{"slug": "detroit", "name": "DETROIT", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-bradshaw", "composer_date": "1820", "canonical_key": {"tonic": "e", "mode": "minor"}, "preferred_harmonization": "detroit-pbht1907", "provenance": {"layer": "tune", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "DETROIT (C.M.), American folk hymn tune credited to William Bradshaw, first published in A Supplement to the Kentucky Harmony (Harrisonburg, 1820); Hymnary.org tune authority detroit_kentuckyharmony (Public Domain, 87 instances, 9 of them pre-1931 incl. The Southern Harmony and the Primitive Baptist Hymn and Tune Book, 1907, whose printing Nos. 328-330 is the source of this import). The authority records the tune a whole step lower (d minor); the 1907 plate prints E minor and the corpus carries plate pitch. Sung at #doreancon 2026 (Psalm 82, in D minor).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "detroit_kentuckyharmony", "total_instances": 87}}, "harmonization": {"slug": "detroit-pbht1907", "tune": "detroit", "music_file": "detroit-pbht1907.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in the Primitive Baptist Hymn and Tune Book, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in the Primitive Baptist Hymn and Tune Book (1907), No. 328 (7-shape Aikin notation; treble staff soprano+alto, bass staff tenor+bass; melody in the soprano, matching the Hymnary authority incipit 134534317113457 note-for-note, ordinals 1-15). Transcribed at plate pitch (E minor, one sharp) from the archive.org scan, every notehead read from 5-8x grid-overlaid crops with shape-vs-position agreement checked per note; adversarially re-read by an independent verifier 2026-08-12: 121 of 121 printed notes match in pitch and duration, the plate's phrase-cadence half-bars merge into continuous 4/4 (all printed barlines land on note boundaries, each voice sums to 36 beats). Two documented editorial acts (see the .ly header): the plate's never-engraved final treble chord is supplied as the unison e' every parallel cadence uses, and the plate's third bass-staff head at 'Be-hold' (an e' octave doubling of the S/A unison) is deliberately not carried as a fifth voice. Publication 1907 \u2014 pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org primitive-baptist-hymn-and-tune-book, leaf 203, plate transcription session 2026-08-12"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820); four-voice setting as printed in the Primitive Baptist Hymn\n%% and Tune Book, 1907, No. 328 (7-shape Aikin plate), transcribed at plate\n%% pitch from a 300dpi scan (archive.org primitive-baptist-hymn-and-tune-book,\n%% leaf 203), session 2026-08-12. The plate's phrase-cadence half-bars merge\n%% into continuous 4/4 (all barlines land on note boundaries). EDITORIAL: the\n%% plate's final treble chord was never engraved (empty last bar on the system-2\n%% treble staff; tenor+bass finals ARE printed) \u2014 soprano+alto close on the\n%% unison e' that every other phrase-final and the opening chord use.\n%% DELIBERATE DROP: at the phrase-2 opening ('Be-hold') the plate prints a\n%% THIRD bass-staff head, e'2 above the tenor b2 \u2014 an octave doubling of the\n%% simultaneous soprano+alto unison e'; the four-voice schema carries it as\n%% that unison, no pitch content lost. A short printed arc joining the\n%% unison e' ('ri-') to the soprano e' ('-val') is a unison-divergence mark,\n%% not a tie, and is likewise not encoded.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''2 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 e'4 e'2\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'2 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 d'4 e'2\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 b2 d'4 e'4 b4 a4 b2 g4.