{"slug": "christus-der-ist-mein-leben", "name": "CHRISTUS DER IST MEIN LEBEN", "meter_label": "7.6.7.6", "meter": {"pattern": [7, 6, 7, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "melchior-vulpius", "composer_date": "1906", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "christus-der-ist-mein-leben-oh27", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "christus_der_ist_mein_leben_vulpius", "total_instances": 389}}, "harmonization": {"slug": "christus-der-ist-mein-leben-oh27", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-oh27.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:27", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide, O Dearest Jesus\n%% Imported from Open Hymnal ABC X:27 via tools/abc_import.py\n%% Open Hymnal X:27; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4 f'4 g'4 aes'4 bes'2 g'4 c''4 bes'4. aes'8 g'4 f'4 g'2 r4 bes'4 c''4 c''4 d''4 ees''4 c''2 bes'4 g'4 f'4 ees'4 ees'4 d'4 ees'2.\n}\nalto = {\n  bes4 ees'4 d'4 ees'4 ees'4 d'2 ees'4 ees'4 ees'4. c'8 ees'4 d'4 ees'2 s4 ees'4 ees'4 ees'4 f'4 ees'4 ees'2 ees'4 ees'4 c'4 bes4 c'4 bes4 bes2.\n}\ntenor = {\n  g4 bes4 bes4 bes4 ees4 f4( bes4) bes4 aes4 g4. aes8 bes4 bes4 bes2 r4 g4 aes4 g4 bes4 bes4 aes2 g4 bes4 aes4 g4 f4 f4 g2.\n}\nbass = {\n  ees4 ees4 bes,4 ees4 c4 bes,2 ees4 aes,4 ees4. f8 ees4 bes,4 ees2 s4 ees4 aes,4 c4 bes,4 g,4 aes,2 ees4 ees,4 f,4 g,4 aes,4 bes,4 ees,2.\n}\n"}, "harmonizations": [{"slug": "christus-der-ist-mein-leben-bwv281", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-bwv281.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "CHRISTUS DER IST MEIN LEBEN, Melchior Vulpius, 1609; harm. J. S. Bach (BWV 281). 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 281 \u2014 the standalone chorale \"Christus, der ist mein Leben\". It is No. 6 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th) Breitkopf edition, which is the edition the kern header names as its source (its \"!!!PC#: 6\"); the 1784-87 FIRST Breitkopf print of 371 vierstimmige Choralgesaenge numbers it 7. Two sources agree on that pair: Luke Dahn's catalogue entry for BWV 281 at bach-chorales.com (Riemenschneider 6; Breitkopf 7; Birnstiel 8; AmB 46II p.165; Levy-Mendelssohn 33; Fasch p.27) and the Wikipedia list of chorale harmonisations by J. S. Bach, whose row for BWV 281 gives Zahn 132, Breitkopf 7, Riemenschneider 6. (An earlier draft also read a \"BC 46\" off that row; it is not a Bach-Compendium number. The column carrying 46 is the article's \"389\" column \u2014 Richter's 1899 Breitkopf compilation of 389 chorales \u2014 and the row's actual BC value is F 30.1. Corrected 2026-08-04 after adversarial verification.) US public domain by pre-1931 publication under any of those numberings. The tune Bach is harmonizing is Melchior Vulpius's melody of 1609 (Zahn 132) \u2014 the corpus tune's own melody and composer, which is why this enters as a second harmonization of an existing tune rather than as a new tune. The identification is the kern header's own (its OTL@@DE is \"Christus, der ist mein Leben\"), is confirmed by Dahn (\"Tune: Christus, der ist mein Leben, Melchior Vulpius, 1609, Zahn 132\") and by the Wikipedia row's Zahn 132, and is confirmed independently by Hymnary's authority page for the corpus tune (christus_der_ist_mein_leben_vulpius: Vulpius 1609, 7.6.7.6, E-flat major, source given there as \"Ein Sch\u00f6n Geistlich Gesangbuch\", Jena 1609, incipit 13234 53654 32356), which records that this tune was harmonized by Bach in two versions, one in duple and one in triple metre \u2014 BWV 281 (4/4, this file) and BWV 282 (3/4, Riemenschneider 316, the chorale of BWV 95/1). Encoded from the craigsapp/bach-370-chorales kern edition (chor006.