{"slug": "hanson-place", "name": "HANSON PLACE", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1864", "canonical_key": {"tonic": "ees", "mode": "major"}, "preferred_harmonization": "hanson-place-bright-jewels-1869", "provenance": {"layer": "tune", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Tune by Robert Lowry (1826-1899) to his own words, written 1864 at Hanson Place Baptist Church, Brooklyn \u2014 the tune name the later hymnals and Hymnary print for it. First published in Happy Voices (1865, no. 220, not four-part); read here from the composer's own four-part printing in Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" \u2014 archive.org brightjewelsfors00lowr_0, leaf 0114 \u2014 corroborated note for note against the reprints in Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, undated, notes corroboration only, NOT pd evidence) and Make Christ King, 1912, no. 206 (archive.org makechristkingse00exce leaf 0201). US public domain by publication in 1869; Lowry died 1899, so PD in life+70 jurisdictions as well. The soprano's first fifteen notes give scale degrees 333234534445432, matching Hymnary's HANSON PLACE incipit (tuneAuthNumber hanson_place_lowry) exactly. tools/tune_fingerprint.py finds NO corpus melody at or above the 0.80 duplicate threshold (best other-tune match 0.552, SEELENBR\u00c4UTIGAM, at corpus=307 tunes), so this is not a tune the corpus already holds under another name. The 1883 words-only printing in Gospel Hymns Consolidated no. 124 (\"THE BEAUTIFUL RIVER ... Key E-flat\") names the same key this plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "hanson-place-bright-jewels-1869", "tune": "hanson-place", "music_file": "hanson-place-bright-jewels-1869.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24, 33, 41, 52, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Robert Lowry's own four-part setting of his own 1864 tune and words, encoded from the composer's own collection: Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" \u2014 archive.org item brightjewelsfors00lowr_0, leaf 0114 (the jp2 master leaf is committed at review/shall-we-gather/bj_0114.jp2). US public domain by publication in 1869; Lowry died in 1899, so it is also PD in life+70 jurisdictions. HOW IT WAS READ \u2014 THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR. The 1869 plate's 20.8 px staff space is below the noteread rig's reliable range (the register's wave-2 attempt stopped exactly there), so the measured primary was the highest-resolution reprint of the same setting: Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, staff space 29.5-29.9 px, \"COPYRIGHT PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") \u2014 every staff column-read with tools/noteread.py at grid residual 0.31-1.02 px mean, every bar eye-read on grid-overlay crops at 6-14x, bass staves re-run after the first pass's vertical fence cut off the tenor's ledger notes, and the five tenor ledger notes settled by row-ink probes that count the C4/E4 ledger dashes explicitly. \u26a0 greatt00weig IS NOT PD EVIDENCE (undated title page; see the POWER IN THE BLOOD record). Second witness read end-to-end: Make Christ King no. 206 (Chicago: E. O. Excell, 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1 px, same Mary Runyon Lowry copyright foot (its chorus is a volta repeat carrying two texted lines, so it witnesses bars 13-14 only structurally). The 1869 original was then read at 9-12x at every point of disagreement and is the text that ships. The whole reading was done TWICE independently \u2014 an initial import read and a full adversarial re-verification (fresh column tables, fresh probes, fresh crops) that caught the bar-15 rhythm and the GTH bar-14 note (corrected