( a8) b4 b8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b2\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 e2 g4 e4 b4 a8( g8) e2 g4.( fis8) e4 e4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e2\n}\n"}, "harmonizations": [{"slug": "detroit-modern", "tune": "detroit", "music_file": "detroit-modern.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting after the Primitive Baptist Hymn and Tune Book, 1907, rhythm as received in modern use. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "EDITORIAL ADAPTATION (owner-approved 2026-08-13), not a printing transcription: the corpus's two public-domain DETROIT harmonizations recast into the received modern rhythm \u2014 32 beats, a quarter anacrusis opening each of the four phrases, dotted-half couplet finals, couplet-internal phrase finals reduced to quarters (the form sung at #doreancon 2026 and in modern hymnals). No pre-1931 printing of this rhythmic profile has been located: all 9 pre-1931 hymnals among the Hymnary authority's 87 instances were swept 2026-08-13 (nearest ancestor TBH-1901 \"Detroy\", see detroit-tbh1901), and the tune's first-publication plate (A Supplement to the Kentucky Harmony, 3rd ed. 1825, p. 85, Univ. of Kentucky scan) prints the long \u0186-time form. The adaptation rests on the judgment that releveling the rhythm of a public-domain tune adds no protectable originality; the rhythmic profile was derived from the conference's own MusicXML (gitlab.com/svrbc/doreancon.org, Psalm 82), whose four voices align event-for-event with the corpus PD sources (33/30/30/30 events). EVERY PITCH is from a pre-1931 printing already verified in this corpus: 102 of 123 from PBHT-1907 (detroit-pbht1907, refuter-verified plate transcription), 10 from SH-1854 (detroit-sh1854, likewise verified) at exactly the places the received form preserves the older reading that PBHT-1907 revised (soprano penultimate d' \u2014 also the 1825 plate's reading \u2014 with the matching alto-penult e'; the tenor/bass phrase-2 pickups e'/b and the phrase-3 opening figures tenor fis-e-e, bass a-b-b). Eleven notes the conference file sings with no located pre-1931 attestation (its bass line under phrase 1, alto ordinals 11-13 and 18, tenor ordinal 2) keep the PBHT-1907 reading instead, so no unattested pitch entered the corpus. Melisma slur pairs follow the source prints where the figures survive the recast; the three pairs the recast creates (tenor fis8-e8, bass a8-b8, and alto fis'8-g'8, whose eighth-pair rhythm the recast moves one ordinal later than the sources' e'8-fis'8 pair) are slurred per the corpus inner-voice melisma idiom. Derivation and delta ledger machine-checked against both source .ly files and the MusicXML (per-event zip; totals 32 beats in all four voices). EMENDED 2026-08-19 at the conference's direction (their post-publication review): the phrase-3 opening (engraved bar 5) had the bass line (a-b-b, from SH-1854) crossing ABOVE the tenor (fis-e-e-fis, ditto); the ruling for this tune is bass-takes-the-lower-line, so the two lines exchange voices \u2014 the tenor now sings a8-b8-b4 and the bass fis8-e8-e8-fis8, every pitch still the SH-1854 reading, slurs travelling with their lines (tenor a8-b8 and bass fis8-e8 are the recast-created melisma pairs named above, exchanged with the rest; tenor event count 30 to 29, bass 30 to 31, totals still 32 beats in all four voices).", "pd_jurisdictions": {"US": true}, "encoding_origin": "editorial recast of