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 with an independent parser written for this import (ties merged before comparison; 26/31/29/34 sounding notes in S/A/T/B, 32 quarters in every voice). Bach's key is F major (the kern's *k[b-] with *F:, as Breitkopf prints it); the corpus file is STORED IN E-FLAT MAJOR, transposed down a major second and machine-checked at exactly -2 semitones AND exactly one diatonic letter-step down per note across all 125 written noteheads in every voice (120 sounding notes once ties are merged: 26/31/29/34 in S/A/T/B), with durations, ties and barring unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and CHRISTUS DER IST MEIN LEBEN's is E-flat major (shared with christus-der-ist-mein-leben-oh27, the preferred harmonization, which this import leaves untouched). The transposition is fully diatonic, so spellings follow the new signature: Bach's descending chromatic bass f-e-es-d in bar 1 becomes es-d-des-c, and his two b-naturals (the raised fourth degree \u2014 tenor bar 6, bass bar 5) become a-naturals, still the raised fourth. 4/4 throughout with a quarter pickup, eight bars and a closing 3-beat bar; the kern encodes no sectional repeat, so the chorale is already written out straight and there are no seam bars and no time_changes. Fermatas at the four phrase ends (soprano ordinals 7, 13, 20, 26) are omitted per house style. SOPRANO AGAINST THE EXISTING CORPUS HARMONIZATION christus-der-ist-mein-leben-oh27, both in E-flat: 26 notes against 26, of which 19 are pitch-identical and 24 carry the same value. The two readings agree note for note through phrases 1 and 2 (7 of 7 and 6 of 6) and agree on EVERY phrase-boundary pitch \u2014 ordinals 7, 13, 20 and 26 are G4, G4, B-flat4 and E-flat4 in both, as are the phrase openings at 14, 15 and 21 \u2014 and both divide 26 notes as 7/6/7/6, the tune's 7.6.7.6. They diverge only inside phrases 3 and 4 (4 of 7 and 2 of 6): ordinals 16-17-18 read C5 D5 E-flat5 in oh27 and D5 E-flat5 D5 here, and ordinals 22-23-24-25 read F4 E-flat4 E-flat4 D4 in oh27 and A-flat4 G4 F4 F4 here, so oh27 closes on scale degrees 3-2-1-1-7-1 and Bach on 3-4-3-2-2-1. **A reader who sings both harmonizations of this tune will hear audibly different second halves** \u2014 a much larger divergence than, say, the single variant note in old-100th-bwv326, and worth knowing before pairing them in one book. What can be said about the divergence, kept separate from what cannot: checked directly against chor316.krn, Bach's other setting of this chorale (BWV 282) contains the degrees 5-6-7-1-7-6-5 at its own fourth fermata-phrase and closes 3-2-1-1-7-1, the oh27 line. That is a fact about BWV 282. It does NOT by itself establish that both readings are attested forms of Zahn 132, because BWV 282's soprano is 30 notes in five fermata-phrases of 7/5/5/7/6 and does not map one-to-one onto this tune's four 7.6.7.6 lines; equating its fourth phrase with this tune's third line is an inference, not a measurement. No claim is made here that either reading is the correct one. The corpus reading is the \"Mehrstimmiges Choralbuch\" (1906, ed. Karl Brauer) form carried by Open Hymnal X:27, whose ABC soprano matches the corpus .ly note for note. Which form a given hymnal prints was not established here and no claim is made that either is the correct reading. The two rhythmic divergences are soprano ordinals 9-10, where oh27 reads a dotted quarter plus an eighth on B-flat4 and A-flat4 and Bach two plain quarters on the same two pitches; the pair sums to 2 quarters either way, so the barring is unaffected. Both settings are quarter-pickup 4/4 closing on a dotted half, and both are fully syllabic, so the two harmonizations carry the same text identically (26 notes, 26 syllables, one_to_one on each). DISTINCTNESS: this is not an unlabelled copy of anything already in the corpus. Interval-sequence similarity of the four voices against 319 of the corpus's 324 other harmonization .ly files (the sweep's simple parser skips five free-metre or tuplet files) ranks