{"slug": "glory-to-his-name", "name": "GLORY TO HIS NAME", "meter_label": "9.9.9.5 with Refrain", "meter": {"pattern": [9, 9, 9, 5], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-h-stockton", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "glory-to-his-name-songs-of-joy-1885", "provenance": {"layer": "tune", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "THE TUNE'S ATTRIBUTION IS CONTESTED AND THIS RECORD REPORTS WHAT THE PLATE PRINTS, NOT A RESOLUTION OF THE DISPUTE. The page read here \u2014 Songs of Joy and Gladness (Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, archive.org songsofjoygladne00mcdo_0 leaf n120 \u2014 credits \"Words by Rev. Elisha Hoffman.\" on the left and \"Music by Rev. J. H. Stockton.\" on the right, and the second scan of that same 1885 edition (archive.org songsofjoygladne00mcdo leaf n120) prints the identical credit. A third, later dated printing opened while triaging gives the same music credit: the leaf carrying hymn 335 of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921) \u2014 archive.org tabernaclehymnsn00chic \u2014 heads it \"Glory to His Name.\" over \"Rev. E. A. Hoffman.\" (left) and \"Rev. J. H. Stockton.\" (right), in E-flat rather than A-flat and with a different, D.C.-form casting whose notes were NOT used here. So `composer: john-h-stockton` is the plate's credit. It is NOT the only attribution in circulation \u2014 modern sources sometimes give the tune to Hoffman himself, and Stockton died in 1877, a year before the text is first found in print (Spiritual Songs for Gospel Meetings and the Sunday School, 1878, where this text is set instead to a tune by John R. Sweney) \u2014 but no dated printing opened for this import credits anyone but Stockton, and nothing here adjudicates the question. No composer date is recorded because no plate read prints one. US public domain: the earliest printing read is 1885, well before 1931, and Stockton (1813-1877) has been dead more than a century.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "glory_to_his_name_stockton", "total_instances": 715}}, "harmonization": {"slug": "glory-to-his-name-songs-of-joy-1885", "tune": "glory-to-his-name", "music_file": "glory-to-his-name-songs-of-joy-1885.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 18, 32, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "markings": [{"soprano_note": 33, "kind": "refrain"}], "refrain": {"soprano_note_start": 33}, "source_line": "Setting: J. H. Stockton, as printed in Songs of Joy and Gladness, 1885. Public domain.", "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting as printed in Songs of Joy and Gladness (McDonald, Gill, Sweney & Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" (left) and \"Music by Rev. J. H. Stockton.\" (right), in A-flat major and 4/4 with no pickup, sixteen bars cast as four systems of two staves with the chorus headed \"CHORUS.\". US public domain: the printing read is 1885, well before 1931, and no modern arranger stands anywhere in the chain. THE TUNE CREDIT ON THIS PLATE IS STOCKTON'S; the attribution is contested elsewhere and this record reports the page, not a resolution (see the tune record). TWO DATED SCANS OF TWO DIFFERENT PHYSICAL COPIES OF THAT EDITION WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: archive.org songsofjoygladne00mcdo_0 leaf n120 (the UNC Chapel Hill copy, scanned 2013, 2252 px across, staff space 28.3 px = 14.1 px per diatonic step) and archive.org songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy, scanned 2011, 1761 px across, staff space 22.8 px = 11.4 px per step). Both leaves were opened and both show hymn 138. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: ink taken as darker than 82% of a locally estimated paper level (41x41 grey dilation, 41x41 box filter), a 3x3 closing, then a SMALL-POCKET FILL capped in area AND in both bounding-box dimensions (under 1.05 staff space wide, under 0.82 tall) so that hollow half-note outlines become discs while the cells enclosed by two staff lines and two stems \u2014 a full staff space tall \u2014 are left alone; staff lines suppressed by vertical run length AFTER that fill so a hollow head's thin arcs survive; heads isolated by a 0.62 x 0.45 staff-space opening with the width window opened to 1.80 staff spaces, because the hollow heads on this plate measure 43-46 px wide against 25-28 px for the filled ones; every core converted to a diatonic step against a FRESH five-line fit in a window around that core's own x. Heads on a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small systematic bias in the SAME direction on BOTH scans, because the head sits immediately below a staff line and the closing merges the two: the alto's D-flat 4 measures -0.61 to -0.83 where the exact position is -1, and the tenor's