{"slug": "all-to-christ", "name": "ALL TO CHRIST", "meter_label": "6.6.7.7. with Refrain", "meter": {"pattern": [6, 6, 7, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-t-grape", "composer_date": "1868", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "all-to-christ-gospel-hymns-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by John Thomas Grape (1835-1915), written 1868 for Elvina M. Hall's words at the Monument Street Methodist Episcopal Church, Baltimore. The printing read here is Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 \u2014 archive.org gospelhymnssacre00blis_0, leaf n40 \u2014 where it is credited \"John T. Grape, by per.\" US public domain: the printing read is 1875 and the composer died in 1915, so it is also PD in life+70 jurisdictions. NEITHER of the two plates read prints a TUNE NAME \u2014 gospel-song plates of this house name nothing but the hymn \u2014 and the name ALL TO CHRIST is the tune authority's, taken from the printed heading \"All to Christ I Owe.\"; later hymnals also index the tune as JESUS PAID IT ALL (so New Baptist Hymnal, 1926, no. 337, \"JESUS PAID IT ALL. 6,6,7,7. With Refrain\"). The metre label is that book's.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "all_to_christ_grape"}}, "harmonization": {"slug": "all-to-christ-gospel-hymns-1875", "tune": "all-to-christ", "music_file": "all-to-christ-gospel-hymns-1875.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 27, 37], "breaks_manual": true, "markings": [{"soprano_note": 28, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 28}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John T. Grape's four-part setting of his own tune, credited \"John T. Grape, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 \u2014 archive.org gospelhymnssacre00blis_0, leaf n40 \u2014 headed \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"\u20141 Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left, in E-flat major and 3/4 with a one-quarter pickup, sixteen bars cast as four systems. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, i.e. 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 \u2014 archive.org hymnsconso00blis, leaf n40 (2428 px across, staff space 28.8 px, i.e. 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset between them (1875 \"Sav-iour say,\" and \"in - deed\", 1883 \"Sav - iour say,\" and \"in \u00b7 deed\") and the note spacing differs, so they are two independent engravings of the one setting \u2014 the same pair of items, and the same relationship, as near-the-cross-1875 in this corpus. A THIRD independent engraving was opened for the chorus alone, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete, No. 588, printed pages 592-593 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaves n598 and n599, headed \"All to Christ I Owe.\u2014Concluded.\" and credited \"ELVINA M. HALL / JOHN T. GRAPE, by per.\" THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: ink is whatever is darker than the LOCAL paper level (a per-column 88th percentile, threshold at 0.45 of the local ink-to-paper range), then a 5x5 binary closing seals the pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2 staff spaces squared are FILLED, turning each hollow half-note outline into a disc; then and only then are the staff and ledger lines suppressed by vertical run length, so a hollow head's thin arcs are already part of a tall run and survive. Heads were isolated by a morphological erosion of 0.46 staff space and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF SPACES, because the half heads on these plates are wider than the filled ones. Every core was converted to a diatonic step against a FRESH five-line fit made in a +-1.3-staff-space window around that core's own x. On the 1875 scan the filled heads sit tight: of the 149 filled-head positions the pass resolved, the mean distance from an exact staff position is 0.09 step and the largest is 0.25. HOLLOW HEADS ARE THE HARD PART OF THIS HYMN \u2014 the ten phrase-end chords carry twenty of them \u2014 and the automated pass still dropped or mis-split most of them on both scans. SO EVERY HOLLOW HEAD WAS READ A THIRD WAY REGARDLESS, off crops carrying the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and it is that third reading and not any centroid that ships. It settled all ten cadence chords in all four voices, and it corrected one reading the low-magnification eye had got wrong: the soprano of \"all,\" (chorus line 1) is E FLAT 5 in the space below the top line, not D5 \u2014 read as D5 it made the chord an E-flat MAJOR SEVENTH, which this idiom does not write, and the 5x-10x grid crops on all THREE engravings put the head in the space at step 7. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves, at 1.45x whole-system magnification and again on every 3x-10x crop; the automated figures above see staff positions only and NEVER COVERED ACCIDENTALS. The sweep found exactly ONE printed accidental in the hymn, and both plates print it: a NATURAL in the bass staff before the bass head of the chorus's line-4 pickup, the syllable \"He\" \u2014 the top-line A, making it A NATURAL 3 under C4, E-flat 4 and E-flat 5, an A diminished chord (vii dim of V) resolving onto the B-flat of \"washed\". Missing it would have printed an unexplained A-flat there. Nothing else: no other natural, no sharp, and no flat beyond the three-flat signature at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The one external check is Hymnary's melodic incipit for tune authority all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first fifteen soprano notes of this reading exactly. HARMONIC READING OF THE CHORDS THAT SURPRISED. (a) The passing eighth on \"son\" of \"crim-son\" is G3 / E-flat 4 / B-flat 4 / D5 \u2014 an E-flat chord with a passing D in the soprano and a passing G in the bass, the two outer voices moving stepwise E-flat 5-D5-C5 and E-flat 3-G3-A-flat 3 through it; it is a passing sonority, not a written seventh chord, and both plates agree. (b) BOTH final chords \u2014 the verse's \"all.\" and the hymn's \"snow.\" \u2014 are E-flat 3 / G3 / E-flat 4 / E-flat 4, with the FIFTH OMITTED and the tonic tripled: the treble staff prints ONE head with two stems and one dot, and the bass staff prints G3 over E-flat 3. That was checked at 10x on both plates and is what is engraved. (c) Tenor and bass share ONE printed head (two stems, one dot) on B-flat 3 at \"Me\", at \"owe;\" and at \"washed\"; these are engraved unisons, the same device this corpus already records on the 1875/1883 NEAR THE CROSS plates. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a HEAVY line at the end of every line of text, and four of those fall in the MIDDLE of a bar (after \"say,\", \"small;\", \"pray,\" and \"stain:\"); no heavy line is carried except the closing one (final_barline \"|.\"), the engine drawing ordinary barlines from the metre and system breaks at the plate's own three casting points; (2) the FERMATA the plates print over and under the chorus's \"stain:\" is not carried, this corpus having no fermata on this path; (3) the printed SLURS over the two pickup notes of verse lines 3 and 4 are not carried as slur glyphs \u2014 they say that the later stanzas sing one syllable there, and that is expressed instead by the '_' held-note marks in the per-stanza underlay, which the engine beams and slurs per verse; (4) the plates' \"CHORUS.\" word is carried as the corpus's refrain marking. Nothing else departs: every pitch, every duration, the one natural, both quarter rests, the dotted final notes and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs (1875), No. 35, p. 36 \u2014 archive.org gospelhymnssacre00blis_0 leaf n40 \u2014 collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated, Nos. 1 to 4, No. 35, p. 36 (archive.org hymnsconso00blis, leaf n40), with the chorus additionally checked against Gospel Hymns Nos. 1 to 6 Complete, No. 588 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf n599). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: John T. Grape, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% ALL TO CHRIST (6.6.7.7. with Refrain) \u2014 John T. Grape. Four SATB voice\n%% streams, canonical key E-flat major, 3/4, a one-quarter pickup, sixteen full\n%% bars plus that pickup (eight for the verse, eight for the chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Gospel Hymns and Sacred Songs (New York: Biglow & Main;\n%% Cincinnati: John Church & Co., 1875), No. 35, printed page 36, headed\n%% \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"\u20141\n%% Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left and \"John T. Grape,\n%% by per.