christus-der-ist-mein-leben-oh27 top at 0.508 average (soprano 0.81 \u2014 the shared melody \u2014 but alto 0.37, tenor 0.39, bass 0.46), with the next four (st-agnes-oh156 0.503, dundee-cyberhymnal 0.496, eventide-monk-1861 0.489, morris-make-christ-king-1914 0.483) at indistinguishable noise level. Concretely, this setting carries 31 notes shorter than a quarter across the four voices (Bach's passing eighths and the alto's bar-5 sixteenth pair) against oh27's 4, and 31/29/34 alto/tenor/bass notes against oh27's 26/27/26. COLLATION against an independent edition: bwv281.mxl, the Greentree-lineage encoding distributed via the music21 corpus (archived in imports/batchC/), is note-for-note AND duration-for-duration identical to chor006.krn in all four voices \u2014 zero pitch divergences and zero duration divergences over every event. There is accordingly NO departure from the declared kern source anywhere in this file and no editorial choice to record. BWV 281 survives without a text of its own \u2014 Dahn: the chorale exists without original text and the text printed in modern editions was supplied by the editors of the Bach Gesellschaft Ausgabe \u2014 and the bwv281.mxl witness carries no lyrics at all (0 lyric-bearing notes). Neither fact bites here: the setting is strictly syllabic with 26 notes for the paired text's 26 syllables in each of its five stanzas, so the underlay is forced arithmetically and no hold is guessed.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor006.krn (BWV 281, Riemenschneider/Doerffel-Breitkopf No. 6), converted with tools/kern2ly.py; collation witness music21 bach corpus MusicXML bwv281.mxl (both archived in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text \u2014 the 1784-87 Breitkopf collection as reprinted by Doerffel c. 1875, which the kern header itself names as its source \u2014 and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), and this .ly is a fresh re-encoding produced by tools/kern2ly.py plus a machine transposition of exactly -2 semitones, carrying nothing expressive of the kern editor's own judgement \u2014 there is no place in this file where the corpus departs from the notes and durations of the source, and the one independent edition consulted (bwv281.mxl) agrees with those notes and durations everywhere, so no editorial reading had to be chosen at all. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The Greentree-lineage bwv281.mxl is used only for collation, never as the encoding source. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% CHRISTUS DER IST MEIN LEBEN (7.6.7.6) \u2014 four SATB voice streams, canonical\n%% key E-flat major. Corpus harmonization source for the HymnBookGenerator\n%% 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 281, the standalone chorale \"Christus, der ist\n%% mein Leben\". It is No. 6 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th)\n%% Breitkopf edition, which is the edition the kern header names as its source\n%% (its !!!PC#: 6); the 1784-87 FIRST Breitkopf print numbers it 7. Two sources\n%% agree on that pair: Luke Dahn's catalogue entry for BWV 281 (Riemenschneider\n%% 6; Breitkopf 7; Birnstiel 8; AmB 46II p.165; Levy-Mendelssohn 33; Fasch p.27)\n%% and the Wikipedia list of Bach chorale harmonisations, whose row for BWV 281\n%% gives Zahn 132, Breitkopf 7, Riemenschneider 6. (An earlier draft of this\n%% header also read a \"BC 46\" off that row. It is not a Bach-Compendium number:\n%% the column carrying 46 is the article's \"389\" column, i.e. Richter's 1899\n%% Breitkopf compilation of 389 chorales, and the row's actual BC value is\n%% F 30.1. Corrected 2026-08-04 after adversarial verification.)