G3 measures 7.26 to 7.31 where it is 7. Both were settled by eye at 6x-9x against the fitted grid (the line above grazes the TOP of the head instead of passing through its middle) and both are confirmed by the harmony \u2014 the D-flats are the third of the D-flat chords and the seventh of the E-flat sevenths, the G3 is the third of those E-flat chords. SO EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY, off crops carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. RETRACTED: this record first said the two grid readings agree at all 232 notes with 0 disagreements. They agreed with EACH OTHER at 232 and with the PLATE at 231 \u2014 the bar-13 tenor sixteenth was read C4 on both scans and is D-flat 4 on the page. A second reading that repeats the error of the first is not corroboration, and the count is restated here so that it cannot be read as one. The automated pass alone is demonstrably not enough here: it reads a 16th-note flag as a head at system 2 x=1316 and drops the head pair at x=1287 entirely. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at 3.0x-4.2x, over every column of BOTH leaves, backed by a shape screen for tall narrow ink; the step figures above see staff positions only and never covered accidentals. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF THIS HYMN on either leaf \u2014 the only flats on the page are the four of the signature (B-flat, E-flat, A-flat, D-flat) at the head of every staff. EVERY CHORD WAS NAMED (RULE 8): the verse runs I - IV - I with a cadential six-four (bar 7 and bar 15 are A-flat over an E-flat pedal resolving through an E-flat DOMINANT seventh \u2014 E-flat3, G3, D-flat4, B-flat4 \u2014 to A-flat), the half cadence at \"cried\" is a plain E-flat triad (E-flat3, G3, E-flat4, B-flat4), the chorus opens on the subdominant D-flat and its second phrase half-closes E-flat - A-flat over an E-flat pedal - E-flat. The one reading that surprised me is the phrase-end chord of bars 2, 6 and 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints a SINGLE notehead at A-flat 3 with a stem up and a stem down, so tenor and bass are in unison and the chord is A-flat3 / A-flat3 / C4 / E-flat4, a complete A-flat triad inside one fifth with the melody on the fifth. It was re-opened on both scans and both print it; this setting's bass lives between A-flat 2 and A-flat 3 and is in unison with the tenor at eleven chords (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47, 55). NO SCAFFOLD WAS USED and nothing was checked against one: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external checks are Hymnary's melodic incipits for tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\", which is the first sixteen soprano note-groups of this reading exactly, and for glory_to_his_name_stockton_chorus, \"11165613331232332117\", which is the first twenty note-groups of the chorus exactly, melisma notes included. DEPARTURES FROM THE PAGE, in full: (1) the casting is not the plate's \u2014 the page draws four systems of 15/16/15/14 noteheads and breaks six noteheads inside poetic line 2, while this encoding breaks after noteheads 9, 18, 32 and 46, all poetic line ends, giving five systems of 9/9/14/14/14 and a hymn that runs onto a second page; (2) the plate draws the bar-12 melisma slur (soprano noteheads 44-46, in BOTH staves) across only the FIRST TWO of the three noteheads, and it is extended here to the third, because those three noteheads carry the one syllable \"name.\" and nothing else is left to sing on it \u2014 the first melisma, noteheads 37-39, IS slurred across all three on the page; (3) the plate's section word is \"CHORUS.\" and this corpus prints its own \"Refrain\" marking at notehead 33; (4) the plate rules every poetic line end more heavily than the bars inside a line \u2014 an 11-13 px thick bar after noteheads 9, 18, 27, 39, 46 and 55 against 5-6 px for the ordinary bars, and a LIGHT-HEAVY DOUBLE bar after notehead 32 where \"CHORUS.\" begins \u2014 and none of that is reproduced: the engine draws ordinary barlines throughout and breaks the system at those line ends instead. Nothing else departs: every pitch, every duration and every rest is the plate's, including the quarter rests that end bars 8, 10, 12 and 16 in all four voices (the corpus's optional cadence-breath collapse is deliberately NOT applied, since bars 10 and 12 keep their rests regardless), and the closing light-heavy double bar is the page's.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Songs of Joy and Gladness (1885), no. 138 \u2014 archive.org songsofjoygladne00mcdo_0 leaf n120, collated notehead by notehead against archive.org songsofjoygladne00mcdo leaf n120, a scan of a different physical copy of the same edition. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORY TO HIS NAME (9.9.9.5 with Refrain) \u2014 J. H. Stockton as the plate credits\n%% it. Four SATB voice streams, canonical key A-flat major, 4/4, NO pickup,\n%% sixteen full bars: eight of verse and eight of chorus.\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%% SOURCE OF THE NOTES. Songs of Joy and Gladness (McDonald, Gill, Sweney &\n%% Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117,\n%% headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" on the left\n%% and \"Music by Rev. J. H. Stockton.\" on the right, in A-flat major (a\n%% four-flat signature at the head of every staff) and 4/4, cast as four\n%% systems of two staves with the four stanzas printed under the verse systems\n%% and the chorus, headed \"CHORUS.\", under the last two.\n%%\n%% READ OFF TWO INDEPENDENT SCANS OF TWO DIFFERENT PHYSICAL COPIES of that same\n%% 1885 edition, each with its own binarisation and its own staff-line fits:\n%% archive.org songsofjoygladne00mcdo_0 leaf n120 (the University of North\n%% Carolina at Chapel Hill copy, scanned 2013 at scribe1.chapelhill; 2252 px\n%% across, staff space 28.3 px, i.e. 14.1 px per diatonic step) and archive.org\n%% songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy,\n%% scanned 2011 at scribe6.nj; 1761 px across, staff space 22.8 px, i.e. 11.4 px\n%% per diatonic step). Both leaves were opened and both show THIS hymn, no. 138.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: ink is whatever is\n%% darker than 82% of the LOCAL paper level (41x41 grey dilation smoothed by a\n%% 41x41 box filter), then a 3x3 binary closing to seal the pale gaps the\n%% plate's ink leaves inside a head; then enclosed pockets smaller than 1.2\n%% staff spaces squared AND under 1.05 staff space wide AND under 0.82 staff\n%% space tall are filled, which turns each hollow half-note OUTLINE into a disc\n%% without flooding the cells that two staff lines and two stems enclose (those\n%% cells are a full staff space tall, which is why the height cap matters \u2014 a\n%% plain area cap floods them and destroys the staff); then staff lines are\n%% suppressed by vertical run length AFTER that fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% The width window runs to 1.80 staff spaces because the hollow heads on this\n%% plate are WIDER than the filled ones (43-46 px against 25-28 px on scan 1).\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x.\n%%\n%% Counting steps from the bottom staff line, the readings are tight: heads on\n%% a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space measure\n%% 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small\n%% systematic bias, in the SAME direction on BOTH scans, because the head sits\n%% immediately under a staff line and the closing merges the two: D-flat 4 in\n%% the alto measures -0.61 to -0.83 (both scans) where the exact position is\n%% -1, and G3 in the tenor measures 7.26 to 7.31 where the exact position is 7.\n%% Both were settled by eye at 6x-9x against the fitted grid \u2014 in each case the\n%% staff line above plainly GRAZES THE TOP of the head instead of passing\n%% through its middle \u2014 and both are confirmed harmonically (the D-flats are\n%% the third of the D-flat chords of bars 2, 6, 9, 10 and 14 and the seventh of\n%% the E-flat sevenths of bars 7 and 15; the tenor G3 is the third of those\n%% same E-flat chords).\n%%\n%% AND EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY REGARDLESS, off crops\n%% carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, on\n%% BOTH scans, and it is that third reading and not any centroid that ships.\n%% The two grid readings agree with each other at every one of the 232 notes\n%% (soprano 60, alto 58, tenor 58, bass 56 \u2014 the four voices do not all move at\n%% every chord), 0 disagreements. The automated pass alone had missed heads (it reads\n%% a 16th-note flag as a head at system 2 x=1316 and drops the head pair at\n%% x=1287 entirely), which is exactly why it is not what ships.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately by eye at 3.0x-4.2x for printed sharps, flats and\n%% naturals, and a shape screen (tall, narrow, stem-width-plus ink blobs) was\n%% run over both leaves as well. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF\n%% THIS HYMN on either leaf: the only flats on the page are the four of the\n%% signature \u2014 B-flat, E-flat, A-flat, D-flat \u2014 standing at the head of every\n%% staff. The step figures above cover staff positions only and never covered\n%% accidentals.