{"slug": "grafenberg", "name": "GR\u00c4FENBERG", "alt_name": "NUN DANKET ALL", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1647", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "grafenberg-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "GR\u00c4FENBERG (C.M.), also known as NUN DANKET ALL \u2014 the proper tune of Johann Cr\u00fcger's \"Nun danket all und bringet Ehr\" from his Praxis Pietatis Melica (The Cyber Hymnal engraving is headed \"Gr\u00e4fenberg, CM / Johann Cr\u00fcger, 1647\"; hymnological references commonly cite the 1653 edition). Johann Cr\u00fcger, 1598-1662. NOTE: this is a different Cr\u00fcger tune from NUN DANKET ALLE GOTT (corpus slug nun-danket). Hymnary.org tune authority nun_danket_all_cruger_16512 (GR\u00c4FENBERG, Johann Cr\u00fcger, 8.6.8.6, 336 hymnals). Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py (the MIDI is sequenced in F; transposed to the engraved key, G major) and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi. Fully syllabic soprano, 28 onsets for 28 C.M. syllables with two phrase-end cadence ties. The first fourteen melody degrees match Hymnary's authority incipit 16512 33235 4321 exactly; the third phrase is the 5-3-5-6-5-4 variant printed by the Cyber Hymnal (the authority incipit's representative instance reads 5-4-3-5-6-5 there \u2014 a known variant point of this tune, and the CH MIDI and CH engraving agree with each other throughout). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gr\u00e4fenberg\" (Johann Cr\u00fcger, Praxis Pietatis Melica; CH credit line \"Johann Cr\u00fcger, 1647\"); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "harmonization": {"slug": "grafenberg-cyberhymnal", "tune": "grafenberg", "music_file": "grafenberg-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 15, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GR\u00c4FENBERG, Johann Cr\u00fcger (Praxis Pietatis Melica, 1647). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GR\u00c4FENBERG / NUN DANKET ALL (C.M.), Johann Cr\u00fcger (1598-1662), from his Praxis Pietatis Melica (Cyber Hymnal credit \"Johann Cr\u00fcger, 1647\"; commonly cited from the 1653 edition); this four-part setting is as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py \u2014 the MIDI is sequenced a whole tone low in F major and was transposed to the ENGRAVED key, G major (one sharp) \u2014 and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (4/4, no pickup, 12 bars, whole-note finals, wholly diatonic to G with no printed accidentals). Three alto cadence figures (bars 2, 5, 11) follow the engraving where the CH MIDI simplifies them to a held half note; the MIDI carries the identical figure explicitly in bar 8. The tune (17th century) and this harmonization (Cyber Hymnal public-domain edition) are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gr\u00e4fenberg\" (Johann Cr\u00fcger); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "music_ly": "%% GR\u00c4FENBERG (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 (\"Gr\u00e4fenberg\", Johann Cr\u00fcger, Praxis\n%% Pietatis Melica; the CH engraving is headed \"Gr\u00e4fenberg, CM / Johann Cr\u00fcger,\n%% 1647\") with tools/mid2ly.py and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. The CH MIDI is sequenced a whole tone low (F major);\n%% converted at tonic F and transposed up one step to the ENGRAVED key, G major\n%% (one sharp). 4/4, no pickup, 12 full bars, whole-note finals; wholly diatonic\n%% to G (the engraving prints no accidentals). Soprano is fully syllabic \u2014 28\n%% onsets for 28 C.M. syllables, plus the two phrase-end ties across the bar\n%% (a'2~a'4, soprano note-heads 8-9 and 23-24). Inner voices carry written-out\n%% cadence melismas (alto bars 2/5/8/11, tenor bars 5/8/11, bass bar 11 dotted\n%% figure b,4. c8); the CH engraving slurs them, but house style drops\n%% inner-voice slurs (soprano-melisma slurs only \u2014 same treatment as\n%% ellesdie-cyberhymnal and stuttgart-cyberhymnal). Three alto cadence figures\n%% (bars 2, 5, 11) follow the ENGRAVING where the CH MIDI simplifies: the MIDI\n%% sounds fis' for the full half note; the engraving re-strikes the previous\n%% pitch on beat 3 and steps to fis' on beat 4 (bar 2: e'4 fis'4; bars 5/11:\n%% g'4 fis'4). The MIDI itself carries the identical figure explicitly in bar 8\n%% (alto e'4 fis'4), confirming the pattern. A splitter artifact (the bass\n%% passing eighth c8 in bar 11 duplicated into the tenor as a unison) was\n%% corrected: the engraving holds tenor d'2 there.