{"slug": "almost-persuaded", "name": "ALMOST PERSUADED", "meter_label": "9.9.6.6.6.4", "meter": {"pattern": [9, 9, 6, 6, 6, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": true}, "composer": "philip-paul-bliss", "composer_date": "1871", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "almost-persuaded-1875", "provenance": {"layer": "tune", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for his own words. The standard attribution, not itself verified from a scan by this import and not relied on for the PD gate, is first publication in The Charm (Chicago: Root & Cady, 1871). Read here from the dated printing in Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 \u2014 archive.org gospelhymnssacre00blis_0, leaf 76 \u2014 which heads the page \"Almost Persuaded.\" and credits \"P. P. Bliss.\" (words) and \"P. P. Bliss, by per.\" (music); collated against the same plates in the independently scanned Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 75, printed page 72 (archive.org hymnsconso00blis, leaf 78). US public domain by publication before 1929, and both witnesses read here are themselves pre-1931. The soprano's first fifteen scale degrees, counting a tie once, are 344311223344312 \u2014 exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss, which also gives the key as G major and the meter as 9.9.6.6.6.4. tools/tune_fingerprint.py finds no corpus melody closer than 0.642 (PETRA), far under the 0.80 duplicate threshold, so this is not a duplicate under another name. Neither dated page names the tune on the staff \u2014 gospel books of this series rarely do \u2014 so the name ALMOST PERSUADED is the one the hymnals and Hymnary print for it, taken from the first line; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "almost_persuaded_bliss", "total_instances": 646}}, "harmonization": {"slug": "almost-persuaded-1875", "tune": "almost-persuaded", "music_file": "almost-persuaded-1875.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [10, 20, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "source_line": "Setting: P. P. Bliss, 1871, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting of his own words. The standard attribution, which this import did NOT itself verify from a scan, is first publication in The Charm (Chicago: Root & Cady, 1871); the PD gate here does not rest on it. THE DATED PRINTING CITED IS ONE THIS IMPORT OPENED: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 \u2014 archive.org gospelhymnssacre00blis_0, leaf 76 \u2014 which credits \"P. P. Bliss.\" at the left and \"P. P. Bliss, by per.\" at the right and carries the motto \"Almost Thou persuadest me to be a Christian.\"\u2014Acts 26:28. TWO leaves were each read END TO END, notehead by notehead, by the same rig with its own binarisation and its own local staff-line fits; the 1875 leaf named above and, read first, an independently scanned LATER impression of the same plates: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 75, printed page 72 \u2014 archive.org hymnsconso00blis, leaf 78. NO SCAFFOLD WAS USED: no MIDI, no NoteWorthy file, no Cyber Hymnal asset and no prior encoding was consulted at any point, and neither rig pass was seeded from the other's output. Measurement method: per notehead the five staff lines were re-found in clean columns either side of that head's own x and fitted by least squares (so page curvature and skew cannot shift a reading), the page was binarised against a local paper level, heads were isolated by morphological erosion sized in staff spaces, and each head's centre was taken as the midpoint of its clean outer edges at half-max, reconstructed from the clean edge and the plate's calibrated head height wherever an adjacent staff line fused with one edge. Staff space measures 29.1 px on the 1883 leaf and 28.2 px on the 1875 leaf, i.e. 14.6 and 14.1 px per diatonic step \u2014 both well clear of the ~12 px floor below which readings cannot be trusted. The two readings agree at every chord of all four voices; a handful of heads that one scan lost to light or fused ink were supplied by the other, and every one of those, plus every reading that landed more than 0.15 step from an exact staff position, was then confirmed by eye at 4-8x on both leaves. Melody cross-check against a source that is neither scan: counting a tie once, this soprano's first fifteen scale degrees are 344311223344312, exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss (G major, 9.9.6.6.6.4). ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification on both leaves \u2014 a notehead probe reads staff positions and cannot see a sharp, flat or natural, so the agreement figure above does not cover them. There is no accidental anywhere in the four systems on either leaf; the only accidentals on the page are the two key-signature sharps, one per staff. DEPARTURES FROM THE PAGE, in full: (1) the fermata printed over the soprano's second notehead of bar 15 (\"Thee\") is NOT engraved, per the house style that omits fermatas and records them in the .ly header, as FILLMORE, PROMISES and the Bach chorales in this corpus already do; (2) nothing else \u2014 no note, tie, slur, duration, barline or octave in the music differs from the plates, and the plates print no rest anywhere in the piece. (The two stanza-2 syllable divisions the plate leaves to the singer are declared in the TEXT file, not here.) Both witnesses are pre-1931 US public domain, Bliss died in 1876, and no modern arranger stands anywhere in the chain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from two independently scanned dated leaves of the same plates, each read end to end \u2014 Gospel Hymns and Sacred Songs, 1875 (archive.org gospelhymnssacre00blis_0, leaf 76) and Gospel Hymns Consolidated, Nos. 1 to 4, 1883 (archive.org hymnsconso00blis, leaf 78). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% ALMOST PERSUADED (9.9.6.6.6.4) \u2014 \"'Almost persuaded' Now to believe\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup, 16 bars.\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. Two dated leaves, each read END TO END, notehead by\n%% notehead, by the same rig with its own binarisation and its own local\n%% staff-line fits. Read first: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow &\n%% Main / John Church, 1883), no. 75, printed page 72 \u2014 archive.org\n%% hymnsconso00blis, leaf 78. Read second, INDEPENDENTLY SCANNED, an earlier\n%% impression of the SAME plates: Gospel Hymns and Sacred Songs (New York:\n%% Biglow & Main, 1875), no. 75, printed page 72 \u2014 archive.org\n%% gospelhymnssacre00blis_0, leaf 76; that leaf is the one this file cites as\n%% its source, being the earlier printing. NO SCAFFOLD of any kind was used: no\n%% MIDI, no NoteWorthy file, no Cyber Hymnal asset, no prior encoding, and\n%% neither reading was checked against anything produced by the other rig pass.\n%% The two readings agree at every one of\n%% the 43 soprano noteheads and at every chord of all four voices; where one\n%% scan missed a head (light or fused ink) the other supplied it, and every such\n%% spot \u2014 plus every reading that landed more than 0.15 of a diatonic step from\n%% an exact staff position \u2014 was then confirmed by eye at 4-8x on both leaves.\n%%\n%% THIRD, INDEPENDENT CHECK OF THE MELODY. Counting a tie once, this soprano's\n%% first fifteen scale degrees are 344311223344312, which is exactly the incipit\n%% Hymnary publishes for tune authority almost_persuaded_bliss (G Major,\n%% 9.9.6.6.6.4). tools/tune_fingerprint.py finds no corpus melody closer than\n%% 0.642 (PETRA), well under the 0.80 duplicate threshold.\n%%\n%% STRUCTURE. Four systems of four bars, one per printed system:\n%%   bars  1-4   line 1  (\"Almost persuaded\" Now to believe;)      10 noteheads\n%%   bars  5-8   line 2  (\"Almost persuaded\" Christ to receive;)   10 noteheads\n%%   bars  9-12  lines 3+4 (Seems now some soul to say, / \"Go, ...) 12 noteheads\n%%   bars 13-16  lines 5+6 (Some more convenient day / On Thee ...) 11 noteheads\n%% 43 soprano noteheads, 40 note-groups (three ties), 40 lyric slots.\n%%\n%% THREE TIES, each a full bar held across the bar's two dotted quarters, in ALL\n%% FOUR voices: bar 4 (\"be-lieve\"), bar 8 (\"re-ceive\"), bar 16 (\"call\"). The\n%% number of ARCS drawn per staff varies between the leaves and between the bars\n%% \u2014 sometimes one, sometimes one above and one below \u2014 which is the ordinary\n%% latitude of a tied chord in this engraving; every voice was read as tied in\n%% all three bars, on both leaves.