\n%%\n%% EVERY CHORD WAS NAMED AND CHECKED AGAINST THE IDIOM. The verse is\n%% I - IV - I with a cadential six-four: bars 1/5 A-flat with a passing 16th,\n%% bar 2/6 D-flat over D-flat/F to A-flat, bars 3-4 A-flat then E-flat at\n%% \"cried\", bar 7/15 A-flat over an E-flat pedal (I 6/4) resolving through an\n%% E-flat DOMINANT seventh (E-flat3, G3, D-flat4, B-flat4) to the A-flat of\n%% bar 8/16. The chorus opens on IV (D-flat, bars 9-10), returns to I (bar 11),\n%% and its second phrase is a half close: E-flat major - A-flat over an E-flat\n%% pedal - E-flat major (bar 12). Nothing in the reading is outside a gospel\n%% song's diatonic vocabulary. THE ONE READING THAT SURPRISED ME and was\n%% therefore re-opened on both scans is the phrase-end chord of bars 2, 6 and\n%% 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints ONE notehead at\n%% A-flat 3 carrying a stem UP and a stem DOWN, so tenor and bass are in unison\n%% and the whole chord is A-flat3 / A-flat3 / C4 / E-flat4 \u2014 a complete A-flat\n%% triad, but inside a single fifth, with the melody on the fifth of the chord.\n%% That is unusually close voicing for a phrase end, and it is what BOTH scans\n%% print. The bass of this setting lives between A-flat 2 and A-flat 3\n%% throughout and is written in unison with the tenor at eleven chords\n%% (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47 and 55), which is\n%% the same one-notehead-two-stems engraving each time.\n%%\n%% THE CHORUS'S \"There to my heart was the blood ap-plied\" (bar 13, soprano\n%% noteheads 47-52) IS NOT THE VERSE'S (bars 1 and 5, noteheads 1-6 and 19-24),\n%% though the melody is the same: the chorus holds the alto on E-flat 4 through\n%% all six noteheads where the verse's alto reads E-flat, E-flat, D-flat, C,\n%% E-flat, E-flat, and its lower staff reads tenor A-flat3, E-flat4, C4, C4,\n%% A-flat3, A-flat3 over a bass on A-flat 3 and then C3, where the verse has\n%% the tenor on A-flat 3 throughout over a bass on A-flat 2 and then C3. Both\n%% scans were re-read at that bar for exactly this reason and agree.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\" (key given\n%% there as A-flat major), which is the first sixteen soprano note-GROUPS of\n%% this reading exactly, and its incipit for glory_to_his_name_stockton_chorus,\n%% \"11165613331232332117\", which is the first twenty note-groups of the chorus\n%% exactly, melisma notes included.\n%%\n%% 60 soprano noteheads. The verse (noteheads 1-32) is strictly syllabic. The\n%% chorus (33-60) carries two THREE-NOTE MELISMAS, both on the word \"name.\" \u2014\n%% noteheads 37-39 and 44-46 \u2014 and they are slurred below. DEPARTURE: the plate\n%% draws the first of those slurs across all three noteheads in the treble\n%% staff, but draws the second (bar 12, in BOTH the treble and the bass staff)\n%% across only the first two; here it is extended to the third, because the\n%% three noteheads carry one syllable and nothing else is left to sing on it.\n%%\n%% OTHER DEPARTURES FROM THE PAGE, in full: (1) THE CASTING IS NOT THE PLATE'S.\n%% The page casts four systems of 15, 16, 15 and 14 noteheads, and its first\n%% break falls six noteheads INSIDE poetic line 2, which this corpus does not\n%% do; the breaks here fall after noteheads 9, 18, 32 and 46, all of them\n%% poetic line ends, giving five systems of 9, 9, 14, 14 and 14, and the hymn\n%% runs onto a second page. (2) The plate's section word is \"CHORUS.\"; this\n%% corpus prints its own \"Refrain\" marking at notehead 33. (3) The plate rules\n%% every poetic line end more heavily than the bars inside a line \u2014 a thick bar\n%% after noteheads 9, 18, 27, 39, 46 and 55, and a LIGHT-HEAVY DOUBLE bar after\n%% notehead 32, where \"CHORUS.\" begins, against roughly half that width for the\n%% ordinary bars; the engine draws ordinary barlines throughout and breaks the\n%% system at those line ends instead.\n%% Nothing else departs: every pitch, every duration, every rest and the\n%% closing light-heavy double bar are the plate's. The quarter rests that end\n%% bars 8, 10, 12 and 16 are printed in all four voices and are kept as printed\n%% \u2014 the corpus's optional cadence-breath collapse (dotted half + rest to a\n%% whole note) is NOT applied, because bars 10 and 12 need their rests anyway\n%% and collapsing only bars 8 and 16 would read as an inconsistency.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4 c''8. c''16 ees''4 ees''8. c''16 |\n  aes'4 c''4 bes'2 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4 |\n  aes'4. aes'8 aes'4 f'4 |\n  ees'4.( f'8 aes'4) r4 |\n  c''4. c''8 c''4 aes'4 |\n  bes'4.( c''8 bes'4) r4 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4\n}\n\nalto = {\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4 |\n  des'4. des'8 f'4 des'4 |\n  c'4.( des'8 c'4) r4 |\n  ees'4. ees'8 ees'4 ees'4 |\n  ees'2. r4 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4\n}\n\ntenor = {\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4 aes8. aes16 c'4 c'8. ees'16 |\n  c'4 aes4 g2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4 |\n  f4. f8 aes4 aes4 |\n  aes2. r4 |\n  aes4. aes8 aes4 aes4 |\n  g4.