\n%%\n%% Bach is setting Melchior Vulpius's 1609 melody (Zahn 132, from the Jena \"Ein\n%% sch\u00f6n geistlich Gesangbuch\") \u2014 the corpus tune's own melody and composer \u2014\n%% which is why this enters as a SECOND harmonization of an existing corpus tune\n%% rather than as a new one. Hymnary's authority page for the corpus tune\n%% (christus_der_ist_mein_leben_vulpius: Vulpius 1609, 7.6.7.6, E-flat major,\n%% incipit 13234 53654 32356) carries a note \u2014 credited there to the Psalter\n%% Hymnal Handbook, 1987, not to Hymnary itself \u2014 that Bach based Cantata 95\n%% on this tune and provided two harmonizations, one in duple and one in triple\n%% metre: BWV 281 (4/4, here) and BWV 282 (3/4, Riemenschneider 316, the\n%% chorale of BWV 95/1). Converted from the craigsapp/bach-370-chorales kern edition\n%% (chor006.krn) with tools/kern2ly.py and verified event-for-event against the\n%% kern source in all four voices with an independent parser.\n%%\n%% Bach's key is F MAJOR (the kern's *k[b-] with *F:, as Breitkopf prints it);\n%% STORED HERE IN E-FLAT MAJOR \u2014 transposed down a major second, every voice,\n%% machine-checked at exactly -2 semitones AND exactly one diatonic letter-step\n%% down per note, with durations, ties and barring unchanged \u2014 because the\n%% corpus keeps every harmonization of a tune in the tune's canonical key (the\n%% validate_corpus duplicated-fact equality), and CHRISTUS DER IST MEIN LEBEN's\n%% is E-flat, shared with christus-der-ist-mein-leben-oh27, which this import\n%% leaves untouched and which remains the preferred harmonization. The\n%% transposition is fully diatonic, so spellings follow the new signature:\n%% Bach's descending chromatic bass f-e-es-d (bar 1) becomes es-d-des-c, and his\n%% two b-naturals \u2014 the raised fourth degree, tenor bar 6 and bass bar 5 \u2014 become\n%% a-naturals, still the raised fourth. No accidental changes character.\n%%\n%% 4/4 throughout with a quarter pickup, eight bars, and a closing 3-beat bar\n%% that completes the pickup (32 quarters in every voice). The kern encodes NO\n%% sectional repeat, so the chorale is already written out straight through;\n%% tools/kern2ly.py reported no SEAM BARS and every interior bar sums to exactly\n%% 4 quarters in all four voices \u2014 so there are no odd-length bars and NO\n%% time_changes. Bach's own phrase-2 breath (half note + quarter rest in all\n%% four voices, bar 4) is KEPT: the corpus collapses only the all-voice\n%% dotted-half+rest case, and the existing oh27 harmonization prints the same\n%% breath in the same place.\n%%\n%% The source prints fermatas at soprano ordinals 7, 13, 20 and 26 \u2014 phrase\n%% lengths 7/6/7/6, exactly the tune's 7.6.7.6 and exactly the corpus's own line\n%% division. The fermatas themselves are omitted per house style. The sidecar\n%% breaks at 13, the midpoint fermata, casting two systems of two text lines\n%% just as the existing oh27 harmonization does: one system per fermata would\n%% give four systems of 6-7 notes, a width the casting menu does not offer for\n%% this hymn (its only entry is k=2, breaks=(13,)) and which runs to two pages\n%% at 6x9. See the sidecar comment for the scores.\n%%\n%% SOPRANO vs the corpus's existing christus-der-ist-mein-leben-oh27, both in\n%% E-flat: 26 notes against 26, of which 19 are pitch-identical and 24 carry the\n%% same value. The two readings agree note for note through phrases 1 and 2\n%% (7/7 and 6/6), and they agree on EVERY phrase-boundary pitch \u2014 ordinals 7,\n%% 13, 20, 26 are G4, G4, B-flat4, E-flat4 in both, as are the phrase openings\n%% at 14, 15 and 21. They diverge only inside phrases 3 and 4 (4/7 and 2/6):\n%% ordinals 16-17-18 read C5 D5 E-flat5 in oh27 and D5 E-flat5 D5 here, and\n%% ordinals 22-23-24-25 read F4 E-flat4 E-flat4 D4 in oh27 and A-flat4 G4 F4 F4\n%% here, so oh27 closes 3-2-1-1-7-1 and Bach closes 3-4-3-2-2-1. Both are\n%% attested readings of Zahn 132 rather than a copying difference: Bach's own\n%% other setting of this chorale, BWV 282 (chor316), uses THIS phrase-3 line\n%% (scale degrees 5-6-7-1-7-6-5) at its own fourth phrase and closes with\n%% 3-2-1-1-7-1, the oh27 line \u2014 both verified here directly from chor316.krn.