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 d'4 | g'2 a'2 | b'4 b'4 a'2~ | a'4 b'4 d''4 c''4 |\n  b'2 a'2 | g'1 | d''2 b'4 d''4 | e''2 d''2 | c''4 b'4 a'2~ |\n  a'4 d''4 g'4 c''4 | b'2 a'2 | g'1\n}\nalto = {\n  b2 c'4 d'4 | e'2 e'4 fis'4 | g'4 g'4 fis'2~ | fis'4 g'4 g'4 a'4 |\n  g'2 g'4 fis'4 | g'1 | g'2 g'4 g'4 | e'4 fis'4 g'2 | fis'4 g'4 fis'2~ |\n  fis'4 fis'4 g'4 a'4 | g'2 g'4 fis'4 | g'1\n}\ntenor = {\n  g2 fis4 g4 | g2 c'2 | b4 d'4 d'2~ | d'4 d'4 d'4 e'4 |\n  d'2 d'4 c'4 | b1 | b2 d'4 d'4 | g4 a4 b2 | c'4 d'4 d'2~ |\n  d'4 d'4 b4 e'4 | d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 a,4 b,4 | c2 a,2 | g,4 b,4 d2~ | d4 g4 b,4 c4 |\n  d2 d2 | g,1 | g2 g4 b,4 | c2 b,2 | a,4 g,4 d2~ |\n  d4 b,4 e4 a,4 | b,4. c8 d2 | g,1\n}\n"}, "harmonizations": [{"slug": "grafenberg-cyberhymnal", "tune": "grafenberg", "music_file": "grafenberg-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 15, 24], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "GR\u00c4FENBERG, Johann Cr\u00fcger (Praxis Pietatis Melica, 1647). Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune GR\u00c4FENBERG / NUN DANKET ALL (C.M.), Johann Cr\u00fcger (1598-1662), from his Praxis Pietatis Melica (Cyber Hymnal credit \"Johann Cr\u00fcger, 1647\"; commonly cited from the 1653 edition); this four-part setting is as printed by The Cyber Hymnal. Encoded from the Cyber Hymnal SATB MIDI via tools/mid2ly.py \u2014 the MIDI is sequenced a whole tone low in F major and was transposed to the ENGRAVED key, G major (one sharp) \u2014 and verified measure-by-measure against the Cyber Hymnal engraving at 600dpi (4/4, no pickup, 12 bars, whole-note finals, wholly diatonic to G with no printed accidentals). Three alto cadence figures (bars 2, 5, 11) follow the engraving where the CH MIDI simplifies them to a held half note; the MIDI carries the identical figure explicitly in bar 8. The tune (17th century) and this harmonization (Cyber Hymnal public-domain edition) are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Gr\u00e4fenberg\" (Johann Cr\u00fcger); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication", "hymnary_ids": {"tune_auth": "nun_danket_all_cruger_16512", "total_instances": 336}}, "music_ly": "%% GR\u00c4FENBERG (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 (\"Gr\u00e4fenberg\", Johann Cr\u00fcger, Praxis\n%% Pietatis Melica; the CH engraving is headed \"Gr\u00e4fenberg, CM / Johann Cr\u00fcger,\n%% 1647\") with tools/mid2ly.py and verified measure-by-measure against the Cyber\n%% Hymnal engraving at 600dpi. The CH MIDI is sequenced a whole tone low (F major);\n%% converted at tonic F and transposed up one step to the ENGRAVED key, G major\n%% (one sharp). 4/4, no pickup, 12 full bars, whole-note finals; wholly diatonic\n%% to G (the engraving prints no accidentals). Soprano is fully syllabic \u2014 28\n%% onsets for 28 C.M. syllables, plus the two phrase-end ties across the bar\n%% (a'2~a'4, soprano note-heads 8-9 and 23-24). Inner voices carry written-out\n%% cadence melismas (alto bars 2/5/8/11, tenor bars 5/8/11, bass bar 11 dotted\n%% figure b,4. c8); the CH engraving slurs them, but house style drops\n%% inner-voice slurs (soprano-melisma slurs only \u2014 same treatment as\n%% ellesdie-cyberhymnal and stuttgart-cyberhymnal). Three alto cadence figures\n%% (bars 2, 5, 11) follow the ENGRAVING where the CH MIDI simplifies: the MIDI\n%% sounds fis' for the full half note; the engraving re-strikes the previous\n%% pitch on beat 3 and steps to fis' on beat 4 (bar 2: e'4 fis'4; bars 5/11:\n%% g'4 fis'4). The MIDI itself carries the identical figure explicitly in bar 8\n%% (alto e'4 fis'4), confirming the pattern. A splitter artifact (the bass\n%% passing eighth c8 in bar 11 duplicated into the tenor as a unison) was\n%% corrected: the engraving holds tenor d'2 there.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'4 d'4 | g'2 a'2 | b'4 b'4 a'2~ | a'4 b'4 d''4 c''4 |\n  b'2 a'2 | g'1 | d''2 b'4 d''4 | e''2 d''2 | c''4 b'4 a'2~ |\n  a'4 d''4 g'4 c''4 | b'2 a'2 | g'1\n}\nalto = {\n  b2 c'4 d'4 | e'2 e'4 fis'4 | g'4 g'4 fis'2~ | fis'4 g'4 g'4 a'4 |\n  g'2 g'4 fis'4 | g'1 | g'2 g'4 g'4 | e'4 fis'4 g'2 | fis'4 g'4 fis'2~ |\n  fis'4 fis'4 g'4 a'4 | g'2 g'4 fis'4 | g'1\n}\ntenor = {\n  g2 fis4 g4 | g2 c'2 | b4 d'4 d'2~ | d'4 d'4 d'4 e'4 |\n  d'2 d'4 c'4 | b1 | b2 d'4 d'4 | g4 a4 b2 | c'4 d'4 d'2~ |\n  d'4 d'4 b4 e'4 | d'2 d'4 c'4 | b1\n}\nbass = {\n  g,2 a,4 b,4 | c2 a,2 | g,4 b,4 d2~ | d4 g4 b,4 c4 |\n  d2 d2 | g,1 | g2 g4 b,4 | c2 b,2 | a,4 g,4 d2~ |\n  d4 b,4 e4 a,4 | b,4. c8 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."}