\nbass = {\n  e4 d4 e4 b,4. a,8 b,4 d4 e4 b4 g4 e4 b4 a8( g8) e2. g4 fis8( e8) e8( fis8) e4. fis8 g4 e4 d4 g4 e4. d8 b,4 b,4 e2.\n}\n", "preferred": false}, {"slug": "detroit-pbht1907", "tune": "detroit", "music_file": "detroit-pbht1907.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in the Primitive Baptist Hymn and Tune Book, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in the Primitive Baptist Hymn and Tune Book (1907), No. 328 (7-shape Aikin notation; treble staff soprano+alto, bass staff tenor+bass; melody in the soprano, matching the Hymnary authority incipit 134534317113457 note-for-note, ordinals 1-15). Transcribed at plate pitch (E minor, one sharp) from the archive.org scan, every notehead read from 5-8x grid-overlaid crops with shape-vs-position agreement checked per note; adversarially re-read by an independent verifier 2026-08-12: 121 of 121 printed notes match in pitch and duration, the plate's phrase-cadence half-bars merge into continuous 4/4 (all printed barlines land on note boundaries, each voice sums to 36 beats). Two documented editorial acts (see the .ly header): the plate's never-engraved final treble chord is supplied as the unison e' every parallel cadence uses, and the plate's third bass-staff head at 'Be-hold' (an e' octave doubling of the S/A unison) is deliberately not carried as a fifth voice. Publication 1907 — pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org primitive-baptist-hymn-and-tune-book, leaf 203, plate transcription session 2026-08-12"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820); four-voice setting as printed in the Primitive Baptist Hymn\n%% and Tune Book, 1907, No. 328 (7-shape Aikin plate), transcribed at plate\n%% pitch from a 300dpi scan (archive.org primitive-baptist-hymn-and-tune-book,\n%% leaf 203), session 2026-08-12. The plate's phrase-cadence half-bars merge\n%% into continuous 4/4 (all barlines land on note boundaries). EDITORIAL: the\n%% plate's final treble chord was never engraved (empty last bar on the system-2\n%% treble staff; tenor+bass finals ARE printed) — soprano+alto close on the\n%% unison e' that every other phrase-final and the opening chord use.\n%% DELIBERATE DROP: at the phrase-2 opening ('Be-hold') the plate prints a\n%% THIRD bass-staff head, e'2 above the tenor b2 — an octave doubling of the\n%% simultaneous soprano+alto unison e'; the four-voice schema carries it as\n%% that unison, no pitch content lost. A short printed arc joining the\n%% unison e' ('ri-') to the soprano e' ('-val') is a unison-divergence mark,\n%% not a tie, and is likewise not encoded.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''2 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 e'4 e'2\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'2 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 d'4 e'2\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 b2 d'4 e'4 b4 a4 b2 g4.( a8) b4 b8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b2\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 e2 g4 e4 b4 a8( g8) e2 g4.( fis8) e4 e4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e2\n}\n", "preferred": true}, {"slug": "detroit-sh1854", "tune": "detroit", "music_file": "detroit-sh1854.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in The Southern Harmony, 1854 (after the Baptist Harmony). Public domain.", "provenance": {"layer": "harmonization", "source": "southern-harmony-1854", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice dispersed-harmony setting of DETROIT as printed in The Southern Harmony, and Musical Companion (William Walker), 1854 printing, page 40, headed \"Bradshaw. Baptist Harmony, p. 139\" — the early shape-note tradition of the tune, with the mood-of-time sign Ɔ (2/2) and STEMLESS WHOLE-NOTE couplet finals at \"ear\" and \"hear\" where the 1907 Primitive Baptist book levels them to halves. Transcribed at plate pitch (E minor, one sharp, 4-shape notation) from the archive.org scan (imslp-southern-harmony-walker-william, leaf 77), each of the 123 noteheads read at 5-8x against fitted pitch grids, and adversarially re-derived by an independent verifier with its own staff-line fits, barline probe, and head reader: ZERO corrections; all ten printed 4-beat bars, both whole-note finals, both printed slur arcs, and the five voice-level differences from the 1907 reading (tenor/alto \"to\" E-D swap; treble \"Be\" e'; bass \"To\" b; bass \"Doth\" g-a slur; bass \"not/each\" b-b) individually confirmed with pixel evidence. Corpus voice mapping = the reduction the 1907 book itself applied to this harmony: soprano takes the printed TENOR (the melody, at pitch), tenor takes the printed TREBLE down an octave, alto and bass as printed. The melody matches the Hymnary authority incipit 134534317113457 exactly (verified 15/15). Publication 1854 (first edition of the tune's Southern Harmony printing 1835) — pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org imslp-southern-harmony-walker-william leaf 77, plate transcription + adversarial verification session 2026-08-13"}, "music_ly": "%% DETROIT, C. M. -- \"Bradshaw. Baptist Harmony, p. 139\" -- The Southern Harmony,\n%% and Musical Companion (William Walker), 1854 printing, page 40 (top tune).\n%% Transcribed 2026-08-13 at plate pitch from archive.org\n%% imslp-southern-harmony-walker-william leaf 77 (sh1854-0077.jpg); every notehead\n%% eye-read at 5-8x against fitted pitch grids and independently refuter-verified\n%% (0 corrections; barlines, stems, beams, dots and both printed arcs re-derived).\n%% THE EARLY SHAPE-NOTE TRADITION: mood-of-time sign Ɔ (2/2, minim beat), here in\n%% 4/4-equivalent quarters (printed half = 2); ten printed 4-beat bars; STEMLESS\n%% WHOLE-NOTE couplet finals at \"ear\" and \"hear\" (phrases 2 and 4), stemmed-half\n%% phrase openings and mid-couplet cadences (\"still,\" / \"bound,\" -- \"bound,|My\"\n%% share a bar). The plate's four staves are dispersed harmony: treble / alto\n%% (the revised-edition added part) / TENOR = melody / bass. CORPUS MAPPING (the\n%% same reduction the Primitive Baptist Hymn and Tune Book, 1907, applied to this\n%% harmony): soprano = printed tenor at pitch; alto = printed alto; tenor =\n%% printed treble DOWN AN OCTAVE; bass = printed bass. The plate's second-strain\n%% repeat dots (all four staves, after bar 5) are not encoded -- verses carry the\n%% repetition. Two arcs are PRINTED on the plate (tenor-here \"And\" g4. fis8,\n%% bass \"Doth\" g4. a8); all other slur marks are the corpus melisma convention\n%% for the plate's beamed eighth-pairs.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''1 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 d'4 e'1\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'1 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 e'4 e'1\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 e'2 d'4 e'4 b4 a4 b1 g4.( fis8) e4 e8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b1\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 b2 g4 e4 b4 a8( g8) e1 g4.( a8) b4 b4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e1\n}\n", "preferred": false}, {"slug": "detroit-tbh1901", "tune": "detroit", "music_file": "detroit-tbh1901.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "time_changes": [{"soprano_note": 2, "time": "2/4"}, {"soprano_note": 4, "time": "4/4"}], "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT (printed \"Detroy\"), from A Supplement to the Kentucky Harmony, 1820; setting as printed in The Brethren Hymnal, 1901. Public domain.", "provenance": {"layer": "harmonization", "source": "tbh-1901", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in The Brethren Hymnal (Brethren Publishing House, 1901), No. 459, tune title \"Detroy.\" — the earliest located public-domain printing of the QUARTER-PICKUP recasting of the tune (quarter anacrusis, dotted-half-plus-rest couplet finals), the rhythm family modern hymnals sing; located 2026-08-13 by sweeping all 9 pre-1931 hymnals among the Hymnary authority's 87 instances. Transcribed at plate pitch (E minor, one sharp) from two independent archive.org scans of the same plate (brethrenhymnalco00chur leaf 297 and hymnalco00germ leaf 291), every notehead read from grid-overlaid crops with shape-vs-position agreement checked per note, and adversarially re-derived by an independent verifier working from both scans: 13 of the first reader's columns corrected (verifier's evidence-crop set retained in the session record), all six inline sharps inventoried as D-sharps, bar sums verified in all four voices against the plate's printed barring (pickup stroke, 2-beat \"not I\" bar, paired-half joint bars, dotted-half+rest finals). No tune or arranger credit is printed on the page (text credit Philip Doddridge only); the 1901 chromatic reharmonization (complete B7 chords, B-major \"val\") is the anonymous house setting. Publication 1901 — pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org brethrenhymnalco00chur leaf 297 + hymnalco00germ leaf 291, plate transcription + adversarial verification session 2026-08-13"}, "music_ly": "%% DETROY (= DETROIT), C. M. -- The Brethren Hymnal (Church of the Brethren;\n%% Elgin: Brethren Publishing House, 1901), No. 459, \"Thou Knowest that I Love\n%% Thee.\" Tune printed as \"Detroy.\"; text credit Philip Doddridge, NO tune or\n%% arranger credit printed. 7-shape Aikin character plate, 1 sharp, 4/4, E minor.\n%% Transcribed 2026-08-13 at plate pitch from TWO independent archive.org scans\n%% of the same plate (brethrenhymnalco00chur leaf 297; hymnalco00germ leaf 291),\n%% every notehead read against fitted pitch grids on both scans; independently\n%% refuter-verified (13 corrections applied, incl. the \"And\" = b'2 reading and\n%% the complete-B7 inner voices; see the transcription record).\n%% THE QUARTER-PICKUP RECASTING of the 1820 folk tune: quarter-note anacrusis\n%% \"Do\" (soprano + bass only; alto and tenor carry printed archaic quarter\n%% rests), dotted-half-plus-quarter-rest couplet finals, and the mid-couplet\n%% joints held as paired half notes. PLATE BARRING kept where it fits 4/4;\n%% the plate's own 2-beat \"not I\" bar is preserved via the sidecar's\n%% time_changes (2/4 at soprano ordinal 2, back to 4/4 at ordinal 4); the\n%% plate's other 2-beat bars (\"Lord?\"|\"Be-\", \"out\"|\"That\") merge into shared\n%% 4/4 bars exactly as the corpus already treats PBHT-1907's cadence\n%% half-bars. 1901 chromatic reharmonization: complete B7 chords at \"I\",\n%% \"my\" (b.4), \"and\", \"dares\" (alto dis', bass fis), B major at \"val\",\n%% plain-minor finals (no Picardy). Melody = PBHT-1907's pitch line except:\n%% the a'4 anacrusis replaces the e'2 opening, \"my\"'s second eighth and\n%% \"val\" are raised to dis' (leading tone).\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 g'4 a'4 b'4. g'8 a'8( g'8) e'8( dis'8) e'2 e'2 g'4 a'4 b'4 dis''4 e''2. r4 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 dis'4 e'2. r4\n}\nalto = {\n  r4 e'4 dis'4 e'4. e'8 fis'4 b4 b2 b2 e'4 dis'4 e'4 a'4 g'2. r4 g'2 g'4 g'4 g'4. fis'8 e'4 a'4 fis'2 e'2 dis'4. e'8 e'4 b4 b2. r4\n}\ntenor = {\n  r4 b4 b4 b4. e8 b,4 g8( fis8) g2 g2 b4 b4 b4 b4 b2. r4 e'2 b4 b8( a8) b4. c'8 b8( a8) b8( g8) a2 g2 b4. e8 g4 fis4 g2. r4\n}\nbass = {\n  c4 e4 fis4 g4. e8 b,4 b,4 e2 e2 e4 fis4 g4 fis4 e2. r4 e2 e4 e8( fis8) g4. a8 b8( a8) g8( e8) d2 e2 fis4. e8 b,4 b,4 e2. r4\n}\n", "preferred": false}]}, "diademata": {"slug": "diademata", "name": "DIADEMATA", "meter_label": "S.M.D.", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-elvey", "composer_date": "1868", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "diademata-am-1869", "provenance": {"layer": "tune", "source": "hymns-ancient-and-modern-1869", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "George J. Elvey, 1868. Composer d. 1893.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "diademata_elvey", "total_instances": 864}}, "harmonization": {"slug": "diademata-am-1869", "tune": "diademata", "music_file": "diademata-am-1869.ly", "harmonizer": "george-elvey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 27, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DIADEMATA, George J. Elvey, 1868; setting from the Appendix to Hymns Ancient and Modern, 1869. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:164", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Bridges 1852/Thring 1874; Elvey 1868; setting 1869. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Crown Him with Many Crowns\n%% Imported from Open Hymnal X:164 via tools/abc_import.py\n%% Public domain: Bridges 1852/Thring 1874; Elvey 1868; setting 1869. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d'8 d'8 fis'4 fis'4 b'2. b'4 a'4 d'4 g'4 fis'4 e'2. e'4 fis'4 a'4 b'4 a'4 gis'4 fis'8( e'8) a'4 d''4 cis''4 d''4 b'4 b'4 a'2. a'4 a'4 fis'4 e'4 d'4 b'2. b'4 b'4 gis'4 fis'4 e'4 cis''2. cis''4 d''4. cis''8 b'4 a'4 g'4 e'4 fis'4 a'4 g'4 fis'4 e'4 e'4 d'1\n}\nalto = {\n  a4 a8 a8 d'4 d'4 d'2. d'4 d'4 d'4 cis'4 d'4 cis'2. cis'4 d'4 e'4 d'4 d'4 b4 b4 e'4 d'4 e'4 fis'4 b4 e'4 cis'2. cis'4 d'4 d'4 cis'4 d'4 d'2. dis'4 e'4 e'4 d'4 d'4 cis'2. e'4 d'4 d'4 d'4 d'4 d'4 cis'4 d'4 d'4 d'4 d'4 d'4 cis'4 d'1\n}\ntenor = {\n  fis4 fis8 fis8 fis4 fis4 g2. g4 a4 b4 g4 a4 a2. a4 a4 a4 fis4 fis4 e4 gis4 a4 g4 a4 a4 a4 gis4 a2. a4 a4 a4 g4 a4 b2. a4 gis4 b4 a4 b4 a2. a4 a4 a4 g4 a4 b4 a4 a4 a4 b4 a4 a4. g8 fis1\n}\nbass = {\n  d4 d8 d8 b,4 b,4 g,2. g4 fis4 g4 e4 d4 a,2. a,4 d4 cis4 b,4 d4 e4 d4 cis4 b,4 a,4 d4 e4 e4 a2. g4 fis4 d4 e4 fis4 g2. fis4 e4 e4 fis4 gis4 a2. g4 fis4 fis4 g4 fis4 e4 a4 d4 fis,4 g,4 d4 a,4 a,4 d1\n}\n"}, "harmonizations": [{"slug": "diademata-am-1869", "tune": "diademata", "music_file": "diademata-am-1869.ly", "harmonizer": "george-elvey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 27, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DIADEMATA, George J. Elvey, 1868; setting from the Appendix to Hymns Ancient and Modern, 1869. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:164", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Bridges 1852/Thring 1874; Elvey 1868; setting 1869. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Crown Him with Many Crowns\n%% Imported from Open Hymnal X:164 via tools/abc_import.py\n%% Public domain: Bridges 1852/Thring 1874; Elvey 1868; setting 1869. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d'8 d'8 fis'4 fis'4 b'2. b'4 a'4 d'4 g'4 fis'4 e'2. e'4 fis'4 a'4 b'4 a'4 gis'4 fis'8( e'8) a'4 d''4 cis''4 d''4 b'4 b'4 a'2. a'4 a'4 fis'4 e'4 d'4 b'2. b'4 b'4 gis'4 fis'4 e'4 cis''2. cis''4 d''4. cis''8 b'4 a'4 g'4 e'4 fis'4 a'4 g'4 fis'4 e'4 e'4 d'1\n}\nalto = {\n  a4 a8 a8 d'4 d'4 d'2. d'4 d'4 d'4 cis'4 d'4 cis'2. cis'4 d'4 e'4 d'4 d'4 b4 b4 e'4 d'4 e'4 fis'4 b4 e'4 cis'2. cis'4 d'4 d'4 cis'4 d'4 d'2. dis'4 e'4 e'4 d'4 d'4 cis'2. e'4 d'4 d'4 d'4 d'4 d'4 cis'4 d'4 d'4 d'4 d'4 d'4 cis'4 d'1\n}\ntenor = {\n  fis4 fis8 fis8 fis4 fis4 g2. g4 a4 b4 g4 a4 a2. a4 a4 a4 fis4 fis4 e4 gis4 a4 g4 a4 a4 a4 gis4 a2. a4 a4 a4 g4 a4 b2. a4 gis4 b4 a4 b4 a2. a4 a4 a4 g4 a4 b4 a4 a4 a4 b4 a4 a4. g8 fis1\n}\nbass = {\n  d4 d8 d8 b,4 b,4 g,2. g4 fis4 g4 e4 d4 a,2. a,4 d4 cis4 b,4 d4 e4 d4 cis4 b,4 a,4 d4 e4 e4 a2. g4 fis4 d4 e4 fis4 g2. fis4 e4 e4 fis4 gis4 a2. g4 fis4 fis4 g4 fis4 e4 a4 d4 fis,4 g,4 d4 a,4 a,4 d1\n}\n", "preferred": true}]}, "divinum-mysterium": {"slug": "divinum-mysterium", "name": "DIVINUM MYSTERIUM", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Latin plainsong, 13th century", "alt_name": "Corde Natus", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "divinum-mysterium-oh41", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:41; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "divinum_mysterium", "total_instances": 203}}, "harmonization": {"slug": "divinum-mysterium-oh41", "tune": "divinum-mysterium", "music_file": "divinum-mysterium-oh41.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [17, 34, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [9, 17, 26, 34, 42, 53], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:41; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:41", "encoding_license": "PD-dedication"}, "music_ly": "%% Of The Father's Love Begotten\n%% Imported from Open Hymnal ABC X:41 via tools/abc_import.py\n%% Open Hymnal X:41; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  f'4. g'8 a'4 bes'4 a'4 g'4 | a'4.( g'8) f'1 | a'4 bes'4 c''4 d''4 c''4( a'4.) bes'8 | c''1 | d''4. e''8 f''4 c''4 c''4 bes'4 | a'4.( g'8) f'1 | d'4. e'8 f'4 g'4 f'4( d'4.) e'8 | f'1 | f'4. g'8 a'4 bes'4 a'4 g'4 | c''2 d''1 | c''4( a'4) bes'4 c''4( f'4.) e'8 d'4 e'4 | f'4.( d'8 c'2) r2 | f'4. g'8 a'4 c''4 a'4 f'4 | g'2( f'1)\n}\nalto = {\n  c'4. c'8 f'4 f'4 f'4 e'4 | f'2 f'1 | f'4 f'4 f'4 f'4 e'4( f'4.) f'8 | e'1 | g'4. g'8 f'4 f'4 f'4 f'4 | f'4.( e'8) f'1 | a4. a8 d'4 d'4 d'4( a4.) c'8 | c'1 | c'4. c'8 f'4 f'4 f'4 e'4 | f'2 f'1 | f'2 d'4 c'2 c'4 bes4 bes4 | a4.( bes8 a2) s2 | c'4. e'8 f'4 f'4 f'4 f'4 | e'2( f'1)\n}\ntenor = {\n  a4. bes8 c'4 d'4 c'4 c'4 | c'4.( bes8) a1 | c'4 bes4 a4 bes4 g4( f4.) f8 | g1 | bes4. bes8 c'4 c'4 d'4 d'4 | c'4.( bes8) a1 | f4. g8 a4 bes4 a4( f4.) g8 | a1 | a4. bes8 c'4 d'4 c'4 c'4 | c'2 bes1 | a4( c'4) bes4 a2 a4 bes4 g4 | f1 s2 | a4. c'8 c'4 c'4 c'4 bes4 | bes2( a1)\n}\nbass = {\n  f4. f8 f4 bes,4 c4 c4 | f2 f1 | f4 d4 c4 bes,4 c4( f4.) d8 | c1 | g,4. g,8 a,4 a,4 bes,4 bes,4 c2 d1 | d4. d8 d4 g,4 d4( d4.) c8 | f1 | f4. f8 f4 bes,4 c4 c4 | a,2 bes,1 | f2 f4 f2 f4 g4 c4 | d4.( bes,8 f2) r2 | f4. c8 f4 a4 f4 d4 | c2( f1)\n}\n"}, "harmonizations": [{"slug": "divinum-mysterium-oh41", "tune": "divinum-mysterium", "music_file": "divinum-mysterium-oh41.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [17, 34, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [9, 17, 26, 34, 42, 53], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:41; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:41", "encoding_license": "PD-dedication"}, "music_ly": "%% Of The Father's Love Begotten\n%% Imported from Open Hymnal ABC X:41 via tools/abc_import.py\n%% Open Hymnal X:41; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  f'4. g'8 a'4 bes'4 a'4 g'4 | a'4.( g'8) f'1 | a'4 bes'4 c''4 d''4 c''4( a'4.) bes'8 | c''1 | d''4. e''8 f''4 c''4 c''4 bes'4 | a'4.( g'8) f'1 | d'4. e'8 f'4 g'4 f'4( d'4.) e'8 | f'1 | f'4. g'8 a'4 bes'4 a'4 g'4 | c''2 d''1 | c''4( a'4) bes'4 c''4( f'4.) e'8 d'4 e'4 | f'4.( d'8 c'2) r2 | f'4. g'8 a'4 c''4 a'4 f'4 | g'2( f'1)\n}\nalto = {\n  c'4. c'8 f'4 f'4 f'4 e'4 | f'2 f'1 | f'4 f'4 f'4 f'4 e'4( f'4.) f'8 | e'1 | g'4. g'8 f'4 f'4 f'4 f'4 | f'4.( e'8) f'1 | a4. a8 d'4 d'4 d'4( a4.) c'8 | c'1 | c'4. c'8 f'4 f'4 f'4 e'4 | f'2 f'1 | f'2 d'4 c'2 c'4 bes4 bes4 | a4.( bes8 a2) s2 | c'4. e'8 f'4 f'4 f'4 f'4 | e'2( f'1)\n}\ntenor = {\n  a4. bes8 c'4 d'4 c'4 c'4 | c'4.( bes8) a1 | c'4 bes4 a4 bes4 g4( f4.) f8 | g1 | bes4. bes8 c'4 c'4 d'4 d'4 | c'4.( bes8) a1 | f4. g8 a4 bes4 a4( f4.) g8 | a1 | a4. bes8 c'4 d'4 c'4 c'4 | c'2 bes1 | a4( c'4) bes4 a2 a4 bes4 g4 | f1 s2 | a4. c'8 c'4 c'4 c'4 bes4 | bes2( a1)\n}\nbass = {\n  f4. f8 f4 bes,4 c4 c4 | f2 f1 | f4 d4 c4 bes,4 c4( f4.) d8 | c1 | g,4. g,8 a,4 a,4 bes,4 bes,4 c2 d1 | d4. d8 d4 g,4 d4( d4.) c8 | f1 | f4. f8 f4 bes,4 c4 c4 | a,2 bes,1 | f2 f4 f2 f4 g4 c4 | d4.( bes,8 f2) r2 | f4. c8 f4 a4 f4 d4 | c2( f1)\n}\n", "preferred": true}]}, "dix": {"slug": "dix", "name": "DIX", "meter_label": "7.7.7.7 with Refrain", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "conrad-kocher", "composer_date": "1906", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "dix-oh267", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:267; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "dix_kocher", "total_instances": 1043}}, "harmonization": {"slug": "dix-oh267", "tune": "dix", "music_file": "dix-oh267.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:267; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:267", "encoding_license": "PD-dedication"}, "music_ly": "%% For The Beauty Of The Earth\n%% Imported from Open Hymnal ABC X:267 via tools/abc_import.py\n%% Open Hymnal X:267; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8 g'8 a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 g'4 fis'8 g'8 a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 b'4 a'4 g'4 b'4 d''4. c''8 b'2 e'4 fis'4 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 e'4 d'4 d'4 c'4 d'4. c'8 b2\n}\ntenor = {\n  b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 g4 d'8 c'8 b4 g4 a4 fis4 g2 g4 a4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 fis4 g4 g4 fis4 d4 g2 c4 c4 b,4 e4 d4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "dix-oh267", "tune": "dix", "music_file": "dix-oh267.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:267; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:267", "encoding_license": "PD-dedication"}, "music_ly": "%% For The Beauty Of The Earth\n%% Imported from Open Hymnal ABC X:267 via tools/abc_import.py\n%% Open Hymnal X:267; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8 g'8 a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 g'4 fis'8 g'8 a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 b'4 a'4 g'4 b'4 d''4. c''8 b'2 e'4 fis'4 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 e'4 d'4 d'4 c'4 d'4. c'8 b2\n}\ntenor = {\n  b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 g4 d'8 c'8 b4 g4 a4 fis4 g2 g4 a4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 fis4 g4 g4 fis4 d4 g2 c4 c4 b,4 e4 d4 d4 g,2\n}\n", "preferred": true}]}, "dix-77-77-77": {"slug": "dix-77-77-77", "name": "DIX", "meter_label": "7.7.7.7.7.7", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "conrad-kocher", "composer_date": "1838", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "dix-oh74", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:74 (line 7231); DIX, Conrad Kocher 1838 (from \"Stimmen aus dem Reiche Gottes\", 1838), abridged by William Henry Monk 1861, as in The English Hymnal 1906. Kocher d. 1872, Monk d. 1889; all components pre-1931. Same melody as the corpus tune \"dix\" (For the Beauty of the Earth), but the 77.77.77 reading with no refrain (cf. the ES IST EIN ROS twin tunes).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "dix-oh74", "tune": "dix-77-77-77", "music_file": "dix-oh74.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:74 (line 7231); words William Chatterton Dix 1860, music Conrad Kocher 1838 abridged by William Henry Monk 1861, setting alt. for The English Hymnal 1906; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:74 (line 7231)", "encoding_license": "PD-dedication"}, "music_ly": "%% As With Gladness Men of Old\n%% Imported from Open Hymnal ABC X:74 via tools/abc_import.py\n%% Open Hymnal X:74; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8( g'8) a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 g'4 fis'8( g'8) a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 b'4 a'4 g'4 b'4 d''4. c''8 b'2 e'4 fis'4 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 e'4 d'4 d'4 c'4 d'4. c'8 b2\n}\ntenor = {\n  b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 g4 d'8 c'8 b4 g4 a4 fis4 g2 g4 a4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 fis4 g4 g4 fis4 d4 g2 c4 c4 b,4 e4 d4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "dix-oh74", "tune": "dix-77-77-77", "music_file": "dix-oh74.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:74 (line 7231); words William Chatterton Dix 1860, music Conrad Kocher 1838 abridged by William Henry Monk 1861, setting alt. for The English Hymnal 1906; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:74 (line 7231)", "encoding_license": "PD-dedication"}, "music_ly": "%% As With Gladness Men of Old\n%% Imported from Open Hymnal ABC X:74 via tools/abc_import.py\n%% Open Hymnal X:74; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8( g'8) a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 g'4 fis'8( g'8) a'4 g'4 c''4 c''4 b'2 e'4 fis'4 g'4 e'4 d'4 d'4 d'2 b'4 a'4 g'4 b'4 d''4. c''8 b'2 e'4 fis'4 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 c'4 d'4 d'2 e'4 d'4 d'4 c'4 b4 a4 b2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 e'4 d'4 d'4 c'4 d'4. c'8 b2\n}\ntenor = {\n  b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 b4 c'8 b8 a4 b4 g4 a4 g2 g4 a4 g4 g4 g4 fis4 g2 g4 d'8 c'8 b4 g4 a4 fis4 g2 g4 a4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 a8 g8 fis4 g4 e4 fis4 g2 c4 c4 b,4 c4 d4 d4 g,2 g4 fis4 g4 g4 fis4 d4 g2 c4 c4 b,4 e4 d4 d4 g,2\n}\n", "preferred": true}]}, "down-ampney": {"slug": "down-ampney", "name": "DOWN AMPNEY", "meter_label": "6.6.11.D", "meter": {"pattern": [6, 6, 11], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "ralph-vaughan-williams", "composer_date": "1906", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "down-ampney-english-hymnal-1906", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Down Ampney', Ralph Vaughan Williams, 1906. US public domain (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "down_ampney_vaughan_williams", "total_instances": 105}}, "harmonization": {"slug": "down-ampney-english-hymnal-1906", "tune": "down-ampney", "music_file": "down-ampney-english-hymnal-1906.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 25, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: Ralph Vaughan Williams, The English Hymnal, 1906. Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, R. Vaughan Williams, The English Hymnal, 1906. US-PD (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:116", "encoding_license": "PD-dedication"}, "music_ly": "%% Come Down, O Love Divine\n%% Imported from Open Hymnal ABC X:116 via tools/abc_import.py\n%% Public domain: Bianco of Siena, tr. Littledale 1867; tune RVW 1906 (US-PD by pre-1929 pub.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 e'4 fis'4 a'2 b'2 a'1 a'2 b'4 a'4 d''4( cis''4) b'2 a'2 a'2 b'4 a'4 g'4 fis'4 e'4 d'4 e'4 fis'8( g'8) e'2 d'2 d''2 cis''4 b'4 a'2 b'2 a'1 c''2 b'4 a'4 g'2 fis'2 e'2 e'2 a'4 b'4 a'4 g'4 fis'4 d'4 e'4 fis'8( g'8) e'2 d'2\n}\nalto = {\n  a2 a4 d'4 d'4( cis'4) b4( cis'4) d'1 fis'2 fis'4 e'4 d'4( e'4) d'2 cis'2 d'2 d'4 cis'4 d'4 d'4 b4 d'4 d'4 d'4 d'4( cis'4) d'2 fis'2 fis'4 d'4 fis'2 e'4( d'4) cis'1 e'2 d'4 d'4 b4( cis'4) d'2 a2 cis'2 d'4 d'4 cis'4 d'8 e'8 a4 d'4 d'4 d'4 d'4( cis'4) d'2\n}\ntenor = {\n  fis2 a4 d4 e2 g4( e4) fis1 a2 d4 e4 fis4( a4) a4( gis4) a2 fis2 g4 e4 g4 a4 g4 a4 b4 b4 a4.( g8) fis2 b2 a4 b4 d'4( cis'4) b2 cis'1 g4( a4) b4 fis4 g2 a4( b4) cis'2 a2 a4 g4 e4 b4 a4 a4 b4 g4 a4.( g8) fis2\n}\nbass = {\n  d2 cis4 d4 a,2 g,2 d1 d2 d4 cis4 b,4( cis4) e2 a,2 d2 g,4 a,4 b,4 d4 g4 fis4 g4 e4 a,2 d2 b2 fis4 g4 d4( fis4) gis2 a1 e4( fis4) g4 d4 e2 fis4( g4) a2 a,4( g,4) fis,4 g,4 a,4 b,8 cis8 d4 fis4 g4 e4 a,2 d2\n}\n"}, "harmonizations": [{"slug": "down-ampney-english-hymnal-1906", "tune": "down-ampney", "music_file": "down-ampney-english-hymnal-1906.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 25, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: Ralph Vaughan Williams, The English Hymnal, 1906. Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, R. Vaughan Williams, The English Hymnal, 1906. US-PD (pub. pre-1929).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:116", "encoding_license": "PD-dedication"}, "music_ly": "%% Come Down, O Love Divine\n%% Imported from Open Hymnal ABC X:116 via tools/abc_import.py\n%% Public domain: Bianco of Siena, tr. Littledale 1867; tune RVW 1906 (US-PD by pre-1929 pub.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 e'4 fis'4 a'2 b'2 a'1 a'2 b'4 a'4 d''4( cis''4) b'2 a'2 a'2 b'4 a'4 g'4 fis'4 e'4 d'4 e'4 fis'8( g'8) e'2 d'2 d''2 cis''4 b'4 a'2 b'2 a'1 c''2 b'4 a'4 g'2 fis'2 e'2 e'2 a'4 b'4 a'4 g'4 fis'4 d'4 e'4 fis'8( g'8) e'2 d'2\n}\nalto = {\n  a2 a4 d'4 d'4( cis'4) b4( cis'4) d'1 fis'2 fis'4 e'4 d'4( e'4) d'2 cis'2 d'2 d'4 cis'4 d'4 d'4 b4 d'4 d'4 d'4 d'4( cis'4) d'2 fis'2 fis'4 d'4 fis'2 e'4( d'4) cis'1 e'2 d'4 d'4 b4( cis'4) d'2 a2 cis'2 d'4 d'4 cis'4 d'8 e'8 a4 d'4 d'4 d'4 d'4( cis'4) d'2\n}\ntenor = {\n  fis2 a4 d4 e2 g4( e4) fis1 a2 d4 e4 fis4( a4) a4( gis4) a2 fis2 g4 e4 g4 a4 g4 a4 b4 b4 a4.( g8) fis2 b2 a4 b4 d'4( cis'4) b2 cis'1 g4( a4) b4 fis4 g2 a4( b4) cis'2 a2 a4 g4 e4 b4 a4 a4 b4 g4 a4.( g8) fis2\n}\nbass = {\n  d2 cis4 d4 a,2 g,2 d1 d2 d4 cis4 b,4( cis4) e2 a,2 d2 g,4 a,4 b,4 d4 g4 fis4 g4 e4 a,2 d2 b2 fis4 g4 d4( fis4) gis2 a1 e4( fis4) g4 d4 e2 fis4( g4) a2 a,4( g,4) fis,4 g,4 a,4 b,8 cis8 d4 fis4 g4 e4 a,2 d2\n}\n", "preferred": true}]}, "duke-street": {"slug": "duke-street", "name": "DUKE STREET", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-hatton", "composer_date": "1793", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "duke-street-fotw-1904", "provenance": {"layer": "tune", "source": "fotw-1904", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John Hatton, 1793. Composer d. 1793.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "duke_street_hatton", "total_instances": 1769}}, "harmonization": {"slug": "duke-street-fotw-1904", "tune": "duke-street", "music_file": "duke-street-fotw-1904.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 18, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "fotw-1904", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:1", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Finest of the Wheat No. 3, 1904; composite of 1869/1871 settings. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:1 via tools/abc_import.py\n%% When I Survey the Wondrous Cross\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 g'4 aes'4 bes'2 c''4( d''4) ees''2 d''4( c''4) bes'1 bes'2 bes'4 bes'4 c''2 bes'2 aes'2 g'2 f'1 g'2 g'4 f'4 ees'4( g'4) bes'4( ees''4) c''4( bes'4) aes'4( g'4) f'1 bes'2 c''4 d''4 ees''2. aes'4 g'2 f'2 ees'1\n}\nalto = {\n  ees'2 ees'4 d'4 ees'2 ees'4( f'4) g'2 f'4( ees'4) d'1 ees'2 ees'4 ees'4 ees'2 ees'4( bes4) c'4( d'4) ees'2 d'1 ees'2 ees'4 bes4 bes4( ees'4) ees'2 ees'2 d'4( ees'4) d'1 ees'2 ees'4 f'4 g'4.( f'8 ees'4) f'4 ees'2 d'2 ees'1\n}\ntenor = {\n  g2 bes4 bes4 bes2 aes2 g4( bes4) bes4( a4) bes1 g2 g4 bes4 aes2 bes4( g4) aes2 bes2 bes1 bes2 bes4 bes4 g4( bes4) bes2 c'4( ees'4) bes2 bes1 bes2 aes4 aes4 g4.( aes8 bes4) c'4 bes2 aes2 g1\n}\nbass = {\n  ees2 ees4 f4 g2 aes4( f4) ees2 f2 bes,1 ees2 ees4 g4 aes2 g2 f2 ees2 bes,1 ees2 ees4 d4 ees2 g2 aes4( g4) f4( ees4) bes,1 g2 aes4 f4 ees4.( f8 g4) aes4 bes2 bes,2 ees1\n}\n\n%% --- lyrics extracted from w: (paste into the text YAML) ---\n%%   1: \"When I sur -- vey the won -- drous cross On which the Prince of Glo -- ry died, My rich -- est gain I count but loss, And pour con -- tempt on all my pride.\"\n%%   2: \"For -- bid it, Lord, that I should boast, Save in the death of Christ my God! All the vain things that charm me most, I sac -- ri -- fice them to His blood.\"\n%%   3: \"See from His head, His hands, His feet, Sor -- row and love flow min -- gled down! Did e'er such love and sor -- row meet, Or thorns com -- pose so rich a crown?\"\n%%   4: \"His dy -- ing crim -- son, like a robe, Spreads o'er His bo -- dy on the tree; Then I am dead to all the globe, And all the globe is dead to me.\"\n%%   5: \"Were the whole realm of na -- ture mine, That were a pre -- sent far too small; Love so a -- ma -- zing, so di -- vine, De -- mands my soul, my life, my all.\"\n"}, "harmonizations": [{"slug": "duke-street-fotw-1904", "tune": "duke-street", "music_file": "duke-street-fotw-1904.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 18, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "fotw-1904", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:1", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Finest of the Wheat No. 3, 1904; composite of 1869/1871 settings. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:1 via tools/abc_import.py\n%% When I Survey the Wondrous Cross\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 g'4 aes'4 bes'2 c''4( d''4) ees''2 d''4( c''4) bes'1 bes'2 bes'4 bes'4 c''2 bes'2 aes'2 g'2 f'1 g'2 g'4 f'4 ees'4( g'4) bes'4( ees''4) c''4( bes'4) aes'4( g'4) f'1 bes'2 c''4 d''4 ees''2. aes'4 g'2 f'2 ees'1\n}\nalto = {\n  ees'2 ees'4 d'4 ees'2 ees'4( f'4) g'2 f'4( ees'4) d'1 ees'2 ees'4 ees'4 ees'2 ees'4( bes4) c'4( d'4) ees'2 d'1 ees'2 ees'4 bes4 bes4( ees'4) ees'2 ees'2 d'4( ees'4) d'1 ees'2 ees'4 f'4 g'4.( f'8 ees'4) f'4 ees'2 d'2 ees'1\n}\ntenor = {\n  g2 bes4 bes4 bes2 aes2 g4( bes4) bes4( a4) bes1 g2 g4 bes4 aes2 bes4( g4) aes2 bes2 bes1 bes2 bes4 bes4 g4( bes4) bes2 c'4( ees'4) bes2 bes1 bes2 aes4 aes4 g4.( aes8 bes4) c'4 bes2 aes2 g1\n}\nbass = {\n  ees2 ees4 f4 g2 aes4( f4) ees2 f2 bes,1 ees2 ees4 g4 aes2 g2 f2 ees2 bes,1 ees2 ees4 d4 ees2 g2 aes4( g4) f4( ees4) bes,1 g2 aes4 f4 ees4.( f8 g4) aes4 bes2 bes,2 ees1\n}\n\n%% --- lyrics extracted from w: (paste into the text YAML) ---\n%%   1: \"When I sur -- vey the won -- drous cross On which the Prince of Glo -- ry died, My rich -- est gain I count but loss, And pour con -- tempt on all my pride.\"\n%%   2: \"For -- bid it, Lord, that I should boast, Save in the death of Christ my God! All the vain things that charm me most, I sac -- ri -- fice them to His blood.\"\n%%   3: \"See from His head, His hands, His feet, Sor -- row and love flow min -- gled down! Did e'er such love and sor -- row meet, Or thorns com -- pose so rich a crown?\"\n%%   4: \"His dy -- ing crim -- son, like a robe, Spreads o'er His bo -- dy on the tree; Then I am dead to all the globe, And all the globe is dead to me.\"\n%%   5: \"Were the whole realm of na -- ture mine, That were a pre -- sent far too small; Love so a -- ma -- zing, so di -- vine, De -- mands my soul, my life, my all.\"\n", "preferred": true}]}, "dundee": {"slug": "dundee", "name": "DUNDEE", "alt_name": "FRENCH", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Scottish Psalter (Edinburgh), 1615", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "dundee-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "DUNDEE (also called FRENCH / FRENCH TUNE), one of the twelve \"Common Tunes\" of the Scottish Psalter (Edinburgh, 1615). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4; the raised sixth A-natural at the third-phrase cadence is printed with a natural in the source and carried in the soprano). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Dundee\" (Scottish Psalter, 1615); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "dundee-cyberhymnal", "tune": "dundee", "music_file": "dundee-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DUNDEE (FRENCH), Scottish Psalter, 1615. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune DUNDEE (Scottish Psalter, Edinburgh, 1615); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Dundee\" (Scottish Psalter, 1615); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% DUNDEE (C.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Dundee\", Scottish Psalter 1615) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% C.M. (28 soprano notes = 28 syllables). The soprano A-natural in bar 6 is the\n%% raised sixth printed with a natural in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  es'4 g'4 as'4 bes'4 | es'4 f'4 g'4 as'4 | g'4 f'4 es'4 es'4 | d'4 es'2. |\n  bes'4 es''4 d''4 c''4 | bes'4 bes'4 a'4 bes'4 | g'4 f'4 es'4 es'4 | d'4 es'2.\n}\nalto = {\n  bes4 es'4 es'4 d'4 | es'4 d'4 es'4 es'4 | es'4 d'4 c'4 c'4 | bes4 bes2. |\n  es'4 g'4 f'4 es'4 | d'4 c'4 c'4 d'4 | es'4 c'4 bes4 c'4 | bes4 bes2.\n}\ntenor = {\n  g4 bes4 es4 f4 | bes4 as4 bes4 c'4 | bes4 bes4 g4 as4 | f4 g2. |\n  g4 bes4 bes4 g4 | f4 g4 f4 f4 | bes4 as4 g4 f4 | f4 g2.\n}\nbass = {\n  es4 es4 c4 bes,4 | g4 f4 es4 as,4 | es4 bes,4 c4 as,4 | bes,4 es2. |\n  es4 es4 bes,4 c4 | d4 es4 f4 bes,4 | es,4 f,4 g,4 as,4 | bes,4 es2.\n}\n"}, "harmonizations": [{"slug": "dundee-cyberhymnal", "tune": "dundee", "music_file": "dundee-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DUNDEE (FRENCH), Scottish Psalter, 1615. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune DUNDEE (Scottish Psalter, Edinburgh, 1615); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Dundee\" (Scottish Psalter, 1615); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% DUNDEE (C.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Dundee\", Scottish Psalter 1615) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% C.M. (28 soprano notes = 28 syllables). The soprano A-natural in bar 6 is the\n%% raised sixth printed with a natural in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  es'4 g'4 as'4 bes'4 | es'4 f'4 g'4 as'4 | g'4 f'4 es'4 es'4 | d'4 es'2. |\n  bes'4 es''4 d''4 c''4 | bes'4 bes'4 a'4 bes'4 | g'4 f'4 es'4 es'4 | d'4 es'2.\n}\nalto = {\n  bes4 es'4 es'4 d'4 | es'4 d'4 es'4 es'4 | es'4 d'4 c'4 c'4 | bes4 bes2. |\n  es'4 g'4 f'4 es'4 | d'4 c'4 c'4 d'4 | es'4 c'4 bes4 c'4 | bes4 bes2.\n}\ntenor = {\n  g4 bes4 es4 f4 | bes4 as4 bes4 c'4 | bes4 bes4 g4 as4 | f4 g2. |\n  g4 bes4 bes4 g4 | f4 g4 f4 f4 | bes4 as4 g4 f4 | f4 g2.\n}\nbass = {\n  es4 es4 c4 bes,4 | g4 f4 es4 as,4 | es4 bes,4 c4 as,4 | bes,4 es2. |\n  es4 es4 bes,4 c4 | d4 es4 f4 bes,4 | es,4 f,4 g,4 as,4 | bes,4 es2.\n}\n", "preferred": true}]}, "easter-hymn": {"slug": "easter-hymn", "name": "EASTER HYMN", "meter_label": "7.7.7.7 with Alleluias", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "composer_source": "Lyra Davidica, 1708", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "easter-hymn-oh109", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:109; all components published pre-1931 (latest year 1887).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "easter_hymn_lyra_davidica", "total_instances": 666}}, "harmonization": {"slug": "easter-hymn-oh109", "tune": "easter-hymn", "music_file": "easter-hymn-oh109.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [18, 36, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:109; all components published pre-1931 (latest year 1887).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:109", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Christ Is Risen Today\n%% Imported from Open Hymnal ABC X:109 via tools/abc_import.py\n%% Open Hymnal X:109; all components published pre-1931 (latest year 1887).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4 c'4 f'4 a'4 a'4( g'4) e'8( f'8 g'8 c'8 f'4) e'8( f'8) e'4( d'4) c'2 f'4 g'4 a'4 g'4 f'4 e'4 e'4( d'4) e'8( f'8 g'8 c'8 f'4) e'8( f'8) e'4( d'4) c'2 b'4 c''4 d''4 g'4 c''4 d''4 e''2 b'8( c''8 d''8 g'8 c''4) b'8( c''8) b'4( a'4) g'2 g'8( a'8) b'8( g'8) c''4 e'4 f'4 a'4 a'4( g'4) c''8( b'8 c''8 g'8 a'8 b'8) c''8( d''8) c''4( b'4) c''2\n}\nalto = {\n  c'4 c'4 d'4 c'4 c'4 f'4 f'4( e'4) c'2( c'8 b8) c'4 c'4( b4) c'2 c'4 c'4 c'4 c'4 c'8 b8 c'4 c'4( b4) c'2( c'8 b8) c'4 c'4( b4) c'2 g'4. fis'8 g'4 g'4 g'4 f'4 e'2 g'2( g'8 fis'8) g'4 g'4( fis'4) g'2 b8 c'8 d'8 b8 c'4 c'4 c'4 f'4 f'4( e'4) e'8( f'8 g'8 e'8 f'4) e'8 d'8 e'4( g'8 f'8) e'2\n}\ntenor = {\n  e4 g4 g4 e4 f4 c'4 c'2 g2( a8 f8) g8 a8 g4.( f8) e2 f4 e4 f4 g4 a8 f8 g4 g2 g2( a8 f8) g8 a8 g4.( f8) e2 d'4 c'4 b4 b4 c'4. b8 c'2 d'2( d'4) d'8 c'8 d'4.( c'8) b2 g4 g4 g4 g4 f4 c'4 c'2 g4.( c'8 c'8 d'8) g8 a8 g2 g2\n}\nbass = {\n  c4 c4 b,4 c4 a,4 f,4 c2 c8( d8 e4 d4) c8 f,8 g,2 c2 a,4 c4 f4 e4 d4 c4 g,2 c8( d8 e4 d4) c8 f,8 g,2 c2 g,4 a,4 b,4 g8 f8 e4 d4 c2 g8( a8 b4 a4) g8 e8 d2 g,2 g4. f8 e4 c8 b,8 a,4 f,4 c2 c8( d8 e8 c8 f8 d8) e8 f8 g4( g,4) c2\n}\n"}, "harmonizations": [{"slug": "easter-hymn-oh109", "tune": "easter-hymn", "music_file": "easter-hymn-oh109.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [18, 36, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:109; all components published pre-1931 (latest year 1887).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:109", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Christ Is Risen Today\n%% Imported from Open Hymnal ABC X:109 via tools/abc_import.py\n%% Open Hymnal X:109; all components published pre-1931 (latest year 1887).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4 c'4 f'4 a'4 a'4( g'4) e'8( f'8 g'8 c'8 f'4) e'8( f'8) e'4( d'4) c'2 f'4 g'4 a'4 g'4 f'4 e'4 e'4( d'4) e'8( f'8 g'8 c'8 f'4) e'8( f'8) e'4( d'4) c'2 b'4 c''4 d''4 g'4 c''4 d''4 e''2 b'8( c''8 d''8 g'8 c''4) b'8( c''8) b'4( a'4) g'2 g'8( a'8) b'8( g'8) c''4 e'4 f'4 a'4 a'4( g'4) c''8( b'8 c''8 g'8 a'8 b'8) c''8( d''8) c''4( b'4) c''2\n}\nalto = {\n  c'4 c'4 d'4 c'4 c'4 f'4 f'4( e'4) c'2( c'8 b8) c'4 c'4( b4) c'2 c'4 c'4 c'4 c'4 c'8 b8 c'4 c'4( b4) c'2( c'8 b8) c'4 c'4( b4) c'2 g'4. fis'8 g'4 g'4 g'4 f'4 e'2 g'2( g'8 fis'8) g'4 g'4( fis'4) g'2 b8 c'8 d'8 b8 c'4 c'4 c'4 f'4 f'4( e'4) e'8( f'8 g'8 e'8 f'4) e'8 d'8 e'4( g'8 f'8) e'2\n}\ntenor = {\n  e4 g4 g4 e4 f4 c'4 c'2 g2( a8 f8) g8 a8 g4.( f8) e2 f4 e4 f4 g4 a8 f8 g4 g2 g2( a8 f8) g8 a8 g4.( f8) e2 d'4 c'4 b4 b4 c'4. b8 c'2 d'2( d'4) d'8 c'8 d'4.( c'8) b2 g4 g4 g4 g4 f4 c'4 c'2 g4.( c'8 c'8 d'8) g8 a8 g2 g2\n}\nbass = {\n  c4 c4 b,4 c4 a,4 f,4 c2 c8( d8 e4 d4) c8 f,8 g,2 c2 a,4 c4 f4 e4 d4 c4 g,2 c8( d8 e4 d4) c8 f,8 g,2 c2 g,4 a,4 b,4 g8 f8 e4 d4 c2 g8( a8 b4 a4) g8 e8 d2 g,2 g4. f8 e4 c8 b,8 a,4 f,4 c2 c8( d8 e8 c8 f8 d8) e8 f8 g4( g,4) c2\n}\n", "preferred": true}]}, "ebeling": {"slug": "ebeling", "name": "EBELING", "meter_label": "8.3.3.6.D", "meter": {"pattern": [8, 3, 3, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-georg-ebeling", "composer_date": "1863", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "ebeling-chorale-book-1863", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:47; EBELING, Johann Georg Ebeling 1666. Composer d. 1676. Public domain.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "ebeling-chorale-book-1863", "tune": "ebeling", "music_file": "ebeling-chorale-book-1863.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 20, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:47; setting 'The Chorale Book for England' 1863. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:47", "encoding_license": "PD-dedication"}, "music_ly": "%% All My Heart This Night Rejoices\n%% Imported from Open Hymnal ABC X:47 via tools/abc_import.py\n%% Open Hymnal X:47; words Gerhardt 1656 / tr. Winkworth 1858, tune Ebeling 1666, setting Chorale Book for England 1863 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 a'2 b'2. a'4 b'4 d''4 e''2 d''1 d''4 e''4 c''2 c''4 d''4 b'2 b'4 d''4 c''4 b'4 a'2 g'2 d''2 c''2 b'2. a'4 g'4 fis'4 e'2 d'1 d''4 e''4 c''2 c''4 d''4 b'2 b'4 a'4 c''4 b'4 a'2 g'2\n}\nalto = {\n  d'2 fis'2 g'2. a'4 g'4 g'4 g'2 g'1 g'4 b'4 a'2 e'4 a'4 g'2 g'4 g'4 g'4 g'4 fis'2 g'2 d'2 e'4( fis'4) g'2. a'4 d'4 d'4 d'4( cis'4) d'1 a'4 b'4 a'2 g'4 a'4 g'2 g'4 fis'4 g'4 g'4 g'4( fis'4) g'2\n}\ntenor = {\n  b2 d'2 d'2. d'4 d'4 d'4 c'2 d'1 d'4 b4 e'2 c'4 a4 d'2 d'4 b4 c'4 d'4 d'2 b2 b2 c'2 d'2. d'4 b4 a4 a2 fis1 d'4 b4 e'2 c'4 a4 d'2 d'4 d'4 e'4 d'4 d'2 b2\n}\nbass = {\n  g2 d2 g2. fis4 g4 b4 c'2 b1 b4 g4 a2 a4 fis4 g2 g4 g4 e4 g4 d2 g2 b2 a2 g2. fis4 g4 d4 a,2 d1 fis4 g4 a2 e4 fis4 g2 g4 d4 c4 g4 d2 g2\n}\n"}, "harmonizations": [{"slug": "ebeling-chorale-book-1863", "tune": "ebeling", "music_file": "ebeling-chorale-book-1863.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 20, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:47; setting 'The Chorale Book for England' 1863. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:47", "encoding_license": "PD-dedication"}, "music_ly": "%% All My Heart This Night Rejoices\n%% Imported from Open Hymnal ABC X:47 via tools/abc_import.py\n%% Open Hymnal X:47; words Gerhardt 1656 / tr. Winkworth 1858, tune Ebeling 1666, setting Chorale Book for England 1863 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 a'2 b'2. a'4 b'4 d''4 e''2 d''1 d''4 e''4 c''2 c''4 d''4 b'2 b'4 d''4 c''4 b'4 a'2 g'2 d''2 c''2 b'2. a'4 g'4 fis'4 e'2 d'1 d''4 e''4 c''2 c''4 d''4 b'2 b'4 a'4 c''4 b'4 a'2 g'2\n}\nalto = {\n  d'2 fis'2 g'2. a'4 g'4 g'4 g'2 g'1 g'4 b'4 a'2 e'4 a'4 g'2 g'4 g'4 g'4 g'4 fis'2 g'2 d'2 e'4( fis'4) g'2. a'4 d'4 d'4 d'4( cis'4) d'1 a'4 b'4 a'2 g'4 a'4 g'2 g'4 fis'4 g'4 g'4 g'4( fis'4) g'2\n}\ntenor = {\n  b2 d'2 d'2. d'4 d'4 d'4 c'2 d'1 d'4 b4 e'2 c'4 a4 d'2 d'4 b4 c'4 d'4 d'2 b2 b2 c'2 d'2. d'4 b4 a4 a2 fis1 d'4 b4 e'2 c'4 a4 d'2 d'4 d'4 e'4 d'4 d'2 b2\n}\nbass = {\n  g2 d2 g2. fis4 g4 b4 c'2 b1 b4 g4 a2 a4 fis4 g2 g4 g4 e4 g4 d2 g2 b2 a2 g2. fis4 g4 d4 a,2 d1 fis4 g4 a2 e4 fis4 g2 g4 d4 c4 g4 d2 g2\n}\n", "preferred": true}]}, "ebenezer": {"slug": "ebenezer", "name": "EBENEZER", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-j-williams", "composer_date": "1890", "canonical_key": {"tonic": "f", "mode": "minor"}, "preferred_harmonization": "ebenezer-oh", "provenance": {"layer": "tune", "source": "ebenezer-williams-1890", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "EBENEZER ('Ton-y-Botel'), Thomas J. Williams; composed 1890, published pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "ebenezer_williams", "total_instances": 342}}, "harmonization": {"slug": "ebenezer-oh", "tune": "ebenezer", "music_file": "ebenezer-oh.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "8/4", "pickup": null, "system_breaks": [24, 48, 71], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Music: Thomas J. Williams, 1890 (EBENEZER). Public domain.", "provenance": {"layer": "harmonization", "source": "a-hymnal-episcopal-1916", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting 'A Hymnal' (Episcopal), 1916. Pre-1931. Shared by both texts — byte-identical EBENEZER music (Open Hymnal X:120 = X:176).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:176", "encoding_license": "PD-dedication"}, "music_ly": "%% O the Deep, Deep Love of Jesus\n%% Imported from Open Hymnal ABC X:176 via tools/abc_import.py\n%% Public domain: text S. Trevor Francis, 1875; Tune Thomas J. Williams, composed 1890; setting 'A Hymnal' (Episcopal), 1916. All published pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 8/4 }\n\nsoprano = {\n  f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1 c''2 \\tuplet 3/2 { aes'4 bes'4 c''4 } bes'2 bes'2 aes'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 g'2 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } bes'2 bes'2 aes'2 \\tuplet 3/2 { bes'4 aes'4 bes'4 } c''1 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1\n}\nalto = {\n  c'2 c'2 e'2 f'2 f'2 e'2 f'2 c'2 c'2 \\tuplet 3/2 { ees'2 f'4 } g'2 f'2 f'2 e'2 f'1 c'2 c'2 e'2 f'2 f'2 e'2 f'2 c'2 c'2 \\tuplet 3/2 { ees'2 f'4 } g'2 f'2 f'2 e'2 f'1 ees'2 ees'2 ees'2 ees'2 c'2 f'2 f'2 e'2 f'2 c'2 f'2 ees'2 c'2 f'2 e'1 aes2 f'2 e'2 f'2 f'2 e'2 f'2 f'2 ees'2 ees'2 ees'2 f'2 f'2 e'2 f'1\n}\ntenor = {\n  aes2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 ees'2 \\tuplet 3/2 { bes2 aes4 } c'2 c'2 des'4.( c'8) bes2 aes1 aes2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 ees'2 \\tuplet 3/2 { bes2 aes4 } c'2 c'2 des'4.( c'8) bes2 aes1 aes2 aes2 aes2 g2 aes2 c'2 c'2 c'2 f2 aes2 aes2 g2 aes2 f2 g1 f2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 aes2 \\tuplet 3/2 { g4 aes4 bes4 } aes4.( g8) f2 des'4.( c'8) bes2 aes1\n}\nbass = {\n  f,2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 \\tuplet 3/2 { g2 f4 } e2 f2 bes,2 c2 f1 f,2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 \\tuplet 3/2 { g2 f4 } e2 f2 bes,2 c2 f1 aes,2 c2 ees2 ees2 f2 aes,2 c2 c2 f2 ees2 des2 ees2 f4( ees4) des2 c1 des2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 ees2 aes,2 des2 bes,2 c2 f1\n}\n"}, "harmonizations": [{"slug": "ebenezer-oh", "tune": "ebenezer", "music_file": "ebenezer-oh.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "8/4", "pickup": null, "system_breaks": [24, 48, 71], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Music: Thomas J. Williams, 1890 (EBENEZER). Public domain.", "provenance": {"layer": "harmonization", "source": "a-hymnal-episcopal-1916", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting 'A Hymnal' (Episcopal), 1916. Pre-1931. Shared by both texts — byte-identical EBENEZER music (Open Hymnal X:120 = X:176).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:176", "encoding_license": "PD-dedication"}, "music_ly": "%% O the Deep, Deep Love of Jesus\n%% Imported from Open Hymnal ABC X:176 via tools/abc_import.py\n%% Public domain: text S. Trevor Francis, 1875; Tune Thomas J. Williams, composed 1890; setting 'A Hymnal' (Episcopal), 1916. All published pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 8/4 }\n\nsoprano = {\n  f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1 c''2 \\tuplet 3/2 { aes'4 bes'4 c''4 } bes'2 bes'2 aes'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 g'2 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } bes'2 bes'2 aes'2 \\tuplet 3/2 { bes'4 aes'4 bes'4 } c''1 f'2 \\tuplet 3/2 { f'4 g'4 aes'4 } g'2 f'2 g'2 \\tuplet 3/2 { g'4 aes'4 bes'4 } aes'4.( g'8) f'2 c''2 \\tuplet 3/2 { bes'4 c''4 des''4 } c''4.( bes'8) aes'2 bes'4.( aes'8) g'2 f'1\n}\nalto = {\n  c'2 c'2 e'2 f'2 f'2 e'2 f'2 c'2 c'2 \\tuplet 3/2 { ees'2 f'4 } g'2 f'2 f'2 e'2 f'1 c'2 c'2 e'2 f'2 f'2 e'2 f'2 c'2 c'2 \\tuplet 3/2 { ees'2 f'4 } g'2 f'2 f'2 e'2 f'1 ees'2 ees'2 ees'2 ees'2 c'2 f'2 f'2 e'2 f'2 c'2 f'2 ees'2 c'2 f'2 e'1 aes2 f'2 e'2 f'2 f'2 e'2 f'2 f'2 ees'2 ees'2 ees'2 f'2 f'2 e'2 f'1\n}\ntenor = {\n  aes2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 ees'2 \\tuplet 3/2 { bes2 aes4 } c'2 c'2 des'4.( c'8) bes2 aes1 aes2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 ees'2 \\tuplet 3/2 { bes2 aes4 } c'2 c'2 des'4.( c'8) bes2 aes1 aes2 aes2 aes2 g2 aes2 c'2 c'2 c'2 f2 aes2 aes2 g2 aes2 f2 g1 f2 c'2 c'2 aes2 des'2 c'2 c'4.( bes8) aes2 aes2 \\tuplet 3/2 { g4 aes4 bes4 } aes4.( g8) f2 des'4.( c'8) bes2 aes1\n}\nbass = {\n  f,2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 \\tuplet 3/2 { g2 f4 } e2 f2 bes,2 c2 f1 f,2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 \\tuplet 3/2 { g2 f4 } e2 f2 bes,2 c2 f1 aes,2 c2 ees2 ees2 f2 aes,2 c2 c2 f2 ees2 des2 ees2 f4( ees4) des2 c1 des2 aes,2 c2 des2 bes,2 c2 f2 f2 aes2 ees2 aes,2 des2 bes,2 c2 f1\n}\n", "preferred": true}]}, "ein-feste-burg-isorhythmic": {"slug": "ein-feste-burg-isorhythmic", "name": "EIN FESTE BURG (ISORHYTHMIC)", "meter_label": "8.7.8.7.6.6.6.6.7", "meter": {"pattern": [8, 7, 8, 7, 6, 6, 6, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "martin-luther", "composer_date": "1917", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "ein-feste-burg-isorhythmic-oh127", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:127; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "ein_feste_burg_luther", "total_instances": 802}}, "harmonization": {"slug": "ein-feste-burg-isorhythmic-oh127", "tune": "ein-feste-burg-isorhythmic", "music_file": "ein-feste-burg-isorhythmic-oh127.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:127; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:127", "encoding_license": "PD-dedication"}, "music_ly": "%% A Mighty Fortress Is Our God\n%% Imported from Open Hymnal ABC X:127 via tools/abc_import.py\n%% Open Hymnal X:127; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d''4 d''4 d''4 a'8( b'8) cis''4 d''8( cis''8) b'4 a'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4 d''4 d''4 d''4 a'8( b'8) cis''4 d''8( cis''8) b'4 a'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4 d'4 fis'4 a'4 b'4 gis'4 a'4 d'4 a'4 a'4 b'4 cis''4 d''4 cis''4 d''4 cis''4 b'4 b'4 a'4 b'4 b'4 a'4 b'4 g'4 fis'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4\n}\nalto = {\n  fis'4 d'4 fis'4 e'4 e'4 d'4 e'4 cis'4 d'4 fis'4 d'4 d'4 d'4 b4( cis'4) d'4 fis'4 d'4 fis'4 e'4 e'4 d'4 e'4 cis'4 d'4 fis'4 d'4 d'4 d'4 b4( cis'4) d'4 d'4 d'4 e'4 fis'4 e'4 e'4 d'4 e'4 fis'4 g'4 g'4 fis'4 fis'4 fis'4 e'4 fis'4 e'8( d'8) cis'4 g'4 g'4 fis'4 fis'4 e'4 cis'4 fis'4 fis'8 e'8 d'4 d'8 c'8 b4 b4( c'4) d'4\n}\ntenor = {\n  a4 a4 a4 a8 gis8 a4 fis4 gis4 a4 fis4 a4 g4 fis4 fis4 g4( a4) fis4 a4 a4 a4 a8 gis8 a4 fis4 gis4 a4 fis4 a4 g4 fis4 fis4 g4( a4) fis4 fis4 a2 d'4 b4 cis'4 fis4 a4 d'4 d'4 e'4 a4 a4 fis4 a4 a4( gis4) a4 d'4 d'4. c'8 b4 b4 ais4 b4 a4 g4 fis4 fis4 g4( a8 g8) fis4\n}\nbass = {\n  d4 fis4 d4 cis8 b,8 a,4 b,4 e4 a,4 b,4 fis4 g4 d4 b,4 e4( a,4) d4 d4 fis4 d4 cis8 b,8 a,4 b,4 e4 a,4 b,4 fis4 g4 d4 b,4 e4( a,4) d4 d4 d4 cis4 b,4 e4 a,4 b,4 cis4 d4 g4 e4 d4 fis4 b,4 cis4 d4( e4) a,4 g,4 b,4 d4 dis4 e4 fis4 b,4 fis4 g4 d4 dis4 e4( a,4) d4\n}\n"}, "harmonizations": [{"slug": "ein-feste-burg-isorhythmic-oh127", "tune": "ein-feste-burg-isorhythmic", "music_file": "ein-feste-burg-isorhythmic-oh127.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:127; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:127", "encoding_license": "PD-dedication"}, "music_ly": "%% A Mighty Fortress Is Our God\n%% Imported from Open Hymnal ABC X:127 via tools/abc_import.py\n%% Open Hymnal X:127; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d''4 d''4 d''4 a'8( b'8) cis''4 d''8( cis''8) b'4 a'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4 d''4 d''4 d''4 a'8( b'8) cis''4 d''8( cis''8) b'4 a'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4 d'4 fis'4 a'4 b'4 gis'4 a'4 d'4 a'4 a'4 b'4 cis''4 d''4 cis''4 d''4 cis''4 b'4 b'4 a'4 b'4 b'4 a'4 b'4 g'4 fis'4 d''4 cis''4 b'4 a'4 b'4 g'8( fis'8 e'4) d'4\n}\nalto = {\n  fis'4 d'4 fis'4 e'4 e'4 d'4 e'4 cis'4 d'4 fis'4 d'4 d'4 d'4 b4( cis'4) d'4 fis'4 d'4 fis'4 e'4 e'4 d'4 e'4 cis'4 d'4 fis'4 d'4 d'4 d'4 b4( cis'4) d'4 d'4 d'4 e'4 fis'4 e'4 e'4 d'4 e'4 fis'4 g'4 g'4 fis'4 fis'4 fis'4 e'4 fis'4 e'8( d'8) cis'4 g'4 g'4 fis'4 fis'4 e'4 cis'4 fis'4 fis'8 e'8 d'4 d'8 c'8 b4 b4( c'4) d'4\n}\ntenor = {\n  a4 a4 a4 a8 gis8 a4 fis4 gis4 a4 fis4 a4 g4 fis4 fis4 g4( a4) fis4 a4 a4 a4 a8 gis8 a4 fis4 gis4 a4 fis4 a4 g4 fis4 fis4 g4( a4) fis4 fis4 a2 d'4 b4 cis'4 fis4 a4 d'4 d'4 e'4 a4 a4 fis4 a4 a4( gis4) a4 d'4 d'4. c'8 b4 b4 ais4 b4 a4 g4 fis4 fis4 g4( a8 g8) fis4\n}\nbass = {\n  d4 fis4 d4 cis8 b,8 a,4 b,4 e4 a,4 b,4 fis4 g4 d4 b,4 e4( a,4) d4 d4 fis4 d4 cis8 b,8 a,4 b,4 e4 a,4 b,4 fis4 g4 d4 b,4 e4( a,4) d4 d4 d4 cis4 b,4 e4 a,4 b,4 cis4 d4 g4 e4 d4 fis4 b,4 cis4 d4( e4) a,4 g,4 b,4 d4 dis4 e4 fis4 b,4 fis4 g4 d4 dis4 e4( a,4) d4\n}\n", "preferred": true}]}, "ellacombe": {"slug": "ellacombe", "name": "ELLACOMBE", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "ellacombe-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ELLACOMBE, a German melody first printed in the Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle (Württemberg), 1784, and long the standard tune for Jennette Threlfall's \"Hosanna, loud hosanna.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4 with a one-beat anacrusis; melismatic, 70 soprano notes for 52 syllables — the melismas are the slurred eighth-note figures in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellacombe\" (Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "ellacombe-cyberhymnal", "tune": "ellacombe", "music_file": "ellacombe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 17, 27, 35, 45, 52, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ELLACOMBE, Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ELLACOMBE (German; Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat anacrusis; melismatic, 70 soprano notes for 52 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellacombe\" (Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ELLACOMBE (7.6.7.6.D) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ellacombe\", Gesangbuch der Herzoglichen\n%% Wirtembergischen Katholischen Hofkapelle, 1784) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 4/4 with a one-beat anacrusis (\\partial 4).\n%% MELISMATIC: 70 soprano notes for 52 syllables (7.6.7.6.D); the melismas are the\n%% slurred eighth-note figures — ten two-note pairs and four three-note groups —\n%% held with '_' each stanza (verse_variable_melisma). Fully diatonic (no printed\n%% accidentals). The final measure is a dotted half, balancing the quarter anacrusis.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'4 c''4 c''4 | d''2. f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'8( es'8) bes'4 a'4 | bes'2. bes'8( c''8) |\n  d''4 c''4 d''4 es''4 | c''4 a'8( bes'8 c''4) bes'8( c''8) | d''4 c''4 d''4 es''4 | c''2. f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'8( es'8) bes'4 a'4 | bes'2.\n}\nalto = {\n  f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 f'4 g'4 f'4 | f'2. f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 d'8 es'8 f'4 f'4 | f'2. d'8 es'8 |\n  f'4 f'4 f'4 g'4 | f'4. bes'8 f'4 d'8 f'8 | f'4 f'4 f'4 g'4 | f'2. f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 d'8 es'8 f'4 f'4 | f'2.\n}\ntenor = {\n  f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 bes4 a4 | bes2. f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 bes4 c'4 | d'2. bes4 |\n  bes4 c'4 bes4 bes4 | a4 f8 g8 a4 d'8 c'8 | bes4 c'4 bes4 bes4 | a2. f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 c'4 c'4 | d'2.\n}\nbass = {\n  f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 d4 es4 f4 | bes,2. f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 g4 f4 f4 | bes,2. bes,4 |\n  bes4 a4 bes4 es4 | a4 f8 g8 f4 g8 a8 | bes4 a4 bes4 es4 | f2. f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 g4 f4 f4 | bes,2.\n}\n"}, "harmonizations": [{"slug": "ellacombe-cyberhymnal", "tune": "ellacombe", "music_file": "ellacombe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 17, 27, 35, 45, 52, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ELLACOMBE, Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ELLACOMBE (German; Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat anacrusis; melismatic, 70 soprano notes for 52 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellacombe\" (Gesangbuch der Herzoglichen Wirtembergischen Katholischen Hofkapelle, 1784); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ELLACOMBE (7.6.7.6.D) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ellacombe\", Gesangbuch der Herzoglichen\n%% Wirtembergischen Katholischen Hofkapelle, 1784) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 4/4 with a one-beat anacrusis (\\partial 4).\n%% MELISMATIC: 70 soprano notes for 52 syllables (7.6.7.6.D); the melismas are the\n%% slurred eighth-note figures — ten two-note pairs and four three-note groups —\n%% held with '_' each stanza (verse_variable_melisma). Fully diatonic (no printed\n%% accidentals). The final measure is a dotted half, balancing the quarter anacrusis.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'4 c''4 c''4 | d''2. f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'8( es'8) bes'4 a'4 | bes'2. bes'8( c''8) |\n  d''4 c''4 d''4 es''4 | c''4 a'8( bes'8 c''4) bes'8( c''8) | d''4 c''4 d''4 es''4 | c''2. f'4 |\n  bes'4 a'8( g'8) f'4 bes'4 | d'4 es'8( bes8 f'4) f'4 | g'8( a'8) bes'8( es'8) bes'4 a'4 | bes'2.\n}\nalto = {\n  f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 f'4 g'4 f'4 | f'2. f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 d'8 es'8 f'4 f'4 | f'2. d'8 es'8 |\n  f'4 f'4 f'4 g'4 | f'4. bes'8 f'4 d'8 f'8 | f'4 f'4 f'4 g'4 | f'2. f'4 |\n  bes'4 a'8 g'8 f'4 f'4 | d'4 c'8 bes8 c'4 d'4 | es'8 a'8 d'8 es'8 f'4 f'4 | f'2.\n}\ntenor = {\n  f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 bes4 a4 | bes2. f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 bes4 c'4 | d'2. bes4 |\n  bes4 c'4 bes4 bes4 | a4 f8 g8 a4 d'8 c'8 | bes4 c'4 bes4 bes4 | a2. f4 |\n  bes4 a8 g8 f4 bes4 | bes2 a4 bes4 | bes4 bes4 c'4 c'4 | d'2.\n}\nbass = {\n  f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 d4 es4 f4 | bes,2. f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 g4 f4 f4 | bes,2. bes,4 |\n  bes4 a4 bes4 es4 | a4 f8 g8 f4 g8 a8 | bes4 a4 bes4 es4 | f2. f4 |\n  bes4 a8 g8 f4 d4 | g2 f4 bes,4 | es4 g4 f4 f4 | bes,2.\n}\n", "preferred": true}]}, "ellesdie": {"slug": "ellesdie", "name": "ELLESDIE", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "wolfgang-mozart", "composer_date": "1872", "arranger": "hubert-p-main", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "ellesdie-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ELLESDIE (8.7.8.7 D), the standard American tune for Henry Lyte's \"Jesus, I my cross have taken.\" Traditionally attributed to Wolfgang Amadeus Mozart (1756-1791), but the attribution is conventional only — no Mozart source is known; the tune first appears in Joshua Leavitt's The Christian Lyre (1831). The four-part setting used here is Hubert P. Main's arrangement of 1872, as printed by The Cyber Hymnal (\"Wolfgang Mozart, arr. Hubert Platt Main, 1872\"; Hymnary.org tune authority ellesdie_mozart concurs: attributed to Mozart, arranger Hubert P. Main). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (A-flat major, 4/4, no pickup, half-note finals; melismatic, 70 soprano notes for 60 syllables, ten two-note melisma slurs per stanza; the soprano matches Hymnary's authority incipit 11113 22112 22243 exactly). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellesdie\" (attr. W. A. Mozart, arr. Hubert P. Main, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "ellesdie_mozart", "total_instances": 583}}, "harmonization": {"slug": "ellesdie-cyberhymnal", "tune": "ellesdie", "music_file": "ellesdie-cyberhymnal.ly", "harmonizer": "hubert-p-main", "arrangement_type": "arrangement", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 35, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ELLESDIE, arranged from a theme attributed to W. A. Mozart by Hubert P. Main, 1872. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ELLESDIE (8.7.8.7 D), traditionally attributed to Wolfgang Amadeus Mozart (1756-1791) but with no known Mozart source (it first appears in Joshua Leavitt's The Christian Lyre, 1831); this four-part setting is the arrangement by Hubert P. Main (1839-1925), 1872, as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (A-flat major, 4/4, no pickup; ten two-note melisma slurs per stanza; alto D-naturals in bars 7 and 15 printed with naturals). The tune (1831), the arrangement (1872), and Lyte's text (1824) are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellesdie\" (arr. Hubert P. Main, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "ellesdie_mozart", "total_instances": 583}}, "music_ly": "%% ELLESDIE (8.7.8.7 D) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ellesdie\", traditionally attributed\n%% to Wolfgang A. Mozart — no Mozart source is known; arranged by Hubert P. Main,\n%% 1872) with tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving. 4/4, no pickup, half-note finals. MELISMATIC: 70 soprano notes for\n%% 60 syllables — ten two-note melisma slurs per stanza, printed in the source:\n%% the beamed eighth pair closing lines 1/3/5/7 (soprano notes 7-8, 24-25, 42-43,\n%% 59-60), the quarter pair closing lines 2/6 (notes 16-17, 51-52), and the twin\n%% eighth pairs mid-way through lines 4/8 (notes 29-30 + 31-32, 64-65 + 66-67).\n%% The alto D-naturals in bars 7 and 15 are the only non-scale tones, printed\n%% with naturals in the source and carried as d'. Tenor and bass share printed\n%% double-stemmed unisons (bars 4, 7, 11, 12, 15) — both streams carry them.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4. bes'8 bes'4 bes'4 | des''4. c''8 c''4( bes'4) |\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4 bes'4 bes'8( des''8) c''8( bes'8) | as'4 g'4 as'2 |\n  bes'4. bes'8 bes'4 bes'4 | bes'4. as'8 as'8( g'8) g'4 |\n  c''4. c''8 c''4 c''4 | des''4. c''8 c''4( bes'4) |\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4 bes'4 bes'8( des''8) c''8( bes'8) | as'4 g'4 as'2\n}\nalto = {\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4. es'8 es'4 es'4 | es'4. es'8 es'2 |\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4 d'2 es'8 f'8 | es'4 des'4 c'2 |\n  es'4. es'8 des'4 des'4 | c'4. c'8 des'4 des'4 |\n  c'4. es'8 es'4 es'4 | es'4. es'8 es'2 |\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4 d'4 es'4 es'8 f'8 | es'4 des'4 c'2\n}\ntenor = {\n  es4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4. g8 g4 g4 | bes4. as8 as4 g4 |\n  as4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4 as4 bes4 as8 des'8 | c'4 bes4 as2 |\n  g4. g8 g4 g4 | as4. as8 bes4 bes4 |\n  as4. as8 as4 as4 | bes4. as8 as4 g4 |\n  as4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4 as4 bes4 as8 des'8 | c'4 bes4 as2\n}\nbass = {\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4. es8 es4 es4 | g4. as8 es2 |\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4 f4 g4 as8 des8 | es4 es4 as,2 |\n  es4. es8 es4 es4 | es4. es8 es4 es4 |\n  as4. as8 as4 as4 | g4. as8 es2 |\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4 f4 g4 as8 des8 | es4 es4 as,2\n}\n"}, "harmonizations": [{"slug": "ellesdie-cyberhymnal", "tune": "ellesdie", "music_file": "ellesdie-cyberhymnal.ly", "harmonizer": "hubert-p-main", "arrangement_type": "arrangement", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 35, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ELLESDIE, arranged from a theme attributed to W. A. Mozart by Hubert P. Main, 1872. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ELLESDIE (8.7.8.7 D), traditionally attributed to Wolfgang Amadeus Mozart (1756-1791) but with no known Mozart source (it first appears in Joshua Leavitt's The Christian Lyre, 1831); this four-part setting is the arrangement by Hubert P. Main (1839-1925), 1872, as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (A-flat major, 4/4, no pickup; ten two-note melisma slurs per stanza; alto D-naturals in bars 7 and 15 printed with naturals). The tune (1831), the arrangement (1872), and Lyte's text (1824) are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ellesdie\" (arr. Hubert P. Main, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "ellesdie_mozart", "total_instances": 583}}, "music_ly": "%% ELLESDIE (8.7.8.7 D) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ellesdie\", traditionally attributed\n%% to Wolfgang A. Mozart — no Mozart source is known; arranged by Hubert P. Main,\n%% 1872) with tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving. 4/4, no pickup, half-note finals. MELISMATIC: 70 soprano notes for\n%% 60 syllables — ten two-note melisma slurs per stanza, printed in the source:\n%% the beamed eighth pair closing lines 1/3/5/7 (soprano notes 7-8, 24-25, 42-43,\n%% 59-60), the quarter pair closing lines 2/6 (notes 16-17, 51-52), and the twin\n%% eighth pairs mid-way through lines 4/8 (notes 29-30 + 31-32, 64-65 + 66-67).\n%% The alto D-naturals in bars 7 and 15 are the only non-scale tones, printed\n%% with naturals in the source and carried as d'. Tenor and bass share printed\n%% double-stemmed unisons (bars 4, 7, 11, 12, 15) — both streams carry them.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4. bes'8 bes'4 bes'4 | des''4. c''8 c''4( bes'4) |\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4 bes'4 bes'8( des''8) c''8( bes'8) | as'4 g'4 as'2 |\n  bes'4. bes'8 bes'4 bes'4 | bes'4. as'8 as'8( g'8) g'4 |\n  c''4. c''8 c''4 c''4 | des''4. c''8 c''4( bes'4) |\n  as'4. as'8 as'4 as'4 | c''4. bes'8 bes'8( as'8) as'4 |\n  bes'4 bes'4 bes'8( des''8) c''8( bes'8) | as'4 g'4 as'2\n}\nalto = {\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4. es'8 es'4 es'4 | es'4. es'8 es'2 |\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4 d'2 es'8 f'8 | es'4 des'4 c'2 |\n  es'4. es'8 des'4 des'4 | c'4. c'8 des'4 des'4 |\n  c'4. es'8 es'4 es'4 | es'4. es'8 es'2 |\n  c'4. des'8 c'4 es'4 | es'4. es'8 es'4 es'4 |\n  es'4 d'4 es'4 es'8 f'8 | es'4 des'4 c'2\n}\ntenor = {\n  es4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4. g8 g4 g4 | bes4. as8 as4 g4 |\n  as4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4 as4 bes4 as8 des'8 | c'4 bes4 as2 |\n  g4. g8 g4 g4 | as4. as8 bes4 bes4 |\n  as4. as8 as4 as4 | bes4. as8 as4 g4 |\n  as4. f8 es4 as4 | as4. des'8 des'8 c'8 c'4 |\n  g4 as4 bes4 as8 des'8 | c'4 bes4 as2\n}\nbass = {\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4. es8 es4 es4 | g4. as8 es2 |\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4 f4 g4 as8 des8 | es4 es4 as,2 |\n  es4. es8 es4 es4 | es4. es8 es4 es4 |\n  as4. as8 as4 as4 | g4. as8 es2 |\n  as,4. as,8 as,4 c4 | es4. es8 as,4 as,4 |\n  es4 f4 g4 as8 des8 | es4 es4 as,2\n}\n", "preferred": true}]}, "erhalt-uns-herr-bei-deinem-wort": {"slug": "erhalt-uns-herr-bei-deinem-wort", "name": "ERHALT UNS, HERR, BEI DEINEM WORT", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German, 16th century", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:159; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "erhalt-uns-herr-bei-deinem-wort-oh159", "tune": "erhalt-uns-herr-bei-deinem-wort", "music_file": "erhalt-uns-herr-bei-deinem-wort-oh159.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:159; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:159", "encoding_license": "PD-dedication"}, "music_ly": "%% The Law Of God Is Good And Wise\n%% Imported from Open Hymnal ABC X:159 via tools/abc_import.py\n%% Open Hymnal X:159; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 e'4 d'4 e'4 g'4 fis'4 e'2 g'2 a'4 a'4 b'4 g'4 a'4 a'4 b'2 b'2 c''4 b'4 d''4 b'4 a'4 a'4 g'2 b'2 g'4 a'4 g'4 fis'4 e'4 dis'4 e'2\n}\nalto = {\n  b2 b4 a4 b4 c'4 e'4 dis'4 b2 e'2 e'4 fis'4 g'4 e'4 e'4 fis'4 g'2 d'2 e'4 d'4 fis'4 g'4 e'4 fis'4 d'2 d'2 e'4 e'4 d'4 d'4 b4 b4 b2\n}\ntenor = {\n  g2 e4 e4 fis4 a4 b4 b4 g2 c'2 c'4 d'4 d'4 c'4 c'4 d'4 d'2 g2 g4 g4 a4 g4 c'4 a4 b2 g2 g4 c'4 b4 a4 g4 fis4 g2\n}\nbass = {\n  e2 e4 c4 b,4 a,4 g,8 a,8 b,4 e,2 c2 a,4 d4 g,4 c4 a,4 d4 g,2 g,2 c4 g,4 d4 e4 c4 d4 g,2 g,2 c4 a,4 b,4 d4 e4 b,4 e,2\n}\n"}, "harmonizations": [{"slug": "erhalt-uns-herr-bei-deinem-wort-cyberhymnal", "tune": "erhalt-uns-herr-bei-deinem-wort", "music_file": "erhalt-uns-herr-bei-deinem-wort-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ERHALT UNS, HERR, Geistliche Lieder (Wittenberg), 1543. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ERHALT UNS, HERR (Geistliche Lieder, Wittenberg, 1543), the proper tune for Luther's \"Erhalt uns, Herr, bei deinem Wort\"; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E minor, 4/4; the D-sharp leading tones at the cadences and the final G-sharp Picardy third are printed with sharps in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Erhalt uns, Herr\" (Geistliche Lieder, Wittenberg 1543); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ERHALT UNS, HERR (L.M.) — four SATB voice streams, canonical key E minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Erhalt uns, Herr\", Geistliche Lieder,\n%% Wittenberg 1543) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. Fully syllabic L.M. (32 soprano notes = 32 syllables, 4 lines of 8).\n%% The D-sharp leading tones at the cadences and the final G-sharp (Picardy third of\n%% the closing E-major chord) are printed with sharps in the source. The engraving\n%% draws the final chord as a whole note in an overfull 4/4 measure; it is written\n%% here as a half note so the 4/4 bars balance (matching every other phrase-final\n%% half note, and the independent Open Hymnal encoding of the same melody).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 e'4 | d'4 e'4 g'4 fis'4 | e'2 g'2 | a'4 a'4 b'4 g'4 | a'4 a'4 b'2 |\n  b'2 c''4 b'4 | d''4 b'4 a'4 a'4 | g'2 b'2 | g'4 a'4 g'4 fis'4 | e'4 dis'4 e'2\n}\nalto = {\n  b2 e'4 a4 | b4 c'4 e'4 dis'4 | c'2 e'2 | g'4 fis'4 d'4 e'4 | fis'4 e'4 dis'2 |\n  d'2 e'4 d'4 | d'4 g'4 g'4 fis'4 | d'2 d'2 | e'4 e'4 d'4 d'4 | b4 b4 b2\n}\ntenor = {\n  g2 b4 e4 | fis4 a4 b4 b4 | g2 b2 | e'4 d'4 b4 b4 | d'4 a4 fis2 |\n  g2 g4 g4 | a4 d'4 e'4 d'4 | b2 g2 | g4 c'4 b4 a4 | g4 fis4 gis2\n}\nbass = {\n  e2 e4 c4 | b,4 a,4 g,4 b,4 | e,2 e2 | c4 d4 g4 e4 | d4 c4 b,2 |\n  g,2 c4 g4 | fis4 g4 c4 d4 | b,2 g,2 | c4 a,4 b,4 d4 | e4 b,4 e,2\n}\n", "preferred": false}, {"slug": "erhalt-uns-herr-bei-deinem-wort-oh159", "tune": "erhalt-uns-herr-bei-deinem-wort", "music_file": "erhalt-uns-herr-bei-deinem-wort-oh159.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:159; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:159", "encoding_license": "PD-dedication"}, "music_ly": "%% The Law Of God Is Good And Wise\n%% Imported from Open Hymnal ABC X:159 via tools/abc_import.py\n%% Open Hymnal X:159; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 e'4 d'4 e'4 g'4 fis'4 e'2 g'2 a'4 a'4 b'4 g'4 a'4 a'4 b'2 b'2 c''4 b'4 d''4 b'4 a'4 a'4 g'2 b'2 g'4 a'4 g'4 fis'4 e'4 dis'4 e'2\n}\nalto = {\n  b2 b4 a4 b4 c'4 e'4 dis'4 b2 e'2 e'4 fis'4 g'4 e'4 e'4 fis'4 g'2 d'2 e'4 d'4 fis'4 g'4 e'4 fis'4 d'2 d'2 e'4 e'4 d'4 d'4 b4 b4 b2\n}\ntenor = {\n  g2 e4 e4 fis4 a4 b4 b4 g2 c'2 c'4 d'4 d'4 c'4 c'4 d'4 d'2 g2 g4 g4 a4 g4 c'4 a4 b2 g2 g4 c'4 b4 a4 g4 fis4 g2\n}\nbass = {\n  e2 e4 c4 b,4 a,4 g,8 a,8 b,4 e,2 c2 a,4 d4 g,4 c4 a,4 d4 g,2 g,2 c4 g,4 d4 e4 c4 d4 g,2 g,2 c4 a,4 b,4 d4 e4 b,4 e,2\n}\n", "preferred": true}]}, "es-ist-das-heil-uns-kommen-her": {"slug": "es-ist-das-heil-uns-kommen-her", "name": "ES IST DAS HEIL UNS KOMMEN HER", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Etlich Christlich Lider, Wittenberg, c. 1400", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "es-ist-das-heil-uns-kommen-her-oh135", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:135; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "es-ist-das-heil-uns-kommen-her-oh135", "tune": "es-ist-das-heil-uns-kommen-her", "music_file": "es-ist-das-heil-uns-kommen-her-oh135.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "8", "system_breaks": [9, 21, 33, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:135; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:135", "encoding_license": "PD-dedication"}, "music_ly": "%% All Who Believe and Are Baptized\n%% Imported from Open Hymnal ABC X:135 via tools/abc_import.py\n%% Open Hymnal X:135; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 8 }\n\nsoprano = {\n  bes'8 bes'4 bes'4 bes'4 des''4 c''4 bes'4 aes'4. bes'8 g'4 ees'4 g'4 aes'4 bes'4( c''4) bes'4. bes'8 bes'4 bes'4 bes'4 des''4 c''4 bes'4 aes'4. bes'8 g'4 ees'4 g'4 aes'4 bes'4( c''4) bes'4. bes'8 ees''4. des''8 c''4 bes'4 ees''4 c''4 bes'4. bes'8 ees''4. bes'8 bes'4 ees'4 g'4 bes'4 g'4. ees'8 f'4 aes'4 g'4 f'4 ees'4( f'4) ees'4.\n}\nalto = {\n  ees'8 ees'4 f'4 ees'4 des'4 ees'4 ees'4 c'4. ees'8 bes4 c'4 ees'4 ees'4 d'4( c'4) d'4. ees'8 ees'4 f'4 ees'4 des'4 ees'4 ees'4 c'4. ees'8 bes4 c'4 ees'4 ees'4 d'4( c'4) d'4. ees'8 ees'4. f'8 ees'4 ees'4 ees'4 ees'4 ees'4. f'8 ees'4. ees'8 des'4 c'4 ees'4 bes4 ees'4. c'8 des'4 ees'4 ees'4 c'4 bes4( d'4) ees'4.\n}\ntenor = {\n  g8 g4 bes4 g4 f4 aes4 g4 aes4. g8 bes4 aes4 bes4 c'4 f8( bes4 a8) bes4. g8 g4 bes4 g4 f4 aes4 g4 aes4. g8 bes4 aes4 bes4 c'4 f8( bes4 a8) bes4. g8 g4 aes4 aes4 g4 aes4 aes4 g4. bes8 g4. g8 f4 aes4 bes4 f4 bes4. aes8 aes4 aes4 bes4 aes4 g4( f4) g4.\n}\nbass = {\n  ees8 ees4 d4 ees4 bes,4 aes,4 ees4 aes,4. ees8 ees4 aes,4 ees4 c4 bes,4( f4) bes,4. ees8 ees4 d4 ees4 bes,4 aes,4 ees4 aes,4. ees8 ees4 aes,4 ees4 c4 bes,4( f4) bes,4. ees8 c4. des8 aes,4 ees4 c4 aes,4 ees4. d8 c4. ees8 bes,4 aes,4 ees4 d4 ees4. aes,8 des4 c4 ees4 aes,4 bes,2 ees,4.\n}\n"}, "harmonizations": [{"slug": "es-ist-das-heil-uns-kommen-her-oh135", "tune": "es-ist-das-heil-uns-kommen-her", "music_file": "es-ist-das-heil-uns-kommen-her-oh135.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "8", "system_breaks": [9, 21, 33, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:135; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:135", "encoding_license": "PD-dedication"}, "music_ly": "%% All Who Believe and Are Baptized\n%% Imported from Open Hymnal ABC X:135 via tools/abc_import.py\n%% Open Hymnal X:135; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 8 }\n\nsoprano = {\n  bes'8 bes'4 bes'4 bes'4 des''4 c''4 bes'4 aes'4. bes'8 g'4 ees'4 g'4 aes'4 bes'4( c''4) bes'4. bes'8 bes'4 bes'4 bes'4 des''4 c''4 bes'4 aes'4. bes'8 g'4 ees'4 g'4 aes'4 bes'4( c''4) bes'4. bes'8 ees''4. des''8 c''4 bes'4 ees''4 c''4 bes'4. bes'8 ees''4. bes'8 bes'4 ees'4 g'4 bes'4 g'4. ees'8 f'4 aes'4 g'4 f'4 ees'4( f'4) ees'4.\n}\nalto = {\n  ees'8 ees'4 f'4 ees'4 des'4 ees'4 ees'4 c'4. ees'8 bes4 c'4 ees'4 ees'4 d'4( c'4) d'4. ees'8 ees'4 f'4 ees'4 des'4 ees'4 ees'4 c'4. ees'8 bes4 c'4 ees'4 ees'4 d'4( c'4) d'4. ees'8 ees'4. f'8 ees'4 ees'4 ees'4 ees'4 ees'4. f'8 ees'4. ees'8 des'4 c'4 ees'4 bes4 ees'4. c'8 des'4 ees'4 ees'4 c'4 bes4( d'4) ees'4.\n}\ntenor = {\n  g8 g4 bes4 g4 f4 aes4 g4 aes4. g8 bes4 aes4 bes4 c'4 f8( bes4 a8) bes4. g8 g4 bes4 g4 f4 aes4 g4 aes4. g8 bes4 aes4 bes4 c'4 f8( bes4 a8) bes4. g8 g4 aes4 aes4 g4 aes4 aes4 g4. bes8 g4. g8 f4 aes4 bes4 f4 bes4. aes8 aes4 aes4 bes4 aes4 g4( f4) g4.\n}\nbass = {\n  ees8 ees4 d4 ees4 bes,4 aes,4 ees4 aes,4. ees8 ees4 aes,4 ees4 c4 bes,4( f4) bes,4. ees8 ees4 d4 ees4 bes,4 aes,4 ees4 aes,4. ees8 ees4 aes,4 ees4 c4 bes,4( f4) bes,4. ees8 c4. des8 aes,4 ees4 c4 aes,4 ees4. d8 c4. ees8 bes,4 aes,4 ees4 d4 ees4. aes,8 des4 c4 ees4 aes,4 bes,2 ees,4.\n}\n", "preferred": true}]}, "es-ist-ein-ros-entsprungen": {"slug": "es-ist-ein-ros-entsprungen", "name": "ES IST EIN ROS", "meter_label": "7.6.7.6.6.7.6", "meter": {"pattern": [7, 6, 7, 6, 6, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "michael-praetorius", "composer_date": "1609", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "es-ist-ein-ros-entsprungen-oh63", "provenance": {"layer": "tune", "source": "es-ist-ein-ros-koln-1599", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Es ist ein Ros entsprungen', German, Köln 1599. Anonymous, pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "es_ist_ein_ros_5556553", "total_instances": 226}}, "harmonization": {"slug": "es-ist-ein-ros-entsprungen-oh63", "tune": "es-ist-ein-ros-entsprungen", "music_file": "es-ist-ein-ros-entsprungen-oh63.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [7, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 13, 20, 26, 32, 39], "alternates": [{"voice": "bass", "voice_note": 45, "pitch": "f,"}], "refrain": null, "provenance": {"layer": "harmonization", "source": "praetorius-1609", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Michael Praetorius, 1609. Praetorius d. 1621; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:63", "encoding_license": "PD-dedication"}, "music_ly": "%% Lo, How a Rose E'er Blooming\n%% Imported from Open Hymnal ABC X:63 via tools/abc_import.py\n%% Public domain: 15th c. German, tr. Baker 1894; tune German, Köln 1599, setting Praetorius 1609. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. a'4 | g'4 e'4 f'4 d'4 | c'2. c''4 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2.\n}\nalto = {\n  a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. f'4 | d'4 c'4 c'4 b4 | c'2. e'4 | g'4 f'4 f'4 f'4 | e'2 d'2 d'2 | f'4 d'4( e'4) f'4 c'2 | c'2.\n}\ntenor = {\n  c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'4 | bes4 a4 a4 g4 | e2. g4 | g4 a4 bes4 a4 | g2 fis2 g2 | c'4 bes4 a2 g2 | a2.\n}\nbass = {\n  f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f4 | g4 a4 f4 g4 | c2. c4 | e4 f4 bes,4 f4 | c2 d2 g,2 | a,4 bes,4 c2 c2 | f2.\n}\n"}, "harmonizations": [{"slug": "es-ist-ein-ros-entsprungen-oh63", "tune": "es-ist-ein-ros-entsprungen", "music_file": "es-ist-ein-ros-entsprungen-oh63.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [7, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 13, 20, 26, 32, 39], "alternates": [{"voice": "bass", "voice_note": 45, "pitch": "f,"}], "refrain": null, "provenance": {"layer": "harmonization", "source": "praetorius-1609", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Michael Praetorius, 1609. Praetorius d. 1621; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:63", "encoding_license": "PD-dedication"}, "music_ly": "%% Lo, How a Rose E'er Blooming\n%% Imported from Open Hymnal ABC X:63 via tools/abc_import.py\n%% Public domain: 15th c. German, tr. Baker 1894; tune German, Köln 1599, setting Praetorius 1609. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. a'4 | g'4 e'4 f'4 d'4 | c'2. c''4 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2.\n}\nalto = {\n  a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. f'4 | d'4 c'4 c'4 b4 | c'2. e'4 | g'4 f'4 f'4 f'4 | e'2 d'2 d'2 | f'4 d'4( e'4) f'4 c'2 | c'2.\n}\ntenor = {\n  c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'4 | bes4 a4 a4 g4 | e2. g4 | g4 a4 bes4 a4 | g2 fis2 g2 | c'4 bes4 a2 g2 | a2.\n}\nbass = {\n  f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f4 | g4 a4 f4 g4 | c2. c4 | e4 f4 bes,4 f4 | c2 d2 g,2 | a,4 bes,4 c2 c2 | f2.\n}\n", "preferred": true}]}, "es-ist-ein-ros-rhythmic": {"slug": "es-ist-ein-ros-rhythmic", "name": "ES IST EIN ROS", "meter_label": "7.6.7.6 with Refrain", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "michael-praetorius", "composer_date": "1609", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "es-ist-ein-ros-rhythmic-oh46", "provenance": {"layer": "tune", "source": "es-ist-ein-ros-koln-1599", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Es ist ein Ros entsprungen', German, Köln 1599. Anonymous, pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "es-ist-ein-ros-rhythmic-oh46", "tune": "es-ist-ein-ros-rhythmic", "music_file": "es-ist-ein-ros-rhythmic-oh46.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [13, 26, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 13, 20, 26, 32, 39], "alternates": [{"voice": "bass", "voice_note": 45, "pitch": "f,"}], "refrain": {"soprano_note_start": 27}, "markings": [{"soprano_note": 27, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "praetorius-1609", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Michael Praetorius, 1609. Praetorius d. 1621; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:46", "encoding_license": "PD-dedication"}, "music_ly": "%% A Great and Mighty Wonder\n%% Imported from Open Hymnal ABC X:46 via tools/abc_import.py\n%% Public domain: Germanus (634-734), tr. Neale 1862; tune German, Köln 1599, setting Praetorius 1609. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. a'4 | g'4 e'4 f'4 d'4 | c'2. c''4 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2.\n}\nalto = {\n  a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. f'4 | d'4 c'4 c'4 b4 | c'2. e'4 | g'4 f'4 f'4 f'4 | e'2 d'2 d'2 | f'4 d'4( e'4) f'4 c'2 | c'2.\n}\ntenor = {\n  c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'4 | bes4 a4 a4 g4 | e2. g4 | g4 a4 bes4 a4 | g2 fis2 g2 | c'4 bes4 a2 g2 | a2.\n}\nbass = {\n  f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f4 | g4 a4 f4 g4 | c2. c4 | e4 f4 bes,4 f4 | c2 d2 g,2 | a,4 bes,4 c2 c2 | f2.\n}\n"}, "harmonizations": [{"slug": "es-ist-ein-ros-rhythmic-oh46", "tune": "es-ist-ein-ros-rhythmic", "music_file": "es-ist-ein-ros-rhythmic-oh46.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [13, 26, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 13, 20, 26, 32, 39], "alternates": [{"voice": "bass", "voice_note": 45, "pitch": "f,"}], "refrain": {"soprano_note_start": 27}, "markings": [{"soprano_note": 27, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "praetorius-1609", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Michael Praetorius, 1609. Praetorius d. 1621; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:46", "encoding_license": "PD-dedication"}, "music_ly": "%% A Great and Mighty Wonder\n%% Imported from Open Hymnal ABC X:46 via tools/abc_import.py\n%% Public domain: Germanus (634-734), tr. Neale 1862; tune German, Köln 1599, setting Praetorius 1609. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. c''2 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2. a'4 | g'4 e'4 f'4 d'4 | c'2. c''4 | c''4 c''4 d''4 c''4 | c''2 a'2 bes'2 | a'4 g'2 f'2 e'4 | f'2.\n}\nalto = {\n  a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. a'2 | a'4 f'4 f'4 f'4 | e'2 d'2 d'2 | c'2 d'4 a4 c'2 | c'2. f'4 | d'4 c'4 c'4 b4 | c'2. e'4 | g'4 f'4 f'4 f'4 | e'2 d'2 d'2 | f'4 d'4( e'4) f'4 c'2 | c'2.\n}\ntenor = {\n  c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'2 | c'4 a4 bes4 a4 | g2 f2 f2 | a4 c'4 bes4( a2) g4 | a2. c'4 | bes4 a4 a4 g4 | e2. g4 | g4 a4 bes4 a4 | g2 fis2 g2 | c'4 bes4 a2 g2 | a2.\n}\nbass = {\n  f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f2 | f4 f4 bes4 f4 | c2 d2 bes,2 | f4 e4 d2 c2 | f2. f4 | g4 a4 f4 g4 | c2. c4 | e4 f4 bes,4 f4 | c2 d2 g,2 | a,4 bes,4 c2 c2 | f2.\n}\n", "preferred": true}]}, "es-ist-gewisslich-an-der-zeit": {"slug": "es-ist-gewisslich-an-der-zeit", "name": "ES IST GEWISSLICH AN DER ZEIT", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German, 16th century", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "es-ist-gewisslich-an-der-zeit-oh184", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:184; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "es_ist_gewisslich_an_der_zeit_sohren", "total_instances": 1}}, "harmonization": {"slug": "es-ist-gewisslich-an-der-zeit-oh184", "tune": "es-ist-gewisslich-an-der-zeit", "music_file": "es-ist-gewisslich-an-der-zeit-oh184.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 23, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:184; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:184", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 15, "pitch": "g,"}, {"voice": "bass", "voice_note": 30, "pitch": "g,"}], "music_ly": "%% Dear Christians, One and All Rejoice\n%% Imported from Open Hymnal ABC X:184 via tools/abc_import.py\n%% Open Hymnal X:184; all components published pre-1931 (latest year 1883).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  r4 g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'2 r4 g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'2 r4 b'4 b'4 a'4 g'4 fis'4 g'4 e'4 d'2 r4 d'4 g'4 g'4 g'4 fis'4 g'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'1\n}\nalto = {\n  s4 d'4 e'4 d'4 fis'4 e'4 e'4 fis'4 d'2 e'2 d'4 e'4 d'4 d'4 d'2 d'2 s4 d'4 e'4 d'4 fis'4 e'4 e'4 fis'4 d'2 e'2 d'4 e'4 d'4 d'4 d'2 d'2 s4 d'4 g'4 fis'4 e'4 d'4 b4 c'4 b2 s4 b4 d'4 e'4 d'4 d'4 b4 e'4 dis'2 b4( e'4) d'4 a'4 a'4 g'4 fis'8( e'8 fis'4) d'1\n}\ntenor = {\n  r4 b4 c'4 b4 d'4 b4 a4 a4 g2 b2 b4 g4 a4 g4 g8( fis16 e16 fis4) g8( a8 b4) r4 b4 c'4 b4 d'4 b4 a4 a4 g2 b2 b4 g4 a4 g4 g8( fis16 e16 fis4) g8( a8 b4) r4 b4 b4 c'4 c'4 a4 g4 g4 g2 r4 g4 b4 c'4 b4 a4 g4 e4 fis2 g4 b2 e'4 d'4 d'4 d'2 b1\n}\nbass = {\n  s4 g4 e4 g4 d4 e4 c4 d4 g2 e2 g4 e4 fis4 g4 d2 g2 s4 g4 e4 g4 d4 e4 c4 d4 g2 e2 g4 e4 fis4 g4 d2 g2 s4 g4 e4 a,4 c4 d4 e4 c4 g2 s4 g,4 g,4 c4 g,4 d4 e4 c4 b,2 e2 g4 a4 fis4 g4 d2 g,1\n}\n"}, "harmonizations": [{"slug": "es-ist-gewisslich-an-der-zeit-oh184", "tune": "es-ist-gewisslich-an-der-zeit", "music_file": "es-ist-gewisslich-an-der-zeit-oh184.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 23, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:184; all components published pre-1931 (latest year 1883).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:184", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 15, "pitch": "g,"}, {"voice": "bass", "voice_note": 30, "pitch": "g,"}], "music_ly": "%% Dear Christians, One and All Rejoice\n%% Imported from Open Hymnal ABC X:184 via tools/abc_import.py\n%% Open Hymnal X:184; all components published pre-1931 (latest year 1883).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  r4 g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'2 r4 g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'2 r4 b'4 b'4 a'4 g'4 fis'4 g'4 e'4 d'2 r4 d'4 g'4 g'4 g'4 fis'4 g'4 a'4 b'2 g'2 b'4 c''4 d''4 b'4 a'2 g'1\n}\nalto = {\n  s4 d'4 e'4 d'4 fis'4 e'4 e'4 fis'4 d'2 e'2 d'4 e'4 d'4 d'4 d'2 d'2 s4 d'4 e'4 d'4 fis'4 e'4 e'4 fis'4 d'2 e'2 d'4 e'4 d'4 d'4 d'2 d'2 s4 d'4 g'4 fis'4 e'4 d'4 b4 c'4 b2 s4 b4 d'4 e'4 d'4 d'4 b4 e'4 dis'2 b4( e'4) d'4 a'4 a'4 g'4 fis'8( e'8 fis'4) d'1\n}\ntenor = {\n  r4 b4 c'4 b4 d'4 b4 a4 a4 g2 b2 b4 g4 a4 g4 g8( fis16 e16 fis4) g8( a8 b4) r4 b4 c'4 b4 d'4 b4 a4 a4 g2 b2 b4 g4 a4 g4 g8( fis16 e16 fis4) g8( a8 b4) r4 b4 b4 c'4 c'4 a4 g4 g4 g2 r4 g4 b4 c'4 b4 a4 g4 e4 fis2 g4 b2 e'4 d'4 d'4 d'2 b1\n}\nbass = {\n  s4 g4 e4 g4 d4 e4 c4 d4 g2 e2 g4 e4 fis4 g4 d2 g2 s4 g4 e4 g4 d4 e4 c4 d4 g2 e2 g4 e4 fis4 g4 d2 g2 s4 g4 e4 a,4 c4 d4 e4 c4 g2 s4 g,4 g,4 c4 g,4 d4 e4 c4 b,2 e2 g4 a4 fis4 g4 d2 g,1\n}\n", "preferred": true}]}, "es-ist-kein-tag": {"slug": "es-ist-kein-tag", "name": "ES IST KEIN TAG", "meter_label": "8.8.8.4", "meter": {"pattern": [8, 8, 8, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-d-meyer", "composer_date": "1906", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "es-ist-kein-tag-oh271", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:271; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "es_ist_kein_tag_meyer", "total_instances": 54}}, "harmonization": {"slug": "es-ist-kein-tag-oh271", "tune": "es-ist-kein-tag", "music_file": "es-ist-kein-tag-oh271.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:271; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:271", "encoding_license": "PD-dedication"}, "music_ly": "%% O Lord of Heav'n and Earth and Sea\n%% Imported from Open Hymnal ABC X:271 via tools/abc_import.py\n%% Open Hymnal X:271; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 d''4 cis''8( b'8) a'4 b'8( a'8) g'8( fis'8) e'4 d'4 fis'8( g'8) a'4 a'4 b'4 cis''4 d''4 d''8( e''8) cis''4 d''8( cis''8) b'4 a'4 g'4 e'4 fis'4. g'8 a'4 d'8( e'8) fis'2 e'2 d'2.\n}\nalto = {\n  d'8 cis'8 d'4 g'4 fis'8 e'8 d'4 d'8 b8 cis'4 d'4 d'4 a'8 g'8 fis'8 e'8 d'4 g'8 a'8 fis'4 e'4 e'4 d'4 d'8 e'8 fis'4 b4 e'4 d'4 d'4 d'4 d'4 d'2. cis'4 d'2.\n}\ntenor = {\n  fis8 g8 a4 cis'4 d'8 cis'8 b8 cis'8 d'4 a4 fis4 a4 d'8 e'8 d'8 cis'8 b4 e'4 a4 b4 a4 a4 b8 cis'8 d'4 b4 a4 a4 b4 a4 fis8 g8 a4( b4) e2 fis2.\n}\nbass = {\n  d8 e8 fis4 e4 fis4 g8 a8 b8 g8 a4 d4 d8 e8 fis4 fis4 g8 fis8 e4 fis4 gis4 a4 fis4 g4 fis4 e4 cis4 d8 cis8 b,4 fis,4 b,4 a,4( g,4) a,2 d2.\n}\n"}, "harmonizations": [{"slug": "es-ist-kein-tag-oh271", "tune": "es-ist-kein-tag", "music_file": "es-ist-kein-tag-oh271.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:271; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:271", "encoding_license": "PD-dedication"}, "music_ly": "%% O Lord of Heav'n and Earth and Sea\n%% Imported from Open Hymnal ABC X:271 via tools/abc_import.py\n%% Open Hymnal X:271; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 d''4 cis''8( b'8) a'4 b'8( a'8) g'8( fis'8) e'4 d'4 fis'8( g'8) a'4 a'4 b'4 cis''4 d''4 d''8( e''8) cis''4 d''8( cis''8) b'4 a'4 g'4 e'4 fis'4. g'8 a'4 d'8( e'8) fis'2 e'2 d'2.\n}\nalto = {\n  d'8 cis'8 d'4 g'4 fis'8 e'8 d'4 d'8 b8 cis'4 d'4 d'4 a'8 g'8 fis'8 e'8 d'4 g'8 a'8 fis'4 e'4 e'4 d'4 d'8 e'8 fis'4 b4 e'4 d'4 d'4 d'4 d'4 d'2. cis'4 d'2.\n}\ntenor = {\n  fis8 g8 a4 cis'4 d'8 cis'8 b8 cis'8 d'4 a4 fis4 a4 d'8 e'8 d'8 cis'8 b4 e'4 a4 b4 a4 a4 b8 cis'8 d'4 b4 a4 a4 b4 a4 fis8 g8 a4( b4) e2 fis2.\n}\nbass = {\n  d8 e8 fis4 e4 fis4 g8 a8 b8 g8 a4 d4 d8 e8 fis4 fis4 g8 fis8 e4 fis4 gis4 a4 fis4 g4 fis4 e4 cis4 d8 cis8 b,4 fis,4 b,4 a,4( g,4) a,2 d2.\n}\n", "preferred": true}]}, "eton": {"slug": "eton", "name": "ETON", "meter_label": "8.7.8.7.4.7", "meter": {"pattern": [8, 7, 8, 7, 4, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-barnby", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "eton-methodist-1905", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "ETON, ascribed on the page to Joseph Barnby, read from The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184 — archive.org methodi00meth leaf n195, collated against archive.org methodisthymnal01churgoog leaf n202. The header line reads \"259 ETON  8. 7. 8. 7. 4. 7.\" with \"JOSEPH BARNBY\" at the right margin; F major, 4/4, no pickup, 12 bars, 44 soprano noteheads for 41 syllables. THE PAGE PRINTS NO DATE FOR THE TUNE and none is asserted here. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. The same page sets the same text a second time as \"259 GREENVILLE 8s. 7s. 6l. (Second Tune)\" (Jean J. Rousseau); that setting is a different tune and is not encoded. The soprano was fingerprinted against all 291 corpus tunes before engraving (tools/tune_fingerprint.py): best match 0.60 (ANTIOCH), far below the 0.80 duplicate threshold, so this melody is new to the corpus.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "eton-methodist-1905", "tune": "eton", "music_file": "eton-methodist-1905.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "alternates": [{"voice": "bass", "voice_note": 41, "pitch": "f,"}], "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Joseph Barnby's four-part setting of ETON as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184, headed \"259  ETON  8. 7. 8. 7. 4. 7.\" over \"JOSEPH BARNBY\", in F major and 4/4 with no pickup, twelve bars. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE: archive.org methodi00meth leaf n195 (2813 px across, greyscale, staff space 29.0 px) and archive.org methodisthymnal01churgoog leaf n202 (3270 px across, bitonal, staff space 34.6 px). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its OWN local paper level (ink darker than 82% of a 41x41 grey-dilation + box filter) and closed 5x5 to seal the pale gaps inside a head; holes under 0.40 staff space^2 and under 0.85 x 0.70 staff spaces were filled so a HOLLOW head reads as a disc while the paper enclosed by staff lines and barlines does not; heads were then isolated by morphological erosion with an ellipse of semi-axes 0.30 x 0.215 staff spaces; cores taller than 1.15 staff spaces are merged upper/lower pairs and were split at the midpoint of their two clean outer edges with the separation snapped to a whole step; and every core was converted to a diatonic step against a FRESH five-line fit made in a +-2.4-staff-space window around that core's own x, so the plate's skew and curvature cannot drag a reading. Scan 1 resolved 150 notehead cores, 145 of them within 0.15 diatonic step of an exact staff position and the other five between 0.16 and 0.19; scan 2, read independently the same way with its own binarisation and its own staff-line fits, resolved 144, 138 of them within 0.15. Over the 78 note columns both passes resolved — 139 noteheads — there are 0 disagreements. Voices were separated by the plate's own engraving: two heads in a staff are its upper and lower voice; one head carrying both an up and a down stem is a unison (this happens four times — soprano/alto on \"-y\" in m. 5, on \"pit-\" in m. 7 and on \"power:\" in m. 8, and tenor/bass on \"and\" in m. 4); one head carrying a single stem where another voice is holding is that stem's voice only. HOLLOW HEADS WERE READ A THIRD WAY REGARDLESS: all 19 half and whole heads in the hymn proper (the five columns at soprano notes 16, 32, 42, 43 and 44, across both staves) and the nine in the two engraved Amen chords were read off crops with the FITTED five-line grid drawn over them at 5x to 12x, on scan 1 and again on scan 2, and that by-eye reading is what ships; the same treatment was given to every core that measured outside 0.15 step. FINALLY THE COMMITTED .ly WAS PARSED BACK AND CHECKED AGAINST BOTH RIGS' READINGS: for each of the six staves, the measured columns must form a subsequence of the .ly's columns with every measured head present in the column it lands on. All twelve staff-by-scan runs pass, and the only three measured columns that do not sit inside a .ly column are accounted for: two are the engraved Amen chords, which this file deliberately does not carry, and the third is scan 2's reading of the lower hollow head of the \"no\" chord (m. 11, bass staff) at 3.61 steps — 0.39 off any staff position, because the ring merges with the D3 line. Read on the grid at 9x on scan 1 and again on scan 2, that head sits clear of both neighbouring lines in the C3 space, and C3 is what is encoded. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, AND THE AUTOMATED AGREEMENT FIGURE ABOVE COVERS NONE OF THEM — a notehead probe reads staff positions, not the sharps and naturals in front of them. Both leaves were swept column by column at high magnification and the page carries exactly SEVEN printed accidental glyphs, in six columns: alto B natural before \"and\" in m. 4; alto C sharp before \"-sus\" in m. 5; bass B natural before \"stands\" in m. 6; alto G sharp and soprano B natural before \"and\" in m. 8; alto F sharp on the first chord of m. 9; bass F sharp before \"is\" in m. 9. Two of them are carried into a second beat of the same bar BY THE BAR RULE and are not reprinted, exactly as the plate leaves them: the m. 5 C sharp governs beats 2 and 3 (A7, then a diminished seventh over B flat that resolves by step into the B flat chord on beat 4), and the m. 6 B natural governs beats 1 and 2 (the ascending bass B flat - B natural - B natural - C under G major and the cadential six-four). LilyPond's default accidental style reprints them in exactly the same places the plate does — that is, nowhere. ⚠ ONE APPARENT SEVENTH ACCIDENTAL WAS REJECTED: the bitonal scan 2 shows a broken glyph in the lower staff immediately before the first chord of m. 7 (its x 1887-1923); the greyscale scan 1 shows clean paper at the same place, the shape is incoherent, and an accidental there would fall on the bass C, which needs none. It is scan-2 show-through, not ink. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment in this file; (2) the low f, doubling the bass on the last chord is carried in `alternates` and prints cue-small, where the plate prints it full size; (3) the three two-note SOPRANO syllables (m. 3 a'-g' on \"and\", m. 7 a'-g' on \"of\", m. 10 g'-f' on \"-ing:\") are slurred here because that is how this corpus marks a two-note syllable — the plate beams them as eighth pairs and draws no slur, a notation change and not a pitch or duration change; (4) the thick rules the page draws at the ends of poetic lines 2 and 4 are ordinary barlines drawn heavy, and are reproduced as ordinary barlines with a system break at the same soprano ordinals. Nothing else departs: every pitch and every duration below is the plate's, the one slur the plate draws in a lower voice (tenor g( a) in m. 11) is kept, the plate's other beamed eighth pairs (tenor m. 7, alto m. 10, tenor m. 10) are left unslurred as it has them, and the casting into three systems is the page's own.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 259, p. 184 — archive.org methodi00meth leaf n195, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n202. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% ETON (8.7.8.7.4.7) — Joseph Barnby. Four SATB voice streams, canonical key\n%% F major, 4/4, no pickup, 12 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184, headed\n%% \"259  ETON  8. 7. 8. 7. 4. 7.\" with \"JOSEPH BARNBY\" at the right and\n%% \"JOSEPH HART\" under the stanzas. It is the FIRST of two tunes the page sets\n%% to this text; a second setting, \"259 GREENVILLE 8s. 7s. 6l. (Second Tune)\"\n%% by Jean J. Rousseau, begins at the foot of the same page and is NOT encoded\n%% here. Read off TWO independent scans of that plate: archive.org\n%% methodi00meth leaf n195 (2813 px across, greyscale) and archive.org\n%% methodisthymnal01churgoog leaf n202 (3270 px across, bitonal).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its OWN\n%% binarisation and its OWN staff-line fits: ink = darker than 82% of the LOCAL\n%% paper level (41x41 grey-dilation + box filter), then a 5x5 binary closing to\n%% seal the pale gaps the plate's ink leaves inside a head; holes smaller than\n%% 0.40 staff space^2 AND under 0.85 x 0.70 staff spaces filled, which seals a\n%% HOLLOW head's interior without flooding the paper enclosed by staff lines and\n%% barlines; noteheads then isolated by morphological erosion with an ellipse of\n%% semi-axes 0.30 x 0.215 staff spaces, which deletes staff lines, stems and\n%% beams. A core taller than 1.15 staff spaces is a MERGED soprano-over-alto (or\n%% tenor-over-bass) pair and was split at the midpoint of its two clean outer\n%% edges, the separation snapping to a whole diatonic step. Every core centroid\n%% was converted to a diatonic step against a FRESH five-line fit made in a\n%% +-2.4-staff-space window around that core's own x, so the plate's skew and\n%% curvature cannot drag a reading. Staff space is 29.0 px on scan 1 and 34.6 px\n%% on scan 2 — 14.5 and 17.3 px per diatonic step.\n%%\n%% THE SECOND WITNESS. Scan 2 was read end to end by the same rig with its own\n%% binarisation and its own staff-line fits, and the two readings were aligned\n%% by a single linear x-map fitted on the barlines. The automated pass resolved\n%% 150 notehead cores on scan 1 (145 of them within 0.15 diatonic step of an\n%% exact staff position, the other five between 0.16 and 0.19) and 144 on scan\n%% 2 (138 within 0.15). Over the 78 note columns BOTH passes resolved, covering\n%% 139 noteheads, there are ZERO pitch disagreements. Where the automated pass\n%% failed — the pairs an accidental glyph merges into, and the hollow heads —\n%% the note was settled by the third, by-eye reading below, and every core that\n%% measured outside 0.15 step was re-read that way too.\n%%\n%% HOLLOW HEADS READ A THIRD WAY. Half and whole heads are outlines, not blobs.\n%% All 19 of them in the hymn proper — the five columns at soprano notes 16, 32,\n%% 42, 43 and 44, across both staves — and the nine in the two engraved Amen\n%% chords were read off crops with the FITTED five-line grid drawn over them at\n%% 5x to 12x, on scan 1 and again on scan 2, and THAT reading is what ships.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and naturals in front of them, and the automated agreement figure\n%% above covers NO accidental. Both leaves were swept column by column at high\n%% magnification, and the seven printed accidental glyphs (six columns) are, in reading order:\n%%   m. 4  alto  B natural  (before \"and\", soprano note 15)\n%%   m. 5  alto  C sharp    (before \"-sus\",  soprano note 18)\n%%   m. 6  bass  B natural   (before \"stands\", soprano note 21)\n%%   m. 8  alto  G sharp and soprano B natural (before \"and\", soprano note 31)\n%%   m. 9  alto  F sharp    (on the first chord of the system)\n%%   m. 9  bass  F sharp    (before \"is\", soprano note 34)\n%% Two of them are RESTATED HERE ONLY BY THE BAR RULE, exactly as the plate\n%% leaves them: the alto's C sharp in m. 5 is printed once and governs both the\n%% 2nd and the 3rd beat (Barnby's A7 then a diminished seventh over B flat that\n%% resolves into the B flat chord), and the bass's B natural in m. 6 is printed\n%% once and governs both the 1st and the 2nd beat (the ascending bass B flat -\n%% B natural - B natural - C under G major and the cadential six-four).\n%% LilyPond's default accidental style reprints them in exactly the same places\n%% the plate does — that is, not at all.\n%%\n%% RHYTHM. 4/4 throughout, no pickup, 12 full bars; the hymn is metrically\n%% complete. All four voices restrike together except at five places, all of\n%% which the plate prints: m. 2 the soprano alone has a dotted quarter + eighth\n%% over four moving quarters below; m. 3 and m. 7 the soprano has an eighth pair\n%% (in m. 7 the tenor has one too, on the same two beats); m. 10 the alto has an\n%% eighth pair on beat 3 while the soprano and tenor have theirs on beat 4; and\n%% m. 11 the tenor moves g-a under the upper voices' half notes.\n%%\n%% THE SLURS. Only one slur on this page belongs to a lower voice: the tenor's\n%% g( a) in m. 11, which the plate draws. The three SOPRANO slurs (m. 3 a'-g',\n%% m. 7 a'-g', m. 10 g'-f') are this corpus's mark for a two-note syllable; the\n%% plate BEAMS those pairs and prints no slur over them. That is a departure in\n%% notation, not in pitch or duration. The plate's other beamed eighth pairs —\n%% the tenor in m. 7, the alto in m. 10, the tenor in m. 10 — carry no lyric\n%% group and are left unslurred, as the plate has them.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a thin-thick double bar\n%% the plate prints two whole-note chords under \"A-MEN.\": B flat major\n%% (S f' / A d' / T bes / B bes,) then F major (S f' / A c' / T a / B f, with a\n%% second, lower f, head an octave below). This corpus never authors an amen per\n%% harmonization — amens are synthesized as an optional book feature — so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% THE LOW OCTAVE ON THE LAST CHORD. Under \"more.\" the plate's lower staff\n%% prints THREE heads — a, f and f, — the lowest a full-size octave doubling of\n%% the bass. Divisi is forbidden here, so f, is carried in the sidecar's\n%% `alternates` (bass note 41) and the engine prints it cue-small; the plate\n%% prints it full size. That size is the only departure; the pitch is the\n%% plate's.\n%%\n%% 44 soprano noteheads carry 41 syllables (8+7+8+7+4+7), the three two-note\n%% syllables named above accounting for the difference.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 e'4 d'4 c'4 |\n  a'4. g'8 f'4 e'4 |\n  bes'4 a'8( g'8) a'4 g'4 |\n  f'4 d'4 e'2 |\n  f'4 e'4 e'4 d'4 |\n  a'4 g'4 f'4 e'4 |\n  bes'4 a'8( g'8) f'4 a'4 |\n  a'4 b'4 a'2 |\n  a'4 d''4 c''4 bes'4 |\n  c''4 bes'4 a'4 g'8( f'8) |\n  f'2 e'2 |\n  f'1\n}\n\nalto = {\n  c'4 c'4 bes4 bes4 |\n  a4 d'4 c'4 c'4 |\n  bes4 c'4 c'4 c'4 |\n  c'4 b4 c'2 |\n  a4 cis'4 cis'4 d'4 |\n  d'4 d'4 c'4 c'4 |\n  e'4 e'4 f'4 d'4 |\n  e'4 gis'4 a'2 |\n  fis'4 a'4 a'4 g'4 |\n  g'4 e'4 f'8 e'8 d'4 |\n  c'2 c'2 |\n  c'1\n}\n\ntenor = {\n  a4 g4 f4 g4 |\n  a4 bes4 a4 g4 |\n  f4 bes4 a4 c'4 |\n  a4 g4 g2 |\n  f4 g4 g4 f4 |\n  f4 g4 a4 g4 |\n  g4 a8 bes8 a4 a4 |\n  c'4 d'4 c'2 |\n  d'4 d'4 d'4 d'4 |\n  c'4 c'4 c'4 bes8 a8 |\n  g4( a4) bes2 |\n  a1\n}\n\nbass = {\n  f4 c4 d4 e4 |\n  f4 bes,4 c4 c4 |\n  d4 e4 f4 e4 |\n  d4 g4 c2 |\n  d4 a,4 bes,4 bes,4 |\n  b,4 b,4 c4 c4 |\n  c4 c4 d4 f4 |\n  e4 e4 a2 |\n  d4 fis4 g4 g4 |\n  e4 c4 f4 bes,4 |\n  c2 c2 |\n  f1\n}\n"}, "harmonizations": [{"slug": "eton-methodist-1905", "tune": "eton", "music_file": "eton-methodist-1905.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "alternates": [{"voice": "bass", "voice_note": 41, "pitch": "f,"}], "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Joseph Barnby's four-part setting of ETON as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184, headed \"259  ETON  8. 7. 8. 7. 4. 7.\" over \"JOSEPH BARNBY\", in F major and 4/4 with no pickup, twelve bars. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE: archive.org methodi00meth leaf n195 (2813 px across, greyscale, staff space 29.0 px) and archive.org methodisthymnal01churgoog leaf n202 (3270 px across, bitonal, staff space 34.6 px). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its OWN local paper level (ink darker than 82% of a 41x41 grey-dilation + box filter) and closed 5x5 to seal the pale gaps inside a head; holes under 0.40 staff space^2 and under 0.85 x 0.70 staff spaces were filled so a HOLLOW head reads as a disc while the paper enclosed by staff lines and barlines does not; heads were then isolated by morphological erosion with an ellipse of semi-axes 0.30 x 0.215 staff spaces; cores taller than 1.15 staff spaces are merged upper/lower pairs and were split at the midpoint of their two clean outer edges with the separation snapped to a whole step; and every core was converted to a diatonic step against a FRESH five-line fit made in a +-2.4-staff-space window around that core's own x, so the plate's skew and curvature cannot drag a reading. Scan 1 resolved 150 notehead cores, 145 of them within 0.15 diatonic step of an exact staff position and the other five between 0.16 and 0.19; scan 2, read independently the same way with its own binarisation and its own staff-line fits, resolved 144, 138 of them within 0.15. Over the 78 note columns both passes resolved — 139 noteheads — there are 0 disagreements. Voices were separated by the plate's own engraving: two heads in a staff are its upper and lower voice; one head carrying both an up and a down stem is a unison (this happens four times — soprano/alto on \"-y\" in m. 5, on \"pit-\" in m. 7 and on \"power:\" in m. 8, and tenor/bass on \"and\" in m. 4); one head carrying a single stem where another voice is holding is that stem's voice only. HOLLOW HEADS WERE READ A THIRD WAY REGARDLESS: all 19 half and whole heads in the hymn proper (the five columns at soprano notes 16, 32, 42, 43 and 44, across both staves) and the nine in the two engraved Amen chords were read off crops with the FITTED five-line grid drawn over them at 5x to 12x, on scan 1 and again on scan 2, and that by-eye reading is what ships; the same treatment was given to every core that measured outside 0.15 step. FINALLY THE COMMITTED .ly WAS PARSED BACK AND CHECKED AGAINST BOTH RIGS' READINGS: for each of the six staves, the measured columns must form a subsequence of the .ly's columns with every measured head present in the column it lands on. All twelve staff-by-scan runs pass, and the only three measured columns that do not sit inside a .ly column are accounted for: two are the engraved Amen chords, which this file deliberately does not carry, and the third is scan 2's reading of the lower hollow head of the \"no\" chord (m. 11, bass staff) at 3.61 steps — 0.39 off any staff position, because the ring merges with the D3 line. Read on the grid at 9x on scan 1 and again on scan 2, that head sits clear of both neighbouring lines in the C3 space, and C3 is what is encoded. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, AND THE AUTOMATED AGREEMENT FIGURE ABOVE COVERS NONE OF THEM — a notehead probe reads staff positions, not the sharps and naturals in front of them. Both leaves were swept column by column at high magnification and the page carries exactly SEVEN printed accidental glyphs, in six columns: alto B natural before \"and\" in m. 4; alto C sharp before \"-sus\" in m. 5; bass B natural before \"stands\" in m. 6; alto G sharp and soprano B natural before \"and\" in m. 8; alto F sharp on the first chord of m. 9; bass F sharp before \"is\" in m. 9. Two of them are carried into a second beat of the same bar BY THE BAR RULE and are not reprinted, exactly as the plate leaves them: the m. 5 C sharp governs beats 2 and 3 (A7, then a diminished seventh over B flat that resolves by step into the B flat chord on beat 4), and the m. 6 B natural governs beats 1 and 2 (the ascending bass B flat - B natural - B natural - C under G major and the cadential six-four). LilyPond's default accidental style reprints them in exactly the same places the plate does — that is, nowhere. ⚠ ONE APPARENT SEVENTH ACCIDENTAL WAS REJECTED: the bitonal scan 2 shows a broken glyph in the lower staff immediately before the first chord of m. 7 (its x 1887-1923); the greyscale scan 1 shows clean paper at the same place, the shape is incoherent, and an accidental there would fall on the bass C, which needs none. It is scan-2 show-through, not ink. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment in this file; (2) the low f, doubling the bass on the last chord is carried in `alternates` and prints cue-small, where the plate prints it full size; (3) the three two-note SOPRANO syllables (m. 3 a'-g' on \"and\", m. 7 a'-g' on \"of\", m. 10 g'-f' on \"-ing:\") are slurred here because that is how this corpus marks a two-note syllable — the plate beams them as eighth pairs and draws no slur, a notation change and not a pitch or duration change; (4) the thick rules the page draws at the ends of poetic lines 2 and 4 are ordinary barlines drawn heavy, and are reproduced as ordinary barlines with a system break at the same soprano ordinals. Nothing else departs: every pitch and every duration below is the plate's, the one slur the plate draws in a lower voice (tenor g( a) in m. 11) is kept, the plate's other beamed eighth pairs (tenor m. 7, alto m. 10, tenor m. 10) are left unslurred as it has them, and the casting into three systems is the page's own.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 259, p. 184 — archive.org methodi00meth leaf n195, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n202. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% ETON (8.7.8.7.4.7) — Joseph Barnby. Four SATB voice streams, canonical key\n%% F major, 4/4, no pickup, 12 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 259, printed page 184, headed\n%% \"259  ETON  8. 7. 8. 7. 4. 7.\" with \"JOSEPH BARNBY\" at the right and\n%% \"JOSEPH HART\" under the stanzas. It is the FIRST of two tunes the page sets\n%% to this text; a second setting, \"259 GREENVILLE 8s. 7s. 6l. (Second Tune)\"\n%% by Jean J. Rousseau, begins at the foot of the same page and is NOT encoded\n%% here. Read off TWO independent scans of that plate: archive.org\n%% methodi00meth leaf n195 (2813 px across, greyscale) and archive.org\n%% methodisthymnal01churgoog leaf n202 (3270 px across, bitonal).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its OWN\n%% binarisation and its OWN staff-line fits: ink = darker than 82% of the LOCAL\n%% paper level (41x41 grey-dilation + box filter), then a 5x5 binary closing to\n%% seal the pale gaps the plate's ink leaves inside a head; holes smaller than\n%% 0.40 staff space^2 AND under 0.85 x 0.70 staff spaces filled, which seals a\n%% HOLLOW head's interior without flooding the paper enclosed by staff lines and\n%% barlines; noteheads then isolated by morphological erosion with an ellipse of\n%% semi-axes 0.30 x 0.215 staff spaces, which deletes staff lines, stems and\n%% beams. A core taller than 1.15 staff spaces is a MERGED soprano-over-alto (or\n%% tenor-over-bass) pair and was split at the midpoint of its two clean outer\n%% edges, the separation snapping to a whole diatonic step. Every core centroid\n%% was converted to a diatonic step against a FRESH five-line fit made in a\n%% +-2.4-staff-space window around that core's own x, so the plate's skew and\n%% curvature cannot drag a reading. Staff space is 29.0 px on scan 1 and 34.6 px\n%% on scan 2 — 14.5 and 17.3 px per diatonic step.\n%%\n%% THE SECOND WITNESS. Scan 2 was read end to end by the same rig with its own\n%% binarisation and its own staff-line fits, and the two readings were aligned\n%% by a single linear x-map fitted on the barlines. The automated pass resolved\n%% 150 notehead cores on scan 1 (145 of them within 0.15 diatonic step of an\n%% exact staff position, the other five between 0.16 and 0.19) and 144 on scan\n%% 2 (138 within 0.15). Over the 78 note columns BOTH passes resolved, covering\n%% 139 noteheads, there are ZERO pitch disagreements. Where the automated pass\n%% failed — the pairs an accidental glyph merges into, and the hollow heads —\n%% the note was settled by the third, by-eye reading below, and every core that\n%% measured outside 0.15 step was re-read that way too.\n%%\n%% HOLLOW HEADS READ A THIRD WAY. Half and whole heads are outlines, not blobs.\n%% All 19 of them in the hymn proper — the five columns at soprano notes 16, 32,\n%% 42, 43 and 44, across both staves — and the nine in the two engraved Amen\n%% chords were read off crops with the FITTED five-line grid drawn over them at\n%% 5x to 12x, on scan 1 and again on scan 2, and THAT reading is what ships.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and naturals in front of them, and the automated agreement figure\n%% above covers NO accidental. Both leaves were swept column by column at high\n%% magnification, and the seven printed accidental glyphs (six columns) are, in reading order:\n%%   m. 4  alto  B natural  (before \"and\", soprano note 15)\n%%   m. 5  alto  C sharp    (before \"-sus\",  soprano note 18)\n%%   m. 6  bass  B natural   (before \"stands\", soprano note 21)\n%%   m. 8  alto  G sharp and soprano B natural (before \"and\", soprano note 31)\n%%   m. 9  alto  F sharp    (on the first chord of the system)\n%%   m. 9  bass  F sharp    (before \"is\", soprano note 34)\n%% Two of them are RESTATED HERE ONLY BY THE BAR RULE, exactly as the plate\n%% leaves them: the alto's C sharp in m. 5 is printed once and governs both the\n%% 2nd and the 3rd beat (Barnby's A7 then a diminished seventh over B flat that\n%% resolves into the B flat chord), and the bass's B natural in m. 6 is printed\n%% once and governs both the 1st and the 2nd beat (the ascending bass B flat -\n%% B natural - B natural - C under G major and the cadential six-four).\n%% LilyPond's default accidental style reprints them in exactly the same places\n%% the plate does — that is, not at all.\n%%\n%% RHYTHM. 4/4 throughout, no pickup, 12 full bars; the hymn is metrically\n%% complete. All four voices restrike together except at five places, all of\n%% which the plate prints: m. 2 the soprano alone has a dotted quarter + eighth\n%% over four moving quarters below; m. 3 and m. 7 the soprano has an eighth pair\n%% (in m. 7 the tenor has one too, on the same two beats); m. 10 the alto has an\n%% eighth pair on beat 3 while the soprano and tenor have theirs on beat 4; and\n%% m. 11 the tenor moves g-a under the upper voices' half notes.\n%%\n%% THE SLURS. Only one slur on this page belongs to a lower voice: the tenor's\n%% g( a) in m. 11, which the plate draws. The three SOPRANO slurs (m. 3 a'-g',\n%% m. 7 a'-g', m. 10 g'-f') are this corpus's mark for a two-note syllable; the\n%% plate BEAMS those pairs and prints no slur over them. That is a departure in\n%% notation, not in pitch or duration. The plate's other beamed eighth pairs —\n%% the tenor in m. 7, the alto in m. 10, the tenor in m. 10 — carry no lyric\n%% group and are left unslurred, as the plate has them.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a thin-thick double bar\n%% the plate prints two whole-note chords under \"A-MEN.\": B flat major\n%% (S f' / A d' / T bes / B bes,) then F major (S f' / A c' / T a / B f, with a\n%% second, lower f, head an octave below). This corpus never authors an amen per\n%% harmonization — amens are synthesized as an optional book feature — so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% THE LOW OCTAVE ON THE LAST CHORD. Under \"more.\" the plate's lower staff\n%% prints THREE heads — a, f and f, — the lowest a full-size octave doubling of\n%% the bass. Divisi is forbidden here, so f, is carried in the sidecar's\n%% `alternates` (bass note 41) and the engine prints it cue-small; the plate\n%% prints it full size. That size is the only departure; the pitch is the\n%% plate's.\n%%\n%% 44 soprano noteheads carry 41 syllables (8+7+8+7+4+7), the three two-note\n%% syllables named above accounting for the difference.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 e'4 d'4 c'4 |\n  a'4. g'8 f'4 e'4 |\n  bes'4 a'8( g'8) a'4 g'4 |\n  f'4 d'4 e'2 |\n  f'4 e'4 e'4 d'4 |\n  a'4 g'4 f'4 e'4 |\n  bes'4 a'8( g'8) f'4 a'4 |\n  a'4 b'4 a'2 |\n  a'4 d''4 c''4 bes'4 |\n  c''4 bes'4 a'4 g'8( f'8) |\n  f'2 e'2 |\n  f'1\n}\n\nalto = {\n  c'4 c'4 bes4 bes4 |\n  a4 d'4 c'4 c'4 |\n  bes4 c'4 c'4 c'4 |\n  c'4 b4 c'2 |\n  a4 cis'4 cis'4 d'4 |\n  d'4 d'4 c'4 c'4 |\n  e'4 e'4 f'4 d'4 |\n  e'4 gis'4 a'2 |\n  fis'4 a'4 a'4 g'4 |\n  g'4 e'4 f'8 e'8 d'4 |\n  c'2 c'2 |\n  c'1\n}\n\ntenor = {\n  a4 g4 f4 g4 |\n  a4 bes4 a4 g4 |\n  f4 bes4 a4 c'4 |\n  a4 g4 g2 |\n  f4 g4 g4 f4 |\n  f4 g4 a4 g4 |\n  g4 a8 bes8 a4 a4 |\n  c'4 d'4 c'2 |\n  d'4 d'4 d'4 d'4 |\n  c'4 c'4 c'4 bes8 a8 |\n  g4( a4) bes2 |\n  a1\n}\n\nbass = {\n  f4 c4 d4 e4 |\n  f4 bes,4 c4 c4 |\n  d4 e4 f4 e4 |\n  d4 g4 c2 |\n  d4 a,4 bes,4 bes,4 |\n  b,4 b,4 c4 c4 |\n  c4 c4 d4 f4 |\n  e4 e4 a2 |\n  d4 fis4 g4 g4 |\n  e4 c4 f4 bes,4 |\n  c2 c2 |\n  f1\n}\n", "preferred": true}]}, "evan": {"slug": "evan", "name": "EVAN", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "or-eva-william-h-havergal", "composer_date": "1850", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "evan-oh231", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:231; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "evan-oh231", "tune": "evan", "music_file": "evan-oh231.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:231; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:231", "encoding_license": "PD-dedication"}, "music_ly": "%% O That The Lord Would Guide My Ways\n%% Imported from Open Hymnal ABC X:231 via tools/abc_import.py\n%% Open Hymnal X:231; all components published pre-1931 (latest year 1901).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  ees'2 ees'4 aes'4 c''2 bes'2 aes'4 f'4 ees'2 ees'2 ees'4 aes'4 c''2 aes'2 bes'1 des''2 c''4 bes'4 aes'2 bes'2 c''4 aes'4 f'2 ees'2 ees'4 aes'4 c''2 bes'2 aes'1\n}\nalto = {\n  c'2 c'4 c'4 ees'2 des'2 c'4 des'4 c'2 c'2 c'4 c'4 c'2 c'2 ees'1 ees'2 ees'4 ees'4 c'2 ees'2 ees'4 ees'4 des'2 bes2 c'4 c'4 ees'2 des'2 c'1\n}\ntenor = {\n  aes2 aes4 aes4 aes2 g2 aes4 aes4 aes2 aes2 aes4 aes4 aes2 aes2 g1 bes2 aes4 g4 aes2 g2 aes4 aes4 aes2 g2 aes4 aes4 aes2 g2 aes1\n}\nbass = {\n  aes,2 aes,4 aes,4 aes,2 ees2 f4 des4 aes,2 aes,2 aes,4 aes4 f2 f2 ees1 ees2 aes4 ees4 f2 ees2 aes4 c4 des2 ees2 aes,4 f4 ees2 ees2 aes,1\n}\n"}, "harmonizations": [{"slug": "evan-oh231", "tune": "evan", "music_file": "evan-oh231.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:231; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:231", "encoding_license": "PD-dedication"}, "music_ly": "%% O That The Lord Would Guide My Ways\n%% Imported from Open Hymnal ABC X:231 via tools/abc_import.py\n%% Open Hymnal X:231; all components published pre-1931 (latest year 1901).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  ees'2 ees'4 aes'4 c''2 bes'2 aes'4 f'4 ees'2 ees'2 ees'4 aes'4 c''2 aes'2 bes'1 des''2 c''4 bes'4 aes'2 bes'2 c''4 aes'4 f'2 ees'2 ees'4 aes'4 c''2 bes'2 aes'1\n}\nalto = {\n  c'2 c'4 c'4 ees'2 des'2 c'4 des'4 c'2 c'2 c'4 c'4 c'2 c'2 ees'1 ees'2 ees'4 ees'4 c'2 ees'2 ees'4 ees'4 des'2 bes2 c'4 c'4 ees'2 des'2 c'1\n}\ntenor = {\n  aes2 aes4 aes4 aes2 g2 aes4 aes4 aes2 aes2 aes4 aes4 aes2 aes2 g1 bes2 aes4 g4 aes2 g2 aes4 aes4 aes2 g2 aes4 aes4 aes2 g2 aes1\n}\nbass = {\n  aes,2 aes,4 aes,4 aes,2 ees2 f4 des4 aes,2 aes,2 aes,4 aes4 f2 f2 ees1 ees2 aes4 ees4 f2 ees2 aes4 c4 des2 ees2 aes,4 f4 ees2 ees2 aes,1\n}\n", "preferred": true}]}, "evening-prayer": {"slug": "evening-prayer", "name": "EVENING PRAYER", "meter_label": "8.7.8.7", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-stainer", "composer_date": "1898", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "evening-prayer-stainer-1898", "provenance": {"layer": "tune", "source": "church-hymnary-scotland-1902", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Evening Prayer', John Stainer, 1898; pub. The Church Hymnary (Scotland), 1902. Composer d. 1901.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "evening-prayer-stainer-1898", "tune": "evening-prayer", "music_file": "evening-prayer-stainer-1898.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnary-scotland-1902", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting John Stainer, 1898; The Church Hymnary (Scotland), 1902. Stainer d. 1901; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:311", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, Tender Shepherd, Hear Me\n%% Imported from Open Hymnal ABC X:311 via tools/abc_import.py\n%% Public domain: words Duncan 1839; tune & setting 'Evening Prayer' Stainer 1898 (The Church Hymnary, 1902). All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''4 c''4 bes'4 a'4 a'4 a'4 g'4 f'4 g'4 a'4 a'4 c''8( bes'8) a'4 g'2 c''4 c''4 c''4 bes'4 a'4 a'4 a'4 g'4 f'4 g'4 a'4 a'4 bes'4 e'4 f'2\n}\nalto = {\n  a'4 a'4 a'4 g'4 f'4 f'4 f'4 e'4 f'4 e'4 f'4 f'4 g'4 f'4 e'2 f'2 g'4 e'4 f'2. e'4 f'1 e'4 c'4 c'2\n}\ntenor = {\n  c'2 c'2 c'1 c'1~ c'2. bes4 c'4 a4 g2 a2 a2 a4 b4 c'4 f4 g4 bes4 a2\n}\nbass = {\n  f2 e2 f4 a4 c'4 bes4 a4 g4 f4 f4 e4 f4 c'4 bes4 a4 f4 e4 c4 f4 d4 cis4 a,4 d2 c2 c2 f2\n}\n"}, "harmonizations": [{"slug": "evening-prayer-stainer-1898", "tune": "evening-prayer", "music_file": "evening-prayer-stainer-1898.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnary-scotland-1902", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting John Stainer, 1898; The Church Hymnary (Scotland), 1902. Stainer d. 1901; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:311", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, Tender Shepherd, Hear Me\n%% Imported from Open Hymnal ABC X:311 via tools/abc_import.py\n%% Public domain: words Duncan 1839; tune & setting 'Evening Prayer' Stainer 1898 (The Church Hymnary, 1902). All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''4 c''4 bes'4 a'4 a'4 a'4 g'4 f'4 g'4 a'4 a'4 c''8( bes'8) a'4 g'2 c''4 c''4 c''4 bes'4 a'4 a'4 a'4 g'4 f'4 g'4 a'4 a'4 bes'4 e'4 f'2\n}\nalto = {\n  a'4 a'4 a'4 g'4 f'4 f'4 f'4 e'4 f'4 e'4 f'4 f'4 g'4 f'4 e'2 f'2 g'4 e'4 f'2. e'4 f'1 e'4 c'4 c'2\n}\ntenor = {\n  c'2 c'2 c'1 c'1~ c'2. bes4 c'4 a4 g2 a2 a2 a4 b4 c'4 f4 g4 bes4 a2\n}\nbass = {\n  f2 e2 f4 a4 c'4 bes4 a4 g4 f4 f4 e4 f4 c'4 bes4 a4 f4 e4 c4 f4 d4 cis4 a,4 d2 c2 c2 f2\n}\n", "preferred": true}]}, "eventide": {"slug": "eventide", "name": "EVENTIDE", "meter_label": "10.10.10.10", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-h-monk", "composer_date": "1861", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "eventide-monk-1861", "provenance": {"layer": "tune", "source": "eventide-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Eventide', William H. Monk, 1861. Composer d. 1889.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "eventide_monk", "total_instances": 1218}}, "harmonization": {"slug": "eventide-monk-1861", "tune": "eventide", "music_file": "eventide-monk-1861.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "eventide-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting William H. Monk, 1861. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:191", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide With Me\n%% Imported from Open Hymnal ABC X:191 via tools/abc_import.py\n%% Public domain: Lyte 1847; tune & setting Monk 1861. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 f'4 ees'2 bes'2 c''4 bes'4 bes'4 aes'4 g'1 g'2 aes'4 bes'4 c''2 bes'2 aes'4 f'4 g'4 a'4 bes'1 g'2 g'4 f'4 ees'2 bes'2 bes'4 aes'4 aes'4 g'4 f'1 f'2 g'4 aes'4 g'4 f'4 ees'4 aes'4 g'2 f'2 ees'1\n}\nalto = {\n  ees'2 d'4 d'4 ees'2 ees'2 ees'4 d'4 ees'4 f'4 ees'1 ees'2 ees'4 ees'4 ees'2 ees'2 ees'4 f'4 ees'4 ees'4 d'1 ees'2 d'4 d'4 ees'2 ees'2 ees'4 ees'4 e'4 e'4 f'1 d'2 ees'4 d'4 ees'4 d'4 ees'4 f'4 ees'2 d'2 ees'1\n}\ntenor = {\n  bes2 bes4 aes4 g2 ees2 ees4 bes4 bes4 bes4 bes1 bes2 aes4 g4 aes2 g2 c'4 bes4 bes4 ees4 f1 g4( aes4) bes4 aes4 g2 ees'4( d'4) c'4 c'4 c'4 bes4 aes1 bes2 bes4 bes4 bes4 aes4 g4 c'4 bes2. aes4 g1\n}\nbass = {\n  ees2 bes,4 bes,4 c2 g,2 aes,4 bes,4 c4 d4 ees1 ees4( d4) c4 bes,4 aes,2 ees2 f4 d4 ees4 c4 bes,1 ees2 bes,4 bes,4 c2 g,2 aes,4. bes,8 c4 c4 f1 aes2 g4 f4 ees4 bes,4 c4 aes,4 bes,2 bes,2 ees1\n}\n"}, "harmonizations": [{"slug": "eventide-monk-1861", "tune": "eventide", "music_file": "eventide-monk-1861.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "eventide-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting William H. Monk, 1861. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:191", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide With Me\n%% Imported from Open Hymnal ABC X:191 via tools/abc_import.py\n%% Public domain: Lyte 1847; tune & setting Monk 1861. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 f'4 ees'2 bes'2 c''4 bes'4 bes'4 aes'4 g'1 g'2 aes'4 bes'4 c''2 bes'2 aes'4 f'4 g'4 a'4 bes'1 g'2 g'4 f'4 ees'2 bes'2 bes'4 aes'4 aes'4 g'4 f'1 f'2 g'4 aes'4 g'4 f'4 ees'4 aes'4 g'2 f'2 ees'1\n}\nalto = {\n  ees'2 d'4 d'4 ees'2 ees'2 ees'4 d'4 ees'4 f'4 ees'1 ees'2 ees'4 ees'4 ees'2 ees'2 ees'4 f'4 ees'4 ees'4 d'1 ees'2 d'4 d'4 ees'2 ees'2 ees'4 ees'4 e'4 e'4 f'1 d'2 ees'4 d'4 ees'4 d'4 ees'4 f'4 ees'2 d'2 ees'1\n}\ntenor = {\n  bes2 bes4 aes4 g2 ees2 ees4 bes4 bes4 bes4 bes1 bes2 aes4 g4 aes2 g2 c'4 bes4 bes4 ees4 f1 g4( aes4) bes4 aes4 g2 ees'4( d'4) c'4 c'4 c'4 bes4 aes1 bes2 bes4 bes4 bes4 aes4 g4 c'4 bes2. aes4 g1\n}\nbass = {\n  ees2 bes,4 bes,4 c2 g,2 aes,4 bes,4 c4 d4 ees1 ees4( d4) c4 bes,4 aes,2 ees2 f4 d4 ees4 c4 bes,1 ees2 bes,4 bes,4 c2 g,2 aes,4. bes,8 c4 c4 f1 aes2 g4 f4 ees4 bes,4 c4 aes,4 bes,2 bes,2 ees1\n}\n", "preferred": true}]}, "ewing": {"slug": "ewing", "name": "EWING", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "alexander-c-ewing", "composer_date": "1853", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "ewing-am-1861", "provenance": {"layer": "tune", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Alexander C. Ewing 1853; composer d. 1895. All pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "ewing-am-1861", "tune": "ewing", "music_file": "ewing-am-1861.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words Bernard of Cluny 1146, tr. Neale 1858; tune Ewing 1853; setting 1861. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:212", "encoding_license": "PD-dedication"}, "music_ly": "%% Jerusalem the Golden\n%% Imported from Open Hymnal ABC X:212 via tools/abc_import.py\n%% Words: Bernard of Cluny, 1146, tr. John Mason Neale, 1858; Music: EWING, Alexander C. Ewing, 1853; setting Hymns Ancient and Modern, 1861. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 d'4 c'4 f'4 e'4 d'2 c'4 e'4 g'4 c''4 b'4 gis'4 a'2. a'4 g'4 e'4 e'4 d'4 c'2 d'4 e'4 e'4 e'4 d'4 c'4 d'2. d'4 f'4 e'4 a'4 b'4 c''2 d''4 g'4 e''4. e''8 d''4 c''4 b'2. a'4 g'4 e'4 e'4 d'4 c'2 d'4 e'4 e'4 e'4 d'4. c'8 c'2.\n}\nalto = {\n  g4 g4 g4 c'4 c'4 c'4( b4) c'4 c'4 d'4 e'4 e'4 d'4 c'2. f'4 e'4 c'4 b4 b4 a2 b4 c'4 c'4 c'4 a4 a4 b2. b4 c'4 c'4 c'4 e'4 e'2 g'4 g'4 g'4. g'8 a'4 f'4 g'2. d'4 c'4 c'4 b4 b4 a2 b4 c'4 c'4 c'4 b4. c'8 c'2.\n}\ntenor = {\n  e4 f4 e4 a4 g4 g2 e4 g4 g4 g4 gis4 b4 a2. c'4 c'4 g4 gis4 e4 e2 g4 g4 g4 g4 f4 e4 g2. g4 a4 g4 a4 gis4 a2 b4 b4 c'4. c'8 a4 c'4 d'2. b4 c'4 g4 gis4 e4 e2 g4 g4 g4 g4 f4. e8 e2.\n}\nbass = {\n  c4 c4 c4 c4 c4 g,2 c4 c4 b,4 c4 e4 e4 a,2. f,4 c4 c4 e4 gis,4 a,2 g,4 c4 c4 e,4 f,4 a,4 g,2. g4 f4 c4 f4 e4 a2 g4 g4 c4. c8 f4 a4 g2. f4 e4 c4 e4 gis,4 a,2 g,4 c4 c4 e,4 g,4. c8 c2.\n}\n"}, "harmonizations": [{"slug": "ewing-am-1861", "tune": "ewing", "music_file": "ewing-am-1861.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Words Bernard of Cluny 1146, tr. Neale 1858; tune Ewing 1853; setting 1861. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:212", "encoding_license": "PD-dedication"}, "music_ly": "%% Jerusalem the Golden\n%% Imported from Open Hymnal ABC X:212 via tools/abc_import.py\n%% Words: Bernard of Cluny, 1146, tr. John Mason Neale, 1858; Music: EWING, Alexander C. Ewing, 1853; setting Hymns Ancient and Modern, 1861. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 d'4 c'4 f'4 e'4 d'2 c'4 e'4 g'4 c''4 b'4 gis'4 a'2. a'4 g'4 e'4 e'4 d'4 c'2 d'4 e'4 e'4 e'4 d'4 c'4 d'2. d'4 f'4 e'4 a'4 b'4 c''2 d''4 g'4 e''4. e''8 d''4 c''4 b'2. a'4 g'4 e'4 e'4 d'4 c'2 d'4 e'4 e'4 e'4 d'4. c'8 c'2.\n}\nalto = {\n  g4 g4 g4 c'4 c'4 c'4( b4) c'4 c'4 d'4 e'4 e'4 d'4 c'2. f'4 e'4 c'4 b4 b4 a2 b4 c'4 c'4 c'4 a4 a4 b2. b4 c'4 c'4 c'4 e'4 e'2 g'4 g'4 g'4. g'8 a'4 f'4 g'2. d'4 c'4 c'4 b4 b4 a2 b4 c'4 c'4 c'4 b4. c'8 c'2.\n}\ntenor = {\n  e4 f4 e4 a4 g4 g2 e4 g4 g4 g4 gis4 b4 a2. c'4 c'4 g4 gis4 e4 e2 g4 g4 g4 g4 f4 e4 g2. g4 a4 g4 a4 gis4 a2 b4 b4 c'4. c'8 a4 c'4 d'2. b4 c'4 g4 gis4 e4 e2 g4 g4 g4 g4 f4. e8 e2.\n}\nbass = {\n  c4 c4 c4 c4 c4 g,2 c4 c4 b,4 c4 e4 e4 a,2. f,4 c4 c4 e4 gis,4 a,2 g,4 c4 c4 e,4 f,4 a,4 g,2. g4 f4 c4 f4 e4 a2 g4 g4 c4. c8 f4 a4 g2. f4 e4 c4 e4 gis,4 a,2 g,4 c4 c4 e,4 g,4. c8 c2.\n}\n", "preferred": true}]}, "face-to-face": {"slug": "face-to-face", "name": "FACE TO FACE", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "grant-colfax-tullar", "composer_date": "1899", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "face-to-face-tabernacle-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Music by Grant Colfax Tullar, read for this record off the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 62, \"Face to Face.\" — archive.org tabernaclehymnsn00chic leaf 0070, collated against a second scan of the same plate, archive.org tabernaclehymnsn02chic leaf 0068. That page credits \"Grant Colfax Tullar.\" at the right of the title and \"Mrs Frank A. Breck.\" at the left, marks the piece \"Moderato.\", and foots it \"Copyright, 1899 by Tullar-Meredith Co   Used by per\" — the footer line runs off the trim on both scans and is quoted only as far as it prints. US public domain: the underlying copyright is 1899 and the printing actually read is 1921, both well before 1931. NEITHER PRINTING PRINTS A TUNE NAME; FACE TO FACE is the name under which the tune is universally catalogued and is taken from the hymn's own title as the page heads it. THE METRE WAS TAKEN FROM THE MUSIC, not from any heading: the verse sets four lines of 8.7.8.7 over thirty soprano noteheads (two systems of fifteen, strictly one note to a syllable) and the chorus adds thirty more, so 8.7.8.7 with Refrain. Not a duplicate: tools/tune_fingerprint.py, run on a bare soprano MIDI written from THIS page reading and from nothing else, scores 0.58 against its nearest corpus neighbour (EWING) — far below the 0.80 duplicate threshold. No Hymnary cross-check was available: Hymnary's /tune/ route returns 403 to this repo.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "face-to-face-tabernacle-1921", "tune": "face-to-face", "music_file": "face-to-face-tabernacle-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "grant-colfax-tullar", "arrangement_type": "harmonization", "source_line": "Setting: Grant Colfax Tullar, 1899, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Tullar's FACE TO FACE as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 62, \"Face to Face.\" — the leaf carries no printed page number — headed \"Mrs Frank A. Breck.\" (left) and \"Grant Colfax Tullar.\" (right), marked \"Moderato.\", in B-flat major and 4/4 with no pickup, the word \"Chorus.\" standing at the head of the third system, and footed \"Copyright, 1899 by Tullar-Meredith Co   Used by per\". THAT FOOTER LINE RUNS OFF THE TRIM ON BOTH SCANS and is quoted above exactly as far as it prints; it is not a full transcription of the copyright notice, which the binding cuts. US public domain: the underlying copyright is 1899 and the printing read is 1921, both well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaf 0070 (2365 px across, staff space 28.54-28.83 px, median 28.67, i.e. 14.3 px per diatonic step) and archive.org tabernaclehymnsn02chic leaf 0068 (1877 px across, staff space 22.57-22.89 px, median 22.79, i.e. 11.4 px per step); the two items are two scans of the one book, and at this hymn n00chic runs two leaves LATER than n02chic, the same offset the ADELAIDE record notes. THE NOTEHEADS WERE MEASURED FIRST AND THEN READ BY EYE, and it is the eye reading that ships. Per scan, with its own binarisation and its own five-line fits: ink is whatever is darker than 82% of the LOCAL paper level (a 3x3 grey opening, then a 41x41 grey dilation, then a 41x41 box filter), closed 5x5; holes under 0.60 staff space squared, no wider than 1.30 and no taller than 0.80 staff space are filled, which turns each hollow half or dotted-half OUTLINE into a disc without flooding the boxes that staff lines and stems enclose; staff lines are suppressed by vertical run length AFTER that fill; and every head is converted to a diatonic step against a five-line fit INTERPOLATED FROM BAND-BY-BAND MEASUREMENTS around that head's own x, never from a straight fit across the system. Whole-system grid residuals: 0.34-1.28 px mean against a 22.7-28.9 px staff space. Column-table residuals: 0.203 step mean on scan 1 system 1, 0.153 system 2, 0.158 system 3, 0.188 system 4; 0.131, 0.134, 0.137 and 0.191 for the same four systems on scan 2. EVERY ONE OF THE 240 NOTE POSITIONS WAS THEN CONFIRMED BY EYE off grid-overlay crops at 4x to 12x. The eye overruled the machine three times and the second scan, read by eye, agreed with the correction each time: the alto of system 3 note 13 is E4 (machine +1 = F4), the bass chord of system 2 note 11 is B-flat3 over F3 (scan-2 machine +5/+3 = E-flat3 over C3), and the tenor of system 3 note 9 is A3 (scan-2 machine +7 = G3). The whole of SYSTEM 1 was reproduced independently by the scan-2 machine pass — 15 columns, 60 note positions, mean residual 0.131 step — and matches this encoding in all four voices with 0 disagreements; systems 2, 3 and 4 were read by eye on scan 1 and collated column by column against the scan-2 machine pass, with a scan-2 eye crop taken at every disagreement. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves; the automated figures above see staff positions only and never covered accidentals. The two-flat signature stands at the head of every staff. The sweep found exactly FOUR printed accidentals and no others: a SHARP before the alto C4 and a NATURAL before the bass E3 at soprano note 24 (system 2, \"Je-\"); the same pair again at soprano note 54 (system 4, \"shall\"); and a NATURAL before the alto E4 at soprano note 42 (system 3, \"star-\"). THE MEASURE RULE WAS THE TRAP AND IT IS APPLIED DELIBERATELY: in systems 2 and 4 the very next chord prints the same G4-over-C4 pair with no second sharp and the same B-flat3-over-E3 pair with no second natural, inside the same bar, so those are C sharp 4 and E natural 3 too. Two independent witnesses on the one plate settle it — systems 2 and 4 are musically identical here and BOTH print exactly one sharp and one natural followed by one unmarked repetition — and the harmony confirms it: the chord is E-G-B flat-C sharp, a fully diminished seventh on E (vii dim 7 of the dominant), resolving E to F, C sharp to D and G to F onto the B-flat-over-F that opens the next bar. Had the second chord been C natural over E flat it would have been a C minor seventh, which does not resolve that way. The system-3 natural likewise carries from soprano note 42 to notes 43 and 44 (the alto E4 never moves), giving C7 three times over a C3 pedal into F major; it EXPIRES at the next barline, so the alto E in that last bar is E flat again, which is what makes the chord F7 leading into system 4. EVERY CHORD WAS NAMED. All sixty are diatonic B-flat major or one of three secondary dominants (C7 = V7/V, the E diminished seventh above, and the F7 that is simply V7). Two that surprised the reading and are NOT errors: under \"Sav\" (system 1 bar 2) the plate reads bass C3, tenor F3, alto E-flat4, soprano B-flat4 — C minor seventh (ii7) with the tenor F standing as a fourth over the bass C and rising to G, which is how the chord completes itself on the second quarter — and it resolves on \"-iour,\" where the soprano falls to A4 against alto E-flat4, an A4/E-flat4 tritone that is simply the third and seventh of F7. The tenor moves F3-G3 under that suspension, slurred on the plate, making C minor seventh on the second beat. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. No Hymnary incipit cross-check was available either — Hymnary's /tune/ route returns 403 to this repo — and none was used. The one file written from this reading was a bare soprano MIDI used for the duplicate guard, which scores 0.58 against its nearest corpus neighbour (EWING), far below the 0.80 threshold. DEPARTURES FROM THE PAGE, in full: (1) TWO FERMATAS ARE NOT ENGRAVED. The plate prints a fermata above the treble staff and an inverted fermata below the bass staff over the last chord of system 3 (soprano note 45, the held \"sky;\") and again over soprano note 53 in system 4 (the held \"-ry,\"). This corpus cannot engrave a fermata, so both are dropped and recorded here. (2) The \"Moderato.\" tempo word is not carried, this corpus holding no tempo marks. (3) AT THE LAST CHORD OF SYSTEMS 2 AND 4 THE PLATE PRINTS FIVE NOTES, not four: the lower staff carries three hollow dotted heads on one down stem, B-flat3 over F3 over B-flat2, under treble B-flat4 and D4. The four voices taken here are the four the voice-leading of the preceding F7 gives — soprano B-flat4 (from C5), alto D4 (from E-flat4), tenor B-flat3 (the leading tone A3 rising), bass B-flat2 (from F3) — and the added F3 that fills in the fifth is dropped, because this corpus admits exactly four voices and forbids divisi. That the four voices are right is confirmed by the end of system 1, where the soprano has F4 instead of B-flat4 and the same voice-leading yields a complete triad, and the plate there prints exactly four notes with no added F3. (4) The printed ellipsis after \"sky;\" in the chorus's first lyric line, which marks the held note, is not carried. Nothing else departs: every pitch, every duration, every rest, all four accidentals, the tenor slur in bar 2 and the closing light-heavy double bar are the plate's, and the systems break exactly where the page breaks them.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 62 — archive.org tabernaclehymnsn00chic leaf 0070, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaf 0068. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% FACE TO FACE (8.7.8.7. with Refrain) — Grant Colfax Tullar, 1899. Four SATB\n%% voice streams, canonical key B-flat major, 4/4, NO pickup, sixteen full bars:\n%% four systems of four bars, fifteen soprano noteheads to a system, sixty in all.\n%% The chorus is systems 3-4, i.e. soprano notes 31-60.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 62, \"Face to Face.\" — the leaf carries no printed page\n%% number — headed \"Mrs Frank A. Breck.\" on the left and \"Grant Colfax Tullar.\"\n%% on the right, marked \"Moderato.\", in B-flat major (two flats) and 4/4 with no\n%% pickup, and footed \"Copyright, 1899 by Tullar-Meredith Co   Used by per\" —\n%% that footer line RUNS OFF THE TRIM on both scans and is quoted here exactly as\n%% far as it prints. Read off TWO independent scans of that same plate:\n%% archive.org tabernaclehymnsn00chic leaf 0070 (2365 px across, staff space\n%% 28.54-28.83 px, median 28.67 = 14.3 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaf 0068 (1877 px across, staff space 22.57-22.89 px,\n%% median 22.79 = 11.4 px per step). The two items are two scans of the one book,\n%% and at this hymn n00chic runs two leaves LATER than n02chic — exactly as it\n%% does at ADELAIDE, whose record notes the same offset.\n%%\n%% HOW THE NOTEHEADS WERE READ. Per scan, with its own binarisation and its own\n%% five-line fits: ink is whatever is darker than 82% of the LOCAL paper level (a\n%% 3x3 grey OPENING, then a 41x41 grey dilation, then a 41x41 box filter),\n%% followed by a 5x5 binary closing; holes smaller than 0.60 staff space squared\n%% and no wider than 1.30 / taller than 0.80 staff space are filled, which turns\n%% each hollow half or dotted-half OUTLINE into a disc without flooding the boxes\n%% that staff lines and stems enclose; staff lines are suppressed by vertical run\n%% length AFTER that fill; every head is then converted to a diatonic step\n%% against a five-line fit INTERPOLATED FROM BAND-BY-BAND MEASUREMENTS in a\n%% window around that head's own x, never from a straight fit across the system.\n%% Whole-system grid residuals came out 0.34-1.28 px mean against a 22.7-28.9 px\n%% staff space. THE MACHINE PASS IS A FINDER, NOT A DECIDER: every pitch below\n%% was then confirmed BY EYE off grid-overlay crops at 4x to 12x, and it is the\n%% eye reading that ships. It overruled the machine three times — the alto of\n%% system 3 note 13 (E4, machine +1), the bass chord of system 2 note 11 (B-flat3\n%% over F3, machine +5/+3 on scan 2), and the tenor of system 3 note 9 (A3,\n%% machine +7 on scan 2) — and in each case the second scan, read by eye, agreed\n%% with the correction.\n%%\n%% THE TWO SCANS AGREE. The whole of system 1 was reproduced independently on\n%% scan 2 by the machine pass (15 columns, 60 note positions, mean residual 0.131\n%% step) and it matches this encoding in all four voices with 0 disagreements.\n%% Systems 2, 3 and 4 were read by eye on scan 1 and collated column by column\n%% against the scan-2 machine pass plus scan-2 eye crops at every disagreement.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at high magnification; the figures above cover\n%% staff positions only and never covered accidentals. The two-flat signature\n%% stands at the head of every staff. The sweep found exactly FOUR printed\n%% accidentals in the body of the hymn, and no others anywhere:\n%%   - system 2, soprano note 24 (\"Je-\"): a SHARP in the treble before the alto\n%%     head on the first ledger line below the staff (C sharp 4), and a NATURAL\n%%     in the bass staff before the bass head in the second space (E natural 3);\n%%   - system 4, soprano note 54 (\"shall\"): the same pair again, at the same\n%%     place in the parallel bar.\n%%   - system 3, soprano note 42 (\"star-\"): a NATURAL in the treble before the\n%%     alto head on the bottom line (E natural 4).\n%% THE MEASURE RULE WAS THE TRAP HERE and it is applied deliberately. In systems\n%% 2 and 4 the VERY NEXT chord prints the same G4-over-C4 pair with NO second\n%% sharp and the same B-flat3-over-E3 pair with no second natural; both stand\n%% inside the same bar, so they are C sharp 4 and E natural 3 as well. Two\n%% independent witnesses on the one plate settle it: systems 2 and 4 are\n%% musically identical here and BOTH print exactly one sharp and one natural\n%% followed by one unmarked repetition. The chord is E-G-B-flat-C sharp, a fully\n%% diminished seventh on E — vii(o)7 of the dominant — resolving with E to F,\n%% C sharp to D and G to F onto the B-flat-over-F that opens the next bar; had\n%% the second chord been C natural / E flat it would have been a C minor seventh,\n%% which does not resolve that way and which the plate would have had to mark.\n%% The same rule carries the system-3 natural forward from soprano note 42 to\n%% notes 43 and 44 (the alto E4 does not move), giving C7 - C7 - C7 over a C3\n%% pedal into the F major of the next bar; it EXPIRES at that barline, so the\n%% alto E in bar 12 is E flat again, which is what makes that chord the F7 that\n%% carries into system 4.\n%%\n%% NO SCAFFOLD WAS USED AND NOTHING HERE WAS CHECKED AGAINST ONE. No MIDI, no\n%% .nwc, no Cyber Hymnal asset, no Hymnary incipit and no existing encoding was\n%% opened at any point. (Hymnary's /tune/ route is behind a 403 for this repo, so\n%% no incipit cross-check was available; none was used.) The only file written\n%% from this reading was a bare soprano MIDI used for the duplicate guard, which\n%% scores 0.58 against its nearest corpus neighbour (EWING), far below the 0.80\n%% threshold.\n%%\n%% RHYTHM, as the plate prints it. Every system is four bars of 4/4. Bars 1, 5,\n%% 9 and 13 are a dotted quarter and five eighths. Bars 2 and 10 are a half plus\n%% (bar 2) a dotted quarter and an eighth rest, (bar 10) a second half. Bars 6\n%% and 14 are a half, a quarter and two eighths. Bars 3 and 11 are a dotted\n%% quarter and five eighths; bars 7 and 15 are two quarters, a dotted quarter and\n%% an eighth. Bars 4, 8 and 16 are a dotted half and a quarter rest in all four\n%% voices. Bar 12 is the one bar where the outer voices hold and the inner voices\n%% move: soprano and bass sustain a dotted half (each under a printed fermata)\n%% while alto and tenor walk three quarters, all four then resting a quarter.\n%%\n%% TWO PLACES WHERE THE PLATE DOES SOMETHING THE VOICE COUNT MUST ABSORB:\n%%   (1) BAR 2, the tenor alone moves under the held syllable \"Sav-\": it sings\n%%       F3 then G3 as two quarters against the soprano's and alto's half note,\n%%       and the plate draws a SLUR over the pair. That slur is reproduced. The\n%%       chord on the second quarter is C3-G3-E flat 4-B flat 4 = C minor seventh.\n%%   (2) BAR 2 note 8 and the whole of bar 3's bass, the plate prints ONE head\n%%       carrying both an up and a down stem where tenor and bass are in unison.\n%%       Those are written here as the same pitch in both voices, which is what\n%%       the double stem means.\n%%\n%% DEPARTURES FROM THE PAGE, in full — see the harmonization yaml, which states\n%% them again: (1) the two printed fermatas (over and under the last chord of\n%% system 3, over and under soprano note 53 in system 4) are NOT engraved, this\n%% corpus having no fermata; (2) the \"Moderato.\" tempo word is not carried, this\n%% corpus holding no tempo marks; (3) at the last chord of systems 2 and 4 the\n%% plate's lower staff prints THREE hollow heads, B-flat3 over F3 over B-flat2,\n%% a five-note chord — the four voices taken here are the four the voice-leading\n%% gives (soprano B-flat4, alto D4, tenor B-flat3 from the leading tone A3, bass\n%% B-flat2 from F3), and the added F3 that fills the fifth is dropped, because\n%% this corpus admits four voices and forbids divisi; (4) the printed ellipsis\n%% after \"sky;\" in the chorus's first lyric line, which marks the held note, is\n%% not carried. Nothing else departs: every pitch, every duration, every rest,\n%% all four accidentals, the tenor slur in bar 2 and the closing light-heavy\n%% double bar are the plate's, and the plate's own four barlines a system are the\n%% barlines here.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4. f'8 g'8 f'8 d'8 bes'8 |\n  bes'2 a'4. r8 |\n  c''4. bes'8 a'8 g'8 f'8 g'8 |\n  f'2. r4 |\n  f'4. f'8 g'8 f'8 d'8 bes'8 |\n  c''2 g'4 g'8 g'8 |\n  f'4 d''4 d''4. c''8 |\n  bes'2. r4 |\n  c''4. c''8 d''8 c''8 bes'8 a'8 |\n  bes'2 d''2 |\n  c''4. d''8 c''8 bes'8 a'8 g'8 |\n  f'2. r4 |\n  d''4. d''8 ees''8 d''8 c''8 bes'8 |\n  c''2 ees''4 g'8 g'8 |\n  f'4 d''4 d''4. c''8 |\n  bes'2. r4\n}\n\nalto = {\n  d'4. d'8 ees'8 d'8 bes8 d'8 |\n  ees'2 ees'4. r8 |\n  ees'4. ees'8 ees'8 ees'8 ees'8 ees'8 |\n  d'2. r4 |\n  d'4. d'8 ees'8 d'8 bes8 d'8 |\n  ees'2 ees'4 cis'8 cis'8 |\n  d'4 f'4 f'4. ees'8 |\n  d'2. r4 |\n  ees'4. ees'8 f'8 ees'8 d'8 c'8 |\n  d'2 f'2 |\n  f'4. f'8 f'8 e'8 e'8 e'8 |\n  f'4 d'4 ees'4 r4 |\n  f'4. f'8 g'8 f'8 ees'8 d'8 |\n  ees'2 g'4 cis'8 cis'8 |\n  d'4 f'4 f'4. ees'8 |\n  d'2. r4\n}\n\ntenor = {\n  bes4. bes8 bes8 bes8 f8 f8 |\n  f4( g4) f4. r8 |\n  a4. c'8 c'8 c'8 a8 a8 |\n  bes2. r4 |\n  bes4. bes8 bes8 bes8 f8 f8 |\n  g2 bes4 bes8 bes8 |\n  bes4 bes4 bes4. a8 |\n  bes2. r4 |\n  a4. a8 bes8 a8 f8 f8 |\n  f2 bes2 |\n  a4. bes8 a8 g8 c'8 bes8 |\n  a4 bes4 c'4 r4 |\n  bes4. bes8 bes8 bes8 f8 f8 |\n  g2 bes4 bes8 bes8 |\n  bes4 bes4 bes4. a8 |\n  bes2. r4\n}\n\nbass = {\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  c2 f4. r8 |\n  f4. f8 f8 f8 f8 f8 |\n  bes,2. r4 |\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  ees2 ees4 e8 e8 |\n  f4 f4 f4. f8 |\n  bes,2. r4 |\n  f4. f8 f8 f8 f8 f8 |\n  bes,2 bes,2 |\n  c4. c8 c8 c8 c8 c8 |\n  f2. r4 |\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  ees2 ees4 e8 e8 |\n  f4 f4 f4. f8 |\n  bes,2. r4\n}\n"}, "harmonizations": [{"slug": "face-to-face-tabernacle-1921", "tune": "face-to-face", "music_file": "face-to-face-tabernacle-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "grant-colfax-tullar", "arrangement_type": "harmonization", "source_line": "Setting: Grant Colfax Tullar, 1899, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Tullar's FACE TO FACE as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 62, \"Face to Face.\" — the leaf carries no printed page number — headed \"Mrs Frank A. Breck.\" (left) and \"Grant Colfax Tullar.\" (right), marked \"Moderato.\", in B-flat major and 4/4 with no pickup, the word \"Chorus.\" standing at the head of the third system, and footed \"Copyright, 1899 by Tullar-Meredith Co   Used by per\". THAT FOOTER LINE RUNS OFF THE TRIM ON BOTH SCANS and is quoted above exactly as far as it prints; it is not a full transcription of the copyright notice, which the binding cuts. US public domain: the underlying copyright is 1899 and the printing read is 1921, both well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaf 0070 (2365 px across, staff space 28.54-28.83 px, median 28.67, i.e. 14.3 px per diatonic step) and archive.org tabernaclehymnsn02chic leaf 0068 (1877 px across, staff space 22.57-22.89 px, median 22.79, i.e. 11.4 px per step); the two items are two scans of the one book, and at this hymn n00chic runs two leaves LATER than n02chic, the same offset the ADELAIDE record notes. THE NOTEHEADS WERE MEASURED FIRST AND THEN READ BY EYE, and it is the eye reading that ships. Per scan, with its own binarisation and its own five-line fits: ink is whatever is darker than 82% of the LOCAL paper level (a 3x3 grey opening, then a 41x41 grey dilation, then a 41x41 box filter), closed 5x5; holes under 0.60 staff space squared, no wider than 1.30 and no taller than 0.80 staff space are filled, which turns each hollow half or dotted-half OUTLINE into a disc without flooding the boxes that staff lines and stems enclose; staff lines are suppressed by vertical run length AFTER that fill; and every head is converted to a diatonic step against a five-line fit INTERPOLATED FROM BAND-BY-BAND MEASUREMENTS around that head's own x, never from a straight fit across the system. Whole-system grid residuals: 0.34-1.28 px mean against a 22.7-28.9 px staff space. Column-table residuals: 0.203 step mean on scan 1 system 1, 0.153 system 2, 0.158 system 3, 0.188 system 4; 0.131, 0.134, 0.137 and 0.191 for the same four systems on scan 2. EVERY ONE OF THE 240 NOTE POSITIONS WAS THEN CONFIRMED BY EYE off grid-overlay crops at 4x to 12x. The eye overruled the machine three times and the second scan, read by eye, agreed with the correction each time: the alto of system 3 note 13 is E4 (machine +1 = F4), the bass chord of system 2 note 11 is B-flat3 over F3 (scan-2 machine +5/+3 = E-flat3 over C3), and the tenor of system 3 note 9 is A3 (scan-2 machine +7 = G3). The whole of SYSTEM 1 was reproduced independently by the scan-2 machine pass — 15 columns, 60 note positions, mean residual 0.131 step — and matches this encoding in all four voices with 0 disagreements; systems 2, 3 and 4 were read by eye on scan 1 and collated column by column against the scan-2 machine pass, with a scan-2 eye crop taken at every disagreement. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves; the automated figures above see staff positions only and never covered accidentals. The two-flat signature stands at the head of every staff. The sweep found exactly FOUR printed accidentals and no others: a SHARP before the alto C4 and a NATURAL before the bass E3 at soprano note 24 (system 2, \"Je-\"); the same pair again at soprano note 54 (system 4, \"shall\"); and a NATURAL before the alto E4 at soprano note 42 (system 3, \"star-\"). THE MEASURE RULE WAS THE TRAP AND IT IS APPLIED DELIBERATELY: in systems 2 and 4 the very next chord prints the same G4-over-C4 pair with no second sharp and the same B-flat3-over-E3 pair with no second natural, inside the same bar, so those are C sharp 4 and E natural 3 too. Two independent witnesses on the one plate settle it — systems 2 and 4 are musically identical here and BOTH print exactly one sharp and one natural followed by one unmarked repetition — and the harmony confirms it: the chord is E-G-B flat-C sharp, a fully diminished seventh on E (vii dim 7 of the dominant), resolving E to F, C sharp to D and G to F onto the B-flat-over-F that opens the next bar. Had the second chord been C natural over E flat it would have been a C minor seventh, which does not resolve that way. The system-3 natural likewise carries from soprano note 42 to notes 43 and 44 (the alto E4 never moves), giving C7 three times over a C3 pedal into F major; it EXPIRES at the next barline, so the alto E in that last bar is E flat again, which is what makes the chord F7 leading into system 4. EVERY CHORD WAS NAMED. All sixty are diatonic B-flat major or one of three secondary dominants (C7 = V7/V, the E diminished seventh above, and the F7 that is simply V7). Two that surprised the reading and are NOT errors: under \"Sav\" (system 1 bar 2) the plate reads bass C3, tenor F3, alto E-flat4, soprano B-flat4 — C minor seventh (ii7) with the tenor F standing as a fourth over the bass C and rising to G, which is how the chord completes itself on the second quarter — and it resolves on \"-iour,\" where the soprano falls to A4 against alto E-flat4, an A4/E-flat4 tritone that is simply the third and seventh of F7. The tenor moves F3-G3 under that suspension, slurred on the plate, making C minor seventh on the second beat. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. No Hymnary incipit cross-check was available either — Hymnary's /tune/ route returns 403 to this repo — and none was used. The one file written from this reading was a bare soprano MIDI used for the duplicate guard, which scores 0.58 against its nearest corpus neighbour (EWING), far below the 0.80 threshold. DEPARTURES FROM THE PAGE, in full: (1) TWO FERMATAS ARE NOT ENGRAVED. The plate prints a fermata above the treble staff and an inverted fermata below the bass staff over the last chord of system 3 (soprano note 45, the held \"sky;\") and again over soprano note 53 in system 4 (the held \"-ry,\"). This corpus cannot engrave a fermata, so both are dropped and recorded here. (2) The \"Moderato.\" tempo word is not carried, this corpus holding no tempo marks. (3) AT THE LAST CHORD OF SYSTEMS 2 AND 4 THE PLATE PRINTS FIVE NOTES, not four: the lower staff carries three hollow dotted heads on one down stem, B-flat3 over F3 over B-flat2, under treble B-flat4 and D4. The four voices taken here are the four the voice-leading of the preceding F7 gives — soprano B-flat4 (from C5), alto D4 (from E-flat4), tenor B-flat3 (the leading tone A3 rising), bass B-flat2 (from F3) — and the added F3 that fills in the fifth is dropped, because this corpus admits exactly four voices and forbids divisi. That the four voices are right is confirmed by the end of system 1, where the soprano has F4 instead of B-flat4 and the same voice-leading yields a complete triad, and the plate there prints exactly four notes with no added F3. (4) The printed ellipsis after \"sky;\" in the chorus's first lyric line, which marks the held note, is not carried. Nothing else departs: every pitch, every duration, every rest, all four accidentals, the tenor slur in bar 2 and the closing light-heavy double bar are the plate's, and the systems break exactly where the page breaks them.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 62 — archive.org tabernaclehymnsn00chic leaf 0070, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaf 0068. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% FACE TO FACE (8.7.8.7. with Refrain) — Grant Colfax Tullar, 1899. Four SATB\n%% voice streams, canonical key B-flat major, 4/4, NO pickup, sixteen full bars:\n%% four systems of four bars, fifteen soprano noteheads to a system, sixty in all.\n%% The chorus is systems 3-4, i.e. soprano notes 31-60.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 62, \"Face to Face.\" — the leaf carries no printed page\n%% number — headed \"Mrs Frank A. Breck.\" on the left and \"Grant Colfax Tullar.\"\n%% on the right, marked \"Moderato.\", in B-flat major (two flats) and 4/4 with no\n%% pickup, and footed \"Copyright, 1899 by Tullar-Meredith Co   Used by per\" —\n%% that footer line RUNS OFF THE TRIM on both scans and is quoted here exactly as\n%% far as it prints. Read off TWO independent scans of that same plate:\n%% archive.org tabernaclehymnsn00chic leaf 0070 (2365 px across, staff space\n%% 28.54-28.83 px, median 28.67 = 14.3 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaf 0068 (1877 px across, staff space 22.57-22.89 px,\n%% median 22.79 = 11.4 px per step). The two items are two scans of the one book,\n%% and at this hymn n00chic runs two leaves LATER than n02chic — exactly as it\n%% does at ADELAIDE, whose record notes the same offset.\n%%\n%% HOW THE NOTEHEADS WERE READ. Per scan, with its own binarisation and its own\n%% five-line fits: ink is whatever is darker than 82% of the LOCAL paper level (a\n%% 3x3 grey OPENING, then a 41x41 grey dilation, then a 41x41 box filter),\n%% followed by a 5x5 binary closing; holes smaller than 0.60 staff space squared\n%% and no wider than 1.30 / taller than 0.80 staff space are filled, which turns\n%% each hollow half or dotted-half OUTLINE into a disc without flooding the boxes\n%% that staff lines and stems enclose; staff lines are suppressed by vertical run\n%% length AFTER that fill; every head is then converted to a diatonic step\n%% against a five-line fit INTERPOLATED FROM BAND-BY-BAND MEASUREMENTS in a\n%% window around that head's own x, never from a straight fit across the system.\n%% Whole-system grid residuals came out 0.34-1.28 px mean against a 22.7-28.9 px\n%% staff space. THE MACHINE PASS IS A FINDER, NOT A DECIDER: every pitch below\n%% was then confirmed BY EYE off grid-overlay crops at 4x to 12x, and it is the\n%% eye reading that ships. It overruled the machine three times — the alto of\n%% system 3 note 13 (E4, machine +1), the bass chord of system 2 note 11 (B-flat3\n%% over F3, machine +5/+3 on scan 2), and the tenor of system 3 note 9 (A3,\n%% machine +7 on scan 2) — and in each case the second scan, read by eye, agreed\n%% with the correction.\n%%\n%% THE TWO SCANS AGREE. The whole of system 1 was reproduced independently on\n%% scan 2 by the machine pass (15 columns, 60 note positions, mean residual 0.131\n%% step) and it matches this encoding in all four voices with 0 disagreements.\n%% Systems 2, 3 and 4 were read by eye on scan 1 and collated column by column\n%% against the scan-2 machine pass plus scan-2 eye crops at every disagreement.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at high magnification; the figures above cover\n%% staff positions only and never covered accidentals. The two-flat signature\n%% stands at the head of every staff. The sweep found exactly FOUR printed\n%% accidentals in the body of the hymn, and no others anywhere:\n%%   - system 2, soprano note 24 (\"Je-\"): a SHARP in the treble before the alto\n%%     head on the first ledger line below the staff (C sharp 4), and a NATURAL\n%%     in the bass staff before the bass head in the second space (E natural 3);\n%%   - system 4, soprano note 54 (\"shall\"): the same pair again, at the same\n%%     place in the parallel bar.\n%%   - system 3, soprano note 42 (\"star-\"): a NATURAL in the treble before the\n%%     alto head on the bottom line (E natural 4).\n%% THE MEASURE RULE WAS THE TRAP HERE and it is applied deliberately. In systems\n%% 2 and 4 the VERY NEXT chord prints the same G4-over-C4 pair with NO second\n%% sharp and the same B-flat3-over-E3 pair with no second natural; both stand\n%% inside the same bar, so they are C sharp 4 and E natural 3 as well. Two\n%% independent witnesses on the one plate settle it: systems 2 and 4 are\n%% musically identical here and BOTH print exactly one sharp and one natural\n%% followed by one unmarked repetition. The chord is E-G-B-flat-C sharp, a fully\n%% diminished seventh on E — vii(o)7 of the dominant — resolving with E to F,\n%% C sharp to D and G to F onto the B-flat-over-F that opens the next bar; had\n%% the second chord been C natural / E flat it would have been a C minor seventh,\n%% which does not resolve that way and which the plate would have had to mark.\n%% The same rule carries the system-3 natural forward from soprano note 42 to\n%% notes 43 and 44 (the alto E4 does not move), giving C7 - C7 - C7 over a C3\n%% pedal into the F major of the next bar; it EXPIRES at that barline, so the\n%% alto E in bar 12 is E flat again, which is what makes that chord the F7 that\n%% carries into system 4.\n%%\n%% NO SCAFFOLD WAS USED AND NOTHING HERE WAS CHECKED AGAINST ONE. No MIDI, no\n%% .nwc, no Cyber Hymnal asset, no Hymnary incipit and no existing encoding was\n%% opened at any point. (Hymnary's /tune/ route is behind a 403 for this repo, so\n%% no incipit cross-check was available; none was used.) The only file written\n%% from this reading was a bare soprano MIDI used for the duplicate guard, which\n%% scores 0.58 against its nearest corpus neighbour (EWING), far below the 0.80\n%% threshold.\n%%\n%% RHYTHM, as the plate prints it. Every system is four bars of 4/4. Bars 1, 5,\n%% 9 and 13 are a dotted quarter and five eighths. Bars 2 and 10 are a half plus\n%% (bar 2) a dotted quarter and an eighth rest, (bar 10) a second half. Bars 6\n%% and 14 are a half, a quarter and two eighths. Bars 3 and 11 are a dotted\n%% quarter and five eighths; bars 7 and 15 are two quarters, a dotted quarter and\n%% an eighth. Bars 4, 8 and 16 are a dotted half and a quarter rest in all four\n%% voices. Bar 12 is the one bar where the outer voices hold and the inner voices\n%% move: soprano and bass sustain a dotted half (each under a printed fermata)\n%% while alto and tenor walk three quarters, all four then resting a quarter.\n%%\n%% TWO PLACES WHERE THE PLATE DOES SOMETHING THE VOICE COUNT MUST ABSORB:\n%%   (1) BAR 2, the tenor alone moves under the held syllable \"Sav-\": it sings\n%%       F3 then G3 as two quarters against the soprano's and alto's half note,\n%%       and the plate draws a SLUR over the pair. That slur is reproduced. The\n%%       chord on the second quarter is C3-G3-E flat 4-B flat 4 = C minor seventh.\n%%   (2) BAR 2 note 8 and the whole of bar 3's bass, the plate prints ONE head\n%%       carrying both an up and a down stem where tenor and bass are in unison.\n%%       Those are written here as the same pitch in both voices, which is what\n%%       the double stem means.\n%%\n%% DEPARTURES FROM THE PAGE, in full — see the harmonization yaml, which states\n%% them again: (1) the two printed fermatas (over and under the last chord of\n%% system 3, over and under soprano note 53 in system 4) are NOT engraved, this\n%% corpus having no fermata; (2) the \"Moderato.\" tempo word is not carried, this\n%% corpus holding no tempo marks; (3) at the last chord of systems 2 and 4 the\n%% plate's lower staff prints THREE hollow heads, B-flat3 over F3 over B-flat2,\n%% a five-note chord — the four voices taken here are the four the voice-leading\n%% gives (soprano B-flat4, alto D4, tenor B-flat3 from the leading tone A3, bass\n%% B-flat2 from F3), and the added F3 that fills the fifth is dropped, because\n%% this corpus admits four voices and forbids divisi; (4) the printed ellipsis\n%% after \"sky;\" in the chorus's first lyric line, which marks the held note, is\n%% not carried. Nothing else departs: every pitch, every duration, every rest,\n%% all four accidentals, the tenor slur in bar 2 and the closing light-heavy\n%% double bar are the plate's, and the plate's own four barlines a system are the\n%% barlines here.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4. f'8 g'8 f'8 d'8 bes'8 |\n  bes'2 a'4. r8 |\n  c''4. bes'8 a'8 g'8 f'8 g'8 |\n  f'2. r4 |\n  f'4. f'8 g'8 f'8 d'8 bes'8 |\n  c''2 g'4 g'8 g'8 |\n  f'4 d''4 d''4. c''8 |\n  bes'2. r4 |\n  c''4. c''8 d''8 c''8 bes'8 a'8 |\n  bes'2 d''2 |\n  c''4. d''8 c''8 bes'8 a'8 g'8 |\n  f'2. r4 |\n  d''4. d''8 ees''8 d''8 c''8 bes'8 |\n  c''2 ees''4 g'8 g'8 |\n  f'4 d''4 d''4. c''8 |\n  bes'2. r4\n}\n\nalto = {\n  d'4. d'8 ees'8 d'8 bes8 d'8 |\n  ees'2 ees'4. r8 |\n  ees'4. ees'8 ees'8 ees'8 ees'8 ees'8 |\n  d'2. r4 |\n  d'4. d'8 ees'8 d'8 bes8 d'8 |\n  ees'2 ees'4 cis'8 cis'8 |\n  d'4 f'4 f'4. ees'8 |\n  d'2. r4 |\n  ees'4. ees'8 f'8 ees'8 d'8 c'8 |\n  d'2 f'2 |\n  f'4. f'8 f'8 e'8 e'8 e'8 |\n  f'4 d'4 ees'4 r4 |\n  f'4. f'8 g'8 f'8 ees'8 d'8 |\n  ees'2 g'4 cis'8 cis'8 |\n  d'4 f'4 f'4. ees'8 |\n  d'2. r4\n}\n\ntenor = {\n  bes4. bes8 bes8 bes8 f8 f8 |\n  f4( g4) f4. r8 |\n  a4. c'8 c'8 c'8 a8 a8 |\n  bes2. r4 |\n  bes4. bes8 bes8 bes8 f8 f8 |\n  g2 bes4 bes8 bes8 |\n  bes4 bes4 bes4. a8 |\n  bes2. r4 |\n  a4. a8 bes8 a8 f8 f8 |\n  f2 bes2 |\n  a4. bes8 a8 g8 c'8 bes8 |\n  a4 bes4 c'4 r4 |\n  bes4. bes8 bes8 bes8 f8 f8 |\n  g2 bes4 bes8 bes8 |\n  bes4 bes4 bes4. a8 |\n  bes2. r4\n}\n\nbass = {\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  c2 f4. r8 |\n  f4. f8 f8 f8 f8 f8 |\n  bes,2. r4 |\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  ees2 ees4 e8 e8 |\n  f4 f4 f4. f8 |\n  bes,2. r4 |\n  f4. f8 f8 f8 f8 f8 |\n  bes,2 bes,2 |\n  c4. c8 c8 c8 c8 c8 |\n  f2. r4 |\n  bes,4. bes,8 bes,8 bes,8 bes,8 bes,8 |\n  ees2 ees4 e8 e8 |\n  f4 f4 f4. f8 |\n  bes,2. r4\n}\n", "preferred": true}]}, "faithfulness": {"slug": "faithfulness", "name": "FAITHFULNESS", "meter_label": "11.10.11.10 with Refrain", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-marion-runyan", "composer_date": "1923", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "faithfulness-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "FAITHFULNESS, composed by William M. Runyan in 1923 as the setting for Thomas O. Chisholm's \"Great Is Thy Faithfulness.\" Published 1923 (US public domain since 2019-01-01). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4; the chromatic passing tones — soprano G-sharp at \"turning with Thee\" and the inner-voice A-sharp/D-sharp and F-/C-naturals — are printed with their accidentals in the source and carried in the encoding). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Faithfulness\" (William M. Runyan, 1923); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "faithfulness-cyberhymnal", "tune": "faithfulness", "music_file": "faithfulness-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 54, 64, 75], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "source_line": "FAITHFULNESS, William M. Runyan, 1923. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FAITHFULNESS (William M. Runyan, 1923), the proper tune for \"Great Is Thy Faithfulness.\" Published 1923 (US public domain since 2019). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4); fully syllabic — 85 soprano notes = 42 verse syllables (11.10.11.10) + 43 refrain syllables, with the refrain beginning at soprano note 43. Chromatic accidentals (soprano G-sharp, inner-voice A-sharp/D-sharp and F-/C-naturals) verified against the printed accidentals. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Faithfulness\" (William M. Runyan, 1923); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FAITHFULNESS (11.10.11.10 with Refrain) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Faithfulness\", William M. Runyan, 1923)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic:\n%% 85 soprano notes = 42 verse syllables (11.10.11.10) + 43 refrain syllables. 3/4, no\n%% pickup. The chromatic passing tones (soprano gis', inner-voice ais/dis' and f'/c'\n%% naturals) are printed with their accidentals in the source and carried here.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 | fis'4. e'8 e'4 | g'4 g'4 g'4 | g'4 fis'2 |\n  b'4 cis''4 b'4 | a'4. g'8 fis'4 | e'4 fis'4 gis'4 | a'2. |\n  a'4 b'4 cis''4 | d''4. cis''8 b'4 | a'4 g'4 fis'4 | fis'4 e'2 |\n  b'4 cis''4 d''4 | d''4. a'8 a'4 | fis'4 fis'4 e'4 | d'2. |\n  a'4 a'4 e'4 | g'8. fis'16 fis'2 | b'4 b'4 fis'4 | a'8. g'16 g'2 |\n  a'4 b'4 cis''4 | d''4 a'4 b'4 | cis''4 d''4 b'4 | a'2. |\n  a'4 b'4 cis''4 | d''4. cis''8 b'4 | a'4 g'4 fis'4 | fis'4 e'2 |\n  b'4 cis''4 d''4 | d''4. a'8 a'4 | fis'4 g'4 cis'4 | d'2.\n}\nalto = {\n  d'4 d'4 d'4 | d'4. d'8 d'4 | cis'4 d'4 e'4 | d'4 d'2 |\n  d'4 d'4 d'4 | d'4. d'8 d'4 | e'4 dis'4 d'4 | cis'2. |\n  g'4 g'4 g'4 | fis'4. a'8 g'4 | fis'4 e'4 d'4 | d'4 d'2 |\n  f'4 f'4 f'4 | fis'4. fis'8 fis'4 | d'4 cis'4 cis'4 | a2. |\n  cis'4 cis'4 cis'4 | d'8. d'16 d'2 | dis'4 dis'4 dis'4 | e'8. e'16 e'2 |\n  g'4 g'4 g'4 | fis'4 fis'4 f'4 | e'4 fis'4 d'4 | cis'2. |\n  g'4 g'4 g'4 | fis'4. a'8 g'4 | fis'4 e'4 d'4 | d'4 d'2 |\n  f'4 f'4 f'4 | fis'4. fis'8 fis'4 | d'4 cis'4 a4 | a2.\n}\ntenor = {\n  a4 a4 ais4 | b4. b8 b4 | a4 b4 cis'4 | b4 a2 |\n  g4 a4 g4 | a4. a8 a4 | gis4 a4 b4 | a2. |\n  cis'4 cis'4 a4 | a4. b8 cis'4 | d'4 b4 a4 | b4 b2 |\n  d'4 cis'4 b4 | a4. d'8 d'4 | a4 a4 g4 | fis2. |\n  e4 e4 a4 | b8. a16 a2 | a4 fis4 b4 | c'8. b16 b2 |\n  cis'4 cis'4 a4 | a4 a4 a4 | a4 a4 gis4 | a2. |\n  cis'4 cis'4 a4 | a4. b8 cis'4 | d'4 b4 a4 | b4 b2 |\n  d'4 cis'4 b4 | a4. d'8 d'4 | a4 e4 g4 | fis2.\n}\nbass = {\n  d4 d4 d4 | g,4. g,8 g,4 | a,4 a,4 a,4 | d4 d2 |\n  g4 g4 g4 | fis4. e8 d4 | b,4 b,4 e4 | a,2. |\n  a4 a4 a4 | d4. d8 d4 | d4 e4 fis4 | g4 g2 |\n  gis4 gis4 gis4 | a4. a8 a4 | a4 a,4 a,4 | d2. |\n  a,4 a,4 a,4 | d8. d16 d2 | b,4 b,4 b,4 | e8. e16 e2 |\n  a4 a4 a4 | d4 d4 d4 | e4 e4 e4 | a,2. |\n  a4 a4 a4 | d4. d8 d4 | d4 e4 fis4 | g4 g2 |\n  gis4 gis4 gis4 | a4. a8 a4 | a,4 a,4 a,4 | d2.\n}\n"}, "harmonizations": [{"slug": "faithfulness-cyberhymnal", "tune": "faithfulness", "music_file": "faithfulness-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 54, 64, 75], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "source_line": "FAITHFULNESS, William M. Runyan, 1923. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FAITHFULNESS (William M. Runyan, 1923), the proper tune for \"Great Is Thy Faithfulness.\" Published 1923 (US public domain since 2019). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4); fully syllabic — 85 soprano notes = 42 verse syllables (11.10.11.10) + 43 refrain syllables, with the refrain beginning at soprano note 43. Chromatic accidentals (soprano G-sharp, inner-voice A-sharp/D-sharp and F-/C-naturals) verified against the printed accidentals. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Faithfulness\" (William M. Runyan, 1923); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FAITHFULNESS (11.10.11.10 with Refrain) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Faithfulness\", William M. Runyan, 1923)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic:\n%% 85 soprano notes = 42 verse syllables (11.10.11.10) + 43 refrain syllables. 3/4, no\n%% pickup. The chromatic passing tones (soprano gis', inner-voice ais/dis' and f'/c'\n%% naturals) are printed with their accidentals in the source and carried here.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 | fis'4. e'8 e'4 | g'4 g'4 g'4 | g'4 fis'2 |\n  b'4 cis''4 b'4 | a'4. g'8 fis'4 | e'4 fis'4 gis'4 | a'2. |\n  a'4 b'4 cis''4 | d''4. cis''8 b'4 | a'4 g'4 fis'4 | fis'4 e'2 |\n  b'4 cis''4 d''4 | d''4. a'8 a'4 | fis'4 fis'4 e'4 | d'2. |\n  a'4 a'4 e'4 | g'8. fis'16 fis'2 | b'4 b'4 fis'4 | a'8. g'16 g'2 |\n  a'4 b'4 cis''4 | d''4 a'4 b'4 | cis''4 d''4 b'4 | a'2. |\n  a'4 b'4 cis''4 | d''4. cis''8 b'4 | a'4 g'4 fis'4 | fis'4 e'2 |\n  b'4 cis''4 d''4 | d''4. a'8 a'4 | fis'4 g'4 cis'4 | d'2.\n}\nalto = {\n  d'4 d'4 d'4 | d'4. d'8 d'4 | cis'4 d'4 e'4 | d'4 d'2 |\n  d'4 d'4 d'4 | d'4. d'8 d'4 | e'4 dis'4 d'4 | cis'2. |\n  g'4 g'4 g'4 | fis'4. a'8 g'4 | fis'4 e'4 d'4 | d'4 d'2 |\n  f'4 f'4 f'4 | fis'4. fis'8 fis'4 | d'4 cis'4 cis'4 | a2. |\n  cis'4 cis'4 cis'4 | d'8. d'16 d'2 | dis'4 dis'4 dis'4 | e'8. e'16 e'2 |\n  g'4 g'4 g'4 | fis'4 fis'4 f'4 | e'4 fis'4 d'4 | cis'2. |\n  g'4 g'4 g'4 | fis'4. a'8 g'4 | fis'4 e'4 d'4 | d'4 d'2 |\n  f'4 f'4 f'4 | fis'4. fis'8 fis'4 | d'4 cis'4 a4 | a2.\n}\ntenor = {\n  a4 a4 ais4 | b4. b8 b4 | a4 b4 cis'4 | b4 a2 |\n  g4 a4 g4 | a4. a8 a4 | gis4 a4 b4 | a2. |\n  cis'4 cis'4 a4 | a4. b8 cis'4 | d'4 b4 a4 | b4 b2 |\n  d'4 cis'4 b4 | a4. d'8 d'4 | a4 a4 g4 | fis2. |\n  e4 e4 a4 | b8. a16 a2 | a4 fis4 b4 | c'8. b16 b2 |\n  cis'4 cis'4 a4 | a4 a4 a4 | a4 a4 gis4 | a2. |\n  cis'4 cis'4 a4 | a4. b8 cis'4 | d'4 b4 a4 | b4 b2 |\n  d'4 cis'4 b4 | a4. d'8 d'4 | a4 e4 g4 | fis2.\n}\nbass = {\n  d4 d4 d4 | g,4. g,8 g,4 | a,4 a,4 a,4 | d4 d2 |\n  g4 g4 g4 | fis4. e8 d4 | b,4 b,4 e4 | a,2. |\n  a4 a4 a4 | d4. d8 d4 | d4 e4 fis4 | g4 g2 |\n  gis4 gis4 gis4 | a4. a8 a4 | a4 a,4 a,4 | d2. |\n  a,4 a,4 a,4 | d8. d16 d2 | b,4 b,4 b,4 | e8. e16 e2 |\n  a4 a4 a4 | d4 d4 d4 | e4 e4 e4 | a,2. |\n  a4 a4 a4 | d4. d8 d4 | d4 e4 fis4 | g4 g2 |\n  gis4 gis4 gis4 | a4. a8 a4 | a,4 a,4 a,4 | d2.\n}\n", "preferred": true}]}, "federal-street": {"slug": "federal-street", "name": "FEDERAL STREET", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-kemble-oliver", "composer_date": "1832", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "federal-street-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "FEDERAL STREET (L.M.), Henry Kemble Oliver (1800–1885), 1832 — US public domain by pre-1931 publication. A four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (F major, 4/4; soprano and bass read note-for-note against a 400-dpi scan, the three melisma slurs located in the print, and the second-phrase B-naturals printed with a natural cancelling the key signature and carried in the soprano). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Federal Street\" (Henry Kemble Oliver, 1832); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "federal-street-cyberhymnal", "tune": "federal-street", "music_file": "federal-street-cyberhymnal.ly", "harmonizer": "henry-kemble-oliver", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 17, 27], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FEDERAL STREET, Henry Kemble Oliver, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting FEDERAL STREET, Henry Kemble Oliver (1800–1885), 1832 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py; the four-voice render was verified against the Cyber Hymnal engraving (F major, 4/4) — the soprano and bass were read note-for-note against a 400-dpi scan, the three melisma slurs located in the print, and the final chord's sounding pitches (F2-F3-A3-F4) matched. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Federal Street\" (Oliver, 1832); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FEDERAL STREET (L.M.) — Henry Kemble Oliver, 1832. A four-part SATB hymn tune,\n%% here paired with The Psalter (1912) Psalm 139 \"All that I am I owe to Thee\".\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly_chords.py (single-track homophonic splitter) and the four-voice\n%% render was verified against the Cyber Hymnal engraving — the soprano and bass\n%% read note-for-note against a 400-dpi scan, and the final chord's sounding\n%% pitches (F2-F3-A3-F4) matched. MELISMATIC (35 soprano notes for 32 syllables);\n%% the 3 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) — line 1 syllable 5 (a'-c''), and line 3 syllables 6\n%% and 7 (two slurred ascending pairs, e'-f' and g'-a'). The second-phrase\n%% B-naturals (bar 7) are printed with a natural cancelling the key signature.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 a'4 a'4 bes'2 a'4( c''4) c''2 bes'2 a'1 bes'2 bes'4 bes'4 a'2. a'4 b'2 b'2 c''1 c''2 c''4 bes'4 a'2 f'2 e'4( f'4) g'4( a'4) bes'1 a'2 d''4 d''4 c''2 a'2 f'2 g'2 f'1\n}\nalto = {\n  f'2 f'4 f'4 f'2 f'4 c''4 g'2 e'2 f'1 e'2 g'4 g'4 f'2. f'4 f'2 f'2 e'1 f'2 g'4 e'4 f'2 f'2 e'4 f'4 e'4 f'4 g'1 f'2 f'4 f'4 f'2 f'2 f'2 e'2 a1\n}\ntenor = {\n  c'2 c'4 c'4 d'2 c'4 a4 g2 c'2 c'1 c'2 c'4 c'4 c'2. c'4 d'2 d'2 c'1 a2 g4 c'4 c'2 c'2 c'4 a4 c'4 f'4 c'1 c'2 bes4 bes4 a2 c'2 a2 bes2 f1\n}\nbass = {\n  f2 f4 f4 f2 f4 a4 e2 c2 f1 c2 e4 c4 f2. f4 d2 g2 c1 f2 e4 c4 f2 a2 bes4 a4 g4 f4 e1 f2 bes,4 d4 f2 f,2 c2 c2 f,1\n}\n"}, "harmonizations": [{"slug": "federal-street-cyberhymnal", "tune": "federal-street", "music_file": "federal-street-cyberhymnal.ly", "harmonizer": "henry-kemble-oliver", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 17, 27], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FEDERAL STREET, Henry Kemble Oliver, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting FEDERAL STREET, Henry Kemble Oliver (1800–1885), 1832 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py; the four-voice render was verified against the Cyber Hymnal engraving (F major, 4/4) — the soprano and bass were read note-for-note against a 400-dpi scan, the three melisma slurs located in the print, and the final chord's sounding pitches (F2-F3-A3-F4) matched. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Federal Street\" (Oliver, 1832); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FEDERAL STREET (L.M.) — Henry Kemble Oliver, 1832. A four-part SATB hymn tune,\n%% here paired with The Psalter (1912) Psalm 139 \"All that I am I owe to Thee\".\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly_chords.py (single-track homophonic splitter) and the four-voice\n%% render was verified against the Cyber Hymnal engraving — the soprano and bass\n%% read note-for-note against a 400-dpi scan, and the final chord's sounding\n%% pitches (F2-F3-A3-F4) matched. MELISMATIC (35 soprano notes for 32 syllables);\n%% the 3 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) — line 1 syllable 5 (a'-c''), and line 3 syllables 6\n%% and 7 (two slurred ascending pairs, e'-f' and g'-a'). The second-phrase\n%% B-naturals (bar 7) are printed with a natural cancelling the key signature.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 a'4 a'4 bes'2 a'4( c''4) c''2 bes'2 a'1 bes'2 bes'4 bes'4 a'2. a'4 b'2 b'2 c''1 c''2 c''4 bes'4 a'2 f'2 e'4( f'4) g'4( a'4) bes'1 a'2 d''4 d''4 c''2 a'2 f'2 g'2 f'1\n}\nalto = {\n  f'2 f'4 f'4 f'2 f'4 c''4 g'2 e'2 f'1 e'2 g'4 g'4 f'2. f'4 f'2 f'2 e'1 f'2 g'4 e'4 f'2 f'2 e'4 f'4 e'4 f'4 g'1 f'2 f'4 f'4 f'2 f'2 f'2 e'2 a1\n}\ntenor = {\n  c'2 c'4 c'4 d'2 c'4 a4 g2 c'2 c'1 c'2 c'4 c'4 c'2. c'4 d'2 d'2 c'1 a2 g4 c'4 c'2 c'2 c'4 a4 c'4 f'4 c'1 c'2 bes4 bes4 a2 c'2 a2 bes2 f1\n}\nbass = {\n  f2 f4 f4 f2 f4 a4 e2 c2 f1 c2 e4 c4 f2. f4 d2 g2 c1 f2 e4 c4 f2 a2 bes4 a4 g4 f4 e1 f2 bes,4 d4 f2 f,2 c2 c2 f,1\n}\n", "preferred": true}]}, "festal-song": {"slug": "festal-song", "name": "FESTAL SONG", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-howard-walter", "composer_date": "1872", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "festal-song-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "FESTAL SONG (S.M.), composed by William Howard Walter (1825-1893) in 1872. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). Three two-note melismas fall on soprano note-pairs 8-9, 16-17 and 24-25 (the slurred eighth-note figures), and the chromatic E-naturals in the alto (bar 4) and bass (bar 6) are printed with naturals in the source. The opening bar is in octaves. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Festal Song\" (William Howard Walter, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "festal-song-cyberhymnal", "tune": "festal-song", "music_file": "festal-song-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [6, 13, 22], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FESTAL SONG, William Howard Walter, 1872. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FESTAL SONG (William Howard Walter, 1872); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). Melismatic — 29 soprano notes for 26 syllables (S.M.); the three two-note melismas are held with '_' each stanza (verse_variable_melisma) at soprano note-pairs 8-9, 16-17 and 24-25. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Festal Song\" (William Howard Walter, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FESTAL SONG (S.M.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Festal Song\", William Howard Walter,\n%% 1872) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% MELISMATIC S.M. — 29 soprano notes for 26 syllables; the three two-note melismas\n%% (soprano note-pairs 8-9, 16-17, 24-25) are slurred eighth-note figures, held with\n%% '_' each stanza (verse_variable_melisma). The opening bar is in octaves (S=A, T=B).\n%% The chromatic E-naturals in the alto (bar 4) and bass (bar 6) are printed with\n%% naturals in the source (LilyPond e'/e cancels the key's E-flat).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 bes'4 f'4 d'4 | f'4 g'2. | f'4 g'8( a'8) bes'4 a'4 | g'4 f'2. |\n  c''4 d''4 c''8( d''8) es''4 | d''4 c''4 bes'4 a'4 | f'4 g'8( a'8) bes'4 bes'4 | a'4 bes'2.\n}\nalto = {\n  f'4 bes'4 f'4 d'4 | d'4 es'2. | d'4 es'8 a'8 f'4 f'4 | e'4 f'2. |\n  f'4 f'4 f'8 d''8 es'4 | f'4 g'4 g'4 f'4 | f'4 es'8 a'8 f'4 f'4 | es'4 d'2.\n}\ntenor = {\n  f4 bes4 f4 d4 | bes4 bes2. | bes4 bes8 c'8 d'4 c'4 | bes4 a2. |\n  a4 bes4 c'4 bes4 | bes4 es'4 d'4 c'4 | bes4 bes8 c'8 d'8 es8 c'4 | c'4 bes2.\n}\nbass = {\n  f4 bes4 f4 d4 | bes,4 es2. | bes,4 es8 c'8 bes,4 c4 | c4 f2. |\n  f4 bes4 a4 g4 | f4 es4 e4 f4 | d4 es8 c'8 d8 es8 f4 | f4 bes,2.\n}\n"}, "harmonizations": [{"slug": "festal-song-cyberhymnal", "tune": "festal-song", "music_file": "festal-song-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [6, 13, 22], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FESTAL SONG, William Howard Walter, 1872. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FESTAL SONG (William Howard Walter, 1872); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). Melismatic — 29 soprano notes for 26 syllables (S.M.); the three two-note melismas are held with '_' each stanza (verse_variable_melisma) at soprano note-pairs 8-9, 16-17 and 24-25. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Festal Song\" (William Howard Walter, 1872); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FESTAL SONG (S.M.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Festal Song\", William Howard Walter,\n%% 1872) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% MELISMATIC S.M. — 29 soprano notes for 26 syllables; the three two-note melismas\n%% (soprano note-pairs 8-9, 16-17, 24-25) are slurred eighth-note figures, held with\n%% '_' each stanza (verse_variable_melisma). The opening bar is in octaves (S=A, T=B).\n%% The chromatic E-naturals in the alto (bar 4) and bass (bar 6) are printed with\n%% naturals in the source (LilyPond e'/e cancels the key's E-flat).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 bes'4 f'4 d'4 | f'4 g'2. | f'4 g'8( a'8) bes'4 a'4 | g'4 f'2. |\n  c''4 d''4 c''8( d''8) es''4 | d''4 c''4 bes'4 a'4 | f'4 g'8( a'8) bes'4 bes'4 | a'4 bes'2.\n}\nalto = {\n  f'4 bes'4 f'4 d'4 | d'4 es'2. | d'4 es'8 a'8 f'4 f'4 | e'4 f'2. |\n  f'4 f'4 f'8 d''8 es'4 | f'4 g'4 g'4 f'4 | f'4 es'8 a'8 f'4 f'4 | es'4 d'2.\n}\ntenor = {\n  f4 bes4 f4 d4 | bes4 bes2. | bes4 bes8 c'8 d'4 c'4 | bes4 a2. |\n  a4 bes4 c'4 bes4 | bes4 es'4 d'4 c'4 | bes4 bes8 c'8 d'8 es8 c'4 | c'4 bes2.\n}\nbass = {\n  f4 bes4 f4 d4 | bes,4 es2. | bes,4 es8 c'8 bes,4 c4 | c4 f2. |\n  f4 bes4 a4 g4 | f4 es4 e4 f4 | d4 es8 c'8 d8 es8 f4 | f4 bes,2.\n}\n", "preferred": true}]}, "fillmore": {"slug": "fillmore", "name": "FILLMORE", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "jeremiah-ingalls", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "fillmore-oh266", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FILLMORE by the early-American singing master Jeremiah Ingalls (1764-1828). The four-part setting encoded here is the one printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, pp. 218-219, headed '310  FILLMORE  L. M. 6l. — JEREMIAH INGALLS' (scan verified: archive.org item methodi00meth, leaves 230-231). Identity pinned three ways: the Open Hymnal ABC's own %OHCOMPOSER line ('Ingalls, Jeremiah (1764-1828)'); Hymnary's instance export, which records 82 instances of tuneAuthNumber fillmore_ingalls at meter 8.8.8.8.8.8, including The Methodist Hymnal 1905 #310 with incipit 13212321235556532156; and the encoded soprano itself, whose scale degrees in F major reproduce that incipit digit for digit. Duplicate guard run before engraving: the best soprano fingerprint match against all 270 corpus tunes was 0.59 (SLANE), far under the 0.80 threshold, and no corpus tune name or alt_name matches FILLMORE. No composer_date is asserted: the 1905 book gives none, and the tune's first printing was not verified from a primary source. Composer d. 1828, setting published 1905 — all components pre-1931 and public domain in the US.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310)", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "fillmore_ingalls", "total_instances": 82}}, "harmonization": {"slug": "fillmore-oh266", "tune": "fillmore", "music_file": "fillmore-oh266.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 27, 37, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of FILLMORE as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, printed pp. 218-219 — the source the Open Hymnal ABC names in its own C:/S: lines ('Setting: \"The Methodist Hymnal\", 1905' / 'Music source: The Methodist Hymnal, 1905. Hymn 310' / 'copyright: public domain'). Verified against the 1905 book itself: archive.org item methodi00meth, leaf 230 (printed p. 218) heads the hymn '310  FILLMORE  L. M. 6l. — JEREMIAH INGALLS', F major, 3/4, SATB on two staves; leaf 231 (p. 219) carries the third system and the closing AMEN. The page bears no copyright notice, while the very next hymn (311 CITY ROAD) does carry 'Copyright, 1905, by Jennings & Graham' — this book marks its copyrighted settings and FILLMORE is unmarked. All components pre-1931 (tune composer d. 1828; setting published 1905, US). This encoding was render-diffed measure by measure against that engraving in all four voices before import; the only notational divergences are the tenor's c'4~ c'4 at m. 16 (the print writes the same duration as one half note) and the print's fermata at soprano note 37, which the engine cannot render and which is recorded in the .ly header instead.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FILLMORE (8.8.8.8.8.8) — \"And Can It Be That I Should Gain?\"\n%% Imported from Open Hymnal ABC (X:266) via tools/abc_import.py. Music: tune\n%% 'Fillmore', Jeremiah Ingalls (1764-1828); the four-part setting is that of\n%% The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham,\n%% 1905), hymn 310, printed pp. 218-219 — public domain (pub. pre-1929 in the US).\n%% F major, 3/4, quarter-note pickup; 24 measures, 55 soprano notes, 48 syllables.\n%% RENDER-DIFFED note-for-note against the 1905 engraving itself (archive.org\n%% methodi00meth, leaves 230-231 = printed pp. 218-219) in all four voices:\n%% pickup and mm. 1-16 read chord for chord, including the alto's a'2 a'4 at m. 11\n%% against f'2 f'4 at the parallel m. 15, the tenor/bass unison b-flat at m. 9 and\n%% m. 13, and the bass octave drop to bes, at m. 10 and m. 14; mm. 17-24 repeat\n%% mm. 1-8 exactly (the tune's lines 5-6 reuse the music of lines 1-2), which the\n%% print's third system confirms.\n%% Seven soprano melismas, slurred from the w: lyric alignment, at soprano note\n%% pairs 2-3, 13-14, 22-23, 31-32, 36-37, 39-40, 50-51 (= syllables 2, 12, 20, 28,\n%% 32, 34, 44 of every stanza). All six stanzas share those positions, so this is\n%% a fixed-melisma tune (verse_variable_melisma: false) and the setting is\n%% one_to_one.\n%% NOT RENDERED, present in the source: the 1905 print puts a fermata on soprano\n%% note 37 (the mid-hymn cadence, m. 16 beat 2 — the ABC encodes it as\n%% !fermata!G with an !invertedfermata! on the tenor) and closes with a printed\n%% AMEN. tools/abc_import.py drops ABC decorations. The engine CAN render a\n%% fermata (a `\\fermata` suffix on the note), but no harmonization in this corpus\n%% carries one — the Bach chorales record their phrase-end fermatas as ordinals in\n%% a header comment and state \"fermatas are omitted per house style\"\n%% (warum-sollt-ich-bwv422.ly, nun-komm-der-heiden-heiland-bwv62.ly). This file\n%% follows that convention: the ordinal is recorded here, not engraved. Restoring\n%% it is a one-token change (g'\\fermata at soprano note 37) if the house style\n%% ever changes. `amen` likewise stays false; the amen is a book-level toggle.\n%% The 1905 print writes the tenor at m. 16 as a single half note; the ABC (and\n%% therefore this file) writes the identical duration as c'4~ c'4, note-against-\n%% note with the soprano's slurred pair.\n%% SYSTEM BREAKS are OURS, not the print's and not the Open Hymnal's. The 1905\n%% engraving sets the hymn in three systems, breaking after soprano notes 18\n%% (\"...the Saviour's blood?\") and 37 (the fermata) — 18/19/18 notes per system,\n%% well over this project's 16-note house maximum (hymnbook.breaks.MAX_SYSTEM_\n%% NOTES). The Open Hymnal ABC wraps its source lines after notes 15, 27 and 42,\n%% two of which fall mid-poetic-line. system_breaks [9, 18, 27, 37, 46] therefore\n%% breaks after EVERY poetic line of the 8.8.8.8.8.8 stanza (one system per line,\n%% 9/9/9/10/9/9 notes) — a strict refinement of the print, since both of the\n%% print's breaks (18 and 37) are in the set. Every break falls mid-measure,\n%% because the quarter-note pickup puts each line's last syllable on beat 1;\n%% the print does the same (its system 1 ends two beats into a bar). This matches\n%% the corpus's other 8.8.8.8.8.8 tune, STELLA (stella-cyberhymnal, breaks\n%% [10, 21, 31, 41, 51] = six systems, one poetic line each). The hymn therefore\n%% runs to two pages at 6x9 with five interlinear verses; that is expected.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'4( g'4) f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2\n}\nalto = {\n  f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 f'2 f'4 f'2 f'4 a'2 a'4 f'2 f'4 f'2 f'4 f'2 f'4 f'2 f'4 f'4( e'4) f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2\n}\ntenor = {\n  a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2 a4 bes2 bes4 bes4.( c'8) d'4 f'2 f'4 c'2 a4 bes2 bes4 bes4.( c'8) d'4 a2 a4 c'4~ c'4 a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2\n}\nbass = {\n  f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f4( c4) f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2\n}\n"}, "harmonizations": [{"slug": "fillmore-oh266", "tune": "fillmore", "music_file": "fillmore-oh266.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 27, 37, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of FILLMORE as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, printed pp. 218-219 — the source the Open Hymnal ABC names in its own C:/S: lines ('Setting: \"The Methodist Hymnal\", 1905' / 'Music source: The Methodist Hymnal, 1905. Hymn 310' / 'copyright: public domain'). Verified against the 1905 book itself: archive.org item methodi00meth, leaf 230 (printed p. 218) heads the hymn '310  FILLMORE  L. M. 6l. — JEREMIAH INGALLS', F major, 3/4, SATB on two staves; leaf 231 (p. 219) carries the third system and the closing AMEN. The page bears no copyright notice, while the very next hymn (311 CITY ROAD) does carry 'Copyright, 1905, by Jennings & Graham' — this book marks its copyrighted settings and FILLMORE is unmarked. All components pre-1931 (tune composer d. 1828; setting published 1905, US). This encoding was render-diffed measure by measure against that engraving in all four voices before import; the only notational divergences are the tenor's c'4~ c'4 at m. 16 (the print writes the same duration as one half note) and the print's fermata at soprano note 37, which the engine cannot render and which is recorded in the .ly header instead.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FILLMORE (8.8.8.8.8.8) — \"And Can It Be That I Should Gain?\"\n%% Imported from Open Hymnal ABC (X:266) via tools/abc_import.py. Music: tune\n%% 'Fillmore', Jeremiah Ingalls (1764-1828); the four-part setting is that of\n%% The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham,\n%% 1905), hymn 310, printed pp. 218-219 — public domain (pub. pre-1929 in the US).\n%% F major, 3/4, quarter-note pickup; 24 measures, 55 soprano notes, 48 syllables.\n%% RENDER-DIFFED note-for-note against the 1905 engraving itself (archive.org\n%% methodi00meth, leaves 230-231 = printed pp. 218-219) in all four voices:\n%% pickup and mm. 1-16 read chord for chord, including the alto's a'2 a'4 at m. 11\n%% against f'2 f'4 at the parallel m. 15, the tenor/bass unison b-flat at m. 9 and\n%% m. 13, and the bass octave drop to bes, at m. 10 and m. 14; mm. 17-24 repeat\n%% mm. 1-8 exactly (the tune's lines 5-6 reuse the music of lines 1-2), which the\n%% print's third system confirms.\n%% Seven soprano melismas, slurred from the w: lyric alignment, at soprano note\n%% pairs 2-3, 13-14, 22-23, 31-32, 36-37, 39-40, 50-51 (= syllables 2, 12, 20, 28,\n%% 32, 34, 44 of every stanza). All six stanzas share those positions, so this is\n%% a fixed-melisma tune (verse_variable_melisma: false) and the setting is\n%% one_to_one.\n%% NOT RENDERED, present in the source: the 1905 print puts a fermata on soprano\n%% note 37 (the mid-hymn cadence, m. 16 beat 2 — the ABC encodes it as\n%% !fermata!G with an !invertedfermata! on the tenor) and closes with a printed\n%% AMEN. tools/abc_import.py drops ABC decorations. The engine CAN render a\n%% fermata (a `\\fermata` suffix on the note), but no harmonization in this corpus\n%% carries one — the Bach chorales record their phrase-end fermatas as ordinals in\n%% a header comment and state \"fermatas are omitted per house style\"\n%% (warum-sollt-ich-bwv422.ly, nun-komm-der-heiden-heiland-bwv62.ly). This file\n%% follows that convention: the ordinal is recorded here, not engraved. Restoring\n%% it is a one-token change (g'\\fermata at soprano note 37) if the house style\n%% ever changes. `amen` likewise stays false; the amen is a book-level toggle.\n%% The 1905 print writes the tenor at m. 16 as a single half note; the ABC (and\n%% therefore this file) writes the identical duration as c'4~ c'4, note-against-\n%% note with the soprano's slurred pair.\n%% SYSTEM BREAKS are OURS, not the print's and not the Open Hymnal's. The 1905\n%% engraving sets the hymn in three systems, breaking after soprano notes 18\n%% (\"...the Saviour's blood?\") and 37 (the fermata) — 18/19/18 notes per system,\n%% well over this project's 16-note house maximum (hymnbook.breaks.MAX_SYSTEM_\n%% NOTES). The Open Hymnal ABC wraps its source lines after notes 15, 27 and 42,\n%% two of which fall mid-poetic-line. system_breaks [9, 18, 27, 37, 46] therefore\n%% breaks after EVERY poetic line of the 8.8.8.8.8.8 stanza (one system per line,\n%% 9/9/9/10/9/9 notes) — a strict refinement of the print, since both of the\n%% print's breaks (18 and 37) are in the set. Every break falls mid-measure,\n%% because the quarter-note pickup puts each line's last syllable on beat 1;\n%% the print does the same (its system 1 ends two beats into a bar). This matches\n%% the corpus's other 8.8.8.8.8.8 tune, STELLA (stella-cyberhymnal, breaks\n%% [10, 21, 31, 41, 51] = six systems, one poetic line each). The hymn therefore\n%% runs to two pages at 6x9 with five interlinear verses; that is expected.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'4( g'4) f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2\n}\nalto = {\n  f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 f'2 f'4 f'2 f'4 a'2 a'4 f'2 f'4 f'2 f'4 f'2 f'4 f'2 f'4 f'4( e'4) f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2\n}\ntenor = {\n  a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2 a4 bes2 bes4 bes4.( c'8) d'4 f'2 f'4 c'2 a4 bes2 bes4 bes4.( c'8) d'4 a2 a4 c'4~ c'4 a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2\n}\nbass = {\n  f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f4( c4) f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2\n}\n", "preferred": true}]}, "finlandia": {"slug": "finlandia", "name": "FINLANDIA", "meter_label": "10.10.10.10.10.10", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "jean-sibelius", "composer_date": "1900", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "finlandia-oh193", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:193; all components published pre-1931 (latest year 1900).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "finlandia-oh193", "tune": "finlandia", "music_file": "finlandia-oh193.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "2.", "system_breaks": [12, 23, 35, 46, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:193; all components published pre-1931 (latest year 1900).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:193", "encoding_license": "PD-dedication"}, "music_ly": "%% Be Still My Soul\n%% Imported from Open Hymnal ABC X:193 via tools/abc_import.py\n%% Open Hymnal X:193; all components published pre-1931 (latest year 1900).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 2. }\n\nsoprano = {\n  a'4 g'4 a'4 bes'2. a'4 g'4 a'4 f'4. g'8 g'4( a'2.~ a'4) a'4 g'4 a'4 bes'2. a'4 g'4 a'4 f'4. g'8 a'1~( a'4) c''4 c''4 c''4 d''2. a'4 a'4 c''4 c''4. g'8 g'4( bes'2.~ bes'4) bes'4 a'4 g'4 a'2. f'4 f'4 g'4 g'4. a'8 a'1~( a'4) c''4 c''4 c''4 d''2. a'4 a'4 c''4 c''4. g'8 g'4( bes'2.~ bes'4) bes'4 a'4 g'4 a'2. f'4 f'4 g'4 g'4. f'8 f'1~( f'4)\n}\nalto = {\n  f'4 e'4 f'4 f'2. f'4 e'4 f'4 d'4. e'8 e'4( f'2.~ f'4) f'4 e'4 f'4 f'2. f'4 e'4 f'4 d'4. e'8 f'1~ f'4 f'4 f'4 f'4 f'2. f'4 f'4 f'4 f'4. e'8 e'4( g'2.~ g'4) g'4 fis'4 g'4 f'2. f'4 f'4 f'4 f'4. f'8 e'1~ e'4 a'4 f'4 f'4 f'2. f'4 f'4 f'4 f'4. e'8 e'4( g'2.~ g'4) g'4 fis'4 g'4 f'2. c'4 f'4 f'4 e'4. d'8 c'1~ c'4\n}\ntenor = {\n  c'4 bes4 c'4 d'2. c'4 bes4 c'4 bes4. c'8 c'1~ c'4 c'4 bes4 c'4 d'2. c'4 bes4 c'4 bes4. c'8 c'1~ c'4 a4 a4 a4 a2. d'4 d'4 c'4 c'4. c'8 c'4( d'2.~ d'4) d'4 c'4 d'4 c'2. c'4 d'4 d'4 d'4. d'8 cis'1~ cis'4 c'4 a4 a4 a2. d'4 d'4 c'4 c'4. c'8 c'4( d'2.~ d'4) d'4 c'4 d'4 c'2. a4 bes4 bes4 bes4. bes8 a1~ a4\n}\nbass = {\n  f4 f4 f4 f2. f4 f4 f4 f4. c8 c4( f2.~ f4) f4 f4 f4 f2. f4 f4 f4 f4. c8 f1~ f4 f4 f4 e4 d2. d4 d4 a,4 a,4. c8 c4( g,2.~ g,4) g,4 a,4 bes,4 a,2. a4 bes4 bes4 bes4. bes8 a1~ a4 f4 f4 e4 d2. d4 d4 a4 a4. c'8 c'4( g2.~ g4) g,4 a,4 bes,4 c2. c4 c4 c4 c4. c8 f1~ f4\n}\n"}, "harmonizations": [{"slug": "finlandia-oh193", "tune": "finlandia", "music_file": "finlandia-oh193.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "2.", "system_breaks": [12, 23, 35, 46, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:193; all components published pre-1931 (latest year 1900).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:193", "encoding_license": "PD-dedication"}, "music_ly": "%% Be Still My Soul\n%% Imported from Open Hymnal ABC X:193 via tools/abc_import.py\n%% Open Hymnal X:193; all components published pre-1931 (latest year 1900).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 2. }\n\nsoprano = {\n  a'4 g'4 a'4 bes'2. a'4 g'4 a'4 f'4. g'8 g'4( a'2.~ a'4) a'4 g'4 a'4 bes'2. a'4 g'4 a'4 f'4. g'8 a'1~( a'4) c''4 c''4 c''4 d''2. a'4 a'4 c''4 c''4. g'8 g'4( bes'2.~ bes'4) bes'4 a'4 g'4 a'2. f'4 f'4 g'4 g'4. a'8 a'1~( a'4) c''4 c''4 c''4 d''2. a'4 a'4 c''4 c''4. g'8 g'4( bes'2.~ bes'4) bes'4 a'4 g'4 a'2. f'4 f'4 g'4 g'4. f'8 f'1~( f'4)\n}\nalto = {\n  f'4 e'4 f'4 f'2. f'4 e'4 f'4 d'4. e'8 e'4( f'2.~ f'4) f'4 e'4 f'4 f'2. f'4 e'4 f'4 d'4. e'8 f'1~ f'4 f'4 f'4 f'4 f'2. f'4 f'4 f'4 f'4. e'8 e'4( g'2.~ g'4) g'4 fis'4 g'4 f'2. f'4 f'4 f'4 f'4. f'8 e'1~ e'4 a'4 f'4 f'4 f'2. f'4 f'4 f'4 f'4. e'8 e'4( g'2.~ g'4) g'4 fis'4 g'4 f'2. c'4 f'4 f'4 e'4. d'8 c'1~ c'4\n}\ntenor = {\n  c'4 bes4 c'4 d'2. c'4 bes4 c'4 bes4. c'8 c'1~ c'4 c'4 bes4 c'4 d'2. c'4 bes4 c'4 bes4. c'8 c'1~ c'4 a4 a4 a4 a2. d'4 d'4 c'4 c'4. c'8 c'4( d'2.~ d'4) d'4 c'4 d'4 c'2. c'4 d'4 d'4 d'4. d'8 cis'1~ cis'4 c'4 a4 a4 a2. d'4 d'4 c'4 c'4. c'8 c'4( d'2.~ d'4) d'4 c'4 d'4 c'2. a4 bes4 bes4 bes4. bes8 a1~ a4\n}\nbass = {\n  f4 f4 f4 f2. f4 f4 f4 f4. c8 c4( f2.~ f4) f4 f4 f4 f2. f4 f4 f4 f4. c8 f1~ f4 f4 f4 e4 d2. d4 d4 a,4 a,4. c8 c4( g,2.~ g,4) g,4 a,4 bes,4 a,2. a4 bes4 bes4 bes4. bes8 a1~ a4 f4 f4 e4 d2. d4 d4 a4 a4. c'8 c'4( g2.~ g4) g,4 a,4 bes,4 c2. c4 c4 c4 c4. c8 f1~ f4\n}\n", "preferred": true}]}, "flemming": {"slug": "flemming", "name": "FLEMMING", "alt_name": "INTEGER VITAE", "meter_label": "11.11.11.5", "meter": {"pattern": [11, 11, 11, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "friedrich-ferdinand-flemming", "composer_date": "1811", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "flemming-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "FLEMMING (also called INTEGER VITAE), the Sapphic (11.11.11.5) tune Friedrich Ferdinand Flemming (1778-1813) wrote in 1811 for Horace's ode \"Integer Vitae\"; first used as a hymn tune in the 1875 Congregational Psalmist. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4). The alto's chromatic passing tones (E-natural, D-natural) are printed with naturals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Flemming\" (Friedrich F. Flemming, 1811); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "flemming-cyberhymnal", "tune": "flemming", "music_file": "flemming-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 23, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FLEMMING (INTEGER VITAE), Friedrich F. Flemming, 1811. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FLEMMING / INTEGER VITAE (Friedrich Ferdinand Flemming, 1811); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4; melismatic 11.11.11.5). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Flemming\" (Friedrich F. Flemming, 1811); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FLEMMING (INTEGER VITAE, 11.11.11.5 Sapphic) — four SATB voice streams,\n%% canonical key A-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Flemming\", Friedrich F. Flemming,\n%% 1811 — the tune written for Horace's Sapphic ode \"Integer Vitae\") with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major,\n%% 4/4). MELISMATIC: 42 soprano notes for 38 Sapphic syllables (11.11.11.5); the\n%% four melisma continuations are held with '_' each stanza (verse_variable_melisma)\n%% and marked here by soprano slurs on the four two-note figures.\n%% NEEDS HUMAN CONFIRMATION: the Cyber Hymnal engraving prints slurs at only THREE\n%% of the four melismas — bars 6, 10 and 14. The fourth, bar 11 (the c''-c''\n%% repeated-note figure that parallels the slurred dotted figures of bars 6 & 10),\n%% is RECONSTRUCTED here so line 3 carries the 11 syllables every Sapphic text needs\n%% (the literal engraving gives 11.11.12.5, which fits no known text). Confirm the\n%% bar-11 melisma against a clean printed edition of the Flemming harmonization.\n%% The alto's chromatic passing tones (E-natural bars 3/6/8, D-natural bars 11/12)\n%% are printed with naturals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  as'2 as'4 as'4 | bes'2 bes'2 | c''4 as'4 as'4 bes'4 | as'2 g'2 |\n  c''2 c''4 c''4 | c''4.( bes'8) bes'2 | as'4. as'8 bes'4 as'4 | as'2 g'2 |\n  c''2 as'4 as'4 | des''4.( c''8) bes'2 | c''4.( c''8) bes'4 as'4 | g'4 f'4 es'2 |\n  c''2 as'4 bes'4 | as'2( g'2) | as'1\n}\nalto = {\n  es'2 es'4 es'4 | es'2 es'2 | es'4 e'4 f'4 f'4 | es'2 es'2 |\n  es'2 es'4 es'4 | e'4. bes'8 e'2 | f'4. f'8 f'4 f'4 | f'2 e'2 |\n  es'2 es'4 es'4 | es'4. c''8 es'2 | es'4. es'8 d'4 d'4 | es'4 d'4 es'2 |\n  es'2 f'4 f'4 | es'1 | es'1\n}\ntenor = {\n  c'2 c'4 c'4 | des'2 des'2 | c'4 c'4 des'4 des'4 | c'2 bes2 |\n  as2 as4 as4 | bes4. c'8 c'2 | c'4. c'8 des'4 c'4 | c'2 c'2 |\n  c'2 c'4 c'4 | bes2 bes2 | as4. as8 bes4 bes4 | bes4 as4 g2 |\n  as2 as4 des'4 | c'2 bes2 | c'1\n}\nbass = {\n  as2 as4 as4 | g2 g2 | as4 as4 des4 des4 | es2 es2 |\n  as2 as4 as4 | g4. c'8 g2 | f4. f8 f4 f4 | c2 c2 |\n  as,2 as4 as4 | g2 g2 | as4. as8 f4 f4 | es4 bes,4 es2 |\n  as,2 des4 bes,4 | es1 | as,1\n}\n"}, "harmonizations": [{"slug": "flemming-cyberhymnal", "tune": "flemming", "music_file": "flemming-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 23, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "FLEMMING (INTEGER VITAE), Friedrich F. Flemming, 1811. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FLEMMING / INTEGER VITAE (Friedrich Ferdinand Flemming, 1811); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4; melismatic 11.11.11.5). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Flemming\" (Friedrich F. Flemming, 1811); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FLEMMING (INTEGER VITAE, 11.11.11.5 Sapphic) — four SATB voice streams,\n%% canonical key A-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Flemming\", Friedrich F. Flemming,\n%% 1811 — the tune written for Horace's Sapphic ode \"Integer Vitae\") with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major,\n%% 4/4). MELISMATIC: 42 soprano notes for 38 Sapphic syllables (11.11.11.5); the\n%% four melisma continuations are held with '_' each stanza (verse_variable_melisma)\n%% and marked here by soprano slurs on the four two-note figures.\n%% NEEDS HUMAN CONFIRMATION: the Cyber Hymnal engraving prints slurs at only THREE\n%% of the four melismas — bars 6, 10 and 14. The fourth, bar 11 (the c''-c''\n%% repeated-note figure that parallels the slurred dotted figures of bars 6 & 10),\n%% is RECONSTRUCTED here so line 3 carries the 11 syllables every Sapphic text needs\n%% (the literal engraving gives 11.11.12.5, which fits no known text). Confirm the\n%% bar-11 melisma against a clean printed edition of the Flemming harmonization.\n%% The alto's chromatic passing tones (E-natural bars 3/6/8, D-natural bars 11/12)\n%% are printed with naturals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  as'2 as'4 as'4 | bes'2 bes'2 | c''4 as'4 as'4 bes'4 | as'2 g'2 |\n  c''2 c''4 c''4 | c''4.( bes'8) bes'2 | as'4. as'8 bes'4 as'4 | as'2 g'2 |\n  c''2 as'4 as'4 | des''4.( c''8) bes'2 | c''4.( c''8) bes'4 as'4 | g'4 f'4 es'2 |\n  c''2 as'4 bes'4 | as'2( g'2) | as'1\n}\nalto = {\n  es'2 es'4 es'4 | es'2 es'2 | es'4 e'4 f'4 f'4 | es'2 es'2 |\n  es'2 es'4 es'4 | e'4. bes'8 e'2 | f'4. f'8 f'4 f'4 | f'2 e'2 |\n  es'2 es'4 es'4 | es'4. c''8 es'2 | es'4. es'8 d'4 d'4 | es'4 d'4 es'2 |\n  es'2 f'4 f'4 | es'1 | es'1\n}\ntenor = {\n  c'2 c'4 c'4 | des'2 des'2 | c'4 c'4 des'4 des'4 | c'2 bes2 |\n  as2 as4 as4 | bes4. c'8 c'2 | c'4. c'8 des'4 c'4 | c'2 c'2 |\n  c'2 c'4 c'4 | bes2 bes2 | as4. as8 bes4 bes4 | bes4 as4 g2 |\n  as2 as4 des'4 | c'2 bes2 | c'1\n}\nbass = {\n  as2 as4 as4 | g2 g2 | as4 as4 des4 des4 | es2 es2 |\n  as2 as4 as4 | g4. c'8 g2 | f4. f8 f4 f4 | c2 c2 |\n  as,2 as4 as4 | g2 g2 | as4. as8 f4 f4 | es4 bes,4 es2 |\n  as,2 des4 bes,4 | es1 | as,1\n}\n", "preferred": true}]}, "forest-green": {"slug": "forest-green", "name": "FOREST GREEN", "meter_label": "8.6.8.6.D", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "English traditional", "arranger": "ralph-vaughan-williams", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "forest-green-eh1906", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "FOREST GREEN, English traditional melody (collected by Ralph Vaughan Williams from a Surrey singer as 'The Ploughboy's Dream'), published as a hymn tune in The English Hymnal, 1906, No. 15 ('O little town of Bethlehem'). Pre-1931 publication; US public domain. Hymnary.org tune authority forest_green_english (Public Domain, 312 instances; 15 pre-1931 incl. EH 1906 itself). Sung at #doreancon 2026 (Psalm 119 Yod).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "forest_green_english", "total_instances": 312}}, "harmonization": {"slug": "forest-green-eh1906", "tune": "forest-green", "music_file": "forest-green-eh1906.ly", "harmonizer": "ralph-vaughan-williams", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "FOREST GREEN, English traditional melody; setting from The English Hymnal, 1906. Public domain (US).", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of FOREST GREEN from The English Hymnal (1906), No. 15 (music ed. Ralph Vaughan Williams), transcribed at plate pitch (F major) from the archive.org scan; the plate's A-with-repeat + B + A' form written out in performance order A A B A', EH's minim pulse halved 2:1 into 4/4 (the KINGSFOLD import convention). Adversarially re-derived by an independent verifier 2026-08-13 (all 192 printed noteheads, every dot, slur, tie and both key signatures): its bass A' a,-d crotchet pair and tenor B-section c' corrections are plate-true, but the session also INTRODUCED two errors, both caught by the owner's physical-hymnal comparison and settled 2026-08-19 by pixel-measured re-reads of the scan (staff lines detected locally per region, notehead ink profiles registered against them): (1) soprano ordinal 65 \"corrected\" to c'' as a claimed A' final-line rise — the plate's head sits on the B line: bes'; the soprano's A' final phrase repeats the A phrase; corrected to bes'. (2) the B->A' join written as tied g/e across both pickup beats — the plate's two dyads are different chords, slurred not tied: beat 3 d-f (heads on the D/F lines), beat 4 e-g (heads in the E/G spaces), a walk-up (bass c-d-e-f, tenor e-f-g-a) with the moving pair slurred as the pickup-syllable melisma; corrected. The same session re-confirmed every other notehead of the A' final-phrase bar (the inner-voice enrichment T [c' a] / B [a, d] c c is genuine). EMENDED 2026-08-27 at the book owner's direction: the B section's underlay had used the plate's 4-note arc (section ordinals 9-12) with single syllables at 7 and 8, misplacing \"thy judg-ments\"; re-slurred to the plate's regular pair slurring 7-8/9-10/11-12 (each syllable over two quavers), the tenor c'-bes and bass d-e pairs slurred under the first as the plate has them. The 4-note arc serves only the seven-syllable stanza of the irregular words. Pitches, durations and ordinals unchanged. The repeat (A sung twice), the zero-accidental sweep, and the Hymnary authority incipit 511123234534312 (ordinals 1-15) all confirmed. Editorial resolutions documented in the .ly header (regular-meter slur set chosen from the plate's double 'Words irreg.' slurring; Org. pedal cue omitted). US-PD by pre-1931 publication (1906); RVW d. 1958, so NOT PD in UK/EU until 2029 — US-scope corpus.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org theenglishhymnal00milfuoft, leaf 57, plate transcription session 2026-08-12"}, "music_ly": "%% FOREST GREEN (D.C.M.), English traditional melody; four-voice setting\n%% from The English Hymnal, 1906, No. 15 (music ed. Ralph Vaughan Williams);\n%% plate transcription (archive.org theenglishhymnal00milfuoft leaf 57),\n%% session 2026-08-12. The plate prints A (with repeat dots) + B + A';\n%% written out here in performance order A A B A' with EH's minim pulse\n%% halved 2:1 into 4/4 (the KINGSFOLD import convention). The plate's\n%% \"Words irreg.\" double slurring (small pairs AND large 4-note arcs over\n%% the same notes) is resolved to the REGULAR 8.6.8.6 D underlay: soprano\n%% pair-slurs at section ordinals 6-7/8-9/13-14 in each A, pairs 1-2/5-6/\n%% 7-8/9-10/11-12 in B (the plate's 4-note arc 9-12 belongs to the\n%% seven-syllable stanza of the irregular words and is not used). At the B->A' join the plate's\n%% tenor and bass WALK under the held S/A unison c': bass c-(d-e)-f,\n%% tenor e-(f-g)-a, the moving pair slurred as a melisma on the pickup\n%% syllable. The plate's small \"Org.\" pedal cue under the final chord is\n%% omitted.\n%% Adversarially re-read against the plate 2026-08-13 (independent\n%% derivation, all 192 printed noteheads): the bass A' a,8 d8 pair and\n%% tenor B c'4 corrections from that session are plate-true, but the\n%% session also INTRODUCED two errors, both caught by the owner's\n%% physical-hymnal comparison and settled 2026-08-19 by pixel-measured\n%% re-reads of the archive.org scan (staff lines detected LOCALLY per\n%% region — page warp shifts them ±4px — with notehead ink profiles\n%% registered against them):\n%% (1) soprano ord 65 \"corrected\" to c'' as a claimed A' final-line\n%% rise — the plate's head sits ON the B line: bes'; the A' final\n%% phrase repeats the A phrase in the soprano. Corrected to bes'.\n%% (2) the B->A' join written as TIED g/e across both pickup beats —\n%% the plate's two dyads are different chords, slurred not tied:\n%% beat 3 is d-f (heads ON the D/F lines; blank paper at rows where\n%% an e-g upper head must leave ink), beat 4 is e-g (heads IN the\n%% E/G spaces; blank paper below the D line). Corrected to the\n%% walk-up f4( g4) over d4( e4).\n%% The same measurement session confirmed every other notehead of the\n%% A' final-phrase bar (T bes [c' a] c' [c' bes]; B g, [a, d] c c —\n%% the A' inner-voice enrichment is genuine).\n%% EMENDED 2026-08-27 at the book owner's direction: the B section had\n%% been encoded with the plate's 4-note arc (ords 9-12, one syllable\n%% f'-g'-a'-bes') and singles at ords 7 and 8, which put \"thy judg-ments\"\n%% on the wrong notes. The regular eight-syllable underlay is the plate's\n%% pair slurring: a'( g') f'( g') a'( bes') — each of those syllables\n%% spans two quavers — with the tenor c'( bes) and bass d( e) pairs\n%% slurred under the first of them exactly as the plate slurs them.\n%% Pitches, durations and ordinals unchanged.\n%% Public domain (US; The English Hymnal, pub. 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2. c'4 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2. f'8( a'8) c''4. d''8 c''8( bes'8) a'8( g'8) f'8( g'8) a'8( bes'8) c''4 c'4 f'4 a'4 g'4 f'4 c'2 c'2 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2. c'4 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2. f'4 e'4. d'8 e'4 c'4 c'4 f'4 e'4 c'4 c'4 c'4 bes4 a8( bes8) c'2 c'2 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  g4 a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'4 d'4 c'8 bes8 a2. g4 a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'4 d'4 c'8 bes8 a2. a4 a4. f8 c'4 c'8( bes8) a4 f4 g4 e4 f4 f4 d8( e8) f4 e2 f4( g4) a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'8 a8 c'4 c'8 bes8 a2.\n}\nbass = {\n  e4 f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,4 bes,4 c4 f2. e4 f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,4 bes,4 c4 f2. d4 a,4. bes,8 c4 d8( e8) f4 d4 c4 c8( bes,8) a,4 f,4 bes,4 d4 c2 d4( e4) f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,8 d8 c4 c4 f2.\n}\n"}, "harmonizations": [{"slug": "forest-green-eh1906", "tune": "forest-green", "music_file": "forest-green-eh1906.ly", "harmonizer": "ralph-vaughan-williams", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "FOREST GREEN, English traditional melody; setting from The English Hymnal, 1906. Public domain (US).", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of FOREST GREEN from The English Hymnal (1906), No. 15 (music ed. Ralph Vaughan Williams), transcribed at plate pitch (F major) from the archive.org scan; the plate's A-with-repeat + B + A' form written out in performance order A A B A', EH's minim pulse halved 2:1 into 4/4 (the KINGSFOLD import convention). Adversarially re-derived by an independent verifier 2026-08-13 (all 192 printed noteheads, every dot, slur, tie and both key signatures): its bass A' a,-d crotchet pair and tenor B-section c' corrections are plate-true, but the session also INTRODUCED two errors, both caught by the owner's physical-hymnal comparison and settled 2026-08-19 by pixel-measured re-reads of the scan (staff lines detected locally per region, notehead ink profiles registered against them): (1) soprano ordinal 65 \"corrected\" to c'' as a claimed A' final-line rise — the plate's head sits on the B line: bes'; the soprano's A' final phrase repeats the A phrase; corrected to bes'. (2) the B->A' join written as tied g/e across both pickup beats — the plate's two dyads are different chords, slurred not tied: beat 3 d-f (heads on the D/F lines), beat 4 e-g (heads in the E/G spaces), a walk-up (bass c-d-e-f, tenor e-f-g-a) with the moving pair slurred as the pickup-syllable melisma; corrected. The same session re-confirmed every other notehead of the A' final-phrase bar (the inner-voice enrichment T [c' a] / B [a, d] c c is genuine). EMENDED 2026-08-27 at the book owner's direction: the B section's underlay had used the plate's 4-note arc (section ordinals 9-12) with single syllables at 7 and 8, misplacing \"thy judg-ments\"; re-slurred to the plate's regular pair slurring 7-8/9-10/11-12 (each syllable over two quavers), the tenor c'-bes and bass d-e pairs slurred under the first as the plate has them. The 4-note arc serves only the seven-syllable stanza of the irregular words. Pitches, durations and ordinals unchanged. The repeat (A sung twice), the zero-accidental sweep, and the Hymnary authority incipit 511123234534312 (ordinals 1-15) all confirmed. Editorial resolutions documented in the .ly header (regular-meter slur set chosen from the plate's double 'Words irreg.' slurring; Org. pedal cue omitted). US-PD by pre-1931 publication (1906); RVW d. 1958, so NOT PD in UK/EU until 2029 — US-scope corpus.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org theenglishhymnal00milfuoft, leaf 57, plate transcription session 2026-08-12"}, "music_ly": "%% FOREST GREEN (D.C.M.), English traditional melody; four-voice setting\n%% from The English Hymnal, 1906, No. 15 (music ed. Ralph Vaughan Williams);\n%% plate transcription (archive.org theenglishhymnal00milfuoft leaf 57),\n%% session 2026-08-12. The plate prints A (with repeat dots) + B + A';\n%% written out here in performance order A A B A' with EH's minim pulse\n%% halved 2:1 into 4/4 (the KINGSFOLD import convention). The plate's\n%% \"Words irreg.\" double slurring (small pairs AND large 4-note arcs over\n%% the same notes) is resolved to the REGULAR 8.6.8.6 D underlay: soprano\n%% pair-slurs at section ordinals 6-7/8-9/13-14 in each A, pairs 1-2/5-6/\n%% 7-8/9-10/11-12 in B (the plate's 4-note arc 9-12 belongs to the\n%% seven-syllable stanza of the irregular words and is not used). At the B->A' join the plate's\n%% tenor and bass WALK under the held S/A unison c': bass c-(d-e)-f,\n%% tenor e-(f-g)-a, the moving pair slurred as a melisma on the pickup\n%% syllable. The plate's small \"Org.\" pedal cue under the final chord is\n%% omitted.\n%% Adversarially re-read against the plate 2026-08-13 (independent\n%% derivation, all 192 printed noteheads): the bass A' a,8 d8 pair and\n%% tenor B c'4 corrections from that session are plate-true, but the\n%% session also INTRODUCED two errors, both caught by the owner's\n%% physical-hymnal comparison and settled 2026-08-19 by pixel-measured\n%% re-reads of the archive.org scan (staff lines detected LOCALLY per\n%% region — page warp shifts them ±4px — with notehead ink profiles\n%% registered against them):\n%% (1) soprano ord 65 \"corrected\" to c'' as a claimed A' final-line\n%% rise — the plate's head sits ON the B line: bes'; the A' final\n%% phrase repeats the A phrase in the soprano. Corrected to bes'.\n%% (2) the B->A' join written as TIED g/e across both pickup beats —\n%% the plate's two dyads are different chords, slurred not tied:\n%% beat 3 is d-f (heads ON the D/F lines; blank paper at rows where\n%% an e-g upper head must leave ink), beat 4 is e-g (heads IN the\n%% E/G spaces; blank paper below the D line). Corrected to the\n%% walk-up f4( g4) over d4( e4).\n%% The same measurement session confirmed every other notehead of the\n%% A' final-phrase bar (T bes [c' a] c' [c' bes]; B g, [a, d] c c —\n%% the A' inner-voice enrichment is genuine).\n%% EMENDED 2026-08-27 at the book owner's direction: the B section had\n%% been encoded with the plate's 4-note arc (ords 9-12, one syllable\n%% f'-g'-a'-bes') and singles at ords 7 and 8, which put \"thy judg-ments\"\n%% on the wrong notes. The regular eight-syllable underlay is the plate's\n%% pair slurring: a'( g') f'( g') a'( bes') — each of those syllables\n%% spans two quavers — with the tenor c'( bes) and bass d( e) pairs\n%% slurred under the first of them exactly as the plate slurs them.\n%% Pitches, durations and ordinals unchanged.\n%% Public domain (US; The English Hymnal, pub. 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2. c'4 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2. f'8( a'8) c''4. d''8 c''8( bes'8) a'8( g'8) f'8( g'8) a'8( bes'8) c''4 c'4 f'4 a'4 g'4 f'4 c'2 c'2 f'4 f'4 f'4 g'4 a'8( g'8) a'8( bes'8) c''4 a'4 bes'4 a'8( f'8) g'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2. c'4 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2. f'4 e'4. d'8 e'4 c'4 c'4 f'4 e'4 c'4 c'4 c'4 bes4 a8( bes8) c'2 c'2 c'4 d'4 c'4 d'8( e'8) f'4 f'4 e'4 d'4 d'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  g4 a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'4 d'4 c'8 bes8 a2. g4 a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'4 d'4 c'8 bes8 a2. a4 a4. f8 c'4 c'8( bes8) a4 f4 g4 e4 f4 f4 d8( e8) f4 e2 f4( g4) a4 bes4 c'4 bes4 c'4 f4 g4 f4 bes4 c'8 a8 c'4 c'8 bes8 a2.\n}\nbass = {\n  e4 f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,4 bes,4 c4 f2. e4 f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,4 bes,4 c4 f2. d4 a,4. bes,8 c4 d8( e8) f4 d4 c4 c8( bes,8) a,4 f,4 bes,4 d4 c2 d4( e4) f4 bes4 a4 g4 f4 d4 c4 d4 g,4 a,8 d8 c4 c4 f2.\n}\n", "preferred": true}]}, "foundation": {"slug": "foundation", "name": "FOUNDATION", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-funk", "composer_date": "1832", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "foundation-union-harmony-1837", "provenance": {"layer": "tune", "source": "funk-1832", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Foundation', Joseph Funk, 1832. Composer d. 1862.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "foundation_american", "total_instances": 701}}, "harmonization": {"slug": "foundation-union-harmony-1837", "tune": "foundation", "music_file": "foundation-union-harmony-1837.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "2/2", "pickup": "2", "system_breaks": [12, 23, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "union-harmony-1837", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from Union Harmony, 1837. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:275", "encoding_license": "PD-dedication"}, "music_ly": "%% How Firm a Foundation\n%% Imported from Open Hymnal ABC X:275 via tools/abc_import.py\n%% Public domain: Rippon's Selection 1787; tune Funk 1832; setting 1837. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 2/2 \\partial 2 }\n\nsoprano = {\n  ees'4( f'4) aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 c''4 ees'2 ees'2 aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 bes'4 aes'2 c''2 ees''2 c''4 ees''4 aes'2 aes'4 bes'4 c''2 bes'4 c''4 ees'2 ees'2 aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 bes'4 aes'2\n}\nalto = {\n  ees'4( des'4) c'4( ees'4) des'4 des'4 c'2 c'4 des'4 ees'2 ees'4 dis'4 ees'2 des'2 c'2 des'4 f'4 ees'2 c'4 des'4 ees'2 des'4 des'4 c'2 ees'2 aes'2 ees'4 ees'4 f'2 ees'4 ees'4 ees'2 ees'4 dis'4 ees'2 des'2 c'2 des'4 f'4 ees'2 c'4 des'4 ees'2 des'4 des'4 c'2\n}\ntenor = {\n  aes2 ees4( aes4) aes4 aes4 aes2 ees4 ees4 aes2 g4 f4 g2 ees2 aes2 aes4 aes4 aes2 aes4 aes4 aes2 g4 g4 aes2 aes2 c'2 aes4 bes4 c'2 aes4 g4 aes2 g4 f4 g2 ees2 aes2 aes4 aes4 aes2 aes4 aes4 aes2 g4 g4 aes2\n}\nbass = {\n  aes,2 aes,4( c4) des4 f4 aes2 aes,4 aes,4 aes,2 bes,4 bes,4 ees2 ees2 aes,2 des4 des4 c2 f4 f4 ees2 ees4 ees4 aes,2 aes2 aes2 aes4 g4 f2 c4 bes,4 aes,2 bes,4 bes,4 ees2 ees2 c2 des4 des4 c2 f4 f4 ees2 ees4 ees4 aes,2\n}\n"}, "harmonizations": [{"slug": "foundation-union-harmony-1837", "tune": "foundation", "music_file": "foundation-union-harmony-1837.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "2/2", "pickup": "2", "system_breaks": [12, 23, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "union-harmony-1837", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from Union Harmony, 1837. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:275", "encoding_license": "PD-dedication"}, "music_ly": "%% How Firm a Foundation\n%% Imported from Open Hymnal ABC X:275 via tools/abc_import.py\n%% Public domain: Rippon's Selection 1787; tune Funk 1832; setting 1837. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 2/2 \\partial 2 }\n\nsoprano = {\n  ees'4( f'4) aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 c''4 ees'2 ees'2 aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 bes'4 aes'2 c''2 ees''2 c''4 ees''4 aes'2 aes'4 bes'4 c''2 bes'4 c''4 ees'2 ees'2 aes'2 f'4 aes'4 ees'2 aes'4 bes'4 c''2 bes'4 bes'4 aes'2\n}\nalto = {\n  ees'4( des'4) c'4( ees'4) des'4 des'4 c'2 c'4 des'4 ees'2 ees'4 dis'4 ees'2 des'2 c'2 des'4 f'4 ees'2 c'4 des'4 ees'2 des'4 des'4 c'2 ees'2 aes'2 ees'4 ees'4 f'2 ees'4 ees'4 ees'2 ees'4 dis'4 ees'2 des'2 c'2 des'4 f'4 ees'2 c'4 des'4 ees'2 des'4 des'4 c'2\n}\ntenor = {\n  aes2 ees4( aes4) aes4 aes4 aes2 ees4 ees4 aes2 g4 f4 g2 ees2 aes2 aes4 aes4 aes2 aes4 aes4 aes2 g4 g4 aes2 aes2 c'2 aes4 bes4 c'2 aes4 g4 aes2 g4 f4 g2 ees2 aes2 aes4 aes4 aes2 aes4 aes4 aes2 g4 g4 aes2\n}\nbass = {\n  aes,2 aes,4( c4) des4 f4 aes2 aes,4 aes,4 aes,2 bes,4 bes,4 ees2 ees2 aes,2 des4 des4 c2 f4 f4 ees2 ees4 ees4 aes,2 aes2 aes2 aes4 g4 f2 c4 bes,4 aes,2 bes,4 bes,4 ees2 ees2 c2 des4 des4 c2 f4 f4 ees2 ees4 ees4 aes,2\n}\n", "preferred": true}]}, "galilean": {"slug": "galilean", "name": "GALILEAN", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-barnby", "composer_date": "1911", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "galilean-oh292", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:292; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "galilean_barnby", "total_instances": 26}}, "harmonization": {"slug": "galilean-oh292", "tune": "galilean", "music_file": "galilean-oh292.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:292; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:292", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark, the Voice of Jesus Calling\n%% Imported from Open Hymnal ABC X:292 via tools/abc_import.py\n%% Open Hymnal X:292; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4 g'4 a'2 b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4. g'8 g'2 a'4. b'8 b'4 a'4 a'4 d''4 cis''4 b'4 a'4. b'8 a'4 d''4 d''4 e''4 d''2 b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4. g'8 g'2\n}\nalto = {\n  g'4 a'4 g'4 d'4 e'4 e'4 d'4 d'4 b4 c'4 d'4 d'4 cis'4 cis'4 d'2 d'4 d'4 d'4 g'8 fis'8 e'4 e'4 d'4 c'4 b4 c'4 c'4 b4 c'4 c'4 b2 cis'4 cis'4 d'4 e'4 d'4 d'4 e'4 d'4 cis'4 g'4 fis'4 gis'4 a'4 g'4 fis'2 g'4 fis'4 g'4 fes'4 e'4 e'4 d'4 c'4 b4 a4 b4 g'4 g'4( fis'8) g'8 g'2\n}\ntenor = {\n  d'4 d'4 d'4 g4 g4 c'4 b4 a4 g4 g4 a4 g4 g4 a4 fis2 g4 fis4 g4 g4 g4 c'4 b4 a4 g4 g4 a4 g4 g4 fis4 g2 g4 g4 g4 g4 fis4 a4 ais4 b4 cis'4 e'4 fis'4 d'4 fis'4 cis'4 d'2 d'4 d'4 d'4 g4 g4 c'4 b4 a4 g4 g4 g4 d'4 c'4. b8 b2\n}\nbass = {\n  g4 fis4 g4 b,4 c4 c4 d4 d4 e4 c4 fis4 g4 e4 a,4 d2 g4 d4 g4 b,4 c4 c4 d4 d4 e4 c4 fis4 g4 d4 d4 g2 e4 a,4 b,4 cis4 d4 fis4 g4 g4 a4 cis4 d4 b4 a4 a4 d2 g4 d4 g4 b,4 c4 c4 d4 dis4 e4 cis4 d4 d4 d4. g,8 g,2\n}\n"}, "harmonizations": [{"slug": "galilean-oh292", "tune": "galilean", "music_file": "galilean-oh292.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:292; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:292", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark, the Voice of Jesus Calling\n%% Imported from Open Hymnal ABC X:292 via tools/abc_import.py\n%% Open Hymnal X:292; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4 g'4 a'2 b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4. g'8 g'2 a'4. b'8 b'4 a'4 a'4 d''4 cis''4 b'4 a'4. b'8 a'4 d''4 d''4 e''4 d''2 b'4 a'4 b'4 d''4 c''4 a'4 g'4 fis'4 g'4 e'4 d'4 b'4 a'4. g'8 g'2\n}\nalto = {\n  g'4 a'4 g'4 d'4 e'4 e'4 d'4 d'4 b4 c'4 d'4 d'4 cis'4 cis'4 d'2 d'4 d'4 d'4 g'8 fis'8 e'4 e'4 d'4 c'4 b4 c'4 c'4 b4 c'4 c'4 b2 cis'4 cis'4 d'4 e'4 d'4 d'4 e'4 d'4 cis'4 g'4 fis'4 gis'4 a'4 g'4 fis'2 g'4 fis'4 g'4 fes'4 e'4 e'4 d'4 c'4 b4 a4 b4 g'4 g'4( fis'8) g'8 g'2\n}\ntenor = {\n  d'4 d'4 d'4 g4 g4 c'4 b4 a4 g4 g4 a4 g4 g4 a4 fis2 g4 fis4 g4 g4 g4 c'4 b4 a4 g4 g4 a4 g4 g4 fis4 g2 g4 g4 g4 g4 fis4 a4 ais4 b4 cis'4 e'4 fis'4 d'4 fis'4 cis'4 d'2 d'4 d'4 d'4 g4 g4 c'4 b4 a4 g4 g4 g4 d'4 c'4. b8 b2\n}\nbass = {\n  g4 fis4 g4 b,4 c4 c4 d4 d4 e4 c4 fis4 g4 e4 a,4 d2 g4 d4 g4 b,4 c4 c4 d4 d4 e4 c4 fis4 g4 d4 d4 g2 e4 a,4 b,4 cis4 d4 fis4 g4 g4 a4 cis4 d4 b4 a4 a4 d2 g4 d4 g4 b,4 c4 c4 d4 dis4 e4 cis4 d4 d4 d4. g,8 g,2\n}\n", "preferred": true}]}, "gelobt-sei-gott": {"slug": "gelobt-sei-gott", "name": "GELOBT SEI GOTT", "meter_label": "8.8.8 with alleluias", "meter": {"pattern": [8, 8, 8], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "composer": "melchior-vulpius", "composer_date": "1609", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "gelobt-sei-gott-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GELOBT SEI GOTT (8.8.8 with alleluias), melody by Melchior Vulpius (c. 1560-1615), first published in his Ein schoen geistlich Gesangbuch (Jena, 1609) for Michael Weisse's 1531 Easter hymn Gelobt sei Gott im hoechsten Thron. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 3/4, no pickup, 18 measures, 40 soprano notes: three syllabic 8-note lines plus a threefold Alleluia whose first two Alleluias each close with a printed three-note melisma). The soprano matches Hymnary's authority incipit 17655 67111 25176 exactly, and Hymnary's tune authority key concurs (C Major). Melody 1609 - centuries pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gelobt sei Gott\" (melody Melchior Vulpius, 1609; harmony Henry G. Ley); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "gelobt_sei_gott_vulpius", "total_instances": 171}}, "harmonization": {"slug": "gelobt-sei-gott-cyberhymnal", "tune": "gelobt-sei-gott", "music_file": "gelobt-sei-gott-cyberhymnal.ly", "harmonizer": "henry-g-ley", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GELOBT SEI GOTT, melody by Melchior Vulpius, 1609; harmony by Henry G. Ley, 1925. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Melody by Melchior Vulpius, 1609 (Ein schoen geistlich Gesangbuch). This four-part setting is the harmonization by Henry G. Ley (1887-1962), credited by the Cyber Hymnal (\"Harmony by Henry G. Ley\") and first published in Songs of Praise (Oxford University Press, 1925) - the same pre-1931 setting later reprinted in the Clarendon Hymn Book and Hymns A&M Revised. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py (S+A and T+B track split hand-corrected around the passing-tone figures) and verified note-for-note against the Cyber Hymnal engraving: C major, 3/4, 18 measures; the only accidentals are the engraved sharps on the alto F-sharp (bar 7) and soprano F-sharp (bar 15); the cadential walking figures (bass bars 4, 8, 14, 16; tenor bar 12) carry the source's printed melisma slurs. Melody 1609, harmony 1925 - both pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gelobt sei Gott\" (melody Melchior Vulpius, 1609; harmony Henry G. Ley, first pub. Songs of Praise, 1925); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "gelobt_sei_gott_vulpius", "total_instances": 171}}, "music_ly": "%% GELOBT SEI GOTT (8.8.8 with alleluias) — four SATB voice streams, canonical\n%% key C major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Gelobt sei Gott\", melody by\n%% Melchior Vulpius, 1609; harmony by Henry G. Ley, 1887-1962, first published\n%% in Songs of Praise, 1925) with tools/mid2ly.py (voice split hand-corrected\n%% around the passing-tone figures) and verified note-for-note against the\n%% Cyber Hymnal engraving. C major, 3/4, no pickup, 18 measures, dotted-half\n%% finals. 40 soprano notes: three syllabic 8-note lines, then three\n%% four-syllable Alleluias; the \"ia\" of Alleluias 1 and 2 each carry a printed\n%% three-note slur (soprano notes 28-30 and 34-36: 4.-8-4 figures). The only\n%% non-scale tone is F-sharp (alto bar 7, soprano bar 15), printed with sharps\n%% in the source; the soprano f'8 in bar 16 is natural (new measure). Lower\n%% voices carry the source's printed melisma slurs: the cadential walking\n%% figures (bass bars 2, 3, 4, 8, 11, 14, 16; tenor bar 12) and the alto\n%% passing pairs (bars 6, 10). S/A unisons at bars 2 (beat 3), 12 and the\n%% T/B shared onset at bar 12 are carried by both streams.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 }\n\nsoprano = {\n  c''4 b'4 a'4 | g'2 g'4 |\n  a'2 b'4 | c''2. |\n  c''4 c''4 d''4 | g'2 c''4 |\n  b'4 a'2 | g'2. |\n  g'4 e'4 a'4 | g'2 f'4 |\n  e'4 d'2 | c'2. |\n  c''4 c''4 b'4 | c''4.( b'8 a'4) |\n  g'4 g'4 fis'4 | g'4.( f'8 e'4) |\n  d'4 c'4 b4 | c'2.\n}\nalto = {\n  g'2 f'4 | d'2 g'4 |\n  f'2. | g'2. |\n  a'4 a'4 a'4 | d'4( c'4) a'4 |\n  g'2 fis'4 | d'2. |\n  c'2. | b4( c'4.) b8 |\n  c'2 b4 | c'2. |\n  g'4 g'4 g'4 | e'2 f'4 |\n  d'4 d'4 d'4 | d'4 b4 c'4 |\n  a4 g4 g4 | g2.\n}\ntenor = {\n  e'4 e'4 c'4 | b2 c'4 |\n  c'2 d'4 | e'2. |\n  e'4 e'4 d'4 | b4 c'4 e'4 |\n  d'4 e'4 d'4 | b2. |\n  c'4 g4 f4 | d4 e4 f4 |\n  g4 a4 g4 | c4( e4 g4) |\n  e'4 e'4 d'4 | c'2. |\n  b4 b4 a4 | g2 c4 |\n  f4 e4 d4 | e2.\n}\nbass = {\n  c4 e4 f4 | g4( f4) e4 |\n  f4( e4) d4 | a,4( c'4 b4) |\n  a4. g8 f4 | f4 e4 a,4 |\n  b,4 c4 d4 | g,4( g4 f4) |\n  e4 e,4 f,4 | f,4( e,4) d,4 |\n  e,4 f,4( g,4) | c2. |\n  c'4 c'4 g4 | a4.( g8 f4) |\n  g4 g4 d4 | b,4( g,4 a,4) |\n  f,4 g,4 g,4 | c2.\n}\n"}, "harmonizations": [{"slug": "gelobt-sei-gott-cyberhymnal", "tune": "gelobt-sei-gott", "music_file": "gelobt-sei-gott-cyberhymnal.ly", "harmonizer": "henry-g-ley", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GELOBT SEI GOTT, melody by Melchior Vulpius, 1609; harmony by Henry G. Ley, 1925. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Melody by Melchior Vulpius, 1609 (Ein schoen geistlich Gesangbuch). This four-part setting is the harmonization by Henry G. Ley (1887-1962), credited by the Cyber Hymnal (\"Harmony by Henry G. Ley\") and first published in Songs of Praise (Oxford University Press, 1925) - the same pre-1931 setting later reprinted in the Clarendon Hymn Book and Hymns A&M Revised. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py (S+A and T+B track split hand-corrected around the passing-tone figures) and verified note-for-note against the Cyber Hymnal engraving: C major, 3/4, 18 measures; the only accidentals are the engraved sharps on the alto F-sharp (bar 7) and soprano F-sharp (bar 15); the cadential walking figures (bass bars 4, 8, 14, 16; tenor bar 12) carry the source's printed melisma slurs. Melody 1609, harmony 1925 - both pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gelobt sei Gott\" (melody Melchior Vulpius, 1609; harmony Henry G. Ley, first pub. Songs of Praise, 1925); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "gelobt_sei_gott_vulpius", "total_instances": 171}}, "music_ly": "%% GELOBT SEI GOTT (8.8.8 with alleluias) — four SATB voice streams, canonical\n%% key C major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Gelobt sei Gott\", melody by\n%% Melchior Vulpius, 1609; harmony by Henry G. Ley, 1887-1962, first published\n%% in Songs of Praise, 1925) with tools/mid2ly.py (voice split hand-corrected\n%% around the passing-tone figures) and verified note-for-note against the\n%% Cyber Hymnal engraving. C major, 3/4, no pickup, 18 measures, dotted-half\n%% finals. 40 soprano notes: three syllabic 8-note lines, then three\n%% four-syllable Alleluias; the \"ia\" of Alleluias 1 and 2 each carry a printed\n%% three-note slur (soprano notes 28-30 and 34-36: 4.-8-4 figures). The only\n%% non-scale tone is F-sharp (alto bar 7, soprano bar 15), printed with sharps\n%% in the source; the soprano f'8 in bar 16 is natural (new measure). Lower\n%% voices carry the source's printed melisma slurs: the cadential walking\n%% figures (bass bars 2, 3, 4, 8, 11, 14, 16; tenor bar 12) and the alto\n%% passing pairs (bars 6, 10). S/A unisons at bars 2 (beat 3), 12 and the\n%% T/B shared onset at bar 12 are carried by both streams.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 }\n\nsoprano = {\n  c''4 b'4 a'4 | g'2 g'4 |\n  a'2 b'4 | c''2. |\n  c''4 c''4 d''4 | g'2 c''4 |\n  b'4 a'2 | g'2. |\n  g'4 e'4 a'4 | g'2 f'4 |\n  e'4 d'2 | c'2. |\n  c''4 c''4 b'4 | c''4.( b'8 a'4) |\n  g'4 g'4 fis'4 | g'4.( f'8 e'4) |\n  d'4 c'4 b4 | c'2.\n}\nalto = {\n  g'2 f'4 | d'2 g'4 |\n  f'2. | g'2. |\n  a'4 a'4 a'4 | d'4( c'4) a'4 |\n  g'2 fis'4 | d'2. |\n  c'2. | b4( c'4.) b8 |\n  c'2 b4 | c'2. |\n  g'4 g'4 g'4 | e'2 f'4 |\n  d'4 d'4 d'4 | d'4 b4 c'4 |\n  a4 g4 g4 | g2.\n}\ntenor = {\n  e'4 e'4 c'4 | b2 c'4 |\n  c'2 d'4 | e'2. |\n  e'4 e'4 d'4 | b4 c'4 e'4 |\n  d'4 e'4 d'4 | b2. |\n  c'4 g4 f4 | d4 e4 f4 |\n  g4 a4 g4 | c4( e4 g4) |\n  e'4 e'4 d'4 | c'2. |\n  b4 b4 a4 | g2 c4 |\n  f4 e4 d4 | e2.\n}\nbass = {\n  c4 e4 f4 | g4( f4) e4 |\n  f4( e4) d4 | a,4( c'4 b4) |\n  a4. g8 f4 | f4 e4 a,4 |\n  b,4 c4 d4 | g,4( g4 f4) |\n  e4 e,4 f,4 | f,4( e,4) d,4 |\n  e,4 f,4( g,4) | c2. |\n  c'4 c'4 g4 | a4.( g8 f4) |\n  g4 g4 d4 | b,4( g,4 a,4) |\n  f,4 g,4 g,4 | c2.\n}\n", "preferred": true}]}, "germany": {"slug": "germany", "name": "GERMANY", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-gardiner", "composer_date": "1815", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "germany-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GERMANY (also called FULDA/WALTON/GARDINER in some hymnals), adapted by William Gardiner (1770-1853) in Sacred Melodies, Vol. 2 (London, 1815), where he attributed the theme to Beethoven; the melody has long been the standard L.M. setting for \"Where Cross the Crowded Ways of Life\" and \"O Master, Let Me Walk with Thee.\" Melody encoded from The Cyber Hymnal SATB MIDI and verified note-by-note against the Cyber Hymnal engraving (B-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Germany\" (William Gardiner, Sacred Melodies 1815); SATB MIDI + engraving", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "germany-cyberhymnal", "tune": "germany", "music_file": "germany-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [19], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GERMANY (William Gardiner, Sacred Melodies 1815). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GERMANY, melody adapted by William Gardiner (1770-1853) in Sacred Melodies, Vol. 2 (London, 1815). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and verified against the Cyber Hymnal engraving (B-flat major, 3/4) via a full render-diff; the six soprano melismas were confirmed with tools/extract_slurs.py against the engraving slurs. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Germany\" (William Gardiner, in Sacred Melodies, London 1815); SATB MIDI + engraving, converted with tools/mid2ly.py and verified by render-diff", "encoding_license": "PD-dedication"}, "music_ly": "% GERMANY (L.M.) — four SATB voice streams, canonical key B-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Germany\", melody from Beethoven arr.\n% William Gardiner, Sacred Melodies 1815) and verified note-by-note against the\n% Cyber Hymnal engraving (B-flat major, 3/4) via a full render-diff. MELISMATIC:\n% 38 soprano notes for 32 L.M. syllables; six quarter-/eighth-note melismas\n% (slurred pairs, engraving slurs confirmed with tools/extract_slurs.py) at held\n% soprano notes [7, 16, 23, 28, 33, 36]. Chromatic inner-voice/bass passing tones\n% (bass fis, e natural; tenor des') spelled per the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\nsoprano = {\n  f'4 bes'4 a'4 bes'2 c''4 f'4( g'4) a'4 bes'2. bes'4 a'4 g'4 c''2 a'4 a'8( g'8) f'4 e'4 f'2. f'2 bes'4 bes'4( a'4) g'4 f'2 d''4 d''4( c''4) bes'4 a'2 es''4 es''4( d''4) c''4 bes'4( c''4) a'4 bes'2.\n}\nalto = {\n  d'4 f'4 es'4 f'2 c'4 es'2 es'4 d'2. e'4 f'4 e'4 f'2 f'4 d'4 c'4 c'4 c'2. d'2 d'4 d'4 es'2 es'4 d'2 f'4 g'2 g'4 f'2 a'4 bes'2 g'4 f'2 es'4 d'2\n}\ntenor = {\n  bes4 d'4 c'4 bes2 g4 a4 bes4 c'4 bes2. g4 c'4 c'4 c'2 f4 bes4 a4 g4 a2. bes2 bes4 f4 f4. g8 a4 bes2 bes4 bes4 es'4 des'4 c'2 c'4 bes2 es'4 d'4 es'4 c'4 bes2\n}\nbass = {\n  bes,4 bes,4 c4 d2 es4 f2 fis4 g2. c4 c4 bes,4 a,2 d4 bes,4 c4 c4 f2. bes,2 bes,4 bes,4 c2 c4 d2 bes,4 es2 e4 f2 fis4 g2 es4 f2 f4 bes,2\n}\n"}, "harmonizations": [{"slug": "germany-cyberhymnal", "tune": "germany", "music_file": "germany-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [19], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GERMANY (William Gardiner, Sacred Melodies 1815). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GERMANY, melody adapted by William Gardiner (1770-1853) in Sacred Melodies, Vol. 2 (London, 1815). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and verified against the Cyber Hymnal engraving (B-flat major, 3/4) via a full render-diff; the six soprano melismas were confirmed with tools/extract_slurs.py against the engraving slurs. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Germany\" (William Gardiner, in Sacred Melodies, London 1815); SATB MIDI + engraving, converted with tools/mid2ly.py and verified by render-diff", "encoding_license": "PD-dedication"}, "music_ly": "% GERMANY (L.M.) — four SATB voice streams, canonical key B-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Germany\", melody from Beethoven arr.\n% William Gardiner, Sacred Melodies 1815) and verified note-by-note against the\n% Cyber Hymnal engraving (B-flat major, 3/4) via a full render-diff. MELISMATIC:\n% 38 soprano notes for 32 L.M. syllables; six quarter-/eighth-note melismas\n% (slurred pairs, engraving slurs confirmed with tools/extract_slurs.py) at held\n% soprano notes [7, 16, 23, 28, 33, 36]. Chromatic inner-voice/bass passing tones\n% (bass fis, e natural; tenor des') spelled per the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\nsoprano = {\n  f'4 bes'4 a'4 bes'2 c''4 f'4( g'4) a'4 bes'2. bes'4 a'4 g'4 c''2 a'4 a'8( g'8) f'4 e'4 f'2. f'2 bes'4 bes'4( a'4) g'4 f'2 d''4 d''4( c''4) bes'4 a'2 es''4 es''4( d''4) c''4 bes'4( c''4) a'4 bes'2.\n}\nalto = {\n  d'4 f'4 es'4 f'2 c'4 es'2 es'4 d'2. e'4 f'4 e'4 f'2 f'4 d'4 c'4 c'4 c'2. d'2 d'4 d'4 es'2 es'4 d'2 f'4 g'2 g'4 f'2 a'4 bes'2 g'4 f'2 es'4 d'2\n}\ntenor = {\n  bes4 d'4 c'4 bes2 g4 a4 bes4 c'4 bes2. g4 c'4 c'4 c'2 f4 bes4 a4 g4 a2. bes2 bes4 f4 f4. g8 a4 bes2 bes4 bes4 es'4 des'4 c'2 c'4 bes2 es'4 d'4 es'4 c'4 bes2\n}\nbass = {\n  bes,4 bes,4 c4 d2 es4 f2 fis4 g2. c4 c4 bes,4 a,2 d4 bes,4 c4 c4 f2. bes,2 bes,4 bes,4 c2 c4 d2 bes,4 es2 e4 f2 fis4 g2 es4 f2 f4 bes,2\n}\n", "preferred": true}]}, "glasgow": {"slug": "glasgow", "name": "GLASGOW", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Moore's Psalm Singer's Pocket Companion (Glasgow), 1756", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "glasgow-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GLASGOW (C.M.), a common-metre psalm tune first printed in Thomas Moore's The Psalm Singer's Pocket Companion (Glasgow, 1756). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2, half-note anacrusis; a florid/melismatic tune of 37 soprano notes for the 28 C.M. syllables). Accidentals verified against the Cyber Hymnal engraving (the tenor's two C-sharps are printed with sharps and the F-naturals in alto and bass with naturals); note-for-note confirmed against the texted printings in The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa), and hymnary.org tune authority glasgow_moore (incipit 51232135654332432171 matches). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "glasgow-cyberhymnal", "tune": "glasgow", "music_file": "glasgow-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 20, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLASGOW (C.M.), Moore's Psalm Singer's Pocket Companion, 1756. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GLASGOW (Moore's Psalm Singer's Pocket Companion, Glasgow, 1756); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2). Accidentals verified against the Cyber Hymnal engraving; two mid2ly voice-split artifacts (soprano bar 10, bass bar 8) corrected 2026-07-10 from the raw MIDI onsets and confirmed against the Cyber Hymnal 600dpi engraving, The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa) — the same standard edition of the setting in all three. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GLASGOW (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Glasgow\", Moore's Psalm Singer's\n%% Pocket Companion, Glasgow 1756) with tools/mid2ly.py. FLORID / MELISMATIC C.M.\n%% tune in 3/2: 37 soprano notes for 28 syllables (half-note pickup via harm\n%% pickup: '2'; final whole note). All four voices sum to 42 half-beats = 1 (pickup)\n%% + 13 x 3 + 2 (final); bar-checks placed at every 3/2 barline.\n%% Accidentals verified against the Cyber Hymnal engraving: the tenor's two C-sharps\n%% (cis') print with sharps (leading to d') and the F-naturals in alto (f') and bass\n%% (f) print with naturals (lowered 7th) — the mid2ly SHARP-key spellings are correct.\n%% 2026-07-10 RECONCILIATION (supersedes the mid2ly draft's needs-manual caveats):\n%% two mid2ly hi/lo-split artifacts were found by re-reading the raw MIDI onsets and\n%% confirmed against THREE engravings (Cyber Hymnal PDF at 600dpi; Hymnary of the\n%% United Church of Canada 1930 #661, archive.org hymnaryofunitedc0000unse leaf 728;\n%% Methodist Hymn-Book 1933 #904 tonic sol-fa, archive.org methodist-hymn-book\n%% leaves 820-821, \"Doh is G\"):\n%%   (1) bar 10 soprano was d''4. e'8 c''2 b'2 -> d''2 c''2 b'2. The MIDI has\n%%       soprano d5 as a plain half (gate-shortened to 0.875); the dotted figure\n%%       d'4. e'8 belongs to the ALTO alone (all three scores print soprano as\n%%       three open halves there; sol-fa \"s :f :m\"). This also resolves the old\n%%       \"soprano note 27 e'8 vs e''8\" flag - that eighth is the alto's e'.\n%%   (2) bar 8 bass was fis4. c'8 g2 f2 -> fis2 g2 f2. The MIDI has ONE c4\n%%       eighth at that onset and it is the tenor's (d'4. c'8); all three scores\n%%       print the bass as three plain halves (sol-fa \"t, :d :ta,\").\n%% Bars 2, 3 and 6 were re-verified unchanged: both S and A carry dotted figures in\n%% bars 2/6 (unison g' on beat 2 of bar 2 is merged in the MIDI), and bar 3's dotted\n%% figure IS the soprano's, rising to the HIGH e''8 (sol-fa \"s.,l:s\").\n%% The melismatic underlay lives in the setting yaml (9 constant holds, pinned by\n%% the 1930 engraving's slurs and the 1933 sol-fa's one-syllable underlines).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 | g'1 a'2 | b'4. a'8 g'2 b'2 | d''4. e''8 d''2 c''2 | b'1 b'2 | a'1 c''2 | b'4. a'8 g'2 fis'2 | g'1 d''2 | d''1 b'2 | c''1 e''2 | d''2 c''2 b'2 | a'1 d''2 | g'2 a'2 b'2 | c''2 b'2 a'2 | g'1\n}\nalto = {\n  b2 | d'1 fis'2 | g'4. fis'8 g'2 g'2 | g'1 fis'2 | g'1 g'2 | e'1 a'2 | g'4. e'8 d'2 d'2 | d'1 g'2 | a'2 g'2 g'2 | g'4. f'8 e'2 g'2 | d'4. e'8 fis'2 g'2 | fis'1 fis'2 | g'2 d'2 g'2 | g'1 fis'2 | g'1\n}\ntenor = {\n  g2 | d'1 d'2 | d'4. c'8 b2 d'2 | b4. c'8 b2 a2 | g1 d'2 | c'1 e'2 | d'4. c'8 b2 a2 | b1 b2 | d'4. c'8 b2 d'2 | c'1 g2 | g2 a2 b4 cis'4 | d'1 d'4 cis'4 | b2 d'2 d'2 | e'2 d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 | b,1 d2 | g4. a8 b2 g2 | d1 d2 | g,1 g2 | c1 a,2 | b,4. c8 d2 d2 | g,1 g2 | fis2 g2 f2 | e4. d8 c2 c2 | b,2 a,2 g,2 | d1 d2 | e2 fis2 g2 | c2 d2 d2 | g,1\n}\n"}, "harmonizations": [{"slug": "glasgow-cyberhymnal", "tune": "glasgow", "music_file": "glasgow-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 20, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLASGOW (C.M.), Moore's Psalm Singer's Pocket Companion, 1756. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GLASGOW (Moore's Psalm Singer's Pocket Companion, Glasgow, 1756); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2). Accidentals verified against the Cyber Hymnal engraving; two mid2ly voice-split artifacts (soprano bar 10, bass bar 8) corrected 2026-07-10 from the raw MIDI onsets and confirmed against the Cyber Hymnal 600dpi engraving, The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa) — the same standard edition of the setting in all three. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GLASGOW (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Glasgow\", Moore's Psalm Singer's\n%% Pocket Companion, Glasgow 1756) with tools/mid2ly.py. FLORID / MELISMATIC C.M.\n%% tune in 3/2: 37 soprano notes for 28 syllables (half-note pickup via harm\n%% pickup: '2'; final whole note). All four voices sum to 42 half-beats = 1 (pickup)\n%% + 13 x 3 + 2 (final); bar-checks placed at every 3/2 barline.\n%% Accidentals verified against the Cyber Hymnal engraving: the tenor's two C-sharps\n%% (cis') print with sharps (leading to d') and the F-naturals in alto (f') and bass\n%% (f) print with naturals (lowered 7th) — the mid2ly SHARP-key spellings are correct.\n%% 2026-07-10 RECONCILIATION (supersedes the mid2ly draft's needs-manual caveats):\n%% two mid2ly hi/lo-split artifacts were found by re-reading the raw MIDI onsets and\n%% confirmed against THREE engravings (Cyber Hymnal PDF at 600dpi; Hymnary of the\n%% United Church of Canada 1930 #661, archive.org hymnaryofunitedc0000unse leaf 728;\n%% Methodist Hymn-Book 1933 #904 tonic sol-fa, archive.org methodist-hymn-book\n%% leaves 820-821, \"Doh is G\"):\n%%   (1) bar 10 soprano was d''4. e'8 c''2 b'2 -> d''2 c''2 b'2. The MIDI has\n%%       soprano d5 as a plain half (gate-shortened to 0.875); the dotted figure\n%%       d'4. e'8 belongs to the ALTO alone (all three scores print soprano as\n%%       three open halves there; sol-fa \"s :f :m\"). This also resolves the old\n%%       \"soprano note 27 e'8 vs e''8\" flag - that eighth is the alto's e'.\n%%   (2) bar 8 bass was fis4. c'8 g2 f2 -> fis2 g2 f2. The MIDI has ONE c4\n%%       eighth at that onset and it is the tenor's (d'4. c'8); all three scores\n%%       print the bass as three plain halves (sol-fa \"t, :d :ta,\").\n%% Bars 2, 3 and 6 were re-verified unchanged: both S and A carry dotted figures in\n%% bars 2/6 (unison g' on beat 2 of bar 2 is merged in the MIDI), and bar 3's dotted\n%% figure IS the soprano's, rising to the HIGH e''8 (sol-fa \"s.,l:s\").\n%% The melismatic underlay lives in the setting yaml (9 constant holds, pinned by\n%% the 1930 engraving's slurs and the 1933 sol-fa's one-syllable underlines).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 | g'1 a'2 | b'4. a'8 g'2 b'2 | d''4. e''8 d''2 c''2 | b'1 b'2 | a'1 c''2 | b'4. a'8 g'2 fis'2 | g'1 d''2 | d''1 b'2 | c''1 e''2 | d''2 c''2 b'2 | a'1 d''2 | g'2 a'2 b'2 | c''2 b'2 a'2 | g'1\n}\nalto = {\n  b2 | d'1 fis'2 | g'4. fis'8 g'2 g'2 | g'1 fis'2 | g'1 g'2 | e'1 a'2 | g'4. e'8 d'2 d'2 | d'1 g'2 | a'2 g'2 g'2 | g'4. f'8 e'2 g'2 | d'4. e'8 fis'2 g'2 | fis'1 fis'2 | g'2 d'2 g'2 | g'1 fis'2 | g'1\n}\ntenor = {\n  g2 | d'1 d'2 | d'4. c'8 b2 d'2 | b4. c'8 b2 a2 | g1 d'2 | c'1 e'2 | d'4. c'8 b2 a2 | b1 b2 | d'4. c'8 b2 d'2 | c'1 g2 | g2 a2 b4 cis'4 | d'1 d'4 cis'4 | b2 d'2 d'2 | e'2 d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 | b,1 d2 | g4. a8 b2 g2 | d1 d2 | g,1 g2 | c1 a,2 | b,4. c8 d2 d2 | g,1 g2 | fis2 g2 f2 | e4. d8 c2 c2 | b,2 a,2 g,2 | d1 d2 | e2 fis2 g2 | c2 d2 d2 | g,1\n}\n", "preferred": true}]}, "gloria": {"slug": "gloria", "name": "GLORIA", "meter_label": "7.7.7.7 with Refrain", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer_source": "Traditional French", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "gloria-oh50", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:50 (line 3888); Words French carol (trad.) trans. James Chadwick 1862, Music GLORIA French carol melody, setting Edward Shippen Barnes 1916; all components pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "gloria-oh50", "tune": "gloria", "music_file": "gloria-oh50.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 52], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:50 (line 3888); Words French carol (trad.) trans. James Chadwick 1862, Music GLORIA French carol melody, setting Edward Shippen Barnes 1916; all components pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:50 (line 3888)", "encoding_license": "PD-dedication"}, "music_ly": "%% Angels We Have Heard on High\n%% Imported from Open Hymnal ABC X:50 via tools/abc_import.py\n%% Words: French carol (trad.), trans. James Chadwick 1862; Music GLORIA, French carol melody, setting Edward Shippen Barnes 1916. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 a'4 c''4 c''4. bes'8 a'2 a'4 g'4 a'4 c''4 a'4. g'8 f'2 a'4 a'4 a'4 c''4 c''4. bes'8 a'2 a'4 g'4 a'4 c''4 a'4. g'8 f'2 c''2( d''8 c''8 bes'8 a'8 bes'2 c''8 bes'8 a'8 g'8 a'2 bes'8 a'8 g'8 f'8 g'4.) c'8 c'2 f'4 g'4 a'4 bes'4 a'2 g'4 r4 c''2( d''8 c''8 bes'8 a'8 bes'2 c''8 bes'8 a'8 g'8 a'2 bes'8 a'8 g'8 f'8 g'4.) c'8 c'2 f'4 g'4 a'4 bes'4 a'2( g'2) f'1\n}\nalto = {\n  f'4 f'4 e'4 e'4 g'4 e'4 f'2 f'4 e'4 f'4 f'4 f'4 e'4 f'2 f'4 f'4 e'4 e'4 g'4 e'4 f'2 f'4 e'4 f'4 f'4 f'4 e'4 f'2 f'4( a'8 g'8 f'2 f'4 g'8 f'8 e'2 e'4 f'8 e'8 d'2 c'4.) c'8 c'2 c'4 e'4 f'4 f'4 f'2 e'4 s4 f'4( a'8 g'8 f'2 f'4 g'8 f'8 e'2 e'4 f'8 e'8 d'2 c'4.) c'8 c'2 c'4 e'4 f'4 f'4 f'2( e'2) c'1\n}\ntenor = {\n  c'4 c'4 c'4 c'4 d'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4. bes8 a2 c'4 c'4 c'4 c'4 d'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4. bes8 a2 a2( d'2 d'2 c'2 c'2 bes2 g4) f4 e2 f4 c'4 c'4 d'4 c'2 c'4 r4 a2( d'2 d'2 c'2 c'2 bes2 g4) f4 e2 f4 c'4 c'4 d'4 c'2.( bes4) a1\n}\nbass = {\n  f4 f4 a4 a4 g4 c4 f2 f4 c4 f4 a4 c'4 c4 f2 f4 f4 a4 a4 d4 e4 f2 f4 c4 f4 a,4 c4 c4 f2 f2( d4 f4 g2 c4 e4 f2 bes,4 d4 e4) d4 c4( bes,4) a,4 c4 f4 bes,4 c2 c4 s4 f2( d4 f4 g2 c4 e4 f2 bes,4 d4 e4) d4 c4( bes,4) a,4 c4 f4 bes,4 c1 f1\n}\n"}, "harmonizations": [{"slug": "gloria-oh50", "tune": "gloria", "music_file": "gloria-oh50.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 52], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:50 (line 3888); Words French carol (trad.) trans. James Chadwick 1862, Music GLORIA French carol melody, setting Edward Shippen Barnes 1916; all components pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:50 (line 3888)", "encoding_license": "PD-dedication"}, "music_ly": "%% Angels We Have Heard on High\n%% Imported from Open Hymnal ABC X:50 via tools/abc_import.py\n%% Words: French carol (trad.), trans. James Chadwick 1862; Music GLORIA, French carol melody, setting Edward Shippen Barnes 1916. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 a'4 c''4 c''4. bes'8 a'2 a'4 g'4 a'4 c''4 a'4. g'8 f'2 a'4 a'4 a'4 c''4 c''4. bes'8 a'2 a'4 g'4 a'4 c''4 a'4. g'8 f'2 c''2( d''8 c''8 bes'8 a'8 bes'2 c''8 bes'8 a'8 g'8 a'2 bes'8 a'8 g'8 f'8 g'4.) c'8 c'2 f'4 g'4 a'4 bes'4 a'2 g'4 r4 c''2( d''8 c''8 bes'8 a'8 bes'2 c''8 bes'8 a'8 g'8 a'2 bes'8 a'8 g'8 f'8 g'4.) c'8 c'2 f'4 g'4 a'4 bes'4 a'2( g'2) f'1\n}\nalto = {\n  f'4 f'4 e'4 e'4 g'4 e'4 f'2 f'4 e'4 f'4 f'4 f'4 e'4 f'2 f'4 f'4 e'4 e'4 g'4 e'4 f'2 f'4 e'4 f'4 f'4 f'4 e'4 f'2 f'4( a'8 g'8 f'2 f'4 g'8 f'8 e'2 e'4 f'8 e'8 d'2 c'4.) c'8 c'2 c'4 e'4 f'4 f'4 f'2 e'4 s4 f'4( a'8 g'8 f'2 f'4 g'8 f'8 e'2 e'4 f'8 e'8 d'2 c'4.) c'8 c'2 c'4 e'4 f'4 f'4 f'2( e'2) c'1\n}\ntenor = {\n  c'4 c'4 c'4 c'4 d'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4. bes8 a2 c'4 c'4 c'4 c'4 d'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4. bes8 a2 a2( d'2 d'2 c'2 c'2 bes2 g4) f4 e2 f4 c'4 c'4 d'4 c'2 c'4 r4 a2( d'2 d'2 c'2 c'2 bes2 g4) f4 e2 f4 c'4 c'4 d'4 c'2.( bes4) a1\n}\nbass = {\n  f4 f4 a4 a4 g4 c4 f2 f4 c4 f4 a4 c'4 c4 f2 f4 f4 a4 a4 d4 e4 f2 f4 c4 f4 a,4 c4 c4 f2 f2( d4 f4 g2 c4 e4 f2 bes,4 d4 e4) d4 c4( bes,4) a,4 c4 f4 bes,4 c2 c4 s4 f2( d4 f4 g2 c4 e4 f2 bes,4 d4 e4) d4 c4( bes,4) a,4 c4 f4 bes,4 c1 f1\n}\n", "preferred": true}]}, "gloria-patri-greatorex": {"slug": "gloria-patri-greatorex", "name": "GLORIA PATRI (GREATOREX)", "alt_name": "GLORIA PATRI", "meter_label": "Irregular", "meter": {"pattern": [7, 4, 6, 8, 7, 4, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "henry-wellington-greatorex", "composer_date": "1851", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "gloria-patri-greatorex-mutopia", "provenance": {"layer": "tune", "source": "mutopia", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GLORIA PATRI (GREATOREX), the standard American service-music setting of the lesser doxology, composed by Henry Wellington Greatorex (1813-1858) and published 1851 in Greatorex's Collection of Psalm and Hymn Tunes, Chants, Anthems and Sentences (Boston); the composer died 1858, so tune and harmonization are unambiguously public domain. Encoded from the Mutopia Project edition (piece 1246, PD-dedicated, https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1246), itself set from www.cyberhymnal.org, and verified note-for-note against the embedded ABC cross-encoding, the Mutopia MIDI, and the Mutopia PDF engraving (E-flat major, 4/4, 14 bars, no pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Mutopia Project, \"Gloria Patri (Greatorex)\" (piece 1246, typeset by Steve Dunlop from www.cyberhymnal.org); LilyPond source translated to the house absolute-Dutch format by hand", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "gloria-patri-greatorex-mutopia", "tune": "gloria-patri-greatorex", "music_file": "gloria-patri-greatorex-mutopia.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLORIA PATRI, Henry W. Greatorex (Greatorex's Collection of Psalm and Hymn Tunes, Boston, 1851). Public domain.", "provenance": {"layer": "harmonization", "source": "mutopia", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and harmonization both by Henry Wellington Greatorex (1813-1858), published 1851 in Greatorex's Collection of Psalm and Hymn Tunes, Chants, Anthems and Sentences (Boston); the composer died 1858. Encoded from the Mutopia Project edition (piece 1246, https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1246), placed in the public domain by its typesetter Steve Dunlop (\"Public Domain\" / CC PD dedication) and itself set from www.cyberhymnal.org. All four voices verified note-for-note against the ABC cross-encoding embedded in the Mutopia source and against the Mutopia MIDI, and structurally against the Mutopia PDF engraving (E-flat major, 4/4, 14 bars; tenor A-natural in bar 5). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Mutopia Project, \"Gloria Patri (Greatorex)\" (piece 1246, typeset by Steve Dunlop from www.cyberhymnal.org); LilyPond source translated to the house absolute-Dutch format by hand", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORIA PATRI (GREATOREX) (Irregular) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Translated from the Mutopia Project edition (piece 1246, PD-dedicated,\n%% https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1246; typeset by Steve\n%% Dunlop from www.cyberhymnal.org). The Mutopia source is already in absolute\n%% octaves; note names converted ees/aes -> es/as (Dutch short forms) and verified\n%% note-for-note against BOTH the embedded ABC cross-encoding in the Mutopia .ly\n%% AND the Mutopia MIDI (all four voices identical), plus the Mutopia PDF\n%% engraving (14 bars of 4/4, no pickup; tenor A-natural in bar 5 is the one\n%% non-scale tone, printed with a natural — the following bar-6 tenor A-flat gets\n%% a cautionary flat in the source's modern-cautionary style; bass drops to the\n%% great octave, g,/as,, in bar 12). MELISMATIC: 42 soprano notes for 40\n%% syllables — the rising es'( f') and falling g'( f') quarter-note slurs\n%% (soprano notes 37-38 and 40-41) each carry one \"A\" of the closing\n%% \"A-men, A-men.\"\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  es'4. es'8 es'4 es'8 es'8 | es'4 d'2 es'4 | f'2 bes'2 | bes'4 bes'4 bes'4 c''4 |\n  d''2 c''2 | bes'2. bes'8 bes'8 | bes'4 g'4 c''4 bes'4 | bes'4 as'2 as'4 |\n  as'4 f'4 bes'4 as'4 | as'4 g'2. | d''2 d''4 d''4 | es''2 es'4( f'4) |\n  g'2 g'4( f'4) | es'1\n}\nalto = {\n  bes4. bes8 bes4 bes8 bes8 | bes4 bes2 bes4 | bes2 d'2 | es'4 g'4 f'4 g'4 |\n  f'2 f'4 es'4 | d'2. d'8 d'8 | es'4 es'4 es'4 es'4 | d'4 d'2 d'4 |\n  d'4 d'4 d'4 f'4 | f'4 es'2. | f'2 g'4 f'4 | es'2 bes4 c'4 |\n  bes2 d'2 | es'1\n}\ntenor = {\n  g4. g8 g4 g8 g8 | as4 as2 g4 | f2 f2 | g4 bes4 bes4 bes4 |\n  bes2 a2 | bes2. bes8 as8 | g4 es4 as4 g4 | f4 f2 f4 |\n  f4 bes4 f4 bes4 | bes4 bes2. | bes2 bes4 bes4 | bes2 es2 |\n  es2 as2 | g1\n}\nbass = {\n  es4. es8 es4 es8 es8 | f4 f2 es4 | d2 bes,2 | es4 es4 d4 es4 |\n  f2 f2 | bes,2. bes,8 bes,8 | es4 es4 es4 es4 | bes,4 bes,2 bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | es4 es2. | as2 as4 as4 | g2 g,4 as,4 |\n  bes,2 bes,2 | es1\n}\n"}, "harmonizations": [{"slug": "gloria-patri-greatorex-mutopia", "tune": "gloria-patri-greatorex", "music_file": "gloria-patri-greatorex-mutopia.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLORIA PATRI, Henry W. Greatorex (Greatorex's Collection of Psalm and Hymn Tunes, Boston, 1851). Public domain.", "provenance": {"layer": "harmonization", "source": "mutopia", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and harmonization both by Henry Wellington Greatorex (1813-1858), published 1851 in Greatorex's Collection of Psalm and Hymn Tunes, Chants, Anthems and Sentences (Boston); the composer died 1858. Encoded from the Mutopia Project edition (piece 1246, https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1246), placed in the public domain by its typesetter Steve Dunlop (\"Public Domain\" / CC PD dedication) and itself set from www.cyberhymnal.org. All four voices verified note-for-note against the ABC cross-encoding embedded in the Mutopia source and against the Mutopia MIDI, and structurally against the Mutopia PDF engraving (E-flat major, 4/4, 14 bars; tenor A-natural in bar 5). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Mutopia Project, \"Gloria Patri (Greatorex)\" (piece 1246, typeset by Steve Dunlop from www.cyberhymnal.org); LilyPond source translated to the house absolute-Dutch format by hand", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORIA PATRI (GREATOREX) (Irregular) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Translated from the Mutopia Project edition (piece 1246, PD-dedicated,\n%% https://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1246; typeset by Steve\n%% Dunlop from www.cyberhymnal.org). The Mutopia source is already in absolute\n%% octaves; note names converted ees/aes -> es/as (Dutch short forms) and verified\n%% note-for-note against BOTH the embedded ABC cross-encoding in the Mutopia .ly\n%% AND the Mutopia MIDI (all four voices identical), plus the Mutopia PDF\n%% engraving (14 bars of 4/4, no pickup; tenor A-natural in bar 5 is the one\n%% non-scale tone, printed with a natural — the following bar-6 tenor A-flat gets\n%% a cautionary flat in the source's modern-cautionary style; bass drops to the\n%% great octave, g,/as,, in bar 12). MELISMATIC: 42 soprano notes for 40\n%% syllables — the rising es'( f') and falling g'( f') quarter-note slurs\n%% (soprano notes 37-38 and 40-41) each carry one \"A\" of the closing\n%% \"A-men, A-men.\"\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  es'4. es'8 es'4 es'8 es'8 | es'4 d'2 es'4 | f'2 bes'2 | bes'4 bes'4 bes'4 c''4 |\n  d''2 c''2 | bes'2. bes'8 bes'8 | bes'4 g'4 c''4 bes'4 | bes'4 as'2 as'4 |\n  as'4 f'4 bes'4 as'4 | as'4 g'2. | d''2 d''4 d''4 | es''2 es'4( f'4) |\n  g'2 g'4( f'4) | es'1\n}\nalto = {\n  bes4. bes8 bes4 bes8 bes8 | bes4 bes2 bes4 | bes2 d'2 | es'4 g'4 f'4 g'4 |\n  f'2 f'4 es'4 | d'2. d'8 d'8 | es'4 es'4 es'4 es'4 | d'4 d'2 d'4 |\n  d'4 d'4 d'4 f'4 | f'4 es'2. | f'2 g'4 f'4 | es'2 bes4 c'4 |\n  bes2 d'2 | es'1\n}\ntenor = {\n  g4. g8 g4 g8 g8 | as4 as2 g4 | f2 f2 | g4 bes4 bes4 bes4 |\n  bes2 a2 | bes2. bes8 as8 | g4 es4 as4 g4 | f4 f2 f4 |\n  f4 bes4 f4 bes4 | bes4 bes2. | bes2 bes4 bes4 | bes2 es2 |\n  es2 as2 | g1\n}\nbass = {\n  es4. es8 es4 es8 es8 | f4 f2 es4 | d2 bes,2 | es4 es4 d4 es4 |\n  f2 f2 | bes,2. bes,8 bes,8 | es4 es4 es4 es4 | bes,4 bes,2 bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | es4 es2. | as2 as4 as4 | g2 g,4 as,4 |\n  bes,2 bes,2 | es1\n}\n", "preferred": true}]}, "glory-to-his-name": {"slug": "glory-to-his-name", "name": "GLORY TO HIS NAME", "meter_label": "9.9.9.5 with Refrain", "meter": {"pattern": [9, 9, 9, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-h-stockton", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "glory-to-his-name-songs-of-joy-1885", "provenance": {"layer": "tune", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "THE TUNE'S ATTRIBUTION IS CONTESTED AND THIS RECORD REPORTS WHAT THE PLATE PRINTS, NOT A RESOLUTION OF THE DISPUTE. The page read here — Songs of Joy and Gladness (Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, archive.org songsofjoygladne00mcdo_0 leaf n120 — credits \"Words by Rev. Elisha Hoffman.\" on the left and \"Music by Rev. J. H. Stockton.\" on the right, and the second scan of that same 1885 edition (archive.org songsofjoygladne00mcdo leaf n120) prints the identical credit. A third, later dated printing opened while triaging gives the same music credit: the leaf carrying hymn 335 of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921) — archive.org tabernaclehymnsn00chic — heads it \"Glory to His Name.\" over \"Rev. E. A. Hoffman.\" (left) and \"Rev. J. H. Stockton.\" (right), in E-flat rather than A-flat and with a different, D.C.-form casting whose notes were NOT used here. So `composer: john-h-stockton` is the plate's credit. It is NOT the only attribution in circulation — modern sources sometimes give the tune to Hoffman himself, and Stockton died in 1877, a year before the text is first found in print (Spiritual Songs for Gospel Meetings and the Sunday School, 1878, where this text is set instead to a tune by John R. Sweney) — but no dated printing opened for this import credits anyone but Stockton, and nothing here adjudicates the question. No composer date is recorded because no plate read prints one. US public domain: the earliest printing read is 1885, well before 1931, and Stockton (1813-1877) has been dead more than a century.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "glory_to_his_name_stockton", "total_instances": 715}}, "harmonization": {"slug": "glory-to-his-name-songs-of-joy-1885", "tune": "glory-to-his-name", "music_file": "glory-to-his-name-songs-of-joy-1885.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 18, 32, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "markings": [{"soprano_note": 33, "kind": "refrain"}], "refrain": {"soprano_note_start": 33}, "source_line": "Setting: J. H. Stockton, as printed in Songs of Joy and Gladness, 1885. Public domain.", "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting as printed in Songs of Joy and Gladness (McDonald, Gill, Sweney & Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" (left) and \"Music by Rev. J. H. Stockton.\" (right), in A-flat major and 4/4 with no pickup, sixteen bars cast as four systems of two staves with the chorus headed \"CHORUS.\". US public domain: the printing read is 1885, well before 1931, and no modern arranger stands anywhere in the chain. THE TUNE CREDIT ON THIS PLATE IS STOCKTON'S; the attribution is contested elsewhere and this record reports the page, not a resolution (see the tune record). TWO DATED SCANS OF TWO DIFFERENT PHYSICAL COPIES OF THAT EDITION WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: archive.org songsofjoygladne00mcdo_0 leaf n120 (the UNC Chapel Hill copy, scanned 2013, 2252 px across, staff space 28.3 px = 14.1 px per diatonic step) and archive.org songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy, scanned 2011, 1761 px across, staff space 22.8 px = 11.4 px per step). Both leaves were opened and both show hymn 138. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: ink taken as darker than 82% of a locally estimated paper level (41x41 grey dilation, 41x41 box filter), a 3x3 closing, then a SMALL-POCKET FILL capped in area AND in both bounding-box dimensions (under 1.05 staff space wide, under 0.82 tall) so that hollow half-note outlines become discs while the cells enclosed by two staff lines and two stems — a full staff space tall — are left alone; staff lines suppressed by vertical run length AFTER that fill so a hollow head's thin arcs survive; heads isolated by a 0.62 x 0.45 staff-space opening with the width window opened to 1.80 staff spaces, because the hollow heads on this plate measure 43-46 px wide against 25-28 px for the filled ones; every core converted to a diatonic step against a FRESH five-line fit in a window around that core's own x. Heads on a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small systematic bias in the SAME direction on BOTH scans, because the head sits immediately below a staff line and the closing merges the two: the alto's D-flat 4 measures -0.61 to -0.83 where the exact position is -1, and the tenor's G3 measures 7.26 to 7.31 where it is 7. Both were settled by eye at 6x-9x against the fitted grid (the line above grazes the TOP of the head instead of passing through its middle) and both are confirmed by the harmony — the D-flats are the third of the D-flat chords and the seventh of the E-flat sevenths, the G3 is the third of those E-flat chords. SO EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY, off crops carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. RETRACTED: this record first said the two grid readings agree at all 232 notes with 0 disagreements. They agreed with EACH OTHER at 232 and with the PLATE at 231 — the bar-13 tenor sixteenth was read C4 on both scans and is D-flat 4 on the page. A second reading that repeats the error of the first is not corroboration, and the count is restated here so that it cannot be read as one. The automated pass alone is demonstrably not enough here: it reads a 16th-note flag as a head at system 2 x=1316 and drops the head pair at x=1287 entirely. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at 3.0x-4.2x, over every column of BOTH leaves, backed by a shape screen for tall narrow ink; the step figures above see staff positions only and never covered accidentals. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF THIS HYMN on either leaf — the only flats on the page are the four of the signature (B-flat, E-flat, A-flat, D-flat) at the head of every staff. EVERY CHORD WAS NAMED (RULE 8): the verse runs I - IV - I with a cadential six-four (bar 7 and bar 15 are A-flat over an E-flat pedal resolving through an E-flat DOMINANT seventh — E-flat3, G3, D-flat4, B-flat4 — to A-flat), the half cadence at \"cried\" is a plain E-flat triad (E-flat3, G3, E-flat4, B-flat4), the chorus opens on the subdominant D-flat and its second phrase half-closes E-flat - A-flat over an E-flat pedal - E-flat. The one reading that surprised me is the phrase-end chord of bars 2, 6 and 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints a SINGLE notehead at A-flat 3 with a stem up and a stem down, so tenor and bass are in unison and the chord is A-flat3 / A-flat3 / C4 / E-flat4, a complete A-flat triad inside one fifth with the melody on the fifth. It was re-opened on both scans and both print it; this setting's bass lives between A-flat 2 and A-flat 3 and is in unison with the tenor at eleven chords (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47, 55). NO SCAFFOLD WAS USED and nothing was checked against one: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external checks are Hymnary's melodic incipits for tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\", which is the first sixteen soprano note-groups of this reading exactly, and for glory_to_his_name_stockton_chorus, \"11165613331232332117\", which is the first twenty note-groups of the chorus exactly, melisma notes included. DEPARTURES FROM THE PAGE, in full: (1) the casting is not the plate's — the page draws four systems of 15/16/15/14 noteheads and breaks six noteheads inside poetic line 2, while this encoding breaks after noteheads 9, 18, 32 and 46, all poetic line ends, giving five systems of 9/9/14/14/14 and a hymn that runs onto a second page; (2) the plate draws the bar-12 melisma slur (soprano noteheads 44-46, in BOTH staves) across only the FIRST TWO of the three noteheads, and it is extended here to the third, because those three noteheads carry the one syllable \"name.\" and nothing else is left to sing on it — the first melisma, noteheads 37-39, IS slurred across all three on the page; (3) the plate's section word is \"CHORUS.\" and this corpus prints its own \"Refrain\" marking at notehead 33; (4) the plate rules every poetic line end more heavily than the bars inside a line — an 11-13 px thick bar after noteheads 9, 18, 27, 39, 46 and 55 against 5-6 px for the ordinary bars, and a LIGHT-HEAVY DOUBLE bar after notehead 32 where \"CHORUS.\" begins — and none of that is reproduced: the engine draws ordinary barlines throughout and breaks the system at those line ends instead. Nothing else departs: every pitch, every duration and every rest is the plate's, including the quarter rests that end bars 8, 10, 12 and 16 in all four voices (the corpus's optional cadence-breath collapse is deliberately NOT applied, since bars 10 and 12 keep their rests regardless), and the closing light-heavy double bar is the page's.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Songs of Joy and Gladness (1885), no. 138 — archive.org songsofjoygladne00mcdo_0 leaf n120, collated notehead by notehead against archive.org songsofjoygladne00mcdo leaf n120, a scan of a different physical copy of the same edition. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORY TO HIS NAME (9.9.9.5 with Refrain) — J. H. Stockton as the plate credits\n%% it. Four SATB voice streams, canonical key A-flat major, 4/4, NO pickup,\n%% sixteen full bars: eight of verse and eight of chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Songs of Joy and Gladness (McDonald, Gill, Sweney &\n%% Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117,\n%% headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" on the left\n%% and \"Music by Rev. J. H. Stockton.\" on the right, in A-flat major (a\n%% four-flat signature at the head of every staff) and 4/4, cast as four\n%% systems of two staves with the four stanzas printed under the verse systems\n%% and the chorus, headed \"CHORUS.\", under the last two.\n%%\n%% READ OFF TWO INDEPENDENT SCANS OF TWO DIFFERENT PHYSICAL COPIES of that same\n%% 1885 edition, each with its own binarisation and its own staff-line fits:\n%% archive.org songsofjoygladne00mcdo_0 leaf n120 (the University of North\n%% Carolina at Chapel Hill copy, scanned 2013 at scribe1.chapelhill; 2252 px\n%% across, staff space 28.3 px, i.e. 14.1 px per diatonic step) and archive.org\n%% songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy,\n%% scanned 2011 at scribe6.nj; 1761 px across, staff space 22.8 px, i.e. 11.4 px\n%% per diatonic step). Both leaves were opened and both show THIS hymn, no. 138.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: ink is whatever is\n%% darker than 82% of the LOCAL paper level (41x41 grey dilation smoothed by a\n%% 41x41 box filter), then a 3x3 binary closing to seal the pale gaps the\n%% plate's ink leaves inside a head; then enclosed pockets smaller than 1.2\n%% staff spaces squared AND under 1.05 staff space wide AND under 0.82 staff\n%% space tall are filled, which turns each hollow half-note OUTLINE into a disc\n%% without flooding the cells that two staff lines and two stems enclose (those\n%% cells are a full staff space tall, which is why the height cap matters — a\n%% plain area cap floods them and destroys the staff); then staff lines are\n%% suppressed by vertical run length AFTER that fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% The width window runs to 1.80 staff spaces because the hollow heads on this\n%% plate are WIDER than the filled ones (43-46 px against 25-28 px on scan 1).\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x.\n%%\n%% Counting steps from the bottom staff line, the readings are tight: heads on\n%% a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space measure\n%% 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small\n%% systematic bias, in the SAME direction on BOTH scans, because the head sits\n%% immediately under a staff line and the closing merges the two: D-flat 4 in\n%% the alto measures -0.61 to -0.83 (both scans) where the exact position is\n%% -1, and G3 in the tenor measures 7.26 to 7.31 where the exact position is 7.\n%% Both were settled by eye at 6x-9x against the fitted grid — in each case the\n%% staff line above plainly GRAZES THE TOP of the head instead of passing\n%% through its middle — and both are confirmed harmonically (the D-flats are\n%% the third of the D-flat chords of bars 2, 6, 9, 10 and 14 and the seventh of\n%% the E-flat sevenths of bars 7 and 15; the tenor G3 is the third of those\n%% same E-flat chords).\n%%\n%% AND EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY REGARDLESS, off crops\n%% carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, on\n%% BOTH scans, and it is that third reading and not any centroid that ships.\n%% The two grid readings agree with each other at every one of the 232 notes\n%% (soprano 60, alto 58, tenor 58, bass 56 — the four voices do not all move at\n%% every chord), 0 disagreements. The automated pass alone had missed heads (it reads\n%% a 16th-note flag as a head at system 2 x=1316 and drops the head pair at\n%% x=1287 entirely), which is exactly why it is not what ships.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately by eye at 3.0x-4.2x for printed sharps, flats and\n%% naturals, and a shape screen (tall, narrow, stem-width-plus ink blobs) was\n%% run over both leaves as well. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF\n%% THIS HYMN on either leaf: the only flats on the page are the four of the\n%% signature — B-flat, E-flat, A-flat, D-flat — standing at the head of every\n%% staff. The step figures above cover staff positions only and never covered\n%% accidentals.\n%%\n%% EVERY CHORD WAS NAMED AND CHECKED AGAINST THE IDIOM. The verse is\n%% I - IV - I with a cadential six-four: bars 1/5 A-flat with a passing 16th,\n%% bar 2/6 D-flat over D-flat/F to A-flat, bars 3-4 A-flat then E-flat at\n%% \"cried\", bar 7/15 A-flat over an E-flat pedal (I 6/4) resolving through an\n%% E-flat DOMINANT seventh (E-flat3, G3, D-flat4, B-flat4) to the A-flat of\n%% bar 8/16. The chorus opens on IV (D-flat, bars 9-10), returns to I (bar 11),\n%% and its second phrase is a half close: E-flat major - A-flat over an E-flat\n%% pedal - E-flat major (bar 12). Nothing in the reading is outside a gospel\n%% song's diatonic vocabulary. THE ONE READING THAT SURPRISED ME and was\n%% therefore re-opened on both scans is the phrase-end chord of bars 2, 6 and\n%% 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints ONE notehead at\n%% A-flat 3 carrying a stem UP and a stem DOWN, so tenor and bass are in unison\n%% and the whole chord is A-flat3 / A-flat3 / C4 / E-flat4 — a complete A-flat\n%% triad, but inside a single fifth, with the melody on the fifth of the chord.\n%% That is unusually close voicing for a phrase end, and it is what BOTH scans\n%% print. The bass of this setting lives between A-flat 2 and A-flat 3\n%% throughout and is written in unison with the tenor at eleven chords\n%% (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47 and 55), which is\n%% the same one-notehead-two-stems engraving each time.\n%%\n%% THE CHORUS'S \"There to my heart was the blood ap-plied\" (bar 13, soprano\n%% noteheads 47-52) IS NOT THE VERSE'S (bars 1 and 5, noteheads 1-6 and 19-24),\n%% though the melody is the same: the chorus holds the alto on E-flat 4 through\n%% all six noteheads where the verse's alto reads E-flat, E-flat, D-flat, C,\n%% E-flat, E-flat, and its lower staff reads tenor A-flat3, E-flat4, C4, C4,\n%% A-flat3, A-flat3 over a bass on A-flat 3 and then C3, where the verse has\n%% the tenor on A-flat 3 throughout over a bass on A-flat 2 and then C3. Both\n%% scans were re-read at that bar for exactly this reason and agree.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\" (key given\n%% there as A-flat major), which is the first sixteen soprano note-GROUPS of\n%% this reading exactly, and its incipit for glory_to_his_name_stockton_chorus,\n%% \"11165613331232332117\", which is the first twenty note-groups of the chorus\n%% exactly, melisma notes included.\n%%\n%% 60 soprano noteheads. The verse (noteheads 1-32) is strictly syllabic. The\n%% chorus (33-60) carries two THREE-NOTE MELISMAS, both on the word \"name.\" —\n%% noteheads 37-39 and 44-46 — and they are slurred below. DEPARTURE: the plate\n%% draws the first of those slurs across all three noteheads in the treble\n%% staff, but draws the second (bar 12, in BOTH the treble and the bass staff)\n%% across only the first two; here it is extended to the third, because the\n%% three noteheads carry one syllable and nothing else is left to sing on it.\n%%\n%% OTHER DEPARTURES FROM THE PAGE, in full: (1) THE CASTING IS NOT THE PLATE'S.\n%% The page casts four systems of 15, 16, 15 and 14 noteheads, and its first\n%% break falls six noteheads INSIDE poetic line 2, which this corpus does not\n%% do; the breaks here fall after noteheads 9, 18, 32 and 46, all of them\n%% poetic line ends, giving five systems of 9, 9, 14, 14 and 14, and the hymn\n%% runs onto a second page. (2) The plate's section word is \"CHORUS.\"; this\n%% corpus prints its own \"Refrain\" marking at notehead 33. (3) The plate rules\n%% every poetic line end more heavily than the bars inside a line — a thick bar\n%% after noteheads 9, 18, 27, 39, 46 and 55, and a LIGHT-HEAVY DOUBLE bar after\n%% notehead 32, where \"CHORUS.\" begins, against roughly half that width for the\n%% ordinary bars; the engine draws ordinary barlines throughout and breaks the\n%% system at those line ends instead.\n%% Nothing else departs: every pitch, every duration, every rest and the\n%% closing light-heavy double bar are the plate's. The quarter rests that end\n%% bars 8, 10, 12 and 16 are printed in all four voices and are kept as printed\n%% — the corpus's optional cadence-breath collapse (dotted half + rest to a\n%% whole note) is NOT applied, because bars 10 and 12 need their rests anyway\n%% and collapsing only bars 8 and 16 would read as an inconsistency.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4 c''8. c''16 ees''4 ees''8. c''16 |\n  aes'4 c''4 bes'2 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4 |\n  aes'4. aes'8 aes'4 f'4 |\n  ees'4.( f'8 aes'4) r4 |\n  c''4. c''8 c''4 aes'4 |\n  bes'4.( c''8 bes'4) r4 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4\n}\n\nalto = {\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4 |\n  des'4. des'8 f'4 des'4 |\n  c'4.( des'8 c'4) r4 |\n  ees'4. ees'8 ees'4 ees'4 |\n  ees'2. r4 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4\n}\n\ntenor = {\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4 aes8. aes16 c'4 c'8. ees'16 |\n  c'4 aes4 g2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4 |\n  f4. f8 aes4 aes4 |\n  aes2. r4 |\n  aes4. aes8 aes4 aes4 |\n  g4.( aes8 g4) r4 |\n  aes4 ees'8. des'16 c'4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4\n}\n\nbass = {\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 ees2 |\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4 |\n  des4. des8 des4 des4 |\n  aes,2. r4 |\n  aes4. aes8 aes4 c4 |\n  ees2. r4 |\n  aes4 aes8. aes16 aes4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4\n}\n"}, "harmonizations": [{"slug": "glory-to-his-name-songs-of-joy-1885", "tune": "glory-to-his-name", "music_file": "glory-to-his-name-songs-of-joy-1885.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 18, 32, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "markings": [{"soprano_note": 33, "kind": "refrain"}], "refrain": {"soprano_note_start": 33}, "source_line": "Setting: J. H. Stockton, as printed in Songs of Joy and Gladness, 1885. Public domain.", "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting as printed in Songs of Joy and Gladness (McDonald, Gill, Sweney & Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" (left) and \"Music by Rev. J. H. Stockton.\" (right), in A-flat major and 4/4 with no pickup, sixteen bars cast as four systems of two staves with the chorus headed \"CHORUS.\". US public domain: the printing read is 1885, well before 1931, and no modern arranger stands anywhere in the chain. THE TUNE CREDIT ON THIS PLATE IS STOCKTON'S; the attribution is contested elsewhere and this record reports the page, not a resolution (see the tune record). TWO DATED SCANS OF TWO DIFFERENT PHYSICAL COPIES OF THAT EDITION WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: archive.org songsofjoygladne00mcdo_0 leaf n120 (the UNC Chapel Hill copy, scanned 2013, 2252 px across, staff space 28.3 px = 14.1 px per diatonic step) and archive.org songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy, scanned 2011, 1761 px across, staff space 22.8 px = 11.4 px per step). Both leaves were opened and both show hymn 138. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: ink taken as darker than 82% of a locally estimated paper level (41x41 grey dilation, 41x41 box filter), a 3x3 closing, then a SMALL-POCKET FILL capped in area AND in both bounding-box dimensions (under 1.05 staff space wide, under 0.82 tall) so that hollow half-note outlines become discs while the cells enclosed by two staff lines and two stems — a full staff space tall — are left alone; staff lines suppressed by vertical run length AFTER that fill so a hollow head's thin arcs survive; heads isolated by a 0.62 x 0.45 staff-space opening with the width window opened to 1.80 staff spaces, because the hollow heads on this plate measure 43-46 px wide against 25-28 px for the filled ones; every core converted to a diatonic step against a FRESH five-line fit in a window around that core's own x. Heads on a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small systematic bias in the SAME direction on BOTH scans, because the head sits immediately below a staff line and the closing merges the two: the alto's D-flat 4 measures -0.61 to -0.83 where the exact position is -1, and the tenor's G3 measures 7.26 to 7.31 where it is 7. Both were settled by eye at 6x-9x against the fitted grid (the line above grazes the TOP of the head instead of passing through its middle) and both are confirmed by the harmony — the D-flats are the third of the D-flat chords and the seventh of the E-flat sevenths, the G3 is the third of those E-flat chords. SO EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY, off crops carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. RETRACTED: this record first said the two grid readings agree at all 232 notes with 0 disagreements. They agreed with EACH OTHER at 232 and with the PLATE at 231 — the bar-13 tenor sixteenth was read C4 on both scans and is D-flat 4 on the page. A second reading that repeats the error of the first is not corroboration, and the count is restated here so that it cannot be read as one. The automated pass alone is demonstrably not enough here: it reads a 16th-note flag as a head at system 2 x=1316 and drops the head pair at x=1287 entirely. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at 3.0x-4.2x, over every column of BOTH leaves, backed by a shape screen for tall narrow ink; the step figures above see staff positions only and never covered accidentals. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF THIS HYMN on either leaf — the only flats on the page are the four of the signature (B-flat, E-flat, A-flat, D-flat) at the head of every staff. EVERY CHORD WAS NAMED (RULE 8): the verse runs I - IV - I with a cadential six-four (bar 7 and bar 15 are A-flat over an E-flat pedal resolving through an E-flat DOMINANT seventh — E-flat3, G3, D-flat4, B-flat4 — to A-flat), the half cadence at \"cried\" is a plain E-flat triad (E-flat3, G3, E-flat4, B-flat4), the chorus opens on the subdominant D-flat and its second phrase half-closes E-flat - A-flat over an E-flat pedal - E-flat. The one reading that surprised me is the phrase-end chord of bars 2, 6 and 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints a SINGLE notehead at A-flat 3 with a stem up and a stem down, so tenor and bass are in unison and the chord is A-flat3 / A-flat3 / C4 / E-flat4, a complete A-flat triad inside one fifth with the melody on the fifth. It was re-opened on both scans and both print it; this setting's bass lives between A-flat 2 and A-flat 3 and is in unison with the tenor at eleven chords (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47, 55). NO SCAFFOLD WAS USED and nothing was checked against one: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external checks are Hymnary's melodic incipits for tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\", which is the first sixteen soprano note-groups of this reading exactly, and for glory_to_his_name_stockton_chorus, \"11165613331232332117\", which is the first twenty note-groups of the chorus exactly, melisma notes included. DEPARTURES FROM THE PAGE, in full: (1) the casting is not the plate's — the page draws four systems of 15/16/15/14 noteheads and breaks six noteheads inside poetic line 2, while this encoding breaks after noteheads 9, 18, 32 and 46, all poetic line ends, giving five systems of 9/9/14/14/14 and a hymn that runs onto a second page; (2) the plate draws the bar-12 melisma slur (soprano noteheads 44-46, in BOTH staves) across only the FIRST TWO of the three noteheads, and it is extended here to the third, because those three noteheads carry the one syllable \"name.\" and nothing else is left to sing on it — the first melisma, noteheads 37-39, IS slurred across all three on the page; (3) the plate's section word is \"CHORUS.\" and this corpus prints its own \"Refrain\" marking at notehead 33; (4) the plate rules every poetic line end more heavily than the bars inside a line — an 11-13 px thick bar after noteheads 9, 18, 27, 39, 46 and 55 against 5-6 px for the ordinary bars, and a LIGHT-HEAVY DOUBLE bar after notehead 32 where \"CHORUS.\" begins — and none of that is reproduced: the engine draws ordinary barlines throughout and breaks the system at those line ends instead. Nothing else departs: every pitch, every duration and every rest is the plate's, including the quarter rests that end bars 8, 10, 12 and 16 in all four voices (the corpus's optional cadence-breath collapse is deliberately NOT applied, since bars 10 and 12 keep their rests regardless), and the closing light-heavy double bar is the page's.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Songs of Joy and Gladness (1885), no. 138 — archive.org songsofjoygladne00mcdo_0 leaf n120, collated notehead by notehead against archive.org songsofjoygladne00mcdo leaf n120, a scan of a different physical copy of the same edition. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORY TO HIS NAME (9.9.9.5 with Refrain) — J. H. Stockton as the plate credits\n%% it. Four SATB voice streams, canonical key A-flat major, 4/4, NO pickup,\n%% sixteen full bars: eight of verse and eight of chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Songs of Joy and Gladness (McDonald, Gill, Sweney &\n%% Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117,\n%% headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" on the left\n%% and \"Music by Rev. J. H. Stockton.\" on the right, in A-flat major (a\n%% four-flat signature at the head of every staff) and 4/4, cast as four\n%% systems of two staves with the four stanzas printed under the verse systems\n%% and the chorus, headed \"CHORUS.\", under the last two.\n%%\n%% READ OFF TWO INDEPENDENT SCANS OF TWO DIFFERENT PHYSICAL COPIES of that same\n%% 1885 edition, each with its own binarisation and its own staff-line fits:\n%% archive.org songsofjoygladne00mcdo_0 leaf n120 (the University of North\n%% Carolina at Chapel Hill copy, scanned 2013 at scribe1.chapelhill; 2252 px\n%% across, staff space 28.3 px, i.e. 14.1 px per diatonic step) and archive.org\n%% songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy,\n%% scanned 2011 at scribe6.nj; 1761 px across, staff space 22.8 px, i.e. 11.4 px\n%% per diatonic step). Both leaves were opened and both show THIS hymn, no. 138.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: ink is whatever is\n%% darker than 82% of the LOCAL paper level (41x41 grey dilation smoothed by a\n%% 41x41 box filter), then a 3x3 binary closing to seal the pale gaps the\n%% plate's ink leaves inside a head; then enclosed pockets smaller than 1.2\n%% staff spaces squared AND under 1.05 staff space wide AND under 0.82 staff\n%% space tall are filled, which turns each hollow half-note OUTLINE into a disc\n%% without flooding the cells that two staff lines and two stems enclose (those\n%% cells are a full staff space tall, which is why the height cap matters — a\n%% plain area cap floods them and destroys the staff); then staff lines are\n%% suppressed by vertical run length AFTER that fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% The width window runs to 1.80 staff spaces because the hollow heads on this\n%% plate are WIDER than the filled ones (43-46 px against 25-28 px on scan 1).\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x.\n%%\n%% Counting steps from the bottom staff line, the readings are tight: heads on\n%% a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space measure\n%% 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small\n%% systematic bias, in the SAME direction on BOTH scans, because the head sits\n%% immediately under a staff line and the closing merges the two: D-flat 4 in\n%% the alto measures -0.61 to -0.83 (both scans) where the exact position is\n%% -1, and G3 in the tenor measures 7.26 to 7.31 where the exact position is 7.\n%% Both were settled by eye at 6x-9x against the fitted grid — in each case the\n%% staff line above plainly GRAZES THE TOP of the head instead of passing\n%% through its middle — and both are confirmed harmonically (the D-flats are\n%% the third of the D-flat chords of bars 2, 6, 9, 10 and 14 and the seventh of\n%% the E-flat sevenths of bars 7 and 15; the tenor G3 is the third of those\n%% same E-flat chords).\n%%\n%% AND EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY REGARDLESS, off crops\n%% carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, on\n%% BOTH scans, and it is that third reading and not any centroid that ships.\n%% The two grid readings agree with each other at every one of the 232 notes\n%% (soprano 60, alto 58, tenor 58, bass 56 — the four voices do not all move at\n%% every chord), 0 disagreements. The automated pass alone had missed heads (it reads\n%% a 16th-note flag as a head at system 2 x=1316 and drops the head pair at\n%% x=1287 entirely), which is exactly why it is not what ships.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately by eye at 3.0x-4.2x for printed sharps, flats and\n%% naturals, and a shape screen (tall, narrow, stem-width-plus ink blobs) was\n%% run over both leaves as well. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF\n%% THIS HYMN on either leaf: the only flats on the page are the four of the\n%% signature — B-flat, E-flat, A-flat, D-flat — standing at the head of every\n%% staff. The step figures above cover staff positions only and never covered\n%% accidentals.\n%%\n%% EVERY CHORD WAS NAMED AND CHECKED AGAINST THE IDIOM. The verse is\n%% I - IV - I with a cadential six-four: bars 1/5 A-flat with a passing 16th,\n%% bar 2/6 D-flat over D-flat/F to A-flat, bars 3-4 A-flat then E-flat at\n%% \"cried\", bar 7/15 A-flat over an E-flat pedal (I 6/4) resolving through an\n%% E-flat DOMINANT seventh (E-flat3, G3, D-flat4, B-flat4) to the A-flat of\n%% bar 8/16. The chorus opens on IV (D-flat, bars 9-10), returns to I (bar 11),\n%% and its second phrase is a half close: E-flat major - A-flat over an E-flat\n%% pedal - E-flat major (bar 12). Nothing in the reading is outside a gospel\n%% song's diatonic vocabulary. THE ONE READING THAT SURPRISED ME and was\n%% therefore re-opened on both scans is the phrase-end chord of bars 2, 6 and\n%% 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints ONE notehead at\n%% A-flat 3 carrying a stem UP and a stem DOWN, so tenor and bass are in unison\n%% and the whole chord is A-flat3 / A-flat3 / C4 / E-flat4 — a complete A-flat\n%% triad, but inside a single fifth, with the melody on the fifth of the chord.\n%% That is unusually close voicing for a phrase end, and it is what BOTH scans\n%% print. The bass of this setting lives between A-flat 2 and A-flat 3\n%% throughout and is written in unison with the tenor at eleven chords\n%% (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47 and 55), which is\n%% the same one-notehead-two-stems engraving each time.\n%%\n%% THE CHORUS'S \"There to my heart was the blood ap-plied\" (bar 13, soprano\n%% noteheads 47-52) IS NOT THE VERSE'S (bars 1 and 5, noteheads 1-6 and 19-24),\n%% though the melody is the same: the chorus holds the alto on E-flat 4 through\n%% all six noteheads where the verse's alto reads E-flat, E-flat, D-flat, C,\n%% E-flat, E-flat, and its lower staff reads tenor A-flat3, E-flat4, C4, C4,\n%% A-flat3, A-flat3 over a bass on A-flat 3 and then C3, where the verse has\n%% the tenor on A-flat 3 throughout over a bass on A-flat 2 and then C3. Both\n%% scans were re-read at that bar for exactly this reason and agree.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\" (key given\n%% there as A-flat major), which is the first sixteen soprano note-GROUPS of\n%% this reading exactly, and its incipit for glory_to_his_name_stockton_chorus,\n%% \"11165613331232332117\", which is the first twenty note-groups of the chorus\n%% exactly, melisma notes included.\n%%\n%% 60 soprano noteheads. The verse (noteheads 1-32) is strictly syllabic. The\n%% chorus (33-60) carries two THREE-NOTE MELISMAS, both on the word \"name.\" —\n%% noteheads 37-39 and 44-46 — and they are slurred below. DEPARTURE: the plate\n%% draws the first of those slurs across all three noteheads in the treble\n%% staff, but draws the second (bar 12, in BOTH the treble and the bass staff)\n%% across only the first two; here it is extended to the third, because the\n%% three noteheads carry one syllable and nothing else is left to sing on it.\n%%\n%% OTHER DEPARTURES FROM THE PAGE, in full: (1) THE CASTING IS NOT THE PLATE'S.\n%% The page casts four systems of 15, 16, 15 and 14 noteheads, and its first\n%% break falls six noteheads INSIDE poetic line 2, which this corpus does not\n%% do; the breaks here fall after noteheads 9, 18, 32 and 46, all of them\n%% poetic line ends, giving five systems of 9, 9, 14, 14 and 14, and the hymn\n%% runs onto a second page. (2) The plate's section word is \"CHORUS.\"; this\n%% corpus prints its own \"Refrain\" marking at notehead 33. (3) The plate rules\n%% every poetic line end more heavily than the bars inside a line — a thick bar\n%% after noteheads 9, 18, 27, 39, 46 and 55, and a LIGHT-HEAVY DOUBLE bar after\n%% notehead 32, where \"CHORUS.\" begins, against roughly half that width for the\n%% ordinary bars; the engine draws ordinary barlines throughout and breaks the\n%% system at those line ends instead.\n%% Nothing else departs: every pitch, every duration, every rest and the\n%% closing light-heavy double bar are the plate's. The quarter rests that end\n%% bars 8, 10, 12 and 16 are printed in all four voices and are kept as printed\n%% — the corpus's optional cadence-breath collapse (dotted half + rest to a\n%% whole note) is NOT applied, because bars 10 and 12 need their rests anyway\n%% and collapsing only bars 8 and 16 would read as an inconsistency.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4 c''8. c''16 ees''4 ees''8. c''16 |\n  aes'4 c''4 bes'2 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4 |\n  aes'4. aes'8 aes'4 f'4 |\n  ees'4.( f'8 aes'4) r4 |\n  c''4. c''8 c''4 aes'4 |\n  bes'4.( c''8 bes'4) r4 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4\n}\n\nalto = {\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4 |\n  des'4. des'8 f'4 des'4 |\n  c'4.( des'8 c'4) r4 |\n  ees'4. ees'8 ees'4 ees'4 |\n  ees'2. r4 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4\n}\n\ntenor = {\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4 aes8. aes16 c'4 c'8. ees'16 |\n  c'4 aes4 g2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4 |\n  f4. f8 aes4 aes4 |\n  aes2. r4 |\n  aes4. aes8 aes4 aes4 |\n  g4.( aes8 g4) r4 |\n  aes4 ees'8. des'16 c'4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4\n}\n\nbass = {\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 ees2 |\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4 |\n  des4. des8 des4 des4 |\n  aes,2. r4 |\n  aes4. aes8 aes4 c4 |\n  ees2. r4 |\n  aes4 aes8. aes16 aes4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4\n}\n", "preferred": true}]}, "god-rest-ye-merry-gentlemen": {"slug": "god-rest-ye-merry-gentlemen", "name": "GOD REST YE MERRY GENTLEMEN", "meter_label": "8.6.8.6.8.6", "meter": {"pattern": [8, 6, 8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer_source": "Traditional English melody", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "god-rest-ye-merry-gentlemen-oh56", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:56; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "god_rest_ye_merry_gentlemen_34321", "total_instances": 1}}, "harmonization": {"slug": "god-rest-ye-merry-gentlemen-oh56", "tune": "god-rest-ye-merry-gentlemen", "music_file": "god-rest-ye-merry-gentlemen-oh56.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:56; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:56", "encoding_license": "PD-dedication"}, "music_ly": "%% God Rest Ye Merry Gentlemen\n%% Imported from Open Hymnal ABC X:56 via tools/abc_import.py\n%% Open Hymnal X:56; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 b'4 b'4 a'4 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'4 b'2. e'4 e'4 b'4 b'4 a'4 g'4( fis'4) e'4 d'4 e'4 fis'4 g'4 a'4 b'2 r4 b'4 c''4 a'4 b'4 c''4 d''4 e''4 b'4 a'4 g'4 e'4 fis'4 g'4 a'2 g'4( a'4) b'2 c''4 b'4 b'4( a'4) g'4 fis'4 e'2 g'8 fis'8 e'4 a'2 g'4( a'4) b'4( c''4) d''4 e''4 b'4( a'4) g'4 fis'4 e'2.\n}\nalto = {\n  e'4 e'4 g'4 fis'4 dis'4 e'4 d'4 c'4 b4 e'4 dis'4 e'4 e'4 dis'2. e'4 e'4 g'4 fis'4 dis'4 e'4( d'4) c'4 b4 e'4 dis'4 e'4 e'4 dis'2 s4 e'4 e'4 d'4 d'4 g'4 f'4 e'4 d'4 dis'4 e'4 cis'4 d'4 g'4 fis'2 g'4( d'4) d'2 e'4 d'4 g'4( fis'4) e'4 dis'4 e'2 b8 b8 cis'4 d'2 e'4( fis'4) g'2 g'4 g'4 g'4( fis'4) e'4 dis'4 e'2.\n}\ntenor = {\n  e4 g4 e4 fis4 b4 b4 b4 g4 g4 g4 b4 b4 e4 fis2. e4 g4 e4 fis4 b4 b4( b4) g4 g4 g4 b4 b4 e4 fis2 r4 gis4 a4 a4 g4 g4 g4 g4 g4 fis4 g4 g4 a4 d'4 d'4( c'4) b4( a4) g2 g4 g4 d'4( c'4) b4 b4 g2 g8 g8 g4 fis4( a4) d'4( c'4) b4( g4) d'4 c'4 d'4( c'4) b4 b4 g2.\n}\nbass = {\n  e4 e4 e4 dis4 b,4 e4 b,4 c4 g,4 c4 b,4 e4 c4 b,2. e4 e4 e4 dis4 b,4 e4( b,4) c4 g,4 c4 b,4 e4 c4 b,2 s4 e4 a4 fis4 g4 e4 b,4 c4 g,4 b,4 e4 e4 d4 b,4 d2 e4( fis4) g2 c4 g4 g,4( a,4) b,4 b,4 e2 e8 e8 e4 d4( c4) b,4( a,4) g,4( e4) b,4 c4 g,4( a,4) b,4 b,4 e2.\n}\n"}, "harmonizations": [{"slug": "god-rest-ye-merry-gentlemen-oh56", "tune": "god-rest-ye-merry-gentlemen", "music_file": "god-rest-ye-merry-gentlemen-oh56.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:56; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:56", "encoding_license": "PD-dedication"}, "music_ly": "%% God Rest Ye Merry Gentlemen\n%% Imported from Open Hymnal ABC X:56 via tools/abc_import.py\n%% Open Hymnal X:56; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 b'4 b'4 a'4 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'4 b'2. e'4 e'4 b'4 b'4 a'4 g'4( fis'4) e'4 d'4 e'4 fis'4 g'4 a'4 b'2 r4 b'4 c''4 a'4 b'4 c''4 d''4 e''4 b'4 a'4 g'4 e'4 fis'4 g'4 a'2 g'4( a'4) b'2 c''4 b'4 b'4( a'4) g'4 fis'4 e'2 g'8 fis'8 e'4 a'2 g'4( a'4) b'4( c''4) d''4 e''4 b'4( a'4) g'4 fis'4 e'2.\n}\nalto = {\n  e'4 e'4 g'4 fis'4 dis'4 e'4 d'4 c'4 b4 e'4 dis'4 e'4 e'4 dis'2. e'4 e'4 g'4 fis'4 dis'4 e'4( d'4) c'4 b4 e'4 dis'4 e'4 e'4 dis'2 s4 e'4 e'4 d'4 d'4 g'4 f'4 e'4 d'4 dis'4 e'4 cis'4 d'4 g'4 fis'2 g'4( d'4) d'2 e'4 d'4 g'4( fis'4) e'4 dis'4 e'2 b8 b8 cis'4 d'2 e'4( fis'4) g'2 g'4 g'4 g'4( fis'4) e'4 dis'4 e'2.\n}\ntenor = {\n  e4 g4 e4 fis4 b4 b4 b4 g4 g4 g4 b4 b4 e4 fis2. e4 g4 e4 fis4 b4 b4( b4) g4 g4 g4 b4 b4 e4 fis2 r4 gis4 a4 a4 g4 g4 g4 g4 g4 fis4 g4 g4 a4 d'4 d'4( c'4) b4( a4) g2 g4 g4 d'4( c'4) b4 b4 g2 g8 g8 g4 fis4( a4) d'4( c'4) b4( g4) d'4 c'4 d'4( c'4) b4 b4 g2.\n}\nbass = {\n  e4 e4 e4 dis4 b,4 e4 b,4 c4 g,4 c4 b,4 e4 c4 b,2. e4 e4 e4 dis4 b,4 e4( b,4) c4 g,4 c4 b,4 e4 c4 b,2 s4 e4 a4 fis4 g4 e4 b,4 c4 g,4 b,4 e4 e4 d4 b,4 d2 e4( fis4) g2 c4 g4 g,4( a,4) b,4 b,4 e2 e8 e8 e4 d4( c4) b,4( a,4) g,4( e4) b,4 c4 g,4( a,4) b,4 b,4 e2.\n}\n", "preferred": true}]}, "grafenberg": {"slug": "grafenberg", "name": "GRÄFENBERG", "alt_name": "NUN DANKET ALL", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1647", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "grafenberg-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GRÄFENBERG (C.M.), also known as NUN DANKET ALL — the proper tune of Johann Crüger's \"Nun danket all und bringet Ehr\" from his Praxis Pietatis Melica (The Cyber Hymnal engraving is headed \"Gräfenberg, CM / Johann Crüger, 1647\"; hymnological references commonly cite the 1653 edition). Johann Crüger, 1598-1662. NOTE: this is a different Crüger tune from NUN DANKET ALLE GOTT (corpus slug nun-danket). Hymnary.org tune authority nun_danket_all_cruger_16512 (GRÄFENBERG, Johann Crüger, 8.6.8.6, 336 hymnals). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py (the MIDI is sequenced in F; transposed to the engraved key, G major) and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi. Fully syllabic soprano, 28 onsets for 28 C.M. syllables with two phrase-end cadence ties. The first fourteen melody degrees match Hymnary's authority incipit 16512 33235 4321 exactly; the third phrase is the 5-3-5-6-5-4 variant printed by the Cyber Hymnal (the authority incipit's representative instance reads 5-4-3-5-6-5 there — a known variant point of this tune, and the CH MIDI and CH engraving agree with each other throughout). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gräfenberg\" (Johann Crüger, Praxis Pietatis Melica; CH credit line \"Johann Crüger, 1647\"); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "harmonization": {"slug": "grafenberg-cyberhymnal", "tune": "grafenberg", "music_file": "grafenberg-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 15, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GRÄFENBERG, Johann Crüger (Praxis Pietatis Melica, 1647). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GRÄFENBERG / NUN DANKET ALL (C.M.), Johann Crüger (1598-1662), from his Praxis Pietatis Melica (Cyber Hymnal credit \"Johann Crüger, 1647\"; commonly cited from the 1653 edition); this four-part setting is as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py — the MIDI is sequenced a whole tone low in F major and was transposed to the ENGRAVED key, G major (one sharp) — and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (4/4, no pickup, 12 bars, whole-note finals, wholly diatonic to G with no printed accidentals). Three alto cadence figures (bars 2, 5, 11) follow the engraving where the CH MIDI simplifies them to a held half note; the MIDI carries the identical figure explicitly in bar 8. The tune (17th century) and this harmonization (Cyber Hymnal public-domain edition) are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gräfenberg\" (Johann Crüger); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "music_ly": "%% GRÄFENBERG (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Gräfenberg\", Johann Crüger, Praxis\n%% Pietatis Melica; the CH engraving is headed \"Gräfenberg, CM / Johann Crüger,\n%% 1647\") with tools/mid2ly.py and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. The CH MIDI is sequenced a whole tone low (F major);\n%% converted at tonic F and transposed up one step to the ENGRAVED key, G major\n%% (one sharp). 4/4, no pickup, 12 full bars, whole-note finals; wholly diatonic\n%% to G (the engraving prints no accidentals). Soprano is fully syllabic — 28\n%% onsets for 28 C.M. syllables, plus the two phrase-end ties across the bar\n%% (a'2~a'4, soprano note-heads 8-9 and 23-24). Inner voices carry written-out\n%% cadence melismas (alto bars 2/5/8/11, tenor bars 5/8/11, bass bar 11 dotted\n%% figure b,4. c8); the CH engraving slurs them, but house style drops\n%% inner-voice slurs (soprano-melisma slurs only — same treatment as\n%% ellesdie-cyberhymnal and stuttgart-cyberhymnal). Three alto cadence figures\n%% (bars 2, 5, 11) follow the ENGRAVING where the CH MIDI simplifies: the MIDI\n%% sounds fis' for the full half note; the engraving re-strikes the previous\n%% pitch on beat 3 and steps to fis' on beat 4 (bar 2: e'4 fis'4; bars 5/11:\n%% g'4 fis'4). The MIDI itself carries the identical figure explicitly in bar 8\n%% (alto e'4 fis'4), confirming the pattern. A splitter artifact (the bass\n%% passing eighth c8 in bar 11 duplicated into the tenor as a unison) was\n%% corrected: the engraving holds tenor d'2 there.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 d'4 | g'2 a'2 | b'4 b'4 a'2~ | a'4 b'4 d''4 c''4 |\n  b'2 a'2 | g'1 | d''2 b'4 d''4 | e''2 d''2 | c''4 b'4 a'2~ |\n  a'4 d''4 g'4 c''4 | b'2 a'2 | g'1\n}\nalto = {\n  b2 c'4 d'4 | e'2 e'4 fis'4 | g'4 g'4 fis'2~ | fis'4 g'4 g'4 a'4 |\n  g'2 g'4 fis'4 | g'1 | g'2 g'4 g'4 | e'4 fis'4 g'2 | fis'4 g'4 fis'2~ |\n  fis'4 fis'4 g'4 a'4 | g'2 g'4 fis'4 | g'1\n}\ntenor = {\n  g2 fis4 g4 | g2 c'2 | b4 d'4 d'2~ | d'4 d'4 d'4 e'4 |\n  d'2 d'4 c'4 | b1 | b2 d'4 d'4 | g4 a4 b2 | c'4 d'4 d'2~ |\n  d'4 d'4 b4 e'4 | d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 a,4 b,4 | c2 a,2 | g,4 b,4 d2~ | d4 g4 b,4 c4 |\n  d2 d2 | g,1 | g2 g4 b,4 | c2 b,2 | a,4 g,4 d2~ |\n  d4 b,4 e4 a,4 | b,4. c8 d2 | g,1\n}\n"}, "harmonizations": [{"slug": "grafenberg-cyberhymnal", "tune": "grafenberg", "music_file": "grafenberg-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 15, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GRÄFENBERG, Johann Crüger (Praxis Pietatis Melica, 1647). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GRÄFENBERG / NUN DANKET ALL (C.M.), Johann Crüger (1598-1662), from his Praxis Pietatis Melica (Cyber Hymnal credit \"Johann Crüger, 1647\"; commonly cited from the 1653 edition); this four-part setting is as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py — the MIDI is sequenced a whole tone low in F major and was transposed to the ENGRAVED key, G major (one sharp) — and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (4/4, no pickup, 12 bars, whole-note finals, wholly diatonic to G with no printed accidentals). Three alto cadence figures (bars 2, 5, 11) follow the engraving where the CH MIDI simplifies them to a held half note; the MIDI carries the identical figure explicitly in bar 8. The tune (17th century) and this harmonization (Cyber Hymnal public-domain edition) are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gräfenberg\" (Johann Crüger); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "music_ly": "%% GRÄFENBERG (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Gräfenberg\", Johann Crüger, Praxis\n%% Pietatis Melica; the CH engraving is headed \"Gräfenberg, CM / Johann Crüger,\n%% 1647\") with tools/mid2ly.py and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. The CH MIDI is sequenced a whole tone low (F major);\n%% converted at tonic F and transposed up one step to the ENGRAVED key, G major\n%% (one sharp). 4/4, no pickup, 12 full bars, whole-note finals; wholly diatonic\n%% to G (the engraving prints no accidentals). Soprano is fully syllabic — 28\n%% onsets for 28 C.M. syllables, plus the two phrase-end ties across the bar\n%% (a'2~a'4, soprano note-heads 8-9 and 23-24). Inner voices carry written-out\n%% cadence melismas (alto bars 2/5/8/11, tenor bars 5/8/11, bass bar 11 dotted\n%% figure b,4. c8); the CH engraving slurs them, but house style drops\n%% inner-voice slurs (soprano-melisma slurs only — same treatment as\n%% ellesdie-cyberhymnal and stuttgart-cyberhymnal). Three alto cadence figures\n%% (bars 2, 5, 11) follow the ENGRAVING where the CH MIDI simplifies: the MIDI\n%% sounds fis' for the full half note; the engraving re-strikes the previous\n%% pitch on beat 3 and steps to fis' on beat 4 (bar 2: e'4 fis'4; bars 5/11:\n%% g'4 fis'4). The MIDI itself carries the identical figure explicitly in bar 8\n%% (alto e'4 fis'4), confirming the pattern. A splitter artifact (the bass\n%% passing eighth c8 in bar 11 duplicated into the tenor as a unison) was\n%% corrected: the engraving holds tenor d'2 there.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 d'4 | g'2 a'2 | b'4 b'4 a'2~ | a'4 b'4 d''4 c''4 |\n  b'2 a'2 | g'1 | d''2 b'4 d''4 | e''2 d''2 | c''4 b'4 a'2~ |\n  a'4 d''4 g'4 c''4 | b'2 a'2 | g'1\n}\nalto = {\n  b2 c'4 d'4 | e'2 e'4 fis'4 | g'4 g'4 fis'2~ | fis'4 g'4 g'4 a'4 |\n  g'2 g'4 fis'4 | g'1 | g'2 g'4 g'4 | e'4 fis'4 g'2 | fis'4 g'4 fis'2~ |\n  fis'4 fis'4 g'4 a'4 | g'2 g'4 fis'4 | g'1\n}\ntenor = {\n  g2 fis4 g4 | g2 c'2 | b4 d'4 d'2~ | d'4 d'4 d'4 e'4 |\n  d'2 d'4 c'4 | b1 | b2 d'4 d'4 | g4 a4 b2 | c'4 d'4 d'2~ |\n  d'4 d'4 b4 e'4 | d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 a,4 b,4 | c2 a,2 | g,4 b,4 d2~ | d4 g4 b,4 c4 |\n  d2 d2 | g,1 | g2 g4 b,4 | c2 b,2 | a,4 g,4 d2~ |\n  d4 b,4 e4 a,4 | b,4. c8 d2 | g,1\n}\n", "preferred": true}]}, "greensleeves": {"slug": "greensleeves", "name": "GREENSLEEVES", "meter_label": "8.7.8.7.6.8.6.7", "meter": {"pattern": [8, 7, 8, 7, 6, 8, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "English traditional (16th cent.)", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "greensleeves-openhymnal", "provenance": {"layer": "tune", "source": "hutchins-1871", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Greensleeves', a 16th-century English traditional melody (first registered 1580), long the standard tune for William Chatterton Dix's carol 'What Child Is This?'