\" on the right. Read off TWO dated printings of that setting, each\n%% with its own binarisation and its own staff-line fits: archive.org\n%% gospelhymnssacre00blis_0 leaf n40 (2244 px across, staff space 28.2 px =\n%% 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New\n%% York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 \u2014\n%% archive.org hymnsconso00blis leaf n40 (2428 px across, staff space 28.8 px =\n%% 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset\n%% between them (1875 \"Sav-iour say,\" / \"in - deed\", 1883 \"Sav - iour say,\" /\n%% \"in \u00b7 deed\") and the note spacing differs, so they are two independent\n%% engravings of the one setting. A THIRD engraving was opened for the chorus\n%% only, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete (1894), No. 588,\n%% printed pages 592-593 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5 leaves\n%% n598-n599.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye first). Per scan: ink is whatever is\n%% darker than the local paper level (a per-column 88th percentile, threshold at\n%% 0.45 of the local ink-to-paper range), then a 5x5 binary CLOSING seals the\n%% pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2\n%% staff spaces squared are FILLED, which turns each hollow half-note OUTLINE\n%% into a disc; then and only then are the staff and ledger lines suppressed by\n%% vertical run length, so a hollow head's thin top and bottom arcs are already\n%% part of a tall run and survive \u2014 doing that suppression BEFORE the fill is\n%% the bug that loses every hollow head. Heads were isolated by morphological\n%% erosion of 0.46 staff space, and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF\n%% SPACES because half heads on this plate are wider than the filled ones.\n%% Every core was converted to a diatonic step against a FRESH five-line fit made\n%% in a +-1.3-staff-space window around that core's own x.\n%%\n%% EVERY HOLLOW HEAD WAS THEN READ A THIRD WAY REGARDLESS, off crops carrying\n%% the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and\n%% it is that third reading and not any centroid that ships. The automated pass\n%% dropped or mis-split most of the twenty hollow heads (the ten phrase-end\n%% chords) on both scans; the grid crops settled all of them.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at 1.45x whole-system magnification and again on\n%% every 3x-10x crop; the automated figures above cover staff positions only and\n%% never covered accidentals. There is exactly ONE printed accidental in the\n%% hymn, and BOTH plates print it: a NATURAL in the bass staff before the lower\n%% (bass) head of the chorus's line-4 pickup, the syllable \"He\" \u2014 the top-line A,\n%% making it A natural 3 under C4/E flat 4/E flat 5, an A diminished chord that\n%% resolves onto the B flat of \"washed\". Without it the chord is an unexplained\n%% A-flat sonority; with it the progression is the ordinary vii dim of V to V.\n%% Nothing else: no other natural, no sharp, and no flat beyond the three-flat\n%% signature that stands at the head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% The one external check is Hymnary's melodic incipit for tune authority\n%% all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first\n%% fifteen soprano notes of this reading exactly (E flat 4, G4, B flat 4, C5,\n%% B flat 4, G4, E flat 4 / E flat 4, F4, F4, E flat 4, F4, G4 / E flat 4, G4).\n%%\n%% RHYTHM AND BARRING. The plate draws a HEAVY line at the end of every line of\n%% text, and four of those heavy lines fall in the MIDDLE of a bar \u2014 after\n%% \"say,\", \"small;\", \"pray,\" and \"stain:\" \u2014 because each phrase-end note is a\n%% plain HALF note (verified: no augmentation dot on either plate) and the next\n%% phrase's pickup completes the bar. ONE exception carries a dot and fills its\n%% bar alone: the verse's last note (\"all.\"), because the chorus starts on a\n%% downbeat. The HYMN's last note (\"snow.\") does NOT \u2014 all three plates print a\n%% plain undotted half there, the 2-beat complement of the opening quarter pickup.