{"slug": "fillmore", "name": "FILLMORE", "meter_label": "8.8.8.8.8.8", "meter": {"pattern": [8, 8, 8, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "jeremiah-ingalls", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "fillmore-oh266", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune FILLMORE by the early-American singing master Jeremiah Ingalls (1764-1828). The four-part setting encoded here is the one printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, pp. 218-219, headed '310  FILLMORE  L. M. 6l. \u2014 JEREMIAH INGALLS' (scan verified: archive.org item methodi00meth, leaves 230-231). Identity pinned three ways: the Open Hymnal ABC's own %OHCOMPOSER line ('Ingalls, Jeremiah (1764-1828)'); Hymnary's instance export, which records 82 instances of tuneAuthNumber fillmore_ingalls at meter 8.8.8.8.8.8, including The Methodist Hymnal 1905 #310 with incipit 13212321235556532156; and the encoded soprano itself, whose scale degrees in F major reproduce that incipit digit for digit. Duplicate guard run before engraving: the best soprano fingerprint match against all 270 corpus tunes was 0.59 (SLANE), far under the 0.80 threshold, and no corpus tune name or alt_name matches FILLMORE. No composer_date is asserted: the 1905 book gives none, and the tune's first printing was not verified from a primary source. Composer d. 1828, setting published 1905 \u2014 all components pre-1931 and public domain in the US.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310)", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "fillmore_ingalls", "total_instances": 82}}, "harmonization": {"slug": "fillmore-oh266", "tune": "fillmore", "music_file": "fillmore-oh266.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 27, 37, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of FILLMORE as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, printed pp. 218-219 \u2014 the source the Open Hymnal ABC names in its own C:/S: lines ('Setting: \"The Methodist Hymnal\", 1905' / 'Music source: The Methodist Hymnal, 1905. Hymn 310' / 'copyright: public domain'). Verified against the 1905 book itself: archive.org item methodi00meth, leaf 230 (printed p. 218) heads the hymn '310  FILLMORE  L. M. 6l. \u2014 JEREMIAH INGALLS', F major, 3/4, SATB on two staves; leaf 231 (p. 219) carries the third system and the closing AMEN. The page bears no copyright notice, while the very next hymn (311 CITY ROAD) does carry 'Copyright, 1905, by Jennings & Graham' \u2014 this book marks its copyrighted settings and FILLMORE is unmarked. All components pre-1931 (tune composer d. 1828; setting published 1905, US). This encoding was render-diffed measure by measure against that engraving in all four voices before import; the only notational divergences are the tenor's c'4~ c'4 at m. 16 (the print writes the same duration as one half note) and the print's fermata at soprano note 37, which the engine cannot render and which is recorded in the .ly header instead.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FILLMORE (8.8.8.8.8.8) \u2014 \"And Can It Be That I Should Gain?\"\n%% Imported from Open Hymnal ABC (X:266) via tools/abc_import.py. Music: tune\n%% 'Fillmore', Jeremiah Ingalls (1764-1828); the four-part setting is that of\n%% The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham,\n%% 1905), hymn 310, printed pp. 218-219 \u2014 public domain (pub. pre-1929 in the US).\n%% F major, 3/4, quarter-note pickup; 24 measures, 55 soprano notes, 48 syllables.\n%% RENDER-DIFFED note-for-note against the 1905 engraving itself (archive.org\n%% methodi00meth, leaves 230-231 = printed pp. 218-219) in all four voices:\n%% pickup and mm. 1-16 read chord for chord, including the alto's a'2 a'4 at m. 11\n%% against f'2 f'4 at the parallel m. 15, the tenor/bass unison b-flat at m. 9 and\n%% m. 13, and the bass octave drop to bes, at m. 10 and m. 14; mm. 17-24 repeat\n%% mm. 1-8 exactly (the tune's lines 5-6 reuse the music of lines 1-2), which the\n%% print's third system confirms.\n%% Seven soprano melismas, slurred from the w: lyric alignment, at soprano note\n%% pairs 2-3, 13-14, 22-23, 31-32, 36-37, 39-40, 50-51 (= syllables 2, 12, 20, 28,\n%% 32, 34, 44 of every stanza). All six stanzas share those positions, so this is\n%% a fixed-melisma tune (verse_variable_melisma: false) and the setting is\n%% one_to_one.