( aes8 g4) r4 |\n  aes4 ees'8. des'16 c'4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4\n}\n\nbass = {\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 ees2 |\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4 |\n  des4. des8 des4 des4 |\n  aes,2. r4 |\n  aes4. aes8 aes4 c4 |\n  ees2. r4 |\n  aes4 aes8. aes16 aes4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4\n}\n"}, "harmonizations": [{"slug": "glory-to-his-name-songs-of-joy-1885", "tune": "glory-to-his-name", "music_file": "glory-to-his-name-songs-of-joy-1885.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 18, 32, 46], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "markings": [{"soprano_note": 33, "kind": "refrain"}], "refrain": {"soprano_note_start": 33}, "source_line": "Setting: J. H. Stockton, as printed in Songs of Joy and Gladness, 1885. Public domain.", "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part setting as printed in Songs of Joy and Gladness (McDonald, Gill, Sweney & Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117, headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" (left) and \"Music by Rev. J. H. Stockton.\" (right), in A-flat major and 4/4 with no pickup, sixteen bars cast as four systems of two staves with the chorus headed \"CHORUS.\". US public domain: the printing read is 1885, well before 1931, and no modern arranger stands anywhere in the chain. THE TUNE CREDIT ON THIS PLATE IS STOCKTON'S; the attribution is contested elsewhere and this record reports the page, not a resolution (see the tune record). TWO DATED SCANS OF TWO DIFFERENT PHYSICAL COPIES OF THAT EDITION WERE READ END TO END AND REQUIRED TO AGREE, each with its own binarisation and its own staff-line fits: archive.org songsofjoygladne00mcdo_0 leaf n120 (the UNC Chapel Hill copy, scanned 2013, 2252 px across, staff space 28.3 px = 14.1 px per diatonic step) and archive.org songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy, scanned 2011, 1761 px across, staff space 22.8 px = 11.4 px per step). Both leaves were opened and both show hymn 138. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: ink taken as darker than 82% of a locally estimated paper level (41x41 grey dilation, 41x41 box filter), a 3x3 closing, then a SMALL-POCKET FILL capped in area AND in both bounding-box dimensions (under 1.05 staff space wide, under 0.82 tall) so that hollow half-note outlines become discs while the cells enclosed by two staff lines and two stems \u2014 a full staff space tall \u2014 are left alone; staff lines suppressed by vertical run length AFTER that fill so a hollow head's thin arcs survive; heads isolated by a 0.62 x 0.45 staff-space opening with the width window opened to 1.80 staff spaces, because the hollow heads on this plate measure 43-46 px wide against 25-28 px for the filled ones; every core converted to a diatonic step against a FRESH five-line fit in a window around that core's own x. Heads on a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small systematic bias in the SAME direction on BOTH scans, because the head sits immediately below a staff line and the closing merges the two: the alto's D-flat 4 measures -0.61 to -0.83 where the exact position is -1, and the tenor's G3 measures 7.26 to 7.31 where it is 7. Both were settled by eye at 6x-9x against the fitted grid (the line above grazes the TOP of the head instead of passing through its middle) and both are confirmed by the harmony \u2014 the D-flats are the third of the D-flat chords and the seventh of the E-flat sevenths, the G3 is the third of those E-flat chords. SO EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY, off crops carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, ON BOTH SCANS, and it is that third reading and not any centroid that ships. RETRACTED: this record first said the two grid readings agree at all 232 notes with 0 disagreements. They agreed with EACH OTHER at 232 and with the PLATE at 231 \u2014 the bar-13 tenor sixteenth was read C4 on both scans and is D-flat 4 on the page. A second reading that repeats the error of the first is not corroboration, and the count is restated here so that it cannot be read as one. The automated pass alone is demonstrably not enough here: it reads a 16th-note flag as a head at system 2 x=1316 and drops the head pair at x=1287 entirely. ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, at 3.0x-4.2x, over every column of BOTH leaves, backed by a shape screen for tall narrow ink; the step figures above see staff positions only and never covered accidentals. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF THIS HYMN on either leaf \u2014 the only flats on the page are the four of the signature (B-flat, E-flat, A-flat, D-flat) at the head of every staff. EVERY CHORD WAS NAMED (RULE 8): the verse runs I - IV - I with a cadential six-four (bar 7 and bar 15 are A-flat over an E-flat pedal resolving through an E-flat DOMINANT seventh \u2014 E-flat3, G3, D-flat4, B-flat4 \u2014 to A-flat), the half cadence at \"cried\" is a plain E-flat triad (E-flat3, G3, E-flat4, B-flat4), the chorus opens on the subdominant D-flat and its second phrase half-closes E-flat - A-flat over an E-flat pedal - E-flat. The one reading that surprised me is the phrase-end chord of bars 2, 6 and 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints a SINGLE notehead at A-flat 3 with a stem up and a stem down, so tenor and bass are in unison and the chord is A-flat3 / A-flat3 / C4 / E-flat4, a complete A-flat triad inside one fifth with the melody on the fifth. It was re-opened on both scans and both print it; this setting's bass lives between A-flat 2 and A-flat 3 and is in unison with the tenor at eleven chords (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47, 55). NO SCAFFOLD WAS USED and nothing was checked against one: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. The only external checks are Hymnary's melodic incipits for tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\", which is the first sixteen soprano note-groups of this reading exactly, and for glory_to_his_name_stockton_chorus, \"11165613331232332117\", which is the first twenty note-groups of the chorus exactly, melisma notes included. DEPARTURES FROM THE PAGE, in full: (1) the casting is not the plate's \u2014 the page draws four systems of 15/16/15/14 noteheads and breaks six noteheads inside poetic line 2, while this encoding breaks after noteheads 9, 18, 32 and 46, all poetic line ends, giving five systems of 9/9/14/14/14 and a hymn that runs onto a second page; (2) the plate draws the bar-12 melisma slur (soprano noteheads 44-46, in BOTH staves) across only the FIRST TWO of the three noteheads, and it is extended here to the third, because those three noteheads carry the one syllable \"name.\" and nothing else is left to sing on it \u2014 the first melisma, noteheads 37-39, IS slurred across all three on the page; (3) the plate's section word is \"CHORUS.\" and this corpus prints its own \"Refrain\" marking at notehead 33; (4) the plate rules every poetic line end more heavily than the bars inside a line \u2014 an 11-13 px thick bar after noteheads 9, 18, 27, 39, 46 and 55 against 5-6 px for the ordinary bars, and a LIGHT-HEAVY DOUBLE bar after notehead 32 where \"CHORUS.\" begins \u2014 and none of that is reproduced: the engine draws ordinary barlines throughout and breaks the system at those line ends instead. Nothing else departs: every pitch, every duration and every rest is the plate's, including the quarter rests that end bars 8, 10, 12 and 16 in all four voices (the corpus's optional cadence-breath collapse is deliberately NOT applied, since bars 10 and 12 keep their rests regardless), and the closing light-heavy double bar is the page's.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Songs of Joy and Gladness (1885), no. 138 \u2014 archive.org songsofjoygladne00mcdo_0 leaf n120, collated notehead by notehead against archive.org songsofjoygladne00mcdo leaf n120, a scan of a different physical copy of the same edition. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% GLORY TO HIS NAME (9.9.9.5 with Refrain) \u2014 J. H. Stockton as the plate credits\n%% it. Four SATB voice streams, canonical key A-flat major, 4/4, NO pickup,\n%% sixteen full bars: eight of verse and eight of chorus.\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%% SOURCE OF THE NOTES. Songs of Joy and Gladness (McDonald, Gill, Sweney &\n%% Kirkpatrick; Boston: McDonald, Gill & Co., 1885), no. 138, printed page 117,\n%% headed \"Glory to His Name.\" over \"Words by Rev. Elisha Hoffman.\" on the left\n%% and \"Music by Rev. J. H. Stockton.\" on the right, in A-flat major (a\n%% four-flat signature at the head of every staff) and 4/4, cast as four\n%% systems of two staves with the four stanzas printed under the verse systems\n%% and the chorus, headed \"CHORUS.\", under the last two.\n%%\n%% READ OFF TWO INDEPENDENT SCANS OF TWO DIFFERENT PHYSICAL COPIES of that same\n%% 1885 edition, each with its own binarisation and its own staff-line fits:\n%% archive.org songsofjoygladne00mcdo_0 leaf n120 (the University of North\n%% Carolina at Chapel Hill copy, scanned 2013 at scribe1.chapelhill; 2252 px\n%% across, staff space 28.3 px, i.e. 14.1 px per diatonic step) and archive.org\n%% songsofjoygladne00mcdo leaf n120 (the Princeton Theological Seminary copy,\n%% scanned 2011 at scribe6.nj; 1761 px across, staff space 22.8 px, i.e. 11.4 px\n%% per diatonic step). Both leaves were opened and both show THIS hymn, no. 138.