\n%% This file first dotted it in all four voices and said the dot had been \"checked\n%% at 10x on both plates\"; that check did not happen, and the engraving and the\n%% MIDI both shipped an extra beat. Corrected. The chorus's first two lines end on\n%% a half note plus a printed QUARTER REST in all four voices. So the piece is a\n%% pickup quarter, FIFTEEN full 3/4 bars, and a 2-beat final bar.\n%%\n%% THE ONE NON-HOMORHYTHMIC PLACE is the opening pickup: soprano and tenor sing\n%% two beamed eighths there while alto and bass hold a single quarter (one\n%% notehead, two stems, in each staff). At the other three phrase pickups\n%% (\"Child of\", \"Find in\", \"He\") all four voices move together.\n%%\n%% TENOR/BASS UNISONS. The plate prints ONE notehead with an up-stem and a\n%% down-stem \u2014 tenor and bass on the same pitch \u2014 at three places: \"Me\" and\n%% \"washed\" (both B flat 3) and \"owe;\" (B flat 3). They are encoded as unisons,\n%% which is what is engraved.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'4 |\n  f'4. f'8 ees'8 f'8 |\n  g'2 ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'8 f'8 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2. |\n  bes'4. c''8 bes'8 g'8 |\n  ees''2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  f'2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  ees''8 d''8 c''4 ees''4 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2\n}\n\nalto = {\n  ees'4 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 bes4 |\n  d'4. d'8 c'8 d'8 |\n  ees'2 ees'8 ees'8 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 ees'8 ees'8 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2. |\n  g'4. aes'8 g'8 ees'8 |\n  g'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  d'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  g'8 bes'8 aes'4 ees'4 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2\n}\n\ntenor = {\n  g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 g4 |\n  bes4. bes8 g8 bes8 |\n  bes2 g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 bes8 c'8 |\n  bes4. bes8 bes8 aes8 |\n  g2. |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes8 ees'8 ees'4 c'4 |\n  bes4. bes8 bes8 aes8 |\n  g2\n}\n\nbass = {\n  ees4 |\n  ees4. ees8 ees8 ees8 |\n  ees2 ees4 |\n  bes,4. bes,8 c8 bes,8 |\n  ees2 ees8 ees8 |\n  ees4. ees8 ees8 ees8 |\n  ees2 g8 aes8 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2. |\n  ees4. ees8 ees8 ees8 |\n  ees2 r4 |\n  ees4. ees8 ees8 g8 |\n  bes2 r4 |\n  ees4. ees8 ees8 ees8 |\n  ees8 g8 aes4 a4 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2\n}\n"}, "harmonizations": [{"slug": "all-to-christ-gospel-hymns-1875", "tune": "all-to-christ", "music_file": "all-to-christ-gospel-hymns-1875.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [13, 27, 37], "breaks_manual": true, "markings": [{"soprano_note": 28, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": {"soprano_note_start": 28}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John T. Grape's four-part setting of his own tune, credited \"John T. Grape, by per.\" on the page it was read from: Gospel Hymns and Sacred Songs (New York: Biglow & Main; Cincinnati: John Church & Co., 1875), No. 35, printed page 36 \u2014 archive.org gospelhymnssacre00blis_0, leaf n40 \u2014 headed \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"\u20141 Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left, in E-flat major and 3/4 with a one-quarter pickup, sixteen bars cast as four systems. US public domain: the earlier printing read is 1875, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED PRINTINGS WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: the 1875 page above (2244 px across, staff space 28.2 px, i.e. 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 \u2014 archive.org hymnsconso00blis, leaf n40 (2428 px across, staff space 28.8 px, i.e. 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset between them (1875 \"Sav-iour say,\" and \"in - deed\", 1883 \"Sav - iour say,\" and \"in \u00b7 deed\") and the note spacing differs, so they are two independent engravings of the one setting \u2014 the same pair of items, and the same relationship, as near-the-cross-1875 in this corpus. A THIRD independent engraving was opened for the chorus alone, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete, No. 588, printed pages 592-593 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaves n598 and n599, headed \"All to Christ I Owe.