. The melody is traditional and public domain. Encoded from the Open Hymnal Project ABC (Sunday School Hymnal setting, 1871). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"What Child Is This?\" (tune GREENSLEEVES; Sunday School Hymnal 1871 setting)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "greensleeves-openhymnal", "tune": "greensleeves", "music_file": "greensleeves-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [18, 37, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "GREENSLEEVES (16th-century English traditional; setting from The Sunday School Hymnal and Service Book, 1871). Public domain.", "provenance": {"layer": "harmonization", "source": "hutchins-1871", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GREENSLEEVES, a 16th-century English traditional melody (public domain). The four-part setting is from The Sunday School Hymnal and Service Book (ed. Charles Lewis Hutchins), 1871, as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. Fourteen soprano melismas (the characteristic dotted-rhythm ornaments) slurred from the w: lyric alignment; all three stanzas share the same melisma positions (a fixed-melisma tune). 71 soprano notes carry 57 syllables (8.7.8.7.6.8.6.7).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:73, \"What Child Is This?\" (tune GREENSLEEVES; Sunday School Hymnal 1871 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GREENSLEEVES (8.7.8.7.6.8.6.7) — \"What Child Is This?\"\n%% Imported from Open Hymnal ABC (X:73) via tools/abc_import.py. Tune\n%% 'Greensleeves', a 16th-century English traditional melody (public domain);\n%% four-part setting from The Sunday School Hymnal and Service Book (Hutchins,\n%% ed.), 1871 — both public domain. Fourteen soprano melismas (the characteristic\n%% dotted-rhythm ornaments) slurred from the w: lyric alignment; all three stanzas\n%% share the same positions (a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  e'8 g'4 a'8 b'8.( c''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'4 e'8 e'8.( dis'16) e'8 fis'4. b4 e'8 g'4 a'8 b'8.( c''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'8.( fis'16) e'8 dis'8.( cis'16) dis'8 e'4. e'4. d''4. d''8.( cis''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'4 e'8 e'8.( dis'16) e'8 fis'4 d'8 b4. d''4. d''8.( cis''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'8.( fis'16) e'8 dis'8.( cis'16) dis'8 e'4. e'4\n}\nalto = {\n  e'8 e'4 d'8 d'4 g'8 fis'4 d'8 d'4 d'8 b4 b8 a4 e'8 dis'4. b4 e'8 e'4 d'8 d'4 g'8 fis'4 d'8 d'4 d'8 b4 c'8 b4 b8 b4. b4. fis'4. b'8. a'16 g'8 fis'4 d'8 d'4 d'8 b4 b8 a4 e'8 dis'4 b8 b4. fis'4. b'8. a'16 g'8 fis'4 d'8 d'4 d'8 b4 c'8 b4 b8 b4. b4\n}\ntenor = {\n  g8 b4 a8 g4 b8 d'4 a8 fis4 a8 g4 g8 e4 e8 b4. b4 g8 b4 a8 g4 b8 d'4 a8 fis4 a8 g4 a8 fis4 b8 a4. g4. d'4. d'4 d'8 d'4 a8 fis4 a8 g4 g8 e4 e8 b4. b4. d'4. d'4 d'8 d'4 a8 fis4 a8 g4 a8 fis4 b8 a4. g4\n}\nbass = {\n  e8 e4 fis8 g4 g8 d4 d8 d4 d8 e4 e8 c4 c8 b,4. b,4 e8 e4 fis8 g4 g8 d4 d8 d4 d8 e4 a,8 b,4 b,8 e4. e4. b4. g4 g8 d4 d8 d4 d8 e4 e8 c4 c8 b,4. b,4. b4. g4 g8 d4 d8 d4 d8 e4 a,8 b,4 b,8 e4. e4\n}\n"}, "harmonizations": [{"slug": "greensleeves-openhymnal", "tune": "greensleeves", "music_file": "greensleeves-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [18, 37, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "GREENSLEEVES (16th-century English traditional; setting from The Sunday School Hymnal and Service Book, 1871). Public domain.", "provenance": {"layer": "harmonization", "source": "hutchins-1871", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GREENSLEEVES, a 16th-century English traditional melody (public domain). The four-part setting is from The Sunday School Hymnal and Service Book (ed. Charles Lewis Hutchins), 1871, as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. Fourteen soprano melismas (the characteristic dotted-rhythm ornaments) slurred from the w: lyric alignment; all three stanzas share the same melisma positions (a fixed-melisma tune). 71 soprano notes carry 57 syllables (8.7.8.7.6.8.6.7).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:73, \"What Child Is This?\" (tune GREENSLEEVES; Sunday School Hymnal 1871 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GREENSLEEVES (8.7.8.7.6.8.6.7) — \"What Child Is This?\"\n%% Imported from Open Hymnal ABC (X:73) via tools/abc_import.py. Tune\n%% 'Greensleeves', a 16th-century English traditional melody (public domain);\n%% four-part setting from The Sunday School Hymnal and Service Book (Hutchins,\n%% ed.), 1871 — both public domain. Fourteen soprano melismas (the characteristic\n%% dotted-rhythm ornaments) slurred from the w: lyric alignment; all three stanzas\n%% share the same positions (a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  e'8 g'4 a'8 b'8.( c''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'4 e'8 e'8.( dis'16) e'8 fis'4. b4 e'8 g'4 a'8 b'8.( c''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'8.( fis'16) e'8 dis'8.( cis'16) dis'8 e'4. e'4. d''4. d''8.( cis''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'4 e'8 e'8.( dis'16) e'8 fis'4 d'8 b4. d''4. d''8.( cis''16) b'8 a'4 fis'8 d'8.( e'16) fis'8 g'8.( fis'16) e'8 dis'8.( cis'16) dis'8 e'4. e'4\n}\nalto = {\n  e'8 e'4 d'8 d'4 g'8 fis'4 d'8 d'4 d'8 b4 b8 a4 e'8 dis'4. b4 e'8 e'4 d'8 d'4 g'8 fis'4 d'8 d'4 d'8 b4 c'8 b4 b8 b4. b4. fis'4. b'8. a'16 g'8 fis'4 d'8 d'4 d'8 b4 b8 a4 e'8 dis'4 b8 b4. fis'4. b'8. a'16 g'8 fis'4 d'8 d'4 d'8 b4 c'8 b4 b8 b4. b4\n}\ntenor = {\n  g8 b4 a8 g4 b8 d'4 a8 fis4 a8 g4 g8 e4 e8 b4. b4 g8 b4 a8 g4 b8 d'4 a8 fis4 a8 g4 a8 fis4 b8 a4. g4. d'4. d'4 d'8 d'4 a8 fis4 a8 g4 g8 e4 e8 b4. b4. d'4. d'4 d'8 d'4 a8 fis4 a8 g4 a8 fis4 b8 a4. g4\n}\nbass = {\n  e8 e4 fis8 g4 g8 d4 d8 d4 d8 e4 e8 c4 c8 b,4. b,4 e8 e4 fis8 g4 g8 d4 d8 d4 d8 e4 a,8 b,4 b,8 e4. e4. b4. g4 g8 d4 d8 d4 d8 e4 e8 c4 c8 b,4. b,4. b4. g4 g8 d4 d8 d4 d8 e4 a,8 b,4 b,8 e4. e4\n}\n", "preferred": true}]}, "grosser-gott": {"slug": "grosser-gott", "name": "GROSSER GOTT", "meter_label": "7.8.7.8.7.7", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Katholisches Gesangbuch, 1774", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "grosser-gott-am-1869", "provenance": {"layer": "tune", "source": "katholisches-gesangbuch-1774", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Grosser Gott', Katholisches Gesangbuch, 1774.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "grosser_gott_11171", "total_instances": 265}}, "harmonization": {"slug": "grosser-gott-am-1869", "tune": "grosser-gott", "music_file": "grosser-gott-am-1869.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 19, 28, 38, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymns Ancient and Modern, 1869. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:123", "encoding_license": "PD-dedication"}, "music_ly": "%% Holy God, We Praise Thy Name\n%% Imported from Open Hymnal ABC X:123 via tools/abc_import.py\n%% Public domain: Franz 1774, tr. Walworth 1858; tune 1774; setting 1869. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 f'4 f'4( e'4) f'4 g'4( a'4) g'4 f'2. a'2 a'4 a'4( g'4) a'4 c''4( bes'4) a'4 a'4 g'2 f'2 f'4 f'4( e'4) f'4 g'4( a'4) g'4 f'2. a'2 a'4 a'4( g'4) a'4 c''4( bes'4) a'4 a'4 g'2 g'2 a'8 c''8 bes'4( a'4) g'4 a'2 bes'8 d''8 c''2. d''2 d''4 c''4( bes'4) a'4 bes'4( a'4) g'4 f'2.\n}\nalto = {\n  c'2 c'4 c'2 c'4 e'2 e'4 f'2. f'2 f'4 f'4( e'4) f'4 f'4( e'4) f'4 f'4 e'2 c'2 c'4 c'2 c'4 e'2 e'4 f'2. f'2 f'4 f'4( e'4) f'4 f'4( e'4) f'4 f'4 e'2 e'4( g'4) fis'4 g'4( d'4) e'4 f'2 f'4 e'2. f'2 f'4 f'4( e'4) f'4 f'2 e'4 f'2.\n}\ntenor = {\n  a2 a4 a4( g4) a4 bes4( c'4) bes4 a2. c'2 c'4 c'2 c'4 c'2 c'4 c'4 c'2 a2 a4 a4( g4) a4 bes4( c'4) bes4 a2. c'2 c'4 c'2 c'4 c'2 c'4 c'4 c'2 c'4( d'4) c'4 bes4~ bes4 c'4 c'2 f4 g2. bes2 bes4 g2 f4 d'4( c'4) bes4 a2.\n}\nbass = {\n  f2 f4 f2 f4 c2 c4 f,2. f2 f4 f2 f4 e2 f4 c'4 c2 f2 f4 f2 f4 c2 c4 f,2. f2 f4 f4~ f4 f4 e2 f4 c'4 c2 c'4( bes4) a4 g4~ g4 c4 f2 d4 c2. bes,2 bes,4 c2 d4 bes,4( c4) c4 f2.\n}\n"}, "harmonizations": [{"slug": "grosser-gott-am-1869", "tune": "grosser-gott", "music_file": "grosser-gott-am-1869.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 19, 28, 38, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymns Ancient and Modern, 1869. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:123", "encoding_license": "PD-dedication"}, "music_ly": "%% Holy God, We Praise Thy Name\n%% Imported from Open Hymnal ABC X:123 via tools/abc_import.py\n%% Public domain: Franz 1774, tr. Walworth 1858; tune 1774; setting 1869. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 f'4 f'4( e'4) f'4 g'4( a'4) g'4 f'2. a'2 a'4 a'4( g'4) a'4 c''4( bes'4) a'4 a'4 g'2 f'2 f'4 f'4( e'4) f'4 g'4( a'4) g'4 f'2. a'2 a'4 a'4( g'4) a'4 c''4( bes'4) a'4 a'4 g'2 g'2 a'8 c''8 bes'4( a'4) g'4 a'2 bes'8 d''8 c''2. d''2 d''4 c''4( bes'4) a'4 bes'4( a'4) g'4 f'2.\n}\nalto = {\n  c'2 c'4 c'2 c'4 e'2 e'4 f'2. f'2 f'4 f'4( e'4) f'4 f'4( e'4) f'4 f'4 e'2 c'2 c'4 c'2 c'4 e'2 e'4 f'2. f'2 f'4 f'4( e'4) f'4 f'4( e'4) f'4 f'4 e'2 e'4( g'4) fis'4 g'4( d'4) e'4 f'2 f'4 e'2. f'2 f'4 f'4( e'4) f'4 f'2 e'4 f'2.\n}\ntenor = {\n  a2 a4 a4( g4) a4 bes4( c'4) bes4 a2. c'2 c'4 c'2 c'4 c'2 c'4 c'4 c'2 a2 a4 a4( g4) a4 bes4( c'4) bes4 a2. c'2 c'4 c'2 c'4 c'2 c'4 c'4 c'2 c'4( d'4) c'4 bes4~ bes4 c'4 c'2 f4 g2. bes2 bes4 g2 f4 d'4( c'4) bes4 a2.\n}\nbass = {\n  f2 f4 f2 f4 c2 c4 f,2. f2 f4 f2 f4 e2 f4 c'4 c2 f2 f4 f2 f4 c2 c4 f,2. f2 f4 f4~ f4 f4 e2 f4 c'4 c2 c'4( bes4) a4 g4~ g4 c4 f2 d4 c2. bes,2 bes,4 c2 d4 bes,4( c4) c4 f2.\n}\n", "preferred": true}]}, "hallelujah-what-a-savior": {"slug": "hallelujah-what-a-savior", "name": "HALLELUJAH WHAT A SAVIOR", "meter_label": "7.7.7", "meter": {"pattern": [7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "philip-paul-bliss", "composer_date": "1875", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "hallelujah-what-a-savior-oh166", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:166; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "hallelujah-what-a-savior-oh166", "tune": "hallelujah-what-a-savior", "music_file": "hallelujah-what-a-savior-oh166.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 22}, "markings": [{"soprano_note": 22, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:166; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:166", "encoding_license": "PD-dedication"}, "music_ly": "%% Hallelujah, What a Savior!\n%% Imported from Open Hymnal ABC X:166 via tools/abc_import.py\n%% Open Hymnal X:166; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 e'4 c''4 c''4 b'2 a'4 a'4 g'4 c''4 b'4 a'4 g'2 g'4 g'4 g'4 e'4 c''4 c''4 c''4 c''8. d''16 e''2 d''4 c''8. a'16 a'2 g'2\n}\nalto = {\n  e'4 e'4 e'4 c'4 e'4 e'4 e'4( d'4) c'4 c'4 g'4 a'4 g'4 fis'4 g'2 e'4 e'4 e'4 c'4 e'4 f'4 e'4 g'8. g'16 g'2 f'4 e'8. e'16 f'2 e'2\n}\ntenor = {\n  c'4 c'4 c'4 g4 a4 a4 gis2 a4 c'4 c'4 e'4 d'4 c'4 b2 c'4 c'4 c'4 g4 g4 a4 g4 c'8. b16 c'2 b4 c'8. c'16 c'2 c'2\n}\nbass = {\n  c4 c4 c4 c4 a4 a4 e2 f4 f4 e4 c4 d4 d4 g,2 c4 c4 c4 c4 c4 c4 c4 e8. g16 c'2 g4 a8. a16 f2 c2\n}\n"}, "harmonizations": [{"slug": "hallelujah-what-a-savior-oh166", "tune": "hallelujah-what-a-savior", "music_file": "hallelujah-what-a-savior-oh166.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 22}, "markings": [{"soprano_note": 22, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:166; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:166", "encoding_license": "PD-dedication"}, "music_ly": "%% Hallelujah, What a Savior!\n%% Imported from Open Hymnal ABC X:166 via tools/abc_import.py\n%% Open Hymnal X:166; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 e'4 c''4 c''4 b'2 a'4 a'4 g'4 c''4 b'4 a'4 g'2 g'4 g'4 g'4 e'4 c''4 c''4 c''4 c''8. d''16 e''2 d''4 c''8. a'16 a'2 g'2\n}\nalto = {\n  e'4 e'4 e'4 c'4 e'4 e'4 e'4( d'4) c'4 c'4 g'4 a'4 g'4 fis'4 g'2 e'4 e'4 e'4 c'4 e'4 f'4 e'4 g'8. g'16 g'2 f'4 e'8. e'16 f'2 e'2\n}\ntenor = {\n  c'4 c'4 c'4 g4 a4 a4 gis2 a4 c'4 c'4 e'4 d'4 c'4 b2 c'4 c'4 c'4 g4 g4 a4 g4 c'8. b16 c'2 b4 c'8. c'16 c'2 c'2\n}\nbass = {\n  c4 c4 c4 c4 a4 a4 e2 f4 f4 e4 c4 d4 d4 g,2 c4 c4 c4 c4 c4 c4 c4 e8. g16 c'2 g4 a8. a16 f2 c2\n}\n", "preferred": true}]}, "hamburg": {"slug": "hamburg", "name": "HAMBURG", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1824", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "hamburg-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HAMBURG by Lowell Mason (1792-1872), published 1824 in \"The Boston Handel and Haydn Society Collection of Church Music\". Mason based the melody on a Gregorian chant; it has long been the standard L.M. setting for Isaac Watts's \"When I Survey the Wondrous Cross\". Melody encoded from the Open Hymnal Project ABC (Northfield Hymnal, 1904) and verified against the Cyber Hymnal HAMBURG engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune HAMBURG, Lowell Mason 1824)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "hamburg-openhymnal", "tune": "hamburg", "music_file": "hamburg-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [20], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HAMBURG (Lowell Mason, 1824; four-part setting from the Northfield Hymnal, 1904). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HAMBURG by Lowell Mason (1792-1872), published 1824 in \"The Boston Handel and Haydn Society Collection of Church Music\". The four-part setting is from the \"Northfield Hymnal\", 1904 (Hymn 210), as encoded in the Open Hymnal Project 2014 revision (ABC contributed by Tobin Strong, 20 Dec 2013). Both tune and harmonization are pre-1931 and public domain. Seven soprano melismas slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). The melody was verified against the Cyber Hymnal HAMBURG engraving (F major, 4/4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune HAMBURG, Lowell Mason 1824; Northfield Hymnal 1904 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HAMBURG (L.M.) — \"When I Survey the Wondrous Cross\"\n%% Imported from Open Hymnal ABC (X:1, \"When I Survey the Wondrous Cross\") via\n%% tools/abc_import.py. Tune 'Hamburg' by Lowell Mason, 1824; four-part setting\n%% from the \"Northfield Hymnal\", 1904 (Hymn 210) — both public domain.\n%% Seven soprano melismas slurred from the w: lyric alignment (all five stanzas\n%% share the same melisma positions — a fixed-melisma tune, verse_variable_melisma\n%% false). Melody verified against the Cyber Hymnal HAMBURG engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 g'4 a'2 g'4( a'4) bes'2 a'4( g'4) a'1 a'2 a'4 a'4 bes'2 a'4( g'4) f'2 e'4( f'4) g'1 f'2 f'4 g'4 a'2 g'4( a'4) bes'2 a'4( g'4) a'1 a'2 a'4 a'4 g'2 f'2 g'2 a'4( f'4) f'1\n}\nalto = {\n  c'2 c'4 e'4 f'2 g'4( fis'4) g'2 f'4( e'4) f'1 f'2 f'4 f'4 f'2 f'4( e'4) f'2 c'2 e'1 c'2 c'4 e'4 f'2 g'4( fis'4) g'2 f'4( e'4) f'1 f'2 f'4 f'4 e'2 f'2 f'2 e'2 f'1\n}\ntenor = {\n  a2 a4 c'4 c'2 d'4( c'4) d'2 c'2 c'1 c'2 c'4 c'4 d'2 c'2 c'2 bes4( a4) c'1 a2 a4 c'4 c'2 d'4( c'4) d'2 c'2 c'1 c'2 c'4 c'4 c'4( bes4) a2 d'2 c'4( bes4) a1\n}\nbass = {\n  f2 f4 c4 f2 bes4( a4) g2 c2 f1 f2 f4 f4 f2 f4( bes4) a2 g4( f4) c1 f2 f4 c4 f2 bes4( a4) g2 c2 f1 f2 f4 f4 c2 f2 bes,2 c2 f1\n}\n"}, "harmonizations": [{"slug": "hamburg-openhymnal", "tune": "hamburg", "music_file": "hamburg-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [20], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HAMBURG (Lowell Mason, 1824; four-part setting from the Northfield Hymnal, 1904). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HAMBURG by Lowell Mason (1792-1872), published 1824 in \"The Boston Handel and Haydn Society Collection of Church Music\". The four-part setting is from the \"Northfield Hymnal\", 1904 (Hymn 210), as encoded in the Open Hymnal Project 2014 revision (ABC contributed by Tobin Strong, 20 Dec 2013). Both tune and harmonization are pre-1931 and public domain. Seven soprano melismas slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). The melody was verified against the Cyber Hymnal HAMBURG engraving (F major, 4/4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune HAMBURG, Lowell Mason 1824; Northfield Hymnal 1904 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HAMBURG (L.M.) — \"When I Survey the Wondrous Cross\"\n%% Imported from Open Hymnal ABC (X:1, \"When I Survey the Wondrous Cross\") via\n%% tools/abc_import.py. Tune 'Hamburg' by Lowell Mason, 1824; four-part setting\n%% from the \"Northfield Hymnal\", 1904 (Hymn 210) — both public domain.\n%% Seven soprano melismas slurred from the w: lyric alignment (all five stanzas\n%% share the same melisma positions — a fixed-melisma tune, verse_variable_melisma\n%% false). Melody verified against the Cyber Hymnal HAMBURG engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 g'4 a'2 g'4( a'4) bes'2 a'4( g'4) a'1 a'2 a'4 a'4 bes'2 a'4( g'4) f'2 e'4( f'4) g'1 f'2 f'4 g'4 a'2 g'4( a'4) bes'2 a'4( g'4) a'1 a'2 a'4 a'4 g'2 f'2 g'2 a'4( f'4) f'1\n}\nalto = {\n  c'2 c'4 e'4 f'2 g'4( fis'4) g'2 f'4( e'4) f'1 f'2 f'4 f'4 f'2 f'4( e'4) f'2 c'2 e'1 c'2 c'4 e'4 f'2 g'4( fis'4) g'2 f'4( e'4) f'1 f'2 f'4 f'4 e'2 f'2 f'2 e'2 f'1\n}\ntenor = {\n  a2 a4 c'4 c'2 d'4( c'4) d'2 c'2 c'1 c'2 c'4 c'4 d'2 c'2 c'2 bes4( a4) c'1 a2 a4 c'4 c'2 d'4( c'4) d'2 c'2 c'1 c'2 c'4 c'4 c'4( bes4) a2 d'2 c'4( bes4) a1\n}\nbass = {\n  f2 f4 c4 f2 bes4( a4) g2 c2 f1 f2 f4 f4 f2 f4( bes4) a2 g4( f4) c1 f2 f4 c4 f2 bes4( a4) g2 c2 f1 f2 f4 f4 c2 f2 bes,2 c2 f1\n}\n", "preferred": true}]}, "hanover-croft": {"slug": "hanover-croft", "name": "HANOVER", "meter_label": "10.10.11.11", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-croft", "composer_date": "1708", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "hanover-croft-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "HANOVER (10.10.11.11), by William Croft (1678-1727), first published in the 1708 supplement to Tate and Brady's New Version of the Psalms and long used for Charles Wesley's \"Ye servants of God\" and Robert Grant's \"O worship the King.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4, quarter-note anacrusis, dotted-half final; melismatic, 43 soprano notes for 42 syllables, with one descending two-note eighth-melisma, A-flat to G, in the second phrase). The non-scale tones — alto D-naturals and E-natural and a bass E-natural, all inner-voice chromatic passing and neighbor tones — are printed with naturals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hanover\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "hanover-croft-cyberhymnal", "tune": "hanover-croft", "music_file": "hanover-croft-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 21, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HANOVER, William Croft, 1708. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HANOVER (William Croft, 1678-1727; first published 1708); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4, quarter-note anacrusis, dotted-half final). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hanover\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HANOVER (10.10.11.11) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hanover\", William Croft, 1708) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. 3/4 with a\n%% one-beat anacrusis (\\partial 4) and a dotted-half final. MELISMATIC: 43 soprano\n%% notes for 42 syllables (10.10.11.11); the one two-note melisma is the slurred\n%% descending eighth-note pair in the second phrase (soprano as'8( g'8), soprano\n%% notes 18-19), held with '_' each stanza (verse_variable_melisma). The eighth-note\n%% passing figures in the inner voices are not melodic melismas. The non-scale tones\n%% — alto D-naturals and E-natural and a bass E-natural — are inner-voice chromatic\n%% passing/neighbor tones printed with naturals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 |\n  as'4 as'4 bes'4 | c''2 es''4 | as'4 bes'4 g'4 | as'2 bes'4 |\n  c''4 bes'4 as'4 | g'2 as'4 | bes'4 as'8( g'8) f'4 | es'2 g'4 |\n  as'4 bes'4 c''4 | as'4 f'4 des''4 | c''4 bes'4 as'4 | es''2 es'4 |\n  f'4 g'4 as'4 | bes'4 es'4 c''4 | f'4 bes'4 g'4 | as'2.\n}\nalto = {\n  c'4 |\n  es'4 es'4 es'4 | es'2 es'4 | f'4 f'4 es'4 | es'2 es'4 |\n  es'4 es'4 es'8 d'8 | es'2 es'4 | es'4 es'4 d'4 | es'2 e'4 |\n  f'4 g'4 g'4 | f'4 f'4 es'4 | es'4 es'4 d'4 | es'2 es'4 |\n  es'4 des'4 c'8 d'8 | es'4 es'4 es'4 | des'4 f'4 es'8 des'8 | c'2.\n}\ntenor = {\n  as4 |\n  c'4 as4 g4 | as2 bes4 | c'4 des'4 bes4 | c'2 g4 |\n  as4 bes4 c'8 as8 | bes2 c'4 | bes4 c'8 bes8 as4 | g2 c'4 |\n  c'4 des'4 c'4 | c'4 as4 bes4 | as4 bes4 bes8 as8 | g2 c'4 |\n  c'4 bes4 as4 | g4 bes4 as4 | as4 des'4 bes4 | as2.\n}\nbass = {\n  as,4 |\n  as,4 c4 es4 | as2 g4 | f4 des4 es4 | as,2 es4 |\n  as4 g4 f4 | es2 c4 | g,4 as,4 bes,4 | es2 c4 |\n  f4 f4 e4 | f4 f4 g4 | as4 g4 f4 | es2 c4 |\n  des4 es4 f4 | es4 g4 as4 | des4 bes,4 es4 | as,2.\n}\n"}, "harmonizations": [{"slug": "hanover-croft-cyberhymnal", "tune": "hanover-croft", "music_file": "hanover-croft-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 21, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HANOVER, William Croft, 1708. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HANOVER (William Croft, 1678-1727; first published 1708); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4, quarter-note anacrusis, dotted-half final). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hanover\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HANOVER (10.10.11.11) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hanover\", William Croft, 1708) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. 3/4 with a\n%% one-beat anacrusis (\\partial 4) and a dotted-half final. MELISMATIC: 43 soprano\n%% notes for 42 syllables (10.10.11.11); the one two-note melisma is the slurred\n%% descending eighth-note pair in the second phrase (soprano as'8( g'8), soprano\n%% notes 18-19), held with '_' each stanza (verse_variable_melisma). The eighth-note\n%% passing figures in the inner voices are not melodic melismas. The non-scale tones\n%% — alto D-naturals and E-natural and a bass E-natural — are inner-voice chromatic\n%% passing/neighbor tones printed with naturals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 |\n  as'4 as'4 bes'4 | c''2 es''4 | as'4 bes'4 g'4 | as'2 bes'4 |\n  c''4 bes'4 as'4 | g'2 as'4 | bes'4 as'8( g'8) f'4 | es'2 g'4 |\n  as'4 bes'4 c''4 | as'4 f'4 des''4 | c''4 bes'4 as'4 | es''2 es'4 |\n  f'4 g'4 as'4 | bes'4 es'4 c''4 | f'4 bes'4 g'4 | as'2.\n}\nalto = {\n  c'4 |\n  es'4 es'4 es'4 | es'2 es'4 | f'4 f'4 es'4 | es'2 es'4 |\n  es'4 es'4 es'8 d'8 | es'2 es'4 | es'4 es'4 d'4 | es'2 e'4 |\n  f'4 g'4 g'4 | f'4 f'4 es'4 | es'4 es'4 d'4 | es'2 es'4 |\n  es'4 des'4 c'8 d'8 | es'4 es'4 es'4 | des'4 f'4 es'8 des'8 | c'2.\n}\ntenor = {\n  as4 |\n  c'4 as4 g4 | as2 bes4 | c'4 des'4 bes4 | c'2 g4 |\n  as4 bes4 c'8 as8 | bes2 c'4 | bes4 c'8 bes8 as4 | g2 c'4 |\n  c'4 des'4 c'4 | c'4 as4 bes4 | as4 bes4 bes8 as8 | g2 c'4 |\n  c'4 bes4 as4 | g4 bes4 as4 | as4 des'4 bes4 | as2.\n}\nbass = {\n  as,4 |\n  as,4 c4 es4 | as2 g4 | f4 des4 es4 | as,2 es4 |\n  as4 g4 f4 | es2 c4 | g,4 as,4 bes,4 | es2 c4 |\n  f4 f4 e4 | f4 f4 g4 | as4 g4 f4 | es2 c4 |\n  des4 es4 f4 | es4 g4 as4 | des4 bes,4 es4 | as,2.\n}\n", "preferred": true}]}, "hanson-place": {"slug": "hanson-place", "name": "HANSON PLACE", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1864", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "hanson-place-bright-jewels-1869", "provenance": {"layer": "tune", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Tune by Robert Lowry (1826-1899) to his own words, written 1864 at Hanson Place Baptist Church, Brooklyn — the tune name the later hymnals and Hymnary print for it. First published in Happy Voices (1865, no. 220, not four-part); read here from the composer's own four-part printing in Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" — archive.org brightjewelsfors00lowr_0, leaf 0114 — corroborated note for note against the reprints in Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, undated, notes corroboration only, NOT pd evidence) and Make Christ King, 1912, no. 206 (archive.org makechristkingse00exce leaf 0201). US public domain by publication in 1869; Lowry died 1899, so PD in life+70 jurisdictions as well. The soprano's first fifteen notes give scale degrees 333234534445432, matching Hymnary's HANSON PLACE incipit (tuneAuthNumber hanson_place_lowry) exactly. tools/tune_fingerprint.py finds NO corpus melody at or above the 0.80 duplicate threshold (best other-tune match 0.552, SEELENBRÄUTIGAM, at corpus=307 tunes), so this is not a tune the corpus already holds under another name. The 1883 words-only printing in Gospel Hymns Consolidated no. 124 (\"THE BEAUTIFUL RIVER ... Key E-flat\") names the same key this plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "hanson-place-bright-jewels-1869", "tune": "hanson-place", "music_file": "hanson-place-bright-jewels-1869.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24, 33, 41, 52, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Robert Lowry's own four-part setting of his own 1864 tune and words, encoded from the composer's own collection: Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" — archive.org item brightjewelsfors00lowr_0, leaf 0114 (the jp2 master leaf is committed at review/shall-we-gather/bj_0114.jp2). US public domain by publication in 1869; Lowry died in 1899, so it is also PD in life+70 jurisdictions. HOW IT WAS READ — THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR. The 1869 plate's 20.8 px staff space is below the noteread rig's reliable range (the register's wave-2 attempt stopped exactly there), so the measured primary was the highest-resolution reprint of the same setting: Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, staff space 29.5-29.9 px, \"COPYRIGHT PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") — every staff column-read with tools/noteread.py at grid residual 0.31-1.02 px mean, every bar eye-read on grid-overlay crops at 6-14x, bass staves re-run after the first pass's vertical fence cut off the tenor's ledger notes, and the five tenor ledger notes settled by row-ink probes that count the C4/E4 ledger dashes explicitly. ⚠ greatt00weig IS NOT PD EVIDENCE (undated title page; see the POWER IN THE BLOOD record). Second witness read end-to-end: Make Christ King no. 206 (Chicago: E. O. Excell, 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1 px, same Mary Runyon Lowry copyright foot (its chorus is a volta repeat carrying two texted lines, so it witnesses bars 13-14 only structurally). The 1869 original was then read at 9-12x at every point of disagreement and is the text that ships. The whole reading was done TWICE independently — an initial import read and a full adversarial re-verification (fresh column tables, fresh probes, fresh crops) that caught the bar-15 rhythm and the GTH bar-14 note (corrected at merge review — no omission) below. Per-chord measurements, the collation, and the deciding crops: review/shall-we-gather/READING.md. WITNESS DIVERGENCES (each resolved original + one reprint against the other): bar 4 \"trod\" — soprano two slurred halves F4-Bb4 over stemless wholes (BJ+GTH ship; MCK's moving inner voices — A D4-F4, T Bb3-D3, B Bb2 tied — machine-reproduced at its cols x1418/x1498 and not adopted); bars 1/5 sixteenth-note alto E-flat4 (BJ at 12x, head offset right of the soprano F4 straddling the bottom line, own down-stem and double hook, at BOTH spots + GTH; MCK's ambiguous D4-leaning columns not adopted); bar 6 \"ing\" = Ab4/F4 over Bb3/Eb3, V7 (BJ machine col x756 + MCK col x817; GTH's IV6-4 variant — Ab4/Eb4 over C4/Eb3, confirmed at 14x both staves — recorded); bar 9 \"we'll\" = C5 (GTH+MCK machine; BJ's 12x crop shows the head plainly in the C5 space and the slur ink above that made BJ's own column read say D5); bar 9 alto A-flat4 pedal (BJ+MCK; GTH's E-flat4 variant is bar 9 ONLY — GTH's own bar-13 alto is A-flat4 like the others); bar 11 \"beau-ti-ful\" diatonic <Ab4,F4>/<G4,Eb4> pairs both passes (BJ cols x624/x809 + MCK cols x718/x958; GTH alone re-touches chromatically — first pass <F4,E-nat4> with a printed natural, second pass <F4,D4> — recorded, not reproduced); bar 14 \"er,\" tenor E-flat4 (BJ row-ink probe: C4 AND E4 ledgers both print with the head on the E4 ledger; the merge-review re-measurement of gth_0135.jp2 staff 9 x1025-1110 found the same full tenor signature on GTH too — the first read's \"GTH omits it\" was a probe miss, so all three witnesses corroborate the shipped E-flat4; MCK's volta shares bar 10's chord there and is silent). RHYTHM RULING ON BAR 15: all three witnesses print the \"the\" pair DOTTED (dotted-eighth + sixteenth, all four voices — BJ dots and single-then-double hooks at 9x in both staves, GTH dots and double flags at 10x in both staves, MCK volta-2 dots) where bar 7's verse pairs and both bars' \"of\" pairs are EVEN (single beam, no dots, all three witnesses); encoded accordingly — bar 15 is NOT a copy of bar 7. ACCIDENTALS: exactly TWO ship — the tenor's printed B-natural3 in bars 9 and 13 (C4 - B-natural3 - C4 chromatic lower neighbour over held A-flat3, the B3 head offset right of the A-flat3 because they are a second apart; glyph read at 6x on GTH, glyph-plus-head pattern reproduced on BJ and MCK). The RULE 2b sweep covered every column of every staff on the primary at 6x+ and both other witnesses at each hit; no other accidental appears on the encoded text. DEPARTURES: soprano/alto slurs added over the plates' flagged-or-beamed two-note melisma pairs in bars 7, 11, 15 so the underlay follows the melisma (the bar-4 slur IS printed on all three witnesses); GTH's bar-4 stray hold-curve and its bar-10 \"p\" dynamic are not reproduced; system breaks are at poetic line ends. Tenor/bass unisons on one notehead (bar 9 \"the\", bar 13) are left to LilyPond's default collision resolver. No ties; no fermata; no Amen on any witness and none encoded. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1869 Bright Jewels page image (archive.org brightjewelsfors00lowr_0, leaf 0114), with the high-resolution measured read done on the same setting's reprint in Great Tabernacle Hymns (archive.org greatt00weig, leaf 0135, notes-corroboration only) and collated end-to-end against Make Christ King, 1912 (archive.org makechristkingse00exce, leaf 0201). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HANSON PLACE (8.7.8.7 with Refrain) — \"Shall We Gather at the River?\"\n%% Robert Lowry, words and music, 1864; his own four-part setting, E-flat\n%% major, 4/4, no pickup, 16 bars (8 verse + 8 chorus).  RULES (CI-enforced):\n%% exactly the variables soprano/alto/tenor/bass/global; absolute octaves;\n%% each voice rhythmically complete; NO chords <>, NO <<>>, NO \\break, NO\n%% \\bar, NO lyrics.\n%%\n%% SOURCES — THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR.\n%% (1) BJ: the ORIGINAL 1869 plate, \"BEAUTIFUL RIVER.\", p. 110 of Bright\n%% Jewels for the Sunday School (New York: Biglow & Main, 1869), archive.org\n%% brightjewelsfors00lowr_0 leaf 0114, staff space 20.8 px — the arbiter at\n%% every point where the reprints disagree, read by eye at 9-10x with the\n%% fitted grid.  (2) GTH: Great Tabernacle Hymns no. 131 (archive.org\n%% greatt00weig leaf 0135, staff space 29.5-29.9 px, headed \"COPYRIGHT\n%% PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") — the PRIMARY MEASURED\n%% READ: every staff column-read with tools/noteread.py (grid resid mean\n%% 0.49-1.17 px) and every bar eye-read on grid crops at 6-13x.  ⚠ GTH IS NOT\n%% PD EVIDENCE — no date on its title page (see the POWER IN THE BLOOD record\n%% for the same book).  (3) MCK: Make Christ King no. 206 (Chicago: Excell,\n%% 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1\n%% px — end-to-end structural collation; its chorus is engraved as a repeat\n%% with voltas.  Full per-column measurements, the collation table and every\n%% arbitration crop: review/shall-we-gather/READING.md.\n%%\n%% WHAT SHIPS IS BJ'S TEXT AT EVERY DIVERGENCE, EACH WITH A SECOND WITNESS:\n%%   - bar 4 \"trod\": soprano two slurred halves F4-Bb4 over STEMLESS WHOLES\n%%     in A/T/B (BJ+GTH; MCK instead moves the inner voices A D4-F4,\n%%     T Bb3-D3, B Bb2 tied — not reproduced).\n%%   - bars 1/5 sixteenth (\"gath-er\", \"crys-tal\"): alto E-flat4 (BJ at 10x —\n%%     head offset right of the soprano F4, its own down-stem, straddling the\n%%     bottom line — and GTH; MCK's columns suggest D4, not adopted).\n%%   - bar 6 \"ing\": A-flat4/F4 over B-flat3/E-flat3, a V7 passing chord\n%%     (BJ+MCK; GTH alone prints A-flat4/E-flat4 over C4/E-flat3, IV6-4).\n%%   - bar 9 \"we'll\": soprano C5 (GTH at 6x + MCK; BJ's column table read D5\n%%     from slur ink and the 9x crop bj_yeswell.png shows C5).\n%%   - bar 9 alto: A-flat4 PEDAL under \"Yes, we'll gath-er at\" (BJ at 9x +\n%%     MCK; GTH alone prints E-flat4 there — its fifth-supplying variant,\n%%     not reproduced.  In bar 13 GTH's own alto is A-flat4 like the others:\n%%     the variant is bar 9 ONLY).\n%%   - bar 14 \"er,\": tenor E-flat4 half on the two ledger lines (BJ, row-ink\n%%     probe: both C4 and E4 ledgers printed with the head on the E4 ledger;\n%%     MCK's volta shares bar 10's chord here).  GTH alone OMITS this tenor —\n%%     its bar-14 \"er,\" is a three-voice chord — recorded, not reproduced.\n%%   - bar 11 \"beau-ti-ful\" fabric: DIATONIC <A-flat4,F4>8. <G4,E-flat4>16\n%%     twice (BJ+MCK).  GTH alone re-touches it chromatically (first pass\n%%     <F4,E-natural4> with a printed natural, second pass <F4,D4>); the GTH\n%%     variant is recorded and NOT reproduced.\n%%\n%% THE TWO PRINTED ACCIDENTALS THAT SHIP (RULE 2b sweep, every column of\n%% every staff at 6x+, collated on all three witnesses): a NATURAL on the\n%% TENOR'S B3 in bar 9 (\"gath-ER\") and again in bar 13 (\"saints AT\") — the\n%% tenor walks C4 - B-natural3 - C4, a chromatic lower neighbour over the\n%% bass's held A-flat3, while the printed page offsets the B3 head right of\n%% the A-flat3 because they are a second apart.  The natural is printed on\n%% GTH (read at 6x, glyph + offset pair), and BJ's and MCK's column patterns\n%% reproduce glyph-plus-head at the same spots.  LilyPond prints both\n%% naturals automatically (B is flat in the signature).  GTH's bar-11\n%% E-natural is NOT part of the encoded text (see above).  No other\n%% accidental appears anywhere on any witness.\n%%\n%% RHYTHM.  Bars 1/3/5 (and the chorus's 9/13) are the gospel dotted fabric:\n%% quarter, quarter, dotted-eighth+sixteenth twice — except bar 13, where the\n%% extra syllable (\"Gath-er with the saints at the riv-\") turns the opening\n%% quarters into a fourth dotted pair.  Bar 2 \"riv-er\" is two halves; bar 6\n%% \"ev-er Flow-ing\" is half, quarter, two eighths; bar 10 \"riv-er, The\" is\n%% half, dotted-quarter, eighth; bar 14 \"er, That flows\" is half, quarter,\n%% quarter; bar 12 \"riv-er,\" two halves.  Bar 7 (\"by the throne of\") runs\n%% quarter + paired EVEN EIGHTHS twice (beamed on GTH, flagged on BJ/MCK).\n%% Bar 15 is NOT identical to bar 7: all three witnesses print its \"the\"\n%% pair DOTTED (dotted-eighth + sixteenth — BJ dots + single-then-double\n%% hooks at 9x both staves, GTH dots + double flag at 10x both staves, MCK\n%% volta dots), while its \"of\" pair stays even (single beam, no dots, all\n%% three).  Bars 8/16 \"God\" are whole notes in all four voices (S+A unison\n%% E-flat4, printed as one head).\n%%\n%% MELISMAS AND SLURS.  The soprano is syllabic except six two-note melismas:\n%% \"trod\" (bar 4, slur PRINTED on all three witnesses), \"the\" and \"of\" in\n%% bars 7 and 15, and the second \"ful\" of bar 11.  The plates print the\n%% bar-7/11/15 pairs as flagged-or-beamed pairs under one syllable without a\n%% slur mark; the corpus adds the soprano (and matching alto) slurs so the\n%% underlay follows the melisma — the same pitches-and-durations-are-the-\n%% plate's, mechanics-are-the-house-engraver's deviation recorded on POWER IN\n%% THE BLOOD for beaming.  In bar 7 the tenor+bass strike ONE quarter under\n%% the soprano's \"the\"-pair (all three witnesses); in bar 15 they strike the\n%% DOTTED PAIR WITH the upper voices — dotted-eighth + sixteenth, B-flat3\n%% over B-flat2 (all three witnesses; see RHYTHM above).  Under both\n%% \"of\"-pairs the tenor moves B-flat3 to A-flat3 while the bass holds a\n%% quarter (all three witnesses).\n%%\n%% TENOR AND BASS IN UNISON, one notehead with both stems, default collision\n%% resolver (POWER precedent): A-flat3 at bar 9's \"the\", and through bar 13's\n%% \"Gath-er with the\" and \"riv-\" (the lower staff prints a single head).\n%% Bars 2/6/10/12/14: the TENOR takes E-flat4 on two ledger lines above the\n%% bass staff at every \"riv\"/\"ev\"/\"er,\" half — settled by row-ink ledger\n%% probes (BOTH the C4 and E4 ledger dashes print, the head sits ON the E4\n%% ledger) at bars 2/6/10/12 on GTH and at all five spots incl. bar 14 on\n%% BJ 1869; GTH alone omits the bar-14 one (see divergences above).  The\n%% C4-ledger dash makes a naive rings-arc read call it D4, which is wrong\n%% (see READING.md).\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly: (1) the slur mechanics above;\n%% (2) GTH's bar-4 stray hold-curve under the alto D4 whole (an engraver's\n%% courtesy at its system break; BJ and MCK print nothing there) is not\n%% reproduced; (3) the \"p\" GTH prints at bar 10-11 is not engraved (this\n%% corpus does not engrave dynamics); (4) system breaks are at poetic line\n%% ends, not any witness's own casting (BJ casts 3 oblong systems, GTH 4,\n%% MCK a volta repeat).  NO ties anywhere; no fermata; NO Amen on any\n%% witness and none is encoded.  No Cyber Hymnal asset, MIDI or modern\n%% edition was consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'8. f'16 g'8. aes'16 |\n  bes'2 g'2 |\n  aes'4 aes'4 aes'8. bes'16 aes'8. g'16 |\n  f'2( bes'2) |\n  g'4 g'4 g'8. f'16 g'8. aes'16 |\n  bes'2 g'4 g'8 aes'8 |\n  f'4 f'8( g'8) aes'4 g'8( f'8) |\n  ees'1 |\n  c''4 c''4 ees''8. d''16 ees''8. c''16 |\n  bes'2 g'4. g'8 |\n  aes'8. g'16 aes'8. g'16 aes'8. g'16 aes'8.( f'16) |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 ees''8. d''16 ees''8. c''16 |\n  bes'2 g'4 g'4 |\n  f'4 f'8.( g'16) aes'4 g'8( f'8) |\n  ees'1\n}\n\nalto = {\n  ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n  g'2 ees'2 |\n  f'4 f'4 f'8. g'16 f'8. ees'16 |\n  d'1 |\n  ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n  g'2 ees'4 ees'8 f'8 |\n  d'4 d'8( ees'8) f'4 ees'8( d'8) |\n  ees'1 |\n  aes'4 aes'4 aes'8. aes'16 aes'8. aes'16 |\n  g'2 ees'4. ees'8 |\n  f'8. ees'16 f'8. ees'16 f'8. ees'16 f'8.( d'16) |\n  ees'2 g'2 |\n  aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 |\n  g'2 ees'4 ees'4 |\n  d'4 d'8.( ees'16) f'4 ees'8( d'8) |\n  ees'1\n}\n\ntenor = {\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  ees'2 bes2 |\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  bes1 |\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  ees'2 bes4 bes8 bes8 |\n  bes4 bes4 bes4 bes8 aes8 |\n  g1 |\n  c'4 c'4 c'8. b16 c'8. aes16 |\n  ees'2 bes4. bes8 |\n  bes8. bes16 bes8. bes16 bes8. bes16 bes4 |\n  bes2 ees'2 |\n  aes8. aes16 aes8. aes16 c'8. b16 c'8. aes16 |\n  ees'2 bes4 bes4 |\n  bes4 bes8. bes16 bes4 bes8 aes8 |\n  g1\n}\n\nbass = {\n  ees4 ees4 ees8. ees16 ees8. ees16 |\n  ees2 ees2 |\n  bes,4 bes,4 bes,8. bes,16 bes,8. bes,16 |\n  bes,1 |\n  ees4 ees4 ees8. ees16 ees8. ees16 |\n  ees2 ees4 ees8 ees8 |\n  bes,4 bes,4 bes,4 bes,4 |\n  ees1 |\n  aes4 aes4 aes8. aes16 aes8. aes16 |\n  ees2 ees4. ees8 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,4 |\n  ees2 ees2 |\n  aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 |\n  ees2 ees4 ees4 |\n  bes,4 bes,8. bes,16 bes,4 bes,4 |\n  ees1\n}\n"}, "harmonizations": [{"slug": "hanson-place-bright-jewels-1869", "tune": "hanson-place", "music_file": "hanson-place-bright-jewels-1869.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24, 33, 41, 52, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Robert Lowry's own four-part setting of his own 1864 tune and words, encoded from the composer's own collection: Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" — archive.org item brightjewelsfors00lowr_0, leaf 0114 (the jp2 master leaf is committed at review/shall-we-gather/bj_0114.jp2). US public domain by publication in 1869; Lowry died in 1899, so it is also PD in life+70 jurisdictions. HOW IT WAS READ — THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR. The 1869 plate's 20.8 px staff space is below the noteread rig's reliable range (the register's wave-2 attempt stopped exactly there), so the measured primary was the highest-resolution reprint of the same setting: Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, staff space 29.5-29.9 px, \"COPYRIGHT PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") — every staff column-read with tools/noteread.py at grid residual 0.31-1.02 px mean, every bar eye-read on grid-overlay crops at 6-14x, bass staves re-run after the first pass's vertical fence cut off the tenor's ledger notes, and the five tenor ledger notes settled by row-ink probes that count the C4/E4 ledger dashes explicitly. ⚠ greatt00weig IS NOT PD EVIDENCE (undated title page; see the POWER IN THE BLOOD record). Second witness read end-to-end: Make Christ King no. 206 (Chicago: E. O. Excell, 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1 px, same Mary Runyon Lowry copyright foot (its chorus is a volta repeat carrying two texted lines, so it witnesses bars 13-14 only structurally). The 1869 original was then read at 9-12x at every point of disagreement and is the text that ships. The whole reading was done TWICE independently — an initial import read and a full adversarial re-verification (fresh column tables, fresh probes, fresh crops) that caught the bar-15 rhythm and the GTH bar-14 note (corrected at merge review — no omission) below. Per-chord measurements, the collation, and the deciding crops: review/shall-we-gather/READING.md. WITNESS DIVERGENCES (each resolved original + one reprint against the other): bar 4 \"trod\" — soprano two slurred halves F4-Bb4 over stemless wholes (BJ+GTH ship; MCK's moving inner voices — A D4-F4, T Bb3-D3, B Bb2 tied — machine-reproduced at its cols x1418/x1498 and not adopted); bars 1/5 sixteenth-note alto E-flat4 (BJ at 12x, head offset right of the soprano F4 straddling the bottom line, own down-stem and double hook, at BOTH spots + GTH; MCK's ambiguous D4-leaning columns not adopted); bar 6 \"ing\" = Ab4/F4 over Bb3/Eb3, V7 (BJ machine col x756 + MCK col x817; GTH's IV6-4 variant — Ab4/Eb4 over C4/Eb3, confirmed at 14x both staves — recorded); bar 9 \"we'll\" = C5 (GTH+MCK machine; BJ's 12x crop shows the head plainly in the C5 space and the slur ink above that made BJ's own column read say D5); bar 9 alto A-flat4 pedal (BJ+MCK; GTH's E-flat4 variant is bar 9 ONLY — GTH's own bar-13 alto is A-flat4 like the others); bar 11 \"beau-ti-ful\" diatonic <Ab4,F4>/<G4,Eb4> pairs both passes (BJ cols x624/x809 + MCK cols x718/x958; GTH alone re-touches chromatically — first pass <F4,E-nat4> with a printed natural, second pass <F4,D4> — recorded, not reproduced); bar 14 \"er,\" tenor E-flat4 (BJ row-ink probe: C4 AND E4 ledgers both print with the head on the E4 ledger; the merge-review re-measurement of gth_0135.jp2 staff 9 x1025-1110 found the same full tenor signature on GTH too — the first read's \"GTH omits it\" was a probe miss, so all three witnesses corroborate the shipped E-flat4; MCK's volta shares bar 10's chord there and is silent). RHYTHM RULING ON BAR 15: all three witnesses print the \"the\" pair DOTTED (dotted-eighth + sixteenth, all four voices — BJ dots and single-then-double hooks at 9x in both staves, GTH dots and double flags at 10x in both staves, MCK volta-2 dots) where bar 7's verse pairs and both bars' \"of\" pairs are EVEN (single beam, no dots, all three witnesses); encoded accordingly — bar 15 is NOT a copy of bar 7. ACCIDENTALS: exactly TWO ship — the tenor's printed B-natural3 in bars 9 and 13 (C4 - B-natural3 - C4 chromatic lower neighbour over held A-flat3, the B3 head offset right of the A-flat3 because they are a second apart; glyph read at 6x on GTH, glyph-plus-head pattern reproduced on BJ and MCK). The RULE 2b sweep covered every column of every staff on the primary at 6x+ and both other witnesses at each hit; no other accidental appears on the encoded text. DEPARTURES: soprano/alto slurs added over the plates' flagged-or-beamed two-note melisma pairs in bars 7, 11, 15 so the underlay follows the melisma (the bar-4 slur IS printed on all three witnesses); GTH's bar-4 stray hold-curve and its bar-10 \"p\" dynamic are not reproduced; system breaks are at poetic line ends. Tenor/bass unisons on one notehead (bar 9 \"the\", bar 13) are left to LilyPond's default collision resolver. No ties; no fermata; no Amen on any witness and none encoded. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1869 Bright Jewels page image (archive.org brightjewelsfors00lowr_0, leaf 0114), with the high-resolution measured read done on the same setting's reprint in Great Tabernacle Hymns (archive.org greatt00weig, leaf 0135, notes-corroboration only) and collated end-to-end against Make Christ King, 1912 (archive.org makechristkingse00exce, leaf 0201). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HANSON PLACE (8.7.8.7 with Refrain) — \"Shall We Gather at the River?\"\n%% Robert Lowry, words and music, 1864; his own four-part setting, E-flat\n%% major, 4/4, no pickup, 16 bars (8 verse + 8 chorus).  RULES (CI-enforced):\n%% exactly the variables soprano/alto/tenor/bass/global; absolute octaves;\n%% each voice rhythmically complete; NO chords <>, NO <<>>, NO \\break, NO\n%% \\bar, NO lyrics.\n%%\n%% SOURCES — THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR.\n%% (1) BJ: the ORIGINAL 1869 plate, \"BEAUTIFUL RIVER.\", p. 110 of Bright\n%% Jewels for the Sunday School (New York: Biglow & Main, 1869), archive.org\n%% brightjewelsfors00lowr_0 leaf 0114, staff space 20.8 px — the arbiter at\n%% every point where the reprints disagree, read by eye at 9-10x with the\n%% fitted grid.  (2) GTH: Great Tabernacle Hymns no. 131 (archive.org\n%% greatt00weig leaf 0135, staff space 29.5-29.9 px, headed \"COPYRIGHT\n%% PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") — the PRIMARY MEASURED\n%% READ: every staff column-read with tools/noteread.py (grid resid mean\n%% 0.49-1.17 px) and every bar eye-read on grid crops at 6-13x.  ⚠ GTH IS NOT\n%% PD EVIDENCE — no date on its title page (see the POWER IN THE BLOOD record\n%% for the same book).  (3) MCK: Make Christ King no. 206 (Chicago: Excell,\n%% 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1\n%% px — end-to-end structural collation; its chorus is engraved as a repeat\n%% with voltas.  Full per-column measurements, the collation table and every\n%% arbitration crop: review/shall-we-gather/READING.md.\n%%\n%% WHAT SHIPS IS BJ'S TEXT AT EVERY DIVERGENCE, EACH WITH A SECOND WITNESS:\n%%   - bar 4 \"trod\": soprano two slurred halves F4-Bb4 over STEMLESS WHOLES\n%%     in A/T/B (BJ+GTH; MCK instead moves the inner voices A D4-F4,\n%%     T Bb3-D3, B Bb2 tied — not reproduced).\n%%   - bars 1/5 sixteenth (\"gath-er\", \"crys-tal\"): alto E-flat4 (BJ at 10x —\n%%     head offset right of the soprano F4, its own down-stem, straddling the\n%%     bottom line — and GTH; MCK's columns suggest D4, not adopted).\n%%   - bar 6 \"ing\": A-flat4/F4 over B-flat3/E-flat3, a V7 passing chord\n%%     (BJ+MCK; GTH alone prints A-flat4/E-flat4 over C4/E-flat3, IV6-4).\n%%   - bar 9 \"we'll\": soprano C5 (GTH at 6x + MCK; BJ's column table read D5\n%%     from slur ink and the 9x crop bj_yeswell.png shows C5).\n%%   - bar 9 alto: A-flat4 PEDAL under \"Yes, we'll gath-er at\" (BJ at 9x +\n%%     MCK; GTH alone prints E-flat4 there — its fifth-supplying variant,\n%%     not reproduced.  In bar 13 GTH's own alto is A-flat4 like the others:\n%%     the variant is bar 9 ONLY).\n%%   - bar 14 \"er,\": tenor E-flat4 half on the two ledger lines (BJ, row-ink\n%%     probe: both C4 and E4 ledgers printed with the head on the E4 ledger;\n%%     MCK's volta shares bar 10's chord here).  GTH alone OMITS this tenor —\n%%     its bar-14 \"er,\" is a three-voice chord — recorded, not reproduced.\n%%   - bar 11 \"beau-ti-ful\" fabric: DIATONIC <A-flat4,F4>8. <G4,E-flat4>16\n%%     twice (BJ+MCK).  GTH alone re-touches it chromatically (first pass\n%%     <F4,E-natural4> with a printed natural, second pass <F4,D4>); the GTH\n%%     variant is recorded and NOT reproduced.\n%%\n%% THE TWO PRINTED ACCIDENTALS THAT SHIP (RULE 2b sweep, every column of\n%% every staff at 6x+, collated on all three witnesses): a NATURAL on the\n%% TENOR'S B3 in bar 9 (\"gath-ER\") and again in bar 13 (\"saints AT\") — the\n%% tenor walks C4 - B-natural3 - C4, a chromatic lower neighbour over the\n%% bass's held A-flat3, while the printed page offsets the B3 head right of\n%% the A-flat3 because they are a second apart.  The natural is printed on\n%% GTH (read at 6x, glyph + offset pair), and BJ's and MCK's column patterns\n%% reproduce glyph-plus-head at the same spots.  LilyPond prints both\n%% naturals automatically (B is flat in the signature).  GTH's bar-11\n%% E-natural is NOT part of the encoded text (see above).  No other\n%% accidental appears anywhere on any witness.\n%%\n%% RHYTHM.  Bars 1/3/5 (and the chorus's 9/13) are the gospel dotted fabric:\n%% quarter, quarter, dotted-eighth+sixteenth twice — except bar 13, where the\n%% extra syllable (\"Gath-er with the saints at the riv-\") turns the opening\n%% quarters into a fourth dotted pair.  Bar 2 \"riv-er\" is two halves; bar 6\n%% \"ev-er Flow-ing\" is half, quarter, two eighths; bar 10 \"riv-er, The\" is\n%% half, dotted-quarter, eighth; bar 14 \"er, That flows\" is half, quarter,\n%% quarter; bar 12 \"riv-er,\" two halves.  Bar 7 (\"by the throne of\") runs\n%% quarter + paired EVEN EIGHTHS twice (beamed on GTH, flagged on BJ/MCK).\n%% Bar 15 is NOT identical to bar 7: all three witnesses print its \"the\"\n%% pair DOTTED (dotted-eighth + sixteenth — BJ dots + single-then-double\n%% hooks at 9x both staves, GTH dots + double flag at 10x both staves, MCK\n%% volta dots), while its \"of\" pair stays even (single beam, no dots, all\n%% three).  Bars 8/16 \"God\" are whole notes in all four voices (S+A unison\n%% E-flat4, printed as one head).\n%%\n%% MELISMAS AND SLURS.  The soprano is syllabic except six two-note melismas:\n%% \"trod\" (bar 4, slur PRINTED on all three witnesses), \"the\" and \"of\" in\n%% bars 7 and 15, and the second \"ful\" of bar 11.  The plates print the\n%% bar-7/11/15 pairs as flagged-or-beamed pairs under one syllable without a\n%% slur mark; the corpus adds the soprano (and matching alto) slurs so the\n%% underlay follows the melisma — the same pitches-and-durations-are-the-\n%% plate's, mechanics-are-the-house-engraver's deviation recorded on POWER IN\n%% THE BLOOD for beaming.  In bar 7 the tenor+bass strike ONE quarter under\n%% the soprano's \"the\"-pair (all three witnesses); in bar 15 they strike the\n%% DOTTED PAIR WITH the upper voices — dotted-eighth + sixteenth, B-flat3\n%% over B-flat2 (all three witnesses; see RHYTHM above).  Under both\n%% \"of\"-pairs the tenor moves B-flat3 to A-flat3 while the bass holds a\n%% quarter (all three witnesses).\n%%\n%% TENOR AND BASS IN UNISON, one notehead with both stems, default collision\n%% resolver (POWER precedent): A-flat3 at bar 9's \"the\", and through bar 13's\n%% \"Gath-er with the\" and \"riv-\" (the lower staff prints a single head).\n%% Bars 2/6/10/12/14: the TENOR takes E-flat4 on two ledger lines above the\n%% bass staff at every \"riv\"/\"ev\"/\"er,\" half — settled by row-ink ledger\n%% probes (BOTH the C4 and E4 ledger dashes print, the head sits ON the E4\n%% ledger) at bars 2/6/10/12 on GTH and at all five spots incl. bar 14 on\n%% BJ 1869; GTH alone omits the bar-14 one (see divergences above).  The\n%% C4-ledger dash makes a naive rings-arc read call it D4, which is wrong\n%% (see READING.md).\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly: (1) the slur mechanics above;\n%% (2) GTH's bar-4 stray hold-curve under the alto D4 whole (an engraver's\n%% courtesy at its system break; BJ and MCK print nothing there) is not\n%% reproduced; (3) the \"p\" GTH prints at bar 10-11 is not engraved (this\n%% corpus does not engrave dynamics); (4) system breaks are at poetic line\n%% ends, not any witness's own casting (BJ casts 3 oblong systems, GTH 4,\n%% MCK a volta repeat).  NO ties anywhere; no fermata; NO Amen on any\n%% witness and none is encoded.  No Cyber Hymnal asset, MIDI or modern\n%% edition was consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'8. f'16 g'8. aes'16 |\n  bes'2 g'2 |\n  aes'4 aes'4 aes'8. bes'16 aes'8. g'16 |\n  f'2( bes'2) |\n  g'4 g'4 g'8. f'16 g'8. aes'16 |\n  bes'2 g'4 g'8 aes'8 |\n  f'4 f'8( g'8) aes'4 g'8( f'8) |\n  ees'1 |\n  c''4 c''4 ees''8. d''16 ees''8. c''16 |\n  bes'2 g'4. g'8 |\n  aes'8. g'16 aes'8. g'16 aes'8. g'16 aes'8.( f'16) |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 ees''8. d''16 ees''8. c''16 |\n  bes'2 g'4 g'4 |\n  f'4 f'8.( g'16) aes'4 g'8( f'8) |\n  ees'1\n}\n\nalto = {\n  ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n  g'2 ees'2 |\n  f'4 f'4 f'8. g'16 f'8. ees'16 |\n  d'1 |\n  ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n  g'2 ees'4 ees'8 f'8 |\n  d'4 d'8( ees'8) f'4 ees'8( d'8) |\n  ees'1 |\n  aes'4 aes'4 aes'8. aes'16 aes'8. aes'16 |\n  g'2 ees'4. ees'8 |\n  f'8. ees'16 f'8. ees'16 f'8. ees'16 f'8.( d'16) |\n  ees'2 g'2 |\n  aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 |\n  g'2 ees'4 ees'4 |\n  d'4 d'8.( ees'16) f'4 ees'8( d'8) |\n  ees'1\n}\n\ntenor = {\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  ees'2 bes2 |\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  bes1 |\n  bes4 bes4 bes8. bes16 bes8. bes16 |\n  ees'2 bes4 bes8 bes8 |\n  bes4 bes4 bes4 bes8 aes8 |\n  g1 |\n  c'4 c'4 c'8. b16 c'8. aes16 |\n  ees'2 bes4. bes8 |\n  bes8. bes16 bes8. bes16 bes8. bes16 bes4 |\n  bes2 ees'2 |\n  aes8. aes16 aes8. aes16 c'8. b16 c'8. aes16 |\n  ees'2 bes4 bes4 |\n  bes4 bes8. bes16 bes4 bes8 aes8 |\n  g1\n}\n\nbass = {\n  ees4 ees4 ees8. ees16 ees8. ees16 |\n  ees2 ees2 |\n  bes,4 bes,4 bes,8. bes,16 bes,8. bes,16 |\n  bes,1 |\n  ees4 ees4 ees8. ees16 ees8. ees16 |\n  ees2 ees4 ees8 ees8 |\n  bes,4 bes,4 bes,4 bes,4 |\n  ees1 |\n  aes4 aes4 aes8. aes16 aes8. aes16 |\n  ees2 ees4. ees8 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,4 |\n  ees2 ees2 |\n  aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 |\n  ees2 ees4 ees4 |\n  bes,4 bes,8. bes,16 bes,4 bes,4 |\n  ees1\n}\n", "preferred": true}]}, "harvest": {"slug": "harvest", "name": "HARVEST", "meter_label": "12.11.12.11 with Refrain", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "george-a-minor", "composer_date": "1880", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "harvest-1885", "provenance": {"layer": "tune", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by George A. Minor (1845-1904), written in 1880 for Knowles Shaw's 1874 text. Read here from the dated page image of Songs of Joy and Gladness (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 — archive.org songsofjoygladne00mcdo_0, image n40 — which credits \"Music by Geo. A. Minor. By per.\" on the staff, and re-read end to end on a second, independent scan of a different copy of the same 1885 printing (archive.org songsofjoygladne00mcdo, image n40). US public domain by publication before 1929; the composer died in 1904, so it is also PD in life+70 jurisdictions. TWO TUNES CARRY THIS TEXT and this is the second of them. Knowles Shaw wrote his own setting in 1874; George A. Minor's 1880 tune, called HARVEST, is the one everybody sings. The plate read here settles which is which in two independent ways. (1) The staff credit names only Minor as composer: it prints \"Words from 'Songs of Glory.'\" on the left — a collection, not a person — and \"Music by Geo. A. Minor. By per.\" on the right, so Shaw is not the composer of what is engraved here. A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the two credits explicitly: \"KNOWLES SHAW.\" on the left for the words and \"GEORGE A. MINOR, by per.\" on the right for the music. (2) The melody itself is the familiar one: in B-flat major the soprano opens F4 F4 F4 G4 F4 D4 — scale degrees 5 5 5 6 5 3 on \"Sow -- ing in the morn -- ing,\" — rises to 8 8 8 9 8 6 on \"sow -- ing seeds of kind -- ness,\" and the chorus enters on 3 5 5 6 5 for \"Bring -- ing in the sheaves,\". PYTHONPATH=. python3 tools/tune_fingerprint.py finds no corpus melody with any similarity at all to it (best match 0.00, YORKSHIRE), so this is not a duplicate of anything already imported. The 1885 plate does not print a tune name on the staff — gospel collections of this kind rarely do — so the name HARVEST is the one the hymnals and Hymnary carry for Minor's tune; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "harvest-1885", "tune": "harvest", "music_file": "harvest-1885.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 23, 35, 46, 56, 67, 77], "breaks_manual": true, "markings": [{"soprano_note": 47, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 47}, "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "George A. Minor's tune in the four-part setting engraved in Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney & W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 — archive.org item songsofjoygladne00mcdo_0, image n40 — credited on the staff \"Words from 'Songs of Glory.'\" and \"Music by Geo. A. Minor. By per.\" WHICH TUNE THIS IS: two settings carry Knowles Shaw's text, Shaw's own of 1874 and Minor's HARVEST of 1880. This is Minor's, and the plate itself says so — the only composer named on it is \"Geo. A. Minor\", the left-hand credit is to a collection (\"Songs of Glory\") and not to a person, and the soprano is the familiar melody (F4 F4 F4 G4 F4 D4 on \"Sow -- ing in the morn -- ing,\"). A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the credits explicitly, \"KNOWLES SHAW.\" for the words against \"GEORGE A. MINOR, by per.\" for the music. HOW THE NOTES WERE READ. Every chord of all four voices was measured notehead by notehead off that 1885 scan by a rig that re-finds the five staff lines LOCALLY around each notehead's own x (a long horizontal opening of the ink, so a notehead can never drag its own reference lines), binarises against the LOCAL paper level per column slab, isolates heads by morphological erosion sized in staff spaces, splits merged soprano-over-alto blobs on the midpoint of their two clean outer edges with the separation snapped to a whole staff step, and converts each centroid to a diatonic step by interpolation between the two nearest local lines. The plate's staff space is 28.5 px, so one diatonic step is 14.25 px. 299 solid noteheads were measured; the worst residual from an exact staff position was 0.27 of a step and the median about 0.09, against a decision boundary of 0.5. THE INDEPENDENT CHECK IS A SECOND SCAN, NOT THIS ONE. The whole page was then read end to end again on a physically different copy of the same 1885 printing — archive.org songsofjoygladne00mcdo, image n40, staff space 22.8 px — by the same rig with its own binarisation and its own staff-line fits. The two readings agree at every chord of all sixteen bars; where one scan missed a head (a hollow half-note ring, or a head merged into its neighbour) the other supplied it, and the twelve half-note chords were additionally magnified to 8-11x on both scans and read by eye. No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used at any point, so nothing here can be checked against itself. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE — the notehead figure above covers NONE of them, because a head probe reads heads and not the sharps and flats in front of them. A second, shape-based pass hunted tall open glyphs inside the staff on both scans, and each candidate was then magnified to 11-12x and read by eye on both. The plate carries exactly three accidentals: a NATURAL on the soprano's b (B-natural 3) and a SHARP on the alto's g (G-sharp 3) at the fourth eighth of bar 4, and a NATURAL on the alto's e-flat (E-natural 4) at the fourth eighth of bar 12. Both bar-4 glyphs and the bar-12 glyph were identified by their strokes and by the midpoint of their two crossbars, which lands on the exact staff positions of those notes. Everything else takes the key signature: every B is B-flat and every E is E-flat. DEPARTURES FROM THE PAGE, STATED PLAINLY. (1) At four places the plate prints THREE noteheads on one stem in the lower staff — bar 11 third and fourth eighths and bar 15 third and fourth eighths, each time bes / f / bes, and confirmed on both scans. Divisi cannot be represented in this corpus, so the lower two are encoded (tenor f, bass bes,) and the topmost bes is dropped; the dropped note is a pure octave doubling of the bass, so no pitch of the chord is lost, and the tenor of bars 11 and 15 then reads exactly like the tenor of the parallel bar 7, where the same phrase prints only f / bes,. (2) Two very small specks sit just to the right of the first and fourth chords of bar 16 on BOTH scans, i.e. they are on the plate. They are read here as plate blemishes rather than augmentation dots — they are about half the area of this plate's real augmentation dots, only one appears per chord where real dots come in pairs, and neither is followed by a sixteenth's second flag — so bar 16 is encoded as four even eighths and a half note. (3) The plate's five-system casting is not reproduced; see the system_breaks comment above. Nothing else departs: no rest was added or removed, no restrike stands where the page holds, no slur or tie was added or dropped (the page prints none), no stanza was omitted, and there is no Amen on the page and none here. TENOR/BASS UNISONS ARE THE PAGE'S: where the lower staff prints one notehead carrying both an up-stem and a down-stem, both voices have that pitch — all of bar 4 (f), bar 8's fourth eighth (f), and bar 12's second eighth (bes).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1885 Songs of Joy and Gladness page image (archive.org songsofjoygladne00mcdo_0, image n40), read again end to end on a second, independent scan of a different copy of the same printing (archive.org songsofjoygladne00mcdo, image n40). No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HARVEST (12.11.12.11 with Refrain) — \"Bringing in the Sheaves\"\n%% George A. Minor's tune, key B-flat major, 4/4, no pickup, 16 bars\n%% (8-bar verse pair + 8-bar refrain). 88 soprano noteheads: 46 verse, 42 refrain.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney &\n%% W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page\n%% 37 — archive.org songsofjoygladne00mcdo_0, image n40 — headed \"Bringing in\n%% the Sheaves.\" and credited on the staff \"Words from 'Songs of Glory.'\" /\n%% \"Music by Geo. A. Minor.  By per.\" Every chord was then re-read END TO END on\n%% a SECOND, INDEPENDENT SCAN of a DIFFERENT physical copy of the same 1885\n%% printing — archive.org songsofjoygladne00mcdo, image n40 — by the same rig\n%% with its own binarisation, its own staff-line fits and its own staff space\n%% (28.5 px on the first scan, 22.8 px on the second).\n%%\n%% WHICH TUNE THIS IS. Two different tunes carry Knowles Shaw's text: Shaw's own\n%% 1874 setting and George A. Minor's 1880 HARVEST. The page read here names\n%% \"Geo. A. Minor\" on the staff and does NOT name Shaw as composer (it credits\n%% the WORDS only, and to the collection \"Songs of Glory\", not to a person); its\n%% soprano is the melody everyone sings — 5 5 5 6 5 3 / 8 8 8 9 8 6 in B-flat,\n%% \"Sow-ing in the morn-ing\" on f' f' f' g' f' d'. This is Minor's HARVEST.\n%%\n%% MEASUREMENT, NOT EYESIGHT. Pitches were taken by a notehead rig: local paper\n%% level per column slab; the five staff lines recovered LOCALLY as a function of\n%% x by a long horizontal opening of the ink (so a notehead's own ink can never\n%% drag its own reference lines); heads isolated by morphological erosion sized\n%% in staff spaces; merged soprano-over-alto blobs split on the midpoint of their\n%% clean outer edges with the separation snapped to a whole staff step; each\n%% centroid converted to a diatonic step by interpolation between the two nearest\n%% local lines. 299 solid noteheads were measured on scan 1; the worst residual\n%% was 0.27 of a diatonic step and the median about 0.09 (tolerance 0.5 is the\n%% decision boundary between adjacent steps). The 32 HOLLOW (half-note) heads\n%% were measured separately — the ring's own clean outer edges in a narrow\n%% central strip — and each was additionally read by eye at 8-11x on both scans.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and flats in front of them, so the automated figure above covers NO\n%% accidental. Every accidental was hunted with a second, shape-based pass (tall\n%% open glyphs inside the staff) and then magnified to 11-12x on BOTH scans and\n%% read by eye. The plate carries exactly THREE:\n%%   * bar 4, fourth eighth: a NATURAL on the soprano's b (B-natural 3) and a\n%%     SHARP on the alto's g (G-sharp 3) — the chromatic double neighbour that\n%%     resolves to the half-note c'/a over the F pedal (a half cadence on V);\n%%   * bar 12, fourth eighth: a NATURAL on the alto's e' (E-natural 4), making\n%%     the chord g/c'/e'/bes' = C7, which resolves to the F-major half note.\n%% Both glyphs were identified by their strokes (a natural's left stroke runs UP\n%% and its right stroke DOWN; a sharp's two verticals both overrun both bars) and\n%% by the midpoint of their two crossbars, which lands on step -3 and step -5 of\n%% the treble staff in bar 4 and on step 0 in bar 12. Everything else takes the\n%% key signature: every B is B-flat and every E is E-flat.\n%%\n%% STRICTLY SYLLABIC. The plate prints NO slur and NO tie anywhere in the piece;\n%% every one of the 88 soprano noteheads carries its own syllable. There are no\n%% grace notes, no fermatas, no repeat signs, no dynamics and no Amen.\n%%\n%% RHYTHM. Four patterns, each verified by eye at 3-7x (flags counted, dots\n%% looked for) and cross-checked against the engraver's horizontal spacing:\n%%   bars 1,2,3,5,6  8 8 8. 16 4 4   (dotted eighth + sixteenth on \"in the\")\n%%   bars 7,11,15    8 8 8 8 4 4     (four even eighths, no dot, no sixteenth)\n%%   bars 4,8,12,16  8 8 8 8 2\n%%   bars 9,10,13,14 8 8 8. 16 2\n%% In the dotted bars the plate prints TWO augmentation dots (one at each\n%% notehead of the chord) and a DOUBLE flag on the following sixteenth, and the\n%% dotted note is given ~116 px of width against ~86 px for a plain eighth; in\n%% the even bars there is no dot, no second flag, and the spacing is uniform.\n%% DEPARTURE DECLARED: two very small specks sit just right of the first and\n%% fourth chords of bar 16 on BOTH scans (they are on the plate, not the paper).\n%% They are read here as plate blemishes, not augmentation dots: they are about\n%% half the area of this plate's real augmentation dots, only one appears per\n%% chord where real dots come in pairs, and neither is followed by a sixteenth's\n%% second flag; bar 16 is therefore encoded as four even eighths and a half note.\n%%\n%% TENOR/BASS UNISONS ARE THE PAGE'S. Where the lower staff prints ONE notehead\n%% carrying both an up-stem and a down-stem, both voices have that pitch: all of\n%% bar 4 (f throughout, four eighths and the half), bar 8's fourth eighth (f),\n%% and bar 12's second eighth (bes). LilyPond's default collision resolver is\n%% left to kiss those noteheads.\n%%\n%% DEPARTURE DECLARED — THREE-NOTE CHORDS IN THE LOWER STAFF. At four places the\n%% plate prints THREE noteheads on one stem in the bass staff: bar 11 third and\n%% fourth eighths, and bar 15 third and fourth eighths, each time bes / f / bes,\n%% (confirmed on both scans). Divisi cannot be represented in this corpus, so the\n%% LOWER TWO are encoded (tenor f, bass bes,) and the topmost bes is DROPPED. The\n%% dropped note is a pure octave doubling of the bass, so no pitch of the chord\n%% is lost, and it makes the tenor of bars 11 and 15 read exactly like the tenor\n%% of the parallel bar 7, where the same phrase prints only f / bes,.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  d'8 d'8 c'8 b8 c'2 |\n  d'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  d''8 d''8 c''8 bes'8 c''2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2\n}\n\nalto = {\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  bes8 bes8 a8 gis8 a2 |\n  bes8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 d'4 |\n  f'8 f'8 f'8 e'8 f'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 f8 f8 f8 f2 |\n  f8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 f8 f2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 f4 |\n  bes8 bes8 c'8 c'8 a2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 a8 bes2\n}\n\nbass = {\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  f8 f8 f8 f8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 bes,4 |\n  bes,8 bes8 a8 g8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2\n}\n"}, "harmonizations": [{"slug": "harvest-1885", "tune": "harvest", "music_file": "harvest-1885.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 23, 35, 46, 56, 67, 77], "breaks_manual": true, "markings": [{"soprano_note": 47, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 47}, "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "George A. Minor's tune in the four-part setting engraved in Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney & W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 — archive.org item songsofjoygladne00mcdo_0, image n40 — credited on the staff \"Words from 'Songs of Glory.'\" and \"Music by Geo. A. Minor. By per.\" WHICH TUNE THIS IS: two settings carry Knowles Shaw's text, Shaw's own of 1874 and Minor's HARVEST of 1880. This is Minor's, and the plate itself says so — the only composer named on it is \"Geo. A. Minor\", the left-hand credit is to a collection (\"Songs of Glory\") and not to a person, and the soprano is the familiar melody (F4 F4 F4 G4 F4 D4 on \"Sow -- ing in the morn -- ing,\"). A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the credits explicitly, \"KNOWLES SHAW.\" for the words against \"GEORGE A. MINOR, by per.\" for the music. HOW THE NOTES WERE READ. Every chord of all four voices was measured notehead by notehead off that 1885 scan by a rig that re-finds the five staff lines LOCALLY around each notehead's own x (a long horizontal opening of the ink, so a notehead can never drag its own reference lines), binarises against the LOCAL paper level per column slab, isolates heads by morphological erosion sized in staff spaces, splits merged soprano-over-alto blobs on the midpoint of their two clean outer edges with the separation snapped to a whole staff step, and converts each centroid to a diatonic step by interpolation between the two nearest local lines. The plate's staff space is 28.5 px, so one diatonic step is 14.25 px. 299 solid noteheads were measured; the worst residual from an exact staff position was 0.27 of a step and the median about 0.09, against a decision boundary of 0.5. THE INDEPENDENT CHECK IS A SECOND SCAN, NOT THIS ONE. The whole page was then read end to end again on a physically different copy of the same 1885 printing — archive.org songsofjoygladne00mcdo, image n40, staff space 22.8 px — by the same rig with its own binarisation and its own staff-line fits. The two readings agree at every chord of all sixteen bars; where one scan missed a head (a hollow half-note ring, or a head merged into its neighbour) the other supplied it, and the twelve half-note chords were additionally magnified to 8-11x on both scans and read by eye. No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used at any point, so nothing here can be checked against itself. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE — the notehead figure above covers NONE of them, because a head probe reads heads and not the sharps and flats in front of them. A second, shape-based pass hunted tall open glyphs inside the staff on both scans, and each candidate was then magnified to 11-12x and read by eye on both. The plate carries exactly three accidentals: a NATURAL on the soprano's b (B-natural 3) and a SHARP on the alto's g (G-sharp 3) at the fourth eighth of bar 4, and a NATURAL on the alto's e-flat (E-natural 4) at the fourth eighth of bar 12. Both bar-4 glyphs and the bar-12 glyph were identified by their strokes and by the midpoint of their two crossbars, which lands on the exact staff positions of those notes. Everything else takes the key signature: every B is B-flat and every E is E-flat. DEPARTURES FROM THE PAGE, STATED PLAINLY. (1) At four places the plate prints THREE noteheads on one stem in the lower staff — bar 11 third and fourth eighths and bar 15 third and fourth eighths, each time bes / f / bes, and confirmed on both scans. Divisi cannot be represented in this corpus, so the lower two are encoded (tenor f, bass bes,) and the topmost bes is dropped; the dropped note is a pure octave doubling of the bass, so no pitch of the chord is lost, and the tenor of bars 11 and 15 then reads exactly like the tenor of the parallel bar 7, where the same phrase prints only f / bes,. (2) Two very small specks sit just to the right of the first and fourth chords of bar 16 on BOTH scans, i.e. they are on the plate. They are read here as plate blemishes rather than augmentation dots — they are about half the area of this plate's real augmentation dots, only one appears per chord where real dots come in pairs, and neither is followed by a sixteenth's second flag — so bar 16 is encoded as four even eighths and a half note. (3) The plate's five-system casting is not reproduced; see the system_breaks comment above. Nothing else departs: no rest was added or removed, no restrike stands where the page holds, no slur or tie was added or dropped (the page prints none), no stanza was omitted, and there is no Amen on the page and none here. TENOR/BASS UNISONS ARE THE PAGE'S: where the lower staff prints one notehead carrying both an up-stem and a down-stem, both voices have that pitch — all of bar 4 (f), bar 8's fourth eighth (f), and bar 12's second eighth (bes).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1885 Songs of Joy and Gladness page image (archive.org songsofjoygladne00mcdo_0, image n40), read again end to end on a second, independent scan of a different copy of the same printing (archive.org songsofjoygladne00mcdo, image n40). No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HARVEST (12.11.12.11 with Refrain) — \"Bringing in the Sheaves\"\n%% George A. Minor's tune, key B-flat major, 4/4, no pickup, 16 bars\n%% (8-bar verse pair + 8-bar refrain). 88 soprano noteheads: 46 verse, 42 refrain.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney &\n%% W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page\n%% 37 — archive.org songsofjoygladne00mcdo_0, image n40 — headed \"Bringing in\n%% the Sheaves.\" and credited on the staff \"Words from 'Songs of Glory.'\" /\n%% \"Music by Geo. A. Minor.  By per.\" Every chord was then re-read END TO END on\n%% a SECOND, INDEPENDENT SCAN of a DIFFERENT physical copy of the same 1885\n%% printing — archive.org songsofjoygladne00mcdo, image n40 — by the same rig\n%% with its own binarisation, its own staff-line fits and its own staff space\n%% (28.5 px on the first scan, 22.8 px on the second).\n%%\n%% WHICH TUNE THIS IS. Two different tunes carry Knowles Shaw's text: Shaw's own\n%% 1874 setting and George A. Minor's 1880 HARVEST. The page read here names\n%% \"Geo. A. Minor\" on the staff and does NOT name Shaw as composer (it credits\n%% the WORDS only, and to the collection \"Songs of Glory\", not to a person); its\n%% soprano is the melody everyone sings — 5 5 5 6 5 3 / 8 8 8 9 8 6 in B-flat,\n%% \"Sow-ing in the morn-ing\" on f' f' f' g' f' d'. This is Minor's HARVEST.\n%%\n%% MEASUREMENT, NOT EYESIGHT. Pitches were taken by a notehead rig: local paper\n%% level per column slab; the five staff lines recovered LOCALLY as a function of\n%% x by a long horizontal opening of the ink (so a notehead's own ink can never\n%% drag its own reference lines); heads isolated by morphological erosion sized\n%% in staff spaces; merged soprano-over-alto blobs split on the midpoint of their\n%% clean outer edges with the separation snapped to a whole staff step; each\n%% centroid converted to a diatonic step by interpolation between the two nearest\n%% local lines. 299 solid noteheads were measured on scan 1; the worst residual\n%% was 0.27 of a diatonic step and the median about 0.09 (tolerance 0.5 is the\n%% decision boundary between adjacent steps). The 32 HOLLOW (half-note) heads\n%% were measured separately — the ring's own clean outer edges in a narrow\n%% central strip — and each was additionally read by eye at 8-11x on both scans.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and flats in front of them, so the automated figure above covers NO\n%% accidental. Every accidental was hunted with a second, shape-based pass (tall\n%% open glyphs inside the staff) and then magnified to 11-12x on BOTH scans and\n%% read by eye. The plate carries exactly THREE:\n%%   * bar 4, fourth eighth: a NATURAL on the soprano's b (B-natural 3) and a\n%%     SHARP on the alto's g (G-sharp 3) — the chromatic double neighbour that\n%%     resolves to the half-note c'/a over the F pedal (a half cadence on V);\n%%   * bar 12, fourth eighth: a NATURAL on the alto's e' (E-natural 4), making\n%%     the chord g/c'/e'/bes' = C7, which resolves to the F-major half note.\n%% Both glyphs were identified by their strokes (a natural's left stroke runs UP\n%% and its right stroke DOWN; a sharp's two verticals both overrun both bars) and\n%% by the midpoint of their two crossbars, which lands on step -3 and step -5 of\n%% the treble staff in bar 4 and on step 0 in bar 12. Everything else takes the\n%% key signature: every B is B-flat and every E is E-flat.\n%%\n%% STRICTLY SYLLABIC. The plate prints NO slur and NO tie anywhere in the piece;\n%% every one of the 88 soprano noteheads carries its own syllable. There are no\n%% grace notes, no fermatas, no repeat signs, no dynamics and no Amen.\n%%\n%% RHYTHM. Four patterns, each verified by eye at 3-7x (flags counted, dots\n%% looked for) and cross-checked against the engraver's horizontal spacing:\n%%   bars 1,2,3,5,6  8 8 8. 16 4 4   (dotted eighth + sixteenth on \"in the\")\n%%   bars 7,11,15    8 8 8 8 4 4     (four even eighths, no dot, no sixteenth)\n%%   bars 4,8,12,16  8 8 8 8 2\n%%   bars 9,10,13,14 8 8 8. 16 2\n%% In the dotted bars the plate prints TWO augmentation dots (one at each\n%% notehead of the chord) and a DOUBLE flag on the following sixteenth, and the\n%% dotted note is given ~116 px of width against ~86 px for a plain eighth; in\n%% the even bars there is no dot, no second flag, and the spacing is uniform.\n%% DEPARTURE DECLARED: two very small specks sit just right of the first and\n%% fourth chords of bar 16 on BOTH scans (they are on the plate, not the paper).\n%% They are read here as plate blemishes, not augmentation dots: they are about\n%% half the area of this plate's real augmentation dots, only one appears per\n%% chord where real dots come in pairs, and neither is followed by a sixteenth's\n%% second flag; bar 16 is therefore encoded as four even eighths and a half note.\n%%\n%% TENOR/BASS UNISONS ARE THE PAGE'S. Where the lower staff prints ONE notehead\n%% carrying both an up-stem and a down-stem, both voices have that pitch: all of\n%% bar 4 (f throughout, four eighths and the half), bar 8's fourth eighth (f),\n%% and bar 12's second eighth (bes). LilyPond's default collision resolver is\n%% left to kiss those noteheads.\n%%\n%% DEPARTURE DECLARED — THREE-NOTE CHORDS IN THE LOWER STAFF. At four places the\n%% plate prints THREE noteheads on one stem in the bass staff: bar 11 third and\n%% fourth eighths, and bar 15 third and fourth eighths, each time bes / f / bes,\n%% (confirmed on both scans). Divisi cannot be represented in this corpus, so the\n%% LOWER TWO are encoded (tenor f, bass bes,) and the topmost bes is DROPPED. The\n%% dropped note is a pure octave doubling of the bass, so no pitch of the chord\n%% is lost, and it makes the tenor of bars 11 and 15 read exactly like the tenor\n%% of the parallel bar 7, where the same phrase prints only f / bes,.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  d'8 d'8 c'8 b8 c'2 |\n  d'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  d''8 d''8 c''8 bes'8 c''2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2\n}\n\nalto = {\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  bes8 bes8 a8 gis8 a2 |\n  bes8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 d'4 |\n  f'8 f'8 f'8 e'8 f'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 f8 f8 f8 f2 |\n  f8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 f8 f2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 f4 |\n  bes8 bes8 c'8 c'8 a2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 a8 bes2\n}\n\nbass = {\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  f8 f8 f8 f8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 bes,4 |\n  bes,8 bes8 a8 g8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2\n}\n", "preferred": true}]}, "he-leadeth-me": {"slug": "he-leadeth-me", "name": "HE LEADETH ME", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1864", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "he-leadeth-me-oh226", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:226; all components published pre-1931 (latest year 1864).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "he_leadeth_me_bradbury", "total_instances": 815}}, "harmonization": {"slug": "he-leadeth-me-oh226", "tune": "he-leadeth-me", "music_file": "he-leadeth-me-oh226.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 27, 45, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:226; all components published pre-1931 (latest year 1864).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:226", "encoding_license": "PD-dedication"}, "music_ly": "%% He Leadeth Me\n%% Imported from Open Hymnal ABC X:226 via tools/abc_import.py\n%% Open Hymnal X:226; all components published pre-1931 (latest year 1864).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 fis'4. e'8 d'4 a'4 b'4 g'4 g'4 b'4 a'4. fis'8 fis'4 e'8 d'8 fis'4 fis'4 e'4 a'4 fis'4. e'8 d'4 a'4 b'4 g'4 d''4 cis''8 b'8 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4. e'8 d'4 a'4 a'4 d''4 cis''4 d''4 d''4 cis''8 b'8 a'4 b'4 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4 fis'4 e'4 a'4 a'4 d''4 cis''4 e''4 d''4 cis''8 b'8 a'4 b'4 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4. e'8 d'4\n}\nalto = {\n  fis'4 d'4. a8 a4 d'4 d'4 d'4 d'4 g'4 fis'4. d'8 d'4 d'4 d'4 d'4 cis'4 cis'4 d'4. a8 a4 d'4 d'4 g'4 g'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4. cis'8 d'4 fis'4 fis'4 fis'4 e'4 a'4 a'4 g'4 fis'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4 d'4 cis'4 cis'4 d'4 d'4 e'4 a'4 a'4 g'4 fis'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4. cis'8 d'4\n}\ntenor = {\n  a4 a4. g8 fis4 fis4 g4 b4 b4 d'4 d'4. a8 a4 g8 fis8 a4 a4 a4 a4 a4. g8 fis4 fis4 g4 b4 b4 d'4 d'4 a4 b4 fis4 a4. g8 fis4 a4 d'4 a4 a4 cis'4 d'4 d'4 d'4 d'4 d'4 a4 b4 fis4 a4 a4 a4 g4 fis4 a4 a4 cis'4 d'4 d'4 d'4 d'4 d'4 a4 b4 fis4 a4. g8 fis4\n}\nbass = {\n  d4 d4. d8 d4 d4 g4 g4 g4 g4 d4. d8 d4 d4 a,4 a,4 a,4 a,4 d4. d8 d4 d4 g4 g4 g4 g4 d4 d4 b,4 b,4 a,4. a,8 d4 d4 d4 fis4 a4 g4 fis4 g4 d4 d4 d4 d4 b,4 b,4 a,4 a,4 a,4 a,4 d4 fis4 a4 g4 fis4 g4 d4 d4 d4 d4 b,4 b,4 a,4. a,8 d4\n}\n"}, "harmonizations": [{"slug": "he-leadeth-me-oh226", "tune": "he-leadeth-me", "music_file": "he-leadeth-me-oh226.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 27, 45, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:226; all components published pre-1931 (latest year 1864).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:226", "encoding_license": "PD-dedication"}, "music_ly": "%% He Leadeth Me\n%% Imported from Open Hymnal ABC X:226 via tools/abc_import.py\n%% Open Hymnal X:226; all components published pre-1931 (latest year 1864).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 fis'4. e'8 d'4 a'4 b'4 g'4 g'4 b'4 a'4. fis'8 fis'4 e'8 d'8 fis'4 fis'4 e'4 a'4 fis'4. e'8 d'4 a'4 b'4 g'4 d''4 cis''8 b'8 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4. e'8 d'4 a'4 a'4 d''4 cis''4 d''4 d''4 cis''8 b'8 a'4 b'4 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4 fis'4 e'4 a'4 a'4 d''4 cis''4 e''4 d''4 cis''8 b'8 a'4 b'4 a'4 fis'4 fis'8 e'8 d'8 e'8 fis'4. e'8 d'4\n}\nalto = {\n  fis'4 d'4. a8 a4 d'4 d'4 d'4 d'4 g'4 fis'4. d'8 d'4 d'4 d'4 d'4 cis'4 cis'4 d'4. a8 a4 d'4 d'4 g'4 g'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4. cis'8 d'4 fis'4 fis'4 fis'4 e'4 a'4 a'4 g'4 fis'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4 d'4 cis'4 cis'4 d'4 d'4 e'4 a'4 a'4 g'4 fis'4 g'4 fis'4 d'4 d'8 cis'8 b8 cis'8 d'4. cis'8 d'4\n}\ntenor = {\n  a4 a4. g8 fis4 fis4 g4 b4 b4 d'4 d'4. a8 a4 g8 fis8 a4 a4 a4 a4 a4. g8 fis4 fis4 g4 b4 b4 d'4 d'4 a4 b4 fis4 a4. g8 fis4 a4 d'4 a4 a4 cis'4 d'4 d'4 d'4 d'4 d'4 a4 b4 fis4 a4 a4 a4 g4 fis4 a4 a4 cis'4 d'4 d'4 d'4 d'4 d'4 a4 b4 fis4 a4. g8 fis4\n}\nbass = {\n  d4 d4. d8 d4 d4 g4 g4 g4 g4 d4. d8 d4 d4 a,4 a,4 a,4 a,4 d4. d8 d4 d4 g4 g4 g4 g4 d4 d4 b,4 b,4 a,4. a,8 d4 d4 d4 fis4 a4 g4 fis4 g4 d4 d4 d4 d4 b,4 b,4 a,4 a,4 a,4 a,4 d4 fis4 a4 g4 fis4 g4 d4 d4 d4 d4 b,4 b,4 a,4. a,8 d4\n}\n", "preferred": true}]}, "he-was-not-willing": {"slug": "he-was-not-willing", "name": "HE WAS NOT WILLING", "meter_label": "11.10.11.10.D", "meter": {"pattern": [11, 10, 11, 10], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lucy-r-meyer", "composer_date": "1885", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "he-was-not-willing-oh293", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:293; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "he-was-not-willing-oh293", "tune": "he-was-not-willing", "music_file": "he-was-not-willing-oh293.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 21, 32, 42, 53, 63, 74], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:293; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:293", "encoding_license": "PD-dedication"}, "music_ly": "%% He Was Not Willing\n%% Imported from Open Hymnal ABC X:293 via tools/abc_import.py\n%% Open Hymnal X:293; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 6/8 }\n\nsoprano = {\n  g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 bes'8 bes'8 bes'8 c''8 bes'8 g'8 f'4. g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 c''8 bes'8 g'8 ees'8 g'8 f'8 ees'4. g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 c''8 bes'8 g'8 ees'8 g'8 f'8 ees'4. c''8. c''16 c''8 c''8 c''8 c''8 g'8. g'16 g'8 g'4 g'8 bes'8. bes'16 bes'8 bes'8 bes'8 bes'8 f'8. g'16 a'8 bes'4.\n}\nalto = {\n  ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 g'8 g'8 g'8 aes'8 g'8 ees'8 d'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 aes'8 g'8 ees'8 ees'8 ees'8 d'8 ees'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 aes'8 g'8 ees'8 ees'8 ees'8 d'8 ees'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 d'8. d'16 d'8 d'8 d'8 d'8 ees'8. ees'16 ees'8 d'4.\n}\ntenor = {\n  bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8 ees'8 bes8 bes4. bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 bes8 bes8 bes8 aes8 g4. bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 bes8 bes8 bes8 aes8 g4. g8. g16 g8 g8 g8 g8 c'8. c'16 c'8 c'4 c'8 bes8. bes16 bes8 bes8 bes8 bes8 a8. bes16 c'8 bes4.\n}\nbass = {\n  ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 ees8 ees8 ees8 bes,4. ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 g8 bes8 bes,8 ees4. ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 g8 bes8 bes,8 ees4. c8. c16 c8 c8 c8 c8 g8. g16 g8 g4 g8 bes,8. bes,16 bes,8 bes,8 bes,8 bes,8 f8. f16 f8 bes,4.\n}\n"}, "harmonizations": [{"slug": "he-was-not-willing-oh293", "tune": "he-was-not-willing", "music_file": "he-was-not-willing-oh293.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 21, 32, 42, 53, 63, 74], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:293; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:293", "encoding_license": "PD-dedication"}, "music_ly": "%% He Was Not Willing\n%% Imported from Open Hymnal ABC X:293 via tools/abc_import.py\n%% Open Hymnal X:293; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 6/8 }\n\nsoprano = {\n  g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 bes'8 bes'8 bes'8 c''8 bes'8 g'8 f'4. g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 c''8 bes'8 g'8 ees'8 g'8 f'8 ees'4. g'8. g'16 g'8 g'8 g'8 g'8 aes'8. aes'16 aes'8 g'4 ees'8 bes'8. bes'16 bes'8 c''8 bes'8 g'8 ees'8 g'8 f'8 ees'4. c''8. c''16 c''8 c''8 c''8 c''8 g'8. g'16 g'8 g'4 g'8 bes'8. bes'16 bes'8 bes'8 bes'8 bes'8 f'8. g'16 a'8 bes'4.\n}\nalto = {\n  ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 g'8 g'8 g'8 aes'8 g'8 ees'8 d'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 aes'8 g'8 ees'8 ees'8 ees'8 d'8 ees'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 g'8. g'16 g'8 aes'8 g'8 ees'8 ees'8 ees'8 d'8 ees'4. ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8. ees'16 ees'8 ees'4 ees'8 d'8. d'16 d'8 d'8 d'8 d'8 ees'8. ees'16 ees'8 d'4.\n}\ntenor = {\n  bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 ees'8 ees'8 ees'8 bes8 bes4. bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 bes8 bes8 bes8 aes8 g4. bes8. bes16 bes8 bes8 bes8 bes8 c'8. c'16 c'8 bes4 g8 ees'8. ees'16 ees'8 ees'8 ees'8 bes8 bes8 bes8 aes8 g4. g8. g16 g8 g8 g8 g8 c'8. c'16 c'8 c'4 c'8 bes8. bes16 bes8 bes8 bes8 bes8 a8. bes16 c'8 bes4.\n}\nbass = {\n  ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 ees8 ees8 ees8 bes,4. ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 g8 bes8 bes,8 ees4. ees8. ees16 ees8 ees8 ees8 ees8 ees8. ees16 ees8 ees4 ees8 ees8. ees16 ees8 ees8 ees8 ees8 g8 bes8 bes,8 ees4. c8. c16 c8 c8 c8 c8 g8. g16 g8 g4 g8 bes,8. bes,16 bes,8 bes,8 bes,8 bes,8 f8. f16 f8 bes,4.\n}\n", "preferred": true}]}, "heaven": {"slug": "heaven", "name": "HEAVEN", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "emily-d-wilson", "composer_date": "1898", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "heaven-cyberhymnal", "provenance": {"layer": "tune", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "HEAVEN, composed by Emily Divine Wilson (1865-1942), printed on the page as \"Mrs. J. G. Wilson\", as the setting for E. E. Hewitt's \"When We All Get to Heaven\". First published in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, with the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" at the foot of the page — US public domain (published pre-1931); also PD in life+70 jurisdictions since 2013. The page image (archive.org item pentecostalprais00kirk, leaf 156 = printed p. 148) was fetched and read: five flats, 4/4, no pickup, sixteen measures, the chorus marked \"Chorus.\" and set antiphonally. canonical_key is that printed key, D-flat major. Hymnary tune authority heaven_wilson (Emily D. Wilson, 1898, 8.7.8.7 with refrain) corroborates the attribution and gives 310 hymnals; its published incipit \"55513 45653 44432\" matches this melody degree for degree.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "heaven_wilson", "total_instances": 310}}, "harmonization": {"slug": "heaven-cyberhymnal", "tune": "heaven", "music_file": "heaven-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 34, 41, 51], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "for us a place.", "durations": ["4", "4", "4", "4"], "onset": 27}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 33}, {"text": "What a day of re -- joic -- ing that will be!", "durations": ["8.", "16", "4", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 41}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 49}, {"text": "and shout the vic -- to -- ry.", "durations": ["4", "8.", "16", "8.", "16", "2"], "onset": 59}]}, "source_line": "HEAVEN, Emily D. Wilson, 1898; four-part antiphonal setting from the first printing, Pentecostal Praises (Philadelphia: Hall-Mack Co., 1898). Public domain.", "provenance": {"layer": "harmonization", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HEAVEN with its four-part setting, first printed in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, over the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" — US public domain (published pre-1931). What is encoded here IS that page: transcribed notehead by notehead from the archive.org scan (pentecostalprais00kirk, leaf 0156), each chord fixed by pixel measurement against per-staff detected staff lines and re-read by eye at 3-6x, then reconciled against The Cyber Hymnal's public-domain reduction as a prior (per-chord log: review/heaven-1898/READING.md). The 1898 chorus is antiphonal — soprano sustains while alto, tenor and bass rest and answer on a second underlaid lyric row, and the verse's last bar does the same (\"for us a place.\") — and that texture is encoded faithfully here (the answer row is the bass_echo sidecar field). The two verse readings where the Cyber Hymnal diverges from the plate follow the plate: m2 beat 2 tenor A-flat3, m4 beat 1 bass A-flat2. The closing sonority is exactly two open noteheads (tenor A-flat3, bass D-flat3) under the soprano's tied half notes: an earlier render-diff's report of a three-note divisi there conflated the echo's D-flat4 chord with the final chord, so no divisi reduction is involved. Printed accidentals each checked on the plate: G-flat throughout; naturals on alto e' and bass g at m6 b4 and m14 b4; natural on the alto g' in m11 (courtesy flat restoring g-flat in m12); C-flat as the seventh at m13 in the Cyber Hymnal is NOT in the plate — the plate's \"see\" chord is tenor c' (natural by signature) over bass f. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-27 from the 1898 Pentecostal Praises page image (archive.org pentecostalprais00kirk leaf 0156 = p. 148), replacing the prior encoding derived from The Cyber Hymnal's SATB MIDI (when_we_all_get_to_heaven.mid via tools/reconstruct_voices.py, C major transposed to the 1898 D-flat). The Cyber Hymnal reading was kept as the reconciliation prior; its homophonic chorus is a reduction and was replaced by the plate's antiphonal texture. Slug retained for platform continuity.", "encoding_license": "PD-dedication"}, "music_ly": "%% HEAVEN (8.7.8.7 with Refrain) - Emily D. Wilson, 1898, for E. E. Hewitt's\n%% \"When We All Get to Heaven\". NOTE-DATA WITNESS: the 1898 FIRST PRINTING,\n%% Pentecostal Praises, ed. Wm. J. Kirkpatrick & H. L. Gilmour (Philadelphia:\n%% Hall-Mack Co., 1898), p. 148, \"Copyright, 1898, by Mrs. J. G. Wilson.\" -\n%% transcribed notehead by notehead from the archive.org scan\n%% (pentecostalprais00kirk, leaf 0156): staff lines pixel-detected per staff\n%% (staff-space 23.5px, flat to +-1px), every chord located by ellipse\n%% convolution and measured by column-profile centroid, then re-read by eye\n%% at 3-6x with a staff-step grid, then reconciled against the Cyber Hymnal\n%% reduction as a suspicious prior. Evidence pack: review/heaven-1898/.\n%% (The slug keeps its historical `heaven-cyberhymnal` name - the Cyber\n%% Hymnal MIDI was the ORIGINAL encoding source and the render indexes and\n%% pinned collections key on the slug - but the notes below are the 1898\n%% plate's, not the CH reduction's.)\n%%\n%% THE 1898 CHORUS IS ANTIPHONAL, and so is the verse's last phrase. The\n%% soprano sustains (\"all\", \"heav'n\", \"day...be\", \"place\") while ALTO, tenor\n%% and bass rest (printed old-style quarter rests, upper staff for the alto)\n%% and answer on a second, smaller lyric row: \"for us a place.\" (m7 b4-m8),\n%% \"When we all\" (m9, m13), \"What a day of rejoicing that will be!\"\n%% (m11 b2-m12), \"and shout the victo-ry.\" (m15 b4-m16). The Cyber Hymnal\n%% flattens all of this to a homophonic chorus; its readings that this file\n%% previously carried are now replaced by the plate's:\n%%   - m2 b2 tenor as (CH des'), m4 b1 bass as, (CH c) - the two divergences\n%%     the old render-diff recorded, both confirmed by centroid measurement;\n%%   - m7: alto f' f' ges' ges' / tenor des' des' es' as / bass as as as as\n%%     (lower voices in plain quarters, T+B b4 a printed unison single head);\n%%   - m8: lower voices sing the \"for us a place.\" echo in quarters\n%%     (f'/ges'/f', as/bes/as, des/des/des) then REST the pickup beat -\n%%     the \"When we\" up-beats are the soprano's alone, both times;\n%%   - m9/m11/m13: echo entries r4 + 8. 16 (+4) as measured;\n%%   - m12: alto ges' (plate prints a courtesy flat after m11's g-naturals)\n%%     over five T+B <c' as> chords (each a measured h=48 double head);\n%%   - m13 \"see\": T c'-natural + B f (CH read ces'/des);\n%%   - m15: lower voices in plain quarters under the soprano gallop;\n%%   - m16: soprano des''2~des''2 AS PRINTED (tied halves, not CH's whole),\n%%     echo \"and(m15 b4) shout the vic-to-ry.\" converging on half notes at\n%%     b3. The final sonority is exactly TWO open heads, tenor as + bass des\n%%     (A and D lines, arcs measured): the \"three-note divisi D-flat4 +\n%%     A-flat3 + D-flat3\" the old render-diff reported conflated the echo's\n%%     <des' des> (x~1424) with the final <as des> (x~1633-52); no divisi\n%%     exists, so no house-style reduction is needed - the complete D-flat\n%%     triad is the plate's own.\n%% Accidentals, each verified on the plate: G-flat throughout; m6 b4 and\n%% m14 b4 print naturals on BOTH the alto e' and the bass g (common-tone\n%% dim.7); m11 prints a natural before the alto g' (\"day\"), good for the\n%% bar; m13 b4 tenor c' is plain (C is natural in the signature).\n%% D-flat major, 4/4, no pickup. 66 soprano noteheads = 65 lyric slots\n%% (verse notes 1-34 with the four fixed slurred melismas, refrain notes\n%% 35-66 with the final tie); the m16 tie is AFTER the refrain anchor so\n%% the note-35 refrain plan is unaffected.\n%% The echo lyric row itself is the sidecar's bass_echo (five segments,\n%% placed by rhythm); the plate flags every echo eighth - the corpus beams\n%% them under a held soprano syllable by the automatic house rule (7d9b214).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  as'4 as'4 as'4 des''4 f'8( ges'8) as'8( bes'8) as'4 f'4 ges'4 ges'4 ges'8( f'8) es'8( des'8) ges'4 as'4 f'2 as'4 des''4 des''4 as'4 bes'4 des''4 des''4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2. f'8. as'16 des''2. c''8. bes'16 as'2 f'4 as'8. as'16 des''4 des''8. des''16 des''8. des''16 c''8. des''16 es''2. as'8. des''16 f''2. des''4 des''2 bes'4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2~ des''2\n}\nalto = {\n  f'4 f'4 f'4 f'4 des'8( es'8) f'8( ges'8) f'4 des'4 es'4 es'4 es'8( des'8) c'8( des'8) es'4 c'4 des'2 f'4 f'4 f'4 f'4 ges'4 ges'4 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'4 ges'4 f'4 r4 r4 f'8. f'16 f'4 as'8. ges'16 f'2 des'4 r4 r4 as'8. as'16 g'4 g'8. g'16 ges'8. ges'16 ges'8. ges'16 ges'4 r4 r4 as'8. as'16 as'4 as'4 ges'2 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'8. f'16 ges'8. ges'16 f'2\n}\ntenor = {\n  des'4 des'4 des'4 as4 as4 as4 des'4 as4 c'4 c'4 as4 as4 as4 as4 as2 des'4 as4 as4 des'4 des'4 bes4 bes4 des'4 des'4 des'4 es'4 as4 as4 bes4 as4 r4 r4 as8. as16 as4 des'8. des'16 des'2 as4 r4 r4 as8. as16 bes4 bes8. bes16 c'8. c'16 c'8. c'16 c'4 r4 r4 des'8. des'16 as4 c'4 bes2 des'4 des'4 des'4 des'4 es'4 es'4 des'8. as16 bes8. bes16 as2\n}\nbass = {\n  des4 des4 des4 des4 des4 des4 des4 des4 as,4 as,4 as,4 as,4 as,4 as,4 des2 des4 des4 des4 des4 ges4 ges4 ges4 g4 as4 as4 as4 as4 des4 des4 des4 r4 r4 des8. des16 des4 des8. des16 des2 des4 r4 r4 f8. f16 es4 es8. es16 as8. as16 as8. as16 as4 r4 r4 des8. des16 des4 f4 ges2 ges4 g4 as4 as4 as4 as4 des8. des16 des8. des16 des2\n}\n"}, "harmonizations": [{"slug": "heaven-cyberhymnal", "tune": "heaven", "music_file": "heaven-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 34, 41, 51], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "for us a place.", "durations": ["4", "4", "4", "4"], "onset": 27}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 33}, {"text": "What a day of re -- joic -- ing that will be!", "durations": ["8.", "16", "4", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 41}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 49}, {"text": "and shout the vic -- to -- ry.", "durations": ["4", "8.", "16", "8.", "16", "2"], "onset": 59}]}, "source_line": "HEAVEN, Emily D. Wilson, 1898; four-part antiphonal setting from the first printing, Pentecostal Praises (Philadelphia: Hall-Mack Co., 1898). Public domain.", "provenance": {"layer": "harmonization", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HEAVEN with its four-part setting, first printed in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, over the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" — US public domain (published pre-1931). What is encoded here IS that page: transcribed notehead by notehead from the archive.org scan (pentecostalprais00kirk, leaf 0156), each chord fixed by pixel measurement against per-staff detected staff lines and re-read by eye at 3-6x, then reconciled against The Cyber Hymnal's public-domain reduction as a prior (per-chord log: review/heaven-1898/READING.md). The 1898 chorus is antiphonal — soprano sustains while alto, tenor and bass rest and answer on a second underlaid lyric row, and the verse's last bar does the same (\"for us a place.\") — and that texture is encoded faithfully here (the answer row is the bass_echo sidecar field). The two verse readings where the Cyber Hymnal diverges from the plate follow the plate: m2 beat 2 tenor A-flat3, m4 beat 1 bass A-flat2. The closing sonority is exactly two open noteheads (tenor A-flat3, bass D-flat3) under the soprano's tied half notes: an earlier render-diff's report of a three-note divisi there conflated the echo's D-flat4 chord with the final chord, so no divisi reduction is involved. Printed accidentals each checked on the plate: G-flat throughout; naturals on alto e' and bass g at m6 b4 and m14 b4; natural on the alto g' in m11 (courtesy flat restoring g-flat in m12); C-flat as the seventh at m13 in the Cyber Hymnal is NOT in the plate — the plate's \"see\" chord is tenor c' (natural by signature) over bass f. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-27 from the 1898 Pentecostal Praises page image (archive.org pentecostalprais00kirk leaf 0156 = p. 148), replacing the prior encoding derived from The Cyber Hymnal's SATB MIDI (when_we_all_get_to_heaven.mid via tools/reconstruct_voices.py, C major transposed to the 1898 D-flat). The Cyber Hymnal reading was kept as the reconciliation prior; its homophonic chorus is a reduction and was replaced by the plate's antiphonal texture. Slug retained for platform continuity.", "encoding_license": "PD-dedication"}, "music_ly": "%% HEAVEN (8.7.8.7 with Refrain) - Emily D. Wilson, 1898, for E. E. Hewitt's\n%% \"When We All Get to Heaven\". NOTE-DATA WITNESS: the 1898 FIRST PRINTING,\n%% Pentecostal Praises, ed. Wm. J. Kirkpatrick & H. L. Gilmour (Philadelphia:\n%% Hall-Mack Co., 1898), p. 148, \"Copyright, 1898, by Mrs. J. G. Wilson.\" -\n%% transcribed notehead by notehead from the archive.org scan\n%% (pentecostalprais00kirk, leaf 0156): staff lines pixel-detected per staff\n%% (staff-space 23.5px, flat to +-1px), every chord located by ellipse\n%% convolution and measured by column-profile centroid, then re-read by eye\n%% at 3-6x with a staff-step grid, then reconciled against the Cyber Hymnal\n%% reduction as a suspicious prior. Evidence pack: review/heaven-1898/.\n%% (The slug keeps its historical `heaven-cyberhymnal` name - the Cyber\n%% Hymnal MIDI was the ORIGINAL encoding source and the render indexes and\n%% pinned collections key on the slug - but the notes below are the 1898\n%% plate's, not the CH reduction's.)\n%%\n%% THE 1898 CHORUS IS ANTIPHONAL, and so is the verse's last phrase. The\n%% soprano sustains (\"all\", \"heav'n\", \"day...be\", \"place\") while ALTO, tenor\n%% and bass rest (printed old-style quarter rests, upper staff for the alto)\n%% and answer on a second, smaller lyric row: \"for us a place.\" (m7 b4-m8),\n%% \"When we all\" (m9, m13), \"What a day of rejoicing that will be!\"\n%% (m11 b2-m12), \"and shout the victo-ry.\" (m15 b4-m16). The Cyber Hymnal\n%% flattens all of this to a homophonic chorus; its readings that this file\n%% previously carried are now replaced by the plate's:\n%%   - m2 b2 tenor as (CH des'), m4 b1 bass as, (CH c) - the two divergences\n%%     the old render-diff recorded, both confirmed by centroid measurement;\n%%   - m7: alto f' f' ges' ges' / tenor des' des' es' as / bass as as as as\n%%     (lower voices in plain quarters, T+B b4 a printed unison single head);\n%%   - m8: lower voices sing the \"for us a place.\" echo in quarters\n%%     (f'/ges'/f', as/bes/as, des/des/des) then REST the pickup beat -\n%%     the \"When we\" up-beats are the soprano's alone, both times;\n%%   - m9/m11/m13: echo entries r4 + 8. 16 (+4) as measured;\n%%   - m12: alto ges' (plate prints a courtesy flat after m11's g-naturals)\n%%     over five T+B <c' as> chords (each a measured h=48 double head);\n%%   - m13 \"see\": T c'-natural + B f (CH read ces'/des);\n%%   - m15: lower voices in plain quarters under the soprano gallop;\n%%   - m16: soprano des''2~des''2 AS PRINTED (tied halves, not CH's whole),\n%%     echo \"and(m15 b4) shout the vic-to-ry.\" converging on half notes at\n%%     b3. The final sonority is exactly TWO open heads, tenor as + bass des\n%%     (A and D lines, arcs measured): the \"three-note divisi D-flat4 +\n%%     A-flat3 + D-flat3\" the old render-diff reported conflated the echo's\n%%     <des' des> (x~1424) with the final <as des> (x~1633-52); no divisi\n%%     exists, so no house-style reduction is needed - the complete D-flat\n%%     triad is the plate's own.\n%% Accidentals, each verified on the plate: G-flat throughout; m6 b4 and\n%% m14 b4 print naturals on BOTH the alto e' and the bass g (common-tone\n%% dim.7); m11 prints a natural before the alto g' (\"day\"), good for the\n%% bar; m13 b4 tenor c' is plain (C is natural in the signature).\n%% D-flat major, 4/4, no pickup. 66 soprano noteheads = 65 lyric slots\n%% (verse notes 1-34 with the four fixed slurred melismas, refrain notes\n%% 35-66 with the final tie); the m16 tie is AFTER the refrain anchor so\n%% the note-35 refrain plan is unaffected.\n%% The echo lyric row itself is the sidecar's bass_echo (five segments,\n%% placed by rhythm); the plate flags every echo eighth - the corpus beams\n%% them under a held soprano syllable by the automatic house rule (7d9b214).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  as'4 as'4 as'4 des''4 f'8( ges'8) as'8( bes'8) as'4 f'4 ges'4 ges'4 ges'8( f'8) es'8( des'8) ges'4 as'4 f'2 as'4 des''4 des''4 as'4 bes'4 des''4 des''4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2. f'8. as'16 des''2. c''8. bes'16 as'2 f'4 as'8. as'16 des''4 des''8. des''16 des''8. des''16 c''8. des''16 es''2. as'8. des''16 f''2. des''4 des''2 bes'4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2~ des''2\n}\nalto = {\n  f'4 f'4 f'4 f'4 des'8( es'8) f'8( ges'8) f'4 des'4 es'4 es'4 es'8( des'8) c'8( des'8) es'4 c'4 des'2 f'4 f'4 f'4 f'4 ges'4 ges'4 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'4 ges'4 f'4 r4 r4 f'8. f'16 f'4 as'8. ges'16 f'2 des'4 r4 r4 as'8. as'16 g'4 g'8. g'16 ges'8. ges'16 ges'8. ges'16 ges'4 r4 r4 as'8. as'16 as'4 as'4 ges'2 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'8. f'16 ges'8. ges'16 f'2\n}\ntenor = {\n  des'4 des'4 des'4 as4 as4 as4 des'4 as4 c'4 c'4 as4 as4 as4 as4 as2 des'4 as4 as4 des'4 des'4 bes4 bes4 des'4 des'4 des'4 es'4 as4 as4 bes4 as4 r4 r4 as8. as16 as4 des'8. des'16 des'2 as4 r4 r4 as8. as16 bes4 bes8. bes16 c'8. c'16 c'8. c'16 c'4 r4 r4 des'8. des'16 as4 c'4 bes2 des'4 des'4 des'4 des'4 es'4 es'4 des'8. as16 bes8. bes16 as2\n}\nbass = {\n  des4 des4 des4 des4 des4 des4 des4 des4 as,4 as,4 as,4 as,4 as,4 as,4 des2 des4 des4 des4 des4 ges4 ges4 ges4 g4 as4 as4 as4 as4 des4 des4 des4 r4 r4 des8. des16 des4 des8. des16 des2 des4 r4 r4 f8. f16 es4 es8. es16 as8. as16 as8. as16 as4 r4 r4 des8. des16 des4 f4 ges2 ges4 g4 as4 as4 as4 as4 des8. des16 des8. des16 des2\n}\n", "preferred": true}]}, "helmsley": {"slug": "helmsley", "name": "HELMSLEY", "meter_label": "8.7.8.7.12.7", "meter": {"pattern": [8, 7, 8, 7, 12, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-olivers", "composer_date": "1765", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "helmsley-english-hymnal-1906", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HELMSLEY, attr. Thomas Olivers, 1765. US-PD (pub. pre-1931).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "helmsley-english-hymnal-1906", "tune": "helmsley", "music_file": "helmsley-english-hymnal-1906.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 25, 40, 50, 63, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The English Hymnal, 1906; tune HELMSLEY attr. Thomas Olivers, 1765. US-PD (pub. pre-1931).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:37", "encoding_license": "PD-dedication"}, "music_ly": "%% Lo! He Comes With Clouds Descending\n%% Imported from Open Hymnal ABC X:37 via tools/abc_import.py\n%% Words: John Cennick, 1752, alt. Charles Wesley, 1758. Music: HELMSLEY, attr. Thomas Olivers, 1765; setting The English Hymnal, 1906. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 b'4( d''4) g'4( fis'4) e'4( d'4) e'4.( fis'8 g'4) fis'8( e'8) d'4.( c'8) b2 d'2. d'4 g'2 a'2 b'4( d''4) c''4( b'4) b'2( a'2) g'2 b'4( d''4) g'4( fis'4) e'4( d'4) e'4.( fis'8 g'4) fis'8( e'8) d'4.( c'8) b2 d'2. d'4 g'2 a'2 b'4( d''4) c''4( b'4) b'2( a'2) a'4.( b'8 a'4) b'4 c''2 b'2 g'4.( a'8 g'4) c''4 b'4( a'4) g'2 b'4.( c''8 b'4) d''4 c''4( b'4) a'2 g'2 a'4( b'4) d'2 c''2 b'2 a'2 g'1\n}\nalto = {\n  d'2 d'2 b4( d'4) c'4( d'4) c'4.( d'8 e'4) d'8 c'8 a2 g2 a2. d'4 d'2 e'4( fis'4) g'4( b'4) a'4( g'4) g'2( fis'2) d'2 d'2 b4( d'4) c'4( d'4) c'4.( d'8 e'4) d'8 c'8 a2 g2 a2. d'4 d'2 e'4( fis'4) g'4( b'4) a'4( g'4) g'2( fis'2) fis'4.( g'8 fis'4) g'4 e'4( fis'4) g'2 d'2( e'4) e'4 g'4( fis'4) e'2 e'2. d'4 fis'4( g'4) g'4( fis'4) d'2 d'2 d'2 g'2 g'2 fis'2 g'1\n}\ntenor = {\n  b2 b4( a4) g4( b4) g8( a8 b4) g2. g4 fis2 g2 fis4( g4 fis4) fis4 g2 c'2 b2 e'2 d'1 b2 b4( a4) g4( b4) g8( a8 b4) g2. g4 fis2 g2 fis4( g4 fis4) fis4 g2 c'2 b2 e'2 d'1 d'2. d'4 c'2 d'2 b4.( a8 b4) c'4 d'4.( c'8) b2 g4.( a8 g4) g4 a4( b8 c'8) d'2 d'2 c'4( b4) a2 g4( a4) b4( c'4) d'4( c'4) b1\n}\nbass = {\n  g2 g4( fis4) e4( b,4) c4( g,4) c2. c4 d2 g,2 d4( e4 d4) c4 b,2 a,2 g,2 c2 d1 g2 g4( fis4) e4( b,4) c4( g,4) c2. c4 d2 g,2 d4( e4 d4) c4 b,2 a,2 g,2 c2 d1 d2. b,4 a,2 g,2 g4.( fis8 g4) a,4 b,8( c8 d4) e2 e2. b,4 a,4( g,4) d2 b2 a4( g4) fis2 e2 d2 d2 g,1\n}\n"}, "harmonizations": [{"slug": "helmsley-english-hymnal-1906", "tune": "helmsley", "music_file": "helmsley-english-hymnal-1906.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 25, 40, 50, 63, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The English Hymnal, 1906; tune HELMSLEY attr. Thomas Olivers, 1765. US-PD (pub. pre-1931).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:37", "encoding_license": "PD-dedication"}, "music_ly": "%% Lo! He Comes With Clouds Descending\n%% Imported from Open Hymnal ABC X:37 via tools/abc_import.py\n%% Words: John Cennick, 1752, alt. Charles Wesley, 1758. Music: HELMSLEY, attr. Thomas Olivers, 1765; setting The English Hymnal, 1906. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 b'4( d''4) g'4( fis'4) e'4( d'4) e'4.( fis'8 g'4) fis'8( e'8) d'4.( c'8) b2 d'2. d'4 g'2 a'2 b'4( d''4) c''4( b'4) b'2( a'2) g'2 b'4( d''4) g'4( fis'4) e'4( d'4) e'4.( fis'8 g'4) fis'8( e'8) d'4.( c'8) b2 d'2. d'4 g'2 a'2 b'4( d''4) c''4( b'4) b'2( a'2) a'4.( b'8 a'4) b'4 c''2 b'2 g'4.( a'8 g'4) c''4 b'4( a'4) g'2 b'4.( c''8 b'4) d''4 c''4( b'4) a'2 g'2 a'4( b'4) d'2 c''2 b'2 a'2 g'1\n}\nalto = {\n  d'2 d'2 b4( d'4) c'4( d'4) c'4.( d'8 e'4) d'8 c'8 a2 g2 a2. d'4 d'2 e'4( fis'4) g'4( b'4) a'4( g'4) g'2( fis'2) d'2 d'2 b4( d'4) c'4( d'4) c'4.( d'8 e'4) d'8 c'8 a2 g2 a2. d'4 d'2 e'4( fis'4) g'4( b'4) a'4( g'4) g'2( fis'2) fis'4.( g'8 fis'4) g'4 e'4( fis'4) g'2 d'2( e'4) e'4 g'4( fis'4) e'2 e'2. d'4 fis'4( g'4) g'4( fis'4) d'2 d'2 d'2 g'2 g'2 fis'2 g'1\n}\ntenor = {\n  b2 b4( a4) g4( b4) g8( a8 b4) g2. g4 fis2 g2 fis4( g4 fis4) fis4 g2 c'2 b2 e'2 d'1 b2 b4( a4) g4( b4) g8( a8 b4) g2. g4 fis2 g2 fis4( g4 fis4) fis4 g2 c'2 b2 e'2 d'1 d'2. d'4 c'2 d'2 b4.( a8 b4) c'4 d'4.( c'8) b2 g4.( a8 g4) g4 a4( b8 c'8) d'2 d'2 c'4( b4) a2 g4( a4) b4( c'4) d'4( c'4) b1\n}\nbass = {\n  g2 g4( fis4) e4( b,4) c4( g,4) c2. c4 d2 g,2 d4( e4 d4) c4 b,2 a,2 g,2 c2 d1 g2 g4( fis4) e4( b,4) c4( g,4) c2. c4 d2 g,2 d4( e4 d4) c4 b,2 a,2 g,2 c2 d1 d2. b,4 a,2 g,2 g4.( fis8 g4) a,4 b,8( c8 d4) e2 e2. b,4 a,4( g,4) d2 b2 a4( g4) fis2 e2 d2 d2 g,1\n}\n", "preferred": true}]}, "hendon": {"slug": "hendon", "name": "HENDON", "meter_label": "7.7.7.7.7", "meter": {"pattern": [7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henri-abraham-cesar-malan", "composer_date": "1827", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "hendon-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "HENDON (7.7.7.7.7), melody by Henri Abraham César Malan (Chants de Sion, 1827). A public-domain four-part setting (harmony by Lowell Mason, Carmina Sacra, 1841) encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). The tune is melismatic: 46 soprano notes carry the 35 syllables of the 7.7.7.7.7 text. All components pre-1931 (Malan d. 1864, Mason d. 1872).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hendon\" (H. A. César Malan, 1827; harmony Lowell Mason, 1841); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "hendon-cyberhymnal", "tune": "hendon", "music_file": "hendon-cyberhymnal.ly", "harmonizer": "lowell-mason", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HENDON, H. A. César Malan, 1827; harmony Lowell Mason, 1841. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HENDON (H. A. César Malan, Chants de Sion, 1827); the standard four-part harmonization by Lowell Mason (Carmina Sacra, 1841). A public-domain setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; all pitches diatonic). All components pre-1931 (Malan d. 1864, Mason d. 1872).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hendon\" (Malan 1827; harmony Mason 1841); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HENDON (7.7.7.7.7) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hendon\", H. A. César Malan, 1827;\n%% harmony Lowell Mason, 1841) with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving. Melismatic 7.7.7.7.7 (46 soprano notes carry 35 syllables via\n%% 11 fixed melisma continuations). Every pitch is diatonic to F major — no\n%% accidentals, no enharmonic respellings. 10 bars of 4/4; final note a half note.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 f'8 c'8 f'8 a'8 | c''4 bes'4 a'2 | a'4 a'4 a'8 g'8 bes'8 g'8 | f'4 e'8 g'8 f'2 | a'4 a'4 g'4 g'8 a'8 |\n  bes'4 c''4 bes'4 a'4 | c''4 c''4 d''4 c''4 | c''8 bes'8 bes'8 a'8 a'4 g'4 | f'4 g'4 a'4 bes'8 g'8 | f'4 e'4 f'2\n}\nalto = {\n  c'4 c'4 f'8 c'8 c'8 a'8 | f'4 e'4 c'2 | c'4 d'4 d'8 g'8 d'8 g'8 | c'4 c'8 g'8 c'2 | f'4 f'4 e'4 e'8 f'8 |\n  g'4 a'4 g'4 f'4 | f'4 f'4 f'4 f'4 | g'8 bes'8 f'8 a'8 f'4 e'4 | f'4 e'4 f'4 d'8 g'8 | c'4 c'4 c'2\n}\ntenor = {\n  a4 a4 a4 a4 | a4 g8 c'8 c'2 | f4 f4 bes4 bes4 | a4 g8 bes8 a2 | c'4 c'4 c'4 c'4 |\n  c'4 c'4 c'2 | a4 a4 bes4 a4 | c'4 c'4 c'2 | a4 c'4 c'4 d'8 bes8 | a4 g4 a2\n}\nbass = {\n  f4 f4 f4 f4 | c4 c8 c'8 f2 | f4 d4 bes,4 g,4 | c4 c8 bes8 f,2 | f4 f4 c4 c4 |\n  e4 c4 f2 | f4 f4 bes,4 f4 | e4 f4 c2 | d4 c4 f4 bes,8 bes8 | c4 c4 f,2\n}\n"}, "harmonizations": [{"slug": "hendon-cyberhymnal", "tune": "hendon", "music_file": "hendon-cyberhymnal.ly", "harmonizer": "lowell-mason", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HENDON, H. A. César Malan, 1827; harmony Lowell Mason, 1841. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HENDON (H. A. César Malan, Chants de Sion, 1827); the standard four-part harmonization by Lowell Mason (Carmina Sacra, 1841). A public-domain setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; all pitches diatonic). All components pre-1931 (Malan d. 1864, Mason d. 1872).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hendon\" (Malan 1827; harmony Mason 1841); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HENDON (7.7.7.7.7) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hendon\", H. A. César Malan, 1827;\n%% harmony Lowell Mason, 1841) with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving. Melismatic 7.7.7.7.7 (46 soprano notes carry 35 syllables via\n%% 11 fixed melisma continuations). Every pitch is diatonic to F major — no\n%% accidentals, no enharmonic respellings. 10 bars of 4/4; final note a half note.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 f'8 c'8 f'8 a'8 | c''4 bes'4 a'2 | a'4 a'4 a'8 g'8 bes'8 g'8 | f'4 e'8 g'8 f'2 | a'4 a'4 g'4 g'8 a'8 |\n  bes'4 c''4 bes'4 a'4 | c''4 c''4 d''4 c''4 | c''8 bes'8 bes'8 a'8 a'4 g'4 | f'4 g'4 a'4 bes'8 g'8 | f'4 e'4 f'2\n}\nalto = {\n  c'4 c'4 f'8 c'8 c'8 a'8 | f'4 e'4 c'2 | c'4 d'4 d'8 g'8 d'8 g'8 | c'4 c'8 g'8 c'2 | f'4 f'4 e'4 e'8 f'8 |\n  g'4 a'4 g'4 f'4 | f'4 f'4 f'4 f'4 | g'8 bes'8 f'8 a'8 f'4 e'4 | f'4 e'4 f'4 d'8 g'8 | c'4 c'4 c'2\n}\ntenor = {\n  a4 a4 a4 a4 | a4 g8 c'8 c'2 | f4 f4 bes4 bes4 | a4 g8 bes8 a2 | c'4 c'4 c'4 c'4 |\n  c'4 c'4 c'2 | a4 a4 bes4 a4 | c'4 c'4 c'2 | a4 c'4 c'4 d'8 bes8 | a4 g4 a2\n}\nbass = {\n  f4 f4 f4 f4 | c4 c8 c'8 f2 | f4 d4 bes,4 g,4 | c4 c8 bes8 f,2 | f4 f4 c4 c4 |\n  e4 c4 f2 | f4 f4 bes,4 f4 | e4 f4 c2 | d4 c4 f4 bes,8 bes8 | c4 c4 f,2\n}\n", "preferred": true}]}, "herzliebster-jesu": {"slug": "herzliebster-jesu", "name": "HERZLIEBSTER JESU", "meter_label": "11.11.11.5", "meter": {"pattern": [11, 11, 11, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1640", "canonical_key": {"tonic": "g", "mode": "minor"}, "preferred_harmonization": "herzliebster-jesu-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "HERZLIEBSTER JESU, the Passion chorale by Johann Crüger, first published in Newes vollkömliches Gesangbuch Augsburgischer Confession (Berlin, 1640) for Johann Heermann's \"Herzliebster Jesu\"; Bach built part of his St. Matthew Passion on it. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G minor, 4/4; fully syllabic 11.11.11.5, 38 soprano notes for 38 syllables; the tenor's raised leading tone F-sharp is printed at the phrase-two and final cadences, with a courtesy natural where the bass returns to F). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Herzliebster Jesu\" (Johann Crüger, 1640); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "herzliebster-jesu-cyberhymnal", "tune": "herzliebster-jesu", "music_file": "herzliebster-jesu-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HERZLIEBSTER JESU, Johann Crüger, 1640. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HERZLIEBSTER JESU (Johann Crüger, Berlin 1640); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G minor, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Herzliebster Jesu\" (Johann Crüger, 1640); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HERZLIEBSTER JESU (11.11.11.5) — four SATB voice streams, canonical key G minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Herzliebster Jesu\", Johann Crüger,\n%% Berlin 1640) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 11.11.11.5 (38 soprano notes = 38 syllables);\n%% the four phrases cadence on soprano notes 11, 22, 33 and the final half note.\n%% The tenor F-sharps (bars 4-5 and the final bar) are the raised leading tone\n%% printed in the source; the bass F-natural in bar 5 carries the courtesy natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 | f'2 d'2 | g'4 a'4 bes'4 bes'4 | c''2 a'2 | a'2 bes'4 c''4 | d''2 bes'2 | es''4 es''4 d''4 d''4 | c''2 bes'2 | bes'2 a'4 g'4 | f'2 d'2 | f'4 f'4 g'4 f'4 | es'2 d'2 | d''2 c''4 bes'4 | a'2 g'2\n}\nalto = {\n  d'2 es'4 es'4 | c'2 d'2 | d'4 d'4 g'4 f'4 | es'2 d'2 | d'2 d'4 f'4 | f'2 g'2 | g'4 g'4 f'4 f'4 | f'2 d'2 | g'2 f'4 es'4 | d'2 bes2 | d'4 c'4 d'4 d'4 | c'2 bes2 | d'2 es'4 d'4 | d'4. c'8 bes2\n}\ntenor = {\n  bes2 bes4 c'4 | a2 f2 | bes4 a4 g4 bes4 | g2 fis2 | fis2 g4 a4 | bes2 g2 | c'4 g8 a8 bes4 bes4 | bes4 a4 bes2 | d'2 d'4 bes4 | bes2 f2 | f4 a4 bes4 bes4 | g2 g2 | f4 bes4 g4 g4 | g4 fis4 g2\n}\nbass = {\n  g2 es4 c4 | f2 bes,2 | g4 f4 es4 d4 | c2 d2 | d2 g4 f4 | bes,2 es2 | c4 c4 d4. es8 | f2 bes,2 | g,2 d4 es4 | bes,2 bes,2 | bes,4 a,4 g,4 bes,4 | c2 g,2 | bes,2 c4 g,4 | d2 g,2\n}\n"}, "harmonizations": [{"slug": "herzliebster-jesu-bwv2443", "tune": "herzliebster-jesu", "music_file": "herzliebster-jesu-bwv2443.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HERZLIEBSTER JESU, Johann Crüger, 1640; harm. J. S. Bach (BWV 244/3, St Matthew Passion). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HERZLIEBSTER JESU (Johann Crüger, Berlin 1640); four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 244/3 — the opening chorale of the St Matthew Passion (1727), \"Herzliebster Jesu, was hast du verbrochen\" — No. 78 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (imports/batchC/chor078.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified note-for-note against the kern source in all four voices (the editorial naturals in bars 4 and 8, the tenor sixteenths in bar 9). Bach's key is B minor (the kern's *k[f#c#] signature with *b:); the corpus file is written a major third down in G minor, the tune's corpus canonical key (every note machine-verified -4 semitones from the kern with diatonic spelling; the kern's B minor stands unaltered in imports/batchC/). 4/4, quarter pickup, through-composed (no sectional repeat); fermatas at the four phrase ends (soprano ordinals 13, 26, 38, 43) are omitted per house style. Machine comparison against the independently engraved music21 corpus edition (imports/batchC/bwv244.3.mxl, full German underlay): alto and bass pitch-identical event-for-event; the soprano differs only in bar 10, where the mxl writes an anticipation (d''8 cis''8 cis''2) for the kern's quarter plus half; the tenor differs at one note, the bar-6 fermata chord (mxl a, kern d') — the kern reading (the declared source) is kept. Tune identity against the corpus Crueger setting (herzliebster-jesu-cyberhymnal, G minor): at a fixed -4 semitone offset 37 of 38 corpus soprano notes align (1 substitution in phrase 1 plus 5 Bach passing/anticipation notes; 0 corpus-only notes) — the same tune in Bach's filled-in melodic form. The melisma slurs follow Bach's own underlay as read from the mxl witness's lyric spine: its 38 German syllables leave melisma continuations at soprano notes 5, 12, 18, 23 and 32 of the kern's 43-note reading.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor078.krn (BWV 244/3, Breitkopf/Riemenschneider No. 78), converted with tools/kern2ly.py; underlay from the music21 corpus bwv244.3.mxl lyric spine", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% HERZLIEBSTER JESU (11.11.11.5) — four SATB voice streams, canonical key G minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 244/3 (Breitkopf/Riemenschneider No. 78) —\n%% the opening chorale of the St Matthew Passion, \"Herzliebster Jesu, was hast\n%% du verbrochen\" — converted from the craigsapp/bach-370-chorales kern edition\n%% (imports/batchC/chor078.krn) with tools/kern2ly.py and verified note-for-note\n%% against the kern source in all four voices (the editorial naturals in bars\n%% 4 and 8, the tenor sixteenths in bar 9). Bach's key is B minor (the kern's\n%% *k[f#c#] signature with *b:); written here a major third down in G minor,\n%% the tune's corpus canonical key (every note verified -4 semitones from the\n%% kern, diatonic spelling), so both harmonizations of HERZLIEBSTER JESU share\n%% one canonical key as the duplicated-fact invariant requires. 4/4, quarter\n%% pickup, through-composed (no sectional repeat, no ties).\n%% The source prints fermatas at soprano ordinals 13, 26, 38, 43\n%% (phrases 13+13+12+5 notes, one per text line of 11.11.11.5); fermatas are\n%% omitted per house style. Machine comparison against the independently\n%% engraved music21 corpus edition (imports/batchC/bwv244.3.mxl): alto and\n%% bass pitch-identical event-for-event; the soprano differs only in bar 10,\n%% where the mxl writes an anticipation (d''8 cis''8 cis''2) for the kern's\n%% dd4 cc#2; the tenor differs at one note, the bar-6 fermata chord (mxl a,\n%% kern d') — the kern reading (the declared source) is kept. MELISMATIC:\n%% 43 soprano notes for 38 syllables; the melisma map follows Bach's own\n%% German underlay in the texted mxl witness: two-note slurs at soprano notes\n%% 4-5 (Je-su), 11-12 (bro-chen), 17-18 (solch), 22-23 (hat), 31-32\n%% (Schuld, in -> \"Schul-din\"). The setting holds the continuations with '_'\n%% at soprano notes 5, 12, 18, 23, 32 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 |\n  g'4 g'4 fis'8( e'8) d'4 |\n  g'4 a'4 bes'4 bes'4 |\n  c''4( bes'4) a'4 a'4 |\n  bes'4 c''4 d''8( c''8) bes'4 |\n  ees''4 ees''4 d''8( c''8) d''4 |\n  c''2 bes'4 bes'4 |\n  a'4 g'4 f'4 d'8( ees'8) |\n  f'4 f'4 g'4 f'4 |\n  ees'2 d'4 d''4 |\n  c''4 bes'4 a'2 |\n  g'2.\n}\n\nalto = {\n  d'4 |\n  ees'4 bes8 c'8 d'4 a4 |\n  d'4 d'4 d'4 d'4 |\n  d'2 d'4 d'4 |\n  d'4 f'4 f'4 g'8 f'8 |\n  ees'4 f'4 f'4 bes'8 a'8 |\n  g'4 f'8 ees'8 d'4 d'4 |\n  c'4 bes4 c'4 bes8 c'8 |\n  d'4 d'4 ees'4 d'4 |\n  d'8 b8 c'4 c'4 bes4 |\n  ees'4 d'4 d'4. c'8 |\n  b2.\n}\n\ntenor = {\n  bes4 |\n  c'4 g4 a8 g8 fis4 |\n  g4 fis4 g8 a8 bes4 |\n  a4 g4 fis4 fis4 |\n  g4 a4 bes8 a8 g8 a8 |\n  bes4 c'4 c'4 bes4 |\n  bes4 a4 bes4 g8 f8 |\n  ees4 ees8 d8 c8 f8 f4 |\n  bes4 bes4 bes4 aes4 |\n  g4. fis16 g16 a4 g4 |\n  g8 fis8 g4 g4 fis4 |\n  d2.\n}\n\nbass = {\n  g4 |\n  c8 d8 ees4 d4 d8 c8 |\n  bes,4 d4 g,4 g4 |\n  fis4 g4 d4 d4 |\n  g4 f4 bes,4 ees8 f8 |\n  g4 a4 bes8 a8 g8 f8 |\n  ees4 f4 bes,4 g,4 |\n  c8 d8 ees4 a,4 bes,4 |\n  bes8 aes8 g8 f8 ees8 d8 c8 b,8 |\n  c2 fis,4 g,4 |\n  a,4 bes,8 c8 d4 d,4 |\n  g,2.\n}\n", "preferred": false}, {"slug": "herzliebster-jesu-cyberhymnal", "tune": "herzliebster-jesu", "music_file": "herzliebster-jesu-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HERZLIEBSTER JESU, Johann Crüger, 1640. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HERZLIEBSTER JESU (Johann Crüger, Berlin 1640); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G minor, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Herzliebster Jesu\" (Johann Crüger, 1640); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HERZLIEBSTER JESU (11.11.11.5) — four SATB voice streams, canonical key G minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Herzliebster Jesu\", Johann Crüger,\n%% Berlin 1640) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 11.11.11.5 (38 soprano notes = 38 syllables);\n%% the four phrases cadence on soprano notes 11, 22, 33 and the final half note.\n%% The tenor F-sharps (bars 4-5 and the final bar) are the raised leading tone\n%% printed in the source; the bass F-natural in bar 5 carries the courtesy natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 | f'2 d'2 | g'4 a'4 bes'4 bes'4 | c''2 a'2 | a'2 bes'4 c''4 | d''2 bes'2 | es''4 es''4 d''4 d''4 | c''2 bes'2 | bes'2 a'4 g'4 | f'2 d'2 | f'4 f'4 g'4 f'4 | es'2 d'2 | d''2 c''4 bes'4 | a'2 g'2\n}\nalto = {\n  d'2 es'4 es'4 | c'2 d'2 | d'4 d'4 g'4 f'4 | es'2 d'2 | d'2 d'4 f'4 | f'2 g'2 | g'4 g'4 f'4 f'4 | f'2 d'2 | g'2 f'4 es'4 | d'2 bes2 | d'4 c'4 d'4 d'4 | c'2 bes2 | d'2 es'4 d'4 | d'4. c'8 bes2\n}\ntenor = {\n  bes2 bes4 c'4 | a2 f2 | bes4 a4 g4 bes4 | g2 fis2 | fis2 g4 a4 | bes2 g2 | c'4 g8 a8 bes4 bes4 | bes4 a4 bes2 | d'2 d'4 bes4 | bes2 f2 | f4 a4 bes4 bes4 | g2 g2 | f4 bes4 g4 g4 | g4 fis4 g2\n}\nbass = {\n  g2 es4 c4 | f2 bes,2 | g4 f4 es4 d4 | c2 d2 | d2 g4 f4 | bes,2 es2 | c4 c4 d4. es8 | f2 bes,2 | g,2 d4 es4 | bes,2 bes,2 | bes,4 a,4 g,4 bes,4 | c2 g,2 | bes,2 c4 g,4 | d2 g,2\n}\n", "preferred": true}]}, "higher-ground": {"slug": "higher-ground", "name": "HIGHER GROUND", "meter_label": "L.M. with Refrain", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "charles-hutchinson-gabriel", "composer_date": "1898", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "higher-ground-hcl-1904", "provenance": {"layer": "tune", "source": "hymns-of-the-christian-life-3-1904", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles H. Gabriel's tune for Oatman's text, first copyrighted by J. Howard Entwisle in 1898 (so stated on the 1912 and 1921 printings; the 1904 printing read for this record says 1899) and published from 1898 onward. Read here from Hymns of the Christian Life No. 3, 1904, no. 200 (archive.org hymnsofchristi1904simp leaf 213), A-flat major, 3/4, dotted-quarter anacrusis; the same reading is in Great Songs of the Church, 1921, no. 127 (archive.org greatsonchur00jorg leaf 94) and Make Christ King, 1912, no. 336 (archive.org makechristkingse00exce leaf 246). PUBLIC DOMAIN ON THE PRINTING'S DATE, not on the composer's life: Gabriel died in 1932, so his death date clears nothing; what clears the tune is first publication before 1931, which three dated pre-1931 printings establish. Identity check on the melody, made only after the notes were read off the plate: the soprano's first fifteen notes measure as scale degrees 551332162165131 in A-flat, matching Hymnary's published incipit for tune authority higher_ground_gabriel digit for digit.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "higher_ground_gabriel"}}, "harmonization": {"slug": "higher-ground-hcl-1904", "tune": "higher-ground", "music_file": "higher-ground-hcl-1904.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "3/4", "pickup": "4.", "system_breaks": [16, 32, 48], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "hymns-of-the-christian-life-3-1904", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Gabriel's own four-part setting, read notehead by notehead off the engraving in Hymns of the Christian Life No. 3 (New York/Nyack: Christian Alliance Publishing Co., 1904), no. 200, printed page 200 — archive.org hymnsofchristi1904simp, scan leaf 213 — whose plate notice reads \"Copyright, 1899, by J. Howard Entwisle. Property of John J. Hood. Used by per.\" The licensing rests on that pre-1931 PUBLICATION, not on the composer's life: Charles H. Gabriel did not die until 1932, so his death date clears nothing. Every chord was measured, not eyeballed: the five staff lines were least-squares fitted per staff from 717-1016 ink-free columns (so scan skew is followed), staff lines and stems were stripped morphologically, and each notehead centroid was converted to a diatonic step offset from the fitted bottom line at its own x. This plate prints space-noteheads off the geometric centre of the space by a constant amount per staff (treble +0.227..+0.258 step, bass -0.246..-0.278 step, line-noteheads within 0.03), so a per-staff per-parity median offset was subtracted; after that, 249 of the 251 noteheads land within 0.16 step of an exact staff position (largest 0.158, only three over 0.12). The two exceptions are the two chords whose noteheads are a SECOND apart and whose blobs merge — the refrain's sixth chord in the lower staff and the second phrase's first anacrusis chord in the upper staff — both read by hand at 10x with the fitted grid drawn over them. The whole page was then measured a second time, by the same method, in an independent dated printing: Great Songs of the Church (Louisville: Word and Work, 1921), no. 127, archive.org greatsonchur00jorg leaf 94, headed \"Copyright, 1898, by J. Howard Entwisle. John J. Hood, owner. Chas. H. Gabriel.\" The two agree on every chord of all four systems, including both hand-read seconds and all five printed unisons; where the 1921 scan was too blurred for the detector (the tail chords of four staves) those chords were read off 5x-10x crops with the grid drawn, and they agree too. A third pre-1931 witness, Make Christ King (Chicago: Glad Tidings Co., 1912), no. 336, archive.org makechristkingse00exce leaf 246, prints the same key, metre and anacrusis but abbreviates the last phrase as a D.S., so it corroborates without being transcribed. No Cyber Hymnal file, MIDI, existing encoding or modern hymnal was used at any stage, as a scaffold or otherwise. Departures from the page, all presentational: the page's \"CHORUS.\" is printed as the house marking \"Refrain\" at the same soprano note; no amen is added; the brace and staff spacing are the engine's. Nothing in the pitches or the rhythm departs from the 1904 engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1904 page image (archive.org hymnsofchristi1904simp leaf 213) by measuring notehead centroids against a locally fitted staff grid; cross-measured against the 1921 printing (greatsonchur00jorg leaf 94)", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "higher_ground_gabriel"}}, "music_ly": "%% HIGHER GROUND (L.M. with Refrain) — \"I'm pressing on the upward way\"\n%% Four SATB voice streams, canonical key A-flat major, 3/4, dotted-quarter\n%% anacrusis, 16 bars (4 four-bar phrases).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — the page, and only the page. Every notehead here was\n%% read off the four-part engraving in HYMNS OF THE CHRISTIAN LIFE No. 3 (New\n%% York / Nyack: Christian Alliance Publishing Co., 1904), no. 200, printed page\n%% 200, archive.org identifier hymnsofchristi1904simp, scan leaf 213\n%% (hymnsofchristi1904simp_0213). That page carries the plate's own notice,\n%% \"Copyright, 1899, by J. Howard Entwisle. Property of John J. Hood. Used by\n%% per.\" No Cyber Hymnal asset, no MIDI, no existing encoding and no modern\n%% hymnal was used at any point, as a scaffold or otherwise.\n%%\n%% HOW THE NOTEHEADS WERE MEASURED (not eyeballed). For each of the eight staves\n%% the five staff lines were fitted LOCALLY: columns carrying nothing but staff-\n%% line ink were found by ink-count, the five line centres were read in each such\n%% column, and a quadratic y_i(x) was least-squares fitted per line (717 to 1016\n%% clean columns per staff), so the scan's skew and warp are followed rather than\n%% assumed away. Staff lines and stems were then removed morphologically\n%% (vertical opening at 2.2x line thickness, horizontal opening at 0.55x the line\n%% spacing) and the surviving notehead blobs kept by size and fill; each blob's\n%% centroid was converted to a diatonic step offset from the fitted BOTTOM line\n%% at that blob's own x. Line spacing on this scan is about 23.3 px, so one\n%% diatonic step is about 11.6 px and 0.15 step is 1.7 px.\n%%\n%% ONE CALIBRATION, STATED PLAINLY. As measured, a notehead standing in a SPACE\n%% does not centre on the geometric middle of the space: in the four treble\n%% staves it measures 0.227 to 0.258 step high, in the four bass staves 0.246 to\n%% 0.278 step low, while noteheads ON a line measure within 0.03 step of the line\n%% (median line offsets -0.030 to +0.026). The bias is constant per staff and per\n%% parity, so a per-staff, per-parity median offset was subtracted and the\n%% positions re-rounded. AFTER that calibration, 249 of the 251 noteheads the\n%% detector found on the page land within 0.16 step of an exact staff position;\n%% the largest of those 249 residuals is 0.158 step and only three exceed 0.12 —\n%% far inside the half-step that would be needed to change a pitch. The two\n%% exceptions are the two second-interval chords described below; both were\n%% resolved by hand and against the 1921 printing.\n%%\n%% SECOND DATED WITNESS. The whole page was measured again, by the same method,\n%% in GREAT SONGS OF THE CHURCH (Louisville: Word and Work, 1921), no. 127,\n%% archive.org greatsonchur00jorg, scan leaf 94, whose header reads \"Copyright,\n%% 1898, by J. Howard Entwisle. John J. Hood, owner. Chas. H. Gabriel.\" The two\n%% printings are the same setting and they agree on every chord of all four\n%% systems: same key (A-flat), same 3/4, same dotted-quarter anacrusis, same\n%% 3+4+4+4+1 note layout per system, same voicing throughout. Where the 1921\n%% scan is too blurred for the blob detector (the tail chords of four staves, and\n%% one flag that the detector mistook for a low notehead) the chords were read\n%% instead off 5x-10x crops with the fitted grid drawn over them; they agree.\n%% A third pre-1931 printing, MAKE CHRIST KING (Chicago: Glad Tidings Co., 1912),\n%% no. 336, archive.org makechristkingse00exce leaf 246, prints the same key,\n%% metre and anacrusis but abbreviates the last phrase as a D.S., so it was used\n%% only as a corroborating witness and not transcribed.\n%%\n%% FOURTH, WHOLLY INDEPENDENT CHECK ON THE MELODY. Hymnary's published incipit\n%% for tune authority higher_ground_gabriel is 551332162165131. The soprano's\n%% first fifteen notes as measured here — ees' ees' aes' c'' c'' bes' aes' f'\n%% bes' aes' f' ees' aes' c'' aes' — are scale degrees 5 5 1 3 3 2 1 6 2 1 6 5\n%% 1 3 1 in A-flat. All fifteen digits match, and that string was never used to\n%% derive anything: it was compared only after the notes were read off the plate.\n%%\n%% TWO PLACES WHERE THE AUTOMATIC READING WAS OVERRIDDEN, both because two\n%% noteheads a SECOND apart share a stem and their blobs merge:\n%%   * refrain, lower staff, sixth chord (the word \"let\"): the merged blob\n%%     measured 9.38, i.e. residual 0.62 against position 10 and 0.38 against\n%%     position 9 — the automatic rounding could not be trusted either way. Read\n%%     at 10x with the fitted grid drawn over it, the upper notehead plainly\n%%     stands in the space above the top line and the lower sits ON the top line:\n%%     bes over aes. The 1921 printing's blobs merge in the same way (residual\n%%     0.45 there) but round to 9 over 8, agreeing. Encoded bes + aes.\n%%   * verse second half, upper staff, first anacrusis chord (\"Still\"): the alto\n%%     blob measured residual 0.40 for the same reason. At 9x the soprano sits on\n%%     the bottom line and the alto in the space below it, displaced to the right\n%%     of the shared stem: ees' over des' — the seventh of the E-flat seventh\n%%     that opens the phrase. The 1921 printing shows the identical pair (its own\n%%     residual there 0.44, rounding the same way).\n%%\n%% UNISONS, PRINTED AS SUCH. Five chords print ONE notehead carrying two stems,\n%% i.e. the two voices of that staff in unison — which is why the detector finds\n%% 251 noteheads where 64 four-part chords would otherwise give 256. They are:\n%% soprano = alto on ees' at refrain note 9 (\"By\"), and tenor = bass on aes at\n%% refrain notes 1, 2, 3 and 7 (\"Lord, lift me ... me\"). Both printings agree.\n%% They are written out here as two voices on the same pitch, which is what they\n%% mean; LilyPond's default resolver prints the pair as one notehead again.\n%%\n%% NOTHING ELSE ON THE PAGE. There is not one accidental outside the key\n%% signature anywhere in the piece (checked staff by staff at 1.7x or closer on\n%% the 1904 page, and confirmed by the harmony, which is entirely diatonic in\n%% A-flat: A-flat, D-flat, B-flat minor seventh and E-flat seventh), not\n%% one slur or tie, and not one rest. All four voices strike together on all 64\n%% chords — this setting really is homorhythmic from first note to last, and the\n%% duration of every chord was read from the printed stems: three eighths for the\n%% anacrusis, then a dotted quarter and three eighths in every full bar, then a\n%% lone dotted quarter to close each phrase (which the next phrase's anacrusis\n%% completes). The final chord of the piece is a filled notehead with a dot, i.e.\n%% a dotted quarter, under a light-heavy final barline.\n%%\n%% DEPARTURES FROM THE PAGE (there are three, all presentational):\n%%   1. The 1904 page prints \"CHORUS.\" over the third system; the corpus prints\n%%      its house marking \"Refrain\" at the same soprano note (33).\n%%   2. The page has no amen and none is added (amen: false).\n%%   3. The engraved system breaks are reproduced exactly (after soprano notes\n%%      16, 32 and 48), but the page's brace/bracket and its two-staff spacing are\n%%      the engine's, not the plate's.\n%% Nothing in the pitches or the rhythm departs from the 1904 engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 3/4 \\partial 4. }\n\nsoprano = {\n  ees'8 ees'8 aes'8 | c''4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 aes'8 |\n  bes'4. ees'8 ees'8 aes'8 | c''4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 bes'8 |\n  aes'4. ees'8 aes'8 c''8 | ees''4. ees''8 des''8 c''8 | des''4. ees'8 g'8 bes'8 | des''4. des''8 c''8 bes'8 |\n  c''4. ees''8 ees''8 c''8 | aes'4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 bes'8 |\n  aes'4. |\n}\n\nalto = {\n  c'8 c'8 c'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 ees'8 |\n  ees'4. des'8 c'8 c'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 des'8 |\n  c'4. c'8 c'8 ees'8 | ees'4. ees'8 ees'8 ees'8 | ees'4. ees'8 ees'8 g'8 | bes'4. bes'8 aes'8 g'8 |\n  aes'4. ees'8 ees'8 ees'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 des'8 |\n  c'4. |\n}\n\ntenor = {\n  aes8 aes8 aes8 | aes4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 aes8 |\n  g4. g8 aes8 aes8 | aes4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 g8 |\n  aes4. aes8 aes8 aes8 | c'4. c'8 bes8 aes8 | bes4. g8 bes8 ees'8 | ees'4. ees'8 ees'8 ees'8 |\n  ees'4. c'8 c'8 ees'8 | c'4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 g8 |\n  aes4. |\n}\n\nbass = {\n  aes,8 aes,8 aes,8 | aes,4. aes,8 bes,8 c8 | des4. des8 des8 des8 | aes,4. aes,8 aes,8 c8 |\n  ees4. ees8 aes,8 aes,8 | aes,4. aes,8 bes,8 c8 | des4. des8 des8 des8 | ees4. ees8 ees8 ees8 |\n  aes,4. aes8 aes8 aes8 | aes4. aes8 aes8 aes8 | ees4. ees8 ees8 ees8 | ees4. ees8 ees8 ees8 |\n  aes4. aes8 aes8 aes8 | aes4. aes,8 bes,8 c8 | des4. des8 des8 des8 | ees4. ees8 ees8 ees8 |\n  aes,4. |\n}\n"}, "harmonizations": [{"slug": "higher-ground-hcl-1904", "tune": "higher-ground", "music_file": "higher-ground-hcl-1904.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "3/4", "pickup": "4.", "system_breaks": [16, 32, 48], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "hymns-of-the-christian-life-3-1904", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Gabriel's own four-part setting, read notehead by notehead off the engraving in Hymns of the Christian Life No. 3 (New York/Nyack: Christian Alliance Publishing Co., 1904), no. 200, printed page 200 — archive.org hymnsofchristi1904simp, scan leaf 213 — whose plate notice reads \"Copyright, 1899, by J. Howard Entwisle. Property of John J. Hood. Used by per.\" The licensing rests on that pre-1931 PUBLICATION, not on the composer's life: Charles H. Gabriel did not die until 1932, so his death date clears nothing. Every chord was measured, not eyeballed: the five staff lines were least-squares fitted per staff from 717-1016 ink-free columns (so scan skew is followed), staff lines and stems were stripped morphologically, and each notehead centroid was converted to a diatonic step offset from the fitted bottom line at its own x. This plate prints space-noteheads off the geometric centre of the space by a constant amount per staff (treble +0.227..+0.258 step, bass -0.246..-0.278 step, line-noteheads within 0.03), so a per-staff per-parity median offset was subtracted; after that, 249 of the 251 noteheads land within 0.16 step of an exact staff position (largest 0.158, only three over 0.12). The two exceptions are the two chords whose noteheads are a SECOND apart and whose blobs merge — the refrain's sixth chord in the lower staff and the second phrase's first anacrusis chord in the upper staff — both read by hand at 10x with the fitted grid drawn over them. The whole page was then measured a second time, by the same method, in an independent dated printing: Great Songs of the Church (Louisville: Word and Work, 1921), no. 127, archive.org greatsonchur00jorg leaf 94, headed \"Copyright, 1898, by J. Howard Entwisle. John J. Hood, owner. Chas. H. Gabriel.\" The two agree on every chord of all four systems, including both hand-read seconds and all five printed unisons; where the 1921 scan was too blurred for the detector (the tail chords of four staves) those chords were read off 5x-10x crops with the grid drawn, and they agree too. A third pre-1931 witness, Make Christ King (Chicago: Glad Tidings Co., 1912), no. 336, archive.org makechristkingse00exce leaf 246, prints the same key, metre and anacrusis but abbreviates the last phrase as a D.S., so it corroborates without being transcribed. No Cyber Hymnal file, MIDI, existing encoding or modern hymnal was used at any stage, as a scaffold or otherwise. Departures from the page, all presentational: the page's \"CHORUS.\" is printed as the house marking \"Refrain\" at the same soprano note; no amen is added; the brace and staff spacing are the engine's. Nothing in the pitches or the rhythm departs from the 1904 engraving.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1904 page image (archive.org hymnsofchristi1904simp leaf 213) by measuring notehead centroids against a locally fitted staff grid; cross-measured against the 1921 printing (greatsonchur00jorg leaf 94)", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "higher_ground_gabriel"}}, "music_ly": "%% HIGHER GROUND (L.M. with Refrain) — \"I'm pressing on the upward way\"\n%% Four SATB voice streams, canonical key A-flat major, 3/4, dotted-quarter\n%% anacrusis, 16 bars (4 four-bar phrases).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — the page, and only the page. Every notehead here was\n%% read off the four-part engraving in HYMNS OF THE CHRISTIAN LIFE No. 3 (New\n%% York / Nyack: Christian Alliance Publishing Co., 1904), no. 200, printed page\n%% 200, archive.org identifier hymnsofchristi1904simp, scan leaf 213\n%% (hymnsofchristi1904simp_0213). That page carries the plate's own notice,\n%% \"Copyright, 1899, by J. Howard Entwisle. Property of John J. Hood. Used by\n%% per.\" No Cyber Hymnal asset, no MIDI, no existing encoding and no modern\n%% hymnal was used at any point, as a scaffold or otherwise.\n%%\n%% HOW THE NOTEHEADS WERE MEASURED (not eyeballed). For each of the eight staves\n%% the five staff lines were fitted LOCALLY: columns carrying nothing but staff-\n%% line ink were found by ink-count, the five line centres were read in each such\n%% column, and a quadratic y_i(x) was least-squares fitted per line (717 to 1016\n%% clean columns per staff), so the scan's skew and warp are followed rather than\n%% assumed away. Staff lines and stems were then removed morphologically\n%% (vertical opening at 2.2x line thickness, horizontal opening at 0.55x the line\n%% spacing) and the surviving notehead blobs kept by size and fill; each blob's\n%% centroid was converted to a diatonic step offset from the fitted BOTTOM line\n%% at that blob's own x. Line spacing on this scan is about 23.3 px, so one\n%% diatonic step is about 11.6 px and 0.15 step is 1.7 px.\n%%\n%% ONE CALIBRATION, STATED PLAINLY. As measured, a notehead standing in a SPACE\n%% does not centre on the geometric middle of the space: in the four treble\n%% staves it measures 0.227 to 0.258 step high, in the four bass staves 0.246 to\n%% 0.278 step low, while noteheads ON a line measure within 0.03 step of the line\n%% (median line offsets -0.030 to +0.026). The bias is constant per staff and per\n%% parity, so a per-staff, per-parity median offset was subtracted and the\n%% positions re-rounded. AFTER that calibration, 249 of the 251 noteheads the\n%% detector found on the page land within 0.16 step of an exact staff position;\n%% the largest of those 249 residuals is 0.158 step and only three exceed 0.12 —\n%% far inside the half-step that would be needed to change a pitch. The two\n%% exceptions are the two second-interval chords described below; both were\n%% resolved by hand and against the 1921 printing.\n%%\n%% SECOND DATED WITNESS. The whole page was measured again, by the same method,\n%% in GREAT SONGS OF THE CHURCH (Louisville: Word and Work, 1921), no. 127,\n%% archive.org greatsonchur00jorg, scan leaf 94, whose header reads \"Copyright,\n%% 1898, by J. Howard Entwisle. John J. Hood, owner. Chas. H. Gabriel.\" The two\n%% printings are the same setting and they agree on every chord of all four\n%% systems: same key (A-flat), same 3/4, same dotted-quarter anacrusis, same\n%% 3+4+4+4+1 note layout per system, same voicing throughout. Where the 1921\n%% scan is too blurred for the blob detector (the tail chords of four staves, and\n%% one flag that the detector mistook for a low notehead) the chords were read\n%% instead off 5x-10x crops with the fitted grid drawn over them; they agree.\n%% A third pre-1931 printing, MAKE CHRIST KING (Chicago: Glad Tidings Co., 1912),\n%% no. 336, archive.org makechristkingse00exce leaf 246, prints the same key,\n%% metre and anacrusis but abbreviates the last phrase as a D.S., so it was used\n%% only as a corroborating witness and not transcribed.\n%%\n%% FOURTH, WHOLLY INDEPENDENT CHECK ON THE MELODY. Hymnary's published incipit\n%% for tune authority higher_ground_gabriel is 551332162165131. The soprano's\n%% first fifteen notes as measured here — ees' ees' aes' c'' c'' bes' aes' f'\n%% bes' aes' f' ees' aes' c'' aes' — are scale degrees 5 5 1 3 3 2 1 6 2 1 6 5\n%% 1 3 1 in A-flat. All fifteen digits match, and that string was never used to\n%% derive anything: it was compared only after the notes were read off the plate.\n%%\n%% TWO PLACES WHERE THE AUTOMATIC READING WAS OVERRIDDEN, both because two\n%% noteheads a SECOND apart share a stem and their blobs merge:\n%%   * refrain, lower staff, sixth chord (the word \"let\"): the merged blob\n%%     measured 9.38, i.e. residual 0.62 against position 10 and 0.38 against\n%%     position 9 — the automatic rounding could not be trusted either way. Read\n%%     at 10x with the fitted grid drawn over it, the upper notehead plainly\n%%     stands in the space above the top line and the lower sits ON the top line:\n%%     bes over aes. The 1921 printing's blobs merge in the same way (residual\n%%     0.45 there) but round to 9 over 8, agreeing. Encoded bes + aes.\n%%   * verse second half, upper staff, first anacrusis chord (\"Still\"): the alto\n%%     blob measured residual 0.40 for the same reason. At 9x the soprano sits on\n%%     the bottom line and the alto in the space below it, displaced to the right\n%%     of the shared stem: ees' over des' — the seventh of the E-flat seventh\n%%     that opens the phrase. The 1921 printing shows the identical pair (its own\n%%     residual there 0.44, rounding the same way).\n%%\n%% UNISONS, PRINTED AS SUCH. Five chords print ONE notehead carrying two stems,\n%% i.e. the two voices of that staff in unison — which is why the detector finds\n%% 251 noteheads where 64 four-part chords would otherwise give 256. They are:\n%% soprano = alto on ees' at refrain note 9 (\"By\"), and tenor = bass on aes at\n%% refrain notes 1, 2, 3 and 7 (\"Lord, lift me ... me\"). Both printings agree.\n%% They are written out here as two voices on the same pitch, which is what they\n%% mean; LilyPond's default resolver prints the pair as one notehead again.\n%%\n%% NOTHING ELSE ON THE PAGE. There is not one accidental outside the key\n%% signature anywhere in the piece (checked staff by staff at 1.7x or closer on\n%% the 1904 page, and confirmed by the harmony, which is entirely diatonic in\n%% A-flat: A-flat, D-flat, B-flat minor seventh and E-flat seventh), not\n%% one slur or tie, and not one rest. All four voices strike together on all 64\n%% chords — this setting really is homorhythmic from first note to last, and the\n%% duration of every chord was read from the printed stems: three eighths for the\n%% anacrusis, then a dotted quarter and three eighths in every full bar, then a\n%% lone dotted quarter to close each phrase (which the next phrase's anacrusis\n%% completes). The final chord of the piece is a filled notehead with a dot, i.e.\n%% a dotted quarter, under a light-heavy final barline.\n%%\n%% DEPARTURES FROM THE PAGE (there are three, all presentational):\n%%   1. The 1904 page prints \"CHORUS.\" over the third system; the corpus prints\n%%      its house marking \"Refrain\" at the same soprano note (33).\n%%   2. The page has no amen and none is added (amen: false).\n%%   3. The engraved system breaks are reproduced exactly (after soprano notes\n%%      16, 32 and 48), but the page's brace/bracket and its two-staff spacing are\n%%      the engine's, not the plate's.\n%% Nothing in the pitches or the rhythm departs from the 1904 engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 3/4 \\partial 4. }\n\nsoprano = {\n  ees'8 ees'8 aes'8 | c''4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 aes'8 |\n  bes'4. ees'8 ees'8 aes'8 | c''4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 bes'8 |\n  aes'4. ees'8 aes'8 c''8 | ees''4. ees''8 des''8 c''8 | des''4. ees'8 g'8 bes'8 | des''4. des''8 c''8 bes'8 |\n  c''4. ees''8 ees''8 c''8 | aes'4. c''8 bes'8 aes'8 | f'4. bes'8 aes'8 f'8 | ees'4. aes'8 c''8 bes'8 |\n  aes'4. |\n}\n\nalto = {\n  c'8 c'8 c'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 ees'8 |\n  ees'4. des'8 c'8 c'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 des'8 |\n  c'4. c'8 c'8 ees'8 | ees'4. ees'8 ees'8 ees'8 | ees'4. ees'8 ees'8 g'8 | bes'4. bes'8 aes'8 g'8 |\n  aes'4. ees'8 ees'8 ees'8 | ees'4. ees'8 ees'8 ees'8 | des'4. f'8 f'8 des'8 | c'4. c'8 ees'8 des'8 |\n  c'4. |\n}\n\ntenor = {\n  aes8 aes8 aes8 | aes4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 aes8 |\n  g4. g8 aes8 aes8 | aes4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 g8 |\n  aes4. aes8 aes8 aes8 | c'4. c'8 bes8 aes8 | bes4. g8 bes8 ees'8 | ees'4. ees'8 ees'8 ees'8 |\n  ees'4. c'8 c'8 ees'8 | c'4. aes8 g8 aes8 | aes4. aes8 aes8 aes8 | aes4. aes8 aes8 g8 |\n  aes4. |\n}\n\nbass = {\n  aes,8 aes,8 aes,8 | aes,4. aes,8 bes,8 c8 | des4. des8 des8 des8 | aes,4. aes,8 aes,8 c8 |\n  ees4. ees8 aes,8 aes,8 | aes,4. aes,8 bes,8 c8 | des4. des8 des8 des8 | ees4. ees8 ees8 ees8 |\n  aes,4. aes8 aes8 aes8 | aes4. aes8 aes8 aes8 | ees4. ees8 ees8 ees8 | ees4. ees8 ees8 ees8 |\n  aes4. aes8 aes8 aes8 | aes4. aes,8 bes,8 c8 | des4. des8 des8 des8 | ees4. ees8 ees8 ees8 |\n  aes,4. |\n}\n", "preferred": true}]}, "hollingside": {"slug": "hollingside", "name": "HOLLINGSIDE", "meter_label": "7.7.7.7 D", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1861", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "hollingside-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "HOLLINGSIDE, John Bacchus Dykes (1823-1876), 1861 — the tune Dykes wrote for \"Jesus, Lover of My Soul\" (7.7.7.7 D). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4). Fully syllabic (56 soprano notes = 56 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hollingside\" (John B. Dykes, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "hollingside-cyberhymnal", "tune": "hollingside", "music_file": "hollingside-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 14, 21, 28, 35, 42, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HOLLINGSIDE, John B. Dykes, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HOLLINGSIDE (John Bacchus Dykes, 1823-1876, published 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4; fully syllabic, 56 soprano notes). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hollingside\" (John B. Dykes, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HOLLINGSIDE (7.7.7.7 D) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hollingside\", John B. Dykes, 1861) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 7.7.7.7 D (56 soprano notes = 56 syllables). The dotted-quarter+eighth figures\n%% (e.g. the soprano a'4. g'8 on \"of my\") are one syllable per note — the source's\n%% articulation slurs are not melismas. Non-scale pitches carried from the engraving:\n%% the soprano C-natural in line 5 (printed with a natural), the tenor's raised\n%% leading tones gis (line 2, resolving to a) and ais (the F-sharp-major cadences\n%% ending lines 3 and 7, resolving to b).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | d''4 cis''4 b'4 a'4 | fis'4 d'4 e'2 |\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | fis'4 g'4 fis'4 e'4 | fis'4. e'8 d'2 |\n  d'4 g'4 fis'4 g'4 | c''4 b'4 a'2 | b'4 b'4 cis''4 d''4 | g'4 fis'4 e'2 |\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | fis'4 g'4 fis'4 e'4 | fis'4. e'8 d'2\n}\nalto = {\n  d'4 d'4 b4 d'4 | d'4 cis'4 d'2 | d'4 d'4 d'4 cis'4 | d'4 d'4 cis'2 |\n  d'4 d'4 d'8 g'8 fis'4 | e'4 d'4 cis'2 | d'4 d'4 d'4 d'4 | d'4 d'4 d'2 |\n  b4 d'4 d'4 d'4 | d'4 d'4 fis'2 | d'4 d'4 g'4 fis'4 | e'4 d'4 cis'2 |\n  d'4 d'4 d'8 g'8 fis'4 | e'4 d'4 cis'2 | d'4 d'4 d'4 d'4 | d'4 cis'4 d'2\n}\ntenor = {\n  a4 a4 d'4 a4 | b4 a4 a2 | a4 a4 b4 g4 | a4 gis4 a2 |\n  a4 fis4 g8 b8 d'4 | cis'4 b4 ais2 | b4 g4 a4 b4 | a4 g4 fis2 |\n  g4 b4 a4 b4 | a4 b4 d'2 | b4 a4 g4 a4 | a4 a4 a2 |\n  a4 fis4 g8 b8 d'4 | cis'4 b4 ais2 | b4 g4 a4 b4 | a4 g4 fis2\n}\nbass = {\n  d4 fis4 g4 fis4 | e4 a,4 d2 | fis4 fis4 g4 e4 | d4 b,4 a,2 |\n  d4 d4 d4 d4 | e4 e4 fis2 | b,4 b,4 a,4 g,4 | a,4 a,4 d2 |\n  d4 d4 d4 g4 | fis4 g4 d2 | g4 fis4 e4 d4 | cis4 d4 a,2 |\n  d4 d4 d4 d4 | e4 e4 fis2 | b,4 b,4 a,4 a,4 | a,4 a,4 d2\n}\n"}, "harmonizations": [{"slug": "hollingside-cyberhymnal", "tune": "hollingside", "music_file": "hollingside-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 14, 21, 28, 35, 42, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "HOLLINGSIDE, John B. Dykes, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HOLLINGSIDE (John Bacchus Dykes, 1823-1876, published 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4; fully syllabic, 56 soprano notes). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hollingside\" (John B. Dykes, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HOLLINGSIDE (7.7.7.7 D) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hollingside\", John B. Dykes, 1861) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 7.7.7.7 D (56 soprano notes = 56 syllables). The dotted-quarter+eighth figures\n%% (e.g. the soprano a'4. g'8 on \"of my\") are one syllable per note — the source's\n%% articulation slurs are not melismas. Non-scale pitches carried from the engraving:\n%% the soprano C-natural in line 5 (printed with a natural), the tenor's raised\n%% leading tones gis (line 2, resolving to a) and ais (the F-sharp-major cadences\n%% ending lines 3 and 7, resolving to b).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | d''4 cis''4 b'4 a'4 | fis'4 d'4 e'2 |\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | fis'4 g'4 fis'4 e'4 | fis'4. e'8 d'2 |\n  d'4 g'4 fis'4 g'4 | c''4 b'4 a'2 | b'4 b'4 cis''4 d''4 | g'4 fis'4 e'2 |\n  fis'4 a'4 b'4 a'4 | a'4. g'8 fis'2 | fis'4 g'4 fis'4 e'4 | fis'4. e'8 d'2\n}\nalto = {\n  d'4 d'4 b4 d'4 | d'4 cis'4 d'2 | d'4 d'4 d'4 cis'4 | d'4 d'4 cis'2 |\n  d'4 d'4 d'8 g'8 fis'4 | e'4 d'4 cis'2 | d'4 d'4 d'4 d'4 | d'4 d'4 d'2 |\n  b4 d'4 d'4 d'4 | d'4 d'4 fis'2 | d'4 d'4 g'4 fis'4 | e'4 d'4 cis'2 |\n  d'4 d'4 d'8 g'8 fis'4 | e'4 d'4 cis'2 | d'4 d'4 d'4 d'4 | d'4 cis'4 d'2\n}\ntenor = {\n  a4 a4 d'4 a4 | b4 a4 a2 | a4 a4 b4 g4 | a4 gis4 a2 |\n  a4 fis4 g8 b8 d'4 | cis'4 b4 ais2 | b4 g4 a4 b4 | a4 g4 fis2 |\n  g4 b4 a4 b4 | a4 b4 d'2 | b4 a4 g4 a4 | a4 a4 a2 |\n  a4 fis4 g8 b8 d'4 | cis'4 b4 ais2 | b4 g4 a4 b4 | a4 g4 fis2\n}\nbass = {\n  d4 fis4 g4 fis4 | e4 a,4 d2 | fis4 fis4 g4 e4 | d4 b,4 a,2 |\n  d4 d4 d4 d4 | e4 e4 fis2 | b,4 b,4 a,4 g,4 | a,4 a,4 d2 |\n  d4 d4 d4 g4 | fis4 g4 d2 | g4 fis4 e4 d4 | cis4 d4 a,2 |\n  d4 d4 d4 d4 | e4 e4 fis2 | b,4 b,4 a,4 a,4 | a,4 a,4 d2\n}\n", "preferred": true}]}, "holy-guide": {"slug": "holy-guide", "name": "HOLY GUIDE", "meter_label": "6.6.6.6", "meter": {"pattern": [6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "uzziah-burnap", "composer_date": "1895", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "holy-guide-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Holy Guide' (66.66), Uzziah Christopher Burnap, 1895. Burnap d. 1900; US public domain by pre-1931 publication. Encoded from The Cyber Hymnal.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "holy-guide-cyberhymnal", "tune": "holy-guide", "music_file": "holy-guide-cyberhymnal.ly", "harmonizer": "uzziah-burnap", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HOLY GUIDE, Uzziah C. Burnap, 1895. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting HOLY GUIDE, Uzziah Christopher Burnap (1834–1900), 1895 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (three independent readers reconciled) and diffed back against it. The alto reciting run in bars 5-6 was corrected to e' (the MIDI encodes an F-natural there, but the engraving prints no accidental and e' is the consonant chord tone).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Holy Guide\" (Burnap); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HOLY GUIDE (66.66) — Uzziah Christopher Burnap, 1895. A 4-part SATB hymn tune,\n%% here paired with The Scottish Psalter (1650) Psalm 56 \"What time I am afraid\".\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was verified note-for-note against the\n%% Cyber Hymnal engraving (three independent readers + reconcile; the alto reciting\n%% run in bars 5-6 was corrected to e' — the MIDI's F-natural there is an encoding\n%% slip, the engraving prints no accidental and e' is the consonant chord tone).\n%% MELISMATIC (27 soprano notes for 24 syllables); the 3 melisma continuations are\n%% held with '_' every stanza (verse_variable_melisma) at syllables 6, 12, 18.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 fis'4 gis'4 a'4 a'2( gis'4) fis'4 e'4 cis''4 cis''4 b'4 a'2( gis'4) gis'4 cis''4 b'4 a'4 gis'4 gis'2( fis'4) f'4 e'4 e'4 e'4 e'4 e'2.\n}\nalto = {\n  cis'4 cis'4 cis'4 cis'4 cis'4 d'2. d'4 cis'4 e'4 fis'4 fis'4 e'2. e'4 e'4 e'4 e'4 e'4 e'2 fis'4 c'4 cis'4 cis'4 d'4 d'4 cis'2.\n}\ntenor = {\n  e4 e4 e4 e4 e4 e2. fis8 gis8 a4 a4 a8 ais8 b4 cis'2 b4 b4 b4 d'4 cis'4 b4 b2 a4 a4 a4 a4 gis8 fis8 gis4 a2.\n}\nbass = {\n  a,4 a,4 a,4 a,4 a,4 b,2. b,8 gis8 cis4 cis4 d8 ais8 d4 e2. d4 cis4 cis4 cis4 cis4 d2. dis4 e4 e4 e8 fis8 e4 a,2.\n}\n"}, "harmonizations": [{"slug": "holy-guide-cyberhymnal", "tune": "holy-guide", "music_file": "holy-guide-cyberhymnal.ly", "harmonizer": "uzziah-burnap", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "HOLY GUIDE, Uzziah C. Burnap, 1895. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting HOLY GUIDE, Uzziah Christopher Burnap (1834–1900), 1895 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (three independent readers reconciled) and diffed back against it. The alto reciting run in bars 5-6 was corrected to e' (the MIDI encodes an F-natural there, but the engraving prints no accidental and e' is the consonant chord tone).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Holy Guide\" (Burnap); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% HOLY GUIDE (66.66) — Uzziah Christopher Burnap, 1895. A 4-part SATB hymn tune,\n%% here paired with The Scottish Psalter (1650) Psalm 56 \"What time I am afraid\".\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was verified note-for-note against the\n%% Cyber Hymnal engraving (three independent readers + reconcile; the alto reciting\n%% run in bars 5-6 was corrected to e' — the MIDI's F-natural there is an encoding\n%% slip, the engraving prints no accidental and e' is the consonant chord tone).\n%% MELISMATIC (27 soprano notes for 24 syllables); the 3 melisma continuations are\n%% held with '_' every stanza (verse_variable_melisma) at syllables 6, 12, 18.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 fis'4 gis'4 a'4 a'2( gis'4) fis'4 e'4 cis''4 cis''4 b'4 a'2( gis'4) gis'4 cis''4 b'4 a'4 gis'4 gis'2( fis'4) f'4 e'4 e'4 e'4 e'4 e'2.\n}\nalto = {\n  cis'4 cis'4 cis'4 cis'4 cis'4 d'2. d'4 cis'4 e'4 fis'4 fis'4 e'2. e'4 e'4 e'4 e'4 e'4 e'2 fis'4 c'4 cis'4 cis'4 d'4 d'4 cis'2.\n}\ntenor = {\n  e4 e4 e4 e4 e4 e2. fis8 gis8 a4 a4 a8 ais8 b4 cis'2 b4 b4 b4 d'4 cis'4 b4 b2 a4 a4 a4 a4 gis8 fis8 gis4 a2.\n}\nbass = {\n  a,4 a,4 a,4 a,4 a,4 b,2. b,8 gis8 cis4 cis4 d8 ais8 d4 e2. d4 cis4 cis4 cis4 cis4 d2. dis4 e4 e4 e8 fis8 e4 a,2.\n}\n", "preferred": true}]}, "humility": {"slug": "humility", "name": "HUMILITY", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-goss", "composer_date": "1875", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "humility-oh67", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:67; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "humility_goss", "total_instances": 95}}, "harmonization": {"slug": "humility-oh67", "tune": "humility", "music_file": "humility-oh67.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:67; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:67", "encoding_license": "PD-dedication"}, "music_ly": "%% See Amid the Winter's Snow\n%% Imported from Open Hymnal ABC X:67 via tools/abc_import.py\n%% Open Hymnal X:67; all components published pre-1931 (latest year 1875).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. a'8 g'4 fis'4 e'4. d'8 d'2 g'4 a'4 c''4 b'4 b'4. a'8 a'2 g'4. a'8 g'4 fis'4 e'4. d'8 d'2 g'4 a'4 b'4 c''4 a'4. g'8 g'2 d''4. d''8 c''4 b'4 a'4 g'4 fis'2 d''4. d''8 c''4 b'4 a'4 g'4 fis'2 g'4. a'8 g'4 fis'4 e'4. d'8 d'2 d''4. b'8 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  b2 c'4 d'4 g4 a4 b4( c'4) d'2 g'2 g'2 fis'2 d'4 b4 c'4 d'4 g4 a4 b4( a4) b4 c'4 d'4 e'4 c'2 b2 g'4. g'8 g'4 g'4 d'4 d'4 d'2 d'4. g'8 g'4 g'4 e'4 d'4 d'2 b4. b8 cis'4 d'4 d'4 cis'4 d'2 d'4. d'8 e'4 g'4 fis'4 fis'4 g'2\n}\ntenor = {\n  g2 g4 d4 e4 fis4 g4( a4) b2 e'4 d'4 d'4 cis'4 d'2 g2 g4 d4 e4 fis4 g4( a4) g2 g2 g4 fis4 g2 b4. b8 e'4 d'4 c'4 b4 a2 g4. g8 e'4 d'4 c'4 b4 a2 g4. g8 e4 d4 b4 a8 g8 fis2 g4. g8 g4 e'4 d'4 c'4 b2\n}\nbass = {\n  g,2 a,4 b,4 c2 g,2 g4 fis4 e4 g4 d2 d4( c4) b,4 g,4 a,4 b,4 c2 g4( fis4) e2 d4 c4 d2 g,2 g4. g8 g4 g4 fis4 g4 d2 b,4. b,8 c4 g,4 a,4 b,8 c8 d2 e4. e8 a,4 b,4 g,4 a,4 d4( c4) b,4. b,8 c4 a,4 d4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "humility-oh67", "tune": "humility", "music_file": "humility-oh67.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:67; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:67", "encoding_license": "PD-dedication"}, "music_ly": "%% See Amid the Winter's Snow\n%% Imported from Open Hymnal ABC X:67 via tools/abc_import.py\n%% Open Hymnal X:67; all components published pre-1931 (latest year 1875).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. a'8 g'4 fis'4 e'4. d'8 d'2 g'4 a'4 c''4 b'4 b'4. a'8 a'2 g'4. a'8 g'4 fis'4 e'4. d'8 d'2 g'4 a'4 b'4 c''4 a'4. g'8 g'2 d''4. d''8 c''4 b'4 a'4 g'4 fis'2 d''4. d''8 c''4 b'4 a'4 g'4 fis'2 g'4. a'8 g'4 fis'4 e'4. d'8 d'2 d''4. b'8 g'4 c''4 b'4 a'4 g'2\n}\nalto = {\n  b2 c'4 d'4 g4 a4 b4( c'4) d'2 g'2 g'2 fis'2 d'4 b4 c'4 d'4 g4 a4 b4( a4) b4 c'4 d'4 e'4 c'2 b2 g'4. g'8 g'4 g'4 d'4 d'4 d'2 d'4. g'8 g'4 g'4 e'4 d'4 d'2 b4. b8 cis'4 d'4 d'4 cis'4 d'2 d'4. d'8 e'4 g'4 fis'4 fis'4 g'2\n}\ntenor = {\n  g2 g4 d4 e4 fis4 g4( a4) b2 e'4 d'4 d'4 cis'4 d'2 g2 g4 d4 e4 fis4 g4( a4) g2 g2 g4 fis4 g2 b4. b8 e'4 d'4 c'4 b4 a2 g4. g8 e'4 d'4 c'4 b4 a2 g4. g8 e4 d4 b4 a8 g8 fis2 g4. g8 g4 e'4 d'4 c'4 b2\n}\nbass = {\n  g,2 a,4 b,4 c2 g,2 g4 fis4 e4 g4 d2 d4( c4) b,4 g,4 a,4 b,4 c2 g4( fis4) e2 d4 c4 d2 g,2 g4. g8 g4 g4 fis4 g4 d2 b,4. b,8 c4 g,4 a,4 b,8 c8 d2 e4. e8 a,4 b,4 g,4 a,4 d4( c4) b,4. b,8 c4 a,4 d4 d4 g,2\n}\n", "preferred": true}]}, "hyfrydol": {"slug": "hyfrydol", "name": "HYFRYDOL", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "rowland-h-prichard", "composer_date": "1906", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "hyfrydol-oh162", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:297; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "hyfrydol_prichard", "total_instances": 692}}, "harmonization": {"slug": "hyfrydol-oh162", "tune": "hyfrydol", "music_file": "hyfrydol-oh162.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [10, 18, 28, 36, 46, 55, 69], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:162; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:162", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "tenor", "voice_note": 1, "pitch": "f"}, {"voice": "tenor", "voice_note": 20, "pitch": "f"}, {"voice": "tenor", "voice_note": 73, "pitch": "f"}], "music_ly": "%% Alleluia, Sing To Jesus!\n%% Imported from Open Hymnal ABC X:162 via tools/abc_import.py\n%% Open Hymnal X:162; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 g'4 f'4.( g'8) a'4 bes'2 a'4 g'4( f'4) g'4 c''2 bes'4 a'2 a'4 g'4( f'4) g'4 f'2. f'2 g'4 f'4.( g'8) a'4 bes'2 a'4 g'4( f'4) g'4 c''2 bes'4 a'2 a'4 g'4( f'4) g'4 f'2. c''2 c''4 c''4( bes'4) a'4 bes'2 bes'4 bes'4( a'4) g'4 a'2 a'4 a'4( bes'4) c''4 c''4( bes'4) a'4 g'2. c''4( a'4) c''4 bes'4( g'4) bes'4 a'4( f'4) a'4 g'8( a'8 bes'8 a'8) g'4 c''2 c''4 d''4( c''4) bes'4 a'2 g'4 f'2.\n}\nalto = {\n  c'2 e'4 f'2 f'4 g'2 f'4 e'4( d'4) e'4 f'4( c'4) d'8 e'8 f'2 f'8 e'8 d'4( d'4) e'4 f'2. c'2 e'4 f'2 f'4 g'2 f'4 e'4( d'4) e'4 f'4( c'4) d'8 e'8 f'2 f'8 e'8 d'4( d'4) e'4 f'2. e'2 e'4 f'2 f'4 f'4( e'4) d'4 e'4( f'4) c'4 c'2 f'4 f'4( g'4) a'4 a'4( g'4) f'4 f'2( e'4) f'2 a'4 g'2 g'4 f'4( c'4) f'4 g'8( e'8 f'4) c'4 c'4( f'4) ees'4 d'4( f'4) f'4 f'2 e'4 f'2.\n}\ntenor = {\n  a2 g4 a4.( bes8) c'4 d'4( c'4) c'4 c'4( a4) c'4 c'2 c'4 c'2 c'4 bes4( a4) c'4 a2. a2 g4 a4.( bes8) c'4 d'4( c'4) c'4 c'4( a4) c'4 c'2 c'4 c'2 c'4 bes4( a4) c'4 a2. c'2 c'4 f4( g4) a4 g2 g4 g4( c'4) bes4 a2 c'4 d'2 c'4 d'2 d'4 g2. c'2 d'4 d'2 c'4 c'4( a4) b4 c'4( bes4) bes4 a2 c'4 bes4( c'4) d'4 c'2 bes4 a2.\n}\nbass = {\n  f,4( a,4) c4 f2 f4 f4( e4) f4 c4( d4) c4 a2 g4 f2 a,4 bes,4( d4) c4 f2. f,4( a,4) c4 f2 f4 f4( e4) f4 c4( d4) c4 a2 g4 f2 a,4 bes,4( d4) c4 f2. a2 a4 d2 d4 g2 g4 c4( d4) e4 f2 e4 d2 a,4 g,2 bes,4 c2. a2 f4 f4( e8 d8) e4 f4( e4) d4 e8( c8 d4) e4 f2 a,4 bes,4( a,4) bes,4 c2 c4 f,2.\n}\n"}, "harmonizations": [{"slug": "hyfrydol-oh162", "tune": "hyfrydol", "music_file": "hyfrydol-oh162.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [10, 18, 28, 36, 46, 55, 69], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:162; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:162", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "tenor", "voice_note": 1, "pitch": "f"}, {"voice": "tenor", "voice_note": 20, "pitch": "f"}, {"voice": "tenor", "voice_note": 73, "pitch": "f"}], "music_ly": "%% Alleluia, Sing To Jesus!\n%% Imported from Open Hymnal ABC X:162 via tools/abc_import.py\n%% Open Hymnal X:162; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 g'4 f'4.( g'8) a'4 bes'2 a'4 g'4( f'4) g'4 c''2 bes'4 a'2 a'4 g'4( f'4) g'4 f'2. f'2 g'4 f'4.( g'8) a'4 bes'2 a'4 g'4( f'4) g'4 c''2 bes'4 a'2 a'4 g'4( f'4) g'4 f'2. c''2 c''4 c''4( bes'4) a'4 bes'2 bes'4 bes'4( a'4) g'4 a'2 a'4 a'4( bes'4) c''4 c''4( bes'4) a'4 g'2. c''4( a'4) c''4 bes'4( g'4) bes'4 a'4( f'4) a'4 g'8( a'8 bes'8 a'8) g'4 c''2 c''4 d''4( c''4) bes'4 a'2 g'4 f'2.\n}\nalto = {\n  c'2 e'4 f'2 f'4 g'2 f'4 e'4( d'4) e'4 f'4( c'4) d'8 e'8 f'2 f'8 e'8 d'4( d'4) e'4 f'2. c'2 e'4 f'2 f'4 g'2 f'4 e'4( d'4) e'4 f'4( c'4) d'8 e'8 f'2 f'8 e'8 d'4( d'4) e'4 f'2. e'2 e'4 f'2 f'4 f'4( e'4) d'4 e'4( f'4) c'4 c'2 f'4 f'4( g'4) a'4 a'4( g'4) f'4 f'2( e'4) f'2 a'4 g'2 g'4 f'4( c'4) f'4 g'8( e'8 f'4) c'4 c'4( f'4) ees'4 d'4( f'4) f'4 f'2 e'4 f'2.\n}\ntenor = {\n  a2 g4 a4.( bes8) c'4 d'4( c'4) c'4 c'4( a4) c'4 c'2 c'4 c'2 c'4 bes4( a4) c'4 a2. a2 g4 a4.( bes8) c'4 d'4( c'4) c'4 c'4( a4) c'4 c'2 c'4 c'2 c'4 bes4( a4) c'4 a2. c'2 c'4 f4( g4) a4 g2 g4 g4( c'4) bes4 a2 c'4 d'2 c'4 d'2 d'4 g2. c'2 d'4 d'2 c'4 c'4( a4) b4 c'4( bes4) bes4 a2 c'4 bes4( c'4) d'4 c'2 bes4 a2.\n}\nbass = {\n  f,4( a,4) c4 f2 f4 f4( e4) f4 c4( d4) c4 a2 g4 f2 a,4 bes,4( d4) c4 f2. f,4( a,4) c4 f2 f4 f4( e4) f4 c4( d4) c4 a2 g4 f2 a,4 bes,4( d4) c4 f2. a2 a4 d2 d4 g2 g4 c4( d4) e4 f2 e4 d2 a,4 g,2 bes,4 c2. a2 f4 f4( e8 d8) e4 f4( e4) d4 e8( c8 d4) e4 f2 a,4 bes,4( a,4) bes,4 c2 c4 f,2.\n}\n", "preferred": true}]}, "hymn-to-joy": {"slug": "hymn-to-joy", "name": "HYMN TO JOY", "alt_name": "ODE TO JOY", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "ludwig-van-beethoven", "composer_date": "1824", "arranger": "edward-hodges", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "hymn-to-joy-methodist-1905", "provenance": {"layer": "tune", "source": "beethoven-1824", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Hymn to Joy', Beethoven (d. 1827), adapted by Edward Hodges, 1824.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "hymn_to_joy_beethoven", "total_instances": 573}}, "harmonization": {"slug": "hymn-to-joy-methodist-1905", "tune": "hymn-to-joy", "music_file": "hymn-to-joy-methodist-1905.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Methodist Hymnal, 1905. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:255", "encoding_license": "PD-dedication"}, "music_ly": "%% Joyful, Joyful, We Adore Thee\n%% Imported from Open Hymnal ABC X:255 via tools/abc_import.py\n%% Public domain: van Dyke 1907 (pub. pre-1929); tune Beethoven, arr. Hodges 1824; setting 1905.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 b'4. a'8 a'2 b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 a'4. g'8 g'2 a'4 a'4 b'4 g'4 a'4 b'8( c''8) b'4 g'4 a'4 b'8( c''8) b'4 a'4 g'4 a'4 d'2 b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 a'4. g'8 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 e'8 fis'8 g'4 d'4 d'4 d'4 fis'4 g'4 g'4. fis'8 fis'2 g'4 d'4 e'4 f'4 f'4 e'4 d'4 e'4 d'4 d'4 fis'4 g'4 fis'4. g'8 g'2 fis'4 d'4 d'4 g'4 fis'4 g'8 fis'8 g'4 g'4 fis'4 fis'4 fis'4 dis'4 e'8 d'8 cis'4 d'2 d'4 d'4 e'4 f'4 f'4 e'4 d'4 e'4 d'4 d'4 fis'4 g'4 fis'4. g'8 g'2\n}\ntenor = {\n  g4 g4 a4 b4 b4 a4 g4 fis4 g4 b4 c'4 d'4 d'4. d'8 d'2 d'4 d'4 c'4 b4 g4 a4 b4 c'4 b4 b4 c'4 d'4 c'4. b8 b2 d'4 fis4 g4 b4 c'4 b8 a8 g4 b4 c'4 b8 a8 b4 b4 b4 a8 g8 fis2 g4 d'4 c'4 b4 g4 a4 b4 c'4 b4 b4 c'4 d'4 c'4. b8 b2\n}\nbass = {\n  g4 g4 g4 g4 d4 d4 d4 c4 b,4 b,4 a,4 g,4 d4. d8 d2 g4 g4 g4 g4 c4 c4 c4 c4 d4 d4 d4 d4 d4. g8 g2 d4 d4 d4 d4 d4 d4 d4 d4 d4 d4 dis4 b,4 e4 a,4 d2 g4 g4 g4 g4 c4 c4 c4 c4 d4 d4 d4 d4 d4. g8 g2\n}\n"}, "harmonizations": [{"slug": "hymn-to-joy-methodist-1905", "tune": "hymn-to-joy", "music_file": "hymn-to-joy-methodist-1905.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Methodist Hymnal, 1905. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:255", "encoding_license": "PD-dedication"}, "music_ly": "%% Joyful, Joyful, We Adore Thee\n%% Imported from Open Hymnal ABC X:255 via tools/abc_import.py\n%% Public domain: van Dyke 1907 (pub. pre-1929); tune Beethoven, arr. Hodges 1824; setting 1905.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 b'4. a'8 a'2 b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 a'4. g'8 g'2 a'4 a'4 b'4 g'4 a'4 b'8( c''8) b'4 g'4 a'4 b'8( c''8) b'4 a'4 g'4 a'4 d'2 b'4 b'4 c''4 d''4 d''4 c''4 b'4 a'4 g'4 g'4 a'4 b'4 a'4. g'8 g'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 e'8 fis'8 g'4 d'4 d'4 d'4 fis'4 g'4 g'4. fis'8 fis'2 g'4 d'4 e'4 f'4 f'4 e'4 d'4 e'4 d'4 d'4 fis'4 g'4 fis'4. g'8 g'2 fis'4 d'4 d'4 g'4 fis'4 g'8 fis'8 g'4 g'4 fis'4 fis'4 fis'4 dis'4 e'8 d'8 cis'4 d'2 d'4 d'4 e'4 f'4 f'4 e'4 d'4 e'4 d'4 d'4 fis'4 g'4 fis'4. g'8 g'2\n}\ntenor = {\n  g4 g4 a4 b4 b4 a4 g4 fis4 g4 b4 c'4 d'4 d'4. d'8 d'2 d'4 d'4 c'4 b4 g4 a4 b4 c'4 b4 b4 c'4 d'4 c'4. b8 b2 d'4 fis4 g4 b4 c'4 b8 a8 g4 b4 c'4 b8 a8 b4 b4 b4 a8 g8 fis2 g4 d'4 c'4 b4 g4 a4 b4 c'4 b4 b4 c'4 d'4 c'4. b8 b2\n}\nbass = {\n  g4 g4 g4 g4 d4 d4 d4 c4 b,4 b,4 a,4 g,4 d4. d8 d2 g4 g4 g4 g4 c4 c4 c4 c4 d4 d4 d4 d4 d4. g8 g2 d4 d4 d4 d4 d4 d4 d4 d4 d4 d4 dis4 b,4 e4 a,4 d2 g4 g4 g4 g4 c4 c4 c4 c4 d4 d4 d4 d4 d4. g8 g2\n}\n", "preferred": true}]}, "i-am-thine": {"slug": "i-am-thine", "name": "I AM THINE", "alt_name": "DRAW ME NEARER", "meter_label": "10.7.10.7. with Refrain", "meter": {"pattern": [10, 7, 10, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1875", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "i-am-thine-brightest-and-best-1875", "provenance": {"layer": "tune", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by William Howard Doane (1832-1915), written 1875 for Fanny Crosby's words. The printing read here is the first printing, Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23 — archive.org brighte00lowr, leaves 0024 and 0025 — where it is credited \"W. H. DOANE.\" under the heading \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"—Heb. 10: 22, with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot. US public domain: the printing read is 1875 and the composer died in 1915, so it is also PD in life+70 jurisdictions. THE PLATE PRINTS NO TUNE NAME — gospel-song plates of this house name only the hymn — and the name I AM THINE is the tune authority's (Hymnary tune authority i_am_thine_o_lord_i_have_heard_doane, whose melodic incipit \"34322 23211 17666\" in A-flat major is the first fifteen soprano notes of this reading exactly); hymnals also index the tune as DRAW ME NEARER, the plate's own heading. The metre label follows the corpus's gospel-song convention; the authority states the full form 10.7.10.7.9.7.11.7 (the refrain's third line interpolates a third \"near-er,\").", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "i_am_thine_o_lord_i_have_heard_doane"}}, "harmonization": {"slug": "i-am-thine-brightest-and-best-1875", "tune": "i-am-thine", "music_file": "i-am-thine-brightest-and-best-1875.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 35, 51], "breaks_manual": true, "markings": [{"soprano_note": 36, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 36}, "bass_echo": {"segments": [{"text": "near -- er, near -- er,", "durations": ["4", "4", "4", "4"], "onset": 33}]}, "alternates": [{"voice": "bass", "voice_note": 35, "pitch": "aes,"}], "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "W. H. Doane's four-part setting of his own tune, read from the FIRST PRINTING: Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"—Heb. 10: 22, credited \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot of both pages — archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025 (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across, staff space 19.8-20.0 px. US public domain: the printing read is 1875 and both author and composer died in 1915, so it is also PD in life+70 jurisdictions. COLLATED END TO END against the independent re-engraving in Gospel Hymns Nos. 1 to 6 Complete (New York: Biglow & Main; Cincinnati: John Church, 1894), No. 572, printed page 581 — archive.org gospelhymnsnos1t0000unse_s2j5, leaf 0587 — the same 1875 copyright line, the whole hymn reset on one page in four systems with the lyric type and spacing fully reset: two independent engravings of the one setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: three independent reads of every system of the 1875 plate (the wave-6 noteread rig's per-column machine pass with local five-line refits; a complete vision read off 5x-10x grid-overlay strips of all eight staves; and a bar-arithmetic / harmonic-function pass), disagreements settled by per-chord ASCII pixel maps, then the 1894 witness machine-read end to end and eye-checked at every flagged point. The five chords the blocked-hymns register carried as unresolved all certified, and all five confirm on the second witness: (a) the refrain's \"near—er,\" halves are E-flat5/A-flat4 then C5/E-flat4 — the same chords the plate prints as machine-clean FILLED quarters in bar 13, the tenor C4 / bass A-flat3 beneath forcing the tonic reading, and the 1894's rounder hollow halves sit unambiguously in their spaces at 9x; (b) the final chord's alto is a hollow C4 on the one-ledger line below the treble staff, the ledger stroke visible through the head on both engravings, giving a final A-flat chord with tripled root and no fifth (A-flat4/C4/A-flat3/A-flat2), as both witnesses print; (c) the \"bleed-ING\" chord's bass-staff heads are G3/E-flat3 (an eighth; E-flat7 against the treble's B-flat4/D-flat4, resolving to the final tonic), two heads at zoom 10 on the 1875 plate and machine-confirmed +7/+5 on the 1894 — the register's \"three heads\" was the pale-centred letterpress inking of that plate corner; (d) the \"Thee.\" cadence prints THREE hollow heads — C4, A-flat3, A-flat2 — under one stem on both engravings; tenor C4, bass A-flat3, with the A-flat2 carried as a cue-sized alternates member (house decision, flagged for owner review); (e) the \"To Thy\" tenor is E-flat4 then D-flat4 on ledger lines above the bass staff (the register's \"E4/D4, unusually high\" was the key's own flats measured correctly), and the same high ledgered D-flat4 tenor recurs at \"drawn to\" — both spots machine-read +11 on the 1894 witness. ACCIDENTALS WERE SWEPT SEPARATELY: every column of all eight staves of BOTH witnesses at magnification. The sweep found ZERO accidental glyphs — the hymn is purely diatonic in A-flat major. The five alto ambiguities the strips left (the verse pickups' 16ths, the refrain lead-ins' 16ths, and \"And be\") were settled by ASCII pixel maps against the fitted grid: F4, F4, E-flat4, E-flat4 and D-flat4 respectively, each confirmed by the 1894 machine read. NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point; the one external check is Hymnary's incipit for tune authority i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\", the first fifteen soprano notes of this reading exactly. THE ONE WITNESS DIVERGENCE in the whole hymn is bar 5 beat 1 (\"long\"), bass: the 1875 plate prints E-FLAT 3 (ASCII-mapped, a space-5 head between clean line fits) where the 1894 re-engraving prints A-flat2; the first printing is followed. DEPARTURES FROM THE PAGE, in full: (1) the heavy REFRAIN divider the plate draws MID-BAR before the \"Draw me\" pickup (with \"REFRAIN.\" above) is carried as the refrain marking at soprano note 36, not as a barline; (2) the FERMATA both engravings print over and under bar 14's \"Lord,\" (the D-flat major climax chord) is not carried, this corpus having no fermata on this path; (3) the printed BEAM over bar 3's \"to\" (dotted-eighth A-flat4 + sixteenth F4, one syllable) is carried as a slur so the underlay merges the pair into one slot — the plates' small-type underlay does the same by setting \"to\" once under the pair; (4) the A-flat2 of the \"Thee.\" cadence rides as a cue-sized alternates member (divisi being forbidden). Nothing else departs: every pitch, every duration, both quarter rests per phrase-end bar, the bass's off-beat eighth-rest-plus-B-flat3 answers in bars 8 and 12, the tenor/bass unisons (bar 2 \"And it\" C3; bar 3's converging sixteenth A-flat3), and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 first-printing page images of Brightest and Best, hymn 22 (archive.org brighte00lowr leaves 0024-0025), collated end to end against the independent 1894 re-engraving in Gospel Hymns Nos. 1 to 6 Complete, No. 572 (archive.org gospelhymnsnos1t0000unse_s2j5 leaf 0587). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: W. H. Doane, as printed in Brightest and Best, 1875. Public domain.", "music_ly": "%% I AM THINE (10.7.10.7. with Refrain) — W. H. Doane, \"DRAW ME NEARER.\" Four\n%% SATB voice streams, canonical key A-flat major, 4/4, a one-quarter pickup,\n%% fifteen full bars and a 3-beat final bar (half plus printed quarter rest, the\n%% complement of the opening pickup — the PITB/Tabernacle pattern).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The FIRST PRINTING: Brightest and Best (New York:\n%% Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\"\n%% over the motto \"Let us draw near with a true heart.\"—Heb. 10: 22, credited\n%% \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", \"COPYRIGHT 1875, BY BIGLOW & MAIN.\"\n%% at the foot — archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025\n%% (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across,\n%% staff space 19.8-20.0 px (9.9-10.0 px per diatonic step). Collated END TO\n%% END against the independent re-engraving in Gospel Hymns Nos. 1 to 6\n%% Complete (1894), No. 572, printed page 581 — archive.org\n%% gospelhymnsnos1t0000unse_s2j5, leaf 0587, staff space 14.7-15.0 px — which\n%% resets the whole hymn on one page in four systems; the lyric type, note\n%% spacing and system casting all differ, so they are two independent\n%% engravings of the one setting.\n%%\n%% HOW THE NOTEHEADS WERE READ (tools/noteread.py, the wave-6 rig, plus eye).\n%% Three independent reads of every system: (1) the rig's per-column machine\n%% read (local five-line refits, edge-anchored steps, hollow heads via ring\n%% arcs); (2) a full vision read off 5x-10x grid-overlay strips covering every\n%% column of all eight staves of the 1875 plate; (3) a musical-consistency\n%% pass — every bar closes at 4/4 in all four voices, and every cadence was\n%% checked for function. Disagreements went to per-chord ASCII pixel maps\n%% (five alto positions were settled that way: the two verse pickups' alto\n%% 16ths are F4, the two refrain lead-ins' alto 16ths are E-flat 4, and the\n%% \"And be\" alto is D-flat 4 below the line). The five positions the register\n%% carried as unresolved all certified: (a) the refrain's \"near—er,\" halves\n%% are E-FLAT 5 / A-FLAT 4 then C5 / E-flat 4 — proven three ways: the\n%% machine's clean read of the same chords printed as FILLED quarters in bar\n%% 13 (steps +7/+3, residuals .02-.18), the harmonic parallel (tenor C4 +\n%% bass A-flat 3 under them force the tonic), and a direct eye read of the\n%% 1894 plate's round hollow halves sitting unambiguously in their spaces;\n%% (b) the final chord's alto is C4, hollow, on the one-ledger line below the\n%% treble staff, the ledger stroke visible through the head on both\n%% engravings; (c) the \"bleed-ING\" bass chord is G3 / E-flat 3 (an eighth,\n%% E-flat 7 with the treble), two heads at zoom 10 — the register's \"three\n%% heads\" was the pale-centred letterpress inking of that corner splitting\n%% blobs; (d) the \"Thee.\" cadence prints THREE hollow heads C4 / A-flat 3 /\n%% A-flat 2 under one stem on both engravings — see the sidecar's alternates\n%% note; (e) the \"To Thy\" tenor is E-FLAT 4 then D-FLAT 4 on ledgers above\n%% the bass staff (the earlier \"E4/D4\" scare was the key's own flats), and\n%% the same high ledgered tenor D-flat 4 recurs at \"drawn to\" — both\n%% confirmed by the 1894 machine read (+11 at both spots).\n%%\n%% ACCIDENTALS: every column of all eight staves of BOTH witnesses was swept\n%% at magnification (5x-10x strips on the 1875, 2.5x-9x on the 1894). The\n%% sweep found ZERO accidental glyphs — no sharp, no natural, no flat beyond\n%% the four-flat signature at the head of every staff. The hymn is purely\n%% diatonic in A-flat.\n%%\n%% NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no\n%% existing encoding was opened at any point. The one external check is\n%% Hymnary's melodic incipit for tune authority\n%% i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\" in A-flat major,\n%% which is the first fifteen soprano notes of this reading exactly (C5,\n%% D-flat 5 / C5, B-flat 4, B-flat 4, B-flat 4, C5 / B-flat 4, A-flat 4,\n%% A-flat 4, A-flat 4, G4 / F4, F4, F4).\n%%\n%% RHYTHM AND BARRING. The signature figure is the dotted-eighth+sixteenth on\n%% every phrase pickup. Each half-verse and each refrain phrase ends half\n%% note + printed QUARTER REST (old-style comma glyph, both staves) + the next\n%% phrase's dotted pickup completing the bar — bars 4, 8, 12 and 16. The\n%% REFRAIN divider (a heavy barline with \"REFRAIN.\" above) falls MID-BAR\n%% between bar 8's rest and the \"Draw me\" pickup, exactly the Face-to-Face /\n%% PITB pattern; it is not carried (the corpus draws barlines from the metre).\n%% In bars 8 and 12 the BASS alone answers the lead-in off the beat: an\n%% EIGHTH REST then an off-beat eighth on B-FLAT 3 — briefly above the\n%% tenor's dotted A-flat 3 figure — printed with its own down-stem on both\n%% engravings; encoded exactly as printed (r8 bes8). In bar 9 the tenor and bass sing quarters\n%% under the soprano/alto halves with their own small-type lyric row\n%% \"near-er, near-er,\" — the sidecar's bass_echo. In bar 11 the alto and\n%% tenor hold HALVES (\"where—Thou\": E-flat 4, A-flat 3) while the soprano\n%% falls D-flat 5 - C5 and the bass walks D-flat 3 - C3 - B-flat 2 - A-flat 2.\n%% Bar 14's \"Lord,\" (D-flat 5 over the IV chord) carries a FERMATA on both\n%% engravings and both staves; this corpus carries no fermata on this path,\n%% so it is recorded here and in the sidecar, not engraved.\n%%\n%% TENOR/BASS UNISONS, as printed: \"And it\" in bar 2 is ONE head (C3) in the\n%% bass staff — tenor and bass in unison — and the 16th of bar 3's \"to\" is\n%% ONE head (A-flat 3) after the two-head dotted eighth (tenor F3 over bass\n%% D-flat 3): both voices converge on the unison sixteenth. Both witnesses\n%% agree at both places. THE ONE WITNESS DIVERGENCE in the whole hymn is bar\n%% 5 beat 1 (\"long\"), where the 1875 plate prints bass E-FLAT 3 (an\n%% ASCII-mapped space-5 head) and the 1894 re-engraving prints A-flat 2; the\n%% first printing is followed.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 aes'8. g'16 |\n  f'4 f'4 f'4 aes'8.( f'16) |\n  ees'2 r4 c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 bes'8 c''8 |\n  des''4 des''4 g'4 g'4 |\n  aes'2 r4 c''8. des''16 |\n  ees''2 c''2 |\n  bes'8 aes'8 g'8 f'8 ees'4 aes'8. g'16 |\n  f'4 aes'4 des''4 c''4 |\n  bes'2 r4 c''8. des''16 |\n  ees''4 ees''4 c''4 c''4 |\n  bes'8 aes'8 g'8 f'8 des''4 c''8. bes'16 |\n  aes'4 aes'4 c''4. bes'8 |\n  aes'2 r4\n}\n\nalto = {\n  ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 ees'8. ees'16 |\n  des'4 des'4 des'4 des'4 |\n  c'2 r4 ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 des'8 ees'8 |\n  f'4 f'4 ees'4 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'2 ees'2 |\n  f'8 f'8 ees'8 des'8 c'4 ees'8. ees'16 |\n  des'4 ees'2 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'4 aes'4 ees'4 ees'4 |\n  f'8 f'8 ees'8 des'8 f'4 f'8. f'16 |\n  ees'4 ees'4 ees'4. des'8 |\n  c'2 r4\n}\n\ntenor = {\n  aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 c8. c16 |\n  aes4 aes4 aes4 f8. aes16 |\n  aes2 r4 aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 aes8 aes8 |\n  aes4 bes4 bes4 des'4 |\n  c'2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 aes8. aes16 |\n  aes4 aes2 aes4 |\n  g2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 ees'8. des'16 |\n  c'4 c'4 aes4. g8 |\n  aes2 r4\n}\n\nbass = {\n  aes,8. aes,16 |\n  aes,4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 c8. c16 |\n  des4 des4 des4 des8. aes16 |\n  aes,2 r4 aes,8. aes,16 |\n  ees4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 aes,8 aes,8 |\n  des4 bes,4 ees4 ees4 |\n  aes2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 aes,4 c8. c16 |\n  des4 c4 bes,4 aes,4 |\n  ees2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 des4 des8. des16 |\n  ees4 ees4 ees4. ees8 |\n  aes,2 r4\n}\n"}, "harmonizations": [{"slug": "i-am-thine-brightest-and-best-1875", "tune": "i-am-thine", "music_file": "i-am-thine-brightest-and-best-1875.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 35, 51], "breaks_manual": true, "markings": [{"soprano_note": 36, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 36}, "bass_echo": {"segments": [{"text": "near -- er, near -- er,", "durations": ["4", "4", "4", "4"], "onset": 33}]}, "alternates": [{"voice": "bass", "voice_note": 35, "pitch": "aes,"}], "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "W. H. Doane's four-part setting of his own tune, read from the FIRST PRINTING: Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"—Heb. 10: 22, credited \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot of both pages — archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025 (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across, staff space 19.8-20.0 px. US public domain: the printing read is 1875 and both author and composer died in 1915, so it is also PD in life+70 jurisdictions. COLLATED END TO END against the independent re-engraving in Gospel Hymns Nos. 1 to 6 Complete (New York: Biglow & Main; Cincinnati: John Church, 1894), No. 572, printed page 581 — archive.org gospelhymnsnos1t0000unse_s2j5, leaf 0587 — the same 1875 copyright line, the whole hymn reset on one page in four systems with the lyric type and spacing fully reset: two independent engravings of the one setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: three independent reads of every system of the 1875 plate (the wave-6 noteread rig's per-column machine pass with local five-line refits; a complete vision read off 5x-10x grid-overlay strips of all eight staves; and a bar-arithmetic / harmonic-function pass), disagreements settled by per-chord ASCII pixel maps, then the 1894 witness machine-read end to end and eye-checked at every flagged point. The five chords the blocked-hymns register carried as unresolved all certified, and all five confirm on the second witness: (a) the refrain's \"near—er,\" halves are E-flat5/A-flat4 then C5/E-flat4 — the same chords the plate prints as machine-clean FILLED quarters in bar 13, the tenor C4 / bass A-flat3 beneath forcing the tonic reading, and the 1894's rounder hollow halves sit unambiguously in their spaces at 9x; (b) the final chord's alto is a hollow C4 on the one-ledger line below the treble staff, the ledger stroke visible through the head on both engravings, giving a final A-flat chord with tripled root and no fifth (A-flat4/C4/A-flat3/A-flat2), as both witnesses print; (c) the \"bleed-ING\" chord's bass-staff heads are G3/E-flat3 (an eighth; E-flat7 against the treble's B-flat4/D-flat4, resolving to the final tonic), two heads at zoom 10 on the 1875 plate and machine-confirmed +7/+5 on the 1894 — the register's \"three heads\" was the pale-centred letterpress inking of that plate corner; (d) the \"Thee.\" cadence prints THREE hollow heads — C4, A-flat3, A-flat2 — under one stem on both engravings; tenor C4, bass A-flat3, with the A-flat2 carried as a cue-sized alternates member (house decision, flagged for owner review); (e) the \"To Thy\" tenor is E-flat4 then D-flat4 on ledger lines above the bass staff (the register's \"E4/D4, unusually high\" was the key's own flats measured correctly), and the same high ledgered D-flat4 tenor recurs at \"drawn to\" — both spots machine-read +11 on the 1894 witness. ACCIDENTALS WERE SWEPT SEPARATELY: every column of all eight staves of BOTH witnesses at magnification. The sweep found ZERO accidental glyphs — the hymn is purely diatonic in A-flat major. The five alto ambiguities the strips left (the verse pickups' 16ths, the refrain lead-ins' 16ths, and \"And be\") were settled by ASCII pixel maps against the fitted grid: F4, F4, E-flat4, E-flat4 and D-flat4 respectively, each confirmed by the 1894 machine read. NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point; the one external check is Hymnary's incipit for tune authority i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\", the first fifteen soprano notes of this reading exactly. THE ONE WITNESS DIVERGENCE in the whole hymn is bar 5 beat 1 (\"long\"), bass: the 1875 plate prints E-FLAT 3 (ASCII-mapped, a space-5 head between clean line fits) where the 1894 re-engraving prints A-flat2; the first printing is followed. DEPARTURES FROM THE PAGE, in full: (1) the heavy REFRAIN divider the plate draws MID-BAR before the \"Draw me\" pickup (with \"REFRAIN.\" above) is carried as the refrain marking at soprano note 36, not as a barline; (2) the FERMATA both engravings print over and under bar 14's \"Lord,\" (the D-flat major climax chord) is not carried, this corpus having no fermata on this path; (3) the printed BEAM over bar 3's \"to\" (dotted-eighth A-flat4 + sixteenth F4, one syllable) is carried as a slur so the underlay merges the pair into one slot — the plates' small-type underlay does the same by setting \"to\" once under the pair; (4) the A-flat2 of the \"Thee.\" cadence rides as a cue-sized alternates member (divisi being forbidden). Nothing else departs: every pitch, every duration, both quarter rests per phrase-end bar, the bass's off-beat eighth-rest-plus-B-flat3 answers in bars 8 and 12, the tenor/bass unisons (bar 2 \"And it\" C3; bar 3's converging sixteenth A-flat3), and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 first-printing page images of Brightest and Best, hymn 22 (archive.org brighte00lowr leaves 0024-0025), collated end to end against the independent 1894 re-engraving in Gospel Hymns Nos. 1 to 6 Complete, No. 572 (archive.org gospelhymnsnos1t0000unse_s2j5 leaf 0587). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: W. H. Doane, as printed in Brightest and Best, 1875. Public domain.", "music_ly": "%% I AM THINE (10.7.10.7. with Refrain) — W. H. Doane, \"DRAW ME NEARER.\" Four\n%% SATB voice streams, canonical key A-flat major, 4/4, a one-quarter pickup,\n%% fifteen full bars and a 3-beat final bar (half plus printed quarter rest, the\n%% complement of the opening pickup — the PITB/Tabernacle pattern).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The FIRST PRINTING: Brightest and Best (New York:\n%% Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\"\n%% over the motto \"Let us draw near with a true heart.\"—Heb. 10: 22, credited\n%% \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", \"COPYRIGHT 1875, BY BIGLOW & MAIN.\"\n%% at the foot — archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025\n%% (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across,\n%% staff space 19.8-20.0 px (9.9-10.0 px per diatonic step). Collated END TO\n%% END against the independent re-engraving in Gospel Hymns Nos. 1 to 6\n%% Complete (1894), No. 572, printed page 581 — archive.org\n%% gospelhymnsnos1t0000unse_s2j5, leaf 0587, staff space 14.7-15.0 px — which\n%% resets the whole hymn on one page in four systems; the lyric type, note\n%% spacing and system casting all differ, so they are two independent\n%% engravings of the one setting.\n%%\n%% HOW THE NOTEHEADS WERE READ (tools/noteread.py, the wave-6 rig, plus eye).\n%% Three independent reads of every system: (1) the rig's per-column machine\n%% read (local five-line refits, edge-anchored steps, hollow heads via ring\n%% arcs); (2) a full vision read off 5x-10x grid-overlay strips covering every\n%% column of all eight staves of the 1875 plate; (3) a musical-consistency\n%% pass — every bar closes at 4/4 in all four voices, and every cadence was\n%% checked for function. Disagreements went to per-chord ASCII pixel maps\n%% (five alto positions were settled that way: the two verse pickups' alto\n%% 16ths are F4, the two refrain lead-ins' alto 16ths are E-flat 4, and the\n%% \"And be\" alto is D-flat 4 below the line). The five positions the register\n%% carried as unresolved all certified: (a) the refrain's \"near—er,\" halves\n%% are E-FLAT 5 / A-FLAT 4 then C5 / E-flat 4 — proven three ways: the\n%% machine's clean read of the same chords printed as FILLED quarters in bar\n%% 13 (steps +7/+3, residuals .02-.18), the harmonic parallel (tenor C4 +\n%% bass A-flat 3 under them force the tonic), and a direct eye read of the\n%% 1894 plate's round hollow halves sitting unambiguously in their spaces;\n%% (b) the final chord's alto is C4, hollow, on the one-ledger line below the\n%% treble staff, the ledger stroke visible through the head on both\n%% engravings; (c) the \"bleed-ING\" bass chord is G3 / E-flat 3 (an eighth,\n%% E-flat 7 with the treble), two heads at zoom 10 — the register's \"three\n%% heads\" was the pale-centred letterpress inking of that corner splitting\n%% blobs; (d) the \"Thee.\" cadence prints THREE hollow heads C4 / A-flat 3 /\n%% A-flat 2 under one stem on both engravings — see the sidecar's alternates\n%% note; (e) the \"To Thy\" tenor is E-FLAT 4 then D-FLAT 4 on ledgers above\n%% the bass staff (the earlier \"E4/D4\" scare was the key's own flats), and\n%% the same high ledgered tenor D-flat 4 recurs at \"drawn to\" — both\n%% confirmed by the 1894 machine read (+11 at both spots).\n%%\n%% ACCIDENTALS: every column of all eight staves of BOTH witnesses was swept\n%% at magnification (5x-10x strips on the 1875, 2.5x-9x on the 1894). The\n%% sweep found ZERO accidental glyphs — no sharp, no natural, no flat beyond\n%% the four-flat signature at the head of every staff. The hymn is purely\n%% diatonic in A-flat.\n%%\n%% NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no\n%% existing encoding was opened at any point. The one external check is\n%% Hymnary's melodic incipit for tune authority\n%% i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\" in A-flat major,\n%% which is the first fifteen soprano notes of this reading exactly (C5,\n%% D-flat 5 / C5, B-flat 4, B-flat 4, B-flat 4, C5 / B-flat 4, A-flat 4,\n%% A-flat 4, A-flat 4, G4 / F4, F4, F4).\n%%\n%% RHYTHM AND BARRING. The signature figure is the dotted-eighth+sixteenth on\n%% every phrase pickup. Each half-verse and each refrain phrase ends half\n%% note + printed QUARTER REST (old-style comma glyph, both staves) + the next\n%% phrase's dotted pickup completing the bar — bars 4, 8, 12 and 16. The\n%% REFRAIN divider (a heavy barline with \"REFRAIN.\" above) falls MID-BAR\n%% between bar 8's rest and the \"Draw me\" pickup, exactly the Face-to-Face /\n%% PITB pattern; it is not carried (the corpus draws barlines from the metre).\n%% In bars 8 and 12 the BASS alone answers the lead-in off the beat: an\n%% EIGHTH REST then an off-beat eighth on B-FLAT 3 — briefly above the\n%% tenor's dotted A-flat 3 figure — printed with its own down-stem on both\n%% engravings; encoded exactly as printed (r8 bes8). In bar 9 the tenor and bass sing quarters\n%% under the soprano/alto halves with their own small-type lyric row\n%% \"near-er, near-er,\" — the sidecar's bass_echo. In bar 11 the alto and\n%% tenor hold HALVES (\"where—Thou\": E-flat 4, A-flat 3) while the soprano\n%% falls D-flat 5 - C5 and the bass walks D-flat 3 - C3 - B-flat 2 - A-flat 2.\n%% Bar 14's \"Lord,\" (D-flat 5 over the IV chord) carries a FERMATA on both\n%% engravings and both staves; this corpus carries no fermata on this path,\n%% so it is recorded here and in the sidecar, not engraved.\n%%\n%% TENOR/BASS UNISONS, as printed: \"And it\" in bar 2 is ONE head (C3) in the\n%% bass staff — tenor and bass in unison — and the 16th of bar 3's \"to\" is\n%% ONE head (A-flat 3) after the two-head dotted eighth (tenor F3 over bass\n%% D-flat 3): both voices converge on the unison sixteenth. Both witnesses\n%% agree at both places. THE ONE WITNESS DIVERGENCE in the whole hymn is bar\n%% 5 beat 1 (\"long\"), where the 1875 plate prints bass E-FLAT 3 (an\n%% ASCII-mapped space-5 head) and the 1894 re-engraving prints A-flat 2; the\n%% first printing is followed.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 aes'8. g'16 |\n  f'4 f'4 f'4 aes'8.( f'16) |\n  ees'2 r4 c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 bes'8 c''8 |\n  des''4 des''4 g'4 g'4 |\n  aes'2 r4 c''8. des''16 |\n  ees''2 c''2 |\n  bes'8 aes'8 g'8 f'8 ees'4 aes'8. g'16 |\n  f'4 aes'4 des''4 c''4 |\n  bes'2 r4 c''8. des''16 |\n  ees''4 ees''4 c''4 c''4 |\n  bes'8 aes'8 g'8 f'8 des''4 c''8. bes'16 |\n  aes'4 aes'4 c''4. bes'8 |\n  aes'2 r4\n}\n\nalto = {\n  ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 ees'8. ees'16 |\n  des'4 des'4 des'4 des'4 |\n  c'2 r4 ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 des'8 ees'8 |\n  f'4 f'4 ees'4 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'2 ees'2 |\n  f'8 f'8 ees'8 des'8 c'4 ees'8. ees'16 |\n  des'4 ees'2 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'4 aes'4 ees'4 ees'4 |\n  f'8 f'8 ees'8 des'8 f'4 f'8. f'16 |\n  ees'4 ees'4 ees'4. des'8 |\n  c'2 r4\n}\n\ntenor = {\n  aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 c8. c16 |\n  aes4 aes4 aes4 f8. aes16 |\n  aes2 r4 aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 aes8 aes8 |\n  aes4 bes4 bes4 des'4 |\n  c'2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 aes8. aes16 |\n  aes4 aes2 aes4 |\n  g2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 ees'8. des'16 |\n  c'4 c'4 aes4. g8 |\n  aes2 r4\n}\n\nbass = {\n  aes,8. aes,16 |\n  aes,4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 c8. c16 |\n  des4 des4 des4 des8. aes16 |\n  aes,2 r4 aes,8. aes,16 |\n  ees4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 aes,8 aes,8 |\n  des4 bes,4 ees4 ees4 |\n  aes2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 aes,4 c8. c16 |\n  des4 c4 bes,4 aes,4 |\n  ees2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 des4 des8. des16 |\n  ees4 ees4 ees4. ees8 |\n  aes,2 r4\n}\n", "preferred": true}]}, "i-know-whom-i-have-believed": {"slug": "i-know-whom-i-have-believed", "name": "I KNOW WHOM I HAVE BELIEVED", "meter_label": "C.M. with Refrain", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "james-mcgranahan", "composer_date": "1892", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "i-know-whom-i-have-believed-oh278", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:278; all components published pre-1931 (latest year 1892).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "i-know-whom-i-have-believed-oh278", "tune": "i-know-whom-i-have-believed", "music_file": "i-know-whom-i-have-believed-oh278.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 36, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:278; all components published pre-1931 (latest year 1892).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:278", "encoding_license": "PD-dedication"}, "music_ly": "%% I Know Whom I Have Believed\n%% Imported from Open Hymnal ABC X:278 via tools/abc_import.py\n%% Open Hymnal X:278; all components published pre-1931 (latest year 1892).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4. g'8 aes'8 g'8 f'8 ees'8 c''4 bes'4 bes'4 g'4 bes'4. bes'8 c''8 bes'8 aes'8 g'8 f'2. aes'4 g'4. g'8 aes'8 g'8 f'8 ees'8 c''4 bes'4 bes'4 g'4 bes'4. bes'8 c''8 bes'8 aes'8 f'8 ees'2. ees'8 ees'8 ees''4 ees''4. ees''8 d''8 c''8 c''4 bes'4. bes'8 c''8 bes'8 bes'4 aes'4. aes'8 bes'8 aes'8 aes'4 g'2 ees'4 ees''4 ees''4. ees''8 d''8 c''8 c''4 bes'2 bes'8 bes'8 d''4. c''8 d''4 bes'4 ees''2.\n}\nalto = {\n  ees'4 ees'4. ees'8 ees'4 bes4 ees'4 ees'4 ees'4 ees'4 g'4. g'8 aes'8 g'8 f'8 ees'8 d'2. f'4 ees'4. ees'8 ees'4 bes4 ees'4 ees'4 ees'4 ees'4 d'4. d'8 d'4 d'4 ees'2. ees'8 ees'8 c''4 c''4. c''8 bes'8 aes'8 aes'4 g'4. g'8 aes'8 g'8 g'4 f'4. f'8 g'8 f'8 f'4 ees'2 ees'4 c''4 c''4. c''8 bes'8 aes'8 aes'4 g'2 g'8 g'8 f'4. aes'8 aes'4 aes'4 g'2.\n}\ntenor = {\n  g4 bes4. bes8 c'8 bes8 aes8 g8 aes4 g4 g4 bes4 ees'4. ees'8 ees'4 bes4 bes2. bes4 bes4. bes8 c'8 bes8 aes8 g8 aes4 g4 g4 bes4 bes4. f8 f4 f8 aes8 g2. ees8 ees8 ees'4 ees'4. ees'8 ees'8 ees'8 ees'4 ees'4. ees'8 ees'8 ees'8 d'4 d'4. d'8 d'8 d'8 ees'4 bes2 ees4 ees'4 ees'4. ees'8 ees'8 ees'8 ees'4 ees'2 bes8 bes8 bes4. bes8 bes4 bes4 bes2.\n}\nbass = {\n  ees4 ees4. ees8 ees4 ees4 ees4 ees4 ees4 ees4 ees4. ees8 ees4 d8 ees8 bes,2. bes,4 ees4. ees8 ees4 ees4 ees4 ees4 ees4 ees4 bes,4. bes,8 bes,4 bes,4 ees2. ees8 ees8 aes,4 aes4. aes8 aes8 aes8 ees4 ees4. ees8 ees8 ees8 bes,4 bes,4. bes,8 bes,8 bes,8 ees4 ees2 ees4 aes,4 aes4. aes8 aes8 aes8 ees4 ees2 ees8 ees8 bes,4. bes,8 bes,8 c8 d4 ees2.\n}\n"}, "harmonizations": [{"slug": "i-know-whom-i-have-believed-oh278", "tune": "i-know-whom-i-have-believed", "music_file": "i-know-whom-i-have-believed-oh278.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 36, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 37}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:278; all components published pre-1931 (latest year 1892).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:278", "encoding_license": "PD-dedication"}, "music_ly": "%% I Know Whom I Have Believed\n%% Imported from Open Hymnal ABC X:278 via tools/abc_import.py\n%% Open Hymnal X:278; all components published pre-1931 (latest year 1892).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4. g'8 aes'8 g'8 f'8 ees'8 c''4 bes'4 bes'4 g'4 bes'4. bes'8 c''8 bes'8 aes'8 g'8 f'2. aes'4 g'4. g'8 aes'8 g'8 f'8 ees'8 c''4 bes'4 bes'4 g'4 bes'4. bes'8 c''8 bes'8 aes'8 f'8 ees'2. ees'8 ees'8 ees''4 ees''4. ees''8 d''8 c''8 c''4 bes'4. bes'8 c''8 bes'8 bes'4 aes'4. aes'8 bes'8 aes'8 aes'4 g'2 ees'4 ees''4 ees''4. ees''8 d''8 c''8 c''4 bes'2 bes'8 bes'8 d''4. c''8 d''4 bes'4 ees''2.\n}\nalto = {\n  ees'4 ees'4. ees'8 ees'4 bes4 ees'4 ees'4 ees'4 ees'4 g'4. g'8 aes'8 g'8 f'8 ees'8 d'2. f'4 ees'4. ees'8 ees'4 bes4 ees'4 ees'4 ees'4 ees'4 d'4. d'8 d'4 d'4 ees'2. ees'8 ees'8 c''4 c''4. c''8 bes'8 aes'8 aes'4 g'4. g'8 aes'8 g'8 g'4 f'4. f'8 g'8 f'8 f'4 ees'2 ees'4 c''4 c''4. c''8 bes'8 aes'8 aes'4 g'2 g'8 g'8 f'4. aes'8 aes'4 aes'4 g'2.\n}\ntenor = {\n  g4 bes4. bes8 c'8 bes8 aes8 g8 aes4 g4 g4 bes4 ees'4. ees'8 ees'4 bes4 bes2. bes4 bes4. bes8 c'8 bes8 aes8 g8 aes4 g4 g4 bes4 bes4. f8 f4 f8 aes8 g2. ees8 ees8 ees'4 ees'4. ees'8 ees'8 ees'8 ees'4 ees'4. ees'8 ees'8 ees'8 d'4 d'4. d'8 d'8 d'8 ees'4 bes2 ees4 ees'4 ees'4. ees'8 ees'8 ees'8 ees'4 ees'2 bes8 bes8 bes4. bes8 bes4 bes4 bes2.\n}\nbass = {\n  ees4 ees4. ees8 ees4 ees4 ees4 ees4 ees4 ees4 ees4. ees8 ees4 d8 ees8 bes,2. bes,4 ees4. ees8 ees4 ees4 ees4 ees4 ees4 ees4 bes,4. bes,8 bes,4 bes,4 ees2. ees8 ees8 aes,4 aes4. aes8 aes8 aes8 ees4 ees4. ees8 ees8 ees8 bes,4 bes,4. bes,8 bes,8 bes,8 ees4 ees2 ees4 aes,4 aes4. aes8 aes8 aes8 ees4 ees2 ees8 ees8 bes,4. bes,8 bes,8 c8 d4 ees2.\n}\n", "preferred": true}]}, "i-need-thee-every-hour": {"slug": "i-need-thee-every-hour", "name": "I NEED THEE EVERY HOUR", "meter_label": "6.4.6.4", "meter": {"pattern": [6, 4, 6, 4], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1898", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "i-need-thee-every-hour-oh167", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:167; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "i_need_thee_every_hour_murray", "total_instances": 1}}, "harmonization": {"slug": "i-need-thee-every-hour-oh167", "tune": "i-need-thee-every-hour", "music_file": "i-need-thee-every-hour-oh167.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 24, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 25}, "markings": [{"soprano_note": 25, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:167; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:167", "encoding_license": "PD-dedication"}, "music_ly": "%% I Need Thee Every Hour\n%% Imported from Open Hymnal ABC X:167 via tools/abc_import.py\n%% Open Hymnal X:167; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  aes'4 c''4. bes'8 aes'8 g'8 aes'2 aes'4 aes'4.( bes'8) aes'8 f'8 ees'2 ees'4 bes'4. c''8 bes'8 ees'8 c''2 aes'4 g'4.( aes'8) g'8 f'8 ees'2 c''4 c''4. aes'8 des''8 c''8 c''4 bes'2 bes'4. aes'8 c''8 bes'8 bes'4 aes'4 aes'4 aes'4. bes'8 aes'8 f'8 ees'4 aes'4 bes'4 c''4.( aes'8) bes'4 aes'2\n}\nalto = {\n  c'4 ees'4. des'8 c'8 bes8 c'2 c'4 des'2 des'4 c'2 ees'4 ees'4. ees'8 ees'8 ees'8 ees'2 ees'4 ees'4.( f'8) ees'8 d'8 ees'2 aes'4 aes'4. ees'8 aes'8 aes'8 aes'4 g'2 ees'4. ees'8 ees'8 ees'8 ees'4 ees'4 ees'4 f'4. f'8 f'8 des'8 c'4 ees'4 f'4 ees'4.( c'8) des'4 c'2\n}\ntenor = {\n  ees4 aes4. f8 ees8 ees8 ees2 ees4 f2 f8 aes8 aes2 g4 g4. aes8 g8 g8 aes2 c'4 bes2 bes8 aes8 g2 ees'4 ees'4. c'8 f'8 ees'8 ees'4 ees'2 des'4. c'8 ees'8 des'8 des'4 c'4 aes4 aes4. aes8 aes8 aes8 aes4 aes4 aes4 aes2 g4 aes2\n}\nbass = {\n  aes,4 aes,4. des8 ees8 ees8 aes,2 aes,4 des2 des4 aes,2 ees4 ees4. ees8 ees8 ees8 aes2 aes,4 bes,2 bes,4 ees2 aes4 aes4. aes8 aes8 aes8 ees4 ees2 ees4. ees8 ees8 ees8 aes,4 aes,4 c4 des4. des8 des8 des8 aes,4 c4 des4 ees2 ees4 aes,2\n}\n"}, "harmonizations": [{"slug": "i-need-thee-every-hour-oh167", "tune": "i-need-thee-every-hour", "music_file": "i-need-thee-every-hour-oh167.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 24, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 25}, "markings": [{"soprano_note": 25, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:167; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:167", "encoding_license": "PD-dedication"}, "music_ly": "%% I Need Thee Every Hour\n%% Imported from Open Hymnal ABC X:167 via tools/abc_import.py\n%% Open Hymnal X:167; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  aes'4 c''4. bes'8 aes'8 g'8 aes'2 aes'4 aes'4.( bes'8) aes'8 f'8 ees'2 ees'4 bes'4. c''8 bes'8 ees'8 c''2 aes'4 g'4.( aes'8) g'8 f'8 ees'2 c''4 c''4. aes'8 des''8 c''8 c''4 bes'2 bes'4. aes'8 c''8 bes'8 bes'4 aes'4 aes'4 aes'4. bes'8 aes'8 f'8 ees'4 aes'4 bes'4 c''4.( aes'8) bes'4 aes'2\n}\nalto = {\n  c'4 ees'4. des'8 c'8 bes8 c'2 c'4 des'2 des'4 c'2 ees'4 ees'4. ees'8 ees'8 ees'8 ees'2 ees'4 ees'4.( f'8) ees'8 d'8 ees'2 aes'4 aes'4. ees'8 aes'8 aes'8 aes'4 g'2 ees'4. ees'8 ees'8 ees'8 ees'4 ees'4 ees'4 f'4. f'8 f'8 des'8 c'4 ees'4 f'4 ees'4.( c'8) des'4 c'2\n}\ntenor = {\n  ees4 aes4. f8 ees8 ees8 ees2 ees4 f2 f8 aes8 aes2 g4 g4. aes8 g8 g8 aes2 c'4 bes2 bes8 aes8 g2 ees'4 ees'4. c'8 f'8 ees'8 ees'4 ees'2 des'4. c'8 ees'8 des'8 des'4 c'4 aes4 aes4. aes8 aes8 aes8 aes4 aes4 aes4 aes2 g4 aes2\n}\nbass = {\n  aes,4 aes,4. des8 ees8 ees8 aes,2 aes,4 des2 des4 aes,2 ees4 ees4. ees8 ees8 ees8 aes2 aes,4 bes,2 bes,4 ees2 aes4 aes4. aes8 aes8 aes8 ees4 ees2 ees4. ees8 ees8 ees8 aes,4 aes,4 c4 des4. des8 des8 des8 aes,4 c4 des4 ees2 ees4 aes,2\n}\n", "preferred": true}]}, "in-babilone": {"slug": "in-babilone", "name": "IN BABILONE", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Traditional Dutch", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "in-babilone-oh284", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:284 (line 37241); Words Frederick W. Faber 1862, Music 'In Babilone' traditional Dutch 1710, Setting Julius Röntgen 1906 (English Hymnal 1906); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "in-babilone-oh284", "tune": "in-babilone", "music_file": "in-babilone-oh284.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [21, 42, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:284 (line 37241); Words Frederick W. Faber 1862, Music 'In Babilone' traditional Dutch 1710, Setting Julius Röntgen 1906 (English Hymnal 1906); all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:284", "encoding_license": "PD-dedication"}, "music_ly": "%% There's a Wideness in God's Mercy\n%% Imported from Open Hymnal ABC X:284 via tools/abc_import.py\n%% Words: Frederick W. Faber, 1862. Music: 'In Babilone', traditional Dutch (1710); setting Julius Röntgen, 1906 (English Hymnal). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2 g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2 g'4 a'8( b'8) c''4 b'4 a'4 gis'4 a'4 a'4 a'4 b'8( c''8) d''4 g'4 a'4 g'8( fis'8) e'4( d'4) g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2\n}\nalto = {\n  d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2 d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2 b4 f'4 e'4 f'4 e'4 e'4 e'4 e'4 fis'4 d'4 d'4 e'4 d'4 d'4 cis'4( cis'4) d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2\n}\ntenor = {\n  b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2 b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2 g4 f4 g4 d'4 c'4 b4 c'4 c'4 d'4 fis4 g4 b4 a4 b4 g4( fis4) b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2\n}\nbass = {\n  g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2 g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2 e4 d4 c4 d4 e4 e4 a,4 a,4 d4 c4 b4 e4 fis,4 g,4 a,4( d4) g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2\n}\n"}, "harmonizations": [{"slug": "in-babilone-oh284", "tune": "in-babilone", "music_file": "in-babilone-oh284.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [21, 42, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:284 (line 37241); Words Frederick W. Faber 1862, Music 'In Babilone' traditional Dutch 1710, Setting Julius Röntgen 1906 (English Hymnal 1906); all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:284", "encoding_license": "PD-dedication"}, "music_ly": "%% There's a Wideness in God's Mercy\n%% Imported from Open Hymnal ABC X:284 via tools/abc_import.py\n%% Words: Frederick W. Faber, 1862. Music: 'In Babilone', traditional Dutch (1710); setting Julius Röntgen, 1906 (English Hymnal). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2 g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2 g'4 a'8( b'8) c''4 b'4 a'4 gis'4 a'4 a'4 a'4 b'8( c''8) d''4 g'4 a'4 g'8( fis'8) e'4( d'4) g'4 fis'8( e'8) d'4 g'4 a'4 g'8( a'8) b'4 g'4 c''4 b'8( a'8) b'4 a'8( g'8) fis'8( g'8) a'8( fis'8) g'2\n}\nalto = {\n  d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2 d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2 b4 f'4 e'4 f'4 e'4 e'4 e'4 e'4 fis'4 d'4 d'4 e'4 d'4 d'4 cis'4( cis'4) d'4 c'4 b4 b4 e'4 e'8 fis'8 g'4 d'4 e'4 d'4 d'4 e'4 c'8 d'8 e'8 d'8 d'2\n}\ntenor = {\n  b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2 b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2 g4 f4 g4 d'4 c'4 b4 c'4 c'4 d'4 fis4 g4 b4 a4 b4 g4( fis4) b4 a8 fis8 g4 g4 g4 d'4 d'4 g4 g4 fis4 g4 b4 c'8 b8 a8 c'8 b2\n}\nbass = {\n  g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2 g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2 e4 d4 c4 d4 e4 e4 a,4 a,4 d4 c4 b4 e4 fis,4 g,4 a,4( d4) g,4 a,4 b,4 e4 c4 d4 g,4 b,4 a,4 d4 b,4 e4 a,8 b,8 c8 d8 g,2\n}\n", "preferred": true}]}, "in-dulci-jubilo": {"slug": "in-dulci-jubilo", "name": "IN DULCI JUBILO", "meter_label": "66.77.78.55", "meter": {"pattern": [6, 6, 7, 7, 7, 8, 5, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German melody, 14th century", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "in-dulci-jubilo-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "IN DULCI JUBILO, a German melody dated to the 14th century (the macaronic carol \"In dulci jubilo\"), long in the public domain. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 6/8, dotted-quarter = 115; a pickup eighth and a dotted-half final). The one non-scale note — an alto chromatic neighbour at the fifth phrase — is printed with a sharp in the source and carried as cis' (C#). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"In Dulci Jubilo\" (German melody, 14th century); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "in-dulci-jubilo-cyberhymnal", "tune": "in-dulci-jubilo", "music_file": "in-dulci-jubilo-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [8, 16, 23, 30, 37, 45, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "IN DULCI JUBILO, German melody, 14th century. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune IN DULCI JUBILO (German melody, 14th century); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 6/8). The alto chromatic neighbour at bar 14 was respelled des'->cis' to match the engraving's printed sharp (same sounding pitch). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"In Dulci Jubilo\" (German melody, 14th century); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% IN DULCI JUBILO (66.77.78.55) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"In Dulci Jubilo\", German melody, 14th\n%% century) with tools/mid2ly.py and verified against the Cyber Hymnal engraving\n%% (F major, 6/8, dotted-quarter = 115; pickup eighth; dotted-half final). The alto\n%% chromatic neighbour at bar 14 (onset 51) is printed with a sharp in the source\n%% and carried as cis' (same pitch as mid2ly's des').\n%% MELISMATIC (58 soprano notes for 51 syllables); the 7 melisma continuations are\n%% held with '_' each stanza (verse_variable_melisma) on the line-final syllable of\n%% the four SHORT poetic lines — 1 \"-joice\" (onsets 7,8), 2 \"voice\" (15,16),\n%% 7 \"day\" (51,52) and 8 \"day\" (58); the c''-d''-c'' turns are the source slurs.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'8 |\n  f'4 f'8 a'4 bes'8 | c''4( d''8 c''4) c''8 | f'4 f'8 a'4 bes'8 | c''4( d''8 c''4.) |\n  c''4 d''8 c''4 bes'8 | a'4 g'8 f'4. | f'4. f'4. | g'4 g'8 a'4 g'8 | f'4 g'8 a'4. |\n  c''4 d''8 c''4 bes'8 | a'4 g'8 f'4 f'8 | g'4 g'8 a'4 g'8 | f'4 g'8 a'4. |\n  d'4 d'8 e'4( e'8 | f'4.) c''4. | a'4 a'8 g'4 g'8( | f'2.)\n}\nalto = {\n  f'8 |\n  c'4 c'8 f'4 f'8 | f'4 d''8 e'4 g'8 | c'4 c'8 f'4 f'8 | f'4 d''8 e'4. |\n  f'4 f'8 e'4 g'8 | f'4 e'8 f'4. | d'4. d'4. | f'4 f'8 f'4 e'8 | f'4 e'8 f'4. |\n  f'4 f'8 e'4 g'8 | f'4 e'8 d'4 f'8 | f'4 f'8 f'4 e'8 | f'4 f'8 f'4. |\n  d'4 d'8 d'4 cis'8 | d'4. e'4. | d'4 f'8 f'4 e'8 | f'2.\n}\ntenor = {\n  f8 |\n  a4 a8 d'8 c8 d'8 | c'4 bes8 g4 c'8 | a4 a8 d'8 c8 d'8 | c'4 bes8 g4. |\n  c'4 bes8 g4 c'8 | c'4 bes8 a4. | a4. a4. | d'4 d'8 c'4 bes8 | a4 c'8 c'4. |\n  c'4 bes8 g4 c'8 | c'4 bes8 a4 c'8 | d'4 d'8 c'8 d'8 bes8 | a4 bes8 c'4. |\n  a4 a8 g4 g8 | a4 bes8 g4. | f4 c'8 d'4 c'8 | a2.\n}\nbass = {\n  f8 |\n  f4 e8 d8 c8 bes,8 | a,4 bes,8 c4 e8 | f4 e8 d8 c8 bes,8 | a,4 bes,8 c4. |\n  a,4 bes,8 c4 e8 | f4 c8 d4. | d4. d4. | bes,4 bes,8 c4 c8 | d4 c8 f4. |\n  a,4 bes,8 c4 e8 | f4 c8 d4 a,8 | bes,4 bes,8 c8 d'8 e8 | f4 f8 f4. |\n  f4 f8 e4 e8 | d4 bes8 c4. | d4 a,8 bes,4 c8 | f2.\n}\n"}, "harmonizations": [{"slug": "in-dulci-jubilo-cyberhymnal", "tune": "in-dulci-jubilo", "music_file": "in-dulci-jubilo-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [8, 16, 23, 30, 37, 45, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "IN DULCI JUBILO, German melody, 14th century. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune IN DULCI JUBILO (German melody, 14th century); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 6/8). The alto chromatic neighbour at bar 14 was respelled des'->cis' to match the engraving's printed sharp (same sounding pitch). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"In Dulci Jubilo\" (German melody, 14th century); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% IN DULCI JUBILO (66.77.78.55) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"In Dulci Jubilo\", German melody, 14th\n%% century) with tools/mid2ly.py and verified against the Cyber Hymnal engraving\n%% (F major, 6/8, dotted-quarter = 115; pickup eighth; dotted-half final). The alto\n%% chromatic neighbour at bar 14 (onset 51) is printed with a sharp in the source\n%% and carried as cis' (same pitch as mid2ly's des').\n%% MELISMATIC (58 soprano notes for 51 syllables); the 7 melisma continuations are\n%% held with '_' each stanza (verse_variable_melisma) on the line-final syllable of\n%% the four SHORT poetic lines — 1 \"-joice\" (onsets 7,8), 2 \"voice\" (15,16),\n%% 7 \"day\" (51,52) and 8 \"day\" (58); the c''-d''-c'' turns are the source slurs.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'8 |\n  f'4 f'8 a'4 bes'8 | c''4( d''8 c''4) c''8 | f'4 f'8 a'4 bes'8 | c''4( d''8 c''4.) |\n  c''4 d''8 c''4 bes'8 | a'4 g'8 f'4. | f'4. f'4. | g'4 g'8 a'4 g'8 | f'4 g'8 a'4. |\n  c''4 d''8 c''4 bes'8 | a'4 g'8 f'4 f'8 | g'4 g'8 a'4 g'8 | f'4 g'8 a'4. |\n  d'4 d'8 e'4( e'8 | f'4.) c''4. | a'4 a'8 g'4 g'8( | f'2.)\n}\nalto = {\n  f'8 |\n  c'4 c'8 f'4 f'8 | f'4 d''8 e'4 g'8 | c'4 c'8 f'4 f'8 | f'4 d''8 e'4. |\n  f'4 f'8 e'4 g'8 | f'4 e'8 f'4. | d'4. d'4. | f'4 f'8 f'4 e'8 | f'4 e'8 f'4. |\n  f'4 f'8 e'4 g'8 | f'4 e'8 d'4 f'8 | f'4 f'8 f'4 e'8 | f'4 f'8 f'4. |\n  d'4 d'8 d'4 cis'8 | d'4. e'4. | d'4 f'8 f'4 e'8 | f'2.\n}\ntenor = {\n  f8 |\n  a4 a8 d'8 c8 d'8 | c'4 bes8 g4 c'8 | a4 a8 d'8 c8 d'8 | c'4 bes8 g4. |\n  c'4 bes8 g4 c'8 | c'4 bes8 a4. | a4. a4. | d'4 d'8 c'4 bes8 | a4 c'8 c'4. |\n  c'4 bes8 g4 c'8 | c'4 bes8 a4 c'8 | d'4 d'8 c'8 d'8 bes8 | a4 bes8 c'4. |\n  a4 a8 g4 g8 | a4 bes8 g4. | f4 c'8 d'4 c'8 | a2.\n}\nbass = {\n  f8 |\n  f4 e8 d8 c8 bes,8 | a,4 bes,8 c4 e8 | f4 e8 d8 c8 bes,8 | a,4 bes,8 c4. |\n  a,4 bes,8 c4 e8 | f4 c8 d4. | d4. d4. | bes,4 bes,8 c4 c8 | d4 c8 f4. |\n  a,4 bes,8 c4 e8 | f4 c8 d4 a,8 | bes,4 bes,8 c8 d'8 e8 | f4 f8 f4. |\n  f4 f8 e4 e8 | d4 bes8 c4. | d4 a,8 bes,4 c8 | f2.\n}\n", "preferred": true}]}, "italian-hymn": {"slug": "italian-hymn", "name": "ITALIAN HYMN", "meter_label": "6.6.4.6.6.6.4", "meter": {"pattern": [6, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "felice-de-giardini", "composer_date": "1911", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "italian-hymn-oh291", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:291; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "italian_hymn_giardini", "total_instances": 1602}}, "harmonization": {"slug": "italian-hymn-oh291", "tune": "italian-hymn", "music_file": "italian-hymn-oh291.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [7, 19, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:291; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:291", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 40, "pitch": "g,"}], "music_ly": "%% God, Whose Almighty Word\n%% Imported from Open Hymnal ABC X:291 via tools/abc_import.py\n%% Open Hymnal X:291; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d''4 b'4 g'4 a'4( g'4) fis'4 g'2. g'4 a'4 b'4 c''8( d''8 c''4) b'4 a'2. d''4 b'4 g'4 d'2. a'4 b'4 c''4 b'4. a'8 g'4 a'4 b'4 c''4 b'4. a'8 g'4 g'4 b'4 d''4 d''4. e''8 d''4 c''4 b'4 a'4 g'2.\n}\nalto = {\n  g'4 d'4 d'4 e'4( d'4) d'4 d'2. d'4 d'4 g'4 fis'4( a'4) g'4 fis'2. d''4 b'4 g'4 d'2. fis'4 g'4 a'4 g'4. fis'8 g'4 fis'4 g'4 a'4 g'4. fis'8 g'4 g'4 b'4 d''4 g'4. g'8 g'4 a'4 g'4 fis'4 g'2.\n}\ntenor = {\n  b4 d'4 d'4 c'4( b4) a4 b2. b4 d'4 d'4 d'2 d'4 d'2. d'4 b4 g4 d2. d'4 d'4 d'4 d'4. c'8 b4 d'4 d'4 d'4 d'4. c'8 b4 g4 b4 d'4 b4. c'8 b4 e'4 d'4 c'4 b2.\n}\nbass = {\n  g4 g4 b,4 c4( d4) d4 g,2. g4 fis4 g4 a4( fis4) g4 d2. d'4 b4 g4 d2. d4 d4 d4 g4. g8 g4 d4 d4 d4 g4. g8 g4 g4 b4 d'4 g4. g8 g4 c4 d4 d4 g2.\n}\n"}, "harmonizations": [{"slug": "italian-hymn-oh291", "tune": "italian-hymn", "music_file": "italian-hymn-oh291.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [7, 19, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:291; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:291", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 40, "pitch": "g,"}], "music_ly": "%% God, Whose Almighty Word\n%% Imported from Open Hymnal ABC X:291 via tools/abc_import.py\n%% Open Hymnal X:291; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d''4 b'4 g'4 a'4( g'4) fis'4 g'2. g'4 a'4 b'4 c''8( d''8 c''4) b'4 a'2. d''4 b'4 g'4 d'2. a'4 b'4 c''4 b'4. a'8 g'4 a'4 b'4 c''4 b'4. a'8 g'4 g'4 b'4 d''4 d''4. e''8 d''4 c''4 b'4 a'4 g'2.\n}\nalto = {\n  g'4 d'4 d'4 e'4( d'4) d'4 d'2. d'4 d'4 g'4 fis'4( a'4) g'4 fis'2. d''4 b'4 g'4 d'2. fis'4 g'4 a'4 g'4. fis'8 g'4 fis'4 g'4 a'4 g'4. fis'8 g'4 g'4 b'4 d''4 g'4. g'8 g'4 a'4 g'4 fis'4 g'2.\n}\ntenor = {\n  b4 d'4 d'4 c'4( b4) a4 b2. b4 d'4 d'4 d'2 d'4 d'2. d'4 b4 g4 d2. d'4 d'4 d'4 d'4. c'8 b4 d'4 d'4 d'4 d'4. c'8 b4 g4 b4 d'4 b4. c'8 b4 e'4 d'4 c'4 b2.\n}\nbass = {\n  g4 g4 b,4 c4( d4) d4 g,2. g4 fis4 g4 a4( fis4) g4 d2. d'4 b4 g4 d2. d4 d4 d4 g4. g8 g4 d4 d4 d4 g4. g8 g4 g4 b4 d'4 g4. g8 g4 c4 d4 d4 g2.\n}\n", "preferred": true}]}, "jesaia-dem-propheten-das-geschah": {"slug": "jesaia-dem-propheten-das-geschah", "name": "JESAIA DEM PROPHETEN DAS GESCHAH", "meter_label": "Irregular", "meter": {"pattern": [10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "martin-luther", "composer_date": "1608", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "jesaia-dem-propheten-das-geschah-oh125", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:125; all components published pre-1931 (latest year 1608).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "jesaia-dem-propheten-das-geschah-oh125", "tune": "jesaia-dem-propheten-das-geschah", "music_file": "jesaia-dem-propheten-das-geschah-oh125.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 110, 120, 130, 140, 150], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:125; all components published pre-1931 (latest year 1608).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:125", "encoding_license": "PD-dedication"}, "music_ly": "%% Isaiah, Mighty Seer, In Days of Old\n%% Imported from Open Hymnal ABC X:125 via tools/abc_import.py\n%% Open Hymnal X:125; all components published pre-1931 (latest year 1608).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'2 bes'4 g'4 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 bes'2 bes'4 aes'4 bes'4 ees'4 aes'4 g'4 f'4 f'4 ees'2 bes'2 bes'4 bes'4 ees''4 ees''4 ees''4 bes'4 c''4 bes'4 g'2 g'2 aes'4 bes'4 g'4 aes'4 g'4 ees'4 f'4 f'4 ees'2 ees'2 g'4 f'4 g'4 a'4 bes'4 bes'4 g'4 a'4 bes'2 ees''2 ees''4 d''4 c''4 bes'4 bes'4 aes'4 bes'4 aes'4 g'2 f'2 g'4 aes'4 bes'4 bes'4 c''4 bes'4 c''4 d''4 ees''2 bes'2 bes'4 aes'4 g'4 aes'4 bes'4 ees'4 g'4 f'4 ees'2 g'2 aes'4 bes'4 c''4 bes'4 bes'4 c''4 d''4 c''4 bes'2 ees''2 d''4 c''4 f''4 f''4 d''4 bes'4 c''4 d''4 ees''2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 c''2 bes'4 aes'4 bes'4 ees'4 aes'4 g'4 f'4 f'4 ees'2 ees'2 bes'4 bes'4 g'4 aes'4 bes'4 c''4 c''4 bes'4 bes'2 bes'2 aes'4 g'4 aes'4 f'4 g'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  ees'2 d'4 bes4 c'4 bes4 f'4 ees'4 ees'4 ees'4 ees'2 g'2 g'4 f'4 d'4 c'4 f'4 ees'4 ees'4 d'4 ees'2 g'2 g'4 f'4 aes'4 aes'4 g'4 g'4 aes'4 f'4 ees'2 ees'2 c'4 f'4 ees'4 c'4 ees'4 bes4 c'4 bes4 bes2 c'2 d'4 f'4 ees'4 ees'4 f'4 f'4 ees'4 ees'4 d'2 g'2 aes'4 f'4 ees'4 f'4 g'4 f'4 ees'4 ees'4 ees'2 d'2 ees'4 c'4 g'4 f'4 aes'4 ees'4 c'4 f'4 g'2 g'2 g'4 ees'4 bes4 f'4 f'4 c'4 bes4 d'4 c'2 ees'2 f'4 g'4 aes'4 g'4 f'4 g'4 bes'4 a'4 bes'2 g'2 bes'4 aes'4 aes'4 bes'4 bes'4 bes'4 aes'4 f'4 g'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 ees'2 ees'4 ees'4 d'4 c'4 f'4 ees'4 ees'4 d'4 ees'2 c'2 d'4 f'4 ees'4 c'4 d'4 g'4 f'4. ees'8 d'2 ees'2 ees'4 ees'4 c'4 d'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g2 f4 ees4 g4 ees4 f4 g4 aes4 aes4 g2 d'2 ees'4 c'4 bes4 g4 f4 bes4 c'4 bes4 g2 ees'2 d'4 d'4 c'4 c'4 c'4 bes4 ees'4 d'4 c'2 bes2 aes4 f4 bes4 aes4 c'4 g4 ees4 d4 g2 c'2 bes4 bes4 bes4 c'4 d'4 bes4 bes4 c'4 f2 c'2 c'4 bes4 g4 bes4 ees'4 c'4 bes4 c'4 bes2 bes2 bes4 f'4 ees'4 d'4 ees'4 bes4 ees'4 bes4 bes2 ees'2 ees'4 c'4 ees'4 c'4 d'4 g4 ees4 bes4 g2 c'2 c'4 ees'4 ees'4 ees'4 bes4 ees'4 f'4. ees'8 d'2 c'2 bes4 ees'4 f'4 d'4 f'4 ees'4 ees'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 aes2 g4 aes4 f4 aes4 des'4 bes4 c'4 bes4 g2 g2 bes4 bes4 bes4 aes4 f4 g4 a4 bes4 f2 g2 c'4 bes4 aes4 aes4 bes4 aes4 g4 f4 g2\n}\nbass = {\n  ees2 bes,4 ees4 c4 ees4 d4 ees4 aes,4 aes,4 ees2 g2 ees4 f4 bes,4 c4 d4 ees4 aes,4 bes,4 ees2 ees2 g4 bes4 aes4 aes,4 c4 ees4 aes,4 bes,4 c2 ees2 f4 d4 ees4 f4 c4 ees4 aes,4 bes,4 ees2 c2 g4 d4 ees4 c4 bes,4 d4 ees4 c4 bes,2 bes,2 aes,4 bes,4 c4 d4 ees4 f4 g4 aes4 ees2 bes,2 ees4 f4 g4 bes4 aes4 g4 aes4 bes4 ees2 ees2 ees4 aes,4 ees4 f4 bes,4 c4 ees4 bes,4 c2 c2 f4 ees4 aes,4 ees4 d4 c4 bes,4 f4 bes,2 c2 g4 aes4 f4 bes,4 bes4 g4 aes4 bes4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 aes,2 ees4 c4 bes,4 c4 des4 ees4 aes,4 bes,4 ees2 c2 bes,4 d4 ees4 f4 d4 ees4 f4 bes,4 bes,2 ees2 aes,4 ees4 f4 f4 ees4 aes,4 bes,4 bes,4 ees2\n}\n"}, "harmonizations": [{"slug": "jesaia-dem-propheten-das-geschah-oh125", "tune": "jesaia-dem-propheten-das-geschah", "music_file": "jesaia-dem-propheten-das-geschah-oh125.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 110, 120, 130, 140, 150], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:125; all components published pre-1931 (latest year 1608).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:125", "encoding_license": "PD-dedication"}, "music_ly": "%% Isaiah, Mighty Seer, In Days of Old\n%% Imported from Open Hymnal ABC X:125 via tools/abc_import.py\n%% Open Hymnal X:125; all components published pre-1931 (latest year 1608).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'2 bes'4 g'4 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 bes'2 bes'4 aes'4 bes'4 ees'4 aes'4 g'4 f'4 f'4 ees'2 bes'2 bes'4 bes'4 ees''4 ees''4 ees''4 bes'4 c''4 bes'4 g'2 g'2 aes'4 bes'4 g'4 aes'4 g'4 ees'4 f'4 f'4 ees'2 ees'2 g'4 f'4 g'4 a'4 bes'4 bes'4 g'4 a'4 bes'2 ees''2 ees''4 d''4 c''4 bes'4 bes'4 aes'4 bes'4 aes'4 g'2 f'2 g'4 aes'4 bes'4 bes'4 c''4 bes'4 c''4 d''4 ees''2 bes'2 bes'4 aes'4 g'4 aes'4 bes'4 ees'4 g'4 f'4 ees'2 g'2 aes'4 bes'4 c''4 bes'4 bes'4 c''4 d''4 c''4 bes'2 ees''2 d''4 c''4 f''4 f''4 d''4 bes'4 c''4 d''4 ees''2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 ees''2 d''4 c''4 bes'4 c''4 d''4 bes'4 aes'4 bes'4 g'2 c''2 bes'4 aes'4 bes'4 ees'4 aes'4 g'4 f'4 f'4 ees'2 ees'2 bes'4 bes'4 g'4 aes'4 bes'4 c''4 c''4 bes'4 bes'2 bes'2 aes'4 g'4 aes'4 f'4 g'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  ees'2 d'4 bes4 c'4 bes4 f'4 ees'4 ees'4 ees'4 ees'2 g'2 g'4 f'4 d'4 c'4 f'4 ees'4 ees'4 d'4 ees'2 g'2 g'4 f'4 aes'4 aes'4 g'4 g'4 aes'4 f'4 ees'2 ees'2 c'4 f'4 ees'4 c'4 ees'4 bes4 c'4 bes4 bes2 c'2 d'4 f'4 ees'4 ees'4 f'4 f'4 ees'4 ees'4 d'2 g'2 aes'4 f'4 ees'4 f'4 g'4 f'4 ees'4 ees'4 ees'2 d'2 ees'4 c'4 g'4 f'4 aes'4 ees'4 c'4 f'4 g'2 g'2 g'4 ees'4 bes4 f'4 f'4 c'4 bes4 d'4 c'2 ees'2 f'4 g'4 aes'4 g'4 f'4 g'4 bes'4 a'4 bes'2 g'2 bes'4 aes'4 aes'4 bes'4 bes'4 bes'4 aes'4 f'4 g'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 g'2 g'4 ees'4 ees'4 ees'4 d'4 g'4 f'4 d'4 ees'2 ees'2 ees'4 ees'4 d'4 c'4 f'4 ees'4 ees'4 d'4 ees'2 c'2 d'4 f'4 ees'4 c'4 d'4 g'4 f'4. ees'8 d'2 ees'2 ees'4 ees'4 c'4 d'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g2 f4 ees4 g4 ees4 f4 g4 aes4 aes4 g2 d'2 ees'4 c'4 bes4 g4 f4 bes4 c'4 bes4 g2 ees'2 d'4 d'4 c'4 c'4 c'4 bes4 ees'4 d'4 c'2 bes2 aes4 f4 bes4 aes4 c'4 g4 ees4 d4 g2 c'2 bes4 bes4 bes4 c'4 d'4 bes4 bes4 c'4 f2 c'2 c'4 bes4 g4 bes4 ees'4 c'4 bes4 c'4 bes2 bes2 bes4 f'4 ees'4 d'4 ees'4 bes4 ees'4 bes4 bes2 ees'2 ees'4 c'4 ees'4 c'4 d'4 g4 ees4 bes4 g2 c'2 c'4 ees'4 ees'4 ees'4 bes4 ees'4 f'4. ees'8 d'2 c'2 bes4 ees'4 f'4 d'4 f'4 ees'4 ees'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 c'2 b4 c'4 g4 aes4 bes4 g4 c'4 bes4 bes2 aes2 g4 aes4 f4 aes4 des'4 bes4 c'4 bes4 g2 g2 bes4 bes4 bes4 aes4 f4 g4 a4 bes4 f2 g2 c'4 bes4 aes4 aes4 bes4 aes4 g4 f4 g2\n}\nbass = {\n  ees2 bes,4 ees4 c4 ees4 d4 ees4 aes,4 aes,4 ees2 g2 ees4 f4 bes,4 c4 d4 ees4 aes,4 bes,4 ees2 ees2 g4 bes4 aes4 aes,4 c4 ees4 aes,4 bes,4 c2 ees2 f4 d4 ees4 f4 c4 ees4 aes,4 bes,4 ees2 c2 g4 d4 ees4 c4 bes,4 d4 ees4 c4 bes,2 bes,2 aes,4 bes,4 c4 d4 ees4 f4 g4 aes4 ees2 bes,2 ees4 f4 g4 bes4 aes4 g4 aes4 bes4 ees2 ees2 ees4 aes,4 ees4 f4 bes,4 c4 ees4 bes,4 c2 c2 f4 ees4 aes,4 ees4 d4 c4 bes,4 f4 bes,2 c2 g4 aes4 f4 bes,4 bes4 g4 aes4 bes4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 c2 g4 aes4 ees4 c4 bes,4 ees4 f4 bes,4 ees2 aes,2 ees4 c4 bes,4 c4 des4 ees4 aes,4 bes,4 ees2 c2 bes,4 d4 ees4 f4 d4 ees4 f4 bes,4 bes,2 ees2 aes,4 ees4 f4 f4 ees4 aes,4 bes,4 bes,4 ees2\n}\n", "preferred": true}]}, "jesu-meine-freude": {"slug": "jesu-meine-freude", "name": "JESU, MEINE FREUDE", "meter_label": "6.6.5.6.6.5.7.8.6", "meter": {"pattern": [6, 6, 5, 6, 6, 5, 7, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "johann-cruger", "composer_date": "1653", "canonical_key": {"tonic": "c", "mode": "minor"}, "preferred_harmonization": "jesu-meine-freude-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "JESU, MEINE FREUDE (Johann Crüger, 1653), the German chorale melody first published in Crüger's Praxis Pietatis Melica. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C minor, three flats, common time). A bar-form (AAB) chorale: the 6.6.5 Stollen (measures 1-6) is written out twice, then the 7.8.6 Abgesang. The soprano leading-tone B-naturals and raised-sixth A-naturals, the alto F-sharp, and the final Picardy-third E-natural are each printed with their accidental in the source and carried in the encoding. Crüger d. 1662; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesu, Meine Freude\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "jesu-meine-freude-cyberhymnal", "tune": "jesu-meine-freude", "music_file": "jesu-meine-freude-cyberhymnal.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [6, 12, 18, 24, 30, 36, 44, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "JESU, MEINE FREUDE, Johann Crüger, 1653; harmonization J. S. Bach (BWV 227/1). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESU, MEINE FREUDE (Johann Crüger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C minor, common time, bar-form AAB). The soprano was read note-for-note against the engraving and matches the standard chorale melody; the bass and the printed accidentals (leading-tone B-naturals, raised-sixth A-naturals, alto F-sharp, final Picardy-third E-natural) were confirmed against the source. All components pre-1931.\nHARMONIZER RE-ATTRIBUTED 2026-08-04 (Batch C wave 1). This setting was recorded with harmonizer: null on the Cyber Hymnal page credit, which names only Crüger — the credit for the MELODY. The four-part setting itself is J. S. Bach's, the opening chorale of the motet Jesu, meine Freude (BWV 227/1). Measured against the craigsapp/bach-370-chorales edition of that movement (chor263, E minor, repeat expanded, compared at -4 semitones): tenor 76 of 76 notes identical, alto 68 of 70, bass 69 of 74, soprano 57 of 59. An exactly matching 76-note tenor line is not reachable by an independent harmonization of the same melody. Measured twice by separate parsers (main session and the wave-1 adversarial verifier) with agreeing numbers. The few divergences are the light editorial adaptation usual in a congregational reprint. PD basis is unaffected either way — Bach died 1750 and the Crüger melody is 1653.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesu, Meine Freude\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESU, MEINE FREUDE (6.6.5.6.6.5.7.8.6) — four SATB voice streams, canonical key\n%% C minor. Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesu, Meine Freude\", Johann Crüger 1653)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. The Cyber\n%% Hymnal credit names Crüger, who wrote the MELODY; the four-part setting below is\n%% J. S. Bach's, the opening chorale of the motet BWV 227 — measured against that\n%% movement (chor263) at -4 semitones the tenor is identical at all 76 notes, the\n%% alto 68 of 70 and the bass 69 of 74. Re-attributed 2026-08-04; see the sidecar\n%% pd_evidence. A bar-form\n%% (AAB) chorale: the 6.6.5 Stollen (measures 1-6) is written out twice, then the\n%% 7.8.6 Abgesang. MELISMATIC — 59 soprano notes for 55 syllables; the four melisma\n%% pairs are slurred in the soprano (soprano notes 13-14, 31-32, 42-43, 50-51) and\n%% the setting holds the continuations with '_' every stanza (verse_variable_melisma).\n%% Verified accidentals: soprano B-naturals (leading tone, bar 4) and A-naturals\n%% (raised sixth, bar 3) each print a natural; the alto F-sharp (bar 17) prints a\n%% sharp; the final chord is a Picardy third (tenor E-natural prints a natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\minor \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 f'4 es'4 | d'2 c'2 | g'4 a'4 bes'4 g'4 | c''2 b'2 | c''8( d''8) es''4 d''4. d''8 | c''1 | g'4 g'4 f'4 es'4 | d'2 c'2 | g'4 a'4 bes'4 g'4 | c''2 b'2 | c''8( d''8) es''4 d''4. d''8 | c''1 | g'4 g'4 as'4 g'4 | f'4 d'8( f'8) es'2 | g'4 a'4 bes'4 g'4 | c''4 bes'8( a'8) a'2 | g'2 g'4 g'4 | f'4 es'4 d'2 | c'1\n}\nalto = {\n  es'4 d'4 c'8 b8 c'4 | c'4 b4 c'2 | es'8 d'8 c'4 bes4 bes4 | es'8 f'8 g'4 g'2 | es'8 f'8 g'4 g'4. f'8 | es'1 | es'4 d'4 c'8 b8 c'4 | c'4 b4 c'2 | es'8 d'8 c'4 bes4 bes4 | es'8 f'8 g'4 g'2 | es'8 f'8 g'4 g'4. f'8 | es'1 | es'4 es'4 f'4 es'4 | es'4 d'8 f'8 bes2 | es'4 es'4 f'4 es'8 f'8 | g'4 g'4 g'4 fis'4 | d'2 es'4 d'4 | c'4 c'4 c'4 b4 | g1\n}\ntenor = {\n  c'4 g4 as8 d8 es4 | as4 g8 f8 es2 | c'8 bes8 a8 g8 f4 es8 f8 | g4 es'4 d'2 | c'4 c'4 c'4 b4 | g1 | c'4 g4 as8 d8 es4 | as4 g8 f8 es2 | c'8 bes8 a8 g8 f4 es8 f8 | g4 es'4 d'2 | c'4 c'4 c'4 b4 | g1 | c'4 bes4 bes4 bes4 | c'4 bes8 as8 g2 | bes4 c'4 bes4 bes4 | es'4 d'4 es'4 d'8 c'8 | b2 c'4 d'8 es'8 | f'8 f8 g4 as4 g8 f8 | e1\n}\nbass = {\n  c4 bes,4 as,2 | f,4 g,4 c2 | c4 f8 es8 d4 es8 d8 | c8 d8 es8 f8 g2 | as4 g8 f8 g4 g4 | c1 | c4 bes,4 as,2 | f,4 g,4 c2 | c4 f8 es8 d4 es8 d8 | c8 d8 es8 f8 g2 | as4 g8 f8 g4 g4 | c1 | c8 d8 es4 d4 es4 | as,4 bes,4 es2 | f4 d8 c8 d4 es8 d8 | c4 g,4 c4 d4 | g,2 c4 bes,4 | as,4 g,4 f,4 g,4 | c1\n}\n"}, "harmonizations": [{"slug": "jesu-meine-freude-bwv358", "tune": "jesu-meine-freude", "music_file": "jesu-meine-freude-bwv358.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [6, 12, 18, 24, 30, 36, 43, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "JESU, MEINE FREUDE, Johann Crüger, 1653; harm. J. S. Bach (BWV 358). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 358, the standalone chorale \"Jesu, meine Freude\", No. 356 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor356.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (ties, the explicit naturals, the alto sixteenth figure). The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B — every bar is full, so no seam adjustment was needed — and the expansion was machine-compared against the independently engraved music21 witness bwv358.mxl (soprano identical at all 59 notes after expanding its repeat). Bach's chorale is in D minor (the kern's *k[b-] one-flat signature with *d:); the corpus file stores it a major second down in C minor, the tune's canonical key (the CI-enforced tune/harmonization key equality — the tune entered the corpus in C minor with the cyberhymnal setting), with every sounding note in every voice machine-verified exactly -2 semitones from the kern source (59/77/77/77 sounding notes S/A/T/B; the tenor is 78 noteheads, one tie across bars 15-16). 4/4, no pickup; fermatas at the nine phrase ends (soprano ordinals 6, 12, 18, 24, 30, 36, 43, 53, 59) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted bwv358.mxl (its Stollen carries two German lyric verses which agree on the hold at note 14; the Abgesang underlay \"ausser dir soll mir auf Erden\" pins the holds at notes 47 and 51). Tune identity against the corpus jesu-meine-freude-cyberhymnal harmonization verified note-for-note (58 of 59 soprano notes aligned by longest common subsequence, 0 substitutions; the two versions place one B-section melisma differently — one cyberhymnal-only note at its ordinal 42, one BWV 358-only note at ordinal 47 — same sung count 59). A genuinely distinct harmonization: machine comparison against the cyberhymnal ATB shows at least 35/35/54 differing note positions. Merge-review addendum (adversarial verification, 2026-08-04): two divergences from the independently engraved music21 witness bwv358.mxl were measured and both resolved in favour of the declared kern source — bass bars 4 and 10, kern G-natural3 (printed f8 here) against the witness's G-sharp3, where the chromatic ascent is idiomatic and the witness's own encoding carries the fingerprint of a sharp attached to the wrong notehead; and alto bar 18, where Breitkopf re-articulates two eighths that the witness sustains (identical pitch at every time point, both bars exactly 4 quarters).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor356.krn (BWV 358, Breitkopf No. 356), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% JESU, MEINE FREUDE (6.6.5.6.6.5.7.8.6) — four SATB voice streams, canonical key\n%% C minor. Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's standalone-chorale harmonization BWV 358 (Breitkopf collection\n%% No. 356), converted from the craigsapp/bach-370-chorales kern edition\n%% (chor356.krn, imports/batchC/) with tools/kern2ly.py and verified\n%% note-for-note against the kern source in all four voices. Bach's chorale is\n%% in D minor (the kern's *k[b-] one-flat signature with *d:); it is stored\n%% here a major second down in C minor, the tune's corpus canonical key (the\n%% CI-enforced tune/harmonization key equality — the corpus already carries\n%% jesu-meine-freude-cyberhymnal in C minor), with every sounding note in every\n%% voice machine-verified exactly -2 semitones from the kern source\n%% (59/77/77/77 SOUNDING notes S/A/T/B; the tenor is 78 noteheads — one tie\n%% across bars 15-16). 4/4, no pickup. The kern\n%% encodes the Stollen once with a repeat (*>[A,A,B]); written out here A-A-B\n%% per the corpus convention — every bar is full, no seam adjustment was needed,\n%% and the expansion was machine-compared against the independently engraved\n%% music21 witness bwv358.mxl (identical soprano at all 59 notes after\n%% expanding its repeat). The source prints fermatas at soprano ordinals 6,\n%% 12, 18, 24, 30, 36, 43, 53, 59 (phrases 6+6+6+6+6+6+7+10+6, one per text\n%% line of 6.6.5.6.6.5.7.8.6); fermatas are omitted per house style.\n%% MELISMATIC: 59 soprano notes for 55 syllables; the melisma map follows\n%% Bach's own underlay in the texted bwv358.mxl witness (its Stollen carries\n%% two lyric verses which agree on the hold; the Abgesang one): four slurred\n%% eighth pairs at soprano notes 13-14, 31-32 (\"Je_-su\" / \"und_ verlangt\")\n%% and 46-47, 50-51 (\"ausser dir_ soll mir auf_ Erden\"); the setting holds\n%% the continuations with '_' at soprano notes 14, 32, 47, 51 every stanza.\n%% Same sung count (59) as the corpus jesu-meine-freude-cyberhymnal setting,\n%% which instead melismas line 7 (its notes 42-43); tune identity verified\n%% against it (57/59 soprano notes aligned, 0 substitutions). Genuinely\n%% distinct harmonization: machine comparison against the cyberhymnal ATB\n%% shows at least 35/35/54 differing note positions (LCS 42/42/23 of 77).\n%% Final chord is a Picardy third (tenor E-natural). Bach's D-minor\n%% Neapolitan-color E-flat appears here as the alto D-flat (bar 13).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\minor \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 f'4 es'4 |\n  d'2 c'2 |\n  g'4 a'4 bes'4 g'4 |\n  c''2 b'2 |\n  c''8( d''8) es''4 d''4 d''4 |\n  c''1 |\n  g'4 g'4 f'4 es'4 |\n  d'2 c'2 |\n  g'4 a'4 bes'4 g'4 |\n  c''2 b'2 |\n  c''8( d''8) es''4 d''4 d''4 |\n  c''1 |\n  g'4 g'4 as'4 g'4 |\n  f'4 f'4 es'2 |\n  g'4 a'4 bes'8( a'8) g'4 |\n  c''4 bes'8( a'8) a'2 |\n  g'2 g'4 g'4 |\n  f'4 es'4 d'2 |\n  c'1\n}\n\nalto = {\n  c'4 c'4 d'4 c'4 |\n  c'4 b4 g2 |\n  c'4 f4 f'8 es'8 d'4 |\n  g'4 a'4 g'2 |\n  f'4 g'8 as'8 f'8 as'8 g'8 f'8 |\n  es'1 |\n  c'4 c'4 d'4 c'4 |\n  c'4 b4 g2 |\n  c'4 f4 f'8 es'8 d'4 |\n  g'4 a'4 g'2 |\n  f'4 g'8 as'8 f'8 as'8 g'8 f'8 |\n  es'1 |\n  es'4 es'8 des'8 c'8 d'8 es'4 |\n  es'4 d'4 bes2 |\n  bes4 es'4 d'8 c'8 bes4 |\n  es'4 d'8 es'8 d'4. c'8 |\n  b2 c'4. b8 |\n  c'8 d'8 d'8 c'8 c'8 b16 a16 b4 |\n  g1\n}\n\ntenor = {\n  es8 f8 g4 as8 g8 g4 |\n  as4 g8 f8 es2 |\n  es'8 d'8 c'4 bes4 b4 |\n  c'8 d'8 es'4 d'2 |\n  c'4 c'4 c'4 b4 |\n  g1 |\n  es8 f8 g4 as8 g8 g4 |\n  as4 g8 f8 es2 |\n  es'8 d'8 c'4 bes4 b4 |\n  c'8 d'8 es'4 d'2 |\n  c'4 c'4 c'4 b4 |\n  g1 |\n  c'4 bes4 as8 bes8 c'4 |\n  c'4 bes8 as8 g2 |\n  g4 f8 es8 f4 g4~ |\n  g8 fis8 g2 fis4 |\n  g2 es8 f8 g4 |\n  c8 g8 g4 a8 d8 g8 f8 |\n  e1\n}\n\nbass = {\n  c8 d8 es4 b,4 c4 |\n  f,4 g,4 c,2 |\n  c8 d8 es4 d8 es8 f4 |\n  e8 f8 fis4 g2 |\n  as4 g8 f8 g4 g,4 |\n  c1 |\n  c8 d8 es4 b,4 c4 |\n  f,4 g,4 c,2 |\n  c8 d8 es4 d8 es8 f4 |\n  e8 f8 fis4 g2 |\n  as4 g8 f8 g4 g,4 |\n  c1 |\n  c8 d8 es4 f4 c8 bes,8 |\n  as,8 f,8 bes,4 es,2 |\n  es4 d8 c8 d4 es4 |\n  a,4 bes,8 c8 d2 |\n  g,2 c8 d8 es4 |\n  a,8 b,8 c4 fis,4 g,4 |\n  c,1\n}\n", "preferred": false}, {"slug": "jesu-meine-freude-cyberhymnal", "tune": "jesu-meine-freude", "music_file": "jesu-meine-freude-cyberhymnal.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [6, 12, 18, 24, 30, 36, 44, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "JESU, MEINE FREUDE, Johann Crüger, 1653; harmonization J. S. Bach (BWV 227/1). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESU, MEINE FREUDE (Johann Crüger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C minor, common time, bar-form AAB). The soprano was read note-for-note against the engraving and matches the standard chorale melody; the bass and the printed accidentals (leading-tone B-naturals, raised-sixth A-naturals, alto F-sharp, final Picardy-third E-natural) were confirmed against the source. All components pre-1931.\nHARMONIZER RE-ATTRIBUTED 2026-08-04 (Batch C wave 1). This setting was recorded with harmonizer: null on the Cyber Hymnal page credit, which names only Crüger — the credit for the MELODY. The four-part setting itself is J. S. Bach's, the opening chorale of the motet Jesu, meine Freude (BWV 227/1). Measured against the craigsapp/bach-370-chorales edition of that movement (chor263, E minor, repeat expanded, compared at -4 semitones): tenor 76 of 76 notes identical, alto 68 of 70, bass 69 of 74, soprano 57 of 59. An exactly matching 76-note tenor line is not reachable by an independent harmonization of the same melody. Measured twice by separate parsers (main session and the wave-1 adversarial verifier) with agreeing numbers. The few divergences are the light editorial adaptation usual in a congregational reprint. PD basis is unaffected either way — Bach died 1750 and the Crüger melody is 1653.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesu, Meine Freude\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESU, MEINE FREUDE (6.6.5.6.6.5.7.8.6) — four SATB voice streams, canonical key\n%% C minor. Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesu, Meine Freude\", Johann Crüger 1653)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. The Cyber\n%% Hymnal credit names Crüger, who wrote the MELODY; the four-part setting below is\n%% J. S. Bach's, the opening chorale of the motet BWV 227 — measured against that\n%% movement (chor263) at -4 semitones the tenor is identical at all 76 notes, the\n%% alto 68 of 70 and the bass 69 of 74. Re-attributed 2026-08-04; see the sidecar\n%% pd_evidence. A bar-form\n%% (AAB) chorale: the 6.6.5 Stollen (measures 1-6) is written out twice, then the\n%% 7.8.6 Abgesang. MELISMATIC — 59 soprano notes for 55 syllables; the four melisma\n%% pairs are slurred in the soprano (soprano notes 13-14, 31-32, 42-43, 50-51) and\n%% the setting holds the continuations with '_' every stanza (verse_variable_melisma).\n%% Verified accidentals: soprano B-naturals (leading tone, bar 4) and A-naturals\n%% (raised sixth, bar 3) each print a natural; the alto F-sharp (bar 17) prints a\n%% sharp; the final chord is a Picardy third (tenor E-natural prints a natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\minor \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 f'4 es'4 | d'2 c'2 | g'4 a'4 bes'4 g'4 | c''2 b'2 | c''8( d''8) es''4 d''4. d''8 | c''1 | g'4 g'4 f'4 es'4 | d'2 c'2 | g'4 a'4 bes'4 g'4 | c''2 b'2 | c''8( d''8) es''4 d''4. d''8 | c''1 | g'4 g'4 as'4 g'4 | f'4 d'8( f'8) es'2 | g'4 a'4 bes'4 g'4 | c''4 bes'8( a'8) a'2 | g'2 g'4 g'4 | f'4 es'4 d'2 | c'1\n}\nalto = {\n  es'4 d'4 c'8 b8 c'4 | c'4 b4 c'2 | es'8 d'8 c'4 bes4 bes4 | es'8 f'8 g'4 g'2 | es'8 f'8 g'4 g'4. f'8 | es'1 | es'4 d'4 c'8 b8 c'4 | c'4 b4 c'2 | es'8 d'8 c'4 bes4 bes4 | es'8 f'8 g'4 g'2 | es'8 f'8 g'4 g'4. f'8 | es'1 | es'4 es'4 f'4 es'4 | es'4 d'8 f'8 bes2 | es'4 es'4 f'4 es'8 f'8 | g'4 g'4 g'4 fis'4 | d'2 es'4 d'4 | c'4 c'4 c'4 b4 | g1\n}\ntenor = {\n  c'4 g4 as8 d8 es4 | as4 g8 f8 es2 | c'8 bes8 a8 g8 f4 es8 f8 | g4 es'4 d'2 | c'4 c'4 c'4 b4 | g1 | c'4 g4 as8 d8 es4 | as4 g8 f8 es2 | c'8 bes8 a8 g8 f4 es8 f8 | g4 es'4 d'2 | c'4 c'4 c'4 b4 | g1 | c'4 bes4 bes4 bes4 | c'4 bes8 as8 g2 | bes4 c'4 bes4 bes4 | es'4 d'4 es'4 d'8 c'8 | b2 c'4 d'8 es'8 | f'8 f8 g4 as4 g8 f8 | e1\n}\nbass = {\n  c4 bes,4 as,2 | f,4 g,4 c2 | c4 f8 es8 d4 es8 d8 | c8 d8 es8 f8 g2 | as4 g8 f8 g4 g4 | c1 | c4 bes,4 as,2 | f,4 g,4 c2 | c4 f8 es8 d4 es8 d8 | c8 d8 es8 f8 g2 | as4 g8 f8 g4 g4 | c1 | c8 d8 es4 d4 es4 | as,4 bes,4 es2 | f4 d8 c8 d4 es8 d8 | c4 g,4 c4 d4 | g,2 c4 bes,4 | as,4 g,4 f,4 g,4 | c1\n}\n", "preferred": true}]}, "jesus-loves-me": {"slug": "jesus-loves-me", "name": "JESUS LOVES ME", "meter_label": "7.7.7.7 with Refrain", "meter": {"alleluia": false, "doubled": false, "irregular": false, "pattern": [7, 7, 7, 7], "refrain": true}, "composer": "william-b-bradbury", "composer_date": "1866", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "jesus-loves-me-oh155", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:155; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "jesus_loves_me_this_i_know_bradbury", "total_instances": 505}}, "harmonization": {"slug": "jesus-loves-me-oh155", "tune": "jesus-loves-me", "music_file": "jesus-loves-me-oh155.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:155; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:155", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Loves Me\n%% Imported from Open Hymnal ABC X:155 via tools/abc_import.py\n%% Open Hymnal X:155; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 g'4 g'4 f'4 g'4 bes'4 bes'2 c''4 c''4 ees''4 c''4 c''4 bes'4 bes'2 bes'4 g'4 g'4 f'4 g'4 bes'4 bes'2 c''4 c''4 bes'4 ees'4 g'4 f'4 ees'2 bes'2 g'4 bes'4 c''4 ees''2. bes'2 g'4 ees'4 g'4 f'2. bes'2 g'4 bes'4 c''4 ees''2 c''4 bes'4 ees'4 g'4. f'8 ees'1\n}\nalto = {\n  g'4 ees'4 ees'4 d'4 ees'4 g'4 g'2 aes'4 aes'4 c''4 aes'4 aes'4 g'4 g'2 g'4 ees'4 ees'4 d'4 ees'4 g'4 g'2 aes'4 aes'4 g'4 ees'4 ees'4 d'4 ees'2 g'2 ees'4 g'4 aes'4 c''2. g'2 ees'4 ees'4 ees'4 d'2. ees'2 ees'4 g'4 aes'4 c''2 aes'4 g'4 ees'4 ees'4. d'8 ees'1\n}\ntenor = {\n  bes4 bes4 bes4 bes4 bes4 bes4 bes2 aes4 aes4 aes4 aes4 aes4 bes4 bes2 bes4 bes4 bes4 bes4 bes4 bes4 bes2 aes4 aes4 g4 g4 bes4 aes4 g2 g2 bes4 ees'4 ees'4 ees'2. ees'2 bes4 bes4 bes4 bes2. bes2 bes4 ees'4 ees'4 ees'2 ees'4 ees'4 bes4 bes4. aes8 g1\n}\nbass = {\n  ees4 ees4 ees4 bes,4 ees4 ees4 ees2 aes,4 aes,4 aes,4 c4 ees4 ees4 ees2 ees4 ees4 ees4 bes,4 ees4 ees4 ees2 aes,4 c4 ees4 ees4 bes4 bes,4 ees2 ees2 ees4 ees4 aes,4 aes,2. ees2 ees4 g4 bes,4 bes,2. g2 ees4 ees4 aes,4 aes,2 c4 ees4 g4 bes4. bes,8 ees1\n}\n"}, "harmonizations": [{"slug": "jesus-loves-me-oh155", "tune": "jesus-loves-me", "music_file": "jesus-loves-me-oh155.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:155; all components published pre-1931 (latest year 1866).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:155", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Loves Me\n%% Imported from Open Hymnal ABC X:155 via tools/abc_import.py\n%% Open Hymnal X:155; all components published pre-1931 (latest year 1866).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 g'4 g'4 f'4 g'4 bes'4 bes'2 c''4 c''4 ees''4 c''4 c''4 bes'4 bes'2 bes'4 g'4 g'4 f'4 g'4 bes'4 bes'2 c''4 c''4 bes'4 ees'4 g'4 f'4 ees'2 bes'2 g'4 bes'4 c''4 ees''2. bes'2 g'4 ees'4 g'4 f'2. bes'2 g'4 bes'4 c''4 ees''2 c''4 bes'4 ees'4 g'4. f'8 ees'1\n}\nalto = {\n  g'4 ees'4 ees'4 d'4 ees'4 g'4 g'2 aes'4 aes'4 c''4 aes'4 aes'4 g'4 g'2 g'4 ees'4 ees'4 d'4 ees'4 g'4 g'2 aes'4 aes'4 g'4 ees'4 ees'4 d'4 ees'2 g'2 ees'4 g'4 aes'4 c''2. g'2 ees'4 ees'4 ees'4 d'2. ees'2 ees'4 g'4 aes'4 c''2 aes'4 g'4 ees'4 ees'4. d'8 ees'1\n}\ntenor = {\n  bes4 bes4 bes4 bes4 bes4 bes4 bes2 aes4 aes4 aes4 aes4 aes4 bes4 bes2 bes4 bes4 bes4 bes4 bes4 bes4 bes2 aes4 aes4 g4 g4 bes4 aes4 g2 g2 bes4 ees'4 ees'4 ees'2. ees'2 bes4 bes4 bes4 bes2. bes2 bes4 ees'4 ees'4 ees'2 ees'4 ees'4 bes4 bes4. aes8 g1\n}\nbass = {\n  ees4 ees4 ees4 bes,4 ees4 ees4 ees2 aes,4 aes,4 aes,4 c4 ees4 ees4 ees2 ees4 ees4 ees4 bes,4 ees4 ees4 ees2 aes,4 c4 ees4 ees4 bes4 bes,4 ees2 ees2 ees4 ees4 aes,4 aes,2. ees2 ees4 g4 bes,4 bes,2. g2 ees4 ees4 aes,4 aes,2 c4 ees4 g4 bes4. bes,8 ees1\n}\n", "preferred": true}]}, "jesus-meine-zubersicht": {"slug": "jesus-meine-zubersicht", "name": "JESUS, MEINE ZUVERSICHT", "alt_name": "ZUVERSICHT", "meter_label": "7.8.7.8.7.7", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1653", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "jesus-meine-zubersicht-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "JESUS, MEINE ZUVERSICHT (also called ZUVERSICHT), Johann Crüger, 1653. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4; fully syllabic 7.8.7.8.7.7 — 44 soprano notes = 44 syllables). The raised passing/leading tones in the melody (fis', gis') and inner voices are printed with sharps in the source and carried with the matching spellings. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "jesus-meine-zubersicht-cyberhymnal", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 15, 22, 30, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT, Johann Crüger, 1653. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESUS, MEINE ZUVERSICHT (Johann Crüger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 7.8.7.8.7.7). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesus, meine Zuversicht\", Johann\n%% Crüger 1653) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 7.8.7.8.7.7 (44 soprano notes = 44 syllables).\n%% The soprano fis' and gis' in the fifth phrase are printed with sharps in the\n%% source; the inner-voice chromatics (tenor fis, cis', gis; bass cis) are printed\n%% sharps too. The phrase-1 bass passing eighth is a-natural (a,) but is written\n%% a-sharp (ais,) in its written-out repeat (phrase 3) — both carried as printed.\n%% The four phrase-end dotted-half + quarter-rest cadences (all voices resting) are\n%% collapsed to whole notes per house style.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 | a'2 c''2 |\n  a'4 g'4 f'4 e'4 | d'2 c'2 | g'2 e'2 | a'4 b'4 c''4. c''8 |\n  b'1 | a'2 c''2 | a'4 g'4 f'4 e'4 | d'2 c'2 |\n  e'2 fis'2 | g'4 a'4 a'4 gis'4 | a'2 b'4 c''4 | d''4 e''4 d''4 d''4 |\n  c''1\n}\nalto = {\n  e'2 c'2 | c'4 f'4 e'4. d'8 | d'1 | d'2 e'2 |\n  f'4 d'4 c'4 c'4 | c'4 b4 c'2 | e'2 c'2 | c'4 f'4 e'4. d'8 |\n  d'1 | d'2 e'2 | f'4 d'4 c'4 c'4 | c'4 b4 c'2 |\n  c'2 d'2 | d'4 e'4 f'4 e'4 | e'2 e'4 e'4 | g'4 g'4 a'4 g'4 |\n  e'1\n}\ntenor = {\n  c'2 g2 | f4 g4 g4. fis8 | g1 | f2 g2 |\n  c'4 b4 a4 g4 | g2 e2 | c'2 g2 | f4 g4 g4. fis8 |\n  g1 | f2 g2 | c'4 b4 a4 g4 | g2 e2 |\n  g2 c'2 | b4 a4 d'4 b4 | cis'2 gis4 a4 | b4 c'4 c'4 b4 |\n  g1\n}\nbass = {\n  c2 c2 | f4 d4 c4. a,8 | g,1 | d2 c2 |\n  f,4 g,4 a,4 c4 | g,2 c2 | c2 e2 | f4 d4 c4. ais,8 |\n  g,1 | d2 c2 | f,4 g,4 a,4 c4 | g,2 c2 |\n  c2 a,2 | b,4 cis4 d4 e4 | a,2 e4 a4 | g4 c4 f4 g4 |\n  c1\n}\n"}, "harmonizations": [{"slug": "jesus-meine-zubersicht-bwv365", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-bwv365.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "system_breaks": [7, 16, 23, 32, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT (ZUVERSICHT), Johann Crüger, 1653; harm. J. S. Bach (BWV 365). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 365 — the standalone chorale \"Jesus, meine Zuversicht\". US public domain by pre-1931 publication: Luke Dahn's catalogue entry for BWV 365 (bach-chorales.com/BWV0365.htm, retrieved for this import) lists its concordances as \"Riemenschneider 175; Breitkopf 175; Birnstiel 180; AmB 46II p.151\", and the kern edition this file is converted from names its own source in its !!!YOR lines as \"371 vierstimmige Choralgesänge von Johann Sebastian Bach, 4th ed. by Alfred Dörffel (Leipzig: Breitkopf und Härtel, c.1875). 178 pp. Plate \\\"V.A.10\\\".\" (quoted with the umlauts the file actually carries; an earlier transliteration here was presented as a quotation and was not one). The PD basis is the Breitkopf/Birnstiel/AmB line and the c.1875 Dörffel edition, all pre-1931, with the composer dead in 1750. NOT Riemenschneider: that is Albert Riemenschneider's G. Schirmer edition of 1941, a 20th-century NUMBERING reference and not an early collection — an earlier draft swept it into \"every one of those is pre-1931\", which was false. THE TUNE IS THE CORPUS TUNE, which is why this enters as a SECOND harmonization of an existing tune and not as a new tune. The kern header's own title is OTL@@DE \"Jesus, meine Zuversicht\"; Dahn's entry gives the tune as \"Jesus, meine Zuversicht, Berlin 1653 (Zahn 3432)\", the same 1653 Berlin melody the corpus tune record carries as Johann Crüger, 1653. The music confirms it: the two sopranos are identical IN PITCH through phrases 1 and 3 (7 of 7, twice — the rhythms differ throughout: the control reads g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 where Bach reads g'4 e'4 a'4 b'4 | c''4 c''4 b'2) and, once the two holds are absorbed, agree at 36 of 44 syllable positions (measured — see the divergence note below). Bar form AAB in both (the kern's *>[A,A,B]), 7.8.7.8.7.7 in both, C major in both. NO TRANSPOSITION. The kern declares *k[] and *C: — C major — which is already the tune's canonical key, so tools/kern2ly.py emitted \"global = { \\key c \\major \\time 4/4 }\" and not one note was moved. Several other Bach kern imports in the corpus ARE stored transposed (nun-danket-bwv386, old-100th-bwv326, christus-der-ist-mein-leben-bwv281), so the equality here is stated as checked rather than assumed. Encoded from the craigsapp/bach-370-chorales kern edition (chor175.krn, vendored at imports/batchC/chor175.krn) via tools/kern2ly.py, which exited 0 with an empty stderr. The conversion was verified event-for-event against the kern source in all four voices with a parser written for this import: 234 written noteheads (46/66/58/64 S/A/T/B), 223 sounding events once ties merge (46/59/54/64), 14 bars, and every bar sums to exactly 4 quarters in every voice. The kern's sectional repeat is written out A-A-B (bars 1-5, 6-10, 11-14); both sections begin and end on whole bars, so there are no partial seam bars and a single \\time governs. Fermatas at soprano ordinals 7, 16, 23, 32, 39, 46 are omitted per house style. COLLATION AGAINST A SECOND ENCODING LINEAGE: bwv365.mxl, the music21-corpus MusicXML of the same chorale (vendored in imports/batchC/), parsed and compared event for event against this file in all four voices with ties collapsed on both sides. Result: ONE divergence in the whole chorale — the bass's last eighth of bar 13 reads d here, following the kern, and e in that encoding. Everything else agrees, pitch and sounding duration, in all four voices. The kern is the declared source and its reading is kept; the divergence is itemized in the .ly header so a reader can find it. No printed edition was consulted for this note — the two encodings are the only witnesses located here, and they disagree, so the point is open rather than settled. TEXTLESS CHORALE — and the melisma map does not rest on any underlay. Dahn's entry states in full: \"This chorale survives without text. The text that appears here is the one provided by editors of the Bach Gesellschaft Ausgabe (BGA).\" The paired setting therefore places its two holds on the NOTE VALUES: 46 soprano notes against 44 syllables, Bach's fermata-phrases running 7/9/7/9/7/7, so exactly one hold belongs in phrase 2 and one in its written-out repeat, and in each of those phrases the ONLY notes shorter than a quarter are a single beamed eighth pair (soprano ordinals 8-9 and 24-25) whose second note can only be a continuation. The editorial German underlay CORROBORATES that and does not determine it: bwv365.mxl carries BOTH Stollen texts as two lyric verses, and in both the second eighth (soprano note 9 of the un-repeated form) carries no syllable at all — verse 1 sings \"und\" across the pair, verse 2 sings \"da-\" across it with \"-rum\" on the next note. The same witness gives phrase 6's dotted quarter and eighth separate syllables (\"dan\"/\"ken\"), matching the arithmetic that forbids a hold there. Both German Stollen scan 7+8 and the Abgesang 7+7, i.e. the tune's 7.8.7.8.7.7 and the same 44 syllables the paired English text carries in each of its six stanzas. DIVERGENCE FROM THE TUNE'S EXISTING HARMONIZATION, stated as measured. Against jesus-meine-zubersicht-cyberhymnal (the preferred harmonization, which this import leaves untouched), syllable-aligned soprano agreement is 36 of 44: phrase by phrase 7/7, 6/8, 7/7, 6/8, 4/7, 6/7. The Stollen diverges in its middle (corpus 6 1' [6 5] 4 3 2 1, Bach 6 1' [5 3] 4 3 2 1), phrase 5 diverges at three notes (corpus 3 #4 [5] 6 [6 #5] 6, Bach 3 #4 [#5] 6 [7 7] 6) and phrase 6 at one (corpus ...2' [2'] 1', Bach ...2' [1'] 1'). A READER WHO SINGS BOTH SETTINGS IN ONE BOOK WILL HEAR A DIFFERENT CLOSE TO EACH STOLLEN AND A DIFFERENT PHRASE 5 — worth knowing before pairing them. NEITHER READING IS THE OUTLIER, and no correction to the corpus file is proposed here or was made. Hymnary's instance export for this tune authority (in:instances tuneAuthNumber: \"^jesus_meine_zuversicht_cruger$\", fetched for this import) returns 215 rows carrying 9 distinct incipits, of which 206 carry one identical string inherited from the authority record — the 9 rows with a value of their own split cleanly along exactly this divergence. Three print the corpus reading, 536711761654321: The Cyber Hymnal #3223, Evangelisches Gesangbuch (Bayern/Mitteldeutschland/Thüringen) 2014 #526, and Hymns and Devotions for Daily Worship 2024 #351 (5367117616, agreeing as far as it goes). Three print BACH'S reading, 536711761534321 — which is note for note this file's first fifteen soprano scale degrees: Gesangbuch der Evangelisch-reformierten Kirchen der deutschsprachigen Schweiz 1952 #165, The Hymnal (Protestant Episcopal, USA) 1916 #340 under the tune name LOUISE, and Unser Liederbuch 1893 #472. Two are hybrids and one (Culto Cristiano 1964 #191) is too short to discriminate. Neither reading is located as the sole form in these sources. A TRAP FOR ANYONE CHECKING THIS AGAINST HYMNARY: the authority page hymnary.org/tune/jesus_meine_zuversicht_cruger (fetched) records \"Incipit: 54367 11767 15434\", which matches NEITHER reading — it is note for note the first fifteen written soprano degrees of the OTHER setting of this same melody in the kern edition, chor338.krn, in D. That string is the one the 206 inherited rows carry. TWO CORRECTIONS TO AN EARLIER DRAFT OF THIS SENTENCE, both made in verification. (i) Its designation: no witness writes \"BWV 145/a\". index.hmd line 341 and the file's own !!!SCT both read \"BWV 145/8\" (movement 8 of Cantata 145); Dahn writes \"BWV 145a\". (ii) Its author: it is NOT securely Bach's. Dahn's BWV0145a.htm — the page his BWV 365 entry itself links under \"Other Harmonizations\", fetched for this correction — carries the note \"Question of Authenticity: This setting is most likely composed by Carl Philipp Emanuel Bach.\" Calling it \"Bach's other setting\" overstated what the cited authority says. The same page's Composer field says \"Johann Crüger (1656)\" while its own Notes (Psalter Hymnal Handbook) say \"First published in Johann Crüger's Praxis Pietatis Melica (1653) without attribution, JESUS, MEINE ZUVERSICHT was credited to Crüger (PHH 42) in the 1668 edition of that hymnal\" and \"This splendid bar form (AAB) tune is set in its original rhythm\". The corpus tune record's 1653 is the defensible date; do not cite that incipit or that 1656 for this tune. DISTINCTNESS — this is not an unlabelled copy of anything already in the corpus, and in particular jesus-meine-zubersicht-cyberhymnal is NOT an unlabelled Bach setting. Interval-sequence similarity of the four voices against 269 of the corpus's other harmonization .ly files (56 skipped: the sweep's simple parser cannot read chord/tuplet/free-metre files) puts the top match at 0.455 mean (liebster-jesu-wir-sind-hier-bwv373 — noise), and ranks jesus-meine-zubersicht-cyberhymnal 8th at 0.383 (the sweep run for this record said 7th, off by one because its parser skipped 56 files; an independent sweep reading all 325 puts ebenezer-oh at 0.407 above it), with soprano 0.78 (the shared melody) but ALTO 0.15 and BASS 0.18, i.e. below the noise floor of unrelated hymns. Time-aligned at the 44 syllable onsets, the two settings' inner voices agree at alto 22/44, tenor 16/44, bass 18/44 — chance level for a diatonic C-major bass. In phrase 1, where the two sopranos are identical in pitch (G E A B C C B), the basses agree at only 2 of the 7 positions and the phrase cadences differently: the corpus file holds G-B-D-G through a whole bar, Bach resolves an alto 4-3 suspension (a'-gis') over an E bass to E major. Texture settles it: this file has 100 sub-quarter noteheads of 234 (43%) against the corpus file's 8 of 178 (4.5%), and those 8 are all the same homorhythmic dotted-quarter-plus-eighth in bar 2 and its written-out repeat, with all four voices moving together.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor175.krn (BWV 365, Riemenschneider/Doerffel-Breitkopf No. 175), converted with tools/kern2ly.py; collation witness music21 bach corpus MusicXML bwv365.mxl (both vendored in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text — the Doerffel/Breitkopf c. 1875 edition of the 371 chorales, which the kern header itself names as its source — and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), and this .ly is a fresh re-encoding produced by tools/kern2ly.py with no transposition and no re-spelling, carrying nothing expressive of the kern editor's own judgement. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The music21-corpus bwv365.mxl is used only for collation and corroboration, never as the encoding source — which matters because the vendored copy carries an embedded credit-words element reading \"PDF (c) 2004 Margaret Greentree\" (the jsbchorales.net edition it descends from). Whatever that claim covers, it covers a typeset PDF and not Bach's notes, and none of it reaches this .ly; noted here because the file is vendored into the repository, where a reader will meet the string. The two two-note soprano slurs are this import's own editorial melisma marks — neither witness carries a slur. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) — four SATB voice streams, canonical\n%% key C major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 365 — the standalone chorale \"Jesus, meine\n%% Zuversicht\" — converted from the craigsapp/bach-370-chorales kern edition\n%% (chor175.krn, vendored at imports/batchC/chor175.krn) with tools/kern2ly.py,\n%% which exited 0 with an EMPTY stderr (no seam report). The kern header names\n%% its own source in its !!!YOR lines, verbatim (umlauts as the file carries\n%% them; an earlier transliteration here was inside quotation marks and so read\n%% as a quotation it was not): \"371 vierstimmige Choralgesänge von Johann\n%% Sebastian Bach, 4th ed. by Alfred Dörffel (Leipzig: Breitkopf und Härtel,\n%% c.1875). 178 pp. Plate \\\"V.A.10\\\".\".\n%%\n%% KEY: NO TRANSPOSITION ANYWHERE. The kern declares *k[] with *C: — C major —\n%% and the tune's canonical key is C major, so the converter's `\\key c \\major`\n%% is already the corpus key and not one note was moved. (Several other Bach\n%% kern imports ARE stored transposed — nun-danket-bwv386, old-100th-bwv326,\n%% christus-der-ist-mein-leben-bwv281 among them — so the equality is worth\n%% stating, not assuming.)\n%%\n%% FORM: the kern encodes the bar form once with a sectional repeat\n%% (*>[A,A,B]); tools/kern2ly.py writes it out A-A-B over 14 bars — A = bars\n%% 1-5, its repeat = bars 6-10, B = bars 11-14. Every section begins and ends\n%% on a whole bar, so there are no partial seam bars and a single \\time 4/4\n%% governs throughout. 56 quarters in every voice. Written noteheads\n%% 46/66/58/64 (S/A/T/B) = 234; 223 sounding events once ties are merged\n%% (46/59/54/64).\n%%\n%% The source prints fermatas at soprano ordinals 7, 16, 23, 32, 39, 46 — one\n%% per text line of 7.8.7.8.7.7, giving fermata-phrases of 7/9/7/9/7/7 notes.\n%% Fermatas are omitted per house style; the phrase ends are carried by the\n%% system breaks instead. The kern's four editorial cautionary naturals\n%% (written nX: alto g in bar 3 and its repeat in bar 8, bass f in bar 11,\n%% bass g and alto g in bar 13) are not engraved: C major asks for no\n%% accidental at those pitches and LilyPond's default accidental rules place\n%% none. Nothing sounds different.\n%%\n%% MELISMATIC: 46 soprano notes for the paired text's 44 syllables. Exactly two\n%% notes are held, at soprano ordinals 9 and 25 — the SAME note of the Stollen,\n%% written out twice. Each hold is FORCED BY THE NOTE VALUES, not chosen: in\n%% fermata-phrase 2 (ordinals 8-16, nine notes for eight syllables) and in its\n%% written-out repeat (ordinals 24-32) the only notes shorter than a quarter\n%% are a single beamed eighth pair — the kern's `8aL` `8bJ` opening bar 3 and\n%% bar 8 — while every other note in those phrases is a quarter, a half or a\n%% whole and can carry its own syllable. The second note of a beamed eighth\n%% pair can only be a continuation, so no other placement is defensible.\n%% Fermata-phrase 6 also contains a dotted quarter plus an eighth (ordinals\n%% 44-45) but takes NO hold: it has 7 notes for 7 syllables, so its map is\n%% forced arithmetically.\n%% CORROBORATION, NOT BASIS: BWV 365 is a chorale that survives WITHOUT TEXT\n%% (bach-chorales.com/BWV0365.htm, Luke Dahn: \"This chorale survives without\n%% text. The text that appears here is the one provided by editors of the Bach\n%% Gesellschaft Ausgabe (BGA)\"), so the German printed in modern editions is\n%% the BGA editors' supply and can only corroborate a placement, never\n%% establish it. It does corroborate: the texted music21-corpus encoding\n%% bwv365.mxl carries BOTH Stollen underlays as two lyric verses, and BOTH\n%% leave the second eighth (soprano note 9) without a syllable — verse 1 sings\n%% \"und\" across the pair, verse 2 sings \"da-\" across it and puts \"-rum\" on the\n%% next note. The same witness gives the phrase-6 dotted quarter and eighth\n%% their own syllables (\"dan\"/\"ken\"), matching the no-hold arithmetic there.\n%% The two-note slurs printed at soprano 8-9 and 24-25 are EDITORIAL: the kern\n%% encodes a beam (L/J), not a slur, and bwv365.mxl carries no slur at all;\n%% they are added here as the engraved melisma marks. Under\n%% verse_variable_melisma the setting's '_' marks drive the underlay, so the\n%% slurs are indication only.\n%%\n%% COLLATION against an independent encoding lineage: bwv365.mxl, the\n%% music21-corpus MusicXML of this chorale (vendored in imports/batchC/), was\n%% compared event for event against this file in all four voices with ties\n%% collapsed on both sides. ONE divergence in the whole chorale: the BASS's\n%% last eighth of bar 13 (the B section's third bar, beat 4.5) reads d here,\n%% following the kern, and e in that encoding. Everything else — every pitch\n%% and every sounding duration in all four voices — is identical. The kern is\n%% the declared source and its reading is kept. The two lineages also differ\n%% in NOTATION — never in sound — at six source positions where the kern ties\n%% what that encoding writes as one longer note: alto bar 2 (a'4~a'4 for a\n%% half), alto bar 3 (d'4~d'8 for a dotted quarter), alto bar 4 (d'8~d'8 for a\n%% quarter), tenor bar 3 (c'4~c'8 for a dotted quarter, and g8~g8 for a\n%% quarter) and alto bar 11 (d'4~d'8 for a dotted quarter); the five inside the\n%% Stollen recur in the written-out repeat at bars 7-9. The tied values sound\n%% identical and count as agreements above.\n%%\n%% AGAINST THE TUNE'S OTHER CORPUS HARMONIZATION\n%% (jesus-meine-zubersicht-cyberhymnal, the preferred one, untouched by this\n%% import): syllable-aligned — that is, after absorbing the two holds — the\n%% sopranos agree at 36 of 44 positions: 7/7, 6/8, 7/7, 6/8, 4/7, 6/7 by\n%% phrase. They diverge inside the Stollen (corpus 6 1' [6 5] 4 3 2 1 vs Bach\n%% 6 1' [5 3] 4 3 2 1), through phrase 5 (corpus 3 #4 [5] 6 [6 #5] 6 vs Bach\n%% 3 #4 [#5] 6 [7 7] 6) and at one note of phrase 6 (corpus ...2' [2'] 1' vs\n%% Bach ...2' [1'] 1'). A reader who sings both settings in one book will hear\n%% a different close to each Stollen and a different phrase 5.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 e'4 a'4 b'4 |\n  c''4 c''4 b'2 |\n  a'8( b'8) c''4 g'4 e'4 |\n  f'4 e'4 d'2 |\n  c'1 |\n  g'4 e'4 a'4 b'4 |\n  c''4 c''4 b'2 |\n  a'8( b'8) c''4 g'4 e'4 |\n  f'4 e'4 d'2 |\n  c'1 |\n  e'4 fis'4 gis'4 a'4 |\n  b'4 b'4 a'2 |\n  b'4 c''4 d''4 e''4 |\n  d''4. c''8 c''2\n}\n\nalto = {\n  e'4 c'8 d'8 e'4 e'4 |\n  e'4 a'4~ a'4 gis'4 |\n  a'4 g'8 e'8 d'4~ d'8 g8 |\n  c'8 d'8~ d'8 c'8 c'4 b4 |\n  g1 |\n  e'4 c'8 d'8 e'4 e'4 |\n  e'4 a'4~ a'4 gis'4 |\n  a'4 g'8 e'8 d'4~ d'8 g8 |\n  c'8 d'8~ d'8 c'8 c'4 b4 |\n  g1 |\n  c'4 d'4~ d'8 f'8 e'8 c'8 |\n  f'8 d'8 b8 e'16 d'16 c'2 |\n  g'4 g'4 g'4 g'4 |\n  a'8 f'8 d'8 g'16 f'16 e'2\n}\n\ntenor = {\n  c'4 g4 c'4 b4 |\n  a4 e'4 e'2 |\n  c'4~ c'8 g8~ g8 b8 g8 e8 |\n  a8 g8 g4 a4 g8 f8 |\n  e1 |\n  c'4 g4 c'4 b4 |\n  a4 e'4 e'2 |\n  c'4~ c'8 g8~ g8 b8 g8 e8 |\n  a8 g8 g4 a4 g8 f8 |\n  e1 |\n  g4 a4 b8 d'8 c'8 a8 |\n  a4. gis8 a2 |\n  d'4 e'4 d'4 c'4 |\n  c'4 b4 g2\n}\n\nbass = {\n  c4 c8 b,8 a,4 gis,4 |\n  a,8 b,8 c8 d8 e2 |\n  f4 e4 b,8 g,8 c4 |\n  a,8 b,8 c4 f,4 g,4 |\n  c,1 |\n  c4 c8 b,8 a,4 gis,4 |\n  a,8 b,8 c8 d8 e2 |\n  f4 e4 b,8 g,8 c4 |\n  a,8 b,8 c4 f,4 g,4 |\n  c,1 |\n  c8 c,8 c4 b,4 c8 f8 |\n  d8 b,8 e4 a,2 |\n  g8 f8 e8 d8 c8 b,8 c8 d8 |\n  f8 d8 g4 c2\n}\n", "preferred": false}, {"slug": "jesus-meine-zubersicht-cyberhymnal", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 15, 22, 30, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT, Johann Crüger, 1653. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESUS, MEINE ZUVERSICHT (Johann Crüger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 7.8.7.8.7.7). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Crüger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesus, meine Zuversicht\", Johann\n%% Crüger 1653) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 7.8.7.8.7.7 (44 soprano notes = 44 syllables).\n%% The soprano fis' and gis' in the fifth phrase are printed with sharps in the\n%% source; the inner-voice chromatics (tenor fis, cis', gis; bass cis) are printed\n%% sharps too. The phrase-1 bass passing eighth is a-natural (a,) but is written\n%% a-sharp (ais,) in its written-out repeat (phrase 3) — both carried as printed.\n%% The four phrase-end dotted-half + quarter-rest cadences (all voices resting) are\n%% collapsed to whole notes per house style.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 | a'2 c''2 |\n  a'4 g'4 f'4 e'4 | d'2 c'2 | g'2 e'2 | a'4 b'4 c''4. c''8 |\n  b'1 | a'2 c''2 | a'4 g'4 f'4 e'4 | d'2 c'2 |\n  e'2 fis'2 | g'4 a'4 a'4 gis'4 | a'2 b'4 c''4 | d''4 e''4 d''4 d''4 |\n  c''1\n}\nalto = {\n  e'2 c'2 | c'4 f'4 e'4. d'8 | d'1 | d'2 e'2 |\n  f'4 d'4 c'4 c'4 | c'4 b4 c'2 | e'2 c'2 | c'4 f'4 e'4. d'8 |\n  d'1 | d'2 e'2 | f'4 d'4 c'4 c'4 | c'4 b4 c'2 |\n  c'2 d'2 | d'4 e'4 f'4 e'4 | e'2 e'4 e'4 | g'4 g'4 a'4 g'4 |\n  e'1\n}\ntenor = {\n  c'2 g2 | f4 g4 g4. fis8 | g1 | f2 g2 |\n  c'4 b4 a4 g4 | g2 e2 | c'2 g2 | f4 g4 g4. fis8 |\n  g1 | f2 g2 | c'4 b4 a4 g4 | g2 e2 |\n  g2 c'2 | b4 a4 d'4 b4 | cis'2 gis4 a4 | b4 c'4 c'4 b4 |\n  g1\n}\nbass = {\n  c2 c2 | f4 d4 c4. a,8 | g,1 | d2 c2 |\n  f,4 g,4 a,4 c4 | g,2 c2 | c2 e2 | f4 d4 c4. ais,8 |\n  g,1 | d2 c2 | f,4 g,4 a,4 c4 | g,2 c2 |\n  c2 a,2 | b,4 cis4 d4 e4 | a,2 e4 a4 | g4 c4 f4 g4 |\n  c1\n}\n", "preferred": true}]}, "joyful-song": {"slug": "joyful-song", "name": "JOYFUL SONG", "meter_label": "12.10.12.10.11.10 with Refrain", "meter": {"pattern": [12, 10, 12, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "chester-g-allen", "composer_date": "1869", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "joyful-song-1887", "provenance": {"layer": "tune", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Chester G. Allen (1838-1878), first published with Fanny Crosby's words in Bright Jewels for the Sunday School (Lowry, Sherwin & Allen; New York: Biglow & Main, 1869), no. 82, headed 'PRAISE! GIVE PRAISE.' — read on the archive.org scan brightjewelsfors00lowr_0 leaf n85 (A major there; reprinted a semitone lower in A-flat in Gospel Hymns No. 5, 1887, no. 4, page 6). US public domain by publication before 1929. The soprano's first fifteen scale degrees (35132 32176 51351) match Hymnary tune authority joyful_song_allen's incipit exactly. The name JOYFUL SONG is the name the hymnals print (Hymnary tune authority 'JOYFUL SONG (Allen)', 358 hymnals); neither dated printing names the tune on the page, and the Cyber Hymnal's 'Lazio [Joyful Praise]' is that site's own invented place-name, so it is NOT recorded here as a printed alt_name.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "joyful_song_allen", "total_instances": 358}}, "harmonization": {"slug": "joyful-song-1887", "tune": "joyful-song", "music_file": "joyful-song-1887.ly", "harmonizer": "chester-g-allen", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 23, 35, 46, 58, 69, 81], "breaks_manual": true, "markings": [{"soprano_note": 70, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 70, "inline": true}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-5-1887", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Chester G. Allen's own four-part setting, copyright 1869 by Biglow & Main and long expired; the encoded note-data was diffed bar by bar against the dated A-flat printing in Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 4, printed page 6 (archive.org gospelhymnsno500sank leaf n9), whose right margin reads 'Copyright, 1869, by Biglow & Main.' The same setting is in the first printing, Bright Jewels for the Sunday School, 1869, no. 82, a semitone higher in A major. Both witnesses are pre-1931 US public domain and no modern arranger stands anywhere in the chain. Encoded from the DECOMPRESSED Cyber Hymnal NoteWorthy file, not from its MIDI (tools/mid2ly.py mis-voices bar 18 and drops the phrase-breath rests). The two idiosyncratic accidentals are the fingerprint and land in the same voice in the 1887 engraving: the alto D-natural sustained through bars 7/23 ('won-der-ful', giving V7/V) and the alto G-flat on the second chord of bars 13/29 ('Strength and', giving the Ab7 that resolves to D-flat). 88 soprano notes carry 87 syllables: the single melisma is the slurred bes'-g' of bar 18 (soprano notes 47-48), pinned from the NWC's two |Slur marks and visible in both dated scans, with the alto plainly holding two dotted quarters underneath. The 1887 page prints 24 bars with a segno at bar 9 and FINE at bar 16 and takes the refrain D.S. al Fine; that repeat is written out here as bars 25-32, so bar 32 is the printed FINE chord rather than the Cyber Hymnal's own revoiced final chord, which appears in neither dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Praise Him, Praise Him\" (http://www.hymntime.com/tch/htm/p/h/i/m/phimphim.htm); NoteWorthy Composer source file PraiseHimPraiseHim.nwc decoded staff-position by staff-position, then render-diffed against the 1887 Gospel Hymns No. 5 engraving", "encoding_license": "PD-dedication"}, "music_ly": "%% JOYFUL SONG (12.10.12.10.11.10 with Refrain) — \"Praise Him! Praise Him!\"\n%% Four SATB voice streams, canonical key A-flat major, 6/8, no pickup, 32 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Decoded staff-position by staff-position out of the\n%% DECOMPRESSED Cyber Hymnal NoteWorthy file (PraiseHimPraiseHim.nwc, NWC 2.751,\n%% \"Source: Bright Jewels ... 1869, # 82\") — NOT from its MIDI: tools/mid2ly.py\n%% corrupts this piece (it hands the alto and the bass the soprano's bar-18\n%% melisma rhythm and drops the three phrase-breath eighth rests entirely).\n%% Every bar was then render-diffed against the 1887 engraving, archive.org\n%% gospelhymnsno500sank leaf n9 = Gospel Hymns No. 5, no. 4, printed page 6\n%% (\"Copyright, 1869, by Biglow & Main\"), which is the harmonization's dated\n%% pre-1931 witness. The soprano's first fifteen scale degrees (35132 32176\n%% 51351) match Hymnary's incipit for tune authority joyful_song_allen exactly.\n%%\n%% STRUCTURE. The 1887 page prints 24 bars with a segno at bar 9 and FINE at\n%% bar 16; the refrain is \"D.S. al Fine\", i.e. bars 9-16 sung again to the\n%% chorus words. That repeat is WRITTEN OUT here as bars 25-32 so the refrain\n%% can carry its own centred lyric line. Bar 32 is therefore bar 16 verbatim\n%% (the printed FINE chord); the Cyber Hymnal's own revoiced final chord\n%% (alto c' / tenor aes) is editorial and appears in neither dated printing.\n%%\n%% ONE MELISMA, bar 18, soprano notes 47-48 (line 5 syllable 3: \"shep-(herd)\" /\n%% \"prais-(es)\" / \"com-(ing)\"), pinned from the NWC's two |Slur marks — one per\n%% staff — and seen in the 1887 engraving, where the alto plainly holds TWO\n%% dotted quarters under the slurred pair. The TENOR carries the same two-note\n%% figure (g4 bes8). Fixed across all three stanzas, so it is slurred here and\n%% the setting stays one_to_one.\n%%\n%% ACCIDENTALS. Alto D-natural through bars 7 and 23 (five sounding d' each —\n%% the 1887 page prints one natural before the LOWER notehead of \"won-der-\",\n%% carrying through the bar; it makes bes,-d'-aes-c'' = V7/V). Alto G-flat on\n%% the second chord of bars 13/29 (\"Strength and\" / \"praise Him!\"), printed as a\n%% flat before the LOWER notehead, making the Ab7 that resolves to Db.\n%%\n%% PHRASE BREATHS. Bars 8, 16, 24 (and so 32) print a dotted quarter tied to a\n%% quarter plus an eighth rest in all four voices; kept as printed rather than\n%% collapsed, since the house collapse convention is documented for 4/4 only.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8 |\n  bes'4. c''4. |\n  bes'4( g'8) ees'4. |\n  des''8 c''8 bes'8 c''4 des''8 |\n  c''4. bes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  ees'8 ees'8 ees'8 ees'4 ees'8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8\n}\n\ntenor = {\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8 |\n  g4. aes4. |\n  g4( bes8) g4. |\n  bes8 aes8 g8 aes4 bes8 |\n  aes4. g4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8\n}\n\nbass = {\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8 |\n  ees4. ees4. |\n  ees4. ees4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  ees4. ees4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8\n}\n"}, "harmonizations": [{"slug": "joyful-song-1887", "tune": "joyful-song", "music_file": "joyful-song-1887.ly", "harmonizer": "chester-g-allen", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 23, 35, 46, 58, 69, 81], "breaks_manual": true, "markings": [{"soprano_note": 70, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 70, "inline": true}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-5-1887", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Chester G. Allen's own four-part setting, copyright 1869 by Biglow & Main and long expired; the encoded note-data was diffed bar by bar against the dated A-flat printing in Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 4, printed page 6 (archive.org gospelhymnsno500sank leaf n9), whose right margin reads 'Copyright, 1869, by Biglow & Main.' The same setting is in the first printing, Bright Jewels for the Sunday School, 1869, no. 82, a semitone higher in A major. Both witnesses are pre-1931 US public domain and no modern arranger stands anywhere in the chain. Encoded from the DECOMPRESSED Cyber Hymnal NoteWorthy file, not from its MIDI (tools/mid2ly.py mis-voices bar 18 and drops the phrase-breath rests). The two idiosyncratic accidentals are the fingerprint and land in the same voice in the 1887 engraving: the alto D-natural sustained through bars 7/23 ('won-der-ful', giving V7/V) and the alto G-flat on the second chord of bars 13/29 ('Strength and', giving the Ab7 that resolves to D-flat). 88 soprano notes carry 87 syllables: the single melisma is the slurred bes'-g' of bar 18 (soprano notes 47-48), pinned from the NWC's two |Slur marks and visible in both dated scans, with the alto plainly holding two dotted quarters underneath. The 1887 page prints 24 bars with a segno at bar 9 and FINE at bar 16 and takes the refrain D.S. al Fine; that repeat is written out here as bars 25-32, so bar 32 is the printed FINE chord rather than the Cyber Hymnal's own revoiced final chord, which appears in neither dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Praise Him, Praise Him\" (http://www.hymntime.com/tch/htm/p/h/i/m/phimphim.htm); NoteWorthy Composer source file PraiseHimPraiseHim.nwc decoded staff-position by staff-position, then render-diffed against the 1887 Gospel Hymns No. 5 engraving", "encoding_license": "PD-dedication"}, "music_ly": "%% JOYFUL SONG (12.10.12.10.11.10 with Refrain) — \"Praise Him! Praise Him!\"\n%% Four SATB voice streams, canonical key A-flat major, 6/8, no pickup, 32 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Decoded staff-position by staff-position out of the\n%% DECOMPRESSED Cyber Hymnal NoteWorthy file (PraiseHimPraiseHim.nwc, NWC 2.751,\n%% \"Source: Bright Jewels ... 1869, # 82\") — NOT from its MIDI: tools/mid2ly.py\n%% corrupts this piece (it hands the alto and the bass the soprano's bar-18\n%% melisma rhythm and drops the three phrase-breath eighth rests entirely).\n%% Every bar was then render-diffed against the 1887 engraving, archive.org\n%% gospelhymnsno500sank leaf n9 = Gospel Hymns No. 5, no. 4, printed page 6\n%% (\"Copyright, 1869, by Biglow & Main\"), which is the harmonization's dated\n%% pre-1931 witness. The soprano's first fifteen scale degrees (35132 32176\n%% 51351) match Hymnary's incipit for tune authority joyful_song_allen exactly.\n%%\n%% STRUCTURE. The 1887 page prints 24 bars with a segno at bar 9 and FINE at\n%% bar 16; the refrain is \"D.S. al Fine\", i.e. bars 9-16 sung again to the\n%% chorus words. That repeat is WRITTEN OUT here as bars 25-32 so the refrain\n%% can carry its own centred lyric line. Bar 32 is therefore bar 16 verbatim\n%% (the printed FINE chord); the Cyber Hymnal's own revoiced final chord\n%% (alto c' / tenor aes) is editorial and appears in neither dated printing.\n%%\n%% ONE MELISMA, bar 18, soprano notes 47-48 (line 5 syllable 3: \"shep-(herd)\" /\n%% \"prais-(es)\" / \"com-(ing)\"), pinned from the NWC's two |Slur marks — one per\n%% staff — and seen in the 1887 engraving, where the alto plainly holds TWO\n%% dotted quarters under the slurred pair. The TENOR carries the same two-note\n%% figure (g4 bes8). Fixed across all three stanzas, so it is slurred here and\n%% the setting stays one_to_one.\n%%\n%% ACCIDENTALS. Alto D-natural through bars 7 and 23 (five sounding d' each —\n%% the 1887 page prints one natural before the LOWER notehead of \"won-der-\",\n%% carrying through the bar; it makes bes,-d'-aes-c'' = V7/V). Alto G-flat on\n%% the second chord of bars 13/29 (\"Strength and\" / \"praise Him!\"), printed as a\n%% flat before the LOWER notehead, making the Ab7 that resolves to Db.\n%%\n%% PHRASE BREATHS. Bars 8, 16, 24 (and so 32) print a dotted quarter tied to a\n%% quarter plus an eighth rest in all four voices; kept as printed rather than\n%% collapsed, since the house collapse convention is documented for 4/4 only.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8 |\n  bes'4. c''4. |\n  bes'4( g'8) ees'4. |\n  des''8 c''8 bes'8 c''4 des''8 |\n  c''4. bes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  ees'8 ees'8 ees'8 ees'4 ees'8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8\n}\n\ntenor = {\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8 |\n  g4. aes4. |\n  g4( bes8) g4. |\n  bes8 aes8 g8 aes4 bes8 |\n  aes4. g4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8\n}\n\nbass = {\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8 |\n  ees4. ees4. |\n  ees4. ees4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  ees4. ees4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8\n}\n", "preferred": true}]}, "kelso": {"slug": "kelso", "name": "KELSO", "meter_label": "7.7.7.7.7.7", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "or-every-morning-edward-j-hopkins", "composer_date": "1901", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "kelso-oh307", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:307; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "kelso-oh307", "tune": "kelso", "music_file": "kelso-oh307.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:307; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:307", "encoding_license": "PD-dedication"}, "music_ly": "%% Every Morning Mercies New\n%% Imported from Open Hymnal ABC X:307 via tools/abc_import.py\n%% Open Hymnal X:307; all components published pre-1931 (latest year 1901).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 bes'4 bes'4 ees''4 d''4. c''8 bes'2 bes'4 g'4 f'4 bes'4 d''4. c''8 c''2 bes'4 bes'4 bes'4 ees''4 d''4. c''8 bes'2 g'4 a'8( bes'8) d''4. c''8 bes'4 g'4 f'2 ees''4 ees''4 d''4 bes'4 d''4. c''8 bes'2 a'4. g'8 f'4 bes'4 g'4. a'8 bes'2\n}\nalto = {\n  d'4 ees'4 d'4 g'4 f'4. ees'8 d'2 f'4 ees'4 d'4 f'4 e'4 e'4 f'2 f'4 f'4 g'4 g'4 d'4. d'8 d'2 e'4 e'4 f'4 ees'4 d'4 e'4 f'2 f'4 f'4 f'4 g'4 fis'4. fis'8 g'2 c'4. cis'8 d'4 f'4 f'4 ees'4 d'2\n}\ntenor = {\n  f4 g4 f4 bes4 bes4. a8 bes2 bes4 bes4 bes4 bes4 bes4 bes4 a2 bes4 bes4 bes4 bes4 a4. a8 bes2 c'4 c'4 f4 fis4 g4 bes4 a2 c'4 c'4 bes4 bes4 a4. a8 bes2 bes4. bes8 bes4 d'4 d'4 c'4 bes2\n}\nbass = {\n  bes,4 bes,4 bes,4 bes4 f4. f8 bes2 d4 ees4 bes,4 d4 g4 c4 f2 d4 d4 ees4 g4 fis4. fis8 g2 c4 bes,4 a,4. a,8 bes,4 c4 f2 a4 a4 bes4 g4 d4. d8 g2 e4. e8 f4 f4 f4. f8 bes,2\n}\n"}, "harmonizations": [{"slug": "kelso-oh307", "tune": "kelso", "music_file": "kelso-oh307.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:307; all components published pre-1931 (latest year 1901).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:307", "encoding_license": "PD-dedication"}, "music_ly": "%% Every Morning Mercies New\n%% Imported from Open Hymnal ABC X:307 via tools/abc_import.py\n%% Open Hymnal X:307; all components published pre-1931 (latest year 1901).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 bes'4 bes'4 ees''4 d''4. c''8 bes'2 bes'4 g'4 f'4 bes'4 d''4. c''8 c''2 bes'4 bes'4 bes'4 ees''4 d''4. c''8 bes'2 g'4 a'8( bes'8) d''4. c''8 bes'4 g'4 f'2 ees''4 ees''4 d''4 bes'4 d''4. c''8 bes'2 a'4. g'8 f'4 bes'4 g'4. a'8 bes'2\n}\nalto = {\n  d'4 ees'4 d'4 g'4 f'4. ees'8 d'2 f'4 ees'4 d'4 f'4 e'4 e'4 f'2 f'4 f'4 g'4 g'4 d'4. d'8 d'2 e'4 e'4 f'4 ees'4 d'4 e'4 f'2 f'4 f'4 f'4 g'4 fis'4. fis'8 g'2 c'4. cis'8 d'4 f'4 f'4 ees'4 d'2\n}\ntenor = {\n  f4 g4 f4 bes4 bes4. a8 bes2 bes4 bes4 bes4 bes4 bes4 bes4 a2 bes4 bes4 bes4 bes4 a4. a8 bes2 c'4 c'4 f4 fis4 g4 bes4 a2 c'4 c'4 bes4 bes4 a4. a8 bes2 bes4. bes8 bes4 d'4 d'4 c'4 bes2\n}\nbass = {\n  bes,4 bes,4 bes,4 bes4 f4. f8 bes2 d4 ees4 bes,4 d4 g4 c4 f2 d4 d4 ees4 g4 fis4. fis8 g2 c4 bes,4 a,4. a,8 bes,4 c4 f2 a4 a4 bes4 g4 d4. d8 g2 e4. e8 f4 f4 f4. f8 bes,2\n}\n", "preferred": true}]}, "kingsfold": {"slug": "kingsfold", "name": "KINGSFOLD", "meter_label": "8.6.8.6.D", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "alt_name": "DIVES AND LAZARUS", "composer_source": "English traditional", "arranger": "ralph-vaughan-williams", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "kingsfold-openhymnal", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "KINGSFOLD, English traditional melody (= DIVES AND LAZARUS), published as a hymn tune in The English Hymnal, 1906, No. 574 (music ed. Ralph Vaughan Williams). Pre-1931 publication; US public domain. Hymnary.org tune authority kingsfold_english concurs (English folk melody).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "kingsfold-openhymnal", "tune": "kingsfold", "music_file": "kingsfold-openhymnal.ly", "harmonizer": "ralph-vaughan-williams", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "KINGSFOLD, English traditional melody; setting from The English Hymnal, 1906. Public domain (US).", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting by Ralph Vaughan Williams, The English Hymnal, 1906, No. 574. Open Hymnal X:287 S-line: 'Music source: The English Hymnal, 1906, Hymn 574, alt.'; C-line: 'Setting: Ralph Vaughan Williams, 1906 ... copyright: public domain.' US-PD by pre-1931 publication (1906); RVW d. 1958, so NOT PD in UK/EU until 2029 — US-scope corpus (see docs/research/03-data-sources-licensing.md). Adversarially plate-checked 2026-08-12 against EH pp.746-747: all 271 corpus noteheads token-exact vs the OH encoding, 0 wrong notes; OH's 'alt.' = 2:1 note-value halving (the plate is minim-pulse with no time signature), the phrase-3 seam follows EH's printed verses-2-3 variant staff with 5 noteheads there (alto c', tenor g-fis; the variant's alto passing fis' omitted) recomposed by the Open Hymnal encoder rather than Vaughan Williams, and the plate's small Org. pedal cue and printed Amen omitted. All components PD (EH 1906 + the PD-dedicated OH encoding). Phrase-1 cadence slur emended to the plate 2026-08-14 (noteheads unchanged): the plate slurs the a'-g' pair with e' free in every phrase (leaf 713 re-read at the cadences), where OH alone melismas 'and' over g'->e' in phrase 1; corpus now a'8( g'8) e'4, matching phrases 2/4, the plate, and the #doreancon 2026 encoding's pre-cepts melisma.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:287", "encoding_license": "PD-dedication"}, "music_ly": "%% Thine Arm, O Lord, in Days of Old\n%% Imported from Open Hymnal ABC X:287 via tools/abc_import.py\n%% Music: KINGSFOLD (English traditional), setting by Ralph Vaughan Williams, The English Hymnal, 1906, No. 574. Text: Edward H. Plumptre, 1864. Public domain (US).\n%% Phrase-1 cadence emended to the EH-1906 plate 2026-08-14: the plate (No. 574,\n%% archive.org theenglishhymnal00milfuoft leaf 713) slurs the a'-g' pair with e'\n%% free in EVERY phrase; OH's X:287 abc (\"Hymn 574, alt.\") alone slurs g'->e'\n%% there (\"heal and* save\"), so a'8 g'8( e'4) -> a'8( g'8) e'4, matching\n%% phrases 2 and 4 and the plate.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8( fis'8) e'4 e'4 e'4 d'4 g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 d'2. g'8( fis'8) e'4 e'4 e'4 d'4 g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 e'2. b'8( c''8) d''4 b'4 b'8( a'8) g'4 a'4 a'4 b'4 g'8( a'8) b'4 b'8( a'8) g'4 e'4 d'2. g'8( fis'8) e'4 e'4 e'8( d'8) e'8( fis'8) g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 e'2.\n}\nalto = {\n  e'4 b4 b4 c'4 a4 d'4 b4 d'4 d'8 fis'8 g'4 g'4 e'4 c'4 a2. d'4 d'4 c'4 c'8 b8 a4 d'4 cis'4 d'4 d'8 c'8 b4 d'4 c'4 c'4 b2. e'4 fis'4 fis'4 g'8 d'8 d'4 e'4 d'4 c'4 d'4 g'4 g'8 fis'8 d'4 c'8 b8 a2. d'4 d'4 d'4 c'4 c'4 d'4 d'8 cis'8 d'4 d'8 c'8 b4 d'4 e'4 c'4 b2.\n}\ntenor = {\n  b8 a8 g4 g4 g4 fis4 g4 g4 fis4 g8 c'8 b4 d'4 c'4 g4 g2( fis4) g4 g4 g4 g4 fis4 g4 g4 fis4 g8 fis8 g4 g4 e4 e8 fis8 g2. g4 b4 d'4 d'8 c'8 b4 a8 g8 fis4 g4 g8 fis8 d'4 d'8 c'8 b4 g4 g2( fis4) g4 g4 g4 a4 c'4 b8 a8 g4 fis4 g8 fis8 g4 fis4 e4 e8 fis8 g2.\n}\nbass = {\n  e4 e4 e8 d8 c4 c4 b,4 e4 d4 b,8 a,8 g,4 g,4 a,4 c4 d2. b,4 c4 c8 b,8 a,4 d4 b,4 e4 d8 c8 b,8 a,8 g,4 b,4 c4 a,4 e2. e4 b,4 b4 e8 fis8 g4 c4 d4 g,4 b,8 a,8 g,4 g,8 a,8 b,4 c4 d2. b,4 c4 c8 b,8 a,4 a4 g8 fis8 e4 d4 b,8 a,8 g,4 b,4 c4 a,4 e2.\n}\n"}, "harmonizations": [{"slug": "kingsfold-openhymnal", "tune": "kingsfold", "music_file": "kingsfold-openhymnal.ly", "harmonizer": "ralph-vaughan-williams", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "KINGSFOLD, English traditional melody; setting from The English Hymnal, 1906. Public domain (US).", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting by Ralph Vaughan Williams, The English Hymnal, 1906, No. 574. Open Hymnal X:287 S-line: 'Music source: The English Hymnal, 1906, Hymn 574, alt.'; C-line: 'Setting: Ralph Vaughan Williams, 1906 ... copyright: public domain.' US-PD by pre-1931 publication (1906); RVW d. 1958, so NOT PD in UK/EU until 2029 — US-scope corpus (see docs/research/03-data-sources-licensing.md). Adversarially plate-checked 2026-08-12 against EH pp.746-747: all 271 corpus noteheads token-exact vs the OH encoding, 0 wrong notes; OH's 'alt.' = 2:1 note-value halving (the plate is minim-pulse with no time signature), the phrase-3 seam follows EH's printed verses-2-3 variant staff with 5 noteheads there (alto c', tenor g-fis; the variant's alto passing fis' omitted) recomposed by the Open Hymnal encoder rather than Vaughan Williams, and the plate's small Org. pedal cue and printed Amen omitted. All components PD (EH 1906 + the PD-dedicated OH encoding). Phrase-1 cadence slur emended to the plate 2026-08-14 (noteheads unchanged): the plate slurs the a'-g' pair with e' free in every phrase (leaf 713 re-read at the cadences), where OH alone melismas 'and' over g'->e' in phrase 1; corpus now a'8( g'8) e'4, matching phrases 2/4, the plate, and the #doreancon 2026 encoding's pre-cepts melisma.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:287", "encoding_license": "PD-dedication"}, "music_ly": "%% Thine Arm, O Lord, in Days of Old\n%% Imported from Open Hymnal ABC X:287 via tools/abc_import.py\n%% Music: KINGSFOLD (English traditional), setting by Ralph Vaughan Williams, The English Hymnal, 1906, No. 574. Text: Edward H. Plumptre, 1864. Public domain (US).\n%% Phrase-1 cadence emended to the EH-1906 plate 2026-08-14: the plate (No. 574,\n%% archive.org theenglishhymnal00milfuoft leaf 713) slurs the a'-g' pair with e'\n%% free in EVERY phrase; OH's X:287 abc (\"Hymn 574, alt.\") alone slurs g'->e'\n%% there (\"heal and* save\"), so a'8 g'8( e'4) -> a'8( g'8) e'4, matching\n%% phrases 2 and 4 and the plate.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8( fis'8) e'4 e'4 e'4 d'4 g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 d'2. g'8( fis'8) e'4 e'4 e'4 d'4 g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 e'2. b'8( c''8) d''4 b'4 b'8( a'8) g'4 a'4 a'4 b'4 g'8( a'8) b'4 b'8( a'8) g'4 e'4 d'2. g'8( fis'8) e'4 e'4 e'8( d'8) e'8( fis'8) g'4 g'4 a'4 g'8( a'8) b'4 b'4 a'8( g'8) e'4 e'2.\n}\nalto = {\n  e'4 b4 b4 c'4 a4 d'4 b4 d'4 d'8 fis'8 g'4 g'4 e'4 c'4 a2. d'4 d'4 c'4 c'8 b8 a4 d'4 cis'4 d'4 d'8 c'8 b4 d'4 c'4 c'4 b2. e'4 fis'4 fis'4 g'8 d'8 d'4 e'4 d'4 c'4 d'4 g'4 g'8 fis'8 d'4 c'8 b8 a2. d'4 d'4 d'4 c'4 c'4 d'4 d'8 cis'8 d'4 d'8 c'8 b4 d'4 e'4 c'4 b2.\n}\ntenor = {\n  b8 a8 g4 g4 g4 fis4 g4 g4 fis4 g8 c'8 b4 d'4 c'4 g4 g2( fis4) g4 g4 g4 g4 fis4 g4 g4 fis4 g8 fis8 g4 g4 e4 e8 fis8 g2. g4 b4 d'4 d'8 c'8 b4 a8 g8 fis4 g4 g8 fis8 d'4 d'8 c'8 b4 g4 g2( fis4) g4 g4 g4 a4 c'4 b8 a8 g4 fis4 g8 fis8 g4 fis4 e4 e8 fis8 g2.\n}\nbass = {\n  e4 e4 e8 d8 c4 c4 b,4 e4 d4 b,8 a,8 g,4 g,4 a,4 c4 d2. b,4 c4 c8 b,8 a,4 d4 b,4 e4 d8 c8 b,8 a,8 g,4 b,4 c4 a,4 e2. e4 b,4 b4 e8 fis8 g4 c4 d4 g,4 b,8 a,8 g,4 g,8 a,8 b,4 c4 d2. b,4 c4 c8 b,8 a,4 a4 g8 fis8 e4 d4 b,8 a,8 g,4 b,4 c4 a,4 e2.\n}\n", "preferred": true}]}, "kirken-den-er-et-gammelt-hus": {"slug": "kirken-den-er-et-gammelt-hus", "name": "KIRKEN DEN ER ET GAMMELT HUS", "meter_label": "8.8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "ludvig-m-lindeman", "composer_date": "1913", "canonical_key": {"tonic": "d", "mode": "minor"}, "preferred_harmonization": "kirken-den-er-et-gammelt-hus-oh217", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:217; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "kirken_den_er_et_lindeman", "total_instances": 81}}, "harmonization": {"slug": "kirken-den-er-et-gammelt-hus-oh217", "tune": "kirken-den-er-et-gammelt-hus", "music_file": "kirken-den-er-et-gammelt-hus-oh217.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 40, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:217; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:217", "encoding_license": "PD-dedication"}, "music_ly": "%% Built on the Rock\n%% Imported from Open Hymnal ABC X:217 via tools/abc_import.py\n%% Open Hymnal X:217; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 3/4 }\n\nsoprano = {\n  d'4 d'4 a'4 f'2 d'4 f'2 g'4 a'2. a'4 b'4 c''4 a'4 f'4 g'4 e'2. d'2. d'4 d'4 a'4 f'2 d'4 f'2 g'4 a'2. a'4 b'4 c''4 a'4 f'4 g'4 e'2. d'2. d''4 c''4 b'4 c''2 a'4 a'2 g'4 f'2. a'4 d''4 f''4 e''2 d''4 c''2 b'4 a'2. a'4 a'4 g'4 f'4 g'4 f'4 e'2. d'2.\n}\nalto = {\n  d'4 d'4 e'4 d'2 d'4 d'2 d'4 cis'2. d'4 d'4 c'4 c'4 d'4 d'4 d'4( cis'2) d'2. d'4 bes4 d'4 c'2 bes4 a2 c'4 c'2. c'4 d'4 c'4 c'4 d'4 d'4 d'4( cis'2) d'2. f'4 e'4 e'4 e'2 f'4 f'2 e'4 f'2. e'4 a'4 gis'4 a'2 b'4 a'2 gis'4 a'2. e'4 d'4 cis'4 d'4 d'4 d'4 d'2( cis'4) d'2.\n}\ntenor = {\n  f4 bes4 a4 a2 a4 bes2 d4 e2. a4 gis4 e4 f4 d4 bes4 a2( g4) f2. f4 g4 a4 c'2 f4 f2 e4 f2. a4 g4 g4 a4 a4 bes4 bes4( a4) g4 f2. a4 a4 gis4 a2 c'4 c'2 bes4 a2. cis'4 d'4 b4 e'2 f'4 e'2 d'4 c'2. cis'4 d'4 a4 a4 g4 bes4 e4( g2) f2.\n}\nbass = {\n  d4 d4 cis4 d2 c4 bes,2 bes,4 a,2. f4 e4 a,4 a,4 bes,4 g,4 a,2. d2. bes,4 g,4 f,4 a,2 bes,4 d2 c4 f2. f4 f4 e4 f4 d4 bes,4 g,2 a,4 d2. d4 e4 e4 a,2 f,4 c2 c4 f2. g4 f4 d4 c2 d4 e2 e4 a,2. g4 f4 e4 d4 bes,4 g,4 a,2. d2.\n}\n"}, "harmonizations": [{"slug": "kirken-den-er-et-gammelt-hus-oh217", "tune": "kirken-den-er-et-gammelt-hus", "music_file": "kirken-den-er-et-gammelt-hus-oh217.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 40, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:217; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:217", "encoding_license": "PD-dedication"}, "music_ly": "%% Built on the Rock\n%% Imported from Open Hymnal ABC X:217 via tools/abc_import.py\n%% Open Hymnal X:217; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 3/4 }\n\nsoprano = {\n  d'4 d'4 a'4 f'2 d'4 f'2 g'4 a'2. a'4 b'4 c''4 a'4 f'4 g'4 e'2. d'2. d'4 d'4 a'4 f'2 d'4 f'2 g'4 a'2. a'4 b'4 c''4 a'4 f'4 g'4 e'2. d'2. d''4 c''4 b'4 c''2 a'4 a'2 g'4 f'2. a'4 d''4 f''4 e''2 d''4 c''2 b'4 a'2. a'4 a'4 g'4 f'4 g'4 f'4 e'2. d'2.\n}\nalto = {\n  d'4 d'4 e'4 d'2 d'4 d'2 d'4 cis'2. d'4 d'4 c'4 c'4 d'4 d'4 d'4( cis'2) d'2. d'4 bes4 d'4 c'2 bes4 a2 c'4 c'2. c'4 d'4 c'4 c'4 d'4 d'4 d'4( cis'2) d'2. f'4 e'4 e'4 e'2 f'4 f'2 e'4 f'2. e'4 a'4 gis'4 a'2 b'4 a'2 gis'4 a'2. e'4 d'4 cis'4 d'4 d'4 d'4 d'2( cis'4) d'2.\n}\ntenor = {\n  f4 bes4 a4 a2 a4 bes2 d4 e2. a4 gis4 e4 f4 d4 bes4 a2( g4) f2. f4 g4 a4 c'2 f4 f2 e4 f2. a4 g4 g4 a4 a4 bes4 bes4( a4) g4 f2. a4 a4 gis4 a2 c'4 c'2 bes4 a2. cis'4 d'4 b4 e'2 f'4 e'2 d'4 c'2. cis'4 d'4 a4 a4 g4 bes4 e4( g2) f2.\n}\nbass = {\n  d4 d4 cis4 d2 c4 bes,2 bes,4 a,2. f4 e4 a,4 a,4 bes,4 g,4 a,2. d2. bes,4 g,4 f,4 a,2 bes,4 d2 c4 f2. f4 f4 e4 f4 d4 bes,4 g,2 a,4 d2. d4 e4 e4 a,2 f,4 c2 c4 f2. g4 f4 d4 c2 d4 e2 e4 a,2. g4 f4 e4 d4 bes,4 g,4 a,2. d2.\n}\n", "preferred": true}]}, "kirkpatrick": {"slug": "kirkpatrick", "name": "KIRKPATRICK", "meter_label": "11.8.11.8 with refrain", "meter": {"pattern": [11, 8, 11, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1890", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "kirkpatrick-tabernacle-1921", "provenance": {"layer": "tune", "source": "finest-of-the-wheat-1890", "source_kind": "hand_encoded", "pd_evidence": "Tune KIRKPATRICK (11.8.11.8 with refrain), William James Kirkpatrick (1838-1921), written for Fanny Crosby's \"A wonderful Saviour is Jesus my Lord\". FIRST PRINTING READ: The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" — archive.org finestofwheath00elde, leaf n59; a second scan of the same book is archive.org finestofwheathym00elde (leaf n57, whose jp2 archive would not serve). The received claim that the hymn first appeared in Songs of Redeeming Love, No. 1 (1882) is NOT what was found: the full-text index of that book (archive.org songsofredeeming00swen) and of its No. 2 (songsofredeeming02swen, 1887) return no match for \"hideth my soul\", and the copyright the plates themselves carry is 1890. The encoding here is taken not from the 1890 leaf (staff space 22.9 px = 11.4 px per diatonic step, below this project's reading tolerance) but from Tabernacle Hymns, No. 2 (1921), hymn 164, which prints the same tune in the same key and metre; see the harmonization record. US public domain: first published 1890, every printing read is pre-1931, and the composer died in 1921.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "kirkpatrick-tabernacle-1921", "tune": "kirkpatrick", "music_file": "kirkpatrick-tabernacle-1921.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 20, 31, 40, 51, 60, 71, 81], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "source_line": "Setting: William J. Kirkpatrick, 1890, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Kirkpatrick's own four-part setting of his tune, as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" and \"Wm. J. Kirkpatrick.\", footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.  Used by permission.\", in D major (two sharps) and 6/8 with a one-eighth pickup; the hymn runs over two leaves, the second headed \"He Hideth My Soul.—Concluded.\" US public domain: the printing read is 1921 and the setting's own copyright dates, printed on the page, are 1890 and 1918 — all before 1931 — and no modern arranger stands anywhere in the chain; Kirkpatrick died in 1921 and Crosby in 1915. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaves n172+n173 (2365 px across, staff space 29.24 px = 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaves n170+n171 (1877 px across, staff space 23.15 px = 11.6 px per diatonic step); they are two scans of the one book, and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, hollow interiors under 0.55 staff spaces squared filled, staff lines suppressed by vertical run length AFTER that fill, heads isolated by morphological opening, over-wide cores split at the valleys of their own column profile, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Scan 1 resolved 88 of the 90 treble chords and 90 of 90 bass chords; scan 2 resolved 85 and 90. EVERY chord both scans resolved agrees in every voice — 0 disagreements — and every chord only one resolved, plus every merged split landing further than 0.25 step from an exact position, was read a third way off crops carrying the fitted five-line grid at 2.6x to 10x; that third reading is what ships. It corrected the automated pass in one place only: the last four treble chords on the second leaf, where scan 1's merged split said steps -2/-3 and both the grid and scan 2's unmerged cores say -2/-4 then -1/-4 (C sharp 4 over A3, then D4 over A3). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, column by column, on ALL FOUR leaves at high magnification, because the automated figures above cover staff positions only and are blind to accidentals: the sweep found exactly ONE printed accidental in the hymn — a sharp before the LOWER note of the refrain chord on \"shad-OWS\" (soprano note 54), giving alto D sharp 4 — and nothing else in any voice, the two-sharp signature standing at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE; no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO FURTHER DATED PRINTINGS were opened as corroboration and agree wherever compared — The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, the first printing, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" (archive.org finestofwheath00elde, leaf n59), and Hymns of the Christian Life, No. 3 (1904), no. 201 (archive.org hymnsofchristi1904simp, leaf n214); both are in D major and 6/8 and both print the same low final cadence, in which the treble staff drops onto ledger lines below the staff for \"with His hand.\" DEPARTURES FROM THE PAGE, in full: (1) the plate ties its last two chords but prints NO curve from the eighth before them, though the lyric \"hand.\" stands under that eighth and no syllable follows — a slur over those three notes is ADDED here, in all four voices, so the syllable spans the notes it is sung over; without it the last two chords would render wordless. Nothing else is added and no printed curve is dropped. (2) The plate prints a fermata on the chord ending its fifth system (the word \"love,\", soprano note 71); this corpus has no fermata field, so it is absent. (3) The casting is not the page's: the page breaks after soprano notes 12, 24, 40, 55 and 71, three of those inside a poetic line and its last system holding 19 noteheads, so the systems here break at the nine poetic-line ends instead. (4) The page prints no Amen. Nothing else departs: every pitch and every duration is the plate's, all four voices restrike together on every notehead because that is what the plate prints, and each place where the plate prints ONE head under two stems is written here as the unison it is.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 164 — archive.org tabernaclehymnsn00chic leaves n172 and n173, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaves n170 and n171. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% KIRKPATRICK (11.8.11.8 with refrain) — William J. Kirkpatrick. Four SATB\n%% voice streams, canonical key D major, 6/8, one-eighth pickup, 18 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" on\n%% the left and \"Wm. J. Kirkpatrick.\" on the right, marked \"CHORUS.\" above the\n%% fourth system, and footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.\n%% Used by permission.\" The hymn runs over two leaves; the second is headed\n%% \"He Hideth My Soul.—Concluded.\" Read off TWO independent scans of that same\n%% plate: archive.org tabernaclehymnsn00chic leaves n172 + n173 (2365 px across,\n%% staff space 29.24 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaves n170 + n171 (1877 px across, staff space\n%% 23.15 px = 11.6 px per diatonic step). The two items are two scans of the one\n%% book (n00chic's title page, leaf n7, reads \"Tabernacle Hymns No. 2 …\n%% Copyright 1921 … Tabernacle Publishing Company … Chicago\"), and at this hymn\n%% n00chic runs two leaves later than n02chic — the same offset the ADELAIDE\n%% record found at hymn 21.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing; then holes smaller than 0.55 staff spaces\n%% squared are filled (the ADELAIDE recipe's 1.2 floods the pocket between a\n%% head, its stem and the line above on THIS plate and welds two heads and the\n%% augmentation dots into one blob 2.8 staff spaces wide); then staff lines are\n%% suppressed by vertical run length — AFTER the fill; then a horizontal opening\n%% of 0.62 staff space and a vertical opening of 0.45 staff space leave a head\n%% core, and any core still wider than 1.80 staff spaces is split at the valleys\n%% of its own column profile instead of being discarded. Every core was converted\n%% to a diatonic step against a FRESH five-line fit made in a +-2.6-staff-space\n%% window around that core's own x. Merged soprano-over-alto blobs were split at\n%% the midpoint of their two clean outer edges with the separation snapped to a\n%% whole step.