detroit-pbht1907 + detroit-sh1854 onto the received modern rhythm profile (conference MusicXML-derived), session 2026-08-13"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820) \u2014 EDITORIAL ADAPTATION to the received modern rhythm\n%% (2026-08-13, owner-approved): the corpus's two public-domain harmonizations\n%% recast into the 32-beat every-phrase-anacrusis form modern congregations\n%% sing (quarter pickup opening each phrase, dotted-half couplet finals,\n%% couplet-internal phrase finals reduced to quarters). NO pre-1931 printing\n%% of this rhythmic profile has been located (Hymnary authority's 87 instances\n%% + the 1825 Supplement plate all checked); the profile itself is carried on\n%% the judgment that releveling a public-domain tune adds no protectable\n%% originality. EVERY PITCH is from a pre-1931 printing already in the corpus:\n%% PBHT-1907 (detroit-pbht1907) throughout, except ten notes where the\n%% received form preserves the older SH-1854 reading (detroit-sh1854) that\n%% PBHT revised \u2014 soprano penult d' (also the 1825 plate's reading), alto\n%% penult e', tenor ev9/16/17/18 (e' pickup; fis-e-e at \"the P3 opening\"),\n%% bass ev9/17/18/19 (b pickup; a-b-b). Eleven notes the conference sings\n%% with no located pre-1931 attestation keep PBHT's reading instead (bass\n%% phrase-1 line, alto ev11-13+18, tenor ev2); the derivation ledger is in\n%% the sidecar pd_evidence.\n%% EMENDED 2026-08-19 at the conference's direction (post-publication\n%% review): in engraved bar 5 the received form's phrase-3 opening had\n%% the bass (a-b-b) singing ABOVE the tenor (fis-e-e-fis); for this tune\n%% the bass always takes the lower line and the tenor the upper, so the\n%% two lines exchange voices \u2014 bass fis8( e8) e8( fis8), tenor a8( b8)\n%% b4 \u2014 pitches, rhythms and slurs travelling intact with their lines.\n%% Public domain (see sidecar).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  e'4 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'4 e'4 g'4 a'4 b'4 d''4 e''2. b'4 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''4 b'4 a'4. g'8 e'4 d'4 e'2.\n}\nalto = {\n  e'4 e'4 d'4 e'4. e'8 d'4 d'4 e'4 e'4 d'4 e'4 fis'8( g'8) d'4 e'2. e'4 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'4 g'4 e'4. d'8 e'4 e'4 e'2.\n}\ntenor = {\n  b4 d'4 c'4 b4. e'8 d'4 d'4 e'4 e'4 d'4 e'4 b4 a4 b2. g4 a8( b8) b4 g4. a8 b4 e'4 d'4 d'4 e'4. d'8 b4 b4 b2.\n}\nbass = {\n  e4 d4 e4 b,4. a,8 b,4 d4 e4 b4 g4 e4 b4 a8( g8) e2. g4 fis8( e8) e8( fis8) e4. fis8 g4 e4 d4 g4 e4. d8 b,4 b,4 e2.\n}\n", "preferred": false}, {"slug": "detroit-pbht1907", "tune": "detroit", "music_file": "detroit-pbht1907.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in the Primitive Baptist Hymn and Tune Book, 1907. Public domain.", "provenance": {"layer": "harmonization", "source": "pbht-1907", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in the Primitive Baptist Hymn and Tune Book (1907), No. 328 (7-shape Aikin notation; treble staff soprano+alto, bass staff tenor+bass; melody in the soprano, matching the Hymnary authority incipit 134534317113457 note-for-note, ordinals 1-15). Transcribed at plate pitch (E minor, one sharp) from the archive.org scan, every notehead read from 5-8x grid-overlaid crops with shape-vs-position agreement checked per note; adversarially re-read by an independent verifier 2026-08-12: 121 of 121 printed notes match in pitch and duration, the plate's phrase-cadence half-bars merge into continuous 4/4 (all printed barlines land on note boundaries, each voice sums to 36 beats). Two documented editorial acts (see the .ly header): the