\n%% NOT RENDERED, present in the source: the 1905 print puts a fermata on soprano\n%% note 37 (the mid-hymn cadence, m. 16 beat 2 \u2014 the ABC encodes it as\n%% !fermata!G with an !invertedfermata! on the tenor) and closes with a printed\n%% AMEN. tools/abc_import.py drops ABC decorations. The engine CAN render a\n%% fermata (a `\\fermata` suffix on the note), but no harmonization in this corpus\n%% carries one \u2014 the Bach chorales record their phrase-end fermatas as ordinals in\n%% a header comment and state \"fermatas are omitted per house style\"\n%% (warum-sollt-ich-bwv422.ly, nun-komm-der-heiden-heiland-bwv62.ly). This file\n%% follows that convention: the ordinal is recorded here, not engraved. Restoring\n%% it is a one-token change (g'\\fermata at soprano note 37) if the house style\n%% ever changes. `amen` likewise stays false; the amen is a book-level toggle.\n%% The 1905 print writes the tenor at m. 16 as a single half note; the ABC (and\n%% therefore this file) writes the identical duration as c'4~ c'4, note-against-\n%% note with the soprano's slurred pair.\n%% SYSTEM BREAKS are OURS, not the print's and not the Open Hymnal's. The 1905\n%% engraving sets the hymn in three systems, breaking after soprano notes 18\n%% (\"...the Saviour's blood?\") and 37 (the fermata) \u2014 18/19/18 notes per system,\n%% well over this project's 16-note house maximum (hymnbook.breaks.MAX_SYSTEM_\n%% NOTES). The Open Hymnal ABC wraps its source lines after notes 15, 27 and 42,\n%% two of which fall mid-poetic-line. system_breaks [9, 18, 27, 37, 46] therefore\n%% breaks after EVERY poetic line of the 8.8.8.8.8.8 stanza (one system per line,\n%% 9/9/9/10/9/9 notes) \u2014 a strict refinement of the print, since both of the\n%% print's breaks (18 and 37) are in the set. Every break falls mid-measure,\n%% because the quarter-note pickup puts each line's last syllable on beat 1;\n%% the print does the same (its system 1 ends two beats into a bar). This matches\n%% the corpus's other 8.8.8.8.8.8 tune, STELLA (stella-cyberhymnal, breaks\n%% [10, 21, 31, 41, 51] = six systems, one poetic line each). The hymn therefore\n%% runs to two pages at 6x9 with five interlinear verses; that is expected.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'4( g'4) f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2\n}\nalto = {\n  f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 f'2 f'4 f'2 f'4 a'2 a'4 f'2 f'4 f'2 f'4 f'2 f'4 f'2 f'4 f'4( e'4) f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2\n}\ntenor = {\n  a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2 a4 bes2 bes4 bes4.( c'8) d'4 f'2 f'4 c'2 a4 bes2 bes4 bes4.( c'8) d'4 a2 a4 c'4~ c'4 a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2\n}\nbass = {\n  f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f4( c4) f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2\n}\n"}, "harmonizations": [{"slug": "fillmore-oh266", "tune": "fillmore", "music_file": "fillmore-oh266.ly", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [9, 18, 27, 37, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of FILLMORE as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 310, printed pp. 218-219 \u2014 the source the Open Hymnal ABC names in its own C:/S: lines ('Setting: \"The Methodist Hymnal\", 1905' / 'Music source: The Methodist Hymnal, 1905. Hymn 310' / 'copyright: public domain'). Verified against the 1905 book itself: archive.org item methodi00meth, leaf 230 (printed p. 218) heads the hymn '310  FILLMORE  L. M. 6l. \u2014 JEREMIAH INGALLS', F major, 3/4, SATB on two staves; leaf 231 (p. 219) carries the third system and the closing AMEN. The page bears no copyright notice, while the very next hymn (311 CITY ROAD) does carry 'Copyright, 1905, by Jennings & Graham' \u2014 this book marks its copyrighted settings and FILLMORE is unmarked. All components pre-1931 (tune composer d. 1828; setting published 1905, US). This encoding was render-diffed measure by measure against that engraving in all four voices before import; the only notational divergences are the tenor's c'4~ c'4 at m. 16 (the print writes the same duration as one half note) and the print's fermata at soprano note 37, which the engine cannot render and which is recorded in the .ly header instead.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:266, \"And Can It Be\" (tune FILLMORE; setting from The Methodist Hymnal, 1905, hymn 310); SATB ABC converted with tools/abc_import.py", "encoding_license": "PD-dedication"}, "music_ly": "%% FILLMORE (8.8.8.8.8.8) \u2014 \"And Can It Be That I Should Gain?