{"slug": "blessings", "name": "BLESSINGS", "meter_label": "11.11.11.11 with Refrain", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "edwin-o-excell", "composer_date": "1897", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "blessings-make-christ-king-1914", "provenance": {"layer": "tune", "source": "songs-for-young-people-1897", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by E. O. Excell (1851-1921) for Johnson Oatman, Jr.'s text, first printed in Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, over the engraved line \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" \u2014 archive.org youngpeo00exce leaves 0038-0039 (the hymn spans a page and a \"Concluded.\" leaf), read directly, and the same 1897 copyright line stands on every later plate collated (Make Christ King 1912 No. 56; The New Make Christ King 1914 No. 82; Famous Gospel Hymns 1907 No. 94). US public domain: published 1897; Excell died 1921, so PD in life+70 jurisdictions too. tools/tune_fingerprint.py finds no corpus melody closer than 0.55 (MEINEN JESUM LASS ICH NICHT), far below the 0.80 duplicate threshold. Hymnary's tune authority (tune/blessings_excell, \"BLESSINGS (Excell)\", composer E. O. Excell 1897) gives incipit 33345 55343 42345 \u2014 this soprano matches it digit for digit. 84 soprano noteheads carry 82 syllables (44 verse + 38 chorus): strictly syllabic except chorus bar 26, where \"bless-ings,\" rides two slurred two-note pairs (the plates' printed double snap). The name BLESSINGS is Hymnary's authority name; the plates title the piece only \"Count Your Blessings.\"", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1897 first printing (youngpeo00exce) and the 1912/1914 Make Christ King plates", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "blessings-make-christ-king-1914", "tune": "blessings", "music_file": "blessings-make-christ-king-1914.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 53, 62, 73], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 32}, {"text": "Name them one by one;", "durations": ["8", "8", "8", "8", "2"], "onset": 36}, {"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 40}, {"text": "See what God hath done;", "durations": ["8", "8", "8", "8", "2"], "onset": 44}, {"text": "Count your man -- y", "durations": ["8", "8", "16", "8."], "onset": 48}]}, "source_line": "BLESSINGS, E. O. Excell, 1897; his own four-part setting from the plates of Make Christ King (1912) / The New Make Christ King (1914), collated with the 1897 first printing. Public domain.", "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "E. O. Excell's own setting of his own tune, every plate read carrying \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" \u2014 a 1897 copyright long expired, read off dated pre-1931 pages. Transcribed notehead by notehead from The New Make Christ King (E. O. Excell, musical editor; Chicago: Glad Tidings Publishing Co., 1914), No. 82, archive.org newmakechristkin00unse leaves 0086-0087 (page + \"Concluded.\" leaf), and collated end to end against the same engraving in Make Christ King (Excell & Biederwolf; Chicago: Glad Tidings, 1912), No. 56, makechristkingse00exce leaves 0064-0065, plus two INDEPENDENT engravings: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every notehead was located by staff-position measurement (tools/noteread.py) and re-read by eye at 5-14x; every hard column (the bar-26 double-snap with its printed quarter rests, the bar-28 D4/B-flat3 halves under the fermata, the high-tenor E-flat4 ledger notes, the bar-31 tenor=bass two-stem unison, both printed E-natural accidentals) was certified on at least two engravings; per-bar log in review/count-your-blessings/READING.md. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1914 New Make Christ King scan (newmakechristkin00unse leaves 0086-0087), collated against the 1912 Make Christ King printing of the same engraving and the independent 1897 (youngpeo00exce) and 1907 (famousgospelhymn00town) engravings", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSINGS (11.11.11.11 with Refrain) \u2014 \"Count Your Blessings\"\n%% E. O. Excell's own setting of his own tune to Johnson Oatman, Jr.'s words,\n%% \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" on every plate read.\n%% Four SATB voice streams, canonical key E-flat major, 2/4, no pickup, 32 bars\n%% (16-bar verse + 16-bar 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. Transcribed notehead by notehead from the dated pages:\n%% primary scan The New Make Christ King (E. O. Excell, musical editor; Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 82 \u2014 archive.org newmakechristkin00unse\n%% leaves 0086-0087 (\"Count Your Blessings.