plate's never-engraved final treble chord is supplied as the unison e' every parallel cadence uses, and the plate's third bass-staff head at 'Be-hold' (an e' octave doubling of the S/A unison) is deliberately not carried as a fifth voice. Publication 1907 \u2014 pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org primitive-baptist-hymn-and-tune-book, leaf 203, plate transcription session 2026-08-12"}, "music_ly": "%% DETROIT (C.M.), tune credited Wm. Bradshaw (A Supplement to the Kentucky\n%% Harmony, 1820); four-voice setting as printed in the Primitive Baptist Hymn\n%% and Tune Book, 1907, No. 328 (7-shape Aikin plate), transcribed at plate\n%% pitch from a 300dpi scan (archive.org primitive-baptist-hymn-and-tune-book,\n%% leaf 203), session 2026-08-12. The plate's phrase-cadence half-bars merge\n%% into continuous 4/4 (all barlines land on note boundaries). EDITORIAL: the\n%% plate's final treble chord was never engraved (empty last bar on the system-2\n%% treble staff; tenor+bass finals ARE printed) \u2014 soprano+alto close on the\n%% unison e' that every other phrase-final and the opening chord use.\n%% DELIBERATE DROP: at the phrase-2 opening ('Be-hold') the plate prints a\n%% THIRD bass-staff head, e'2 above the tenor b2 \u2014 an octave doubling of the\n%% simultaneous soprano+alto unison e'; the four-voice schema carries it as\n%% that unison, no pitch content lost. A short printed arc joining the\n%% unison e' ('ri-') to the soprano e' ('-val') is a unison-divergence mark,\n%% not a tie, and is likewise not encoded.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''2 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 e'4 e'2\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'2 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 d'4 e'2\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 b2 d'4 e'4 b4 a4 b2 g4.( a8) b4 b8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b2\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 e2 g4 e4 b4 a8( g8) e2 g4.( fis8) e4 e4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e2\n}\n", "preferred": true}, {"slug": "detroit-sh1854", "tune": "detroit", "music_file": "detroit-sh1854.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT, from A Supplement to the Kentucky Harmony, 1820; setting as printed in The Southern Harmony, 1854 (after the Baptist Harmony). Public domain.", "provenance": {"layer": "harmonization", "source": "southern-harmony-1854", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice dispersed-harmony setting of DETROIT as printed in The Southern Harmony, and Musical Companion (William Walker), 1854 printing, page 40, headed \"Bradshaw. Baptist Harmony, p. 139\" \u2014 the early shape-note tradition of the tune, with the mood-of-time sign \u0186 (2/2) and STEMLESS WHOLE-NOTE couplet finals at \"ear\" and \"hear\" where the 1907 Primitive Baptist book levels them to halves. Transcribed at plate pitch (E minor, one sharp, 4-shape notation) from the archive.org scan (imslp-southern-harmony-walker-william, leaf 77), each of the 123 noteheads read at 5-8x against fitted pitch grids, and adversarially re-derived by an independent verifier with its own staff-line fits, barline probe, and head reader: ZERO corrections; all ten printed 4-beat bars, both whole-note finals, both printed slur arcs, and the five voice-level differences from the 1907 reading (tenor/alto \"to\" E-D swap; treble \"Be\" e'; bass \"To\" b; bass \"Doth\" g-a slur; bass \"not/each\" b-b) individually confirmed with pixel evidence. Corpus voice mapping = the reduction the 1907 book itself applied