\n%%\n%% TWO SLURS, both in bar 15, both INNER voices, both against a soprano dotted\n%% quarter on \"On\": the alto d'4 slurred to g'8, and the tenor g4 slurred to b8.\n%% The slur is printed on both leaves in both staves. The soprano and bass hold\n%% plain dotted quarters through them.\n%%\n%% TENOR AND BASS SING IN UNISON at 13 noteheads \u2014 bars 1, 2, 5, 6 and 10, all\n%% on g. The page prints ONE notehead there carrying a stem UP and a stem DOWN,\n%% which is what identifies it as two voices and not one; checked by eye on both\n%% leaves, at 4.5x on the 1883. Both voices carry the pitch here and LilyPond's\n%% default collision resolver is left to kiss the noteheads.\n%% SOPRANO AND ALTO are in unison only in bar 16, both on g' \u2014 again one\n%% notehead, two stems, with a tie arc drawn above AND below it on both leaves.\n%%\n%% FERMATA \u2014 PRESENT ON THE PAGE, NOT RENDERED. Both leaves print a fermata over\n%% the soprano's second notehead of bar 15 (\"Thee\", soprano notehead 40, the b'\n%% quarter). House style omits fermatas and records them here, as the Bach\n%% chorales, FILLMORE and PROMISES in this corpus already do; adding it would be\n%% the one token b'4\\fermata.\n%%\n%% NO ACCIDENTAL appears anywhere in the four systems on either leaf. The only\n%% accidentals on the page are the two key-signature sharps, one per staff, so\n%% every f sounds f-sharp (alto bars 3, 11, 15; tenor bar 7; bass bar 11 \u2014 the\n%% soprano never touches f) and every c sounds c-natural (soprano bars 1, 5, 9,\n%% 10, 11, 12; alto bars 7, 13; tenor bar 15; bass bars 9, 14).\n%% This was checked SEPARATELY from the notehead measurement, by eye at high\n%% magnification, on BOTH leaves; the automated agreement figure quoted above\n%% reads staff POSITIONS and never covered accidentals at all.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  g'4. a'4 a'8 |\n  b'4.~ b'4. |\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  a'4. b'4 a'8 |\n  g'4.~ g'4. |\n  c''4. c''4 c''8 |\n  c''4 b'8 b'4. |\n  d''4. a'4 c''8 |\n  c''4 b'8 b'4. |\n  g'4. g'4 g'8 |\n  g'4 a'8 b'4. |\n  b'4. b'4 a'8 |\n  g'4.~ g'4.\n}\n\nalto = {\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  e'4. fis'4 fis'8 |\n  g'4.~ g'4. |\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  d'4. d'4 c'8 |\n  b4.~ b4. |\n  e'4. e'4 e'8 |\n  e'4 d'8 d'4. |\n  fis'4. fis'4 a'8 |\n  a'4 g'8 g'4. |\n  b4. c'4 d'8 |\n  e'4 e'8 d'4. |\n  d'4( g'8) fis'4 fis'8 |\n  g'4.~ g'4.\n}\n\ntenor = {\n  g4. g4 g8 |\n  g4. g4. |\n  b4. d'4 d'8 |\n  d'4.~ d'4. |\n  g4. g4 g8 |\n  g4. g4. |\n  fis4. g4 fis8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  a4. d'4 d'8 |\n  d'4 d'8 d'4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  g4( b8) d'4 c'8 |\n  b4.~ b4.\n}\n\nbass = {\n  g4. g4 g8 |\n  g4. g4. |\n  e4. d4 d8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4. g4. |\n  d4. d4 d8 |\n  g,4.~ g,4. |\n  c4. c4 e8 |\n  g4 g8 g4. |\n  d4. d4 fis8 |\n  g4 g8 g4. |\n  g,4. a,4 b,8 |\n  c4 c8 g,4. |\n  d4. d4 d8 |\n  g,4.~ g,4.\n}\n"}, "harmonizations": [{"slug": "almost-persuaded-1875", "tune": "almost-persuaded", "music_file": "almost-persuaded-1875.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [10, 20, 32], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "source_line": "Setting: P. P. Bliss, 1871, as printed in Gospel Hymns and Sacred Songs, 1875. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-sacred-songs-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting of his own words. The standard attribution, which this import did NOT itself verify from a scan, is first publication in The Charm (Chicago: Root & Cady, 1871); the PD gate here does not rest on it. THE DATED PRINTING CITED IS ONE THIS IMPORT OPENED: Gospel Hymns and Sacred Songs (New York: Biglow & Main, 1875), no. 75, printed page 72 \u2014 archive.org gospelhymnssacre00blis_0, leaf 76 \u2014 which credits \"P. P. Bliss.\" at the left and \"P. P. Bliss, by per.\" at the right and carries the motto \"Almost Thou persuadest me to be a Christian.