at merge review \u2014 no omission) below. Per-chord measurements, the collation, and the deciding crops: review/shall-we-gather/READING.md. WITNESS DIVERGENCES (each resolved original + one reprint against the other): bar 4 \"trod\" \u2014 soprano two slurred halves F4-Bb4 over stemless wholes (BJ+GTH ship; MCK's moving inner voices \u2014 A D4-F4, T Bb3-D3, B Bb2 tied \u2014 machine-reproduced at its cols x1418/x1498 and not adopted); bars 1/5 sixteenth-note alto E-flat4 (BJ at 12x, head offset right of the soprano F4 straddling the bottom line, own down-stem and double hook, at BOTH spots + GTH; MCK's ambiguous D4-leaning columns not adopted); bar 6 \"ing\" = Ab4/F4 over Bb3/Eb3, V7 (BJ machine col x756 + MCK col x817; GTH's IV6-4 variant \u2014 Ab4/Eb4 over C4/Eb3, confirmed at 14x both staves \u2014 recorded); bar 9 \"we'll\" = C5 (GTH+MCK machine; BJ's 12x crop shows the head plainly in the C5 space and the slur ink above that made BJ's own column read say D5); bar 9 alto A-flat4 pedal (BJ+MCK; GTH's E-flat4 variant is bar 9 ONLY \u2014 GTH's own bar-13 alto is A-flat4 like the others); bar 11 \"beau-ti-ful\" diatonic / pairs both passes (BJ cols x624/x809 + MCK cols x718/x958; GTH alone re-touches chromatically \u2014 first pass with a printed natural, second pass \u2014 recorded, not reproduced); bar 14 \"er,\" tenor E-flat4 (BJ row-ink probe: C4 AND E4 ledgers both print with the head on the E4 ledger; the merge-review re-measurement of gth_0135.jp2 staff 9 x1025-1110 found the same full tenor signature on GTH too \u2014 the first read's \"GTH omits it\" was a probe miss, so all three witnesses corroborate the shipped E-flat4; MCK's volta shares bar 10's chord there and is silent). RHYTHM RULING ON BAR 15: all three witnesses print the \"the\" pair DOTTED (dotted-eighth + sixteenth, all four voices \u2014 BJ dots and single-then-double hooks at 9x in both staves, GTH dots and double flags at 10x in both staves, MCK volta-2 dots) where bar 7's verse pairs and both bars' \"of\" pairs are EVEN (single beam, no dots, all three witnesses); encoded accordingly \u2014 bar 15 is NOT a copy of bar 7. ACCIDENTALS: exactly TWO ship \u2014 the tenor's printed B-natural3 in bars 9 and 13 (C4 - B-natural3 - C4 chromatic lower neighbour over held A-flat3, the B3 head offset right of the A-flat3 because they are a second apart; glyph read at 6x on GTH, glyph-plus-head pattern reproduced on BJ and MCK). The RULE 2b sweep covered every column of every staff on the primary at 6x+ and both other witnesses at each hit; no other accidental appears on the encoded text. DEPARTURES: soprano/alto slurs added over the plates' flagged-or-beamed two-note melisma pairs in bars 7, 11, 15 so the underlay follows the melisma (the bar-4 slur IS printed on all three witnesses); GTH's bar-4 stray hold-curve and its bar-10 \"p\" dynamic are not reproduced; system breaks are at poetic line ends. Tenor/bass unisons on one notehead (bar 9 \"the\", bar 13) are left to LilyPond's default collision resolver. No ties; no fermata; no Amen on any witness and none encoded. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1869 Bright Jewels page image (archive.org brightjewelsfors00lowr_0, leaf 0114), with the high-resolution measured read done on the same setting's reprint in Great Tabernacle Hymns (archive.org greatt00weig, leaf 0135, notes-corroboration only) and collated end-to-end against Make Christ King, 1912 (archive.org makechristkingse00exce, leaf 0201). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HANSON PLACE (8.7.8.7 with Refrain) \u2014 \"Shall We Gather at the River?