\u2014Concluded.\" and credited \"ELVINA M. HALL / JOHN T. GRAPE, by per.\" THE NOTEHEADS WERE MEASURED, NOT EYEBALLED. Per scan: ink is whatever is darker than the LOCAL paper level (a per-column 88th percentile, threshold at 0.45 of the local ink-to-paper range), then a 5x5 binary closing seals the pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2 staff spaces squared are FILLED, turning each hollow half-note outline into a disc; then and only then are the staff and ledger lines suppressed by vertical run length, so a hollow head's thin arcs are already part of a tall run and survive. Heads were isolated by a morphological erosion of 0.46 staff space and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF SPACES, because the half heads on these plates are wider than the filled ones. Every core was converted to a diatonic step against a FRESH five-line fit made in a +-1.3-staff-space window around that core's own x. On the 1875 scan the filled heads sit tight: of the 149 filled-head positions the pass resolved, the mean distance from an exact staff position is 0.09 step and the largest is 0.25. HOLLOW HEADS ARE THE HARD PART OF THIS HYMN \u2014 the ten phrase-end chords carry twenty of them \u2014 and the automated pass still dropped or mis-split most of them on both scans. SO EVERY HOLLOW HEAD WAS READ A THIRD WAY REGARDLESS, off crops carrying the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and it is that third reading and not any centroid that ships. It settled all ten cadence chords in all four voices, and it corrected one reading the low-magnification eye had got wrong: the soprano of \"all,\" (chorus line 1) is E FLAT 5 in the space below the top line, not D5 \u2014 read as D5 it made the chord an E-flat MAJOR SEVENTH, which this idiom does not write, and the 5x-10x grid crops on all THREE engravings put the head in the space at step 7. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE over every column of BOTH leaves, at 1.45x whole-system magnification and again on every 3x-10x crop; the automated figures above see staff positions only and NEVER COVERED ACCIDENTALS. The sweep found exactly ONE printed accidental in the hymn, and both plates print it: a NATURAL in the bass staff before the bass head of the chorus's line-4 pickup, the syllable \"He\" \u2014 the top-line A, making it A NATURAL 3 under C4, E-flat 4 and E-flat 5, an A diminished chord (vii dim of V) resolving onto the B-flat of \"washed\". Missing it would have printed an unexplained A-flat there. Nothing else: no other natural, no sharp, and no flat beyond the three-flat signature at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The one external check is Hymnary's melodic incipit for tune authority all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first fifteen soprano notes of this reading exactly. HARMONIC READING OF THE CHORDS THAT SURPRISED. (a) The passing eighth on \"son\" of \"crim-son\" is G3 / E-flat 4 / B-flat 4 / D5 \u2014 an E-flat chord with a passing D in the soprano and a passing G in the bass, the two outer voices moving stepwise E-flat 5-D5-C5 and E-flat 3-G3-A-flat 3 through it; it is a passing sonority, not a written seventh chord, and both plates agree. (b) BOTH final chords \u2014 the verse's \"all.\" and the hymn's \"snow.\" \u2014 are E-flat 3 / G3 / E-flat 4 / E-flat 4, with the FIFTH OMITTED and the tonic tripled: the treble staff prints ONE head with two stems and one dot, and the bass staff prints G3 over E-flat 3. That was checked at 10x on both plates and is what is engraved. (c) Tenor and bass share ONE printed head (two stems, one dot) on B-flat 3 at \"Me\", at \"owe;\" and at \"washed\"; these are engraved unisons, the same device this corpus already records on the 1875/1883 NEAR THE CROSS plates. DEPARTURES FROM THE PAGE, in full: (1) the plates draw a HEAVY line at the end of every line of text, and four of those fall in the MIDDLE of a bar (after \"say,\", \"small;\", \"pray,\" and \"stain:\"); no heavy line is carried except the closing one (final_barline \"|.