to this harmony: soprano takes the printed TENOR (the melody, at pitch), tenor takes the printed TREBLE down an octave, alto and bass as printed. The melody matches the Hymnary authority incipit 134534317113457 exactly (verified 15/15). Publication 1854 (first edition of the tune's Southern Harmony printing 1835) \u2014 pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org imslp-southern-harmony-walker-william leaf 77, plate transcription + adversarial verification session 2026-08-13"}, "music_ly": "%% DETROIT, C. M. -- \"Bradshaw. Baptist Harmony, p. 139\" -- The Southern Harmony,\n%% and Musical Companion (William Walker), 1854 printing, page 40 (top tune).\n%% Transcribed 2026-08-13 at plate pitch from archive.org\n%% imslp-southern-harmony-walker-william leaf 77 (sh1854-0077.jpg); every notehead\n%% eye-read at 5-8x against fitted pitch grids and independently refuter-verified\n%% (0 corrections; barlines, stems, beams, dots and both printed arcs re-derived).\n%% THE EARLY SHAPE-NOTE TRADITION: mood-of-time sign \u0186 (2/2, minim beat), here in\n%% 4/4-equivalent quarters (printed half = 2); ten printed 4-beat bars; STEMLESS\n%% WHOLE-NOTE couplet finals at \"ear\" and \"hear\" (phrases 2 and 4), stemmed-half\n%% phrase openings and mid-couplet cadences (\"still,\" / \"bound,\" -- \"bound,|My\"\n%% share a bar). The plate's four staves are dispersed harmony: treble / alto\n%% (the revised-edition added part) / TENOR = melody / bass. CORPUS MAPPING (the\n%% same reduction the Primitive Baptist Hymn and Tune Book, 1907, applied to this\n%% harmony): soprano = printed tenor at pitch; alto = printed alto; tenor =\n%% printed treble DOWN AN OCTAVE; bass = printed bass. The plate's second-strain\n%% repeat dots (all four staves, after bar 5) are not encoded -- verses carry the\n%% repetition. Two arcs are PRINTED on the plate (tenor-here \"And\" g4. fis8,\n%% bass \"Doth\" g4. a8); all other slur marks are the corpus melisma convention\n%% for the plate's beamed eighth-pairs.\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 }\n\nsoprano = {\n  e'2 g'4 a'4 b'4. g'8 a'8( g'8) e'8( d'8) e'2 e'2 g'4 a'4 b'4 d''4 e''1 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 d'4 e'1\n}\nalto = {\n  e'2 e'4 d'4 e'4. e'8 d'4 d'4 e'2 e'2 d'4 e'8( fis'8) g'4 d'4 e'1 e'2 e'4 d'4 e'4. d'8 g'8( fis'8) e'4 d'2 g'2 e'4. d'8 e'4 e'4 e'1\n}\ntenor = {\n  b2 d'4 c'4 b4. e'8 d'4 d'4 e'2 e'2 d'4 e'4 b4 a4 b1 g4.( fis8) e4 e8( fis8) g4. a8 b4 e'4 d'2 d'2 e'4. d'8 b4 b4 b1\n}\nbass = {\n  e2 d4 e4 b,4. a,8 b,4 d4 e2 b2 g4 e4 b4 a8( g8) e1 g4.( a8) b4 b4 e4. fis8 g4 e4 d2 g2 e4. d8 b,4 b,4 e1\n}\n", "preferred": false}, {"slug": "detroit-tbh1901", "tune": "detroit", "music_file": "detroit-tbh1901.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "e", "mode": "minor"}, "time": "4/4", "pickup": "4", "time_changes": [{"soprano_note": 2, "time": "2/4"}, {"soprano_note": 4, "time": "4/4"}], "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "DETROIT (printed \"Detroy\"), from A Supplement to the Kentucky Harmony, 1820; setting as printed in The Brethren Hymnal, 1901. Public domain.", "provenance": {"layer": "harmonization", "source": "tbh-1901", "source_kind": "plate_transcription", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-voice setting of DETROIT as printed in The Brethren Hymnal (Brethren Publishing House, 1901), No. 459, tune title \"Detroy.