\"\n%% Robert Lowry, words and music, 1864; his own four-part setting, E-flat\n%% major, 4/4, no pickup, 16 bars (8 verse + 8 chorus). RULES (CI-enforced):\n%% exactly the variables soprano/alto/tenor/bass/global; absolute octaves;\n%% each voice rhythmically complete; NO chords <>, NO <<>>, NO \\break, NO\n%% \\bar, NO lyrics.\n%%\n%% SOURCES \u2014 THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR.\n%% (1) BJ: the ORIGINAL 1869 plate, \"BEAUTIFUL RIVER.\", p. 110 of Bright\n%% Jewels for the Sunday School (New York: Biglow & Main, 1869), archive.org\n%% brightjewelsfors00lowr_0 leaf 0114, staff space 20.8 px \u2014 the arbiter at\n%% every point where the reprints disagree, read by eye at 9-10x with the\n%% fitted grid. (2) GTH: Great Tabernacle Hymns no. 131 (archive.org\n%% greatt00weig leaf 0135, staff space 29.5-29.9 px, headed \"COPYRIGHT\n%% PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") \u2014 the PRIMARY MEASURED\n%% READ: every staff column-read with tools/noteread.py (grid resid mean\n%% 0.49-1.17 px) and every bar eye-read on grid crops at 6-13x. \u26a0 GTH IS NOT\n%% PD EVIDENCE \u2014 no date on its title page (see the POWER IN THE BLOOD record\n%% for the same book). (3) MCK: Make Christ King no. 206 (Chicago: Excell,\n%% 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1\n%% px \u2014 end-to-end structural collation; its chorus is engraved as a repeat\n%% with voltas. Full per-column measurements, the collation table and every\n%% arbitration crop: review/shall-we-gather/READING.md.\n%%\n%% WHAT SHIPS IS BJ'S TEXT AT EVERY DIVERGENCE, EACH WITH A SECOND WITNESS:\n%% - bar 4 \"trod\": soprano two slurred halves F4-Bb4 over STEMLESS WHOLES\n%% in A/T/B (BJ+GTH; MCK instead moves the inner voices A D4-F4,\n%% T Bb3-D3, B Bb2 tied \u2014 not reproduced).\n%% - bars 1/5 sixteenth (\"gath-er\", \"crys-tal\"): alto E-flat4 (BJ at 10x \u2014\n%% head offset right of the soprano F4, its own down-stem, straddling the\n%% bottom line \u2014 and GTH; MCK's columns suggest D4, not adopted).\n%% - bar 6 \"ing\": A-flat4/F4 over B-flat3/E-flat3, a V7 passing chord\n%% (BJ+MCK; GTH alone prints A-flat4/E-flat4 over C4/E-flat3, IV6-4).\n%% - bar 9 \"we'll\": soprano C5 (GTH at 6x + MCK; BJ's column table read D5\n%% from slur ink and the 9x crop bj_yeswell.png shows C5).\n%% - bar 9 alto: A-flat4 PEDAL under \"Yes, we'll gath-er at\" (BJ at 9x +\n%% MCK; GTH alone prints E-flat4 there \u2014 its fifth-supplying variant,\n%% not reproduced. In bar 13 GTH's own alto is A-flat4 like the others:\n%% the variant is bar 9 ONLY).\n%% - bar 14 \"er,\": tenor E-flat4 half on the two ledger lines (BJ, row-ink\n%% probe: both C4 and E4 ledgers printed with the head on the E4 ledger;\n%% MCK's volta shares bar 10's chord here). GTH alone OMITS this tenor \u2014\n%% its bar-14 \"er,\" is a three-voice chord \u2014 recorded, not reproduced.\n%% - bar 11 \"beau-ti-ful\" fabric: DIATONIC 8. 16\n%% twice (BJ+MCK). GTH alone re-touches it chromatically (first pass\n%% with a printed natural, second pass ); the GTH\n%% variant is recorded and NOT reproduced.\n%%\n%% THE TWO PRINTED ACCIDENTALS THAT SHIP (RULE 2b sweep, every column of\n%% every staff at 6x+, collated on all three witnesses): a NATURAL on the\n%% TENOR'S B3 in bar 9 (\"gath-ER\") and again in bar 13 (\"saints AT\") \u2014 the\n%% tenor walks C4 - B-natural3 - C4, a chromatic lower neighbour over the\n%% bass's held A-flat3, while the printed page offsets the B3 head right of\n%% the A-flat3 because they are a second apart. The natural is printed on\n%% GTH (read at 6x, glyph + offset pair), and BJ's and MCK's column patterns\n%% reproduce glyph-plus-head at the same spots. LilyPond prints both\n%% naturals automatically (B is flat in the signature). GTH's bar-11\n%% E-natural is NOT part of the encoded text (see above). No other\n%% accidental appears anywhere on any witness.