\" + its \"Concluded\" leaf) \u2014 collated\n%% end to end against the SAME ENGRAVING in Make Christ King (E. O. Excell &\n%% W. E. Biederwolf; Chicago: Glad Tidings, 1912; foreword copyright 1911),\n%% No. 56, makechristkingse00exce leaves 0064-0065, and against TWO INDEPENDENT\n%% ENGRAVINGS: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O.\n%% Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel\n%% Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage\n%% Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every\n%% notehead was fixed by staff-\n%% position measurement (tools/noteread.py) and re-read by eye at 5-14x; every\n%% disputed column was settled on at least two engravings.\n%%\n%% THE CHORUS TEXTURE (\"the alto leaves the soprano\"). The chorus is antiphonal\n%% in the POLYTEXTUAL way: while the upper voices carry the main words in long\n%% notes, tenor+bass patter \"Count your man-y bless-ings,\" in the signature cell\n%% eighth-eighth-16th-dotted-8th (the 16th+dotted-8th \"man-y\" snap is printed on\n%% every plate; the chord before the snap is at the SAME pitch, so the patter is\n%% pitch-static). In bars 19-20 and 27-28 (\"Name them one by one;\") the ALTO\n%% leaves the held soprano and patters with the men (bar 19: f'-ees'-d'-c'\n%% eighths under the soprano's quarters; bar 27 all four voices patter). In bars\n%% 26 and 30 the whole choir sings the double snap 16th+8. 16th+8.; in bar 26\n%% the alto and bass sing only the first pair and then REST (the plates print a\n%% lazy-tilde quarter rest above the treble staff and low in the bass staff \u2014\n%% both scans of the 1912/1914 engraving, the 1897 and the 1907 all print it),\n%% while soprano and tenor carry \"bless-ings,\" as two slurred 2-note pairs.\n%% The soprano slurs in bar 26 are the ONLY curves in the hymn.\n%%\n%% HIGH TENOR. The tenor repeatedly climbs to written e-flat' (two ledger lines\n%% above the bass staff, the stroke passing through the head on every witness):\n%% bars 2/10 beat 1, bars 7-8, the chorus \"Count your many\" cells (17-18, 23-26,\n%% 29-30), and bar 27's f'-f'-ees'-ees' under the B-flat 7 patter. Read three\n%% ways on two engravings each time.\n%%\n%% ACCIDENTALS: exactly TWO printed glyphs in the whole hymn, both naturals,\n%% both on the alto e' (E-natural under the key's three flats): bar 3 beat 2\n%% (\"tem-PEST\") and bar 11 beat 2 (\"one BY\") \u2014 the alto's chromatic lower\n%% neighbor f'-e'-f' over the dominant pedal, identical figure both times,\n%% certified at 8-12x on both scans of the primary engraving. There are no\n%% other accidentals; the D-naturals (alto bars 5/13/19, tenor 26-28 etc.)\n%% are diatonic in E-flat and carry no glyph.\n%%\n%% NOT RENDERED, present in the source: \"rit.\" over bars 26-27 and FERMATAS over\n%% bar 28's halves in both staves (fermatas omitted per house style; tempo\n%% words have no corpus field). The verse cadence bars 4/8/12 print plain\n%% halves \u2014 an ink fleck after bar 4's chord on the 1914 scan is not a dot\n%% (the 1912 scan of the same plate is clean).\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 2/4 }\n\nsoprano = {\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 g'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 f'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 f'4 |\n  ees'2 |\n  bes'4. bes'8 |\n  ees''8 bes'8 bes'8 g'8 |\n  aes'4 aes'4 |\n  aes'2 |\n  aes'4. aes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  ees''4. ees''8 |\n  d''16( c''8.) bes'16( aes'8.) |\n  d''8 d''8 c''8 c''8 |\n  bes'2 |\n  ees''8 ees''8 d''16 ees''8. |\n  d''16 c''8. bes'16 aes'8. |\n  g'4 f'4 |\n  ees'2\n}\n\nalto = {\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 d'4 |\n  ees'2 |\n  g'4. g'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'8 ees'8 d'8 c'8 |\n  bes2 |\n  f'4. f'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  g'4. g'8 |\n  bes'16 aes'8. r4 |\n  aes'8 aes'8 aes'8 aes'8 |\n  aes'2 |\n  g'8 g'8 g'16 g'8. |\n  bes'16 aes'8. f'16 f'8. |\n  ees'4 d'4 |\n  ees'2\n}\n\ntenor = {\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 ees'8 ees'8 |\n  ees'2 |\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 aes8 aes8 |\n  g2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes16 bes8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  ees'2 |\n  bes8 bes8 bes16 ees'8. |\n  ees'16 ees'8. d'16 c'8. |\n  f'8 f'8 ees'8 ees'8 |\n  d'2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  ees'16 ees'8. c'16 c'8. |\n  bes4 aes4 |\n  g2\n}\n\nbass = {\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,16 bes,8. |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. r4 |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. aes16 aes8. |\n  bes4 bes,4 |\n  ees2\n}\n"}, "harmonizations": [{"slug": "blessings-make-christ-king-1914", "tune": "blessings", "music_file": "blessings-make-christ-king-1914.