\"\n%% Imported from Open Hymnal ABC (X:266) via tools/abc_import.py. Music: tune\n%% 'Fillmore', Jeremiah Ingalls (1764-1828); the four-part setting is that of\n%% The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham,\n%% 1905), hymn 310, printed pp. 218-219 \u2014 public domain (pub. pre-1929 in the US).\n%% F major, 3/4, quarter-note pickup; 24 measures, 55 soprano notes, 48 syllables.\n%% RENDER-DIFFED note-for-note against the 1905 engraving itself (archive.org\n%% methodi00meth, leaves 230-231 = printed pp. 218-219) in all four voices:\n%% pickup and mm. 1-16 read chord for chord, including the alto's a'2 a'4 at m. 11\n%% against f'2 f'4 at the parallel m. 15, the tenor/bass unison b-flat at m. 9 and\n%% m. 13, and the bass octave drop to bes, at m. 10 and m. 14; mm. 17-24 repeat\n%% mm. 1-8 exactly (the tune's lines 5-6 reuse the music of lines 1-2), which the\n%% print's third system confirms.\n%% Seven soprano melismas, slurred from the w: lyric alignment, at soprano note\n%% pairs 2-3, 13-14, 22-23, 31-32, 36-37, 39-40, 50-51 (= syllables 2, 12, 20, 28,\n%% 32, 34, 44 of every stanza). All six stanzas share those positions, so this is\n%% a fixed-melisma tune (verse_variable_melisma: false) and the setting is\n%% one_to_one.\n%% NOT RENDERED, present in the source: the 1905 print puts a fermata on soprano\n%% note 37 (the mid-hymn cadence, m. 16 beat 2 \u2014 the ABC encodes it as\n%% !fermata!G with an !invertedfermata! on the tenor) and closes with a printed\n%% AMEN. tools/abc_import.py drops ABC decorations. The engine CAN render a\n%% fermata (a `\\fermata` suffix on the note), but no harmonization in this corpus\n%% carries one \u2014 the Bach chorales record their phrase-end fermatas as ordinals in\n%% a header comment and state \"fermatas are omitted per house style\"\n%% (warum-sollt-ich-bwv422.ly, nun-komm-der-heiden-heiland-bwv62.ly). This file\n%% follows that convention: the ordinal is recorded here, not engraved. Restoring\n%% it is a one-token change (g'\\fermata at soprano note 37) if the house style\n%% ever changes. `amen` likewise stays false; the amen is a book-level toggle.\n%% The 1905 print writes the tenor at m. 16 as a single half note; the ABC (and\n%% therefore this file) writes the identical duration as c'4~ c'4, note-against-\n%% note with the soprano's slurred pair.\n%% SYSTEM BREAKS are OURS, not the print's and not the Open Hymnal's. The 1905\n%% engraving sets the hymn in three systems, breaking after soprano notes 18\n%% (\"...the Saviour's blood?\") and 37 (the fermata) \u2014 18/19/18 notes per system,\n%% well over this project's 16-note house maximum (hymnbook.breaks.MAX_SYSTEM_\n%% NOTES). The Open Hymnal ABC wraps its source lines after notes 15, 27 and 42,\n%% two of which fall mid-poetic-line. system_breaks [9, 18, 27, 37, 46] therefore\n%% breaks after EVERY poetic line of the 8.8.8.8.8.8 stanza (one system per line,\n%% 9/9/9/10/9/9 notes) \u2014 a strict refinement of the print, since both of the\n%% print's breaks (18 and 37) are in the set. Every break falls mid-measure,\n%% because the quarter-note pickup puts each line's last syllable on beat 1;\n%% the print does the same (its system 1 ends two beats into a bar). This matches\n%% the corpus's other 8.8.8.8.8.8 tune, STELLA (stella-cyberhymnal, breaks\n%% [10, 21, 31, 41, 51] = six systems, one poetic line each). The hymn therefore\n%% runs to two pages at 6x9 with five interlinear verses; that is expected.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'2 c''4 d''2 d''4 d''4.( e''8) f''4 c''2 c''4 a'4( g'4) f'4 a'4.( g'8) f'4 g'2 a'4 g'2 f'4 g'2 a'4 c''2 c''4 c''4( d''4) c''4 a'2 g'4 f'2\n}\nalto = {\n  f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2 f'4 f'2 f'4 f'2 f'4 a'2 a'4 f'2 f'4 f'2 f'4 f'2 f'4 f'2 f'4 f'4( e'4) f'4 f'2 f'4 e'2 e'4 e'2 d'4 e'2 f'4 f'2 f'4 f'2 f'4 f'2 e'4 f'2\n}\ntenor = {\n  a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2 a4 bes2 bes4 bes4.( c'8) d'4 f'2 f'4 c'2 a4 bes2 bes4 bes4.( c'8) d'4 a2 a4 c'4~ c'4 a4 c'4.( bes8) a4 bes2 c'4 bes2 a4 c'2 c'4 a2 a4 a4( bes4) a4 c'2 bes4 a2\n}\nbass = {\n  f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f2 f4 bes2 bes4 bes2 bes,4 f2 f4 f4( c4) f4 f2 f4 c2 c4 c2 d4 c2 f4 f2 f4 f2 f4 c2 c4 f2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}