\n%%\n%% RHYTHM. Bars 1/3/5 (and the chorus's 9/13) are the gospel dotted fabric:\n%% quarter, quarter, dotted-eighth+sixteenth twice \u2014 except bar 13, where the\n%% extra syllable (\"Gath-er with the saints at the riv-\") turns the opening\n%% quarters into a fourth dotted pair. Bar 2 \"riv-er\" is two halves; bar 6\n%% \"ev-er Flow-ing\" is half, quarter, two eighths; bar 10 \"riv-er, The\" is\n%% half, dotted-quarter, eighth; bar 14 \"er, That flows\" is half, quarter,\n%% quarter; bar 12 \"riv-er,\" two halves. Bar 7 (\"by the throne of\") runs\n%% quarter + paired EVEN EIGHTHS twice (beamed on GTH, flagged on BJ/MCK).\n%% Bar 15 is NOT identical to bar 7: all three witnesses print its \"the\"\n%% pair DOTTED (dotted-eighth + sixteenth \u2014 BJ dots + single-then-double\n%% hooks at 9x both staves, GTH dots + double flag at 10x both staves, MCK\n%% volta dots), while its \"of\" pair stays even (single beam, no dots, all\n%% three). Bars 8/16 \"God\" are whole notes in all four voices (S+A unison\n%% E-flat4, printed as one head).\n%%\n%% MELISMAS AND SLURS. The soprano is syllabic except six two-note melismas:\n%% \"trod\" (bar 4, slur PRINTED on all three witnesses), \"the\" and \"of\" in\n%% bars 7 and 15, and the second \"ful\" of bar 11. The plates print the\n%% bar-7/11/15 pairs as flagged-or-beamed pairs under one syllable without a\n%% slur mark; the corpus adds the soprano (and matching alto) slurs so the\n%% underlay follows the melisma \u2014 the same pitches-and-durations-are-the-\n%% plate's, mechanics-are-the-house-engraver's deviation recorded on POWER IN\n%% THE BLOOD for beaming. In bar 7 the tenor+bass strike ONE quarter under\n%% the soprano's \"the\"-pair (all three witnesses); in bar 15 they strike the\n%% DOTTED PAIR WITH the upper voices \u2014 dotted-eighth + sixteenth, B-flat3\n%% over B-flat2 (all three witnesses; see RHYTHM above). Under both\n%% \"of\"-pairs the tenor moves B-flat3 to A-flat3 while the bass holds a\n%% quarter (all three witnesses).\n%%\n%% TENOR AND BASS IN UNISON, one notehead with both stems, default collision\n%% resolver (POWER precedent): A-flat3 at bar 9's \"the\", and through bar 13's\n%% \"Gath-er with the\" and \"riv-\" (the lower staff prints a single head).\n%% Bars 2/6/10/12/14: the TENOR takes E-flat4 on two ledger lines above the\n%% bass staff at every \"riv\"/\"ev\"/\"er,\" half \u2014 settled by row-ink ledger\n%% probes (BOTH the C4 and E4 ledger dashes print, the head sits ON the E4\n%% ledger) at bars 2/6/10/12 on GTH and at all five spots incl. bar 14 on\n%% BJ 1869; GTH alone omits the bar-14 one (see divergences above). The\n%% C4-ledger dash makes a naive rings-arc read call it D4, which is wrong\n%% (see READING.md).\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly: (1) the slur mechanics above;\n%% (2) GTH's bar-4 stray hold-curve under the alto D4 whole (an engraver's\n%% courtesy at its system break; BJ and MCK print nothing there) is not\n%% reproduced; (3) the \"p\" GTH prints at bar 10-11 is not engraved (this\n%% corpus does not engrave dynamics); (4) system breaks are at poetic line\n%% ends, not any witness's own casting (BJ casts 3 oblong systems, GTH 4,\n%% MCK a volta repeat). NO ties anywhere; no fermata; NO Amen on any\n%% witness and none is encoded. No Cyber Hymnal asset, MIDI or modern\n%% edition was consulted at any point.\n\\version \"2.24.0\"\n\nglobal = { \\key ees \\major \\time 4/4 }\n\nsoprano = {\n g'4 g'4 g'8. f'16 g'8. aes'16 |\n bes'2 g'2 |\n aes'4 aes'4 aes'8. bes'16 aes'8. g'16 |\n f'2( bes'2) |\n g'4 g'4 g'8. f'16 g'8. aes'16 |\n bes'2 g'4 g'8 aes'8 |\n f'4 f'8( g'8) aes'4 g'8( f'8) |\n ees'1 |\n c''4 c''4 ees''8. d''16 ees''8. c''16 |\n bes'2 g'4. g'8 |\n aes'8. g'16 aes'8. g'16 aes'8. g'16 aes'8.