\"), the engine drawing ordinary barlines from the metre and system breaks at the plate's own three casting points; (2) the FERMATA the plates print over and under the chorus's \"stain:\" is not carried, this corpus having no fermata on this path; (3) the printed SLURS over the two pickup notes of verse lines 3 and 4 are not carried as slur glyphs \u2014 they say that the later stanzas sing one syllable there, and that is expressed instead by the '_' held-note marks in the per-stanza underlay, which the engine beams and slurs per verse; (4) the plates' \"CHORUS.\" word is carried as the corpus's refrain marking. Nothing else departs: every pitch, every duration, the one natural, both quarter rests, the dotted final notes and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Gospel Hymns and Sacred Songs (1875), No. 35, p. 36 \u2014 archive.org gospelhymnssacre00blis_0 leaf n40 \u2014 collated chord by chord against the independent 1883 engraving in Gospel Hymns Consolidated, Nos. 1 to 4, No. 35, p. 36 (archive.org hymnsconso00blis, leaf n40), with the chorus additionally checked against Gospel Hymns Nos. 1 to 6 Complete, No. 588 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf n599). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: John T. Grape, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "music_ly": "%% ALL TO CHRIST (6.6.7.7. with Refrain) \u2014 John T. Grape. Four SATB voice\n%% streams, canonical key E-flat major, 3/4, a one-quarter pickup, sixteen full\n%% bars plus that pickup (eight for the verse, eight for the chorus).\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Gospel Hymns and Sacred Songs (New York: Biglow & Main;\n%% Cincinnati: John Church & Co., 1875), No. 35, printed page 36, headed\n%% \"All to Christ I Owe.\" over the motto \"Who His own self bare our sins.\"\u20141\n%% Peter 2: 24, credited \"Mrs. Elvina M. Hall.\" on the left and \"John T. Grape,\n%% by per.\" on the right. Read off TWO dated printings of that setting, each\n%% with its own binarisation and its own staff-line fits: archive.org\n%% gospelhymnssacre00blis_0 leaf n40 (2244 px across, staff space 28.2 px =\n%% 14.1 px per diatonic step) and Gospel Hymns Consolidated, Nos. 1 to 4 (New\n%% York: Biglow & Main; Cincinnati: John Church, 1883), No. 35, printed page 36 \u2014\n%% archive.org hymnsconso00blis leaf n40 (2428 px across, staff space 28.8 px =\n%% 14.4 px per step). They are NOT one plate reprinted: the lyric type is reset\n%% between them (1875 \"Sav-iour say,\" / \"in - deed\", 1883 \"Sav - iour say,\" /\n%% \"in \u00b7 deed\") and the note spacing differs, so they are two independent\n%% engravings of the one setting. A THIRD engraving was opened for the chorus\n%% only, to settle one chord: Gospel Hymns Nos. 1 to 6 Complete (1894), No. 588,\n%% printed pages 592-593 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5 leaves\n%% n598-n599.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye first). Per scan: ink is whatever is\n%% darker than the local paper level (a per-column 88th percentile, threshold at\n%% 0.45 of the local ink-to-paper range), then a 5x5 binary CLOSING seals the\n%% pale gaps the plate's ink leaves inside a head; then holes smaller than 1.2\n%% staff spaces squared are FILLED, which turns each hollow half-note OUTLINE\n%% into a disc; then and only then are the staff and ledger lines suppressed by\n%% vertical run length, so a hollow head's thin top and bottom arcs are already\n%% part of a tall run and survive \u2014 doing that suppression BEFORE the fill is\n%% the bug that loses every hollow head. Heads were isolated by morphological\n%% erosion of 0.46 staff space, and the WIDTH WINDOW WAS OPENED TO 1.7-1.8 STAFF\n%% SPACES because half heads on this plate are wider than the filled ones.\n%% Every core was converted to a diatonic step against a FRESH five-line fit made\n%% in a +-1.3-staff-space window around that core's own x.\n%%\n%% EVERY HOLLOW HEAD WAS THEN READ A THIRD WAY REGARDLESS, off crops carrying\n%% the fitted five-line grid drawn over the page at 5x to 10x, on BOTH scans, and\n%% it is that third reading and not any centroid that ships. The automated pass\n%% dropped or mis-split most of the twenty hollow heads (the ten phrase-end\n%% chords) on both scans; the grid crops settled all of them.