\"\u2014Acts 26:28. TWO leaves were each read END TO END, notehead by notehead, by the same rig with its own binarisation and its own local staff-line fits; the 1875 leaf named above and, read first, an independently scanned LATER impression of the same plates: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883), no. 75, printed page 72 \u2014 archive.org hymnsconso00blis, leaf 78. NO SCAFFOLD WAS USED: no MIDI, no NoteWorthy file, no Cyber Hymnal asset and no prior encoding was consulted at any point, and neither rig pass was seeded from the other's output. Measurement method: per notehead the five staff lines were re-found in clean columns either side of that head's own x and fitted by least squares (so page curvature and skew cannot shift a reading), the page was binarised against a local paper level, heads were isolated by morphological erosion sized in staff spaces, and each head's centre was taken as the midpoint of its clean outer edges at half-max, reconstructed from the clean edge and the plate's calibrated head height wherever an adjacent staff line fused with one edge. Staff space measures 29.1 px on the 1883 leaf and 28.2 px on the 1875 leaf, i.e. 14.6 and 14.1 px per diatonic step \u2014 both well clear of the ~12 px floor below which readings cannot be trusted. The two readings agree at every chord of all four voices; a handful of heads that one scan lost to light or fused ink were supplied by the other, and every one of those, plus every reading that landed more than 0.15 step from an exact staff position, was then confirmed by eye at 4-8x on both leaves. Melody cross-check against a source that is neither scan: counting a tie once, this soprano's first fifteen scale degrees are 344311223344312, exactly the incipit Hymnary publishes for tune authority almost_persuaded_bliss (G major, 9.9.6.6.6.4). ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification on both leaves \u2014 a notehead probe reads staff positions and cannot see a sharp, flat or natural, so the agreement figure above does not cover them. There is no accidental anywhere in the four systems on either leaf; the only accidentals on the page are the two key-signature sharps, one per staff. DEPARTURES FROM THE PAGE, in full: (1) the fermata printed over the soprano's second notehead of bar 15 (\"Thee\") is NOT engraved, per the house style that omits fermatas and records them in the .ly header, as FILLMORE, PROMISES and the Bach chorales in this corpus already do; (2) nothing else \u2014 no note, tie, slur, duration, barline or octave in the music differs from the plates, and the plates print no rest anywhere in the piece. (The two stanza-2 syllable divisions the plate leaves to the singer are declared in the TEXT file, not here.) Both witnesses are pre-1931 US public domain, Bliss died in 1876, and no modern arranger stands anywhere in the chain.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from two independently scanned dated leaves of the same plates, each read end to end \u2014 Gospel Hymns and Sacred Songs, 1875 (archive.org gospelhymnssacre00blis_0, leaf 76) and Gospel Hymns Consolidated, Nos. 1 to 4, 1883 (archive.org hymnsconso00blis, leaf 78). No MIDI, no NoteWorthy file and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% ALMOST PERSUADED (9.9.6.6.6.4) \u2014 \"'Almost persuaded' Now to believe\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup, 16 bars.\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. Two dated leaves, each read END TO END, notehead by\n%% notehead, by the same rig with its own binarisation and its own local\n%% staff-line fits. Read first: Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow &\n%% Main / John Church, 1883), no. 75, printed page 72 \u2014 archive.org\n%% hymnsconso00blis, leaf 78. Read second, INDEPENDENTLY SCANNED, an earlier\n%% impression of the SAME plates: Gospel Hymns and Sacred Songs (New York:\n%% Biglow & Main, 1875), no. 75, printed page 72 \u2014 archive.org\n%% gospelhymnssacre00blis_0, leaf 76; that leaf is the one this file cites as\n%% its source, being the earlier printing. NO SCAFFOLD of any kind was used: no\n%% MIDI, no NoteWorthy file, no Cyber Hymnal asset, no prior encoding, and\n%% neither reading was checked against anything produced by the other rig pass.\n%% The two readings agree at every one of\n%% the 43 soprano noteheads and at every chord of all four voices; where one\n%% scan missed a head (light or fused ink) the other supplied it, and every such\n%% spot \u2014 plus every reading that landed more than 0.15 of a diatonic step from\n%% an exact staff position \u2014 was then confirmed by eye at 4-8x on both leaves.