( f'16) |\n g'2 bes'2 |\n c''8. c''16 c''8. c''16 ees''8. d''16 ees''8. c''16 |\n bes'2 g'4 g'4 |\n f'4 f'8.( g'16) aes'4 g'8( f'8) |\n ees'1\n}\n\nalto = {\n ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n g'2 ees'2 |\n f'4 f'4 f'8. g'16 f'8. ees'16 |\n d'1 |\n ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n g'2 ees'4 ees'8 f'8 |\n d'4 d'8( ees'8) f'4 ees'8( d'8) |\n ees'1 |\n aes'4 aes'4 aes'8. aes'16 aes'8. aes'16 |\n g'2 ees'4. ees'8 |\n f'8. ees'16 f'8. ees'16 f'8. ees'16 f'8.( d'16) |\n ees'2 g'2 |\n aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 |\n g'2 ees'4 ees'4 |\n d'4 d'8.( ees'16) f'4 ees'8( d'8) |\n ees'1\n}\n\ntenor = {\n bes4 bes4 bes8. bes16 bes8. bes16 |\n ees'2 bes2 |\n bes4 bes4 bes8. bes16 bes8. bes16 |\n bes1 |\n bes4 bes4 bes8. bes16 bes8. bes16 |\n ees'2 bes4 bes8 bes8 |\n bes4 bes4 bes4 bes8 aes8 |\n g1 |\n c'4 c'4 c'8. b16 c'8. aes16 |\n ees'2 bes4. bes8 |\n bes8. bes16 bes8. bes16 bes8. bes16 bes4 |\n bes2 ees'2 |\n aes8. aes16 aes8. aes16 c'8. b16 c'8. aes16 |\n ees'2 bes4 bes4 |\n bes4 bes8. bes16 bes4 bes8 aes8 |\n g1\n}\n\nbass = {\n ees4 ees4 ees8. ees16 ees8. ees16 |\n ees2 ees2 |\n bes,4 bes,4 bes,8. bes,16 bes,8. bes,16 |\n bes,1 |\n ees4 ees4 ees8. ees16 ees8. ees16 |\n ees2 ees4 ees8 ees8 |\n bes,4 bes,4 bes,4 bes,4 |\n ees1 |\n aes4 aes4 aes8. aes16 aes8. aes16 |\n ees2 ees4. ees8 |\n bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,4 |\n ees2 ees2 |\n aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 |\n ees2 ees4 ees4 |\n bes,4 bes,8. bes,16 bes,4 bes,4 |\n ees1\n}\n"}, "harmonizations": [{"slug": "hanson-place-bright-jewels-1869", "tune": "hanson-place", "music_file": "hanson-place-bright-jewels-1869.ly", "canonical_key": {"tonic": "ees", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 24, 33, 41, 52, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 34}, "markings": [{"soprano_note": 34, "kind": "refrain"}], "provenance": {"layer": "harmonization", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_evidence": "Robert Lowry's own four-part setting of his own 1864 tune and words, encoded from the composer's own collection: Bright Jewels for the Sunday School (New York: Biglow & Main, 1869), p. 110, \"BEAUTIFUL RIVER.\", credited \"R. L.\" \u2014 archive.org item brightjewelsfors00lowr_0, leaf 0114 (the jp2 master leaf is committed at review/shall-we-gather/bj_0114.jp2). US public domain by publication in 1869; Lowry died in 1899, so it is also PD in life+70 jurisdictions. HOW IT WAS READ \u2014 THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR. The 1869 plate's 20.8 px staff space is below the noteread rig's reliable range (the register's wave-2 attempt stopped exactly there), so the measured primary was the highest-resolution reprint of the same setting: Great Tabernacle Hymns no. 131 (archive.org greatt00weig leaf 0135, staff space 29.5-29.9 px, \"COPYRIGHT PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") \u2014 every staff column-read with tools/noteread.py at grid residual 0.31-1.02 px mean, every bar eye-read on grid-overlay crops at 6-14x, bass staves re-run after the first pass's vertical fence cut off the tenor's ledger notes, and the five tenor ledger notes settled by row-ink probes that count the C4/E4 ledger dashes explicitly. \u26a0 greatt00weig IS NOT PD EVIDENCE (undated title page; see the POWER IN THE BLOOD record). Second witness read end-to-end: Make Christ King no. 206 (Chicago: E. O. Excell, 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1 px, same Mary Runyon Lowry copyright foot (its chorus is a volta repeat carrying two texted lines, so it witnesses bars 13-14 only