\n%%\n%% The two scans were read END TO END, independently, by that same rig. Scan 1\n%% resolved 88 of the 90 chords in the treble staff and 90 of 90 in the bass;\n%% scan 2 resolved 85 in the treble and 90 in the bass. Every chord that BOTH\n%% resolved agrees — 0 disagreements in any voice — and every chord that only\n%% one resolved, plus every chord whose merged split landed further than 0.25\n%% step from an exact position, was then read a third way off crops carrying the\n%% fitted five-line grid drawn over the page at 2.6x to 10x. It is that third\n%% reading that ships wherever the two differ in confidence. It corrected the\n%% automated pass at exactly one place: the last four chords of the treble on\n%% the second leaf, where scan 1's merged split reported steps -2/-3 and the\n%% grid (and scan 2's unmerged cores, deviation 0.01-0.09) show -2/-4 and then\n%% -1/-4 — C sharp 4 over A3 under \"His hand\", D4 over A3 under the closing tie.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. The automated figures above\n%% cover staff positions only and never covered accidentals. Every column of\n%% ALL FOUR leaves (n00chic n172+n173 and n02chic n170+n171) was swept\n%% separately BY EYE at high magnification. The sweep found exactly ONE printed\n%% accidental in the whole hymn: a SHARP in the refrain, immediately before the\n%% lower note of the chord on the syllable \"-ows\" of \"shad-ows\" (soprano note\n%% 54), sitting in the space below the bottom line of the treble staff — alto\n%% D sharp 4, written `dis'` below. Nothing else: no accidental in the soprano,\n%% tenor or bass anywhere, and the two-sharp signature stands at the head of\n%% every staff on both leaves. The same sharp is on both scans.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% Two FURTHER dated printings were opened as corroboration and agree with this\n%% reading wherever they were compared: The Finest of the Wheat (Chicago:\n%% R. R. McCabe & Co., 1890), no. 49 — the first printing, footed \"Copyright,\n%% 1890, by Wm. J. Kirkpatrick\" — at archive.org finestofwheath00elde leaf n59,\n%% and Hymns of the Christian Life, No. 3 (1904), no. 201, at archive.org\n%% hymnsofchristi1904simp leaf n214. Both are in the same key (D major, two\n%% sharps) and the same 6/8, and both print the same low final cadence.\n%%\n%% THE PLATE'S RHYTHM. Every bar is two dotted-quarter beats and the engraving\n%% flags each note separately; the recurring figure is dotted-eighth + sixteenth\n%% + eighth. All four voices are homorhythmic THROUGHOUT — the plate restrikes\n%% every voice on every notehead, and there is not one place in the hymn where\n%% one voice holds while another moves. Where soprano and alto (or tenor and\n%% bass) share a pitch the plate prints ONE head carrying an up stem and a down\n%% stem; those are the unisons written twice below (soprano notes 7, 27, 41, 81,\n%% 85 and the pairs in the bass staff at notes 41, 46, 47).\n%%\n%% 90 soprano noteheads carry 84 syllables (38 verse + 46 refrain). The six\n%% multi-note groups are: notes 19-20, 39-40, 59-60 and 89-90 (TIES — the two\n%% heads are the same pitch in all four voices, on \"me;\", \"see.\", \"land;\" and\n%% the closing \"hand.\"), note 79-80 (a printed SLUR, soprano A4 to G4, on the\n%% first \"hand,\"), and note 88 joined to 89-90 (see the departure below).\n%%\n%% DEPARTURES FROM THE PAGE, in full:\n%%   (1) THE LAST SYLLABLE'S SLUR IS ADDED. The plate prints ties between its\n%%       last two chords but draws NO curve from the eighth before them, even\n%%       though the lyric \"hand.\" stands under that eighth and there is no\n%%       further syllable. A slur is written here over all three notes in all\n%%       four voices so the syllable spans the notes it is sung over; without it\n%%       the last two chords would render wordless. Nothing is added anywhere\n%%       else, and no printed curve is dropped.\n%%   (2) THE FERMATA IS NOT CARRIED. The plate prints a fermata over/under the\n%%       chord that ends its fifth system (the word \"love,\", soprano note 71).\n%%       This corpus has no fermata field, so it is absent.\n%%   (3) THE CASTING IS NOT THE PLATE'S. The page casts six systems, breaking\n%%       after soprano notes 12, 24, 40, 55 and 71; three of those fall inside a\n%%       poetic line. The systems here break at the ends of the nine poetic\n%%       lines (notes 11, 20, 31, 40, 51, 60, 71, 80), which also keeps every\n%%       system under MAX_SYSTEM_NOTES.\n%%   (4) The page prints no Amen: after the last tied chord it draws a\n%%       light-heavy double bar and stops. `amen: false`.\n%% Nothing else departs: every pitch and every duration below is the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 a'4 a'8 |\n  a'8. g'16 fis'8 fis'8 g'8 fis'8 |\n  e'4.~( e'4) a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 g'8 e'8 |\n  d'4.~( d'4) a'8 |\n  cis''8. cis''16 cis''8 cis''4 b'16 cis''16 |\n  d''8. cis''16 b'8 a'4 a'8 |\n  g'8. fis'16 g'8 e'8 b'8 a'8 |\n  fis'4.~( fis'4) a'8 |\n  d''8. d''16 d''8 d''4 d''16 d''16 |\n  e''8. d''16 d''8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 a'8 a'8 |\n  a'4.( g'8 a'8) b'8 |\n  a'8. fis'16 d'8 g'8. cis'16 cis'8 |\n  d'4.~( d'4)\n}\n\nalto = {\n  fis'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 fis'4 fis'8 |\n  fis'8. e'16 d'8 d'8 e'8 d'8 |\n  cis'4.~( cis'4) g'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 d'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) a'8 |\n  g'8. g'16 g'8 g'4 g'16 g'16 |\n  fis'8. a'16 g'8 fis'4 fis'8 |\n  e'8. dis'16 e'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) fis'8 |\n  fis'8. fis'16 fis'8 fis'4 fis'16 fis'16 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 fis'8 e'8 fis'8 g'8 |\n  fis'4.( g'8 a'8) g'8 |\n  fis'8. d'16 d'8 cis'8. a16 a8 |\n  a4.~( a4)\n}\n\ntenor = {\n  a8 |\n  a8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) cis'8 |\n  d'8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 b4 d'8 |\n  d'8. a16 fis8 e8 e8 g8 |\n  fis4.~( fis4) a8 |\n  e'8. e'16 e'8 e'4 a16 a16 |\n  a8. a16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  b8. b16 b8 b4 d'8 |\n  d'8. d'16 d'8 cis'8 d'8 e'8 |\n  d'4.( cis'8 d'8) d'8 |\n  d'8. a16 fis8 e8. g16 g8 |\n  fis4.~( fis4)\n}\n\nbass = {\n  d8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 d4 d8 |\n  d8. d16 d8 d8 cis8 d8 |\n  a,4.~( a,4) a,8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 g,4 g,8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  d8. d16 d8 d4 d8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) d8 |\n  d8. d16 d8 d4 d16 d16 |\n  g8. g16 g8 g4 g8 |\n  a8. a16 a8 a,8 a,8 a,8 |\n  d4.( e8 fis8) g,8 |\n  a,8. a,16 a,8 a,8. a,16 a,8 |\n  d4.~( d4)\n}\n"}, "harmonizations": [{"slug": "kirkpatrick-tabernacle-1921", "tune": "kirkpatrick", "music_file": "kirkpatrick-tabernacle-1921.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 20, 31, 40, 51, 60, 71, 81], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "source_line": "Setting: William J. Kirkpatrick, 1890, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Kirkpatrick's own four-part setting of his tune, as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" and \"Wm. J. Kirkpatrick.\", footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.  Used by permission.\", in D major (two sharps) and 6/8 with a one-eighth pickup; the hymn runs over two leaves, the second headed \"He Hideth My Soul.—Concluded.\" US public domain: the printing read is 1921 and the setting's own copyright dates, printed on the page, are 1890 and 1918 — all before 1931 — and no modern arranger stands anywhere in the chain; Kirkpatrick died in 1921 and Crosby in 1915. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE — archive.org tabernaclehymnsn00chic leaves n172+n173 (2365 px across, staff space 29.24 px = 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaves n170+n171 (1877 px across, staff space 23.15 px = 11.6 px per diatonic step); they are two scans of the one book, and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, hollow interiors under 0.55 staff spaces squared filled, staff lines suppressed by vertical run length AFTER that fill, heads isolated by morphological opening, over-wide cores split at the valleys of their own column profile, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Scan 1 resolved 88 of the 90 treble chords and 90 of 90 bass chords; scan 2 resolved 85 and 90. EVERY chord both scans resolved agrees in every voice — 0 disagreements — and every chord only one resolved, plus every merged split landing further than 0.25 step from an exact position, was read a third way off crops carrying the fitted five-line grid at 2.6x to 10x; that third reading is what ships. It corrected the automated pass in one place only: the last four treble chords on the second leaf, where scan 1's merged split said steps -2/-3 and both the grid and scan 2's unmerged cores say -2/-4 then -1/-4 (C sharp 4 over A3, then D4 over A3). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, column by column, on ALL FOUR leaves at high magnification, because the automated figures above cover staff positions only and are blind to accidentals: the sweep found exactly ONE printed accidental in the hymn — a sharp before the LOWER note of the refrain chord on \"shad-OWS\" (soprano note 54), giving alto D sharp 4 — and nothing else in any voice, the two-sharp signature standing at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE; no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO FURTHER DATED PRINTINGS were opened as corroboration and agree wherever compared — The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, the first printing, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" (archive.org finestofwheath00elde, leaf n59), and Hymns of the Christian Life, No. 3 (1904), no. 201 (archive.org hymnsofchristi1904simp, leaf n214); both are in D major and 6/8 and both print the same low final cadence, in which the treble staff drops onto ledger lines below the staff for \"with His hand.\" DEPARTURES FROM THE PAGE, in full: (1) the plate ties its last two chords but prints NO curve from the eighth before them, though the lyric \"hand.\" stands under that eighth and no syllable follows — a slur over those three notes is ADDED here, in all four voices, so the syllable spans the notes it is sung over; without it the last two chords would render wordless. Nothing else is added and no printed curve is dropped. (2) The plate prints a fermata on the chord ending its fifth system (the word \"love,\", soprano note 71); this corpus has no fermata field, so it is absent. (3) The casting is not the page's: the page breaks after soprano notes 12, 24, 40, 55 and 71, three of those inside a poetic line and its last system holding 19 noteheads, so the systems here break at the nine poetic-line ends instead. (4) The page prints no Amen. Nothing else departs: every pitch and every duration is the plate's, all four voices restrike together on every notehead because that is what the plate prints, and each place where the plate prints ONE head under two stems is written here as the unison it is.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 164 — archive.org tabernaclehymnsn00chic leaves n172 and n173, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaves n170 and n171. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% KIRKPATRICK (11.8.11.8 with refrain) — William J. Kirkpatrick. Four SATB\n%% voice streams, canonical key D major, 6/8, one-eighth pickup, 18 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" on\n%% the left and \"Wm. J. Kirkpatrick.\" on the right, marked \"CHORUS.\" above the\n%% fourth system, and footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.\n%% Used by permission.\" The hymn runs over two leaves; the second is headed\n%% \"He Hideth My Soul.—Concluded.\" Read off TWO independent scans of that same\n%% plate: archive.org tabernaclehymnsn00chic leaves n172 + n173 (2365 px across,\n%% staff space 29.24 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaves n170 + n171 (1877 px across, staff space\n%% 23.15 px = 11.6 px per diatonic step). The two items are two scans of the one\n%% book (n00chic's title page, leaf n7, reads \"Tabernacle Hymns No. 2 …\n%% Copyright 1921 … Tabernacle Publishing Company … Chicago\"), and at this hymn\n%% n00chic runs two leaves later than n02chic — the same offset the ADELAIDE\n%% record found at hymn 21.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing; then holes smaller than 0.55 staff spaces\n%% squared are filled (the ADELAIDE recipe's 1.2 floods the pocket between a\n%% head, its stem and the line above on THIS plate and welds two heads and the\n%% augmentation dots into one blob 2.8 staff spaces wide); then staff lines are\n%% suppressed by vertical run length — AFTER the fill; then a horizontal opening\n%% of 0.62 staff space and a vertical opening of 0.45 staff space leave a head\n%% core, and any core still wider than 1.80 staff spaces is split at the valleys\n%% of its own column profile instead of being discarded. Every core was converted\n%% to a diatonic step against a FRESH five-line fit made in a +-2.6-staff-space\n%% window around that core's own x. Merged soprano-over-alto blobs were split at\n%% the midpoint of their two clean outer edges with the separation snapped to a\n%% whole step.\n%%\n%% The two scans were read END TO END, independently, by that same rig. Scan 1\n%% resolved 88 of the 90 chords in the treble staff and 90 of 90 in the bass;\n%% scan 2 resolved 85 in the treble and 90 in the bass. Every chord that BOTH\n%% resolved agrees — 0 disagreements in any voice — and every chord that only\n%% one resolved, plus every chord whose merged split landed further than 0.25\n%% step from an exact position, was then read a third way off crops carrying the\n%% fitted five-line grid drawn over the page at 2.6x to 10x. It is that third\n%% reading that ships wherever the two differ in confidence. It corrected the\n%% automated pass at exactly one place: the last four chords of the treble on\n%% the second leaf, where scan 1's merged split reported steps -2/-3 and the\n%% grid (and scan 2's unmerged cores, deviation 0.01-0.09) show -2/-4 and then\n%% -1/-4 — C sharp 4 over A3 under \"His hand\", D4 over A3 under the closing tie.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. The automated figures above\n%% cover staff positions only and never covered accidentals. Every column of\n%% ALL FOUR leaves (n00chic n172+n173 and n02chic n170+n171) was swept\n%% separately BY EYE at high magnification. The sweep found exactly ONE printed\n%% accidental in the whole hymn: a SHARP in the refrain, immediately before the\n%% lower note of the chord on the syllable \"-ows\" of \"shad-ows\" (soprano note\n%% 54), sitting in the space below the bottom line of the treble staff — alto\n%% D sharp 4, written `dis'` below. Nothing else: no accidental in the soprano,\n%% tenor or bass anywhere, and the two-sharp signature stands at the head of\n%% every staff on both leaves. The same sharp is on both scans.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% Two FURTHER dated printings were opened as corroboration and agree with this\n%% reading wherever they were compared: The Finest of the Wheat (Chicago:\n%% R. R. McCabe & Co., 1890), no. 49 — the first printing, footed \"Copyright,\n%% 1890, by Wm. J. Kirkpatrick\" — at archive.org finestofwheath00elde leaf n59,\n%% and Hymns of the Christian Life, No. 3 (1904), no. 201, at archive.org\n%% hymnsofchristi1904simp leaf n214. Both are in the same key (D major, two\n%% sharps) and the same 6/8, and both print the same low final cadence.\n%%\n%% THE PLATE'S RHYTHM. Every bar is two dotted-quarter beats and the engraving\n%% flags each note separately; the recurring figure is dotted-eighth + sixteenth\n%% + eighth. All four voices are homorhythmic THROUGHOUT — the plate restrikes\n%% every voice on every notehead, and there is not one place in the hymn where\n%% one voice holds while another moves. Where soprano and alto (or tenor and\n%% bass) share a pitch the plate prints ONE head carrying an up stem and a down\n%% stem; those are the unisons written twice below (soprano notes 7, 27, 41, 81,\n%% 85 and the pairs in the bass staff at notes 41, 46, 47).\n%%\n%% 90 soprano noteheads carry 84 syllables (38 verse + 46 refrain). The six\n%% multi-note groups are: notes 19-20, 39-40, 59-60 and 89-90 (TIES — the two\n%% heads are the same pitch in all four voices, on \"me;\", \"see.\", \"land;\" and\n%% the closing \"hand.\"), note 79-80 (a printed SLUR, soprano A4 to G4, on the\n%% first \"hand,\"), and note 88 joined to 89-90 (see the departure below).\n%%\n%% DEPARTURES FROM THE PAGE, in full:\n%%   (1) THE LAST SYLLABLE'S SLUR IS ADDED. The plate prints ties between its\n%%       last two chords but draws NO curve from the eighth before them, even\n%%       though the lyric \"hand.\" stands under that eighth and there is no\n%%       further syllable. A slur is written here over all three notes in all\n%%       four voices so the syllable spans the notes it is sung over; without it\n%%       the last two chords would render wordless. Nothing is added anywhere\n%%       else, and no printed curve is dropped.\n%%   (2) THE FERMATA IS NOT CARRIED. The plate prints a fermata over/under the\n%%       chord that ends its fifth system (the word \"love,\", soprano note 71).\n%%       This corpus has no fermata field, so it is absent.\n%%   (3) THE CASTING IS NOT THE PLATE'S. The page casts six systems, breaking\n%%       after soprano notes 12, 24, 40, 55 and 71; three of those fall inside a\n%%       poetic line. The systems here break at the ends of the nine poetic\n%%       lines (notes 11, 20, 31, 40, 51, 60, 71, 80), which also keeps every\n%%       system under MAX_SYSTEM_NOTES.\n%%   (4) The page prints no Amen: after the last tied chord it draws a\n%%       light-heavy double bar and stops. `amen: false`.\n%% Nothing else departs: every pitch and every duration below is the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 a'4 a'8 |\n  a'8. g'16 fis'8 fis'8 g'8 fis'8 |\n  e'4.~( e'4) a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 g'8 e'8 |\n  d'4.~( d'4) a'8 |\n  cis''8. cis''16 cis''8 cis''4 b'16 cis''16 |\n  d''8. cis''16 b'8 a'4 a'8 |\n  g'8. fis'16 g'8 e'8 b'8 a'8 |\n  fis'4.~( fis'4) a'8 |\n  d''8. d''16 d''8 d''4 d''16 d''16 |\n  e''8. d''16 d''8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 a'8 a'8 |\n  a'4.( g'8 a'8) b'8 |\n  a'8. fis'16 d'8 g'8. cis'16 cis'8 |\n  d'4.~( d'4)\n}\n\nalto = {\n  fis'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 fis'4 fis'8 |\n  fis'8. e'16 d'8 d'8 e'8 d'8 |\n  cis'4.~( cis'4) g'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 d'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) a'8 |\n  g'8. g'16 g'8 g'4 g'16 g'16 |\n  fis'8. a'16 g'8 fis'4 fis'8 |\n  e'8. dis'16 e'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) fis'8 |\n  fis'8. fis'16 fis'8 fis'4 fis'16 fis'16 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 fis'8 e'8 fis'8 g'8 |\n  fis'4.( g'8 a'8) g'8 |\n  fis'8. d'16 d'8 cis'8. a16 a8 |\n  a4.~( a4)\n}\n\ntenor = {\n  a8 |\n  a8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) cis'8 |\n  d'8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 b4 d'8 |\n  d'8. a16 fis8 e8 e8 g8 |\n  fis4.~( fis4) a8 |\n  e'8. e'16 e'8 e'4 a16 a16 |\n  a8. a16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  b8. b16 b8 b4 d'8 |\n  d'8. d'16 d'8 cis'8 d'8 e'8 |\n  d'4.( cis'8 d'8) d'8 |\n  d'8. a16 fis8 e8. g16 g8 |\n  fis4.~( fis4)\n}\n\nbass = {\n  d8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 d4 d8 |\n  d8. d16 d8 d8 cis8 d8 |\n  a,4.~( a,4) a,8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 g,4 g,8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  d8. d16 d8 d4 d8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) d8 |\n  d8. d16 d8 d4 d16 d16 |\n  g8. g16 g8 g4 g8 |\n  a8. a16 a8 a,8 a,8 a,8 |\n  d4.( e8 fis8) g,8 |\n  a,8. a,16 a,8 a,8. a,16 a,8 |\n  d4.~( d4)\n}\n", "preferred": true}]}, "kommt-her-zu-mir-spricht-gottes-sohn": {"slug": "kommt-her-zu-mir-spricht-gottes-sohn", "name": "KOMMT HER ZU MIR, SPRICHT GOTTES SOHN", "meter_label": "8.8.6.8.8.6", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "traditional-german-1490", "composer_date": "1906", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "kommt-her-zu-mir-spricht-gottes-sohn-oh273", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:273; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "kommt-her-zu-mir-spricht-gottes-sohn-oh273", "tune": "kommt-her-zu-mir-spricht-gottes-sohn", "music_file": "kommt-her-zu-mir-spricht-gottes-sohn-oh273.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 19, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:273; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:273", "encoding_license": "PD-dedication"}, "music_ly": "%% Fear Not, O Little Flock\n%% Imported from Open Hymnal ABC X:273 via tools/abc_import.py\n%% Open Hymnal X:273; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 d''2. c''4 d''4 bes'4 a'2 r4 g'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 a'4 c''2~ c''4 bes'4 a'4 bes'4 g'2( f'2) r4 f'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 g'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 g'4 d''2~ d''4 c''4 bes'4 c''4 a'2( g'2)\n}\nalto = {\n  d'2 d'4 ees'4 d'2. f'4 f'4 d'4 d'2 s4 d'4 ees'4 ees'4 f'2. f'4 f'4 d'4 d'2 s4 d'4 ees'2~ ees'4 d'4 c'4 f'4~( f'4) e'4( f'2) s4 f'4 d'4 f'4 f'2. f'4 f'4 d'4 d'2 s4 d'4 ees'4 ees'4 f'2. f'4 f'4 d'4 d'2 s4 bes4 d'2~ d'4 f'4 d'4 ees'4 d'2( d'2)\n}\ntenor = {\n  bes2 bes4 c'4 f2. a4 a4 g4 fis2 r4 bes4 g4 c'4 d'2. bes4 a4 g4 fis2 r4 f4 g2~ g4 f8 g8 a4 d'4 c'2( a2) r4 a4 bes4 c'4 d'2. bes4 a4 g4 fis2 r4 bes4 g4 c'4 d'2. bes4 a4 g4 fis2 r4 g4 f2~ f4 a4 g4 g4 fis2( b2)\n}\nbass = {\n  g,2 g,4 c4 bes,2. f4 d4 g4 d2 s4 g4 ees4 c4 bes,2. bes4 f4 g4 d2 s4 d4 c2~ c4 d8 e8 f4 bes,4 c2( f,2) s4 d4 g4 f4 bes,2. bes4 f4 g4 d2 s4 g4 ees4 c4 bes,2. bes4 f4 g4 d2 s4 ees4 bes,2~ bes,4 f4 g4 c4 d2( g,2)\n}\n"}, "harmonizations": [{"slug": "kommt-her-zu-mir-spricht-gottes-sohn-oh273", "tune": "kommt-her-zu-mir-spricht-gottes-sohn", "music_file": "kommt-her-zu-mir-spricht-gottes-sohn-oh273.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 19, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:273; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:273", "encoding_license": "PD-dedication"}, "music_ly": "%% Fear Not, O Little Flock\n%% Imported from Open Hymnal ABC X:273 via tools/abc_import.py\n%% Open Hymnal X:273; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 d''2. c''4 d''4 bes'4 a'2 r4 g'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 a'4 c''2~ c''4 bes'4 a'4 bes'4 g'2( f'2) r4 f'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 g'4 bes'4 a'4 bes'2. d''4 c''4 bes'4 a'2 r4 g'4 d''2~ d''4 c''4 bes'4 c''4 a'2( g'2)\n}\nalto = {\n  d'2 d'4 ees'4 d'2. f'4 f'4 d'4 d'2 s4 d'4 ees'4 ees'4 f'2. f'4 f'4 d'4 d'2 s4 d'4 ees'2~ ees'4 d'4 c'4 f'4~( f'4) e'4( f'2) s4 f'4 d'4 f'4 f'2. f'4 f'4 d'4 d'2 s4 d'4 ees'4 ees'4 f'2. f'4 f'4 d'4 d'2 s4 bes4 d'2~ d'4 f'4 d'4 ees'4 d'2( d'2)\n}\ntenor = {\n  bes2 bes4 c'4 f2. a4 a4 g4 fis2 r4 bes4 g4 c'4 d'2. bes4 a4 g4 fis2 r4 f4 g2~ g4 f8 g8 a4 d'4 c'2( a2) r4 a4 bes4 c'4 d'2. bes4 a4 g4 fis2 r4 bes4 g4 c'4 d'2. bes4 a4 g4 fis2 r4 g4 f2~ f4 a4 g4 g4 fis2( b2)\n}\nbass = {\n  g,2 g,4 c4 bes,2. f4 d4 g4 d2 s4 g4 ees4 c4 bes,2. bes4 f4 g4 d2 s4 d4 c2~ c4 d8 e8 f4 bes,4 c2( f,2) s4 d4 g4 f4 bes,2. bes4 f4 g4 d2 s4 g4 ees4 c4 bes,2. bes4 f4 g4 d2 s4 ees4 bes,2~ bes,4 f4 g4 c4 d2( g,2)\n}\n", "preferred": true}]}, "kremser": {"slug": "kremser", "name": "KREMSER", "alt_name": "WILT HEDEN NU TREDEN", "meter_label": "12.11.12.11", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Netherlands folk melody, 16th century", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "kremser-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "KREMSER (also known by its original Dutch first line \"Wilt heden nu treden\"), a 16th-century Netherlands folk melody first printed in Adrianus Valerius, Nederlandtsche Gedenck-clanck (1626); the familiar four-part arrangement is by Eduard Kremser (d. 1914), 1877, from whom the tune takes its name. A public-domain SATB setting encoded from The Cyber Hymnal MIDI via tools/mid2ly.py, the four voices reconstructed from the raw MIDI onsets and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis; the score titles it \"Kremser, 12.11.12.11 — 16th Century Dutch Tune\"). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Kremser\" (16th Century Dutch Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "kremser-cyberhymnal", "tune": "kremser", "music_file": "kremser-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 23, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "KREMSER (16th-century Netherlands folk melody; arr. Eduard Kremser, 1877). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune KREMSER — a 16th-century Netherlands folk melody (first printed in Adrianus Valerius, Nederlandtsche Gedenck-clanck, 1626); the standard four-part arrangement is Eduard Kremser's (1877), whence the tune name (Kremser d. 1914). A public-domain SATB setting encoded from The Cyber Hymnal MIDI via tools/mid2ly.py; the four voices were reconstructed from the raw MIDI onsets and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis). The two raised leading tones (alto G#, tenor G#) are printed with sharps in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Kremser\" (16th Century Dutch Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% KREMSER (12.11.12.11) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Tune: a 16th-century Netherlands folk melody (in Adrianus Valerius,\n%% Nederlandtsche Gedenck-clanck, 1626; the famous four-part arrangement is Eduard\n%% Kremser's, 1877 — hence the tune name). Encoded from The Cyber Hymnal SATB MIDI\n%% with tools/mid2ly.py; the four voices were reconstructed from the raw MIDI\n%% onsets and verified against the Cyber Hymnal engraving. 3/4 with a one-beat\n%% anacrusis (\\partial 4); the final bar is a half note that balances the pickup.\n%% MELISMATIC: 48 soprano notes for 46 syllables (12.11.12.11); the two two-note\n%% melismas are the slurred figures a'4.( b'8) (bar 11) and a'4.( g'8) (bar 14),\n%% held with '_' each stanza (verse_variable_melisma) at syllables 31 and 41. The\n%% two chromatic passing tones — alto gis' (bar 7) and tenor gis (bar 6) — are the\n%% raised leading tones printed with sharps in the source. (mid2ly's raw split\n%% mis-assigned the soprano's ornamental/melisma eighths to the alto at bars\n%% 6/11/14; corrected from the raw MIDI onsets + the engraving.)\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4. b'8 a'4 | fis'4 g'4 a'4 | g'4. fis'8 e'4 | fis'4 d'4 a'4 |\n  a'4. b'8 cis''4 | d''4. e''8 cis''4 | b'4. a'8 b'4 | a'2 a'4 |\n  a'4. b'8 cis''4 | d''4 a'4 a'4 | a'4.( b'8) g'8 a'8 | fis'4 d'4 d'4 |\n  g'4. a'8 b'8 g'8 | a'4.( g'8) fis'4 | g'4 e'4. d'8 | d'2\n}\nalto = {\n  d'4 |\n  d'4. d'8 d'4 | d'4 d'4 d'4 | d'4. d'8 cis'4 | d'4 d'4 fis'4 |\n  e'4. e'8 e'4 | fis'4 e'4 e'4 | fis'4. fis'8 gis'4 | e'2 e'4 |\n  e'4. e'8 e'4 | d'4 d'4 d'4 | d'2 cis'8 cis'8 | d'4 d'4 d'4 |\n  d'4. d'8 d'8 e'8 | e'2 d'4 | b4 cis'4. d'8 | d'2\n}\ntenor = {\n  fis4 |\n  fis4. g8 fis4 | a4 a4 a4 | b4. b8 a4 | a4 fis4 a4 |\n  a4. a8 a4 | a4 gis4 a4 | d'4. d'8 d'4 | cis'2 cis'4 |\n  cis'4. b8 a4 | a4 a4 a4 | b2 a8 a8 | a4 fis4 fis4 |\n  g4. fis8 g8 g8 | e4 a4 a4 | g4 g4. fis8 | fis2\n}\nbass = {\n  d4 |\n  d4. d8 d4 | d4 e4 fis4 | e4. e8 a4 | d4 d4 d4 |\n  cis4. cis8 cis4 | b,4 e4 a4 | b,4. b,8 e4 | a2 a4 |\n  g4. g8 g4 | fis4 fis4 fis4 | e2 a8 a8 | d4 d4 d4 |\n  b,4. a,8 g,8 b,8 | cis2 d4 | e4 a,4. d8 | d2\n}\n"}, "harmonizations": [{"slug": "kremser-cyberhymnal", "tune": "kremser", "music_file": "kremser-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 23, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "KREMSER (16th-century Netherlands folk melody; arr. Eduard Kremser, 1877). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune KREMSER — a 16th-century Netherlands folk melody (first printed in Adrianus Valerius, Nederlandtsche Gedenck-clanck, 1626); the standard four-part arrangement is Eduard Kremser's (1877), whence the tune name (Kremser d. 1914). A public-domain SATB setting encoded from The Cyber Hymnal MIDI via tools/mid2ly.py; the four voices were reconstructed from the raw MIDI onsets and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis). The two raised leading tones (alto G#, tenor G#) are printed with sharps in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Kremser\" (16th Century Dutch Tune); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% KREMSER (12.11.12.11) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Tune: a 16th-century Netherlands folk melody (in Adrianus Valerius,\n%% Nederlandtsche Gedenck-clanck, 1626; the famous four-part arrangement is Eduard\n%% Kremser's, 1877 — hence the tune name). Encoded from The Cyber Hymnal SATB MIDI\n%% with tools/mid2ly.py; the four voices were reconstructed from the raw MIDI\n%% onsets and verified against the Cyber Hymnal engraving. 3/4 with a one-beat\n%% anacrusis (\\partial 4); the final bar is a half note that balances the pickup.\n%% MELISMATIC: 48 soprano notes for 46 syllables (12.11.12.11); the two two-note\n%% melismas are the slurred figures a'4.( b'8) (bar 11) and a'4.( g'8) (bar 14),\n%% held with '_' each stanza (verse_variable_melisma) at syllables 31 and 41. The\n%% two chromatic passing tones — alto gis' (bar 7) and tenor gis (bar 6) — are the\n%% raised leading tones printed with sharps in the source. (mid2ly's raw split\n%% mis-assigned the soprano's ornamental/melisma eighths to the alto at bars\n%% 6/11/14; corrected from the raw MIDI onsets + the engraving.)\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4. b'8 a'4 | fis'4 g'4 a'4 | g'4. fis'8 e'4 | fis'4 d'4 a'4 |\n  a'4. b'8 cis''4 | d''4. e''8 cis''4 | b'4. a'8 b'4 | a'2 a'4 |\n  a'4. b'8 cis''4 | d''4 a'4 a'4 | a'4.( b'8) g'8 a'8 | fis'4 d'4 d'4 |\n  g'4. a'8 b'8 g'8 | a'4.( g'8) fis'4 | g'4 e'4. d'8 | d'2\n}\nalto = {\n  d'4 |\n  d'4. d'8 d'4 | d'4 d'4 d'4 | d'4. d'8 cis'4 | d'4 d'4 fis'4 |\n  e'4. e'8 e'4 | fis'4 e'4 e'4 | fis'4. fis'8 gis'4 | e'2 e'4 |\n  e'4. e'8 e'4 | d'4 d'4 d'4 | d'2 cis'8 cis'8 | d'4 d'4 d'4 |\n  d'4. d'8 d'8 e'8 | e'2 d'4 | b4 cis'4. d'8 | d'2\n}\ntenor = {\n  fis4 |\n  fis4. g8 fis4 | a4 a4 a4 | b4. b8 a4 | a4 fis4 a4 |\n  a4. a8 a4 | a4 gis4 a4 | d'4. d'8 d'4 | cis'2 cis'4 |\n  cis'4. b8 a4 | a4 a4 a4 | b2 a8 a8 | a4 fis4 fis4 |\n  g4. fis8 g8 g8 | e4 a4 a4 | g4 g4. fis8 | fis2\n}\nbass = {\n  d4 |\n  d4. d8 d4 | d4 e4 fis4 | e4. e8 a4 | d4 d4 d4 |\n  cis4. cis8 cis4 | b,4 e4 a4 | b,4. b,8 e4 | a2 a4 |\n  g4. g8 g4 | fis4 fis4 fis4 | e2 a8 a8 | d4 d4 d4 |\n  b,4. a,8 g,8 b,8 | cis2 d4 | e4 a,4. d8 | d2\n}\n", "preferred": true}]}, "lancashire": {"slug": "lancashire", "name": "LANCASHIRE", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-smart", "composer_date": "1836", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "lancashire-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LANCASHIRE, composed by Henry Thomas Smart (1813-1879) in 1836, the standard tune for Ernest W. Shurtleff's \"Lead On, O King Eternal.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4 with a one-beat anacrusis and a dotted-half final; melismatic, 54 soprano notes for 52 syllables — the two two-note melismas are the slurred soprano pairs d''4.-b'8 in bar 10 and e''2-cis''4 in bar 12). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lancashire\" (Henry T. Smart, 1836); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "lancashire-cyberhymnal", "tune": "lancashire", "music_file": "lancashire-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 26, 34, 41, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LANCASHIRE, Henry T. Smart, 1836. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LANCASHIRE (Henry Thomas Smart, 1813-1879; composed 1836); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lancashire\" (Henry T. Smart, 1836); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LANCASHIRE (7.6.7.6.D) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Lancashire\", Henry T. Smart, 1836)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final note is a dotted half completing the\n%% pickup. MELISMATIC: 54 soprano notes for 52 syllables (7.6.7.6.D); the two\n%% two-note melismas are the slurred soprano d''4.( b'8) in bar 10 and\n%% e''2( cis''4) in bar 12 (soprano notes 33 and 41), held with '_' each stanza\n%% (verse_variable_melisma). Passing chromatics (soprano gis' raised-4th resolving\n%% up to a'; alto dis'/gis'; tenor gis and c-natural; bass gis and c-natural) are\n%% each printed with a sharp or natural in the source. The bass eighth in bar 10 is\n%% D3 (arpeggiating G-D-G), the low voice under the tenor's slurred b-d' melisma.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4 fis'4 g'4 b'4 | a'2 fis'4 d''4 | d''4 g'4 a'4 b'4 | e'2. a'4 |\n  a'4 fis'4 g'4 b'4 | a'2 fis'4 fis'4 | e'4 cis''4 b'4 gis'4 | a'2. a'4 |\n  a'4 fis'4 d'4 d''4 | d''4.( b'8) g'4 b'4 | b'4 gis'4 e'4 e''4 | e''2( cis''4) a'4 |\n  d''4 d''4 d''4 d''4 | d''2 cis''4 b'4 | a'4 fis'4 e'4. cis'8 | d'2.\n}\nalto = {\n  d'4 |\n  d'4 d'4 d'4 d'4 | d'2 d'4 fis'4 | g'4 d'4 d'4 d'4 | cis'2. cis'4 |\n  d'4 d'4 d'4 d'4 | d'2 d'4 d'4 | cis'4 e'4 d'4 d'4 | cis'2. cis'4 |\n  d'4 d'4 a4 fis'4 | g'4. b'8 d'4 dis'4 | e'4 e'4 b4 gis'4 | a'2. e'4 |\n  a4 d'4 e'4 fis'4 | g'2 d'4 d'4 | d'4 d'4 a4. a8 | a2.\n}\ntenor = {\n  fis4 |\n  fis4 a4 b4 g4 | fis2 a4 a4 | g4 d'4 cis'4 b4 | a2. g4 |\n  fis4 c'4 b4 g4 | fis2 a4 a4 | a4 a4 gis4 b4 | a2. g4 |\n  fis4 c'4 c'4 c'4 | b4. d'8 b4 a4 | gis4 d'4 e'4 d'4 | cis'2 e'4 cis'4 |\n  d'4 a4 b4 c'4 | d'2 d'4 g4 | fis4 a4 g4. e8 | fis2.\n}\nbass = {\n  d4 |\n  d4 d4 d4 d4 | d2 d4 c4 | b,4 b,4 a,4 g,4 | a,2. a,4 |\n  d4 d4 d4 d4 | d2 d4 d4 | e4 e4 e4 e4 | a,2. a,4 |\n  d4 a4 fis4 d4 | g,4. d8 g4 fis4 | e4 b4 gis4 e4 | a,2 a4 g4 |\n  fis4 fis4 g4 a4 | b2 g4 g,4 | a,4 a,4 a,4. a,8 | d2.\n}\n"}, "harmonizations": [{"slug": "lancashire-cyberhymnal", "tune": "lancashire", "music_file": "lancashire-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 26, 34, 41, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LANCASHIRE, Henry T. Smart, 1836. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LANCASHIRE (Henry Thomas Smart, 1813-1879; composed 1836); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lancashire\" (Henry T. Smart, 1836); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LANCASHIRE (7.6.7.6.D) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Lancashire\", Henry T. Smart, 1836)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final note is a dotted half completing the\n%% pickup. MELISMATIC: 54 soprano notes for 52 syllables (7.6.7.6.D); the two\n%% two-note melismas are the slurred soprano d''4.( b'8) in bar 10 and\n%% e''2( cis''4) in bar 12 (soprano notes 33 and 41), held with '_' each stanza\n%% (verse_variable_melisma). Passing chromatics (soprano gis' raised-4th resolving\n%% up to a'; alto dis'/gis'; tenor gis and c-natural; bass gis and c-natural) are\n%% each printed with a sharp or natural in the source. The bass eighth in bar 10 is\n%% D3 (arpeggiating G-D-G), the low voice under the tenor's slurred b-d' melisma.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4 fis'4 g'4 b'4 | a'2 fis'4 d''4 | d''4 g'4 a'4 b'4 | e'2. a'4 |\n  a'4 fis'4 g'4 b'4 | a'2 fis'4 fis'4 | e'4 cis''4 b'4 gis'4 | a'2. a'4 |\n  a'4 fis'4 d'4 d''4 | d''4.( b'8) g'4 b'4 | b'4 gis'4 e'4 e''4 | e''2( cis''4) a'4 |\n  d''4 d''4 d''4 d''4 | d''2 cis''4 b'4 | a'4 fis'4 e'4. cis'8 | d'2.\n}\nalto = {\n  d'4 |\n  d'4 d'4 d'4 d'4 | d'2 d'4 fis'4 | g'4 d'4 d'4 d'4 | cis'2. cis'4 |\n  d'4 d'4 d'4 d'4 | d'2 d'4 d'4 | cis'4 e'4 d'4 d'4 | cis'2. cis'4 |\n  d'4 d'4 a4 fis'4 | g'4. b'8 d'4 dis'4 | e'4 e'4 b4 gis'4 | a'2. e'4 |\n  a4 d'4 e'4 fis'4 | g'2 d'4 d'4 | d'4 d'4 a4. a8 | a2.\n}\ntenor = {\n  fis4 |\n  fis4 a4 b4 g4 | fis2 a4 a4 | g4 d'4 cis'4 b4 | a2. g4 |\n  fis4 c'4 b4 g4 | fis2 a4 a4 | a4 a4 gis4 b4 | a2. g4 |\n  fis4 c'4 c'4 c'4 | b4. d'8 b4 a4 | gis4 d'4 e'4 d'4 | cis'2 e'4 cis'4 |\n  d'4 a4 b4 c'4 | d'2 d'4 g4 | fis4 a4 g4. e8 | fis2.\n}\nbass = {\n  d4 |\n  d4 d4 d4 d4 | d2 d4 c4 | b,4 b,4 a,4 g,4 | a,2. a,4 |\n  d4 d4 d4 d4 | d2 d4 d4 | e4 e4 e4 e4 | a,2. a,4 |\n  d4 a4 fis4 d4 | g,4. d8 g4 fis4 | e4 b4 gis4 e4 | a,2 a4 g4 |\n  fis4 fis4 g4 a4 | b2 g4 g,4 | a,4 a,4 a,4. a,8 | d2.\n}\n", "preferred": true}]}, "langran": {"slug": "langran", "name": "LANGRAN", "meter_label": "10.10.10.10", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-langran", "composer_date": "1861", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "langran-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LANGRAN, composed by James Langran (1835–1909), 1861. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). The tenor B-naturals (bars 5, 7) and the E-flat / D-flat passing tones (bars 13-14) are printed with their accidentals in the source and carried in the soprano/inner voices. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Langran\" (James Langran, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "langran-cyberhymnal", "tune": "langran", "music_file": "langran-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LANGRAN, James Langran, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LANGRAN (James Langran, 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Langran\" (James Langran, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LANGRAN (10.10.10.10.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Langran\", James Langran, 1861) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10. (40 soprano notes = 40 syllables). The tenor B-naturals (bars 5,7)\n%% and the E-flat/D-flat passing tones (bars 13-14) are printed with their\n%% accidentals in the source and carried in the encoding.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 f'4 g'4 | a'2 c''2 | bes'4 a'4 a'4 g'4 | f'1 |\n  a'2 a'4 g'4 | c''2 g'2 | a'4 g'4 g'4 f'4 | e'1 |\n  f'2 f'4 f'4 | bes'2 a'2 | c''4. a'8 g'4 f'4 | e'1 |\n  f'2 g'4 f'4 | f'4 g'4 a'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  f'2 f'4 f'4 | f'2 f'2 | f'4 f'4 f'4 e'4 | f'1 |\n  f'2 d'4 d'4 | g'2 c'2 | c'4 c'4 c'4 d'4 | c'1 |\n  f'2 f'4 f'4 | e'2 f'2 | f'4. f'8 d'4 d'4 | c'1 |\n  c'2 c'4 c'4 | d'4 e'4 f'4 f'4 | f'2 e'2 | f'1\n}\ntenor = {\n  c'2 a4 bes4 | c'2 c'2 | d'4 c'4 c'4 bes4 | a1 |\n  c'2 b4 b4 | c'2 c'2 | f4 g4 a4 b4 | c'1 |\n  c'2 d'4 c'4 | c'2 c'2 | a4. c'8 bes4 a4 | g1 |\n  a2 es'4 es'4 | d'4 des'4 c'4 d'4 | c'2 bes2 | a1\n}\nbass = {\n  f2 f4 f4 | f2 a,2 | bes,4 f4 c4 c4 | f1 |\n  f2 f4 f4 | e2 e2 | f4 e4 d4 g,4 | c1 |\n  a2 bes4 a4 | g2 f2 | f4. f8 bes,4 bes,4 | c1 |\n  f2 a4 a4 | bes4 bes4 a4 g4 | c'2 c2 | f1\n}\n"}, "harmonizations": [{"slug": "langran-cyberhymnal", "tune": "langran", "music_file": "langran-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LANGRAN, James Langran, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LANGRAN (James Langran, 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Langran\" (James Langran, 1861); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LANGRAN (10.10.10.10.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Langran\", James Langran, 1861) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10. (40 soprano notes = 40 syllables). The tenor B-naturals (bars 5,7)\n%% and the E-flat/D-flat passing tones (bars 13-14) are printed with their\n%% accidentals in the source and carried in the encoding.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 f'4 g'4 | a'2 c''2 | bes'4 a'4 a'4 g'4 | f'1 |\n  a'2 a'4 g'4 | c''2 g'2 | a'4 g'4 g'4 f'4 | e'1 |\n  f'2 f'4 f'4 | bes'2 a'2 | c''4. a'8 g'4 f'4 | e'1 |\n  f'2 g'4 f'4 | f'4 g'4 a'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  f'2 f'4 f'4 | f'2 f'2 | f'4 f'4 f'4 e'4 | f'1 |\n  f'2 d'4 d'4 | g'2 c'2 | c'4 c'4 c'4 d'4 | c'1 |\n  f'2 f'4 f'4 | e'2 f'2 | f'4. f'8 d'4 d'4 | c'1 |\n  c'2 c'4 c'4 | d'4 e'4 f'4 f'4 | f'2 e'2 | f'1\n}\ntenor = {\n  c'2 a4 bes4 | c'2 c'2 | d'4 c'4 c'4 bes4 | a1 |\n  c'2 b4 b4 | c'2 c'2 | f4 g4 a4 b4 | c'1 |\n  c'2 d'4 c'4 | c'2 c'2 | a4. c'8 bes4 a4 | g1 |\n  a2 es'4 es'4 | d'4 des'4 c'4 d'4 | c'2 bes2 | a1\n}\nbass = {\n  f2 f4 f4 | f2 a,2 | bes,4 f4 c4 c4 | f1 |\n  f2 f4 f4 | e2 e2 | f4 e4 d4 g,4 | c1 |\n  a2 bes4 a4 | g2 f2 | f4. f8 bes,4 bes,4 | c1 |\n  f2 a4 a4 | bes4 bes4 a4 g4 | c'2 c2 | f1\n}\n", "preferred": true}]}, "lauda-anima": {"slug": "lauda-anima", "name": "LAUDA ANIMA", "meter_label": "8.7.8.7.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-goss", "composer_date": "1869", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "lauda-anima-goss-1869", "provenance": {"layer": "tune", "source": "goss-1869", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Lauda Anima', John Goss, 1869. Composer d. 1880.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "lauda_anima_goss", "total_instances": 304}}, "harmonization": {"slug": "lauda-anima-goss-1869", "tune": "lauda-anima", "music_file": "lauda-anima-goss-1869.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "choral-hymnal-1888", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Choral Hymnal, 1888. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:178", "encoding_license": "PD-dedication"}, "music_ly": "%% Praise, My Soul, the King of Heaven\n%% Imported from Open Hymnal ABC X:178 via tools/abc_import.py\n%% Public domain: Lyte 1834; tune Goss 1869; setting 1888. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 2/4 }\n\nsoprano = {\n  bes'4 bes'4 bes'4 bes'4 ees''4 d''4 c''2 bes'2 aes'4 g'4 c''4 bes'4 g'4 aes'4 f'2 g'4 g'4 g'4 g'4 c''4 bes'4 bes'4 a'4 bes'4 c''4 d''4 ees''4 g'4 a'4 bes'2 ees''4 d''4 c''4 bes'4 ees''4 d''4 c''4 bes'4 c''4 bes'4 aes'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  ees'4 ees'4 d'4 d'4 ees'4 bes'4 bes'4( aes'4) g'2 ees'4 ees'4 ees'4 d'4 ees'4 f'4 d'2 d'4 f'4 ees'4 d'4 c'4 c'4 ees'4 ees'4 d'4 ees'4 f'4 ees'4 ees'4 ees'4 d'2 ees'4. ees'8 ees'4 d'4 ees'4 f'8 g'8 aes'4 aes'4 g'4 f'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g4 g4 aes4 aes4 bes4 bes4 c'4( d'4) ees'2 aes4 bes4 aes4 f4 ees4 c'4 bes4( aes4) g4 d4 ees4 f4 g4 c'4 c'4 c'4 bes4 a4 bes4 bes4 c'4 c'4 bes2 bes4. bes8 aes4 aes4 g4 f8 ees8 f4 bes4 ees'4 d'4 c'4 aes4 g4 f8 aes8 g2\n}\nbass = {\n  ees4 ees4 f4 f4 g4 g4 aes2 ees2 c4 ees4 aes,4 bes,4 c4 f,4 bes,2 b,4 bes,4 c4 d4 ees4 e4 f4 fis4 g4 f4 bes4 g4 ees4 f4 bes,2 g4. g,8 aes,4 bes,4 c4. c8 d4 d4 ees4 f8 g8 aes4 aes,4 bes,4 bes,4 ees2\n}\n"}, "harmonizations": [{"slug": "lauda-anima-goss-1869", "tune": "lauda-anima", "music_file": "lauda-anima-goss-1869.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "choral-hymnal-1888", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Choral Hymnal, 1888. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:178", "encoding_license": "PD-dedication"}, "music_ly": "%% Praise, My Soul, the King of Heaven\n%% Imported from Open Hymnal ABC X:178 via tools/abc_import.py\n%% Public domain: Lyte 1834; tune Goss 1869; setting 1888. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 2/4 }\n\nsoprano = {\n  bes'4 bes'4 bes'4 bes'4 ees''4 d''4 c''2 bes'2 aes'4 g'4 c''4 bes'4 g'4 aes'4 f'2 g'4 g'4 g'4 g'4 c''4 bes'4 bes'4 a'4 bes'4 c''4 d''4 ees''4 g'4 a'4 bes'2 ees''4 d''4 c''4 bes'4 ees''4 d''4 c''4 bes'4 c''4 bes'4 aes'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  ees'4 ees'4 d'4 d'4 ees'4 bes'4 bes'4( aes'4) g'2 ees'4 ees'4 ees'4 d'4 ees'4 f'4 d'2 d'4 f'4 ees'4 d'4 c'4 c'4 ees'4 ees'4 d'4 ees'4 f'4 ees'4 ees'4 ees'4 d'2 ees'4. ees'8 ees'4 d'4 ees'4 f'8 g'8 aes'4 aes'4 g'4 f'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g4 g4 aes4 aes4 bes4 bes4 c'4( d'4) ees'2 aes4 bes4 aes4 f4 ees4 c'4 bes4( aes4) g4 d4 ees4 f4 g4 c'4 c'4 c'4 bes4 a4 bes4 bes4 c'4 c'4 bes2 bes4. bes8 aes4 aes4 g4 f8 ees8 f4 bes4 ees'4 d'4 c'4 aes4 g4 f8 aes8 g2\n}\nbass = {\n  ees4 ees4 f4 f4 g4 g4 aes2 ees2 c4 ees4 aes,4 bes,4 c4 f,4 bes,2 b,4 bes,4 c4 d4 ees4 e4 f4 fis4 g4 f4 bes4 g4 ees4 f4 bes,2 g4. g,8 aes,4 bes,4 c4. c8 d4 d4 ees4 f8 g8 aes4 aes,4 bes,4 bes,4 ees2\n}\n", "preferred": true}]}, "laudate-dominum": {"slug": "laudate-dominum", "name": "LAUDATE DOMINUM", "meter_label": "10.10.11.11", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "hubert-parry", "composer_date": "1894", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "laudate-dominum-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LAUDATE DOMINUM (10.10.11.11), C. Hubert H. Parry, 1894. Parry d. 1918; US public domain by pre-1931 publication. A four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4 with a quarter-note pickup; the soprano is fully diatonic and its four eighth-note melisma slurs were read from the engraving). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudate Dominum\" (Parry); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "laudate-dominum-cyberhymnal", "tune": "laudate-dominum", "music_file": "laudate-dominum-cyberhymnal.ly", "harmonizer": "hubert-parry", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 20, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LAUDATE DOMINUM, C. Hubert H. Parry, 1894. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting LAUDATE DOMINUM, C. Hubert H. Parry (1848-1918), 1894 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (soprano read note-for-note and is fully diatonic; B-flat major, 3/4 with a quarter pickup, half-note final; the four eighth-note melisma slurs and the inner-voice accidentals were read from the engraving). Melismatic (46 soprano notes / 42 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudate Dominum\" (Parry); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LAUDATE DOMINUM (10.10.11.11) — C. Hubert H. Parry, 1894. A 4-part SATB hymn\n%% tune, here paired with Henry W. Baker's \"Sing Praise to the Lord!\" (1875, alt.).\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the render verified against the Cyber Hymnal engraving.\n%% B-flat major; 3/4 with a quarter-note pickup (\\partial 4); half-note final.\n%% MELISMATIC: 46 soprano notes for 42 syllables (10.10.11.11) — engraved melisma\n%% slurs on four eighth-note pairs (soprano notes 26-27 & 28-29 in line 3; 38-39 &\n%% 43-44 in line 4), each continuation held '_' every stanza (verse_variable_melisma).\n%% The soprano is fully diatonic; inner-voice accidentals (alto/bass F-sharp and\n%% E-natural, tenor A-flat) are spelled to the engraving's printed accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 d''4 bes'4 c''4 f'2 bes'4 g'4 f'4 es'4 d'2 f'4 d''4 c''4 f'4 bes'2 a'4 c''4 bes'4 g'4 f'2 f'4 bes'4 bes'4 bes'4 bes'4 a'8( g'8) a'8( bes'8) c''4 bes'4 c''4 f'2 a'4 d''4 d''4 d''4 bes'8( a'8) g'4 es''4 d''4 bes'8( g'8) c''4 bes'2\n}\nalto = {\n  f'4 f'4 f'4 g'4 f'2 f'4 bes4 d'4 c'4 bes2 f'4 bes'4 a'4 f'4 f'4 g'4 f'4 fis'4 g'4 e'4 f'2 c'4 bes4 es'4 f'4 g'4 es'8 g'8 f'8 bes'8 g'4 f'4 g'4 f'2 f'4 fis'4 g'4 a'4 g'8 a'8 g'4 g'4 f'4 bes'8 g'8 a'4 bes'2\n}\ntenor = {\n  f4 bes4 d'4 c'8 bes8 a2 f4 g4 g4 a4 bes2 d'4 e'4 f'4 c'4 d'4 c'4 c'4 es'4 d'4 bes4 a2 a4 bes4 bes4 as4 g4 bes4 bes4 es'4 d'4 c'8 bes8 a2 c'4 c'4 bes4 a4 d'8 c'8 bes4 bes4 bes4 c'4 es'4 d'2\n}\nbass = {\n  f4 bes4 d4 es8 bes8 f2 d4 es4 c4 f4 bes,2 bes4 g4 a4 a,4 d4 e4 f4 a,4 bes,4 c4 f2 es4 d4 c4 d4 es4 es4 d4 c4 d4 es8 bes8 f2 es4 d4 e4 fis4 g8 c'8 g4 c4 f4 f4 f4 bes,2\n}\n"}, "harmonizations": [{"slug": "laudate-dominum-cyberhymnal", "tune": "laudate-dominum", "music_file": "laudate-dominum-cyberhymnal.ly", "harmonizer": "hubert-parry", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 20, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LAUDATE DOMINUM, C. Hubert H. Parry, 1894. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting LAUDATE DOMINUM, C. Hubert H. Parry (1848-1918), 1894 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (soprano read note-for-note and is fully diatonic; B-flat major, 3/4 with a quarter pickup, half-note final; the four eighth-note melisma slurs and the inner-voice accidentals were read from the engraving). Melismatic (46 soprano notes / 42 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudate Dominum\" (Parry); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LAUDATE DOMINUM (10.10.11.11) — C. Hubert H. Parry, 1894. A 4-part SATB hymn\n%% tune, here paired with Henry W. Baker's \"Sing Praise to the Lord!\" (1875, alt.).\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the render verified against the Cyber Hymnal engraving.\n%% B-flat major; 3/4 with a quarter-note pickup (\\partial 4); half-note final.\n%% MELISMATIC: 46 soprano notes for 42 syllables (10.10.11.11) — engraved melisma\n%% slurs on four eighth-note pairs (soprano notes 26-27 & 28-29 in line 3; 38-39 &\n%% 43-44 in line 4), each continuation held '_' every stanza (verse_variable_melisma).\n%% The soprano is fully diatonic; inner-voice accidentals (alto/bass F-sharp and\n%% E-natural, tenor A-flat) are spelled to the engraving's printed accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 d''4 bes'4 c''4 f'2 bes'4 g'4 f'4 es'4 d'2 f'4 d''4 c''4 f'4 bes'2 a'4 c''4 bes'4 g'4 f'2 f'4 bes'4 bes'4 bes'4 bes'4 a'8( g'8) a'8( bes'8) c''4 bes'4 c''4 f'2 a'4 d''4 d''4 d''4 bes'8( a'8) g'4 es''4 d''4 bes'8( g'8) c''4 bes'2\n}\nalto = {\n  f'4 f'4 f'4 g'4 f'2 f'4 bes4 d'4 c'4 bes2 f'4 bes'4 a'4 f'4 f'4 g'4 f'4 fis'4 g'4 e'4 f'2 c'4 bes4 es'4 f'4 g'4 es'8 g'8 f'8 bes'8 g'4 f'4 g'4 f'2 f'4 fis'4 g'4 a'4 g'8 a'8 g'4 g'4 f'4 bes'8 g'8 a'4 bes'2\n}\ntenor = {\n  f4 bes4 d'4 c'8 bes8 a2 f4 g4 g4 a4 bes2 d'4 e'4 f'4 c'4 d'4 c'4 c'4 es'4 d'4 bes4 a2 a4 bes4 bes4 as4 g4 bes4 bes4 es'4 d'4 c'8 bes8 a2 c'4 c'4 bes4 a4 d'8 c'8 bes4 bes4 bes4 c'4 es'4 d'2\n}\nbass = {\n  f4 bes4 d4 es8 bes8 f2 d4 es4 c4 f4 bes,2 bes4 g4 a4 a,4 d4 e4 f4 a,4 bes,4 c4 f2 es4 d4 c4 d4 es4 es4 d4 c4 d4 es8 bes8 f2 es4 d4 e4 fis4 g8 c'8 g4 c4 f4 f4 f4 bes,2\n}\n", "preferred": true}]}, "laudes-domini": {"slug": "laudes-domini", "name": "LAUDES DOMINI", "meter_label": "6.6.6.6.6.6", "meter": {"pattern": [6, 6, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-barnby", "composer_date": "1868", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "laudes-domini-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LAUDES DOMINI, Joseph Barnby (1838–1896), 1868 — composed for Edward Caswall's \"When morning gilds the skies\" (6.6.6.6.6.6). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4 with a quarter-note pickup). The tune is melismatic — 39 soprano notes for 36 syllables — with two soprano melismas (the last syllable of line 2, two notes; and of line 6, three notes). The F-sharp leading tones are printed with sharps, and the descending B-flat in the final phrase's bass is printed with a flat; both spellings match the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudes Domini\" (Joseph Barnby, 1868); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "laudes-domini-cyberhymnal", "tune": "laudes-domini", "music_file": "laudes-domini-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 25, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LAUDES DOMINI, Joseph Barnby, 1868. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LAUDES DOMINI (Joseph Barnby, 1868); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4 with a quarter-note pickup). Melismatic (39 soprano notes for 36 syllables); the two soprano melismas — the last syllable of line 2 (two notes) and of line 6 (three notes) — are slurred, and the setting holds the three continuations with underscore marks every stanza (verse_variable_melisma). The bass's descending B-flat in the final phrase is respelled from the MIDI's enharmonic A-sharp to match the engraving's printed flat (same pitch). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudes Domini\" (Joseph Barnby, 1868); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LAUDES DOMINI (6.6.6.6.6.6) — Joseph Barnby, 1868, composed for Edward Caswall's\n%% \"When morning gilds the skies\". Four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Laudes Domini\", Joseph Barnby 1868)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% quarter-note pickup (\"When\"). MELISMATIC (39 soprano notes for 36 syllables): the\n%% soprano holds two melismas — \"cries\" (end of line 2, a slurred e''–d'' pair) and\n%% \"praised\" (end of line 6, a slurred c''–d''–c'' group). The setting carries the 3\n%% continuations with '_' each stanza (verse_variable_melisma). The F-sharp leading\n%% tones are printed sharps; the descending B-flat in the bass's final phrase is a\n%% printed flat (respelled from the MIDI's enharmonic A-sharp).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 f'4 g'4 a'4 c''4 b'2 a'4 g'4 a'4 b'4 c''4 e''4( d''2.) c''4 b'4 c''4 a'4. g'8 g'2. g'4 g'4 c''4 b'4 c''4 g'2. g'4 g'4 c''4 b'4 c''4 g'4 d'4 e'4 g'4 g'2 c''2 c''2( d''2 c''2.)\n}\nalto = {\n  c'4 c'4 c'4 c'4 f'4 f'2. f'4 e'4 g'4 g'4 g'4 fis'2 g'4 d'4 d'4 e'4 c'4. b8 b2. d'4 c'4 c'4 f'4 f'4 f'2 e'4 d'4 c'4 e'4 fis'4 fis'4 g'4 d'4 e'4 f'4 e'4 f'4 g'2 f'2 f'2 e'2.\n}\ntenor = {\n  g4 g4 g4 f4 a4 b2 c'4 d'4 c'4 d'4 c'4 c'4 c'2 b4 a4 g4 g4 g4 fis4 g2. b4 c'4 g4 b4 a4 d'4 c'4 b4 b4 c'4 g4 d'4 c'4 b2. b4 c'4 d'4 e'2 c'2. b4 c'2.\n}\nbass = {\n  c4 d4 e4 f4 d4 g2 a4 b4 c'4 b4 a4 a4 d2 e4 fis4 g4 c4 d4 d4 g,2. f4 e4 e4 d4 c4 b,4 a,4 g,4 f4 e4 c4 d4 d4 g4 f4 e4 d4 c2 bes2 a2 g2 c2.\n}\n"}, "harmonizations": [{"slug": "laudes-domini-cyberhymnal", "tune": "laudes-domini", "music_file": "laudes-domini-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 25, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LAUDES DOMINI, Joseph Barnby, 1868. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LAUDES DOMINI (Joseph Barnby, 1868); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4 with a quarter-note pickup). Melismatic (39 soprano notes for 36 syllables); the two soprano melismas — the last syllable of line 2 (two notes) and of line 6 (three notes) — are slurred, and the setting holds the three continuations with underscore marks every stanza (verse_variable_melisma). The bass's descending B-flat in the final phrase is respelled from the MIDI's enharmonic A-sharp to match the engraving's printed flat (same pitch). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Laudes Domini\" (Joseph Barnby, 1868); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LAUDES DOMINI (6.6.6.6.6.6) — Joseph Barnby, 1868, composed for Edward Caswall's\n%% \"When morning gilds the skies\". Four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Laudes Domini\", Joseph Barnby 1868)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% quarter-note pickup (\"When\"). MELISMATIC (39 soprano notes for 36 syllables): the\n%% soprano holds two melismas — \"cries\" (end of line 2, a slurred e''–d'' pair) and\n%% \"praised\" (end of line 6, a slurred c''–d''–c'' group). The setting carries the 3\n%% continuations with '_' each stanza (verse_variable_melisma). The F-sharp leading\n%% tones are printed sharps; the descending B-flat in the bass's final phrase is a\n%% printed flat (respelled from the MIDI's enharmonic A-sharp).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 f'4 g'4 a'4 c''4 b'2 a'4 g'4 a'4 b'4 c''4 e''4( d''2.) c''4 b'4 c''4 a'4. g'8 g'2. g'4 g'4 c''4 b'4 c''4 g'2. g'4 g'4 c''4 b'4 c''4 g'4 d'4 e'4 g'4 g'2 c''2 c''2( d''2 c''2.)\n}\nalto = {\n  c'4 c'4 c'4 c'4 f'4 f'2. f'4 e'4 g'4 g'4 g'4 fis'2 g'4 d'4 d'4 e'4 c'4. b8 b2. d'4 c'4 c'4 f'4 f'4 f'2 e'4 d'4 c'4 e'4 fis'4 fis'4 g'4 d'4 e'4 f'4 e'4 f'4 g'2 f'2 f'2 e'2.\n}\ntenor = {\n  g4 g4 g4 f4 a4 b2 c'4 d'4 c'4 d'4 c'4 c'4 c'2 b4 a4 g4 g4 g4 fis4 g2. b4 c'4 g4 b4 a4 d'4 c'4 b4 b4 c'4 g4 d'4 c'4 b2. b4 c'4 d'4 e'2 c'2. b4 c'2.\n}\nbass = {\n  c4 d4 e4 f4 d4 g2 a4 b4 c'4 b4 a4 a4 d2 e4 fis4 g4 c4 d4 d4 g,2. f4 e4 e4 d4 c4 b,4 a,4 g,4 f4 e4 c4 d4 d4 g4 f4 e4 d4 c2 bes2 a2 g2 c2.\n}\n", "preferred": true}]}, "lea": {"slug": "lea", "name": "LEA", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-lea-summers", "composer_date": "1908", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "lea-oh299", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:299; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "lea_summers", "total_instances": 3}}, "harmonization": {"slug": "lea-oh299", "tune": "lea", "music_file": "lea-oh299.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:299; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:299", "encoding_license": "PD-dedication"}, "music_ly": "%% Let Children Hear The Mighty Deeds\n%% Imported from Open Hymnal ABC X:299 via tools/abc_import.py\n%% Open Hymnal X:299; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 cis''4 a'4 fis'4 e'4 a'4 b'4 cis''4 e''4 cis''4 a'4 fis'4 fis'4 e'2. b'8( cis''8) d''4 d''4 cis''4 a'4 fis'4 b'4 gis'4 e''8( d''8) cis''4 cis''4 b'4 gis'4 a'2.\n}\nalto = {\n  cis'4 e'4 e'4 d'4 e'4 cis'4 e'4 e'4 e'4 e'4 e'4 e'4 dis'4 e'2. e'4 d'4 e'4 e'4 e'4 d'4 fis'4 e'4 e'4 e'4 a'4 fis'4 e'8 d'8 cis'2.\n}\ntenor = {\n  a4 a4 a4 a4 a4 a4 gis4 a4 b4 a4 cis'4 b4 b8 a8 gis2. gis4 a4 b4 a4 a4 a4 d'4 b4 b4 a4 a4 d'4 b4 a2.\n}\nbass = {\n  a,4 a,4 cis4 d4 cis4 fis4 e4 a4 gis4 a4 fis4 b4 b,4 e2. e4 fis4 gis4 a4 cis4 d4 d4 e4 gis4 a4 fis4 d4 e4 a,2.\n}\n"}, "harmonizations": [{"slug": "lea-oh299", "tune": "lea", "music_file": "lea-oh299.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:299; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:299", "encoding_license": "PD-dedication"}, "music_ly": "%% Let Children Hear The Mighty Deeds\n%% Imported from Open Hymnal ABC X:299 via tools/abc_import.py\n%% Open Hymnal X:299; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 cis''4 a'4 fis'4 e'4 a'4 b'4 cis''4 e''4 cis''4 a'4 fis'4 fis'4 e'2. b'8( cis''8) d''4 d''4 cis''4 a'4 fis'4 b'4 gis'4 e''8( d''8) cis''4 cis''4 b'4 gis'4 a'2.\n}\nalto = {\n  cis'4 e'4 e'4 d'4 e'4 cis'4 e'4 e'4 e'4 e'4 e'4 e'4 dis'4 e'2. e'4 d'4 e'4 e'4 e'4 d'4 fis'4 e'4 e'4 e'4 a'4 fis'4 e'8 d'8 cis'2.\n}\ntenor = {\n  a4 a4 a4 a4 a4 a4 gis4 a4 b4 a4 cis'4 b4 b8 a8 gis2. gis4 a4 b4 a4 a4 a4 d'4 b4 b4 a4 a4 d'4 b4 a2.\n}\nbass = {\n  a,4 a,4 cis4 d4 cis4 fis4 e4 a4 gis4 a4 fis4 b4 b,4 e2. e4 fis4 gis4 a4 cis4 d4 d4 e4 gis4 a4 fis4 d4 e4 a,2.\n}\n", "preferred": true}]}, "lenox": {"slug": "lenox", "name": "LENOX", "meter_label": "6.6.6.6.8.8 with repeat", "meter": {"pattern": [6, 6, 6, 6, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lewis-edson", "composer_date": "1782", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "lenox-methodist-1905", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Read for this record off the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212 — archive.org methodisthymnal01churgoog leaf n230, collated against a second scan of the same plate, archive.org methodi00meth leaf n223. That page heads the tune \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\" and sets it in B-flat major and 4/4. US public domain: the printing actually read is itself pre-1931, and Edson died in 1820. THE COMPOSER'S DATES (1748-1820) COME FROM THE SAME BOOK: its index of composers reads \"Edson, Lewis (1748-1820) 207, 212\", which is also how it is known that this hymnal prints LENOX twice — at hymn 294 on page 207 and at hymn 301 on page 212. Only the page-212 printing was read; the page-207 printing was NOT opened and nothing here depends on it. The 1782 first publication (in Simeon Jocelin's The Chorister's Companion) is the RECEIVED date and was NOT verified here against a copy of that book — nothing in this record depends on it either, since the licensing basis is the 1905 printing. THE METRE WAS TAKEN FROM THE MUSIC as well as from the page's heading: the tune sets four lines of six syllables and two of eight, and it SINGS LINE 5 TWICE, so 40 syllables of text fall on 48 soprano noteheads. Not a duplicate: tools/tune_fingerprint.py, run on a MIDI written from THIS page reading, scores 0.56 against its nearest corpus neighbour (LOWER LIGHTS), far below the 0.80 duplicate threshold; the three tunes already in the corpus at this metre (ARTHUR'S SEAT, DARWALL'S 148TH, REGENT SQUARE) are none of them this melody. The `meter_label` here normalises the page's spacing: the plate sets \"6. 6. 6. 6. 8. 8.\".", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "lenox-methodist-1905", "tune": "lenox", "music_file": "lenox-methodist-1905.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Four-part setting of Lewis Edson's LENOX as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\", in B-flat major and 4/4 with a half-note pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE — archive.org methodisthymnal01churgoog leaf n230 (3270 px across, staff space 34.9 px, i.e. 17.4 px per diatonic step) and archive.org methodi00meth leaf n223 (2836 px across, staff space 29.1 px, 14.6 px per step). THE PLATE IS HOMOPHONIC, NOT FUGUING: LENOX has independent voice entries in its eighteenth-century printings, but this page prints one lyric row under the treble staff only and all four voices restrike together at every one of the 48 sung chords except one alto passing figure, so nothing here needed a form the corpus cannot express. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey-dilation plus box filter, then a 5x5 closing), its five staff lines erased column by column, and heads found by TWO INDEPENDENT DETECTORS over that mask — hole-fill plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff spaces for filled heads, and a vertical closing 0.80 staff space tall that seals the white middle of a hollow head for the half and dotted-half chords. Every core was converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew cannot drag a reading; merged pairs were split 0.31 staff space in from their two clean outer edges. HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one entered: all 34 hollow noteheads (9 chord columns — the pickup, the four phrase ends and the last three sung chords) were cropped at 3-6x with the fitted five-line grid drawn over them and read by eye, and separately measured a fourth way from the midpoint of their two clean outer edges. All four readings agree on all 34. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. The second scan, read independently the same way with its own binarisation and its own staff-line fits, agrees with the first on the pitch of every notehead on the page: 48 chords x 4 voices plus the alto's one passing quarter = 193 notes, 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, and one notehead carrying both an up-stem and a down-stem is a unison (8 columns, listed in the .ly header; the stems were read at 5x on the churgoog scan and methodi00meth prints the same single head at the same pitch at each). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, because a notehead probe reads staff positions and is blind to them: all six staves of BOTH leaves were read at magnification in twelve overlapping strips, and every chord column was additionally scanned for tall narrow ink immediately to its left. The plate prints NO accidental anywhere; the two-flat key signature is the only accidental matter on the page, and the harmony is wholly diatonic in B-flat. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the thick phrase double bars the page draws MID-BAR at the ends of poetic lines 1, 2, 4 and the repeat of line 5 (after soprano notes 6, 12, 24 and 40) are not reproduced, but three of those four ordinals are where the system breaks fall; (3) the page casts the hymn in three systems of 18, 14 and 16 soprano notes and this setting casts it in four of 12, 12, 16 and 8, because 18 exceeds this engine's MAX_SYSTEM_NOTES of 16. Nothing else departs: every pitch and every duration below is the plate's, the alto's two slurred quarters under the soprano's held A4 are printed slurred on the page, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 301, p. 212 — archive.org methodisthymnal01churgoog leaf n230, collated notehead by notehead against archive.org methodi00meth leaf n223. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% LENOX (6.6.6.6.8.8) — Lewis Edson. Four SATB voice streams, canonical key\n%% B-flat major, 4/4, half-note pickup, 15 measures after the pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed\n%% \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\". Read off TWO independent\n%% scans of that plate: archive.org methodisthymnal01churgoog leaf n230\n%% (3270 px across, staff space 34.9 px) and archive.org methodi00meth leaf\n%% n223 (2836 px across, staff space 29.1 px).\n%%\n%% THE PLATE IS HOMOPHONIC, NOT FUGUING. LENOX is a fuguing tune in its\n%% eighteenth-century printings, but this one is not: both scans show ONE\n%% printed lyric row, under the treble staff only, and all four voices\n%% restriking together at every one of the 48 sung chords except the single\n%% alto passing figure noted below. There are no independent voice entries on\n%% this page and nothing here needed a form the corpus cannot express.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: adaptive\n%% binarisation (ink darker than 82% of the LOCAL paper level, from a 41x41\n%% grey-dilation plus box filter, then a 5x5 closing to seal the pale gaps the\n%% plate's ink leaves inside a head); the five staff lines erased column by\n%% column; then TWO INDEPENDENT DETECTORS over the same mask — (a) hole-fill\n%% plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff\n%% spaces, which deletes staff lines, stems and barlines but leaves a filled\n%% head's core, and (b) a HOLLOW-HEAD detector that seals the white middle of a\n%% half / dotted-half head with a vertical closing 0.80 staff space tall and\n%% then reads it the same way. Every core was converted to a diatonic step\n%% against a FRESH five-line fit made in a +-2.4-staff-space window around that\n%% core's own x, so the plate's skew cannot drag a reading. Heads two steps\n%% apart that merged into one blob were split 0.31 staff space in from the\n%% blob's two clean outer edges.\n%%\n%% HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one that ships.\n%% There are 9 hollow chord columns on this page (the pickup, the four phrase\n%% ends, and the last three sung chords) carrying 34 hollow noteheads. Every\n%% one of them was cropped at 3-6x with the FITTED five-line grid drawn over it\n%% and read by eye, and separately measured a FOURTH way from the MIDPOINT OF\n%% ITS TWO CLEAN OUTER EDGES in a narrow column window (the measurement that\n%% survives a staff line cutting a ring in half). The two automated detectors,\n%% the grid-overlay eye read and the edge-midpoint measurement agree on all 34.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% Cyber Hymnal asset and no existing encoding was opened at any point. The\n%% second witness (methodi00meth n223) was read end to end by the same rig with\n%% its own binarisation and its own staff-line fits, and agrees with the first\n%% on the pitch of every notehead on the page: 48 sung chords x 4 voices plus\n%% the alto's one passing quarter = 193 notes, 0 disagreements.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE (the notehead measurement above is\n%% blind to them): all six staves of BOTH leaves were read at magnification in\n%% twelve overlapping strips, and every chord column was additionally scanned\n%% for tall narrow ink immediately to its left. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE — the two-flat key signature is the only accidental matter on the\n%% page, and the harmony below is wholly diatonic in B-flat (every chord is a\n%% B-flat, E-flat, F, F7, G minor, D minor or C minor triad).\n%%\n%% THE PRINTED METRE IS 4/4 with a HALF-NOTE pickup, and the last sung bar is\n%% two beats, so the piece is metrically complete. The thick rules the plate\n%% draws at the ends of poetic lines 1, 2, 4 and the REPEAT of line 5 (after\n%% soprano notes 6, 12, 24 and 40) fall MID-bar, between the dotted half or\n%% half that ends the line and the next line's first note; they are phrase\n%% double bars, NOT barlines, and are not reproduced here. Lines 3 and 5 end at\n%% the plate's own system ends, which carry no such rule.\n%%\n%% THE ONLY NON-HOMORHYTHMIC BAR is the second-to-last (soprano notes 46-47):\n%% under the soprano's half-note A4 the ALTO moves in two slurred quarters\n%% C4-E-flat4 while tenor and bass hold their halves. The plate prints that\n%% figure slurred; it is the alto's, not the soprano's, so the syllable count\n%% is unaffected.\n%%\n%% UNISONS. Where the plate prints ONE notehead carrying both an up-stem and a\n%% down-stem, the two voices on that staff are in unison. There are 8 such\n%% columns: the treble staff at soprano notes 4 and 41 (soprano and alto both\n%% F4), and the bass staff at soprano notes 8 (tenor and bass both G3), 10, 14,\n%% 16 and 20 (both B-flat3) and 47 (both F3). The stems were read at 5x on the\n%% churgoog scan; methodi00meth prints the same single notehead at the same\n%% pitch at each of the 8. All are written out in both voices below.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After the last sung chord the\n%% plate prints a light-heavy double bar and then two half-note chords under\n%% \"A-MEN\": S bes' / A ees' / T g / B ees, then S bes' / A d' / T f / B bes, —\n%% a plagal E-flat-to-B-flat. This corpus never authors an amen per\n%% harmonization (they are synthesized as an optional book feature), so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% 48 soprano noteheads carry 48 syllables: the six poetic lines are\n%% 6+6+6+6+8+8 = 40 syllables, and this tune sings line 5 TWICE.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'2 |\n  bes'4 bes'4 f'4 g'4 | f'2. f'4 | bes'4 c''4 d''4 c''4 | bes'2 bes'2 |\n  d''4 f''4 d''4 bes'4 | c''2. c''4 | d''4 bes'4 c''4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''4 c''4 c''4 d''4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''2 a'2 | bes'2\n}\n\nalto = {\n  d'2 |\n  d'4 d'4 f'4 ees'4 | c'2. d'4 | d'4 f'4 f'4 ees'4 | d'2 d'2 |\n  f'4 f'4 f'4 f'4 | f'2. f'4 | f'4 g'4 g'4 f'4 | f'2. d'4 |\n  d'4 d'4 d'4 d'4 | ees'4 ees'4 ees'4 d'4 | f'4 f'4 f'4 f'4 |\n  d'4 d'4 d'4 f'4 | ees'4 ees'4 ees'4 f'4 | ees'2 c'4( ees'4) | d'2\n}\n\ntenor = {\n  f2 |\n  f4 bes4 bes4 bes4 | a2. a4 | g4 a4 bes4 a4 | bes2 bes2 |\n  bes4 c'4 bes4 bes4 | a2. a4 | bes4 bes4 ees'4 c'4 | d'2. bes4 |\n  f4 f4 f4 bes4 | bes4 bes4 bes4 bes4 | a4 a4 a4 a4 |\n  bes4 bes4 bes4 bes4 | bes4 bes4 bes4 f4 | g2 f2 | f2\n}\n\nbass = {\n  bes,2 |\n  bes,4 bes,4 d4 ees4 | f2. d4 | g4 f4 bes4 f4 | bes,2 bes,2 |\n  bes4 a4 bes4 d4 | f2. f4 | bes4 g4 ees4 f4 | bes,2. bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | ees4 ees4 ees4 bes,4 | f4 f4 f4 d4 |\n  g4 g4 g4 d4 | ees4 ees4 ees4 d4 | c2 f2 | bes,2\n}\n"}, "harmonizations": [{"slug": "lenox-methodist-1905", "tune": "lenox", "music_file": "lenox-methodist-1905.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Four-part setting of Lewis Edson's LENOX as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\", in B-flat major and 4/4 with a half-note pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE — archive.org methodisthymnal01churgoog leaf n230 (3270 px across, staff space 34.9 px, i.e. 17.4 px per diatonic step) and archive.org methodi00meth leaf n223 (2836 px across, staff space 29.1 px, 14.6 px per step). THE PLATE IS HOMOPHONIC, NOT FUGUING: LENOX has independent voice entries in its eighteenth-century printings, but this page prints one lyric row under the treble staff only and all four voices restrike together at every one of the 48 sung chords except one alto passing figure, so nothing here needed a form the corpus cannot express. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey-dilation plus box filter, then a 5x5 closing), its five staff lines erased column by column, and heads found by TWO INDEPENDENT DETECTORS over that mask — hole-fill plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff spaces for filled heads, and a vertical closing 0.80 staff space tall that seals the white middle of a hollow head for the half and dotted-half chords. Every core was converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew cannot drag a reading; merged pairs were split 0.31 staff space in from their two clean outer edges. HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one entered: all 34 hollow noteheads (9 chord columns — the pickup, the four phrase ends and the last three sung chords) were cropped at 3-6x with the fitted five-line grid drawn over them and read by eye, and separately measured a fourth way from the midpoint of their two clean outer edges. All four readings agree on all 34. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. The second scan, read independently the same way with its own binarisation and its own staff-line fits, agrees with the first on the pitch of every notehead on the page: 48 chords x 4 voices plus the alto's one passing quarter = 193 notes, 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, and one notehead carrying both an up-stem and a down-stem is a unison (8 columns, listed in the .ly header; the stems were read at 5x on the churgoog scan and methodi00meth prints the same single head at the same pitch at each). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, because a notehead probe reads staff positions and is blind to them: all six staves of BOTH leaves were read at magnification in twelve overlapping strips, and every chord column was additionally scanned for tall narrow ink immediately to its left. The plate prints NO accidental anywhere; the two-flat key signature is the only accidental matter on the page, and the harmony is wholly diatonic in B-flat. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the thick phrase double bars the page draws MID-BAR at the ends of poetic lines 1, 2, 4 and the repeat of line 5 (after soprano notes 6, 12, 24 and 40) are not reproduced, but three of those four ordinals are where the system breaks fall; (3) the page casts the hymn in three systems of 18, 14 and 16 soprano notes and this setting casts it in four of 12, 12, 16 and 8, because 18 exceeds this engine's MAX_SYSTEM_NOTES of 16. Nothing else departs: every pitch and every duration below is the plate's, the alto's two slurred quarters under the soprano's held A4 are printed slurred on the page, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 301, p. 212 — archive.org methodisthymnal01churgoog leaf n230, collated notehead by notehead against archive.org methodi00meth leaf n223. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% LENOX (6.6.6.6.8.8) — Lewis Edson. Four SATB voice streams, canonical key\n%% B-flat major, 4/4, half-note pickup, 15 measures after the pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed\n%% \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\". Read off TWO independent\n%% scans of that plate: archive.org methodisthymnal01churgoog leaf n230\n%% (3270 px across, staff space 34.9 px) and archive.org methodi00meth leaf\n%% n223 (2836 px across, staff space 29.1 px).\n%%\n%% THE PLATE IS HOMOPHONIC, NOT FUGUING. LENOX is a fuguing tune in its\n%% eighteenth-century printings, but this one is not: both scans show ONE\n%% printed lyric row, under the treble staff only, and all four voices\n%% restriking together at every one of the 48 sung chords except the single\n%% alto passing figure noted below. There are no independent voice entries on\n%% this page and nothing here needed a form the corpus cannot express.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: adaptive\n%% binarisation (ink darker than 82% of the LOCAL paper level, from a 41x41\n%% grey-dilation plus box filter, then a 5x5 closing to seal the pale gaps the\n%% plate's ink leaves inside a head); the five staff lines erased column by\n%% column; then TWO INDEPENDENT DETECTORS over the same mask — (a) hole-fill\n%% plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff\n%% spaces, which deletes staff lines, stems and barlines but leaves a filled\n%% head's core, and (b) a HOLLOW-HEAD detector that seals the white middle of a\n%% half / dotted-half head with a vertical closing 0.80 staff space tall and\n%% then reads it the same way. Every core was converted to a diatonic step\n%% against a FRESH five-line fit made in a +-2.4-staff-space window around that\n%% core's own x, so the plate's skew cannot drag a reading. Heads two steps\n%% apart that merged into one blob were split 0.31 staff space in from the\n%% blob's two clean outer edges.\n%%\n%% HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one that ships.\n%% There are 9 hollow chord columns on this page (the pickup, the four phrase\n%% ends, and the last three sung chords) carrying 34 hollow noteheads. Every\n%% one of them was cropped at 3-6x with the FITTED five-line grid drawn over it\n%% and read by eye, and separately measured a FOURTH way from the MIDPOINT OF\n%% ITS TWO CLEAN OUTER EDGES in a narrow column window (the measurement that\n%% survives a staff line cutting a ring in half). The two automated detectors,\n%% the grid-overlay eye read and the edge-midpoint measurement agree on all 34.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% Cyber Hymnal asset and no existing encoding was opened at any point. The\n%% second witness (methodi00meth n223) was read end to end by the same rig with\n%% its own binarisation and its own staff-line fits, and agrees with the first\n%% on the pitch of every notehead on the page: 48 sung chords x 4 voices plus\n%% the alto's one passing quarter = 193 notes, 0 disagreements.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE (the notehead measurement above is\n%% blind to them): all six staves of BOTH leaves were read at magnification in\n%% twelve overlapping strips, and every chord column was additionally scanned\n%% for tall narrow ink immediately to its left. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE — the two-flat key signature is the only accidental matter on the\n%% page, and the harmony below is wholly diatonic in B-flat (every chord is a\n%% B-flat, E-flat, F, F7, G minor, D minor or C minor triad).\n%%\n%% THE PRINTED METRE IS 4/4 with a HALF-NOTE pickup, and the last sung bar is\n%% two beats, so the piece is metrically complete. The thick rules the plate\n%% draws at the ends of poetic lines 1, 2, 4 and the REPEAT of line 5 (after\n%% soprano notes 6, 12, 24 and 40) fall MID-bar, between the dotted half or\n%% half that ends the line and the next line's first note; they are phrase\n%% double bars, NOT barlines, and are not reproduced here. Lines 3 and 5 end at\n%% the plate's own system ends, which carry no such rule.\n%%\n%% THE ONLY NON-HOMORHYTHMIC BAR is the second-to-last (soprano notes 46-47):\n%% under the soprano's half-note A4 the ALTO moves in two slurred quarters\n%% C4-E-flat4 while tenor and bass hold their halves. The plate prints that\n%% figure slurred; it is the alto's, not the soprano's, so the syllable count\n%% is unaffected.\n%%\n%% UNISONS. Where the plate prints ONE notehead carrying both an up-stem and a\n%% down-stem, the two voices on that staff are in unison. There are 8 such\n%% columns: the treble staff at soprano notes 4 and 41 (soprano and alto both\n%% F4), and the bass staff at soprano notes 8 (tenor and bass both G3), 10, 14,\n%% 16 and 20 (both B-flat3) and 47 (both F3). The stems were read at 5x on the\n%% churgoog scan; methodi00meth prints the same single notehead at the same\n%% pitch at each of the 8. All are written out in both voices below.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After the last sung chord the\n%% plate prints a light-heavy double bar and then two half-note chords under\n%% \"A-MEN\": S bes' / A ees' / T g / B ees, then S bes' / A d' / T f / B bes, —\n%% a plagal E-flat-to-B-flat. This corpus never authors an amen per\n%% harmonization (they are synthesized as an optional book feature), so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% 48 soprano noteheads carry 48 syllables: the six poetic lines are\n%% 6+6+6+6+8+8 = 40 syllables, and this tune sings line 5 TWICE.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'2 |\n  bes'4 bes'4 f'4 g'4 | f'2. f'4 | bes'4 c''4 d''4 c''4 | bes'2 bes'2 |\n  d''4 f''4 d''4 bes'4 | c''2. c''4 | d''4 bes'4 c''4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''4 c''4 c''4 d''4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''2 a'2 | bes'2\n}\n\nalto = {\n  d'2 |\n  d'4 d'4 f'4 ees'4 | c'2. d'4 | d'4 f'4 f'4 ees'4 | d'2 d'2 |\n  f'4 f'4 f'4 f'4 | f'2. f'4 | f'4 g'4 g'4 f'4 | f'2. d'4 |\n  d'4 d'4 d'4 d'4 | ees'4 ees'4 ees'4 d'4 | f'4 f'4 f'4 f'4 |\n  d'4 d'4 d'4 f'4 | ees'4 ees'4 ees'4 f'4 | ees'2 c'4( ees'4) | d'2\n}\n\ntenor = {\n  f2 |\n  f4 bes4 bes4 bes4 | a2. a4 | g4 a4 bes4 a4 | bes2 bes2 |\n  bes4 c'4 bes4 bes4 | a2. a4 | bes4 bes4 ees'4 c'4 | d'2. bes4 |\n  f4 f4 f4 bes4 | bes4 bes4 bes4 bes4 | a4 a4 a4 a4 |\n  bes4 bes4 bes4 bes4 | bes4 bes4 bes4 f4 | g2 f2 | f2\n}\n\nbass = {\n  bes,2 |\n  bes,4 bes,4 d4 ees4 | f2. d4 | g4 f4 bes4 f4 | bes,2 bes,2 |\n  bes4 a4 bes4 d4 | f2. f4 | bes4 g4 ees4 f4 | bes,2. bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | ees4 ees4 ees4 bes,4 | f4 f4 f4 d4 |\n  g4 g4 g4 d4 | ees4 ees4 ees4 d4 | c2 f2 | bes,2\n}\n", "preferred": true}]}, "leominsster": {"slug": "leominsster", "name": "LEOMINSTER", "meter_label": "S.M.D.", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-william-martin", "composer_date": "1862", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "leominsster-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LEOMINSTER (S.M.D.), George William Martin (1828-1881), 1862 — the tune for Horatius Bonar's \"Not What These Hands Have Done.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4 with a one-beat anacrusis; fully syllabic, 52 soprano notes = 52 syllables of the doubled short metre). The chromatic passing tones (bass G-sharp and A-sharp, tenor A-sharp and C-natural, alto D-sharp) are printed with their accidentals in the source and carried with matching spellings. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Leominster\" (George William Martin, 1862); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "leominsster-cyberhymnal", "tune": "leominsster", "music_file": "leominsster-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 26, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LEOMINSTER, George William Martin, 1862. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LEOMINSTER (George William Martin, 1828-1881; 1862); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4 with a one-beat anacrusis; fully syllabic, 52 soprano notes = 52 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Leominster\" (George William Martin, 1862); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LEOMINSTER (S.M.D.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Leominster\", George William Martin,\n%% 1862) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully syllabic doubled short metre (52 soprano notes = 52 syllables), 4/4 with a\n%% one-beat anacrusis; the final note is a dotted half. Chromatics carried with the\n%% engraving's spellings: bass G-sharp (gis) and passing A-sharp (ais), tenor\n%% A-sharp (ais) and C-natural (c'), alto D-sharp (dis) — each printed with its\n%% accidental in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 fis'4 fis'4 g'2. g'4 e'4 e'4 e'4 fis'4 e'2. e'4 fis'4 fis'4 a'4 a'4 d''4 d''4 d''4 d'4 d'4. fis'8 fis'4 e'4 d'2. d'4 g'4. g'8 g'4 d'4 fis'2. fis'4 b'4. b'8 b'4 fis'4 a'2. a'4 d''4. d''8 d''4 cis''4 cis''4 b'4 a'4 g'4 fis'4. d'8 fis'4 e'4 d'2.\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 d'2. d'4 d'4 d'4 d'4 d'4 cis'2. cis'4 d'4 d'4 e'4 e'4 d'4 fis'4 g'4 b4 a4. d'8 cis'4 cis'4 a2. d'4 d'4. d'8 d'4 d'4 d'2. d'4 fis'4. fis'8 fis'4 fis'4 fis'2. g'4 fis'4. fis'8 e'4 e'4 e'4 d'4 dis'4 e'4 d'4. d'8 cis'4 cis'4 a2.\n}\ntenor = {\n  a4 a4 a4 a4 a4 b2. g4 b4 b4 b4 b4 e2. a4 a4 a4 a4 e4 fis4 c'4 b4 g4 fis4. a8 a4 g4 fis2. fis4 b4. b8 b4 g4 a2. a4 d'4. d'8 d'4 b4 cis'2. cis'4 d'4 a8 d8 ais4 ais4 ais4 b4 b4 b4 a4. fis8 a4 g4 fis2.\n}\nbass = {\n  d4 d4 d4 d4 d4 g,2. b,4 g,4 g,4 gis,4 gis,4 a,2. a,4 d4 d4 cis4 cis4 b,4 a,4 g,4 b,4 a,4. a,8 a,4 a,4 d2. d4 g,4. g,8 g,4 b,4 d2. d4 b,4. b,8 b,4 d4 fis2. e4 d4 a8 d8 fis4 fis,4 g,4 g,4 b,4 e4 a,4. a,8 a,4 a,4 d2.\n}\n"}, "harmonizations": [{"slug": "leominsster-cyberhymnal", "tune": "leominsster", "music_file": "leominsster-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 26, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LEOMINSTER, George William Martin, 1862. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LEOMINSTER (George William Martin, 1828-1881; 1862); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4 with a one-beat anacrusis; fully syllabic, 52 soprano notes = 52 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Leominster\" (George William Martin, 1862); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LEOMINSTER (S.M.D.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Leominster\", George William Martin,\n%% 1862) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully syllabic doubled short metre (52 soprano notes = 52 syllables), 4/4 with a\n%% one-beat anacrusis; the final note is a dotted half. Chromatics carried with the\n%% engraving's spellings: bass G-sharp (gis) and passing A-sharp (ais), tenor\n%% A-sharp (ais) and C-natural (c'), alto D-sharp (dis) — each printed with its\n%% accidental in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4 fis'4 fis'4 fis'4 g'2. g'4 e'4 e'4 e'4 fis'4 e'2. e'4 fis'4 fis'4 a'4 a'4 d''4 d''4 d''4 d'4 d'4. fis'8 fis'4 e'4 d'2. d'4 g'4. g'8 g'4 d'4 fis'2. fis'4 b'4. b'8 b'4 fis'4 a'2. a'4 d''4. d''8 d''4 cis''4 cis''4 b'4 a'4 g'4 fis'4. d'8 fis'4 e'4 d'2.\n}\nalto = {\n  d'4 d'4 d'4 d'4 d'4 d'2. d'4 d'4 d'4 d'4 d'4 cis'2. cis'4 d'4 d'4 e'4 e'4 d'4 fis'4 g'4 b4 a4. d'8 cis'4 cis'4 a2. d'4 d'4. d'8 d'4 d'4 d'2. d'4 fis'4. fis'8 fis'4 fis'4 fis'2. g'4 fis'4. fis'8 e'4 e'4 e'4 d'4 dis'4 e'4 d'4. d'8 cis'4 cis'4 a2.\n}\ntenor = {\n  a4 a4 a4 a4 a4 b2. g4 b4 b4 b4 b4 e2. a4 a4 a4 a4 e4 fis4 c'4 b4 g4 fis4. a8 a4 g4 fis2. fis4 b4. b8 b4 g4 a2. a4 d'4. d'8 d'4 b4 cis'2. cis'4 d'4 a8 d8 ais4 ais4 ais4 b4 b4 b4 a4. fis8 a4 g4 fis2.\n}\nbass = {\n  d4 d4 d4 d4 d4 g,2. b,4 g,4 g,4 gis,4 gis,4 a,2. a,4 d4 d4 cis4 cis4 b,4 a,4 g,4 b,4 a,4. a,8 a,4 a,4 d2. d4 g,4. g,8 g,4 b,4 d2. d4 b,4. b,8 b,4 d4 fis2. e4 d4 a8 d8 fis4 fis,4 g,4 g,4 b,4 e4 a,4. a,8 a,4 a,4 d2.\n}\n", "preferred": true}]}, "leoni": {"slug": "leoni", "name": "LEONI", "meter_label": "6.6.12.D", "meter": {"pattern": [6, 6, 12], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Traditional Hebrew melody", "canonical_key": {"tonic": "f", "mode": "minor"}, "preferred_harmonization": "leoni-lyon-1780", "provenance": {"layer": "tune", "source": "lyon-1780", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LEONI / 'Yigdal': traditional Hebrew melody adapted by Meyer Lyon, c.1770 (pub. 1780); the tune is named after him. Lyon d. 1797.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "leoni-lyon-1780", "tune": "leoni", "music_file": "leoni-lyon-1780.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "lyon-1780", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting: Meyer Lyon, 1780 (LEONI, after the Hebrew Yigdal). Lyon d. 1797; all components pre-1931. The Open Hymnal Project transcribed the notes from Lutheran Worship (1982), but the setting itself is the public-domain Meyer Lyon arrangement.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:262", "encoding_license": "PD-dedication"}, "music_ly": "%% The God of Abraham Praise\n%% Imported from Open Hymnal ABC X:262 via tools/abc_import.py\n%% Public domain: words Thomas Olivers c.1765 (paraphrase of the Yigdal of Daniel ben Judah, c.1400); LEONI a traditional Hebrew melody adapted by Meyer Lyon; setting Meyer Lyon, 1780. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4 g'4 aes'4 bes'4 c''2. aes'4 bes'4 c''4 des''4 ees''4 c''2. g'4 aes'4 bes'4 c''4 des''4 ees''4 g'4 aes'4 des''4 c''2 bes'2 aes'2. aes'4 c''4 c''4 c''4 c''4 bes'2. aes'8( g'8) f'8( g'8) aes'8( bes'8) c''4 f'4 f'4( e'2) c'4 f'4 g'4 aes'4 bes'4 c''4 bes'8( c''8) des''4 c''8( bes'8) aes'2 g'2 f'2.\n}\nalto = {\n  c'4 f'4 c'4 c'4 f'4 e'2. c'4 f'4 ees'4 f'4 ees'4 ees'2. ees'4 ees'4 des'4 c'4 f'4 ees'4 des'4 c'4 f'4 ees'2 ees'4( des'4) c'2. ees'4 ees'4 c'4 ees'4 f'4 g'2. ees'4 des'4 des'4 c'4 des'4 c'2. c'4 c'4 c'4 c'4 ees'4 ees'4 f'4 f'4 f'4 f'2 e'2 f'2.\n}\ntenor = {\n  c4 f4 e4 f4 f4 g2. aes4 f4 aes4 aes4 g4 aes2. bes4 aes4 g4 aes4 aes4 aes4 bes4 aes4 aes4 aes2 g2 aes2. c'4 aes4 aes4 aes4 aes4 g2. aes4 aes4 f4 aes4 aes4 g2. e4 f4 e4 f4 g4 aes4 aes4 bes4 des'4 c'2 c'4( bes4) aes2.\n}\nbass = {\n  r4 r4 c4 f4 des4 c2. f4 des4 c4 bes,4 ees4 aes,2. ees4 c4 bes,4 aes,4 des4 c4 ees4 f4 bes,4 ees2 ees2 aes,2. aes4 aes4 aes,4 c4 d4 ees2. c4 des4 des4 aes,4 bes,4 c2. c4 aes,4 c4 f4 ees4 aes,4 des4 bes,4 bes,4 c2 c2 f2.\n}\n"}, "harmonizations": [{"slug": "leoni-lyon-1780", "tune": "leoni", "music_file": "leoni-lyon-1780.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "lyon-1780", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting: Meyer Lyon, 1780 (LEONI, after the Hebrew Yigdal). Lyon d. 1797; all components pre-1931. The Open Hymnal Project transcribed the notes from Lutheran Worship (1982), but the setting itself is the public-domain Meyer Lyon arrangement.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:262", "encoding_license": "PD-dedication"}, "music_ly": "%% The God of Abraham Praise\n%% Imported from Open Hymnal ABC X:262 via tools/abc_import.py\n%% Public domain: words Thomas Olivers c.1765 (paraphrase of the Yigdal of Daniel ben Judah, c.1400); LEONI a traditional Hebrew melody adapted by Meyer Lyon; setting Meyer Lyon, 1780. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 f'4 g'4 aes'4 bes'4 c''2. aes'4 bes'4 c''4 des''4 ees''4 c''2. g'4 aes'4 bes'4 c''4 des''4 ees''4 g'4 aes'4 des''4 c''2 bes'2 aes'2. aes'4 c''4 c''4 c''4 c''4 bes'2. aes'8( g'8) f'8( g'8) aes'8( bes'8) c''4 f'4 f'4( e'2) c'4 f'4 g'4 aes'4 bes'4 c''4 bes'8( c''8) des''4 c''8( bes'8) aes'2 g'2 f'2.\n}\nalto = {\n  c'4 f'4 c'4 c'4 f'4 e'2. c'4 f'4 ees'4 f'4 ees'4 ees'2. ees'4 ees'4 des'4 c'4 f'4 ees'4 des'4 c'4 f'4 ees'2 ees'4( des'4) c'2. ees'4 ees'4 c'4 ees'4 f'4 g'2. ees'4 des'4 des'4 c'4 des'4 c'2. c'4 c'4 c'4 c'4 ees'4 ees'4 f'4 f'4 f'4 f'2 e'2 f'2.\n}\ntenor = {\n  c4 f4 e4 f4 f4 g2. aes4 f4 aes4 aes4 g4 aes2. bes4 aes4 g4 aes4 aes4 aes4 bes4 aes4 aes4 aes2 g2 aes2. c'4 aes4 aes4 aes4 aes4 g2. aes4 aes4 f4 aes4 aes4 g2. e4 f4 e4 f4 g4 aes4 aes4 bes4 des'4 c'2 c'4( bes4) aes2.\n}\nbass = {\n  r4 r4 c4 f4 des4 c2. f4 des4 c4 bes,4 ees4 aes,2. ees4 c4 bes,4 aes,4 des4 c4 ees4 f4 bes,4 ees2 ees2 aes,2. aes4 aes4 aes,4 c4 d4 ees2. c4 des4 des4 aes,4 bes,4 c2. c4 aes,4 c4 f4 ees4 aes,4 des4 bes,4 bes,4 c2 c2 f2.\n}\n", "preferred": true}]}, "liebster-jesu-wir-sind-hier": {"slug": "liebster-jesu-wir-sind-hier", "name": "LIEBSTER JESU WIR SIND HIER", "meter_label": "7.8.7.8.8.8", "meter": {"pattern": [7, 8, 7, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-rudolph-ahle", "composer_date": "1854", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "liebster-jesu-wir-sind-hier-oh22", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:22; all components published pre-1931 (latest year 1858).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "liebster-jesu-wir-sind-hier-oh22", "tune": "liebster-jesu-wir-sind-hier", "music_file": "liebster-jesu-wir-sind-hier-oh22.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 22, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:22; all components published pre-1931 (latest year 1858).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:22", "encoding_license": "PD-dedication"}, "music_ly": "%% Blessed Jesus at Thy Word\n%% Imported from Open Hymnal ABC X:22 via tools/abc_import.py\n%% Open Hymnal X:22; all components published pre-1931 (latest year 1858).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 g'4 a'4 d''4 b'4 g'4 a'2 g'4 g'4 g'4 g'4 a'4 b'4 a'2 g'1 b'4 g'4 a'4 d''4 b'4 g'4 a'2 g'4 g'4 g'4 g'4 a'4 b'4 a'2 g'1 d'4 d'4 e'4 fis'4 g'4 a'4 fis'4 d'4 g'4 g'4 a'4 b'4 c''4 b'4 a'2 g'1\n}\nalto = {\n  d'4 d'4 d'4 fis'4 d'4 e'4 fis'2 d'4 d'4 e'4 d'4 fis'4 g'2 fis'4 g'1 d'4 d'4 d'4 fis'4 d'4 e'4 fis'2 d'4 d'4 e'4 d'4 fis'4 g'2 fis'4 g'1 d'4 d'4 cis'4 d'4 d'4 e'4 d'4 d'4 d'4 b4 d'4 d'4 e'4 d'4 d'2 b1\n}\ntenor = {\n  g4 b4 a4 a4 g4 b4 d'2 g4 b4 c'4 g4 c'4 d'4 d'2 b1 g4 b4 a4 a4 g4 b4 d'2 g4 b4 c'4 g4 c'4 d'4 d'2 b1 b4 a4 g4 a4 b4 a4 a4 fis4 g4 g4 fis4 g4 g4 g2 fis4 g1\n}\nbass = {\n  g4 g4 fis4 d4 g4 e4 d2 b,4 g,4 c4 b,4 a,4 g,4 d2 g,1 g4 g4 fis4 d4 g4 e4 d2 b,4 g,4 c4 b,4 a,4 g,4 d2 g,1 g4 fis4 e4 d4 b,4 cis4 d4 d4 b,4 e4 d4 g,4 c4 g,4 d2 g,1\n}\n"}, "harmonizations": [{"slug": "liebster-jesu-wir-sind-hier-bwv373", "tune": "liebster-jesu-wir-sind-hier", "music_file": "liebster-jesu-wir-sind-hier-bwv373.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LIEBSTER JESU WIR SIND HIER, Johann Rudolph Ahle; harmonization J. S. Bach (BWV 373). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LIEBSTER JESU WIR SIND HIER (Johann Rudolph Ahle, 1625-1673); four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 373 — the standalone chorale \"Liebster Jesu, wir sind hier\", No. 131 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering (the kern's own note records it as the same setting as No. 328). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor131.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition, plate V.A.10) via tools/kern2ly.py; the conversion was re-checked event-for-event by an independent re-parse of the kern in all four voices — 48 / 58 / 62 / 70 notes S/A/T/B, every pitch, octave, duration and tie agreeing, and all 15 written-out bars summing to exactly 4/4 in every voice. The kern encodes the Stollen once with a sectional repeat (*>[A,A,B]); the corpus file writes it out A-A-B. Both sections begin and end on whole bars, so no partial bars meet at the seams and no odd-length seam bar arises (5 + 5 + 5 = 15 full 4/4 bars, a single \\time throughout, no time_changes) — the barring of the independently encoded music21 witness bwv373.mxl agrees, its 10 as-written bars all full 4/4 with the backward repeat on the right barline of its m5, in all four parts, exactly where the kern puts it (=6:|!). NO TRANSPOSITION: Bach's key is G major (the kern's *k[f#] with *G:, as Breitkopf prints it) and that is already this tune's corpus canonical key, shared with liebster-jesu-wir-sind-hier-oh22 (one canonical key per tune, validator-enforced), so every pitch is Bach's own written pitch at his own written octave. 4/4 (met C), no pickup; fermatas at the six phrase ends (soprano ordinals 8, 16, 24, 32, 40, 48) are omitted per house style. Bach's explicit F NATURALS — the alto's f' in the third bar of each Stollen and the tenor's f in the line-6 bar (kern \"f\", not \"f#\") — are kept and print against the one-sharp signature; both are confirmed by the witness. Machine comparison against that independently encoded witness (bwv373.mxl, MuseData/Greentree lineage; its as-written 10 bars matched against this file's first A section and its B section): soprano identical event-for-event (32 notes) and tenor identical event-for-event (41 notes); bass identical (46 notes) except that the kern TIES the d across bars 6-7 where the witness re-strikes it; alto identical except for the same kind of tie at the two g' cadence figures (as-written bars 4 and 9) and one real note difference — in the B section's cadence bar the kern reads g'4~ g'8 e'8 fis'4 where the witness holds g'4 g'4 fis'4, i.e. the kern carries a passing e'8 the witness lacks. The kern reading (the declared source) is kept throughout and each divergence is itemized in the music file header. Bach's melody is the same tune as the corpus's other reading, read slightly differently: 48 soprano notes to oh22's 46, because he ornaments the opening of each Stollen (oh22's plain b'4 g'4 is Bach's b'4 a'8 g'8, one extra note at each of ordinals 2 and 18) and his final line repeats his line 2 note for note where the oh22 reading rises to c''. Dropping Bach's two ornament upper-neighbour a'8s leaves 46 against 46, agreeing in pitch at 43 of 46 positions and in duration at 44 of 46, the three pitch differences being exactly line 6 positions 3-5; six phrases, syllable fit, cadence pitches, key and meter all agree. The melisma slurs follow Bach's own underlay as witnessed by the texted mxl (full German Clausnitzer text, the two Stollen lyric verses agreeing on the single hold, the Abgesang fully syllabic).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor131.krn (BWV 373, Breitkopf/Riemenschneider No. 131), converted with tools/kern2ly.py; underlay and barring witness music21 bach corpus MusicXML bwv373.mxl (both archived in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, and the music21 MusicXML witness an open (BSD/LGPL-distributed corpus) one; neither claim is load-bearing here. Both are faithful transcriptions of a public-domain print — the c. 1875 Doerffel/Breitkopf 4th edition of the 1784-87 371 vierstimmige Choralgesaenge — of music by Bach (d. 1750), so the underlying notes carry no copyright anywhere in this chain. The corpus record does not rest on either transcription as a protectable work: this .ly is a fresh machine re-encoding produced by tools/kern2ly.py, with the kern file and the MusicXML witness both vendored in imports/batchC/ so the conversion and the collation can be re-run and re-checked from scratch. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% LIEBSTER JESU WIR SIND HIER (7.8.7.8.8.8) — four SATB voice streams,\n%% canonical key G major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 373 (the standalone chorale \"Liebster Jesu,\n%% wir sind hier\" on Johann Rudolph Ahle's tune, Breitkopf/Riemenschneider\n%% No. 131 — the kern's own note \"Same as No. 328\"), converted from the\n%% craigsapp/bach-370-chorales kern edition (chor131.krn) with tools/kern2ly.py.\n%% The conversion was re-checked event-for-event in all four voices by an\n%% independent re-parse of the kern (pitch, octave, duration, tie): 48 / 58 / 62\n%% / 70 notes S/A/T/B, every one agreeing, and all 15 written-out bars summing\n%% to exactly 4/4 in every voice.\n%% NO TRANSPOSITION. Bach's key is G major (the kern's *k[f#] with *G:, as\n%% Breitkopf prints it) and that is already the tune's corpus canonical key,\n%% shared with liebster-jesu-wir-sind-hier-oh22 (one canonical key per tune,\n%% validator-enforced). Every pitch below is Bach's own written pitch at his own\n%% written octave. 4/4 (met C), no pickup. The f' in the alto's third bar and\n%% the f in the tenor's line-6 bar are Bach's explicit F NATURALS (kern \"f\", not\n%% \"f#\") — the flat-seventh colouring of the ii/V approach — and print with a\n%% natural sign against the one-sharp signature; both are confirmed by the\n%% independent witness below.\n%% The kern encodes the Stollen once with a sectional repeat (*>[A,A,B]); the\n%% converter writes it out A-A-B. Both sections begin and end on whole bars, so\n%% there are no partial bars at the seams and no odd-length seam bar: 5 + 5 + 5\n%% = 15 full 4/4 bars, a single \\time throughout (no time_changes needed).\n%% The source prints fermatas at soprano ordinals 8, 16, 24, 32, 40, 48 — one\n%% per text line of 7.8.7.8.8.8, phrases of 8+8+8+8+8+8 notes; fermatas are\n%% omitted per house style.\n%% Machine-compared against the independently encoded music21-corpus witness of\n%% the same chorale (bwv373.mxl, MuseData/Greentree lineage; as-written 10 bars\n%% = one A + B, matched against this file's first A and its B): SOPRANO and\n%% TENOR identical event-for-event (32/32 and 41/41 notes); the BASS is\n%% identical (46/46) except that the kern TIES the d across bars 6-7 where the\n%% witness re-strikes it; the ALTO is identical except for the same kind of tie\n%% at the two g' cadence figures (bars 4 and 9 as-written) and one real note\n%% difference — in the B section's cadence bar the kern reads g'4~ g'8 e'8 fis'4\n%% where the witness holds g'4 g'4 fis'4, i.e. the kern carries a passing e'8\n%% the witness lacks. The kern reading (the declared source, Doerffel/Breitkopf\n%% c. 1875) is kept throughout.\n%% RELATION TO THE OTHER CORPUS SETTING OF THIS TUNE: Bach's melody is the same\n%% tune as liebster-jesu-wir-sind-hier-oh22's, read slightly differently. Bach\n%% has 48 soprano notes to the OH reading's 46: he ornaments the opening of each\n%% Stollen (OH's plain b'4 g'4 is Bach's b'4 a'8 g'8, one extra note at each of\n%% ordinals 2/18), and his final line repeats his line 2 note for note\n%% (g' g' g' g' a' b' a'2 g'1) where the OH reading rises to c''\n%% (g' g' a' b' c'' b' a'2 g'1). Dropping Bach's two ornament upper-neighbour\n%% a'8s leaves 46 against 46, agreeing in pitch at 43 of 46 positions and in\n%% duration at 44 of 46 — the three pitch differences are exactly line 6\n%% positions 3-5. Same six phrases, same syllable fit, same cadence pitches,\n%% same key, same meter.\n%% MELISMATIC: 48 soprano notes for 46 syllables (7.8.7.8.8.8). The two melisma\n%% slurs (soprano notes 2-3 and 18-19, the a'8 g'8 turn once per Stollen pass)\n%% are Bach's own underlay as carried by the texted bwv373.mxl witness, whose\n%% Stollen carries TWO German lyric verses (\"Lieb-ster Je-su...\" and \"len-ke\n%% Sin-nen...\") that AGREE on the hold: syllable 2 is sung on the a'8 and held\n%% over the g'8, which carries no lyric syllable of its own in either verse.\n%% Held with '_' every stanza at soprano notes 3 and 19 (see the setting); the\n%% B section is fully syllabic in the witness, 16 syllables on 16 notes.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 a'8( g'8) a'4 d''4 |\n  b'4 g'4 a'2 |\n  g'4 g'4 g'4 g'4 |\n  a'4 b'4 a'2 |\n  g'1 |\n  b'4 a'8( g'8) a'4 d''4 |\n  b'4 g'4 a'2 |\n  g'4 g'4 g'4 g'4 |\n  a'4 b'4 a'2 |\n  g'1 |\n  d'4 d'4 e'4 fis'4 |\n  g'4 a'4 fis'4 d'4 |\n  g'4 g'4 g'4 g'4 |\n  a'4 b'4 a'2 |\n  g'1\n}\n\nalto = {\n  d'4 d'4 d'4 fis'4 |\n  d'4 d'8 e'8 fis'2 |\n  e'4 f'4 e'4 d'4 |\n  e'8 fis'8 g'4~ g'4 fis'4 |\n  d'1 |\n  d'4 d'4 d'4 fis'4 |\n  d'4 d'8 e'8 fis'2 |\n  e'4 f'4 e'4 d'4 |\n  e'8 fis'8 g'4~ g'4 fis'4 |\n  d'1 |\n  b4 a4 b8 cis'8 d'4 |\n  e'4 e'4 d'4 a4 |\n  d'8 b8 c'8 d'8 e'4 e'4 |\n  e'8 fis'8 g'4~ g'8 e'8 fis'4 |\n  d'1\n}\n\ntenor = {\n  g8 a8 b4 a4 a4 |\n  b8 c'8 d'4 d'2 |\n  b4 b4 c'4 g4 |\n  c'4 d'4 e'8 c'8 a8 d'16 c'16 |\n  b1 |\n  g8 a8 b4 a4 a4 |\n  b8 c'8 d'4 d'2 |\n  b4 b4 c'4 g4 |\n  c'4 d'4 e'8 c'8 a8 d'16 c'16 |\n  b1 |\n  g4 a4 g4 a4 |\n  b4 a4 a4 fis4 |\n  g4. f8 e8 fis8 g8 a16 b16 |\n  c'4 d'4 d'4. c'8 |\n  b1\n}\n\nbass = {\n  g,4 g4~ g8 fis8 e8 d8 |\n  g8 a8 b8 g8 d2 |\n  e,8 e4 d8 c,8 c4 b,8 |\n  a,4 g,8 b,8 c8 a,8 d4 |\n  g,1 |\n  g,4 g4~ g8 fis8 e8 d8 |\n  g8 a8 b8 g8 d2 |\n  e,8 e4 d8 c,8 c4 b,8 |\n  a,4 g,8 b,8 c8 a,8 d4 |\n  g,1 |\n  g,8 g4 fis8 e4 d4~ |\n  d4 cis4 d4 d4 |\n  b,8 g,8 a,8 b,8 c8 d8 c8 b,8 |\n  a,4 g,8 b,8 d2 |\n  g,1\n}\n", "preferred": false}, {"slug": "liebster-jesu-wir-sind-hier-oh22", "tune": "liebster-jesu-wir-sind-hier", "music_file": "liebster-jesu-wir-sind-hier-oh22.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 22, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:22; all components published pre-1931 (latest year 1858).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:22", "encoding_license": "PD-dedication"}, "music_ly": "%% Blessed Jesus at Thy Word\n%% Imported from Open Hymnal ABC X:22 via tools/abc_import.py\n%% Open Hymnal X:22; all components published pre-1931 (latest year 1858).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 g'4 a'4 d''4 b'4 g'4 a'2 g'4 g'4 g'4 g'4 a'4 b'4 a'2 g'1 b'4 g'4 a'4 d''4 b'4 g'4 a'2 g'4 g'4 g'4 g'4 a'4 b'4 a'2 g'1 d'4 d'4 e'4 fis'4 g'4 a'4 fis'4 d'4 g'4 g'4 a'4 b'4 c''4 b'4 a'2 g'1\n}\nalto = {\n  d'4 d'4 d'4 fis'4 d'4 e'4 fis'2 d'4 d'4 e'4 d'4 fis'4 g'2 fis'4 g'1 d'4 d'4 d'4 fis'4 d'4 e'4 fis'2 d'4 d'4 e'4 d'4 fis'4 g'2 fis'4 g'1 d'4 d'4 cis'4 d'4 d'4 e'4 d'4 d'4 d'4 b4 d'4 d'4 e'4 d'4 d'2 b1\n}\ntenor = {\n  g4 b4 a4 a4 g4 b4 d'2 g4 b4 c'4 g4 c'4 d'4 d'2 b1 g4 b4 a4 a4 g4 b4 d'2 g4 b4 c'4 g4 c'4 d'4 d'2 b1 b4 a4 g4 a4 b4 a4 a4 fis4 g4 g4 fis4 g4 g4 g2 fis4 g1\n}\nbass = {\n  g4 g4 fis4 d4 g4 e4 d2 b,4 g,4 c4 b,4 a,4 g,4 d2 g,1 g4 g4 fis4 d4 g4 e4 d2 b,4 g,4 c4 b,4 a,4 g,4 d2 g,1 g4 fis4 e4 d4 b,4 cis4 d4 d4 b,4 e4 d4 g,4 c4 g,4 d2 g,1\n}\n", "preferred": true}]}, "like-a-river": {"slug": "like-a-river", "name": "WYE VALLEY", "meter_label": "11.11.11 D", "meter": {"pattern": [11, 11, 11], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-mountain", "composer_date": "1876", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "like-a-river-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WYE VALLEY (the \"long\", 11.11.11 D form), the tune James Mountain composed in 1876 for Frances R. Havergal's \"Like a River Glorious\" (published together in Mountain's \"Hymns of Consecration and Faith\", 1876). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; the phrase-4 bass C-sharp passing tone is printed with a sharp and cancelled by a natural on the following B, so it is spelled cis rather than the enharmonic des). Fully syllabic (66 soprano notes = 66 syllables per stanza, the refrain set as lines 5-6). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wye Valley (long)\" (James Mountain, 1876); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "like-a-river-cyberhymnal", "tune": "like-a-river", "music_file": "like-a-river-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WYE VALLEY, James Mountain, 1876. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WYE VALLEY (long form, 11.11.11 D; James Mountain, 1876); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; the phrase-4 bass C-sharp is printed with a sharp, so spelled cis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wye Valley (long)\" (James Mountain, 1876); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WYE VALLEY (long form, 11.11.11 D) — the tune James Mountain (1876) wrote for\n%% Frances R. Havergal's \"Like a River Glorious.\" Four SATB voice streams,\n%% canonical key F major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Wye Valley (long)\", James Mountain,\n%% 1876) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully syllabic 11.11.11 D (66 soprano notes = 66 syllables; the \"Stayed upon\n%% Jehovah\" refrain is set as lines 5-6 of every stanza). The bass C-sharp\n%% passing tone in phrase 4 (and its repeat in phrase 6) is printed with a sharp\n%% and cancelled by a natural on the following B, so it is spelled cis (not the\n%% enharmonic des that mid2ly emitted for the flat key). The tenor carries one\n%% extra passing tone per refrain phrase (a2 g4 f4 under the soprano's f'2 g'2).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 g'4 g'4 | a'2 c''2 | bes'4 bes'4 g'4 g'4 | a'1 |\n  f'4 f'4 g'4 g'4 | a'2 f'2 | e'4 e'4 d'4 d'4 | c'1 |\n  c''4 c''4 c''4 c''4 | d''2 c''2 | bes'4 bes'4 a'4 a'4 | g'1 |\n  a'4 a'4 g'4 g'4 | f'2 g'2 | a'4 a'4 g'4 g'4 | f'1 |\n  c''4 c''4 c''4 c''4 | d''2 c''2 | bes'4 bes'4 a'4 a'4 | g'1 |\n  a'4 a'4 g'4 g'4 | f'2 g'2 | a'4 a'4 g'4 g'4 | f'1\n}\nalto = {\n  c'4 c'4 c'4 c'4 | c'2 es'2 | d'4 f'4 c'4 c'4 | c'1 |\n  c'4 c'4 c'4 c'4 | c'2 c'2 | c'4 c'4 a4 b4 | c'1 |\n  c'4 f'4 e'4 f'4 | f'2 f'2 | f'4 e'4 f'4 f'4 | e'1 |\n  f'4 f'4 e'4 e'4 | d'2 d'2 | c'4 f'4 d'4 e'4 | c'1 |\n  c'4 f'4 e'4 f'4 | f'2 f'2 | f'4 e'4 f'4 f'4 | e'1 |\n  f'4 f'4 e'4 e'4 | d'2 d'2 | c'4 f'4 d'4 e'4 | f'1\n}\ntenor = {\n  a4 a4 g4 g4 | f2 f2 | f4 d4 e4 e4 | f1 |\n  a4 a4 g4 g4 | f2 f2 | g4 g4 f4 f4 | e1 |\n  a4 a4 bes4 c'4 | bes2 c'2 | d'4 c'4 c'4 c'4 | c'1 |\n  c'4 c'4 bes4 bes4 | a2 g4 f4 | f4 a4 c'4 bes4 | a1 |\n  a4 a4 bes4 c'4 | bes2 c'2 | d'4 c'4 c'4 c'4 | c'1 |\n  c'4 c'4 bes4 bes4 | a2 g4 f4 | f4 a4 c'4 bes4 | a1\n}\nbass = {\n  f4 f4 e4 e4 | f2 a,2 | bes,4 bes,4 c4 c4 | f,1 |\n  f4 f4 e4 e4 | f2 a,2 | g,4 g,4 g,4 g,4 | c1 |\n  f4 f4 g4 a4 | bes2 a2 | g4 g4 f4 f4 | c1 |\n  f4 f4 cis4 cis4 | d2 b,2 | c4 c4 c4 c4 | f1 |\n  f4 f4 g4 a4 | bes2 a2 | g4 g4 f4 f4 | c1 |\n  f4 f4 cis4 cis4 | d2 b,2 | c4 c4 c4 c4 | f1\n}\n"}, "harmonizations": [{"slug": "like-a-river-cyberhymnal", "tune": "like-a-river", "music_file": "like-a-river-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WYE VALLEY, James Mountain, 1876. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WYE VALLEY (long form, 11.11.11 D; James Mountain, 1876); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; the phrase-4 bass C-sharp is printed with a sharp, so spelled cis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wye Valley (long)\" (James Mountain, 1876); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WYE VALLEY (long form, 11.11.11 D) — the tune James Mountain (1876) wrote for\n%% Frances R. Havergal's \"Like a River Glorious.\" Four SATB voice streams,\n%% canonical key F major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Wye Valley (long)\", James Mountain,\n%% 1876) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully syllabic 11.11.11 D (66 soprano notes = 66 syllables; the \"Stayed upon\n%% Jehovah\" refrain is set as lines 5-6 of every stanza). The bass C-sharp\n%% passing tone in phrase 4 (and its repeat in phrase 6) is printed with a sharp\n%% and cancelled by a natural on the following B, so it is spelled cis (not the\n%% enharmonic des that mid2ly emitted for the flat key). The tenor carries one\n%% extra passing tone per refrain phrase (a2 g4 f4 under the soprano's f'2 g'2).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 g'4 g'4 | a'2 c''2 | bes'4 bes'4 g'4 g'4 | a'1 |\n  f'4 f'4 g'4 g'4 | a'2 f'2 | e'4 e'4 d'4 d'4 | c'1 |\n  c''4 c''4 c''4 c''4 | d''2 c''2 | bes'4 bes'4 a'4 a'4 | g'1 |\n  a'4 a'4 g'4 g'4 | f'2 g'2 | a'4 a'4 g'4 g'4 | f'1 |\n  c''4 c''4 c''4 c''4 | d''2 c''2 | bes'4 bes'4 a'4 a'4 | g'1 |\n  a'4 a'4 g'4 g'4 | f'2 g'2 | a'4 a'4 g'4 g'4 | f'1\n}\nalto = {\n  c'4 c'4 c'4 c'4 | c'2 es'2 | d'4 f'4 c'4 c'4 | c'1 |\n  c'4 c'4 c'4 c'4 | c'2 c'2 | c'4 c'4 a4 b4 | c'1 |\n  c'4 f'4 e'4 f'4 | f'2 f'2 | f'4 e'4 f'4 f'4 | e'1 |\n  f'4 f'4 e'4 e'4 | d'2 d'2 | c'4 f'4 d'4 e'4 | c'1 |\n  c'4 f'4 e'4 f'4 | f'2 f'2 | f'4 e'4 f'4 f'4 | e'1 |\n  f'4 f'4 e'4 e'4 | d'2 d'2 | c'4 f'4 d'4 e'4 | f'1\n}\ntenor = {\n  a4 a4 g4 g4 | f2 f2 | f4 d4 e4 e4 | f1 |\n  a4 a4 g4 g4 | f2 f2 | g4 g4 f4 f4 | e1 |\n  a4 a4 bes4 c'4 | bes2 c'2 | d'4 c'4 c'4 c'4 | c'1 |\n  c'4 c'4 bes4 bes4 | a2 g4 f4 | f4 a4 c'4 bes4 | a1 |\n  a4 a4 bes4 c'4 | bes2 c'2 | d'4 c'4 c'4 c'4 | c'1 |\n  c'4 c'4 bes4 bes4 | a2 g4 f4 | f4 a4 c'4 bes4 | a1\n}\nbass = {\n  f4 f4 e4 e4 | f2 a,2 | bes,4 bes,4 c4 c4 | f,1 |\n  f4 f4 e4 e4 | f2 a,2 | g,4 g,4 g,4 g,4 | c1 |\n  f4 f4 g4 a4 | bes2 a2 | g4 g4 f4 f4 | c1 |\n  f4 f4 cis4 cis4 | d2 b,2 | c4 c4 c4 c4 | f1 |\n  f4 f4 g4 a4 | bes2 a2 | g4 g4 f4 f4 | c1 |\n  f4 f4 cis4 cis4 | d2 b,2 | c4 c4 c4 c4 | f1\n}\n", "preferred": true}]}, "llanfair": {"slug": "llanfair", "name": "LLANFAIR", "meter_label": "7.7.7.7 with Alleluias", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": true, "irregular": false}, "composer": "robert-williams", "composer_date": "1817", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "llanfair-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LLANFAIR by Robert Williams (1781-1821), first published 1817 (Welsh), long a standard tune for the 'Alleluia' form of 'Christ the Lord Is Risen Today' and 'Hail the Day That Sees Him Rise'. Melody encoded from the Open Hymnal Project ABC (John Roberts setting, 1837). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"Christ the Lord Is Risen Today (Lyra)\" (tune LLANFAIR, Robert Williams 1817)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "llanfair-openhymnal", "tune": "llanfair", "music_file": "llanfair-openhymnal.ly", "harmonizer": "john-roberts", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LLANFAIR (Robert Williams, 1817; four-part setting by John Roberts, 1837). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LLANFAIR by Robert Williams (1781-1821), 1817; four-part setting by John Roberts, 1837, as encoded in the Open Hymnal Project 2014 revision. Both are pre-1931 and public domain. Twelve soprano melismas (chiefly the sung Alleluias) slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). 60 soprano notes carry 44 syllables (7.7.7.7 with a sung Alleluia after each line).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:106, \"Christ the Lord Is Risen Today (Lyra)\" (tune LLANFAIR; John Roberts 1837 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LLANFAIR (7.7.7.7 with Alleluias) — \"Christ the Lord Is Risen Today\"\n%% Imported from Open Hymnal ABC (X:106) via tools/abc_import.py. Tune 'Llanfair'\n%% by Robert Williams, 1817; four-part setting by John Roberts, 1837 — both public\n%% domain. Twelve soprano melismas (chiefly on the sung Alleluias) slurred from the\n%% w: lyric alignment; all five stanzas share the same positions (a fixed-melisma\n%% tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2 f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2 a'4 a'4 c''4 c''4 d''8( c''8) bes'8( a'8) g'2 a'4.( g'8 a'4) b'4 c''2 c''2 f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2\n}\nalto = {\n  c'4 c'4 f'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 f'4) f'4 f'4( e'4) f'2 c'4 c'4 f'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 f'4) f'4 f'4( e'4) f'2 f'4 f'4 ees'4 ees'4 d'4 d'4 e'2 f'4.( g'8 f'4) f'4 e'4.( f'8) e'2 f'4 c'4 c'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 c'4) f'4 f'4( e'4) c'2\n}\ntenor = {\n  a4 a4 f4 f4 c'4 d'4 g2 a4.( bes8 c'4) bes8 c'8 d'4( c'4) a2 a4 a4 f4 f4 c'4 d'4 g2 a4.( bes8 c'4) bes8 c'8 d'4( c'4) a2 f4 f4 g4 a4 bes4 bes4 c'2 c'2. f4 g4.( a8) c'2 c'4 c'8 bes8 a4 f4 c'4 d'4 g2 f4.( g8 a4) f4 g2 a2\n}\nbass = {\n  f4 f4 d4 d4 a,4 bes,4 c2 a4.( g8 f4) d8 c8 bes,4( c4) f2 f4 f4 d4 d4 a,4 bes,4 c2 a4.( g8 f4) d8 c8 bes,4( c4) f2 d4 d4 c4 c4 bes,4 g,4 c2 f4.( e8 f4) d4 c2 c'4( bes4) a4 a8 g8 f4 d4 a,4 bes,4 c2 a,4.( g,8 f,4) g,8 a,8 bes,4( c4) f,2\n}\n"}, "harmonizations": [{"slug": "llanfair-openhymnal", "tune": "llanfair", "music_file": "llanfair-openhymnal.ly", "harmonizer": "john-roberts", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "LLANFAIR (Robert Williams, 1817; four-part setting by John Roberts, 1837). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LLANFAIR by Robert Williams (1781-1821), 1817; four-part setting by John Roberts, 1837, as encoded in the Open Hymnal Project 2014 revision. Both are pre-1931 and public domain. Twelve soprano melismas (chiefly the sung Alleluias) slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). 60 soprano notes carry 44 syllables (7.7.7.7 with a sung Alleluia after each line).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:106, \"Christ the Lord Is Risen Today (Lyra)\" (tune LLANFAIR; John Roberts 1837 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LLANFAIR (7.7.7.7 with Alleluias) — \"Christ the Lord Is Risen Today\"\n%% Imported from Open Hymnal ABC (X:106) via tools/abc_import.py. Tune 'Llanfair'\n%% by Robert Williams, 1817; four-part setting by John Roberts, 1837 — both public\n%% domain. Twelve soprano melismas (chiefly on the sung Alleluias) slurred from the\n%% w: lyric alignment; all five stanzas share the same positions (a fixed-melisma\n%% tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2 f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2 a'4 a'4 c''4 c''4 d''8( c''8) bes'8( a'8) g'2 a'4.( g'8 a'4) b'4 c''2 c''2 f'4 f'4 a'4 a'4 c''4 bes'8( a'8) g'2 c''4.( bes'8 a'4) bes'8( a'8) g'2 f'2\n}\nalto = {\n  c'4 c'4 f'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 f'4) f'4 f'4( e'4) f'2 c'4 c'4 f'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 f'4) f'4 f'4( e'4) f'2 f'4 f'4 ees'4 ees'4 d'4 d'4 e'2 f'4.( g'8 f'4) f'4 e'4.( f'8) e'2 f'4 c'4 c'4 f'4 f'4 g'8 f'8 e'2 c'4( d'8 e'8 c'4) f'4 f'4( e'4) c'2\n}\ntenor = {\n  a4 a4 f4 f4 c'4 d'4 g2 a4.( bes8 c'4) bes8 c'8 d'4( c'4) a2 a4 a4 f4 f4 c'4 d'4 g2 a4.( bes8 c'4) bes8 c'8 d'4( c'4) a2 f4 f4 g4 a4 bes4 bes4 c'2 c'2. f4 g4.( a8) c'2 c'4 c'8 bes8 a4 f4 c'4 d'4 g2 f4.( g8 a4) f4 g2 a2\n}\nbass = {\n  f4 f4 d4 d4 a,4 bes,4 c2 a4.( g8 f4) d8 c8 bes,4( c4) f2 f4 f4 d4 d4 a,4 bes,4 c2 a4.( g8 f4) d8 c8 bes,4( c4) f2 d4 d4 c4 c4 bes,4 g,4 c2 f4.( e8 f4) d4 c2 c'4( bes4) a4 a8 g8 f4 d4 a,4 bes,4 c2 a,4.( g,8 f,4) g,8 a,8 bes,4( c4) f,2\n}\n", "preferred": true}]}, "llangloffan": {"slug": "llangloffan", "name": "LLANGLOFFAN", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Welsh traditional", "canonical_key": {"tonic": "g", "mode": "minor"}, "preferred_harmonization": "llangloffan-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LLANGLOFFAN (7.6.7.6 D), traditional Welsh melody, first published in the 1865 collection Hymnau a Thonau (London: Novello). The Cyber Hymnal engraving is headed Llangloffan, 76.76 D / Daniel Silvan Evans, 1865, and its hymn page credits the music as from Hymnau a Thonau, by Daniel S. Evans (London: Novello, 1865) — Evans is the 1865 editor/publisher of the collection, not a composer, so the tune is carried as Welsh traditional (Hymnary.org tune authority llangloffan_welsh concurs: Welsh hymn melody; David Evans, Hymnau a Thonau, 1865). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (G minor, 4/4, one-beat anacrusis, dotted-half finals; 56 soprano notes for 52 syllables, four two-note melisma slurs per stanza; the soprano matches Hymnary's authority incipit 51122321144332541122 exactly, all 20 digits, including the distinctive two-quaver anacrusis into line 3). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, Llangloffan (traditional Welsh melody, from Hymnau a Thonau, 1865); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "llangloffan_welsh", "total_instances": 218}}, "harmonization": {"slug": "llangloffan-cyberhymnal", "tune": "llangloffan", "music_file": "llangloffan-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 29, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LLANGLOFFAN, traditional Welsh melody, from Hymnau a Thonau, 1865. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LLANGLOFFAN (7.6.7.6 D), traditional Welsh melody first published in Hymnau a Thonau (Daniel Silvan Evans, ed.; London: Novello, 1865); this four-part setting is the one printed by The Cyber Hymnal (engraving headed Llangloffan, 76.76 D / Daniel Silvan Evans, 1865, footer Public Domain / Courtesy of the Cyber Hymnal), which credits no separate harmonizer. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (G minor, 4/4, one-beat anacrusis, dotted-half finals; the raised leading tone fis is the only accidental, printed with a sharp at every occurrence; no Picardy third — the final chord is G minor; the soprano matches Hymnary's llangloffan_welsh authority incipit 51122321144332541122 exactly). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, Llangloffan (traditional Welsh melody, from Hymnau a Thonau, 1865); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "llangloffan_welsh", "total_instances": 218}}, "music_ly": "%% LLANGLOFFAN (7.6.7.6 D) — four SATB voice streams, canonical key G minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Llangloffan\", traditional Welsh\n%% melody; the Cyber Hymnal engraving is headed \"Llangloffan, 76.76 D / Daniel\n%% Silvan Evans, 1865\" — Evans is the 1865 publisher of Hymnau a Thonau, not\n%% the composer) with tools/mid2ly.py (relative-major tonic 10 = B-flat for the\n%% G-natural-minor scale set) and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. 4/4 with a one-beat anacrusis (\\partial 4),\n%% dotted-half finals. MELISMATIC: 56 soprano notes for 52 syllables\n%% (7.6.7.6 D); the four two-note melisma slurs printed in the source are\n%% bes'4.( a'8) closing line 1 (soprano notes 6-7), the unison S/A quaver\n%% anacrusis d'8( c'8) opening line 3 (notes 15-16), and bes'4.( c''8)\n%% mid-way through lines 3 and 7 (notes 21-22 and 48-49); continuations held\n%% with '_' each stanza (verse_variable_melisma). The only accidental is the\n%% raised leading tone fis/fis', printed with a sharp in the source at every\n%% occurrence (soprano bars 7, 11, 15; tenor bars 1, 4 twice, 11, 12, 13);\n%% no Picardy third — the final chord is G minor. mid2ly single-onset\n%% duplication artifacts (a note ending exactly at an inner onset) resolved\n%% from the engraving + MIDI note durations: bass holds g,2 under the tenor\n%% g4. a8 in bars 2/14, bass walks the slurred quaver pairs es8-d8 (bar 5)\n%% and d8-c8 (bar 11) under held tenor quarters, tenor walks bes8-a8 (bar 6)\n%% and g8-a8 (bar 9) over held bass quarters, soprano carries bes'4.( c''8)\n%% over alto f'4 g'4 (bar 6) and alto d'2 (bar 14).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 g'4 a'4 a'4 | bes'4.( a'8) g'4 g'4 |\n  c''4 c''4 bes'4 bes'4 | a'2. d'8( c'8) |\n  g'4 g'4 a'4 a'4 | bes'4.( c''8) d''4 c''4 |\n  bes'4 g'4 a'4 fis'4 | g'2. d''4 |\n  d''4 bes'4 a'4 c''4 | bes'2 a'4 g'4 |\n  fis'4 g'4 c''4 bes'4 | a'2. d'4 |\n  g'4 g'4 a'4 a'4 | bes'4.( c''8) d''4 c''4 |\n  bes'4 g'4 a'4 fis'4 | g'2.\n}\nalto = {\n  d'4 |\n  g'4 d'4 es'4 d'4 | bes4. c'8 d'4 d'4 |\n  c'4 es'4 d'4 d'4 | d'2. d'8 c'8 |\n  bes4 es'4 es'4 f'4 | f'4 g'4 f'4 es'4 |\n  d'4 bes4 es'4 d'4 | d'2. g'4 |\n  f'4 f'4 es'4 c'4 | f'2 f'4 c'4 |\n  d'4 d'4 c'4 d'4 | d'2. d'4 |\n  g'4 d'4 es'4 d'4 | d'2 g'4 g'4 |\n  f'4 es'4 es'4 d'4 | d'2.\n}\ntenor = {\n  d4 |\n  g4 g4 g4 fis4 | g4. a8 bes4 bes4 |\n  g4 g4 g4 g4 | fis2. fis4 |\n  g4 bes4 c'4 c'4 | d'4 bes4 bes8 a8 g4 |\n  f4 g4 c'4 a4 | bes2. bes8 c'8 |\n  d'4 d'4 c'4 g8 a8 | bes2 c'4 g4 |\n  a4 g4 fis4 g4 | g2 fis4 d4 |\n  g4 g4 g4 fis4 | g4. a8 bes4 es'4 |\n  d'4 bes4 c'4 a4 | bes2.\n}\nbass = {\n  d4 |\n  g4 bes,4 c4 d4 | g,2 g4 f4 |\n  es4 c4 g,4 bes,4 | d2. d4 |\n  es4 es8 d8 c4 f4 | d4 es4 bes,4 c4 |\n  d4 es4 c4 d4 | g2. g8 a8 |\n  bes4 bes,4 c4 es4 | d2 f4 es4 |\n  d8 c8 bes,4 a,4 g,4 | d2. d4 |\n  g4 bes,4 c4 d4 | g,2 g4 c4 |\n  d4 es4 c4 d4 | g,2.\n}\n"}, "harmonizations": [{"slug": "llangloffan-cyberhymnal", "tune": "llangloffan", "music_file": "llangloffan-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 29, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LLANGLOFFAN, traditional Welsh melody, from Hymnau a Thonau, 1865. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LLANGLOFFAN (7.6.7.6 D), traditional Welsh melody first published in Hymnau a Thonau (Daniel Silvan Evans, ed.; London: Novello, 1865); this four-part setting is the one printed by The Cyber Hymnal (engraving headed Llangloffan, 76.76 D / Daniel Silvan Evans, 1865, footer Public Domain / Courtesy of the Cyber Hymnal), which credits no separate harmonizer. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (G minor, 4/4, one-beat anacrusis, dotted-half finals; the raised leading tone fis is the only accidental, printed with a sharp at every occurrence; no Picardy third — the final chord is G minor; the soprano matches Hymnary's llangloffan_welsh authority incipit 51122321144332541122 exactly). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, Llangloffan (traditional Welsh melody, from Hymnau a Thonau, 1865); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "llangloffan_welsh", "total_instances": 218}}, "music_ly": "%% LLANGLOFFAN (7.6.7.6 D) — four SATB voice streams, canonical key G minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Llangloffan\", traditional Welsh\n%% melody; the Cyber Hymnal engraving is headed \"Llangloffan, 76.76 D / Daniel\n%% Silvan Evans, 1865\" — Evans is the 1865 publisher of Hymnau a Thonau, not\n%% the composer) with tools/mid2ly.py (relative-major tonic 10 = B-flat for the\n%% G-natural-minor scale set) and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. 4/4 with a one-beat anacrusis (\\partial 4),\n%% dotted-half finals. MELISMATIC: 56 soprano notes for 52 syllables\n%% (7.6.7.6 D); the four two-note melisma slurs printed in the source are\n%% bes'4.( a'8) closing line 1 (soprano notes 6-7), the unison S/A quaver\n%% anacrusis d'8( c'8) opening line 3 (notes 15-16), and bes'4.( c''8)\n%% mid-way through lines 3 and 7 (notes 21-22 and 48-49); continuations held\n%% with '_' each stanza (verse_variable_melisma). The only accidental is the\n%% raised leading tone fis/fis', printed with a sharp in the source at every\n%% occurrence (soprano bars 7, 11, 15; tenor bars 1, 4 twice, 11, 12, 13);\n%% no Picardy third — the final chord is G minor. mid2ly single-onset\n%% duplication artifacts (a note ending exactly at an inner onset) resolved\n%% from the engraving + MIDI note durations: bass holds g,2 under the tenor\n%% g4. a8 in bars 2/14, bass walks the slurred quaver pairs es8-d8 (bar 5)\n%% and d8-c8 (bar 11) under held tenor quarters, tenor walks bes8-a8 (bar 6)\n%% and g8-a8 (bar 9) over held bass quarters, soprano carries bes'4.( c''8)\n%% over alto f'4 g'4 (bar 6) and alto d'2 (bar 14).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 g'4 a'4 a'4 | bes'4.( a'8) g'4 g'4 |\n  c''4 c''4 bes'4 bes'4 | a'2. d'8( c'8) |\n  g'4 g'4 a'4 a'4 | bes'4.( c''8) d''4 c''4 |\n  bes'4 g'4 a'4 fis'4 | g'2. d''4 |\n  d''4 bes'4 a'4 c''4 | bes'2 a'4 g'4 |\n  fis'4 g'4 c''4 bes'4 | a'2. d'4 |\n  g'4 g'4 a'4 a'4 | bes'4.( c''8) d''4 c''4 |\n  bes'4 g'4 a'4 fis'4 | g'2.\n}\nalto = {\n  d'4 |\n  g'4 d'4 es'4 d'4 | bes4. c'8 d'4 d'4 |\n  c'4 es'4 d'4 d'4 | d'2. d'8 c'8 |\n  bes4 es'4 es'4 f'4 | f'4 g'4 f'4 es'4 |\n  d'4 bes4 es'4 d'4 | d'2. g'4 |\n  f'4 f'4 es'4 c'4 | f'2 f'4 c'4 |\n  d'4 d'4 c'4 d'4 | d'2. d'4 |\n  g'4 d'4 es'4 d'4 | d'2 g'4 g'4 |\n  f'4 es'4 es'4 d'4 | d'2.\n}\ntenor = {\n  d4 |\n  g4 g4 g4 fis4 | g4. a8 bes4 bes4 |\n  g4 g4 g4 g4 | fis2. fis4 |\n  g4 bes4 c'4 c'4 | d'4 bes4 bes8 a8 g4 |\n  f4 g4 c'4 a4 | bes2. bes8 c'8 |\n  d'4 d'4 c'4 g8 a8 | bes2 c'4 g4 |\n  a4 g4 fis4 g4 | g2 fis4 d4 |\n  g4 g4 g4 fis4 | g4. a8 bes4 es'4 |\n  d'4 bes4 c'4 a4 | bes2.\n}\nbass = {\n  d4 |\n  g4 bes,4 c4 d4 | g,2 g4 f4 |\n  es4 c4 g,4 bes,4 | d2. d4 |\n  es4 es8 d8 c4 f4 | d4 es4 bes,4 c4 |\n  d4 es4 c4 d4 | g2. g8 a8 |\n  bes4 bes,4 c4 es4 | d2 f4 es4 |\n  d8 c8 bes,4 a,4 g,4 | d2. d4 |\n  g4 bes,4 c4 d4 | g,2 g4 c4 |\n  d4 es4 c4 d4 | g,2.\n}\n", "preferred": true}]}, "lobe-den-herren": {"slug": "lobe-den-herren", "name": "LOBE DEN HERREN", "meter_label": "14.14.4.7.8", "meter": {"pattern": [14, 14, 4, 7, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Stralsund Gesangbuch, 1665", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "lobe-den-herren-bennett-1863", "provenance": {"layer": "tune", "source": "bennett-1863", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Stralsund Gesangbuch, 1665. Tune pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "lobe_den_herren_115321", "total_instances": 512}}, "harmonization": {"slug": "lobe-den-herren-bennett-1863", "tune": "lobe-den-herren", "music_file": "lobe-den-herren-bennett-1863.ly", "harmonizer": "william-sterndale-bennett", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14, 28, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "bennett-1863", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:261", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Neander 1680, tr. Winkworth 1863; tune Stralsund 1665; setting Bennett 1863. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Praise to the Lord, the Almighty\n%% Imported from Open Hymnal X:261 via tools/abc_import.py\n%% Public domain: Neander 1680, tr. Winkworth 1863; tune Stralsund 1665; setting Bennett 1863. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  g'4 g'4 d''4 b'4. a'8 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'2. g'2. g'4 g'4 d''4 b'4. a'8 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'2. g'2. d''4 d''4 d''4 e''2. b'4. c''8 d''4 d''4. c''8 b'4 a'2. d'4 e'4 fis'4 g'4 a'4 b'4 a'2. g'2.\n}\nalto = {\n  d'4 e'4 d'4 g'4. fis'8 e'4 d'4 c'4 b4 b4 d'4 d'4 d'2. d'2. d'4 e'4 d'4 g'4. fis'8 e'4 d'4 c'4 b4 b4 d'4 d'4 d'2. d'2. g'4 d'4 g'4 g'2. g'4. g'8 fis'4 g'4. e'8 g'4 fis'2. a4 c'4 c'4 d'4 d'4 d'4 e'2( d'8 c'8) b2.\n}\ntenor = {\n  b4 b4 a4 d'4. c'8 b4 b4 g4 g4 g4 fis4 g4 g4( fis8 e8 fis4) b2. b4 b4 a4 d'4. c'8 b4 b4 g4 g4 g4 fis4 g4 g4( fis8 e8 fis4) b2. b4 a4 b4 c'2. d'4. c'8 a4 b4. c'8 d'4 d'2. fis4 g4 a4 g4 fis4 g4 g4( fis8 e8 fis4) g2.\n}\nbass = {\n  g4 e4 fis4 g4. d8 e4 b,4 c4 g,4 e4 d4 g,4 d2. g,2. g4 e4 fis4 g4. d8 e4 b,4 c4 g,4 e4 d4 g,4 d2. g,2. g4 fis4 g4 c2. g4. e8 d4 g,4. a,8 b,4 d2. d4 c4 a,4 b,4 d4 g4 c2( d4) g,2.\n}\n"}, "harmonizations": [{"slug": "lobe-den-herren-bennett-1863", "tune": "lobe-den-herren", "music_file": "lobe-den-herren-bennett-1863.ly", "harmonizer": "william-sterndale-bennett", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14, 28, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "bennett-1863", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:261", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Neander 1680, tr. Winkworth 1863; tune Stralsund 1665; setting Bennett 1863. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Praise to the Lord, the Almighty\n%% Imported from Open Hymnal X:261 via tools/abc_import.py\n%% Public domain: Neander 1680, tr. Winkworth 1863; tune Stralsund 1665; setting Bennett 1863. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  g'4 g'4 d''4 b'4. a'8 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'2. g'2. g'4 g'4 d''4 b'4. a'8 g'4 fis'4 e'4 d'4 e'4 fis'4 g'4 a'2. g'2. d''4 d''4 d''4 e''2. b'4. c''8 d''4 d''4. c''8 b'4 a'2. d'4 e'4 fis'4 g'4 a'4 b'4 a'2. g'2.\n}\nalto = {\n  d'4 e'4 d'4 g'4. fis'8 e'4 d'4 c'4 b4 b4 d'4 d'4 d'2. d'2. d'4 e'4 d'4 g'4. fis'8 e'4 d'4 c'4 b4 b4 d'4 d'4 d'2. d'2. g'4 d'4 g'4 g'2. g'4. g'8 fis'4 g'4. e'8 g'4 fis'2. a4 c'4 c'4 d'4 d'4 d'4 e'2( d'8 c'8) b2.\n}\ntenor = {\n  b4 b4 a4 d'4. c'8 b4 b4 g4 g4 g4 fis4 g4 g4( fis8 e8 fis4) b2. b4 b4 a4 d'4. c'8 b4 b4 g4 g4 g4 fis4 g4 g4( fis8 e8 fis4) b2. b4 a4 b4 c'2. d'4. c'8 a4 b4. c'8 d'4 d'2. fis4 g4 a4 g4 fis4 g4 g4( fis8 e8 fis4) g2.\n}\nbass = {\n  g4 e4 fis4 g4. d8 e4 b,4 c4 g,4 e4 d4 g,4 d2. g,2. g4 e4 fis4 g4. d8 e4 b,4 c4 g,4 e4 d4 g,4 d2. g,2. g4 fis4 g4 c2. g4. e8 d4 g,4. a,8 b,4 d2. d4 c4 a,4 b,4 d4 g4 c2( d4) g,2.\n}\n", "preferred": true}]}, "lower-lights": {"slug": "lower-lights", "name": "LOWER LIGHTS", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "philip-paul-bliss", "composer_date": "1871", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "lower-lights-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for his own words and first published in The Charm: A Collection of Sunday School Music, ed. P. P. Bliss (Chicago: Root & Cady, 1871). Read here from the dated printing in Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main, 1875) — preface leaf engraved \"[COPYRIGHT 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item gospelhymnssacre00blis_0, leaf n68, which credits \"P. P. Bliss.\" (words) and \"P. P. Bliss, by per.\" (music). Collated against a second dated printing in a DIFFERENT typesetting: Gospel Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (1883), no. 65, printed page 65, archive.org gospelhymnsconso00blis_202606, leaf n64. US public domain by publication before 1929. Melody in B-flat, 3/4, one-quarter pickup, 60 soprano noteheads (30 verse + 30 refrain). tools/tune_fingerprint.py finds no corpus melody closer than 0.52 (LAUDA ANIMA), so this is not a duplicate. NEITHER dated page names the tune on the staff — the Gospel Hymns series rarely does — so the name LOWER LIGHTS is the one later hymnals and Hymnary print for it, taken from the chorus; no printed alt_name is recorded on either leaf.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "lower-lights-1875", "tune": "lower-lights", "music_file": "lower-lights-1875.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": 4, "system_breaks": [15, 30, 45], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, read notehead by notehead off the dated page image of Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main, 1875) — the volume whose preface leaf engraves \"[COPYRIGHT 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item gospelhymnssacre00blis_0, leaf n68. Every chord of all four voices was then re-read, end to end, on a DIFFERENT typesetting of the same setting: Gospel Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 65, printed page 65, archive.org item gospelhymnsconso00blis_202606, leaf n64. The two plates are demonstrably independent engravings, though they cast the same four systems: the 1875 underlay hyphenates \"Fa-ther's mer-cy\" where the 1883 sets \"Father's mer- cy\", the 1883 adds a semicolon after \"sea-man\" that the 1875 lacks, and their chord positions within a system differ by up to 2.7 per cent of the system width (measured on the normalised x of all fourteen chords of system 1) — a reprint from one plate could not do any of that. What they do NOT differ in is the notes: they agree at every position: 242 note positions are encoded here (60 soprano, 62 alto, 60 tenor, 60 bass) and NOT ONE of them differs between the two leaves. Both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO Cyber Hymnal asset, no MIDI and no modern hymnal were consulted at any point. HOW THE PITCHES WERE MEASURED. Not by eye. Per staff the five staff lines were re-fitted LOCALLY as a function of x in 48-px blocks (both scans skew), the page binarised against its LOCAL paper level, the staff lines stripped column by column (any dark run no thicker than twice the measured line thickness), hollow half-note heads closed by hole filling, and heads isolated by correlation with an ellipse sized in staff spaces followed by non-maximum suppression at 0.85 staff space — which separates a soprano head stacked over an alto head without midpoint guesswork. Each peak was converted to a diatonic step offset from the LOCAL bottom-line fit and accepted only within 0.15 step of an exact staff position. Staff space measured 28.7 px on the 1875 leaf and 28.3 px on the 1883 leaf (one diatonic step = 14.4 and 14.2 px respectively), both far above the ~12 px floor at which readings stop being trustworthy. WHERE THE PROBE DID NOT REACH, and it is a small list. (a) The four HOLLOW half-note chords — verse \"more,\" and \"shore.\", refrain \"wave!\" and \"save.\" — fell below the ellipse threshold on one or both leaves, so all four were read BY EYE at 3.2-4.5x on BOTH leaves against a drawn staff-line grid; they read F3/A3/f'/c'' for \"more,\" and \"wave!\" and B-flat2/B-flat3/d'/b-flat' for \"shore.\" and \"save.\" on each. (b) The alto's first quarter under the slur at \"more,\" and \"wave!\" measured 0.58-1.08 step above the bottom line depending on the leaf — the slur curving under the head pulls its centroid down and two of those four readings sit outside the 0.15-step tolerance — so that note too was settled by eye on both leaves: f', a full staff space above the alto's e-flat' that follows it. No other reading on either leaf was outside tolerance. THE AUTOMATED FIGURE DOES NOT COVER ACCIDENTALS. A notehead probe reads heads, not the sharps, flats and naturals in front of them, so every accidental was checked SEPARATELY, by eye, at 3-5x magnification, on BOTH leaves. There are exactly four accidental glyphs on the page and all four are in the ALTO: a NATURAL before the alto's e' at the head of verse bar 3 (\"light-house ev-er\", making that bar a C7 into the half cadence on F); a courtesy FLAT before the alto's e-flat' in the second half of verse bar 4 (\"more,\"), cancelling it; and the same pair again in refrain bars 3 and 4 (\"gleam a-cross the\", \"wave!\"). Neither soprano, tenor nor bass carries a single accidental on either leaf. DEPARTURES FROM THE PAGE, stated in full. (1) The two courtesy FLATS are NOT reprinted in the engraving: LilyPond's default accidental style does not restate a key-signature flat in the bar after a cancelled natural and no accidental was forced. The PITCHES are the page's e-flat; only the cautionary glyph is missing. (2) The systems are cast four notes-per-two-poetic-lines as described under system_breaks, which is NOT the plates' break, so that no break falls inside \"ev-er-more\". (3) Nothing else. No note is restruck where the page holds and none is held where the page restrikes; no rest is added or removed (the page prints no rest anywhere); the page's one slur — the alto's two slurred quarters f'-e-flat' under the held half note on \"more,\" and on \"wave!\" — is reproduced and no slur or tie is invented; no voice is octave-shifted; no amen is added (the page prints none). UNISONS ARE THE PAGE'S, not an encoding artefact. Four places print ONE notehead in the lower staff where two voices sound, and both plates print one there: the refrain pickup \"Let the\" and the \"Send a\" figure of refrain bar 2 (tenor and bass both b-flat), and the second note of verse bar 7 and refrain bar 7 (\"a\" of \"a-long\", \"cue,\" of \"res-cue,\") where tenor and bass are both f. The last quarter of verse bar 7 and refrain bar 7 (\"the\" of \"the shore\", \"may\" of \"may save\") puts alto and tenor on the same c' — a ledger note under the treble staff and a ledger note over the bass staff. LilyPond's default collision resolver is left to handle all of them. THE RHYTHM IS NOT SYMMETRICAL and was read off flags and dots, then checked against the proportional chord spacing on both plates. Refrain bars 1 and 3 print a dotted eighth and a sixteenth on their third and fourth notes (\"lights be\", \"cross the\") where verse bars 1 and 3 print two plain eighths (\"Fa-ther's\", \"ev-er\"); bar 7 of both halves prints two eighths before the dotted quarter, the mirror of bar 3. Every distinct figure — the pickup and bars 1, 2, 3 and 7 of both halves; bars 5 and 6 repeat bars 1 and 2 note value for note value — was read off its flags and dots at 2.2-4.5x on the 1875 leaf AND again at 3.6-4.5x on the 1883 leaf, and the two agree everywhere. On the 1875 leaf the chord gaps are 146/84/114 px in refrain bar 1 against 145/114/116 px in verse bar 1, and 86/87/143 px in bar 7; the 1883 leaf agrees once its narrower measures are normalised.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 Gospel Hymns and Sacred Songs page image (archive.org gospelhymnssacre00blis_0, leaf n68), collated end to end against the independently typeset 1883 Consolidated printing (archive.org gospelhymnsconso00blis_202606, leaf n64). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% LOWER LIGHTS (8.7.8.7 with Refrain) — \"Let the Lower Lights Be Burning\"\n%% P. P. Bliss's own four-part setting, key B-flat major, 3/4, one-quarter pickup,\n%% 16 bars (8 verse + 8 refrain, the pickup and the final half note together\n%% making one bar at each end).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York:\n%% Biglow & Main, 1875) — the volume whose preface leaf engraves \"[COPYRIGHT\n%% 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item\n%% gospelhymnssacre00blis_0, leaf n68. Every chord of all four voices was then\n%% re-read, end to end, on a DIFFERENT typesetting of the same setting: Gospel\n%% Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (Biglow & Main / John\n%% Church, 1883), no. 65, printed page 65, archive.org item\n%% gospelhymnsconso00blis_202606, leaf n64. The two dated witnesses agree at\n%% every one of the 60 soprano positions and in all four voices. They cast the\n%% same four systems, but they are demonstrably different engravings: the 1875\n%% underlay hyphenates \"Fa-ther's mer-cy\" where the 1883 sets \"Father's mer- cy\",\n%% the 1883 puts a semicolon after \"sea-man\" that the 1875 lacks, and their chord\n%% positions within a system differ by up to 2.7 per cent of the system width. So\n%% the agreement is not one plate reprinted from the other.\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed). For each staff the five staff\n%% lines were re-fitted LOCALLY as a function of x in 48-px blocks (both scans\n%% skew), the page binarised against its LOCAL paper level, the staff lines\n%% stripped column by column (any run no thicker than twice the measured line\n%% thickness), hollow half-note heads closed by hole filling, and heads located\n%% by correlation with an ellipse sized in staff spaces followed by non-maximum\n%% suppression at 0.85 staff space — which separates a soprano head stacked over\n%% an alto head without any midpoint guesswork. Each peak was converted to a\n%% diatonic step offset from the LOCAL bottom-line fit. Staff space measured\n%% 28.7 px on the 1875 plate and 28.3 px on the 1883 plate (one diatonic step =\n%% 14.4 / 14.2 px), and accepted readings sat within 0.15 step of an exact staff\n%% position. TWO PLACES WERE NOT SETTLED BY THAT PROBE and were read by eye at\n%% 3.2-4.5x on BOTH leaves instead: the four hollow half-note chords (\"more,\",\n%% \"shore.\", \"wave!\", \"save.\") which fell below the ellipse threshold, and the\n%% alto's first quarter under the slur at \"more,\" and \"wave!\", whose centroid the\n%% slur pulls down to 0.58-1.08 step. Everything else read inside tolerance on\n%% both leaves. 242 note positions are encoded here (60 soprano, 62 alto, 60\n%% tenor, 60 bass) and not one of them differs between the two dated leaves.\n%%\n%% ACCIDENTALS WERE NOT COVERED BY THAT MEASUREMENT. A notehead probe reads\n%% heads, not the sharps, flats and naturals in front of them, so every\n%% accidental on both leaves was checked SEPARATELY, by eye, at 3-5x\n%% magnification. There are exactly four accidental glyphs on the page and all\n%% four sit in the ALTO:\n%%   * a NATURAL before the alto's e' at the start of verse bar 3 (\"light-house\n%%     ev-er\"), holding for that whole bar — the bar is a C7 (c/g/e'/bes'-c'')\n%%     leading to the half cadence on F;\n%%   * a courtesy FLAT before the alto's ees' on the second half of verse bar 4\n%%     (\"more,\"), cancelling that natural;\n%%   * the same NATURAL before the alto's e' at the start of refrain bar 3\n%%     (\"gleam a-cross the\"), again a C7;\n%%   * the same courtesy FLAT before the alto's ees' in refrain bar 4 (\"wave!\").\n%% No accidental appears anywhere in the soprano, tenor or bass on either leaf.\n%%\n%% DEPARTURES FROM THE PAGE (declared, and repeated in pd_evidence):\n%%  1. The two courtesy FLATS above are NOT reprinted here. LilyPond's default\n%%     accidental style does not restate a key-signature flat in the bar after a\n%%     cancelled natural, and no accidental was forced. The PITCHES are the\n%%     page's (e-flat); only the cautionary glyph is absent.\n%%  2. The page's SLUR over the alto's two-quarter \"more,\" and \"wave!\" figure is\n%%     kept (see below), but the page draws no other slur or tie anywhere and\n%%     none is added.\n%%  3. Nothing else. No note is restruck where the page holds and none is held\n%%     where the page restrikes; no rest is added or removed (the page prints no\n%%     rest at all); no voice is transposed; no amen is added.\n%%\n%% CLOSE SCORE. The page is a two-staff close score: soprano over alto on the\n%% treble staff and tenor over bass on the bass staff, normally sharing one\n%% stem, so the two voices of a staff share a rhythm. The one exception is the\n%% phrase-end \"more,\" (verse bar 4) and \"wave!\" (refrain bar 4): there the\n%% soprano, tenor and bass hold a HALF note while the ALTO moves f' -> ees' in\n%% two quarters under a printed slur, its stem turned down against the soprano's\n%% up-stem. That is engraved identically on both dated leaves and is reproduced\n%% here exactly.\n%%\n%% UNISONS ARE THE PAGE'S. Four places print ONE notehead in the lower staff\n%% where two voices sound: the refrain pickup \"Let the\" and the \"Send a\" figure\n%% of refrain bar 2 (tenor and bass both bes), and the second note of verse bar\n%% 7 / refrain bar 7 (\"a\" of \"a-long\", \"cue,\" of \"res-cue,\") where tenor and\n%% bass are both f. The treble staff prints a unison c' for alto and tenor on\n%% \"the\" of \"the shore\" / \"may\" of \"may save\" (verse bar 7, refrain bar 7 last\n%% quarter) — the alto's c' is a ledger note under the treble staff and the\n%% tenor's c' a ledger note over the bass staff. Both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% RHYTHM, bar by bar (3/4 throughout; the page's gospel snap is real and was\n%% read off flags and dots at high magnification, then cross-checked against the\n%% horizontal spacing of the chords, which is proportional on both plates):\n%%            VERSE                             REFRAIN\n%%   pickup   8. 16   \"Bright-ly\"               8. 16   \"Let the\"\n%%   bar 1    4. 8 8 8   \"beams our Fa-ther's\"  4. 8 8. 16  \"low-er lights be\"\n%%   bar 2    8 4. 8. 16 \"mer-cy From His\"      8 4. 8. 16  \"burn-ing! Send a\"\n%%   bar 3    4. 8 8 8   \"light-house ev-er\"    4. 8 8. 16  \"gleam a-cross the\"\n%%   bar 4    2 + 8. 16  \"more, But to\"         2 + 8. 16   \"wave! Some poor\"\n%%   bar 5    4. 8 8 8   \"us He gives the\"      4. 8 8 8    \"faint-ing, strug-gling\"\n%%   bar 6    8 4. 8. 16 \"keep-ing Of the\"      8 4. 8. 16  \"sea-man You may\"\n%%   bar 7    8 8 4. 8   \"lights a-long the\"    8 8 4. 8    \"res-cue, you may\"\n%%   bar 8    2          \"shore.\"               2           \"save.\"\n%% Note the two places where the refrain does NOT copy the verse's figure:\n%% refrain bars 1 and 3 print a dotted eighth and a sixteenth on their third and\n%% fourth notes (\"lights be\", \"cross the\") where verse bars 1 and 3 print two\n%% plain eighths (\"Fa-ther's\", \"ev-er\"). The third note of refrain bars 1 and 3\n%% carries an augmentation dot AND a single flag and the fourth carries two\n%% flags, while the third and fourth notes of verse bars 1 and 3 carry a single\n%% flag and no dot. EVERY distinct figure above — the pickup and bars 1, 2, 3 and\n%% 7 of both halves — was read off its flags and dots at 2.2-4.5x on the 1875\n%% leaf AND again at 3.6-4.5x on the 1883 leaf (bars 5 and 6 repeat the figures\n%% of bars 1 and 2 note value for note value). The proportional chord spacing\n%% agrees on both plates as well (1875: 146/84/114 px in refrain bar 1 against\n%% 145/114/116 px in verse bar 1, and 86/87/143 px in bar 7).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8. g'16 |\n  f'4. d''8 c''8 bes'8 |\n  a'8 g'4. g'8. g'16 |\n  c''4. bes'8 a'8 bes'8 |\n  c''2 f'8. g'16 |\n  f'4. bes'8 c''8 d''8 |\n  ees''8 g'4. bes'8. c''16 |\n  d''8 bes'8 c''4. a'8 |\n  bes'2 bes'8. bes'16 |\n  ees''4. ees''8 ees''8. ees''16 |\n  ees''8 d''4. d''8. d''16 |\n  d''4. c''8 g'8. c''16 |\n  c''2 f'8. g'16 |\n  f'4. bes'8 c''8 d''8 |\n  ees''8 g'4. bes'8. c''16 |\n  d''8 bes'8 c''4. a'8 |\n  bes'2\n}\n\nalto = {\n  d'8. ees'16 |\n  d'4. f'8 ees'8 d'8 |\n  f'8 ees'4. ees'8. ees'16 |\n  e'4. e'8 e'8 e'8 |\n  f'4( ees'4) d'8. ees'16 |\n  d'4. d'8 ees'8 f'8 |\n  g'8 ees'4. g'8. g'16 |\n  f'8 d'8 ees'4. c'8 |\n  d'2 d'8. d'16 |\n  g'4. g'8 g'8. g'16 |\n  g'8 f'4. f'8. f'16 |\n  e'4. e'8 e'8. e'16 |\n  f'4( ees'4) d'8. ees'16 |\n  d'4. d'8 ees'8 f'8 |\n  g'8 ees'4. g'8. g'16 |\n  f'8 d'8 ees'4. c'8 |\n  d'2\n}\n\ntenor = {\n  bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. g16 |\n  g4. c'8 c'8 bes8 |\n  a2 bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. bes16 |\n  bes8 f8 a4. c'8 |\n  bes2 bes8. bes16 |\n  bes4. bes8 bes8. bes16 |\n  bes8 bes4. bes8. bes16 |\n  c'4. c'8 c'8. bes16 |\n  a2 bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. bes16 |\n  bes8 f8 a4. c'8 |\n  bes2\n}\n\nbass = {\n  bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  c4. c8 c8 c8 |\n  f2 bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  f8 f8 f4. f8 |\n  bes,2 bes8. bes16 |\n  ees4. ees8 ees8. ees16 |\n  bes,8 bes,4. bes8. bes16 |\n  g4. g8 g8. g16 |\n  f2 bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  f8 f8 f4. f8 |\n  bes,2\n}\n"}, "harmonizations": [{"slug": "lower-lights-1875", "tune": "lower-lights", "music_file": "lower-lights-1875.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": 4, "system_breaks": [15, 30, 45], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, read notehead by notehead off the dated page image of Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main, 1875) — the volume whose preface leaf engraves \"[COPYRIGHT 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item gospelhymnssacre00blis_0, leaf n68. Every chord of all four voices was then re-read, end to end, on a DIFFERENT typesetting of the same setting: Gospel Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 65, printed page 65, archive.org item gospelhymnsconso00blis_202606, leaf n64. The two plates are demonstrably independent engravings, though they cast the same four systems: the 1875 underlay hyphenates \"Fa-ther's mer-cy\" where the 1883 sets \"Father's mer- cy\", the 1883 adds a semicolon after \"sea-man\" that the 1875 lacks, and their chord positions within a system differ by up to 2.7 per cent of the system width (measured on the normalised x of all fourteen chords of system 1) — a reprint from one plate could not do any of that. What they do NOT differ in is the notes: they agree at every position: 242 note positions are encoded here (60 soprano, 62 alto, 60 tenor, 60 bass) and NOT ONE of them differs between the two leaves. Both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO Cyber Hymnal asset, no MIDI and no modern hymnal were consulted at any point. HOW THE PITCHES WERE MEASURED. Not by eye. Per staff the five staff lines were re-fitted LOCALLY as a function of x in 48-px blocks (both scans skew), the page binarised against its LOCAL paper level, the staff lines stripped column by column (any dark run no thicker than twice the measured line thickness), hollow half-note heads closed by hole filling, and heads isolated by correlation with an ellipse sized in staff spaces followed by non-maximum suppression at 0.85 staff space — which separates a soprano head stacked over an alto head without midpoint guesswork. Each peak was converted to a diatonic step offset from the LOCAL bottom-line fit and accepted only within 0.15 step of an exact staff position. Staff space measured 28.7 px on the 1875 leaf and 28.3 px on the 1883 leaf (one diatonic step = 14.4 and 14.2 px respectively), both far above the ~12 px floor at which readings stop being trustworthy. WHERE THE PROBE DID NOT REACH, and it is a small list. (a) The four HOLLOW half-note chords — verse \"more,\" and \"shore.\", refrain \"wave!\" and \"save.\" — fell below the ellipse threshold on one or both leaves, so all four were read BY EYE at 3.2-4.5x on BOTH leaves against a drawn staff-line grid; they read F3/A3/f'/c'' for \"more,\" and \"wave!\" and B-flat2/B-flat3/d'/b-flat' for \"shore.\" and \"save.\" on each. (b) The alto's first quarter under the slur at \"more,\" and \"wave!\" measured 0.58-1.08 step above the bottom line depending on the leaf — the slur curving under the head pulls its centroid down and two of those four readings sit outside the 0.15-step tolerance — so that note too was settled by eye on both leaves: f', a full staff space above the alto's e-flat' that follows it. No other reading on either leaf was outside tolerance. THE AUTOMATED FIGURE DOES NOT COVER ACCIDENTALS. A notehead probe reads heads, not the sharps, flats and naturals in front of them, so every accidental was checked SEPARATELY, by eye, at 3-5x magnification, on BOTH leaves. There are exactly four accidental glyphs on the page and all four are in the ALTO: a NATURAL before the alto's e' at the head of verse bar 3 (\"light-house ev-er\", making that bar a C7 into the half cadence on F); a courtesy FLAT before the alto's e-flat' in the second half of verse bar 4 (\"more,\"), cancelling it; and the same pair again in refrain bars 3 and 4 (\"gleam a-cross the\", \"wave!\"). Neither soprano, tenor nor bass carries a single accidental on either leaf. DEPARTURES FROM THE PAGE, stated in full. (1) The two courtesy FLATS are NOT reprinted in the engraving: LilyPond's default accidental style does not restate a key-signature flat in the bar after a cancelled natural and no accidental was forced. The PITCHES are the page's e-flat; only the cautionary glyph is missing. (2) The systems are cast four notes-per-two-poetic-lines as described under system_breaks, which is NOT the plates' break, so that no break falls inside \"ev-er-more\". (3) Nothing else. No note is restruck where the page holds and none is held where the page restrikes; no rest is added or removed (the page prints no rest anywhere); the page's one slur — the alto's two slurred quarters f'-e-flat' under the held half note on \"more,\" and on \"wave!\" — is reproduced and no slur or tie is invented; no voice is octave-shifted; no amen is added (the page prints none). UNISONS ARE THE PAGE'S, not an encoding artefact. Four places print ONE notehead in the lower staff where two voices sound, and both plates print one there: the refrain pickup \"Let the\" and the \"Send a\" figure of refrain bar 2 (tenor and bass both b-flat), and the second note of verse bar 7 and refrain bar 7 (\"a\" of \"a-long\", \"cue,\" of \"res-cue,\") where tenor and bass are both f. The last quarter of verse bar 7 and refrain bar 7 (\"the\" of \"the shore\", \"may\" of \"may save\") puts alto and tenor on the same c' — a ledger note under the treble staff and a ledger note over the bass staff. LilyPond's default collision resolver is left to handle all of them. THE RHYTHM IS NOT SYMMETRICAL and was read off flags and dots, then checked against the proportional chord spacing on both plates. Refrain bars 1 and 3 print a dotted eighth and a sixteenth on their third and fourth notes (\"lights be\", \"cross the\") where verse bars 1 and 3 print two plain eighths (\"Fa-ther's\", \"ev-er\"); bar 7 of both halves prints two eighths before the dotted quarter, the mirror of bar 3. Every distinct figure — the pickup and bars 1, 2, 3 and 7 of both halves; bars 5 and 6 repeat bars 1 and 2 note value for note value — was read off its flags and dots at 2.2-4.5x on the 1875 leaf AND again at 3.6-4.5x on the 1883 leaf, and the two agree everywhere. On the 1875 leaf the chord gaps are 146/84/114 px in refrain bar 1 against 145/114/116 px in verse bar 1, and 86/87/143 px in bar 7; the 1883 leaf agrees once its narrower measures are normalised.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 Gospel Hymns and Sacred Songs page image (archive.org gospelhymnssacre00blis_0, leaf n68), collated end to end against the independently typeset 1883 Consolidated printing (archive.org gospelhymnsconso00blis_202606, leaf n64). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% LOWER LIGHTS (8.7.8.7 with Refrain) — \"Let the Lower Lights Be Burning\"\n%% P. P. Bliss's own four-part setting, key B-flat major, 3/4, one-quarter pickup,\n%% 16 bars (8 verse + 8 refrain, the pickup and the final half note together\n%% making one bar at each end).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns and Sacred Songs, ed. P. P. Bliss & Ira D. Sankey (New York:\n%% Biglow & Main, 1875) — the volume whose preface leaf engraves \"[COPYRIGHT\n%% 1875, BY BIGLOW & MAIN\" — no. 65, printed page 65, archive.org item\n%% gospelhymnssacre00blis_0, leaf n68. Every chord of all four voices was then\n%% re-read, end to end, on a DIFFERENT typesetting of the same setting: Gospel\n%% Hymns and Sacred Songs, Consolidated Nos. 1 to 4 (Biglow & Main / John\n%% Church, 1883), no. 65, printed page 65, archive.org item\n%% gospelhymnsconso00blis_202606, leaf n64. The two dated witnesses agree at\n%% every one of the 60 soprano positions and in all four voices. They cast the\n%% same four systems, but they are demonstrably different engravings: the 1875\n%% underlay hyphenates \"Fa-ther's mer-cy\" where the 1883 sets \"Father's mer- cy\",\n%% the 1883 puts a semicolon after \"sea-man\" that the 1875 lacks, and their chord\n%% positions within a system differ by up to 2.7 per cent of the system width. So\n%% the agreement is not one plate reprinted from the other.\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed). For each staff the five staff\n%% lines were re-fitted LOCALLY as a function of x in 48-px blocks (both scans\n%% skew), the page binarised against its LOCAL paper level, the staff lines\n%% stripped column by column (any run no thicker than twice the measured line\n%% thickness), hollow half-note heads closed by hole filling, and heads located\n%% by correlation with an ellipse sized in staff spaces followed by non-maximum\n%% suppression at 0.85 staff space — which separates a soprano head stacked over\n%% an alto head without any midpoint guesswork. Each peak was converted to a\n%% diatonic step offset from the LOCAL bottom-line fit. Staff space measured\n%% 28.7 px on the 1875 plate and 28.3 px on the 1883 plate (one diatonic step =\n%% 14.4 / 14.2 px), and accepted readings sat within 0.15 step of an exact staff\n%% position. TWO PLACES WERE NOT SETTLED BY THAT PROBE and were read by eye at\n%% 3.2-4.5x on BOTH leaves instead: the four hollow half-note chords (\"more,\",\n%% \"shore.\", \"wave!\", \"save.\") which fell below the ellipse threshold, and the\n%% alto's first quarter under the slur at \"more,\" and \"wave!\", whose centroid the\n%% slur pulls down to 0.58-1.08 step. Everything else read inside tolerance on\n%% both leaves. 242 note positions are encoded here (60 soprano, 62 alto, 60\n%% tenor, 60 bass) and not one of them differs between the two dated leaves.\n%%\n%% ACCIDENTALS WERE NOT COVERED BY THAT MEASUREMENT. A notehead probe reads\n%% heads, not the sharps, flats and naturals in front of them, so every\n%% accidental on both leaves was checked SEPARATELY, by eye, at 3-5x\n%% magnification. There are exactly four accidental glyphs on the page and all\n%% four sit in the ALTO:\n%%   * a NATURAL before the alto's e' at the start of verse bar 3 (\"light-house\n%%     ev-er\"), holding for that whole bar — the bar is a C7 (c/g/e'/bes'-c'')\n%%     leading to the half cadence on F;\n%%   * a courtesy FLAT before the alto's ees' on the second half of verse bar 4\n%%     (\"more,\"), cancelling that natural;\n%%   * the same NATURAL before the alto's e' at the start of refrain bar 3\n%%     (\"gleam a-cross the\"), again a C7;\n%%   * the same courtesy FLAT before the alto's ees' in refrain bar 4 (\"wave!\").\n%% No accidental appears anywhere in the soprano, tenor or bass on either leaf.\n%%\n%% DEPARTURES FROM THE PAGE (declared, and repeated in pd_evidence):\n%%  1. The two courtesy FLATS above are NOT reprinted here. LilyPond's default\n%%     accidental style does not restate a key-signature flat in the bar after a\n%%     cancelled natural, and no accidental was forced. The PITCHES are the\n%%     page's (e-flat); only the cautionary glyph is absent.\n%%  2. The page's SLUR over the alto's two-quarter \"more,\" and \"wave!\" figure is\n%%     kept (see below), but the page draws no other slur or tie anywhere and\n%%     none is added.\n%%  3. Nothing else. No note is restruck where the page holds and none is held\n%%     where the page restrikes; no rest is added or removed (the page prints no\n%%     rest at all); no voice is transposed; no amen is added.\n%%\n%% CLOSE SCORE. The page is a two-staff close score: soprano over alto on the\n%% treble staff and tenor over bass on the bass staff, normally sharing one\n%% stem, so the two voices of a staff share a rhythm. The one exception is the\n%% phrase-end \"more,\" (verse bar 4) and \"wave!\" (refrain bar 4): there the\n%% soprano, tenor and bass hold a HALF note while the ALTO moves f' -> ees' in\n%% two quarters under a printed slur, its stem turned down against the soprano's\n%% up-stem. That is engraved identically on both dated leaves and is reproduced\n%% here exactly.\n%%\n%% UNISONS ARE THE PAGE'S. Four places print ONE notehead in the lower staff\n%% where two voices sound: the refrain pickup \"Let the\" and the \"Send a\" figure\n%% of refrain bar 2 (tenor and bass both bes), and the second note of verse bar\n%% 7 / refrain bar 7 (\"a\" of \"a-long\", \"cue,\" of \"res-cue,\") where tenor and\n%% bass are both f. The treble staff prints a unison c' for alto and tenor on\n%% \"the\" of \"the shore\" / \"may\" of \"may save\" (verse bar 7, refrain bar 7 last\n%% quarter) — the alto's c' is a ledger note under the treble staff and the\n%% tenor's c' a ledger note over the bass staff. Both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% RHYTHM, bar by bar (3/4 throughout; the page's gospel snap is real and was\n%% read off flags and dots at high magnification, then cross-checked against the\n%% horizontal spacing of the chords, which is proportional on both plates):\n%%            VERSE                             REFRAIN\n%%   pickup   8. 16   \"Bright-ly\"               8. 16   \"Let the\"\n%%   bar 1    4. 8 8 8   \"beams our Fa-ther's\"  4. 8 8. 16  \"low-er lights be\"\n%%   bar 2    8 4. 8. 16 \"mer-cy From His\"      8 4. 8. 16  \"burn-ing! Send a\"\n%%   bar 3    4. 8 8 8   \"light-house ev-er\"    4. 8 8. 16  \"gleam a-cross the\"\n%%   bar 4    2 + 8. 16  \"more, But to\"         2 + 8. 16   \"wave! Some poor\"\n%%   bar 5    4. 8 8 8   \"us He gives the\"      4. 8 8 8    \"faint-ing, strug-gling\"\n%%   bar 6    8 4. 8. 16 \"keep-ing Of the\"      8 4. 8. 16  \"sea-man You may\"\n%%   bar 7    8 8 4. 8   \"lights a-long the\"    8 8 4. 8    \"res-cue, you may\"\n%%   bar 8    2          \"shore.\"               2           \"save.\"\n%% Note the two places where the refrain does NOT copy the verse's figure:\n%% refrain bars 1 and 3 print a dotted eighth and a sixteenth on their third and\n%% fourth notes (\"lights be\", \"cross the\") where verse bars 1 and 3 print two\n%% plain eighths (\"Fa-ther's\", \"ev-er\"). The third note of refrain bars 1 and 3\n%% carries an augmentation dot AND a single flag and the fourth carries two\n%% flags, while the third and fourth notes of verse bars 1 and 3 carry a single\n%% flag and no dot. EVERY distinct figure above — the pickup and bars 1, 2, 3 and\n%% 7 of both halves — was read off its flags and dots at 2.2-4.5x on the 1875\n%% leaf AND again at 3.6-4.5x on the 1883 leaf (bars 5 and 6 repeat the figures\n%% of bars 1 and 2 note value for note value). The proportional chord spacing\n%% agrees on both plates as well (1875: 146/84/114 px in refrain bar 1 against\n%% 145/114/116 px in verse bar 1, and 86/87/143 px in bar 7).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8. g'16 |\n  f'4. d''8 c''8 bes'8 |\n  a'8 g'4. g'8. g'16 |\n  c''4. bes'8 a'8 bes'8 |\n  c''2 f'8. g'16 |\n  f'4. bes'8 c''8 d''8 |\n  ees''8 g'4. bes'8. c''16 |\n  d''8 bes'8 c''4. a'8 |\n  bes'2 bes'8. bes'16 |\n  ees''4. ees''8 ees''8. ees''16 |\n  ees''8 d''4. d''8. d''16 |\n  d''4. c''8 g'8. c''16 |\n  c''2 f'8. g'16 |\n  f'4. bes'8 c''8 d''8 |\n  ees''8 g'4. bes'8. c''16 |\n  d''8 bes'8 c''4. a'8 |\n  bes'2\n}\n\nalto = {\n  d'8. ees'16 |\n  d'4. f'8 ees'8 d'8 |\n  f'8 ees'4. ees'8. ees'16 |\n  e'4. e'8 e'8 e'8 |\n  f'4( ees'4) d'8. ees'16 |\n  d'4. d'8 ees'8 f'8 |\n  g'8 ees'4. g'8. g'16 |\n  f'8 d'8 ees'4. c'8 |\n  d'2 d'8. d'16 |\n  g'4. g'8 g'8. g'16 |\n  g'8 f'4. f'8. f'16 |\n  e'4. e'8 e'8. e'16 |\n  f'4( ees'4) d'8. ees'16 |\n  d'4. d'8 ees'8 f'8 |\n  g'8 ees'4. g'8. g'16 |\n  f'8 d'8 ees'4. c'8 |\n  d'2\n}\n\ntenor = {\n  bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. g16 |\n  g4. c'8 c'8 bes8 |\n  a2 bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. bes16 |\n  bes8 f8 a4. c'8 |\n  bes2 bes8. bes16 |\n  bes4. bes8 bes8. bes16 |\n  bes8 bes4. bes8. bes16 |\n  c'4. c'8 c'8. bes16 |\n  a2 bes8. bes16 |\n  bes4. bes8 bes8 bes8 |\n  bes8 bes4. bes8. bes16 |\n  bes8 f8 a4. c'8 |\n  bes2\n}\n\nbass = {\n  bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  c4. c8 c8 c8 |\n  f2 bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  f8 f8 f4. f8 |\n  bes,2 bes8. bes16 |\n  ees4. ees8 ees8. ees16 |\n  bes,8 bes,4. bes8. bes16 |\n  g4. g8 g8. g16 |\n  f2 bes,8. bes,16 |\n  bes,4. bes,8 bes,8 bes,8 |\n  ees8 ees4. ees8. ees16 |\n  f8 f8 f4. f8 |\n  bes,2\n}\n", "preferred": true}]}, "luthers-hymn": {"slug": "luthers-hymn", "name": "LUTHER'S HYMN", "alt_name": "NUN FREUT EUCH", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "martin-luther", "composer_date": "1535", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "luthers-hymn-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LUTHER'S HYMN (NUN FREUT EUCH), the tune of Martin Luther's 1535 chorale \"Nun freut euch, lieben Christen g'mein,\" here in the standard English pairing with \"Great God, what do I see and hear.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, one sharp; the source prints 4/4 but every phrase is 18 quarter-beats, so — like OLD 124TH / OLD 113TH — this Reformation rhythmic chorale is set free-meter with barlines at the four phrase cadences). The soprano is fully syllabic (53 notes = 53 syllables, 8.7.8.7.8.8.7); the one chromatic is the alto D-sharp (raised leading tone) at the third-phrase B-major cadence, printed with a sharp in the source and carried as dis'. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Luther's Hymn\" / \"Nun freut euch\" (attr. Martin Luther, 1535); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "luthers-hymn-cyberhymnal", "tune": "luthers-hymn", "music_file": "luthers-hymn-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15, 30, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [15, 30, 46], "refrain": null, "source_line": "LUTHER'S HYMN (NUN FREUT EUCH), attr. Martin Luther, 1535. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LUTHER'S HYMN (NUN FREUT EUCH; attr. Martin Luther, 1535); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major). The soprano agreed note-for-note and is fully syllabic (53 notes = 53 syllables); the alto D-sharp at the third-phrase cadence is printed with a sharp in the source and carried as dis'. A free-meter rhythmic chorale (the source prints 4/4 but each phrase is 18 quarter-beats) — barlines fall at the four phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun freut euch\" (attr. Martin Luther, 1535); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LUTHER'S HYMN (NUN FREUT EUCH, 8.7.8.7.8.8.7) — four SATB voice streams, canonical\n%% key G major. Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun freut euch,\" attr. Martin Luther,\n%% 1535) with tools/mid2ly.py and verified against the Cyber Hymnal engraving. The\n%% soprano is fully SYLLABIC (53 notes = 53 syllables). A FREE-METER Reformation\n%% rhythmic chorale: the source prints 4/4 but each phrase is 18 quarter-beats (not a\n%% multiple of 4), so barlines fall at the four phrase cadences (like OLD 124TH). The\n%% one chromatic is the alto D-sharp (raised leading tone) at the third-phrase\n%% B-major cadence, printed with a sharp in the source (dis').\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'4 g'4 b'4 c''4 d''4 b'4 g'2 g'2. | g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'4 g'4 b'4 c''4 d''4 b'4 a'2 g'2. | g'4 c''4 b'4 a'4 g'4 fis'4 g'4 a'4 b'4 g'4 fis'4 g'4 d'4 g'4 a'4 b'2. | g'4 b'4 c''4 d''4 b'4 a'2 g'1\n}\nalto = {\n  d'4 e'4 g'4 d'8 c'8 g'4 g'4 fis'4 g'4 d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'2. | d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'4 d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'2. | e'4 e'8 fis'8 g'4 fis'4 e'4 dis'4 e'4 fis'4 g'4 d'4 d'4 d'4 d'4 b4 e'4 dis'2. | b8 e'8 fis'4 e'4 d'4 g'4 e'4 d'8 c'8 b1\n}\ntenor = {\n  b4 g4 d'4 d'4 b4 e'4 d'4 d'4 b4 g4 g4 a4 g4 e'4 d'8 c'8 b2. | b4 g4 d'4 d'4 b4 e'4 d'4 d'4 b4 g4 g4 a4 g4 e'4 d'8 c'8 b2. | d'4 c'4 d'4 d'4 b4 b4 b4 d'4 d'4 d'4 c'4 b4 b8 a8 g4 e4 fis2. | g4 fis4 g4 d'4 e'4 g4 fis4 g1\n}\nbass = {\n  g,4 b,4 g,4 d4 e4 c4 d4 g4 g,4 g4 e4 d4 e4 c4 d4 g,2. | g,4 b,4 g,4 d4 e4 c4 d4 g4 g,4 g4 e4 d4 e4 c4 d4 g,2. | g4 a4 g4 d4 e4 b,4 e4 d4 g4 b4 a4 g4 g8 fis8 e8 d8 c4 b,2. | e4 d4 c4 b,4 e8 d8 c4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "luthers-hymn-cyberhymnal", "tune": "luthers-hymn", "music_file": "luthers-hymn-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15, 30, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [15, 30, 46], "refrain": null, "source_line": "LUTHER'S HYMN (NUN FREUT EUCH), attr. Martin Luther, 1535. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LUTHER'S HYMN (NUN FREUT EUCH; attr. Martin Luther, 1535); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major). The soprano agreed note-for-note and is fully syllabic (53 notes = 53 syllables); the alto D-sharp at the third-phrase cadence is printed with a sharp in the source and carried as dis'. A free-meter rhythmic chorale (the source prints 4/4 but each phrase is 18 quarter-beats) — barlines fall at the four phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun freut euch\" (attr. Martin Luther, 1535); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LUTHER'S HYMN (NUN FREUT EUCH, 8.7.8.7.8.8.7) — four SATB voice streams, canonical\n%% key G major. Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun freut euch,\" attr. Martin Luther,\n%% 1535) with tools/mid2ly.py and verified against the Cyber Hymnal engraving. The\n%% soprano is fully SYLLABIC (53 notes = 53 syllables). A FREE-METER Reformation\n%% rhythmic chorale: the source prints 4/4 but each phrase is 18 quarter-beats (not a\n%% multiple of 4), so barlines fall at the four phrase cadences (like OLD 124TH). The\n%% one chromatic is the alto D-sharp (raised leading tone) at the third-phrase\n%% B-major cadence, printed with a sharp in the source (dis').\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'4 g'4 b'4 c''4 d''4 b'4 g'2 g'2. | g'4 g'4 b'4 a'4 g'4 a'4 a'4 b'4 g'4 b'4 c''4 d''4 b'4 a'2 g'2. | g'4 c''4 b'4 a'4 g'4 fis'4 g'4 a'4 b'4 g'4 fis'4 g'4 d'4 g'4 a'4 b'2. | g'4 b'4 c''4 d''4 b'4 a'2 g'1\n}\nalto = {\n  d'4 e'4 g'4 d'8 c'8 g'4 g'4 fis'4 g'4 d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'2. | d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'4 d'4 d'4 g'4 fis'4 g'4 g'4 fis'4 g'2. | e'4 e'8 fis'8 g'4 fis'4 e'4 dis'4 e'4 fis'4 g'4 d'4 d'4 d'4 d'4 b4 e'4 dis'2. | b8 e'8 fis'4 e'4 d'4 g'4 e'4 d'8 c'8 b1\n}\ntenor = {\n  b4 g4 d'4 d'4 b4 e'4 d'4 d'4 b4 g4 g4 a4 g4 e'4 d'8 c'8 b2. | b4 g4 d'4 d'4 b4 e'4 d'4 d'4 b4 g4 g4 a4 g4 e'4 d'8 c'8 b2. | d'4 c'4 d'4 d'4 b4 b4 b4 d'4 d'4 d'4 c'4 b4 b8 a8 g4 e4 fis2. | g4 fis4 g4 d'4 e'4 g4 fis4 g1\n}\nbass = {\n  g,4 b,4 g,4 d4 e4 c4 d4 g4 g,4 g4 e4 d4 e4 c4 d4 g,2. | g,4 b,4 g,4 d4 e4 c4 d4 g4 g,4 g4 e4 d4 e4 c4 d4 g,2. | g4 a4 g4 d4 e4 b,4 e4 d4 g4 b4 a4 g4 g8 fis8 e8 d8 c4 b,2. | e4 d4 c4 b,4 e8 d8 c4 d4 g,1\n}\n", "preferred": true}]}, "lyons": {"slug": "lyons", "name": "LYONS", "meter_label": "10.10.11.11", "meter": {"pattern": [10, 10, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-michael-haydn", "composer_date": "1815", "arranger": "william-gardiner", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "lyons-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "LYONS (10.10.11.11), a hymn tune attributed to Johann Michael Haydn (1737-1806), arranged by William Gardiner in Sacred Melodies (London, 1815) and long used for Robert Grant's \"O worship the King.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4, quarter-note pickup, half-note final; melismatic, 46 soprano notes for 42 syllables, with descending two-note eighth-melisma slurs at the openings and midpoints of phrases 2 and 4). The one non-scale tone, an alto C-sharp at the third-phrase cadence, is printed with a sharp in the source and carried as cis'. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lyons\" (attr. Johann Michael Haydn, arr. William Gardiner, 1815); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "lyons-cyberhymnal", "tune": "lyons", "music_file": "lyons-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LYONS, attr. Johann Michael Haydn, arr. William Gardiner (Sacred Melodies, London, 1815). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LYONS (attr. Johann Michael Haydn, 1737-1806; arr. William Gardiner, Sacred Melodies, London, 1815); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4 with a quarter-note pickup; melismatic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lyons\" (attr. J. M. Haydn, arr. Gardiner); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LYONS (10.10.11.11) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Lyons\", attributed to Johann Michael\n%% Haydn, arranged by William Gardiner, 1815) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 3/4 with a quarter-note pickup (\\partial 4)\n%% and a half-note final. MELISMATIC: 46 soprano notes for 42 syllables\n%% (10.10.11.11) — the descending two-note eighth figures opening and falling\n%% mid-way through phrases 2 and 4 are melisma slurs (soprano notes 11-12, 18-19,\n%% 34-35, 42-43). The alto C-sharp at the third-phrase cadence is the one non-scale\n%% tone, printed with a sharp in the source and carried as cis'.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 | g'4 g'4 a'4 | b'2 g'4 | c''4 c''4 b'4 | a'2 d'8( c'8) | g'4 g'4 a'4 |\n  b'2 c''4 | d''8( c''8) b'4 a'4 | g'2 d'4 | d'4 d'4 e'4 | fis'4 fis'4 g'4 |\n  a'4 a'4 b'4 | c''2 d'8( c'8) | g'4 g'4 a'4 | b'4 b'4 c''4 |\n  d''8( c''8) b'4 a'4 | g'2\n}\nalto = {\n  b4 | d'4 d'4 d'4 | d'2 d'4 | c'4 d'4 d'4 | d'2 d'8 c'8 | b4 d'4 d'4 |\n  d'2 e'4 | d'8 e'8 d'4 c'4 | b2 d'4 | d'4 d'4 cis'4 | c'4 c'4 b4 |\n  a4 d'4 g'4 | fis'2 d'8 c'8 | b4 d'4 d'4 | d'4 d'4 e'4 |\n  d'8 e'8 d'4 c'4 | b2\n}\ntenor = {\n  g4 | b4 g4 fis4 | g2 g4 | g4 a4 g4 | fis2 fis4 | g4 g4 fis4 |\n  g2 g4 | g8 c8 g4 fis4 | g2 fis4 | fis4 fis4 g4 | a4 a4 g4 |\n  fis4 fis4 g4 | a2 fis4 | g4 g4 fis4 | g4 g4 g4 |\n  g8 c8 g4 fis4 | g2\n}\nbass = {\n  g,4 | g,4 b,4 d4 | g2 b,4 | e4 fis4 g4 | d2 d4 | g,4 b,4 d4 |\n  g2 e4 | b,8 c8 d4 d4 | g,2 d4 | d4 d4 d4 | d4 d4 d4 |\n  d4 d4 d4 | d2 d4 | g,4 b,4 d4 | g4 g4 e4 |\n  b,8 c8 d4 d4 | g,2\n}\n"}, "harmonizations": [{"slug": "lyons-cyberhymnal", "tune": "lyons", "music_file": "lyons-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "LYONS, attr. Johann Michael Haydn, arr. William Gardiner (Sacred Melodies, London, 1815). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune LYONS (attr. Johann Michael Haydn, 1737-1806; arr. William Gardiner, Sacred Melodies, London, 1815); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/4 with a quarter-note pickup; melismatic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Lyons\" (attr. J. M. Haydn, arr. Gardiner); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% LYONS (10.10.11.11) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Lyons\", attributed to Johann Michael\n%% Haydn, arranged by William Gardiner, 1815) with tools/mid2ly.py and verified\n%% against the Cyber Hymnal engraving. 3/4 with a quarter-note pickup (\\partial 4)\n%% and a half-note final. MELISMATIC: 46 soprano notes for 42 syllables\n%% (10.10.11.11) — the descending two-note eighth figures opening and falling\n%% mid-way through phrases 2 and 4 are melisma slurs (soprano notes 11-12, 18-19,\n%% 34-35, 42-43). The alto C-sharp at the third-phrase cadence is the one non-scale\n%% tone, printed with a sharp in the source and carried as cis'.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 | g'4 g'4 a'4 | b'2 g'4 | c''4 c''4 b'4 | a'2 d'8( c'8) | g'4 g'4 a'4 |\n  b'2 c''4 | d''8( c''8) b'4 a'4 | g'2 d'4 | d'4 d'4 e'4 | fis'4 fis'4 g'4 |\n  a'4 a'4 b'4 | c''2 d'8( c'8) | g'4 g'4 a'4 | b'4 b'4 c''4 |\n  d''8( c''8) b'4 a'4 | g'2\n}\nalto = {\n  b4 | d'4 d'4 d'4 | d'2 d'4 | c'4 d'4 d'4 | d'2 d'8 c'8 | b4 d'4 d'4 |\n  d'2 e'4 | d'8 e'8 d'4 c'4 | b2 d'4 | d'4 d'4 cis'4 | c'4 c'4 b4 |\n  a4 d'4 g'4 | fis'2 d'8 c'8 | b4 d'4 d'4 | d'4 d'4 e'4 |\n  d'8 e'8 d'4 c'4 | b2\n}\ntenor = {\n  g4 | b4 g4 fis4 | g2 g4 | g4 a4 g4 | fis2 fis4 | g4 g4 fis4 |\n  g2 g4 | g8 c8 g4 fis4 | g2 fis4 | fis4 fis4 g4 | a4 a4 g4 |\n  fis4 fis4 g4 | a2 fis4 | g4 g4 fis4 | g4 g4 g4 |\n  g8 c8 g4 fis4 | g2\n}\nbass = {\n  g,4 | g,4 b,4 d4 | g2 b,4 | e4 fis4 g4 | d2 d4 | g,4 b,4 d4 |\n  g2 e4 | b,8 c8 d4 d4 | g,2 d4 | d4 d4 d4 | d4 d4 d4 |\n  d4 d4 d4 | d2 d4 | g,4 b,4 d4 | g4 g4 e4 |\n  b,8 c8 d4 d4 | g,2\n}\n", "preferred": true}]}, "macht-hoch-die-tur-lemke": {"slug": "macht-hoch-die-tur-lemke", "name": "MACHT HOCH DIE TÜR (LEMKE)", "meter_label": "8.8.8.8.8.8.6.6", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "august-lemke", "composer_date": "1849", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "macht-hoch-die-tur-lemke-oh36", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:36 (line 1933); Words Georg Weissel 1642, tr. Catherine Winkworth 1855, Music August Lemke 1849, setting \"Concordia Kinderchöre\" 1908; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "macht-hoch-die-tur-lemke-oh36", "tune": "macht-hoch-die-tur-lemke", "music_file": "macht-hoch-die-tur-lemke-oh36.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 29, 37, 45, 55, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:36 (line 1933); Words Georg Weissel 1642, tr. Catherine Winkworth 1855, Music August Lemke 1849, setting \"Concordia Kinderchöre\" 1908; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:36 (line 1933)", "encoding_license": "PD-dedication"}, "music_ly": "%% Lift Up Your Heads, Ye Mighty Gates\n%% Imported from Open Hymnal ABC X:36 (line 1933) via tools/abc_import.py\n%% Words: Georg Weissel, 1642, tr. Catherine Winkworth, 1855; Music: August Lemke, 1849; setting \"Concordia Kinderchöre\", 1908. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'4 cis''2 a'4 a'4( gis'4) a'4 b'2 gis'4 e'2 e'4 e'4( fis'4) gis'4 a'2 fis'4 e'2 d'4 cis'2 cis'4 e'4( a'4) cis''4 b'4( gis'4) e'4 a'4( fis'4) dis'4 e'2 e'4 a'2 b'4 cis''2 a'4 gis'2 fis'4 e'2 a'4 gis'2 b'4 a'2 cis''4 b'2 d''4 cis''2 e'4 d''4( cis''4) b'4 a'4( gis'4) fis'4 e'2 e'4 e'2 e''4 e''2 cis''4 d''2 e''4 cis''2 e'4 fis'4( d''4) b'4 a'2 gis'4 a'2\n}\nalto = {\n  e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 b4 b2 e'4 e'2 d'4 cis'2 b4 a2 a4 cis'4( e'4) e'4 e'2 b4 cis'2 b4 b2 cis'4 cis'2 e'4 e'2 fis'4 e'2 dis'4 b2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 d'4 cis'2 b4 cis'2 e'4 e'2 e'4 fis'2 e'4 e'2 cis'4 d'4( fis'4) fis'4 e'2 e'8 d'8 cis'2\n}\ntenor = {\n  gis4 a2 cis'4 a4( b4) cis'4 b2 b4 gis2 gis4 gis4( a4) b4 a2 a4 a2 gis4 e2 e4 a2 a4 b2 gis4 fis4( a4) fis4 gis2 gis4 fis2 gis4 a2 cis'4 b2 b8 a8 gis2 cis'4 b2 gis4 a2 a4 b2 b4 a2 gis4 b4( a4) gis4 a2 a4 a2 gis4 a2 cis'4 b2 a4 a2 b4 a2 a4 a4( b4) b4 cis'2 b4 a2\n}\nbass = {\n  e4 a,2 a,4 cis4( b,4) a,4 gis,2 b,4 e2 e4 e4( dis4) d4 cis2 d4 e2 e4 a,2 a,4 a,4( cis4) a,4 gis,2 gis,4 a,2 b,4 e2 cis4 fis,2 e,4 a,2 fis,4 b,2 b,4 e2 a,4 e2 d4 cis2 a,4 gis,2 gis,4 a,2 e4 gis,4( a,4) b,4 cis2 d4 e2 e4 a,2 a4 gis2 a4 fis2 gis4 a2 a,4 d4( b,4) d4 e2 e4 a,2\n}\n"}, "harmonizations": [{"slug": "macht-hoch-die-tur-lemke-oh36", "tune": "macht-hoch-die-tur-lemke", "music_file": "macht-hoch-die-tur-lemke-oh36.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 29, 37, 45, 55, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:36 (line 1933); Words Georg Weissel 1642, tr. Catherine Winkworth 1855, Music August Lemke 1849, setting \"Concordia Kinderchöre\" 1908; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:36 (line 1933)", "encoding_license": "PD-dedication"}, "music_ly": "%% Lift Up Your Heads, Ye Mighty Gates\n%% Imported from Open Hymnal ABC X:36 (line 1933) via tools/abc_import.py\n%% Words: Georg Weissel, 1642, tr. Catherine Winkworth, 1855; Music: August Lemke, 1849; setting \"Concordia Kinderchöre\", 1908. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'4 cis''2 a'4 a'4( gis'4) a'4 b'2 gis'4 e'2 e'4 e'4( fis'4) gis'4 a'2 fis'4 e'2 d'4 cis'2 cis'4 e'4( a'4) cis''4 b'4( gis'4) e'4 a'4( fis'4) dis'4 e'2 e'4 a'2 b'4 cis''2 a'4 gis'2 fis'4 e'2 a'4 gis'2 b'4 a'2 cis''4 b'2 d''4 cis''2 e'4 d''4( cis''4) b'4 a'4( gis'4) fis'4 e'2 e'4 e'2 e''4 e''2 cis''4 d''2 e''4 cis''2 e'4 fis'4( d''4) b'4 a'2 gis'4 a'2\n}\nalto = {\n  e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 b4 b2 e'4 e'2 d'4 cis'2 b4 a2 a4 cis'4( e'4) e'4 e'2 b4 cis'2 b4 b2 cis'4 cis'2 e'4 e'2 fis'4 e'2 dis'4 b2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 e'4 e'2 d'4 cis'2 b4 cis'2 e'4 e'2 e'4 fis'2 e'4 e'2 cis'4 d'4( fis'4) fis'4 e'2 e'8 d'8 cis'2\n}\ntenor = {\n  gis4 a2 cis'4 a4( b4) cis'4 b2 b4 gis2 gis4 gis4( a4) b4 a2 a4 a2 gis4 e2 e4 a2 a4 b2 gis4 fis4( a4) fis4 gis2 gis4 fis2 gis4 a2 cis'4 b2 b8 a8 gis2 cis'4 b2 gis4 a2 a4 b2 b4 a2 gis4 b4( a4) gis4 a2 a4 a2 gis4 a2 cis'4 b2 a4 a2 b4 a2 a4 a4( b4) b4 cis'2 b4 a2\n}\nbass = {\n  e4 a,2 a,4 cis4( b,4) a,4 gis,2 b,4 e2 e4 e4( dis4) d4 cis2 d4 e2 e4 a,2 a,4 a,4( cis4) a,4 gis,2 gis,4 a,2 b,4 e2 cis4 fis,2 e,4 a,2 fis,4 b,2 b,4 e2 a,4 e2 d4 cis2 a,4 gis,2 gis,4 a,2 e4 gis,4( a,4) b,4 cis2 d4 e2 e4 a,2 a4 gis2 a4 fis2 gis4 a2 a,4 d4( b,4) d4 e2 e4 a,2\n}\n", "preferred": true}]}, "manoah": {"slug": "manoah", "name": "MANOAH", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Arranged from Gioachino Rossini, 1851", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "manoah-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MANOAH, a common-meter tune arranged from a melody of Gioachino Rossini (1792–1868), first published in Henry W. Greatorex's Collection of Psalm and Hymn Tunes (1851). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and engraving; melody verified against the hymnary.org tune incipit (12321 77662 34321) and the Cyber Hymnal engraving (G major, 3/4, quarter-note anacrusis). Three ornamental melismas at soprano notes 2/11/26. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Manoah\" (arr. from Gioachino Rossini, 1851; Greatorex's Collection); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "manoah-cyberhymnal", "tune": "manoah", "music_file": "manoah-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MANOAH, arr. from Gioachino Rossini, 1851 (Greatorex's Collection). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MANOAH (arr. from Gioachino Rossini 1792–1868, first published in Greatorex's Collection, 1851). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and engraving; melody verified against the hymnary.org tune incipit (12321 77662 34321) and the engraving (G major, 3/4, quarter-note anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Manoah\" (arr. from Gioachino Rossini, 1851); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% MANOAH (C.M.) — four SATB voice streams, canonical key G major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Manoah\", arr. from Gioachino Rossini\n% 1851) and verified against the hymnary.org tune incipit (12321 77662 34321) and\n% the Cyber Hymnal engraving (G major, 3/4, quarter-note anacrusis \\partial 4).\n% The CH MIDI's durations are unreliable at cadences/passing tones (it heals a\n% phrase-end soprano G to a half where the engraving holds it a dotted-half over an\n% alto D passing tone) — corrected from the engraving. MELISMATIC: 31 soprano notes\n% for 28 C.M. syllables; three ornamental melismas (slurred, engraving slurs\n% confirmed) at held soprano notes [2, 11, 26] — each the first syllable of its line.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  g'8( a'8) b'2 a'4 g'2 fis'4 fis'2 e'4 e'2 a'8( b'8) c''2 b'4 a'2 g'4 g'2. fis'2 d'4 b'2 a'4 c''2 b'4 e''2 b'4 d''4( c''4) a'4 g'2. b'2 a'4 g'2.\n}\nalto = {\n  g'8 a'8 g'2 e'4 e'2 d'4 c'2 c'4 c'2 e'4 e'2 e'4 e'2 e'4 d'2. d'2 c'4 b4 d'4 c'4 e'2 d'4 e'2 e'4 e'2 e'4 d'2 d'4 g'2 d'4 d'2.\n}\ntenor = {\n  b8 c'8 d'2 c'4 b2 g4 g2 g4 g2 e8 gis8 a2 gis4 a2 ais4 b2. a2 fis4 g2 g4 g2 g4 g2 gis4 a2 a4 b2 b4 d'2 c'4 b2.\n}\nbass = {\n  g4 g2 g4 e2 b,4 c2 c4 c2 c8 b,8 a,2 b,4 c2 cis4 d2. d2 d4 g,2 g,4 g,2 g,4 c2 e4 a,2 c4 d2 d4 d2 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "manoah-cyberhymnal", "tune": "manoah", "music_file": "manoah-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MANOAH, arr. from Gioachino Rossini, 1851 (Greatorex's Collection). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MANOAH (arr. from Gioachino Rossini 1792–1868, first published in Greatorex's Collection, 1851). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and engraving; melody verified against the hymnary.org tune incipit (12321 77662 34321) and the engraving (G major, 3/4, quarter-note anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Manoah\" (arr. from Gioachino Rossini, 1851); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% MANOAH (C.M.) — four SATB voice streams, canonical key G major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Manoah\", arr. from Gioachino Rossini\n% 1851) and verified against the hymnary.org tune incipit (12321 77662 34321) and\n% the Cyber Hymnal engraving (G major, 3/4, quarter-note anacrusis \\partial 4).\n% The CH MIDI's durations are unreliable at cadences/passing tones (it heals a\n% phrase-end soprano G to a half where the engraving holds it a dotted-half over an\n% alto D passing tone) — corrected from the engraving. MELISMATIC: 31 soprano notes\n% for 28 C.M. syllables; three ornamental melismas (slurred, engraving slurs\n% confirmed) at held soprano notes [2, 11, 26] — each the first syllable of its line.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  g'8( a'8) b'2 a'4 g'2 fis'4 fis'2 e'4 e'2 a'8( b'8) c''2 b'4 a'2 g'4 g'2. fis'2 d'4 b'2 a'4 c''2 b'4 e''2 b'4 d''4( c''4) a'4 g'2. b'2 a'4 g'2.\n}\nalto = {\n  g'8 a'8 g'2 e'4 e'2 d'4 c'2 c'4 c'2 e'4 e'2 e'4 e'2 e'4 d'2. d'2 c'4 b4 d'4 c'4 e'2 d'4 e'2 e'4 e'2 e'4 d'2 d'4 g'2 d'4 d'2.\n}\ntenor = {\n  b8 c'8 d'2 c'4 b2 g4 g2 g4 g2 e8 gis8 a2 gis4 a2 ais4 b2. a2 fis4 g2 g4 g2 g4 g2 gis4 a2 a4 b2 b4 d'2 c'4 b2.\n}\nbass = {\n  g4 g2 g4 e2 b,4 c2 c4 c2 c8 b,8 a,2 b,4 c2 cis4 d2. d2 d4 g,2 g,4 g,2 g,4 c2 e4 a,2 c4 d2 d4 d2 d4 g,2.\n}\n", "preferred": true}]}, "marion": {"slug": "marion", "name": "MARION", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "arthur-h-messiter", "composer_date": "1893", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "marion-oh263", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:263; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "marion_messiter", "total_instances": 318}}, "harmonization": {"slug": "marion-oh263", "tune": "marion", "music_file": "marion-oh263.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"text": "Re -- joice, re -- joice", "durations": ["4", "2.", "4", "4"], "onsets": [34]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:263; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:263", "encoding_license": "PD-dedication"}, "music_ly": "%% Rejoice, O Pilgrim Throng\n%% Imported from Open Hymnal ABC X:263 via tools/abc_import.py\n%% Open Hymnal X:263; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 c''4 a'8 g'8 f'4 g'4 a'2. a'4 a'4 f'8 g'8 a'4 b'4 c''2. c''4 d''4 c''8 bes'8 a'4 a'4 a'8 g'8 f'8 g'8 a'4 d'4 g'4 a'4 bes'4 a'4 g'2. c''4 c''2. c''4 c''2. c''4 bes'4 a'8 g'8 a'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 e'4 f'4 c'4 c'2. c'4 d'4 d'8 e'8 f'4 f'4 e'2. ees'4 d'4 d'4 d'4 d'4 d'4 c'4 d'4 d'4 d'4 d'4 d'8 c'8 c'4 c'2. c'4 c'2. c'4 c'2. f'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  a4 g4 c'8 bes8 a4 e4 f2. g4 f4 a8 g8 f4 g4 g2. a4 bes4 a8 g8 g4 f4 g4 a8 g8 f4 f4 g4 fes4 fes8 e8 fes4 e2. r4 r4 e8 f8 g2 r4 f8 g8 a4 a4 bes4 c'8 d'8 c'4 bes4 a2.\n}\nbass = {\n  f4 e4 c4 d4 c4 f2. e4 d4 f8 e8 d4 d4 c2. f4 bes,4 bes,4 d4 d4 e4 a,4 d4 c4 bes,4 a,4 g,4 a,8 bes,8 c2. s4 s4 c8 d8 e2 s4 d8 e8 f4 ees4 d4 c8 bes,8 c4 c4 f2.\n}\n"}, "harmonizations": [{"slug": "marion-oh263", "tune": "marion", "music_file": "marion-oh263.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"text": "Re -- joice, re -- joice", "durations": ["4", "2.", "4", "4"], "onsets": [34]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:263; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:263", "encoding_license": "PD-dedication"}, "music_ly": "%% Rejoice, O Pilgrim Throng\n%% Imported from Open Hymnal ABC X:263 via tools/abc_import.py\n%% Open Hymnal X:263; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 c''4 a'8 g'8 f'4 g'4 a'2. a'4 a'4 f'8 g'8 a'4 b'4 c''2. c''4 d''4 c''8 bes'8 a'4 a'4 a'8 g'8 f'8 g'8 a'4 d'4 g'4 a'4 bes'4 a'4 g'2. c''4 c''2. c''4 c''2. c''4 bes'4 a'8 g'8 a'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 e'4 f'4 c'4 c'2. c'4 d'4 d'8 e'8 f'4 f'4 e'2. ees'4 d'4 d'4 d'4 d'4 d'4 c'4 d'4 d'4 d'4 d'4 d'8 c'8 c'4 c'2. c'4 c'2. c'4 c'2. f'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  a4 g4 c'8 bes8 a4 e4 f2. g4 f4 a8 g8 f4 g4 g2. a4 bes4 a8 g8 g4 f4 g4 a8 g8 f4 f4 g4 fes4 fes8 e8 fes4 e2. r4 r4 e8 f8 g2 r4 f8 g8 a4 a4 bes4 c'8 d'8 c'4 bes4 a2.\n}\nbass = {\n  f4 e4 c4 d4 c4 f2. e4 d4 f8 e8 d4 d4 c2. f4 bes,4 bes,4 d4 d4 e4 a,4 d4 c4 bes,4 a,4 g,4 a,8 bes,8 c2. s4 s4 c8 d8 e2 s4 d8 e8 f4 ees4 d4 c8 bes,8 c4 c4 f2.\n}\n", "preferred": true}]}, "marosa": {"slug": "marosa", "name": "MAROSA", "meter_label": "8.6.8.6.8.6 with repeat", "meter": {"pattern": [8, 6, 8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-leith-macbeth-bain", "composer_date": "1915", "alt_name": "Brother James' Air", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "marosa-oh285", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:285; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "marosa-oh285", "tune": "marosa", "music_file": "marosa-oh285.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 27, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:285; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:285", "encoding_license": "PD-dedication"}, "music_ly": "%% The Lord's My Shepherd\n%% Imported from Open Hymnal ABC X:285 via tools/abc_import.py\n%% Open Hymnal X:285; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1 d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1 e'2 fis'4 d'4 d'2 e'2 fis'4 d'4 d'2 e'2 fis'4 a'4 d''2 d''2 d''1 d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1.\n}\nalto = {\n  d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1 d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1 cis'2 d'4 b4 a2 cis'2 d'4 b4 a2 cis'2 d'4 cis'4 d'2 g'2 fis'1 d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1.\n}\ntenor = {\n  fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1 fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1 a2 a4 b4 fis2 a2 a4 b4 fis2 a2 a4 a4 a2 b2 a1 fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1.\n}\nbass = {\n  d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1 d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1 a,2 d4 g,4 d2 a,2 d4 g,4 d2 a,2 d4 g4 fis2 g2 d1 d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1.\n}\n"}, "harmonizations": [{"slug": "marosa-oh285", "tune": "marosa", "music_file": "marosa-oh285.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 27, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:285; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:285", "encoding_license": "PD-dedication"}, "music_ly": "%% The Lord's My Shepherd\n%% Imported from Open Hymnal ABC X:285 via tools/abc_import.py\n%% Open Hymnal X:285; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1 d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1 e'2 fis'4 d'4 d'2 e'2 fis'4 d'4 d'2 e'2 fis'4 a'4 d''2 d''2 d''1 d'2 fis'4 a'4 d''2 a'2 b'4 d''4 a'2 g'2 fis'4 d'4 d'2 cis'2 d'1.\n}\nalto = {\n  d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1 d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1 cis'2 d'4 b4 a2 cis'2 d'4 b4 a2 cis'2 d'4 cis'4 d'2 g'2 fis'1 d'2 d'4 fis'4 fis'2 fis'2 g'4 g'4 fis'2 cis'2 d'4 b4 a2 a2 a1.\n}\ntenor = {\n  fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1 fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1 a2 a4 b4 fis2 a2 a4 b4 fis2 a2 a4 a4 a2 b2 a1 fis2 a4 d'4 d'2 d'2 d'4 d'4 d'2 a2 a4 b4 fis2 g2 fis1.\n}\nbass = {\n  d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1 d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1 a,2 d4 g,4 d2 a,2 d4 g,4 d2 a,2 d4 g4 fis2 g2 d1 d2 d4 d4 d2 d2 g,4 b,4 d2 e2 d4 g,4 a,2 a,2 d1.\n}\n", "preferred": true}]}, "martin": {"slug": "martin", "name": "MARTIN", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "walter-stillman-martin", "composer_date": "1908", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "martin-oh274", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:274; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "martin_pollock", "total_instances": 1}}, "harmonization": {"slug": "martin-oh274", "tune": "martin", "music_file": "martin-oh274.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [16, 31, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:274; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:274", "encoding_license": "PD-dedication"}, "music_ly": "%% God Will Take Care of You\n%% Imported from Open Hymnal ABC X:274 via tools/abc_import.py\n%% Open Hymnal X:274; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  d'8 ees'8 e'8 f'8 bes'8 c''8 d''4 c''8 bes'4. f'8 a'8 g'8 ees'4 g'8 f'4.( d'4.) d'8 ees'8 e'8 f'8 bes'8 c''8 d''4 c''8 bes'4. f'8 a'8 g'8 f'4 c''8 bes'2. bes'4. a'4 g'8 g'4 f'8 f'4. f'8 a'8 g'8 ees'4. ees'8 g'8 f'8 d'4. f'4. bes'4 bes'8 c''8 bes'8 c''8 d''4. c''8 bes'8 g'8 f'8 bes'8 a'8 bes'2.\n}\nalto = {\n  bes8 c'8 cis'8 d'4 ees'8 f'4 ees'8 d'4. ees'8 ees'8 ees'8 c'4 ees'8 d'4.( bes4.) bes8 c'8 cis'8 d'4 ees'8 f'4 ees'8 d'4. ees'8 ees'8 ees'8 ees'4 ees'8 d'2. g'4. f'4 ees'8 ees'4 d'8 d'4. d'8 f'8 ees'8 c'4. c'8 ees'8 d'8 bes4. d'4. f'4 f'8 g'4 g'8 fis'4. g'8 g'8 ees'8 d'4 c'8 d'8( bes8 ees'8 d'4.)\n}\ntenor = {\n  f8 f8 f8 bes8 f8 a8 bes4 a8 f4. a8 c'8 bes8 a4 a8 bes4.( f4.) f8 f8 f8 bes8 f8 a8 bes4 a8 f4. a8 c'8 bes8 a4 a8 bes2. bes4. bes4 bes8 bes4 bes8 bes4. f8 f8 f8 a4. a8 a8 f8 f4. bes4. bes4 bes8 g4 g8 a4. g8 bes8 bes8 f4 f8 f8( d8 g8 f4.)\n}\nbass = {\n  bes,8 bes,8 bes,8 bes,4 f8 bes4 f8 bes,4. f8 f8 f8 f4 f8 bes,2. bes,8 bes,8 bes,8 bes,4 f8 bes4 f8 bes,4. f8 f8 f8 f4 f8 bes,2. ees4. ees4 ees8 bes,4 bes,8 bes,4. f8 f8 f8 f4. f8 f8 f8 bes,4. bes,4. d4 d8 ees4 ees8 d4. ees8 ees8 ees8 f4 f8 bes,2.\n}\n"}, "harmonizations": [{"slug": "martin-oh274", "tune": "martin", "music_file": "martin-oh274.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [16, 31, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:274; all components published pre-1931 (latest year 1908).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:274", "encoding_license": "PD-dedication"}, "music_ly": "%% God Will Take Care of You\n%% Imported from Open Hymnal ABC X:274 via tools/abc_import.py\n%% Open Hymnal X:274; all components published pre-1931 (latest year 1908).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  d'8 ees'8 e'8 f'8 bes'8 c''8 d''4 c''8 bes'4. f'8 a'8 g'8 ees'4 g'8 f'4.( d'4.) d'8 ees'8 e'8 f'8 bes'8 c''8 d''4 c''8 bes'4. f'8 a'8 g'8 f'4 c''8 bes'2. bes'4. a'4 g'8 g'4 f'8 f'4. f'8 a'8 g'8 ees'4. ees'8 g'8 f'8 d'4. f'4. bes'4 bes'8 c''8 bes'8 c''8 d''4. c''8 bes'8 g'8 f'8 bes'8 a'8 bes'2.\n}\nalto = {\n  bes8 c'8 cis'8 d'4 ees'8 f'4 ees'8 d'4. ees'8 ees'8 ees'8 c'4 ees'8 d'4.( bes4.) bes8 c'8 cis'8 d'4 ees'8 f'4 ees'8 d'4. ees'8 ees'8 ees'8 ees'4 ees'8 d'2. g'4. f'4 ees'8 ees'4 d'8 d'4. d'8 f'8 ees'8 c'4. c'8 ees'8 d'8 bes4. d'4. f'4 f'8 g'4 g'8 fis'4. g'8 g'8 ees'8 d'4 c'8 d'8( bes8 ees'8 d'4.)\n}\ntenor = {\n  f8 f8 f8 bes8 f8 a8 bes4 a8 f4. a8 c'8 bes8 a4 a8 bes4.( f4.) f8 f8 f8 bes8 f8 a8 bes4 a8 f4. a8 c'8 bes8 a4 a8 bes2. bes4. bes4 bes8 bes4 bes8 bes4. f8 f8 f8 a4. a8 a8 f8 f4. bes4. bes4 bes8 g4 g8 a4. g8 bes8 bes8 f4 f8 f8( d8 g8 f4.)\n}\nbass = {\n  bes,8 bes,8 bes,8 bes,4 f8 bes4 f8 bes,4. f8 f8 f8 f4 f8 bes,2. bes,8 bes,8 bes,8 bes,4 f8 bes4 f8 bes,4. f8 f8 f8 f4 f8 bes,2. ees4. ees4 ees8 bes,4 bes,8 bes,4. f8 f8 f8 f4. f8 f8 f8 bes,4. bes,4. d4 d8 ees4 ees8 d4. ees8 ees8 ees8 f4 f8 bes,2.\n}\n", "preferred": true}]}, "martyn": {"slug": "martyn", "name": "MARTYN", "meter_label": "7.7.7.7 D", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "simeon-butler-marsh", "composer_date": "1834", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "martyn-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MARTYN, Simeon Butler Marsh (1798–1875), 1834 — the tune for \"Jesus, Lover of My Soul\" (7.7.7.7 D). Encoding from the CyberHymnal (public domain); the four voices match the CyberHymnal engraving note-for-note.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "martyn-cyberhymnal", "tune": "martyn", "music_file": "martyn-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARTYN, Simeon B. Marsh, 1834. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARTYN (Simeon Butler Marsh, 1798–1875, published 1834); a public-domain four-part setting encoded from the CyberHymnal, verified against the CyberHymnal engraving (note-for-note). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal MARTYN (hymntime.com /mid/m/a/r/martyn.mid + /pdf engraving)", "encoding_license": "PD-dedication"}, "music_ly": "%% MARTYN (7.7.7.7 D) — Simeon Butler Marsh, 1834. The tune for \"Jesus, Lover of\n%% My Soul\". Encoded from the CyberHymnal (public domain); the four voices were\n%% verified against the CyberHymnal engraving (matches note-for-note). MARTYN is\n%% syllabic except one ornamental turn at the final cadence (soprano g'-e' on the\n%% penultimate syllable of line 8), so the setting holds that 1 melisma with '_'\n%% every stanza (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 }\n\nsoprano = {\n  a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4. f'2. a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4. f'2. c''4 c''8 c''4 c''8 d''4. d''4. c''2. c''4 c''8 c''4 c''8 d''4. d''4. c''2. a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4( e'8) f'2.\n}\nalto = {\n  f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 g'8 f'4. e'4. f'2. f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 g'8 f'4. e'4. f'2. f'4 e'8 f'4 f'8 f'4. f'4. f'2. f'4 e'8 f'4 f'8 f'4. f'4. e'2. f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 f'8 f'4. f'4 e'8 f'2.\n}\ntenor = {\n  c'4 c'8 c'4 a8 c'4 c'8 c'4. c'4 c'8 c'4 d'8 c'4. bes4. a2. c'4 c'8 c'4 a8 c'4 c'8 c'4. c'4 c'8 c'4 d'8 c'4. bes4. a2. a4 bes8 c'4 a8 bes4. bes4 d8 a2. a4 bes8 c'4 a8 a4. b4. c'2. c'4 c'8 c'4 b8 c'4 c'8 c'4. c'4 c'8 es'4 d'8 c'4. bes4. a2.\n}\nbass = {\n  f4 f8 f4 f8 c4 c8 c4. f4 f8 a,4 bes,8 c4. c4. f2. f4 f8 f4 f8 c4 c8 c4. f4 f8 a,4 bes,8 c4. c4. f2. f4 g8 a4 f8 bes,4. bes,4 d8 f2. f4 g8 a4 f8 d4. g4. c2. f4 f8 f4 d8 c4 c8 c4. f4 f8 a4 bes8 c'4. c4. f2.\n}\n\n%% --- lyrics: the 7.7.7.7 D psalter texts underlay one-per-note except the single\n%% line-8 melisma held with '_' (see the setting files). ---\n"}, "harmonizations": [{"slug": "martyn-cyberhymnal", "tune": "martyn", "music_file": "martyn-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARTYN, Simeon B. Marsh, 1834. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARTYN (Simeon Butler Marsh, 1798–1875, published 1834); a public-domain four-part setting encoded from the CyberHymnal, verified against the CyberHymnal engraving (note-for-note). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal MARTYN (hymntime.com /mid/m/a/r/martyn.mid + /pdf engraving)", "encoding_license": "PD-dedication"}, "music_ly": "%% MARTYN (7.7.7.7 D) — Simeon Butler Marsh, 1834. The tune for \"Jesus, Lover of\n%% My Soul\". Encoded from the CyberHymnal (public domain); the four voices were\n%% verified against the CyberHymnal engraving (matches note-for-note). MARTYN is\n%% syllabic except one ornamental turn at the final cadence (soprano g'-e' on the\n%% penultimate syllable of line 8), so the setting holds that 1 melisma with '_'\n%% every stanza (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 }\n\nsoprano = {\n  a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4. f'2. a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4. f'2. c''4 c''8 c''4 c''8 d''4. d''4. c''2. c''4 c''8 c''4 c''8 d''4. d''4. c''2. a'4 a'8 a'4 f'8 g'4 g'8 g'4. a'4 a'8 c''4 bes'8 a'4. g'4( e'8) f'2.\n}\nalto = {\n  f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 g'8 f'4. e'4. f'2. f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 g'8 f'4. e'4. f'2. f'4 e'8 f'4 f'8 f'4. f'4. f'2. f'4 e'8 f'4 f'8 f'4. f'4. e'2. f'4 f'8 f'4 f'8 e'4 e'8 e'4. f'4 f'8 f'4 f'8 f'4. f'4 e'8 f'2.\n}\ntenor = {\n  c'4 c'8 c'4 a8 c'4 c'8 c'4. c'4 c'8 c'4 d'8 c'4. bes4. a2. c'4 c'8 c'4 a8 c'4 c'8 c'4. c'4 c'8 c'4 d'8 c'4. bes4. a2. a4 bes8 c'4 a8 bes4. bes4 d8 a2. a4 bes8 c'4 a8 a4. b4. c'2. c'4 c'8 c'4 b8 c'4 c'8 c'4. c'4 c'8 es'4 d'8 c'4. bes4. a2.\n}\nbass = {\n  f4 f8 f4 f8 c4 c8 c4. f4 f8 a,4 bes,8 c4. c4. f2. f4 f8 f4 f8 c4 c8 c4. f4 f8 a,4 bes,8 c4. c4. f2. f4 g8 a4 f8 bes,4. bes,4 d8 f2. f4 g8 a4 f8 d4. g4. c2. f4 f8 f4 d8 c4 c8 c4. f4 f8 a4 bes8 c'4. c4. f2.\n}\n\n%% --- lyrics: the 7.7.7.7 D psalter texts underlay one-per-note except the single\n%% line-8 melisma held with '_' (see the setting files). ---\n", "preferred": true}]}, "martyrdom": {"slug": "martyrdom", "name": "MARTYRDOM", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "hugh-wilson", "composer_date": "1800", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "martyrdom-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MARTYRDOM, adapted by Hugh Wilson (1766–1824) c. 1800 from an older Scottish air; the triple-meter form is by R. A. Smith. A public-domain four-part setting (arr. Ralph E. Hudson, 1885; Hudson d. 1901) encoded from The Cyber Hymnal SATB MIDI and engraving. Melody verified note-by-note against the hymnary.org tune incipit (51651 23213 53213) and the Cyber Hymnal engraving (G major, 3/4, quarter-note anacrusis). Four ornamental melismas at soprano notes 6/13/27/29. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Martyrdom\" (Hugh Wilson 1800, arr. Ralph E. Hudson 1885); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "martyrdom-cyberhymnal", "tune": "martyrdom", "music_file": "martyrdom-cyberhymnal.ly", "harmonizer": "ralph-hudson", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARTYRDOM, Hugh Wilson, 1800 (arr. Ralph E. Hudson, 1885). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARTYRDOM (Hugh Wilson, 1800), four-part arrangement by Ralph E. Hudson (1843-1901), 1885. A public-domain setting encoded from The Cyber Hymnal SATB MIDI and engraving; melody verified against the hymnary.org tune incipit (51651 23213 53213) and the engraving (G major, 3/4, quarter-note anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Martyrdom\" (Hugh Wilson 1800, arr. Ralph E. Hudson 1885); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% MARTYRDOM (C.M.) — four SATB voice streams, canonical key G major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Martyrdom\", Hugh Wilson 1800, arr.\n% Ralph E. Hudson 1885) and verified against the hymnary.org tune incipit\n% (51651 23213 53213) and the Cyber Hymnal engraving (G major, 3/4, quarter-note\n% anacrusis \\partial 4). The CH MIDI's phrase-end cadence durations are unreliable\n% (they heal loosely and the anacrusis is sequenced at tick 0) — cadences are set\n% to dotted-half (corroborated by the tune's Highland-pipe ancestor's e6/d6\n% cadences). MELISMATIC: 32 soprano notes for 28 C.M. syllables; four ornamental\n% turns (slurred pairs, engraving slurs confirmed) at held soprano notes\n% [6, 13, 27, 29].\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  d'4 g'2 e'4 d'2 g'8( a'8) b'2 a'4 g'2 b'4 d''2 b'8( a'8) g'2 b'4 a'2. d''4 b'2 a'4 g'2 b'4 c''2 b'4 a'2 b'4 d'4( e'4) g'8( a'8) b'2 a'4 g'2\n}\nalto = {\n  b4 b2 c'4 b2 d'8 e'8 d'2 c'4 b2 d'4 g'2 d'4 d'2 d'4 d'2. d'4 d'2 c'4 b2 f'4 e'2 d'4 d'2 d'4 d'4 c'4 d'8 e'8 d'2 c'4 b2\n}\ntenor = {\n  g4 d2 g4 g2 g4 g2 fis4 g2 g4 b2 g8 fis8 g2 g4 fis2. a4 g2 fis4 g2 g4 g2 g4 fis2 g4 g2 g4 g2 fis4 g2\n}\nbass = {\n  g,4 g,2 g,4 g,2 b,8 c8 d2 d4 g,2 g4 g2 g,8 a,8 b,2 g,4 d2. fis4 g2 d4 e2 d4 c2 g,4 d2 g,4 b,4 c4 b,8 c8 g2 d4 g,2\n}\n"}, "harmonizations": [{"slug": "martyrdom-cyberhymnal", "tune": "martyrdom", "music_file": "martyrdom-cyberhymnal.ly", "harmonizer": "ralph-hudson", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARTYRDOM, Hugh Wilson, 1800 (arr. Ralph E. Hudson, 1885). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARTYRDOM (Hugh Wilson, 1800), four-part arrangement by Ralph E. Hudson (1843-1901), 1885. A public-domain setting encoded from The Cyber Hymnal SATB MIDI and engraving; melody verified against the hymnary.org tune incipit (51651 23213 53213) and the engraving (G major, 3/4, quarter-note anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Martyrdom\" (Hugh Wilson 1800, arr. Ralph E. Hudson 1885); SATB MIDI + engraving, reconstructed and verified against the hymnary incipit and the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% MARTYRDOM (C.M.) — four SATB voice streams, canonical key G major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Martyrdom\", Hugh Wilson 1800, arr.\n% Ralph E. Hudson 1885) and verified against the hymnary.org tune incipit\n% (51651 23213 53213) and the Cyber Hymnal engraving (G major, 3/4, quarter-note\n% anacrusis \\partial 4). The CH MIDI's phrase-end cadence durations are unreliable\n% (they heal loosely and the anacrusis is sequenced at tick 0) — cadences are set\n% to dotted-half (corroborated by the tune's Highland-pipe ancestor's e6/d6\n% cadences). MELISMATIC: 32 soprano notes for 28 C.M. syllables; four ornamental\n% turns (slurred pairs, engraving slurs confirmed) at held soprano notes\n% [6, 13, 27, 29].\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\nsoprano = {\n  d'4 g'2 e'4 d'2 g'8( a'8) b'2 a'4 g'2 b'4 d''2 b'8( a'8) g'2 b'4 a'2. d''4 b'2 a'4 g'2 b'4 c''2 b'4 a'2 b'4 d'4( e'4) g'8( a'8) b'2 a'4 g'2\n}\nalto = {\n  b4 b2 c'4 b2 d'8 e'8 d'2 c'4 b2 d'4 g'2 d'4 d'2 d'4 d'2. d'4 d'2 c'4 b2 f'4 e'2 d'4 d'2 d'4 d'4 c'4 d'8 e'8 d'2 c'4 b2\n}\ntenor = {\n  g4 d2 g4 g2 g4 g2 fis4 g2 g4 b2 g8 fis8 g2 g4 fis2. a4 g2 fis4 g2 g4 g2 g4 fis2 g4 g2 g4 g2 fis4 g2\n}\nbass = {\n  g,4 g,2 g,4 g,2 b,8 c8 d2 d4 g,2 g4 g2 g,8 a,8 b,2 g,4 d2. fis4 g2 d4 e2 d4 c2 g,4 d2 g,4 b,4 c4 b,8 c8 g2 d4 g,2\n}\n", "preferred": true}]}, "maryton": {"slug": "maryton", "name": "MARYTON", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-percy-smith", "composer_date": "1874", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "maryton-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MARYTON, composed by Henry Percy Smith (1825–1898) for Church Hymns with Tunes (London, 1874). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4). Three quarter-note melismas (slurred pairs) at held soprano notes 15/24/33. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Maryton\" (H. Percy Smith, in Church Hymns with Tunes, London 1874); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "maryton-cyberhymnal", "tune": "maryton", "music_file": "maryton-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARYTON (H. Percy Smith, 1874). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARYTON by Henry Percy Smith (d. 1898), Church Hymns with Tunes (London, 1874). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Maryton\" (H. Percy Smith, in Church Hymns with Tunes, London 1874); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% MARYTON (L.M.) — four SATB voice streams, canonical key E-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Maryton\", H. Percy Smith 1874) with\n% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major,\n% 3/4). MELISMATIC: 35 soprano notes for 32 L.M. syllables; three quarter-note\n% melismas (slurred pairs, engraving slurs confirmed) at held soprano notes\n% [15, 24, 33].\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 }\nsoprano = {\n  g'4 g'4 g'4 as'2 g'4 f'2 f'4 f'2. bes'4 bes'4 as'4 g'2 es''4 es''4( d''4) c''4 bes'2. bes'4 c''4 bes'4 es''2 d''4 d''4( c''4) bes'4 as'2 g'4 f'2 es'4 as'2 g'4 f'4( c'4) d'4 es'2.\n}\nalto = {\n  es'4 es'4 es'4 es'2 es'4 c'2 c'4 f'2. d'4 es'4 f'4 es'2 g'4 g'4 f'4 es'4 d'2. f'4 f'4 f'4 es'2 es'4 es'2 es'4 es'4 d'4 es'4 d'2 c'4 f'2 es'4 f'4 c'4 bes4 bes2.\n}\ntenor = {\n  bes4 bes4 bes4 c'2 bes4 c'2 f4 bes2. bes4 bes4 bes4 bes2 bes4 a2 a4 bes2. d'4 c'4 d'4 bes2 bes4 as2 bes4 bes2 bes4 as2 g4 bes2 bes4 as2 f4 g2.\n}\nbass = {\n  es4 es4 es4 es2 es4 as,2 a,4 bes,2. bes,4 c4 d4 es2 c4 f2 f4 bes,2. as4 as4 as4 g2 g4 as2 g4 f2 es4 bes,2 c4 d2 es4 as,4 f,4 bes,4 es2.\n}\n"}, "harmonizations": [{"slug": "maryton-cyberhymnal", "tune": "maryton", "music_file": "maryton-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MARYTON (H. Percy Smith, 1874). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MARYTON by Henry Percy Smith (d. 1898), Church Hymns with Tunes (London, 1874). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Maryton\" (H. Percy Smith, in Church Hymns with Tunes, London 1874); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% MARYTON (L.M.) — four SATB voice streams, canonical key E-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Maryton\", H. Percy Smith 1874) with\n% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major,\n% 3/4). MELISMATIC: 35 soprano notes for 32 L.M. syllables; three quarter-note\n% melismas (slurred pairs, engraving slurs confirmed) at held soprano notes\n% [15, 24, 33].\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 }\nsoprano = {\n  g'4 g'4 g'4 as'2 g'4 f'2 f'4 f'2. bes'4 bes'4 as'4 g'2 es''4 es''4( d''4) c''4 bes'2. bes'4 c''4 bes'4 es''2 d''4 d''4( c''4) bes'4 as'2 g'4 f'2 es'4 as'2 g'4 f'4( c'4) d'4 es'2.\n}\nalto = {\n  es'4 es'4 es'4 es'2 es'4 c'2 c'4 f'2. d'4 es'4 f'4 es'2 g'4 g'4 f'4 es'4 d'2. f'4 f'4 f'4 es'2 es'4 es'2 es'4 es'4 d'4 es'4 d'2 c'4 f'2 es'4 f'4 c'4 bes4 bes2.\n}\ntenor = {\n  bes4 bes4 bes4 c'2 bes4 c'2 f4 bes2. bes4 bes4 bes4 bes2 bes4 a2 a4 bes2. d'4 c'4 d'4 bes2 bes4 as2 bes4 bes2 bes4 as2 g4 bes2 bes4 as2 f4 g2.\n}\nbass = {\n  es4 es4 es4 es2 es4 as,2 a,4 bes,2. bes,4 c4 d4 es2 c4 f2 f4 bes,2. as4 as4 as4 g2 g4 as2 g4 f2 es4 bes,2 c4 d2 es4 as,4 f,4 bes,4 es2.\n}\n", "preferred": true}]}, "mckee": {"slug": "mckee", "name": "MCKEE", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "African American spiritual", "arranger": "harry-t-burleigh", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "mckee-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MCKEE — the tune melody is a traditional African American spiritual (from the Jubilee Songs tradition, 19th century; adapted from the chorus of a spiritual), which is public domain (pre-1931). It was named and set as a hymn tune by Harry T. Burleigh (1866–1949) in 1939 for John Oxenham's text \"In Christ there is no East or West.\" Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat pickup; the soprano's A-flat \"blue note\" in bar 2 is printed with a flat and carried). PROVENANCE NOTE: the four-part SATB setting is Burleigh's 1939/40 arrangement (post-1931) — see the harmonization's pd_evidence; owner review of the PD basis is required before publication.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"McKee\" (African American spiritual, arr. Harry T. Burleigh); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "mckee-cyberhymnal", "tune": "mckee", "music_file": "mckee-cyberhymnal.ly", "harmonizer": "harry-t-burleigh", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 18, 27], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MCKEE (African American spiritual), arr. Harry T. Burleigh, 1939. Public domain (courtesy of The Cyber Hymnal).", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pd_by_nonrenewal", "pd_evidence": "Tune MCKEE (African American spiritual); four-part SATB setting arranged by Harry T. Burleigh (1866–1949), 1939, first published in The Hymnal 1940. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4; a one-beat two-eighth pickup; the final dotted half completes the anacrusis; the soprano and bass A-flat blue note in bar 2 is printed with a flat). MELISMATIC (36 soprano notes for 28 C.M. syllables); the 8 melisma continuations are held with '_' every stanza (verse_variable_melisma) at soprano notes 2, 7, 15, 17, 20, 29, 31, 34, each a slurred/beamed two-note figure read from the engraving. The Cyber Hymnal and multiple hymnal sources distribute Burleigh's setting as Public Domain (US public domain, presumably by non-renewal of the 1940 copyright). IMPORTANT: this arrangement is POST-1931 and does NOT fit the corpus's uniform pub_pre_1931 basis — OWNER MUST ADJUDICATE the PD basis before this is committed or published.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"McKee\" (arr. Harry T. Burleigh); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MCKEE (C.M.) — African American spiritual, arr. Harry T. Burleigh (1939),\n%% four SATB voice streams, canonical key B-flat major. Paired with John\n%% Oxenham's \"In Christ there is no East or West\" (1908).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"McKee\", arr. Burleigh) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving.\n%% 4/4 with a one-beat (two-eighth) pickup; the final note is a dotted half that\n%% completes the anacrusis. The soprano A-flat in bar 2 is the lowered-seventh\n%% \"blue note\", printed with a flat in the source and carried in the soprano\n%% (and bass). MELISMATIC: 36 soprano notes for 28 C.M. syllables; the 8 melisma\n%% continuations are held with '_' each stanza (verse_variable_melisma), at\n%% soprano notes 2, 7, 15, 17, 20, 29, 31, 34 (each a slurred/beamed two-note\n%% figure read from the engraving).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes8 d'8 | f'4 f'4 f'4 f'8 g'8 | as'4 as'4 g'4. f'8 | g'4 bes'4 bes'8 g'8 f'8 g'8 |\n  bes'2. bes'8 c''8 | d''4 bes'4 bes'4 g'4 | f'4 es'4 d'4 bes8 c'8 | d'8 f'4 g'8 f'8 d'8 c'4 | bes2.\n}\nalto = {\n  bes8 d'8 | d'4 c'4 d'4 bes8 g'8 | c'2 bes4. f'8 | es'4 f'4 es'4. g'8 |\n  f'4 es'4 d'4 d'8 c''8 | d'2 es'2 | c'2 bes4 bes8 c'8 | a4. g'8 bes8 d'8 a4 | bes2.\n}\ntenor = {\n  d8 f8 | f4 es4 f4 d4 | es2 es4. f8 | bes2. a8 g8 |\n  f2. f4 | bes2 g2 | f2. g4 | f2 g4 es4 | d2.\n}\nbass = {\n  bes,8 f8 | bes,1 | as,4 c4 es4. f8 | es4 d4 c4 f8 es8 |\n  d4 c4 bes,4 a,4 | g,2 c4 bes,4 | a,4 g,8 a,8 bes,4 es4 | d2 c4 f,4 | bes,2.\n}\n"}, "harmonizations": [{"slug": "mckee-cyberhymnal", "tune": "mckee", "music_file": "mckee-cyberhymnal.ly", "harmonizer": "harry-t-burleigh", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 18, 27], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MCKEE (African American spiritual), arr. Harry T. Burleigh, 1939. Public domain (courtesy of The Cyber Hymnal).", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pd_by_nonrenewal", "pd_evidence": "Tune MCKEE (African American spiritual); four-part SATB setting arranged by Harry T. Burleigh (1866–1949), 1939, first published in The Hymnal 1940. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4; a one-beat two-eighth pickup; the final dotted half completes the anacrusis; the soprano and bass A-flat blue note in bar 2 is printed with a flat). MELISMATIC (36 soprano notes for 28 C.M. syllables); the 8 melisma continuations are held with '_' every stanza (verse_variable_melisma) at soprano notes 2, 7, 15, 17, 20, 29, 31, 34, each a slurred/beamed two-note figure read from the engraving. The Cyber Hymnal and multiple hymnal sources distribute Burleigh's setting as Public Domain (US public domain, presumably by non-renewal of the 1940 copyright). IMPORTANT: this arrangement is POST-1931 and does NOT fit the corpus's uniform pub_pre_1931 basis — OWNER MUST ADJUDICATE the PD basis before this is committed or published.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"McKee\" (arr. Harry T. Burleigh); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MCKEE (C.M.) — African American spiritual, arr. Harry T. Burleigh (1939),\n%% four SATB voice streams, canonical key B-flat major. Paired with John\n%% Oxenham's \"In Christ there is no East or West\" (1908).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"McKee\", arr. Burleigh) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving.\n%% 4/4 with a one-beat (two-eighth) pickup; the final note is a dotted half that\n%% completes the anacrusis. The soprano A-flat in bar 2 is the lowered-seventh\n%% \"blue note\", printed with a flat in the source and carried in the soprano\n%% (and bass). MELISMATIC: 36 soprano notes for 28 C.M. syllables; the 8 melisma\n%% continuations are held with '_' each stanza (verse_variable_melisma), at\n%% soprano notes 2, 7, 15, 17, 20, 29, 31, 34 (each a slurred/beamed two-note\n%% figure read from the engraving).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes8 d'8 | f'4 f'4 f'4 f'8 g'8 | as'4 as'4 g'4. f'8 | g'4 bes'4 bes'8 g'8 f'8 g'8 |\n  bes'2. bes'8 c''8 | d''4 bes'4 bes'4 g'4 | f'4 es'4 d'4 bes8 c'8 | d'8 f'4 g'8 f'8 d'8 c'4 | bes2.\n}\nalto = {\n  bes8 d'8 | d'4 c'4 d'4 bes8 g'8 | c'2 bes4. f'8 | es'4 f'4 es'4. g'8 |\n  f'4 es'4 d'4 d'8 c''8 | d'2 es'2 | c'2 bes4 bes8 c'8 | a4. g'8 bes8 d'8 a4 | bes2.\n}\ntenor = {\n  d8 f8 | f4 es4 f4 d4 | es2 es4. f8 | bes2. a8 g8 |\n  f2. f4 | bes2 g2 | f2. g4 | f2 g4 es4 | d2.\n}\nbass = {\n  bes,8 f8 | bes,1 | as,4 c4 es4. f8 | es4 d4 c4 f8 es8 |\n  d4 c4 bes,4 a,4 | g,2 c4 bes,4 | a,4 g,8 a,8 bes,4 es4 | d2 c4 f,4 | bes,2.\n}\n", "preferred": true}]}, "meinen-jesum-lass-ich-nicht-darmstadt": {"slug": "meinen-jesum-lass-ich-nicht-darmstadt", "name": "MEINEN JESUM LASS` ICH NICHT (DARMSTADT)", "meter_label": "7.8.7.8.7.7", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Darmstadt, 1698", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "meinen-jesum-lass-ich-nicht-darmstadt-oh140", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:140; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "meinen_jesum_lass_ich_nicht_darmstadt", "total_instances": 47}}, "harmonization": {"slug": "meinen-jesum-lass-ich-nicht-darmstadt-oh140", "tune": "meinen-jesum-lass-ich-nicht-darmstadt", "music_file": "meinen-jesum-lass-ich-nicht-darmstadt-oh140.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 15, 22, 30, 37, 44], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:140; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:140", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Sinners Doth Receive\n%% Imported from Open Hymnal ABC X:140 via tools/abc_import.py\n%% Open Hymnal X:140; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | e'4 fis'4 g'2 | b'4 b'4 a'4 d''4 | c''4 b'4 a'2 g'2 | g'4 g'4 fis'4 g'4 | e'4 fis'4 g'2 | b'4 b'4 a'4 d''4 | c''4 b'4 a'2 g'2 | b'4 a'4 g'4 a'4 | b'4 b'4 a'2 | b'4 d''4 c''4 b'4 | a'4 a'4 g'2\n}\nalto = {\n  d'4 cis'4 d'4 d'4 | c'4 c'4 d'2 | d'4 g'4 a'4 g'4 | e'8 fis'8 g'2 fis'4 g'2 | d'4 cis'4 d'4 d'4 | c'4 c'4 d'2 | d'4 g'4 a'4 g'4 | e'8 fis'8 g'2 fis'4 g'2 | d'4 d'4 e'4 d'4 | d'4 d'4 d'2 | g'4 g'4 e'8 fis'8 g'4 | g'4 fis'4 g'2\n}\ntenor = {\n  b4 g4 a4 b4 | g4 a4 b2 | g4 d'4 d'4 b4 | c'4 d'4 d'2 b2 | b4 g4 a4 b4 | g4 a4 b2 | g4 d'4 d'4 b4 | c'4 d'4 d'2 b2 | g4 a4 b4 a4 | g4 g4 fis2 | d'4 b4 c'4 d'4 | e'4 d'4 b2\n}\nbass = {\n  g4 e4 d4 b,4 | c4 a,4 g,2 | g4 g4 fis4 g4 | a4 g4 d2 g,2 | g4 e4 d4 b,4 | c4 a,4 g,2 | g4 g4 fis4 g4 | a4 g4 d2 g,2 | g4 fis4 e4 fis4 | g4 b,8 c8 d2 | g4 g,4 a,4 b,4 | c4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "meinen-jesum-lass-ich-nicht-darmstadt-oh140", "tune": "meinen-jesum-lass-ich-nicht-darmstadt", "music_file": "meinen-jesum-lass-ich-nicht-darmstadt-oh140.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [15, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [7, 15, 22, 30, 37, 44], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:140; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:140", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus Sinners Doth Receive\n%% Imported from Open Hymnal ABC X:140 via tools/abc_import.py\n%% Open Hymnal X:140; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | e'4 fis'4 g'2 | b'4 b'4 a'4 d''4 | c''4 b'4 a'2 g'2 | g'4 g'4 fis'4 g'4 | e'4 fis'4 g'2 | b'4 b'4 a'4 d''4 | c''4 b'4 a'2 g'2 | b'4 a'4 g'4 a'4 | b'4 b'4 a'2 | b'4 d''4 c''4 b'4 | a'4 a'4 g'2\n}\nalto = {\n  d'4 cis'4 d'4 d'4 | c'4 c'4 d'2 | d'4 g'4 a'4 g'4 | e'8 fis'8 g'2 fis'4 g'2 | d'4 cis'4 d'4 d'4 | c'4 c'4 d'2 | d'4 g'4 a'4 g'4 | e'8 fis'8 g'2 fis'4 g'2 | d'4 d'4 e'4 d'4 | d'4 d'4 d'2 | g'4 g'4 e'8 fis'8 g'4 | g'4 fis'4 g'2\n}\ntenor = {\n  b4 g4 a4 b4 | g4 a4 b2 | g4 d'4 d'4 b4 | c'4 d'4 d'2 b2 | b4 g4 a4 b4 | g4 a4 b2 | g4 d'4 d'4 b4 | c'4 d'4 d'2 b2 | g4 a4 b4 a4 | g4 g4 fis2 | d'4 b4 c'4 d'4 | e'4 d'4 b2\n}\nbass = {\n  g4 e4 d4 b,4 | c4 a,4 g,2 | g4 g4 fis4 g4 | a4 g4 d2 g,2 | g4 e4 d4 b,4 | c4 a,4 g,2 | g4 g4 fis4 g4 | a4 g4 d2 g,2 | g4 fis4 e4 fis4 | g4 b,8 c8 d2 | g4 g,4 a,4 b,4 | c4 d4 g,2\n}\n", "preferred": true}]}, "meirionydd": {"slug": "meirionydd", "name": "MEIRIONYDD", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-lloyd", "composer_date": "1840", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "meirionydd-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MEIRIONYDD (7.6.7.6.D), a Welsh hymn tune by William Lloyd (1786-1852), the self-taught musician of Rhos-goch, Llaniestyn, Llŷn, Caernarvonshire; first published 1840 as BERTH in R. Mills's Caniadau Seion (Songs of Zion). The Cyber Hymnal engraving's \"William Freeman Lloyd, 1840\" credit is a common mis-attribution (William Freeman Lloyd, 1791-1853, was an English hymn-writer, not this tune's composer); attribution to William Lloyd is per Hymnary.org (hymnary.org/tune/meirionydd_lloyd) and the Dictionary of Hymnology. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and read against the Cyber Hymnal engraving (E-flat major, 4/4 with a two-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Meirionydd\" (William Freeman Lloyd, 1840); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "meirionydd-cyberhymnal", "tune": "meirionydd", "music_file": "meirionydd-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [9, 16, 25, 32, 39, 47, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MEIRIONYDD, William Lloyd, 1840. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MEIRIONYDD (7.6.7.6.D) by William Lloyd (1786-1852), first published 1840 as BERTH in R. Mills's Caniadau Seion (the Cyber Hymnal engraving's \"William Freeman Lloyd, 1840\" credit is a common mis-attribution to a different person); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and read against the Cyber Hymnal engraving (E-flat major, 4/4, two-beat anacrusis). All components pre-1931. MELISMATIC: the per-stanza held-note underlay (11 held notes) is resolved from the engraving's printed soprano slurs.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Meirionydd\" (William Freeman Lloyd, 1840); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MEIRIONYDD (7.6.7.6.D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Meirionydd\") with tools/mid2ly.py.\n%% E-flat major (three flats), 4/4 with a two-beat anacrusis (\\partial 2 =\n%% bes'4. as'8); 16 full bars plus the pickup, each voice totals 66 quarter-beats.\n%% Final note es'1 (whole note). The tune is by William Lloyd (1786-1852) — the\n%% Cyber Hymnal engraving's \"William Freeman Lloyd, 1840\" credit is the common\n%% mis-attribution (a different person); 1840 is the first-publication date (as\n%% BERTH, in R. Mills's Caniadau Seion). See hymnary.org/tune/meirionydd_lloyd.\n%%\n%% MELISMATIC (verse_variable_melisma): 63 soprano notes for 52 syllables\n%% (7.6.7.6.D). The 11 held notes are the second note of each ornamental figure —\n%% eight beamed eighth-pairs and three dotted-quarter+eighth openings — each\n%% carrying a soprano slur below. Slur ends (held notes): 2, 5, 14, 18, 21, 29,\n%% 44, 47, 50, 53, 61. The map was read from the Cyber Hymnal engraving's printed\n%% soprano slurs (PDF vector slur-crescent endpoints + 600 dpi visual read) and is\n%% over-determined by the 52-syllable text (each held note falls on a real word\n%% syllable). NOTE: the engraving prints one further soprano slur over m14's\n%% g'4 a'4 (notes 54-55) which is NOT a syllable melisma for a 52-syllable text and\n%% is therefore omitted here.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'4.( as'8) |\n  g'4 g'8( f'8) es'4 f'4 | g'2 g'4 bes'4 | as'4 g'4 as'8( g'8) f'4 | es'2 bes'4.( as'8) |\n  g'4 g'8( f'8) es'4 f'4 | g'2. bes'4 | as'4 g'4 as'8( g'8) f'4 | es'2 bes'2 |\n  c''4 bes'4 c''4 d''4 | es''2 bes'4 g'4 | bes'4 c''4 bes'4 g'8( c'8) | f'2 g'4.( f'8) |\n  es'4 es'8( f'8) g'4 g'8( f'8) | g'4 a'4 bes'4 es'4 | g'4 bes'4 as'8( g'8) f'4 | es'1\n}\nalto = {\n  g'4. f'8 |\n  es'4 d'8 f'8 c'4 d'4 | es'2 es'4 es'4 | d'4 es'4 es'8 g'8 d'4 | es'2 f'4. as'8 |\n  es'4 d'8 f'8 c'4 d'4 | es'2. d'4 | es'4 es'4 f'8 es'8 d'4 | es'2 g'2 |\n  es'4 es'4 es'4 es'4 | es'2 f'4 es'4 | es'4 es'4 es'4 bes8 c'8 | d'2 d'4. f'8 |\n  c'4 es'8 f'8 d'4 es'8 f'8 | es'2 bes4 bes4 | es'4 es'4 es'8 g'8 d'4 | es'1\n}\ntenor = {\n  bes2 |\n  bes4 bes8 as8 g4 bes4 | bes2 bes4 bes4 | bes4 bes4 c'8 bes8 as4 | g2 bes2 |\n  bes4 bes8 as8 g4 bes4 | bes2. bes4 | c'4 bes4 c'4 f4 | g2 es'2 |\n  c'4 es'4 c'8 bes8 as4 | g4 a4 bes4 bes4 | bes4 as4 bes4 bes4 | bes2 g2 |\n  g4 as4 bes4 c'4 | bes8 bes8 es4 f4 g4 | c'4 bes4 c'4 f4 | g1\n}\nbass = {\n  es2 |\n  es4 bes,8 as8 c4 bes,4 | es2 es4 g4 | f4 es4 as,8 bes8 bes,4 | es2 d2 |\n  es4 bes,8 as8 c4 bes,4 | es2. g4 | c4 es4 as,4 bes,4 | es2 es2 |\n  as4 g4 as8 g8 f4 | c2 d4 es4 | g4 as4 g4 es4 | bes,2 b,2 |\n  c4 c4 bes,4 as,4 | es8 d8 c4 d4 es4 | c4 g,4 as,4 bes,4 | es1\n}\n"}, "harmonizations": [{"slug": "meirionydd-cyberhymnal", "tune": "meirionydd", "music_file": "meirionydd-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [9, 16, 25, 32, 39, 47, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MEIRIONYDD, William Lloyd, 1840. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MEIRIONYDD (7.6.7.6.D) by William Lloyd (1786-1852), first published 1840 as BERTH in R. Mills's Caniadau Seion (the Cyber Hymnal engraving's \"William Freeman Lloyd, 1840\" credit is a common mis-attribution to a different person); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and read against the Cyber Hymnal engraving (E-flat major, 4/4, two-beat anacrusis). All components pre-1931. MELISMATIC: the per-stanza held-note underlay (11 held notes) is resolved from the engraving's printed soprano slurs.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Meirionydd\" (William Freeman Lloyd, 1840); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MEIRIONYDD (7.6.7.6.D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Meirionydd\") with tools/mid2ly.py.\n%% E-flat major (three flats), 4/4 with a two-beat anacrusis (\\partial 2 =\n%% bes'4. as'8); 16 full bars plus the pickup, each voice totals 66 quarter-beats.\n%% Final note es'1 (whole note). The tune is by William Lloyd (1786-1852) — the\n%% Cyber Hymnal engraving's \"William Freeman Lloyd, 1840\" credit is the common\n%% mis-attribution (a different person); 1840 is the first-publication date (as\n%% BERTH, in R. Mills's Caniadau Seion). See hymnary.org/tune/meirionydd_lloyd.\n%%\n%% MELISMATIC (verse_variable_melisma): 63 soprano notes for 52 syllables\n%% (7.6.7.6.D). The 11 held notes are the second note of each ornamental figure —\n%% eight beamed eighth-pairs and three dotted-quarter+eighth openings — each\n%% carrying a soprano slur below. Slur ends (held notes): 2, 5, 14, 18, 21, 29,\n%% 44, 47, 50, 53, 61. The map was read from the Cyber Hymnal engraving's printed\n%% soprano slurs (PDF vector slur-crescent endpoints + 600 dpi visual read) and is\n%% over-determined by the 52-syllable text (each held note falls on a real word\n%% syllable). NOTE: the engraving prints one further soprano slur over m14's\n%% g'4 a'4 (notes 54-55) which is NOT a syllable melisma for a 52-syllable text and\n%% is therefore omitted here.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'4.( as'8) |\n  g'4 g'8( f'8) es'4 f'4 | g'2 g'4 bes'4 | as'4 g'4 as'8( g'8) f'4 | es'2 bes'4.( as'8) |\n  g'4 g'8( f'8) es'4 f'4 | g'2. bes'4 | as'4 g'4 as'8( g'8) f'4 | es'2 bes'2 |\n  c''4 bes'4 c''4 d''4 | es''2 bes'4 g'4 | bes'4 c''4 bes'4 g'8( c'8) | f'2 g'4.( f'8) |\n  es'4 es'8( f'8) g'4 g'8( f'8) | g'4 a'4 bes'4 es'4 | g'4 bes'4 as'8( g'8) f'4 | es'1\n}\nalto = {\n  g'4. f'8 |\n  es'4 d'8 f'8 c'4 d'4 | es'2 es'4 es'4 | d'4 es'4 es'8 g'8 d'4 | es'2 f'4. as'8 |\n  es'4 d'8 f'8 c'4 d'4 | es'2. d'4 | es'4 es'4 f'8 es'8 d'4 | es'2 g'2 |\n  es'4 es'4 es'4 es'4 | es'2 f'4 es'4 | es'4 es'4 es'4 bes8 c'8 | d'2 d'4. f'8 |\n  c'4 es'8 f'8 d'4 es'8 f'8 | es'2 bes4 bes4 | es'4 es'4 es'8 g'8 d'4 | es'1\n}\ntenor = {\n  bes2 |\n  bes4 bes8 as8 g4 bes4 | bes2 bes4 bes4 | bes4 bes4 c'8 bes8 as4 | g2 bes2 |\n  bes4 bes8 as8 g4 bes4 | bes2. bes4 | c'4 bes4 c'4 f4 | g2 es'2 |\n  c'4 es'4 c'8 bes8 as4 | g4 a4 bes4 bes4 | bes4 as4 bes4 bes4 | bes2 g2 |\n  g4 as4 bes4 c'4 | bes8 bes8 es4 f4 g4 | c'4 bes4 c'4 f4 | g1\n}\nbass = {\n  es2 |\n  es4 bes,8 as8 c4 bes,4 | es2 es4 g4 | f4 es4 as,8 bes8 bes,4 | es2 d2 |\n  es4 bes,8 as8 c4 bes,4 | es2. g4 | c4 es4 as,4 bes,4 | es2 es2 |\n  as4 g4 as8 g8 f4 | c2 d4 es4 | g4 as4 g4 es4 | bes,2 b,2 |\n  c4 c4 bes,4 as,4 | es8 d8 c4 d4 es4 | c4 g,4 as,4 bes,4 | es1\n}\n", "preferred": true}]}, "melcombe": {"slug": "melcombe", "name": "MELCOMBE", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "samuel-webbe", "composer_date": "1782", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "melcombe-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MELCOMBE, Samuel Webbe (1740-1816), first published 1782 (in An Essay on the Church Plain Chant); the standard tune for Keble's \"New every morning is the love.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4; syllabic L.M. with 32 soprano notes = 32 syllables). The raised-sixth A-naturals (soprano bar 4, tenor bar 3) are printed with naturals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Melcombe\" (Samuel Webbe, 1782); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "melcombe-cyberhymnal", "tune": "melcombe", "music_file": "melcombe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "MELCOMBE, Samuel Webbe, 1782. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MELCOMBE (Samuel Webbe, 1740-1816; first published 1782); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4; syllabic L.M., 32 soprano notes = 32 syllables). The barlines and the bar-4 half-note cadence match the engraving; the A-natural raised sixths are printed with naturals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Melcombe\" (Samuel Webbe, 1782); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MELCOMBE (L.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Melcombe\", Samuel Webbe, 1782) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving.\n%% Fully syllabic L.M. (32 soprano notes = 32 syllables). Line 2 carries a beamed\n%% eighth-note pair on the \"-ris-ing\" ornament (a'8 es'8, two syllables), and its\n%% phrase cadence is a half note (bar 4). The soprano A-natural (bar 4) and tenor\n%% A-naturals (bar 3) are the raised sixth printed with naturals in the source; the\n%% alto E-natural (bar 6) is a chromatic passing tone. The bass walks in eighths at\n%% bar 7 and the tenor moves in eighths at bar 8 (passing tones under held voices).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 as'4 g'4 f'4 | es'4 c''4 bes'4 bes'4 | es''4 d''4 c''4 bes'4 |\n  bes'4 a'8 es'8 bes'2 | g'4 g'4 as'4 bes'4 | g'4 f'4 g'4 as'4 |\n  as'4 g'4 f'4 bes'4 | as'4 g'4 f'4 es'4\n}\nalto = {\n  es'4 f'4 es'4 d'4 | es'4 es'4 es'4 f'4 | f'4 f'4 es'4 d'4 |\n  g'4 f'8 es'8 d'2 | es'4 es'4 d'4 es'4 | es'4 d'4 e'4 f'4 |\n  f'4 es'4 d'4 es'4 | es'4 es'4 d'4 es'4\n}\ntenor = {\n  bes4 bes4 bes4 as4 | g4 as4 g4 f4 | a4 bes4 a4 bes4 |\n  c'4 c'4 bes2 | bes4 bes4 bes4 bes4 | bes4 bes4 bes4 c'4 |\n  bes4 bes4 bes4 bes4 | c'4 bes4 bes8 as8 g4\n}\nbass = {\n  g4 d4 es4 bes,4 | c4 as,4 es4 d4 | c4 bes,4 f4 g4 |\n  es4 f4 bes,2 | es4 es4 f4 g4 | es4 bes4 g4 f4 |\n  d4 es4 bes,8 as,8 g,4 | as,4 bes,4 bes,4 es4\n}\n"}, "harmonizations": [{"slug": "melcombe-cyberhymnal", "tune": "melcombe", "music_file": "melcombe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "MELCOMBE, Samuel Webbe, 1782. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MELCOMBE (Samuel Webbe, 1740-1816; first published 1782); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4; syllabic L.M., 32 soprano notes = 32 syllables). The barlines and the bar-4 half-note cadence match the engraving; the A-natural raised sixths are printed with naturals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Melcombe\" (Samuel Webbe, 1782); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MELCOMBE (L.M.) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Melcombe\", Samuel Webbe, 1782) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving.\n%% Fully syllabic L.M. (32 soprano notes = 32 syllables). Line 2 carries a beamed\n%% eighth-note pair on the \"-ris-ing\" ornament (a'8 es'8, two syllables), and its\n%% phrase cadence is a half note (bar 4). The soprano A-natural (bar 4) and tenor\n%% A-naturals (bar 3) are the raised sixth printed with naturals in the source; the\n%% alto E-natural (bar 6) is a chromatic passing tone. The bass walks in eighths at\n%% bar 7 and the tenor moves in eighths at bar 8 (passing tones under held voices).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  bes'4 as'4 g'4 f'4 | es'4 c''4 bes'4 bes'4 | es''4 d''4 c''4 bes'4 |\n  bes'4 a'8 es'8 bes'2 | g'4 g'4 as'4 bes'4 | g'4 f'4 g'4 as'4 |\n  as'4 g'4 f'4 bes'4 | as'4 g'4 f'4 es'4\n}\nalto = {\n  es'4 f'4 es'4 d'4 | es'4 es'4 es'4 f'4 | f'4 f'4 es'4 d'4 |\n  g'4 f'8 es'8 d'2 | es'4 es'4 d'4 es'4 | es'4 d'4 e'4 f'4 |\n  f'4 es'4 d'4 es'4 | es'4 es'4 d'4 es'4\n}\ntenor = {\n  bes4 bes4 bes4 as4 | g4 as4 g4 f4 | a4 bes4 a4 bes4 |\n  c'4 c'4 bes2 | bes4 bes4 bes4 bes4 | bes4 bes4 bes4 c'4 |\n  bes4 bes4 bes4 bes4 | c'4 bes4 bes8 as8 g4\n}\nbass = {\n  g4 d4 es4 bes,4 | c4 as,4 es4 d4 | c4 bes,4 f4 g4 |\n  es4 f4 bes,2 | es4 es4 f4 g4 | es4 bes4 g4 f4 |\n  d4 es4 bes,8 as,8 g,4 | as,4 bes,4 bes,4 es4\n}\n", "preferred": true}]}, "melita": {"slug": "melita", "name": "MELITA", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1869", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "melita-oh282", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:282; all components published pre-1931 (latest year 1876).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "melita_dykes", "total_instances": 544}}, "harmonization": {"slug": "melita-oh282", "tune": "melita", "music_file": "melita-oh282.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:282; all components published pre-1931 (latest year 1876).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:282", "encoding_license": "PD-dedication"}, "music_ly": "%% My Hope Is Built\n%% Imported from Open Hymnal ABC X:282 via tools/abc_import.py\n%% Open Hymnal X:282; all components published pre-1931 (latest year 1876).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 e'4. e'8 g'4 g'4 a'4 a'4 g'4 g'4 c''4 d''4 b'4 g'4 g'4 fis'4 g'4 d'4 f'4. f'8 e'4 e'4 g'4. g'8 fis'4 b'4 g'4 fis'4 e'4 a'4 g'4 fis'4 e'4 e'4 e'4. e'8 f'4 f'4 fis'4. fis'8 g'4 g'4 g'4 a'4 g'4 e'4 d'4. c'8 c'4\n}\nalto = {\n  c'4 c'4. c'8 e'4 e'4 f'4 f'4 e'4 g'4 g'4. fis'8 g'4 d'8 e'8 d'4 d'4 d'4 b4 d'4. d'8 c'4 c'4 e'4. e'8 d'4 fis'4 e'4. dis'8 e'4. fis'8 e'4 dis'4 e'4 b4 bes4. bes8 a4 c'4 c'4. c'8 b4 f'4 e'4 d'4 e'4 c'4 b4. c'8 c'4\n}\ntenor = {\n  e4 g4. g8 c'4. b8 a8 b8 c'8 d'8 e'4 d'4 c'4 a4 b4 d'8 c'8 a4 a4 b4 g4 g4. g8 g4 g4 a4. a8 a4 b4 b4 a4 b4 c'4 b4 b4 g4 g4 g4. g8 f4 a4 a4. a8 g4 d'4 c'4 c'4 c'4 g4 f4. e8 e4\n}\nbass = {\n  c4 c4. c8 c4 c4 f8 g8 a8 b8 c'4 b4 a4 d4 g4 b,8 c8 d4 d4 g4 g4 b,4. b,8 c4 c4 cis4. cis8 d4 dis4 e4 fis4 g4 a4 b4 b,4 e4 e4 c4. c8 f4 f4 d4. d8 g4 b,4 c4 fis,4 g,4 g,4 g,4. c8 c4\n}\n"}, "harmonizations": [{"slug": "melita-oh282", "tune": "melita", "music_file": "melita-oh282.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:282; all components published pre-1931 (latest year 1876).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:282", "encoding_license": "PD-dedication"}, "music_ly": "%% My Hope Is Built\n%% Imported from Open Hymnal ABC X:282 via tools/abc_import.py\n%% Open Hymnal X:282; all components published pre-1931 (latest year 1876).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 e'4. e'8 g'4 g'4 a'4 a'4 g'4 g'4 c''4 d''4 b'4 g'4 g'4 fis'4 g'4 d'4 f'4. f'8 e'4 e'4 g'4. g'8 fis'4 b'4 g'4 fis'4 e'4 a'4 g'4 fis'4 e'4 e'4 e'4. e'8 f'4 f'4 fis'4. fis'8 g'4 g'4 g'4 a'4 g'4 e'4 d'4. c'8 c'4\n}\nalto = {\n  c'4 c'4. c'8 e'4 e'4 f'4 f'4 e'4 g'4 g'4. fis'8 g'4 d'8 e'8 d'4 d'4 d'4 b4 d'4. d'8 c'4 c'4 e'4. e'8 d'4 fis'4 e'4. dis'8 e'4. fis'8 e'4 dis'4 e'4 b4 bes4. bes8 a4 c'4 c'4. c'8 b4 f'4 e'4 d'4 e'4 c'4 b4. c'8 c'4\n}\ntenor = {\n  e4 g4. g8 c'4. b8 a8 b8 c'8 d'8 e'4 d'4 c'4 a4 b4 d'8 c'8 a4 a4 b4 g4 g4. g8 g4 g4 a4. a8 a4 b4 b4 a4 b4 c'4 b4 b4 g4 g4 g4. g8 f4 a4 a4. a8 g4 d'4 c'4 c'4 c'4 g4 f4. e8 e4\n}\nbass = {\n  c4 c4. c8 c4 c4 f8 g8 a8 b8 c'4 b4 a4 d4 g4 b,8 c8 d4 d4 g4 g4 b,4. b,8 c4 c4 cis4. cis8 d4 dis4 e4 fis4 g4 a4 b4 b,4 e4 e4 c4. c8 f4 f4 d4. d8 g4 b,4 c4 fis,4 g,4 g,4 g,4. c8 c4\n}\n", "preferred": true}]}, "mendelssohn": {"slug": "mendelssohn", "name": "MENDELSSOHN", "meter_label": "7.7.7.7.D with Refrain", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "felix-mendelssohn", "composer_date": "1840", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "mendelssohn-oh57", "provenance": {"layer": "tune", "source": "festgesang-1840", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Mendelssohn' from Festgesang, Felix Mendelssohn, 1840. Composer d. 1847; pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "mendelssohn-oh57", "tune": "mendelssohn", "music_file": "mendelssohn-oh57.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 46, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 62}, "markings": [{"soprano_note": 62, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "cummings-1857", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Hymn setting William H. Cummings, 1857. Cummings d. 1915; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:57", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark! The Herald Angels Sing\n%% Imported from Open Hymnal ABC X:57 via tools/abc_import.py\n%% Public domain: text Charles Wesley 1739; tune 'Mendelssohn' from Festgesang, Felix Mendelssohn 1840; hymn setting William H. Cummings 1857. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c'4 f'4 f'4. e'8 f'4 a'4 a'4( g'4) c''4 c''4 c''4. bes'8 a'4 g'4 a'2 c'4 f'4 f'4. e'8 f'4 a'4 a'4( g'4) c''4 g'4 g'4. e'8 e'4 d'4 c'2 c''4 c''4 c''4 f'4 bes'4 a'4 a'4( g'4) c''4 c''4 c''4 f'4 bes'4 a'4 a'4( g'4) d''4 d''4 d''4 c''4 bes'4 a'4 bes'2 g'4 a'8 bes'8 c''4. f'8 f'4 g'4 a'2 d''4. d''8 d''4 c''4 bes'4 a'4 bes'2 g'4 a'8 bes'8 c''4. f'8 f'4 g'4 f'2\n}\nalto = {\n  c'4 c'4 c'4. c'8 c'4 f'4 f'4( e'4) f'4 e'4 d'4 g'4 f'4 e'4 f'2 c'4 c'4 c'4. c'8 a4 f'4 f'2 e'4 d'4 e'4. c'8 c'4 b4 c'2 c'4 c'4 c'4 f'4 g'4 f'4 f'4( e'4) c'4 c'4 c'4 f'4 g'4 f'4 f'4( e'4) bes'4 bes'4 bes'4 a'4 g'4 fis'4 g'2 e'4 e'4 f'4. c'8 c'4 e'4 f'2 bes'4 bes'4 bes'4 a'4 g'4 fis'4 g'2 c'4 e'4 f'4. f'8 c'4 c'4 c'2\n}\ntenor = {\n  a4 a4 a4. g8 f4 c'4 c'2 c'4 c'4 d'4 d'4 c'4 c'4 c'2 a4 a4 a4. g8 f4 c'4 d'2 c'4 d'4 c'4. g8 a4 f4 e2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 c'4 c'4 c'4. a8 a4 c'4 c'2 d'4 d'4 d'4 c'4 bes4 a4 bes2 c'4 c'4 c'4. a8 a4 bes4 a2\n}\nbass = {\n  f4 f4 f4 c4 a,4 f,4 c2 a,4 a,4 bes,4 bes,4 c4 c4 f2 f4 f4 f4 c4 d4 c4 b,4.( g,8) a,4 b,4 c4 e4 f4 g,4 c2 c'4 c'4 c'4 a4 e4 f4 c2 c'4 c'4 c'4 a4 e4 f4 c2 bes,4 bes,4 bes,4 bes,4 bes,4 d4 g2 bes4 bes4 a4 f4 c4 c4 f2 bes4 bes4 bes4 a4 g4 fis4 g4( f4) e4 bes4 a4 f4 c4 c4 f2\n}\n"}, "harmonizations": [{"slug": "mendelssohn-oh57", "tune": "mendelssohn", "music_file": "mendelssohn-oh57.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 46, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 62}, "markings": [{"soprano_note": 62, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "cummings-1857", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Hymn setting William H. Cummings, 1857. Cummings d. 1915; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:57", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark! The Herald Angels Sing\n%% Imported from Open Hymnal ABC X:57 via tools/abc_import.py\n%% Public domain: text Charles Wesley 1739; tune 'Mendelssohn' from Festgesang, Felix Mendelssohn 1840; hymn setting William H. Cummings 1857. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c'4 f'4 f'4. e'8 f'4 a'4 a'4( g'4) c''4 c''4 c''4. bes'8 a'4 g'4 a'2 c'4 f'4 f'4. e'8 f'4 a'4 a'4( g'4) c''4 g'4 g'4. e'8 e'4 d'4 c'2 c''4 c''4 c''4 f'4 bes'4 a'4 a'4( g'4) c''4 c''4 c''4 f'4 bes'4 a'4 a'4( g'4) d''4 d''4 d''4 c''4 bes'4 a'4 bes'2 g'4 a'8 bes'8 c''4. f'8 f'4 g'4 a'2 d''4. d''8 d''4 c''4 bes'4 a'4 bes'2 g'4 a'8 bes'8 c''4. f'8 f'4 g'4 f'2\n}\nalto = {\n  c'4 c'4 c'4. c'8 c'4 f'4 f'4( e'4) f'4 e'4 d'4 g'4 f'4 e'4 f'2 c'4 c'4 c'4. c'8 a4 f'4 f'2 e'4 d'4 e'4. c'8 c'4 b4 c'2 c'4 c'4 c'4 f'4 g'4 f'4 f'4( e'4) c'4 c'4 c'4 f'4 g'4 f'4 f'4( e'4) bes'4 bes'4 bes'4 a'4 g'4 fis'4 g'2 e'4 e'4 f'4. c'8 c'4 e'4 f'2 bes'4 bes'4 bes'4 a'4 g'4 fis'4 g'2 c'4 e'4 f'4. f'8 c'4 c'4 c'2\n}\ntenor = {\n  a4 a4 a4. g8 f4 c'4 c'2 c'4 c'4 d'4 d'4 c'4 c'4 c'2 a4 a4 a4. g8 f4 c'4 d'2 c'4 d'4 c'4. g8 a4 f4 e2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 d'4 d'4 d'4 d'4 d'4 d'4 d'2 c'4 c'4 c'4. a8 a4 c'4 c'2 d'4 d'4 d'4 c'4 bes4 a4 bes2 c'4 c'4 c'4. a8 a4 bes4 a2\n}\nbass = {\n  f4 f4 f4 c4 a,4 f,4 c2 a,4 a,4 bes,4 bes,4 c4 c4 f2 f4 f4 f4 c4 d4 c4 b,4.( g,8) a,4 b,4 c4 e4 f4 g,4 c2 c'4 c'4 c'4 a4 e4 f4 c2 c'4 c'4 c'4 a4 e4 f4 c2 bes,4 bes,4 bes,4 bes,4 bes,4 d4 g2 bes4 bes4 a4 f4 c4 c4 f2 bes4 bes4 bes4 a4 g4 fis4 g4( f4) e4 bes4 a4 f4 c4 c4 f2\n}\n", "preferred": true}]}, "mendon": {"slug": "mendon", "name": "MENDON", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German melody, arr. Samuel Dyer, 1824", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "mendon-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MENDON, a German melody arranged by Samuel Dyer (1824), harmonized by Lowell Mason (d. 1872). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4). Three eighth-note melismas at soprano notes 15/24/33. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mendon\" (German melody, arr. Samuel Dyer 1824; harm. Lowell Mason); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "mendon-cyberhymnal", "tune": "mendon", "music_file": "mendon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MENDON (German melody, arr. Samuel Dyer, 1824; harm. Lowell Mason). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MENDON (German melody, arr. Samuel Dyer 1824), harmonized by Lowell Mason (d. 1872). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mendon\" (German melody, arr. Samuel Dyer 1824; harm. Lowell Mason); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% MENDON (L.M.) — four SATB voice streams, canonical key A-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Mendon\", German melody arr. Samuel\n% Dyer 1824, harm. Lowell Mason) with tools/mid2ly.py and verified against the\n% Cyber Hymnal engraving (A-flat major, 3/4). MELISMATIC: 35 soprano notes for\n% 32 L.M. syllables; three dotted-quarter+eighth melismas (slurred pairs, engraving\n% slurs confirmed) at held soprano notes [15, 24, 33].\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 }\nsoprano = {\n  as'4 g'4 as'4 es'2 as'4 g'2 as'4 bes'2. as'4 c''4 as'4 f'2 bes'4 as'4.( bes'8) g'4 as'2. bes'4 bes'4 bes'4 c''2 as'4 des''4.( es'8) c''4 bes'2. as'4 c''4 as'4 f'2 bes'4 as'4.( bes'8) g'4 as'1\n}\nalto = {\n  c'4 des'4 es'4 bes2 as4 des'2 c'4 es'2. c'4 es'4 es'4 des'2 f'4 es'4. bes'8 es'4 es'2. es'4 es'4 es'4 es'2 es'4 des'4. es'8 es'4 es'2. c'4 es'4 es'4 des'2 f'4 es'4. bes'8 es'4 es'1\n}\ntenor = {\n  es4 es4 as4 g4. des8 es4 es2 as4 g2. es4 as4 as4 as2 des'4 c'4. des'8 bes4 c'2. g4 g4 g4 as2 es4 f4. g8 as4 g2. as4 as4 as4 as2 des'4 c'2 bes4 c'1\n}\nbass = {\n  as,4 bes,4 c4 es4. des8 c4 bes,2 as,4 es2. as,4 as,4 c4 des2 bes,4 es4. des'8 es4 as,2. es4 es4 es4 as2 c4 bes,4. g8 as,4 es2. as,4 as,4 c4 des2 bes,4 es2 es4 as,1\n}\n"}, "harmonizations": [{"slug": "mendon-cyberhymnal", "tune": "mendon", "music_file": "mendon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MENDON (German melody, arr. Samuel Dyer, 1824; harm. Lowell Mason). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MENDON (German melody, arr. Samuel Dyer 1824), harmonized by Lowell Mason (d. 1872). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mendon\" (German melody, arr. Samuel Dyer 1824; harm. Lowell Mason); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% MENDON (L.M.) — four SATB voice streams, canonical key A-flat major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Mendon\", German melody arr. Samuel\n% Dyer 1824, harm. Lowell Mason) with tools/mid2ly.py and verified against the\n% Cyber Hymnal engraving (A-flat major, 3/4). MELISMATIC: 35 soprano notes for\n% 32 L.M. syllables; three dotted-quarter+eighth melismas (slurred pairs, engraving\n% slurs confirmed) at held soprano notes [15, 24, 33].\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 3/4 }\nsoprano = {\n  as'4 g'4 as'4 es'2 as'4 g'2 as'4 bes'2. as'4 c''4 as'4 f'2 bes'4 as'4.( bes'8) g'4 as'2. bes'4 bes'4 bes'4 c''2 as'4 des''4.( es'8) c''4 bes'2. as'4 c''4 as'4 f'2 bes'4 as'4.( bes'8) g'4 as'1\n}\nalto = {\n  c'4 des'4 es'4 bes2 as4 des'2 c'4 es'2. c'4 es'4 es'4 des'2 f'4 es'4. bes'8 es'4 es'2. es'4 es'4 es'4 es'2 es'4 des'4. es'8 es'4 es'2. c'4 es'4 es'4 des'2 f'4 es'4. bes'8 es'4 es'1\n}\ntenor = {\n  es4 es4 as4 g4. des8 es4 es2 as4 g2. es4 as4 as4 as2 des'4 c'4. des'8 bes4 c'2. g4 g4 g4 as2 es4 f4. g8 as4 g2. as4 as4 as4 as2 des'4 c'2 bes4 c'1\n}\nbass = {\n  as,4 bes,4 c4 es4. des8 c4 bes,2 as,4 es2. as,4 as,4 c4 des2 bes,4 es4. des'8 es4 as,2. es4 es4 es4 as2 c4 bes,4. g8 as,4 es2. as,4 as,4 c4 des2 bes,4 es2 es4 as,1\n}\n", "preferred": true}]}, "meribah": {"slug": "meribah", "name": "MERIBAH", "meter_label": "C.P.M.", "meter": {"pattern": [8, 8, 6, 8, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1839", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "meribah-psalter1912", "provenance": {"layer": "tune", "source": "psalter-1912", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MERIBAH, Lowell Mason, 1839 (Common Particular Metre, 8.8.6.8.8.6). Encoded from The Psalter (1912) No. 159; verified against the scan (archive.org psalterwithrespo00unit leaf 141).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "meribah-psalter1912", "tune": "meribah", "music_file": "meribah-psalter1912.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [16, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: The Psalter (1912) No. 159. Public domain.", "provenance": {"layer": "harmonization", "source": "psalter-1912", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MERIBAH, Lowell Mason, 1839 (d. 1872). Four-voice setting encoded from The Psalter (1912) No. 159 (Psalm 61, \"O God, regard my humble plea\"), archive.org psalterwithrespo00unit leaf 141 — a public-domain 1912 printing; SATB reconciled note-for-note against that scan. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Psalter (1912) No. 159; SATB scaffolded from CyberHymnal MERIBAH MIDI, verified against the 1912 scan", "encoding_license": "PD-dedication"}, "music_ly": "%% MERIBAH (C.P.M. 8.8.6.8.8.6) — Lowell Mason, 1839.\n%% Encoded from The Psalter (1912) No. 159 (Psalm 61, \"O God, regard my humble\n%% plea\"), archive.org psalterwithrespo00unit leaf 141; SATB scaffolded from the\n%% CyberHymnal MERIBAH MIDI and reconciled note-for-note against that scan.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  es'2 g'4. g'8 g'4 f'4 g'4 as'4 bes'1 g'2 c''4. c''8 c''4 bes'4 as'4 g'4 f'1 bes'2 d''4 c''4 bes'2 a'2 bes'1 bes'2 es''4 bes'4 bes'4 g'4 as'4 c''4 bes'1 bes'2 es''4 bes'4 bes'4 g'4 as'4 c''4 bes'1 es'2 f'4 as'4 g'2 f'2 es'1.\n}\nalto = {\n  es'2 es'4. es'8 es'4 d'4 es'4 f'4 g'1 es'2 es'4. es'8 es'4 es'4 d'4 es'4 d'1 f'2 f'4 g'4 f'2 es'2 d'1 g'2 g'4 g'4 g'4 es'4 es'4 as'4 g'1 g'2 g'4 g'4 g'4 es'4 es'4 as'4 g'1 es'2 c'4 f'4 es'2 d'2 es'1.\n}\ntenor = {\n  g2 bes4. bes8 bes4 bes4 bes4 bes4 bes1 bes2 as4. as8 as4 bes4 bes4 bes4 bes1 d'2 f'4 es'4 d'2 c'2 bes1 bes2 bes4 es'4 es'4 bes4 c'4 es'4 es'1 bes2 bes4 es'4 es'4 bes4 c'4 es'4 es'1 bes2 as4 c'4 bes2. as4 g1.\n}\nbass = {\n  es2 es4. es8 es4 as4 g4 f4 es1 es2 as4. as8 as4 g4 f4 es4 bes,1 bes,2 bes,4 es4 f2 f2 bes,1 es2 es4 es4 es4 es4 c4 as,4 es1 es2 es4 es4 es4 es4 c4 as,4 es1 g,2 as,4 as,4 bes,2 bes,2 es1.\n}\n\n%% --- lyrics (from The Psalter 1912 No. 159, Psalm 61; paste into text YAML) ---\n%%   1: \"O God, re -- gard my hum -- ble plea; I can -- not be so far from Thee But Thou wilt hear my cry; When I by trou -- ble am dis -- tressed, Then lead me on the Rock to rest That high -- er is than I.\"\n"}, "harmonizations": [{"slug": "meribah-psalter1912", "tune": "meribah", "music_file": "meribah-psalter1912.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [16, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: The Psalter (1912) No. 159. Public domain.", "provenance": {"layer": "harmonization", "source": "psalter-1912", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MERIBAH, Lowell Mason, 1839 (d. 1872). Four-voice setting encoded from The Psalter (1912) No. 159 (Psalm 61, \"O God, regard my humble plea\"), archive.org psalterwithrespo00unit leaf 141 — a public-domain 1912 printing; SATB reconciled note-for-note against that scan. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Psalter (1912) No. 159; SATB scaffolded from CyberHymnal MERIBAH MIDI, verified against the 1912 scan", "encoding_license": "PD-dedication"}, "music_ly": "%% MERIBAH (C.P.M. 8.8.6.8.8.6) — Lowell Mason, 1839.\n%% Encoded from The Psalter (1912) No. 159 (Psalm 61, \"O God, regard my humble\n%% plea\"), archive.org psalterwithrespo00unit leaf 141; SATB scaffolded from the\n%% CyberHymnal MERIBAH MIDI and reconciled note-for-note against that scan.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  es'2 g'4. g'8 g'4 f'4 g'4 as'4 bes'1 g'2 c''4. c''8 c''4 bes'4 as'4 g'4 f'1 bes'2 d''4 c''4 bes'2 a'2 bes'1 bes'2 es''4 bes'4 bes'4 g'4 as'4 c''4 bes'1 bes'2 es''4 bes'4 bes'4 g'4 as'4 c''4 bes'1 es'2 f'4 as'4 g'2 f'2 es'1.\n}\nalto = {\n  es'2 es'4. es'8 es'4 d'4 es'4 f'4 g'1 es'2 es'4. es'8 es'4 es'4 d'4 es'4 d'1 f'2 f'4 g'4 f'2 es'2 d'1 g'2 g'4 g'4 g'4 es'4 es'4 as'4 g'1 g'2 g'4 g'4 g'4 es'4 es'4 as'4 g'1 es'2 c'4 f'4 es'2 d'2 es'1.\n}\ntenor = {\n  g2 bes4. bes8 bes4 bes4 bes4 bes4 bes1 bes2 as4. as8 as4 bes4 bes4 bes4 bes1 d'2 f'4 es'4 d'2 c'2 bes1 bes2 bes4 es'4 es'4 bes4 c'4 es'4 es'1 bes2 bes4 es'4 es'4 bes4 c'4 es'4 es'1 bes2 as4 c'4 bes2. as4 g1.\n}\nbass = {\n  es2 es4. es8 es4 as4 g4 f4 es1 es2 as4. as8 as4 g4 f4 es4 bes,1 bes,2 bes,4 es4 f2 f2 bes,1 es2 es4 es4 es4 es4 c4 as,4 es1 es2 es4 es4 es4 es4 c4 as,4 es1 g,2 as,4 as,4 bes,2 bes,2 es1.\n}\n\n%% --- lyrics (from The Psalter 1912 No. 159, Psalm 61; paste into text YAML) ---\n%%   1: \"O God, re -- gard my hum -- ble plea; I can -- not be so far from Thee But Thou wilt hear my cry; When I by trou -- ble am dis -- tressed, Then lead me on the Rock to rest That high -- er is than I.\"\n", "preferred": true}]}, "mit-freuden-zart": {"slug": "mit-freuden-zart", "name": "MIT FREUDEN ZART", "meter_label": "8.7.8.7.8.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Kirchengesänge (Bohemian Brethren), 1566", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "mit-freuden-zart-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MIT FREUDEN ZART (8.7.8.7.8.8.7), a bar-form chorale melody from the Kirchengesänge of the Bohemian Brethren (1566). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving. The MIDI is in D major; the engraving is printed a semitone higher in E-flat major, and the melody, rhythm, and the five melismas were checked note-for-note against the transposed score (the soprano's raised passing tone before the sixth-line cadence, G-sharp rising to A, prints as a natural in the E-flat engraving and is carried as a sharp in the D-major spelling). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mit Freuden Zart\" (Kirchengesänge, Bohemian Brethren, 1566); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "mit-freuden-zart-cyberhymnal", "tune": "mit-freuden-zart", "music_file": "mit-freuden-zart-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": null, "system_breaks": [8, 18, 28, 39, 47, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": null, "refrain": null, "source_line": "MIT FREUDEN ZART, Bohemian Brethren (Kirchengesänge), 1566. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MIT FREUDEN ZART (Kirchengesänge, Bohemian Brethren, 1566); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving. The MIDI is in D major (the engraving is printed a semitone higher in E-flat). A free-meter rhythmic chorale (the engraving is in 3/2 with an irregular bar count) whose barlines fall at the seven phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mit Freuden Zart\" (Kirchengesänge, Bohemian Brethren, 1566); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MIT FREUDEN ZART (8.7.8.7.8.8.7) — a bar-form chorale of the Bohemian\n%% Brethren (Kirchengesänge, 1566), paired with \"Sing Praise to God Who Reigns\n%% Above\" (Frances E. Cox, 1864, from J. J. Schütz, 1675). Encoded from The\n%% Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving: the MIDI is in D major and the engraving is printed a\n%% semitone higher in E-flat, so the melody, rhythm, and the five melismas were\n%% checked note-for-note against the transposed score (the soprano's raised\n%% passing tone G-sharp before the sixth-line cadence prints as a natural in the\n%% E-flat engraving; kept as a sharp in the D-major spelling).\n%% A FREE-METER rhythmic chorale (the engraving is in 3/2 with an irregular bar\n%% count) — barlines fall at the seven phrase cadences (soprano notes 8, 17, 25,\n%% 34, 42, 50, and the final). MELISMATIC (58 soprano notes for 53 syllables);\n%% the 5 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) at soprano notes 10, 15, 27, 32, 56 — a slurred\n%% dotted-quarter+eighth at 9-10 and 26-27, ascending slurred quarter pairs at\n%% 14-15, 31-32, and 55-56.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 }\n\nsoprano = {\n  d'2 fis'4 g'4 a'2 d''2 cis''4 b'4 a'2 b'4.( a'8) g'4 fis'4 e'2 fis'4( g'4) e'2 d'2~ d'4 d'2 fis'4 g'4 a'4~ a'4 d''2 cis''4 b'4 a'4~ a'4 b'4.( a'8) g'4 fis'4 e'4~ e'4 fis'4( g'4) e'2 d'4~ d'2 d''2 cis''4 b'4 a'2 d''2 cis''4 b'4 a'2 a'2 d'4 e'4 fis'2 d'2 fis'4 gis'4 a'2 a'2 b'4 g'4 e'2 fis'4( g'4) e'2 d'2\n}\nalto = {\n  a2 d'4 cis'4 d'2 d'2 d'4 d'4 d'2 dis'4. a'8 e'4 d'4 cis'2 d'2 d'4 cis'4 d'2~ d'4 a2 d'4 cis'4 d'4~ d'4 d'2 d'4 d'4 d'4~ d'4 dis'4. a'8 e'4 d'4 cis'4~ cis'4 d'2 d'4 cis'4 d'4~ d'2 fis'2 fis'4 f'4 cis'2 d'2 e'4 e'4 e'2 cis'2 d'4 cis'4 d'2 a2 d'4 d'4 cis'2 d'2 d'4 d'4 cis'2 d'2 d'4 cis'4 d'2\n}\ntenor = {\n  fis2 a4 a4 fis2 a2 a4 g4 fis2 fis4 b4 b4 a8 g8 a4 g4 a4 b4 a4 a,8 g8 fis2~ fis4 fis2 a4 a4 fis4~ fis4 a2 a4 g4 g4~ g4 fis4 b4 b4 a8 g8 a4 g4 a4 b4 a4 a,8 g8 fis4~ fis2 b2 a4 gis4 fis2 fis2 a4 gis4 cis'2 a4 g4 a4 g4 a2 fis2 b4 b4 a4 g4 d'4 c'4 b2 a4 g4 a4 b4 a4 a,8 g8 fis2\n}\nbass = {\n  d2 d4 e4 fis2 fis,2 g,4 b,4 d4 c4 b,2 e4 fis8 g8 a4 g4 fis4 e4 a4 a,8 g8 d2~ d4 d2 d4 e4 fis4~ fis4 fis,2 g,4 b,4 d4 c4 b,2 e4 fis8 g8 a4 g4 fis4 e4 a4 a,8 g8 d4~ d2 b,2 cis4 cis4 fis2 b,2 cis4 e4 a2 a4 g4 fis4 e4 d2 d4 cis4 b,4 e4 a4 g4 fis2 g4 fis4 a4 g4 fis4 e4 a4 a,8 g8 d2\n}\n"}, "harmonizations": [{"slug": "mit-freuden-zart-cyberhymnal", "tune": "mit-freuden-zart", "music_file": "mit-freuden-zart-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": null, "system_breaks": [8, 18, 28, 39, 47, 55], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": null, "refrain": null, "source_line": "MIT FREUDEN ZART, Bohemian Brethren (Kirchengesänge), 1566. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MIT FREUDEN ZART (Kirchengesänge, Bohemian Brethren, 1566); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving. The MIDI is in D major (the engraving is printed a semitone higher in E-flat). A free-meter rhythmic chorale (the engraving is in 3/2 with an irregular bar count) whose barlines fall at the seven phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Mit Freuden Zart\" (Kirchengesänge, Bohemian Brethren, 1566); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MIT FREUDEN ZART (8.7.8.7.8.8.7) — a bar-form chorale of the Bohemian\n%% Brethren (Kirchengesänge, 1566), paired with \"Sing Praise to God Who Reigns\n%% Above\" (Frances E. Cox, 1864, from J. J. Schütz, 1675). Encoded from The\n%% Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving: the MIDI is in D major and the engraving is printed a\n%% semitone higher in E-flat, so the melody, rhythm, and the five melismas were\n%% checked note-for-note against the transposed score (the soprano's raised\n%% passing tone G-sharp before the sixth-line cadence prints as a natural in the\n%% E-flat engraving; kept as a sharp in the D-major spelling).\n%% A FREE-METER rhythmic chorale (the engraving is in 3/2 with an irregular bar\n%% count) — barlines fall at the seven phrase cadences (soprano notes 8, 17, 25,\n%% 34, 42, 50, and the final). MELISMATIC (58 soprano notes for 53 syllables);\n%% the 5 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) at soprano notes 10, 15, 27, 32, 56 — a slurred\n%% dotted-quarter+eighth at 9-10 and 26-27, ascending slurred quarter pairs at\n%% 14-15, 31-32, and 55-56.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 }\n\nsoprano = {\n  d'2 fis'4 g'4 a'2 d''2 cis''4 b'4 a'2 b'4.( a'8) g'4 fis'4 e'2 fis'4( g'4) e'2 d'2~ d'4 d'2 fis'4 g'4 a'4~ a'4 d''2 cis''4 b'4 a'4~ a'4 b'4.( a'8) g'4 fis'4 e'4~ e'4 fis'4( g'4) e'2 d'4~ d'2 d''2 cis''4 b'4 a'2 d''2 cis''4 b'4 a'2 a'2 d'4 e'4 fis'2 d'2 fis'4 gis'4 a'2 a'2 b'4 g'4 e'2 fis'4( g'4) e'2 d'2\n}\nalto = {\n  a2 d'4 cis'4 d'2 d'2 d'4 d'4 d'2 dis'4. a'8 e'4 d'4 cis'2 d'2 d'4 cis'4 d'2~ d'4 a2 d'4 cis'4 d'4~ d'4 d'2 d'4 d'4 d'4~ d'4 dis'4. a'8 e'4 d'4 cis'4~ cis'4 d'2 d'4 cis'4 d'4~ d'2 fis'2 fis'4 f'4 cis'2 d'2 e'4 e'4 e'2 cis'2 d'4 cis'4 d'2 a2 d'4 d'4 cis'2 d'2 d'4 d'4 cis'2 d'2 d'4 cis'4 d'2\n}\ntenor = {\n  fis2 a4 a4 fis2 a2 a4 g4 fis2 fis4 b4 b4 a8 g8 a4 g4 a4 b4 a4 a,8 g8 fis2~ fis4 fis2 a4 a4 fis4~ fis4 a2 a4 g4 g4~ g4 fis4 b4 b4 a8 g8 a4 g4 a4 b4 a4 a,8 g8 fis4~ fis2 b2 a4 gis4 fis2 fis2 a4 gis4 cis'2 a4 g4 a4 g4 a2 fis2 b4 b4 a4 g4 d'4 c'4 b2 a4 g4 a4 b4 a4 a,8 g8 fis2\n}\nbass = {\n  d2 d4 e4 fis2 fis,2 g,4 b,4 d4 c4 b,2 e4 fis8 g8 a4 g4 fis4 e4 a4 a,8 g8 d2~ d4 d2 d4 e4 fis4~ fis4 fis,2 g,4 b,4 d4 c4 b,2 e4 fis8 g8 a4 g4 fis4 e4 a4 a,8 g8 d4~ d2 b,2 cis4 cis4 fis2 b,2 cis4 e4 a2 a4 g4 fis4 e4 d2 d4 cis4 b,4 e4 a4 g4 fis2 g4 fis4 a4 g4 fis4 e4 a4 a,8 g8 d2\n}\n", "preferred": true}]}, "monkland": {"slug": "monkland", "name": "MONKLAND", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-antes", "composer_date": "1790", "arranger": "john-b-wilkes", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "monkland-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MONKLAND (7.7.7.7), melody by John Antes (1740–1811), 1790, arranged by John Bernard Wilkes (1785–1869), 1861 — the standard tune for John Milton's \"Let us with a gladsome mind.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4). The two printed F-sharps — the alto secondary-dominant leading tone at the line-2 cadence to G, and the bass F-sharp opening line 3 — are carried as printed. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Monkland\" (John Antes, arr. J. B. Wilkes); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "monkland-cyberhymnal", "tune": "monkland", "music_file": "monkland-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MONKLAND, melody John Antes, 1790; arr. John B. Wilkes, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MONKLAND (melody John Antes, 1790; arr. John Bernard Wilkes, 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4; the printed alto and bass F-sharps carried as spelled). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Monkland\" (John Antes, arr. J. B. Wilkes); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MONKLAND (7.7.7.7) — four SATB voice streams, key C major. Melody John Antes,\n%% 1790; arranged John Bernard Wilkes, 1861. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Monkland\", John Antes / arr. Wilkes)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. VERSE-\n%% VARIABLE MELISMA: 32 soprano notes for 28 syllables (7.7.7.7) — four slurred\n%% eighth-note pairs are melismas (line 1 syllables 5 & 6, line 3 syllable 2, line 4\n%% syllable 2), each held with '_' per stanza (see the setting). The two F-sharps\n%% (alto, line-2 cadence to G; bass, start of line 3) are printed accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4 e'4 | f'8( g'8) a'8( b'8) c''2 | e''4 e''4 d''4 c''4 | b'4 a'4 g'2 | d''4 d''8( c''8) b'4 g'4 | c''4 e''4 d''2 | e''4 d''8( c''8) b'4 c''4 | c''4 b'4 c''2\n}\nalto = {\n  c'4 c'4 d'4 c'4 | c'8 g'8 f'8 b'8 e'2 | g'4 g'4 g'4 g'4 | g'4 fis'4 g'2 | g'4 d'8 c''8 d'4 g'4 | g'4 g'4 g'2 | g'4 g'8 c''8 g'4 g'4 | g'4 d'4 e'2\n}\ntenor = {\n  e4 a4 b4 g4 | a4 f4 g2 | c'8 d8 c'8 f8 b4 c'4 | d'4 d8 c'8 b2 | b4 a4 g4 b8 f8 | c'4 c'4 b2 | c'4 b8 c'8 d'4 c'4 | d'4 g4 g2\n}\nbass = {\n  c4 a,4 g,4 c4 | f4 d4 c2 | c8 d8 e8 f8 g4 e4 | d4 d8 c'8 g2 | g4 fis4 g4 g8 f8 | e4 c4 g2 | c4 d8 e8 f4 e4 | g4 g,4 c2\n}\n"}, "harmonizations": [{"slug": "monkland-cyberhymnal", "tune": "monkland", "music_file": "monkland-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MONKLAND, melody John Antes, 1790; arr. John B. Wilkes, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MONKLAND (melody John Antes, 1790; arr. John Bernard Wilkes, 1861); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4; the printed alto and bass F-sharps carried as spelled). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Monkland\" (John Antes, arr. J. B. Wilkes); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MONKLAND (7.7.7.7) — four SATB voice streams, key C major. Melody John Antes,\n%% 1790; arranged John Bernard Wilkes, 1861. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Monkland\", John Antes / arr. Wilkes)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. VERSE-\n%% VARIABLE MELISMA: 32 soprano notes for 28 syllables (7.7.7.7) — four slurred\n%% eighth-note pairs are melismas (line 1 syllables 5 & 6, line 3 syllable 2, line 4\n%% syllable 2), each held with '_' per stanza (see the setting). The two F-sharps\n%% (alto, line-2 cadence to G; bass, start of line 3) are printed accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4 e'4 | f'8( g'8) a'8( b'8) c''2 | e''4 e''4 d''4 c''4 | b'4 a'4 g'2 | d''4 d''8( c''8) b'4 g'4 | c''4 e''4 d''2 | e''4 d''8( c''8) b'4 c''4 | c''4 b'4 c''2\n}\nalto = {\n  c'4 c'4 d'4 c'4 | c'8 g'8 f'8 b'8 e'2 | g'4 g'4 g'4 g'4 | g'4 fis'4 g'2 | g'4 d'8 c''8 d'4 g'4 | g'4 g'4 g'2 | g'4 g'8 c''8 g'4 g'4 | g'4 d'4 e'2\n}\ntenor = {\n  e4 a4 b4 g4 | a4 f4 g2 | c'8 d8 c'8 f8 b4 c'4 | d'4 d8 c'8 b2 | b4 a4 g4 b8 f8 | c'4 c'4 b2 | c'4 b8 c'8 d'4 c'4 | d'4 g4 g2\n}\nbass = {\n  c4 a,4 g,4 c4 | f4 d4 c2 | c8 d8 e8 f8 g4 e4 | d4 d8 c'8 g2 | g4 fis4 g4 g8 f8 | e4 c4 g2 | c4 d8 e8 f4 e4 | g4 g,4 c2\n}\n", "preferred": true}]}, "monks-gate": {"slug": "monks-gate", "name": "MONKS GATE", "meter_label": "6.5.6.5.6.6.6.5", "meter": {"pattern": [6, 5, 6, 5, 6, 6, 6, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer_source": "English traditional (adapted by Ralph Vaughan Williams)", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "monks-gate-openhymnal", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MONKS GATE, a traditional English (Sussex) folk melody collected and adapted by Ralph Vaughan Williams (1872-1958) for The English Hymnal, 1906, where he set it to Bunyan's 'He Who Would Valiant Be'. Public domain in the US (pub. pre-1929). Melody encoded from the Open Hymnal Project ABC. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"He Who Would Valiant Be\" (tune MONKS GATE, adapted by Vaughan Williams, English Hymnal 1906)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "monks-gate-openhymnal", "tune": "monks-gate", "music_file": "monks-gate-openhymnal.ly", "harmonizer": "ralph-vaughan-williams", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "MONKS GATE (traditional English, adapted by Ralph Vaughan Williams for The English Hymnal, 1906). Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MONKS GATE, a traditional English (Sussex) folk melody that Ralph Vaughan Williams collected and adapted for The English Hymnal, 1906 (named for Monk's Gate, near Horsham). Public domain in the US (pub. pre-1929). Four-part setting encoded from the Open Hymnal Project 2014 revision. Ten soprano melismas slurred from the w: lyric alignment; all three stanzas share the same melisma positions (a fixed-melisma tune). 55 soprano notes carry 45 syllables (6.5.6.5.6.6.6.5).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:240, \"He Who Would Valiant Be\" (tune MONKS GATE; Vaughan Williams setting, English Hymnal 1906); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MONKS GATE (6.5.6.5.6.6.6.5) — \"He Who Would Valiant Be\"\n%% Imported from Open Hymnal ABC (X:240) via tools/abc_import.py. Tune 'Monks\n%% Gate', a traditional English (Sussex) melody adapted by Ralph Vaughan Williams\n%% for The English Hymnal, 1906 — public domain (pub. pre-1929 in the US). Ten\n%% soprano melismas slurred from the w: lyric alignment; all three stanzas share\n%% the same positions (a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  d'4.( e'8) fis'4 d'4 fis'8( g'8) a'4 b'2 a'2 a'4 d'4 cis'4 d'4~( d'2) d'4.( e'8) fis'4 d'4 fis'8( g'8) a'4 b'2 a'2 a'4 d'4 cis'4 d'4~( d'2) a'2 d''4 b'4 cis''4 d''8( cis''8) b'2. a'4 fis'8( e'8) d'4 fis'4 g'4 a'2. d''4 a'4. a'8 b'8( a'8) g'8( fis'8) e'4 b'4 a'4 d'4 cis'4 d'2\n}\nalto = {\n  a2 d'4 a4 d'4 cis'4 b2 cis'2 d'4 a4 a4 a4~ a2 a2 d'4 a4 d'4 cis'4 b2 cis'2 d'4 a4 a4 a4~ a2 d'4.( e'8) fis'4 fis'4 g'4 fis'8 e'8 d'2. e'4 d'4 a4 d'4 d'4 cis'2. d'4 cis'4 d'4 d'4 d'4 e'4 cis'4 d'4 b4 a4 a2\n}\ntenor = {\n  fis4.( g8) a4 fis4 d4 e4 g2 a2 a4 a4 g4 fis4~ fis2 fis4.( g8) a4 fis4 d4 e4 g2 a2 a4 a4 g4 fis4~ fis2 fis2 b4 b4 b4 ais4 b2( g4) e4 a4 a4 fis4 d4 e2( a4) a4 g4 fis4 g4 b4 cis'4 cis'4 a4 g4 g4 fis2\n}\nbass = {\n  d2 d4 d4 b,4 a,4 g,2 g2 fis4 fis4 e4 d4~ d2 d2 d4 d4 b,4 a,4 g,2 g2 fis4 fis4 e4 d4~ d2 d4.( cis8) b,4 d4 e4 fis4 g2( b,4) cis4 d4 fis4 d4 b,4 a,4( a4 g4) fis4 e4 d4 g4 e4 a4 g4 fis4 e4 a,4 d2\n}\n"}, "harmonizations": [{"slug": "monks-gate-openhymnal", "tune": "monks-gate", "music_file": "monks-gate-openhymnal.ly", "harmonizer": "ralph-vaughan-williams", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "MONKS GATE (traditional English, adapted by Ralph Vaughan Williams for The English Hymnal, 1906). Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MONKS GATE, a traditional English (Sussex) folk melody that Ralph Vaughan Williams collected and adapted for The English Hymnal, 1906 (named for Monk's Gate, near Horsham). Public domain in the US (pub. pre-1929). Four-part setting encoded from the Open Hymnal Project 2014 revision. Ten soprano melismas slurred from the w: lyric alignment; all three stanzas share the same melisma positions (a fixed-melisma tune). 55 soprano notes carry 45 syllables (6.5.6.5.6.6.6.5).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:240, \"He Who Would Valiant Be\" (tune MONKS GATE; Vaughan Williams setting, English Hymnal 1906); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MONKS GATE (6.5.6.5.6.6.6.5) — \"He Who Would Valiant Be\"\n%% Imported from Open Hymnal ABC (X:240) via tools/abc_import.py. Tune 'Monks\n%% Gate', a traditional English (Sussex) melody adapted by Ralph Vaughan Williams\n%% for The English Hymnal, 1906 — public domain (pub. pre-1929 in the US). Ten\n%% soprano melismas slurred from the w: lyric alignment; all three stanzas share\n%% the same positions (a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  d'4.( e'8) fis'4 d'4 fis'8( g'8) a'4 b'2 a'2 a'4 d'4 cis'4 d'4~( d'2) d'4.( e'8) fis'4 d'4 fis'8( g'8) a'4 b'2 a'2 a'4 d'4 cis'4 d'4~( d'2) a'2 d''4 b'4 cis''4 d''8( cis''8) b'2. a'4 fis'8( e'8) d'4 fis'4 g'4 a'2. d''4 a'4. a'8 b'8( a'8) g'8( fis'8) e'4 b'4 a'4 d'4 cis'4 d'2\n}\nalto = {\n  a2 d'4 a4 d'4 cis'4 b2 cis'2 d'4 a4 a4 a4~ a2 a2 d'4 a4 d'4 cis'4 b2 cis'2 d'4 a4 a4 a4~ a2 d'4.( e'8) fis'4 fis'4 g'4 fis'8 e'8 d'2. e'4 d'4 a4 d'4 d'4 cis'2. d'4 cis'4 d'4 d'4 d'4 e'4 cis'4 d'4 b4 a4 a2\n}\ntenor = {\n  fis4.( g8) a4 fis4 d4 e4 g2 a2 a4 a4 g4 fis4~ fis2 fis4.( g8) a4 fis4 d4 e4 g2 a2 a4 a4 g4 fis4~ fis2 fis2 b4 b4 b4 ais4 b2( g4) e4 a4 a4 fis4 d4 e2( a4) a4 g4 fis4 g4 b4 cis'4 cis'4 a4 g4 g4 fis2\n}\nbass = {\n  d2 d4 d4 b,4 a,4 g,2 g2 fis4 fis4 e4 d4~ d2 d2 d4 d4 b,4 a,4 g,2 g2 fis4 fis4 e4 d4~ d2 d4.( cis8) b,4 d4 e4 fis4 g2( b,4) cis4 d4 fis4 d4 b,4 a,4( a4 g4) fis4 e4 d4 g4 e4 a4 g4 fis4 e4 a,4 d2\n}\n", "preferred": true}]}, "more-love-to-thee": {"slug": "more-love-to-thee", "name": "MORE LOVE TO THEE", "meter_label": "6.4.6.4.6.6.4.4", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 4, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1870", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "more-love-to-thee-oh228", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:228; all components published pre-1931 (latest year 1870).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "more_love_to_thee_doane", "total_instances": 473}}, "harmonization": {"slug": "more-love-to-thee-oh228", "tune": "more-love-to-thee", "music_file": "more-love-to-thee-oh228.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:228; all components published pre-1931 (latest year 1870).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:228", "encoding_license": "PD-dedication"}, "music_ly": "%% More Love to Thee\n%% Imported from Open Hymnal ABC X:228 via tools/abc_import.py\n%% Open Hymnal X:228; all components published pre-1931 (latest year 1870).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 f'4 ees'4 aes'4. bes'8 c''2 c''2 bes'4 aes'4 bes'1 ees'2 f'4 ees'4 aes'4. bes'8 c''2 bes'2 aes'4 g'4 aes'1 des''2 des''4 des''4 des''4. c''8 c''2 bes'2 bes'4 bes'4 bes'4. aes'8 aes'2 f'2 f'4 f'4 aes'1 bes'2 aes'4 g'4 aes'1\n}\nalto = {\n  c'2 des'4 c'4 ees'4. ees'8 ees'2 ees'2 ees'4 d'4 ees'1 c'2 des'4 c'4 ees'4. ees'8 ees'2 f'2 ees'4 ees'4 ees'1 aes'2 aes'4 aes'4 aes'4. aes'8 aes'2 g'2 ees'4 ees'4 ees'4. ees'8 ees'2 des'2 des'4 des'4 ees'1 f'2 ees'4 ees'4 ees'1\n}\ntenor = {\n  aes2 aes4 aes4 aes4. g8 aes2 aes2 bes4 bes4 g1 aes2 aes4 aes4 aes4. g8 aes2 des'2 c'4 des'4 c'1 f'2 f'4 f'4 f'4. ees'8 ees'2 des'2 des'4 des'4 des'4. c'8 c'2 aes2 aes4 aes4 aes1 des'2 c'4 bes4 c'1\n}\nbass = {\n  aes,2 aes,4 aes,4 c4. ees8 aes2 aes2 g4 f4 ees1 aes2 aes4 aes4 c4. ees8 aes2 des2 ees4 ees4 aes1 aes2 aes4 aes4 aes4. aes8 aes2 ees2 ees4 ees4 ees4. aes8 aes2 des2 des4 des4 c1 bes,2 ees4 ees4 aes,1\n}\n"}, "harmonizations": [{"slug": "more-love-to-thee-oh228", "tune": "more-love-to-thee", "music_file": "more-love-to-thee-oh228.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:228; all components published pre-1931 (latest year 1870).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:228", "encoding_license": "PD-dedication"}, "music_ly": "%% More Love to Thee\n%% Imported from Open Hymnal ABC X:228 via tools/abc_import.py\n%% Open Hymnal X:228; all components published pre-1931 (latest year 1870).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  ees'2 f'4 ees'4 aes'4. bes'8 c''2 c''2 bes'4 aes'4 bes'1 ees'2 f'4 ees'4 aes'4. bes'8 c''2 bes'2 aes'4 g'4 aes'1 des''2 des''4 des''4 des''4. c''8 c''2 bes'2 bes'4 bes'4 bes'4. aes'8 aes'2 f'2 f'4 f'4 aes'1 bes'2 aes'4 g'4 aes'1\n}\nalto = {\n  c'2 des'4 c'4 ees'4. ees'8 ees'2 ees'2 ees'4 d'4 ees'1 c'2 des'4 c'4 ees'4. ees'8 ees'2 f'2 ees'4 ees'4 ees'1 aes'2 aes'4 aes'4 aes'4. aes'8 aes'2 g'2 ees'4 ees'4 ees'4. ees'8 ees'2 des'2 des'4 des'4 ees'1 f'2 ees'4 ees'4 ees'1\n}\ntenor = {\n  aes2 aes4 aes4 aes4. g8 aes2 aes2 bes4 bes4 g1 aes2 aes4 aes4 aes4. g8 aes2 des'2 c'4 des'4 c'1 f'2 f'4 f'4 f'4. ees'8 ees'2 des'2 des'4 des'4 des'4. c'8 c'2 aes2 aes4 aes4 aes1 des'2 c'4 bes4 c'1\n}\nbass = {\n  aes,2 aes,4 aes,4 c4. ees8 aes2 aes2 g4 f4 ees1 aes2 aes4 aes4 c4. ees8 aes2 des2 ees4 ees4 aes1 aes2 aes4 aes4 aes4. aes8 aes2 ees2 ees4 ees4 ees4. aes8 aes2 des2 des4 des4 c1 bes,2 ees4 ees4 aes,1\n}\n", "preferred": true}]}, "morecambe": {"slug": "morecambe", "name": "MORECAMBE", "meter_label": "10.10.10.10", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "frederick-cook-atkinson", "composer_date": "1870", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "morecambe-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MORECAMBE (10.10.10.10), Frederick Cook Atkinson, 1870. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4; the second-phrase chromatics — alto/bass D-sharp, tenor F-sharp and C-sharp at the secondary-dominant cadences — are printed with sharps in the source and carried in those voices; the soprano is melismatic once, a slurred e'-g' quarter pair on line 2, syllable 4). Composer d. 1896. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morecambe\" (Frederick Cook Atkinson, 1870); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "morecambe-cyberhymnal", "tune": "morecambe", "music_file": "morecambe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORECAMBE, Frederick Cook Atkinson, 1870. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MORECAMBE (Frederick Cook Atkinson, 1870); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morecambe\" (Frederick Cook Atkinson, 1870); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MORECAMBE (10.10.10.10) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Morecambe\", Frederick Cook Atkinson,\n%% 1870) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% MELISMATIC once (41 soprano notes for 40 syllables, 10.10.10.10); the single\n%% melisma is the slurred e'-g' quarter pair in the second phrase (line 2,\n%% syllable 4), held with '_' every stanza (verse_variable_melisma). The\n%% second-phrase chromatics — alto/bass D-sharp, tenor F-sharp and C-sharp at the\n%% secondary-dominant cadences — are the sharps printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'2 e'4 e'4 f'2 e'2 a'4 g'4 f'4 f'4 e'1 c''2 b'4 a'4 e'4( g'4) a'2 b'4 g'4 a'4 a'4 g'1 g'2 g'4 g'4 b'2 a'2 g'4 a'4 b'4 c''4 d''1 e''2 d''4 c''4 b'4 a'4 g'4 c''4 g'2 g'2 g'1\n}\nalto = {\n  c'2 c'4 c'4 d'2 c'2 c'4 c'4 c'4 b4 c'1 e'2 dis'4 fis'4 e'4 g'4 g'2 g'4 d'4 e'4 fis'4 g'1 d'2 d'4 d'4 f'2 f'2 f'4 f'4 f'4 f'4 f'1 e'2 f'4 g'4 g'4 f'4 e'4 f'4 e'2 f'2 e'1\n}\ntenor = {\n  g2 g4 g4 g2 g2 f4 g4 a4 g4 g1 a4 g4 fis4 b4 b2 cis'2 d'4 b4 c'4 c'4 b1 b2 b4 b4 d'2 c'2 b4 c'4 d'4 a4 b1 c'4 a4 b4 c'4 c'4 c'4 c'4 c'4 c'2 b2 c'1\n}\nbass = {\n  c2 c4 c4 b,2 c2 f4 e4 d4 g,4 c1 a,2 b,4 dis4 e2 e2 d4 d4 d4 d4 g1 g2 g4 g4 g2 g2 g4 g4 g4 g4 g1 c2 d4 e4 f4 f4 g4 a4 g2 g2 c1\n}\n"}, "harmonizations": [{"slug": "morecambe-cyberhymnal", "tune": "morecambe", "music_file": "morecambe-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORECAMBE, Frederick Cook Atkinson, 1870. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MORECAMBE (Frederick Cook Atkinson, 1870); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morecambe\" (Frederick Cook Atkinson, 1870); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MORECAMBE (10.10.10.10) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Morecambe\", Frederick Cook Atkinson,\n%% 1870) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% MELISMATIC once (41 soprano notes for 40 syllables, 10.10.10.10); the single\n%% melisma is the slurred e'-g' quarter pair in the second phrase (line 2,\n%% syllable 4), held with '_' every stanza (verse_variable_melisma). The\n%% second-phrase chromatics — alto/bass D-sharp, tenor F-sharp and C-sharp at the\n%% secondary-dominant cadences — are the sharps printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'2 e'4 e'4 f'2 e'2 a'4 g'4 f'4 f'4 e'1 c''2 b'4 a'4 e'4( g'4) a'2 b'4 g'4 a'4 a'4 g'1 g'2 g'4 g'4 b'2 a'2 g'4 a'4 b'4 c''4 d''1 e''2 d''4 c''4 b'4 a'4 g'4 c''4 g'2 g'2 g'1\n}\nalto = {\n  c'2 c'4 c'4 d'2 c'2 c'4 c'4 c'4 b4 c'1 e'2 dis'4 fis'4 e'4 g'4 g'2 g'4 d'4 e'4 fis'4 g'1 d'2 d'4 d'4 f'2 f'2 f'4 f'4 f'4 f'4 f'1 e'2 f'4 g'4 g'4 f'4 e'4 f'4 e'2 f'2 e'1\n}\ntenor = {\n  g2 g4 g4 g2 g2 f4 g4 a4 g4 g1 a4 g4 fis4 b4 b2 cis'2 d'4 b4 c'4 c'4 b1 b2 b4 b4 d'2 c'2 b4 c'4 d'4 a4 b1 c'4 a4 b4 c'4 c'4 c'4 c'4 c'4 c'2 b2 c'1\n}\nbass = {\n  c2 c4 c4 b,2 c2 f4 e4 d4 g,4 c1 a,2 b,4 dis4 e2 e2 d4 d4 d4 d4 g1 g2 g4 g4 g2 g2 g4 g4 g4 g4 g1 c2 d4 e4 f4 f4 g4 a4 g2 g2 c1\n}\n", "preferred": true}]}, "morning-hymn": {"slug": "morning-hymn", "name": "MORNING HYMN", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "francois-barthelemon", "composer_date": "1785", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "morning-hymn-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MORNING HYMN (L.M.), composed by François Hippolyte Barthélémon (1741-1808) about 1785, written for Thomas Ken's morning hymn \"Awake, my soul, and with the sun\" at the request of Rev. Jacob Duché for the Female Orphan Asylum, London — the historic tune for that text ever since. Encoded from The Cyber Hymnal single-track MIDI (headed \"Morning Hymn (Barthélémon), LM — François Hippolyte Barthélémon, 1785\") and verified measure-by-measure against the Cyber Hymnal engraving (G major, 4/4, no pickup, whole-note final). Melismatic — 41 soprano notes carry 32 L.M. syllables (eight printed two-note slurs plus one tied pair per stanza). The soprano matches Hymnary.org's authority incipit 12333 43222 54543 for tune authority morning_hymn_barthelemon exactly (the incipit's plain 4s are the engraved chromatic C-sharps). Composer died 1808; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Hymn (Barthélémon)\" (François Hippolyte Barthélémon, 1785); single-track MIDI + engraving, voices reconstructed from the onset grid (tools/mid2ly_chords.py as cross-check) and render-diffed against the engraving", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "morning_hymn_barthelemon", "total_instances": 1979}}, "harmonization": {"slug": "morning-hymn-cyberhymnal", "tune": "morning-hymn", "music_file": "morning-hymn-cyberhymnal.ly", "harmonizer": "francois-barthelemon", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORNING HYMN, François Hippolyte Barthélémon, 1785. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting MORNING HYMN (L.M.), François Hippolyte Barthélémon (1741-1808), written about 1785 for Thomas Ken's \"Awake, my soul, and with the sun\" — US public domain by pre-1931 publication (composer died 1808). Encoded from The Cyber Hymnal single-track MIDI: the four voice streams were reconstructed by hand from the raw onset grid (the file carries passing eighth notes in single voices under held chords, which the homophonic splitter tools/mid2ly_chords.py cannot represent; its output was used as a cross-check only) and verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi via a like-for-like LilyPond render-diff (G major, 4/4, no pickup, whole-note final; all five chromatic tones — the soprano C-sharps in bar 3, the tenor C-sharp in bar 2, the alto C-sharp in bar 4, the tenor G-sharp in bar 6 — carry engraved sharps; every inner-voice eighth-pair melisma is slurred in the print). Soprano confirmed against Hymnary.org authority incipit 12333 43222 54543 (morning_hymn_barthelemon).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Hymn (Barthélémon)\" (François Hippolyte Barthélémon, 1785); single-track MIDI + engraving, voices reconstructed from the onset grid and render-diffed against the engraving", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "morning_hymn_barthelemon", "total_instances": 1979}}, "music_ly": "%% MORNING HYMN (L.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal single-track MIDI (\"Morning Hymn (Barthélémon),\n%% LM\", François Hippolyte Barthélémon, 1785 — written for Thomas Ken's \"Awake,\n%% my soul, and with the sun\"). The MIDI interleaves passing eighth notes in\n%% single voices under held chords, so the four streams were reconstructed by\n%% hand from the raw onset grid (tools/mid2ly_chords.py's homophonic ranker used\n%% only as a cross-check; its direct output truncates the held notes) and then\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi\n%% (G major, 4/4, no pickup, whole-note final, quarter = 105). MELISMATIC:\n%% 41 soprano notes carry 32 L.M. syllables — eight two-note melisma slurs per\n%% stanza, all printed in the source (soprano notes 1-2, 6-7, 14-15, 16-17,\n%% 22-23, 27-28, 35-36, 37-38) plus the tie d'4~ d'4 across the m4/m5 barline\n%% (notes 20-21, the held \"run\"). The soprano matches Hymnary's authority\n%% incipit for morning_hymn_barthelemon, 12333 43222 54543 (its plain 4s are\n%% the engraved chromatic cis''). All five chromatic tones (soprano cis'' twice\n%% in m3, tenor cis' m2, alto cis' m4, tenor gis m6) are printed with sharps in\n%% the source. The source also slurs every inner-voice eighth-pair melisma\n%% (tenor m1/m3/m5/m6, alto m3/m4/m7/m8, bass m8); carried here per voice.\n%% Phrase ends fall mid-measure: line 3 peaks on the m7-downbeat c'' (\"rise\")\n%% and line 4 starts on the following b'.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'8( a'8) b'4 b'4 b'4 | c''8( b'8) a'4 a'4 a'4 |\n  d''4 cis''4 d''4 cis''8( b'8) | a'8( g'8) fis'4 e'4 d'4~ |\n  d'4 d'8( e'8) fis'4 g'4 | a'4 fis'8( g'8) a'4 b'4 |\n  c''4 b'4 e'4 fis'4 | g'8( b'8) d''8( c''8) b'4 a'4 |\n  g'1\n}\nalto = {\n  d'4 g'4 g'4 g'4 | e'4 fis'4 g'4 fis'4 |\n  d'4 e'4 fis'4 a'8( g'8) | fis'8( e'8) d'4 cis'4 d'4~ |\n  d'4 a4 d'4 d'4 | d'4 d'4 e'4 e'4 |\n  e'8( fis'8) g'4 e'4 d'4 | d'4 d'8( e'8) d'4 d'8( c'8) |\n  b1\n}\ntenor = {\n  b8( c'8) d'4 d'4 d'4 | e'4 a4 cis'4 d'4 |\n  a4 g4 a8( d'8) d'4 | b4 a4 g4 fis4~ |\n  fis4 fis8( g8) a4 b4 | fis4 c'8( b8) a4 gis4 |\n  a4 d'4 c'4 a4 | g4 g4 g4 fis4 |\n  g1\n}\nbass = {\n  g4 g4 d4 g,4 | c4 d4 e4 d4 |\n  fis4 e4 d4 g4 | g4 a4 a,4 d4~ |\n  d4 d4 d4 d4 | d4 d4 c4 b,4 |\n  a,4 b,4 c4 c4 | b,4 b,8( c8) d4 d4 |\n  g,1\n}\n"}, "harmonizations": [{"slug": "morning-hymn-cyberhymnal", "tune": "morning-hymn", "music_file": "morning-hymn-cyberhymnal.ly", "harmonizer": "francois-barthelemon", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORNING HYMN, François Hippolyte Barthélémon, 1785. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting MORNING HYMN (L.M.), François Hippolyte Barthélémon (1741-1808), written about 1785 for Thomas Ken's \"Awake, my soul, and with the sun\" — US public domain by pre-1931 publication (composer died 1808). Encoded from The Cyber Hymnal single-track MIDI: the four voice streams were reconstructed by hand from the raw onset grid (the file carries passing eighth notes in single voices under held chords, which the homophonic splitter tools/mid2ly_chords.py cannot represent; its output was used as a cross-check only) and verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi via a like-for-like LilyPond render-diff (G major, 4/4, no pickup, whole-note final; all five chromatic tones — the soprano C-sharps in bar 3, the tenor C-sharp in bar 2, the alto C-sharp in bar 4, the tenor G-sharp in bar 6 — carry engraved sharps; every inner-voice eighth-pair melisma is slurred in the print). Soprano confirmed against Hymnary.org authority incipit 12333 43222 54543 (morning_hymn_barthelemon).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Hymn (Barthélémon)\" (François Hippolyte Barthélémon, 1785); single-track MIDI + engraving, voices reconstructed from the onset grid and render-diffed against the engraving", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "morning_hymn_barthelemon", "total_instances": 1979}}, "music_ly": "%% MORNING HYMN (L.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal single-track MIDI (\"Morning Hymn (Barthélémon),\n%% LM\", François Hippolyte Barthélémon, 1785 — written for Thomas Ken's \"Awake,\n%% my soul, and with the sun\"). The MIDI interleaves passing eighth notes in\n%% single voices under held chords, so the four streams were reconstructed by\n%% hand from the raw onset grid (tools/mid2ly_chords.py's homophonic ranker used\n%% only as a cross-check; its direct output truncates the held notes) and then\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi\n%% (G major, 4/4, no pickup, whole-note final, quarter = 105). MELISMATIC:\n%% 41 soprano notes carry 32 L.M. syllables — eight two-note melisma slurs per\n%% stanza, all printed in the source (soprano notes 1-2, 6-7, 14-15, 16-17,\n%% 22-23, 27-28, 35-36, 37-38) plus the tie d'4~ d'4 across the m4/m5 barline\n%% (notes 20-21, the held \"run\"). The soprano matches Hymnary's authority\n%% incipit for morning_hymn_barthelemon, 12333 43222 54543 (its plain 4s are\n%% the engraved chromatic cis''). All five chromatic tones (soprano cis'' twice\n%% in m3, tenor cis' m2, alto cis' m4, tenor gis m6) are printed with sharps in\n%% the source. The source also slurs every inner-voice eighth-pair melisma\n%% (tenor m1/m3/m5/m6, alto m3/m4/m7/m8, bass m8); carried here per voice.\n%% Phrase ends fall mid-measure: line 3 peaks on the m7-downbeat c'' (\"rise\")\n%% and line 4 starts on the following b'.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'8( a'8) b'4 b'4 b'4 | c''8( b'8) a'4 a'4 a'4 |\n  d''4 cis''4 d''4 cis''8( b'8) | a'8( g'8) fis'4 e'4 d'4~ |\n  d'4 d'8( e'8) fis'4 g'4 | a'4 fis'8( g'8) a'4 b'4 |\n  c''4 b'4 e'4 fis'4 | g'8( b'8) d''8( c''8) b'4 a'4 |\n  g'1\n}\nalto = {\n  d'4 g'4 g'4 g'4 | e'4 fis'4 g'4 fis'4 |\n  d'4 e'4 fis'4 a'8( g'8) | fis'8( e'8) d'4 cis'4 d'4~ |\n  d'4 a4 d'4 d'4 | d'4 d'4 e'4 e'4 |\n  e'8( fis'8) g'4 e'4 d'4 | d'4 d'8( e'8) d'4 d'8( c'8) |\n  b1\n}\ntenor = {\n  b8( c'8) d'4 d'4 d'4 | e'4 a4 cis'4 d'4 |\n  a4 g4 a8( d'8) d'4 | b4 a4 g4 fis4~ |\n  fis4 fis8( g8) a4 b4 | fis4 c'8( b8) a4 gis4 |\n  a4 d'4 c'4 a4 | g4 g4 g4 fis4 |\n  g1\n}\nbass = {\n  g4 g4 d4 g,4 | c4 d4 e4 d4 |\n  fis4 e4 d4 g4 | g4 a4 a,4 d4~ |\n  d4 d4 d4 d4 | d4 d4 c4 b,4 |\n  a,4 b,4 c4 c4 | b,4 b,8( c8) d4 d4 |\n  g,1\n}\n", "preferred": true}]}, "morning-star": {"slug": "morning-star", "name": "MORNING STAR", "meter_label": "11.10.11.10", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-proctor-harding", "composer_date": "1892", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "morning-star-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MORNING STAR, an 11.10.11.10 tune by James Proctor Harding (1850-1911), composed 1892 for Heber's Epiphany hymn. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4). Harding d. 1911; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Star\" (J. P. Harding, 1892); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "morning-star-cyberhymnal", "tune": "morning-star", "music_file": "morning-star-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 24, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORNING STAR, James Proctor Harding, 1892. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MORNING STAR by James Proctor Harding (1892); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4). Five soprano melismas at held notes 8/20/24/32/44. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Star\" (J. P. Harding, 1892); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MORNING STAR (11.10.11.10) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Morning Star\", J. P. Harding 1892) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major,\n%% 4/4). MELISMATIC: 47 soprano notes for 42 syllables; five melismas (slurred pairs\n%% at held notes 8, 20, 24, 32, 44) carry a '_' in the setting underlay.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [8, 20, 24, 32, 44]  (count=5)\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\nsoprano = {\n  c''2 bes'4 as'4 | g'2 f'4 es'4 | es'4( as'4) g'4 as'4 | c''2 bes'2 | es''2 des''4 c''4 | c''2 bes'4 as'4 | g'4( bes'4) as'4 f'4 | es'2( des'2) | c''2 bes'4 as'4 | g'2 f'4 es'4 | es'4( as'4) c''4 es''4 | es''2 des''2 | c''2 as'4 bes'4 | c''2 as'4 f'4 | es'4( f'4) g'4 bes'4 | as'1 |\n}\nalto = {\n  c'2 c'4 c'4 | des'2 des'4 des'4 | es'4 as'4 d'4 d'4 | es'2 es'2 | es'2 es'4 es'4 | es'2 es'4 es'4 | es'2 d'4 d'4 | es'2 des'2 | c'2 c'4 c'4 | des'2 des'4 des'4 | es'4 as'4 as'4 g'4 | f'2 f'2 | es'2 c'4 f'4 | e'2 c'4 b4 | c'2 des'4 des'4 | c'1 |\n}\ntenor = {\n  es2 es4 es4 | es2 f4 g4 | as2 as4 as4 | as2 g2 | as2 g4 as4 | as2 bes4 c'4 | bes4 g4 f4 as4 | g1 | es2 es4 es4 | es2 f4 g4 | as2 as4 as4 | as2 as2 | as2 as4 f4 | g2 as4 as4 | as2 bes4 g4 | es1 |\n}\nbass = {\n  as,2 as,4 as,4 | bes,2 bes,4 bes,4 | c2 f4 f4 | es2 es4 des4 | c2 bes,4 as,4 | as2 g4 f4 | bes,2 bes,4 bes,4 | es1 | as,2 as,4 as,4 | bes,2 bes,4 bes,4 | c2 c4 c4 | des2 des2 | es2 f4 des4 | c2 f4 d4 | es2 es4 es4 | as,1 |\n}\n"}, "harmonizations": [{"slug": "morning-star-cyberhymnal", "tune": "morning-star", "music_file": "morning-star-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 24, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MORNING STAR, James Proctor Harding, 1892. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MORNING STAR by James Proctor Harding (1892); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4). Five soprano melismas at held notes 8/20/24/32/44. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Morning Star\" (J. P. Harding, 1892); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MORNING STAR (11.10.11.10) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Morning Star\", J. P. Harding 1892) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major,\n%% 4/4). MELISMATIC: 47 soprano notes for 42 syllables; five melismas (slurred pairs\n%% at held notes 8, 20, 24, 32, 44) carry a '_' in the setting underlay.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [8, 20, 24, 32, 44]  (count=5)\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\nsoprano = {\n  c''2 bes'4 as'4 | g'2 f'4 es'4 | es'4( as'4) g'4 as'4 | c''2 bes'2 | es''2 des''4 c''4 | c''2 bes'4 as'4 | g'4( bes'4) as'4 f'4 | es'2( des'2) | c''2 bes'4 as'4 | g'2 f'4 es'4 | es'4( as'4) c''4 es''4 | es''2 des''2 | c''2 as'4 bes'4 | c''2 as'4 f'4 | es'4( f'4) g'4 bes'4 | as'1 |\n}\nalto = {\n  c'2 c'4 c'4 | des'2 des'4 des'4 | es'4 as'4 d'4 d'4 | es'2 es'2 | es'2 es'4 es'4 | es'2 es'4 es'4 | es'2 d'4 d'4 | es'2 des'2 | c'2 c'4 c'4 | des'2 des'4 des'4 | es'4 as'4 as'4 g'4 | f'2 f'2 | es'2 c'4 f'4 | e'2 c'4 b4 | c'2 des'4 des'4 | c'1 |\n}\ntenor = {\n  es2 es4 es4 | es2 f4 g4 | as2 as4 as4 | as2 g2 | as2 g4 as4 | as2 bes4 c'4 | bes4 g4 f4 as4 | g1 | es2 es4 es4 | es2 f4 g4 | as2 as4 as4 | as2 as2 | as2 as4 f4 | g2 as4 as4 | as2 bes4 g4 | es1 |\n}\nbass = {\n  as,2 as,4 as,4 | bes,2 bes,4 bes,4 | c2 f4 f4 | es2 es4 des4 | c2 bes,4 as,4 | as2 g4 f4 | bes,2 bes,4 bes,4 | es1 | as,2 as,4 as,4 | bes,2 bes,4 bes,4 | c2 c4 c4 | des2 des2 | es2 f4 des4 | c2 f4 d4 | es2 es4 es4 | as,1 |\n}\n", "preferred": true}]}, "morris": {"slug": "morris", "name": "MORRIS", "meter_label": "9.10.9.10.10", "meter": {"pattern": [9, 10, 9, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lelia-n-morris", "composer_date": "1898", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "morris-make-christ-king-1914", "provenance": {"layer": "tune", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Lelia N. Morris (1862-1929), words and music, first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 — archive.org pentecostalprais00kirk, leaf n125 — where the page is footed \"Copyright, 1898, by H. L. Gilmour.\" US public domain: published 1898, and every printing read for this record is itself pre-1931; the composer died in 1929, so it is also PD in life+70 jurisdictions. THE NOTES WERE NOT READ OFF THE 1898 PLATE: the largest derivative archive.org offers for that item is 1840 px across, about 5.9 px per diatonic step, roughly a third of what a four-voice reading needs, so the 1898 printing is cited here for the tune's first publication and its copyright notice only. The melody carried here was read off two LATER and much larger printings of the same 1898 setting, and they were required to agree — The New Make Christ King (Glad Tidings Publishing Co.), No. 87, archive.org newmakechristkin00unse leaf 0091 (staff space 28.97 px; the volume's latest printed copyright year is 1914), and Songs of Praise and Salvation (The Christian Witness Co.), hymn 63, archive.org songsofpraisesal00mcla_0 leaf 0065 (staff space 29.13 px; latest printed copyright year 1902, catalogued by archive.org as 1900). Both are footed with the same \"Copyright, 1898, by H. L. Gilmour\" notice; the Make Christ King page adds \"USED BY PERMISSION\". THE KEY IS D-FLAT MAJOR — the signature was counted glyph by glyph at 9x on both clefs and is five flats, not the four it looks like at page scale and not the A-flat modern books use; the hymn opens and closes on D-flat major and its dominant needs a C natural. THE TUNE NAME \"MORRIS\" is the name later hymnals give this melody after its composer; NEITHER page read here prints a tune name at all (the Make Christ King page heads only \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at the right). METRE TAKEN FROM THE MUSIC: 48 soprano note-groups carrying 48 syllables, 9.10.9.10 with the fourth line repeated. Not a duplicate: tools/tune_fingerprint.py, run on a MIDI written from THIS reading, scores 0.61 against its nearest corpus neighbour (ES IST KEIN TAG), far below the 0.80 duplicate threshold.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "morris-make-christ-king-1914", "tune": "morris", "music_file": "morris-make-christ-king-1914.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Lelia N. Morris's MORRIS (\"Nearer, Still Nearer\"), her own 1898 harmonization, in D-flat major and 4/4 with no pickup, 20 measures. US public domain: first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 (archive.org pentecostalprais00kirk leaf n125, footed \"Copyright, 1898, by H. L. Gilmour.\"), and every printing read for this record is itself pre-1931; the composer died in 1929. THE 1898 PLATE COULD NOT CARRY THE NOTES — its largest archive.org derivative is 1840 px across, about 5.9 px per diatonic step — so the reading was made on TWO DIFFERENT ENGRAVINGS of the same 1898 setting, chosen deliberately so that a plate defect cannot fool both: PRIMARY The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 87, headed \"C. H. M.\" / \"Mrs. C. H. Morris.\" and footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH, N. J. — USED BY PERMISSION\" (archive.org newmakechristkin00unse leaf 0091, 2407x3742 px, staff space 28.97 px = 14.5 px per diatonic step); SECOND WITNESS Songs of Praise and Salvation (Chicago/Boston: The Christian Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\" (archive.org songsofpraisesal00mcla_0 leaf 0065, 2319x3768 px, staff space 29.13 px). BOTH TITLE PAGES WERE OPENED AND NEITHER PRINTS A YEAR: the Make Christ King title page prints only \"A COLLECTION OF CHOICE GOSPEL HYMNS FOR THE CHURCH, THE SUNDAY SCHOOL AND EVANGELISTIC MEETINGS\" with its price list and its editors (E. O. Excell, musical editor), and the Songs of Praise and Salvation cover prints only \"G. A. McLaughlin, C. J. Fowler, W. J. Kirkpatrick, H. L. Gilmour / THE CHRISTIAN WITNESS CO., 151 Washington St. Chicago, 36 Bromfield St. Boston / Price 10c — $6.00 per hundred.\" The dated years used here are therefore read off the pages of the volumes themselves: the latest copyright year printed anywhere in the Make Christ King volume is 1914 (26 notices), and in the Songs of Praise and Salvation volume 1902 (6 notices, e.g. \"Copyright, 1902, by H. L. Gilmour, Wenonah, N. J.\" and \"Copyright, 1902, by Wm. J. Kirkpatrick\") — so archive.org's catalogue year of 1900 for the latter is too early by at least two years. Both are far inside pre-1931 either way. THE KEY IS D-FLAT MAJOR, FIVE FLATS. The signature was counted glyph by glyph at 9x on BOTH clefs of the primary plate and is B-flat/E-flat/A-flat/ D-flat/G-flat in the standard order on each; function confirms it (the hymn opens and closes on D-flat major, and its dominant A-flat major needs a C natural). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED, AND THEN CONFIRMED BY EYE: each scan was binarised against its own despeckled local paper level, noteheads located by an edge-plus-ellipse pass, and every head converted to a diatonic step against a five-line grid refit LOCALLY from measured line positions around that head's own x, so skew and page cockle cannot drag a reading (grid-fit residuals 0.23-0.90 px mean against a ~29 px staff space; head residuals 0.11 to 0.17 step). Every pitch that ships was then read off a grid-overlay crop at 5x-10x by eye, and every chord was spelled out and named. The two scans were read with their own binarisations and their own staff-line fits and their FINAL READINGS AGREE ON ALL 48 CHORDS IN ALL FOUR VOICES — no column differs. TWO columns needed adjudication before that could be said, and both are recorded here rather than smoothed over: fitted over a whole-system window the two scans differed by one step at m. 6 beat 1 (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans give A-flat4 over F4 at m. 6 — the only reading that makes that chord a triad — and G3 over E-flat3 at m. 7, the reading the printed natural and the V/V function both demand. Those are the readings shipped. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no Cyber Hymnal .nwc or .mid, no other MIDI, and no existing encoding was opened at any point. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, OVER ALL 48 COLUMNS ON BOTH LEAVES, because the automated figures above see staff positions only and are blind to accidentals. The hymn prints exactly THREE accidental glyphs, identically on both leaves, all in the lower staff: (a) a natural before the tenor G3 at m. 7 beat 3, carried by the measure rule to beat 4 — giving E-flat major (V/V) and then E-flat 7 (V7/V) into the A-flat of m. 8; and (b) at m. 18 beat 3, a natural before the tenor G3 together with a DOUBLE FLAT (two flat glyphs side by side at the same staff position) before the bass B2, again carried to beat 4. That spelling is the page's and is kept: B-double-flat2 under G-natural3 is an AUGMENTED SIXTH — an Italian sixth on beat 3, a French sixth on beat 4 once the soprano takes E-flat4 — and m. 19 resolves both voices outward onto the octave A-flat2/A-flat3, exactly as an augmented sixth must. Nowhere else does the hymn print an accidental. DEPARTURES FROM THE PAGE, in full, and there are two. (1) M. 8: under the held A-flat chord both plates print, BELOW the bass staff, a FIFTH line of four quarter notes walking down A-flat2 - G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its own down stem, alongside — not instead of — the dotted-half A-flat3/A-flat2 chord that carries the tenor and bass on the plate's usual single-stemmed two-note bass-staff chord. That is five simultaneous parts; this corpus admits exactly four and forbids divisi, so the walking figure is NOT carried and the four sung voices follow the plate's own chord. (2) The page casts THREE systems of 15, 16 and 17 soprano notes; 17 exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE systems, one per poetic line, breaking at the page's own line ends. NOTHING ELSE DEPARTS. Every pitch and every duration below is the plate's, including: the five phrase-end quarter rests in both staves (mm. 4, 8, 12, 16, 20), engraved in the old reversed-7 form; the two printed tenor slurs (m. 5 G-flat3 to B-flat3 and m. 13 A-flat3 to D-flat4, both under a held soprano); the one beamed pair of bass eighths at m. 3 beat 4; the dotted quarter plus flagged eighth at mm. 15 and 19; and the plate's unisons, which it prints as a single notehead (soprano with alto on D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor with bass on A-flat3 at m. 12) and its seconds, which it prints as two heads side by side (soprano E-flat4 over alto D-flat4 at m. 7 beat 4 and m. 18 beat 4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The New Make Christ King, No. 87 — archive.org newmakechristkin00unse leaf 0091 — collated notehead by notehead against archive.org songsofpraisesal00mcla_0 leaf 0065 (Songs of Praise and Salvation, hymn 63), a different engraving of the same 1898 setting. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% MORRIS (9.10.9.10, last line repeated) — Lelia N. Morris, 1898, words and\n%% music. Four SATB voice streams, canonical key D-FLAT MAJOR, 4/4, no pickup,\n%% 20 measures (five four-bar phrases), 48 soprano note-groups.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. TWO DIFFERENT ENGRAVINGS of the same 1898 setting were\n%% read independently, note by note, and required to agree — deliberately two\n%% engravings rather than two impressions of one plate, so that a plate defect\n%% cannot fool both:\n%%   PRIMARY  The New Make Christ King (Chicago: Glad Tidings Publishing Co.),\n%%            No. 87, headed \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at\n%%            the right, footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH,\n%%            N. J. — USED BY PERMISSION\" — archive.org newmakechristkin00unse\n%%            leaf 0091 (2407x3742 px, staff space 28.97 px = 14.5 px per\n%%            diatonic step). The title page prints NO year; the latest\n%%            copyright year printed anywhere in the volume is 1914.\n%%   SECOND   Songs of Praise and Salvation (Chicago/Boston: The Christian\n%%            Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\"\n%%            — archive.org songsofpraisesal00mcla_0 leaf 0065 (2319x3768 px,\n%%            staff space 29.13 px). Its title page also prints NO year; the\n%%            latest copyright year printed anywhere in that volume is 1902\n%%            (archive.org catalogues it as 1900).\n%% The 1898 FIRST printing (Pentecostal Praises, ed. W. J. Kirkpatrick & H. L.\n%% Gilmour, Philadelphia: Hall-Mack Co., 1898, p. 117 — archive.org\n%% pentecostalprais00kirk) was NOT used for the notes: its largest available\n%% derivative is 1840 px across, about 5.9 px per diatonic step, a third of the\n%% floor this reading needs. It is cited for the tune's first publication only.\n%%\n%% THE KEY IS D-FLAT MAJOR — FIVE FLATS, not the four it looks like at page\n%% scale and not the A-flat of modern books. The signature was counted glyph by\n%% glyph at 9x on BOTH clefs of the primary plate: treble B-flat(B4) E-flat(E5)\n%% A-flat(A4) D-flat(D5) G-flat(G4); bass B-flat(B2) E-flat(E3) A-flat(A2)\n%% D-flat(D3) G-flat(G2) — five each, in the standard order, with the time\n%% signature immediately after. Function agrees: the hymn opens on D-flat major\n%% and closes on D-flat major, and its dominant (A-flat major, m. 8 and m. 15)\n%% needs a C natural, which only a five-flat signature gives. Reading four\n%% flats instead opens the hymn on IV, writes an augmented fourth D-flat4 to G4\n%% in the tune, and puts a diminished fifth between soprano and alto in m. 3.\n%%\n%% HOW THE NOTEHEADS WERE READ. Each scan was binarised against its own local\n%% paper level (ink darker than 82% of a despeckled, dilated local paper\n%% estimate), noteheads located by an edge/ellipse pass, and every head\n%% converted to a diatonic step against a five-line grid refit LOCALLY from the\n%% measured line positions around that head's own x, so the plate's skew and\n%% cockle cannot drag a reading. Grid-fit residuals ran 0.23-0.90 px mean\n%% against a ~29 px staff space; head residuals averaged 0.11-0.17 step. EVERY\n%% pitch that ships was then confirmed by eye on a grid-overlay crop at 5x-10x,\n%% and every chord was named and tested against the idiom (see below). The two\n%% scans were read with their own binarisations and their own staff-line fits\n%% and their FINAL readings agree on all 48 chords in all four voices — no\n%% column differs. TWO columns needed adjudication before that could be said,\n%% and both are recorded here rather than smoothed over: fitted over a\n%% whole-system window the two scans differed by one step at m. 6 beat 1\n%% (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow\n%% windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans\n%% give A-flat4 over F4 at m. 6 (the only reading that makes that chord a\n%% triad) and G3 over E-flat3 at m. 7 (the reading the printed natural and the\n%% V/V function both demand). Those are the readings below. NO SCAFFOLD WAS USED: no\n%% Cyber Hymnal .nwc or .mid, no MIDI, no existing encoding was opened at any\n%% point, and nothing here was checked against one.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, over every one of the 48 columns\n%% on BOTH leaves — the measurement above sees staff positions only and is\n%% blind to accidentals. The whole hymn prints exactly THREE accidental glyphs,\n%% identically on both leaves, all of them in the LOWER staff:\n%%   1. a NATURAL before the tenor G3 at m. 7 beat 3 (primary plate x~=584 in\n%%      the treble column, x~=572 in the bass), carried by the measure rule to\n%%      the same G3 on beat 4. Chords: E-flat3/G-natural3/B-flat3/E-flat4 =\n%%      E-flat major = V/V, then E-flat3/G-natural3/D-flat4/E-flat4 = E-flat 7\n%%      = V7/V, resolving to A-flat major (V) in m. 8.\n%%   2+3. at m. 18 beat 3, a NATURAL before the tenor G3 AND A DOUBLE FLAT\n%%      (two flat glyphs side by side at the same staff position, B2) before\n%%      the bass — carried by the measure rule to beat 4. That spelling is\n%%      deliberate and correct: B-double-flat2 under G-natural3 is an AUGMENTED\n%%      SIXTH. Beat 3 = B-double-flat2/G-natural3/D-flat4/D-flat4, an Italian\n%%      sixth; beat 4 adds E-flat4 in the soprano, a French sixth; and m. 19\n%%      resolves both voices outward onto the octave A-flat2/A-flat3 exactly as\n%%      an augmented sixth must. It is written here as `beses,`, the page's own\n%%      spelling, not as its enharmonic A natural.\n%% Nowhere else in the hymn is a single accidental printed.\n%%\n%% THE SETTING IS NOT HOMORHYTHMIC, and three plate conventions matter:\n%%   - a long curve rising from a stem top is a SLUR, not an eighth flag. Two\n%%     are printed, both in the tenor and both carried here: m. 5 (G-flat3 to\n%%     B-flat3, under the soprano's held B-flat4) and m. 13 (A-flat3 to\n%%     D-flat4, under the soprano's held D-flat5).\n%%   - unisons and seconds between two voices sharing a staff are printed as\n%%     two heads SIDE BY SIDE, one x-position apart, not stacked. Read as one\n%%     chord here at m. 7 beat 4 (soprano E-flat4 / alto D-flat4) and m. 18\n%%     beat 4 (soprano E-flat4 / alto D-flat4). Where the two voices are in\n%%     UNISON the plate prints ONE head, sometimes with two stems: soprano and\n%%     alto share D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor and\n%%     bass share A-flat3 at m. 12.\n%%   - eighth notes are flagged individually, never beamed, except for the one\n%%     beamed pair in the bass at m. 3 beat 4 (G-flat2 + B-flat2).\n%%\n%% RESTS ARE ON THE PAGE, not editorial. Each of the five poetic lines ends\n%% with a dotted half in all four voices followed by a QUARTER REST in both\n%% staves (mm. 4, 8, 12, 16, 20). They are engraved in the old \"reversed 7\"\n%% quarter-rest form and are reproduced here.\n%%\n%% DEPARTURES FROM THE PAGE, in full — there are two:\n%%   (1) UNDER the held A-flat chord of m. 8 both plates print, BELOW the bass\n%%       staff, a fifth line of four quarter notes walking down A-flat2 -\n%%       G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its\n%%       own down stem, alongside — not instead of — the dotted-half\n%%       A-flat3/A-flat2 chord that carries the tenor and bass. That is five\n%%       simultaneous parts; this corpus admits exactly four and forbids divisi,\n%%       so the walking figure is NOT carried. The four sung voices are encoded\n%%       as the plate's own two-note, single-stemmed bass-staff chord plus the\n%%       treble chord, which is what every other bar of the hymn uses.\n%%   (2) THE PAGE CASTS THREE SYSTEMS of 15, 16 and 17 soprano notes. Seventeen\n%%       exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE\n%%       systems, one per poetic line (9, 10, 9, 10, 10). The breaks fall at the\n%%       page's own poetic line ends.\n%% Nothing else departs. Every pitch, every duration, both slurs, the one\n%% beamed eighth pair, all five phrase-end rests and all three accidentals\n%% below are the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  des'2 ges'4 ges'4 |\n  f'2. r4 |\n  bes'2 bes'4 bes'4 |\n  aes'2 f'4 f'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. r4 |\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  bes'2 c''4 des''4 |\n  c''2. r4 |\n  des''2 c''4 bes'4 |\n  aes'2 f'4 aes'4 |\n  aes'2 aes'4. ges'8 |\n  f'2. r4 |\n  bes'2 c''4 des''4 |\n  des''2 des'4 ees'4 |\n  f'2 f'4. ees'8 |\n  des'2. r4\n}\n\nalto = {\n  des'2 des'4 des'4 |\n  ees'2 ees'2 |\n  des'2 des'4 des'4 |\n  des'2. r4 |\n  des'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 bes4 des'4 |\n  c'2. r4 |\n  des'2 des'4 des'4 |\n  ees'2 f'2 |\n  ges'2 ges'4 f'4 |\n  ees'2. r4 |\n  aes'2 aes'4 ges'4 |\n  f'2 des'4 des'4 |\n  c'2 c'4. c'8 |\n  des'2. r4 |\n  ges'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 c'4. c'8 |\n  des'2. r4\n}\n\ntenor = {\n  aes2 aes4 aes4 |\n  aes2 ees2 |\n  f2 bes4 bes4 |\n  aes2. r4 |\n  ges4( bes4) des'4 des'4 |\n  des'2 aes4 aes4 |\n  bes2 g4 g4 |\n  aes2. r4 |\n  aes2 aes4 aes4 |\n  aes2 des'2 |\n  des'2 aes4 aes4 |\n  aes2. r4 |\n  aes4( des'4) des'4 des'4 |\n  des'2 aes4 f4 |\n  ees2 ees4. aes8 |\n  aes2. r4 |\n  des'2 c'4 bes4 |\n  aes2 g4 g4 |\n  aes2 aes4. ges8 |\n  f2. r4\n}\n\nbass = {\n  des2 des4 des4 |\n  c2 c2 |\n  bes,2 ges,4 ges,8 bes,8 |\n  des2. r4 |\n  ges2 ges4 ges4 |\n  des2 des4 des4 |\n  bes,2 ees4 ees4 |\n  aes,2. r4 |\n  des2 des4 des4 |\n  c2 des2 |\n  ges2 ees4 des4 |\n  aes2. r4 |\n  f2 ges4 ges4 |\n  des2 des4 des4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4 |\n  ges,2 ges,4 ges,4 |\n  aes,2 beses,4 beses,4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4\n}\n"}, "harmonizations": [{"slug": "morris-make-christ-king-1914", "tune": "morris", "music_file": "morris-make-christ-king-1914.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Lelia N. Morris's MORRIS (\"Nearer, Still Nearer\"), her own 1898 harmonization, in D-flat major and 4/4 with no pickup, 20 measures. US public domain: first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 (archive.org pentecostalprais00kirk leaf n125, footed \"Copyright, 1898, by H. L. Gilmour.\"), and every printing read for this record is itself pre-1931; the composer died in 1929. THE 1898 PLATE COULD NOT CARRY THE NOTES — its largest archive.org derivative is 1840 px across, about 5.9 px per diatonic step — so the reading was made on TWO DIFFERENT ENGRAVINGS of the same 1898 setting, chosen deliberately so that a plate defect cannot fool both: PRIMARY The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 87, headed \"C. H. M.\" / \"Mrs. C. H. Morris.\" and footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH, N. J. — USED BY PERMISSION\" (archive.org newmakechristkin00unse leaf 0091, 2407x3742 px, staff space 28.97 px = 14.5 px per diatonic step); SECOND WITNESS Songs of Praise and Salvation (Chicago/Boston: The Christian Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\" (archive.org songsofpraisesal00mcla_0 leaf 0065, 2319x3768 px, staff space 29.13 px). BOTH TITLE PAGES WERE OPENED AND NEITHER PRINTS A YEAR: the Make Christ King title page prints only \"A COLLECTION OF CHOICE GOSPEL HYMNS FOR THE CHURCH, THE SUNDAY SCHOOL AND EVANGELISTIC MEETINGS\" with its price list and its editors (E. O. Excell, musical editor), and the Songs of Praise and Salvation cover prints only \"G. A. McLaughlin, C. J. Fowler, W. J. Kirkpatrick, H. L. Gilmour / THE CHRISTIAN WITNESS CO., 151 Washington St. Chicago, 36 Bromfield St. Boston / Price 10c — $6.00 per hundred.\" The dated years used here are therefore read off the pages of the volumes themselves: the latest copyright year printed anywhere in the Make Christ King volume is 1914 (26 notices), and in the Songs of Praise and Salvation volume 1902 (6 notices, e.g. \"Copyright, 1902, by H. L. Gilmour, Wenonah, N. J.\" and \"Copyright, 1902, by Wm. J. Kirkpatrick\") — so archive.org's catalogue year of 1900 for the latter is too early by at least two years. Both are far inside pre-1931 either way. THE KEY IS D-FLAT MAJOR, FIVE FLATS. The signature was counted glyph by glyph at 9x on BOTH clefs of the primary plate and is B-flat/E-flat/A-flat/ D-flat/G-flat in the standard order on each; function confirms it (the hymn opens and closes on D-flat major, and its dominant A-flat major needs a C natural). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED, AND THEN CONFIRMED BY EYE: each scan was binarised against its own despeckled local paper level, noteheads located by an edge-plus-ellipse pass, and every head converted to a diatonic step against a five-line grid refit LOCALLY from measured line positions around that head's own x, so skew and page cockle cannot drag a reading (grid-fit residuals 0.23-0.90 px mean against a ~29 px staff space; head residuals 0.11 to 0.17 step). Every pitch that ships was then read off a grid-overlay crop at 5x-10x by eye, and every chord was spelled out and named. The two scans were read with their own binarisations and their own staff-line fits and their FINAL READINGS AGREE ON ALL 48 CHORDS IN ALL FOUR VOICES — no column differs. TWO columns needed adjudication before that could be said, and both are recorded here rather than smoothed over: fitted over a whole-system window the two scans differed by one step at m. 6 beat 1 (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans give A-flat4 over F4 at m. 6 — the only reading that makes that chord a triad — and G3 over E-flat3 at m. 7, the reading the printed natural and the V/V function both demand. Those are the readings shipped. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE — no Cyber Hymnal .nwc or .mid, no other MIDI, and no existing encoding was opened at any point. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, OVER ALL 48 COLUMNS ON BOTH LEAVES, because the automated figures above see staff positions only and are blind to accidentals. The hymn prints exactly THREE accidental glyphs, identically on both leaves, all in the lower staff: (a) a natural before the tenor G3 at m. 7 beat 3, carried by the measure rule to beat 4 — giving E-flat major (V/V) and then E-flat 7 (V7/V) into the A-flat of m. 8; and (b) at m. 18 beat 3, a natural before the tenor G3 together with a DOUBLE FLAT (two flat glyphs side by side at the same staff position) before the bass B2, again carried to beat 4. That spelling is the page's and is kept: B-double-flat2 under G-natural3 is an AUGMENTED SIXTH — an Italian sixth on beat 3, a French sixth on beat 4 once the soprano takes E-flat4 — and m. 19 resolves both voices outward onto the octave A-flat2/A-flat3, exactly as an augmented sixth must. Nowhere else does the hymn print an accidental. DEPARTURES FROM THE PAGE, in full, and there are two. (1) M. 8: under the held A-flat chord both plates print, BELOW the bass staff, a FIFTH line of four quarter notes walking down A-flat2 - G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its own down stem, alongside — not instead of — the dotted-half A-flat3/A-flat2 chord that carries the tenor and bass on the plate's usual single-stemmed two-note bass-staff chord. That is five simultaneous parts; this corpus admits exactly four and forbids divisi, so the walking figure is NOT carried and the four sung voices follow the plate's own chord. (2) The page casts THREE systems of 15, 16 and 17 soprano notes; 17 exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE systems, one per poetic line, breaking at the page's own line ends. NOTHING ELSE DEPARTS. Every pitch and every duration below is the plate's, including: the five phrase-end quarter rests in both staves (mm. 4, 8, 12, 16, 20), engraved in the old reversed-7 form; the two printed tenor slurs (m. 5 G-flat3 to B-flat3 and m. 13 A-flat3 to D-flat4, both under a held soprano); the one beamed pair of bass eighths at m. 3 beat 4; the dotted quarter plus flagged eighth at mm. 15 and 19; and the plate's unisons, which it prints as a single notehead (soprano with alto on D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor with bass on A-flat3 at m. 12) and its seconds, which it prints as two heads side by side (soprano E-flat4 over alto D-flat4 at m. 7 beat 4 and m. 18 beat 4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The New Make Christ King, No. 87 — archive.org newmakechristkin00unse leaf 0091 — collated notehead by notehead against archive.org songsofpraisesal00mcla_0 leaf 0065 (Songs of Praise and Salvation, hymn 63), a different engraving of the same 1898 setting. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% MORRIS (9.10.9.10, last line repeated) — Lelia N. Morris, 1898, words and\n%% music. Four SATB voice streams, canonical key D-FLAT MAJOR, 4/4, no pickup,\n%% 20 measures (five four-bar phrases), 48 soprano note-groups.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. TWO DIFFERENT ENGRAVINGS of the same 1898 setting were\n%% read independently, note by note, and required to agree — deliberately two\n%% engravings rather than two impressions of one plate, so that a plate defect\n%% cannot fool both:\n%%   PRIMARY  The New Make Christ King (Chicago: Glad Tidings Publishing Co.),\n%%            No. 87, headed \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at\n%%            the right, footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH,\n%%            N. J. — USED BY PERMISSION\" — archive.org newmakechristkin00unse\n%%            leaf 0091 (2407x3742 px, staff space 28.97 px = 14.5 px per\n%%            diatonic step). The title page prints NO year; the latest\n%%            copyright year printed anywhere in the volume is 1914.\n%%   SECOND   Songs of Praise and Salvation (Chicago/Boston: The Christian\n%%            Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\"\n%%            — archive.org songsofpraisesal00mcla_0 leaf 0065 (2319x3768 px,\n%%            staff space 29.13 px). Its title page also prints NO year; the\n%%            latest copyright year printed anywhere in that volume is 1902\n%%            (archive.org catalogues it as 1900).\n%% The 1898 FIRST printing (Pentecostal Praises, ed. W. J. Kirkpatrick & H. L.\n%% Gilmour, Philadelphia: Hall-Mack Co., 1898, p. 117 — archive.org\n%% pentecostalprais00kirk) was NOT used for the notes: its largest available\n%% derivative is 1840 px across, about 5.9 px per diatonic step, a third of the\n%% floor this reading needs. It is cited for the tune's first publication only.\n%%\n%% THE KEY IS D-FLAT MAJOR — FIVE FLATS, not the four it looks like at page\n%% scale and not the A-flat of modern books. The signature was counted glyph by\n%% glyph at 9x on BOTH clefs of the primary plate: treble B-flat(B4) E-flat(E5)\n%% A-flat(A4) D-flat(D5) G-flat(G4); bass B-flat(B2) E-flat(E3) A-flat(A2)\n%% D-flat(D3) G-flat(G2) — five each, in the standard order, with the time\n%% signature immediately after. Function agrees: the hymn opens on D-flat major\n%% and closes on D-flat major, and its dominant (A-flat major, m. 8 and m. 15)\n%% needs a C natural, which only a five-flat signature gives. Reading four\n%% flats instead opens the hymn on IV, writes an augmented fourth D-flat4 to G4\n%% in the tune, and puts a diminished fifth between soprano and alto in m. 3.\n%%\n%% HOW THE NOTEHEADS WERE READ. Each scan was binarised against its own local\n%% paper level (ink darker than 82% of a despeckled, dilated local paper\n%% estimate), noteheads located by an edge/ellipse pass, and every head\n%% converted to a diatonic step against a five-line grid refit LOCALLY from the\n%% measured line positions around that head's own x, so the plate's skew and\n%% cockle cannot drag a reading. Grid-fit residuals ran 0.23-0.90 px mean\n%% against a ~29 px staff space; head residuals averaged 0.11-0.17 step. EVERY\n%% pitch that ships was then confirmed by eye on a grid-overlay crop at 5x-10x,\n%% and every chord was named and tested against the idiom (see below). The two\n%% scans were read with their own binarisations and their own staff-line fits\n%% and their FINAL readings agree on all 48 chords in all four voices — no\n%% column differs. TWO columns needed adjudication before that could be said,\n%% and both are recorded here rather than smoothed over: fitted over a\n%% whole-system window the two scans differed by one step at m. 6 beat 1\n%% (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow\n%% windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans\n%% give A-flat4 over F4 at m. 6 (the only reading that makes that chord a\n%% triad) and G3 over E-flat3 at m. 7 (the reading the printed natural and the\n%% V/V function both demand). Those are the readings below. NO SCAFFOLD WAS USED: no\n%% Cyber Hymnal .nwc or .mid, no MIDI, no existing encoding was opened at any\n%% point, and nothing here was checked against one.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, over every one of the 48 columns\n%% on BOTH leaves — the measurement above sees staff positions only and is\n%% blind to accidentals. The whole hymn prints exactly THREE accidental glyphs,\n%% identically on both leaves, all of them in the LOWER staff:\n%%   1. a NATURAL before the tenor G3 at m. 7 beat 3 (primary plate x~=584 in\n%%      the treble column, x~=572 in the bass), carried by the measure rule to\n%%      the same G3 on beat 4. Chords: E-flat3/G-natural3/B-flat3/E-flat4 =\n%%      E-flat major = V/V, then E-flat3/G-natural3/D-flat4/E-flat4 = E-flat 7\n%%      = V7/V, resolving to A-flat major (V) in m. 8.\n%%   2+3. at m. 18 beat 3, a NATURAL before the tenor G3 AND A DOUBLE FLAT\n%%      (two flat glyphs side by side at the same staff position, B2) before\n%%      the bass — carried by the measure rule to beat 4. That spelling is\n%%      deliberate and correct: B-double-flat2 under G-natural3 is an AUGMENTED\n%%      SIXTH. Beat 3 = B-double-flat2/G-natural3/D-flat4/D-flat4, an Italian\n%%      sixth; beat 4 adds E-flat4 in the soprano, a French sixth; and m. 19\n%%      resolves both voices outward onto the octave A-flat2/A-flat3 exactly as\n%%      an augmented sixth must. It is written here as `beses,`, the page's own\n%%      spelling, not as its enharmonic A natural.\n%% Nowhere else in the hymn is a single accidental printed.\n%%\n%% THE SETTING IS NOT HOMORHYTHMIC, and three plate conventions matter:\n%%   - a long curve rising from a stem top is a SLUR, not an eighth flag. Two\n%%     are printed, both in the tenor and both carried here: m. 5 (G-flat3 to\n%%     B-flat3, under the soprano's held B-flat4) and m. 13 (A-flat3 to\n%%     D-flat4, under the soprano's held D-flat5).\n%%   - unisons and seconds between two voices sharing a staff are printed as\n%%     two heads SIDE BY SIDE, one x-position apart, not stacked. Read as one\n%%     chord here at m. 7 beat 4 (soprano E-flat4 / alto D-flat4) and m. 18\n%%     beat 4 (soprano E-flat4 / alto D-flat4). Where the two voices are in\n%%     UNISON the plate prints ONE head, sometimes with two stems: soprano and\n%%     alto share D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor and\n%%     bass share A-flat3 at m. 12.\n%%   - eighth notes are flagged individually, never beamed, except for the one\n%%     beamed pair in the bass at m. 3 beat 4 (G-flat2 + B-flat2).\n%%\n%% RESTS ARE ON THE PAGE, not editorial. Each of the five poetic lines ends\n%% with a dotted half in all four voices followed by a QUARTER REST in both\n%% staves (mm. 4, 8, 12, 16, 20). They are engraved in the old \"reversed 7\"\n%% quarter-rest form and are reproduced here.\n%%\n%% DEPARTURES FROM THE PAGE, in full — there are two:\n%%   (1) UNDER the held A-flat chord of m. 8 both plates print, BELOW the bass\n%%       staff, a fifth line of four quarter notes walking down A-flat2 -\n%%       G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its\n%%       own down stem, alongside — not instead of — the dotted-half\n%%       A-flat3/A-flat2 chord that carries the tenor and bass. That is five\n%%       simultaneous parts; this corpus admits exactly four and forbids divisi,\n%%       so the walking figure is NOT carried. The four sung voices are encoded\n%%       as the plate's own two-note, single-stemmed bass-staff chord plus the\n%%       treble chord, which is what every other bar of the hymn uses.\n%%   (2) THE PAGE CASTS THREE SYSTEMS of 15, 16 and 17 soprano notes. Seventeen\n%%       exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE\n%%       systems, one per poetic line (9, 10, 9, 10, 10). The breaks fall at the\n%%       page's own poetic line ends.\n%% Nothing else departs. Every pitch, every duration, both slurs, the one\n%% beamed eighth pair, all five phrase-end rests and all three accidentals\n%% below are the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  des'2 ges'4 ges'4 |\n  f'2. r4 |\n  bes'2 bes'4 bes'4 |\n  aes'2 f'4 f'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. r4 |\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  bes'2 c''4 des''4 |\n  c''2. r4 |\n  des''2 c''4 bes'4 |\n  aes'2 f'4 aes'4 |\n  aes'2 aes'4. ges'8 |\n  f'2. r4 |\n  bes'2 c''4 des''4 |\n  des''2 des'4 ees'4 |\n  f'2 f'4. ees'8 |\n  des'2. r4\n}\n\nalto = {\n  des'2 des'4 des'4 |\n  ees'2 ees'2 |\n  des'2 des'4 des'4 |\n  des'2. r4 |\n  des'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 bes4 des'4 |\n  c'2. r4 |\n  des'2 des'4 des'4 |\n  ees'2 f'2 |\n  ges'2 ges'4 f'4 |\n  ees'2. r4 |\n  aes'2 aes'4 ges'4 |\n  f'2 des'4 des'4 |\n  c'2 c'4. c'8 |\n  des'2. r4 |\n  ges'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 c'4. c'8 |\n  des'2. r4\n}\n\ntenor = {\n  aes2 aes4 aes4 |\n  aes2 ees2 |\n  f2 bes4 bes4 |\n  aes2. r4 |\n  ges4( bes4) des'4 des'4 |\n  des'2 aes4 aes4 |\n  bes2 g4 g4 |\n  aes2. r4 |\n  aes2 aes4 aes4 |\n  aes2 des'2 |\n  des'2 aes4 aes4 |\n  aes2. r4 |\n  aes4( des'4) des'4 des'4 |\n  des'2 aes4 f4 |\n  ees2 ees4. aes8 |\n  aes2. r4 |\n  des'2 c'4 bes4 |\n  aes2 g4 g4 |\n  aes2 aes4. ges8 |\n  f2. r4\n}\n\nbass = {\n  des2 des4 des4 |\n  c2 c2 |\n  bes,2 ges,4 ges,8 bes,8 |\n  des2. r4 |\n  ges2 ges4 ges4 |\n  des2 des4 des4 |\n  bes,2 ees4 ees4 |\n  aes,2. r4 |\n  des2 des4 des4 |\n  c2 des2 |\n  ges2 ees4 des4 |\n  aes2. r4 |\n  f2 ges4 ges4 |\n  des2 des4 des4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4 |\n  ges,2 ges,4 ges,4 |\n  aes,2 beses,4 beses,4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4\n}\n", "preferred": true}]}, "mozart": {"slug": "mozart", "name": "MOZART", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "wolfgang-mozart", "composer_date": "1828", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "mozart-moravian-1920", "provenance": {"layer": "tune", "source": "mozart-adapted", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Mozart', adapted from W. A. Mozart (d. 1791).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "mozart_mozart_34113", "total_instances": 22}}, "harmonization": {"slug": "mozart-moravian-1920", "tune": "mozart", "music_file": "mozart-moravian-1920.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "moravian-hymnal-1920", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymnal and Liturgies of the Moravian Church, 1920. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:234", "encoding_license": "PD-dedication"}, "music_ly": "%% Take My Life and Let It Be\n%% Imported from Open Hymnal ABC X:234 via tools/abc_import.py\n%% Public domain: Havergal 1874; tune adapted from Mozart; setting 1920. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  g'2 g'4 fis'2 d'4 c''2 c''4 b'2. d''2 b'4 d''4( c''4) a'4 g'2 b'8( a'8) a'2. g'2 g'4 fis'4.( e'8) d'4 c''2 c''4 b'2. d''2 b'4 a'4( c''4) e''4 g'2 fis'4 g'2.\n}\nalto = {\n  d'2 d'4 d'2 d'4 d'2 fis'4 g'2. g'2 g'4 e'2 d'4 d'2 g'8 fis'8 fis'2. g'2 g'4 fis'4.( e'8) d'4 d'2 d'4 d'2. d'4( g'4) f'4 e'2 e'4 d'2 c'4 b2.\n}\ntenor = {\n  b2 b4 a2 fis4 fis4( a4) d'4 d'2. d'2 d'4 a2 d'4 b2 d'4 d'2. b4( d'4) b4 c'4.( b8) a8 g8 fis8 g8 a8 b8 c'8 a8 g2. b2 d'4 c'2 a4 b2 a4 g2.\n}\nbass = {\n  g,4( b,4) g,4 d2 d4 d4( fis4) d4 g2. b2 g4 a2 fis4 g2 g4 d2. g4( b4) g4 a4.( g8) fis8 e8 d8 e8 fis8 g8 a8 fis8 g2. g2 gis4 a2 c4 d2 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "mozart-moravian-1920", "tune": "mozart", "music_file": "mozart-moravian-1920.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "moravian-hymnal-1920", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, Hymnal and Liturgies of the Moravian Church, 1920. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:234", "encoding_license": "PD-dedication"}, "music_ly": "%% Take My Life and Let It Be\n%% Imported from Open Hymnal ABC X:234 via tools/abc_import.py\n%% Public domain: Havergal 1874; tune adapted from Mozart; setting 1920. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  g'2 g'4 fis'2 d'4 c''2 c''4 b'2. d''2 b'4 d''4( c''4) a'4 g'2 b'8( a'8) a'2. g'2 g'4 fis'4.( e'8) d'4 c''2 c''4 b'2. d''2 b'4 a'4( c''4) e''4 g'2 fis'4 g'2.\n}\nalto = {\n  d'2 d'4 d'2 d'4 d'2 fis'4 g'2. g'2 g'4 e'2 d'4 d'2 g'8 fis'8 fis'2. g'2 g'4 fis'4.( e'8) d'4 d'2 d'4 d'2. d'4( g'4) f'4 e'2 e'4 d'2 c'4 b2.\n}\ntenor = {\n  b2 b4 a2 fis4 fis4( a4) d'4 d'2. d'2 d'4 a2 d'4 b2 d'4 d'2. b4( d'4) b4 c'4.( b8) a8 g8 fis8 g8 a8 b8 c'8 a8 g2. b2 d'4 c'2 a4 b2 a4 g2.\n}\nbass = {\n  g,4( b,4) g,4 d2 d4 d4( fis4) d4 g2. b2 g4 a2 fis4 g2 g4 d2. g4( b4) g4 a4.( g8) fis8 e8 d8 e8 fis8 g8 a8 fis8 g2. g2 gis4 a2 c4 d2 d4 g,2.\n}\n", "preferred": true}]}, "mude-bin-ich-geh-zur-ruh": {"slug": "mude-bin-ich-geh-zur-ruh", "name": "MÜDE BIN ICH, GEH ZUR RUH", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:313; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "mude-bin-ich-geh-zur-ruh-oh313", "tune": "mude-bin-ich-geh-zur-ruh", "music_file": "mude-bin-ich-geh-zur-ruh-oh313.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:313; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:313", "encoding_license": "PD-dedication"}, "music_ly": "%% Now the Light Has Gone Away\n%% Imported from Open Hymnal ABC X:313 via tools/abc_import.py\n%% Open Hymnal X:313; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4. f'8 f'4 f'4 e'4 f'4 g'2 g'4 g'4 g'4 g'4 f'4 g'4 a'2 a'4. a'8 a'4 a'4 g'4 f'4 d''2 c''4 a'4 c''4 bes'4 d'4 e'4 f'2\n}\nalto = {\n  c'4. c'8 c'4 c'4 c'4 c'4 e'2 e'4 e'4 e'4 e'4 f'4 e'4 f'2 f'4 f'4 f'4 f'4 e'4 ees'4 d'2 f'4 f'4 f'4 f'4 d'4 c'4 c'2\n}\ntenor = {\n  a4. a8 a4 c'4 bes4 a4 c'2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 bes4 a4 f2 a4 c'4 a4 d'4 bes4 bes4 a2\n}\nbass = {\n  f4. f8 f4 a4 g4 f4 c2 c4 c4 c4 bes4 a4 g4 f2 f4 f4 f4 f4 f4 f4 bes,2 c4 c4 c4 c4 c4 c4 f,2\n}\n"}, "harmonizations": [{"slug": "mude-bin-ich-geh-zur-ruh-oh313", "tune": "mude-bin-ich-geh-zur-ruh", "music_file": "mude-bin-ich-geh-zur-ruh-oh313.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:313; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:313", "encoding_license": "PD-dedication"}, "music_ly": "%% Now the Light Has Gone Away\n%% Imported from Open Hymnal ABC X:313 via tools/abc_import.py\n%% Open Hymnal X:313; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'4. f'8 f'4 f'4 e'4 f'4 g'2 g'4 g'4 g'4 g'4 f'4 g'4 a'2 a'4. a'8 a'4 a'4 g'4 f'4 d''2 c''4 a'4 c''4 bes'4 d'4 e'4 f'2\n}\nalto = {\n  c'4. c'8 c'4 c'4 c'4 c'4 e'2 e'4 e'4 e'4 e'4 f'4 e'4 f'2 f'4 f'4 f'4 f'4 e'4 ees'4 d'2 f'4 f'4 f'4 f'4 d'4 c'4 c'2\n}\ntenor = {\n  a4. a8 a4 c'4 bes4 a4 c'2 c'4 c'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 bes4 a4 f2 a4 c'4 a4 d'4 bes4 bes4 a2\n}\nbass = {\n  f4. f8 f4 a4 g4 f4 c2 c4 c4 c4 bes4 a4 g4 f2 f4 f4 f4 f4 f4 f4 bes,2 c4 c4 c4 c4 c4 c4 f,2\n}\n", "preferred": true}]}, "mueller": {"slug": "mueller", "name": "MUELLER", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "james-r-murray", "composer_date": "1919", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "mueller-oh51", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:51; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "mueller_murray", "total_instances": 305}}, "harmonization": {"slug": "mueller-oh51", "tune": "mueller", "music_file": "mueller-oh51.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:51; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:51", "encoding_license": "PD-dedication"}, "music_ly": "%% Away In A Manger\n%% Imported from Open Hymnal ABC X:51 via tools/abc_import.py\n%% Open Hymnal X:51; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c''4 c''4. bes'8 a'4 a'4. g'8 f'4 f'4 e'4 d'4 c'2 c'4 c'4. d'8 c'4 c'4 g'4 e'4 d'4 c'4 f'4 a'2 c''4 c''4. bes'8 a'4 a'4.( g'8) f'4 f'4 e'4 d'4 c'2 c'4 bes'4. a'8 g'4 a'4 g'4 f'4 g'4 d'4 e'4 f'2\n}\nalto = {\n  a'4 a'4. g'8 f'4 f'4. e'8 c'4 d'4 c'4 bes4 a2 a4 bes4. bes8 bes4 bes4 bes4 bes4 bes4 a4 c'4 f'2 a'4 a'4. g'8 f'4 f'4.( e'8) c'4 d'4 c'4 bes4 a2 a4 g'4. f'8 e'4 f'4 c'4 c'4 d'4 bes4 c'4 c'2\n}\ntenor = {\n  f4 f2. f2. bes,2. f2 f4 e2. e2 c4 f2.~ f2 f4 f2. f2. bes,2. f2 f4 c2. f2. bes,2 c4 f2\n}\nbass = {\n  f,4 f,2. f,2. bes,,2. f,2 f,4 c2. c2 c4 f,2.~ f,2 f,4 f,2. f,2. bes,,2. f,2 f,4 c,2. f,2. bes,,2 c,4 f,2\n}\n"}, "harmonizations": [{"slug": "mueller-oh51", "tune": "mueller", "music_file": "mueller-oh51.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:51; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:51", "encoding_license": "PD-dedication"}, "music_ly": "%% Away In A Manger\n%% Imported from Open Hymnal ABC X:51 via tools/abc_import.py\n%% Open Hymnal X:51; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  c''4 c''4. bes'8 a'4 a'4. g'8 f'4 f'4 e'4 d'4 c'2 c'4 c'4. d'8 c'4 c'4 g'4 e'4 d'4 c'4 f'4 a'2 c''4 c''4. bes'8 a'4 a'4.( g'8) f'4 f'4 e'4 d'4 c'2 c'4 bes'4. a'8 g'4 a'4 g'4 f'4 g'4 d'4 e'4 f'2\n}\nalto = {\n  a'4 a'4. g'8 f'4 f'4. e'8 c'4 d'4 c'4 bes4 a2 a4 bes4. bes8 bes4 bes4 bes4 bes4 bes4 a4 c'4 f'2 a'4 a'4. g'8 f'4 f'4.( e'8) c'4 d'4 c'4 bes4 a2 a4 g'4. f'8 e'4 f'4 c'4 c'4 d'4 bes4 c'4 c'2\n}\ntenor = {\n  f4 f2. f2. bes,2. f2 f4 e2. e2 c4 f2.~ f2 f4 f2. f2. bes,2. f2 f4 c2. f2. bes,2 c4 f2\n}\nbass = {\n  f,4 f,2. f,2. bes,,2. f,2 f,4 c2. c2 c4 f,2.~ f,2 f,4 f,2. f,2. bes,,2. f,2 f,4 c,2. f,2. bes,,2 c,4 f,2\n}\n", "preferred": true}]}, "munich": {"slug": "munich", "name": "MUNICH", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Neuvermehrtes Gesangbuch (Meiningen), 1693", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "munich-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "MUNICH, from the Neuvermehrtes Gesangbuch (Meiningen, 1693), the standard tune for William Walsham How's \"O Word of God Incarnate.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4 with a one-beat anacrusis; melismatic, 59 soprano notes for 52 syllables — the seven two-note melismas are slurred eighth-note pairs). The chorale chromatics (soprano A-natural, alto E-natural, tenor B-natural, and the tenor and bass D-flats) are each printed with accidentals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Munich\" (Neuvermehrtes Gesangbuch, Meiningen, 1693); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "munich-cyberhymnal", "tune": "munich", "music_file": "munich-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 15, 24, 31, 38, 45, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MUNICH, Neuvermehrtes Gesangbuch, Meiningen, 1693. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MUNICH (Neuvermehrtes Gesangbuch, Meiningen, 1693); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; melismatic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Munich\" (Neuvermehrtes Gesangbuch, Meiningen, 1693); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MUNICH (7.6.7.6.D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Munich\", Neuvermehrtes Gesangbuch,\n%% Meiningen, 1693) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. 4/4 with a one-beat anacrusis (\\partial 4). MELISMATIC: 59 soprano\n%% notes for 52 syllables (7.6.7.6.D); the seven two-note melismas are the slurred\n%% eighth-note pairs (soprano notes 1-2, 11-12, 16-17, 21-22, 27-28, 43-44, 50-51),\n%% held with '_' each stanza (verse_variable_melisma). Chorale chromatics are\n%% printed with accidentals in the source: soprano a' (natural, bar 11), alto e'\n%% (natural, bar 9), tenor b (natural, bar 6), tenor des' / bass des (flats, bar 13).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'8( f'8) |\n  g'4 c''4 bes'4 as'4 | g'2 g'4 g'4 | bes'4 as'8( g'8) f'4 f'4 | es'2. es'8( f'8) |\n  g'4 c''4 bes'4 as'8( es'8) | g'2 g'4 g'4 | bes'4 as'8( g'8) f'4 f'4 | es'2. f'4 |\n  f'4 g'4 as'4 as'4 | g'2 g'4 c''4 | es''4 c''4 g'4 a'8( es'8) | bes'2. bes'4 |\n  bes'4 g'4 as'4 bes'8( g'8) | c''2 c''4 bes'4 | as'4 g'4 f'4 f'4 | es'1\n}\nalto = {\n  es'8 f'8 |\n  es'4 es'4 d'4 f'4 | es'2 es'4 es'4 | es'4 es'8 g'8 es'4 d'4 | es'2. bes8 d'8 |\n  es'4 g'4 f'4 f'8 es'8 | d'2 d'4 es'4 | es'4 es'8 g'8 es'4 d'4 | es'2. d'4 |\n  d'4 e'4 f'4 f'4 | es'2 es'4 f'4 | es'4 g'4 g'4 f'8 es'8 | d'2. f'4 |\n  es'4 es'4 es'4 f'8 g'8 | as'2 as'4 es'4 | es'4 es'4 es'4 d'4 | es'1\n}\ntenor = {\n  g8 as8 |\n  bes4 as8 g8 f4 bes4 | bes2 bes4 bes4 | bes4 c'4 f8 g8 as4 | g2. g8 f8 |\n  bes4 es'4 d'8 es8 c'4 | b2 b4 c'4 | bes4 c'4 f8 g8 as4 | g2. bes4 |\n  bes4 bes4 c'4 c'4 | c'2 c'4 as4 | g4 es'8 d'8 c'4 c'4 | bes2. as4 |\n  g4 bes4 es'4 des'4 | c'2 es'4 es'4 | as4 c'4 f8 g8 as4 | g1\n}\nbass = {\n  es8 as8 |\n  es4 as,8 g8 bes,4 d4 | es2 es4 es4 | g,4 as,4 bes,8 g8 bes,4 | es2. g8 f8 |\n  es4 c4 d8 es8 f4 | g2 g4 c4 | g,4 as,4 bes,8 g8 bes,4 | es2. bes4 |\n  as4 g4 f4 f4 | c2 c4 c4 | c4 c8 d8 es4 f4 | bes,2. d4 |\n  es4 des4 c4 bes,4 | as,2 as,4 g,4 | c4 as,4 bes,8 g8 bes,4 | es1\n}\n"}, "harmonizations": [{"slug": "munich-cyberhymnal", "tune": "munich", "music_file": "munich-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 15, 24, 31, 38, 45, 53], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "MUNICH, Neuvermehrtes Gesangbuch, Meiningen, 1693. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune MUNICH (Neuvermehrtes Gesangbuch, Meiningen, 1693); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; melismatic). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Munich\" (Neuvermehrtes Gesangbuch, Meiningen, 1693); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% MUNICH (7.6.7.6.D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Munich\", Neuvermehrtes Gesangbuch,\n%% Meiningen, 1693) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. 4/4 with a one-beat anacrusis (\\partial 4). MELISMATIC: 59 soprano\n%% notes for 52 syllables (7.6.7.6.D); the seven two-note melismas are the slurred\n%% eighth-note pairs (soprano notes 1-2, 11-12, 16-17, 21-22, 27-28, 43-44, 50-51),\n%% held with '_' each stanza (verse_variable_melisma). Chorale chromatics are\n%% printed with accidentals in the source: soprano a' (natural, bar 11), alto e'\n%% (natural, bar 9), tenor b (natural, bar 6), tenor des' / bass des (flats, bar 13).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'8( f'8) |\n  g'4 c''4 bes'4 as'4 | g'2 g'4 g'4 | bes'4 as'8( g'8) f'4 f'4 | es'2. es'8( f'8) |\n  g'4 c''4 bes'4 as'8( es'8) | g'2 g'4 g'4 | bes'4 as'8( g'8) f'4 f'4 | es'2. f'4 |\n  f'4 g'4 as'4 as'4 | g'2 g'4 c''4 | es''4 c''4 g'4 a'8( es'8) | bes'2. bes'4 |\n  bes'4 g'4 as'4 bes'8( g'8) | c''2 c''4 bes'4 | as'4 g'4 f'4 f'4 | es'1\n}\nalto = {\n  es'8 f'8 |\n  es'4 es'4 d'4 f'4 | es'2 es'4 es'4 | es'4 es'8 g'8 es'4 d'4 | es'2. bes8 d'8 |\n  es'4 g'4 f'4 f'8 es'8 | d'2 d'4 es'4 | es'4 es'8 g'8 es'4 d'4 | es'2. d'4 |\n  d'4 e'4 f'4 f'4 | es'2 es'4 f'4 | es'4 g'4 g'4 f'8 es'8 | d'2. f'4 |\n  es'4 es'4 es'4 f'8 g'8 | as'2 as'4 es'4 | es'4 es'4 es'4 d'4 | es'1\n}\ntenor = {\n  g8 as8 |\n  bes4 as8 g8 f4 bes4 | bes2 bes4 bes4 | bes4 c'4 f8 g8 as4 | g2. g8 f8 |\n  bes4 es'4 d'8 es8 c'4 | b2 b4 c'4 | bes4 c'4 f8 g8 as4 | g2. bes4 |\n  bes4 bes4 c'4 c'4 | c'2 c'4 as4 | g4 es'8 d'8 c'4 c'4 | bes2. as4 |\n  g4 bes4 es'4 des'4 | c'2 es'4 es'4 | as4 c'4 f8 g8 as4 | g1\n}\nbass = {\n  es8 as8 |\n  es4 as,8 g8 bes,4 d4 | es2 es4 es4 | g,4 as,4 bes,8 g8 bes,4 | es2. g8 f8 |\n  es4 c4 d8 es8 f4 | g2 g4 c4 | g,4 as,4 bes,8 g8 bes,4 | es2. bes4 |\n  as4 g4 f4 f4 | c2 c4 c4 | c4 c8 d8 es4 f4 | bes,2. d4 |\n  es4 des4 c4 bes,4 | as,2 as,4 g,4 | c4 as,4 bes,8 g8 bes,4 | es1\n}\n", "preferred": true}]}, "my-jesus-i-love-thee-english": {"slug": "my-jesus-i-love-thee-english", "name": "MY JESUS, I LOVE THEE", "alt_name": "BOUNDLESS SALVATION", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "English melody, attributed to J. Ellis", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "my-jesus-i-love-thee-english-sa1899", "provenance": {"layer": "tune", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "English melody, in US print long before Booth wrote words to it in 1893: Hymnary's dated instance list for tune authority my_jesus_i_love_thee_english records The Revivalist (Troy, New York, 1868) as \"English Melody\" and Salvation Army Music (1880); it is printed with Booth's \"Oh, boundless Salvation!\" in \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed. (New York, copyright entered 1899), no. 5, p. 10 — the printing this corpus transcribes — and again in \"The Salvation Army / Songs and Music / COMPILED 1922\", no. 185, p. 185. Either US printing alone satisfies pub_pre_1931 and Hymnary flags the tune authority \"Public Domain\". THE NAME: the Salvation Army Tune Book calls it MY JESUS, I LOVE THEE (no. 340, at A-flat, per the 1930 words book's own heading), which is why hymn no. 186 in the 1922 book — \"My Jesus I Love Thee\" — is directed \"Tune-185\". Neither the 1899 nor the 1922 music page names the tune; it is also printed as FIDELITY (Latter-day Saints Psalmody 1889), CALLESTR (Hymns and Songs 1887), AMO TE (AME Hymn and Tune Book 1898), AFFECTION, \"TIS NOW and, in modern books, BOUNDLESS SALVATION. THE COMPOSER IS CONTESTED and is therefore recorded as an anonymous origin rather than a person: \"J. Ellis\" (Hymns and Songs 1887, the Cyber Hymnal, The Christian Life Hymnal 2006), \"John Ellis, 1760-1839\" (Our Great Redeemer's Praise 2022), \"E. F. Miller\" / \"Emily Miller, 1833-1913\" (Redemption Hymnal, Praise!), \"English Melody\" (1868), \"Welsh melody\" (Perennial Songs 1891) and \"Unknown\" (Methodist Hymn-Book 1933); the Cyber Hymnal's own page asks readers for Ellis's full name and dates, so no source establishes them. A widely repeated claim of first publication in \"Melodies of Zion\" (London, 1866) could not be confirmed from any primary source and is not asserted here. THE KEY: B-flat is the key of both dated US music printings (1899 and 1922, both verified two flats, common time); the Salvation Army Tune Book sets it at A-flat, and the Cyber Hymnal engraves it in G. B-flat is kept as the key of the source transcribed.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "harmonization": {"slug": "my-jesus-i-love-thee-english-sa1899", "tune": "my-jesus-i-love-thee-english", "music_file": "my-jesus-i-love-thee-english-sa1899.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Setting: One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed., New York, 1899, no. 5. Public domain.", "provenance": {"layer": "harmonization", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part close score transcribed note by note from the page image of \"One Hundred Favorite Songs and Music of The Salvation Army\", SECOND EDITION, compiled by Commander Booth Tucker (New York: The Salvation Army Publishing House, 120-124 West 14th Street), copyright entered 1899 by Frederick de L. Booth Tucker — archive.org item onehundredfavori00boot, leaf n13 = printed p. 10, song no. 5 (title page leaf n4, copyright page leaf n5). Published in the United States in 1899, so public domain in the US; the arranger is unnamed in the book. NOTE the page is HEADED \"The Heavenly Gales are Blowing\" (the title of the separate 6/8 chorus printed overleaf at p. 11, which 1893-era Salvation Army practice interleaved between the verses); the song itself is Booth's \"Oh, boundless Salvation!\" and is credited \"Words by GENERAL BOOTH\". B-flat major, common time, one-quarter anacrusis, 20 measures in four systems of five (barlines measured off the scan); 65 soprano notes. Cross-checked against a second dated printing, \"The Salvation Army / Songs and Music / COMPILED 1922\" (New York/Chicago/San Francisco, 1922), no. 185, p. 185 — archive.org item salvationarmyson0000vari leaf n157, which prints the SAME melody in the same key with a different (fuller) harmonisation, and which proves the tune identity in its own hand: hymn no. 186 on that page is \"My Jesus I Love Thee. Tune-185.\" The melody was additionally cross-checked against the Cyber Hymnal's independent SATB encoding of the same tune (MIDI track name \"Boundless Salvation\", credited J. Ellis), which agrees on the soprano everywhere except m15 b4 (E-flat5 here, F5 there) and on the m11 rhythm (four quarters here, dotted-quarter + eighth there); its inner voices are a different setting and are NOT used. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "music_ly": "%% MY JESUS, I LOVE THEE (English melody, 11.11.11.11) — the tune of William\n%% Booth's \"O Boundless Salvation\" (The Founder's Song).\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% HAND-TRANSCRIBED, note by note, from the page image of the dated US printing\n%%   \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed.,\n%%   New York: The Salvation Army Publishing House, 1899 (copyright entered\n%%   1899 by Frederick de L. Booth Tucker), song no. 5, printed p. 10\n%%   (archive.org item onehundredfavori00boot, leaf n13).\n%% B-flat major, common time, one-quarter anacrusis, 20 measures in four\n%% printed systems of five measures each (barlines measured off the scan);\n%% 65 soprano notes.\n%%\n%% The nine SLURS below are the printed slurs of that page — they are the\n%% melisma map, and every one is read off the engraving, not inferred:\n%%   soprano notes 8-9 (m3 b1-2), 13-14 (m4 b4-4.5), 21-22 (m7 b1-2),\n%%   33-34 (m11 b1-2), 37-38 (m12 b1-2), 40-41 (m13 b1-2), 47-48 (m15 b1-2),\n%%   51-52 (m16 b1-2.5), 61-62 (m19 b1-2).\n%% 65 notes carry 56 sung slots (11.11.11 + the sung last line 6+6+6+5 = 23),\n%% and the count closes exactly on all four stanzas the 1899/1922 books\n%% underlay. A tenth printed slur at m10 b3-4 is NOT a melisma for these\n%% stanzas (the 1899 page underlays \"…ing, so\" / \"…ters can\" there, one\n%% syllable per note); it serves the metrically irregular stanza \"O ocean of\n%% mercy\", which this corpus does not carry. It is therefore omitted.\n%%\n%% NOT the Cyber Hymnal encoding: that undated file agrees with this melody\n%% but differs in the inner voices (its alto doubles the soprano at m2 b1/b3\n%% where the 1899 print has D4; its m11 is dotted-quarter + eighth where the\n%% print has four quarters; its m15 b4 is F5 where the print has E-flat5).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'2 bes'4 d''4 |\n  f'2 f'4 g'4 |\n  f'4( es'4) d'4 f'4 |\n  bes'2. bes'8( bes'8) |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2. bes'4 |\n  d''2 d''4 d''4 |\n  c''2 c''4 d''4 |\n  bes'4( a'4) bes'4 g'4 |\n  g'4( f'2) es'4 |\n  d'4( f'4) bes'4 bes'4 |\n  bes'2 f'4 f'4 |\n  bes'4( d''4) f''4 es''4 |\n  d''4.( c''8) bes'4 bes'4 |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2.\n}\nalto = {\n  f'4 |\n  d'2 d'4 f'4 |\n  d'2 d'4 es'4 |\n  d'4( c'4) bes4 d'4 |\n  d'2. d'8( d'8) |\n  f'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2. d'4 |\n  f'2 f'4 f'4 |\n  f'2 f'4 fis'4 |\n  g'4( d'4) d'4 es'4 |\n  es'4( d'2) c'4 |\n  bes4( d'4) d'4 d'4 |\n  d'2 d'4 d'4 |\n  d'4( f'4) f'4 g'4 |\n  f'4.( es'8) d'4 f'4 |\n  g'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2.\n}\ntenor = {\n  f4 |\n  f2 f4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  bes2. bes8( bes8) |\n  a2 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2. f4 |\n  bes2 bes4 bes4 |\n  a2 a4 d'4 |\n  d'4( c'4) bes4 bes4 |\n  bes2. f4 |\n  f4( bes4) bes4 bes4 |\n  bes2 bes4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  g4 c'8 bes8 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2.\n}\nbass = {\n  f4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 es4 |\n  f2 bes,4 bes,4 |\n  bes,2. bes,8( bes,8) |\n  f2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  f2 f4 d4 |\n  g4( fis4) g4 es4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 d4 es4 |\n  f4.( fis8) g4 d4 |\n  es2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2.\n}\n"}, "harmonizations": [{"slug": "my-jesus-i-love-thee-english-sa1899", "tune": "my-jesus-i-love-thee-english", "music_file": "my-jesus-i-love-thee-english-sa1899.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Setting: One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed., New York, 1899, no. 5. Public domain.", "provenance": {"layer": "harmonization", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part close score transcribed note by note from the page image of \"One Hundred Favorite Songs and Music of The Salvation Army\", SECOND EDITION, compiled by Commander Booth Tucker (New York: The Salvation Army Publishing House, 120-124 West 14th Street), copyright entered 1899 by Frederick de L. Booth Tucker — archive.org item onehundredfavori00boot, leaf n13 = printed p. 10, song no. 5 (title page leaf n4, copyright page leaf n5). Published in the United States in 1899, so public domain in the US; the arranger is unnamed in the book. NOTE the page is HEADED \"The Heavenly Gales are Blowing\" (the title of the separate 6/8 chorus printed overleaf at p. 11, which 1893-era Salvation Army practice interleaved between the verses); the song itself is Booth's \"Oh, boundless Salvation!\" and is credited \"Words by GENERAL BOOTH\". B-flat major, common time, one-quarter anacrusis, 20 measures in four systems of five (barlines measured off the scan); 65 soprano notes. Cross-checked against a second dated printing, \"The Salvation Army / Songs and Music / COMPILED 1922\" (New York/Chicago/San Francisco, 1922), no. 185, p. 185 — archive.org item salvationarmyson0000vari leaf n157, which prints the SAME melody in the same key with a different (fuller) harmonisation, and which proves the tune identity in its own hand: hymn no. 186 on that page is \"My Jesus I Love Thee. Tune-185.\" The melody was additionally cross-checked against the Cyber Hymnal's independent SATB encoding of the same tune (MIDI track name \"Boundless Salvation\", credited J. Ellis), which agrees on the soprano everywhere except m15 b4 (E-flat5 here, F5 there) and on the m11 rhythm (four quarters here, dotted-quarter + eighth there); its inner voices are a different setting and are NOT used. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "music_ly": "%% MY JESUS, I LOVE THEE (English melody, 11.11.11.11) — the tune of William\n%% Booth's \"O Boundless Salvation\" (The Founder's Song).\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% HAND-TRANSCRIBED, note by note, from the page image of the dated US printing\n%%   \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed.,\n%%   New York: The Salvation Army Publishing House, 1899 (copyright entered\n%%   1899 by Frederick de L. Booth Tucker), song no. 5, printed p. 10\n%%   (archive.org item onehundredfavori00boot, leaf n13).\n%% B-flat major, common time, one-quarter anacrusis, 20 measures in four\n%% printed systems of five measures each (barlines measured off the scan);\n%% 65 soprano notes.\n%%\n%% The nine SLURS below are the printed slurs of that page — they are the\n%% melisma map, and every one is read off the engraving, not inferred:\n%%   soprano notes 8-9 (m3 b1-2), 13-14 (m4 b4-4.5), 21-22 (m7 b1-2),\n%%   33-34 (m11 b1-2), 37-38 (m12 b1-2), 40-41 (m13 b1-2), 47-48 (m15 b1-2),\n%%   51-52 (m16 b1-2.5), 61-62 (m19 b1-2).\n%% 65 notes carry 56 sung slots (11.11.11 + the sung last line 6+6+6+5 = 23),\n%% and the count closes exactly on all four stanzas the 1899/1922 books\n%% underlay. A tenth printed slur at m10 b3-4 is NOT a melisma for these\n%% stanzas (the 1899 page underlays \"…ing, so\" / \"…ters can\" there, one\n%% syllable per note); it serves the metrically irregular stanza \"O ocean of\n%% mercy\", which this corpus does not carry. It is therefore omitted.\n%%\n%% NOT the Cyber Hymnal encoding: that undated file agrees with this melody\n%% but differs in the inner voices (its alto doubles the soprano at m2 b1/b3\n%% where the 1899 print has D4; its m11 is dotted-quarter + eighth where the\n%% print has four quarters; its m15 b4 is F5 where the print has E-flat5).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'2 bes'4 d''4 |\n  f'2 f'4 g'4 |\n  f'4( es'4) d'4 f'4 |\n  bes'2. bes'8( bes'8) |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2. bes'4 |\n  d''2 d''4 d''4 |\n  c''2 c''4 d''4 |\n  bes'4( a'4) bes'4 g'4 |\n  g'4( f'2) es'4 |\n  d'4( f'4) bes'4 bes'4 |\n  bes'2 f'4 f'4 |\n  bes'4( d''4) f''4 es''4 |\n  d''4.( c''8) bes'4 bes'4 |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2.\n}\nalto = {\n  f'4 |\n  d'2 d'4 f'4 |\n  d'2 d'4 es'4 |\n  d'4( c'4) bes4 d'4 |\n  d'2. d'8( d'8) |\n  f'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2. d'4 |\n  f'2 f'4 f'4 |\n  f'2 f'4 fis'4 |\n  g'4( d'4) d'4 es'4 |\n  es'4( d'2) c'4 |\n  bes4( d'4) d'4 d'4 |\n  d'2 d'4 d'4 |\n  d'4( f'4) f'4 g'4 |\n  f'4.( es'8) d'4 f'4 |\n  g'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2.\n}\ntenor = {\n  f4 |\n  f2 f4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  bes2. bes8( bes8) |\n  a2 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2. f4 |\n  bes2 bes4 bes4 |\n  a2 a4 d'4 |\n  d'4( c'4) bes4 bes4 |\n  bes2. f4 |\n  f4( bes4) bes4 bes4 |\n  bes2 bes4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  g4 c'8 bes8 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2.\n}\nbass = {\n  f4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 es4 |\n  f2 bes,4 bes,4 |\n  bes,2. bes,8( bes,8) |\n  f2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  f2 f4 d4 |\n  g4( fis4) g4 es4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 d4 es4 |\n  f4.( fis8) g4 d4 |\n  es2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2.\n}\n", "preferred": true}]}, "my-redeemer": {"slug": "my-redeemer", "name": "MY REDEEMER", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "james-mcgranahan", "composer_date": "1877", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "my-redeemer-welcome-tidings-1877", "provenance": {"layer": "tune", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by James McGranahan (1840-1907), first published with Bliss's words in Welcome Tidings (New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53, headed 'MY REDEEMER.' with 'JAMES McGRANAHAN' at the right and the engraved footer 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' beneath the hymn's last system on p. 52 — read on the archive.org scan welcometidingsne00lowr, leaves n55-n56. Reprinted in the same A-flat, note for note, in Gospel Hymns No. 5 (1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168). US public domain by publication before 1929. The soprano's first fifteen scale degrees, 51233 32122 57244, match the published MY REDEEMER incipit, so this is the right tune and not a mislabelled asset. NAME: the hymnals and Hymnary's tune authority print MY REDEEMER; the Cyber Hymnal's 'Burnley' is that site's own invented English place-name (its 'Hymn Tunes - B' index glosses it 'Burnley, Lancashire, England', the site's habitual coinage pattern) and is therefore NOT recorded here as a printed alt_name. Neither dated printing names the tune on the page. Both dated printings engrave the verse in 9/8 and an explicit 12/8 at 'CHORUS.' in BOTH staves; that mid-hymn meter change is carried by the harmonization sidecar's `time_changes`.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "my-redeemer-welcome-tidings-1877", "tune": "my-redeemer", "music_file": "my-redeemer-welcome-tidings-1877.ly", "harmonizer": "james-mcgranahan", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "9/8", "pickup": "4.", "time_changes": [{"soprano_note": 43, "time": "12/8", "partial": "4."}], "system_breaks": [10, 21, 31, 42, 53, 64, 75], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 91, "pitch": "aes,"}, {"voice": "bass", "voice_note": 92, "pitch": "aes,"}], "refrain": {"soprano_note_start": 43, "inline": true}, "bass_echo": {"segments": [{"onset": 36, "text": "Sing, oh! sing of my Re -- deem -- er, Sing, oh! sing of my Re -- deem -- er, With His blood He pur -- chased me, With His blood He pur -- chased me, On the cross He sealed my par -- don, On the cross He sealed my par -- don, Paid the debt, and made me free, made me free, and made me free.", "durations": ["4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4."]}]}, "provenance": {"layer": "harmonization", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "James McGranahan's own four-part setting as first printed, in Welcome Tidings (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53 — archive.org welcometidingsne00lowr, leaves n55-n56 — whose engraved footer beneath this hymn's own last system on p. 52 reads 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' (the identical notice at the FOOT of p. 53 belongs to the next hymn on that page, 'Lord, Come Away!'). Second dated witness, note for note and in the same A-flat: Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168), whose vertical sidebar reads 'used by per. The John Church Co., owners of the Copyright'. Both pre-1931 US public domain, and no modern arranger stands anywhere in the chain. THE NOTES were transcribed from the 1877 engraving at 3-10x and cross-checked against the DECOMPRESSED Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte 6), which is a SCAFFOLD ONLY and never a licensing witness: its own SongInfo block names 'Crusade Songs, edited by W. Hines Sims (Nashville, Tennessee: Broadman Press, 1954), # 20' as its model, so all three Cyber Hymnal assets (burnley.mid, MyRedeemer.pdf, MyRedeemer.nwc) inherit a post-1930 model. tools/mid2ly.py is ruled out for this file at any threshold — its rhythm-identical-chords model breaks in the very first pickup, soprano ees'8 aes'8 over alto c'4. The render-diff found four places where the print and the Cyber Hymnal disagree, and the PRINT is what is encoded: (a) each 6-eighth verse cadence is two TIED dotted quarters in the print, one dotted half in the NWC; (b) the chorus's 8-eighth holds are dotted-half tied to quarter, not whole notes; (c) bar 12 ('...purchased me,......... On the') and the final bar hold NINE eighths in the print (dotted half tied to a DOTTED quarter — the augmentation dot is plain at 8x, and the bar then totals 12 like its neighbours), where the NWC writes a whole note and bar 12 totals only 11; (d) the bass staff of bars 12 and 15 has SEVEN notes, 4 8 4 8 4. 4 8, carrying the men's seven syllables, not the NWC's eight even pairs. The NWC also hides behind a HideRest the alto's opening Ab4 quarter of the last bar, which the print engraves beside the soprano's held Ab4. MELISMAS ARE PRINT-PINNED, NEVER GUESSED: every two-note melisma encoded here is a BEAMED PAIR in the 1877 engraving, every other eighth is separately flagged, and every held syllable is fixed by the print's own extender dots. The verse is perfectly regular — slots 1 and 5 of each of its four lines are two-note melismas — which is why the setting stays one_to_one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1877 Welcome Tidings engraving (archive.org welcometidingsne00lowr leaves n55-n56), with the decompressed Cyber Hymnal NoteWorthy file MyRedeemer.nwc used only as a transcription scaffold and render-diffed against it bar by bar", "encoding_license": "PD-dedication"}, "music_ly": "%% MY REDEEMER (8.7.8.7 with Refrain) — \"I Will Sing of My Redeemer\"\n%% Four SATB voice streams, canonical key A-flat major. The VERSE is 9/8 with a\n%% three-eighth pickup; the CHORUS is 12/8 with its own three-eighth pickup. The\n%% meter change is declared in the sidecar (`time_changes`), NOT here: this file\n%% carries exactly one \\time, the hymn's opening meter, as the schema requires.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed from the FIRST printing: Welcome Tidings\n%% (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1877), printed pp. 52-53, archive.org item\n%% welcometidingsne00lowr leaves n55-n56, whose engraved footer on p. 52 reads\n%% \"COPYRIGHT 1877, BY JOHN CHURCH & CO.\" Second dated witness for every bar:\n%% Gospel Hymns No. 5, 1887, no. 161, printed p. 165 (gospelhymnsno500sank n168),\n%% which prints the same 9/8 verse and the same explicit 12/8 at \"CHORUS.\"\n%%\n%% The decompressed Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte\n%% 6) was used as a transcription SCAFFOLD only — it names *Crusade Songs*, ed.\n%% W. Hines Sims (Broadman Press, 1954), #20 as its own model in its SongInfo\n%% block, so it is post-1930 and can never be the licensing witness. Every bar\n%% was render-diffed against the 1877 engraving at 3-10x. Four places where the\n%% 1877 print and the Cyber Hymnal disagree, and the print wins in all four:\n%%   (a) the print writes each 6-eighth VERSE cadence as two TIED dotted quarters\n%%       (bars 4 and 8, all voices); the NWC writes a single dotted half;\n%%   (b) the chorus's 8-eighth holds are dotted-half TIED to quarter in the\n%%       print, a whole note in the NWC (same sounding value);\n%%   (c) bar 12 (\"...purchased me,......... On the\"): the print holds 9 eighths\n%%       (dotted half tied to a DOTTED quarter — the dot is plainly there at 8x,\n%%       and the bar then totals 12) where the NWC writes a whole note and the\n%%       bar totals only 11. Same at the final bar (17), 9 eighths in the print;\n%%   (d) bar 15 in the bass staff has 7 notes (4 8 4 8 4. 4 8), like its twin\n%%       bar 12, not the NWC's eight even 4 8 pairs; the seven notes carry the\n%%       men's seven syllables \"debt, and made me free, made me\".\n%% The NWC also hides the alto's opening Ab4 quarter in the last bar behind a\n%% HideRest; the 1877 print engraves that notehead beside the soprano's held\n%% Ab4, and it is written here.\n%%\n%% MELISMAS ARE PRINT-PINNED, NEVER GUESSED. Each two-note melisma below is a\n%% BEAMED PAIR in the 1877 engraving (and carries the NWC's own |Slur mark);\n%% every other eighth is separately flagged, and every held syllable is pinned\n%% by the print's extender dots. The verse is perfectly regular: slots 1 and 5\n%% of each of its four lines are two-note melismas (\"I\", \"my\"; \"And\", \"love\";\n%% \"On\", \"cross\"; \"From\", \"set\" in stanza 1), which is why the setting stays\n%% one_to_one — every stanza puts a syllable boundary in the same places.\n%%\n%% BARS. Verse: 3-eighth pickup + 8 bars of 9/8 (bar 8 holds 6, the chorus's\n%% own pickup completing it, exactly as the print's section barline falls).\n%% Chorus: 3-eighth pickup + 7 bars of 12/8 + a final bar of 9 eighths.\n%%\n%% DIVISI — and the two cadences DIFFER in this plate, which is easy to get wrong.\n%% The CHORUS's final chord (bar 17) is engraved with THREE notes in the bass\n%% staff, C4 / Ab3 / Ab2: tenor takes C4, bass takes Ab3, and the low Ab2 prints\n%% cue-small through the sidecar's `alternates`, per the house no-divisi rule.\n%% The VERSE cadence (bar 8) has only TWO — C4 and Ab2, with nothing on the A3\n%% line — so the bass sings the low Ab2 outright there and no alternate is\n%% declared. Measured on the plate: at the chorus chord C4->Ab3 is 22 px and\n%% C4->Ab2 is 104 px; at the verse cadence the only ink below C4 is at 104.5 px.\n%% Ab2 also keeps the bass line continuous with bars 5-6, which the print already\n%% has down there. NB the 1887 reprint (Gospel Hymns No. 5 no. 161) DOES print\n%% three at the verse cadence; this file follows the 1877 plate it cites.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) bes'8 |\n  des''4.~ des''4 des''8 des''8( c''8) bes'8 |\n  c''4.~ c''4. ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) aes'8 |\n  bes'4.~ bes'4 bes'8 bes'8( aes'8) g'8 |\n  aes'4.~ aes'4. |\n  aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  bes'2.~ bes'4 bes'8 bes'8( aes'8) bes'8 |\n  c''2.~ c''4. aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  ees''2.~ ees''4 des''8 c''4 bes'8 |\n  aes'2.~ aes'4.\n}\n\nalto = {\n  c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. |\n  c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 |\n  ees'2.~ ees'4. c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 aes'8 |\n  c''2.~ c''4 bes'8 aes'4 g'8 |\n  aes'4 ees'8 f'4 f'8 ees'4.\n}\n\ntenor = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g4 g8 |\n  bes4.~ bes4 bes8 bes8 aes8 g8 |\n  aes4.~ aes4. aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g8 bes8 c'8 |\n  des'4.~ des'4 des'8 des'8 c'8 bes8 |\n  c'4.~ c'4. |\n  aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  des'2.~ des'4 des'8 des'8 c'8 bes8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4. ees'4 ees'8 |\n  c'4 c'8 des'4 des'8 c'4.\n}\n\nbass = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. aes,4 aes,8 |\n  aes,4. aes,4. aes,4 aes,8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. |\n  aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 |\n  ees4 ees8 ees4 ees8 ees4. ees8 f8 g8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes4 aes8 |\n  ees4 ees8 ees4 ees8 ees4. ees4 ees8 |\n  aes2.~ aes4.\n}\n"}, "harmonizations": [{"slug": "my-redeemer-welcome-tidings-1877", "tune": "my-redeemer", "music_file": "my-redeemer-welcome-tidings-1877.ly", "harmonizer": "james-mcgranahan", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "9/8", "pickup": "4.", "time_changes": [{"soprano_note": 43, "time": "12/8", "partial": "4."}], "system_breaks": [10, 21, 31, 42, 53, 64, 75], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 91, "pitch": "aes,"}, {"voice": "bass", "voice_note": 92, "pitch": "aes,"}], "refrain": {"soprano_note_start": 43, "inline": true}, "bass_echo": {"segments": [{"onset": 36, "text": "Sing, oh! sing of my Re -- deem -- er, Sing, oh! sing of my Re -- deem -- er, With His blood He pur -- chased me, With His blood He pur -- chased me, On the cross He sealed my par -- don, On the cross He sealed my par -- don, Paid the debt, and made me free, made me free, and made me free.", "durations": ["4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4."]}]}, "provenance": {"layer": "harmonization", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "James McGranahan's own four-part setting as first printed, in Welcome Tidings (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53 — archive.org welcometidingsne00lowr, leaves n55-n56 — whose engraved footer beneath this hymn's own last system on p. 52 reads 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' (the identical notice at the FOOT of p. 53 belongs to the next hymn on that page, 'Lord, Come Away!'). Second dated witness, note for note and in the same A-flat: Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168), whose vertical sidebar reads 'used by per. The John Church Co., owners of the Copyright'. Both pre-1931 US public domain, and no modern arranger stands anywhere in the chain. THE NOTES were transcribed from the 1877 engraving at 3-10x and cross-checked against the DECOMPRESSED Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte 6), which is a SCAFFOLD ONLY and never a licensing witness: its own SongInfo block names 'Crusade Songs, edited by W. Hines Sims (Nashville, Tennessee: Broadman Press, 1954), # 20' as its model, so all three Cyber Hymnal assets (burnley.mid, MyRedeemer.pdf, MyRedeemer.nwc) inherit a post-1930 model. tools/mid2ly.py is ruled out for this file at any threshold — its rhythm-identical-chords model breaks in the very first pickup, soprano ees'8 aes'8 over alto c'4. The render-diff found four places where the print and the Cyber Hymnal disagree, and the PRINT is what is encoded: (a) each 6-eighth verse cadence is two TIED dotted quarters in the print, one dotted half in the NWC; (b) the chorus's 8-eighth holds are dotted-half tied to quarter, not whole notes; (c) bar 12 ('...purchased me,......... On the') and the final bar hold NINE eighths in the print (dotted half tied to a DOTTED quarter — the augmentation dot is plain at 8x, and the bar then totals 12 like its neighbours), where the NWC writes a whole note and bar 12 totals only 11; (d) the bass staff of bars 12 and 15 has SEVEN notes, 4 8 4 8 4. 4 8, carrying the men's seven syllables, not the NWC's eight even pairs. The NWC also hides behind a HideRest the alto's opening Ab4 quarter of the last bar, which the print engraves beside the soprano's held Ab4. MELISMAS ARE PRINT-PINNED, NEVER GUESSED: every two-note melisma encoded here is a BEAMED PAIR in the 1877 engraving, every other eighth is separately flagged, and every held syllable is fixed by the print's own extender dots. The verse is perfectly regular — slots 1 and 5 of each of its four lines are two-note melismas — which is why the setting stays one_to_one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1877 Welcome Tidings engraving (archive.org welcometidingsne00lowr leaves n55-n56), with the decompressed Cyber Hymnal NoteWorthy file MyRedeemer.nwc used only as a transcription scaffold and render-diffed against it bar by bar", "encoding_license": "PD-dedication"}, "music_ly": "%% MY REDEEMER (8.7.8.7 with Refrain) — \"I Will Sing of My Redeemer\"\n%% Four SATB voice streams, canonical key A-flat major. The VERSE is 9/8 with a\n%% three-eighth pickup; the CHORUS is 12/8 with its own three-eighth pickup. The\n%% meter change is declared in the sidecar (`time_changes`), NOT here: this file\n%% carries exactly one \\time, the hymn's opening meter, as the schema requires.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed from the FIRST printing: Welcome Tidings\n%% (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1877), printed pp. 52-53, archive.org item\n%% welcometidingsne00lowr leaves n55-n56, whose engraved footer on p. 52 reads\n%% \"COPYRIGHT 1877, BY JOHN CHURCH & CO.\" Second dated witness for every bar:\n%% Gospel Hymns No. 5, 1887, no. 161, printed p. 165 (gospelhymnsno500sank n168),\n%% which prints the same 9/8 verse and the same explicit 12/8 at \"CHORUS.\"\n%%\n%% The decompressed Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte\n%% 6) was used as a transcription SCAFFOLD only — it names *Crusade Songs*, ed.\n%% W. Hines Sims (Broadman Press, 1954), #20 as its own model in its SongInfo\n%% block, so it is post-1930 and can never be the licensing witness. Every bar\n%% was render-diffed against the 1877 engraving at 3-10x. Four places where the\n%% 1877 print and the Cyber Hymnal disagree, and the print wins in all four:\n%%   (a) the print writes each 6-eighth VERSE cadence as two TIED dotted quarters\n%%       (bars 4 and 8, all voices); the NWC writes a single dotted half;\n%%   (b) the chorus's 8-eighth holds are dotted-half TIED to quarter in the\n%%       print, a whole note in the NWC (same sounding value);\n%%   (c) bar 12 (\"...purchased me,......... On the\"): the print holds 9 eighths\n%%       (dotted half tied to a DOTTED quarter — the dot is plainly there at 8x,\n%%       and the bar then totals 12) where the NWC writes a whole note and the\n%%       bar totals only 11. Same at the final bar (17), 9 eighths in the print;\n%%   (d) bar 15 in the bass staff has 7 notes (4 8 4 8 4. 4 8), like its twin\n%%       bar 12, not the NWC's eight even 4 8 pairs; the seven notes carry the\n%%       men's seven syllables \"debt, and made me free, made me\".\n%% The NWC also hides the alto's opening Ab4 quarter in the last bar behind a\n%% HideRest; the 1877 print engraves that notehead beside the soprano's held\n%% Ab4, and it is written here.\n%%\n%% MELISMAS ARE PRINT-PINNED, NEVER GUESSED. Each two-note melisma below is a\n%% BEAMED PAIR in the 1877 engraving (and carries the NWC's own |Slur mark);\n%% every other eighth is separately flagged, and every held syllable is pinned\n%% by the print's extender dots. The verse is perfectly regular: slots 1 and 5\n%% of each of its four lines are two-note melismas (\"I\", \"my\"; \"And\", \"love\";\n%% \"On\", \"cross\"; \"From\", \"set\" in stanza 1), which is why the setting stays\n%% one_to_one — every stanza puts a syllable boundary in the same places.\n%%\n%% BARS. Verse: 3-eighth pickup + 8 bars of 9/8 (bar 8 holds 6, the chorus's\n%% own pickup completing it, exactly as the print's section barline falls).\n%% Chorus: 3-eighth pickup + 7 bars of 12/8 + a final bar of 9 eighths.\n%%\n%% DIVISI — and the two cadences DIFFER in this plate, which is easy to get wrong.\n%% The CHORUS's final chord (bar 17) is engraved with THREE notes in the bass\n%% staff, C4 / Ab3 / Ab2: tenor takes C4, bass takes Ab3, and the low Ab2 prints\n%% cue-small through the sidecar's `alternates`, per the house no-divisi rule.\n%% The VERSE cadence (bar 8) has only TWO — C4 and Ab2, with nothing on the A3\n%% line — so the bass sings the low Ab2 outright there and no alternate is\n%% declared. Measured on the plate: at the chorus chord C4->Ab3 is 22 px and\n%% C4->Ab2 is 104 px; at the verse cadence the only ink below C4 is at 104.5 px.\n%% Ab2 also keeps the bass line continuous with bars 5-6, which the print already\n%% has down there. NB the 1887 reprint (Gospel Hymns No. 5 no. 161) DOES print\n%% three at the verse cadence; this file follows the 1877 plate it cites.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) bes'8 |\n  des''4.~ des''4 des''8 des''8( c''8) bes'8 |\n  c''4.~ c''4. ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) aes'8 |\n  bes'4.~ bes'4 bes'8 bes'8( aes'8) g'8 |\n  aes'4.~ aes'4. |\n  aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  bes'2.~ bes'4 bes'8 bes'8( aes'8) bes'8 |\n  c''2.~ c''4. aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  ees''2.~ ees''4 des''8 c''4 bes'8 |\n  aes'2.~ aes'4.\n}\n\nalto = {\n  c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. |\n  c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 |\n  ees'2.~ ees'4. c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 aes'8 |\n  c''2.~ c''4 bes'8 aes'4 g'8 |\n  aes'4 ees'8 f'4 f'8 ees'4.\n}\n\ntenor = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g4 g8 |\n  bes4.~ bes4 bes8 bes8 aes8 g8 |\n  aes4.~ aes4. aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g8 bes8 c'8 |\n  des'4.~ des'4 des'8 des'8 c'8 bes8 |\n  c'4.~ c'4. |\n  aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  des'2.~ des'4 des'8 des'8 c'8 bes8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4. ees'4 ees'8 |\n  c'4 c'8 des'4 des'8 c'4.\n}\n\nbass = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. aes,4 aes,8 |\n  aes,4. aes,4. aes,4 aes,8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. |\n  aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 |\n  ees4 ees8 ees4 ees8 ees4. ees8 f8 g8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes4 aes8 |\n  ees4 ees8 ees4 ees8 ees4. ees4 ees8 |\n  aes2.~ aes4.\n}\n", "preferred": true}]}, "my-saviors-love": {"slug": "my-saviors-love", "name": "MY SAVIOR'S LOVE", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "charles-hutchinson-gabriel", "composer_date": "1905", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "my-saviors-love-praises-1905", "provenance": {"layer": "tune", "source": "praises-1905", "source_kind": "hand_encoded", "pd_evidence": "Tune by Charles Hutchinson Gabriel (1856-1932), written for his own words. Read from its FIRST publication: Praises, ed. E. O. Excell (Chicago: E. O. Excell, 1905), No. 3, printed page 3 — archive.org praises00excegoog, leaf n10, collated against the second scan of the same 1905 edition, archive.org praises00exce, leaf n8. The page is headed \"My Savior's Love.\" and prints \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" between \"C. H. G.\" (left) and \"Chas. H. Gabriel.\" (right). Gabriel died in 1932, so his death date clears nothing on its own; THE PUBLIC-DOMAIN BASIS IS THE 1905 PUBLICATION DATE OF THE PRINTING READ HERE, which is before 1931. The soprano's first fifteen scale degrees are 553512311777121, which is one of the two incipits Hymnary indexes under tune authority my_saviors_love_gabriel, matched digit for digit; the other, 55351231777121566, is the same line with the repeated 1 at notes 8-9 counted once and carried three notes further (566 = notes 16-18 as read here). tools/tune_fingerprint.py's interval fingerprint finds no corpus melody closer than 0.574 (LEONI), far under the 0.80 duplicate threshold, so this is not a duplicate under another name. The plate does not print a tune name on the staff — gospel songbooks of this kind rarely do — so MY SAVIOR'S LOVE is the name the hymnals and Hymnary carry for it, taken from the page's title; no printed alt_name is recorded.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "my_saviors_love_gabriel", "total_instances": 278}}, "harmonization": {"slug": "my-saviors-love-praises-1905", "tune": "my-saviors-love", "music_file": "my-saviors-love-praises-1905.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 45], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "praises-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles H. Gabriel's own four-part setting, read from its FIRST publication: Praises, ed. E. O. Excell (Chicago: E. O. Excell, 1905), No. 3, printed page 3, headed \"My Savior's Love.\" and engraved \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" between \"C. H. G.\" and \"Chas. H. Gabriel.\". US public domain BY THE 1905 PUBLICATION DATE OF THIS PRINTING, which is before 1931 — Gabriel did not die until 1932, so his death date clears nothing on its own, and the pre-1931 publication is the whole basis. No modern arranger stands anywhere in this chain: the setting is the composer's own, on the plate that first printed it. Every chord of all four voices was read notehead by notehead off TWO independent scans of that one plate — archive.org praises00excegoog, leaf n10 (3142 px across, staff space 35.3 px, i.e. 17.6 px per diatonic step) and archive.org praises00exce, leaf n8 (2418 px across, staff space 26.0 px, 13.0 px per step) — by the same rig, each scan with its OWN adaptive binarisation threshold (0.82 of the local paper level for the bitonal first scan, 0.72 for the second, which is a grey scan) and its own five-line fits recovered locally in a ±2.4-staff-space window around each notehead's x. After dropping the columns each pass itself marked as flag hooks, rests or clef fragments, the two readings align column for column across 129 chord columns; 238 noteheads were resolved by BOTH passes and they agree on all 238, with 0 disagreements. Six heads were resolved by one pass only (five by the first scan, one by the second), and ten chord positions that a flag hook or a shared stem hid from both passes were read by eye off crops with the fitted five-line grid drawn over them at 5x-12x; all ten are listed by soprano notehead ordinal in the .ly header. THE RIG READS STAFF POSITIONS AND IS BLIND TO ACCIDENTALS AND NO FIGURE ABOVE COVERS THEM, so every column was swept a second time, separately and by eye, end to end over all eight staves of the first scan at 2.0x with the contested chords re-opened at 4.5x-12x and the \"love\" chord re-examined on the second scan at 12x: the plate prints NO accidental anywhere outside its four-flat key signature. NO SCAFFOLD WAS USED and no MIDI, MusicXML or Cyber Hymnal asset was opened for this file. The soprano's first fifteen scale degrees, 553512311777121, match one of the two incipits Hymnary indexes for tune authority my_saviors_love_gabriel digit for digit. FOUR DEPARTURES from the page are declared in full in the .ly header: the plate's SECOND chorus lyric row is not carried; its fermata over the final chord is not rendered (house style); the c''-des'' eighth pair on \"my\" in chorus bar 7 is written with this corpus's slur so the underlay forms one note-group, which the engine turns back into the plate's own beam and draws no slur; and at \"love\" in the last bar of the second chorus line the soprano's hollow half note is followed here by half notes in the other three voices, whose heads the plate inks solid — three filled quarters would leave their 4/4 bar a beat short. That last head, the bass ees, is the one place where this encoding does not follow the engraving literally. THE CHORUS IS NOT HOMORHYTHMIC AND THAT IS THE PAGE: on the first beat of chorus bars 1, 2, 5 and 6 the soprano holds a half while the alto, tenor and bass restrike the same pitch as two quarters, so that the plate's alternative \"O how mar-vel-ous!\" row can take its extra syllable.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1905 Praises page image (archive.org praises00excegoog, leaf n10), collated head by head against the second scan of the same 1905 edition (praises00exce, leaf n8). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% MY SAVIOR'S LOVE (8.7.8.7 with Refrain) — \"I Stand Amazed in the Presence\",\n%% words and music by Charles H. Gabriel. Four SATB voice streams, canonical key\n%% A-flat major, 4/4, one-quarter pickup, 16 full bars after the pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The FIRST publication: Praises, edited and published by\n%% E. O. Excell (Chicago, 1905), No. 3, printed page 3, headed \"My Savior's\n%% Love.\" with \"C. H. G.\" at the left, \"Chas. H. Gabriel.\" at the right and\n%% \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" centred between them. Read off TWO\n%% independent scans of that one plate:\n%%   scan A — archive.org praises00excegoog, leaf n10 (3142 px across, staff\n%%            space 35.3 px, i.e. 17.6 px per diatonic step);\n%%   scan B — archive.org praises00exce, leaf n8 (2418 px across, staff space\n%%            26.0 px, 13.0 px per step).\n%% Both items are the same 1905 Excell edition; the two scans differ in operator,\n%% resolution and tone (A is bitonal, B is a grey scan), so they binarise apart.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan and per staff: adaptive\n%% binarisation (ink darker than a fraction of the LOCAL paper level built from a\n%% 41x41 grey dilation followed by a box filter — the fraction is each scan's own,\n%% 0.82 for A and 0.72 for B, chosen because B is a grey scan and 0.82 dissolves\n%% it); a binary closing scaled to the staff space to seal the pale gaps the\n%% plate's ink leaves inside a head; staff and ledger lines erased (long\n%% horizontal ink that is not part of a tall vertical run, so a head sitting on a\n%% line keeps its pixels); a second closing; then SMALL holes filled, which is\n%% what makes the hollow half-note heads readable at all; barlines erased; and\n%% finally erosion with an ellipse of semi-axes 0.29 x 0.215 staff spaces, which\n%% deletes stems and beams but leaves a notehead core. Every core was converted to\n%% a diatonic step with a FRESH five-line fit made in a +-2.4-staff-space window\n%% around that core's own x, so the plate's skew cannot drag a reading. Scan B was\n%% resampled to scan A's scale (x1.36) before the same rig ran on it; it kept its\n%% own binarisation and its own staff-line fits throughout.\n%%\n%% WHAT THE TWO PASSES AGREE ON. After dropping the columns each pass itself\n%% marked as flag hooks, rests or clef fragments, the two readings line up column\n%% for column: 129 chord columns. 238 noteheads were resolved by BOTH passes, and\n%% they agree on all 238 — 0 disagreements. SIX heads were resolved by one pass\n%% only. Five of them scan A found and scan B missed: both heads of the \"how\"\n%% chord (soprano note 19, aes' over f'); the bass des under the sixteenth\n%% \"could\" that closes verse bar 5 (note 21); the tenor aes under the sixteenth\n%% \"con-\" in verse bar 7 (note 27, the only head EITHER pass found in that\n%% column); and the soprano's hollow ees'' that opens chorus bar 2 (note 35).\n%% One head scan B recovered that scan A lost inside a flag: the bass ees under\n%% \"-ior's\" (note 58). TEN further chord positions were resolved by EYE off crops\n%% with the fitted five-line grid drawn over them at 5x-12x, because a flag hook\n%% or a shared stem hid a head from both passes; all ten are listed under\n%% UNRESOLVED BY THE RIG below.\n%%\n%% THE MELODY IS CONFIRMED BY A THIRD, NON-IMAGE WITNESS. The soprano's first\n%% fifteen scale degrees read here are 5 5 3 5 1 2 3 1 1 7 7 7 1 2 1. Hymnary\n%% indexes two incipits under tune authority my_saviors_love_gabriel:\n%% 553512311777121, which this reading matches digit for digit, and\n%% 55351231777121566, which is the same line with the repeated 1 (notes 8-9)\n%% counted once and carried three notes further — 5 6 6, which is what notes\n%% 16, 17 and 18 read here. tools/tune_fingerprint.py's interval fingerprint\n%% finds no corpus melody closer than 0.574 (LEONI), far under the 0.80\n%% duplicate threshold.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% MusicXML, no Cyber Hymnal asset and no modern hymnal was opened for this file.\n%%\n%% ACCIDENTALS — A SEPARATE BY-EYE SWEEP, BECAUSE THE RIG CANNOT SEE THEM. The\n%% measurement above reads staff POSITIONS; it is blind to a sharp, flat or\n%% natural standing in front of a head, and no figure it produces covers them. So\n%% every column of all eight staves was swept a second time, by eye, end to end,\n%% on scan A at 2.0x in eight overlapping crops that include both staves of each\n%% system, with the contested chords re-opened at 4.5x-12x; the \"love\" chord was\n%% additionally re-examined on scan B at 12x. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE except the four-flat key signature at the head of each staff: there\n%% is not one sharp, flat or natural in the body of the piece. Every b, e, a and\n%% d below is therefore flat, and is spelled bes/ees/aes/des here.\n%%\n%% RHYTHM. The plate's recurring figure is a dotted eighth plus a sixteenth, and\n%% it separately FLAGS both — it never beams them. It falls on beat 4 of verse\n%% bars 1 and 5, on beat 2 of verse bars 3 and 7, and on beat 3 of all four\n%% chorus bars 1, 2, 5 and 6. Chorus bars 3 and 7 instead carry a dotted quarter\n%% on beat 3 followed by an eighth on beat 4. Every augmentation dot and every\n%% flag was read at 2x-6x on scan A; the dots sit about 45 px (1.3 staff spaces)\n%% to the right of their heads and the sixteenths carry two hooks. Verse bar 4\n%% ends the first poetic couplet on a dotted half whose bar is completed by the\n%% next line's pickup quarter; verse bar 8 ends the stanza on a dotted half plus a\n%% printed QUARTER REST, engraved in BOTH staves and reproduced here.\n%%\n%% THE CHORUS IS NOT HOMORHYTHMIC, AND THAT IS THE PAGE. On the first beat of\n%% each of the four chorus bars 1, 2, 5 and 6 the SOPRANO holds a half note while\n%% the alto, tenor and bass restrike the same pitch as two quarters. The plate\n%% does this so that its SECOND printed lyric row (\"O how mar-vel-ous! O how\n%% won-der-ful!\") can take the extra syllable; the row this corpus sets is the\n%% first, complete row (\"How mar-vel-ous! how won-der-ful!\"), so those restruck\n%% quarters carry no syllable of their own here. See the DEPARTURES note.\n%%\n%% ONE SLUR, chorus bar 7 (\"my\", soprano noteheads 55-56): the plate BEAMS a\n%% c''-des'' eighth pair there under the single syllable \"my\" while the alto,\n%% tenor and bass hold a quarter. The slur written here is this corpus's grouping\n%% mark for a two-note syllable; the engine turns it into a beam (c''8[ des''8])\n%% and draws no slur, so the printed result carries exactly the plate's beam. It\n%% is the only two-note syllable in the hymn: 61 soprano noteheads carry 60\n%% syllables (30 verse + 30 refrain).\n%%\n%% UNISONS AND SECONDS IN THE LOWER STAFF. On beat 4 of chorus bar 2 — \"-ful!\",\n%% soprano note 38, and again at the same place in chorus bar 6, note 53 — the\n%% page prints ONE notehead on aes carrying an up stem AND a down stem: tenor and\n%% bass are in unison and both take the pitch here. Immediately before it, on the\n%% sixteenth \"-der\" (notes 37 and 52), tenor bes and bass aes stand a SECOND\n%% apart, so the page offsets their two heads horizontally by about a notehead\n%% width; that offset is why the rig reported a single head at each x. All four\n%% positions were read off the grid overlay at 6x.\n%%\n%% DEPARTURES FROM THE PAGE — the complete list.\n%%  1. THE PAGE'S SECOND LYRIC ROW IS NOT CARRIED. Under the chorus the plate\n%%     prints two lyric rows; the second, \"O how mar-vel-ous! O how won-der-ful!\"\n%%     / \"O how mar-vel-ous, O how won-der-ful,\" covers only the first half of\n%%     each chorus line and needs the restruck lower-voice quarters to be sung as\n%%     separate syllables in the soprano too. Only the first row is set.\n%%  2. THE FERMATA IS NOT RENDERED. The plate prints a fermata over the final\n%%     chord in BOTH staves. House style omits fermatas and records them here.\n%%  3. CORRECTED AFTER IMPORT — there is no departure here. This file first\n%%     encoded the last bar of the second chorus line (soprano note 59, \"love\")\n%%     as a HALF in all four voices, on an ink-fill argument, and recorded the\n%%     bass head as \"the single place where this file does not follow the\n%%     engraving literally\". Independent re-measurement on both scans reads all\n%%     four as QUARTERS, which is also what makes the bar count: the piece now\n%%     totals 64 quarters. The half reading and its 0.79/0.70 fill figures were\n%%     not reproducible; they are struck rather than softened.\n%%  4. SYSTEM CASTING. The plate casts the hymn 15 / 15 / 15 / 16 soprano\n%%     noteheads across four systems and this encoding breaks after noteheads 15,\n%%     30 and 45 — the same casting the plate uses.\n%%\n%% UNRESOLVED BY THE RIG, READ BY EYE OFF THE FITTED GRID (10 positions, given by\n%% soprano notehead ordinal; ordinals 1-30 are the verse, 31-61 the chorus):\n%%    6  bass aes,   — head merged with its own sixteenth flag\n%%   12  bass ees    — same\n%%   27  bass ees    — same\n%%   30  tenor aes   — hollow head; both passes returned only the bass aes,\n%%   33  bass aes,   — head merged with its sixteenth flag\n%%   37  tenor bes AND bass aes — a second, so the plate offsets the two heads\n%%   38  tenor and bass aes in UNISON — one notehead carrying an up and a down stem\n%%   48  bass aes,   — as note 33 (chorus line 2 repeats chorus line 1 here)\n%%   52  tenor bes and bass aes — as note 37\n%%   53  tenor and bass aes in unison — as note 38\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 |\n  ees'4 c'4 ees'4 aes'8. bes'16 |\n  c''2 aes'4 aes'4 |\n  g'4 g'8. g'16 aes'4 bes'4 |\n  aes'2. ees'4 |\n  f'4 f'4 aes'4 g'8. f'16 |\n  ees'2 aes'4 bes'4 |\n  c''4 c''8. c''16 bes'4 bes'4 |\n  aes'2. r4 |\n  c''2 c''8. bes'16 aes'4 |\n  ees''2 ees''8. des''16 c''4 |\n  bes'4 bes'4 bes'4. c''8 |\n  des''4 c''4 bes'2 |\n  c''2 c''8. bes'16 aes'4 |\n  ees''2 ees''8. des''16 c''4 |\n  bes'4 c''8( des''8) c''4. bes'8 |\n  aes'4 g'4 aes'4\n}\n\nalto = {\n  c'4 |\n  c'4 aes4 c'4 c'8. des'16 |\n  ees'2 c'4 ees'4 |\n  ees'4 ees'8. ees'16 ees'4 ees'4 |\n  ees'2. c'4 |\n  des'4 des'4 f'4 ees'8. des'16 |\n  c'2 ees'4 f'4 |\n  ees'4 ees'8. ees'16 des'4 des'4 |\n  c'2. r4 |\n  ees'4 ees'4 ees'8. des'16 c'4 |\n  ees'4 ees'4 ees'8. ees'16 ees'4 |\n  ees'4 ees'4 ees'4. ees'8 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'4 ees'8. des'16 c'4 |\n  ees'4 ees'4 ees'8. ees'16 ees'4 |\n  f'4 f'4 ees'4. ees'8 |\n  ees'4 des'4 c'4\n}\n\ntenor = {\n  aes4 |\n  aes4 ees4 aes4 aes8. aes16 |\n  aes2 aes4 aes4 |\n  bes4 bes8. bes16 c'4 des'4 |\n  c'2. aes4 |\n  aes4 aes4 aes4 aes8. aes16 |\n  aes2 aes4 aes4 |\n  aes4 aes8. aes16 g4 g4 |\n  aes2. r4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  c'4 c'4 c'8. bes16 aes4 |\n  g4 g4 g4. aes8 |\n  bes4 aes4 g2 |\n  aes4 aes4 aes8. aes16 aes4 |\n  c'4 c'4 c'8. bes16 aes4 |\n  aes4 aes4 aes4. des'8 |\n  c'4 bes4 aes4\n}\n\nbass = {\n  aes,4 |\n  aes,4 aes,4 aes,4 aes,8. aes,16 |\n  aes,2 aes,4 c4 |\n  ees4 ees8. ees16 ees4 ees4 |\n  aes,2. aes,4 |\n  des4 des4 des4 des8. des16 |\n  aes,2 c4 des4 |\n  ees4 ees8. ees16 ees4 ees4 |\n  aes,2. r4 |\n  aes,4 aes,4 aes,8. aes,16 aes,4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  ees4 ees4 ees4. ees8 |\n  ees4 ees4 ees2 |\n  aes,4 aes,4 aes,8. aes,16 aes,4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  des4 des4 ees4. ees8 |\n  ees4 ees4 aes,4\n}\n"}, "harmonizations": [{"slug": "my-saviors-love-praises-1905", "tune": "my-saviors-love", "music_file": "my-saviors-love-praises-1905.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 45], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "praises-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Charles H. Gabriel's own four-part setting, read from its FIRST publication: Praises, ed. E. O. Excell (Chicago: E. O. Excell, 1905), No. 3, printed page 3, headed \"My Savior's Love.\" and engraved \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" between \"C. H. G.\" and \"Chas. H. Gabriel.\". US public domain BY THE 1905 PUBLICATION DATE OF THIS PRINTING, which is before 1931 — Gabriel did not die until 1932, so his death date clears nothing on its own, and the pre-1931 publication is the whole basis. No modern arranger stands anywhere in this chain: the setting is the composer's own, on the plate that first printed it. Every chord of all four voices was read notehead by notehead off TWO independent scans of that one plate — archive.org praises00excegoog, leaf n10 (3142 px across, staff space 35.3 px, i.e. 17.6 px per diatonic step) and archive.org praises00exce, leaf n8 (2418 px across, staff space 26.0 px, 13.0 px per step) — by the same rig, each scan with its OWN adaptive binarisation threshold (0.82 of the local paper level for the bitonal first scan, 0.72 for the second, which is a grey scan) and its own five-line fits recovered locally in a ±2.4-staff-space window around each notehead's x. After dropping the columns each pass itself marked as flag hooks, rests or clef fragments, the two readings align column for column across 129 chord columns; 238 noteheads were resolved by BOTH passes and they agree on all 238, with 0 disagreements. Six heads were resolved by one pass only (five by the first scan, one by the second), and ten chord positions that a flag hook or a shared stem hid from both passes were read by eye off crops with the fitted five-line grid drawn over them at 5x-12x; all ten are listed by soprano notehead ordinal in the .ly header. THE RIG READS STAFF POSITIONS AND IS BLIND TO ACCIDENTALS AND NO FIGURE ABOVE COVERS THEM, so every column was swept a second time, separately and by eye, end to end over all eight staves of the first scan at 2.0x with the contested chords re-opened at 4.5x-12x and the \"love\" chord re-examined on the second scan at 12x: the plate prints NO accidental anywhere outside its four-flat key signature. NO SCAFFOLD WAS USED and no MIDI, MusicXML or Cyber Hymnal asset was opened for this file. The soprano's first fifteen scale degrees, 553512311777121, match one of the two incipits Hymnary indexes for tune authority my_saviors_love_gabriel digit for digit. FOUR DEPARTURES from the page are declared in full in the .ly header: the plate's SECOND chorus lyric row is not carried; its fermata over the final chord is not rendered (house style); the c''-des'' eighth pair on \"my\" in chorus bar 7 is written with this corpus's slur so the underlay forms one note-group, which the engine turns back into the plate's own beam and draws no slur; and at \"love\" in the last bar of the second chorus line the soprano's hollow half note is followed here by half notes in the other three voices, whose heads the plate inks solid — three filled quarters would leave their 4/4 bar a beat short. That last head, the bass ees, is the one place where this encoding does not follow the engraving literally. THE CHORUS IS NOT HOMORHYTHMIC AND THAT IS THE PAGE: on the first beat of chorus bars 1, 2, 5 and 6 the soprano holds a half while the alto, tenor and bass restrike the same pitch as two quarters, so that the plate's alternative \"O how mar-vel-ous!\" row can take its extra syllable.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1905 Praises page image (archive.org praises00excegoog, leaf n10), collated head by head against the second scan of the same 1905 edition (praises00exce, leaf n8). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% MY SAVIOR'S LOVE (8.7.8.7 with Refrain) — \"I Stand Amazed in the Presence\",\n%% words and music by Charles H. Gabriel. Four SATB voice streams, canonical key\n%% A-flat major, 4/4, one-quarter pickup, 16 full bars after the pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The FIRST publication: Praises, edited and published by\n%% E. O. Excell (Chicago, 1905), No. 3, printed page 3, headed \"My Savior's\n%% Love.\" with \"C. H. G.\" at the left, \"Chas. H. Gabriel.\" at the right and\n%% \"COPYRIGHT, 1905, BY CHAS. H. GABRIEL.\" centred between them. Read off TWO\n%% independent scans of that one plate:\n%%   scan A — archive.org praises00excegoog, leaf n10 (3142 px across, staff\n%%            space 35.3 px, i.e. 17.6 px per diatonic step);\n%%   scan B — archive.org praises00exce, leaf n8 (2418 px across, staff space\n%%            26.0 px, 13.0 px per step).\n%% Both items are the same 1905 Excell edition; the two scans differ in operator,\n%% resolution and tone (A is bitonal, B is a grey scan), so they binarise apart.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan and per staff: adaptive\n%% binarisation (ink darker than a fraction of the LOCAL paper level built from a\n%% 41x41 grey dilation followed by a box filter — the fraction is each scan's own,\n%% 0.82 for A and 0.72 for B, chosen because B is a grey scan and 0.82 dissolves\n%% it); a binary closing scaled to the staff space to seal the pale gaps the\n%% plate's ink leaves inside a head; staff and ledger lines erased (long\n%% horizontal ink that is not part of a tall vertical run, so a head sitting on a\n%% line keeps its pixels); a second closing; then SMALL holes filled, which is\n%% what makes the hollow half-note heads readable at all; barlines erased; and\n%% finally erosion with an ellipse of semi-axes 0.29 x 0.215 staff spaces, which\n%% deletes stems and beams but leaves a notehead core. Every core was converted to\n%% a diatonic step with a FRESH five-line fit made in a +-2.4-staff-space window\n%% around that core's own x, so the plate's skew cannot drag a reading. Scan B was\n%% resampled to scan A's scale (x1.36) before the same rig ran on it; it kept its\n%% own binarisation and its own staff-line fits throughout.\n%%\n%% WHAT THE TWO PASSES AGREE ON. After dropping the columns each pass itself\n%% marked as flag hooks, rests or clef fragments, the two readings line up column\n%% for column: 129 chord columns. 238 noteheads were resolved by BOTH passes, and\n%% they agree on all 238 — 0 disagreements. SIX heads were resolved by one pass\n%% only. Five of them scan A found and scan B missed: both heads of the \"how\"\n%% chord (soprano note 19, aes' over f'); the bass des under the sixteenth\n%% \"could\" that closes verse bar 5 (note 21); the tenor aes under the sixteenth\n%% \"con-\" in verse bar 7 (note 27, the only head EITHER pass found in that\n%% column); and the soprano's hollow ees'' that opens chorus bar 2 (note 35).\n%% One head scan B recovered that scan A lost inside a flag: the bass ees under\n%% \"-ior's\" (note 58). TEN further chord positions were resolved by EYE off crops\n%% with the fitted five-line grid drawn over them at 5x-12x, because a flag hook\n%% or a shared stem hid a head from both passes; all ten are listed under\n%% UNRESOLVED BY THE RIG below.\n%%\n%% THE MELODY IS CONFIRMED BY A THIRD, NON-IMAGE WITNESS. The soprano's first\n%% fifteen scale degrees read here are 5 5 3 5 1 2 3 1 1 7 7 7 1 2 1. Hymnary\n%% indexes two incipits under tune authority my_saviors_love_gabriel:\n%% 553512311777121, which this reading matches digit for digit, and\n%% 55351231777121566, which is the same line with the repeated 1 (notes 8-9)\n%% counted once and carried three notes further — 5 6 6, which is what notes\n%% 16, 17 and 18 read here. tools/tune_fingerprint.py's interval fingerprint\n%% finds no corpus melody closer than 0.574 (LEONI), far under the 0.80\n%% duplicate threshold.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% MusicXML, no Cyber Hymnal asset and no modern hymnal was opened for this file.\n%%\n%% ACCIDENTALS — A SEPARATE BY-EYE SWEEP, BECAUSE THE RIG CANNOT SEE THEM. The\n%% measurement above reads staff POSITIONS; it is blind to a sharp, flat or\n%% natural standing in front of a head, and no figure it produces covers them. So\n%% every column of all eight staves was swept a second time, by eye, end to end,\n%% on scan A at 2.0x in eight overlapping crops that include both staves of each\n%% system, with the contested chords re-opened at 4.5x-12x; the \"love\" chord was\n%% additionally re-examined on scan B at 12x. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE except the four-flat key signature at the head of each staff: there\n%% is not one sharp, flat or natural in the body of the piece. Every b, e, a and\n%% d below is therefore flat, and is spelled bes/ees/aes/des here.\n%%\n%% RHYTHM. The plate's recurring figure is a dotted eighth plus a sixteenth, and\n%% it separately FLAGS both — it never beams them. It falls on beat 4 of verse\n%% bars 1 and 5, on beat 2 of verse bars 3 and 7, and on beat 3 of all four\n%% chorus bars 1, 2, 5 and 6. Chorus bars 3 and 7 instead carry a dotted quarter\n%% on beat 3 followed by an eighth on beat 4. Every augmentation dot and every\n%% flag was read at 2x-6x on scan A; the dots sit about 45 px (1.3 staff spaces)\n%% to the right of their heads and the sixteenths carry two hooks. Verse bar 4\n%% ends the first poetic couplet on a dotted half whose bar is completed by the\n%% next line's pickup quarter; verse bar 8 ends the stanza on a dotted half plus a\n%% printed QUARTER REST, engraved in BOTH staves and reproduced here.\n%%\n%% THE CHORUS IS NOT HOMORHYTHMIC, AND THAT IS THE PAGE. On the first beat of\n%% each of the four chorus bars 1, 2, 5 and 6 the SOPRANO holds a half note while\n%% the alto, tenor and bass restrike the same pitch as two quarters. The plate\n%% does this so that its SECOND printed lyric row (\"O how mar-vel-ous! O how\n%% won-der-ful!\") can take the extra syllable; the row this corpus sets is the\n%% first, complete row (\"How mar-vel-ous! how won-der-ful!\"), so those restruck\n%% quarters carry no syllable of their own here. See the DEPARTURES note.\n%%\n%% ONE SLUR, chorus bar 7 (\"my\", soprano noteheads 55-56): the plate BEAMS a\n%% c''-des'' eighth pair there under the single syllable \"my\" while the alto,\n%% tenor and bass hold a quarter. The slur written here is this corpus's grouping\n%% mark for a two-note syllable; the engine turns it into a beam (c''8[ des''8])\n%% and draws no slur, so the printed result carries exactly the plate's beam. It\n%% is the only two-note syllable in the hymn: 61 soprano noteheads carry 60\n%% syllables (30 verse + 30 refrain).\n%%\n%% UNISONS AND SECONDS IN THE LOWER STAFF. On beat 4 of chorus bar 2 — \"-ful!\",\n%% soprano note 38, and again at the same place in chorus bar 6, note 53 — the\n%% page prints ONE notehead on aes carrying an up stem AND a down stem: tenor and\n%% bass are in unison and both take the pitch here. Immediately before it, on the\n%% sixteenth \"-der\" (notes 37 and 52), tenor bes and bass aes stand a SECOND\n%% apart, so the page offsets their two heads horizontally by about a notehead\n%% width; that offset is why the rig reported a single head at each x. All four\n%% positions were read off the grid overlay at 6x.\n%%\n%% DEPARTURES FROM THE PAGE — the complete list.\n%%  1. THE PAGE'S SECOND LYRIC ROW IS NOT CARRIED. Under the chorus the plate\n%%     prints two lyric rows; the second, \"O how mar-vel-ous! O how won-der-ful!\"\n%%     / \"O how mar-vel-ous, O how won-der-ful,\" covers only the first half of\n%%     each chorus line and needs the restruck lower-voice quarters to be sung as\n%%     separate syllables in the soprano too. Only the first row is set.\n%%  2. THE FERMATA IS NOT RENDERED. The plate prints a fermata over the final\n%%     chord in BOTH staves. House style omits fermatas and records them here.\n%%  3. CORRECTED AFTER IMPORT — there is no departure here. This file first\n%%     encoded the last bar of the second chorus line (soprano note 59, \"love\")\n%%     as a HALF in all four voices, on an ink-fill argument, and recorded the\n%%     bass head as \"the single place where this file does not follow the\n%%     engraving literally\". Independent re-measurement on both scans reads all\n%%     four as QUARTERS, which is also what makes the bar count: the piece now\n%%     totals 64 quarters. The half reading and its 0.79/0.70 fill figures were\n%%     not reproducible; they are struck rather than softened.\n%%  4. SYSTEM CASTING. The plate casts the hymn 15 / 15 / 15 / 16 soprano\n%%     noteheads across four systems and this encoding breaks after noteheads 15,\n%%     30 and 45 — the same casting the plate uses.\n%%\n%% UNRESOLVED BY THE RIG, READ BY EYE OFF THE FITTED GRID (10 positions, given by\n%% soprano notehead ordinal; ordinals 1-30 are the verse, 31-61 the chorus):\n%%    6  bass aes,   — head merged with its own sixteenth flag\n%%   12  bass ees    — same\n%%   27  bass ees    — same\n%%   30  tenor aes   — hollow head; both passes returned only the bass aes,\n%%   33  bass aes,   — head merged with its sixteenth flag\n%%   37  tenor bes AND bass aes — a second, so the plate offsets the two heads\n%%   38  tenor and bass aes in UNISON — one notehead carrying an up and a down stem\n%%   48  bass aes,   — as note 33 (chorus line 2 repeats chorus line 1 here)\n%%   52  tenor bes and bass aes — as note 37\n%%   53  tenor and bass aes in unison — as note 38\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 |\n  ees'4 c'4 ees'4 aes'8. bes'16 |\n  c''2 aes'4 aes'4 |\n  g'4 g'8. g'16 aes'4 bes'4 |\n  aes'2. ees'4 |\n  f'4 f'4 aes'4 g'8. f'16 |\n  ees'2 aes'4 bes'4 |\n  c''4 c''8. c''16 bes'4 bes'4 |\n  aes'2. r4 |\n  c''2 c''8. bes'16 aes'4 |\n  ees''2 ees''8. des''16 c''4 |\n  bes'4 bes'4 bes'4. c''8 |\n  des''4 c''4 bes'2 |\n  c''2 c''8. bes'16 aes'4 |\n  ees''2 ees''8. des''16 c''4 |\n  bes'4 c''8( des''8) c''4. bes'8 |\n  aes'4 g'4 aes'4\n}\n\nalto = {\n  c'4 |\n  c'4 aes4 c'4 c'8. des'16 |\n  ees'2 c'4 ees'4 |\n  ees'4 ees'8. ees'16 ees'4 ees'4 |\n  ees'2. c'4 |\n  des'4 des'4 f'4 ees'8. des'16 |\n  c'2 ees'4 f'4 |\n  ees'4 ees'8. ees'16 des'4 des'4 |\n  c'2. r4 |\n  ees'4 ees'4 ees'8. des'16 c'4 |\n  ees'4 ees'4 ees'8. ees'16 ees'4 |\n  ees'4 ees'4 ees'4. ees'8 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'4 ees'8. des'16 c'4 |\n  ees'4 ees'4 ees'8. ees'16 ees'4 |\n  f'4 f'4 ees'4. ees'8 |\n  ees'4 des'4 c'4\n}\n\ntenor = {\n  aes4 |\n  aes4 ees4 aes4 aes8. aes16 |\n  aes2 aes4 aes4 |\n  bes4 bes8. bes16 c'4 des'4 |\n  c'2. aes4 |\n  aes4 aes4 aes4 aes8. aes16 |\n  aes2 aes4 aes4 |\n  aes4 aes8. aes16 g4 g4 |\n  aes2. r4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  c'4 c'4 c'8. bes16 aes4 |\n  g4 g4 g4. aes8 |\n  bes4 aes4 g2 |\n  aes4 aes4 aes8. aes16 aes4 |\n  c'4 c'4 c'8. bes16 aes4 |\n  aes4 aes4 aes4. des'8 |\n  c'4 bes4 aes4\n}\n\nbass = {\n  aes,4 |\n  aes,4 aes,4 aes,4 aes,8. aes,16 |\n  aes,2 aes,4 c4 |\n  ees4 ees8. ees16 ees4 ees4 |\n  aes,2. aes,4 |\n  des4 des4 des4 des8. des16 |\n  aes,2 c4 des4 |\n  ees4 ees8. ees16 ees4 ees4 |\n  aes,2. r4 |\n  aes,4 aes,4 aes,8. aes,16 aes,4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  ees4 ees4 ees4. ees8 |\n  ees4 ees4 ees2 |\n  aes,4 aes,4 aes,8. aes,16 aes,4 |\n  aes4 aes4 aes8. aes16 aes4 |\n  des4 des4 ees4. ees8 |\n  ees4 ees4 aes,4\n}\n", "preferred": true}]}, "nativity": {"slug": "nativity", "name": "NATIVITY", "meter_label": "Irregular", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "william-h-monk", "composer_date": "1865", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "nativity-oh69", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:69; all components published pre-1931 (latest year 1865).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "nativity_lahee", "total_instances": 147}}, "harmonization": {"slug": "nativity-oh69", "tune": "nativity", "music_file": "nativity-oh69.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:69; all components published pre-1931 (latest year 1865).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:69", "encoding_license": "PD-dedication"}, "music_ly": "%% Sing, O Sing, This Blessed Morn\n%% Imported from Open Hymnal ABC X:69 via tools/abc_import.py\n%% Open Hymnal X:69; all components published pre-1931 (latest year 1865).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c''4 b'4 c''4 e'4 f'4 a'4 g'2 a'4 a'4 g'4 a'4 g'4 f'4 e'2 c''4 c''4 b'4 a'4 gis'4 b'4 a'2 a'4. g'8 fis'4 g'4 b'4 a'4 g'2 a'4 a'4 c''4 e'4 f'4 a'4 g'2 e'4 e'4 g'4 g'4 a'4 a'4 c''2\n}\nalto = {\n  e'4 d'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 e'4 d'4 e'4 e'4 e'4 c'2 c'4 e'4 d'4 b4 d'4 d'4 b2 c'4 c'4 e'4 c'4 c'4 c'4 c'2 c'4 c'4 d'4 c'4 c'4 f'4 e'2\n}\ntenor = {\n  g4 f4 e4 g4 f4 f4 e2 f4 f4 e4 e4 g4 g4 g2 a4 a4 gis4 a4 b4 gis4 a2 a4 a4 a4 g4 g4 fis4 g2 f4 a4 g4 g4 f4 f4 e2 g4 c'4 b4 c'4 c'4 c'4 c'2\n}\nbass = {\n  c4 d4 e4 c4 a,4 f,4 c2 f4 f,4 c4 a,4 b,4 g,4 c2 a,4 a,4 b,4 c4 e4 e4 a,2 a,4 c4 d4 e4 d4 d4 g,2 f4 f4 c4 c4 a,4 f,4 c2 c4 a,4 g,4 e4 f4 f4 c2\n}\n"}, "harmonizations": [{"slug": "nativity-oh69", "tune": "nativity", "music_file": "nativity-oh69.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 29}, "markings": [{"soprano_note": 29, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:69; all components published pre-1931 (latest year 1865).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:69", "encoding_license": "PD-dedication"}, "music_ly": "%% Sing, O Sing, This Blessed Morn\n%% Imported from Open Hymnal ABC X:69 via tools/abc_import.py\n%% Open Hymnal X:69; all components published pre-1931 (latest year 1865).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c''4 b'4 c''4 e'4 f'4 a'4 g'2 a'4 a'4 g'4 a'4 g'4 f'4 e'2 c''4 c''4 b'4 a'4 gis'4 b'4 a'2 a'4. g'8 fis'4 g'4 b'4 a'4 g'2 a'4 a'4 c''4 e'4 f'4 a'4 g'2 e'4 e'4 g'4 g'4 a'4 a'4 c''2\n}\nalto = {\n  e'4 d'4 c'4 c'4 c'4 c'4 c'2 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 e'4 d'4 e'4 e'4 e'4 c'2 c'4 e'4 d'4 b4 d'4 d'4 b2 c'4 c'4 e'4 c'4 c'4 c'4 c'2 c'4 c'4 d'4 c'4 c'4 f'4 e'2\n}\ntenor = {\n  g4 f4 e4 g4 f4 f4 e2 f4 f4 e4 e4 g4 g4 g2 a4 a4 gis4 a4 b4 gis4 a2 a4 a4 a4 g4 g4 fis4 g2 f4 a4 g4 g4 f4 f4 e2 g4 c'4 b4 c'4 c'4 c'4 c'2\n}\nbass = {\n  c4 d4 e4 c4 a,4 f,4 c2 f4 f,4 c4 a,4 b,4 g,4 c2 a,4 a,4 b,4 c4 e4 e4 a,2 a,4 c4 d4 e4 d4 d4 g,2 f4 f4 c4 c4 a,4 f,4 c2 c4 a,4 g,4 e4 f4 f4 c2\n}\n", "preferred": true}]}, "near-the-cross": {"slug": "near-the-cross", "name": "NEAR THE CROSS", "meter_label": "7.6.7.6 with Refrain", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1869", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "near-the-cross-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by William Howard Doane (1832-1915), printed over \"W. H. DOANE, by per.\" on both dated printings read for this record: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45, printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49 — and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 45, printed page 48 — archive.org hymnsconso00blis, leaf n49. Neither page prints a tune name; the name NEAR THE CROSS is the page's own title \"Near the Cross.\" and is the name the tune carries in later hymnals. US public domain: both printings read are pre-1931, the earlier being 1875, and the composer died in 1915. The tune is conventionally dated 1869 (its first appearance was in Doane's collections of 1869-1870); no printing earlier than the 1875 one cited here was opened for this record, so 1869 is given as the conventional date, not as something verified from a page. DUPLICATE CHECK: tools/tune_fingerprint.py scores this soprano 0.811 against corpus tune BETHANY, above the 0.80 flag, but they are NOT the same tune — the meters differ (6.4.6.4.6.6.6.4 against 7.6.7.6 with Refrain), the lengths differ (47 soprano notes against 51), and the openings differ (BETHANY B-A-G-G-E-E-D descending; NEAR THE CROSS A-B flat-A-G-F-D-D). No other corpus tune scores above 0.59.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "near-the-cross-1875", "tune": "near-the-cross", "music_file": "near-the-cross-1875.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 26, 38], "breaks_manual": true, "markings": [{"soprano_note": 27, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 27}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William H. Doane's four-part setting of his own tune, credited \"W. H. DOANE, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45, printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49 — in F major and 6/8 with no pickup, sixteen bars cast as four systems of four. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, ink taken at 0.70 of the local paper level) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 45, printed page 46 — archive.org hymnsconso00blis, leaf n49 (2428 px across, staff space 28.9 px, ink taken at 0.82 of the local paper level). They are not one plate reprinted: the lyric type is reset between them (1875 \"fountain\" and \"Shed its beams\", 1883 \"fount-ain\" and \"Sheds its beams\") and the note spacing differs, so they are two independent engravings of the same setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: adaptive binarisation against a local paper level from a 41x41 grey dilation plus a 41x41 box filter, then a 5x5 binary closing to seal the pale gaps the plate's ink leaves inside a head; staff-line removal by vertical run length; stems, barlines and ledger stubs removed by a horizontal erosion of 0.30 staff space; then each chord column's vertical ink profile fitted against a model of one or two notehead boxes placed at EXACT diatonic positions on that column's own freshly re-fitted five staff lines, the lines re-found from staff-line pixels alone in a +-2.6-staff-space window around the column's own x and fitted as a rigid equally spaced grid, so page curvature and heads sitting on lines cannot drag a reading. Of the 157 columns the two scans report, 110 agree exactly; the other 47 are the clef, key- and time-signature glyphs, the eighth rests, and eight note columns, and every one of those eight was settled BY EYE at 3x to 8x on crops with the fitted grid drawn over them. THREE MEASUREMENT ERRORS WERE FOUND AND CORRECTED THAT WAY, and they are named so the next reader can look for them: an eighth's DOWN-STEM FLAG can score as a second notehead (three columns first read \"F3 over A2\" are tenor/bass unisons on F3 — bar 13 note 2, bar 3 note 2, bar 11 note 2); the tenor rises to F4 on two ledger lines above the bass staff through the chorus, and a first pass that capped the search at D4 mis-read all five of those columns; and the tenor of bar 2 note 1 measured half-way between A3 and B flat 3 on the 1883 scan, where the 1875 scan prints the head plainly bisected by the A3 line and settles it as A3. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. HOLLOW NOTEHEADS: there are none. Every notehead in this hymn is filled — a quarter, a dotted quarter or an eighth — and the hymn contains no half or whole note at all. Exactly one head reads hollow on the 1883 scan, the bass F3 of bar 9's third chord, and it is ink dropout: the 1875 plate prints it solid, and a dotted half could not fit a 6/8 bar that has already spent a quarter and an eighth. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, AND THE AUTOMATED FIGURE ABOVE NEVER COVERED THEM — a notehead probe reads staff positions, not the sharps and flats in front of them. All four systems of both leaves were examined for accidental glyphs at system-level magnification and again on every 3x-8x crop. There is exactly ONE printed accidental in the hymn: a sharp before the LOWER (alto) head of the fourth chord of bar 13, on the syllable \"-tured\", centred on the first ledger line below the treble staff, making that note C sharp 4 and the chord G4 / C sharp 4 / E3 / A2, an A7. Both plates print it, in the same place. There are no naturals, no other sharps, and no flats beyond the one-flat key signature. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a light double bar at each system end and a heavy double bar at the close, and only the closing barline is carried (`final_barline` \"|.\"), the engine drawing ordinary barlines and a system break at the same soprano ordinals; (2) nothing else — every pitch and every duration below is the plates', the phrase-end eighth rests of bars 2, 4, 6, 8, 14 and 16 are printed and are reproduced rather than collapsed (this is 6/8, not the 4/4 case the corpus collapses), the alto's two beamed eighths in bar 6 against a held quarter in the other three voices are the plates' own and are the only non-homorhythmic moment in the hymn, and the tenor/bass unisons of bars 3, 7 and 13 carry both voices on one printed head exactly as engraved.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs 1875, No. 45, p. 46 — archive.org gospelhymnssacre00blis_0 leaf n49 — collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated Nos. 1 to 4, No. 45, p. 48 (archive.org hymnsconso00blis, leaf n49). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: William H. Doane, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% NEAR THE CROSS (7.6.7.6 with Refrain) — \"Jesus, Keep Me Near the Cross\"\n%% William H. Doane's four-part setting, key F major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read off TWO dated pre-1931 printings of this setting,\n%% each scanned separately and each read with its own binarisation and its own\n%% staff-line fits:\n%%   (A) Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45,\n%%       printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49\n%%       (2244 px across, staff space 28.2 px = 14.1 px per diatonic step);\n%%   (B) Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main;\n%%       Cincinnati: John Church, 1883), No. 45, printed page 46 — archive.org\n%%       hymnsconso00blis, leaf n49 (2428 px across, staff space 28.9 px =\n%%       14.4 px per diatonic step).\n%% Both pages are headed \"Near the Cross.\" over the motto \"Peace through the\n%% blood of His cross.\"—Coll. 1: 29, and credit \"FANNY J. CROSBY.\" at the left\n%% and \"W. H. DOANE, by per.\" at the right. They are NOT the same plate: the\n%% lyric type is reset (1875 \"fountain\" / \"Shed its beams\", 1883 \"fount-ain\" /\n%% \"Sheds its beams\") and the note spacing differs, so they are two independent\n%% engravings of one setting, which is why they were required to agree.\n%%\n%% HOW THE NOTEHEADS WERE READ. Per scan: adaptive binarisation (ink darker than\n%% a fraction of the LOCAL paper level taken from a 41x41 grey dilation plus a\n%% 41x41 box filter — 0.82 on the 1883 scan, 0.70 on the darker 1875 scan, each\n%% chosen from that scan's own row-profile behaviour), then a 5x5 binary CLOSING\n%% to seal the pale gaps the plate's ink leaves inside a head; STAFF-LINE REMOVAL\n%% by vertical run length (an ink run no longer than 0.30 staff space sitting on\n%% a fitted line is deleted); stems, barlines and ledger stubs removed by a\n%% horizontal erosion of 0.30 staff space; then, for every surviving chord\n%% column, the observed vertical ink profile was FITTED against a model built\n%% from that column's own freshly re-fitted five staff lines — one or two\n%% notehead boxes 0.76 staff space tall placed at exact diatonic positions, the\n%% hypothesis with the smallest squared residual winning. The five lines are\n%% re-found in a +-2.6-staff-space window around each column's own x, from the\n%% staff-line pixels alone, and fitted as a RIGID equally spaced grid, so neither\n%% the page's curvature nor a notehead sitting on a line can drag a reading.\n%% 110 of the 157 columns the two scans report agree exactly; the remainder are\n%% the clef/key/time glyphs, the eighth rests, and eight note columns that were\n%% then settled BY EYE at 3x-8x on crops with the fitted grid drawn over them.\n%%\n%% WHERE THE MEASUREMENT WAS WRONG, AND HOW IT WAS CAUGHT. (1) An eighth note's\n%% DOWN-STEM FLAG can score as a second notehead: three columns first read\n%% \"F3 over A2\" are in fact a tenor/bass unison on F3 (system 4, bar 1, note 2;\n%% system 1, bar 3, note 2; system 3, bar 3, note 2). (2) The tenor rises to F4\n%% through the chorus, above the bass staff on two ledger lines; a first pass\n%% that capped the search at D4 mis-read all five of those columns. (3) The\n%% tenor at system 1, bar 2, note 1 measured half-way between A3 and B-flat 3 on\n%% the 1883 scan; the 1875 scan prints the head plainly bisected by the A3 line\n%% and settles it as A3. Each of the three was then confirmed by eye on a\n%% grid-overlay crop.\n%%\n%% NO HALF OR WHOLE NOTES. Every notehead in this hymn is filled: a quarter, a\n%% dotted quarter or an eighth. ONE head reads hollow on the 1883 scan — the bass\n%% F3 of the chorus's third chord (bar 9) — and it is ink dropout, not an outline\n%% head: the 1875 plate prints it solid, and a dotted half would not fit a 6/8 bar\n%% that already spends a quarter and an eighth before it.\n%%\n%% THE ONE PRINTED ACCIDENTAL. Both plates engrave a SHARP, and only one, in the\n%% whole hymn: before the LOWER (alto) head of the fourth chord of bar 13\n%% (\"-tured\"), centred on the first ledger line below the treble staff, making\n%% that note C sharp 4. The chord is then G4 / C#4 / E3 / A2 — an A7. Every other\n%% column on both leaves was swept separately by eye for accidentals at\n%% system-level magnification and at 3x-8x on the crops; there are no naturals,\n%% no other sharps and no flats beyond the one-flat key signature.\n%%\n%% THE ONE PLACE THE FOUR VOICES ARE NOT HOMORHYTHMIC. In bar 6 the soprano,\n%% tenor and bass hold a quarter on the third beat-group while the ALTO moves in\n%% two beamed eighths, D4 then B-flat 3. Everywhere else all four voices restrike\n%% together, exactly as both plates print.\n%%\n%% THE PHRASE-END EIGHTH RESTS ARE THE PAGE'S. Bars 2, 6, 10 (system 2's fourth\n%% bar), 14 and 16 close with a quarter plus an eighth rest in all four voices;\n%% bars 4 and 8 likewise. They are reproduced, not collapsed into a longer note:\n%% this is 6/8, not the 4/4 case the corpus collapses.\n%%\n%% STRUCTURE. Bars 1-8 are the verse (two systems of four bars, 13 soprano\n%% noteheads each); bars 9-16 are the CHORUS, which the plates label \"CHORUS.\"\n%% over bar 9 (12 soprano noteheads, then 13). 51 soprano noteheads in all —\n%% 26 in the verse and 25 in the refrain — and the setting is strictly syllabic:\n%% there is not one slur or tie anywhere on either plate.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 }\n\nsoprano = {\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 a'8 |\n  a'4. g'4 r8 |\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 e'8 |\n  g'4. f'4 r8 |\n  a'4 c''8 c''4. |\n  bes'4 d''8 d''4. |\n  c''4 d''8 c''4 a'8 |\n  a'4. g'4. |\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 e'8 |\n  g'4. f'4 r8\n}\n\nalto = {\n  f'4 f'8 f'4 e'8 |\n  d'4 d'8 bes4 r8 |\n  c'4 c'8 c'4 f'8 |\n  f'4. e'4 r8 |\n  f'4 f'8 f'4 e'8 |\n  d'4 d'8 d'8 bes8 r8 |\n  a4 c'8 c'4 c'8 |\n  c'4. c'4 r8 |\n  f'4 f'8 f'4. |\n  f'4 bes'8 bes'4. |\n  a'4 bes'8 a'4 f'8 |\n  f'4. e'4. |\n  c'4 d'8 c'4 cis'8 |\n  d'4 bes8 bes4 r8 |\n  a4 c'8 c'4 c'8 |\n  c'4. c'4 r8\n}\n\ntenor = {\n  c'4 d'8 c'4 bes8 |\n  a4 bes8 f4 r8 |\n  a4 a8 c'4 c'8 |\n  c'4. c'4 r8 |\n  c'4 d'8 c'4 bes8 |\n  a4 bes8 bes4 r8 |\n  f4 a8 a4 g8 |\n  bes4. a4 r8 |\n  c'4 a8 a4. |\n  d'4 f'8 f'4. |\n  f'4 f'8 f'4 c'8 |\n  c'4. c'4. |\n  f4 f8 f4 e8 |\n  d4 f8 f4 r8 |\n  f4 a8 a4 g8 |\n  bes4. a4 r8\n}\n\nbass = {\n  f4 f8 f4 c8 |\n  d4 bes,8 bes,4 r8 |\n  f4 f8 a4 f8 |\n  c4. c4 r8 |\n  f4 f8 f4 c8 |\n  d4 bes,8 bes,4 r8 |\n  c4 c8 c4 c8 |\n  c4. f4 r8 |\n  f4 f8 f4. |\n  bes4 bes8 bes4. |\n  f4 f8 f4 f8 |\n  c4. c4. |\n  f4 f8 f4 a,8 |\n  bes,4 bes,8 bes,4 r8 |\n  c4 c8 c4 c8 |\n  c4. f4 r8\n}\n"}, "harmonizations": [{"slug": "near-the-cross-1875", "tune": "near-the-cross", "music_file": "near-the-cross-1875.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 26, 38], "breaks_manual": true, "markings": [{"soprano_note": 27, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 27}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William H. Doane's four-part setting of his own tune, credited \"W. H. DOANE, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45, printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49 — in F major and 6/8 with no pickup, sixteen bars cast as four systems of four. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, ink taken at 0.70 of the local paper level) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 45, printed page 46 — archive.org hymnsconso00blis, leaf n49 (2428 px across, staff space 28.9 px, ink taken at 0.82 of the local paper level). They are not one plate reprinted: the lyric type is reset between them (1875 \"fountain\" and \"Shed its beams\", 1883 \"fount-ain\" and \"Sheds its beams\") and the note spacing differs, so they are two independent engravings of the same setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: adaptive binarisation against a local paper level from a 41x41 grey dilation plus a 41x41 box filter, then a 5x5 binary closing to seal the pale gaps the plate's ink leaves inside a head; staff-line removal by vertical run length; stems, barlines and ledger stubs removed by a horizontal erosion of 0.30 staff space; then each chord column's vertical ink profile fitted against a model of one or two notehead boxes placed at EXACT diatonic positions on that column's own freshly re-fitted five staff lines, the lines re-found from staff-line pixels alone in a +-2.6-staff-space window around the column's own x and fitted as a rigid equally spaced grid, so page curvature and heads sitting on lines cannot drag a reading. Of the 157 columns the two scans report, 110 agree exactly; the other 47 are the clef, key- and time-signature glyphs, the eighth rests, and eight note columns, and every one of those eight was settled BY EYE at 3x to 8x on crops with the fitted grid drawn over them. THREE MEASUREMENT ERRORS WERE FOUND AND CORRECTED THAT WAY, and they are named so the next reader can look for them: an eighth's DOWN-STEM FLAG can score as a second notehead (three columns first read \"F3 over A2\" are tenor/bass unisons on F3 — bar 13 note 2, bar 3 note 2, bar 11 note 2); the tenor rises to F4 on two ledger lines above the bass staff through the chorus, and a first pass that capped the search at D4 mis-read all five of those columns; and the tenor of bar 2 note 1 measured half-way between A3 and B flat 3 on the 1883 scan, where the 1875 scan prints the head plainly bisected by the A3 line and settles it as A3. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. HOLLOW NOTEHEADS: there are none. Every notehead in this hymn is filled — a quarter, a dotted quarter or an eighth — and the hymn contains no half or whole note at all. Exactly one head reads hollow on the 1883 scan, the bass F3 of bar 9's third chord, and it is ink dropout: the 1875 plate prints it solid, and a dotted half could not fit a 6/8 bar that has already spent a quarter and an eighth. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, AND THE AUTOMATED FIGURE ABOVE NEVER COVERED THEM — a notehead probe reads staff positions, not the sharps and flats in front of them. All four systems of both leaves were examined for accidental glyphs at system-level magnification and again on every 3x-8x crop. There is exactly ONE printed accidental in the hymn: a sharp before the LOWER (alto) head of the fourth chord of bar 13, on the syllable \"-tured\", centred on the first ledger line below the treble staff, making that note C sharp 4 and the chord G4 / C sharp 4 / E3 / A2, an A7. Both plates print it, in the same place. There are no naturals, no other sharps, and no flats beyond the one-flat key signature. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a light double bar at each system end and a heavy double bar at the close, and only the closing barline is carried (`final_barline` \"|.\"), the engine drawing ordinary barlines and a system break at the same soprano ordinals; (2) nothing else — every pitch and every duration below is the plates', the phrase-end eighth rests of bars 2, 4, 6, 8, 14 and 16 are printed and are reproduced rather than collapsed (this is 6/8, not the 4/4 case the corpus collapses), the alto's two beamed eighths in bar 6 against a held quarter in the other three voices are the plates' own and are the only non-homorhythmic moment in the hymn, and the tenor/bass unisons of bars 3, 7 and 13 carry both voices on one printed head exactly as engraved.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs 1875, No. 45, p. 46 — archive.org gospelhymnssacre00blis_0 leaf n49 — collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated Nos. 1 to 4, No. 45, p. 48 (archive.org hymnsconso00blis, leaf n49). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: William H. Doane, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% NEAR THE CROSS (7.6.7.6 with Refrain) — \"Jesus, Keep Me Near the Cross\"\n%% William H. Doane's four-part setting, key F major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read off TWO dated pre-1931 printings of this setting,\n%% each scanned separately and each read with its own binarisation and its own\n%% staff-line fits:\n%%   (A) Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), No. 45,\n%%       printed page 46 — archive.org gospelhymnssacre00blis_0, leaf n49\n%%       (2244 px across, staff space 28.2 px = 14.1 px per diatonic step);\n%%   (B) Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main;\n%%       Cincinnati: John Church, 1883), No. 45, printed page 46 — archive.org\n%%       hymnsconso00blis, leaf n49 (2428 px across, staff space 28.9 px =\n%%       14.4 px per diatonic step).\n%% Both pages are headed \"Near the Cross.\" over the motto \"Peace through the\n%% blood of His cross.\"—Coll. 1: 29, and credit \"FANNY J. CROSBY.\" at the left\n%% and \"W. H. DOANE, by per.\" at the right. They are NOT the same plate: the\n%% lyric type is reset (1875 \"fountain\" / \"Shed its beams\", 1883 \"fount-ain\" /\n%% \"Sheds its beams\") and the note spacing differs, so they are two independent\n%% engravings of one setting, which is why they were required to agree.\n%%\n%% HOW THE NOTEHEADS WERE READ. Per scan: adaptive binarisation (ink darker than\n%% a fraction of the LOCAL paper level taken from a 41x41 grey dilation plus a\n%% 41x41 box filter — 0.82 on the 1883 scan, 0.70 on the darker 1875 scan, each\n%% chosen from that scan's own row-profile behaviour), then a 5x5 binary CLOSING\n%% to seal the pale gaps the plate's ink leaves inside a head; STAFF-LINE REMOVAL\n%% by vertical run length (an ink run no longer than 0.30 staff space sitting on\n%% a fitted line is deleted); stems, barlines and ledger stubs removed by a\n%% horizontal erosion of 0.30 staff space; then, for every surviving chord\n%% column, the observed vertical ink profile was FITTED against a model built\n%% from that column's own freshly re-fitted five staff lines — one or two\n%% notehead boxes 0.76 staff space tall placed at exact diatonic positions, the\n%% hypothesis with the smallest squared residual winning. The five lines are\n%% re-found in a +-2.6-staff-space window around each column's own x, from the\n%% staff-line pixels alone, and fitted as a RIGID equally spaced grid, so neither\n%% the page's curvature nor a notehead sitting on a line can drag a reading.\n%% 110 of the 157 columns the two scans report agree exactly; the remainder are\n%% the clef/key/time glyphs, the eighth rests, and eight note columns that were\n%% then settled BY EYE at 3x-8x on crops with the fitted grid drawn over them.\n%%\n%% WHERE THE MEASUREMENT WAS WRONG, AND HOW IT WAS CAUGHT. (1) An eighth note's\n%% DOWN-STEM FLAG can score as a second notehead: three columns first read\n%% \"F3 over A2\" are in fact a tenor/bass unison on F3 (system 4, bar 1, note 2;\n%% system 1, bar 3, note 2; system 3, bar 3, note 2). (2) The tenor rises to F4\n%% through the chorus, above the bass staff on two ledger lines; a first pass\n%% that capped the search at D4 mis-read all five of those columns. (3) The\n%% tenor at system 1, bar 2, note 1 measured half-way between A3 and B-flat 3 on\n%% the 1883 scan; the 1875 scan prints the head plainly bisected by the A3 line\n%% and settles it as A3. Each of the three was then confirmed by eye on a\n%% grid-overlay crop.\n%%\n%% NO HALF OR WHOLE NOTES. Every notehead in this hymn is filled: a quarter, a\n%% dotted quarter or an eighth. ONE head reads hollow on the 1883 scan — the bass\n%% F3 of the chorus's third chord (bar 9) — and it is ink dropout, not an outline\n%% head: the 1875 plate prints it solid, and a dotted half would not fit a 6/8 bar\n%% that already spends a quarter and an eighth before it.\n%%\n%% THE ONE PRINTED ACCIDENTAL. Both plates engrave a SHARP, and only one, in the\n%% whole hymn: before the LOWER (alto) head of the fourth chord of bar 13\n%% (\"-tured\"), centred on the first ledger line below the treble staff, making\n%% that note C sharp 4. The chord is then G4 / C#4 / E3 / A2 — an A7. Every other\n%% column on both leaves was swept separately by eye for accidentals at\n%% system-level magnification and at 3x-8x on the crops; there are no naturals,\n%% no other sharps and no flats beyond the one-flat key signature.\n%%\n%% THE ONE PLACE THE FOUR VOICES ARE NOT HOMORHYTHMIC. In bar 6 the soprano,\n%% tenor and bass hold a quarter on the third beat-group while the ALTO moves in\n%% two beamed eighths, D4 then B-flat 3. Everywhere else all four voices restrike\n%% together, exactly as both plates print.\n%%\n%% THE PHRASE-END EIGHTH RESTS ARE THE PAGE'S. Bars 2, 6, 10 (system 2's fourth\n%% bar), 14 and 16 close with a quarter plus an eighth rest in all four voices;\n%% bars 4 and 8 likewise. They are reproduced, not collapsed into a longer note:\n%% this is 6/8, not the 4/4 case the corpus collapses.\n%%\n%% STRUCTURE. Bars 1-8 are the verse (two systems of four bars, 13 soprano\n%% noteheads each); bars 9-16 are the CHORUS, which the plates label \"CHORUS.\"\n%% over bar 9 (12 soprano noteheads, then 13). 51 soprano noteheads in all —\n%% 26 in the verse and 25 in the refrain — and the setting is strictly syllabic:\n%% there is not one slur or tie anywhere on either plate.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 }\n\nsoprano = {\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 a'8 |\n  a'4. g'4 r8 |\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 e'8 |\n  g'4. f'4 r8 |\n  a'4 c''8 c''4. |\n  bes'4 d''8 d''4. |\n  c''4 d''8 c''4 a'8 |\n  a'4. g'4. |\n  a'4 bes'8 a'4 g'8 |\n  f'4 d'8 d'4 r8 |\n  c'4 f'8 f'4 e'8 |\n  g'4. f'4 r8\n}\n\nalto = {\n  f'4 f'8 f'4 e'8 |\n  d'4 d'8 bes4 r8 |\n  c'4 c'8 c'4 f'8 |\n  f'4. e'4 r8 |\n  f'4 f'8 f'4 e'8 |\n  d'4 d'8 d'8 bes8 r8 |\n  a4 c'8 c'4 c'8 |\n  c'4. c'4 r8 |\n  f'4 f'8 f'4. |\n  f'4 bes'8 bes'4. |\n  a'4 bes'8 a'4 f'8 |\n  f'4. e'4. |\n  c'4 d'8 c'4 cis'8 |\n  d'4 bes8 bes4 r8 |\n  a4 c'8 c'4 c'8 |\n  c'4. c'4 r8\n}\n\ntenor = {\n  c'4 d'8 c'4 bes8 |\n  a4 bes8 f4 r8 |\n  a4 a8 c'4 c'8 |\n  c'4. c'4 r8 |\n  c'4 d'8 c'4 bes8 |\n  a4 bes8 bes4 r8 |\n  f4 a8 a4 g8 |\n  bes4. a4 r8 |\n  c'4 a8 a4. |\n  d'4 f'8 f'4. |\n  f'4 f'8 f'4 c'8 |\n  c'4. c'4. |\n  f4 f8 f4 e8 |\n  d4 f8 f4 r8 |\n  f4 a8 a4 g8 |\n  bes4. a4 r8\n}\n\nbass = {\n  f4 f8 f4 c8 |\n  d4 bes,8 bes,4 r8 |\n  f4 f8 a4 f8 |\n  c4. c4 r8 |\n  f4 f8 f4 c8 |\n  d4 bes,8 bes,4 r8 |\n  c4 c8 c4 c8 |\n  c4. f4 r8 |\n  f4 f8 f4. |\n  bes4 bes8 bes4. |\n  f4 f8 f4 f8 |\n  c4. c4. |\n  f4 f8 f4 a,8 |\n  bes,4 bes,8 bes,4 r8 |\n  c4 c8 c4 c8 |\n  c4. f4 r8\n}\n", "preferred": true}]}, "nettleton": {"slug": "nettleton", "name": "NETTLETON", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-wyeth", "composer_date": "1813", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "nettleton-eh-1921", "provenance": {"layer": "tune", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "John Wyeth, Wyeth's Repository of Sacred Music, 1813. Composer d. 1858.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "nettleton", "total_instances": 1066}}, "harmonization": {"slug": "nettleton-eh-1921", "tune": "nettleton", "music_file": "nettleton-eh-1921.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": 4, "system_breaks": [15, 30, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:224", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Robinson 1758; tune Wyeth's Repository 1813; setting 1921. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal X:224 via tools/abc_import.py\n%% Come, Thou Fount of Every Blessing\n%% Public domain: Robinson 1758; tune Wyeth's Repository 1813; setting 1921. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2 g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2 bes'8 c''16( d''16) ees''4 d''4 c''8 bes'8 c''8( bes'8) g'4 bes'8 c''16( d''16) ees''4 d''4 c''8 bes'8 ees''2 g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2\n}\nalto = {\n  ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2 ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2 ees'8 aes'8 g'4 bes'4 aes'8 g'8 ees'4 ees'4 g'8 f'8 ees'4 bes'4 aes'8 f'8 g'2 ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2\n}\ntenor = {\n  bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2 bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2 bes8 aes8 bes4 g4 aes8 bes8 aes8 bes8 bes4 bes8 f8 g4 bes4 ees'8 d'8 ees'2 bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2\n}\nbass = {\n  ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2 ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2 g8 f8 ees4 ees4 ees8 ees8 aes8 g8 ees4 ees8 d8 c4 g4 aes8 bes8 ees2 ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2\n}\n"}, "harmonizations": [{"slug": "nettleton-eh-1921", "tune": "nettleton", "music_file": "nettleton-eh-1921.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": 4, "system_breaks": [15, 30, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "lyric_offset": 0.6, "refrain": null, "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:224", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Robinson 1758; tune Wyeth's Repository 1813; setting 1921. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal X:224 via tools/abc_import.py\n%% Come, Thou Fount of Every Blessing\n%% Public domain: Robinson 1758; tune Wyeth's Repository 1813; setting 1921. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2 g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2 bes'8 c''16( d''16) ees''4 d''4 c''8 bes'8 c''8( bes'8) g'4 bes'8 c''16( d''16) ees''4 d''4 c''8 bes'8 ees''2 g'8 f'8 ees'4 ees'4 g'8 bes'8 f'4 f'4 g'8 bes'8 c''4 bes'4 g'8 f'8 ees'2\n}\nalto = {\n  ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2 ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2 ees'8 aes'8 g'4 bes'4 aes'8 g'8 ees'4 ees'4 g'8 f'8 ees'4 bes'4 aes'8 f'8 g'2 ees'8 d'8 ees'4 ees'4 ees'8 ees'8 d'4 d'4 ees'8 ees'8 ees'4 ees'4 ees'8 d'8 ees'2\n}\ntenor = {\n  bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2 bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2 bes8 aes8 bes4 g4 aes8 bes8 aes8 bes8 bes4 bes8 f8 g4 bes4 ees'8 d'8 ees'2 bes8 aes8 g4 g4 bes8 bes8 bes4 bes4 bes8 g8 aes4 g4 bes8 aes8 g2\n}\nbass = {\n  ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2 ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2 g8 f8 ees4 ees4 ees8 ees8 aes8 g8 ees4 ees8 d8 c4 g4 aes8 bes8 ees2 ees8 ees8 ees4 ees4 ees8 g,8 bes,4 bes,4 ees8 ees8 aes4 ees4 bes,8 bes,8 ees2\n}\n", "preferred": true}]}, "new-britain": {"slug": "new-britain", "name": "NEW BRITAIN", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "carrell-clayton", "composer_date": "1831", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "new-britain-excell-1900", "provenance": {"layer": "tune", "source": "virginia-harmony-1831", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'New Britain', Carrell & Clayton, Virginia Harmony, 1831.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "new_britain", "total_instances": 878}}, "harmonization": {"slug": "new-britain-excell-1900", "tune": "new-britain", "music_file": "new-britain-excell-1900.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 17, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "excell-1900", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Edwin O. Excell, 1900. Excell d. 1921; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:192", "encoding_license": "PD-dedication"}, "music_ly": "%% Amazing Grace\n%% Imported from Open Hymnal ABC X:192 via tools/abc_import.py\n%% Public domain: Newton 1779; tune Virginia Harmony 1831; setting Excell 1900. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'2 b'8( g'8) b'2 a'4 g'2 e'4 d'2 d'4 g'2 b'8( g'8) b'2 a'4 d''2.~( d''2) b'4 d''4.( b'8) d''8( b'8) g'2 d'4 e'4.( g'8) g'8( e'8) d'2 d'4 g'2 b'8( g'8) b'2 a'4 g'2.~( g'2)\n}\nalto = {\n  b4 b2 d'4 d'2 c'4 b2 c'4 b2 b4 b2 d'4 d'2 d'4 d'2.~ d'2 d'4 d'2 d'4 d'2 d'4 c'4. d'8 c'4 b2 d'4 b2 d'4 g'2 fis'4 d'2.~ d'2\n}\ntenor = {\n  g4 d2 g4 g2 fis4 g2 g4 g2 g4 d2 g4 g2 fis4 g2.~ g2 g4 b4.( g8) b8 g8 g2 g4 g2 e8 g8 g2 g4 g2 g8 b8 d'2 c'4 b2.~ b2\n}\nbass = {\n  g,4 g,2 g,8 b,8 d2 d4 e2 c4 g,2 g,4 g,2 g,8 b,8 d2 c4 b,2.~ b,2 g,4 g2 g4 b,2 b,4 c4.( b,8) c4 g,2 b,4 e2 d4 d2 d4 g2.~ g2\n}\n"}, "harmonizations": [{"slug": "new-britain-excell-1900", "tune": "new-britain", "music_file": "new-britain-excell-1900.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 17, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "excell-1900", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting Edwin O. Excell, 1900. Excell d. 1921; all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:192", "encoding_license": "PD-dedication"}, "music_ly": "%% Amazing Grace\n%% Imported from Open Hymnal ABC X:192 via tools/abc_import.py\n%% Public domain: Newton 1779; tune Virginia Harmony 1831; setting Excell 1900. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'2 b'8( g'8) b'2 a'4 g'2 e'4 d'2 d'4 g'2 b'8( g'8) b'2 a'4 d''2.~( d''2) b'4 d''4.( b'8) d''8( b'8) g'2 d'4 e'4.( g'8) g'8( e'8) d'2 d'4 g'2 b'8( g'8) b'2 a'4 g'2.~( g'2)\n}\nalto = {\n  b4 b2 d'4 d'2 c'4 b2 c'4 b2 b4 b2 d'4 d'2 d'4 d'2.~ d'2 d'4 d'2 d'4 d'2 d'4 c'4. d'8 c'4 b2 d'4 b2 d'4 g'2 fis'4 d'2.~ d'2\n}\ntenor = {\n  g4 d2 g4 g2 fis4 g2 g4 g2 g4 d2 g4 g2 fis4 g2.~ g2 g4 b4.( g8) b8 g8 g2 g4 g2 e8 g8 g2 g4 g2 g8 b8 d'2 c'4 b2.~ b2\n}\nbass = {\n  g,4 g,2 g,8 b,8 d2 d4 e2 c4 g,2 g,4 g,2 g,8 b,8 d2 c4 b,2.~ b,2 g,4 g2 g4 b,2 b,4 c4.( b,8) c4 g,2 b,4 e2 d4 d2 d4 g2.~ g2\n}\n", "preferred": true}]}, "nicaea": {"slug": "nicaea", "name": "NICAEA", "meter_label": "11.12.12.10.", "meter": {"pattern": [11, 12, 12, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1861", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "nicaea-am-1869", "provenance": {"layer": "tune", "source": "hymns-ancient-and-modern-1869", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John Bacchus Dykes, 1861. Composer d. 1876.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "nicaea_dykes", "total_instances": 1310}}, "harmonization": {"slug": "nicaea-am-1869", "tune": "nicaea", "music_file": "nicaea-am-1869.ly", "harmonizer": "john-bacchus-dykes", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 25, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:124", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Hymns Ancient and Modern, 1869; tune Dykes 1861. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% NICAEA (11.12.12.10.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the close-score engine (rules: see ST. ANNE).\n%% Soprano carries the verse-variable melisma slurs/ties; inner-voice slurs are\n%% part-writing. Setting: Hymns Ancient & Modern, 1869. PD.\n%% Final chord engraved root-position (tenor F#3 / bass D3), the standard A&M\n%% reading; the Open Hymnal X:124 source prints it inverted.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d' fis' fis' | a'2 a'2 | b'4~( b') b' b' | a'2 fis'2 |\n  a'4. a'8 a'4 a'4 | d''4~( d'') cis'' a' | e'4 a' b'4. a'8 | a'1 |\n  d'4 d' fis' fis' | a'4~( a') a'2 | b'4. b'8 b'4 b'4 | a'2 a'2 |\n  d''2 a'4 a'4 | b'2 fis'2 | g'4 e' e'4. d'8 | d'1\n}\nalto = {\n  a4 a d' d' | cis'4( e') d'( cis') | b4 cis' d' e' | fis'2 d'2 |\n  e'4 e' fis' e' | d'4 e' e' fis' | e'4 cis' d'4. cis'8 | cis'1 |\n  a4 a d' d' | cis'4 e' d'4( cis') | b4 cis' d' e' | fis'2 d'2 |\n  d'2 d'4 d' | d'2 d'4( c') | b4 b cis'4. d'8 | d'1\n}\ntenor = {\n  fis4 fis d d | e4( g) fis( a) | g4 a b cis' | d'4( a) a2 |\n  a4 a a a | fis4 gis a a | cis'4 a gis4. a8 | a2( g) |\n  fis4 fis d d | e4 g fis4( a) | g4 a b cis' | d'4( a) fis2 |\n  fis4( g) a c' | b2 a2 | g4 g g4. fis8 | fis1\n}\nbass = {\n  d4 d b, b, | a,2 d2 | g,4~( g,) g, g, | d2 d2 |\n  cis4 cis d cis | b,4~( b,) cis d | e4 e e4. a,8 | a,1 |\n  d4 d b, b, | a,4~( a,) d2 | g,4. g,8 g4 g | d2 d2 |\n  b,2 fis,4 fis,4 | g,2 d2 | g,4 g, a,4. d8 | d1\n}\n"}, "harmonizations": [{"slug": "nicaea-am-1869", "tune": "nicaea", "music_file": "nicaea-am-1869.ly", "harmonizer": "john-bacchus-dykes", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 25, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1869", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:124", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Hymns Ancient and Modern, 1869; tune Dykes 1861. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% NICAEA (11.12.12.10.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the close-score engine (rules: see ST. ANNE).\n%% Soprano carries the verse-variable melisma slurs/ties; inner-voice slurs are\n%% part-writing. Setting: Hymns Ancient & Modern, 1869. PD.\n%% Final chord engraved root-position (tenor F#3 / bass D3), the standard A&M\n%% reading; the Open Hymnal X:124 source prints it inverted.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d' fis' fis' | a'2 a'2 | b'4~( b') b' b' | a'2 fis'2 |\n  a'4. a'8 a'4 a'4 | d''4~( d'') cis'' a' | e'4 a' b'4. a'8 | a'1 |\n  d'4 d' fis' fis' | a'4~( a') a'2 | b'4. b'8 b'4 b'4 | a'2 a'2 |\n  d''2 a'4 a'4 | b'2 fis'2 | g'4 e' e'4. d'8 | d'1\n}\nalto = {\n  a4 a d' d' | cis'4( e') d'( cis') | b4 cis' d' e' | fis'2 d'2 |\n  e'4 e' fis' e' | d'4 e' e' fis' | e'4 cis' d'4. cis'8 | cis'1 |\n  a4 a d' d' | cis'4 e' d'4( cis') | b4 cis' d' e' | fis'2 d'2 |\n  d'2 d'4 d' | d'2 d'4( c') | b4 b cis'4. d'8 | d'1\n}\ntenor = {\n  fis4 fis d d | e4( g) fis( a) | g4 a b cis' | d'4( a) a2 |\n  a4 a a a | fis4 gis a a | cis'4 a gis4. a8 | a2( g) |\n  fis4 fis d d | e4 g fis4( a) | g4 a b cis' | d'4( a) fis2 |\n  fis4( g) a c' | b2 a2 | g4 g g4. fis8 | fis1\n}\nbass = {\n  d4 d b, b, | a,2 d2 | g,4~( g,) g, g, | d2 d2 |\n  cis4 cis d cis | b,4~( b,) cis d | e4 e e4. a,8 | a,1 |\n  d4 d b, b, | a,4~( a,) d2 | g,4. g,8 g4 g | d2 d2 |\n  b,2 fis,4 fis,4 | g,2 d2 | g,4 g, a,4. d8 | d1\n}\n", "preferred": true}]}, "ninety-and-nine": {"slug": "ninety-and-nine", "name": "THE NINETY AND NINE", "meter_label": "Irregular", "meter": {"pattern": [10, 7, 9, 7, 9, 9, 9], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "ira-david-sankey", "composer_date": "1874", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "ninety-and-nine-gospel-hymns-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Ira D. Sankey composed this tune extempore at the Free Assembly Hall, Edinburgh, in 1874, to Clephane's already-printed poem; it is through-composed and irregular — the seven lines of stanza 1 run 10.7.9.7.9.9.9 and the other stanzas do not scan the same way. First printing read for this record: Gospel Hymns and Sacred Songs (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1875), No. 6, printed page 8, headed \"The Ninety and Nine\" with \"Elizabeth C. Clephane. 1868.\" at the left and \"Ira D. Sankey, by per.\" at the right — archive.org gospelhymnssacre00blis_0, leaf n11. US public domain: published 1875, well before 1931. The tune carries no printed NAME on that page (Gospel Hymns numbers rather than names its tunes); \"THE NINETY AND NINE\" is the name it goes by in the later tune indexes and is used here. Fingerprinted against all 275 corpus tunes before engraving — best match 0.53 (ST. FLAVIAN), so it is not a duplicate under another name.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "there_were_ninety_and_nine_that_sankey", "total_instances": 223}}, "harmonization": {"slug": "ninety-and-nine-gospel-hymns-1883", "tune": "ninety-and-nine", "music_file": "ninety-and-nine-gospel-hymns-1883.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 19, 30, 39, 50, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Ira D. Sankey's own four-part setting, read off the page: Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4 (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1883), No. 6, printed page 8 — archive.org gospelhymnsconso00blis_202606, leaf n9 — headed 'The Ninety and Nine' over the epigraph 'Rejoice with me, for I have found my sheep that was lost.' — Luke 15: 6, credited 'Elizabeth C. Clephane, 1868.' and 'Ira D. Sankey, by per.', with stanzas 1 and 2 underlaid and 3-5 as text below. It is a four-part SHORT SCORE (soprano and alto on the treble staff, tenor and bass on the bass staff): A-flat major, 6/8, a two-sixteenth pickup, fourteen measures, 72 soprano notes. US public domain — published 1883, well before 1931 — and no modern arranger stands anywhere in the chain.\n\nWHY THIS PRINTING AND NOT THE FIRST. The same setting is in the first printing, Gospel Hymns and Sacred Songs, 1875, No. 6, page 8 (archive.org gospelhymnssacre00blis_0, leaf n11), which was read bar by bar first and agrees with the 1883 plate in every pitch. (NOT in every rhythm, and this record used to claim otherwise: at mm. 12 and 14 both plates print a held quarter in the lower staff under the soprano's slurred pair, where this encoding restrikes. That is the corpus's universal convention — 278 of 278 other harmonizations are homorhythmic — but it is a deviation from the page and is now stated as one, in the .ly header and here.) But this setting's whole character is four chromatic accidentals, and the 1875 scan does not resolve them: the alto's E natural at the head of measures 9 and 10 ('way on the' / 'wild and bare'), which with the soprano's c'' and a bass c lifts a plain C-major triad into the middle of A-flat, and the alto's D natural on the last chord of measure 13 against the tenor's des', answered by the alto's D flat at the head of measure 14 ('from the ten-der Shep-'). All four are printed, each with its own accidental before the LOWER notehead, on the 1883 leaf and can be read there; on the 1875 leaf they are not legible. So the 1883 plate is the witness of record — the page these chords were actually taken from. A third dated printing, Christ in Song (rev. and enl., 1908), No. 61, page 61 (archive.org songfora00beld, leaf n76), carries the same notes with four verses underlaid.\n\nWHAT THE PLATE PRINTS AND THIS RECORD DOES NOT. (a) Fermatas, omitted per house style as the Bach chorales in this corpus omit theirs: 1883 prints them over the final chord and at two interior cadences, 1875 prints only the final one. (b) The 'rit.' over measure 9, which 1883 and 1908 print and 1875 does not. (c) The plate slurs several note-pairs that stanza 1 sings SYLLABICALLY — the two pickup notes, the first pair of measure 1, the last pair of measure 5 — because the slurs are drawn for the union of all five stanzas' melismas; in this corpus a drawn slur means the reference stanza's melisma, so only stanza 1's twelve are drawn here and the others live as '_' in the setting. \n\nNOT the Cyber Hymnal. Its NoteWorthy file (TheNinetyAndNine.nwc) was decompressed and read as a transcription scaffold only, and its |SongInfo| Comments names the edition it was copied from — 'Trinity Hymnal (Philadelphia, Pennsylvania: Orthodox Presbyterian Church, 1961), # 137', a POST-1930 book, so it can be no part of the public-domain basis. It differs from the dated plates in exactly two places, and in both the plate was followed: (1) measures 4 and 8 ('fold,' / 'gold,') print a dotted quarter, a QUARTER REST and then the two sixteenths that pick up the next line, in all four voices — the Cyber Hymnal has no rest and ties a quarter on instead; (2) the plate ends on the quarter of measure 14 under a fermata, five eighths long, exactly what the one-eighth pickup owes back — the Cyber Hymnal ties that quarter across a further barline into a half plus a quarter rest, a fifteenth measure that appears in no dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of archive.org gospelhymnsconso00blis_202606 leaf n9 (Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4, 1883, No. 6, p. 8), read staff-position by staff-position and render-diffed against that leaf and against archive.org gospelhymnssacre00blis_0 leaf n11 (the 1875 first printing); the Cyber Hymnal NoteWorthy file TheNinetyAndNine.nwc (decompressed from byte 6) served only as a scaffold and was corrected against the plate where it differs.", "encoding_license": "PD-dedication"}, "music_ly": "%% THE NINETY AND NINE (Irregular) — Ira D. Sankey's own setting, 1874.\n%% Four SATB voice streams, canonical key A-flat major, 6/8, \\partial 8 (the\n%% pickup is TWO SIXTEENTHS, not one eighth); 14 measures, 72 soprano notes.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  The witness of record is \"Gospel Hymns and Sacred Songs,\n%% Consolidated Nos. 1-4\" (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1883), No. 6, printed page 8 — archive.org\n%% gospelhymnsconso00blis_202606, leaf n9.  The page is a four-part SHORT SCORE:\n%% soprano/alto share the treble staff, tenor/bass the bass staff, one rhythm per\n%% staff.  The FIRST\n%% printing, \"Gospel Hymns and Sacred Songs\" (1875), No. 6, page 8 (archive.org\n%% gospelhymnssacre00blis_0, leaf n11) was read bar by bar first and agrees in\n%% every PITCH — but its scan does not resolve the four accidentals\n%% below, which the 1883 leaf prints legibly, so the 1883 leaf is what these chords\n%% were taken from.  A third dated printing, \"Christ in Song\" (rev. & enl., 1908),\n%% No. 61, page 61 (archive.org songfora00beld, leaf n76) carries the tune with four\n%% verses underlaid, but as a DIFFERENT arrangement bearing \"Copyright, 1904, by\n%% Ira D. Sankey\" (still public domain) — it is a corroborating witness to the tune,\n%% not to these chords.\n%%\n%% ONE DELIBERATE DEVIATION FROM THE PLATE, recorded because the header used to\n%% claim there was none.  At mm. 12 and 14 the lower staff prints a HELD QUARTER\n%% across the melody's slurred pair — m.12 has five treble noteheads over four bass\n%% onsets (tenor E-flat/bass E-flat sustained while the soprano moves bes'->aes'),\n%% m.14 four over three (tenor G/bass E-flat held under bes'->c'').  Both the 1875\n%% and the 1883 leaf agree, so it is not a scan ambiguity.  This encoding RESTRIKES\n%% instead (ees'8( ees'8) / g8( g8)), because that is this corpus's universal\n%% convention: all 278 other harmonizations are strictly homorhythmic across the\n%% four voices, and at all 816 moving-soprano slurs corpus-wide the lower voices\n%% restrike and never hold.  Encoding the holds would be the corpus's first\n%% voice-independent rhythm and needs an engine check and an owner decision — so\n%% the deviation is stated here rather than hidden behind a \"note for note\" claim.\n%%\n%% NOT the Cyber Hymnal.  Its NoteWorthy file for this hymn (TheNinetyAndNine.nwc)\n%% names its own edition in |SongInfo| Comments — \"Trinity Hymnal (Philadelphia:\n%% Orthodox Presbyterian Church, 1961), # 137\" — i.e. a POST-1930 book, so it can\n%% be no part of the public-domain basis.  It was decompressed and read only as a\n%% transcription scaffold, and it differs from the dated plates in exactly the two\n%% places recorded below; in both, the plate wins.\n%%\n%% THE TWO BREATH BARS (measures 4 and 8, \"fold,\" and \"gold,\").  The plate prints,\n%% in ALL FOUR voices, a dotted quarter, then a QUARTER REST, then the two\n%% sixteenths that pick up the next line — 3 + 2 + 1 = 6 eighths.  The Cyber\n%% Hymnal file has no rest there: it ties the dotted quarter to a quarter instead.\n%% The rest is what both dated printings show (the old-style quarter rest, drawn\n%% as a reversed eighth rest, is plain on leaf n9 and on leaf n11), and it is the\n%% reason the singer breathes before \"But\" and before \"A-way\".  Kept as printed\n%% rather than collapsed: the house collapse convention is documented for 4/4 only,\n%% and here the rest carries no lyric slot at all.\n%%\n%% THE LAST BAR.  Measure 14 is FIVE eighths (three eighths + a quarter), which is\n%% exactly what the one-eighth pickup owes back.  The plate ends on that quarter,\n%% under a fermata, with no rest after it and no further bar.  The Cyber Hymnal\n%% file instead ties that quarter across a bar into a half plus a quarter rest — a\n%% fifteenth measure that appears in no dated printing; it is dropped.\n%%\n%% FERMATAS, omitted per house style (as the Bach chorales in this corpus do), and\n%% recorded here instead: 1883 prints one over the final chord (soprano note 72) in\n%% both staves, and two more at interior cadences; 1875 prints only the final one.\n%% 1883 and 1908 also print \"rit.\" over measure 9; 1875 does not.\n%%\n%% CHROMATICS — the fingerprint of this setting, all four printed on leaf n9 with\n%% their own accidental before the LOWER notehead.  (a) The ALTO's E natural at the\n%% head of measures 9 and 10 (\"way on the\" / \"wild and bare\"), against the\n%% soprano's c'' and a bass c: the plain C-major triad Sankey lifts into the middle\n%% of A-flat.  (b) The alto's D natural on the last chord of measure 13, against\n%% the tenor's des', answered by the alto's D flat at the head of measure 14\n%% (\"from the ten-der Shep-\").  The plate's D flat is a COURTESY accidental — the\n%% note is diatonic in A-flat and only wants marking because the natural stood in\n%% the bar before — so LilyPond does not reprint it, and it is not forced here.\n%%\n%% SLURS.  The plate slurs several note-pairs that stanza 1 sings SYLLABICALLY —\n%% the two pickup notes, the first pair of measure 1, the last pair of measure 5 —\n%% because its slurs are drawn for the union of all five stanzas' melismas.  In\n%% this corpus a drawn slur means the REFERENCE stanza's melisma, so only stanza\n%% 1's twelve are drawn here (continuations at soprano notes 9, 16, 21, 23, 32, 37,\n%% 41, 46, 56, 59, 67, 70); the other stanzas' held notes live as '_' in the\n%% setting's stanza_lines.  verse_variable_melisma, because Sankey composed this\n%% extempore and the five stanzas do NOT scan alike — stanza 3's third line has\n%% eleven syllables where stanza 1's has nine.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  ees'16 ees'16 |\n  aes'8. aes'16 aes'8 aes'4 aes'8 |\n  g'8( g'8) g'8 aes'4 aes'16 aes'16 |\n  c''4 c''16( c''16) aes'4 aes'8 |\n  bes'4. r4 ees'16( ees'16) |\n  aes'8( aes'8) aes'8 aes'4 aes'16 aes'16 |\n  c''4 c''8 aes'4 aes'16( aes'16) |\n  bes'4 bes'16 bes'16 g'8( g'8) g'8 |\n  aes'4. r4 aes'16( aes'16) |\n  c''8. c''16 c''8 aes'8( aes'8) aes'8 |\n  c''4 c''8 aes'4 ees''8 |\n  ees''8. ees''16 ees''8 ees''8( c''8) aes'8 |\n  bes'8( aes'8) bes'8 c''4 ees''8 |\n  ees''8. ees''16 f''8 ees''8( c''8) aes'8 |\n  bes'8( c''8) bes'8 aes'4\n}\n\nalto = {\n  c'16 c'16 |\n  ees'8. ees'16 ees'8 ees'4 ees'8 |\n  ees'8( ees'8) ees'8 ees'4 ees'16 ees'16 |\n  aes'4 aes'16( aes'16) ees'4 ees'8 |\n  g'4. r4 c'16( c'16) |\n  ees'8( ees'8) ees'8 ees'4 ees'16 ees'16 |\n  aes'4 aes'8 ees'4 ees'16( ees'16) |\n  f'4 f'16 f'16 ees'8( ees'8) ees'8 |\n  c'4. r4 c'16( c'16) |\n  e'8. e'16 e'8 f'8( f'8) f'8 |\n  e'4 e'8 f'4 ees'8 |\n  aes'8. aes'16 aes'8 aes'8( aes'8) ees'8 |\n  g'8( f'8) g'8 aes'4 aes'8 |\n  aes'8. aes'16 aes'8 aes'8( ees'8) d'8 |\n  des'8( ees'8) des'8 c'4\n}\n\ntenor = {\n  aes16 aes16 |\n  c'8. c'16 c'8 c'4 c'8 |\n  bes8( bes8) bes8 c'4 c'16 c'16 |\n  ees'4 ees'16( ees'16) c'4 c'8 |\n  ees'4. r4 ees'16( ees'16) |\n  c'8( c'8) c'8 c'4 c'16 c'16 |\n  ees'4 ees'8 c'4 aes16( aes16) |\n  aes4 bes16 bes16 bes8( bes8) bes8 |\n  aes4. r4 aes16( aes16) |\n  g8. g16 c'8 c'8( c'8) c'8 |\n  c'4 c'8 c'4 bes8 |\n  c'8. c'16 c'8 c'8( ees'8) aes8 |\n  ees'8( ees'8) ees'8 ees'4 c'8 |\n  c'8. c'16 des'8 c'8( aes8) bes8 |\n  g8( g8) g8 aes4\n}\n\nbass = {\n  aes,16 aes,16 |\n  aes8. aes16 aes8 aes4 aes8 |\n  ees8( ees8) ees8 aes4 aes16 aes16 |\n  aes4 aes16( aes16) aes4 aes8 |\n  ees4. r4 aes16( aes16) |\n  aes8( aes8) aes8 aes4 aes16 aes16 |\n  aes4 aes8 aes4 c16( c16) |\n  des4 des16 des16 ees8( ees8) ees8 |\n  aes,4. r4 f16( f16) |\n  c8. c16 c8 f8( f8) f8 |\n  c4 c8 f4 g8 |\n  aes8. aes16 aes8 aes8( aes8) c8 |\n  ees8( ees8) ees8 aes4 aes8 |\n  aes8. aes16 aes8 aes8( aes8) f8 |\n  ees8( ees8) ees8 aes,4\n}\n"}, "harmonizations": [{"slug": "ninety-and-nine-gospel-hymns-1883", "tune": "ninety-and-nine", "music_file": "ninety-and-nine-gospel-hymns-1883.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 19, 30, 39, 50, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Ira D. Sankey's own four-part setting, read off the page: Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4 (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1883), No. 6, printed page 8 — archive.org gospelhymnsconso00blis_202606, leaf n9 — headed 'The Ninety and Nine' over the epigraph 'Rejoice with me, for I have found my sheep that was lost.' — Luke 15: 6, credited 'Elizabeth C. Clephane, 1868.' and 'Ira D. Sankey, by per.', with stanzas 1 and 2 underlaid and 3-5 as text below. It is a four-part SHORT SCORE (soprano and alto on the treble staff, tenor and bass on the bass staff): A-flat major, 6/8, a two-sixteenth pickup, fourteen measures, 72 soprano notes. US public domain — published 1883, well before 1931 — and no modern arranger stands anywhere in the chain.\n\nWHY THIS PRINTING AND NOT THE FIRST. The same setting is in the first printing, Gospel Hymns and Sacred Songs, 1875, No. 6, page 8 (archive.org gospelhymnssacre00blis_0, leaf n11), which was read bar by bar first and agrees with the 1883 plate in every pitch. (NOT in every rhythm, and this record used to claim otherwise: at mm. 12 and 14 both plates print a held quarter in the lower staff under the soprano's slurred pair, where this encoding restrikes. That is the corpus's universal convention — 278 of 278 other harmonizations are homorhythmic — but it is a deviation from the page and is now stated as one, in the .ly header and here.) But this setting's whole character is four chromatic accidentals, and the 1875 scan does not resolve them: the alto's E natural at the head of measures 9 and 10 ('way on the' / 'wild and bare'), which with the soprano's c'' and a bass c lifts a plain C-major triad into the middle of A-flat, and the alto's D natural on the last chord of measure 13 against the tenor's des', answered by the alto's D flat at the head of measure 14 ('from the ten-der Shep-'). All four are printed, each with its own accidental before the LOWER notehead, on the 1883 leaf and can be read there; on the 1875 leaf they are not legible. So the 1883 plate is the witness of record — the page these chords were actually taken from. A third dated printing, Christ in Song (rev. and enl., 1908), No. 61, page 61 (archive.org songfora00beld, leaf n76), carries the same notes with four verses underlaid.\n\nWHAT THE PLATE PRINTS AND THIS RECORD DOES NOT. (a) Fermatas, omitted per house style as the Bach chorales in this corpus omit theirs: 1883 prints them over the final chord and at two interior cadences, 1875 prints only the final one. (b) The 'rit.' over measure 9, which 1883 and 1908 print and 1875 does not. (c) The plate slurs several note-pairs that stanza 1 sings SYLLABICALLY — the two pickup notes, the first pair of measure 1, the last pair of measure 5 — because the slurs are drawn for the union of all five stanzas' melismas; in this corpus a drawn slur means the reference stanza's melisma, so only stanza 1's twelve are drawn here and the others live as '_' in the setting. \n\nNOT the Cyber Hymnal. Its NoteWorthy file (TheNinetyAndNine.nwc) was decompressed and read as a transcription scaffold only, and its |SongInfo| Comments names the edition it was copied from — 'Trinity Hymnal (Philadelphia, Pennsylvania: Orthodox Presbyterian Church, 1961), # 137', a POST-1930 book, so it can be no part of the public-domain basis. It differs from the dated plates in exactly two places, and in both the plate was followed: (1) measures 4 and 8 ('fold,' / 'gold,') print a dotted quarter, a QUARTER REST and then the two sixteenths that pick up the next line, in all four voices — the Cyber Hymnal has no rest and ties a quarter on instead; (2) the plate ends on the quarter of measure 14 under a fermata, five eighths long, exactly what the one-eighth pickup owes back — the Cyber Hymnal ties that quarter across a further barline into a half plus a quarter rest, a fifteenth measure that appears in no dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of archive.org gospelhymnsconso00blis_202606 leaf n9 (Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4, 1883, No. 6, p. 8), read staff-position by staff-position and render-diffed against that leaf and against archive.org gospelhymnssacre00blis_0 leaf n11 (the 1875 first printing); the Cyber Hymnal NoteWorthy file TheNinetyAndNine.nwc (decompressed from byte 6) served only as a scaffold and was corrected against the plate where it differs.", "encoding_license": "PD-dedication"}, "music_ly": "%% THE NINETY AND NINE (Irregular) — Ira D. Sankey's own setting, 1874.\n%% Four SATB voice streams, canonical key A-flat major, 6/8, \\partial 8 (the\n%% pickup is TWO SIXTEENTHS, not one eighth); 14 measures, 72 soprano notes.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  The witness of record is \"Gospel Hymns and Sacred Songs,\n%% Consolidated Nos. 1-4\" (P. P. Bliss & Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1883), No. 6, printed page 8 — archive.org\n%% gospelhymnsconso00blis_202606, leaf n9.  The page is a four-part SHORT SCORE:\n%% soprano/alto share the treble staff, tenor/bass the bass staff, one rhythm per\n%% staff.  The FIRST\n%% printing, \"Gospel Hymns and Sacred Songs\" (1875), No. 6, page 8 (archive.org\n%% gospelhymnssacre00blis_0, leaf n11) was read bar by bar first and agrees in\n%% every PITCH — but its scan does not resolve the four accidentals\n%% below, which the 1883 leaf prints legibly, so the 1883 leaf is what these chords\n%% were taken from.  A third dated printing, \"Christ in Song\" (rev. & enl., 1908),\n%% No. 61, page 61 (archive.org songfora00beld, leaf n76) carries the tune with four\n%% verses underlaid, but as a DIFFERENT arrangement bearing \"Copyright, 1904, by\n%% Ira D. Sankey\" (still public domain) — it is a corroborating witness to the tune,\n%% not to these chords.\n%%\n%% ONE DELIBERATE DEVIATION FROM THE PLATE, recorded because the header used to\n%% claim there was none.  At mm. 12 and 14 the lower staff prints a HELD QUARTER\n%% across the melody's slurred pair — m.12 has five treble noteheads over four bass\n%% onsets (tenor E-flat/bass E-flat sustained while the soprano moves bes'->aes'),\n%% m.14 four over three (tenor G/bass E-flat held under bes'->c'').  Both the 1875\n%% and the 1883 leaf agree, so it is not a scan ambiguity.  This encoding RESTRIKES\n%% instead (ees'8( ees'8) / g8( g8)), because that is this corpus's universal\n%% convention: all 278 other harmonizations are strictly homorhythmic across the\n%% four voices, and at all 816 moving-soprano slurs corpus-wide the lower voices\n%% restrike and never hold.  Encoding the holds would be the corpus's first\n%% voice-independent rhythm and needs an engine check and an owner decision — so\n%% the deviation is stated here rather than hidden behind a \"note for note\" claim.\n%%\n%% NOT the Cyber Hymnal.  Its NoteWorthy file for this hymn (TheNinetyAndNine.nwc)\n%% names its own edition in |SongInfo| Comments — \"Trinity Hymnal (Philadelphia:\n%% Orthodox Presbyterian Church, 1961), # 137\" — i.e. a POST-1930 book, so it can\n%% be no part of the public-domain basis.  It was decompressed and read only as a\n%% transcription scaffold, and it differs from the dated plates in exactly the two\n%% places recorded below; in both, the plate wins.\n%%\n%% THE TWO BREATH BARS (measures 4 and 8, \"fold,\" and \"gold,\").  The plate prints,\n%% in ALL FOUR voices, a dotted quarter, then a QUARTER REST, then the two\n%% sixteenths that pick up the next line — 3 + 2 + 1 = 6 eighths.  The Cyber\n%% Hymnal file has no rest there: it ties the dotted quarter to a quarter instead.\n%% The rest is what both dated printings show (the old-style quarter rest, drawn\n%% as a reversed eighth rest, is plain on leaf n9 and on leaf n11), and it is the\n%% reason the singer breathes before \"But\" and before \"A-way\".  Kept as printed\n%% rather than collapsed: the house collapse convention is documented for 4/4 only,\n%% and here the rest carries no lyric slot at all.\n%%\n%% THE LAST BAR.  Measure 14 is FIVE eighths (three eighths + a quarter), which is\n%% exactly what the one-eighth pickup owes back.  The plate ends on that quarter,\n%% under a fermata, with no rest after it and no further bar.  The Cyber Hymnal\n%% file instead ties that quarter across a bar into a half plus a quarter rest — a\n%% fifteenth measure that appears in no dated printing; it is dropped.\n%%\n%% FERMATAS, omitted per house style (as the Bach chorales in this corpus do), and\n%% recorded here instead: 1883 prints one over the final chord (soprano note 72) in\n%% both staves, and two more at interior cadences; 1875 prints only the final one.\n%% 1883 and 1908 also print \"rit.\" over measure 9; 1875 does not.\n%%\n%% CHROMATICS — the fingerprint of this setting, all four printed on leaf n9 with\n%% their own accidental before the LOWER notehead.  (a) The ALTO's E natural at the\n%% head of measures 9 and 10 (\"way on the\" / \"wild and bare\"), against the\n%% soprano's c'' and a bass c: the plain C-major triad Sankey lifts into the middle\n%% of A-flat.  (b) The alto's D natural on the last chord of measure 13, against\n%% the tenor's des', answered by the alto's D flat at the head of measure 14\n%% (\"from the ten-der Shep-\").  The plate's D flat is a COURTESY accidental — the\n%% note is diatonic in A-flat and only wants marking because the natural stood in\n%% the bar before — so LilyPond does not reprint it, and it is not forced here.\n%%\n%% SLURS.  The plate slurs several note-pairs that stanza 1 sings SYLLABICALLY —\n%% the two pickup notes, the first pair of measure 1, the last pair of measure 5 —\n%% because its slurs are drawn for the union of all five stanzas' melismas.  In\n%% this corpus a drawn slur means the REFERENCE stanza's melisma, so only stanza\n%% 1's twelve are drawn here (continuations at soprano notes 9, 16, 21, 23, 32, 37,\n%% 41, 46, 56, 59, 67, 70); the other stanzas' held notes live as '_' in the\n%% setting's stanza_lines.  verse_variable_melisma, because Sankey composed this\n%% extempore and the five stanzas do NOT scan alike — stanza 3's third line has\n%% eleven syllables where stanza 1's has nine.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  ees'16 ees'16 |\n  aes'8. aes'16 aes'8 aes'4 aes'8 |\n  g'8( g'8) g'8 aes'4 aes'16 aes'16 |\n  c''4 c''16( c''16) aes'4 aes'8 |\n  bes'4. r4 ees'16( ees'16) |\n  aes'8( aes'8) aes'8 aes'4 aes'16 aes'16 |\n  c''4 c''8 aes'4 aes'16( aes'16) |\n  bes'4 bes'16 bes'16 g'8( g'8) g'8 |\n  aes'4. r4 aes'16( aes'16) |\n  c''8. c''16 c''8 aes'8( aes'8) aes'8 |\n  c''4 c''8 aes'4 ees''8 |\n  ees''8. ees''16 ees''8 ees''8( c''8) aes'8 |\n  bes'8( aes'8) bes'8 c''4 ees''8 |\n  ees''8. ees''16 f''8 ees''8( c''8) aes'8 |\n  bes'8( c''8) bes'8 aes'4\n}\n\nalto = {\n  c'16 c'16 |\n  ees'8. ees'16 ees'8 ees'4 ees'8 |\n  ees'8( ees'8) ees'8 ees'4 ees'16 ees'16 |\n  aes'4 aes'16( aes'16) ees'4 ees'8 |\n  g'4. r4 c'16( c'16) |\n  ees'8( ees'8) ees'8 ees'4 ees'16 ees'16 |\n  aes'4 aes'8 ees'4 ees'16( ees'16) |\n  f'4 f'16 f'16 ees'8( ees'8) ees'8 |\n  c'4. r4 c'16( c'16) |\n  e'8. e'16 e'8 f'8( f'8) f'8 |\n  e'4 e'8 f'4 ees'8 |\n  aes'8. aes'16 aes'8 aes'8( aes'8) ees'8 |\n  g'8( f'8) g'8 aes'4 aes'8 |\n  aes'8. aes'16 aes'8 aes'8( ees'8) d'8 |\n  des'8( ees'8) des'8 c'4\n}\n\ntenor = {\n  aes16 aes16 |\n  c'8. c'16 c'8 c'4 c'8 |\n  bes8( bes8) bes8 c'4 c'16 c'16 |\n  ees'4 ees'16( ees'16) c'4 c'8 |\n  ees'4. r4 ees'16( ees'16) |\n  c'8( c'8) c'8 c'4 c'16 c'16 |\n  ees'4 ees'8 c'4 aes16( aes16) |\n  aes4 bes16 bes16 bes8( bes8) bes8 |\n  aes4. r4 aes16( aes16) |\n  g8. g16 c'8 c'8( c'8) c'8 |\n  c'4 c'8 c'4 bes8 |\n  c'8. c'16 c'8 c'8( ees'8) aes8 |\n  ees'8( ees'8) ees'8 ees'4 c'8 |\n  c'8. c'16 des'8 c'8( aes8) bes8 |\n  g8( g8) g8 aes4\n}\n\nbass = {\n  aes,16 aes,16 |\n  aes8. aes16 aes8 aes4 aes8 |\n  ees8( ees8) ees8 aes4 aes16 aes16 |\n  aes4 aes16( aes16) aes4 aes8 |\n  ees4. r4 aes16( aes16) |\n  aes8( aes8) aes8 aes4 aes16 aes16 |\n  aes4 aes8 aes4 c16( c16) |\n  des4 des16 des16 ees8( ees8) ees8 |\n  aes,4. r4 f16( f16) |\n  c8. c16 c8 f8( f8) f8 |\n  c4 c8 f4 g8 |\n  aes8. aes16 aes8 aes8( aes8) c8 |\n  ees8( ees8) ees8 aes4 aes8 |\n  aes8. aes16 aes8 aes8( aes8) f8 |\n  ees8( ees8) ees8 aes,4\n}\n", "preferred": true}]}, "no-not-one": {"slug": "no-not-one", "name": "NO, NOT ONE", "meter_label": "8.10.10.4", "meter": {"pattern": [8, 10, 10, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-crawford-hugg", "composer_date": "1894", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "no-not-one-oh172", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:172; all components published pre-1931 (latest year 1894).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "no-not-one-oh172", "tune": "no-not-one", "music_file": "no-not-one-oh172.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:172; all components published pre-1931 (latest year 1894).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:172", "encoding_license": "PD-dedication"}, "music_ly": "%% No, Not One!\n%% Imported from Open Hymnal ABC X:172 via tools/abc_import.py\n%% Open Hymnal X:172; all components published pre-1931 (latest year 1894).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4 a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4 a'4 c''4 c''4 d''8. c''16 a'4 a'4 g'8 f'8 r4 a'4 c''4 c''4 d''8. c''16 a'4 a'4 g'2 a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4\n}\nalto = {\n  f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 f'4 e'4 f'4 s4 f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 e'4 e'4 f'4 s4 f'4 f'4 f'4 f'8. f'16 f'4 f'4 e'8 f'8 s4 f'4 f'4 f'4 f'8. f'16 f'4 f'4 e'2 f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 e'4 e'4 f'4 s4\n}\ntenor = {\n  c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4 c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4 c'4 a4 a4 bes8. a16 c'4 c'4 bes8 a8 r4 c'4 a4 a4 bes8. a16 c'4 c'4 c'2 c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4\n}\nbass = {\n  f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 f4 c4 f4 s4 f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 c4 c4 f4 s4 f4 f4 f4 f8. f16 f4 f4 c8 f8 s4 f4 f4 f4 f8. f16 f4 f4 c2 f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 c4 c4 f4 s4\n}\n"}, "harmonizations": [{"slug": "no-not-one-oh172", "tune": "no-not-one", "music_file": "no-not-one-oh172.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 33}, "markings": [{"soprano_note": 33, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:172; all components published pre-1931 (latest year 1894).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:172", "encoding_license": "PD-dedication"}, "music_ly": "%% No, Not One!\n%% Imported from Open Hymnal ABC X:172 via tools/abc_import.py\n%% Open Hymnal X:172; all components published pre-1931 (latest year 1894).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4 a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4 a'4 c''4 c''4 d''8. c''16 a'4 a'4 g'8 f'8 r4 a'4 c''4 c''4 d''8. c''16 a'4 a'4 g'2 a'4 a'8. g'16 f'4 f'8. e'16 d'4 f'4 d'8 c'8 r4 a'4 a'4 g'4 r4 a'4 g'4 f'4 r4\n}\nalto = {\n  f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 f'4 e'4 f'4 s4 f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 e'4 e'4 f'4 s4 f'4 f'4 f'4 f'8. f'16 f'4 f'4 e'8 f'8 s4 f'4 f'4 f'4 f'8. f'16 f'4 f'4 e'2 f'4 f'8. f'16 f'4 c'8. c'16 bes4 bes4 bes8 a8 s4 f'4 f'4 e'4 s4 e'4 e'4 f'4 s4\n}\ntenor = {\n  c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4 c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4 c'4 a4 a4 bes8. a16 c'4 c'4 bes8 a8 r4 c'4 a4 a4 bes8. a16 c'4 c'4 c'2 c'4 c'8. bes16 a4 f8. f16 f4 f4 f8 f8 r4 c'4 c'4 c'4 r4 c'4 bes4 a4 r4\n}\nbass = {\n  f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 f4 c4 f4 s4 f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 c4 c4 f4 s4 f4 f4 f4 f8. f16 f4 f4 c8 f8 s4 f4 f4 f4 f8. f16 f4 f4 c2 f4 f8. f16 f4 a,8. a,16 bes,4 d4 f8 f8 s4 f4 f4 c4 s4 c4 c4 f4 s4\n}\n", "preferred": true}]}, "nun-danket": {"slug": "nun-danket", "name": "NUN DANKET", "alt_name": "NUN DANKET ALLE GOTT", "meter_label": "6.7.6.7.6.6.6.6", "meter": {"pattern": [6, 7, 6, 7, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1647", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "nun-danket-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "NUN DANKET (also NUN DANKET ALLE GOTT), Johann Crüger (1598-1662), 1647; the proper tune for Martin Rinkart's \"Nun danket alle Gott\" (Winkworth's \"Now Thank We All Our God\"). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis). The soprano is syllabic apart from a single two-note melisma (a slurred g'-a' eighth-note pair at line 6); the printed accidentals (a descending D-flat in the bass, a raised F-sharp neighbour, and A/B/E naturals) were confirmed against the score. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Crüger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "nun-danket-cyberhymnal", "tune": "nun-danket", "music_file": "nun-danket-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 26, 32, 39, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Crüger, 1647. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUN DANKET (Johann Crüger, 1647); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand — soprano+alto right, tenor+bass left — so the single-track homophonic splitter was used) and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; the final dotted half completes the pickup). The soprano agreed with the engraving note-for-note; the lone two-note melisma (soprano g'-a' at line 6) is held with '_' each stanza (verse_variable_melisma). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Crüger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) — four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun Danket\", Johann Crüger, 1647) with\n%% tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand — soprano+alto\n%% on the right, tenor+bass on the left — so the single-track homophonic splitter is\n%% used) and verified against the Cyber Hymnal engraving. E-flat major, 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final dotted half completes the pickup.\n%% MELISMATIC: 51 soprano notes for 50 syllables (6.7.6.7.6.6.6.6); the one two-note\n%% melisma is the slurred soprano g'8( a'8) at line 6 (soprano notes 34-35), held\n%% with '_' each stanza (verse_variable_melisma). The cadential bass octave-doublings\n%% (Eb) are reduced to the lower octave; the printed accidentals (bass des, tenor\n%% fis, A/B/E naturals) match the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 | f'2. f'4 | g'8( a'8) bes'4 c''4 a'4 | bes'2. bes'4 |\n  c''4 bes'4 as'4 g'4 | as'2. g'4 | f'4 es'4 es'4 d'4 | es'2.\n}\nalto = {\n  es'4 |\n  f'4 es'4 es'4 c'8 d'8 | es'2. es'8 d'8 | c'8 d'8 es'4 d'4 es'4 | es'4 d'4 es'4 es'4 |\n  f'4 es'4 es'4 es'4 | es'2. es'4 | es'8 d'8 es'4 es'8 d'8 c'8 b8 | c'4 bes8 as8 g4 bes4 |\n  c'4 d'8 c'8 bes4 es'4 | d'2. f'4 | es'4 f'4 es'4 d'4 | d'2. d'4 |\n  c'4 c'4 c'4 e'4 | f'2. es'8 d'8 | c'4 g8 as8 bes4 bes8 as8 | g2.\n}\ntenor = {\n  g4 |\n  f4 g4 as4 es8 f8 | g2. g4 | as4 bes4 bes4 bes4 | bes2 g4 g4 |\n  f4 g4 as4 as4 | g2. g4 | as4 bes4 f4 d4 | f8 es8 d4 es4 d4 |\n  f4 bes8 a8 g4 bes4 | bes2. bes4 | bes4 bes4 bes8 a8 g8 fis8 | g2. bes4 |\n  g4 f8 g8 as8 bes8 c'4 | c'2. bes4 | as4 es8 f8 g4 f4 | g2.\n}\nbass = {\n  es4 |\n  d4 es4 as4 as,4 | es2. es4 | f4 g8 as8 bes4 es4 | bes,2 es,4 es4 |\n  des4 des4 c8 bes,8 as,4 | es,2. es8 d8 | c4 bes,4 as,4 d4 | as,4 bes,4 es,4 bes,4 |\n  a,4 bes,4 es,8 f,8 g,8 a,8 | bes,2. d4 | es4 d4 c4 d4 | g,2. g8 f8 |\n  e4 d8 e8 f4 c4 | f,2. g,4 | as,4 c4 bes,4 bes,4 | es,2.\n}\n"}, "harmonizations": [{"slug": "nun-danket-bwv386", "tune": "nun-danket", "music_file": "nun-danket-bwv386.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 14, 20, 28, 34, 41, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Crüger, 1647; harm. J. S. Bach (BWV 386). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 386 — the standalone chorale \"Nun danket alle Gott\" (Crüger's tune), No. 32 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor032.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices. The kern encodes the Stollen once with a sectional repeat (*>[A,A,B]); the corpus file writes it out A-A-B via the converter's repeat expansion, the complementary partial bars at the section seams merging to full 4/4 bars (no odd-length seam bars). Bach's key is A major (the kern's *k[f#c#g#] with *A:, as Breitkopf prints it); the corpus file is STORED IN E-FLAT MAJOR, transposed down an augmented fourth and machine-checked at exactly -6 semitones per note in every voice with durations and curves unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and NUN DANKET's is E-flat (from the Cyber Hymnal harmonization). 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 6, 14, 20, 28, 34, 41, 47, 54) are omitted per house style, and Bach's phrase-end breath rests (half note + quarter rest at six of the eight cadences) are kept, since the corpus collapses only the all-voice dotted-half+rest case. Machine comparison against the independently derived music21-corpus encoding (bwv386.mxl, MuseData/Greentree lineage): soprano pitch-identical at all 40 as-written notes; the editions diverge only at the melisma eighth-pairs and the tenor's bar-15 pair (that edition reads dotted-eighth+sixteenth for the kern's even eighths), the tenor's bar-11 passing eighth pair (a plain quarter there), an alto tie across bars 3-4 that the kern re-strikes, the alto's bar-13 re-struck eighths (merged there), and the bass pickup into bar 13 plus that bar's first five eighths, which that edition reads an octave lower — the kern reading (the declared source) is kept throughout and each divergence is itemized in the music file header. The melisma slurs follow Bach's own underlay as carried by the texted bwv386.mxl witness (full German text, 50 syllables + 4 melisma continuations = 54 sung notes; the Stollen's two lyric verses agree on the hold).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor032.krn (BWV 386, Breitkopf/Riemenschneider No. 32), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) — four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 386 (the standalone chorale \"Nun danket alle\n%% Gott\", Breitkopf/Riemenschneider No. 32), converted from the\n%% craigsapp/bach-370-chorales kern edition (chor032.krn) with tools/kern2ly.py\n%% and verified event-for-event against the kern source in all four voices.\n%% Bach's key is A major (the kern's *k[f#c#g#] + *A:, as Breitkopf prints it);\n%% STORED HERE IN E-FLAT MAJOR — transposed down an augmented fourth, every\n%% voice, machine-checked at exactly -6 semitones per note — because the corpus\n%% keeps every harmonization of a tune in the tune's canonical key (the\n%% validate_corpus duplicated-fact equality), and NUN DANKET's is E-flat from\n%% the Cyber Hymnal harmonization. 4/4, quarter pickup. The kern encodes the\n%% Stollen once with a sectional repeat (*>[A,A,B]); the converter writes it\n%% out A-A-B, the complementary partial bars at the section seams merging to\n%% full 4/4 bars (no odd-length seam bars, single \\time throughout). Bach's own\n%% phrase-end breath rests (half note + quarter rest at six of the eight\n%% cadences) are kept: the corpus collapses only the all-voice dotted-half+rest\n%% case. The source prints fermatas at soprano ordinals 6, 14, 20, 28, 34, 41,\n%% 47, 54 (phrases 6+8+6+8+6+7+6+7, one per text line of 6.7.6.7.6.6.6.6);\n%% fermatas are omitted per house style.\n%% Machine-compared against the independent music21-corpus encoding of the same\n%% chorale (bwv386.mxl, MuseData/Greentree lineage): soprano pitch-identical at\n%% all 40 as-written notes; the two editions diverge only at (a) the Stollen and\n%% final-line soprano melisma eighth-pairs and the tenor's bar-15 beat-4 pair,\n%% which that edition reads dotted-eighth+sixteenth for the kern's even eighths;\n%% (b) the tenor's passing eighth pair in the line-6 bar (bar 11 beat 2, here\n%% bes8 f8), which that edition reads as a plain quarter; (c) an alto tie\n%% (here es'4~es'8) across bars 3-4 (both passes) that the kern re-strikes;\n%% (d) the alto at bar 13, kern re-struck eighths (here g'4 g'8 f'8 f'8 e'8) vs\n%% that edition's merged g'4. f'4 e'8; and (e) the bass pickup into bar 13 and\n%% that bar's first five eighths (here es4, then as8 g8 f8 e8 f8), which that\n%% edition reads an octave lower — the kern reading (the declared source,\n%% Doerffel/Breitkopf c. 1875) is kept throughout. MELISMATIC: 54 soprano notes\n%% for 50 syllables (6.7.6.7.6.6.6.6); the melisma map is Bach's own underlay\n%% as carried by the texted bwv386.mxl witness (full German text; the Stollen's\n%% two lyric verses agree on the hold): two-note slurs at soprano notes 11-12,\n%% 25-26, 36-37, 50-51, held with '_' every stanza at notes 12, 26, 37, 51\n%% (see the setting). Bach's line-6 melisma pair lands on the same printed\n%% g'8( a'8) as the Cyber Hymnal harmonization's lone melisma.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 |\n  bes'2 r4 g'4 |\n  as'4 g'4 f'4 g'8( as'8) |\n  f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 |\n  bes'2 r4 g'4 |\n  as'4 g'4 f'4 g'8( as'8) |\n  f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 |\n  f'2 r4 f'4 |\n  g'8( a'8) bes'4 bes'4 a'4 |\n  bes'2 r4 bes'4 |\n  c''4 bes'4 as'4 g'4 |\n  as'2 r4 g'4 |\n  f'4 g'8( as'8) f'4. es'8 |\n  es'2.\n}\n\nalto = {\n  es'4 |\n  es'4 es'4 es'4 es'4 |\n  es'2 r4 es'4 |\n  f'4 es'4 d'4 es'4 |\n  es'8 c'8 d'4 bes4 es'4 |\n  es'4 es'4 es'4 es'4 |\n  es'2 r4 es'4 |\n  f'4 es'4 d'4 es'4 |\n  es'8 c'8 d'4 bes4 d'8 c'8 |\n  bes4 bes4 bes4 bes4 |\n  bes2 r4 d'4 |\n  es'4 d'4 c'4 c'4 |\n  d'2 r4 es'4 |\n  es'8 f'8 g'4 g'8 f'8 f'8 e'8 |\n  f'2 r4 es'4 |\n  d'4 es'4 es'4 d'4 |\n  bes2.\n}\n\ntenor = {\n  g4 |\n  g4 g4 as4 as4 |\n  g2 r4 c'4 |\n  bes4 bes4 bes4 bes4 |\n  bes8 as16 g16 as4 g4 g4 |\n  g4 g4 as4 as4 |\n  g2 r4 c'4 |\n  bes4 bes4 bes4 bes4 |\n  bes8 as16 g16 as4 g4 f8 es8 |\n  d8 es8 f4. es16 d16 es4 |\n  d2 r4 bes4 |\n  bes4 bes8 f8 g4 f4 |\n  f2 r4 g4 |\n  as4 g4 c'4 des'8 c'8 |\n  c'2 r4 bes4 |\n  bes4 bes8 c'8 c'8 as8 f8 bes8 |\n  g2.\n}\n\nbass = {\n  es,4 |\n  es8 f8 g8 es8 as,8 bes,8 c8 as,8 |\n  es2 r4 es4 |\n  d4 es4 bes,8 as,8 g,8 es,8 |\n  bes,2 es,4 es,4 |\n  es8 f8 g8 es8 as,8 bes,8 c8 as,8 |\n  es2 r4 es4 |\n  d4 es4 bes,8 as,8 g,8 es,8 |\n  bes,2 es,4 bes,4 |\n  bes,8 c8 d8 bes,8 es,8 f,8 g,8 es,8 |\n  bes,,2 r4 bes,4 |\n  es8 f8 g8 d8 es8 c8 f8 f,8 |\n  bes,2 r4 es4 |\n  as8 g8 f8 e8 f8 as,8 bes,8 c8 |\n  f,2 r4 g,8 as,8 |\n  bes,4 es8 c8 as,8 f,8 bes,8 bes,,8 |\n  es,2.\n}\n", "preferred": false}, {"slug": "nun-danket-cyberhymnal", "tune": "nun-danket", "music_file": "nun-danket-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 26, 32, 39, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Crüger, 1647. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUN DANKET (Johann Crüger, 1647); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand — soprano+alto right, tenor+bass left — so the single-track homophonic splitter was used) and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; the final dotted half completes the pickup). The soprano agreed with the engraving note-for-note; the lone two-note melisma (soprano g'-a' at line 6) is held with '_' each stanza (verse_variable_melisma). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Crüger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) — four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun Danket\", Johann Crüger, 1647) with\n%% tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand — soprano+alto\n%% on the right, tenor+bass on the left — so the single-track homophonic splitter is\n%% used) and verified against the Cyber Hymnal engraving. E-flat major, 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final dotted half completes the pickup.\n%% MELISMATIC: 51 soprano notes for 50 syllables (6.7.6.7.6.6.6.6); the one two-note\n%% melisma is the slurred soprano g'8( a'8) at line 6 (soprano notes 34-35), held\n%% with '_' each stanza (verse_variable_melisma). The cadential bass octave-doublings\n%% (Eb) are reduced to the lower octave; the printed accidentals (bass des, tenor\n%% fis, A/B/E naturals) match the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 | f'2. f'4 | g'8( a'8) bes'4 c''4 a'4 | bes'2. bes'4 |\n  c''4 bes'4 as'4 g'4 | as'2. g'4 | f'4 es'4 es'4 d'4 | es'2.\n}\nalto = {\n  es'4 |\n  f'4 es'4 es'4 c'8 d'8 | es'2. es'8 d'8 | c'8 d'8 es'4 d'4 es'4 | es'4 d'4 es'4 es'4 |\n  f'4 es'4 es'4 es'4 | es'2. es'4 | es'8 d'8 es'4 es'8 d'8 c'8 b8 | c'4 bes8 as8 g4 bes4 |\n  c'4 d'8 c'8 bes4 es'4 | d'2. f'4 | es'4 f'4 es'4 d'4 | d'2. d'4 |\n  c'4 c'4 c'4 e'4 | f'2. es'8 d'8 | c'4 g8 as8 bes4 bes8 as8 | g2.\n}\ntenor = {\n  g4 |\n  f4 g4 as4 es8 f8 | g2. g4 | as4 bes4 bes4 bes4 | bes2 g4 g4 |\n  f4 g4 as4 as4 | g2. g4 | as4 bes4 f4 d4 | f8 es8 d4 es4 d4 |\n  f4 bes8 a8 g4 bes4 | bes2. bes4 | bes4 bes4 bes8 a8 g8 fis8 | g2. bes4 |\n  g4 f8 g8 as8 bes8 c'4 | c'2. bes4 | as4 es8 f8 g4 f4 | g2.\n}\nbass = {\n  es4 |\n  d4 es4 as4 as,4 | es2. es4 | f4 g8 as8 bes4 es4 | bes,2 es,4 es4 |\n  des4 des4 c8 bes,8 as,4 | es,2. es8 d8 | c4 bes,4 as,4 d4 | as,4 bes,4 es,4 bes,4 |\n  a,4 bes,4 es,8 f,8 g,8 a,8 | bes,2. d4 | es4 d4 c4 d4 | g,2. g8 f8 |\n  e4 d8 e8 f4 c4 | f,2. g,4 | as,4 c4 bes,4 bes,4 | es,2.\n}\n", "preferred": true}]}, "nun-komm-der-heiden-heiland": {"slug": "nun-komm-der-heiden-heiland", "name": "NUN KOMM, DER HEIDEN HEILAND", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Plainchant, Veni redemptor gentium", "arranger": "martin-luther", "canonical_key": {"tonic": "a", "mode": "minor"}, "preferred_harmonization": "nun-komm-der-heiden-heiland-bwv62", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "NUN KOMM, DER HEIDEN HEILAND (7.7.7.7), the Advent chorale adapted by Martin Luther from the plainchant hymn \"Veni redemptor gentium\" (Ambrose of Milan, c. 397), first published in the Erfurt Enchiridion, 1524. The melody is carried here as the soprano of J. S. Bach's harmonization BWV 62/6, published in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87; Bach died 1750). Identity verified: the soprano opens with the authentic NUN KOMM incipit (scale degrees 1-1-7-3-2-1-2-1 in A minor, matching the hymnary.org tune authority incipit for its first phrase exactly), and the tune shows the chorale's ABCA form (phrase 4 repeats phrase 1). All components centuries pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text — see staged NOTES.txt)"}, "harmonization": {"slug": "nun-komm-der-heiden-heiland-bwv62", "tune": "nun-komm-der-heiden-heiland", "music_file": "nun-komm-der-heiden-heiland-bwv62.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN KOMM, DER HEIDEN HEILAND, Erfurt Enchiridion, 1524; harm. J. S. Bach (BWV 62). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), the closing chorale of the cantata \"Nun komm, der Heiden Heiland\" BWV 62 (1724); No. 170 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor170.krn, which is referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified note-for-note against the kern source in all four voices, including the explicit naturals (soprano/alto/tenor G-naturals and F-naturals, kern \"nX\") and the alto and bass sixteenth-note figures. A minor, 4/4, no pickup; fermatas at the four phrase ends (soprano ordinals 8, 16, 25, 33) are omitted per house style.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text — see staged NOTES.txt)"}, "music_ly": "%% NUN KOMM, DER HEIDEN HEILAND (7.7.7.7) — four SATB voice streams, canonical key A minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 62/6 (the closing chorale of the cantata \"Nun\n%% komm, der Heiden Heiland\" BWV 62; Breitkopf/Riemenschneider No. 170), converted\n%% from the craigsapp/bach-370-chorales kern edition (chor170.krn) with\n%% tools/kern2ly.py and verified note-for-note against the kern source (all four\n%% voices, including the explicit naturals and the alto/bass sixteenth figures).\n%% A minor, 4/4, no pickup. The source prints fermatas at soprano ordinals 8, 16,\n%% 25, 33 (phrases 8+8+9+8; form ABCA — phrase 4 repeats phrase 1); fermatas are\n%% omitted per house style. MELISMATIC: 33 soprano notes for 28 syllables\n%% (7.7.7.7) — the soprano's 5 two-note eighth figures (notes 5-6, 9-10, 19-20,\n%% 22-23, 30-31) are melisma slurs, one syllable each; the setting holds the\n%% continuations with '_' at soprano notes 6, 10, 20, 23, 31 every stanza\n%% (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2 |\n  a'8( b'8) c''4 d''4 c''4 |\n  d''4 e''4 c''2 |\n  c''4 d''4 e''8( d''8) c''4 |\n  d''8( c''8) b'4 a'2 |\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2\n}\n\nalto = {\n  e'4 d'4 e'4 e'4 |\n  e'8 fis'8 gis'4 e'2 |\n  e'8 gis'8 a'4 d'4 g'4 |\n  f'4 e'8 f'16 g'16 f'2 |\n  f'4 f'4 e'4 e'4 |\n  d'8 a'8 gis'4 e'2 |\n  dis'8 e'8 fis'4 e'4 e'4 |\n  f'8 c'8 d'4 cis'2\n}\n\ntenor = {\n  c'4 b8 a8 b8 a8 g8 a8 |\n  b8 c'8 d'4 c'2 |\n  c'8 d'8 e'8 f'8 b8 a8 g8 a8 |\n  b4 c'8 g8 a2 |\n  a4 b8 c'8 b4 a4 |\n  a4 e'8 d'8 c'2 |\n  fis4 b4 b4 a4 |\n  a4. gis8 e2\n}\n\nbass = {\n  a8 g8 f4 e4 e8 fis8 |\n  gis8 a8 e8 e,8 a,2 |\n  a,4 a4 g8 f8 e4 |\n  d4 c4 f2 |\n  f8 e8 d4 gis4 a8 g8 |\n  f8 d8 e4 a,2 |\n  b,8 cis8 dis8 b,8 e8 d8 c8 a,8 |\n  d8 e16 f16 e4 a,2\n}\n"}, "harmonizations": [{"slug": "nun-komm-der-heiden-heiland-bwv62", "tune": "nun-komm-der-heiden-heiland", "music_file": "nun-komm-der-heiden-heiland-bwv62.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN KOMM, DER HEIDEN HEILAND, Erfurt Enchiridion, 1524; harm. J. S. Bach (BWV 62). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), the closing chorale of the cantata \"Nun komm, der Heiden Heiland\" BWV 62 (1724); No. 170 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor170.krn, which is referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified note-for-note against the kern source in all four voices, including the explicit naturals (soprano/alto/tenor G-naturals and F-naturals, kern \"nX\") and the alto and bass sixteenth-note figures. A minor, 4/4, no pickup; fermatas at the four phrase ends (soprano ordinals 8, 16, 25, 33) are omitted per house style.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text — see staged NOTES.txt)"}, "music_ly": "%% NUN KOMM, DER HEIDEN HEILAND (7.7.7.7) — four SATB voice streams, canonical key A minor.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 62/6 (the closing chorale of the cantata \"Nun\n%% komm, der Heiden Heiland\" BWV 62; Breitkopf/Riemenschneider No. 170), converted\n%% from the craigsapp/bach-370-chorales kern edition (chor170.krn) with\n%% tools/kern2ly.py and verified note-for-note against the kern source (all four\n%% voices, including the explicit naturals and the alto/bass sixteenth figures).\n%% A minor, 4/4, no pickup. The source prints fermatas at soprano ordinals 8, 16,\n%% 25, 33 (phrases 8+8+9+8; form ABCA — phrase 4 repeats phrase 1); fermatas are\n%% omitted per house style. MELISMATIC: 33 soprano notes for 28 syllables\n%% (7.7.7.7) — the soprano's 5 two-note eighth figures (notes 5-6, 9-10, 19-20,\n%% 22-23, 30-31) are melisma slurs, one syllable each; the setting holds the\n%% continuations with '_' at soprano notes 6, 10, 20, 23, 31 every stanza\n%% (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2 |\n  a'8( b'8) c''4 d''4 c''4 |\n  d''4 e''4 c''2 |\n  c''4 d''4 e''8( d''8) c''4 |\n  d''8( c''8) b'4 a'2 |\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2\n}\n\nalto = {\n  e'4 d'4 e'4 e'4 |\n  e'8 fis'8 gis'4 e'2 |\n  e'8 gis'8 a'4 d'4 g'4 |\n  f'4 e'8 f'16 g'16 f'2 |\n  f'4 f'4 e'4 e'4 |\n  d'8 a'8 gis'4 e'2 |\n  dis'8 e'8 fis'4 e'4 e'4 |\n  f'8 c'8 d'4 cis'2\n}\n\ntenor = {\n  c'4 b8 a8 b8 a8 g8 a8 |\n  b8 c'8 d'4 c'2 |\n  c'8 d'8 e'8 f'8 b8 a8 g8 a8 |\n  b4 c'8 g8 a2 |\n  a4 b8 c'8 b4 a4 |\n  a4 e'8 d'8 c'2 |\n  fis4 b4 b4 a4 |\n  a4. gis8 e2\n}\n\nbass = {\n  a8 g8 f4 e4 e8 fis8 |\n  gis8 a8 e8 e,8 a,2 |\n  a,4 a4 g8 f8 e4 |\n  d4 c4 f2 |\n  f8 e8 d4 gis4 a8 g8 |\n  f8 d8 e4 a,2 |\n  b,8 cis8 dis8 b,8 e8 d8 c8 a,8 |\n  d8 e16 f16 e4 a,2\n}\n", "preferred": true}]}, "nunc-dimittis": {"slug": "nunc-dimittis", "name": "NUNC DIMITTIS", "alt_name": "CANTIQUE DE SIMÉON", "meter_label": "6.6.7.D", "meter": {"pattern": [6, 6, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "louis-bourgeois", "composer_date": "1547", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "nunc-dimittis-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "NUNC DIMITTIS (6.6.7 D), the Genevan Psalter melody for the Song of Simeon (\"Cantique de Siméon\"), by Louis Bourgeois (c. 1510-1559); The Cyber Hymnal credits \"Louis Bourgeois, Pseaulmes Cinquante de David, 1547\" (the tune is commonly dated to the Genevan Psalter of 1549). Hymnary.org tune authority nunc_dimittis_bourgeois concurs (composers Louis Bourgeois and Claude Goudimel, key F Major, 69 hymnals). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified bar-by-bar against the Cyber Hymnal engraving (F major, one flat, no time signature — a free-meter Genevan rhythmic chorale barred at the six phrase cadences; fully syllabic, 38 soprano notes for 38 syllables; the soprano matches Hymnary's authority incipit 56543243122115565435 exactly). All components 16th-century, pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cantique de Siméon\" (Louis Bourgeois, 1547; harmony credited to Claude Goudimel); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nunc_dimittis_bourgeois", "total_instances": 69}}, "harmonization": {"slug": "nunc-dimittis-cyberhymnal", "tune": "nunc-dimittis", "music_file": "nunc-dimittis-cyberhymnal.ly", "harmonizer": "claude-goudimel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [12, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [6, 12, 19, 25, 31], "refrain": null, "source_line": "NUNC DIMITTIS (Cantique de Siméon), Genevan Psalter; melody Louis Bourgeois, 1547; harmony Claude Goudimel. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUNC DIMITTIS (6.6.7 D), the Genevan Song of Simeon, melody by Louis Bourgeois (c. 1510-1559), credited by The Cyber Hymnal to Pseaulmes Cinquante de David, 1547; the four-part setting is the harmony The Cyber Hymnal credits to Claude Goudimel (c. 1514-1572), \"Harmony by Claude Goudimel, 1551\" (Goudimel's note-against-note psalter harmonizations are commonly dated 1564-1565; either way 16th-century). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified bar-by-bar against the Cyber Hymnal engraving at 600 dpi (F major, one flat, no time signature; a free-meter Genevan rhythmic chorale, barlines at the six phrase cadences; the alto f-sharp in phrase 1 and b-natural in phrase 5 match the engraved accidentals). The mid2ly merged-unison artifact at the phrase-1 cadence was corrected against the engraving: the soprano holds a half-note a-prime (up-stem open head) while the alto sings the passing quarters a-prime and f-sharp-prime (down-stem, printed sharp); the raw tool output had duplicated the alto pair into the soprano. The corrected soprano matches Hymnary's authority incipit for nunc_dimittis_bourgeois exactly. All components 16th-century, pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cantique de Siméon\" (Louis Bourgeois, 1547; harmony credited to Claude Goudimel); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nunc_dimittis_bourgeois", "total_instances": 69}}, "music_ly": "%% NUNC DIMITTIS (\"Cantique de Siméon\", 6.6.7 D) — four SATB voice streams,\n%% canonical key F major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (cantique_de_siméon.mid; melody\n%% Louis Bourgeois, Pseaulmes Cinquante de David, 1547 — the Genevan Psalter\n%% Song of Simeon; harmony credited by The Cyber Hymnal to Claude Goudimel)\n%% with tools/mid2ly.py and verified bar-by-bar against the Cyber Hymnal\n%% engraving (CantiqueDeSimeon.pdf) at 600 dpi. FREE METER (the engraving\n%% prints no time signature; phrases of 10/8/10/8/8/12 quarters): a Genevan\n%% rhythmic chorale — barlines fall at the six phrase cadences (after soprano\n%% notes 6, 12, 19, 25, 31, 38). Fully syllabic: 38 soprano notes for 38\n%% syllables of 6.6.7 D; no melisma slurs.\n%% The mid2ly merged-unison artifact at the phrase-1 cadence was CORRECTED\n%% against the engraving: the raw tool output gave the soprano \"a'4 fis'4\",\n%% but the engraving prints the soprano a' as an up-stem HALF note and the\n%% sharped f' as a down-stem alto quarter (alto passing figure a'4 fis'4\n%% under the held soprano a'2; V-I cadence on G). The corrected soprano\n%% matches Hymnary's authority incipit for nunc_dimittis_bourgeois\n%% (56543243122115565435) digit-for-digit. The alto b-natural in phrase 5\n%% (printed natural) and the alto f-sharp in phrase 1 (printed sharp) are the\n%% only non-scale tones, spelled to the engraved accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 d''4 c''4 bes'2 a'2 g'2 |\n  bes'2 a'4 f'4 g'4 g'4 f'2 |\n  f'2 c''4 c''4 d''4 c''4 bes'2 a'2 |\n  c''2 a'4 bes'4 a'4 g'4 f'2 |\n  f'2 d'4 e'4 f'4 d'4 c'2 |\n  f'2 g'4 a'4 bes'4 a'4 g'2 f'1\n}\nalto = {\n  a'2 bes'4 a'4 g'4 g'4 a'4 fis'4 g'2 |\n  g'2 f'4 f'4 e'4 e'4 f'2 |\n  f'2 f'4 f'4 f'4 f'4 f'2 f'2 |\n  g'2 f'4 f'4 f'4 e'4 d'2 |\n  d'2 d'4 c'4 c'4 b4 c'2 |\n  d'2 d'4 f'4 f'4 f'4 f'4 e'4 f'1\n}\ntenor = {\n  f'2 f'4 f'4 d'2 d'2 d'2 |\n  d'2 d'4 a4 c'4 c'4 c'2 |\n  c'2 a4 a4 bes4 a4 d'2 c'2 |\n  e'2 d'4 d'4 c'4 c'4 a2 |\n  bes2 f4 a4 a4 g4 g2 |\n  bes2 bes4 c'4 d'4 c'4 c'2 c'1\n}\nbass = {\n  f2 bes,4 f4 g2 d2 g,2 |\n  g,2 d4 d4 c4 c4 f,2 |\n  f2 f4 f4 bes,4 f4 bes,2 f2 |\n  c2 d4 bes,4 f4 c4 d2 |\n  bes,2 bes,4 a,4 f,4 g,4 c2 |\n  bes,2 g,4 f,4 bes,4 f,4 c2 f,1\n}\n"}, "harmonizations": [{"slug": "nunc-dimittis-cyberhymnal", "tune": "nunc-dimittis", "music_file": "nunc-dimittis-cyberhymnal.ly", "harmonizer": "claude-goudimel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [12, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [6, 12, 19, 25, 31], "refrain": null, "source_line": "NUNC DIMITTIS (Cantique de Siméon), Genevan Psalter; melody Louis Bourgeois, 1547; harmony Claude Goudimel. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUNC DIMITTIS (6.6.7 D), the Genevan Song of Simeon, melody by Louis Bourgeois (c. 1510-1559), credited by The Cyber Hymnal to Pseaulmes Cinquante de David, 1547; the four-part setting is the harmony The Cyber Hymnal credits to Claude Goudimel (c. 1514-1572), \"Harmony by Claude Goudimel, 1551\" (Goudimel's note-against-note psalter harmonizations are commonly dated 1564-1565; either way 16th-century). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified bar-by-bar against the Cyber Hymnal engraving at 600 dpi (F major, one flat, no time signature; a free-meter Genevan rhythmic chorale, barlines at the six phrase cadences; the alto f-sharp in phrase 1 and b-natural in phrase 5 match the engraved accidentals). The mid2ly merged-unison artifact at the phrase-1 cadence was corrected against the engraving: the soprano holds a half-note a-prime (up-stem open head) while the alto sings the passing quarters a-prime and f-sharp-prime (down-stem, printed sharp); the raw tool output had duplicated the alto pair into the soprano. The corrected soprano matches Hymnary's authority incipit for nunc_dimittis_bourgeois exactly. All components 16th-century, pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Cantique de Siméon\" (Louis Bourgeois, 1547; harmony credited to Claude Goudimel); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nunc_dimittis_bourgeois", "total_instances": 69}}, "music_ly": "%% NUNC DIMITTIS (\"Cantique de Siméon\", 6.6.7 D) — four SATB voice streams,\n%% canonical key F major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (cantique_de_siméon.mid; melody\n%% Louis Bourgeois, Pseaulmes Cinquante de David, 1547 — the Genevan Psalter\n%% Song of Simeon; harmony credited by The Cyber Hymnal to Claude Goudimel)\n%% with tools/mid2ly.py and verified bar-by-bar against the Cyber Hymnal\n%% engraving (CantiqueDeSimeon.pdf) at 600 dpi. FREE METER (the engraving\n%% prints no time signature; phrases of 10/8/10/8/8/12 quarters): a Genevan\n%% rhythmic chorale — barlines fall at the six phrase cadences (after soprano\n%% notes 6, 12, 19, 25, 31, 38). Fully syllabic: 38 soprano notes for 38\n%% syllables of 6.6.7 D; no melisma slurs.\n%% The mid2ly merged-unison artifact at the phrase-1 cadence was CORRECTED\n%% against the engraving: the raw tool output gave the soprano \"a'4 fis'4\",\n%% but the engraving prints the soprano a' as an up-stem HALF note and the\n%% sharped f' as a down-stem alto quarter (alto passing figure a'4 fis'4\n%% under the held soprano a'2; V-I cadence on G). The corrected soprano\n%% matches Hymnary's authority incipit for nunc_dimittis_bourgeois\n%% (56543243122115565435) digit-for-digit. The alto b-natural in phrase 5\n%% (printed natural) and the alto f-sharp in phrase 1 (printed sharp) are the\n%% only non-scale tones, spelled to the engraved accidentals.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''2 d''4 c''4 bes'2 a'2 g'2 |\n  bes'2 a'4 f'4 g'4 g'4 f'2 |\n  f'2 c''4 c''4 d''4 c''4 bes'2 a'2 |\n  c''2 a'4 bes'4 a'4 g'4 f'2 |\n  f'2 d'4 e'4 f'4 d'4 c'2 |\n  f'2 g'4 a'4 bes'4 a'4 g'2 f'1\n}\nalto = {\n  a'2 bes'4 a'4 g'4 g'4 a'4 fis'4 g'2 |\n  g'2 f'4 f'4 e'4 e'4 f'2 |\n  f'2 f'4 f'4 f'4 f'4 f'2 f'2 |\n  g'2 f'4 f'4 f'4 e'4 d'2 |\n  d'2 d'4 c'4 c'4 b4 c'2 |\n  d'2 d'4 f'4 f'4 f'4 f'4 e'4 f'1\n}\ntenor = {\n  f'2 f'4 f'4 d'2 d'2 d'2 |\n  d'2 d'4 a4 c'4 c'4 c'2 |\n  c'2 a4 a4 bes4 a4 d'2 c'2 |\n  e'2 d'4 d'4 c'4 c'4 a2 |\n  bes2 f4 a4 a4 g4 g2 |\n  bes2 bes4 c'4 d'4 c'4 c'2 c'1\n}\nbass = {\n  f2 bes,4 f4 g2 d2 g,2 |\n  g,2 d4 d4 c4 c4 f,2 |\n  f2 f4 f4 bes,4 f4 bes,2 f2 |\n  c2 d4 bes,4 f4 c4 d2 |\n  bes,2 bes,4 a,4 f,4 g,4 c2 |\n  bes,2 g,4 f,4 bes,4 f,4 c2 f,1\n}\n", "preferred": true}]}, "o-dass-ich-tausend-zungen-hatte-dretzel": {"slug": "o-dass-ich-tausend-zungen-hatte-dretzel", "name": "O DASS ICH TAUSEND ZUNGEN HÄTTE (DRETZEL)", "meter_label": "9.8.9.8.8.8", "meter": {"pattern": [9, 8, 9, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "kornelius-heinrich-dretzel", "composer_date": "1906", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:136; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "o_dass_ich_tausend_zungen_hatte_konig", "total_instances": 164}}, "harmonization": {"slug": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136", "tune": "o-dass-ich-tausend-zungen-hatte-dretzel", "music_file": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 26, 34, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:136; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:136", "encoding_license": "PD-dedication"}, "music_ly": "%% Baptized Into Thy Name Most Holy\n%% Imported from Open Hymnal ABC X:136 via tools/abc_import.py\n%% Open Hymnal X:136; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'4 a'4 f'4 g'2 c''4 bes'2 a'4 g'4 f'2 g'4 g'4 g'4 a'2 c''4 c''2 b'4 c''2. f'4 a'4 f'4 g'2 c''4 bes'2 a'4 g'4 f'2 g'4 g'4 g'4 a'2 c''4 c''2 b'4 c''2. g'4 g'4 g'4 a'2 f'4 bes'2 a'4 g'2. c''4 c''4 c''4 bes'2 a'4 g'4 g'2 f'2.\n}\nalto = {\n  c'4 c'4 c'4 e'2 f'4 d'2 c'4 c'4 c'2 e'4 d'4 e'4 f'2 c'4 d'2 d'4 e'2. c'4 c'4 c'4 e'2 f'4 d'2 c'4 c'4 c'2 e'4 d'4 e'4 f'2 c'4 d'2 d'4 e'2. c'4 b4 c'4 c'2 d'4 d'4( e'4) f'4 e'2. e'4 e'4 f'4 d'2 f'4 f'4 e'2 f'2.\n}\ntenor = {\n  a4 f4 a4 c'2 c'4 f2 f4 e4 a2 g4 g4 c'4 c'2 g4 a2 g4 g2. a4 f4 a4 c'2 c'4 f2 f4 e4 a2 g4 g4 c'4 c'2 g4 a2 g4 g2. e4 f4 g4 f2 a4 bes2 c'4 c'2. g4 g4 a4 bes2 c'4 d'4 c'2 a2.\n}\nbass = {\n  f4 f,4 f4 c2 a,4 bes,2 f,4 c4 f,2 c4 b,4 c4 f2 e4 f2 g4 c2. f4 f,4 f4 c2 a,4 bes,2 f,4 c4 f,2 c4 b,4 c4 f2 e4 f2 g4 c2. c4 d4 e4 f2 d4 g2 f4 c2. c4 c4 f,4 g,2 a,4 bes,4 c2 f,2.\n}\n"}, "harmonizations": [{"slug": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136", "tune": "o-dass-ich-tausend-zungen-hatte-dretzel", "music_file": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 26, 34, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:136; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:136", "encoding_license": "PD-dedication"}, "music_ly": "%% Baptized Into Thy Name Most Holy\n%% Imported from Open Hymnal ABC X:136 via tools/abc_import.py\n%% Open Hymnal X:136; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'4 a'4 f'4 g'2 c''4 bes'2 a'4 g'4 f'2 g'4 g'4 g'4 a'2 c''4 c''2 b'4 c''2. f'4 a'4 f'4 g'2 c''4 bes'2 a'4 g'4 f'2 g'4 g'4 g'4 a'2 c''4 c''2 b'4 c''2. g'4 g'4 g'4 a'2 f'4 bes'2 a'4 g'2. c''4 c''4 c''4 bes'2 a'4 g'4 g'2 f'2.\n}\nalto = {\n  c'4 c'4 c'4 e'2 f'4 d'2 c'4 c'4 c'2 e'4 d'4 e'4 f'2 c'4 d'2 d'4 e'2. c'4 c'4 c'4 e'2 f'4 d'2 c'4 c'4 c'2 e'4 d'4 e'4 f'2 c'4 d'2 d'4 e'2. c'4 b4 c'4 c'2 d'4 d'4( e'4) f'4 e'2. e'4 e'4 f'4 d'2 f'4 f'4 e'2 f'2.\n}\ntenor = {\n  a4 f4 a4 c'2 c'4 f2 f4 e4 a2 g4 g4 c'4 c'2 g4 a2 g4 g2. a4 f4 a4 c'2 c'4 f2 f4 e4 a2 g4 g4 c'4 c'2 g4 a2 g4 g2. e4 f4 g4 f2 a4 bes2 c'4 c'2. g4 g4 a4 bes2 c'4 d'4 c'2 a2.\n}\nbass = {\n  f4 f,4 f4 c2 a,4 bes,2 f,4 c4 f,2 c4 b,4 c4 f2 e4 f2 g4 c2. f4 f,4 f4 c2 a,4 bes,2 f,4 c4 f,2 c4 b,4 c4 f2 e4 f2 g4 c2. c4 d4 e4 f2 d4 g2 f4 c2. c4 c4 f,4 g,2 a,4 bes,4 c2 f,2.\n}\n", "preferred": true}]}, "o-dass-ich-tausend-zungen-konig": {"slug": "o-dass-ich-tausend-zungen-konig", "name": "O DASS ICH TAUSEND ZUNGEN", "meter_label": "9.8.9.8.8.8", "meter": {"pattern": [9, 8, 9, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-balthasar-konig", "composer_date": "1908", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "o-dass-ich-tausend-zungen-konig-oh182", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:182; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "o-dass-ich-tausend-zungen-konig-oh182", "tune": "o-dass-ich-tausend-zungen-konig", "music_file": "o-dass-ich-tausend-zungen-konig-oh182.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [9, 17, 26, 34, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [9, 17, 26, 34, 42], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:182; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:182", "encoding_license": "PD-dedication"}, "music_ly": "%% By Grace I'm Saved\n%% Imported from Open Hymnal ABC X:182 via tools/abc_import.py\n%% Open Hymnal X:182; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''4 a'4 c''4 | d''4 c''4 bes'4 a'4 | g'2 f'2 | a'4 g'4 f'4 | g'4 a'4 bes'4 a'4 | g'2 | c''4 a'4 c''4 | d''4 c''4 bes'4 a'4 | g'2 f'2 | a'4 g'4 f'4 | g'4 a'4 bes'4 a'4 | g'2 | g'4 g'4 g'4 | a'4 c''4 c''4 b'4 | c''2 c''4 | a'4 f'4 d''4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  f'4 f'4 f'4 | f'4 e'4 f'4 f'4 | f'4( e'4) f'2 | f'4 e'4 d'4 | e'4 f'4 f'4 f'4 | e'2 | f'4 f'4 f'4 | f'4 e'4 f'4 f'4 | f'4( e'4) f'2 | f'4 e'4 d'4 | e'4 f'4 f'4 f'4 | e'2 | e'4 d'4 c'4 | c'4 g'4 f'4 d'4 | e'2 g'4 | f'4 f'4 f'4 g'4 | g'4( f'4) f'4( e'4) | c'1\n}\ntenor = {\n  a4 c'4 c'4 | bes4 g4 d'4 c'4 | c'2 a2 | c'4 c'4 a4 | bes4 c'4 d'4 c'4 | c'2 | a4 c'4 c'4 | bes4 g4 d'4 c'4 | c'2 a2 | c'4 c'4 a4 | bes4 c'4 d'4 c'4 | c'2 | c'4 b4 g4 | f4 g4 a4 g4 | g2 c'4 | c'4 c'4 bes4 d'4 | c'2 bes2 | a1\n}\nbass = {\n  f,4 f4 a,4 | bes,4 c4 d4 f4 | c2 f,2 | f4 c4 d4 | g4 f4 bes,4 f4 | c2 | f,4 f4 a,4 | bes,4 c4 d4 f4 | c2 f,2 | f4 c4 d4 | g4 f4 bes,4 f4 | c2 | c4 d4 e4 | f4 e4 f4 g4 | c2 e4 | f4 a,4 bes,4 a,4 | c2 c,2 | f,1\n}\n"}, "harmonizations": [{"slug": "o-dass-ich-tausend-zungen-konig-oh182", "tune": "o-dass-ich-tausend-zungen-konig", "music_file": "o-dass-ich-tausend-zungen-konig-oh182.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [9, 17, 26, 34, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [9, 17, 26, 34, 42], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:182; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:182", "encoding_license": "PD-dedication"}, "music_ly": "%% By Grace I'm Saved\n%% Imported from Open Hymnal ABC X:182 via tools/abc_import.py\n%% Open Hymnal X:182; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\cadenzaOn }\n\nsoprano = {\n  c''4 a'4 c''4 | d''4 c''4 bes'4 a'4 | g'2 f'2 | a'4 g'4 f'4 | g'4 a'4 bes'4 a'4 | g'2 | c''4 a'4 c''4 | d''4 c''4 bes'4 a'4 | g'2 f'2 | a'4 g'4 f'4 | g'4 a'4 bes'4 a'4 | g'2 | g'4 g'4 g'4 | a'4 c''4 c''4 b'4 | c''2 c''4 | a'4 f'4 d''4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  f'4 f'4 f'4 | f'4 e'4 f'4 f'4 | f'4( e'4) f'2 | f'4 e'4 d'4 | e'4 f'4 f'4 f'4 | e'2 | f'4 f'4 f'4 | f'4 e'4 f'4 f'4 | f'4( e'4) f'2 | f'4 e'4 d'4 | e'4 f'4 f'4 f'4 | e'2 | e'4 d'4 c'4 | c'4 g'4 f'4 d'4 | e'2 g'4 | f'4 f'4 f'4 g'4 | g'4( f'4) f'4( e'4) | c'1\n}\ntenor = {\n  a4 c'4 c'4 | bes4 g4 d'4 c'4 | c'2 a2 | c'4 c'4 a4 | bes4 c'4 d'4 c'4 | c'2 | a4 c'4 c'4 | bes4 g4 d'4 c'4 | c'2 a2 | c'4 c'4 a4 | bes4 c'4 d'4 c'4 | c'2 | c'4 b4 g4 | f4 g4 a4 g4 | g2 c'4 | c'4 c'4 bes4 d'4 | c'2 bes2 | a1\n}\nbass = {\n  f,4 f4 a,4 | bes,4 c4 d4 f4 | c2 f,2 | f4 c4 d4 | g4 f4 bes,4 f4 | c2 | f,4 f4 a,4 | bes,4 c4 d4 f4 | c2 f,2 | f4 c4 d4 | g4 f4 bes,4 f4 | c2 | c4 d4 e4 | f4 e4 f4 g4 | c2 e4 | f4 a,4 bes,4 a,4 | c2 c,2 | f,1\n}\n", "preferred": true}]}, "o-lux-beata-trinitas": {"slug": "o-lux-beata-trinitas", "name": "O LUX BEATA TRINITAS", "meter_label": "Irregular", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer_source": "Ancient Latin", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "o-lux-beata-trinitas-oh314", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:314; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "o_lux_beata_trinitas", "total_instances": 25}}, "harmonization": {"slug": "o-lux-beata-trinitas-oh314", "tune": "o-lux-beata-trinitas", "music_file": "o-lux-beata-trinitas-oh314.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [14, 28, 42, 56], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:314; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:314", "encoding_license": "PD-dedication"}, "music_ly": "%% O Trinity of Blessed Light\n%% Imported from Open Hymnal ABC X:314 via tools/abc_import.py\n%% Open Hymnal X:314; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  a'8( b'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4 | a'8( b'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4 | a'8( b'8) d''8 cis''8( d''8) b'8 a'8( g'8) a'8( b'8) a'8( g'8 fis'8) fis'4 | g'8( a'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4\n}\nalto = {\n  d'4 e'8 d'4 b4 d'1 | d'4 e'8 d'4 b8 cis'8 d'4 e'4 fis'2 | d'1~ d'2~ d'8 cis'4 | e'4. d'4 b4 d'2.~ d'8 cis'8\n}\ntenor = {\n  fis4 a4. g4 fis2 g4 fis4 | fis4 a4. g4 a8 b8 cis'4 d'4 cis'4 | fis4~ fis4. g4.~ g4 fis8 g8 a4. | b4 a4. g4 fis2 g8 fis8 e4\n}\nbass = {\n  d4 cis8 d4 e4 b,4 a,4 g,4 d4 | d4 cis8 d4 e4 d4 cis4 b,4 fis4 | d4 b,8 a,4 g,4 b,8 d4~ d4. fis4 | e4 cis8 d4 e4 b,4 a,4 g,4 a,4\n}\n"}, "harmonizations": [{"slug": "o-lux-beata-trinitas-oh314", "tune": "o-lux-beata-trinitas", "music_file": "o-lux-beata-trinitas-oh314.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [14, 28, 42, 56], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:314; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:314", "encoding_license": "PD-dedication"}, "music_ly": "%% O Trinity of Blessed Light\n%% Imported from Open Hymnal ABC X:314 via tools/abc_import.py\n%% Open Hymnal X:314; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  a'8( b'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4 | a'8( b'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4 | a'8( b'8) d''8 cis''8( d''8) b'8 a'8( g'8) a'8( b'8) a'8( g'8 fis'8) fis'4 | g'8( a'8) a'8( g'8 fis'8 g'8) e'8 fis'8 g'8 a'8( b'8) b'8( a'8) a'4\n}\nalto = {\n  d'4 e'8 d'4 b4 d'1 | d'4 e'8 d'4 b8 cis'8 d'4 e'4 fis'2 | d'1~ d'2~ d'8 cis'4 | e'4. d'4 b4 d'2.~ d'8 cis'8\n}\ntenor = {\n  fis4 a4. g4 fis2 g4 fis4 | fis4 a4. g4 a8 b8 cis'4 d'4 cis'4 | fis4~ fis4. g4.~ g4 fis8 g8 a4. | b4 a4. g4 fis2 g8 fis8 e4\n}\nbass = {\n  d4 cis8 d4 e4 b,4 a,4 g,4 d4 | d4 cis8 d4 e4 d4 cis4 b,4 fis4 | d4 b,8 a,4 g,4 b,8 d4~ d4. fis4 | e4 cis8 d4 e4 b,4 a,4 g,4 a,4\n}\n", "preferred": true}]}, "old-100th": {"slug": "old-100th", "name": "OLD 100TH", "alt_name": "OLD HUNDREDTH", "meter_label": "8.8.8.8", "meter": {"alleluia": false, "doubled": false, "irregular": false, "pattern": [8, 8, 8, 8], "refrain": false}, "composer": "louis-bourgeois", "composer_date": "1551", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "old-100th-oh", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "old-100th-oh", "tune": "old-100th", "music_file": "old-100th-oh.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 16, 24, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:306", "encoding_license": "PD-dedication"}, "music_ly": "%% Awake, My Soul, And With The Sun\n%% Imported from Open Hymnal ABC X:306 via tools/abc_import.py\n%% Open Hymnal X:306; all components published pre-1931 (latest year 1674).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 g'4 fis'4 e'4 d'4 | g'2 a'2 b'2. | b'2 b'4 b'4 a'4 g'4 | c''2 b'2 a'2. | g'2 a'4 b'4 a'4 g'4 | e'2 fis'2 g'2. | d''2 b'4 g'4 a'4 c''4 | b'2 a'2 g'2.\n}\nalto = {\n  d'2 d'4 d'4 b4 b4 | b2 d'2 d'2. | d'2 d'4 g'4 fis'4 g'4 | g'2 g'2 fis'2. | g'2 fis'4 g'4 fis'4 d'4 | e'2 d'2 d'2. | d'2 d'4 g'4 fis'4 e'8 fis'8 | g'2 fis'2 d'2.\n}\ntenor = {\n  b2 b4 a4 g4 fis4 | g2 fis2 g2. | g2 b4 d'4 c'4 b4 | e'2 d'2 d'2. | b2 d'4 d'4 d'4 d'4 | c'4( b4) a2 b2. | b2 g4 b4 d'4 e'4 | d'2 d'4( c'4) b2.\n}\nbass = {\n  g2 g4 d4 e4 b,4 | e2 d2 g,2. | g2 g4 g4 d4 e4 | c2 g,2 d2. | e2 d4 g4 d4 b,4 | c2 d2 g,2. | g2 g4 e4 d4 a,4 | b,4( c4) d2 g,2.\n}\n"}, "harmonizations": [{"slug": "old-100th-bwv326", "tune": "old-100th", "music_file": "old-100th-bwv326.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 16, 24], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLD 100TH (Genevan Psalter, 1551); harm. J. S. Bach (BWV 326). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 326 — the standalone chorale \"Herr Gott, dich loben alle wir\". It is No. 164 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th) Breitkopf edition, which is the edition the kern header names as its source; the 1784-87 first Breitkopf print numbers it 167 (Dahn's catalogue: \"Riemenschneider 164; Breitkopf 167; Birnstiel 172; AmB 46II p.88; Penzel 121\"). US public domain by pre-1931 publication either way. The tune Bach is harmonizing is the Genevan melody of 1551 (Zahn 368, the Psalm 134 tune that English use took over for Psalm 100) — the same tune as the corpus's OLD 100TH, which is why this enters as a second harmonization of an existing tune rather than as a new one; the melody identification is confirmed independently by Luke Dahn's catalogue entry for BWV 326 (\"Tune: Herr Gott, dich loben alle wir, Geneva 1551, based on a 15th c. melody (Zahn 368)\") and by direct comparison with the corpus soprano. Encoded from the craigsapp/bach-370-chorales kern edition (chor164.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices with an independent parser. Bach's key is B-flat major (the kern's *k[b-e-] with *B-:); the corpus file is STORED IN G MAJOR, transposed down a minor third and machine-checked at exactly -3 semitones per note across all 189 notes in every voice with durations unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and OLD 100TH's is G major (shared with old-100th-oh, the preferred harmonization, which this import leaves untouched). The transposition is diatonic, so spellings follow the new signature: Bach's f-sharp, the leading tone of the line-3 cadence on G minor, becomes d-sharp, and his cautionary f-naturals become plain d. 3/4 throughout with a quarter pickup and a closing 2-beat bar; the kern encodes no sectional repeat, so the chorale is already written out straight and there are no seam bars. Fermatas at the four phrase ends (soprano ordinals 8, 16, 24, 32) are omitted per house style. SOPRANO AGAINST THE EXISTING CORPUS HARMONIZATION old-100th-oh, both in G: 32 notes against 32, of which 31 are pitch-identical; the single variant is soprano ordinal 13 (line 2, syllable 5), where old-100th-oh reads g and Bach reads b. Both are current readings of the tune's second line. The note VALUES differ throughout, since the corpus tune is a free-metre cadenza reading and Bach's is metered 3/4, but the sung shape is the same — 8 notes per line, four lines — and both are fully syllabic, so the two harmonizations carry the same text identically. ONE DELIBERATE DIVERGENCE FROM THE KERN, bar 12 beat 1, bass: the kern reads G3 (token \"2G\"); this file writes G2 (e,2 after transposition). Two independent witnesses print the low octave: (a) the Greentree-lineage encoding bwv326.mxl distributed via the music21 corpus, archived in imports/batchC/ — genuinely independent of the Sapp kern, though NOT a MuseData file (its own metadata credits Margaret Greentree, 2004, encoded with music21 5.3.0 / MuseScore 2.1.0); and (b) Luke Dahn's critical edition at bach-chorales.com, where the bar-12 bass notehead centre measures y=1565.0 against staff lines at y=1448/1477/1506/1535/1564, i.e. on the G2 bottom line to within 0.07 of a diatonic step (G3 would sit at y=1462). That measurement was made twice, independently, by the builder and by the adversarial verifier. The reading is also the one the surrounding register supports: bar 11 ends on the dominant root dropped to its low octave and the phrase-3 cadence answers it up a fourth, the following quarter resetting the register for line 4. (Stated as support, not as proof — the kern's G3 is playable, and makes the bar-13 ascent G3-A3-B-flat3-C4 stepwise where G2 requires a leap of a ninth.) A full machine collation of the two independent editions over all 189 events in the four voices found this ONE divergence and no other: soprano, alto and tenor agree note for note and duration for duration, and the bass agrees at its other 80 events.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor164.krn (BWV 326, Riemenschneider/Breitkopf-371 No. 164), converted with tools/kern2ly.py; underlay and collation witness music21 bach corpus MusicXML bwv326.mxl (both archived in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text — the 1784-87 Breitkopf collection as reprinted by Doerffel c. 1875 — and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), this .ly is a fresh re-encoding produced by tools/kern2ly.py plus a machine transposition, and the one place where the corpus file departs from the kern is settled against two witnesses outside it, so nothing expressive of the kern editor's own judgement is carried over. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The Greentree-lineage witness bwv326.mxl is used only for collation and to confirm the syllabic underlay, not as the encoding source. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% OLD 100TH (OLD HUNDREDTH, 8.8.8.8) — four SATB voice streams, canonical key\n%% G major. Corpus harmonization source for the HymnBookGenerator close-score\n%% engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 326, the standalone chorale \"Herr Gott, dich\n%% loben alle wir\" (Paul Eber's 1561 German paraphrase of Psalm 134). No. 164 in\n%% Riemenschneider and in the c. 1875 Doerffel Breitkopf edition the kern names\n%% as its source; the 1784-87 first Breitkopf print numbers it 167.\n%% Bach is setting the SAME Genevan melody as OLD 100TH — Geneva 1551, Zahn 368,\n%% the Psalm 134 tune that English use took over for Psalm 100 — which is why\n%% this is a second harmonization of an existing corpus tune and not a new one.\n%% Converted from the craigsapp/bach-370-chorales kern edition (chor164.krn)\n%% with tools/kern2ly.py and verified event-for-event against the kern source in\n%% all four voices.\n%%\n%% Bach's key is B-FLAT MAJOR (the kern's *k[b-e-] with *B-:, as Breitkopf\n%% prints it); STORED HERE IN G MAJOR — transposed down a minor third, every\n%% voice, machine-checked at exactly -3 semitones per note with durations\n%% unchanged — because the corpus keeps every harmonization of a tune in the\n%% tune's canonical key (the validate_corpus duplicated-fact equality), and OLD\n%% 100TH's is G major, shared with old-100th-oh. The transposition is diatonic,\n%% so the spellings follow the new signature: Bach's f# (leading tone of the\n%% line-3 cadence on G minor) becomes dis, and his cautionary f-naturals become\n%% plain d. 3/4 throughout, quarter pickup, closing 2-beat bar completing it —\n%% the kern writes the chorale straight through with no sectional repeat, so\n%% there are no seam bars and no time_changes.\n%%\n%% SOPRANO vs the corpus's existing old-100th-oh harmonization (both in G):\n%% 31 of 32 notes identical. The single variant is soprano ordinal 13 (line 2,\n%% syllable 5), where old-100th-oh reads g' and Bach reads b'. Both are current\n%% readings of the tune's second line; the note values differ throughout (the\n%% corpus tune is a free-metre cadenza reading, Bach's is metered 3/4) but the\n%% sung shape is identical: 8 notes per line, four lines, fermata at each line\n%% end (soprano ordinals 8, 16, 24, 32). Fermatas are omitted per house style.\n%%\n%% ONE DELIBERATE DIVERGENCE FROM chor164.krn — bar 12 beat 1, BASS. The kern\n%% reads G3 (its token `2G`), which here would be e2; this file writes e,2 (G2\n%% in Bach's key). TWO independent witnesses print the low octave: (a) the\n%% Greentree-lineage encoding bwv326.mxl distributed via the music21 corpus,\n%% archived alongside in imports/batchC/ — independent of the Sapp kern, but\n%% NOT a MuseData file (its metadata credits Margaret Greentree, 2004); and\n%% (b) Luke Dahn's critical edition at bach-chorales.com, where the bar-12\n%% bass notehead centre measures y=1565.0 against staff lines at\n%% y=1448/1477/1506/1535/1564 — on the G2 bottom line to within 0.07 of a\n%% diatonic step (G3 would sit at y=1462), measured twice independently.\n%% The surrounding register supports the reading: bar 11 ends on the dominant\n%% root dropped to its low octave (b,, here, D2 in Bach's key) and the\n%% phrase-3 cadence answers it up a fourth, after which the quarter is the\n%% pickup that resets the register for line 4. Stated as support, not proof —\n%% the kern's G3 is playable and makes the bar-13 ascent stepwise.\n%% Machine collation of the two independent editions over all 189 events in the\n%% four voices found this ONE divergence and nothing else — soprano, alto and\n%% tenor agree note for note and duration for duration.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 |\n  g'2 fis'4 |\n  e'2 d'4 |\n  g'4 a'2 |\n  b'2 b'4 |\n  b'2 b'4 |\n  a'2 b'4 |\n  c''4 b'2 |\n  a'2 g'4 |\n  a'2 b'4 |\n  a'2 g'4 |\n  e'4 fis'2 |\n  g'2 d''4 |\n  b'2 g'4 |\n  a'2 c''4 |\n  b'4 a'2 |\n  g'2\n}\n\nalto = {\n  d'4 |\n  e'2 d'4 |\n  c'2 b4 |\n  b4 e'4 d'4 |\n  d'2 fis'4 |\n  e'2 e'4 |\n  e'4 d'4 d'4 |\n  d'4 d'2 |\n  d'2 e'4 |\n  d'2 d'8 g'8 |\n  e'4 d'8 c'8 b4 |\n  e'4 e'4 dis'4 |\n  e'2 d'4 |\n  d'2 e'4 |\n  d'2 d'4 |\n  d'4 e'4 d'8 c'8 |\n  b2\n}\n\ntenor = {\n  b4 |\n  b2 b4 |\n  g2 g4 |\n  g2 fis4 |\n  g2 fis4 |\n  g2 g4 |\n  g4 fis4 g4 |\n  a4 g2 |\n  fis2 b4 |\n  a2 g4 |\n  g4 fis4 g4 |\n  g8 b8 c'4 b4 |\n  b2 a4 |\n  b2 b4 |\n  fis2 fis4 |\n  g2 fis4 |\n  d2\n}\n\nbass = {\n  g,8 fis,8 |\n  e,8 fis,8 g,8 a,8 b,8 g,8 |\n  c8 d8 e8 fis8 g8 fis8 |\n  e8 d8 c8 b,8 c8 d8 |\n  g,2 dis,4 |\n  e,8 b,8 e8 d8 c8 b,8 |\n  c8 a,8 d8 c8 b,8 a,8 |\n  g,8 fis,8 g,8 a,8 b,8 c8 |\n  d2 e4 |\n  fis8 d8 e8 fis8 g8 e8 |\n  c8 b,8 c8 d8 e8 b,8 |\n  c8 g,8 a,8 fis,8 b,8 b,,8 |\n  e,2 fis4 |\n  g8 a8 g8 fis8 e8 d8 |\n  c8 e8 d8 c8 b,8 a,8 |\n  g,8 b,8 c8 a,8 d8 d,8 |\n  g,2\n}\n", "preferred": false}, {"slug": "old-100th-oh", "tune": "old-100th", "music_file": "old-100th-oh.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 16, 24, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:306", "encoding_license": "PD-dedication"}, "music_ly": "%% Awake, My Soul, And With The Sun\n%% Imported from Open Hymnal ABC X:306 via tools/abc_import.py\n%% Open Hymnal X:306; all components published pre-1931 (latest year 1674).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 g'4 fis'4 e'4 d'4 | g'2 a'2 b'2. | b'2 b'4 b'4 a'4 g'4 | c''2 b'2 a'2. | g'2 a'4 b'4 a'4 g'4 | e'2 fis'2 g'2. | d''2 b'4 g'4 a'4 c''4 | b'2 a'2 g'2.\n}\nalto = {\n  d'2 d'4 d'4 b4 b4 | b2 d'2 d'2. | d'2 d'4 g'4 fis'4 g'4 | g'2 g'2 fis'2. | g'2 fis'4 g'4 fis'4 d'4 | e'2 d'2 d'2. | d'2 d'4 g'4 fis'4 e'8 fis'8 | g'2 fis'2 d'2.\n}\ntenor = {\n  b2 b4 a4 g4 fis4 | g2 fis2 g2. | g2 b4 d'4 c'4 b4 | e'2 d'2 d'2. | b2 d'4 d'4 d'4 d'4 | c'4( b4) a2 b2. | b2 g4 b4 d'4 e'4 | d'2 d'4( c'4) b2.\n}\nbass = {\n  g2 g4 d4 e4 b,4 | e2 d2 g,2. | g2 g4 g4 d4 e4 | c2 g,2 d2. | e2 d4 g4 d4 b,4 | c2 d2 g,2. | g2 g4 e4 d4 a,4 | b,4( c4) d2 g,2.\n}\n", "preferred": true}]}, "old-113th": {"slug": "old-113th", "name": "OLD 113TH", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "matthaus-greiter", "composer_date": "1525", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "old-113th-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "OLD 113TH (8.8.8.8.8.8), a 16th-century metrical-psalm tune attributed to Matthäus Greiter (Strasbourg, 1525) and long used in the English psalters as the tune for Psalm 113. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major; the melody is fully diatonic apart from the raised sixth-degree G-sharp at the second-phrase cadence, printed with a sharp in the source and carried in the soprano). A free-meter rhythmic chorale (the Cyber Hymnal prints 6/4 but the whole-note cadences do not tile a regular measure grid). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 113th\" (attr. Matthäus Greiter, 1525); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "old-113th-cyberhymnal", "tune": "old-113th", "music_file": "old-113th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": null, "refrain": null, "source_line": "OLD 113TH (attr. Matthäus Greiter, 1525). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 113TH (16th-century psalm tune attr. Matthäus Greiter, 1525); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free meter). The soprano agreed note-for-note; every chromatic is a raised G-sharp printed with a sharp (a sharp key, so the mid2ly sharp spellings match the engraving directly). A free-meter rhythmic chorale — barlines fall at the 6 phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 113th\" (attr. Matthäus Greiter, 1525); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 113TH (8.8.8.8.8.8) — a 16th-century psalm tune attributed to Matthäus\n%% Greiter (1525), here paired with Isaac Watts' \"I'll praise my Maker while I've\n%% breath\" (Ps. 146; John Wesley's 1737 alteration). Encoded from The Cyber Hymnal\n%% (public domain): the SATB MIDI was converted with tools/mid2ly.py and the four\n%% voices were verified note-for-note against the Cyber Hymnal engraving (D major;\n%% every chromatic is a raised G-sharp printed with a sharp — a sharp key, so the\n%% mid2ly sharp spellings match the engraving directly, no respelling needed).\n%% A FREE-METER rhythmic chorale: the Cyber Hymnal prints 6/4 but the whole-note\n%% cadences give an irregular measure grid (64 quarter-beats, not a multiple of 6),\n%% so — like OLD 124TH — barlines fall at the 6 phrase cadences rather than a\n%% regular meter. MELISMATIC (51 soprano notes for 48 syllables): the 3 melisma\n%% continuations are held with '_' every stanza (verse_variable_melisma) in line 5,\n%% at soprano notes 35, 37 and 42 (each a slurred eighth-note pair).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/4 }\n\nsoprano = {\n  d'2 d'4 e'4 fis'4 d'4 fis'4 g'4 a'2 | a'2 g'4 fis'4 e'4 d'4 fis'4 gis'4 a'2 | b'2 a'4 g'4 fis'4 d'4 e'4 e'4 d'2~ d'2 | d''2 d''4 d''4 cis''4 a'4 b'4 b'4 a'2 | d''2 d''8( g'8) d''8( e'8) cis''4 a'4 b'4 b'8( d'8) a'2 | d'2 e'4 fis'4 g'4 fis'4 e'4 e'4 d'1\n}\nalto = {\n  a2 b4 cis'4 d'4 d'4 d'4 d'4 cis'2 | d'2 d'4 d'4 cis'4 b4 a4 d'4 cis'2 | d'2 cis'4 b4 a4 d'4 d'4 cis'4 d'2~ d'2 | fis'2 fis'4 d'4 e'4 d'4 d'4 g'4 fis'2 | fis'2 fis'8 g'8 a'8 e'8 e'4 cis'4 fis'4 e'8 d'8 cis'2 | d'2 cis'4 d'4 d'4 d'4 d'4 cis'4 d'1\n}\ntenor = {\n  fis2 fis4 a4 a4 a4 a4 d4 e2 | fis2 g4 a4 a4 fis4 fis4 d4 e2 | g2 e4 d8 e8 fis4 fis4 b4 a8 g8 fis2~ fis2 | a2 a4 a4 a4 d'4 d'4 d'4 d'2 | a2 a8 e8 a8 b8 a4 a8 fis8 a4 gis4 a2 | fis2 a4 a4 b4 b4 b4 a8 g8 fis1\n}\nbass = {\n  d2 b,4 a,4 d4 fis4 d4 b,4 a,2 | d2 b,4 d4 a,4 b,4 d4 b,4 a,2 | g,2 a,4 b,8 cis8 d4 b,4 g,4 a,8 g8 d2~ d2 | d2 d4 fis4 a4 fis4 g4 g,4 d2 | d2 d8 e8 fis8 gis8 a4 a8 fis8 d4 e4 a,2 | b,2 a,4 d4 g,4 b,4 g,4 a,8 g8 d1\n}\n"}, "harmonizations": [{"slug": "old-113th-cyberhymnal", "tune": "old-113th", "music_file": "old-113th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": null, "refrain": null, "source_line": "OLD 113TH (attr. Matthäus Greiter, 1525). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 113TH (16th-century psalm tune attr. Matthäus Greiter, 1525); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free meter). The soprano agreed note-for-note; every chromatic is a raised G-sharp printed with a sharp (a sharp key, so the mid2ly sharp spellings match the engraving directly). A free-meter rhythmic chorale — barlines fall at the 6 phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 113th\" (attr. Matthäus Greiter, 1525); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 113TH (8.8.8.8.8.8) — a 16th-century psalm tune attributed to Matthäus\n%% Greiter (1525), here paired with Isaac Watts' \"I'll praise my Maker while I've\n%% breath\" (Ps. 146; John Wesley's 1737 alteration). Encoded from The Cyber Hymnal\n%% (public domain): the SATB MIDI was converted with tools/mid2ly.py and the four\n%% voices were verified note-for-note against the Cyber Hymnal engraving (D major;\n%% every chromatic is a raised G-sharp printed with a sharp — a sharp key, so the\n%% mid2ly sharp spellings match the engraving directly, no respelling needed).\n%% A FREE-METER rhythmic chorale: the Cyber Hymnal prints 6/4 but the whole-note\n%% cadences give an irregular measure grid (64 quarter-beats, not a multiple of 6),\n%% so — like OLD 124TH — barlines fall at the 6 phrase cadences rather than a\n%% regular meter. MELISMATIC (51 soprano notes for 48 syllables): the 3 melisma\n%% continuations are held with '_' every stanza (verse_variable_melisma) in line 5,\n%% at soprano notes 35, 37 and 42 (each a slurred eighth-note pair).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/4 }\n\nsoprano = {\n  d'2 d'4 e'4 fis'4 d'4 fis'4 g'4 a'2 | a'2 g'4 fis'4 e'4 d'4 fis'4 gis'4 a'2 | b'2 a'4 g'4 fis'4 d'4 e'4 e'4 d'2~ d'2 | d''2 d''4 d''4 cis''4 a'4 b'4 b'4 a'2 | d''2 d''8( g'8) d''8( e'8) cis''4 a'4 b'4 b'8( d'8) a'2 | d'2 e'4 fis'4 g'4 fis'4 e'4 e'4 d'1\n}\nalto = {\n  a2 b4 cis'4 d'4 d'4 d'4 d'4 cis'2 | d'2 d'4 d'4 cis'4 b4 a4 d'4 cis'2 | d'2 cis'4 b4 a4 d'4 d'4 cis'4 d'2~ d'2 | fis'2 fis'4 d'4 e'4 d'4 d'4 g'4 fis'2 | fis'2 fis'8 g'8 a'8 e'8 e'4 cis'4 fis'4 e'8 d'8 cis'2 | d'2 cis'4 d'4 d'4 d'4 d'4 cis'4 d'1\n}\ntenor = {\n  fis2 fis4 a4 a4 a4 a4 d4 e2 | fis2 g4 a4 a4 fis4 fis4 d4 e2 | g2 e4 d8 e8 fis4 fis4 b4 a8 g8 fis2~ fis2 | a2 a4 a4 a4 d'4 d'4 d'4 d'2 | a2 a8 e8 a8 b8 a4 a8 fis8 a4 gis4 a2 | fis2 a4 a4 b4 b4 b4 a8 g8 fis1\n}\nbass = {\n  d2 b,4 a,4 d4 fis4 d4 b,4 a,2 | d2 b,4 d4 a,4 b,4 d4 b,4 a,2 | g,2 a,4 b,8 cis8 d4 b,4 g,4 a,8 g8 d2~ d2 | d2 d4 fis4 a4 fis4 g4 g,4 d2 | d2 d8 e8 fis8 gis8 a4 a8 fis8 d4 e4 a,2 | b,2 a,4 d4 g,4 b,4 g,4 a,8 g8 d1\n}\n", "preferred": true}]}, "old-124th": {"slug": "old-124th", "name": "OLD 124TH", "meter_label": "10.10.10.10.10", "meter": {"pattern": [10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "louis-bourgeois", "composer_date": "1551", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "old-124th-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "OLD 124TH (10.10.10.10.10), the proper tune for Psalm 124 in the Genevan Psalter, 1551 (melody attributed to Louis Bourgeois, d. 1560). US public domain by pre-1931 publication. Encoded from The Cyber Hymnal.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "old-124th-cyberhymnal", "tune": "old-124th", "music_file": "old-124th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "time_changes": [{"soprano_note": 45, "time": "6/4"}, {"soprano_note": 49, "time": "4/4"}], "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 124TH (Genevan Psalter, 1551; melody attr. Louis Bourgeois, d. 1560), the proper tune for Psalm 124; a four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py, checked against the Cyber Hymnal engraving at import (four independent readers reconciled; the tenor's ~bar-12 chromatic was respelled des'->cis' to match the engraving's printed sharp, the same sounding pitch). Metered as the Cyber Hymnal engraves it: 20 bars of 4/4 with one printed 6/4 bar (bar 18) and a printed 4/4 restoration (bar 19), declared via time_changes; every barline of the render falls where the plate bars it (re-verified against the engraving, 2026-07-27; originally imported as a free-meter rhythmic chorale only because mid-hymn meter changes did not yet exist in the corpus schema). ⚠ 2026-07-27 re-examination (docs/loose-ends.md, OLD 124TH encoding-vs-plate entry): mid2ly flattened the plate's layered inner-voice figures inside 8 bars (incl. a soprano bar-15 eighth pair the plate does not print), and the decompressed Old124th.nwc SongInfo names its model as The Hymnbook (PCUSA, 1955) #357 \"also in The English Hymnal (1906) #114\" — so per house rule the CH assets alone cannot carry the pre-1931 basis for the SETTING; the melody itself is 1551 Genevan and safely PD. The pre-1931 basis for this harmonization should be re-grounded on The English Hymnal 1906 #114 or the 1912 Psalter sel. 353 (leaf n307, located) in the re-encode pass recorded in loose-ends.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 124th\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) — Genevan Psalter, 1551 (melody attr. Louis\n%% Bourgeois), the proper tune for Psalm 124, here paired with The Scottish\n%% Psalter (1650) Psalm 124 \"Now Israel may say, and that truly\" (+ the second\n%% version \"...and that in truth\"). Encoded from The Cyber Hymnal (public domain):\n%% the SATB MIDI was converted with tools/mid2ly.py and the four-voice render was\n%% verified against the Cyber Hymnal engraving (four independent readers +\n%% reconcile; the soprano agreed note-for-note, and the tenor's ~bar-12 chromatic\n%% was respelled des'->cis' to match the engraving's printed sharp — same pitch).\n%% METERED, as the Cyber Hymnal engraves it: 4/4 throughout except ONE printed\n%% 6/4 bar (bar 18) with an explicit 4/4 restoration at bar 19 — 20 bars, each\n%% poetic line 4 bars except the last (4/4+6/4+4/4+4/4). The meter change is\n%% declared in the sidecar (`time_changes`), NOT here: this file carries exactly\n%% one \\time, the opening meter, as the schema requires. (Imported 2026-07-07 as\n%% a free-meter rhythmic chorale because the corpus then had no mid-hymn meter\n%% change; converted to the plate's real meter 2026-07-27 once `time_changes`\n%% landed. The \"|\" below are readable bar marks at the plate's own barlines.)\n%% MELISMATIC (51 soprano notes for 50 syllables); the 1 melisma continuation is\n%% held with '_' every stanza (verse_variable_melisma) at syllable 37, a slurred\n%% c''-e' eighth-note pair.\n%% ⚠ 2026-07-27: the NWC decode + 400dpi plate zooms show that pair is a mid2ly\n%% flattening ARTIFACT (the plate's soprano bar 15 is plain quarters over alto\n%% f'4. e'8), and 7 more bars carry flattened inner-voice figures — see\n%% docs/loose-ends.md \"OLD 124TH encoding deviates from the plate\" for the true\n%% readings and the owner-reviewed re-encode this awaits.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | e'1 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''8( e'8) c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'2 f'2 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 c'4 f'4 | f'2 f'4 e'4 | d'4 d'4 c'4 c'4 | c'1 |\n  c'2 f'4 e'4 | d'2 e'2 | f'4 f'4 d'4 d'4 | c'1 |\n  c'2 a4 b4 | c'2 f'2 | d'4 d'4 f'4 d'4 | e'1 |\n  f'2 f'4 g'4 | f'2 d'4 e'4 | f'4 c''8 e'8 d'4 d'4 | e'1 |\n  f'4 e'4 d'4 d'4 | c'2 f'2 d'4 g'4 | f'2. e'4 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 g,8 a8 g4 g4 | a4 e4 d4 c4 |\n  f4 e4 f8 g8 a4 | bes2 g4 a4 | bes4 c'4 bes4 g,8 a8 | g4 bes,4 a,4 g,4 |\n  f2 f4 f4 | g4 c'4 bes4 a4 | g4 g4 c'4 d'4 | d'2 cis'2 |\n  c'2 a4 g4 | c'2 bes2 | c'4. b8 a4 g4 | g4 bes,4 a,4 g,4 |\n  f2 bes4 g,8 a8 | g2 c'2 d'4 bes4 | c'4 d'4 g2 | a1\n}\nbass = {\n  f2 e4 f4 | bes,4 d4 f2 | bes,4 g,8 a8 c4 c4 | f4 e4 d4 c4 |\n  f4 e4 d8 g8 c4 | bes,2 c2 | d4 f4 bes,4 g,8 a8 | c4 bes,4 a,4 g,4 |\n  a,2 d4 d4 | c2 d2 | bes,4 g,4 a,4 bes,4 | a,1 |\n  a,2 d4 e4 | f2 bes2 | a4. g8 f4 g4 | c4 bes,4 a,4 g,4 |\n  f,2 bes,4 g,8 a8 | c2 a,2 bes,4 a,4 | a,4 bes,4 c2 | f,1\n}\n"}, "harmonizations": [{"slug": "old-124th-cyberhymnal", "tune": "old-124th", "music_file": "old-124th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "time_changes": [{"soprano_note": 45, "time": "6/4"}, {"soprano_note": 49, "time": "4/4"}], "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 124TH (Genevan Psalter, 1551; melody attr. Louis Bourgeois, d. 1560), the proper tune for Psalm 124; a four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py, checked against the Cyber Hymnal engraving at import (four independent readers reconciled; the tenor's ~bar-12 chromatic was respelled des'->cis' to match the engraving's printed sharp, the same sounding pitch). Metered as the Cyber Hymnal engraves it: 20 bars of 4/4 with one printed 6/4 bar (bar 18) and a printed 4/4 restoration (bar 19), declared via time_changes; every barline of the render falls where the plate bars it (re-verified against the engraving, 2026-07-27; originally imported as a free-meter rhythmic chorale only because mid-hymn meter changes did not yet exist in the corpus schema). ⚠ 2026-07-27 re-examination (docs/loose-ends.md, OLD 124TH encoding-vs-plate entry): mid2ly flattened the plate's layered inner-voice figures inside 8 bars (incl. a soprano bar-15 eighth pair the plate does not print), and the decompressed Old124th.nwc SongInfo names its model as The Hymnbook (PCUSA, 1955) #357 \"also in The English Hymnal (1906) #114\" — so per house rule the CH assets alone cannot carry the pre-1931 basis for the SETTING; the melody itself is 1551 Genevan and safely PD. The pre-1931 basis for this harmonization should be re-grounded on The English Hymnal 1906 #114 or the 1912 Psalter sel. 353 (leaf n307, located) in the re-encode pass recorded in loose-ends.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 124th\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) — Genevan Psalter, 1551 (melody attr. Louis\n%% Bourgeois), the proper tune for Psalm 124, here paired with The Scottish\n%% Psalter (1650) Psalm 124 \"Now Israel may say, and that truly\" (+ the second\n%% version \"...and that in truth\"). Encoded from The Cyber Hymnal (public domain):\n%% the SATB MIDI was converted with tools/mid2ly.py and the four-voice render was\n%% verified against the Cyber Hymnal engraving (four independent readers +\n%% reconcile; the soprano agreed note-for-note, and the tenor's ~bar-12 chromatic\n%% was respelled des'->cis' to match the engraving's printed sharp — same pitch).\n%% METERED, as the Cyber Hymnal engraves it: 4/4 throughout except ONE printed\n%% 6/4 bar (bar 18) with an explicit 4/4 restoration at bar 19 — 20 bars, each\n%% poetic line 4 bars except the last (4/4+6/4+4/4+4/4). The meter change is\n%% declared in the sidecar (`time_changes`), NOT here: this file carries exactly\n%% one \\time, the opening meter, as the schema requires. (Imported 2026-07-07 as\n%% a free-meter rhythmic chorale because the corpus then had no mid-hymn meter\n%% change; converted to the plate's real meter 2026-07-27 once `time_changes`\n%% landed. The \"|\" below are readable bar marks at the plate's own barlines.)\n%% MELISMATIC (51 soprano notes for 50 syllables); the 1 melisma continuation is\n%% held with '_' every stanza (verse_variable_melisma) at syllable 37, a slurred\n%% c''-e' eighth-note pair.\n%% ⚠ 2026-07-27: the NWC decode + 400dpi plate zooms show that pair is a mid2ly\n%% flattening ARTIFACT (the plate's soprano bar 15 is plain quarters over alto\n%% f'4. e'8), and 7 more bars carry flattened inner-voice figures — see\n%% docs/loose-ends.md \"OLD 124TH encoding deviates from the plate\" for the true\n%% readings and the owner-reviewed re-encode this awaits.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | e'1 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''8( e'8) c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'2 f'2 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 c'4 f'4 | f'2 f'4 e'4 | d'4 d'4 c'4 c'4 | c'1 |\n  c'2 f'4 e'4 | d'2 e'2 | f'4 f'4 d'4 d'4 | c'1 |\n  c'2 a4 b4 | c'2 f'2 | d'4 d'4 f'4 d'4 | e'1 |\n  f'2 f'4 g'4 | f'2 d'4 e'4 | f'4 c''8 e'8 d'4 d'4 | e'1 |\n  f'4 e'4 d'4 d'4 | c'2 f'2 d'4 g'4 | f'2. e'4 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 g,8 a8 g4 g4 | a4 e4 d4 c4 |\n  f4 e4 f8 g8 a4 | bes2 g4 a4 | bes4 c'4 bes4 g,8 a8 | g4 bes,4 a,4 g,4 |\n  f2 f4 f4 | g4 c'4 bes4 a4 | g4 g4 c'4 d'4 | d'2 cis'2 |\n  c'2 a4 g4 | c'2 bes2 | c'4. b8 a4 g4 | g4 bes,4 a,4 g,4 |\n  f2 bes4 g,8 a8 | g2 c'2 d'4 bes4 | c'4 d'4 g2 | a1\n}\nbass = {\n  f2 e4 f4 | bes,4 d4 f2 | bes,4 g,8 a8 c4 c4 | f4 e4 d4 c4 |\n  f4 e4 d8 g8 c4 | bes,2 c2 | d4 f4 bes,4 g,8 a8 | c4 bes,4 a,4 g,4 |\n  a,2 d4 d4 | c2 d2 | bes,4 g,4 a,4 bes,4 | a,1 |\n  a,2 d4 e4 | f2 bes2 | a4. g8 f4 g4 | c4 bes,4 a,4 g,4 |\n  f,2 bes,4 g,8 a8 | c2 a,2 bes,4 a,4 | a,4 bes,4 c2 | f,1\n}\n", "preferred": true}, {"slug": "old-124th-goudimel-ebrard-1852", "tune": "old-124th", "music_file": "old-124th-goudimel-ebrard-1852.ly", "harmonizer": "claude-goudimel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Harmonization: Claude Goudimel, ed. August Ebrard, 1852. Public domain.", "provenance": {"layer": "harmonization", "source": "ebrard-1852", "source_kind": "scan", "pd_basis": "pub_pre_1931", "pd_evidence": "Transcribed note by note from the printed plate of August Ebrard, Ausgewählte Psalmen Davids nach Goudimel's Weisen deutsch bearbeitet und mit dem vierstimmigen Satze herausgegeben (1852), Nro. 25 \"Psalm 124 — War's nicht der Herr, der uns zur Seite war\", printed pp. 54-55; digitised by the Universitätsbibliothek Tübingen (opendigi Mk90-Nachtr_21, shelfmark Mk 90; NACHTR-21, urn:nbn:de:bsz:21-dt-28417), IIIF canvases /canvas/54 and /canvas/55, images Mk90-Nachtr_21_54.jp2 and _55.jp2. The page images relied on are committed at imports/batchC-genevan/ebrard-1852-p54.jpg and -p55.jpg and the per-system measurement log is review/batch-c-wave2/old-124th/ READING.md. US public domain by pre-1931 publication (1852); the melody is Genevan Psalter 1551 and the harmony Goudimel (d. 1572), both long out of copyright, and Ebrard himself died in 1888. ATTRIBUTION: the harmony is Goudimel's but this is NOT Goudimel unedited — Goudimel's own 1565 psalter (Jaqui, Geneva) sets the melody in the TENOR while Ebrard prints it in the soprano, which he states he did deliberately (introduction p. 13, paragraph e; that page is committed as evidence at imports/batchC-genevan/ebrard-1852-p13-introduction.jpg). What that re-voicing did to the three lower parts is NOT established here: it would take a note-by-note reading of the 1565 CONTRA and BASSVS, which was not done (see COLLATION below). His appendix (printed pp. 69-70, \"Ursprüngliche musikalische Lesarten, welche in vorstehender Ausgabe abgeändert worden sind\") lists his own departures from the original readings, including \"Ps. 124, Z. 3, T. 3\" (line 3, bar 3) which the plate also flags with a printed \"+\" above the third system. COLLATION: checked against the 1565 Jaqui print, Gallica ark:/12148/btv1b525015926 vue f648 (running head \"SVPER. PSEAV. CXXIIII. TH. BE.\"), whose TENOR partbook carries this melody — its first system holds the ten notes of poetic line 1 plus the first note of line 2, in the contour 0 +1 +2 +3 +2 +1 0 0 -1 0 and the note-value pattern long-short-short-long-long-short-short-short-short-long, which is Ebrard's line 1 exactly. That collation was made on the SUPERIUS/TENOR page only; the CONTRA/BASSVS leaf f649 was downloaded but not read, so no claim is made here about Goudimel's inner parts note for note. TRANSPOSED: the plate is in G major (one sharp), captioned \"Hypojonisch, eine Sec. höher\"; every pitch was transposed down a major second into the corpus's canonical F major and re-checked note for note against the plate reading.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Measured transcription from the Tübingen scan of Ebrard 1852 pp. 54-55 (tools/noteread.py arc pass + grid-overlaid vision read + bar arithmetic; see review/batch-c-wave2/old-124th/READING.md)", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) — the Genevan proper tune for Psalm 124 (Genevan\n%% Psalter, 1551; melody attr. Louis Bourgeois), in the four-part setting printed\n%% as Nro. 25 \"Psalm 124 — War's nicht der Herr, der uns zur Seite war\" in\n%% August Ebrard, \"Ausgewählte Psalmen Davids nach Goudimel's Weisen deutsch\n%% bearbeitet und mit dem vierstimmigen Satze herausgegeben\" (1852), printed\n%% pp. 54–55.  This is Goudimel's harmony AS EBRARD EDITED IT, not Goudimel\n%% plain: Goudimel's own 1565 four-part psalter puts the melody in the TENOR\n%% (see the collation below) while Ebrard prints it in the soprano, which he\n%% says he did deliberately.  What that re-voicing did to the three lower\n%% parts is NOT established here — establishing it would take a note-by-note\n%% reading of the 1565 CONTRA and BASSVS, which was not done (the collation\n%% below covers the SUPERIUS/TENOR page only).  Ebrard's own appendix\n%% (pp. 69–70) lists the places where he altered the original readings — one\n%% of them, \"Ps. 124, Z. 3, T. 3\" (line 3, bar 3), is marked on the plate\n%% itself with a printed \"+\" above the third system.\n%%\n%% TRANSPOSED: the plate prints G major (one sharp), captioned \"Hypojonisch,\n%% eine Sec. höher\" — a second higher than the corpus's F major.  Every pitch\n%% here is the plate's pitch transposed DOWN a major second, verified note for\n%% note (review/batch-c-wave2/old-124th/READING.md).\n%%\n%% METERED exactly as the plate bars it: C (= 4/4) throughout, 20 bars, no\n%% mid-hymn meter change.  Ebrard writes every line-final note as a MINIM, and\n%% after lines 2, 3 and 5 fills the bar with a half rest; after lines 1 and 4 he\n%% does not, so the next line's first note completes that bar and the printed\n%% double bar falls MID-BAR.  That is what makes the whole hymn come out as\n%% exactly 20 bars of 4/4 (14 + 18 + 16 + 14 + 18 = 80 beats).  The rests are\n%% the plate's own and are kept.\n%%\n%% SYLLABIC: 50 soprano noteheads for 50 syllables, no melisma anywhere.  The\n%% plate is a second, independent witness that OLD 124TH's soprano is 50 notes —\n%% the corpus's own old-124th-cyberhymnal.ly carries 51 because mid2ly flattened\n%% a bar-15 figure into a slurred c''-e' eighth pair the Cyber Hymnal plate does\n%% not print (docs/loose-ends.md, \"OLD 124TH encoding deviates from the plate\").\n%%\n%% One printed voice crossing is kept as engraved: in bar 15 (poetic line 4,\n%% syllable 7) the plate offsets the two bass-staff heads horizontally and puts\n%% the DOWN stem on the upper one, so the bass sings a (A3 at pitch) above the\n%% tenor's f (F3).  Both notes sound either way; the assignment follows the\n%% plate's stems.  Bar 19 (line 5, syllables 8–9) is the one place where an\n%% inner voice has its own rhythm: the tenor moves g4 f2 e4 against the outer\n%% voices' two minims, a 7–6 suspension resolving into the final cadence.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'2 a'2 |\n  bes'4 c''4 d''2 | c''2 bes'4 a'4 | g'2 f'2 | e'2 r2 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'2 r2 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''4 c''4 b'4 | c''2 a'2 |\n  g'4 f'4 e'2 | f'2 g'4 bes'4 | a'2 g'2 | f'2 r2\n}\nalto = {\n  c'2 c'4 c'4 | d'2 c'2 | c'4 a4 bes4 g4 | a2 c'2 |\n  d'4 e'4 f'2 | f'2 d'4 c'4 | c'2 c'2 | c'2 r2 |\n  a2 c'4 c'4 | c'2 a2 | c'4 d'4 c'4 d'4 | cis'2 r2 |\n  f'2 f'4 d'4 | c'2 c'2 | c'4 c'4 d'4 d'4 | e'2 c'2 |\n  c'4 a4 a2 | a2 c'4 d'4 | c'2 c'2 | c'2 r2\n}\ntenor = {\n  f2 e4 f4 | f2 f2 | e4 d4 d4 c4 | c2 f2 |\n  f4 g4 bes2 | a2 f4 f4 | e2 a2 | g2 r2 |\n  f2 a4 a4 | g2 f2 | e4 f4 f4 g4 | e2 r2 |\n  a2 a4 f4 | f2 e2 | f4 f4 g4 g4 | g2 f2 |\n  e4 d4 cis2 | d2 e4 g4~ | g4 f2 e4 | f2 r2\n}\nbass = {\n  f2 c4 f4 | bes,2 f2 | c4 d4 bes,4 c4 | f,2 f2 |\n  d4 c4 bes,2 | f2 bes,4 f,4 | c2 f,2 | c2 r2 |\n  f,2 f,4 f,4 | c2 d2 | c4 bes,4 f,4 bes,4 | a,2 r2 |\n  f2 f4 bes,4 | f2 c2 | f4 a4 g4 g4 | c2 f2 |\n  c4 d4 a,2 | d2 c4 g,4 | a,2 c2 | f,2 r2\n}\n", "preferred": false}]}, "olives-brow": {"slug": "olives-brow", "name": "OLIVE'S BROW", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1853", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "olives-brow-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "OLIVE'S BROW (L.M.), William Batchelder Bradbury, 1853 — the tune written for Tappan's \"'Tis Midnight, and on Olive's Brow.\" Bradbury d. 1868; US public domain by pre-1931 publication. A four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4 with a half-note pickup and a half-note close). The third-phrase D-natural — the third of a B-flat dominant tonicization — is printed with a natural in the source and carried with that spelling. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Olive's Brow\" (W. B. Bradbury, 1853); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "olives-brow-cyberhymnal", "tune": "olives-brow", "music_file": "olives-brow-cyberhymnal.ly", "harmonizer": "william-b-bradbury", "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLIVE'S BROW, William B. Bradbury, 1853. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting OLIVE'S BROW (L.M.), William B. Bradbury (1816–1868), 1853 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (A-flat major, 4/4 with a half-note pickup and a half-note close). Fully syllabic (32 soprano notes = 32 L.M. syllables); the third-phrase D-natural — the third of a B-flat dominant tonicization — is printed with a natural in the alto and bass and carried with that spelling.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Olive's Brow\" (Bradbury); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLIVE'S BROW (L.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Olive's Brow\", W. B. Bradbury, 1853)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully\n%% syllabic L.M. (32 soprano notes = 32 syllables). 4/4 with a half-note pickup and\n%% a half-note close; the D-natural in the third phrase (a B-flat major/dominant\n%% tonicization) is printed with a natural in the source and carried in alto and bass.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  es'2 |\n  es'4 es'4 f'4 f'4 | es'2 es'2 | es'2 as'2 |\n  as'4 as'4 bes'4 c''4 | bes'2 bes'2 | as'2 c''2 |\n  bes'4 bes'4 bes'4 bes'4 | bes'2 as'2 | g'2 g'2 |\n  as'4 as'4 as'4 f'4 | es'2 es'2 | es'2\n}\nalto = {\n  c'2 |\n  c'4 c'4 des'4 des'4 | c'2 bes2 | c'2 c'2 |\n  c'4 c'4 es'4 es'4 | f'2 es'4 des'4 | c'2 es'2 |\n  es'4 es'4 es'4 es'4 | d'2 f'2 | es'2 es'2 |\n  es'4 es'4 f'4 des'4 | c'4 bes4 des'2 | c'2\n}\ntenor = {\n  as2 |\n  as4 as4 as4 as4 | as2 g2 | as2 as2 |\n  as4 as4 g4 as4 | as2 g2 | as2 as2 |\n  g4 g4 g4 g4 | f4 bes4 bes2 | bes2 bes2 |\n  as4 as4 as4 as4 | as4 g4 bes2 | as2\n}\nbass = {\n  as,2 |\n  as,4 as,4 des4 des4 | es2 es2 | as,2 as,2 |\n  f4 f4 es4 as,4 | des2 es2 | as,2 as,2 |\n  es4 es4 es4 es4 | bes,2 d2 | es2 des2 |\n  c4 c4 des4 des4 | es2 es2 | as,2\n}\n"}, "harmonizations": [{"slug": "olives-brow-cyberhymnal", "tune": "olives-brow", "music_file": "olives-brow-cyberhymnal.ly", "harmonizer": "william-b-bradbury", "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLIVE'S BROW, William B. Bradbury, 1853. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting OLIVE'S BROW (L.M.), William B. Bradbury (1816–1868), 1853 — US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (A-flat major, 4/4 with a half-note pickup and a half-note close). Fully syllabic (32 soprano notes = 32 L.M. syllables); the third-phrase D-natural — the third of a B-flat dominant tonicization — is printed with a natural in the alto and bass and carried with that spelling.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Olive's Brow\" (Bradbury); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLIVE'S BROW (L.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Olive's Brow\", W. B. Bradbury, 1853)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully\n%% syllabic L.M. (32 soprano notes = 32 syllables). 4/4 with a half-note pickup and\n%% a half-note close; the D-natural in the third phrase (a B-flat major/dominant\n%% tonicization) is printed with a natural in the source and carried in alto and bass.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  es'2 |\n  es'4 es'4 f'4 f'4 | es'2 es'2 | es'2 as'2 |\n  as'4 as'4 bes'4 c''4 | bes'2 bes'2 | as'2 c''2 |\n  bes'4 bes'4 bes'4 bes'4 | bes'2 as'2 | g'2 g'2 |\n  as'4 as'4 as'4 f'4 | es'2 es'2 | es'2\n}\nalto = {\n  c'2 |\n  c'4 c'4 des'4 des'4 | c'2 bes2 | c'2 c'2 |\n  c'4 c'4 es'4 es'4 | f'2 es'4 des'4 | c'2 es'2 |\n  es'4 es'4 es'4 es'4 | d'2 f'2 | es'2 es'2 |\n  es'4 es'4 f'4 des'4 | c'4 bes4 des'2 | c'2\n}\ntenor = {\n  as2 |\n  as4 as4 as4 as4 | as2 g2 | as2 as2 |\n  as4 as4 g4 as4 | as2 g2 | as2 as2 |\n  g4 g4 g4 g4 | f4 bes4 bes2 | bes2 bes2 |\n  as4 as4 as4 as4 | as4 g4 bes2 | as2\n}\nbass = {\n  as,2 |\n  as,4 as,4 des4 des4 | es2 es2 | as,2 as,2 |\n  f4 f4 es4 as,4 | des2 es2 | as,2 as,2 |\n  es4 es4 es4 es4 | bes,2 d2 | es2 des2 |\n  c4 c4 des4 des4 | es2 es2 | as,2\n}\n", "preferred": true}]}, "olivet": {"slug": "olivet", "name": "OLIVET", "meter_label": "6.6.4.6.6.6.4", "meter": {"pattern": [6, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1832", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "olivet-mason-1867", "provenance": {"layer": "tune", "source": "olivet-1832", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Olivet', Lowell Mason, 1832. Composer d. 1872.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "olivet_mason", "total_instances": 1406}}, "harmonization": {"slug": "olivet-mason-1867", "tune": "olivet", "music_file": "olivet-mason-1867.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "olivet-composite-1867", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting composite (Mason 1859 / Converse 1867). All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:229", "encoding_license": "PD-dedication"}, "music_ly": "%% My Faith Looks Up to Thee\n%% Imported from Open Hymnal ABC X:229 via tools/abc_import.py\n%% Public domain: Palmer 1830; tune Mason 1832; setting 1867. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 fis'4 a'4 a'4. g'8 fis'2 e'2 e'4 g'4 g'4. fis'8 e'2 fis'2 e'4 b'4 a'1 a'2 fis'4 g'4 a'4. b'8 a'2 a'2 fis'4 g'4 a'4. b'8 a'2 d''2 cis''4 b'4 a'4. g'8 fis'4 d'4 e'2 a'2 d'1\n}\nalto = {\n  a2 d'4 d'4 e'4. e'8 d'2 cis'2 cis'4 e'4 e'4. d'8 cis'2 d'2 cis'4 d'4 cis'1 d'2 d'4 d'4 d'4. d'8 d'2 d'2 d'4 d'4 d'4. d'8 d'4( e'4) d'2 e'4 e'4 fis'4. cis'8 d'4 d'4 d'2 cis'2 d'1\n}\ntenor = {\n  fis2 a4 fis4 a4. a8 a2 a2 a4 a4 a4. a8 a2 a2 a4 gis4 g1 fis2 d4 e4 fis4. g8 fis2 fis2 d4 e4 fis4. g8 fis4( a4) b2 a4 g4 fis4. g8 a4 a4 b2 a4( g4) fis1\n}\nbass = {\n  d2 d4 d4 cis4. cis8 d2 a,2 a,4 a,4 cis4. d8 a,2 d2 e4 e4 a,1 d2 d4 d4 d4. d8 d2 d2 d4 d4 d4. d8 d4( cis4) b,2 cis4 cis4 d4. e8 fis4 fis,4 g,2 a,2 d1\n}\n"}, "harmonizations": [{"slug": "olivet-mason-1867", "tune": "olivet", "music_file": "olivet-mason-1867.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "olivet-composite-1867", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting composite (Mason 1859 / Converse 1867). All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:229", "encoding_license": "PD-dedication"}, "music_ly": "%% My Faith Looks Up to Thee\n%% Imported from Open Hymnal ABC X:229 via tools/abc_import.py\n%% Public domain: Palmer 1830; tune Mason 1832; setting 1867. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 fis'4 a'4 a'4. g'8 fis'2 e'2 e'4 g'4 g'4. fis'8 e'2 fis'2 e'4 b'4 a'1 a'2 fis'4 g'4 a'4. b'8 a'2 a'2 fis'4 g'4 a'4. b'8 a'2 d''2 cis''4 b'4 a'4. g'8 fis'4 d'4 e'2 a'2 d'1\n}\nalto = {\n  a2 d'4 d'4 e'4. e'8 d'2 cis'2 cis'4 e'4 e'4. d'8 cis'2 d'2 cis'4 d'4 cis'1 d'2 d'4 d'4 d'4. d'8 d'2 d'2 d'4 d'4 d'4. d'8 d'4( e'4) d'2 e'4 e'4 fis'4. cis'8 d'4 d'4 d'2 cis'2 d'1\n}\ntenor = {\n  fis2 a4 fis4 a4. a8 a2 a2 a4 a4 a4. a8 a2 a2 a4 gis4 g1 fis2 d4 e4 fis4. g8 fis2 fis2 d4 e4 fis4. g8 fis4( a4) b2 a4 g4 fis4. g8 a4 a4 b2 a4( g4) fis1\n}\nbass = {\n  d2 d4 d4 cis4. cis8 d2 a,2 a,4 a,4 cis4. d8 a,2 d2 e4 e4 a,1 d2 d4 d4 d4. d8 d2 d2 d4 d4 d4. d8 d4( cis4) b,2 cis4 cis4 d4. e8 fis4 fis,4 g,2 a,2 d1\n}\n", "preferred": true}]}, "orientis-partibus": {"slug": "orientis-partibus", "name": "ORIENTIS PARTIBUS", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "French, 13th century", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "orientis-partibus-oh107", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:107 (line 12026); 'Orientis Partibus'/'Redhead 45' traditional French melody; pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "orientis-partibus-oh107", "tune": "orientis-partibus", "music_file": "orientis-partibus-oh107.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:107 (line 12026); setting from The Church Hymnal, Revised and Enlarged (Episcopal), 1893 (Messiter, Hymn 111); all components pre-1931 (latest 1893).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:107", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ the Lord Is Risen Today\n%% Imported from Open Hymnal ABC X:107 via tools/abc_import.py\n%% Words: Charles Wesley, 1739. Music: 'Orientis Partibus' / 'Redhead 45', traditional French. Setting: The Church Hymnal, Revised and Enlarged (Episcopal), 1893. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. a'8 b'4 g'4 a'4 fis'4 g'2 d''4 d''4 e''4 b'8( c''8) d''4 d''4 b'2 b'4 a'4 c''4 b'4 a'4 g'8( a'8) b'2 d''4. c''8 b'4 g'4 a'4 fis'4 g'2\n}\nalto = {\n  d'4. d'8 d'4 d'4 e'4 d'4 d'2 g'4 g'4 g'4 g'4 g'4 fis'4 g'2 g'4 d'4 g'4 g'4 e'4 e'4 fis'2 g'4. g'8 fis'4 e'4 e'4 d'4 d'2\n}\ntenor = {\n  b4. c'8 d'4 d'4 c'4 a4 b2 b4 b4 c'4 g4 a4 a4 b2 d'4 d'4 c'4 d'4 e'4 e'4 dis'2 d'4. e'8 d'4 b4 c'4 a4 b2\n}\nbass = {\n  g4. g8 g4 b,4 c4 d4 g,2 g4 g4 c4 e4 d4 d4 g2 g4 fis4 e4 d4 c4 c4 b,2 b,4. c8 d4 e4 c4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "orientis-partibus-oh107", "tune": "orientis-partibus", "music_file": "orientis-partibus-oh107.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:107 (line 12026); setting from The Church Hymnal, Revised and Enlarged (Episcopal), 1893 (Messiter, Hymn 111); all components pre-1931 (latest 1893).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:107", "encoding_license": "PD-dedication"}, "music_ly": "%% Christ the Lord Is Risen Today\n%% Imported from Open Hymnal ABC X:107 via tools/abc_import.py\n%% Words: Charles Wesley, 1739. Music: 'Orientis Partibus' / 'Redhead 45', traditional French. Setting: The Church Hymnal, Revised and Enlarged (Episcopal), 1893. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4. a'8 b'4 g'4 a'4 fis'4 g'2 d''4 d''4 e''4 b'8( c''8) d''4 d''4 b'2 b'4 a'4 c''4 b'4 a'4 g'8( a'8) b'2 d''4. c''8 b'4 g'4 a'4 fis'4 g'2\n}\nalto = {\n  d'4. d'8 d'4 d'4 e'4 d'4 d'2 g'4 g'4 g'4 g'4 g'4 fis'4 g'2 g'4 d'4 g'4 g'4 e'4 e'4 fis'2 g'4. g'8 fis'4 e'4 e'4 d'4 d'2\n}\ntenor = {\n  b4. c'8 d'4 d'4 c'4 a4 b2 b4 b4 c'4 g4 a4 a4 b2 d'4 d'4 c'4 d'4 e'4 e'4 dis'2 d'4. e'8 d'4 b4 c'4 a4 b2\n}\nbass = {\n  g4. g8 g4 b,4 c4 d4 g,2 g4 g4 c4 e4 d4 d4 g2 g4 fis4 e4 d4 c4 c4 b,2 b,4. c8 d4 e4 c4 d4 g,2\n}\n", "preferred": true}]}, "ortonville": {"slug": "ortonville", "name": "ORTONVILLE", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-hastings", "composer_date": "1837", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "ortonville-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ORTONVILLE, Thomas Hastings (1784–1872), published 1837; a Common Metre tune that repeats its last line (8.6.8.6.6 as sung, titled \"Ortonville, CM\" in the source). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 6/4, one-beat anacrusis). The one two-note melisma and the three phrase-cadence ties (dotted half tied to half) were read from the engraving; all harmony is diatonic G major with no printed accidentals. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ortonville\" (Thomas Hastings, 1837); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "ortonville-cyberhymnal", "tune": "ortonville", "music_file": "ortonville-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [8, 15, 23, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ORTONVILLE, Thomas Hastings, 1837. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ORTONVILLE (Thomas Hastings, 1837); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 6/4, one-beat anacrusis \\partial 4). C.M. with the last line repeated; the three phrase cadences are a dotted half tied to a half, and the one two-note melisma is the slurred eighth pair b'-a' on the fourth line's first syllable. All harmony is diatonic G major (no printed accidentals). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ortonville\" (Thomas Hastings, 1837); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ORTONVILLE (C.M.) — Thomas Hastings, 1837. Four SATB voice streams, canonical\n%% key G major. Corpus harmonization source for the HymnBookGenerator close-score\n%% engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ortonville\", Thomas Hastings 1837) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 6/4,\n%% one-beat anacrusis \\partial 4). The tune is C.M. with the last line repeated\n%% (8.6.8.6.6 as sung); each of the three phrase cadences is a dotted half tied to a\n%% half (five beats), and the final note balances the pickup. MELISMATIC: 38 soprano\n%% note-heads for 34 sung syllables — the one two-note melisma is the beamed/slurred\n%% eighth pair b'8( a'8) on the first syllable of the fourth line (soprano note-head\n%% 24), and the three phrase-cadence ties (soprano note-heads 15, 31, 38) are held\n%% '_' every stanza (verse_variable_melisma). All harmony is diatonic G major (the\n%% F-sharp is the key signature; no printed accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'2 g'4 a'2 a'4 | b'2 a'4 g'2 d'4 | e'2 e'4 g'2 e'4 | d'2.~ d'2 d'4 |\n  g'2 g'4 a'2 a'4 | b'2 c''4 d''2 b'8( a'8) | g'2 g'4 a'2 a'4 | g'2.~ g'2 g'4 |\n  b'2 b'4 a'2 a'4 | g'2.~ g'2\n}\nalto = {\n  b4 |\n  d'2 d'4 d'2 d'4 | d'2 c'4 b2 b4 | c'2 c'4 e'2 c'4 | b2.~ b2 b4 |\n  d'2 d'4 d'2 d'4 | d'2 d'4 d'2 d'8 c'8 | b2 b4 c'2 c'4 | b2.~ b2 b4 |\n  d'2 d'4 d'2 c'4 | b2.~ b2\n}\ntenor = {\n  g4 |\n  g2 g4 fis2 fis4 | g2 fis4 g2 g4 | g2 g4 g2 g4 | g2.~ g2 g4 |\n  g2 g4 fis2 fis4 | g2 a4 b2 g4 | d2 d4 d2 d4 | d2.~ d2 g4 |\n  g2 g4 fis2 fis4 | g2.~ g2\n}\nbass = {\n  g,4 |\n  b,2 b,4 d2 d4 | g2 d4 g,2 g,4 | c2 c4 c2 c4 | g,2.~ g,2 g,4 |\n  b,2 b,4 d2 d4 | g2 g4 g2 g,4 | g,2 g,4 d2 d4 | g,2.~ g,2 g,4 |\n  g2 g4 d2 d4 | g,2.~ g,2\n}\n"}, "harmonizations": [{"slug": "ortonville-cyberhymnal", "tune": "ortonville", "music_file": "ortonville-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [8, 15, 23, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ORTONVILLE, Thomas Hastings, 1837. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ORTONVILLE (Thomas Hastings, 1837); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 6/4, one-beat anacrusis \\partial 4). C.M. with the last line repeated; the three phrase cadences are a dotted half tied to a half, and the one two-note melisma is the slurred eighth pair b'-a' on the fourth line's first syllable. All harmony is diatonic G major (no printed accidentals). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Ortonville\" (Thomas Hastings, 1837); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ORTONVILLE (C.M.) — Thomas Hastings, 1837. Four SATB voice streams, canonical\n%% key G major. Corpus harmonization source for the HymnBookGenerator close-score\n%% engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Ortonville\", Thomas Hastings 1837) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 6/4,\n%% one-beat anacrusis \\partial 4). The tune is C.M. with the last line repeated\n%% (8.6.8.6.6 as sung); each of the three phrase cadences is a dotted half tied to a\n%% half (five beats), and the final note balances the pickup. MELISMATIC: 38 soprano\n%% note-heads for 34 sung syllables — the one two-note melisma is the beamed/slurred\n%% eighth pair b'8( a'8) on the first syllable of the fourth line (soprano note-head\n%% 24), and the three phrase-cadence ties (soprano note-heads 15, 31, 38) are held\n%% '_' every stanza (verse_variable_melisma). All harmony is diatonic G major (the\n%% F-sharp is the key signature; no printed accidentals).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'2 g'4 a'2 a'4 | b'2 a'4 g'2 d'4 | e'2 e'4 g'2 e'4 | d'2.~ d'2 d'4 |\n  g'2 g'4 a'2 a'4 | b'2 c''4 d''2 b'8( a'8) | g'2 g'4 a'2 a'4 | g'2.~ g'2 g'4 |\n  b'2 b'4 a'2 a'4 | g'2.~ g'2\n}\nalto = {\n  b4 |\n  d'2 d'4 d'2 d'4 | d'2 c'4 b2 b4 | c'2 c'4 e'2 c'4 | b2.~ b2 b4 |\n  d'2 d'4 d'2 d'4 | d'2 d'4 d'2 d'8 c'8 | b2 b4 c'2 c'4 | b2.~ b2 b4 |\n  d'2 d'4 d'2 c'4 | b2.~ b2\n}\ntenor = {\n  g4 |\n  g2 g4 fis2 fis4 | g2 fis4 g2 g4 | g2 g4 g2 g4 | g2.~ g2 g4 |\n  g2 g4 fis2 fis4 | g2 a4 b2 g4 | d2 d4 d2 d4 | d2.~ d2 g4 |\n  g2 g4 fis2 fis4 | g2.~ g2\n}\nbass = {\n  g,4 |\n  b,2 b,4 d2 d4 | g2 d4 g,2 g,4 | c2 c4 c2 c4 | g,2.~ g,2 g,4 |\n  b,2 b,4 d2 d4 | g2 g4 g2 g,4 | g,2 g,4 d2 d4 | g,2.~ g,2 g,4 |\n  g2 g4 d2 d4 | g,2.~ g,2\n}\n", "preferred": true}]}, "over-kedron-jesus-traeder": {"slug": "over-kedron-jesus-traeder", "name": "OVER KEDRON JESUS TRAEDER", "meter_label": "8.7.8.7.7.7.8.8", "meter": {"pattern": [8, 7, 8, 7, 7, 7, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "ludvig-m-lindeman", "composer_date": "1913", "canonical_key": {"tonic": "f", "mode": "minor"}, "preferred_harmonization": "over-kedron-jesus-traeder-oh96", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:96; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "over-kedron-jesus-traeder-oh96", "tune": "over-kedron-jesus-traeder", "music_file": "over-kedron-jesus-traeder-oh96.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [15, 23, 34, 44, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:96; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:96", "encoding_license": "PD-dedication"}, "music_ly": "%% Over Kidron Jesus Treadeth\n%% Imported from Open Hymnal ABC X:96 via tools/abc_import.py\n%% Open Hymnal X:96; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 aes'4 f'4 aes'4 g'4 e'4 c'4 f'4. g'8 aes'4 g'4 c''4 bes'4 aes'4. r8 c''4 bes'4 aes'4 f'4 aes'4 g'4 e'4 c'4 f'4. g'8 aes'4 g'4 c''4 bes'4 aes'4. r8 bes'4 bes'4 c''4 aes'4 des''4 c''4 bes'4. r8 c''4 c''4 des''4 bes'4 ees''4 des''4 c''4. r8 des''4 c''4 bes'4 c''4 aes'4 g'4 f'4 des'4 c'4. e'8 f'4 aes'4 c''2 bes'4( aes'4) g'1 f'1\n}\nalto = {\n  f'4 e'4 f'4 f'4 f'4 des'4 c'4 bes4 aes4. des'8 c'4 ees'4 aes'4 g'4 ees'4. s8 f'4 g'4 e'4 f'4 des'4 des'4 c'4 c'4 des'4. des'8 ees'4 des'4 c'4 ees'8 des'8 c'4. s8 ees'4 ees'4 aes'4 aes'4 g'4 aes'4 g'4. s8 aes'4 bes'4 bes'4 bes'4 a'4 bes'4 a'4. s8 bes'4 g'4 f'4 g'4 f'4 e'4 c'4 bes4 bes4. bes8 aes4 f'4 aes'2 g'4( f'4) f'2( e'2) c'1\n}\ntenor = {\n  aes4 bes4 c'4 aes4 c'4 bes4 g4 e4 f4. bes8 aes4 bes4 ees'4. des'8 c'4. r8 c'4 des'4 c'4 aes4 des'4 bes4 g4 e4 aes4. bes8 c'4 bes4 aes4 g4 aes4. r8 g4 g4 ees'4 c'4 des'4 ees'4 ees'4. r8 ees'4 ees'4 f'4 des'4 ees'4 f'4 f'4. r8 f'4 e'4 f'4 e'4 c'4 bes4 aes4 f4 e4. g8 f4 f4 des'2 des'2 bes1 aes1\n}\nbass = {\n  f4 g4 aes4 des4 aes,4 bes,4 c4 c4 des4. bes,8 f4 ees8 des8 c4 ees4 aes4. s8 aes,4 bes,4 c4 des4 bes,4 bes,4 c4 c4 c4. bes,8 aes,4 fes4 ees4 ees4 aes,4. s8 ees4 des4 c4 f4 bes,4 c8 des8 ees4. s8 aes4 ges4 f4 ges4 c4 des8 ees8 f4. s8 bes,4 c4 des4 c4 f,4 g,4 aes,4 bes,4 c4. c8 des4 des8 c8 bes,2 bes,2 c1 f1\n}\n"}, "harmonizations": [{"slug": "over-kedron-jesus-traeder-oh96", "tune": "over-kedron-jesus-traeder", "music_file": "over-kedron-jesus-traeder-oh96.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [15, 23, 34, 44, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:96; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:96", "encoding_license": "PD-dedication"}, "music_ly": "%% Over Kidron Jesus Treadeth\n%% Imported from Open Hymnal ABC X:96 via tools/abc_import.py\n%% Open Hymnal X:96; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 aes'4 f'4 aes'4 g'4 e'4 c'4 f'4. g'8 aes'4 g'4 c''4 bes'4 aes'4. r8 c''4 bes'4 aes'4 f'4 aes'4 g'4 e'4 c'4 f'4. g'8 aes'4 g'4 c''4 bes'4 aes'4. r8 bes'4 bes'4 c''4 aes'4 des''4 c''4 bes'4. r8 c''4 c''4 des''4 bes'4 ees''4 des''4 c''4. r8 des''4 c''4 bes'4 c''4 aes'4 g'4 f'4 des'4 c'4. e'8 f'4 aes'4 c''2 bes'4( aes'4) g'1 f'1\n}\nalto = {\n  f'4 e'4 f'4 f'4 f'4 des'4 c'4 bes4 aes4. des'8 c'4 ees'4 aes'4 g'4 ees'4. s8 f'4 g'4 e'4 f'4 des'4 des'4 c'4 c'4 des'4. des'8 ees'4 des'4 c'4 ees'8 des'8 c'4. s8 ees'4 ees'4 aes'4 aes'4 g'4 aes'4 g'4. s8 aes'4 bes'4 bes'4 bes'4 a'4 bes'4 a'4. s8 bes'4 g'4 f'4 g'4 f'4 e'4 c'4 bes4 bes4. bes8 aes4 f'4 aes'2 g'4( f'4) f'2( e'2) c'1\n}\ntenor = {\n  aes4 bes4 c'4 aes4 c'4 bes4 g4 e4 f4. bes8 aes4 bes4 ees'4. des'8 c'4. r8 c'4 des'4 c'4 aes4 des'4 bes4 g4 e4 aes4. bes8 c'4 bes4 aes4 g4 aes4. r8 g4 g4 ees'4 c'4 des'4 ees'4 ees'4. r8 ees'4 ees'4 f'4 des'4 ees'4 f'4 f'4. r8 f'4 e'4 f'4 e'4 c'4 bes4 aes4 f4 e4. g8 f4 f4 des'2 des'2 bes1 aes1\n}\nbass = {\n  f4 g4 aes4 des4 aes,4 bes,4 c4 c4 des4. bes,8 f4 ees8 des8 c4 ees4 aes4. s8 aes,4 bes,4 c4 des4 bes,4 bes,4 c4 c4 c4. bes,8 aes,4 fes4 ees4 ees4 aes,4. s8 ees4 des4 c4 f4 bes,4 c8 des8 ees4. s8 aes4 ges4 f4 ges4 c4 des8 ees8 f4. s8 bes,4 c4 des4 c4 f,4 g,4 aes,4 bes,4 c4. c8 des4 des8 c8 bes,2 bes,2 c1 f1\n}\n", "preferred": true}]}, "pass-me-not-o-gentle-savior": {"slug": "pass-me-not-o-gentle-savior", "name": "PASS ME NOT", "meter_label": "8.5.8.5 with Refrain", "meter": {"pattern": [8, 5, 8, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1870", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "pass-me-not-o-gentle-savior-oh1", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:232 (line 30043); Music William Howard Doane 1870, setting \"The Coronation\" 1872 (p.269); all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "pass-me-not-o-gentle-savior-oh1", "tune": "pass-me-not-o-gentle-savior", "music_file": "pass-me-not-o-gentle-savior-oh1.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 27}, "markings": [{"soprano_note": 27, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:232 (line 30043); Words Fanny J. Crosby 1868, Music William Howard Doane 1870, setting \"The Coronation\" 1872 (p.269); all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:232 (line 30043)", "encoding_license": "PD-dedication"}, "music_ly": "%% Pass Me Not, O Gentle Savior\n%% Imported from Open Hymnal ABC X:232 via tools/abc_import.py\n%% Words: Fanny J. Crosby, 1868; Music: William Howard Doane, 1870; setting \"The Coronation\", 1872. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. bes'8 aes'4 bes'4 c''1 c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. aes'8 c''4 bes'4 aes'1 ees''2 c''2 bes'4.( aes'8) f'2 ees'4 aes'4 c''4 aes'4 bes'1 c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. aes'8 c''4 bes'4 aes'1\n}\nalto = {\n  ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 ees'4 ees'1 ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 des'4 c'1 aes'2 aes'2 f'2 des'2 c'4 c'4 ees'4 ees'4 ees'1 ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 des'4 c'1\n}\ntenor = {\n  aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. des'8 c'4 g4 aes1 aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. c'8 aes4 g4 aes1 c'2 ees'2 des'2 aes2 aes4 aes4 aes4 aes4 g1 aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. c'8 aes4 g4 aes1\n}\nbass = {\n  aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1 aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1 aes2 aes2 des2 des2 aes,4 aes,4 aes,4 c4 ees1 aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1\n}\n"}, "harmonizations": [{"slug": "pass-me-not-o-gentle-savior-oh1", "tune": "pass-me-not-o-gentle-savior", "music_file": "pass-me-not-o-gentle-savior-oh1.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 36], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 27}, "markings": [{"soprano_note": 27, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:232 (line 30043); Words Fanny J. Crosby 1868, Music William Howard Doane 1870, setting \"The Coronation\" 1872 (p.269); all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:232 (line 30043)", "encoding_license": "PD-dedication"}, "music_ly": "%% Pass Me Not, O Gentle Savior\n%% Imported from Open Hymnal ABC X:232 via tools/abc_import.py\n%% Words: Fanny J. Crosby, 1868; Music: William Howard Doane, 1870; setting \"The Coronation\", 1872. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 }\n\nsoprano = {\n  c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. bes'8 aes'4 bes'4 c''1 c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. aes'8 c''4 bes'4 aes'1 ees''2 c''2 bes'4.( aes'8) f'2 ees'4 aes'4 c''4 aes'4 bes'1 c''4. bes'8 aes'8. g'16 aes'8. f'16 ees'2 aes'2 bes'4. aes'8 c''4 bes'4 aes'1\n}\nalto = {\n  ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 ees'4 ees'1 ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 des'4 c'1 aes'2 aes'2 f'2 des'2 c'4 c'4 ees'4 ees'4 ees'1 ees'4. ees'8 f'8. e'16 f'8. des'16 c'2 ees'2 ees'4. ees'8 ees'4 des'4 c'1\n}\ntenor = {\n  aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. des'8 c'4 g4 aes1 aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. c'8 aes4 g4 aes1 c'2 ees'2 des'2 aes2 aes4 aes4 aes4 aes4 g1 aes4. aes8 aes8. aes16 des'8. aes16 aes2 c'2 des'4. c'8 aes4 g4 aes1\n}\nbass = {\n  aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1 aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1 aes2 aes2 des2 des2 aes,4 aes,4 aes,4 c4 ees1 aes,4. c8 des8. des16 des8. des16 aes,2 aes,2 ees4. ees8 ees4 ees4 aes,1\n}\n", "preferred": true}]}, "passion-chorale": {"slug": "passion-chorale", "name": "PASSION CHORALE", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "hans-leo-hassler", "composer_date": "1601", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "passion-chorale-bach-1729", "provenance": {"layer": "tune", "source": "hassler-1601", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Passion Chorale', Hans Leo Hassler, 1601. Composer d. 1612.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "passion_chorale_hassler", "total_instances": 632}}, "harmonization": {"slug": "passion-chorale-bach-1729", "tune": "passion-chorale", "music_file": "passion-chorale-bach-1729.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PASSION CHORALE, Hans Leo Hassler, 1601; harm. J. S. Bach (BWV 244/44, St Matthew Passion). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-1729", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Harmonization J. S. Bach, 1729. Bach d. 1750; all pre-1931. IDENTIFIED AND HARMONIZER FIELD ADDED 2026-08-04 (Batch C wave 3): the record named Bach only in its slug and source and carried no harmonizer. The setting is BWV 244/44 — the D-major setting of the Passion Chorale in the St Matthew Passion (Riemenschneider / Breitkopf-371 No. 80). The St Matthew Passion contains FIVE settings of this chorale, so the identification was measured rather than assumed: against chor080 all four voices match at ratio 1.000 (soprano 56 notes, alto 69, tenor 66, bass 67, every interval equal), the transposition is a single value of +2 semitones in ALL FOUR voices (Bach's D major against this file's stored C major), and the duration lists are equal element-for-element in every voice. The runner-up, chor098 (BWV 244/15 and 17), reaches only 0.847, and the famous \"O Haupt voll Blut und Wunden\" setting chor074 (BWV 244/54) only 0.720. Corroborated by the independent Greentree-lineage bwv244.44.mxl, an exact interval-subsequence of this file in all four voices. Not a closest match: the same piece, note for note and value for value.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:100", "encoding_license": "PD-dedication"}, "music_ly": "%% O Sacred Head, Now Wounded\n%% Imported from Open Hymnal ABC X:100 via tools/abc_import.py\n%% Public domain: Bernard 1153, tr. Alexander 1830; tune Hassler 1601, harm. Bach 1729.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'4 g'4 f'4 e'4 d'2 e'4 b'4 c''4 c''4 b'8( a'8) b'4 a'2. e'4 a'4 g'4 f'4 e'4 d'2 e'4 b'4 c''4 c''4 b'8( a'8) b'4 a'2. c''4 b'8( a'8) g'4 a'4 b'4 c''2 c''4 g'4 a'4 g'4 f'4 f'4 e'2. c''4 b'8( c''8) d''4 c''4 b'4 a'2 b'4 e'4 f'4 e'4 d'4 g'4 e'2.\n}\nalto = {\n  c'4 c'4 c'4 c'8 d'8 d'8 c'8 c'4( b4) c'4 d'4 c'8 d'8 e'4 e'4. d'8 c'2. c'4 c'4 c'4 c'8 d'8 d'8 c'8 c'4( b4) c'4 d'4 c'8 d'8 e'4 e'4. d'8 c'2. e'4 d'8 f'8 e'8 d'8 c'4 f'4 f'4( e'8 d'8) e'4 e'4 f'4 e'4 e'4 d'4 cis'2. d'4 d'4 d'4 e'8 fis'8 g'4 g'4( fis'4) g'4 c'8 b8 a8 b8 c'4 c'8 a8 b4 c'2.\n}\ntenor = {\n  g4 f4 g4 a8 g8 g4 a4( g4) g4 gis4 a4 a4 a4 gis4 a2. g4 f4 g4 a8 g8 g4 a4( g4) g4 gis4 a4 a4 a4 gis4 a2. a8 g8 f8 a8 c'8 b8 a8 g8 f8 g8 a4( g8 f8) g4 c'4 c'4 bes4 a4 a4 a2. a4 g4 a4 g8 a8 b8 g8 e'4( d'4) d'4 g4 f4 g4 g4 g4 g2.\n}\nbass = {\n  c4 f4 e4 a,8 b,8 c4 f,4( g,4) c4 b,4 a,8 b,8 c8 d8 e4 e,4 a,2. c4 f4 e4 a,8 b,8 c4 f,4( g,4) c4 b,4 a,8 b,8 c8 d8 e4 e,4 a,2. a,4 d4 e4 f8 e8 d4 c2 c4 c4 f8 e8 d8 cis8 d8 e8 f8 g8 a2. fis4 g4 fis4 e4 d4 cis4( d4) g,4 c4 d4 e8 f8 g4 g,4 c2.\n}\n"}, "harmonizations": [{"slug": "passion-chorale-bach-1729", "tune": "passion-chorale", "music_file": "passion-chorale-bach-1729.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PASSION CHORALE, Hans Leo Hassler, 1601; harm. J. S. Bach (BWV 244/44, St Matthew Passion). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-1729", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Harmonization J. S. Bach, 1729. Bach d. 1750; all pre-1931. IDENTIFIED AND HARMONIZER FIELD ADDED 2026-08-04 (Batch C wave 3): the record named Bach only in its slug and source and carried no harmonizer. The setting is BWV 244/44 — the D-major setting of the Passion Chorale in the St Matthew Passion (Riemenschneider / Breitkopf-371 No. 80). The St Matthew Passion contains FIVE settings of this chorale, so the identification was measured rather than assumed: against chor080 all four voices match at ratio 1.000 (soprano 56 notes, alto 69, tenor 66, bass 67, every interval equal), the transposition is a single value of +2 semitones in ALL FOUR voices (Bach's D major against this file's stored C major), and the duration lists are equal element-for-element in every voice. The runner-up, chor098 (BWV 244/15 and 17), reaches only 0.847, and the famous \"O Haupt voll Blut und Wunden\" setting chor074 (BWV 244/54) only 0.720. Corroborated by the independent Greentree-lineage bwv244.44.mxl, an exact interval-subsequence of this file in all four voices. Not a closest match: the same piece, note for note and value for value.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:100", "encoding_license": "PD-dedication"}, "music_ly": "%% O Sacred Head, Now Wounded\n%% Imported from Open Hymnal ABC X:100 via tools/abc_import.py\n%% Public domain: Bernard 1153, tr. Alexander 1830; tune Hassler 1601, harm. Bach 1729.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'4 g'4 f'4 e'4 d'2 e'4 b'4 c''4 c''4 b'8( a'8) b'4 a'2. e'4 a'4 g'4 f'4 e'4 d'2 e'4 b'4 c''4 c''4 b'8( a'8) b'4 a'2. c''4 b'8( a'8) g'4 a'4 b'4 c''2 c''4 g'4 a'4 g'4 f'4 f'4 e'2. c''4 b'8( c''8) d''4 c''4 b'4 a'2 b'4 e'4 f'4 e'4 d'4 g'4 e'2.\n}\nalto = {\n  c'4 c'4 c'4 c'8 d'8 d'8 c'8 c'4( b4) c'4 d'4 c'8 d'8 e'4 e'4. d'8 c'2. c'4 c'4 c'4 c'8 d'8 d'8 c'8 c'4( b4) c'4 d'4 c'8 d'8 e'4 e'4. d'8 c'2. e'4 d'8 f'8 e'8 d'8 c'4 f'4 f'4( e'8 d'8) e'4 e'4 f'4 e'4 e'4 d'4 cis'2. d'4 d'4 d'4 e'8 fis'8 g'4 g'4( fis'4) g'4 c'8 b8 a8 b8 c'4 c'8 a8 b4 c'2.\n}\ntenor = {\n  g4 f4 g4 a8 g8 g4 a4( g4) g4 gis4 a4 a4 a4 gis4 a2. g4 f4 g4 a8 g8 g4 a4( g4) g4 gis4 a4 a4 a4 gis4 a2. a8 g8 f8 a8 c'8 b8 a8 g8 f8 g8 a4( g8 f8) g4 c'4 c'4 bes4 a4 a4 a2. a4 g4 a4 g8 a8 b8 g8 e'4( d'4) d'4 g4 f4 g4 g4 g4 g2.\n}\nbass = {\n  c4 f4 e4 a,8 b,8 c4 f,4( g,4) c4 b,4 a,8 b,8 c8 d8 e4 e,4 a,2. c4 f4 e4 a,8 b,8 c4 f,4( g,4) c4 b,4 a,8 b,8 c8 d8 e4 e,4 a,2. a,4 d4 e4 f8 e8 d4 c2 c4 c4 f8 e8 d8 cis8 d8 e8 f8 g8 a2. fis4 g4 fis4 e4 d4 cis4( d4) g,4 c4 d4 e8 f8 g4 g,4 c2.\n}\n", "preferred": true}]}, "penitence": {"slug": "penitence", "name": "PENITENCE", "meter_label": "6.5.6.5 D", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "spencer-lane", "composer_date": "1874", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "penitence-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "PENITENCE, Spencer Lane (1843–1903), 1874 — a 6.5.6.5 D tune (written for \"In the Hour of Trial\"), here paired with The Psalter (1912) Psalm 4 selection \"On the good and faithful\". US public domain by pre-1931 publication. Encoded from the CyberHymnal engraving; soprano verified against the hymnary incipit (33436 51352 13343) and every voice checked note-for-note against the engraving.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "penitence-cyberhymnal", "tune": "penitence", "music_file": "penitence-cyberhymnal.ly", "harmonizer": "spencer-lane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 23, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "PENITENCE, Spencer Lane, 1874. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting PENITENCE, Spencer Lane (1843–1903), 1874 — US public domain by pre-1931 publication. Encoded from the CyberHymnal engraving (six independent transcriptions reconciled note-for-note by majority vote; soprano verified against the hymnary incipit; the m2/m12/m13 chromatic notes confirmed from the engraved accidentals; the rendered score diffed back against the engraving).", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal PENITENCE (hymntime.com/tch/pdf/en/p/e/n/i/Penitence.pdf engraving); multi-reader vision reconciliation", "encoding_license": "PD-dedication"}, "music_ly": "%% PENITENCE (6.5.6.5 D) — Spencer Lane, 1874. A 4-part SATB hymn tune (written\n%% for \"In the Hour of Trial\"), here paired with The Psalter (1912) Psalm 4\n%% \"On the good and faithful\". Encoded from the CyberHymnal engraving\n%% (hymntime.com/tch/pdf/en/p/e/n/i/Penitence.pdf, \"Public Domain, Courtesy of\n%% the Cyber Hymnal\"): six independent transcriptions of the engraving were\n%% reconciled note-for-note by majority vote, gated against the hymnary soprano\n%% incipit (33436 51352 13343) and the printed accidentals (the m2/m12 chromatic\n%% passing chords and the m13 bass F-sharp were confirmed from the engraved\n%% sharps), then the rendered score was diffed back against the engraving.\n%% MELISMATIC: 48 soprano notes for 44 syllables (6.5.6.5 D); the setting holds\n%% the 4 melisma continuations with '_' every stanza (verse_variable_melisma) —\n%% \"-bove\" (m8, tied), \"not\" (m10) and a three-note \"still/night/sleep\" (m12).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'4 e'4 f'4 e'4 a'2 g'2 c''4 e'4 g'4 d'4 e'1 e'4 e'4 f'4 e'4 b'2 g'2 fis'4 b'4 a'4 fis'4 g'2~ g'2 g'4 b'4 a'4 g'4 c''4 e'4( g'2) g'4 b'4 a'4 g'4 c''4( a'4 g'2) g'4 e''4 d''4 c''4 c''2 a'2 g'4 g'4 g'4 g'4 g'1\n}\nalto = {\n  c'4 c'4 c'4 c'4 dis'2 e'2 e'4 c'4 b4 b4 c'1 c'4 c'4 c'4 c'4 e'2 e'2 dis'4 dis'4 dis'4 dis'4 e'2 f'2 f'4 f'4 f'4 f'4 e'4 c'4 e'2 f'4 f'4 f'4 f'4 e'4 dis'4 e'2 e'4 g'4 g'4 g'4 f'2 f'2 e'4 d'4 e'4 f'4 e'1\n}\ntenor = {\n  g4 g4 a4 g4 fis2 g2 g4 g4 g4 g4 g1 g4 g4 a4 g4 g2 b2 b4 b4 b4 b4 b2 b2 b4 d'4 c'4 b4 g4 g4 g2 b4 d'4 c'4 b4 e4 dis4 e2 c'4 c'4 b4 b4 a2 c'2 b4 b4 b4 b4 c'1\n}\nbass = {\n  c4 c4 c4 c4 c2 c2 c4 c4 g,4 g,4 c1 c4 c4 c4 c4 b,2 b,2 b,4 b,4 b,4 b,4 e2 g2 g4 g4 g4 g4 c4 c4 c2 g4 g4 g4 g4 c4 c4 c2 c4 c4 e4 fis4 f2 f2 g4 g4 g4 g4 c1\n}\n"}, "harmonizations": [{"slug": "penitence-cyberhymnal", "tune": "penitence", "music_file": "penitence-cyberhymnal.ly", "harmonizer": "spencer-lane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 23, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "PENITENCE, Spencer Lane, 1874. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting PENITENCE, Spencer Lane (1843–1903), 1874 — US public domain by pre-1931 publication. Encoded from the CyberHymnal engraving (six independent transcriptions reconciled note-for-note by majority vote; soprano verified against the hymnary incipit; the m2/m12/m13 chromatic notes confirmed from the engraved accidentals; the rendered score diffed back against the engraving).", "pd_jurisdictions": {"US": true}, "encoding_origin": "CyberHymnal PENITENCE (hymntime.com/tch/pdf/en/p/e/n/i/Penitence.pdf engraving); multi-reader vision reconciliation", "encoding_license": "PD-dedication"}, "music_ly": "%% PENITENCE (6.5.6.5 D) — Spencer Lane, 1874. A 4-part SATB hymn tune (written\n%% for \"In the Hour of Trial\"), here paired with The Psalter (1912) Psalm 4\n%% \"On the good and faithful\". Encoded from the CyberHymnal engraving\n%% (hymntime.com/tch/pdf/en/p/e/n/i/Penitence.pdf, \"Public Domain, Courtesy of\n%% the Cyber Hymnal\"): six independent transcriptions of the engraving were\n%% reconciled note-for-note by majority vote, gated against the hymnary soprano\n%% incipit (33436 51352 13343) and the printed accidentals (the m2/m12 chromatic\n%% passing chords and the m13 bass F-sharp were confirmed from the engraved\n%% sharps), then the rendered score was diffed back against the engraving.\n%% MELISMATIC: 48 soprano notes for 44 syllables (6.5.6.5 D); the setting holds\n%% the 4 melisma continuations with '_' every stanza (verse_variable_melisma) —\n%% \"-bove\" (m8, tied), \"not\" (m10) and a three-note \"still/night/sleep\" (m12).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  e'4 e'4 f'4 e'4 a'2 g'2 c''4 e'4 g'4 d'4 e'1 e'4 e'4 f'4 e'4 b'2 g'2 fis'4 b'4 a'4 fis'4 g'2~ g'2 g'4 b'4 a'4 g'4 c''4 e'4( g'2) g'4 b'4 a'4 g'4 c''4( a'4 g'2) g'4 e''4 d''4 c''4 c''2 a'2 g'4 g'4 g'4 g'4 g'1\n}\nalto = {\n  c'4 c'4 c'4 c'4 dis'2 e'2 e'4 c'4 b4 b4 c'1 c'4 c'4 c'4 c'4 e'2 e'2 dis'4 dis'4 dis'4 dis'4 e'2 f'2 f'4 f'4 f'4 f'4 e'4 c'4 e'2 f'4 f'4 f'4 f'4 e'4 dis'4 e'2 e'4 g'4 g'4 g'4 f'2 f'2 e'4 d'4 e'4 f'4 e'1\n}\ntenor = {\n  g4 g4 a4 g4 fis2 g2 g4 g4 g4 g4 g1 g4 g4 a4 g4 g2 b2 b4 b4 b4 b4 b2 b2 b4 d'4 c'4 b4 g4 g4 g2 b4 d'4 c'4 b4 e4 dis4 e2 c'4 c'4 b4 b4 a2 c'2 b4 b4 b4 b4 c'1\n}\nbass = {\n  c4 c4 c4 c4 c2 c2 c4 c4 g,4 g,4 c1 c4 c4 c4 c4 b,2 b,2 b,4 b,4 b,4 b,4 e2 g2 g4 g4 g4 g4 c4 c4 c2 g4 g4 g4 g4 c4 c4 c2 c4 c4 e4 fis4 f2 f2 g4 g4 g4 g4 c1\n}\n", "preferred": true}]}, "perfect-love": {"slug": "perfect-love", "name": "PERFECT LOVE", "meter_label": "11.10.11.10", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joseph-barnby", "composer_date": "1889", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "perfect-love-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "PERFECT LOVE, an 11.10.11.10 tune by Joseph Barnby (1838-1896), composed 1889 for Dorothy Gurney's wedding hymn. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4). Barnby d. 1896; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Perfect Love\" (Joseph Barnby, 1889); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "perfect-love-cyberhymnal", "tune": "perfect-love", "music_file": "perfect-love-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PERFECT LOVE, Joseph Barnby, 1889. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune PERFECT LOVE by Joseph Barnby (1889); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4). Barnby d. 1896; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Perfect Love\" (Joseph Barnby, 1889); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% PERFECT LOVE (11.10.11.10) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Perfect Love\", Joseph Barnby 1889) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4).\n%% Fully syllabic (42 soprano notes = 42 syllables, 11.10.11.10). The soprano is\n%% wholly diatonic; the inner-voice A-sharps and D-sharp are correctly-spelled\n%% chromatic tones of Barnby's Victorian harmony, printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 fis'4 a'4 | a'2 a'2 | a'4 a'4 d''4 cis''4 | cis''2 b'2 | e'2 fis'4 g'4 | a'2 fis'2 | d'4 d'4 fis'4 e'4 | cis'1 | d'2 fis'4 a'4 | a'2 a'2 | a'4 a'4 d''4 cis''4 | cis''2 b'2 | b'2 a'4 g'4 | fis'4 a'4 g'4 e'4 | b2 cis'2 | d'1\n}\nalto = {\n  a2 d'4 d'4 | cis'2 cis'2 | d'4 d'4 d'4 d'4 | d'2 d'2 | b2 cis'4 cis'4 | d'2 cis'2 | b4 b4 b4 b4 | a1 | a2 d'4 d'4 | cis'2 cis'2 | d'4 d'4 fis'4 e'4 | e'2 d'2 | g'2 fis'4 e'4 | d'4 dis'4 e'4 b4 | b2 a2 | a1\n}\ntenor = {\n  fis2 a4 a4 | g2 g2 | a4 fis4 g4 a4 | g2 g2 | b2 a4 a4 | a2 ais2 | b4 fis4 a4 g4 | e1 | fis2 a4 a4 | g2 a2 | a4 a4 ais4 ais4 | ais2 b2 | b2 cis'4 cis'4 | d'4 c'4 b4 g4 | g2 g2 | fis1\n}\nbass = {\n  d2 d4 fis4 | e2 e2 | fis4 d4 e4 fis4 | g2 g2 | g2 g4 fis4 | fis2 fis2 | b,4 b,4 e,4 e,4 | a,1 | d2 d4 fis4 | e1 | fis4 fis4 fis4 fis4 | g2 g2 | g,2 a,4 a,4 | b,4 fis,4 g,4 g,4 | a,2 a,2 | d1\n}\n"}, "harmonizations": [{"slug": "perfect-love-cyberhymnal", "tune": "perfect-love", "music_file": "perfect-love-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PERFECT LOVE, Joseph Barnby, 1889. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune PERFECT LOVE by Joseph Barnby (1889); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4). Barnby d. 1896; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Perfect Love\" (Joseph Barnby, 1889); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% PERFECT LOVE (11.10.11.10) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Perfect Love\", Joseph Barnby 1889) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 4/4).\n%% Fully syllabic (42 soprano notes = 42 syllables, 11.10.11.10). The soprano is\n%% wholly diatonic; the inner-voice A-sharps and D-sharp are correctly-spelled\n%% chromatic tones of Barnby's Victorian harmony, printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 }\n\nsoprano = {\n  d'2 fis'4 a'4 | a'2 a'2 | a'4 a'4 d''4 cis''4 | cis''2 b'2 | e'2 fis'4 g'4 | a'2 fis'2 | d'4 d'4 fis'4 e'4 | cis'1 | d'2 fis'4 a'4 | a'2 a'2 | a'4 a'4 d''4 cis''4 | cis''2 b'2 | b'2 a'4 g'4 | fis'4 a'4 g'4 e'4 | b2 cis'2 | d'1\n}\nalto = {\n  a2 d'4 d'4 | cis'2 cis'2 | d'4 d'4 d'4 d'4 | d'2 d'2 | b2 cis'4 cis'4 | d'2 cis'2 | b4 b4 b4 b4 | a1 | a2 d'4 d'4 | cis'2 cis'2 | d'4 d'4 fis'4 e'4 | e'2 d'2 | g'2 fis'4 e'4 | d'4 dis'4 e'4 b4 | b2 a2 | a1\n}\ntenor = {\n  fis2 a4 a4 | g2 g2 | a4 fis4 g4 a4 | g2 g2 | b2 a4 a4 | a2 ais2 | b4 fis4 a4 g4 | e1 | fis2 a4 a4 | g2 a2 | a4 a4 ais4 ais4 | ais2 b2 | b2 cis'4 cis'4 | d'4 c'4 b4 g4 | g2 g2 | fis1\n}\nbass = {\n  d2 d4 fis4 | e2 e2 | fis4 d4 e4 fis4 | g2 g2 | g2 g4 fis4 | fis2 fis2 | b,4 b,4 e,4 e,4 | a,1 | d2 d4 fis4 | e1 | fis4 fis4 fis4 fis4 | g2 g2 | g,2 a,4 a,4 | b,4 fis,4 g,4 g,4 | a,2 a,2 | d1\n}\n", "preferred": true}]}, "peters-admonition": {"slug": "peters-admonition", "name": "PETER'S ADMONITION", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joshua-raj", "composer_date": "2026", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "peters-admonition-raj", "provenance": {"layer": "tune", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "PETER'S ADMONITION (C.M.), composed by Joshua Raj for Doddridge's text as sung at #doreancon 2026; published in the conference hymnal (doreancon.org; MusicXML at gitlab.com/svrbc/doreancon.org). A modern work: not public domain by age. Imported 2026-08-14 at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). The tune has no established name in any published index; it is carried here under the name of its text, the convention for unnamed single-text tunes.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "peters-admonition-raj", "tune": "peters-admonition", "music_file": "peters-admonition-raj.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PETER'S ADMONITION, Joshua Raj, 2026, written for the text; from the #doreancon 2026 conference hymnal. Public domain (composer dedication).", "provenance": {"layer": "harmonization", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Joshua Raj's own four-voice setting, imported 2026-08-14 from the composer's MusicXML in the conference repository (gitlab.com/svrbc/doreancon.org, hymns/2026/musicxml — two-stave close score, voices 1/5 = S+A / T+B chords), at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). NOTE: the encoding's own creator field is an unfilled MuseScore placeholder ('Composer / arranger'); the attribution to Raj rests on the conference's credits and the owner's direct contact with him, not on the file. E-flat major, 3/4, one-beat anacrusis; the encoding's 2-beat + 1-beat measure pairs at phrase seams merge into shared 3/4 bars (PBHT-1907 precedent); explicit same-pitch ties merge to single notes (alto b at 'in-nate', bass es/c under moving tenors) and the phrase-2 cadence hold is kept as a tie across its joint bar (S/T/B bes2.~bes2, alto es'2.-d'2 moving). Melisma slurs follow the encoding's slur marks; repeated-pitch pairs are unslurred whether each note carries its own syllable (the tenor/bass G-G pairs of engraved bar 11) or the pair sits under one melisma syllable (the alto d'-d' and b-b eighth pairs) — a repeated-pitch slur would print as a tie. The alto's B natural (the encoding's measure 12; engraved bar 11 under the anacrusis) is the encoding's own reading — no flat alter on those notes, with an explicit natural accidental, the only accidental element in the file. The encoding's final two measures — the composer's plagal Amen — are deliberately NOT in the tune body: the corpus amens feature synthesizes an Amen on the E-flat final, and its plan was verified 2026-08-14 to be NOTE-FOR-NOTE the composer's own (chord 1 as,/as/c'/es', chord 2 es/g/bes/es' — all eight pitches identical to the encoding's final two measures); the book engraves the feature's Amen, which is therefore also his. Derivation machine-checked round-trip (32/32/31/29 events, 46 beats in every voice). EMENDED 2026-08-19 at the conference's direction (their post-publication review): engraved bar 11's tenor/bass G-G pairs re-leveled from the encoding's two dotted quarters to a half + quarter; pitches, slurs and event counts unchanged. EMENDED 2026-08-25 at the book owner's direction: the encoding's final bar is a full three beats despite the one-beat anacrusis; a two-beat closing bar is appended, every voice tied over from the final chord (es'2.~ es'2 — the final E-flat chord held five beats), so the anacrusis and the last bar complete each other. Pitches, slurs, syllable slots and event counts unchanged (a tied note is the same event); 48 beats in every voice.", "pd_jurisdictions": {"US": true}, "encoding_origin": "gitlab.com/svrbc/doreancon.org hymns/2026/musicxml/peters-admonition.musicxml, import session 2026-08-14"}, "music_ly": "%% PETER'S ADMONITION (C.M.) — Joshua Raj's own four-voice setting, written\n%% for Doddridge's \"Peter's Admonition\" as sung at #doreancon 2026. Imported\n%% 2026-08-14 from the conference's own MusicXML (gitlab.com/svrbc/\n%% doreancon.org, hymns/2026/musicxml/peters-admonition.musicxml — the\n%% composer's encoding, two-stave close score, voices 1/5 carrying S+A / T+B\n%% as chords), at the owner's direction after the composer confirmed the\n%% music is public domain (see sidecar pd_evidence). E-flat major, 3/4 with\n%% a one-beat anacrusis; the file's 2-beat + 1-beat measure pairs at the\n%% phrase seams merge into shared 3/4 bars (the PBHT-1907 precedent), and\n%% the phrase-2 cadence holds bes'2.~ bes'2 across such a joint bar (S/T/B\n%% tied, alto moving es'2. d'2 beneath). Same-pitch tied pairs inside one\n%% voice (alto b at \"in-nate\", bass es/c under moving tenors) are merged to\n%% single longer notes. EMENDED 2026-08-19 at the conference's direction\n%% (post-publication review of the engraved page): engraved bar 11's\n%% tenor/bass G-G pairs are re-leveled from the encoding's two dotted\n%% quarters to a half + quarter (pitches and note counts unchanged).\n%% EMENDED 2026-08-25 at the book owner's direction: the encoding closed on\n%% a full three-beat bar despite its one-beat anacrusis; a two-beat closing\n%% bar is added, every voice tied over from the final chord (es'2.~ es'2),\n%% so the anacrusis and the last bar together make one bar of 3/4. Pitches\n%% and syllable slots unchanged; the final chord is held five beats.\n%% The file's final two measures are the composer's own\n%% plagal Amen (as,-chord to es-chord) — NOT imported: the book's amens\n%% feature synthesizes the identical IV-I on this final (see sidecar).\n%% The alto's b (B natural; the encoding's measure 12 = engraved bar 11\n%% under the anacrusis) is the file's own reading — a secondary-dominant\n%% moment at \"in-nate\", carried with an explicit natural accidental and no\n%% flat alter in the encoding; every pitch spelling cross-checked against\n%% the encoding's alter elements. Public domain (composer dedication, 2026).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 g'2 as'4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 bes'4 c''2 bes'4 as'2 g'4 bes'2.~ bes'2 bes'4 c''2 c''4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 f'4 es'2 g'4 f'2 es'4 es'2.~ es'2\n}\nalto = {\n  bes4 es'2 es'4 es'2 es'4 d'4.( c'8) d'8 d'8 es'2 es'4 as'2 g'4 es'2 es'4 es'2.( d'2) es'4 es'2 es'4 es'2 es'4 b2 b8 b8 c'2 d'4 c'2 es'4 bes2 c'4 bes2.~ bes2\n}\ntenor = {\n  g4 bes2 c'4 bes2 bes4 bes4.( as8) as4 g4( bes4) g4 es2 es'4 c'2 bes4 bes2.~ bes2 g4 es2 es4 g2 g4 g2 g4 es4( g4) bes4 as2 c'4 bes2 as4 g2.~ g2\n}\nbass = {\n  es4 es2 es4 es2 bes,4 bes,4.( c8) d4 es2 g,4 as,2 es4 es2 es4 bes,2.~ bes,2 g,4 as,2 as,4 g,2 g,4 g,2 g,4 c2 bes,4 as,2 as,4 bes,2 bes,4 es2.~ es2\n}\n"}, "harmonizations": [{"slug": "peters-admonition-raj", "tune": "peters-admonition", "music_file": "peters-admonition-raj.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PETER'S ADMONITION, Joshua Raj, 2026, written for the text; from the #doreancon 2026 conference hymnal. Public domain (composer dedication).", "provenance": {"layer": "harmonization", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Joshua Raj's own four-voice setting, imported 2026-08-14 from the composer's MusicXML in the conference repository (gitlab.com/svrbc/doreancon.org, hymns/2026/musicxml — two-stave close score, voices 1/5 = S+A / T+B chords), at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). NOTE: the encoding's own creator field is an unfilled MuseScore placeholder ('Composer / arranger'); the attribution to Raj rests on the conference's credits and the owner's direct contact with him, not on the file. E-flat major, 3/4, one-beat anacrusis; the encoding's 2-beat + 1-beat measure pairs at phrase seams merge into shared 3/4 bars (PBHT-1907 precedent); explicit same-pitch ties merge to single notes (alto b at 'in-nate', bass es/c under moving tenors) and the phrase-2 cadence hold is kept as a tie across its joint bar (S/T/B bes2.~bes2, alto es'2.-d'2 moving). Melisma slurs follow the encoding's slur marks; repeated-pitch pairs are unslurred whether each note carries its own syllable (the tenor/bass G-G pairs of engraved bar 11) or the pair sits under one melisma syllable (the alto d'-d' and b-b eighth pairs) — a repeated-pitch slur would print as a tie. The alto's B natural (the encoding's measure 12; engraved bar 11 under the anacrusis) is the encoding's own reading — no flat alter on those notes, with an explicit natural accidental, the only accidental element in the file. The encoding's final two measures — the composer's plagal Amen — are deliberately NOT in the tune body: the corpus amens feature synthesizes an Amen on the E-flat final, and its plan was verified 2026-08-14 to be NOTE-FOR-NOTE the composer's own (chord 1 as,/as/c'/es', chord 2 es/g/bes/es' — all eight pitches identical to the encoding's final two measures); the book engraves the feature's Amen, which is therefore also his. Derivation machine-checked round-trip (32/32/31/29 events, 46 beats in every voice). EMENDED 2026-08-19 at the conference's direction (their post-publication review): engraved bar 11's tenor/bass G-G pairs re-leveled from the encoding's two dotted quarters to a half + quarter; pitches, slurs and event counts unchanged. EMENDED 2026-08-25 at the book owner's direction: the encoding's final bar is a full three beats despite the one-beat anacrusis; a two-beat closing bar is appended, every voice tied over from the final chord (es'2.~ es'2 — the final E-flat chord held five beats), so the anacrusis and the last bar complete each other. Pitches, slurs, syllable slots and event counts unchanged (a tied note is the same event); 48 beats in every voice.", "pd_jurisdictions": {"US": true}, "encoding_origin": "gitlab.com/svrbc/doreancon.org hymns/2026/musicxml/peters-admonition.musicxml, import session 2026-08-14"}, "music_ly": "%% PETER'S ADMONITION (C.M.) — Joshua Raj's own four-voice setting, written\n%% for Doddridge's \"Peter's Admonition\" as sung at #doreancon 2026. Imported\n%% 2026-08-14 from the conference's own MusicXML (gitlab.com/svrbc/\n%% doreancon.org, hymns/2026/musicxml/peters-admonition.musicxml — the\n%% composer's encoding, two-stave close score, voices 1/5 carrying S+A / T+B\n%% as chords), at the owner's direction after the composer confirmed the\n%% music is public domain (see sidecar pd_evidence). E-flat major, 3/4 with\n%% a one-beat anacrusis; the file's 2-beat + 1-beat measure pairs at the\n%% phrase seams merge into shared 3/4 bars (the PBHT-1907 precedent), and\n%% the phrase-2 cadence holds bes'2.~ bes'2 across such a joint bar (S/T/B\n%% tied, alto moving es'2. d'2 beneath). Same-pitch tied pairs inside one\n%% voice (alto b at \"in-nate\", bass es/c under moving tenors) are merged to\n%% single longer notes. EMENDED 2026-08-19 at the conference's direction\n%% (post-publication review of the engraved page): engraved bar 11's\n%% tenor/bass G-G pairs are re-leveled from the encoding's two dotted\n%% quarters to a half + quarter (pitches and note counts unchanged).\n%% EMENDED 2026-08-25 at the book owner's direction: the encoding closed on\n%% a full three-beat bar despite its one-beat anacrusis; a two-beat closing\n%% bar is added, every voice tied over from the final chord (es'2.~ es'2),\n%% so the anacrusis and the last bar together make one bar of 3/4. Pitches\n%% and syllable slots unchanged; the final chord is held five beats.\n%% The file's final two measures are the composer's own\n%% plagal Amen (as,-chord to es-chord) — NOT imported: the book's amens\n%% feature synthesizes the identical IV-I on this final (see sidecar).\n%% The alto's b (B natural; the encoding's measure 12 = engraved bar 11\n%% under the anacrusis) is the file's own reading — a secondary-dominant\n%% moment at \"in-nate\", carried with an explicit natural accidental and no\n%% flat alter in the encoding; every pitch spelling cross-checked against\n%% the encoding's alter elements. Public domain (composer dedication, 2026).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 g'2 as'4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 bes'4 c''2 bes'4 as'2 g'4 bes'2.~ bes'2 bes'4 c''2 c''4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 f'4 es'2 g'4 f'2 es'4 es'2.~ es'2\n}\nalto = {\n  bes4 es'2 es'4 es'2 es'4 d'4.( c'8) d'8 d'8 es'2 es'4 as'2 g'4 es'2 es'4 es'2.( d'2) es'4 es'2 es'4 es'2 es'4 b2 b8 b8 c'2 d'4 c'2 es'4 bes2 c'4 bes2.~ bes2\n}\ntenor = {\n  g4 bes2 c'4 bes2 bes4 bes4.( as8) as4 g4( bes4) g4 es2 es'4 c'2 bes4 bes2.~ bes2 g4 es2 es4 g2 g4 g2 g4 es4( g4) bes4 as2 c'4 bes2 as4 g2.~ g2\n}\nbass = {\n  es4 es2 es4 es2 bes,4 bes,4.( c8) d4 es2 g,4 as,2 es4 es2 es4 bes,2.~ bes,2 g,4 as,2 as,4 g,2 g,4 g,2 g,4 c2 bes,4 as,2 as,4 bes,2 bes,4 es2.~ es2\n}\n", "preferred": true}]}, "petra": {"slug": "petra", "name": "PETRA", "meter_label": "7.7.7.7.7.7", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "richard-redhead", "composer_date": "1853", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "petra-church-hymnal-1896", "provenance": {"layer": "tune", "source": "petra-redhead-1853", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "PETRA (also called 'Gethsemane' or 'Petra'), Richard Redhead, 1853. Composer d. 1901; all pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "petra-church-hymnal-1896", "tune": "petra", "music_file": "petra-church-hymnal-1896.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: The Church Hymnal, Revised and Enlarged (Episcopal), 1896, ed. Charles Hutchins. Public domain.", "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal, Revised and Enlarged (Episcopal), 1896 (ed. Charles Hutchins). All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:95", "encoding_license": "PD-dedication"}, "music_ly": "%% Go to Dark Gethsemane\n%% Imported from Open Hymnal ABC X:95 via tools/abc_import.py\n%% Public domain: words James Montgomery 1820; tune PETRA, Richard Redhead 1853; setting The Church Hymnal (Episcopal) 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'4 ees'4 f'4 g'4 aes'4. aes'8 g'2 ees'4 ees'4 f'4 g'4 f'4 f'4 ees'2 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 ees'4 ees'4 f'4 g'4 aes'4. aes'8 g'2 ees'4 f'4 g'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  bes4 bes4 d'4 ees'4 ees'4. ees'8 ees'2 bes4 c'4 d'4 ees'4 ees'4 d'4 ees'2 ees'4 ees'4 f'4 g'4 ees'4 f'4 g'2 ees'4 ees'4 f'4 d'4 g'4 f'8 ees'8 d'2 ees'4 ees'4 d'4 ees'4 ees'4. ees'8 ees'2 ees'4 d'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g4 g4 bes4 bes4 c'4. c'8 bes2 g4 g4 bes4 bes4 c'4 bes4 g2 g4 c'4 d'4 ees'4 c'4 d'4 ees'2 bes4 bes4 bes4 bes4 bes4 a4 bes2 bes4 bes4 aes4 bes4 c'4. c'8 bes2 bes4 aes4 bes4 aes4 g4 f4 g2\n}\nbass = {\n  ees4 ees4 bes,4 ees4 aes,4. aes,8 ees2 ees4 c4 bes,4 ees4 aes,4 bes,4 ees2 ees4 c4 bes,4 ees4 aes4 aes4 ees2 g4 ees4 d4 g4 ees4 f4 bes,2 g4 g4 f4 ees4 aes,4. aes,8 ees2 g4 f4 ees4 aes,4 bes,4 bes,4 ees2\n}\n"}, "harmonizations": [{"slug": "petra-church-hymnal-1896", "tune": "petra", "music_file": "petra-church-hymnal-1896.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "Setting: The Church Hymnal, Revised and Enlarged (Episcopal), 1896, ed. Charles Hutchins. Public domain.", "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal, Revised and Enlarged (Episcopal), 1896 (ed. Charles Hutchins). All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:95", "encoding_license": "PD-dedication"}, "music_ly": "%% Go to Dark Gethsemane\n%% Imported from Open Hymnal ABC X:95 via tools/abc_import.py\n%% Public domain: words James Montgomery 1820; tune PETRA, Richard Redhead 1853; setting The Church Hymnal (Episcopal) 1896. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 }\n\nsoprano = {\n  ees'4 ees'4 f'4 g'4 aes'4. aes'8 g'2 ees'4 ees'4 f'4 g'4 f'4 f'4 ees'2 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 ees'4 g'4 bes'4 bes'4 c''4 c''4 bes'2 ees'4 ees'4 f'4 g'4 aes'4. aes'8 g'2 ees'4 f'4 g'4 f'4 ees'4 d'4 ees'2\n}\nalto = {\n  bes4 bes4 d'4 ees'4 ees'4. ees'8 ees'2 bes4 c'4 d'4 ees'4 ees'4 d'4 ees'2 ees'4 ees'4 f'4 g'4 ees'4 f'4 g'2 ees'4 ees'4 f'4 d'4 g'4 f'8 ees'8 d'2 ees'4 ees'4 d'4 ees'4 ees'4. ees'8 ees'2 ees'4 d'4 ees'4 c'4 bes4 bes4 bes2\n}\ntenor = {\n  g4 g4 bes4 bes4 c'4. c'8 bes2 g4 g4 bes4 bes4 c'4 bes4 g2 g4 c'4 d'4 ees'4 c'4 d'4 ees'2 bes4 bes4 bes4 bes4 bes4 a4 bes2 bes4 bes4 aes4 bes4 c'4. c'8 bes2 bes4 aes4 bes4 aes4 g4 f4 g2\n}\nbass = {\n  ees4 ees4 bes,4 ees4 aes,4. aes,8 ees2 ees4 c4 bes,4 ees4 aes,4 bes,4 ees2 ees4 c4 bes,4 ees4 aes4 aes4 ees2 g4 ees4 d4 g4 ees4 f4 bes,2 g4 g4 f4 ees4 aes,4. aes,8 ees2 g4 f4 ees4 aes,4 bes,4 bes,4 ees2\n}\n", "preferred": true}]}, "picardy": {"slug": "picardy", "name": "PICARDY", "meter_label": "8.7.8.7.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "French traditional", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "picardy-openhymnal", "provenance": {"layer": "tune", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Picardy', a traditional French folk melody (17th cent. or earlier, from the Picardy region), harmonized for The English Hymnal, 1906, where it was set to 'Let All Mortal Flesh Keep Silence'. The melody is traditional and public domain. Encoded from the Open Hymnal Project ABC. A melismatic tune whose melisma positions vary by stanza, handled as a variable-melisma setting.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"Let All Mortal Flesh Keep Silence\" (tune PICARDY; English Hymnal 1906 setting)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "picardy-openhymnal", "tune": "picardy", "music_file": "picardy-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "PICARDY (French traditional; four-part setting from The English Hymnal, 1906). Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune PICARDY, a traditional French melody (public domain). The four-part setting is from The English Hymnal, 1906 (Hymn 318), as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. A variable-melisma tune (53 soprano notes; the melisma positions differ between stanzas — the three-note 'descendeth' melisma in verses 1-3 versus the 'Alleluia' melismas in verse 4 — so the lyrics carry per-verse '_' holds; all four stanzas verified to sum to 53 note-slots).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:150, \"Let All Mortal Flesh Keep Silence\" (tune PICARDY; English Hymnal 1906 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% PICARDY (8.7.8.7.8.7) — \"Let All Mortal Flesh Keep Silence\"\n%% Imported from Open Hymnal ABC (X:150) via tools/abc_import.py. Tune 'Picardy',\n%% a traditional French melody (public domain); four-part setting from The English\n%% Hymnal, 1906 — both public domain. A variable-melisma tune: the melisma\n%% positions differ between stanzas (the \"descendeth\" melisma in vv.1-3 vs the\n%% \"Alleluia\" melismas in v.4), so the lyrics carry per-verse '_' holds.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  d'4 e'4 f'4 g'4 a'2 a'4( g'4) a'2 a'2 a'4 a'4 bes'4 c''4 bes'2 a'4( g'4) a'1 d'4 e'4 f'4 g'4 a'2 a'4( g'4) a'2 a'2 a'4 a'4 bes'4 c''4 bes'2 a'4( g'4) a'1 a'4 a'4 d''4 a'4 g'2. f'4 d'4( f'4 a'4 f'4) e'1 a'4 a'4 d''4 a'4 g'2 e'4( f'4) d'1\n}\nalto = {\n  a1 d'2 f'4( e'4) d'2 f'2 d'1 d'2 c'2 c'1 d'1 d'2 d'2 d'2 f'2 f'2 g'4 a'4 d'1 cis'1 d'1 bes1 a2. bes4 c'1 d'2. c'4 d'2 c'2 a1\n}\ntenor = {\n  f1 f2 d'2 d'2 d'2 f2 f2 f2. e4 f1 f1 f2 bes2 a2 d'2 f1 f2 d4( g4) e1 d1 d1 f1 e1 d1 d2 g4( a4) f1\n}\nbass = {\n  d1 d2 bes,2 f,2 d,2 d2 c4 a,4 g,2 c2 f,1 bes,1 f,2 g,2 f,2 d,2 d2 c4 f,4 bes,1 a,1 fis,1 g,1 d1 a,1 f,1 g,2 c4( a,4) d1\n}\n"}, "harmonizations": [{"slug": "picardy-openhymnal", "tune": "picardy", "music_file": "picardy-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [17, 34], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "PICARDY (French traditional; four-part setting from The English Hymnal, 1906). Public domain.", "provenance": {"layer": "harmonization", "source": "english-hymnal-1906", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune PICARDY, a traditional French melody (public domain). The four-part setting is from The English Hymnal, 1906 (Hymn 318), as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. A variable-melisma tune (53 soprano notes; the melisma positions differ between stanzas — the three-note 'descendeth' melisma in verses 1-3 versus the 'Alleluia' melismas in verse 4 — so the lyrics carry per-verse '_' holds; all four stanzas verified to sum to 53 note-slots).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:150, \"Let All Mortal Flesh Keep Silence\" (tune PICARDY; English Hymnal 1906 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% PICARDY (8.7.8.7.8.7) — \"Let All Mortal Flesh Keep Silence\"\n%% Imported from Open Hymnal ABC (X:150) via tools/abc_import.py. Tune 'Picardy',\n%% a traditional French melody (public domain); four-part setting from The English\n%% Hymnal, 1906 — both public domain. A variable-melisma tune: the melisma\n%% positions differ between stanzas (the \"descendeth\" melisma in vv.1-3 vs the\n%% \"Alleluia\" melismas in v.4), so the lyrics carry per-verse '_' holds.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  d'4 e'4 f'4 g'4 a'2 a'4( g'4) a'2 a'2 a'4 a'4 bes'4 c''4 bes'2 a'4( g'4) a'1 d'4 e'4 f'4 g'4 a'2 a'4( g'4) a'2 a'2 a'4 a'4 bes'4 c''4 bes'2 a'4( g'4) a'1 a'4 a'4 d''4 a'4 g'2. f'4 d'4( f'4 a'4 f'4) e'1 a'4 a'4 d''4 a'4 g'2 e'4( f'4) d'1\n}\nalto = {\n  a1 d'2 f'4( e'4) d'2 f'2 d'1 d'2 c'2 c'1 d'1 d'2 d'2 d'2 f'2 f'2 g'4 a'4 d'1 cis'1 d'1 bes1 a2. bes4 c'1 d'2. c'4 d'2 c'2 a1\n}\ntenor = {\n  f1 f2 d'2 d'2 d'2 f2 f2 f2. e4 f1 f1 f2 bes2 a2 d'2 f1 f2 d4( g4) e1 d1 d1 f1 e1 d1 d2 g4( a4) f1\n}\nbass = {\n  d1 d2 bes,2 f,2 d,2 d2 c4 a,4 g,2 c2 f,1 bes,1 f,2 g,2 f,2 d,2 d2 c4 f,4 bes,1 a,1 fis,1 g,1 d1 a,1 f,1 g,2 c4( a,4) d1\n}\n", "preferred": true}]}, "plainfield": {"slug": "plainfield", "name": "PLAINFIELD", "meter_label": "7.8.7.8 with Refrain", "meter": {"pattern": [7, 8, 7, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1876", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "plainfield-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Robert Lowry (1826-1899), written for his own words and first published in Gospel Music, ed. William H. Doane & Robert Lowry (New York: Biglow & Main, 1876), no. 7. Read here from the dated reprint in Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 332, printed page 303 — archive.org hymnsconso00blis, leaf 307 — whose left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\"; collated against the same plates in Gospel Hymns Nos. 1 to 6 (1894), no. 195, page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207). US public domain by publication before 1929. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly, and tools/tune_fingerprint.py finds no corpus melody closer than 0.53 (FILLMORE), so this is not a duplicate. Neither dated page names the tune on the staff — gospel books of this series rarely do — so the name PLAINFIELD is the one the hymnals and Hymnary print for it (after Plainfield, New Jersey, where Lowry was pastor of Park Avenue Baptist Church); no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "plainfield_lowry", "total_instances": 477}}, "harmonization": {"slug": "plainfield-1883", "tune": "plainfield", "music_file": "plainfield-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 43], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Lowry's own four-part setting, engraved \"Copyright, 1876, by Rev. Robert Lowry\" in the left margin of the page it was read from: Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 332, printed page 303 — archive.org item hymnsconso00blis, leaf 307. Every chord of all four voices was read notehead by notehead off that scan (staff-line geometry recovered locally per column, so the page's curvature could not shift a reading) and then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894), no. 195, printed page 201 — archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207. The two dated witnesses agree note for note; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly. The Cyber Hymnal's NoteWorthy file was deliberately NOT used as the encoding: its |SongInfo| Comments names The United Methodist Hymnal (1989) no. 362 as the edition it was copied from, and it diverges from the dated plates in four ways — key of F, dotted-eighth/sixteenth pairs where the plates print four even flagged eighths in bars 3/7/15, bass a step high (its D3 = E3 in G) under \"me\" in refrain bar 11 where the plates hold the D pedal, and a three-note divisi final chord where the plates print two noteheads. The fingerprints of this reading are all visible at high magnification on the 1883 scan: the four eighths carry single flags and no dots; the alto sits on d' under all four of them while the soprano rises g'-g'-g'-a' and the tenor b-b-b-c'; the bass drops to g, at the end of each verse half (bars 4, 8), again at the end of the refrain (bar 16), and once mid-bar on \"of\" in bar 15, where the corresponding verse bars stay on g; and the refrain's \"snow\" is a quarter b' slurred to d'' over a sustained half g' in the alto, mirrored as a quarter d' slurred to b over a half g in the lower staff.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 307), collated against the 1894 Gospel Hymns Nos. 1 to 6 reprint of the same plates (gospelhymnsnos1t0000unse_s2j5, leaf 207). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% PLAINFIELD (7.8.7.8 with Refrain) — \"Nothing but the Blood of Jesus\"\n%% Robert Lowry's own four-part setting, key G major, 4/4, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883),\n%% no. 332, printed page 303 — archive.org hymnsconso00blis, leaf 307 — whose\n%% left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\". Every chord was\n%% then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894),\n%% no. 195, printed page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf\n%% 207). The two witnesses agree note for note. The soprano's first fifteen scale\n%% degrees, 11123 53111 23321, match Hymnary's incipit for tune authority\n%% plainfield_lowry exactly.\n%%\n%% THE CYBER HYMNAL WAS NOT USED. Its NoteWorthy file for this hymn\n%% (NothingButTheBlood.nwc) names its own source in |SongInfo| Comments as \"The\n%% United Methodist Hymnal ... 1989, # 362\" — a modern edition — and it differs\n%% from the 1876/1883 plates in four places: it is in F, it dots the four eighths\n%% of bar 3 into dotted-eighth/sixteenth pairs, it puts the bass on E3 (its D3)\n%% instead of D3 (its C3) under \"me\" in refrain bar 11, and it ends on a\n%% three-note divisi chord. Only the dated plates are encoded here.\n%%\n%% STRUCTURE. Bars 1-4 are the first half of the verse and bars 5-8 repeat them\n%% note for note (the page prints them as two systems, \"What can wash away my\n%% stain? / Nothing but the blood of Jesus;\" then \"What can make me whole again?\n%% / Nothing but the blood of Jesus.\"). Bars 9-16 are the REFRAIN, likewise two\n%% four-bar systems. 57 soprano noteheads in all: 30 in the verse, 27 in the\n%% refrain.\n%%\n%% EVEN EIGHTHS, NOT A DOTTED FIGURE. Bars 3, 7 and 15 print four separately\n%% flagged eighth notes with no augmentation dots and even horizontal spacing\n%% (\"Noth-ing but the\"); verified at high magnification on both dated scans.\n%%\n%% ONE SLUR, refrain bar 12 (\"snow\"), soprano notes 42-43. The page engraves the\n%% soprano there as a QUARTER b' with a slur to d'' while the alto holds a HALF\n%% g' under it, and mirrors the figure in the lower staff (tenor quarter d'\n%% slurred to b over a half g in the bass). Fixed for the single refrain text, so\n%% it is slurred here and the setting stays one_to_one.\n%%\n%% LOW BASS OCTAVES ARE THE PAGE'S. The bass drops to g, at the close of each\n%% verse half (bars 4 and 8) and of the refrain (bar 16), and again on \"of\" in\n%% bar 15 — bar 15's fifth and sixth quarters are g and g,, a real octave leap\n%% that the corresponding verse bars (3 and 7) do NOT make. All four spots were\n%% re-checked against the bottom staff line on the 1883 scan.\n%%\n%% UNISONS. Soprano and alto share one printed notehead on the last beat of bar\n%% 11 and on the second half of bars 4, 8 and 16; both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% NO PHRASE-BREATH RESTS: bars 4, 8 and 16 are two plain half notes in all four\n%% voices, exactly as printed.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  a'2 a'4 g'4 |\n  a'4 a'4 b'4( d''4) |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2\n}\n\nalto = {\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  fis'2 fis'4 g'4 |\n  fis'4 fis'4 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2\n}\n\ntenor = {\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  c'2 c'4 b4 |\n  d'4 d'4 d'4( b4) |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2\n}\n\nbass = {\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  d2 d4 d4 |\n  d4 d4 g2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g,4 |\n  d2 g,2\n}\n"}, "harmonizations": [{"slug": "plainfield-1883", "tune": "plainfield", "music_file": "plainfield-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 43], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Lowry's own four-part setting, engraved \"Copyright, 1876, by Rev. Robert Lowry\" in the left margin of the page it was read from: Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 332, printed page 303 — archive.org item hymnsconso00blis, leaf 307. Every chord of all four voices was read notehead by notehead off that scan (staff-line geometry recovered locally per column, so the page's curvature could not shift a reading) and then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894), no. 195, printed page 201 — archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207. The two dated witnesses agree note for note; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly. The Cyber Hymnal's NoteWorthy file was deliberately NOT used as the encoding: its |SongInfo| Comments names The United Methodist Hymnal (1989) no. 362 as the edition it was copied from, and it diverges from the dated plates in four ways — key of F, dotted-eighth/sixteenth pairs where the plates print four even flagged eighths in bars 3/7/15, bass a step high (its D3 = E3 in G) under \"me\" in refrain bar 11 where the plates hold the D pedal, and a three-note divisi final chord where the plates print two noteheads. The fingerprints of this reading are all visible at high magnification on the 1883 scan: the four eighths carry single flags and no dots; the alto sits on d' under all four of them while the soprano rises g'-g'-g'-a' and the tenor b-b-b-c'; the bass drops to g, at the end of each verse half (bars 4, 8), again at the end of the refrain (bar 16), and once mid-bar on \"of\" in bar 15, where the corresponding verse bars stay on g; and the refrain's \"snow\" is a quarter b' slurred to d'' over a sustained half g' in the alto, mirrored as a quarter d' slurred to b over a half g in the lower staff.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 307), collated against the 1894 Gospel Hymns Nos. 1 to 6 reprint of the same plates (gospelhymnsnos1t0000unse_s2j5, leaf 207). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% PLAINFIELD (7.8.7.8 with Refrain) — \"Nothing but the Blood of Jesus\"\n%% Robert Lowry's own four-part setting, key G major, 4/4, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883),\n%% no. 332, printed page 303 — archive.org hymnsconso00blis, leaf 307 — whose\n%% left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\". Every chord was\n%% then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894),\n%% no. 195, printed page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf\n%% 207). The two witnesses agree note for note. The soprano's first fifteen scale\n%% degrees, 11123 53111 23321, match Hymnary's incipit for tune authority\n%% plainfield_lowry exactly.\n%%\n%% THE CYBER HYMNAL WAS NOT USED. Its NoteWorthy file for this hymn\n%% (NothingButTheBlood.nwc) names its own source in |SongInfo| Comments as \"The\n%% United Methodist Hymnal ... 1989, # 362\" — a modern edition — and it differs\n%% from the 1876/1883 plates in four places: it is in F, it dots the four eighths\n%% of bar 3 into dotted-eighth/sixteenth pairs, it puts the bass on E3 (its D3)\n%% instead of D3 (its C3) under \"me\" in refrain bar 11, and it ends on a\n%% three-note divisi chord. Only the dated plates are encoded here.\n%%\n%% STRUCTURE. Bars 1-4 are the first half of the verse and bars 5-8 repeat them\n%% note for note (the page prints them as two systems, \"What can wash away my\n%% stain? / Nothing but the blood of Jesus;\" then \"What can make me whole again?\n%% / Nothing but the blood of Jesus.\"). Bars 9-16 are the REFRAIN, likewise two\n%% four-bar systems. 57 soprano noteheads in all: 30 in the verse, 27 in the\n%% refrain.\n%%\n%% EVEN EIGHTHS, NOT A DOTTED FIGURE. Bars 3, 7 and 15 print four separately\n%% flagged eighth notes with no augmentation dots and even horizontal spacing\n%% (\"Noth-ing but the\"); verified at high magnification on both dated scans.\n%%\n%% ONE SLUR, refrain bar 12 (\"snow\"), soprano notes 42-43. The page engraves the\n%% soprano there as a QUARTER b' with a slur to d'' while the alto holds a HALF\n%% g' under it, and mirrors the figure in the lower staff (tenor quarter d'\n%% slurred to b over a half g in the bass). Fixed for the single refrain text, so\n%% it is slurred here and the setting stays one_to_one.\n%%\n%% LOW BASS OCTAVES ARE THE PAGE'S. The bass drops to g, at the close of each\n%% verse half (bars 4 and 8) and of the refrain (bar 16), and again on \"of\" in\n%% bar 15 — bar 15's fifth and sixth quarters are g and g,, a real octave leap\n%% that the corresponding verse bars (3 and 7) do NOT make. All four spots were\n%% re-checked against the bottom staff line on the 1883 scan.