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: ink is whatever is\n%% darker than 82% of the LOCAL paper level (41x41 grey dilation smoothed by a\n%% 41x41 box filter), then a 3x3 binary closing to seal the pale gaps the\n%% plate's ink leaves inside a head; then enclosed pockets smaller than 1.2\n%% staff spaces squared AND under 1.05 staff space wide AND under 0.82 staff\n%% space tall are filled, which turns each hollow half-note OUTLINE into a disc\n%% without flooding the cells that two staff lines and two stems enclose (those\n%% cells are a full staff space tall, which is why the height cap matters \u2014 a\n%% plain area cap floods them and destroys the staff); then staff lines are\n%% suppressed by vertical run length AFTER that fill, so a hollow head's thin\n%% top and bottom arcs are already part of a tall run and survive; then a\n%% horizontal opening of 0.62 staff space and a vertical opening of 0.45 staff\n%% space delete stems, flags, barlines and ledger lines and leave a head core.\n%% The width window runs to 1.80 staff spaces because the hollow heads on this\n%% plate are WIDER than the filled ones (43-46 px against 25-28 px on scan 1).\n%% Every core was converted to a diatonic step against a FRESH five-line fit\n%% made in a +-2.6-staff-space window around that core's own x.\n%%\n%% Counting steps from the bottom staff line, the readings are tight: heads on\n%% a line measure -0.17 to +0.11 and 7.90 to 8.16; heads in a space measure\n%% 2.95 to 3.11, 4.93 to 5.06 and -1.95 to -2.07. Two classes carry a small\n%% systematic bias, in the SAME direction on BOTH scans, because the head sits\n%% immediately under a staff line and the closing merges the two: D-flat 4 in\n%% the alto measures -0.61 to -0.83 (both scans) where the exact position is\n%% -1, and G3 in the tenor measures 7.26 to 7.31 where the exact position is 7.\n%% Both were settled by eye at 6x-9x against the fitted grid \u2014 in each case the\n%% staff line above plainly GRAZES THE TOP of the head instead of passing\n%% through its middle \u2014 and both are confirmed harmonically (the D-flats are\n%% the third of the D-flat chords of bars 2, 6, 9, 10 and 14 and the seventh of\n%% the E-flat sevenths of bars 7 and 15; the tenor G3 is the third of those\n%% same E-flat chords).\n%%\n%% AND EVERY ONE OF THE 232 NOTES WAS READ A THIRD WAY REGARDLESS, off crops\n%% carrying the fitted five-line grid drawn over the page at 3.0x to 9.0x, on\n%% BOTH scans, and it is that third reading and not any centroid that ships.\n%% The two grid readings agree with each other at every one of the 232 notes\n%% (soprano 60, alto 58, tenor 58, bass 56 \u2014 the four voices do not all move at\n%% every chord), 0 disagreements. The automated pass alone had missed heads (it reads\n%% a 16th-note flag as a head at system 2 x=1316 and drops the head pair at\n%% x=1287 entirely), which is exactly why it is not what ships.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. Every column of BOTH leaves\n%% was swept separately by eye at 3.0x-4.2x for printed sharps, flats and\n%% naturals, and a shape screen (tall, narrow, stem-width-plus ink blobs) was\n%% run over both leaves as well. THERE IS NOT ONE ACCIDENTAL IN THE BODY OF\n%% THIS HYMN on either leaf: the only flats on the page are the four of the\n%% signature \u2014 B-flat, E-flat, A-flat, D-flat \u2014 standing at the head of every\n%% staff. The step figures above cover staff positions only and never covered\n%% accidentals.\n%%\n%% EVERY CHORD WAS NAMED AND CHECKED AGAINST THE IDIOM. The verse is\n%% I - IV - I with a cadential six-four: bars 1/5 A-flat with a passing 16th,\n%% bar 2/6 D-flat over D-flat/F to A-flat, bars 3-4 A-flat then E-flat at\n%% \"cried\", bar 7/15 A-flat over an E-flat pedal (I 6/4) resolving through an\n%% E-flat DOMINANT seventh (E-flat3, G3, D-flat4, B-flat4) to the A-flat of\n%% bar 8/16. The chorus opens on IV (D-flat, bars 9-10), returns to I (bar 11),\n%% and its second phrase is a half close: E-flat major - A-flat over an E-flat\n%% pedal - E-flat major (bar 12). Nothing in the reading is outside a gospel\n%% song's diatonic vocabulary. THE ONE READING THAT SURPRISED ME and was\n%% therefore re-opened on both scans is the phrase-end chord of bars 2, 6 and\n%% 14 (\"died\", \"-plied\", \"-plied\"): the lower staff prints ONE notehead at\n%% A-flat 3 carrying a stem UP and a stem DOWN, so tenor and bass are in unison\n%% and the whole chord is A-flat3 / A-flat3 / C4 / E-flat4 \u2014 a complete A-flat\n%% triad, but inside a single fifth, with the melody on the fifth of the chord.