structurally). The 1869 original was then read at 9-12x at every point of disagreement and is the text that ships. The whole reading was done TWICE independently \u2014 an initial import read and a full adversarial re-verification (fresh column tables, fresh probes, fresh crops) that caught the bar-15 rhythm and the GTH bar-14 note (corrected at merge review \u2014 no omission) below. Per-chord measurements, the collation, and the deciding crops: review/shall-we-gather/READING.md. WITNESS DIVERGENCES (each resolved original + one reprint against the other): bar 4 \"trod\" \u2014 soprano two slurred halves F4-Bb4 over stemless wholes (BJ+GTH ship; MCK's moving inner voices \u2014 A D4-F4, T Bb3-D3, B Bb2 tied \u2014 machine-reproduced at its cols x1418/x1498 and not adopted); bars 1/5 sixteenth-note alto E-flat4 (BJ at 12x, head offset right of the soprano F4 straddling the bottom line, own down-stem and double hook, at BOTH spots + GTH; MCK's ambiguous D4-leaning columns not adopted); bar 6 \"ing\" = Ab4/F4 over Bb3/Eb3, V7 (BJ machine col x756 + MCK col x817; GTH's IV6-4 variant \u2014 Ab4/Eb4 over C4/Eb3, confirmed at 14x both staves \u2014 recorded); bar 9 \"we'll\" = C5 (GTH+MCK machine; BJ's 12x crop shows the head plainly in the C5 space and the slur ink above that made BJ's own column read say D5); bar 9 alto A-flat4 pedal (BJ+MCK; GTH's E-flat4 variant is bar 9 ONLY \u2014 GTH's own bar-13 alto is A-flat4 like the others); bar 11 \"beau-ti-ful\" diatonic / pairs both passes (BJ cols x624/x809 + MCK cols x718/x958; GTH alone re-touches chromatically \u2014 first pass with a printed natural, second pass \u2014 recorded, not reproduced); bar 14 \"er,\" tenor E-flat4 (BJ row-ink probe: C4 AND E4 ledgers both print with the head on the E4 ledger; the merge-review re-measurement of gth_0135.jp2 staff 9 x1025-1110 found the same full tenor signature on GTH too \u2014 the first read's \"GTH omits it\" was a probe miss, so all three witnesses corroborate the shipped E-flat4; MCK's volta shares bar 10's chord there and is silent). RHYTHM RULING ON BAR 15: all three witnesses print the \"the\" pair DOTTED (dotted-eighth + sixteenth, all four voices \u2014 BJ dots and single-then-double hooks at 9x in both staves, GTH dots and double flags at 10x in both staves, MCK volta-2 dots) where bar 7's verse pairs and both bars' \"of\" pairs are EVEN (single beam, no dots, all three witnesses); encoded accordingly \u2014 bar 15 is NOT a copy of bar 7. ACCIDENTALS: exactly TWO ship \u2014 the tenor's printed B-natural3 in bars 9 and 13 (C4 - B-natural3 - C4 chromatic lower neighbour over held A-flat3, the B3 head offset right of the A-flat3 because they are a second apart; glyph read at 6x on GTH, glyph-plus-head pattern reproduced on BJ and MCK). The RULE 2b sweep covered every column of every staff on the primary at 6x+ and both other witnesses at each hit; no other accidental appears on the encoded text. DEPARTURES: soprano/alto slurs added over the plates' flagged-or-beamed two-note melisma pairs in bars 7, 11, 15 so the underlay follows the melisma (the bar-4 slur IS printed on all three witnesses); GTH's bar-4 stray hold-curve and its bar-10 \"p\" dynamic are not reproduced; system breaks are at poetic line ends. Tenor/bass unisons on one notehead (bar 9 \"the\", bar 13) are left to LilyPond's default collision resolver. No ties; no fermata; no Amen on any witness and none encoded. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1869 Bright Jewels page image (archive.org brightjewelsfors00lowr_0, leaf 0114), with the high-resolution measured read done on the same setting's reprint in Great Tabernacle Hymns (archive.org greatt00weig, leaf 0135, notes-corroboration only) and collated end-to-end against Make Christ King, 1912 (archive.org makechristkingse00exce, leaf 0201). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HANSON PLACE (8.7.8.7 with Refrain) \u2014 \"Shall We Gather at the River?\"\n%% Robert Lowry, words and music, 1864; his own four-part setting, E-flat\n%% major, 4/4, no pickup, 16 bars (8 verse + 8 chorus). RULES (CI-enforced):\n%% exactly the variables soprano/alto/tenor/bass/global; absolute octaves;\n%% each voice rhythmically complete; NO chords <>, NO <<>>, NO \\break, NO\n%% \\bar, NO lyrics.\n%%\n%% SOURCES \u2014 THREE WITNESSES, MAJORITY-OF-THREE WITH THE ORIGINAL AS ANCHOR.\n%% (1) BJ: the ORIGINAL 1869 plate, \"BEAUTIFUL RIVER.\", p. 110 of Bright\n%% Jewels for the Sunday School (New York: Biglow & Main, 1869), archive.org\n%% brightjewelsfors00lowr_0 leaf 0114, staff space 20.8 px \u2014 the arbiter at\n%% every point where the reprints disagree, read by eye at 9-10x with the\n%% fitted grid. (2) GTH: Great Tabernacle Hymns no. 131 (archive.org\n%% greatt00weig leaf 0135, staff space 29.5-29.9 px, headed \"COPYRIGHT\n%% PROPERTY OF MARY RUNYON LOWRY. USED BY PERMISSION.\") \u2014 the PRIMARY MEASURED\n%% READ: every staff column-read with tools/noteread.py (grid resid mean\n%% 0.49-1.17 px) and every bar eye-read on grid crops at 6-13x. \u26a0 GTH IS NOT\n%% PD EVIDENCE \u2014 no date on its title page (see the POWER IN THE BLOOD record\n%% for the same book). (3) MCK: Make Christ King no. 206 (Chicago: Excell,\n%% 1912), archive.org makechristkingse00exce leaf 0201, staff space 22.8-23.1\n%% px \u2014 end-to-end structural collation; its chorus is engraved as a repeat\n%% with voltas. Full per-column measurements, the collation table and every\n%% arbitration crop: review/shall-we-gather/READING.md.\n%%\n%% WHAT SHIPS IS BJ'S TEXT AT EVERY DIVERGENCE, EACH WITH A SECOND WITNESS:\n%% - bar 4 \"trod\": soprano two slurred halves F4-Bb4 over STEMLESS WHOLES\n%% in A/T/B (BJ+GTH; MCK instead moves the inner voices A D4-F4,\n%% T Bb3-D3, B Bb2 tied \u2014 not reproduced).\n%% - bars 1/5 sixteenth (\"gath-er\", \"crys-tal\"): alto E-flat4 (BJ at 10x \u2014\n%% head offset right of the soprano F4, its own down-stem, straddling the\n%% bottom line \u2014 and GTH; MCK's columns suggest D4, not adopted).\n%% - bar 6 \"ing\": A-flat4/F4 over B-flat3/E-flat3, a V7 passing chord\n%% (BJ+MCK; GTH alone prints A-flat4/E-flat4 over C4/E-flat3, IV6-4).\n%% - bar 9 \"we'll\": soprano C5 (GTH at 6x + MCK; BJ's column table read D5\n%% from slur ink and the 9x crop bj_yeswell.png shows C5).\n%% - bar 9 alto: A-flat4 PEDAL under \"Yes, we'll gath-er at\" (BJ at 9x +\n%% MCK; GTH alone prints E-flat4 there \u2014 its fifth-supplying variant,\n%% not reproduced. In bar 13 GTH's own alto is A-flat4 like the others:\n%% the variant is bar 9 ONLY).\n%% - bar 14 \"er,\": tenor E-flat4 half on the two ledger lines (BJ, row-ink\n%% probe: both C4 and E4 ledgers printed with the head on the E4 ledger;\n%% MCK's volta shares bar 10's chord here). GTH alone OMITS this tenor \u2014\n%% its bar-14 \"er,\" is a three-voice chord \u2014 recorded, not reproduced.\n%% - bar 11 \"beau-ti-ful\" fabric: DIATONIC 8. 16\n%% twice (BJ+MCK). GTH alone re-touches it chromatically (first pass\n%% with a printed natural, second pass ); the GTH\n%% variant is recorded and NOT reproduced.