{"slug": "christ-lag-in-todesbanden", "name": "CHRIST LAG IN TODESBANDEN", "meter_label": "87.87.78.74", "meter": {"pattern": [8, 7, 8, 7, 7, 8, 7, 4], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Geystliche gesangk Buchleyn, Wittenberg, 1524", "arranger": "johann-walter", "canonical_key": {"tonic": "d", "mode": "dorian"}, "preferred_harmonization": "christ-lag-in-todesbanden-bwv277", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "CHRIST LAG IN TODESBANDEN (87.87.78.74), the Easter chorale derived from the medieval sequence \"Victimae paschali laudes\" (c. 1100) via the leise \"Christ ist erstanden\", first published 1524 in Johann Walter's Geystliche gesangk Buchleyn (Wittenberg) and the Erfurt Enchiridion, with Luther's possible collaboration (hymnary.org tune authority). The melody is carried here as the soprano of J. S. Bach's harmonization BWV 277, published in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87; Bach died 1750). Identity verified three ways: the kern source's own reference records (!!!OTL \"Christ lag in Todesbanden\", !!!SCT \"BWV 277\", !!!PC# 15 = Breitkopf/Riemenschneider No. 15); the hymnary.org tune authority incipit 54571 76553 45432 (D minor degrees), which the soprano matches digit-for- digit once Bach's single ornamental passing eighth (soprano note 4, a melisma continuation in Bach's own underlay) is set aside \u2014 5-4-5-(6)-7-1- 7-6-5, 5-3-4-5-4-3-2 \u2014 with the authority's meter 8.7.8.7.7.8.7.4 and \"d minor or modal\" key both agreeing; and note-identity with the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl). All components centuries pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text \u2014 same repo and license analysis as the NUN KOMM import; see imports/batchB-external/staged/nun-komm-der-heiden-heiland/NOTES.txt)"}, "harmonization": {"slug": "christ-lag-in-todesbanden-bwv277", "tune": "christ-lag-in-todesbanden", "music_file": "christ-lag-in-todesbanden-bwv277.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "dorian"}, "time": "4/4", "pickup": "4", "system_breaks": [19, 38, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CHRIST LAG IN TODESBANDEN, Geystliche gesangk Buchleyn, 1524; harm. J. S. Bach (BWV 277). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 277, No. 15 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor015.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (ties, explicit naturals, the tenor sixteenth figures). The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B, shortening the notated ending halves to quarters at the first pass to admit the repeat's pickup, exactly as the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl) expands it. Machine comparison against that edition: soprano, tenor and bass identical event-for-event; the alto differs only at bar 14 beats 1.5-2.5, where Greentree reads d8 c#8 d8 against the kern's d4 c#8 \u2014 the kern reading (the declared source) is kept. D dorian (the kern's empty *k[] signature with *d:dor, as Breitkopf prints it), 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 9, 19, 28, 38, 47, 56, 65, 70) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted BWV 4/8 chorale (music21 bwv4.8.mxl, pitch-identical to BWV 277 at all 70 soprano notes; durations differ at note 38 and in the final phrase). Its Stollen carries two lyric verses, agreeing on every hold; the Abgesang carries one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRIST LAG IN TODESBANDEN (87.87.78.74) \u2014 four SATB voice streams, canonical key D dorian.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% J. S. Bach's harmonization BWV 277 (Breitkopf/Riemenschneider No. 15),\n%% converted from the craigsapp/bach-370-chorales kern edition (chor015.krn)\n%% with tools/kern2ly.py and verified note-for-note against the kern source in\n%% all four voices (ties, explicit naturals, the tenor sixteenth figures).