\n%% That is unusually close voicing for a phrase end, and it is what BOTH scans\n%% print. The bass of this setting lives between A-flat 2 and A-flat 3\n%% throughout and is written in unison with the tenor at eleven chords\n%% (soprano noteheads 9, 10, 11, 12, 17, 27, 40, 41, 42, 47 and 55), which is\n%% the same one-notehead-two-stems engraving each time.\n%%\n%% THE CHORUS'S \"There to my heart was the blood ap-plied\" (bar 13, soprano\n%% noteheads 47-52) IS NOT THE VERSE'S (bars 1 and 5, noteheads 1-6 and 19-24),\n%% though the melody is the same: the chorus holds the alto on E-flat 4 through\n%% all six noteheads where the verse's alto reads E-flat, E-flat, D-flat, C,\n%% E-flat, E-flat, and its lower staff reads tenor A-flat3, E-flat4, C4, C4,\n%% A-flat3, A-flat3 over a bass on A-flat 3 and then C3, where the verse has\n%% the tenor on A-flat 3 throughout over a bass on A-flat 2 and then C3. Both\n%% scans were re-read at that bar for exactly this reason and agree.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any\n%% point. The one external check is Hymnary's melodic incipit for\n%% tuneAuthNumber glory_to_his_name_stockton, \"3321176153335531\" (key given\n%% there as A-flat major), which is the first sixteen soprano note-GROUPS of\n%% this reading exactly, and its incipit for glory_to_his_name_stockton_chorus,\n%% \"11165613331232332117\", which is the first twenty note-groups of the chorus\n%% exactly, melisma notes included.\n%%\n%% 60 soprano noteheads. The verse (noteheads 1-32) is strictly syllabic. The\n%% chorus (33-60) carries two THREE-NOTE MELISMAS, both on the word \"name.\" \u2014\n%% noteheads 37-39 and 44-46 \u2014 and they are slurred below. DEPARTURE: the plate\n%% draws the first of those slurs across all three noteheads in the treble\n%% staff, but draws the second (bar 12, in BOTH the treble and the bass staff)\n%% across only the first two; here it is extended to the third, because the\n%% three noteheads carry one syllable and nothing else is left to sing on it.\n%%\n%% OTHER DEPARTURES FROM THE PAGE, in full: (1) THE CASTING IS NOT THE PLATE'S.\n%% The page casts four systems of 15, 16, 15 and 14 noteheads, and its first\n%% break falls six noteheads INSIDE poetic line 2, which this corpus does not\n%% do; the breaks here fall after noteheads 9, 18, 32 and 46, all of them\n%% poetic line ends, giving five systems of 9, 9, 14, 14 and 14, and the hymn\n%% runs onto a second page. (2) The plate's section word is \"CHORUS.\"; this\n%% corpus prints its own \"Refrain\" marking at notehead 33. (3) The plate rules\n%% every poetic line end more heavily than the bars inside a line \u2014 a thick bar\n%% after noteheads 9, 18, 27, 39, 46 and 55, and a LIGHT-HEAVY DOUBLE bar after\n%% notehead 32, where \"CHORUS.\" begins, against roughly half that width for the\n%% ordinary bars; the engine draws ordinary barlines throughout and breaks the\n%% system at those line ends instead.\n%% Nothing else departs: every pitch, every duration, every rest and the\n%% closing light-heavy double bar are the plate's. The quarter rests that end\n%% bars 8, 10, 12 and 16 are printed in all four voices and are kept as printed\n%% \u2014 the corpus's optional cadence-breath collapse (dotted half + rest to a\n%% whole note) is NOT applied, because bars 10 and 12 need their rests anyway\n%% and collapsing only bars 8 and 16 would read as an inconsistency.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4 c''8. c''16 ees''4 ees''8. c''16 |\n  aes'4 c''4 bes'2 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4 |\n  aes'4. aes'8 aes'4 f'4 |\n  ees'4.( f'8 aes'4) r4 |\n  c''4. c''8 c''4 aes'4 |\n  bes'4.( c''8 bes'4) r4 |\n  c''4 c''8. bes'16 aes'4 aes'8. g'16 |\n  f'4 aes'4 ees'2 |\n  c''4. aes'8 c''4 bes'4 |\n  aes'2. r4\n}\n\nalto = {\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  ees'4 ees'4 ees'2 |\n  ees'4 ees'8. des'16 c'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4 |\n  des'4. des'8 f'4 des'4 |\n  c'4.( des'8 c'4) r4 |\n  ees'4. ees'8 ees'4 ees'4 |\n  ees'2. r4 |\n  ees'4 ees'8. ees'16 ees'4 ees'8. ees'16 |\n  des'4 des'4 c'2 |\n  ees'4. c'8 ees'4 des'4 |\n  c'2. r4\n}\n\ntenor = {\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4 aes8. aes16 c'4 c'8. ees'16 |\n  c'4 aes4 g2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4 |\n  f4. f8 aes4 aes4 |\n  aes2. r4 |\n  aes4. aes8 aes4 aes4 |\n  g4.( aes8 g4) r4 |\n  aes4 ees'8. des'16 c'4 aes8. aes16 |\n  aes4 aes4 aes2 |\n  aes4. aes8 aes4 g4 |\n  aes2. r4\n}\n\nbass = {\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  aes4 aes8. aes16 aes4 aes8. aes16 |\n  aes4 aes4 ees2 |\n  aes,4 aes,8. aes,16 aes,4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4 |\n  des4. des8 des4 des4 |\n  aes,2. r4 |\n  aes4. aes8 aes4 c4 |\n  ees2. r4 |\n  aes4 aes8. aes16 aes4 c8. c16 |\n  des4 f4 aes2 |\n  ees4. ees8 ees4 ees4 |\n  aes,2. r4\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}