\n%%\n%% UNISONS. Soprano and alto share one printed notehead on the last beat of bar\n%% 11 and on the second half of bars 4, 8 and 16; both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% NO PHRASE-BREATH RESTS: bars 4, 8 and 16 are two plain half notes in all four\n%% voices, exactly as printed.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  a'2 a'4 g'4 |\n  a'4 a'4 b'4( d''4) |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2\n}\n\nalto = {\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  fis'2 fis'4 g'4 |\n  fis'4 fis'4 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2\n}\n\ntenor = {\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  c'2 c'4 b4 |\n  d'4 d'4 d'4( b4) |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2\n}\n\nbass = {\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  d2 d4 d4 |\n  d4 d4 g2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g,4 |\n  d2 g,2\n}\n", "preferred": true}]}, "power-in-the-blood": {"slug": "power-in-the-blood", "name": "POWER IN THE BLOOD", "meter_label": "10.9.10.8 with Refrain", "meter": {"pattern": [10, 9, 10, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "lewis-e-jones", "composer_date": "1899", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "power-in-the-blood-tabernacle-hymns-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Tune by Lewis Edgar Jones (1865-1936) to his own words, written 1899 and first published that year by H. L. Gilmour. Read here from the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 — archive.org tabernaclehymnsn00chic, leaf 0180 — footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\", and collated note for note against a second scan of the same plate (tabernaclehymnsn02chic, leaf 0178) and against an independent engraving of the same setting in the same key of B-flat (archive.org greatt00weig, leaf 0028, no. 24), which is used for corroboration only and carries no date. US public domain by publication in 1899; both dated witnesses are themselves pre-1931. tools/tune_fingerprint.py finds NO corpus melody closer than 0.138 (LAUDA ANIMA), far below the 0.80 duplicate threshold, so this is not a tune the corpus already holds under another name. THE METER IS 10.9.10.8, not the 10.9.10.9 some indexes give: the plate elides \"power\" to \"pow'r\" on a single notehead throughout, so line 2 (\"There's pow'r in the blood; pow'r in the blood;\") is nine syllables and line 4 (\"There's won-der-ful pow'r in the blood.\") is eight — 37 verse noteheads in all, counted on the plate. Neither dated plate names the tune on the staff; POWER IN THE BLOOD is the name the later hymnals and Hymnary print for it, after its first line, and no printed alt_name is recorded.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "power-in-the-blood-tabernacle-hymns-1921", "tune": "power-in-the-blood", "music_file": "power-in-the-blood-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 37, 46, 52, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "there is pow'r,", "durations": ["8", "8", "2"], "onset": 33}, {"text": "In the blood", "durations": ["8.", "16", "4"], "onset": 41}, {"text": "of the Lamb;", "durations": ["8.", "16", "4"], "onset": 45}, {"text": "There is pow'r,", "durations": ["8", "8", "2"], "onset": 49}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Lewis E. Jones's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 — archive.org item tabernaclehymnsn00chic, leaf 0180 — which is headed \"172  There is Power In the Blood.\", credits \"L. E. J.\" and \"L. E. Jones.\", prints four stanzas interlinear with a written-out chorus and a second lyric row for the tenor/bass answer, and is footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\" (The leaf is 0180 in the item's own _jp2 numbering; an earlier note recorded n177, which is a different hymn.) ⚠ CORRECTED AFTER IMPORT — BAR 7's RHYTHM. As first shipped, bar 7 read quarter, eighth, eighth on \"There's WON-DER-ful\" in all four voices, because that bar was taken to repeat bar 1 rather than read off the page. The plate prints quarter, DOTTED EIGHTH, SIXTEENTH: the \"won\" chord carries an augmentation dot in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a double flag in both staves, on all three printings. All four voices are corrected. Note that 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, so the bar closed at four beats either way and validate_corpus, the unit suites and the .ly regression net ALL PASSED while the hymn was wrong — the pitches were read and confirmed by eye, the durations of that one bar were not. The claim below that every pitch was confirmed by eye is true; it never covered every duration. HOW THE PITCHES WERE READ. For every staff the five staff lines were re-found LOCALLY and the band-by-band measurements interpolated rather than straight-fitted (a straight fit is 1-2 px out where the paper is cockled and lets a staff line into the reading column); grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space. Each note column was read from the CLEAN EDGE of its ink group, with the edge clip measured per staff rather than assumed, and every hollow (half and dotted-half) head was read a second way from its own two arcs. EVERY pitch that ships was then confirmed BY EYE on a crop with the fitted grid drawn over it at 6x-14x. THREE WITNESSES: (1) this plate; (2) a SECOND COPY of the same 1921 book — archive.org tabernaclehymnsn02chic leaf 0178, 22.8-23.2 px staff space; it is NOT the same impression, since it differs from n00chic at one note (see the DIVERGENCE note below), so it is a second printing and not a second scan — read with its own binarisation and its own staff-line fits — its 14-column reading of system 2 and its 15-column reading of system 1 agree with scan 1 everywhere except the one note recorded below; (3) an INDEPENDENT ENGRAVING of the same setting in the same key of B-flat, \"There is Power in the Blood.\" no. 24 in archive.org greatt00weig leaf 0028, whose verse wording differs (\"free from THE burden\", \"the blood,\"). ⚠ WITNESS 3 IS NOT PD EVIDENCE AND IS NOT RELIED ON FOR LICENSING: its title page and preface carry no date and archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY MEYER and BROTHER\" printed on its hymn 25. It was used to CORROBORATE NOTES ONLY, and that is what was done — it reproduces all 14 columns of system 2, all 12 upper columns plus both echo columns of system 3, all 13 upper plus 6 echo columns of system 4, and system 5 including the hymn's highest note, identically. (An earlier note called witness 3 E-flat major; it is not — its key signature is two flats.) ⚠ THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (soprano note 14, the sixteenth in bar 3). The page prints bass F-SHARP 3, tenor G3, alto F-NATURAL 4 and soprano B-NATURAL 4. The upper three spell a G7 without its fifth; the bass F-sharp3 is a chromatic lower neighbour between the F3 before it and the F3 after it; the result is a FALSE (octave) RELATION, F-natural4 over F-sharp3, which a gospel song of 1899 does not normally write. This is what refused the import twice. It is neither a plate defect nor a misreading: the sharp (two full-height verticals, two slanted crossbars, centred on the F3 line) and the natural (offset half-height verticals — that is how it was distinguished from a sharp) were each read at 10x on BOTH Tabernacle scans, which put the sharp's crossbar midpoint on the F3 line (6.00 on scan 1 against noteheads at 7.1 and 6.00; 6.12 on scan 2 against 6.96 and 6.00). THE TWO DATED WITNESSES AGREE. The Weigle engraving is NOT counted here and an earlier draft of this record wrongly said it was: it prints a sharp in the same column, but its crossbar midpoint measures about a step higher, level with the tenor's G3, so the third printing does not clearly say WHICH note is altered. On the two dated witnesses it is ENCODED AS PRINTED and deliberately kept rather than smoothed; this corpus prints what the page prints. THE ACCIDENTAL SWEEP (and what the automated figures do NOT cover). The measurement above is blind to accidentals: it reports staff positions only. All 90 note columns were therefore swept for printed accidentals SEPARATELY, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine of scan 2 and all eight of the Weigle plate; its ~35 candidates were each accounted for as a hollow-notehead outline, a quarter rest, a stem, an end-of-system double bar or lyric ink, except the three below, which are the tallest candidates on the page). The hymn carries exactly THREE accidental glyphs: (a) the sharp on the bass F3 of note 14; (b) the natural on the soprano B4 of note 14; (c) TWO STACKED NATURALS before note 18 (the sixteenth in bar 4) — the lower on the ALTO's E4, a real alteration (E-natural4 as the chromatic lower neighbour of F4, over a held B-flat), and the upper on the SOPRANO's C5, which is REDUNDANT because C is already natural in B-flat major. The redundant one is a COURTESY accidental: the engraver set the same figure a fourth lower in bar 3, where the soprano really is altered, and carried the caution up with it. Both glyphs are on both Tabernacle scans AND on the Weigle engraving, so it is deliberate; it changes no pitch and the redundant glyph is not reproduced. No other accidental appears anywhere in the hymn on any of the three printings. DEPARTURES FROM THE PAGE, stated plainly. (1) THE FINAL CHORD IS PRINTED IN FIVE PARTS: on the last \"Lamb.\" the lower staff prints three dotted-half noteheads on one stem — B-flat3, F3 and B-flat2 — under the treble's B-flat4 and D4, and the Weigle engraving prints the same three. The corpus admits four voices and forbids divisi, so soprano B-flat4, alto D4, tenor B-flat3 (the preceding F7's leading tone A3 resolving up) and bass B-flat2 (the F3 dominant pedal falling a fifth) are encoded and the printed F3 between them is NOT reproduced; the four encoded voices therefore lack the chord's fifth, which the page supplies. (2) SYSTEM BREAKS are at poetic line ends, not where the 1921 plate breaks — that plate breaks mid-line and casts the hymn in five systems, while breaking at line ends costs eight and, with four interlinear stanzas, two pages. (3) The plate's HEAVY SECTION BARLINE between the verse and the chorus falls MID-BAR (bar 8, between the verse's last dotted half and the chorus's two-eighth pickup \"There is\"); the engine draws no such divider, and the ordinary barline structure is what ships. The mid-bar placement is the page's own and the arithmetic only closes at four beats if the pickup belongs to bar 8. (4) THE LAST BAR IS THREE BEATS, as printed — a dotted half on \"Lamb.\" then the closing double bar, with no rest and no fourth beat; that is reproduced, not padded. (5) No Amen is printed and none is encoded; no fermata is printed anywhere — but the plate DOES print a \">\" accent over each of the four chorus half notes in the treble (refrain bars 9 and 13, on \"pow'r, pow'r,\"), and this corpus does not engrave accents, so those four are dropped too. (6) BEAMING in the four echo phrases — the plate flags the tenor/bass dotted eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose echo row is placed by rhythm rather than by \\lyricsto, so it does not break the beam) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's, exactly as recorded on showalter-tabernacle-hymns-1921. ⚠ DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note. On \"vic-to-ry WIN?\" (soprano note 29, the dotted quarter in bar 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 — a clean notehead above a clean C4 ledger line — while the tabernaclehymnsn02chic copy of the same book prints B-flat3 in the space above the top line with no ledger at all. The Weigle engraving prints B-flat3, and the IDENTICAL cadence \"...of SIN?\" in verse line 1 (note 10) is B-flat3 on all three printings. Two witnesses to one, and the parallel agrees: B-FLAT3 SHIPS, and the n00chic variant is recorded rather than hidden. The tenor D4 above the ledger IS correct four notes later, on \"There's\" at the head of verse line 4 (note 30), where all three printings agree, so this is not a systematic misreading of the ledger. ⚠ AN UNUSUAL CHORD THAT IS NOT AN ERROR. On \"sin? THERE'S\" (note 11, the eighth-note upbeat closing bar 2) the voices read B-flat4 / F4 / C4 / B-flat2 — a B-flat chord with a NINTH in the tenor and no third, the C4 anticipating the fifth of the F major chord on the next downbeat. All three printings show the ledger-line C4. The parallel upbeat closing bar 6 (note 30) is a plain B-flat chord with tenor D4 on all three, so the two upbeats really are harmonised differently, and both are kept as printed. THE ALTO IS RHYTHMICALLY INDEPENDENT at the end of verse line 2 (bar 3): under the soprano's held half note on \"blood;\" the alto sings two SLURRED QUARTERS, F4 then E-flat4, on its own down-stem, turning F major into F7. Both Tabernacle scans print it and it is encoded as printed; the four voices are not forced to restrike together. It is the only slur in the hymn and the only place the four voices do not share a rhythm within a staff. There are no ties anywhere. US public domain: the setting was first published in 1899 and both dated witnesses read here are themselves pre-1931; Jones died in 1936, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 0180), collated against a second scan of the same plate (archive.org tabernaclehymnsn02chic, leaf 0178) and, for the notes only, against the independent undated engraving in archive.org greatt00weig, leaf 0028, no. 24. No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% POWER IN THE BLOOD (10.9.10.8 with Refrain) — \"Would You Be Free from Your\n%% Burden of Sin?\"  Lewis E. Jones's own four-part setting of his own tune,\n%% key B-flat major, 4/4, no pickup, 16 bars (8 verse + 8 refrain; the last\n%% bar is THREE beats — see RHYTHM below).  RULES (CI-enforced): exactly the\n%% variables soprano/alto/tenor/bass/global; absolute octaves; each voice\n%% rhythmically complete; NO chords <>, NO <<>>, NO \\secondShift/\n%% \\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  Read notehead by notehead off the dated page image of\n%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 —\n%% archive.org item tabernaclehymnsn00chic, leaf 0180 — headed \"172  There is\n%% Power In the Blood.\", credited \"L. E. J.\" over the words and \"L. E. Jones.\"\n%% over the music, and footed \"Copyright, 1899, by H. L. Gilmour.  Used by\n%% permission.\"  (The leaf is 0180 in the item's own _jp2 numbering, NOT the\n%% n177 an earlier note recorded; n177 is a different hymn.)\n%%\n%% HOW THE PITCHES WERE MEASURED.  For every staff the five staff lines were\n%% re-found LOCALLY — the darkest row inside a small window in each 40px band,\n%% then the band-by-band measurements interpolated (not a straight fit, which is\n%% 1-2 px out where the paper is cockled and lets a staff line into the reading\n%% column).  Grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space.\n%% Each note column was then read from the CLEAN EDGE of its ink group (bottom\n%% edge on an up-stem staff, top edge on a down-stem staff), with the edge clip\n%% measured per staff rather than assumed; hollow (half and dotted-half) heads,\n%% whose outlines the letterpress breaks and whose interiors a filled-head\n%% template loses, were read a second way from their own two arcs.  EVERY pitch\n%% that ships was then confirmed BY EYE on a crop with the fitted grid drawn over\n%% it at 6x-14x.  The measurement is blind to accidentals, ties, slurs, beams,\n%% flags, dots, rests and stem direction; all of those were read by eye.\n%%\n%% THREE WITNESSES.  (1) tabernaclehymnsn00chic leaf 0180, staff space 28.6-29.0\n%% px — the plate cited above.  (2) A SECOND SCAN of the same 1921 plate,\n%% tabernaclehymnsn02chic leaf 0178, staff space 22.8-23.2 px, read with its own\n%% binarisation and its own staff-line fits.  (3) An INDEPENDENT ENGRAVING of the\n%% same setting, in the same key of B-flat: \"There is Power in the Blood.\" no. 24\n%% in The Great Revival Hymnal? (archive.org greatt00weig, leaf 0028), whose\n%% verse wording differs (\"free from THE burden\", \"the blood,\" where the\n%% Tabernacle plate prints \"the blood;\").  ⚠ WITNESS 3 IS NOT AND MUST NOT BE\n%% CITED AS PD EVIDENCE: its title page and preface carry NO date, and\n%% archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY\n%% MEYER and BROTHER\" printed on its hymn 25.  It is used here to CORROBORATE\n%% NOTES ONLY, and that is what was done.  (An earlier note called witness 3\n%% E-flat major with three flats; it is not — its key signature is two flats and\n%% every one of its staff positions matches the Tabernacle plate's, which is\n%% itself the strongest evidence that the two engravings carry the same setting.)\n%%\n%% ⚠ THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (verse line 2, soprano\n%% note 14 of 69, the sixteenth in bar 3).  The page prints, bottom to top,\n%% F-SHARP 3 in the bass, G3 in the tenor, F-NATURAL 4 in the alto and\n%% B-NATURAL 4 in the soprano.  The upper three voices spell a G7 (G-B-F, no\n%% fifth); the bass F-sharp3 is a chromatic lower neighbour between the F3 of the\n%% dotted eighth before it and the F3 of the half note after it.  The result is a\n%% FALSE (octave) RELATION — F-natural4 sounding over F-sharp3 — which a gospel\n%% song of 1899 does not normally write, and it was the reason this import was\n%% refused twice.  It is NOT a plate defect and it is NOT a misreading: the sharp\n%% (two full-height verticals, two slanted crossbars, centre on the F3 line) and\n%% the natural (offset half-height verticals — this is how it was told from a\n%% sharp) were each read at 10x on BOTH Tabernacle scans.  THE TWO DATED WITNESSES\n%% AGREE, and they are what this reading rests on: on scan 1 the sharp's two\n%% crossbar centres measure steps 7.0 and 5.0 (midpoint 6.00) against noteheads at\n%% 7.1 and 6.00, and scan 2 reproduces it (crossbars 7.22 / 5.02, midpoint 6.12;\n%% heads 6.96 and 6.00) — the sharp is on the bass note, not the tenor's.  THE\n%% WEIGLE ENGRAVING IS NOT COUNTED HERE, and an earlier draft of this header\n%% wrongly claimed it was: it prints a sharp in the same column, but its crossbar\n%% midpoint measures about a step higher, level with the tenor's G3, so the third\n%% printing does not clearly say WHICH note is altered.  It is therefore ENCODED\n%% AS PRINTED on the two dated witnesses, deliberately kept rather than smoothed\n%% to F-natural3 or G3; this corpus prints what the page prints.\n%%\n%% THE OTHER TWO ACCIDENTALS, and the sweep that found them.  Every one of the\n%% 90 note columns was swept for printed accidentals separately from the pitch\n%% measurement, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as\n%% well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine\n%% of scan 2 and all eight of the Weigle plate).  The whole hymn carries exactly\n%% THREE accidental glyphs:\n%%   (a) the SHARP on the bass F3 of note 14, above;\n%%   (b) the NATURAL on the soprano B4 of note 14, above;\n%%   (c) TWO STACKED NATURALS in front of note 18 (verse line 2, the sixteenth on\n%%       \"pow'r in THE blood;\", bar 4) — the lower one on the ALTO's E4, which is\n%%       a real alteration (E-natural4 as the chromatic lower neighbour of F4, the\n%%       chord being a double neighbour over a held B-flat), and the UPPER one on\n%%       the SOPRANO's C5, which is REDUNDANT: C is already natural in B-flat\n%%       major.  It is a courtesy accidental — the engraver set the same figure a\n%%       fourth lower in bar 3, where the soprano really is altered (B-natural4),\n%%       and carried the caution up with it.  Both glyphs are on both Tabernacle\n%%       scans AND on the independent Weigle engraving, so the courtesy natural is\n%%       deliberate, not a one-plate quirk.  It changes no pitch, and this\n%%       encoding does not reproduce the redundant glyph; the alto's E-natural4\n%%       is encoded as e'16 — LilyPond prints the natural\n%%       automatically, since E is flat in the key signature.\n%% No other accidental appears anywhere in the hymn, on any of the three\n%% printings.\n%%\n%% RHYTHM.  Verse half-lines are quarter, eighth, eighth, quarter, eighth, eighth\n%% (bars 1, 5) or quarter, eighth, eighth, dotted quarter, eighth (bars 2, 6);\n%% \"pow'r in the blood\" is quarter, dotted eighth, sixteenth, half (bars 3, 4).\n%% BAR 7 IS NOT A REPEAT OF BAR 1, and this encoding first said it was.  On\n%% \"There's WON-DER-ful pow'r in the\" the plate prints quarter, DOTTED EIGHTH,\n%% SIXTEENTH, quarter, eighth, eighth: the \"won\" chord carries an augmentation dot\n%% in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a\n%% DOUBLE flag in both staves.  All three printings agree.  It was first encoded\n%% as two plain eighths — a bar assumed to repeat bar 1 rather than read — and\n%% because 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, the bar still closed\n%% at four beats and validate, the unit suites and the regression net all passed\n%% while the hymn was wrong.  Corrected in all four voices after import.\n%% Bar 8 is the verse's last note (dotted half on \"blood.\") plus the chorus's\n%% two-eighth pickup \"There is\" — the plate prints a HEAVY SECTION BARLINE between\n%% them, MID-BAR, and that is the page, not an error: the arithmetic only closes\n%% at four beats if the pickup belongs to bar 8.  In the refrain the upper two\n%% voices hold half and dotted-half notes while tenor and bass answer underneath\n%% (the sidecar's bass_echo); the lower staff prints QUARTER RESTS where the men\n%% wait (bars 10, 11, 12 — four of them).  THE LAST BAR IS THREE BEATS: the page\n%% prints a dotted half on \"Lamb.\" and then the closing double bar, with no rest\n%% and no fourth beat.  That is reproduced, not padded.  ACCENTS NOT REPRODUCED:\n%% the plate prints a \">\" accent over each of the two treble half notes in refrain\n%% bar 9 and again in bar 13 (four in all, on \"pow'r, pow'r,\"); this corpus does\n%% not engrave accents, so they are dropped.\n%%\n%% THE ALTO IS RHYTHMICALLY INDEPENDENT AT THE END OF VERSE LINE 2 (bar 3): under\n%% the soprano's held half note on \"blood;\" (C5) the alto sings TWO SLURRED\n%% QUARTERS, F4 then E-flat4, on its own down-stem, turning the F major of the\n%% phrase into F7.  Both Tabernacle scans print it; it is encoded as printed and\n%% the four voices are NOT forced to restrike together.  It is the only place in\n%% the hymn where the four voices do not share a rhythm within a staff.\n%%\n%% TENOR AND BASS IN UNISON.  At the end of each echo phrase (\"...there is\n%% POW'R,\", refrain bars 9 and 13) the men answer on a single B-flat3 notehead\n%% carrying an up-stem and a down-stem; both voices carry the pitch here and\n%% LilyPond's default collision resolver is left to kiss the noteheads.  The same\n%% single-head-two-stems engraving is used for the tenor/bass unison F3 on\n%% \"pow'r in\" (bar 7, verse line 4).\n%%\n%% ⚠ DEPARTURE — THE FINAL CHORD IS PRINTED IN FIVE PARTS.  On the last \"Lamb.\"\n%% the lower staff prints THREE dotted-half noteheads on one stem: B-flat3, F3\n%% and B-flat2, under the treble's B-flat4 and D4.  The corpus admits exactly\n%% four voices and forbids divisi.  Encoded are soprano B-flat4, alto D4, tenor\n%% B-flat3 (the tenor's A3 is the leading tone of the preceding F7 and resolves\n%% up a step) and bass B-flat2 (the F3 dominant pedal falling a fifth to the\n%% tonic); the printed F3 between them — the chord's fifth, which the four voices\n%% as encoded therefore lack — is NOT reproduced.  The same three-notehead final\n%% chord is printed on the Weigle engraving, so it is the setting, not a slip.\n%%       THIS WAS CHALLENGED AFTER IMPORT and the encoding is kept.  The objection\n%%       was that a tonic with no fifth is not a chord this idiom ends on, and that\n%%       F3 should be the tenor instead.  It should not: the penultimate chord is a\n%%       COMPLETE root-position F7 (bass F3, tenor A3, alto E-flat4, soprano C5),\n%%       and resolving it strictly — leading tone A3 up to B-flat3, seventh E-flat4\n%%       down to D4, bass F3 down to B-flat2 — yields exactly B-flat2/B-flat3/D4/\n%%       B-flat4, the textbook incomplete tonic with tripled root.  Taking F3 as the\n%%       tenor would make the leading tone leap DOWN a third instead of resolving.\n%%       The missing fifth is not a defect in the reading; it is why the engraver\n%%       adds a fifth notehead at all.  FACE TO FACE, from the same book, prints the\n%%       same five-note chord at the same cadence and its parallel cadence — where\n%%       the soprano has F4 and the four voices already contain the fifth — prints\n%%       only FOUR noteheads, which is the page's own confirmation of this reading.\n%%\n%% ⚠ DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note.\n%% On \"vic-to-ry WIN?\" (verse line 3, soprano note 29, the dotted quarter in bar\n%% 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 — a clean notehead\n%% sitting above a clean C4 ledger line — while the tabernaclehymnsn02chic copy\n%% of the same book prints B-flat3, in the space above the top line, with no\n%% ledger at all.  The independent Weigle engraving prints B-flat3, and the\n%% IDENTICAL cadence \"...of SIN?\" in verse line 1 (soprano note 10) is B-flat3 on\n%% all three printings.  Two witnesses to one, and the parallel agrees with them:\n%% B-FLAT3 SHIPS.  The n00chic variant is recorded here rather than hidden.\n%% (Note that the tenor D4 above the ledger IS correct four notes later, on\n%% \"There's\" at the head of verse line 4, soprano note 30, where all three\n%% printings agree — so the two readings are not a systematic misreading of the\n%% ledger, they are a real difference between two printings at one note.)\n%%\n%% ⚠ AN UNUSUAL CHORD THAT IS NOT AN ERROR (RULE 8).  On \"sin? THERE'S\" (soprano\n%% note 11, the eighth-note upbeat at the end of bar 2) the four voices read\n%% B-flat4 / F4 / C4 / B-flat2 — a B-flat chord with a NINTH (the tenor's C4)\n%% and no third.  The tenor's C4 anticipates the fifth of the F major chord that\n%% follows on the downbeat.  Both Tabernacle scans read C4 on its ledger line and\n%% the Weigle engraving prints the same ledger-line C4; the parallel upbeat at\n%% the end of bar 6 (note 30, \"win? THERE'S\") is a plain B-flat chord with tenor\n%% D4 on all three, so the two upbeats really are harmonised differently.  Kept\n%% as printed.\n%%\n%% BEAMING DEVIATION.  In the four echo phrases the plate FLAGS the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine BEAMS that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  The pitches and durations\n%% are the plate's; the beam is the house engraver's.  (The same deviation is\n%% recorded on showalter-tabernacle-hymns-1921, the other Tabernacle Hymns plate\n%% in the corpus, for the same reason.)\n%%\n%% NO TIES ANYWHERE, and exactly ONE SLUR (the alto's F4-E-flat4 in bar 3).  The\n%% soprano is strictly syllabic: 69 noteheads for 37 verse syllables + 32 refrain\n%% syllables, one note each.  NO AMEN on the page, and none is encoded.  No\n%% fermata is printed.  No Cyber Hymnal asset, MIDI or modern edition was\n%% consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 c''8. b'16 c''2 |\n  bes'4 d''8. c''16 d''2 |\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 a'8. a'16 c''4 bes'8 a'8 |\n  bes'2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''2. bes'8. c''16 |\n  d''2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''4. ees''8 d''4 c''8. c''16 |\n  bes'2.\n}\n\nalto = {\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 f'4( ees'4) |\n  d'4 f'8. e'16 f'2 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 ees'4 d'8 c'8 |\n  d'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'2. d'8. ees'16 |\n  f'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'4. ees'8 f'4 ees'8. ees'16 |\n  d'2.\n}\n\ntenor = {\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. c'8 |\n  c'4 a8. g16 a2 |\n  f4 bes8. bes16 bes2 |\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. d'8 |\n  c'4 c'8. c'16 a4 f8 f8 |\n  f2. bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 r4 |\n  r4 a8. a16 a4 r4 |\n  r4 bes8. bes16 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 c'8. bes16 |\n  a4. c'8 bes4 a8. a16 |\n  bes2.\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. fis16 f2 |\n  bes,4 bes,8. bes,16 bes,2 |\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. f16 f4 f8 f8 |\n  bes,2. bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 r4 |\n  r4 f8. f16 f4 r4 |\n  r4 bes,8. bes,16 bes,4 bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 f8. f16 |\n  f4. f8 f4 f8. f16 |\n  bes,2.\n}\n"}, "harmonizations": [{"slug": "power-in-the-blood-tabernacle-hymns-1921", "tune": "power-in-the-blood", "music_file": "power-in-the-blood-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 37, 46, 52, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "there is pow'r,", "durations": ["8", "8", "2"], "onset": 33}, {"text": "In the blood", "durations": ["8.", "16", "4"], "onset": 41}, {"text": "of the Lamb;", "durations": ["8.", "16", "4"], "onset": 45}, {"text": "There is pow'r,", "durations": ["8", "8", "2"], "onset": 49}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Lewis E. Jones's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 — archive.org item tabernaclehymnsn00chic, leaf 0180 — which is headed \"172  There is Power In the Blood.\", credits \"L. E. J.\" and \"L. E. Jones.\", prints four stanzas interlinear with a written-out chorus and a second lyric row for the tenor/bass answer, and is footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\" (The leaf is 0180 in the item's own _jp2 numbering; an earlier note recorded n177, which is a different hymn.) ⚠ CORRECTED AFTER IMPORT — BAR 7's RHYTHM. As first shipped, bar 7 read quarter, eighth, eighth on \"There's WON-DER-ful\" in all four voices, because that bar was taken to repeat bar 1 rather than read off the page. The plate prints quarter, DOTTED EIGHTH, SIXTEENTH: the \"won\" chord carries an augmentation dot in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a double flag in both staves, on all three printings. All four voices are corrected. Note that 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, so the bar closed at four beats either way and validate_corpus, the unit suites and the .ly regression net ALL PASSED while the hymn was wrong — the pitches were read and confirmed by eye, the durations of that one bar were not. The claim below that every pitch was confirmed by eye is true; it never covered every duration. HOW THE PITCHES WERE READ. For every staff the five staff lines were re-found LOCALLY and the band-by-band measurements interpolated rather than straight-fitted (a straight fit is 1-2 px out where the paper is cockled and lets a staff line into the reading column); grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space. Each note column was read from the CLEAN EDGE of its ink group, with the edge clip measured per staff rather than assumed, and every hollow (half and dotted-half) head was read a second way from its own two arcs. EVERY pitch that ships was then confirmed BY EYE on a crop with the fitted grid drawn over it at 6x-14x. THREE WITNESSES: (1) this plate; (2) a SECOND COPY of the same 1921 book — archive.org tabernaclehymnsn02chic leaf 0178, 22.8-23.2 px staff space; it is NOT the same impression, since it differs from n00chic at one note (see the DIVERGENCE note below), so it is a second printing and not a second scan — read with its own binarisation and its own staff-line fits — its 14-column reading of system 2 and its 15-column reading of system 1 agree with scan 1 everywhere except the one note recorded below; (3) an INDEPENDENT ENGRAVING of the same setting in the same key of B-flat, \"There is Power in the Blood.\" no. 24 in archive.org greatt00weig leaf 0028, whose verse wording differs (\"free from THE burden\", \"the blood,\"). ⚠ WITNESS 3 IS NOT PD EVIDENCE AND IS NOT RELIED ON FOR LICENSING: its title page and preface carry no date and archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY MEYER and BROTHER\" printed on its hymn 25. It was used to CORROBORATE NOTES ONLY, and that is what was done — it reproduces all 14 columns of system 2, all 12 upper columns plus both echo columns of system 3, all 13 upper plus 6 echo columns of system 4, and system 5 including the hymn's highest note, identically. (An earlier note called witness 3 E-flat major; it is not — its key signature is two flats.) ⚠ THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (soprano note 14, the sixteenth in bar 3). The page prints bass F-SHARP 3, tenor G3, alto F-NATURAL 4 and soprano B-NATURAL 4. The upper three spell a G7 without its fifth; the bass F-sharp3 is a chromatic lower neighbour between the F3 before it and the F3 after it; the result is a FALSE (octave) RELATION, F-natural4 over F-sharp3, which a gospel song of 1899 does not normally write. This is what refused the import twice. It is neither a plate defect nor a misreading: the sharp (two full-height verticals, two slanted crossbars, centred on the F3 line) and the natural (offset half-height verticals — that is how it was distinguished from a sharp) were each read at 10x on BOTH Tabernacle scans, which put the sharp's crossbar midpoint on the F3 line (6.00 on scan 1 against noteheads at 7.1 and 6.00; 6.12 on scan 2 against 6.96 and 6.00). THE TWO DATED WITNESSES AGREE. The Weigle engraving is NOT counted here and an earlier draft of this record wrongly said it was: it prints a sharp in the same column, but its crossbar midpoint measures about a step higher, level with the tenor's G3, so the third printing does not clearly say WHICH note is altered. On the two dated witnesses it is ENCODED AS PRINTED and deliberately kept rather than smoothed; this corpus prints what the page prints. THE ACCIDENTAL SWEEP (and what the automated figures do NOT cover). The measurement above is blind to accidentals: it reports staff positions only. All 90 note columns were therefore swept for printed accidentals SEPARATELY, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine of scan 2 and all eight of the Weigle plate; its ~35 candidates were each accounted for as a hollow-notehead outline, a quarter rest, a stem, an end-of-system double bar or lyric ink, except the three below, which are the tallest candidates on the page). The hymn carries exactly THREE accidental glyphs: (a) the sharp on the bass F3 of note 14; (b) the natural on the soprano B4 of note 14; (c) TWO STACKED NATURALS before note 18 (the sixteenth in bar 4) — the lower on the ALTO's E4, a real alteration (E-natural4 as the chromatic lower neighbour of F4, over a held B-flat), and the upper on the SOPRANO's C5, which is REDUNDANT because C is already natural in B-flat major. The redundant one is a COURTESY accidental: the engraver set the same figure a fourth lower in bar 3, where the soprano really is altered, and carried the caution up with it. Both glyphs are on both Tabernacle scans AND on the Weigle engraving, so it is deliberate; it changes no pitch and the redundant glyph is not reproduced. No other accidental appears anywhere in the hymn on any of the three printings. DEPARTURES FROM THE PAGE, stated plainly. (1) THE FINAL CHORD IS PRINTED IN FIVE PARTS: on the last \"Lamb.\" the lower staff prints three dotted-half noteheads on one stem — B-flat3, F3 and B-flat2 — under the treble's B-flat4 and D4, and the Weigle engraving prints the same three. The corpus admits four voices and forbids divisi, so soprano B-flat4, alto D4, tenor B-flat3 (the preceding F7's leading tone A3 resolving up) and bass B-flat2 (the F3 dominant pedal falling a fifth) are encoded and the printed F3 between them is NOT reproduced; the four encoded voices therefore lack the chord's fifth, which the page supplies. (2) SYSTEM BREAKS are at poetic line ends, not where the 1921 plate breaks — that plate breaks mid-line and casts the hymn in five systems, while breaking at line ends costs eight and, with four interlinear stanzas, two pages. (3) The plate's HEAVY SECTION BARLINE between the verse and the chorus falls MID-BAR (bar 8, between the verse's last dotted half and the chorus's two-eighth pickup \"There is\"); the engine draws no such divider, and the ordinary barline structure is what ships. The mid-bar placement is the page's own and the arithmetic only closes at four beats if the pickup belongs to bar 8. (4) THE LAST BAR IS THREE BEATS, as printed — a dotted half on \"Lamb.\" then the closing double bar, with no rest and no fourth beat; that is reproduced, not padded. (5) No Amen is printed and none is encoded; no fermata is printed anywhere — but the plate DOES print a \">\" accent over each of the four chorus half notes in the treble (refrain bars 9 and 13, on \"pow'r, pow'r,\"), and this corpus does not engrave accents, so those four are dropped too. (6) BEAMING in the four echo phrases — the plate flags the tenor/bass dotted eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose echo row is placed by rhythm rather than by \\lyricsto, so it does not break the beam) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's, exactly as recorded on showalter-tabernacle-hymns-1921. ⚠ DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note. On \"vic-to-ry WIN?\" (soprano note 29, the dotted quarter in bar 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 — a clean notehead above a clean C4 ledger line — while the tabernaclehymnsn02chic copy of the same book prints B-flat3 in the space above the top line with no ledger at all. The Weigle engraving prints B-flat3, and the IDENTICAL cadence \"...of SIN?\" in verse line 1 (note 10) is B-flat3 on all three printings. Two witnesses to one, and the parallel agrees: B-FLAT3 SHIPS, and the n00chic variant is recorded rather than hidden. The tenor D4 above the ledger IS correct four notes later, on \"There's\" at the head of verse line 4 (note 30), where all three printings agree, so this is not a systematic misreading of the ledger. ⚠ AN UNUSUAL CHORD THAT IS NOT AN ERROR. On \"sin? THERE'S\" (note 11, the eighth-note upbeat closing bar 2) the voices read B-flat4 / F4 / C4 / B-flat2 — a B-flat chord with a NINTH in the tenor and no third, the C4 anticipating the fifth of the F major chord on the next downbeat. All three printings show the ledger-line C4. The parallel upbeat closing bar 6 (note 30) is a plain B-flat chord with tenor D4 on all three, so the two upbeats really are harmonised differently, and both are kept as printed. THE ALTO IS RHYTHMICALLY INDEPENDENT at the end of verse line 2 (bar 3): under the soprano's held half note on \"blood;\" the alto sings two SLURRED QUARTERS, F4 then E-flat4, on its own down-stem, turning F major into F7. Both Tabernacle scans print it and it is encoded as printed; the four voices are not forced to restrike together. It is the only slur in the hymn and the only place the four voices do not share a rhythm within a staff. There are no ties anywhere. US public domain: the setting was first published in 1899 and both dated witnesses read here are themselves pre-1931; Jones died in 1936, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 0180), collated against a second scan of the same plate (archive.org tabernaclehymnsn02chic, leaf 0178) and, for the notes only, against the independent undated engraving in archive.org greatt00weig, leaf 0028, no. 24. No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% POWER IN THE BLOOD (10.9.10.8 with Refrain) — \"Would You Be Free from Your\n%% Burden of Sin?\"  Lewis E. Jones's own four-part setting of his own tune,\n%% key B-flat major, 4/4, no pickup, 16 bars (8 verse + 8 refrain; the last\n%% bar is THREE beats — see RHYTHM below).  RULES (CI-enforced): exactly the\n%% variables soprano/alto/tenor/bass/global; absolute octaves; each voice\n%% rhythmically complete; NO chords <>, NO <<>>, NO \\secondShift/\n%% \\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  Read notehead by notehead off the dated page image of\n%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 —\n%% archive.org item tabernaclehymnsn00chic, leaf 0180 — headed \"172  There is\n%% Power In the Blood.\", credited \"L. E. J.\" over the words and \"L. E. Jones.\"\n%% over the music, and footed \"Copyright, 1899, by H. L. Gilmour.  Used by\n%% permission.\"  (The leaf is 0180 in the item's own _jp2 numbering, NOT the\n%% n177 an earlier note recorded; n177 is a different hymn.)\n%%\n%% HOW THE PITCHES WERE MEASURED.  For every staff the five staff lines were\n%% re-found LOCALLY — the darkest row inside a small window in each 40px band,\n%% then the band-by-band measurements interpolated (not a straight fit, which is\n%% 1-2 px out where the paper is cockled and lets a staff line into the reading\n%% column).  Grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space.\n%% Each note column was then read from the CLEAN EDGE of its ink group (bottom\n%% edge on an up-stem staff, top edge on a down-stem staff), with the edge clip\n%% measured per staff rather than assumed; hollow (half and dotted-half) heads,\n%% whose outlines the letterpress breaks and whose interiors a filled-head\n%% template loses, were read a second way from their own two arcs.  EVERY pitch\n%% that ships was then confirmed BY EYE on a crop with the fitted grid drawn over\n%% it at 6x-14x.  The measurement is blind to accidentals, ties, slurs, beams,\n%% flags, dots, rests and stem direction; all of those were read by eye.\n%%\n%% THREE WITNESSES.  (1) tabernaclehymnsn00chic leaf 0180, staff space 28.6-29.0\n%% px — the plate cited above.  (2) A SECOND SCAN of the same 1921 plate,\n%% tabernaclehymnsn02chic leaf 0178, staff space 22.8-23.2 px, read with its own\n%% binarisation and its own staff-line fits.  (3) An INDEPENDENT ENGRAVING of the\n%% same setting, in the same key of B-flat: \"There is Power in the Blood.\" no. 24\n%% in The Great Revival Hymnal? (archive.org greatt00weig, leaf 0028), whose\n%% verse wording differs (\"free from THE burden\", \"the blood,\" where the\n%% Tabernacle plate prints \"the blood;\").  ⚠ WITNESS 3 IS NOT AND MUST NOT BE\n%% CITED AS PD EVIDENCE: its title page and preface carry NO date, and\n%% archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY\n%% MEYER and BROTHER\" printed on its hymn 25.  It is used here to CORROBORATE\n%% NOTES ONLY, and that is what was done.  (An earlier note called witness 3\n%% E-flat major with three flats; it is not — its key signature is two flats and\n%% every one of its staff positions matches the Tabernacle plate's, which is\n%% itself the strongest evidence that the two engravings carry the same setting.)\n%%\n%% ⚠ THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (verse line 2, soprano\n%% note 14 of 69, the sixteenth in bar 3).  The page prints, bottom to top,\n%% F-SHARP 3 in the bass, G3 in the tenor, F-NATURAL 4 in the alto and\n%% B-NATURAL 4 in the soprano.  The upper three voices spell a G7 (G-B-F, no\n%% fifth); the bass F-sharp3 is a chromatic lower neighbour between the F3 of the\n%% dotted eighth before it and the F3 of the half note after it.  The result is a\n%% FALSE (octave) RELATION — F-natural4 sounding over F-sharp3 — which a gospel\n%% song of 1899 does not normally write, and it was the reason this import was\n%% refused twice.  It is NOT a plate defect and it is NOT a misreading: the sharp\n%% (two full-height verticals, two slanted crossbars, centre on the F3 line) and\n%% the natural (offset half-height verticals — this is how it was told from a\n%% sharp) were each read at 10x on BOTH Tabernacle scans.  THE TWO DATED WITNESSES\n%% AGREE, and they are what this reading rests on: on scan 1 the sharp's two\n%% crossbar centres measure steps 7.0 and 5.0 (midpoint 6.00) against noteheads at\n%% 7.1 and 6.00, and scan 2 reproduces it (crossbars 7.22 / 5.02, midpoint 6.12;\n%% heads 6.96 and 6.00) — the sharp is on the bass note, not the tenor's.  THE\n%% WEIGLE ENGRAVING IS NOT COUNTED HERE, and an earlier draft of this header\n%% wrongly claimed it was: it prints a sharp in the same column, but its crossbar\n%% midpoint measures about a step higher, level with the tenor's G3, so the third\n%% printing does not clearly say WHICH note is altered.  It is therefore ENCODED\n%% AS PRINTED on the two dated witnesses, deliberately kept rather than smoothed\n%% to F-natural3 or G3; this corpus prints what the page prints.\n%%\n%% THE OTHER TWO ACCIDENTALS, and the sweep that found them.  Every one of the\n%% 90 note columns was swept for printed accidentals separately from the pitch\n%% measurement, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as\n%% well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine\n%% of scan 2 and all eight of the Weigle plate).  The whole hymn carries exactly\n%% THREE accidental glyphs:\n%%   (a) the SHARP on the bass F3 of note 14, above;\n%%   (b) the NATURAL on the soprano B4 of note 14, above;\n%%   (c) TWO STACKED NATURALS in front of note 18 (verse line 2, the sixteenth on\n%%       \"pow'r in THE blood;\", bar 4) — the lower one on the ALTO's E4, which is\n%%       a real alteration (E-natural4 as the chromatic lower neighbour of F4, the\n%%       chord being a double neighbour over a held B-flat), and the UPPER one on\n%%       the SOPRANO's C5, which is REDUNDANT: C is already natural in B-flat\n%%       major.  It is a courtesy accidental — the engraver set the same figure a\n%%       fourth lower in bar 3, where the soprano really is altered (B-natural4),\n%%       and carried the caution up with it.  Both glyphs are on both Tabernacle\n%%       scans AND on the independent Weigle engraving, so the courtesy natural is\n%%       deliberate, not a one-plate quirk.  It changes no pitch, and this\n%%       encoding does not reproduce the redundant glyph; the alto's E-natural4\n%%       is encoded as e'16 — LilyPond prints the natural\n%%       automatically, since E is flat in the key signature.\n%% No other accidental appears anywhere in the hymn, on any of the three\n%% printings.\n%%\n%% RHYTHM.  Verse half-lines are quarter, eighth, eighth, quarter, eighth, eighth\n%% (bars 1, 5) or quarter, eighth, eighth, dotted quarter, eighth (bars 2, 6);\n%% \"pow'r in the blood\" is quarter, dotted eighth, sixteenth, half (bars 3, 4).\n%% BAR 7 IS NOT A REPEAT OF BAR 1, and this encoding first said it was.  On\n%% \"There's WON-DER-ful pow'r in the\" the plate prints quarter, DOTTED EIGHTH,\n%% SIXTEENTH, quarter, eighth, eighth: the \"won\" chord carries an augmentation dot\n%% in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a\n%% DOUBLE flag in both staves.  All three printings agree.  It was first encoded\n%% as two plain eighths — a bar assumed to repeat bar 1 rather than read — and\n%% because 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, the bar still closed\n%% at four beats and validate, the unit suites and the regression net all passed\n%% while the hymn was wrong.  Corrected in all four voices after import.\n%% Bar 8 is the verse's last note (dotted half on \"blood.\") plus the chorus's\n%% two-eighth pickup \"There is\" — the plate prints a HEAVY SECTION BARLINE between\n%% them, MID-BAR, and that is the page, not an error: the arithmetic only closes\n%% at four beats if the pickup belongs to bar 8.  In the refrain the upper two\n%% voices hold half and dotted-half notes while tenor and bass answer underneath\n%% (the sidecar's bass_echo); the lower staff prints QUARTER RESTS where the men\n%% wait (bars 10, 11, 12 — four of them).  THE LAST BAR IS THREE BEATS: the page\n%% prints a dotted half on \"Lamb.\" and then the closing double bar, with no rest\n%% and no fourth beat.  That is reproduced, not padded.  ACCENTS NOT REPRODUCED:\n%% the plate prints a \">\" accent over each of the two treble half notes in refrain\n%% bar 9 and again in bar 13 (four in all, on \"pow'r, pow'r,\"); this corpus does\n%% not engrave accents, so they are dropped.\n%%\n%% THE ALTO IS RHYTHMICALLY INDEPENDENT AT THE END OF VERSE LINE 2 (bar 3): under\n%% the soprano's held half note on \"blood;\" (C5) the alto sings TWO SLURRED\n%% QUARTERS, F4 then E-flat4, on its own down-stem, turning the F major of the\n%% phrase into F7.  Both Tabernacle scans print it; it is encoded as printed and\n%% the four voices are NOT forced to restrike together.  It is the only place in\n%% the hymn where the four voices do not share a rhythm within a staff.\n%%\n%% TENOR AND BASS IN UNISON.  At the end of each echo phrase (\"...there is\n%% POW'R,\", refrain bars 9 and 13) the men answer on a single B-flat3 notehead\n%% carrying an up-stem and a down-stem; both voices carry the pitch here and\n%% LilyPond's default collision resolver is left to kiss the noteheads.  The same\n%% single-head-two-stems engraving is used for the tenor/bass unison F3 on\n%% \"pow'r in\" (bar 7, verse line 4).\n%%\n%% ⚠ DEPARTURE — THE FINAL CHORD IS PRINTED IN FIVE PARTS.  On the last \"Lamb.\"\n%% the lower staff prints THREE dotted-half noteheads on one stem: B-flat3, F3\n%% and B-flat2, under the treble's B-flat4 and D4.  The corpus admits exactly\n%% four voices and forbids divisi.  Encoded are soprano B-flat4, alto D4, tenor\n%% B-flat3 (the tenor's A3 is the leading tone of the preceding F7 and resolves\n%% up a step) and bass B-flat2 (the F3 dominant pedal falling a fifth to the\n%% tonic); the printed F3 between them — the chord's fifth, which the four voices\n%% as encoded therefore lack — is NOT reproduced.  The same three-notehead final\n%% chord is printed on the Weigle engraving, so it is the setting, not a slip.\n%%       THIS WAS CHALLENGED AFTER IMPORT and the encoding is kept.  The objection\n%%       was that a tonic with no fifth is not a chord this idiom ends on, and that\n%%       F3 should be the tenor instead.  It should not: the penultimate chord is a\n%%       COMPLETE root-position F7 (bass F3, tenor A3, alto E-flat4, soprano C5),\n%%       and resolving it strictly — leading tone A3 up to B-flat3, seventh E-flat4\n%%       down to D4, bass F3 down to B-flat2 — yields exactly B-flat2/B-flat3/D4/\n%%       B-flat4, the textbook incomplete tonic with tripled root.  Taking F3 as the\n%%       tenor would make the leading tone leap DOWN a third instead of resolving.\n%%       The missing fifth is not a defect in the reading; it is why the engraver\n%%       adds a fifth notehead at all.  FACE TO FACE, from the same book, prints the\n%%       same five-note chord at the same cadence and its parallel cadence — where\n%%       the soprano has F4 and the four voices already contain the fifth — prints\n%%       only FOUR noteheads, which is the page's own confirmation of this reading.\n%%\n%% ⚠ DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note.\n%% On \"vic-to-ry WIN?\" (verse line 3, soprano note 29, the dotted quarter in bar\n%% 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 — a clean notehead\n%% sitting above a clean C4 ledger line — while the tabernaclehymnsn02chic copy\n%% of the same book prints B-flat3, in the space above the top line, with no\n%% ledger at all.  The independent Weigle engraving prints B-flat3, and the\n%% IDENTICAL cadence \"...of SIN?\" in verse line 1 (soprano note 10) is B-flat3 on\n%% all three printings.  Two witnesses to one, and the parallel agrees with them:\n%% B-FLAT3 SHIPS.  The n00chic variant is recorded here rather than hidden.\n%% (Note that the tenor D4 above the ledger IS correct four notes later, on\n%% \"There's\" at the head of verse line 4, soprano note 30, where all three\n%% printings agree — so the two readings are not a systematic misreading of the\n%% ledger, they are a real difference between two printings at one note.)\n%%\n%% ⚠ AN UNUSUAL CHORD THAT IS NOT AN ERROR (RULE 8).  On \"sin? THERE'S\" (soprano\n%% note 11, the eighth-note upbeat at the end of bar 2) the four voices read\n%% B-flat4 / F4 / C4 / B-flat2 — a B-flat chord with a NINTH (the tenor's C4)\n%% and no third.  The tenor's C4 anticipates the fifth of the F major chord that\n%% follows on the downbeat.  Both Tabernacle scans read C4 on its ledger line and\n%% the Weigle engraving prints the same ledger-line C4; the parallel upbeat at\n%% the end of bar 6 (note 30, \"win? THERE'S\") is a plain B-flat chord with tenor\n%% D4 on all three, so the two upbeats really are harmonised differently.  Kept\n%% as printed.\n%%\n%% BEAMING DEVIATION.  In the four echo phrases the plate FLAGS the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine BEAMS that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  The pitches and durations\n%% are the plate's; the beam is the house engraver's.  (The same deviation is\n%% recorded on showalter-tabernacle-hymns-1921, the other Tabernacle Hymns plate\n%% in the corpus, for the same reason.)\n%%\n%% NO TIES ANYWHERE, and exactly ONE SLUR (the alto's F4-E-flat4 in bar 3).  The\n%% soprano is strictly syllabic: 69 noteheads for 37 verse syllables + 32 refrain\n%% syllables, one note each.  NO AMEN on the page, and none is encoded.  No\n%% fermata is printed.  No Cyber Hymnal asset, MIDI or modern edition was\n%% consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 c''8. b'16 c''2 |\n  bes'4 d''8. c''16 d''2 |\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 a'8. a'16 c''4 bes'8 a'8 |\n  bes'2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''2. bes'8. c''16 |\n  d''2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''4. ees''8 d''4 c''8. c''16 |\n  bes'2.\n}\n\nalto = {\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 f'4( ees'4) |\n  d'4 f'8. e'16 f'2 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 ees'4 d'8 c'8 |\n  d'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'2. d'8. ees'16 |\n  f'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'4. ees'8 f'4 ees'8. ees'16 |\n  d'2.\n}\n\ntenor = {\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. c'8 |\n  c'4 a8. g16 a2 |\n  f4 bes8. bes16 bes2 |\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. d'8 |\n  c'4 c'8. c'16 a4 f8 f8 |\n  f2. bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 r4 |\n  r4 a8. a16 a4 r4 |\n  r4 bes8. bes16 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 c'8. bes16 |\n  a4. c'8 bes4 a8. a16 |\n  bes2.\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. fis16 f2 |\n  bes,4 bes,8. bes,16 bes,2 |\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. f16 f4 f8 f8 |\n  bes,2. bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 r4 |\n  r4 f8. f16 f4 r4 |\n  r4 bes,8. bes,16 bes,4 bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 f8. f16 |\n  f4. f8 f4 f8. f16 |\n  bes,2.\n}\n", "preferred": true}]}, "promises": {"slug": "promises", "name": "PROMISES", "meter_label": "11.11.11.9 with Refrain", "meter": {"pattern": [11, 11, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "russell-kelso-carter", "composer_date": "1886", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "promises-songs-of-perfect-love-1886", "provenance": {"layer": "tune", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by R. Kelso Carter (1849-1928), first published with his own words in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 — read on the archive.org scan songsofperfectlo00cart, leaf 101 — headed 'Standing on the Promises.' with 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' Reprinted in the same B-flat — but NOT note for note: Christ in Song (1908) re-sets the chorus's 'of God (my Saviour;)' bar and differs at one soprano notehead in the bar before. Formerly described as note for note but for a single soprano notehead, in Christ in Song (ed. F. E. Belden, 1908), hymn 219, printed pp. 212-213 (archive.org songfora00beld leaves 162-163). US public domain by publication before 1929. NAME: neither plate names the tune on the page; PROMISES is the name under which Hymnary's tune authority (PROMISES, Carter) and later hymnals print it, and its meter there — 11.11.11.9 with refrain — is the meter the 1886 engraving actually sets, 11 + 11 + 11 + 9 syllables over 42 soprano notes with a 30-note chorus. The soprano's first eleven scale degrees, 5 5 5 6 5 4 3 4 5 8 8 in B-flat, are the published PROMISES incipit; tools/tune_fingerprint.py puts this melody's best corpus match at 0.53 (UXBRIDGE), far below the 0.80 duplicate threshold, so the tune is new to the corpus and not a mislabelled asset.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "promises-songs-of-perfect-love-1886", "tune": "promises", "music_file": "promises-songs-of-perfect-love-1886.ly", "harmonizer": "russell-kelso-carter", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 42, 46, 58, 62], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "bass_echo": {"segments": [{"onset": 32, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 36, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 48, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 52, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4"]}]}, "provenance": {"layer": "harmonization", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "R. Kelso Carter's own four-part setting as FIRST PRINTED, in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 — archive.org item songsofperfectlo00cart, leaf 101, an unrestricted Princeton Theological Seminary copy — headed 'Standing on the Promises.' with 'R. K. C.' at the left and 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' beneath the hymn's own last system. US public domain by publication before 1929, and no arranger other than the composer stands anywhere in the chain. SECOND DATED WITNESS, read independently: Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope Publishing Co., 1908), hymn 219, printed pp. 212-213 — archive.org item songfora00beld, leaves 162-163 — whose footer reads 'Copyright, 1886, by JOHN J. HOOD. Used by permission.' Same key and same tune; the 1908 reprint is NOT the same setting throughout (it re-sets the chorus's 'of God' bar). NO SCAFFOLD OF ANY KIND WAS USED: no Cyber Hymnal .nwc or .mid, no other MIDI, no existing encoding. Every notehead was measured off the 1886 page (method in the .ly header) and then checked against the 1908 plate column by column. WHERE THIS ENCODING DEPARTS FROM THE 1886 PAGE — all of it, stated plainly: (a) verse bar 8 prints a dotted half plus a quarter rest in all four voices and is written here as a whole note, per the house cadence-breath convention (same sounding length, same ordinals); (b) both plates print an inverted fermata over the chorus's second '...ing,' (soprano note 62) and it is NOT rendered, per house style, which records fermatas in the .ly header instead; (c) appearance only, no note and no duration changed: the 1886 plate FLAGS every note separately — one flag on each dotted eighth, two on each sixteenth, and no beam anywhere on the page. The verse engraves that way here too, but in the CHORUS, where the soprano holds and the answering voices move under it, the engine beams those pairs. The plate's section label also reads 'CHORUS.' where the house style prints 'Refrain'; (d) the two printings disagree at exactly one notehead — chorus bar 3 note 6, where 1886 prints the soprano in the C5 space and 1908 on the D5 line. This file follows the 1886 plate it cites and encodes C5. Nothing else differs: pitch for pitch and rhythm for rhythm this is the 1886 engraving, including its THREE single-notehead unisons — the third is chorus bar 7 (ly bar 15) note 8, the closing sixteenth of 'prom-is-es OF God', one F3 head carrying an up-stem and a down-stem, each double-flagged (verse bar 7 notes 7-8 on F3, chorus bar 4 note 1 on B-flat 3) and the tenor's B-flat 3 / F3 difference between the otherwise identical cadence bars 2 and 6, which both plates print.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1886 Songs of Perfect Love engraving (archive.org songsofperfectlo00cart leaf 101), measured notehead by notehead and cross-read against Christ in Song 1908 (songfora00beld leaves 162-163)", "encoding_license": "PD-dedication"}, "music_ly": "%% PROMISES (11.11.11.9 with Refrain) — \"Standing on the Promises\"\n%% Words and music R. Kelso Carter, 1886. Four SATB voice streams, canonical key\n%% B-flat major, 4/4 throughout, no pickup. 16 bars: an 8-bar verse and an 8-bar\n%% chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — THE FIRST PRINTING, AND NOTHING ELSE.\n%% Transcribed from Songs of Perfect Love (comp. John R. Sweney & R. Kelso\n%% Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 —\n%% archive.org item songsofperfectlo00cart, leaf 101 — headed \"Standing on the\n%% Promises.\" with \"R. K. C.\" at the left and \"R. KELSO CARTER\" at the right,\n%% and the engraved footer \"Copyright, 1886, by JOHN J. HOOD.\" beneath the last\n%% system. No scaffold of any kind was used: no Cyber Hymnal .nwc or .mid, no\n%% MIDI, no existing encoding. Every notehead below was measured off that page.\n%%\n%% SECOND DATED WITNESS, read independently and required to agree:\n%% Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope\n%% Publishing Co., n.d. but 1908), hymn 219, printed pp. 212-213 — archive.org\n%% item songfora00beld, leaves 162-163 — whose own footer reads \"Copyright,\n%% 1886, by JOHN J. HOOD. Used by permission.\" Same key, same meter, same\n%% setting. The two plates were compared column by column. They agree everywhere\n%% at one notehead, chorus bar 3 note 6 (\"...prom-IS-es...\"), where 1886\n%% (this file first said the plates agree EXCEPT there; they also diverge at chorus\n%% bar 4, where 1908 re-sets \"of God (my Saviour;)\" with an open half notehead and a\n%% slur over a dotted half, against 1886's four plain quarters and no curve — THIS\n%% FILE FOLLOWS THE 1886 PLATE)\n%% prints the soprano in the C5 space and 1908 prints it on the D5 line. THIS\n%% FILE FOLLOWS THE 1886 PLATE IT CITES and encodes c''.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For every note column the five\n%% staff lines were detected LOCALLY (a sliding x-window, each line then fitted\n%% as a quadratic in x, so the scan's skew and warp are followed rather than\n%% averaged away). Each head's centre was taken as the midpoint of its own\n%% full-width ink rows in that column's vertical darkness profile, with the\n%% staff-line rows interpolated out so a line running through a head could not\n%% stretch it. The centre was converted to a diatonic step by interpolating\n%% between the two NEAREST fitted lines only — no global vertical scale. Over\n%% 253 filled heads on the 1886 plate the residual to an exact staff position\n%% has median 0.00 step, with two systematic offsets estimated from the whole\n%% page and subtracted: a head engraved in a space sits about 0.21 step off the\n%% space centre, in the direction its stem points (up in the treble staff, down\n%% in the bass), while a head on a line sits on the line to within 0.02 step.\n%% After that correction every head encoded here lands within 0.15 step of an\n%% exact position; the handful that did not were cropped at 5-9x and read\n%% against the fitted grid one at a time.\n%%\n%% THE TEXTURE. Verse: strictly homorhythmic, all four voices, in the gospel\n%% dotted figure 8. 16 8. 16 8. 16 8. 16 for the long bars and 4 4 2 for the\n%% cadence bars. Chorus: ANTIPHONAL, and the plate really does print it that\n%% way. In chorus bars 1, 2, 5 and 6 the SOPRANO holds \"Stand ——— ing,\" in half\n%% notes while ALTO, TENOR and BASS answer underneath in the dotted figure with\n%% their own words, \"Standing on the promise,\" — the 1886 page carries two\n%% lyric rows between the staves for exactly this (the melody's row and the\n%% answer's row), and the 1908 reprint prints the same two rows. In chorus bars\n%% 3, 4, 7 and 8 all four voices sing the melody's words together. The answer is\n%% carried in the sidecar as `bass_echo`, which prints it as a second, smaller\n%% row directly beneath the refrain row — i.e. between the staves, where both\n%% plates put it.\n%%\n%% WHAT THE ENGRAVING DOES NOT REPRODUCE (appearance only, no note and no\n%% duration changed): the 1886 plate FLAGS every note separately — one flag on\n%% each dotted eighth, two on each sixteenth, and no beam anywhere on the page.\n%% The verse comes out that way here too, but in the CHORUS, where the soprano\n%% holds and the answering voices move under it, this engine beams those pairs.\n%% The plate's section label also reads \"CHORUS.\" where the house style prints\n%% \"Refrain\".\n%%\n%% UNISONS. Where the plate engraves a SINGLE notehead in the lower staff, tenor\n%% and bass are in unison and both are written here. That happens at verse bar 7\n%% notes 7-8 (one F3 head, confirmed on both plates at 8x) and at chorus bar 4\n%% note 1, where the 1886 plate prints one head just above the bass staff's top\n%% line — B-flat 3 — with a single down stem and nothing below it.\n%%\n%% FERMATA — PRESENT ON THE PAGE, NOT RENDERED. Both plates print an inverted\n%% fermata on the chorus's second \"…ing,\" (soprano note 62, the E-flat 5 dotted\n%% quarter in chorus bar 6). House style omits fermatas and records them here,\n%% as the Bach chorales and FILLMORE in this corpus already do; adding it would\n%% be the one token ees''4.\\fermata.\n%%\n%% CADENCE BREATH. At the end of the verse (bar 8) the plate prints a dotted\n%% half plus a quarter rest in ALL FOUR voices, 4/4. That is written here as a\n%% whole note, per the house cadence-breath convention — sounding value\n%% unchanged, ordinals unchanged, singers breathe naturally.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  g'8. g'16 g'8. a'16 bes'8. bes'16 a'8. g'16 |\n  g'4 f'4 f'2 |\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  d''8. d''16 bes'8. bes'16 c''8. c''16 a'8. a'16 |\n  bes'1 |\n  d''2 bes'2 |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 c''8. c''16 bes'8. c''16 |\n  d''4 bes'4 g'4 bes'4 |\n  d''2 bes'2 |\n  g'2 ees''4. c''8 |\n  bes'8. bes'16 bes'8. c''16 d''8. d''16 c''8. c''16 |\n  bes'1\n}\n\nalto = {\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  ees'8. ees'16 ees'8. f'16 g'8. g'16 f'8. ees'16 |\n  ees'4 d'4 d'2 |\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  f'8. f'16 d'8. d'16 ees'8. ees'16 ees'8. ees'16 |\n  d'1 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 d'8 d'4. |\n  f'8. f'16 f'8. f'16 f'8. f'16 f'8. f'16 |\n  f'4 d'4 ees'4 d'4 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 g'8 g'4 ees'8 |\n  d'8. d'16 d'8. ees'16 f'8. f'16 ees'8. ees'16 |\n  d'1\n}\n\ntenor = {\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 ees'8. ees'16 bes8. bes16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 f4 f2 |\n  bes8. bes16 f8. f16 g8. g16 f8. f16 |\n  f1 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  a8. a16 a8. a16 a8. a16 g8. a16 |\n  bes4 f4 bes4 f4 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4 g8 |\n  bes8. bes16 bes8. a16 bes8. bes16 a8. f16 |\n  f1\n}\n\nbass = {\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 ees8. ees16 f8. f16 |\n  bes,1 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 g8 g4. |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes4 bes,4 bes,4 bes,4 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 ees8 ees4 ees8 |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes,1\n}\n"}, "harmonizations": [{"slug": "promises-songs-of-perfect-love-1886", "tune": "promises", "music_file": "promises-songs-of-perfect-love-1886.ly", "harmonizer": "russell-kelso-carter", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 42, 46, 58, 62], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "bass_echo": {"segments": [{"onset": 32, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 36, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 48, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 52, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4"]}]}, "provenance": {"layer": "harmonization", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "R. Kelso Carter's own four-part setting as FIRST PRINTED, in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 — archive.org item songsofperfectlo00cart, leaf 101, an unrestricted Princeton Theological Seminary copy — headed 'Standing on the Promises.' with 'R. K. C.' at the left and 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' beneath the hymn's own last system. US public domain by publication before 1929, and no arranger other than the composer stands anywhere in the chain. SECOND DATED WITNESS, read independently: Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope Publishing Co., 1908), hymn 219, printed pp. 212-213 — archive.org item songfora00beld, leaves 162-163 — whose footer reads 'Copyright, 1886, by JOHN J. HOOD. Used by permission.' Same key and same tune; the 1908 reprint is NOT the same setting throughout (it re-sets the chorus's 'of God' bar). NO SCAFFOLD OF ANY KIND WAS USED: no Cyber Hymnal .nwc or .mid, no other MIDI, no existing encoding. Every notehead was measured off the 1886 page (method in the .ly header) and then checked against the 1908 plate column by column. WHERE THIS ENCODING DEPARTS FROM THE 1886 PAGE — all of it, stated plainly: (a) verse bar 8 prints a dotted half plus a quarter rest in all four voices and is written here as a whole note, per the house cadence-breath convention (same sounding length, same ordinals); (b) both plates print an inverted fermata over the chorus's second '...ing,' (soprano note 62) and it is NOT rendered, per house style, which records fermatas in the .ly header instead; (c) appearance only, no note and no duration changed: the 1886 plate FLAGS every note separately — one flag on each dotted eighth, two on each sixteenth, and no beam anywhere on the page. The verse engraves that way here too, but in the CHORUS, where the soprano holds and the answering voices move under it, the engine beams those pairs. The plate's section label also reads 'CHORUS.' where the house style prints 'Refrain'; (d) the two printings disagree at exactly one notehead — chorus bar 3 note 6, where 1886 prints the soprano in the C5 space and 1908 on the D5 line. This file follows the 1886 plate it cites and encodes C5. Nothing else differs: pitch for pitch and rhythm for rhythm this is the 1886 engraving, including its THREE single-notehead unisons — the third is chorus bar 7 (ly bar 15) note 8, the closing sixteenth of 'prom-is-es OF God', one F3 head carrying an up-stem and a down-stem, each double-flagged (verse bar 7 notes 7-8 on F3, chorus bar 4 note 1 on B-flat 3) and the tenor's B-flat 3 / F3 difference between the otherwise identical cadence bars 2 and 6, which both plates print.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1886 Songs of Perfect Love engraving (archive.org songsofperfectlo00cart leaf 101), measured notehead by notehead and cross-read against Christ in Song 1908 (songfora00beld leaves 162-163)", "encoding_license": "PD-dedication"}, "music_ly": "%% PROMISES (11.11.11.9 with Refrain) — \"Standing on the Promises\"\n%% Words and music R. Kelso Carter, 1886. Four SATB voice streams, canonical key\n%% B-flat major, 4/4 throughout, no pickup. 16 bars: an 8-bar verse and an 8-bar\n%% chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — THE FIRST PRINTING, AND NOTHING ELSE.\n%% Transcribed from Songs of Perfect Love (comp. John R. Sweney & R. Kelso\n%% Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 —\n%% archive.org item songsofperfectlo00cart, leaf 101 — headed \"Standing on the\n%% Promises.\" with \"R. K. C.\" at the left and \"R. KELSO CARTER\" at the right,\n%% and the engraved footer \"Copyright, 1886, by JOHN J. HOOD.\" beneath the last\n%% system. No scaffold of any kind was used: no Cyber Hymnal .nwc or .mid, no\n%% MIDI, no existing encoding. Every notehead below was measured off that page.\n%%\n%% SECOND DATED WITNESS, read independently and required to agree:\n%% Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope\n%% Publishing Co., n.d. but 1908), hymn 219, printed pp. 212-213 — archive.org\n%% item songfora00beld, leaves 162-163 — whose own footer reads \"Copyright,\n%% 1886, by JOHN J. HOOD. Used by permission.\" Same key, same meter, same\n%% setting. The two plates were compared column by column. They agree everywhere\n%% at one notehead, chorus bar 3 note 6 (\"...prom-IS-es...\"), where 1886\n%% (this file first said the plates agree EXCEPT there; they also diverge at chorus\n%% bar 4, where 1908 re-sets \"of God (my Saviour;)\" with an open half notehead and a\n%% slur over a dotted half, against 1886's four plain quarters and no curve — THIS\n%% FILE FOLLOWS THE 1886 PLATE)\n%% prints the soprano in the C5 space and 1908 prints it on the D5 line. THIS\n%% FILE FOLLOWS THE 1886 PLATE IT CITES and encodes c''.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For every note column the five\n%% staff lines were detected LOCALLY (a sliding x-window, each line then fitted\n%% as a quadratic in x, so the scan's skew and warp are followed rather than\n%% averaged away). Each head's centre was taken as the midpoint of its own\n%% full-width ink rows in that column's vertical darkness profile, with the\n%% staff-line rows interpolated out so a line running through a head could not\n%% stretch it. The centre was converted to a diatonic step by interpolating\n%% between the two NEAREST fitted lines only — no global vertical scale. Over\n%% 253 filled heads on the 1886 plate the residual to an exact staff position\n%% has median 0.00 step, with two systematic offsets estimated from the whole\n%% page and subtracted: a head engraved in a space sits about 0.21 step off the\n%% space centre, in the direction its stem points (up in the treble staff, down\n%% in the bass), while a head on a line sits on the line to within 0.02 step.\n%% After that correction every head encoded here lands within 0.15 step of an\n%% exact position; the handful that did not were cropped at 5-9x and read\n%% against the fitted grid one at a time.\n%%\n%% THE TEXTURE. Verse: strictly homorhythmic, all four voices, in the gospel\n%% dotted figure 8. 16 8. 16 8. 16 8. 16 for the long bars and 4 4 2 for the\n%% cadence bars. Chorus: ANTIPHONAL, and the plate really does print it that\n%% way. In chorus bars 1, 2, 5 and 6 the SOPRANO holds \"Stand ——— ing,\" in half\n%% notes while ALTO, TENOR and BASS answer underneath in the dotted figure with\n%% their own words, \"Standing on the promise,\" — the 1886 page carries two\n%% lyric rows between the staves for exactly this (the melody's row and the\n%% answer's row), and the 1908 reprint prints the same two rows. In chorus bars\n%% 3, 4, 7 and 8 all four voices sing the melody's words together. The answer is\n%% carried in the sidecar as `bass_echo`, which prints it as a second, smaller\n%% row directly beneath the refrain row — i.e. between the staves, where both\n%% plates put it.\n%%\n%% WHAT THE ENGRAVING DOES NOT REPRODUCE (appearance only, no note and no\n%% duration changed): the 1886 plate FLAGS every note separately — one flag on\n%% each dotted eighth, two on each sixteenth, and no beam anywhere on the page.\n%% The verse comes out that way here too, but in the CHORUS, where the soprano\n%% holds and the answering voices move under it, this engine beams those pairs.\n%% The plate's section label also reads \"CHORUS.\" where the house style prints\n%% \"Refrain\".\n%%\n%% UNISONS. Where the plate engraves a SINGLE notehead in the lower staff, tenor\n%% and bass are in unison and both are written here. That happens at verse bar 7\n%% notes 7-8 (one F3 head, confirmed on both plates at 8x) and at chorus bar 4\n%% note 1, where the 1886 plate prints one head just above the bass staff's top\n%% line — B-flat 3 — with a single down stem and nothing below it.\n%%\n%% FERMATA — PRESENT ON THE PAGE, NOT RENDERED. Both plates print an inverted\n%% fermata on the chorus's second \"…ing,\" (soprano note 62, the E-flat 5 dotted\n%% quarter in chorus bar 6). House style omits fermatas and records them here,\n%% as the Bach chorales and FILLMORE in this corpus already do; adding it would\n%% be the one token ees''4.\\fermata.\n%%\n%% CADENCE BREATH. At the end of the verse (bar 8) the plate prints a dotted\n%% half plus a quarter rest in ALL FOUR voices, 4/4. That is written here as a\n%% whole note, per the house cadence-breath convention — sounding value\n%% unchanged, ordinals unchanged, singers breathe naturally.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  g'8. g'16 g'8. a'16 bes'8. bes'16 a'8. g'16 |\n  g'4 f'4 f'2 |\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  d''8. d''16 bes'8. bes'16 c''8. c''16 a'8. a'16 |\n  bes'1 |\n  d''2 bes'2 |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 c''8. c''16 bes'8. c''16 |\n  d''4 bes'4 g'4 bes'4 |\n  d''2 bes'2 |\n  g'2 ees''4. c''8 |\n  bes'8. bes'16 bes'8. c''16 d''8. d''16 c''8. c''16 |\n  bes'1\n}\n\nalto = {\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  ees'8. ees'16 ees'8. f'16 g'8. g'16 f'8. ees'16 |\n  ees'4 d'4 d'2 |\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  f'8. f'16 d'8. d'16 ees'8. ees'16 ees'8. ees'16 |\n  d'1 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 d'8 d'4. |\n  f'8. f'16 f'8. f'16 f'8. f'16 f'8. f'16 |\n  f'4 d'4 ees'4 d'4 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 g'8 g'4 ees'8 |\n  d'8. d'16 d'8. ees'16 f'8. f'16 ees'8. ees'16 |\n  d'1\n}\n\ntenor = {\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 ees'8. ees'16 bes8. bes16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 f4 f2 |\n  bes8. bes16 f8. f16 g8. g16 f8. f16 |\n  f1 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  a8. a16 a8. a16 a8. a16 g8. a16 |\n  bes4 f4 bes4 f4 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4 g8 |\n  bes8. bes16 bes8. a16 bes8. bes16 a8. f16 |\n  f1\n}\n\nbass = {\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 ees8. ees16 f8. f16 |\n  bes,1 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 g8 g4. |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes4 bes,4 bes,4 bes,4 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 ees8 ees4 ees8 |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes,1\n}\n", "preferred": true}]}, "puer-nobis-nascitur": {"slug": "puer-nobis-nascitur", "name": "PUER NOBIS NASCITUR", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "michael-praetorius", "composer_date": "1906", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "puer-nobis-nascitur-oh40", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:40; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "puer_nobis_nascitur_praetorius", "total_instances": 251}}, "harmonization": {"slug": "puer-nobis-nascitur-oh40", "tune": "puer-nobis-nascitur", "music_file": "puer-nobis-nascitur-oh40.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 17, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:40; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:40", "encoding_license": "PD-dedication"}, "music_ly": "%% On Jordan's Bank the Baptist's Cry\n%% Imported from Open Hymnal ABC X:40 via tools/abc_import.py\n%% Open Hymnal X:40; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 d'2 e'4 fis'2 g'4 fis'2 e'4 d'2 d'4 a'2 a'4 a'4( b'4) cis''4 d''2 d''4 d''2 a'4 d''2 d''4 cis''2 a'4 b'2 b'4 a'2 g'4 a'2 fis'4 e'2 fis'4 d'2 cis'4 d'2\n}\nalto = {\n  a4 b2 cis'4 d'2 d'4 d'2 a4 fis2 b4 d'4( g'4) fis'4 e'2 e'4 fis'2 g'4 fis'2 e'4 d'4( fis'4) e'4 e'2 d'4 b2 d'4 d'2 b4 e'2 d'4 cis'2 d'4 b2 a4 a2\n}\ntenor = {\n  fis4 fis2 a4 a2 d4 a4( b4) cis'4 d'2 d'4 d'2 a4 a2 a4 a2 b4 a2 a4 b2 b4 a4( g4) fis4 g2 g4 fis2 g4 e2 a4 a2 a4 g4( fis4) e4 fis2\n}\nbass = {\n  d4 b,2 a,4 d4( cis4) b,4 a,4( g,4) a,4 d2 g4 fis4( e4) d4 cis2 a,4 d2 d4 d2 cis4 b,4( a,4) gis,4 a,2 d4 g,2 b,4 d2 e4 cis2 d4 a,4( g,4) fis,4 g,2 a,4 d2\n}\n"}, "harmonizations": [{"slug": "puer-nobis-nascitur-oh40", "tune": "puer-nobis-nascitur", "music_file": "puer-nobis-nascitur-oh40.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 17, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:40; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:40", "encoding_license": "PD-dedication"}, "music_ly": "%% On Jordan's Bank the Baptist's Cry\n%% Imported from Open Hymnal ABC X:40 via tools/abc_import.py\n%% Open Hymnal X:40; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 d'2 e'4 fis'2 g'4 fis'2 e'4 d'2 d'4 a'2 a'4 a'4( b'4) cis''4 d''2 d''4 d''2 a'4 d''2 d''4 cis''2 a'4 b'2 b'4 a'2 g'4 a'2 fis'4 e'2 fis'4 d'2 cis'4 d'2\n}\nalto = {\n  a4 b2 cis'4 d'2 d'4 d'2 a4 fis2 b4 d'4( g'4) fis'4 e'2 e'4 fis'2 g'4 fis'2 e'4 d'4( fis'4) e'4 e'2 d'4 b2 d'4 d'2 b4 e'2 d'4 cis'2 d'4 b2 a4 a2\n}\ntenor = {\n  fis4 fis2 a4 a2 d4 a4( b4) cis'4 d'2 d'4 d'2 a4 a2 a4 a2 b4 a2 a4 b2 b4 a4( g4) fis4 g2 g4 fis2 g4 e2 a4 a2 a4 g4( fis4) e4 fis2\n}\nbass = {\n  d4 b,2 a,4 d4( cis4) b,4 a,4( g,4) a,4 d2 g4 fis4( e4) d4 cis2 a,4 d2 d4 d2 cis4 b,4( a,4) gis,4 a,2 d4 g,2 b,4 d2 e4 cis2 d4 a,4( g,4) fis,4 g,2 a,4 d2\n}\n", "preferred": true}]}, "quebec": {"slug": "quebec", "name": "QUEBEC", "alt_name": "HESPERUS", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-baker", "composer_date": "1854", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "quebec-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "QUEBEC (also called HESPERUS or WHITBURN), a long-metre tune by Henry Baker (1835–1910), composed 1854. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hesperus\" (Henry Baker, 1854); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "quebec-cyberhymnal", "tune": "quebec", "music_file": "quebec-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "QUEBEC (HESPERUS), Henry Baker, 1854. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune QUEBEC (also called HESPERUS or WHITBURN) by Henry Baker (1835–1910), composed 1854; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Baker d. 1910; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hesperus\" (Henry Baker, 1854); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% QUEBEC (HESPERUS, L.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hesperus\", Henry Baker 1854) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4).\n%% MELISMATIC: 33 soprano notes for 32 L.M. syllables. The one melisma is the\n%% cadential descent soprano notes 28-29 (a'-g'), slurred in the source; the\n%% held note carries a '_' in the setting underlay. The soprano B-natural and\n%% alto E-flat are correctly-spelled chromatic tones printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  a'4 a'4 a'4 | c''2 f'4 | g'2 g'4 | a'2. | c''4 c''4 c''4 | bes'2 g'4 | a'2 bes'4 | g'2. | g'4 g'4 g'4 | g'2 g'4 | b'2 g'4 | c''2. | a'4 a'4 a'4 | a'4( g'4) f'4 | f'2 e'4 | f'2.\n}\nalto = {\n  f'4 f'4 f'4 | f'2 f'4 | f'2 e'4 | f'2. | f'4 f'4 f'4 | d'2 e'4 | f'2 g'4 | e'2. | e'4 e'4 e'4 | f'2 f'4 | f'2 f'4 | e'2. | f'4 e'4 es'4 | d'2 d'4 | c'2 c'4 | c'2.\n}\ntenor = {\n  c'4 c'4 c'4 | c'2 c'4 | d'2 c'4 | c'2. | c'4 c'4 c'4 | d'2 c'4 | c'2 d'4 | c'2. | c'4 c'4 c'4 | d'2 d'4 | d'2 b4 | c'2. | c'4 c'4 c'4 | bes2 a4 | g4 a4 bes4 | a2.\n}\nbass = {\n  f4 f4 f4 | a,2 a,4 | bes,2 c4 | f2. | a4 a4 a4 | g2 c4 | f2 bes,4 | c2. | c4 c4 c4 | b,2 b,4 | g,2 g4 | c2. | f4 f4 f4 | bes,2 b,4 | c2 c4 | f2.\n}\n"}, "harmonizations": [{"slug": "quebec-cyberhymnal", "tune": "quebec", "music_file": "quebec-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "QUEBEC (HESPERUS), Henry Baker, 1854. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune QUEBEC (also called HESPERUS or WHITBURN) by Henry Baker (1835–1910), composed 1854; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Baker d. 1910; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Hesperus\" (Henry Baker, 1854); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% QUEBEC (HESPERUS, L.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Hesperus\", Henry Baker 1854) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4).\n%% MELISMATIC: 33 soprano notes for 32 L.M. syllables. The one melisma is the\n%% cadential descent soprano notes 28-29 (a'-g'), slurred in the source; the\n%% held note carries a '_' in the setting underlay. The soprano B-natural and\n%% alto E-flat are correctly-spelled chromatic tones printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  a'4 a'4 a'4 | c''2 f'4 | g'2 g'4 | a'2. | c''4 c''4 c''4 | bes'2 g'4 | a'2 bes'4 | g'2. | g'4 g'4 g'4 | g'2 g'4 | b'2 g'4 | c''2. | a'4 a'4 a'4 | a'4( g'4) f'4 | f'2 e'4 | f'2.\n}\nalto = {\n  f'4 f'4 f'4 | f'2 f'4 | f'2 e'4 | f'2. | f'4 f'4 f'4 | d'2 e'4 | f'2 g'4 | e'2. | e'4 e'4 e'4 | f'2 f'4 | f'2 f'4 | e'2. | f'4 e'4 es'4 | d'2 d'4 | c'2 c'4 | c'2.\n}\ntenor = {\n  c'4 c'4 c'4 | c'2 c'4 | d'2 c'4 | c'2. | c'4 c'4 c'4 | d'2 c'4 | c'2 d'4 | c'2. | c'4 c'4 c'4 | d'2 d'4 | d'2 b4 | c'2. | c'4 c'4 c'4 | bes2 a4 | g4 a4 bes4 | a2.\n}\nbass = {\n  f4 f4 f4 | a,2 a,4 | bes,2 c4 | f2. | a4 a4 a4 | g2 c4 | f2 bes,4 | c2. | c4 c4 c4 | b,2 b,4 | g,2 g4 | c2. | f4 f4 f4 | bes,2 b,4 | c2 c4 | f2.\n}\n", "preferred": true}]}, "quem-pastores": {"slug": "quem-pastores", "name": "QUEM PASTORES", "meter_label": "8.8.8.7", "meter": {"pattern": [8, 8, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German, c. 1410", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "quem-pastores-oh52", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:52; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "quem_pastores_13534", "total_instances": 148}}, "harmonization": {"slug": "quem-pastores-oh52", "tune": "quem-pastores", "music_file": "quem-pastores-oh52.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [11, 19, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:52; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:52", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 25, "pitch": "g,"}, {"voice": "bass", "voice_note": 27, "pitch": "a,"}, {"voice": "bass", "voice_note": 31, "pitch": "f,"}], "music_ly": "%% Come, Your Heart and Voices Raising\n%% Imported from Open Hymnal ABC X:52 via tools/abc_import.py\n%% Open Hymnal X:52; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 a'4 c''2 a'4 bes'4( c''4) d''4 c''2 g'4 a'4( bes'4) c''4 bes'4( a'4) g'4 f'2 d'4 e'2 c'4 a'2 bes'4 c''2 d''4 c''2 g'4 a'2 f'4 bes'2 bes'4 a'4( g'4) f'4 f'4( d'4) e'4 f'2.\n}\nalto = {\n  f'2 f'4 g'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 d'2 e'4 d'2 b4 c'2 c'4 c'2 f'4 f'2 f'4 f'2 e'4 e'2 d'4 d'2 g'4 e'2 d'4 d'2 c'4 c'2.\n}\ntenor = {\n  a2 c'4 c'2 c'4 bes2 bes4 g4( a4) bes4 a2 a4 bes2 bes4 a2 g4 g2 e4 f2 f4 f2 bes4 g4( a4) bes4 a2 a4 bes2 d'4 c'2 a4 bes2 bes4 a2.\n}\nbass = {\n  f2 f4 e2 f4 d2 bes,4 c2 c4 f2 a4 g2 c4 d2 g4 c2 c4 f2 d4 a,2 bes,4 c2 c4 cis2 d4 g2 g,4 a2 d4 g,2 c4 f2.\n}\n"}, "harmonizations": [{"slug": "quem-pastores-oh52", "tune": "quem-pastores", "music_file": "quem-pastores-oh52.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [11, 19, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:52; all components published pre-1931 (latest year 1913).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:52", "encoding_license": "PD-dedication"}, "alternates": [{"voice": "bass", "voice_note": 25, "pitch": "g,"}, {"voice": "bass", "voice_note": 27, "pitch": "a,"}, {"voice": "bass", "voice_note": 31, "pitch": "f,"}], "music_ly": "%% Come, Your Heart and Voices Raising\n%% Imported from Open Hymnal ABC X:52 via tools/abc_import.py\n%% Open Hymnal X:52; all components published pre-1931 (latest year 1913).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  f'2 a'4 c''2 a'4 bes'4( c''4) d''4 c''2 g'4 a'4( bes'4) c''4 bes'4( a'4) g'4 f'2 d'4 e'2 c'4 a'2 bes'4 c''2 d''4 c''2 g'4 a'2 f'4 bes'2 bes'4 a'4( g'4) f'4 f'4( d'4) e'4 f'2.\n}\nalto = {\n  f'2 f'4 g'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 d'2 e'4 d'2 b4 c'2 c'4 c'2 f'4 f'2 f'4 f'2 e'4 e'2 d'4 d'2 g'4 e'2 d'4 d'2 c'4 c'2.\n}\ntenor = {\n  a2 c'4 c'2 c'4 bes2 bes4 g4( a4) bes4 a2 a4 bes2 bes4 a2 g4 g2 e4 f2 f4 f2 bes4 g4( a4) bes4 a2 a4 bes2 d'4 c'2 a4 bes2 bes4 a2.\n}\nbass = {\n  f2 f4 e2 f4 d2 bes,4 c2 c4 f2 a4 g2 c4 d2 g4 c2 c4 f2 d4 a,2 bes,4 c2 c4 cis2 d4 g2 g,4 a2 d4 g,2 c4 f2.\n}\n", "preferred": true}]}, "rathbun": {"slug": "rathbun", "name": "RATHBUN", "meter_label": "8.7.8.7", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "ithamar-conkey", "composer_date": "1849", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "rathbun-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "RATHBUN (8.7.8.7), composed by Ithamar Conkey in 1849 (Norwich, Connecticut) for John Bowring's \"In the Cross of Christ I Glory.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4). The one chromatic is a raised fourth (E-natural) at the second-phrase cadence, printed with a natural in the source and carried in the soprano. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rathbun\" (Ithamar Conkey, 1849); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rathbun-cyberhymnal", "tune": "rathbun", "music_file": "rathbun-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RATHBUN, Ithamar Conkey, 1849. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RATHBUN (Ithamar Conkey, 1849); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rathbun\" (Ithamar Conkey, 1849); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RATHBUN (8.7.8.7) — four SATB voice streams, canonical key B-flat major, 3/4.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rathbun\", Ithamar Conkey 1849) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. MELISMATIC:\n%% 35 soprano notes for 30 syllables (8.7.8.7); the held continuations are marked\n%% '_' each stanza (verse_variable_melisma) at soprano ordinals 6, 17, 24, 25, 26.\n%% Slurs mark the melisma groups: a'( g') in bar 3 (score-printed), the descending\n%% eighth-note run in bar 11 (score prints it as two beamed pairs, taken here as one\n%% four-note melisma), and the second-phrase cadence e'( f'2.) (see NOTE below).\n%% The soprano E-natural in bar 7 is the raised fourth printed with a natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\n\nsoprano = {\n  f'2 bes'4 | d''2 bes'4 | a'4( g'4) f'4 | bes'4 f'2 |\n  f'2 g'4 | d'2 c'4 | bes4 d'4 e'4( | f'2.) |\n  f'2 bes'4 | d''2 bes'4 | c''4 bes'8( a'8 g'8 f'8) | bes'4 f'2 |\n  f'2 g'4 | f'2 bes'4 | d'2 c'4 | bes2.\n}\nalto = {\n  d'2 d'4 | f'2 f'4 | es'2 f'4 | d'4 d'2 |\n  bes2 bes4 | bes2 a4 | bes4 d'4 c'4 | c'2. |\n  d'2 d'4 | f'2 f'4 | es'4. a'8 es'8 f'8 | d'4 d'2 |\n  d'2 es'4 | d'2 d'4 | bes2 a4 | bes2.\n}\ntenor = {\n  f2 f4 | bes2 bes4 | c'4 bes4 a4 | f4 bes2 |\n  bes2 g4 | f2 f4 | f4 bes4 bes4 | a2. |\n  bes2 f4 | f4 bes4 bes4 | a4 c'4 a4 | f4 bes2 |\n  bes2 bes4 | bes2 f8 d8 | f2 es4 | d2.\n}\nbass = {\n  bes,2 bes,4 | bes,2 d4 | f2 f4 | bes,4 bes,2 |\n  d2 es4 | f2 f,4 | bes,4 g,4 c4 | f,2. |\n  bes,2 bes,4 | bes,2 d4 | a4 c'4 f4 | bes,4 bes,2 |\n  bes,2 bes,4 | bes,2 bes,8 d8 | f2 f,4 | bes,2.\n}\n"}, "harmonizations": [{"slug": "rathbun-cyberhymnal", "tune": "rathbun", "music_file": "rathbun-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RATHBUN, Ithamar Conkey, 1849. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RATHBUN (Ithamar Conkey, 1849); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rathbun\" (Ithamar Conkey, 1849); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RATHBUN (8.7.8.7) — four SATB voice streams, canonical key B-flat major, 3/4.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rathbun\", Ithamar Conkey 1849) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. MELISMATIC:\n%% 35 soprano notes for 30 syllables (8.7.8.7); the held continuations are marked\n%% '_' each stanza (verse_variable_melisma) at soprano ordinals 6, 17, 24, 25, 26.\n%% Slurs mark the melisma groups: a'( g') in bar 3 (score-printed), the descending\n%% eighth-note run in bar 11 (score prints it as two beamed pairs, taken here as one\n%% four-note melisma), and the second-phrase cadence e'( f'2.) (see NOTE below).\n%% The soprano E-natural in bar 7 is the raised fourth printed with a natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\n\nsoprano = {\n  f'2 bes'4 | d''2 bes'4 | a'4( g'4) f'4 | bes'4 f'2 |\n  f'2 g'4 | d'2 c'4 | bes4 d'4 e'4( | f'2.) |\n  f'2 bes'4 | d''2 bes'4 | c''4 bes'8( a'8 g'8 f'8) | bes'4 f'2 |\n  f'2 g'4 | f'2 bes'4 | d'2 c'4 | bes2.\n}\nalto = {\n  d'2 d'4 | f'2 f'4 | es'2 f'4 | d'4 d'2 |\n  bes2 bes4 | bes2 a4 | bes4 d'4 c'4 | c'2. |\n  d'2 d'4 | f'2 f'4 | es'4. a'8 es'8 f'8 | d'4 d'2 |\n  d'2 es'4 | d'2 d'4 | bes2 a4 | bes2.\n}\ntenor = {\n  f2 f4 | bes2 bes4 | c'4 bes4 a4 | f4 bes2 |\n  bes2 g4 | f2 f4 | f4 bes4 bes4 | a2. |\n  bes2 f4 | f4 bes4 bes4 | a4 c'4 a4 | f4 bes2 |\n  bes2 bes4 | bes2 f8 d8 | f2 es4 | d2.\n}\nbass = {\n  bes,2 bes,4 | bes,2 d4 | f2 f4 | bes,4 bes,2 |\n  d2 es4 | f2 f,4 | bes,4 g,4 c4 | f,2. |\n  bes,2 bes,4 | bes,2 d4 | a4 c'4 f4 | bes,4 bes,2 |\n  bes,2 bes,4 | bes,2 bes,8 d8 | f2 f,4 | bes,2.\n}\n", "preferred": true}]}, "regent-square": {"slug": "regent-square", "name": "REGENT SQUARE", "meter_label": "8.7.8.7.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-smart", "composer_date": "1867", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "regent-square-oh29", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:29; all components published pre-1931 (latest year 1889).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "regent_square_smart", "total_instances": 1075}}, "harmonization": {"slug": "regent-square-oh29", "tune": "regent-square", "music_file": "regent-square-oh29.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [15, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:29; all components published pre-1931 (latest year 1889).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:29", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord, Dismiss Us With Thy Blessing\n%% Imported from Open Hymnal ABC X:29 via tools/abc_import.py\n%% Open Hymnal X:29; all components published pre-1931 (latest year 1889).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  g'4 e'4 c''4 g'4 e''4. d''8 c''4 g'4 a'4 a'4 g'4 c''4 g'4 f'4 e'2 g'4 e'4 c''4 g'4 e''4. d''8 c''4 b'4 c''4 b'4 a'4 b'8( c''8) b'4 a'4 g'2 d''4. d''8 b'4 g'4 e''4. d''8 c''4 a'4 f''4 e''4 d''4 c''4 c''4 b'4 c''2\n}\nalto = {\n  e'4 c'4 g'4 e'4 g'4. g'8 g'4 g'4 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 c'4 g'4 g'8 f'8 e'4. f'8 e'4 e'4 e'4 e'4 e'4 e'4 g'4 fis'4 g'2 g'4. g'8 g'4 g'4 g'4. e'8 f'4 f'4 a'4 g'4 f'4 e'8 f'8 g'4. f'8 e'2\n}\ntenor = {\n  c'4 g4 g4 c'4 c'4. b8 c'4 c'4 a4 c'4 g4 a4 g4 g4 g2 c'4 c'4 g4 g4 c'4. b8 a4 gis4 a4 gis4 e'4 d'8 c'8 d'4 c'4 b2 b4. b8 d'4 b4 c'4. bes8 a4 c'4 d'4 g4 a8 b8 c'4 d'4 d'4 c'2\n}\nbass = {\n  c4 c4 e4 c4 g4. f8 e4 e4 f4 f4 e4 a,4 b,4 g,4 c2 c'4 g4 e4 e8 d8 c4. d8 e4 e4 a4 e4 c4 a,4 d4 d4 g,2 g4. g8 g4 g4 c4. c8 f4 f4 d4 e4 f8 g8 a4 g4 g,4 c2\n}\n"}, "harmonizations": [{"slug": "regent-square-oh29", "tune": "regent-square", "music_file": "regent-square-oh29.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [15, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:29; all components published pre-1931 (latest year 1889).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:29", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord, Dismiss Us With Thy Blessing\n%% Imported from Open Hymnal ABC X:29 via tools/abc_import.py\n%% Open Hymnal X:29; all components published pre-1931 (latest year 1889).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  g'4 e'4 c''4 g'4 e''4. d''8 c''4 g'4 a'4 a'4 g'4 c''4 g'4 f'4 e'2 g'4 e'4 c''4 g'4 e''4. d''8 c''4 b'4 c''4 b'4 a'4 b'8( c''8) b'4 a'4 g'2 d''4. d''8 b'4 g'4 e''4. d''8 c''4 a'4 f''4 e''4 d''4 c''4 c''4 b'4 c''2\n}\nalto = {\n  e'4 c'4 g'4 e'4 g'4. g'8 g'4 g'4 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 c'4 g'4 g'8 f'8 e'4. f'8 e'4 e'4 e'4 e'4 e'4 e'4 g'4 fis'4 g'2 g'4. g'8 g'4 g'4 g'4. e'8 f'4 f'4 a'4 g'4 f'4 e'8 f'8 g'4. f'8 e'2\n}\ntenor = {\n  c'4 g4 g4 c'4 c'4. b8 c'4 c'4 a4 c'4 g4 a4 g4 g4 g2 c'4 c'4 g4 g4 c'4. b8 a4 gis4 a4 gis4 e'4 d'8 c'8 d'4 c'4 b2 b4. b8 d'4 b4 c'4. bes8 a4 c'4 d'4 g4 a8 b8 c'4 d'4 d'4 c'2\n}\nbass = {\n  c4 c4 e4 c4 g4. f8 e4 e4 f4 f4 e4 a,4 b,4 g,4 c2 c'4 g4 e4 e8 d8 c4. d8 e4 e4 a4 e4 c4 a,4 d4 d4 g,2 g4. g8 g4 g4 c4. c8 f4 f4 d4 e4 f8 g8 a4 g4 g,4 c2\n}\n", "preferred": true}]}, "regent-square-refrain": {"slug": "regent-square-refrain", "name": "REGENT SQUARE", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "henry-smart", "composer_date": "1867", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "regent-square-oh49", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:49; Words James Montgomery 1816, Music 'Regent Square' Henry Smart 1867 (setting 'Psalms and Hymns for Divine Worship' 1867); all components pre-1931 (latest year 1867).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "regent-square-oh49", "tune": "regent-square-refrain", "music_file": "regent-square-oh49.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [15, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:49; Words James Montgomery 1816, Music 'Regent Square' Henry Smart 1867 (setting 'Psalms and Hymns for Divine Worship' 1867); all components pre-1931 (latest year 1867).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:49", "encoding_license": "PD-dedication"}, "music_ly": "%% Angels From the Realms of Glory\n%% Imported from Open Hymnal ABC X:49 via tools/abc_import.py\n%% Words: James Montgomery, 1816; Music REGENT SQUARE by Henry Smart, 1867 (setting 'Psalms and Hymns for Divine Worship', 1867). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  g'4 e'4 c''4 g'4 e''4. d''8 c''4 g'4 a'4 a'4 g'4 c''4 g'4 f'4 e'2 g'4 e'4 c''4 g'4 e''4. d''8 c''4 b'4 c''4 b'4 a'4 b'8 c''8 b'4 a'4 g'2 d''4. d''8 b'4 g'4 e''4. d''8 c''4 a'4 f''4 e''4 d''4 c''4 c''4 b'4 c''2\n}\nalto = {\n  e'4 c'4 g'4 e'4 g'4. g'8 g'4 g'4 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 c'4 g'4 g'8 f'8 e'4. f'8 e'4 e'4 e'4 e'4 e'4 e'4 g'4 fis'4 g'2 g'4. g'8 g'4 g'4 g'4. e'8 f'4 f'4 a'4 g'4 f'4 e'8 f'8 g'4. f'8 e'2\n}\ntenor = {\n  c'4 g4 g4 c'4 c'4. b8 c'4 c'4 a4 c'4 g4 a4 g4 g4 g2 c'4 c'4 g4 g4 c'4. b8 a4 gis4 a4 gis4 e'4 d'8 c'8 d'4 c'4 b2 b4. b8 d'4 b4 c'4. bes8 a4 c'4 d'4 g4 a8 b8 c'4 d'4 d'4 c'2\n}\nbass = {\n  c4 c4 e4 c4 g4. f8 e4 e4 f4 f4 e4 a,4 b,4 g,4 c2 c'4 g4 e4 e8 d8 c4. d8 e4 e4 a4 e4 c4 a,4 d4 d4 g,2 g4. g8 g4 g4 c4. c8 f4 f4 d4 e4 f8 g8 a4 g4 g,4 c2\n}\n"}, "harmonizations": [{"slug": "regent-square-oh49", "tune": "regent-square-refrain", "music_file": "regent-square-oh49.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [15, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:49; Words James Montgomery 1816, Music 'Regent Square' Henry Smart 1867 (setting 'Psalms and Hymns for Divine Worship' 1867); all components pre-1931 (latest year 1867).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:49", "encoding_license": "PD-dedication"}, "music_ly": "%% Angels From the Realms of Glory\n%% Imported from Open Hymnal ABC X:49 via tools/abc_import.py\n%% Words: James Montgomery, 1816; Music REGENT SQUARE by Henry Smart, 1867 (setting 'Psalms and Hymns for Divine Worship', 1867). Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  g'4 e'4 c''4 g'4 e''4. d''8 c''4 g'4 a'4 a'4 g'4 c''4 g'4 f'4 e'2 g'4 e'4 c''4 g'4 e''4. d''8 c''4 b'4 c''4 b'4 a'4 b'8 c''8 b'4 a'4 g'2 d''4. d''8 b'4 g'4 e''4. d''8 c''4 a'4 f''4 e''4 d''4 c''4 c''4 b'4 c''2\n}\nalto = {\n  e'4 c'4 g'4 e'4 g'4. g'8 g'4 g'4 c'4 c'4 c'4 c'4 d'4 b4 c'2 e'4 c'4 g'4 g'8 f'8 e'4. f'8 e'4 e'4 e'4 e'4 e'4 e'4 g'4 fis'4 g'2 g'4. g'8 g'4 g'4 g'4. e'8 f'4 f'4 a'4 g'4 f'4 e'8 f'8 g'4. f'8 e'2\n}\ntenor = {\n  c'4 g4 g4 c'4 c'4. b8 c'4 c'4 a4 c'4 g4 a4 g4 g4 g2 c'4 c'4 g4 g4 c'4. b8 a4 gis4 a4 gis4 e'4 d'8 c'8 d'4 c'4 b2 b4. b8 d'4 b4 c'4. bes8 a4 c'4 d'4 g4 a8 b8 c'4 d'4 d'4 c'2\n}\nbass = {\n  c4 c4 e4 c4 g4. f8 e4 e4 f4 f4 e4 a,4 b,4 g,4 c2 c'4 g4 e4 e8 d8 c4. d8 e4 e4 a4 e4 c4 a,4 d4 d4 g,2 g4. g8 g4 g4 c4. c8 f4 f4 d4 e4 f8 g8 a4 g4 g,4 c2\n}\n", "preferred": true}]}, "rendez-dieu": {"slug": "rendez-dieu", "name": "RENDEZ À DIEU", "meter_label": "9.8.9.8 D", "meter": {"pattern": [9, 8, 9, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "louis-bourgeois", "composer_date": "1551", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "rendez-dieu-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "RENDEZ À DIEU (9.8.9.8 D), a Genevan Psalter tune (melody attributed to Louis Bourgeois; first published 1543, revised 1551 — the proper Genevan tune for Psalm 118, later widely used for Psalm 66 and \"Father, We Thank Thee\"). US public domain by pre-1931 publication. A four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major; free rhythmic meter with no time signature; the soprano agrees note-for-note and the alto's three chromatic tones — cis', dis', gis' — are printed with sharps in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rendez à Dieu\" (Genevan Psalter, 1551; melody attr. Louis Bourgeois); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rendez-dieu-cyberhymnal", "tune": "rendez-dieu", "music_file": "rendez-dieu-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [9, 17, 26, 34, 43, 51, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [9, 17, 26, 34, 43, 51, 61], "refrain": null, "source_line": "RENDEZ À DIEU, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RENDEZ À DIEU (Genevan Psalter, 1551; melody attributed to Louis Bourgeois, d. 1559); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and checked against the Cyber Hymnal engraving (G major; free rhythmic meter). The soprano agrees note-for-note; the alto's cis'/dis'/gis' are the printed sharps. All components pre-1931. A free-meter rhythmic chorale (no time signature); barlines fall at the 8 phrase cadences.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rendez à Dieu\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RENDEZ À DIEU (9.8.9.8 D) — Genevan Psalter, 1551 (melody attributed to Louis\n%% Bourgeois), the proper tune for Psalm 118, here paired with Reginald Heber's\n%% Communion hymn \"Bread of the World in Mercy Broken\" (published 1827). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was checked against the Cyber Hymnal\n%% engraving. The SOPRANO agrees note-for-note; the alto's three chromatic passing\n%% tones (cis'', dis'', gis'') are printed with sharps in the source and kept.\n%% A FREE-METER rhythmic chorale (the engraving prints no time signature) —\n%% barlines fall at the 8 phrase (poetic-line) cadences, where all four voices\n%% align (each voice sums to the same total duration).\n%% MELISMATIC (69 soprano notes for 68 syllables of 9.8.9.8 D); the single melisma\n%% continuation is held with '_' every stanza (verse_variable_melisma) at syllable\n%% 58, a slurred c''-fis' eighth-note pair (soprano notes 58-59).\n%% NOTE (pending render-diff): at that ornament the MIDI's lower staff carries only\n%% one note per eighth, so mid2ly unison-fills the tenor/bass as e'8 d8 — the\n%% engraving there shows a LOWER figure, so the tenor/bass octave at soprano notes\n%% 58-59 should be confirmed against the score before publishing.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 e'4 d'4 g'4 g'4 a'4 c''4 b'2 a'2 | d''2 b'4 b'4 g'4 c''4 b'2 a'2 g'1 | g'2 e'4 d'4 g'4 g'4 a'4 c''4 b'2 a'2 | d''2 c''4 b'4 a'4 g'4 g'4 fis'4 g'1 | d''2 d''4 c''4 b'2 a'2 g'4 fis'4 e'2 d'2 | d'2 g'4 g'4 fis'4 e'4 g'2 a'2 b'1 | g'2 g'4 a'4 b'4 g'4 c''4 c''8( fis'8) b'2 a'2 | d''2 c''4 b'4 a'4 g'4 g'4 fis'4 g'1\n}\nalto    = {\n  b4 d'4 c'4 a4 e'4 d'4 e'4 e'4 g'2 fis'2 | fis'2 fis'4 fis'4 g'4 a'4 g'4 e'4 fis'2 g'1 | b2 c'4 a4 d'4 e'4 fis'4 g'4 g'2 fis'2 | g'2 fis'4 g'4 e'4 e'4 d'4 d'4 d'1 | g'2 g'4 fis'4 d'4 e'4 fis'2 e'4 d'4 d'4 cis'4 d'2 | a2 d'4 e'4 d'4 b4 e'2 e'2 dis'1 | b2 e'4 d'4 d'4 e'4 e'4 c''8 fis'8 gis'2 e'4 fis'4 | g'2 g'4 g'4 e'4 e'4 d'4 d'4 d'1\n}\ntenor   = {\n  g2 g4 fis4 b4 g4 c'4 c'4 d'4 e'4 a2 | b2 b4 b4 b4 e'4 d'2. c'4 b1 | g2 g4 fis4 g4 b4 d'4 e'4 d'2 d'2 | b2 c'4 d'4 c'4 b4 a4 a4 b1 | b2 b4 c'4 g2 d'2 b4 a4 b4 a4 fis2 | fis2 g4 c'4 a4 g4 b2 e2 fis1 | g2 b4 a4 g4 b4 e'4 e'8 d8 e'4 d'4 c'2 | d'2 e'4 d'4 c'8 b,8 b4 a4 a4 b1\n}\nbass    = {\n  g,4 b,4 c4 d4 e4 b,4 c4 a,4 b,4 c4 d2 | b,2 d4 d4 e4 a,4 b,4 c4 b,2 g,1 | e4 d4 c4 c4 b,4 e4 d4 c4 g,4 b,4 d2 | g,2 a,4 b,4 c4 c4 d4 d4 g,1 | g,2 g,4 a,4 b,4 c4 d2 e4 fis4 g4 a4 d2 | d2 b,4 c4 d4 e4 e4 d4 c2 b,1 | e2 e4 fis4 g4 e4 c4 e'8 d8 e2 a,2 | b,2 c4 g,4 a,8 b,8 c4 d4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "rendez-dieu-cyberhymnal", "tune": "rendez-dieu", "music_file": "rendez-dieu-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [9, 17, 26, 34, 43, 51, 61], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [9, 17, 26, 34, 43, 51, 61], "refrain": null, "source_line": "RENDEZ À DIEU, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RENDEZ À DIEU (Genevan Psalter, 1551; melody attributed to Louis Bourgeois, d. 1559); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and checked against the Cyber Hymnal engraving (G major; free rhythmic meter). The soprano agrees note-for-note; the alto's cis'/dis'/gis' are the printed sharps. All components pre-1931. A free-meter rhythmic chorale (no time signature); barlines fall at the 8 phrase cadences.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rendez à Dieu\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RENDEZ À DIEU (9.8.9.8 D) — Genevan Psalter, 1551 (melody attributed to Louis\n%% Bourgeois), the proper tune for Psalm 118, here paired with Reginald Heber's\n%% Communion hymn \"Bread of the World in Mercy Broken\" (published 1827). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render was checked against the Cyber Hymnal\n%% engraving. The SOPRANO agrees note-for-note; the alto's three chromatic passing\n%% tones (cis'', dis'', gis'') are printed with sharps in the source and kept.\n%% A FREE-METER rhythmic chorale (the engraving prints no time signature) —\n%% barlines fall at the 8 phrase (poetic-line) cadences, where all four voices\n%% align (each voice sums to the same total duration).\n%% MELISMATIC (69 soprano notes for 68 syllables of 9.8.9.8 D); the single melisma\n%% continuation is held with '_' every stanza (verse_variable_melisma) at syllable\n%% 58, a slurred c''-fis' eighth-note pair (soprano notes 58-59).\n%% NOTE (pending render-diff): at that ornament the MIDI's lower staff carries only\n%% one note per eighth, so mid2ly unison-fills the tenor/bass as e'8 d8 — the\n%% engraving there shows a LOWER figure, so the tenor/bass octave at soprano notes\n%% 58-59 should be confirmed against the score before publishing.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 e'4 d'4 g'4 g'4 a'4 c''4 b'2 a'2 | d''2 b'4 b'4 g'4 c''4 b'2 a'2 g'1 | g'2 e'4 d'4 g'4 g'4 a'4 c''4 b'2 a'2 | d''2 c''4 b'4 a'4 g'4 g'4 fis'4 g'1 | d''2 d''4 c''4 b'2 a'2 g'4 fis'4 e'2 d'2 | d'2 g'4 g'4 fis'4 e'4 g'2 a'2 b'1 | g'2 g'4 a'4 b'4 g'4 c''4 c''8( fis'8) b'2 a'2 | d''2 c''4 b'4 a'4 g'4 g'4 fis'4 g'1\n}\nalto    = {\n  b4 d'4 c'4 a4 e'4 d'4 e'4 e'4 g'2 fis'2 | fis'2 fis'4 fis'4 g'4 a'4 g'4 e'4 fis'2 g'1 | b2 c'4 a4 d'4 e'4 fis'4 g'4 g'2 fis'2 | g'2 fis'4 g'4 e'4 e'4 d'4 d'4 d'1 | g'2 g'4 fis'4 d'4 e'4 fis'2 e'4 d'4 d'4 cis'4 d'2 | a2 d'4 e'4 d'4 b4 e'2 e'2 dis'1 | b2 e'4 d'4 d'4 e'4 e'4 c''8 fis'8 gis'2 e'4 fis'4 | g'2 g'4 g'4 e'4 e'4 d'4 d'4 d'1\n}\ntenor   = {\n  g2 g4 fis4 b4 g4 c'4 c'4 d'4 e'4 a2 | b2 b4 b4 b4 e'4 d'2. c'4 b1 | g2 g4 fis4 g4 b4 d'4 e'4 d'2 d'2 | b2 c'4 d'4 c'4 b4 a4 a4 b1 | b2 b4 c'4 g2 d'2 b4 a4 b4 a4 fis2 | fis2 g4 c'4 a4 g4 b2 e2 fis1 | g2 b4 a4 g4 b4 e'4 e'8 d8 e'4 d'4 c'2 | d'2 e'4 d'4 c'8 b,8 b4 a4 a4 b1\n}\nbass    = {\n  g,4 b,4 c4 d4 e4 b,4 c4 a,4 b,4 c4 d2 | b,2 d4 d4 e4 a,4 b,4 c4 b,2 g,1 | e4 d4 c4 c4 b,4 e4 d4 c4 g,4 b,4 d2 | g,2 a,4 b,4 c4 c4 d4 d4 g,1 | g,2 g,4 a,4 b,4 c4 d2 e4 fis4 g4 a4 d2 | d2 b,4 c4 d4 e4 e4 d4 c2 b,1 | e2 e4 fis4 g4 e4 c4 e'8 d8 e2 a,2 | b,2 c4 g,4 a,8 b,8 c4 d4 d4 g,1\n}\n", "preferred": true}]}, "rescue": {"slug": "rescue", "name": "RESCUE", "meter_label": "11.10.11.10 with Refrain", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1870", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "rescue-1870", "provenance": {"layer": "tune", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "Tune by William Howard Doane (1832-1915), first published with Fanny Crosby's words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 — read on the archive.org scan devotionc00doan, leaf n261, where it is set in B-flat, 4/4, with a repeat and 1st/2nd endings and a four-bar chorus. Reprinted, written out without the repeat, in Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), credited 'W. H. DOANE, by per.' — same key, same notes. US public domain by publication before 1929; the composer died in 1915, so the tune is PD in life+70 jurisdictions too. Neither dated page names the tune (gospel songs are printed under their title), so the name RESCUE is the name the hymnals give it; no printed alternate name was seen on either page, so none is recorded.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "rescue-1870", "tune": "rescue", "music_file": "rescue-1870.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 53], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "W. H. Doane's own four-part setting, published with the words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 — read note by note off the archive.org scan devotionc00doan, leaf n261 — and diffed bar by bar against the second dated witness, Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), which prints the same music in the same key with the repeat WRITTEN OUT; the written-out 12-bar layout is what is encoded here. The two engravings agree on every note, including the three idiosyncrasies that are this setting's fingerprint (see also the CORRECTED AFTER IMPORT note in the .ly header: the opening figure was first encoded with a repeated note in soprano and alto, and was corrected to the printed rising D-E-flat-F / B-flat-C-D by re-measuring both scans against locally detected staff lines — so 'read note by note' describes the corrected state, not the reading this record originally shipped): the alto's E natural on 'and the' in bar 4 (making the C7 between two F chords); the ees-bes under f'-a' on the second chord of bars 2/6/11, which is not a triad but is printed identically on both pages; and the dotted eighth + sixteenth on 'per-ish' in the chorus's first bar (bar 9), dotted in all four voices and carrying a double flag on the sixteenth. 63 soprano notes carry 63 syllables — there is no slur, tie or melisma anywhere in the piece — and the quarter rest that ends bar 4 in all four voices is the printed phrase breath, kept rather than collapsed. Both printings are US public domain by publication before 1929 and no modern arranger stands anywhere in the chain: the 1875 page credits only 'W. H. DOANE, by per.'", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the archive.org page images devotionc00doan leaf n261 (Songs of Devotion, 1870, p. 258) and ghss1875music leaf n25 (Gospel Hymns and Sacred Songs, 1875, p. 20), read at 4-9x magnification against a pitch grid; no MIDI, no NoteWorthy file and no Cyber Hymnal scaffold was used (hymntime.com was unreachable during this import)", "encoding_license": "PD-dedication"}, "music_ly": "%% RESCUE (11.10.11.10 with Refrain) — \"Rescue the Perishing\"\n%% Four SATB voice streams, canonical key B-flat major, 4/4, no pickup, 12 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read note by note off two dated printings, both opened\n%% on archive.org, and diffed against each other bar by bar:\n%%   (a) FIRST PRINTING, W. H. Doane's own setting — Songs of Devotion (New York:\n%%       Biglow & Main, 1870), hymn 642, printed page 258 (item devotionc00doan,\n%%       leaf n261). Two staves, S+A over T+B, as gospel songs are engraved.\n%%   (b) Gospel Hymns and Sacred Songs (New York: Biglow & Main / Cincinnati:\n%%       John Church, 1875), no. 18, printed page 20 (item ghss1875music, leaf\n%%       n25), headed \"FANNY J. CROSBY. / W. H. DOANE, by per.\"\n%% NOT from the Cyber Hymnal: hymntime.com was unreachable during this import, so\n%% no scaffold was used at all; every pitch here comes off the two scans.\n%%\n%% CORRECTED AFTER IMPORT. The opening gesture was first encoded with a repeated\n%% note — soprano f' d' d' f' f' f' and alto d' bes bes d' d' d' in bars 1 and 5 —\n%% and that was wrong on both counts. Independent re-measurement against locally\n%% detected staff lines on BOTH scans (1875 leaf n25, line step 14.375px; 1870\n%% leaf n261, step 10.56px) puts the third notehead 7.94/7.91 diatonic steps below\n%% F5 in the soprano (E-flat, not D) and 10.06/9.98 in the alto (C, not B-flat),\n%% each within 0.1 step of an exact staff position and a full step from the\n%% alternative. What the pages print is a rising D-E-flat-F passing motion with\n%% the alto in parallel thirds B-flat-C-D over the B-flat pedal in tenor and bass.\n%% Two independently engraved witnesses agree, so the reading is not a scan\n%% artefact. These are soprano notes 3 and 27 of 63 — the tune's opening figure on\n%% \"RES-cue the PER-ish-ing\" — so the error was in the four most recognizable\n%% notes in the hymn, in both halves of the verse.\n%%\n%% STRUCTURE. The 1870 page prints 8 bars with a repeat and 1st/2nd endings\n%% (bars 1-3, ending A \"sin and the grave;\" :|| ending B \"mighty to save.\") plus\n%% a 4-bar chorus. The 1875 page WRITES THE REPEAT OUT — 12 bars, three per\n%% system — and that is the layout encoded here: bars 1-4 = verse first half,\n%% bars 5-8 = verse second half (bars 5/6/7 are bars 1/2/3 note for note, as the\n%% 1870 repeat sign says they must be, and every note of bars 5-7 was re-read on\n%% the 1875 page to confirm the engraver copied them), bars 9-12 = the chorus.\n%%\n%% RHYTHM. The dactylic lines take a long-short-short figure that is NOT uniform:\n%% bars 1/5/11 are 4 4. 4. 4. 4. 4 (q e e e e q) while bars 3/7 are q e e q e e —\n%% checked flag by flag at 4x on both scans, since the two patterns sum to the\n%% same 4/4 bar and a mis-read would be inaudible in the arithmetic. Bar 9 (the\n%% chorus's first bar) carries the one dotted figure: a dotted eighth + sixteenth\n%% on \"per-ish\", printed with the dot in all four voices and a DOUBLE flag on the\n%% sixteenth (clearest in the bass staff of the 1875 page).\n%%\n%% ACCIDENTALS. One printed accidental in the whole piece: the alto's E NATURAL\n%% on the two eighths of bar 4 (\"and the\"), giving the C7 (c-e-g-bes) between the\n%% F chords either side of it. It is engraved as a natural before the LOWER\n%% notehead of the treble staff on both pages; no other voice takes it, and it\n%% does not recur in bar 8 (the second ending sets that syllable over E-flat).\n%%\n%% PHRASE BREATH. Bar 4 ends the first half-verse with a quarter note plus a\n%% quarter REST in all four voices (\"...and the grave;\"), printed on both pages\n%% and kept as printed: the house collapse convention is written for the\n%% dotted-half-plus-rest cadence, not for this one, and the rest is the breath\n%% the singers take before \"Weep o'er the erring one\".\n%%\n%% VOICING ODDITY, kept because both dated pages print it: the second chord of\n%% bars 2/6/11 sets ees + bes under f' + a' (E-flat and B-flat under F and A) —\n%% not a triad, but the passing sonority Doane wrote, identical in the 1870 and\n%% 1875 engravings, and it recurs at the same place in the chorus's third bar.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 g'8 f'4 r4 |\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 a'8 bes'2 |\n  c''4 bes'8 c''8 d''8. c''16 bes'4 |\n  c''4 bes'8 c''8 d''4 bes'4 |\n  bes'4 a'8 g'8 f'8 bes'8 d''4 |\n  c''4 bes'8 a'8 bes'2\n}\n\nalto = {\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  f'4 e'8 e'8 f'4 r4 |\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  g'4 f'8 f'8 f'2 |\n  f'4 f'8 f'8 f'8. ees'16 d'4 |\n  f'4 f'8 f'8 f'4 f'4 |\n  g'4 f'8 ees'8 d'8 f'8 f'4 |\n  g'4 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  a4 g8 bes8 a4 r4 |\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  bes4 d'8 c'8 d'2 |\n  a4 g8 a8 bes8. f16 f4 |\n  a4 g8 a8 bes4 d'4 |\n  ees'4 bes8 bes8 bes8 d'8 bes4 |\n  bes4 d'8 c'8 bes2\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  c4 c8 c8 f4 r4 |\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  ees4 f8 f8 bes,2 |\n  f4 f8 f8 bes,8. bes,16 bes,4 |\n  f4 f8 f8 bes,4 bes,4 |\n  ees4 ees8 ees8 bes,8 bes,8 bes,4 |\n  ees4 f8 f8 bes,2\n}\n"}, "harmonizations": [{"slug": "rescue-1870", "tune": "rescue", "music_file": "rescue-1870.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 53], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "W. H. Doane's own four-part setting, published with the words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 — read note by note off the archive.org scan devotionc00doan, leaf n261 — and diffed bar by bar against the second dated witness, Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), which prints the same music in the same key with the repeat WRITTEN OUT; the written-out 12-bar layout is what is encoded here. The two engravings agree on every note, including the three idiosyncrasies that are this setting's fingerprint (see also the CORRECTED AFTER IMPORT note in the .ly header: the opening figure was first encoded with a repeated note in soprano and alto, and was corrected to the printed rising D-E-flat-F / B-flat-C-D by re-measuring both scans against locally detected staff lines — so 'read note by note' describes the corrected state, not the reading this record originally shipped): the alto's E natural on 'and the' in bar 4 (making the C7 between two F chords); the ees-bes under f'-a' on the second chord of bars 2/6/11, which is not a triad but is printed identically on both pages; and the dotted eighth + sixteenth on 'per-ish' in the chorus's first bar (bar 9), dotted in all four voices and carrying a double flag on the sixteenth. 63 soprano notes carry 63 syllables — there is no slur, tie or melisma anywhere in the piece — and the quarter rest that ends bar 4 in all four voices is the printed phrase breath, kept rather than collapsed. Both printings are US public domain by publication before 1929 and no modern arranger stands anywhere in the chain: the 1875 page credits only 'W. H. DOANE, by per.'", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the archive.org page images devotionc00doan leaf n261 (Songs of Devotion, 1870, p. 258) and ghss1875music leaf n25 (Gospel Hymns and Sacred Songs, 1875, p. 20), read at 4-9x magnification against a pitch grid; no MIDI, no NoteWorthy file and no Cyber Hymnal scaffold was used (hymntime.com was unreachable during this import)", "encoding_license": "PD-dedication"}, "music_ly": "%% RESCUE (11.10.11.10 with Refrain) — \"Rescue the Perishing\"\n%% Four SATB voice streams, canonical key B-flat major, 4/4, no pickup, 12 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read note by note off two dated printings, both opened\n%% on archive.org, and diffed against each other bar by bar:\n%%   (a) FIRST PRINTING, W. H. Doane's own setting — Songs of Devotion (New York:\n%%       Biglow & Main, 1870), hymn 642, printed page 258 (item devotionc00doan,\n%%       leaf n261). Two staves, S+A over T+B, as gospel songs are engraved.\n%%   (b) Gospel Hymns and Sacred Songs (New York: Biglow & Main / Cincinnati:\n%%       John Church, 1875), no. 18, printed page 20 (item ghss1875music, leaf\n%%       n25), headed \"FANNY J. CROSBY. / W. H. DOANE, by per.\"\n%% NOT from the Cyber Hymnal: hymntime.com was unreachable during this import, so\n%% no scaffold was used at all; every pitch here comes off the two scans.\n%%\n%% CORRECTED AFTER IMPORT. The opening gesture was first encoded with a repeated\n%% note — soprano f' d' d' f' f' f' and alto d' bes bes d' d' d' in bars 1 and 5 —\n%% and that was wrong on both counts. Independent re-measurement against locally\n%% detected staff lines on BOTH scans (1875 leaf n25, line step 14.375px; 1870\n%% leaf n261, step 10.56px) puts the third notehead 7.94/7.91 diatonic steps below\n%% F5 in the soprano (E-flat, not D) and 10.06/9.98 in the alto (C, not B-flat),\n%% each within 0.1 step of an exact staff position and a full step from the\n%% alternative. What the pages print is a rising D-E-flat-F passing motion with\n%% the alto in parallel thirds B-flat-C-D over the B-flat pedal in tenor and bass.\n%% Two independently engraved witnesses agree, so the reading is not a scan\n%% artefact. These are soprano notes 3 and 27 of 63 — the tune's opening figure on\n%% \"RES-cue the PER-ish-ing\" — so the error was in the four most recognizable\n%% notes in the hymn, in both halves of the verse.\n%%\n%% STRUCTURE. The 1870 page prints 8 bars with a repeat and 1st/2nd endings\n%% (bars 1-3, ending A \"sin and the grave;\" :|| ending B \"mighty to save.\") plus\n%% a 4-bar chorus. The 1875 page WRITES THE REPEAT OUT — 12 bars, three per\n%% system — and that is the layout encoded here: bars 1-4 = verse first half,\n%% bars 5-8 = verse second half (bars 5/6/7 are bars 1/2/3 note for note, as the\n%% 1870 repeat sign says they must be, and every note of bars 5-7 was re-read on\n%% the 1875 page to confirm the engraver copied them), bars 9-12 = the chorus.\n%%\n%% RHYTHM. The dactylic lines take a long-short-short figure that is NOT uniform:\n%% bars 1/5/11 are 4 4. 4. 4. 4. 4 (q e e e e q) while bars 3/7 are q e e q e e —\n%% checked flag by flag at 4x on both scans, since the two patterns sum to the\n%% same 4/4 bar and a mis-read would be inaudible in the arithmetic. Bar 9 (the\n%% chorus's first bar) carries the one dotted figure: a dotted eighth + sixteenth\n%% on \"per-ish\", printed with the dot in all four voices and a DOUBLE flag on the\n%% sixteenth (clearest in the bass staff of the 1875 page).\n%%\n%% ACCIDENTALS. One printed accidental in the whole piece: the alto's E NATURAL\n%% on the two eighths of bar 4 (\"and the\"), giving the C7 (c-e-g-bes) between the\n%% F chords either side of it. It is engraved as a natural before the LOWER\n%% notehead of the treble staff on both pages; no other voice takes it, and it\n%% does not recur in bar 8 (the second ending sets that syllable over E-flat).\n%%\n%% PHRASE BREATH. Bar 4 ends the first half-verse with a quarter note plus a\n%% quarter REST in all four voices (\"...and the grave;\"), printed on both pages\n%% and kept as printed: the house collapse convention is written for the\n%% dotted-half-plus-rest cadence, not for this one, and the rest is the breath\n%% the singers take before \"Weep o'er the erring one\".\n%%\n%% VOICING ODDITY, kept because both dated pages print it: the second chord of\n%% bars 2/6/11 sets ees + bes under f' + a' (E-flat and B-flat under F and A) —\n%% not a triad, but the passing sonority Doane wrote, identical in the 1870 and\n%% 1875 engravings, and it recurs at the same place in the chorus's third bar.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 g'8 f'4 r4 |\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 a'8 bes'2 |\n  c''4 bes'8 c''8 d''8. c''16 bes'4 |\n  c''4 bes'8 c''8 d''4 bes'4 |\n  bes'4 a'8 g'8 f'8 bes'8 d''4 |\n  c''4 bes'8 a'8 bes'2\n}\n\nalto = {\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  f'4 e'8 e'8 f'4 r4 |\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  g'4 f'8 f'8 f'2 |\n  f'4 f'8 f'8 f'8. ees'16 d'4 |\n  f'4 f'8 f'8 f'4 f'4 |\n  g'4 f'8 ees'8 d'8 f'8 f'4 |\n  g'4 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  a4 g8 bes8 a4 r4 |\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  bes4 d'8 c'8 d'2 |\n  a4 g8 a8 bes8. f16 f4 |\n  a4 g8 a8 bes4 d'4 |\n  ees'4 bes8 bes8 bes8 d'8 bes4 |\n  bes4 d'8 c'8 bes2\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  c4 c8 c8 f4 r4 |\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  ees4 f8 f8 bes,2 |\n  f4 f8 f8 bes,8. bes,16 bes,4 |\n  f4 f8 f8 bes,4 bes,4 |\n  ees4 ees8 ees8 bes,8 bes,8 bes,4 |\n  ees4 f8 f8 bes,2\n}\n", "preferred": true}]}, "revive-us-again": {"slug": "revive-us-again", "name": "REVIVE US AGAIN", "meter_label": "11.11 with Refrain", "meter": {"pattern": [11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-j-husband", "composer_date": "c. 1815", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "revive-us-again-1887", "provenance": {"layer": "tune", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Read from the dated engraving in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168 — archive.org item woldforus00town, leaf n176 — and re-read on the independent 1887 scan of the same plate, archive.org hymnsnewoldforus00town, leaf n174. G major, 3/4, one-quarter anacrusis, 16 bars, 50 soprano noteheads. US public domain by publication before 1929. THE ATTRIBUTION IS NOT THE 1887 PAGE'S. That page credits the music only as \"ENGLISH MELODY.\" and names no composer; it is the later dated printings that name John Jenkins Husband, and the one opened for this import is Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing, 1921), no. 330, archive.org tabernaclehymnsn02chic leaf n317, which heads the hymn \"Revive Us Again.\" and credits \"Wm. P. Mackay.\" at the left and \"J. J. Husband.\" at the right. That 1921 page is ALSO in G major and carries the same melody with a DIFFERENT lower-staff harmonization; none of its notes are encoded here; it is cited for the composer credit only. Husband died in 1825, so the melody itself long predates any printing consulted; the composer date \"c. 1815\" is the conventional one and is NOT printed on either page. NEITHER PAGE PRINTS A TUNE NAME on the staff — Towner 1887 heads it only with the hymn title \"Revive us Again.\" — so REVIVE US AGAIN is the name the hymnals and Hymnary carry for it, not a name read off the plate; no printed alternate name was seen, so no alt_name is recorded. tools/tune_fingerprint.py finds no corpus melody closer than 0.697 (WERE YOU THERE, a different meter), well under the 0.80 duplicate threshold, so this is not a duplicate of a tune already in the corpus under another name.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "revive-us-again-1887", "tune": "revive-us-again", "music_file": "revive-us-again-1887.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 23, 37], "breaks_manual": true, "markings": [{"soprano_note": 24, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 24}, "source_line": "Setting: Hymns New and Old, 1887, where the tune is credited only \"English Melody.\" Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting printed in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168, headed 'Revive us Again.' under the motto '\"O Lord, revive Thy work.\"—Hab. 3: 2', credited 'Rev. WM. PATON MACKAY, 1866.' at the left and 'ENGLISH MELODY.' at the right. G major, 3/4, one quarter anacrusis, 16 bars, no repeats, no accidentals, no amen. US public domain by publication before 1929, and no modern arranger stands anywhere in the chain: the plate names no harmonizer at all and the book itself is 1887. NO SCAFFOLD WAS USED. There is no MIDI, no NoteWorthy file and no modern edition behind this encoding; every chord was read off the page image. PRIMARY WITNESS: archive.org item woldforus00town, leaf n176 — 2420x3765 px, staff space measured at 29.9 px, so one diatonic step = 14.95 px. SECOND, INDEPENDENT WITNESS: the other 1887 scan of the same plate, archive.org item hymnsnewoldforus00town, leaf n174 — 1785x2934 px, staff space 23.6 px — read end to end by the same rig with its own binarisation and its own staff-line fits. (That second item's stored JP2 was fetched too and is the same 1785x2934 raster as its page render, so 23.6 px really is its native staff space; the higher-resolution copy was therefore made the primary reading and the lower-resolution copy the check. Both are dated 1887 printings of the same plates.) ALL 50 CHORD POSITIONS x 4 VOICES WERE READ ON BOTH SCANS AND AGREE — the matched filter found 45 of the 50 on the second scan and the remaining five, plus the four the filter merged at system edges, were probed by hand from their ink envelopes there. That set includes the pickup's alto b below its C4 ledger, the five hollow half-note chords, the ledgered d'-over-b chords of 'Je-sus who', and the single shared notehead at ordinal 46. HOW THE NOTEHEADS WERE MEASURED: for each head the five staff lines were re-found LOCALLY in a +-45 px window around that head's own x, with the five-line comb pinned to within 0.62 staff space of the globally located staff — an unpinned fit slipped a whole space near a system edge and mis-read the last chord of system 1 as b'/e' when the plate prints d''/g', which is exactly why the reading of every chord was also confirmed by eye at 3-8x. Paper level was taken per column window; heads were isolated by hole-filling and stem-masked centroids under an elliptical matched filter; each centroid became a diatonic step offset from the bottom line and was accepted only within ~0.15 step. Hollow half-note heads are invisible to a filled-head filter, so all five of them (ordinals 5, 11, 23, 37, 50) were read from their ring envelopes and looked at by eye at 6-8x on both scans. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE: a notehead probe reads staff positions and not sharps or flats, so the automated figure above covers no accidental at all. Every one of the six staves on BOTH leaves was examined at 2-8x, and an independent shape sweep for accidental-sized ink (1.45-3.2 staff spaces tall, 0.38-1.35 wide) was run over both scans; the only components it returned were clefs, time signatures and stems. THERE IS NOT ONE ACCIDENTAL IN THIS HYMN, and the only sharps on either leaf are the single F-sharp key signatures at the head of each staff, counted by eye on all six. THE FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: the anacrusis is a four-note chord g,/b/b/d' with alto and tenor in unison on b, the alto's head sitting below a drawn C4 ledger; bar 2 sets 'God!' as a half note and 'for the' as two plain flagged eighths (no dots) while the lower staff jumps to d' over b with a c' ledger between them; 'Je-sus who' is three quarters of d''/g'/d'/b, each lower-staff chord ledgered at c'; the verse does NOT cadence but ends on D major ('a-bove' = a'/fis'/d'/d), running straight into the chorus; the chorus's four 'Hal-le' figures are a dotted eighth plus a sixteenth (two flags on the second, dots on both heads of the first) and the bass holds a g pedal under the entire chorus except 'a-men' (ordinal 37, d) and the last three notes; and the lower staff prints ONE notehead, on g, at ordinal 46 ('re-'), which is encoded as a tenor/bass unison. THE CYBER HYMNAL WAS NOT CONSULTED AT ALL. Collated for TEXT only (not for notes) against the words-only printing in Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 25 — archive.org hymnsconso00blis, which prints the hymn without music and refers the singer to the tune on its page 26 — and against Tabernacle Hymns No. 2 (Chicago, 1921), no. 330, archive.org tabernaclehymnsn02chic leaf n317, which prints a different lower-staff harmonization of the same G-major melody, and is used here only as the dated authority that names the composer 'J. J. Husband.'", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving, archive.org woldforus00town leaf n176, against staff lines re-fitted locally at every notehead, and read a second time end to end from the independent 1887 scan archive.org hymnsnewoldforus00town leaf n174. No MIDI, no Cyber Hymnal asset and no modern edition was used at any stage.", "encoding_license": "PD-dedication"}, "music_ly": "%% REVIVE US AGAIN (11.11 with Refrain) — four SATB voice streams, key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — ONE DATED PLATE, READ TWICE FROM TWO SEPARATE SCANS.\n%% Hymns New and Old, for Use in Gospel Meetings and Other Religious Services,\n%% comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168, headed\n%% \"Revive us Again.\", with the motto \"O Lord, revive Thy work.\"—Hab. 3: 2,\n%% credited \"Rev. WM. PATON MACKAY, 1866.\" at the left and \"ENGLISH MELODY.\" at\n%% the right. PRIMARY WITNESS: archive.org item woldforus00town, leaf n176\n%% (2420x3765 px; staff space 29.9 px, so one diatonic step = 14.95 px).\n%% SECOND WITNESS: the OTHER 1887 scan of the same plate, archive.org item\n%% hymnsnewoldforus00town, leaf n174 (1785x2934 px; staff space 23.6 px), read\n%% end to end by the same rig with its OWN binarisation and its OWN staff-line\n%% fits. No scaffold of any kind was used — no MIDI, no Cyber Hymnal asset, no\n%% modern edition. All 50 chord positions x 4 voices agree between the two scans.\n%%\n%% HOW IT WAS MEASURED. Per notehead: the five staff lines were re-found LOCALLY\n%% in a +-45 px window around that notehead's own x (the comb fit pinned to\n%% within 0.62 staff space of the globally located staff, after an unpinned fit\n%% slipped a whole space at a system edge and mis-read the last chord of system\n%% 1); the paper level was taken per column window; heads were isolated by\n%% hole-filling plus stem-masked centroids under an elliptical matched filter;\n%% each centroid was converted to a diatonic step offset from the bottom line and\n%% accepted only within ~0.15 step. Hollow (half-note) heads, which a filled-head\n%% filter cannot see, were read separately from their ring envelopes and every\n%% one of them was ALSO looked at by eye at 6-8x on both scans.\n%%\n%% NO ACCIDENTALS ANYWHERE. A notehead probe reads staff positions, not sharps\n%% and flats, so accidentals were checked SEPARATELY and by eye, at 2-8x, over\n%% every one of the six staves on BOTH leaves, and by an independent shape sweep\n%% for accidental-sized ink (1.45-3.2 staff spaces tall, 0.38-1.35 wide) across\n%% both scans. There is not one accidental in this hymn. The only sharps on\n%% either leaf are the single F-sharp key signatures at the head of each staff —\n%% one sharp, G major, confirmed by eye on all six staves of both scans. The alto\n%% therefore spells its four F's as `fis'` (ordinals 21, 22, 23 and 37, the D\n%% chords on \"gone a-bove\" and \"a-men\"): the plate prints no accidental there, so\n%% the key signature governs and they are F-sharps. They are the ONLY F's in any\n%% voice; nothing else in the hymn leaves the G major scale.\n%%\n%% STRUCTURE. 3/4, one-quarter anacrusis, 16 bars. 50 soprano noteheads: 23 in\n%% the verse (bars 1-8 beat 1) and 27 in the refrain (bar 8 beat 3 to the end).\n%% Each poetic line is a one-beat pickup + three bars + a half note, so every\n%% phrase end falls on beat 1 of a bar and the refrain begins on beat 3 of bar 8.\n%%\n%% THE ONE SLUR, soprano notes 12-13 (bar 4, g'8 to b'). The plate draws a curve\n%% under the treble chord and a mirroring curve over the lower-staff chord there.\n%% Stanza 1 sings ONE syllable across it (\"For\"); stanzas 2-5 print two syllables\n%% under it in small type (\"Who has\" / \"Who has\" / \"Who has\" / \"May each\"), which\n%% is why this harmonization is verse_variable_melisma. Encoded on the soprano\n%% (the voice that moves) and on the tenor (whose repeated b is what the printed\n%% lower-staff curve joins). DEPARTURE, STATED: the plate's curve in the treble\n%% is a single stroke under the whole chord; here only the soprano carries it, so\n%% the alto's repeated d' prints unslurred.\n%%\n%% THE ONE SHARED NOTEHEAD, lower staff, soprano ordinal 46 (\"re-\" of \"revive\",\n%% bar 14 beat 3). The plate engraves ONE notehead there, on g; both tenor and\n%% bass are encoded on g and LilyPond's default collision resolver is left to\n%% kiss them. Confirmed as a single head on BOTH scans.\n%%\n%% THE BASS PEDAL IS THE PAGE'S. Through the whole refrain the bass sits on g\n%% (G3) — every chord from ordinal 24 to 46 except \"a-men\" (ordinal 37, d) — and\n%% only the last three notes leave it (c, d, d) before the final g,. Re-read on\n%% both scans.\n%%\n%% HIGH TENOR AND BASS ARE THE PAGE'S TOO. \"Je-sus who\" (ordinals 14-16) prints\n%% the lower staff as d' over b, both above the bass staff with a c' ledger line\n%% drawn between them; \"For\" (ordinal 6, \"for the\") likewise prints d' over b.\n%% Every one of those ledgered chords was re-read at 7x on both scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 g'4 g'4 |\n  g'2 g'8 a'8 |\n  b'4 b'4 b'4 |\n  b'2 g'8( b'8) |\n  d''4 d''4 d''4 |\n  e''4 d''4 b'4 |\n  b'4 a'4 a'4 |\n  a'2 d''8. d''16 |\n  e''4 d''4 b'8. a'16 |\n  g'4 g'4 d''8. d''16 |\n  e''4 d''4 b'4 |\n  a'2 d''8. d''16 |\n  e''4 d''4 b'8. a'16 |\n  g'4 g'4 b'4 |\n  c''4 b'4 a'4 |\n  g'2\n}\n\nalto = {\n  b4 |\n  d'4 d'4 d'4 |\n  d'2 d'8 d'8 |\n  d'4 d'4 d'4 |\n  d'2 d'8 d'8 |\n  g'4 g'4 g'4 |\n  g'4 g'4 d'4 |\n  g'4 fis'4 fis'4 |\n  fis'2 g'8. g'16 |\n  g'4 g'4 d'8. d'16 |\n  d'4 d'4 g'8. g'16 |\n  g'4 g'4 g'4 |\n  fis'2 g'8. g'16 |\n  g'4 g'4 d'8. d'16 |\n  d'4 d'4 d'4 |\n  e'4 d'4 d'4 |\n  d'2\n}\n\ntenor = {\n  b4 |\n  b4 b4 b4 |\n  b2 d'8 c'8 |\n  b4 g4 g4 |\n  g2 b8( b8) |\n  d'4 d'4 d'4 |\n  c'4 b4 b4 |\n  d'4 d'4 d'4 |\n  d'2 b8. b16 |\n  c'4 b4 d'8. c'16 |\n  b4 b4 b8. b16 |\n  c'4 b4 d'4 |\n  d'2 b8. b16 |\n  c'4 b4 d'8. c'16 |\n  b4 b4 g4 |\n  g4 g4 c'4 |\n  b2\n}\n\nbass = {\n  g,4 |\n  g,4 b,4 d4 |\n  g2 b8 a8 |\n  g4 d4 b,4 |\n  g,2 g8 g8 |\n  b4 b4 b4 |\n  g4 g4 g4 |\n  d4 d4 d4 |\n  d2 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g4 |\n  d2 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g4 |\n  c4 d4 d4 |\n  g,2\n}\n"}, "harmonizations": [{"slug": "revive-us-again-1887", "tune": "revive-us-again", "music_file": "revive-us-again-1887.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 23, 37], "breaks_manual": true, "markings": [{"soprano_note": 24, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 24}, "source_line": "Setting: Hymns New and Old, 1887, where the tune is credited only \"English Melody.\" Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting printed in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168, headed 'Revive us Again.' under the motto '\"O Lord, revive Thy work.\"—Hab. 3: 2', credited 'Rev. WM. PATON MACKAY, 1866.' at the left and 'ENGLISH MELODY.' at the right. G major, 3/4, one quarter anacrusis, 16 bars, no repeats, no accidentals, no amen. US public domain by publication before 1929, and no modern arranger stands anywhere in the chain: the plate names no harmonizer at all and the book itself is 1887. NO SCAFFOLD WAS USED. There is no MIDI, no NoteWorthy file and no modern edition behind this encoding; every chord was read off the page image. PRIMARY WITNESS: archive.org item woldforus00town, leaf n176 — 2420x3765 px, staff space measured at 29.9 px, so one diatonic step = 14.95 px. SECOND, INDEPENDENT WITNESS: the other 1887 scan of the same plate, archive.org item hymnsnewoldforus00town, leaf n174 — 1785x2934 px, staff space 23.6 px — read end to end by the same rig with its own binarisation and its own staff-line fits. (That second item's stored JP2 was fetched too and is the same 1785x2934 raster as its page render, so 23.6 px really is its native staff space; the higher-resolution copy was therefore made the primary reading and the lower-resolution copy the check. Both are dated 1887 printings of the same plates.) ALL 50 CHORD POSITIONS x 4 VOICES WERE READ ON BOTH SCANS AND AGREE — the matched filter found 45 of the 50 on the second scan and the remaining five, plus the four the filter merged at system edges, were probed by hand from their ink envelopes there. That set includes the pickup's alto b below its C4 ledger, the five hollow half-note chords, the ledgered d'-over-b chords of 'Je-sus who', and the single shared notehead at ordinal 46. HOW THE NOTEHEADS WERE MEASURED: for each head the five staff lines were re-found LOCALLY in a +-45 px window around that head's own x, with the five-line comb pinned to within 0.62 staff space of the globally located staff — an unpinned fit slipped a whole space near a system edge and mis-read the last chord of system 1 as b'/e' when the plate prints d''/g', which is exactly why the reading of every chord was also confirmed by eye at 3-8x. Paper level was taken per column window; heads were isolated by hole-filling and stem-masked centroids under an elliptical matched filter; each centroid became a diatonic step offset from the bottom line and was accepted only within ~0.15 step. Hollow half-note heads are invisible to a filled-head filter, so all five of them (ordinals 5, 11, 23, 37, 50) were read from their ring envelopes and looked at by eye at 6-8x on both scans. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE: a notehead probe reads staff positions and not sharps or flats, so the automated figure above covers no accidental at all. Every one of the six staves on BOTH leaves was examined at 2-8x, and an independent shape sweep for accidental-sized ink (1.45-3.2 staff spaces tall, 0.38-1.35 wide) was run over both scans; the only components it returned were clefs, time signatures and stems. THERE IS NOT ONE ACCIDENTAL IN THIS HYMN, and the only sharps on either leaf are the single F-sharp key signatures at the head of each staff, counted by eye on all six. THE FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: the anacrusis is a four-note chord g,/b/b/d' with alto and tenor in unison on b, the alto's head sitting below a drawn C4 ledger; bar 2 sets 'God!' as a half note and 'for the' as two plain flagged eighths (no dots) while the lower staff jumps to d' over b with a c' ledger between them; 'Je-sus who' is three quarters of d''/g'/d'/b, each lower-staff chord ledgered at c'; the verse does NOT cadence but ends on D major ('a-bove' = a'/fis'/d'/d), running straight into the chorus; the chorus's four 'Hal-le' figures are a dotted eighth plus a sixteenth (two flags on the second, dots on both heads of the first) and the bass holds a g pedal under the entire chorus except 'a-men' (ordinal 37, d) and the last three notes; and the lower staff prints ONE notehead, on g, at ordinal 46 ('re-'), which is encoded as a tenor/bass unison. THE CYBER HYMNAL WAS NOT CONSULTED AT ALL. Collated for TEXT only (not for notes) against the words-only printing in Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 25 — archive.org hymnsconso00blis, which prints the hymn without music and refers the singer to the tune on its page 26 — and against Tabernacle Hymns No. 2 (Chicago, 1921), no. 330, archive.org tabernaclehymnsn02chic leaf n317, which prints a different lower-staff harmonization of the same G-major melody, and is used here only as the dated authority that names the composer 'J. J. Husband.'", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving, archive.org woldforus00town leaf n176, against staff lines re-fitted locally at every notehead, and read a second time end to end from the independent 1887 scan archive.org hymnsnewoldforus00town leaf n174. No MIDI, no Cyber Hymnal asset and no modern edition was used at any stage.", "encoding_license": "PD-dedication"}, "music_ly": "%% REVIVE US AGAIN (11.11 with Refrain) — four SATB voice streams, key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — ONE DATED PLATE, READ TWICE FROM TWO SEPARATE SCANS.\n%% Hymns New and Old, for Use in Gospel Meetings and Other Religious Services,\n%% comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 168, headed\n%% \"Revive us Again.\", with the motto \"O Lord, revive Thy work.\"—Hab. 3: 2,\n%% credited \"Rev. WM. PATON MACKAY, 1866.\" at the left and \"ENGLISH MELODY.\" at\n%% the right. PRIMARY WITNESS: archive.org item woldforus00town, leaf n176\n%% (2420x3765 px; staff space 29.9 px, so one diatonic step = 14.95 px).\n%% SECOND WITNESS: the OTHER 1887 scan of the same plate, archive.org item\n%% hymnsnewoldforus00town, leaf n174 (1785x2934 px; staff space 23.6 px), read\n%% end to end by the same rig with its OWN binarisation and its OWN staff-line\n%% fits. No scaffold of any kind was used — no MIDI, no Cyber Hymnal asset, no\n%% modern edition. All 50 chord positions x 4 voices agree between the two scans.\n%%\n%% HOW IT WAS MEASURED. Per notehead: the five staff lines were re-found LOCALLY\n%% in a +-45 px window around that notehead's own x (the comb fit pinned to\n%% within 0.62 staff space of the globally located staff, after an unpinned fit\n%% slipped a whole space at a system edge and mis-read the last chord of system\n%% 1); the paper level was taken per column window; heads were isolated by\n%% hole-filling plus stem-masked centroids under an elliptical matched filter;\n%% each centroid was converted to a diatonic step offset from the bottom line and\n%% accepted only within ~0.15 step. Hollow (half-note) heads, which a filled-head\n%% filter cannot see, were read separately from their ring envelopes and every\n%% one of them was ALSO looked at by eye at 6-8x on both scans.\n%%\n%% NO ACCIDENTALS ANYWHERE. A notehead probe reads staff positions, not sharps\n%% and flats, so accidentals were checked SEPARATELY and by eye, at 2-8x, over\n%% every one of the six staves on BOTH leaves, and by an independent shape sweep\n%% for accidental-sized ink (1.45-3.2 staff spaces tall, 0.38-1.35 wide) across\n%% both scans. There is not one accidental in this hymn. The only sharps on\n%% either leaf are the single F-sharp key signatures at the head of each staff —\n%% one sharp, G major, confirmed by eye on all six staves of both scans. The alto\n%% therefore spells its four F's as `fis'` (ordinals 21, 22, 23 and 37, the D\n%% chords on \"gone a-bove\" and \"a-men\"): the plate prints no accidental there, so\n%% the key signature governs and they are F-sharps. They are the ONLY F's in any\n%% voice; nothing else in the hymn leaves the G major scale.\n%%\n%% STRUCTURE. 3/4, one-quarter anacrusis, 16 bars. 50 soprano noteheads: 23 in\n%% the verse (bars 1-8 beat 1) and 27 in the refrain (bar 8 beat 3 to the end).\n%% Each poetic line is a one-beat pickup + three bars + a half note, so every\n%% phrase end falls on beat 1 of a bar and the refrain begins on beat 3 of bar 8.\n%%\n%% THE ONE SLUR, soprano notes 12-13 (bar 4, g'8 to b'). The plate draws a curve\n%% under the treble chord and a mirroring curve over the lower-staff chord there.\n%% Stanza 1 sings ONE syllable across it (\"For\"); stanzas 2-5 print two syllables\n%% under it in small type (\"Who has\" / \"Who has\" / \"Who has\" / \"May each\"), which\n%% is why this harmonization is verse_variable_melisma. Encoded on the soprano\n%% (the voice that moves) and on the tenor (whose repeated b is what the printed\n%% lower-staff curve joins). DEPARTURE, STATED: the plate's curve in the treble\n%% is a single stroke under the whole chord; here only the soprano carries it, so\n%% the alto's repeated d' prints unslurred.\n%%\n%% THE ONE SHARED NOTEHEAD, lower staff, soprano ordinal 46 (\"re-\" of \"revive\",\n%% bar 14 beat 3). The plate engraves ONE notehead there, on g; both tenor and\n%% bass are encoded on g and LilyPond's default collision resolver is left to\n%% kiss them. Confirmed as a single head on BOTH scans.\n%%\n%% THE BASS PEDAL IS THE PAGE'S. Through the whole refrain the bass sits on g\n%% (G3) — every chord from ordinal 24 to 46 except \"a-men\" (ordinal 37, d) — and\n%% only the last three notes leave it (c, d, d) before the final g,. Re-read on\n%% both scans.\n%%\n%% HIGH TENOR AND BASS ARE THE PAGE'S TOO. \"Je-sus who\" (ordinals 14-16) prints\n%% the lower staff as d' over b, both above the bass staff with a c' ledger line\n%% drawn between them; \"For\" (ordinal 6, \"for the\") likewise prints d' over b.\n%% Every one of those ledgered chords was re-read at 7x on both scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 g'4 g'4 |\n  g'2 g'8 a'8 |\n  b'4 b'4 b'4 |\n  b'2 g'8( b'8) |\n  d''4 d''4 d''4 |\n  e''4 d''4 b'4 |\n  b'4 a'4 a'4 |\n  a'2 d''8. d''16 |\n  e''4 d''4 b'8. a'16 |\n  g'4 g'4 d''8. d''16 |\n  e''4 d''4 b'4 |\n  a'2 d''8. d''16 |\n  e''4 d''4 b'8. a'16 |\n  g'4 g'4 b'4 |\n  c''4 b'4 a'4 |\n  g'2\n}\n\nalto = {\n  b4 |\n  d'4 d'4 d'4 |\n  d'2 d'8 d'8 |\n  d'4 d'4 d'4 |\n  d'2 d'8 d'8 |\n  g'4 g'4 g'4 |\n  g'4 g'4 d'4 |\n  g'4 fis'4 fis'4 |\n  fis'2 g'8. g'16 |\n  g'4 g'4 d'8. d'16 |\n  d'4 d'4 g'8. g'16 |\n  g'4 g'4 g'4 |\n  fis'2 g'8. g'16 |\n  g'4 g'4 d'8. d'16 |\n  d'4 d'4 d'4 |\n  e'4 d'4 d'4 |\n  d'2\n}\n\ntenor = {\n  b4 |\n  b4 b4 b4 |\n  b2 d'8 c'8 |\n  b4 g4 g4 |\n  g2 b8( b8) |\n  d'4 d'4 d'4 |\n  c'4 b4 b4 |\n  d'4 d'4 d'4 |\n  d'2 b8. b16 |\n  c'4 b4 d'8. c'16 |\n  b4 b4 b8. b16 |\n  c'4 b4 d'4 |\n  d'2 b8. b16 |\n  c'4 b4 d'8. c'16 |\n  b4 b4 g4 |\n  g4 g4 c'4 |\n  b2\n}\n\nbass = {\n  g,4 |\n  g,4 b,4 d4 |\n  g2 b8 a8 |\n  g4 d4 b,4 |\n  g,2 g8 g8 |\n  b4 b4 b4 |\n  g4 g4 g4 |\n  d4 d4 d4 |\n  d2 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g4 |\n  d2 g8. g16 |\n  g4 g4 g8. g16 |\n  g4 g4 g4 |\n  c4 d4 d4 |\n  g,2\n}\n", "preferred": true}]}, "rex-gloriae": {"slug": "rex-gloriae", "name": "REX GLORIAE", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-smart", "composer_date": "1869", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "rex-gloriae-oh221", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:221; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "rex_gloriae_smart", "total_instances": 112}}, "harmonization": {"slug": "rex-gloriae-oh221", "tune": "rex-gloriae", "music_file": "rex-gloriae-oh221.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 31, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:221; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:221", "encoding_license": "PD-dedication"}, "music_ly": "%% Through the Night of Doubt and Sorrow\n%% Imported from Open Hymnal ABC X:221 via tools/abc_import.py\n%% Open Hymnal X:221; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  a'4 e'4 a'4 b'4 cis''4. d''8 cis''4 b'4 e''4 a'4 b'4 cis''8( d''8) cis''4 b'4 cis''2 cis''4 b'4 cis''4 e''4 a'4 gis'4 gis'4 fis'4 b'4 b'4 e''4 gis'4 fis'4 fis'4 e'2 e'4. fis'8 gis'4 b'4 a'4 gis'4 fis'4 e'4 a'4 b'4 cis''8( d''8) e''4 d''4 cis''4 b'2 a'4 e'4 a'4 b'4 cis''4. d''8 cis''4 b'4 e''4 a'4 d''4 cis''4 b'4 b'4 a'2\n}\nalto = {\n  e'4 b4 cis'4 e'4 e'4 e'4 e'4 e'4 e'4 cis'4 fis'4 fis'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 cis'8 dis'8 e'4 e'4 dis'4 fis'4 gis'8 fis'8 e'4 e'4 e'4 dis'4 e'2 e'4. e'8 e'4 fis'4 e'4 e'4 d'4 cis'4 cis'4 e'4 e'4 e'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 e'4 a'4 e'4 e'4 e'4 cis'4 fis'4 e'4 e'4. d'8 cis'2\n}\ntenor = {\n  cis'4 b4 a4 gis4 a4. b8 a4 gis4 a4 a4 a4 a4 a4 gis4 a2 a4 gis4 a4 b4 cis'4 b4 b4 b4 a4 b8 a8 gis4 b4 cis'4 b8 a8 gis2 gis4. a8 b4 d'4 cis'4 b4 a8 b8 cis'4 a4 gis4 a8 b8 cis'4 gis4 a4 gis2 a4 gis4 a4 gis4 a4. b8 a4 gis4 a4 a4 a4 a4 a4 gis4 a2\n}\nbass = {\n  a4 gis4 fis4 e8 d8 cis4 a,4 e4 e4 cis4 fis4 d4 cis8 b,8 e4 e4 a,2 a4 e4 a4 gis4 fis4 gis8 a8 b4 b,4 dis4 b,4 cis4 b,4 b,4 b,4 e2 e4. e8 e4 b,4 cis8 d8 e4 fis8 gis8 a4 fis4 e4 a4 cis4 b,4 a,4 e4( d4) cis4 e8 d8 cis4 b,4 a,4 fis4 e4. d8 cis4 fis4 d4 a,4 e4 e4 a,2\n}\n"}, "harmonizations": [{"slug": "rex-gloriae-oh221", "tune": "rex-gloriae", "music_file": "rex-gloriae-oh221.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 31, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:221; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:221", "encoding_license": "PD-dedication"}, "music_ly": "%% Through the Night of Doubt and Sorrow\n%% Imported from Open Hymnal ABC X:221 via tools/abc_import.py\n%% Open Hymnal X:221; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  a'4 e'4 a'4 b'4 cis''4. d''8 cis''4 b'4 e''4 a'4 b'4 cis''8( d''8) cis''4 b'4 cis''2 cis''4 b'4 cis''4 e''4 a'4 gis'4 gis'4 fis'4 b'4 b'4 e''4 gis'4 fis'4 fis'4 e'2 e'4. fis'8 gis'4 b'4 a'4 gis'4 fis'4 e'4 a'4 b'4 cis''8( d''8) e''4 d''4 cis''4 b'2 a'4 e'4 a'4 b'4 cis''4. d''8 cis''4 b'4 e''4 a'4 d''4 cis''4 b'4 b'4 a'2\n}\nalto = {\n  e'4 b4 cis'4 e'4 e'4 e'4 e'4 e'4 e'4 cis'4 fis'4 fis'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 cis'8 dis'8 e'4 e'4 dis'4 fis'4 gis'8 fis'8 e'4 e'4 e'4 dis'4 e'2 e'4. e'8 e'4 fis'4 e'4 e'4 d'4 cis'4 cis'4 e'4 e'4 e'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 e'4 a'4 e'4 e'4 e'4 cis'4 fis'4 e'4 e'4. d'8 cis'2\n}\ntenor = {\n  cis'4 b4 a4 gis4 a4. b8 a4 gis4 a4 a4 a4 a4 a4 gis4 a2 a4 gis4 a4 b4 cis'4 b4 b4 b4 a4 b8 a8 gis4 b4 cis'4 b8 a8 gis2 gis4. a8 b4 d'4 cis'4 b4 a8 b8 cis'4 a4 gis4 a8 b8 cis'4 gis4 a4 gis2 a4 gis4 a4 gis4 a4. b8 a4 gis4 a4 a4 a4 a4 a4 gis4 a2\n}\nbass = {\n  a4 gis4 fis4 e8 d8 cis4 a,4 e4 e4 cis4 fis4 d4 cis8 b,8 e4 e4 a,2 a4 e4 a4 gis4 fis4 gis8 a8 b4 b,4 dis4 b,4 cis4 b,4 b,4 b,4 e2 e4. e8 e4 b,4 cis8 d8 e4 fis8 gis8 a4 fis4 e4 a4 cis4 b,4 a,4 e4( d4) cis4 e8 d8 cis4 b,4 a,4 fis4 e4. d8 cis4 fis4 d4 a,4 e4 e4 a,2\n}\n", "preferred": true}]}, "richmond": {"slug": "richmond", "name": "RICHMOND", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-haweis", "composer_date": "1792", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "richmond-church-hymnal-1896", "provenance": {"layer": "tune", "source": "richmond-1792", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Thomas Haweis, 1792 (composer d. 1820); Open Hymnal lists it as 'Chesterfield' / 'Richmond (Haweis)' / 'Spa Fields Chapel'. Open Hymnal X:34.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "richmond-church-hymnal-1896", "tune": "richmond", "music_file": "richmond-church-hymnal-1896.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896, ed. Charles Hutchins, Hymn 31 first tune. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:34 (line 1668)", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark, the Glad Sound (RICHMOND)\n%% Imported from Open Hymnal ABC X:34 (line 1668) via tools/abc_import.py\n%% Words: Philip Doddridge, 1735; tune Thomas Haweis, 1792; setting The Church Hymnal (Episcopal), 1896. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d'4 g'4 b'4 d''2 c''4 b'4( c''4) a'4 g'2 b'4 a'4( d''4) g'4 fis'4( g'4) e'4 d'2 a'4 b'4( a'4) g'4 c''4( b'4) a'4 d''4( c''4) b'4 e''2 g'4 e'4( c''4) b'4 a'4( g'4) fis'4 g'2.\n}\nalto = {\n  b4 d'4 d'4 d'2 fis'4 g'4( e'4) d'8 c'8 b2 d'4 d'2 e'4 d'4( e'4) cis'4 d'2 d'4 d'4( e'4) d'4 e'8( fis'8 g'4) fis'4 g'8 d'8 e'8 fis'8 g'8 f'8 e'2 d'4 e'4( fis'4) g'4 e'4( d'4) c'4 b2.\n}\ntenor = {\n  g4 b4 g4 a2 a4 g4( a4) fis4 g2 g4 a2 a4 a4( b4) g4 fis2 fis4 g4( c'4) b4 a4( d'4) d'4 d'2 d'4 c'2 g'4 c'8( b8 a4) g4 c'4( b4) a4 g2.\n}\nbass = {\n  g,4 g4 g4 fis2 d4 e4( c4) d4 g,2 g4 fis4( b,4) cis4 d4( g,4) a,4 d2 d4 d2 d4 d2 c'4 b4( a4) g4 c2 b,4 c4( d4) e4 c4( d4) d4 g,2.\n}\n"}, "harmonizations": [{"slug": "richmond-church-hymnal-1896", "tune": "richmond", "music_file": "richmond-church-hymnal-1896.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 17, 28], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "church-hymnal-episcopal-1896", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from The Church Hymnal (Episcopal), 1896, ed. Charles Hutchins, Hymn 31 first tune. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:34 (line 1668)", "encoding_license": "PD-dedication"}, "music_ly": "%% Hark, the Glad Sound (RICHMOND)\n%% Imported from Open Hymnal ABC X:34 (line 1668) via tools/abc_import.py\n%% Words: Philip Doddridge, 1735; tune Thomas Haweis, 1792; setting The Church Hymnal (Episcopal), 1896. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  d'4 g'4 b'4 d''2 c''4 b'4( c''4) a'4 g'2 b'4 a'4( d''4) g'4 fis'4( g'4) e'4 d'2 a'4 b'4( a'4) g'4 c''4( b'4) a'4 d''4( c''4) b'4 e''2 g'4 e'4( c''4) b'4 a'4( g'4) fis'4 g'2.\n}\nalto = {\n  b4 d'4 d'4 d'2 fis'4 g'4( e'4) d'8 c'8 b2 d'4 d'2 e'4 d'4( e'4) cis'4 d'2 d'4 d'4( e'4) d'4 e'8( fis'8 g'4) fis'4 g'8 d'8 e'8 fis'8 g'8 f'8 e'2 d'4 e'4( fis'4) g'4 e'4( d'4) c'4 b2.\n}\ntenor = {\n  g4 b4 g4 a2 a4 g4( a4) fis4 g2 g4 a2 a4 a4( b4) g4 fis2 fis4 g4( c'4) b4 a4( d'4) d'4 d'2 d'4 c'2 g'4 c'8( b8 a4) g4 c'4( b4) a4 g2.\n}\nbass = {\n  g,4 g4 g4 fis2 d4 e4( c4) d4 g,2 g4 fis4( b,4) cis4 d4( g,4) a,4 d2 d4 d2 d4 d2 c'4 b4( a4) g4 c2 b,4 c4( d4) e4 c4( d4) d4 g,2.\n}\n", "preferred": true}]}, "rockingham-miller": {"slug": "rockingham-miller", "name": "ROCKINGHAM (MILLER)", "alt_name": ["ROCKINGHAM OLD"], "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "edward-miller", "composer_date": "1790", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "rockingham-miller-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ROCKINGHAM (also \"Rockingham Old\") by Edward Miller (1735-1807), published 1790 in \"The Psalms of David\", adapted from the earlier psalm tune \"Tunbridge\" attributed to Aaron Williams. It is the standard English hymn tune for Isaac Watts's \"When I Survey the Wondrous Cross\". Melody encoded from the Open Hymnal Project ABC (Hymns Ancient and Modern, 1869). A distinct melody from the American ROCKINGHAM (MASON), 1832, already in the corpus. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune ROCKINGHAM, Edward Miller 1790)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rockingham-miller-openhymnal", "tune": "rockingham-miller", "music_file": "rockingham-miller-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [19], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ROCKINGHAM (Edward Miller, 1790; four-part setting from Hymns Ancient and Modern, 1869). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ROCKINGHAM (also \"Rockingham Old\") by Edward Miller (1735-1807), published 1790, adapted from the earlier psalm tune \"Tunbridge\". The four-part setting is from \"Hymns Ancient and Modern\", 1869, as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. Five soprano melismas slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). This is the standard English tune for Watts's \"When I Survey the Wondrous Cross\", a distinct melody from the American ROCKINGHAM (MASON), 1832, already in the corpus (verified: different contour, note count, and melisma structure).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune ROCKINGHAM, Edward Miller 1790; Hymns Ancient and Modern 1869 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ROCKINGHAM (L.M.) — \"When I Survey the Wondrous Cross\"\n%% Imported from Open Hymnal ABC (X:1, \"When I Survey the Wondrous Cross\") via\n%% tools/abc_import.py. Tune 'Rockingham Old' by Edward Miller, 1790 (adapted from\n%% the psalm tune \"Tunbridge\"); four-part setting from \"Hymns Ancient and Modern\",\n%% 1869 — both public domain. This is the standard English tune for Watts's text,\n%% distinct from the American ROCKINGHAM (MASON) already in the corpus.\n%% Five soprano melismas slurred from the w: lyric alignment (all five stanzas\n%% share the same positions — a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 fis'4( g'4) e'4 d'2 fis'4 a'2 b'4 a'2 a'4 d''2 cis''4 b'2 a'4 a'4( g'4) fis'4 fis'4( e'4) e'4 a'2 b'4 cis''2 a'4 d''4( fis'4) g'4 a'2 d'4 g'2 fis'4 e'2 d'4 d'4( fis'4) e'4 d'2\n}\nalto = {\n  d'4 d'2 cis'4 d'2 d'4 d'2 d'8 e'8 fis'2 fis'4 d'2 fis'4 g'2 d'4 e'2 d'4 d'4( cis'4) cis'4 e'2 e'4 e'2 cis'4 d'2 d'4 cis'2 d'4 d'4( cis'4) d'4 b2 d'4 d'2 cis'4 d'2\n}\ntenor = {\n  fis4 a4( b4) a4 fis2 a4 a4( d'4) b8 cis'8 d'2 d'4 a2 a4 b2 d'4 a2 a4 a2 a4 a2 g4 a2 a4 a2 e4 e2 a4 g2 a4 b2 a4 fis4( a4) g4 fis2\n}\nbass = {\n  d4 d4( g,4) a,4 d2 d4 fis2 g4 d2 d4 fis2 d4 g2 d4 cis2 d4 a,2 a,4 cis2 e4 a2 g4 fis4( d4) e4 a,2 fis4 e2 d4 g,2 fis,4 a,2 a,4 d2\n}\n"}, "harmonizations": [{"slug": "rockingham-miller-openhymnal", "tune": "rockingham-miller", "music_file": "rockingham-miller-openhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [19], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ROCKINGHAM (Edward Miller, 1790; four-part setting from Hymns Ancient and Modern, 1869). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ROCKINGHAM (also \"Rockingham Old\") by Edward Miller (1735-1807), published 1790, adapted from the earlier psalm tune \"Tunbridge\". The four-part setting is from \"Hymns Ancient and Modern\", 1869, as encoded in the Open Hymnal Project 2014 revision. Both tune and harmonization are pre-1931 and public domain. Five soprano melismas slurred from the w: lyric alignment; all five stanzas share the same melisma positions (a fixed-melisma tune). This is the standard English tune for Watts's \"When I Survey the Wondrous Cross\", a distinct melody from the American ROCKINGHAM (MASON), 1832, already in the corpus (verified: different contour, note count, and melisma structure).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"When I Survey the Wondrous Cross\" (tune ROCKINGHAM, Edward Miller 1790; Hymns Ancient and Modern 1869 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ROCKINGHAM (L.M.) — \"When I Survey the Wondrous Cross\"\n%% Imported from Open Hymnal ABC (X:1, \"When I Survey the Wondrous Cross\") via\n%% tools/abc_import.py. Tune 'Rockingham Old' by Edward Miller, 1790 (adapted from\n%% the psalm tune \"Tunbridge\"); four-part setting from \"Hymns Ancient and Modern\",\n%% 1869 — both public domain. This is the standard English tune for Watts's text,\n%% distinct from the American ROCKINGHAM (MASON) already in the corpus.\n%% Five soprano melismas slurred from the w: lyric alignment (all five stanzas\n%% share the same positions — a fixed-melisma tune, verse_variable_melisma false).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 fis'4( g'4) e'4 d'2 fis'4 a'2 b'4 a'2 a'4 d''2 cis''4 b'2 a'4 a'4( g'4) fis'4 fis'4( e'4) e'4 a'2 b'4 cis''2 a'4 d''4( fis'4) g'4 a'2 d'4 g'2 fis'4 e'2 d'4 d'4( fis'4) e'4 d'2\n}\nalto = {\n  d'4 d'2 cis'4 d'2 d'4 d'2 d'8 e'8 fis'2 fis'4 d'2 fis'4 g'2 d'4 e'2 d'4 d'4( cis'4) cis'4 e'2 e'4 e'2 cis'4 d'2 d'4 cis'2 d'4 d'4( cis'4) d'4 b2 d'4 d'2 cis'4 d'2\n}\ntenor = {\n  fis4 a4( b4) a4 fis2 a4 a4( d'4) b8 cis'8 d'2 d'4 a2 a4 b2 d'4 a2 a4 a2 a4 a2 g4 a2 a4 a2 e4 e2 a4 g2 a4 b2 a4 fis4( a4) g4 fis2\n}\nbass = {\n  d4 d4( g,4) a,4 d2 d4 fis2 g4 d2 d4 fis2 d4 g2 d4 cis2 d4 a,2 a,4 cis2 e4 a2 g4 fis4( d4) e4 a,2 fis4 e2 d4 g,2 fis,4 a,2 a,4 d2\n}\n", "preferred": true}]}, "rockingham-old": {"slug": "rockingham-old", "name": "ROCKINGHAM (MASON)", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1832", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "rockingham-old-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ROCKINGHAM, a Long Meter tune by Lowell Mason (1792–1872), dated 1832 in The Cyber Hymnal (title \"Rockingham (Mason), LM\"; the source MIDI and PDF are filed as \"rockingham_old\"). A public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/2, half-note anacrusis; fully syllabic L.M., 32 soprano notes = 32 syllables; the sole chromatic is the tenor C-sharp leading tone in the third phrase, printed with a sharp in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rockingham (Mason)\" (Lowell Mason, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rockingham-old-cyberhymnal", "tune": "rockingham-old", "music_file": "rockingham-old-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ROCKINGHAM (Mason), Lowell Mason, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ROCKINGHAM (L.M.) by Lowell Mason (1792–1872), dated 1832 in The Cyber Hymnal; a public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/2, half-note anacrusis; fully syllabic, 32 soprano notes = 32 syllables; one chromatic, the tenor C-sharp leading tone in the third phrase, printed with a sharp). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rockingham (Mason)\" (Lowell Mason, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ROCKINGHAM (Mason) (L.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rockingham (Mason)\", Lowell Mason,\n%% 1832) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% L.M. in 3/2 with a half-note anacrusis (each of the four poetic lines begins on\n%% the upbeat); fully syllabic — 32 soprano notes = 32 syllables (no melisma). The\n%% one chromatic is the tenor cis' (C-sharp leading tone) in the third phrase,\n%% printed with a sharp in the source. The final chord is a whole note.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  g'2 | fis'4 g'4 a'2 b'2 | d''4 b'4 a'2 b'2 | a'4 g'4 e'2 d'2 | g'4 a'4 g'2 g'2 | d''4 d''4 e''2 d''2 | b'4 a'4 a'2 a'2 | b'4 g'4 e'2 d'2 | g'4 a'4 g'1\n}\nalto = {\n  d'2 | c'4 b4 d'2 d'2 | d'4 d'4 fis'2 d'2 | c'4 b4 c'2 b2 | b4 d'4 d'2 d'2 | d'4 g'4 g'2 fis'2 | g'4 e'4 fis'2 fis'2 | g'4 d'4 c'2 b2 | b4 d'4 d'1\n}\ntenor = {\n  b2 | a4 g4 fis2 g2 | a4 g4 d'2 d'2 | fis4 g4 g2 g2 | g4 c'4 b2 b2 | a4 b4 c'2 a2 | b4 cis'4 d'2 d'2 | d'4 g4 g2 g2 | g4 c'4 b1\n}\nbass = {\n  g2 | d4 e4 d2 g2 | fis4 g4 d2 g2 | d4 e4 c2 g,2 | e4 d4 g2 g2 | fis4 g4 c2 d2 | g4 a4 d2 d2 | g4 b,4 c2 g,2 | e4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "rockingham-old-cyberhymnal", "tune": "rockingham-old", "music_file": "rockingham-old-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ROCKINGHAM (Mason), Lowell Mason, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ROCKINGHAM (L.M.) by Lowell Mason (1792–1872), dated 1832 in The Cyber Hymnal; a public-domain four-part setting encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 3/2, half-note anacrusis; fully syllabic, 32 soprano notes = 32 syllables; one chromatic, the tenor C-sharp leading tone in the third phrase, printed with a sharp). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rockingham (Mason)\" (Lowell Mason, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ROCKINGHAM (Mason) (L.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rockingham (Mason)\", Lowell Mason,\n%% 1832) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% L.M. in 3/2 with a half-note anacrusis (each of the four poetic lines begins on\n%% the upbeat); fully syllabic — 32 soprano notes = 32 syllables (no melisma). The\n%% one chromatic is the tenor cis' (C-sharp leading tone) in the third phrase,\n%% printed with a sharp in the source. The final chord is a whole note.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  g'2 | fis'4 g'4 a'2 b'2 | d''4 b'4 a'2 b'2 | a'4 g'4 e'2 d'2 | g'4 a'4 g'2 g'2 | d''4 d''4 e''2 d''2 | b'4 a'4 a'2 a'2 | b'4 g'4 e'2 d'2 | g'4 a'4 g'1\n}\nalto = {\n  d'2 | c'4 b4 d'2 d'2 | d'4 d'4 fis'2 d'2 | c'4 b4 c'2 b2 | b4 d'4 d'2 d'2 | d'4 g'4 g'2 fis'2 | g'4 e'4 fis'2 fis'2 | g'4 d'4 c'2 b2 | b4 d'4 d'1\n}\ntenor = {\n  b2 | a4 g4 fis2 g2 | a4 g4 d'2 d'2 | fis4 g4 g2 g2 | g4 c'4 b2 b2 | a4 b4 c'2 a2 | b4 cis'4 d'2 d'2 | d'4 g4 g2 g2 | g4 c'4 b1\n}\nbass = {\n  g2 | d4 e4 d2 g2 | fis4 g4 d2 g2 | d4 e4 c2 g,2 | e4 d4 g2 g2 | fis4 g4 c2 d2 | g4 a4 d2 d2 | g4 b,4 c2 g,2 | e4 d4 g,1\n}\n", "preferred": true}]}, "rossetti": {"slug": "rossetti", "name": "ROSSETTI", "meter_label": "8.10.10.4", "meter": {"pattern": [8, 10, 10, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-jeater", "composer_date": "1911", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "rossetti-oh173", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:173; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "rossetti_jeater", "total_instances": 8}}, "harmonization": {"slug": "rossetti-oh173", "tune": "rossetti", "music_file": "rossetti-oh173.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": "2.", "system_breaks": [8, 18], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:173; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:173", "encoding_license": "PD-dedication"}, "music_ly": "%% None Other Lamb\n%% Imported from Open Hymnal ABC X:173 via tools/abc_import.py\n%% Open Hymnal X:173; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 \\partial 2. }\n\nsoprano = {\n  a'4 g'4 g'4 fis'2. a'4 g'4 g'4 fis'2. fis'4 fis'4 a'4 d''4. cis''8 b'4 a'4 fis'4 gis'4 a'2. cis''4 b'4 a'4 b'4. a'8 a'4 b'4 a'4 g'4 fis'1. e'2 fis'2 g'2 fis'2.\n}\nalto = {\n  d'4 d'4 e'4 e'2( d'4) d'4 d'4 e'4 e'2( d'4) d'4 d'4 e'4 fis'4. e'8 d'4 cis'4 d'4 e'4 e'2. e'4 cis'4 cis'4 d'4. d'8 d'4 g'4 fis'4 e'4 e'2( d'1) d'2 d'2 cis'2 d'2.\n}\ntenor = {\n  a4 b4 cis'4 a2. a4 b4 cis'4 a2. a4 a4 a4 a4. a8 gis4 a4 b4 d'4 d'2( cis'4) a4 a4 a4 a4. a8 a4 d'4 cis'4 cis'4 cis'2( b1) b2 a2 a2 a2.\n}\nbass = {\n  fis4 e4 a,4 d2. fis4 e4 a,4 d2. d4 d4 cis4 b,4. b,8 e4 e4 e4 e4 a,2. a4 g4 g4 fis4. fis8 fis4 g4 a4 a4 ais2( b2 a2) g2 a2 a,2 d2.\n}\n"}, "harmonizations": [{"slug": "rossetti-oh173", "tune": "rossetti", "music_file": "rossetti-oh173.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/2", "pickup": "2.", "system_breaks": [8, 18], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:173; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:173", "encoding_license": "PD-dedication"}, "music_ly": "%% None Other Lamb\n%% Imported from Open Hymnal ABC X:173 via tools/abc_import.py\n%% Open Hymnal X:173; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/2 \\partial 2. }\n\nsoprano = {\n  a'4 g'4 g'4 fis'2. a'4 g'4 g'4 fis'2. fis'4 fis'4 a'4 d''4. cis''8 b'4 a'4 fis'4 gis'4 a'2. cis''4 b'4 a'4 b'4. a'8 a'4 b'4 a'4 g'4 fis'1. e'2 fis'2 g'2 fis'2.\n}\nalto = {\n  d'4 d'4 e'4 e'2( d'4) d'4 d'4 e'4 e'2( d'4) d'4 d'4 e'4 fis'4. e'8 d'4 cis'4 d'4 e'4 e'2. e'4 cis'4 cis'4 d'4. d'8 d'4 g'4 fis'4 e'4 e'2( d'1) d'2 d'2 cis'2 d'2.\n}\ntenor = {\n  a4 b4 cis'4 a2. a4 b4 cis'4 a2. a4 a4 a4 a4. a8 gis4 a4 b4 d'4 d'2( cis'4) a4 a4 a4 a4. a8 a4 d'4 cis'4 cis'4 cis'2( b1) b2 a2 a2 a2.\n}\nbass = {\n  fis4 e4 a,4 d2. fis4 e4 a,4 d2. d4 d4 cis4 b,4. b,8 e4 e4 e4 e4 a,2. a4 g4 g4 fis4. fis8 fis4 g4 a4 a4 ais2( b2 a2) g2 a2 a,2 d2.\n}\n", "preferred": true}]}, "rustington": {"slug": "rustington", "name": "RUSTINGTON", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "hubert-parry", "composer_date": "1897", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "rustington-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "RUSTINGTON, C. Hubert H. Parry, 1897 (named for the Sussex village where Parry lived). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, half-measure anacrusis). The melody is lightly melismatic: ten two-note slurred figures each carry one syllable of the 8.7.8.7 D text. Composer d. 1918; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rustington\" (C. Hubert H. Parry, 1897); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rustington-cyberhymnal", "tune": "rustington", "music_file": "rustington-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [10, 18, 28, 36, 45, 53, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RUSTINGTON, C. Hubert H. Parry, 1897. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RUSTINGTON (C. Hubert H. Parry, 1897); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, half-measure anacrusis). The five printed chromatics are flat-key spellings confirmed against the engraving: B-natural (bars 5, 7) with naturals, E-flat (bars 8, 13) with flats. Composer d. 1918; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rustington\" (C. Hubert H. Parry, 1897); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RUSTINGTON (8.7.8.7 D) — Charles Hubert Hastings Parry, 1897; four SATB voice\n%% streams, canonical key F major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rustington\", C. Hubert H. Parry 1897)\n%% with tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving (F major, 4/4, half-measure anacrusis; final half note). The melody is\n%% lightly MELISMATIC: ten two-note slurred figures each carry one syllable, so the\n%% 70 soprano notes underlay a 60-syllable 8.7.8.7 D text (verse_variable_melisma).\n%% The five printed chromatics are flat-key spellings confirmed against the\n%% engraving's accidentals: B-natural (bars 5, 7) printed natural; E-flat (bars 8,\n%% 13) printed flat. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  f'4. f'8 |\n  bes'4 a'8( e'8) g'4 d'8( f'8) |\n  e'4 c'4 f'4 f'4 |\n  d''4 c''4 bes'4 d'8( c''8) |\n  a'2 g'4 c''4 |\n  b'4 a'8( e'8) g'4 d'8( f'8) |\n  e'4 c'4 g'4 f'4 |\n  e'4 c'4 d'4 b8( d'8) |\n  c'2 c'4 es'4 |\n  d'4 bes8( d'8) d'4 f'4 |\n  f'4 e'4 e'4 g'4 |\n  f'4 d'8( f'8) f'4 bes'4 |\n  g'2 g'4 d''4 |\n  c''4 es''4 d''4 c''8( es'8) |\n  bes'4 a'4 g'4 bes'4 |\n  a'8( e'8) g'4 d'4 e'4 |\n  f'2\n}\nalto = {\n  f'4. f'8 |\n  f'4 a'8 e'8 d'4 d'8 f'8 |\n  c'4 c'4 c'4 f'4 |\n  f'4 f'4 f'4 d'8 c''8 |\n  f'2 c'4 e'4 |\n  f'4 a'8 e'8 d'4 d'8 f'8 |\n  c'4 c'4 c'4 c'4 |\n  c'4 c'4 c'4 b8 d'8 |\n  c'2 c'4 c'4 |\n  c'4 bes8 d'8 bes4 d'4 |\n  d'4 c'4 c'4 e'4 |\n  d'4 d'8 f'8 d'4 f'4 |\n  f'4 e'4 e'4 e'4 |\n  f'4 f'4 f'4 c''8 es'8 |\n  d'4 d'4 d'4 g'4 |\n  f'8 e'8 d'4 bes4 bes4 |\n  a2\n}\ntenor = {\n  a4 e8 a8 |\n  bes4 c'4 d'4 bes4 |\n  g4 e8 bes,8 f4 c'4 |\n  bes4 c'4 d'4 bes4 |\n  c'2 c'4 c'4 |\n  d'4 c'4 c'4 b4 |\n  c'4 e4 g4 a4 |\n  g4 e4 a4 g8 f8 |\n  e2 f4 f4 |\n  f4. f8 g4 g4 |\n  g4 g4 a4 a4 |\n  a4. a8 bes4 d'4 |\n  d'4 c'4 c'4 c'4 |\n  c'4 c'4 bes4 a4 |\n  bes4 f4 g4 d'4 |\n  c'4 bes8 a8 g4 g4 |\n  f2\n}\nbass = {\n  f4 e8 a8 |\n  d4 c4 bes,4 g,4 |\n  c4 e8 bes,8 a,4 a,4 |\n  bes,4 a,4 g,4 g4 |\n  f2 e4 a,4 |\n  d4 f4 g4 g,4 |\n  c4 c4 e,4 f,4 |\n  g,4 a,4 f,4 g,8 f8 |\n  c2 a,4 a,4 |\n  bes,4. a,8 g,4 g,4 |\n  c4 c4 a,4 a,4 |\n  d4. d8 bes,4 g,4 |\n  c2 c'4 bes4 |\n  a4 a4 bes4 f4 |\n  g4 d4 bes,4 g,4 |\n  a,4 bes,8 a8 bes,4 c4 |\n  f,2\n}\n"}, "harmonizations": [{"slug": "rustington-cyberhymnal", "tune": "rustington", "music_file": "rustington-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [10, 18, 28, 36, 45, 53, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RUSTINGTON, C. Hubert H. Parry, 1897. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RUSTINGTON (C. Hubert H. Parry, 1897); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, half-measure anacrusis). The five printed chromatics are flat-key spellings confirmed against the engraving: B-natural (bars 5, 7) with naturals, E-flat (bars 8, 13) with flats. Composer d. 1918; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rustington\" (C. Hubert H. Parry, 1897); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RUSTINGTON (8.7.8.7 D) — Charles Hubert Hastings Parry, 1897; four SATB voice\n%% streams, canonical key F major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Rustington\", C. Hubert H. Parry 1897)\n%% with tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving (F major, 4/4, half-measure anacrusis; final half note). The melody is\n%% lightly MELISMATIC: ten two-note slurred figures each carry one syllable, so the\n%% 70 soprano notes underlay a 60-syllable 8.7.8.7 D text (verse_variable_melisma).\n%% The five printed chromatics are flat-key spellings confirmed against the\n%% engraving's accidentals: B-natural (bars 5, 7) printed natural; E-flat (bars 8,\n%% 13) printed flat. All components pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  f'4. f'8 |\n  bes'4 a'8( e'8) g'4 d'8( f'8) |\n  e'4 c'4 f'4 f'4 |\n  d''4 c''4 bes'4 d'8( c''8) |\n  a'2 g'4 c''4 |\n  b'4 a'8( e'8) g'4 d'8( f'8) |\n  e'4 c'4 g'4 f'4 |\n  e'4 c'4 d'4 b8( d'8) |\n  c'2 c'4 es'4 |\n  d'4 bes8( d'8) d'4 f'4 |\n  f'4 e'4 e'4 g'4 |\n  f'4 d'8( f'8) f'4 bes'4 |\n  g'2 g'4 d''4 |\n  c''4 es''4 d''4 c''8( es'8) |\n  bes'4 a'4 g'4 bes'4 |\n  a'8( e'8) g'4 d'4 e'4 |\n  f'2\n}\nalto = {\n  f'4. f'8 |\n  f'4 a'8 e'8 d'4 d'8 f'8 |\n  c'4 c'4 c'4 f'4 |\n  f'4 f'4 f'4 d'8 c''8 |\n  f'2 c'4 e'4 |\n  f'4 a'8 e'8 d'4 d'8 f'8 |\n  c'4 c'4 c'4 c'4 |\n  c'4 c'4 c'4 b8 d'8 |\n  c'2 c'4 c'4 |\n  c'4 bes8 d'8 bes4 d'4 |\n  d'4 c'4 c'4 e'4 |\n  d'4 d'8 f'8 d'4 f'4 |\n  f'4 e'4 e'4 e'4 |\n  f'4 f'4 f'4 c''8 es'8 |\n  d'4 d'4 d'4 g'4 |\n  f'8 e'8 d'4 bes4 bes4 |\n  a2\n}\ntenor = {\n  a4 e8 a8 |\n  bes4 c'4 d'4 bes4 |\n  g4 e8 bes,8 f4 c'4 |\n  bes4 c'4 d'4 bes4 |\n  c'2 c'4 c'4 |\n  d'4 c'4 c'4 b4 |\n  c'4 e4 g4 a4 |\n  g4 e4 a4 g8 f8 |\n  e2 f4 f4 |\n  f4. f8 g4 g4 |\n  g4 g4 a4 a4 |\n  a4. a8 bes4 d'4 |\n  d'4 c'4 c'4 c'4 |\n  c'4 c'4 bes4 a4 |\n  bes4 f4 g4 d'4 |\n  c'4 bes8 a8 g4 g4 |\n  f2\n}\nbass = {\n  f4 e8 a8 |\n  d4 c4 bes,4 g,4 |\n  c4 e8 bes,8 a,4 a,4 |\n  bes,4 a,4 g,4 g4 |\n  f2 e4 a,4 |\n  d4 f4 g4 g,4 |\n  c4 c4 e,4 f,4 |\n  g,4 a,4 f,4 g,8 f8 |\n  c2 a,4 a,4 |\n  bes,4. a,8 g,4 g,4 |\n  c4 c4 a,4 a,4 |\n  d4. d8 bes,4 g,4 |\n  c2 c'4 bes4 |\n  a4 a4 bes4 f4 |\n  g4 d4 bes,4 g,4 |\n  a,4 bes,8 a8 bes,4 c4 |\n  f,2\n}\n", "preferred": true}]}, "rutherford": {"slug": "rutherford", "name": "RUTHERFORD", "meter_label": "7.6.7.6 D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "chretien-urhan", "composer_date": "1834", "arranger": "edward-f-rimbault", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "rutherford-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "RUTHERFORD, composed by Chrétien d'Urhan (1790–1845) in Chants Chrétiens (1834) and arranged by Edward F. Rimbault (1816–1876), 1867 — the standard tune for Anne Ross Cousin's \"The Sands of Time Are Sinking\" (1857). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4 with a quarter-note anacrusis; the tenor's descending chromatic D–D-flat–C at the fifth and sixth phrases is printed with flats in the source and carried as des'). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rutherford\" (Chrétien d'Urhan, 1834; arr. Edward F. Rimbault, 1867); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "rutherford-cyberhymnal", "tune": "rutherford", "music_file": "rutherford-cyberhymnal.ly", "harmonizer": "edward-f-rimbault", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 28, 35, 41, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RUTHERFORD, Chrétien d'Urhan, 1834; arr. Edward F. Rimbault, 1867. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RUTHERFORD (Chrétien d'Urhan, Chants Chrétiens, 1834), arranged in four parts by Edward F. Rimbault (1816–1876), 1867; a public-domain setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4 with a quarter-note anacrusis; the tenor's descending chromatic D–D-flat–C is printed with flats and carried as des'). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rutherford\" (Chrétien d'Urhan, 1834; arr. Edward F. Rimbault, 1867); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RUTHERFORD (7.6.7.6 D) — melody Chrétien d'Urhan (Chants Chrétiens, 1834),\n%% arranged by Edward F. Rimbault, 1867; the standard tune for Anne Ross Cousin's\n%% \"The Sands of Time Are Sinking\" (1857). Four SATB voice streams, canonical key\n%% F major, 4/4 with a quarter-note anacrusis (\\partial 4).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified\n%% note-for-note against the Cyber Hymnal engraving. MELISMATIC: 55 soprano notes\n%% for 52 syllables (7.6.7.6 D). Three melisma continuations are held with '_' in\n%% every stanza (verse_variable_melisma): two 2-note slurs in the fourth phrase\n%% (soprano notes 24-25 and 26-27, e.g. st.1 \"morn\" and \"a-\" of \"awakes\") and one\n%% 2-note slur opening the seventh phrase (notes 42-43, st.1 \"And\"). The tenor's\n%% descending chromatic D–D-flat–C in phrases five and six is printed with flats in\n%% the engraving and carried as des'.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4 a'4 g'4. g'8 | f'2 f'4 f'4 | bes'4. bes'8 a'4 bes'4 | g'2. g'4 |\n  c''4. c''8 bes'4 bes'4 | a'2 g'4 g'4 | f'4 f'4 e'8( f'8) g'8( e'8) | f'2. f'4 |\n  f'4. f'8 f'4 g'4 | a'2 a'4 f'4 | f'4. f'8 f'4 g'4 | a'2. a'8( bes'8) |\n  c''4 c''4 d''4. c''8 | c''2 bes'4 bes'4 | a'4 a'4 g'4. f'8 | f'2.\n}\nalto = {\n  f'4 |\n  f'4 f'4 e'4. e'8 | d'2 d'4 f'4 | f'4. f'8 f'4 f'4 | e'2. e'4 |\n  f'4. f'8 e'4 e'4 | f'2 d'4 d'4 | c'4 c'4 c'8 f'8 c'8 e'8 | c'2. c'4 |\n  d'4. d'8 f'4 e'4 | f'2 f'4 c'4 | d'4. d'8 f'4 e'4 | f'2. f'8 e'8 |\n  f'4 f'4 f'4. f'8 | f'2 e'4 e'4 | f'4 f'4 e'4. c'8 | c'2.\n}\ntenor = {\n  c'4 |\n  c'4 c'4 bes4. bes8 | a2 a4 a4 | d'4. d'8 c'4 d'4 | c'2. c'4 |\n  c'4. c'8 c'4 c'4 | c'2 bes4 bes4 | a4 a4 g8 a8 bes8 g8 | a2. a4 |\n  d'4. d'8 des'4 des'4 | c'2 c'4 a4 | d'4. d'8 des'4 des'4 | c'2. c'8 g8 |\n  c'4 c'4 bes4. c'8 | c'2 c'4 c'4 | c'4 c'4 bes4. a8 | a2.\n}\nbass = {\n  f4 |\n  f4 f4 c4. c8 | d2 d4 d4 | bes,4. bes,8 f4 bes,4 | c2. bes4 |\n  a4. a8 g4 g4 | f2 bes,4 bes,4 | c4 c4 c8 a8 c8 g8 | f2. f4 |\n  bes4. bes8 bes4 bes4 | f2 f4 f4 | bes4. bes8 bes4 bes4 | f2. f8 g8 |\n  a4 a4 bes4. a8 | a2 g4 g4 | f4 f4 c4. f8 | f2.\n}\n"}, "harmonizations": [{"slug": "rutherford-cyberhymnal", "tune": "rutherford", "music_file": "rutherford-cyberhymnal.ly", "harmonizer": "edward-f-rimbault", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 28, 35, 41, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "RUTHERFORD, Chrétien d'Urhan, 1834; arr. Edward F. Rimbault, 1867. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune RUTHERFORD (Chrétien d'Urhan, Chants Chrétiens, 1834), arranged in four parts by Edward F. Rimbault (1816–1876), 1867; a public-domain setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4 with a quarter-note anacrusis; the tenor's descending chromatic D–D-flat–C is printed with flats and carried as des'). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Rutherford\" (Chrétien d'Urhan, 1834; arr. Edward F. Rimbault, 1867); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% RUTHERFORD (7.6.7.6 D) — melody Chrétien d'Urhan (Chants Chrétiens, 1834),\n%% arranged by Edward F. Rimbault, 1867; the standard tune for Anne Ross Cousin's\n%% \"The Sands of Time Are Sinking\" (1857). Four SATB voice streams, canonical key\n%% F major, 4/4 with a quarter-note anacrusis (\\partial 4).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified\n%% note-for-note against the Cyber Hymnal engraving. MELISMATIC: 55 soprano notes\n%% for 52 syllables (7.6.7.6 D). Three melisma continuations are held with '_' in\n%% every stanza (verse_variable_melisma): two 2-note slurs in the fourth phrase\n%% (soprano notes 24-25 and 26-27, e.g. st.1 \"morn\" and \"a-\" of \"awakes\") and one\n%% 2-note slur opening the seventh phrase (notes 42-43, st.1 \"And\"). The tenor's\n%% descending chromatic D–D-flat–C in phrases five and six is printed with flats in\n%% the engraving and carried as des'.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  a'4 a'4 g'4. g'8 | f'2 f'4 f'4 | bes'4. bes'8 a'4 bes'4 | g'2. g'4 |\n  c''4. c''8 bes'4 bes'4 | a'2 g'4 g'4 | f'4 f'4 e'8( f'8) g'8( e'8) | f'2. f'4 |\n  f'4. f'8 f'4 g'4 | a'2 a'4 f'4 | f'4. f'8 f'4 g'4 | a'2. a'8( bes'8) |\n  c''4 c''4 d''4. c''8 | c''2 bes'4 bes'4 | a'4 a'4 g'4. f'8 | f'2.\n}\nalto = {\n  f'4 |\n  f'4 f'4 e'4. e'8 | d'2 d'4 f'4 | f'4. f'8 f'4 f'4 | e'2. e'4 |\n  f'4. f'8 e'4 e'4 | f'2 d'4 d'4 | c'4 c'4 c'8 f'8 c'8 e'8 | c'2. c'4 |\n  d'4. d'8 f'4 e'4 | f'2 f'4 c'4 | d'4. d'8 f'4 e'4 | f'2. f'8 e'8 |\n  f'4 f'4 f'4. f'8 | f'2 e'4 e'4 | f'4 f'4 e'4. c'8 | c'2.\n}\ntenor = {\n  c'4 |\n  c'4 c'4 bes4. bes8 | a2 a4 a4 | d'4. d'8 c'4 d'4 | c'2. c'4 |\n  c'4. c'8 c'4 c'4 | c'2 bes4 bes4 | a4 a4 g8 a8 bes8 g8 | a2. a4 |\n  d'4. d'8 des'4 des'4 | c'2 c'4 a4 | d'4. d'8 des'4 des'4 | c'2. c'8 g8 |\n  c'4 c'4 bes4. c'8 | c'2 c'4 c'4 | c'4 c'4 bes4. a8 | a2.\n}\nbass = {\n  f4 |\n  f4 f4 c4. c8 | d2 d4 d4 | bes,4. bes,8 f4 bes,4 | c2. bes4 |\n  a4. a8 g4 g4 | f2 bes,4 bes,4 | c4 c4 c8 a8 c8 g8 | f2. f4 |\n  bes4. bes8 bes4 bes4 | f2 f4 f4 | bes4. bes8 bes4 bes4 | f2. f8 g8 |\n  a4 a4 bes4. a8 | a2 g4 g4 | f4 f4 c4. f8 | f2.\n}\n", "preferred": true}]}, "salvationist": {"slug": "salvationist", "name": "SALVATIONIST", "alt_name": "SALVATION", "meter_label": "13.11.13.11.13.10 with Refrain", "meter": {"pattern": [13, 11, 13, 11, 13, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-shakespeare-hays", "composer_date": "1871", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "salvationist-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SALVATIONIST (Hymnary tune authority salvationist_hays; also printed as SALVATION or THE LILY OF THE VALLEY). William Shakespeare Hays (1837-1907): the melody is his 1871 song \"The Little Old Log Cabin in the Lane\", adapted 1881 for this hymn; the four-part setting is Ira D. Sankey's, 1887. Encoded from Open Hymnal X:180 (C: \"Music: 'Salvation' or 'The Lily of the Valley' William S. Hays, 1881. Setting: Ira D. Sankey, 1887.\"; S: \"Music and lyrics source: Gospel Hymns Nos. 5 and 6 Combined, 1892, hymn 102.\"; C: \"copyright: public domain.\"). INDEPENDENT MELODY CHECK: the Hymnary authority incipit 13556 55312 11651 (F major) equals this encoding's first fifteen soprano notes, degree for degree. The meter as encoded is 13.11.13.11.13.10 with refrain — the hymnals' 14.11.14.11.13.10 minus the Open Hymnal text's contraction of the two-word pickup in verse lines 1 and 3 (Hymnary labels the tune Irregular). All components pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "salvationist_hays", "total_instances": 331}}, "harmonization": {"slug": "salvationist-openhymnal", "tune": "salvationist", "music_file": "salvationist-openhymnal.ly", "harmonizer": "ira-david-sankey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [14, 26, 40, 52, 65, 77, 91], "breaks_manual": true, "markings": [{"soprano_note": 78, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 78, "inline": true}, "source_line": "Setting: Ira D. Sankey, 1887; from Gospel Hymns Nos. 5 and 6 Combined, 1892. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting credited by the Open Hymnal X:180 C: line as \"Setting: Ira D. Sankey, 1887.\" over the Hays melody, with S: \"Music and lyrics source: Gospel Hymns Nos. 5 and 6 Combined, 1892, hymn 102.\" and C: \"copyright: public domain.\" (2013 Revision). Sankey died 1908 and the 1887/ 1892 printings are pre-1931 US public domain. Converted losslessly from the dump's four ABC voices (S1V1/S1V2/S2V1/S2V2) with tools/abc_import.py, extracted by LINE RANGE (22472-22544 of the 2014.06 dump) because the dump reuses X-numbers. The piece is fully homophonic: every onset is shared by all four voices (the one divergence: the bass holds a dotted quarter under the upper voices' slurred pair at soprano noteheads 66-67); 103 soprano noteheads, two ensemble breath rests (after noteheads 52 and 103, printed r8 in soprano/tenor, invisible s8 in alto/bass exactly as the dump encodes them). The dump's duplicated stanza-1 underlay rows under the bass staff (identical words at identical onsets, verified token-by-token by hash against the soprano w: rows) are an engraving duplication, not an echo, and are deliberately not encoded — no bass_echo. The one E-flat accidental (alto, m16, from the source's _E) survives conversion. INDEPENDENT MELODY CHECK: Hymnary tune authority salvationist_hays incipit 13556 55312 11651 matches this soprano's first fifteen notes exactly (F major).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:180 (tune SALVATIONIST, W. S. Hays 1871/1881; Ira D. Sankey 1887 setting from Gospel Hymns Nos. 5 and 6 Combined, 1892); SATB ABC converted with tools/abc_import.py machinery, block extracted by line range", "encoding_license": "PD-dedication"}, "music_ly": "%% SALVATIONIST — \"The Lily of the Valley\" (gospel song, verse + trailing refrain)\n%% Imported from the Open Hymnal ABC (X:180, 2014.06 dump lines 22472-22544,\n%% extracted by LINE RANGE — X-numbers are reused in that dump) via the\n%% tools/abc_import.py machinery. Tune: William S. Hays, 1871, adapted 1881;\n%% setting: Ira D. Sankey, 1887; source per the dump's S: line: Gospel Hymns\n%% Nos. 5 and 6 Combined, 1892, hymn 102. Public domain.\n%% F major, 6/8, two-sixteenth pickup (\\partial 8), 103 soprano noteheads,\n%% essentially homophonic (soprano/tenor 103 onsets, alto 101, bass 100): the\n%% alto and bass take a single-eighth pickup against the soprano/tenor\n%% two-sixteenth pair, the alto holds under the soprano's slurred 27-28, and\n%% the bass holds a dotted quarter under the upper voices' slurred pair at\n%% noteheads 66-67. Soprano melisma slurs: (1,2) the pickup pair (added here\n%% from the w: star alignment), (27,28) and (66,67) (slurred in the source);\n%% ties 25-26, 51-52, 76-77 and 102-103 carry their syllables as tie melisma.\n%% Melody verified against the Hymnary tune authority salvationist_hays\n%% (incipit 13556 55312 11651 = this soprano's first fifteen notes in F).\n%% The dump also repeats the stanza-1 underlay in w: rows under the bass staff\n%% for the second half of the piece (same words at identical onsets, checked\n%% token-by-token by hash) — an engraving duplication, not an echo or\n%% antiphonal texture, so no bass_echo is encoded.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'16( a'16) c''4 c''8 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 a'4 a'8 d''4 c''8 a'4 f'8 g'2.~ g'4. f'4( a'8) c''4 c''8 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 g'4 f'8 g'4 g'8 f'4 e'8 f'2.~ f'4. r8 f'4 f'8 bes'4 bes'4 bes'8 bes'8 d''2 d''8 d''8 c''4 c''4 a'8 c''4. a'4( g'8) f'4 f'8 f'4 f'8 d''4 c''8 a'4 f'8 g'2.~ g'4. f'4 a'8 c''8 c''4 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 g'4 f'8 g'4 g'8 f'4 e'8 f'2.~ f'4. r8\n}\n\nalto = {\n  f'8 f'4 f'8 f'4 f'8 f'8 f'2 f'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 f'8 f'4 f'8 f'4 f'8 f'4 f'8 e'2.~ e'4. f'4. f'4 f'8 f'4 f'8 f'8 f'2 c'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 f'8 e'4 f'8 d'4 d'8 c'4 c'8 c'2.~ c'4. s8 ees'4 d'8 d'4 d'4 d'8 d'8 f'2 f'8 f'8 f'4 f'4 f'8 f'4. f'4( c'8) c'4 c'8 c'4 f'8 f'4 f'8 f'4 f'8 e'2.~ e'4. f'4 f'8 f'8 f'4 f'4 f'8 f'8 f'2 f'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 c'8 c'4 f'8 d'4 d'8 c'4 c'8 c'2.~ c'4. s8\n}\n\ntenor = {\n  a16 c'16 a4 a8 bes4 a8 bes8 c'2 c'8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 c'4 c'8 bes4 c'8 c'4 c'8 c'2.~ c'4. a4( c'8) a4 a8 bes4 a8 a8 c'2 a8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 bes4 a8 bes4 bes8 a4 g8 a2.~ a4. r8 a4 bes8 f4 f4 f8 f8 bes2 bes8 bes8 a4 a4 c'8 a4. c'4( bes8) a4 bes8 c'4 a8 bes4 c'8 c'4 c'8 c'2.~ c'4. a4 c'8 a8 a4 bes4 a8 a8 c'2 c'8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 bes4 a8 bes4 bes8 a4 g8 a2.~ a4. r8\n}\n\nbass = {\n  f8 f4 f8 f4 f8 f8 f2 a,8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 f4 f8 bes4 a8 f4 a,8 c2.~ c4. f4. f4 f8 f4 f8 f8 f2 f8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 c4 d8 bes,4 bes,8 c4 c8 f2.~ f4. s8 f4 bes,8 bes,4 bes,4 bes,8 bes,8 bes,2 bes,8 f8 f4 f4 f8 f4. f4. f4 g8 a4 f8 bes4 a8 f4 a,8 c2.~ c4. f4 f8 f8 f4 f4 f8 f8 f2 a,8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 c4 d8 bes,4 bes,8 c4 c8 f2.~ f4. s8\n}\n"}, "harmonizations": [{"slug": "salvationist-openhymnal", "tune": "salvationist", "music_file": "salvationist-openhymnal.ly", "harmonizer": "ira-david-sankey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [14, 26, 40, 52, 65, 77, 91], "breaks_manual": true, "markings": [{"soprano_note": 78, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 78, "inline": true}, "source_line": "Setting: Ira D. Sankey, 1887; from Gospel Hymns Nos. 5 and 6 Combined, 1892. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting credited by the Open Hymnal X:180 C: line as \"Setting: Ira D. Sankey, 1887.\" over the Hays melody, with S: \"Music and lyrics source: Gospel Hymns Nos. 5 and 6 Combined, 1892, hymn 102.\" and C: \"copyright: public domain.\" (2013 Revision). Sankey died 1908 and the 1887/ 1892 printings are pre-1931 US public domain. Converted losslessly from the dump's four ABC voices (S1V1/S1V2/S2V1/S2V2) with tools/abc_import.py, extracted by LINE RANGE (22472-22544 of the 2014.06 dump) because the dump reuses X-numbers. The piece is fully homophonic: every onset is shared by all four voices (the one divergence: the bass holds a dotted quarter under the upper voices' slurred pair at soprano noteheads 66-67); 103 soprano noteheads, two ensemble breath rests (after noteheads 52 and 103, printed r8 in soprano/tenor, invisible s8 in alto/bass exactly as the dump encodes them). The dump's duplicated stanza-1 underlay rows under the bass staff (identical words at identical onsets, verified token-by-token by hash against the soprano w: rows) are an engraving duplication, not an echo, and are deliberately not encoded — no bass_echo. The one E-flat accidental (alto, m16, from the source's _E) survives conversion. INDEPENDENT MELODY CHECK: Hymnary tune authority salvationist_hays incipit 13556 55312 11651 matches this soprano's first fifteen notes exactly (F major).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:180 (tune SALVATIONIST, W. S. Hays 1871/1881; Ira D. Sankey 1887 setting from Gospel Hymns Nos. 5 and 6 Combined, 1892); SATB ABC converted with tools/abc_import.py machinery, block extracted by line range", "encoding_license": "PD-dedication"}, "music_ly": "%% SALVATIONIST — \"The Lily of the Valley\" (gospel song, verse + trailing refrain)\n%% Imported from the Open Hymnal ABC (X:180, 2014.06 dump lines 22472-22544,\n%% extracted by LINE RANGE — X-numbers are reused in that dump) via the\n%% tools/abc_import.py machinery. Tune: William S. Hays, 1871, adapted 1881;\n%% setting: Ira D. Sankey, 1887; source per the dump's S: line: Gospel Hymns\n%% Nos. 5 and 6 Combined, 1892, hymn 102. Public domain.\n%% F major, 6/8, two-sixteenth pickup (\\partial 8), 103 soprano noteheads,\n%% essentially homophonic (soprano/tenor 103 onsets, alto 101, bass 100): the\n%% alto and bass take a single-eighth pickup against the soprano/tenor\n%% two-sixteenth pair, the alto holds under the soprano's slurred 27-28, and\n%% the bass holds a dotted quarter under the upper voices' slurred pair at\n%% noteheads 66-67. Soprano melisma slurs: (1,2) the pickup pair (added here\n%% from the w: star alignment), (27,28) and (66,67) (slurred in the source);\n%% ties 25-26, 51-52, 76-77 and 102-103 carry their syllables as tie melisma.\n%% Melody verified against the Hymnary tune authority salvationist_hays\n%% (incipit 13556 55312 11651 = this soprano's first fifteen notes in F).\n%% The dump also repeats the stanza-1 underlay in w: rows under the bass staff\n%% for the second half of the piece (same words at identical onsets, checked\n%% token-by-token by hash) — an engraving duplication, not an echo or\n%% antiphonal texture, so no bass_echo is encoded.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  f'16( a'16) c''4 c''8 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 a'4 a'8 d''4 c''8 a'4 f'8 g'2.~ g'4. f'4( a'8) c''4 c''8 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 g'4 f'8 g'4 g'8 f'4 e'8 f'2.~ f'4. r8 f'4 f'8 bes'4 bes'4 bes'8 bes'8 d''2 d''8 d''8 c''4 c''4 a'8 c''4. a'4( g'8) f'4 f'8 f'4 f'8 d''4 c''8 a'4 f'8 g'2.~ g'4. f'4 a'8 c''8 c''4 d''4 c''8 c''8 a'2 f'8 g'4 f'8 f'4 d'8 c'4. f'4 g'8 a'4 a'8 g'4 f'8 g'4 g'8 f'4 e'8 f'2.~ f'4. r8\n}\n\nalto = {\n  f'8 f'4 f'8 f'4 f'8 f'8 f'2 f'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 f'8 f'4 f'8 f'4 f'8 f'4 f'8 e'2.~ e'4. f'4. f'4 f'8 f'4 f'8 f'8 f'2 c'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 f'8 e'4 f'8 d'4 d'8 c'4 c'8 c'2.~ c'4. s8 ees'4 d'8 d'4 d'4 d'8 d'8 f'2 f'8 f'8 f'4 f'4 f'8 f'4. f'4( c'8) c'4 c'8 c'4 f'8 f'4 f'8 f'4 f'8 e'2.~ e'4. f'4 f'8 f'8 f'4 f'4 f'8 f'8 f'2 f'8 d'4 d'8 d'4 bes8 a4. c'4 c'8 f'4 c'8 c'4 f'8 d'4 d'8 c'4 c'8 c'2.~ c'4. s8\n}\n\ntenor = {\n  a16 c'16 a4 a8 bes4 a8 bes8 c'2 c'8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 c'4 c'8 bes4 c'8 c'4 c'8 c'2.~ c'4. a4( c'8) a4 a8 bes4 a8 a8 c'2 a8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 bes4 a8 bes4 bes8 a4 g8 a2.~ a4. r8 a4 bes8 f4 f4 f8 f8 bes2 bes8 bes8 a4 a4 c'8 a4. c'4( bes8) a4 bes8 c'4 a8 bes4 c'8 c'4 c'8 c'2.~ c'4. a4 c'8 a8 a4 bes4 a8 a8 c'2 c'8 bes4 bes8 bes4 f8 f4. a4 bes8 c'4 c'8 bes4 a8 bes4 bes8 a4 g8 a2.~ a4. r8\n}\n\nbass = {\n  f8 f4 f8 f4 f8 f8 f2 a,8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 f4 f8 bes4 a8 f4 a,8 c2.~ c4. f4. f4 f8 f4 f8 f8 f2 f8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 c4 d8 bes,4 bes,8 c4 c8 f2.~ f4. s8 f4 bes,8 bes,4 bes,4 bes,8 bes,8 bes,2 bes,8 f8 f4 f4 f8 f4. f4. f4 g8 a4 f8 bes4 a8 f4 a,8 c2.~ c4. f4 f8 f8 f4 f4 f8 f8 f2 a,8 bes,4 bes,8 bes,4 d8 f4. f4 f8 f4 f8 c4 d8 bes,4 bes,8 c4 c8 f2.~ f4. s8\n}\n", "preferred": true}]}, "sandon": {"slug": "sandon", "name": "SANDON", "meter_label": "10.4.10.4.10.10", "meter": {"pattern": [10, 4, 10, 4, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "charles-henry-purday", "composer_date": "1857", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "sandon-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SANDON, tune by Charles Henry Purday (1799-1885), first published in The Church and Home Tune Book (London, 1857). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; fully syllabic, 48 soprano notes = 48 syllables of the 10.4.10.4.10.10 metre). The final bass reads F3 in the engraving (an octave above the MIDI's doubled F2), matching the identical F-major cadences at bars 6 and 12. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Sandon\" (Charles H. Purday, 1857); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "sandon-cyberhymnal", "tune": "sandon", "music_file": "sandon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 14, 24, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SANDON, Charles H. Purday, 1857. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SANDON (Charles Henry Purday, The Church and Home Tune Book, 1857); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; fully syllabic, 48 soprano notes = 48 syllables). The final bass note was raised from the MIDI's doubled F2 to the engraved F3. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Sandon\" (Charles H. Purday, 1857); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SANDON (10.4.10.4.10.10) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Sandon\", Charles H. Purday, 1857) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.4.10.4.10.10 (48 soprano notes = 48 syllables). The tune has an internal\n%% anacrusis: each 4-syllable line begins on the last beat of the bar that carries\n%% the preceding phrase's closing dotted-half. The final bass reads F3 in the\n%% engraving; the MIDI doubles it an octave lower (F2), so it is raised to F3 here to\n%% match the print and the identical F-major cadences at bars 6 and 12.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 a'4 a'4 | bes'2. a'4 | a'4 g'4 f'4 g'4 | a'2. f'4 | g'2 e'2 | f'1 |\n  a'2 a'4 a'4 | bes'2. a'4 | a'4 g'4 f'4 g'4 | a'2. f'4 | g'2 e'2 | f'1 |\n  g'2 g'4 a'4 | bes'2 g'2 | c''4 bes'4 a'4 g'4 | a'2. c''4 | d''2 c''2 | bes'2. a'4 | c''4 bes'4 a'4 g'4 | f'1\n}\nalto = {\n  f'2 f'4 f'4 | f'2. f'4 | e'4 e'4 f'4 e'4 | f'2. a4 | d'2 c'2 | c'1 |\n  f'2 f'4 f'4 | f'2. f'4 | e'4 e'4 f'4 e'4 | f'2. a4 | d'2 c'2 | c'1 |\n  e'2 e'4 f'4 | e'2 e'2 | f'4 e'4 f'4 e'4 | f'2. f'4 | f'2 f'2 | e'2. f'4 | f'4 g'4 f'4 e'4 | f'1\n}\ntenor = {\n  c'2 c'4 c'4 | d'2. c'4 | bes4 bes4 a4 g4 | f2. f4 | bes2 bes2 | a1 |\n  c'2 c'4 c'4 | d'2. c'4 | bes4 bes4 a4 g4 | f2. f4 | bes2 g2 | a1 |\n  c'2 bes4 a4 | g2 c'2 | c'4 c'4 c'4 c'4 | c'2. c'4 | bes2 c'2 | c'2. c'4 | d'4 d'4 c'4 bes4 | a1\n}\nbass = {\n  f2 f4 f4 | f2. f4 | c4 c4 c4 c4 | f2. d4 | bes,2 c2 | f1 |\n  f2 f4 f4 | f2. f4 | c4 c4 c4 c4 | f2. d4 | bes,2 c2 | f1 |\n  c2 c4 c4 | c2 c2 | a4 g4 f4 c4 | f2. a4 | bes2 a2 | g2. f4 | bes,4 bes,4 c4 c4 | f1\n}\n"}, "harmonizations": [{"slug": "sandon-cyberhymnal", "tune": "sandon", "music_file": "sandon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 14, 24, 28, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SANDON, Charles H. Purday, 1857. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SANDON (Charles Henry Purday, The Church and Home Tune Book, 1857); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4; fully syllabic, 48 soprano notes = 48 syllables). The final bass note was raised from the MIDI's doubled F2 to the engraved F3. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Sandon\" (Charles H. Purday, 1857); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SANDON (10.4.10.4.10.10) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Sandon\", Charles H. Purday, 1857) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.4.10.4.10.10 (48 soprano notes = 48 syllables). The tune has an internal\n%% anacrusis: each 4-syllable line begins on the last beat of the bar that carries\n%% the preceding phrase's closing dotted-half. The final bass reads F3 in the\n%% engraving; the MIDI doubles it an octave lower (F2), so it is raised to F3 here to\n%% match the print and the identical F-major cadences at bars 6 and 12.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'2 a'4 a'4 | bes'2. a'4 | a'4 g'4 f'4 g'4 | a'2. f'4 | g'2 e'2 | f'1 |\n  a'2 a'4 a'4 | bes'2. a'4 | a'4 g'4 f'4 g'4 | a'2. f'4 | g'2 e'2 | f'1 |\n  g'2 g'4 a'4 | bes'2 g'2 | c''4 bes'4 a'4 g'4 | a'2. c''4 | d''2 c''2 | bes'2. a'4 | c''4 bes'4 a'4 g'4 | f'1\n}\nalto = {\n  f'2 f'4 f'4 | f'2. f'4 | e'4 e'4 f'4 e'4 | f'2. a4 | d'2 c'2 | c'1 |\n  f'2 f'4 f'4 | f'2. f'4 | e'4 e'4 f'4 e'4 | f'2. a4 | d'2 c'2 | c'1 |\n  e'2 e'4 f'4 | e'2 e'2 | f'4 e'4 f'4 e'4 | f'2. f'4 | f'2 f'2 | e'2. f'4 | f'4 g'4 f'4 e'4 | f'1\n}\ntenor = {\n  c'2 c'4 c'4 | d'2. c'4 | bes4 bes4 a4 g4 | f2. f4 | bes2 bes2 | a1 |\n  c'2 c'4 c'4 | d'2. c'4 | bes4 bes4 a4 g4 | f2. f4 | bes2 g2 | a1 |\n  c'2 bes4 a4 | g2 c'2 | c'4 c'4 c'4 c'4 | c'2. c'4 | bes2 c'2 | c'2. c'4 | d'4 d'4 c'4 bes4 | a1\n}\nbass = {\n  f2 f4 f4 | f2. f4 | c4 c4 c4 c4 | f2. d4 | bes,2 c2 | f1 |\n  f2 f4 f4 | f2. f4 | c4 c4 c4 c4 | f2. d4 | bes,2 c2 | f1 |\n  c2 c4 c4 | c2 c2 | a4 g4 f4 c4 | f2. a4 | bes2 a2 | g2. f4 | bes,4 bes,4 c4 c4 | f1\n}\n", "preferred": true}]}, "schm-cke-dich": {"slug": "schm-cke-dich", "name": "SCHMÜCKE DICH", "meter_label": "L.M.D.", "meter": {"pattern": [8, 8, 8, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1649", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "schm-cke-dich-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SCHMÜCKE DICH, the chorale melody by Johann Crüger (1649) for Johann Franck's communion hymn \"Schmücke dich, o liebe Seele.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major; a free-meter rhythmic chorale in A-A-B bar form with barlines at the phrase cadences). The phrase-seven raised leading tones (D-sharp in soprano, alto and tenor) and the borrowed bass C-natural, together with the G-sharps in phrases five and six, are each printed with their accidentals in the source. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schmücke Dich\" (Johann Crüger, 1649); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "schm-cke-dich-cyberhymnal", "tune": "schm-cke-dich", "music_file": "schm-cke-dich-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [8, 17, 25, 34, 42, 50, 58], "refrain": null, "source_line": "SCHMÜCKE DICH, Johann Crüger, 1649. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SCHMÜCKE DICH (chorale melody by Johann Crüger, 1649); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free-meter rhythmic chorale, A-A-B bar form). The soprano and bass were read note-for-note and every printed accidental confirmed: the phrase-seven raised leading tones (D-sharp) and the borrowed bass C-natural, and the G-sharps in phrases five and six. Melismatic — 66 soprano notes for 64 syllables — with two melisma continuations (a slurred descending eighth-note pair, F-sharp to E, on the fourth syllable of phrases two and four) held with an underscore mark in every stanza. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schmücke Dich\" (Johann Crüger, 1649); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SCHMÜCKE DICH (L.M.D.) — chorale by Johann Crüger (1649) for Johann Franck's\n%% communion hymn \"Schmücke dich, o liebe Seele,\" here paired with Catherine\n%% Winkworth's translation \"Deck Thyself, My Soul, with Gladness\" (1863). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render verified against the Cyber Hymnal\n%% engraving — soprano and bass read note-for-note, every printed accidental\n%% confirmed (the phrase-7 D-sharp leading tones in soprano/alto/tenor, the borrowed\n%% bass C-natural, and the G-sharps in phrases 5-6).\n%% A FREE-METER rhythmic chorale (no time signature in the source; A-A-B bar form)\n%% — barlines fall at the 7 internal phrase cadences. MELISMATIC (66 soprano notes\n%% for 64 syllables); the 2 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) at the 4th syllable of phrases 2 and 4, each a slurred\n%% fis'-e' eighth-note pair.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  fis'2 e'2 d'4 e'4 fis'4 a'4 g'2 fis'2 |\n  a'2 fis'2 g'4 fis'8( e'8) d'4 fis'4 e'2 d'2 |\n  fis'2 e'2 d'4 e'4 fis'4 a'4 g'2 fis'2 |\n  a'2 fis'2 g'4 fis'8( e'8) d'4 fis'4 e'2 d'2 |\n  a'2 b'4 d''2 d''4 cis''4 a'4 b'2 a'2 |\n  a'2 b'4 d''2 d''4 cis''4 a'4 b'2 a'2 |\n  e'2 fis'2 g'4 g'4 fis'4 e'4 dis'2 e'2 |\n  fis'2 a'2 g'4 fis'4 e'4 d'4 e'2 d'1\n}\nalto = {\n  d'2 cis'2 b4 cis'4 d'4 cis'4 d'2 d'2 |\n  d'2 d'2 d'4 cis'8 e'8 b4 d'4 d'4 cis'4 d'2 |\n  d'2 cis'2 b4 cis'4 d'4 cis'4 d'2 d'2 |\n  d'2 d'2 d'4 cis'8 e'8 b4 d'4 d'4 cis'4 d'2 |\n  d'2 d'4 fis'2 e'4 e'4 e'4 fis'4 e'4 cis'2 |\n  d'2 d'4 fis'2 e'4 e'4 e'4 fis'4 e'4 cis'2 |\n  cis'2 dis'2 e'4 b4 b4 g4 b2 b2 |\n  d'2 d'2 d'4 d'4 cis'4 d'4 d'4 cis'4 a1\n}\ntenor = {\n  a2 a2 fis4 g4 a4 fis4 b2 a2 |\n  fis2 a2 b4 a8 g8 fis4 a4 a2 fis2 |\n  a2 a2 fis4 g4 a4 fis4 b2 a2 |\n  fis2 a2 b4 a8 g8 fis4 a4 a2 fis2 |\n  fis2 g4 a2 gis4 a4 a4 a4 gis4 a2 |\n  fis2 g4 a2 gis4 a4 a4 a4 gis4 a2 |\n  a2 a2 b4 e4 dis4 e4 fis2 g2 |\n  a2 a2 b4 a4 a4 fis4 a2 fis1\n}\nbass = {\n  d2 a,2 b,4 e4 d4 fis,4 g,2 d2 |\n  d2 d2 g,4 a,8 g8 b,4 fis,4 a,2 d2 |\n  d2 a,2 b,4 e4 d4 fis,4 g,2 d2 |\n  d2 d2 g,4 a,8 g8 b,4 fis,4 a,2 d2 |\n  d2 g4 d2 b,4 a,4 cis4 d4 e4 a,2 |\n  d2 g4 d2 b,4 a,4 cis4 d4 e4 a,2 |\n  a,2 fis,2 e,4 g,4 b,4 c4 b,2 e2 |\n  d2 fis,2 g,4 d4 a,4 b,4 a,2 d1\n}\n"}, "harmonizations": [{"slug": "schm-cke-dich-cyberhymnal", "tune": "schm-cke-dich", "music_file": "schm-cke-dich-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [8, 17, 25, 34, 42, 50, 58], "refrain": null, "source_line": "SCHMÜCKE DICH, Johann Crüger, 1649. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SCHMÜCKE DICH (chorale melody by Johann Crüger, 1649); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free-meter rhythmic chorale, A-A-B bar form). The soprano and bass were read note-for-note and every printed accidental confirmed: the phrase-seven raised leading tones (D-sharp) and the borrowed bass C-natural, and the G-sharps in phrases five and six. Melismatic — 66 soprano notes for 64 syllables — with two melisma continuations (a slurred descending eighth-note pair, F-sharp to E, on the fourth syllable of phrases two and four) held with an underscore mark in every stanza. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schmücke Dich\" (Johann Crüger, 1649); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SCHMÜCKE DICH (L.M.D.) — chorale by Johann Crüger (1649) for Johann Franck's\n%% communion hymn \"Schmücke dich, o liebe Seele,\" here paired with Catherine\n%% Winkworth's translation \"Deck Thyself, My Soul, with Gladness\" (1863). Encoded\n%% from The Cyber Hymnal (public domain): the SATB MIDI was converted with\n%% tools/mid2ly.py and the four-voice render verified against the Cyber Hymnal\n%% engraving — soprano and bass read note-for-note, every printed accidental\n%% confirmed (the phrase-7 D-sharp leading tones in soprano/alto/tenor, the borrowed\n%% bass C-natural, and the G-sharps in phrases 5-6).\n%% A FREE-METER rhythmic chorale (no time signature in the source; A-A-B bar form)\n%% — barlines fall at the 7 internal phrase cadences. MELISMATIC (66 soprano notes\n%% for 64 syllables); the 2 melisma continuations are held with '_' every stanza\n%% (verse_variable_melisma) at the 4th syllable of phrases 2 and 4, each a slurred\n%% fis'-e' eighth-note pair.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  fis'2 e'2 d'4 e'4 fis'4 a'4 g'2 fis'2 |\n  a'2 fis'2 g'4 fis'8( e'8) d'4 fis'4 e'2 d'2 |\n  fis'2 e'2 d'4 e'4 fis'4 a'4 g'2 fis'2 |\n  a'2 fis'2 g'4 fis'8( e'8) d'4 fis'4 e'2 d'2 |\n  a'2 b'4 d''2 d''4 cis''4 a'4 b'2 a'2 |\n  a'2 b'4 d''2 d''4 cis''4 a'4 b'2 a'2 |\n  e'2 fis'2 g'4 g'4 fis'4 e'4 dis'2 e'2 |\n  fis'2 a'2 g'4 fis'4 e'4 d'4 e'2 d'1\n}\nalto = {\n  d'2 cis'2 b4 cis'4 d'4 cis'4 d'2 d'2 |\n  d'2 d'2 d'4 cis'8 e'8 b4 d'4 d'4 cis'4 d'2 |\n  d'2 cis'2 b4 cis'4 d'4 cis'4 d'2 d'2 |\n  d'2 d'2 d'4 cis'8 e'8 b4 d'4 d'4 cis'4 d'2 |\n  d'2 d'4 fis'2 e'4 e'4 e'4 fis'4 e'4 cis'2 |\n  d'2 d'4 fis'2 e'4 e'4 e'4 fis'4 e'4 cis'2 |\n  cis'2 dis'2 e'4 b4 b4 g4 b2 b2 |\n  d'2 d'2 d'4 d'4 cis'4 d'4 d'4 cis'4 a1\n}\ntenor = {\n  a2 a2 fis4 g4 a4 fis4 b2 a2 |\n  fis2 a2 b4 a8 g8 fis4 a4 a2 fis2 |\n  a2 a2 fis4 g4 a4 fis4 b2 a2 |\n  fis2 a2 b4 a8 g8 fis4 a4 a2 fis2 |\n  fis2 g4 a2 gis4 a4 a4 a4 gis4 a2 |\n  fis2 g4 a2 gis4 a4 a4 a4 gis4 a2 |\n  a2 a2 b4 e4 dis4 e4 fis2 g2 |\n  a2 a2 b4 a4 a4 fis4 a2 fis1\n}\nbass = {\n  d2 a,2 b,4 e4 d4 fis,4 g,2 d2 |\n  d2 d2 g,4 a,8 g8 b,4 fis,4 a,2 d2 |\n  d2 a,2 b,4 e4 d4 fis,4 g,2 d2 |\n  d2 d2 g,4 a,8 g8 b,4 fis,4 a,2 d2 |\n  d2 g4 d2 b,4 a,4 cis4 d4 e4 a,2 |\n  d2 g4 d2 b,4 a,4 cis4 d4 e4 a,2 |\n  a,2 fis,2 e,4 g,4 b,4 c4 b,2 e2 |\n  d2 fis,2 g,4 d4 a,4 b,4 a,2 d1\n}\n", "preferred": true}]}, "schumann": {"slug": "schumann", "name": "SCHUMANN", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Mason & Webb's Cantica Laudis, 1850", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "schumann-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SCHUMANN (S.M.), from Mason & Webb's Cantica Laudis (Boston, 1850); the tune name refers to the melody, not to Robert Schumann. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4 with a one-beat pickup; the final dotted half completes the anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schumann\" (Mason & Webb's Cantica Laudis, 1850); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "schumann-cyberhymnal", "tune": "schumann", "music_file": "schumann-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 21], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SCHUMANN, Mason & Webb's Cantica Laudis, 1850. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SCHUMANN (Mason & Webb's Cantica Laudis, 1850); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4 with a one-beat pickup; the final dotted half completes the anacrusis). Three non-scale inner/bass notes are printed with flats and carried with the matching enharmonic spelling: bass G-flat (bar 2, the seventh of A-flat-7 resolving to D-flat), tenor C-flat (bar 3, the diminished seventh of D-diminished-7 resolving to E-flat), and alto G-flat (bar 6); the bass D-natural (bar 3) is printed with a natural. MELISMATIC (27 soprano notes for 26 S.M. syllables); the one melisma continuation is held with '_' every stanza (verse_variable_melisma) at soprano note 13 — a slurred half+quarter figure carrying line 2's final syllable, read from the engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schumann\" (Mason & Webb's Cantica Laudis, 1850); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SCHUMANN (S.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Schumann\", Mason & Webb's Cantica\n%% Laudis, 1850) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. A-flat major, 4/4 with a one-beat pickup; the final dotted half\n%% completes the anacrusis. MELISMATIC (27 soprano notes for 26 S.M. syllables):\n%% the one melisma is the slurred as'2( g'4) in bar 4 — line 2's last syllable\n%% held over two notes (the setting marks the continuation with '_' each stanza,\n%% verse_variable_melisma). Three non-scale notes are printed with flats and\n%% carried with the matching spelling: bass g-flat (ges, bar 2 — the b7 of\n%% Ab7->Db), tenor c-flat (ces', bar 3 — the dim7 of D dim7->Eb), alto g-flat\n%% (ges', bar 6); the bass d-natural (bar 3) is printed with a natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'4 | as'4 es'4 f'4 g'4 | as'2. as'4 | des''4 c''4 bes'4 as'4 | as'2( g'4) g'4 | as'4 es'4 f'4 g'4 | as'4 bes'4 c''4 es''4 | des''4 bes'4 as'4 g'4 | as'2.\n}\nalto = {\n  c'4 | c'4 es'4 es'4 des'4 | c'2. c'4 | des'4 es'4 f'4 f'4 | es'2. es'4 | es'4 es'4 es'4 des'4 | c'4 es'4 es'4 ges'4 | f'4 f'4 es'4 des'4 | c'2.\n}\ntenor = {\n  as4 | as4 as4 as4 es4 | es2. as4 | as4 as4 des'4 ces'4 | bes2. bes4 | c'4 as4 as4 bes4 | as4 g4 as4 as4 | bes4 des'4 c'4 bes4 | as2.\n}\nbass = {\n  as,4 | as,4 c4 des4 bes,4 | as,2. ges4 | f4 es4 des4 d4 | es2. es4 | as,4 c4 des4 bes,4 | f4 es4 as4 c4 | des4 des4 es4 es4 | as,2.\n}\n"}, "harmonizations": [{"slug": "schumann-cyberhymnal", "tune": "schumann", "music_file": "schumann-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 21], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SCHUMANN, Mason & Webb's Cantica Laudis, 1850. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SCHUMANN (Mason & Webb's Cantica Laudis, 1850); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A-flat major, 4/4 with a one-beat pickup; the final dotted half completes the anacrusis). Three non-scale inner/bass notes are printed with flats and carried with the matching enharmonic spelling: bass G-flat (bar 2, the seventh of A-flat-7 resolving to D-flat), tenor C-flat (bar 3, the diminished seventh of D-diminished-7 resolving to E-flat), and alto G-flat (bar 6); the bass D-natural (bar 3) is printed with a natural. MELISMATIC (27 soprano notes for 26 S.M. syllables); the one melisma continuation is held with '_' every stanza (verse_variable_melisma) at soprano note 13 — a slurred half+quarter figure carrying line 2's final syllable, read from the engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Schumann\" (Mason & Webb's Cantica Laudis, 1850); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SCHUMANN (S.M.) — four SATB voice streams, canonical key A-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Schumann\", Mason & Webb's Cantica\n%% Laudis, 1850) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. A-flat major, 4/4 with a one-beat pickup; the final dotted half\n%% completes the anacrusis. MELISMATIC (27 soprano notes for 26 S.M. syllables):\n%% the one melisma is the slurred as'2( g'4) in bar 4 — line 2's last syllable\n%% held over two notes (the setting marks the continuation with '_' each stanza,\n%% verse_variable_melisma). Three non-scale notes are printed with flats and\n%% carried with the matching spelling: bass g-flat (ges, bar 2 — the b7 of\n%% Ab7->Db), tenor c-flat (ces', bar 3 — the dim7 of D dim7->Eb), alto g-flat\n%% (ges', bar 6); the bass d-natural (bar 3) is printed with a natural.\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'4 | as'4 es'4 f'4 g'4 | as'2. as'4 | des''4 c''4 bes'4 as'4 | as'2( g'4) g'4 | as'4 es'4 f'4 g'4 | as'4 bes'4 c''4 es''4 | des''4 bes'4 as'4 g'4 | as'2.\n}\nalto = {\n  c'4 | c'4 es'4 es'4 des'4 | c'2. c'4 | des'4 es'4 f'4 f'4 | es'2. es'4 | es'4 es'4 es'4 des'4 | c'4 es'4 es'4 ges'4 | f'4 f'4 es'4 des'4 | c'2.\n}\ntenor = {\n  as4 | as4 as4 as4 es4 | es2. as4 | as4 as4 des'4 ces'4 | bes2. bes4 | c'4 as4 as4 bes4 | as4 g4 as4 as4 | bes4 des'4 c'4 bes4 | as2.\n}\nbass = {\n  as,4 | as,4 c4 des4 bes,4 | as,2. ges4 | f4 es4 des4 d4 | es2. es4 | as,4 c4 des4 bes,4 | f4 es4 as4 c4 | des4 des4 es4 es4 | as,2.\n}\n", "preferred": true}]}, "seelenbr-utigam": {"slug": "seelenbr-utigam", "name": "SEELENBRÄUTIGAM", "meter_label": "55.88.55", "meter": {"pattern": [5, 5, 8, 8, 5, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "adam-drese", "composer_date": "1698", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "seelenbr-utigam-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SEELENBRÄUTIGAM, composed by Adam Drese (1620-1701) in 1698, the standard tune for Nikolaus L. von Zinzendorf's \"Seelenbräutigam, Jesu, Gottes Lamm\" (1721), known in English through Jane Borthwick's translation \"Jesus, still lead on\" (1846). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables — the slurred eighth-note pairs are inner-voice passing tones in the alto and bass, not soprano melismas). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbräutigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "seelenbr-utigam-cyberhymnal", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 26, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SEELENBRÄUTIGAM, Adam Drese, 1698. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEELENBRÄUTIGAM (Adam Drese, 1620-1701; composed 1698); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables, 55.88.55). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbräutigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEELENBRÄUTIGAM (55.88.55) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seelenbräutigam\", Adam Drese, 1698)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4, no\n%% anacrusis; fully SYLLABIC (36 soprano notes = 36 syllables, 55.88.55). The\n%% slurred eighth-note pairs are inner-voice passing tones, NOT soprano melismas:\n%% the alto b8 cis'8 (bars 1, 9) and the bass b,8 c8 (bars 3, 11) and e8 fis8\n%% (bar 4), each under a sustained soprano quarter — mid2ly's voice-split leaked\n%% these into the melody line, corrected here against the raw MIDI and engraving.\n%% The chromatic passing tones cis' (alto/tenor) and dis' (alto) are printed with\n%% sharps in the source (each rises to its resolution).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2 | b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 | a'2 g'4 a'4 | b'4 a'4 g'4 fis'4 | g'2 fis'2 |\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2 | d'4 g'4 fis'4 g'4 |\n  g'4 fis'4 d'4 e'4 | fis'2 e'4 fis'4 | g'4 fis'4 e'4 dis'4 | e'2 dis'2 |\n  e'4 dis'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2\n}\ntenor = {\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2 | g4 g4 a4 g8 a8 |\n  b4 d'4 b4 cis'4 | d'2 b4 d'4 | d'4 d'4 b4 b4 | b2 b2 |\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2\n}\nbass = {\n  g,4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2 | d4 e4 d4 e8 fis8 |\n  g4 d4 g2 | d2 e4 d4 | g4 d4 e4 b,4 | e4 g4 fis2 |\n  e4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2\n}\n"}, "harmonizations": [{"slug": "seelenbr-utigam-bwv409", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-bwv409.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 27, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SEELENBRÄUTIGAM, Adam Drese, 1698; harm. J. S. Bach (BWV 409). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 409 — the standalone chorale \"Seelenbräutigam\" on Adam Drese's 1698 tune, No. 141 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor141.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices. The kern carries NO sectional repeat: the chorale is written out straight in eleven full 4/4 bars, the converter reported no seam bars, and every bar of every voice sums to exactly 4 quarters — so no time_changes adaptation is needed. Bach's key is A major (the kern's *k[f#c#g#] with *A:, as Breitkopf prints it); the corpus file is STORED IN G MAJOR, transposed down a major second and machine-checked at exactly -2 semitones AND -1 diatonic step per note in every voice (so the spelling follows the new signature: a->g, cis->b, gis->fis, and the alto/tenor chromatic eis'->dis'), with durations, ties and slurs unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and SEELENBRÄUTIGAM's is G major (from the Cyber Hymnal harmonization); the transposition was cross-checked token-for-token against LilyPond's own \\transpose a g of the converter output, 180 of 180 note tokens identical. 4/4, no anacrusis — the same meter and downbeat start as the corpus's Cyber Hymnal harmonization of this tune, and the same total length (176 sixteenths), so the two settings are bar-for-bar comparable. Fermatas at the six phrase ends (soprano ordinals 5, 10, 18, 27, 32, 38) are omitted per house style; Bach writes no phrase-end breath rests in this chorale. Machine comparison against the independently derived music21-corpus encoding (bwv409.mxl, MuseData/Greentree lineage, vendored beside the kern): soprano and bass identical event-for-event, and the alto identical once each edition's own ties are resolved to sounding events (43 events in both). The editions diverge only in the NOTATION of six held notes — alto bar 4 beat 3 (here g'4~ g'8, there a dotted quarter), alto bar 5 beat 2.5 (here a'8~ a'8, there a quarter), alto bar 7 beat 2 (here fis'4~ fis'8, there a dotted quarter), alto bar 8 beat 2 (here e'2, there two tied quarters), tenor bar 7 beat 1 (here d'4~ d'8, there a dotted quarter) — and in exactly one attack count, tenor bar 8, where the kern re-strikes the two half notes (b2 b2) that the other edition ties. The kern reading is kept throughout and each divergence is itemized in the music file header. Distinct from the corpus's existing Cyber Hymnal harmonization of this tune: sampled per sixteenth over the identical 176-sixteenth span the two agree on 97.7% of the soprano (the two cadential anticipations are the whole difference) but only 52.3% of the alto, 51.1% of the tenor and 65.9% of the bass — Bach's inner voices are markedly more active (49 alto and 46 tenor note tokens against the Cyber Hymnal setting's 39 and 38, with tied suspensions and sixteenth figuration the older setting has nothing like). The melisma slurs follow Bach's own underlay as carried by the texted bwv409.mxl witness: 36 German syllables + 2 melisma continuations = 38 sung notes, the continuations at soprano notes 26 and 37.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor141.krn (BWV 409, Breitkopf/Riemenschneider No. 141), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside (imports/batchC/chor141.krn) so the conversion can be re-checked. The same analysis applies to the music21-corpus MusicXML witness vendored beside it (imports/batchC/bwv409.mxl), which is used only as an independent collation check and as the source of Bach's own text underlay. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% SEELENBRÄUTIGAM (55.88.55) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 409 (the standalone chorale\n%% \"Seelenbräutigam\", Adam Drese's 1698 tune, Breitkopf/Riemenschneider\n%% No. 141), converted from the craigsapp/bach-370-chorales kern edition\n%% (chor141.krn) with tools/kern2ly.py. No sectional repeat: the kern writes\n%% the chorale out straight in eleven full 4/4 bars, the converter reported no\n%% seam bars, and every bar in every voice sums to exactly 4 quarters — so\n%% there is no time_changes adaptation here.\n%% Bach's key is A MAJOR (the kern's *k[f#c#g#] with *A:, as Breitkopf prints\n%% it); STORED HERE IN G MAJOR — transposed down a major second, every voice,\n%% machine-checked at exactly -2 semitones AND -1 diatonic step per note (so\n%% the enharmonic spelling follows the new signature: a->g, cis->b, gis->fis,\n%% and the alto/tenor chromatic eis'->dis'), durations, ties and slurs\n%% unchanged — because the corpus keeps every harmonization of a tune in the\n%% tune's canonical key (the validate_corpus duplicated-fact equality), and\n%% SEELENBRÄUTIGAM's is G major (from the Cyber Hymnal harmonization). The\n%% transposition was cross-checked token-for-token against LilyPond's own\n%% \\transpose a g of the converter output: 180 of 180 note tokens identical.\n%% 4/4, no anacrusis — the same meter and downbeat start as the corpus's Cyber\n%% Hymnal harmonization of this tune, so the two are bar-for-bar comparable\n%% (both 176 sixteenths long).\n%% The source prints fermatas at soprano ordinals 5, 10, 18, 27, 32, 38 (phrase\n%% lengths 5+5+8+9+5+6, one per text line of 55.88.55); fermatas are omitted per\n%% house style, and the ordinals are what system_breaks is built from.\n%% Machine-compared against the independent music21-corpus encoding of the same\n%% chorale (bwv409.mxl, MuseData/Greentree lineage; vendored beside the kern):\n%% SOPRANO and BASS are identical event-for-event, and the ALTO is identical\n%% once each edition's own ties are resolved to sounding events (43 events in\n%% both). The two editions diverge ONLY in how six held notes are notated, and\n%% at exactly one of them in attack count:\n%%   (a) alto bar 4 beat 3, here g'4~ g'8   — that edition writes a dotted quarter;\n%%   (b) alto bar 5 beat 2.5, here a'8~ a'8 — that edition writes a quarter;\n%%   (c) alto bar 7 beat 2, here fis'4~ fis'8 — that edition writes a dotted quarter;\n%%   (d) alto bar 8 beat 2, here e'2      — that edition writes two tied quarters;\n%%   (e) tenor bar 7 beat 1, here d'4~ d'8 — that edition writes a dotted quarter;\n%%   (f) tenor bar 8, here b2 b2 RE-STRUCK — that edition ties the two halves\n%%       (the only attack-count difference anywhere in the four voices).\n%% The kern reading (the declared source, Doerffel/Breitkopf c. 1875) is kept\n%% throughout. All three cross-barline ties (alto bars 4-5 and 5-6, tenor bars\n%% 9-10 and 10-11) are present in both editions.\n%% MELISMATIC: 38 soprano notes for 36 syllables (55.88.55). Bach's setting is\n%% the Cyber Hymnal harmonization's melody note-for-note with two cadential\n%% ANTICIPATIONS added: the corpus's g'2 at its ordinal 25 becomes g'4. fis'8\n%% (the line-4 cadence), and its a'4 at ordinal 35 becomes a'8 g'8 (the final\n%% cadence). Every one of the 36 corpus soprano pitches occurs here in the same\n%% order (pitch LCS 36/36 = 1.000) and 34 of them with the identical note value\n%% too; the only unmatched corpus notes are those two, and the only extra notes\n%% here are the two anticipations. The melisma map is Bach's OWN underlay as\n%% carried by the texted bwv409.mxl witness (Zinzendorf's German\n%% \"Seelenbräutigam, Jesu, Gottes Lamm\" — the very text Jane Borthwick's\n%% \"Jesus, still lead on\" translates): two-note slurs at soprano notes 25-26\n%% (\"Trie-\" over g'4. fis'8, before \"-be\" on the cadence fis'2) and 36-37\n%% (\"-tes\" over a'8 g'8, before \"Lamm.\" on the final g'2), held with '_' every\n%% stanza at soprano notes 26 and 37 (see the setting).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 |\n  a'2 g'4 a'4 |\n  b'4 a'4 g'2 |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 |\n  a'2 g'4 a'4 |\n  b'4 a'4 g'4 fis'4 |\n  g'4.( fis'8) fis'2 |\n  g'4 g'4 fis'4 g'4 |\n  a'2 g'4 a'4 |\n  b'4 a'8( g'8) g'2\n}\n\nalto = {\n  d'4 d'4 d'4 d'8 e'8 |\n  fis'2 e'4 d'4 |\n  d'4 d'4 d'2 |\n  g'4 g'4 g'4~ g'8 a'8~ |\n  a'8 g'8 fis'8 a'8~ a'8 g'16 fis'16 g'4~ |\n  g'4 fis'4 e'4 fis'4 |\n  g'4 fis'4~ fis'8 e'4 dis'8 |\n  e'8 dis'8 e'2 dis'4 |\n  e'4 d'4 d'4 d'4 |\n  d'2 b8 e'8 d'4~ |\n  d'8 g'8 fis'4 d'2\n}\n\ntenor = {\n  b4 b4 a4 b4 |\n  d'2 b8 c'8 b8 a8~ |\n  a8 g4 fis8 b2 |\n  d'4 e'4 d'4 e'8 d'8 |\n  d'4 d'4 d'2 |\n  d'2 b4 d'4 |\n  d'4~ d'8 c'8 b4 b4 |\n  b2 b2 |\n  b4 b4 a4 g4~ |\n  g4 fis4 g8 c'8 b8 a8 |\n  g8 d'8 d'8. c'16 b2\n}\n\nbass = {\n  g,8 a,8 b,8 c8 d4 g,4 |\n  d2 e4 fis4 |\n  g4 d4 g,2 |\n  g8 fis8 e4 b,4 e8 fis8 |\n  g4 d8 fis8 g4 g,4 |\n  d2 e4 d4 |\n  g4 d4 e4 b,4 |\n  e,8 fis,8 g,8 a,8 b,2 |\n  e4 b,8 c8 d4 b,8 g,8 |\n  d2 e4 fis4 |\n  g4 d4 g,2\n}\n", "preferred": false}, {"slug": "seelenbr-utigam-cyberhymnal", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 26, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SEELENBRÄUTIGAM, Adam Drese, 1698. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEELENBRÄUTIGAM (Adam Drese, 1620-1701; composed 1698); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables, 55.88.55). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbräutigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEELENBRÄUTIGAM (55.88.55) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seelenbräutigam\", Adam Drese, 1698)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4, no\n%% anacrusis; fully SYLLABIC (36 soprano notes = 36 syllables, 55.88.55). The\n%% slurred eighth-note pairs are inner-voice passing tones, NOT soprano melismas:\n%% the alto b8 cis'8 (bars 1, 9) and the bass b,8 c8 (bars 3, 11) and e8 fis8\n%% (bar 4), each under a sustained soprano quarter — mid2ly's voice-split leaked\n%% these into the melody line, corrected here against the raw MIDI and engraving.\n%% The chromatic passing tones cis' (alto/tenor) and dis' (alto) are printed with\n%% sharps in the source (each rises to its resolution).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2 | b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 | a'2 g'4 a'4 | b'4 a'4 g'4 fis'4 | g'2 fis'2 |\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2 | d'4 g'4 fis'4 g'4 |\n  g'4 fis'4 d'4 e'4 | fis'2 e'4 fis'4 | g'4 fis'4 e'4 dis'4 | e'2 dis'2 |\n  e'4 dis'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2\n}\ntenor = {\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2 | g4 g4 a4 g8 a8 |\n  b4 d'4 b4 cis'4 | d'2 b4 d'4 | d'4 d'4 b4 b4 | b2 b2 |\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2\n}\nbass = {\n  g,4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2 | d4 e4 d4 e8 fis8 |\n  g4 d4 g2 | d2 e4 d4 | g4 d4 e4 b,4 | e4 g4 fis2 |\n  e4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2\n}\n", "preferred": true}]}, "sellinge": {"slug": "sellinge", "name": "SELLINGE", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-pyke-hullah", "composer_date": "1904", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "sellinge-oh181", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:181; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "sellinge_hullah", "total_instances": 2}}, "harmonization": {"slug": "sellinge-oh181", "tune": "sellinge", "music_file": "sellinge-oh181.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:181; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:181", "encoding_license": "PD-dedication"}, "music_ly": "%% We Know Thee Who Thou Art\n%% Imported from Open Hymnal ABC X:181 via tools/abc_import.py\n%% Open Hymnal X:181; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 b'4 a'4 cis''4 d''4 g'2. fis'4 e'4 b'4 a'4 b'4 e'2. fis'4 fis'4 e'4 d'4 d''4 cis''4 b'4 a'4 d'4 g'4 fis'4 e'4 e'4 d'2.\n}\nalto = {\n  fis'4 g'4 a'4 g'4 fis'4 e'2. d'4 d'4 cis'4 d'4 d'4 cis'2. d'4 b4 b4 a4 fis'4 e'4 d'8 e'8 fis'4 d'4 d'8 cis'8 d'4 d'4 cis'4 d'2.\n}\ntenor = {\n  d'4 d'4 d'4 g4 a4 a2. a4 b4 a4 d'4 b4 a2. a4 g4 g4 fis4 a4 g8 a8 b8 cis'8 d'4 a4 g4 a4 b4 a8 g8 fis2.\n}\nbass = {\n  d4 g4 fis4 e4 d4 cis2. d4 g4 g4 fis4 g4 a2. d4 d4 d4 d4 d4 e8 fis8 g4 d4 fis4 e4 d4 g,4 a,4 d2.\n}\n"}, "harmonizations": [{"slug": "sellinge-oh181", "tune": "sellinge", "music_file": "sellinge-oh181.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:181; all components published pre-1931 (latest year 1904).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:181", "encoding_license": "PD-dedication"}, "music_ly": "%% We Know Thee Who Thou Art\n%% Imported from Open Hymnal ABC X:181 via tools/abc_import.py\n%% Open Hymnal X:181; all components published pre-1931 (latest year 1904).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 b'4 a'4 cis''4 d''4 g'2. fis'4 e'4 b'4 a'4 b'4 e'2. fis'4 fis'4 e'4 d'4 d''4 cis''4 b'4 a'4 d'4 g'4 fis'4 e'4 e'4 d'2.\n}\nalto = {\n  fis'4 g'4 a'4 g'4 fis'4 e'2. d'4 d'4 cis'4 d'4 d'4 cis'2. d'4 b4 b4 a4 fis'4 e'4 d'8 e'8 fis'4 d'4 d'8 cis'8 d'4 d'4 cis'4 d'2.\n}\ntenor = {\n  d'4 d'4 d'4 g4 a4 a2. a4 b4 a4 d'4 b4 a2. a4 g4 g4 fis4 a4 g8 a8 b8 cis'8 d'4 a4 g4 a4 b4 a8 g8 fis2.\n}\nbass = {\n  d4 g4 fis4 e4 d4 cis2. d4 g4 g4 fis4 g4 a2. d4 d4 d4 d4 d4 e8 fis8 g4 d4 fis4 e4 d4 g,4 a,4 d2.\n}\n", "preferred": true}]}, "seraph": {"slug": "seraph", "name": "SERAPH", "meter_label": "C.M.D.", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "gottfried-wilhelm-fink", "composer_date": "1842", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "seraph-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SERAPH, Gottfried Wilhelm Fink (1783-1846), 1842. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seraph\" (Gottfried Wilhelm Fink, 1842); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "seraph-cyberhymnal", "tune": "seraph", "music_file": "seraph-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 14, 22, 28, 36, 43, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SERAPH, Gottfried Wilhelm Fink, 1842. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SERAPH (Gottfried Wilhelm Fink, 1783-1846; composed 1842); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seraph\" (Gottfried Wilhelm Fink, 1842); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SERAPH (C.M.D.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seraph\", Gottfried Wilhelm Fink, 1842)\n%% with tools/mid2ly_chords.py and verified note-for-note against the Cyber Hymnal\n%% engraving. 4/4 with a one-beat anacrusis (\\partial 4). Nearly syllabic C.M.D. —\n%% the dotted-quarter+eighth figures each carry their own syllable (e.g. \"praise\n%% de-\", \"ev-ery\", \"praise to\"); ONE melisma, the slurred soprano bes'2( a'4) on\n%% \"pow'r / raise / die\" (bar 12, soprano note 42 held to note 43), carried with '_'\n%% each stanza (verse_variable_melisma). Bar 1 has a tenor eighth-rest under the\n%% tenor's rising walk f-g-a over a sustained ees bass (bars 5/13 put the same walk\n%% in the bass instead). The chromatics are printed with their accidentals in the\n%% source: the alto e' (bar 7, a natural rising to f') and, in bar 11, the tenor\n%% b natural + des' and bass e natural spelling an E-diminished-seventh\n%% (e-g-bes-des) that resolves to F.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'4 bes'4 a'4 g'4 | f'4. g'8 f'4 f'4 | g'4 c''4 bes'4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 a'4 g'4 | f'4. g'8 f'4 d''4 | c''4 bes'4 a'4 g'4 | f'2. f'4 |\n  a'4 f'4 bes'4 f'4 | c''4 f'4 d''4 c''4 | ees''4 d''4 c''4 bes'4 | bes'2( a'4) f'4 |\n  bes'4 bes'4 c''4 c''4 | d''4. ees''8 f''4 bes'4 | c''4 ees''4 d''4 c''4 | bes'2.\n}\nalto = {\n  f'4 |\n  d'4 f'4 f'4 ees'4 | d'4. ees'8 d'4 f'4 | ees'4 g'4 f'4 ees'4 | d'2. f'4 |\n  d'4 f'4 f'4 ees'4 | d'4. ees'8 d'4 f'4 | f'4 f'4 f'4 e'4 | f'2. f'4 |\n  c'4 c'4 d'4 f'4 | ees'4 f'4 f'4 c''4 | g'4 g'4 g'4 g'4 | f'2. f'4 |\n  d'4 f'4 g'4 f'4 | f'4. g'8 bes'4 f'4 | g'4 ees'4 f'4 f'4 | f'2.\n}\ntenor = {\n  f4 |\n  bes4 f4 r8 f8 g8 a8 | bes4 a4 bes4 bes4 | bes4 ees'4 d'4 c'4 | bes2. f4 |\n  bes4 bes4 bes4 bes8 c'8 | d'4 c'4 d'4 bes4 | c'4 bes4 c'4 bes4 | a2. f4 |\n  f4 f4 f4 bes4 | a4 ees'4 d'4 d'4 | c'4 b4 c'4 des'4 | c'2. f4 |\n  bes4 bes4 bes4 bes8 c'8 | d'4 c'4 d'4 d'4 | c'4 c'4 bes4 ees'4 | d'2.\n}\nbass = {\n  f4 |\n  bes,4 d4 ees4 ees4 | bes,4 bes,4 bes,4 d4 | ees4 c4 f4 f,4 | bes,2. f4 |\n  bes,4 d4 ees8 f8 g8 a8 | bes4 a4 bes4 bes,4 | a,4 d4 c4 c4 | f2. f4 |\n  f,4 a,4 bes,4 d4 | f4 a4 bes4 g4 | c4 ees4 ees4 e4 | f2. f4 |\n  bes,4 d4 ees8 f8 g8 a8 | bes4 bes4 d4 d4 | ees4 c4 f4 f,4 | bes,2.\n}\n"}, "harmonizations": [{"slug": "seraph-cyberhymnal", "tune": "seraph", "music_file": "seraph-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 14, 22, 28, 36, 43, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SERAPH, Gottfried Wilhelm Fink, 1842. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SERAPH (Gottfried Wilhelm Fink, 1783-1846; composed 1842); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified note-for-note against the Cyber Hymnal engraving (B-flat major, 4/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seraph\" (Gottfried Wilhelm Fink, 1842); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SERAPH (C.M.D.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seraph\", Gottfried Wilhelm Fink, 1842)\n%% with tools/mid2ly_chords.py and verified note-for-note against the Cyber Hymnal\n%% engraving. 4/4 with a one-beat anacrusis (\\partial 4). Nearly syllabic C.M.D. —\n%% the dotted-quarter+eighth figures each carry their own syllable (e.g. \"praise\n%% de-\", \"ev-ery\", \"praise to\"); ONE melisma, the slurred soprano bes'2( a'4) on\n%% \"pow'r / raise / die\" (bar 12, soprano note 42 held to note 43), carried with '_'\n%% each stanza (verse_variable_melisma). Bar 1 has a tenor eighth-rest under the\n%% tenor's rising walk f-g-a over a sustained ees bass (bars 5/13 put the same walk\n%% in the bass instead). The chromatics are printed with their accidentals in the\n%% source: the alto e' (bar 7, a natural rising to f') and, in bar 11, the tenor\n%% b natural + des' and bass e natural spelling an E-diminished-seventh\n%% (e-g-bes-des) that resolves to F.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'4 bes'4 a'4 g'4 | f'4. g'8 f'4 f'4 | g'4 c''4 bes'4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 a'4 g'4 | f'4. g'8 f'4 d''4 | c''4 bes'4 a'4 g'4 | f'2. f'4 |\n  a'4 f'4 bes'4 f'4 | c''4 f'4 d''4 c''4 | ees''4 d''4 c''4 bes'4 | bes'2( a'4) f'4 |\n  bes'4 bes'4 c''4 c''4 | d''4. ees''8 f''4 bes'4 | c''4 ees''4 d''4 c''4 | bes'2.\n}\nalto = {\n  f'4 |\n  d'4 f'4 f'4 ees'4 | d'4. ees'8 d'4 f'4 | ees'4 g'4 f'4 ees'4 | d'2. f'4 |\n  d'4 f'4 f'4 ees'4 | d'4. ees'8 d'4 f'4 | f'4 f'4 f'4 e'4 | f'2. f'4 |\n  c'4 c'4 d'4 f'4 | ees'4 f'4 f'4 c''4 | g'4 g'4 g'4 g'4 | f'2. f'4 |\n  d'4 f'4 g'4 f'4 | f'4. g'8 bes'4 f'4 | g'4 ees'4 f'4 f'4 | f'2.\n}\ntenor = {\n  f4 |\n  bes4 f4 r8 f8 g8 a8 | bes4 a4 bes4 bes4 | bes4 ees'4 d'4 c'4 | bes2. f4 |\n  bes4 bes4 bes4 bes8 c'8 | d'4 c'4 d'4 bes4 | c'4 bes4 c'4 bes4 | a2. f4 |\n  f4 f4 f4 bes4 | a4 ees'4 d'4 d'4 | c'4 b4 c'4 des'4 | c'2. f4 |\n  bes4 bes4 bes4 bes8 c'8 | d'4 c'4 d'4 d'4 | c'4 c'4 bes4 ees'4 | d'2.\n}\nbass = {\n  f4 |\n  bes,4 d4 ees4 ees4 | bes,4 bes,4 bes,4 d4 | ees4 c4 f4 f,4 | bes,2. f4 |\n  bes,4 d4 ees8 f8 g8 a8 | bes4 a4 bes4 bes,4 | a,4 d4 c4 c4 | f2. f4 |\n  f,4 a,4 bes,4 d4 | f4 a4 bes4 g4 | c4 ees4 ees4 e4 | f2. f4 |\n  bes,4 d4 ees8 f8 g8 a8 | bes4 bes4 d4 d4 | ees4 c4 f4 f,4 | bes,2.\n}\n", "preferred": true}]}, "seymour": {"slug": "seymour", "name": "SEYMOUR", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "carl-maria-von-weber", "composer_date": "1826", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "seymour-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SEYMOUR (7.7.7.7), the hymn tune adapted from Carl Maria von Weber (1786-1826); the melody derives from Weber (The Cyber Hymnal credits \"From Carl Maria von Weber, 1826\"). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4). The alto raised sixth in bars 2 and 6 is a G-sharp printed with a sharp in the source and cancelled by the natural at the phrase cadence (kept as G-sharp, the same pitch mid2ly emitted as A-flat). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seymour\" (from Carl Maria von Weber, 1826); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "seymour-cyberhymnal", "tune": "seymour", "music_file": "seymour-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SEYMOUR, adapted from Carl Maria von Weber, 1826. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEYMOUR (7.7.7.7), adapted from Carl Maria von Weber (1786-1826); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4). The alto bar-2/6 chromatic was spelled G-sharp to match the engraving printed sharp - the same sounding pitch mid2ly emitted as A-flat. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seymour\" (from Carl Maria von Weber); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEYMOUR (7.7.7.7) - four SATB voice streams, canonical key F major. The hymn tune\n%% adapted from Carl Maria von Weber (1786-1826); the melody derives from Weber (The\n%% Cyber Hymnal credits \"From Carl Maria von Weber, 1826\").\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seymour\", from Weber) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving note-for-note\n%% (F major, 4/4). MELISMATIC: 32 soprano notes for 28 syllables (7.7.7.7); the 4\n%% melisma continuations are held with '_' every stanza (verse_variable_melisma) at\n%% soprano notes 7, 22, 27 and 29 - the slurred eighth-note pairs. The alto's bar-2/6\n%% chromatic (MIDI pitch class 8) is the raised G-sharp printed with a sharp in the\n%% source and cancelled by the natural at the cadence - spelled gis', not as'.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 g'4 bes'4 a'4 | d''4 c''8( a'8) g'2 | a'4 a'4 a'4 a'4 | bes'4 e'4 f'2 | a'4 g'4 bes'4 a'4 | d''4 c''8( a'8) g'2 | a'4 c''4 c''8( bes'8) a'8( g'8) | f'4 e'4 f'2\n}\nalto = {\n  f'4 f'4 f'4 f'4 | gis'4 a'8 f'8 e'2 | f'4 f'4 e'4 es'4 | d'4 c'4 c'2 | f'4 f'4 f'4 f'4 | gis'4 a'8 f'8 e'2 | f'4 a'4 g'8 bes'8 d'8 g'8 | c'4 c'4 c'2\n}\ntenor = {\n  c'4 bes4 d'4 c'4 | b4 c'4 c'2 | c'4 d'4 des'4 c'4 | bes4 bes4 a2 | c'4 bes4 d'4 c'4 | b4 c'4 c'2 | c'4 es'4 d'4 bes4 | a4 g4 a2\n}\nbass = {\n  f4 f4 f4 f4 | f4 f4 c2 | f4 d4 a,4 fis4 | g4 c4 f2 | f4 f4 f4 f4 | f4 f4 c2 | f4 fis4 g4 bes,4 | c4 c4 f2\n}\n"}, "harmonizations": [{"slug": "seymour-cyberhymnal", "tune": "seymour", "music_file": "seymour-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SEYMOUR, adapted from Carl Maria von Weber, 1826. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEYMOUR (7.7.7.7), adapted from Carl Maria von Weber (1786-1826); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (F major, 4/4). The alto bar-2/6 chromatic was spelled G-sharp to match the engraving printed sharp - the same sounding pitch mid2ly emitted as A-flat. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seymour\" (from Carl Maria von Weber); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEYMOUR (7.7.7.7) - four SATB voice streams, canonical key F major. The hymn tune\n%% adapted from Carl Maria von Weber (1786-1826); the melody derives from Weber (The\n%% Cyber Hymnal credits \"From Carl Maria von Weber, 1826\").\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Seymour\", from Weber) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving note-for-note\n%% (F major, 4/4). MELISMATIC: 32 soprano notes for 28 syllables (7.7.7.7); the 4\n%% melisma continuations are held with '_' every stanza (verse_variable_melisma) at\n%% soprano notes 7, 22, 27 and 29 - the slurred eighth-note pairs. The alto's bar-2/6\n%% chromatic (MIDI pitch class 8) is the raised G-sharp printed with a sharp in the\n%% source and cancelled by the natural at the cadence - spelled gis', not as'.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4 g'4 bes'4 a'4 | d''4 c''8( a'8) g'2 | a'4 a'4 a'4 a'4 | bes'4 e'4 f'2 | a'4 g'4 bes'4 a'4 | d''4 c''8( a'8) g'2 | a'4 c''4 c''8( bes'8) a'8( g'8) | f'4 e'4 f'2\n}\nalto = {\n  f'4 f'4 f'4 f'4 | gis'4 a'8 f'8 e'2 | f'4 f'4 e'4 es'4 | d'4 c'4 c'2 | f'4 f'4 f'4 f'4 | gis'4 a'8 f'8 e'2 | f'4 a'4 g'8 bes'8 d'8 g'8 | c'4 c'4 c'2\n}\ntenor = {\n  c'4 bes4 d'4 c'4 | b4 c'4 c'2 | c'4 d'4 des'4 c'4 | bes4 bes4 a2 | c'4 bes4 d'4 c'4 | b4 c'4 c'2 | c'4 es'4 d'4 bes4 | a4 g4 a2\n}\nbass = {\n  f4 f4 f4 f4 | f4 f4 c2 | f4 d4 a,4 fis4 | g4 c4 f2 | f4 f4 f4 f4 | f4 f4 c2 | f4 fis4 g4 bes,4 | c4 c4 f2\n}\n", "preferred": true}]}, "showalter": {"slug": "showalter", "name": "SHOWALTER", "meter_label": "10.9.10.9 with Refrain", "meter": {"pattern": [10, 9, 10, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "anthony-j-showalter", "composer_date": "1887", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "showalter-tabernacle-hymns-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Anthony Johnson Showalter (1858-1924), written for Elisha A. Hoffman's words and first published in The Glad Evangel for Revival, Camp, and Evangelistic Meetings (Dalton, Ga.: A. J. Showalter & Co., 1887). Read here from the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 — archive.org tabernaclehymnsn00chic, leaf 98 — and collated against The Baptist Standard Hymnal (1924), no. 483, printed page 410 (archive.org baptiststandardh00town, leaf 413), which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\", and against the composer's own Class, Choir and Congregation (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256), a shape-note plate carrying the same 1887 notice. US public domain by publication in 1887; every witness read is itself pre-1931. The soprano's first fifteen scale degrees as encoded — 3 3 3 2 1 2 2 2 1 6 5 5 1 7 1 — match Hymnary tune authority showalter_showalter_33321's incipit 333212221655171 exactly, and tools/tune_fingerprint.py finds no corpus melody closer than 0.58 (MORNING STAR), so this is not a duplicate. None of the three dated plates names the tune on the staff — gospel songbooks of this line rarely do — so the name SHOWALTER is the one the later hymnals and Hymnary print for it, after its composer; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "showalter_showalter_33321", "total_instances": 607}}, "harmonization": {"slug": "showalter-tabernacle-hymns-1921", "tune": "showalter", "music_file": "showalter-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39}, "markings": [{"soprano_note": 39, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 32}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 36}, {"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 48}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 52}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "A. J. Showalter's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 — archive.org item tabernaclehymnsn00chic, leaf 98 — which is headed \"93 Leaning On the Everlasting Arms.\", credits \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\", prints three stanzas interlinear with a written-out REFRAIN and its tenor/bass echo line \"Lean-ing on Je-sus,\", and is footed \"Copyright by A. J. Showalter.  Used by permission.\" Every notehead of all four voices was MEASURED, not eyeballed: the five staff lines were re-found locally per staff and least-squares fitted (max residual 0.6-2.0 px on a 29.1 px step), then each grid position was probed with a notehead-sized ellipse (a filled head reads 0.88-1.00, blank staff below 0.25) and independently checked by morphological head detection whose centroids landed within 0.32 step — and mostly within 0.15 — of exact staff positions; the open half notes, whose slanted outlines the letterpress sometimes breaks, were read a third time off crops with the fitted grid drawn over them at 3-6x. WITHDRAWN CLAIM: this record first said the two plates were collated note for note and agreed everywhere but one sixteenth. The bar-8 soprano was wrong (cis'' cis'' a' for the printed C#5 B4 A4) and is corrected; the exhaustive-collation claim does not hold and is not restated here. Formerly COLLATED note for note against a SECOND dated printing from different plates, The Baptist Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing Board, 1924), no. 483, printed page 410 — archive.org baptiststandardh00town, leaf 413 — which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\" The two printings agree at all 63 soprano positions in all four voices except ONE: on the sixteenth under \"the\" in verse line 2, the 1921 plate (and the composer's own 1888 Class, Choir and Congregation, archive.org classchoirandco00showgoog leaf 256, and the 1924 plate's own second and third settings of the same figure) print ALTO B3, while the 1924 plate's first occurrence alone prints alto C#4. B3 is encoded; the variant is stated here and in the .ly header rather than hidden. DEPARTURES FROM THE PAGE, stated plainly: (1) system breaks are at poetic line ends, not where the 1921 plate breaks — that plate breaks mid-line and splits refrain bar 13 across a system, and neither is reproduced, and six systems mean the hymn casts over two pages at 6x9 under three interlinear stanzas; (2) the 1921 page prints NO Amen and none is encoded, though the 1924 page adds one; (3) BEAMING in the four echo bars — the plate flags the tenor/bass dotted-eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose beaming follows the sung underlay, and the echo is placed by rhythm rather than by \\lyricsto) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's. Everything else — pitches, rhythms, the two DIFFERENT harmonizations of the two \"Leaning on the ever-\" bars, the tenor/bass unisons printed as one notehead with two stems, the absence of any slur, tie or accidental outside the key signature — is the 1921 page as printed. US public domain: the setting was first published in 1887 and every witness read here is itself pre-1931; Showalter died in 1924, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 98), collated against The Baptist Standard Hymnal (1924), no. 483 (archive.org baptiststandardh00town, leaf 413) and, at the one disputed note, against A. J. Showalter's own Class, Choir and Congregation (1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SHOWALTER (10.9.10.9 with Refrain) — \"Leaning on the Everlasting Arms\"\n%% A. J. Showalter's own four-part setting, key A major, 4/4, no pickup,\n%% 16 bars (8 verse + 8 refrain).  RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\secondShift/\\unisonWholeShift/\n%% tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  Read notehead by notehead off the dated page image of\n%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 —\n%% archive.org item tabernaclehymnsn00chic, leaf 98 — headed \"93 Leaning On the\n%% Everlasting Arms.\", credited \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\",\n%% and footed \"Copyright by A. J. Showalter.  Used by permission.\"\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed).  For every staff the five\n%% staff lines were re-found LOCALLY — the darkest row inside a +-7px window in\n%% each 40px-wide band, then a least-squares fit y_i(x) = a_i + b_i x per line,\n%% so the scan's skew cannot shift a reading (max fit residual 0.6-2.0 px on a\n%% 29.1 px step).  Two independent measurements were then made of every column:\n%%   (1) a notehead-sized ellipse (0.92 x 0.80 step) was slid to each integer\n%%       grid position and its ink fraction recorded — a filled head reads\n%%       0.88-1.00, blank staff < 0.25, a stem or barline 0.15-0.35;\n%%   (2) morphological head detection (small-hole fill, staff-line erasure,\n%%       rectangular opening) whose centroid was converted to a step offset;\n%%       every accepted reading landed within 0.32 step of an exact staff\n%%       position and the great majority within 0.15.  The residual that\n%%       exceeds 0.15 is a KNOWN systematic: a head sitting in the space just\n%%       below the bottom line merges with that line's ink on its upper edge\n%%       and reads ~0.2 step high.  No reading was ever ambiguous — a\n%%       one-step error would have to move 1.00.\n%% The OPEN (half) noteheads of this typeface are slanted ovals whose outline\n%% the letterpress sometimes breaks, so the ellipse probe under-reads them; every\n%% half note in the piece was therefore read a third way, off a crop with the\n%% FITTED grid drawn over it at 3-6x, and it is that reading that ships.\n%%\n%% COLLATED against a SECOND dated printing from different plates: The Baptist\n%% Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing\n%% Board, 1924), no. 483, printed page 410 — archive.org baptiststandardh00town,\n%% leaf 413 — which engraves the original notice \"Copyright, 1887, by A. J.\n%% Showalter & Co.\"  CAUTION: this file first claimed the two plates agree\n%% \"note for note and rest for rest\" at all 63 soprano positions but one. That\n%% was FALSE — the soprano of bar 8 was encoded cis'' cis'' a' where both plates\n%% print C#5 B4 A4, the descending close to the tonic (bar 16, the identical\n%% phrase ending, was already right). The pitch is corrected; the collation claim\n%% is withdrawn and must not be restated until the whole encoding has been\n%% re-collated position by position against both plates.  The two agree in all four\n%% voices at every one of the 63 soprano positions EXCEPT ONE, recorded below.\n%% A THIRD dated witness, the composer's own Class, Choir and Congregation\n%% (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 — archive.org\n%% classchoirandco00showgoog, leaf 256, footed \"Copyright, 1887, by A. J.\n%% Showalter & Co.\" — was read at the one disputed note (it is a shape-note\n%% plate in the same key, laid out with a D.S. instead of writing the second\n%% half of the refrain out).\n%%\n%% THE ONE DIVERGENCE.  On the sixteenth note under \"the\" in \"Leaning on THE\n%% everlasting arms\", verse line 2 (soprano note 14 of 63 counting from bar 1 —\n%% bar 3 spans notes 11-16; this was recorded as note 34, which is wrong;\n%% bar 3 beat 3½), this encoding prints ALTO B3 under soprano G#4, which is what\n%% the 1921 plate shows at all three occurrences of that figure, what the 1888\n%% plate shows, and what the 1924 plate shows at its second and third\n%% occurrences.  The 1924 plate's FIRST occurrence alone prints alto C#4 there.\n%% Three witnesses to one; B3 ships; the 1924 variant is recorded, not hidden.\n%%\n%% THE TWO \"Leaning on the ever-\" BARS ARE NOT HARMONIZED ALIKE, and that is the\n%% page, not an error.  In verse line 2 (bar 3) both lower voices hold an A pedal\n%% (tenor A3, bass A2 throughout).  In verse line 4 and in the refrain (bars 7\n%% and 15) the same six soprano notes sit over tenor A3 / bass E3 for the first\n%% two notes and then over a tenor-and-bass UNISON E3 for the last four.  Both\n%% dated plates print it that way.\n%%\n%% UNISONS PRINTED AS ONE NOTEHEAD WITH TWO STEMS.  Where tenor and bass sing\n%% the same pitch the plates engrave a single head carrying an up-stem and a\n%% down-stem; both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads.  It happens on: the last four notes\n%% of bars 7 and 15; the first two notes of bars 4 and 12; and every note of echo\n%% bars 9 and 13, where tenor and bass answer in unison on A3.  This list first\n%% included bars 10 and 14; it should not have — there the tenor answers on A3\n%% over a bass D3, and the plate prints two heads.\n%%\n%% RHYTHM.  Every verse half-line is quarter, quarter, dotted-eighth, sixteenth,\n%% quarter (the dotted-eighth carries an augmentation dot and ONE flag, the\n%% sixteenth TWO — checked at 7x on both plates); \"Leaning on the ever-\" is\n%% quarter, quarter, dotted-eighth, sixteenth, eighth, eighth; \"-lasting arms\"\n%% is quarter, quarter, half.  In the refrain the upper two voices hold half\n%% notes on \"Lean -- ing,\" while tenor and bass answer \"Leaning on Jesus,\" in\n%% quarter, dotted-eighth, sixteenth, quarter, quarter (the sidecar's bass_echo).\n%%\n%% BEAMING DEVIATION.  In the four echo bars the plate flags the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine beams that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  Pitches and durations are\n%% the plate's; the beam is the house engraver's.\n%%\n%% NO SLURS AND NO TIES ANYWHERE.  The setting is strictly syllabic: 63 soprano\n%% noteheads for 38 verse syllables + 25 refrain syllables, one note each.\n%% NO ACCIDENTALS outside the key signature appear on either plate.\n%% NO AMEN on the 1921 page (the 1924 page adds one; it is not encoded here).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 cis''4 b'2 |\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 a'8. gis'16 a'4 b'4 |\n  cis''4 cis''4 b'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2\n}\n\nalto = {\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 e'4 e'2 |\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'8. d'16 e'4 e'4 |\n  e'4 e'4 e'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2\n}\n\ntenor = {\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 a8. a16 a8 a8 |\n  a4 a4 gis2 |\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 e8. e16 a4 gis4 |\n  a4 a4 gis2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2\n}\n\nbass = {\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  a,4 a,4 a,8. a,16 a,8 a,8 |\n  a4 a4 e2 |\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  a,4 a,8. b,16 cis4 e4 |\n  a4 a4 e2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2\n}\n"}, "harmonizations": [{"slug": "showalter-tabernacle-hymns-1921", "tune": "showalter", "music_file": "showalter-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39}, "markings": [{"soprano_note": 39, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 32}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 36}, {"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 48}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 52}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "A. J. Showalter's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 — archive.org item tabernaclehymnsn00chic, leaf 98 — which is headed \"93 Leaning On the Everlasting Arms.\", credits \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\", prints three stanzas interlinear with a written-out REFRAIN and its tenor/bass echo line \"Lean-ing on Je-sus,\", and is footed \"Copyright by A. J. Showalter.  Used by permission.\" Every notehead of all four voices was MEASURED, not eyeballed: the five staff lines were re-found locally per staff and least-squares fitted (max residual 0.6-2.0 px on a 29.1 px step), then each grid position was probed with a notehead-sized ellipse (a filled head reads 0.88-1.00, blank staff below 0.25) and independently checked by morphological head detection whose centroids landed within 0.32 step — and mostly within 0.15 — of exact staff positions; the open half notes, whose slanted outlines the letterpress sometimes breaks, were read a third time off crops with the fitted grid drawn over them at 3-6x. WITHDRAWN CLAIM: this record first said the two plates were collated note for note and agreed everywhere but one sixteenth. The bar-8 soprano was wrong (cis'' cis'' a' for the printed C#5 B4 A4) and is corrected; the exhaustive-collation claim does not hold and is not restated here. Formerly COLLATED note for note against a SECOND dated printing from different plates, The Baptist Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing Board, 1924), no. 483, printed page 410 — archive.org baptiststandardh00town, leaf 413 — which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\" The two printings agree at all 63 soprano positions in all four voices except ONE: on the sixteenth under \"the\" in verse line 2, the 1921 plate (and the composer's own 1888 Class, Choir and Congregation, archive.org classchoirandco00showgoog leaf 256, and the 1924 plate's own second and third settings of the same figure) print ALTO B3, while the 1924 plate's first occurrence alone prints alto C#4. B3 is encoded; the variant is stated here and in the .ly header rather than hidden. DEPARTURES FROM THE PAGE, stated plainly: (1) system breaks are at poetic line ends, not where the 1921 plate breaks — that plate breaks mid-line and splits refrain bar 13 across a system, and neither is reproduced, and six systems mean the hymn casts over two pages at 6x9 under three interlinear stanzas; (2) the 1921 page prints NO Amen and none is encoded, though the 1924 page adds one; (3) BEAMING in the four echo bars — the plate flags the tenor/bass dotted-eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose beaming follows the sung underlay, and the echo is placed by rhythm rather than by \\lyricsto) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's. Everything else — pitches, rhythms, the two DIFFERENT harmonizations of the two \"Leaning on the ever-\" bars, the tenor/bass unisons printed as one notehead with two stems, the absence of any slur, tie or accidental outside the key signature — is the 1921 page as printed. US public domain: the setting was first published in 1887 and every witness read here is itself pre-1931; Showalter died in 1924, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 98), collated against The Baptist Standard Hymnal (1924), no. 483 (archive.org baptiststandardh00town, leaf 413) and, at the one disputed note, against A. J. Showalter's own Class, Choir and Congregation (1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SHOWALTER (10.9.10.9 with Refrain) — \"Leaning on the Everlasting Arms\"\n%% A. J. Showalter's own four-part setting, key A major, 4/4, no pickup,\n%% 16 bars (8 verse + 8 refrain).  RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\secondShift/\\unisonWholeShift/\n%% tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES.  Read notehead by notehead off the dated page image of\n%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 —\n%% archive.org item tabernaclehymnsn00chic, leaf 98 — headed \"93 Leaning On the\n%% Everlasting Arms.\", credited \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\",\n%% and footed \"Copyright by A. J. Showalter.  Used by permission.\"\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed).  For every staff the five\n%% staff lines were re-found LOCALLY — the darkest row inside a +-7px window in\n%% each 40px-wide band, then a least-squares fit y_i(x) = a_i + b_i x per line,\n%% so the scan's skew cannot shift a reading (max fit residual 0.6-2.0 px on a\n%% 29.1 px step).  Two independent measurements were then made of every column:\n%%   (1) a notehead-sized ellipse (0.92 x 0.80 step) was slid to each integer\n%%       grid position and its ink fraction recorded — a filled head reads\n%%       0.88-1.00, blank staff < 0.25, a stem or barline 0.15-0.35;\n%%   (2) morphological head detection (small-hole fill, staff-line erasure,\n%%       rectangular opening) whose centroid was converted to a step offset;\n%%       every accepted reading landed within 0.32 step of an exact staff\n%%       position and the great majority within 0.15.  The residual that\n%%       exceeds 0.15 is a KNOWN systematic: a head sitting in the space just\n%%       below the bottom line merges with that line's ink on its upper edge\n%%       and reads ~0.2 step high.  No reading was ever ambiguous — a\n%%       one-step error would have to move 1.00.\n%% The OPEN (half) noteheads of this typeface are slanted ovals whose outline\n%% the letterpress sometimes breaks, so the ellipse probe under-reads them; every\n%% half note in the piece was therefore read a third way, off a crop with the\n%% FITTED grid drawn over it at 3-6x, and it is that reading that ships.\n%%\n%% COLLATED against a SECOND dated printing from different plates: The Baptist\n%% Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing\n%% Board, 1924), no. 483, printed page 410 — archive.org baptiststandardh00town,\n%% leaf 413 — which engraves the original notice \"Copyright, 1887, by A. J.\n%% Showalter & Co.\"  CAUTION: this file first claimed the two plates agree\n%% \"note for note and rest for rest\" at all 63 soprano positions but one. That\n%% was FALSE — the soprano of bar 8 was encoded cis'' cis'' a' where both plates\n%% print C#5 B4 A4, the descending close to the tonic (bar 16, the identical\n%% phrase ending, was already right). The pitch is corrected; the collation claim\n%% is withdrawn and must not be restated until the whole encoding has been\n%% re-collated position by position against both plates.  The two agree in all four\n%% voices at every one of the 63 soprano positions EXCEPT ONE, recorded below.\n%% A THIRD dated witness, the composer's own Class, Choir and Congregation\n%% (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 — archive.org\n%% classchoirandco00showgoog, leaf 256, footed \"Copyright, 1887, by A. J.\n%% Showalter & Co.\" — was read at the one disputed note (it is a shape-note\n%% plate in the same key, laid out with a D.S. instead of writing the second\n%% half of the refrain out).\n%%\n%% THE ONE DIVERGENCE.  On the sixteenth note under \"the\" in \"Leaning on THE\n%% everlasting arms\", verse line 2 (soprano note 14 of 63 counting from bar 1 —\n%% bar 3 spans notes 11-16; this was recorded as note 34, which is wrong;\n%% bar 3 beat 3½), this encoding prints ALTO B3 under soprano G#4, which is what\n%% the 1921 plate shows at all three occurrences of that figure, what the 1888\n%% plate shows, and what the 1924 plate shows at its second and third\n%% occurrences.  The 1924 plate's FIRST occurrence alone prints alto C#4 there.\n%% Three witnesses to one; B3 ships; the 1924 variant is recorded, not hidden.\n%%\n%% THE TWO \"Leaning on the ever-\" BARS ARE NOT HARMONIZED ALIKE, and that is the\n%% page, not an error.  In verse line 2 (bar 3) both lower voices hold an A pedal\n%% (tenor A3, bass A2 throughout).  In verse line 4 and in the refrain (bars 7\n%% and 15) the same six soprano notes sit over tenor A3 / bass E3 for the first\n%% two notes and then over a tenor-and-bass UNISON E3 for the last four.  Both\n%% dated plates print it that way.\n%%\n%% UNISONS PRINTED AS ONE NOTEHEAD WITH TWO STEMS.  Where tenor and bass sing\n%% the same pitch the plates engrave a single head carrying an up-stem and a\n%% down-stem; both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads.  It happens on: the last four notes\n%% of bars 7 and 15; the first two notes of bars 4 and 12; and every note of echo\n%% bars 9 and 13, where tenor and bass answer in unison on A3.  This list first\n%% included bars 10 and 14; it should not have — there the tenor answers on A3\n%% over a bass D3, and the plate prints two heads.\n%%\n%% RHYTHM.  Every verse half-line is quarter, quarter, dotted-eighth, sixteenth,\n%% quarter (the dotted-eighth carries an augmentation dot and ONE flag, the\n%% sixteenth TWO — checked at 7x on both plates); \"Leaning on the ever-\" is\n%% quarter, quarter, dotted-eighth, sixteenth, eighth, eighth; \"-lasting arms\"\n%% is quarter, quarter, half.  In the refrain the upper two voices hold half\n%% notes on \"Lean -- ing,\" while tenor and bass answer \"Leaning on Jesus,\" in\n%% quarter, dotted-eighth, sixteenth, quarter, quarter (the sidecar's bass_echo).\n%%\n%% BEAMING DEVIATION.  In the four echo bars the plate flags the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine beams that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  Pitches and durations are\n%% the plate's; the beam is the house engraver's.\n%%\n%% NO SLURS AND NO TIES ANYWHERE.  The setting is strictly syllabic: 63 soprano\n%% noteheads for 38 verse syllables + 25 refrain syllables, one note each.\n%% NO ACCIDENTALS outside the key signature appear on either plate.\n%% NO AMEN on the 1921 page (the 1924 page adds one; it is not encoded here).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 cis''4 b'2 |\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 a'8. gis'16 a'4 b'4 |\n  cis''4 cis''4 b'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2\n}\n\nalto = {\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 e'4 e'2 |\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'8. d'16 e'4 e'4 |\n  e'4 e'4 e'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2\n}\n\ntenor = {\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 a8. a16 a8 a8 |\n  a4 a4 gis2 |\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 e8. e16 a4 gis4 |\n  a4 a4 gis2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2\n}\n\nbass = {\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  a,4 a,4 a,8. a,16 a,8 a,8 |\n  a4 a4 e2 |\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  a,4 a,8. b,16 cis4 e4 |\n  a4 a4 e2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2\n}\n", "preferred": true}]}, "slane": {"slug": "slane", "name": "SLANE", "meter_label": "10.10.9.10", "meter": {"pattern": [10, 10, 9, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer_source": "Traditional Irish", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "slane-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'Slane', a traditional Irish folk melody (named for the Hill of Slane), long the standard tune for the ancient Irish hymn 'Be Thou My Vision'. The melody is traditional and public domain. Encoded from the Open Hymnal Project ABC. A melismatic tune whose syllable count varies slightly by stanza, handled as a variable-melisma setting.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, \"Be Thou My Vision\" (tune SLANE)", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "slane-openhymnal", "tune": "slane", "music_file": "slane-openhymnal.ly", "harmonizer": "mark-hamilton-dewey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 22, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SLANE (traditional Irish; four-part setting by Mark Hamilton Dewey, 2007, released to the public domain). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Tune SLANE, a traditional Irish melody (public domain). The four-part setting is by Mark Hamilton Dewey (2007); per the Open Hymnal Project X:223 credit block, 'All portions of the setting that were not already public domain were released to the public domain by the arranger on 27 July 2007.' The tune is public domain by age; the harmonization is public domain by the arranger's dedication. A variable-melisma tune (47 soprano notes; melisma positions differ between stanzas, so the lyrics carry per-verse '_' holds — all five stanzas verified to sum to 47 note-slots).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:223, \"Be Thou My Vision\" (tune SLANE; Mark Hamilton Dewey 2007 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SLANE (10.10.10.10, irregular) — \"Be Thou My Vision\"\n%% Imported from Open Hymnal ABC (X:223, \"Be Thou My Vision\") via\n%% tools/abc_import.py. Tune 'Slane', a traditional Irish melody (public domain);\n%% four-part setting by Mark Hamilton Dewey, 2007, explicitly released into the\n%% public domain by the arranger (27 July 2007, per the Open Hymnal credit block).\n%% A variable-melisma tune: the melisma positions differ between stanzas, so the\n%% lyrics carry per-verse '_' holds (verse_variable_melisma: true) and the soprano\n%% eighth-note groups are the melismas.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 }\n\nsoprano = {\n  ees'4 ees'4 f'8 ees'8 c'4 bes4 bes8 c'8 ees'4 ees'4 f'4 g'2. f'4 f'4 f'4 f'4 g'4 bes'4 c''4 bes'4 g'4 bes'2. c''4 c''8 d''8 ees''8 d''8 c''4 bes'4 g'4 bes'4 ees'4 d'4 c'2( bes4) ees'4 g'4 bes'4 c''8 bes'8 g'4 ees'8 g'8 f'4 ees'4 ees'4 ees'2.\n}\nalto = {\n  ees'4 ees'4 d'8 ees'8 c'4 bes4 bes8 c'8 ees'4 ees'4 d'4 ees'2. d'4 d'4 d'4 d'4 d'4 g'4 ees'4 f'4 g'4 ees'2( g'4) aes'4 ees'8 aes'8 c''8 bes'8 aes'4 f'4 ees'4 ees'4 bes4 bes4 aes2( bes4) bes4 ees'4 g'4 aes'8 g'8 g'4 ees'8 ees'8 d'4 ees'4 ees'4 ees'2.\n}\ntenor = {\n  bes4 bes4 bes8 bes8 aes4 f4 f8 aes8 bes4 bes4 bes4 bes2. bes4 bes4 bes4 bes4 bes4 bes4 c'4 d'4 ees'4 bes4( ees'2) ees'4 c'8 d'8 ees'8 d'8 ees'4 d'4 bes4 bes4 g4 f4 ees2( g4) g4 bes4 bes4 c'8 bes8 ees'4 bes4 bes4 bes4 bes4 bes2.\n}\nbass = {\n  g4 g4 f8 g8 ees4 d4 d8 ees8 g4 g4 f4 ees2. bes,4 bes,4 bes,4 bes,4 g,4 ees4 aes4 bes4 c'4 g2. c'4 aes8 f8 aes8 bes8 aes4 bes4 g4 g4 ees4 bes,4 aes,2( g,4) bes,4 bes,4 g4 aes8 g8 bes4 g4 f4 ees4 bes,4 g2.\n}\n"}, "harmonizations": [{"slug": "slane-openhymnal", "tune": "slane", "music_file": "slane-openhymnal.ly", "harmonizer": "mark-hamilton-dewey", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 22, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SLANE (traditional Irish; four-part setting by Mark Hamilton Dewey, 2007, released to the public domain). Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Tune SLANE, a traditional Irish melody (public domain). The four-part setting is by Mark Hamilton Dewey (2007); per the Open Hymnal Project X:223 credit block, 'All portions of the setting that were not already public domain were released to the public domain by the arranger on 27 July 2007.' The tune is public domain by age; the harmonization is public domain by the arranger's dedication. A variable-melisma tune (47 soprano notes; melisma positions differ between stanzas, so the lyrics carry per-verse '_' holds — all five stanzas verified to sum to 47 note-slots).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:223, \"Be Thou My Vision\" (tune SLANE; Mark Hamilton Dewey 2007 setting); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SLANE (10.10.10.10, irregular) — \"Be Thou My Vision\"\n%% Imported from Open Hymnal ABC (X:223, \"Be Thou My Vision\") via\n%% tools/abc_import.py. Tune 'Slane', a traditional Irish melody (public domain);\n%% four-part setting by Mark Hamilton Dewey, 2007, explicitly released into the\n%% public domain by the arranger (27 July 2007, per the Open Hymnal credit block).\n%% A variable-melisma tune: the melisma positions differ between stanzas, so the\n%% lyrics carry per-verse '_' holds (verse_variable_melisma: true) and the soprano\n%% eighth-note groups are the melismas.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 }\n\nsoprano = {\n  ees'4 ees'4 f'8 ees'8 c'4 bes4 bes8 c'8 ees'4 ees'4 f'4 g'2. f'4 f'4 f'4 f'4 g'4 bes'4 c''4 bes'4 g'4 bes'2. c''4 c''8 d''8 ees''8 d''8 c''4 bes'4 g'4 bes'4 ees'4 d'4 c'2( bes4) ees'4 g'4 bes'4 c''8 bes'8 g'4 ees'8 g'8 f'4 ees'4 ees'4 ees'2.\n}\nalto = {\n  ees'4 ees'4 d'8 ees'8 c'4 bes4 bes8 c'8 ees'4 ees'4 d'4 ees'2. d'4 d'4 d'4 d'4 d'4 g'4 ees'4 f'4 g'4 ees'2( g'4) aes'4 ees'8 aes'8 c''8 bes'8 aes'4 f'4 ees'4 ees'4 bes4 bes4 aes2( bes4) bes4 ees'4 g'4 aes'8 g'8 g'4 ees'8 ees'8 d'4 ees'4 ees'4 ees'2.\n}\ntenor = {\n  bes4 bes4 bes8 bes8 aes4 f4 f8 aes8 bes4 bes4 bes4 bes2. bes4 bes4 bes4 bes4 bes4 bes4 c'4 d'4 ees'4 bes4( ees'2) ees'4 c'8 d'8 ees'8 d'8 ees'4 d'4 bes4 bes4 g4 f4 ees2( g4) g4 bes4 bes4 c'8 bes8 ees'4 bes4 bes4 bes4 bes4 bes2.\n}\nbass = {\n  g4 g4 f8 g8 ees4 d4 d8 ees8 g4 g4 f4 ees2. bes,4 bes,4 bes,4 bes,4 g,4 ees4 aes4 bes4 c'4 g2. c'4 aes8 f8 aes8 bes8 aes4 bes4 g4 g4 ees4 bes,4 aes,2( g,4) bes,4 bes,4 g4 aes8 g8 bes4 g4 f4 ees4 bes,4 g2.\n}\n", "preferred": true}]}, "solid-rock": {"slug": "solid-rock", "name": "SOLID ROCK", "meter_label": "8.8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1863", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "solid-rock-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SOLID ROCK (\"The Solid Rock\"), composed by William B. Bradbury, 1863, for Edward Mote's \"My Hope Is Built on Nothing Less.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Fully diatonic and syllabic (56 soprano notes = 56 syllables); the refrain's closing line \"All other ground is sinking sand\" is repeated, giving the 8.8.8.8.8.8.8 pattern. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"The Solid Rock\" (William B. Bradbury, 1863); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "solid-rock-cyberhymnal", "tune": "solid-rock", "music_file": "solid-rock-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 40, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SOLID ROCK, William B. Bradbury, 1863. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SOLID ROCK (William B. Bradbury, 1863); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Fully diatonic; syllabic with the refrain's closing line repeated. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"The Solid Rock\" (William B. Bradbury, 1863); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SOLID ROCK (8.8.8.8.8.8.8) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"The Solid Rock\", William B. Bradbury,\n%% 1863) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully diatonic F major, 3/4, no pickup, final quarter. Syllabic (56 soprano\n%% notes = 56 syllables) with the refrain's closing line \"All other ground is\n%% sinking sand\" repeated. Verse lines 1&3 and 2&4 share melody.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  c'4 f'8 a'8 c''4 | a'4 a'8 g'8 g'4 |\n  a'4 bes'8 bes'8 bes'4 | g'4 f'8 e'8 f'4 |\n  c'4 f'8 a'8 c''4 | a'4 a'8 g'8 g'4 |\n  a'4 bes'8 bes'8 bes'4 | g'4 f'8 e'8 f'4 |\n  c''4 c''8 c''8 c''4 | c''4 d''8 d''8 d''4 |\n  d''4 c''8 a'8 a'4 | f'4 a'8 a'8 g'4 |\n  c'4 f'8 f'8 f'4 | a'4 g'8 g'8 f'4\n}\nalto = {\n  c'4 c'8 c'8 f'4 | f'4 f'8 e'8 e'4 |\n  f'4 f'8 f'8 f'4 | d'4 c'8 c'8 c'4 |\n  c'4 c'8 c'8 f'4 | f'4 f'8 e'8 e'4 |\n  f'4 f'8 f'8 f'4 | d'4 c'8 c'8 c'4 |\n  f'4 f'8 e'8 f'4 | f'4 f'8 f'8 f'4 |\n  f'4 f'8 c'8 c'4 | c'4 c'8 c'8 c'4 |\n  c'4 c'8 a8 d'4 | c'4 c'8 bes8 a4\n}\ntenor = {\n  c4 a8 a8 a4 | c'4 c'8 c'8 c'4 |\n  c'4 d'8 d'8 d'4 | bes4 a8 g8 a4 |\n  c4 a8 a8 a4 | c'4 c'8 c'8 c'4 |\n  c'4 d'8 d'8 d'4 | bes4 a8 g8 a4 |\n  a4 a8 bes8 c'4 | a4 bes8 bes8 bes4 |\n  bes4 a8 f8 f4 | a4 f8 f8 e4 |\n  e4 f8 f8 f4 | f4 f8 e8 f4\n}\nbass = {\n  c4 f8 f8 f4 | f4 c8 c8 c4 |\n  f4 bes,8 bes,8 bes,4 | bes,4 c8 c8 f4 |\n  c4 f8 f8 f4 | f4 c8 c8 c4 |\n  f4 bes,8 bes,8 bes,4 | bes,4 c8 c8 f4 |\n  f4 f8 g8 a4 | f4 bes,8 bes,8 bes,4 |\n  bes,4 f8 f8 f4 | f4 f,8 a,8 c4 |\n  c4 a,8 f,8 bes,4 | f,4 c8 c8 f,4\n}\n"}, "harmonizations": [{"slug": "solid-rock-cyberhymnal", "tune": "solid-rock", "music_file": "solid-rock-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [8, 16, 24, 32, 40, 48], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SOLID ROCK, William B. Bradbury, 1863. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SOLID ROCK (William B. Bradbury, 1863); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Fully diatonic; syllabic with the refrain's closing line repeated. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"The Solid Rock\" (William B. Bradbury, 1863); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SOLID ROCK (8.8.8.8.8.8.8) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"The Solid Rock\", William B. Bradbury,\n%% 1863) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% Fully diatonic F major, 3/4, no pickup, final quarter. Syllabic (56 soprano\n%% notes = 56 syllables) with the refrain's closing line \"All other ground is\n%% sinking sand\" repeated. Verse lines 1&3 and 2&4 share melody.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\n\nsoprano = {\n  c'4 f'8 a'8 c''4 | a'4 a'8 g'8 g'4 |\n  a'4 bes'8 bes'8 bes'4 | g'4 f'8 e'8 f'4 |\n  c'4 f'8 a'8 c''4 | a'4 a'8 g'8 g'4 |\n  a'4 bes'8 bes'8 bes'4 | g'4 f'8 e'8 f'4 |\n  c''4 c''8 c''8 c''4 | c''4 d''8 d''8 d''4 |\n  d''4 c''8 a'8 a'4 | f'4 a'8 a'8 g'4 |\n  c'4 f'8 f'8 f'4 | a'4 g'8 g'8 f'4\n}\nalto = {\n  c'4 c'8 c'8 f'4 | f'4 f'8 e'8 e'4 |\n  f'4 f'8 f'8 f'4 | d'4 c'8 c'8 c'4 |\n  c'4 c'8 c'8 f'4 | f'4 f'8 e'8 e'4 |\n  f'4 f'8 f'8 f'4 | d'4 c'8 c'8 c'4 |\n  f'4 f'8 e'8 f'4 | f'4 f'8 f'8 f'4 |\n  f'4 f'8 c'8 c'4 | c'4 c'8 c'8 c'4 |\n  c'4 c'8 a8 d'4 | c'4 c'8 bes8 a4\n}\ntenor = {\n  c4 a8 a8 a4 | c'4 c'8 c'8 c'4 |\n  c'4 d'8 d'8 d'4 | bes4 a8 g8 a4 |\n  c4 a8 a8 a4 | c'4 c'8 c'8 c'4 |\n  c'4 d'8 d'8 d'4 | bes4 a8 g8 a4 |\n  a4 a8 bes8 c'4 | a4 bes8 bes8 bes4 |\n  bes4 a8 f8 f4 | a4 f8 f8 e4 |\n  e4 f8 f8 f4 | f4 f8 e8 f4\n}\nbass = {\n  c4 f8 f8 f4 | f4 c8 c8 c4 |\n  f4 bes,8 bes,8 bes,4 | bes,4 c8 c8 f4 |\n  c4 f8 f8 f4 | f4 c8 c8 c4 |\n  f4 bes,8 bes,8 bes,4 | bes,4 c8 c8 f4 |\n  f4 f8 g8 a4 | f4 bes,8 bes,8 bes,4 |\n  bes,4 f8 f8 f4 | f4 f,8 a,8 c4 |\n  c4 a,8 f,8 bes,4 | f,4 c8 c8 f,4\n}\n", "preferred": true}]}, "song-13": {"slug": "song-13", "name": "SONG 13", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "orlando-gibbons", "composer_date": "1623", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "song-13-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SONG 13, composed by Orlando Gibbons (1583-1625) for George Wither's \"The Hymnes and Songs of the Church\" (1623). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, two-sharp signature, free rhythm with only a quarter=115 tempo mark; the tune cadences on a D-major chord; the tenor's raised G-sharp at the second cadence and the phrase-three C-natural (flat seventh) are printed accidentals, carried as spelled). A melismatic 7.7.7.7 tune — 35 soprano notes for 28 syllables, the little eighth/sixteenth runs held as one syllable. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Song 13 (Gibbons)\" (Orlando Gibbons, 1623); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "song-13-cyberhymnal", "tune": "song-13", "music_file": "song-13-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [8, 16, 25], "refrain": null, "source_line": "SONG 13 (Gibbons), Orlando Gibbons, 1623. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SONG 13 (Orlando Gibbons, 1583-1625, from George Wither's \"The Hymnes and Songs of the Church,\" 1623); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free rhythm). A free-meter, melismatic tune; barlines fall at the four phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Song 13 (Gibbons)\" (Orlando Gibbons, 1623); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SONG 13 (Gibbons) (7.7.7.7) — Orlando Gibbons, from George Wither's \"The\n%% Hymnes and Songs of the Church\" (1623). Four SATB voice streams, canonical\n%% key D major. Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py and\n%% verified against the Cyber Hymnal engraving: two-sharp key signature, the\n%% piece cadences on a D-major chord; the tenor's raised g'->gis at the second\n%% phrase-cadence and the alto/bass C-natural (flat seventh) in phrase three are\n%% printed accidentals, carried as spelled.\n%% A FREE-METER tune (no time signature — only a quarter=115 tempo mark); the\n%% barlines fall at the four phrase cadences (phrase_barlines 8,16,25 + final).\n%% MELISMATIC: 35 soprano notes for 28 syllables (7.7.7.7). The 7 melisma\n%% continuations are held with '_' every stanza (verse_variable_melisma) — the\n%% eighth/sixteenth runs slurred in the soprano at notes 6-7, 14-15, 21-22,\n%% 23-24, 27-28 and 30-31-32.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  fis'2 g'4 a'4 b'4 e'4 cis'8( e'8) fis'2. | a'2 b'4 cis''4 d''4 b'4 b'8( d'8) a'2. | fis'2 g'4 a'4 b'4 g'8( b8) fis'8( d'8) e'2. | a'2 g'8( fis'8) e'4 d'8( e'16 fis'16) e'4 e'4 d'2.\n}\nalto = {\n  d'2 d'4 cis'4 d'4 d'4 cis'8 e'8 d'2. | d'2 d'4 cis'4 fis'4 e'4 b'8 d'8 cis'2. | d'2 d'4 cis'4 b4 c'8 b8 a8 d'8 cis'2. | d'2 d'8 fis'8 cis'4 d'8 e'16 fis'16 d'4 cis'4 d'2.\n}\ntenor = {\n  a2 d4 e4 g8 fis8 e4 a4 a2. | fis2 gis4 a4 a4 a4 gis4 a2. | a2 d8 e8 fis4 g4 e4 fis8 g8 a2. | a2 b4 e4 a4 a4 a,8 g8 fis2.\n}\nbass = {\n  d2 b,4 a,4 g,8 fis8 a,4 a,4 d2. | d2 b,4 a,4 d4 e4 e4 a,2. | d2 b,8 e8 a,4 g,4 c4 d8 g8 a,2. | fis,2 g,4 a,4 fis,4 a,4 a,8 g8 d2.\n}\n"}, "harmonizations": [{"slug": "song-13-cyberhymnal", "tune": "song-13", "music_file": "song-13-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [8, 16, 25], "refrain": null, "source_line": "SONG 13 (Gibbons), Orlando Gibbons, 1623. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SONG 13 (Orlando Gibbons, 1583-1625, from George Wither's \"The Hymnes and Songs of the Church,\" 1623); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, free rhythm). A free-meter, melismatic tune; barlines fall at the four phrase cadences. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Song 13 (Gibbons)\" (Orlando Gibbons, 1623); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SONG 13 (Gibbons) (7.7.7.7) — Orlando Gibbons, from George Wither's \"The\n%% Hymnes and Songs of the Church\" (1623). Four SATB voice streams, canonical\n%% key D major. Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py and\n%% verified against the Cyber Hymnal engraving: two-sharp key signature, the\n%% piece cadences on a D-major chord; the tenor's raised g'->gis at the second\n%% phrase-cadence and the alto/bass C-natural (flat seventh) in phrase three are\n%% printed accidentals, carried as spelled.\n%% A FREE-METER tune (no time signature — only a quarter=115 tempo mark); the\n%% barlines fall at the four phrase cadences (phrase_barlines 8,16,25 + final).\n%% MELISMATIC: 35 soprano notes for 28 syllables (7.7.7.7). The 7 melisma\n%% continuations are held with '_' every stanza (verse_variable_melisma) — the\n%% eighth/sixteenth runs slurred in the soprano at notes 6-7, 14-15, 21-22,\n%% 23-24, 27-28 and 30-31-32.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\cadenzaOn }\n\nsoprano = {\n  fis'2 g'4 a'4 b'4 e'4 cis'8( e'8) fis'2. | a'2 b'4 cis''4 d''4 b'4 b'8( d'8) a'2. | fis'2 g'4 a'4 b'4 g'8( b8) fis'8( d'8) e'2. | a'2 g'8( fis'8) e'4 d'8( e'16 fis'16) e'4 e'4 d'2.\n}\nalto = {\n  d'2 d'4 cis'4 d'4 d'4 cis'8 e'8 d'2. | d'2 d'4 cis'4 fis'4 e'4 b'8 d'8 cis'2. | d'2 d'4 cis'4 b4 c'8 b8 a8 d'8 cis'2. | d'2 d'8 fis'8 cis'4 d'8 e'16 fis'16 d'4 cis'4 d'2.\n}\ntenor = {\n  a2 d4 e4 g8 fis8 e4 a4 a2. | fis2 gis4 a4 a4 a4 gis4 a2. | a2 d8 e8 fis4 g4 e4 fis8 g8 a2. | a2 b4 e4 a4 a4 a,8 g8 fis2.\n}\nbass = {\n  d2 b,4 a,4 g,8 fis8 a,4 a,4 d2. | d2 b,4 a,4 d4 e4 e4 a,2. | d2 b,8 e8 a,4 g,4 c4 d8 g8 a,2. | fis,2 g,4 a,4 fis,4 a,4 a,8 g8 d2.\n}\n", "preferred": true}]}, "southwell": {"slug": "southwell", "name": "SOUTHWELL", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Daman's Psalter, 1579", "canonical_key": {"tonic": "f", "mode": "minor"}, "preferred_harmonization": "southwell-oh141", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:141; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "southwell_daman", "total_instances": 165}}, "harmonization": {"slug": "southwell-oh141", "tune": "southwell", "music_file": "southwell-oh141.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:141; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:141", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord Jesus Think On Me\n%% Imported from Open Hymnal ABC X:141 via tools/abc_import.py\n%% Open Hymnal X:141; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 aes'4 aes'4 g'4 g'4 f'2. aes'4 aes'4 aes'4 bes'4 bes'4 c''2. c''4 ees''4 ees''4 des''4 des''4 c''4 c''4 bes'4 c''4 bes'4 aes'4 g'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 f'4 f'4 e'4 f'2. c'4 c'4 c'4 f'4 ees'4 ees'2. ees'4 aes'4 g'4 f'4 ees'4 ees'4 ees'4 ees'4 e'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  aes4 aes4 aes4 des'4 c'4 aes2. aes4 aes4 aes4 aes4 g4 aes2. aes4 c'4 bes4 aes4 bes4 aes4 aes4 g4 g4 bes4 c'4 des'4 c'8 bes8 aes2.\n}\nbass = {\n  f4 f4 des4 bes,4 c4 f2. f4 f4 ees4 des4 ees4 aes,2. aes4 aes4 ees4 f4 g4 aes4 c4 ees4 c4 des4 c4 bes,4 c4 f,2.\n}\n"}, "harmonizations": [{"slug": "southwell-oh141", "tune": "southwell", "music_file": "southwell-oh141.ly", "canonical_key": {"tonic": "f", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:141; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:141", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord Jesus Think On Me\n%% Imported from Open Hymnal ABC X:141 via tools/abc_import.py\n%% Open Hymnal X:141; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 aes'4 aes'4 g'4 g'4 f'2. aes'4 aes'4 aes'4 bes'4 bes'4 c''2. c''4 ees''4 ees''4 des''4 des''4 c''4 c''4 bes'4 c''4 bes'4 aes'4 g'4 g'4 f'2.\n}\nalto = {\n  c'4 c'4 f'4 f'4 e'4 f'2. c'4 c'4 c'4 f'4 ees'4 ees'2. ees'4 aes'4 g'4 f'4 ees'4 ees'4 ees'4 ees'4 e'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  aes4 aes4 aes4 des'4 c'4 aes2. aes4 aes4 aes4 aes4 g4 aes2. aes4 c'4 bes4 aes4 bes4 aes4 aes4 g4 g4 bes4 c'4 des'4 c'8 bes8 aes2.\n}\nbass = {\n  f4 f4 des4 bes,4 c4 f2. f4 f4 ees4 des4 ees4 aes,2. aes4 aes4 ees4 f4 g4 aes4 c4 ees4 c4 des4 c4 bes,4 c4 f,2.\n}\n", "preferred": true}]}, "st-agnes": {"slug": "st-agnes", "name": "ST. AGNES", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1875", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-agnes-oh156", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:156; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_agnes_dykes", "total_instances": 1269}}, "harmonization": {"slug": "st-agnes-oh156", "tune": "st-agnes", "music_file": "st-agnes-oh156.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:156; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:156", "encoding_license": "PD-dedication"}, "music_ly": "%% Lamp of Our Feet\n%% Imported from Open Hymnal ABC X:156 via tools/abc_import.py\n%% Open Hymnal X:156; all components published pre-1931 (latest year 1875).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  b'4 b'4 b'4 a'2 b'4 c''2 fis'4 g'2. d'4 d'4 d'4 b'2 a'4 a'2. c''4 c''4 b'4 a'2 g'4 fis'2 e'4 d'2. d'4 e'4 g'4 b'2 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 e'2 d'4 c'4( e'4) d'4 d'2. d'4 d'4 d'4 d'2 cis'4 d'2. e'4 e'4 d'4 c'2 cis'4 d'2 cis'4 d'2. d'4 d'4 c'4 b2 c'4 b2.\n}\ntenor = {\n  b4 b4 g4 c'2 g4 a2 a4 b2. c'4 b4 a4 g2 g4 fis2. e4 fis4 gis4 a2 a4 a2 g4 fis2. g4 g4 g4 g2 fis4 g2.\n}\nbass = {\n  g4 g4 b,4 c2 b,4 a,2 d4 g2. a4 g4 fis4 g2 e4 d2. a,4 a,4 a,4 a,2 a,4 d2 d4 d2( c4) b,4 c4 e4 d2 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "st-agnes-oh156", "tune": "st-agnes", "music_file": "st-agnes-oh156.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:156; all components published pre-1931 (latest year 1875).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:156", "encoding_license": "PD-dedication"}, "music_ly": "%% Lamp of Our Feet\n%% Imported from Open Hymnal ABC X:156 via tools/abc_import.py\n%% Open Hymnal X:156; all components published pre-1931 (latest year 1875).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  b'4 b'4 b'4 a'2 b'4 c''2 fis'4 g'2. d'4 d'4 d'4 b'2 a'4 a'2. c''4 c''4 b'4 a'2 g'4 fis'2 e'4 d'2. d'4 e'4 g'4 b'2 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 e'2 d'4 c'4( e'4) d'4 d'2. d'4 d'4 d'4 d'2 cis'4 d'2. e'4 e'4 d'4 c'2 cis'4 d'2 cis'4 d'2. d'4 d'4 c'4 b2 c'4 b2.\n}\ntenor = {\n  b4 b4 g4 c'2 g4 a2 a4 b2. c'4 b4 a4 g2 g4 fis2. e4 fis4 gis4 a2 a4 a2 g4 fis2. g4 g4 g4 g2 fis4 g2.\n}\nbass = {\n  g4 g4 b,4 c2 b,4 a,2 d4 g2. a4 g4 fis4 g2 e4 d2. a,4 a,4 a,4 a,2 a,4 d2 d4 d2( c4) b,4 c4 e4 d2 d4 g,2.\n}\n", "preferred": true}]}, "st-alban": {"slug": "st-alban", "name": "ST. ALBAN", "meter_label": "6.5.6.5.D with Refrain", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "franz-joseph-haydn", "composer_date": "1868", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-alban-oh168", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:168; all components published pre-1931 (latest year 1921).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_alban_haydn", "total_instances": 286}}, "harmonization": {"slug": "st-alban-oh168", "tune": "st-alban", "music_file": "st-alban-oh168.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 34, 45, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:168; all components published pre-1931 (latest year 1921).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:168", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, King of Glory\n%% Imported from Open Hymnal ABC X:168 via tools/abc_import.py\n%% Open Hymnal X:168; all components published pre-1931 (latest year 1921).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 a'4 a'4 g'2 d'2 d''4 d''4 e''4 e''4 a'1 c''4 c''4 b'4 b'4 a'2 e'2 g'4 g'4 a'4 a'4 g'1 d''4 d''4 c''4 c''4 b'2 e'2 c''4 c''4 e''4 e''4 g'2( fis'2) c''4 c''4 a'4 a'4 d''2 b'2 a'4 a'4 fis'4 fis'4 g'1 b'4 b'4 a'4 a'4 g'2 d'2 d''4 d''4 e''4 e''4 a'1 c''4 c''4 b'4 b'4 a'2 e'2 g'4 g'4 a'4 a'4 g'1\n}\nalto = {\n  g'4 g'4 fis'4 fis'4 d'2 d'2 g'4 g'4 g'4 g'4 fis'1 e'4 d'4 d'4 d'4 e'2 e'2 d'4 b4 e'4 fis'4 g'1 g'4 g'4 g'4 f'4 f'4( d'4) e'2 e'4 e'4 e'4 e'4 d'1 e'4 e'4 d'4 d'4 d'2 g'2 e'4 e'4 d'4 d'4 d'2( e'2) d'4 d'4 d'4 d'4 d'4( c'4) b4( c'4) d'4 g'4 g'4 g'4 fis'1 e'4 d'4 d'4 d'4 c'4( e'4) d'4( c'4) b4 b4 c'4 c'4 b1\n}\ntenor = {\n  d'4 d'4 c'4 c'4 b2 b2 b4 b4 a4 a4 d'1 g4 a4 b4 b4 c'2 c'2 b4 g4 c'4 c'4 b1 d'4 b4 c'4 c'4 d'4( f'4) e'4( d'4) c'4 c'4 c'4 b8 a8 b2( a2) a4 g4 fis4 fis4 g2 d'2 c'4 c'4 a4 a4 b2( c'2) b4 g4 fis4 c'4 b4( c'4) d'4( c'4) b4 b4 b4 a4 d'1 g4 a4 b4 g4 e2 gis4( a4) b4 d4 e4 fis4 g1\n}\nbass = {\n  g4 g4 d4 d4 g2 g2 g,4 g,4 c4 c4 d1 e4 fis4 g4 g4 c2 c2 d4 e4 c4 d4 g1 b4 b4 a4 a4 gis2 gis2 a4 a4 c4 c4 d1 a,4 a,4 d4 c4 b,2 b,2 c4 c4 d4 d4 g1 g,4 b,4 d4 fis4 g4( a4) b4( a4) g4 g4 c4 c4 d1 e4 fis4 g4 b,4 c2 b,4( a,4) d4 d4 d4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "st-alban-oh168", "tune": "st-alban", "music_file": "st-alban-oh168.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 34, 45, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:168; all components published pre-1931 (latest year 1921).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:168", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, King of Glory\n%% Imported from Open Hymnal ABC X:168 via tools/abc_import.py\n%% Open Hymnal X:168; all components published pre-1931 (latest year 1921).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 a'4 a'4 g'2 d'2 d''4 d''4 e''4 e''4 a'1 c''4 c''4 b'4 b'4 a'2 e'2 g'4 g'4 a'4 a'4 g'1 d''4 d''4 c''4 c''4 b'2 e'2 c''4 c''4 e''4 e''4 g'2( fis'2) c''4 c''4 a'4 a'4 d''2 b'2 a'4 a'4 fis'4 fis'4 g'1 b'4 b'4 a'4 a'4 g'2 d'2 d''4 d''4 e''4 e''4 a'1 c''4 c''4 b'4 b'4 a'2 e'2 g'4 g'4 a'4 a'4 g'1\n}\nalto = {\n  g'4 g'4 fis'4 fis'4 d'2 d'2 g'4 g'4 g'4 g'4 fis'1 e'4 d'4 d'4 d'4 e'2 e'2 d'4 b4 e'4 fis'4 g'1 g'4 g'4 g'4 f'4 f'4( d'4) e'2 e'4 e'4 e'4 e'4 d'1 e'4 e'4 d'4 d'4 d'2 g'2 e'4 e'4 d'4 d'4 d'2( e'2) d'4 d'4 d'4 d'4 d'4( c'4) b4( c'4) d'4 g'4 g'4 g'4 fis'1 e'4 d'4 d'4 d'4 c'4( e'4) d'4( c'4) b4 b4 c'4 c'4 b1\n}\ntenor = {\n  d'4 d'4 c'4 c'4 b2 b2 b4 b4 a4 a4 d'1 g4 a4 b4 b4 c'2 c'2 b4 g4 c'4 c'4 b1 d'4 b4 c'4 c'4 d'4( f'4) e'4( d'4) c'4 c'4 c'4 b8 a8 b2( a2) a4 g4 fis4 fis4 g2 d'2 c'4 c'4 a4 a4 b2( c'2) b4 g4 fis4 c'4 b4( c'4) d'4( c'4) b4 b4 b4 a4 d'1 g4 a4 b4 g4 e2 gis4( a4) b4 d4 e4 fis4 g1\n}\nbass = {\n  g4 g4 d4 d4 g2 g2 g,4 g,4 c4 c4 d1 e4 fis4 g4 g4 c2 c2 d4 e4 c4 d4 g1 b4 b4 a4 a4 gis2 gis2 a4 a4 c4 c4 d1 a,4 a,4 d4 c4 b,2 b,2 c4 c4 d4 d4 g1 g,4 b,4 d4 fis4 g4( a4) b4( a4) g4 g4 c4 c4 d1 e4 fis4 g4 b,4 c2 b,4( a,4) d4 d4 d4 d4 g,1\n}\n", "preferred": true}]}, "st-anne": {"slug": "st-anne", "name": "ST. ANNE", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-croft", "composer_date": "1708", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "st-anne-lutheran-hymnary-1913", "provenance": {"layer": "tune", "source": "croft-supplement-1708", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William Croft, 1708. Composer d. 1727.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_anne_croft", "total_instances": 967}}, "harmonization": {"slug": "st-anne-lutheran-hymnary-1913", "tune": "st-anne", "music_file": "st-anne-lutheran-hymnary-1913.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_components": [{"source": "hymns-ancient-and-modern-1875", "locator": "lines 1–2 (Monk, 1869)"}, {"source": "hymnal-companion-1890", "locator": "lines 3–4 (1890)"}], "provenance": {"layer": "harmonization", "source": "lutheran-hymnary-1913", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:283", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "The Lutheran Hymnary, 1913; constituent settings 1869/1890. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% ST. ANNE (C.M.) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%% The combined close score (stems, unisons, the mid-phrase split, the system\n%% break) is DERIVED by the engine; see docs/design/m2-architecture.md §3.\n%%\n%% Voices transcribed from the original part-separated Open Hymnal 2014.06 X:283\n%% (S1V1/S1V2/S2V1/S2V2), not decomposed from the combined spike (lossy at\n%% unisons). Setting: composite, The Lutheran Hymnary 1913 (Monk 1869 + 1890). PD.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 |\n  e'4 a' g' c'' | c''4 b' c'' g' | c''4 g' a' fis' | g'2. b'4 |\n  c''4 a' d'' b' | c''4 a' b' g' | a'4 c'' d'' b' | c''2.\n}\nalto = {\n  c'4 |\n  c'4 c' c' e' | d'4 d' e' e' | e'4 e' e' d' | d'2. d'4 |\n  e'4 c' f' d' | e'4. d'8 b4 c' | f'4 e' d' d' | e'2.\n}\ntenor = {\n  e4 |\n  g4 a c' c' | a4 g g c' | c'4 b a a | b2. g4 |\n  g4 a a g | g4 a gis g | f4 g a g | g2.\n}\nbass = {\n  c4 |\n  c4 f e a | f4 g c c | a,4 e c d | g,2. g4 |\n  c4 f d g | c4 f e e | d4 c f g | c2.\n}\n"}, "harmonizations": [{"slug": "st-anne-lutheran-hymnary-1913", "tune": "st-anne", "music_file": "st-anne-lutheran-hymnary-1913.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_components": [{"source": "hymns-ancient-and-modern-1875", "locator": "lines 1–2 (Monk, 1869)"}, {"source": "hymnal-companion-1890", "locator": "lines 3–4 (1890)"}], "provenance": {"layer": "harmonization", "source": "lutheran-hymnary-1913", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:283", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "The Lutheran Hymnary, 1913; constituent settings 1869/1890. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% ST. ANNE (C.M.) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%% The combined close score (stems, unisons, the mid-phrase split, the system\n%% break) is DERIVED by the engine; see docs/design/m2-architecture.md §3.\n%%\n%% Voices transcribed from the original part-separated Open Hymnal 2014.06 X:283\n%% (S1V1/S1V2/S2V1/S2V2), not decomposed from the combined spike (lossy at\n%% unisons). Setting: composite, The Lutheran Hymnary 1913 (Monk 1869 + 1890). PD.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 |\n  e'4 a' g' c'' | c''4 b' c'' g' | c''4 g' a' fis' | g'2. b'4 |\n  c''4 a' d'' b' | c''4 a' b' g' | a'4 c'' d'' b' | c''2.\n}\nalto = {\n  c'4 |\n  c'4 c' c' e' | d'4 d' e' e' | e'4 e' e' d' | d'2. d'4 |\n  e'4 c' f' d' | e'4. d'8 b4 c' | f'4 e' d' d' | e'2.\n}\ntenor = {\n  e4 |\n  g4 a c' c' | a4 g g c' | c'4 b a a | b2. g4 |\n  g4 a a g | g4 a gis g | f4 g a g | g2.\n}\nbass = {\n  c4 |\n  c4 f e a | f4 g c c | a,4 e c d | g,2. g4 |\n  c4 f d g | c4 f e e | d4 c f g | c2.\n}\n", "preferred": true}]}, "st-bride": {"slug": "st-bride", "name": "ST. BRIDE", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "samuel-howard", "composer_date": "1762", "canonical_key": {"tonic": "g", "mode": "minor"}, "preferred_harmonization": "st-bride-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. BRIDE, a short-metre psalm tune by Samuel Howard, first published in Parochial Harmony (1762). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G minor, 4/4, quarter-note pickup). Howard d. 1782; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Bride\" (Samuel Howard, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-bride-cyberhymnal", "tune": "st-bride", "music_file": "st-bride-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. BRIDE, Samuel Howard, 1762. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. BRIDE (Samuel Howard, 1762); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G minor, 4/4, quarter-note pickup). Four eighth-note melismas at soprano notes 4/7/14/23. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Bride\" (Samuel Howard, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% ST. BRIDE (S.M.) — four SATB voice streams, canonical key G minor.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"St. Bride\", Samuel Howard 1762) with\n% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G minor, 4/4,\n% quarter-note pickup). MELISMATIC: 30 soprano notes for 26 S.M. syllables; four\n% eighth-note melismas (slurred pairs) at held soprano notes [4, 7, 14, 23]\n% (QUEBEC rule: soprano-alone onset count == surplus, so auto-placeable).\n% MELISMA soprano ordinals (verified vs engraving slurs): [4, 7, 14, 23]  (count=4)\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 \\partial 4 }\nsoprano = {\n  g'4 | d'4 g'8( c'8) bes'4 a'8( c'8) | g'2. bes'4 | f'4 bes'4 d''4 c''8( es'8) | bes'2. d''4 | c''4 bes'4 a'4 g'4 | f'4 es'8( bes8) d'4 d''4 | g'4 c''4 bes'4 a'4 | g'1 |\n}\nalto = {\n  d'4 | d'4 bes8 c'8 d'4 a'8 c'8 | bes2. bes4 | d'4 d'4 f'4 c''8 es'8 | d'2. bes'4 | a'4 g'4 f'4 es'4 | d'4 c'8 bes8 a4 fis'4 | g'4 g'4 g'4 fis'4 | d'1 |\n}\ntenor = {\n  bes4 | g4 g4 g4 fis4 | g2. f4 | bes4 bes4 bes4 a4 | bes2. f'4 | f'4 d'4 d'4 bes4 | bes8 a8 g4 fis4 a4 | g4 es'4 d'4 d'4 | bes1 |\n}\nbass = {\n  g,4 | bes,4 es4 d4 d4 | g,2. d4 | bes,4 g4 f4 f,4 | bes,2. bes4 | f4 g4 d4 es4 | bes,8 a8 c4 d4 d4 | es4 c4 d4 d4 | g,1 |\n}\n"}, "harmonizations": [{"slug": "st-bride-cyberhymnal", "tune": "st-bride", "music_file": "st-bride-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. BRIDE, Samuel Howard, 1762. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. BRIDE (Samuel Howard, 1762); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G minor, 4/4, quarter-note pickup). Four eighth-note melismas at soprano notes 4/7/14/23. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Bride\" (Samuel Howard, 1762); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% ST. BRIDE (S.M.) — four SATB voice streams, canonical key G minor.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"St. Bride\", Samuel Howard 1762) with\n% tools/mid2ly.py and verified against the Cyber Hymnal engraving (G minor, 4/4,\n% quarter-note pickup). MELISMATIC: 30 soprano notes for 26 S.M. syllables; four\n% eighth-note melismas (slurred pairs) at held soprano notes [4, 7, 14, 23]\n% (QUEBEC rule: soprano-alone onset count == surplus, so auto-placeable).\n% MELISMA soprano ordinals (verified vs engraving slurs): [4, 7, 14, 23]  (count=4)\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\minor \\time 4/4 \\partial 4 }\nsoprano = {\n  g'4 | d'4 g'8( c'8) bes'4 a'8( c'8) | g'2. bes'4 | f'4 bes'4 d''4 c''8( es'8) | bes'2. d''4 | c''4 bes'4 a'4 g'4 | f'4 es'8( bes8) d'4 d''4 | g'4 c''4 bes'4 a'4 | g'1 |\n}\nalto = {\n  d'4 | d'4 bes8 c'8 d'4 a'8 c'8 | bes2. bes4 | d'4 d'4 f'4 c''8 es'8 | d'2. bes'4 | a'4 g'4 f'4 es'4 | d'4 c'8 bes8 a4 fis'4 | g'4 g'4 g'4 fis'4 | d'1 |\n}\ntenor = {\n  bes4 | g4 g4 g4 fis4 | g2. f4 | bes4 bes4 bes4 a4 | bes2. f'4 | f'4 d'4 d'4 bes4 | bes8 a8 g4 fis4 a4 | g4 es'4 d'4 d'4 | bes1 |\n}\nbass = {\n  g,4 | bes,4 es4 d4 d4 | g,2. d4 | bes,4 g4 f4 f,4 | bes,2. bes4 | f4 g4 d4 es4 | bes,8 a8 c4 d4 d4 | es4 c4 d4 d4 | g,1 |\n}\n", "preferred": true}]}, "st-catherine": {"slug": "st-catherine", "name": "ST. CATHERINE", "meter_label": "L.M. with Refrain", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "henri-hemy", "composer_date": "1864", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-catherine-evangelical-1921", "provenance": {"layer": "tune", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Henri F. Hemy, 1864; refrain adapted by James G. Walton, 1874. All composers d. pre-1931.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_catherine_hemy", "total_instances": 915}}, "harmonization": {"slug": "st-catherine-evangelical-1921", "tune": "st-catherine", "music_file": "st-catherine-evangelical-1921.ly", "harmonizer": "james-walton", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 46], "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 39}, "source_line": "Setting: James G. Walton, 1874 (The Evangelical Hymnal, 1921). Public domain.", "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:219", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Hemy's ST. CATHERINE, 1864; refrain & setting James G. Walton, 1874. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:219 via tools/abc_import.py\n%% Faith of Our Fathers — ST. CATHERINE (L.M. with Refrain)\n%% Refrain hymn with variable melisma: stanza 1 also carries the refrain text\n%% (notes 39-54); stanzas 2-3 are the verse only and end at note 38, so the\n%% lyrics carry per-stanza '_' skips and the harmonization sets\n%% verse_variable_melisma: true (build_hymn_ly emits\n%% \\set melismaBusyProperties = #'() + autoBeaming; the six soprano slurs are\n%% shared melismata held in every stanza and stay drawn).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  b'4 a'4 g'4 g'4( fis'4) g'4 a'4( e'4) fis'4 g'2. g'4 fis'4 e'4 d'2 g'4 g'4( fis'4) g'4 a'2. b'4 a'4 g'4 g'4( fis'4) g'4 a'4( e'4) fis'4 g'2. g'4 fis'4 e'4 d'2 b'4 a'4( b'4) a'4 g'2. c''4 c''4 c''4 b'2 b'4 a'2 a'4 b'2. b'4 a'4 g'4 e'2 g'4 a'2 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 d'2 d'4 e'2 d'4 d'2. e'4 d'4 c'4 b2 d'4 cis'2 cis'4 d'2. d'4 d'4 d'4 d'4( c'4) b4 e'2 c'4 b2. e'4 d'4 c'4 b4( d'4) d'4 e'2 fis'4 g'2. g'4 g'4 g'4 g'2 g'4 fis'2 fis'4 g'2. b4 c'4 d'4 c'2 b4 d'2 c'4 b2.\n}\ntenor = {\n  d'4 c'4 b4 b4( c'4) b4 a2 c'4 b2. g4 g4 g4 g2 b4 e2 g4 fis2. d'4 c'4 b4 b4( a4) g4 c'2 a4 g2. g4 g4 g4 g4( b4) d'4 cis'2 c'4 b2. e'4 e'4 e'4 d'2 d'4 d'2 d'4 d'2. g4 g4 g4 g2 g4 g2 fis4 g2.\n}\nbass = {\n  g4 g4 g4 g4( a4) g4 c2 d4 g,2. c4 c4 e4 g2 g,4 a,2 a,4 d2. g4 g4 g4 d2 e4 c2 d4 e2. c4 c4 c4 d2 d4 d2 d4 g2. c4 c4 c4 g2 g4 d2 d4 g2. g,4 a,4 b,4 c2 e4 d2 d4 g,2.\n}\n\n%% --- lyrics (variable melisma + refrain; '_' marks held notes per stanza) ---\n%%   1 (verse + refrain): \"Faith of our fa -- _ thers, liv -- _ ing still, In spite of dun -- geon, fire _ and sword; O how our hearts _ beat high _ with joy When -- e'er we hear that glo -- _ rious Word! Faith of our fa -- thers, ho -- ly faith! We will be true to thee till death.\"\n%%   2 (verse only): \"Faith of our fa -- _ thers, we _ will strive To win all na -- tions un -- _ to Thee; And through the truth _ that comes _ from God, We all shall then be tru -- _ ly free.\"\n%%   3 (verse only): \"Faith of our fa -- _ thers, we _ will love Both friend and foe in all _ our strife; And preach Thee, too, _ as love _ knows how By kind -- ly words and vir -- _ tuous life.\"\n"}, "harmonizations": [{"slug": "st-catherine-evangelical-1921", "tune": "st-catherine", "music_file": "st-catherine-evangelical-1921.ly", "harmonizer": "james-walton", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 46], "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 39}, "source_line": "Setting: James G. Walton, 1874 (The Evangelical Hymnal, 1921). Public domain.", "provenance": {"layer": "harmonization", "source": "evangelical-hymnal-1921", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:219", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Hemy's ST. CATHERINE, 1864; refrain & setting James G. Walton, 1874. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:219 via tools/abc_import.py\n%% Faith of Our Fathers — ST. CATHERINE (L.M. with Refrain)\n%% Refrain hymn with variable melisma: stanza 1 also carries the refrain text\n%% (notes 39-54); stanzas 2-3 are the verse only and end at note 38, so the\n%% lyrics carry per-stanza '_' skips and the harmonization sets\n%% verse_variable_melisma: true (build_hymn_ly emits\n%% \\set melismaBusyProperties = #'() + autoBeaming; the six soprano slurs are\n%% shared melismata held in every stanza and stay drawn).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 }\n\nsoprano = {\n  b'4 a'4 g'4 g'4( fis'4) g'4 a'4( e'4) fis'4 g'2. g'4 fis'4 e'4 d'2 g'4 g'4( fis'4) g'4 a'2. b'4 a'4 g'4 g'4( fis'4) g'4 a'4( e'4) fis'4 g'2. g'4 fis'4 e'4 d'2 b'4 a'4( b'4) a'4 g'2. c''4 c''4 c''4 b'2 b'4 a'2 a'4 b'2. b'4 a'4 g'4 e'2 g'4 a'2 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 d'2 d'4 e'2 d'4 d'2. e'4 d'4 c'4 b2 d'4 cis'2 cis'4 d'2. d'4 d'4 d'4 d'4( c'4) b4 e'2 c'4 b2. e'4 d'4 c'4 b4( d'4) d'4 e'2 fis'4 g'2. g'4 g'4 g'4 g'2 g'4 fis'2 fis'4 g'2. b4 c'4 d'4 c'2 b4 d'2 c'4 b2.\n}\ntenor = {\n  d'4 c'4 b4 b4( c'4) b4 a2 c'4 b2. g4 g4 g4 g2 b4 e2 g4 fis2. d'4 c'4 b4 b4( a4) g4 c'2 a4 g2. g4 g4 g4 g4( b4) d'4 cis'2 c'4 b2. e'4 e'4 e'4 d'2 d'4 d'2 d'4 d'2. g4 g4 g4 g2 g4 g2 fis4 g2.\n}\nbass = {\n  g4 g4 g4 g4( a4) g4 c2 d4 g,2. c4 c4 e4 g2 g,4 a,2 a,4 d2. g4 g4 g4 d2 e4 c2 d4 e2. c4 c4 c4 d2 d4 d2 d4 g2. c4 c4 c4 g2 g4 d2 d4 g2. g,4 a,4 b,4 c2 e4 d2 d4 g,2.\n}\n\n%% --- lyrics (variable melisma + refrain; '_' marks held notes per stanza) ---\n%%   1 (verse + refrain): \"Faith of our fa -- _ thers, liv -- _ ing still, In spite of dun -- geon, fire _ and sword; O how our hearts _ beat high _ with joy When -- e'er we hear that glo -- _ rious Word! Faith of our fa -- thers, ho -- ly faith! We will be true to thee till death.\"\n%%   2 (verse only): \"Faith of our fa -- _ thers, we _ will strive To win all na -- tions un -- _ to Thee; And through the truth _ that comes _ from God, We all shall then be tru -- _ ly free.\"\n%%   3 (verse only): \"Faith of our fa -- _ thers, we _ will love Both friend and foe in all _ our strife; And preach Thee, too, _ as love _ knows how By kind -- ly words and vir -- _ tuous life.\"\n", "preferred": true}]}, "st-christopher": {"slug": "st-christopher", "name": "ST. CHRISTOPHER", "meter_label": "7.6.8.6.8.6.8.6", "meter": {"pattern": [7, 6, 8, 6, 8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "frederick-c-maker", "composer_date": "1891", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "st-christopher-oh194", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:194; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_christopher_maker", "total_instances": 492}}, "harmonization": {"slug": "st-christopher-oh194", "tune": "st-christopher", "music_file": "st-christopher-oh194.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 27, 41], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:194; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:194", "encoding_license": "PD-dedication"}, "music_ly": "%% Beneath The Cross Of Jesus\n%% Imported from Open Hymnal ABC X:194 via tools/abc_import.py\n%% Open Hymnal X:194; all components published pre-1931 (latest year 1891).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'4 aes'4. aes'8 g'4 bes'4 aes'2 f'4 des'4 ees'4. f'8 ges'4 ges'4 f'2. f'4 des''4. des''8 des''4 c''4 bes'4 aes'4 ges'4 f'4 ees'4. ees'8 e'4 e'4 f'2. f'4 f'4. ees'8 des'4 ees'4 f'4 ges'4 aes'4 aes'4 bes'4. bes'8 bes'4 f'4 ges'2. ges'8~ ges'8 c''4. bes'8 aes'4 ges'4 f'4 f'4 aes'4 ges'8~ ges'8 f'4. des'8 f'4 ees'4 des'2.\n}\nalto = {\n  f'4 f'4. f'8 e'4 e'4 f'2 des'4 des'4 c'4. des'8 des'4 c'4 des'2. ees'4 des'4. des'8 des'4 ees'4 f'4 f'4 ees'4 des'4 des'4. des'8 des'4 bes4 c'2. des'4 des'4. c'8 des'4 des'4 des'4 des'4 des'4 des'4 des'4. des'8 d'4 d'4 ees'2. ees'8~ ees'8 ges'4. ges'8 ges'4 c'4 des'4 des'4 des'4 des'8~ des'8 des'4. des'8 c'4 c'4 des'2.\n}\ntenor = {\n  aes4 aes4. aes8 bes4 g4 aes2 aes4 aes4 aes4. aes8 bes4 aes4 aes2. a4 bes4. bes8 bes4 a4 bes4 bes4 bes4 bes4 bes4. bes8 bes4 bes4 a2. aes4 aes4. ges8 f4 ges4 aes4 bes4 ces'4 ces'4 bes4. bes8 bes4 bes4 bes2. bes8~ bes8 ees'4. des'8 c'4 aes4 aes4 aes4 ces'4 bes8~ bes8 aes4. f8 aes4 ges4 f2.\n}\nbass = {\n  des4 des4. des8 des4 des4 des2 des4 f4 ges4. f8 ees4 aes,4 des2. c4 bes,4. bes,8 bes,4 c4 des4 d4 ees4 f4 ges4. ges8 ges4 ges4 f2. des4 des4. des8 des4 des4 des4 des4 des4 f4 ges4. ges8 f4 bes,4 ees2. ees8~ ees8 aes,4. aes,8 aes,4 aes,4 des4 des4 f,4 ges,8~ ges,8 aes,4. aes,8 aes,4 aes,4 des2.\n}\n"}, "harmonizations": [{"slug": "st-christopher-oh194", "tune": "st-christopher", "music_file": "st-christopher-oh194.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 27, 41], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:194; all components published pre-1931 (latest year 1891).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:194", "encoding_license": "PD-dedication"}, "music_ly": "%% Beneath The Cross Of Jesus\n%% Imported from Open Hymnal ABC X:194 via tools/abc_import.py\n%% Open Hymnal X:194; all components published pre-1931 (latest year 1891).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'4 aes'4. aes'8 g'4 bes'4 aes'2 f'4 des'4 ees'4. f'8 ges'4 ges'4 f'2. f'4 des''4. des''8 des''4 c''4 bes'4 aes'4 ges'4 f'4 ees'4. ees'8 e'4 e'4 f'2. f'4 f'4. ees'8 des'4 ees'4 f'4 ges'4 aes'4 aes'4 bes'4. bes'8 bes'4 f'4 ges'2. ges'8~ ges'8 c''4. bes'8 aes'4 ges'4 f'4 f'4 aes'4 ges'8~ ges'8 f'4. des'8 f'4 ees'4 des'2.\n}\nalto = {\n  f'4 f'4. f'8 e'4 e'4 f'2 des'4 des'4 c'4. des'8 des'4 c'4 des'2. ees'4 des'4. des'8 des'4 ees'4 f'4 f'4 ees'4 des'4 des'4. des'8 des'4 bes4 c'2. des'4 des'4. c'8 des'4 des'4 des'4 des'4 des'4 des'4 des'4. des'8 d'4 d'4 ees'2. ees'8~ ees'8 ges'4. ges'8 ges'4 c'4 des'4 des'4 des'4 des'8~ des'8 des'4. des'8 c'4 c'4 des'2.\n}\ntenor = {\n  aes4 aes4. aes8 bes4 g4 aes2 aes4 aes4 aes4. aes8 bes4 aes4 aes2. a4 bes4. bes8 bes4 a4 bes4 bes4 bes4 bes4 bes4. bes8 bes4 bes4 a2. aes4 aes4. ges8 f4 ges4 aes4 bes4 ces'4 ces'4 bes4. bes8 bes4 bes4 bes2. bes8~ bes8 ees'4. des'8 c'4 aes4 aes4 aes4 ces'4 bes8~ bes8 aes4. f8 aes4 ges4 f2.\n}\nbass = {\n  des4 des4. des8 des4 des4 des2 des4 f4 ges4. f8 ees4 aes,4 des2. c4 bes,4. bes,8 bes,4 c4 des4 d4 ees4 f4 ges4. ges8 ges4 ges4 f2. des4 des4. des8 des4 des4 des4 des4 des4 f4 ges4. ges8 f4 bes,4 ees2. ees8~ ees8 aes,4. aes,8 aes,4 aes,4 des4 des4 f,4 ges,8~ ges,8 aes,4. aes,8 aes,4 aes,4 des2.\n}\n", "preferred": true}]}, "st-cross": {"slug": "st-cross", "name": "ST. CROSS", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-bacchus-dykes", "composer_date": "1869", "canonical_key": {"tonic": "d", "mode": "minor"}, "preferred_harmonization": "st-cross-oh97", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:97; all components published pre-1931 (latest year 1869).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_cross_dykes", "total_instances": 159}}, "harmonization": {"slug": "st-cross-oh97", "tune": "st-cross", "music_file": "st-cross-oh97.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:97; all components published pre-1931 (latest year 1869).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:97", "encoding_license": "PD-dedication"}, "music_ly": "%% 'Tis Midnight and On Olive's Brow\n%% Imported from Open Hymnal ABC X:97 via tools/abc_import.py\n%% Open Hymnal X:97; all components published pre-1931 (latest year 1869).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 g'4 a'2. d''4 c''2 bes'2 a'1 a'2 a'4 bes'4 c''2 f'2 a'2 g'2 f'2. a'4 f'2. a'4 g'2 a'2 f'2 g'2 e'1 d'2 d'4 d'4 a'2. g'4 f'2 eis'2 d'1\n}\nalto = {\n  d'2 d'4 e'4 f'2. f'4 f'4( c'4) d'4( e'4) f'1 f'2 e'4 d'4 c'2 f'2 f'2 e'2 f'2. c'4 c'2. d'4 d'2 cis'2 d'2 e'4( d'4) cis'1 d'2 d'4 d'4 a'2. d'4 d'2 c'2 d'1\n}\ntenor = {\n  a2 a4 c'4 c'2. bes4 a2. g4 a1 f2 f4 f4 f4( g4) a4( bes4) c'2. bes4 a2. a4 a2. a4 bes2 a2 a2 bes2 a1 d2 d4 d4 a2. bes4 a2 g2 f1\n}\nbass = {\n  d2 d4 c4 f2. bes,4 c2 c2 f1 d2 c4 bes,4 a,2 d2 c2 c2 f2. f4 f2. f4 e2 a,2 d2 g,2 a,1 d2 d4 d4 a2. g,4 a,2 a,2 d1\n}\n"}, "harmonizations": [{"slug": "st-cross-oh97", "tune": "st-cross", "music_file": "st-cross-oh97.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:97; all components published pre-1931 (latest year 1869).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:97", "encoding_license": "PD-dedication"}, "music_ly": "%% 'Tis Midnight and On Olive's Brow\n%% Imported from Open Hymnal ABC X:97 via tools/abc_import.py\n%% Open Hymnal X:97; all components published pre-1931 (latest year 1869).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 g'4 a'2. d''4 c''2 bes'2 a'1 a'2 a'4 bes'4 c''2 f'2 a'2 g'2 f'2. a'4 f'2. a'4 g'2 a'2 f'2 g'2 e'1 d'2 d'4 d'4 a'2. g'4 f'2 eis'2 d'1\n}\nalto = {\n  d'2 d'4 e'4 f'2. f'4 f'4( c'4) d'4( e'4) f'1 f'2 e'4 d'4 c'2 f'2 f'2 e'2 f'2. c'4 c'2. d'4 d'2 cis'2 d'2 e'4( d'4) cis'1 d'2 d'4 d'4 a'2. d'4 d'2 c'2 d'1\n}\ntenor = {\n  a2 a4 c'4 c'2. bes4 a2. g4 a1 f2 f4 f4 f4( g4) a4( bes4) c'2. bes4 a2. a4 a2. a4 bes2 a2 a2 bes2 a1 d2 d4 d4 a2. bes4 a2 g2 f1\n}\nbass = {\n  d2 d4 c4 f2. bes,4 c2 c2 f1 d2 c4 bes,4 a,2 d2 c2 c2 f2. f4 f2. f4 e2 a,2 d2 g,2 a,1 d2 d4 d4 a2. g,4 a,2 a,2 d1\n}\n", "preferred": true}]}, "st-denio": {"slug": "st-denio", "name": "ST. DENIO", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Welsh traditional, 1839", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-denio-caniadau-1878", "provenance": {"layer": "tune", "source": "caniadau-y-cyssegr-1839", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'St. Denio', Welsh traditional, Caniadau y Cyssegr (J. Roberts), 1839.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_denio", "total_instances": 304}}, "harmonization": {"slug": "st-denio-caniadau-1878", "tune": "st-denio", "music_file": "st-denio-caniadau-1878.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "caniadau-y-cyssegr-1878", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from Caniadau y Cyssegr a'r Teulu, 1878. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:254", "encoding_license": "PD-dedication"}, "music_ly": "%% Immortal, Invisible, God Only Wise\n%% Imported from Open Hymnal ABC X:254 via tools/abc_import.py\n%% Public domain: Smith 1876; Welsh tune (Caniadau y Cyssegr 1839); setting 1878. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 e'4 c'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2 g'4 e'4 c'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2 g'4 b'4 b'4 d''4 b'4 g'4 g'4 b'4 b'4 d''4 a'2 b'4 g'4 e'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2\n}\nalto = {\n  b4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2 d'4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2 d'4 g'4 g'4 a'4 g'4 d'4 b4 d'4 d'4 d'4 d'2 d'4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2\n}\ntenor = {\n  g4 g4 e4 c'4 a4 fis4 g4 g4 g4 fis4 g2 g4 g4 e4 c'4 a4 fis4 g4 g4 g4 fis4 g2 b4 e'4 e'4 d'4 d'4 g4 g4 fis4 b4 b4 g4( fis4) g4 e4 g4 c'4 a4 fis4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2 b,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2 g4 e4 e4 fis4 g4 b,4 e4 b,4 g,4 b,4 d2 g,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "st-denio-caniadau-1878", "tune": "st-denio", "music_file": "st-denio-caniadau-1878.