{"slug": "glasgow", "name": "GLASGOW", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Moore's Psalm Singer's Pocket Companion (Glasgow), 1756", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "glasgow-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GLASGOW (C.M.), a common-metre psalm tune first printed in Thomas Moore's The Psalm Singer's Pocket Companion (Glasgow, 1756). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2, half-note anacrusis; a florid/melismatic tune of 37 soprano notes for the 28 C.M. syllables). Accidentals verified against the Cyber Hymnal engraving (the tenor's two C-sharps are printed with sharps and the F-naturals in alto and bass with naturals); note-for-note confirmed against the texted printings in The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa), and hymnary.org tune authority glasgow_moore (incipit 51232135654332432171 matches). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "glasgow-cyberhymnal", "tune": "glasgow", "music_file": "glasgow-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 20, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLASGOW (C.M.), Moore's Psalm Singer's Pocket Companion, 1756. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GLASGOW (Moore's Psalm Singer's Pocket Companion, Glasgow, 1756); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2). Accidentals verified against the Cyber Hymnal engraving; two mid2ly voice-split artifacts (soprano bar 10, bass bar 8) corrected 2026-07-10 from the raw MIDI onsets and confirmed against the Cyber Hymnal 600dpi engraving, The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa) \u2014 the same standard edition of the setting in all three. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GLASGOW (C.M.) \u2014 four SATB voice streams, canonical key G major.\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%% Encoded from The Cyber Hymnal SATB MIDI (\"Glasgow\", Moore's Psalm Singer's\n%% Pocket Companion, Glasgow 1756) with tools/mid2ly.py. FLORID / MELISMATIC C.M.\n%% tune in 3/2: 37 soprano notes for 28 syllables (half-note pickup via harm\n%% pickup: '2'; final whole note). All four voices sum to 42 half-beats = 1 (pickup)\n%% + 13 x 3 + 2 (final); bar-checks placed at every 3/2 barline.\n%% Accidentals verified against the Cyber Hymnal engraving: the tenor's two C-sharps\n%% (cis') print with sharps (leading to d') and the F-naturals in alto (f') and bass\n%% (f) print with naturals (lowered 7th) \u2014 the mid2ly SHARP-key spellings are correct.\n%% 2026-07-10 RECONCILIATION (supersedes the mid2ly draft's needs-manual caveats):\n%% two mid2ly hi/lo-split artifacts were found by re-reading the raw MIDI onsets and\n%% confirmed against THREE engravings (Cyber Hymnal PDF at 600dpi; Hymnary of the\n%% United Church of Canada 1930 #661, archive.org hymnaryofunitedc0000unse leaf 728;\n%% Methodist Hymn-Book 1933 #904 tonic sol-fa, archive.org methodist-hymn-book\n%% leaves 820-821, \"Doh is G\"):\n%%   (1) bar 10 soprano was d''4. e'8 c''2 b'2 -> d''2 c''2 b'2. The MIDI has\n%%       soprano d5 as a plain half (gate-shortened to 0.875); the dotted figure\n%%       d'4. e'8 belongs to the ALTO alone (all three scores print soprano as\n%%       three open halves there; sol-fa \"s :f :m\"). This also resolves the old\n%%       \"soprano note 27 e'8 vs e''8\" flag - that eighth is the alto's e'.\n%%   (2) bar 8 bass was fis4. c'8 g2 f2 -> fis2 g2 f2. The MIDI has ONE c4\n%%       eighth at that onset and it is the tenor's (d'4. c'8); all three scores\n%%       print the bass as three plain halves (sol-fa \"t, :d :ta,\").\n%% Bars 2, 3 and 6 were re-verified unchanged: both S and A carry dotted figures in\n%% bars 2/6 (unison g' on beat 2 of bar 2 is merged in the MIDI), and bar 3's dotted\n%% figure IS the soprano's, rising to the HIGH e''8 (sol-fa \"s.,l:s\").\n%% The melismatic underlay lives in the setting yaml (9 constant holds, pinned by\n%% the 1930 engraving's slurs and the 1933 sol-fa's one-syllable underlines).