\" \u2014 the earliest located public-domain printing of the QUARTER-PICKUP recasting of the tune (quarter anacrusis, dotted-half-plus-rest couplet finals), the rhythm family modern hymnals sing; located 2026-08-13 by sweeping all 9 pre-1931 hymnals among the Hymnary authority's 87 instances. Transcribed at plate pitch (E minor, one sharp) from two independent archive.org scans of the same plate (brethrenhymnalco00chur leaf 297 and hymnalco00germ leaf 291), every notehead read from grid-overlaid crops with shape-vs-position agreement checked per note, and adversarially re-derived by an independent verifier working from both scans: 13 of the first reader's columns corrected (verifier's evidence-crop set retained in the session record), all six inline sharps inventoried as D-sharps, bar sums verified in all four voices against the plate's printed barring (pickup stroke, 2-beat \"not I\" bar, paired-half joint bars, dotted-half+rest finals). No tune or arranger credit is printed on the page (text credit Philip Doddridge only); the 1901 chromatic reharmonization (complete B7 chords, B-major \"val\") is the anonymous house setting. Publication 1901 \u2014 pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "archive.org brethrenhymnalco00chur leaf 297 + hymnalco00germ leaf 291, plate transcription + adversarial verification session 2026-08-13"}, "music_ly": "%% DETROY (= DETROIT), C. M. -- The Brethren Hymnal (Church of the Brethren;\n%% Elgin: Brethren Publishing House, 1901), No. 459, \"Thou Knowest that I Love\n%% Thee.\" Tune printed as \"Detroy.\"; text credit Philip Doddridge, NO tune or\n%% arranger credit printed. 7-shape Aikin character plate, 1 sharp, 4/4, E minor.\n%% Transcribed 2026-08-13 at plate pitch from TWO independent archive.org scans\n%% of the same plate (brethrenhymnalco00chur leaf 297; hymnalco00germ leaf 291),\n%% every notehead read against fitted pitch grids on both scans; independently\n%% refuter-verified (13 corrections applied, incl. the \"And\" = b'2 reading and\n%% the complete-B7 inner voices; see the transcription record).\n%% THE QUARTER-PICKUP RECASTING of the 1820 folk tune: quarter-note anacrusis\n%% \"Do\" (soprano + bass only; alto and tenor carry printed archaic quarter\n%% rests), dotted-half-plus-quarter-rest couplet finals, and the mid-couplet\n%% joints held as paired half notes. PLATE BARRING kept where it fits 4/4;\n%% the plate's own 2-beat \"not I\" bar is preserved via the sidecar's\n%% time_changes (2/4 at soprano ordinal 2, back to 4/4 at ordinal 4); the\n%% plate's other 2-beat bars (\"Lord?\"|\"Be-\", \"out\"|\"That\") merge into shared\n%% 4/4 bars exactly as the corpus already treats PBHT-1907's cadence\n%% half-bars. 1901 chromatic reharmonization: complete B7 chords at \"I\",\n%% \"my\" (b.4), \"and\", \"dares\" (alto dis', bass fis), B major at \"val\",\n%% plain-minor finals (no Picardy). Melody = PBHT-1907's pitch line except:\n%% the a'4 anacrusis replaces the e'2 opening, \"my\"'s second eighth and\n%% \"val\" are raised to dis' (leading tone).\n%% Public domain.\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\minor \\time 4/4 \\partial 4 }\n\nsoprano = {\n  a'4 g'4 a'4 b'4. g'8 a'8( g'8) e'8( dis'8) e'2 e'2 g'4 a'4 b'4 dis''4 e''2. r4 b'2 e''4 e''8( d''8) b'4. a'8 g'8( a'8) b'8( c''8) d''2 b'2 a'4. g'8 e'4 dis'4 e'2. r4\n}\nalto = {\n  r4 e'4 dis'4 e'4. e'8 fis'4 b4 b2 b2 e'4 dis'4 e'4 a'4 g'2. r4 g'2 g'4 g'4 g'4. fis'8 e'4 a'4 fis'2 e'2 dis'4. e'8 e'4 b4 b2. r4\n}\ntenor = {\n  r4 b4 b4 b4. e8 b,4 g8( fis8) g2 g2 b4 b4 b4 b4 b2. r4 e'2 b4 b8( a8) b4. c'8 b8( a8) b8( g8) a2 g2 b4. e8 g4 fis4 g2. r4\n}\nbass = {\n  c4 e4 fis4 g4. e8 b,4 b,4 e2 e2 e4 fis4 g4 fis4 e2. r4 e2 e4 e8( fis8) g4. a8 b8( a8) g8( e8) d2 e2 fis4. e8 b,4 b,4 e2. r4\n}\n", "preferred": false}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}