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "caniadau-y-cyssegr-1878", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting from Caniadau y Cyssegr a'r Teulu, 1878. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:254", "encoding_license": "PD-dedication"}, "music_ly": "%% Immortal, Invisible, God Only Wise\n%% Imported from Open Hymnal ABC X:254 via tools/abc_import.py\n%% Public domain: Smith 1876; Welsh tune (Caniadau y Cyssegr 1839); setting 1878. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 e'4 c'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2 g'4 e'4 c'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2 g'4 b'4 b'4 d''4 b'4 g'4 g'4 b'4 b'4 d''4 a'2 b'4 g'4 e'4 a'4 fis'4 d'4 g'4 b'4 b'4 a'4 g'2\n}\nalto = {\n  b4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2 d'4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2 d'4 g'4 g'4 a'4 g'4 d'4 b4 d'4 d'4 d'4 d'2 d'4 c'4 c'4 e'4 d'4 d'4 b4 d'4 d'4 d'8 c'8 b2\n}\ntenor = {\n  g4 g4 e4 c'4 a4 fis4 g4 g4 g4 fis4 g2 g4 g4 e4 c'4 a4 fis4 g4 g4 g4 fis4 g2 b4 e'4 e'4 d'4 d'4 g4 g4 fis4 b4 b4 g4( fis4) g4 e4 g4 c'4 a4 fis4 g4 g4 g4 fis4 g2\n}\nbass = {\n  g,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2 b,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2 g4 e4 e4 fis4 g4 b,4 e4 b,4 g,4 b,4 d2 g,4 c4 c4 a,4 d4 d4 e4 d4 b,4 d4 g,2\n}\n", "preferred": true}]}, "st-edmund-sullivan": {"slug": "st-edmund-sullivan", "name": "ST. EDMUND (SULLIVAN)", "meter_label": "6.4.6.4.6.6.6.4", "meter": {"pattern": [6, 4, 6, 4, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "arthur-seymour-sullivan", "composer_date": "1885", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-edmund-sullivan-oh213", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:213; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_edmund_sullivan", "total_instances": 261}}, "harmonization": {"slug": "st-edmund-sullivan-oh213", "tune": "st-edmund-sullivan", "music_file": "st-edmund-sullivan-oh213.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:213; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:213", "encoding_license": "PD-dedication"}, "music_ly": "%% I'm But A Stranger Here\n%% Imported from Open Hymnal ABC X:213 via tools/abc_import.py\n%% Open Hymnal X:213; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 g'4 fis'4 a'2 d'2 d'4 e'4 d'1 d'2 b'4 b'4 b'4 a'4 d''2 a'2 fis'4 e'4 d'1 a'2 b'4 a'4 a'4 g'4 d'2 c''2 b'4 a'4 a'4 g'4 d'2 b'2 e''4 d''4 d''4 c''4 b'4( a'4) g'2 a'4 fis'4 g'1\n}\nalto = {\n  b2 c'4 d'4 c'4 c'4 c'2 c'2 c'4 c'4 b1 b2 b4 cis'4 d'4 d'4 e'2 fis'2 d'4 cis'4 d'1 c'2 c'4 c'4 b4 b4 b2 e'2 d'4 d'4 d'4 e'4 d'2 d'2 e'4 e'4 e'4 e'4 e'2 d'2 d'4 d'4 d'1\n}\ntenor = {\n  g2 g4 g4 a4 a4 fis2 a2 fis4 fis4 g1 g2 d4 e4 fis4 fis4 gis2 a2 a4 g4 fis1 fis2 e4 fis4 g4 g4 g2 fis2 g4 c'4 b4 c'4 b2 g2 gis4 gis4 a4 a4 gis4( a4) b2 c'4 c'4 b1\n}\nbass = {\n  g,2 a,4 b,4 d4 d4 d2 fis2 d4 d4 g1 g,2 g,4 g,4 fis,4 fis,4 b,2 a,2 a,4 a,4 d1 d2 d4 d4 d4 d4 d2 d2 e4 fis4 g4 g4 g2 f2 e4 e4 a4 a,4 b,4( c4) d2 d4 d4 g,1\n}\n"}, "harmonizations": [{"slug": "st-edmund-sullivan-oh213", "tune": "st-edmund-sullivan", "music_file": "st-edmund-sullivan-oh213.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:213; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:213", "encoding_license": "PD-dedication"}, "music_ly": "%% I'm But A Stranger Here\n%% Imported from Open Hymnal ABC X:213 via tools/abc_import.py\n%% Open Hymnal X:213; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 g'4 fis'4 a'2 d'2 d'4 e'4 d'1 d'2 b'4 b'4 b'4 a'4 d''2 a'2 fis'4 e'4 d'1 a'2 b'4 a'4 a'4 g'4 d'2 c''2 b'4 a'4 a'4 g'4 d'2 b'2 e''4 d''4 d''4 c''4 b'4( a'4) g'2 a'4 fis'4 g'1\n}\nalto = {\n  b2 c'4 d'4 c'4 c'4 c'2 c'2 c'4 c'4 b1 b2 b4 cis'4 d'4 d'4 e'2 fis'2 d'4 cis'4 d'1 c'2 c'4 c'4 b4 b4 b2 e'2 d'4 d'4 d'4 e'4 d'2 d'2 e'4 e'4 e'4 e'4 e'2 d'2 d'4 d'4 d'1\n}\ntenor = {\n  g2 g4 g4 a4 a4 fis2 a2 fis4 fis4 g1 g2 d4 e4 fis4 fis4 gis2 a2 a4 g4 fis1 fis2 e4 fis4 g4 g4 g2 fis2 g4 c'4 b4 c'4 b2 g2 gis4 gis4 a4 a4 gis4( a4) b2 c'4 c'4 b1\n}\nbass = {\n  g,2 a,4 b,4 d4 d4 d2 fis2 d4 d4 g1 g,2 g,4 g,4 fis,4 fis,4 b,2 a,2 a,4 a,4 d1 d2 d4 d4 d4 d4 d2 d2 e4 fis4 g4 g4 g2 f2 e4 e4 a4 a,4 b,4( c4) d2 d4 d4 g,1\n}\n", "preferred": true}]}, "st-etheldreda": {"slug": "st-etheldreda", "name": "ST. ETHELDREDA", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-turton", "composer_date": "1860", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "st-etheldreda-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. ETHELDREDA, composed by Thomas Turton (1780–1864), first published 1860. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI and verified note-by-note against the Cyber Hymnal engraving (F major, 4/4). The soprano is syllabic (28 notes for 28 C.M. syllables); the inner voices carry eighth-note passing figures. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Etheldreda\" (Thomas Turton, 1860); SATB MIDI + engraving, reconstructed tick-aligned (tools/reconstruct-class) and render-diffed against the engraving.", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-etheldreda-cyberhymnal", "tune": "st-etheldreda", "music_file": "st-etheldreda-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. ETHELDREDA, Thomas Turton, 1860. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. ETHELDREDA (Thomas Turton, 1780–1864; first published 1860); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI, reconstructed tick-aligned (the voices are non-homorhythmic, with inner-voice eighth-note passing figures that mid2ly's homorhythmic split cannot recover), and verified by render-diff against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Etheldreda\" (Thomas Turton, 1860); SATB MIDI + engraving, reconstructed tick-aligned and render-diffed against the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% ST. ETHELDREDA (C.M.) — four SATB voice streams, canonical key F major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"St. Etheldreda\", Thomas Turton, 1860)\n% and reconstructed TICK-ALIGNED (mid2ly's homorhythmic S/A and T/B split fails\n% here — the voices are NON-homorhythmic, with eighth-note passing figures in the\n% inner voices). Verified by render-diff against the Cyber Hymnal engraving\n% (F major, 4/4). The SOPRANO is syllabic: 28 notes for 28 C.M. syllables (so the\n% setting aligns one-to-one). The alto carries two beamed-eighth passing figures\n% (lines 2 and 3); the tenor a slurred dotted-quarter+eighth at the final cadence.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\nsoprano = {\n  f'4 f'4 g'4 a'4 g'4 f'4 e'4 f'4 g'4 a'4 c''4 bes'4 a'4 g'2. a'4 bes'4 d''4 c''4 e'4 f'4 bes'4 a'4 c''4 d''4 bes'4 a'4 g'4 f'2.\n}\nalto = {\n  c'4 d'4 e'4 f'4 d'4 c'4 c'4 c'4 e'4 f'4 f'4 d'8 e'8 f'4 e'2. f'4 f'4 f'4 e'4 c'8 bes8 a4 c'4 c'4 f'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  a4 a4 c'4 c'4 bes4 a4 g4 a4 c'4 c'4 a4 bes4 c'4 c'2. c'4 bes4 bes4 g4 g4 f4 g4 f4 c'4 bes4 bes4 c'4.( bes8) a2.\n}\nbass = {\n  f4 d4 c4 f4 bes,4 c4 c4 f4 c4 f4 a4 g4 f4 c2. f4 d4 bes,4 c4 c4 d4 e4 f4 a,4 bes,4 f4 c2 f2.\n}\n"}, "harmonizations": [{"slug": "st-etheldreda-cyberhymnal", "tune": "st-etheldreda", "music_file": "st-etheldreda-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. ETHELDREDA, Thomas Turton, 1860. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. ETHELDREDA (Thomas Turton, 1780–1864; first published 1860); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI, reconstructed tick-aligned (the voices are non-homorhythmic, with inner-voice eighth-note passing figures that mid2ly's homorhythmic split cannot recover), and verified by render-diff against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Etheldreda\" (Thomas Turton, 1860); SATB MIDI + engraving, reconstructed tick-aligned and render-diffed against the engraving.", "encoding_license": "PD-dedication"}, "music_ly": "% ST. ETHELDREDA (C.M.) — four SATB voice streams, canonical key F major.\n% Corpus harmonization source for the HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"St. Etheldreda\", Thomas Turton, 1860)\n% and reconstructed TICK-ALIGNED (mid2ly's homorhythmic S/A and T/B split fails\n% here — the voices are NON-homorhythmic, with eighth-note passing figures in the\n% inner voices). Verified by render-diff against the Cyber Hymnal engraving\n% (F major, 4/4). The SOPRANO is syllabic: 28 notes for 28 C.M. syllables (so the\n% setting aligns one-to-one). The alto carries two beamed-eighth passing figures\n% (lines 2 and 3); the tenor a slurred dotted-quarter+eighth at the final cadence.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\nsoprano = {\n  f'4 f'4 g'4 a'4 g'4 f'4 e'4 f'4 g'4 a'4 c''4 bes'4 a'4 g'2. a'4 bes'4 d''4 c''4 e'4 f'4 bes'4 a'4 c''4 d''4 bes'4 a'4 g'4 f'2.\n}\nalto = {\n  c'4 d'4 e'4 f'4 d'4 c'4 c'4 c'4 e'4 f'4 f'4 d'8 e'8 f'4 e'2. f'4 f'4 f'4 e'4 c'8 bes8 a4 c'4 c'4 f'4 f'4 f'4 f'4 e'4 f'2.\n}\ntenor = {\n  a4 a4 c'4 c'4 bes4 a4 g4 a4 c'4 c'4 a4 bes4 c'4 c'2. c'4 bes4 bes4 g4 g4 f4 g4 f4 c'4 bes4 bes4 c'4.( bes8) a2.\n}\nbass = {\n  f4 d4 c4 f4 bes,4 c4 c4 f4 c4 f4 a4 g4 f4 c2. f4 d4 bes,4 c4 c4 d4 e4 f4 a,4 bes,4 f4 c2 f2.\n}\n", "preferred": true}]}, "st-flavian": {"slug": "st-flavian", "name": "ST. FLAVIAN", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Day's Psalter, 1562", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "st-flavian-oh87", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:87; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_flavian", "total_instances": 323}}, "harmonization": {"slug": "st-flavian-oh87", "tune": "st-flavian", "music_file": "st-flavian-oh87.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:87; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:87", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord Who Throughout These Forty Days\n%% Imported from Open Hymnal ABC X:87 via tools/abc_import.py\n%% Open Hymnal X:87; all components published pre-1931 (latest year 1905).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 f'4 e'4 f'4 a'4 g'4 g'4 f'4 f'4 bes'4 a'4 f'4 g'4 a'2. a'4 a'4 bes'4 c''4 a'4 f'4 g'4 a'4 a'4 g'4 f'4 f'4 e'4 f'2.\n}\nalto = {\n  c'4 c'4 c'4 c'4 f'4 f'4 e'4 f'4 f'4 f'4 f'4 f'4 d'4 e'2. f'4 f'4 f'4 e'4 e'4 d'4 e'4 f'4 f'4 e'4 d'4 d'4 c'4 c'2.\n}\ntenor = {\n  a4 g4 g4 a4 a4 d'4 c'4 a4 a4 bes4 c'4 d'4 d'4 cis'2. c'4 c'4 bes4 g4 a4 a4 c'4 c'4 c'4 c'4 a4 g4 g4 a2.\n}\nbass = {\n  f4 c4 c4 f4 d4 bes,4 c4 f4 f4 d4 f4 bes4 bes4 a2. f4 f4 d4 c4 c4 d4 c4 f4 f4 c4 d4 bes,4 c4 f2.\n}\n"}, "harmonizations": [{"slug": "st-flavian-oh87", "tune": "st-flavian", "music_file": "st-flavian-oh87.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:87; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:87", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord Who Throughout These Forty Days\n%% Imported from Open Hymnal ABC X:87 via tools/abc_import.py\n%% Open Hymnal X:87; all components published pre-1931 (latest year 1905).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 f'4 e'4 f'4 a'4 g'4 g'4 f'4 f'4 bes'4 a'4 f'4 g'4 a'2. a'4 a'4 bes'4 c''4 a'4 f'4 g'4 a'4 a'4 g'4 f'4 f'4 e'4 f'2.\n}\nalto = {\n  c'4 c'4 c'4 c'4 f'4 f'4 e'4 f'4 f'4 f'4 f'4 f'4 d'4 e'2. f'4 f'4 f'4 e'4 e'4 d'4 e'4 f'4 f'4 e'4 d'4 d'4 c'4 c'2.\n}\ntenor = {\n  a4 g4 g4 a4 a4 d'4 c'4 a4 a4 bes4 c'4 d'4 d'4 cis'2. c'4 c'4 bes4 g4 a4 a4 c'4 c'4 c'4 c'4 a4 g4 g4 a2.\n}\nbass = {\n  f4 c4 c4 f4 d4 bes,4 c4 f4 f4 d4 f4 bes4 bes4 a2. f4 f4 d4 c4 c4 d4 c4 f4 f4 c4 d4 bes,4 c4 f2.\n}\n", "preferred": true}]}, "st-george-s-windsor": {"slug": "st-george-s-windsor", "name": "ST. GEORGE`S WINDSOR", "meter_label": "7.7.7.7.D", "meter": {"pattern": [7, 7, 7, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-elvey", "composer_date": "1871", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-george-s-windsor-oh77", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:77; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_georges_windsor_elvey", "total_instances": 760}}, "harmonization": {"slug": "st-george-s-windsor-oh77", "tune": "st-george-s-windsor", "music_file": "st-george-s-windsor-oh77.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:77; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:77", "encoding_license": "PD-dedication"}, "music_ly": "%% Songs of Thankfulness and Praise\n%% Imported from Open Hymnal ABC X:77 via tools/abc_import.py\n%% Open Hymnal X:77; all components published pre-1931 (latest year 1871).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  b'4. b'8 d''4 b'4 g'4 a'4 b'2 b'4. b'8 d''4 b'4 g'4 a'4 b'2 b'4. b'8 c''4 c''4 a'4. a'8 b'2 b'4 cis''4 d''4 g'4 fis'4 e'4 d'2 fis'4. fis'8 a'4 fis'4 g'4 a'4 b'2 b'4. b'8 d''4 b'4 c''4 d''4 e''2 e''4. e''8 c''4 a'4 d''4. d''8 b'2 c''4 e''4 d''4 g'4 b'4 a'4 g'2\n}\nalto = {\n  d'4. d'8 d'4 d'4 e'4 fis'4 g'2 d'4. d'8 d'4 d'4 e'4 e'4 dis'2 e'4. e'8 e'4 e'4 d'4 d'4 d'2 d'4 e'4 d'4 e'4 d'4 cis'4 d'2 d'4. d'8 d'4 d'4 d'4 c'4 d'2 d'4. d'8 g'4 g'4 g'4 f'4 e'2 e'4 gis'4 a'4 e'4 d'4 fis'4 g'2 g'4 g'4 g'4 g'4 g'4 fis'4 g'2\n}\ntenor = {\n  g4. g8 a4 b4 b4 d'4 d'2 g4. g8 a4 g4 b4 c'4 fis2 g4. g8 a4 a4 fis4 fis4 g2 g4 g4 a4 b4 a4. g8 fis2 a4 a4 fis4 a4 g4. fis8 g2 g4. g8 b4 d'4 c'4. b8 c'2 b4 e'4 e'4 c'4 a4 d'4 d'2 c'4 c'4 d'4 b4 d'4. c'8 b2\n}\nbass = {\n  g4. g8 fis4 g4 e4 d4 g2 g4. g8 fis4 g4 e4 c4 b,2 e4. e8 a,4 a,4 d4 d4 g,2 g4 e4 fis4 g4 a4 a,4 d2 d4. d8 d4 c4 b,4 a,4 g,2 g,4. g,8 g4 f4 e4 d4 c2 gis4 e4 a4. a8 fis4 d4 g2 e4 c4 b,4 e4 d4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "st-george-s-windsor-oh77", "tune": "st-george-s-windsor", "music_file": "st-george-s-windsor-oh77.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:77; all components published pre-1931 (latest year 1871).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:77", "encoding_license": "PD-dedication"}, "music_ly": "%% Songs of Thankfulness and Praise\n%% Imported from Open Hymnal ABC X:77 via tools/abc_import.py\n%% Open Hymnal X:77; all components published pre-1931 (latest year 1871).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  b'4. b'8 d''4 b'4 g'4 a'4 b'2 b'4. b'8 d''4 b'4 g'4 a'4 b'2 b'4. b'8 c''4 c''4 a'4. a'8 b'2 b'4 cis''4 d''4 g'4 fis'4 e'4 d'2 fis'4. fis'8 a'4 fis'4 g'4 a'4 b'2 b'4. b'8 d''4 b'4 c''4 d''4 e''2 e''4. e''8 c''4 a'4 d''4. d''8 b'2 c''4 e''4 d''4 g'4 b'4 a'4 g'2\n}\nalto = {\n  d'4. d'8 d'4 d'4 e'4 fis'4 g'2 d'4. d'8 d'4 d'4 e'4 e'4 dis'2 e'4. e'8 e'4 e'4 d'4 d'4 d'2 d'4 e'4 d'4 e'4 d'4 cis'4 d'2 d'4. d'8 d'4 d'4 d'4 c'4 d'2 d'4. d'8 g'4 g'4 g'4 f'4 e'2 e'4 gis'4 a'4 e'4 d'4 fis'4 g'2 g'4 g'4 g'4 g'4 g'4 fis'4 g'2\n}\ntenor = {\n  g4. g8 a4 b4 b4 d'4 d'2 g4. g8 a4 g4 b4 c'4 fis2 g4. g8 a4 a4 fis4 fis4 g2 g4 g4 a4 b4 a4. g8 fis2 a4 a4 fis4 a4 g4. fis8 g2 g4. g8 b4 d'4 c'4. b8 c'2 b4 e'4 e'4 c'4 a4 d'4 d'2 c'4 c'4 d'4 b4 d'4. c'8 b2\n}\nbass = {\n  g4. g8 fis4 g4 e4 d4 g2 g4. g8 fis4 g4 e4 c4 b,2 e4. e8 a,4 a,4 d4 d4 g,2 g4 e4 fis4 g4 a4 a,4 d2 d4. d8 d4 c4 b,4 a,4 g,2 g,4. g,8 g4 f4 e4 d4 c2 gis4 e4 a4. a8 fis4 d4 g2 e4 c4 b,4 e4 d4 d4 g,2\n}\n", "preferred": true}]}, "st-louis": {"slug": "st-louis", "name": "ST. LOUIS", "meter_label": "8.6.8.6.7.6.8.6", "meter": {"pattern": [8, 6, 8, 6, 7, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "lewis-redner", "composer_date": "1868", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "st-louis-chapel-1898", "provenance": {"layer": "tune", "source": "chapel-hymnal-1898", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "'St. Louis', Lewis H. Redner, 1868. Composer d. 1908.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_louis_redner", "total_instances": 575}}, "harmonization": {"slug": "st-louis-chapel-1898", "tune": "st-louis", "music_file": "st-louis-chapel-1898.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "chapel-hymnal-1898", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Chapel Hymnal, 1898. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:66", "encoding_license": "PD-dedication"}, "music_ly": "%% O Little Town of Bethlehem\n%% Imported from Open Hymnal ABC X:66 via tools/abc_import.py\n%% Public domain: Brooks 1867; tune Redner 1868; setting 1898. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 a'4 a'4 gis'4 a'4 c''4 bes'4 d'4 g'4 f'4 e'8 f'8 g'4 c'4 a'2. a'4 a'4 a'4 d''4 c''4 c''4 bes'4 d'4 g'4 f'4 e'8 f'8 a'4 g'4 f'2. a'4 a'4 a'4 g'4 f'4 e'2 e'4 e'4 d'4 e'4 f'4 g'4 a'2. a'4 a'4 a'4 gis'4 a'4 c''4 bes'4 d'4 d''4 c''4 f'4 a'4. g'8 f'2.\n}\nalto = {\n  c'4 c'4 c'4 b4 c'4 ees'4 d'4 bes4 d'4 c'4 c'4 c'4 c'4 c'2. c'4 c'4 f'4 fis'4 fis'4 g'4 d'4 bes4 d'4 c'4 c'4 e'4 e'4 f'2. f'4 f'4 f'4 e'4 d'4 cis'2 cis'4 cis'4 d'4 cis'4 d'4 d'4 cis'2. c'4 c'4 c'4 b4 c'4 d'4 d'4 bes4 d'8 e'8 f'4 b4 c'4. bes8 a2.\n}\ntenor = {\n  f4 f4 f4 f4 f4 fis4 g4 g4 bes4 a4 g8 a8 bes4 bes4 a2. f4 f4 a4 a4 d'4 d'4 d'4 d'4 bes4 a4 gis8 a8 c'4 bes4 a2. c'4 c'4 a4 bes4 b4 cis'2 cis'4 a4 a4 a4 a4 g4 e2. f4 f4 f4 f4 f4 fis4 g4 g4 bes4 a4 g8 f8 f4. e8 f2.\n}\nbass = {\n  f4 f4 f4 f4 f4 bes,4 bes,4 bes,4 bes,4 c4 c4 c4 c4 f,2. f4 f4 ees4 d4 d4 g4 g4 g,4 bes,4 c4. c8 c4 c4 f2. f4 f4 f4 g4 gis4 a2 a4 a,4 f4 e4 d4 bes,4 a,2. f,4 f,4 f4 f4 f4 bes,4 bes,4 bes,4 bes,4 c4 d4 c4. c8 f,2.\n}\n"}, "harmonizations": [{"slug": "st-louis-chapel-1898", "tune": "st-louis", "music_file": "st-louis-chapel-1898.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 30, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "chapel-hymnal-1898", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Setting, The Chapel Hymnal, 1898. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:66", "encoding_license": "PD-dedication"}, "music_ly": "%% O Little Town of Bethlehem\n%% Imported from Open Hymnal ABC X:66 via tools/abc_import.py\n%% Public domain: Brooks 1867; tune Redner 1868; setting 1898. All pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 a'4 a'4 gis'4 a'4 c''4 bes'4 d'4 g'4 f'4 e'8 f'8 g'4 c'4 a'2. a'4 a'4 a'4 d''4 c''4 c''4 bes'4 d'4 g'4 f'4 e'8 f'8 a'4 g'4 f'2. a'4 a'4 a'4 g'4 f'4 e'2 e'4 e'4 d'4 e'4 f'4 g'4 a'2. a'4 a'4 a'4 gis'4 a'4 c''4 bes'4 d'4 d''4 c''4 f'4 a'4. g'8 f'2.\n}\nalto = {\n  c'4 c'4 c'4 b4 c'4 ees'4 d'4 bes4 d'4 c'4 c'4 c'4 c'4 c'2. c'4 c'4 f'4 fis'4 fis'4 g'4 d'4 bes4 d'4 c'4 c'4 e'4 e'4 f'2. f'4 f'4 f'4 e'4 d'4 cis'2 cis'4 cis'4 d'4 cis'4 d'4 d'4 cis'2. c'4 c'4 c'4 b4 c'4 d'4 d'4 bes4 d'8 e'8 f'4 b4 c'4. bes8 a2.\n}\ntenor = {\n  f4 f4 f4 f4 f4 fis4 g4 g4 bes4 a4 g8 a8 bes4 bes4 a2. f4 f4 a4 a4 d'4 d'4 d'4 d'4 bes4 a4 gis8 a8 c'4 bes4 a2. c'4 c'4 a4 bes4 b4 cis'2 cis'4 a4 a4 a4 a4 g4 e2. f4 f4 f4 f4 f4 fis4 g4 g4 bes4 a4 g8 f8 f4. e8 f2.\n}\nbass = {\n  f4 f4 f4 f4 f4 bes,4 bes,4 bes,4 bes,4 c4 c4 c4 c4 f,2. f4 f4 ees4 d4 d4 g4 g4 g,4 bes,4 c4. c8 c4 c4 f2. f4 f4 f4 g4 gis4 a2 a4 a,4 f4 e4 d4 bes,4 a,2. f,4 f,4 f4 f4 f4 bes,4 bes,4 bes,4 bes,4 c4 d4 c4. c8 f,2.\n}\n", "preferred": true}]}, "st-magnus": {"slug": "st-magnus", "name": "ST. MAGNUS", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "jeremiah-clarke", "composer_date": "1707", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-magnus-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. MAGNUS (C.M.), attributed to Jeremiah Clarke, 1707 (Clarke d. 1707). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 1 sharp; regular 4/4 with a quarter-note pickup; dotted-half final). The soprano and bass were read note-for-note against the engraving; the single chromatic — a soprano cis' at the phrase-2 cadence — is printed with a sharp in the source and kept as the raised leading tone resolving to d'. Melismatic: the florid final line carries 9 soprano notes for its 6 syllables (three 2-note melismas). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Magnus\" (attr. Jeremiah Clarke, 1707); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-magnus-cyberhymnal", "tune": "st-magnus", "music_file": "st-magnus-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 14, 22], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. MAGNUS, attr. Jeremiah Clarke, 1707. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MAGNUS (attr. Jeremiah Clarke, 1707); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, quarter pickup, dotted-half final; soprano and bass read note-for-note; the soprano cis' at the phrase-2 cadence carries the engraving's printed sharp). Melismatic (31 soprano notes / 28 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Magnus\" (attr. Jeremiah Clarke); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MAGNUS (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Magnus\", attr. Jeremiah Clarke,\n%% 1707) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% G major (1 sharp); regular 4/4 with a quarter-note pickup (\\partial 4); every\n%% phrase ends on a note that fits its bar (dotted-half final), so no free-meter\n%% or tied-note splitting is needed. The soprano cis'' at the phrase-2 cadence is\n%% the raised leading tone printed with a sharp in the source (resolves to d'').\n%% MELISMATIC: 31 soprano notes for 28 syllables (C.M.). The florid last line has\n%% three 2-note melismas — engraved slurs on soprano notes 24-25, 26-27 and 29-30\n%% — held with '_' each stanza (verse_variable_melisma). Soprano and bass read\n%% note-for-note; the dense inner-voice eighth figures in the last line come from\n%% the MIDI.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 | g'4 a'4 fis'4 d'4 | g'4 a'4 b'4 a'4 | b'4 g'4 b'4 cis''4 | d''2. a'4 |\n  b'4 a'4 g'4 fis'4 | e'4 a'4 fis'4 d'4 | d''8( fis'8) d''8( c''8) b'4 a'8( c'8) | g'2.\n}\nalto = {\n  b4 | b4 e'4 d'4 d'4 | d'4 d'4 d'4 d'4 | d'4 d'4 d'4 g'4 | fis'2. fis'4 |\n  g'4 fis'4 e'4 d'4 | c'4 e'4 d'4 d'4 | g'8 fis'8 e'8 c''8 d'4 c'8 c'8 | b2.\n}\ntenor = {\n  g4 | g4 c'4 a4 fis8 c8 | g4 fis4 g4 fis4 | g4 b4 b8 a8 g4 | a2. d'4 |\n  d'4 d'4 b4 b8 a8 | g4 c'4 a4 fis8 c8 | g4 g4 g4 fis4 | g2.\n}\nbass = {\n  g4 | e4 c4 d4 c8 c8 | b,4 d4 g,4 d4 | g,4 g4 g8 fis8 e4 | d2. d4 |\n  g4 d4 e4 b,8 a8 | c4 a,4 d4 d8 c8 | b,4 b,4 d4 d4 | g2.\n}\n"}, "harmonizations": [{"slug": "st-magnus-cyberhymnal", "tune": "st-magnus", "music_file": "st-magnus-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 14, 22], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. MAGNUS, attr. Jeremiah Clarke, 1707. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MAGNUS (attr. Jeremiah Clarke, 1707); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, quarter pickup, dotted-half final; soprano and bass read note-for-note; the soprano cis' at the phrase-2 cadence carries the engraving's printed sharp). Melismatic (31 soprano notes / 28 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Magnus\" (attr. Jeremiah Clarke); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MAGNUS (C.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Magnus\", attr. Jeremiah Clarke,\n%% 1707) with tools/mid2ly.py and verified against the Cyber Hymnal engraving.\n%% G major (1 sharp); regular 4/4 with a quarter-note pickup (\\partial 4); every\n%% phrase ends on a note that fits its bar (dotted-half final), so no free-meter\n%% or tied-note splitting is needed. The soprano cis'' at the phrase-2 cadence is\n%% the raised leading tone printed with a sharp in the source (resolves to d'').\n%% MELISMATIC: 31 soprano notes for 28 syllables (C.M.). The florid last line has\n%% three 2-note melismas — engraved slurs on soprano notes 24-25, 26-27 and 29-30\n%% — held with '_' each stanza (verse_variable_melisma). Soprano and bass read\n%% note-for-note; the dense inner-voice eighth figures in the last line come from\n%% the MIDI.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 | g'4 a'4 fis'4 d'4 | g'4 a'4 b'4 a'4 | b'4 g'4 b'4 cis''4 | d''2. a'4 |\n  b'4 a'4 g'4 fis'4 | e'4 a'4 fis'4 d'4 | d''8( fis'8) d''8( c''8) b'4 a'8( c'8) | g'2.\n}\nalto = {\n  b4 | b4 e'4 d'4 d'4 | d'4 d'4 d'4 d'4 | d'4 d'4 d'4 g'4 | fis'2. fis'4 |\n  g'4 fis'4 e'4 d'4 | c'4 e'4 d'4 d'4 | g'8 fis'8 e'8 c''8 d'4 c'8 c'8 | b2.\n}\ntenor = {\n  g4 | g4 c'4 a4 fis8 c8 | g4 fis4 g4 fis4 | g4 b4 b8 a8 g4 | a2. d'4 |\n  d'4 d'4 b4 b8 a8 | g4 c'4 a4 fis8 c8 | g4 g4 g4 fis4 | g2.\n}\nbass = {\n  g4 | e4 c4 d4 c8 c8 | b,4 d4 g,4 d4 | g,4 g4 g8 fis8 e4 | d2. d4 |\n  g4 d4 e4 b,8 a8 | c4 a,4 d4 d8 c8 | b,4 b,4 d4 d4 | g2.\n}\n", "preferred": true}]}, "st-matthew": {"slug": "st-matthew", "name": "ST. MATTHEW", "meter_label": "C.M.D.", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-croft", "composer_date": "1708", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "st-matthew-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. MATTHEW (C.M.D.), William Croft (1678-1727), first published in the Supplement to the New Version of the Psalms of David (1708). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4, 28 bars, no pickup). A florid tune: 67 soprano notes carry a 56-syllable C.M.D. text (11 melismas). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Matthew\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-matthew-cyberhymnal", "tune": "st-matthew", "music_file": "st-matthew-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 16, 27, 34, 44, 51, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. MATTHEW, William Croft, 1708. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MATTHEW (William Croft, 1678-1727; first pub. Supplement to the New Version, 1708); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4). A florid C.M.D. tune: 67 soprano notes carry a 56-syllable text (11 melismas), handled via verse_variable_melisma. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Matthew\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MATTHEW (C.M.D.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Matthew\", William Croft, 1708) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. B-flat major,\n%% 3/4, 28 bars, no pickup; the final bar 28 is a dotted half (bes'2.). FLORID /\n%% MELISMATIC: 67 soprano notes for a 56-syllable C.M.D. text (11 melismas) — the\n%% underlay is carried by the harmonization yaml (verse_variable_melisma: true) plus\n%% the setting's per-stanza '_' held-note marks. The two inner-voice chromatics —\n%% alto bar 21 and tenor bar 19 — are ENGRAVED AS C-SHARP in the Cyber Hymnal score\n%% (sharp on the middle-C position, read from the vector PDF at 600dpi), so both are\n%% spelled cis' here (mid2ly's provisional des' spelling corrected 2026-07-10).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\n\nsoprano = {\n  f'4 d'2 | f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2 |\n  d''4 c''2 | f'4 g'4 f'4 | e'4 f'2 |\n  c''4 a'2 | f'4 bes'2 | d''4 d''4 c''4 | bes'8 es'8 bes'4 a'4 |\n  f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2 |\n  d'4 d'2 | g'4 g'4 fis'4 | g'4 a'4 g'4 | fis'4 g'2 |\n  a'4 bes'2 | a'8 g'8 f'2 | e'4 d'2 |\n  f'4 f'2 | bes'4 g'2 | g'4 c''2 | bes'4 bes'4 a'4 |\n  f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2.\n}\nalto = {\n  c'4 d'2 | d'4 d'2 | f'4 es'4 d'4 | c'4 d'2 |\n  f'4 f'2 | f'4 d'4 c'4 | c'4 c'2 |\n  f'4 f'2 | f'4 f'2 | f'4 g'2 | d'8 es'8 f'2 |\n  c'4 f'2 | f'4 es'4 d'4 | c'4 d'2 |\n  c'4 bes2 | d'4 d'2 | bes4 es'4 d'4 | d'4 d'2 |\n  fis'4 g'2 | d'8 g'8 d'2 | cis'4 d'2 |\n  es'4 d'4 es'4 | f'4 es'2 | f'4 e'4 f'4 | g'4 f'2 |\n  f'4 f'4 es'4 | d'4 g'4 f'4 | f'4 f'2.\n}\ntenor = {\n  f4 bes2 | a4 bes2 | bes4 g4 f4 | f4 f2 |\n  bes4 c'2 | a4 bes4 a4 | g4 a2 |\n  a4 c'2 | c'4 bes2 | bes4 bes4 c'4 | g4 c'2 |\n  a4 bes2 | bes4 g4 f4 | f4 f2 |\n  fis4 g2 | g4 bes4 a4 | g4 c'4 bes4 | a4 bes2 |\n  d'4 d'4 cis'4 | d'8 bes8 a2 | g4 f2 |\n  a4 bes2 | bes4 bes2 | b4 c'2 | c'4 c'2 |\n  a4 bes2 | f'4 es'4 d'4 | c'4 d'2.\n}\nbass = {\n  a,4 bes,2 | d4 g2 | d4 es4 f4 | f,4 bes,2 |\n  bes,4 a,2 | d4 bes,4 c4 | c4 f2 |\n  f4 f2 | es4 d2 | bes,4 es2 | g4 f2 |\n  es4 d2 | bes,4 es4 f4 | f4 bes,2 |\n  a,4 g,2 | bes,4 d2 | es4 c4 d4 | d4 g2 |\n  d4 g4 f4 | f8 g8 a2 | a,4 d2 |\n  c4 bes,4 c4 | d4 es2 | d4 c4 d4 | e4 f2 |\n  es4 d4 c4 | bes,4 es4 f4 | f,4 bes,2.\n}\n"}, "harmonizations": [{"slug": "st-matthew-cyberhymnal", "tune": "st-matthew", "music_file": "st-matthew-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [9, 16, 27, 34, 44, 51, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. MATTHEW, William Croft, 1708. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MATTHEW (William Croft, 1678-1727; first pub. Supplement to the New Version, 1708); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 3/4). A florid C.M.D. tune: 67 soprano notes carry a 56-syllable text (11 melismas), handled via verse_variable_melisma. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Matthew\" (William Croft, 1708); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MATTHEW (C.M.D.) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Matthew\", William Croft, 1708) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. B-flat major,\n%% 3/4, 28 bars, no pickup; the final bar 28 is a dotted half (bes'2.). FLORID /\n%% MELISMATIC: 67 soprano notes for a 56-syllable C.M.D. text (11 melismas) — the\n%% underlay is carried by the harmonization yaml (verse_variable_melisma: true) plus\n%% the setting's per-stanza '_' held-note marks. The two inner-voice chromatics —\n%% alto bar 21 and tenor bar 19 — are ENGRAVED AS C-SHARP in the Cyber Hymnal score\n%% (sharp on the middle-C position, read from the vector PDF at 600dpi), so both are\n%% spelled cis' here (mid2ly's provisional des' spelling corrected 2026-07-10).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 3/4 }\n\nsoprano = {\n  f'4 d'2 | f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2 |\n  d''4 c''2 | f'4 g'4 f'4 | e'4 f'2 |\n  c''4 a'2 | f'4 bes'2 | d''4 d''4 c''4 | bes'8 es'8 bes'4 a'4 |\n  f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2 |\n  d'4 d'2 | g'4 g'4 fis'4 | g'4 a'4 g'4 | fis'4 g'2 |\n  a'4 bes'2 | a'8 g'8 f'2 | e'4 d'2 |\n  f'4 f'2 | bes'4 g'2 | g'4 c''2 | bes'4 bes'4 a'4 |\n  f'4 bes'2 | d''4 c''4 bes'4 | a'4 bes'2.\n}\nalto = {\n  c'4 d'2 | d'4 d'2 | f'4 es'4 d'4 | c'4 d'2 |\n  f'4 f'2 | f'4 d'4 c'4 | c'4 c'2 |\n  f'4 f'2 | f'4 f'2 | f'4 g'2 | d'8 es'8 f'2 |\n  c'4 f'2 | f'4 es'4 d'4 | c'4 d'2 |\n  c'4 bes2 | d'4 d'2 | bes4 es'4 d'4 | d'4 d'2 |\n  fis'4 g'2 | d'8 g'8 d'2 | cis'4 d'2 |\n  es'4 d'4 es'4 | f'4 es'2 | f'4 e'4 f'4 | g'4 f'2 |\n  f'4 f'4 es'4 | d'4 g'4 f'4 | f'4 f'2.\n}\ntenor = {\n  f4 bes2 | a4 bes2 | bes4 g4 f4 | f4 f2 |\n  bes4 c'2 | a4 bes4 a4 | g4 a2 |\n  a4 c'2 | c'4 bes2 | bes4 bes4 c'4 | g4 c'2 |\n  a4 bes2 | bes4 g4 f4 | f4 f2 |\n  fis4 g2 | g4 bes4 a4 | g4 c'4 bes4 | a4 bes2 |\n  d'4 d'4 cis'4 | d'8 bes8 a2 | g4 f2 |\n  a4 bes2 | bes4 bes2 | b4 c'2 | c'4 c'2 |\n  a4 bes2 | f'4 es'4 d'4 | c'4 d'2.\n}\nbass = {\n  a,4 bes,2 | d4 g2 | d4 es4 f4 | f,4 bes,2 |\n  bes,4 a,2 | d4 bes,4 c4 | c4 f2 |\n  f4 f2 | es4 d2 | bes,4 es2 | g4 f2 |\n  es4 d2 | bes,4 es4 f4 | f4 bes,2 |\n  a,4 g,2 | bes,4 d2 | es4 c4 d4 | d4 g2 |\n  d4 g4 f4 | f8 g8 a2 | a,4 d2 |\n  c4 bes,4 c4 | d4 es2 | d4 c4 d4 | e4 f2 |\n  es4 d4 c4 | bes,4 es4 f4 | f,4 bes,2.\n}\n", "preferred": true}]}, "st-michael": {"slug": "st-michael", "name": "ST. MICHAEL", "alt_name": "OLD 134TH", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-crotch", "composer_date": "1836", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-michael-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. MICHAEL (also OLD 134TH), a short-metre tune adapted by William Crotch (1836) from a melody in the French Genevan Psalter (1551, Louis Bourgeois). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Michael\" (Bourgeois/Crotch); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-michael-cyberhymnal", "tune": "st-michael", "music_file": "st-michael-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. MICHAEL (OLD 134TH), melody Louis Bourgeois (Genevan Psalter, 1551), adapted William Crotch, 1836. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MICHAEL (OLD 134TH), Bourgeois melody adapted by William Crotch (1836); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4). Crotch d. 1847; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Michael\" (Bourgeois/Crotch); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MICHAEL (OLD 134TH, S.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Michael\", Bourgeois melody adapted\n%% by William Crotch 1836) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving (G major, 4/4). Fully syllabic S.M. (26 soprano notes = 26 syllables).\n%% The alto D-sharp is a correctly-spelled chromatic tone printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 g'4 b'4 a'4 | a'4 b'2. | d''4 c''4 b'4 a'4 | a'4 g'2. | g'4 fis'4 e'4 d'4 | g'4 g'4 a'4 b'4 | b'4 a'4 g'4 g'4 | fis'4 g'2.\n}\nalto = {\n  b4 e'4 g'4 g'4 | fis'4 g'2. | a'4 g'4 g'4 g'4 | fis'4 g'2. | e'4 d'4 c'4 b4 | d'4 e'4 e'4 dis'4 | d'4 c'4 d'4 e'4 | d'4 d'2.\n}\ntenor = {\n  g4 b4 d'4 e'4 | d'4 d'2. | d'4 e'4 d'4 d'4 | d8 c'8 b2. | b4 b4 g4 g4 | g4 b4 a4 fis4 | g4 e8 fis8 g4 c'4 | a4 b2.\n}\nbass = {\n  g4 e4 b,4 c4 | d4 g2. | fis4 e4 g4 d4 | d8 c'8 g,2. | e4 b,4 c4 g,4 | b,4 e4 c4 b,4 | g,4 a,8 fis8 b,4 b,4 | d4 g,2.\n}\n"}, "harmonizations": [{"slug": "st-michael-cyberhymnal", "tune": "st-michael", "music_file": "st-michael-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. MICHAEL (OLD 134TH), melody Louis Bourgeois (Genevan Psalter, 1551), adapted William Crotch, 1836. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. MICHAEL (OLD 134TH), Bourgeois melody adapted by William Crotch (1836); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4). Crotch d. 1847; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Michael\" (Bourgeois/Crotch); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. MICHAEL (OLD 134TH, S.M.) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Michael\", Bourgeois melody adapted\n%% by William Crotch 1836) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving (G major, 4/4). Fully syllabic S.M. (26 soprano notes = 26 syllables).\n%% The alto D-sharp is a correctly-spelled chromatic tone printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 g'4 b'4 a'4 | a'4 b'2. | d''4 c''4 b'4 a'4 | a'4 g'2. | g'4 fis'4 e'4 d'4 | g'4 g'4 a'4 b'4 | b'4 a'4 g'4 g'4 | fis'4 g'2.\n}\nalto = {\n  b4 e'4 g'4 g'4 | fis'4 g'2. | a'4 g'4 g'4 g'4 | fis'4 g'2. | e'4 d'4 c'4 b4 | d'4 e'4 e'4 dis'4 | d'4 c'4 d'4 e'4 | d'4 d'2.\n}\ntenor = {\n  g4 b4 d'4 e'4 | d'4 d'2. | d'4 e'4 d'4 d'4 | d8 c'8 b2. | b4 b4 g4 g4 | g4 b4 a4 fis4 | g4 e8 fis8 g4 c'4 | a4 b2.\n}\nbass = {\n  g4 e4 b,4 c4 | d4 g2. | fis4 e4 g4 d4 | d8 c'8 g,2. | e4 b,4 c4 g,4 | b,4 e4 c4 b,4 | g,4 a,8 fis8 b,4 b,4 | d4 g,2.\n}\n", "preferred": true}]}, "st-stephen": {"slug": "st-stephen", "name": "ST. STEPHEN", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-jones", "composer_date": "1789", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-stephen-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. STEPHEN, William Jones of Nayland (1726–1800), published 1789 (\"Ten Church Pieces for the Organ\"). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, one-beat anacrusis; both phrase cadences are dotted halves). The tune is melismatic — 33 soprano notes for 28 C.M. syllables, in five two-note melismas. The rising soprano figure into bar 3 is the diatonic scale F#-G-A-B-C-D: the C is a natural as printed (the MIDI encoded a stray C-sharp there, corrected to the engraved C natural), while the alto's bar-2 lower-neighbour D-C#-D keeps the engraving's printed sharp. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Stephen\" (William Jones, 1789); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "st-stephen-cyberhymnal", "tune": "st-stephen", "music_file": "st-stephen-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [9, 17, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. STEPHEN, William Jones, 1789. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. STEPHEN (William Jones of Nayland, 1726–1800; published 1789); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, one-beat anacrusis; melismatic, 33 soprano notes for 28 C.M. syllables). The soprano's bar-2 beat-4 C was read as the printed natural (diatonic scale F#-G-A-B-C-D); the MIDI's stray C-sharp there was corrected to the engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Stephen\" (William Jones, 1789); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. STEPHEN (C.M.) — William Jones of Nayland, 1789. Four SATB voice streams,\n%% canonical key G major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Stephen\", William Jones 1789) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4); each of the four C.M. lines starts on beat 4 and\n%% cadences on a dotted half. MELISMATIC: 33 soprano notes for 28 syllables — the\n%% five two-note melismas are the beamed/slurred eighth pairs (verse_variable_melisma;\n%% each continuation is held with '_' every stanza). The soprano's bar-2 beat-4 note\n%% is C natural (c''), completing the diatonic scale run F#-G-A-B-C-D into bar 3, as\n%% printed — the MIDI's stray C-sharp there was corrected to the engraved natural.\n%% The alto's bar-2 D-C#-D lower neighbour keeps the engraving's printed sharp (cis').\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 d''4 b'4 g'4 a'8( g'8) fis'4 g'4 a'4 b'8( c''8) d''4 g'8( a'8) b'4 a'4 g'2. b'4 c''4 a'4 b'4 c''4 d''4 a'8( g'8) fis'4 e'4 d'4 g'8( a'8) b'4 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 e'4 e'4 d'4 d'8 cis'8 d'4 d'4 d'4 b8 c'8 d'4 d'8 c'8 b2. d'4 c'4 d'4 d'4 g'4 g'4 e'4 d'4 c'4 b4 b8 c'8 d'4 d'8 c'8 b2.\n}\ntenor = {\n  b4 a4 g4 b4 c'4 a4 g4 fis4 g4 g4 g4 g4 fis4 g2. g4 g4 a4 g4 g4 g4 c'8 b8 a4 g8 a8 b4 g4 g4 fis4 g2.\n}\nbass = {\n  g4 fis4 g4 e4 c4 d4 e4 d4 g,8 a,8 b,4 e4 d4 d4 g,2. g4 e4 fis4 g4 e4 b,4 c4 d4 e8 fis8 g4 e4 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "st-stephen-cyberhymnal", "tune": "st-stephen", "music_file": "st-stephen-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [9, 17, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "ST. STEPHEN, William Jones, 1789. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune ST. STEPHEN (William Jones of Nayland, 1726–1800; published 1789); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, one-beat anacrusis; melismatic, 33 soprano notes for 28 C.M. syllables). The soprano's bar-2 beat-4 C was read as the printed natural (diatonic scale F#-G-A-B-C-D); the MIDI's stray C-sharp there was corrected to the engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"St. Stephen\" (William Jones, 1789); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% ST. STEPHEN (C.M.) — William Jones of Nayland, 1789. Four SATB voice streams,\n%% canonical key G major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"St. Stephen\", William Jones 1789) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4 with a\n%% one-beat anacrusis (\\partial 4); each of the four C.M. lines starts on beat 4 and\n%% cadences on a dotted half. MELISMATIC: 33 soprano notes for 28 syllables — the\n%% five two-note melismas are the beamed/slurred eighth pairs (verse_variable_melisma;\n%% each continuation is held with '_' every stanza). The soprano's bar-2 beat-4 note\n%% is C natural (c''), completing the diatonic scale run F#-G-A-B-C-D into bar 3, as\n%% printed — the MIDI's stray C-sharp there was corrected to the engraved natural.\n%% The alto's bar-2 D-C#-D lower neighbour keeps the engraving's printed sharp (cis').\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 d''4 b'4 g'4 a'8( g'8) fis'4 g'4 a'4 b'8( c''8) d''4 g'8( a'8) b'4 a'4 g'2. b'4 c''4 a'4 b'4 c''4 d''4 a'8( g'8) fis'4 e'4 d'4 g'8( a'8) b'4 a'4 g'2.\n}\nalto = {\n  d'4 d'4 d'4 e'4 e'4 d'4 d'8 cis'8 d'4 d'4 d'4 b8 c'8 d'4 d'8 c'8 b2. d'4 c'4 d'4 d'4 g'4 g'4 e'4 d'4 c'4 b4 b8 c'8 d'4 d'8 c'8 b2.\n}\ntenor = {\n  b4 a4 g4 b4 c'4 a4 g4 fis4 g4 g4 g4 g4 fis4 g2. g4 g4 a4 g4 g4 g4 c'8 b8 a4 g8 a8 b4 g4 g4 fis4 g2.\n}\nbass = {\n  g4 fis4 g4 e4 c4 d4 e4 d4 g,8 a,8 b,4 e4 d4 d4 g,2. g4 e4 fis4 g4 e4 b,4 c4 d4 e8 fis8 g4 e4 d4 d4 g,2.\n}\n", "preferred": true}]}, "st-theodulph": {"slug": "st-theodulph", "name": "ST. THEODULPH", "meter_label": "7.6.7.6 with Refrain", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "melchior-teschner", "composer_date": "1615", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "all-glory-laud-and-honor-oh93", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:93 (line 9862); ST. THEODULPH, Melchior Teschner 1615; setting Presbyterian Hymnal 1911. All pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "all-glory-laud-and-honor-oh93", "tune": "st-theodulph", "music_file": "all-glory-laud-and-honor-oh93.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain_first": {"refrain_notes": 26}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 27, "kind": "verse"}, {"soprano_note": 53, "kind": "to_refrain"}], "source_line": "Music: ST. THEODULPH, Melchior Teschner, 1615; setting Presbyterian Hymnal, 1911. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:93 (line 9862); setting Presbyterian Hymnal, Revised, 1911 (Hymn 216); tune Teschner 1615. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:93", "encoding_license": "PD-dedication"}, "music_ly": "%% All Glory, Laud, and Honor\n%% Imported from Open Hymnal ABC X:93 via tools/abc_import.py\n%% Words: Theodulf of Orleans, c.820, tr. John Mason Neale, 1851; Music: ST. THEODULPH, Melchior Teschner, 1615; setting Presbyterian Hymnal, 1911. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 g'4 g'4 a'4 b'4 c''2 c''4 e''4 d''4 c''4 a'4 b'4 c''2. c'4 g'4 g'4 a'4 b'4 c''2 c''4 e''4 d''4 c''4 a'4 b'4 c''2. c''4 e''4 e''4 d''4 c''4 b'2 b'4 b'4 c''4 b'4 a'4 a'4 g'2. g'4 e'4 g'4 a'4 g'4 g'4( f'4) e'4 g'4 f'4 e'4 d'4 d'4 c'2.\n}\nalto = {\n  c'4 c'8 d'8 e'4 c'4 f'4 f'4( e'8 d'8) e'4 g'4 g'4 g'4 f'4 d'4 e'2. c'4 c'8 d'8 e'4 c'4 f'4 f'4( e'8 d'8) e'4 g'4 g'4 g'4 f'4 d'4 e'2. f'4 e'4 e'4 g'4 g'4 fis'4( a'4) g'4 g'4 e'4 g'4 e'4 fis'4 g'2. d'4 c'4 b4 a4 c'4 d'4( b4) c'4 c'4 c'4 c'4 c'4 b4 c'2.\n}\ntenor = {\n  e4 e8 f8 g4 f4 g4 g2 g4 c'4 b4 c'4 a4 g4 g2. e4 e8 f8 g4 f4 g4 g2 g4 c'4 b4 c'4 a4 g4 g2. a4 c'4 c'4 d'4 g4 a4( d'4) d'4 e'4 e'4 d'4 a8 b8 c'4 b2. g4 g4 g4 c'4 g4 g2 g4 g4 a4 g4 g4. f8 e2.\n}\nbass = {\n  c4 c4 c4 f4 d4 c2 c4 c4 g4 e4 f4 g4 c2. c4 c4 c4 f4 d4 c2 c4 c4 g4 e4 f4 g4 c2. f4 c4 a,4 b,4 e4 d4( fis4) g4 e4 a,4 b,4 c4 d4 g,2. b,4 c4 e4 f4 e4 b,4( g,4) c4 e4 f4 c4 g,4 g,4 c2.\n}\n"}, "harmonizations": [{"slug": "all-glory-laud-and-honor-oh93", "tune": "st-theodulph", "music_file": "all-glory-laud-and-honor-oh93.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain_first": {"refrain_notes": 26}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 27, "kind": "verse"}, {"soprano_note": 53, "kind": "to_refrain"}], "source_line": "Music: ST. THEODULPH, Melchior Teschner, 1615; setting Presbyterian Hymnal, 1911. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:93 (line 9862); setting Presbyterian Hymnal, Revised, 1911 (Hymn 216); tune Teschner 1615. All pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:93", "encoding_license": "PD-dedication"}, "music_ly": "%% All Glory, Laud, and Honor\n%% Imported from Open Hymnal ABC X:93 via tools/abc_import.py\n%% Words: Theodulf of Orleans, c.820, tr. John Mason Neale, 1851; Music: ST. THEODULPH, Melchior Teschner, 1615; setting Presbyterian Hymnal, 1911. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 g'4 g'4 a'4 b'4 c''2 c''4 e''4 d''4 c''4 a'4 b'4 c''2. c'4 g'4 g'4 a'4 b'4 c''2 c''4 e''4 d''4 c''4 a'4 b'4 c''2. c''4 e''4 e''4 d''4 c''4 b'2 b'4 b'4 c''4 b'4 a'4 a'4 g'2. g'4 e'4 g'4 a'4 g'4 g'4( f'4) e'4 g'4 f'4 e'4 d'4 d'4 c'2.\n}\nalto = {\n  c'4 c'8 d'8 e'4 c'4 f'4 f'4( e'8 d'8) e'4 g'4 g'4 g'4 f'4 d'4 e'2. c'4 c'8 d'8 e'4 c'4 f'4 f'4( e'8 d'8) e'4 g'4 g'4 g'4 f'4 d'4 e'2. f'4 e'4 e'4 g'4 g'4 fis'4( a'4) g'4 g'4 e'4 g'4 e'4 fis'4 g'2. d'4 c'4 b4 a4 c'4 d'4( b4) c'4 c'4 c'4 c'4 c'4 b4 c'2.\n}\ntenor = {\n  e4 e8 f8 g4 f4 g4 g2 g4 c'4 b4 c'4 a4 g4 g2. e4 e8 f8 g4 f4 g4 g2 g4 c'4 b4 c'4 a4 g4 g2. a4 c'4 c'4 d'4 g4 a4( d'4) d'4 e'4 e'4 d'4 a8 b8 c'4 b2. g4 g4 g4 c'4 g4 g2 g4 g4 a4 g4 g4. f8 e2.\n}\nbass = {\n  c4 c4 c4 f4 d4 c2 c4 c4 g4 e4 f4 g4 c2. c4 c4 c4 f4 d4 c2 c4 c4 g4 e4 f4 g4 c2. f4 c4 a,4 b,4 e4 d4( fis4) g4 e4 a,4 b,4 c4 d4 g,2. b,4 c4 e4 f4 e4 b,4( g,4) c4 e4 f4 c4 g,4 g,4 c2.\n}\n", "preferred": true}, {"slug": "st-theodulph-bwv24526", "tune": "st-theodulph", "music_file": "st-theodulph-bwv24526.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 26, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain_first": {"refrain_notes": 26}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 27, "kind": "verse"}, {"soprano_note": 57, "kind": "to_refrain"}], "source_line": "ST. THEODULPH (VALET WILL ICH DIR GEBEN), Melchior Teschner, 1615; harm. J. S. Bach, St John Passion (BWV 245.26). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 245.26 — \"In meines Herzens Grunde\", the VALET WILL ICH DIR GEBEN chorale of the St John Passion (1724) — No. 108 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor108.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices. The kern encodes the Stollen once with a repeat (*>[A,A,B]); the converter writes it out A-A-B, both seams merging Bach's 3-beat Stollen-close bar with the next section's own 1-beat pickup into one full 4/4 bar (no odd-length bars, no time_changes needed). Machine comparison against the independently engraved music21 corpus bach/bwv245.26.mxl (which carries Bach's full German underlay): alto and tenor identical event-for-event; soprano identical except that the mxl subdivides the \"loh(nen)\" melisma quarter at sung ordinal 50 into two passing eighths; bass identical except one editorial accidental (the kern's marked A-flat against the mxl's A natural, bass event 53) — the kern reading (the declared source) is kept both times. Bach's pitch level is E-flat major (the kern's *k[b-e-a-] with *E-:); stored in C major — a mechanical, spelling-exact transposition down a minor third — to match the tune's corpus canonical key, the CI-enforced storage convention shared with the existing Presbyterian-1911 setting; the melody was verified against that setting's soprano transposition-invariantly (51 of 53 corpus notes aligned; corpus note 11 = 24 is Bach's variant third-of-scale doubled by the Stollen repeat, and Bach adds 4 ornamental notes in the Abgesang). Fermatas at the eight phrase ends (soprano ordinals 7, 13, 20, 26, 36, 42, 51, 57) are omitted per house style. The melisma holds (sung soprano notes 28, 34, 35, 45, 50) follow Bach's own underlay in the texted mxl witness.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor108.krn (BWV 245.26, Breitkopf No. 108), converted with tools/kern2ly.py and stored transposed E-flat -> C major (the tune's corpus canonical key)", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% ST. THEODULPH / VALET WILL ICH DIR GEBEN (7.6.7.6 with Refrain) — four SATB\n%% voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 245.26 — \"In meines Herzens Grunde\", the\n%% VALET WILL ICH DIR GEBEN chorale of the St John Passion (1724), No. 108 in\n%% the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) —\n%% converted from the craigsapp/bach-370-chorales kern edition (chor108.krn)\n%% with tools/kern2ly.py and verified event-for-event against the kern source\n%% in all four voices. The kern encodes the Stollen once with a repeat\n%% (*>[A,A,B]); the converter writes it out A-A-B, and at both seams Bach's\n%% 3-beat Stollen-close bar absorbs the next section's own 1-beat pickup into\n%% one full 4/4 bar — no odd-length bars remain. Bach's pitch level is E-flat\n%% major (the kern's *k[b-e-a-] + *E-:); stored here in C major — a mechanical,\n%% spelling-exact transposition down a minor third — to match the tune's corpus\n%% canonical key, the storage convention shared with the Presbyterian-1911\n%% setting (all-glory-laud-and-honor-oh93); books select concert keys from the\n%% canonical form. 4/4, quarter pickup. The source prints fermatas at soprano\n%% ordinals 7, 13, 20, 26, 36, 42, 51, 57 (phrases 7+6+7+6 | 10+6+9+6, one per\n%% text line); fermatas are omitted per house style. Machine comparison against\n%% the independently engraved music21 corpus bach/bwv245.26.mxl (full German\n%% underlay): alto and tenor identical event-for-event; soprano identical\n%% except that the mxl subdivides the \"loh(nen)\" melisma quarter at sung\n%% ordinal 50 into two passing eighths; bass identical except one editorial\n%% accidental (the kern's marked A-flat, mxl A natural, bass event 53) — the\n%% kern reading (the declared source) is kept both times. MELISMATIC: 57 sung\n%% soprano notes for 52 syllables; the doubled 13-note Stollen (notes 1-26) is\n%% the leading refrain, one syllable per note; the 31-note Abgesang carries the\n%% 26-syllable verse with holds at sung soprano notes 28, 34, 35, 45, 50,\n%% Bach's own underlay in the texted mxl witness (Im_ Himmel, woh_ _nen,\n%% wird_, loh_nen) — slurred here at 27-28, 33-35, 44-45, 49-50.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'4 |\n  g'4 g'4 a'4 b'4 |\n  c''2 c''4 e''4 |\n  d''4 c''4 c''4 b'4 |\n  c''2. c'4 |\n  g'4 g'4 a'4 b'4 |\n  c''2 c''4 e''4 |\n  d''4 c''4 c''4 b'4 |\n  c''2. c''8( d''8) |\n  e''4 e''4 d''4 c''4 |\n  b'8( a'8 b'4) g'4 b'4 |\n  c''4 b'4 a'4 a'4 |\n  g'2. g'4 |\n  e'8( f'8) g'4 a'4 g'4 |\n  g'4( f'4) e'4 g'4 |\n  f'4 e'4 d'4 d'4 |\n  c'2.\n}\n\nalto = {\n  g4 |\n  c'4 e'4 f'4 e'4 |\n  e'2 e'4 a'4 |\n  a'4 f'4 e'4 d'4 |\n  e'2. g4 |\n  c'4 e'4 f'4 e'4 |\n  e'2 e'4 a'4 |\n  a'4 f'4 e'4 d'4 |\n  e'2. e'8 f'8 |\n  g'4 a'4 a'4 fis'4 |\n  g'8 fis'8 g'4 d'4 g'4 |\n  g'4 g'4 g'4 fis'4 |\n  d'2. d'4 |\n  c'8 d'8 e'4 f'4 e'4 |\n  e'4 d'4 c'4 c'4 |\n  c'4 c'4 c'4 b4 |\n  g2.\n}\n\ntenor = {\n  e4 |\n  g4 c'4 c'4 b4 |\n  a2 a4 c'4 |\n  a4 a4 g4 g4 |\n  g2. e4 |\n  g4 c'4 c'4 b4 |\n  a2 a4 c'4 |\n  a4 a4 g4 g4 |\n  g2. g4 |\n  c'4 c'4 d'4 d'4 |\n  d'8 c'8 d'4 b4 d'4 |\n  c'4 d'4 e'4 d'8 c'8 |\n  b2. g4 |\n  g4 c'4 c'4 bes4 |\n  a2 a4 e4 |\n  f4 g4 a4 g8 f8 |\n  e2.\n}\n\nbass = {\n  c4 |\n  e4 c4 f4 gis,4 |\n  a,2 a,4 a4 |\n  f4 d4 g4 g,4 |\n  c2. c4 |\n  e4 c4 f4 gis,4 |\n  a,2 a,4 a4 |\n  f4 d4 g4 g,4 |\n  c2. c4 |\n  c'8 b8 a8 g8 fis4 d4 |\n  g2 g,4 f4 |\n  e4 d4 c4 d4 |\n  g,2. b,4 |\n  c4 bes,4 a,8 b,8 cis4 |\n  d2 a,4 bes,4 |\n  a,4 g,4 f,4 g,4 |\n  c,2.\n}\n", "preferred": false}]}, "st-thomas": {"slug": "st-thomas", "name": "ST. THOMAS", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "aaron-williams", "composer_date": "1762", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-thomas-oh44", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "ST. THOMAS (S.M.), Aaron Williams, 1762 — first published in Williams's The Universal Psalmodist (1763; the four-phrase S.M. extract widely dated 1762, carried in his New Universal Psalmodist, 1770). Corpus encoding from Open Hymnal X:44 ('The Advent of Our God'), whose C-line credits \"Music: 'St. Thomas' Aaron Williams, 1770\" from The Church Hymnal, Revised and Enlarged (Episcopal), 1905, Hymn 485 — all components pre-1931. Identity verified 2026-08-13: the corpus soprano matches the Hymnary.org authority st_thomas_williams incipit 51132123454343253125 in all 20 digits (S.M., Aaron Williams, 1762, Public Domain, 1281 instances). NOTE: this tune carried meter C.M. [8,6,8,6] and composer_date 1905 from 2026-07 until 2026-08-13 — bulk-import artifacts (the meter from the C.M. psalm texts paired onto it via note_splits, the date from the OH setting line); the C.M. pairings remain, marked meter_checked on their settings — and since 2026-11-08 they carry the underlay that makes them fit: note_splits [2, 3] (the second and third soprano quarters divided, tools/underlay_setting.py) with explicit stanza_lines. Before that the settings had the flag and nothing else, and every verse lost its last word.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_thomas_williams", "total_instances": 1281}}, "harmonization": {"slug": "st-thomas-oh44", "tune": "st-thomas", "music_file": "st-thomas-oh44.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. THOMAS, Aaron Williams, 1762; four-part setting from the Open Hymnal Project. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:44; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:44", "encoding_license": "PD-dedication"}, "music_ly": "%% The Advent of Our God\n%% Imported from Open Hymnal ABC X:44 via tools/abc_import.py\n%% Open Hymnal X:44; all components published pre-1931 (latest year 1905).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'4 g'4 b'4 a'8( g'8) a'2. b'8( c''8) d''4 c''8( b'8) c''4 b'4 a'2. d''4 b'4 g'4 a'4 d'4 g'8( a'8) b'8( cis''8) d''4. d''8 e''4 d''8( c''8) b'4 a'4 g'2.\n}\nalto = {\n  b4 d'4 d'4 d'4 d'8 cis'8 d'2. g'8 fis'8 g'4 fis'8 g'8 e'8 fis'8 g'4 fis'2. d'4 d'4 d'4 d'4 d'4 d'4 g'4 fis'4. g'8 g'4 g'4 g'4 fis'4 d'2.\n}\ntenor = {\n  g4 g4 b4 d'4 a4 fis2. d'4 d'4 d'4 c'4 d'4 d'2. a4 g4 g4 fis4 a4 b4 g4 a4. b8 c'4 d'8 e'8 d'4 c'4 b2.\n}\nbass = {\n  g,4 b,4 g,4 g4 fis8 e8 d2. g8 a8 b4 a8 g8 a4 g4 d2. fis4 g4 b,4 d4 fis4 g4 e4 d4. g8 c4 b,8 c8 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "st-thomas-oh44", "tune": "st-thomas", "music_file": "st-thomas-oh44.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. THOMAS, Aaron Williams, 1762; four-part setting from the Open Hymnal Project. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:44; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:44", "encoding_license": "PD-dedication"}, "music_ly": "%% The Advent of Our God\n%% Imported from Open Hymnal ABC X:44 via tools/abc_import.py\n%% Open Hymnal X:44; all components published pre-1931 (latest year 1905).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'4 g'4 b'4 a'8( g'8) a'2. b'8( c''8) d''4 c''8( b'8) c''4 b'4 a'2. d''4 b'4 g'4 a'4 d'4 g'8( a'8) b'8( cis''8) d''4. d''8 e''4 d''8( c''8) b'4 a'4 g'2.\n}\nalto = {\n  b4 d'4 d'4 d'4 d'8 cis'8 d'2. g'8 fis'8 g'4 fis'8 g'8 e'8 fis'8 g'4 fis'2. d'4 d'4 d'4 d'4 d'4 d'4 g'4 fis'4. g'8 g'4 g'4 g'4 fis'4 d'2.\n}\ntenor = {\n  g4 g4 b4 d'4 a4 fis2. d'4 d'4 d'4 c'4 d'4 d'2. a4 g4 g4 fis4 a4 b4 g4 a4. b8 c'4 d'8 e'8 d'4 c'4 b2.\n}\nbass = {\n  g,4 b,4 g,4 g4 fis8 e8 d2. g8 a8 b4 a8 g8 a4 g4 d2. fis4 g4 b,4 d4 fis4 g4 e4 d4. g8 c4 b,8 c8 d4 d4 g,2.\n}\n", "preferred": true}, {"slug": "st-thomas-oh44-c-natural", "tune": "st-thomas", "music_file": "st-thomas-oh44-c-natural.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "ST. THOMAS, Aaron Williams, 1762; four-part setting from the Open Hymnal Project, soprano bar 6 diatonic. Public domain.", "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "EDITORIAL VARIANT of st-thomas-oh44 (owner, 2026-09-15, at the #doreancon 2026 organizers' direction — their published MusicXML carries the same reading): ONE pitch differs — the soprano's chromatic passing cis'' in bar 6 (beat 2, second eighth; the raised fourth leaning into the bar's V) is the diatonic c'', so the page in the conference's F major prints B-flat, not B-natural, there. Every other note, slur and rhythm is the source setting's (the alto's cis' in bar 1 included). Kept as a separate harmonization rather than an in-place emendation because the source reading is a legitimate one other collections may prefer; the tune's preferred harmonization stays st-thomas-oh44. PD basis is the source setting's — a one-note diatonic reading of a public-domain tune adds no protectable originality (the detroit-modern precedent); the diatonic reading is the common modern one, no separate pre-1931 attestation searched. Source: Open Hymnal X:44; all components published pre-1931 (latest year 1905).", "pd_jurisdictions": {"US": true}, "encoding_origin": "st-thomas-oh44 (Open Hymnal Project 2014.06, X:44) with one editorial pitch change, session 2026-09-15", "encoding_license": "PD-dedication"}, "music_ly": "%% The Advent of Our God\n%% Imported from Open Hymnal ABC X:44 via tools/abc_import.py\n%% EDITORIAL VARIANT of st-thomas-oh44 (2026-09-15): the soprano's chromatic\n%% cis'' in bar 6 (beat 2, second eighth) is the diatonic c'' — every other\n%% note identical. The #doreancon 2026 organizers' reading (the printed\n%% F-major page then has no B-natural in bar 6); the source setting keeps\n%% its C-sharp for collections that prefer it.\n%% Open Hymnal X:44; all components published pre-1931 (latest year 1905).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 g'4 g'4 b'4 a'8( g'8) a'2. b'8( c''8) d''4 c''8( b'8) c''4 b'4 a'2. d''4 b'4 g'4 a'4 d'4 g'8( a'8) b'8( c''8) d''4. d''8 e''4 d''8( c''8) b'4 a'4 g'2.\n}\nalto = {\n  b4 d'4 d'4 d'4 d'8 cis'8 d'2. g'8 fis'8 g'4 fis'8 g'8 e'8 fis'8 g'4 fis'2. d'4 d'4 d'4 d'4 d'4 d'4 g'4 fis'4. g'8 g'4 g'4 g'4 fis'4 d'2.\n}\ntenor = {\n  g4 g4 b4 d'4 a4 fis2. d'4 d'4 d'4 c'4 d'4 d'2. a4 g4 g4 fis4 a4 b4 g4 a4. b8 c'4 d'8 e'8 d'4 c'4 b2.\n}\nbass = {\n  g,4 b,4 g,4 g4 fis8 e8 d2. g8 a8 b4 a8 g8 a4 g4 d2. fis4 g4 b,4 d4 fis4 g4 e4 d4. g8 c4 b,8 c8 d4 d4 g,2.\n}\n", "preferred": false}]}, "st-ursula": {"slug": "st-ursula", "name": "ST. URSULA", "meter_label": "C.M.D.", "meter": {"pattern": [8, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "frederick-westlake", "composer_date": "1896", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "st-ursula-oh300", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:300; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "st_ursula_westlake", "total_instances": 19}}, "harmonization": {"slug": "st-ursula-oh300", "tune": "st-ursula", "music_file": "st-ursula-oh300.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 29, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:300; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:300", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord, Who at Cana's Wedding Feast\n%% Imported from Open Hymnal ABC X:300 via tools/abc_import.py\n%% Open Hymnal X:300; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  b'4 d''4. c''8 b'4 g'4 b'4 a'4 g'4 d'4 e'4 g'4 g'4. a'8 fis'2. a'4 d''4. c''8 b'4 e''8( d''8) c''4. b'8 a'4 b'4 g'4 b'4 d''4. cis''8 b'2. d''4 d''4. d''8 e''4 d''4 d''4. c''8 b'4 b'4 g'4. g'8 c''4 e''4 a'2. a'4 d''4. d''8 e''4 d''4 c''4 d''4 b'4 a'4 g'4. g'8 g'4 fis'4 g'2.\n}\nalto = {\n  g'4 g'4 fis'4 g'4 e'4 d'4 d'4 d'4 b4 c'4 b4 d'4 e'4 d'2. fis'4 g'4. fis'8 g'4 e'4 e'4. e'8 e'4 dis'4 e'4 g'4 fis'4 e'4 d'2. fis'4 g'4. g'8 g'4 g'4 a'4. a'8 g'4 g'4 e'4. e'8 e'4 e'4 d'2. e'8 fis'8 g'4. g'8 g'4 gis'4 a'4 a'4 g'4 fis'4 g'4. e'8 d'4 d'4 d'2.\n}\ntenor = {\n  d'4 b4 c'4 d'4 c'4 c'4 c'4 b4 g4 g4 g4 g4 c'4 a2. d'4 d'4. d'8 d'4 g4 a4. gis8 a4 fis4 g4 g8 a8 b4 ais4 b2. b4 b4. b8 c'4 b4 a4. d'8 d'4 d'4 c'4. c'8 c'4 c'4 d'4( c'4 b4) a4 g4. g8 c'4 b4 a4 a4 d'4 c'4 b4. c'8 b4 a4 b2.\n}\nbass = {\n  g4 g,4 a,4 b,4 c4 d4 e8 fis8 g4 g,4 c4 e4 b,4 c4 d2. c4 b,4. a,8 g,4 c8 b,8 a,4. b,8 c4 b,4 e4 e4 fis4 fis,4 b,2. b8 a8 g4. g8 g4 g4 fis4. fis8 g4 g4 c'4 b4 a4 g4 fis4( e4 d4) c4 b,4. b,8 c4 e4 a4 fis4 g4 d4 e4. c8 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "st-ursula-oh300", "tune": "st-ursula", "music_file": "st-ursula-oh300.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 29, 43], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:300; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:300", "encoding_license": "PD-dedication"}, "music_ly": "%% Lord, Who at Cana's Wedding Feast\n%% Imported from Open Hymnal ABC X:300 via tools/abc_import.py\n%% Open Hymnal X:300; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  b'4 d''4. c''8 b'4 g'4 b'4 a'4 g'4 d'4 e'4 g'4 g'4. a'8 fis'2. a'4 d''4. c''8 b'4 e''8( d''8) c''4. b'8 a'4 b'4 g'4 b'4 d''4. cis''8 b'2. d''4 d''4. d''8 e''4 d''4 d''4. c''8 b'4 b'4 g'4. g'8 c''4 e''4 a'2. a'4 d''4. d''8 e''4 d''4 c''4 d''4 b'4 a'4 g'4. g'8 g'4 fis'4 g'2.\n}\nalto = {\n  g'4 g'4 fis'4 g'4 e'4 d'4 d'4 d'4 b4 c'4 b4 d'4 e'4 d'2. fis'4 g'4. fis'8 g'4 e'4 e'4. e'8 e'4 dis'4 e'4 g'4 fis'4 e'4 d'2. fis'4 g'4. g'8 g'4 g'4 a'4. a'8 g'4 g'4 e'4. e'8 e'4 e'4 d'2. e'8 fis'8 g'4. g'8 g'4 gis'4 a'4 a'4 g'4 fis'4 g'4. e'8 d'4 d'4 d'2.\n}\ntenor = {\n  d'4 b4 c'4 d'4 c'4 c'4 c'4 b4 g4 g4 g4 g4 c'4 a2. d'4 d'4. d'8 d'4 g4 a4. gis8 a4 fis4 g4 g8 a8 b4 ais4 b2. b4 b4. b8 c'4 b4 a4. d'8 d'4 d'4 c'4. c'8 c'4 c'4 d'4( c'4 b4) a4 g4. g8 c'4 b4 a4 a4 d'4 c'4 b4. c'8 b4 a4 b2.\n}\nbass = {\n  g4 g,4 a,4 b,4 c4 d4 e8 fis8 g4 g,4 c4 e4 b,4 c4 d2. c4 b,4. a,8 g,4 c8 b,8 a,4. b,8 c4 b,4 e4 e4 fis4 fis,4 b,2. b8 a8 g4. g8 g4 g4 fis4. fis8 g4 g4 c'4 b4 a4 g4 fis4( e4 d4) c4 b,4. b,8 c4 e4 a4 fis4 g4 d4 e4. c8 d4 d4 g,2.\n}\n", "preferred": true}]}, "stella": {"slug": "stella", "name": "STELLA", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henri-hemy", "composer_date": "1851", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "stella-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STELLA, Henri F. Hemy (1818–1888), composed 1851 (later published in Crown of Jesus Music, 1864). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (E-flat major, 3/4 with a quarter-note anacrusis; the one non-scale note is the alto E-natural lower neighbour, printed with a natural). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stella\" (Henri F. Hemy, 1851); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "stella-cyberhymnal", "tune": "stella", "music_file": "stella-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 21, 31, 41, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "STELLA, Henri F. Hemy, 1851. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STELLA, Henri F. Hemy (1818–1888), 1851; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4 with a quarter-note anacrusis; melismatic, 60 soprano notes for 48 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stella\" (Henri F. Hemy, 1851); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% STELLA (8.8.8.8.8.8) — Henri F. Hemy, 1851. A 4-part SATB hymn tune, here\n%% paired with Charles Wesley's \"Thou hidden source of calm repose\" (1749).\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted\n%% with tools/mid2ly.py and the four-voice render was verified note-for-note\n%% against the Cyber Hymnal engraving. MELISMATIC (60 soprano notes for 48\n%% syllables), 3/4 with a quarter-note anacrusis; the 12 melisma continuations\n%% are held with '_' every stanza (verse_variable_melisma) — each a slurred\n%% two-note figure on the first two notes of a three-quarter bar. The one\n%% non-scale note is the alto E-natural (a lower neighbour, printed with a\n%% natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  bes'4 bes'4( g'4) bes'4 bes'2 es''4 es''4( d''4) c''4 bes'2 bes'4 bes'4( as'4) g'4 f'4( g'4) as'4 g'4( bes'4) g'4 f'2 bes'4 bes'4( g'4) bes'4 bes'2 es''4 es''4( d''4) c''4 bes'2 bes'4 bes'4( as'4) g'4 f'4( g'4) as'4 g'2 f'4 es'2 f'4 f'4.( g'8) as'4 g'2 bes'4 bes'4( g'4) c''4 bes'2 c''4 es''2 c''4 bes'4.( as'8) g'4 as'2 f'4 es'2\n}\nalto = {\n  es'4 es'2 d'4 es'2 es'4 es'2 es'4 es'2 es'4 es'4 d'4 es'4 es'2 d'4 es'2 es'4 d'2 d'4 es'2 d'4 es'2 es'4 es'2 es'4 es'2 g'4 g'4 f'4 es'4 f'4 e'4 f'4 es'2 d'4 es'2 d'4 d'4. es'8 f'4 es'2 g'4 g'4 es'4 es'4 es'2 es'4 as'2 as'4 g'4. f'8 es'4 c'4 f'4 d'4 es'2\n}\ntenor = {\n  g4 g2 as4 bes2 bes4 c'4 bes4 as4 g2 bes4 bes2 bes4 c'4 bes4 bes4 bes2 bes4 bes2 bes4 bes2 as4 g2 bes4 c'4 bes4 as4 g2 g4 g4 as4 bes4 c'4 bes4 c'4 bes2 as4 g2 bes4 bes2 bes4 bes2 es'4 es'4 bes4 as4 g2 as4 c'2 es'4 es'4. bes8 bes4 as4 c'4 bes8 as8 g2\n}\nbass = {\n  es4 es2 f4 g2 g4 as2 as,4 es2 g4 g4 f4 es4 as4 g4 f4 es4 g4 es4 bes,2 as4 g2 f4 es2 g4 as2 as,4 es2 es4 es4 f4 g4 as4 g4 f4 bes,2 bes,4 es2 bes,4 bes,2 d4 es2 es4 es2 es4 es2 as4 as2 as4 es4. bes8 es4 f2 bes,8 as8 es2\n}\n"}, "harmonizations": [{"slug": "stella-cyberhymnal", "tune": "stella", "music_file": "stella-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 21, 31, 41, 51], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "STELLA, Henri F. Hemy, 1851. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STELLA, Henri F. Hemy (1818–1888), 1851; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 3/4 with a quarter-note anacrusis; melismatic, 60 soprano notes for 48 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stella\" (Henri F. Hemy, 1851); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% STELLA (8.8.8.8.8.8) — Henri F. Hemy, 1851. A 4-part SATB hymn tune, here\n%% paired with Charles Wesley's \"Thou hidden source of calm repose\" (1749).\n%% Encoded from The Cyber Hymnal (public domain): the SATB MIDI was converted\n%% with tools/mid2ly.py and the four-voice render was verified note-for-note\n%% against the Cyber Hymnal engraving. MELISMATIC (60 soprano notes for 48\n%% syllables), 3/4 with a quarter-note anacrusis; the 12 melisma continuations\n%% are held with '_' every stanza (verse_variable_melisma) — each a slurred\n%% two-note figure on the first two notes of a three-quarter bar. The one\n%% non-scale note is the alto E-natural (a lower neighbour, printed with a\n%% natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  bes'4 bes'4( g'4) bes'4 bes'2 es''4 es''4( d''4) c''4 bes'2 bes'4 bes'4( as'4) g'4 f'4( g'4) as'4 g'4( bes'4) g'4 f'2 bes'4 bes'4( g'4) bes'4 bes'2 es''4 es''4( d''4) c''4 bes'2 bes'4 bes'4( as'4) g'4 f'4( g'4) as'4 g'2 f'4 es'2 f'4 f'4.( g'8) as'4 g'2 bes'4 bes'4( g'4) c''4 bes'2 c''4 es''2 c''4 bes'4.( as'8) g'4 as'2 f'4 es'2\n}\nalto = {\n  es'4 es'2 d'4 es'2 es'4 es'2 es'4 es'2 es'4 es'4 d'4 es'4 es'2 d'4 es'2 es'4 d'2 d'4 es'2 d'4 es'2 es'4 es'2 es'4 es'2 g'4 g'4 f'4 es'4 f'4 e'4 f'4 es'2 d'4 es'2 d'4 d'4. es'8 f'4 es'2 g'4 g'4 es'4 es'4 es'2 es'4 as'2 as'4 g'4. f'8 es'4 c'4 f'4 d'4 es'2\n}\ntenor = {\n  g4 g2 as4 bes2 bes4 c'4 bes4 as4 g2 bes4 bes2 bes4 c'4 bes4 bes4 bes2 bes4 bes2 bes4 bes2 as4 g2 bes4 c'4 bes4 as4 g2 g4 g4 as4 bes4 c'4 bes4 c'4 bes2 as4 g2 bes4 bes2 bes4 bes2 es'4 es'4 bes4 as4 g2 as4 c'2 es'4 es'4. bes8 bes4 as4 c'4 bes8 as8 g2\n}\nbass = {\n  es4 es2 f4 g2 g4 as2 as,4 es2 g4 g4 f4 es4 as4 g4 f4 es4 g4 es4 bes,2 as4 g2 f4 es2 g4 as2 as,4 es2 es4 es4 f4 g4 as4 g4 f4 bes,2 bes,4 es2 bes,4 bes,2 d4 es2 es4 es2 es4 es2 as4 as2 as4 es4. bes8 es4 f2 bes,8 as8 es2\n}\n", "preferred": true}]}, "stille-nacht": {"slug": "stille-nacht", "name": "STILLE NACHT", "meter_label": "Irregular", "meter": {"pattern": [6, 6, 8, 9, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "franz-gruber", "composer_date": "1818", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "stille-nacht-concordia-1908", "provenance": {"layer": "tune", "source": "concordia-kinderchore-1908", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Franz Xaver Gruber, 1818. Composer d. 1863.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "stille_nacht_gruber", "total_instances": 851}}, "harmonization": {"slug": "stille-nacht-concordia-1908", "tune": "stille-nacht", "music_file": "stille-nacht-concordia-1908.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [14, 23, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "concordia-kinderchore-1908", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:68", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Gruber's STILLE NACHT, 1818; this setting from Concordia Kinderchöre, 1908. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:68 via tools/abc_import.py\n%% Silent Night — STILLE NACHT (Irregular)\n%% Variable melisma: each stanza holds different notes, so the lyrics carry\n%% per-stanza '_' skips and the harmonization sets verse_variable_melisma: true\n%% (build_hymn_ly emits \\set melismaBusyProperties = #'() so the music's own\n%% slur stays visual but does not drive the lyrics).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  f'8. g'16 f'8 d'4. f'8. g'16 f'8 d'4. c''4 c''8 a'4. bes'4 bes'8 f'4. g'4 g'8 bes'8.( a'16) g'8 f'8. g'16 f'8 d'4. g'4 g'8 bes'8. a'16 g'8 f'8. g'16 f'8 d'4. c''4 c''8 ees''8. c''16 a'8 bes'4.( d''4.) bes'8( f'8) d'8 f'8. ees'16 c'8 bes2.\n}\nalto = {\n  d'8. ees'16 d'8 bes4. d'8. ees'16 d'8 bes4. ees'4 ees'8 ees'4. d'4 d'8 d'4. ees'4 ees'8 g'8. f'16 ees'8 d'8. ees'16 d'8 bes4. ees'4 ees'8 g'8. f'16 ees'8 d'8. ees'16 d'8 bes4. f'4 f'8 f'8. f'16 f'8 f'2. bes4 bes8 a8. a16 a8 bes2.\n}\ntenor = {\n  f4 f8 f4. f4 f8 f4. a4 a8 c'4. bes4 bes8 bes4. bes4 bes8 bes4 bes8 bes8. bes16 bes8 bes4. bes4 bes8 bes8. bes16 bes8 bes8. bes16 bes8 bes4. a4 a8 a8. a16 ees'8 d'4.( bes4.) f4 f8 f8. f16 ees8 d2.\n}\nbass = {\n  bes,4 bes,8 bes,4. bes,4 bes,8 bes,4. f4 f8 f4. bes,4 bes,8 bes,4. ees4 ees8 ees4 ees8 bes,8. bes,16 bes,8 bes,4. ees4 ees8 ees8. ees16 ees8 bes,8. bes,16 bes,8 bes,4. f4 f8 f8. f16 f8 bes2. d4 bes,8 f,8. f,16 f,8 bes,2.\n}\n\n%% --- lyrics (variable melisma: '_' marks held notes per stanza) ---\n%%   1: \"Si -- _ lent night, ho -- _ ly night, All is calm, all is bright Round yon vir -- _ gin mo -- ther and Child. Ho -- ly In -- fant, so ten -- der and mild, Sleep in hea -- ven -- ly peace, _ Sleep _ in hea -- ven -- ly peace.\"\n%%   2: \"Si -- _ lent night, ho -- _ ly night, Shep -- herds quake at the sight; Glo -- ries stream _ from hea -- ven a -- far, Heaven -- ly hosts _ sing Al -- le -- lu -- ia! Christ the Sa -- vior is born, _ Christ _ the Sa -- vior is born!\"\n%%   3: \"Si -- _ lent night, ho -- _ ly night, Son of God, love's pure light; Ra -- diant beams _ from Thy ho -- ly face With the dawn of re -- deem -- _ ing grace, Je -- sus, Lord, at Thy birth, _ Je -- _ sus, Lord, at Thy birth.\"\n%%   4: \"Si -- _ lent night, ho -- _ ly night Won -- drous star, lend thy light; With the an -- _ gels let _ us sing, Al -- le -- lu -- _ ia to _ our King; Christ the Sa -- vior is born, _ Christ _ the Sa -- vior is born!\"\n"}, "harmonizations": [{"slug": "stille-nacht-concordia-1908", "tune": "stille-nacht", "music_file": "stille-nacht-concordia-1908.ly", "harmonizer": "composite", "arrangement_type": "composite", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [14, 23, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "concordia-kinderchore-1908", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:68", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Gruber's STILLE NACHT, 1818; this setting from Concordia Kinderchöre, 1908. All pre-1931.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% Imported from Open Hymnal ABC X:68 via tools/abc_import.py\n%% Silent Night — STILLE NACHT (Irregular)\n%% Variable melisma: each stanza holds different notes, so the lyrics carry\n%% per-stanza '_' skips and the harmonization sets verse_variable_melisma: true\n%% (build_hymn_ly emits \\set melismaBusyProperties = #'() so the music's own\n%% slur stays visual but does not drive the lyrics).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  f'8. g'16 f'8 d'4. f'8. g'16 f'8 d'4. c''4 c''8 a'4. bes'4 bes'8 f'4. g'4 g'8 bes'8.( a'16) g'8 f'8. g'16 f'8 d'4. g'4 g'8 bes'8. a'16 g'8 f'8. g'16 f'8 d'4. c''4 c''8 ees''8. c''16 a'8 bes'4.( d''4.) bes'8( f'8) d'8 f'8. ees'16 c'8 bes2.\n}\nalto = {\n  d'8. ees'16 d'8 bes4. d'8. ees'16 d'8 bes4. ees'4 ees'8 ees'4. d'4 d'8 d'4. ees'4 ees'8 g'8. f'16 ees'8 d'8. ees'16 d'8 bes4. ees'4 ees'8 g'8. f'16 ees'8 d'8. ees'16 d'8 bes4. f'4 f'8 f'8. f'16 f'8 f'2. bes4 bes8 a8. a16 a8 bes2.\n}\ntenor = {\n  f4 f8 f4. f4 f8 f4. a4 a8 c'4. bes4 bes8 bes4. bes4 bes8 bes4 bes8 bes8. bes16 bes8 bes4. bes4 bes8 bes8. bes16 bes8 bes8. bes16 bes8 bes4. a4 a8 a8. a16 ees'8 d'4.( bes4.) f4 f8 f8. f16 ees8 d2.\n}\nbass = {\n  bes,4 bes,8 bes,4. bes,4 bes,8 bes,4. f4 f8 f4. bes,4 bes,8 bes,4. ees4 ees8 ees4 ees8 bes,8. bes,16 bes,8 bes,4. ees4 ees8 ees8. ees16 ees8 bes,8. bes,16 bes,8 bes,4. f4 f8 f8. f16 f8 bes2. d4 bes,8 f,8. f,16 f,8 bes,2.\n}\n\n%% --- lyrics (variable melisma: '_' marks held notes per stanza) ---\n%%   1: \"Si -- _ lent night, ho -- _ ly night, All is calm, all is bright Round yon vir -- _ gin mo -- ther and Child. Ho -- ly In -- fant, so ten -- der and mild, Sleep in hea -- ven -- ly peace, _ Sleep _ in hea -- ven -- ly peace.\"\n%%   2: \"Si -- _ lent night, ho -- _ ly night, Shep -- herds quake at the sight; Glo -- ries stream _ from hea -- ven a -- far, Heaven -- ly hosts _ sing Al -- le -- lu -- ia! Christ the Sa -- vior is born, _ Christ _ the Sa -- vior is born!\"\n%%   3: \"Si -- _ lent night, ho -- _ ly night, Son of God, love's pure light; Ra -- diant beams _ from Thy ho -- ly face With the dawn of re -- deem -- _ ing grace, Je -- sus, Lord, at Thy birth, _ Je -- _ sus, Lord, at Thy birth.\"\n%%   4: \"Si -- _ lent night, ho -- _ ly night Won -- drous star, lend thy light; With the an -- _ gels let _ us sing, Al -- le -- lu -- _ ia to _ our King; Christ the Sa -- vior is born, _ Christ _ the Sa -- vior is born!\"\n", "preferred": true}]}, "stockbridge": {"slug": "stockbridge", "name": "STOCKBRIDGE", "meter_label": "8.5.8.8.5.ref.", "meter": {"pattern": [8, 5, 8, 8, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-oscar-perkins", "composer_date": "1876", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "stockbridge-oh244", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:244; all components published pre-1931 (latest year 1877).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "stockbridge_commuck", "total_instances": 3}}, "harmonization": {"slug": "stockbridge-oh244", "tune": "stockbridge", "music_file": "stockbridge-oh244.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 21, 34, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:244; all components published pre-1931 (latest year 1877).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:244", "encoding_license": "PD-dedication"}, "music_ly": "%% Did You Think To Pray?\n%% Imported from Open Hymnal ABC X:244 via tools/abc_import.py\n%% Open Hymnal X:244; all components published pre-1931 (latest year 1877).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4. a'8 bes'8 a'8 g'8 f'8 c'2 f'2 g'4. g'8 bes'4 a'4 g'1 g'4. g'8 g'8 g'8 f'8 g'8 a'2 c''2 a'4. a'8 bes'8 a'8 g'8 f'8 d'2 f'2 e'4. f'8 g'4. a'8 f'1 c''4. c''8 d''8 c''8 b'8 c''8 f''2 c''2 a'4. c''8 d''8 c''8 bes'8 a'8 g'1 a'4. a'8 bes'8 a'8 g'8 f'8 d'2 f'2 e'4. f'8 g'4. a'8 f'1\n}\nalto = {\n  f'4. f'8 f'8 f'8 c'8 c'8 c'2 c'2 e'4. e'8 g'4 f'4 e'1 e'4. e'8 e'8 e'8 f'8 e'8 f'2 f'2 f'4. f'8 f'8 f'8 c'8 c'8 d'2 d'2 c'4. c'8 e'4. e'8 f'1 a'4. a'8 bes'8 a'8 gis'8 a'8 a'2 a'2 f'4. a'8 bes'8 a'8 g'8 f'8 e'1 f'4. f'8 f'8 f'8 c'8 c'8 d'2 d'2 c'4. c'8 e'4. f'8 f'1\n}\ntenor = {\n  c'4. c'8 d'8 c'8 bes8 a8 a2 a2 c'4. c'8 c'4 c'4 c'1 c'4. c'8 c'8 c'8 c'8 c'8 c'2 a2 c'4. c'8 d'8 c'8 bes8 a8 bes2 bes2 g4. a8 bes4. c'8 a1 c'4. f'8 f'8 f'8 f'8 f'8 c'2 f'2 c'4. f'8 f'8 f'8 c'8 c'8 c'1 c'4. c'8 d'8 c'8 bes8 a8 bes2 bes2 g4. a8 bes4. c'8 a1\n}\nbass = {\n  f4. f8 f8 f8 f8 f8 f2 f2 c4. c8 e4 f4 c1 c4. c8 c8 c8 a,8 c8 f2 f2 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c4. c8 f1 f4. f8 f8 f8 f8 f8 f2 f2 f4. f8 f8 f8 f8 f8 c1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c4. c8 f1\n}\n"}, "harmonizations": [{"slug": "stockbridge-oh244", "tune": "stockbridge", "music_file": "stockbridge-oh244.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 21, 34, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:244; all components published pre-1931 (latest year 1877).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:244", "encoding_license": "PD-dedication"}, "music_ly": "%% Did You Think To Pray?\n%% Imported from Open Hymnal ABC X:244 via tools/abc_import.py\n%% Open Hymnal X:244; all components published pre-1931 (latest year 1877).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  a'4. a'8 bes'8 a'8 g'8 f'8 c'2 f'2 g'4. g'8 bes'4 a'4 g'1 g'4. g'8 g'8 g'8 f'8 g'8 a'2 c''2 a'4. a'8 bes'8 a'8 g'8 f'8 d'2 f'2 e'4. f'8 g'4. a'8 f'1 c''4. c''8 d''8 c''8 b'8 c''8 f''2 c''2 a'4. c''8 d''8 c''8 bes'8 a'8 g'1 a'4. a'8 bes'8 a'8 g'8 f'8 d'2 f'2 e'4. f'8 g'4. a'8 f'1\n}\nalto = {\n  f'4. f'8 f'8 f'8 c'8 c'8 c'2 c'2 e'4. e'8 g'4 f'4 e'1 e'4. e'8 e'8 e'8 f'8 e'8 f'2 f'2 f'4. f'8 f'8 f'8 c'8 c'8 d'2 d'2 c'4. c'8 e'4. e'8 f'1 a'4. a'8 bes'8 a'8 gis'8 a'8 a'2 a'2 f'4. a'8 bes'8 a'8 g'8 f'8 e'1 f'4. f'8 f'8 f'8 c'8 c'8 d'2 d'2 c'4. c'8 e'4. f'8 f'1\n}\ntenor = {\n  c'4. c'8 d'8 c'8 bes8 a8 a2 a2 c'4. c'8 c'4 c'4 c'1 c'4. c'8 c'8 c'8 c'8 c'8 c'2 a2 c'4. c'8 d'8 c'8 bes8 a8 bes2 bes2 g4. a8 bes4. c'8 a1 c'4. f'8 f'8 f'8 f'8 f'8 c'2 f'2 c'4. f'8 f'8 f'8 c'8 c'8 c'1 c'4. c'8 d'8 c'8 bes8 a8 bes2 bes2 g4. a8 bes4. c'8 a1\n}\nbass = {\n  f4. f8 f8 f8 f8 f8 f2 f2 c4. c8 e4 f4 c1 c4. c8 c8 c8 a,8 c8 f2 f2 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c4. c8 f1 f4. f8 f8 f8 f8 f8 f2 f2 f4. f8 f8 f8 f8 f8 c1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c4. c8 f1\n}\n", "preferred": true}]}, "stracathro": {"slug": "stracathro", "name": "STRACATHRO", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "charles-hutcheson", "composer_date": "1832", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "stracathro-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "STRACATHRO (C.M.), composed by Charles Hutcheson (1792-1860) and first published in his \"Christian Vocalist\" (Glasgow, 1832). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis; the soprano and bass were read note-for-note). Melismatic: 33 soprano notes for 28 C.M. syllables. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stracathro\" (Charles Hutcheson, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "stracathro-cyberhymnal", "tune": "stracathro", "music_file": "stracathro-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 16, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "STRACATHRO, Charles Hutcheson, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STRACATHRO (Charles Hutcheson, 1792-1860; published 1832); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stracathro\" (Charles Hutcheson, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% STRACATHRO (C.M.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Stracathro\", Charles Hutcheson, 1832)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. D major,\n%% 3/4, one-beat anacrusis (\\partial 4); the final note is a half note. The tenor's\n%% bar-3 chromatic rise fis-gis-ais-b (G#, A#) is printed with sharps in the source\n%% (a passing ascent that resolves up to B).\n%% MELISMATIC: 33 soprano notes for 28 C.M. syllables. The five melismas are\n%% mid-phrase moving-quarter pairs (each cadential half note carries its OWN\n%% sustained syllable) — soprano notes 6-7 (fis'-d'', \"mer-\"), 11-12 (a'-g',\n%% \"Je-\"), 20-21 (d'-fis', \"fall\"), 23-24 (b'-e'', \"-fore\"), 28-29 (d''-a',\n%% \"none\") — held with '_' each stanza (verse_variable_melisma).\n%% Underlay EVIDENCE-CONFIRMED against The Church Hymnary (Revised Edition,\n%% 1927/28) no. 451, STRACATHRO set to \"Approach, my soul, the mercy seat\":\n%% both the tonic sol-fa and the staff-notation melody slurs mark these five\n%% held notes. The Cyber Hymnal tune-only engraving slurs NO soprano melisma\n%% (its 15 crescents are inner-voice ties / passing-note slurs), so it was\n%% silent on placement.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  fis'2 e'4 | d'2 e'4 | fis'4( d''4) cis''4 | b'2 d''4 |\n  a'4( g'4) d'4 | fis'2 e'4 | d'2 fis'4 | fis'2 e'4 |\n  d'4( fis'4) a'4 | b'4( e''4) d''4 | cis''2 cis''4 | d''4( a'4) b'4 |\n  fis'2 e'4 | d'2\n}\nalto = {\n  a4 |\n  d'2 cis'4 | b2 a4 | a4 fis'4 e'4 | d'2 d'4 |\n  e'4 e'4 d'4 | d'2 cis'4 | d'2 d'4 | d'4 cis'4 b4 |\n  d'4 fis'4 d'4 | d'4 g'4 fis'4 | e'2 e'4 | d'4 fis'4 e'4 |\n  d'2 cis'4 | d'2\n}\ntenor = {\n  fis4 |\n  a2 a8 g8 | fis2 a4 | fis4. gis8 ais4 | b2 fis4 |\n  e4 a4 b4 | a4. b8 g4 | fis2 a4 | d4 a4 b4 |\n  a2 a4 | g4 e4 a8 b8 | cis'2 a8 g8 | a4 d'4 b4 |\n  a2 a8 g8 | fis2\n}\nbass = {\n  d4 |\n  d2 a,8 g8 | b,2 cis4 | d4. e8 fis4 | b,2 b,4 |\n  cis4 d4 b,4 | fis,4. g,8 a,4 | d2 d4 | d4 a4 g4 |\n  fis4 d4 fis4 | g4 e4 fis8 g8 | a2 a8 g8 | fis4 d4 g4 |\n  a2 a,8 g8 | d2\n}\n"}, "harmonizations": [{"slug": "stracathro-cyberhymnal", "tune": "stracathro", "music_file": "stracathro-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 16, 26], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "STRACATHRO, Charles Hutcheson, 1832. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STRACATHRO (Charles Hutcheson, 1792-1860; published 1832); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, one-beat anacrusis). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stracathro\" (Charles Hutcheson, 1832); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% STRACATHRO (C.M.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Stracathro\", Charles Hutcheson, 1832)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. D major,\n%% 3/4, one-beat anacrusis (\\partial 4); the final note is a half note. The tenor's\n%% bar-3 chromatic rise fis-gis-ais-b (G#, A#) is printed with sharps in the source\n%% (a passing ascent that resolves up to B).\n%% MELISMATIC: 33 soprano notes for 28 C.M. syllables. The five melismas are\n%% mid-phrase moving-quarter pairs (each cadential half note carries its OWN\n%% sustained syllable) — soprano notes 6-7 (fis'-d'', \"mer-\"), 11-12 (a'-g',\n%% \"Je-\"), 20-21 (d'-fis', \"fall\"), 23-24 (b'-e'', \"-fore\"), 28-29 (d''-a',\n%% \"none\") — held with '_' each stanza (verse_variable_melisma).\n%% Underlay EVIDENCE-CONFIRMED against The Church Hymnary (Revised Edition,\n%% 1927/28) no. 451, STRACATHRO set to \"Approach, my soul, the mercy seat\":\n%% both the tonic sol-fa and the staff-notation melody slurs mark these five\n%% held notes. The Cyber Hymnal tune-only engraving slurs NO soprano melisma\n%% (its 15 crescents are inner-voice ties / passing-note slurs), so it was\n%% silent on placement.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  fis'2 e'4 | d'2 e'4 | fis'4( d''4) cis''4 | b'2 d''4 |\n  a'4( g'4) d'4 | fis'2 e'4 | d'2 fis'4 | fis'2 e'4 |\n  d'4( fis'4) a'4 | b'4( e''4) d''4 | cis''2 cis''4 | d''4( a'4) b'4 |\n  fis'2 e'4 | d'2\n}\nalto = {\n  a4 |\n  d'2 cis'4 | b2 a4 | a4 fis'4 e'4 | d'2 d'4 |\n  e'4 e'4 d'4 | d'2 cis'4 | d'2 d'4 | d'4 cis'4 b4 |\n  d'4 fis'4 d'4 | d'4 g'4 fis'4 | e'2 e'4 | d'4 fis'4 e'4 |\n  d'2 cis'4 | d'2\n}\ntenor = {\n  fis4 |\n  a2 a8 g8 | fis2 a4 | fis4. gis8 ais4 | b2 fis4 |\n  e4 a4 b4 | a4. b8 g4 | fis2 a4 | d4 a4 b4 |\n  a2 a4 | g4 e4 a8 b8 | cis'2 a8 g8 | a4 d'4 b4 |\n  a2 a8 g8 | fis2\n}\nbass = {\n  d4 |\n  d2 a,8 g8 | b,2 cis4 | d4. e8 fis4 | b,2 b,4 |\n  cis4 d4 b,4 | fis,4. g,8 a,4 | d2 d4 | d4 a4 g4 |\n  fis4 d4 fis4 | g4 e4 fis8 g8 | a2 a8 g8 | fis4 d4 g4 |\n  a2 a,8 g8 | d2\n}\n", "preferred": true}]}, "stuttgart": {"slug": "stuttgart", "name": "STUTTGART", "meter_label": "8.7.8.7", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "christian-friedrich-witt", "composer_date": "1715", "arranger": "henry-j-gauntlett", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "stuttgart-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "STUTTGART (8.7.8.7), from Psalmodia Sacra, oder Andaechtige und Schoene Gesaenge (Gotha, 1715), edited by Christian Friedrich Witt (c. 1660-1716), to whom the tune is conventionally attributed (Hymnary.org tune authority stuttgart_witt: \"Composer (attributed to): Christian Friedrich Witt (1715)\"; published in 491 hymnals). The form in common use is Henry J. Gauntlett's (1805-1876) adaptation, and The Cyber Hymnal credits its edition \"Christian F. Witt, Psalmodia Sacra (Gotha, Germany: 1715). Adapted by Henry J. Gauntlett (1805-1876)\". Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G major, 4/4, no pickup, half-note finals; fully syllabic, 30 soprano notes for 30 syllables; the soprano matches Hymnary's authority incipit 55112 23155 64253 exactly). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stuttgart\" (Christian F. Witt, Psalmodia Sacra, 1715; adapted by Henry J. Gauntlett); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "stuttgart_witt", "total_instances": 491}}, "harmonization": {"slug": "stuttgart-cyberhymnal", "tune": "stuttgart", "music_file": "stuttgart-cyberhymnal.ly", "harmonizer": "henry-j-gauntlett", "arrangement_type": "arrangement", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 15, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "STUTTGART, from Christian F. Witt's Psalmodia Sacra, Gotha, 1715; adapted by Henry J. Gauntlett. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STUTTGART (8.7.8.7), from Psalmodia Sacra (Gotha, 1715), attributed to its editor Christian Friedrich Witt (c. 1660-1716); the four-part setting is the common-use adaptation The Cyber Hymnal credits to Henry J. Gauntlett (1805-1876). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G major, 4/4, no pickup, half-note finals; chromatic bass d-sharp in bar 5 and c-sharp with the following c-natural in bar 6 match the engraved accidentals; the mid2ly passing-tone duplication artifact at bar 7 beat 4 and bar 8 beat 1 was corrected against the engraving, which prints the eighth pair b,-c in the bass only and a-b in the tenor only). The tune (1715), the adaptation (Gauntlett d. 1876), and the encoding source are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stuttgart\" (Christian F. Witt, Psalmodia Sacra, 1715; adapted by Henry J. Gauntlett); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "stuttgart_witt", "total_instances": 491}}, "music_ly": "%% STUTTGART (8.7.8.7) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Stuttgart\", Christian Friedrich\n%% Witt, Psalmodia Sacra, Gotha, 1715; adapted by Henry J. Gauntlett) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving. G major, 4/4, no pickup, half-note finals. Fully syllabic in the\n%% soprano: 30 quarter/half notes for 30 syllables, no melisma slurs. The\n%% mid2ly passing-tone duplication artifact was corrected against the\n%% engraving: bar 7 beat 4 has the eighth pair b,8 c8 in the BASS only (tenor\n%% holds a quarter b), and bar 8 beat 1 has the eighth pair a8 b8 in the TENOR\n%% only (bass has a quarter d). The engraving prints those inner-voice pairs\n%% with slurs; house style drops inner-voice slurs (slurs mark soprano\n%% melismas only). Chromatic bass tones dis (bar 5) and cis (bar 6) match the\n%% engraved sharps; the engraved natural before the bar-6 beat-4 bass c is\n%% carried as plain c.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d'4 g'4 g'4 | a'4 a'4 b'4 g'4 |\n  d''4 d''4 e''4 c''4 | a'4 d''4 b'2 |\n  b'4 b'4 a'4 b'4 | g'4 a'4 g'4 fis'4 |\n  g'4 e'4 d'4 g'4 | g'4 fis'4 g'2\n}\nalto = {\n  d'4 d'4 b4 b4 | e'4 d'4 d'4 d'4 |\n  d'4 g'4 g'4 g'4 | g'4 fis'4 g'2 |\n  g'4 g'4 fis'4 fis'4 | b4 e'4 d'4 d'4 |\n  d'4 c'4 b4 d'4 | d'4 d'4 d'2\n}\ntenor = {\n  b4 a4 g4 g4 | g4 fis4 g4 b4 |\n  g4 b4 c'4 e'4 | d'4 d'4 d'2 |\n  e'4 b4 c'4 b4 | b4 a4 a4 a4 |\n  g4 g4 d'4 b4 | a8 b8 c'4 b2\n}\nbass = {\n  g4 fis4 e4 d4 | c4 d4 g4 g,4 |\n  b,4 g,4 c4 a,4 | d4 d4 g2 |\n  e4 e4 e4 dis4 | e4 cis4 d4 c4 |\n  b,4 c4 g,4 b,8 c8 | d4 d4 g,2\n}\n"}, "harmonizations": [{"slug": "stuttgart-cyberhymnal", "tune": "stuttgart", "music_file": "stuttgart-cyberhymnal.ly", "harmonizer": "henry-j-gauntlett", "arrangement_type": "arrangement", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 15, 23], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "STUTTGART, from Christian F. Witt's Psalmodia Sacra, Gotha, 1715; adapted by Henry J. Gauntlett. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune STUTTGART (8.7.8.7), from Psalmodia Sacra (Gotha, 1715), attributed to its editor Christian Friedrich Witt (c. 1660-1716); the four-part setting is the common-use adaptation The Cyber Hymnal credits to Henry J. Gauntlett (1805-1876). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (G major, 4/4, no pickup, half-note finals; chromatic bass d-sharp in bar 5 and c-sharp with the following c-natural in bar 6 match the engraved accidentals; the mid2ly passing-tone duplication artifact at bar 7 beat 4 and bar 8 beat 1 was corrected against the engraving, which prints the eighth pair b,-c in the bass only and a-b in the tenor only). The tune (1715), the adaptation (Gauntlett d. 1876), and the encoding source are all pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Stuttgart\" (Christian F. Witt, Psalmodia Sacra, 1715; adapted by Henry J. Gauntlett); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "stuttgart_witt", "total_instances": 491}}, "music_ly": "%% STUTTGART (8.7.8.7) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Stuttgart\", Christian Friedrich\n%% Witt, Psalmodia Sacra, Gotha, 1715; adapted by Henry J. Gauntlett) with\n%% tools/mid2ly.py and verified note-for-note against the Cyber Hymnal\n%% engraving. G major, 4/4, no pickup, half-note finals. Fully syllabic in the\n%% soprano: 30 quarter/half notes for 30 syllables, no melisma slurs. The\n%% mid2ly passing-tone duplication artifact was corrected against the\n%% engraving: bar 7 beat 4 has the eighth pair b,8 c8 in the BASS only (tenor\n%% holds a quarter b), and bar 8 beat 1 has the eighth pair a8 b8 in the TENOR\n%% only (bass has a quarter d). The engraving prints those inner-voice pairs\n%% with slurs; house style drops inner-voice slurs (slurs mark soprano\n%% melismas only). Chromatic bass tones dis (bar 5) and cis (bar 6) match the\n%% engraved sharps; the engraved natural before the bar-6 beat-4 bass c is\n%% carried as plain c.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  d'4 d'4 g'4 g'4 | a'4 a'4 b'4 g'4 |\n  d''4 d''4 e''4 c''4 | a'4 d''4 b'2 |\n  b'4 b'4 a'4 b'4 | g'4 a'4 g'4 fis'4 |\n  g'4 e'4 d'4 g'4 | g'4 fis'4 g'2\n}\nalto = {\n  d'4 d'4 b4 b4 | e'4 d'4 d'4 d'4 |\n  d'4 g'4 g'4 g'4 | g'4 fis'4 g'2 |\n  g'4 g'4 fis'4 fis'4 | b4 e'4 d'4 d'4 |\n  d'4 c'4 b4 d'4 | d'4 d'4 d'2\n}\ntenor = {\n  b4 a4 g4 g4 | g4 fis4 g4 b4 |\n  g4 b4 c'4 e'4 | d'4 d'4 d'2 |\n  e'4 b4 c'4 b4 | b4 a4 a4 a4 |\n  g4 g4 d'4 b4 | a8 b8 c'4 b2\n}\nbass = {\n  g4 fis4 e4 d4 | c4 d4 g4 g,4 |\n  b,4 g,4 c4 a,4 | d4 d4 g2 |\n  e4 e4 e4 dis4 | e4 cis4 d4 c4 |\n  b,4 c4 g,4 b,8 c8 | d4 d4 g,2\n}\n", "preferred": true}]}, "sunshine": {"slug": "sunshine", "name": "SUNSHINE", "meter_label": "8.6.8.6 with Refrain", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-r-sweney", "composer_date": "1887", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "sunshine-glad-hallelujahs-1887", "provenance": {"layer": "tune", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_evidence": "Tune by John Robson Sweney (1837–1899) for Eliza E. Hewitt's \"There's sunshine in my soul today\", first published in his own collection Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84 — archive.org gladhall00swen, leaf 0088 = p. 84 — footed \"Copyright, 1887, by JNO. R. SWENEY.\" Read from that dated first printing and collated end to end against the independent pre-1931 engraving in Christian Endeavor Hymns, ed. Ira D. Sankey, No. 173 (archive.org christianendeavo00sank, leaf 0177), same key, the same setting: the MELODY agrees note for note throughout (the three inner-voice/bass points where the re-engraving diverges are named on the harmonization). US public domain by 1887 publication; both witnesses are themselves pre-1931. The soprano matches Hymnary's incipit for the tune authority sunshine_sweney (SUNSHINE, John R. Sweney, A-flat major), 12356 71233 43252, digit for digit across all fifteen notes (A-flat: aes bes / c ees f g aes bes / c c des c bes ees bes) — re-fetched and re-checked 2026-07-31. tools/tune_fingerprint.py finds no corpus melody above the duplicate threshold (best 0.60, threshold 0.80). Neither plate names the tune on the staff (both head the page with the hymn title, \"Sunshine in the Soul\"); SUNSHINE is the name Hymnary and the later hymnals use, and no printed alt_name is recorded. THE METER AS PRINTED is 8.6.8.6 with refrain: both witnesses contract line 1 to \"There's\" (eight syllables over nine noteheads, the line-opening pair slurred); Hymnary's tune authority labels the meter \"9.6.8.6 with refrain\" (some hymnal instances print \"Irregular\"), and the uncontracted later text would be 9.6.8.6 — neither describes this plate.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sunshine-glad-hallelujahs-1887", "tune": "sunshine", "music_file": "sunshine-glad-hallelujahs-1887.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 31, 40, 49, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 33}, {"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 37}, {"text": "hap -- py mo -- ments roll,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 45}]}, "source_line": "SUNSHINE, John R. Sweney, 1887; four-part antiphonal setting from the first printing, Glad Hallelujahs (Philadelphia: Sweney & Kirkpatrick, 1887). Public domain.", "provenance": {"layer": "harmonization", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John R. Sweney's own four-part setting of his own tune, read from the dated FIRST PRINTING: Glad Hallelujahs, ed. John R. Sweney & Wm. J. Kirkpatrick (Philadelphia, 1887), No. 84, \"SUNSHINE IN THE SOUL.\", credited \"E. E. Hewitt.\" / \"JNO. R. SWENEY.\" and footed \"Copyright, 1887, by JNO. R. SWENEY.\" — archive.org item gladhall00swen, leaf 0088 = printed page 84 (29.6–29.8 px staff space). US public domain (published 1887; the witness page is itself pre-1931; Sweney d. 1899 and Hewitt d. 1920, so PD in life+70 jurisdictions too). Every notehead was read three ways with the in-repo rig (tools/noteread.py): machine column tables per system, hollow heads re-read from their arc pairs (rings), and every system re-read by eye on grid-overlay crops at 7–14x, with barlines pixel-detected and the underlay anchored to the book's own OCR word boxes. COLLATED END TO END against an independent pre-1931 engraving of the same setting in the same key: Christian Endeavor Hymns, ed. Ira D. Sankey (New York: Biglow & Main), No. 173, \"Sunshine in the Soul.\", same credits plus \"Used by per.\" — archive.org christianendeavo00sank, leaf 0177 (16.4–16.5 px staff space, machine column tables per system plus eye reads at 10–14x and ASCII pixel maps at every decision point). The two engravings agree at every decision point named below — the anacrusis barring and split bars, the D-natural, both triplet divisions, the low S/A halves and the C4/A-flat3 cadence pair (CEH engraves the pair on two textbook ledgers), the echo rhythms, the independent-alto quarters — and the MELODY agrees note for note throughout; but the claim is NOT note-for-note in all voices: the collation found THREE musical divergences, all followed here in the 1887 reading. (1) CEH's bass PICKUP prints G2 — the head sits ON the fitted bottom line, ASCII-mapped, paper at the A-flat2 position — an engraver's misprint for the A-flat2 the 1887 plate prints (G2 under the A-flat anacrusis chord is unsingable; the 1887 head was ASCII-mapped dead centre in the A2 space). (2) CEH's alto 16th at m1 b3.75 AND m5 b3.75 (under \"my\") is E-FLAT4 (head ON the bottom line in both verse halves, ASCII-mapped) where the 1887 plate prints D-FLAT4 (head centred in the D4 space, both spots ASCII-mapped) — a systematic variant, CEH anticipating the next bar's E-flat. (3) CEH's FINAL CHORD prints only TWO bass-staff heads, A-flat3 + A-flat2 — the E-flat3 fifth of the 1887 plate's three-head chord is absent — i.e. the independent re-engraving itself makes exactly the four-voice reduction encoded here. Textual variants (CEH \"in my soul\", \"His\", \"flow'rs\", no quotes at \"laid up\") are recorded on the text layer; the 1887 plate is followed throughout. THE THREE REGISTER QUESTIONS, resolved on both witnesses: (1) the refrain \"bar 1 that would not close\" is a ONE-BEAT ANACRUSIS — every phrase of the piece starts on beat 4 (\"There's\", \"More\", \"Than\", \"Oh, there's\", \"While the\", \"When\"), and with the pickups so read every bar closes at exactly four beats; (2) the \"unexplained low writing\" at the end of refrain line 1 is the SOPRANO AND ALTO THEMSELVES: the second antiphonal phrase sinks a third lower than the first — S+A hold hollow halves E-flat4 over C4 (the upper head ON the E4 line, the lower ON a drawn C4 ledger that extends past the head on both sides, read at 13x and by ring-arcs) and cadence on quarters C4 over A-flat3 (two drawn ledgers) — while tenor+bass echo \"sun-shine in the soul,\" in octaves below; the low S+A then climb back up through refrain line 2 (\"While the peace-ful hap-py...\" C4–D-flat4–E-flat4 –A-flat4–C5–E-flat5), so the register excursion is the melody's own design, not divisi and not another voice sharing the staff; (3) the antiphonal texture is exactly the THOMPSON/HEAVEN bass_echo shape (rests are not even needed: the answering voices carry the main text everywhere except the three echo phrases). PRINTED TRIPLETS at refrain bar 1 beat 4, \"3\" over both staves on both witnesses: S+A sing three triplet eighths (B-flat4–A-flat4 slurred on \"Bless-\", F4 on \"-ed\") while T+B divide the same beat quarter-plus-eighth (<des' des>–<aes des>); both divisions are encoded as printed. ACCIDENTALS: the hymn prints exactly ONE accidental glyph — the natural on the soprano D5 at \"my\" (m7 beat 4, verified at 13x on both witnesses), spelling B-flat7 = V7/V into the half cadence on \"light.\" (V); a full-column sweep of all ten staves found no other glyph. RHYTHMIC INDEPENDENCE, as printed on both witnesses: at the \"When\" pickup (m12 b4) and at \"smil-\" (m14 b1) the alto strikes a plain quarter on its own down-stem under the soprano's dotted 8.+16 pair. FIVE-PART FINAL CHORD: the closing \"soul.\" prints three full-size dotted-half heads in the bass staff of the 1887 plate — A-flat3, E-flat3, A-flat2 — under the treble's A-flat4 and C4. The corpus admits four voices and forbids divisi, so tenor A-flat3 (the preceding V chord's G3 resolving up) and bass A-flat2 (E-flat3 falling a fifth) are encoded and the printed E-flat3 — the chord's fifth — is NOT reproduced, exactly as on POWER IN THE BLOOD's five-part final chord; the CEH re-engraving corroborates the reduction by printing only the two heads A-flat3 + A-flat2 itself. BEAMING: the plate flags the echo's dotted-eighths and sixteenths separately because each carries its own syllable; the engine beams the pair (house rule, as recorded on power-in-the-blood-tabernacle-hymns-1921); the \"Bless-ed\" triplet is engraved beam-two-plus-flagged-third on the plate and the house engraver draws its own triplet grouping. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-30 from the 1887 Glad Hallelujahs page image (archive.org gladhall00swen leaf 0088 = p. 84), collated end to end against Christian Endeavor Hymns No. 173 (christianendeavo00sank leaf 0177). Read with tools/noteread.py (columns/rings/grid crops); no MIDI and no Cyber Hymnal asset was consulted. Per-chord log: review/sunshine-in-my-soul/READING.md.", "encoding_license": "PD-dedication"}, "music_ly": "%% SUNSHINE (8.6.8.6 with Refrain as printed; Hymnary's authority meter is\n%% \"9.6.8.6 with refrain\" on the tune authority) - John R. Sweney, 1887, for E. E. Hewitt's \"There's\n%% sunshine in my soul to-day\". NOTE-DATA WITNESS: the 1887 FIRST PRINTING,\n%% Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84,\n%% \"SUNSHINE IN THE SOUL.\", footed \"Copyright, 1887, by Jno. R. Sweney.\" -\n%% archive.org gladhall00swen, leaf 0088 (29.6-29.8 px staff space), read\n%% notehead by notehead with tools/noteread.py (columns + rings + grid crops\n%% at 7-14x), collated end to end against the independent pre-1931 engraving\n%% in Christian Endeavor Hymns (Sankey), No. 173 - christianendeavo00sank,\n%% leaf 0177. Evidence pack: review/sunshine-in-my-soul/.\n%%\n%% THE REFRAIN IS ANTIPHONAL, phrase by phrase:\n%%   m9:  S+A hold \"sun----shine.\" (C5 half falling to A4) while T+B answer\n%%        \"sun-shine in the soul,\" on repeated UNISON A-flat3 single heads\n%%        (8. 16 8. 16) landing <c' aes> on beat 3 WITH the upper \"shine.\";\n%%        beat 4 is a printed TRIPLET, \"3\" over both staves: S+A three 8ths\n%%        (bes'-aes' slurred on \"Bless-\", f' on \"-ed\") over T+B quarter+8th\n%%        (<des' des> then <aes des>) - two different triplet divisions at\n%%        once, exactly as engraved.\n%%   m10: the answer repeats a third lower: S \"sun----shine,\" = E-FLAT4 HALF\n%%        OVER C4, then C4 OVER A-FLAT3 - the register-entry's \"unexplained\n%%        low writing\", which is simply the S+A pair themselves sinking to\n%%        close the phrase (measured at 13x: the upper hollow head sits ON\n%%        the E4 line, the lower ON a drawn C4 ledger that extends past the\n%%        head both sides; the quarter pair after it sits on TWO drawn\n%%        ledgers = c'/aes). T+B echo in OCTAVES <aes aes,> this time.\n%%   m12: S+A hold \"roll;\" (dotted half) while T+B echo \"hap-py mo-ments\n%%        roll,\" on <g ees> with the \"roll,\" melisma rising <aes f>, then\n%%        all four voices strike the \"When\" pickup (V).\n%%   m13-16: all four voices together to the end (no echo row printed).\n%% The echo lyric row itself is the sidecar's bass_echo (three segments).\n%%\n%% ACCIDENTALS: the hymn prints exactly ONE accidental glyph on both\n%% witnesses - the NATURAL on the soprano D5 at \"my\" (m7 beat 4), giving\n%% B-flat7 = V7/V at the half cadence into \"light.\" (V). Verified at 13x on\n%% both plates; full-column sweep found no other glyph.\n%% RHYTHMIC INDEPENDENCE, as printed: at the \"When\" pickup (m12 b4) and at\n%% \"smil-\" (m14 b1) the ALTO strikes a plain quarter on its own down-stem\n%% while the soprano sings the dotted 8.+16 pair above it.\n%% FIVE-PART FINAL CHORD: the last \"soul.\" prints THREE dotted-half heads in\n%% the 1887 plate's bass staff - A-flat3, E-flat3, A-flat2 - under the\n%% treble's A-flat4 + C4. The corpus admits four voices and forbids divisi,\n%% so tenor A-flat3 (the V chord's G3 resolving up) and bass A-flat2\n%% (E-flat3 falling a fifth) are encoded and the printed E-flat3 between\n%% them - the chord's fifth - is NOT reproduced (POWER IN THE BLOOD\n%% precedent; the CEH re-engraving itself prints only A-flat3 + A-flat2,\n%% making the same reduction).\n%% A-flat major, 4/4, one-quarter anacrusis; every phrase starts on beat 4\n%% and every bar closes at four beats. 67 soprano noteheads; the refrain\n%% anchors at notehead 32 (\"Oh,\").\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'8.( bes'16)\n  c''4 ees'4 f'8. g'16 aes'8. bes'16\n  c''2. c''8.( des''16)\n  c''4 bes'4 ees'4 bes'4\n  aes'2. aes'8.( bes'16)\n  c''4 ees'4 f'8. g'16 aes'8. bes'16\n  c''2. c''4\n  bes'4. bes'8 c''4 d''4\n  ees''2. ees''8. des''16\n  c''2 aes'4 \\tuplet 3/2 { bes'8( aes'8) f'8 }\n  ees'2 c'4 c'8. des'16\n  ees'4 aes'4 c''8. ees''16 des''8. c''16\n  bes'2. ees''8.( des''16)\n  c''4 c''4 des''4. c''8\n  c''8.( bes'16) aes'8.( f'16) ees'4 aes'8 bes'8\n  c''8 c''4. bes'4 bes'4\n  aes'2.\n}\nalto = {\n  c'8.( des'16)\n  ees'4 c'4 des'8. des'16 f'8. f'16\n  ees'2. ees'8.( f'16)\n  ees'4 des'4 des'4 des'4\n  c'2. c'8.( des'16)\n  ees'4 c'4 des'8. des'16 f'8. f'16\n  ees'2. ees'4\n  ees'4. ees'8 aes'4 aes'4\n  g'2. g'8. ees'16\n  ees'2 ees'4 \\tuplet 3/2 { f'8( aes'8) des'8 }\n  c'2 aes4 aes8. bes16\n  c'4 c'4 ees'8. ees'16 ees'8. ees'16\n  ees'2. ees'4\n  ees'4 ees'4 f'4. ees'8\n  f'4 f'8.( des'16) c'4 ees'8 f'8\n  ees'8 ees'4. des'4 des'4\n  c'2.\n}\ntenor = {\n  ees4\n  aes4 aes4 aes8. aes16 aes8. aes16\n  aes2. aes4\n  aes4 g4 g4 ees4\n  ees2. ees4\n  aes4 aes4 aes8. aes16 aes8. aes16\n  aes2. aes4\n  g4. g8 bes4 bes4\n  bes2. bes8. bes16\n  aes8. aes16 aes8. aes16 c'4 \\tuplet 3/2 { des'4 aes8 }\n  aes8. aes16 aes8. aes16 ees4 ees8. ees16\n  aes4 ees4 aes8. c'16 bes8. aes16\n  g8. g16 g8. g16 g8.( aes16) bes4\n  aes4 aes4 aes4. aes8\n  des'4 des'8.( aes16) aes4 aes8 aes8\n  aes8 aes4. g4 g4\n  aes2.\n}\nbass = {\n  aes,4\n  aes,4 aes,4 des8. des16 des8. des16\n  aes,2. aes,4\n  ees4 ees4 ees4 ees4\n  aes,2. aes,4\n  aes,4 aes,4 des8. des16 des8. des16\n  aes,2. aes,4\n  bes,4. bes,8 bes,4 bes,4\n  ees2. ees8. g16\n  aes8. aes16 aes8. aes16 aes4 \\tuplet 3/2 { des4 des8 }\n  aes,8. aes,16 aes,8. aes,16 aes,4 aes,8. aes,16\n  aes,4 aes,4 aes8. aes16 g8. aes16\n  ees8. ees16 ees8. ees16 ees8.( f16) g4\n  aes4 aes4 aes4. aes8\n  des4 des8.( aes16) aes,4 c8 des8\n  ees8 ees4. ees4 ees4\n  aes,2.\n}\n"}, "harmonizations": [{"slug": "sunshine-glad-hallelujahs-1887", "tune": "sunshine", "music_file": "sunshine-glad-hallelujahs-1887.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 31, 40, 49, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 33}, {"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 37}, {"text": "hap -- py mo -- ments roll,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 45}]}, "source_line": "SUNSHINE, John R. Sweney, 1887; four-part antiphonal setting from the first printing, Glad Hallelujahs (Philadelphia: Sweney & Kirkpatrick, 1887). Public domain.", "provenance": {"layer": "harmonization", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John R. Sweney's own four-part setting of his own tune, read from the dated FIRST PRINTING: Glad Hallelujahs, ed. John R. Sweney & Wm. J. Kirkpatrick (Philadelphia, 1887), No. 84, \"SUNSHINE IN THE SOUL.\", credited \"E. E. Hewitt.\" / \"JNO. R. SWENEY.\" and footed \"Copyright, 1887, by JNO. R. SWENEY.\" — archive.org item gladhall00swen, leaf 0088 = printed page 84 (29.6–29.8 px staff space). US public domain (published 1887; the witness page is itself pre-1931; Sweney d. 1899 and Hewitt d. 1920, so PD in life+70 jurisdictions too). Every notehead was read three ways with the in-repo rig (tools/noteread.py): machine column tables per system, hollow heads re-read from their arc pairs (rings), and every system re-read by eye on grid-overlay crops at 7–14x, with barlines pixel-detected and the underlay anchored to the book's own OCR word boxes. COLLATED END TO END against an independent pre-1931 engraving of the same setting in the same key: Christian Endeavor Hymns, ed. Ira D. Sankey (New York: Biglow & Main), No. 173, \"Sunshine in the Soul.\", same credits plus \"Used by per.\" — archive.org christianendeavo00sank, leaf 0177 (16.4–16.5 px staff space, machine column tables per system plus eye reads at 10–14x and ASCII pixel maps at every decision point). The two engravings agree at every decision point named below — the anacrusis barring and split bars, the D-natural, both triplet divisions, the low S/A halves and the C4/A-flat3 cadence pair (CEH engraves the pair on two textbook ledgers), the echo rhythms, the independent-alto quarters — and the MELODY agrees note for note throughout; but the claim is NOT note-for-note in all voices: the collation found THREE musical divergences, all followed here in the 1887 reading. (1) CEH's bass PICKUP prints G2 — the head sits ON the fitted bottom line, ASCII-mapped, paper at the A-flat2 position — an engraver's misprint for the A-flat2 the 1887 plate prints (G2 under the A-flat anacrusis chord is unsingable; the 1887 head was ASCII-mapped dead centre in the A2 space). (2) CEH's alto 16th at m1 b3.75 AND m5 b3.75 (under \"my\") is E-FLAT4 (head ON the bottom line in both verse halves, ASCII-mapped) where the 1887 plate prints D-FLAT4 (head centred in the D4 space, both spots ASCII-mapped) — a systematic variant, CEH anticipating the next bar's E-flat. (3) CEH's FINAL CHORD prints only TWO bass-staff heads, A-flat3 + A-flat2 — the E-flat3 fifth of the 1887 plate's three-head chord is absent — i.e. the independent re-engraving itself makes exactly the four-voice reduction encoded here. Textual variants (CEH \"in my soul\", \"His\", \"flow'rs\", no quotes at \"laid up\") are recorded on the text layer; the 1887 plate is followed throughout. THE THREE REGISTER QUESTIONS, resolved on both witnesses: (1) the refrain \"bar 1 that would not close\" is a ONE-BEAT ANACRUSIS — every phrase of the piece starts on beat 4 (\"There's\", \"More\", \"Than\", \"Oh, there's\", \"While the\", \"When\"), and with the pickups so read every bar closes at exactly four beats; (2) the \"unexplained low writing\" at the end of refrain line 1 is the SOPRANO AND ALTO THEMSELVES: the second antiphonal phrase sinks a third lower than the first — S+A hold hollow halves E-flat4 over C4 (the upper head ON the E4 line, the lower ON a drawn C4 ledger that extends past the head on both sides, read at 13x and by ring-arcs) and cadence on quarters C4 over A-flat3 (two drawn ledgers) — while tenor+bass echo \"sun-shine in the soul,\" in octaves below; the low S+A then climb back up through refrain line 2 (\"While the peace-ful hap-py...\" C4–D-flat4–E-flat4 –A-flat4–C5–E-flat5), so the register excursion is the melody's own design, not divisi and not another voice sharing the staff; (3) the antiphonal texture is exactly the THOMPSON/HEAVEN bass_echo shape (rests are not even needed: the answering voices carry the main text everywhere except the three echo phrases). PRINTED TRIPLETS at refrain bar 1 beat 4, \"3\" over both staves on both witnesses: S+A sing three triplet eighths (B-flat4–A-flat4 slurred on \"Bless-\", F4 on \"-ed\") while T+B divide the same beat quarter-plus-eighth (<des' des>–<aes des>); both divisions are encoded as printed. ACCIDENTALS: the hymn prints exactly ONE accidental glyph — the natural on the soprano D5 at \"my\" (m7 beat 4, verified at 13x on both witnesses), spelling B-flat7 = V7/V into the half cadence on \"light.\" (V); a full-column sweep of all ten staves found no other glyph. RHYTHMIC INDEPENDENCE, as printed on both witnesses: at the \"When\" pickup (m12 b4) and at \"smil-\" (m14 b1) the alto strikes a plain quarter on its own down-stem under the soprano's dotted 8.+16 pair. FIVE-PART FINAL CHORD: the closing \"soul.\" prints three full-size dotted-half heads in the bass staff of the 1887 plate — A-flat3, E-flat3, A-flat2 — under the treble's A-flat4 and C4. The corpus admits four voices and forbids divisi, so tenor A-flat3 (the preceding V chord's G3 resolving up) and bass A-flat2 (E-flat3 falling a fifth) are encoded and the printed E-flat3 — the chord's fifth — is NOT reproduced, exactly as on POWER IN THE BLOOD's five-part final chord; the CEH re-engraving corroborates the reduction by printing only the two heads A-flat3 + A-flat2 itself. BEAMING: the plate flags the echo's dotted-eighths and sixteenths separately because each carries its own syllable; the engine beams the pair (house rule, as recorded on power-in-the-blood-tabernacle-hymns-1921); the \"Bless-ed\" triplet is engraved beam-two-plus-flagged-third on the plate and the house engraver draws its own triplet grouping. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-30 from the 1887 Glad Hallelujahs page image (archive.org gladhall00swen leaf 0088 = p. 84), collated end to end against Christian Endeavor Hymns No. 173 (christianendeavo00sank leaf 0177). Read with tools/noteread.py (columns/rings/grid crops); no MIDI and no Cyber Hymnal asset was consulted. Per-chord log: review/sunshine-in-my-soul/READING.md.", "encoding_license": "PD-dedication"}, "music_ly": "%% SUNSHINE (8.6.8.6 with Refrain as printed; Hymnary's authority meter is\n%% \"9.6.8.6 with refrain\" on the tune authority) - John R. Sweney, 1887, for E. E. Hewitt's \"There's\n%% sunshine in my soul to-day\". NOTE-DATA WITNESS: the 1887 FIRST PRINTING,\n%% Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84,\n%% \"SUNSHINE IN THE SOUL.\", footed \"Copyright, 1887, by Jno. R. Sweney.\" -\n%% archive.org gladhall00swen, leaf 0088 (29.6-29.8 px staff space), read\n%% notehead by notehead with tools/noteread.py (columns + rings + grid crops\n%% at 7-14x), collated end to end against the independent pre-1931 engraving\n%% in Christian Endeavor Hymns (Sankey), No. 173 - christianendeavo00sank,\n%% leaf 0177. Evidence pack: review/sunshine-in-my-soul/.\n%%\n%% THE REFRAIN IS ANTIPHONAL, phrase by phrase:\n%%   m9:  S+A hold \"sun----shine.\" (C5 half falling to A4) while T+B answer\n%%        \"sun-shine in the soul,\" on repeated UNISON A-flat3 single heads\n%%        (8. 16 8. 16) landing <c' aes> on beat 3 WITH the upper \"shine.\";\n%%        beat 4 is a printed TRIPLET, \"3\" over both staves: S+A three 8ths\n%%        (bes'-aes' slurred on \"Bless-\", f' on \"-ed\") over T+B quarter+8th\n%%        (<des' des> then <aes des>) - two different triplet divisions at\n%%        once, exactly as engraved.\n%%   m10: the answer repeats a third lower: S \"sun----shine,\" = E-FLAT4 HALF\n%%        OVER C4, then C4 OVER A-FLAT3 - the register-entry's \"unexplained\n%%        low writing\", which is simply the S+A pair themselves sinking to\n%%        close the phrase (measured at 13x: the upper hollow head sits ON\n%%        the E4 line, the lower ON a drawn C4 ledger that extends past the\n%%        head both sides; the quarter pair after it sits on TWO drawn\n%%        ledgers = c'/aes). T+B echo in OCTAVES <aes aes,> this time.\n%%   m12: S+A hold \"roll;\" (dotted half) while T+B echo \"hap-py mo-ments\n%%        roll,\" on <g ees> with the \"roll,\" melisma rising <aes f>, then\n%%        all four voices strike the \"When\" pickup (V).\n%%   m13-16: all four voices together to the end (no echo row printed).\n%% The echo lyric row itself is the sidecar's bass_echo (three segments).\n%%\n%% ACCIDENTALS: the hymn prints exactly ONE accidental glyph on both\n%% witnesses - the NATURAL on the soprano D5 at \"my\" (m7 beat 4), giving\n%% B-flat7 = V7/V at the half cadence into \"light.\" (V). Verified at 13x on\n%% both plates; full-column sweep found no other glyph.\n%% RHYTHMIC INDEPENDENCE, as printed: at the \"When\" pickup (m12 b4) and at\n%% \"smil-\" (m14 b1) the ALTO strikes a plain quarter on its own down-stem\n%% while the soprano sings the dotted 8.+16 pair above it.\n%% FIVE-PART FINAL CHORD: the last \"soul.\" prints THREE dotted-half heads in\n%% the 1887 plate's bass staff - A-flat3, E-flat3, A-flat2 - under the\n%% treble's A-flat4 + C4. The corpus admits four voices and forbids divisi,\n%% so tenor A-flat3 (the V chord's G3 resolving up) and bass A-flat2\n%% (E-flat3 falling a fifth) are encoded and the printed E-flat3 between\n%% them - the chord's fifth - is NOT reproduced (POWER IN THE BLOOD\n%% precedent; the CEH re-engraving itself prints only A-flat3 + A-flat2,\n%% making the same reduction).\n%% A-flat major, 4/4, one-quarter anacrusis; every phrase starts on beat 4\n%% and every bar closes at four beats. 67 soprano noteheads; the refrain\n%% anchors at notehead 32 (\"Oh,\").\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'8.( bes'16)\n  c''4 ees'4 f'8. g'16 aes'8. bes'16\n  c''2. c''8.( des''16)\n  c''4 bes'4 ees'4 bes'4\n  aes'2. aes'8.( bes'16)\n  c''4 ees'4 f'8. g'16 aes'8. bes'16\n  c''2. c''4\n  bes'4. bes'8 c''4 d''4\n  ees''2. ees''8. des''16\n  c''2 aes'4 \\tuplet 3/2 { bes'8( aes'8) f'8 }\n  ees'2 c'4 c'8. des'16\n  ees'4 aes'4 c''8. ees''16 des''8. c''16\n  bes'2. ees''8.( des''16)\n  c''4 c''4 des''4. c''8\n  c''8.( bes'16) aes'8.( f'16) ees'4 aes'8 bes'8\n  c''8 c''4. bes'4 bes'4\n  aes'2.\n}\nalto = {\n  c'8.( des'16)\n  ees'4 c'4 des'8. des'16 f'8. f'16\n  ees'2. ees'8.( f'16)\n  ees'4 des'4 des'4 des'4\n  c'2. c'8.( des'16)\n  ees'4 c'4 des'8. des'16 f'8. f'16\n  ees'2. ees'4\n  ees'4. ees'8 aes'4 aes'4\n  g'2. g'8. ees'16\n  ees'2 ees'4 \\tuplet 3/2 { f'8( aes'8) des'8 }\n  c'2 aes4 aes8. bes16\n  c'4 c'4 ees'8. ees'16 ees'8. ees'16\n  ees'2. ees'4\n  ees'4 ees'4 f'4. ees'8\n  f'4 f'8.( des'16) c'4 ees'8 f'8\n  ees'8 ees'4. des'4 des'4\n  c'2.\n}\ntenor = {\n  ees4\n  aes4 aes4 aes8. aes16 aes8. aes16\n  aes2. aes4\n  aes4 g4 g4 ees4\n  ees2. ees4\n  aes4 aes4 aes8. aes16 aes8. aes16\n  aes2. aes4\n  g4. g8 bes4 bes4\n  bes2. bes8. bes16\n  aes8. aes16 aes8. aes16 c'4 \\tuplet 3/2 { des'4 aes8 }\n  aes8. aes16 aes8. aes16 ees4 ees8. ees16\n  aes4 ees4 aes8. c'16 bes8. aes16\n  g8. g16 g8. g16 g8.( aes16) bes4\n  aes4 aes4 aes4. aes8\n  des'4 des'8.( aes16) aes4 aes8 aes8\n  aes8 aes4. g4 g4\n  aes2.\n}\nbass = {\n  aes,4\n  aes,4 aes,4 des8. des16 des8. des16\n  aes,2. aes,4\n  ees4 ees4 ees4 ees4\n  aes,2. aes,4\n  aes,4 aes,4 des8. des16 des8. des16\n  aes,2. aes,4\n  bes,4. bes,8 bes,4 bes,4\n  ees2. ees8. g16\n  aes8. aes16 aes8. aes16 aes4 \\tuplet 3/2 { des4 des8 }\n  aes,8. aes,16 aes,8. aes,16 aes,4 aes,8. aes,16\n  aes,4 aes,4 aes8. aes16 g8. aes16\n  ees8. ees16 ees8. ees16 ees8.( f16) g4\n  aes4 aes4 aes4. aes8\n  des4 des8.( aes16) aes,4 c8 des8\n  ees8 ees4. ees4 ees4\n  aes,2.\n}\n", "preferred": true}]}, "sweet-by-and-by": {"slug": "sweet-by-and-by", "name": "SWEET BY AND BY", "meter_label": "9.9.9.9 with Refrain", "meter": {"pattern": [9, 9, 9, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "joseph-p-webster", "composer_date": "1868", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "sweet-by-and-by-tabernacle-hymns-1918", "provenance": {"layer": "tune", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_evidence": "Tune by Joseph Philbrick Webster (1819-1875), written 1868 in Elkhorn, Wisconsin, to S. Fillmore Bennett's words and first published that year in The Signet Ring; Webster died in 1875, so the tune is long PD everywhere. Read here from the dated printing in Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 — archive.org tabernaclehymns00town, leaf 0087, credited \"Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" (the 1910 claim covers the four-part arrangement) — and collated end to end against the same 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230, archive.org newmakechristkin00unse leaf 0215. Both witnesses are in G major, 4/4, and agree in every soprano note. THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335; 9.9.9.9 with refrain; 659 instances; the authority page's representative key is F, both witnesses here print G) matches the first fifteen soprano notes read off the plate exactly. tools/tune_fingerprint.py finds no corpus melody near the 0.80 duplicate threshold, so this is not a tune the corpus already holds under another name. The meter is 9.9.9.9 with refrain: 36 verse noteheads and 30 chorus noteheads, all strictly syllabic — no tie, slur or melisma anywhere. ⚠ Christ in Song 1908, The Evangelical Hymnal 1921 and The Baptist Standard Hymnal 1924 print DIFFERENT altos — separate arrangements; they were not consulted and must not be mixed with this one (register note, docs/blocked-hymns.md).", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sweet-by-and-by-tabernacle-hymns-1918", "tune": "sweet-by-and-by", "music_file": "sweet-by-and-by-tabernacle-hymns-1918.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "In the sweet", "durations": ["8", "8", "4"], "onset": 34}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 38}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 46}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 50}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 54}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part arrangement of J. P. Webster's tune copyrighted 1910 by J. H. Webster, hand-encoded from the dated page image of Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 — archive.org item tabernaclehymns00town, leaf 0087 — headed \"81  Sweet By-and-By. / S. Fillmore Bennett. / Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" US public domain: the tune was first published in 1868 (The Signet Ring), the 1910 arrangement copyright had itself expired without renewal long before 2006, and the page read here is in any case pre-1931. HOW THE NOTES WERE READ. Every notehead was located by staff position with a pixel measurement of the scan (tools/noteread.py — local five-line refits, per-staff edge-clip calibration; 23.1-23.5 px staff space), hollow heads re-read from their own arc pairs (rings), and every chord confirmed BY EYE on grid-overlay crops at 6x-14x; every bar was then closed at four beats in all four voices (the pickup and the three-beat final bar balance). SECOND WITNESS, read end to end: the SAME 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230 — archive.org newmakechristkin00unse, leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H. WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" (28.5-28.9 px staff space). That witness is a COMPRESSED engraving, and its volta topology was mapped before collating: the VERSE prints pickup + bars 1-3 shared (both text passes), volta 1 = bar 4 (\"far;\" + repeat), volta 2 = bars 7-8 separately engraved (\"pare us a dwell-ing place there.\"); the CHORUS opens a start-repeat at the \"In the\" pickup, shares bar 9, puts bars 10-12 under volta 1, and opens volta 2 MID-BAR at bar 13's beat 4 (its own \"by and\" figure), running bars 14-16 in full. So all but two beats of the 1918 engraving are independently engraved on the 1914 and were collated chord by chord. The verify pass caught ONE encoding error the salvaged draft carried and the collation prose had papered over: bar 7 beats 1.5-2 (\"us\", \"a\") — both plates print a two-head chord, tenor G3 over BASS B2 (head centered on the second line, flag wedge below the staff), not the draft's G3 unison; the bass now reads b,8 b,8, matching the parallel bar-5 figure. Between the witnesses themselves there is exactly ONE pitch divergence: at bar 13's \"and\" (soprano note 55) the 1918 plate prints alto F-SHARP-4 (completing D major, 9x grid crop) where the 1914's volta-2 opening prints alto D4 doubling the tenor (9x grid crop) — the 1918 reading ships. The two 1918-only beats are a volta-compression artifact, recorded honestly: bar 12's beat 4 (1918: bass ALONE takes \"In the\" on G2 8. 16, tenor rests) exists on the 1914 only as the shared chorus pickup, where tenor AND bass rest — so that beat's bass G2 rests on the 1918 alone; and bar 13's beats 1-3 ride bar 9's shared engraving, with which the 1918's bar 13 is in any case identical. Bar rhythms agree on BOTH witnesses everywhere, including the pair the register worried about: bar 3 is DOTTED (we 8. can 16, it 8. a- 16) and bar 7 PLAIN (us, a, ing, place as even eighths) on the 1918 AND the 1914 (whose separately-engraved volta-2 bar 7 prints plain single flags, no dots). THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335) matches the first fifteen soprano notes read off the plate exactly. THE ANTIPHONAL CHORUS (the reading the register said was missing): the lower staff answers on a second printed lyric row — \"In the sweet\" in bar 9, \"by and by,\" in bars 10, 12, 13 and 14 — always beat 2, eighth + eighth + quarter, encoded in bass_echo with the rests and notes in the voices exactly as printed. The texture varies bar to bar (tenor answer over a bass G2 pedal in bars 9 and 13, bass alone in bar 10, tenor D4s over bass G2s in bar 12, octaves C4/C3 in bar 14; the .ly header itemises them). Three reading traps are worth recording: the bass G2 heads of bars 9, 12 and 13 sit ON the bottom staff line and hide at low zoom — the pixel read's +0 findings forced the re-look (its echo answers at x 990/1062/1132, 908/978/1048 and 1402/1472/1542 on the 1918 leaf all carry a G2 below the tenor); bar 12's \"shore,\" and bar 14's \"by,\" are QUARTERS in the lower staff (the echo needs beats 2-3) under the upper voices' dotted halves; and bar 12 beat 4 gives the \"In the\" pickup to the BASS alone (G2 8. 16, tenor rests) where bar 8's parallel rests both voices. THE HOLLOW CADENCE CHORDS the register flagged (bars 4, 6, 8, 9, 10, 12, 13, 14, 16) were each read three ways: filled-template columns, the rings arc-pair pass, and the eye at 6x-14x; \"day,\"/\"way,\" are plain halves <D4 B3 / G3 G2>, \"far;\" is <A4 D4 / F#3 D3>, the chorus's \"sweet\" / \"by,\" / \"shore,\" carry dotted halves in the upper voices only, and the two G-cadences (\"there.\", \"shore.\") are dotted halves in all voices. FIVE-PART CADENCES: at BOTH \"there.\" (bar 8) and the final \"shore.\" (bar 16) the lower staff prints three dotted-half heads on one stem — B3, G3, G2 — on BOTH witnesses. The corpus admits four voices and forbids divisi, so S G4, A D4, T B3, B G2 are encoded and the printed doubled-root G3 is NOT reproduced (POWER IN THE BLOOD final-chord precedent). ACCIDENTAL SWEEP: every note column of both witnesses was swept by eye at 6x-14x; the hymn prints NO accidental glyph anywhere — the count is zero on both plates; every F-sharp is the key signature's. There are no ties and no slurs; 66 soprano noteheads carry 66 syllables one-to-one. DEPARTURES FROM THE PAGE: (1) the doubled-root G3 of the two five-part cadences, as above; (2) the plate's heavy \"CHORUS.\" double bar falls mid-bar 8 and is presentational — the engine's refrain marking replaces it; (3) the echo eighths are printed FLAGGED and the engine beams them (house style, the automatic-echo-beaming rule); (4) fermatas: none are printed; dynamics: none are printed; nothing else is dropped.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1918 Tabernacle Hymns page image (archive.org tabernaclehymns00town leaf 0087), cross-read end to end against the 1914 New Make Christ King printing of the same 1910 arrangement (newmakechristkin00unse leaf 0215). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET BY AND BY (9.9.9.9 with Refrain) — \"Sweet By-and-By\"\n%% J. P. Webster's tune in the four-part arrangement copyrighted 1910 by\n%% J. H. Webster (Oliver Ditson Co.), read from the dated 1918 printing.\n%% Four SATB voice streams, canonical key G major, 4/4, one-quarter pickup,\n%% 16 bars (final bar three beats). RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymns00town = Tabernacle Hymns (Chicago: Tabernacle\n%% Publishing Co., 1918), hymn 81, leaf 0087, headed \"81  Sweet By-and-By. /\n%% S. Fillmore Bennett. / Jos. P. Webster.\" in close score (S+A on the treble\n%% staff, T+B on the bass staff), one sharp, 4/4, footed \"Copyright, 1910, by\n%% J. H. Webster.  Used by per. Oliver Ditson Co.\"  Every notehead was located\n%% by staff position with a pixel measurement of the scan (tools/noteread.py,\n%% local five-line refits, hollow heads re-read from their arc pairs) and then\n%% read again by eye at 6x-14x on grid-overlay crops. Cross-read END TO END\n%% against the SAME 1910 arrangement in The New Make Christ King (Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 230, archive.org\n%% newmakechristkin00unse leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H.\n%% WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" — a COMPRESSED engraving\n%% (verse and chorus carry first/second-ending voltas), collated phrase by\n%% phrase. Per-chord log: review/sweet-by-and-by/READING.md.\n%%\n%% THE ANTIPHONAL CHORUS. From the chorus the lower staff is antiphonal: the\n%% upper voices hold dotted halves (\"sweet\", \"by,\", \"shore,\") while tenor and\n%% bass answer on a second, smaller printed lyric row — \"In the sweet\" once\n%% (bar 9), then \"by and by,\" four times (bars 10, 12, 13, 14) — always\n%% entering on beat 2 with eighth + eighth + quarter. The answer's texture\n%% varies and is encoded exactly as printed:\n%%   bar  9: T and B answer together, T G3-A3-B3 over a bass G2 pedal;\n%%           beat 4: T joins the upper voices' \"by and\" on D4s, B rests.\n%%   bar 10: T sings \"by,\" D4 with the upper voices then rests (printed high\n%%           quarter rests); B rests beat 1 then answers alone on D3 D3 D3;\n%%           beat 4: both sing \"We shall\" on octave D4/D3.\n%%   bar 12: \"shore,\" is a QUARTER for T+B (D4/G3) while the upper voices\n%%           hold it dotted-half; the answer prints TWO heads per column —\n%%           T D4-D4-D4 (ledgered, above the staff) over B G2-G2-G2 (on the\n%%           bottom line) — on BOTH witnesses; beat 4: B alone takes the\n%%           \"In the\" pickup on G2 8. 16 while T rests.\n%%   bar 13: T answers G3-A3-B3 over the bass G2 pedal again (text now\n%%           \"by and by,\"); beat 4: T D4s with the upper \"by and\", B walks\n%%           G2 8. B2 16 into the C chord of bar 14.\n%%   bar 14: \"by,\" is a QUARTER for T+B (C4/C3); both answer in octaves\n%%           C4/C3; beat 4: \"We shall\" on G3 8. G3 16 over C3 8. C3 16.\n%% The answer-row words live in the sidecar's bass_echo, not in a fifth voice.\n%%\n%% FIVE-PART CADENCES, stated plainly. At BOTH G-cadences — \"there.\" (bar 8)\n%% and the final \"shore.\" (bar 16) — the lower staff prints THREE dotted-half\n%% noteheads on one stem: B3, G3 and G2, under the treble's G4 and D4, on both\n%% witnesses. The corpus admits four voices and forbids divisi, so soprano G4,\n%% alto D4, tenor B3 (the third, completing the triad) and bass G2 are encoded\n%% and the printed doubled-root G3 between them is NOT reproduced (the\n%% POWER IN THE BLOOD final-chord precedent).\n%%\n%% ACCIDENTALS: the hymn prints NONE — no sharp, flat or natural anywhere on\n%% either witness beyond the one-sharp key signature (all ~66 columns swept by\n%% eye at 6x-14x on both plates). Every fis here is the key signature's F-sharp.\n%% There are NO ties and NO slurs anywhere: 66 soprano noteheads, 66 syllables.\n%%\n%% RHYTHM NOTES. The verse's inner bars are quarter + two plain eighths\n%% (bars 1, 5, 7, 11, 15) EXCEPT bar 3, which the 1918 plate prints DOTTED\n%% (we 8. can 16, it 8. a- 16) — the 1914 witness prints its shared verse bar\n%% dotted as well, and both readings ship as their plates print them. All\n%% phrase pickups (\"There's a\", \"And by\", \"For the\", \"To pre\", \"In the\",\n%% \"by and\", \"We shall\") are dotted-eighth + sixteenth. Bars 2, 4 and 6 close\n%% with a printed quarter rest in all four voices after the half note, as\n%% engraved. Bar 8 and bar 16 are dotted halves with no rest (bar 16 is a\n%% THREE-BEAT bar balancing the one-beat pickup, as printed).\n%%\n%% NOT RENDERED, present in the source: the heavy \"CHORUS.\" double bar after\n%% \"there.\" falls mid-bar 8 (the chorus pickup \"In the\" completes that bar);\n%% the engine draws its refrain marking from the sidecar instead.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 b'8. b'16 d''4 d''8. b'16 |\n  a'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 fis'8 |\n  g'2. b'8. c''16 |\n  d''2. d''8. b'16 |\n  a'2. a'8. b'16 |\n  c''4 c''8 c''8 c''4 b'8 a'8 |\n  b'2. b'8. c''16 |\n  d''2. b'8. a'16 |\n  g'2. fis'8. e'16 |\n  d'4 g'8 b'8 a'4 g'8 fis'8 |\n  g'2.\n}\n\nalto = {\n  d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8. d'16 g'4 g'8. d'16 |\n  d'2 r4 d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8 d'8 e'4 d'8 d'8 |\n  d'2. g'8. a'16 |\n  b'2. b'8. g'16 |\n  fis'2. fis'8. g'16 |\n  a'4 a'8 a'8 a'4 g'8 fis'8 |\n  g'2. g'8. a'16 |\n  b'2. g'8. fis'16 |\n  e'2. d'8. c'16 |\n  b4 d'8 d'8 d'4 d'8 d'8 |\n  d'2.\n}\n\ntenor = {\n  b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8. g16 b4 b8. g16 |\n  fis2 r4 b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8 g8 c'4 b8 a8 |\n  b2. r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  d'4 r4 r4 d'8. d'16 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  d'4 d'8 d'8 d'4 r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  c'4 c'8 c'8 c'4 g8. g16 |\n  g4 b8 d'8 c'4 b8 a8 |\n  b2.\n}\n\nbass = {\n  g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 g8. g16 g4 g8. g16 |\n  d2 r4 g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 b,8 b,8 c4 d8 d8 |\n  g,2. r4 |\n  r4 g,8 g,8 g,4 r4 |\n  r4 d8 d8 d4 d8. d16 |\n  d4 d8 d8 d4 d8 d8 |\n  g4 g,8 g,8 g,4 g,8. g,16 |\n  g,4 g,8 g,8 g,4 g,8. b,16 |\n  c4 c8 c8 c4 c8. c16 |\n  d4 d8 d8 d4 d8 d8 |\n  g,2.\n}\n"}, "harmonizations": [{"slug": "sweet-by-and-by-tabernacle-hymns-1918", "tune": "sweet-by-and-by", "music_file": "sweet-by-and-by-tabernacle-hymns-1918.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "In the sweet", "durations": ["8", "8", "4"], "onset": 34}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 38}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 46}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 50}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 54}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part arrangement of J. P. Webster's tune copyrighted 1910 by J. H. Webster, hand-encoded from the dated page image of Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 — archive.org item tabernaclehymns00town, leaf 0087 — headed \"81  Sweet By-and-By. / S. Fillmore Bennett. / Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" US public domain: the tune was first published in 1868 (The Signet Ring), the 1910 arrangement copyright had itself expired without renewal long before 2006, and the page read here is in any case pre-1931. HOW THE NOTES WERE READ. Every notehead was located by staff position with a pixel measurement of the scan (tools/noteread.py — local five-line refits, per-staff edge-clip calibration; 23.1-23.5 px staff space), hollow heads re-read from their own arc pairs (rings), and every chord confirmed BY EYE on grid-overlay crops at 6x-14x; every bar was then closed at four beats in all four voices (the pickup and the three-beat final bar balance). SECOND WITNESS, read end to end: the SAME 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230 — archive.org newmakechristkin00unse, leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H. WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" (28.5-28.9 px staff space). That witness is a COMPRESSED engraving, and its volta topology was mapped before collating: the VERSE prints pickup + bars 1-3 shared (both text passes), volta 1 = bar 4 (\"far;\" + repeat), volta 2 = bars 7-8 separately engraved (\"pare us a dwell-ing place there.\"); the CHORUS opens a start-repeat at the \"In the\" pickup, shares bar 9, puts bars 10-12 under volta 1, and opens volta 2 MID-BAR at bar 13's beat 4 (its own \"by and\" figure), running bars 14-16 in full. So all but two beats of the 1918 engraving are independently engraved on the 1914 and were collated chord by chord. The verify pass caught ONE encoding error the salvaged draft carried and the collation prose had papered over: bar 7 beats 1.5-2 (\"us\", \"a\") — both plates print a two-head chord, tenor G3 over BASS B2 (head centered on the second line, flag wedge below the staff), not the draft's G3 unison; the bass now reads b,8 b,8, matching the parallel bar-5 figure. Between the witnesses themselves there is exactly ONE pitch divergence: at bar 13's \"and\" (soprano note 55) the 1918 plate prints alto F-SHARP-4 (completing D major, 9x grid crop) where the 1914's volta-2 opening prints alto D4 doubling the tenor (9x grid crop) — the 1918 reading ships. The two 1918-only beats are a volta-compression artifact, recorded honestly: bar 12's beat 4 (1918: bass ALONE takes \"In the\" on G2 8. 16, tenor rests) exists on the 1914 only as the shared chorus pickup, where tenor AND bass rest — so that beat's bass G2 rests on the 1918 alone; and bar 13's beats 1-3 ride bar 9's shared engraving, with which the 1918's bar 13 is in any case identical. Bar rhythms agree on BOTH witnesses everywhere, including the pair the register worried about: bar 3 is DOTTED (we 8. can 16, it 8. a- 16) and bar 7 PLAIN (us, a, ing, place as even eighths) on the 1918 AND the 1914 (whose separately-engraved volta-2 bar 7 prints plain single flags, no dots). THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335) matches the first fifteen soprano notes read off the plate exactly. THE ANTIPHONAL CHORUS (the reading the register said was missing): the lower staff answers on a second printed lyric row — \"In the sweet\" in bar 9, \"by and by,\" in bars 10, 12, 13 and 14 — always beat 2, eighth + eighth + quarter, encoded in bass_echo with the rests and notes in the voices exactly as printed. The texture varies bar to bar (tenor answer over a bass G2 pedal in bars 9 and 13, bass alone in bar 10, tenor D4s over bass G2s in bar 12, octaves C4/C3 in bar 14; the .ly header itemises them). Three reading traps are worth recording: the bass G2 heads of bars 9, 12 and 13 sit ON the bottom staff line and hide at low zoom — the pixel read's +0 findings forced the re-look (its echo answers at x 990/1062/1132, 908/978/1048 and 1402/1472/1542 on the 1918 leaf all carry a G2 below the tenor); bar 12's \"shore,\" and bar 14's \"by,\" are QUARTERS in the lower staff (the echo needs beats 2-3) under the upper voices' dotted halves; and bar 12 beat 4 gives the \"In the\" pickup to the BASS alone (G2 8. 16, tenor rests) where bar 8's parallel rests both voices. THE HOLLOW CADENCE CHORDS the register flagged (bars 4, 6, 8, 9, 10, 12, 13, 14, 16) were each read three ways: filled-template columns, the rings arc-pair pass, and the eye at 6x-14x; \"day,\"/\"way,\" are plain halves <D4 B3 / G3 G2>, \"far;\" is <A4 D4 / F#3 D3>, the chorus's \"sweet\" / \"by,\" / \"shore,\" carry dotted halves in the upper voices only, and the two G-cadences (\"there.\", \"shore.\") are dotted halves in all voices. FIVE-PART CADENCES: at BOTH \"there.\" (bar 8) and the final \"shore.\" (bar 16) the lower staff prints three dotted-half heads on one stem — B3, G3, G2 — on BOTH witnesses. The corpus admits four voices and forbids divisi, so S G4, A D4, T B3, B G2 are encoded and the printed doubled-root G3 is NOT reproduced (POWER IN THE BLOOD final-chord precedent). ACCIDENTAL SWEEP: every note column of both witnesses was swept by eye at 6x-14x; the hymn prints NO accidental glyph anywhere — the count is zero on both plates; every F-sharp is the key signature's. There are no ties and no slurs; 66 soprano noteheads carry 66 syllables one-to-one. DEPARTURES FROM THE PAGE: (1) the doubled-root G3 of the two five-part cadences, as above; (2) the plate's heavy \"CHORUS.\" double bar falls mid-bar 8 and is presentational — the engine's refrain marking replaces it; (3) the echo eighths are printed FLAGGED and the engine beams them (house style, the automatic-echo-beaming rule); (4) fermatas: none are printed; dynamics: none are printed; nothing else is dropped.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1918 Tabernacle Hymns page image (archive.org tabernaclehymns00town leaf 0087), cross-read end to end against the 1914 New Make Christ King printing of the same 1910 arrangement (newmakechristkin00unse leaf 0215). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET BY AND BY (9.9.9.9 with Refrain) — \"Sweet By-and-By\"\n%% J. P. Webster's tune in the four-part arrangement copyrighted 1910 by\n%% J. H. Webster (Oliver Ditson Co.), read from the dated 1918 printing.\n%% Four SATB voice streams, canonical key G major, 4/4, one-quarter pickup,\n%% 16 bars (final bar three beats). RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymns00town = Tabernacle Hymns (Chicago: Tabernacle\n%% Publishing Co., 1918), hymn 81, leaf 0087, headed \"81  Sweet By-and-By. /\n%% S. Fillmore Bennett. / Jos. P. Webster.\" in close score (S+A on the treble\n%% staff, T+B on the bass staff), one sharp, 4/4, footed \"Copyright, 1910, by\n%% J. H. Webster.  Used by per. Oliver Ditson Co.\"  Every notehead was located\n%% by staff position with a pixel measurement of the scan (tools/noteread.py,\n%% local five-line refits, hollow heads re-read from their arc pairs) and then\n%% read again by eye at 6x-14x on grid-overlay crops. Cross-read END TO END\n%% against the SAME 1910 arrangement in The New Make Christ King (Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 230, archive.org\n%% newmakechristkin00unse leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H.\n%% WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" — a COMPRESSED engraving\n%% (verse and chorus carry first/second-ending voltas), collated phrase by\n%% phrase. Per-chord log: review/sweet-by-and-by/READING.md.\n%%\n%% THE ANTIPHONAL CHORUS. From the chorus the lower staff is antiphonal: the\n%% upper voices hold dotted halves (\"sweet\", \"by,\", \"shore,\") while tenor and\n%% bass answer on a second, smaller printed lyric row — \"In the sweet\" once\n%% (bar 9), then \"by and by,\" four times (bars 10, 12, 13, 14) — always\n%% entering on beat 2 with eighth + eighth + quarter. The answer's texture\n%% varies and is encoded exactly as printed:\n%%   bar  9: T and B answer together, T G3-A3-B3 over a bass G2 pedal;\n%%           beat 4: T joins the upper voices' \"by and\" on D4s, B rests.\n%%   bar 10: T sings \"by,\" D4 with the upper voices then rests (printed high\n%%           quarter rests); B rests beat 1 then answers alone on D3 D3 D3;\n%%           beat 4: both sing \"We shall\" on octave D4/D3.\n%%   bar 12: \"shore,\" is a QUARTER for T+B (D4/G3) while the upper voices\n%%           hold it dotted-half; the answer prints TWO heads per column —\n%%           T D4-D4-D4 (ledgered, above the staff) over B G2-G2-G2 (on the\n%%           bottom line) — on BOTH witnesses; beat 4: B alone takes the\n%%           \"In the\" pickup on G2 8. 16 while T rests.\n%%   bar 13: T answers G3-A3-B3 over the bass G2 pedal again (text now\n%%           \"by and by,\"); beat 4: T D4s with the upper \"by and\", B walks\n%%           G2 8. B2 16 into the C chord of bar 14.\n%%   bar 14: \"by,\" is a QUARTER for T+B (C4/C3); both answer in octaves\n%%           C4/C3; beat 4: \"We shall\" on G3 8. G3 16 over C3 8. C3 16.\n%% The answer-row words live in the sidecar's bass_echo, not in a fifth voice.\n%%\n%% FIVE-PART CADENCES, stated plainly. At BOTH G-cadences — \"there.\" (bar 8)\n%% and the final \"shore.\" (bar 16) — the lower staff prints THREE dotted-half\n%% noteheads on one stem: B3, G3 and G2, under the treble's G4 and D4, on both\n%% witnesses. The corpus admits four voices and forbids divisi, so soprano G4,\n%% alto D4, tenor B3 (the third, completing the triad) and bass G2 are encoded\n%% and the printed doubled-root G3 between them is NOT reproduced (the\n%% POWER IN THE BLOOD final-chord precedent).\n%%\n%% ACCIDENTALS: the hymn prints NONE — no sharp, flat or natural anywhere on\n%% either witness beyond the one-sharp key signature (all ~66 columns swept by\n%% eye at 6x-14x on both plates). Every fis here is the key signature's F-sharp.\n%% There are NO ties and NO slurs anywhere: 66 soprano noteheads, 66 syllables.\n%%\n%% RHYTHM NOTES. The verse's inner bars are quarter + two plain eighths\n%% (bars 1, 5, 7, 11, 15) EXCEPT bar 3, which the 1918 plate prints DOTTED\n%% (we 8. can 16, it 8. a- 16) — the 1914 witness prints its shared verse bar\n%% dotted as well, and both readings ship as their plates print them. All\n%% phrase pickups (\"There's a\", \"And by\", \"For the\", \"To pre\", \"In the\",\n%% \"by and\", \"We shall\") are dotted-eighth + sixteenth. Bars 2, 4 and 6 close\n%% with a printed quarter rest in all four voices after the half note, as\n%% engraved. Bar 8 and bar 16 are dotted halves with no rest (bar 16 is a\n%% THREE-BEAT bar balancing the one-beat pickup, as printed).\n%%\n%% NOT RENDERED, present in the source: the heavy \"CHORUS.\" double bar after\n%% \"there.\" falls mid-bar 8 (the chorus pickup \"In the\" completes that bar);\n%% the engine draws its refrain marking from the sidecar instead.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 b'8. b'16 d''4 d''8. b'16 |\n  a'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 fis'8 |\n  g'2. b'8. c''16 |\n  d''2. d''8. b'16 |\n  a'2. a'8. b'16 |\n  c''4 c''8 c''8 c''4 b'8 a'8 |\n  b'2. b'8. c''16 |\n  d''2. b'8. a'16 |\n  g'2. fis'8. e'16 |\n  d'4 g'8 b'8 a'4 g'8 fis'8 |\n  g'2.\n}\n\nalto = {\n  d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8. d'16 g'4 g'8. d'16 |\n  d'2 r4 d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8 d'8 e'4 d'8 d'8 |\n  d'2. g'8. a'16 |\n  b'2. b'8. g'16 |\n  fis'2. fis'8. g'16 |\n  a'4 a'8 a'8 a'4 g'8 fis'8 |\n  g'2. g'8. a'16 |\n  b'2. g'8. fis'16 |\n  e'2. d'8. c'16 |\n  b4 d'8 d'8 d'4 d'8 d'8 |\n  d'2.\n}\n\ntenor = {\n  b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8. g16 b4 b8. g16 |\n  fis2 r4 b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8 g8 c'4 b8 a8 |\n  b2. r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  d'4 r4 r4 d'8. d'16 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  d'4 d'8 d'8 d'4 r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  c'4 c'8 c'8 c'4 g8. g16 |\n  g4 b8 d'8 c'4 b8 a8 |\n  b2.\n}\n\nbass = {\n  g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 g8. g16 g4 g8. g16 |\n  d2 r4 g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 b,8 b,8 c4 d8 d8 |\n  g,2. r4 |\n  r4 g,8 g,8 g,4 r4 |\n  r4 d8 d8 d4 d8. d16 |\n  d4 d8 d8 d4 d8 d8 |\n  g4 g,8 g,8 g,4 g,8. g,16 |\n  g,4 g,8 g,8 g,4 g,8. b,16 |\n  c4 c8 c8 c4 c8. c16 |\n  d4 d8 d8 d4 d8 d8 |\n  g,2.\n}\n", "preferred": true}]}, "sweet-hour": {"slug": "sweet-hour", "name": "SWEET HOUR", "alt_name": "SWEET HOUR OF PRAYER", "meter_label": "L.M.D.", "meter": {"pattern": [8, 8, 8, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1861", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "sweet-hour-methodist-1905", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Read for this record off the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364 — archive.org methodi00meth leaf n375, collated against a second scan of the same plate, archive.org methodisthymnal01churgoog leaf n382. That page heads the tune \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\" and sets it in D major and 3/8. US public domain: the printing actually read is itself pre-1931. \"William B. Bradbury\" is the credit the page itself prints; the 1861 first publication in his Golden Chain of Sabbath School Melodies is the received date and was NOT verified here against a copy of that book — nothing in this record depends on it, since the licensing basis is the 1905 printing. THE METRE WAS TAKEN FROM THE MUSIC, not from the page's heading: the tune sets eight lines of eight syllables (64 syllables over 67 soprano noteheads, three of them two-note melismas), i.e. L.M.D. — the 1905 page's \"8s. D.\" is the same count in that hymnal's older notation. The tune is entered under the shorter name SWEET HOUR, the form this repo's own gospel-song survey uses (docs/research/14-gospel-song-expansion.md), with the page's heading kept as `alt_name`. Not a duplicate: tools/tune_fingerprint.py run on a MIDI written from THIS page reading scores 0.54 against its nearest corpus neighbour (CRANHAM), far below the 0.80 duplicate threshold.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sweet-hour-methodist-1905", "tune": "sweet-hour", "music_file": "sweet-hour-methodist-1905.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/8", "pickup": "8", "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Bradbury's SWEET HOUR as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\", in D major and 3/8 with a one-eighth pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org methodi00meth leaf n375 (2768 px across) and archive.org methodisthymnal01churgoog leaf n382 (3262 px across). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, noteheads isolated by morphological erosion (which deletes staff lines, stems and beams), merged soprano-over-alto pairs — all of them exactly a third apart on this page — split at the midpoint of their two clean outer edges, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew and page curvature cannot drag a reading. On scan 1, 265 of 267 cores land within 0.15 diatonic step of an exact staff position; the two that do not are the head of a bass clef and the flag of an eighth-note stem, both identified by eye at 5x and discarded. Scan 2, read independently the same way, agrees with scan 1 on all 69 chords in all four voices — 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, one notehead carrying both an up and a down stem is a unison, and one notehead carrying a single stem (the three melismas, where the bass alone holds) is that stem's voice only. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE. The Cyber Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian Church in the United States, 1955), # 398\" as the edition it was copied from. An earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4, commit 981a613) was rejected; its committed .ly differs from this plate in exactly six notes and in nothing else — the tenor's first note in mm. 2, 10 and 26 (plate A3, that file D4) and both notes of m. 20 (plate tenor A3-A3 and alto F#4-F#4, that file tenor D4-F#3 and alto F#4-D4). The plate is followed at all six. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the page beams the three two-note melismas as eighth pairs and they are slurred here, which is how this corpus marks a two-note syllable — a notation change, not a pitch or duration change; (3) the thick phrase rules the page draws mid-bar at the ends of poetic lines 1-7 are not reproduced, but the system breaks fall at those same soprano ordinals; (4) the page casts two poetic lines per system and this hymn casts one, because 17 noteheads exceeds MAX_SYSTEM_NOTES. Nothing else departs: every pitch and every duration below is the plate's, the bass holds its quarter under each melisma exactly where the plate holds it, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 516, p. 364 — archive.org methodi00meth leaf n375, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n382. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET HOUR (L.M.D.) — William B. Bradbury. Four SATB voice streams,\n%% canonical key D major, 3/8, one-eighth pickup, 32 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed\n%% \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\". Read off TWO\n%% independent scans of that plate: archive.org methodi00meth leaf n375\n%% (2768 px across) and archive.org methodisthymnal01churgoog leaf n382\n%% (3262 px across).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan: adaptive binarisation\n%% (ink < 82% of the local paper level, then a 5x5 closing to seal the\n%% highlights the plate's ink leaves inside a notehead); noteheads isolated by\n%% morphological erosion with an ellipse of semi-axes 0.29 x 0.215 staff\n%% spaces, which deletes staff lines, stems and beams but leaves a notehead\n%% core; every merged pair on this page turned out to be exactly one staff\n%% space (a third) apart, and each was split at its midpoint, which is the\n%% mean of two clean outer edges. Every core was then converted to a diatonic\n%% step with a FRESH five-line fit made in a +-2.4-staff-space window around\n%% that core's own x, so the plate's skew and curvature cannot drag a reading.\n%% 265 of the 267 cores on scan 1 land within 0.15 diatonic step of an exact\n%% staff position; the two that do not are the head of a bass clef and the\n%% flag of an eighth-note stem (a few flags do survive the erosion), and both\n%% were identified by eye at 5x and discarded. Scan 2, read the same way with\n%% its own staff-line fits, agrees with scan 1 on all 69 chords x 4 voices —\n%% 0 disagreements.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. The Cyber\n%% Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md\n%% records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian\n%% Church in the US, 1955), # 398\" as the edition it was copied from. An\n%% earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4,\n%% commit 981a613) was rejected; its committed .ly differs from this plate in\n%% exactly six notes and in nothing else — the tenor's first note in mm. 2, 10\n%% and 26 (plate a, i.e. A3; that file d', i.e. D4) and both notes of m. 20,\n%% where the plate prints tenor a-a and alto fis'-fis' against its tenor\n%% d'-fis and alto fis'-d'. The plate is followed at all six.\n%%\n%% THE PRINTED METRE IS 3/8, not the 6/8 modern hymnals use: every bar is a\n%% quarter on the beat plus an eighth upbeat, so each poetic line ends on a\n%% QUARTER that shares its bar with the next line's pickup eighth (pickup 1/8\n%% + final 2/8 = one whole bar, so the piece is metrically complete). The\n%% thick rules the page draws at the ends of poetic lines 1-7 are phrase\n%% double bars falling MID-bar, between that quarter and the next line's\n%% pickup; they are NOT barlines and are NOT reproduced here (the engine draws\n%% ordinary barlines and a system break at those same soprano ordinals).\n%%\n%% THE THREE MELISMAS (soprano notes 12-13, 29-30, 62-63 — the 4th syllable of\n%% poetic lines 2, 4 and 8: \"from\", \"wants\", \"-turn\") are the two-note pairs\n%% slurred below. The page BEAMS them as eighth pairs; this corpus marks a\n%% two-note syllable with a slur, so that is a departure in notation, not in\n%% pitch or duration. Under each of them the bass alone holds a quarter while\n%% the three upper voices move in eighths — the page prints that, and it is\n%% the only place in the hymn where the four voices are not homorhythmic;\n%% everywhere else all four restrike together, exactly as the plate does.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a double bar at the end\n%% of the last sung line, and before the closing heavy double bar, the plate\n%% prints two chords under \"A-MEN\", written as dotted quarters (a full 3/8 bar\n%% each): S d' / A b / T g / B g, , then S d' / A a / T fis / B d — a plagal\n%% G-to-D. This corpus never authors an amen per harmonization (they are synthesized\n%% as an optional book feature), so `amen: false` and those two chords are\n%% simply absent; with the book option on, the synthesized plagal amen holds\n%% the alto on d' where the plate prints b and then a.\n%%\n%% 67 soprano noteheads carry 64 syllables (8 lines x 8, L.M.D.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/8 \\partial 8 }\n\nsoprano = {\n  d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | e'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | a'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4\n}\n\nalto = {\n  d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | cis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | fis'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4\n}\n\ntenor = {\n  fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4\n}\n\nbass = {\n  d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4\n}\n"}, "harmonizations": [{"slug": "sweet-hour-methodist-1905", "tune": "sweet-hour", "music_file": "sweet-hour-methodist-1905.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/8", "pickup": "8", "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Bradbury's SWEET HOUR as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\", in D major and 3/8 with a one-eighth pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE — archive.org methodi00meth leaf n375 (2768 px across) and archive.org methodisthymnal01churgoog leaf n382 (3262 px across). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, noteheads isolated by morphological erosion (which deletes staff lines, stems and beams), merged soprano-over-alto pairs — all of them exactly a third apart on this page — split at the midpoint of their two clean outer edges, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew and page curvature cannot drag a reading. On scan 1, 265 of 267 cores land within 0.15 diatonic step of an exact staff position; the two that do not are the head of a bass clef and the flag of an eighth-note stem, both identified by eye at 5x and discarded. Scan 2, read independently the same way, agrees with scan 1 on all 69 chords in all four voices — 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, one notehead carrying both an up and a down stem is a unison, and one notehead carrying a single stem (the three melismas, where the bass alone holds) is that stem's voice only. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE. The Cyber Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian Church in the United States, 1955), # 398\" as the edition it was copied from. An earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4, commit 981a613) was rejected; its committed .ly differs from this plate in exactly six notes and in nothing else — the tenor's first note in mm. 2, 10 and 26 (plate A3, that file D4) and both notes of m. 20 (plate tenor A3-A3 and alto F#4-F#4, that file tenor D4-F#3 and alto F#4-D4). The plate is followed at all six. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the page beams the three two-note melismas as eighth pairs and they are slurred here, which is how this corpus marks a two-note syllable — a notation change, not a pitch or duration change; (3) the thick phrase rules the page draws mid-bar at the ends of poetic lines 1-7 are not reproduced, but the system breaks fall at those same soprano ordinals; (4) the page casts two poetic lines per system and this hymn casts one, because 17 noteheads exceeds MAX_SYSTEM_NOTES. Nothing else departs: every pitch and every duration below is the plate's, the bass holds its quarter under each melisma exactly where the plate holds it, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 516, p. 364 — archive.org methodi00meth leaf n375, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n382. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET HOUR (L.M.D.) — William B. Bradbury. Four SATB voice streams,\n%% canonical key D major, 3/8, one-eighth pickup, 32 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed\n%% \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\". Read off TWO\n%% independent scans of that plate: archive.org methodi00meth leaf n375\n%% (2768 px across) and archive.org methodisthymnal01churgoog leaf n382\n%% (3262 px across).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan: adaptive binarisation\n%% (ink < 82% of the local paper level, then a 5x5 closing to seal the\n%% highlights the plate's ink leaves inside a notehead); noteheads isolated by\n%% morphological erosion with an ellipse of semi-axes 0.29 x 0.215 staff\n%% spaces, which deletes staff lines, stems and beams but leaves a notehead\n%% core; every merged pair on this page turned out to be exactly one staff\n%% space (a third) apart, and each was split at its midpoint, which is the\n%% mean of two clean outer edges. Every core was then converted to a diatonic\n%% step with a FRESH five-line fit made in a +-2.4-staff-space window around\n%% that core's own x, so the plate's skew and curvature cannot drag a reading.\n%% 265 of the 267 cores on scan 1 land within 0.15 diatonic step of an exact\n%% staff position; the two that do not are the head of a bass clef and the\n%% flag of an eighth-note stem (a few flags do survive the erosion), and both\n%% were identified by eye at 5x and discarded. Scan 2, read the same way with\n%% its own staff-line fits, agrees with scan 1 on all 69 chords x 4 voices —\n%% 0 disagreements.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. The Cyber\n%% Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md\n%% records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian\n%% Church in the US, 1955), # 398\" as the edition it was copied from. An\n%% earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4,\n%% commit 981a613) was rejected; its committed .ly differs from this plate in\n%% exactly six notes and in nothing else — the tenor's first note in mm. 2, 10\n%% and 26 (plate a, i.e. A3; that file d', i.e. D4) and both notes of m. 20,\n%% where the plate prints tenor a-a and alto fis'-fis' against its tenor\n%% d'-fis and alto fis'-d'. The plate is followed at all six.\n%%\n%% THE PRINTED METRE IS 3/8, not the 6/8 modern hymnals use: every bar is a\n%% quarter on the beat plus an eighth upbeat, so each poetic line ends on a\n%% QUARTER that shares its bar with the next line's pickup eighth (pickup 1/8\n%% + final 2/8 = one whole bar, so the piece is metrically complete). The\n%% thick rules the page draws at the ends of poetic lines 1-7 are phrase\n%% double bars falling MID-bar, between that quarter and the next line's\n%% pickup; they are NOT barlines and are NOT reproduced here (the engine draws\n%% ordinary barlines and a system break at those same soprano ordinals).\n%%\n%% THE THREE MELISMAS (soprano notes 12-13, 29-30, 62-63 — the 4th syllable of\n%% poetic lines 2, 4 and 8: \"from\", \"wants\", \"-turn\") are the two-note pairs\n%% slurred below. The page BEAMS them as eighth pairs; this corpus marks a\n%% two-note syllable with a slur, so that is a departure in notation, not in\n%% pitch or duration. Under each of them the bass alone holds a quarter while\n%% the three upper voices move in eighths — the page prints that, and it is\n%% the only place in the hymn where the four voices are not homorhythmic;\n%% everywhere else all four restrike together, exactly as the plate does.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a double bar at the end\n%% of the last sung line, and before the closing heavy double bar, the plate\n%% prints two chords under \"A-MEN\", written as dotted quarters (a full 3/8 bar\n%% each): S d' / A b / T g / B g, , then S d' / A a / T fis / B d — a plagal\n%% G-to-D. This corpus never authors an amen per harmonization (they are synthesized\n%% as an optional book feature), so `amen: false` and those two chords are\n%% simply absent; with the book option on, the synthesized plagal amen holds\n%% the alto on d' where the plate prints b and then a.\n%%\n%% 67 soprano noteheads carry 64 syllables (8 lines x 8, L.M.D.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/8 \\partial 8 }\n\nsoprano = {\n  d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | e'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | a'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4\n}\n\nalto = {\n  d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | cis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | fis'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4\n}\n\ntenor = {\n  fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4\n}\n\nbass = {\n  d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4\n}\n", "preferred": true}]}, "tallis-canon": {"slug": "tallis-canon", "name": "TALLIS` CANON", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-tallis", "composer_date": "c. 1567", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "tallis-canon-oh309", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:309; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "tallis_canon", "total_instances": 448}}, "harmonization": {"slug": "tallis-canon-oh309", "tune": "tallis-canon", "music_file": "tallis-canon-oh309.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:309; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:309", "encoding_license": "PD-dedication"}, "music_ly": "%% All Praise To Thee, My God, This Night\n%% Imported from Open Hymnal ABC X:309 via tools/abc_import.py\n%% Open Hymnal X:309; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 g'4 a'4 a'4 b'4 g'4 c''4 c''4 b'4 b'4 a'4 a'4 g'4 d''4 c''4 a'4 b'4 b'4 a'4 a'4 g'4 d'4 e'4 fis'4 g'4 b'4 a'4 a'4 g'4\n}\nalto = {\n  d'4 d'4 d'4 b4 d'4 e'4 d'4 d'4 g'4 e'4 fis'4 g'4 d'4 e'4 d'4 d'4 g'4 e'4 d'4 d'4 d'4 e'4 fis'4 g'4 g4 e'4 d'4 b4 d'4 c'4 a4 b4\n}\ntenor = {\n  b4 a4 a4 g4 g4 g4 fis4 g4 g4 a4 a4 b4 g4 c'4 c'4 b4 b4 a4 a4 g4 d'4 c'4 a4 b4 b4 a4 a4 g4 d4 e4 fis4 g4\n}\nbass = {\n  g4 d4 d4 e4 b,4 c4 d4 g,4 b,4 a,4 a,4 g,4 g4 g4 fis4 g4 g4 a4 fis4 g4 g,4 c4 d4 g,4 b,4 c4 d4 e4 b,4 c4 d4 g,4\n}\n"}, "harmonizations": [{"slug": "tallis-canon-oh309", "tune": "tallis-canon", "music_file": "tallis-canon-oh309.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:309; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:309", "encoding_license": "PD-dedication"}, "music_ly": "%% All Praise To Thee, My God, This Night\n%% Imported from Open Hymnal ABC X:309 via tools/abc_import.py\n%% Open Hymnal X:309; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 g'4 a'4 a'4 b'4 g'4 c''4 c''4 b'4 b'4 a'4 a'4 g'4 d''4 c''4 a'4 b'4 b'4 a'4 a'4 g'4 d'4 e'4 fis'4 g'4 b'4 a'4 a'4 g'4\n}\nalto = {\n  d'4 d'4 d'4 b4 d'4 e'4 d'4 d'4 g'4 e'4 fis'4 g'4 d'4 e'4 d'4 d'4 g'4 e'4 d'4 d'4 d'4 e'4 fis'4 g'4 g4 e'4 d'4 b4 d'4 c'4 a4 b4\n}\ntenor = {\n  b4 a4 a4 g4 g4 g4 fis4 g4 g4 a4 a4 b4 g4 c'4 c'4 b4 b4 a4 a4 g4 d'4 c'4 a4 b4 b4 a4 a4 g4 d4 e4 fis4 g4\n}\nbass = {\n  g4 d4 d4 e4 b,4 c4 d4 g,4 b,4 a,4 a,4 g,4 g4 g4 fis4 g4 g4 a4 fis4 g4 g,4 c4 d4 g,4 b,4 c4 d4 e4 b,4 c4 d4 g,4\n}\n", "preferred": true}]}, "tempus-adest-floridum": {"slug": "tempus-adest-floridum", "name": "TEMPUS ADEST FLORIDUM", "meter_label": "7.6.7.6 D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "13th-century-spring-carol-first-published-in-the-swedish-piae-cantones", "composer_date": "1916", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "tempus-adest-floridum-oh55", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:55; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "tempus-adest-floridum-oh55", "tune": "tempus-adest-floridum", "music_file": "tempus-adest-floridum-oh55.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:55; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:55", "encoding_license": "PD-dedication"}, "music_ly": "%% Gentle Mary Laid Her Child\n%% Imported from Open Hymnal ABC X:55 via tools/abc_import.py\n%% Open Hymnal X:55; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 a'4 b'4 a'4 a'4 e'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 a'4 a'4 a'4 b'4 a'4 a'4 e'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 e''4 d''4 cis''4 b'4 cis''4 b'4 a'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 e'4 e'4 fis'4 gis'4 a'4 a'4 b'2 e''4 d''4 cis''4 b'4 a'2( d''2) a'1\n}\nalto = {\n  e'4 e'4 fis'4 e'4 e'4 fis'4 b2 d'4 e'4 d'4 d'4 e'2 e'2 e'4 e'4 fis'4 e'4 e'4 fis'4 b2 d'4 e'4 d'4 d'4 e'2 e'2 a'4 a'4 a'4 gis'4 a'4 gis'4 fis'2 a4 e'4 d'4 d'4 e'2 e'2 e'4 e'4 d'4 d'4 cis'4 cis'4 e'2 e'4 a'4 a'4 gis'4 a'2( fis'2) e'1\n}\ntenor = {\n  cis'4 cis'4 cis'4 b4 cis'4 d'4 gis2 a4 a4 a4 b4 cis'2 cis'2 cis'4 cis'4 cis'4 b4 cis'4 d'4 gis2 a4 a4 a4 b4 cis'2 cis'2 e'4 fis'4 e'4 e'4 e'4 e'4 cis'2 d'4 a4 a4 b4 cis'2 cis'2 a4 a4 a4 b4 a4 a4 gis2 a4 fis'4 e'4 e'4 cis'2( d'2) cis'1\n}\nbass = {\n  a4 a4 fis4 gis4 a4 d4 e2 d4 cis4 d4 b,4 a,2 a,2 a4 a4 fis4 gis4 a4 d4 e2 d4 cis4 d4 b,4 a,2 a,2 cis4 d4 e4 e4 a4 e4 fis2 d4 cis4 d4 b,4 a,2 a,2 cis4 cis4 d4 b,4 fis4 fis4 e2 cis4 d4 e4 e4 fis2( d2) a1\n}\n"}, "harmonizations": [{"slug": "tempus-adest-floridum-oh55", "tune": "tempus-adest-floridum", "music_file": "tempus-adest-floridum-oh55.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:55; all components published pre-1931 (latest year 1919).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:55", "encoding_license": "PD-dedication"}, "music_ly": "%% Gentle Mary Laid Her Child\n%% Imported from Open Hymnal ABC X:55 via tools/abc_import.py\n%% Open Hymnal X:55; all components published pre-1931 (latest year 1919).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 a'4 b'4 a'4 a'4 e'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 a'4 a'4 a'4 b'4 a'4 a'4 e'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 e''4 d''4 cis''4 b'4 cis''4 b'4 a'2 fis'4 e'4 fis'4 gis'4 a'2 a'2 e'4 e'4 fis'4 gis'4 a'4 a'4 b'2 e''4 d''4 cis''4 b'4 a'2( d''2) a'1\n}\nalto = {\n  e'4 e'4 fis'4 e'4 e'4 fis'4 b2 d'4 e'4 d'4 d'4 e'2 e'2 e'4 e'4 fis'4 e'4 e'4 fis'4 b2 d'4 e'4 d'4 d'4 e'2 e'2 a'4 a'4 a'4 gis'4 a'4 gis'4 fis'2 a4 e'4 d'4 d'4 e'2 e'2 e'4 e'4 d'4 d'4 cis'4 cis'4 e'2 e'4 a'4 a'4 gis'4 a'2( fis'2) e'1\n}\ntenor = {\n  cis'4 cis'4 cis'4 b4 cis'4 d'4 gis2 a4 a4 a4 b4 cis'2 cis'2 cis'4 cis'4 cis'4 b4 cis'4 d'4 gis2 a4 a4 a4 b4 cis'2 cis'2 e'4 fis'4 e'4 e'4 e'4 e'4 cis'2 d'4 a4 a4 b4 cis'2 cis'2 a4 a4 a4 b4 a4 a4 gis2 a4 fis'4 e'4 e'4 cis'2( d'2) cis'1\n}\nbass = {\n  a4 a4 fis4 gis4 a4 d4 e2 d4 cis4 d4 b,4 a,2 a,2 a4 a4 fis4 gis4 a4 d4 e2 d4 cis4 d4 b,4 a,2 a,2 cis4 d4 e4 e4 a4 e4 fis2 d4 cis4 d4 b,4 a,2 a,2 cis4 cis4 d4 b,4 fis4 fis4 e2 cis4 d4 e4 e4 fis2( d2) a1\n}\n", "preferred": true}]}, "terra-beata": {"slug": "terra-beata", "name": "TERRA BEATA", "meter_label": "S.M.D.", "meter": {"pattern": [6, 6, 8, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Traditional English melody", "arranger": "franklin-sheppard", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "terra-beata-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "TERRA BEATA (\"blessed earth\"), a traditional English melody adapted and harmonized by Franklin L. Sheppard (1852–1930), first published in Alleluia (1915). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the soprano was verified note-for-note against the Hymnary tune incipit (12353 21234 65326) and against the Cyber Hymnal engraving (E-flat major, 4/4, quarter-note pickup, dotted-half final; pure diatonic, no accidentals). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Terra Beata\" (arr. Franklin L. Sheppard, 1915); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "terra-beata-cyberhymnal", "tune": "terra-beata", "music_file": "terra-beata-cyberhymnal.ly", "harmonizer": "franklin-sheppard", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31, 44], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "TERRA BEATA, traditional English melody, adapted and harmonized by Franklin L. Sheppard (Alleluia, 1915). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TERRA BEATA (traditional English melody, arr. Franklin L. Sheppard, 1852–1930, in Alleluia, 1915); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py. The soprano was verified note-for-note against the Hymnary incipit (12353 21234 65326), the Cyber Hymnal engraving, and the 1915 Alleluia first-edition engraving (archive.org alleluiahymnalfo1915pres, leaf 0180, hymn 180) — E-flat major, 4/4, quarter-note pickup, dotted-half final; pure diatonic, no accidentals. This Cyber Hymnal edition differs from the 1915 plate only at soprano ordinal 45 (one c'4 here vs. two c'8 there), the 1915 fermata at ordinal 53, and the printed Amen (omitted here). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Terra Beata\" (arr. Sheppard); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TERRA BEATA (S.M.D., 6.6.8.6 D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Traditional English melody adapted + harmonized by Franklin L. Sheppard (Alleluia,\n%% 1915). Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py; the soprano was\n%% verified note-for-note against the Hymnary tune incipit (12353 21234 65326) and the\n%% Cyber Hymnal engraving. 4/4 with a quarter-note pickup (two slurred eighths) and a\n%% dotted-half final; pure diatonic E-flat major (no accidentals). 61 soprano notes; the\n%% eighth-note phrase figures carry variable melismas (see the setting's stanza_lines).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'8 f'8 | g'4 bes'4 g'4 f'4 | es'2. f'8 g'8 | as'4 c''4 bes'4 g'4 |\n  f'2. c''4 | bes'4 g'4 g'4 f'8 es'8 | g'4 f'4 es'4 bes4 | es'8 f'8 g'4 bes'4 f'8 g'8 |\n  es'2. bes'4 | es''4 bes'4 c''4 d''4 | es''2. es''8 d''8 | c''4 es''4 d''4 c''4 |\n  bes'2. c''4 | bes'4 g'4 g'4 f'8 es'8 | g'4 f'4 es'4 bes4 | es'8 f'8 g'4 bes'4 f'8 g'8 |\n  es'2.\n}\nalto = {\n  es'8 f'8 | es'4 es'4 d'4 d'4 | es'2. es'8 g'8 | es'4 es'4 es'4 es'4 |\n  d'2. d'4 | es'4 es'4 d'4 d'8 es'8 | d'4 d'4 es'4 bes4 | es'8 f'8 es'4 d'4 d'8 g'8 |\n  es'2. d'4 | es'4 g'4 as'4 as'4 | g'2. es'8 d''8 | es'4 es'4 es'4 es'4 |\n  es'2. d'4 | es'4 es'4 d'4 d'8 c'8 | d'4 d'4 es'4 bes4 | es'8 f'8 es'4 d'4 d'8 d'8 |\n  es'2.\n}\ntenor = {\n  g8 as8 | bes4 g4 bes4 as4 | g2. as8 bes8 | c'4 as4 g4 bes4 |\n  bes2. as4 | g4 bes4 bes4 as8 g8 | bes4 bes4 g4 g4 | g8 as8 bes4 bes4 as4 |\n  g2. bes8 as8 | g4 bes4 as4 bes4 | bes2. bes4 | as4 c'4 bes4 as4 |\n  g2. as4 | g4 bes4 bes4 as8 g8 | bes4 as4 g4 bes4 | g8 as8 bes4 bes4 as8 as8 |\n  g2.\n}\nbass = {\n  es8 as8 | es4 es4 bes,4 bes,4 | es2. es8 bes8 | es4 es4 es4 es4 |\n  bes,2. bes,4 | es4 es4 bes,4 bes,8 g8 | bes,4 bes,4 es4 es4 | es8 as8 es4 bes,4 bes,4 |\n  es2. f8 as8 | es4 es4 as4 f4 | es2. g4 | as4 as4 as4 as4 |\n  es2. bes,4 | es4 es4 bes,4 bes,8 bes,8 | bes,4 bes,4 es4 bes,4 | es8 as8 es4 bes,4 bes,8 bes,8 |\n  es2.\n}\n"}, "harmonizations": [{"slug": "terra-beata-cyberhymnal", "tune": "terra-beata", "music_file": "terra-beata-cyberhymnal.ly", "harmonizer": "franklin-sheppard", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 31, 44], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "TERRA BEATA, traditional English melody, adapted and harmonized by Franklin L. Sheppard (Alleluia, 1915). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TERRA BEATA (traditional English melody, arr. Franklin L. Sheppard, 1852–1930, in Alleluia, 1915); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py. The soprano was verified note-for-note against the Hymnary incipit (12353 21234 65326), the Cyber Hymnal engraving, and the 1915 Alleluia first-edition engraving (archive.org alleluiahymnalfo1915pres, leaf 0180, hymn 180) — E-flat major, 4/4, quarter-note pickup, dotted-half final; pure diatonic, no accidentals. This Cyber Hymnal edition differs from the 1915 plate only at soprano ordinal 45 (one c'4 here vs. two c'8 there), the 1915 fermata at ordinal 53, and the printed Amen (omitted here). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Terra Beata\" (arr. Sheppard); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TERRA BEATA (S.M.D., 6.6.8.6 D) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Traditional English melody adapted + harmonized by Franklin L. Sheppard (Alleluia,\n%% 1915). Encoded from The Cyber Hymnal SATB MIDI with tools/mid2ly.py; the soprano was\n%% verified note-for-note against the Hymnary tune incipit (12353 21234 65326) and the\n%% Cyber Hymnal engraving. 4/4 with a quarter-note pickup (two slurred eighths) and a\n%% dotted-half final; pure diatonic E-flat major (no accidentals). 61 soprano notes; the\n%% eighth-note phrase figures carry variable melismas (see the setting's stanza_lines).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'8 f'8 | g'4 bes'4 g'4 f'4 | es'2. f'8 g'8 | as'4 c''4 bes'4 g'4 |\n  f'2. c''4 | bes'4 g'4 g'4 f'8 es'8 | g'4 f'4 es'4 bes4 | es'8 f'8 g'4 bes'4 f'8 g'8 |\n  es'2. bes'4 | es''4 bes'4 c''4 d''4 | es''2. es''8 d''8 | c''4 es''4 d''4 c''4 |\n  bes'2. c''4 | bes'4 g'4 g'4 f'8 es'8 | g'4 f'4 es'4 bes4 | es'8 f'8 g'4 bes'4 f'8 g'8 |\n  es'2.\n}\nalto = {\n  es'8 f'8 | es'4 es'4 d'4 d'4 | es'2. es'8 g'8 | es'4 es'4 es'4 es'4 |\n  d'2. d'4 | es'4 es'4 d'4 d'8 es'8 | d'4 d'4 es'4 bes4 | es'8 f'8 es'4 d'4 d'8 g'8 |\n  es'2. d'4 | es'4 g'4 as'4 as'4 | g'2. es'8 d''8 | es'4 es'4 es'4 es'4 |\n  es'2. d'4 | es'4 es'4 d'4 d'8 c'8 | d'4 d'4 es'4 bes4 | es'8 f'8 es'4 d'4 d'8 d'8 |\n  es'2.\n}\ntenor = {\n  g8 as8 | bes4 g4 bes4 as4 | g2. as8 bes8 | c'4 as4 g4 bes4 |\n  bes2. as4 | g4 bes4 bes4 as8 g8 | bes4 bes4 g4 g4 | g8 as8 bes4 bes4 as4 |\n  g2. bes8 as8 | g4 bes4 as4 bes4 | bes2. bes4 | as4 c'4 bes4 as4 |\n  g2. as4 | g4 bes4 bes4 as8 g8 | bes4 as4 g4 bes4 | g8 as8 bes4 bes4 as8 as8 |\n  g2.\n}\nbass = {\n  es8 as8 | es4 es4 bes,4 bes,4 | es2. es8 bes8 | es4 es4 es4 es4 |\n  bes,2. bes,4 | es4 es4 bes,4 bes,8 g8 | bes,4 bes,4 es4 es4 | es8 as8 es4 bes,4 bes,4 |\n  es2. f8 as8 | es4 es4 as4 f4 | es2. g4 | as4 as4 as4 as4 |\n  es2. bes,4 | es4 es4 bes,4 bes,8 bes,8 | bes,4 bes,4 es4 bes,4 | es8 as8 es4 bes,4 bes,8 bes,8 |\n  es2.\n}\n", "preferred": true}]}, "the-comforter-has-come": {"slug": "the-comforter-has-come", "name": "THE COMFORTER HAS COME", "meter_label": "12.12.12.6", "meter": {"pattern": [12, 12, 12, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1898", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "the-comforter-has-come-oh121", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:121; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "the-comforter-has-come-oh121", "tune": "the-comforter-has-come", "music_file": "the-comforter-has-come-oh121.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 24, 36, 48, 60, 72], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:121; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:121", "encoding_license": "PD-dedication"}, "music_ly": "%% The Comforter Has Come\n%% Imported from Open Hymnal ABC X:121 via tools/abc_import.py\n%% Open Hymnal X:121; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'4. a'8 g'8 e'8 g'2 e'4 e'4. e'8 d'8 c'8 d'2 g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'2 c''4 e''2 d''4 c''2 c''4 e''4. d''8 c''8 d''8 e''2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'4. a'8 g'8 e'8 g'2 e'4 e'4. e'8 d'8 c'8 d'2 g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'2 c''4 e''2 d''4 c''2\n}\nalto = {\n  e'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'4. f'8 e'8 c'8 e'2 c'4 c'4. c'8 c'8 c'8 b2 f'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'2 e'4 g'2 f'4 e'2 e'4 g'4. f'8 e'8 f'8 g'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'4. f'8 e'8 c'8 e'2 c'4 c'4. c'8 c'8 c'8 b2 f'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'2 e'4 g'2 f'4 e'2\n}\ntenor = {\n  c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 a8 c'8 a2 c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 fis8 fis8 g2 b4 c'4. c'8 c'8 g8 c'2 bes4 a4. a8 a8 c'8 a2 c'4 c'2 c'4 c'2 b4 c'2 g4 c'4. g8 g8 g8 c'2 g4 a4. a8 a8 c'8 a2 c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 fis8 fis8 g2 b4 c'4. c'8 c'8 g8 c'2 bes4 a4. a8 a8 c'8 a2 c'4 c'2 c'4 c'2 b4 c'2\n}\nbass = {\n  c4 c4. c8 c8 c8 c2 c4 f4. f8 f8 f8 f2 f4 c4. c8 c8 c8 c2 c4 a,4. a,8 d8 d8 g,2 g,4 c4. c8 c8 c8 c2 e4 f4. f8 f8 f8 f2 f4 g2 g4 g2 g4 c2 c4 c4. c8 c8 c8 c2 c4 f4. f8 f8 f8 f2 f4 c4. c8 c8 c8 c2 c4 a,4. a,8 d8 d8 g,2 g,4 c4. c8 c8 c8 c2 e4 f4. f8 f8 f8 f2 f4 g2 g4 g2 g4 c2\n}\n"}, "harmonizations": [{"slug": "the-comforter-has-come-oh121", "tune": "the-comforter-has-come", "music_file": "the-comforter-has-come-oh121.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 24, 36, 48, 60, 72], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:121; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:121", "encoding_license": "PD-dedication"}, "music_ly": "%% The Comforter Has Come\n%% Imported from Open Hymnal ABC X:121 via tools/abc_import.py\n%% Open Hymnal X:121; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'4. a'8 g'8 e'8 g'2 e'4 e'4. e'8 d'8 c'8 d'2 g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'2 c''4 e''2 d''4 c''2 c''4 e''4. d''8 c''8 d''8 e''2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'4. a'8 g'8 e'8 g'2 e'4 e'4. e'8 d'8 c'8 d'2 g'4 g'4. a'8 g'8 e'8 g'2 c''4 c''4. d''8 c''8 a'8 c''2 a'4 g'2 c''4 e''2 d''4 c''2\n}\nalto = {\n  e'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'4. f'8 e'8 c'8 e'2 c'4 c'4. c'8 c'8 c'8 b2 f'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'2 e'4 g'2 f'4 e'2 e'4 g'4. f'8 e'8 f'8 g'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'4. f'8 e'8 c'8 e'2 c'4 c'4. c'8 c'8 c'8 b2 f'4 e'4. f'8 e'8 c'8 e'2 e'4 f'4. f'8 f'8 f'8 f'2 f'4 e'2 e'4 g'2 f'4 e'2\n}\ntenor = {\n  c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 a8 c'8 a2 c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 fis8 fis8 g2 b4 c'4. c'8 c'8 g8 c'2 bes4 a4. a8 a8 c'8 a2 c'4 c'2 c'4 c'2 b4 c'2 g4 c'4. g8 g8 g8 c'2 g4 a4. a8 a8 c'8 a2 c'4 c'4. c'8 c'8 g8 c'2 g4 a4. a8 fis8 fis8 g2 b4 c'4. c'8 c'8 g8 c'2 bes4 a4. a8 a8 c'8 a2 c'4 c'2 c'4 c'2 b4 c'2\n}\nbass = {\n  c4 c4. c8 c8 c8 c2 c4 f4. f8 f8 f8 f2 f4 c4. c8 c8 c8 c2 c4 a,4. a,8 d8 d8 g,2 g,4 c4. c8 c8 c8 c2 e4 f4. f8 f8 f8 f2 f4 g2 g4 g2 g4 c2 c4 c4. c8 c8 c8 c2 c4 f4. f8 f8 f8 f2 f4 c4. c8 c8 c8 c2 c4 a,4. a,8 d8 d8 g,2 g,4 c4. c8 c8 c8 c2 e4 f4. f8 f8 f8 f2 f4 g2 g4 g2 g4 c2\n}\n", "preferred": true}]}, "the-first-noel": {"slug": "the-first-noel", "name": "THE FIRST NOEL", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Traditional English melody", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "the-first-noel-oh70", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:70; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "the-first-noel-oh70", "tune": "the-first-noel", "music_file": "the-first-noel-oh70.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 25, 38, 50, 63], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 51}, "markings": [{"soprano_note": 51, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:70; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:70", "encoding_license": "PD-dedication"}, "music_ly": "%% The First Noel\n%% Imported from Open Hymnal ABC X:70 via tools/abc_import.py\n%% Open Hymnal X:70; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 b'8 cis''8 d''4( cis''4) b'4 a'2 b'8 cis''8 d''4( cis''4) b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2 fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 b'8 cis''8 d''4( cis''4) b'4 a'2 b'8 cis''8 d''4( cis''4) b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2 fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 d''8 cis''8 b'2 b'4 a'2( a'4) d''4 cis''4 b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2\n}\nalto = {\n  d'4 a2 d'4 e'2 e'4 a'4~ a'4 g'4 fis'2 d'8 e'8 a'4( fis'4) g'4 a'4( d'4) g'4 fis'4~ fis'4 e'4 d'2 cis'4 a2 d'8~ d'8 e'2 e'4 a'4~ a'4 g'4 fis'2 d'8 e'8 a'4( fis'4) g'4 a'4( g'4) g'4 fis'2 e'4 d'2 cis'4 a2 d'4 cis'2 fis'4 g'2 g'4 fis'2( a'4) fis'4 fis'4 g'4 fis'2 g'4 fis'2 e'4 d'2\n}\ntenor = {\n  a8 g8 fis2 d'4 cis'2 b4 a4~ a4 b8 cis'8 d'2 b8 a8 a4~ a4 cis'4 d'4( b4) g4 a4( d'4) a4 a2 a8 g8 fis2 d'8~ d'8 d'4( cis'4) b4 a4~ a4 b8 cis'8 d'2 b8 a8 a4~ a4 cis'4 d'4~ d'4 e'4 a4( d'4) a4 a2 a8 g8 fis2 b4 a2 a4 b4.( cis'8) d'8 e'8 fis'2( e'4) d'4 d'4 d'4 d'2 g4 a2 a4 a2\n}\nbass = {\n  d4 d2 b,4 a,4( a4) g4 fis4~ fis4 g4 d2 g8 g8 fis4( d4) e4 fis4( g4) e4 fis8( g8 a4) a4 d2 a,4 d2 b,8~ b,8 a,4( a4) g4 fis4~ fis4 g4 d2 g8 g8 fis4( d4) e4 fis4( g4) e4 fis8( g8 a4) a,4 d2 a,4 d2 b,4 fis2 d4 g4.( a8) b8 cis'8 d'2( cis'4) b4 a4 g4 d'4( d4) e4 fis8( g8 a4) a,4 d2\n}\n"}, "harmonizations": [{"slug": "the-first-noel-oh70", "tune": "the-first-noel", "music_file": "the-first-noel-oh70.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 25, 38, 50, 63], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 51}, "markings": [{"soprano_note": 51, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:70; all components published pre-1931 (latest year 1911).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:70", "encoding_license": "PD-dedication"}, "music_ly": "%% The First Noel\n%% Imported from Open Hymnal ABC X:70 via tools/abc_import.py\n%% Open Hymnal X:70; all components published pre-1931 (latest year 1911).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 b'8 cis''8 d''4( cis''4) b'4 a'2 b'8 cis''8 d''4( cis''4) b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2 fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 b'8 cis''8 d''4( cis''4) b'4 a'2 b'8 cis''8 d''4( cis''4) b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2 fis'8 e'8 d'4.( e'8) fis'8 g'8 a'2 d''8 cis''8 b'2 b'4 a'2( a'4) d''4 cis''4 b'4 a'4( b'4) cis''4 d''4( a'4) g'4 fis'2\n}\nalto = {\n  d'4 a2 d'4 e'2 e'4 a'4~ a'4 g'4 fis'2 d'8 e'8 a'4( fis'4) g'4 a'4( d'4) g'4 fis'4~ fis'4 e'4 d'2 cis'4 a2 d'8~ d'8 e'2 e'4 a'4~ a'4 g'4 fis'2 d'8 e'8 a'4( fis'4) g'4 a'4( g'4) g'4 fis'2 e'4 d'2 cis'4 a2 d'4 cis'2 fis'4 g'2 g'4 fis'2( a'4) fis'4 fis'4 g'4 fis'2 g'4 fis'2 e'4 d'2\n}\ntenor = {\n  a8 g8 fis2 d'4 cis'2 b4 a4~ a4 b8 cis'8 d'2 b8 a8 a4~ a4 cis'4 d'4( b4) g4 a4( d'4) a4 a2 a8 g8 fis2 d'8~ d'8 d'4( cis'4) b4 a4~ a4 b8 cis'8 d'2 b8 a8 a4~ a4 cis'4 d'4~ d'4 e'4 a4( d'4) a4 a2 a8 g8 fis2 b4 a2 a4 b4.( cis'8) d'8 e'8 fis'2( e'4) d'4 d'4 d'4 d'2 g4 a2 a4 a2\n}\nbass = {\n  d4 d2 b,4 a,4( a4) g4 fis4~ fis4 g4 d2 g8 g8 fis4( d4) e4 fis4( g4) e4 fis8( g8 a4) a4 d2 a,4 d2 b,8~ b,8 a,4( a4) g4 fis4~ fis4 g4 d2 g8 g8 fis4( d4) e4 fis4( g4) e4 fis8( g8 a4) a,4 d2 a,4 d2 b,4 fis2 d4 g4.( a8) b8 cis'8 d'2( cis'4) b4 a4 g4 d'4( d4) e4 fis8( g8 a4) a,4 d2\n}\n", "preferred": true}]}, "the-lords-prayer-vater-unser": {"slug": "the-lords-prayer-vater-unser", "name": "VATER UNSER", "alt_name": "THE LORD'S PRAYER", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Geistliche Lieder (Leipzig), 1539", "canonical_key": {"tonic": "c", "mode": "minor"}, "preferred_harmonization": "the-lords-prayer-vater-unser-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "VATER UNSER (also called THE LORD'S PRAYER), the German Lord's-Prayer chorale melody first printed in Geistliche Lieder (Leipzig, 1539); melody anonymous. A public-domain four-part setting (harm. J. S. Bach) encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (C minor, 4/4 with a one-beat pickup; the tune is melismatic and closes on a C-major Picardy chord). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Vater unser\" (Geistliche Lieder, 1539; harm. J. S. Bach); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "the-lords-prayer-vater-unser-cyberhymnal", "tune": "the-lords-prayer-vater-unser", "music_file": "the-lords-prayer-vater-unser-cyberhymnal.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [9, 18, 28, 37, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "VATER UNSER, Geistliche Lieder, 1539; harm. J. S. Bach. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune VATER UNSER (Geistliche Lieder, Leipzig, 1539; melody anonymous); four-part harmonization by Johann Sebastian Bach (1685-1750). US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (C minor, 4/4 with a one-beat pickup; the closing C-major Picardy chord's tenor E is printed natural in the source).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Vater unser\" (Geistliche Lieder, 1539; harm. J. S. Bach); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% VATER UNSER (8.8.8.8.8.8) — the German Lord's-Prayer chorale melody from\n%% Geistliche Lieder (Leipzig, 1539); four-part harmonization by J. S. Bach.\n%% Here paired with The Psalter (1912) No. 211 \"O God, most holy are Thy ways\"\n%% (Psalm 77:13-20). Encoded from The Cyber Hymnal (public domain): the SATB MIDI\n%% was converted with tools/mid2ly.py and the four-voice render was verified\n%% note-for-note against the Cyber Hymnal engraving. Key C minor (three flats),\n%% 4/4 with a one-beat pickup; the chorale closes on a C-major (Picardy) chord —\n%% the tenor E is printed with a natural in the source. MELISMATIC (55 soprano\n%% notes for 48 syllables): the 7 melisma continuations are held with '_' every\n%% stanza (verse_variable_melisma) at syllables 4, 11, 19, 22, 29, 37 and 43,\n%% each a slurred two-eighth-note figure in the melody.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 es'4 f'8( d'8) g'4 es'4 d'4 c'4 g'4 g'4 f'8( es'8) bes'4 g'4 es'4 f'4 g'4 g'4 bes'4 c''8( d''8) es''4 d''4 c''8( f'8) b'4 c''4 c''4 d''4 c''4 bes'4 a'8( fis'8) g'4 fis'4 g'4 c''4 bes'4 a'4 bes'4 g'8( d'8) g'4 f'4 es'4 g'4 as'4 g'8( f'8) es'4 f'4 es'4 d'4 c'4\n}\nalto = {\n  es'4 d'4 c'4 c'8 d'8 es'4 c'4 b4 c'4 es'4 es'4 d'8 es'8 f'4 es'4 c'4 c'4 d'4 es'4 d'4 es'8 f'8 g'4 f'4 es'8 f'8 g'4 e'4 f'4 f'4 fis'4 g'4 g'8 fis'8 g'4 d'4 d'4 f'4 f'4 es'4 d'4 es'8 d'8 c'4 d'4 es'4 c'4 f'4 es'8 d'8 c'4 d'4 c'4 b4 c'4\n}\ntenor = {\n  c'4 g4 g4 as4 c'8 f8 g4 g4 es4 c'4 bes8 as8 bes4 bes4 bes4 c'4 c'4 b4 c'4 bes4 as4 g4 a8 b8 c'4 d'4 c'4 a4 bes4 c'4 d'4 es'8 d'8 d'8 c'8 a4 bes4 a4 bes4 c'4 f4 es8 bes,8 es4 bes4 g4 c'4 c'4 b4 c'8 bes8 as4 g4 g8 f8 e4\n}\nbass = {\n  c4 b,4 c4 f4 es8 f8 g4 g,4 c4 c'4 g8 as8 bes4 d4 es4 as4 as,4 g,4 c4 g4 f4 es4 f8 g8 as4 g4 c4 f4 bes4 a4 g4 c8 d8 es8 c'8 d4 g4 f4 d4 c4 bes,4 c8 bes,8 as,4 bes,4 es4 e4 f4 g4 as8 g8 f4 g4 g,8 f8 c4\n}\n"}, "harmonizations": [{"slug": "the-lords-prayer-vater-unser-cyberhymnal", "tune": "the-lords-prayer-vater-unser", "music_file": "the-lords-prayer-vater-unser-cyberhymnal.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [9, 18, 28, 37, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "VATER UNSER, Geistliche Lieder, 1539; harm. J. S. Bach. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune VATER UNSER (Geistliche Lieder, Leipzig, 1539; melody anonymous); four-part harmonization by Johann Sebastian Bach (1685-1750). US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (C minor, 4/4 with a one-beat pickup; the closing C-major Picardy chord's tenor E is printed natural in the source).", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Vater unser\" (Geistliche Lieder, 1539; harm. J. S. Bach); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% VATER UNSER (8.8.8.8.8.8) — the German Lord's-Prayer chorale melody from\n%% Geistliche Lieder (Leipzig, 1539); four-part harmonization by J. S. Bach.\n%% Here paired with The Psalter (1912) No. 211 \"O God, most holy are Thy ways\"\n%% (Psalm 77:13-20). Encoded from The Cyber Hymnal (public domain): the SATB MIDI\n%% was converted with tools/mid2ly.py and the four-voice render was verified\n%% note-for-note against the Cyber Hymnal engraving. Key C minor (three flats),\n%% 4/4 with a one-beat pickup; the chorale closes on a C-major (Picardy) chord —\n%% the tenor E is printed with a natural in the source. MELISMATIC (55 soprano\n%% notes for 48 syllables): the 7 melisma continuations are held with '_' every\n%% stanza (verse_variable_melisma) at syllables 4, 11, 19, 22, 29, 37 and 43,\n%% each a slurred two-eighth-note figure in the melody.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 es'4 f'8( d'8) g'4 es'4 d'4 c'4 g'4 g'4 f'8( es'8) bes'4 g'4 es'4 f'4 g'4 g'4 bes'4 c''8( d''8) es''4 d''4 c''8( f'8) b'4 c''4 c''4 d''4 c''4 bes'4 a'8( fis'8) g'4 fis'4 g'4 c''4 bes'4 a'4 bes'4 g'8( d'8) g'4 f'4 es'4 g'4 as'4 g'8( f'8) es'4 f'4 es'4 d'4 c'4\n}\nalto = {\n  es'4 d'4 c'4 c'8 d'8 es'4 c'4 b4 c'4 es'4 es'4 d'8 es'8 f'4 es'4 c'4 c'4 d'4 es'4 d'4 es'8 f'8 g'4 f'4 es'8 f'8 g'4 e'4 f'4 f'4 fis'4 g'4 g'8 fis'8 g'4 d'4 d'4 f'4 f'4 es'4 d'4 es'8 d'8 c'4 d'4 es'4 c'4 f'4 es'8 d'8 c'4 d'4 c'4 b4 c'4\n}\ntenor = {\n  c'4 g4 g4 as4 c'8 f8 g4 g4 es4 c'4 bes8 as8 bes4 bes4 bes4 c'4 c'4 b4 c'4 bes4 as4 g4 a8 b8 c'4 d'4 c'4 a4 bes4 c'4 d'4 es'8 d'8 d'8 c'8 a4 bes4 a4 bes4 c'4 f4 es8 bes,8 es4 bes4 g4 c'4 c'4 b4 c'8 bes8 as4 g4 g8 f8 e4\n}\nbass = {\n  c4 b,4 c4 f4 es8 f8 g4 g,4 c4 c'4 g8 as8 bes4 d4 es4 as4 as,4 g,4 c4 g4 f4 es4 f8 g8 as4 g4 c4 f4 bes4 a4 g4 c8 d8 es8 c'8 d4 g4 f4 d4 c4 bes,4 c8 bes,8 as,4 bes,4 es4 e4 f4 g4 as8 g8 f4 g4 g,8 f8 c4\n}\n", "preferred": true}]}, "the-love-of-god": {"slug": "the-love-of-god", "name": "THE LOVE OF GOD", "meter_label": "8.8.8.8.8.6.8.6", "meter": {"pattern": [8, 8, 8, 8, 8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "frederick-martin-lehman", "composer_date": "1917", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "the-love-of-god-oh1", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:1 (line 34577); Words & Music Frederick Martin Lehman 1917, setting Claudia Lehman Mays 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "the-love-of-god-oh1", "tune": "the-love-of-god", "music_file": "the-love-of-god-oh1.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "3/4", "pickup": "4.", "system_breaks": [17, 34, 50, 82], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 67}, "markings": [{"soprano_note": 67, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:1 (line 34577); Words & Music Frederick Martin Lehman 1917, setting Claudia Lehman Mays 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:1 (line 34577)", "encoding_license": "PD-dedication"}, "music_ly": "%% The Love of God\n%% Imported from Open Hymnal ABC X:1 (line 34577) via tools/abc_import.py\n%% Words & Music: Frederick Martin Lehman, 1917; setting Claudia Lehman Mays, 1917. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 3/4 \\partial 4. }\n\nsoprano = {\n  des'8 des'8. ees'16 f'4. aes'8 bes'8. aes'16 aes'4( f'8) aes'8 aes'8. f'16 ees'4. ges'8 f'8. ees'16 f'4. des'8 des'8. ees'16 f'4. aes'8 bes'8. aes'16 aes'4( f'8) aes'8 aes'8. f'16 ees'4. ges'8 f'8. ees'16 des'4. des''8 des''8. des''16 bes'4. des''8 des''8. des''16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) ges'4 f'4. des''8 des''8. des''16 bes'4. des''8 des''8. des''16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) f'4 des'4. des''8 des''8. des''16 des''4. des''8 c''8. bes'16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) bes'4 aes'4. des''8 des''8. des''16 des''4. des''8 c''8. bes'16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) f'4 des'4.\n}\nalto = {\n  aes8 aes8. aes16 des'4. f'8 ges'8. f'16 f'4( des'8) des'8 des'8. des'16 aes4. ees'8 des'8. c'16 des'4. aes8 aes8. aes16 des'4. f'8 ges'8. f'16 f'4( des'8) des'8 des'8. des'16 c'4. des'8 des'8. c'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 ees'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4.\n}\ntenor = {\n  f8 f8. ges16 aes4. des'8 des'8. des'16 des'4( aes8) f8 f8. aes16 aes4. aes8 aes8. aes16 aes4. f8 f8. ges16 aes4. des'8 des'8. des'16 des'4( aes8) f8 f8. aes16 ges4. bes8 aes8. ges16 f4. f8 ges8. aes16 bes4. bes8 bes8. ges16 f4( aes8) f8 f8. f16 aes2 aes4 aes4. f8 ges8. aes16 bes4. bes8 bes8. ges16 f4( aes8) f8 f8. f16 ees4( ges4) aes4 f4. f8 ges8. aes16 bes4. bes8 aes8. ges16 f4( aes8) f8 f8. ges16 aes2 ges4 f4. f8 ges8. aes16 bes4. bes8 aes8. ges16 f4( aes8) f8 f8. f16 ees4( ges4) aes4 f4.\n}\nbass = {\n  des8 des8. des16 des4. des8 des8. des16 des4. des8 des8. des16 aes,4. aes,8 aes,8. aes,16 des4. des8 des8. des16 des4. des8 des8. des16 des4. des8 des8. des16 aes,4. aes,8 aes,8. aes,16 des4. des8 ees8. f16 ges4. ges8 ges,8. bes,16 des4. des8 des8. des16 ees2 c4 des4. des8 ees8. f16 ges4. ges8 ges,8. bes,16 des4. des8 des8. des16 aes,2 aes,4 des4. des8 ees8. f16 ges4. ges8 ges8. ges16 des4. des8 des8. des16 ees4( aes4) aes,4 des4. des8 ees8. f16 ges4. ges8 ges8. ges16 des4. des8 des8. des16 aes,2 aes,4 des4.\n}\n"}, "harmonizations": [{"slug": "the-love-of-god-oh1", "tune": "the-love-of-god", "music_file": "the-love-of-god-oh1.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "3/4", "pickup": "4.", "system_breaks": [17, 34, 50, 82], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 67}, "markings": [{"soprano_note": 67, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:1 (line 34577); Words & Music Frederick Martin Lehman 1917, setting Claudia Lehman Mays 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:1 (line 34577)", "encoding_license": "PD-dedication"}, "music_ly": "%% The Love of God\n%% Imported from Open Hymnal ABC X:1 (line 34577) via tools/abc_import.py\n%% Words & Music: Frederick Martin Lehman, 1917; setting Claudia Lehman Mays, 1917. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 3/4 \\partial 4. }\n\nsoprano = {\n  des'8 des'8. ees'16 f'4. aes'8 bes'8. aes'16 aes'4( f'8) aes'8 aes'8. f'16 ees'4. ges'8 f'8. ees'16 f'4. des'8 des'8. ees'16 f'4. aes'8 bes'8. aes'16 aes'4( f'8) aes'8 aes'8. f'16 ees'4. ges'8 f'8. ees'16 des'4. des''8 des''8. des''16 bes'4. des''8 des''8. des''16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) ges'4 f'4. des''8 des''8. des''16 bes'4. des''8 des''8. des''16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) f'4 des'4. des''8 des''8. des''16 des''4. des''8 c''8. bes'16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) bes'4 aes'4. des''8 des''8. des''16 des''4. des''8 c''8. bes'16 aes'4( f'8) aes'8 aes'8. bes'16 aes'4( ees'4) f'4 des'4.\n}\nalto = {\n  aes8 aes8. aes16 des'4. f'8 ges'8. f'16 f'4( des'8) des'8 des'8. des'16 aes4. ees'8 des'8. c'16 des'4. aes8 aes8. aes16 des'4. f'8 ges'8. f'16 f'4( des'8) des'8 des'8. des'16 c'4. des'8 des'8. c'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 ees'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 des'4. des'8 des'8. des'16 c'2 c'4 des'4.\n}\ntenor = {\n  f8 f8. ges16 aes4. des'8 des'8. des'16 des'4( aes8) f8 f8. aes16 aes4. aes8 aes8. aes16 aes4. f8 f8. ges16 aes4. des'8 des'8. des'16 des'4( aes8) f8 f8. aes16 ges4. bes8 aes8. ges16 f4. f8 ges8. aes16 bes4. bes8 bes8. ges16 f4( aes8) f8 f8. f16 aes2 aes4 aes4. f8 ges8. aes16 bes4. bes8 bes8. ges16 f4( aes8) f8 f8. f16 ees4( ges4) aes4 f4. f8 ges8. aes16 bes4. bes8 aes8. ges16 f4( aes8) f8 f8. ges16 aes2 ges4 f4. f8 ges8. aes16 bes4. bes8 aes8. ges16 f4( aes8) f8 f8. f16 ees4( ges4) aes4 f4.\n}\nbass = {\n  des8 des8. des16 des4. des8 des8. des16 des4. des8 des8. des16 aes,4. aes,8 aes,8. aes,16 des4. des8 des8. des16 des4. des8 des8. des16 des4. des8 des8. des16 aes,4. aes,8 aes,8. aes,16 des4. des8 ees8. f16 ges4. ges8 ges,8. bes,16 des4. des8 des8. des16 ees2 c4 des4. des8 ees8. f16 ges4. ges8 ges,8. bes,16 des4. des8 des8. des16 aes,2 aes,4 des4. des8 ees8. f16 ges4. ges8 ges8. ges16 des4. des8 des8. des16 ees4( aes4) aes,4 des4. des8 ees8. f16 ges4. ges8 ges8. ges16 des4. des8 des8. des16 aes,2 aes,4 des4.\n}\n", "preferred": true}]}, "the-old-rugged-cross": {"slug": "the-old-rugged-cross", "name": "THE OLD RUGGED CROSS", "meter_label": "Irregular", "meter": {"pattern": [12, 8, 12, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "composer": "george-bennard", "composer_date": "1913", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "the-old-rugged-cross-oh202", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:202; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "old_rugged_cross_bennard", "total_instances": 358}}, "harmonization": {"slug": "the-old-rugged-cross-oh202", "tune": "the-old-rugged-cross", "music_file": "the-old-rugged-cross-oh202.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [12, 22, 34, 54, 64, 74], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:202; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:202", "encoding_license": "PD-dedication"}, "music_ly": "%% The Old Rugged Cross\n%% Imported from Open Hymnal ABC X:202 via tools/abc_import.py\n%% Open Hymnal X:202; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  d'8 ees'8 f'4. e'8 g'4 f'2 f'8 f'8 g'4. fis'8 a'4 g'2 g'8( g'8) a'4.( g'8) f'4 ees'4 f'4 ees'4 d'2.~ d'2 d'8 ees'8 f'4. e'8 g'4 f'2 f'8 f'8 g'4. fis'8 a'4 g'2 g'8( g'8) a'4. g'8 f'4 ees''4 d''4 c''4 bes'2.~ bes'2 a'8 bes'8 c''4. c''8 c''4 c''4 bes'4 a'4 bes'2.~ bes'2 bes'8 a'8 g'4. g'8 g'4 bes'4 a'4 g'4 f'2.~ f'2 f'8 bes'8 d''4. d''8 d''4 d''4 ees''4 d''4 g'2.~ g'2 ees''8 ees''8 d''4. c''8 bes'4 f'4 a'4 c''4 bes'2.~ bes'2\n}\nalto = {\n  bes8 c'8 d'4. cis'8 cis'4 d'2 d'8 d'8 ees'4. ees'8 ees'4 ees'2 e'8( e'8) ees'4.( ees'8) d'4 c'4 c'4 c'4 bes2.~ bes2 bes8 c'8 d'4. cis'8 cis'4 d'2 d'8 d'8 ees'4. ees'8 ees'4 ees'2 e'8( e'8) ees'4. ees'8 ees'4 g'4 f'4 ees'4 d'2.~ d'2 c'8 d'8 ees'4. ees'8 ees'4 ees'2 ees'4 d'4( cis'4 ees'4 d'2) f'8 f'8 ees'4. ees'8 ees'4 g'4 f'4 ees'4 d'2.~ d'2 d'8 d'8 f'4. f'8 f'4 f'4 g'4 f'4 ees'4( ees'4 ees'4 ees'2) g'8 g'8 f'4. ees'8 d'4 ees'4 ees'4 ees'4 d'2.~ d'2\n}\ntenor = {\n  f8 f8 bes4. bes8 g4 bes2 bes8 bes8 bes4. a8 c'4 bes2 c'8( c'8) c'4.( a8) bes4 a4 a4 f4 f2.~ f2 f8 f8 bes4. bes8 g4 bes2 bes8 bes8 bes4. a8 c'4 bes2 c'8( c'8) c'4. bes8 a4 a4 bes4 a4 bes2.~ bes2 f8 f8 a4. a8 a4 a2 f4 f4( e4 g4 f2) bes8 bes8 bes4. bes8 bes4 bes4 bes4 bes4 bes2.~ bes2 bes8 bes8 bes4. bes8 bes4 bes2 bes4 bes4( bes4 bes4 bes2) bes8 bes8 bes4. a8 bes4 a4 c'4 f4 f2.~ f2\n}\nbass = {\n  bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,8 bes,8 ees4. ees8 ees4 ees2 c8( c8) f4.( f8) f4 f4 f4 f4 bes,2.~ bes,2 bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,8 bes,8 ees4. ees8 ees4 ees2 c8( c8) f4. f8 f4 f4 f4 f4 bes,2.~ bes,2 f8 f8 f4. f8 f4 f2 f4 bes,4( bes,4 bes,4 bes,2) d8 d8 ees4. ees8 ees4 ees4 ees4 ees4 bes,2.~ bes,2 bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,4 ees4( ees4 ees4 ees2) ees8 ees8 f4. f8 f4 f4 f4 f4 bes,2.~ bes,2\n}\n"}, "harmonizations": [{"slug": "the-old-rugged-cross-oh202", "tune": "the-old-rugged-cross", "music_file": "the-old-rugged-cross-oh202.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/4", "pickup": "4", "system_breaks": [12, 22, 34, 54, 64, 74], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:202; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:202", "encoding_license": "PD-dedication"}, "music_ly": "%% The Old Rugged Cross\n%% Imported from Open Hymnal ABC X:202 via tools/abc_import.py\n%% Open Hymnal X:202; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/4 \\partial 4 }\n\nsoprano = {\n  d'8 ees'8 f'4. e'8 g'4 f'2 f'8 f'8 g'4. fis'8 a'4 g'2 g'8( g'8) a'4.( g'8) f'4 ees'4 f'4 ees'4 d'2.~ d'2 d'8 ees'8 f'4. e'8 g'4 f'2 f'8 f'8 g'4. fis'8 a'4 g'2 g'8( g'8) a'4. g'8 f'4 ees''4 d''4 c''4 bes'2.~ bes'2 a'8 bes'8 c''4. c''8 c''4 c''4 bes'4 a'4 bes'2.~ bes'2 bes'8 a'8 g'4. g'8 g'4 bes'4 a'4 g'4 f'2.~ f'2 f'8 bes'8 d''4. d''8 d''4 d''4 ees''4 d''4 g'2.~ g'2 ees''8 ees''8 d''4. c''8 bes'4 f'4 a'4 c''4 bes'2.~ bes'2\n}\nalto = {\n  bes8 c'8 d'4. cis'8 cis'4 d'2 d'8 d'8 ees'4. ees'8 ees'4 ees'2 e'8( e'8) ees'4.( ees'8) d'4 c'4 c'4 c'4 bes2.~ bes2 bes8 c'8 d'4. cis'8 cis'4 d'2 d'8 d'8 ees'4. ees'8 ees'4 ees'2 e'8( e'8) ees'4. ees'8 ees'4 g'4 f'4 ees'4 d'2.~ d'2 c'8 d'8 ees'4. ees'8 ees'4 ees'2 ees'4 d'4( cis'4 ees'4 d'2) f'8 f'8 ees'4. ees'8 ees'4 g'4 f'4 ees'4 d'2.~ d'2 d'8 d'8 f'4. f'8 f'4 f'4 g'4 f'4 ees'4( ees'4 ees'4 ees'2) g'8 g'8 f'4. ees'8 d'4 ees'4 ees'4 ees'4 d'2.~ d'2\n}\ntenor = {\n  f8 f8 bes4. bes8 g4 bes2 bes8 bes8 bes4. a8 c'4 bes2 c'8( c'8) c'4.( a8) bes4 a4 a4 f4 f2.~ f2 f8 f8 bes4. bes8 g4 bes2 bes8 bes8 bes4. a8 c'4 bes2 c'8( c'8) c'4. bes8 a4 a4 bes4 a4 bes2.~ bes2 f8 f8 a4. a8 a4 a2 f4 f4( e4 g4 f2) bes8 bes8 bes4. bes8 bes4 bes4 bes4 bes4 bes2.~ bes2 bes8 bes8 bes4. bes8 bes4 bes2 bes4 bes4( bes4 bes4 bes2) bes8 bes8 bes4. a8 bes4 a4 c'4 f4 f2.~ f2\n}\nbass = {\n  bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,8 bes,8 ees4. ees8 ees4 ees2 c8( c8) f4.( f8) f4 f4 f4 f4 bes,2.~ bes,2 bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,8 bes,8 ees4. ees8 ees4 ees2 c8( c8) f4. f8 f4 f4 f4 f4 bes,2.~ bes,2 f8 f8 f4. f8 f4 f2 f4 bes,4( bes,4 bes,4 bes,2) d8 d8 ees4. ees8 ees4 ees4 ees4 ees4 bes,2.~ bes,2 bes,8 bes,8 bes,4. bes,8 bes,4 bes,2 bes,4 ees4( ees4 ees4 ees2) ees8 ees8 f4. f8 f4 f4 f4 f4 bes,2.~ bes,2\n}\n", "preferred": true}]}, "theres-a-great-day-coming": {"slug": "theres-a-great-day-coming", "name": "THERES A GREAT DAY COMING", "meter_label": "Irregular", "meter": {"pattern": [11, 9, 14], "doubled": false, "refrain": true, "alleluia": false, "irregular": true}, "composer": "will-l-thompson", "composer_date": "1915", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "theres-a-great-day-coming-oh208", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:208; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "theres_a_great_day_coming_thompson", "total_instances": 366}}, "harmonization": {"slug": "theres-a-great-day-coming-oh208", "tune": "theres-a-great-day-coming", "music_file": "theres-a-great-day-coming-oh208.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 22, 47, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:208; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:208", "encoding_license": "PD-dedication"}, "music_ly": "%% There's a Great Day Coming\n%% Imported from Open Hymnal ABC X:208 via tools/abc_import.py\n%% Open Hymnal X:208; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'8 d'8 g'4 g'4 g'16 g'8. r8 g'8 b'4 b'4 a'16 g'8. e'8 d'8 g'4 g'4 g'16 g'8. a'8 b'8 a'2. g'8 a'8 b'4 b'8 b'8 b'8 d''8 d''8 b'8 a'8 g'8 g'8 e'8 d'4 d'8 d'8 g'16 g'8. g'8 g'8 a'4 a'4 g'1 d''4. d''8 e''8 d''8 r4 b'4. b'8 c''8 b'8 r4 g'4. g'8 g'8 g'8 g'8 g'8 b'4 a'4 a'2 d''4. d''8 e''8 d''8 r4 b'4. b'8 c''8 b'8 r4 g'4. g'8 a'4 a'4 g'2.\n}\nalto = {\n  b8 b8 b4 b4 b16 b8. s8 b8 d'4 d'4 c'16 b8. c'8 b8 b4 b4 d'16 d'8. d'8 d'8 d'2. d'8 d'8 d'4 d'8 d'8 d'8 d'8 d'8 d'8 e'8 e'8 e'8 c'8 b4 b8 b8 d'16 d'8. d'8 d'8 c'4 c'4 b1 g'4. g'8 g'8 g'8 s4 g'4. g'8 g'8 g'8 s4 d'4. d'8 b8 b8 d'8 d'8 cis'4 cis'4 d'2 g'4. g'8 g'8 g'8 s4 g'4. g'8 g'8 g'8 s4 d'4. d'8 c'4 c'4 b2.\n}\ntenor = {\n  g8 g8 g4 g4 g16 g8. r8 g8 g4 g4 g16 g8. g8 g8 g4 g4 g16 g8. fis8 g8 fis2. g8 fis8 g4 g8 g8 g8 b8 b8 g8 c'8 c'8 c'8 g8 g4 g8 g8 g16 g8. g8 g8 fis4 fis4 g1 b4. b8 c'8 b8 r4 d'4. d'8 e'8 d'8 r4 g4. g8 g8 g8 g8 g8 g4 e4 fis2 b4. b8 c'8 b8 r4 d'4. d'8 e'8 d'8 r4 g4. g8 fis4 fis4 d2.\n}\nbass = {\n  g,8 g,8 g,4 g,4 g,16 g,8. s8 g,8 g4 g4 g16 g8. g8 g8 g,4 g,4 b,16 b,8. a,8 g,8 d2. b,8 d8 g4 g8 g8 g8 g8 g8 g8 c8 c8 c8 c8 g,4 g,8 g,8 b,16 b,8. b,8 b,8 d4 d4 g,1 g4. g8 g8 g8 s4 g4. g8 g8 g8 s4 b,4. b,8 g,8 g,8 b,8 b,8 a,4 a,4 d2 g4. g8 g8 g8 s4 g4. g8 g8 g8 s4 b,4. b,8 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "theres-a-great-day-coming-oh208", "tune": "theres-a-great-day-coming", "music_file": "theres-a-great-day-coming-oh208.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 22, 47, 60], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:208; all components published pre-1931 (latest year 1915).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:208", "encoding_license": "PD-dedication"}, "music_ly": "%% There's a Great Day Coming\n%% Imported from Open Hymnal ABC X:208 via tools/abc_import.py\n%% Open Hymnal X:208; all components published pre-1931 (latest year 1915).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'8 d'8 g'4 g'4 g'16 g'8. r8 g'8 b'4 b'4 a'16 g'8. e'8 d'8 g'4 g'4 g'16 g'8. a'8 b'8 a'2. g'8 a'8 b'4 b'8 b'8 b'8 d''8 d''8 b'8 a'8 g'8 g'8 e'8 d'4 d'8 d'8 g'16 g'8. g'8 g'8 a'4 a'4 g'1 d''4. d''8 e''8 d''8 r4 b'4. b'8 c''8 b'8 r4 g'4. g'8 g'8 g'8 g'8 g'8 b'4 a'4 a'2 d''4. d''8 e''8 d''8 r4 b'4. b'8 c''8 b'8 r4 g'4. g'8 a'4 a'4 g'2.\n}\nalto = {\n  b8 b8 b4 b4 b16 b8. s8 b8 d'4 d'4 c'16 b8. c'8 b8 b4 b4 d'16 d'8. d'8 d'8 d'2. d'8 d'8 d'4 d'8 d'8 d'8 d'8 d'8 d'8 e'8 e'8 e'8 c'8 b4 b8 b8 d'16 d'8. d'8 d'8 c'4 c'4 b1 g'4. g'8 g'8 g'8 s4 g'4. g'8 g'8 g'8 s4 d'4. d'8 b8 b8 d'8 d'8 cis'4 cis'4 d'2 g'4. g'8 g'8 g'8 s4 g'4. g'8 g'8 g'8 s4 d'4. d'8 c'4 c'4 b2.\n}\ntenor = {\n  g8 g8 g4 g4 g16 g8. r8 g8 g4 g4 g16 g8. g8 g8 g4 g4 g16 g8. fis8 g8 fis2. g8 fis8 g4 g8 g8 g8 b8 b8 g8 c'8 c'8 c'8 g8 g4 g8 g8 g16 g8. g8 g8 fis4 fis4 g1 b4. b8 c'8 b8 r4 d'4. d'8 e'8 d'8 r4 g4. g8 g8 g8 g8 g8 g4 e4 fis2 b4. b8 c'8 b8 r4 d'4. d'8 e'8 d'8 r4 g4. g8 fis4 fis4 d2.\n}\nbass = {\n  g,8 g,8 g,4 g,4 g,16 g,8. s8 g,8 g4 g4 g16 g8. g8 g8 g,4 g,4 b,16 b,8. a,8 g,8 d2. b,8 d8 g4 g8 g8 g8 g8 g8 g8 c8 c8 c8 c8 g,4 g,8 g,8 b,16 b,8. b,8 b,8 d4 d4 g,1 g4. g8 g8 g8 s4 g4. g8 g8 g8 s4 b,4. b,8 g,8 g,8 b,8 b,8 a,4 a,4 d2 g4. g8 g8 g8 s4 g4. g8 g8 g8 s4 b,4. b,8 d4 d4 g,2.\n}\n", "preferred": true}]}, "thompson": {"slug": "thompson", "name": "THOMPSON", "meter_label": "11.7.11.7 with Refrain", "meter": {"pattern": [11, 7, 11, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "will-l-thompson", "composer_date": "1880", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "thompson-1921", "provenance": {"layer": "tune", "source": "sparkling-gems-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and words alike by Will L. Thompson (1847-1909) of East Liverpool, Ohio, who published them himself. First printing read for this record: Sparkling Gems Nos. 1 [and 2 combined], compiled by J. Calvin Bushey (East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" and signed at the foot \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" — archive.org item sparklinggemsnos00bush, leaf n55. US public domain by publication before 1929. The tune name THOMPSON is the name the hymnals print (Hymnary tune authority thompson_thompson, 790 instances); neither the 1882 nor the 1921 page names the tune, so no alt_name is recorded. The soprano's first sixteen scale degrees match that authority's incipit 3211712166511132 exactly.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "thompson_thompson", "total_instances": 790}}, "harmonization": {"slug": "thompson-1921", "tune": "thompson", "music_file": "thompson-1921.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 19, 30, 38, 54, 65], "breaks_manual": true, "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39, "inline": true}, "bass_echo": {"segments": [{"text": "Come home,", "durations": ["8", "4."], "onset": 25}, {"text": "come home,", "durations": ["8", "4."], "onset": 28}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Will L. Thompson's own four-part setting of his own tune, \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" — long expired, and read here off a dated pre-1931 page rather than a modern one. Transcribed notehead by notehead from Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing Co.; Little Rock: Southern Hymn Books Exchange, 1921), hymn 191, \"Softly and Tenderly\", archive.org item tabernaclehymnsn02chic, leaf n196 — close score, four flats, 6/8, marked \"pp Very slow.\", with \"Hope Publishing Co., owner. Used by permission.\" at the foot (a 1921 permission line for a 1880 copyright that had itself lapsed; the page is pre-1931 either way). Every notehead was fixed by measuring its staff position against the scan's detected staff lines and then re-read by eye at 5-12x, including all four printed accidentals (bar 3 alto d-natural; bar 11 alto a-natural and its cancelling flat, and soprano d-natural; bar 12's d-natural and d-flat on the fermata chords). Cross-checked against the FIRST printing, Sparkling Gems Nos. 1 [and 2 combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" with the 1880 copyright line at the foot — archive.org item sparklinggemsnos00bush, leaf n55. The Cyber Hymnal's NoteWorthy file was decompressed only as a third opinion and is NOT evidence: its |SongInfo| Comments names the 1975 Baptist Hymnal and Tabernacle Hymns No. 4 (1953) as the editions it was copied from. It differs from both dated printings at exactly one place — bar 3, note 3 — where the modern edition raises the chord to alto f' / soprano des'' so bar 3 matches bar 7. Both 1921 and 1882 print bar 3's first three chords identically as alto ees' / soprano aes', and Hymnary's incipit for tune authority thompson_thompson (3211712166511132) reads 1-1-1 there. The dated printing is what is encoded.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns No. 2 page image (archive.org tabernaclehymnsn02chic leaf n196), cross-read against the 1882 Sparkling Gems first printing (sparklinggemsnos00bush leaf n55)", "encoding_license": "PD-dedication"}, "music_ly": "%% THOMPSON (11.7.11.7 with Refrain) — \"Softly and Tenderly Jesus Is Calling\"\n%% Will L. Thompson's own words-and-music setting, copyright 1880 by Will L.\n%% Thompson & Co., East Liverpool, Ohio. Four SATB voice streams, canonical key\n%% A-flat major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymnsn02chic = Tabernacle Hymns No. 2 (Chicago:\n%% Tabernacle Publishing / Little Rock: Southern Hymn Books Exchange, 1921),\n%% hymn 191, leaf n196, headed \"Softly and Tenderly. / W. L. T. / WILL L.\n%% THOMPSON.\" in close score (S+A on the treble staff, T+B on the bass staff),\n%% four flats, 6/8, \"pp Very slow.\" Every notehead was located by staff position\n%% with a pixel measurement of the scan and then read again by eye at 5-12x.\n%% Cross-checked against the FIRST printing in the same collection's own\n%% publisher: archive.org sparklinggemsnos00bush = Sparkling Gems Nos. 1 [and 2\n%% combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co.,\n%% 1882), page 54, titled \"For You And For Me.\", \"Copyright, 1880 by Will L.\n%% Thompson & Co.\"\n%%\n%% NOT FROM THE CYBER HYMNAL. Its NoteWorthy file\n%% (SoftlyAndTenderlyJesusIsCalling.nwc) was decompressed and read as a\n%% cross-check only: its |SongInfo| Comments names \"Baptist Hymnal (Nashville:\n%% Convention Press, 1975), # 190\" and \"Tabernacle Hymns Number Four (1953),\n%% # 123\" as the editions it was copied from — both post-1930, so it can be no\n%% part of the public-domain evidence. It agrees with the 1921 page everywhere\n%% EXCEPT bar 3 note 3 (\"...call-ing FOR you...\"), where the modern edition\n%% raises the pair to alto f' / soprano des'' so that bar 3 matches bar 7. BOTH\n%% dated printings (1921 leaf n196 and 1882 page 54) instead print bar 3's first\n%% three chords identically as alto ees' / soprano aes', and Hymnary's incipit\n%% for tune authority thompson_thompson (3211712166511132) has 1-1-1 at exactly\n%% those three notes. The dated reading is what stands here.\n%%\n%% THE SPLIT BAR 8. The page draws a double bar and the word \"Chorus.\" AFTER the\n%% tied \"me.\" but BEFORE the chorus's up-beat eighth, so its bar 8 is engraved as\n%% 5/8 + 1/8 across that double bar. It is one 6/8 bar here (aes'4.~ aes'4 ees'8);\n%% the double bar is presentational and the engine draws it from the sidecar.\n%%\n%% THE ECHO. Bars 9-10 are the answering figure: the soprano holds \"home,\"\n%% while alto, tenor and bass answer \"Come home,\" on the second beat — alto g',\n%% tenor des'/ees', bass ees/aes — which is why those three voices carry a\n%% quarter rest at each bar's head and the soprano's up-beat eighths (\"Come\",\n%% \"come\") are printed with a rest under them. The words of that answer are the\n%% sidecar's `bass_echo`, not a fifth voice.\n%%\n%% ACCIDENTALS, all four of them printed on the 1921 page and all four confirmed\n%% at 9x: bar 3 alto d'-natural on the dotted eighth of \"...for YOU...\" (giving\n%% the passing D-diminished over the bass f); bar 11 alto a-natural on the\n%% sixteenth of \"wea-\" and held through the next dotted eighth (F7 -> V7 of\n%% E-flat), cancelled by the printed flat on the eighth of \"come\"; and bar 11's\n%% soprano d''-natural (B-flat 7). Bar 12's fermata chords print the same pair:\n%% a natural before the middle chord's d'', a flat before the last chord's des''.\n%%\n%% RESTS. The phrase-breath eighth rests at the ends of bars 2, 6, 12, 14 and 16\n%% are printed in all voices and are kept as printed (the house collapse\n%% convention is documented for 4/4 only).\n%%\n%% NOT RENDERED, present in the source. The 1921 page prints FERMATAS over (and\n%% inverted under) all three chords of bar 12 and over bar 15's notes 3, 5 and 6,\n%% plus the expression marks \"pp Very slow.\", \"cres.\", a hairpin, \"pp\", \"ppp\",\n%% \"rit.\" and a closing \"pp\". Fermatas are omitted per house style (the Bach\n%% chorales here do the same); dynamics and tempo words have no field in the\n%% corpus schema. If house style ever renders them, bar 12's are soprano notes\n%% 52-54 and bar 15's are soprano notes 68, 70 and 71.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 aes'8 c''8. bes'16 aes'8 |\n  bes'4.~ bes'4 r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 ees'8 |\n  bes'4.~ bes'4 c''8 |\n  aes'4( bes'8 c''4.) |\n  bes'8 bes'8 bes'8 c''16 c''8. d''8 |\n  ees''4( d''8 des''4) r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 ees'8 d'8. des'16 des'8 |\n  ees'4.~ ees'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8 |\n  r4 g'8 g'4 r8 |\n  r4 g'8 aes'4. |\n  g'8 g'8 bes'8 a'16 a'8. aes'8 |\n  g'4 aes'8 bes'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8\n}\n\ntenor = {\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  c'8 c'8 c'8 aes8. aes16 bes8 |\n  g4.~ g4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8 |\n  r4 des'8 des'4 ees'8 |\n  c'4 ees'8 ees'4. |\n  ees'8 ees'8 ees'8 ees'16 ees'8. bes8 |\n  bes4 bes8 ees'4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8\n}\n\nbass = {\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  aes8 aes8 aes8 f8. f16 f8 |\n  ees4.~ ees4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8 |\n  r4 ees8 ees4 r8 |\n  r4 ees8 aes4. |\n  bes8 bes8 g8 f16 f8. bes8 |\n  ees4 f8 g4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8\n}\n"}, "harmonizations": [{"slug": "thompson-1921", "tune": "thompson", "music_file": "thompson-1921.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 19, 30, 38, 54, 65], "breaks_manual": true, "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39, "inline": true}, "bass_echo": {"segments": [{"text": "Come home,", "durations": ["8", "4."], "onset": 25}, {"text": "come home,", "durations": ["8", "4."], "onset": 28}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Will L. Thompson's own four-part setting of his own tune, \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" — long expired, and read here off a dated pre-1931 page rather than a modern one. Transcribed notehead by notehead from Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing Co.; Little Rock: Southern Hymn Books Exchange, 1921), hymn 191, \"Softly and Tenderly\", archive.org item tabernaclehymnsn02chic, leaf n196 — close score, four flats, 6/8, marked \"pp Very slow.\", with \"Hope Publishing Co., owner. Used by permission.\" at the foot (a 1921 permission line for a 1880 copyright that had itself lapsed; the page is pre-1931 either way). Every notehead was fixed by measuring its staff position against the scan's detected staff lines and then re-read by eye at 5-12x, including all four printed accidentals (bar 3 alto d-natural; bar 11 alto a-natural and its cancelling flat, and soprano d-natural; bar 12's d-natural and d-flat on the fermata chords). Cross-checked against the FIRST printing, Sparkling Gems Nos. 1 [and 2 combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" with the 1880 copyright line at the foot — archive.org item sparklinggemsnos00bush, leaf n55. The Cyber Hymnal's NoteWorthy file was decompressed only as a third opinion and is NOT evidence: its |SongInfo| Comments names the 1975 Baptist Hymnal and Tabernacle Hymns No. 4 (1953) as the editions it was copied from. It differs from both dated printings at exactly one place — bar 3, note 3 — where the modern edition raises the chord to alto f' / soprano des'' so bar 3 matches bar 7. Both 1921 and 1882 print bar 3's first three chords identically as alto ees' / soprano aes', and Hymnary's incipit for tune authority thompson_thompson (3211712166511132) reads 1-1-1 there. The dated printing is what is encoded.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns No. 2 page image (archive.org tabernaclehymnsn02chic leaf n196), cross-read against the 1882 Sparkling Gems first printing (sparklinggemsnos00bush leaf n55)", "encoding_license": "PD-dedication"}, "music_ly": "%% THOMPSON (11.7.11.7 with Refrain) — \"Softly and Tenderly Jesus Is Calling\"\n%% Will L. Thompson's own words-and-music setting, copyright 1880 by Will L.\n%% Thompson & Co., East Liverpool, Ohio. Four SATB voice streams, canonical key\n%% A-flat major, 6/8, no pickup, 16 bars.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymnsn02chic = Tabernacle Hymns No. 2 (Chicago:\n%% Tabernacle Publishing / Little Rock: Southern Hymn Books Exchange, 1921),\n%% hymn 191, leaf n196, headed \"Softly and Tenderly. / W. L. T. / WILL L.\n%% THOMPSON.\" in close score (S+A on the treble staff, T+B on the bass staff),\n%% four flats, 6/8, \"pp Very slow.\" Every notehead was located by staff position\n%% with a pixel measurement of the scan and then read again by eye at 5-12x.\n%% Cross-checked against the FIRST printing in the same collection's own\n%% publisher: archive.org sparklinggemsnos00bush = Sparkling Gems Nos. 1 [and 2\n%% combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co.,\n%% 1882), page 54, titled \"For You And For Me.\", \"Copyright, 1880 by Will L.\n%% Thompson & Co.\"\n%%\n%% NOT FROM THE CYBER HYMNAL. Its NoteWorthy file\n%% (SoftlyAndTenderlyJesusIsCalling.nwc) was decompressed and read as a\n%% cross-check only: its |SongInfo| Comments names \"Baptist Hymnal (Nashville:\n%% Convention Press, 1975), # 190\" and \"Tabernacle Hymns Number Four (1953),\n%% # 123\" as the editions it was copied from — both post-1930, so it can be no\n%% part of the public-domain evidence. It agrees with the 1921 page everywhere\n%% EXCEPT bar 3 note 3 (\"...call-ing FOR you...\"), where the modern edition\n%% raises the pair to alto f' / soprano des'' so that bar 3 matches bar 7. BOTH\n%% dated printings (1921 leaf n196 and 1882 page 54) instead print bar 3's first\n%% three chords identically as alto ees' / soprano aes', and Hymnary's incipit\n%% for tune authority thompson_thompson (3211712166511132) has 1-1-1 at exactly\n%% those three notes. The dated reading is what stands here.\n%%\n%% THE SPLIT BAR 8. The page draws a double bar and the word \"Chorus.\" AFTER the\n%% tied \"me.\" but BEFORE the chorus's up-beat eighth, so its bar 8 is engraved as\n%% 5/8 + 1/8 across that double bar. It is one 6/8 bar here (aes'4.~ aes'4 ees'8);\n%% the double bar is presentational and the engine draws it from the sidecar.\n%%\n%% THE ECHO. Bars 9-10 are the answering figure: the soprano holds \"home,\"\n%% while alto, tenor and bass answer \"Come home,\" on the second beat — alto g',\n%% tenor des'/ees', bass ees/aes — which is why those three voices carry a\n%% quarter rest at each bar's head and the soprano's up-beat eighths (\"Come\",\n%% \"come\") are printed with a rest under them. The words of that answer are the\n%% sidecar's `bass_echo`, not a fifth voice.\n%%\n%% ACCIDENTALS, all four of them printed on the 1921 page and all four confirmed\n%% at 9x: bar 3 alto d'-natural on the dotted eighth of \"...for YOU...\" (giving\n%% the passing D-diminished over the bass f); bar 11 alto a-natural on the\n%% sixteenth of \"wea-\" and held through the next dotted eighth (F7 -> V7 of\n%% E-flat), cancelled by the printed flat on the eighth of \"come\"; and bar 11's\n%% soprano d''-natural (B-flat 7). Bar 12's fermata chords print the same pair:\n%% a natural before the middle chord's d'', a flat before the last chord's des''.\n%%\n%% RESTS. The phrase-breath eighth rests at the ends of bars 2, 6, 12, 14 and 16\n%% are printed in all voices and are kept as printed (the house collapse\n%% convention is documented for 4/4 only).\n%%\n%% NOT RENDERED, present in the source. The 1921 page prints FERMATAS over (and\n%% inverted under) all three chords of bar 12 and over bar 15's notes 3, 5 and 6,\n%% plus the expression marks \"pp Very slow.\", \"cres.\", a hairpin, \"pp\", \"ppp\",\n%% \"rit.\" and a closing \"pp\". Fermatas are omitted per house style (the Bach\n%% chorales here do the same); dynamics and tempo words have no field in the\n%% corpus schema. If house style ever renders them, bar 12's are soprano notes\n%% 52-54 and bar 15's are soprano notes 68, 70 and 71.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 aes'8 c''8. bes'16 aes'8 |\n  bes'4.~ bes'4 r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 ees'8 |\n  bes'4.~ bes'4 c''8 |\n  aes'4( bes'8 c''4.) |\n  bes'8 bes'8 bes'8 c''16 c''8. d''8 |\n  ees''4( d''8 des''4) r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 ees'8 d'8. des'16 des'8 |\n  ees'4.~ ees'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8 |\n  r4 g'8 g'4 r8 |\n  r4 g'8 aes'4. |\n  g'8 g'8 bes'8 a'16 a'8. aes'8 |\n  g'4 aes'8 bes'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8\n}\n\ntenor = {\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  c'8 c'8 c'8 aes8. aes16 bes8 |\n  g4.~ g4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8 |\n  r4 des'8 des'4 ees'8 |\n  c'4 ees'8 ees'4. |\n  ees'8 ees'8 ees'8 ees'16 ees'8. bes8 |\n  bes4 bes8 ees'4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8\n}\n\nbass = {\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  aes8 aes8 aes8 f8. f16 f8 |\n  ees4.~ ees4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8 |\n  r4 ees8 ees4 r8 |\n  r4 ees8 aes4. |\n  bes8 bes8 g8 f16 f8. bes8 |\n  ees4 f8 g4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8\n}\n", "preferred": true}]}, "to-god-be-the-glory": {"slug": "to-god-be-the-glory", "name": "TO GOD BE THE GLORY", "meter_label": "11.11.11.11.ref.", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1875", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "to-god-be-the-glory-1875", "provenance": {"layer": "tune", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "William Howard Doane, 1875. Composer d. 1915.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "to_god_be_the_glory_doane", "total_instances": 255}}, "harmonization": {"slug": "to-god-be-the-glory-1875", "tune": "to-god-be-the-glory", "music_file": "to-god-be-the-glory-1875.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33, 44, 56, 68, 79], "markings": [{"soprano_note": 45, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:264", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Brightest and Best (Doane & Lowry), 1875. Doane d. 1915.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% To God Be the Glory (11.11.11.11. with refrain) — four SATB streams, A-flat major.\n%% Decomposed from the approved M0 spike via tools/decompose.py (our explicit-split\n%% unisons/seconds make this lossless). Text Fanny Crosby 1875; tune & setting\n%% W. H. Doane, Brightest and Best, 1875. PD.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 des''4 f' des'' c'' aes' c'' c'' bes' f' bes'2 es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 es''4 des'' bes' aes' g' aes' c'' c'' bes' aes'2 c''8. des''16 es''2 c''8. des''16 es''2 es''8. c''16 aes'4 bes' c'' bes'2 bes'8. c''16 des''2 bes'8. c''16 des''2 des''8 aes' es''4 es'' des'' c''2 es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 es''4 des'' bes' aes' g' aes' c'' c'' bes' aes'2\n}\nalto = {\n  c'4 c'4( es') des'8 des' c'4 c' es' es' des'4 es' es'2 es'4 f'4 des' es' es' es' es' d' d' d' es'2 des'4 c'4( es') des'8 des' c'4 c' es' es' es'4 es' es'2 ges'4 f'4 f' f' es' es' es' es' es' des' c'2 es'8. es'16 es'2 aes'8. g'16 aes'2 es'8. es'16 es'4 es' es' es'2 es'8. es'16 es'2 es'8. es'16 es'2 es'8 es' es'4 es' es' es'2 des'4 c'4( es') des'8 des' c'4 c' es' es' es'4 es' es'2 ges'4 f'4 f' f' es' es' es' es' es' des' c'2\n}\ntenor = {\n  aes4 aes2 g8 es8 es4 aes es g g g aes2 aes4 aes4 aes aes aes aes aes f4 f bes8 aes g2 g4 aes2 g8 es8 es4 aes aes g g g aes2 aes4 aes4 bes des' c' bes c' aes aes g aes2 aes8. bes16 c'2 aes8. bes16 c'2 c'8. aes16 aes4 g aes g2 g8. aes16 bes2 g8. aes16 bes2 bes8 g aes4 aes g aes2 g4 aes2 g8 es8 es4 aes aes g g g aes2 aes4 aes4 bes des' c' bes c' aes aes g aes2\n}\nbass = {\n  aes,4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des aes, c aes, bes,4 bes, bes,4 es2 es4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des es es es es es es aes,2 aes8. aes16 aes2 aes8. aes,16 aes2 aes8. aes,16 c4 bes, aes, es2 es8. es16 es2 es8. es16 es2 es8 des c4 c bes, aes,2 es4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des es es es es es es aes,2\n}\n"}, "harmonizations": [{"slug": "to-god-be-the-glory-1875", "tune": "to-god-be-the-glory", "music_file": "to-god-be-the-glory-1875.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 33, 44, 56, 68, 79], "markings": [{"soprano_note": 45, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "open_encoding", "encoding_origin": "Open Hymnal Project 2014.06, X:264", "encoding_license": "PD-dedication", "pd_basis": "pub_pre_1931", "pd_evidence": "Brightest and Best (Doane & Lowry), 1875. Doane d. 1915.", "pd_jurisdictions": {"US": true}}, "music_ly": "%% To God Be the Glory (11.11.11.11. with refrain) — four SATB streams, A-flat major.\n%% Decomposed from the approved M0 spike via tools/decompose.py (our explicit-split\n%% unisons/seconds make this lossless). Text Fanny Crosby 1875; tune & setting\n%% W. H. Doane, Brightest and Best, 1875. PD.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 des''4 f' des'' c'' aes' c'' c'' bes' f' bes'2 es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 es''4 des'' bes' aes' g' aes' c'' c'' bes' aes'2 c''8. des''16 es''2 c''8. des''16 es''2 es''8. c''16 aes'4 bes' c'' bes'2 bes'8. c''16 des''2 bes'8. c''16 des''2 des''8 aes' es''4 es'' des'' c''2 es'4 es'2 f'8 g' aes'4 es' aes' bes' es'4 bes' c''2 c''4 es''4 des'' bes' aes' g' aes' c'' c'' bes' aes'2\n}\nalto = {\n  c'4 c'4( es') des'8 des' c'4 c' es' es' des'4 es' es'2 es'4 f'4 des' es' es' es' es' d' d' d' es'2 des'4 c'4( es') des'8 des' c'4 c' es' es' es'4 es' es'2 ges'4 f'4 f' f' es' es' es' es' es' des' c'2 es'8. es'16 es'2 aes'8. g'16 aes'2 es'8. es'16 es'4 es' es' es'2 es'8. es'16 es'2 es'8. es'16 es'2 es'8 es' es'4 es' es' es'2 des'4 c'4( es') des'8 des' c'4 c' es' es' es'4 es' es'2 ges'4 f'4 f' f' es' es' es' es' es' des' c'2\n}\ntenor = {\n  aes4 aes2 g8 es8 es4 aes es g g g aes2 aes4 aes4 aes aes aes aes aes f4 f bes8 aes g2 g4 aes2 g8 es8 es4 aes aes g g g aes2 aes4 aes4 bes des' c' bes c' aes aes g aes2 aes8. bes16 c'2 aes8. bes16 c'2 c'8. aes16 aes4 g aes g2 g8. aes16 bes2 g8. aes16 bes2 bes8 g aes4 aes g aes2 g4 aes2 g8 es8 es4 aes aes g g g aes2 aes4 aes4 bes des' c' bes c' aes aes g aes2\n}\nbass = {\n  aes,4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des aes, c aes, bes,4 bes, bes,4 es2 es4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des es es es es es es aes,2 aes8. aes16 aes2 aes8. aes,16 aes2 aes8. aes,16 c4 bes, aes, es2 es8. es16 es2 es8. es16 es2 es8 des c4 c bes, aes,2 es4 aes,4( c) es8 es8 aes,4 aes, c es es es aes,2 aes,4 des4 des des es es es es es es aes,2\n}\n", "preferred": true}]}, "toplady": {"slug": "toplady", "name": "TOPLADY", "meter_label": "7.7.7.7.7.7", "meter": {"pattern": [7, 7, 7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "thomas-hastings", "composer_date": "1854", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "toplady-oh188", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:188; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "toplady_hastings", "total_instances": 1522}}, "harmonization": {"slug": "toplady-oh188", "tune": "toplady", "music_file": "toplady-oh188.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/4", "pickup": "2", "system_breaks": [14, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:188; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:188", "encoding_license": "PD-dedication"}, "music_ly": "%% Rock of Ages\n%% Imported from Open Hymnal ABC X:188 via tools/abc_import.py\n%% Open Hymnal X:188; all components published pre-1931 (latest year 1854).\n%% Tenor divisi: the source's one tenor chord [F, B,] is set as the single note B,\n%% (the upper of the two) — this book does not use divisi.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/4 \\partial 2 }\n\nsoprano = {\n  f'4. g'8 f'2 d'2 bes'4. g'8 f'1 bes'4. c''8 d''2. c''4 bes'4 a'4 bes'1 a'4. bes'8 c''2. c''4 a'4 f'4 bes'1 a'4. bes'8 c''2. c''4 a'4 f'4 bes'1 f'4. g'8 f'2 d'2 bes'4. g'8 f'1 bes'4. c''8 d''2. c''4 bes'4 a'4 bes'1\n}\nalto = {\n  d'4. ees'8 d'2 bes2 d'4. ees'8 d'1 f'4. g'8 f'2. ees'4 d'4 c'4 d'1 c'4. d'8 ees'2. ees'4 ees'4 ees'4 d'1 c'4. d'8 ees'2. ees'4 ees'4 ees'4 d'1 d'4. ees'8 d'2 bes2 d'4. ees'8 d'1 f'4. g'8 f'2. ees'4 d'4 c'4 d'1\n}\ntenor = {\n  bes4. bes8 bes2 f2 f4. bes8 bes1 bes4. bes8 bes2. f4 f4 f4 f1 f4. f8 f2. f4 f4 f4 f1 f4. f8 f2. f4 f4 f4 bes1 bes4. bes8 bes2 f2 f4. bes8 bes1 bes4. bes8 bes2. f4 f4 f4 f1\n}\nbass = {\n  bes,4. bes,8 bes,2 bes,2 bes,4. bes,8 bes,1 d4. ees8 f2. f4 f,4 f,4 bes,1 f4. f8 f2. f4 f,4 f,4 bes,1 f4. f8 f2. f4 f,4 f,4 bes,1 bes,4. bes,8 bes,2 bes,2 bes,4. bes,8 bes,1 d4. ees8 f2. f4 f,4 f,4 bes,1\n}\n"}, "harmonizations": [{"slug": "toplady-oh188", "tune": "toplady", "music_file": "toplady-oh188.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/4", "pickup": "2", "system_breaks": [14, 21, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:188; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:188", "encoding_license": "PD-dedication"}, "music_ly": "%% Rock of Ages\n%% Imported from Open Hymnal ABC X:188 via tools/abc_import.py\n%% Open Hymnal X:188; all components published pre-1931 (latest year 1854).\n%% Tenor divisi: the source's one tenor chord [F, B,] is set as the single note B,\n%% (the upper of the two) — this book does not use divisi.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/4 \\partial 2 }\n\nsoprano = {\n  f'4. g'8 f'2 d'2 bes'4. g'8 f'1 bes'4. c''8 d''2. c''4 bes'4 a'4 bes'1 a'4. bes'8 c''2. c''4 a'4 f'4 bes'1 a'4. bes'8 c''2. c''4 a'4 f'4 bes'1 f'4. g'8 f'2 d'2 bes'4. g'8 f'1 bes'4. c''8 d''2. c''4 bes'4 a'4 bes'1\n}\nalto = {\n  d'4. ees'8 d'2 bes2 d'4. ees'8 d'1 f'4. g'8 f'2. ees'4 d'4 c'4 d'1 c'4. d'8 ees'2. ees'4 ees'4 ees'4 d'1 c'4. d'8 ees'2. ees'4 ees'4 ees'4 d'1 d'4. ees'8 d'2 bes2 d'4. ees'8 d'1 f'4. g'8 f'2. ees'4 d'4 c'4 d'1\n}\ntenor = {\n  bes4. bes8 bes2 f2 f4. bes8 bes1 bes4. bes8 bes2. f4 f4 f4 f1 f4. f8 f2. f4 f4 f4 f1 f4. f8 f2. f4 f4 f4 bes1 bes4. bes8 bes2 f2 f4. bes8 bes1 bes4. bes8 bes2. f4 f4 f4 f1\n}\nbass = {\n  bes,4. bes,8 bes,2 bes,2 bes,4. bes,8 bes,1 d4. ees8 f2. f4 f,4 f,4 bes,1 f4. f8 f2. f4 f,4 f,4 bes,1 f4. f8 f2. f4 f,4 f,4 bes,1 bes,4. bes,8 bes,2 bes,2 bes,4. bes,8 bes,1 d4. ees8 f2. f4 f,4 f,4 bes,1\n}\n", "preferred": true}]}, "toulon": {"slug": "toulon", "name": "TOULON", "meter_label": "10.10.10.10", "meter": {"pattern": [10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Genevan Psalter, 1551", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "toulon-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "TOULON (10.10.10.10), a shortened form of the Genevan Psalter tune OLD 124TH (Genevan Psalter, 1551). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). The two printed chromatics — the soprano B-natural in the third phrase (natural sign) and the alto C-sharp in the fourth phrase (sharp sign) — are carried with those spellings. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Toulon\" (Genevan Psalter, 1551); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "toulon-cyberhymnal", "tune": "toulon", "music_file": "toulon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "TOULON, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TOULON (Genevan Psalter, 1551), a shortened form of OLD 124TH; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Toulon\" (Genevan Psalter, 1551); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TOULON (10.10.10.10) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Toulon\", Genevan Psalter 1551) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10 (40 soprano notes = 40 syllables). The soprano B-natural in the\n%% third phrase is printed with a natural; the alto C-sharp in the fourth phrase is\n%% printed with a sharp (a raised leading tone, not a D-flat).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | g'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''4 c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'4 f'4 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 e'4 f'4 | f'2 f'2 | e'4 d'4 d'4 c'4 | c'1 |\n  f'2 f'4 f'4 | f'2 f'2 | e'4 f'4 d'4 d'4 | e'1 |\n  c'2 c'4 e'4 | f'2 g'2 | f'4 g'4 g'4 g'4 | e'1 |\n  f'2 e'4 d'4 | cis'4 d'4 d'4 g'4 | f'2 e'2 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 a4 bes4 g4 | a1 |\n  c'2 bes4 a4 | bes2 a2 | bes4 c'4 bes4 a4 | c'1 |\n  f2 f4 g4 | a2 c'2 | c'4 c'4 d'4 d'4 | c'1 |\n  f4 c'4 c'4 a4 | a4 a4 bes4 d'4 | c'2. bes4 | a1\n}\nbass = {\n  f2 c4 f4 | bes,2 f2 | c4 d4 bes,4 c4 | f,1 |\n  f2 d4 c4 | bes,2 f2 | g4 f4 bes,4 d4 | c1 |\n  a,2 a,4 c4 | f2 e2 | f4 e4 g4 g,4 | c1 |\n  f4 c'4 c4 d4 | a,4 d4 bes,4 g,4 | c2 c2 | f,1\n}\n"}, "harmonizations": [{"slug": "toulon-cyberhymnal", "tune": "toulon", "music_file": "toulon-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "TOULON, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TOULON (Genevan Psalter, 1551), a shortened form of OLD 124TH; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Toulon\" (Genevan Psalter, 1551); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TOULON (10.10.10.10) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Toulon\", Genevan Psalter 1551) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10 (40 soprano notes = 40 syllables). The soprano B-natural in the\n%% third phrase is printed with a natural; the alto C-sharp in the fourth phrase is\n%% printed with a sharp (a raised leading tone, not a D-flat).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | g'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''4 c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'4 f'4 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 e'4 f'4 | f'2 f'2 | e'4 d'4 d'4 c'4 | c'1 |\n  f'2 f'4 f'4 | f'2 f'2 | e'4 f'4 d'4 d'4 | e'1 |\n  c'2 c'4 e'4 | f'2 g'2 | f'4 g'4 g'4 g'4 | e'1 |\n  f'2 e'4 d'4 | cis'4 d'4 d'4 g'4 | f'2 e'2 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 a4 bes4 g4 | a1 |\n  c'2 bes4 a4 | bes2 a2 | bes4 c'4 bes4 a4 | c'1 |\n  f2 f4 g4 | a2 c'2 | c'4 c'4 d'4 d'4 | c'1 |\n  f4 c'4 c'4 a4 | a4 a4 bes4 d'4 | c'2. bes4 | a1\n}\nbass = {\n  f2 c4 f4 | bes,2 f2 | c4 d4 bes,4 c4 | f,1 |\n  f2 d4 c4 | bes,2 f2 | g4 f4 bes,4 d4 | c1 |\n  a,2 a,4 c4 | f2 e2 | f4 e4 g4 g,4 | c1 |\n  f4 c'4 c4 d4 | a,4 d4 bes,4 g,4 | c2 c2 | f,1\n}\n", "preferred": true}]}, "trentham": {"slug": "trentham", "name": "TRENTHAM", "meter_label": "S.M.", "meter": {"pattern": [6, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "robert-jackson", "composer_date": "1888", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "trentham-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "TRENTHAM, a short-metre tune by Robert Jackson (1840-1914), published 1888. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Jackson d. 1914; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Trentham\" (Robert Jackson, 1888); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "trentham-cyberhymnal", "tune": "trentham", "music_file": "trentham-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "TRENTHAM, Robert Jackson, 1888. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TRENTHAM by Robert Jackson (1888); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Two soprano melismas (notes 17-18, 23-24) confirmed against the texted CH engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Trentham\" (Robert Jackson, 1888); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TRENTHAM (S.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Trentham\", Robert Jackson 1888) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4).\n%% MELISMATIC: 28 soprano notes for 26 S.M. syllables; two melismas (slurred pairs\n%% at soprano notes 17-18 and 23-24) carry a '_' in the setting underlay. The CH\n%% engraving is texted (\"Breathe on Me, Breath of God\") and confirms the placement.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [18, 24]  (count=2)\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\nsoprano = {\n  a'4 a'4 a'4 | bes'2 f'4 | a'2. | c''4 bes'4 a'4 | g'2 a'4 | g'2. | a'4 bes'4 d''4 | c''2 a'8( e'8) | a'2 g'4 | bes'2 g'4 | f'4( e'4) f'4 | a'2 g'4 | f'2. |\n}\nalto = {\n  f'4 f'4 f'4 | f'2 f'4 | f'2. | f'4 f'4 f'4 | f'2 f'4 | e'2. | f'4 f'4 e'4 | f'2 f'8 e'8 | d'2 d'4 | d'2 d'4 | c'2 c'4 | f'2 e'4 | f'2. |\n}\ntenor = {\n  c'4 f'4 e'4 | d'2 des'4 | c'2. | c'4 c'4 c'4 | d'2 d'4 | e'2. | c'4 d'4 bes4 | a2 c'4 | c'2 bes4 | bes2 bes4 | a4 g4 a4 | c'2 bes4 | a2. |\n}\nbass = {\n  f4 f4 f4 | f2 f4 | f2. | a4 g4 f4 | bes,2 b,4 | c2. | f4 f4 g4 | a2 f4 | bes,2 bes,4 | g,2 bes,4 | c2 c4 | c2 c4 | f2. |\n}\n"}, "harmonizations": [{"slug": "trentham-cyberhymnal", "tune": "trentham", "music_file": "trentham-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "TRENTHAM, Robert Jackson, 1888. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TRENTHAM by Robert Jackson (1888); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4). Two soprano melismas (notes 17-18, 23-24) confirmed against the texted CH engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Trentham\" (Robert Jackson, 1888); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TRENTHAM (S.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Trentham\", Robert Jackson 1888) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 3/4).\n%% MELISMATIC: 28 soprano notes for 26 S.M. syllables; two melismas (slurred pairs\n%% at soprano notes 17-18 and 23-24) carry a '_' in the setting underlay. The CH\n%% engraving is texted (\"Breathe on Me, Breath of God\") and confirms the placement.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [18, 24]  (count=2)\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 }\nsoprano = {\n  a'4 a'4 a'4 | bes'2 f'4 | a'2. | c''4 bes'4 a'4 | g'2 a'4 | g'2. | a'4 bes'4 d''4 | c''2 a'8( e'8) | a'2 g'4 | bes'2 g'4 | f'4( e'4) f'4 | a'2 g'4 | f'2. |\n}\nalto = {\n  f'4 f'4 f'4 | f'2 f'4 | f'2. | f'4 f'4 f'4 | f'2 f'4 | e'2. | f'4 f'4 e'4 | f'2 f'8 e'8 | d'2 d'4 | d'2 d'4 | c'2 c'4 | f'2 e'4 | f'2. |\n}\ntenor = {\n  c'4 f'4 e'4 | d'2 des'4 | c'2. | c'4 c'4 c'4 | d'2 d'4 | e'2. | c'4 d'4 bes4 | a2 c'4 | c'2 bes4 | bes2 bes4 | a4 g4 a4 | c'2 bes4 | a2. |\n}\nbass = {\n  f4 f4 f4 | f2 f4 | f2. | a4 g4 f4 | bes,2 b,4 | c2. | f4 f4 g4 | a2 f4 | bes,2 bes,4 | g,2 bes,4 | c2 c4 | c2 c4 | f2. |\n}\n", "preferred": true}]}, "trust-and-obey": {"slug": "trust-and-obey", "name": "TRUST AND OBEY", "meter_label": "6.6.9.D with Refrain", "meter": {"pattern": [6, 6, 9], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "daniel-b-towner", "composer_date": "1887", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "trust-and-obey-1887", "provenance": {"layer": "tune", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Daniel B. Towner (1850-1919), music director of the Moody Bible Institute, first published with Sammis's words in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 — read on the archive.org scan hymnsnewoldforus00town, leaf n62, in F major, 3/4, with a two-eighth anacrusis, and signed at the foot 'Copyright, 1887, by D. B. Towner.' US public domain by publication before 1929 (the 1887 copyright expired long ago and Towner died in 1919). The soprano's first fifteen scale degrees read off that page (12332 11355 43334) match Hymnary tune authority trust_and_obey_towner's incipit exactly, as does its printed meter, 6.6.9 D with refrain. The 1887 page does not letter the tune on the plate; TRUST AND OBEY is the name the hymnals print and the name Hymnary's tune authority carries. A soprano fingerprint of this melody against all 275 corpus tunes returned a best match of 0.56 (GROSSER GOTT), well under the 0.80 duplicate threshold — the tune is new to the corpus.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "trust_and_obey_towner", "total_instances": 480}}, "harmonization": {"slug": "trust-and-obey-1887", "tune": "trust-and-obey", "music_file": "trust-and-obey-1887.ly", "harmonizer": "daniel-b-towner", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 21, 33, 42, 52], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 42, "pitch": "f,"}, {"voice": "bass", "voice_note": 65, "pitch": "f,"}], "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "D. B. Towner's own four-part setting as first printed, in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 — archive.org item hymnsnewoldforus00town, leaf n62 (the 63rd scanned image), headed 'No. 59. Trust and Obey.', credited 'Rev. J. H. SAMMIS.' / 'D. B. TOWNER.', and signed at the foot 'Copyright, 1887, by D. B. Towner.' F major, 3/4, two-eighth anacrusis, 22 bars (14 verse + 8 chorus after the double bar and 'Chorus.'). The 1887 copyright expired long ago; US public domain by publication before 1929, and no modern arranger stands anywhere in the chain — this is the composer's own setting on its first page. TRANSCRIBED NOTEHEAD BY NOTEHEAD FROM THAT SCAN, not from any modern edition: a staff-line grid was fitted to the page (the five line rows of each of the eight staves located to a tenth of a pixel; one diatonic step = 11.7 px), every chord read against it, and every chord whose reading was not unambiguous re-read at 7-12x. THE CYBER HYMNAL IS A SCAFFOLD, NEVER THE WITNESS: its NoteWorthy file TrustAndObey.nwc (decompressed, zlib from byte 6) was decoded staff-position by staff-position as a second opinion, but its own |SongInfo| Comments field names post-1930 models — 'Book of Worship for United States Forces (Washington, DC: U.S. Government Printing Office, 1974), # 112' and 'Tabernacle Hymns Number Four (Chicago: Tabernacle Publishing, 1953), # 199' — so it can carry no licensing weight, and the render-diff found it revoicing the 1887 page in two inner notes, BOTH of which are encoded here as the PLATE has them: (a) bar 12 beat 1 ('all', soprano bes'), where the print's alto notehead sits squarely in the f' space and the Cyber Hymnal reads d', doubling the tenor and stripping the B-flat chord of its fifth; (b) bar 20 beat 3b ('to', soprano g'), where the print's tenor notehead straddles the c' ledger line exactly as the following bar's 'trust' c' does — the two were measured side by side at 12x — and the Cyber Hymnal reads d'. The Cyber Hymnal further prints fermatas at three cadences that the 1887 plate does not have; none is encoded. tools/mid2ly.py was not used. THREE INDEPENDENT CHECKS ON THE MELODY agree with the reading: the Cyber Hymnal MIDI yields 65 soprano notes identical to the soprano encoded here; the first fifteen scale degrees (12332 11355 43334) are exactly Hymnary tune authority trust_and_obey_towner's published incipit; and the sung text of the page fits the notes one syllable to one notehead, 42 in the verse and 23 in the chorus, with no slur, tie, or rest anywhere on the plate. THE TWO PRINTED ACCIDENTALS are the fingerprint and both are engraved on the page: the alto's F-sharp on the chorus's 'no' (bar 17, a sharp before the lower notehead of the d''/fis' chord) and the bass's E-flat on 'there's' (bar 16, last eighth, a flat before the notehead), the chromatic step down to the D major of bar 17.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving (archive.org hymnsnewoldforus00town leaf n62), read against a fitted staff-line grid at 3-12x, with the decompressed Cyber Hymnal NoteWorthy file TrustAndObey.nwc used only as a transcription scaffold and diffed chord by chord against the plate", "encoding_license": "PD-dedication"}, "music_ly": "%% TRUST AND OBEY (6.6.9 D with Refrain) — \"When we walk with the Lord\"\n%% Four SATB voice streams, canonical key F major, 3/4, two-eighth anacrusis\n%% (a quarter's worth, declared in `global`), 22 full bars: 14 of verse, then 8\n%% of chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead from the FIRST printing:\n%% Hymns New and Old, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887),\n%% no. 59, archive.org hymnsnewoldforus00town leaf n62, whose foot reads\n%% \"Copyright, 1887, by D. B. Towner.\" Every chord was read against a staff-line\n%% grid fitted to the scan (staff-line rows located to a tenth of a pixel, one\n%% diatonic step = 11.7 px) and the ambiguous ones re-read at 7-12x.\n%%\n%% THE CYBER HYMNAL IS A SCAFFOLD ONLY, NEVER THE WITNESS. Its NoteWorthy file\n%% TrustAndObey.nwc (zlib from byte 6) was decompressed and used as a second\n%% opinion, but its own |SongInfo| Comments field names post-1930 models —\n%% \"Book of Worship for United States Forces (Washington, DC: U.S. Government\n%% Printing Office, 1974), # 112\" and \"Tabernacle Hymns Number Four (Chicago:\n%% Tabernacle Publishing, 1953), # 199\" — so it cannot be the pd_evidence, and\n%% where the two disagree THE 1887 PLATE IS WHAT IS ENCODED HERE. It disagrees\n%% in exactly two inner-voice notes, both re-read at 7x against the grid:\n%%   * bar 12 beat 1, \"all\" (soprano bes'): the print's ALTO is f' (its notehead\n%%     sits in the f' space, 0.15 step off centre); the Cyber Hymnal revoices it\n%%     to d', doubling the tenor's d' and leaving the Bb chord with no fifth.\n%%   * bar 20 beat 3b, \"to\" (soprano g'): the print's TENOR is c' — its notehead\n%%     straddles the c' ledger line exactly as the next bar's \"trust\" c' does,\n%%     measured side by side; the Cyber Hymnal raises it to d'.\n%% The Cyber Hymnal also prints fermatas at three cadences; the 1887 plate has NO\n%% fermata anywhere, and none is encoded. Both witnesses DO agree on the two\n%% cadence chords whose bass staff carries three noteheads, A3/F3/F2 — bar 14\n%% (the verse's \"o-bey.\") and bar 22 (the chorus's \"o-bey.\") — read here as\n%% tenor a, bass f, and an OPTIONAL low octave F2, which house style records as\n%% an `alternates` cue note, never as divisi.\n%%\n%% CORROBORATION OF THE MELODY (independent of both the scan-reading and the\n%% NWC): the Cyber Hymnal MIDI trust_and_obey.mid yields exactly 65 soprano\n%% notes, note for note identical to the soprano below, and the first fifteen\n%% scale degrees (12332 11355 43334) are Hymnary tune authority\n%% trust_and_obey_towner's published incipit.\n%%\n%% NO SLURS, NO TIES, NO RESTS. The plate is strictly syllabic: 65 noteheads\n%% carry 65 syllables (42 verse + 23 chorus), so the setting stays one_to_one and\n%% the notehead ordinals and the lyric slots are the same numbers throughout.\n%%\n%% ACCIDENTAL. One only: the alto's F-sharp on the chorus's \"no\" (bar 17 beat 1),\n%% printed as a sharp before the LOWER notehead of the d''/fis' chord, making the\n%% D major that leans on the following G-minor-ish \"way\". The chorus's bass also\n%% touches E-flat on \"there's\" (bar 16, last eighth) — a flat is engraved before\n%% that notehead — passing chromatically down from f to the d of bar 17.\n%%\n%% STRUCTURE. Bar 14 is the verse's own dotted-half cadence; the double bar and\n%% \"Chorus.\" fall after it, so the chorus is bars 15-22 and begins at soprano\n%% notehead 43. Bar 22 is a half note, completing the opening \\partial 4.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 c''4 a'4 |\n  g'2 f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 f'4 g'4 |\n  f'2. |\n  c''4 g'4 c''4 |\n  a'2 a'8 a'8 |\n  d''4 a'4 c''4 |\n  bes'2 bes'8 bes'8 |\n  bes'4 a'4 g'4 |\n  a'4 c''4 f'8 g'8 |\n  a'4 f'4 g'4 |\n  f'2\n}\n\nalto = {\n  c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 f'4 f'4 |\n  e'2 c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 c'4 c'4 |\n  c'2. |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  fis'4 f'4 f'4 |\n  g'2 g'8 g'8 |\n  g'4 f'4 e'4 |\n  f'4 f'4 f'8 f'8 |\n  f'4 c'4 c'4 |\n  c'2\n}\n\ntenor = {\n  a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 c'4 |\n  c'2 a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 bes4 |\n  a2. |\n  g4 c'4 c'4 |\n  c'2 c'8 c'8 |\n  a4 d'4 d'4 |\n  d'2 c'8 c'8 |\n  c'4 c'4 c'4 |\n  c'4 a4 c'8 c'8 |\n  c'4 a4 bes4 |\n  a2\n}\n\nbass = {\n  f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  f4 f4 f4 |\n  c2 f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  c4 c4 c4 |\n  f2. |\n  c4 c4 c4 |\n  f2 f8 ees8 |\n  d4 d4 d4 |\n  g2 e8 d8 |\n  c4 c4 c4 |\n  f4 f4 a,8 bes,8 |\n  c4 c4 c4 |\n  f2\n}\n"}, "harmonizations": [{"slug": "trust-and-obey-1887", "tune": "trust-and-obey", "music_file": "trust-and-obey-1887.ly", "harmonizer": "daniel-b-towner", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 21, 33, 42, 52], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 42, "pitch": "f,"}, {"voice": "bass", "voice_note": 65, "pitch": "f,"}], "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "D. B. Towner's own four-part setting as first printed, in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 — archive.org item hymnsnewoldforus00town, leaf n62 (the 63rd scanned image), headed 'No. 59. Trust and Obey.', credited 'Rev. J. H. SAMMIS.' / 'D. B. TOWNER.', and signed at the foot 'Copyright, 1887, by D. B. Towner.' F major, 3/4, two-eighth anacrusis, 22 bars (14 verse + 8 chorus after the double bar and 'Chorus.'). The 1887 copyright expired long ago; US public domain by publication before 1929, and no modern arranger stands anywhere in the chain — this is the composer's own setting on its first page. TRANSCRIBED NOTEHEAD BY NOTEHEAD FROM THAT SCAN, not from any modern edition: a staff-line grid was fitted to the page (the five line rows of each of the eight staves located to a tenth of a pixel; one diatonic step = 11.7 px), every chord read against it, and every chord whose reading was not unambiguous re-read at 7-12x. THE CYBER HYMNAL IS A SCAFFOLD, NEVER THE WITNESS: its NoteWorthy file TrustAndObey.nwc (decompressed, zlib from byte 6) was decoded staff-position by staff-position as a second opinion, but its own |SongInfo| Comments field names post-1930 models — 'Book of Worship for United States Forces (Washington, DC: U.S. Government Printing Office, 1974), # 112' and 'Tabernacle Hymns Number Four (Chicago: Tabernacle Publishing, 1953), # 199' — so it can carry no licensing weight, and the render-diff found it revoicing the 1887 page in two inner notes, BOTH of which are encoded here as the PLATE has them: (a) bar 12 beat 1 ('all', soprano bes'), where the print's alto notehead sits squarely in the f' space and the Cyber Hymnal reads d', doubling the tenor and stripping the B-flat chord of its fifth; (b) bar 20 beat 3b ('to', soprano g'), where the print's tenor notehead straddles the c' ledger line exactly as the following bar's 'trust' c' does — the two were measured side by side at 12x — and the Cyber Hymnal reads d'. The Cyber Hymnal further prints fermatas at three cadences that the 1887 plate does not have; none is encoded. tools/mid2ly.py was not used. THREE INDEPENDENT CHECKS ON THE MELODY agree with the reading: the Cyber Hymnal MIDI yields 65 soprano notes identical to the soprano encoded here; the first fifteen scale degrees (12332 11355 43334) are exactly Hymnary tune authority trust_and_obey_towner's published incipit; and the sung text of the page fits the notes one syllable to one notehead, 42 in the verse and 23 in the chorus, with no slur, tie, or rest anywhere on the plate. THE TWO PRINTED ACCIDENTALS are the fingerprint and both are engraved on the page: the alto's F-sharp on the chorus's 'no' (bar 17, a sharp before the lower notehead of the d''/fis' chord) and the bass's E-flat on 'there's' (bar 16, last eighth, a flat before the notehead), the chromatic step down to the D major of bar 17.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving (archive.org hymnsnewoldforus00town leaf n62), read against a fitted staff-line grid at 3-12x, with the decompressed Cyber Hymnal NoteWorthy file TrustAndObey.nwc used only as a transcription scaffold and diffed chord by chord against the plate", "encoding_license": "PD-dedication"}, "music_ly": "%% TRUST AND OBEY (6.6.9 D with Refrain) — \"When we walk with the Lord\"\n%% Four SATB voice streams, canonical key F major, 3/4, two-eighth anacrusis\n%% (a quarter's worth, declared in `global`), 22 full bars: 14 of verse, then 8\n%% of chorus.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead from the FIRST printing:\n%% Hymns New and Old, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887),\n%% no. 59, archive.org hymnsnewoldforus00town leaf n62, whose foot reads\n%% \"Copyright, 1887, by D. B. Towner.\" Every chord was read against a staff-line\n%% grid fitted to the scan (staff-line rows located to a tenth of a pixel, one\n%% diatonic step = 11.7 px) and the ambiguous ones re-read at 7-12x.\n%%\n%% THE CYBER HYMNAL IS A SCAFFOLD ONLY, NEVER THE WITNESS. Its NoteWorthy file\n%% TrustAndObey.nwc (zlib from byte 6) was decompressed and used as a second\n%% opinion, but its own |SongInfo| Comments field names post-1930 models —\n%% \"Book of Worship for United States Forces (Washington, DC: U.S. Government\n%% Printing Office, 1974), # 112\" and \"Tabernacle Hymns Number Four (Chicago:\n%% Tabernacle Publishing, 1953), # 199\" — so it cannot be the pd_evidence, and\n%% where the two disagree THE 1887 PLATE IS WHAT IS ENCODED HERE. It disagrees\n%% in exactly two inner-voice notes, both re-read at 7x against the grid:\n%%   * bar 12 beat 1, \"all\" (soprano bes'): the print's ALTO is f' (its notehead\n%%     sits in the f' space, 0.15 step off centre); the Cyber Hymnal revoices it\n%%     to d', doubling the tenor's d' and leaving the Bb chord with no fifth.\n%%   * bar 20 beat 3b, \"to\" (soprano g'): the print's TENOR is c' — its notehead\n%%     straddles the c' ledger line exactly as the next bar's \"trust\" c' does,\n%%     measured side by side; the Cyber Hymnal raises it to d'.\n%% The Cyber Hymnal also prints fermatas at three cadences; the 1887 plate has NO\n%% fermata anywhere, and none is encoded. Both witnesses DO agree on the two\n%% cadence chords whose bass staff carries three noteheads, A3/F3/F2 — bar 14\n%% (the verse's \"o-bey.\") and bar 22 (the chorus's \"o-bey.\") — read here as\n%% tenor a, bass f, and an OPTIONAL low octave F2, which house style records as\n%% an `alternates` cue note, never as divisi.\n%%\n%% CORROBORATION OF THE MELODY (independent of both the scan-reading and the\n%% NWC): the Cyber Hymnal MIDI trust_and_obey.mid yields exactly 65 soprano\n%% notes, note for note identical to the soprano below, and the first fifteen\n%% scale degrees (12332 11355 43334) are Hymnary tune authority\n%% trust_and_obey_towner's published incipit.\n%%\n%% NO SLURS, NO TIES, NO RESTS. The plate is strictly syllabic: 65 noteheads\n%% carry 65 syllables (42 verse + 23 chorus), so the setting stays one_to_one and\n%% the notehead ordinals and the lyric slots are the same numbers throughout.\n%%\n%% ACCIDENTAL. One only: the alto's F-sharp on the chorus's \"no\" (bar 17 beat 1),\n%% printed as a sharp before the LOWER notehead of the d''/fis' chord, making the\n%% D major that leans on the following G-minor-ish \"way\". The chorus's bass also\n%% touches E-flat on \"there's\" (bar 16, last eighth) — a flat is engraved before\n%% that notehead — passing chromatically down from f to the d of bar 17.\n%%\n%% STRUCTURE. Bar 14 is the verse's own dotted-half cadence; the double bar and\n%% \"Chorus.\" fall after it, so the chorus is bars 15-22 and begins at soprano\n%% notehead 43. Bar 22 is a half note, completing the opening \\partial 4.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 c''4 a'4 |\n  g'2 f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 f'4 g'4 |\n  f'2. |\n  c''4 g'4 c''4 |\n  a'2 a'8 a'8 |\n  d''4 a'4 c''4 |\n  bes'2 bes'8 bes'8 |\n  bes'4 a'4 g'4 |\n  a'4 c''4 f'8 g'8 |\n  a'4 f'4 g'4 |\n  f'2\n}\n\nalto = {\n  c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 f'4 f'4 |\n  e'2 c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 c'4 c'4 |\n  c'2. |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  fis'4 f'4 f'4 |\n  g'2 g'8 g'8 |\n  g'4 f'4 e'4 |\n  f'4 f'4 f'8 f'8 |\n  f'4 c'4 c'4 |\n  c'2\n}\n\ntenor = {\n  a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 c'4 |\n  c'2 a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 bes4 |\n  a2. |\n  g4 c'4 c'4 |\n  c'2 c'8 c'8 |\n  a4 d'4 d'4 |\n  d'2 c'8 c'8 |\n  c'4 c'4 c'4 |\n  c'4 a4 c'8 c'8 |\n  c'4 a4 bes4 |\n  a2\n}\n\nbass = {\n  f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  f4 f4 f4 |\n  c2 f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  c4 c4 c4 |\n  f2. |\n  c4 c4 c4 |\n  f2 f8 ees8 |\n  d4 d4 d4 |\n  g2 e8 d8 |\n  c4 c4 c4 |\n  f4 f4 a,8 bes,8 |\n  c4 c4 c4 |\n  f2\n}\n", "preferred": true}]}, "trust-in-jesus": {"slug": "trust-in-jesus", "name": "TRUST IN JESUS", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1882", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "trust-in-jesus-songs-of-triumph-1882", "provenance": {"layer": "tune", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Music by William J. Kirkpatrick (1838–1921), first published with Louisa M. R. Stead's text in Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46, footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/songsoftriumphad00insk, leaf 0052). Confirmed against The Epworth Hymnal No. 2 (1891), No. 62, p. 61 (archive.org/details/epworthhymnalno200meth, leaf 0065). NOTE: neither printing prints a tune name; TRUST IN JESUS is the name of Hymnary's tune authority (tune/trust_in_jesus_kirkpatrick), under which the tune is catalogued in 436 hymnals. Public domain: published 1882, composer d. 1921.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "trust_in_jesus_kirkpatrick"}}, "harmonization": {"slug": "trust-in-jesus-songs-of-triumph-1882", "tune": "trust-in-jesus", "music_file": "trust-in-jesus-songs-of-triumph-1882.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "william-j-kirkpatrick", "arrangement_type": "harmonization", "provenance": {"layer": "harmonization", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting read off the page image of Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46 — the hymn's first publication, footed \"Copyright, 1882, by W. J. Kirkpatrick.\" Scan: archive.org/details/songsoftriumphad00insk, JP2 leaf songsoftriumphad00insk_0052. Read independently a second time from The Epworth Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891), No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065) — a different house and different plates. Noteheads were MEASURED, not eyeballed: per staff the five lines were detected locally and fitted against x, and each head's ink centroid converted to a diatonic step on that fitted grid (staff step 29.0 px / 28.5 px). Exact numbers: of the 240 voice-notes the detector located 233 on the 1882 leaf and 234 on the 1891 leaf, 228 on BOTH — and on every one of those 228 the two printings give the same STAFF POSITION, not one differs. That measurement cannot see accidentals — it reads heads, not the sharps and flats before them — so it never underwrote the accidental reading, and an encoded B-natural survived it. The two printed accidentals were checked separately, by eye, on both leaves. Median distance from an exact staff position 0.086 of a step, 89% within 0.25, worst 0.49; every reading past 0.25 (a ledger line fused to a head, or a hollow half-note split into arcs) was re-probed with a stricter filter and then read by eye off a 5x-7x crop of BOTH pages. Eleven notes were located automatically on only one leaf and one (the soprano of the final chord) on neither; all twelve were read by eye on both leaves, which agree. As an independent third check the soprano of system 1 reproduces Hymnary's catalogued incipit for this tune, 32176 16513 53212. DEPARTURES FROM THE PAGE: (1) both plates print a \"p\" over the last system; this encoding carries no dynamic, the engine having no dynamics layer. (2) Where tenor and bass sound the same pitch — soprano ordinals 7, 8, 22, 23, all A-flat 3 — both plates print ONE notehead with two stems; this encoding writes the unison out in both voice streams (house convention) and engraves as the same one notehead with two stems, so the difference is in the encoding only. (3) Neither plate prints a tune name; TRUST IN JESUS is Hymnary's tune-authority name. Nothing else departs — rhythm, barring, key, meter, the alto's D-natural (the ONLY printed accidental; the tenor below it is B-flat from the signature — a bare B-natural was encoded here at first and is corrected) at note 14 of systems 1 and 3, and the four fifteen-note systems are the printed ones, and neither page carries a slur, a tie or a melisma. Public domain: first published 1882; Kirkpatrick d. 1921; both printings read for this record are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1882 and 1891 page images (this repository)", "encoding_license": "PD-dedication"}, "music_ly": "%% 'TIS SO SWEET TO TRUST IN JESUS — tune TRUST IN JESUS, W. J. Kirkpatrick\n%%\n%% SOURCE OF EVERY NOTE BELOW: the page image of Songs of Triumph (Philadelphia:\n%% National Publishing Association for the Promotion of Holiness, 1882), No. 46,\n%% printed p. 46 — the FIRST publication, footed \"Copyright, 1882, by W. J.\n%% Kirkpatrick.\"  archive.org identifier songsoftriumphad00insk, JP2 leaf\n%% songsoftriumphad00insk_0052 (scan p. 46).\n%%\n%% SECOND DATED PRINTING read independently and required to agree: The Epworth\n%% Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891),\n%% No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" —\n%% archive.org epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065.\n%% Different house, different plates, higher-resolution scan.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For each of the eight staves on\n%% each page the five staff lines were detected LOCALLY — dark-row density inside\n%% a +/-110 px window swept across the staff, then a first-order fit of top-line y\n%% and staff step against x, so the scans' skew and warp could not let a global\n%% grid drift.  Noteheads were isolated by run-length filters (a head is thick\n%% both horizontally and vertically; staff lines, ledger lines, stems, barlines\n%% and beams are thick in one direction only), with the enclosed interiors of\n%% hollow half-notes size-capped-and-filled first.  Each head's ink centroid was\n%% converted to a diatonic step offset from the top staff line on that staff's\n%% fitted grid.  Staff step measured 29.0 px (1882) and 28.5 px (1891).\n%%\n%% THE NUMBERS, exactly.  The setting has 240 voice-notes (60 chords x 4 voices).\n%% The detector located 233 of them on the 1882 leaf and 234 on the 1891 leaf;\n%% 228 were located on BOTH, and on every one of those 228 the two printings give\n%% the same pitch — not one differs.  Across the 468 accepted measurements the\n%% median distance from an exact staff position is 0.086 of a diatonic step; 69%\n%% are within 0.15 and 89% within 0.25, and the worst is 0.49.  Every reading\n%% past 0.25 has a known cause — a thick ledger line fused to the head, or a\n%% hollow half-note whose ring split into two arcs — and every one was re-probed\n%% with a stricter vertical-run threshold AND then read by eye off a 5x-7x crop\n%% of BOTH pages before being accepted.  Eleven of the 240 were located\n%% automatically on only one leaf and one (the soprano of the very last chord,\n%% A-flat 4) on neither; all twelve were read by eye at 5x-7x on both leaves,\n%% and both leaves agree.  As a third, independent check the soprano of system 1\n%% reproduces Hymnary's catalogued incipit for this tune, \"32176 16513 53212\"\n%% (scale degrees in A-flat: C Bb Ab G F Ab F Eb | Ab C Eb C Bb Ab Bb).\n%%\n%% DEPARTURES FROM THE PAGE — the complete list:\n%%   1. The 1882 plate prints a \"p\" over the last system (system 4, the second\n%%      half of the refrain); the 1891 plate prints it too.  This encoding carries\n%%      NO dynamic: the engine has no dynamics layer.\n%%   2. Where tenor and bass sound the same pitch — soprano ordinals 7, 8, 22 and\n%%      23, all A-flat 3 — both plates print ONE notehead carrying two stems.\n%%      This encoding writes the unison out in both voice streams, the house\n%%      convention; the engraved result was checked and is the same one notehead\n%%      with two stems, so this is a difference in the encoding only.\n%%   3. Both plates head the piece with the title only; NEITHER prints a tune\n%%      name.  \"TRUST IN JESUS\" is Hymnary's tune-authority name\n%%      (tune/trust_in_jesus_kirkpatrick), not a name read off either page.\n%%   4. Nothing else.  Rhythm, barring, key, meter, accidentals (the D-natural /\n%%      only printed accidental, the ALTO's D-natural at note 14 of systems 1 and\n%%      3 — the tenor there is B-flat from the key signature, giving B-flat/D/F/A-flat,\n%%      V7-of-V into the E-flat at note 15. This file first encoded a bare `b`\n%%      (B-NATURAL) there in both places and described a \"D-natural/B-natural\n%%      diminished chord\"; neither plate prints that, and it is corrected) and the four\n%%      system breaks are the printed ones; both plates cast the hymn in exactly\n%%      these four systems of fifteen soprano notes.  There are no slurs, no ties\n%%      and no melismas on either page: every note takes its own syllable.\n%%\n%% Public domain: first published 1882; Kirkpatrick d. 1921, Stead d. 1917; both\n%% printings read for this record are themselves pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n  c''4 es''4 es''4 c''4 | bes'4 as'4 c''4 bes'4 | c''4 es''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4 es'4 | des''4. f'8 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n}\nalto = {\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | es'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n  as'4 as'4 as'4 as'4 | g'4 f'4 as'4 g'4 | as'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4 c'4 | f'4. des'8 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n}\ntenor = {\n  as4 es4 es4. as8 | as4 as4 as4 as4 | c'4 es'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4. as8 | as4 as4 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n  es'4 c'4 c'4 es'4 | des'4 c'4 es'4 es'4 | es'4 c'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4 as4 | as4. as8 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n}\nbass = {\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n  as4 as4 as4 as4 | es4 f4 es4 es4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4 as,4 | des4. des8 as,4 as,4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n}\n"}, "harmonizations": [{"slug": "trust-in-jesus-songs-of-triumph-1882", "tune": "trust-in-jesus", "music_file": "trust-in-jesus-songs-of-triumph-1882.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "william-j-kirkpatrick", "arrangement_type": "harmonization", "provenance": {"layer": "harmonization", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting read off the page image of Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46 — the hymn's first publication, footed \"Copyright, 1882, by W. J. Kirkpatrick.\" Scan: archive.org/details/songsoftriumphad00insk, JP2 leaf songsoftriumphad00insk_0052. Read independently a second time from The Epworth Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891), No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065) — a different house and different plates. Noteheads were MEASURED, not eyeballed: per staff the five lines were detected locally and fitted against x, and each head's ink centroid converted to a diatonic step on that fitted grid (staff step 29.0 px / 28.5 px). Exact numbers: of the 240 voice-notes the detector located 233 on the 1882 leaf and 234 on the 1891 leaf, 228 on BOTH — and on every one of those 228 the two printings give the same STAFF POSITION, not one differs. That measurement cannot see accidentals — it reads heads, not the sharps and flats before them — so it never underwrote the accidental reading, and an encoded B-natural survived it. The two printed accidentals were checked separately, by eye, on both leaves. Median distance from an exact staff position 0.086 of a step, 89% within 0.25, worst 0.49; every reading past 0.25 (a ledger line fused to a head, or a hollow half-note split into arcs) was re-probed with a stricter filter and then read by eye off a 5x-7x crop of BOTH pages. Eleven notes were located automatically on only one leaf and one (the soprano of the final chord) on neither; all twelve were read by eye on both leaves, which agree. As an independent third check the soprano of system 1 reproduces Hymnary's catalogued incipit for this tune, 32176 16513 53212. DEPARTURES FROM THE PAGE: (1) both plates print a \"p\" over the last system; this encoding carries no dynamic, the engine having no dynamics layer. (2) Where tenor and bass sound the same pitch — soprano ordinals 7, 8, 22, 23, all A-flat 3 — both plates print ONE notehead with two stems; this encoding writes the unison out in both voice streams (house convention) and engraves as the same one notehead with two stems, so the difference is in the encoding only. (3) Neither plate prints a tune name; TRUST IN JESUS is Hymnary's tune-authority name. Nothing else departs — rhythm, barring, key, meter, the alto's D-natural (the ONLY printed accidental; the tenor below it is B-flat from the signature — a bare B-natural was encoded here at first and is corrected) at note 14 of systems 1 and 3, and the four fifteen-note systems are the printed ones, and neither page carries a slur, a tie or a melisma. Public domain: first published 1882; Kirkpatrick d. 1921; both printings read for this record are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1882 and 1891 page images (this repository)", "encoding_license": "PD-dedication"}, "music_ly": "%% 'TIS SO SWEET TO TRUST IN JESUS — tune TRUST IN JESUS, W. J. Kirkpatrick\n%%\n%% SOURCE OF EVERY NOTE BELOW: the page image of Songs of Triumph (Philadelphia:\n%% National Publishing Association for the Promotion of Holiness, 1882), No. 46,\n%% printed p. 46 — the FIRST publication, footed \"Copyright, 1882, by W. J.\n%% Kirkpatrick.\"  archive.org identifier songsoftriumphad00insk, JP2 leaf\n%% songsoftriumphad00insk_0052 (scan p. 46).\n%%\n%% SECOND DATED PRINTING read independently and required to agree: The Epworth\n%% Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891),\n%% No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" —\n%% archive.org epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065.\n%% Different house, different plates, higher-resolution scan.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For each of the eight staves on\n%% each page the five staff lines were detected LOCALLY — dark-row density inside\n%% a +/-110 px window swept across the staff, then a first-order fit of top-line y\n%% and staff step against x, so the scans' skew and warp could not let a global\n%% grid drift.  Noteheads were isolated by run-length filters (a head is thick\n%% both horizontally and vertically; staff lines, ledger lines, stems, barlines\n%% and beams are thick in one direction only), with the enclosed interiors of\n%% hollow half-notes size-capped-and-filled first.  Each head's ink centroid was\n%% converted to a diatonic step offset from the top staff line on that staff's\n%% fitted grid.  Staff step measured 29.0 px (1882) and 28.5 px (1891).\n%%\n%% THE NUMBERS, exactly.  The setting has 240 voice-notes (60 chords x 4 voices).\n%% The detector located 233 of them on the 1882 leaf and 234 on the 1891 leaf;\n%% 228 were located on BOTH, and on every one of those 228 the two printings give\n%% the same pitch — not one differs.  Across the 468 accepted measurements the\n%% median distance from an exact staff position is 0.086 of a diatonic step; 69%\n%% are within 0.15 and 89% within 0.25, and the worst is 0.49.  Every reading\n%% past 0.25 has a known cause — a thick ledger line fused to the head, or a\n%% hollow half-note whose ring split into two arcs — and every one was re-probed\n%% with a stricter vertical-run threshold AND then read by eye off a 5x-7x crop\n%% of BOTH pages before being accepted.  Eleven of the 240 were located\n%% automatically on only one leaf and one (the soprano of the very last chord,\n%% A-flat 4) on neither; all twelve were read by eye at 5x-7x on both leaves,\n%% and both leaves agree.  As a third, independent check the soprano of system 1\n%% reproduces Hymnary's catalogued incipit for this tune, \"32176 16513 53212\"\n%% (scale degrees in A-flat: C Bb Ab G F Ab F Eb | Ab C Eb C Bb Ab Bb).\n%%\n%% DEPARTURES FROM THE PAGE — the complete list:\n%%   1. The 1882 plate prints a \"p\" over the last system (system 4, the second\n%%      half of the refrain); the 1891 plate prints it too.  This encoding carries\n%%      NO dynamic: the engine has no dynamics layer.\n%%   2. Where tenor and bass sound the same pitch — soprano ordinals 7, 8, 22 and\n%%      23, all A-flat 3 — both plates print ONE notehead carrying two stems.\n%%      This encoding writes the unison out in both voice streams, the house\n%%      convention; the engraved result was checked and is the same one notehead\n%%      with two stems, so this is a difference in the encoding only.\n%%   3. Both plates head the piece with the title only; NEITHER prints a tune\n%%      name.  \"TRUST IN JESUS\" is Hymnary's tune-authority name\n%%      (tune/trust_in_jesus_kirkpatrick), not a name read off either page.\n%%   4. Nothing else.  Rhythm, barring, key, meter, accidentals (the D-natural /\n%%      only printed accidental, the ALTO's D-natural at note 14 of systems 1 and\n%%      3 — the tenor there is B-flat from the key signature, giving B-flat/D/F/A-flat,\n%%      V7-of-V into the E-flat at note 15. This file first encoded a bare `b`\n%%      (B-NATURAL) there in both places and described a \"D-natural/B-natural\n%%      diminished chord\"; neither plate prints that, and it is corrected) and the four\n%%      system breaks are the printed ones; both plates cast the hymn in exactly\n%%      these four systems of fifteen soprano notes.  There are no slurs, no ties\n%%      and no melismas on either page: every note takes its own syllable.\n%%\n%% Public domain: first published 1882; Kirkpatrick d. 1921, Stead d. 1917; both\n%% printings read for this record are themselves pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n  c''4 es''4 es''4 c''4 | bes'4 as'4 c''4 bes'4 | c''4 es''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4 es'4 | des''4. f'8 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n}\nalto = {\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | es'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n  as'4 as'4 as'4 as'4 | g'4 f'4 as'4 g'4 | as'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4 c'4 | f'4. des'8 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n}\ntenor = {\n  as4 es4 es4. as8 | as4 as4 as4 as4 | c'4 es'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4. as8 | as4 as4 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n  es'4 c'4 c'4 es'4 | des'4 c'4 es'4 es'4 | es'4 c'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4 as4 | as4. as8 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n}\nbass = {\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n  as4 as4 as4 as4 | es4 f4 es4 es4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4 as,4 | des4. des8 as,4 as,4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n}\n", "preferred": true}]}, "tryggare-kan-ingen-vara": {"slug": "tryggare-kan-ingen-vara", "name": "TRYGGARE KAN INGEN VARA", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Traditional Swedish melody", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "tryggare-kan-ingen-vara-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "TRYGGARE KAN INGEN VARA, a traditional Swedish folk melody (the proper tune of Carolina Sandell Berg's 1855 hymn \"Tryggare kan ingen vara\", widely sung to Ernst W. Olson's 1925 English translation \"Children of the Heavenly Father\"). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, quarter-note pickup; fully syllabic L.M., 32 soprano notes = 32 syllables). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Tryggare Kan Ingen Vara\" (Traditional Swedish Melody); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "tryggare-kan-ingen-vara-cyberhymnal", "tune": "tryggare-kan-ingen-vara", "music_file": "tryggare-kan-ingen-vara-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "TRYGGARE KAN INGEN VARA (Traditional Swedish melody). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TRYGGARE KAN INGEN VARA (traditional Swedish folk melody); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, quarter-note pickup; fully syllabic L.M.). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Tryggare Kan Ingen Vara\" (Traditional Swedish Melody); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TRYGGARE KAN INGEN VARA (L.M.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Tryggare Kan Ingen Vara\", Traditional\n%% Swedish Melody) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. Fully syllabic L.M. (32 soprano notes = 32 syllables), 3/4 with a\n%% quarter-note pickup. The two printed accidentals are carried in their sounding\n%% spelling: the alto's rising d'-dis'-e' (bar 6, printed sharp) and the tenor's\n%% descending d'-c'-b (bar 4, printed natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'8 e'8 fis'4 fis'4 a'8 fis'8 fis'4 e'4 e'8 fis'8 g'4 b'4 a'8 g'8 g'4 fis'4 d'8 d'8 b'4 b'4 d''8 b'8 b'4 a'4 fis'8 a'8 a'4 g'4 cis'8 e'8 e'4 d'2\n}\nalto = {\n  d'8 d'8 d'4 d'4 d'8 d'8 d'4 cis'4 cis'8 d'8 cis'4 cis'4 d'8 e'8 e'4 d'4 d'8 d'8 d'4 g'4 g'8 g'8 g'4 fis'4 d'8 dis'8 e'4 e'4 cis'8 cis'8 cis'4 d'2\n}\ntenor = {\n  fis8 g8 a4 a4 a8 a8 a4 a4 a8 a8 a4 g4 fis8 a8 a4 a4 d'8 c'8 b4 d'4 d'8 d'8 d'4 d'4 a8 b8 b4 b4 a8 g8 g4 fis2\n}\nbass = {\n  d8 d8 d4 d4 fis8 d8 a,4 a,4 g8 fis8 e4 a,4 b,8 cis8 d4 d4 d8 d8 g4 g4 b8 g8 d4 d4 d8 b,8 e4 e4 a8 a,8 a,4 d2\n}\n"}, "harmonizations": [{"slug": "tryggare-kan-ingen-vara-cyberhymnal", "tune": "tryggare-kan-ingen-vara", "music_file": "tryggare-kan-ingen-vara-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 16, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "TRYGGARE KAN INGEN VARA (Traditional Swedish melody). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune TRYGGARE KAN INGEN VARA (traditional Swedish folk melody); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, quarter-note pickup; fully syllabic L.M.). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Tryggare Kan Ingen Vara\" (Traditional Swedish Melody); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% TRYGGARE KAN INGEN VARA (L.M.) — four SATB voice streams, canonical key D major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Tryggare Kan Ingen Vara\", Traditional\n%% Swedish Melody) with tools/mid2ly.py and verified against the Cyber Hymnal\n%% engraving. Fully syllabic L.M. (32 soprano notes = 32 syllables), 3/4 with a\n%% quarter-note pickup. The two printed accidentals are carried in their sounding\n%% spelling: the alto's rising d'-dis'-e' (bar 6, printed sharp) and the tenor's\n%% descending d'-c'-b (bar 4, printed natural).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'8 e'8 fis'4 fis'4 a'8 fis'8 fis'4 e'4 e'8 fis'8 g'4 b'4 a'8 g'8 g'4 fis'4 d'8 d'8 b'4 b'4 d''8 b'8 b'4 a'4 fis'8 a'8 a'4 g'4 cis'8 e'8 e'4 d'2\n}\nalto = {\n  d'8 d'8 d'4 d'4 d'8 d'8 d'4 cis'4 cis'8 d'8 cis'4 cis'4 d'8 e'8 e'4 d'4 d'8 d'8 d'4 g'4 g'8 g'8 g'4 fis'4 d'8 dis'8 e'4 e'4 cis'8 cis'8 cis'4 d'2\n}\ntenor = {\n  fis8 g8 a4 a4 a8 a8 a4 a4 a8 a8 a4 g4 fis8 a8 a4 a4 d'8 c'8 b4 d'4 d'8 d'8 d'4 d'4 a8 b8 b4 b4 a8 g8 g4 fis2\n}\nbass = {\n  d8 d8 d4 d4 fis8 d8 a,4 a,4 g8 fis8 e4 a,4 b,8 cis8 d4 d4 d8 d8 g4 g4 b8 g8 d4 d4 d8 b,8 e4 e4 a8 a,8 a,4 d2\n}\n", "preferred": true}]}, "unde-et-memores": {"slug": "unde-et-memores", "name": "UNDE ET MEMORES", "meter_label": "10.10.10.10.10.10", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-h-monk", "composer_date": "1896", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "unde-et-memores-oh152", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:152; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "unde_et_memores_monk", "total_instances": 84}}, "harmonization": {"slug": "unde-et-memores-oh152", "tune": "unde-et-memores", "music_file": "unde-et-memores-oh152.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 20, 30, 40, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:152; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:152", "encoding_license": "PD-dedication"}, "music_ly": "%% Thou, Who at Thy First Eucharist\n%% Imported from Open Hymnal ABC X:152 via tools/abc_import.py\n%% Open Hymnal X:152; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4. d'8 d'4 e'4 fis'4. fis'8 fis'4 g'4 a'2. fis'4 e'4 fis'4 g'4. g'8 g'4 fis'4 a'4 fis'4 e'2. fis'4 fis'4. d'8 d'4 e'4 fis'4. fis'8 fis'4 g'4 a'2. fis'4 b'4 a'4 gis'4. gis'8 a'4 b'4 cis''4 b'4 a'2. a'4 d''4 a'4 g'4 fis'4 b'4 b'4 d''4 b'4 a'2. a'4 g'4 fis'4 e'4 d'4 b'4. g'8 fis'4 e'4 d'2.\n}\nalto = {\n  d'4 d'4. d'8 d'4 d'4 d'4. d'8 d'4 cis'4 d'2. d'4 cis'4 d'4 e'4. e'8 e'4 d'4 d'4 d'4 cis'2. d'4 d'4. d'8 d'4 d'4 d'4. d'8 d'4 d'4 d'2. d'4 d'4 d'4 d'4. d'8 cis'4 fis'4 e'4 d'4 cis'2. cis'4 d'4 d'4 cis'4 d'4 d'4 d'4 d'4 g'4 fis'2. d'4 cis'4 d'4 cis'4 d'4 d'4. e'8 d'4 cis'4 d'2.\n}\ntenor = {\n  a4 a4. fis8 fis4 g4 a4. a8 a4 a4 a2. a4 a4 a4 b4. b8 a4 a4 a4 a4 a2. a4 a4. fis8 fis4 g4 a4. d8 d4 e4 fis2. a4 g4 a4 b4. b8 a4 a4 a4 gis4 a2. a4 a4 a4 a4 a4 g4 g4 g4 d'4 d'2. a4 a4 a4 g4 fis4 g4. b8 a4 g4 fis2.\n}\nbass = {\n  d4 d4. d8 d4 d4 d4. d8 d4 e4 fis2. d4 g4 fis4 e4. d8 cis4 d4 fis,4. g,8 a,2. d4 d4. d8 d4 d4 d4. b,8 b,4 b,4 fis,2. d4 g4 fis4 e4. e8 fis4 d4 e4 e4 a,2. g4 fis4 fis4 e4 d4 g,4 g,4 b,4 g,4 d2. fis4 e4 d4 a,4 b,4 g,4. g,8 a,4 a,4 d2.\n}\n"}, "harmonizations": [{"slug": "unde-et-memores-oh152", "tune": "unde-et-memores", "music_file": "unde-et-memores-oh152.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 20, 30, 40, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:152; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:152", "encoding_license": "PD-dedication"}, "music_ly": "%% Thou, Who at Thy First Eucharist\n%% Imported from Open Hymnal ABC X:152 via tools/abc_import.py\n%% Open Hymnal X:152; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  fis'4 fis'4. d'8 d'4 e'4 fis'4. fis'8 fis'4 g'4 a'2. fis'4 e'4 fis'4 g'4. g'8 g'4 fis'4 a'4 fis'4 e'2. fis'4 fis'4. d'8 d'4 e'4 fis'4. fis'8 fis'4 g'4 a'2. fis'4 b'4 a'4 gis'4. gis'8 a'4 b'4 cis''4 b'4 a'2. a'4 d''4 a'4 g'4 fis'4 b'4 b'4 d''4 b'4 a'2. a'4 g'4 fis'4 e'4 d'4 b'4. g'8 fis'4 e'4 d'2.\n}\nalto = {\n  d'4 d'4. d'8 d'4 d'4 d'4. d'8 d'4 cis'4 d'2. d'4 cis'4 d'4 e'4. e'8 e'4 d'4 d'4 d'4 cis'2. d'4 d'4. d'8 d'4 d'4 d'4. d'8 d'4 d'4 d'2. d'4 d'4 d'4 d'4. d'8 cis'4 fis'4 e'4 d'4 cis'2. cis'4 d'4 d'4 cis'4 d'4 d'4 d'4 d'4 g'4 fis'2. d'4 cis'4 d'4 cis'4 d'4 d'4. e'8 d'4 cis'4 d'2.\n}\ntenor = {\n  a4 a4. fis8 fis4 g4 a4. a8 a4 a4 a2. a4 a4 a4 b4. b8 a4 a4 a4 a4 a2. a4 a4. fis8 fis4 g4 a4. d8 d4 e4 fis2. a4 g4 a4 b4. b8 a4 a4 a4 gis4 a2. a4 a4 a4 a4 a4 g4 g4 g4 d'4 d'2. a4 a4 a4 g4 fis4 g4. b8 a4 g4 fis2.\n}\nbass = {\n  d4 d4. d8 d4 d4 d4. d8 d4 e4 fis2. d4 g4 fis4 e4. d8 cis4 d4 fis,4. g,8 a,2. d4 d4. d8 d4 d4 d4. b,8 b,4 b,4 fis,2. d4 g4 fis4 e4. e8 fis4 d4 e4 e4 a,2. g4 fis4 fis4 e4 d4 g,4 g,4 b,4 g,4 d2. fis4 e4 d4 a,4 b,4 g,4. g,8 a,4 a,4 d2.\n}\n", "preferred": true}]}, "under-his-wings": {"slug": "under-his-wings", "name": "UNDER HIS WINGS", "meter_label": "11.10.11.10", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "ira-david-sankey", "composer_date": "1898", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "under-his-wings-oh288", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:288; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "under-his-wings-oh288", "tune": "under-his-wings", "music_file": "under-his-wings-oh288.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [11, 27, 38, 50, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:288; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:288", "encoding_license": "PD-dedication"}, "music_ly": "%% Under His Wings\n%% Imported from Open Hymnal ABC X:288 via tools/abc_import.py\n%% Open Hymnal X:288; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 6/4 }\n\nsoprano = {\n  f'4 ges'4 g'4 aes'2 aes'8 aes'8 aes'4 bes'4 f'4 aes'4 ges'2 ees'4 f'4 ges'4 bes'4 aes'4 aes'4 aes'4 ees'4 e'4 f'2. f'4 ges'4 g'4 aes'4 aes'4 des''4 ees''4 des''4 bes'4 bes'4 aes'2 bes'4 c''4 des''4 des''4 aes'4 f'4 aes'4 ges'4 ees'4 des'2. aes'4 f'4 aes'4 des''2. c''4 bes'4 c''4 des''2. des''4 aes'4 f'4 bes'4( aes'4) f'4 f'4 ees'1 r4 des'4 f'4 aes'4 des''2 c''4 ees''4 des''4 bes'4 aes'2. bes'4 c''4 des''4 aes'4( f'4) des'4 ees'2. des'2 r4\n}\nalto = {\n  des'4 ees'4 e'4 f'2 f'8 f'8 f'4 ges'4 des'4 c'4 c'2 c'4 des'4 ees'4 ges'4 f'4 f'4 f'4 c'4 c'4 des'2. des'4 ees'4 e'4 f'4 f'4 aes'4 bes'4 bes'4 ges'4 ges'4 f'2 ges'4 ges'4 f'4 f'4 f'4 des'4 f'4 ees'4 c'4 des'2. f'4 des'4 f'4 f'2. ges'4 ges'4 ges'4 f'2. f'4 f'4 f'4 ges'4( f'4) des'4 des'4 c'1 s4 des'4 des'4 f'4 f'2 aes'4 ges'4 ges'4 ges'4 f'2. ges'4 ges'4 f'4 f'4( des'4) aes4 c'2. des'2 s4\n}\ntenor = {\n  aes4 aes4 bes4 des'2 des'8 des'8 des'4 des'4 aes4 aes4 aes2 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes2. aes4 aes4 bes4 des'4 des'4 des'4 des'4 des'4 des'4 des'4 des'2 des'4 c'4 bes4 aes4 des'4 aes4 aes4 aes4 ges4 f2. des'4 des'4 des'4 aes2. aes4 ees'4 ees'4 aes2. aes4 des'4 des'4 des'2 aes4 aes4 aes1 r4 f4 aes4 des'4 aes2 des'4 bes4 bes4 des'4 des'2. des'4 aes4 aes4 des'4( aes4) f4 ges2. f2 r4\n}\nbass = {\n  des4 des4 des4 des2 des8 des8 des4 des4 des4 ees4 ees2 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 des2. des4 des4 des4 des4 des4 f4 ges4 ges4 ges4 des4 des2 ges4 ges4 ges4 des4 des4 des4 aes,4 aes,4 aes,4 des2. des4 des4 des4 des2. aes4 aes4 aes,4 des2. des4 des4 des4 des2 f4 aes4 aes1 s4 des4 des4 des4 des2 f4 ges4 ges4 ges,4 des2. ges4 ees4 des4 des2 des4 aes,2. des2 s4\n}\n"}, "harmonizations": [{"slug": "under-his-wings-oh288", "tune": "under-his-wings", "music_file": "under-his-wings-oh288.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "6/4", "pickup": null, "system_breaks": [11, 27, 38, 50, 62], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:288; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:288", "encoding_license": "PD-dedication"}, "music_ly": "%% Under His Wings\n%% Imported from Open Hymnal ABC X:288 via tools/abc_import.py\n%% Open Hymnal X:288; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 6/4 }\n\nsoprano = {\n  f'4 ges'4 g'4 aes'2 aes'8 aes'8 aes'4 bes'4 f'4 aes'4 ges'2 ees'4 f'4 ges'4 bes'4 aes'4 aes'4 aes'4 ees'4 e'4 f'2. f'4 ges'4 g'4 aes'4 aes'4 des''4 ees''4 des''4 bes'4 bes'4 aes'2 bes'4 c''4 des''4 des''4 aes'4 f'4 aes'4 ges'4 ees'4 des'2. aes'4 f'4 aes'4 des''2. c''4 bes'4 c''4 des''2. des''4 aes'4 f'4 bes'4( aes'4) f'4 f'4 ees'1 r4 des'4 f'4 aes'4 des''2 c''4 ees''4 des''4 bes'4 aes'2. bes'4 c''4 des''4 aes'4( f'4) des'4 ees'2. des'2 r4\n}\nalto = {\n  des'4 ees'4 e'4 f'2 f'8 f'8 f'4 ges'4 des'4 c'4 c'2 c'4 des'4 ees'4 ges'4 f'4 f'4 f'4 c'4 c'4 des'2. des'4 ees'4 e'4 f'4 f'4 aes'4 bes'4 bes'4 ges'4 ges'4 f'2 ges'4 ges'4 f'4 f'4 f'4 des'4 f'4 ees'4 c'4 des'2. f'4 des'4 f'4 f'2. ges'4 ges'4 ges'4 f'2. f'4 f'4 f'4 ges'4( f'4) des'4 des'4 c'1 s4 des'4 des'4 f'4 f'2 aes'4 ges'4 ges'4 ges'4 f'2. ges'4 ges'4 f'4 f'4( des'4) aes4 c'2. des'2 s4\n}\ntenor = {\n  aes4 aes4 bes4 des'2 des'8 des'8 des'4 des'4 aes4 aes4 aes2 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes4 aes2. aes4 aes4 bes4 des'4 des'4 des'4 des'4 des'4 des'4 des'4 des'2 des'4 c'4 bes4 aes4 des'4 aes4 aes4 aes4 ges4 f2. des'4 des'4 des'4 aes2. aes4 ees'4 ees'4 aes2. aes4 des'4 des'4 des'2 aes4 aes4 aes1 r4 f4 aes4 des'4 aes2 des'4 bes4 bes4 des'4 des'2. des'4 aes4 aes4 des'4( aes4) f4 ges2. f2 r4\n}\nbass = {\n  des4 des4 des4 des2 des8 des8 des4 des4 des4 ees4 ees2 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 aes,4 des2. des4 des4 des4 des4 des4 f4 ges4 ges4 ges4 des4 des2 ges4 ges4 ges4 des4 des4 des4 aes,4 aes,4 aes,4 des2. des4 des4 des4 des2. aes4 aes4 aes,4 des2. des4 des4 des4 des2 f4 aes4 aes1 s4 des4 des4 des4 des2 f4 ges4 ges4 ges,4 des2. ges4 ees4 des4 des2 des4 aes,2. des2 s4\n}\n", "preferred": true}]}, "unser-herrscher": {"slug": "unser-herrscher", "name": "UNSER HERRSCHER", "meter_label": "8.7.8.7.7.7", "meter": {"pattern": [8, 7, 8, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "or-neander-joachim-neander", "composer_date": "1863", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "unser-herrscher-oh25", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:25; all components published pre-1931 (latest year 1863).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "unser-herrscher-oh25", "tune": "unser-herrscher", "music_file": "unser-herrscher-oh25.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:25; all components published pre-1931 (latest year 1863).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:25", "encoding_license": "PD-dedication"}, "music_ly": "%% Open Now Thy Gates of Beauty\n%% Imported from Open Hymnal ABC X:25 via tools/abc_import.py\n%% Open Hymnal X:25; all components published pre-1931 (latest year 1863).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  bes4. c'8 d'4 bes4 d'4 ees'4 f'4 f'4 bes'4 a'8( g'8) f'4 d''4 c''4 c''4 bes'2 bes4. c'8 d'4 bes4 d'4 ees'4 f'4 f'4 bes'4 a'8( g'8) f'4 d''4 c''4 c''4 bes'2 d''4. d''8 c''4 c''4 bes'4 bes'4 a'2 g'4. g'8 f'4 bes'4 c''4 a'4 bes'2\n}\nalto = {\n  bes4. a8 bes4 bes4 bes4 bes4 c'4 c'4 bes4 bes4 bes4 f'4 g'4 f'8 ees'8 d'2 bes4. a8 bes4 bes4 bes4 bes4 c'4 c'4 bes4 bes4 bes4 f'4 g'4 f'8 ees'8 d'2 f'4. f'8 f'4 f'4 d'4 d'4 d'2 bes4. ees'8 d'4 d'4 c'4 c'4 d'2\n}\ntenor = {\n  d4. f8 f4 f4 f4 g4 a4 a4 bes4 bes4 bes4 bes4 bes4 a4 f2 d4. f8 f4 f4 f4 g4 a4 a4 bes4 bes4 bes4 bes4 bes4 a4 f2 bes4. bes8 a4 a4 g4 g4 fis2 g4. bes8 bes4 bes4 g4 f4 f2\n}\nbass = {\n  bes,4. f,8 bes,4 d4 bes,4 g,4 f,4 f4 g4 f8 ees8 d4 bes,4 ees4 f4 bes,2 bes,4. f,8 bes,4 d4 bes,4 g,4 f,4 f4 g4 f8 ees8 d4 bes,4 ees4 f4 bes,2 bes,4. d8 f4 f4 g4 bes,8 c8 d2 ees4. ees8 bes,4 g4 ees4 f4 bes,2\n}\n"}, "harmonizations": [{"slug": "unser-herrscher-oh25", "tune": "unser-herrscher", "music_file": "unser-herrscher-oh25.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [16, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:25; all components published pre-1931 (latest year 1863).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:25", "encoding_license": "PD-dedication"}, "music_ly": "%% Open Now Thy Gates of Beauty\n%% Imported from Open Hymnal ABC X:25 via tools/abc_import.py\n%% Open Hymnal X:25; all components published pre-1931 (latest year 1863).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  bes4. c'8 d'4 bes4 d'4 ees'4 f'4 f'4 bes'4 a'8( g'8) f'4 d''4 c''4 c''4 bes'2 bes4. c'8 d'4 bes4 d'4 ees'4 f'4 f'4 bes'4 a'8( g'8) f'4 d''4 c''4 c''4 bes'2 d''4. d''8 c''4 c''4 bes'4 bes'4 a'2 g'4. g'8 f'4 bes'4 c''4 a'4 bes'2\n}\nalto = {\n  bes4. a8 bes4 bes4 bes4 bes4 c'4 c'4 bes4 bes4 bes4 f'4 g'4 f'8 ees'8 d'2 bes4. a8 bes4 bes4 bes4 bes4 c'4 c'4 bes4 bes4 bes4 f'4 g'4 f'8 ees'8 d'2 f'4. f'8 f'4 f'4 d'4 d'4 d'2 bes4. ees'8 d'4 d'4 c'4 c'4 d'2\n}\ntenor = {\n  d4. f8 f4 f4 f4 g4 a4 a4 bes4 bes4 bes4 bes4 bes4 a4 f2 d4. f8 f4 f4 f4 g4 a4 a4 bes4 bes4 bes4 bes4 bes4 a4 f2 bes4. bes8 a4 a4 g4 g4 fis2 g4. bes8 bes4 bes4 g4 f4 f2\n}\nbass = {\n  bes,4. f,8 bes,4 d4 bes,4 g,4 f,4 f4 g4 f8 ees8 d4 bes,4 ees4 f4 bes,2 bes,4. f,8 bes,4 d4 bes,4 g,4 f,4 f4 g4 f8 ees8 d4 bes,4 ees4 f4 bes,2 bes,4. d8 f4 f4 g4 bes,8 c8 d2 ees4. ees8 bes,4 g4 ees4 f4 bes,2\n}\n", "preferred": true}]}, "untitled": {"slug": "untitled", "name": "CONVERSE", "alt_name": "ERIE", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "charles-c-converse", "composer_date": "1874", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "untitled-oh249", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:249; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "untitled-oh249", "tune": "untitled", "music_file": "untitled-oh249.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:249; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:249", "encoding_license": "PD-dedication"}, "music_ly": "%% What A Friend We Have In Jesus\n%% Imported from Open Hymnal ABC X:249 via tools/abc_import.py\n%% Open Hymnal X:249; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 f'8 c''8 a'8 g'1 c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 g'8 f'8 e'8 f'1 g'4. fis'8 g'8 a'8 bes'8 g'8 a'2 c''2 d''4. d''8 c''8 a'8 bes'8 a'8 g'1 c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 g'8 f'8 e'8 f'1\n}\nalto = {\n  f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 c'4. c'8 c'8 c'8 f'8 f'8 e'1 f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 a4. c'8 f'8 c'8 c'8 c'8 c'1 e'4. dis'8 e'8 f'8 g'8 e'8 f'2 f'2 f'4. f'8 f'8 f'8 g'8 f'8 e'1 f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 a4. c'8 f'8 c'8 c'8 c'8 c'1\n}\ntenor = {\n  a4. a8 bes8 a8 c'8 a8 bes2 f2 a4. a8 a8 a8 a8 c'8 c'1 a4. a8 bes8 a8 c'8 a8 bes2 f2 f4. a8 c'8 bes8 a8 g8 a1 c'4. c'8 c'8 c'8 c'8 c'8 c'2 a2 bes4. bes8 c'8 c'8 c'8 c'8 c'1 a4. a8 bes8 a8 c'8 a8 bes2 f2 f4. a8 c'8 bes8 a8 g8 a1\n}\nbass = {\n  f4. f8 f8 f8 f8 f8 bes,2 bes,2 f4. f8 f8 f8 f8 f8 c1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c8 c8 c8 c8 f1 c4. c8 c8 c8 c8 c8 f2 f2 bes4. bes8 a8 f8 e8 f8 c'1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c8 c8 c8 c8 f1\n}\n"}, "harmonizations": [{"slug": "untitled-oh249", "tune": "untitled", "music_file": "untitled-oh249.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:249; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:249", "encoding_license": "PD-dedication"}, "music_ly": "%% What A Friend We Have In Jesus\n%% Imported from Open Hymnal ABC X:249 via tools/abc_import.py\n%% Open Hymnal X:249; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 f'8 c''8 a'8 g'1 c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 g'8 f'8 e'8 f'1 g'4. fis'8 g'8 a'8 bes'8 g'8 a'2 c''2 d''4. d''8 c''8 a'8 bes'8 a'8 g'1 c''4. c''8 d''8 c''8 a'8 f'8 f'2 d'2 c'4. f'8 a'8 g'8 f'8 e'8 f'1\n}\nalto = {\n  f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 c'4. c'8 c'8 c'8 f'8 f'8 e'1 f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 a4. c'8 f'8 c'8 c'8 c'8 c'1 e'4. dis'8 e'8 f'8 g'8 e'8 f'2 f'2 f'4. f'8 f'8 f'8 g'8 f'8 e'1 f'4. f'8 f'8 f'8 f'8 c'8 d'2 bes2 a4. c'8 f'8 c'8 c'8 c'8 c'1\n}\ntenor = {\n  a4. a8 bes8 a8 c'8 a8 bes2 f2 a4. a8 a8 a8 a8 c'8 c'1 a4. a8 bes8 a8 c'8 a8 bes2 f2 f4. a8 c'8 bes8 a8 g8 a1 c'4. c'8 c'8 c'8 c'8 c'8 c'2 a2 bes4. bes8 c'8 c'8 c'8 c'8 c'1 a4. a8 bes8 a8 c'8 a8 bes2 f2 f4. a8 c'8 bes8 a8 g8 a1\n}\nbass = {\n  f4. f8 f8 f8 f8 f8 bes,2 bes,2 f4. f8 f8 f8 f8 f8 c1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c8 c8 c8 c8 f1 c4. c8 c8 c8 c8 c8 f2 f2 bes4. bes8 a8 f8 e8 f8 c'1 f4. f8 f8 f8 f8 f8 bes,2 bes,2 c4. c8 c8 c8 c8 c8 f1\n}\n", "preferred": true}]}, "uxbridge": {"slug": "uxbridge", "name": "UXBRIDGE", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lowell-mason", "composer_date": "1830", "canonical_key": {"tonic": "e", "mode": "major"}, "preferred_harmonization": "uxbridge-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "UXBRIDGE, a long-metre tune by Lowell Mason (1792–1872), first published c. 1830. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E major, 4/4). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Uxbridge\" (Lowell Mason, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "uxbridge-cyberhymnal", "tune": "uxbridge", "music_file": "uxbridge-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "UXBRIDGE, Lowell Mason, 1830. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune UXBRIDGE by Lowell Mason (1830), first published in his collections of the 1830s; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E major, 4/4). Mason d. 1872; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Uxbridge\" (Lowell Mason, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% UXBRIDGE (L.M.) — four SATB voice streams, canonical key E major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Uxbridge\", Lowell Mason 1830) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E major, 4/4).\n%% Fully syllabic L.M. (32 soprano notes = 32 syllables). The source begins with a\n%% half-note pickup (\\partial 2) and closes on a half note; the tenor A-sharps are\n%% correctly-spelled chromatic leading tones printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  e'2 | e'4 fis'4 gis'4 fis'4 | e'2 dis'2 | e'2 gis'2 | b'4 b'4 cis''4 dis''4 | e''2 cis''2 | b'2 b'2 | e''4 b'4 cis''4 b'4 | a'2 gis'2 | fis'2 fis'2 | gis'4 b'4 b'4 a'4 | gis'2 fis'2 | e'2\n}\nalto = {\n  b2 | b4 dis'4 e'4 dis'4 | b2 b2 | b2 e'2 | e'4 fis'4 fis'4 fis'4 | gis'2 fis'4 e'4 | dis'2 e'2 | e'4 e'4 e'4 e'4 | e'2 e'2 | dis'2 dis'2 | e'4 fis'4 gis'4 fis'4 | e'2 dis'2 | e'2\n}\ntenor = {\n  gis2 | gis4 b4 b4 a4 | gis2 fis2 | gis2 b2 | gis4 fis4 ais4 b4 | b2 ais2 | b2 gis2 | b4 gis4 a4 b4 | b2 b2 | b2 b2 | b4 b4 b4 cis'4 | b2 b4 a4 | gis2\n}\nbass = {\n  e2 | e4 b,4 e4 a,4 | b,2 b,2 | e2 e2 | e4 dis4 cis4 b,4 | e2 fis2 | b,2 e2 | gis4 e4 a4 gis4 | fis2 e2 | b,2 b,2 | e4 dis4 e4 a,4 | b,2 b,2 | e2\n}\n"}, "harmonizations": [{"slug": "uxbridge-cyberhymnal", "tune": "uxbridge", "music_file": "uxbridge-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "UXBRIDGE, Lowell Mason, 1830. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune UXBRIDGE by Lowell Mason (1830), first published in his collections of the 1830s; a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E major, 4/4). Mason d. 1872; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Uxbridge\" (Lowell Mason, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% UXBRIDGE (L.M.) — four SATB voice streams, canonical key E major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Uxbridge\", Lowell Mason 1830) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (E major, 4/4).\n%% Fully syllabic L.M. (32 soprano notes = 32 syllables). The source begins with a\n%% half-note pickup (\\partial 2) and closes on a half note; the tenor A-sharps are\n%% correctly-spelled chromatic leading tones printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  e'2 | e'4 fis'4 gis'4 fis'4 | e'2 dis'2 | e'2 gis'2 | b'4 b'4 cis''4 dis''4 | e''2 cis''2 | b'2 b'2 | e''4 b'4 cis''4 b'4 | a'2 gis'2 | fis'2 fis'2 | gis'4 b'4 b'4 a'4 | gis'2 fis'2 | e'2\n}\nalto = {\n  b2 | b4 dis'4 e'4 dis'4 | b2 b2 | b2 e'2 | e'4 fis'4 fis'4 fis'4 | gis'2 fis'4 e'4 | dis'2 e'2 | e'4 e'4 e'4 e'4 | e'2 e'2 | dis'2 dis'2 | e'4 fis'4 gis'4 fis'4 | e'2 dis'2 | e'2\n}\ntenor = {\n  gis2 | gis4 b4 b4 a4 | gis2 fis2 | gis2 b2 | gis4 fis4 ais4 b4 | b2 ais2 | b2 gis2 | b4 gis4 a4 b4 | b2 b2 | b2 b2 | b4 b4 b4 cis'4 | b2 b4 a4 | gis2\n}\nbass = {\n  e2 | e4 b,4 e4 a,4 | b,2 b,2 | e2 e2 | e4 dis4 cis4 b,4 | e2 fis2 | b,2 e2 | gis4 e4 a4 gis4 | fis2 e2 | b,2 b,2 | e4 dis4 e4 a,4 | b,2 b,2 | e2\n}\n", "preferred": true}]}, "veni-emmanuel": {"slug": "veni-emmanuel", "name": "VENI EMMANUEL", "meter_label": "L.M. with Refrain", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer_source": "French, 15th century", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "veni-emmanuel-oh39", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:39 (line 2363); Words ~12th Century, tr. John Mason Neale 1851; Music 'Veni Emmanuel' 15th Century French; setting Common Service Book (ULCA) 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "veni-emmanuel-oh39", "tune": "veni-emmanuel", "music_file": "veni-emmanuel-oh39.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 20, 29, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 40}, "markings": [{"soprano_note": 40, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:39 (line 2363); Words ~12th Century, tr. John Mason Neale 1851; Music 'Veni Emmanuel' 15th Century French; setting Common Service Book (ULCA) 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:39", "encoding_license": "PD-dedication"}, "music_ly": "%% O Come, O Come, Emmanuel\n%% Imported from Open Hymnal ABC X:39 via tools/abc_import.py\n%% Words: various, ~12th Century, tr. John Mason Neale 1851; Music: 'Veni Emmanuel', 15th Century French; Setting: Common Service Book (ULCA), 1917. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 g'4 b'4 b'4 b'4 a'4( c''4 b'4) a'4 g'2. a'4 b'4 g'4 e'4 g'4 a'4( fis'4 e'4) d'4 e'2. a'4 a'4 e'4 e'4 fis'4 g'2( fis'4) e'4 d'2. g'4 a'4 b'4 b'4 b'4 a'4( c''4 b'4) a'4 g'2. d''4 d''2. b'4 b'2. b'4 a'4( c''4 b'4) a'4 g'2. a'4 b'4 g'4 e'4 g'4 a'4( fis'4 e'4) d'4 e'2.\n}\nalto = {\n  e'4 e'4 b4 d'4 g'4 g'2. fis'4 d'2. d'4 d'4 d'4 c'4 d'4 e'4( c'4 b4) b4 b2. e'8 d'8 c'4 a4 e'4 dis'4 e'4( d'4 d'4) cis'4 d'2. b4 d'4 d'4 d'4 g'4 g'2. fis'4 g'2. g'4 fis'2. g'4 fis'2. g'4 g'2. fis'4 g'2. fis'4 g'4 d'4 c'4 d'4 e'4( c'4 b4) b4 b2.\n}\ntenor = {\n  g4 b4 fis4 g4 d'4 e'2( d'4) c'4 b2. fis4 g4 g4 g4 b4 a2( g4) fis4 g2. a4 a4 c'4 b4 a4 g2( a4) g4 fis2. g4 fis4 fis4 g4 d'4 e'2( d'4) c'4 b2. b4 a2. e'4 d'2. d'4 e'2( d'4) c'4 b2. d'4 d'4 g4 g4 b4 a2( g4) fis4 g2.\n}\nbass = {\n  e4 e4 d4 b,4 g,4 c4( a,4 b,4) d4 g2. d4 g,4 b,4 c4 b,4 c4( a,4 b,4) b,4 e2. c8 b,8 a,4 a4 g4 fis4 e4( b,4 a,4) a,4 d2. e4 d4 b,4 g,4 b,4 c4( a,4 b,4) d4 g,2. g4 d2. e4 b,2. g,4 c4( a,4 b,4) d4 e2. d4 g,4 b,4 c4 b,4 c4( a,4 b,4) b,4 e2.\n}\n"}, "harmonizations": [{"slug": "veni-emmanuel-oh39", "tune": "veni-emmanuel", "music_file": "veni-emmanuel-oh39.ly", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [10, 20, 29, 49], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 40}, "markings": [{"soprano_note": 40, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:39 (line 2363); Words ~12th Century, tr. John Mason Neale 1851; Music 'Veni Emmanuel' 15th Century French; setting Common Service Book (ULCA) 1917; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:39", "encoding_license": "PD-dedication"}, "music_ly": "%% O Come, O Come, Emmanuel\n%% Imported from Open Hymnal ABC X:39 via tools/abc_import.py\n%% Words: various, ~12th Century, tr. John Mason Neale 1851; Music: 'Veni Emmanuel', 15th Century French; Setting: Common Service Book (ULCA), 1917. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 g'4 b'4 b'4 b'4 a'4( c''4 b'4) a'4 g'2. a'4 b'4 g'4 e'4 g'4 a'4( fis'4 e'4) d'4 e'2. a'4 a'4 e'4 e'4 fis'4 g'2( fis'4) e'4 d'2. g'4 a'4 b'4 b'4 b'4 a'4( c''4 b'4) a'4 g'2. d''4 d''2. b'4 b'2. b'4 a'4( c''4 b'4) a'4 g'2. a'4 b'4 g'4 e'4 g'4 a'4( fis'4 e'4) d'4 e'2.\n}\nalto = {\n  e'4 e'4 b4 d'4 g'4 g'2. fis'4 d'2. d'4 d'4 d'4 c'4 d'4 e'4( c'4 b4) b4 b2. e'8 d'8 c'4 a4 e'4 dis'4 e'4( d'4 d'4) cis'4 d'2. b4 d'4 d'4 d'4 g'4 g'2. fis'4 g'2. g'4 fis'2. g'4 fis'2. g'4 g'2. fis'4 g'2. fis'4 g'4 d'4 c'4 d'4 e'4( c'4 b4) b4 b2.\n}\ntenor = {\n  g4 b4 fis4 g4 d'4 e'2( d'4) c'4 b2. fis4 g4 g4 g4 b4 a2( g4) fis4 g2. a4 a4 c'4 b4 a4 g2( a4) g4 fis2. g4 fis4 fis4 g4 d'4 e'2( d'4) c'4 b2. b4 a2. e'4 d'2. d'4 e'2( d'4) c'4 b2. d'4 d'4 g4 g4 b4 a2( g4) fis4 g2.\n}\nbass = {\n  e4 e4 d4 b,4 g,4 c4( a,4 b,4) d4 g2. d4 g,4 b,4 c4 b,4 c4( a,4 b,4) b,4 e2. c8 b,8 a,4 a4 g4 fis4 e4( b,4 a,4) a,4 d2. e4 d4 b,4 g,4 b,4 c4( a,4 b,4) d4 g,2. g4 d2. e4 b,2. g,4 c4( a,4 b,4) d4 e2. d4 g,4 b,4 c4 b,4 c4( a,4 b,4) b,4 e2.\n}\n", "preferred": true}]}, "verleih-uns-frieden-gnadiglich": {"slug": "verleih-uns-frieden-gnadiglich", "name": "VERLEIH UNS FRIEDEN GNÄDIGLICH", "meter_label": "8.7.8.7.8", "meter": {"pattern": [8, 7, 8, 7, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "martin-luther", "composer_date": "1529", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "verleih-uns-frieden-gnadiglich-oh281", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:281; all components published pre-1931 (latest year 1854). Melody by Martin Luther, 1529; printed in Klug's Geistliche Lieder (1608 ed.).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "verleih-uns-frieden-gnadiglich-oh281", "tune": "verleih-uns-frieden-gnadiglich", "music_file": "verleih-uns-frieden-gnadiglich-oh281.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 24, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:281; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:281", "encoding_license": "PD-dedication"}, "music_ly": "%% In These Our Days So Perilous\n%% Imported from Open Hymnal ABC X:281 via tools/abc_import.py\n%% Open Hymnal X:281; all components published pre-1931 (latest year 1854).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 f'4 g'4 bes'4 a'4 g'2 bes'2 c''4 c''4 bes'4 c''4 d''2 d''2 d''4 d''4 c''4 d''4 bes'4 c''4 bes'4( a'4) g'2 g'4 f'4 g'4 bes'4( c''4) g'4 fis'4( g'4) g'2 c''2 d''4( c''4) bes'4 g'4 bes'4 a'8( g'8) bes'2( g'2) g'1\n}\nalto = {\n  d'2 d'4 d'4 d'4 e'4 f'16( d'16 g'4) fis'8 g'2 g'2 a'4 e'4 g'4 g'4 g'4( fis'8 e'8) fis'2 f'4 f'4. f'8 f'4 g'4 g'2 fis'4 g'2 d'4 d'4 d'4 g'8. f'16 ees'8. d'16 c'4 d'2 d'2 f'2. a'4 g'2 d'4 ees'4 d'2( ees'2) d'1\n}\ntenor = {\n  bes2 bes4 bes4 a4 c'4 d'4 d'4 bes2 d'2 f'4 c'4 d'4 g4 bes4( a8 g8) a2 a4 bes4 a4 a4 g4 ees'4 d'4. c'8 bes2 bes4 a4 bes8.( a16 g4) g4 g4 a4( bes4) bes2 a2 bes8( a16 g16 a4) d'4. c'8 bes4 c'4 g4( g8 a8 bes4 c'4) b1\n}\nbass = {\n  g2 g4 bes,4 d4 c4 bes,8. c16 d8 d8 g,2 g2 f4 a4 g4 ees4 d2 d2 d4 bes,4 f4 d4 e4 c4 d2 g,2 g4 d4 g4 ees8. d16 c8. d16 ees4 d4( g,4) g,2 f,2 bes,4( f,4) g,4 g2 c4 g4.( f8 ees8 d8 c4) g,1\n}\n"}, "harmonizations": [{"slug": "verleih-uns-frieden-gnadiglich-oh281", "tune": "verleih-uns-frieden-gnadiglich", "music_file": "verleih-uns-frieden-gnadiglich-oh281.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 24, 33], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:281; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:281", "encoding_license": "PD-dedication"}, "music_ly": "%% In These Our Days So Perilous\n%% Imported from Open Hymnal ABC X:281 via tools/abc_import.py\n%% Open Hymnal X:281; all components published pre-1931 (latest year 1854).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  g'2 g'4 g'4 f'4 g'4 bes'4 a'4 g'2 bes'2 c''4 c''4 bes'4 c''4 d''2 d''2 d''4 d''4 c''4 d''4 bes'4 c''4 bes'4( a'4) g'2 g'4 f'4 g'4 bes'4( c''4) g'4 fis'4( g'4) g'2 c''2 d''4( c''4) bes'4 g'4 bes'4 a'8( g'8) bes'2( g'2) g'1\n}\nalto = {\n  d'2 d'4 d'4 d'4 e'4 f'16( d'16 g'4) fis'8 g'2 g'2 a'4 e'4 g'4 g'4 g'4( fis'8 e'8) fis'2 f'4 f'4. f'8 f'4 g'4 g'2 fis'4 g'2 d'4 d'4 d'4 g'8. f'16 ees'8. d'16 c'4 d'2 d'2 f'2. a'4 g'2 d'4 ees'4 d'2( ees'2) d'1\n}\ntenor = {\n  bes2 bes4 bes4 a4 c'4 d'4 d'4 bes2 d'2 f'4 c'4 d'4 g4 bes4( a8 g8) a2 a4 bes4 a4 a4 g4 ees'4 d'4. c'8 bes2 bes4 a4 bes8.( a16 g4) g4 g4 a4( bes4) bes2 a2 bes8( a16 g16 a4) d'4. c'8 bes4 c'4 g4( g8 a8 bes4 c'4) b1\n}\nbass = {\n  g2 g4 bes,4 d4 c4 bes,8. c16 d8 d8 g,2 g2 f4 a4 g4 ees4 d2 d2 d4 bes,4 f4 d4 e4 c4 d2 g,2 g4 d4 g4 ees8. d16 c8. d16 ees4 d4( g,4) g,2 f,2 bes,4( f,4) g,4 g2 c4 g4.( f8 ees8 d8 c4) g,1\n}\n", "preferred": true}]}, "victory": {"slug": "victory", "name": "VICTORY", "alt_name": "PALESTRINA", "meter_label": "8.8.8 with Alleluias", "meter": {"pattern": [8, 8, 8], "doubled": false, "refrain": true, "alleluia": true, "irregular": false}, "composer": "giovanni-pierluigi-da-palestrina", "arranger": "william-h-monk", "canonical_key": {"tonic": "e", "mode": "major"}, "preferred_harmonization": "victory-oh111", "provenance": {"layer": "tune", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Printed in Hymns Ancient and Modern, 1861, at Hymn 114 — plate read for this import (archive.org henrmode00chur, leaf 174): four sharps, no printed time signature, the tune in minims, three systems, the Alleluia section at the head and a segno pair bracketing the verse. The same book's first-line index reads 'The strife is o'er, the battle won ... 8,8,8 ... Victory ... 114'. No composer credit is printed on the 1861 MUSIC PAGE — but the same book attests both credits ITSELF, in its INDEX OF TUNES (leaf 25), which under '8 8 8 (Iambic)' prints the row 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by'. (The column structure is unmistakable in the neighbouring rows — 'O Filii et Filiae | From La Feillee | W. H. Monk | 108'.) This corrects the import's first record, which routed both credits through the American reprint below as though 1861 gave neither. The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), also read for this import, prints as its TUNE-NAME LINE — not as a separate setting credit — 'VICTORY. 8.8.8.4. Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594.' The 1916 setting is in the same key (E major) and prints its time signature as 3/2. The Open Hymnal ABC (X:111) adds the alternative tune name 'Palestrina' and dates the Palestrina original 1591 — that date is the Open Hymnal's claim and was not verified against any page read for this import. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "victory-oh111", "tune": "victory", "music_file": "victory-oh111.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 21, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain_first": {"refrain_notes": 12}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 13, "kind": "verse"}], "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "source_line": "Music: VICTORY, adapted by William H. Monk from Palestrina; setting from Hymns Ancient and Modern, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting printed in Hymns Ancient and Modern, 1861, at Hymn 114; plate read for this import (archive.org henrmode00chur, leaf 174). Collated against The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), which prints the same setting in the same key: the four voices of verse bars 3-5 were read note by note off the 1916 plate for this import and agree with the encoding, including the bass rising to c' (C#4, on the first ledger above the bass staff) at the end of verse bars 3 and 11. THE HARMONIZER CREDIT RESTS ON THE 1861 BOOK'S OWN INDEX OF TUNES (leaf 25), which prints 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by' — i.e. the primary source names Monk as the harmonizer, in those words. The import first rested this credit on two strings that do not carry it, and the correction is recorded rather than swapped in silently: The Hymnal 1916's 'Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594' is that book's TUNE-NAME LINE, a credit for adapting the MELODY, and by this project's own standing rule a melody credit says nothing about who wrote the four parts; and the Open Hymnal ABC's C: line 'Setting: William Henry Monk, 1861.' is a modern encoder's claim, not a printing. Both are quoted verbatim and both were read for this import; neither is now doing the work. TWO DIVERGENCES FROM THE PRINTINGS ARE RECORDED RATHER THAN SILENTLY CARRIED: (1) BAR 1 IS AN ORGAN NOTE. On both plates read here all four voices rest on the first beat and a single note is printed below the bass staff on a ledger, labelled 'Org.' / 'ORG.'; the Open Hymnal folds that note into the sung bass, which is why its bass has 13 notes in the Alleluia section against the other voices' 12. It is kept here as the encoding source has it, so this engraving asks the bass to sing a note the printings mark organ-only. (2) NOTE VALUES. Both plates write the tune in minims, three to the bar; the 1861 page prints no time signature at all and the 1916 page prints 3/2. The Open Hymnal halves the values to 3/4 and that is what is encoded here. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "music_ly": "%% The Strife Is O'er, the Battle Done — VICTORY\n%% Hand-encoded from Open Hymnal ABC X:111 (OpenHymnal2014.06), bar by bar, and\n%% arithmetic-verified: every bar of every voice sums to 3/4, note counts per\n%% voice per section match the ABC, and the four voices are token-for-token\n%% IDENTICAL to what tools/abc_import.py 111 emits over this span (that tool does\n%% run on this block; it warns the w: underlay is off by one and it carries the\n%% Alleluia section twice, so it was used as a check, not as the source).\n%% One deliberate difference: where the ABC writes an invisible rest `x`,\n%% abc_import emits a spacer `s` and this file writes `r`, so that a beat on which\n%% BOTH voices of a staff rest collapses to the single centred rest the plates\n%% print (chorus bars 1 and 7, verse bar 13).\n%% The ABC prints the Alleluia section twice (head and, after the |: :| repeat,\n%% tail).  Hymns Ancient and Modern 1861 #114 — the source the Open Hymnal cites\n%% — and The Hymnal (Episcopal) 1916 #173 both print it ONCE, at the head, with a\n%% segno pair bracketing the verse; both plates were read in this session, so only\n%% the leading copy is encoded here (43 soprano notes: 12 + 31).\n%% Public domain: tune adapted by W. H. Monk from Palestrina, setting printed in\n%% Hymns Ancient and Modern, 1861. All components pre-1931 (pd_basis: pub_pre_1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 }\n\nsoprano = {\n  r4 gis'4 gis'4 a'2. gis'4 b'4 b'4 cis''2. b'4 b'4 e''4 dis''2. e''2 r4 b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. gis'4 gis'4 gis'4 gis'2 gis'4 gis'4( fis'4) e'4 fis'2. b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. r4 b'4 e''4 dis''2. e''2.\n}\nalto    = {\n  r4 e'4 e'4 e'2. e'4 e'4 e'4 e'2. e'4 e'4 gis'4 fis'2. gis'2 r4 gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. e'4 e'4 e'4 e'2 dis'4 e'4( cis'4) cis'4 dis'2. gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. r4 e'4 gis'4 fis'2. gis'2.\n}\ntenor   = {\n  r4 b4 b4 cis'2. b4 gis4 gis4 a2. gis4 b4 b4 b2. b2 r4 e'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. b4 b4 b4 cis'2 b4 b4( a4) gis4 b2. dis'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. r4 e'4 b4 b2. b2.\n}\nbass    = {\n  e,4 e4 e4 a,2. e4 e4 e4 a,2. e4 gis4 e4 b,2. e2 r4 e4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. e4 e4 e4 cis2 gis4 e4( fis4) cis4 b,2. gis4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. r4 gis4 e4 b,2. e2.\n}\n"}, "harmonizations": [{"slug": "victory-oh111", "tune": "victory", "music_file": "victory-oh111.