\n%%\n%% THIRD, INDEPENDENT CHECK OF THE MELODY. Counting a tie once, this soprano's\n%% first fifteen scale degrees are 344311223344312, which is exactly the incipit\n%% Hymnary publishes for tune authority almost_persuaded_bliss (G Major,\n%% 9.9.6.6.6.4). tools/tune_fingerprint.py finds no corpus melody closer than\n%% 0.642 (PETRA), well under the 0.80 duplicate threshold.\n%%\n%% STRUCTURE. Four systems of four bars, one per printed system:\n%%   bars  1-4   line 1  (\"Almost persuaded\" Now to believe;)      10 noteheads\n%%   bars  5-8   line 2  (\"Almost persuaded\" Christ to receive;)   10 noteheads\n%%   bars  9-12  lines 3+4 (Seems now some soul to say, / \"Go, ...) 12 noteheads\n%%   bars 13-16  lines 5+6 (Some more convenient day / On Thee ...) 11 noteheads\n%% 43 soprano noteheads, 40 note-groups (three ties), 40 lyric slots.\n%%\n%% THREE TIES, each a full bar held across the bar's two dotted quarters, in ALL\n%% FOUR voices: bar 4 (\"be-lieve\"), bar 8 (\"re-ceive\"), bar 16 (\"call\"). The\n%% number of ARCS drawn per staff varies between the leaves and between the bars\n%% \u2014 sometimes one, sometimes one above and one below \u2014 which is the ordinary\n%% latitude of a tied chord in this engraving; every voice was read as tied in\n%% all three bars, on both leaves.\n%%\n%% TWO SLURS, both in bar 15, both INNER voices, both against a soprano dotted\n%% quarter on \"On\": the alto d'4 slurred to g'8, and the tenor g4 slurred to b8.\n%% The slur is printed on both leaves in both staves. The soprano and bass hold\n%% plain dotted quarters through them.\n%%\n%% TENOR AND BASS SING IN UNISON at 13 noteheads \u2014 bars 1, 2, 5, 6 and 10, all\n%% on g. The page prints ONE notehead there carrying a stem UP and a stem DOWN,\n%% which is what identifies it as two voices and not one; checked by eye on both\n%% leaves, at 4.5x on the 1883. Both voices carry the pitch here and LilyPond's\n%% default collision resolver is left to kiss the noteheads.\n%% SOPRANO AND ALTO are in unison only in bar 16, both on g' \u2014 again one\n%% notehead, two stems, with a tie arc drawn above AND below it on both leaves.\n%%\n%% FERMATA \u2014 PRESENT ON THE PAGE, NOT RENDERED. Both leaves print a fermata over\n%% the soprano's second notehead of bar 15 (\"Thee\", soprano notehead 40, the b'\n%% quarter). House style omits fermatas and records them here, as the Bach\n%% chorales, FILLMORE and PROMISES in this corpus already do; adding it would be\n%% the one token b'4\\fermata.\n%%\n%% NO ACCIDENTAL appears anywhere in the four systems on either leaf. The only\n%% accidentals on the page are the two key-signature sharps, one per staff, so\n%% every f sounds f-sharp (alto bars 3, 11, 15; tenor bar 7; bass bar 11 \u2014 the\n%% soprano never touches f) and every c sounds c-natural (soprano bars 1, 5, 9,\n%% 10, 11, 12; alto bars 7, 13; tenor bar 15; bass bars 9, 14).\n%% This was checked SEPARATELY from the notehead measurement, by eye at high\n%% magnification, on BOTH leaves; the automated agreement figure quoted above\n%% reads staff POSITIONS and never covered accidentals at all.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  g'4. a'4 a'8 |\n  b'4.~ b'4. |\n  b'4. c''4 c''8 |\n  b'4. g'4. |\n  a'4. b'4 a'8 |\n  g'4.~ g'4. |\n  c''4. c''4 c''8 |\n  c''4 b'8 b'4. |\n  d''4. a'4 c''8 |\n  c''4 b'8 b'4. |\n  g'4. g'4 g'8 |\n  g'4 a'8 b'4. |\n  b'4. b'4 a'8 |\n  g'4.~ g'4.\n}\n\nalto = {\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  e'4. fis'4 fis'8 |\n  g'4.~ g'4. |\n  d'4. e'4 e'8 |\n  d'4. b4. |\n  d'4. d'4 c'8 |\n  b4.~ b4. |\n  e'4. e'4 e'8 |\n  e'4 d'8 d'4. |\n  fis'4. fis'4 a'8 |\n  a'4 g'8 g'4. |\n  b4. c'4 d'8 |\n  e'4 e'8 d'4. |\n  d'4( g'8) fis'4 fis'8 |\n  g'4.~ g'4.\n}\n\ntenor = {\n  g4. g4 g8 |\n  g4. g4. |\n  b4. d'4 d'8 |\n  d'4.~ d'4. |\n  g4. g4 g8 |\n  g4. g4. |\n  fis4. g4 fis8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  a4. d'4 d'8 |\n  d'4 d'8 d'4. |\n  g4. g4 g8 |\n  g4 g8 g4. |\n  g4( b8) d'4 c'8 |\n  b4.~ b4.\n}\n\nbass = {\n  g4. g4 g8 |\n  g4. g4. |\n  e4. d4 d8 |\n  g4.~ g4. |\n  g4. g4 g8 |\n  g4. g4. |\n  d4. d4 d8 |\n  g,4.~ g,4. |\n  c4. c4 e8 |\n  g4 g8 g4. |\n  d4. d4 fis8 |\n  g4 g8 g4. |\n  g,4. a,4 b,8 |\n  c4 c8 g,4. |\n  d4. d4 d8 |\n  g,4.~ g,4.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}