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "2/4", "pickup": null, "system_breaks": [11, 22, 33, 44, 53, 62, 73], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "markings": [{"soprano_note": 45, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 32}, {"text": "Name them one by one;", "durations": ["8", "8", "8", "8", "2"], "onset": 36}, {"text": "Count your man -- y bless -- ings,", "durations": ["8", "8", "16", "8.", "8", "4."], "onset": 40}, {"text": "See what God hath done;", "durations": ["8", "8", "8", "8", "2"], "onset": 44}, {"text": "Count your man -- y", "durations": ["8", "8", "16", "8."], "onset": 48}]}, "source_line": "BLESSINGS, E. O. Excell, 1897; his own four-part setting from the plates of Make Christ King (1912) / The New Make Christ King (1914), collated with the 1897 first printing. Public domain.", "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "E. O. Excell's own setting of his own tune, every plate read carrying \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" \u2014 a 1897 copyright long expired, read off dated pre-1931 pages. Transcribed notehead by notehead from The New Make Christ King (E. O. Excell, musical editor; Chicago: Glad Tidings Publishing Co., 1914), No. 82, archive.org newmakechristkin00unse leaves 0086-0087 (page + \"Concluded.\" leaf), and collated end to end against the same engraving in Make Christ King (Excell & Biederwolf; Chicago: Glad Tidings, 1912), No. 56, makechristkingse00exce leaves 0064-0065, plus two INDEPENDENT engravings: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O. Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every notehead was located by staff-position measurement (tools/noteread.py) and re-read by eye at 5-14x; every hard column (the bar-26 double-snap with its printed quarter rests, the bar-28 D4/B-flat3 halves under the fermata, the high-tenor E-flat4 ledger notes, the bar-31 tenor=bass two-stem unison, both printed E-natural accidentals) was certified on at least two engravings; per-bar log in review/count-your-blessings/READING.md. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-31 from the 1914 New Make Christ King scan (newmakechristkin00unse leaves 0086-0087), collated against the 1912 Make Christ King printing of the same engraving and the independent 1897 (youngpeo00exce) and 1907 (famousgospelhymn00town) engravings", "encoding_license": "PD-dedication"}, "music_ly": "%% BLESSINGS (11.11.11.11 with Refrain) \u2014 \"Count Your Blessings\"\n%% E. O. Excell's own setting of his own tune to Johnson Oatman, Jr.'s words,\n%% \"COPYRIGHT, 1897, BY E. O. EXCELL. WORDS AND MUSIC\" on every plate read.\n%% Four SATB voice streams, canonical key E-flat major, 2/4, no pickup, 32 bars\n%% (16-bar verse + 16-bar 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. Transcribed notehead by notehead from the dated pages:\n%% primary scan The New Make Christ King (E. O. Excell, musical editor; Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 82 \u2014 archive.org newmakechristkin00unse\n%% leaves 0086-0087 (\"Count Your Blessings.\" + its \"Concluded\" leaf) \u2014 collated\n%% end to end against the SAME ENGRAVING in Make Christ King (E. O. Excell &\n%% W. E. Biederwolf; Chicago: Glad Tidings, 1912; foreword copyright 1911),\n%% No. 56, makechristkingse00exce leaves 0064-0065, and against TWO INDEPENDENT\n%% ENGRAVINGS: the 1897 FIRST PRINTING, Songs for Young People (Chicago: E. O.\n%% Excell, 1897), No. 34, youngpeo00exce leaves 0038-0039, and Famous Gospel\n%% Hymns (ed. D. B. Towner & E. O. Excell; Chicago: Bible Institute Colportage\n%% Assoc., 1907), No. 94, famousgospelhymn00town leaves 0100-0101. Every\n%% notehead was fixed by staff-\n%% position measurement (tools/noteread.py) and re-read by eye at 5-14x; every\n%% disputed column was settled on at least two engravings.