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 21, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain_first": {"refrain_notes": 12}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 13, "kind": "verse"}], "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "source_line": "Music: VICTORY, adapted by William H. Monk from Palestrina; setting from Hymns Ancient and Modern, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting printed in Hymns Ancient and Modern, 1861, at Hymn 114; plate read for this import (archive.org henrmode00chur, leaf 174). Collated against The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), which prints the same setting in the same key: the four voices of verse bars 3-5 were read note by note off the 1916 plate for this import and agree with the encoding, including the bass rising to c' (C#4, on the first ledger above the bass staff) at the end of verse bars 3 and 11. THE HARMONIZER CREDIT RESTS ON THE 1861 BOOK'S OWN INDEX OF TUNES (leaf 25), which prints 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by' — i.e. the primary source names Monk as the harmonizer, in those words. The import first rested this credit on two strings that do not carry it, and the correction is recorded rather than swapped in silently: The Hymnal 1916's 'Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594' is that book's TUNE-NAME LINE, a credit for adapting the MELODY, and by this project's own standing rule a melody credit says nothing about who wrote the four parts; and the Open Hymnal ABC's C: line 'Setting: William Henry Monk, 1861.' is a modern encoder's claim, not a printing. Both are quoted verbatim and both were read for this import; neither is now doing the work. TWO DIVERGENCES FROM THE PRINTINGS ARE RECORDED RATHER THAN SILENTLY CARRIED: (1) BAR 1 IS AN ORGAN NOTE. On both plates read here all four voices rest on the first beat and a single note is printed below the bass staff on a ledger, labelled 'Org.' / 'ORG.'; the Open Hymnal folds that note into the sung bass, which is why its bass has 13 notes in the Alleluia section against the other voices' 12. It is kept here as the encoding source has it, so this engraving asks the bass to sing a note the printings mark organ-only. (2) NOTE VALUES. Both plates write the tune in minims, three to the bar; the 1861 page prints no time signature at all and the 1916 page prints 3/2. The Open Hymnal halves the values to 3/4 and that is what is encoded here. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "music_ly": "%% The Strife Is O'er, the Battle Done — VICTORY\n%% Hand-encoded from Open Hymnal ABC X:111 (OpenHymnal2014.06), bar by bar, and\n%% arithmetic-verified: every bar of every voice sums to 3/4, note counts per\n%% voice per section match the ABC, and the four voices are token-for-token\n%% IDENTICAL to what tools/abc_import.py 111 emits over this span (that tool does\n%% run on this block; it warns the w: underlay is off by one and it carries the\n%% Alleluia section twice, so it was used as a check, not as the source).\n%% One deliberate difference: where the ABC writes an invisible rest `x`,\n%% abc_import emits a spacer `s` and this file writes `r`, so that a beat on which\n%% BOTH voices of a staff rest collapses to the single centred rest the plates\n%% print (chorus bars 1 and 7, verse bar 13).\n%% The ABC prints the Alleluia section twice (head and, after the |: :| repeat,\n%% tail).  Hymns Ancient and Modern 1861 #114 — the source the Open Hymnal cites\n%% — and The Hymnal (Episcopal) 1916 #173 both print it ONCE, at the head, with a\n%% segno pair bracketing the verse; both plates were read in this session, so only\n%% the leading copy is encoded here (43 soprano notes: 12 + 31).\n%% Public domain: tune adapted by W. H. Monk from Palestrina, setting printed in\n%% Hymns Ancient and Modern, 1861. All components pre-1931 (pd_basis: pub_pre_1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 }\n\nsoprano = {\n  r4 gis'4 gis'4 a'2. gis'4 b'4 b'4 cis''2. b'4 b'4 e''4 dis''2. e''2 r4 b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. gis'4 gis'4 gis'4 gis'2 gis'4 gis'4( fis'4) e'4 fis'2. b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. r4 b'4 e''4 dis''2. e''2.\n}\nalto    = {\n  r4 e'4 e'4 e'2. e'4 e'4 e'4 e'2. e'4 e'4 gis'4 fis'2. gis'2 r4 gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. e'4 e'4 e'4 e'2 dis'4 e'4( cis'4) cis'4 dis'2. gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. r4 e'4 gis'4 fis'2. gis'2.\n}\ntenor   = {\n  r4 b4 b4 cis'2. b4 gis4 gis4 a2. gis4 b4 b4 b2. b2 r4 e'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. b4 b4 b4 cis'2 b4 b4( a4) gis4 b2. dis'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. r4 e'4 b4 b2. b2.\n}\nbass    = {\n  e,4 e4 e4 a,2. e4 e4 e4 a,2. e4 gis4 e4 b,2. e2 r4 e4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. e4 e4 e4 cis2 gis4 e4( fis4) cis4 b,2. gis4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. r4 gis4 e4 b,2. e2.\n}\n", "preferred": true}]}, "ville-du-havre": {"slug": "ville-du-havre", "name": "VILLE DU HAVRE", "alt_name": "IT IS WELL", "meter_label": "11.8.11.9 with Refrain", "meter": {"pattern": [11, 8, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "philip-paul-bliss", "composer_date": "1876", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "ville-du-havre-openhymnal", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for Horatio G. Spafford's hymn and named for the SS Ville du Havre, the ship in whose 1873 wreck Spafford's four daughters died. First published in Gospel Hymns No. 2, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main; Cincinnati: John Church, 1876), no. 76, printed pages 77-78 (\"P. P. Bliss, by per.\") — archive.org item hymnsno02blis, leaf n82. US public domain by publication before 1929; Bliss died in 1876. Melody taken from the Open Hymnal ABC X:198 (C: \"copyright: public domain\"; declared music source The Evangelical Hymnal, 1921, Hymn 208, read at full resolution at archive.org evangelicalhymna00evan leaf n184 — D-flat major, 4/4, one-quarter pickup, 57 soprano noteheads: 40 verse + 17 refrain with two whole-note holds tied into halves). INDEPENDENT CHECK: Hymnary tune authority ville_du_havre_bliss (478 instances, \"Public Domain\") gives incipit 55433 23465 43517; this soprano's first fifteen scale degrees in D-flat are 5-5-4-3-3-2-3-4-6-5-4-3-5-1-7, an exact match at every position. tools/tune_fingerprint.py finds no corpus melody closer than 0.59 (MELCOMBE), so the tune is not already present under another name. VILLE DU HAVRE is the name the tune authority and later hymnals print; the Open Hymnal C: line gives \"'It Is Well' or 'Ville Du Havre'\" and the 1921 index calls the tune \"It Is Well\", recorded as alt_name.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "ville_du_havre_bliss", "total_instances": 478}}, "harmonization": {"slug": "ville-du-havre-openhymnal", "tune": "ville-du-havre", "music_file": "ville-du-havre-openhymnal.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 20, 31, 40, 48], "breaks_manual": true, "markings": [{"soprano_note": 41, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "bass_echo": {"segments": [{"text": "It is well,", "durations": ["4", "4", "2"], "onset": 59}, {"text": "with my soul,", "durations": ["4", "4", "2"], "onset": 67}]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip P. Bliss's own four-part setting of his own tune, first published with Spafford's words in Gospel Hymns No. 2, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main; Cincinnati: John Church, 1876), no. 76, printed pages 77-78 — archive.org item hymnsno02blis, leaf n82 — headed \"It is Well with My Soul.\" over \"H. G. SPAFFORD.\" and \"P. P. Bliss, by per.\" with the motto \"He hath delivered my soul in peace.\"—Ps. 55:18. US public domain by publication before 1929; Bliss died in 1876, so it is PD in every life+70 jurisdiction as well. The notes here are the Open Hymnal Project's ABC (X:198, 2014.06 dump), whose C: block declares \"copyright: public domain\" and whose S: line names its music source as The Evangelical Hymnal, 1921, Hymn 208 — itself pre-1931 (the plate is footed \"Copyright, 1918, by The John Church Co.\", long expired). That very page was read at full resolution (archive.org evangelicalhymna00evan, leaf n184, printed page 152, headed \"208. IT IS WELL WITH MY SOUL 11 8 11 9. With Refrain\") and confirms the encoding: D-flat major (five flats), 4/4 with the quarter anacrusis, the fermata over \"soul.\" at the REFRAIN double bar (omitted per house style), the two soprano whole-note holds tied into halves, and the antiphonal chorus — alto resting then answering inside the treble staff, tenor and bass resting then answering in the bass staff, the answers printed as the small leader-dotted rows \"It is well.........\" / \"with my soul,.......\" above the treble. The 1876 first printing shows the same echo structure (answer rows printed against the held notes) and the same fermata. INDEPENDENT MELODY CHECK: Hymnary's tune authority ville_du_havre_bliss (478 instances) gives incipit 55433 23465 43517, and this soprano's first fifteen scale degrees in D-flat read 5-5-4-3-3-2-3-4-6-5-4-3-5-1-7 — an exact match at every position; tools/tune_fingerprint.py finds no corpus melody closer than 0.59 (MELCOMBE), so this is not a duplicate. The page's closing \"A-men.\" chords are not in the OH encoding and are not encoded (amen: false). The OH w: underlay's wording slips (\"Thou has taught\", \"the cross\") are corrected against the dated pages in the TEXT record; the music itself needed no correction.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:198 \"It Is Well With My Soul\" (SATB ABC extracted to a scratch single-tune file — X-number verified unique in the dump, title re-verified after extraction — and converted with tools/abc_import.py); refrain peeled and per-verse underlay rebuilt by hand against the 1921 and 1876 page images", "encoding_license": "PD-dedication"}, "music_ly": "%% VILLE DU HAVRE (11.8.11.9 with Refrain) — \"It Is Well with My Soul\"\n%% P. P. Bliss, 1876. Four SATB voice streams, canonical key D-flat major, 4/4,\n%% one-quarter anacrusis, 21 full bars. Imported from Open Hymnal ABC X:198\n%% (extracted to a scratch single-tune file per the DENNIS/HAMBURG route; the\n%% X-number is unique in the 2014.06 dump and the title was re-verified after\n%% extraction) via tools/abc_import.py, then hand-reformatted bar-per-line and\n%% re-verified token by token against the ABC. The Open Hymnal's declared\n%% source is The Evangelical Hymnal, 1921, Hymn 208 (printed page 152, plate\n%% footed \"Copyright, 1918, by The John Church Co.\"), and that page was read\n%% at full resolution (archive.org evangelicalhymna00evan, leaf n184): D-flat,\n%% five flats, 4/4 with the quarter pickup, fermata over \"soul.\" at the\n%% REFRAIN double bar — all as encoded here.\n%%\n%% THE ECHO (bars 14-18). The chorus is antiphonal: the soprano leads\n%% \"It is (bar 14, beats 3-4, lower voices resting) well (whole+half, tied\n%% across bars 15-16) ... with my (bar 16) soul (tied 17-18)\" while alto,\n%% tenor and bass rest two beats and answer one bar behind — \"It is\" (bar 15,\n%% beats 3-4), \"well,\" (bar 16, beats 1-2), \"with my\" (bar 17, beats 3-4),\n%% \"soul,\" (bar 18, beats 1-2) — then all voices rejoin homophonically at\n%% \"It is well, it is well with my soul.\" The rests are printed in the source\n%% (both the 1921 page and the 1876 first printing) and are kept here; the\n%% answer's words are the sidecar's `bass_echo`, not a fifth voice. The two\n%% soprano ties (aes'1~ aes'2, twice) are the page's own held notes, NOT\n%% tied-shorter import artifacts — they cross barlines and cannot be merged.\n%%\n%% THE ONE VERSE MELISMA: notes 8-9 (ges'-bes', \"at-TEND-eth\"), slurred by\n%% abc_import from the w: alignment; all five OH stanzas and the 1921 page's\n%% four interlinear stanzas agree on the position (fixed melisma).\n%%\n%% NOT RENDERED, present in the source: the fermata over bar 14's \"soul.\"\n%% chord (inverted under the tenor) — omitted per house style; the OH\n%% !sintro!/!eintro! suggested-intro brackets around bars 18b3-21 (dropped\n%% decorations); and the 1921 page's closing plagal \"A-men.\" chords, which the\n%% Open Hymnal does not encode (amen: false in the sidecar — the engine's\n%% amen feature can supply one if ever wanted).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'4 |\n  aes'2 ges'4 f'4 |\n  f'2 ees'4 f'4 |\n  ges'4( bes'4) aes'4 ges'4 |\n  f'2. aes'4 |\n  des''2 c''4 bes'4 |\n  bes'2 aes'4 g'4 |\n  aes'2. aes'4 |\n  des''2 des''4 c''4 |\n  bes'2 bes'4 bes'4 |\n  ees''2 ees''4 des''4 |\n  c''2 bes'4 aes'4 |\n  des''2 des''4 des''4 |\n  des''2 c''4. des''8 |\n  des''2 aes'4 aes'4 |\n  aes'1~ |\n  aes'2 aes'4 aes'4 |\n  aes'1~ |\n  aes'2 f'4 aes'4 |\n  bes'2 bes'4 des''4 |\n  des''2 c''4. des''8 |\n  des''2.\n}\n\nalto = {\n  f'4 |\n  f'2 ees'4 des'4 |\n  des'2 c'4 des'4 |\n  c'2 c'4 ees'4 |\n  des'2. f'4 |\n  f'2 ees'4 des'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. ges'4 |\n  f'2 f'4 aes'4 |\n  ges'2 bes'4 aes'4 |\n  g'2 g'4 g'4 |\n  aes'2 aes'4 aes'4 |\n  aes'2 des'4 des'4 |\n  f'2 ees'4. f'8 |\n  f'2 r2 |\n  r2 f'4 f'4 |\n  ees'2 r2 |\n  r2 ees'4 ges'4 |\n  f'2 des'4 f'4 |\n  ges'2 ges'4 ges'4 |\n  f'2 ees'4. f'8 |\n  f'2.\n}\n\ntenor = {\n  aes4 |\n  aes2 aes4 aes4 |\n  aes2 aes4 aes4 |\n  aes2 aes4 c'4 |\n  des'2. aes4 |\n  bes2 a4 bes4 |\n  des'2 c'4 bes4 |\n  c'2. c'4 |\n  des'2 des'4 des'4 |\n  des'2 des'4 d'4 |\n  ees'2 ees'4 ees'4 |\n  ees'2 des'4 c'4 |\n  des'2 aes4 bes4 |\n  aes2 aes4. aes8 |\n  aes2 r2 |\n  r2 aes4 des'4 |\n  c'2 r2 |\n  r2 c'4 ees'4 |\n  des'2 aes4 des'4 |\n  des'2 des'4 bes4 |\n  aes2 aes4. aes8 |\n  aes2.\n}\n\nbass = {\n  des4 |\n  des2 des4 des8 f8 |\n  aes2 ges4 f4 |\n  ees2 aes,4 aes,4 |\n  des2. des4 |\n  bes,2 c4 des4 |\n  des2 ees4 ees4 |\n  aes,2. aes4 |\n  des2 des4 f4 |\n  ges2 ges4 f4 |\n  ees2 ees4 ees4 |\n  aes2 aes4 aes8 ges8 |\n  f2 f4 ges4 |\n  aes2 aes,4. aes,8 |\n  des2 r2 |\n  r2 des4 f4 |\n  aes2 r2 |\n  r2 aes,4 aes,4 |\n  des2 des4 des4 |\n  ges2 ges4 ges4 |\n  aes2 aes,4. aes,8 |\n  des2.\n}\n"}, "harmonizations": [{"slug": "ville-du-havre-openhymnal", "tune": "ville-du-havre", "music_file": "ville-du-havre-openhymnal.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [12, 20, 31, 40, 48], "breaks_manual": true, "markings": [{"soprano_note": 41, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "bass_echo": {"segments": [{"text": "It is well,", "durations": ["4", "4", "2"], "onset": 59}, {"text": "with my soul,", "durations": ["4", "4", "2"], "onset": 67}]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Philip P. Bliss's own four-part setting of his own tune, first published with Spafford's words in Gospel Hymns No. 2, ed. P. P. Bliss & Ira D. Sankey (New York: Biglow & Main; Cincinnati: John Church, 1876), no. 76, printed pages 77-78 — archive.org item hymnsno02blis, leaf n82 — headed \"It is Well with My Soul.\" over \"H. G. SPAFFORD.\" and \"P. P. Bliss, by per.\" with the motto \"He hath delivered my soul in peace.\"—Ps. 55:18. US public domain by publication before 1929; Bliss died in 1876, so it is PD in every life+70 jurisdiction as well. The notes here are the Open Hymnal Project's ABC (X:198, 2014.06 dump), whose C: block declares \"copyright: public domain\" and whose S: line names its music source as The Evangelical Hymnal, 1921, Hymn 208 — itself pre-1931 (the plate is footed \"Copyright, 1918, by The John Church Co.\", long expired). That very page was read at full resolution (archive.org evangelicalhymna00evan, leaf n184, printed page 152, headed \"208. IT IS WELL WITH MY SOUL 11 8 11 9. With Refrain\") and confirms the encoding: D-flat major (five flats), 4/4 with the quarter anacrusis, the fermata over \"soul.\" at the REFRAIN double bar (omitted per house style), the two soprano whole-note holds tied into halves, and the antiphonal chorus — alto resting then answering inside the treble staff, tenor and bass resting then answering in the bass staff, the answers printed as the small leader-dotted rows \"It is well.........\" / \"with my soul,.......\" above the treble. The 1876 first printing shows the same echo structure (answer rows printed against the held notes) and the same fermata. INDEPENDENT MELODY CHECK: Hymnary's tune authority ville_du_havre_bliss (478 instances) gives incipit 55433 23465 43517, and this soprano's first fifteen scale degrees in D-flat read 5-5-4-3-3-2-3-4-6-5-4-3-5-1-7 — an exact match at every position; tools/tune_fingerprint.py finds no corpus melody closer than 0.59 (MELCOMBE), so this is not a duplicate. The page's closing \"A-men.\" chords are not in the OH encoding and are not encoded (amen: false). The OH w: underlay's wording slips (\"Thou has taught\", \"the cross\") are corrected against the dated pages in the TEXT record; the music itself needed no correction.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:198 \"It Is Well With My Soul\" (SATB ABC extracted to a scratch single-tune file — X-number verified unique in the dump, title re-verified after extraction — and converted with tools/abc_import.py); refrain peeled and per-verse underlay rebuilt by hand against the 1921 and 1876 page images", "encoding_license": "PD-dedication"}, "music_ly": "%% VILLE DU HAVRE (11.8.11.9 with Refrain) — \"It Is Well with My Soul\"\n%% P. P. Bliss, 1876. Four SATB voice streams, canonical key D-flat major, 4/4,\n%% one-quarter anacrusis, 21 full bars. Imported from Open Hymnal ABC X:198\n%% (extracted to a scratch single-tune file per the DENNIS/HAMBURG route; the\n%% X-number is unique in the 2014.06 dump and the title was re-verified after\n%% extraction) via tools/abc_import.py, then hand-reformatted bar-per-line and\n%% re-verified token by token against the ABC. The Open Hymnal's declared\n%% source is The Evangelical Hymnal, 1921, Hymn 208 (printed page 152, plate\n%% footed \"Copyright, 1918, by The John Church Co.\"), and that page was read\n%% at full resolution (archive.org evangelicalhymna00evan, leaf n184): D-flat,\n%% five flats, 4/4 with the quarter pickup, fermata over \"soul.\" at the\n%% REFRAIN double bar — all as encoded here.\n%%\n%% THE ECHO (bars 14-18). The chorus is antiphonal: the soprano leads\n%% \"It is (bar 14, beats 3-4, lower voices resting) well (whole+half, tied\n%% across bars 15-16) ... with my (bar 16) soul (tied 17-18)\" while alto,\n%% tenor and bass rest two beats and answer one bar behind — \"It is\" (bar 15,\n%% beats 3-4), \"well,\" (bar 16, beats 1-2), \"with my\" (bar 17, beats 3-4),\n%% \"soul,\" (bar 18, beats 1-2) — then all voices rejoin homophonically at\n%% \"It is well, it is well with my soul.\" The rests are printed in the source\n%% (both the 1921 page and the 1876 first printing) and are kept here; the\n%% answer's words are the sidecar's `bass_echo`, not a fifth voice. The two\n%% soprano ties (aes'1~ aes'2, twice) are the page's own held notes, NOT\n%% tied-shorter import artifacts — they cross barlines and cannot be merged.\n%%\n%% THE ONE VERSE MELISMA: notes 8-9 (ges'-bes', \"at-TEND-eth\"), slurred by\n%% abc_import from the w: alignment; all five OH stanzas and the 1921 page's\n%% four interlinear stanzas agree on the position (fixed melisma).\n%%\n%% NOT RENDERED, present in the source: the fermata over bar 14's \"soul.\"\n%% chord (inverted under the tenor) — omitted per house style; the OH\n%% !sintro!/!eintro! suggested-intro brackets around bars 18b3-21 (dropped\n%% decorations); and the 1921 page's closing plagal \"A-men.\" chords, which the\n%% Open Hymnal does not encode (amen: false in the sidecar — the engine's\n%% amen feature can supply one if ever wanted).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'4 |\n  aes'2 ges'4 f'4 |\n  f'2 ees'4 f'4 |\n  ges'4( bes'4) aes'4 ges'4 |\n  f'2. aes'4 |\n  des''2 c''4 bes'4 |\n  bes'2 aes'4 g'4 |\n  aes'2. aes'4 |\n  des''2 des''4 c''4 |\n  bes'2 bes'4 bes'4 |\n  ees''2 ees''4 des''4 |\n  c''2 bes'4 aes'4 |\n  des''2 des''4 des''4 |\n  des''2 c''4. des''8 |\n  des''2 aes'4 aes'4 |\n  aes'1~ |\n  aes'2 aes'4 aes'4 |\n  aes'1~ |\n  aes'2 f'4 aes'4 |\n  bes'2 bes'4 des''4 |\n  des''2 c''4. des''8 |\n  des''2.\n}\n\nalto = {\n  f'4 |\n  f'2 ees'4 des'4 |\n  des'2 c'4 des'4 |\n  c'2 c'4 ees'4 |\n  des'2. f'4 |\n  f'2 ees'4 des'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. ges'4 |\n  f'2 f'4 aes'4 |\n  ges'2 bes'4 aes'4 |\n  g'2 g'4 g'4 |\n  aes'2 aes'4 aes'4 |\n  aes'2 des'4 des'4 |\n  f'2 ees'4. f'8 |\n  f'2 r2 |\n  r2 f'4 f'4 |\n  ees'2 r2 |\n  r2 ees'4 ges'4 |\n  f'2 des'4 f'4 |\n  ges'2 ges'4 ges'4 |\n  f'2 ees'4. f'8 |\n  f'2.\n}\n\ntenor = {\n  aes4 |\n  aes2 aes4 aes4 |\n  aes2 aes4 aes4 |\n  aes2 aes4 c'4 |\n  des'2. aes4 |\n  bes2 a4 bes4 |\n  des'2 c'4 bes4 |\n  c'2. c'4 |\n  des'2 des'4 des'4 |\n  des'2 des'4 d'4 |\n  ees'2 ees'4 ees'4 |\n  ees'2 des'4 c'4 |\n  des'2 aes4 bes4 |\n  aes2 aes4. aes8 |\n  aes2 r2 |\n  r2 aes4 des'4 |\n  c'2 r2 |\n  r2 c'4 ees'4 |\n  des'2 aes4 des'4 |\n  des'2 des'4 bes4 |\n  aes2 aes4. aes8 |\n  aes2.\n}\n\nbass = {\n  des4 |\n  des2 des4 des8 f8 |\n  aes2 ges4 f4 |\n  ees2 aes,4 aes,4 |\n  des2. des4 |\n  bes,2 c4 des4 |\n  des2 ees4 ees4 |\n  aes,2. aes4 |\n  des2 des4 f4 |\n  ges2 ges4 f4 |\n  ees2 ees4 ees4 |\n  aes2 aes4 aes8 ges8 |\n  f2 f4 ges4 |\n  aes2 aes,4. aes,8 |\n  des2 r2 |\n  r2 des4 f4 |\n  aes2 r2 |\n  r2 aes,4 aes,4 |\n  des2 des4 des4 |\n  ges2 ges4 ges4 |\n  aes2 aes,4. aes,8 |\n  des2.\n}\n", "preferred": true}]}, "vom-himmel-hoch": {"slug": "vom-himmel-hoch", "name": "VOM HIMMEL HOCH", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "traditional-german-from-schumann-s-geistliche-lieder-leipzig", "composer_date": "1917", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "vom-himmel-hoch-oh54", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:54; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "vom-himmel-hoch-oh54", "tune": "vom-himmel-hoch", "music_file": "vom-himmel-hoch-oh54.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "8", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:54; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:54", "encoding_license": "PD-dedication"}, "music_ly": "%% From Heaven Above To Earth I Come\n%% Imported from Open Hymnal ABC X:54 via tools/abc_import.py\n%% Open Hymnal X:54; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 8 }\n\nsoprano = {\n  d''8 cis''4 b'4 cis''4 a'4 b'4 cis''4 d''4 r8 d''8 d''4 a'4 a'4 fis'4 a'4 g'4 fis'4 r8 fis'8 b'4 b'4 a'4 cis''4 d''4 b'4 a'4 r8 d''8 cis''4 b'4 a'4 a'4 g'8 fis'8 e'4 d'4 r8\n}\nalto = {\n  fis'8 e'4 e'4 e'4 fis'4 d'4 g'4 fis'4 s8 fis'8 fis'4 fis'4 e'4 d'4 d'4 b4 d'4 s8 d'8 fis'4 g'4 e'4 e'4 d'4 e'4 cis'4 s8 d'8 a'4 g'4 fis'4 e'4 d'4. cis'8 d'4 s8\n}\ntenor = {\n  a8 a4 gis4 a4 a4 g4 g4 a4 r8 a8 b4 cis'4 a4 a4 fis4 g4 a4 r8 b8 d'4 d'4 cis'4 a4 fis4 gis4 a4 r8 fis8 a4 d'4 d'4 a4 b8 a8 a4 fis4 r8\n}\nbass = {\n  d8 a,4 e4 a,4 d4 g4 e4 d4 s8 d8 b,4 fis4 cis4 d4 d4 e4 b,4 s8 b,8 b,4 g,4 a,4 a,4 b,4 e4 a,4 s8 b,8 fis4 g4 d4 cis4 b,8 d8 a,4 d4 s8\n}\n"}, "harmonizations": [{"slug": "vom-himmel-hoch-oh54", "tune": "vom-himmel-hoch", "music_file": "vom-himmel-hoch-oh54.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "4/4", "pickup": "8", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:54; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:54", "encoding_license": "PD-dedication"}, "music_ly": "%% From Heaven Above To Earth I Come\n%% Imported from Open Hymnal ABC X:54 via tools/abc_import.py\n%% Open Hymnal X:54; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 4/4 \\partial 8 }\n\nsoprano = {\n  d''8 cis''4 b'4 cis''4 a'4 b'4 cis''4 d''4 r8 d''8 d''4 a'4 a'4 fis'4 a'4 g'4 fis'4 r8 fis'8 b'4 b'4 a'4 cis''4 d''4 b'4 a'4 r8 d''8 cis''4 b'4 a'4 a'4 g'8 fis'8 e'4 d'4 r8\n}\nalto = {\n  fis'8 e'4 e'4 e'4 fis'4 d'4 g'4 fis'4 s8 fis'8 fis'4 fis'4 e'4 d'4 d'4 b4 d'4 s8 d'8 fis'4 g'4 e'4 e'4 d'4 e'4 cis'4 s8 d'8 a'4 g'4 fis'4 e'4 d'4. cis'8 d'4 s8\n}\ntenor = {\n  a8 a4 gis4 a4 a4 g4 g4 a4 r8 a8 b4 cis'4 a4 a4 fis4 g4 a4 r8 b8 d'4 d'4 cis'4 a4 fis4 gis4 a4 r8 fis8 a4 d'4 d'4 a4 b8 a8 a4 fis4 r8\n}\nbass = {\n  d8 a,4 e4 a,4 d4 g4 e4 d4 s8 d8 b,4 fis4 cis4 d4 d4 e4 b,4 s8 b,8 b,4 g,4 a,4 a,4 b,4 e4 a,4 s8 b,8 fis4 g4 d4 cis4 b,8 d8 a,4 d4 s8\n}\n", "preferred": true}]}, "wachet-auf": {"slug": "wachet-auf", "name": "WACHET AUF", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "phillip-nicolai", "composer_date": "1917", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "wachet-auf-oh209", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "wachet_auf_nicolai", "total_instances": 382}}, "harmonization": {"slug": "wachet-auf-oh209", "tune": "wachet-auf", "music_file": "wachet-auf-oh209.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 19, 27, 37, 46, 60, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [10, 19, 27, 37, 46, 54, 60, 66, 70, 78], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:209", "encoding_license": "PD-dedication"}, "music_ly": "%% Wake, Awake, for Night Is Flying\n%% Imported from Open Hymnal ABC X:209 via tools/abc_import.py\n%% Open Hymnal X:209; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'1 | c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | d'4 e'4 f'2 e'2 | g'2 a'4 b'4 c''2. c''4 e''4 d''4 c''2 | g'2 c''4 g'4 a'4 e'4 f'4 d'4 c'1\n}\nalto = {\n  g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'1 | g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'2 | s8 d'4 e'2. d'4 c'4 b4 c'2 | s8 e'4 d'2. c'4 c'4 b4 c'2 | b4 c'4 c'4( b4) c'2 | e'2 f'4 f'4 e'2. f'4 g'4 g'4 e'2 | e'2 e'4 e'4 c'4 c'4 c'4 b4 c'1\n}\ntenor = {\n  e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e1 | e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e2 | r8 g4 g2. a4 g4 g4 e2 | r8 c'4 bes2. a4 g4 g4 e2 | g4 g4 f2 g2 | c'2 c'4 d'4 c'2. c'4 c'4 b4 c'2 | c'2 c'4 b4 a4 g4 a4 g4 e1\n}\nbass = {\n  c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c1 | c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c2 | s8 b,4 c2. f4 g4 g,4 c2 | s8 c4 g,2. a,4 c4 g,4 c2 | g,4 c4 d2 c2 | c2 f4 d4 a2. a4 g4 g4 c2 | c2 a,4 e4 f4 c4 f,4 g,4 c1\n}\n"}, "harmonizations": [{"slug": "wachet-auf-bwv140-7", "tune": "wachet-auf", "music_file": "wachet-auf-bwv140-7.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "time_changes": [{"soprano_note": 25, "time": "3/4"}, {"soprano_note": 29, "time": "4/4"}], "system_breaks": [14, 28, 42, 56, 72], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WACHET AUF, Philipp Nicolai, 1599; harmonization J. S. Bach (BWV 140/7). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WACHET AUF (Philipp Nicolai, Freudenspiegel dess ewigen Lebens, 1599); four-part harmonization by Johann Sebastian Bach (1685-1750) — the closing chorale BWV 140/7 of the cantata \"Wachet auf, ruft uns die Stimme\" (1731), No. 179 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor179.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py. The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B. The A section begins on a downbeat and ends with a three-beat bar, so the first Stollen close stands as a genuine 3-beat bar (declared via time_changes, the OLD 124TH mid-hymn-meter precedent) and the B section's one-beat pickup completes the second close to a full 4/4 bar — exactly the barring of the independently encoded music21 witness bwv140.7.mxl (its m8 carries 3 beats against the backward repeat; its m8a is the 1-beat pickup bar). Machine comparison against that witness, sounding events, all four voices, run in the source key: soprano identical event-for-event (96 events); tenor differs only at bar 7 beats 1-1.5 and its Stollen repeat, where the witness holds a dotted quarter against the kern's repeated quarter + eighth; alto differs only at bars 21-22, where the witness ties the barline and holds a quarter against the kern's repeated notes; bass differs only in octave at the bar-7/8 walking-line tail and the final cadence (the kern reads the tail an octave above the witness and itself writes the low octave at bar 24, deliberately differentiating the two passages). The kern reading is kept as the declared source. The source key is E-flat major (the kern's *k[b-e-a-] with *E-:); the corpus file is TRANSPOSED a minor third down to C major, the tune's corpus canonical key, shared with wachet-auf-oh209 (one canonical key per tune, validator-enforced; congregational range, soprano top e'' instead of the cantata's g'') — a pure transposition verified note-for-note, every note exactly -3 semitones with durations, ties and slurs identical. 4/4 (met C), no pickup; fermatas at the twelve phrase ends (soprano ordinals 8, 19, 28, 36, 47, 56, 62, 68, 72, 76, 81, 90) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted mxl (full German underlay, two lyric verses in the Stollen agreeing on every hold, one in the Abgesang).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor179.krn (BWV 140/7, Breitkopf No. 179), converted with tools/kern2ly.py; underlay and barring witness music21 bach corpus MusicXML bwv140.7.mxl (both archived in imports/batchC/)", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% WACHET AUF (8.7.8.7.D) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 140/7 (the closing chorale of cantata 140,\n%% \"Wachet auf, ruft uns die Stimme\"; Breitkopf No. 179), converted from the\n%% craigsapp/bach-370-chorales kern edition (chor179.krn, imports/batchC/) with\n%% tools/kern2ly.py and verified against the kern source in all four voices.\n%% The source is E-flat major (the kern's *k[b-e-a-] + *E-:); this file is\n%% TRANSPOSED a minor third down to C major, the tune's corpus canonical key\n%% (one canonical key per tune, validator-enforced, shared with the OH209\n%% setting) — a pure transposition, verified note-for-note (every note exactly\n%% -3 semitones; durations, ties and slurs identical; the chromatics spell\n%% fis/gis/bes/b-natural). 4/4 (met C), NO pickup. The kern encodes the Stollen\n%% once with a repeat (*>[A,A,B]); written out here A-A-B by the converter's\n%% sectional expansion. The A section both begins on a downbeat and ends with a\n%% THREE-BEAT bar, so at the first seam nothing merges and bar 8 is a genuine\n%% 3-beat bar (the sidecar declares it via time_changes: 3/4 at soprano note\n%% 25, 4/4 back at note 29, both true sync points); at the second seam the B\n%% section's one-beat pickup completes that same 3-beat bar to a full 4/4 bar\n%% 16. The music21 witness bwv140.7.mxl (imports/batchC/) bars it the same way\n%% as-written: its m8 carries 3 beats against the backward repeat and its m8a\n%% is the 1-beat B pickup bar, so the written-out barring above is the\n%% witness's own; the repeat form needs no printed signature, the written-out\n%% form prints 3/4 / 4/4 at bar 8 (the OLD 124TH mid-hymn-meter precedent).\n%% Machine comparison against that independently encoded witness (music21\n%% MusicXML, full German underlay), sounding events, all four voices, run in\n%% the source key: soprano identical event-for-event (96 events); tenor\n%% differs only at bar 7 beats 1-1.5 and its Stollen repeat (bar 15), where\n%% the witness holds a dotted quarter against the kern's repeated quarter +\n%% eighth (printed here c'4 c'8); alto differs only at bars 21-22, where the\n%% witness ties the barline g'4~ g'8 and holds f'4 (source key) against the\n%% kern's repeated notes (printed here e'4 e'8 d'8 d'8); bass differs only in\n%% octave at the bar-7/8 walking-line tail f-g-a-d-c (printed octave; kern an\n%% octave above the witness — the kern itself writes the LOW octave at the\n%% parallel bar 24, so the two passages are deliberately differentiated) and\n%% at the final d4 g,4 c2. The kern reading is kept as the declared source.\n%% The source prints fermatas at soprano ordinals 8, 19, 28, 36, 47, 56, 62, 68,\n%% 72, 76, 81, 90 (the twelve phrase ends of the bar form); fermatas are omitted\n%% per house style. MELISMATIC: 90 soprano notes for 82 syllables; the melisma\n%% map follows Bach's own underlay in the texted witness (both Stollen lyric\n%% verses agree on every hold): two-note slurs at soprano notes 12-13, 17-18,\n%% 25-26 (Stollen, sung twice: 40-41, 45-46, 53-54) and 77-78, 87-88 (Abgesang).\n%% The setting holds the continuations with '_' at soprano notes 13, 18, 26, 41,\n%% 46, 54, 78, 88 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4. g'8 |\n  g'4 g'4 a'2 |\n  g'2 r4 g'4 |\n  c''4 g'4 c''8( d''8) e''4 |\n  d''4 c''4 b'4( a'4) |\n  g'2 r4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'4 |\n  c'4 e'4 g'4. g'8 |\n  g'4 g'4 a'2 |\n  g'2 r4 g'4 |\n  c''4 g'4 c''8( d''8) e''4 |\n  d''4 c''4 b'4( a'4) |\n  g'2 r4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'4 g'4 |\n  g'4. f'8 e'4 d'4 |\n  c'2 r4 g'4 |\n  g'4. f'8 e'4 d'4 |\n  c'2 r4 d'4 |\n  e'4 f'4 e'4 g'4 |\n  a'4 b'4 c''4 c''8( d''8) |\n  e''4 d''4 c''4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'2\n}\n\nalto = {\n  g4 c'4 e'4 d'4 |\n  e'4 d'4 e'4 d'4 |\n  d'2 r4 d'4 |\n  g'4. f'8 e'8 f'8 g'4 |\n  g'4 a'4~ a'8 g'4 fis'8 |\n  d'2 r4 e'4 |\n  f'4 e'4 c'4 c'4 |\n  c'4 b4 g4 |\n  g4 c'4 e'4 d'4 |\n  e'4 d'4 e'4 d'4 |\n  d'2 r4 d'4 |\n  g'4. f'8 e'8 f'8 g'4 |\n  g'4 a'4~ a'8 g'4 fis'8 |\n  d'2 r4 e'4 |\n  f'4 e'4 c'4 c'4 |\n  c'4 b4 g4 d'4 |\n  e'4. d'8 g8 a8 b4 |\n  a2 r4 b8 c'8 |\n  d'4 d'4~ d'8 c'4 b8 |\n  g2 r4 b4 |\n  c'4. b8 c'4 e'4 |\n  e'8 d'8 d'8 e'8 e'4 e'8 f'8 |\n  g'4. f'8 e'4 e'8 f'8 |\n  g'8 f'8 g'8 e'8 f'4 c'4 |\n  c'4 b4 g2\n}\n\ntenor = {\n  e4 g4 c'4 b4 |\n  c'4 g4 g4 fis4 |\n  b2 r4 b4 |\n  c'4 c'4 g4 c'4 |\n  d'4 d'4 d'4~ d'8 a8 |\n  b2 r4 c'4 |\n  c'4 c'8 bes8 a4 a4 |\n  a8 g8 f4 e4 |\n  e4 g4 c'4 b4 |\n  c'4 g4 g4 fis4 |\n  b2 r4 b4 |\n  c'4 c'4 g4 c'4 |\n  d'4 d'4 d'4~ d'8 a8 |\n  b2 r4 c'4 |\n  c'4 c'8 bes8 a4 a4 |\n  a8 g8 f4 e4 g4 |\n  c'8 b8 a8 b8 c'4 g8 f8 |\n  e2 r4 g4 |\n  g8 a8 b4 g8 a4 g8 |\n  e2 r4 g4 |\n  g4 a8 f8 g4 c'4 |\n  c'4 b4 a4 c'4 |\n  c'4 b4 c'4 c'4 |\n  g4 c'4 c'4. a8 |\n  a8 g8 f4 e2\n}\n\nbass = {\n  c2~ c8 e8 g8 f8 |\n  e8 d8 c8 b,8 c8 a,8 d4 |\n  g,2 r4 g8 f8 |\n  e8 f8 e8 d8 c4 c'4 |\n  b8 a8 g8 fis8 g4 d4 |\n  g,2 r4 c8 bes,8 |\n  a,8 b,8 c4 f8 g8 a4 |\n  d4 g,4 c4 |\n  c2~ c8 e8 g8 f8 |\n  e8 d8 c8 b,8 c8 a,8 d4 |\n  g,2 r4 g8 f8 |\n  e8 f8 e8 d8 c4 c'4 |\n  b8 a8 g8 fis8 g4 d4 |\n  g,2 r4 c8 bes,8 |\n  a,8 b,8 c4 f8 g8 a4 |\n  d4 g,4 c4 b,4 |\n  c4 d4 e8 f8 g8 g,8 |\n  a,2 r4 e4 |\n  b,8 a,8 g,4 c8 a,8 f,8 g,8 |\n  c2 r4 g8 f8 |\n  e4 d4 c4 c'4 |\n  fis4 gis4 a4 a4 |\n  e8 f8 g4 a,4 c8 d8 |\n  e8 d8 e8 c8 f,8 g,8 a,4 |\n  d4 g,4 c2\n}\n", "preferred": false}, {"slug": "wachet-auf-oh209", "tune": "wachet-auf", "music_file": "wachet-auf-oh209.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 19, 27, 37, 46, 60, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [10, 19, 27, 37, 46, 54, 60, 66, 70, 78], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:209", "encoding_license": "PD-dedication"}, "music_ly": "%% Wake, Awake, for Night Is Flying\n%% Imported from Open Hymnal ABC X:209 via tools/abc_import.py\n%% Open Hymnal X:209; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'1 | c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | d'4 e'4 f'2 e'2 | g'2 a'4 b'4 c''2. c''4 e''4 d''4 c''2 | g'2 c''4 g'4 a'4 e'4 f'4 d'4 c'1\n}\nalto = {\n  g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'1 | g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'2 | s8 d'4 e'2. d'4 c'4 b4 c'2 | s8 e'4 d'2. c'4 c'4 b4 c'2 | b4 c'4 c'4( b4) c'2 | e'2 f'4 f'4 e'2. f'4 g'4 g'4 e'2 | e'2 e'4 e'4 c'4 c'4 c'4 b4 c'1\n}\ntenor = {\n  e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e1 | e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e2 | r8 g4 g2. a4 g4 g4 e2 | r8 c'4 bes2. a4 g4 g4 e2 | g4 g4 f2 g2 | c'2 c'4 d'4 c'2. c'4 c'4 b4 c'2 | c'2 c'4 b4 a4 g4 a4 g4 e1\n}\nbass = {\n  c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c1 | c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c2 | s8 b,4 c2. f4 g4 g,4 c2 | s8 c4 g,2. a,4 c4 g,4 c2 | g,4 c4 d2 c2 | c2 f4 d4 a2. a4 g4 g4 c2 | c2 a,4 e4 f4 c4 f,4 g,4 c1\n}\n", "preferred": true}]}, "waltham-calkin": {"slug": "waltham-calkin", "name": "WALTHAM (CALKIN)", "meter_label": "Irregular", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "john-b-calkin", "composer_date": "1885", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "waltham-calkin-oh58", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:58; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "waltham_calkin", "total_instances": 611}}, "harmonization": {"slug": "waltham-calkin-oh58", "tune": "waltham-calkin", "music_file": "waltham-calkin-oh58.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 21], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:58; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:58", "encoding_license": "PD-dedication"}, "music_ly": "%% I Heard The Bells On Christmas Day\n%% Imported from Open Hymnal ABC X:58 via tools/abc_import.py\n%% Open Hymnal X:58; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4. fis'8 g'4 g'4 aes'4. g'8 aes'4 a'4 bes'4 ees''4 d''4 c''4 c''4. bes'8 bes'4 bes'4 bes'4. aes'8 g'4 aes'4 g'4. f'8 ees'4 f'4 g'4 aes'4 bes'4 c''4 d'4. f'8 ees'4\n}\nalto = {\n  ees'4 ees'4. ees'8 ees'4 des'4 d'4. d'8 d'4 ees'4 ees'4 g'4 g'4 ees'4 f'4. f'8 f'4 ees'4 ees'4. ees'8 ees'4 bes'4 b4. b8 c'4 ees'4 ees'4 ees'4 ees'4 ees'4 d'4. d'8 ees'4\n}\ntenor = {\n  g4 bes4. bes8 bes4 bes4 bes4. bes8 bes4 c'4 bes4 bes4 bes4 ees'4 d'4. d'8 d'4 ees'4 c'4. c'8 bes4 ees4 g4. g8 g4 aes4 bes4 c'4 bes4 f4 f4. aes8 g4\n}\nbass = {\n  ees4 ees4 bes,4 ees4 e4 f4 bes,4 f4 fis4 g4 bes,4 ees4 g4 aes4. aes8 aes4 g4 aes4. aes8 ees4 ees4 d4. d8 c4 f,4 bes,4 aes,4 g,4 aes,4 bes,4. bes,8 ees4\n}\n"}, "harmonizations": [{"slug": "waltham-calkin-oh58", "tune": "waltham-calkin", "music_file": "waltham-calkin-oh58.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13, 21], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:58; all components published pre-1931 (latest year 1885).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:58", "encoding_license": "PD-dedication"}, "music_ly": "%% I Heard The Bells On Christmas Day\n%% Imported from Open Hymnal ABC X:58 via tools/abc_import.py\n%% Open Hymnal X:58; all components published pre-1931 (latest year 1885).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4. fis'8 g'4 g'4 aes'4. g'8 aes'4 a'4 bes'4 ees''4 d''4 c''4 c''4. bes'8 bes'4 bes'4 bes'4. aes'8 g'4 aes'4 g'4. f'8 ees'4 f'4 g'4 aes'4 bes'4 c''4 d'4. f'8 ees'4\n}\nalto = {\n  ees'4 ees'4. ees'8 ees'4 des'4 d'4. d'8 d'4 ees'4 ees'4 g'4 g'4 ees'4 f'4. f'8 f'4 ees'4 ees'4. ees'8 ees'4 bes'4 b4. b8 c'4 ees'4 ees'4 ees'4 ees'4 ees'4 d'4. d'8 ees'4\n}\ntenor = {\n  g4 bes4. bes8 bes4 bes4 bes4. bes8 bes4 c'4 bes4 bes4 bes4 ees'4 d'4. d'8 d'4 ees'4 c'4. c'8 bes4 ees4 g4. g8 g4 aes4 bes4 c'4 bes4 f4 f4. aes8 g4\n}\nbass = {\n  ees4 ees4 bes,4 ees4 e4 f4 bes,4 f4 fis4 g4 bes,4 ees4 g4 aes4. aes8 aes4 g4 aes4. aes8 ees4 ees4 d4. d8 c4 f,4 bes,4 aes,4 g,4 aes,4 bes,4. bes,8 ees4\n}\n", "preferred": true}]}, "warum-sollt-ich": {"slug": "warum-sollt-ich", "name": "WARUM SOLLT ICH", "alt_name": "WARUM SOLLT' ICH MICH DENN GRÄMEN", "meter_label": "8.3.3.6 D", "meter": {"pattern": [8, 3, 3, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-georg-ebeling", "composer_date": "1666", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "warum-sollt-ich-bwv422", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WARUM SOLLT ICH (8.3.3.6 D), Johann Georg Ebeling's 1666 melody (Zahn 6461) for Paul Gerhardt's \"Warum sollt' ich mich denn grämen\", from Pauli Gerhardi Geistliche Andachten (Berlin, 1666-67). Carried here in the melodic form J. S. Bach harmonized (chorale BWV 422, publ. Birnstiel/Breitkopf 1765-87; the same melody underlies BWV 248/33), which differs in detail from the smoothed 19th-century hymnal form of the tune (hymnary.org authority incipit 1-2-3-2-3-5-6..., also named EBELING or BONN; Bach's soprano opens 5-5-6-5 over the same phrase plan). Notated with an empty signature closing on G (modal chorale notation; canonical_key keeps the signature per house rule). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 corpus MusicXML (bach/bwv422), converted with tools/mxl2ly.py", "encoding_license": "music21 corpus (freely redistributed encoding of a public-domain work)", "hymnary_ids": {"tune_auth": "warum_sollt_ich_ebeling", "total_instances": 166}}, "harmonization": {"slug": "warum-sollt-ich-bwv422", "tune": "warum-sollt-ich", "music_file": "warum-sollt-ich-bwv422.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 25, 37], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WARUM SOLLT ICH, Johann Georg Ebeling, 1666; harmonization J. S. Bach (BWV 422). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part chorale BWV 422 by Johann Sebastian Bach (1685-1750), his setting of Johann Georg Ebeling's 1666 melody (Zahn 6461) for Paul Gerhardt's \"Warum sollt' ich mich denn grämen\" (1653). Bach's collected chorales were published by Birnstiel (1765-69) and Breitkopf (1784-87; this setting is Breitkopf no. 356, Riemenschneider no. 357) — all components pre-1931. Encoded from the music21 corpus MusicXML of BWV 422 via tools/mxl2ly.py; identity confirmed by the file's embedded German underlay, whose '_' melisma map (10 continuations over 50 soprano notes, 8.3.3.6 D = 40 syllables) and phrase fermatas (soprano ordinals 10, 13, 17, 25, 34, 37, 41, 50) reconcile exactly.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 corpus MusicXML (bach/bwv422), converted with tools/mxl2ly.py; melisma slurs added to the soprano from the embedded German underlay's '_' map", "encoding_license": "music21 corpus (freely redistributed encoding of a public-domain work)"}, "music_ly": "%% WARUM SOLLT ICH (8.3.3.6 D) — J. S. Bach's four-part chorale BWV 422 on\n%% Johann Georg Ebeling's 1666 melody (Zahn 6461) for Paul Gerhardt's \"Warum\n%% sollt' ich mich denn grämen\". Four SATB voice streams, canonical key C major\n%% (the chorale is notated with an empty signature and closes on G — the old\n%% modal notation; the written f-sharps/c-sharp are carried as accidentals).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from the music21 corpus MusicXML (bach/bwv422) with tools/mxl2ly.py.\n%% Identity confirmed by the file's embedded German underlay (\"Wa-rum sollt'\n%% ich mich denn grä-men ...\"). MELISMATIC: 50 soprano notes for 40 syllables\n%% (8.3.3.6 D) — the ten melisma continuations sit at soprano notes 6, 9, 15,\n%% 23, 24, 33, 39, 46, 48, 49 (read off the German '_' map; the slurs below\n%% mark the eight melisma groups). Source fermatas at soprano ordinals 10, 13,\n%% 17, 25, 34, 37, 41, 50 = the eight phrase ends (fermatas not rendered,\n%% corpus house style). Inner-voice ties are Bach's.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 a'4 g'4 |\n  a'8( b'8) c''4 c''4( b'4) |\n  c''2 d''4 e''4 |\n  c''2 b'8( c''8) d''4 |\n  a'2 |\n  d''4 d''4 |\n  c''4 b'4 a'4( a'8. g'16) |\n  g'2 c''4 c''4 |\n  b'4 c''4 a'4 d''4 |\n  d''4( cis''4) d''2 |\n  d''4 e''4 c''2 |\n  b'8( c''8) d''4 a'2 |\n  d''4 d''4 c''4 b'8( a'8) |\n  a'4( a'8. g'16) g'2\n}\n\nalto = {\n  e'8 f'8 g'8 e'8~ e'8 d'8~ d'8 g'8 |\n  f'4 g'4 g'2 |\n  g'2 g'8 f'8 e'4 |\n  e'2 e'4 d'4 |\n  d'2 |\n  d'4 e'4 |\n  e'8 d'4 g'8 g'4 fis'4 |\n  d'2 g'8 fis'8 g'8 a'8 |\n  g'4 g'2 f'4 |\n  e'2 fis'2 |\n  g'4 g'4 f'2 |\n  d'8 e'8 d'8 e'8 fis'2 |\n  fis'4 g'8 fis'8 e'8 fis'8 g'4 |\n  g'4 fis'4 d'2\n}\n\ntenor = {\n  c'4 c'4 c'4 b8 c'8 |\n  f'4 e'4 d'8 e'8 f'8 g'16 f'16 |\n  e'2 b4 b4 |\n  a2 g4 g4 |\n  fis2 |\n  fis4 g4~ |\n  g8 a8 b8 d'8 e'4 a16 b16 c'8 |\n  b2 g4 e'4 |\n  d'4 c'4 c'4 a4 |\n  bes4 a4 a2 |\n  b4 bes8 c'16 bes16 a2 |\n  g4 g4 d'2 |\n  d'8 c'8 b4 c'4 d'4 |\n  d'4 a16 b16 c'8 b2\n}\n\nbass = {\n  c8 d8 e8 c8 f4. e8 |\n  d4 e8 f8 g2 |\n  c2 g4 gis4 |\n  a2 e4 b,8 c8 |\n  d2 |\n  b,4 e4~ |\n  e8 fis8 g8 b,8 c8 a,8 d4 |\n  g,2 e8 d8 e8 fis8 |\n  g8 f8 e8 c8 f8 e8 f8 d8 |\n  g8 e8 a8 a,8 d2 |\n  g4 c4 f2 |\n  f8 e8 b,8 c8 d2 |\n  b,4 e4 a,4 b,8 c8 |\n  d2 g,2\n}\n"}, "harmonizations": [{"slug": "warum-sollt-ich-bwv422", "tune": "warum-sollt-ich", "music_file": "warum-sollt-ich-bwv422.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 25, 37], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WARUM SOLLT ICH, Johann Georg Ebeling, 1666; harmonization J. S. Bach (BWV 422). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part chorale BWV 422 by Johann Sebastian Bach (1685-1750), his setting of Johann Georg Ebeling's 1666 melody (Zahn 6461) for Paul Gerhardt's \"Warum sollt' ich mich denn grämen\" (1653). Bach's collected chorales were published by Birnstiel (1765-69) and Breitkopf (1784-87; this setting is Breitkopf no. 356, Riemenschneider no. 357) — all components pre-1931. Encoded from the music21 corpus MusicXML of BWV 422 via tools/mxl2ly.py; identity confirmed by the file's embedded German underlay, whose '_' melisma map (10 continuations over 50 soprano notes, 8.3.3.6 D = 40 syllables) and phrase fermatas (soprano ordinals 10, 13, 17, 25, 34, 37, 41, 50) reconcile exactly.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 corpus MusicXML (bach/bwv422), converted with tools/mxl2ly.py; melisma slurs added to the soprano from the embedded German underlay's '_' map", "encoding_license": "music21 corpus (freely redistributed encoding of a public-domain work)"}, "music_ly": "%% WARUM SOLLT ICH (8.3.3.6 D) — J. S. Bach's four-part chorale BWV 422 on\n%% Johann Georg Ebeling's 1666 melody (Zahn 6461) for Paul Gerhardt's \"Warum\n%% sollt' ich mich denn grämen\". Four SATB voice streams, canonical key C major\n%% (the chorale is notated with an empty signature and closes on G — the old\n%% modal notation; the written f-sharps/c-sharp are carried as accidentals).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from the music21 corpus MusicXML (bach/bwv422) with tools/mxl2ly.py.\n%% Identity confirmed by the file's embedded German underlay (\"Wa-rum sollt'\n%% ich mich denn grä-men ...\"). MELISMATIC: 50 soprano notes for 40 syllables\n%% (8.3.3.6 D) — the ten melisma continuations sit at soprano notes 6, 9, 15,\n%% 23, 24, 33, 39, 46, 48, 49 (read off the German '_' map; the slurs below\n%% mark the eight melisma groups). Source fermatas at soprano ordinals 10, 13,\n%% 17, 25, 34, 37, 41, 50 = the eight phrase ends (fermatas not rendered,\n%% corpus house style). Inner-voice ties are Bach's.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 a'4 g'4 |\n  a'8( b'8) c''4 c''4( b'4) |\n  c''2 d''4 e''4 |\n  c''2 b'8( c''8) d''4 |\n  a'2 |\n  d''4 d''4 |\n  c''4 b'4 a'4( a'8. g'16) |\n  g'2 c''4 c''4 |\n  b'4 c''4 a'4 d''4 |\n  d''4( cis''4) d''2 |\n  d''4 e''4 c''2 |\n  b'8( c''8) d''4 a'2 |\n  d''4 d''4 c''4 b'8( a'8) |\n  a'4( a'8. g'16) g'2\n}\n\nalto = {\n  e'8 f'8 g'8 e'8~ e'8 d'8~ d'8 g'8 |\n  f'4 g'4 g'2 |\n  g'2 g'8 f'8 e'4 |\n  e'2 e'4 d'4 |\n  d'2 |\n  d'4 e'4 |\n  e'8 d'4 g'8 g'4 fis'4 |\n  d'2 g'8 fis'8 g'8 a'8 |\n  g'4 g'2 f'4 |\n  e'2 fis'2 |\n  g'4 g'4 f'2 |\n  d'8 e'8 d'8 e'8 fis'2 |\n  fis'4 g'8 fis'8 e'8 fis'8 g'4 |\n  g'4 fis'4 d'2\n}\n\ntenor = {\n  c'4 c'4 c'4 b8 c'8 |\n  f'4 e'4 d'8 e'8 f'8 g'16 f'16 |\n  e'2 b4 b4 |\n  a2 g4 g4 |\n  fis2 |\n  fis4 g4~ |\n  g8 a8 b8 d'8 e'4 a16 b16 c'8 |\n  b2 g4 e'4 |\n  d'4 c'4 c'4 a4 |\n  bes4 a4 a2 |\n  b4 bes8 c'16 bes16 a2 |\n  g4 g4 d'2 |\n  d'8 c'8 b4 c'4 d'4 |\n  d'4 a16 b16 c'8 b2\n}\n\nbass = {\n  c8 d8 e8 c8 f4. e8 |\n  d4 e8 f8 g2 |\n  c2 g4 gis4 |\n  a2 e4 b,8 c8 |\n  d2 |\n  b,4 e4~ |\n  e8 fis8 g8 b,8 c8 a,8 d4 |\n  g,2 e8 d8 e8 fis8 |\n  g8 f8 e8 c8 f8 e8 f8 d8 |\n  g8 e8 a8 a,8 d2 |\n  g4 c4 f2 |\n  f8 e8 b,8 c8 d2 |\n  b,4 e4 a,4 b,8 c8 |\n  d2 g,2\n}\n", "preferred": true}]}, "was-gott-tut": {"slug": "was-gott-tut", "name": "WAS GOTT TUT", "alt_name": "WAS GOTT TUT, DAS IST WOHLGETAN", "meter_label": "8.7.8.7.4.4.8.8", "meter": {"pattern": [8, 7, 8, 7, 4, 4, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "severus-gastorius", "composer_date": "1681", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "was-gott-tut-bwv144", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WAS GOTT TUT (8.7.8.7.4.4.8.8), the proper tune for Samuel Rodigast's \"Was Gott tut, das ist wohlgetan\"; melody by Severus Gastorius (1646–1682), cantor at Jena, published in the Ausserlesenes Weimarisches Gesangbuch (1681). Carried here in J. S. Bach's four-part chorales BWV 144/3 (= Riemenschneider No. 65, whose embedded German underlay confirms the identity) and BWV 99/6 (the closing chorale of Bach's cantata of the same name), both printed in the public-domain Bach editions (Breitkopf Choralgesänge collection, 1784–87; Bach-Gesellschaft complete works, 1851–99). Encoded from the music21-corpus MusicXML (MuseData-derived) via tools/mxl2ly.py. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 Bach-chorale corpus MusicXML (MuseData-derived Breitkopf encodings), bwv144.3 + bwv99.6, converted with tools/mxl2ly.py", "hymnary_ids": {"tune_auth": "was_gott_tut_gastorius", "total_instances": 170}}, "harmonization": {"slug": "was-gott-tut-bwv144", "tune": "was-gott-tut", "music_file": "was-gott-tut-bwv144.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 24, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WAS GOTT TUT, Severus Gastorius, 1681; harmonization J. S. Bach (BWV 144/3). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WAS GOTT TUT (Severus Gastorius, 1681); four-part harmonization by J. S. Bach (d. 1750) — the chorale BWV 144/3 from the cantata \"Nimm, was dein ist, und gehe hin\" (1724), = Riemenschneider No. 65 of the Breitkopf Choralgesänge collection (1784–87), also in the Bach-Gesellschaft complete edition (1851–99); both editions public domain. Identity confirmed by the encoding's embedded German lyric (\"Was Gott thut, das ist wohlgethan...\"). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 Bach-chorale corpus MusicXML bwv144.3 (MuseData-derived Breitkopf encoding), converted with tools/mxl2ly.py; Stollen repeat written out", "encoding_license": "PD (MuseData/music21 open encoding of public-domain editions)"}, "music_ly": "%% WAS GOTT TUT (8.7.8.7.4.4.8.8) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Melody by Severus Gastorius (1681) for Rodigast's \"Was Gott tut, das ist\n%% wohlgetan\"; this four-part setting is J. S. Bach's chorale BWV 144/3\n%% (= Riemenschneider No. 65, \"Nimm, was dein ist, und gehe hin\", 1724).\n%% Converted from the music21-corpus MusicXML (MuseData-derived Breitkopf-371\n%% encoding) with tools/mxl2ly.py; the source's Stollen repeat is written out.\n%% 4/4 with a quarter-note pickup (\\partial 4); 56 soprano notes; fermatas\n%% (phrase ends) at soprano ordinals 8, 16, 24, 32, 36, 40, 48, 56.\n%% MELISMATIC: the source's embedded German underlay puts the Stollen melisma\n%% on the c''8-d''8 eighth pair (soprano notes 13-14 and 29-30, \"sein _ Wil-le\");\n%% the English 8.7.8.7.4.4.8.8 text (54 syllables on 56 notes) holds exactly\n%% those two spots with '_' every stanza (verse_variable_melisma). The German\n%% 7.7 close (melismas at 46, 54) is NOT slurred: the English lines 7-8 are\n%% 8-syllable and syllabic.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 a'4 b'4 e''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'4 c''8( d''8) |\n  a'2 g'4 d'4 |\n  g'4 a'4 b'4 e''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'4 c''8( d''8) |\n  a'2 g'4 d''4 |\n  e''4 e''4 a'4 a'4 |\n  d''4 d''4 g'4 b'4 |\n  a'4 g'4 fis'4 g'8 fis'8 |\n  e'2 d'4 d''4 |\n  c''4 b'4 a'4 b'8 c''8 |\n  a'2 g'4\n}\n\nalto = {\n  b8 c'8 |\n  d'4 d'4 d'4 e'8 fis'8 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 g'8 a'8 b'8 a'8 g'4 |\n  g'4 fis'4 d'4 b8 c'8 |\n  d'4 d'4 d'4 e'8 fis'8 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 g'8 a'8 b'8 a'8 g'4 |\n  g'4 fis'4 d'4 g'4 |\n  g'4 g'4 fis'4 fis'8 g'8 |\n  a'8 g'8 fis'4 e'4 e'4 |\n  e'4 d'8 cis'8 d'4 d'4 |\n  d'4 cis'4 d'4 g'8 fis'8 |\n  e'4 d'8 e'8 fis'4 g'4 |\n  g'4 fis'4 d'4\n}\n\ntenor = {\n  g8 a8 |\n  b4 a4 g4 g8 a8 |\n  b4 a8 d'8 d'4 c'8 b8 |\n  a4 e'4 d'4 e'4 |\n  e'4 d'8 c'8 b4 g8 a8 |\n  b4 a4 g4 g8 a8 |\n  b4 a8 d'8 d'4 c'8 b8 |\n  a4 e'4 d'4 e'4 |\n  e'4 d'8 c'8 b4 b4 |\n  c'8 b8 a4 d'4 d'4 |\n  a4 b4 b4 g4 |\n  a4 a4 a4 g8 a8 |\n  b4 a8 g8 fis4 g4 |\n  g8 a8 b8 c'8 d'4 d'4 |\n  d'8 c'16 b16 c'8 a8 b4\n}\n\nbass = {\n  g,4 |\n  g4 fis4 g4 c4 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g8 fis8 e8 d8 |\n  c4 d4 g,4 g,4 |\n  g4 fis4 g4 c4 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g8 fis8 e8 d8 |\n  c4 d4 g,4 g4 |\n  c4 cis4 d4 d8 e8 |\n  fis4 b,4 e4 e8 d8 |\n  cis8 b,8 a,4 d8 cis8 b,8 a,8 |\n  g,4 a,4 d4 b,4 |\n  e8 fis8 g4 d8 c8 b,8 g,8 |\n  d2 g,4\n}\n"}, "harmonizations": [{"slug": "was-gott-tut-bwv144", "tune": "was-gott-tut", "music_file": "was-gott-tut-bwv144.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 24, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WAS GOTT TUT, Severus Gastorius, 1681; harmonization J. S. Bach (BWV 144/3). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WAS GOTT TUT (Severus Gastorius, 1681); four-part harmonization by J. S. Bach (d. 1750) — the chorale BWV 144/3 from the cantata \"Nimm, was dein ist, und gehe hin\" (1724), = Riemenschneider No. 65 of the Breitkopf Choralgesänge collection (1784–87), also in the Bach-Gesellschaft complete edition (1851–99); both editions public domain. Identity confirmed by the encoding's embedded German lyric (\"Was Gott thut, das ist wohlgethan...\"). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 Bach-chorale corpus MusicXML bwv144.3 (MuseData-derived Breitkopf encoding), converted with tools/mxl2ly.py; Stollen repeat written out", "encoding_license": "PD (MuseData/music21 open encoding of public-domain editions)"}, "music_ly": "%% WAS GOTT TUT (8.7.8.7.4.4.8.8) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Melody by Severus Gastorius (1681) for Rodigast's \"Was Gott tut, das ist\n%% wohlgetan\"; this four-part setting is J. S. Bach's chorale BWV 144/3\n%% (= Riemenschneider No. 65, \"Nimm, was dein ist, und gehe hin\", 1724).\n%% Converted from the music21-corpus MusicXML (MuseData-derived Breitkopf-371\n%% encoding) with tools/mxl2ly.py; the source's Stollen repeat is written out.\n%% 4/4 with a quarter-note pickup (\\partial 4); 56 soprano notes; fermatas\n%% (phrase ends) at soprano ordinals 8, 16, 24, 32, 36, 40, 48, 56.\n%% MELISMATIC: the source's embedded German underlay puts the Stollen melisma\n%% on the c''8-d''8 eighth pair (soprano notes 13-14 and 29-30, \"sein _ Wil-le\");\n%% the English 8.7.8.7.4.4.8.8 text (54 syllables on 56 notes) holds exactly\n%% those two spots with '_' every stanza (verse_variable_melisma). The German\n%% 7.7 close (melismas at 46, 54) is NOT slurred: the English lines 7-8 are\n%% 8-syllable and syllabic.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 a'4 b'4 e''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'4 c''8( d''8) |\n  a'2 g'4 d'4 |\n  g'4 a'4 b'4 e''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'4 c''8( d''8) |\n  a'2 g'4 d''4 |\n  e''4 e''4 a'4 a'4 |\n  d''4 d''4 g'4 b'4 |\n  a'4 g'4 fis'4 g'8 fis'8 |\n  e'2 d'4 d''4 |\n  c''4 b'4 a'4 b'8 c''8 |\n  a'2 g'4\n}\n\nalto = {\n  b8 c'8 |\n  d'4 d'4 d'4 e'8 fis'8 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 g'8 a'8 b'8 a'8 g'4 |\n  g'4 fis'4 d'4 b8 c'8 |\n  d'4 d'4 d'4 e'8 fis'8 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 g'8 a'8 b'8 a'8 g'4 |\n  g'4 fis'4 d'4 g'4 |\n  g'4 g'4 fis'4 fis'8 g'8 |\n  a'8 g'8 fis'4 e'4 e'4 |\n  e'4 d'8 cis'8 d'4 d'4 |\n  d'4 cis'4 d'4 g'8 fis'8 |\n  e'4 d'8 e'8 fis'4 g'4 |\n  g'4 fis'4 d'4\n}\n\ntenor = {\n  g8 a8 |\n  b4 a4 g4 g8 a8 |\n  b4 a8 d'8 d'4 c'8 b8 |\n  a4 e'4 d'4 e'4 |\n  e'4 d'8 c'8 b4 g8 a8 |\n  b4 a4 g4 g8 a8 |\n  b4 a8 d'8 d'4 c'8 b8 |\n  a4 e'4 d'4 e'4 |\n  e'4 d'8 c'8 b4 b4 |\n  c'8 b8 a4 d'4 d'4 |\n  a4 b4 b4 g4 |\n  a4 a4 a4 g8 a8 |\n  b4 a8 g8 fis4 g4 |\n  g8 a8 b8 c'8 d'4 d'4 |\n  d'8 c'16 b16 c'8 a8 b4\n}\n\nbass = {\n  g,4 |\n  g4 fis4 g4 c4 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g8 fis8 e8 d8 |\n  c4 d4 g,4 g,4 |\n  g4 fis4 g4 c4 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g8 fis8 e8 d8 |\n  c4 d4 g,4 g4 |\n  c4 cis4 d4 d8 e8 |\n  fis4 b,4 e4 e8 d8 |\n  cis8 b,8 a,4 d8 cis8 b,8 a,8 |\n  g,4 a,4 d4 b,4 |\n  e8 fis8 g4 d8 c8 b,8 g,8 |\n  d2 g,4\n}\n", "preferred": true}, {"slug": "was-gott-tut-bwv99", "tune": "was-gott-tut", "music_file": "was-gott-tut-bwv99.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [8, 24, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WAS GOTT TUT, Severus Gastorius, 1681; harmonization J. S. Bach (BWV 99/6). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WAS GOTT TUT (Severus Gastorius, 1681); four-part harmonization by J. S. Bach (d. 1750) — the closing chorale BWV 99/6 of the cantata \"Was Gott tut, das ist wohlgetan\" (1724), printed in the public-domain Bach editions (Breitkopf Choralgesänge collection, 1784–87; Bach-Gesellschaft complete works, 1851–99). An INDEPENDENT Bach harmonization of the same chorale as was-gott-tut-bwv144, imported for harmonization-selection variety; tune identity verified note-for-note against bwv144.3's soprano (45/56 ordinals identical; the rest are Bach's cadential-ornament placement — see the batch NOTES.txt). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "music21 Bach-chorale corpus MusicXML bwv99.6 (MuseData-derived Breitkopf encoding, no embedded lyric — identity verified by soprano comparison), converted with tools/mxl2ly.py", "encoding_license": "PD (MuseData/music21 open encoding of public-domain editions)"}, "music_ly": "%% WAS GOTT TUT (8.7.8.7.4.4.8.8) — four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Melody by Severus Gastorius (1681) for Rodigast's \"Was Gott tut, das ist\n%% wohlgetan\"; this four-part setting is J. S. Bach's chorale BWV 99/6 (closing\n%% chorale of the cantata \"Was Gott tut, das ist wohlgetan\", 1724) — an\n%% INDEPENDENT Bach harmonization of the same tune as was-gott-tut-bwv144,\n%% imported for harmonization-selection variety. Converted from the\n%% music21-corpus MusicXML (MuseData-derived Breitkopf encoding) with\n%% tools/mxl2ly.py; the source writes the Stollen repeat out in full.\n%% 4/4 with a quarter-note pickup (\\partial 4); 56 soprano notes; fermatas\n%% (phrase ends) at soprano ordinals 8, 16, 24, 32, 36, 40, 48, 56 — the same\n%% phrase shape as bwv144. Soprano identical to bwv144 at 45/56 ordinals; the\n%% diffs are Bach's ornament placement (see NOTES.txt): here the Stollen\n%% pre-cadence eighth pair falls at notes 12-13/28-29 (b'8-a'8), so the\n%% English melisma is slurred THERE, one note earlier than in bwv144.\n%% MELISMATIC: 54 English syllables on 56 notes; '_' at soprano notes 13 and\n%% 29 every stanza (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  d'4 |\n  g'4 a'4 b'4 c''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'8( a'8) b'4 |\n  a'2 g'4 d'4 |\n  g'4 a'4 b'4 c''4 |\n  d''4. c''8 b'4 e''4 |\n  d''4 c''4 b'8( a'8) b'4 |\n  a'2 g'4 d''4 |\n  e''4 e''4 a'4 a'4 |\n  d''4 d''4 g'4 b'4 |\n  a'4 g'4 fis'8 e'8 fis'4 |\n  e'2 d'4 d''4 |\n  c''4 b'4 a'4 b'8 c''8 |\n  a'2 g'4\n}\n\nalto = {\n  b8 c'8 |\n  d'4 d'4 g'4 g'4 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 e'4 d'4 g'4 |\n  g'4 fis'4 d'4 b8 c'8 |\n  d'4 d'4 g'4 g'4 |\n  g'4 fis'4 g'4 g'4 |\n  fis'4 e'4 d'4 g'4 |\n  g'4 fis'4 d'4 g'4 |\n  g'4 a'8 g'8 fis'4 fis'4 |\n  fis'4 fis'4 e'4 e'4 |\n  e'4 e'4 e'4 d'4 |\n  d'4 cis'4 a4 fis'4 |\n  g'8 a'8 d'8 e'8 fis'4 g'4 |\n  g'8 fis'16 e'16 fis'4 d'4\n}\n\ntenor = {\n  g8 a8 |\n  b4 a4 e'4 e'4 |\n  d'8 c'16 b16 a8 d'8 d'4 c'8 b8 |\n  a4 g8 a8 b8 c'8 d'4 |\n  d'8 c'16 b16 c'8 a8 b4 g8 a8 |\n  b4 a4 e'4 e'4 |\n  d'8 c'16 b16 a8 d'8 d'4 c'8 b8 |\n  a4 g8 a8 b8 c'8 d'4 |\n  d'8 c'16 b16 c'8 a8 b4 b4 |\n  c'8 d'8 e'4 d'4 cis'4 |\n  cis'8 ais8 b4 b4 g4 |\n  a8 b8 cis'4 a4 b4 |\n  b4 a8 g8 fis4 b4 |\n  b8 a8 b8 c'8 d'4 d'4 |\n  d'8 a16 b16 c'4 b4\n}\n\nbass = {\n  g,4 |\n  g4 fis4 e4 d8 c8 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g4 b,8 c8 |\n  d2 g,4 g,4 |\n  g4 fis4 e4 d8 c8 |\n  b,8 c8 d4 g,4 c4 |\n  d4 e8 fis8 g4 b,8 c8 |\n  d2 g,4 g4 |\n  c4 cis4 d4 fis4 |\n  b,8 cis8 d8 b,8 e4 e8 d8 |\n  cis4 b,8 a,8 d8 cis8 b,8 a,8 |\n  g,4 a,4 d4 b,4 |\n  e8 fis8 g4 d8 c8 b,8 g,8 |\n  d2 g,4\n}\n", "preferred": false}]}, "washed-in-the-blood": {"slug": "washed-in-the-blood", "name": "WASHED IN THE BLOOD", "meter_label": "11.9.11.9 with Refrain", "meter": {"pattern": [11, 9, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "elisha-a-hoffman", "composer_date": "1878", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "washed-in-the-blood-spiritual-songs-1878", "provenance": {"layer": "tune", "source": "spiritual-songs-1878", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Elisha A. Hoffman (1839-1929) to his own words, read from the FIRST PRINTING: Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A. Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15 — archive.org spifo00hoff leaf 0019, collated column by column against a second scan of the same plate, spiritualsongsfo00hoff_0 leaf 0019 — headed \"Are You Washed In The Blood?\" with \"E. A. H.\" at both left and right (words and music) and no separate copyright line on the leaf. US public domain by publication in 1878; Hoffman died 1929, so PD in life+70 jurisdictions too. tools/tune_fingerprint.py finds NO corpus melody closer than 0.59 (WIE LIEBLICH IST DER MAIEN), far below the 0.80 duplicate threshold. Hymnary's tune authority (tune/washed_in_the_blood_hoffman) gives incipit 35111 53511 11233, key A-flat, 11.9.11.9 with refrain, Hoffman 1878 — this plate's soprano matches the incipit digit for digit. 75 soprano noteheads equal the syllable count exactly (verse 40 + chorus 35): strictly syllabic, no tie or slur anywhere. THE SOPRANO IS NOT THE MODERN ONE: the pickup is c'-e-flat' (an ascending A-flat arpeggio into \"been\"), not the repeated e-flat' later hymnals print, and chorus line 4 (\"Are you washed in the blood of the Lamb?\") sits a fourth lower than line 2's c''-c''-c''... — verified on both scans. Neither scan names the tune on the staff; WASHED IN THE BLOOD is the name Hymnary and later hymnals use, and no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "washed-in-the-blood-spiritual-songs-1878", "tune": "washed-in-the-blood", "music_file": "washed-in-the-blood-spiritual-songs-1878.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [11, 20, 31, 40, 55, 66], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Are you washed", "durations": ["8", "8", "4"], "onset": 34}, {"text": "in the blood", "durations": ["8", "8", "4"], "onset": 38}, {"text": "of the Lamb?", "durations": ["8", "8", "4"], "onset": 46}]}, "provenance": {"layer": "harmonization", "source": "spiritual-songs-1878", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elisha A. Hoffman's own four-part setting of his own words and tune, read from the 1878 FIRST PRINTING: Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A. Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15, headed \"Are You Washed In The Blood?\" with \"E. A. H.\" engraved at BOTH the left (words) and the right (music), no separate copyright line on the leaf, A-flat major (four flats), 4/4, two-eighth pickup, five systems. US public domain by publication in 1878; Hoffman died in 1929, so it is PD in life+70 jurisdictions as well. TWO WITNESSES, both scans of that same plate: archive.org spifo00hoff leaf 0019 (2691x4149 px, staff space 29.2-29.7 px) and spiritualsongsfo00hoff_0 leaf 0019 (2493x3635 px, 28.4-29.0 px); both items' metadata date is 1878. (A third scan, spiritualsongsfo00hoff, is the same plate below the ~12 px/step resolution floor and was not used; spiritualsongsfo00hoff_3 is a DIFFERENT 1883 Hoffman collection.) HOW IT WAS READ. Three independent reads at every one of the 75 note columns x 4 voices: (1) the wave-5 eye reading of the verse (systems 1-3, all four voices, recorded with plate x-coordinates in the register's history at commit 40c9ceb) — re-verified here; (2) tools/noteread.py machine column tables on BOTH scans, per staff, stems up (treble) and down (bass), with local five-line refits (grid residual 0.28-0.90 px mean); (3) a fresh eye reading off grid-overlay crops at 5-12x: the chorus (systems 4-5, both staves) complete on scan 1 plus every machine-flagged verse column, and the whole hymn END TO END on scan 2. The two scans' machine tables agree at every resolved position; every disagreement between machine and eye was re-read at 10-12x and every one was a machine artifact (flag-wedge false positives at the two-stem unisons; hollow heads part-missed; the quarter-rest glyph read as a head), never a plate variance. Every bar closes at four beats in all four voices. Deciding crops and the per-system log: review/are-you-washed/READING.md. THE ACCIDENTAL SWEEP found exactly ONE printed accidental on the whole plate, on both scans: the NATURAL before the alto d' of bar 3 (glyph box x 1029-1053 on spifo00hoff; x~1099 on the _0 scan), giving f/bes/d'-natural/aes' = B-flat 7, V7/V, resolving to the E-flat chord on \"Lamb?\". Systems 1, 2, 3 were swept by the wave-5 eye pass on scan 1 and by this import's eye pass on scan 2; systems 4 and 5 were swept on both scans by this import. No other accidental exists in the hymn. WHAT DEFEATED THE EARLIER ATTEMPTS, RESOLVED. (a) The wave-5 refusal said the chorus eighths are BEAMED and fuse into one component: FALSE — the plate flags every eighth individually (verse and chorus alike, both scans); the 179x142 px \"fused beam\" component was stems + flags + the serif-capped barline + dashed staff lines merging in that agent's binarization. (b) The eight under-resolved HOLLOW chords: all resolved at 10-12x with augmentation dots — verse \"Lamb?\" bars 4 and 8 (the bass of bar 8's, unresolved by wave 5, is A-flat3/A-flat2 on both scans' machines and by eye on scan 2); chorus \"washed\"/\"blood,\"/\"Lamb?\" bars 9, 10, 12 and the final bar-16 tonic. (c) TENOR=BASS UNISONS printed as one head with two stems (bar 3 x4, bar 11 x2, and the both-stems-flagged eighths at bar 4 \"you\" and bar 12 \"your\") — encoded as the same pitch in both voices. THE CHORUS HARMONY reads: bar 9 I, bar 10 IV with a double upper-neighbour turn (women G4/E-flat4 over the men's held A-flat3/D-flat3 at \"In the\"), bar 11 I - I6 - V - I with a COMPLETE E-flat 7 in first inversion on \"of\" (G3/B-flat3/E-flat4/D-flat5 — the soprano's step +6 is the D LINE, which the signature flats; no accidental is printed in that column on either scan, so it is D-flat5 under the diatonic upper neighbour C5-D-flat5-C5; an early draft spelled it D-natural and the proof-render printed a natural the plate does not have — caught by reading the rendered page against the plate), bar 12 V then a cadential I6/4 on \"Are\" into the E-flat7 unison \"your\", bars 13-16 = verse bars 5-8's music with the walking bass A-flat2-B-flat2-C3 and the complete E-flat7 at \"of the\". No modern edition, MIDI or Cyber Hymnal asset was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1878 first-printing plate (archive.org spifo00hoff leaf 0019), read three ways and collated column by column against the second scan of the same plate (spiritualsongsfo00hoff_0 leaf 0019); no MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WASHED IN THE BLOOD (11.9.11.9 with Refrain) — \"Are You Washed in the Blood?\"\n%% Elisha A. Hoffman's own words-and-music setting, from the 1878 FIRST PRINTING:\n%% Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A.\n%% Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15,\n%% headed \"Are You Washed In The Blood?\" with \"E. A. H.\" engraved at BOTH left\n%% (words) and right (music). Four SATB voice streams, A-flat major (four flats,\n%% counted glyph by glyph on both scans), 4/4 (a 4 over a 4, not 6/8), one-beat\n%% anacrusis (\\partial 4), sixteen bars, the last a three-beat dotted-half bar\n%% (pickup + final = one bar, as printed).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read from TWO archive.org scans of the same 1878 plate:\n%% spifo00hoff leaf 0019 (2691x4149 px, staff space 29.2-29.7 px) and\n%% spiritualsongsfo00hoff_0 leaf 0019 (2493x3635 px, staff space 28.4-29.0 px).\n%% Three independent reads at every one of the 75 note columns x 4 voices:\n%% (1) the wave-5 eye reading of the verse (systems 1-3), recorded in\n%% docs/blocked-hymns.md history and re-verified here; (2) tools/noteread.py\n%% machine columns on BOTH scans, per staff, with per-staff stem direction and\n%% local line refits; (3) a fresh eye reading off grid-overlay crops at 5-12x —\n%% the chorus (systems 4-5) complete on scan 1, the whole hymn end to end on\n%% scan 2. Every hollow head, every unison, every rest and every dot was\n%% resolved at 10-12x; the machine tables of the two scans agree at every\n%% surviving position, and every bar closes at four beats in all four voices.\n%% Per-system logs and the deciding crops: review/are-you-washed/READING.md.\n%%\n%% THE ONE ACCIDENTAL. The full-column sweep of BOTH scans (every column, both\n%% staves, by eye at 5-12x) finds exactly ONE printed accidental in the hymn: a\n%% NATURAL before the alto's d' in bar 3 (\"...blood of THE Lamb?\"), glyph box\n%% x 1029-1053 on spifo00hoff, x~1099 on the _0 scan, confirmed on both. It\n%% makes the chord f/bes/d'(nat)/aes' = B-flat 7 in second inversion, V7/V,\n%% resolving to the E-flat chord on \"Lamb?\" — demanded by the harmony. LilyPond\n%% prints the natural from the d' spelling under the four-flat signature.\n%%\n%% THE ANTIPHONAL CHORUS. The chorus is a plain bass_echo (the alto never\n%% leaves the soprano). In bars 9, 10 and 12 the lower staff rests while the\n%% women sing, then answers with its own printed lyric row BELOW the bass\n%% staff — \"Are you washed\" / \"in the blood\" / \"of the Lamb?\" — the men's\n%% quarter rests are printed on the plate exactly where they stand here. The\n%% men rejoin the women at \"In the\" (bar 10 beat 4), \"Lamb? ... Are your\"\n%% (bar 12), and sing all of bars 11 and 13-16 with them. The answer's words\n%% live in the sidecar's bass_echo, not in a fifth voice. The plate prints the\n%% echo row BELOW the lower staff; the house renderer prints it between the\n%% refrain line and the bass staff — a stated departure.\n%%\n%% UNISONS, printed as ONE head with TWO stems (up + down) on the plate:\n%% tenor=bass aes at \"washed in the blood\" (bar 3, four heads) and at bar 11's\n%% \"blood\" and \"the\"; tenor=bass ees at \"you\" (bar 4) and \"your\" (bar 12, both\n%% stems flagged). Encoded as the same pitch in both voices.\n%%\n%% BAR 11's \"of\" — the chorus's one non-obvious chord — is des''/ees'/bes/g:\n%% soprano step +6 is the D LINE, which the four-flat signature makes D-FLAT\n%% (no accidental is printed in that column on either scan), so the chord is a\n%% COMPLETE E-flat 7 in first inversion, V6/5 resolving to I on \"the\", under\n%% the soprano's diatonic upper neighbour c''-des''-c''. (An early draft\n%% spelled it d'' and the proof-render printed a natural the plate does not\n%% have — caught by reading the rendered page against the plate.)\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly. (1) The heavy SECTION DOUBLE BAR\n%% with \"Chorus.\" falls MID-BAR (bar 8, between the verse's dotted half and\n%% the chorus pickup \"Are you\"); the engine draws its own refrain structure\n%% and no mid-bar divider. (2) The echo lyric row is printed below the bass\n%% staff, rendered here above it (house bass_echo row). (3) The plate's\n%% dashed letterpress staff lines restart with visible seams at column\n%% boundaries; two short misregistered line segments (treble bar 11 at step 6\n%% left of \"soul\"'s stem; bass staff above bar 11's \"blood\") are plate\n%% furniture, not noteheads — both scans print them identically. (4) The final\n%% bar is THREE beats, as printed — dotted-half tonic then the closing double\n%% bar; reproduced, not padded. No fermata, no dynamic, no Amen is printed\n%% anywhere on the page; nothing is dropped.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'8 ees'8 |\n  aes'4 aes'4 aes'8 ees'8 c'8 ees'8 |\n  aes'4 aes'4 aes'4 aes'8 bes'8 |\n  c''4 c''8 c''8 c''4 bes'8 aes'8 |\n  bes'2. c''8 bes'8 |\n  aes'4 aes'4 aes'8 c''8 bes'8 aes'8 |\n  f'4 f'4 f'4 f'8 f'8 |\n  ees'4 ees'8 ees'8 aes'4 g'8 g'8 |\n  aes'2. c''8 bes'8 |\n  aes'2. aes'8 g'8 |\n  f'2. g'8 f'8 |\n  ees'4 aes'8 bes'8 c''4 des''8 c''8 |\n  bes'2. c''8 bes'8 |\n  aes'4 aes'4 aes'8 c''8 bes'8 aes'8 |\n  f'4 f'4 f'4 f'8 f'8 |\n  ees'4 ees'8 ees'8 aes'4 g'8 g'8 |\n  aes'2.\n}\n\nalto = {\n  aes8 c'8 |\n  c'4 c'4 c'8 c'8 aes8 c'8 |\n  c'4 des'4 c'4 ees'8 ees'8 |\n  ees'4 ees'8 ees'8 ees'4 ees'8 d'8 |\n  ees'2. ees'8 des'8 |\n  c'4 c'4 c'8 ees'8 ees'8 ees'8 |\n  des'4 des'4 des'4 des'8 des'8 |\n  c'4 c'8 c'8 ees'4 des'8 des'8 |\n  c'2. ees'8 des'8 |\n  c'2. c'8 ees'8 |\n  des'2. ees'8 des'8 |\n  c'4 ees'8 ees'8 ees'4 ees'8 ees'8 |\n  ees'2. ees'8 des'8 |\n  c'4 c'4 c'8 ees'8 ees'8 ees'8 |\n  des'4 des'4 des'4 des'8 des'8 |\n  c'4 c'8 c'8 ees'4 des'8 des'8 |\n  c'2.\n}\n\ntenor = {\n  ees8 ees8 |\n  ees4 ees4 ees8 aes8 aes8 aes8 |\n  aes4 f4 ees4 aes8 g8 |\n  aes4 aes8 aes8 aes4 bes8 bes8 |\n  g2. aes8 ees8 |\n  ees4 ees4 ees8 aes8 g8 aes8 |\n  aes4 aes4 aes4 aes8 aes8 |\n  aes4 aes8 aes8 c'4 bes8 bes8 |\n  aes2. r4 |\n  r4 aes8 aes8 aes4 r4 |\n  r4 aes8 aes8 aes4 aes8 aes8 |\n  aes4 aes8 g8 aes4 bes8 aes8 |\n  g4 g8 g8 g4 aes8 ees8 |\n  ees4 ees4 ees8 aes8 g8 aes8 |\n  aes4 aes4 aes4 aes8 aes8 |\n  aes4 aes8 aes8 c'4 bes8 bes8 |\n  aes2.\n}\n\nbass = {\n  aes,8 aes,8 |\n  aes,4 aes,4 aes,8 aes,8 aes,8 aes,8 |\n  aes,4 des4 aes,4 c8 ees8 |\n  aes4 aes8 aes8 aes4 g8 f8 |\n  ees2. ees8 ees8 |\n  aes,4 aes,4 aes,8 aes,8 bes,8 c8 |\n  des4 des4 des4 des8 des8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,2. r4 |\n  r4 aes,8 aes,8 aes,4 r4 |\n  r4 des8 des8 des4 des8 des8 |\n  aes,4 c8 ees8 aes4 g8 aes8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,4 aes,4 aes,8 aes,8 bes,8 c8 |\n  des4 des4 des4 des8 des8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,2.\n}\n"}, "harmonizations": [{"slug": "washed-in-the-blood-spiritual-songs-1878", "tune": "washed-in-the-blood", "music_file": "washed-in-the-blood-spiritual-songs-1878.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [11, 20, 31, 40, 55, 66], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Are you washed", "durations": ["8", "8", "4"], "onset": 34}, {"text": "in the blood", "durations": ["8", "8", "4"], "onset": 38}, {"text": "of the Lamb?", "durations": ["8", "8", "4"], "onset": 46}]}, "provenance": {"layer": "harmonization", "source": "spiritual-songs-1878", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Elisha A. Hoffman's own four-part setting of his own words and tune, read from the 1878 FIRST PRINTING: Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A. Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15, headed \"Are You Washed In The Blood?\" with \"E. A. H.\" engraved at BOTH the left (words) and the right (music), no separate copyright line on the leaf, A-flat major (four flats), 4/4, two-eighth pickup, five systems. US public domain by publication in 1878; Hoffman died in 1929, so it is PD in life+70 jurisdictions as well. TWO WITNESSES, both scans of that same plate: archive.org spifo00hoff leaf 0019 (2691x4149 px, staff space 29.2-29.7 px) and spiritualsongsfo00hoff_0 leaf 0019 (2493x3635 px, 28.4-29.0 px); both items' metadata date is 1878. (A third scan, spiritualsongsfo00hoff, is the same plate below the ~12 px/step resolution floor and was not used; spiritualsongsfo00hoff_3 is a DIFFERENT 1883 Hoffman collection.) HOW IT WAS READ. Three independent reads at every one of the 75 note columns x 4 voices: (1) the wave-5 eye reading of the verse (systems 1-3, all four voices, recorded with plate x-coordinates in the register's history at commit 40c9ceb) — re-verified here; (2) tools/noteread.py machine column tables on BOTH scans, per staff, stems up (treble) and down (bass), with local five-line refits (grid residual 0.28-0.90 px mean); (3) a fresh eye reading off grid-overlay crops at 5-12x: the chorus (systems 4-5, both staves) complete on scan 1 plus every machine-flagged verse column, and the whole hymn END TO END on scan 2. The two scans' machine tables agree at every resolved position; every disagreement between machine and eye was re-read at 10-12x and every one was a machine artifact (flag-wedge false positives at the two-stem unisons; hollow heads part-missed; the quarter-rest glyph read as a head), never a plate variance. Every bar closes at four beats in all four voices. Deciding crops and the per-system log: review/are-you-washed/READING.md. THE ACCIDENTAL SWEEP found exactly ONE printed accidental on the whole plate, on both scans: the NATURAL before the alto d' of bar 3 (glyph box x 1029-1053 on spifo00hoff; x~1099 on the _0 scan), giving f/bes/d'-natural/aes' = B-flat 7, V7/V, resolving to the E-flat chord on \"Lamb?\". Systems 1, 2, 3 were swept by the wave-5 eye pass on scan 1 and by this import's eye pass on scan 2; systems 4 and 5 were swept on both scans by this import. No other accidental exists in the hymn. WHAT DEFEATED THE EARLIER ATTEMPTS, RESOLVED. (a) The wave-5 refusal said the chorus eighths are BEAMED and fuse into one component: FALSE — the plate flags every eighth individually (verse and chorus alike, both scans); the 179x142 px \"fused beam\" component was stems + flags + the serif-capped barline + dashed staff lines merging in that agent's binarization. (b) The eight under-resolved HOLLOW chords: all resolved at 10-12x with augmentation dots — verse \"Lamb?\" bars 4 and 8 (the bass of bar 8's, unresolved by wave 5, is A-flat3/A-flat2 on both scans' machines and by eye on scan 2); chorus \"washed\"/\"blood,\"/\"Lamb?\" bars 9, 10, 12 and the final bar-16 tonic. (c) TENOR=BASS UNISONS printed as one head with two stems (bar 3 x4, bar 11 x2, and the both-stems-flagged eighths at bar 4 \"you\" and bar 12 \"your\") — encoded as the same pitch in both voices. THE CHORUS HARMONY reads: bar 9 I, bar 10 IV with a double upper-neighbour turn (women G4/E-flat4 over the men's held A-flat3/D-flat3 at \"In the\"), bar 11 I - I6 - V - I with a COMPLETE E-flat 7 in first inversion on \"of\" (G3/B-flat3/E-flat4/D-flat5 — the soprano's step +6 is the D LINE, which the signature flats; no accidental is printed in that column on either scan, so it is D-flat5 under the diatonic upper neighbour C5-D-flat5-C5; an early draft spelled it D-natural and the proof-render printed a natural the plate does not have — caught by reading the rendered page against the plate), bar 12 V then a cadential I6/4 on \"Are\" into the E-flat7 unison \"your\", bars 13-16 = verse bars 5-8's music with the walking bass A-flat2-B-flat2-C3 and the complete E-flat7 at \"of the\". No modern edition, MIDI or Cyber Hymnal asset was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1878 first-printing plate (archive.org spifo00hoff leaf 0019), read three ways and collated column by column against the second scan of the same plate (spiritualsongsfo00hoff_0 leaf 0019); no MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WASHED IN THE BLOOD (11.9.11.9 with Refrain) — \"Are You Washed in the Blood?\"\n%% Elisha A. Hoffman's own words-and-music setting, from the 1878 FIRST PRINTING:\n%% Spiritual Songs for Gospel Meetings and the Sunday School, ed. Rev. Elisha A.\n%% Hoffman and J. H. Tenney (Cleveland: Samuel Barker, 1878), printed page 15,\n%% headed \"Are You Washed In The Blood?\" with \"E. A. H.\" engraved at BOTH left\n%% (words) and right (music). Four SATB voice streams, A-flat major (four flats,\n%% counted glyph by glyph on both scans), 4/4 (a 4 over a 4, not 6/8), one-beat\n%% anacrusis (\\partial 4), sixteen bars, the last a three-beat dotted-half bar\n%% (pickup + final = one bar, as printed).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read from TWO archive.org scans of the same 1878 plate:\n%% spifo00hoff leaf 0019 (2691x4149 px, staff space 29.2-29.7 px) and\n%% spiritualsongsfo00hoff_0 leaf 0019 (2493x3635 px, staff space 28.4-29.0 px).\n%% Three independent reads at every one of the 75 note columns x 4 voices:\n%% (1) the wave-5 eye reading of the verse (systems 1-3), recorded in\n%% docs/blocked-hymns.md history and re-verified here; (2) tools/noteread.py\n%% machine columns on BOTH scans, per staff, with per-staff stem direction and\n%% local line refits; (3) a fresh eye reading off grid-overlay crops at 5-12x —\n%% the chorus (systems 4-5) complete on scan 1, the whole hymn end to end on\n%% scan 2. Every hollow head, every unison, every rest and every dot was\n%% resolved at 10-12x; the machine tables of the two scans agree at every\n%% surviving position, and every bar closes at four beats in all four voices.\n%% Per-system logs and the deciding crops: review/are-you-washed/READING.md.\n%%\n%% THE ONE ACCIDENTAL. The full-column sweep of BOTH scans (every column, both\n%% staves, by eye at 5-12x) finds exactly ONE printed accidental in the hymn: a\n%% NATURAL before the alto's d' in bar 3 (\"...blood of THE Lamb?\"), glyph box\n%% x 1029-1053 on spifo00hoff, x~1099 on the _0 scan, confirmed on both. It\n%% makes the chord f/bes/d'(nat)/aes' = B-flat 7 in second inversion, V7/V,\n%% resolving to the E-flat chord on \"Lamb?\" — demanded by the harmony. LilyPond\n%% prints the natural from the d' spelling under the four-flat signature.\n%%\n%% THE ANTIPHONAL CHORUS. The chorus is a plain bass_echo (the alto never\n%% leaves the soprano). In bars 9, 10 and 12 the lower staff rests while the\n%% women sing, then answers with its own printed lyric row BELOW the bass\n%% staff — \"Are you washed\" / \"in the blood\" / \"of the Lamb?\" — the men's\n%% quarter rests are printed on the plate exactly where they stand here. The\n%% men rejoin the women at \"In the\" (bar 10 beat 4), \"Lamb? ... Are your\"\n%% (bar 12), and sing all of bars 11 and 13-16 with them. The answer's words\n%% live in the sidecar's bass_echo, not in a fifth voice. The plate prints the\n%% echo row BELOW the lower staff; the house renderer prints it between the\n%% refrain line and the bass staff — a stated departure.\n%%\n%% UNISONS, printed as ONE head with TWO stems (up + down) on the plate:\n%% tenor=bass aes at \"washed in the blood\" (bar 3, four heads) and at bar 11's\n%% \"blood\" and \"the\"; tenor=bass ees at \"you\" (bar 4) and \"your\" (bar 12, both\n%% stems flagged). Encoded as the same pitch in both voices.\n%%\n%% BAR 11's \"of\" — the chorus's one non-obvious chord — is des''/ees'/bes/g:\n%% soprano step +6 is the D LINE, which the four-flat signature makes D-FLAT\n%% (no accidental is printed in that column on either scan), so the chord is a\n%% COMPLETE E-flat 7 in first inversion, V6/5 resolving to I on \"the\", under\n%% the soprano's diatonic upper neighbour c''-des''-c''. (An early draft\n%% spelled it d'' and the proof-render printed a natural the plate does not\n%% have — caught by reading the rendered page against the plate.)\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly. (1) The heavy SECTION DOUBLE BAR\n%% with \"Chorus.\" falls MID-BAR (bar 8, between the verse's dotted half and\n%% the chorus pickup \"Are you\"); the engine draws its own refrain structure\n%% and no mid-bar divider. (2) The echo lyric row is printed below the bass\n%% staff, rendered here above it (house bass_echo row). (3) The plate's\n%% dashed letterpress staff lines restart with visible seams at column\n%% boundaries; two short misregistered line segments (treble bar 11 at step 6\n%% left of \"soul\"'s stem; bass staff above bar 11's \"blood\") are plate\n%% furniture, not noteheads — both scans print them identically. (4) The final\n%% bar is THREE beats, as printed — dotted-half tonic then the closing double\n%% bar; reproduced, not padded. No fermata, no dynamic, no Amen is printed\n%% anywhere on the page; nothing is dropped.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'8 ees'8 |\n  aes'4 aes'4 aes'8 ees'8 c'8 ees'8 |\n  aes'4 aes'4 aes'4 aes'8 bes'8 |\n  c''4 c''8 c''8 c''4 bes'8 aes'8 |\n  bes'2. c''8 bes'8 |\n  aes'4 aes'4 aes'8 c''8 bes'8 aes'8 |\n  f'4 f'4 f'4 f'8 f'8 |\n  ees'4 ees'8 ees'8 aes'4 g'8 g'8 |\n  aes'2. c''8 bes'8 |\n  aes'2. aes'8 g'8 |\n  f'2. g'8 f'8 |\n  ees'4 aes'8 bes'8 c''4 des''8 c''8 |\n  bes'2. c''8 bes'8 |\n  aes'4 aes'4 aes'8 c''8 bes'8 aes'8 |\n  f'4 f'4 f'4 f'8 f'8 |\n  ees'4 ees'8 ees'8 aes'4 g'8 g'8 |\n  aes'2.\n}\n\nalto = {\n  aes8 c'8 |\n  c'4 c'4 c'8 c'8 aes8 c'8 |\n  c'4 des'4 c'4 ees'8 ees'8 |\n  ees'4 ees'8 ees'8 ees'4 ees'8 d'8 |\n  ees'2. ees'8 des'8 |\n  c'4 c'4 c'8 ees'8 ees'8 ees'8 |\n  des'4 des'4 des'4 des'8 des'8 |\n  c'4 c'8 c'8 ees'4 des'8 des'8 |\n  c'2. ees'8 des'8 |\n  c'2. c'8 ees'8 |\n  des'2. ees'8 des'8 |\n  c'4 ees'8 ees'8 ees'4 ees'8 ees'8 |\n  ees'2. ees'8 des'8 |\n  c'4 c'4 c'8 ees'8 ees'8 ees'8 |\n  des'4 des'4 des'4 des'8 des'8 |\n  c'4 c'8 c'8 ees'4 des'8 des'8 |\n  c'2.\n}\n\ntenor = {\n  ees8 ees8 |\n  ees4 ees4 ees8 aes8 aes8 aes8 |\n  aes4 f4 ees4 aes8 g8 |\n  aes4 aes8 aes8 aes4 bes8 bes8 |\n  g2. aes8 ees8 |\n  ees4 ees4 ees8 aes8 g8 aes8 |\n  aes4 aes4 aes4 aes8 aes8 |\n  aes4 aes8 aes8 c'4 bes8 bes8 |\n  aes2. r4 |\n  r4 aes8 aes8 aes4 r4 |\n  r4 aes8 aes8 aes4 aes8 aes8 |\n  aes4 aes8 g8 aes4 bes8 aes8 |\n  g4 g8 g8 g4 aes8 ees8 |\n  ees4 ees4 ees8 aes8 g8 aes8 |\n  aes4 aes4 aes4 aes8 aes8 |\n  aes4 aes8 aes8 c'4 bes8 bes8 |\n  aes2.\n}\n\nbass = {\n  aes,8 aes,8 |\n  aes,4 aes,4 aes,8 aes,8 aes,8 aes,8 |\n  aes,4 des4 aes,4 c8 ees8 |\n  aes4 aes8 aes8 aes4 g8 f8 |\n  ees2. ees8 ees8 |\n  aes,4 aes,4 aes,8 aes,8 bes,8 c8 |\n  des4 des4 des4 des8 des8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,2. r4 |\n  r4 aes,8 aes,8 aes,4 r4 |\n  r4 des8 des8 des4 des8 des8 |\n  aes,4 c8 ees8 aes4 g8 aes8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,4 aes,4 aes,8 aes,8 bes,8 c8 |\n  des4 des4 des4 des8 des8 |\n  ees4 ees8 ees8 ees4 ees8 ees8 |\n  aes,2.\n}\n", "preferred": true}]}, "webb": {"slug": "webb", "name": "WEBB", "meter_label": "7.6.7.6 D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "george-james-webb", "composer_date": "1830", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "webb-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WEBB, a 7.6.7.6 D tune by George James Webb (1803-1887), composed 1830. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). Webb d. 1887; all components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Webb\" (George James Webb, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "webb-cyberhymnal", "tune": "webb", "music_file": "webb-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WEBB, George James Webb, 1830. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WEBB by George James Webb (1830); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). One soprano melisma at notes 39-40. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Webb\" (George James Webb, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WEBB (7.6.7.6 D) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Webb\", George James Webb 1830) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major,\n%% 4/4). MELISMATIC: 53 soprano notes for 52 syllables; the one melisma (slurred\n%% pair at soprano notes 39-40, the line-6 cadence) carries a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [40]  (count=1)\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\nsoprano = {\n  f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 c''4 | d''4 c''2. | f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 d''4 | c''4 bes'2. | f'4 c''4. c''8 bes'4 | c''4 d''2 d''4 | d''4 es''4 d''4 g'4 | c''4 bes'2( a'4) | f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 d''4 | c''4 bes'2. |\n}\nalto = {\n  d'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 f'4 f'4 | f'4 f'2. | f'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 d'4 f'4 | es'4 d'2. | f'4 f'4. f'8 f'4 | f'4 f'2 f'4 | f'4 es'4 f'4 g'4 | g'4 f'2. | f'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 d'4 f'4 | es'4 d'2. |\n}\ntenor = {\n  bes4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 a4 | bes4 a2. | a4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 bes4 | a4 bes2. | f4 a4. a8 g4 | a4 bes2 bes4 | bes8 a8 bes4 bes4 bes4 | es'4 d'2 c'4 | a4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 bes4 | a4 bes2. |\n}\nbass = {\n  bes,4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 d4 c4 | bes,4 f2. | f4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 bes,4 f4 | f4 bes,2. | f4 f4. f8 f4 | f4 bes2 bes4 | bes8 a8 g4 f4 es4 | c4 f2. | f4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 bes,4 f4 | f4 bes,2. |\n}\n"}, "harmonizations": [{"slug": "webb-cyberhymnal", "tune": "webb", "music_file": "webb-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [13, 26, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WEBB, George James Webb, 1830. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WEBB by George James Webb (1830); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major, 4/4). One soprano melisma at notes 39-40. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Webb\" (George James Webb, 1830); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WEBB (7.6.7.6 D) — four SATB voice streams, canonical key B-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Webb\", George James Webb 1830) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (B-flat major,\n%% 4/4). MELISMATIC: 53 soprano notes for 52 syllables; the one melisma (slurred\n%% pair at soprano notes 39-40, the line-6 cadence) carries a '_' in the setting.\n%% MELISMA soprano ordinals (mid2ly-split; verify vs engraving slurs): [40]  (count=1)\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\nsoprano = {\n  f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 c''4 | d''4 c''2. | f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 d''4 | c''4 bes'2. | f'4 c''4. c''8 bes'4 | c''4 d''2 d''4 | d''4 es''4 d''4 g'4 | c''4 bes'2( a'4) | f'4 bes'4. bes'8 d''4 | bes'4 bes'2 g'4 | bes'4 f'4 bes'4 d''4 | c''4 bes'2. |\n}\nalto = {\n  d'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 f'4 f'4 | f'4 f'2. | f'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 d'4 f'4 | es'4 d'2. | f'4 f'4. f'8 f'4 | f'4 f'2 f'4 | f'4 es'4 f'4 g'4 | g'4 f'2. | f'4 d'4. d'8 f'4 | f'4 g'2 es'4 | g'4 f'4 d'4 f'4 | es'4 d'2. |\n}\ntenor = {\n  bes4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 a4 | bes4 a2. | a4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 bes4 | a4 bes2. | f4 a4. a8 g4 | a4 bes2 bes4 | bes8 a8 bes4 bes4 bes4 | es'4 d'2 c'4 | a4 bes4. bes8 bes4 | bes4 bes2 bes4 | bes4 bes4 bes4 bes4 | a4 bes2. |\n}\nbass = {\n  bes,4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 d4 c4 | bes,4 f2. | f4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 bes,4 f4 | f4 bes,2. | f4 f4. f8 f4 | f4 bes2 bes4 | bes8 a8 g4 f4 es4 | c4 f2. | f4 bes,4. bes,8 bes,4 | d4 es2 es4 | es4 d4 bes,4 f4 | f4 bes,2. |\n}\n", "preferred": true}]}, "were-you-there": {"slug": "were-you-there", "name": "WERE YOU THERE", "meter_label": "Irregular", "meter": {"pattern": [], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer_source": "African-American spiritual", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "were-you-there-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WERE YOU THERE (Irregular), African-American spiritual, sung well before its first printing in William E. Barton's Old Plantation Hymns (1899); Hymnary.org authority \"African-American spiritual\", public domain. The standard four-part hymnal setting encoded here is The Cyber Hymnal's public-domain edition (#7233), verified against its engraving (E-flat major; printed 4/4 with a two-quarter pickup and irregular bars, carried free-meter; the \"Oh!\" of the bridge is a held four-note melisma — the \"hold and slur on the exclamation Oh!\" Barton describes as the climax of the hymn). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Were You There?\"; SATB MIDI + engraving, converted with tools/mid2ly.py note data", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "were-you-there-cyberhymnal", "tune": "were-you-there", "music_file": "were-you-there-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 20, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [2, 5, 9, 12, 15, 19, 20, 23, 24, 27, 31, 33, 35, 37, 39, 42, 46], "refrain": null, "alternates": [{"voice": "tenor", "voice_note": 52, "pitch": "es"}, {"voice": "bass", "voice_note": 52, "pitch": "es,"}], "source_line": "WERE YOU THERE, African-American spiritual (first printed in W. E. Barton's Old Plantation Hymns, 1899). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WERE YOU THERE, African-American spiritual, first printed in William E. Barton's Old Plantation Hymns (1899); the four-part setting is The Cyber Hymnal's public-domain edition (#7233), encoded from its SATB MIDI and verified measure-by-measure against its engraving at 600 dpi (E-flat major, printed 4/4 with irregular bars — one 5/4, one 2/4 — hence the free-meter encoding; the alto's cadential chromatic is printed C-flat and the bass B-naturals are printed naturals, all carried as engraved). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Were You There?\" (African-American spiritual); SATB MIDI + engraving, converted with tools/mid2ly.py note data and hand voice-assignment for the divisi final chord", "encoding_license": "PD-dedication"}, "music_ly": "%% WERE YOU THERE (Irregular) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Were You There?\", African-American\n%% spiritual, first printed in W. E. Barton's Old Plantation Hymns, 1899) with\n%% tools/mid2ly.py note data (the >2-pitch final chord was assigned by hand) and\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi.\n%% A FREE-METER encoding (\\cadenzaOn): the Cyber Hymnal prints 4/4 with a\n%% two-quarter pickup but bars the music irregularly — one 5/4 bar (the phrase-1\n%% \"Lord?\" hold + \"were you\" pickup share a bar), one 2/4 bar (\"were you\" before\n%% the final phrase), and a 2/4 final bar — and the corpus model has no mid-piece\n%% meter change, so every engraved barline is reproduced via phrase_barlines.\n%% MELISMATIC: 47 soprano notes for 44 syllables — the one soprano melisma is the\n%% great held wail on \"Oh!\" opening the bridge (soprano notes 21-24, slurred\n%% bes'2 es''4. c''8 bes'1, the \"hold and slur on the exclamation 'Oh!'\" that\n%% Barton 1899 describes). Inner-voice melismas from the source: the tenor\n%% es'4( des'4) slur (printed flat on the des') and the bass walking-eighth\n%% c8( bes,8) slur. The engraving splits the alto's beat-30 quarter as two TIED\n%% eighths (an NWC voice-rhythm artifact under the soprano's dotted figure);\n%% carried here as the honest as'4. The alto's chromatic at the \"tremble\"\n%% cadences is printed as C-FLAT in the source (not B-natural) and is spelled\n%% ces' to match; the bass B-naturals (b,) are printed naturals. The final chord\n%% is a four-note divisi in the bass staff (G3/Eb3/Bb2/Eb2): tenor and bass\n%% carry the upper notes (g2 / bes,2) and the lower divisi notes are the\n%% cue-sized alternates (es / es,) declared in the sidecar yaml.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\cadenzaOn }\n\nsoprano = {\n  bes4 es'4 | g'2 g'4 g'4 | f'4 es'4 g'4. f'8 | es'2. es'4 g'4 | bes'2 bes'4 bes'4 |\n  c''4 bes'4 bes'4. g'8 | f'1 | bes'2( es''4. c''8 | bes'1) | c''4 bes'2 g'4 |\n  g'4. f'8 es'4 es'4 | f'4 es'2. | es'4 es'2. | c'4 bes2. | es'4 as'4 |\n  g'2 g'4 g'4 | f'4 es'4 g'4. f'8 | es'2\n}\nalto = {\n  bes4 bes4 | es'2 es'4 es'4 | d'4 c'4 d'4. d'8 | es'2. bes4 es'4 | d'2 es'4 f'4 |\n  es'4 f'4 g'4. es'8 | d'1 | es'4 d'4 es'4 as'4 | g'4 f'4 es'2 | es'4 es'2 es'4 |\n  d'4. d'8 c'4 c'4 | c'4 ces'2. | ces'4 bes2. | as4 f2. | as4 c'4 |\n  bes4 es'4 es'4 d'4 | d'4 es'4 d'4. d'8 | bes2\n}\ntenor = {\n  bes4 bes4 | bes2 bes4 bes4 | bes4 g4 bes4. as8 | g2. g4 bes4 | bes4 as4 g4 f4 |\n  g4 bes4 bes4. bes8 | bes1 | bes4 as4 bes4 c'4 | d'2 es'4( des'4) | c'4 g2 bes4 |\n  as4. g8 g4 g4 | as4 as2. | es4 es2. | es4 d2. | es4 es4 |\n  es4 g4 c'4 bes4 | as4 g4 bes4. as8 | g2\n}\nbass = {\n  bes4 g4 | es2 es4 es4 | bes,4 c4 bes,4. bes,8 | es2. es4 es4 | g4 f4 es4 d4 |\n  c4 d4 es4. g8 | bes1 | g4 f4 g4 as4 | bes4 as4 g2 | as4 es2 bes,4 |\n  b,4. b,8 c4 c8( bes,8) | as,4 as,2. | as,4 g,2. | as,4 bes,2. | c4 as,4 |\n  bes,2 bes,4 bes,4 | bes,4 c4 bes,4. bes,8 | bes,2\n}\n"}, "harmonizations": [{"slug": "were-you-there-cyberhymnal", "tune": "were-you-there", "music_file": "were-you-there-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 20, 35], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [2, 5, 9, 12, 15, 19, 20, 23, 24, 27, 31, 33, 35, 37, 39, 42, 46], "refrain": null, "alternates": [{"voice": "tenor", "voice_note": 52, "pitch": "es"}, {"voice": "bass", "voice_note": 52, "pitch": "es,"}], "source_line": "WERE YOU THERE, African-American spiritual (first printed in W. E. Barton's Old Plantation Hymns, 1899). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WERE YOU THERE, African-American spiritual, first printed in William E. Barton's Old Plantation Hymns (1899); the four-part setting is The Cyber Hymnal's public-domain edition (#7233), encoded from its SATB MIDI and verified measure-by-measure against its engraving at 600 dpi (E-flat major, printed 4/4 with irregular bars — one 5/4, one 2/4 — hence the free-meter encoding; the alto's cadential chromatic is printed C-flat and the bass B-naturals are printed naturals, all carried as engraved). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Were You There?\" (African-American spiritual); SATB MIDI + engraving, converted with tools/mid2ly.py note data and hand voice-assignment for the divisi final chord", "encoding_license": "PD-dedication"}, "music_ly": "%% WERE YOU THERE (Irregular) — four SATB voice streams, canonical key E-flat major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Were You There?\", African-American\n%% spiritual, first printed in W. E. Barton's Old Plantation Hymns, 1899) with\n%% tools/mid2ly.py note data (the >2-pitch final chord was assigned by hand) and\n%% verified measure-by-measure against the Cyber Hymnal engraving at 600 dpi.\n%% A FREE-METER encoding (\\cadenzaOn): the Cyber Hymnal prints 4/4 with a\n%% two-quarter pickup but bars the music irregularly — one 5/4 bar (the phrase-1\n%% \"Lord?\" hold + \"were you\" pickup share a bar), one 2/4 bar (\"were you\" before\n%% the final phrase), and a 2/4 final bar — and the corpus model has no mid-piece\n%% meter change, so every engraved barline is reproduced via phrase_barlines.\n%% MELISMATIC: 47 soprano notes for 44 syllables — the one soprano melisma is the\n%% great held wail on \"Oh!\" opening the bridge (soprano notes 21-24, slurred\n%% bes'2 es''4. c''8 bes'1, the \"hold and slur on the exclamation 'Oh!'\" that\n%% Barton 1899 describes). Inner-voice melismas from the source: the tenor\n%% es'4( des'4) slur (printed flat on the des') and the bass walking-eighth\n%% c8( bes,8) slur. The engraving splits the alto's beat-30 quarter as two TIED\n%% eighths (an NWC voice-rhythm artifact under the soprano's dotted figure);\n%% carried here as the honest as'4. The alto's chromatic at the \"tremble\"\n%% cadences is printed as C-FLAT in the source (not B-natural) and is spelled\n%% ces' to match; the bass B-naturals (b,) are printed naturals. The final chord\n%% is a four-note divisi in the bass staff (G3/Eb3/Bb2/Eb2): tenor and bass\n%% carry the upper notes (g2 / bes,2) and the lower divisi notes are the\n%% cue-sized alternates (es / es,) declared in the sidecar yaml.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\cadenzaOn }\n\nsoprano = {\n  bes4 es'4 | g'2 g'4 g'4 | f'4 es'4 g'4. f'8 | es'2. es'4 g'4 | bes'2 bes'4 bes'4 |\n  c''4 bes'4 bes'4. g'8 | f'1 | bes'2( es''4. c''8 | bes'1) | c''4 bes'2 g'4 |\n  g'4. f'8 es'4 es'4 | f'4 es'2. | es'4 es'2. | c'4 bes2. | es'4 as'4 |\n  g'2 g'4 g'4 | f'4 es'4 g'4. f'8 | es'2\n}\nalto = {\n  bes4 bes4 | es'2 es'4 es'4 | d'4 c'4 d'4. d'8 | es'2. bes4 es'4 | d'2 es'4 f'4 |\n  es'4 f'4 g'4. es'8 | d'1 | es'4 d'4 es'4 as'4 | g'4 f'4 es'2 | es'4 es'2 es'4 |\n  d'4. d'8 c'4 c'4 | c'4 ces'2. | ces'4 bes2. | as4 f2. | as4 c'4 |\n  bes4 es'4 es'4 d'4 | d'4 es'4 d'4. d'8 | bes2\n}\ntenor = {\n  bes4 bes4 | bes2 bes4 bes4 | bes4 g4 bes4. as8 | g2. g4 bes4 | bes4 as4 g4 f4 |\n  g4 bes4 bes4. bes8 | bes1 | bes4 as4 bes4 c'4 | d'2 es'4( des'4) | c'4 g2 bes4 |\n  as4. g8 g4 g4 | as4 as2. | es4 es2. | es4 d2. | es4 es4 |\n  es4 g4 c'4 bes4 | as4 g4 bes4. as8 | g2\n}\nbass = {\n  bes4 g4 | es2 es4 es4 | bes,4 c4 bes,4. bes,8 | es2. es4 es4 | g4 f4 es4 d4 |\n  c4 d4 es4. g8 | bes1 | g4 f4 g4 as4 | bes4 as4 g2 | as4 es2 bes,4 |\n  b,4. b,8 c4 c8( bes,8) | as,4 as,2. | as,4 g,2. | as,4 bes,2. | c4 as,4 |\n  bes,2 bes,4 bes,4 | bes,4 c4 bes,4. bes,8 | bes,2\n}\n", "preferred": true}]}, "westminster-abbey": {"slug": "westminster-abbey", "name": "WESTMINSTER ABBEY", "meter_label": "8.7.8.7.8.7", "meter": {"pattern": [8, 7, 8, 7, 8, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "henry-purcell-circa", "composer_date": "1843", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "westminster-abbey-oh75", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:75; all components published pre-1931 (latest year 1853).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "westminster-abbey-oh75", "tune": "westminster-abbey", "music_file": "westminster-abbey-oh75.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [5, 15, 21, 32, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:75; all components published pre-1931 (latest year 1853).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:75", "encoding_license": "PD-dedication"}, "music_ly": "%% In His Temple Now Behold Him\n%% Imported from Open Hymnal ABC X:75 via tools/abc_import.py\n%% Open Hymnal X:75; all components published pre-1931 (latest year 1853).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'2 d''4 b'2 g'4 c''2 a'4 fis'2 d'4 g'2 a'4 b'4.( a'8) g'4 fis'4 e'2 d'2. fis'2 a'4 fis'2 d'4 g'2 a'4 b'2 g'4 c''2 b'4 a'4.( b'8) g'4 g'8( fis'8) fis'2 e'2. gis'2 gis'4 a'2 a'4 fis'2 fis'4 g'2 g'4 e'2 e'4 fis'2 g'4 g'2 fis'4 g'2.\n}\nalto = {\n  d'2 d'4 d'2 d'4 e'2 e'4 d'2 a4 d'2 c'4 b4( d'4) cis'4 d'2 cis'4 d'2. d'2 e'4 d'2 a4 b2 c'4 d'2 d'4 e'4( fis'8 g'8) fis'4 e'8( d'8 e'4) b4 c'4 b2 b2. e'2 e'4 e'2 e'4 d'2 d'4 d'2 d'4 c'2 c'4 d'4( c'4) b4 a2 a8 b16 c'16 b2.\n}\ntenor = {\n  g2 a4 b2 b8 a8 g2 a4 a2 fis4 b2 fis4 g4.( fis8) e4 fis8 g8 a4( g4) fis2. a2 a4 a2 fis4 d4.( g8) fis4 g2 b4 g2 a8 b8 c'4( e4) dis4 e2 dis4 e2. b2 b4 a2 a4 a2 a4 g2 g4 g2 a4 a2 g4 fis8( e8 d4) d4 d2.\n}\nbass = {\n  g2 fis4 g2 g8 fis8 e2 c4 d2 d8 c8 b,2 a,4 g,4.( d8) e4 d4 a,2 d2. d2 cis4 d2 d8 c8 b,2 a,4 g,2 g4 e2 d4 c2 b,4 a,4 b,2 e2. e2 d4 cis2 cis4 d2 c4 b,2 b,4 c2 a,4 d2 g4 d2 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "westminster-abbey-oh75", "tune": "westminster-abbey", "music_file": "westminster-abbey-oh75.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [5, 15, 21, 32, 38], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:75; all components published pre-1931 (latest year 1853).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:75", "encoding_license": "PD-dedication"}, "music_ly": "%% In His Temple Now Behold Him\n%% Imported from Open Hymnal ABC X:75 via tools/abc_import.py\n%% Open Hymnal X:75; all components published pre-1931 (latest year 1853).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'2 d''4 b'2 g'4 c''2 a'4 fis'2 d'4 g'2 a'4 b'4.( a'8) g'4 fis'4 e'2 d'2. fis'2 a'4 fis'2 d'4 g'2 a'4 b'2 g'4 c''2 b'4 a'4.( b'8) g'4 g'8( fis'8) fis'2 e'2. gis'2 gis'4 a'2 a'4 fis'2 fis'4 g'2 g'4 e'2 e'4 fis'2 g'4 g'2 fis'4 g'2.\n}\nalto = {\n  d'2 d'4 d'2 d'4 e'2 e'4 d'2 a4 d'2 c'4 b4( d'4) cis'4 d'2 cis'4 d'2. d'2 e'4 d'2 a4 b2 c'4 d'2 d'4 e'4( fis'8 g'8) fis'4 e'8( d'8 e'4) b4 c'4 b2 b2. e'2 e'4 e'2 e'4 d'2 d'4 d'2 d'4 c'2 c'4 d'4( c'4) b4 a2 a8 b16 c'16 b2.\n}\ntenor = {\n  g2 a4 b2 b8 a8 g2 a4 a2 fis4 b2 fis4 g4.( fis8) e4 fis8 g8 a4( g4) fis2. a2 a4 a2 fis4 d4.( g8) fis4 g2 b4 g2 a8 b8 c'4( e4) dis4 e2 dis4 e2. b2 b4 a2 a4 a2 a4 g2 g4 g2 a4 a2 g4 fis8( e8 d4) d4 d2.\n}\nbass = {\n  g2 fis4 g2 g8 fis8 e2 c4 d2 d8 c8 b,2 a,4 g,4.( d8) e4 d4 a,2 d2. d2 cis4 d2 d8 c8 b,2 a,4 g,2 g4 e2 d4 c2 b,4 a,4 b,2 e2. e2 d4 cis2 cis4 d2 c4 b,2 b,4 c2 a,4 d2 g4 d2 d4 g,2.\n}\n", "preferred": true}]}, "when-the-roll-is-called-up-yonder": {"slug": "when-the-roll-is-called-up-yonder", "name": "WHEN THE ROLL IS CALLED UP YONDER", "meter_label": "15.11.15.11", "meter": {"pattern": [15, 11, 15, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "james-milton-black", "composer_date": "1893", "canonical_key": {"tonic": "as", "mode": "major"}, "preferred_harmonization": "when-the-roll-is-called-up-yonder-oh222", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:222; all components published pre-1931 (latest year 1893).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "when_the_roll_is_called_up_yonder_black", "total_instances": 1}}, "harmonization": {"slug": "when-the-roll-is-called-up-yonder-oh222", "tune": "when-the-roll-is-called-up-yonder", "music_file": "when-the-roll-is-called-up-yonder-oh222.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 26, 41, 52, 61, 70, 79], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 53}, "markings": [{"soprano_note": 53, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "When the roll is called up yon -- der, I'll be there", "durations": ["8.", "16", "8.", "16", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 34}, {"text": "When the roll is called up yon -- der, I'll be there", "durations": ["8.", "16", "8.", "16", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 42}, {"text": "When the roll is called up yon -- der", "durations": ["8.", "16", "8.", "16", "8.", "16", "2", "4"], "onset": 50}]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:222; all components published pre-1931 (latest year 1893).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:222", "encoding_license": "PD-dedication"}, "music_ly": "%% When The Roll Is Called Up Yonder\n%% Imported from Open Hymnal ABC X:222 via tools/abc_import.py\n%% Open Hymnal X:222; all components published pre-1931 (latest year 1893).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. bes'16 aes'8. aes'16 bes'8. aes'16 aes'8. f'16 ees'4 aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. c''16 bes'8. aes'16 bes'2. aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. bes'16 aes'8. aes'16 bes'8. aes'16 aes'8. f'16 ees'4 aes'8. bes'16 c''8. c''16 c''8. aes'16 bes'8. bes'16 bes'8. g'16 aes'2. c''8. des''16 ees''2~ ees''8. des''16 c''8. des''16 ees''2 c''4 c''8. c''16 des''2~ des''8. c''16 bes'8. c''16 des''2 bes'4 c''8. des''16 ees''2~ ees''8. c''16 bes'8. aes'16 aes'2 des''4 des''8. bes'16 c''8. c''16 c''8. aes'16 bes'8. bes'16 bes'8. g'16 aes'2.\n}\nalto = {\n  c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 des'8. des'16 des'8. des'16 c'4 c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. d'16 ees'2. c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 des'8. des'16 des'8. des'16 c'4 c'8. des'16 ees'8. ees'16 ees'8. c'16 des'8. des'16 des'8. des'16 c'2. aes'8. bes'16 c''2~ c''8. bes'16 aes'8. bes'16 c''2 aes'4 aes'8. aes'16 bes'2~ bes'8. aes'16 g'8. aes'16 bes'2 g'4 aes'8. bes'16 c''2~ c''8. aes'16 ees'8. ees'16 f'2 f'4 f'8. f'16 ees'8. ees'16 ees'8. c'16 des'8. des'16 des'8. des'16 c'2.\n}\ntenor = {\n  aes8. aes16 aes8. aes16 aes8. aes16 aes8. g16 aes8. aes16 f8. f16 f8. aes16 aes4 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 bes8. bes16 g2. aes8. aes16 aes8. aes16 aes8. aes16 aes8. g16 aes8. aes16 f8. f16 f8. aes16 aes4 aes8. aes16 aes8. aes16 aes8. aes16 g8. g16 g8. bes16 aes2. r4 r4 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'4 r4 r4 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'4 r4 r4 ees'8. ees'16 ees'8. ees'16 des'8. c'16 des'2 aes4 aes8. aes16 aes8. aes16 aes8. aes16 g8. g16 g8. bes16 aes2.\n}\nbass = {\n  aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes,8. bes,16 c8. c16 des8. des16 des8. des16 aes,4 aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes8. aes16 g8. f16 ees2. aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes,8. bes,16 c8. c16 des8. des16 des8. des16 aes,4 aes,8. aes,16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 aes,2. s4 s4 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 aes4 s4 s4 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 ees4 s4 s4 aes8. aes16 aes8. aes16 aes8. aes16 des2 des4 des8. des16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 aes,2.\n}\n"}, "harmonizations": [{"slug": "when-the-roll-is-called-up-yonder-oh222", "tune": "when-the-roll-is-called-up-yonder", "music_file": "when-the-roll-is-called-up-yonder-oh222.ly", "canonical_key": {"tonic": "as", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [15, 26, 41, 52, 61, 70, 79], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 53}, "markings": [{"soprano_note": 53, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "When the roll is called up yon -- der, I'll be there", "durations": ["8.", "16", "8.", "16", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 34}, {"text": "When the roll is called up yon -- der, I'll be there", "durations": ["8.", "16", "8.", "16", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 42}, {"text": "When the roll is called up yon -- der", "durations": ["8.", "16", "8.", "16", "8.", "16", "2", "4"], "onset": 50}]}, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:222; all components published pre-1931 (latest year 1893).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:222", "encoding_license": "PD-dedication"}, "music_ly": "%% When The Roll Is Called Up Yonder\n%% Imported from Open Hymnal ABC X:222 via tools/abc_import.py\n%% Open Hymnal X:222; all components published pre-1931 (latest year 1893).\n\\version \"2.24.0\"\n\nglobal  = { \\key as \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. bes'16 aes'8. aes'16 bes'8. aes'16 aes'8. f'16 ees'4 aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. c''16 bes'8. aes'16 bes'2. aes'8. bes'16 c''8. c''16 c''8. c''16 c''8. bes'16 aes'8. aes'16 bes'8. aes'16 aes'8. f'16 ees'4 aes'8. bes'16 c''8. c''16 c''8. aes'16 bes'8. bes'16 bes'8. g'16 aes'2. c''8. des''16 ees''2~ ees''8. des''16 c''8. des''16 ees''2 c''4 c''8. c''16 des''2~ des''8. c''16 bes'8. c''16 des''2 bes'4 c''8. des''16 ees''2~ ees''8. c''16 bes'8. aes'16 aes'2 des''4 des''8. bes'16 c''8. c''16 c''8. aes'16 bes'8. bes'16 bes'8. g'16 aes'2.\n}\nalto = {\n  c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 des'8. des'16 des'8. des'16 c'4 c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. d'16 ees'2. c'8. des'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 des'8. des'16 des'8. des'16 c'4 c'8. des'16 ees'8. ees'16 ees'8. c'16 des'8. des'16 des'8. des'16 c'2. aes'8. bes'16 c''2~ c''8. bes'16 aes'8. bes'16 c''2 aes'4 aes'8. aes'16 bes'2~ bes'8. aes'16 g'8. aes'16 bes'2 g'4 aes'8. bes'16 c''2~ c''8. aes'16 ees'8. ees'16 f'2 f'4 f'8. f'16 ees'8. ees'16 ees'8. c'16 des'8. des'16 des'8. des'16 c'2.\n}\ntenor = {\n  aes8. aes16 aes8. aes16 aes8. aes16 aes8. g16 aes8. aes16 f8. f16 f8. aes16 aes4 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 bes8. bes16 g2. aes8. aes16 aes8. aes16 aes8. aes16 aes8. g16 aes8. aes16 f8. f16 f8. aes16 aes4 aes8. aes16 aes8. aes16 aes8. aes16 g8. g16 g8. bes16 aes2. r4 r4 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'4 r4 r4 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'8. ees'16 ees'4 r4 r4 ees'8. ees'16 ees'8. ees'16 des'8. c'16 des'2 aes4 aes8. aes16 aes8. aes16 aes8. aes16 g8. g16 g8. bes16 aes2.\n}\nbass = {\n  aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes,8. bes,16 c8. c16 des8. des16 des8. des16 aes,4 aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes8. aes16 g8. f16 ees2. aes,8. aes,16 aes,8. aes,16 aes,8. aes,16 aes,8. bes,16 c8. c16 des8. des16 des8. des16 aes,4 aes,8. aes,16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 aes,2. s4 s4 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 aes4 s4 s4 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 ees4 s4 s4 aes8. aes16 aes8. aes16 aes8. aes16 des2 des4 des8. des16 ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 aes,2.\n}\n", "preferred": true}]}, "where-he-leads-me": {"slug": "where-he-leads-me", "name": "WHERE HE LEADS ME", "meter_label": "8.8.8.9 with Refrain", "meter": {"pattern": [8, 8, 8, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-samuel-norris", "composer_date": "1890", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "where-he-leads-me-oh243", "provenance": {"layer": "tune", "source": "best-endeavor-hymns-1907", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:243 (line 31488); words Edward William Blandy 1890, music John Samuel Norris (1844-1907), setting Best Endeavor Hymns 1907; all components pre-1931 (latest 1907).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "where-he-leads-me-oh243", "tune": "where-he-leads-me", "music_file": "where-he-leads-me-oh243.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 33, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "best-endeavor-hymns-1907", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:243 (line 31488); words Edward William Blandy 1890, music John Samuel Norris (1844-1907), setting Best Endeavor Hymns 1907; all components pre-1931 (latest 1907).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:243", "encoding_license": "PD-dedication"}, "music_ly": "%% Where He Leads Me\n%% Imported from Open Hymnal ABC X:243 via tools/abc_import.py\n%% Words: Edward William Blandy, 1890; Music: John S. Norris (1844-1907); setting Best Endeavor Hymns, 1907. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'8. f'16 a'4. a'8 bes'4. a'8 a'8 g'2 r8 c'8. e'16 g'4. f'8 a'4. g'8 g'8 f'2 r8 f'8. a'16 c''4. c''8 d''4. c''8 c''8 bes'2 r8 f'8 g'8 a'16 c'8. a'16 c'8. g'4. f'8 f'2. c'8. f'16 a'4. a'8 bes'4. a'8 a'8 g'2 r8 c'8. e'16 g'4. f'8 a'4. g'8 g'8 f'2 r8 f'8. a'16 c''4. c''8 d''4. c''8 c''8 bes'2 r8 f'8 g'8 a'16 c'8. a'16 c'8. g'4. f'8 f'2.\n}\nalto = {\n  c'8. c'16 f'4. f'8 f'4. f'8 f'8 e'2 s8 c'8. c'16 e'4. f'8 f'4. e'8 c'8 c'2 s8 f'8. f'16 f'4. f'8 f'4. ees'8 d'8 d'2 s8 d'8 des'8 c'16 c'8. c'16 c'8. c'4. c'8 c'2. c'8. c'16 f'4. f'8 f'4. f'8 f'8 e'2 s8 c'8. c'16 e'4. f'8 f'4. e'8 c'8 c'2 s8 f'8. f'16 f'4. f'8 f'4. ees'8 d'8 d'2 s8 d'8 des'8 c'16 c'8. c'16 c'8. c'4. c'8 c'2.\n}\ntenor = {\n  a8. a16 c'4. c'8 d'4. c'8 c'8 c'2 r8 bes8. bes16 bes4. a8 c'4. bes8 bes8 a2 r8 a8. c'16 a4. a8 bes4. a8 bes8 f2 r8 f8 f8 f16 a8. f16 a8. bes4. a8 a2. a8. a16 c'4. c'8 d'4. c'8 c'8 c'2 r8 bes8. bes16 bes4. a8 c'4. bes8 bes8 a2 r8 a8. c'16 a4. a8 bes4. a8 bes8 f2 r8 f8 f8 f16 a8. f16 a8. bes4. a8 a2.\n}\nbass = {\n  f8. f16 f4. f8 f4. f8 c8 c2 s8 c8. c16 c4. c8 c4. c8 f8 f2 s8 f8. f16 f4. f8 f4. f8 bes,8 bes,2 s8 bes,8 bes,8 c16 c8. c16 c8. c4. f8 f2. f8. f16 f4. f8 f4. f8 c8 c2 s8 c8. c16 c4. c8 c4. c8 f8 f2 s8 f8. f16 f4. f8 f4. f8 bes,8 bes,2 s8 bes,8 bes,8 c16 c8. c16 c8. c4. f8 f2.\n}\n"}, "harmonizations": [{"slug": "where-he-leads-me-oh243", "tune": "where-he-leads-me", "music_file": "where-he-leads-me-oh243.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 33, 49], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "best-endeavor-hymns-1907", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:243 (line 31488); words Edward William Blandy 1890, music John Samuel Norris (1844-1907), setting Best Endeavor Hymns 1907; all components pre-1931 (latest 1907).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:243", "encoding_license": "PD-dedication"}, "music_ly": "%% Where He Leads Me\n%% Imported from Open Hymnal ABC X:243 via tools/abc_import.py\n%% Words: Edward William Blandy, 1890; Music: John S. Norris (1844-1907); setting Best Endeavor Hymns, 1907. Public domain (pre-1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c'8. f'16 a'4. a'8 bes'4. a'8 a'8 g'2 r8 c'8. e'16 g'4. f'8 a'4. g'8 g'8 f'2 r8 f'8. a'16 c''4. c''8 d''4. c''8 c''8 bes'2 r8 f'8 g'8 a'16 c'8. a'16 c'8. g'4. f'8 f'2. c'8. f'16 a'4. a'8 bes'4. a'8 a'8 g'2 r8 c'8. e'16 g'4. f'8 a'4. g'8 g'8 f'2 r8 f'8. a'16 c''4. c''8 d''4. c''8 c''8 bes'2 r8 f'8 g'8 a'16 c'8. a'16 c'8. g'4. f'8 f'2.\n}\nalto = {\n  c'8. c'16 f'4. f'8 f'4. f'8 f'8 e'2 s8 c'8. c'16 e'4. f'8 f'4. e'8 c'8 c'2 s8 f'8. f'16 f'4. f'8 f'4. ees'8 d'8 d'2 s8 d'8 des'8 c'16 c'8. c'16 c'8. c'4. c'8 c'2. c'8. c'16 f'4. f'8 f'4. f'8 f'8 e'2 s8 c'8. c'16 e'4. f'8 f'4. e'8 c'8 c'2 s8 f'8. f'16 f'4. f'8 f'4. ees'8 d'8 d'2 s8 d'8 des'8 c'16 c'8. c'16 c'8. c'4. c'8 c'2.\n}\ntenor = {\n  a8. a16 c'4. c'8 d'4. c'8 c'8 c'2 r8 bes8. bes16 bes4. a8 c'4. bes8 bes8 a2 r8 a8. c'16 a4. a8 bes4. a8 bes8 f2 r8 f8 f8 f16 a8. f16 a8. bes4. a8 a2. a8. a16 c'4. c'8 d'4. c'8 c'8 c'2 r8 bes8. bes16 bes4. a8 c'4. bes8 bes8 a2 r8 a8. c'16 a4. a8 bes4. a8 bes8 f2 r8 f8 f8 f16 a8. f16 a8. bes4. a8 a2.\n}\nbass = {\n  f8. f16 f4. f8 f4. f8 c8 c2 s8 c8. c16 c4. c8 c4. c8 f8 f2 s8 f8. f16 f4. f8 f4. f8 bes,8 bes,2 s8 bes,8 bes,8 c16 c8. c16 c8. c4. f8 f2. f8. f16 f4. f8 f4. f8 c8 c2 s8 c8. c16 c4. c8 c4. c8 f8 f2 s8 f8. f16 f4. f8 f4. f8 bes,8 bes,2 s8 bes,8 bes,8 c16 c8. c16 c8. c4. f8 f2.\n}\n", "preferred": true}]}, "whiter-than-snow": {"slug": "whiter-than-snow", "name": "WHITER THAN SNOW", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-gustavus-fischer", "composer_date": "1898", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "whiter-than-snow-oh236", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:236; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "whiter_than_snow_shaw", "total_instances": 6}}, "harmonization": {"slug": "whiter-than-snow-oh236", "tune": "whiter-than-snow", "music_file": "whiter-than-snow-oh236.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 34, 45, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:236; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:236", "encoding_license": "PD-dedication"}, "music_ly": "%% Whiter Than Snow\n%% Imported from Open Hymnal ABC X:236 via tools/abc_import.py\n%% Open Hymnal X:236; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 a'4 b'4 cis''4. b'8 a'4 b'4 cis''4 b'4 a'2 e'4 e'4 a'4 b'4 cis''4. b'8 a'4 b'4 cis''4 b'4 a'2 cis''4 e''4 cis''4 a'4 fis'8 a'8 a'4 a'4 d''4 d''4 d''4 cis''2 e'4 e'4 a'4 cis''4 cis''4. b'8 a'4 b'4. a'8 b'4 a'2. b'4 b'4 b'4 b'2 a'4 cis''4 a'4 fis'4 e'2 e'4 fis'4 a'4 d''4 cis''4. b'8 a'4 b'4. a'8 b'4 a'2\n}\nalto = {\n  cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 d'4 e'4 d'4 cis'2 cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 d'4 e'4 d'4 cis'2 e'4 e'4 e'4 e'4 d'8 fis'8 fis'4 fis'4 fis'4 fis'4 fis'4 e'2 cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 e'4. e'8 d'4 cis'2. d'4 d'4 d'4 d'2 cis'4 cis'4 cis'4 d'4 cis'2 cis'4 d'4 fis'4 fis'4 e'4. d'8 cis'4 e'4. e'8 d'4 cis'2\n}\ntenor = {\n  a4 a4 a4 gis4 a4. a8 a4 gis4 gis4 gis4 a2 a4 a4 a4 gis4 a4. a8 a4 gis4 gis4 gis4 a2 a4 cis'4 a4 a4 a4 a4 a4 a4 a4 a4 a2 a4 a4 a4 a4 a4. gis8 a4 gis4. fis8 gis4 a2. gis4 gis4 gis4 gis2 a4 a4 a4 a4 a2 a4 a4 a4 a4 a4. gis8 a4 gis4. fis8 gis4 a2\n}\nbass = {\n  a,4 a,4 cis4 e4 a4. a8 a4 e4 e4 e4 a,2 a,4 a,4 cis4 e4 a4. a8 a4 e4 e4 e4 a,2 a4 a4 a4 cis4 d4 d4 d4 d4 d4 d4 a,2 a,4 a,4 cis4 a,4 e4. e8 e4 e4. e8 e4 a,2. e4 e4 e4 e2 fis4 fis4 fis4 d4 a,2 a,4 d4 d4 d4 e4. e8 e4 e4. e8 e4 a,2\n}\n"}, "harmonizations": [{"slug": "whiter-than-snow-oh236", "tune": "whiter-than-snow", "music_file": "whiter-than-snow-oh236.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 22, 34, 45, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 46}, "markings": [{"soprano_note": 46, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:236; all components published pre-1931 (latest year 1898).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:236", "encoding_license": "PD-dedication"}, "music_ly": "%% Whiter Than Snow\n%% Imported from Open Hymnal ABC X:236 via tools/abc_import.py\n%% Open Hymnal X:236; all components published pre-1931 (latest year 1898).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'4 e'4 a'4 b'4 cis''4. b'8 a'4 b'4 cis''4 b'4 a'2 e'4 e'4 a'4 b'4 cis''4. b'8 a'4 b'4 cis''4 b'4 a'2 cis''4 e''4 cis''4 a'4 fis'8 a'8 a'4 a'4 d''4 d''4 d''4 cis''2 e'4 e'4 a'4 cis''4 cis''4. b'8 a'4 b'4. a'8 b'4 a'2. b'4 b'4 b'4 b'2 a'4 cis''4 a'4 fis'4 e'2 e'4 fis'4 a'4 d''4 cis''4. b'8 a'4 b'4. a'8 b'4 a'2\n}\nalto = {\n  cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 d'4 e'4 d'4 cis'2 cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 d'4 e'4 d'4 cis'2 e'4 e'4 e'4 e'4 d'8 fis'8 fis'4 fis'4 fis'4 fis'4 fis'4 e'2 cis'4 cis'4 e'4 e'4 e'4. d'8 cis'4 e'4. e'8 d'4 cis'2. d'4 d'4 d'4 d'2 cis'4 cis'4 cis'4 d'4 cis'2 cis'4 d'4 fis'4 fis'4 e'4. d'8 cis'4 e'4. e'8 d'4 cis'2\n}\ntenor = {\n  a4 a4 a4 gis4 a4. a8 a4 gis4 gis4 gis4 a2 a4 a4 a4 gis4 a4. a8 a4 gis4 gis4 gis4 a2 a4 cis'4 a4 a4 a4 a4 a4 a4 a4 a4 a2 a4 a4 a4 a4 a4. gis8 a4 gis4. fis8 gis4 a2. gis4 gis4 gis4 gis2 a4 a4 a4 a4 a2 a4 a4 a4 a4 a4. gis8 a4 gis4. fis8 gis4 a2\n}\nbass = {\n  a,4 a,4 cis4 e4 a4. a8 a4 e4 e4 e4 a,2 a,4 a,4 cis4 e4 a4. a8 a4 e4 e4 e4 a,2 a4 a4 a4 cis4 d4 d4 d4 d4 d4 d4 a,2 a,4 a,4 cis4 a,4 e4. e8 e4 e4. e8 e4 a,2. e4 e4 e4 e2 fis4 fis4 fis4 d4 a,2 a,4 d4 d4 d4 e4. e8 e4 e4. e8 e4 a,2\n}\n", "preferred": true}]}, "wie-lieblich-ist-der-maien": {"slug": "wie-lieblich-ist-der-maien", "name": "WIE LIEBLICH IST DER MAIEN", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-steuerlein", "composer_date": "1575", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "wie-lieblich-ist-der-maien-cpdl", "provenance": {"layer": "tune", "source": "steuerlein-1575", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WIE LIEBLICH IST DER MAIEN (7.6.7.6.D), melody by Johann Steuerlein (1546-1613), first published 1575 with the composer's own four-part setting; the standard tune for Martin Behm's \"Wie lieblich ist der Maien\" (1606) and, in English use, for Monsell's \"Sing to the Lord of harvest.\" Steuerlein died 1613 — the composition is unambiguously public domain. Encoded fresh from the CPDL #80284 edition (ed. Johannes Becker, 2024): the edition's LilyPond source was translated by hand into house format and verified note-for-note against the same edition's PDF engraving and MusicXML (69/52/52/58 notes S/A/T/B, pitch- and duration-identical). A major, 4/4, quarter-note pickup; the first-strain repeat is written out in full (form AABA'). All musical components pre-1931; only the 2024 typeset itself is CPDL-licensed, and our .ly is a fresh re-encoding of the public-domain notes.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CPDL #80284, \"Wie lieblich ist der Maien\" (Johann Steuerlein), ed. Johannes Becker, 2024, https://www.cpdl.org/wiki/index.php/Wie_lieblich_ist_der_Maien_(Johann_Steuerlein); LilyPond source cross-checked against the edition's MusicXML and PDF, then re-encoded by hand into house format", "encoding_license": "CPDL"}, "harmonization": {"slug": "wie-lieblich-ist-der-maien-cpdl", "tune": "wie-lieblich-ist-der-maien", "music_file": "wie-lieblich-ist-der-maien-cpdl.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "steuerlein-1575", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Steuerlein's own four-part setting (1575) of his tune WIE LIEBLICH IST DER MAIEN; composer d. 1613, so the composition is unambiguously public domain. Re-encoded by hand from the CPDL #80284 edition (ed. Johannes Becker, 2024) and verified note-for-note against that edition's PDF engraving and MusicXML (69/52/52/58 notes S/A/T/B, pitch- and duration-identical). The one accidental outside the key, the alto E-sharp at the phrase-6 cadence (C-sharp-major chord), is printed in the source and carried as eis'. Only the 2024 typeset is CPDL-licensed; our .ly is a fresh re-encoding of the public-domain notes.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CPDL #80284, \"Wie lieblich ist der Maien\" (Johann Steuerlein), ed. Johannes Becker, 2024, https://www.cpdl.org/wiki/index.php/Wie_lieblich_ist_der_Maien_(Johann_Steuerlein); LilyPond source cross-checked against the edition's MusicXML and PDF, then re-encoded by hand into house format", "encoding_license": "CPDL"}, "music_ly": "%% WIE LIEBLICH IST DER MAIEN (7.6.7.6.D) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\break, NO \\bar, NO lyrics.\n%%\n%% Johann Steuerlein's own four-part setting (1575) of his own tune. Re-encoded\n%% by hand from the CPDL #80284 LilyPond source (ed. Johannes Becker, 2024) and\n%% verified note-for-note against that edition's PDF engraving and MusicXML\n%% (69/52/52/58 notes S/A/T/B, pitch- and duration-identical). The source's\n%% first-strain \"\\repeat unfold 2\" is written out in full (no volta support);\n%% form AABA': strains at notes 1-17, 18-34, 53-69, B-section at 35-52.\n%% 4/4 with a quarter-note pickup. Melismas are slurred: the soprano sings four\n%% two-note eighth groups in each strain (a'-b', cis''-d'', cis''-b', a'-gis')\n%% and in phrase 6 three eighth pairs plus one three-note group\n%% (a'8 gis'16 fis'16); the bass answers with two eighth pairs (d-e, fis-gis)\n%% in each strain. Alto and tenor are fully syllabic (52 notes each). The one\n%% accidental outside the key is the alto E-sharp at the phrase-6 cadence\n%% (a C-sharp-major chord, V of F-sharp minor), printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n  cis''4 cis''4 cis''4 cis''4 a'4 b'2 b'4 b'4\n  a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'16 fis'16) gis'2.\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n}\nalto = {\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n  a'4 a'4 a'4 a'4 e'4 gis'2 gis'4 gis'4\n  fis'4. fis'8 fis'4 fis'4 eis'2.\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n}\ntenor = {\n  a4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n  a4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n  e'4 e'4 e'4 e'4 cis'4 e'2 e'4 e'4\n  cis'4. cis'8 cis'4 cis'4 cis'2.\n  gis4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n}\nbass = {\n  a,4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n  a,4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n  a,4 a4. a8 a4 a4 e2 e4 e4\n  fis4. fis8 fis4 fis4 cis2.\n  cis4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n}\n"}, "harmonizations": [{"slug": "wie-lieblich-ist-der-maien-cpdl", "tune": "wie-lieblich-ist-der-maien", "music_file": "wie-lieblich-ist-der-maien-cpdl.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 34, 52], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "steuerlein-1575", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Johann Steuerlein's own four-part setting (1575) of his tune WIE LIEBLICH IST DER MAIEN; composer d. 1613, so the composition is unambiguously public domain. Re-encoded by hand from the CPDL #80284 edition (ed. Johannes Becker, 2024) and verified note-for-note against that edition's PDF engraving and MusicXML (69/52/52/58 notes S/A/T/B, pitch- and duration-identical). The one accidental outside the key, the alto E-sharp at the phrase-6 cadence (C-sharp-major chord), is printed in the source and carried as eis'. Only the 2024 typeset is CPDL-licensed; our .ly is a fresh re-encoding of the public-domain notes.", "pd_jurisdictions": {"US": true}, "encoding_origin": "CPDL #80284, \"Wie lieblich ist der Maien\" (Johann Steuerlein), ed. Johannes Becker, 2024, https://www.cpdl.org/wiki/index.php/Wie_lieblich_ist_der_Maien_(Johann_Steuerlein); LilyPond source cross-checked against the edition's MusicXML and PDF, then re-encoded by hand into house format", "encoding_license": "CPDL"}, "music_ly": "%% WIE LIEBLICH IST DER MAIEN (7.6.7.6.D) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\break, NO \\bar, NO lyrics.\n%%\n%% Johann Steuerlein's own four-part setting (1575) of his own tune. Re-encoded\n%% by hand from the CPDL #80284 LilyPond source (ed. Johannes Becker, 2024) and\n%% verified note-for-note against that edition's PDF engraving and MusicXML\n%% (69/52/52/58 notes S/A/T/B, pitch- and duration-identical). The source's\n%% first-strain \"\\repeat unfold 2\" is written out in full (no volta support);\n%% form AABA': strains at notes 1-17, 18-34, 53-69, B-section at 35-52.\n%% 4/4 with a quarter-note pickup. Melismas are slurred: the soprano sings four\n%% two-note eighth groups in each strain (a'-b', cis''-d'', cis''-b', a'-gis')\n%% and in phrase 6 three eighth pairs plus one three-note group\n%% (a'8 gis'16 fis'16); the bass answers with two eighth pairs (d-e, fis-gis)\n%% in each strain. Alto and tenor are fully syllabic (52 notes each). The one\n%% accidental outside the key is the alto E-sharp at the phrase-6 cadence\n%% (a C-sharp-major chord, V of F-sharp minor), printed in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n  cis''4 cis''4 cis''4 cis''4 a'4 b'2 b'4 b'4\n  a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'16 fis'16) gis'2.\n  e'4 a'8( b'8) cis''8( d''8) cis''8( b'8) a'8( gis'8) fis'2 fis'4 fis'4\n  e'4 a'4 a'4 gis'4 a'2.\n}\nalto = {\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n  a'4 a'4 a'4 a'4 e'4 gis'2 gis'4 gis'4\n  fis'4. fis'8 fis'4 fis'4 eis'2.\n  cis'4 cis'4 e'4 e'4 cis'4 d'2 d'4 d'4\n  cis'4 fis'4 e'4. e'8 cis'2.\n}\ntenor = {\n  a4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n  a4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n  e'4 e'4 e'4 e'4 cis'4 e'2 e'4 e'4\n  cis'4. cis'8 cis'4 cis'4 cis'2.\n  gis4 a4. a8 a4 a4 a2 a4. b8\n  cis'4 d'4 b4 b4 a2.\n}\nbass = {\n  a,4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n  a,4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n  a,4 a4. a8 a4 a4 e2 e4 e4\n  fis4. fis8 fis4 fis4 cis2.\n  cis4 a,4 a,4 a,4 a,4 d2 d8( e8) fis8( gis8)\n  a4 d4 e4 e4 a,2.\n}\n", "preferred": true}]}, "wie-schon-leuchtet": {"slug": "wie-schon-leuchtet", "name": "WIE SCHÖN LEUCHTET DER MORGENSTERN", "alt_name": "FRANKFURT", "meter_label": "8.8.7.8.8.7.4.8.4.8", "meter": {"pattern": [8, 8, 7, 8, 8, 7, 4, 8, 4, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "phillip-nicolai", "composer_date": "1599", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "wie-schon-leuchtet-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WIE SCHÖN LEUCHTET DER MORGENSTERN (also FRANKFURT), a bar-form chorale tune by Philipp Nicolai, first published in Freudenspiegel des ewigen Lebens (Frankfurt, 1599). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, half-note pickup; 70 syllabic soprano notes). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wie schön leuchtet der Morgenstern\" (Philipp Nicolai, 1599); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "wie-schon-leuchtet-cyberhymnal", "tune": "wie-schon-leuchtet", "music_file": "wie-schon-leuchtet-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [16, 31, 46, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WIE SCHÖN LEUCHTET DER MORGENSTERN (FRANKFURT), Philipp Nicolai, 1599. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WIE SCHÖN LEUCHTET DER MORGENSTERN (Philipp Nicolai, 1599); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, half-note pickup). Fully syllabic (70 notes = 70 syllables), one quarter-rest phrase-breath. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wie schön leuchtet der Morgenstern\" (Philipp Nicolai, 1599); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% WIE SCHÖN LEUCHTET DER MORGENSTERN (8.8.7.8.8.7.4.8.4.8) — four SATB voice\n% streams, canonical key E-flat major. Corpus harmonization source for the\n% HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Wie schön leuchtet der Morgenstern\",\n% Philipp Nicolai 1599) with tools/mid2ly.py and verified against the Cyber Hymnal\n% engraving (E-flat major, 4/4, printed time signature, half-note pickup). METERED,\n% fully SYLLABIC: 70 soprano notes = 70 syllables (0 melismas). One quarter-rest\n% phrase-breath after note 8. The bar-form (AAB) abgesang has half-notes that begin\n% on beat 4 and tie across the barline — ordinary metered syncopation, auto-tied.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 2 }\nsoprano = {\n  es'2 bes'2 g'2 es'2 bes'2 c''4 c''4 bes'2 r4 bes'4 c''4 d''4 es''4 d''4 c''2 c''2 bes'2 bes'4 c''2 bes'2 as'4 g'4 f'2 es'2 es'2 bes'2 g'2 es'2 bes'2 c''4 c''4 bes'2 bes'4 c''4 d''4 es''4 d''4 c''2 c''2 bes'2. bes'4 c''2 bes'2 as'4 g'4 f'2 es'1 bes'2 g'2 bes'2 g'2 g'4 g'4 f'4 f'4 g'4 g'4 f'4 f'4 g'4 g'4 f'2 es'1 es''2 bes'2 c''2 bes'2 as'4 g'4 f'2 es'1\n}\nalto = {\n  bes2 bes2 bes2 c'2 f'2 g'4 f'4 d'2 r4 es'4 es'4 f'4 g'4 f'4 f'2 f'2 d'2 es'4 es'2 es'2 c'4 bes4 bes2 bes2 bes2 bes2 bes2 c'2 f'2 g'4 f'4 d'2 es'4 es'4 f'4 g'4 f'4 f'2 f'2 d'2. es'4 es'2 es'2 c'4 bes4 bes2 bes1 d'2 es'2 f'2 es'2 bes4 es'4 es'4 d'4 bes4 es'4 es'4 d'4 es'4 es'4 d'2 es'1 es'2 es'2 es'2 d'2 es'4 es'4 es'4 d'4 bes1\n}\ntenor = {\n  g2 f2 g2 g2 bes2 bes4 a4 bes2 r4 g4 g4 bes4 bes4 bes4 bes2 a2 bes2 g4 as2 bes2 es4 es4 es4 d4 g2 g2 f2 g2 g2 bes2 bes4 a4 bes2 g4 g4 bes4 bes4 bes4 bes2 a2 bes2. g4 as2 bes2 es4 es4 es4 d4 g1 bes2 bes2 bes2 bes2 es4 bes4 bes4 f4 es4 bes4 bes4 bes4 bes4 bes4 bes2 g1 g2 bes2 as2 f2 c'4 bes4 bes2 g1\n}\nbass = {\n  es2 d2 es2 c2 d2 es4 f4 bes,2 r4 es4 c4 bes,4 es4 bes,4 f2 f2 bes,2 es4 as,2 g,2 as,4 es,4 bes,2 es,2 es2 d2 es2 c2 d2 es4 f4 bes,2 es4 c4 bes,4 es4 bes,4 f2 f2 bes,2. es4 as,2 g,2 as,4 es,4 bes,2 es,1 g2 es2 d2 es2 es4 es,4 bes,4 bes,4 es4 es,4 bes,4 bes,4 es4 g,4 bes,2 es,1 c2 g,2 as,2 bes,2 c4 es4 bes,2 es,1\n}\n"}, "harmonizations": [{"slug": "wie-schon-leuchtet-bwv436", "tune": "wie-schon-leuchtet", "music_file": "wie-schon-leuchtet-bwv436.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 31, 46, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WIE SCHÖN LEUCHTET DER MORGENSTERN, Philipp Nicolai, 1599; harm. J. S. Bach (BWV 436). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 436 — the standalone chorale Wie schoen leuchtet der Morgenstern, No. 278 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor278.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (pitch, duration and tie of every event — the single tenor tie, the explicit naturals, the E#/F## chromatic bass approach to the final cadence). The kern encodes E major (*k[f#c#g#d#] with *E:, as Breitkopf prints it); the corpus file respells it one chromatic semitone down in E-flat major — the corpus tune's canonical key, shared with the existing cyberhymnal harmonization per the duplicated-fact key rule — an augmented-unison transposition (letter names and octaves unchanged), and the printed file was re-verified event-for-event against the kern at the -1 semitone offset. 4/4, quarter pickup. The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B, shortening the notated first-ending cadence halves to quarters in all four voices to admit the repeat's quarter pickup, exactly as the independently engraved music21 bach/bwv436.mxl witness bars it (its first-ending measure is three beats, soprano fis2 e4, completed by the repeat's pickup); at the second ending the kern's halves stand (house style keeps the held cadence rather than the witness's quarter + rest), so every bar is 4/4 and no mid-hymn time change is needed. Fermatas at the source's phrase ends (soprano ordinals 8, 16, 23, 31, 39, 46, 48, 50, 62, 70) are omitted per house style. Tune identity against the corpus wie-schon-leuchtet harmonization (CyberHymnal, also E-flat): count-identical 70:70 soprano, 62 of 70 pitches identical, 0 insertions, 0 deletions; the 8 substitutions (ordinals 17/40, the 51-59 repeated-note passage where Bach sits a step higher, and 64) are Bach's melodic placement within the same phrase structure. Fully syllabic: 70 soprano notes for the 70 syllables of 8.8.7.8.8.7.4.8.4.8, confirmed by the witness's own German underlay (two lyric verses in the Stollen, one in the Abgesang, one syllable per kern notehead throughout; its sole melisma is an untexted passing eighth absent from the kern).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor278.krn (BWV 436, Breitkopf No. 278), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% WIE SCHÖN LEUCHTET DER MORGENSTERN (8.8.7.8.8.7.4.8.4.8) — four SATB voice\n%% streams, canonical key E-flat major. Corpus harmonization source for the\n%% HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's standalone chorale harmonization BWV 436 (No. 278 in the\n%% Breitkopf collection, 1784-87), converted from the craigsapp/bach-370-chorales\n%% kern edition (chor278.krn) with tools/kern2ly.py and verified event-for-event\n%% against the kern source in all four voices (the single tenor tie at bar 11,\n%% the explicit naturals, the chromatic E#/F## bass approach to the final\n%% cadence). The kern encodes E major (*k[f#c#g#d#] with *E:, as Breitkopf\n%% prints it); this file respells it one chromatic semitone down in E-FLAT\n%% MAJOR — the corpus tune's canonical key, shared with the existing\n%% cyberhymnal harmonization per the duplicated-fact key rule — an\n%% augmented-unison transposition (letter names and octaves unchanged:\n%% E->Eb, F#->F, A#->A, E#->E, F##->F#), verified event-for-event against the\n%% kern at the -1 semitone offset. 4/4, quarter pickup. The kern encodes the\n%% Stollen once with a repeat (*>[A,A,B]); written out here A-A-B per corpus\n%% convention. At the first Stollen ending the notated cadence halves\n%% (printed soprano es'2, alto bes2, tenor g2, bass es2) shorten to quarters\n%% to admit the repeat's quarter pickup — exactly the barring of the\n%% independently engraved music21 bach/bwv436.mxl witness, whose first-ending\n%% measure is three beats completed by the repeat's pickup; at the second\n%% ending the kern's halves stand (house style keeps the held cadence rather\n%% than the witness's quarter + rest). Every bar is therefore 4/4 and no\n%% mid-hymn time change is needed. The source prints fermatas at soprano\n%% ordinals 8, 16, 23, 31, 39, 46, 48, 50, 62, 70 (Bach's phrase ends: lines\n%% of 8+8+7 sung twice, then the 4-syllable line 7 split 2+2 with a fermata\n%% on each half, none at line 8's end, one each at lines 9 and 10); fermatas\n%% are omitted per house style. SYLLABIC: 70 soprano notes = 70 syllables of\n%% 8.8.7.8.8.7.4.8.4.8 (0 melismas). The mxl witness's own German underlay\n%% (two lyric verses in the Stollen, one in the Abgesang) is\n%% one-syllable-per-note at every kern notehead; its sole melisma is an extra\n%% untexted passing eighth (under \"leuch-\") that the kern does not carry.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'4 |\n  bes'4 g'4 es'4 bes'4 |\n  c''4 c''4 bes'4 bes'4 |\n  c''4 d''4 es''4 d''4 |\n  c''4 c''4 bes'4 g'4 |\n  c''4 bes'4 as'4 g'4 |\n  f'2 es'4 es'4 |\n  bes'4 g'4 es'4 bes'4 |\n  c''4 c''4 bes'4 bes'4 |\n  c''4 d''4 es''4 d''4 |\n  c''4 c''4 bes'4 g'4 |\n  c''4 bes'4 as'4 g'4 |\n  f'2 es'2 |\n  bes'2 g'2 |\n  bes'2 g'2 |\n  as'4 g'4 f'4 g'4 |\n  as'4 g'4 f'4 g'4 |\n  as'4 g'4 f'2 |\n  es'2 es''4 d''4 |\n  c''4 bes'4 as'4 g'4 |\n  f'2 es'4\n}\n\nalto = {\n  bes4 |\n  bes4 bes4 c'4 d'4 |\n  g'4 f'4 f'4 g'4 |\n  as'4 as'4 g'4 f'4 |\n  f'8 g'8 f'8 es'8 d'4 es'4 |\n  es'4 d'4 es'8 f'8 g'8 es'8 |\n  es'4 d'4 bes4 bes4 |\n  bes4 bes4 c'4 d'4 |\n  g'4 f'4 f'4 g'4 |\n  as'4 as'4 g'4 f'4 |\n  f'8 g'8 f'8 es'8 d'4 es'4 |\n  es'4 d'4 es'8 f'8 g'8 es'8 |\n  es'4 d'4 bes2 |\n  f'2 es'2 |\n  f'2 es'2 |\n  f'4 es'4 d'4 es'4 |\n  f'4 es'4 d'4 es'4 |\n  f'4 es'8 d'8 c'4 d'4 |\n  bes2 g'4 fis'4 |\n  g'4 g'8 f'8 es'4 es'4 |\n  es'4 d'4 bes4\n}\n\ntenor = {\n  g4 |\n  f4 es8 f8 g8 a8 bes4 |\n  bes4 a4 d'4 es'4 |\n  es'4 f'4 bes4 bes4 |\n  bes4 a4 bes4 bes4 |\n  as8 g8 f4 c'4 bes4 |\n  bes4. as8 g4 g4 |\n  f4 es8 f8 g8 a8 bes4 |\n  bes4 a4 d'4 es'4 |\n  es'4 f'4 bes4 bes4 |\n  bes4 a4 bes4 bes4 |\n  as8 g8 f4 c'4 bes4 |\n  bes4. as8 g2 |\n  bes2 bes2 |\n  d'2 c'2 |\n  c'4 bes4 bes4 bes4 |\n  bes4 bes4 bes4 bes4 |\n  c'8 d'8 es'4~ es'8 c'8 bes8 as8 |\n  g2 c'8 bes8 a4 |\n  g4 d'4 c'4 bes4 |\n  c'4 bes8 as8 g4\n}\n\nbass = {\n  es4 |\n  d4 es4 c4 g4 |\n  es4 f4 bes,4 es4 |\n  as4 g8 f8 g8 a8 bes4 |\n  f4 f,4 bes,4 es4 |\n  as,4 bes,4 c8 d8 es4 |\n  bes,2 es4 es4 |\n  d4 es4 c4 g4 |\n  es4 f4 bes,4 es4 |\n  as4 g8 f8 g8 a8 bes4 |\n  f4 f,4 bes,4 es4 |\n  as,4 bes,4 c8 d8 es4 |\n  bes,2 es2 |\n  d2 es2 |\n  bes,2 c2 |\n  f4 g4 as8 g8 f8 es8 |\n  d4 es4 bes,8 bes8 as8 g8 |\n  f4 c8 bes,8 as,4 bes,4 |\n  es2 c4 d4 |\n  e8 fis8 g4 c8 d8 es4 |\n  a,4 bes,4 es,4\n}\n", "preferred": false}, {"slug": "wie-schon-leuchtet-cyberhymnal", "tune": "wie-schon-leuchtet", "music_file": "wie-schon-leuchtet-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [16, 31, 46, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WIE SCHÖN LEUCHTET DER MORGENSTERN (FRANKFURT), Philipp Nicolai, 1599. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WIE SCHÖN LEUCHTET DER MORGENSTERN (Philipp Nicolai, 1599); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, half-note pickup). Fully syllabic (70 notes = 70 syllables), one quarter-rest phrase-breath. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wie schön leuchtet der Morgenstern\" (Philipp Nicolai, 1599); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "% WIE SCHÖN LEUCHTET DER MORGENSTERN (8.8.7.8.8.7.4.8.4.8) — four SATB voice\n% streams, canonical key E-flat major. Corpus harmonization source for the\n% HymnBookGenerator close-score engine.\n% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%\n% Encoded from The Cyber Hymnal SATB MIDI (\"Wie schön leuchtet der Morgenstern\",\n% Philipp Nicolai 1599) with tools/mid2ly.py and verified against the Cyber Hymnal\n% engraving (E-flat major, 4/4, printed time signature, half-note pickup). METERED,\n% fully SYLLABIC: 70 soprano notes = 70 syllables (0 melismas). One quarter-rest\n% phrase-breath after note 8. The bar-form (AAB) abgesang has half-notes that begin\n% on beat 4 and tie across the barline — ordinary metered syncopation, auto-tied.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 2 }\nsoprano = {\n  es'2 bes'2 g'2 es'2 bes'2 c''4 c''4 bes'2 r4 bes'4 c''4 d''4 es''4 d''4 c''2 c''2 bes'2 bes'4 c''2 bes'2 as'4 g'4 f'2 es'2 es'2 bes'2 g'2 es'2 bes'2 c''4 c''4 bes'2 bes'4 c''4 d''4 es''4 d''4 c''2 c''2 bes'2. bes'4 c''2 bes'2 as'4 g'4 f'2 es'1 bes'2 g'2 bes'2 g'2 g'4 g'4 f'4 f'4 g'4 g'4 f'4 f'4 g'4 g'4 f'2 es'1 es''2 bes'2 c''2 bes'2 as'4 g'4 f'2 es'1\n}\nalto = {\n  bes2 bes2 bes2 c'2 f'2 g'4 f'4 d'2 r4 es'4 es'4 f'4 g'4 f'4 f'2 f'2 d'2 es'4 es'2 es'2 c'4 bes4 bes2 bes2 bes2 bes2 bes2 c'2 f'2 g'4 f'4 d'2 es'4 es'4 f'4 g'4 f'4 f'2 f'2 d'2. es'4 es'2 es'2 c'4 bes4 bes2 bes1 d'2 es'2 f'2 es'2 bes4 es'4 es'4 d'4 bes4 es'4 es'4 d'4 es'4 es'4 d'2 es'1 es'2 es'2 es'2 d'2 es'4 es'4 es'4 d'4 bes1\n}\ntenor = {\n  g2 f2 g2 g2 bes2 bes4 a4 bes2 r4 g4 g4 bes4 bes4 bes4 bes2 a2 bes2 g4 as2 bes2 es4 es4 es4 d4 g2 g2 f2 g2 g2 bes2 bes4 a4 bes2 g4 g4 bes4 bes4 bes4 bes2 a2 bes2. g4 as2 bes2 es4 es4 es4 d4 g1 bes2 bes2 bes2 bes2 es4 bes4 bes4 f4 es4 bes4 bes4 bes4 bes4 bes4 bes2 g1 g2 bes2 as2 f2 c'4 bes4 bes2 g1\n}\nbass = {\n  es2 d2 es2 c2 d2 es4 f4 bes,2 r4 es4 c4 bes,4 es4 bes,4 f2 f2 bes,2 es4 as,2 g,2 as,4 es,4 bes,2 es,2 es2 d2 es2 c2 d2 es4 f4 bes,2 es4 c4 bes,4 es4 bes,4 f2 f2 bes,2. es4 as,2 g,2 as,4 es,4 bes,2 es,1 g2 es2 d2 es2 es4 es,4 bes,4 bes,4 es4 es,4 bes,4 bes,4 es4 g,4 bes,2 es,1 c2 g,2 as,2 bes,2 c4 es4 bes,2 es,1\n}\n", "preferred": true}]}, "winchester-new": {"slug": "winchester-new", "name": "WINCHESTER NEW", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "winchester-new", "composer_date": "1896", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "winchester-new-oh142", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:142; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "winchester-new-oh142", "tune": "winchester-new", "music_file": "winchester-new-oh142.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:142; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:142", "encoding_license": "PD-dedication"}, "music_ly": "%% O Lord My Soul Convicted\n%% Imported from Open Hymnal ABC X:142 via tools/abc_import.py\n%% Open Hymnal X:142; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 c''4 g'4 a'4 a'4 g'4 f'4 e'4 e'4 f'4 e'4 d'4 g'4 g'4 fis'4 g'4 g'4 c''4 d''4 e''4 c''4 f''4 e''4 d''4 e''4 c''4 a'4 g'4 c''4 c''4 b'4 c''4\n}\nalto = {\n  e'4 g'4 e'4 f'4 f'8 e'8 d'4 b4 c'4 c'4 c'4 c'4 b4 b4 e'4 d'8 c'8 b4 d'4 g'4 f'4 e'4 g'4 f'4 g'4 g'4 g'4 g'4 f'8 e'8 d'4 c'4 d'4 f'4 e'4\n}\ntenor = {\n  c'4 c'4 c'4 c'4 c'4 g4 g4 g4 g4 f4 g4 g4 b4 a4 a4 g4 b4 c'4 b4 c'4 g4 a8 b8 c'4 b4 c'4 c'4 c'4 b4 a4 a4 g4 g4\n}\nbass = {\n  c4 e4 c4 f4 a,4 b,4 g,4 c4 c4 a,4 c4 g,4 e4 c4 d4 g,4 g8 f8 e4 d4 c4 e4 d4 c4 g4 c4 e4 f4 g4 a4 f4 g4 c4\n}\n"}, "harmonizations": [{"slug": "winchester-new-oh142", "tune": "winchester-new", "music_file": "winchester-new-oh142.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:142; all components published pre-1931 (latest year 1896).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:142", "encoding_license": "PD-dedication"}, "music_ly": "%% O Lord My Soul Convicted\n%% Imported from Open Hymnal ABC X:142 via tools/abc_import.py\n%% Open Hymnal X:142; all components published pre-1931 (latest year 1896).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 c''4 g'4 a'4 a'4 g'4 f'4 e'4 e'4 f'4 e'4 d'4 g'4 g'4 fis'4 g'4 g'4 c''4 d''4 e''4 c''4 f''4 e''4 d''4 e''4 c''4 a'4 g'4 c''4 c''4 b'4 c''4\n}\nalto = {\n  e'4 g'4 e'4 f'4 f'8 e'8 d'4 b4 c'4 c'4 c'4 c'4 b4 b4 e'4 d'8 c'8 b4 d'4 g'4 f'4 e'4 g'4 f'4 g'4 g'4 g'4 g'4 f'8 e'8 d'4 c'4 d'4 f'4 e'4\n}\ntenor = {\n  c'4 c'4 c'4 c'4 c'4 g4 g4 g4 g4 f4 g4 g4 b4 a4 a4 g4 b4 c'4 b4 c'4 g4 a8 b8 c'4 b4 c'4 c'4 c'4 b4 a4 a4 g4 g4\n}\nbass = {\n  c4 e4 c4 f4 a,4 b,4 g,4 c4 c4 a,4 c4 g,4 e4 c4 d4 g,4 g8 f8 e4 d4 c4 e4 d4 c4 g4 c4 e4 f4 g4 a4 f4 g4 c4\n}\n", "preferred": true}]}, "winchester-old": {"slug": "winchester-old", "name": "WINCHESTER OLD", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Thomas Est, The Whole Book of Psalmes, 1592", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "winchester-old-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WINCHESTER OLD (C.M.), first printed in Thomas Est's The Whole Book of Psalmes (London, 1592). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, one-quarter pickup). The printed accidentals — the soprano B-natural in the second line and the alto C-sharp (raised leading tone) in the third line — are carried from the source engraving. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Winchester Old\" (Thomas Est, The Whole Book of Psalmes, 1592); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "winchester-old-cyberhymnal", "tune": "winchester-old", "music_file": "winchester-old-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WINCHESTER OLD (C.M.), Thomas Est, The Whole Book of Psalmes, 1592. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WINCHESTER OLD (Thomas Est, The Whole Book of Psalmes, 1592); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, one-quarter pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Winchester Old\" (Thomas Est, The Whole Book of Psalmes, 1592); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WINCHESTER OLD (C.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Winchester Old\", from Thomas Est's\n%% The Whole Book of Psalmes, 1592) with tools/mid2ly.py and verified against the\n%% Cyber Hymnal engraving. Fully syllabic C.M. with a one-quarter pickup\n%% (28 soprano notes = 28 syllables). The soprano B-natural in the second line and\n%% the alto C-sharp (raised leading tone) in the third line are printed with their\n%% accidentals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 | a'4. a'8 g'4 f'4 | bes'4 bes'4 a'4 g'4 | a'4 c''4 c''4 b'4 | c''2. a'4 |\n  d''4. c''8 bes'4 a'4 | g'4 f'4 e'4 a'4 | g'4 f'4 f'4 e'4 | f'2.\n}\nalto = {\n  c'4 | f'4. f'8 e'4 d'4 | d'4 f'4 f'4 e'4 | f'4 g'4 g'4 g'4 | e'2. f'4 |\n  f'4. f'8 f'4 f'4 | e'4 d'4 cis'4 c'4 | c'4 e'4 d'4 d'4 | c'2.\n}\ntenor = {\n  a4 | c'4. c'8 c'4 a4 | bes4 d'4 c'4 c'4 | c'4 c'4 d'4 d'4 | c'2. c'4 |\n  bes4. a8 bes4 c'4 | c'4 a4 a4 a4 | c'4 a4 bes4 g4 | a2.\n}\nbass = {\n  f4 | f4. f8 c4 d4 | bes,4 bes,4 f4 c4 | f4 e4 g4 g4 | c2. f4 |\n  bes4. f8 d4 f4 | c4 d4 a,4 f4 | c4 d4 bes,4 c4 | f2.\n}\n"}, "harmonizations": [{"slug": "winchester-old-cyberhymnal", "tune": "winchester-old", "music_file": "winchester-old-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "WINCHESTER OLD (C.M.), Thomas Est, The Whole Book of Psalmes, 1592. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WINCHESTER OLD (Thomas Est, The Whole Book of Psalmes, 1592); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (F major, 4/4, one-quarter pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Winchester Old\" (Thomas Est, The Whole Book of Psalmes, 1592); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WINCHESTER OLD (C.M.) — four SATB voice streams, canonical key F major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Winchester Old\", from Thomas Est's\n%% The Whole Book of Psalmes, 1592) with tools/mid2ly.py and verified against the\n%% Cyber Hymnal engraving. Fully syllabic C.M. with a one-quarter pickup\n%% (28 soprano notes = 28 syllables). The soprano B-natural in the second line and\n%% the alto C-sharp (raised leading tone) in the third line are printed with their\n%% accidentals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 | a'4. a'8 g'4 f'4 | bes'4 bes'4 a'4 g'4 | a'4 c''4 c''4 b'4 | c''2. a'4 |\n  d''4. c''8 bes'4 a'4 | g'4 f'4 e'4 a'4 | g'4 f'4 f'4 e'4 | f'2.\n}\nalto = {\n  c'4 | f'4. f'8 e'4 d'4 | d'4 f'4 f'4 e'4 | f'4 g'4 g'4 g'4 | e'2. f'4 |\n  f'4. f'8 f'4 f'4 | e'4 d'4 cis'4 c'4 | c'4 e'4 d'4 d'4 | c'2.\n}\ntenor = {\n  a4 | c'4. c'8 c'4 a4 | bes4 d'4 c'4 c'4 | c'4 c'4 d'4 d'4 | c'2. c'4 |\n  bes4. a8 bes4 c'4 | c'4 a4 a4 a4 | c'4 a4 bes4 g4 | a2.\n}\nbass = {\n  f4 | f4. f8 c4 d4 | bes,4 bes,4 f4 c4 | f4 e4 g4 g4 | c2. f4 |\n  bes4. f8 d4 f4 | c4 d4 a,4 f4 | c4 d4 bes,4 c4 | f2.\n}\n", "preferred": true}]}, "wir-glauben-all-an-einen-gott-schoepfer": {"slug": "wir-glauben-all-an-einen-gott-schoepfer", "name": "WIR GLAUBEN ALL AN EINEN GOTT, SCHOEPFER", "meter_label": "8.7.8.7.6.6.6.6.7", "meter": {"pattern": [8, 7, 8, 7, 6, 6, 6, 6, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Medieval German", "arranger": "martin-luther", "alt_name": "Apostolic Creed", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "wir-glauben-all-an-einen-gott-schoepfer-oh126", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:126; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "wir-glauben-all-an-einen-gott-schoepfer-oh126", "tune": "wir-glauben-all-an-einen-gott-schoepfer", "music_file": "wir-glauben-all-an-einen-gott-schoepfer-oh126.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [13, 29, 46, 63, 80], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [13, 21, 29, 38, 46, 54, 63, 72, 80], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:126; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:126", "encoding_license": "PD-dedication"}, "music_ly": "%% We All Believe in One True God\n%% Imported from Open Hymnal ABC X:126 via tools/abc_import.py\n%% Open Hymnal X:126; all components published pre-1931 (latest year 1854).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  d'2 a'4( g'4 a'4) e'4 f'2 e'4( g'4) f'4( e'4) d'4( cis'4) d'2 | a'2 a'2 d''4 c''4 b'4 a'4 c''2 a'2 | r4 b'4 c''4 a'4 a'4 e'4 f'4 f'4 e'2 | d'4 e'4 f'4 g'4 f'4 e'4 d'4( cis'4) d'2 | d''2 d''2 e''4 d''4 e''4 cis''4 d''2 d''2 | e''4 b'4 c''4 a'4 a'4 e'4 f'2 e'2 | a'4 g'4 a'4 b'4 c''4 b'4 a'4( gis'4) a'2 | b'4.( c''8) d''2 a'4 g'4 a'4 e'4 f'2 e'2 | r4 g'4 f'4.( e'8) d'4( cis'4) d'4( f'4) d'2 | f'4( g'4) a'4( b'4) c''4.( b'8 a'4. g'8 f'4 e'4) | d'4 e'4 f'4 g'4 f'4( e'4) d'4 cis'4 d'1\n}\nalto = {\n  d'2 f'4( g'4) c'2 a4( d'4) c'4( d'4) d'4( c'4) f8( g8 a4) a2 | f'2 e'2 g'4 e'4 e'4 c'4 e'2 f'2 | s4 f'4 e'4 f'4 f'4 e'4 d'4 d'4 cis'2 | a4 e'4 d'4 d'4 c'4 c'4 a2 a2 | f'2 g'2 g'4 a'4 g'4 e'4 f'2 f'2 | g'4 g'4 e'4 f'4 f'4 e'4 d'2 cis'2 | c'4 e'4 f'4 f'4 e'4 e'4 c'8( d'8 e'4) e'2 | g'2 a'2 f'4 e'4 e'4 c'4 a4( b4) c'2 | s4 d'4 c'2 a2 a2 bes2 | d'4( e'4) f'2 e'4( g'4 f'4 e'4 d'4 cis'4) | a4 c'4 d'4 d'4 c'2 bes4 a4 a1\n}\ntenor = {\n  f2 a4( c'4 a4) g4 f4.( g8) a4( bes4) a2 d4( e4) f2 | d'2. c'4 b4 c'4 g4 a4 g4( c'4) c'2 | r4 d'4 c'4 c'4 f4 a4 a4 a4 a2 | f4 a4 d'4 bes4 a4 g4 f4( e4) f2 | a2 b2 c'4 a4 bes4 a4 a2 a2 | c'4 d'4 c'4 c'4 f4 a4 a2 a2 | a4 c'4 c'4 d'4 c'4 g4 a4( b4) c'2 | e'2 f'2 c'4 c'4 c'4 g4 f2 g2 | r4 bes4 a4( g4) f4( e4) f4( a4) g2 | a4( c'2) d'4 g4( g4 c'4 c'4 a2) | f4 g4 d'4 bes4 a4 g2 e4 fis1\n}\nbass = {\n  d2 d4( e4 f4) c4 d2( a,4) g,4 d4( a,4) bes,4( a,4) d2 | d2 a,2 g,4 a,4 e4 f4 c2 f,2 | s4 d4 a4 f4 d4 cis4 d4 d4 a,2 | d4 c4 bes,4 g,4 a,8 bes,8 c4 d4( a,4) d2 | d2 g2 c4 f4 g4 a,4 d2 d2 | c4 g4 a4 f4 d4 cis4 d2 a,2 | f,4 c4 f4 d4 a,4 e4 f4( e4) a,2 | e2 d4.( e8) f4 c4 a,4 c4 d2 c2 | s4 g,4 a,4( c4) d4( a,4) f,4( d,4) g,2 | d4( c4) f4( d4) c4( e4 f4 c4 d4 a,4) | d4 c4 bes,4 g,4 a,4( c4) g,4 a,4 d1\n}\n"}, "harmonizations": [{"slug": "wir-glauben-all-an-einen-gott-schoepfer-oh126", "tune": "wir-glauben-all-an-einen-gott-schoepfer", "music_file": "wir-glauben-all-an-einen-gott-schoepfer-oh126.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [13, 29, 46, 63, 80], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [13, 21, 29, 38, 46, 54, 63, 72, 80], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:126; all components published pre-1931 (latest year 1854).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:126", "encoding_license": "PD-dedication"}, "music_ly": "%% We All Believe in One True God\n%% Imported from Open Hymnal ABC X:126 via tools/abc_import.py\n%% Open Hymnal X:126; all components published pre-1931 (latest year 1854).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  d'2 a'4( g'4 a'4) e'4 f'2 e'4( g'4) f'4( e'4) d'4( cis'4) d'2 | a'2 a'2 d''4 c''4 b'4 a'4 c''2 a'2 | r4 b'4 c''4 a'4 a'4 e'4 f'4 f'4 e'2 | d'4 e'4 f'4 g'4 f'4 e'4 d'4( cis'4) d'2 | d''2 d''2 e''4 d''4 e''4 cis''4 d''2 d''2 | e''4 b'4 c''4 a'4 a'4 e'4 f'2 e'2 | a'4 g'4 a'4 b'4 c''4 b'4 a'4( gis'4) a'2 | b'4.( c''8) d''2 a'4 g'4 a'4 e'4 f'2 e'2 | r4 g'4 f'4.( e'8) d'4( cis'4) d'4( f'4) d'2 | f'4( g'4) a'4( b'4) c''4.( b'8 a'4. g'8 f'4 e'4) | d'4 e'4 f'4 g'4 f'4( e'4) d'4 cis'4 d'1\n}\nalto = {\n  d'2 f'4( g'4) c'2 a4( d'4) c'4( d'4) d'4( c'4) f8( g8 a4) a2 | f'2 e'2 g'4 e'4 e'4 c'4 e'2 f'2 | s4 f'4 e'4 f'4 f'4 e'4 d'4 d'4 cis'2 | a4 e'4 d'4 d'4 c'4 c'4 a2 a2 | f'2 g'2 g'4 a'4 g'4 e'4 f'2 f'2 | g'4 g'4 e'4 f'4 f'4 e'4 d'2 cis'2 | c'4 e'4 f'4 f'4 e'4 e'4 c'8( d'8 e'4) e'2 | g'2 a'2 f'4 e'4 e'4 c'4 a4( b4) c'2 | s4 d'4 c'2 a2 a2 bes2 | d'4( e'4) f'2 e'4( g'4 f'4 e'4 d'4 cis'4) | a4 c'4 d'4 d'4 c'2 bes4 a4 a1\n}\ntenor = {\n  f2 a4( c'4 a4) g4 f4.( g8) a4( bes4) a2 d4( e4) f2 | d'2. c'4 b4 c'4 g4 a4 g4( c'4) c'2 | r4 d'4 c'4 c'4 f4 a4 a4 a4 a2 | f4 a4 d'4 bes4 a4 g4 f4( e4) f2 | a2 b2 c'4 a4 bes4 a4 a2 a2 | c'4 d'4 c'4 c'4 f4 a4 a2 a2 | a4 c'4 c'4 d'4 c'4 g4 a4( b4) c'2 | e'2 f'2 c'4 c'4 c'4 g4 f2 g2 | r4 bes4 a4( g4) f4( e4) f4( a4) g2 | a4( c'2) d'4 g4( g4 c'4 c'4 a2) | f4 g4 d'4 bes4 a4 g2 e4 fis1\n}\nbass = {\n  d2 d4( e4 f4) c4 d2( a,4) g,4 d4( a,4) bes,4( a,4) d2 | d2 a,2 g,4 a,4 e4 f4 c2 f,2 | s4 d4 a4 f4 d4 cis4 d4 d4 a,2 | d4 c4 bes,4 g,4 a,8 bes,8 c4 d4( a,4) d2 | d2 g2 c4 f4 g4 a,4 d2 d2 | c4 g4 a4 f4 d4 cis4 d2 a,2 | f,4 c4 f4 d4 a,4 e4 f4( e4) a,2 | e2 d4.( e8) f4 c4 a,4 c4 d2 c2 | s4 g,4 a,4( c4) d4( a,4) f,4( d,4) g,2 | d4( c4) f4( d4) c4( e4 f4 c4 d4 a,4) | d4 c4 bes,4 g,4 a,4( c4) g,4 a,4 d1\n}\n", "preferred": true}]}, "wir-pfl-gen": {"slug": "wir-pfl-gen", "name": "WIR PFLÜGEN", "meter_label": "7.6.7.6.D with Refrain", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "johann-abraham-peter-schulz", "composer_date": "1800", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "wir-pfl-gen-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WIR PFLÜGEN, the melody Johann Abraham Peter Schulz composed for the German harvest hymn by Matthias Claudius, first published (anonymously) in Lieder für Volksschulen mit Musik, ed. A. L. Hoppenstedt (Hanover, 1800), and later attributed to Schulz. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 4/4, one-beat pickup; the raised-fourth D-sharp leading tones and the refrain alto F-natural are printed with accidentals in the source). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wir pflügen\" (J. A. P. Schulz, 1800); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "wir-pfl-gen-cyberhymnal", "tune": "wir-pfl-gen", "music_file": "wir-pfl-gen-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 27, 34, 40, 47, 53, 59, 65, 73], "markings": [{"soprano_note": 54, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 54}, "source_line": "WIR PFLÜGEN, Johann A. P. Schulz, 1800. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WIR PFLÜGEN (Johann A. P. Schulz, 1800; first published in Lieder für Volksschulen mit Musik, Hanover, 1800); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 4/4, one-beat pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wir pflügen\" (J. A. P. Schulz, 1800); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WIR PFLÜGEN (7.6.7.6.D with Refrain) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Wir pflügen\", J. A. P. Schulz, 1800) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 4/4, one-beat\n%% pickup). Melismatic 7.6.7.6.D with refrain: 53 verse soprano notes carry 52 syllables\n%% (one cadential melisma on \"hand\", D-sharp to E) and 26 refrain notes carry 24 syllables\n%% (a two-note melisma on the final \"love\"). The raised-fourth D-sharp leading tones and\n%% the alto F-natural in the refrain are printed with accidentals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'4 a'4 e'4 e'4 cis''2 a'4 e'4 d'4 cis'4 b4 a4 e'2. a'4 gis'4 fis'4 e'4 cis''4 b'4 a'4 gis'4 e'4 fis'4 cis''4 b'4 dis'4 e'2. e'4 b'4 b'4 cis''4 cis''4 d''2 b'4 b'4 e''4 e''4 d''4 cis''4 b'2. e'4 a'4 a'4 e'4 e'4 fis'2 cis'4 cis'4 d'4. b8 e'4 gis'4 a'1 a'4 a'4 a'4 a'4 b'2 b'4 b'4 cis''4. e''8 d''4 cis''4 b'2. b'4 cis''4 b'4 cis''4. b'8 a'4 gis'4 a'4. e'8 fis'4 b'4 a'4 gis'4 a'1\n}\nalto = {\n  e'4 a'4 a'4 e'4 e'4 cis''2 a'4 e'4 d'4 cis'4 b4 a4 e'2. e'4 e'4 dis'4 e'4 e'4 e'4 dis'4 e'4 e'4 e'4 e'4 dis'4 b4 b2. e'4 e'4 e'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 e'4 e'4 e'2. e'4 a'4 a'4 e'4 e'4 fis'2 cis'4 cis'4 d'4. b8 e'4 d'4 cis'1 cis'4 cis'4 cis'4 cis'4 e'2 e'4 gis'4 a'4. a'8 gis'4 a'4 gis'2. e'4 e'4 e'4 e'4. e'8 cis'4 f'4 fis'4. e'8 d'4 fis'4 e'2 e'1\n}\ntenor = {\n  e4 a4 a4 e4 e4 cis'2 a4 e4 d4 cis4 b,4 a,4 e2. a4 b4 b4 b4 a4 gis4 fis4 e4 b4 cis'4 fis4 fis4 a4 gis2. e4 gis4 gis4 a4 a4 a2 gis4 gis4 a4 a4 gis4 a4 gis2. e4 a4 a4 e4 e4 fis2 cis4 cis4 d4. b,8 e4 b4 a1 e4 e4 a4 cis'4 gis2 gis4 e'4 e'4. e'8 e'4 e'4 e'2. b4 a4 gis4 a4. gis8 fis4 cis'4 cis'4. a8 a4 d'4 cis'4 b4 a1\n}\nbass = {\n  e4 a4 a4 e4 e4 cis'2 a4 e4 d4 cis4 b,4 a,4 e2. cis4 b,4 a,4 gis,4 a,4 b,2 cis4 gis,4 a,4 a,4 b,4 b,4 e2. e4 d4 d4 cis4 cis4 b,2 e4 d4 cis4 cis4 b,4 a,4 e2. e4 a4 a4 e4 e4 fis2 cis4 cis4 d4. b,8 e4 e4 a,1 a,4 e4 cis4 a,4 e2 e4 e4 a4. cis'8 b4 a4 e2. e4 a4 e4 a4. e8 fis4 cis4 fis4. cis8 d4 b,4 e2 a,1\n}\n"}, "harmonizations": [{"slug": "wir-pfl-gen-cyberhymnal", "tune": "wir-pfl-gen", "music_file": "wir-pfl-gen-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [7, 13, 20, 27, 34, 40, 47, 53, 59, 65, 73], "markings": [{"soprano_note": 54, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 54}, "source_line": "WIR PFLÜGEN, Johann A. P. Schulz, 1800. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WIR PFLÜGEN (Johann A. P. Schulz, 1800; first published in Lieder für Volksschulen mit Musik, Hanover, 1800); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 4/4, one-beat pickup). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Wir pflügen\" (J. A. P. Schulz, 1800); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WIR PFLÜGEN (7.6.7.6.D with Refrain) — four SATB voice streams, canonical key A major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Wir pflügen\", J. A. P. Schulz, 1800) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving (A major, 4/4, one-beat\n%% pickup). Melismatic 7.6.7.6.D with refrain: 53 verse soprano notes carry 52 syllables\n%% (one cadential melisma on \"hand\", D-sharp to E) and 26 refrain notes carry 24 syllables\n%% (a two-note melisma on the final \"love\"). The raised-fourth D-sharp leading tones and\n%% the alto F-natural in the refrain are printed with accidentals in the source.\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 a'4 a'4 e'4 e'4 cis''2 a'4 e'4 d'4 cis'4 b4 a4 e'2. a'4 gis'4 fis'4 e'4 cis''4 b'4 a'4 gis'4 e'4 fis'4 cis''4 b'4 dis'4 e'2. e'4 b'4 b'4 cis''4 cis''4 d''2 b'4 b'4 e''4 e''4 d''4 cis''4 b'2. e'4 a'4 a'4 e'4 e'4 fis'2 cis'4 cis'4 d'4. b8 e'4 gis'4 a'1 a'4 a'4 a'4 a'4 b'2 b'4 b'4 cis''4. e''8 d''4 cis''4 b'2. b'4 cis''4 b'4 cis''4. b'8 a'4 gis'4 a'4. e'8 fis'4 b'4 a'4 gis'4 a'1\n}\nalto = {\n  e'4 a'4 a'4 e'4 e'4 cis''2 a'4 e'4 d'4 cis'4 b4 a4 e'2. e'4 e'4 dis'4 e'4 e'4 e'4 dis'4 e'4 e'4 e'4 e'4 dis'4 b4 b2. e'4 e'4 e'4 e'4 e'4 e'2 e'4 e'4 e'4 e'4 e'4 e'4 e'2. e'4 a'4 a'4 e'4 e'4 fis'2 cis'4 cis'4 d'4. b8 e'4 d'4 cis'1 cis'4 cis'4 cis'4 cis'4 e'2 e'4 gis'4 a'4. a'8 gis'4 a'4 gis'2. e'4 e'4 e'4 e'4. e'8 cis'4 f'4 fis'4. e'8 d'4 fis'4 e'2 e'1\n}\ntenor = {\n  e4 a4 a4 e4 e4 cis'2 a4 e4 d4 cis4 b,4 a,4 e2. a4 b4 b4 b4 a4 gis4 fis4 e4 b4 cis'4 fis4 fis4 a4 gis2. e4 gis4 gis4 a4 a4 a2 gis4 gis4 a4 a4 gis4 a4 gis2. e4 a4 a4 e4 e4 fis2 cis4 cis4 d4. b,8 e4 b4 a1 e4 e4 a4 cis'4 gis2 gis4 e'4 e'4. e'8 e'4 e'4 e'2. b4 a4 gis4 a4. gis8 fis4 cis'4 cis'4. a8 a4 d'4 cis'4 b4 a1\n}\nbass = {\n  e4 a4 a4 e4 e4 cis'2 a4 e4 d4 cis4 b,4 a,4 e2. cis4 b,4 a,4 gis,4 a,4 b,2 cis4 gis,4 a,4 a,4 b,4 b,4 e2. e4 d4 d4 cis4 cis4 b,2 e4 d4 cis4 cis4 b,4 a,4 e2. e4 a4 a4 e4 e4 fis2 cis4 cis4 d4. b,8 e4 e4 a,1 a,4 e4 cis4 a,4 e2 e4 e4 a4. cis'8 b4 a4 e2. e4 a4 e4 a4. e8 fis4 cis4 fis4. cis8 d4 b,4 e2 a,1\n}\n", "preferred": true}]}, "woodbird": {"slug": "woodbird", "name": "WOODBIRD", "meter_label": "7.6.7.6.D", "meter": {"pattern": [7, 6, 7, 6], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "German, 17th century", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "woodbird-songs-of-syon-1904", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:270; 'Woodbird'/Es flog ein kleins Waldvoegelein, German 17th c. (Memminger Tabulaturbuch), arr. G. R. Woodward 1904. Public domain.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "woodbird-songs-of-syon-1904", "tune": "woodbird", "music_file": "woodbird-songs-of-syon-1904.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:270; setting George Ratcliffe Woodward, Songs of Syon 1904. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:270", "encoding_license": "PD-dedication"}, "music_ly": "%% O Day of Rest and Gladness\n%% Imported from Open Hymnal ABC X:270 via tools/abc_import.py\n%% Open Hymnal X:270; words Wordsworth 1862, tune German 17th c., setting Woodward 1904 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 d''4 b'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2. g'4 g'4 d''4 b'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2. b'4 g'4 d''4 d''8( c''8) b'4 a'2 a'4 c''4 b'4 a'4 b'4 g'4 a'2. d''4 c''4 b'4 a'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2.\n}\nalto = {\n  d'4 e'4 d'4 d'4 g'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2. d'4 e'4 d'4 d'4 g'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2. d'4 d'4 a'4 g'4 g'4 e'2 fis'4 e'4 d'4 d'4 d'4 b4 cis'4( d'2) d'4 e'4 d'4 c'4 d'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2.\n}\ntenor = {\n  b4 b4 a4 b4 d'4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 c'4( b2) b4 b4 a4 b4 d'4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 b2. g4 b4 d'4 e'4. d'8 d'4( cis'4) d'4 g4 g4 fis4 fis4 g4 e4( fis2) g4 g4 g4 e8 fis8 g4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 b2.\n}\nbass = {\n  g4 e4 fis4 g4 b,4 d2 d4 b,4 c4 a,4 d4 d4 d2. g4 e4 fis4 g4 b,4 d2 d4 b,4 c4 a,4 d4 d4 g2. g4 g4 fis4 e4 e4 a2 d4 c8 e8 g4 d4 b,4 e4 a,4( d2) b,4 c4 g,4 a,4 b,4 d2 d4 b,4 c4 a,4 d4 d4 g,2.\n}\n"}, "harmonizations": [{"slug": "woodbird-songs-of-syon-1904", "tune": "woodbird", "music_file": "woodbird-songs-of-syon-1904.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [14, 28, 42], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:270; setting George Ratcliffe Woodward, Songs of Syon 1904. Public domain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:270", "encoding_license": "PD-dedication"}, "music_ly": "%% O Day of Rest and Gladness\n%% Imported from Open Hymnal ABC X:270 via tools/abc_import.py\n%% Open Hymnal X:270; words Wordsworth 1862, tune German 17th c., setting Woodward 1904 — all pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'4 g'4 d''4 b'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2. g'4 g'4 d''4 b'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2. b'4 g'4 d''4 d''8( c''8) b'4 a'2 a'4 c''4 b'4 a'4 b'4 g'4 a'2. d''4 c''4 b'4 a'4 g'4 fis'4.( g'8) a'4 d'4 e'4 g'4 g'4 fis'4 g'2.\n}\nalto = {\n  d'4 e'4 d'4 d'4 g'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2. d'4 e'4 d'4 d'4 g'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2. d'4 d'4 a'4 g'4 g'4 e'2 fis'4 e'4 d'4 d'4 d'4 b4 cis'4( d'2) d'4 e'4 d'4 c'4 d'4 d'2 d'4 d'4 d'4 c'8 b8 a4 d'4 d'2.\n}\ntenor = {\n  b4 b4 a4 b4 d'4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 c'4( b2) b4 b4 a4 b4 d'4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 b2. g4 b4 d'4 e'4. d'8 d'4( cis'4) d'4 g4 g4 fis4 fis4 g4 e4( fis2) g4 g4 g4 e8 fis8 g4 a4.( g8) fis4 g8 fis8 e4 e'4 d'4 a4 b2.\n}\nbass = {\n  g4 e4 fis4 g4 b,4 d2 d4 b,4 c4 a,4 d4 d4 d2. g4 e4 fis4 g4 b,4 d2 d4 b,4 c4 a,4 d4 d4 g2. g4 g4 fis4 e4 e4 a2 d4 c8 e8 g4 d4 b,4 e4 a,4( d2) b,4 c4 g,4 a,4 b,4 d2 d4 b,4 c4 a,4 d4 d4 g,2.\n}\n", "preferred": true}]}, "woodworth": {"slug": "woodworth", "name": "WOODWORTH", "meter_label": "L.M.", "meter": {"pattern": [8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-batchelder-bradbury", "composer_date": "1849", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "woodworth-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "WOODWORTH (L.M.), composed by William Batchelder Bradbury (1816-1868), 1849 - the tune for Charlotte Elliott's \"Just as I am, without one plea.\" A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (D major, 3/4, with a two-eighth-note pickup; soprano and bass read note-for-note, all pitches diatonic). Melismatic - 40 soprano notes carry 32 L.M. syllables. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Woodworth\" (William B. Bradbury, 1849); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "woodworth-cyberhymnal", "tune": "woodworth", "music_file": "woodworth-cyberhymnal.ly", "harmonizer": "william-batchelder-bradbury", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WOODWORTH, William B. Bradbury, 1849. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting WOODWORTH, William Batchelder Bradbury (1816-1868), 1849 - US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (D major, 3/4; soprano and bass read note-for-note and every pitch is diatonic). A melismatic L.M. setting (40 soprano notes for 32 syllables); the eight melisma continuations are padded with '_' each stanza.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Woodworth\" (William B. Bradbury); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WOODWORTH (L.M.) - William Batchelder Bradbury, 1849. A four-part SATB hymn\n%% tune (written for Charlotte Elliott's \"Just as I am, without one plea\"),\n%% canonical key D major, 3/4 with a two-eighth-note pickup. Encoded from The\n%% Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving (soprano and bass read note-for-note; every pitch diatonic).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% MELISMATIC (40 soprano notes for 32 L.M. syllables). The 8 melisma groups are\n%% slurred in the soprano only and their continuations are padded with '_' every\n%% stanza (verse_variable_melisma): the \"Just\"/\"And\" pickups (notes 1-2, 21-22),\n%% two dotted-note figures per opening line (5-6, 8-9, 25-26), the phrase-2 cadence\n%% (19-20), and the three-note descending cadence on the rhyme word \"Thee\"\n%% (30-31-32). The engraving's slur on the final phrase (\"of God I\", ~notes 35-37)\n%% is a legato mark, not a melisma - the L.M. count forces that line syllabic, so\n%% it is deliberately left unslurred here.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'8( e'8) fis'2 fis'4 a'4.( g'8) fis'4 e'4.( fis'8) g'4 fis'2 a'4 a'4 e'4 fis'4 g'2 b'4 b'2 a'4( fis'2) d'8( e'8) fis'2 fis'4 a'4.( g'8) fis'4 b'2 b'4 d''4.( cis''8 b'4) a'2 a'4 a'4. g'8 fis'4 e'2. a'2. fis'2.\n}\nalto = {\n  d'8 e'8 d'2 d'4 fis'4. e'8 d'4 cis'4. d'8 e'4 d'2 fis'4 a'4 e'4 d'4 e'2 g'4 g'2 fis'4 d'2 d'8 e'8 d'2 d'4 fis'4. e'8 d'4 g'2 g'4 g'4. cis''8 g'4 fis'2 fis'4 fis'4. e'8 d'4 cis'2. cis'2. d'2.\n}\ntenor = {\n  fis8 g8 a2 a4 a2 a4 a2 a4 a2 d'4 cis'2 a4 a2 cis'4 d'2 d'4 a2 fis8 g8 a2 a4 a4. e8 d'4 d'2 d'4 b4. cis'8 d'4 d'2 d'4 a2 a4 a2. a2. a2.\n}\nbass = {\n  d8 g8 d2 d4 d2 d4 a,2 a,4 d2 d4 a2 a4 a2 a,4 d2 d4 d2 d8 g8 d2 d4 d4. e8 fis4 g2 g4 g4. cis'8 g4 d2 d4 d2 d4 a2. a,2. d2.\n}\n"}, "harmonizations": [{"slug": "woodworth-cyberhymnal", "tune": "woodworth", "music_file": "woodworth-cyberhymnal.ly", "harmonizer": "william-batchelder-bradbury", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [11, 20, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WOODWORTH, William B. Bradbury, 1849. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting WOODWORTH, William Batchelder Bradbury (1816-1868), 1849 - US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified against the Cyber Hymnal engraving (D major, 3/4; soprano and bass read note-for-note and every pitch is diatonic). A melismatic L.M. setting (40 soprano notes for 32 syllables); the eight melisma continuations are padded with '_' each stanza.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Woodworth\" (William B. Bradbury); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% WOODWORTH (L.M.) - William Batchelder Bradbury, 1849. A four-part SATB hymn\n%% tune (written for Charlotte Elliott's \"Just as I am, without one plea\"),\n%% canonical key D major, 3/4 with a two-eighth-note pickup. Encoded from The\n%% Cyber Hymnal SATB MIDI with tools/mid2ly.py and verified against the Cyber\n%% Hymnal engraving (soprano and bass read note-for-note; every pitch diatonic).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% MELISMATIC (40 soprano notes for 32 L.M. syllables). The 8 melisma groups are\n%% slurred in the soprano only and their continuations are padded with '_' every\n%% stanza (verse_variable_melisma): the \"Just\"/\"And\" pickups (notes 1-2, 21-22),\n%% two dotted-note figures per opening line (5-6, 8-9, 25-26), the phrase-2 cadence\n%% (19-20), and the three-note descending cadence on the rhyme word \"Thee\"\n%% (30-31-32). The engraving's slur on the final phrase (\"of God I\", ~notes 35-37)\n%% is a legato mark, not a melisma - the L.M. count forces that line syllabic, so\n%% it is deliberately left unslurred here.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  d'8( e'8) fis'2 fis'4 a'4.( g'8) fis'4 e'4.( fis'8) g'4 fis'2 a'4 a'4 e'4 fis'4 g'2 b'4 b'2 a'4( fis'2) d'8( e'8) fis'2 fis'4 a'4.( g'8) fis'4 b'2 b'4 d''4.( cis''8 b'4) a'2 a'4 a'4. g'8 fis'4 e'2. a'2. fis'2.\n}\nalto = {\n  d'8 e'8 d'2 d'4 fis'4. e'8 d'4 cis'4. d'8 e'4 d'2 fis'4 a'4 e'4 d'4 e'2 g'4 g'2 fis'4 d'2 d'8 e'8 d'2 d'4 fis'4. e'8 d'4 g'2 g'4 g'4. cis''8 g'4 fis'2 fis'4 fis'4. e'8 d'4 cis'2. cis'2. d'2.\n}\ntenor = {\n  fis8 g8 a2 a4 a2 a4 a2 a4 a2 d'4 cis'2 a4 a2 cis'4 d'2 d'4 a2 fis8 g8 a2 a4 a4. e8 d'4 d'2 d'4 b4. cis'8 d'4 d'2 d'4 a2 a4 a2. a2. a2.\n}\nbass = {\n  d8 g8 d2 d4 d2 d4 a,2 a,4 d2 d4 a2 a4 a2 a,4 d2 d4 d2 d8 g8 d2 d4 d4. e8 fis4 g2 g4 g4. cis'8 g4 d2 d4 d2 d4 a2. a,2. d2.\n}\n", "preferred": true}]}, "words-of-life": {"slug": "words-of-life", "name": "WORDS OF LIFE", "meter_label": "8.6.8.6.6.6 with Refrain", "meter": {"pattern": [8, 6, 8, 6, 6, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "philip-paul-bliss", "composer_date": "1874", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "words-of-life-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for his own words and first published in Words of Life (Chicago, 1874). Read here from the dated printing in Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 — archive.org hymnsconso00blis, leaf 259 — credited \"P. P. Bliss, by per.\" over the staff; collated end to end against a SECOND, INDEPENDENT 1883 scan of the same plate, archive.org gospelhymnsconso00blis_202606, no. 282, printed page 255, leaf 252. US public domain by publication before 1929. Key of G major (one printed sharp), 6/8, no pickup; 12 bars of verse and, written out from the plate's repeat, 8 bars of chorus. tools/tune_fingerprint.py finds no corpus melody closer than 0.56 (WUNDERBARER KÖNIG), well under the 0.80 duplicate threshold, so this is not a duplicate. NEITHER dated page names the tune on the staff — the Gospel Hymns plates rarely do — so the name WORDS OF LIFE is the one the later hymnals and Hymnary print for it, after the 1874 collection in which it first appeared; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "words-of-life-1883", "tune": "words-of-life", "music_file": "words-of-life-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 28, 44, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "source_line": "Setting: P. P. Bliss, 1874, as printed in Gospel Hymns Consolidated, Nos. 1 to 4, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, engraved \"P. P. Bliss, by per.\" over the staff of the page it was read from: Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 — archive.org item hymnsconso00blis, leaf 259. Every chord of all four voices was read notehead by notehead off that scan and then re-read, end to end, on a SECOND, INDEPENDENT 1883 scan of the SAME plate — archive.org gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs — Consolidated No. 1-4, 1883), no. 282, printed page 255, leaf 252 — by the same measuring rig, with its own binarisation and its own staff-line fits. The two dated witnesses agree at every notehead read; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO MIDI and NO Cyber Hymnal asset was used at any stage. HOW THE PITCHES WERE MEASURED: the staff space on the primary scan is 28.6-29.0 px (one diatonic step 14.3-14.5 px); heads were isolated by morphological erosion with an ellipse sized in staff spaces, so staff lines, stems, flags, beams and ledger lines are removed before any centroid is taken, and each centroid was converted to a diatonic step offset against five staff lines RE-FOUND in a ±70 px window around that head's own x. Merged and displaced pairs were resolved individually at 3-6x: the soprano/alto second at \"Won-\" (verse bars 3 and 7) is printed as two horizontally displaced heads, d' with an up stem and c' with a down stem, and the tenor's C4/D4 above the bass staff were anchored on the PRINTED C4 ledger line rather than on an extrapolated grid. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification, on BOTH scans, system by system, because a notehead probe reads heads and not the signs in front of them: the plate prints NO accidental anywhere in the music, and the only sharp on the page is the one-sharp key signature on F5 at the head of every staff. DEPARTURES FROM THE PAGE, stated plainly. (1) THE REPEAT IS WRITTEN OUT. The plate engraves the chorus once, between a repeat sign and a repeat barline, with a one-bar \"1st.\" volta (soprano g'4 b'8 d''4. on \"Life,\") and a one-bar \"2d.\" volta (two dotted quarters on g' for \"Life.\"). This engine cannot print a repeat or a volta, so bars 13-16 and 17-20 here are the two passes written out; the sounding music is identical, but the printed page shows eight chorus bars instead of three plus two endings, and the chorus words stand twice in the text. (2) THE MELISMAS ARE SLURRED, NOT BEAMED. Verse bars 9 and 11 set one syllable over their third and fourth eighths, and the plate marks that by BEAMING the pair while flagging the eighths around it; slurs are used here because the underlay engine merges slurred notes and not beamed ones, so two slur marks appear that the plate does not print. (3) BEAMING generally is LilyPond's 6/8 default, not the plate's 1870s practice of a separate flag on nearly every eighth. (4) The plate prints NO \"Chorus.\" label — only the repeat sign — so no marking is declared here either. Nothing else differs: no rest is added or removed, no stanza is dropped, no note is re-struck where the page holds, and no amen is carried (the page has none). FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: verse bars 1 and 5 open with a QUARTER b' over d' followed by four flagged eighths, under which tenor and bass share ONE notehead on g; the phrase \"Won-der-ful words of\" (bars 3 and 7) begins on a LOW soprano d' — a fifth below the a' that ends the preceding bar — with the alto a second under it on c' and the lower staff on fis/d throughout; verse bars 9-12 hold a g pedal in tenor AND bass on a single shared notehead while the upper voices climb b'-c''-d''-e''; and the chorus opens on d''/b'/d'/d, a sonority with no g in it at all, before three chords of a'/c''-over-d that make the dominant seventh.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 259), collated notehead by notehead against a second independent 1883 scan of the same plate (archive.org gospelhymnsconso00blis_202606, leaf 252). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WORDS OF LIFE (8.6.8.6.6.6 with Refrain) — \"Wonderful Words of Life\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow\n%% & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 —\n%% archive.org item hymnsconso00blis, leaf 259 — headed \"Wonderful Words of\n%% Life.\", credited \"P. P. B.\" on the left and \"P. P. Bliss, by per.\" on the\n%% right. Every chord of all four voices was then re-read, end to end, on a\n%% SECOND, INDEPENDENT 1883 scan of the same plate: archive.org\n%% gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs — Consolidated\n%% No. 1-4, 1883), no. 282, printed page 255, leaf 252. The two witnesses agree\n%% at every notehead read. No MIDI, no NoteWorthy file and no Cyber Hymnal\n%% asset was used at any point.\n%%\n%% MEASUREMENT, not eyeballing. Staff space on the primary scan is 28.6-29.0 px\n%% (one diatonic step = 14.3-14.5 px). Heads were isolated by eroding a\n%% locally-binarised window with an ellipse sized in staff spaces (kills staff\n%% lines, stems, flags, beams and ledger lines), and each centroid was converted\n%% to a diatonic step offset using five staff lines RE-FOUND in a +-70 px window\n%% around that head's own x. Notes above the bass staff (the tenor's C4/D4) were\n%% additionally anchored on the printed C4 ledger line rather than on an\n%% extrapolated grid.\n%%\n%% ACCIDENTALS were checked SEPARATELY, by eye, at high magnification, on BOTH\n%% dated scans, system by system: the plate prints NO accidental anywhere in the\n%% music. The only sharp on the page is the one-sharp key signature (F5) at the\n%% head of every staff. Every f in this file is therefore the key signature's\n%% f sharp; the notehead measurement above never covered accidentals.\n%%\n%% STRUCTURE. The verse is 12 bars (systems 1-3 of the plate): bars 1-2 line 1,\n%% bars 3-4 line 2, bars 5-6 line 3, bars 7-8 line 4, bars 9-10 line 5, bars\n%% 11-12 line 6. Bars 5-7 repeat bars 1-3 note for note, and bars 11-12 repeat\n%% bars 9-10 note for note; both identities were verified independently on the\n%% plate, not assumed. 44 soprano noteheads in the verse.\n%%\n%% THE REPEAT IS WRITTEN OUT — DEPARTURE FROM THE PAGE. The plate engraves the\n%% chorus ONCE (system 4) between a repeat sign and a repeat barline, with a\n%% \"1st.\" volta (one bar, \"Life,\") and a \"2d.\" volta (one bar, \"Life.\"). Nothing\n%% in this engine can print a repeat or a volta, so the chorus is written out in\n%% full here: bars 13-16 are the first pass (A B C + 1st ending) and bars 17-20\n%% the second (A B C + 2nd ending). The sounding music is unchanged; the printed\n%% page differs in that it shows eight chorus bars instead of three plus two\n%% endings. 31 soprano noteheads in the chorus, 75 in all.\n%%\n%% RHYTHM. 6/8 throughout. Verse bars 1/5 and 9/11 are a quarter plus four\n%% eighths; bars 2/6 are quarter, eighth, dotted quarter; bars 3/7 are three\n%% eighths, a quarter and an eighth; bars 4/8/10/12 are two dotted quarters.\n%% Chorus bars 13/14/17/18 are three eighths and a dotted quarter; bars 15/19\n%% are three eighths, a quarter and an eighth; bar 16 (1st ending) is a quarter,\n%% an eighth and a dotted quarter in the soprano over two dotted quarters in the\n%% other voices; bars 20 (2nd ending) is two dotted quarters. Every bar was\n%% counted against the printed barlines, whose x positions were measured on the\n%% primary scan.\n%%\n%% THE MELISMAS. Verse bars 9 and 11 set ONE syllable (\"life\"/\"faith\" in stanza\n%% 1) over the third and fourth eighths, and the plate marks that by BEAMING the\n%% pair while flagging the eighths around it; the lower staff sustains a quarter\n%% underneath. This file marks those pairs with SLURS instead, because the\n%% underlay engine merges slurred notes, not beamed ones — a real difference in\n%% what is printed. Likewise the plate's beaming is 1870s practice (separate\n%% flags on nearly every eighth); LilyPond re-beams by its own 6/8 rules here.\n%%\n%% THE SLURS THAT ARE THE PAGE'S. Bars 4, 8, 16 and 20 carry printed slurs, one\n%% above and one below the staff, over the two-note setting (in bar 16 the plate's soprano slur covers only g'-b';\n%% this file extends it to the d'' so the underlay forms one \"Life,\" group — extra\n%% ink the page does not print, recorded as a departure) of\n%% of \"Life;\" / \"Life.\" / \"Life,\" — those are transcribed as slurs in every\n%% voice that moves under them.\n%%\n%% UNISONS AND SECONDS. The lower staff prints ONE notehead with two stems\n%% wherever tenor and bass share a pitch (verse bars 1, 5 and the whole of bars\n%% 8-12); both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads. At the word \"Won-\" (verse bars 3 and\n%% 7) soprano d' and alto c' are a SECOND apart and the plate displaces the alto\n%% head to the right of the soprano's, each with its own stem and flag; that is\n%% the default resolver's job too.\n%%\n%% THE LOW SOPRANO AT \"Won-\". Verse bars 3 and 7 begin on soprano d' — a fifth\n%% BELOW the a' that ends the preceding bar — with the alto on c' under it. That\n%% reading was confirmed three ways: the erosion measurement (off-grid residual\n%% 0.10 step), the printed lyric column (stanza 3's \"Won-\" is centred at x=1625\n%% against the notehead at x=1622), and by eye at 5x on both dated scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( d'4.) |\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( g'4.) |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4( b'8 d''4.) |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4.( g'4.)\n}\n\nalto = {\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( g'4.) |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( d'4.)\n}\n\ntenor = {\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.) |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.)\n}\n\nbass = {\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g,4.( g,4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.)\n}\n"}, "harmonizations": [{"slug": "words-of-life-1883", "tune": "words-of-life", "music_file": "words-of-life-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 28, 44, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "source_line": "Setting: P. P. Bliss, 1874, as printed in Gospel Hymns Consolidated, Nos. 1 to 4, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, engraved \"P. P. Bliss, by per.\" over the staff of the page it was read from: Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 — archive.org item hymnsconso00blis, leaf 259. Every chord of all four voices was read notehead by notehead off that scan and then re-read, end to end, on a SECOND, INDEPENDENT 1883 scan of the SAME plate — archive.org gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs — Consolidated No. 1-4, 1883), no. 282, printed page 255, leaf 252 — by the same measuring rig, with its own binarisation and its own staff-line fits. The two dated witnesses agree at every notehead read; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO MIDI and NO Cyber Hymnal asset was used at any stage. HOW THE PITCHES WERE MEASURED: the staff space on the primary scan is 28.6-29.0 px (one diatonic step 14.3-14.5 px); heads were isolated by morphological erosion with an ellipse sized in staff spaces, so staff lines, stems, flags, beams and ledger lines are removed before any centroid is taken, and each centroid was converted to a diatonic step offset against five staff lines RE-FOUND in a ±70 px window around that head's own x. Merged and displaced pairs were resolved individually at 3-6x: the soprano/alto second at \"Won-\" (verse bars 3 and 7) is printed as two horizontally displaced heads, d' with an up stem and c' with a down stem, and the tenor's C4/D4 above the bass staff were anchored on the PRINTED C4 ledger line rather than on an extrapolated grid. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification, on BOTH scans, system by system, because a notehead probe reads heads and not the signs in front of them: the plate prints NO accidental anywhere in the music, and the only sharp on the page is the one-sharp key signature on F5 at the head of every staff. DEPARTURES FROM THE PAGE, stated plainly. (1) THE REPEAT IS WRITTEN OUT. The plate engraves the chorus once, between a repeat sign and a repeat barline, with a one-bar \"1st.\" volta (soprano g'4 b'8 d''4. on \"Life,\") and a one-bar \"2d.\" volta (two dotted quarters on g' for \"Life.\"). This engine cannot print a repeat or a volta, so bars 13-16 and 17-20 here are the two passes written out; the sounding music is identical, but the printed page shows eight chorus bars instead of three plus two endings, and the chorus words stand twice in the text. (2) THE MELISMAS ARE SLURRED, NOT BEAMED. Verse bars 9 and 11 set one syllable over their third and fourth eighths, and the plate marks that by BEAMING the pair while flagging the eighths around it; slurs are used here because the underlay engine merges slurred notes and not beamed ones, so two slur marks appear that the plate does not print. (3) BEAMING generally is LilyPond's 6/8 default, not the plate's 1870s practice of a separate flag on nearly every eighth. (4) The plate prints NO \"Chorus.\" label — only the repeat sign — so no marking is declared here either. Nothing else differs: no rest is added or removed, no stanza is dropped, no note is re-struck where the page holds, and no amen is carried (the page has none). FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: verse bars 1 and 5 open with a QUARTER b' over d' followed by four flagged eighths, under which tenor and bass share ONE notehead on g; the phrase \"Won-der-ful words of\" (bars 3 and 7) begins on a LOW soprano d' — a fifth below the a' that ends the preceding bar — with the alto a second under it on c' and the lower staff on fis/d throughout; verse bars 9-12 hold a g pedal in tenor AND bass on a single shared notehead while the upper voices climb b'-c''-d''-e''; and the chorus opens on d''/b'/d'/d, a sonority with no g in it at all, before three chords of a'/c''-over-d that make the dominant seventh.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 259), collated notehead by notehead against a second independent 1883 scan of the same plate (archive.org gospelhymnsconso00blis_202606, leaf 252). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WORDS OF LIFE (8.6.8.6.6.6 with Refrain) — \"Wonderful Words of Life\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow\n%% & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 —\n%% archive.org item hymnsconso00blis, leaf 259 — headed \"Wonderful Words of\n%% Life.\", credited \"P. P. B.\" on the left and \"P. P. Bliss, by per.\" on the\n%% right. Every chord of all four voices was then re-read, end to end, on a\n%% SECOND, INDEPENDENT 1883 scan of the same plate: archive.org\n%% gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs — Consolidated\n%% No. 1-4, 1883), no. 282, printed page 255, leaf 252. The two witnesses agree\n%% at every notehead read. No MIDI, no NoteWorthy file and no Cyber Hymnal\n%% asset was used at any point.\n%%\n%% MEASUREMENT, not eyeballing. Staff space on the primary scan is 28.6-29.0 px\n%% (one diatonic step = 14.3-14.5 px). Heads were isolated by eroding a\n%% locally-binarised window with an ellipse sized in staff spaces (kills staff\n%% lines, stems, flags, beams and ledger lines), and each centroid was converted\n%% to a diatonic step offset using five staff lines RE-FOUND in a +-70 px window\n%% around that head's own x. Notes above the bass staff (the tenor's C4/D4) were\n%% additionally anchored on the printed C4 ledger line rather than on an\n%% extrapolated grid.\n%%\n%% ACCIDENTALS were checked SEPARATELY, by eye, at high magnification, on BOTH\n%% dated scans, system by system: the plate prints NO accidental anywhere in the\n%% music. The only sharp on the page is the one-sharp key signature (F5) at the\n%% head of every staff. Every f in this file is therefore the key signature's\n%% f sharp; the notehead measurement above never covered accidentals.\n%%\n%% STRUCTURE. The verse is 12 bars (systems 1-3 of the plate): bars 1-2 line 1,\n%% bars 3-4 line 2, bars 5-6 line 3, bars 7-8 line 4, bars 9-10 line 5, bars\n%% 11-12 line 6. Bars 5-7 repeat bars 1-3 note for note, and bars 11-12 repeat\n%% bars 9-10 note for note; both identities were verified independently on the\n%% plate, not assumed. 44 soprano noteheads in the verse.\n%%\n%% THE REPEAT IS WRITTEN OUT — DEPARTURE FROM THE PAGE. The plate engraves the\n%% chorus ONCE (system 4) between a repeat sign and a repeat barline, with a\n%% \"1st.\" volta (one bar, \"Life,\") and a \"2d.\" volta (one bar, \"Life.\"). Nothing\n%% in this engine can print a repeat or a volta, so the chorus is written out in\n%% full here: bars 13-16 are the first pass (A B C + 1st ending) and bars 17-20\n%% the second (A B C + 2nd ending). The sounding music is unchanged; the printed\n%% page differs in that it shows eight chorus bars instead of three plus two\n%% endings. 31 soprano noteheads in the chorus, 75 in all.\n%%\n%% RHYTHM. 6/8 throughout. Verse bars 1/5 and 9/11 are a quarter plus four\n%% eighths; bars 2/6 are quarter, eighth, dotted quarter; bars 3/7 are three\n%% eighths, a quarter and an eighth; bars 4/8/10/12 are two dotted quarters.\n%% Chorus bars 13/14/17/18 are three eighths and a dotted quarter; bars 15/19\n%% are three eighths, a quarter and an eighth; bar 16 (1st ending) is a quarter,\n%% an eighth and a dotted quarter in the soprano over two dotted quarters in the\n%% other voices; bars 20 (2nd ending) is two dotted quarters. Every bar was\n%% counted against the printed barlines, whose x positions were measured on the\n%% primary scan.\n%%\n%% THE MELISMAS. Verse bars 9 and 11 set ONE syllable (\"life\"/\"faith\" in stanza\n%% 1) over the third and fourth eighths, and the plate marks that by BEAMING the\n%% pair while flagging the eighths around it; the lower staff sustains a quarter\n%% underneath. This file marks those pairs with SLURS instead, because the\n%% underlay engine merges slurred notes, not beamed ones — a real difference in\n%% what is printed. Likewise the plate's beaming is 1870s practice (separate\n%% flags on nearly every eighth); LilyPond re-beams by its own 6/8 rules here.\n%%\n%% THE SLURS THAT ARE THE PAGE'S. Bars 4, 8, 16 and 20 carry printed slurs, one\n%% above and one below the staff, over the two-note setting (in bar 16 the plate's soprano slur covers only g'-b';\n%% this file extends it to the d'' so the underlay forms one \"Life,\" group — extra\n%% ink the page does not print, recorded as a departure) of\n%% of \"Life;\" / \"Life.\" / \"Life,\" — those are transcribed as slurs in every\n%% voice that moves under them.\n%%\n%% UNISONS AND SECONDS. The lower staff prints ONE notehead with two stems\n%% wherever tenor and bass share a pitch (verse bars 1, 5 and the whole of bars\n%% 8-12); both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads. At the word \"Won-\" (verse bars 3 and\n%% 7) soprano d' and alto c' are a SECOND apart and the plate displaces the alto\n%% head to the right of the soprano's, each with its own stem and flag; that is\n%% the default resolver's job too.\n%%\n%% THE LOW SOPRANO AT \"Won-\". Verse bars 3 and 7 begin on soprano d' — a fifth\n%% BELOW the a' that ends the preceding bar — with the alto on c' under it. That\n%% reading was confirmed three ways: the erosion measurement (off-grid residual\n%% 0.10 step), the printed lyric column (stanza 3's \"Won-\" is centred at x=1625\n%% against the notehead at x=1622), and by eye at 5x on both dated scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( d'4.) |\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( g'4.) |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4( b'8 d''4.) |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4.( g'4.)\n}\n\nalto = {\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( g'4.) |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( d'4.)\n}\n\ntenor = {\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.) |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.)\n}\n\nbass = {\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g,4.( g,4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.)\n}\n", "preferred": true}]}, "words-on-the-cross-the-litany": {"slug": "words-on-the-cross-the-litany", "name": "WORDS ON THE CROSS - THE LITANY", "meter_label": "7.7.7.6", "meter": {"pattern": [7, 7, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-h-monk", "composer_date": "1916", "canonical_key": {"tonic": "d", "mode": "minor"}, "preferred_harmonization": "words-on-the-cross-the-litany-oh99", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:99; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "words-on-the-cross-the-litany-oh99", "tune": "words-on-the-cross-the-litany", "music_file": "words-on-the-cross-the-litany-oh99.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:99; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:99", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, In Thy Dying Woes\n%% Imported from Open Hymnal ABC X:99 via tools/abc_import.py\n%% Open Hymnal X:99; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 g'4 f'4 e'4. d'8 d'2 d'4 f'4 e'4 d'4 g'4 f'4 e'2 e'4 a'4 c''4 a'4 c''4 bes'4 a'2 a'4 a'4 a'4 f'4 e'2 d'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 cis'4. d'8 d'2 d'4 d'4 cis'4 d'4 e'4 d'4 cis'2 c'4 e'4 c'4 f'4 e'4 g'4 f'2 c'4 cis'4 d'4 d'4 d'4( cis'4) d'2\n}\ntenor = {\n  a4 a4 bes4 a4 g4. f8 f2 a4 a4 a4 a4 a4 a4 a2 a4 c'4 g4 a4 g4 c'4 c'2 a4 g4 f4 a4 bes4( a4) f2\n}\nbass = {\n  d4 d4 g,4 d4 a,4. d8 d2 f4 d4 g4 f4 cis4 d4 a,2 a4 a4 e4 f4 c4 e4 f2 f4 e4 d4 d4 g,4( a,4) d2\n}\n"}, "harmonizations": [{"slug": "words-on-the-cross-the-litany-oh99", "tune": "words-on-the-cross-the-litany", "music_file": "words-on-the-cross-the-litany-oh99.ly", "canonical_key": {"tonic": "d", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [14], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:99; all components published pre-1931 (latest year 1916).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:99", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, In Thy Dying Woes\n%% Imported from Open Hymnal ABC X:99 via tools/abc_import.py\n%% Open Hymnal X:99; all components published pre-1931 (latest year 1916).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\minor \\time 4/4 }\n\nsoprano = {\n  f'4 f'4 g'4 f'4 e'4. d'8 d'2 d'4 f'4 e'4 d'4 g'4 f'4 e'2 e'4 a'4 c''4 a'4 c''4 bes'4 a'2 a'4 a'4 a'4 f'4 e'2 d'2\n}\nalto = {\n  d'4 d'4 d'4 d'4 cis'4. d'8 d'2 d'4 d'4 cis'4 d'4 e'4 d'4 cis'2 c'4 e'4 c'4 f'4 e'4 g'4 f'2 c'4 cis'4 d'4 d'4 d'4( cis'4) d'2\n}\ntenor = {\n  a4 a4 bes4 a4 g4. f8 f2 a4 a4 a4 a4 a4 a4 a2 a4 c'4 g4 a4 g4 c'4 c'2 a4 g4 f4 a4 bes4( a4) f2\n}\nbass = {\n  d4 d4 g,4 d4 a,4. d8 d2 f4 d4 g4 f4 cis4 d4 a,2 a4 a4 e4 f4 c4 e4 f2 f4 e4 d4 d4 g,4( a,4) d2\n}\n", "preferred": true}]}, "wunderbarer-konig": {"slug": "wunderbarer-konig", "name": "WUNDERBARER KÖNIG", "meter_label": "6.6.8.6.6.8.3.3.6.6", "meter": {"pattern": [6, 6, 8, 6, 6, 8, 3, 3, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "or-arnsberg-or-groeningen-joachim-neander", "composer_date": "1918", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "wunderbarer-konig-oh23", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:23; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "wunderbarer-konig-oh23", "tune": "wunderbarer-konig", "music_file": "wunderbarer-konig-oh23.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 20, 32, 40, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:23; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:23", "encoding_license": "PD-dedication"}, "music_ly": "%% God Himself is Present\n%% Imported from Open Hymnal ABC X:23 via tools/abc_import.py\n%% Open Hymnal X:23; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 b'4 b'4 a'2 a'2 g'4 g'4 g'4 g'4 fis'2 fis'2 e'4 e'4 d'4 g'4 a'4 b'4 a'2 g'1 b'4 b'4 b'4 b'4 a'2 a'2 g'4 g'4 g'4 g'4 fis'2 fis'2 e'4 e'4 d'4 g'4 a'4 b'4 a'2 g'1 b'2 b'2 c''1 a'2 a'2 b'1 d''4 d''4 c''4 b'4 a'2 b'2 d''4 d''4 c''4 b'4 a'2 g'2\n}\nalto = {\n  g'4 g'4 g'4 g'4 g'4( fis'8 e'8) fis'2 e'4 e'4 e'4 e'4 e'4( dis'8 cis'8) dis'2 e'4 c'4 b4 e'4 fis'4 g'4 g'4( fis'4) g'1 g'4 g'4 g'4 g'4 g'4( fis'8 e'8) fis'2 e'4 e'4 e'4 e'4 e'4( dis'8 cis'8) dis'2 e'4 c'4 b4 e'4 fis'4 g'4 g'4( fis'4) g'1 d'2 d'2 e'1 fis'2 fis'2 g'1 fis'4 g'4 g'4 g'4 g'4( fis'4) g'2 g'4. fis'8 e'4 g'4 g'4( fis'4) g'2\n}\ntenor = {\n  d'4 d'4 d'4 d'4 d'2 d'2 b4 b4 b4 b4 b2 b2 g4 g4 g4 b4 d'4 d'4 d'2 b1 d'4 d'4 d'4 d'4 d'2 d'2 b4 b4 b4 b4 b2 b2 g4 g4 g4 b4 d'4 d'4 d'2 b1 g2 g2 g1 d'2 d'2 d'1 d'4 d'4 e'4 d'4 d'2 d'2 g4 b4 c'4 d'4 e'4( d'8 c'8) b2\n}\nbass = {\n  g4 g4 b4 g4 d2 d2 e4 e4 g4 e4 b,2 b,2 c4 e4 g4 e4 d4 g4 d2 g,1 g4 g4 b4 g4 d2 d2 e4 e4 g4 e4 b,2 b,2 c4 e4 g4 e4 d4 g4 d2 g,1 g2 g2 c1 d2 d2 g1 d4 b,4 c4 g4 d2 g2 b,4 g,4 a,4 b,4 c4( d4) g2\n}\n"}, "harmonizations": [{"slug": "wunderbarer-konig-oh23", "tune": "wunderbarer-konig", "music_file": "wunderbarer-konig-oh23.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 20, 32, 40, 46], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:23; all components published pre-1931 (latest year 1918).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:23", "encoding_license": "PD-dedication"}, "music_ly": "%% God Himself is Present\n%% Imported from Open Hymnal ABC X:23 via tools/abc_import.py\n%% Open Hymnal X:23; all components published pre-1931 (latest year 1918).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  b'4 b'4 b'4 b'4 a'2 a'2 g'4 g'4 g'4 g'4 fis'2 fis'2 e'4 e'4 d'4 g'4 a'4 b'4 a'2 g'1 b'4 b'4 b'4 b'4 a'2 a'2 g'4 g'4 g'4 g'4 fis'2 fis'2 e'4 e'4 d'4 g'4 a'4 b'4 a'2 g'1 b'2 b'2 c''1 a'2 a'2 b'1 d''4 d''4 c''4 b'4 a'2 b'2 d''4 d''4 c''4 b'4 a'2 g'2\n}\nalto = {\n  g'4 g'4 g'4 g'4 g'4( fis'8 e'8) fis'2 e'4 e'4 e'4 e'4 e'4( dis'8 cis'8) dis'2 e'4 c'4 b4 e'4 fis'4 g'4 g'4( fis'4) g'1 g'4 g'4 g'4 g'4 g'4( fis'8 e'8) fis'2 e'4 e'4 e'4 e'4 e'4( dis'8 cis'8) dis'2 e'4 c'4 b4 e'4 fis'4 g'4 g'4( fis'4) g'1 d'2 d'2 e'1 fis'2 fis'2 g'1 fis'4 g'4 g'4 g'4 g'4( fis'4) g'2 g'4. fis'8 e'4 g'4 g'4( fis'4) g'2\n}\ntenor = {\n  d'4 d'4 d'4 d'4 d'2 d'2 b4 b4 b4 b4 b2 b2 g4 g4 g4 b4 d'4 d'4 d'2 b1 d'4 d'4 d'4 d'4 d'2 d'2 b4 b4 b4 b4 b2 b2 g4 g4 g4 b4 d'4 d'4 d'2 b1 g2 g2 g1 d'2 d'2 d'1 d'4 d'4 e'4 d'4 d'2 d'2 g4 b4 c'4 d'4 e'4( d'8 c'8) b2\n}\nbass = {\n  g4 g4 b4 g4 d2 d2 e4 e4 g4 e4 b,2 b,2 c4 e4 g4 e4 d4 g4 d2 g,1 g4 g4 b4 g4 d2 d2 e4 e4 g4 e4 b,2 b,2 c4 e4 g4 e4 d4 g4 d2 g,1 g2 g2 c1 d2 d2 g1 d4 b,4 c4 g4 d2 g2 b,4 g,4 a,4 b,4 c4( d4) g2\n}\n", "preferred": true}]}, "yield-not": {"slug": "yield-not", "name": "YIELD NOT", "meter_label": "6.5.6.5 D with Refrain", "meter": {"pattern": [6, 5, 6, 5], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "horatio-r-palmer", "composer_date": "1868", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "yield-not-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_evidence": "Tune and harmony both by Horatio R. Palmer (1834-1907), written for his own words and first published in The Song Queen (Chicago, 1868). Read here off two dated pre-1931 printings of one set of plates: Gospel Hymns, Consolidated, Nos. 1-4 (Cincinnati: The John Church Co. / New York: Biglow & Main, 1884), no. 89, printed page 87 — archive.org gospelh00cinc, leaf 0087 — and the same collection as first issued in 1883, no. 89, printed page 87 — archive.org hymnsconso00blis, leaf 0093. Key of B-flat major, 6/8, no pickup, 24 bars: 16 of verse and 8 of chorus, laid out on the page in five systems. The plates letter no tune name; YIELD NOT is the name the hymnals and Hymnary carry for it. The soprano's first sixteen scale degrees, read notehead by notehead off the 1884 scan (3 3 4 3 2 2 1 1 2 1 7 7 6 6 7 1 in B-flat), are identical on the 1883 scan. A soprano interval fingerprint of this melody against all 285 corpus tunes returned a best match of 0.56 (WHITER THAN SNOW), far under the 0.80 duplicate threshold — the tune is new to the corpus. US public domain: published 1868, both witnesses pre-1931, composer died 1907.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "yield-not-1883", "tune": "yield-not", "music_file": "yield-not-1883.ly", "harmonizer": "horatio-r-palmer", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 24, 36, 48, 62], "breaks_manual": true, "markings": [{"soprano_note": 49, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 49, "inline": true}, "source_line": "Setting: H. R. Palmer, 1868, as printed in Gospel Hymns Consolidated, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_evidence": "Horatio R. Palmer's own four-part setting of his own tune and words, first published in The Song Queen (Chicago: H. R. Palmer, 1868) and credited on the plates read here as \"H. R. PALMER, by per.\" Every chord of all four voices was measured notehead by notehead off the full-resolution page image of Gospel Hymns, Consolidated, Nos. 1 to 4 (Cincinnati: The John Church Co.; New York: Biglow & Main, 1884), no. 89, printed page 87 — archive.org gospelh00cinc, leaf 0087 — and then read END TO END A SECOND TIME, by the same rig but with its own binarisation and its own staff-line fits, on a different dated scan of the same plates: Gospel Hymns Consolidated (Biglow & Main / John Church, 1883), no. 89, printed page 87 — archive.org hymnsconso00blis, leaf 0093. Staff space 28.6 px (1884) and 28.9 px (1883), i.e. one diatonic step = 14.3 / 14.5 px. RESIDUALS, stated honestly: most heads land inside 0.15 step but NOT all — everything over 0.15 was re-read by eye at 3-10x on the 1884 plate before being accepted (the three cross-witness disagreements and both sharps were re-read on BOTH), and the worst accepted residual is 0.37 step, always on a low bass octave engraved on a ledger line below the staff, where the head fuses with its ledger (0.37 step is 5 px against a 14.3 px diatonic spacing, so the reading is not close to ambiguous, and each such head was confirmed by eye against its ledger). NO scaffold of any kind was used — no MIDI, no NoteWorthy file, no ABC, no Cyber Hymnal asset — so there is no circular check anywhere in this import. THE TWO WITNESSES DISAGREED IN EXACTLY THREE PLACES, all of them a blob-splitting artifact rather than a difference in the print, and all three were settled by eye: bar 8's second chord is D5 over B-flat4, not D5/A4 (zoomed to 7x on BOTH leaves); bar 14's second chord is B-flat4 over D4 (zoomed on the 1884 leaf, which is what the 1883 rig read cleanly); chorus bar 21's fourth chord is A4 over F4 (zoomed on the 1884 leaf, where the 1883 rig read it cleanly and the 1884 rig had refused it at residual 0.48). Everywhere else the two scans agree notehead for notehead. ACCIDENTALS WERE CHECKED SEPARATELY AND BY EYE at 9-10x on both leaves, because a notehead probe reads heads and not the signs in front of them: the automated figure above covers NO accidental. The page carries exactly two, and they are the same sign twice — a sharp at the head of bar 4 and a sharp at the head of bar 12, each centred on the F4 space, i.e. on the alto, giving f sharp' under the soprano's held A4 at \"sin\" and at \"sub-due\". Both were verified to be sharps and not naturals (two full-length verticals with two upward-slanting crossbars). Nothing else on the page is inflected; every other B and E takes the key signature's two flats. DEPARTURES FROM THE PAGE, stated in full: (1) THE VERSE'S BEAT-1 UNISON. In fourteen of the sixteen verse bars (not bars 8 and 16, which print two) the lower staff prints ONE notehead on beat 1 and TWO on beat 2, with a tie from the beat-1 head to whichever beat-2 head repeats its pitch, and NO rest is printed anywhere on either plate. This encoding reads that single head as tenor and bass in UNISON — the standard hymn-engraving convention — rather than as one voice resting unmarked for beat 1 of fourteen of the sixteen verse bars. That is an interpretation, not a transcription, and it is the only note in the file that the plate does not itself spell out. The same figure occurs at chorus bars 20 and 23 and is read the same way. (2) THE CASTING. The plates run five systems, two of whose breaks fall in the middle of a poetic line; this setting re-casts in six systems that break only at line ends. No note is changed by that. (3) The plates print no amen and none is added; the closing double barline is kept. Nothing else differs: the flagged (never beamed) eighths, the dotted quarters, the ties of bars 4/8/12/16/24, the restruck (UNtied) lower-staff repeats of chorus bars 18/20/22, and the printed seconds g-over-f in chorus bars 19 and 23 are all as engraved. US public domain: published 1868, both witnesses pre-1931, Palmer died 1907, and no modern arranger stands anywhere in the chain.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1884 Gospel Hymns Consolidated page image (archive.org gospelh00cinc, leaf 0087) and independently re-read on the 1883 printing of the same plates (archive.org hymnsconso00blis, leaf 0093). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used at any stage.", "encoding_license": "PD-dedication"}, "music_ly": "%% YIELD NOT (6.5.6.5 D with Refrain) — \"Yield not to temptation\"\n%% Horatio R. Palmer's own four-part setting of his own words, key B-flat major,\n%% 6/8, NO pickup, 24 bars: 16 of verse (bars 1-16) then 8 of chorus (17-24).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — TWO DATED PLATES, NO SCAFFOLD.\n%% Nothing was generated from a MIDI, a .nwc, an ABC file or any Cyber Hymnal\n%% asset. Every notehead was measured off page images:\n%%   (a) Gospel Hymns, Consolidated, Nos. 1 to 4 (Cincinnati: The John Church Co.;\n%%       New York: Biglow & Main, 1884), no. 89, printed page 87 —\n%%       archive.org gospelh00cinc, leaf 0087, full-resolution jp2 (2348 x 3747);\n%%   (b) the same plates as first issued, Gospel Hymns Consolidated (Biglow &\n%%       Main / John Church, 1883), no. 89, printed page 87 —\n%%       archive.org hymnsconso00blis, leaf 0093, full-resolution jp2 (2428 x 3756).\n%% Staff space measures 28.6 px on (a) and 28.9 px on (b) — one diatonic step is\n%% 14.3 / 14.5 px, comfortably above the ~12 px floor this campaign works to.\n%% Both scans were read END TO END by the same rig, each with its own local\n%% binarisation and its own staff-line fits: per notehead the five lines were\n%% re-found in a +-70 px window around that head's own x (from THIN ink runs\n%% only, so heads and accidentals cannot drag the fit), the five staff rows were\n%% erased and re-closed so a head touching a line is not pulled toward it, heads\n%% were isolated by elliptical erosion sized in staff spaces, and a merged\n%% soprano-over-alto blob was split at its two clean outer edges with the\n%% separation snapped to a whole staff step. Steps were taken against a table\n%% INTERPOLATED between the measured lines (1880s type is not evenly spaced).\n%% RESIDUALS, stated honestly rather than flatteringly: most heads land inside\n%% 0.15 step, but not all. Every reading over 0.15 was re-read BY EYE at 3-10x on\n%% the 1884 plate before it was accepted, and the three places where the two rigs\n%% disagreed (below) were re-read by eye on BOTH plates, as were both sharps.\n%% The worst accepted residual is 0.37 step, and it is always the same\n%% situation — a low bass octave engraved on a ledger\n%% line BELOW the staff (the d, e, f, and bes, heads of the verse), where the\n%% head fuses with its own ledger and the blob centre is pulled toward it. Those\n%% are nonetheless unambiguous: 0.37 step is 5 px where the next diatonic\n%% position is 14.3 px away, and each was confirmed by eye against its ledger.\n%%\n%% WHERE THE TWO RIGS DISAGREED (three places, all settled by eye):\n%%   * bar 8, second chord (\"win\", tied): (b) split the blob as D5/A4, (a) as\n%%     D5/B4. At 7x BOTH plates plainly print D5 on line 2 over B-flat4 on line 3\n%%     (this one was zoomed on both). D5/B-flat4 is encoded.\n%%   * bar 14, second chord (\"sus\"): (a) recovered only the lower head. At 3x the\n%%     1884 plate prints B-flat4 over D4, which is also what (b)'s rig read with a\n%%     clean residual. B-flat4/D4 is encoded.\n%%   * chorus bar 21, fourth chord (\"ing\"): (a) gave a contaminated blob\n%%     (residual 0.48); (b) read A4/F4 cleanly and the 1884 plate shows A4/F4 at\n%%     6x. A4/F4 is encoded.\n%% Everywhere else the two plates agree notehead for notehead.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE (the notehead probe reads HEADS,\n%% never the sharps and flats in front of them, so the automated figures above\n%% cover NO accidental). Every one of the ten staves of the 1884 leaf was swept\n%% by eye at 2.6-3.2x for accidental glyphs, and the two that turned up were then\n%% zoomed to 9-10x on BOTH plates. The whole page carries exactly TWO, and they\n%% are the same sign twice: a SHARP\n%% (two full-length verticals, two upward-slanting crossbars — not a natural)\n%% standing at the head of bar 4 and again at the head of bar 12, in each case\n%% centred on the F4 space, i.e. on the ALTO. So the alto sings f sharp' through\n%% bars 4 and 12 (the accidental holds for the bar; neither bar's second chord\n%% repeats it, and both chords of each bar are tied to each other anyway). No\n%% other accidental appears anywhere in any voice; every other B and E in this\n%% file takes the two flats of the key signature.\n%%\n%% RHYTHM, exactly as engraved.\n%%   VERSE, upper staff: odd-numbered bars are a dotted quarter then three\n%%   separately FLAGGED eighths (no beams anywhere on these plates); even bars are\n%%   two dotted quarters. Verse lines 2, 4, 6 and 8 end on a TIE across the two\n%%   dotted quarters of bars 4, 8, 12 and 16 (\"sin\", \"win\", \"sub-due\", \"through\").\n%%   VERSE, lower staff: two dotted quarters in every bar, so tenor and bass move\n%%   at half the soprano's rate through the verse.\n%%   CHORUS, all four voices together: odd bars are a QUARTER then four flagged\n%%   eighths; even bars are two dotted quarters. Only bar 24 ties.\n%%\n%% THE VERSE'S SINGLE NOTEHEAD ON BEAT 1 — THE ONE EDITORIAL READING IN THIS FILE.\n%% In FOURTEEN of the sixteen verse bars the lower staff prints ONE notehead on\n%% beat 1 and TWO on\n%% beat 2, and a tie joins the beat-1 head to whichever beat-2 head repeats its\n%% pitch (usually the upper; in bars 6 and 14 the LOWER). NO REST is printed\n%% anywhere on either plate. Read literally, one of the two lower voices would\n%% have to be silent for beat 1 of fourteen of the sixteen verse bars (bars 8 and\n%% 16 print TWO heads on beat 1) with no rest engraved,\n%% which these plates do not do; the standard hymn-engraving reading is that\n%% tenor and bass share one notehead when they are in UNISON. That is what is\n%% encoded: on beat 1 both lower voices take the printed pitch, and on beat 2 they\n%% split, the tied one holding. This is an interpretation of the page, not a\n%% transcription of it, and it is the only place in this file where the encoding\n%% supplies something the plate does not spell out. It puts tenor and bass in\n%% unison on the down-beat of bars 1-5, 7-13 and 15-16, and it makes the tenor of\n%% bars 6 and 14 leap b flat, -> b flat (the printed beat-1 note there sits an\n%% octave lower than in the other bars). Chorus bars 20 and 23 print the same\n%% one-head figure and are read the same way.\n%%\n%% SECONDS, NOT DIVISI. In chorus bars 19 and 23 the fourth eighth of the lower\n%% staff is engraved as two noteheads offset side by side on one stem, g over f —\n%% a printed SECOND, tenor g and bass f. LilyPond's own collision resolver is left\n%% to place them; nothing is hand-shifted and nothing is divisi.\n%%\n%% UNISONS elsewhere: chorus bar 23's first three eighths print a single f in the\n%% lower staff (tenor and bass together), as does chorus bar 20's first dotted\n%% quarter (a single b flat). Again the default resolver is left alone.\n%%\n%% NO AMEN is printed. The hymn closes on a light-heavy double barline.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  d''4. d''8 ees''8 d''8 |\n  c''4. c''4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4.~ a'4. |\n  g'4. g'8 a'8 bes'8 |\n  f'4. bes'4. |\n  c''4. c''8 bes'8 c''8 |\n  d''4.~ d''4. |\n  d''4. d''8 ees''8 d''8 |\n  c''4. c''4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4.~ a'4. |\n  g'4. g'8 a'8 bes'8 |\n  f'4. bes'4. |\n  d''4. c''8 bes'8 c''8 |\n  bes'4.~ bes'4. |\n  f'4 f'8 f'8 g'8 f'8 |\n  f'4. bes'4. |\n  c''4 c''8 c''8 bes'8 c''8 |\n  d''4. bes'4. |\n  bes'4 bes'8 bes'8 a'8 g'8 |\n  f'4. bes'4. |\n  d''4 d''8 c''8 bes'8 c''8 |\n  bes'4.~ bes'4.\n}\n\nalto = {\n  bes'4. bes'8 c''8 bes'8 |\n  a'4. a'4. |\n  g'4. g'8 a'8 g'8 |\n  fis'4.~ fis'4. |\n  ees'4. ees'8 f'8 g'8 |\n  d'4. d'4. |\n  a'4. a'8 g'8 a'8 |\n  bes'4.~ bes'4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4. a'4. |\n  g'4. g'8 a'8 g'8 |\n  fis'4.~ fis'4. |\n  ees'4. ees'8 f'8 g'8 |\n  d'4. d'4. |\n  f'4. ees'8 d'8 ees'8 |\n  d'4.~ d'4. |\n  d'4 d'8 d'8 ees'8 d'8 |\n  d'4. d'4. |\n  f'4 f'8 f'8 f'8 f'8 |\n  f'4. d'4. |\n  g'4 g'8 g'8 f'8 ees'8 |\n  d'4. d'4. |\n  f'4 f'8 ees'8 d'8 ees'8 |\n  d'4.~ d'4.\n}\n\ntenor = {\n  bes4.~ bes4. |\n  f4.~ f4. |\n  g4.~ g4. |\n  d4.~ d4. |\n  ees4.~ ees4. |\n  bes,4. bes4. |\n  f4.~ f4. |\n  f4.~ f4. |\n  bes4.~ bes4. |\n  f4.~ f4. |\n  g4.~ g4. |\n  d4.~ d4. |\n  ees4.~ ees4. |\n  bes,4. bes4. |\n  f4.~ f4. |\n  f4.~ f4. |\n  bes4 bes8 bes8 bes8 bes8 |\n  bes4. f4. |\n  a4 a8 a8 g8 a8 |\n  bes4. bes4. |\n  bes4 bes8 bes8 bes8 bes8 |\n  bes4. f4. |\n  f4 f8 f8 g8 a8 |\n  bes4.~ bes4.\n}\n\nbass = {\n  bes4. bes,4. |\n  f4. f,4. |\n  g4. g,4. |\n  d4. d,4. |\n  ees4. ees,4. |\n  bes,4.~ bes,4. |\n  f4. f,4. |\n  bes,4.~ bes,4. |\n  bes4. bes,4. |\n  f4. f,4. |\n  g4. g,4. |\n  d4. d,4. |\n  ees4. ees,4. |\n  bes,4.~ bes,4. |\n  f4. f,4. |\n  bes,4.~ bes,4. |\n  bes,4 bes,8 bes,8 bes,8 bes,8 |\n  bes,4. bes,4. |\n  f4 f8 f8 f8 f8 |\n  bes4. bes,4. |\n  ees4 ees8 ees8 ees8 ees8 |\n  bes,4. bes,4. |\n  f4 f8 f8 f8 f8 |\n  bes,4.~ bes,4.\n}\n"}, "harmonizations": [{"slug": "yield-not-1883", "tune": "yield-not", "music_file": "yield-not-1883.ly", "harmonizer": "horatio-r-palmer", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 24, 36, 48, 62], "breaks_manual": true, "markings": [{"soprano_note": 49, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 49, "inline": true}, "source_line": "Setting: H. R. Palmer, 1868, as printed in Gospel Hymns Consolidated, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_evidence": "Horatio R. Palmer's own four-part setting of his own tune and words, first published in The Song Queen (Chicago: H. R. Palmer, 1868) and credited on the plates read here as \"H. R. PALMER, by per.\" Every chord of all four voices was measured notehead by notehead off the full-resolution page image of Gospel Hymns, Consolidated, Nos. 1 to 4 (Cincinnati: The John Church Co.; New York: Biglow & Main, 1884), no. 89, printed page 87 — archive.org gospelh00cinc, leaf 0087 — and then read END TO END A SECOND TIME, by the same rig but with its own binarisation and its own staff-line fits, on a different dated scan of the same plates: Gospel Hymns Consolidated (Biglow & Main / John Church, 1883), no. 89, printed page 87 — archive.org hymnsconso00blis, leaf 0093. Staff space 28.6 px (1884) and 28.9 px (1883), i.e. one diatonic step = 14.3 / 14.5 px. RESIDUALS, stated honestly: most heads land inside 0.15 step but NOT all — everything over 0.15 was re-read by eye at 3-10x on the 1884 plate before being accepted (the three cross-witness disagreements and both sharps were re-read on BOTH), and the worst accepted residual is 0.37 step, always on a low bass octave engraved on a ledger line below the staff, where the head fuses with its ledger (0.37 step is 5 px against a 14.3 px diatonic spacing, so the reading is not close to ambiguous, and each such head was confirmed by eye against its ledger). NO scaffold of any kind was used — no MIDI, no NoteWorthy file, no ABC, no Cyber Hymnal asset — so there is no circular check anywhere in this import. THE TWO WITNESSES DISAGREED IN EXACTLY THREE PLACES, all of them a blob-splitting artifact rather than a difference in the print, and all three were settled by eye: bar 8's second chord is D5 over B-flat4, not D5/A4 (zoomed to 7x on BOTH leaves); bar 14's second chord is B-flat4 over D4 (zoomed on the 1884 leaf, which is what the 1883 rig read cleanly); chorus bar 21's fourth chord is A4 over F4 (zoomed on the 1884 leaf, where the 1883 rig read it cleanly and the 1884 rig had refused it at residual 0.48). Everywhere else the two scans agree notehead for notehead. ACCIDENTALS WERE CHECKED SEPARATELY AND BY EYE at 9-10x on both leaves, because a notehead probe reads heads and not the signs in front of them: the automated figure above covers NO accidental. The page carries exactly two, and they are the same sign twice — a sharp at the head of bar 4 and a sharp at the head of bar 12, each centred on the F4 space, i.e. on the alto, giving f sharp' under the soprano's held A4 at \"sin\" and at \"sub-due\". Both were verified to be sharps and not naturals (two full-length verticals with two upward-slanting crossbars). Nothing else on the page is inflected; every other B and E takes the key signature's two flats. DEPARTURES FROM THE PAGE, stated in full: (1) THE VERSE'S BEAT-1 UNISON. In fourteen of the sixteen verse bars (not bars 8 and 16, which print two) the lower staff prints ONE notehead on beat 1 and TWO on beat 2, with a tie from the beat-1 head to whichever beat-2 head repeats its pitch, and NO rest is printed anywhere on either plate. This encoding reads that single head as tenor and bass in UNISON — the standard hymn-engraving convention — rather than as one voice resting unmarked for beat 1 of fourteen of the sixteen verse bars. That is an interpretation, not a transcription, and it is the only note in the file that the plate does not itself spell out. The same figure occurs at chorus bars 20 and 23 and is read the same way. (2) THE CASTING. The plates run five systems, two of whose breaks fall in the middle of a poetic line; this setting re-casts in six systems that break only at line ends. No note is changed by that. (3) The plates print no amen and none is added; the closing double barline is kept. Nothing else differs: the flagged (never beamed) eighths, the dotted quarters, the ties of bars 4/8/12/16/24, the restruck (UNtied) lower-staff repeats of chorus bars 18/20/22, and the printed seconds g-over-f in chorus bars 19 and 23 are all as engraved. US public domain: published 1868, both witnesses pre-1931, Palmer died 1907, and no modern arranger stands anywhere in the chain.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1884 Gospel Hymns Consolidated page image (archive.org gospelh00cinc, leaf 0087) and independently re-read on the 1883 printing of the same plates (archive.org hymnsconso00blis, leaf 0093). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used at any stage.", "encoding_license": "PD-dedication"}, "music_ly": "%% YIELD NOT (6.5.6.5 D with Refrain) — \"Yield not to temptation\"\n%% Horatio R. Palmer's own four-part setting of his own words, key B-flat major,\n%% 6/8, NO pickup, 24 bars: 16 of verse (bars 1-16) then 8 of chorus (17-24).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES — TWO DATED PLATES, NO SCAFFOLD.\n%% Nothing was generated from a MIDI, a .nwc, an ABC file or any Cyber Hymnal\n%% asset. Every notehead was measured off page images:\n%%   (a) Gospel Hymns, Consolidated, Nos. 1 to 4 (Cincinnati: The John Church Co.;\n%%       New York: Biglow & Main, 1884), no. 89, printed page 87 —\n%%       archive.org gospelh00cinc, leaf 0087, full-resolution jp2 (2348 x 3747);\n%%   (b) the same plates as first issued, Gospel Hymns Consolidated (Biglow &\n%%       Main / John Church, 1883), no. 89, printed page 87 —\n%%       archive.org hymnsconso00blis, leaf 0093, full-resolution jp2 (2428 x 3756).\n%% Staff space measures 28.6 px on (a) and 28.9 px on (b) — one diatonic step is\n%% 14.3 / 14.5 px, comfortably above the ~12 px floor this campaign works to.\n%% Both scans were read END TO END by the same rig, each with its own local\n%% binarisation and its own staff-line fits: per notehead the five lines were\n%% re-found in a +-70 px window around that head's own x (from THIN ink runs\n%% only, so heads and accidentals cannot drag the fit), the five staff rows were\n%% erased and re-closed so a head touching a line is not pulled toward it, heads\n%% were isolated by elliptical erosion sized in staff spaces, and a merged\n%% soprano-over-alto blob was split at its two clean outer edges with the\n%% separation snapped to a whole staff step. Steps were taken against a table\n%% INTERPOLATED between the measured lines (1880s type is not evenly spaced).\n%% RESIDUALS, stated honestly rather than flatteringly: most heads land inside\n%% 0.15 step, but not all. Every reading over 0.15 was re-read BY EYE at 3-10x on\n%% the 1884 plate before it was accepted, and the three places where the two rigs\n%% disagreed (below) were re-read by eye on BOTH plates, as were both sharps.\n%% The worst accepted residual is 0.37 step, and it is always the same\n%% situation — a low bass octave engraved on a ledger\n%% line BELOW the staff (the d, e, f, and bes, heads of the verse), where the\n%% head fuses with its own ledger and the blob centre is pulled toward it. Those\n%% are nonetheless unambiguous: 0.37 step is 5 px where the next diatonic\n%% position is 14.3 px away, and each was confirmed by eye against its ledger.\n%%\n%% WHERE THE TWO RIGS DISAGREED (three places, all settled by eye):\n%%   * bar 8, second chord (\"win\", tied): (b) split the blob as D5/A4, (a) as\n%%     D5/B4. At 7x BOTH plates plainly print D5 on line 2 over B-flat4 on line 3\n%%     (this one was zoomed on both). D5/B-flat4 is encoded.\n%%   * bar 14, second chord (\"sus\"): (a) recovered only the lower head. At 3x the\n%%     1884 plate prints B-flat4 over D4, which is also what (b)'s rig read with a\n%%     clean residual. B-flat4/D4 is encoded.\n%%   * chorus bar 21, fourth chord (\"ing\"): (a) gave a contaminated blob\n%%     (residual 0.48); (b) read A4/F4 cleanly and the 1884 plate shows A4/F4 at\n%%     6x. A4/F4 is encoded.\n%% Everywhere else the two plates agree notehead for notehead.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE (the notehead probe reads HEADS,\n%% never the sharps and flats in front of them, so the automated figures above\n%% cover NO accidental). Every one of the ten staves of the 1884 leaf was swept\n%% by eye at 2.6-3.2x for accidental glyphs, and the two that turned up were then\n%% zoomed to 9-10x on BOTH plates. The whole page carries exactly TWO, and they\n%% are the same sign twice: a SHARP\n%% (two full-length verticals, two upward-slanting crossbars — not a natural)\n%% standing at the head of bar 4 and again at the head of bar 12, in each case\n%% centred on the F4 space, i.e. on the ALTO. So the alto sings f sharp' through\n%% bars 4 and 12 (the accidental holds for the bar; neither bar's second chord\n%% repeats it, and both chords of each bar are tied to each other anyway). No\n%% other accidental appears anywhere in any voice; every other B and E in this\n%% file takes the two flats of the key signature.\n%%\n%% RHYTHM, exactly as engraved.\n%%   VERSE, upper staff: odd-numbered bars are a dotted quarter then three\n%%   separately FLAGGED eighths (no beams anywhere on these plates); even bars are\n%%   two dotted quarters. Verse lines 2, 4, 6 and 8 end on a TIE across the two\n%%   dotted quarters of bars 4, 8, 12 and 16 (\"sin\", \"win\", \"sub-due\", \"through\").\n%%   VERSE, lower staff: two dotted quarters in every bar, so tenor and bass move\n%%   at half the soprano's rate through the verse.\n%%   CHORUS, all four voices together: odd bars are a QUARTER then four flagged\n%%   eighths; even bars are two dotted quarters. Only bar 24 ties.\n%%\n%% THE VERSE'S SINGLE NOTEHEAD ON BEAT 1 — THE ONE EDITORIAL READING IN THIS FILE.\n%% In FOURTEEN of the sixteen verse bars the lower staff prints ONE notehead on\n%% beat 1 and TWO on\n%% beat 2, and a tie joins the beat-1 head to whichever beat-2 head repeats its\n%% pitch (usually the upper; in bars 6 and 14 the LOWER). NO REST is printed\n%% anywhere on either plate. Read literally, one of the two lower voices would\n%% have to be silent for beat 1 of fourteen of the sixteen verse bars (bars 8 and\n%% 16 print TWO heads on beat 1) with no rest engraved,\n%% which these plates do not do; the standard hymn-engraving reading is that\n%% tenor and bass share one notehead when they are in UNISON. That is what is\n%% encoded: on beat 1 both lower voices take the printed pitch, and on beat 2 they\n%% split, the tied one holding. This is an interpretation of the page, not a\n%% transcription of it, and it is the only place in this file where the encoding\n%% supplies something the plate does not spell out. It puts tenor and bass in\n%% unison on the down-beat of bars 1-5, 7-13 and 15-16, and it makes the tenor of\n%% bars 6 and 14 leap b flat, -> b flat (the printed beat-1 note there sits an\n%% octave lower than in the other bars). Chorus bars 20 and 23 print the same\n%% one-head figure and are read the same way.\n%%\n%% SECONDS, NOT DIVISI. In chorus bars 19 and 23 the fourth eighth of the lower\n%% staff is engraved as two noteheads offset side by side on one stem, g over f —\n%% a printed SECOND, tenor g and bass f. LilyPond's own collision resolver is left\n%% to place them; nothing is hand-shifted and nothing is divisi.\n%%\n%% UNISONS elsewhere: chorus bar 23's first three eighths print a single f in the\n%% lower staff (tenor and bass together), as does chorus bar 20's first dotted\n%% quarter (a single b flat). Again the default resolver is left alone.\n%%\n%% NO AMEN is printed. The hymn closes on a light-heavy double barline.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 6/8 }\n\nsoprano = {\n  d''4. d''8 ees''8 d''8 |\n  c''4. c''4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4.~ a'4. |\n  g'4. g'8 a'8 bes'8 |\n  f'4. bes'4. |\n  c''4. c''8 bes'8 c''8 |\n  d''4.~ d''4. |\n  d''4. d''8 ees''8 d''8 |\n  c''4. c''4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4.~ a'4. |\n  g'4. g'8 a'8 bes'8 |\n  f'4. bes'4. |\n  d''4. c''8 bes'8 c''8 |\n  bes'4.~ bes'4. |\n  f'4 f'8 f'8 g'8 f'8 |\n  f'4. bes'4. |\n  c''4 c''8 c''8 bes'8 c''8 |\n  d''4. bes'4. |\n  bes'4 bes'8 bes'8 a'8 g'8 |\n  f'4. bes'4. |\n  d''4 d''8 c''8 bes'8 c''8 |\n  bes'4.~ bes'4.\n}\n\nalto = {\n  bes'4. bes'8 c''8 bes'8 |\n  a'4. a'4. |\n  g'4. g'8 a'8 g'8 |\n  fis'4.~ fis'4. |\n  ees'4. ees'8 f'8 g'8 |\n  d'4. d'4. |\n  a'4. a'8 g'8 a'8 |\n  bes'4.~ bes'4. |\n  bes'4. bes'8 c''8 bes'8 |\n  a'4. a'4. |\n  g'4. g'8 a'8 g'8 |\n  fis'4.~ fis'4. |\n  ees'4. ees'8 f'8 g'8 |\n  d'4. d'4. |\n  f'4. ees'8 d'8 ees'8 |\n  d'4.~ d'4. |\n  d'4 d'8 d'8 ees'8 d'8 |\n  d'4. d'4. |\n  f'4 f'8 f'8 f'8 f'8 |\n  f'4. d'4. |\n  g'4 g'8 g'8 f'8 ees'8 |\n  d'4. d'4. |\n  f'4 f'8 ees'8 d'8 ees'8 |\n  d'4.~ d'4.\n}\n\ntenor = {\n  bes4.~ bes4. |\n  f4.~ f4. |\n  g4.~ g4. |\n  d4.~ d4. |\n  ees4.~ ees4. |\n  bes,4. bes4. |\n  f4.~ f4. |\n  f4.~ f4. |\n  bes4.~ bes4. |\n  f4.~ f4. |\n  g4.~ g4. |\n  d4.~ d4. |\n  ees4.~ ees4. |\n  bes,4. bes4. |\n  f4.~ f4. |\n  f4.~ f4. |\n  bes4 bes8 bes8 bes8 bes8 |\n  bes4. f4. |\n  a4 a8 a8 g8 a8 |\n  bes4. bes4. |\n  bes4 bes8 bes8 bes8 bes8 |\n  bes4. f4. |\n  f4 f8 f8 g8 a8 |\n  bes4.~ bes4.\n}\n\nbass = {\n  bes4. bes,4. |\n  f4. f,4. |\n  g4. g,4. |\n  d4. d,4. |\n  ees4. ees,4. |\n  bes,4.~ bes,4. |\n  f4. f,4. |\n  bes,4.~ bes,4. |\n  bes4. bes,4. |\n  f4. f,4. |\n  g4. g,4. |\n  d4. d,4. |\n  ees4. ees,4. |\n  bes,4.~ bes,4. |\n  f4. f,4. |\n  bes,4.~ bes,4. |\n  bes,4 bes,8 bes,8 bes,8 bes,8 |\n  bes,4. bes,4. |\n  f4 f8 f8 f8 f8 |\n  bes4. bes,4. |\n  ees4 ees8 ees8 ees8 ees8 |\n  bes,4. bes,4. |\n  f4 f8 f8 f8 f8 |\n  bes,4.~ bes,4.\n}\n", "preferred": true}]}, "yoakley": {"slug": "yoakley", "name": "YOAKLEY", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-yoakley", "composer_date": "1853", "canonical_key": {"tonic": "e", "mode": "major"}, "preferred_harmonization": "yoakley-oh170", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:170; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "yoakley_yoakley", "total_instances": 35}}, "harmonization": {"slug": "yoakley-oh170", "tune": "yoakley", "music_file": "yoakley-oh170.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 20, 32, 44, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:170; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:170", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, Thy Boundless Love To Me\n%% Imported from Open Hymnal ABC X:170 via tools/abc_import.py\n%% Open Hymnal X:170; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'8.( fis'16) gis'2 gis'8.( a'16) b'4( gis'4) e'4 fis'4.( gis'8) a'4 a'4( gis'4) e'8.( gis'16) b'2 cis''4 b'2 gis'4 gis'2 fis'4 fis'2 e'8.( fis'16) gis'2 gis'8.( a'16) b'4( gis'4) e'4 fis'4.( gis'8) a'4 a'4( gis'4) e'8.( gis'16) b'2 cis''4 b'2 gis'4 gis'2 fis'4 fis'2 gis'4 a'2 b'4 cis''2 b'4 b'4( gis'4) e'4 gis'4( fis'4) b'4 e''4( b'4) b'8( e''8) e''4( cis''4) a'4 gis'2 fis'4 e'2\n}\nalto = {\n  b4 b2 e'8. fis'16 gis'4( e'4) e'4 e'2 dis'8 fis'8 fis'4( e'4) b8. e'16 gis'2 a'4 gis'2 e'4 e'2 e'4 dis'2 b4 b2 e'8. fis'16 gis'4( e'4) e'4 e'2 dis'8 fis'8 fis'4( e'4) b8. e'16 gis'2 a'4 gis'2 e'4 e'2 e'4 dis'2 e'4 e'2 e'4 e'2 e'4 b2 e'4 e'4( dis'4) dis'4 e'2 e'4 e'2 fis'4 e'2 dis'4 e'2\n}\ntenor = {\n  gis8. a16 b2 b8. e'16 e'4( b4) b4 cis'4( b4) b4 b2 gis8. b16 e'2 e'4 e'2 b4 cis'2 ais4 b2 gis8. a16 b2 b8. e'16 e'4( b4) b4 cis'4( b4) b4 b2 gis8. b16 e'2 e'4 e'2 b4 cis'2 ais4 b2 b4 a2 gis4 a2 gis4 fis4( e8 fis8) gis8 ais8 b2 b4 b4( e'4) b4 cis'4( e'4) cis'4 b2 a4 gis2\n}\nbass = {\n  e4 e2 e4 e2 gis,4 a,4( b,4) b,4 e2 e4 e2 e4 e2 e4 cis2 fis4 b,2 e4 e2 e4 e2 gis,4 a,4( b,4) b,4 e2 e4 e2 e4 e2 e4 cis2 fis4 b,2 e4 cis2 e4 a2 e4 dis4( e4) cis4 b,2 b8 a8 gis2 gis4 a2 a,4 b,2 b,4 e2\n}\n"}, "harmonizations": [{"slug": "yoakley-oh170", "tune": "yoakley", "music_file": "yoakley-oh170.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [10, 20, 32, 44, 54], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:170; all components published pre-1931 (latest year 1874).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:170", "encoding_license": "PD-dedication"}, "music_ly": "%% Jesus, Thy Boundless Love To Me\n%% Imported from Open Hymnal ABC X:170 via tools/abc_import.py\n%% Open Hymnal X:170; all components published pre-1931 (latest year 1874).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  e'8.( fis'16) gis'2 gis'8.( a'16) b'4( gis'4) e'4 fis'4.( gis'8) a'4 a'4( gis'4) e'8.( gis'16) b'2 cis''4 b'2 gis'4 gis'2 fis'4 fis'2 e'8.( fis'16) gis'2 gis'8.( a'16) b'4( gis'4) e'4 fis'4.( gis'8) a'4 a'4( gis'4) e'8.( gis'16) b'2 cis''4 b'2 gis'4 gis'2 fis'4 fis'2 gis'4 a'2 b'4 cis''2 b'4 b'4( gis'4) e'4 gis'4( fis'4) b'4 e''4( b'4) b'8( e''8) e''4( cis''4) a'4 gis'2 fis'4 e'2\n}\nalto = {\n  b4 b2 e'8. fis'16 gis'4( e'4) e'4 e'2 dis'8 fis'8 fis'4( e'4) b8. e'16 gis'2 a'4 gis'2 e'4 e'2 e'4 dis'2 b4 b2 e'8. fis'16 gis'4( e'4) e'4 e'2 dis'8 fis'8 fis'4( e'4) b8. e'16 gis'2 a'4 gis'2 e'4 e'2 e'4 dis'2 e'4 e'2 e'4 e'2 e'4 b2 e'4 e'4( dis'4) dis'4 e'2 e'4 e'2 fis'4 e'2 dis'4 e'2\n}\ntenor = {\n  gis8. a16 b2 b8. e'16 e'4( b4) b4 cis'4( b4) b4 b2 gis8. b16 e'2 e'4 e'2 b4 cis'2 ais4 b2 gis8. a16 b2 b8. e'16 e'4( b4) b4 cis'4( b4) b4 b2 gis8. b16 e'2 e'4 e'2 b4 cis'2 ais4 b2 b4 a2 gis4 a2 gis4 fis4( e8 fis8) gis8 ais8 b2 b4 b4( e'4) b4 cis'4( e'4) cis'4 b2 a4 gis2\n}\nbass = {\n  e4 e2 e4 e2 gis,4 a,4( b,4) b,4 e2 e4 e2 e4 e2 e4 cis2 fis4 b,2 e4 e2 e4 e2 gis,4 a,4( b,4) b,4 e2 e4 e2 e4 e2 e4 cis2 fis4 b,2 e4 cis2 e4 a2 e4 dis4( e4) cis4 b,2 b8 a8 gis2 gis4 a2 a,4 b,2 b,4 e2\n}\n", "preferred": true}]}, "yorkshire": {"slug": "yorkshire", "name": "YORKSHIRE", "meter_label": "10.10.10.10.10.10", "meter": {"pattern": [10, 10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "john-wainwright", "composer_date": "1750", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "yorkshire-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "YORKSHIRE (10.10.10.10.10.10), by John Wainwright (1723-1768), published 1750. Wainwright d. 1768; US public domain by pre-1931 publication. A four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4; the chromatic G-sharps in the fourth phrase and the bass F-sharp passing tone in the fifth phrase are printed with sharps in the source and carried here). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Yorkshire\" (John Wainwright, 1750); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "yorkshire-cyberhymnal", "tune": "yorkshire", "music_file": "yorkshire-cyberhymnal.ly", "harmonizer": "john-wainwright", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "YORKSHIRE, John Wainwright, 1750. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting YORKSHIRE, John Wainwright (1723-1768), 1750 - US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 10.10.10.10.10.10) and diffed back against it. Chromatics confirmed against the printed accidentals: the fourth-phrase G-sharps (soprano, alto and tenor) and the bass F-sharp passing tone in the fifth phrase.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Yorkshire\" (Wainwright); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% YORKSHIRE (10.10.10.10.10.10) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Yorkshire\", John Wainwright, 1750) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10.10.10 (60 soprano notes = 60 syllables). The G-sharps in the fourth\n%% phrase (soprano/alto/tenor) and the bass F-sharp passing tone in the fifth phrase\n%% are printed with sharps in the source and carried here.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'2 c'4 d'4 | e'2. f'4 | g'4 e'4 f'4 g'4 | a'1 |\n  g'2 a'4 b'4 | c''4 d''4 e''4 d''4 | c''2 b'2 | c''1 |\n  c''2 e''4 g'4 | a'2. g'4 | a'4 b'4 c''4 d''4 | b'1 |\n  b'2 c''4 b'4 | a'4 gis'4 a'4 b'4 | c''2 b'2 | a'1 |\n  a'2 g'4 f'4 | e'2 c'2 | f'4 e'4 d'4 c'4 | g'2. g'4 |\n  a'2 b'2 | c''4 d''4 e''4 d''4 | c''2 b'2 | c''1\n}\nalto = {\n  g2 a4 b4 | c'2. c'4 | c'4 c'4 c'4 c'4 | c'1 |\n  c'2 c'4 f'4 | g'4 g'4 g'4 f'4 | e'2 d'2 | e'1 |\n  e'2 g'4 g'4 | f'2. g'4 | f'4 f'4 g'4 f'4 | d'1 |\n  e'2 e'4 gis'4 | a'4 e'4 c'4 f'4 | e'2 e'2 | c'1 |\n  f'2 d'4 d'4 | c'2 c'2 | c'4 c'4 c'4 c'4 | b2. c'4 |\n  c'2 f'2 | g'4 g'4 g'4 f'4 | e'2 d'2 | e'1\n}\ntenor = {\n  e2 e4 g4 | g2. g4 | g4 g4 g4 g4 | f1 |\n  g2 f4 g4 | g4 b4 c'4 a4 | g2 g2 | g1 |\n  g2 c'4 c'4 | c'2. c'4 | c'4 d'4 c'4 a4 | g1 |\n  gis2 a4 d'4 | e'4 b4 a4 a4 | a2 a4 gis4 | a1 |\n  c'2 b4 g4 | g2 e2 | f4 g4 a4 d4 | d2. e4 |\n  f2 g2 | c'4 b4 c'4 a4 | g2 g2 | g1\n}\nbass = {\n  c2 a,4 g,4 | c2. d4 | e4 c4 d4 e4 | f1 |\n  e2 f4 d4 | e4 g4 c4 f4 | g2 g,2 | c1 |\n  c2 c4 e4 | f2. e4 | f4 d4 e4 f4 | g1 |\n  e2 a,4 b,4 | c4 e4 f4 d4 | e2 e2 | a,1 |\n  f,2 g,4 b,4 | c2 c2 | a,4 g,4 f,4 fis,4 | g,2. c4 |\n  f2 d2 | e4 g4 c4 f4 | g2 g,2 | c1\n}\n"}, "harmonizations": [{"slug": "yorkshire-cyberhymnal", "tune": "yorkshire", "music_file": "yorkshire-cyberhymnal.ly", "harmonizer": "john-wainwright", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40, 50], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "YORKSHIRE, John Wainwright, 1750. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and four-part setting YORKSHIRE, John Wainwright (1723-1768), 1750 - US public domain by pre-1931 publication. Encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py; the four-voice render was verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 10.10.10.10.10.10) and diffed back against it. Chromatics confirmed against the printed accidentals: the fourth-phrase G-sharps (soprano, alto and tenor) and the bass F-sharp passing tone in the fifth phrase.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Yorkshire\" (Wainwright); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% YORKSHIRE (10.10.10.10.10.10) — four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Yorkshire\", John Wainwright, 1750) with\n%% tools/mid2ly.py and verified against the Cyber Hymnal engraving. Fully syllabic\n%% 10.10.10.10.10.10 (60 soprano notes = 60 syllables). The G-sharps in the fourth\n%% phrase (soprano/alto/tenor) and the bass F-sharp passing tone in the fifth phrase\n%% are printed with sharps in the source and carried here.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'2 c'4 d'4 | e'2. f'4 | g'4 e'4 f'4 g'4 | a'1 |\n  g'2 a'4 b'4 | c''4 d''4 e''4 d''4 | c''2 b'2 | c''1 |\n  c''2 e''4 g'4 | a'2. g'4 | a'4 b'4 c''4 d''4 | b'1 |\n  b'2 c''4 b'4 | a'4 gis'4 a'4 b'4 | c''2 b'2 | a'1 |\n  a'2 g'4 f'4 | e'2 c'2 | f'4 e'4 d'4 c'4 | g'2. g'4 |\n  a'2 b'2 | c''4 d''4 e''4 d''4 | c''2 b'2 | c''1\n}\nalto = {\n  g2 a4 b4 | c'2. c'4 | c'4 c'4 c'4 c'4 | c'1 |\n  c'2 c'4 f'4 | g'4 g'4 g'4 f'4 | e'2 d'2 | e'1 |\n  e'2 g'4 g'4 | f'2. g'4 | f'4 f'4 g'4 f'4 | d'1 |\n  e'2 e'4 gis'4 | a'4 e'4 c'4 f'4 | e'2 e'2 | c'1 |\n  f'2 d'4 d'4 | c'2 c'2 | c'4 c'4 c'4 c'4 | b2. c'4 |\n  c'2 f'2 | g'4 g'4 g'4 f'4 | e'2 d'2 | e'1\n}\ntenor = {\n  e2 e4 g4 | g2. g4 | g4 g4 g4 g4 | f1 |\n  g2 f4 g4 | g4 b4 c'4 a4 | g2 g2 | g1 |\n  g2 c'4 c'4 | c'2. c'4 | c'4 d'4 c'4 a4 | g1 |\n  gis2 a4 d'4 | e'4 b4 a4 a4 | a2 a4 gis4 | a1 |\n  c'2 b4 g4 | g2 e2 | f4 g4 a4 d4 | d2. e4 |\n  f2 g2 | c'4 b4 c'4 a4 | g2 g2 | g1\n}\nbass = {\n  c2 a,4 g,4 | c2. d4 | e4 c4 d4 e4 | f1 |\n  e2 f4 d4 | e4 g4 c4 f4 | g2 g,2 | c1 |\n  c2 c4 e4 | f2. e4 | f4 d4 e4 f4 | g1 |\n  e2 a,4 b,4 | c4 e4 f4 d4 | e2 e2 | a,1 |\n  f,2 g,4 b,4 | c2 c2 | a,4 g,4 f,4 fis,4 | g,2. c4 |\n  f2 d2 | e4 g4 c4 f4 | g2 g,2 | c1\n}\n", "preferred": true}]}}, "settings": [{"slug": "1-the-heavns-in-their-splendor-declare__winchester-new-oh142", "text": "1-the-heavns-in-their-splendor-declare", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "a-charge-to-keep-i-have__boylston-oh214", "text": "a-charge-to-keep-i-have", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "a-great-and-mighty-wonder__es-ist-ein-ros-rhythmic-oh46", "text": "a-great-and-mighty-wonder", "harmonization": "es-ist-ein-ros-rhythmic-oh46", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "a-mighty-fortress-is-our-god__ein-feste-burg-isorhythmic-oh127", "text": "a-mighty-fortress-is-our-god", "harmonization": "ein-feste-burg-isorhythmic-oh127", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "abide-o-dearest-jesus__christus-der-ist-mein-leben-bwv281", "text": "abide-o-dearest-jesus", "harmonization": "christus-der-ist-mein-leben-bwv281", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "abide-o-dearest-jesus__christus-der-ist-mein-leben-oh27", "text": "abide-o-dearest-jesus", "harmonization": "christus-der-ist-mein-leben-oh27", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "abide-with-me__eventide-monk-1861", "text": "abide-with-me", "harmonization": "eventide-monk-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "after-thy-loving-kindness-lord__evan-oh231", "text": "after-thy-loving-kindness-lord", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "ah-holy-jesus-how-hast-thou-offended__herzliebster-jesu-bwv2443", "text": "ah-holy-jesus-how-hast-thou-offended", "harmonization": "herzliebster-jesu-bwv2443", "alignment": "explicit", "stanza_lines": {"1": "Ah, ho -- ly Je -- _ sus, how hast Thou of -- fend -- _ ed, That man to judge _ Thee hath in hate _ pre -- tend -- ed? By foes de -- rid -- ed, _ by Thine own re -- ject -- ed, O most af -- flict -- ed.", "2": "Who was the guilt -- _ y? Who brought this up -- on _ Thee? A -- las, my trea -- _ son, Je -- sus, hath _ un -- done Thee. 'Twas I, Lord, Je -- sus, _ I it was de -- nied Thee! I cru -- ci -- fied Thee.", "3": "Lo, the Good Shep -- _ herd for the sheep is of -- _ fered; The slave hath sinn -- _ ed, and the Son _ hath suf -- fered; For man's a -- tone -- ment, _ while he noth -- ing heed -- eth, God in -- ter -- ced -- eth.", "4": "For me, kind Je -- _ sus, was Thy in -- car -- na -- _ tion, Thy mor -- tal sor -- _ row, and Thy life's _ ob -- la -- tion; Thy death of ang -- uish _ and Thy bit -- ter pas -- sion, For my sal -- va -- tion.", "5": "There -- fore, kind Je -- _ sus, since I can -- not pay _ Thee, I do a -- dore _ Thee, and will ev -- _ er pray Thee, Think on Thy pit -- y _ and Thy love un -- swerv -- ing, Not my de -- serv -- ing."}, "refrain_lines": null, "stress_checked": true}, {"slug": "ah-holy-jesus-how-hast-thou-offended__herzliebster-jesu-cyberhymnal", "text": "ah-holy-jesus-how-hast-thou-offended", "harmonization": "herzliebster-jesu-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "alas-and-did-my-savior-bleed__martyrdom-cyberhymnal", "text": "alas-and-did-my-savior-bleed", "harmonization": "martyrdom-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "A -- las! and did my _ Sav -- ior bleed And did my _ Sov -- 'reign die? Would He de -- vote that sa -- cred head For such _ a _ worm as I?", "2": "Thy bod -- y slain, sweet _ Je -- sus, Thine, And bathed in _ its own blood, While all ex -- posed to wrath di -- vine, The glo -- _ rious _ Suf -- f'rer stood!", "3": "Was it for crimes that _ I had done He groaned up -- _ on the tree? A -- maz -- ing pit -- y! grace un -- known! And love _ be -- _ yond de -- gree!", "4": "Well might the sun in _ dark -- ness hide And shut his _ glo -- ries in, When Christ, the might -- y Mak -- er died, For man _ the _ crea -- ture's sin.", "5": "Thus might I hide my _ blush -- ing face While His dear _ cross ap -- pears, Dis -- solve my heart in thank -- ful -- ness, And melt _ my _ eyes to tears.", "6": "But drops of grief can _ ne'er re -- pay The debt of _ love I owe: Here, Lord, I give my -- self a -- way 'Tis all _ that _ I can do."}, "refrain_lines": null}, {"slug": "all-glory-be-to-god-on-high__allein-gott-in-der-hoh-bwv260", "text": "all-glory-be-to-god-on-high", "harmonization": "allein-gott-in-der-hoh-bwv260", "alignment": "explicit", "stanza_lines": {"1": "All _ glo -- ry be to God on High, Who hath our _ race _ be -- friend -- _ _ ed! To _ us no harm shall now come nigh, The feud at _ last _ is end -- _ _ ed; God show -- eth His good -- will _ toward men, And peace shall dwell on earth a -- gain; Oh thank Him for _ His good -- _ _ ness.", "2": "We _ praise, we wor -- ship Thee, we trust, And give Thee _ thanks _ for ev -- _ _ er, O _ Fa -- ther, that Thy rule is just And wise, and _ chan -- _ ges nev -- _ _ er: Thy bound -- less power o'er all _ things reigns, Done is what -- e'er Thy will or -- dains; Well for us that _ Thou rul -- _ _ est!", "3": "O _ Je -- su Christ, our God and Lord, Son of Thy _ heav'n -- _ ly Fa -- _ _ ther, O _ Thou who hast our peace re -- stored And the lost _ sheep _ dost gath -- _ _ er, Thou Lamb of God, to Thee _ on high From out our depths we sin -- ners cry, Have mer -- cy on _ us, Je -- _ _ sus!", "4": "O _ Ho -- ly Ghost, Thou pre -- cious Gift, Thou Com -- fort -- _ er _ un -- fail -- _ _ ing, O'er _ Sa -- tan's snares our souls up -- lift, And let Thy _ power _ a -- vail -- _ _ ing A -- vert our woes and calm _ our dread, For us the Sav -- iour's blood was shed, We trust in Thee _ to save _ _ us!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-glory-laud-and-honor__all-glory-laud-and-honor-oh93", "text": "all-glory-laud-and-honor", "harmonization": "all-glory-laud-and-honor-oh93", "alignment": "explicit", "stanza_lines": {"1": "Thou art the King of Is -- rael, Thou Da -- vid's ro -- yal Son, Who in the Lord's Name com -- _ est, The King and Bless -- ed One.", "2": "The com -- pa -- ny of an -- gels Are prais -- ing Thee on High, And mor -- tal men and all _ things Cre -- at -- ed make re -- ply.", "3": "The peo -- ple of the He -- brews With palms be -- fore Thee went; Our prayer and praise and an -- _ thems Be -- fore Thee we pre -- sent.", "4": "To Thee, be -- fore Thy pas -- sion, They sang their hymns of praise; To Thee, now high ex -- alt -- _ ed, Our mel -- o -- dy we raise.", "5": "Thou didst ac -- cept their prais -- es; Ac -- cept the prayers we bring, Who in all good de -- light -- _ est, Thou good and gra -- cious King."}, "refrain_lines": "All glo -- ry, laud and hon -- or, To Thee, Re -- deem -- er, King, To Whom the lips of child -- ren Made sweet ho -- san -- nas ring.", "stress_checked": true}, {"slug": "all-glory-laud-and-honor__st-theodulph-bwv24526", "text": "all-glory-laud-and-honor", "harmonization": "st-theodulph-bwv24526", "alignment": "explicit", "stanza_lines": {"1": "Thou _ art the King of Is -- _ _ rael, Thou Da -- vid's ro -- yal Son, Who in _ the Lord's Name com -- _ est, The King and Bless -- ed One.", "2": "The _ com -- pa -- ny of an -- _ _ gels Are prais -- ing Thee on High, And mor -- _ tal men and all _ things Cre -- at -- ed make re -- ply.", "3": "The _ peo -- ple of the He -- _ _ brews With palms be -- fore Thee went; Our prayer _ and praise and an -- _ thems Be -- fore Thee we pre -- sent.", "4": "To _ Thee, be -- fore Thy pas -- _ _ sion, They sang their hymns of praise; To Thee, _ now high ex -- alt -- _ ed, Our mel -- o -- dy we raise.", "5": "Thou _ didst ac -- cept their prais -- _ _ es; Ac -- cept the prayers we bring, Who in _ all good de -- light -- _ est, Thou good and gra -- cious King."}, "refrain_lines": "All glo -- ry, laud and hon -- or, To Thee, Re -- deem -- er, King, To Whom the lips of child -- ren Made sweet ho -- san -- nas ring.", "stress_checked": true}, {"slug": "all-hail-the-power-of-jesus-name__coronation-church-hymnal-1896", "text": "all-hail-the-power-of-jesus-name", "harmonization": "coronation-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "all-lands-to-god-in-joyful-sounds__new-britain-excell-1900", "text": "all-lands-to-god-in-joyful-sounds", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "all-my-heart-this-night-rejoices__ebeling-chorale-book-1863", "text": "all-my-heart-this-night-rejoices", "harmonization": "ebeling-chorale-book-1863", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-natures-works-his-praise-declare__seraph-cyberhymnal", "text": "all-natures-works-his-praise-declare", "harmonization": "seraph-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "All na -- ture's works His praise de -- clare, to whom they all be -- long; There is a voice in ev -- ery star, in ev -- ery breeze a song. Sweet mu -- sic fills the world a -- broad with strains of love and power _ The storm -- y sea sings praise to God, the thun -- der and the shower.", "2": "To God the tribes of o -- cean cry, and birds up -- on the wing; To God the pow'rs that dwell on high their tune -- ful trib -- ute bring. Like them, let us the throne sur -- round, with them loud chor -- us raise _ While in -- stru -- ments of loft -- ier sound as -- sist our fee -- ble praise.", "3": "Great God, to Thee we con -- se -- crate our voic -- es and our skill; We bid the peal -- ing or -- gan wait to speak a -- lone Thy will. Lord, while the mu -- sic round us floats may earth born pass -- ions die _ O grant its rich and swell -- ing notes may lift our souls on high!"}, "refrain_lines": null}, {"slug": "all-people-clap-your-hands-to-god__st-thomas-oh44", "text": "all-people-clap-your-hands-to-god", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "All peo -- ple, clap your hands; to _ God with _ voice of _ tri -- umph shout: For dread -- ful is the Lord _ most _ high, great King the _ earth through -- out.", "2": "The hea -- then peo -- ple un -- der _ us he _ sure -- ly _ shall sub -- due; And he shall make the na -- _ ti -- _ ons un -- der our _ feet to bow.", "3": "The lot of our in -- he -- ri -- _ tance choose _ out for _ us shall he, Of Ja -- cob, whom he lov -- _ ed _ well, ev'n the ex -- _ cel -- len -- cy.", "4": "God is with shouts gone up, the _ Lord with _ trum -- pets _ sound -- ing high. Sing praise to God, sing praise, _ sing _ praise, praise to our _ King sing ye.", "5": "For God is King of all the _ earth; with _ know -- ledge _ praise ex -- press. God rules the na -- tions: God _ sits _ on his throne of _ ho -- li -- ness.", "6": "The prin -- ces of the peo -- ple _ are as -- _ sembl -- ed _ will -- ing -- ly; Ev'n of the God of A -- _ bra -- _ ham they who the _ peo -- ple be.", "7": "For why? the shields that do de -- _ fend the _ earth are _ on -- ly his: They to the Lord be -- long; _ yea, _ he ex -- al -- ted _ great -- ly is."}, "refrain_lines": null, "meter_checked": true}, {"slug": "all-people-that-on-earth-do-dwell__old-100th-bwv326", "text": "all-people-that-on-earth-do-dwell", "harmonization": "old-100th-bwv326", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "all-people-that-on-earth-do-dwell__old-100th-oh", "text": "all-people-that-on-earth-do-dwell", "harmonization": "old-100th-oh", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "all-praise-to-thee-my-god-this-night__tallis-canon-oh309", "text": "all-praise-to-thee-my-god-this-night", "harmonization": "tallis-canon-oh309", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-that-i-am-i-owe-to-thee__federal-street-cyberhymnal", "text": "all-that-i-am-i-owe-to-thee", "harmonization": "federal-street-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "All that I am I _ owe to Thee, Thy wis -- dom, Lord, has fash -- ioned me; I give my Mak -- er thank -- _ ful _ praise, Whose won -- drous works my soul a -- maze.", "2": "Ere in -- to be -- ing _ I was brought, Thy eye did see, and in Thy thought; My life in all its per -- _ fect _ plan, Was or -- dered ere my days be -- gan.", "3": "Thy thoughts, O God, how _ man -- i -- fold; More pre -- cious un -- to me than gold; I muse on their in -- fin -- _ i -- _ ty; A -- wak -- ing I am still with Thee.", "4": "The wick -- ed Thou wilt _ sure -- ly slay; From me let sin -- ners turn a -- way; They speak a -- gainst the Name _ di -- _ vine; I count God's en -- e -- mies as mine.", "5": "Search me, O God, my _ heart dis -- cern; Try me, my in -- most thought to learn; And lead me, if in sin _ I _ stray, To choose the ev -- er -- last -- ing way."}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-the-way-my-savior-leads-me__all-the-way-cyberhymnal", "text": "all-the-way-my-savior-leads-me", "harmonization": "all-the-way-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-who-believe-and-are-baptized__es-ist-das-heil-uns-kommen-her-oh135", "text": "all-who-believe-and-are-baptized", "harmonization": "es-ist-das-heil-uns-kommen-her-oh135", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "all-ye-nations-clap-your-hands__aylesbury-am-1904", "text": "all-ye-nations-clap-your-hands", "harmonization": "aylesbury-am-1904", "alignment": "explicit", "note_splits": [6], "stanza_lines": {"1": "All ye na -- tions, clap your hands, Let shouts of tri -- umph ring, For might -- y o -- ver all the lands The Lord Most High is King.", "2": "A -- bove our might -- y foes _ He gave us pow'r to stand, And as our her -- i -- tage He chose The good -- ly prom -- ised land.", "3": "With shouts as -- cends our King, _ With trum -- pet's stir -- ring call; Praise God, praise God, His prais -- es sing, For God is Lord of all.", "4": "O sing in joy -- ful strains, _ And make His glo -- ry known; God o -- ver all the na -- tions reigns, And ho -- ly is His throne.", "5": "Our fa -- thers' God to own _ The kings of earth draw night, For none can save but God a -- lone, He is the Lord Most High."}, "refrain_lines": null}, {"slug": "alleluia-alleluia-hearts-to-heaven-and-voices-raise__hymn-to-joy-methodist-1905", "text": "alleluia-alleluia-hearts-to-heaven-and-voices-raise", "harmonization": "hymn-to-joy-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "alleluia-sing-to-jesus__hyfrydol-oh162", "text": "alleluia-sing-to-jesus", "harmonization": "hyfrydol-oh162", "alignment": "explicit", "stanza_lines": {"1": "Al -- le -- lu -- _ ia! sing to Je -- _ sus! His the scep -- ter, His _ the throne. Al -- le -- lu -- _ ia! His the tri -- _ umph, His the vic -- to -- ry _ a -- lone. Hark! the songs _ of peace -- ful Zi -- _ on thun -- der like _ a might -- _ y flood. Je -- _ sus out _ of ev -- _ ery na -- _ _ _ tion has re -- deemed _ us by His blood.", "2": "Al -- le -- lu -- _ ia! not as or -- _ phans are we left in sor -- _ row now; Al -- le -- lu -- _ ia! He is near _ us, faith be -- lieves, nor ques -- _ tions how; Though the cloud _ from sight re -- ceived _ Him when the for -- _ ty days _ were o'er Shall _ our hearts _ for -- get _ His prom -- _ _ _ ise, \"I am with _ you ev -- er -- more\"?", "3": "Al -- le -- lu -- _ ia! bread of an -- _ gels, Thou on earth our food, _ our stay; Al -- le -- lu -- _ ia! here the sin -- _ ful flee to Thee from day _ to day: Int -- er -- ces -- _ sor, Friend of sin -- _ ners, Earth's Re -- deem -- _ er, plead _ for me, Where _ the songs _ of all _ the sin -- _ _ _ less sweep ac -- ross _ the crys -- tal sea.", "4": "Al -- le -- lu -- _ ia! King e -- ter -- _ nal, Thee the Lord of lords _ we own; Al -- le -- lu -- _ ia! born of Mar -- _ y, Earth Thy foot -- stool, Heav -- en Thy throne: Thou with -- in _ the veil hast en -- _ tered, robed in flesh _ our great _ High Priest; Thou _ on earth _ both priest _ and vic -- _ _ _ tim in the Eu -- _ char -- ist -- ic feast."}, "refrain_lines": null, "stress_checked": true}, {"slug": "almighty-god-thy-lofty-throne__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "almighty-god-thy-lofty-throne", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "almost-persuaded__almost-persuaded-1875", "text": "almost-persuaded", "harmonization": "almost-persuaded-1875", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "am-i-a-soldier-of-the-cross__arlington-cyberhymnal", "text": "am-i-a-soldier-of-the-cross", "harmonization": "arlington-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "amazing-grace__new-britain-excell-1900", "text": "amazing-grace", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "and-can-it-be-that-i-should-gain__fillmore-oh266", "text": "and-can-it-be-that-i-should-gain", "harmonization": "fillmore-oh266", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "angel-voices-ever-singing__angel-voices-monk-oh252", "text": "angel-voices-ever-singing", "harmonization": "angel-voices-monk-oh252", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "angels-from-the-realms-of-glory__regent-square-oh49", "text": "angels-from-the-realms-of-glory", "harmonization": "regent-square-oh49", "alignment": "explicit", "stanza_lines": {"1": "An -- gels from the realms of glo -- ry, Wing your flight o'er all the earth; Ye who sang cre -- a -- tion's stor -- y Now pro -- claim Mes -- _ si -- ah's birth.", "2": "Shep -- herds, in the field a -- bid -- ing, Watch -- ing o'er your flocks by night, God with us is now re -- sid -- ing; Yon -- der shines the _ in -- fant light:", "3": "Sag -- es, leave your con -- tem -- pla -- tions, Bright -- er vi -- sions beam a -- far; Seek the great De -- sire of na -- tions; Ye have seen His _ na -- tal star.", "4": "Saints, be -- fore the al -- tar bend -- ing, Watch -- ing long in hope and fear; Sud -- den -- ly the Lord, de -- scend -- ing, In His tem -- ple _ shall ap -- pear.", "5": "Sin -- ners, wrung with true re -- pen -- tance, Doomed for guilt to end -- less pains, Jus -- tice now re -- vokes the sen -- tence, Mer -- cy calls you; _ break your chains."}, "refrain_lines": "Come and wor -- ship, come and wor -- ship, Wor -- ship Christ, the new -- born King.", "stress_checked": true}, {"slug": "angels-we-have-heard-on-high__gloria-oh50", "text": "angels-we-have-heard-on-high", "harmonization": "gloria-oh50", "alignment": "explicit", "stanza_lines": {"1": "An -- gels we have heard on high Sweet -- ly sing -- ing o'er the plains, And the moun -- tains in re -- ply Ech -- o -- ing their joy -- ous strains.", "2": "Shep -- herds, why this ju -- bi -- lee? Why your joy -- ous strains pro -- long? What the glad -- some tid -- ings be Which in -- spire your heav'n -- ly song?", "3": "Come to Beth -- le -- hem and see Christ Whose birth the an -- gels sing; Come, a -- dore on bend -- ed knee, Christ the Lord, the new -- born King.", "4": "See Him in a man -- ger laid, Whom the choirs of an -- gels praise; Ma -- ry, Jo -- seph, lend your aid, While our hearts in love we raise."}, "refrain_lines": "Glo -- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ri -- a, in ex -- cel -- sis De -- o! Glo -- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ri -- a, in ex -- cel -- sis De -- _ o!", "stress_checked": true}, {"slug": "approach-my-soul-the-mercy-seat__ballerma-cyberhymnal", "text": "approach-my-soul-the-mercy-seat", "harmonization": "ballerma-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Ap -- proach, my soul, the mer -- cy seat, Where Je -- sus an -- _ swers prayer _ There hum -- bly fall be -- fore His feet, For none _ can per -- _ ish there _", "2": "Thy prom -- ise is my on -- ly plea, With this I ven -- _ ture nigh _ Thou call -- est bur -- dened souls to Thee, And such _ O Lord _ am I _", "3": "Bowed down be -- neath a load of sin, By Sa -- tan sore -- _ ly pressed _ By war with -- out and fears with -- in, I come _ to Thee _ for rest _", "4": "Be Thou my shield and hid -- ing place, That, shel -- tered by _ Thy side _ I may my fierce ac -- cus -- er face, And tell _ him Thou _ hast died _", "5": "O won -- drous love! to bleed and die, To bear the cross _ and shame _ That guil -- ty sin -- ners, such as I, Might plead _ Thy gra -- _ cious name _", "6": "Poor tem -- pest toss -- èd soul, be still; My prom -- ised grace _ re -- ceive _ 'Tis Je -- sus speaks— I must, I will, I can _ I do _ be -- lieve _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "approach-my-soul-the-mercy-seat__stracathro-cyberhymnal", "text": "approach-my-soul-the-mercy-seat", "harmonization": "stracathro-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Ap -- proach, my soul, the mer -- _ cy seat, Where Je -- _ sus an -- swers prayer; There hum -- bly fall _ be -- fore _ His feet, For none _ can per -- ish there.", "2": "Thy prom -- ise is my on -- _ ly plea, With this _ I ven -- ture nigh; Thou call -- est bur -- _ dened souls _ to Thee, And such, _ O Lord, am I.", "3": "Bowed down be -- neath a load _ of sin, By Sa -- _ tan sore -- ly pressed, By war with -- out _ and fears _ with -- in, I come _ to Thee for rest.", "4": "Be Thou my shield and hid -- _ ing place, That, shel -- _ tered by Thy side, I may my fierce _ ac -- cus -- _ er face, And tell _ him Thou hast died!", "5": "O won -- drous love! to bleed _ and die, To bear _ the cross and shame, That guil -- ty sin -- _ ners, such _ as I, Might plead _ Thy gra -- cious name.", "6": "Poor tem -- pest toss -- èd soul, _ be still; My prom -- _ ised grace re -- ceive; 'Tis Je -- sus speaks— _ I must, _ I will, I can, _ I do be -- lieve."}, "refrain_lines": null}, {"slug": "are-you-washed-in-the-blood__washed-in-the-blood-spiritual-songs-1878", "text": "are-you-washed-in-the-blood", "harmonization": "washed-in-the-blood-spiritual-songs-1878", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "arise-my-soul-arise__lenox-methodist-1905", "text": "arise-my-soul-arise", "harmonization": "lenox-methodist-1905", "alignment": "explicit", "stanza_lines": {"1": "A -- rise, my soul, a -- rise; Shake off thy guilt -- y fears; The bleed -- ing Sac -- ri -- fice In my be -- half ap -- pears: Be -- fore the throne my Sure -- ty stands, Be -- fore the throne my Sure -- ty stands, My name is writ -- ten on his hands.", "2": "He ev -- er lives a -- bove, For me to in -- ter -- cede; His all -- re -- deem -- ing love, His pre -- cious blood, to plead; His blood a -- toned for all our race, His blood a -- toned for all our race, And sprin -- kles now the throne of grace.", "3": "Five bleed -- ing wounds he bears, Re -- ceived on Cal -- va -- ry; They pour ef -- fec -- tual prayers, They strong -- ly plead for me: “For -- give him, O for -- give,” they cry, “For -- give him, O for -- give,” they cry, “Nor let that ran -- somed sin -- ner die!”", "4": "The Fa -- ther hears him pray, His dear a -- noint -- ed One; He can -- not turn a -- way The pres -- ence of his Son; His Spir -- it an -- swers to the blood, His Spir -- it an -- swers to the blood, And tells me I am born of God.", "5": "My God is rec -- on -- ciled; His par -- doning voice I hear; He owns me for his child, I can no lon -- ger fear: With con -- fi -- dence I now draw nigh, With con -- fi -- dence I now draw nigh, And, “Fa -- ther, Ab -- ba, Fa -- ther,” cry."}, "refrain_lines": null, "stress_checked": true, "meter_checked": true}, {"slug": "arise-o-lord-our-god-arise__winchester-new-oh142", "text": "arise-o-lord-our-god-arise", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "as-pants-the-hart-for-streams-of-living-water__consolator-church-hymnal-1896", "text": "as-pants-the-hart-for-streams-of-living-water", "harmonization": "consolator-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "as-thou-o-lord-hast-made-me-strong__tallis-canon-oh309", "text": "as-thou-o-lord-hast-made-me-strong", "harmonization": "tallis-canon-oh309", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "as-with-gladness-men-of-old__dix-oh74", "text": "as-with-gladness-men-of-old", "harmonization": "dix-oh74", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "ask-ye-what-great-thing-i-know__hendon-cyberhymnal", "text": "ask-ye-what-great-thing-i-know", "harmonization": "hendon-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Ask ye what _ great _ thing I know, That de -- lights _ and _ stirs me _ so? What the high re -- _ ward I win? _ Whose the name I glo -- _ ry _ in? _ Je -- sus Christ, the _ Cru -- ci -- fied.", "2": "What is faith's _ foun -- _ da -- tion strong? What a -- wakes _ my _ heart to _ song? He who bore my _ sin -- ful load, _ Pur -- chased for me peace _ with _ God, _ Je -- sus Christ, the _ Cru -- ci -- fied.", "3": "Who is He _ that _ makes me wise To dis -- cern _ where _ du -- ty _ lies? Who is He that _ makes me true _ Du -- ty, when dis -- cerned _ to _ do, _ Je -- sus Christ, the _ Cru -- ci -- fied.", "4": "Who de -- feats _ my _ fierc -- est foes? Who con -- soles _ my _ sad -- dest _ woes? Who re -- vives my _ faint -- ing heart, _ Heal -- ing all its hid -- _ den _ smart? _ Je -- sus Christ, the _ Cru -- ci -- fied.", "5": "Who is life _ in _ life to me? Who the death _ of _ death will _ be? Who will place me _ on His right, _ With the count -- less hosts _ of _ light? _ Je -- sus Christ, the _ Cru -- ci -- fied.", "6": "This is that _ great _ thing I know; This de -- lights _ and _ stirs me _ so; Faith in Him who _ died to save, _ Him who tri -- umphed o'er _ the _ grave: _ Je -- sus Christ, the _ Cru -- ci -- fied."}, "refrain_lines": null}, {"slug": "at-even-ere-the-sun-was-set__angelus-cyberhymnal", "text": "at-even-ere-the-sun-was-set", "harmonization": "angelus-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "At e -- ven, ere _ the sun was set, The sick, O Lord, a -- round Thee _ lay; O in what di -- vers pains they met! O with what joy they went a -- way!", "2": "Once more 'tis e -- _ ven -- tide, and we Op -- pressed with var -- ious ills draw _ near; What if Thy form we can -- not see? We know and feel that Thou art here.", "3": "O Sav -- ior Christ, _ our woes dis -- pel; For some are sick, and some are _ sad, And some have nev -- er loved Thee well, And some have lost the love they had;", "4": "And none, O Lord, _ have per -- fect rest, For none are whol -- ly free from _ sin; And they who fain would serve Thee best Are con -- scious most of wrong with -- in.", "5": "Thy touch has still _ its an -- cient power; No word from Thee can fruit -- less _ fall; Hear, in this sol -- emn eve -- ning hour, And in Thy mer -- cy heal us all."}, "refrain_lines": null}, {"slug": "awake-my-soul-and-with-the-sun__morning-hymn-cyberhymnal", "text": "awake-my-soul-and-with-the-sun", "harmonization": "morning-hymn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "A -- _ wake, my soul, and _ with the sun Thy dail -- y stage _ of _ du -- ty run; _ Shake _ off dull sloth, and _ joy -- ful rise, To pay thy morn -- _ ing _ sac -- ri -- fice.", "2": "Thy _ prec -- ious time mis -- _ spent, re -- deem, Each pres -- ent day _ thy _ last es -- teem, _ Im -- _ prove thy tal -- ent _ with due care; For the great day _ thy -- _ self pre -- pare.", "3": "By _ in -- flu -- ence of _ Light di -- vine Let thy own light _ to _ oth -- ers shine. _ Re -- _ flect all Heaven's pro -- _ pit -- ious ways In ar -- dent love, _ and _ cheer -- ful praise.", "4": "In _ con -- ver -- sa -- tion _ be sin -- cere; Keep con -- science as _ the _ noon -- tide clear; _ Think _ how all see -- ing _ God thy ways And all thy se -- _ cret _ thoughts sur -- veys.", "5": "Wake, _ and lift up thy -- _ self, my heart, And with the an -- _ gels _ bear thy part, _ Who _ all night long un -- _ wear -- ied sing High praise to the _ e -- _ ter -- nal King."}, "refrain_lines": null, "stress_checked": true}, {"slug": "awake-my-soul-and-with-the-sun__old-100th-oh", "text": "awake-my-soul-and-with-the-sun", "harmonization": "old-100th-oh", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "away-in-a-manger__cradle-song-cyberhymnal", "text": "away-in-a-manger", "harmonization": "cradle-song-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "A -- way _ in a man -- ger, no _ crib for a bed, The _ lit -- tle Lord Je -- sus laid _ down His sweet head. The stars in the _ sky _ looked _ down where He lay, The _ lit -- tle Lord Je -- sus, a -- _ sleep on the _ hay.", "2": "The cat -- _ tle are low -- ing, the _ Ba -- by a -- wakes, But _ lit -- tle Lord Je -- sus, no _ cry -- ing He makes; I love Thee, Lord _ Je -- sus, look _ down from the sky And _ stay by my cra -- dle til _ morn -- ing is _ nigh.", "3": "Be near _ me, Lord Je -- sus, I _ ask Thee to stay Close _ by me for -- ev -- er, and _ love me, I pray; Bless all the dear _ child -- ren in _ Thy ten -- der care, And _ fit us for Heav -- en to _ live with Thee _ there."}, "refrain_lines": null, "stress_checked": true}, {"slug": "away-in-a-manger__mueller-oh51", "text": "away-in-a-manger", "harmonization": "mueller-oh51", "alignment": "explicit", "stanza_lines": {"1": "A -- way in a man -- ger, no crib for a bed, The lit -- tle Lord Je -- sus laid down His sweet head. The stars in the sky _ looked down where He lay, The lit -- tle Lord Je -- sus, a -- sleep on the hay.", "2": "The cat -- tle are low -- ing, the Ba -- by a -- wakes, But lit -- tle Lord Je -- sus, no cry -- ing He makes; I love Thee, Lord Je -- sus, look down from the sky And stay by my cra -- dle til morn -- ing is nigh.", "3": "Be near me, Lord Je -- sus, I ask Thee to stay Close by me for -- ev -- er, and love me, I pray; Bless all the dear child -- ren in Thy ten -- der care, And fit us for Heav -- en to live with Thee there."}, "refrain_lines": null, "stress_checked": true}, {"slug": "baptized-into-thy-name-most-holy__o-dass-ich-tausend-zungen-hatte-dretzel-oh136", "text": "baptized-into-thy-name-most-holy", "harmonization": "o-dass-ich-tausend-zungen-hatte-dretzel-oh136", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "be-merciful-to-me-o-god__st-anne-lutheran-hymnary-1913", "text": "be-merciful-to-me-o-god", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "be-still-my-soul__finlandia-oh193", "text": "be-still-my-soul", "harmonization": "finlandia-oh193", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "be-thou-my-judge-o-righteous-lord__coronation-church-hymnal-1896", "text": "be-thou-my-judge-o-righteous-lord", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "Be Thou my judge, O right -- eous Lord, Try Thou my in -- most heart; I walk with stead -- fast trust in Thee, Nor from Thy ways de -- part. I walk with stead -- fast trust in Thee, Nor from Thy ways de -- part.", "2": "O search me, Lord, and prove me now; thy mer -- cy I a -- dore; I choose Thy truth to be my guide, And sin -- ful ways ab -- hor. I choose Thy truth to be my guide, And sin -- ful ways ab -- hor.", "3": "My hands I wash in in -- no -- cence And seek thy al -- tar, Lord, That there I may with thank -- ful voice Thy won -- drous works re -- cord. That there I may with thank -- ful voice Thy won -- drous works re -- cord.", "4": "The hab -- i -- ta -- tions of Thy house Is ev -- er my de -- light; The place where dwells Thy glo -- ry, Lord, Is love -- ly in my sight. The place where dwells Thy glo -- ry, Lord, Is love -- ly in my sight.", "5": "Let not the judg -- ment fall on me For e -- vil men de -- creed, For cru -- el men and vi -- o -- lent, In -- spired by bribes and greed. For cru -- el men and vi -- o -- lent, In -- spired by bribes and greed.", "6": "But I in my in -- teg -- ri -- ty Will hum -- bly walk with Thee; O my Re -- deem -- er and my Lord, Be mer -- ci -- ful to me. O my Re -- deem -- er and my Lord, Be mer -- ci -- ful to me.", "7": "Re -- deemed by Thee, I stand se -- cure In peace and hap -- pi -- ness; And in the Church, a -- mong Thy saints, Je -- ho -- vah I will bless. And in the Church, a -- mong Thy saints, Je -- ho -- vah I will bless."}, "refrain_lines": null, "meter_checked": true}, {"slug": "be-thou-my-vision__slane-openhymnal", "text": "be-thou-my-vision", "harmonization": "slane-openhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "Be Thou my _ Vi -- sion, O _ Lord of my heart; Naught be all else to me, save that Thou art. Thou my _ _ _ best Thought, by day or by night, _ Wak -- ing or sleep -- _ ing, Thy _ pres -- ence my light.", "2": "Be Thou my _ Wis -- dom, and _ Thou my true Word; I ev -- er with Thee and Thou with me, Lord; Thou my _ great _ Fa -- ther, and I Thy true son; _ Thou in me dwell -- _ ing, and _ I with Thee one.", "3": "Be Thou my _ bat -- tle Shield, _ Sword for the fight; Be Thou my Dig -- ni -- ty, Thou my De -- light; Thou my _ soul's _ Shel -- ter, Thou my high Tow -- er: _ Raise Thou me heav'n -- _ ward, O _ Pow'r of my pow'r.", "4": "Rich -- es I _ heed not, nor _ man's em -- pty praise, Thou mine In -- her -- i -- tance, now and al -- ways: Thou and _ Thou _ on -- ly, be first in my heart, _ High King of Heav -- _ en, my _ Trea -- sure Thou art.", "5": "High King of _ Heav -- en, my _ vic -- tor -- y won, May I reach Heav'ns joys, O bright Heav -- en's Sun! Heart of _ my _ own heart, what -- ev -- er be -- fall, _ Still be my Vi -- _ sion, O _ Rul -- er of all."}, "refrain_lines": null}, {"slug": "begin-my-tongue-some-heavenly-theme__manoah-cyberhymnal", "text": "begin-my-tongue-some-heavenly-theme", "harmonization": "manoah-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Be -- _ gin, my tongue, some heav'n -- ly theme And _ speak some bound -- less thing; The might -- y works, or might -- ier name Of _ our e -- ter -- nal king.", "2": "Tell _ of His won -- drous faith -- ful -- ness And _ sound His pow'r a -- broad; Sing the sweet prom -- ise of His grace, And _ the per -- form -- ing God.", "3": "Pro -- _ claim sal -- va -- tion from the Lord For _ wretch -- ed, dy -- ing men; His hand has writ the sa -- cred word With _ an im -- mor -- tal pen.", "4": "En -- _ graved as in e -- ter -- nal brass The _ might -- y prom -- ise shines; Nor can the pow'rs of dark -- ness rase Those _ ev -- er -- last -- ing lines.", "5": "He _ that can dash whole worlds to death, And _ make them when He please, He speaks, and that al -- might -- y breath Ful -- _ fills His great de -- crees."}, "refrain_lines": null}, {"slug": "behold-bless-ye-the-lord-all-ye__coronation-church-hymnal-1896", "text": "behold-bless-ye-the-lord-all-ye", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "Be -- hold, bless ye the Lord, all ye that his at -- ten -- dants are, Ev'n you that in God's tem -- ple be, and praise him night -- ly there. Ev'n you that in God's tem -- ple be, and praise him night -- ly there.", "2": "Your hands with -- in God's ho -- ly place lift up, and praise his name. From Zi -- on hill the Lord thee bless, that heav'n and earth did frame. From Zi -- on hill the Lord thee bless, that heav'n and earth did frame."}, "refrain_lines": null, "meter_checked": true}, {"slug": "behold-how-good-a-thing-it-is__azmon-mason-1839", "text": "behold-how-good-a-thing-it-is", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "behold-the-amazing-gift-of-love__st-stephen-cyberhymnal", "text": "behold-the-amazing-gift-of-love", "harmonization": "st-stephen-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Be -- hold th'a -- maz -- ing _ gift of love The _ Fa -- ther _ hath be -- stowed On us, the sin -- ful sons of _ men To call us _ sons of God", "2": "Con -- cealed as yet this _ hon -- or lies, By _ this dark _ world un -- known, A world that knew not when He _ came, E'en God's e -- _ ter -- nal Son.", "3": "High is the rank we _ now pos -- sess; But _ high -- er _ we shall rise; Though what we shall here -- af -- ter _ be Is hid from _ mor -- tal eyes.", "4": "Our souls, we know, when _ He ap -- pears, Shall _ bear His _ im -- age bright; For all His glo -- ry, full dis -- _ closed, Shall o -- pen _ to our sight.", "5": "A hope so great, and _ so di -- vine, May _ tri -- als _ well en -- dure; And purge the soul from sense and _ sin, As Christ Him -- _ self is pure."}, "refrain_lines": null}, {"slug": "behold-the-mountain-of-the-lord__glasgow-cyberhymnal", "text": "behold-the-mountain-of-the-lord", "harmonization": "glasgow-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Be -- hold! the moun -- _ _ tain of _ _ the Lord In lat -- ter days _ _ shall rise On moun -- tain -- tops a -- bove _ the hills, And draw _ the won -- _ dering eyes.", "2": "To this the joy -- _ _ ful na -- _ _ tions round, All tribes and tongues, _ _ shall flow; Up to the hill of God, _ they'll say, And to _ His house _ we'll go.", "3": "The beam that shines _ _ from Zi -- _ _ on hill Shall light -- en eve -- _ _ ry land; The King who reigns in Sa -- _ lem's towers Shall all _ the world _ com -- mand.", "4": "A -- mong the na -- _ _ tions He _ _ shall judge; His judge -- ments truth _ _ shall guide; His scep -- tre shall pro -- tect _ the just, And quell _ the sin -- _ ner's pride.", "5": "No strife shall rage, _ _ nor hos -- _ _ tile feuds Dis -- turb those peace -- _ _ ful years; To plough -- shares men shall beat _ their swords, To prun -- _ ing -- hooks _ their spears.", "6": "No long -- er hosts, _ _ en -- coun -- _ _ tering hosts, Shall crowds of slain _ _ de -- plore; They hang the trum -- pet in _ the hall, And stud -- _ y war _ no more.", "7": "Come then, O house _ _ of Ja -- _ _ cob, come To wor -- ship at _ _ His shrine; And, walk -- ing in the light _ of God, With ho -- _ ly beau -- _ ties shine."}, "refrain_lines": null, "stress_checked": true}, {"slug": "beneath-the-cross-of-jesus__st-christopher-oh194", "text": "beneath-the-cross-of-jesus", "harmonization": "st-christopher-oh194", "alignment": "explicit", "stanza_lines": {"1": "Be -- neath the cross of Je -- sus I fain would take my stand, The shad -- ow of a might -- y rock with -- in a wear -- y land; A home with -- in the wild -- er -- ness, a rest up -- on the way, From the burn -- ing of the noon -- tide heat, and the bur -- den of the day.", "2": "O safe and happ -- y shel -- ter, O ref -- uge tried and sweet, O tryst -- ing place where Heav -- en's love and Heav -- en's jus -- tice meet! As to the ho -- ly pa -- tri -- arch that won -- drous dream was giv'n, So _ seems my Sav -- ior's cross to me, a _ lad -- der up to heav'n.", "3": "There lies be -- neath its shad -- ow but on the fur -- ther side The dark -- ness of an aw -- ful grave that gapes both deep and wide And there be -- tween us stands the cross two arms out -- stretched to save A _ watch -- man set to guard the way from _ that e -- ter -- nal grave.", "4": "Up -- on that cross of Je -- sus mine eye at times can see The ver -- y dy -- ing form of One Who suf -- fered there for me; And from my strick -- en heart with tears two won -- ders I con -- fess; The _ won -- ders of re -- deem -- ing love and _ my un -- worth -- i -- ness.", "5": "I take, O cross, thy shad -- ow for my a -- bid -- ing place; I ask no oth -- er sun -- shine than the sun -- shine of His face; Con -- tent to let the world go by to know no gain or loss, My _ sin -- ful self my on -- ly shame, my _ glor -- y all the cross."}, "refrain_lines": null, "stress_checked": true}, {"slug": "blessed-assurance__assurance-oh195", "text": "blessed-assurance", "harmonization": "assurance-oh195", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "blessed-is-each-one-that-fears-the-lord__st-anne-lutheran-hymnary-1913", "text": "blessed-is-each-one-that-fears-the-lord", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "blessed-is-he-that-wisely-doth__st-agnes-oh156", "text": "blessed-is-he-that-wisely-doth", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "Bless -- ed is he that wise -- ly doth the poor man's case con -- sid -- er; For when the time of trou -- ble is, the Lord will him de -- liv -- er.", "2": "God will him keep, yea, save a -- live; on earth he blessed shall live; _ And to his en -- e -- mies' de -- sire thou wilt him not up give. _", "3": "God will give strength when he on bed of lan -- guish -- ing doth mourn; _ And in his sick -- ness sore, O Lord, thou all his bed wilt turn. _", "4": "I said, O Lord, do thou ex -- tend thy mer -- cy un -- to me; _ O do thou heal my soul; for why? I have of -- fend -- ed thee. _", "5": "Those that to me are en -- e -- mies, of me do e -- vil say, _ When shall he die, that so his name may per -- ish quite a -- way? _", "6": "To see me if he comes, he speaks vain words: but then his heart _ Heaps mis -- chief to it, which he tells, when forth he doth de -- part. _", "7": "My hat -- ers joint -- ly whis -- per -- ing, 'gainst me my hurt de -- vise. _ Mis -- chief, say they, cleaves fast to him; he lieth, and shall not rise. _", "8": "Yea, ev'n mine own fa -- mil -- iar friend, on whom I did re -- ly, _ Who ate my bread, ev'n he his heel a -- gainst me lift -- ed high. _", "9": "But, Lord, be mer -- ci -- ful to me, and up a -- gain me raise, _ That I may just -- ly them re -- quite ac -- cord -- ing to their ways. _", "10": "By this I know that cer -- tain -- ly I fa -- voured am by thee; _ Be -- cause my hate -- ful en -- e -- my tri -- umphs not o -- ver me. _", "11": "But as for me, thou me up -- hold'st in mine in -- teg -- ri -- ty; _ And me be -- fore thy coun -- ten -- ance thou sett'st con -- tin -- ual -- ly. _", "12": "The Lord, the God of I -- sra -- el, be blessed for ev -- er then, _ From age to age e -- ter -- nal -- ly. A -- men, yea, and a -- men. _"}, "refrain_lines": null}, {"slug": "blessed-jesus-at-thy-word__liebster-jesu-wir-sind-hier-bwv373", "text": "blessed-jesus-at-thy-word", "harmonization": "liebster-jesu-wir-sind-hier-bwv373", "alignment": "explicit", "stanza_lines": {"1": "Bles -- sed _ Je -- sus, at Thy Word We are gath -- ered all to hear Thee; Let our _ hearts and souls be stirred Now to seek and love and fear Thee, By Thy teach -- ings sweet and ho -- ly, Drawn from earth to love Thee sole -- ly.", "2": "All our _ knowl -- edge, sense, and sight Lie in deep -- est dark -- ness shroud -- ed, Til Thy _ Spir -- it breaks our night With the beams of truth un -- cloud -- ed; Thou a -- lone to God canst win us; Thou must work all good with -- in us.", "3": "Glor -- ious _ Lord, Thy -- self im -- part! Light of light, from God pro -- ceed -- ing, O -- pen _ Thou our ears and heart; Help us by Thy Spir -- it's plead -- ing; Hear the cry Thy peo -- ple rais -- es; Hear and bless our prayers and prais -- es.", "4": "Fa -- ther, _ Son, and Ho -- ly Ghost, Praise to Thee and ad -- o -- ra -- tion! Grant that _ we Thy Word may trust And ob -- tain true con -- so -- la -- tion, While we here be -- low must wan -- der, Till we sing Thy prais -- es yon -- der."}, "refrain_lines": null, "stress_checked": true}, {"slug": "blessed-jesus-at-thy-word__liebster-jesu-wir-sind-hier-oh22", "text": "blessed-jesus-at-thy-word", "harmonization": "liebster-jesu-wir-sind-hier-oh22", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "blest-be-the-tie-that-binds__boylston-oh214", "text": "blest-be-the-tie-that-binds", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "blest-be-the-tie-that-binds__dennis-oh216", "text": "blest-be-the-tie-that-binds", "harmonization": "dennis-oh216", "alignment": "explicit", "stanza_lines": {"1": "Blest be _ the tie _ that binds Our hearts _ in Christ -- _ ian love; The fel -- _ low -- ship _ of kin -- _ dred minds _ Is like _ to that _ a -- bove.", "2": "Be -- fore _ our Fa -- _ ther's throne We pour _ our ar -- _ dent prayers; Our fears, _ our hopes, _ our aims _ are one _ Our com -- _ forts and _ our cares.", "3": "We share _ each oth -- _ er's woes, Our mu -- _ tual bur -- _ dens bear; And of -- _ ten for _ each oth -- _ er flows _ The sym -- _ pa -- thiz -- _ ing tear.", "4": "When we _ a -- sun -- _ der part, It gives _ us in -- _ ward pain; But we _ shall still _ be joined _ in heart, _ And hope _ to meet _ a -- gain.", "5": "This glor -- _ ious hope _ re -- vives Our cour -- _ age by _ the way; While each _ in ex -- _ pec -- ta -- _ tion lives, _ And longs _ to see _ the day."}, "refrain_lines": null}, {"slug": "bread-of-the-world-in-mercy-broken__rendez-dieu-cyberhymnal", "text": "bread-of-the-world-in-mercy-broken", "harmonization": "rendez-dieu-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Bread of the world, in mer -- cy bro -- ken, Wine of the soul, in mer -- cy shed, By whom the words of life were spo -- ken, And in whose death our sins are dead: Look on the heart by sor -- row bro -- ken, Look on the tears by sin -- ners shed; And be Thy feast to us the _ to -- ken That by Thy grace our souls are fed."}, "refrain_lines": null, "stress_checked": true}, {"slug": "breathe-on-me-breath-of-god__aylesbury-am-1904", "text": "breathe-on-me-breath-of-god", "harmonization": "aylesbury-am-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "breathe-on-me-breath-of-god__trentham-cyberhymnal", "text": "breathe-on-me-breath-of-god", "harmonization": "trentham-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Breathe on me, breath of God, Fill me with life a -- new, That I may love what _ Thou dost love, And do _ what Thou wouldst do.", "2": "Breathe on me, breath of God, Un -- til my heart is pure, Un -- til with Thee I _ will one will, To do _ and to en -- dure.", "3": "Breathe on me, breath of God, So shall I nev -- er die, But live with Thee the _ per -- fect life, Of Thine _ e -- ter -- ni -- ty."}, "refrain_lines": null, "stress_checked": true}, {"slug": "brightest-and-best-of-the-sons-of-the-morning__morning-star-cyberhymnal", "text": "brightest-and-best-of-the-sons-of-the-morning", "harmonization": "morning-star-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Bright -- est and best of the sons _ of the morn -- ing, Dawn on our dark -- ness, and lend _ us thine aid; _ Star of the East, the ho -- ri -- _ zon a -- dorn -- ing, Guide where our in -- fant Re -- deem -- _ er is laid.", "2": "Cold on His cra -- dle the dew -- _ drops are shin -- ing, Low lies His head with the beasts _ of the stall; _ An -- gels a -- dore Him in slum -- _ ber re -- clin -- ing, Mak -- er and Mon -- arch and Sav -- _ ior of all.", "3": "Say, shall we yield Him, in cost -- _ ly de -- vo -- tion, O -- dors of E -- dom and of -- _ f'rings di -- vine, _ Gems of the moun -- tain and pearls _ of the o -- cean, Myrrh from the for -- est and gold _ from the mine?", "4": "Vain -- ly we of -- fer each am -- _ ple ob -- la -- tion, Vain -- ly with gifts would His fa -- _ vor se -- cure; _ Rich -- er by far is the heart's _ ad -- o -- ra -- tion, Dear -- er to God are the prayers _ of the poor."}, "refrain_lines": null}, {"slug": "bringing-in-the-sheaves__harvest-1885", "text": "bringing-in-the-sheaves", "harmonization": "harvest-1885", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "built-on-the-rock__kirken-den-er-et-gammelt-hus-oh217", "text": "built-on-the-rock", "harmonization": "kirken-den-er-et-gammelt-hus-oh217", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "by-babels-riverside-we-sat-in-tears__eventide-monk-1861", "text": "by-babels-riverside-we-sat-in-tears", "harmonization": "eventide-monk-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "by-babels-streams-we-sat-and-wept__st-flavian-oh87", "text": "by-babels-streams-we-sat-and-wept", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "by-babels-streams-we-sat-and-wept-psalm-137__st-cross-oh97", "text": "by-babels-streams-we-sat-and-wept-psalm-137", "harmonization": "st-cross-oh97", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "by-grace-i-m-saved__o-dass-ich-tausend-zungen-konig-oh182", "text": "by-grace-i-m-saved", "harmonization": "o-dass-ich-tausend-zungen-konig-oh182", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "children-of-the-heavenly-father__tryggare-kan-ingen-vara-cyberhymnal", "text": "children-of-the-heavenly-father", "harmonization": "tryggare-kan-ingen-vara-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "christ-arose__christ-arose-oh104", "text": "christ-arose", "harmonization": "christ-arose-oh104", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "christ-jesus-lay-in-death-s-strong-bands__christ-lag-in-todesbanden-bwv277", "text": "christ-jesus-lay-in-death-s-strong-bands", "harmonization": "christ-lag-in-todesbanden-bwv277", "alignment": "explicit", "stanza_lines": {"1": "Christ Je -- sus _ lay in death's strong bands, For our of -- fens -- es _ giv -- _ _ en; But now at _ God's right hand He stands, And brings us life from _ heav -- _ _ en: Where -- _ fore let us _ joy -- ful be And sing to God right _ thank -- ful -- ly Loud songs of _ Hal -- le -- lu -- _ jah! Hal -- le -- lu -- _ jah!", "2": "No son of _ man could con -- quer Death, Such mis -- chief sin had _ wrought -- _ _ us, For in -- no -- _ cence dwelt not on earth, And there -- fore Death had _ brought -- _ _ us In -- _ to thral -- dom _ from of old And ev -- er grew more _ strong and bold And kept us _ in his bon -- _ dage. Hal -- le -- lu -- _ jah!", "3": "But Je -- sus _ Christ, God's on -- ly Son, To our low state de -- _ scend -- _ _ ed, The cause of _ Death He has un -- done, His power for -- ev -- er _ end -- _ _ ed, Ru -- _ ined all his _ right and claim, And left him noth -- ing _ but the name, His sting is _ lost for -- ev -- _ er. Hal -- le -- lu -- _ jah!", "4": "It was a _ strange and dread -- ful strife, When Life and Death con -- _ tend -- _ _ ed; The vic -- to -- _ ry re -- mained with Life, The reign of Death was _ end -- _ _ ed: Ho -- _ ly Scrip -- ture _ plain -- ly saith, That Death is swal -- lowed _ up by Death, Made hence -- forth _ a de -- ri -- _ sion. Hal -- le -- lu -- _ jah!", "5": "Here the true _ Pas -- chal Lamb we see, Whom God so free -- ly _ gave -- _ _ us; He died on _ the ac -- curs -- ed tree So strong His love! to _ save -- _ _ us. See, _ His blood doth _ mark our door; Faith points to it, Death _ pass -- es o'er, The Mur -- d'rer _ can -- not harm _ us. Hal -- le -- lu -- _ jah!", "6": "So let us _ keep the fes -- ti -- val Where -- to the Lord in -- _ vites -- _ _ us; Christ is Him -- _ self the joy of all, The sun that warms and _ lights -- _ _ us: By _ His grace He _ doth im -- part E -- ter -- nal sun -- shine _ to the heart; The night of _ sin is end -- _ ed! Hal -- le -- lu -- _ jah!", "7": "Then let us _ feast this Eas -- ter day On the true bread of _ heav -- _ _ en; The word of _ grace hath purged a -- way The old and wick -- ed _ leav -- _ _ en; Christ _ a -- lone our _ souls will feed; He is our meat and _ drink in -- deed; Faith lives up -- _ on no oth -- _ er! Hal -- le -- lu -- _ jah!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "christ-returneth__christ-returneth-oh203", "text": "christ-returneth", "harmonization": "christ-returneth-oh203", "alignment": "explicit", "stanza_lines": {"1": "It may be at morn, when the day is a -- wak -- ing, When sun -- light through dark -- ness and shad -- ow is break -- ing That Je -- sus will come in the full -- ness of glo -- ry To re -- ceive from the world _ \"His own.\"", "2": "It may be at mid -- day, it may be at twi -- light, It may be, per -- chance, that the black -- ness of mid -- night Will burst in -- to light in the blaze of His glo -- ry, When _ Je -- sus re -- ceives _ \"His own.\"", "3": "While hosts cry Ho -- san -- na, from heav -- en de -- scen -- ding, With glo -- ri -- fied saints and the an -- gels at -- tend -- ing, With grace on His brow, like a ha -- lo of glo -- ry, Will _ Je -- sus re -- ceive _ \"His own.\"", "4": "Oh, joy! oh, de -- light! should we go with -- out dy -- ing, No sick -- ness, no sad -- ness, no dread and no cry -- ing. Caught up through the clouds with our Lord in -- to glo -- ry, When _ Je -- sus re -- ceives _ \"His own.\""}, "refrain_lines": "O Lord Je -- sus, how long, how long Ere we shout the glad song, Christ re -- turn -- eth! Hal -- le -- lu -- jah! Hal -- le -- lu -- jah! A -- men. Hal -- le -- lu -- jah! A -- men.", "stress_checked": true}, {"slug": "christ-the-lord-is-risen-today__orientis-partibus-oh107", "text": "christ-the-lord-is-risen-today", "harmonization": "orientis-partibus-oh107", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "christ-the-lord-is-risen-today-alleluias__llanfair-openhymnal", "text": "christ-the-lord-is-risen-today-alleluias", "harmonization": "llanfair-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "christians-awake-salute-the-happy-morn__yorkshire-cyberhymnal", "text": "christians-awake-salute-the-happy-morn", "harmonization": "yorkshire-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "come-down-o-love-divine__down-ampney-english-hymnal-1906", "text": "come-down-o-love-divine", "harmonization": "down-ampney-english-hymnal-1906", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "come-he-that-fear-jehovah__tempus-adest-floridum-oh55", "text": "come-he-that-fear-jehovah", "harmonization": "tempus-adest-floridum-oh55", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "come-let-us-join-our-cheerful-songs__grafenberg-cyberhymnal", "text": "come-let-us-join-our-cheerful-songs", "harmonization": "grafenberg-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Come, let us join our cheer -- ful songs _ With an -- gels round the throne. Ten thou -- sand, thou -- sand are their tongues, _ But all their joys are one.", "2": "Wor -- thy the Lamb that died, they cry, _ To be ex -- alt -- ed thus! Wor -- thy the Lamb, our hearts re -- ply, _ For He was slain for us!", "3": "Je -- sus is wor -- thy to re -- ceive _ Hon -- or and pow'r di -- vine; And bless -- ings more than we can give, _ Be, Lord, for -- ev -- er Thine.", "4": "Let all that dwell a -- bove the sky, _ And air and earth and seas, Con -- spire to lift Thy glo -- ries high, _ And speak Thine end -- less praise!", "5": "The whole cre -- a -- tion join in one, _ To bless the sa -- cred name Of Him who sits up -- on the throne, _ And to a -- dore the Lamb."}, "refrain_lines": null, "stress_checked": true}, {"slug": "come-thou-fount-of-every-blessing__nettleton-eh-1921", "text": "come-thou-fount-of-every-blessing", "harmonization": "nettleton-eh-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "come-ye-disconsolate__consolator-church-hymnal-1896", "text": "come-ye-disconsolate", "harmonization": "consolator-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "come-ye-sinners-poor-and-needy__eton-methodist-1905", "text": "come-ye-sinners-poor-and-needy", "harmonization": "eton-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "come-your-heart-and-voices-raising__quem-pastores-oh52", "text": "come-your-heart-and-voices-raising", "harmonization": "quem-pastores-oh52", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "count-your-blessings__blessings-make-christ-king-1914", "text": "count-your-blessings", "harmonization": "blessings-make-christ-king-1914", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "crown-him-with-many-crowns__diademata-am-1869", "text": "crown-him-with-many-crowns", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "david-and-his-afflictions-all__dundee-cyberhymnal", "text": "david-and-his-afflictions-all", "harmonization": "dundee-cyberhymnal", "alignment": "explicit", "note_splits": [8], "stanza_lines": {"1": "Da -- vid, and his af -- flic -- tions all, _ Lord, do thou think up -- on; How un -- to God he sware, and vowed to Ja -- cob's might -- y One.", "2": "I will not come with -- in my house, _ nor rest in bed at all; Nor shall mine eyes take an -- y sleep, nor eye -- lids slum -- ber shall;", "3": "Till for the Lord a place I find, _ where he may make a -- bode; A place of hab -- i -- ta -- ti -- on for Ja -- cob's might -- y God.", "4": "Lo, at the place of Eph -- ra -- tah _ of it we un -- der -- stood; And we did find it in the fields, and cit -- y of the wood.", "5": "We'll go in -- to his tab -- er -- nac -- les, and at his foot -- stool bow. A -- rise, O Lord, in -- to thy rest, th'ark of thy strength, and thou.", "6": "O let thy priests be cloth -- ed, Lord, _ with truth and right -- eous -- ness; And let all those that are thy saints shout loud for joy -- ful -- ness.", "7": "For thine own ser -- vant Da -- vid's sake, _ do not de -- ny thy grace: Nor of thine own a -- noint -- ed one turn thou a -- way the face.", "8": "The Lord in truth to Da -- vid sware, _ he will not turn from it, I of thy bod -- y's fruit will make up -- on thy throne to sit.", "9": "My cov -- 'nant if thy sons will keep, _ and laws to them made known, Their chil -- dren then shall al -- so sit for ev -- er on thy throne.", "10": "For God of Zi -- on hath made choice; _ there he de -- sires to dwell. This is my rest, here still I'll stay; for I do like it well.", "11": "Her food I'll great -- ly bless; her poor _ with bread will sat -- is -- fy. Her priests I'll clothe with health; her saints shall shout forth joy -- ful -- ly.", "12": "And there will I make Da -- vid's horn _ to bud forth pleas -- ant -- ly: For him that mine a -- noint -- ed is a lamp or -- dained have I.", "13": "As with a gar -- ment I will clothe _ with shame his en -- 'mies all: But yet the crown that he doth wear up -- on him flour -- ish shall."}, "refrain_lines": null}, {"slug": "dear-christians-one-and-all-rejoice__es-ist-gewisslich-an-der-zeit-oh184", "text": "dear-christians-one-and-all-rejoice", "harmonization": "es-ist-gewisslich-an-der-zeit-oh184", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "deck-thyself-my-soul-with-gladness__schm-cke-dich-cyberhymnal", "text": "deck-thyself-my-soul-with-gladness", "harmonization": "schm-cke-dich-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Deck thy -- self, my soul, with glad -- ness, Leave the gloo -- my _ haunts of sad -- ness; Come in -- to the day -- light's splen -- dor, There with joy thy _ prais -- es ren -- der Un -- to Him whose grace un -- bound -- ed Hath this won -- drous ban -- quet found -- ed; High o'er all the heav'ns He reign -- eth, Yet to dwell with thee He deign -- eth.", "2": "Has -- ten as a bride to meet Him, And with lov -- ing _ rev -- 'rence greet Him; For with words of life im -- mor -- tal Now He knock -- eth _ at thy por -- tal. Haste to ope the gates be -- fore Him, Say -- ing, while thou dost a -- dore Him, Suf -- fer, Lord, that I re -- ceive Thee, And I nev -- er -- more will leave Thee.", "3": "He who craves a pre -- cious treas -- ure Nei -- ther cost nor _ pain will meas -- ure; But the price -- less gifts of heav -- en God to us hath _ free -- ly giv -- en. Though the wealth of earth were of -- fered, Naught would buy the gifts here of -- fered: Christ's true bod -- y, for thee riv -- en, And His blood, for thee once giv -- en.", "4": "Je -- sus, Bread of Life, I pray Thee, Let me glad -- ly _ here o -- bey Thee; Nev -- er to my hurt in -- vit -- ed, Be Thy love with _ love re -- quit -- ed; From this ban -- quet let me meas -- ure, Lord, how vast and deep its treas -- ure; Through the gifts Thou here dost give me, As Thy guest in heav'n re -- ceive me."}, "refrain_lines": null, "stress_checked": true}, {"slug": "defend-me-lord-from-shame__diademata-am-1869", "text": "defend-me-lord-from-shame", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "deliver-me-from-evil__ewing-am-1861", "text": "deliver-me-from-evil", "harmonization": "ewing-am-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "did-you-think-to-pray__stockbridge-oh244", "text": "did-you-think-to-pray", "harmonization": "stockbridge-oh244", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "do-ye-o-congregation__st-flavian-oh87", "text": "do-ye-o-congregation", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-peters-admonition__peters-admonition-raj", "text": "doreancon-peters-admonition", "harmonization": "peters-admonition-raj", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-peters-admonition__st-etheldreda-cyberhymnal", "text": "doreancon-peters-admonition", "harmonization": "st-etheldreda-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-psalm-119-he__kingsfold-openhymnal", "text": "doreancon-psalm-119-he", "harmonization": "kingsfold-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-psalm-119-kaf__llangloffan-cyberhymnal", "text": "doreancon-psalm-119-kaf", "harmonization": "llangloffan-cyberhymnal", "note_splits": [35], "alignment": "explicit", "stanza_lines": {"1": "My soul for thy sal -- va -- tion faints; thy word my hope shall be. Mine _ eyes fail for thy word: I say, When wilt thou com -- fort me? For like a bot -- tle I'm be -- come, that in the smoke is set: I'm black, and parched with grief; yet I thy stat -- utes not for -- get.", "2": "How man -- y are thy ser -- vant's days? when wilt thou ex -- e -- cute Just _ judg -- ment on these wick -- ed men that keep me in pur -- suit? The proud have dug deep pits for me, which is a -- gainst thy laws. Thy words all faith -- ful are: help me, pur -- sued with -- out a cause.", "3": "They so con -- sumed me, that on earth my life they scarce did leave: Thy _ pre -- cepts yet for -- sook I not, but close to them did cleave. Af -- ter thy lov -- ing -- kind -- ness, Lord, me quick -- en, and pre -- serve: The tes -- ti -- mon -- y of thy mouth, from which I will not swerve."}, "refrain_lines": null, "meter_checked": true}, {"slug": "doreancon-psalm-119-tet__auld-lang-syne-cyberhymnal", "text": "doreancon-psalm-119-tet", "harmonization": "auld-lang-syne-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-psalm-119-yod__forest-green-eh1906", "text": "doreancon-psalm-119-yod", "harmonization": "forest-green-eh1906", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-psalm-50-1-6__terra-beata-cyberhymnal", "text": "doreancon-psalm-50-1-6", "harmonization": "terra-beata-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "The _ might -- y God, the Lord, hath _ spo -- ken, and did call The earth, from ris -- ing _ of the sun, to where _ he hath his _ fall. From out of Zi -- on's hill, in _ ex -- cel -- lence re -- fined, And beau -- ty the per -- _ fec -- tion is, then God _ in glo -- ry _ shined,", "2": "Our _ God shall sure -- ly come, keep _ si -- lence shall not he: Be -- fore him fire shall _ waste, great storms shall round _ a -- bout him _ be. Un -- to the heav -- ens clear he _ from a -- bove shall call, And to the earth like -- _ wise, that he may judge _ his peo -- ple _ all.", "3": "To -- _ geth -- er let my saints un -- _ to me gath -- ered be, Those that by sac -- ri -- _ fice have made a cov -- _ e -- nant with _ me. And then the heav -- ens shall his _ right -- eous -- ness make known: Be -- cause the Lord him -- _ self is he who judg -- _ es, he a -- _ lone."}, "refrain_lines": null}, {"slug": "doreancon-psalm-50-16-23__diademata-am-1869", "text": "doreancon-psalm-50-16-23", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-psalm-50-7-15__st-thomas-oh44", "text": "doreancon-psalm-50-7-15", "harmonization": "st-thomas-oh44", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-psalm-50-7-15__st-thomas-oh44-c-natural", "text": "doreancon-psalm-50-7-15", "harmonization": "st-thomas-oh44-c-natural", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "doreancon-psalm-82__detroit-modern", "text": "doreancon-psalm-82", "harmonization": "detroit-modern", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-psalm-82__detroit-pbht1907", "text": "doreancon-psalm-82", "harmonization": "detroit-pbht1907", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-psalm-82__detroit-sh1854", "text": "doreancon-psalm-82", "harmonization": "detroit-sh1854", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "doreancon-psalm-82__detroit-tbh1901", "text": "doreancon-psalm-82", "harmonization": "detroit-tbh1901", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "down-at-the-cross__glory-to-his-name-songs-of-joy-1885", "text": "down-at-the-cross", "harmonization": "glory-to-his-name-songs-of-joy-1885", "alignment": "one_to_one", "stanza_lines": null, "refrain_lines": null, "stress_checked": true}, {"slug": "every-morning-mercies-new__kelso-oh307", "text": "every-morning-mercies-new", "harmonization": "kelso-oh307", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "except-the-lord-do-build-the-house__richmond-church-hymnal-1896", "text": "except-the-lord-do-build-the-house", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "face-to-face-with-christ-my-saviour__face-to-face-tabernacle-1921", "text": "face-to-face-with-christ-my-saviour", "harmonization": "face-to-face-tabernacle-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "fairest-lord-jesus__crusader-s-hymn-oh163", "text": "fairest-lord-jesus", "harmonization": "crusader-s-hymn-oh163", "alignment": "explicit", "stanza_lines": {"1": "Beau -- ti -- ful Sav -- _ ior, King of Cre -- a -- _ tion Son of _ God and _ Son of Man! Tru -- ly I'd love _ Thee, tru -- ly I'd serve _ Thee, Light of my soul, my joy, my crown.", "2": "Fair are the mead -- _ ows, Fair are the wood -- _ lands, Robed in the flow'rs of _ bloom -- ing spring; Je -- sus is fair -- _ er, Je -- sus is pur -- _ er, He makes our sor -- r'wing spir -- it sing.", "3": "Fair is the sun -- _ shine, Fair is the moon -- _ light, Bright the _ spark -- ling _ stars on high; Je -- sus shines bright -- _ er, Je -- sus shines pur -- _ er Than all the an -- gels in the sky.", "4": "Beau -- ti -- ful Sav -- _ ior, Lord of the na -- _ tions, Son of _ God and _ Son of Man! Glo -- ry and hon -- _ or, Praise, ad -- o -- ra -- _ tion Now and for -- ev -- er -- more be Thine!"}, "refrain_lines": null}, {"slug": "faith-of-our-fathers__st-catherine-evangelical-1921", "text": "faith-of-our-fathers", "harmonization": "st-catherine-evangelical-1921", "alignment": "explicit", "stanza_lines": {"1": "Faith of our fa -- _ thers, liv -- _ ing still, In spite of dun -- geon, fire _ and sword; O how our hearts _ beat high _ with joy When -- e'er we hear that glo -- _ rious Word!", "2": "Faith of our fa -- _ thers, we _ will strive To win all na -- tions un -- _ to Thee; And through the truth _ that comes _ from God, We all shall then be tru -- _ ly free.", "3": "Faith of our fa -- _ thers, we _ will love Both friend and foe in all _ our strife; And preach Thee, too, _ as love _ knows how By kind -- ly words and vir -- _ tuous life."}, "refrain_lines": "Faith of our fa -- thers, ho -- ly faith! We will be true to thee till death.", "stress_checked": true}, {"slug": "fear-not-o-little-flock__kommt-her-zu-mir-spricht-gottes-sohn-oh273", "text": "fear-not-o-little-flock", "harmonization": "kommt-her-zu-mir-spricht-gottes-sohn-oh273", "alignment": "explicit", "stanza_lines": {"1": "Fear not, O lit -- tle flock, the foe Who mad -- ly seeks your ov -- er -- throw; Dread not _ his rage and pow'r; _ What though your cour -- age some -- times faints, His seem -- ing tri -- umph o'er God's saints Lasts but _ one lit -- tle hour. _", "2": "Be of good cheer; your cause be -- longs To Him who can a -- venge your wrongs; Leave it _ to Him our Lord. _ Though hid -- den yet from all our eyes, He sees the Gid -- eon who shall rise; To save _ us, and His word. _", "3": "As true as God's own word is true, Not earth nor hell with all their crew A -- gainst _ us shall pre -- vail. _ A jest and by -- word are they grown; God is with us, we are His own, Our vic -- _ t'ry can -- not fail. _", "4": "A -- men, Lord Je -- sus, grant our prayer! Great Cap -- tain, now Thine arm make bare; Fight for _ us once a -- gain. _ So shall thy saints and mar -- tyrs raise A might -- y cho -- rus to Thy praise, World with -- _ out end. A -- men. _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "fools-in-their-heart-have-said__aylesbury-am-1904", "text": "fools-in-their-heart-have-said", "harmonization": "aylesbury-am-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "for-evildoers-fret-thou-not__evan-oh231", "text": "for-evildoers-fret-thou-not", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [8, 14, 28], "stanza_lines": {"1": "For e -- vil -- do -- ers fret thou not _ thy -- self un -- qui -- et -- ly; _ Nor do thou en -- vy bear to those that work in -- iq -- ui -- ty. _", "2": "For, e -- ven like un -- to the grass, _ soon be cut down shall they; _ And, like the green and ten -- der herb, they with -- er shall a -- way. _", "3": "Set thou thy trust up -- on the Lord, _ and be thou do -- ing good; _ And so thou in the land shalt dwell, and ver -- i -- ly have food. _", "4": "De -- light thy -- self in God; he'll give _ thine heart's de -- sire to thee. _ Thy way to God com -- mit, him trust, it bring to pass shall he. _", "5": "And, like un -- to the light, he shall _ thy right -- eous -- ness dis -- play; _ And he thy judg -- ment shall bring forth like noon -- tide of the day. _", "6": "Rest in the Lord, and pa -- tient -- ly _ wait for him: do not fret _ For him who, pros -- p'ring in his way, suc -- cess in sin doth get. _", "7": "Do thou from an -- ger cease, and wrath _ see thou for -- sake al -- so: _ Fret not thy -- self in an -- y wise, that e -- vil thou should'st do. _", "8": "For those that e -- vil -- do -- ers are _ shall be cut off and fall: _ But those that wait up -- on the Lord the earth in -- her -- it shall. _", "9": "For yet a lit -- tle while, and then _ the wick -- ed shall not be; _ His place thou shalt con -- sid -- er well, but it thou shalt not see. _", "10": "But by in -- her -- i -- tance the earth _ the meek ones shall pos -- sess: _ They al -- so shall de -- light them -- selves in an a -- bun -- dant peace. _", "11": "The wick -- ed plots a -- gainst the just, _ and at him whets his teeth: _ The Lord shall laugh at him, be -- cause his day he com -- ing seeth. _", "12": "The wick -- ed have drawn out the sword, _ and bent their bow, to slay _ The poor and need -- y, and to kill men of an up -- right way. _", "13": "But their own sword, which they have drawn, _ shall en -- ter their own heart: _ Their bows which they have bent shall break, and in -- to piec -- es part. _", "14": "A lit -- tle that a just man hath _ is more and bet -- ter far _ Than is the wealth of man -- y such as lewd and wick -- ed are. _", "15": "For sin -- ners' arms shall bro -- ken be; _ but God the just sus -- tains. _ God knows the just man's days, and still their her -- i -- tage re -- mains. _", "16": "They shall not be a -- shamed when they _ the e -- vil time do see; _ And when the days of fam -- ine are, they sat -- is -- fied shall be. _", "17": "But wick -- ed men, and foes of God, _ as fat of lambs, de -- cay; _ They shall con -- sume, yea, in -- to smoke they shall con -- sume a -- way. _", "18": "The wick -- ed bor -- rows, but the same _ a -- gain he doth not pay; _ Where -- as the right -- eous mer -- cy shows, and gives his own a -- way. _", "19": "For such as bless -- ed be of him _ the earth in -- her -- it shall; _ And they that curs -- ed are of him shall be de -- stroy -- ed all. _", "20": "A good man's foot -- steps by the Lord _ are or -- der -- ed a -- right; _ And in the way where -- in he walks he great -- ly doth de -- light. _", "21": "Al -- though he fall, yet shall he not _ be cast down ut -- ter -- ly, _ Be -- cause the Lord with his own hand u -- pholds him might -- i -- ly. _", "22": "I have been young, and now am old, _ yet have I nev -- er seen _ The just man left, nor that his seed for bread have beg -- gars been. _", "23": "He's ev -- er mer -- ci -- ful, and lends: _ his seed is blessed there -- fore. _ De -- part from e -- vil, and do good, and dwell for ev -- er -- more. _", "24": "For God loves judg -- ment, and his saints _ leaves not in an -- y case; _ They are kept ev -- er; but cut off shall be the sin -- ner's face. _", "25": "The just in -- her -- it shall the land, _ and ev -- er in it dwell: _ The just man's mouth doth wis -- dom speak; his tongue doth judg -- ment tell. _", "26": "In's heart the law is of his God, _ his steps slide not a -- way. _ The wick -- ed man doth watch the just, and seek -- eth him to slay. _", "27": "Yet him the Lord will not for -- sake, _ nor leave him in his hands: _ The right -- eous will he not con -- demn, when he in judg -- ment stands. _", "28": "Wait on the Lord, and keep his way, _ and thee ex -- alt shall he _ Th'earth to in -- her -- it; when cut off the wick -- ed thou shalt see. _", "29": "I saw the wick -- ed great in power, _ spread like a green bay -- tree: _ He passed, yea, was not; him I sought, but found he could not be. _", "30": "Mark thou the per -- fect, and be -- hold _ the man of up -- right -- ness, _ Be -- cause that sure -- ly of this man the lat -- ter end is peace. _", "31": "But those men that trans -- gres -- sors are _ shall be de -- stroyed to -- geth -- er; The lat -- ter end of wick -- ed men shall be cut off for ev -- er.", "32": "But the sal -- va -- tion of the just _ is from the Lord a -- bove; _ He in the time of their dis -- tress their stay and strength doth prove. _", "33": "The Lord shall help, and them de -- liv -- er: he shall them free and save _ From wick -- ed men, be -- cause in him their con -- fi -- dence they have. _"}, "refrain_lines": null}, {"slug": "for-the-beauty-of-the-earth__dix-oh267", "text": "for-the-beauty-of-the-earth", "harmonization": "dix-oh267", "alignment": "explicit", "stanza_lines": {"1": "For the _ beau -- ty of the earth For the glo -- ry of the skies, For the _ love which from our birth O -- ver and a -- round us lies.", "2": "For the _ beau -- ty of each hour, Of the day and of the night, Hill and _ vale, and tree and flow'r, Sun and moon, and stars of light.", "3": "For the _ joy of ear and eye, For the heart and mind's de -- light, For the _ mys -- tic har -- mo -- ny Link -- ing sense to sound and sight.", "4": "For the _ joy of hu -- man love, Broth -- er, sis -- ter, par -- ent, child, Friends on _ earth and friends a -- bove, For all gen -- tle thoughts and mild.", "5": "For Thy _ Church, that ev -- er -- more Lift -- eth ho -- ly hands a -- bove, Of -- f'ring _ up on ev -- ery shore Her pure sac -- ri -- fice of love."}, "refrain_lines": "Lord of all, to Thee we raise, This our hymn of grate -- ful praise.", "stress_checked": true}, {"slug": "forever-settled-in-the-heavns__winchester-new-oh142", "text": "forever-settled-in-the-heavns", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "forty-days-and-forty-nights__aus-der-tiefe-cyberhymnal", "text": "forty-days-and-forty-nights", "harmonization": "aus-der-tiefe-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "fountain-of-never-ceasing-grace__st-matthew-cyberhymnal", "text": "fountain-of-never-ceasing-grace", "harmonization": "st-matthew-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Foun -- tain of nev -- er ceas -- _ ing grace, Thy saints' ex -- haust -- _ less theme, Great ob -- ject of im -- mor -- _ tal _ praise, _ Es -- sen -- tial -- ly _ su -- preme; We bless Thee for _ the glo -- _ rious fruits Thine in -- car -- _ na -- tion gives; The right -- eous -- ness which grace im -- putes, _ And faith a -- lone _ re -- ceives.", "2": "Whom Heav'n's an -- gel -- ic host _ a -- dores, Was slaugh -- tered for _ our sin; The guilt, O Lord, was whol -- _ ly _ ours, _ The pun -- ish -- ment _ was Thine: Our God in flesh, _ to set _ us free, Was man -- i -- _ fest -- ed here; And meek -- ly bare our sins, that we _ His right -- eous -- ness _ might wear.", "3": "Im -- pu -- ta -- tive -- ly guil -- _ ty then Our sub -- sti -- tute _ was made, That we the bless -- ings might _ ob -- _ tain _ For which His blood _ was shed: Him -- self He of -- _ fered on _ the cross, Our sor -- rows _ to re -- move; And all He suf -- fered was for us, _ And all He did _ was love.", "4": "In Him we have a right -- _ eous -- ness, By God Him -- self _ ap -- proved; Our rock, our sure foun -- da -- _ tion _ this, _ Which nev -- er can _ be moved. Our ran -- som by _ His death _ He paid, For all His _ peo -- ple giv'n, The law He per -- fect -- ly o -- beyed, _ That they might en -- _ ter Heav'n.", "5": "As all, when Ad -- am sinned _ a -- lone, In his trans -- gres -- _ sion died, So by the right -- eous -- ness _ of _ One, _ Are sin -- ners jus -- _ ti -- fied, We to Thy mer -- _ it, gra -- _ cious Lord, With hum -- blest _ joy sub -- mit, A -- gain to par -- a -- dise re -- stored, _ In Thee a -- lone _ com -- plete.", "6": "Our souls His watch -- ful love _ re -- trieves, Nor lets them go _ a -- stray, His right -- eous -- ness to us _ He _ gives, _ And takes our sins _ a -- way: We claim sal -- va -- _ tion in _ His right, A -- dopt -- ed _ and for -- giv'n, His mer -- it is our robe of light, _ His death the gate _ of Heav'n."