\n%% D dorian (the kern's *k[] empty signature + *d:dor, as Breitkopf prints it),\n%% 4/4, quarter pickup. The kern encodes the Stollen once with a repeat\n%% (*>[A,A,B]); written out here A-A-B per the Greentree/jsbchorales expansion\n%% of the same Breitkopf text (music21 bwv277.mxl, compared machine-to-machine:\n%% soprano/tenor/bass identical event-for-event; alto differs only at bar 14\n%% beats 1.5-2.5 where Greentree reads d8 c#8 d8 for the kern's d4 c#8 \u2014 the\n%% kern reading is kept as the declared source). At the first Stollen ending\n%% the notated halves shorten to quarters to admit the repeat's pickup (as in\n%% the Greentree expansion); at the second ending the kern's halves stand\n%% (house style keeps the held cadence rather than Greentree's quarter+rest).\n%% The source prints fermatas at soprano ordinals 9, 19, 28, 38, 47, 56, 65,\n%% 70 (phrases 9+10+9+10+9+9+9+5, one per text line of 87.87.78.74); fermatas\n%% are omitted per house style. MELISMATIC: 70 soprano notes for 56 syllables;\n%% the melisma map follows Bach's own underlay in the texted BWV 4/8 chorale\n%% (music21 bwv4.8.mxl \u2014 pitch-identical to BWV 277 at all 70 soprano notes,\n%% durations differing at note 38 and in the final phrase; two lyric verses in\n%% the Stollen, one in the Abgesang): two-note slurs at soprano notes 3-4,\n%% 14-15, 22-23, 33-34, 39-40, 43-44, 52-53, 59-60, 63-64, 68-69 and\n%% three-note cadence slurs at 16-17-18 and 35-36-37. Bach's underlay also\n%% melismas notes 7-8 and 26-27, which Massie's 8-syllable lines 1/3 fill\n%% syllabically (per the Hymnary authority meter 8.7.8.7.7.8.7.4). The setting\n%% holds the continuations with '_' at soprano notes 4, 15, 17, 18, 23, 34,\n%% 36, 37, 40, 44, 53, 60, 64, 69 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\dorian \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'4 a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'2 |\n  d'8( e'8) f'4 g'4 d'8( e'8) |\n  f'4 g'4 a'4 a'4 |\n  d''4 cis''4 d''4 e''8( d''8) |\n  c''4 b'4 a'4 b'4 |\n  c''4 a'8( bes'8) c''4 g'4 |\n  f'4( e'4) d'2 |\n  a'4 g'4 f'4( e'4) |\n  d'1\n}\n\nalto = {\n  f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a4 f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a2 |\n  a4 d'4 d'8 c'8 bes8 c'8 |\n  d'8 a8 d'8 c'8 c'4 f'8 g'8 |\n  a'8 bes'8~ bes'8 a'8 a'4 e'4~ |\n  e'8 f'4 e'8 e'4 f'4~ |\n  f'8 e'8 f'4 f'4 e'4~ |\n  e'8 d'4 cis'8 d'2 |\n  d'4. e'8 cis'8 d'4 cis'8 |\n  a1\n}\n\ntenor = {\n  d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f4 d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f2 |\n  f8 g8 a4 g8 a8 bes4 |\n  a8 f'8~ f'8 e'8 f'4 c'4 |\n  f4 g4 d'8 c'8 b4~ |\n  b8 a4 gis8 c'4 d'4 |\n  g8 c'8 c'4 c'8 d'8 e'8 d'8 |\n  cis'8 a8 bes8 a16 g16 f2 |\n  a8 c'8 bes4 a4 g4~ |\n  g4 fis8 e8 fis2\n}\n\nbass = {\n  d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d4 d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d2 |\n  d4. c8 bes,8 a,8 g,4 |\n  d8 c8 bes,8 c8 f,4 f8 e8 |\n  d4 e4 fis4 gis4 |\n  a8 f8 d8 e8 a,4 d4 |\n  c4 f,8 g,8 a,8 bes,8 c8 bes,8 |\n  a,8 f,8 g,8 a,8 bes,2 |\n  fis,4 g,4 a,2 |\n  d,1\n}\n"}, "harmonizations": [{"slug": "christ-lag-in-todesbanden-bwv277", "tune": "christ-lag-in-todesbanden", "music_file": "christ-lag-in-todesbanden-bwv277.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "d", "mode": "dorian"}, "time": "4/4", "pickup": "4", "system_breaks": [19, 38, 56], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "CHRIST LAG IN TODESBANDEN, Geystliche gesangk Buchleyn, 1524; harm. J. S. Bach (BWV 277). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 277, No. 15 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor015.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices (ties, explicit naturals, the tenor sixteenth figures). The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B, shortening the notated ending halves to quarters at the first pass to admit the repeat's pickup, exactly as the independently engraved Greentree/jsbchorales edition of BWV 277 (music21 bwv277.mxl) expands it. Machine comparison against that edition: soprano, tenor and bass identical event-for-event; the alto differs only at bar 14 beats 1.5-2.5, where Greentree reads d8 c#8 d8 against the kern's d4 c#8 \u2014 the kern reading (the declared source) is kept. D dorian (the kern's empty *k[] signature with *d:dor, as Breitkopf prints it), 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 9, 19, 28, 38, 47, 56, 65, 70) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted BWV 4/8 chorale (music21 bwv4.8.mxl, pitch-identical to BWV 277 at all 70 soprano notes; durations differ at note 38 and in the final phrase). Its Stollen carries two lyric verses, agreeing on every hold; the Abgesang carries one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor015.krn (BWV 277, Breitkopf/Riemenschneider No. 15), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRIST LAG IN TODESBANDEN (87.87.78.74) \u2014 four SATB voice streams, canonical key D dorian.