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 | g'1 a'2 | b'4. a'8 g'2 b'2 | d''4. e''8 d''2 c''2 | b'1 b'2 | a'1 c''2 | b'4. a'8 g'2 fis'2 | g'1 d''2 | d''1 b'2 | c''1 e''2 | d''2 c''2 b'2 | a'1 d''2 | g'2 a'2 b'2 | c''2 b'2 a'2 | g'1\n}\nalto = {\n  b2 | d'1 fis'2 | g'4. fis'8 g'2 g'2 | g'1 fis'2 | g'1 g'2 | e'1 a'2 | g'4. e'8 d'2 d'2 | d'1 g'2 | a'2 g'2 g'2 | g'4. f'8 e'2 g'2 | d'4. e'8 fis'2 g'2 | fis'1 fis'2 | g'2 d'2 g'2 | g'1 fis'2 | g'1\n}\ntenor = {\n  g2 | d'1 d'2 | d'4. c'8 b2 d'2 | b4. c'8 b2 a2 | g1 d'2 | c'1 e'2 | d'4. c'8 b2 a2 | b1 b2 | d'4. c'8 b2 d'2 | c'1 g2 | g2 a2 b4 cis'4 | d'1 d'4 cis'4 | b2 d'2 d'2 | e'2 d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 | b,1 d2 | g4. a8 b2 g2 | d1 d2 | g,1 g2 | c1 a,2 | b,4. c8 d2 d2 | g,1 g2 | fis2 g2 f2 | e4. d8 c2 c2 | b,2 a,2 g,2 | d1 d2 | e2 fis2 g2 | c2 d2 d2 | g,1\n}\n"}, "harmonizations": [{"slug": "glasgow-cyberhymnal", "tune": "glasgow", "music_file": "glasgow-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/2", "pickup": "2", "system_breaks": [12, 20, 29], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GLASGOW (C.M.), Moore's Psalm Singer's Pocket Companion, 1756. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GLASGOW (Moore's Psalm Singer's Pocket Companion, Glasgow, 1756); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py (G major, 3/2). Accidentals verified against the Cyber Hymnal engraving; two mid2ly voice-split artifacts (soprano bar 10, bass bar 8) corrected 2026-07-10 from the raw MIDI onsets and confirmed against the Cyber Hymnal 600dpi engraving, The Hymnary of the United Church of Canada 1930 #661 and The Methodist Hymn-Book 1933 #904 (tonic sol-fa) \u2014 the same standard edition of the setting in all three. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Glasgow\" (Moore's Psalm Singer's Pocket Companion, 1756); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% GLASGOW (C.M.) \u2014 four SATB voice streams, canonical key G major.\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%% Encoded from The Cyber Hymnal SATB MIDI (\"Glasgow\", Moore's Psalm Singer's\n%% Pocket Companion, Glasgow 1756) with tools/mid2ly.py. FLORID / MELISMATIC C.M.\n%% tune in 3/2: 37 soprano notes for 28 syllables (half-note pickup via harm\n%% pickup: '2'; final whole note). All four voices sum to 42 half-beats = 1 (pickup)\n%% + 13 x 3 + 2 (final); bar-checks placed at every 3/2 barline.\n%% Accidentals verified against the Cyber Hymnal engraving: the tenor's two C-sharps\n%% (cis') print with sharps (leading to d') and the F-naturals in alto (f') and bass\n%% (f) print with naturals (lowered 7th) \u2014 the mid2ly SHARP-key spellings are correct.\n%% 2026-07-10 RECONCILIATION (supersedes the mid2ly draft's needs-manual caveats):\n%% two mid2ly hi/lo-split artifacts were found by re-reading the raw MIDI onsets and\n%% confirmed against THREE engravings (Cyber Hymnal PDF at 600dpi; Hymnary of the\n%% United Church of Canada 1930 #661, archive.org hymnaryofunitedc0000unse leaf 728;\n%% Methodist Hymn-Book 1933 #904 tonic sol-fa, archive.org methodist-hymn-book\n%% leaves 820-821, \"Doh is G\"):\n%%   (1) bar 10 soprano was d''4. e'8 c''2 b'2 -> d''2 c''2 b'2. The MIDI has\n%%       soprano d5 as a plain half (gate-shortened to 0.875); the dotted figure\n%%       d'4. e'8 belongs to the ALTO alone (all three scores print soprano as\n%%       three open halves there; sol-fa \"s :f :m\"). This also resolves the old\n%%       \"soprano note 27 e'8 vs e''8\" flag - that eighth is the alto's e'.\n%%   (2) bar 8 bass was fis4. c'8 g2 f2 -> fis2 g2 f2. The MIDI has ONE c4\n%%       eighth at that onset and it is the tenor's (d'4. c'8); all three scores\n%%       print the bass as three plain halves (sol-fa \"t, :d :ta,\").\n%% Bars 2, 3 and 6 were re-verified unchanged: both S and A carry dotted figures in\n%% bars 2/6 (unison g' on beat 2 of bar 2 is merged in the MIDI), and bar 3's dotted\n%% figure IS the soprano's, rising to the HIGH e''8 (sol-fa \"s.,l:s\").\n%% The melismatic underlay lives in the setting yaml (9 constant holds, pinned by\n%% the 1930 engraving's slurs and the 1933 sol-fa's one-syllable underlines).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/2 \\partial 2 }\n\nsoprano = {\n  d'2 | g'1 a'2 | b'4. a'8 g'2 b'2 | d''4. e''8 d''2 c''2 | b'1 b'2 | a'1 c''2 | b'4. a'8 g'2 fis'2 | g'1 d''2 | d''1 b'2 | c''1 e''2 | d''2 c''2 b'2 | a'1 d''2 | g'2 a'2 b'2 | c''2 b'2 a'2 | g'1\n}\nalto = {\n  b2 | d'1 fis'2 | g'4. fis'8 g'2 g'2 | g'1 fis'2 | g'1 g'2 | e'1 a'2 | g'4. e'8 d'2 d'2 | d'1 g'2 | a'2 g'2 g'2 | g'4. f'8 e'2 g'2 | d'4. e'8 fis'2 g'2 | fis'1 fis'2 | g'2 d'2 g'2 | g'1 fis'2 | g'1\n}\ntenor = {\n  g2 | d'1 d'2 | d'4. c'8 b2 d'2 | b4. c'8 b2 a2 | g1 d'2 | c'1 e'2 | d'4. c'8 b2 a2 | b1 b2 | d'4. c'8 b2 d'2 | c'1 g2 | g2 a2 b4 cis'4 | d'1 d'4 cis'4 | b2 d'2 d'2 | e'2 d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 | b,1 d2 | g4. a8 b2 g2 | d1 d2 | g,1 g2 | c1 a,2 | b,4. c8 d2 d2 | g,1 g2 | fis2 g2 f2 | e4. d8 c2 c2 | b,2 a,2 g,2 | d1 d2 | e2 fis2 g2 | c2 d2 d2 | g,1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}