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately BY EYE at 1.45x whole-system magnification and again on\n%% every 3x-10x crop; the automated figures above cover staff positions only and\n%% never covered accidentals. There is exactly ONE printed accidental in the\n%% hymn, and BOTH plates print it: a NATURAL in the bass staff before the lower\n%% (bass) head of the chorus's line-4 pickup, the syllable \"He\" \u2014 the top-line A,\n%% making it A natural 3 under C4/E flat 4/E flat 5, an A diminished chord that\n%% resolves onto the B flat of \"washed\". Without it the chord is an unexplained\n%% A-flat sonority; with it the progression is the ordinary vii dim of V to V.\n%% Nothing else: no other natural, no sharp, and no flat beyond the three-flat\n%% signature that stands at the head of every staff.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% The one external check is Hymnary's melodic incipit for tune authority\n%% all_to_christ_grape, \"13565 31122 12313\" in E-flat major, which is the first\n%% fifteen soprano notes of this reading exactly (E flat 4, G4, B flat 4, C5,\n%% B flat 4, G4, E flat 4 / E flat 4, F4, F4, E flat 4, F4, G4 / E flat 4, G4).\n%%\n%% RHYTHM AND BARRING. The plate draws a HEAVY line at the end of every line of\n%% text, and four of those heavy lines fall in the MIDDLE of a bar \u2014 after\n%% \"say,\", \"small;\", \"pray,\" and \"stain:\" \u2014 because each phrase-end note is a\n%% plain HALF note (verified: no augmentation dot on either plate) and the next\n%% phrase's pickup completes the bar. ONE exception carries a dot and fills its\n%% bar alone: the verse's last note (\"all.\"), because the chorus starts on a\n%% downbeat. The HYMN's last note (\"snow.\") does NOT \u2014 all three plates print a\n%% plain undotted half there, the 2-beat complement of the opening quarter pickup.\n%% This file first dotted it in all four voices and said the dot had been \"checked\n%% at 10x on both plates\"; that check did not happen, and the engraving and the\n%% MIDI both shipped an extra beat. Corrected. The chorus's first two lines end on\n%% a half note plus a printed QUARTER REST in all four voices. So the piece is a\n%% pickup quarter, FIFTEEN full 3/4 bars, and a 2-beat final bar.\n%%\n%% THE ONE NON-HOMORHYTHMIC PLACE is the opening pickup: soprano and tenor sing\n%% two beamed eighths there while alto and bass hold a single quarter (one\n%% notehead, two stems, in each staff). At the other three phrase pickups\n%% (\"Child of\", \"Find in\", \"He\") all four voices move together.\n%%\n%% TENOR/BASS UNISONS. The plate prints ONE notehead with an up-stem and a\n%% down-stem \u2014 tenor and bass on the same pitch \u2014 at three places: \"Me\" and\n%% \"washed\" (both B flat 3) and \"owe;\" (B flat 3). They are encoded as unisons,\n%% which is what is engraved.\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'4 |\n  f'4. f'8 ees'8 f'8 |\n  g'2 ees'8 g'8 |\n  bes'4. c''8 bes'8 g'8 |\n  ees'2 ees'8 f'8 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2. |\n  bes'4. c''8 bes'8 g'8 |\n  ees''2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  f'2 r4 |\n  bes'4. c''8 bes'8 g'8 |\n  ees''8 d''8 c''4 ees''4 |\n  g'4. aes'8 g'8 f'8 |\n  ees'2\n}\n\nalto = {\n  ees'4 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 bes4 |\n  d'4. d'8 c'8 d'8 |\n  ees'2 ees'8 ees'8 |\n  g'4. aes'8 g'8 ees'8 |\n  bes2 ees'8 ees'8 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2. |\n  g'4. aes'8 g'8 ees'8 |\n  g'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  d'2 r4 |\n  g'4. aes'8 g'8 ees'8 |\n  g'8 bes'8 aes'4 ees'4 |\n  ees'4. f'8 ees'8 d'8 |\n  ees'2\n}\n\ntenor = {\n  g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 g4 |\n  bes4. bes8 g8 bes8 |\n  bes2 g8 bes8 |\n  ees'4. ees'8 ees'8 bes8 |\n  g2 bes8 c'8 |\n  bes4. bes8 bes8 aes8 |\n  g2. |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes2 r4 |\n  ees'4. ees'8 ees'8 bes8 |\n  bes8 ees'8 ees'4 c'4 |\n  bes4. bes8 bes8 aes8 |\n  g2\n}\n\nbass = {\n  ees4 |\n  ees4. ees8 ees8 ees8 |\n  ees2 ees4 |\n  bes,4. bes,8 c8 bes,8 |\n  ees2 ees8 ees8 |\n  ees4. ees8 ees8 ees8 |\n  ees2 g8 aes8 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2. |\n  ees4. ees8 ees8 ees8 |\n  ees2 r4 |\n  ees4. ees8 ees8 g8 |\n  bes2 r4 |\n  ees4. ees8 ees8 ees8 |\n  ees8 g8 aes4 a4 |\n  bes4. bes,8 bes,8 bes,8 |\n  ees2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}