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% J. S. Bach's harmonization BWV 277 (Breitkopf/Riemenschneider No. 15),\n%% converted from the craigsapp/bach-370-chorales kern edition (chor015.krn)\n%% with tools/kern2ly.py and verified note-for-note against the kern source in\n%% all four voices (ties, explicit naturals, the tenor sixteenth figures).\n%% D dorian (the kern's *k[] empty signature + *d:dor, as Breitkopf prints it),\n%% 4/4, quarter pickup. The kern encodes the Stollen once with a repeat\n%% (*>[A,A,B]); written out here A-A-B per the Greentree/jsbchorales expansion\n%% of the same Breitkopf text (music21 bwv277.mxl, compared machine-to-machine:\n%% soprano/tenor/bass identical event-for-event; alto differs only at bar 14\n%% beats 1.5-2.5 where Greentree reads d8 c#8 d8 for the kern's d4 c#8 \u2014 the\n%% kern reading is kept as the declared source). At the first Stollen ending\n%% the notated halves shorten to quarters to admit the repeat's pickup (as in\n%% the Greentree expansion); at the second ending the kern's halves stand\n%% (house style keeps the held cadence rather than Greentree's quarter+rest).\n%% The source prints fermatas at soprano ordinals 9, 19, 28, 38, 47, 56, 65,\n%% 70 (phrases 9+10+9+10+9+9+9+5, one per text line of 87.87.78.74); fermatas\n%% are omitted per house style. MELISMATIC: 70 soprano notes for 56 syllables;\n%% the melisma map follows Bach's own underlay in the texted BWV 4/8 chorale\n%% (music21 bwv4.8.mxl \u2014 pitch-identical to BWV 277 at all 70 soprano notes,\n%% durations differing at note 38 and in the final phrase; two lyric verses in\n%% the Stollen, one in the Abgesang): two-note slurs at soprano notes 3-4,\n%% 14-15, 22-23, 33-34, 39-40, 43-44, 52-53, 59-60, 63-64, 68-69 and\n%% three-note cadence slurs at 16-17-18 and 35-36-37. Bach's underlay also\n%% melismas notes 7-8 and 26-27, which Massie's 8-syllable lines 1/3 fill\n%% syllabically (per the Hymnary authority meter 8.7.8.7.7.8.7.4). The setting\n%% holds the continuations with '_' at soprano notes 4, 15, 17, 18, 23, 34,\n%% 36, 37, 40, 44, 53, 60, 64, 69 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\dorian \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'4 a'4 |\n  gis'4 a'8( b'8) c''4 d''4 |\n  c''4 b'4 a'4 a'4 |\n  f'4 g'4 a'4 g'8( f'8) |\n  e'8( d'8 e'4) d'2 |\n  d'8( e'8) f'4 g'4 d'8( e'8) |\n  f'4 g'4 a'4 a'4 |\n  d''4 cis''4 d''4 e''8( d''8) |\n  c''4 b'4 a'4 b'4 |\n  c''4 a'8( bes'8) c''4 g'4 |\n  f'4( e'4) d'2 |\n  a'4 g'4 f'4( e'4) |\n  d'1\n}\n\nalto = {\n  f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a4 f'4 |\n  f'8 e'4 gis'8 a'4 b'4~ |\n  b'8 a'4 gis'8 e'4 e'4~ |\n  e'8 d'8 cis'8 d'8 e'4. d'8 |\n  cis'8 d'4 cis'8 a2 |\n  a4 d'4 d'8 c'8 bes8 c'8 |\n  d'8 a8 d'8 c'8 c'4 f'8 g'8 |\n  a'8 bes'8~ bes'8 a'8 a'4 e'4~ |\n  e'8 f'4 e'8 e'4 f'4~ |\n  f'8 e'8 f'4 f'4 e'4~ |\n  e'8 d'4 cis'8 d'2 |\n  d'4. e'8 cis'8 d'4 cis'8 |\n  a1\n}\n\ntenor = {\n  d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f4 d'8 c'8 |\n  b4 c'8 d'8 e'4 f'8 e'8 |\n  e'8 f'4 e'16 d'16 cis'4 a4 |\n  a4 bes4 a4 a4 |\n  a8 f8 g8 e8 f2 |\n  f8 g8 a4 g8 a8 bes4 |\n  a8 f'8~ f'8 e'8 f'4 c'4 |\n  f4 g4 d'8 c'8 b4~ |\n  b8 a4 gis8 c'4 d'4 |\n  g8 c'8 c'4 c'8 d'8 e'8 d'8 |\n  cis'8 a8 bes8 a16 g16 f2 |\n  a8 c'8 bes4 a4 g4~ |\n  g4 fis8 e8 fis2\n}\n\nbass = {\n  d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d4 d4 |\n  d4 c8 b,8 a,8 a4 gis8 |\n  a8 f8 d8 e8 a,4 cis4 |\n  d8 f8 e8 d8 cis8 a,8 d4 |\n  a4 a,4 d2 |\n  d4. c8 bes,8 a,8 g,4 |\n  d8 c8 bes,8 c8 f,4 f8 e8 |\n  d4 e4 fis4 gis4 |\n  a8 f8 d8 e8 a,4 d4 |\n  c4 f,8 g,8 a,8 bes,8 c8 bes,8 |\n  a,8 f,8 g,8 a,8 bes,2 |\n  fis,4 g,4 a,2 |\n  d,1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}