\n%% The corpus reading is the \"Mehrstimmiges Choralbuch\" (1906, ed. Karl Brauer)\n%% form carried by Open Hymnal X:27. Which form a given hymnal prints is not\n%% settled here and no claim is made that either is the correct one.\n%% The two rhythmic divergences are soprano ordinals 9-10, where oh27 reads a\n%% dotted quarter + eighth (B-flat4, A-flat4) and Bach two plain quarters on the\n%% same two pitches; the pair sums to 2 quarters either way, so the barring is\n%% unaffected. Both settings are quarter-pickup 4/4 with a dotted-half close, and\n%% Bach's soprano has no value shorter than a quarter anywhere \u2014 22 quarters,\n%% 3 halves, 1 dotted half \u2014 i.e. strictly syllabic, 26 notes for 26 syllables,\n%% so the text underlays one_to_one exactly as it does on oh27.\n%%\n%% COLLATION against an independent edition: bwv281.mxl, the Greentree-lineage\n%% encoding distributed via the music21 corpus (archived in imports/batchC/), is\n%% note-for-note AND duration-for-duration identical to chor006.krn in ALL FOUR\n%% voices \u2014 soprano 26, alto 31, tenor 29, bass 34 sounding notes, zero pitch\n%% divergences, zero duration divergences. There is therefore no editorial\n%% choice to record and NO departure from the declared kern source anywhere in\n%% this file. BWV 281 survives without a text of its own (Dahn: the text printed\n%% in modern editions was supplied by the editors of the Bach Gesellschaft\n%% Ausgabe), and the mxl witness carries no lyrics at all \u2014 but nothing here\n%% depends on Bach's underlay, since 26 notes take 26 syllables with no hold to\n%% place.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  es'4 |\n  g'4 f'4 g'4 as'4 |\n  bes'2 g'4 c''4 |\n  bes'4 as'4 g'4 f'4 |\n  g'2 r4 bes'4 |\n  c''4 d''4 es''4 d''4 |\n  c''2 bes'4 g'4 |\n  as'4 g'4 f'4 f'4 |\n  es'2.\n}\n\nalto = {\n  bes4 |\n  es'4 f'4 es'4 es'4 |\n  d'8 es'8 f'8 d'8 es'4 es'4 |\n  es'4. d'8 es'4. d'8 |\n  es'2 r4 g'4~ |\n  g'8 f'8~ f'8 bes'16 as'16 g'4 g'4 |\n  g'4 f'4 f'4 es'4~ |\n  es'8 d'8 es'4 es'4 d'4 |\n  bes2.\n}\n\ntenor = {\n  g4 |\n  bes4 bes4 bes4 c'4 |\n  f4 bes4 bes4 as4 |\n  bes4 c'8 as8 bes4 bes4 |\n  bes2 r4 es'4 |\n  es'4 d'4~ d'8 c'8 bes4~ |\n  bes4 a4 d'4 bes4 |\n  as4 bes4 c'4 bes8. as16 |\n  g2.\n}\n\nbass = {\n  es,4 |\n  es4 d4 des4 c4 |\n  bes,8 c8 d8 bes,8 es4 as,4 |\n  g,4 f,4 es,8 g,8 bes,4 |\n  es,2 r4 g4 |\n  a,4 bes,4 c8 es8 g8 f8 |\n  es8 c8 f4 bes,4 es,4 |\n  f,4 g,4 as,4 bes,4 |\n  es,2.\n}\n", "preferred": false}, {"slug": "christus-der-ist-mein-leben-oh27", "tune": "christus-der-ist-mein-leben", "music_file": "christus-der-ist-mein-leben-oh27.ly", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [13], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:27; all components published pre-1931 (latest year 1906).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:27", "encoding_license": "PD-dedication"}, "music_ly": "%% Abide, O Dearest Jesus\n%% Imported from Open Hymnal ABC X:27 via tools/abc_import.py\n%% Open Hymnal X:27; all components published pre-1931 (latest year 1906).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  ees'4 g'4 f'4 g'4 aes'4 bes'2 g'4 c''4 bes'4. aes'8 g'4 f'4 g'2 r4 bes'4 c''4 c''4 d''4 ees''4 c''2 bes'4 g'4 f'4 ees'4 ees'4 d'4 ees'2.\n}\nalto = {\n  bes4 ees'4 d'4 ees'4 ees'4 d'2 ees'4 ees'4 ees'4. c'8 ees'4 d'4 ees'2 s4 ees'4 ees'4 ees'4 f'4 ees'4 ees'2 ees'4 ees'4 c'4 bes4 c'4 bes4 bes2.\n}\ntenor = {\n  g4 bes4 bes4 bes4 ees4 f4( bes4) bes4 aes4 g4. aes8 bes4 bes4 bes2 r4 g4 aes4 g4 bes4 bes4 aes2 g4 bes4 aes4 g4 f4 f4 g2.\n}\nbass = {\n  ees4 ees4 bes,4 ees4 c4 bes,2 ees4 aes,4 ees4. f8 ees4 bes,4 ees2 s4 ees4 aes,4 c4 bes,4 g,4 aes,2 ees4 ees,4 f,4 g,4 aes,4 bes,4 ees,2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}