\n%%\n%% THE CHORUS TEXTURE (\"the alto leaves the soprano\"). The chorus is antiphonal\n%% in the POLYTEXTUAL way: while the upper voices carry the main words in long\n%% notes, tenor+bass patter \"Count your man-y bless-ings,\" in the signature cell\n%% eighth-eighth-16th-dotted-8th (the 16th+dotted-8th \"man-y\" snap is printed on\n%% every plate; the chord before the snap is at the SAME pitch, so the patter is\n%% pitch-static). In bars 19-20 and 27-28 (\"Name them one by one;\") the ALTO\n%% leaves the held soprano and patters with the men (bar 19: f'-ees'-d'-c'\n%% eighths under the soprano's quarters; bar 27 all four voices patter). In bars\n%% 26 and 30 the whole choir sings the double snap 16th+8. 16th+8.; in bar 26\n%% the alto and bass sing only the first pair and then REST (the plates print a\n%% lazy-tilde quarter rest above the treble staff and low in the bass staff \u2014\n%% both scans of the 1912/1914 engraving, the 1897 and the 1907 all print it),\n%% while soprano and tenor carry \"bless-ings,\" as two slurred 2-note pairs.\n%% The soprano slurs in bar 26 are the ONLY curves in the hymn.\n%%\n%% HIGH TENOR. The tenor repeatedly climbs to written e-flat' (two ledger lines\n%% above the bass staff, the stroke passing through the head on every witness):\n%% bars 2/10 beat 1, bars 7-8, the chorus \"Count your many\" cells (17-18, 23-26,\n%% 29-30), and bar 27's f'-f'-ees'-ees' under the B-flat 7 patter. Read three\n%% ways on two engravings each time.\n%%\n%% ACCIDENTALS: exactly TWO printed glyphs in the whole hymn, both naturals,\n%% both on the alto e' (E-natural under the key's three flats): bar 3 beat 2\n%% (\"tem-PEST\") and bar 11 beat 2 (\"one BY\") \u2014 the alto's chromatic lower\n%% neighbor f'-e'-f' over the dominant pedal, identical figure both times,\n%% certified at 8-12x on both scans of the primary engraving. There are no\n%% other accidentals; the D-naturals (alto bars 5/13/19, tenor 26-28 etc.)\n%% are diatonic in E-flat and carry no glyph.\n%%\n%% NOT RENDERED, present in the source: \"rit.\" over bars 26-27 and FERMATAS over\n%% bar 28's halves in both staves (fermatas omitted per house style; tempo\n%% words have no corpus field). The verse cadence bars 4/8/12 print plain\n%% halves \u2014 an ink fleck after bar 4's chord on the 1914 scan is not a dot\n%% (the 1912 scan of the same plate is clean).\n\\version \"2.24.0\"\n\nglobal  = { \\key ees \\major \\time 2/4 }\n\nsoprano = {\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 g'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  g'8 g'8 g'8 aes'8 |\n  bes'8 bes'8 bes'8 g'8 |\n  aes'4 f'4 |\n  aes'2 |\n  f'8 g'8 aes'8 bes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 f'4 |\n  ees'2 |\n  bes'4. bes'8 |\n  ees''8 bes'8 bes'8 g'8 |\n  aes'4 aes'4 |\n  aes'2 |\n  aes'4. aes'8 |\n  d''8 c''8 bes'8 aes'8 |\n  g'4 aes'4 |\n  bes'2 |\n  ees''4. ees''8 |\n  d''16( c''8.) bes'16( aes'8.) |\n  d''8 d''8 c''8 c''8 |\n  bes'2 |\n  ees''8 ees''8 d''16 ees''8. |\n  d''16 c''8. bes'16 aes'8. |\n  g'4 f'4 |\n  ees'2\n}\n\nalto = {\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  ees'8 ees'8 ees'8 f'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'4 e'4 |\n  f'2 |\n  d'8 ees'8 f'8 g'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 d'4 |\n  ees'2 |\n  g'4. g'8 |\n  g'8 g'8 g'8 ees'8 |\n  f'8 ees'8 d'8 c'8 |\n  bes2 |\n  f'4. f'8 |\n  bes'8 aes'8 g'8 f'8 |\n  ees'4 f'4 |\n  g'2 |\n  g'4. g'8 |\n  bes'16 aes'8. r4 |\n  aes'8 aes'8 aes'8 aes'8 |\n  aes'2 |\n  g'8 g'8 g'16 g'8. |\n  bes'16 aes'8. f'16 f'8. |\n  ees'4 d'4 |\n  ees'2\n}\n\ntenor = {\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 ees'8 ees'8 |\n  ees'2 |\n  bes8 bes8 bes8 bes8 |\n  ees'8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes8 bes8 |\n  bes8 bes4. |\n  bes8 bes8 aes8 aes8 |\n  g2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  bes8 bes8 bes16 bes8. |\n  bes8 bes4. |\n  bes8 bes8 bes8 bes8 |\n  ees'2 |\n  bes8 bes8 bes16 ees'8. |\n  ees'16 ees'8. d'16 c'8. |\n  f'8 f'8 ees'8 ees'8 |\n  d'2 |\n  ees'8 ees'8 ees'16 ees'8. |\n  ees'16 ees'8. c'16 c'8. |\n  bes4 aes4 |\n  g2\n}\n\nbass = {\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees8 ees8 |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,8 bes,4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  ees8 ees4. |\n  bes,8 bes,8 bes,8 bes,8 |\n  bes,2 |\n  bes,8 bes,8 bes,16 bes,8. |\n  bes,8 bes,4. |\n  ees8 ees8 ees8 ees8 |\n  ees2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. r4 |\n  bes8 bes8 bes8 bes8 |\n  bes2 |\n  ees8 ees8 ees16 ees8. |\n  aes16 aes8. aes16 aes8. |\n  bes4 bes,4 |\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."}