}, "refrain_lines": null, "stress_checked": true}, {"slug": "from-heaven-above-to-earth-i-come__vom-himmel-hoch-oh54", "text": "from-heaven-above-to-earth-i-come", "harmonization": "vom-himmel-hoch-oh54", "alignment": "explicit", "stanza_lines": {"1": "From Heaven a -- bove to earth I come, To bear good news to ev -- ery home; Glad tid -- ings of great joy I bring, Where -- of I now will say _ and sing.", "2": "To you, this night, is born a Child Of Ma -- ry, cho -- sen moth -- er mild; This ten -- der Child of low -- ly birth, Shall be the joy of all _ your earth.", "3": "'Tis Christ our God, Who far on high Had heard your sad and bit -- ter cry; Him -- self will your Sal -- va -- tion be, Him -- self from sin will make _ you free.", "4": "He brings those bless -- ings long a -- go Pre -- pared by God for all be -- low; That in His heaven -- ly king -- dom blest You may with us for -- ev -- _ er rest.", "5": "These are the to -- kens ye shall mark, The swadd -- ling clothes and man -- ger dark; There shall ye find the young Child laid, By Whom the heav'ns and earth _ were made."}, "refrain_lines": null, "stress_checked": true}, {"slug": "from-out-the-depths-i-cry-o-lord__sandon-cyberhymnal", "text": "from-out-the-depths-i-cry-o-lord", "harmonization": "sandon-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "gentle-mary-laid-her-child__tempus-adest-floridum-oh55", "text": "gentle-mary-laid-her-child", "harmonization": "tempus-adest-floridum-oh55", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "give-ear-unto-me-when-i-call__lea-oh299", "text": "give-ear-unto-me-when-i-call", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "give-ear-unto-my-words-o-lord__winchester-old-cyberhymnal", "text": "give-ear-unto-my-words-o-lord", "harmonization": "winchester-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "glorious-things-of-thee-are-spoken__austrian-hymn-evangelical-1880", "text": "glorious-things-of-thee-are-spoken", "harmonization": "austrian-hymn-evangelical-1880", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "glory-be-to-the-father__gloria-patri-greatorex-mutopia", "text": "glory-be-to-the-father", "harmonization": "gloria-patri-greatorex-mutopia", "alignment": "explicit", "stanza_lines": {"1": "Glo -- ry be to the Fa -- ther, and to the Son, and to the Ho -- ly Ghost; as it was in the be -- gin -- ning, is now, and ev -- er shall be, world with -- out end. A -- _ men, A -- _ men."}, "refrain_lines": null, "stress_checked": true}, {"slug": "go-to-dark-gethsemane__petra-church-hymnal-1896", "text": "go-to-dark-gethsemane", "harmonization": "petra-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "god-be-merciful-to-me__martyn-cyberhymnal", "text": "god-be-merciful-to-me", "harmonization": "martyn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "God, be mer -- ci -- ful to me, On Thy grace I rest my plea; Plen -- teous in com -- pas -- sion Thou, Blot out my trans -- gres -- sion now; Wash me, make me pure with -- in, Cleanse, O cleanse me from my sin, Wash me, make me pure with -- in, Cleanse, O cleanse me from my _ sin.", "2": "I am e -- vil born in sin; Thou de -- sir -- ed truth with -- in. Thou a -- lone my Sav -- iour art, Teach Thy wis -- dom to my heart; Make me pure, Thy grace be -- stow, Wash me whit -- er than the snow, Make me pure, Thy grace be -- stow, Wash me whit -- er than the _ snow.", "3": "Gra -- cious God, my heart re -- new, Make my spir -- it right and tree; Cast me not a -- way from Thee, Let Thy Spir -- it dwell in me; Thy salvat -- io -- n's joy im -- part, Stead -- fast make my wil -- ling heart, Thy salvat -- io -- n's joy im -- part, Stead -- fast make my wil -- ling _ heart.", "4": "Sin -- ners then shall learn from me And re -- turn, O God, to Thee; Sav -- iour, all my guilt re -- move, And my tongue shall sing Thy love; Touch my si -- lent lips, O Lord, And my mouth shall praise ac -- cord, Touch my si -- lent lips, O Lord, And my mouth shall praise ac -- _ cord."}, "refrain_lines": null}, {"slug": "god-himself-is-present__wunderbarer-konig-oh23", "text": "god-himself-is-present", "harmonization": "wunderbarer-konig-oh23", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "god-is-our-refuge-and-our-strength__azmon-mason-1839", "text": "god-is-our-refuge-and-our-strength", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "god-is-our-refuge-and-our-strength__st-flavian-oh87", "text": "god-is-our-refuge-and-our-strength", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "god-moves-in-a-mysterious-way__dundee-cyberhymnal", "text": "god-moves-in-a-mysterious-way", "harmonization": "dundee-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "god-reigneth-let-the-earth-be-glad__azmon-mason-1839", "text": "god-reigneth-let-the-earth-be-glad", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "god-rest-ye-merry-gentlemen__god-rest-ye-merry-gentlemen-oh56", "text": "god-rest-ye-merry-gentlemen", "harmonization": "god-rest-ye-merry-gentlemen-oh56", "alignment": "explicit", "stanza_lines": {"1": "God rest ye mer -- ry, gen -- tle -- men, let noth -- ing you dis -- may, Re -- mem -- ber Christ our Sav -- _ ior was born on Christ -- mas Day; To save us all from Sa -- tan's pow'r when we were gone a -- stray.", "2": "In Beth -- le -- hem, in Is -- ra -- el, this bless -- ed Babe was born, And laid with -- in a man -- _ ger up -- on this bless -- ed morn; The which His moth -- er Ma -- _ ry did noth -- ing take in scorn.", "3": "From God our heav'n -- ly Fa -- _ ther a bless -- ed an -- gel came; And un -- to cer -- tain shep -- _ herds brought tid -- ings of the same; How that in Beth -- le -- hem was born the Son of God by name.", "4": "\"Fear not, then,\" said the an -- _ gel, \"Let noth -- ing you a -- fright This day is born a Sav -- _ ior of a pure Vir -- gin bright, To free all those who trust in Him from Sa -- tan's pow'r and might.\"", "5": "The shep -- herds at those tid -- _ ings re -- jo -- iced much in mind, And left their flocks a -- feed -- _ ing in tem -- pest, storm and wind, And went to Beth -- l'em straight -- aw -- ay this bless -- ed Babe to find."}, "refrain_lines": "O _ ti -- dings of com -- _ fort and joy, com -- fort and joy; O _ ti -- _ dings of com -- _ fort and joy.", "stress_checked": true}, {"slug": "god-that-madest-earth-and-heaven__ar-hyd-y-nos-english-hymnal-1906", "text": "god-that-madest-earth-and-heaven", "harmonization": "ar-hyd-y-nos-english-hymnal-1906", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "god-whose-almighty-word__italian-hymn-oh291", "text": "god-whose-almighty-word", "harmonization": "italian-hymn-oh291", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "god-will-i-bless-all-times-his-praise__st-flavian-oh87", "text": "god-will-i-bless-all-times-his-praise", "harmonization": "st-flavian-oh87", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "God will I bless all times; his praise my mouth shall still ex -- press. _ My soul shall boast in God: the meek shall hear with joy -- ful -- ness. _", "2": "Ex -- tol the Lord with me, let us ex -- alt his name to -- geth -- er. I sought the Lord, he heard, and did me from all fears de -- liv -- er.", "3": "They looked to him, and light -- ened were: not shamed were their fac -- es. _ This poor man cried, God heard, and saved him from all his dis -- tress -- es.", "4": "The an -- gel of the Lord en -- camps, and round en -- com -- pass -- eth _ All those a -- bout that do him fear, and them de -- liv -- er -- eth. _", "5": "O taste and see that God is good: who trusts in him is blessed. _ Fear God his saints: none that him fear shall be with want op -- pressed. _", "6": "The li -- ons young may hun -- gry be, and they may lack their food: _ But they that tru -- ly seek the Lord shall not lack an -- y good. _", "7": "O chil -- dren, hith -- er do ye come, and un -- to me give ear; _ I shall you teach to un -- der -- stand how ye the Lord should fear. _", "8": "What man is he that life de -- sires, to see good would live long? _ Thy lips re -- frain from speak -- ing guile, and from ill words thy tongue. _", "9": "De -- part from ill, do good, seek peace, pur -- sue it earn -- est -- ly. _ God's eyes are on the just; his ears are o -- pen to their cry. _", "10": "The face of God is set a -- gainst those that do wick -- ed -- ly, _ That he may quite out from the earth cut off their mem -- o -- ry. _", "11": "The right -- eous cry un -- to the Lord, he un -- to them gives ear; _ And they out of their trou -- bles all by him de -- liv -- ered are. _", "12": "The Lord is ev -- er nigh to them that be of bro -- ken spirit; _ To them he safe -- ty doth af -- ford that are in heart con -- trite. _", "13": "The trou -- bles that af -- flict the just in num -- ber man -- y be; _ But yet at length out of them all the Lord doth set him free. _", "14": "He care -- ful -- ly his bones doth keep, what -- ev -- er can be -- fall; _ That not so much as one of them can bro -- ken be at all. _", "15": "Ill shall the wick -- ed slay; laid waste shall be who hate the just. _ The Lord re -- deems his ser -- vants' souls; none per -- ish that him trust. _"}, "refrain_lines": null}, {"slug": "god-will-our-strength-and-refuge-prove__duke-street-fotw-1904", "text": "god-will-our-strength-and-refuge-prove", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "god-will-take-care-of-you__martin-oh274", "text": "god-will-take-care-of-you", "harmonization": "martin-oh274", "alignment": "explicit", "stanza_lines": {"1": "Be not dis -- mayed _ what -- e'er be -- tide, God will take care of you; _ Be -- neath His wings _ of love a -- bide, God will take care of you.", "2": "Through days of toil _ when heart doth fail, God will take care of you; _ When dan -- gers fierce _ your path as -- sail, God will take care of you.", "3": "All you may need _ He will pro -- vide, God will take care of you; _ Noth -- ing you ask _ will be de -- nied, God will take care of you.", "4": "No mat -- ter what _ may be the test, God will take care of you; _ Lean, wear -- y one, _ up -- on His breast, God will take care of you."}, "refrain_lines": "God will take care of you, through ev -- 'ry day, o'er all the way; He will take care _ of you, God will take care _ of you.", "stress_checked": true}, {"slug": "good-christian-men-rejoice__in-dulci-jubilo-cyberhymnal", "text": "good-christian-men-rejoice", "harmonization": "in-dulci-jubilo-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Good Chris -- tian men, re -- joice _ _ With heart and soul and voice _ _ Give ye heed to what we say Je -- sus Christ is born to -- day Ox and ass be -- fore Him bow And He is in the man -- ger now Christ is born to -- day _ _ Christ is born to -- day _", "2": "Good Chris -- tian men, re -- joice _ _ With heart and soul and voice _ _ Now ye hear of end -- less bliss Je -- sus Christ was born for this He hath oped the heav'n -- ly door And man is bless -- ed ev -- er -- more Christ was born for this _ _ Christ was born for this _", "3": "Good Chris -- tian men, re -- joice _ _ With heart and soul and voice _ _ Now ye need not fear the grave Je -- sus Christ was born to save Calls you one and calls you all To gain His ev -- er -- last -- ing hall Christ was born to save _ _ Christ was born to save _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "grace-and-truth-shall-mark-the-way__mude-bin-ich-geh-zur-ruh-oh313", "text": "grace-and-truth-shall-mark-the-way", "harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "gracious-god-my-heart-renew__toplady-oh188", "text": "gracious-god-my-heart-renew", "harmonization": "toplady-oh188", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "great-god-what-do-i-see-and-hear__luthers-hymn-cyberhymnal", "text": "great-god-what-do-i-see-and-hear", "harmonization": "luthers-hymn-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "great-is-the-lord-and-greatly-he__arlington-cyberhymnal", "text": "great-is-the-lord-and-greatly-he", "harmonization": "arlington-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "great-is-thy-faithfulness__faithfulness-cyberhymnal", "text": "great-is-thy-faithfulness", "harmonization": "faithfulness-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "guide-me-o-thou-great-jehovah__cwm-rhondda-cyberhymnal", "text": "guide-me-o-thou-great-jehovah", "harmonization": "cwm-rhondda-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Guide me, O Thou great _ Je -- ho -- vah _ Pil -- grim through this bar -- ren land; I am weak, but Thou _ art might -- y; _ Hold me with Thy _ power -- ful hand; Bread of heav -- en, bread of heav -- en _ Feed me till I want no more; Feed me _ till _ I want no more.", "2": "O -- pen now the crys -- _ tal foun -- tain _ Whence the heal -- ing stream doth flow; Let the fire and cloud -- _ y pil -- lar _ Lead me all my _ jour -- ney through: Strong de -- liv -- 'rer, strong de -- liv -- 'rer _ Be Thou still my strength and shield; Be Thou _ still _ my strength and shield.", "3": "When I tread the verge _ of Jor -- dan _ Bid my anx -- ious fears sub -- side; Death of death, and hell's _ de -- struc -- tion _ Land me safe on _ Ca -- naan's side: Songs of prais -- es, songs of prais -- es _ I will ev -- er give to Thee; I will _ ev -- _ er give to Thee."}, "refrain_lines": null, "stress_checked": true}, {"slug": "had-not-the-lord-been-on-our-side__lea-oh299", "text": "had-not-the-lord-been-on-our-side", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "hail-thou-once-despised-jesus__rustington-cyberhymnal", "text": "hail-thou-once-despised-jesus", "harmonization": "rustington-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Hail Thou once de -- _ spis -- ed _ Je -- sus Hail Thou Gal -- i -- le -- an _ King Thou didst suf -- fer _ to re -- _ lease us Thou didst free sal -- va -- tion _ bring Hail Thou u -- ni -- _ ver -- sal Sav -- iour Bear -- er of our _ sin and shame By Thy mer -- its we find _ fa -- vor Life is giv -- _ en through Thy Name", "2": "Pas -- chal Lamb by _ God ap -- _ point -- ed All our sins on Thee were _ laid By al -- might -- y _ love a -- _ noint -- ed Thou hast full a -- tone -- ment _ made All Thy peo -- ple _ are for -- giv -- en Through the vir -- tue _ of Thy blood O -- pened is the gate of _ Heav -- en Rec -- on -- ciled _ are we with God", "3": "Je -- sus hail en -- _ throned in _ glo -- ry There for -- ev -- er to a -- _ bide All the heav'n -- ly _ hosts a -- _ dore Thee Seat -- ed at Thy Fa -- ther's _ side There for sin -- ners _ Thou art plead -- ing There Thou dost our _ place pre -- pare Ev -- er for us in -- ter -- _ ced -- ing Till in glo -- _ ry we ap -- pear", "4": "Wor -- ship hon -- or _ pow'r and _ bless -- ing Thou art wor -- thy to re -- _ ceive High -- est prais -- es _ with -- out _ ceas -- ing Right it is for us to _ give Help ye bright an -- _ gel -- ic spir -- its Bring your sweet -- est _ no -- blest lays Help to sing our Sav -- iour's _ mer -- its Help to chant _ Im -- man -- uel's praise"}, "refrain_lines": null, "stress_checked": true}, {"slug": "hallelujah-what-a-savior__hallelujah-what-a-savior-oh166", "text": "hallelujah-what-a-savior", "harmonization": "hallelujah-what-a-savior-oh166", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "hark-the-glad-sound__richmond-church-hymnal-1896", "text": "hark-the-glad-sound", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "hark-the-herald-angels-sing__mendelssohn-oh57", "text": "hark-the-herald-angels-sing", "harmonization": "mendelssohn-oh57", "alignment": "explicit", "stanza_lines": {"1": "Hark! The her -- ald an -- gels sing, _ \"Glo -- ry to the new -- born King; Peace on earth, and mer -- cy mild, _ God and sin -- ners rec -- on -- ciled!\" Joy -- ful, all ye na -- tions rise, _ Join the tri -- umph of the skies; _ With th'an -- gel -- ic host pro -- claim, \"Christ is _ born in Beth -- le -- hem!\"", "2": "Christ, by high -- est Heav'n a -- dored; _ Christ the ev -- er -- last -- ing Lord; Late in time, be -- hold Him come, _ Off -- spring of a vir -- gin's womb. Veiled in flesh the God -- head see; _ Hail th'in -- car -- nate De -- i -- ty, _ Pleased with us in flesh to dwell, Je -- sus _ our Em -- man -- u -- el.", "3": "Hail the heav'n -- ly Prince of Peace! _ Hail the Sun of Right -- eous -- ness! Light and life to all He brings, _ Ris'n with heal -- ing in His wings. Mild He lays His glo -- ry by, _ Born that man no more may die. _ Born to raise the sons of earth, Born to _ give them sec -- ond birth.", "4": "Come, De -- sire of na -- tions, come, _ Fix in us Thy hum -- ble home; Rise, the wom -- an's con -- qu'ring Seed, _ Bruise in us the ser -- pent's head. Now dis -- play Thy sav -- ing pow -- er, Ruin -- ed na -- ture now re -- store; _ Now in mys -- tic un -- ion join Thine to _ ours, and ours to Thine.", "5": "Ad -- am's like -- ness, Lord, ef -- face, _ Stamp Thine im -- age in its place: Sec -- ond Ad -- am from a -- bove, _ Re -- in -- state us in Thy love. Let us Thee, though lost, re -- gain, _ Thee, the Life, the in -- ner man: _ O, to all Thy -- self im -- part, Formed in _ each be -- liev -- ing heart."}, "refrain_lines": "Hark! the her -- ald an -- gels sing, \"Glo -- ry _ to the new -- born King!\"", "stress_checked": true}, {"slug": "hark-the-voice-of-jesus-calling__galilean-oh292", "text": "hark-the-voice-of-jesus-calling", "harmonization": "galilean-oh292", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "have-thine-own-way-lord__adelaide-tabernacle-1921", "text": "have-thine-own-way-lord", "harmonization": "adelaide-tabernacle-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "he-hideth-my-soul__kirkpatrick-tabernacle-1921", "text": "he-hideth-my-soul", "harmonization": "kirkpatrick-tabernacle-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "he-leadeth-me__he-leadeth-me-oh226", "text": "he-leadeth-me", "harmonization": "he-leadeth-me-oh226", "alignment": "explicit", "stanza_lines": {"1": "He lead -- eth me, O bless -- ed thought! O words with heav'n -- ly _ com -- fort fraught! What -- e'er I do, wher -- e'er I be Still _ 'tis God's hand _ that _ lead -- eth me.", "2": "Some -- times mid scenes of deep -- est gloom, Some -- times where E -- den's _ bow -- ers bloom, By wa -- ters still, ov'r troub -- led sea, Still _ 'tis His hand _ that _ lead -- eth me.", "3": "Lord, I would place my hand in Thine, Nor ev -- er mur -- mur _ nor re -- pine; Con -- tent, what -- ev -- er lot I see, Since _ 'tis my God _ that _ lead -- eth me.", "4": "And when my task on earth is done, When by Thy grace the _ vic -- t'ry's won, E'en death's cold wave I will not flee, Since _ God through Jor -- _ dan _ lead -- eth me."}, "refrain_lines": "He lead -- eth me, He lead -- eth _ me, By His own hand _ He _ lead -- eth me; His faith -- ful fol -- low'r I would _ be, For by His hand _ He _ lead -- eth me.", "stress_checked": true}, {"slug": "he-that-doth-in-the-secret-place__richmond-church-hymnal-1896", "text": "he-that-doth-in-the-secret-place", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "he-was-not-willing__he-was-not-willing-oh293", "text": "he-was-not-willing", "harmonization": "he-was-not-willing-oh293", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "he-who-would-valiant-be__monks-gate-openhymnal", "text": "he-who-would-valiant-be", "harmonization": "monks-gate-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "hear-this-all-people-and-give-ear__azmon-mason-1839", "text": "hear-this-all-people-and-give-ear", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "help-lord-because-the-godly-man__st-flavian-oh87", "text": "help-lord-because-the-godly-man", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "higher-ground__higher-ground-hcl-1904", "text": "higher-ground", "harmonization": "higher-ground-hcl-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "his-wide-dominion-shall-extend__beatitudo-cyberhymnal", "text": "his-wide-dominion-shall-extend", "harmonization": "beatitudo-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "holy-god-we-praise-thy-name__grosser-gott-am-1869", "text": "holy-god-we-praise-thy-name", "harmonization": "grosser-gott-am-1869", "alignment": "explicit", "stanza_lines": {"1": "Ho -- ly God, _ we praise _ Thy Name; Lord of all, _ we bow _ be -- fore Thee! All on earth _ Thy scep -- _ ter claim, All in Heav -- en a -- bove _ a -- dore Thee; In -- fin -- _ ite _ Thy vast do -- _ main, Ev -- er -- last -- _ ing is _ Thy reign.", "2": "Hark! the loud _ ce -- les -- _ tial hymn An -- gel cho -- irs a -- bove _ are rais -- ing, Cher -- u -- bim _ and ser -- _ a -- phim, In un -- ceas -- _ ing cho -- _ rus prais -- ing; Fill the _ heav -- ens with sweet ac -- _ cord: Ho -- ly, ho -- _ ly, ho -- _ ly, Lord.", "3": "Lo! the ap -- _ os -- tol -- _ ic train Join the sa -- _ cred Name _ to hal -- low; Proph -- ets swell _ the loud _ re -- frain, And the white _ robed mar -- _ tyrs fol -- low; And from _ morn _ to set of _ sun, Through the Church _ the song _ goes on.", "4": "Ho -- ly Fa -- _ ther, Ho -- _ ly Son, Ho -- ly Spir -- _ it, Three _ we name Thee; While in es -- _ sence on -- _ ly One, Un -- div -- id -- _ ed God _ we claim Thee; And a -- _ dor -- _ ing bend the _ knee, While we own _ the mys -- _ ter -- y."}, "refrain_lines": null}, {"slug": "holy-holy-holy__nicaea-am-1869", "text": "holy-holy-holy", "harmonization": "nicaea-am-1869", "alignment": "explicit", "stanza_lines": {"1": "Ho -- ly, ho -- ly, ho -- ly! Lord _ God Al -- might -- y! Ear -- ly in the morn -- _ -- ing our song shall rise to Thee; Ho -- ly, ho -- ly, ho -- _ -- ly, mer -- ci -- ful and might -- y! God in three Per -- sons, bless -- ed Trin -- i -- ty!", "2": "Ho -- ly, ho -- ly, ho -- ly! All the saints a -- dore Thee, Cast -- ing down their gold -- en crowns a -- round the glass -- y sea; Cher -- u -- bim and ser -- a -- phim fall -- ing down be -- fore Thee, Who was, and is, and ev -- er -- more shall be.", "3": "Ho -- ly, ho -- ly, ho -- ly! though the dark -- ness hide Thee, Though the eye of sin -- ful man Thy glo -- ry may not see; On -- ly Thou art ho -- _ -- ly; there is none be -- side Thee, Per -- fect in pow’r, in love, and pu -- ri -- ty.", "4": "Ho -- ly, ho -- ly, ho -- ly! Lord _ God Al -- might -- y! All Thy works shall praise Thy Name, in earth, and sky, and sea; Ho -- ly, ho -- ly, ho -- _ -- ly, mer -- ci -- ful and might -- y! God in three Per -- sons, bless -- ed Trin -- i -- ty!"}, "refrain_lines": null}, {"slug": "holy-spirit-ever-dwelling__ebenezer-oh", "text": "holy-spirit-ever-dwelling", "harmonization": "ebenezer-oh", "alignment": "explicit", "stanza_lines": {"1": "Ho -- ly _ _ Spir -- it, ev -- er _ _ dwell -- _ ing in the _ _ ho -- _ liest realms _ of light Ho -- ly _ _ Spir -- it, ev -- er _ _ brood -- _ ing o'er a _ _ world _ of gloom _ and blight Ho -- ly _ _ Spir -- it, ev -- er _ _ rais -- ing earth -- bound _ _ souls to glo -- ry _ _ high Liv -- _ _ ing, life -- im -- part -- ing _ _ Spir -- _ it you we _ _ praise _ and mag -- _ ni -- fy.", "2": "Ho -- ly _ _ Spir -- it, ev -- er _ _ breath -- _ ing on the _ _ church _ the breath _ of life Ho -- ly _ _ Spir -- it, ev -- er _ _ striv -- _ ing through your _ _ peo -- _ ple's cease -- _ less strife Ho -- ly _ _ Spir -- it, ev -- er _ _ form -- ing in the _ _ church the mind of _ _ Christ In our _ _ wor -- ship we will _ _ praise _ you for your _ _ fruit _ and gifts _ un -- priced.", "3": "Ho -- ly _ _ Spir -- it, ev -- er _ _ work -- _ ing through the _ _ chur -- _ ch's min -- _ i -- stry Quick -- 'ning, _ _ strength -- 'ning, and ab -- _ _ solv -- _ ing set -- ting _ _ cap -- _ tive sin -- _ ners free Ho -- ly _ _ Spir -- it, ev -- er _ _ bind -- ing age to _ _ age and soul to _ _ soul In com -- _ _ mu -- ni -- ty un -- _ _ end -- _ ing you we _ _ wor -- _ ship and _ ex -- tol."}, "refrain_lines": null, "stress_checked": true}, {"slug": "hosanna-loud-hosanna__ellacombe-cyberhymnal", "text": "hosanna-loud-hosanna", "harmonization": "ellacombe-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Ho -- san -- na, _ loud ho -- san -- na, _ _ The lit -- _ tle chil -- dren sang; Through pil -- lared _ court and tem -- ple _ _ The love -- _ ly _ an -- them rang. To _ Je -- sus, who had blessed them _ _ Close _ fold -- ed to His breast, The chil -- dren _ sang their prais -- es, _ _ The sim -- _ plest _ and the best.", "2": "From Ol -- i -- _ vet they fol -- lowed _ _ Mid an _ ex -- ult -- ant crowd, The vic -- tor _ palm branch wav -- ing, _ _ And chant -- _ ing _ clear and loud. The _ Lord of earth and heav -- en _ _ Rode _ on in low -- ly state, Nor scorned that _ lit -- tle chil -- dren _ _ Should on _ His _ bid -- ding wait.", "3": "Ho -- san -- na _ in the high -- est! _ _ That an -- _ cient song we sing, For Christ is _ our Re -- deem -- er, _ _ The Lord _ of _ heav'n our King. O _ may we ev -- er praise Him _ _ With _ heart and life and voice, And in His _ bliss -- ful pres -- ence _ _ E -- ter -- _ nal -- _ ly re -- joice!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "how-blest-is-he-whose-trespass__ewing-am-1861", "text": "how-blest-is-he-whose-trespass", "harmonization": "ewing-am-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-dear-to-me-o-lord-of-hosts__st-ursula-oh300", "text": "how-dear-to-me-o-lord-of-hosts", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-excellent-in-all-the-earth__st-agnes-oh156", "text": "how-excellent-in-all-the-earth", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-firm-a-foundation__foundation-union-harmony-1837", "text": "how-firm-a-foundation", "harmonization": "foundation-union-harmony-1837", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-long-wilt-thou-forget-me__ewing-am-1861", "text": "how-long-wilt-thou-forget-me", "harmonization": "ewing-am-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-long-wilt-thou-forget-me-lord__azmon-mason-1839", "text": "how-long-wilt-thou-forget-me-lord", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "how-lovely-is-thy-dwelling-place__st-etheldreda-cyberhymnal", "text": "how-lovely-is-thy-dwelling-place", "harmonization": "st-etheldreda-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-am-thine-o-lord__i-am-thine-brightest-and-best-1875", "text": "i-am-thine-o-lord", "harmonization": "i-am-thine-brightest-and-best-1875", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-greet-thee-who-my-sure-redeemer-art__toulon-cyberhymnal", "text": "i-greet-thee-who-my-sure-redeemer-art", "harmonization": "toulon-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-heard-the-bells-on-christmas-day__waltham-calkin-oh58", "text": "i-heard-the-bells-on-christmas-day", "harmonization": "waltham-calkin-oh58", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-in-the-lord-do-put-my-trust__st-thomas-oh44", "text": "i-in-the-lord-do-put-my-trust", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "I in the Lord do put my _ trust: how _ is it _ then that ye Say to my soul, Flee, as _ a _ bird, un -- to your _ moun -- tain high?", "2": "For, lo, the wick -- ed bend their _ bow, their _ shafts on _ string they fit, That those who u -- pright are _ in _ heart they pri -- vi -- _ ly may hit.", "3": "If the founda -- ti -- ons be destroy -- _ ed, what _ hath the _ right -- eous done? God in his ho -- ly tem -- _ ple _ is, in hea -- ven _ is his throne:", "4": "His eyes do see, his eye -- lids _ try men's _ sons. The _ just he proves: But his soul hates the wick -- _ ed _ man, and him that _ vi' -- lence loves.", "5": "Snares, fire and brim -- stone, fu -- rious _ storms, on _ sin -- ners _ he shall rain: This, as the por -- tion of _ their _ cup, doth un -- to _ them per -- tain.", "6": "Be -- cause the Lord most right -- eous _ doth in _ right -- eous -- _ ness de -- light; And with a plea -- sant coun -- _ ten -- _ ance be -- hold -- eth _ the u -- pright."}, "refrain_lines": null, "meter_checked": true}, {"slug": "i-joyed-when-to-the-house-of-god__evan-oh231", "text": "i-joyed-when-to-the-house-of-god", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "I joyed when to the house of God, Go up, they said to me. _ Je -- ru -- sa -- lem, with -- in thy gates our feet shall stand -- ing be. _", "2": "Je -- ru -- s'lem, as a cit -- y, is com -- pact -- ly built to -- geth -- er: Un -- to that place the tribes go up, the tribes of God go thith -- er:", "3": "To Is -- r'el's tes -- ti -- mo -- ny, there to God's name thanks to pay. _ For thrones of judg -- ment, ev'n the thrones of Da -- vid's house, there stay. _", "4": "Pray that Je -- ru -- sa -- lem may have peace and fe -- lic -- i -- ty: _ Let them that love thee and thy peace have still pros -- per -- i -- ty. _", "5": "There -- fore I wish that peace may still with -- in thy walls re -- main, _ And ev -- er may thy pal -- ac -- es pros -- per -- i -- ty re -- tain. _", "6": "Now, for my friends' and breth -- ren's sakes, Peace be in thee, I'll say. _ And for the house of God our Lord, I'll seek thy good al -- way. _"}, "refrain_lines": null}, {"slug": "i-know-that-my-redeemer-lives__duke-street-fotw-1904", "text": "i-know-that-my-redeemer-lives", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-know-whom-i-have-believed__i-know-whom-i-have-believed-oh278", "text": "i-know-whom-i-have-believed", "harmonization": "i-know-whom-i-have-believed-oh278", "alignment": "explicit", "stanza_lines": {"1": "I know not why _ God's _ won -- drous grace To me He hath _ made _ known, Nor why, un -- wor -- _ thy, _ Christ in love Re -- deemed me for _ His _ own.", "2": "I know not how _ this _ sav -- ing faith To me He did _ im -- _ part, Nor how be -- liev -- _ ing _ in His Word Wrought peace with -- in _ my _ heart.", "3": "I know not how _ the _ Spir -- it moves, Con -- vin -- cing us _ of _ sin, Re -- veal -- ing Je -- _ sus _ through the Word, Cre -- at -- ing faith _ in _ Him.", "4": "I know not what _ of _ good or ill May be re -- served _ for _ me, Of wea -- ry ways _ or _ gol -- den days, Be -- fore His face _ I _ see.", "5": "I know not when _ my _ Lord may come, At night or noon -- _ day _ fair, Nor if I walk _ the _ vale with Him, Or meet Him in _ the _ air."}, "refrain_lines": "But I know Whom I have be -- liev -- ed, And am per -- sua -- ded that He is ab -- le To keep that which I've com -- mit -- ted Un -- to Him a -- gainst that day.", "stress_checked": true}, {"slug": "i-love-the-lord-because-my-voice__st-agnes-oh156", "text": "i-love-the-lord-because-my-voice", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-love-the-lord-who-heard-my-cry__st-agnes-oh156", "text": "i-love-the-lord-who-heard-my-cry", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-m-but-a-stranger-here__st-edmund-sullivan-oh213", "text": "i-m-but-a-stranger-here", "harmonization": "st-edmund-sullivan-oh213", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-mercy-will-and-judgment-sing__azmon-mason-1839", "text": "i-mercy-will-and-judgment-sing", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-need-thee-every-hour__i-need-thee-every-hour-oh167", "text": "i-need-thee-every-hour", "harmonization": "i-need-thee-every-hour-oh167", "alignment": "explicit", "stanza_lines": {"1": "I need Thee ev -- 'ry hour, Most gra -- _ cious _ Lord; No ten -- der voice like Thine Can peace _ af -- _ ford.", "2": "I need Thee ev -- 'ry hour, Stay Thou _ near _ by; Temp -- ta -- tions lose their pow'r When Thou _ art _ nigh.", "3": "I need Thee ev -- 'ry hour, In joy _ or _ pain; Come quick -- ly and a -- bide, Or life _ is _ vain.", "4": "I need Thee ev -- 'ry hour, Teach me _ Thy _ will; And Thy rich prom -- is -- es In me _ ful -- _ fill.", "5": "I need Thee ev -- 'ry hour, Most Ho -- _ ly _ One; O make me Thine in -- deed, Thou bless -- _ ed _ Son!"}, "refrain_lines": "I need Thee, O I need Thee; Ev -- 'ry hour I need Thee; O bless me now, my Sav -- ior, I come _ to Thee!", "stress_checked": true}, {"slug": "i-said-i-will-look-to-my-ways__evan-oh231", "text": "i-said-i-will-look-to-my-ways", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-stand-amazed-in-the-presence__my-saviors-love-praises-1905", "text": "i-stand-amazed-in-the-presence", "harmonization": "my-saviors-love-praises-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-to-the-hills-will-lift-mine-eyes__evan-oh231", "text": "i-to-the-hills-will-lift-mine-eyes", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-to-the-hills-will-lift-my-eyes__azmon-mason-1839", "text": "i-to-the-hills-will-lift-my-eyes", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-waited-for-the-lord-my-god__lea-oh299", "text": "i-waited-for-the-lord-my-god", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-waited-for-the-lord-my-god-psalm-40__st-agnes-oh156", "text": "i-waited-for-the-lord-my-god-psalm-40", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-will-extol-thee-o-my-god__st-ursula-oh300", "text": "i-will-extol-thee-o-my-god", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "i-will-sing-of-my-redeemer__my-redeemer-welcome-tidings-1877", "text": "i-will-sing-of-my-redeemer", "harmonization": "my-redeemer-welcome-tidings-1877", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "i-with-my-voice-cried-to-the-lord__st-flavian-oh87", "text": "i-with-my-voice-cried-to-the-lord", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "ill-praise-my-maker-while-ive-breath__old-113th-cyberhymnal", "text": "ill-praise-my-maker-while-ive-breath", "harmonization": "old-113th-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "I'll praise my Mak -- er while I've breath And when my voice is lost in death Praise shall em -- ploy my no -- bler pow'rs _ My days of praise shall ne'er be past While life _ and _ thought and be -- ing _ last Or im -- mor -- tal -- i -- ty en -- dures", "2": "Hap -- py the man whose hopes re -- ly On Is -- rael's God He made the sky And earth and seas with all their train _ His truth for -- ev -- er stands se -- cure He saves _ th'op -- _ pressed He feeds the _ poor And none shall find His prom -- ise vain", "3": "The Lord hath eyes to give the blind The Lord sup -- ports the sink -- ing mind He sends the la -- b'ring con -- science peace _ He helps the stran -- ger in dis -- tress The wid -- _ ow _ and the fa -- ther -- _ less And grants the pris -- 'ner sweet re -- lease", "4": "He loves His saints He knows them well But turns the wick -- ed down to hell Thy God O Zi -- on ev -- er reigns _ Let ev -- ery tongue let ev -- ery age In this _ ex -- _ alt -- ed work en -- _ gage Praise Him in ev -- er -- last -- ing strains", "5": "I'll praise Him while He lends me breath And when my voice is lost in death Praise shall em -- ploy my no -- bler pow'rs _ My days of praise shall ne'er be past While life _ and _ thought and be -- ing _ last Or im -- mor -- tal -- i -- ty en -- dures"}, "refrain_lines": null, "stress_checked": true}, {"slug": "immortal-invisible-god-only-wise__st-denio-caniadau-1878", "text": "immortal-invisible-god-only-wise", "harmonization": "st-denio-caniadau-1878", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-christ-there-is-no-east-or-west__mckee-cyberhymnal", "text": "in-christ-there-is-no-east-or-west", "harmonization": "mckee-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "In _ Christ there is no _ East or West, In Him no South _ or _ North; But _ one great fel -- low -- ship of love Through -- _ out _ the whole _ wide earth.", "2": "In _ Him shall true hearts _ ev -- ery -- where Their high com -- mun -- _ ion _ find; His _ ser -- vice is the gold -- en cord Close _ bind -- _ ing all _ man -- kind.", "3": "Join _ hands, then, broth -- ers _ of the faith, What -- e'er your race _ may _ be! Who _ serves my Fa -- ther as a son Is _ sure -- _ ly kin _ to me.", "4": "In _ Christ now meet both _ East and West, In Him meet South _ and _ North; All _ Christ -- ly souls are one in Him Through -- _ out _ the whole _ wide earth."}, "refrain_lines": null, "stress_checked": true}, {"slug": "in-full-assurance-of-thy-grace__st-anne-lutheran-hymnary-1913", "text": "in-full-assurance-of-thy-grace", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-god-will-i-trust-tho-my-counselors-say__st-denio-caniadau-1878", "text": "in-god-will-i-trust-tho-my-counselors-say", "harmonization": "st-denio-caniadau-1878", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-gods-assembly-god-doth-stand__st-flavian-oh87", "text": "in-gods-assembly-god-doth-stand", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-heavenly-love-abiding__meirionydd-cyberhymnal", "text": "in-heavenly-love-abiding", "harmonization": "meirionydd-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "In _ heav'n -- ly _ love a -- bid -- ing, No change my heart _ shall fear; And _ safe is _ such con -- fid -- ing, For noth -- ing _ chang -- es here. The storm may roar with -- out me, My heart may low _ be laid; _ But God _ is round _ a -- bout me, And can I be _ dis -- mayed?", "2": "Wher -- _ ev -- er _ He may guide me, No want shall turn _ me back; My _ Shep -- herd _ is be -- side me, And noth -- ing _ can I lack. His wis -- dom ev -- er wak -- eth, His sight is nev -- _ er dim; _ He knows _ the way _ He tak -- eth, And I will walk _ with Him.", "3": "Green _ pas -- tures _ are be -- fore me, Which yet I have _ not seen; Bright _ skies will _ soon be o'er me, Where the dark _ clouds have been. My hope I can -- not meas -- ure, My path to life _ is free; _ My Sav -- _ iour has _ my treas -- ure, And He will walk _ with me."}, "refrain_lines": null}, {"slug": "in-his-temple-now-behold-him__westminster-abbey-oh75", "text": "in-his-temple-now-behold-him", "harmonization": "westminster-abbey-oh75", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "in-judahs-land-god-is-well-known__lea-oh299", "text": "in-judahs-land-god-is-well-known", "harmonization": "lea-oh299", "alignment": "explicit", "note_splits": [23], "stanza_lines": {"1": "In Ju -- dah's land God is well known, his name's in Is -- r'el great: In _ Sa -- lem is his tab -- er -- nac -- le, in _ Zi -- on is his seat.", "2": "There ar -- rows of the bow he brake, the shield, the sword, the war. More _ glo -- rious thou than hills of prey, _ more _ ex -- cel -- lent art far.", "3": "Those that were stout of heart are spoiled, they slept their sleep out -- right; And _ none of those their hands did find, _ that _ were the men of might.", "4": "When thy re -- buke, O Ja -- cob's God, had forth a -- gainst them past, Their _ hor -- ses and their char -- iots both _ were _ in a deep sleep cast.", "5": "Thou, Lord, ev'n thou art he that should be feared; and who is he That _ may stand up be -- fore thy sight, _ if _ once thou an -- gry be?", "6": "From heav'n thou judg -- ment caused be heard; the earth was still with fear, When _ God to judg -- ment rose, to save _ all _ meek on earth that were.", "7": "Sure -- ly the ver -- y wrath of man un -- to thy praise re -- dounds: Thou _ to the rem -- nant of his wrath _ wilt _ set re -- strain -- ing bounds.", "8": "Vow to the Lord your God, and pay: all ye that near him be, Bring _ gifts and pres -- ents un -- to him; _ for _ to be feared is he.", "9": "By him the spirits shall be cut off of those that prin -- ces are: Un -- _ to the kings that are on earth _ he _ fear -- ful doth ap -- pear."}, "refrain_lines": null}, {"slug": "in-my-distress-to-god-i-cried__dundee-cyberhymnal", "text": "in-my-distress-to-god-i-cried", "harmonization": "dundee-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-sweet-communion-lord-with-thee__azmon-mason-1839", "text": "in-sweet-communion-lord-with-thee", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-the-bleak-midwinter__cranham-oh59", "text": "in-the-bleak-midwinter", "harmonization": "cranham-oh59", "alignment": "explicit", "stanza_lines": {"1": "\\skip 4 In4. the8 bleak4 mid4 -- win2 -- ter,2 frost4. -- y8 wind4 made4 moan,2. \\skip 4 Earth4. stood8 hard4 as4 i2 -- ron,2 wa4 -- ter4 like4. a8 stone;2. \\skip 4 Snow4. had8 fall4 -- en,4 snow4 on4 snow,2 snow2 on2 snow,2. \\skip 4 In4. the8 bleak4 mid4 -- win2 -- ter,2 long2.. a8 -- go.2.", "2": "Our4 God,4. heav'n8 can4 -- not4 hold2 Him,2 nor2 earth4 sus4 -- tain;2. \\skip 4 Heav'n4. and8 earth4 shall4 flee4 a4 -- way2 when4 He4 comes4. to8 reign:2. \\skip 4 In4. the8 bleak4 mid4 -- win2 -- ter4 a4 sta4 -- ble4 place4 suf4 -- ficed2. The4 Lord2 God4 Al4 -- might2 -- y,2 Je2.. -- sus8 Christ.2.", "3": "E4 -- nough4. for8 Him,4 whom4 cher4 -- u4 -- bim2 wor4. -- ship8 night4 and4 day,2. A4 breast2 -- ful4 of4 milk,2 and4 a4 man4 -- ger4 -- ful4. of8 hay;2. E4 -- nough4. for8 Him,4 whom4 an2 -- gels2 fall2 down4 be4 -- fore,2. The4 ox4. and8 ass4 and4 cam2 -- el2 which2.. a8 -- dore.2.", "4": "\\skip 4 An4. -- gels8 and4 arch4 -- an2 -- gels2 may4. have8 gath4 -- ered4 there,2. \\skip 4 Cher4. -- u8 -- bim4 and4 ser4 -- a4 -- phim2 thronged2.. the8 air;2. \\skip 4 But4. on8 -- ly4 His4 moth2 -- er,2 in4 her4 maid4 -- en4 bliss,2. \\skip 4 Wor4. -- shipped8 the4 Be4 -- lov2 -- ed2 with2.. a8 kiss.2.", "5": "\\skip 4 What2 can4 I4 give2 Him,2 poor2 as4 I4 am?2. \\skip 4 If4. I8 were4 a4 shep2 -- herd,2 I4 would4 bring4. a8 lamb;2. \\skip 4 If4. I8 were4 a4 wise2 man,2 I4 would4 do4 my4 part;2. Yet4 what4. I8 can4 I4 give2 Him:2 give2.. my8 heart.2."}, "refrain_lines": null, "stress_checked": true}, {"slug": "in-the-cross-of-christ-i-glory__rathbun-cyberhymnal", "text": "in-the-cross-of-christ-i-glory", "harmonization": "rathbun-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "In the cross of Christ _ I glo -- ry Tow'r -- ing o'er the wrecks of time _ All the light of sa -- cred _ _ _ sto -- ry Gath -- ers round its head sub -- lime", "2": "When the woes of life _ o'er -- take me Hopes de -- ceive, and fears an -- noy _ Nev -- er shall the cross for -- _ _ _ sake me Lo! it glows with peace and joy", "3": "When the sun of bliss _ is beam -- ing Light and love up -- on my way _ From the cross the ra -- diance _ _ _ stream -- ing Adds more lus -- ter to the day", "4": "Bane and bless -- ing, pain _ and plea -- sure By the cross are sanc -- ti -- fied _ Peace is there that knows no _ _ _ meas -- ure Joys that through all time a -- bide"}, "refrain_lines": null, "stress_checked": true}, {"slug": "in-the-fulness-of-thy-grace__martyn-cyberhymnal", "text": "in-the-fulness-of-thy-grace", "harmonization": "martyn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "In the ful -- ness of Thy grace To Thy house I will re -- pair; Bow -- ing tow'rd thy ho -- ly place, In Thy fear to wor -- ship there. Lead me in thy right -- eous -- ness, Let my foes as -- sail in vain; Lest my feet be turned a -- side, Make Thy way be -- fore me _ plain.", "2": "False and faith -- less are my foes, In their mouth no truth is found; Dead -- ly are the words they speak, All their tho'ts with sin a -- bound. Bring, O God, their plans to nought, Hold them guilt -- y in thy sight, For a -- gainst Thee and thy law They have set them -- selves to _ fight.", "3": "O let all that trust Thy care Ev -- er glad and joy -- ful be; Let them joy who love Thy Name, Safe -- ly guard -- ed, Lord, by Thee. For a bless -- ing from Thy store To the right -- eous Thou wilt yield; Thou wilt com -- pass him a -- bout With Thy fa -- vor as a _ shield."}, "refrain_lines": null}, {"slug": "in-the-heavns-the-lord-almighty__evening-prayer-stainer-1898", "text": "in-the-heavns-the-lord-almighty", "harmonization": "evening-prayer-stainer-1898", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-thee-o-lord-i-put-my-trust__richmond-church-hymnal-1896", "text": "in-thee-o-lord-i-put-my-trust", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-thee-o-lord-i-put-my-trust-psalm-31__st-agnes-oh156", "text": "in-thee-o-lord-i-put-my-trust-psalm-31", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-these-our-days-so-perilous__verleih-uns-frieden-gnadiglich-oh281", "text": "in-these-our-days-so-perilous", "harmonization": "verleih-uns-frieden-gnadiglich-oh281", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "in-thy-great-indignation__new-britain-excell-1900", "text": "in-thy-great-indignation", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "in-thy-wrath-and-hot-displeasure__evening-prayer-stainer-1898", "text": "in-thy-wrath-and-hot-displeasure", "harmonization": "evening-prayer-stainer-1898", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "isaiah-mighty-seer-in-days-of-old__jesaia-dem-propheten-das-geschah-oh125", "text": "isaiah-mighty-seer-in-days-of-old", "harmonization": "jesaia-dem-propheten-das-geschah-oh125", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "it-came-upon-a-midnight-clear__carol-oh60", "text": "it-came-upon-a-midnight-clear", "harmonization": "carol-oh60", "alignment": "explicit", "stanza_lines": {"1": "It came up -- on _ the mid -- night clear, That glor -- _ ious song _ of old, _ From an -- gels bend -- _ ing near the earth, To touch their harps _ of gold; _ \"Peace on the earth, _ good will to men, From Heav -- en's all gra -- _ cious King.\" _ The world in sol -- _ emn still -- ness lay, To hear the an -- _ gels sing. _", "2": "Still through the clo -- _ ven skies they come With peace -- _ ful wings _ un -- furled, _ And still their heav -- en -- ly mu -- sic floats O'er all the wea -- _ ry world; _ A -- bove its sad _ and low -- ly plains, They bend _ on hov -- _ 'ring wing, _ And ev -- er ov -- er its Ba -- bel sounds The bless -- ed an -- _ gels sing. _", "3": "Yet with the woes _ of sin and strife The world _ has suf -- _ fered long; _ Be -- neath the an -- _ gel strain have rolled Two thou -- sand years _ of wrong; _ And man, at war _ with man, hears not The love -- _ song which _ they bring; _ O hush the noise, _ ye men of strife And hear the an -- _ gels sing. _", "4": "And ye, be -- neath _ life's crush -- ing load, Whose forms _ are bend -- _ ing low, _ Who toil a -- long _ the climb -- ing way With pain -- ful steps _ and slow, _ Look now! for glad _ and gold -- en hours Come swift -- _ ly on _ the wing. _ O rest be -- side _ the wear -- y road, And hear the an -- _ gels sing! _", "5": "For lo! the days _ are has -- t'ning on, By proph -- _ et -- bards _ fore -- told, _ When with the ev -- _ er cir -- cling years Comes round the age _ of gold; _ When peace shall ov -- _ er all the earth Its an -- _ cient splen -- _ dors fling, _ And the whole world _ send back the song Which now the an -- _ gels sing. _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "it-is-well-with-my-soul__ville-du-havre-openhymnal", "text": "it-is-well-with-my-soul", "harmonization": "ville-du-havre-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jehovah-hear-thee-in-the-day__st-agnes-oh156", "text": "jehovah-hear-thee-in-the-day", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jehovah-hear-thee-in-the-day-psalm-20__st-anne-lutheran-hymnary-1913", "text": "jehovah-hear-thee-in-the-day-psalm-20", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jehovah-hear-thee-in-thy-grief__winchester-new-oh142", "text": "jehovah-hear-thee-in-thy-grief", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jehovah-is-my-light__darwalls-148th-csb1918", "text": "jehovah-is-my-light", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jehovah-my-god-on-thy-help-i-depend__st-denio-caniadau-1878", "text": "jehovah-my-god-on-thy-help-i-depend", "harmonization": "st-denio-caniadau-1878", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jehovahs-perfect-law__darwalls-148th-csb1918", "text": "jehovahs-perfect-law", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jerusalem-the-golden__ewing-am-1861", "text": "jerusalem-the-golden", "harmonization": "ewing-am-1861", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jesus-christ-is-risen-today__easter-hymn-oh109", "text": "jesus-christ-is-risen-today", "harmonization": "easter-hymn-oh109", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-i-my-cross-have-taken__ellesdie-cyberhymnal", "text": "jesus-i-my-cross-have-taken", "harmonization": "ellesdie-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus, I my cross have tak -- _ en, All to leave and fol -- low Thee. _ Des -- ti -- tute, de -- spised, for -- sak -- _ en, Thou from hence _ my _ all shalt be. Per -- ish, ev -- ery fond am -- bi -- _ tion, All I've sought, and hoped, and known. _ Yet how rich is my con -- di -- _ tion— God and Heav'n _ are _ still mine own!", "2": "Let the world de -- spise and leave _ me, They have left my Sav -- ior, too. _ Hu -- man hearts and looks de -- ceive _ me; Thou art not, _ like _ them, un -- true; And while Thou shalt smile up -- on _ me, God of wis -- dom, love and might, _ Foes may hate and friends dis -- own _ me: Show Thy face, _ and _ all is bright.", "3": "Go then, earth -- ly fame and trea -- _ sure! Come, dis -- as -- ter, scorn and pain! _ In Thy ser -- vice, pain is plea -- _ sure; With Thy fa -- _ vor, _ loss is gain. I have called Thee Ab -- ba, Fa -- _ ther; I have set my heart on Thee: _ Storms may howl, and clouds may gath -- _ er, All must work _ for _ good to me.", "4": "Man may trou -- ble and dis -- tress _ me, 'Twill but drive me to Thy breast. _ Life with tri -- als hard may press _ me; Heav'n will bring _ me _ sweet -- er rest. Oh, 'tis not in grief to harm _ me While Thy love is left to me! _ Oh, 'twere not in joy to charm _ me, Were that joy _ un -- _ mixed with Thee.", "5": "Take, my soul, thy full sal -- va -- _ tion; Rise o'er sin, and fear, and care; _ Joy to find in ev -- ery sta -- _ tion Some -- thing still _ to _ do or bear! Think what Spir -- it dwells with -- in _ thee; What a Fa -- ther's smile is thine; _ What a Sav -- ior died to win _ thee— Child of Heav'n, _ shouldst _ thou re -- pine?", "6": "Haste then on from grace to glo -- _ ry, Armed by faith, and winged by prayer, _ Heav'n's e -- ter -- nal day's be -- fore _ thee, God's own hand _ shall _ guide thee there. Soon shall close thy earth -- ly mis -- _ sion; Swift shall pass thy pil -- grim days; _ Hope soon change to glad fru -- i -- _ tion, Faith to sight, _ and _ prayer to praise."}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-in-thy-dying-woes__words-on-the-cross-the-litany-oh99", "text": "jesus-in-thy-dying-woes", "harmonization": "words-on-the-cross-the-litany-oh99", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-keep-me-near-the-cross__near-the-cross-1875", "text": "jesus-keep-me-near-the-cross", "harmonization": "near-the-cross-1875", "alignment": "one_to_one", "stanza_lines": null, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-king-of-glory__st-alban-oh168", "text": "jesus-king-of-glory", "harmonization": "st-alban-oh168", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus, King of glo -- ry, throned a -- bove the sky, Je -- sus, ten -- der Sav -- ior, hear Thy child -- ren cry. Par -- don our trans -- gres -- sions, cleanse us from our sin, _ By Thy Spir -- it help us heav'n -- ly life to win.", "2": "On this day of glad -- ness, Bend -- ing low the knee In thine earth -- ly tem -- ple, Lord, we wor -- ship thee; Cel -- e -- brate thy good -- ness, Mer -- cy, grace, and truth, _ All thy lov -- ing guid -- ance Of our heed -- less youth.", "3": "For the lit -- tle child -- ren Who have come to thee; For the glad, bright spir -- its Who thy glo -- ry see; For the loved ones rest -- ing In thy dear em -- brace; _ For the pure and ho -- ly Who be -- hold thy face,", "4": "Help us ev -- er stead -- fast in the faith to be: In Thy Church -- 's con -- flicts fight -- ing val -- iant -- ly. Lov -- ing Sav -- ior, streng -- then these weak hearts of ours, _ Through Thy cross to con -- quer craf -- ty ev -- il powers.", "5": "When the shad -- ows leng -- then, show us, Lord, Thy way; Through the dark -- ness lead us to the heav'n -- ly day; When our course is fin -- ished, end -- ed all the strife, _ Grant us, with the faith -- ful, palms and crowns of life."}, "refrain_lines": "Je -- sus, King of glo -- ry, throned a -- bove the sky, Je -- sus, ten -- der Sa -- vior, hear Thy child -- ren cry.", "stress_checked": true}, {"slug": "jesus-lives-and-so-shall-i__jesus-meine-zubersicht-bwv365", "text": "jesus-lives-and-so-shall-i", "harmonization": "jesus-meine-zubersicht-bwv365", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus lives, and so shall I. Death! _ thy sting is gone for -- ev -- er! He who deigned for me to die, Lives, _ the bands of death to sev -- er. He shall raise me with the just: Je -- sus is my Hope and Trust.", "2": "Je -- sus lives, and reigns su -- preme; And, _ His king -- dom still re -- main -- ing, I shall al -- so be with Him, Ev -- _ er liv -- ing, ev -- er reign -- ing. God has prom -- ised; be it must: Je -- sus is my Hope and Trust.", "3": "Je -- sus lives, and God ex -- tends Grace _ to each re -- turn -- ing sin -- ner; Reb -- els He re -- ceives as friends, And _ ex -- alts to high -- est hon -- or. God is true as He is just; Je -- sus is my Hope and Trust.", "4": "Je -- sus lives, and by His grace, Vic -- _ t'ry o'er my pas -- sions giv -- ing, I will cleanse my heart and ways, Ev -- _ er to His glo -- ry liv -- ing. Me He rais -- es from the dust; Je -- sus is my Hope and Trust.", "5": "Je -- sus lives, I know full well Naught _ from Him my heart can sev -- er, Life, nor death, nor pow'rs of hell, Joy, _ nor grief, hence -- forth for -- ev -- er. None of all His saints is lost: Je -- sus is my Hope and Trust.", "6": "Je -- sus lives, and death is now But _ my en -- trance in -- to glo -- ry. Cour -- age, then, my soul, for thou Hast _ a crown of life be -- fore thee; Thou shalt find thy hopes were just: Je -- sus is my Hope and Trust."}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-lives-and-so-shall-i__jesus-meine-zubersicht-cyberhymnal", "text": "jesus-lives-and-so-shall-i", "harmonization": "jesus-meine-zubersicht-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-lover-of-my-soul__hollingside-cyberhymnal", "text": "jesus-lover-of-my-soul", "harmonization": "hollingside-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-loves-me__jesus-loves-me-oh155", "text": "jesus-loves-me", "harmonization": "jesus-loves-me-oh155", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-paid-it-all__all-to-christ-gospel-hymns-1875", "text": "jesus-paid-it-all", "harmonization": "all-to-christ-gospel-hymns-1875", "alignment": "explicit", "stanza_lines": {"1": "I _ hear the Sav -- iour say, Thy strength in -- deed is small; Child of weak -- ness, watch and pray, Find in Me thine all in all.", "2": "Lord, _ now in -- deed I find Thy power, and Thine a -- lone, Can _ change the lep -- er's spots, And _ melt the heart of stone.", "3": "For _ noth -- ing good have I Where -- by Thy grace to claim— I'll _ wash my gar -- ment white In the blood of Cal -- v'ry's Lamb.", "4": "When _ from my dy -- ing bed My ran -- somed soul shall rise, Then _ \"Je -- sus paid it all\" Shall _ rend the vault -- ed skies.", "5": "And _ when be -- fore the throne I stand in Him com -- plete, I'll _ lay my tro -- phies down, All _ down at Je -- sus' feet."}, "refrain_lines": "Je -- sus paid it all, All to Him I owe; Sin had left a crim -- son stain: He washed it white as snow.", "stress_checked": true}, {"slug": "jesus-priceless-treasure__jesu-meine-freude-bwv358", "text": "jesus-priceless-treasure", "harmonization": "jesu-meine-freude-bwv358", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus, price -- less trea -- sure, Source of pur -- est plea -- sure, Tru -- _ est Friend to me; Ah, how long I've pant -- ed, And my heart has faint -- ed, Thirst -- _ ing, Lord, for Thee. Thine I am, O spot -- less Lamb, I will suf -- _ fer naught to _ hide Thee, Naught I ask be -- side Thee.", "2": "In Thine arms I rest me; Foes who would mo -- lest me Can -- _ not reach me here. Though the earth be shak -- ing, Ev -- ery heart be quak -- ing, Je -- _ sus calms my fear. Sin and hell in con -- flict fell, With their bit -- _ ter storms as -- _ sail me, Je -- sus will not fail me.", "3": "Hence, all fear and sad -- ness! For the Lord of glad -- ness, Je -- _ sus, en -- ters in. Those who love the Fa -- ther, Though the storms may gath -- er, Still _ have peace with -- in; Yea, what -- e'er I here must bear, Still in Thee _ lies pur -- est _ plea -- sure, Je -- sus, price -- less trea -- sure!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-priceless-treasure__jesu-meine-freude-cyberhymnal", "text": "jesus-priceless-treasure", "harmonization": "jesu-meine-freude-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus, price -- less trea -- sure, Source of pur -- est plea -- sure, Tru -- _ est Friend to me; Ah, how long I've pant -- ed, And my heart has faint -- ed, Thirst -- _ ing, Lord, for Thee. Thine I am, O spot -- less _ Lamb, I will suf -- fer naught to _ hide Thee, Naught I ask be -- side Thee.", "2": "In Thine arms I rest me; Foes who would mo -- lest me Can -- _ not reach me here. Though the earth be shak -- ing, Ev -- ery heart be quak -- ing, Je -- _ sus calms my fear. Sin and hell in con -- flict _ fell, With their bit -- ter storms as -- _ sail me, Je -- sus will not fail me.", "3": "Hence, all fear and sad -- ness! For the Lord of glad -- ness, Je -- _ sus, en -- ters in. Those who love the Fa -- ther, Though the storms may gath -- er, Still _ have peace with -- in; Yea, what -- e'er I here must _ bear, Still in Thee lies pur -- est _ plea -- sure, Je -- sus, price -- less trea -- sure!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-shall-reign__duke-street-fotw-1904", "text": "jesus-shall-reign", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-sinners-doth-receive__meinen-jesum-lass-ich-nicht-darmstadt-oh140", "text": "jesus-sinners-doth-receive", "harmonization": "meinen-jesum-lass-ich-nicht-darmstadt-oh140", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-still-lead-on__seelenbr-utigam-bwv409", "text": "jesus-still-lead-on", "harmonization": "seelenbr-utigam-bwv409", "alignment": "explicit", "stanza_lines": {"1": "Je -- sus, still lead on, till our rest be won, And, al -- though the way be cheer -- less, We will fol -- low calm and fear -- _ less, Guide us by Thy hand to our fa -- ther -- _ land.", "2": "If the way be drear, if the foe be near, Let no faith -- less fears o'er -- take us, Let not faith and hope for -- sake _ us, For through man -- y'a woe to our home we _ go.", "3": "When we seek re -- lief from a long felt grief; When temp -- ta -- tions come al -- lur -- ing, Make us pa -- tient and en -- dur -- _ ing; Show us that bright shore where we weep no _ more.", "4": "Je -- sus, still lead on, till our rest be won; Heav'n -- ly Lead -- er, still di -- rect us, Still sup -- port, con -- trol, pro -- tect _ us, Till we safe -- ly stand in our fa -- ther -- _ land."}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-still-lead-on__seelenbr-utigam-cyberhymnal", "text": "jesus-still-lead-on", "harmonization": "seelenbr-utigam-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-tender-shepherd-hear-me__evening-prayer-stainer-1898", "text": "jesus-tender-shepherd-hear-me", "harmonization": "evening-prayer-stainer-1898", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "jesus-the-name-high-over-all__coronation-methodist-1905", "text": "jesus-the-name-high-over-all", "harmonization": "coronation-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "jesus-thy-boundless-love-to-me__yoakley-oh170", "text": "jesus-thy-boundless-love-to-me", "harmonization": "yoakley-oh170", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "joy-to-the-world__antioch-mason-1836", "text": "joy-to-the-world", "harmonization": "antioch-mason-1836", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "joyful-joyful-we-adore-thee__hymn-to-joy-methodist-1905", "text": "joyful-joyful-we-adore-thee", "harmonization": "hymn-to-joy-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "judge-me-o-god-and-plead-my-cause__st-agnes-oh156", "text": "judge-me-o-god-and-plead-my-cause", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "Judge me, O God, and plead my cause a -- gainst th'un -- god -- ly na -- tion; From the un -- just and craf -- ty man, O be thou my sal -- va -- tion.", "2": "For thou the God art of my strength; why thrusts thou me thee fro'? _ For th'en -- e -- my's op -- pres -- si -- on why do I mourn -- ing go? _", "3": "O send thy light forth and thy truth; let them be guides to me, _ And bring me to thine ho -- ly hill, ev'n where thy dwell -- ings be. _", "4": "Then will I to God's al -- tar go, to God my chief -- est joy: _ Yea, God, my God, thy name to praise my harp I will em -- ploy. _", "5": "Why art thou then cast down, my soul? what should dis -- cour -- age thee? _ And why with vex -- ing thoughts art thou dis -- qui -- et -- ed in me? _", "6": "Still trust in God; for him to praise good cause I yet shall have: _ He of my count' -- nance is the health, my God that doth me save. _"}, "refrain_lines": null}, {"slug": "judge-me-o-lord-for-i-have-walked__coronation-church-hymnal-1896", "text": "judge-me-o-lord-for-i-have-walked", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "Judge me, O Lord, for I have walked in mine in -- teg -- ri -- ty: I trust -- ed al -- so in the Lord; slide there -- fore shall not I. I trust -- ed al -- so in the Lord; slide there -- fore shall not I.", "2": "Ex -- am -- ine me, and do me prove; try heart and reins, O God: For thy love is be -- fore mine eyes, thy truth's paths I have trod. For thy love is be -- fore mine eyes, thy truth's paths I have trod.", "3": "With per -- sons vain I have not sat, nor with dis -- sem -- blers gone: Th'as -- sem -- bly of ill men I hate; to sit with such I shun. Th'as -- sem -- bly of ill men I hate; to sit with such I shun.", "4": "Mine hands in in -- no -- cence, O Lord, I'll wash and pu -- ri -- fy; So to thine ho -- ly al -- tar go, and com -- pass it will I: So to thine ho -- ly al -- tar go, and com -- pass it will I:", "5": "That I, with voice of thanks -- giv -- ing, may pub -- lish and de -- clare, And tell of all thy might -- y works, that great and won -- drous are. And tell of all thy might -- y works, that great and won -- drous are.", "6": "The hab -- i -- ta -- tion of thy house, Lord, I have lov -- ed well; Yea, in that place I do de -- light where doth thine hon -- our dwell. Yea, in that place I do de -- light where doth thine hon -- our dwell.", "7": "With sin -- ners gath -- er not my soul, and such as blood would spill: Whose hands mis -- chie -- vous plots, right hand cor -- rupt -- ing bribes do fill. Whose hands mis -- chie -- vous plots, right hand cor -- rupt -- ing bribes do fill.", "8": "But as for me, I will walk on in mine in -- teg -- ri -- ty: Do thou re -- deem me, and, O Lord, be mer -- ci -- ful to me. Do thou re -- deem me, and, O Lord, be mer -- ci -- ful to me.", "9": "My foot up -- on an e -- ven place doth stand with sted -- fast -- ness: With -- in the con -- gre -- ga -- ti -- ons th'E -- ter -- nal I will bless. With -- in the con -- gre -- ga -- ti -- ons th'E -- ter -- nal I will bless."}, "refrain_lines": null, "meter_checked": true}, {"slug": "judge-my-integrity__southwell-oh141", "text": "judge-my-integrity", "harmonization": "southwell-oh141", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "just-as-i-am-without-one-plea__woodworth-cyberhymnal", "text": "just-as-i-am-without-one-plea", "harmonization": "woodworth-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Just _ as I am _ with -- out _ one plea But that Thy blood was shed for me _ And _ that Thou bidst _ me come to Thee _ _ O Lamb of God I come I come", "2": "Just _ as I am _ and wait -- _ ing not To rid my soul of one dark blot _ To _ Thee whose blood _ can cleanse each spot _ _ O Lamb of God I come I come", "3": "Just _ as I am _ though tossed _ a -- bout With man -- y'a con -- flict, man -- y'a doubt _ Fight -- _ ings and fears _ with -- in, with -- out _ _ O Lamb of God I come I come", "4": "Just _ as I am _ poor, wretch -- _ ed, blind Sight, rich -- es, heal -- ing of the mind _ Yea, _ all I need _ in Thee to find _ _ O Lamb of God I come I come", "5": "Just _ as I am _ Thou wilt _ re -- ceive Wilt wel -- come, par -- don, cleanse, re -- lieve _ Be -- _ cause Thy prom -- _ ise I be -- lieve _ _ O Lamb of God I come I come", "6": "Just _ as I am _ Thy love _ un -- known Hath bro -- ken ev -- 'ry bar -- rier down _ Now _ to be Thine _ yea, Thine a -- lone _ _ O Lamb of God I come I come"}, "refrain_lines": null, "stress_checked": true}, {"slug": "lamp-of-our-feet__st-agnes-oh156", "text": "lamp-of-our-feet", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lead-on-o-king-eternal__lancashire-cyberhymnal", "text": "lead-on-o-king-eternal", "harmonization": "lancashire-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Lead on, O King e -- ter -- nal, The day of march has come; Hence -- forth in fields of con -- quest Thy tents shall be our home. Through days of prep -- a -- ra -- _ tion Thy grace has made us strong _ And now, O King e -- ter -- nal, We lift our bat -- tle song.", "2": "Lead on, O King e -- ter -- nal, Till sin's fierce war shall cease, And ho -- li -- ness shall whis -- per The sweet a -- men of peace. For not with swords' loud clash -- _ ing, Nor roll of stir -- ring drums; _ With deeds of love and mer -- cy The heav'n -- ly king -- dom comes.", "3": "Lead on, O King e -- ter -- nal, We fol -- low, not with fears, For glad -- ness breaks like morn -- ing Wher -- e'er Thy face ap -- pears; Thy cross is lift -- ed o'er _ us, We jour -- ney in its light; _ The crown a -- waits the con -- quest; Lead on, O God of might."}, "refrain_lines": null}, {"slug": "leaning-on-the-everlasting-arms__showalter-tabernacle-hymns-1921", "text": "leaning-on-the-everlasting-arms", "harmonization": "showalter-tabernacle-hymns-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "let-all-mortal-flesh-keep-silence__picardy-openhymnal", "text": "let-all-mortal-flesh-keep-silence", "harmonization": "picardy-openhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "Let all mor -- tal flesh keep _ si -- lence, And with fear and trem -- bling _ stand; Pon -- der noth -- ing earth -- ly _ mind -- ed, For with bles -- sing in His _ hand, Christ our God to earth de -- scend -- _ _ _ eth, Our full hom -- age to de -- _ mand.", "2": "King of kings, yet born of _ Ma -- ry, As of old on earth He _ stood, Lord of lords, in hu -- man _ ves -- ture, In the bod -- y and the _ blood; He will give to all the faith -- _ _ _ ful His own self for heav'n -- ly _ food.", "3": "Rank on rank the host of _ heav -- en Spreads its van -- guard on the _ way, As the Light of light de -- _ scend -- eth From the realms of end -- less _ day, That the pow'rs of hell may van -- _ _ _ ish As the dark -- ness clears a -- _ way.", "4": "At His feet the six wingèd _ ser -- aph, Cher -- u -- bim with sleep -- less _ eye, Veil their fac -- es to the _ pres -- ence, As with cease -- less voice they _ cry: Al -- le -- lu -- _ ia, Al -- le -- _ lu -- _ ia Al -- le -- lu -- ia, Lord Most _ High!"}, "refrain_lines": null}, {"slug": "let-children-hear-the-mighty-deeds__lea-oh299", "text": "let-children-hear-the-mighty-deeds", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "let-god-arise-and-scattered__st-agnes-oh156", "text": "let-god-arise-and-scattered", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "let-the-lower-lights-be-burning__lower-lights-1875", "text": "let-the-lower-lights-be-burning", "harmonization": "lower-lights-1875", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "let-us-with-a-gladsome-mind__monkland-cyberhymnal", "text": "let-us-with-a-gladsome-mind", "harmonization": "monkland-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Let us with a glad -- _ some _ mind Praise the Lord, for He is kind; For His _ mer -- cies shall en -- dure, Ev -- er _ faith -- ful, ev -- er sure.", "2": "Let us blaze His name _ a -- _ broad, For of gods He is the God; For His _ mer -- cies shall en -- dure, Ev -- er _ faith -- ful, ev -- er sure.", "3": "He, with all com -- mand -- _ ing _ might, Filled the new made world with light; For His _ mer -- cies shall en -- dure, Ev -- er _ faith -- ful, ev -- er sure.", "4": "All things liv -- ing He _ doth _ feed, His full hand sup -- plies their need; For His _ mer -- cies shall en -- dure, Ev -- er _ faith -- ful, ev -- er sure.", "5": "Let us then with glad -- _ some _ mind, Praise the Lord, for He is kind; For His _ mer -- cies shall en -- dure, Ev -- er _ faith -- ful, ev -- er sure."}, "refrain_lines": null}, {"slug": "lift-high-the-cross__crucifer-oh294", "text": "lift-high-the-cross", "harmonization": "crucifer-oh294", "alignment": "explicit", "stanza_lines": {"1": "Come, breth -- ren, fol -- low where our Cap -- tain trod, our King vic -- _ tor -- ious, Christ the Son of God.", "2": "Led on their way by this tri -- um -- phant sign, The hosts of _ God in con -- quering ranks com -- bine.", "3": "Each new -- born ser -- vant of the Cru -- ci -- fied Bears on the _ brow the seal of Him Who died.", "4": "This is the sign which Sa -- tan's le -- gions fear and an -- gels _ veil their fac -- es to re -- vere.", "5": "Saved by this Cross where -- on their Lord was slain, the sons of _ Ad -- am their lost home re -- gain."}, "refrain_lines": "Lift high the cross, the love of Christ pro -- claim, Till all the world _ a -- dore _ His sac -- _ red Name.", "stress_checked": true}, {"slug": "lift-up-your-heads-ye-mighty-gates__macht-hoch-die-tur-lemke-oh36", "text": "lift-up-your-heads-ye-mighty-gates", "harmonization": "macht-hoch-die-tur-lemke-oh36", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "like-a-river-glorious__like-a-river-cyberhymnal", "text": "like-a-river-glorious", "harmonization": "like-a-river-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "like-as-the-hart-for-water-brooks__new-britain-excell-1900", "text": "like-as-the-hart-for-water-brooks", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lo-he-comes-with-clouds-descending__helmsley-english-hymnal-1906", "text": "lo-he-comes-with-clouds-descending", "harmonization": "helmsley-english-hymnal-1906", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lo-how-a-rose-e-er-blooming__es-ist-ein-ros-entsprungen-oh63", "text": "lo-how-a-rose-e-er-blooming", "harmonization": "es-ist-ein-ros-entsprungen-oh63", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "look-ye-saints-the-sight-is-glorious__coronae-cyberhymnal", "text": "look-ye-saints-the-sight-is-glorious", "harmonization": "coronae-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-bless-and-pity-us__boylston-oh214", "text": "lord-bless-and-pity-us", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-dismiss-us-with-thy-blessing__regent-square-oh29", "text": "lord-dismiss-us-with-thy-blessing", "harmonization": "regent-square-oh29", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-from-the-depths-to-thee-i-cried__st-flavian-oh87", "text": "lord-from-the-depths-to-thee-i-cried", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-from-the-ill-and-froward-man__st-agnes-oh156", "text": "lord-from-the-ill-and-froward-man", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "Lord, from the ill and fro -- ward man give me de -- liv -- er -- ance, _ And do thou safe pre -- serve me from the man of vi -- o -- lence: _", "2": "Who in their heart mis -- chie -- vous things are med -- i -- tat -- ing ev -- er; And they for war as -- sem -- bled are con -- tin -- ual -- ly to -- geth -- er.", "3": "Much like un -- to a ser -- pent's tongue their tongues they sharp do make; _ And un -- der -- neath their lips there lies the poi -- son of a snake. _", "4": "Lord, keep me from the wi -- cked's hands, from vi -- 'lent men me save; _ Who ut -- ter -- ly to o -- ver -- throw my go -- ings pur -- posed have. _", "5": "The proud for me a snare have hid, and cords; yea, they a net _ Have by the way -- side for me spread; they gins for me have set. _", "6": "I said un -- to the Lord, Thou art my God: un -- to the cry _ Of all my sup -- pli -- ca -- ti -- ons, Lord, do thine ear ap -- ply. _", "7": "O God the Lord, who art the strength of my sal -- va -- ti -- on: _ A cov -- 'ring in the day of war my head thou hast put on. _", "8": "Un -- to the wick -- ed man, O Lord, his wish -- es do not grant; _ Nor fur -- ther thou his ill de -- vice, lest they them -- selves should vaunt. _", "9": "As for the head and chief of those a -- bout that com -- pass me, _ Ev'n by the mis -- chief of the lips let thou them cov -- ered be. _", "10": "Let burn -- ing coals up -- on them fall, them throw in fie -- ry flame, _ And in deep pits, that they no more may rise out of the same. _", "11": "Let not an e -- vil speak -- er be on earth es -- tab -- lish -- ed: _ Mis -- chief shall hunt the vi -- 'lent man, till he be ru -- in -- ed. _", "12": "I know God will th'af -- flic -- ted's cause main -- tain, and poor men's right. _ Sure -- ly the just shall praise thy name; th'up -- right dwell in thy sight. _"}, "refrain_lines": null}, {"slug": "lord-god-my-saviour-day-and-night__st-agnes-oh156", "text": "lord-god-my-saviour-day-and-night", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "Lord God, my Sav -- iour, day and night be -- fore thee cried have I. _ Be -- fore thee let my pray -- er come; give ear un -- to my cry. _", "2": "For trou -- bles great do fill my soul; my life draws nigh the grave. _ I'm count -- ed with those that go down to pit, and no strength have. _", "3": "Ev'n free a -- mong the dead, like them that slain in grave do lie; _ Cut off from thy hand, whom no more thou hast in mem -- o -- ry. _", "4": "Thou hast me laid in low -- est pit, in deeps and dark -- some caves. _ Thy wrath lies hard on me, thou hast me pressed with all thy waves. _", "5": "Thou hast put far from me my friends, thou mad'st them to ab -- hor me; And I am so shut up, that I find no e -- va -- sion for me.", "6": "By rea -- son of af -- flic -- ti -- on mine eye mourns dole -- ful -- ly: _ To thee, Lord, do I call, and stretch my hands con -- tin -- ual -- ly. _", "7": "Wilt thou show won -- ders to the dead? shall they rise, and thee bless? _ Shall in the grave thy love be told? in death thy faith -- ful -- ness? _", "8": "Shall thy great won -- ders in the dark, or shall thy right -- eous -- ness _ Be known to an -- y in the land of deep for -- get -- ful -- ness? _", "9": "But, Lord, to thee I cried; my pray'r at morn pre -- vent shall thee. _ Why, Lord, dost thou cast off my soul, and hid'st thy face from me? _", "10": "Dis -- tressed am I, and from my youth I read -- y am to die; _ Thy ter -- rors I have borne, and am dis -- tract -- ed fear -- ful -- ly. _", "11": "The dread -- ful fierce -- ness of thy wrath quite o -- ver me doth go: _ Thy ter -- rors great have cut me off, they did pur -- sue me so. _", "12": "For round a -- bout me ev -- 'ry day, like wa -- ter, they did roll; _ And, gath -- er -- ing to -- geth -- er, they have com -- pass -- ed my soul. _", "13": "My friends thou hast put far from me, and him that did me love; _ And those that mine ac -- quain -- tance were to dark -- ness didst re -- move. _"}, "refrain_lines": null}, {"slug": "lord-god-of-hosts-in-mercy__aurelia-rcus-1866", "text": "lord-god-of-hosts-in-mercy", "harmonization": "aurelia-rcus-1866", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-haste-me-to-deliver__southwell-oh141", "text": "lord-haste-me-to-deliver", "harmonization": "southwell-oh141", "alignment": "explicit", "note_splits": [6], "stanza_lines": {"1": "Lord, haste me to de -- liv -- er; with speed, Lord, suc -- cour me. Let them that for my soul do seek shamed and con -- found -- ed be:", "2": "Turned back be they, and shamed, _ that in my hurt de -- light. Turned back be they, Ha, ha! that say, their sham -- ing to re -- quite.", "3": "In thee let all be glad, _ and joy that seek for thee: Let them who thy sal -- va -- tion love say still, God prais -- ed be.", "4": "I poor and need -- y am; _ come, Lord, and make no stay: My help thou and de -- liv -- 'rer art; O Lord, make no de -- lay."}, "refrain_lines": null}, {"slug": "lord-hear-my-prayer-and-let-my-cry__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "lord-hear-my-prayer-and-let-my-cry", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-hear-my-prayr-and-let-my-cry__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "lord-hear-my-prayr-and-let-my-cry", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-hear-my-prayr-attend-my-suits__st-thomas-oh44", "text": "lord-hear-my-prayr-attend-my-suits", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "Lord, hear my pray'r, at -- tend my _ suits; and _ in thy _ faith -- ful -- ness Give thou an an -- swer un -- _ to _ me, and in thy _ right -- eous -- ness.", "2": "Thy ser -- vant al -- so bring thou _ not in _ judg -- ment _ to be tried: Be -- cause no liv -- ing man _ can _ be in thy sight _ ju -- stifi -- ed.", "3": "For th'en' -- my hath pursu -- ed my _ soul, my _ life to _ ground down tread: In dark -- ness he hath made _ me _ dwell, as who have _ long been dead.", "4": "My spirit is there -- fore o -- verwhelm -- _ ed in _ me per -- _ plex -- ed -- ly; With -- in me is my ve -- _ ry _ heart a -- maz -- ed _ won -- drous -- ly.", "5": "I call to mind the days of _ old, to _ me -- di -- _ tate I use On all thy works; u -- pon _ the _ deeds I of thy _ hands do muse.", "6": "My hands to thee I stretch; my _ soul thirsts, _ as dry _ land, for thee. Haste, Lord, to hear, my spi -- _ rit _ fails: hide not thy _ face from me;", "7": "Lest like to them I do be -- _ come that _ go down _ to the dust. At morn let me thy kind -- _ ness _ hear; for in thee _ do I trust.", "8": "Teach me the way that I should _ walk: I _ lift my _ soul to thee. Lord, free me from my foes; _ I _ flee to thee to _ co -- ver me.", "9": "Be -- cause thou art my God, to _ do thy _ will do _ me ins -- truct: Thy Spirit is good, me to _ the _ land of u -- pright -- _ ness con -- duct.", "10": "Re -- vive and qui -- cken me, O _ Lord, ev'n _ for thine _ own name's sake; And do thou, for thy right -- _ eous -- _ ness, my soul from _ trou -- ble take.", "11": "And of thy mer -- cy slay my _ foes; let _ all des -- _ troy -- ed be That do af -- flict my soul: _ for _ I a ser -- vant _ am to thee."}, "refrain_lines": null, "meter_checked": true}, {"slug": "lord-hear-my-prayr-hide-not-thyself__richmond-church-hymnal-1896", "text": "lord-hear-my-prayr-hide-not-thyself", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-hear-the-right-attend-my-cry__st-flavian-oh87", "text": "lord-hear-the-right-attend-my-cry", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-i-lift-my-soul-to-thee__martyn-cyberhymnal", "text": "lord-i-lift-my-soul-to-thee", "harmonization": "martyn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Lord, I lift my soul to Thee, O my God, I trust Thy might; Let not foes ex -- ult o'er me, Shame me not be -- fore their sight. Yea, may none be put to shame, None who wait for Thee to bless; But dis -- hon -- ored be their name Who with -- out a cause trans -- _ gress.", "2": "Lord, to me Thy ways make known, Guide in truth and teach Thou me; Thou my Sav -- iour art a -- lone, All the day I wait for Thee. Lord, re -- mem -- ber in Thy love All Thy mer -- cies man -- i -- fold, Ten -- der mer -- cies from a -- bove, Change -- less from the days of _ old.", "3": "Sins of youth re -- mem -- ber not, Nor my tres -- pass -- es re -- cord; Let not mer -- cy be for -- got, For Thy good -- ness' sake, O Lord. Just and good the Lord a -- bides He His way will sin -- ners show He the meek in jus -- tice guides Mak -- ing them His way to _ know."}, "refrain_lines": null}, {"slug": "lord-i-will-thee-extol-for-thou__st-agnes-oh156", "text": "lord-i-will-thee-extol-for-thou", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [28], "stanza_lines": {"1": "Lord, I will thee ex -- tol, for thou hast lift -- ed me on high, And o -- ver me thou to re -- joice mad'st not mine en -- e -- my. _", "2": "O thou who art the Lord my God, I in dis -- tress to thee, With loud cries lift -- ed up my voice, and thou hast heal -- ed me. _", "3": "O Lord, my soul thou hast brought up, and res -- cued from the grave; That I to pit should not go down, a -- live thou didst me save. _", "4": "O ye that are his ho -- ly ones, sing praise un -- to the Lord; And give un -- to him thanks, when ye his ho -- li -- ness re -- cord. _", "5": "For but a mo -- ment lasts his wrath; life in his fa -- vour lies: Weep -- ing may for a night en -- dure, at morn doth joy a -- rise. _", "6": "In my pros -- per -- i -- ty I said, that noth -- ing shall me move. O Lord, thou hast my moun -- tain made to stand strong by thy love: _", "7": "But when that thou, O gra -- cious God, didst hide thy face from me, Then quick -- ly was my pros -- p'rous state turned in -- to mis -- er -- y. _", "8": "Where -- fore un -- to the Lord my cry I caus -- ed to as -- cend: My hum -- ble sup -- pli -- ca -- ti -- on I to the Lord did send. _", "9": "What prof -- it is there in my blood, when I go down to pit? Shall un -- to thee the dust give praise? thy truth de -- clare shall it? _", "10": "Hear, Lord, have mer -- cy; help me, Lord: Thou turned hast my sad -- ness To danc -- ing; yea, my sack -- cloth loosed, and gird -- ed me with glad -- ness;", "11": "That sing thy praise my glo -- ry may, and nev -- er si -- lent be. O Lord my God, for ev -- er -- more I will give thanks to thee. _"}, "refrain_lines": null}, {"slug": "lord-in-thee-am-i-confiding__evening-prayer-stainer-1898", "text": "lord-in-thee-am-i-confiding", "harmonization": "evening-prayer-stainer-1898", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-in-thy-wrath-rebuke-me-not__st-cross-oh97", "text": "lord-in-thy-wrath-rebuke-me-not", "harmonization": "st-cross-oh97", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-jesus-think-on-me__southwell-oh141", "text": "lord-jesus-think-on-me", "harmonization": "southwell-oh141", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-keep-me-for-i-trust-in-thee__lea-oh299", "text": "lord-keep-me-for-i-trust-in-thee", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-keep-us-steadfast-in-thy-word__erhalt-uns-herr-bei-deinem-wort-cyberhymnal", "text": "lord-keep-us-steadfast-in-thy-word", "harmonization": "erhalt-uns-herr-bei-deinem-wort-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-of-glory-who-hast-bought-us__hyfrydol-oh162", "text": "lord-of-glory-who-hast-bought-us", "harmonization": "hyfrydol-oh162", "alignment": "explicit", "stanza_lines": {"1": "Lord of Glo -- _ ry, who hast bought _ us with Thy life -- blood as _ the price, Nev -- er grud -- _ ging for the lost _ ones that tre -- men -- dous sac -- _ ri -- fice; And with that _ hast free -- ly giv -- _ en bless -- ings count -- _ less as _ the sand, To _ th'un -- thank -- _ ful and _ the ev -- _ _ _ il with Thine own _ un -- spar -- ing hand.", "2": "Grant us hearts, _ dear Lord, to yield _ Thee glad -- ly, free -- ly, of _ Thine own. With the sun -- _ shine of Thy good -- _ ness melt our thank -- less hearts _ of stone. Till our cold _ and self -- ish na -- _ tures, warmed by Thee, _ at length _ be -- lieve That _ more hap -- _ py and _ more bless -- _ _ _ ed 'tis to give _ than to re -- ceive.", "3": "Wond -- rous hon -- _ or hast Thou giv -- _ en to our humb -- lest char -- _ i -- ty. In Thine own _ mys -- ter -- ious sen -- _ tence, \"Ye have done it un -- _ to Me.\" Can it be, _ O grac -- ious Mas -- _ ter, Thou dost deign _ for alms _ to sue, Say -- _ ing by _ Thy poor _ and need -- _ _ _ y, \"Give as I _ have giv -- en you\"", "4": "Lord of Glo -- _ ry, who hast bought _ us with Thy life -- blood as _ the price, Nev -- er grud -- _ ging for the lost _ ones that tre -- men -- dous sac -- _ ri -- fice; Give us faith, _ to trust Thee bold -- _ ly; hope, to stay _ our souls _ on Thee; But _ O, best _ of all _ Thy grac -- _ _ _ es, give us Thine _ own char -- i -- ty."}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-of-life-all-praise-excelling__hyfrydol-oh162", "text": "lord-of-life-all-praise-excelling", "harmonization": "hyfrydol-oh162", "alignment": "explicit", "stanza_lines": {"1": "Lord of life, _ all praise ex -- cel -- _ ling, Thou, in glo -- ry un -- _ con -- fined, Deignst to make _ Thy hum -- ble dwell -- _ ing With the poor of hum -- _ ble mind. As Thy love, _ through all cre -- a -- _ tion, Beams like Thy _ dif -- fu -- _ sive light; So _ the high _ and hum -- _ ble sta -- _ _ _ tion Both are e -- _ qual in Thy sight.", "2": "Thus Thy care, _ for all pro -- vid -- _ ing, Warmed Thy faith -- ful proph -- _ et's tongue; Who, the lot _ of all de -- cid -- _ ing, To Thy cho -- sen Is -- _ rael sung. When Thy har -- _ vest yields Thee plea -- _ sure, Thou the gol -- _ den sheaf _ shalt bind; To _ the poor _ be -- longs _ the trea -- _ _ _ sure Of the scat -- _ tered ears be -- hind.", "3": "Still we read _ Thy Word de -- clar -- _ ing Mer -- cy, Lord, Thine own _ de -- cree; Mer -- cy ev -- _ 'ry sor -- row shar -- _ ing, Warms the heart res -- emb -- _ ling Thee. Still the or -- _ phan and the stran -- _ ger, Still the wid -- _ ow owns _ Thy care; Screened _ by Thee _ in ev -- _ 'ry dan -- _ _ _ ger, Heard by Thee _ in ev -- 'ry prayer."}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-our-lord-thy-glorious-name__martyn-cyberhymnal", "text": "lord-our-lord-thy-glorious-name", "harmonization": "martyn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Lord, our Lord, thy glo -- rious Name All thy won -- drous works pro -- claim; In the heav'ns with ra -- diant signs Ev -- er -- more thy glo -- ry shines. In -- fant lips Thou dost or -- dain Wrath and ven -- geance to re -- strain; Weak -- est means ful -- fill Thy will, Might -- y en -- e -- mies to _ still.", "2": "Moon and stars in shin -- ing height Night -- ly tell their Mak -- er's might; When thy won -- drous heav'ns I scan, Then I know how weak is man. What is man that he should be Loved and vis -- it -- ed by Thee, Raised to an ex -- al -- ted height, Crowned with hon -- or in Thy _ sight?", "3": "With do -- min -- ion crowned he stands O'er the crea -- tures of Thy hands; All to him sub -- jec -- tion yield In the sea and air and field. Lord, our Lord, Thy glo -- rious Name All Thy won -- drous works pro -- claim; Thine the Name of match -- less worth, Ex -- cel -- lent in all the _ earth."}, "refrain_lines": null}, {"slug": "lord-rebuke-me-not-in-anger__evening-prayer-stainer-1898", "text": "lord-rebuke-me-not-in-anger", "harmonization": "evening-prayer-stainer-1898", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-thee-ill-praise-with-all-my-heart__st-anne-lutheran-hymnary-1913", "text": "lord-thee-ill-praise-with-all-my-heart", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-thee-my-god-ill-early-seek__evan-oh231", "text": "lord-thee-my-god-ill-early-seek", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-thou-hast-been-our-dwelling-place__new-britain-excell-1900", "text": "lord-thou-hast-been-our-dwelling-place", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-thou-hast-greatly-blessed-our-land__winchester-new-oh142", "text": "lord-thou-hast-greatly-blessed-our-land", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-to-me-thy-ways-make-known__mude-bin-ich-geh-zur-ruh-oh313", "text": "lord-to-me-thy-ways-make-known", "harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-unto-us-be-merciful__richmond-church-hymnal-1896", "text": "lord-unto-us-be-merciful", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-who-at-cana-s-wedding-feast__st-ursula-oh300", "text": "lord-who-at-cana-s-wedding-feast", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "lord-who-shall-come-to-thee__sellinge-oh181", "text": "lord-who-shall-come-to-thee", "harmonization": "sellinge-oh181", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "lord-who-throughout-these-forty-days__st-flavian-oh87", "text": "lord-who-throughout-these-forty-days", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "love-divine-all-loves-excelling__hyfrydol-oh162", "text": "love-divine-all-loves-excelling", "harmonization": "hyfrydol-oh162", "alignment": "explicit", "stanza_lines": {"1": "Love di -- vine, _ all loves ex -- cell -- _ ing, Joy of heav'n, to earth _ come down; Fix in us _ thy hum -- ble dwell -- _ ing, All thy faith -- ful mer -- _ cies crown: Je -- sus, thou _ art all com -- pas -- _ sion, Pure, un -- bound -- _ ed love _ thou art; Vis -- _ it us _ with thy _ sal -- va -- _ _ _ tion, En -- ter ev -- _ ery trem -- bling heart.", "2": "Breathe, O breathe _ thy lov -- ing Spir -- _ it In -- to ev -- ery trou -- _ bled breast! Let us all _ in thee in -- her -- _ it, Let us find that sec -- _ ond rest: Take a -- way _ our bent to sin -- _ ning; Al -- pha and _ O -- me -- _ ga be; End _ of faith, _ as its _ be -- gin -- _ _ _ ning, Set our hearts _ at lib -- er -- ty.", "3": "Come, al -- might -- _ y to de -- liv -- _ er, Let us all thy grace _ re -- ceive; Sud -- den -- ly _ re -- turn, and nev -- _ er, Nev -- er more thy tem -- _ ples leave: Thee we would _ be al -- ways bless -- _ ing, Serve thee as _ thy hosts _ a -- bove, Pray, _ and praise _ thee with -- _ out ceas -- _ _ _ ing, Glo -- ry in _ thy per -- fect love.", "4": "Fin -- ish then _ thy new cre -- a -- _ tion, Pure and spot -- less let _ us be; Let us see _ thy great sal -- va -- _ tion, Per -- fect -- ly re -- stored _ in thee: Changed from glo -- _ ry in -- to glo -- _ ry, Till in heav'n _ we take _ our place, Till _ we cast _ our crowns _ be -- fore _ _ _ thee, Lost in won -- _ der, love, and praise."}, "refrain_lines": null, "stress_checked": true}, {"slug": "loving-shepherd-of-thy-sheep__song-13-cyberhymnal", "text": "loving-shepherd-of-thy-sheep", "harmonization": "song-13-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Lov -- ing Shep -- herd of Thy _ sheep, Keep Thy lamb, in safe -- ty _ keep; Noth -- ing can Thy pow'r _ with -- _ stand, None can _ pluck me _ _ from Thy hand.", "2": "Lov -- ing Sav -- iour, Thou didst _ give Thine own life that we might _ live; And the hands out -- stretched _ to _ bless Bear the _ cru -- el _ _ nails' im -- press.", "3": "I would bless Thee ev -- 'ry _ day, Glad -- ly all Thy will o -- _ bey, Like Thy bless -- ed ones _ a -- _ bove Hap -- py _ in Thy _ _ pre -- cious love.", "4": "Lov -- ing Shep -- herd, ev -- er _ near, Teach Thy lamb Thy voice to _ hear; Suf -- fer not my steps _ to _ stray, From the _ straight and _ _ nar -- row way.", "5": "Where Thou lead -- est I would _ go, Walk -- ing in Thy steps be -- _ low; Till be -- fore my Fa -- _ ther's _ throne I shall _ know as _ _ I am known."}, "refrain_lines": null}, {"slug": "majestic-sweetness-sits-enthroned__ortonville-cyberhymnal", "text": "majestic-sweetness-sits-enthroned", "harmonization": "ortonville-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Maj -- es -- tic sweet -- ness sits en -- throned Up -- on the Sav -- ior's brow _ His head with ra -- diant glo -- ries crowned His _ lips with grace o'er -- flow _ His lips with grace o'er -- flow _", "2": "No mor -- tal can with Him com -- pare A -- mong the sons of men _ Fair -- er is He than all the fair Who _ fill the heav'n -- ly train _ Who fill the heav'n -- ly train _", "3": "He saw me plunged in deep dis -- tress And flew to my re -- lief _ For me He bore the shame -- ful cross And _ car -- ried all my grief _ And car -- ried all my grief _", "4": "To Him I owe my life and breath And all the joys I have _ He makes me tri -- umph o -- ver death And _ saves me from the grave _ And saves me from the grave _", "5": "Since from His boun -- ty I re -- ceive Such proofs of love di -- vine _ Had I a thou -- sand hearts to give Lord _ they should all be Thine _ Lord they should all be Thine _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "more-love-to-thee__more-love-to-thee-oh228", "text": "more-love-to-thee", "harmonization": "more-love-to-thee-oh228", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "most-perfect-is-the-law-of-god__richmond-church-hymnal-1896", "text": "most-perfect-is-the-law-of-god", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-end-lord-make-me-know__sellinge-oh181", "text": "my-end-lord-make-me-know", "harmonization": "sellinge-oh181", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-faith-looks-up-to-thee__olivet-mason-1867", "text": "my-faith-looks-up-to-thee", "harmonization": "olivet-mason-1867", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "my-god-deliver-me-from-those__st-thomas-oh44", "text": "my-god-deliver-me-from-those", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "My God, de -- li -- ver me from _ those that _ are mine _ e -- ne -- mies; And do thou me de -- fend _ from _ those that up a -- _ gainst me rise.", "2": "Do thou de -- li -- ver me from _ them that _ work in -- _ iq -- ui -- ty; And give me sa -- fety from _ the _ men of blood -- y _ cru -- el -- ty.", "3": "For, lo, they for my soul lay _ wait: the _ migh -- ty _ do com -- bine A -- gainst me, Lord; not for _ my _ fault, nor a -- ny _ sin of mine.", "4": "They run, and, with -- out fault in _ me, them -- _ selves do _ rea -- dy make: A -- wake to meet me with _ thy _ help; and do thou _ no -- tice take.", "5": "A -- wake there -- fore, Lord God of _ hosts, thou _ God of _ I -- sra -- el, To vis -- it hea -- then all: _ spare _ none that wick -- ed -- _ ly re -- bel.", "6": "At ev'n -- ing they go to and _ fro; they _ make great _ noise and sound, Like to a dog, and of -- _ ten _ walk a -- bout the _ ci -- ty round.", "7": "Be -- hold, they belch out with their _ mouth, and _ in their _ lips are swords: For they do say thus, Who _ is _ he that now doth _ hear our words?", "8": "But thou, O Lord, shalt laugh at _ them, and _ all the _ hea -- then mock. While he's in pow'r I'll wait _ on _ thee; for God is _ my high rock.", "9": "He of my mer -- cy that is _ God be -- _ times shall _ me pre -- vent; U -- pon mine en' -- mies God _ shall _ let me see mine _ heart's con -- tent.", "10": "Them slay not, lest my folk for -- _ get; but _ scat -- ter _ them a -- broad By thy strong pow'r; and bring _ them _ down, O thou our _ shield and God.", "11": "For their mouth's sin, and for the _ words that _ from their _ lips do fly, Let them be tak -- en in _ their _ pride; be -- cause they _ curse and lie.", "12": "In wrath con -- sume them, them con -- _ sume, that _ so they _ may not be: And that in Ja -- cob God _ doth _ rule to th'earth's ends _ let them see.", "13": "At ev'n -- ing let thou them re -- _ turn, mak -- _ ing great _ noise and sound, Like to a dog, and of -- _ ten _ walk a -- bout the _ ci -- ty round.", "14": "And let them wan -- der up and _ down, in _ seek -- ing _ food to eat; And let them grudge when they _ shall _ not be sa -- tisfi -- _ ed with meat.", "15": "But of thy pow'r I'll sing a -- _ loud; at _ morn thy _ mer -- cy praise: For thou to me my ref -- _ uge _ wast, and tow'r, in _ trou -- blous days.", "16": "O God, thou art my strength, I _ will sing _ prais -- es _ un -- to thee; For God is my de -- fence, _ a _ God of mer -- cy _ un -- to me."}, "refrain_lines": null, "meter_checked": true}, {"slug": "my-god-it-was-thy-grace__darwalls-148th-csb1918", "text": "my-god-it-was-thy-grace", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-god-my-god-i-cry-to-thee__rockingham-miller-openhymnal", "text": "my-god-my-god-i-cry-to-thee", "harmonization": "rockingham-miller-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-griefs-of-heart-abound__boylston-oh214", "text": "my-griefs-of-heart-abound", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-heart-brings-forth-a-goodly-thing__st-anne-lutheran-hymnary-1913", "text": "my-heart-brings-forth-a-goodly-thing", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-heart-inditing-is__sellinge-oh181", "text": "my-heart-inditing-is", "harmonization": "sellinge-oh181", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-heart-is-fixed-lord-i-will-sing__evan-oh231", "text": "my-heart-is-fixed-lord-i-will-sing", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "My heart is fixed, Lord; I will sing, and with my glo -- ry praise. _ A -- wake up psal -- ter -- y and harp; my -- self I'll ear -- ly raise. _", "2": "I'll praise thee 'mong the peo -- ple, Lord; 'mong na -- tions sing will I: _ For a -- bove heav'n thy mer -- cy's great, thy truth doth reach the sky. _", "3": "Be thou a -- bove the heav -- ens, Lord, ex -- al -- ted glo -- rious -- ly; _ Thy glo -- ry all the earth a -- bove be lift -- ed up on high. _", "4": "That those who thy be -- lov -- ed are de -- liv -- er -- ed may be, _ O do thou save with thy right hand, and an -- swer give to me. _", "5": "God in his ho -- li -- ness hath said, Here -- in I will take plea -- sure; She -- chem I will di -- vide, and forth will Suc -- coth's val -- ley mea -- sure.", "6": "Gil -- ead I claim as mine by right; Ma -- nas -- seh mine shall be; _ Eph -- raim is of my head the strength; Ju -- dah gives laws for me; _", "7": "Mo -- ab's my wash -- ing -- pot; my shoe I'll o -- ver E -- dom throw; _ O -- ver the land of Pal -- es -- tine I will in tri -- umph go. _", "8": "O who is he will bring me to the cit -- y for -- ti -- fied? _ O who is he that to the land of E -- dom will me guide? _", "9": "O God, thou who hadst cast us off, this thing wilt thou not do? _ And wilt not thou, ev'n thou, O God, forth with our ar -- mies go? _", "10": "Do thou from trou -- ble give us help, for help -- less is man's aid. _ Through God we shall do val -- iant -- ly; our foes he shall down tread. _"}, "refrain_lines": null}, {"slug": "my-heart-is-fixed-o-god__aylesbury-am-1904", "text": "my-heart-is-fixed-o-god", "harmonization": "aylesbury-am-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-heart-not-haughty-is-o-lord__st-thomas-oh44", "text": "my-heart-not-haughty-is-o-lord", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "My heart not haugh -- ty is, O _ Lord, mine _ eyes not _ loft -- y be; Nor do I deal in mat -- _ ters _ great, or things too _ high for me.", "2": "I sure -- ly have my -- self behav -- _ ed with _ qui -- et _ spirit and mild, As child of mo -- ther weaned: _ my _ soul is like a _ wean -- ed child.", "3": "U -- pon the Lord let all the _ hope of _ I -- sra -- _ el re -- ly, Ev'n from the time that pre -- _ sent _ is un -- to e -- _ ter -- ni -- ty."}, "refrain_lines": null, "meter_checked": true}, {"slug": "my-hope-is-built__melita-oh282", "text": "my-hope-is-built", "harmonization": "melita-oh282", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "my-hope-is-built-on-nothing-less__solid-rock-cyberhymnal", "text": "my-hope-is-built-on-nothing-less", "harmonization": "solid-rock-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "my-righteous-god-who-oft-of-old__old-100th-oh", "text": "my-righteous-god-who-oft-of-old", "harmonization": "old-100th-oh", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-sins-and-faults-of-youth__boylston-oh214", "text": "my-sins-and-faults-of-youth", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-song-forever-shall-record__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "my-song-forever-shall-record", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "my-soul-in-silence-waits-for-god__coronation-church-hymnal-1896", "text": "my-soul-in-silence-waits-for-god", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "My soul in si -- lence waits for God, My Sav -- iour He has proved; He on -- ly is my rock and tow'r; I nev -- er shall be moved. He on -- ly is my rock and tow'r; I nev -- er shall be moved.", "2": "My en -- e -- mies my ru -- in seek, They plot with fraud and guile; De -- ceit -- ful, they pre -- tend to bless, But in -- ward -- ly re -- vile. De -- ceit -- ful, they pre -- tend to bless, But in -- ward -- ly re -- vile.", "3": "My soul, in si -- lence wait for God; He is my help ap -- proved, He on -- ly is my rock and tow'r, And I shall not be moved. He on -- ly is my rock and tow'r, And I shall not be moved.", "4": "My hon -- or is se -- cure with God, My Sav -- iour He is known; My ref -- uge and my rock of strength Are found in God a -- lone. My ref -- uge and my rock of strength Are found in God a -- lone.", "5": "On Him, ye peo -- ple, ev -- er -- more Re -- ly with con -- fi -- dence; Be -- fore Him pour ye out your heart, For God is our de -- fense. Be -- fore Him pour ye out your heart, For God is our de -- fense.", "6": "For sure -- ly men are help -- ers vain, The high and the a -- based; Yea, ligh -- ter than a breath are thy When in the bal -- ance placed. Yea, ligh -- ter than a breath are thy When in the bal -- ance placed.", "7": "Trust not in harsh oppress -- io -- n's power Nor in un -- righ -- teous gain; If wealth in -- crease, yet on your gold Ye set your hearts in vain. If wealth in -- crease, yet on your gold Ye set your hearts in vain.", "8": "For God has spo -- ken o'er and o'er, And un -- to me has shown, That sav -- ing power and last -- ing strength Be -- long to Him a -- lone. That sav -- ing power and last -- ing strength Be -- long to Him a -- lone.", "9": "Yea, lov -- ing -- kind -- ness ev -- er -- more Be -- longs to Thee, O Lord; And Thou ac -- cord -- ing to his work Dost ev -- ery man re -- ward. And Thou ac -- cord -- ing to his work Dost ev -- ery man re -- ward."}, "refrain_lines": null, "meter_checked": true}, {"slug": "my-soul-with-expectation__coronation-church-hymnal-1896", "text": "my-soul-with-expectation", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "My soul with ex -- pec -- ta -- ti -- on de -- pends on God in -- deed; My strength and my sal -- va -- tion doth from him a -- lone pro -- ceed. My strength and my sal -- va -- tion doth from him a -- lone pro -- ceed.", "2": "He on -- ly my sal -- va -- tion is, and my strong rock is he: He on -- ly is my sure de -- fence; much moved I shall not be. He on -- ly is my sure de -- fence; much moved I shall not be.", "3": "How long will ye a -- gainst a man plot mis -- chief? ye shall all Be slain; ye as a tot -- t'ring fence shall be, and bow -- ing wall. Be slain; ye as a tot -- t'ring fence shall be, and bow -- ing wall.", "4": "They on -- ly plot to cast him down from his ex -- cel -- len -- cy: They joy in lies; with mouth they bless, but they curse in -- ward -- ly. They joy in lies; with mouth they bless, but they curse in -- ward -- ly.", "5": "My soul, wait thou with pa -- tien -- ce up -- on thy God a -- lone; On him de -- pend -- eth all my hope and ex -- pec -- ta -- ti -- on. On him de -- pend -- eth all my hope and ex -- pec -- ta -- ti -- on.", "6": "He on -- ly my sal -- va -- tion is, and my strong rock is he; He on -- ly is my sure de -- fence: I shall not mov -- ed be. He on -- ly is my sure de -- fence: I shall not mov -- ed be.", "7": "In God my glo -- ry plac -- ed is, and my sal -- va -- tion sure; In God the rock is of my strength, my ref -- uge most se -- cure. In God the rock is of my strength, my ref -- uge most se -- cure.", "8": "Ye peo -- ple, place your con -- fi -- dence in him con -- tin -- ual -- ly; Be -- fore him pour ye out your heart: God is our ref -- uge high. Be -- fore him pour ye out your heart: God is our ref -- uge high.", "9": "Sure -- ly mean men are van -- i -- ty, and great men are a lie; In bal -- ance laid, they whol -- ly are more light than van -- i -- ty. In bal -- ance laid, they whol -- ly are more light than van -- i -- ty.", "10": "Trust ye not in op -- pres -- si -- on, in rob -- b'ry be not vain; On wealth set not your hearts, when as in -- creas -- ed is your gain. On wealth set not your hearts, when as in -- creas -- ed is your gain.", "11": "God hath it spo -- ken once to me, yea, this I heard a -- gain, That pow -- er to Al -- might -- y God a -- lone doth ap -- per -- tain. That pow -- er to Al -- might -- y God a -- lone doth ap -- per -- tain.", "12": "Yea, mer -- cy al -- so un -- to thee be -- longs, O Lord, a -- lone: For thou ac -- cord -- ing to his work re -- ward -- est ev -- 'ry one. For thou ac -- cord -- ing to his work re -- ward -- est ev -- 'ry one."}, "refrain_lines": null, "meter_checked": true}, {"slug": "nearer-my-god-to-thee__bethany-mason-1859", "text": "nearer-my-god-to-thee", "harmonization": "bethany-mason-1859", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "nearer-still-nearer__morris-make-christ-king-1914", "text": "nearer-still-nearer", "harmonization": "morris-make-christ-king-1914", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "new-every-morning-is-the-love__melcombe-cyberhymnal", "text": "new-every-morning-is-the-love", "harmonization": "melcombe-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "new-every-morning-is-the-love__mendon-cyberhymnal", "text": "new-every-morning-is-the-love", "harmonization": "mendon-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "New ev -- ery morn -- ing is the love Our wak -- 'ning and up -- ris -- _ ing prove; Through sleep and dark -- ness safe -- _ ly brought, Re -- stored to life and pow'r _ and thought.", "2": "New mer -- cies, each re -- turn -- ing day, Hov -- er a -- round us while _ we pray; New per -- ils past, new sins _ for -- giv'n, New thoughts of God, new hopes _ of heav'n.", "3": "If on our dai -- ly course our mind Be set to hal -- low all _ we find, New treas -- ures still, of count -- _ less price, God will pro -- vide for sac -- _ ri -- fice.", "4": "The triv -- ial round, the com -- mon task, Would fur -- nish all we ought _ to ask, Room to de -- ny our -- selves; _ a road To bring us dai -- ly near -- _ er God.", "5": "On -- ly, O Lord, in Thy dear love Fit us for per -- fect rest _ a -- bove; And help us, this and ev -- _ ery day, To live more near -- ly as _ we pray."}, "refrain_lines": null}, {"slug": "nights-shadows-falling__flemming-cyberhymnal", "text": "nights-shadows-falling", "harmonization": "flemming-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Night's shad -- ows fall -- ing men to rest are call -- ing; Rest we, pos -- sess -- _ ing heav'n -- ly peace and bless -- ing: This we im -- plore _ Thee, fall -- _ ing down be -- fore Thee, Great King of Glo -- _ ry!", "2": "O Sav -- ior, hear us! Son of God, be near us! Thine an -- gels send _ us; let Thy love at -- tend us: He noth -- ing fear -- _ eth, whom _ Thy pres -- ence cheer -- eth, Light his path clear -- _ eth.", "3": "Be near, re -- liev -- ing all who now are griev -- ing; Thy vis -- i -- ta -- _ tion be our con -- so -- la -- tion: O hear the sigh -- _ ing of _ the faint and dy -- ing; Lord, hear our cry -- _ ing!", "4": "Thou ev -- er liv -- est; end -- less life Thou giv -- est; Thou watch art keep -- _ ing o'er Thy faith -- ful sleep -- ing; In Thy clear shin -- _ ing they _ are now re -- clin -- ing, All care re -- sign -- _ ing.", "5": "O Lord of Glo -- ry, praise we and a -- dore Thee— Thee for us giv -- _ en, our true rest from Heav -- en! Rest, peace, and bless -- _ ing, we _ are now pos -- sess -- ing, Thy name con -- fess -- _ ing."}, "refrain_lines": null, "stress_checked": false}, {"slug": "no-not-one__no-not-one-oh172", "text": "no-not-one", "harmonization": "no-not-one-oh172", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "none-other-lamb__rossetti-oh173", "text": "none-other-lamb", "harmonization": "rossetti-oh173", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "not-all-the-blood-of-beasts__festal-song-cyberhymnal", "text": "not-all-the-blood-of-beasts", "harmonization": "festal-song-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Not all the blood of beasts On Jew -- _ ish al -- tars slain, Could give the _ guilt -- y con -- science peace, Or wash _ a -- way the stain.", "2": "But Christ, the heav'n -- ly Lamb Takes all _ our sins a -- way; A sac -- ri -- _ fice of no -- bler name And rich -- _ er blood than they.", "3": "My faith would lay her hand On that _ dear head of Thine, While like a _ pen -- i -- tent I stand, And there _ con -- fess my sin.", "4": "My soul looks back to see The bur -- _ dens Thou didst bear, When hang -- ing _ on the curs -- èd tree, And hopes _ her guilt was there.", "5": "Be -- liev -- ing, we re -- joice To see _ the curse re -- move; We bless the _ Lamb with cheer -- ful voice, And sing _ His bleed -- ing love."}, "refrain_lines": null}, {"slug": "not-all-the-blood-of-beasts__st-bride-cyberhymnal", "text": "not-all-the-blood-of-beasts", "harmonization": "st-bride-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Not all the _ blood of _ beasts On Jew -- ish al -- tars _ slain, Could give the guilt -- y con -- science _ peace, Or wash a -- way the stain.", "2": "But Christ, the _ heav'n -- ly _ Lamb Takes all our sins a -- _ way; A sac -- ri -- fice of no -- bler _ name And rich -- er blood than they.", "3": "My faith would _ lay her _ hand On that dear head of _ Thine, While like a pen -- i -- tent I _ stand, And there con -- fess my sin.", "4": "My soul looks _ back to _ see The bur -- dens Thou didst _ bear, When hang -- ing on the curs -- èd _ tree, And hopes her guilt was there.", "5": "Be -- liev -- ing, _ we re -- _ joice To see the curse re -- _ move; We bless the Lamb with cheer -- ful _ voice, And sing His bleed -- ing love."}, "refrain_lines": null}, {"slug": "not-unto-us-lord-not-to-us__st-anne-lutheran-hymnary-1913", "text": "not-unto-us-lord-not-to-us", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "not-what-these-hands-have-done__leominsster-cyberhymnal", "text": "not-what-these-hands-have-done", "harmonization": "leominsster-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "nothing-but-the-blood-of-jesus__plainfield-1883", "text": "nothing-but-the-blood-of-jesus", "harmonization": "plainfield-1883", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "now-israel-may-say-and-that-in-truth__old-124th-cyberhymnal", "text": "now-israel-may-say-and-that-in-truth", "harmonization": "old-124th-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Now I -- sra -- el may say, and that in truth If that the Lord had not our right main -- tained; If that the Lord had not with us re -- mained, When cru -- el men a -- gainst us _ rose to strive, We sure -- ly had been swal -- lowed up a -- live", "2": "Yea, when their wrath a -- gainst us fierce -- ly rose, The swell -- ing tide had o'er us spread its wave, The rag -- ing stream had then be -- come our grave, The sur -- ging flood, in proud -- ly _ sell -- ing roll, Must sure -- ly then had o -- ver -- whelmed our soul.", "3": "Blest be the Lord Who made us not their prey; As from the snare a bird es -- cap -- eth free, Their net is rent and so es -- caped are we; Our on -- ly help is in Je -- _ ho -- vah's Name, Who made the earth and all the heav'n -- ly frame."}, "refrain_lines": null}, {"slug": "now-israel-may-say-and-that-in-truth__old-124th-goudimel-ebrard-1852", "text": "now-israel-may-say-and-that-in-truth", "harmonization": "old-124th-goudimel-ebrard-1852", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "now-israel-may-say-and-that-truly__old-124th-cyberhymnal", "text": "now-israel-may-say-and-that-truly", "harmonization": "old-124th-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Now I -- sra -- el may say, and that tru -- ly, If that the Lord had not our cause main -- tained; If that the Lord had not our right sus -- tained, When cru -- el men a -- gainst us _ fu -- rious -- ly Rose up in wrath, to make of us their prey;", "2": "Then cer -- tain -- ly they had de -- voured us all, And swal -- lowed quick, for ought that we could deem; Such was their rage, as we might well es -- teem. And as fierce floods be -- fore them _ all things drown, So had they brought our soul to death quite down.", "3": "The rag -- ing streams, with their proud swell -- ing waves, Had then our soul o'er -- whelm -- ed in the deep. But blessed be God, who doth us safe -- ly keep, And hath not giv'n us for a _ liv -- ing prey Un -- to their teeth, and blood -- y cru -- el -- ty.", "4": "Ev'n as a bird out of the fow -- ler's snare Es -- capes a -- way, so is our soul set free: Broke are their nets, and thus es -- cap -- ed we. There -- fore our help is in the _ Lord's great name, Who heav'n and earth by his great pow'r did frame."}, "refrain_lines": null}, {"slug": "now-thank-we-all-our-god__nun-danket-bwv386", "text": "now-thank-we-all-our-god", "harmonization": "nun-danket-bwv386", "alignment": "explicit", "stanza_lines": {"1": "Now thank we all our God, with heart and hands and _ voic -- es, Who won -- drous things has done, In whom His world re -- _ joic -- es; Who from our moth -- ers' arms Has blessed _ us on our way With count -- less gifts of love, And still is _ ours to -- day.", "2": "O may this boun -- teous God, through all our life be _ near us, With ev -- er joy -- ful hearts And bless -- ed peace to _ cheer us; And keep us in His grace, And guide _ us when per -- plexed, And free us from all ills In this world _ and the next.", "3": "All praise and thanks to God, the Fa -- ther now be _ giv -- en, The Son, and Him who reigns With them in high -- est _ heav -- en; The one e -- ter -- nal God, Whom earth _ and heav'n a -- dore; For thus it was, is now, And shall be _ ev -- er -- more."}, "refrain_lines": null, "stress_checked": true}, {"slug": "now-thank-we-all-our-god__nun-danket-cyberhymnal", "text": "now-thank-we-all-our-god", "harmonization": "nun-danket-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Now thank we all our God, with heart and hands and voic -- es, Who won -- drous things has done, In whom His world re -- joic -- es; Who from our moth -- ers' arms Has blessed _ us on our way With count -- less gifts of love, And still is ours to -- day.", "2": "O may this boun -- teous God, through all our life be near us, With ev -- er joy -- ful hearts And bless -- ed peace to cheer us; And keep us in His grace, And guide _ us when per -- plexed, And free us from all ills In this world and the next.", "3": "All praise and thanks to God, the Fa -- ther now be giv -- en, The Son, and Him who reigns With them in high -- est heav -- en; The one e -- ter -- nal God, Whom earth _ and heav'n a -- dore; For thus it was, is now, And shall be ev -- er -- more."}, "refrain_lines": null}, {"slug": "now-the-light-has-gone-away__mude-bin-ich-geh-zur-ruh-oh313", "text": "now-the-light-has-gone-away", "harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "now-unto-jehovah-ye-sons-of-the-mighty__arles-cyberhymnal", "text": "now-unto-jehovah-ye-sons-of-the-mighty", "harmonization": "arles-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Now un -- to Je -- ho -- vah, ye sons of the might -- y, All glo -- ry and strength and do -- min -- ion ac -- cord; As -- cribe to Him glo -- ry, and ren -- der Him hon -- or, In beau -- ty of _ ho -- li -- ness wor -- ship the Lord.", "2": "The voice of Je -- ho -- vah, the God of all glo -- ry Rolls o -- ver the wa -- ters, the thun -- ders a -- wake; The voice of Je -- ho -- vah, maj -- es -- tic and might -- y, Is heard, and the _ ce -- dars of Leb -- a -- non break.", "3": "The voice makes the moun -- tains and des -- erts to trem -- ble, Wild beasts are af -- fright -- ed, the fo -- rests laid bar, And thro' all cre -- a -- tion, His won -- der -- ful tem -- ple, All things He has _ fash -- ioned His glo -- ry de -- clare.", "4": "The Lord ruled in might at the flood of great wa -- ters, A King Whose do -- min -- ion is nev -- er to cease; The Lord will give bless -- ing and strength to His peo -- ple, The Lord all His _ peo -- ple will com -- fort with peace."}, "refrain_lines": null}, {"slug": "o-all-ye-lands-unto-the-lord__st-agnes-oh156", "text": "o-all-ye-lands-unto-the-lord", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "O all ye lands, un -- to the Lord make ye a joy -- ful noise. _ Serve God with glad -- ness, him be -- fore come with a sing -- ing voice. _", "2": "Know ye the Lord that he is God; not we, but he us made: _ We are his peo -- ple, and the sheep with -- in his pas -- ture fed. _", "3": "En -- ter his gates and courts with praise, to thank him go ye thith -- er: To him ex -- press your thank -- ful -- ness, and bless his name to -- geth -- er.", "4": "Be -- cause the Lord our God is good, his mer -- cy fail -- eth nev -- er; And to all gen -- er -- a -- ti -- ons his truth en -- dur -- eth ev -- er."}, "refrain_lines": null}, {"slug": "o-all-ye-peoples-bless-our-god__st-ursula-oh300", "text": "o-all-ye-peoples-bless-our-god", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-blessed-ever-be-the-lord__winchester-old-cyberhymnal", "text": "o-blessed-ever-be-the-lord", "harmonization": "winchester-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-blessed-is-the-man-to-whom__st-agnes-oh156", "text": "o-blessed-is-the-man-to-whom", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-boundless-salvation__my-jesus-i-love-thee-english-sa1899", "text": "o-boundless-salvation", "harmonization": "my-jesus-i-love-thee-english-sa1899", "alignment": "explicit", "stanza_lines": {"1": "O bound -- less sal -- va -- tion! deep o -- _ cean of love, O _ full -- ness of mer -- cy, Christ brought _ from a -- bove, The whole world re -- deem -- ing, so rich _ and so free, _ Now flow -- _ ing for all men, Now flow -- _ ing for all _ men, Now flow -- ing for all men, come, roll _ o -- ver me!", "2": "My sins they are man -- y, their stains _ are so deep, And _ bit -- ter the tears of re -- morse _ that I weep; But use -- less is weep -- ing; thou great _ crim -- son sea, _ Thy wa -- _ ters can cleanse me, Thy wa -- _ ters can cleanse _ me, Thy wa -- ters can cleanse me, come, roll _ o -- ver me!", "3": "The tide is now flow -- ing, I'm touch -- _ ing the wave, I _ hear the loud call of “The Might -- _ y to Save;” My faith's grow -- ing bold -- er— de -- liv -- _ ered I'll be! _ I plunge _ ’neath the wa -- ters, I plunge _ ’neath the wa -- _ ters, I plunge ’neath the wa -- ters, they roll _ o -- ver me.", "4": "And now, Hal -- le -- lu -- jah! the rest _ of my days Shall _ glad -- ly be spent in pro -- mot -- _ ing His praise Who o -- pened His bos -- om to pour _ out this sea _ Of bound -- _ less sal -- va -- tion, Of bound -- _ less sal -- va -- _ tion, Of bound -- less sal -- va -- tion, for you _ and for me!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-come-all-ye-faithful__adeste-fideles-a-hymnal-1916", "text": "o-come-all-ye-faithful", "harmonization": "adeste-fideles-a-hymnal-1916", "alignment": "explicit", "stanza_lines": {"1": "O come, all ye faith -- ful, joy -- ful and tri -- um -- phant, O come ye, O come _ ye, to Beth -- _ le -- hem. Come and be -- hold Him, born the King of an -- _ gels;", "2": "_ True God of true God, Light from Light E -- ter -- nal, _ Lo, He _ shuns _ not the Vir -- _ gin's womb; Son of the Fa -- ther, be -- got -- ten, not cre -- at -- ed;", "3": "_ Sing, choirs of an -- gels, sing in ex -- ul -- ta -- tion; O sing, all ye cit -- i -- zens of heav'n _ a -- bove! Glo -- ry to God, _ glo -- ry in the high -- _ est;", "4": "_ See how the shep -- herds, sum -- moned to His cra -- dle, _ Leav -- ing their flocks, _ draw _ nigh _ to gaze; We too will thith -- er bend our joy -- ful foot -- _ steps;", "5": "_ Lo! star led chief -- tains, Ma -- gi, Christ a -- dor -- ing, _ Of -- fer Him in -- _ cense, _ gold, _ and myrrh; We to the Christ Child bring our hearts' ob -- la -- _ tions."}, "refrain_lines": "O come, let us a -- dore Him, O come, let us a -- dore Him, O come, let us a -- dore Him, _ Christ _ the Lord.", "stress_checked": true}, {"slug": "o-come-let-us-sing-to-the-lord__st-thomas-oh44", "text": "o-come-let-us-sing-to-the-lord", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "O come, let us sing to the _ Lord: come, _ let us _ ev -- ery one A joy -- ful noise make to _ the _ Rock of our sal -- _ va -- ti -- on.", "2": "Let us be -- fore his pre -- sence _ come with _ praise and _ thank -- ful voice; Let us sing psalms to him _ with _ grace, and make a _ joy -- ful noise.", "3": "For God, a great God, and great _ King, a -- _ bove all _ gods he is. Depths of the earth are in _ his _ hand, the strength of _ hills is his.", "4": "To him the spa -- cious sea be -- _ longs, for _ he the _ same did make; The dry land al -- so from _ his _ hands its form at _ first did take.", "5": "O come, and let us wor -- ship _ him, let _ us bow _ down wi -- thal, And on our knees be -- fore _ the _ Lord our Ma -- ker _ let us fall.", "6": "For he's our God, the peo -- ple _ we of _ his own _ pas -- ture are, And of his hand the sheep; _ to -- _ day, if ye his _ voice will hear,", "7": "Then har -- den not your hearts, as _ in the _ pro -- vo -- _ ca -- ti -- on, As in the des -- ert, on _ the _ day of the ten -- _ ta -- ti -- on:", "8": "When me your fa -- thers tempt'd and _ proved, and _ did my _ work -- ing see; Ev'n for the space of for -- _ ty _ years this race hath _ griev -- ed me.", "9": "I said, This peo -- ple errs in _ heart, my _ ways they _ do not know: To whom I sware in wrath, _ that _ to my rest they _ should not go."}, "refrain_lines": null, "meter_checked": true}, {"slug": "o-come-my-people-to-my-law__new-britain-excell-1900", "text": "o-come-my-people-to-my-law", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-come-o-come-emmanuel__veni-emmanuel-oh39", "text": "o-come-o-come-emmanuel", "harmonization": "veni-emmanuel-oh39", "alignment": "explicit", "stanza_lines": {"1": "O come, O come, Em -- man -- _ _ u -- el, And ran -- som cap -- tive Is -- _ _ ra -- el, That mourns in lone -- ly ex -- _ ile here Un -- til the Son of God _ _ ap -- pear.", "2": "O come, Thou Wis -- dom from _ _ on high, Who or -- derest all things might -- _ _ i -- ly; To us the path of knowl -- _ edge show, And teach us in her ways _ _ to go.", "3": "O come, Thou Rod of Jes -- _ _ se, free Thine own from Sa -- tan's tyr -- _ _ an -- ny; From depths of hell Thy peo -- _ ple save, And give them vic -- t'ry ov'r _ _ the grave.", "4": "O come, Thou Day -- spring, come _ _ and cheer Our spir -- its by Thine ad -- _ _ vent here; Dis -- perse the gloom -- y clouds _ of night, And death's dark shad -- ows put _ _ to flight.", "5": "O come, Thou Key of Da -- _ _ vid, come, And o -- pen wide our heav'n -- _ _ ly home; Make safe the way that leads _ on high, And close the path to mis -- _ _ er -- y."}, "refrain_lines": "Re -- joice! Re -- joice! Em -- man -- _ _ u -- el shall come to thee, O I -- _ _ sra -- el."}, {"slug": "o-day-of-rest-and-gladness__woodbird-songs-of-syon-1904", "text": "o-day-of-rest-and-gladness", "harmonization": "woodbird-songs-of-syon-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-for-a-closer-walk-with-god__beatitudo-cyberhymnal", "text": "o-for-a-closer-walk-with-god", "harmonization": "beatitudo-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-for-a-thousand-tongues-to-sing__azmon-mason-1839", "text": "o-for-a-thousand-tongues-to-sing", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-give-ye-praise-unto-the-lord__st-anne-lutheran-hymnary-1913", "text": "o-give-ye-praise-unto-the-lord", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-gladsome-light__nunc-dimittis-cyberhymnal", "text": "o-gladsome-light", "harmonization": "nunc-dimittis-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-god-according-to-thy-grace__st-ursula-oh300", "text": "o-god-according-to-thy-grace", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-be-merciful-to-me__st-agnes-oh156", "text": "o-god-be-merciful-to-me", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-be-merciful-to-me-psalm-57__duke-street-fotw-1904", "text": "o-god-be-merciful-to-me-psalm-57", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-be-thy-anointed-son__st-cross-oh97", "text": "o-god-be-thy-anointed-son", "harmonization": "st-cross-oh97", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-give-ear-unto-my-cry__evan-oh231", "text": "o-god-give-ear-unto-my-cry", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-give-ear-unto-my-cry-psalm-61__azmon-mason-1839", "text": "o-god-give-ear-unto-my-cry-psalm-61", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-give-thou-ear-to-my-plea__tallis-canon-oh309", "text": "o-god-give-thou-ear-to-my-plea", "harmonization": "tallis-canon-oh309", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-most-holy-are-thy-ways__the-lords-prayer-vater-unser-cyberhymnal", "text": "o-god-most-holy-are-thy-ways", "harmonization": "the-lords-prayer-vater-unser-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "O God, most ho -- _ ly are Thy ways, And who like _ Thee de -- serves my praise? Thou on -- ly _ do -- est won -- _ drous things, The whole wide world Thy _ glo -- ry sings; Thine out -- stretched arm Thy _ peo -- ple saved, Though sore dis -- _ tressed and long en -- slaved.", "2": "O God, from Thee _ the wa -- ters fled, The depths were _ moved with might -- y dread, The swell -- ing _ clouds their tor -- _ rents poured, And o'er the earth the _ tem -- pest roared; 'Mid light -- ning's flash and _ thun -- der's sound Great trem -- bling _ shook the sol -- id ground.", "3": "Thy way was in _ the sea, O God, Through might -- y _ wa -- ters, deep and broad; None un -- der -- _ stood but God _ a -- lone, To man Thy foot -- steps _ were un -- known; But safe Thy peo -- ple _ Thou didst keep, Al -- might -- y _ Shep -- herd of Thy sheep."}, "refrain_lines": null}, {"slug": "o-god-regard-my-humble-plea__meribah-psalter1912", "text": "o-god-regard-my-humble-plea", "harmonization": "meribah-psalter1912", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-the-god-that-saveth-me__evan-oh231", "text": "o-god-the-god-that-saveth-me", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-the-heathen-entered-have__richmond-church-hymnal-1896", "text": "o-god-the-heathen-entered-have", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-to-thy-anointed-king__arlington-cyberhymnal", "text": "o-god-to-thy-anointed-king", "harmonization": "arlington-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-god-we-with-our-ears-have-heard__st-agnes-oh156", "text": "o-god-we-with-our-ears-have-heard", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-jehovah-hear-my-words__mude-bin-ich-geh-zur-ruh-oh313", "text": "o-jehovah-hear-my-words", "harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-jesus-i-have-promised__angels-story-cyberhymnal", "text": "o-jesus-i-have-promised", "harmonization": "angels-story-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "O Je -- sus, I have _ prom -- ised To serve Thee _ to the end; Be Thou for -- ev -- er near me, My Mas -- ter and my Friend; I shall not fear the _ bat -- tle If Thou art _ by my side, Nor wan -- der from the path -- way If Thou wilt be my guide.", "2": "O let me feel Thee _ near me! The world is _ ev -- er near; I see the sights that daz -- zle, The temp -- ting sounds I hear; My foes are ev -- er _ near me, A -- round me _ and with -- in; But Je -- sus, draw Thou near -- er, And shield my soul from sin.", "3": "O let me hear Thee _ speak -- ing In ac -- cents _ clear and still, A -- bove the storms of pas -- sion, The mur -- murs of self -- will; O speak to re -- as -- _ sure me, To has -- ten _ or con -- trol; O speak, and make me lis -- ten, Thou Guar -- dian of my soul.", "4": "O Je -- sus, Thou hast _ prom -- ised To all who _ fol -- low Thee, That where Thou art in glo -- ry There shall Thy serv -- ant be; And Je -- sus, I have _ prom -- ised To serve Thee _ to the end; O give me grace to fol -- low, My Mas -- ter and my Friend.", "5": "O let me see Thy _ foot -- marks, And in them _ plant mine own; My hope to fol -- low du -- ly Is in Thy strength a -- lone; O guide me, call me, _ draw me, Up -- hold me _ to the end; And then in Heav'n re -- ceive me, My Sav -- ior and my Friend."}, "refrain_lines": null}, {"slug": "o-little-town-of-bethlehem__st-louis-chapel-1898", "text": "o-little-town-of-bethlehem", "harmonization": "st-louis-chapel-1898", "alignment": "explicit", "stanza_lines": {"1": "O lit -- tle town of Beth -- le -- hem, how still we _ see thee lie! A -- bove thy deep and dream -- less sleep the si -- lent _ stars go by. Yet in thy dark streets shin -- eth the ev -- er -- last -- ing Light; The hopes and fears of all the years are met in thee to -- night.", "2": "For Christ is born of Ma -- _ ry, and gath -- ered _ all a -- bove, While mor -- tals sleep, the an -- gels keep their watch of _ won -- d'ring love. O morn -- ing stars to -- geth -- er, pro -- claim the ho -- ly birth, And prais -- es sing to God the King, and peace to men on earth!", "3": "How si -- lent -- ly, how si -- lent -- ly, the won -- drous _ Gift is giv'n; So God im -- parts to hu -- man hearts the bless -- ings _ of His Heav'n. No ear may hear His com -- ing, but in this world of sin, Where meek souls will re -- ceive Him still, the dear Christ en -- ters in.", "4": "Where child -- ren pure and hap -- _ py pray to the _ bless -- ed Child, Where mis -- er -- y cries out to Thee, Son of the _ moth -- er mild; Where char -- it -- y stands watch -- ing and faith holds wide the door, The dark night wakes, the glo -- ry breaks, and Christ -- mas comes once more.", "5": "O ho -- ly Child of Beth -- le -- hem, de -- scend to _ us, we pray; Cast out our sin, and en -- ter in, be born in _ us to -- day. We hear the Christ -- mas an -- gels the great glad tid -- ings tell; O come to us, a -- bide with us, our Lord Em -- man -- u -- el!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-lord-by-thee-delivered__aurelia-rcus-1866", "text": "o-lord-by-thee-delivered", "harmonization": "aurelia-rcus-1866", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-do-thou-bow-down-thine-ear__coronation-church-hymnal-1896", "text": "o-lord-do-thou-bow-down-thine-ear", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "O Lord, do thou bow down thine ear, and hear me gra -- cious -- ly; Be -- cause I sore af -- flic -- ted am, and am in pov -- er -- ty. Be -- cause I sore af -- flic -- ted am, and am in pov -- er -- ty.", "2": "Be -- cause I'm ho -- ly, let my soul by thee pre -- serv -- ed be: O thou my God, thy ser -- vant save, that puts his trust in thee. O thou my God, thy ser -- vant save, that puts his trust in thee.", "3": "Sith un -- to thee I dai -- ly cry, be mer -- ci -- ful to me. Re -- joice thy ser -- vant's soul; for, Lord, I lift my soul to thee. Re -- joice thy ser -- vant's soul; for, Lord, I lift my soul to thee.", "4": "For thou art gra -- ci -- ous, O Lord, and read -- y to for -- give; And rich in mer -- cy, all that call up -- on thee to re -- lieve. And rich in mer -- cy, all that call up -- on thee to re -- lieve.", "5": "Hear, Lord, my pray'r; un -- to the voice of my re -- quest at -- tend: In trou -- blous times I'll call on thee; for thou wilt an -- swer send. In trou -- blous times I'll call on thee; for thou wilt an -- swer send.", "6": "Lord, there is none a -- mong the gods that may with thee com -- pare; And like the works which thou hast done, not an -- y work is there. And like the works which thou hast done, not an -- y work is there.", "7": "All na -- tions whom thou mad'st shall come and wor -- ship rev -- 'rent -- ly Be -- fore thy face; and they, O Lord, thy name shall glo -- ri -- fy. Be -- fore thy face; and they, O Lord, thy name shall glo -- ri -- fy.", "8": "Be -- cause thou art exce -- ed -- ing great, and works by thee are done Which are to be ad -- mired; and thou art God thy -- self a -- lone. Which are to be ad -- mired; and thou art God thy -- self a -- lone.", "9": "Teach me thy way, and in thy truth, O Lord, then walk will I; U -- nite my heart, that I thy name may fear con -- tin -- ual -- ly. U -- nite my heart, that I thy name may fear con -- tin -- ual -- ly.", "10": "O Lord my God, with all my heart to thee I will give praise; And I the glo -- ry will as -- cribe un -- to thy name al -- ways: And I the glo -- ry will as -- cribe un -- to thy name al -- ways:", "11": "Be -- cause thy mer -- cy to -- ward me in great -- ness doth ex -- cel; And thou de -- liv -- ered hast my soul out from the low -- est hell. And thou de -- liv -- ered hast my soul out from the low -- est hell.", "12": "O God, the proud a -- gainst me rise, and vi -- 'lent men have met, That for my soul have sought; and thee be -- fore them have not set. That for my soul have sought; and thee be -- fore them have not set.", "13": "But thou art full of pit -- y, Lord, a God most gra -- ci -- ous, Long -- suf -- fer -- ing, and in thy truth and mer -- cy plen -- te -- ous. Long -- suf -- fer -- ing, and in thy truth and mer -- cy plen -- te -- ous.", "14": "O turn to me thy coun -- ten -- ance, and mer -- cy on me have; Thy ser -- vant streng -- then, and the son of thine own hand -- maid save. Thy ser -- vant streng -- then, and the son of thine own hand -- maid save.", "15": "Show me a sign for good, that they which do me hate may see, And be a -- shamed; be -- cause thou, Lord, didst help and com -- fort me. And be a -- shamed; be -- cause thou, Lord, didst help and com -- fort me."}, "refrain_lines": null, "meter_checked": true}, {"slug": "o-lord-give-ear-when-with-my-voice__evan-oh231", "text": "o-lord-give-ear-when-with-my-voice", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-god-unto-whom-alone__st-flavian-oh87", "text": "o-lord-god-unto-whom-alone", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-how-are-my-foes-increased__evan-oh231", "text": "o-lord-how-are-my-foes-increased", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-i-unto-thee-do-cry__st-anne-lutheran-hymnary-1913", "text": "o-lord-i-unto-thee-do-cry", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-my-god-in-thee-do-i__richmond-church-hymnal-1896", "text": "o-lord-my-god-in-thee-do-i", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-my-hope-and-confidence__evan-oh231", "text": "o-lord-my-hope-and-confidence", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "O Lord, my hope and con -- fi -- dence is placed in thee a -- lone; _ Then let thy ser -- vant nev -- er be put to con -- fu -- si -- on. _", "2": "And let me, in thy right -- eous -- ness, from thee de -- liv -- 'rance have; _ Cause me es -- cape, in -- cline thine ear un -- to me, and me save. _", "3": "Be thou my dwel -- lin -- grock, to which I ev -- er may re -- sort: _ Thou gav'st com -- mand -- ment me to save, for thou'rt my rock and fort. _", "4": "Free me, my God, from wick -- ed hands, hands cru -- el and un -- just: _ For thou, O Lord God, art my hope, and from my youth my trust. _", "5": "Thou from the womb didst hold me up; thou art the same that me _ Out of my moth -- er's bow -- els took; I ev -- er will praise thee. _", "6": "To man -- y I a won -- der am; but thou'rt my ref -- uge strong. _ Filled let my mouth be with thy praise and hon -- our all day long. _", "7": "O do not cast me off, when as old age doth o -- ver -- take me; And when my strength de -- cay -- ed is, then do not thou for -- sake me.", "8": "For those that are mine en -- e -- mies a -- gainst me speak with hate; _ And they to -- geth -- er coun -- sel take that for my soul lay wait. _", "9": "They said, God leaves him; him pur -- sue and take: none will him save. _ Be thou not far from me, my God: thy spee -- dy help I crave. _", "10": "Con -- found, con -- sume them, that un -- to my soul are en -- e -- mies: _ Clothed be they with re -- proach and shame that do my hurt de -- vise. _", "11": "But I with ex -- pec -- ta -- ti -- on will hope con -- tin -- ual -- ly; _ And yet with prais -- es more and more I will thee mag -- ni -- fy. _", "12": "Thy jus -- tice and sal -- va -- ti -- on my mouth a -- broad shall show, _ Ev'n all the day; for I there -- of the num -- bers do not know. _", "13": "And I will con -- stant -- ly go on in strength of God the Lord; _ And thine own right -- eous -- ness, ev'n thine a -- lone, I will re -- cord. _", "14": "For e -- ven from my youth, O God, by thee I have been taught; _ And hith -- er -- to I have de -- clared the won -- ders thou hast wrought. _", "15": "And now, Lord, leave me not, when I old and grey -- head -- ed grow: _ Till to this age thy strength and pow'r to all to come I show. _", "16": "And thy most per -- fect right -- eous -- ness, O Lord, is ver -- y high, _ Who has so great things done: O God, who is like un -- to thee? _", "17": "Thou, Lord, who great ad -- ver -- si -- ties, and sore, to me didst show, _ Shalt qui -- cken, and bring me a -- gain from depths of earth be -- low. _", "18": "My great -- ness and my pow'r thou wilt in -- crease, and far ex -- tend: _ On ev -- 'ry side a -- gainst all grief thou wilt me com -- fort send. _", "19": "Thee, ev'n thy truth, I'll al -- so praise, my God, with psal -- ter -- y: _ Thou Ho -- ly One of I -- sra -- el, with harp I'll sing to thee. _", "20": "My lips shall much re -- joice in thee, when I thy prais -- es sound; _ My soul, which thou re -- deem -- ed hast, in joy shall much a -- bound. _", "21": "My tongue thy jus -- tice shall pro -- claim, con -- tin -- uing all day long; _ For they con -- found -- ed are, and shamed, that seek to do me wrong. _"}, "refrain_lines": null}, {"slug": "o-lord-my-soul-convicted__winchester-new-oh142", "text": "o-lord-my-soul-convicted", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-lord-of-heav-n-and-earth-and-sea__es-ist-kein-tag-oh271", "text": "o-lord-of-heav-n-and-earth-and-sea", "harmonization": "es-ist-kein-tag-oh271", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-lord-of-hosts-how-lovely__aurelia-rcus-1866", "text": "o-lord-of-hosts-how-lovely", "harmonization": "aurelia-rcus-1866", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-of-hosts-to-thee-i-cry__st-ursula-oh300", "text": "o-lord-of-hosts-to-thee-i-cry", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-of-life-whereer-they-be__gelobt-sei-gott-cyberhymnal", "text": "o-lord-of-life-whereer-they-be", "harmonization": "gelobt-sei-gott-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "O Lord of life, wher -- e'er they be, Safe in Thine own e -- ter -- ni -- ty, Our dead are liv -- ing un -- to Thee: Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia!", "2": "All souls are Thine, and here or there They rest with -- in Thy shel -- t'ring care; One prov -- i -- dence a -- like they share: Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia!", "3": "Thy Word is true, Thy ways are just; A -- bove the re -- quiem, Dust to dust, Shall rise our psalm of grate -- ful trust: Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia!", "4": "O hap -- py they in God who rest, No more by fear and doubt op -- pressed, Liv -- ing or dy -- ing, they are blest: Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia! _ _ Al -- le -- lu -- ia!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-lord-our-lord-in-all-the-earth__st-agnes-oh156", "text": "o-lord-our-lord-in-all-the-earth", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thou-art-my-god-and-king__duke-street-fotw-1904", "text": "o-lord-thou-art-my-god-and-king", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thou-art-my-god-and-king-psalm-145__duke-street-fotw-1904", "text": "o-lord-thou-art-my-god-and-king-psalm-145", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thou-hast-been-favrable__azmon-mason-1839", "text": "o-lord-thou-hast-been-favrable", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thou-hast-rejected-us__evan-oh231", "text": "o-lord-thou-hast-rejected-us", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [8, 14, 28], "stanza_lines": {"1": "O Lord, thou hast re -- ject -- ed us, _ and scat -- ter'd us a -- broad; _ Thou just -- ly hast dis -- pleas -- ed been; re -- turn to us, O God. _", "2": "The earth to trem -- ble thou hast made; _ there -- in didst breach -- es make: _ Do thou there -- of the breach -- es heal, be -- cause the land doth shake. _", "3": "Un -- to thy peo -- ple thou hard things _ hast showed, and on them sent; _ And thou hast caus -- ed us to drink wine of as -- ton -- ish -- ment. _", "4": "And yet a ban -- ner thou hast giv -- en to them who thee do fear; _ That it by them, be -- cause of truth, dis -- play -- ed may ap -- pear. _", "5": "That thy be -- lov -- ed peo -- ple may _ de -- liv -- ered be from thrall, _ Save with the pow'r of thy right hand, and hear me when I call. _", "6": "God in his ho -- li -- ness hath spoke; _ here -- in I will take plea -- sure: She -- chem I will di -- vide, and forth will Suc -- coth's val -- ley mea -- sure.", "7": "Gil -- ead I claim as mine by right; _ Ma -- nas -- seh mine shall be; _ Eph -- raim is of mine head the strength; Ju -- dah gives laws for me; _", "8": "Mo -- ab's my wash -- ing -- pot; my shoe _ I'll o -- ver E -- dom throw; _ And o -- ver Pal -- es -- ti -- na's land I will in tri -- umph go. _", "9": "O who is he will bring me to _ the cit -- y for -- ti -- fied? _ O who is he that to the land of E -- dom will me guide? _", "10": "O God, which had -- est us cast off, _ this thing wilt thou not do? _ Ev'n thou, O God, which did -- est not forth with our ar -- mies go? _", "11": "Help us from trou -- ble; for the help _ is vain which man sup -- plies. _ Through God we'll do great acts; he shall tread down our en -- e -- mies. _"}, "refrain_lines": null}, {"slug": "o-lord-thou-judge-of-all-the-earth__st-cross-oh97", "text": "o-lord-thou-judge-of-all-the-earth", "harmonization": "st-cross-oh97", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thy-judgments-give-the-king__winchester-old-cyberhymnal", "text": "o-lord-thy-judgments-give-the-king", "harmonization": "winchester-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-lord-thy-perfect-righteousness__st-thomas-oh44", "text": "o-lord-thy-perfect-righteousness", "harmonization": "st-thomas-oh44", "alignment": "explicit", "note_splits": [2, 3], "stanza_lines": {"1": "O Lord, Thy per -- fect right -- eous -- _ ness Is _ in thy _ judg -- ments shown; In Thy un -- chang -- ing faith -- _ ful -- _ ness Thy truth Thou _ hast made known.", "2": "Be -- cause Thy foes for -- get Thy _ law My _ soul is _ great -- ly stirred; Thy ser -- vant loves the pur -- _ i -- _ ty Of Thy most _ ho -- ly word.", "3": "Tho' I am hum -- ble and des -- _ pised, I _ strive Thy _ will to do; E -- ter -- nal is Thy right -- _ eous -- _ ness, And all Thy _ law is true.", "4": "De -- light a -- mid dis -- tress and _ pain Do _ Thy com -- _ mand -- ments give; Thy word is right -- eous ev -- _ er -- _ more, Teach me that _ I may live."}, "refrain_lines": null, "meter_checked": true}, {"slug": "o-master-let-me-walk-with-thee__germany-cyberhymnal", "text": "o-master-let-me-walk-with-thee", "harmonization": "germany-cyberhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "O Mas -- ter, let me walk _ with Thee, In low -- ly paths of ser -- _ vice free; Tell me Thy se -- _ cret; help me bear _ The strain of toil, _ the fret _ of care.", "2": "Help me the slow of heart _ to move By some clear, win -- ning word _ of love; Teach me the way -- _ ward feet to stay, _ And guide them in _ the home -- _ ward way.", "3": "O Mas -- ter, let me walk _ with Thee, Be -- fore the taunt -- ing Phar -- _ i -- see; Help me to bear _ the sting of spite, _ The hate of men _ who hide _ Thy light.", "4": "The sore dis -- trust of souls _ sin -- cere Who can -- not read Thy judg -- _ ments clear, The dull -- ness of _ the mul -- ti -- tude, _ Who dim -- ly guess _ that Thou _ art good.", "5": "Teach me Thy pa -- tience; still _ with Thee In clos -- er, dear -- er, com -- _ pa -- ny, In work that keeps _ faith sweet and strong, _ In trust that tri -- _ umphs ov -- _ er wrong.", "6": "In hope that sends a shin -- _ ing ray Far down the fu -- ture's broad -- _ 'ning way, In peace that on -- _ ly Thou canst give, _ With Thee, O Mas -- _ ter, let _ me live."}, "refrain_lines": null}, {"slug": "o-master-let-me-walk-with-thee__maryton-cyberhymnal", "text": "o-master-let-me-walk-with-thee", "harmonization": "maryton-cyberhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "O Mas -- ter, let me walk with Thee, In low -- ly paths of ser -- _ vice free; Tell me Thy se -- cret; help _ me bear The strain of toil, the fret _ of care.", "2": "Help me the slow of heart to move By some clear, win -- ning word _ of love; Teach me the way -- ward feet _ to stay, And guide them in the home -- _ ward way.", "3": "O Mas -- ter, let me walk with Thee, Be -- fore the taunt -- ing Phar -- _ i -- see; Help me to bear the sting _ of spite, The hate of men who hide _ Thy light.", "4": "The sore dis -- trust of souls sin -- cere Who can -- not read Thy judg -- _ ments clear, The dull -- ness of the mul -- _ ti -- tude, Who dim -- ly guess that Thou _ art good.", "5": "Teach me Thy pa -- tience; still with Thee In clos -- er, dear -- er, com -- _ pa -- ny, In work that keeps faith sweet _ and strong, In trust that tri -- umphs ov -- _ er wrong.", "6": "In hope that sends a shin -- ing ray Far down the fu -- ture's broad -- _ 'ning way, In peace that on -- ly Thou _ canst give, With Thee, O Mas -- ter, let _ me live."}, "refrain_lines": null}, {"slug": "o-mighty-man-why-wilt-thou-boast__winchester-new-oh142", "text": "o-mighty-man-why-wilt-thou-boast", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-morning-star-how-fair-and-bright__wie-schon-leuchtet-bwv436", "text": "o-morning-star-how-fair-and-bright", "harmonization": "wie-schon-leuchtet-bwv436", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-morning-star-how-fair-and-bright__wie-schon-leuchtet-cyberhymnal", "text": "o-morning-star-how-fair-and-bright", "harmonization": "wie-schon-leuchtet-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-my-soul-bless-god-the-father__stuttgart-cyberhymnal", "text": "o-my-soul-bless-god-the-father", "harmonization": "stuttgart-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-perfect-love-all-human-thought-transcending__perfect-love-cyberhymnal", "text": "o-perfect-love-all-human-thought-transcending", "harmonization": "perfect-love-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-royal-bride-give-heed__sellinge-oh181", "text": "o-royal-bride-give-heed", "harmonization": "sellinge-oh181", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-sacred-head-now-wounded__passion-chorale-bach-1729", "text": "o-sacred-head-now-wounded", "harmonization": "passion-chorale-bach-1729", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-sing-a-new-song-to-the-lord__coronation-church-hymnal-1896", "text": "o-sing-a-new-song-to-the-lord", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "O sing a new song to the Lord, for won -- ders he hath done: His right hand and his ho -- ly arm him vic -- to -- ry hath won. His right hand and his ho -- ly arm him vic -- to -- ry hath won.", "2": "The Lord God his sal -- va -- ti -- on hath caus -- ed to be known; His jus -- tice in the hea -- then's sight he o -- pen -- ly hath shown. His jus -- tice in the hea -- then's sight he o -- pen -- ly hath shown.", "3": "He mind -- ful of his grace and truth to Is -- r'el's house hath been; And the sal -- va -- tion of our God all ends of th'earth have seen. And the sal -- va -- tion of our God all ends of th'earth have seen.", "4": "Let all the earth un -- to the Lord send forth a joy -- ful noise; Lift up your voice a -- loud to him, sing prais -- es, and re -- joice. Lift up your voice a -- loud to him, sing prais -- es, and re -- joice.", "5": "With harp, with harp, and voice of psalms, un -- to JE -- HO -- VAH sing: With trum -- pets, cor -- nets, glad -- ly sound be -- fore the Lord the King. With trum -- pets, cor -- nets, glad -- ly sound be -- fore the Lord the King.", "6": "Let seas and all their ful -- ness roar; the world, and dwell -- ers there; Let floods clap hands, and let the hills to -- geth -- er joy de -- clare Let floods clap hands, and let the hills to -- geth -- er joy de -- clare", "7": "Be -- fore the Lord; be -- cause he comes, to judge the earth comes he: He'll judge the world with right -- eous -- ness, his folk with eq -- ui -- ty. He'll judge the world with right -- eous -- ness, his folk with eq -- ui -- ty."}, "refrain_lines": null, "meter_checked": true}, {"slug": "o-sing-a-new-song-to-the-lord-psalm-96__evan-oh231", "text": "o-sing-a-new-song-to-the-lord-psalm-96", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-that-the-lord-would-guide-my-ways__evan-oh231", "text": "o-that-the-lord-would-guide-my-ways", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-the-deep-deep-love-of-jesus__ebenezer-oh", "text": "o-the-deep-deep-love-of-jesus", "harmonization": "ebenezer-oh", "alignment": "explicit", "stanza_lines": {"1": "O the _ _ deep, deep love of _ _ Je -- _ sus, vast, un -- _ _ meas -- _ ured, bound -- _ less, free! Rol -- ling _ _ as a might -- y _ _ o -- _ cean in its _ _ full -- _ ness ov -- _ er me! Un -- der -- _ _ neath me, all ar -- _ _ ound me, is the _ _ cur -- rent of Thy _ _ love Lead -- ing _ _ on -- ward, lead -- ing _ _ home -- _ ward to Thy _ _ glor -- _ ious rest _ a -- bove!", "2": "O the _ _ deep, deep love of _ _ Je -- _ sus, spread His _ _ praise _ from shore _ to shore! How He _ _ lov -- eth, ev -- er _ _ lov -- _ eth, chang -- eth _ _ nev -- _ er, nev -- _ er -- more! How He _ _ watch -- es o'er His _ _ loved ones, died to _ _ call them all His _ _ own; How for _ _ them He in -- ter -- _ _ ced -- _ eth, watch -- eth _ _ o'er _ them from _ the throne!", "3": "O the _ _ deep, deep love of _ _ Je -- _ sus, love of _ _ ev -- _ ery love _ the best! 'Tis an _ _ o -- cean full of _ _ bless -- _ ing, 'tis a _ _ ha -- _ ven giv -- _ ing rest! O the _ _ deep, deep love of _ _ Je -- sus, 'tis a _ _ heav'n of heav'ns to _ _ me; And it _ _ lifts me up to _ _ glo -- _ ry, for it _ _ lifts _ me up _ to Thee!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-thou-great-shepherd-of-thy-chosen-race__unde-et-memores-oh152", "text": "o-thou-great-shepherd-of-thy-chosen-race", "harmonization": "unde-et-memores-oh152", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-thou-that-dwellest-in-the-heavns__evan-oh231", "text": "o-thou-that-dwellest-in-the-heavns", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-thou-the-god-of-all-my-praise__evan-oh231", "text": "o-thou-the-god-of-all-my-praise", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [28], "stanza_lines": {"1": "O thou the God of all my praise, do thou not hold thy peace; For mouths of wick -- ed men to speak a -- gainst me do not cease: _", "2": "The mouths of vile de -- ceit -- ful men a -- gainst me o -- pened be; And with a false and ly -- ing tongue they have ac -- cus -- ed me. _", "3": "They did be -- set me round a -- bout with words of hate -- ful spite; And though to them no cause I gave, a -- gainst me they did fight. _", "4": "They for my love be -- came my foes, but I me set to pray. E -- vil for good, ha -- tred for love, to me they did re -- pay. _", "5": "Set thou the wick -- ed o -- ver him; and up -- on his right hand Give thou his great -- est en -- e -- my, ev'n Sa -- tan, leave to stand. _", "6": "And when by thee he shall be judged, let him con -- demn -- ed be; And let his pray'r be turned to sin, when he shall call on thee. _", "7": "Few be his days, and in his room his charge an -- oth -- er take. His chil -- dren let be fa -- ther -- less, his wife a wid -- ow make. _", "8": "His chil -- dren let be vag -- a -- bonds, and beg con -- tin -- ual -- ly; And from their plac -- es des -- o -- late seek bread for their sup -- ply. _", "9": "Let cov -- et -- ous ex -- tor -- tion -- ers catch all he hath a -- way: Of all for which he la -- boured hath let stran -- gers make a prey. _", "10": "Let there be none to pit -- y him, let there be none at all That on his chil -- dren fa -- ther -- less will let his mer -- cy fall. _", "11": "Let his pos -- ter -- i -- ty from earth cut off for ev -- er be, And in the fol -- l'wing age their name be blott -- ed out by thee. _", "12": "Let God his fa -- ther's wick -- ed -- ness still to re -- mem -- brance call; And nev -- er let his moth -- er's sin be blott -- ed out at all. _", "13": "But let them all be -- fore the Lord ap -- pear con -- tin -- ual -- ly, That he may whol -- ly from the earth cut off their mem -- o -- ry. _", "14": "Be -- cause he mer -- cy mind -- ed not, but per -- se -- cut -- ed still The poor and need -- y, that he might the bro -- ken -- heart -- ed kill. _", "15": "As he in curs -- ing plea -- sure took, so let it to him fall; As he de -- light -- ed not to bless, so bless him not at all. _", "16": "As curs -- ing he like clothes put on, in -- to his bow -- els so, Like wa -- ter, and in -- to his bones, like oil, down let it go. _", "17": "Like to the gar -- ment let it be which doth him -- self ar -- ray, And for a gird -- le, where -- with he is girt a -- bout al -- way. _", "18": "From God let this be their re -- ward that en -- 'mies are to me, And their re -- ward that speak a -- gainst my soul ma -- li -- cious -- ly. _", "19": "But do thou, for thine own name's sake, O God the Lord, for me: Sith good and sweet thy mer -- cy is, from trou -- ble set me free. _", "20": "For I am poor and in -- di -- gent, af -- flic -- ted sore am I, My heart with -- in me al -- so is woun -- ded ex -- ceed -- ing -- ly. _", "21": "I pass like a de -- clin -- ing shade, am like the lo -- cust tossed: My knees through fast -- ing weak -- ened are, my flesh hath fat -- ness lost. _", "22": "I al -- so am a vile re -- proach un -- to them made to be; And they that did up -- on me look did shake their heads at me. _", "23": "O do thou help and suc -- cour me, who art my God and Lord: And, for thy ten -- der mer -- cy's sake, safe -- ty to me af -- ford: _", "24": "That there -- by they may know that this is thy al -- might -- y hand; And that thou, Lord, hast done the same, they may well un -- der -- stand. _", "25": "Al -- though they curse with spite, yet, Lord, bless thou with lov -- ing voice: Let them a -- shamed be when they rise; thy ser -- vant let re -- joice. _", "26": "Let thou mine ad -- ver -- sar -- ies all with shame be clothed o -- ver; And let their own con -- fu -- si -- on them, as a mant -- le, cov -- er.", "27": "But as for me, I with my mouth will great -- ly praise the Lord; And I a -- mong the mul -- ti -- tude his prais -- es will re -- cord. _", "28": "For he shall stand at his right hand who is in pov -- er -- ty, To save him from all those that would con -- demn his soul to die. _"}, "refrain_lines": null}, {"slug": "o-trinity-of-blessed-light__o-lux-beata-trinitas-oh314", "text": "o-trinity-of-blessed-light", "harmonization": "o-lux-beata-trinitas-oh314", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-wherefore-do-the-nations-rage__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "o-wherefore-do-the-nations-rage", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "o-word-of-god-incarnate__munich-cyberhymnal", "text": "o-word-of-god-incarnate", "harmonization": "munich-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "O _ Word of God in -- car -- nate, O Wis -- dom _ from on high; O _ Truth un -- changed, un _ chang -- ing, O Light of _ our dark sky; We praise Thee for the ra -- diance That from the hal -- lowed _ page, A lan -- tern to our _ foot -- steps, Shines on from age to age.", "2": "The _ Church from her dear Mas -- ter Re -- ceived the _ gift di -- vine; And _ still that light she _ lift -- eth O'er all the _ earth to shine; It is the gold -- en cas -- ket Where gems of truth are _ stored; It is the heav'n -- drawn _ pic -- ture Of Christ, the liv -- ing Word.", "3": "It _ float -- eth like a ban -- ner Be -- fore God's _ host un -- furled; It _ shin -- eth like a _ bea -- con A -- bove the _ dark -- ling world; It is the chart and com -- pass That o'er life's surg -- ing _ sea, 'Mid mists and rocks and _ quick -- sands Still guides, O Christ, to Thee.", "4": "O _ make Thy Church, dear Sav -- ior, A lamp of _ pur -- est gold, To _ bear be -- fore the _ na -- tions Thy true light, _ as of old; O teach Thy wan -- dering pil -- grims By this their path to _ trace, Till, clouds and dark -- ness _ end -- ed, They see Thee face to face."}, "refrain_lines": null, "stress_checked": true}, {"slug": "o-worship-the-king__lyons-cyberhymnal", "text": "o-worship-the-king", "harmonization": "lyons-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "O wor -- ship the King, all glo -- rious a -- bove O _ grate -- ful -- ly sing His power _ and His love; Our shield and de -- fend -- er, the An -- cient of Days, Pa -- _ vil -- ioned in splen -- dor, and gird -- _ ed with praise.", "2": "O tell of His might! O sing of His grace! Whose _ robe is the light, whose can -- _ o -- py space; His char -- iots of wrath the deep thun -- der -- clouds form, And _ dark is His path on the wings _ of the storm.", "3": "The earth, with its store of won -- ders un -- told, Al -- _ might -- y! Thy power hath found -- _ ed of old; Es -- tab -- lished it fast by a change -- less de -- cree, And _ round it hath cast, like a man -- _ tle, the sea.", "4": "Thy boun -- ti -- ful care, what tongue can re -- cite? It _ breathes in the air, it shines _ in the light; It streams from the hills, it de -- scends to the plain, And _ sweet -- ly dis -- tills in the dew _ and the rain.", "5": "Frail child -- ren of dust, and fee -- ble as frail, In _ Thee do we trust, nor find _ Thee to fail; Thy mer -- cies how ten -- der! How firm to the end! Our _ mak -- er, de -- fend -- er, re -- deem -- _ er, and friend!", "6": "O mea -- sure -- less might! In -- ef -- fa -- ble love! While _ an -- gels de -- light to hymn _ Thee a -- bove; The hum -- bler cre -- a -- tion, though fee -- ble their lays, With _ true ad -- o -- ra -- tion shall all _ sing Thy praise."}, "refrain_lines": null, "stress_checked": true}, {"slug": "of-the-father-s-love-begotten__divinum-mysterium-oh41", "text": "of-the-father-s-love-begotten", "harmonization": "divinum-mysterium-oh41", "alignment": "explicit", "stanza_lines": {"1": "Of the Fa -- ther's love be -- got -- _ ten Ere the worlds be -- gan _ to be, He is Al -- pha and O -- me -- _ ga, He the source, the end -- _ ing He, Of the things that are, that have been, And _ that fu -- _ ture years shall see, _ _ Ev -- er -- more and ev -- er -- more! _", "2": "At His Word they were cre -- at -- _ ed; He com -- mand -- ed; it _ was done: Heav'n and earth and depths of o -- _ cean In their three -- fold or -- _ der one; All that grows be -- neath the shin -- ing Of _ the moon _ and burn -- ing sun, _ _ Ev -- er -- more and ev -- er -- more! _", "3": "He is found in hu -- man fash -- _ ion, Death and sor -- row here _ to know, That the race of Ad -- am's child -- _ ren, Doomed by law to end -- _ less woe, May not hence -- forth die and per -- ish In _ the dread -- _ ful gulf be -- low, _ _ Ev -- er -- more and ev -- er -- more! _", "4": "Oh that birth for -- ev -- er bless -- _ ed! When the vir -- gin, full _ of grace, By the Ho -- ly Ghost con -- ceiv -- _ ing, Bare the Sav -- ior of _ our race; And the Babe, the world's Re -- deem -- er, First _ re -- vealed _ His sa -- cred face, _ _ Ev -- er -- more and ev -- er -- more! _", "5": "O ye heights of heav'n a -- dore _ Him; An -- gel hosts, His prais -- _ es sing; Pow'rs, do -- min -- ions, bow be -- fore _ Him, and ex -- tol our God _ and King: Let no tongue on earth be si -- lent, Ev -- _ ery voice _ in con -- cert ring, _ _ Ev -- er -- more and ev -- er -- more! _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "oft-did-they-vex-me-from-my-youth__st-anne-lutheran-hymnary-1913", "text": "oft-did-they-vex-me-from-my-youth", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "oh-hear-my-prayer-lord__blessed-home-cyberhymnal", "text": "oh-hear-my-prayer-lord", "harmonization": "blessed-home-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Oh, hear my pray -- er, Lord, _ And un -- to my de -- sire To bow thine ear ac -- cord, I hum -- bly thee re -- quire; And, in thy faith -- ful -- ness, Un -- _ to me an -- swer make, And, in thy right -- eous -- ness, Up -- on me pit -- y take.", "2": "In judg -- ment en -- ter not _ With me thy ser -- vant poor; For why, this well I wot, No sin -- ner can en -- dure The sight of thee, O God: If _ thou his deeds shalt try, He dare make none a -- bode Him -- self to jus -- ti -- fy.", "3": "Be -- hold, the cru -- el foe _ Me per -- se -- cutes with spite, My soul to o -- ver -- throw: Yea, he my life down quite Un -- to the ground hath smote, And _ made me dwell full low In dark -- ness, as for -- got, Or men dead long a -- go.", "4": "There -- fore my spirit much vexed, _ O'er -- whelmed is me with -- in; My heart right sore per -- plexed And des -- o -- late hath been. Yet I do call to mind What _ an -- cient days re -- cord, Thy works of ev -- 'ry kind I think up -- on, O Lord.", "5": "Lo, I do stretch my hands _ To thee, my help a -- lone; For thou well un -- der -- stands All my com -- plaint and moan: My thirst -- ing soul de -- sires, And _ long -- eth af -- ter thee, As thir -- sty ground re -- quires With rain re -- freshed to be.", "6": "Lord, let my pray'r pre -- vail, _ To an -- swer it make speed; For, lo, my spirit doth fail: Hide not thy face in need; Lest I be like to those That _ do in dark -- ness sit, Or him that down -- ward goes In -- to the dread -- ful pit.", "7": "Be -- cause I trust in thee, _ O Lord, cause me to hear Thy lov -- ing -- kind -- ness free, When morn -- ing doth ap -- pear: Cause me to know the way Where -- _ in my path should be; For why, my soul on high I do lift up to thee.", "8": "From my fierce en -- e -- my _ In safe -- ty do me guide, Be -- cause I flee to thee, Lord, that thou may'st me hide. My God a -- lone art thou, Teach _ me thy right -- eous -- ness: Thy Spirit's good, lead me to The land of up -- right -- ness.", "9": "O Lord, for thy name's sake, _ Be pleased to qui -- cken me; And, for thy truth, forth take My soul from mis -- er -- y. And of thy grace de -- stroy My _ foes, and put to shame All who my soul an -- noy; For I thy ser -- vant am."}, "refrain_lines": null}, {"slug": "on-god-alone-my-soul-relies__richmond-church-hymnal-1896", "text": "on-god-alone-my-soul-relies", "harmonization": "richmond-church-hymnal-1896", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "on-jordan-s-bank-the-baptist-s-cry__puer-nobis-nascitur-oh40", "text": "on-jordan-s-bank-the-baptist-s-cry", "harmonization": "puer-nobis-nascitur-oh40", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "on-the-good-and-faithful__penitence-cyberhymnal", "text": "on-the-good-and-faithful", "harmonization": "penitence-cyberhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "On the good and faith -- ful God has set His love; When they call He sends them Bless -- ings from a -- bove. _ Stand in awe, and sin not, _ Bid your heart be still; _ _ Thro' the si -- lent watch -- es Think up -- on His will.", "2": "Lay up -- on God's al -- tar Good and lov -- ing deeds, And in all things trust Him To sup -- ply your needs. _ An -- xious and de -- spair -- ing, _ Man -- y walk in night; _ _ But to those that fear Him God will send His light.", "3": "In God's love a -- bid -- ing, I have joy and peace More than all the wick -- ed, Tho' their wealth in -- crease. _ In His care con -- fid -- ing, _ I will sweet -- ly sleep, _ _ For the Lord, my Sav -- iour, Will in safe -- ty keep."}, "refrain_lines": null}, {"slug": "open-now-thy-gates-of-beauty__unser-herrscher-oh25", "text": "open-now-thy-gates-of-beauty", "harmonization": "unser-herrscher-oh25", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "our-god-our-help-in-ages-past__st-anne-lutheran-hymnary-1913", "text": "our-god-our-help-in-ages-past", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "out-of-the-deep-i-cry-to-thee__aus-tiefer-not-luther-oh143", "text": "out-of-the-deep-i-cry-to-thee", "harmonization": "aus-tiefer-not-luther-oh143", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "over-kidron-jesus-treadeth__over-kedron-jesus-traeder-oh96", "text": "over-kidron-jesus-treadeth", "harmonization": "over-kedron-jesus-traeder-oh96", "alignment": "explicit", "stanza_lines": {"1": "O -- ver Kid -- ron Je -- sus tread -- eth To His pas -- sion for us all; Ev -- ery hu -- man eye be weep -- ing, Tears of bit -- ter grief let fall! Round His Spir -- it flock the foes, Place their shafts and bend their bows, Aim -- ing at the Sav -- ior sole -- ly, While the world for -- sakes Him _ whol -- ly.", "2": "Da -- vid once, with heart af -- flic -- ted, Crossed the Kid -- ron's nar -- row strand, Clouds of gloom and grief a -- bout him When an ex -- ile from his land. But, O Je -- sus, black -- er now Bends the cloud a -- bove Thy brow, Hast -- ing to death's drea -- ry por -- tals For the shame and sin of _ mor -- tals.", "3": "See how, an -- guish struck, He fall -- eth Pro -- strate, and with strug -- gling breath, Three times on His God He call -- eth, Pray -- ing that the bit -- ter death And the cup of doom may go, Still He cries, in all His woe: \"Not My will, but Thine, O Fa -- ther!\" And the an -- gels round Him _ gath -- er.", "4": "See how, in that hour of dark -- ness, Batt -- ling with the e -- vil pow'r, Ag -- on -- ies un -- told as -- sail Him, On His soul the ar -- rows show'r; All the gar -- den flow'rs are wet With the drops of blood -- y sweat, From His an -- guished frame dis -- till -- ing -- World's re -- demp -- tion thus ful -- _ fill -- ing!", "5": "But, O flow'rs, so sad -- ly wa -- tered By this pure and prec -- ious dew, In some bless -- ed hour your blos -- soms 'Neath the ol -- ive shad -- ows grew! E -- den's gar -- den did not bear Aught that can with you com -- pare, For the blood, thus free -- ly giv -- en, Makes my soul the heir of _ heav -- en."}, "refrain_lines": null, "stress_checked": true}, {"slug": "pass-me-not-o-gentle-savior__pass-me-not-o-gentle-savior-oh1", "text": "pass-me-not-o-gentle-savior", "harmonization": "pass-me-not-o-gentle-savior-oh1", "alignment": "explicit", "stanza_lines": {"1": "Pass me not, O gen -- tle Sav -- ior, Hear my hum -- ble cry; While on oth -- ers Thou art call -- ing, Do not pass me by.", "2": "Let me at Thy throne of mer -- cy Find a sweet re -- lief, Kneel -- ing there in deep con -- tri -- tion; Help my un -- be -- lief.", "3": "Trust -- ing on -- ly in Thy mer -- it, Would I seek Thy face; Heal my wound -- ed, bro -- ken spir -- it, Save me by Thy grace.", "4": "Thou the Spring of all my com -- fort, More than life to me, Whom have I on earth be -- side Thee? Whom in Heav'n but Thee?"}, "refrain_lines": "Sa -- vior, Sa -- _ vior, Hear my hum -- ble cry; While on o -- thers Thou art call -- ing, Do not pass me by.", "stress_checked": true}, {"slug": "praise-god-for-he-is-kind__darwalls-148th-csb1918", "text": "praise-god-for-he-is-kind", "harmonization": "darwalls-148th-csb1918", "alignment": "explicit", "note_splits": [12, 24], "stanza_lines": {"1": "Praise God, for he is kind: His mer -- cy lasts for aye. _ Give thanks with heart and mind To God of gods al -- way: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "2": "The Lord of lords praise ye, Whose mer -- cies still en -- dure. _ Great won -- ders on -- ly he Doth work by his great power: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "3": "Which God om -- nip -- o -- tent, By might and wis -- dom high, _ The heav'n and fir -- ma -- ment Did frame, as we may see: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "4": "To him who did out -- stretch This earth so great and wide, _ A -- bove the wa -- ters' reach Mak -- ing it to a -- bide: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "5": "Great lights he made to be; For his grace last -- eth aye: _ Such as the sun we see, To rule the light -- some day: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "6": "Al -- so the moon so clear, Which shin -- eth in our sight; _ The stars that do ap -- pear, To guide the dark -- some night: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "7": "To him that E -- gypt smote, Who did his mes -- sage scorn; _ And in his an -- ger hot Did kill all their first -- born: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "8": "Thence Is -- r'el out he brought; For his grace last -- eth ev -- er. With a strong hand he wrought, And stretched -- out arm de -- liv -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "9": "The sea he cut in two; For his grace last -- eth still. _ And through its midst to go Made his own I -- sra -- el: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "10": "But o -- ver -- whelmed and lost Was proud king Phar -- a -- oh, _ With all his might -- y host, And char -- iots there al -- so: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "11": "To him who pow'r -- ful -- ly His cho -- sen peo -- ple led, _ Ev'n through the des -- ert dry, And in that place them fed: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "12": "To him great kings who smote; For his grace hath no bound. _ Who slew, and spar -- ed not Kings fa -- mous and re -- nowned: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "13": "Si -- hon the Am -- 'rites' king; For his grace last -- eth ev -- er: Og al -- so, who did reign The land of Ba -- shan o -- ver: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "14": "Their land by lot he gave; For his grace fail -- eth nev -- er, That Is -- r'el might it have In her -- i -- tage for ev -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "15": "Who hath re -- mem -- ber -- ed Us in our low es -- tate; _ And us de -- liv -- er -- ed From foes which did us hate: _ For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly.", "16": "Who to all flesh gives food; For his grace fail -- eth nev -- er. Give thanks to God most good, The God of heav'n, for ev -- er: For cer -- tain -- ly his mer -- cies dure Most firm and sure e -- ter -- nal -- ly."}, "refrain_lines": null}, {"slug": "praise-god-from-heavens-praise-the-lord__lea-oh299", "text": "praise-god-from-heavens-praise-the-lord", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-god-from-whom-all-blessings-flow__old-100th-oh", "text": "praise-god-from-whom-all-blessings-flow", "harmonization": "old-100th-oh", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "praise-god-the-lord-praise-o-my-soul__coronation-church-hymnal-1896", "text": "praise-god-the-lord-praise-o-my-soul", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "Praise God. The Lord praise, O my soul. I'll praise God while I live; While I have be -- ing to my God in songs I'll prais -- es give. While I have be -- ing to my God in songs I'll prais -- es give.", "2": "Trust not in prin -- ces, nor man's son, in whom there is no stay: His breath de -- parts, to's earth he turns; that day his thoughts de -- cay. His breath de -- parts, to's earth he turns; that day his thoughts de -- cay.", "3": "O hap -- py is that man and blest, whom Ja -- cob's God doth aid; Whose hope up -- on the Lord doth rest, and on his God is stayed: Whose hope up -- on the Lord doth rest, and on his God is stayed:", "4": "Who made the earth and heav -- ens high, who made the swell -- ing deep, And all that is with -- in the same; who truth doth ev -- er keep: And all that is with -- in the same; who truth doth ev -- er keep:", "5": "Who right -- eous judg -- ment ex -- e -- cutes for those op -- pressed that be, Who to the hun -- gry giv -- eth food; God sets the pris -- 'ners free. Who to the hun -- gry giv -- eth food; God sets the pris -- 'ners free.", "6": "The Lord doth give the blind their sight, the bow -- ed down doth raise: The Lord doth dear -- ly love all those that walk in up -- right ways. The Lord doth dear -- ly love all those that walk in up -- right ways.", "7": "The stran -- ger's shield, the wid -- ow's stay, the or -- phan's help, is he: But yet by him the wi -- cked's way turn'd up -- side down shall be. But yet by him the wi -- cked's way turn'd up -- side down shall be.", "8": "The Lord shall reign for ev -- er -- more: thy God, O Zi -- on, he Reigns to all gen -- er -- a -- ti -- ons. Praise to the Lord give ye. Reigns to all gen -- er -- a -- ti -- ons. Praise to the Lord give ye."}, "refrain_lines": null, "meter_checked": true}, {"slug": "praise-god-ye-servants-of-the-lord__arlington-cyberhymnal", "text": "praise-god-ye-servants-of-the-lord", "harmonization": "arlington-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-him-praise-him__joyful-song-1887", "text": "praise-him-praise-him", "harmonization": "joyful-song-1887", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "praise-my-soul-the-king-of-heaven__lauda-anima-goss-1869", "text": "praise-my-soul-the-king-of-heaven", "harmonization": "lauda-anima-goss-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-the-lord-ye-heavens-adore-him__austrian-hymn-evangelical-1880", "text": "praise-the-lord-ye-heavens-adore-him", "harmonization": "austrian-hymn-evangelical-1880", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-to-the-lord-the-almighty__lobe-den-herren-bennett-1863", "text": "praise-to-the-lord-the-almighty", "harmonization": "lobe-den-herren-bennett-1863", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-waits-for-thee-in-zion-lord__st-anne-lutheran-hymnary-1913", "text": "praise-waits-for-thee-in-zion-lord", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-waits-in-zion-lord-for-thee__winchester-new-oh142", "text": "praise-waits-in-zion-lord-for-thee", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-waits-in-zion-lord-for-thee-psalm-65__lea-oh299", "text": "praise-waits-in-zion-lord-for-thee-psalm-65", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-ye-praise-ye-the-lord__darwalls-148th-csb1918", "text": "praise-ye-praise-ye-the-lord", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-ye-the-lord-for-he-is-good__st-flavian-oh87", "text": "praise-ye-the-lord-for-he-is-good", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-ye-the-lord-for-it-is-good__evan-oh231", "text": "praise-ye-the-lord-for-it-is-good", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-ye-the-lord-gods-praise-within__new-britain-excell-1900", "text": "praise-ye-the-lord-gods-praise-within", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "praise-ye-the-lord-with-my-whole-heart__evan-oh231", "text": "praise-ye-the-lord-with-my-whole-heart", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "Praise ye the Lord: with my whole heart I will God's praise de -- clare, _ Where the as -- sem -- blies of the just and con -- gre -- ga -- tions are. _", "2": "The whole works of the Lord our God are great a -- bove all mea -- sure, Sought out they are of ev -- ery -- one that doth there -- in take plea -- sure.", "3": "His work most hon -- our -- a -- ble is, most glo -- ri -- ous and pure, _ And his un -- taint -- ed right -- eous -- ness for ev -- er doth en -- dure. _", "4": "His works most won -- der -- ful he hath made to be thought up -- on: _ The Lord is gra -- cious, and he is full of com -- pas -- si -- on. _", "5": "He giv -- eth meat un -- to all those that tru -- ly do him fear; _ And ev -- er -- more his cov -- e -- nant he in his mind will bear. _", "6": "He did the pow -- er of his works un -- to his peo -- ple show, _ When he the hea -- then's her -- i -- tage up -- on them did be -- stow. _", "7": "His han -- di -- works are truth and right; all his com -- mands are sure: _ And, done in truth and up -- right -- ness, they ev -- er -- more en -- dure. _", "8": "He sent re -- demp -- tion to his folk; his cov -- e -- nant for aye _ He did com -- mand: ho -- ly his name and rev -- 'rend is al -- way. _", "9": "Wis -- dom's be -- gin -- ning is God's fear: good un -- der -- stand -- ing they _ Have all that his com -- mands ful -- fil: his praise en -- dures for aye. _"}, "refrain_lines": null}, {"slug": "praise-ye-the-lord-ye-hosts-above__new-britain-excell-1900", "text": "praise-ye-the-lord-ye-hosts-above", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "regard-my-grief-and-rescue-me__winchester-new-oh142", "text": "regard-my-grief-and-rescue-me", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "rejoice-o-pilgrim-throng__marion-oh263", "text": "rejoice-o-pilgrim-throng", "harmonization": "marion-oh263", "alignment": "explicit", "stanza_lines": {"1": "Re -- joice, O _ pil -- grim throng! Re -- joice, give _ thanks, and sing; Your fest -- al _ ban -- ner wave _ on _ high, The cross of Christ your King.", "2": "With all the _ an -- gel choirs, With all the _ saints on earth, Pour out the _ strains of joy _ and _ bliss, True rap -- ture, nob -- lest mirth.", "3": "With voice as _ full and strong As o -- cean's _ sur -- ging praise, Send forth the _ hymns our fa -- _ thers _ loved, The psalms of an -- cient days.", "4": "Still lift your _ stand -- ard high, Still march in _ firm ar -- ray, As war -- riors _ through the dark -- _ ness _ toil, Till dawns the gol -- den day.", "5": "Yes, on through _ life's long path, Still chant -- ing _ as ye go; From youth to _ age, by night _ and _ day, In glad -- ness and in woe."}, "refrain_lines": "Re -- joice, re -- joice, re -- joice, Give _ thanks and sing.", "stress_checked": true}, {"slug": "rejoice-rejoice-believers__llangloffan-cyberhymnal", "text": "rejoice-rejoice-believers", "harmonization": "llangloffan-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Re -- joice, re -- joice, be -- liev -- _ ers, And let your lights ap -- pear. The _ eve -- ning is ad -- van -- _ cing, And dark -- er night is near. The Bride -- groom is a -- ris -- ing, And soon He draw -- eth nigh. Up, pray, and watch, and wres -- _ tle: At mid -- night comes the cry.", "2": "See that your lamps are burn -- _ ing; Re -- plen -- ish them with oil. And _ wait for your sal -- va -- _ tion, The end of earth -- ly toil. The watch -- ers on the moun -- tain Pro -- claim the Bride -- groom near. Go meet Him as He com -- _ eth, With al -- le -- lu -- ias clear.", "3": "Our hope and ex -- pec -- ta -- _ tion, O Je -- sus, now ap -- pear! A -- _ rise, Thou sun so longed _ for, O'er this be -- night -- ed sphere! With hearts and hands up -- lift -- ed, We plead, O Lord, to see The day of earth's re -- demp -- _ tion That brings us un -- to Thee.", "4": "Ye saints, who here in pa -- _ tience Your cross and suf -- f'rings bore, Shall _ live and reign for -- ev -- _ er, When sor -- row is no more. A -- round the throne of glo -- ry The Lamb ye shall be -- hold; In tri -- umph cast be -- fore _ Him Your di -- a -- dems of gold!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "rejoice-the-lord-is-king__arthurs-seat-cyberhymnal", "text": "rejoice-the-lord-is-king", "harmonization": "arthurs-seat-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Re -- joice, the Lord is King! Your _ Lord and King a -- _ dore; Mor -- tals, give thanks and sing _ _ And tri -- umph ev -- er -- more; Lift up your heart, lift up your voice! Re -- joice, a -- gain _ I say, re -- joice!", "2": "Je -- sus, the Sav -- ior, reigns, The _ God of truth and _ love; When He had purged our stains _ _ He took His seat a -- bove; Lift up your heart, lift up your voice! Re -- joice, a -- gain _ I say, re -- joice!", "3": "His king -- dom can -- not fail, He _ rules o'er earth and _ Heav'n, The keys of death and hell _ _ Are to our Je -- sus giv'n; Lift up your heart, lift up your voice! Re -- joice, a -- gain _ I say, re -- joice!", "4": "He sits at God's right hand Till _ all His foes sub -- _ mit, And bow to His com -- mand _ _ And fall be -- neath His feet: Lift up your heart, lift up your voice! Re -- joice, a -- gain _ I say, re -- joice!"}, "refrain_lines": null}, {"slug": "remember-not-o-god__boylston-oh214", "text": "remember-not-o-god", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "rescue-the-perishing__rescue-1870", "text": "rescue-the-perishing", "harmonization": "rescue-1870", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "revive-us-again__revive-us-again-1887", "text": "revive-us-again", "harmonization": "revive-us-again-1887", "alignment": "explicit", "stanza_lines": {"1": "We praise Thee, O God! for the Son of Thy love, For _ Je -- sus who died, and is now gone a -- bove.", "2": "We praise Thee, O God! for Thy Spir -- it of light, Who has shown us our Sav -- iour, and scat -- tered our night.", "3": "All glo -- ry and praise to the Lamb that was slain, Who has borne all our sins, and hath cleansed ev -- ery stain.", "4": "All glo -- ry and praise to the God of all grace, Who has bought us, and sought us, and guid -- ed our ways.", "5": "Re -- vive us a -- gain; fill each heart with Thy love; May each soul be re -- kin -- dled with fire from a -- bove."}, "refrain_lines": null, "stress_checked": true}, {"slug": "rock-of-ages__toplady-oh188", "text": "rock-of-ages", "harmonization": "toplady-oh188", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "save-me-o-god-because-the-floods__st-anne-lutheran-hymnary-1913", "text": "save-me-o-god-because-the-floods", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "save-me-o-god-because-the-floods-psalm-69__st-anne-lutheran-hymnary-1913", "text": "save-me-o-god-because-the-floods-psalm-69", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "save-me-o-god-by-thy-great-name__new-britain-excell-1900", "text": "save-me-o-god-by-thy-great-name", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "savior-like-a-shepherd-lead-us__bradbury-oh233", "text": "savior-like-a-shepherd-lead-us", "harmonization": "bradbury-oh233", "alignment": "explicit", "stanza_lines": {"1": "Sav -- ior, like a shep -- herd lead _ us, _ much we need Thy ten -- der care; In Thy pleas -- ant pas -- tures feed _ us, _ for our use Thy folds pre -- pare. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast bought us, Thine we are. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast bought us, Thine we are.", "2": "We are Thine, Thou dost be -- friend _ us, _ be the guard -- ian of our way; Keep Thy flock, from sin de -- fend _ us, _ seek us when we go a -- stray. Bless -- ed Je -- sus, bless -- ed Je -- sus! Hear, O hear us when we pray. Bless -- ed Je -- sus, bless -- ed Je -- sus! Hear, O hear us when we pray.", "3": "Thou hast prom -- ised to re -- ceive _ us, _ poor and sin -- ful though we be; Thou hast mer -- cy to re -- lieve _ us, _ grace to cleanse and pow'r to free. Bless -- ed Je -- sus, bless -- ed Je -- sus! We will ear -- ly turn to Thee. Bless -- ed Je -- sus, bless -- ed Je -- sus! We will ear -- ly turn to Thee.", "4": "Ear -- ly let us seek Thy fa -- _ vor, _ ear -- ly let us do Thy will; Bless -- ed Lord and on -- ly Sav -- _ ior, _ with Thy love our bos -- oms fill. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast loved us, love us still. Bless -- ed Je -- sus, bless -- ed Je -- sus! Thou hast loved us, love us still."}, "refrain_lines": null, "stress_checked": true}, {"slug": "savior-of-the-nations-come__nun-komm-der-heiden-heiland-bwv62", "text": "savior-of-the-nations-come", "harmonization": "nun-komm-der-heiden-heiland-bwv62", "alignment": "explicit", "stanza_lines": {"1": "Sav -- ior of the na -- _ tions, come; Vir -- _ gin's Son, here make Thy home! Mar -- vel now, _ O heav'n _ and earth, That the Lord chose such _ a birth.", "2": "Not by hu -- man flesh _ and blood; By _ the Spir -- it of our God Was the Word _ of God _ made flesh, Wom -- an's off -- spring, pure _ and fresh.", "3": "Won -- drous birth! O won -- _ drous Child Of _ the vir -- gin un -- de -- filed! Though by all _ the world _ dis -- owned, Still to be in heav'n _ en -- throned.", "4": "From the Fa -- ther forth _ He came And _ re -- turn -- eth to the same, Cap -- tive lead -- _ ing death _ and hell High the song of tri -- _ umph swell!", "5": "Thou, the Fa -- ther's on -- _ ly Son, Hast _ o'er sin the vic -- t'ry won. Bound -- less shall _ Thy king -- _ dom be; When shall we its glo -- _ ries see?", "6": "Bright -- ly doth Thy man -- _ ger shine, Glo -- _ rious is its light di -- vine. Let not sin _ o'er -- cloud _ this light; Ev -- er be our faith _ thus bright.", "7": "Praise to God the Fa -- _ ther sing, Praise _ to God the Son, our King, Praise to God _ the Spir -- _ it be Ev -- er and e -- ter -- _ nal -- ly."}, "refrain_lines": null, "stress_checked": true}, {"slug": "savior-when-in-dust-to-thee__aberystwyth-parry-oh88", "text": "savior-when-in-dust-to-thee", "harmonization": "aberystwyth-parry-oh88", "alignment": "explicit", "stanza_lines": {"1": "Sav -- ior, _ when _ in dust to Thee Low we bow th'a -- dor -- _ ing knee, When, re -- _ pent -- _ ant, to the skies Scarce we _ lift our weep -- ing eyes, O by all the pains and _ woes Suff -- ered once for man be -- _ low, Bend -- ing from Thy throne on high, Hear our _ pen -- _ i -- ten -- tial cry!", "2": "By Thy _ help -- _ less in -- fant years, By Thy life of want _ and tears, By Thy _ days _ of sore dis -- tress In the _ sav -- age wild -- er -- ness, By the dread mys -- ter -- ious _ hour Of th'in -- sult -- ing temp -- ter's _ pow'r, Turn, O turn a fa -- v'ring eye, Hear our _ pen -- _ i -- ten -- tial cry!", "3": "By the _ sa -- _ cred griefs that wept O'er the grave where Laz -- _ 'rus slept, By the _ bod -- _ ing tears that flowed O -- ver _ Sa -- lem's loved a -- bode, By the an -- guished sigh that _ told Treach -- er -- y lurked with -- in Thy fold, From Thy seat a -- bove the sky, Hear our _ pen -- _ i -- ten -- tial cry!", "4": "By Thine _ hour _ of dire de -- spair, By Thine ag -- o -- ny _ of prayer, By the _ cross, _ the nail, the thorn, Pier -- cing _ spear, and tor -- turing scorn, By the gloom that veiled the _ skies O'er the dread -- ful sac -- ri -- _ fice, Lis -- ten to our hum -- ble cry, Hear our _ pen -- _ i -- ten -- tial cry!", "5": "By Thy _ deep _ ex -- pir -- ing groan, By the sad sep -- ul -- _ chral stone, By the _ vault _ whose dark a -- bode Held in _ vain the ris -- ing God, O from earth to heaven re -- _ stored, Might -- y, re -- as -- cend -- ed _ Lord, Lis -- ten, lis -- ten to the sigh Of our _ pen -- _ i -- ten -- tial cry!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "savior-who-thy-flock-art-feeding__batty-oh303", "text": "savior-who-thy-flock-art-feeding", "harmonization": "batty-oh303", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "see-amid-the-winter-s-snow__humility-oh67", "text": "see-amid-the-winter-s-snow", "harmonization": "humility-oh67", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "shall-we-gather-at-the-river__hanson-place-bright-jewels-1869", "text": "shall-we-gather-at-the-river", "harmonization": "hanson-place-bright-jewels-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "shepherd-divine-our-wants-relieve__st-etheldreda-cyberhymnal", "text": "shepherd-divine-our-wants-relieve", "harmonization": "st-etheldreda-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "show-mercy-lord-to-me-for-man__st-agnes-oh156", "text": "show-mercy-lord-to-me-for-man", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "silent-night__stille-nacht-concordia-1908", "text": "silent-night", "harmonization": "stille-nacht-concordia-1908", "alignment": "explicit", "stanza_lines": {"1": "Si -- _ lent night, ho -- _ ly night, All is calm, all is bright Round yon vir -- _ gin moth -- er and Child. Ho -- ly In -- fant, so ten -- der and mild, Sleep in heav -- en -- ly peace, _ Sleep _ in heav -- en -- ly peace.", "2": "Si -- _ lent night, ho -- _ ly night, Shep -- herds quake at the sight; Glo -- ries stream _ from heav -- en a -- far, Heaven -- ly hosts _ sing Al -- le -- lu -- ia! Christ the Sav -- ior is born, _ Christ _ the Sav -- ior is born!", "3": "Si -- _ lent night, ho -- _ ly night, Son of God, love's pure light; Ra -- diant beams _ from Thy ho -- ly face With the dawn of re -- deem -- _ ing grace, Je -- sus, Lord, at Thy birth, _ Je -- _ sus, Lord, at Thy birth.", "4": "Si -- _ lent night, ho -- _ ly night Won -- drous star, lend thy light; With the an -- _ gels let _ us sing, Al -- le -- lu -- _ ia to _ our King; Christ the Sav -- ior is born, _ Christ _ the Sav -- ior is born!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "since-with-my-god-with-perfect-heart__tallis-canon-oh309", "text": "since-with-my-god-with-perfect-heart", "harmonization": "tallis-canon-oh309", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "sing-loud-to-god-our-strength-with-joy__st-anne-lutheran-hymnary-1913", "text": "sing-loud-to-god-our-strength-with-joy", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "sing-o-sing-this-blessed-morn__nativity-oh69", "text": "sing-o-sing-this-blessed-morn", "harmonization": "nativity-oh69", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "sing-praise-to-god-who-reigns-above__mit-freuden-zart-cyberhymnal", "text": "sing-praise-to-god-who-reigns-above", "harmonization": "mit-freuden-zart-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Sing praise to God who reigns a -- bove, The _ God of all cre -- _ a -- tion, _ The God of power, _ the God of love, _ The _ God of our _ sal -- _ va -- tion; _ With heal -- ing balm my soul He fills, And ev -- ery faith -- less mur -- mur stills: To God all praise and _ glo -- ry.", "2": "What God's al -- might -- y power hath made His _ gra -- cious mer -- cy _ keep -- eth; _ By morn -- ing glow _ or eve -- ning shade _ His _ watch -- ful eye _ ne'er _ sleep -- eth; _ With -- in the king -- dom of His might, Lo! all is just and all is right: To God all praise and _ glo -- ry.", "3": "The Lord is nev -- er far a -- way, But _ through all grief dis -- _ tress -- ing, _ An ev -- er pres -- _ ent help and stay, _ Our _ peace and joy _ and _ bless -- ing; _ As with a moth -- er's ten -- der hand, He leads His own, His cho -- sen band: To God all praise and _ glo -- ry.", "4": "Thus all my toil -- some way a -- long, I _ sing a -- loud Thy _ prais -- es, _ That men may hear _ the grate -- ful song _ My _ voice un -- wea -- _ ried _ rais -- es; _ Be joy -- ful in the Lord, my heart, Both soul and bod -- y bear your part: To God all praise and _ glo -- ry.", "5": "Let all who name Christ's ho -- ly name Give _ God all praise and _ glo -- ry; _ Let all who own _ His power pro -- claim _ A -- _ loud the won -- _ drous _ sto -- ry! _ Cast each false i -- dol from his throne, The Lord is God, and He a -- lone: To God all praise and _ glo -- ry."}, "refrain_lines": null, "stress_checked": true}, {"slug": "sing-praise-to-the-lord__laudate-dominum-cyberhymnal", "text": "sing-praise-to-the-lord", "harmonization": "laudate-dominum-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Sing praise to the Lord! Praise Him in the height; Re -- joice in His Word, You an -- gels of light. You heav -- ens a -- dore Him _ By _ whom you were made, And wor -- ship be -- fore _ Him In bright -- ness _ ar -- rayed.", "2": "Sing praise to the Lord! Praise Him on the earth In tune -- ful ac -- cord, You saints of new birth. Praise Him who has brought you _ His _ grace from a -- bove; Praise Him who has taught _ you To sing of _ His love.", "3": "Sing praise to the Lord! All things that give sound, Each ju -- bi -- lant chord, Re -- ech -- o a -- round. Loud or -- gans, His glo -- ry _ Tell _ forth in deep tone, And trum -- pets, the sto -- _ ry Of what He _ has done.", "4": "Sing praise to the Lord! Thanks -- giv -- ing and song To Him be out -- poured All ag -- es a -- long! For love in cre -- a -- tion _ For _ Heav -- en re -- stored, For grace of sal -- va -- _ tion Sing praise to _ the Lord!"}, "refrain_lines": null}, {"slug": "sing-to-the-lord-of-harvest__wie-lieblich-ist-der-maien-cpdl", "text": "sing-to-the-lord-of-harvest", "harmonization": "wie-lieblich-ist-der-maien-cpdl", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "softly-and-tenderly-jesus-is-calling__thompson-1921", "text": "softly-and-tenderly-jesus-is-calling", "harmonization": "thompson-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "softly-now-the-light-of-day__seymour-cyberhymnal", "text": "softly-now-the-light-of-day", "harmonization": "seymour-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Soft -- ly now the light of _ day Fades up -- on my sight a -- way; Free from care, from la -- bor _ free, Lord, I would _ com -- _ mune with Thee.", "2": "Thou, whose all -- per -- vad -- ing _ eye Naught es -- capes, with -- out, with -- in, Par -- don each in -- firm -- i _ ty O -- pen fault, _ and _ se -- cret sin.", "3": "Soon for me the light of _ day Shall for -- ev -- er pass a -- way; Then, from sin and sor -- row _ free, Take me, Lord, _ to _ dwell with Thee."}, "refrain_lines": null, "stress_checked": true}, {"slug": "soldiers-of-christ-arise__diademata-am-1869", "text": "soldiers-of-christ-arise", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "songs-of-thankfulness-and-praise__st-george-s-windsor-oh77", "text": "songs-of-thankfulness-and-praise", "harmonization": "st-george-s-windsor-oh77", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "spirit-of-god-descend-upon-my-heart__morecambe-cyberhymnal", "text": "spirit-of-god-descend-upon-my-heart", "harmonization": "morecambe-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Spir -- it of God, de -- scend up -- on my heart; Wean it from earth, _ through all its pul -- ses move; Stoop to my weak -- ness, might -- y as Thou art, And make me love Thee as I ought to love.", "2": "I ask no dream, no proph -- et ec -- sta -- sies, No sud -- den rend -- _ ing of the veil of clay, No an -- gel vis -- i -- tant, no op'n -- ing skies; But take the dim -- ness of my soul a -- way.", "3": "Hast Thou not bid me love Thee, God and King? All, all Thine own, _ soul, heart, and strength, and mind. I see Thy cross; there teach my heart to cling: O let me seek Thee, and O let me find!", "4": "Teach me to feel that Thou art al -- ways nigh; Teach me the strug -- _ gles of the soul to bear. To check the ris -- ing doubt, the reb -- el sigh, Teach me the pa -- tience of un -- an -- swered prayer.", "5": "Teach me to love Thee as Thine an -- gels love, One ho -- ly pas -- _ sion fill -- ing all my frame; The kin -- dling of the heav'n -- de -- scend -- ed Dove, My heart an al -- tar, and Thy love the flame."}, "refrain_lines": null}, {"slug": "stand-up-and-bless-the-lord__st-michael-cyberhymnal", "text": "stand-up-and-bless-the-lord", "harmonization": "st-michael-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "stand-up-stand-up-for-jesus__webb-cyberhymnal", "text": "stand-up-stand-up-for-jesus", "harmonization": "webb-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Stand up, stand up for Je -- sus, ye sol -- diers of the cross; Lift high His roy -- al ban -- ner, it must not suf -- fer loss: From vic -- t'ry un -- to vic -- t'ry His ar -- my shall He lead, _ Till ev -- ery foe is van -- quished, and Christ is Lord in -- deed.", "2": "Stand up, stand up for Je -- sus, the trum -- pet call o -- bey; Forth to the might -- y con -- flict, in this His glo -- rious day: Ye that are men now serve Him a -- gainst un -- num -- bered foes; _ Let cour -- age rise with dan -- ger, and strength to strength op -- pose.", "3": "Stand up, stand up for Je -- sus, stand in His strength a -- lone; The arm of flesh will fail you, ye dare not trust your own: Put on the gos -- pel ar -- mor, each piece put on with prayer; _ Where du -- ty calls, or dan -- ger, be nev -- er want -- ing there.", "4": "Stand up, stand up for Je -- sus, the strife will not be long; This day the noise of bat -- tle, the next the vic -- tor's song: To him that o -- ver -- com -- eth a crown of life shall be; _ He with the King of glo -- ry shall reign e -- ter -- nal -- ly."}, "refrain_lines": null, "stress_checked": true}, {"slug": "standing-on-the-promises__promises-songs-of-perfect-love-1886", "text": "standing-on-the-promises", "harmonization": "promises-songs-of-perfect-love-1886", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "sun-of-my-soul-thou-savior-dear__quebec-cyberhymnal", "text": "sun-of-my-soul-thou-savior-dear", "harmonization": "quebec-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Sun of my soul, Thou Sav -- ior dear, It is not night if Thou be near: O may no earth -- born cloud a -- rise To hide Thee from _ Thy serv -- ant's eyes.", "2": "When the soft dews of kind -- ly sleep My wea -- ried eye -- lids gent -- ly steep, Be my last thought, how sweet to rest For -- ev -- er on _ my Sav -- ior's breast.", "3": "A -- bide with me from morn till eve, For with -- out Thee I can -- not live; A -- bide with me when night is nigh, For with -- out Thee _ I dare not die.", "4": "Watch by the sick; en -- rich the poor With bless -- ings from Thy bound -- less store; Be ev -- ery mourn -- er's sleep to -- night Like in -- fant's slum -- _ bers, pure and light.", "5": "Come near and bless us when we wake, Ere through the world our way we take; Till in the o -- cean of Thy love We lose our -- selves _ in heav'n a -- bove."}, "refrain_lines": null, "stress_checked": true}, {"slug": "sweet-by-and-by__sweet-by-and-by-tabernacle-hymns-1918", "text": "sweet-by-and-by", "harmonization": "sweet-by-and-by-tabernacle-hymns-1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "sweet-hour-of-prayer__sweet-hour-methodist-1905", "text": "sweet-hour-of-prayer", "harmonization": "sweet-hour-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "sweet-is-the-work-my-god-my-king__uxbridge-cyberhymnal", "text": "sweet-is-the-work-my-god-my-king", "harmonization": "uxbridge-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "take-my-life-and-let-it-be__mozart-moravian-1920", "text": "take-my-life-and-let-it-be", "harmonization": "mozart-moravian-1920", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "take-up-thy-cross-the-savior-said__breslau-cyberhymnal", "text": "take-up-thy-cross-the-savior-said", "harmonization": "breslau-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Take up thy cross, the Sav -- ior said, If thou wouldst my dis -- ci -- ple be; De -- ny thy -- self, the world for -- sake, And hum -- bly fol -- low aft -- er _ me.", "2": "Take up thy cross, let not its weight Fill thy weak spir -- it with a -- larm; His strength shall bear thy spir -- it up, And brace thy heart, and nerve thine _ arm.", "3": "Take up thy cross, nor heed the shame, Nor let thy fool -- ish pride re -- bel; Thy Lord for thee the cross en -- dured, To save thy soul from death and _ hell.", "4": "Take up thy cross, then, in His strength, And calm -- ly ev -- ery dan -- ger brave; 'Twill guide thee to a bet -- ter home, And lead to vic -- t'ry o'er the _ grave.", "5": "Take up thy cross, and fol -- low Christ, Nor think till death to lay it down; For on -- ly those who bear the cross May hope to wear the glo -- rious _ crown."}, "refrain_lines": null, "stress_checked": true}, {"slug": "teach-me-o-lord-thy-way-of-truth__winchester-new-oh142", "text": "teach-me-o-lord-thy-way-of-truth", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "th-eternal-lord-doth-reign-as-king__evan-oh231", "text": "th-eternal-lord-doth-reign-as-king", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "that-man-hath-perfect-blessedness__evan-oh231", "text": "that-man-hath-perfect-blessedness", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "That man hath per -- fect bless -- ed -- ness who walk -- eth not a -- stray _ In coun -- sel of un -- god -- ly men, nor stands in sin -- ners' way, _", "2": "Nor sitt -- eth in the scor -- ner's chair: But plac -- eth his de -- light _ Up -- on God's law, and med -- i -- tates on his law day and night. _", "3": "He shall be like a tree that grows near plant -- ed by a riv -- er, Which in his sea -- son yields his fruit, and his leaf fad -- eth nev -- er:", "4": "And all he doth shall pros -- per well. The wick -- ed are not so; _ But like they are un -- to the chaff, which wind drives to and fro. _", "5": "In judg -- ment there -- fore shall not stand such as un -- god -- ly are; _ Nor in th'as -- sem -- bly of the just shall wick -- ed men ap -- pear. _", "6": "For why? the way of god -- ly men un -- to the Lord is known: _ Where -- as the way of wick -- ed men shall quite be o -- ver -- thrown. _"}, "refrain_lines": null}, {"slug": "that-man-hath-perfect-blessedness__st-anne-lutheran-hymnary-1913", "text": "that-man-hath-perfect-blessedness", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "That man hath per -- fect bless -- ed -- ness who walk -- eth not a -- stray _ In coun -- sel of un -- god -- ly men, nor stands in sin -- ners' way, _", "2": "Nor sitt -- eth in the scor -- ner's chair: But plac -- eth his de -- light _ Up -- on God's law, and med -- i -- tates on his law day and night. _", "3": "He shall be like a tree that grows near plant -- ed by a riv -- er, Which in his sea -- son yields his fruit, and his leaf fad -- eth nev -- er:", "4": "And all he doth shall pros -- per well. The wick -- ed are not so; _ But like they are un -- to the chaff, which wind drives to and fro. _", "5": "In judg -- ment there -- fore shall not stand such as un -- god -- ly are; _ Nor in th'as -- sem -- bly of the just shall wick -- ed men ap -- pear. _", "6": "For why? the way of god -- ly men un -- to the Lord is known: _ Where -- as the way of wick -- ed men shall quite be o -- ver -- thrown. _"}, "refrain_lines": null}, {"slug": "that-man-is-blest-who-fearing-god__azmon-mason-1839", "text": "that-man-is-blest-who-fearing-god", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "that-there-is-not-a-god-the-fool__coronation-church-hymnal-1896", "text": "that-there-is-not-a-god-the-fool", "harmonization": "coronation-church-hymnal-1896", "alignment": "explicit", "stanza_lines": {"1": "That there is not a God, the fool doth in his heart con -- clude: They are cor -- rupt, their works are vile; not one of them doth good. They are cor -- rupt, their works are vile; not one of them doth good.", "2": "Up -- on men's sons the Lord from heav'n did cast his eyes a -- broad, To see if an -- y un -- der -- stood, and did seek af -- ter God. To see if an -- y un -- der -- stood, and did seek af -- ter God.", "3": "They al -- to -- geth -- er fil -- thy are, they all a -- side are gone; And there is none that do -- eth good, yea, sure there is not one. And there is none that do -- eth good, yea, sure there is not one.", "4": "These wor -- kers of in -- iq -- ui -- ty do they not know at all, That they my peo -- ple eat as bread, and on God do not call? That they my peo -- ple eat as bread, and on God do not call?", "5": "There fear'd they much; for God is with the whole race of the just. You shame the coun -- sel of the poor, be -- cause God is his trust. You shame the coun -- sel of the poor, be -- cause God is his trust.", "6": "Let Is -- r'el's help from Zi -- on come: when back the Lord shall bring His cap -- tives, Ja -- cob shall re -- joice, and I -- sra -- el shall sing. His cap -- tives, Ja -- cob shall re -- joice, and I -- sra -- el shall sing."}, "refrain_lines": null, "meter_checked": true}, {"slug": "that-there-is-not-a-god-the-fool-psalm-53__arlington-cyberhymnal", "text": "that-there-is-not-a-god-the-fool-psalm-53", "harmonization": "arlington-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-advent-of-our-god__st-thomas-oh44", "text": "the-advent-of-our-god", "harmonization": "st-thomas-oh44", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-churchs-one-foundation__aurelia-rcus-1866", "text": "the-churchs-one-foundation", "harmonization": "aurelia-rcus-1866", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-comforter-has-come__the-comforter-has-come-oh121", "text": "the-comforter-has-come", "harmonization": "the-comforter-has-come-oh121", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-earth-belongs-unto-the-lord__lea-oh299", "text": "the-earth-belongs-unto-the-lord", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-earth-with-all-that-dwell-therein__evan-oh231", "text": "the-earth-with-all-that-dwell-therein", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-first-noel__the-first-noel-oh70", "text": "the-first-noel", "harmonization": "the-first-noel-oh70", "alignment": "explicit", "stanza_lines": {"1": "The _ first _ No -- _ el the _ an -- gel did say Was to cer -- tain poor shep -- herds in fields as they lay; In _ fields _ where _ they lay _ tend -- ing their sheep, On a cold win -- ter's night _ that was _ so deep.", "2": "They _ look -- _ ed _ up and _ saw _ a star Shin -- ing in _ the east, _ be -- yond _ them far; And _ to _ the _ earth it _ gave _ great light, And _ so it con -- tin -- ued both day _ and night.", "3": "And _ by _ the _ light of _ that _ same star Three _ Wise _ Men came _ from coun -- _ try far; To _ seek _ for a King was _ their _ in -- tent, And to fol -- low the star _ wher -- ev -- er it went.", "4": "This _ star _ drew _ nigh to _ the _ north -- west, Ov -- er Beth -- _ le -- hem _ it took _ its rest; And _ there _ it _ did both _ stop _ and stay, Right _ ov -- er the place _ where Je -- _ sus lay.", "5": "Then _ did _ they _ know as -- _ sur -- _ ed -- ly With -- _ in _ that house _ the King _ did lie; One _ en -- _ tered _ it them _ for _ to see, And _ found _ the Babe _ in pov -- _ er -- ty."}, "refrain_lines": "No -- _ el, _ No -- _ el, No -- _ el, No -- el, _ Born is the King _ of Is -- _ ra -- el.", "stress_checked": true}, {"slug": "the-god-of-abraham-praise__leoni-lyon-1780", "text": "the-god-of-abraham-praise", "harmonization": "leoni-lyon-1780", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-head-that-once-was-crowned-with-thorns__st-magnus-cyberhymnal", "text": "the-head-that-once-was-crowned-with-thorns", "harmonization": "st-magnus-cyberhymnal", "alignment": "explicit", "stress_checked": true, "stanza_lines": {"1": "The head that once was crowned with thorns Is crowned with glo -- ry now; A roy -- al di -- a -- dem a -- dorns The might -- _ y _ Vic -- tor's _ brow.", "2": "The high -- est place that heav'n af -- fords Is His, is His by right, The King of kings, and Lord of lords, And heav'n's _ e -- _ ter -- nal _ Light;", "3": "The joy of all who dwell a -- bove, The joy of all be -- low, To whom He man -- i -- fests His love, And grants _ His _ name to _ know.", "4": "To them the cross, with all its shame, With all its grace, is giv'n; Their name an ev -- er -- last -- ing name, Their joy _ the _ joy of _ heav'n.", "5": "They suf -- fer with their Lord be -- low, They reign with Him a -- bove, Their prof -- it and their joy to know The mys -- _ t'ry _ of His _ love.", "6": "The cross He bore is life and health, Though shame and death to Him; His peo -- ple's hope, His peo -- ple's wealth, Their ev -- _ er -- _ last -- ing _ theme."}, "refrain_lines": null}, {"slug": "the-heavns-gods-glory-do-declare__st-agnes-oh156", "text": "the-heavns-gods-glory-do-declare", "harmonization": "st-agnes-oh156", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "The heav'ns God's glo -- ry do de -- clare, the skies his hand -- works preach: _ Day ut -- ters speech to day, and night to night doth knowl -- edge teach. _", "2": "There is no speech nor tongue to which their voice doth not ex -- tend: _ Their line is gone through all the earth, their words to the world's end. _", "3": "In them he set the sun a tent; Who, bride -- groom -- like, forth goes _ From's cham -- ber, as a strong man doth to run his race re -- joice. _", "4": "From heav'n's end is his go -- ing forth, cir -- cling to th'end a -- gain; _ And there is noth -- ing from his heat that hid -- den doth re -- main. _", "5": "God's law is per -- fect, and con -- verts the soul in sin that lies: _ God's tes -- ti -- mo -- ny is most sure, and makes the sim -- ple wise. _", "6": "The stat -- utes of the Lord are right, and do re -- joice the heart: _ The Lord's com -- mand is pure, and doth light to the eyes im -- part. _", "7": "Un -- spott -- ed is the fear of God, and doth en -- dure for ev -- er: The judg -- ments of the Lord are true and right -- eous al -- to -- geth -- er.", "8": "They more than gold, yea, much fine gold, to be de -- sir -- ed are: _ Than hon -- ey, hon -- ey from the comb that dropp -- eth, sweet -- er far. _", "9": "More -- o -- ver, they thy ser -- vant warn how he his life should frame: _ A great re -- ward pro -- vid -- ed is for them that keep the same. _", "10": "Who can his er -- rors un -- der -- stand? O cleanse thou me with -- in _ From se -- cret faults. Thy ser -- vant keep from all pre -- sump -- tuous sin: _", "11": "And do not suf -- fer them to have do -- min -- ion o -- ver me: _ Then right -- e -- ous and in -- no -- cent I from much sin shall be. _", "12": "The words which from my mouth pro -- ceed, the thoughts sent from my heart, _ Ac -- cept, O Lord, for thou my strength and my Re -- deem -- er art. _"}, "refrain_lines": null}, {"slug": "the-king-in-thy-great-strength-o-lord__st-anne-lutheran-hymnary-1913", "text": "the-king-in-thy-great-strength-o-lord", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-law-of-god-is-good-and-wise__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "the-law-of-god-is-good-and-wise", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-law-that-the-lord-has-ordained__winchester-new-oh142", "text": "the-law-that-the-lord-has-ordained", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lily-of-the-valley__salvationist-openhymnal", "text": "the-lily-of-the-valley", "harmonization": "salvationist-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-did-say-unto-my-lord__evan-oh231", "text": "the-lord-did-say-unto-my-lord", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "The Lord did say un -- to my Lord, Sit thou at my right hand, _ Un -- til I make thy foes a stool, where -- on thy feet may stand. _", "2": "The Lord shall out of Zi -- on send the rod of thy great pow'r: _ In midst of all thine en -- e -- mies be thou the gov -- er -- nor. _", "3": "A wil -- ling peo -- ple in thy day of pow'r shall come to thee, _ In ho -- ly beau -- ties from morn's womb; thy youth like dew shall be. _", "4": "The Lord him -- self hath made an oath, and will re -- pent him nev -- er, Of th'or -- der of Mel -- chi -- ze -- dek thou art a priest for ev -- er.", "5": "The glo -- ri -- ous and might -- y Lord, that sits at thy right hand, _ Shall, in his day of wrath, strike through kings that do him with -- stand. _", "6": "He shall a -- mong the hea -- then judge, he shall with bod -- ies dead _ The plac -- es fill: o'er man -- y lands he wound shall ev -- 'ry head. _", "7": "The brook that runn -- eth in the way with drink shall him sup -- ply; _ And, for this cause, in tri -- umph he shall lift his head on high. _"}, "refrain_lines": null}, {"slug": "the-lord-doth-reign-and-clothed-is-he__st-anne-lutheran-hymnary-1913", "text": "the-lord-doth-reign-and-clothed-is-he", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-i-will-at-all-times-bless__st-ursula-oh300", "text": "the-lord-i-will-at-all-times-bless", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-is-strong-to-help-the-weak__azmon-mason-1839", "text": "the-lord-is-strong-to-help-the-weak", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-my-shepherd-holds-me__woodbird-songs-of-syon-1904", "text": "the-lord-my-shepherd-holds-me", "harmonization": "woodbird-songs-of-syon-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-of-heavn-confess__darwalls-148th-csb1918", "text": "the-lord-of-heavn-confess", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lord-s-my-shepherd__marosa-oh285", "text": "the-lord-s-my-shepherd", "harmonization": "marosa-oh285", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-lords-my-light-and-saving-health__evan-oh231", "text": "the-lords-my-light-and-saving-health", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [8], "stanza_lines": {"1": "The Lord's my light and sav -- ing health, _ who shall make me dis -- mayed? My life's strength is the Lord, of whom then shall I be a -- fraid?", "2": "When as mine en -- e -- mies and foes, _ most wick -- ed per -- sons all, To eat my flesh a -- gainst me rose, they stum -- bled and did fall.", "3": "A -- gainst me though an host en -- camp, _ my heart yet fear -- less is: Though war a -- gainst me rise, I will be con -- fi -- dent in this.", "4": "One thing I of the Lord de -- sired, _ and will seek to ob -- tain, That all days of my life I may with -- in God's house re -- main;", "5": "That I the beau -- ty of the Lord _ be -- hold may and ad -- mire, And that I in his ho -- ly place may rev -- 'rent -- ly en -- quire.", "6": "For he in his pa -- vil -- ion shall _ me hide in e -- vil days; In se -- cret of his tent me hide, and on a rock me raise.", "7": "And now, ev'n at this pres -- ent time, _ mine head shall lift -- ed be A -- bove all those that are my foes, and round en -- com -- pass me:", "8": "There -- fore un -- to his tab -- er -- nac -- le I'll sac -- ri -- fic -- es bring Of joy -- ful -- ness; I'll sing, yea, I to God will prais -- es sing.", "9": "O Lord, give ear un -- to my voice, _ when I do cry to thee; Up -- on me al -- so mer -- cy have, and do thou an -- swer me.", "10": "When thou didst say, Seek ye my face, _ then un -- to thee re -- ply Thus did my heart, A -- bove all things thy face, Lord, seek will I.", "11": "Far from me hide not thou thy face; _ put not a -- way from thee Thy ser -- vant in thy wrath: thou hast an help -- er been to me.", "12": "O God of my sal -- va -- ti -- on, _ leave me not, nor for -- sake: Though me my par -- ents both should leave, the Lord will me up take.", "13": "O Lord, in -- struct me in thy way, _ to me a lead -- er be In a plain path, be -- cause of those that ha -- tred bear to me.", "14": "Give me not to mine en -- 'mies' will; _ for wit -- nes -- ses that lie A -- gainst me ris -- en are, and such as breathe out cru -- el -- ty.", "15": "I faint -- ed had, un -- less that I _ be -- liev -- ed had to see The Lord's own good -- ness in the land of them that liv -- ing be.", "16": "Wait on the Lord, and be thou strong, _ and he shall strength af -- ford Un -- to thine heart; yea, do thou wait, I say, up -- on the Lord."}, "refrain_lines": null}, {"slug": "the-lords-my-shepherd-ill-not-want__azmon-mason-1839", "text": "the-lords-my-shepherd-ill-not-want", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-lords-my-shepherd-ill-not-want__crimond-grant", "text": "the-lords-my-shepherd-ill-not-want", "harmonization": "crimond-grant", "alignment": "explicit", "stanza_lines": {"1": "The Lord's my _ Shep -- herd, _ I'll not want; He makes _ me down to lie In pas -- _ tures green: He lead -- _ eth me The _ qui -- _ et wa -- ters by.", "2": "My soul He _ doth re -- _ store a -- gain, And me _ to walk doth make With -- in _ the paths of right -- _ eous -- ness, E'en _ for _ His own name's sake.", "3": "Yea, though I _ walk in _ death's dark vale, Yet will _ I fear none ill: For Thou _ art with me, and _ Thy rod And _ staff _ me com -- fort still.", "4": "My ta -- ble _ Thou hast _ fur -- nish -- ed In pres -- _ ence of my foes; My head _ Thou dost with oil _ a -- noint, And _ my _ cup o -- ver -- flows.", "5": "Good -- ness and _ mer -- cy _ all my life Shall sure -- _ ly fol -- low me; And in _ God's house for -- ev -- _ er -- more My _ dwell -- _ ing -- place shall be."}, "refrain_lines": null}, {"slug": "the-lords-my-shepherd-ill-not-want__st-anne-lutheran-hymnary-1913", "text": "the-lords-my-shepherd-ill-not-want", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-love-of-god__the-love-of-god-oh1", "text": "the-love-of-god", "harmonization": "the-love-of-god-oh1", "alignment": "explicit", "stanza_lines": {"1": "The love of God is great -- er far _ Than tongue or pen can ev -- er tell, It goes be -- yond the high -- est star, _ And reach -- es to the low -- est hell; The guilt -- y pair, bowed down with care, _ God gave His Son _ to win; His er -- ring child, He rec -- on -- ciled, _ And par -- doned from _ his sin.", "2": "When hoar -- y time shall pass a -- way, _ And earth -- ly thrones and king -- doms fall; When men who here re -- fuse to pray, _ On rocks and hills and moun -- tains call; God's love, so sure, shall still en -- dure, _ All meas -- ure -- less _ and strong; Re -- deem -- ing grace to Ad -- am's race -- _ The saints' and an -- _ gels' song.", "3": "Could we with ink the o -- cean fill, _ And were the skies of parch -- ment made, Were ev -- ery stalk on earth a quill _ And ev -- ery man a scribe by trade; To write the love of God a -- bove _ Would drain the o -- _ cean dry; Nor could the scroll con -- tain the whole, _ Tho' stretched from sky _ to sky."}, "refrain_lines": "Oh love of God, how rich and pure! _ How meas -- ure -- less _ and strong! It shall for -- ev -- er -- more en -- dure, _ The saints' and an -- _ gels' song.", "stress_checked": true}, {"slug": "the-man-that-fears-the-lord__boylston-oh214", "text": "the-man-that-fears-the-lord", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-mighty-god-the-lord__sellinge-oh181", "text": "the-mighty-god-the-lord", "harmonization": "sellinge-oh181", "alignment": "explicit", "note_splits": [12, 26], "stanza_lines": {"1": "The might -- y God, the Lord, hath spo -- ken, and did call _ The earth, from ris -- ing of the sun, to where he hath his fall. _", "2": "From out of Zi -- on hill, which of ex -- cel -- len -- cy _ And beau -- ty the per -- fec -- tion is, God shin -- ed glo -- rious -- ly. _", "3": "Our God shall sure -- ly come; keep si -- lence shall not he: _ Be -- fore him fire shall waste, great storms shall round a -- bout him be. _", "4": "Un -- to the heav -- ens clear he from a -- bove shall call, _ And to the earth like -- wise, that he may judge his peo -- ple all. _", "5": "To -- geth -- er let my saints un -- to me gath -- ered be, _ Those that by sac -- ri -- fice have made a cov -- e -- nant with me. _", "6": "And then the heav -- ens shall his right -- eous -- ness de -- clare: _ Be -- cause the Lord him -- self is he by whom men judg -- ed are. _", "7": "My peo -- ple Is -- r'el hear, speak will I from on high, _ A -- gainst thee I will tes -- ti -- fy; God, ev'n thy God, am I. _", "8": "I for thy sac -- ri -- fice no blame will on thee lay, _ Nor for burnt -- of -- f'rings, which to me thou of -- fer'dst ev -- 'ry day. _", "9": "I'll take no calf nor goats from house or fold of thine: _ For beasts of for -- est, cat -- tle all on thou -- sand hills, are mine. _", "10": "The fowls on moun -- tains high are all to me well known; _ Wild beasts which in the fields do lie, ev'n they are all mine own. _", "11": "Then, if I hun -- gry were, I would not tell it thee; _ Be -- cause the world, and ful -- ness all there -- of, be -- longs to me. _", "12": "Will I eat flesh of bulls? or goats' blood drink will I? _ Thanks of -- fer thou to God, and pay thy vows to the Most High. _", "13": "And call up -- on me when in trou -- ble thou shalt be; _ I will de -- liv -- er thee, and thou my name shalt glo -- ri -- fy. _", "14": "But to the wick -- ed man God saith, My laws and truth _ Should'st thou de -- clare? how dar'st thou take my cov -- 'nant in thy mouth? _", "15": "Sith thou in -- struc -- tion hat'st, which should thy ways di -- rect; _ And sith my words be -- hind thy back thou cast'st, and dost re -- ject. _", "16": "When thou a thief didst see, with him thou didst con -- sent; _ And with the vile a -- dul -- ter -- ers par -- tak -- er on thou went. _", "17": "Thou giv'st thy mouth to ill, thy tongue de -- ceit doth frame; _ Thou sitt'st, and 'gainst thy broth -- er speak'st, thy moth -- er's son dost shame. _", "18": "Be -- cause I si -- lence kept, while thou these things hast wrought; _ That I was al -- to -- geth -- er like thy -- self, hath been thy thought; _", "19": "Yet I will thee re -- prove, and set be -- fore thine eyes, _ In or -- der rank -- ed, thy mis -- deeds and thine in -- iq -- ui -- ties. _", "20": "Now, ye that God for -- get, this care -- ful -- ly con -- sid -- er; Lest I in piec -- es tear you all, and none can you de -- liv -- er.", "21": "Who -- so doth of -- fer praise me glo -- ri -- fies; and I _ Will show him God's sal -- va -- ti -- on, that or -- ders right his way. _"}, "refrain_lines": null}, {"slug": "the-mighty-god-the-lord-hath-spoke__evan-oh231", "text": "the-mighty-god-the-lord-hath-spoke", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "The might -- y God, the Lord, hath spoke, and called the earth up -- on, _ Ev'n from the ris -- ing of the sun un -- to his go -- ing down. _", "2": "From out of Zi -- on, his own hill, where the per -- fec -- tion high _ Of beau -- ty is, from thence the Lord hath shin -- ed glo -- rious -- ly. _", "3": "Our God shall come, and shall no more be si -- lent, but speak out: _ Be -- fore him fire shall waste, great storms shall com -- pass him a -- bout. _", "4": "He to the heav -- ens from a -- bove, and to the earth be -- low, _ Shall call, that he his judg -- ments may be -- fore his peo -- ple show. _", "5": "Let all my saints to -- geth -- er be un -- to me gath -- er -- ed; _ Those that by sac -- ri -- fice with me a cov -- e -- nant have made. _", "6": "And then the heav -- ens shall de -- clare his right -- eous -- ness a -- broad: _ Be -- cause the Lord him -- self doth come; none else is judge but God. _", "7": "Hear, O my peo -- ple, and I'll speak; O I -- sra -- el by name, _ A -- gainst thee I will tes -- ti -- fy; God, ev'n thy God, I am. _", "8": "I for thy sac -- ri -- fic -- es few re -- prove thee nev -- er will, _ Nor for burnt -- of -- f'rings to have been be -- fore me off -- ered still. _", "9": "I'll take no bul -- lock nor he -- goats from house nor folds of thine: _ For beasts of for -- est, cat -- tle all on thou -- sand hills, are mine. _", "10": "The fowls are all to me well known that moun -- tains high do yield; _ And I do chal -- lenge as mine own the wild beasts of the field. _", "11": "If I were hun -- gry, I would not to thee for need com -- plain; _ For earth, and all its ful -- ness, doth to me of right per -- tain. _", "12": "That I to eat the flesh of bulls take plea -- sure dost thou think? _ Or that I need, to quench my thirst, the blood of goats to drink? _", "13": "Nay, rath -- er un -- to me, thy God, thanks -- giv -- ing of -- fer thou: _ To the Most High per -- form thy word, and ful -- ly pay thy vow: _", "14": "And in the day of trou -- ble great see that thou call on me; _ I will de -- liv -- er thee, and thou my name shalt glo -- ri -- fy. _", "15": "But God un -- to the wick -- ed saith, Why should'st thou men -- tion make _ Of my com -- mands? how dar'st thou in thy mouth my cov -- 'nant take? _", "16": "Sith it is so that thou dost hate all good in -- struc -- ti -- on; _ And sith thou cast'st be -- hind thy back, and slight'st my words each one. _", "17": "When thou a thief didst see, then straight thou join'dst with him in sin, _ And with the vile a -- dul -- ter -- ers thou hast par -- tak -- er been. _", "18": "Thy mouth to e -- vil thou dost give, thy tongue de -- ceit doth frame. _ Thou sitt'st, and 'gainst thy broth -- er speak'st, thy moth -- er's son to shame. _", "19": "These things thou wick -- ed -- ly hast done, and I have si -- lent been: _ Thou thought'st that I was like thy -- self, and did ap -- prove thy sin: _", "20": "But I will sharp -- ly thee re -- prove, and I will or -- der right _ Thy sins and thy trans -- gres -- si -- ons in pres -- ence of thy sight. _", "21": "Con -- sid -- er this, and be a -- fraid, ye that for -- get the Lord, _ Lest I in piec -- es tear you all, when none can help af -- ford. _", "22": "Who of -- f'reth praise me glo -- ri -- fies: I will show God's sal -- va -- tion To him that or -- der -- eth a -- right his life and con -- ver -- sa -- tion."}, "refrain_lines": null}, {"slug": "the-ninety-and-nine__ninety-and-nine-gospel-hymns-1883", "text": "the-ninety-and-nine", "harmonization": "ninety-and-nine-gospel-hymns-1883", "alignment": "explicit", "stanza_lines": {"1": "There were nine -- ty and nine that safe -- _ ly lay In the shel -- ter _ of the fold, But _ one _ was out on the hills a -- way, Far _ off from the gates _ of gold, A -- _ way on the moun -- _ tains wild and bare, A -- way from the ten -- _ der Shep -- _ herd's care, A -- way from the ten -- _ der Shep -- _ herd's care.", "2": "\"Lord, _ Thou hast here Thy nine -- ty _ and nine; Are they not e -- nough for _ Thee?\" But the Shep -- _ herd made an -- swer: \"'Tis of mine Has _ wan -- dered a -- way _ from me; And _ al -- though the road _ be rough and steep, I go to the des -- ert to find _ my sheep, I go to the des -- ert to find _ my sheep.\"", "3": "But _ none of the ran -- somed ev -- _ er knew How deep were the _ wa -- ters crossed; Nor how dark was the night that the Lord passed through Ere He found His sheep that _ was lost. Out _ in the des -- ert _ He heard its cry, Sick and help -- less, and _ read -- y _ to die, Sick and help -- less, and _ read -- y _ to die.", "4": "\"Lord, _ whence are those blood -- drops all _ the way That mark out the _ moun -- tain's track?\" \"They were shed _ for one who had gone a -- stray Ere the Shep -- herd could bring _ him back.\" \"Lord, _ whence are Thy hands _ so rent and torn?\" \"They are pierced to -- night by man -- y _ a thorn, They are pierced to -- night by man -- y _ a thorn.\"", "5": "But all thro' the moun -- tains, thun -- der -- _ riv -- en, And up from the _ rock -- y steep, There rose a _ cry to the gate of heav -- en, \"Re -- _ joice! I have found _ my sheep!\" And the an -- gels ech -- oed _ a -- round the throne, \"Re -- joice, for the Lord _ brings back _ His own! Re -- joice, for the Lord _ brings back _ His own!\""}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-offring-on-the-altar-burned__lea-oh299", "text": "the-offring-on-the-altar-burned", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-old-rugged-cross__the-old-rugged-cross-oh202", "text": "the-old-rugged-cross", "harmonization": "the-old-rugged-cross-oh202", "alignment": "explicit", "stanza_lines": {"1": "On a hill far a -- way stood an old rug -- ged cross, The _ em -- blem of suf -- f'ring and shame; _ And I love that old cross where the dear -- est and best For a world of lost sin -- ners was slain. _", "2": "O that old rug -- ged cross, so de -- spised by the world, Has a won -- drous a -- ttrac -- tion for me; _ For the dear Lamb of God left His glo -- ry a -- bove To _ bear it to dark Cal -- va -- ry. _", "3": "In that old rug -- ged cross, stained with blood so di -- vine, A _ won -- _ drous beau -- ty I see, _ For 'twas on that old cross Je -- sus suf -- fered and died, To _ par -- don and sanc -- ti -- fy me. _", "4": "To the old rug -- ged cross I will ev -- er be true; Its _ shame and re -- proach glad -- ly bear; _ Then He'll call me some day to my home far a -- way, Where His glo -- ry for -- ev -- er I'll share. _"}, "refrain_lines": "So I'll cher -- ish the old rug -- ged cross, _ Till my tro -- phies at last I lay down; _ I will cling to the old rug -- ged cross, _ And ex -- change it some day for a crown. _", "stress_checked": true}, {"slug": "the-sands-of-time-are-sinking__rutherford-cyberhymnal", "text": "the-sands-of-time-are-sinking", "harmonization": "rutherford-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "The sands of time are sink -- ing The dawn of Heav -- en breaks The sum -- mer morn I've sighed for The fair, sweet morn _ a -- _ wakes Dark, dark hath been the mid -- night But day -- spring is at hand And _ glo -- ry, glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "2": "O Christ, He is the foun -- tain The deep, sweet well of love The streams on earth I've tast -- ed More deep I'll drink _ a -- _ bove There to an o -- cean full -- ness His mer -- cy doth ex -- pand And _ glo -- ry, glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "3": "Oh! Well it is for -- ev -- er Oh! well for -- ev -- er -- more My nest hung in no for -- est Of all this death _ doomed _ shore Yea, let the vain world van -- ish As from the ship the strand While _ glo -- ry— glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "4": "There the red rose of Shar -- on Un -- folds its heart -- some bloom And fills the air of Heav -- en With rav -- ish -- ing _ per -- _ fume Oh! To be -- hold it blos -- som While by its fra -- grance fanned Where _ glo -- ry— glo -- ry dwell -- eth In Im -- ma -- nu -- el's land", "5": "With mer -- cy and with judg -- ment My web of time He wove And aye, the dews of sor -- row Were lus -- tered with _ His _ love I'll bless the hand that guid -- ed I'll bless the heart that planned When _ throned where glo -- ry dwell -- eth In Im -- ma -- nu -- el's land"}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-spacious-heavns-declare__darwalls-148th-csb1918", "text": "the-spacious-heavns-declare", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-strife-is-oer-the-battle-done__victory-oh111", "text": "the-strife-is-oer-the-battle-done", "harmonization": "victory-oh111", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "the-trespass-of-the-wicked-man__beatitudo-cyberhymnal", "text": "the-trespass-of-the-wicked-man", "harmonization": "beatitudo-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "the-wicked-mans-transgression__azmon-mason-1839", "text": "the-wicked-mans-transgression", "harmonization": "azmon-mason-1839", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "there-is-a-fountain-filled-with-blood__cleansing-fountain-cyberhymnal", "text": "there-is-a-fountain-filled-with-blood", "harmonization": "cleansing-fountain-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "There _ is a foun -- tain filled with blood Drawn _ from Em -- man -- _ uel's _ veins; And _ sin -- ners plunged be -- neath that flood Lose all their guil -- ty stains. _ Lose all their guil -- ty stains, _ Lose all their guil -- ty stains; _ _ And _ sin -- ners plunged be -- neath that flood Lose all their guil -- ty stains. _", "2": "The _ dy -- ing thief re -- joiced to see That _ foun -- tain in _ his _ day; And _ there have I, though vile as he, Washed all my sins a -- way. _ Washed all my sins a -- way, _ Washed all my sins a -- way; _ _ And _ there have I, though vile as he, Washed all my sins a -- way. _", "3": "Dear _ dy -- ing Lamb, Thy pre -- cious blood Shall _ nev -- er lose _ its _ pow'r Till _ all the ran -- somed church of God Be saved, to sin no more. _ Be saved, to sin no more, _ Be saved, to sin no more; _ _ Till _ all the ran -- somed church of God Be saved, to sin no more. _", "4": "E'er _ since, by faith, I saw the stream Thy _ flow -- ing wounds _ sup -- _ ply, Re -- _ deem -- ing love has been my theme, And shall be till I die. _ And shall be till I die, _ And shall be till I die; _ _ Re -- _ deem -- ing love has been my theme, And shall be till I die. _", "5": "Then _ in a no -- bler, sweet -- er song, I'll _ sing Thy pow'r _ to _ save, When _ this poor lisp -- ing, stam -- m'ring tongue Lies si -- lent in the grave. _ Lies si -- lent in the grave, _ Lies si -- lent in the grave; _ _ When _ this poor lisp -- ing, stam -- m'ring tongue Lies si -- lent in the grave. _", "6": "Lord, _ I be -- lieve Thou hast pre -- pared, Un -- _ wor -- thy though _ I _ be, For _ me a blood bought free re -- ward, A gold -- en harp for me! _ A gold -- en harp for me, _ A gold -- en harp for me; _ _ For _ me a blood bought free re -- ward, A gold -- en harp for me! _", "7": "'Tis _ strung and tuned for end -- less years, And _ formed by pow'r _ di -- _ vine, To _ sound in God the Fa -- ther's ears No oth -- er name but Thine; _ No oth -- er name but Thine, _ No oth -- er name but Thine; _ _ To _ sound in God the Fa -- ther's ears No oth -- er name but Thine. _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "there-is-power-in-the-blood__power-in-the-blood-tabernacle-hymns-1921", "text": "there-is-power-in-the-blood", "harmonization": "power-in-the-blood-tabernacle-hymns-1921", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "there-is-sunshine-in-my-soul-today__sunshine-glad-hallelujahs-1887", "text": "there-is-sunshine-in-my-soul-today", "harmonization": "sunshine-glad-hallelujahs-1887", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "there-s-a-great-day-coming__theres-a-great-day-coming-oh208", "text": "there-s-a-great-day-coming", "harmonization": "theres-a-great-day-coming-oh208", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "there-s-a-wideness-in-god-s-mercy__in-babilone-oh284", "text": "there-s-a-wideness-in-god-s-mercy", "harmonization": "in-babilone-oh284", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "they-in-the-lord-that-firmly-trust__st-agnes-oh156", "text": "they-in-the-lord-that-firmly-trust", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "thine-arm-o-lord-in-days-of-old__kingsfold-openhymnal", "text": "thine-arm-o-lord-in-days-of-old", "harmonization": "kingsfold-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "this-is-my-fathers-world__terra-beata-cyberhymnal", "text": "this-is-my-fathers-world", "harmonization": "terra-beata-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "This _ is my Fa -- ther's world And _ to my list -- ening ears All na -- ture sings and _ round me rings The mu -- _ sic of the _ spheres This is my Fa -- ther's world I _ rest me in the thought Of rocks and trees of _ skies and seas His hand _ the won -- ders _ wrought", "2": "This _ is my Fa -- ther's world The _ birds their car -- ols raise The morn -- ing light the _ lil -- y white De -- clare _ their Mak -- er's _ praise This is my Fa -- ther's world He _ shines in all that's fair In the rust -- ling grass I hear Him pass He speaks _ to me eve -- ry -- where", "3": "This _ is my Fa -- ther's world O _ let me ne'er for -- get That though the wrong seems _ oft so strong God is _ the rul -- er _ yet This is my Fa -- ther's world The _ bat -- tle is not done Je -- sus who died shall be sat -- is -- fied And earth _ and heav -- en be one"}, "refrain_lines": null, "stress_checked": false}, {"slug": "thou-hidden-source-of-calm-repose__stella-cyberhymnal", "text": "thou-hidden-source-of-calm-repose", "harmonization": "stella-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Thou hid -- _ den source of calm _ re -- pose Thou all _ suf -- fi -- _ cient love _ di -- vine My help _ and ref -- uge from _ my foes Se -- cure _ I am _ if Thou art mine And lo! _ from sin and grief _ and shame I hide me, Je -- _ sus, in Thy name", "2": "Thy might -- _ y name sal -- va -- _ tion is And keeps _ my hap -- _ py soul _ a -- bove Com -- fort _ it brings, and power, _ and peace And joy, _ and ev -- _ er -- last -- ing love To me, _ with Thy dear name, _ are given Par -- don and ho -- _ li -- ness and heaven", "3": "Je -- sus, _ my all in all _ Thou art My rest _ in toil, _ my ease _ in pain The med -- _ cine of my bro -- _ ken heart In war _ my peace, _ in loss my gain My smile _ be -- neath the ty -- _ rant's frown In shame my glo -- _ ry and my crown", "4": "In want _ my plen -- ti -- ful _ sup -- ply In weak -- _ ness my _ al -- might -- _ y power In bonds _ my per -- fect lib -- _ er -- ty My light _ in Sa -- _ tan's dark -- est hour In grief _ my joy un -- speak -- _ a -- ble My life in death, _ my heaven in hell"}, "refrain_lines": null, "stress_checked": true}, {"slug": "thou-o-jehovah-shalt-endure__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "thou-o-jehovah-shalt-endure", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "thou-visitest-the-earth-with-showrs__winchester-new-oh142", "text": "thou-visitest-the-earth-with-showrs", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "thou-who-at-thy-first-eucharist__unde-et-memores-oh152", "text": "thou-who-at-thy-first-eucharist", "harmonization": "unde-et-memores-oh152", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "thou-who-didst-make-and-fashion-me__winchester-new-oh142", "text": "thou-who-didst-make-and-fashion-me", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "through-the-night-of-doubt-and-sorrow__rex-gloriae-oh221", "text": "through-the-night-of-doubt-and-sorrow", "harmonization": "rex-gloriae-oh221", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "thy-mercy-and-thy-truth-o-lord__st-etheldreda-cyberhymnal", "text": "thy-mercy-and-thy-truth-o-lord", "harmonization": "st-etheldreda-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "thy-tender-mercies-o-my-lord__st-ursula-oh300", "text": "thy-tender-mercies-o-my-lord", "harmonization": "st-ursula-oh300", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "thy-wondrous-testimonies-lord__winchester-new-oh142", "text": "thy-wondrous-testimonies-lord", "harmonization": "winchester-new-oh142", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "tis-midnight-and-on-olive-s-brow__st-cross-oh97", "text": "tis-midnight-and-on-olive-s-brow", "harmonization": "st-cross-oh97", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "tis-midnight-and-on-olives-brow__olives-brow-cyberhymnal", "text": "tis-midnight-and-on-olives-brow", "harmonization": "olives-brow-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "tis-so-sweet-to-trust-in-jesus__trust-in-jesus-songs-of-triumph-1882", "text": "tis-so-sweet-to-trust-in-jesus", "harmonization": "trust-in-jesus-songs-of-triumph-1882", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "to-god-be-the-glory__to-god-be-the-glory-1875", "text": "to-god-be-the-glory", "harmonization": "to-god-be-the-glory-1875", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "to-god-for-help-will-i-repair__erhalt-uns-herr-bei-deinem-wort-oh159", "text": "to-god-for-help-will-i-repair", "harmonization": "erhalt-uns-herr-bei-deinem-wort-oh159", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "to-render-thanks-unto-the-lord__st-agnes-oh156", "text": "to-render-thanks-unto-the-lord", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "to-the-hills-i-lift-my-eyes__martyn-cyberhymnal", "text": "to-the-hills-i-lift-my-eyes", "harmonization": "martyn-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "To the hills I lift my eyes; Whence shall help for me a -- rise? From the Lord shall come my aid, Who the heav'n and earth has made. He will guide thro' dan -- gers all, Will not suf -- fer thee to fall. He Who safe His peo -- ple keeps Slum -- bers not and nev -- er _ sleeps.", "2": "Thy pro -- tec -- tor is the Lord; Shade for thee he will af -- ford. Nei -- ther sun nor moon shall smite, God shall guard by day and night. He will ev -- er keep thy soul; What would harm He will con -- trol. In the home and by the way God will keep thee day by _ day."}, "refrain_lines": null}, {"slug": "to-thee-i-lift-my-soul__boylston-oh214", "text": "to-thee-i-lift-my-soul", "harmonization": "boylston-oh214", "alignment": "explicit", "note_splits": [12, 26], "stanza_lines": {"1": "To thee I lift my soul: O Lord, I trust in thee: _ My God, let me not be a -- sham'd, nor foes tri -- umph o'er me. _", "2": "Let none that wait on thee be put to shame at all; _ But those that with -- out cause trans -- gress, let shame up -- on them fall. _", "3": "Show me thy ways, O Lord; thy paths, O teach thou me: _ And do thou lead me in thy truth, there -- in my teach -- er be: _", "4": "For thou art God that dost to me sal -- va -- tion send, _ And I up -- on thee all the day ex -- pect -- ing do at -- tend. _", "5": "Thy ten -- der mer -- cies, Lord, I pray thee to re -- mem -- ber, And lo -- ving -- kind -- nes -- ses; for they have been of old for ev -- er.", "6": "My sins and faults of youth do thou, O Lord, for -- get: _ Af -- ter thy mer -- cy think on me, and for thy good -- ness great. _", "7": "God good and up -- right is: the way he'll sin -- ners show. _ The meek in judg -- ment he will guide, and make his path to know. _", "8": "The whole paths of the Lord are truth and mer -- cy sure, _ To those that do his cov -- 'nant keep, and tes -- ti -- mo -- nies pure. _", "9": "Now, for thine own name's sake, O Lord, I thee en -- treat _ To par -- don mine in -- iq -- ui -- ty; for it is ver -- y great. _", "10": "What man is he that fears the Lord, and doth him serve? _ Him shall he teach the way that he shall choose, and still ob -- serve. _", "11": "His soul shall dwell at ease; and his pos -- ter -- i -- ty _ Shall flour -- ish still, and of the earth in -- her -- i -- tors shall be. _", "12": "With those that fear him is the se -- cret of the Lord; _ The knowl -- edge of his cov -- e -- nant he will to them af -- ford. _", "13": "Mine eyes up -- on the Lord con -- tin -- ual -- ly are set; _ For he it is that shall bring forth my feet out of the net. _", "14": "Turn un -- to me thy face, and to me mer -- cy show; _ Be -- cause that I am des -- o -- late, and am brought ver -- y low. _", "15": "My heart's griefs are in -- creased: me from dis -- tress re -- lieve. _ See mine af -- flic -- tion and my pain, and all my sins for -- give. _", "16": "Con -- sid -- er thou my foes, be -- cause they man -- y are; _ And it a cru -- el ha -- tred is which they a -- gainst me bear. _", "17": "O do thou keep my soul, do thou de -- liv -- er me: _ And let me nev -- er be a -- shamed, be -- cause I trust in thee. _", "18": "Let up -- right -- ness and truth keep me, who thee at -- tend. _ Re -- demp -- tion, Lord, to I -- sra -- el from all his trou -- bles send. _"}, "refrain_lines": null}, {"slug": "to-thee-i-lift-my-soul-o-lord__evan-oh231", "text": "to-thee-i-lift-my-soul-o-lord", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 28], "stanza_lines": {"1": "To thee I lift my soul, O Lord: my God, I trust in thee: _ Let me not be a -- shamed; let not my foes tri -- umph o'er me. _", "2": "Yea, let thou none a -- sham -- ed be that do on thee at -- tend: _ A -- sham -- ed let them be, O Lord, who with -- out cause of -- fend. _", "3": "Thy ways, Lord, show; teach me thy paths: lead me in truth, teach me: _ For of my safe -- ty thou art God; all day I wait on thee. _", "4": "Thy mer -- cies, that most ten -- der are, do thou, O Lord, re -- mem -- ber, And lo -- ving -- kind -- nes -- ses; for they have been of old for ev -- er.", "5": "Let not the er -- rors of my youth, nor sins, re -- mem -- bered be: _ In mer -- cy, for thy good -- ness' sake, O Lord, re -- mem -- ber me. _", "6": "The Lord is good and gra -- ci -- ous, he up -- right is al -- so: _ He there -- fore sin -- ners will in -- struct in ways that they should go. _", "7": "The meek and low -- ly he will guide in judg -- ment just al -- way: _ To meek and poor af -- flic -- ted ones he'll clear -- ly teach his way. _", "8": "The whole paths of the Lord our God are truth and mer -- cy sure, _ To such as keep his cov -- e -- nant, and tes -- ti -- mo -- nies pure. _", "9": "Now, for thine own name's sake, O Lord, I hum -- bly thee en -- treat _ To par -- don mine in -- iq -- ui -- ty; for it is ver -- y great. _", "10": "What man fears God? him shall he teach the way that he shall choose. _ His soul shall dwell at ease; his seed the earth, as heirs, shall use. _", "11": "The se -- cret of the Lord is with such as do fear his name; _ And he his ho -- ly cov -- e -- nant will man -- i -- fest to them. _", "12": "To -- wards the Lord my wait -- ing eyes con -- tin -- ual -- ly are set; _ For he it is that shall bring forth my feet out of the net. _", "13": "O turn thee un -- to me, O God, have mer -- cy me up -- on; _ Be -- cause I sol -- i -- tar -- y am, and in af -- flic -- ti -- on. _", "14": "En -- larged the griefs are of mine heart; me from dis -- tress re -- lieve. _ See mine af -- flic -- tion and my pain, and all my sins for -- give. _", "15": "Con -- sid -- er thou mine en -- e -- mies, be -- cause they man -- y are; _ And it a cru -- el ha -- tred is which they a -- gainst me bear. _", "16": "O do thou keep my soul; O God, do thou de -- liv -- er me: _ Let me not be a -- shamed; for I do put my trust in thee. _", "17": "O let in -- teg -- ri -- ty and truth keep me, who thee at -- tend. _ Re -- demp -- tion, Lord, to I -- sra -- el from all his trou -- bles send. _"}, "refrain_lines": null}, {"slug": "to-thee-i-lift-my-soul-psalm-25__boylston-oh214", "text": "to-thee-i-lift-my-soul-psalm-25", "harmonization": "boylston-oh214", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "to-thee-o-god-do-we-give-thanks__evan-oh231", "text": "to-thee-o-god-do-we-give-thanks", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "to-thee-o-god-we-render-thanks__evan-oh231", "text": "to-thee-o-god-we-render-thanks", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "to-thee-o-lord-i-fly__diademata-am-1869", "text": "to-thee-o-lord-i-fly", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "trust-and-obey__trust-and-obey-1887", "text": "trust-and-obey", "harmonization": "trust-and-obey-1887", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "twas-on-that-night__rockingham-old-cyberhymnal", "text": "twas-on-that-night", "harmonization": "rockingham-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "under-his-wings__under-his-wings-oh288", "text": "under-his-wings", "harmonization": "under-his-wings-oh288", "alignment": "explicit", "stanza_lines": {"1": "Un -- der His wings I am safe -- ly a -- bid -- ing, Though the night deep -- ens and temp -- ests are wild, Still I can trust Him; I know He will keep me, He has re -- deemed me, and I am His child.", "2": "Un -- der His wings, what a ref -- uge in sor -- row! How the heart yearn -- ing -- ly turns to His rest! Of -- ten when earth has no balm for my heal -- ing, There I find com -- fort, and there I am blessed.", "3": "Un -- der His wings, oh, what pre -- cious en -- joy -- ment! There will I hide till life's tri -- als are o'er; Shel -- tered, pro -- tec -- ted, no e -- vil can harm me, Rest -- ing in Je -- sus, I'm safe ev -- er -- more."}, "refrain_lines": "Un -- der His wings, un -- der His wings, Who from His love _ can sev -- er? Un -- der His wings my soul shall a -- bide, Safe -- ly a -- bide _ for -- ev -- er.", "stress_checked": true}, {"slug": "unto-the-lord-i-with-my-voice__winchester-old-cyberhymnal", "text": "unto-the-lord-i-with-my-voice", "harmonization": "winchester-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "upon-the-hills-of-holiness__evan-oh231", "text": "upon-the-hills-of-holiness", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "wake-awake-for-night-is-flying__wachet-auf-bwv140-7", "text": "wake-awake-for-night-is-flying", "harmonization": "wachet-auf-bwv140-7", "alignment": "explicit", "stanza_lines": {"1": "Wake, a -- wake, for night is fly -- ing; The watch -- men on _ the heights are cry -- _ ing: A -- wake, Je -- ru -- sa -- lem, _ at last! Mid -- night hears the wel -- come voic -- es And at the thril -- _ ling cry re -- joic -- _ es; Come forth, ye vir -- gins, night _ is past; The Bride -- groom comes, a -- wake; Your lamps with glad -- ness take; A -- lle -- lu -- ia! And for His mar -- riage _ feast pre -- pare For ye must go and meet _ Him there.", "2": "Zi -- on hears the watch -- men sing -- ing, And all her heart _ with joy is spring -- _ ing; She wakes, she ris -- es from _ her gloom; For her Lord comes down all glo -- rious, The strong in grace, _ in truth vic -- tor -- _ ious. Her Star is ris'n, her Light _ is come. Ah come, Thou bless -- ed One, God's own be -- lov -- ed Son: A -- lle -- lu -- ia! We fol -- low till the _ halls we see Where Thou hast bid us sup _ with Thee", "3": "Now let all the heav'ns a -- dore Thee, And saints and an -- _ gels sing be -- fore _ Thee, With harp and cym -- bal's clear -- _ est tone; Of one pearl each shin -- ing por -- tal, Where we are with _ the choir im -- mor -- _ tal Of an -- gels round Thy dazz -- _ ling throne; Nor eye hath seen, nor ear hath yet a -- ttained to hear What there is ours, but we re -- joice and _ sing to Thee Our hymn of joy e -- ter -- _ nal -- ly."}, "refrain_lines": null, "stress_checked": true}, {"slug": "wake-awake-for-night-is-flying__wachet-auf-oh209", "text": "wake-awake-for-night-is-flying", "harmonization": "wachet-auf-oh209", "alignment": "explicit", "stanza_lines": {"1": "Wake, a -- wake, for night is fly -- _ _ ing; The watch -- men on the heights are cry -- ing: A -- wake, Je -- ru -- sa -- lem, at last! Mid -- night hears the wel -- come voic -- _ _ es And at the thril -- ling cry re -- joic -- es; Come forth, ye vir -- gins, night is past; The Bride -- groom comes, a -- wake; Your lamps with glad -- ness take; A -- lle -- lu -- ia! And for His mar -- riage feast pre -- pare For ye must go and meet Him there.", "2": "Zi -- on hears the watch -- men sing -- _ _ ing, And all her heart with joy is spring -- ing; She wakes, she ris -- es from her gloom; For her Lord comes down all glo -- _ _ rious, The strong in grace, in truth vic -- tor -- ious. Her Star is ris'n, her Light is come. Ah come, Thou bless -- ed One, God's own be -- lov -- ed Son: A -- lle -- lu -- ia! We fol -- low till the halls we see Where Thou hast bid us sup with Thee", "3": "Now let all the heav'ns a -- dore _ _ Thee, And saints and an -- gels sing be -- fore Thee, With harp and cym -- bal's clear -- est tone; Of one pearl each shin -- ing por -- _ _ tal, Where we are with the choir im -- mor -- tal Of an -- gels round Thy dazz -- ling throne; Nor eye hath seen, nor ear hath yet a -- ttained to hear What there is ours, but we re -- joice and sing to Thee Our hymn of joy e -- ter -- nal -- ly."}, "refrain_lines": null, "stress_checked": true}, {"slug": "we-all-believe-in-one-true-god__wir-glauben-all-an-einen-gott-schoepfer-oh126", "text": "we-all-believe-in-one-true-god", "harmonization": "wir-glauben-all-an-einen-gott-schoepfer-oh126", "alignment": "explicit", "stanza_lines": {"1": "We all _ _ be -- lieve in _ one _ true _ God, Who cre -- at -- ed earth and heav -- en, The Fa -- ther, who to us in love Hath the right of chil -- dren giv -- _ en. He both soul and bod -- y feed -- eth, All we need He doth pro -- vide us; He through snares and per -- ils lead -- _ eth, Watch -- _ ing that no harm be -- tide us. He car -- _ eth _ for _ us day _ and _ night, _ _ _ _ _ All things are gov -- erned _ by His might.", "2": "We all _ _ be -- lieve in _ Je -- _ sus _ Christ, His own Son, our Lord, pos -- ses -- sing An e -- qual God -- head, throne, and might, Source of ev -- ery grace and bless -- _ ing. Born of Ma -- ry, vir -- gin moth -- er, By the pow -- er of the Spir -- it, Made true man, our el -- der Broth -- _ er, That _ the lost might life in -- her -- it; Was cru -- _ ci -- _ fied _ for sin -- _ ful _ men _ _ _ _ _ And raised by God to _ life a -- gain.", "3": "We all _ _ con -- fess the _ Ho -- _ ly _ Ghost, Who sweet grace and com -- fort giv -- eth And with the Fa -- ther and the Son In e -- ter -- nal glor -- y liv -- _ eth; Who the Church, His own cre -- a -- tion, Keeps in u -- ni -- ty of spir -- it. Here for -- give -- ness and sal -- va -- _ tion Dai -- _ ly come through Je -- sus' mer -- it. All flesh _ shall _ rise, _ and we _ shall _ be _ _ _ _ _ In bliss with God e -- _ ter -- nal -- ly."}, "refrain_lines": null, "stress_checked": true}, {"slug": "we-give-thee-but-thine-own__schumann-cyberhymnal", "text": "we-give-thee-but-thine-own", "harmonization": "schumann-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "We give Thee but Thine own, What -- e'er the gift may be; _ All that we have is Thine a -- lone, A trust, O Lord, from Thee.", "2": "May we Thy boun -- ties thus, As stew -- ards true re -- ceive; _ And glad -- ly, as Thou bless -- est us, To Thee our first -- fruits give.", "3": "O hearts are bruised and dead, And homes are bare and cold; _ And lambs for whom the Shep -- herd bled Are stray -- ing from the fold.", "4": "To com -- fort and to bless, To find a balm for woe; _ To tend the lone and fa -- ther -- less Is an -- gels' work be -- low.", "5": "The cap -- tive to re -- lease, To God the lost to bring; _ To teach the way of life and peace, It is a Christ -- like thing.", "6": "And we be -- lieve Thy word, Though dim our faith may be; _ What -- e'er for Thine we do, O Lord, We do it un -- to Thee."}, "refrain_lines": null, "stress_checked": true}, {"slug": "we-know-thee-who-thou-art__sellinge-oh181", "text": "we-know-thee-who-thou-art", "harmonization": "sellinge-oh181", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "we-plow-the-fields-and-scatter__wir-pfl-gen-cyberhymnal", "text": "we-plow-the-fields-and-scatter", "harmonization": "wir-pfl-gen-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "We plow the fields, and scat -- ter The good seed on the land, But it is fed and wa -- tered By God's al -- might -- y _ hand; He sends the snow in win -- ter, The warmth to swell the grain, The breez -- es and the sun -- shine, And soft re -- fresh -- ing rain.", "2": "He on -- ly is the Mak -- er Of all things near and far; He paints the way -- side flow -- er, He lights the eve -- ning _ star; The winds and waves o -- bey Him, By Him the birds are fed; Much more to us, His child -- ren, He gives our dai -- ly bread.", "3": "We thank Thee, then, O Fa -- ther, For all things bright and good, The seed time and the har -- vest, Our life, our health, and _ food; No gifts have we to of -- fer, For all Thy love im -- parts, But that which Thou de -- sir -- est, Our hum -- ble, thank -- ful hearts."}, "refrain_lines": "All good gifts a -- round us Are sent from Heav'n a -- bove, Then thank the Lord, O thank the Lord For all His love. _ _", "stress_checked": true}, {"slug": "we-praise-thee-o-god-our-redeemer-creator__kremser-cyberhymnal", "text": "we-praise-thee-o-god-our-redeemer-creator", "harmonization": "kremser-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "We praise Thee, O God, our Re -- deem -- er, Cre -- a -- tor, In grate -- ful de -- vo -- tion our trib -- ute we bring; We lay it be -- fore Thee, we kneel _ and a -- dore Thee, We bless Thy ho -- ly Name _ glad prais -- es we sing.", "2": "We wor -- ship Thee, God of our fa -- thers, we bless Thee; Through life's storm and tem -- pest our Guide hast Thou been; When per -- ils o'er -- take us, es -- cape _ Thou wilt make us, And with Thy help, O Lord _ our bat -- tles we win."}, "refrain_lines": null, "stress_checked": true}, {"slug": "weary-of-earth-and-laden-with-my-sin__langran-cyberhymnal", "text": "weary-of-earth-and-laden-with-my-sin", "harmonization": "langran-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "were-you-there__were-you-there-cyberhymnal", "text": "were-you-there", "harmonization": "were-you-there-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Were you there when they cru -- ci -- fied my Lord? Were you there when they cru -- ci -- fied my Lord? Oh! _ _ _ Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they cru -- ci -- fied my Lord?", "2": "Were you there when they nailed Him to the tree? Were you there when they nailed Him to the tree? Oh! _ _ _ Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they nailed Him to the tree?", "3": "Were you there when they laid Him in the tomb? Were you there when they laid Him in the tomb? Oh! _ _ _ Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when they laid Him in the tomb?", "4": "Were you there when God raised Him from the tomb? Were you there when God raised Him from the tomb? Oh! _ _ _ Some -- times it caus -- es me to trem -- ble, trem -- ble, trem -- ble. Were you there when God raised Him from the tomb?"}, "refrain_lines": null, "stress_checked": true}, {"slug": "what-a-friend-we-have-in-jesus__untitled-oh249", "text": "what-a-friend-we-have-in-jesus", "harmonization": "untitled-oh249", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "what-child-is-this__greensleeves-openhymnal", "text": "what-child-is-this", "harmonization": "greensleeves-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "what-time-i-am-afraid__holy-guide-cyberhymnal", "text": "what-time-i-am-afraid", "harmonization": "holy-guide-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "What time I am a -- fraid _ I put my trust in Thee; _ In God I rest, and praise _ His word, so rich and free.", "2": "In God I put my trust, _ I nei -- ther doubt nor fear, _ For man can nev -- er harm _ With God my help -- er near.", "3": "In God the Lord, I rest, _ His word of grace I praise, _ His prom -- ise stands se -- cure, _ Nor fear nor foe dis -- mays.", "4": "Up -- on me are Thy vows, _ O God, in Whom I live; _ The sac -- ri -- fice of praise _ To Thee I now will give.", "5": "For Thou hast saved from death, _ From fall -- ing kept me free, _ That in the light of life _ My walk may be with Thee."}, "refrain_lines": null}, {"slug": "whateer-my-god-ordains-is-right__was-gott-tut-bwv144", "text": "whateer-my-god-ordains-is-right", "harmonization": "was-gott-tut-bwv144", "alignment": "explicit", "stanza_lines": {"1": "What -- e'er my God or -- dains is right: His ho -- ly will a -- _ bid -- eth; I will be still what -- e'er He doth, And fol -- low where He _ guid -- eth. He is my God; though dark my road, He holds me that I shall not fall: Where -- fore to Him I leave it all.", "2": "What -- e'er my God or -- dains is right: He nev -- er will de -- _ ceive me; He leads me by the prop -- er path: I know He will not _ leave me. I take, con -- tent, what He hath sent; His hand can turn my griefs a -- way, And pa -- tient -- ly I wait His day.", "3": "What -- e'er my God or -- dains is right: Though now this cup, in _ drink -- ing, May bit -- ter seem to my faint heart, I take it, all un -- _ shrink -- ing. My God is true; each morn a -- new Sweet com -- fort yet shall fill my heart, And pain and sor -- row shall de -- part.", "4": "What -- e'er my God or -- dains is right: Here shall my stand be _ tak -- en; Though sor -- row, need, or death be mine, Yet am I not for -- _ sak -- en. My Fa -- ther's care is round me there; He holds me that I shall not fall: And so to Him I leave it all."}, "refrain_lines": null, "stress_checked": true}, {"slug": "whateer-my-god-ordains-is-right__was-gott-tut-bwv99", "text": "whateer-my-god-ordains-is-right", "harmonization": "was-gott-tut-bwv99", "alignment": "explicit", "stanza_lines": {"1": "What -- e'er my God or -- dains is right: His ho -- ly will _ a -- bid -- eth; I will be still what -- e'er He doth, And fol -- low where _ He guid -- eth. He is my God; though dark my road, He holds me that I shall not fall: Where -- fore to Him I leave it all.", "2": "What -- e'er my God or -- dains is right: He nev -- er will _ de -- ceive me; He leads me by the prop -- er path: I know He will _ not leave me. I take, con -- tent, what He hath sent; His hand can turn my griefs a -- way, And pa -- tient -- ly I wait His day.", "3": "What -- e'er my God or -- dains is right: Though now this cup, _ in drink -- ing, May bit -- ter seem to my faint heart, I take it, all _ un -- shrink -- ing. My God is true; each morn a -- new Sweet com -- fort yet shall fill my heart, And pain and sor -- row shall de -- part.", "4": "What -- e'er my God or -- dains is right: Here shall my stand _ be tak -- en; Though sor -- row, need, or death be mine, Yet am I not _ for -- sak -- en. My Fa -- ther's care is round me there; He holds me that I shall not fall: And so to Him I leave it all."}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-i-survey-the-wondrous-cross__duke-street-fotw-1904", "text": "when-i-survey-the-wondrous-cross", "harmonization": "duke-street-fotw-1904", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-i-survey-the-wondrous-cross__hamburg-openhymnal", "text": "when-i-survey-the-wondrous-cross", "harmonization": "hamburg-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-i-survey-the-wondrous-cross__rockingham-miller-openhymnal", "text": "when-i-survey-the-wondrous-cross", "harmonization": "rockingham-miller-openhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-i-to-thee-my-prayer-make__lea-oh299", "text": "when-i-to-thee-my-prayer-make", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "when-in-the-night-i-meditate__st-agnes-oh156", "text": "when-in-the-night-i-meditate", "harmonization": "st-agnes-oh156", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "when-isrel-out-of-egypt-went__new-britain-excell-1900", "text": "when-isrel-out-of-egypt-went", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "when-morning-gilds-the-skies__laudes-domini-cyberhymnal", "text": "when-morning-gilds-the-skies", "harmonization": "laudes-domini-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "When morn -- ing gilds the skies, My heart a -- wak -- ing cries, _ May Je -- sus Christ be praised! A -- like at work and prayer To Je -- sus I re -- pair; May Je -- sus Christ be praised! _ _", "2": "The night be -- comes as day When from the heart we say, _ May Je -- sus Christ be praised! The pow'rs of dark -- ness fear When this sweet song they hear, May Je -- sus Christ be praised! _ _", "3": "Ye na -- tions of man -- kind, In this your con -- cord find: _ May Je -- sus Christ be praised! Let all the earth a -- round Ring joy -- ous with the sound: May Je -- sus Christ be praised! _ _", "4": "In heav'n's e -- ter -- nal bliss The love -- liest strain is this, _ May Je -- sus Christ be praised! Let earth, and sea, and sky From depth to height re -- ply, May Je -- sus Christ be praised! _ _"}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-the-roll-is-called-up-yonder__when-the-roll-is-called-up-yonder-oh222", "text": "when-the-roll-is-called-up-yonder", "harmonization": "when-the-roll-is-called-up-yonder-oh222", "alignment": "explicit", "stanza_lines": {"1": "When the trum -- pet of the Lord shall sound, and time shall be no more, And the morn -- ing breaks, e -- ter -- nal, bright and fair; When the saved of earth shall gath -- er ov -- er on the oth -- er shore, And the roll is called up yon -- der, I'll be there.", "2": "On that bright and cloud -- less morn -- ing when the dead in Christ shall rise, And the glo -- ry of His res -- ur -- rec -- tion share; When His cho -- sen ones shall gath -- er to their home be -- yond the skies, And the roll is called up yon -- der, I'll be there.", "3": "Let us la -- bor for the Mas -- ter from the dawn till set -- ting sun, Let us talk of all His won -- drous love and care; Then when all of life is ov -- er, and our work on earth is done, And the roll is called up yon -- der, I'll be there."}, "refrain_lines": "When the roll _ is called up yon -- der, When the roll _ is called up yon -- der, When the roll _ is called up yon -- der, When the roll is called up yon -- der, I'll be there.", "stress_checked": true}, {"slug": "when-we-all-get-to-heaven__heaven-cyberhymnal", "text": "when-we-all-get-to-heaven", "harmonization": "heaven-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "when-zions-bondage-god-turned-back__new-britain-excell-1900", "text": "when-zions-bondage-god-turned-back", "harmonization": "new-britain-excell-1900", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "where-he-leads-me__where-he-leads-me-oh243", "text": "where-he-leads-me", "harmonization": "where-he-leads-me-oh243", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "wherefore-is-it-that-thou-o-lord__st-flavian-oh87", "text": "wherefore-is-it-that-thou-o-lord", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "while-shepherds-watched-their-flocks__winchester-old-cyberhymnal", "text": "while-shepherds-watched-their-flocks", "harmonization": "winchester-old-cyberhymnal", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "whiter-than-snow__whiter-than-snow-oh236", "text": "whiter-than-snow", "harmonization": "whiter-than-snow-oh236", "alignment": "explicit", "stanza_lines": {"1": "Lord Je -- sus, I long to be per -- fect -- ly whole; I want Thee for -- ev -- er to live in my soul, Break down ev -- 'ry i _ -- dol, cast out ev -- 'ry foe; Now wash me and I shall be whit -- er than snow.", "2": "Lord Je -- sus, look down from Thy throne in the skies, And help me to make a com -- plete sac -- ri -- fice; I give up my -- self, _ and what -- ev -- er I know, Now wash me and I shall be whit -- er than snow.", "3": "Lord Je -- sus, for this I most hum -- bly en -- treat, I wait, bless -- ed Lord, at Thy cru -- ci -- fied feet, By faith, for my clean _ -- sing, I see Thy blood flow, Now wash me and I shall be whit -- er than snow.", "4": "Lord Je -- sus, Thou see -- st I pa -- tient -- ly wait, Come now, and with -- in me a new heart cre -- ate; To those who have sought _ Thee, Thou nev -- er said'st ``No,'' Now wash me and I shall be whit -- er than snow."}, "refrain_lines": "Whit -- er than snow, yes, whit -- er than snow; Now wash me, and I shall be whit -- er than snow.", "stress_checked": true}, {"slug": "who-o-lord-shall-dwell-with-thee__mude-bin-ich-geh-zur-ruh-oh313", "text": "who-o-lord-shall-dwell-with-thee", "harmonization": "mude-bin-ich-geh-zur-ruh-oh313", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "who-o-lord-with-thee-abiding__hymn-to-joy-methodist-1905", "text": "who-o-lord-with-thee-abiding", "harmonization": "hymn-to-joy-methodist-1905", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "wholehearted-thanksgiving-to-thee-i-will-bring__st-denio-caniadau-1878", "text": "wholehearted-thanksgiving-to-thee-i-will-bring", "harmonization": "st-denio-caniadau-1878", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "why-dost-thou-boast-o-mighty-man__lea-oh299", "text": "why-dost-thou-boast-o-mighty-man", "harmonization": "lea-oh299", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "why-dost-thou-stand-afar__southwell-oh141", "text": "why-dost-thou-stand-afar", "harmonization": "southwell-oh141", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "why-rage-the-heathen-and-vain-things__evan-oh231", "text": "why-rage-the-heathen-and-vain-things", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14, 22, 28], "stanza_lines": {"1": "Why rage the hea -- then? and vain things why do the peo -- ple mind? _ Kings of the earth do set them -- selves, _ and prin -- ces are com -- bined, _", "2": "To plot a -- gainst the Lord, and his A -- noint -- ed, say -- ing thus, _ Let us a -- sun -- der break their bands, _ and cast their cords from us. _", "3": "He that in heav -- en sits shall laugh; the Lord shall scorn them all. _ Then shall he speak to them in wrath, _ in rage he vex them shall. _", "4": "Yet, not -- with -- stand -- ing, I have him to be my King ap -- point -- ed; And o -- ver Zi -- on, my ho -- ly hill, I have him King a -- noint -- ed.", "5": "The sure de -- cree I will de -- clare; the Lord hath said to me, _ Thou art mine on -- ly Son; this day _ I have be -- got -- ten thee. _", "6": "Ask of me, and for her -- i -- tage the hea -- then I'll make thine; _ And, for pos -- ses -- sion, I to thee _ will give earth's ut -- most line. _", "7": "Thou shalt, as with a weight -- y rod of i -- ron, break them all; _ And, as a pot -- ter's sherd, thou shalt _ them dash in piec -- es small. _", "8": "Now, there -- fore, kings, be wise; be taught, ye jud -- ges of the earth: _ Serve God in fear, and see that ye _ join trem -- bling with your mirth. _", "9": "Kiss ye the Son, lest in his ire ye per -- ish from the way, _ If once his wrath be -- gin to burn: _ bless'd all that on him stay. _"}, "refrain_lines": null}, {"slug": "why-should-sorrow-ever-grieve-me__warum-sollt-ich-bwv422", "text": "why-should-sorrow-ever-grieve-me", "harmonization": "warum-sollt-ich-bwv422", "alignment": "explicit", "stanza_lines": {"1": "Why should sor -- row ev -- _ er grieve _ me? Christ is near, What _ can here E'er of Him de -- prive _ _ me? Who can rob me of my heav -- _ en That God's Son, As _ mine own, To my faith hath _ giv -- _ _ en?", "2": "Na -- ked was I and _ un -- swath -- _ èd When on earth At _ my birth My first breath I breath -- _ _ èd. Na -- ked hence shall I be -- take _ me, When I go From _ earth's woe, And my breath for -- _ sake _ _ me.", "3": "Nought— not e'en the life _ I'm liv -- _ ing, Is mine own, God _ a -- lone All to me is giv -- _ _ ing. Must I then His own re -- store _ Him? Though be -- reft Of _ each gift Still shall I a -- _ dore _ _ Him.", "4": "Though a heav -- y cross _ I'm bear -- _ ing, And my heart Feels _ the smart, Shall I be de -- spair -- _ _ ing? God can help me, who doth send _ it, He doth know All _ my woe And how best to _ end _ _ it.", "5": "God oft gives me days _ of glad -- _ ness, Shall I grieve If _ He give Sea -- sons too of sad -- _ _ ness? God is good, and tem -- pers ev -- _ er Ev -- 'ry hurt, Me _ de -- sert Whol -- ly can He _ nev -- _ _ er,", "6": "Though u -- nit -- ed world _ and dev -- _ il, All their pow'r Can _ no more Do than mock and cav -- _ _ il. Let de -- ri -- sion now em -- ploy _ them, Christ e'en here Will _ ap -- pear And 'fore all de -- _ stroy _ _ them.", "7": "True be -- liev -- ers shrink -- _ ing nev -- _ er, Where they dwell Should _ re -- veal Their true col -- ours ev -- _ _ er. When ap -- proach -- ing death would scare _ them, Still should they Pa -- _ tient stay And with cour -- age _ bear _ _ them.", "8": "Death can nev -- er kill _ us ev -- _ en, But re -- lief From _ all grief To us then is giv -- _ _ en. It doth close life's mourn -- ful sto -- _ ry, Make a way That _ we may Pass to heav'n -- ly _ glo -- _ _ ry.", "9": "There I'll reap en -- dur -- _ ing plea -- _ sure, Af -- ter woe Here _ be -- low Suf -- fer'd in large mea -- _ _ sure. Last -- ing good we find here nev -- _ er, All the earth Deem -- _ eth worth Van -- ish -- eth for _ ev -- _ _ er.", "10": "What is all this life _ pos -- sess -- _ eth? But a hand Full _ of sand That the heart dis -- tress -- _ _ eth. No -- ble gifts that pall me nev -- _ er, Christ so free There _ gives me To en -- joy for _ ev -- _ _ er.", "11": "Shep -- herd! Lord! joy's foun -- _ tain ev -- _ er, Thou art mine, I _ am Thine, No one can us sev -- _ _ er. I am Thine, be -- cause Thou gav -- _ est Life and blood For _ my good, By Thy death me _ sav -- _ _ est.", "12": "Thou'rt mine, for I love _ and own _ Thee, Ne'er shall I, Light _ of joy, From my heart de -- throne _ _ Thee. Let me, let me soon be -- hold _ Thee Face to face, Thy _ em -- brace May it soon en -- _ fold _ _ me!"}, "refrain_lines": null, "stress_checked": true}, {"slug": "with-thankful-voice-praise-ye-the-lord__tallis-canon-oh309", "text": "with-thankful-voice-praise-ye-the-lord", "harmonization": "tallis-canon-oh309", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "within-thy-tabernacle-lord__evan-oh231", "text": "within-thy-tabernacle-lord", "harmonization": "evan-oh231", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "within-thy-temple-lord__darwalls-148th-csb1918", "text": "within-thy-temple-lord", "harmonization": "darwalls-148th-csb1918", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "within-thy-temple-lord-psalm-48__diademata-am-1869", "text": "within-thy-temple-lord-psalm-48", "harmonization": "diademata-am-1869", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "wonderful-words-of-life__words-of-life-1883", "text": "wonderful-words-of-life", "harmonization": "words-of-life-1883", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}, {"slug": "ye-children-come-give-ear-to-me__st-flavian-oh87", "text": "ye-children-come-give-ear-to-me", "harmonization": "st-flavian-oh87", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "ye-gates-lift-your-heads-the-glad-summons-obey__foundation-union-harmony-1837", "text": "ye-gates-lift-your-heads-the-glad-summons-obey", "harmonization": "foundation-union-harmony-1837", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "ye-righteous-in-the-lord-rejoice__st-anne-lutheran-hymnary-1913", "text": "ye-righteous-in-the-lord-rejoice", "harmonization": "st-anne-lutheran-hymnary-1913", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null}, {"slug": "ye-servants-of-god__hanover-croft-cyberhymnal", "text": "ye-servants-of-god", "harmonization": "hanover-croft-cyberhymnal", "alignment": "explicit", "stanza_lines": {"1": "Ye ser -- vants of God, your Mas -- ter pro -- claim, And pub -- lish a -- broad his won -- der _ ful name; The name all -- vic -- to -- rious of Je -- sus ex -- tol, His king -- dom is glo -- rious and rules o -- ver all.", "2": "God rul -- eth on high, al -- might -- y to save, And still he is nigh, his pres -- ence _ we have; The great con -- gre -- ga -- tion his tri -- umph shall sing, As -- crib -- ing sal -- va -- tion to Je -- sus our King.", "3": "Sal -- va -- tion to God, who sits on the throne! Let all cry a -- loud, and hon -- or _ the Son; The prais -- es of Je -- sus the an -- gels pro -- claim, Fall down on their fac -- es and wor -- ship the Lamb.", "4": "Then let us a -- dore, and give him his right: All glo -- ry and pow'r, all wis -- dom _ and might; All hon -- or and bless -- ing, with an -- gels a -- bove, And thanks nev -- er ceas -- ing and in -- fin -- ite love."}, "refrain_lines": null}, {"slug": "yet-god-is-good-to-israel__evan-oh231", "text": "yet-god-is-good-to-israel", "harmonization": "evan-oh231", "alignment": "explicit", "note_splits": [14], "stanza_lines": {"1": "Yet God is good to I -- sra -- el, to each pure -- heart -- ed one. _ But as for me, my steps near slipped, my feet were al -- most gone.", "2": "For I en -- vious was, and grudg -- ed the fool -- ish folk to see, _ When I per -- ceived the wick -- ed sort en -- joy pros -- per -- i -- ty.", "3": "For still their strength con -- tin -- ueth firm; their death of bands is free. _ They are not toiled like oth -- er men, nor plagued, as oth -- ers be.", "4": "There -- fore their pride, like to a chain, them com -- pass -- eth a -- bout; _ And, as a gar -- ment, vi -- o -- lence doth cov -- er them through -- out.", "5": "Their eyes stand out with fat; they have more than their hearts could wish. _ They are cor -- rupt; their talk of wrong both lewd and loft -- y is.", "6": "They set their mouth a -- gainst the heav'ns in their blas -- phe -- mous talk; _ And their re -- proach -- ing tongue through -- out the earth at large doth walk.", "7": "His peo -- ple of -- ten -- times for this look back, and turn a -- bout; _ Sith wa -- ters of so full a cup to these are pour -- ed out.", "8": "And thus they say, How can it be that God these things doth know? _ Or, Can there in the High -- est be knowl -- edge of things be -- low?", "9": "Be -- hold, these are the wick -- ed ones, yet pros -- per at their will _ In world -- ly things; they do in -- crease in wealth and rich -- es still.", "10": "I ver -- i -- ly have done in vain my heart to pu -- ri -- fy; _ To no ef -- fect in in -- no -- cence wash -- ed my hands have I.", "11": "For dai -- ly, and all day through -- out, great plagues I suff -- ered have; _ Yea, ev -- 'ry morn -- ing I of new did chas -- tise -- ment re -- ceive.", "12": "If in this man -- ner fool -- ish -- ly to speak I would in -- tend, _ Thy chil -- dren's gen -- er -- a -- ti -- on, be -- hold, I should of -- fend.", "13": "When I this thought to know, it was too hard a thing for me; _ Till to God's sanc -- tua -- ry I went, then I their end did see.", "14": "As -- sur -- ed -- ly thou didst them set a slip -- p'ry place up -- on; _ Them sud -- den -- ly thou cast -- edst down in -- to de -- struc -- ti -- on.", "15": "How in a mo -- ment sud -- den -- ly to ru -- in brought are they! _ With fear -- ful ter -- rors ut -- ter -- ly they are con -- sumed a -- way.", "16": "Ev'n like un -- to a dream, when one from sleep -- ing doth a -- rise; _ So thou, O Lord, when thou a -- wak'st, their im -- age shalt de -- spise.", "17": "Thus griev -- ed was my heart in me, and me my reins op -- pressed: _ So rude was I, and ig -- no -- rant, and in thy sight a beast.", "18": "Nev -- er -- the -- less con -- tin -- ual -- ly, O Lord, I am with thee: _ Thou dost me hold by my right hand, and still up -- hold -- est me.", "19": "Thou, with thy coun -- sel, while I live, wilt me con -- duct and guide; _ And to thy glo -- ry af -- ter -- ward re -- ceive me to a -- bide.", "20": "Whom have I in the heav -- ens high but thee, O Lord, a -- lone? _ And in the earth whom I de -- sire be -- sides thee there is none.", "21": "My flesh and heart doth faint and fail, but God doth fail me nev -- er: For of my heart God is the strength and por -- tion for ev -- er.", "22": "For, lo, they that are far from thee for ev -- er per -- ish shall; _ Them that a whor -- ing from thee go thou hast de -- stroy -- ed all.", "23": "But sure -- ly it is good for me that I draw near to God: _ In God I trust, that all thy works I may de -- clare a -- broad."}, "refrain_lines": null}, {"slug": "yield-not-to-temptation__yield-not-1883", "text": "yield-not-to-temptation", "harmonization": "yield-not-1883", "alignment": "one_to_one", "stanza_lines": {}, "refrain_lines": null, "stress_checked": true}], "people": {"13th-century-spring-carol-first-published-in-the-swedish-piae-cantones": {"dates": null, "display": "13th Century spring carol; first published in the Swedish Piae Cantones"}, "aaron-williams": {"dates": null, "display": "Aaron Williams"}, "adam-drese": {"dates": "1620–1701", "display": "Adam Drese"}, "adelaide-a-pollard": {"dates": "1862–1934", "display": "Adelaide A. Pollard"}, "adelaide-thrupp": {"dates": null, "display": "Adelaide Thrupp"}, "alexander-c-ewing": {"dates": "1830-1895", "display": "Alexander C. Ewing"}, "allen-w-chatfield": {"dates": null, "display": "Allen W. Chatfield"}, "ambrose-of-milan": {"dates": "340–397", "display": "Ambrose of Milan", "sort_name": "Ambrose"}, "anna-b-warner": {"dates": null, "display": "Anna B. Warner"}, "anna-laetitia-waring": {"dates": "1823–1910", "display": "Anna Laetitia Waring"}, "anne-ross-cousin": {"dates": "1824–1906", "display": "Anne Ross Cousin"}, "annie-sherwood-hawks": {"dates": null, "display": "Annie Sherwood Hawks"}, "anthony-j-showalter": {"dates": "1858-1924", "display": "Anthony J. Showalter"}, "arthur-h-messiter": {"dates": null, "display": "Arthur H. Messiter"}, "arthur-henry-mann": {"dates": "1850–1929", "display": "Arthur Henry Mann"}, "arthur-seymour-sullivan": {"dates": null, "display": "Arthur Seymour Sullivan"}, "arthur-tozer-russell": {"dates": "1806–1874", "display": "Arthur Tozer Russell"}, "august-crull": {"dates": "1845–1923", "display": "August Crull"}, "august-lemke": {"dates": "1820-1913", "display": "August Lemke"}, "augustus-montague-toplady": {"dates": null, "display": "Augustus Montague Toplady"}, "aurelius-prudentius-clemens": {"dates": "348–c. 413", "display": "Aurelius Prudentius Clemens"}, "benjamin-hall-kennedy": {"dates": "1804–1889", "display": "Benjamin H. Kennedy"}, "benjamin-schmolck": {"dates": null, "display": "Benjamin Schmolck"}, "bernard-barton": {"dates": null, "display": "Bernard Barton"}, "bernard-of-clairvaux": {"dates": "1090–1153", "display": "Bernard of Clairvaux", "sort_name": "Bernard"}, "bernard-of-cluny": {"dates": "12th Century", "display": "Bernard of Cluny", "sort_name": "Bernard"}, "bernhardt-s-ingemann": {"dates": null, "display": "Bernhardt S. Ingemann"}, "bianco-of-siena": {"dates": "d. c.1434", "display": "Bianco of Siena", "sort_name": "Bianco"}, "carl-dving": {"dates": null, "display": "Carl Døving"}, "carl-glaser": {"dates": "1784–1829", "display": "Carl G. Gläser"}, "carl-maria-von-weber": {"dates": "1786–1826", "display": "Carl Maria von Weber"}, "carolina-sandell-berg": {"dates": "1832-1903", "display": "Carolina Sandell Berg"}, "carrell-clayton": {"dates": "1831", "display": "Carrell & Clayton"}, "carrie-e-breck": {"dates": null, "display": "Carrie E. Breck"}, "catherine-winkworth": {"dates": null, "display": "Catherine Winkworth"}, "charles-c-converse": {"dates": null, "display": "Charles C. Converse"}, "charles-coffin": {"dates": null, "display": "Charles Coffin"}, "charles-henry-purday": {"dates": "1799–1885", "display": "Charles Henry Purday"}, "charles-hutcheson": {"dates": "1792–1860", "display": "Charles Hutcheson"}, "charles-hutchinson-gabriel": {"dates": "1856–1932", "display": "Charles Hutchinson Gabriel"}, "charles-wesley": {"dates": "1707–1788", "display": "Charles Wesley"}, "charles-william-everest": {"dates": "1814–1877", "display": "Charles William Everest"}, "charles-william-fry": {"dates": "1837–1882", "display": "Charles W. Fry"}, "charlotte-elliott": {"dates": "1789–1871", "display": "Charlotte Elliott"}, "chester-g-allen": {"dates": "1838–1878", "display": "Chester G. 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Moore"}, "composite": {"dates": null, "display": "composite"}, "conrad-kocher": {"dates": null, "display": "Conrad Kocher"}, "daniel-b-towner": {"dates": "1850–1919", "display": "Daniel B. Towner"}, "daniel-ben-judah": {"dates": "c. 1400", "display": "Daniel ben Judah"}, "daniel-march": {"dates": null, "display": "Daniel March"}, "daniel-webster-whittle-a-k-a-elias-nathan": {"dates": null, "display": "Daniel Webster Whittle (a.k.a. Elias Nathan)"}, "david-grant": {"dates": "1833–1893", "display": "David Grant"}, "donna-snell": {"dates": null, "display": "Donna Snell"}, "dorothy-ann-thrupp": {"dates": null, "display": "Dorothy Ann Thrupp"}, "dorothy-frances-gurney": {"dates": "1858–1932", "display": "Dorothy Frances Gurney"}, "edmund-h-sears": {"dates": null, "display": "Edmund H. Sears"}, "edward-caswall": {"dates": null, "display": "Edward Caswall"}, "edward-f-rimbault": {"dates": "1816–1876", "display": "Edward F. Rimbault"}, "edward-h-plumptre": {"dates": null, "display": "Edward H. Plumptre"}, "edward-henry-bickersteth": {"dates": "1825-1906", "display": "Edward Henry Bickersteth Jr.", "sort_name": "Bickersteth"}, "edward-hodges": {"dates": "1796–1867", "display": "Edward Hodges"}, "edward-miller": {"dates": "1735–1807", "display": "Edward Miller"}, "edward-mote": {"dates": "1797–1874", "display": "Edward Mote"}, "edward-osler": {"dates": "1798-1863", "display": "Edward Osler"}, "edward-perronet": {"dates": "1726–1792", "display": "Edward Perronet"}, "edward-william-blandy": {"dates": null, "display": "Edward William Blandy"}, "edwin-g-monk": {"dates": null, "display": "Edwin G. Monk"}, "edwin-hatch": {"dates": "1835–1889", "display": "Edwin Hatch"}, "edwin-o-excell": {"dates": "1851–1921", "display": "Edwin O. Excell", "sort_name": "Excell"}, "eleanor-hull": {"dates": "1860–1935", "display": "Eleanor Hull"}, "elisha-a-hoffman": {"dates": "1839-1929", "display": "Elisha A. Hoffman"}, "eliza-e-hewitt": {"dates": "1851–1920", "display": "Eliza E. Hewitt"}, "eliza-s-alderson": {"dates": null, "display": "Eliza S. Alderson"}, "elizabeth-c-clephane": {"dates": null, "display": "Elizabeth C. Clephane"}, "elizabeth-lee-smith": {"dates": "1817–1898", "display": "Elizabeth Lee Smith"}, "elizabeth-payson-prentis": {"dates": null, "display": "Elizabeth Payson Prentis"}, "ellacombe": {"dates": null, "display": "Ellacombe"}, "elvina-m-hall": {"dates": "1820-1889", "display": "Elvina M. Hall"}, "emily-d-wilson": {"dates": "1865–1942", "display": "Emily D. Wilson"}, "erdmann-neumeister": {"dates": null, "display": "Erdmann Neumeister"}, "ernest-shurtleff": {"dates": "1862–1917", "display": "Ernest W. Shurtleff"}, "ernst-w-olson": {"dates": "1870-1958", "display": "Ernst W. Olson"}, "fanny-crosby": {"dates": "1820–1915", "display": "Fanny J. Crosby"}, "felice-de-giardini": {"dates": null, "display": "Felice de Giardini"}, "felix-mendelssohn": {"dates": "1809-1847", "display": "Felix Mendelssohn"}, "folliot-s-pierpoint": {"dates": null, "display": "Folliot S. Pierpoint"}, "frances-elizabeth-cox": {"dates": "1812–1897", "display": "Frances Elizabeth Cox"}, "frances-havergal": {"dates": "1836–1879", "display": "Frances R. Havergal"}, "francis-pott": {"dates": null, "display": "Francis Pott"}, "francois-barthelemon": {"dates": "1741–1808", "display": "François Hippolyte Barthélémon"}, "frank-bottome": {"dates": null, "display": "Frank Bottome"}, "franklin-sheppard": {"dates": "1852–1930", "display": "Franklin L. Sheppard"}, "franz-gruber": {"dates": "1787–1863", "display": "Franz Xaver Gruber"}, "franz-joseph-haydn": {"dates": null, "display": "Franz Joseph Haydn"}, "frederic-henry-hedge": {"dates": null, "display": "Frederic Henry Hedge"}, "frederick-c-maker": {"dates": null, "display": "Frederick C. Maker"}, "frederick-cook-atkinson": {"dates": "1841–1897", "display": "Frederick Cook Atkinson"}, "frederick-faber": {"dates": "1814–1863", "display": "Frederick W. Faber"}, "frederick-l-hosmer": {"dates": "1840–1929", "display": "Frederick L. Hosmer"}, "frederick-martin-lehman": {"dates": null, "display": "Frederick Martin Lehman"}, "frederick-oakeley": {"dates": "1802-1880", "display": "Frederick Oakeley"}, "frederick-w-foster-and-john-miller": {"dates": null, "display": "Frederick W. Foster and John Miller"}, "frederick-westlake": {"dates": null, "display": "Frederick Westlake"}, "friedrich-ferdinand-flemming": {"dates": "1778–1813", "display": "Friedrich Ferdinand Flemming"}, "georg-joseph": {"dates": "1615–1668", "display": "Georg Joseph"}, "georg-weissel": {"dates": "1590-1635", "display": "Georg Weissel"}, "george-a-minor": {"dates": "1845-1904", "display": "George A. 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Turner"}, "hans-georg-nageli": {"dates": "1773–1836", "display": "Hans Georg Nägeli"}, "hans-leo-hassler": {"dates": "1564–1612", "display": "Hans Leo Hassler"}, "harry-t-burleigh": {"dates": "1866–1949", "display": "Harry T. Burleigh"}, "henri-abraham-cesar-malan": {"dates": "1787–1864", "display": "Henri A. César Malan"}, "henri-hemy": {"dates": "1818–1888", "display": "Henri F. Hemy"}, "henry-baker": {"dates": "1835–1910", "display": "Henry Baker"}, "henry-f-lyte": {"dates": "1793–1847", "display": "Henry F. Lyte"}, "henry-g-ley": {"dates": "1887–1962", "display": "Henry G. Ley"}, "henry-j-gauntlett": {"dates": "1805–1876", "display": "Henry J. 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Stead"}, "lowell-mason": {"dates": null, "display": "Lowell Mason"}, "lucy-r-meyer": {"dates": null, "display": "Lucy R. Meyer"}, "ludvig-m-lindeman": {"dates": "1812–1887", "display": "Ludvig M. Lindeman"}, "ludwig-van-beethoven": {"dates": "1770–1827", "display": "Ludwig van Beethoven"}, "maltbie-babcock": {"dates": "1858–1901", "display": "Maltbie D. Babcock"}, "mark-hamilton-dewey": {"dates": null, "display": "Mark Hamilton Dewey"}, "martin-herbst": {"dates": "1654–1681", "display": "Martin Herbst"}, "martin-luther": {"dates": "1483–1546", "display": "Martin Luther"}, "martin-madan": {"dates": "1726–1790", "display": "Martin Madan"}, "martin-rinkart": {"dates": "1586–1649", "display": "Martin Rinkart"}, "mary-a-pepper-kidder": {"dates": null, "display": "Mary A. Pepper Kidder"}, "mary-lundie-duncan": {"dates": "1814-1840", "display": "Mary Lundie Duncan"}, "matthaus-greiter": {"dates": "c. 1495–1550", "display": "Matthäus Greiter"}, "matthew-bridges": {"dates": "1800–1894", "display": "Matthew Bridges"}, "matthias-claudius": {"dates": "1740–1815", "display": "Matthias Claudius"}, "matthias-loy": {"dates": null, "display": "Matthias Loy"}, "melchior-teschner": {"dates": "1584-1635", "display": "Melchior Teschner"}, "melchior-vulpius": {"dates": null, "display": "Melchior Vulpius"}, "michael-praetorius": {"dates": null, "display": "Michael Praetorius"}, "michael-r-newbolt": {"dates": "1874–1956", "display": "Michael R. Newbolt"}, "nahum-tate": {"dates": "1652–1715", "display": "Nahum Tate"}, "nicolaus-decius": {"dates": "c. 1485–1541", "display": "Nicolaus Decius"}, "nikolai-f-s-grundtvig": {"dates": null, "display": "Nikolai F. S. Grundtvig"}, "nikolaus-l-von-zinzendorf": {"dates": "1700–1760", "display": "Nikolaus L. von Zinzendorf"}, "oliver-holden": {"dates": "1765–1844", "display": "Oliver Holden"}, "or-arnsberg-or-groeningen-joachim-neander": {"dates": null, "display": "or 'Arnsberg' or 'Groeningen' Joachim Neander"}, "or-eva-william-h-havergal": {"dates": null, "display": "or 'Eva' William H. Havergal"}, "or-every-morning-edward-j-hopkins": {"dates": null, "display": "or 'Every Morning' Edward J. Hopkins"}, "or-neander-joachim-neander": {"dates": null, "display": "or 'Neander' Joachim Neander"}, "orlando-gibbons": {"dates": "1583–1625", "display": "Orlando Gibbons"}, "paul-gerhardt": {"dates": null, "display": "Paul Gerhardt"}, "percy-dearmer": {"dates": "1867–1936", "display": "Percy Dearmer"}, "peter-williams": {"dates": "1722-1796", "display": "Peter Williams"}, "philip-doddridge": {"dates": "1702-1751", "display": "Philip Doddridge"}, "philip-paul-bliss": {"dates": "1838–1876", "display": "Philip Paul Bliss"}, "phillip-nicolai": {"dates": "1556–1608", "display": "Philipp Nicolai"}, "phillips-brooks": {"dates": "1835–1893", "display": "Phillips Brooks"}, "phoebe-knapp": {"dates": "1839-1908", "display": "Phoebe P. Knapp"}, "ralph-hudson": {"dates": "1843–1901", "display": "Ralph E. 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Trevor Francis"}, "sabine-baring-gould": {"dates": null, "display": "Sabine Baring-Gould"}, "samuel-howard": {"dates": "1710–1782", "display": "Samuel Howard"}, "samuel-john-stone": {"dates": "1839–1900", "display": "Samuel John Stone"}, "samuel-medley": {"dates": "1738-1799", "display": "Samuel Medley"}, "samuel-rodigast": {"dates": "1649–1708", "display": "Samuel Rodigast"}, "samuel-sebastian-wesley": {"dates": "1810–1876", "display": "Samuel Sebastian Wesley"}, "samuel-stennett": {"dates": "1727-1795", "display": "Samuel Stennett"}, "samuel-webbe": {"dates": "1740-1816", "display": "Samuel Webbe"}, "sarah-borthwick-findlater": {"dates": "1823–1907", "display": "Sarah B. Findlater"}, "sarah-f-adams": {"dates": "1805-1848", "display": "Sarah F. Adams"}, "severus-gastorius": {"dates": "1646–1682", "display": "Severus Gastorius"}, "simeon-butler-marsh": {"dates": "1798–1875", "display": "Simeon Butler Marsh"}, "spencer-lane": {"dates": "1843–1903", "display": "Spencer Lane"}, "sydney-h-nicholson": {"dates": "1875–1947", "display": "Sydney H. Nicholson"}, "synesius-of-cyrene": {"dates": "c. 375–430", "display": "Synesius of Cyrene", "sort_name": "Synesius"}, "theodore-baker": {"dates": "1851–1934", "display": "Theodore Baker"}, "theodulf-of-orleans": {"dates": "c. 760-821", "display": "Theodulf of Orleans", "sort_name": "Theodulf"}, "thomas-augustine-arne": {"dates": "1710–1778", "display": "Thomas Augustine Arne"}, "thomas-b-pollock": {"dates": null, "display": "Thomas B. Pollock"}, "thomas-cotterill": {"dates": "1779–1823", "display": "Thomas Cotterill"}, "thomas-hansen-kingo": {"dates": null, "display": "Thomas Hansen Kingo"}, "thomas-hastings": {"dates": null, "display": "Thomas Hastings"}, "thomas-haweis": {"dates": "1734-1820", "display": "Thomas Haweis"}, "thomas-j-williams": {"dates": "1869–1944", "display": "Thomas J. Williams"}, "thomas-kelly": {"dates": "1769–1855", "display": "Thomas Kelly"}, "thomas-ken": {"dates": null, "display": "Thomas Ken"}, "thomas-moore": {"dates": "1779-1852", "display": "Thomas Moore"}, "thomas-o-chisholm": {"dates": "1866–1960", "display": "Thomas O. 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Pye"}, "verses-1-3-tobias-clausnitzer": {"dates": null, "display": "verses 1-3, Tobias Clausnitzer"}, "w-hope-davison": {"dates": null, "display": "W. Hope Davison"}, "walter-chalmers-smith": {"dates": "1824–1908", "display": "Walter Chalmers Smith"}, "walter-stillman-martin": {"dates": null, "display": "Walter Stillman Martin"}, "washington-gladden": {"dates": "1836–1918", "display": "Washington Gladden"}, "will-l-thompson": {"dates": null, "display": "Will L. Thompson"}, "william-augustus-muhlenberg": {"dates": null, "display": "William Augustus Mühlenberg"}, "william-b-bradbury": {"dates": null, "display": "William B. Bradbury"}, "william-batchelder-bradbury": {"dates": "1816–1868", "display": "William Batchelder Bradbury"}, "william-bingham-tappan": {"dates": null, "display": "William Bingham Tappan"}, "william-booth": {"dates": "1829–1912", "display": "William Booth"}, "william-bradshaw": {"dates": "fl. 1820", "display": "William Bradshaw"}, "william-bright": {"dates": null, "display": "William Bright"}, "william-cameron": {"dates": "1751–1811", "display": "William Cameron"}, "william-chatterton-dix": {"dates": null, "display": "William Chatterton Dix"}, "william-collyer": {"dates": "1782–1854", "display": "William B. Collyer"}, "william-cowper": {"dates": "1731–1800", "display": "William Cowper"}, "william-croft": {"dates": "1678–1727", "display": "William Croft"}, "william-crotch": {"dates": "1775–1847", "display": "William Crotch"}, "william-gardiner": {"dates": "1770–1853", "display": "William Gardiner"}, "william-gustavus-fischer": {"dates": null, "display": "William Gustavus Fischer"}, "william-h-monk": {"dates": "1823–1889", "display": "William H. Monk"}, "william-h-turton": {"dates": null, "display": "William H. Turton"}, "william-hayman-cummings": {"dates": "1831-1915", "display": "William Hayman Cummings"}, "william-howard-doane": {"dates": "1832–1915", "display": "William Howard Doane"}, "william-howard-walter": {"dates": "1825–1893", "display": "William Howard Walter"}, "william-j-kirkpatrick": {"dates": "1838–1921", "display": "William J. Kirkpatrick"}, "william-jeater": {"dates": null, "display": "William Jeater"}, "william-jones": {"dates": "1726–1800", "display": "William Jones"}, "william-lloyd": {"dates": "1786–1852", "display": "William Lloyd"}, "william-marion-runyan": {"dates": "1870–1957", "display": "William M. Runyan"}, "william-mercer": {"dates": "1811-1873", "display": "William Mercer"}, "william-morton-reynolds": {"dates": "1812–1876", "display": "William Morton Reynolds"}, "william-orcutt-cushing": {"dates": null, "display": "William Orcutt Cushing"}, "william-oscar-perkins": {"dates": null, "display": "William Oscar Perkins"}, "william-paton-mackay": {"dates": "1839–1885", "display": "William Paton Mackay"}, "william-shakespeare-hays": {"dates": "1837–1907", "display": "William S. Hays"}, "william-shrubsole": {"dates": "1760–1806", "display": "William Shrubsole"}, "william-w-walford": {"dates": null, "display": "William W. Walford"}, "william-walsham-how": {"dates": "1823–1897", "display": "William Walsham How"}, "william-williams": {"dates": "1717-1791", "display": "William Williams"}, "william-yoakley": {"dates": null, "display": "William Yoakley"}, "winchester-new": {"dates": null, "display": "Winchester New"}, "wolfgang-mozart": {"dates": "1756–1791", "display": "W. A. Mozart"}}, "sources": {"a-hymnal-episcopal-1916": {"pd_basis": "pub_pre_1931", "title": "A Hymnal (Episcopal)", "year": 1916}, "adams-1841": {"pd_basis": "pub_pre_1931", "title": "Hymns and Anthems (Fox)", "year": 1841}, "alexander-1830": {"pd_basis": "pub_pre_1931", "title": "Alexander tr. (The Christian Lyre)", "year": 1830}, "bach-1729": {"credit_line": "Harmonization: J. S. Bach, 1729. Public domain.", "pd_basis": "pub_pre_1931", "title": "St. Matthew Passion (Bach)", "year": 1729}, "bach-chorales-1784": {"credit_line": "Harmonization: J. S. Bach (d. 1750), publ. Breitkopf, 1784–87. Public domain.", "pd_basis": "pub_pre_1931", "title": "371 vierstimmige Choralgesänge (J. S. Bach, publ. Breitkopf & Härtel)", "year": 1784}, "baker-1894": {"pd_basis": "pub_pre_1931", "title": "Baker tr. (Praetorius, Musae Sioniae)", "year": 1894}, "beethoven-1824": {"pd_basis": "pub_pre_1931", "title": "Beethoven, Symphony No. 9", "year": 1824}, "bennett-1863": {"credit_line": "Setting: William Sterndale Bennett, 1863. Public domain.", "pd_basis": "pub_pre_1931", "title": "Setting by W. Sterndale Bennett", "year": 1863}, "best-endeavor-hymns-1907": {"credit_line": "From the Open Hymnal Project. Public domain.", "pd_basis": "pub_pre_1931", "title": "Best Endeavor Hymns", "year": 1907}, "bethany-1856": {"pd_basis": "pub_pre_1931", "title": "'Bethany' (Lowell Mason)", "year": 1856}, "book-of-common-prayer": {"credit_line": "Text: The Book of Common Prayer. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Book of Common Prayer", "year": 1662}, "bright-jewels-1869": {"pd_basis": "pub_pre_1931", "title": "Bright Jewels for the Sunday School (Lowry, Sherwin & Allen)", "year": 1869}, "brightest-and-best-1875": {"credit_line": "From Brightest and Best, 1875. Public domain.", "pd_basis": "pub_pre_1931", "title": "Brightest and Best (Doane & Lowry)", "year": 1875}, "brooks-1868": {"pd_basis": "pub_pre_1931", "title": "Brooks, O Little Town of Bethlehem", "year": 1868}, "caniadau-y-cyssegr-1839": {"pd_basis": "pub_pre_1931", "title": "Caniadau y Cyssegr (John Roberts)", "year": 1839}, "caniadau-y-cyssegr-1878": {"credit_line": "Setting: Caniadau y Cyssegr, 1878. Public domain.", "pd_basis": "pub_pre_1931", "title": "Caniadau y Cyssegr a'r Teulu", "year": 1878}, "chapel-hymnal-1898": {"pd_basis": "pub_pre_1931", "title": "The Chapel Hymnal", "year": 1898}, "chethams-psalmody-1718": {"pd_basis": "pub_pre_1931", "title": "John Chetham's Psalmody", "year": 1718}, "choral-hymnal-1888": {"pd_basis": "pub_pre_1931", "title": "The Choral Hymnal", "year": 1888}, "chorale-book-for-england-1863": {"credit_line": "Text: The Chorale Book for England (tr. Winkworth), 1863. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Chorale Book for England (Winkworth)", "year": 1863}, "church-hymnal-episcopal-1896": {"pd_basis": "pub_pre_1931", "title": "The Church Hymnal (Episcopal)", "year": 1896}, "church-hymnary-scotland-1902": {"credit_line": "Setting: 'Evening Prayer', John Stainer, 1898 (The Church Hymnary, 1902). Public domain.", "pd_basis": "pub_pre_1931", "title": "The Church Hymnary (Scotland)", "year": 1902}, "concordia-kinderchore-1908": {"pd_basis": "pub_pre_1931", "title": "Concordia Kinderchöre", "year": 1908}, "consolator-1792": {"pd_basis": "pub_pre_1931", "title": "Consolator (Webbe)", "year": 1792}, "coronation-1793": {"pd_basis": "pub_pre_1931", "title": "Union Harmony (Holden)", "year": 1793}, "croft-supplement-1708": {"pd_basis": "pub_pre_1931", "title": "A Supplement to the New Version of Psalms (Croft)", "year": 1708}, "cummings-1857": {"credit_line": "Setting: William H. Cummings, 1857. Public domain.", "pd_basis": "pub_pre_1931", "title": "Hymn setting by William H. Cummings", "year": 1857}, "cyberhymnal": {"credit_line": "Music: The Cyber Hymnal (public domain encoding), verified against printed sources. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Cyber Hymnal (public-domain encoding)"}, "dix-1865": {"credit_line": "Text: William Chatterton Dix, 1865. Public domain.", "pd_basis": "pub_pre_1931", "title": "Text by William Chatterton Dix", "year": 1865}, "doddridge-1755": {"pd_basis": "pub_pre_1931", "title": "Hymns Founded on Various Texts in the Holy Scriptures (Doddridge)", "year": 1755}, "doreancon-2026": {"credit_line": "Text: as sung at #doreancon 2026 (doreancon.org). Base texts public domain.", "pd_basis": "pub_pre_1931", "title": "#doreancon 2026 conference hymnal (doreancon.org; texts are lightly revised 1650 Scottish Psalter / Doddridge)", "year": 2026}, "ebenezer-williams-1890": {"pd_basis": "pub_pre_1931", "title": "EBENEZER / Ton-y-Botel (Williams)", "year": 1890}, "ebrard-1852": {"credit_line": "Harmonization: Claude Goudimel (d. 1572), ed. August Ebrard, 1852. Public domain.", "pd_basis": "pub_pre_1931", "title": "Ausgewählte Psalmen Davids nach Goudimel's Weisen (ed. Ebrard)", "year": 1852}, "eleanor-hull-1912": {"credit_line": "Text: Eleanor H. Hull, 1912 (tr. of ancient Irish, attr. Dallán Forgaill; prose tr. Mary Byrne, 1905). Public domain.", "pd_basis": "pub_pre_1931", "title": "The Poem-Book of the Gael (Hull, tr.)", "year": 1912}, "english-hymnal-1906": {"pd_basis": "pub_pre_1931", "title": "The English Hymnal", "year": 1906}, "es-ist-ein-ros-koln-1599": {"pd_basis": "pub_pre_1931", "title": "Speyer Gesangbuch / Köln", "year": 1599}, "evangelical-hymnal-1921": {"pd_basis": "pub_pre_1931", "title": "The Evangelical Hymnal", "year": 1921}, "evangelical-hymnal-tunes-1880": {"pd_basis": "pub_pre_1931", "title": "The Evangelical Hymnal with Tunes", "year": 1880}, "eventide-1861": {"credit_line": "Setting: William H. Monk, 1861. Public domain.", "pd_basis": "pub_pre_1931", "title": "Hymns Ancient and Modern (Monk)", "year": 1861}, "excell-1900": {"credit_line": "Setting: Edwin O. Excell, 1900. Public domain.", "pd_basis": "pub_pre_1931", "title": "Setting by Edwin O. Excell", "year": 1900}, "faber-jesus-and-mary-1849": {"pd_basis": "pub_pre_1931", "title": "Jesus and Mary (Faber)", "year": 1849}, "festgesang-1840": {"pd_basis": "pub_pre_1931", "title": "Festgesang (Felix Mendelssohn)", "year": 1840}, "finest-of-the-wheat-1890": {"pd_basis": "pub_pre_1931", "title": "The Finest of the Wheat (Chicago: R. R. McCabe & Co.)", "year": 1890}, "fotw-1904": {"credit_line": "Setting: Finest of the Wheat, 1904. Public domain.", "pd_basis": "pub_pre_1931", "title": "Finest of the Wheat No. 3", "year": 1904}, "foundling-hospital-collection-1796": {"pd_basis": "pub_pre_1931", "title": "Psalms, Hymns, and Anthems for the Foundling Hospital", "year": 1796}, "francis-1875": {"pd_basis": "pub_pre_1931", "title": "Francis, 'O the Deep, Deep Love of Jesus'", "year": 1875}, "franz-1774": {"pd_basis": "pub_pre_1931", "title": "Katholisches Gesangbuch (Franz)", "year": 1774}, "funk-1832": {"pd_basis": "pub_pre_1931", "title": "Genuine Church Music (Funk)", "year": 1832}, "glad-hallelujahs-1887": {"credit_line": "Words: Eliza E. Hewitt; music: John R. Sweney, as printed in Glad Hallelujahs, 1887. Public domain.", "pd_basis": "pub_pre_1931", "title": "Glad Hallelujahs (Sweney & Kirkpatrick; Philadelphia: Thos. T. Tasker, Sr.)", "year": 1887}, "gospel-hymns-1875": {"pd_basis": "pub_pre_1931", "title": "Gospel Hymns and Sacred Songs (Bliss & Sankey)", "year": 1875}, "gospel-hymns-5-1887": {"credit_line": "Setting: Chester G. Allen, 1869, as printed in Gospel Hymns No. 5, 1887. Public domain.", "pd_basis": "pub_pre_1931", "title": "Gospel Hymns No. 5 (Sankey, McGranahan & Stebbins)", "year": 1887}, "gospel-hymns-consolidated-1883": {"credit_line": "Setting: Ira D. Sankey, 1874, as printed in Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4, 1883. Public domain.", "pd_basis": "pub_pre_1931", "title": "Gospel Hymns and Sacred Songs, Consolidated Nos. 1-4 (Bliss & Sankey)", "year": 1883}, "gospel-hymns-sacred-songs-1875": {"pd_basis": "pub_pre_1931", "title": "Gospel Hymns and Sacred Songs (Bliss & Sankey)", "year": 1875}, "goss-1869": {"pd_basis": "pub_pre_1931", "title": "Robert Brown-Borthwick's Supplemental Hymn and Tune Book", "year": 1869}, "hassler-1601": {"pd_basis": "pub_pre_1931", "title": "Lustgarten neuer teutscher Gesäng (Hassler)", "year": 1601}, "hatch-1878": {"pd_basis": "pub_pre_1931", "title": "Hatch, Between Doubt and Prayer", "year": 1878}, "havergal-1874": {"pd_basis": "pub_pre_1931", "title": "Havergal, Loyal Responses", "year": 1874}, "haydn-1797": {"pd_basis": "pub_pre_1931", "title": "Haydn, Gott erhalte Franz den Kaiser", "year": 1797}, "heber-hymns-1827": {"pd_basis": "pub_pre_1931", "title": "Hymns Written and Adapted to the Weekly Church Service (Heber)", "year": 1827}, "hutchins-1871": {"pd_basis": "pub_pre_1931", "title": "The Sunday School Hymnal and Service Book (Hutchins, ed.)", "year": 1871}, "hymns-ancient-and-modern-1861": {"pd_basis": "pub_pre_1931", "title": "Hymns Ancient and Modern", "year": 1861}, "hymns-ancient-and-modern-1869": {"pd_basis": "pub_pre_1931", "title": "Hymns Ancient and Modern", "year": 1869}, "hymns-ancient-modern-1904": {"pd_basis": "pub_pre_1931", "title": "Hymns Ancient and Modern", "year": 1904}, "hymns-new-and-old-1887": {"credit_line": "Setting: D. B. Towner, 1887, as printed in Hymns New and Old, 1887. Public domain.", "pd_basis": "pub_pre_1931", "title": "Hymns New and Old (Towner)", "year": 1887}, "hymns-of-the-christian-life-3-1904": {"credit_line": "Setting: Hymns of the Christian Life No. 3, 1904. Public domain.", "pd_basis": "pub_pre_1931", "title": "Hymns of the Christian Life No. 3", "year": 1904}, "katholisches-gesangbuch-1774": {"pd_basis": "pub_pre_1931", "title": "Katholisches Gesangbuch (Vienna)", "year": 1774}, "kelly-1867": {"credit_line": "Text: Paul Gerhardt's Spiritual Songs (tr. John Kelly), 1867. Public domain.", "pd_basis": "pub_pre_1931", "title": "Paul Gerhardt's Spiritual Songs (tr. John Kelly)", "year": 1867}, "littledale-1867": {"pd_basis": "pub_pre_1931", "title": "Littledale, The People's Hymnal", "year": 1867}, "lutheran-hymnary-1913": {"credit_line": "Setting: composite, The Lutheran Hymnary, 1913. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Lutheran Hymnary", "year": 1913}, "lyon-1780": {"credit_line": "Setting: Meyer Lyon, 1780 (LEONI / Yigdal). Public domain. Open Hymnal transcription source: Lutheran Worship, 1982.", "pd_basis": "pub_pre_1931", "title": "Leoni (Yigdal melody), setting by Meyer Lyon", "year": 1780}, "lyte-1847": {"pd_basis": "pub_pre_1931", "title": "Remains of Henry F. Lyte", "year": 1847}, "lyte-spirit-of-the-psalms-1834": {"pd_basis": "pub_pre_1931", "title": "The Spirit of the Psalms (Lyte)", "year": 1834}, "mason-modern-psalmist-1836": {"credit_line": "Arr. Lowell Mason, 1836. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Modern Psalmist (Mason)", "year": 1836}, "mason-modern-psalmist-1839": {"credit_line": "Arr. Lowell Mason, 1839. Public domain.", "pd_basis": "pub_pre_1931", "title": "Modern Psalmist (Mason)", "year": 1839}, "medley-1775": {"pd_basis": "pub_pre_1931", "title": "Hymns (Medley)", "year": 1775}, "methodist-hymnal-1905": {"pd_basis": "pub_pre_1931", "title": "The Methodist Hymnal", "year": 1905}, "mohr-stille-nacht-1818": {"pd_basis": "pub_pre_1931", "title": "Stille Nacht (Mohr / tr. Young)", "year": 1818}, "monsell-1866": {"pd_basis": "pub_pre_1931", "title": "Hymns of Love and Praise, 2nd ed. (Monsell)", "year": 1866}, "moravian-hymnal-1920": {"credit_line": "Setting: Moravian Church, 1920. Public domain.", "pd_basis": "pub_pre_1931", "title": "Hymnal and Liturgies of the Moravian Church", "year": 1920}, "moultrie-1864": {"credit_line": "Text: tr. Gerard Moultrie, 1864 (from the Liturgy of St. James, 4th cent.). Public domain.", "pd_basis": "pub_pre_1931", "title": "Lyra Eucharistica (Moultrie, tr.)", "year": 1864}, "mozart-adapted": {"pd_basis": "pub_pre_1931", "title": "Tune adapted from Mozart", "year": 1828}, "mutopia": {"credit_line": "Music: The Mutopia Project (public-domain encoding), verified against the printed score. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Mutopia Project (public-domain encoding)"}, "neale-1862": {"pd_basis": "pub_pre_1931", "title": "Hymns of the Eastern Church (Neale)", "year": 1862}, "new-make-christ-king-1914": {"credit_line": "Setting: Mrs. C. H. Morris, 1898, as printed in The New Make Christ King, No. 87. Public domain.", "pd_basis": "pub_pre_1931", "title": "The New Make Christ King (E. O. Excell, musical editor; Chicago: Glad Tidings Publishing Co.)", "year": 1914}, "oh-source-1931": {"credit_line": "From the Open Hymnal Project. Public domain.", "pd_basis": "pub_pre_1931", "title": "Open Hymnal (component sources)", "year": 1982}, "olivers-1765": {"pd_basis": "pub_pre_1931", "title": "Olivers, paraphrase of the Yigdal ('The God of Abraham Praise')", "year": 1765}, "olivet-1832": {"pd_basis": "pub_pre_1931", "title": "Spiritual Songs for Social Worship (Mason & Hastings)", "year": 1832}, "olivet-composite-1867": {"credit_line": "Setting: composite, 1867. Public domain.", "pd_basis": "pub_pre_1931", "title": "Composite setting (Mason/Converse)", "year": 1867}, "olney-hymns-1779": {"pd_basis": "pub_pre_1931", "title": "Olney Hymns", "year": 1779}, "palmer-1830": {"pd_basis": "pub_pre_1931", "title": "Palmer (The Spirit of the Pilgrims)", "year": 1830}, "pbht-1907": {"pd_basis": "pub_pre_1931", "title": "Primitive Baptist Hymn and Tune Book", "year": 1907}, "pentecostal-praises-1898": {"pd_basis": "pub_pre_1931", "title": "Pentecostal Praises (Kirkpatrick & Gilmour)", "year": 1898}, "perronet-1780": {"pd_basis": "pub_pre_1931", "title": "Occasional Verses (Perronet)", "year": 1780}, "petra-redhead-1853": {"pd_basis": "pub_pre_1931", "title": "PETRA (Richard Redhead)", "year": 1853}, "plumptre-1864": {"pd_basis": "pub_pre_1931", "title": "Text by Edward H. Plumptre", "year": 1864}, "praetorius-1609": {"credit_line": "Setting: Michael Praetorius, 1609. Public domain.", "pd_basis": "pub_pre_1931", "title": "Musae Sioniae VI (Praetorius)", "year": 1609}, "praises-1905": {"credit_line": "Setting: Charles H. Gabriel, 1905, as first printed in Praises (Excell), 1905. Public domain.", "pd_basis": "pub_pre_1931", "title": "Praises (ed. E. O. Excell)", "year": 1905}, "psalter-1912": {"credit_line": "Text: The Psalter, United Presbyterian Board of Publication, 1912. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Psalter (United Presbyterian Board of Publication)", "year": 1912}, "rcus-order-1866": {"credit_line": "Setting: Reformed Church in the U.S., 1866. Public domain.", "pd_basis": "pub_pre_1931", "title": "Order of Worship, Reformed Church in the U.S.", "year": 1866}, "rees-1922": {"pd_basis": "pub_pre_1931", "title": "Rees (The Mirfield Mission Hymn-Book)", "year": 1922}, "richmond-1792": {"pd_basis": "pub_pre_1931", "title": "Tune RICHMOND (Thomas Haweis)", "year": 1792}, "rippon-selection-1787": {"pd_basis": "pub_pre_1931", "title": "Rippon's Selection of Hymns", "year": 1787}, "sa-one-hundred-favorite-songs-1899": {"credit_line": "Setting: One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed., New York, 1899. Public domain.", "pd_basis": "pub_pre_1931", "title": "One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (comp. Commander Booth Tucker; New York: The Salvation Army Publishing House)", "year": 1899}, "sabbath-hymn-tune-book-1859": {"credit_line": "From the Open Hymnal Project. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Sabbath Hymn and Tune Book (ed. Lowell Mason)", "year": 1859}, "salvation-army-songs-1930": {"credit_line": "Text: Salvation Army Songs (New York; Chicago), 1930, no. 1. Public domain.", "pd_basis": "pub_pre_1931", "title": "Salvation Army Songs (Salvation Army, Supplies, Printing and Publishing Department; New York and Chicago)", "year": 1930}, "scottish-psalter-1650": {"credit_line": "Text: The Psalms of David in Metre (Scottish Psalter), 1650. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Psalms of David in Metre (Scottish Psalter)", "year": 1650}, "smith-1876": {"pd_basis": "pub_pre_1931", "title": "Hymns of Christ and the Christian Life (Smith)", "year": 1876}, "songs-for-young-people-1897": {"credit_line": "Words and music: Johnson Oatman, Jr. / E. O. Excell, 1897, as first printed in Songs for Young People, No. 34. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs for Young People (ed. E. O. Excell; Chicago: E. O. Excell)", "year": 1897}, "songs-of-devotion-1870": {"credit_line": "Setting: W. H. Doane, 1870, as printed in Songs of Devotion, 1870. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs of Devotion (Doane)", "year": 1870}, "songs-of-joy-and-gladness-1885": {"credit_line": "Setting: George A. Minor, 1880, as printed in Songs of Joy and Gladness, 1885. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs of Joy and Gladness (McDonald, Gill, Sweney & Kirkpatrick; Boston: McDonald, Gill & Co.)", "year": 1885}, "songs-of-perfect-love-1886": {"credit_line": "Setting: R. Kelso Carter, 1886, as first printed in Songs of Perfect Love, 1886. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs of Perfect Love (Sweney & Carter)", "year": 1886}, "songs-of-praise-and-salvation-1902": {"credit_line": "Setting: Mrs. C. H. Morris, 1898, as printed in Songs of Praise and Salvation, hymn 63. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs of Praise and Salvation (McLaughlin, Fowler, Kirkpatrick & Gilmour; Chicago/Boston: The Christian Witness Co.)", "year": 1902}, "songs-of-triumph-1882": {"credit_line": "Setting: W. J. Kirkpatrick, Songs of Triumph, 1882. Public domain.", "pd_basis": "pub_pre_1931", "title": "Songs of Triumph (Inskip / National Publishing Association for the Promotion of Holiness)", "year": 1882}, "sparkling-gems-1882": {"credit_line": "Words and music: Will L. Thompson, 1880. Public domain.", "pd_basis": "pub_pre_1931", "title": "Sparkling Gems Nos. 1 and 2 Combined (comp. J. Calvin Bushey; East Liverpool, Ohio: Will L. Thompson & Co.)", "year": 1882}, "southern-harmony-1854": {"credit_line": "Setting: The Southern Harmony (William Walker), 1854 printing, after the Baptist Harmony. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Southern Harmony, and Musical Companion (William Walker; New York: Hastings House; 1835, revised printing 1854)", "year": 1854}, "spiritual-songs-1878": {"credit_line": "Words and music: Elisha A. Hoffman, 1878. Public domain.", "pd_basis": "pub_pre_1931", "title": "Spiritual Songs for Gospel Meetings and the Sunday School (Hoffman & Tenney; Cleveland: Samuel Barker)", "year": 1878}, "steuerlein-1575": {"credit_line": "Music: Johann Steuerlein, 1575. Public domain.", "pd_basis": "pub_pre_1931", "title": "Wie lieblich ist der Maien (Steuerlein, four-part setting)", "year": 1575}, "tbh-1901": {"credit_line": "Setting: The Brethren Hymnal, 1901 (tune printed as DETROY). Public domain.", "pd_basis": "pub_pre_1931", "title": "The Brethren Hymnal: A Collection of Psalms, Hymns and Spiritual Songs (Church of the Brethren; Elgin, Ill.: Brethren Publishing House)", "year": 1901}, "tabernacle-hymns-1918": {"credit_line": "Music: J. P. Webster, 1868; four-part setting copyright 1910 by J. H. Webster, as printed in Tabernacle Hymns, 1918. Public domain.", "pd_basis": "pub_pre_1931", "title": "Tabernacle Hymns (Chicago: Tabernacle Publishing Co.)", "year": 1918}, "tabernacle-hymns-2-1921": {"credit_line": "Setting: Will L. Thompson, 1880, as printed in Tabernacle Hymns No. 2, 1921. Public domain.", "pd_basis": "pub_pre_1931", "title": "Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing Co.)"}, "tabernacle-hymns-no-2-1921": {"credit_line": "Setting: A. J. Showalter, 1887, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "pd_basis": "pub_pre_1931", "title": "Tabernacle Hymns, No. 2", "year": 1921}, "the-lesser-hymnal-1875": {"credit_line": "From The Lesser Hymnal, 1875. Public domain.", "pd_basis": "pub_pre_1931", "title": "The Lesser Hymnal", "year": 1875}, "union-harmony-1837": {"credit_line": "Setting: Union Harmony, 1837. Public domain.", "pd_basis": "pub_pre_1931", "title": "Union Harmony (Caldwell)", "year": 1837}, "van-dyke-1907": {"pd_basis": "pub_pre_1931", "title": "van Dyke, Joyful, Joyful, We Adore Thee", "year": 1907}, "virginia-harmony-1831": {"pd_basis": "pub_pre_1931", "title": "Virginia Harmony (Carrell & Clayton)", "year": 1831}, "watts-hymns-1707": {"pd_basis": "pub_pre_1931", "title": "Hymns and Spiritual Songs (Watts)", "year": 1707}, "watts-psalms-1719": {"pd_basis": "pub_pre_1931", "title": "The Psalms of David Imitated", "year": 1719}, "welcome-tidings-1877": {"credit_line": "Setting: James McGranahan, 1877, as printed in Welcome Tidings, 1877. Public domain.", "pd_basis": "pub_pre_1931", "title": "Welcome Tidings (Lowry, Doane & Sankey)", "year": 1877}, "wesley-hymns-sacred-poems-1739": {"pd_basis": "pub_pre_1931", "title": "Hymns and Sacred Poems (Charles Wesley)", "year": 1739}}}