\n%%\n%% THE TWO PRINTED ACCIDENTALS THAT SHIP (RULE 2b sweep, every column of\n%% every staff at 6x+, collated on all three witnesses): a NATURAL on the\n%% TENOR'S B3 in bar 9 (\"gath-ER\") and again in bar 13 (\"saints AT\") \u2014 the\n%% tenor walks C4 - B-natural3 - C4, a chromatic lower neighbour over the\n%% bass's held A-flat3, while the printed page offsets the B3 head right of\n%% the A-flat3 because they are a second apart. The natural is printed on\n%% GTH (read at 6x, glyph + offset pair), and BJ's and MCK's column patterns\n%% reproduce glyph-plus-head at the same spots. LilyPond prints both\n%% naturals automatically (B is flat in the signature). GTH's bar-11\n%% E-natural is NOT part of the encoded text (see above). No other\n%% accidental appears anywhere on any witness.\n%%\n%% RHYTHM. Bars 1/3/5 (and the chorus's 9/13) are the gospel dotted fabric:\n%% quarter, quarter, dotted-eighth+sixteenth twice \u2014 except bar 13, where the\n%% extra syllable (\"Gath-er with the saints at the riv-\") turns the opening\n%% quarters into a fourth dotted pair. Bar 2 \"riv-er\" is two halves; bar 6\n%% \"ev-er Flow-ing\" is half, quarter, two eighths; bar 10 \"riv-er, The\" is\n%% half, dotted-quarter, eighth; bar 14 \"er, That flows\" is half, quarter,\n%% quarter; bar 12 \"riv-er,\" two halves. Bar 7 (\"by the throne of\") runs\n%% quarter + paired EVEN EIGHTHS twice (beamed on GTH, flagged on BJ/MCK).\n%% Bar 15 is NOT identical to bar 7: all three witnesses print its \"the\"\n%% pair DOTTED (dotted-eighth + sixteenth \u2014 BJ dots + single-then-double\n%% hooks at 9x both staves, GTH dots + double flag at 10x both staves, MCK\n%% volta dots), while its \"of\" pair stays even (single beam, no dots, all\n%% three). Bars 8/16 \"God\" are whole notes in all four voices (S+A unison\n%% E-flat4, printed as one head).\n%%\n%% MELISMAS AND SLURS. The soprano is syllabic except six two-note melismas:\n%% \"trod\" (bar 4, slur PRINTED on all three witnesses), \"the\" and \"of\" in\n%% bars 7 and 15, and the second \"ful\" of bar 11. The plates print the\n%% bar-7/11/15 pairs as flagged-or-beamed pairs under one syllable without a\n%% slur mark; the corpus adds the soprano (and matching alto) slurs so the\n%% underlay follows the melisma \u2014 the same pitches-and-durations-are-the-\n%% plate's, mechanics-are-the-house-engraver's deviation recorded on POWER IN\n%% THE BLOOD for beaming. In bar 7 the tenor+bass strike ONE quarter under\n%% the soprano's \"the\"-pair (all three witnesses); in bar 15 they strike the\n%% DOTTED PAIR WITH the upper voices \u2014 dotted-eighth + sixteenth, B-flat3\n%% over B-flat2 (all three witnesses; see RHYTHM above). Under both\n%% \"of\"-pairs the tenor moves B-flat3 to A-flat3 while the bass holds a\n%% quarter (all three witnesses).\n%%\n%% TENOR AND BASS IN UNISON, one notehead with both stems, default collision\n%% resolver (POWER precedent): A-flat3 at bar 9's \"the\", and through bar 13's\n%% \"Gath-er with the\" and \"riv-\" (the lower staff prints a single head).\n%% Bars 2/6/10/12/14: the TENOR takes E-flat4 on two ledger lines above the\n%% bass staff at every \"riv\"/\"ev\"/\"er,\" half \u2014 settled by row-ink ledger\n%% probes (BOTH the C4 and E4 ledger dashes print, the head sits ON the E4\n%% ledger) at bars 2/6/10/12 on GTH and at all five spots incl. bar 14 on\n%% BJ 1869; GTH alone omits the bar-14 one (see divergences above). The\n%% C4-ledger dash makes a naive rings-arc read call it D4, which is wrong\n%% (see READING.md).\n%%\n%% DEPARTURES FROM THE PAGE, stated plainly: (1) the slur mechanics above;\n%% (2) GTH's bar-4 stray hold-curve under the alto D4 whole (an engraver's\n%% courtesy at its system break; BJ and MCK print nothing there) is not\n%% reproduced; (3) the \"p\" GTH prints at bar 10-11 is not engraved (this\n%% corpus does not engrave dynamics); (4) system breaks are at poetic line\n%% ends, not any witness's own casting (BJ casts 3 oblong systems, GTH 4,\n%% MCK a volta repeat). NO ties anywhere; no fermata; NO Amen on any\n%% witness and none is encoded. No Cyber Hymnal asset, MIDI or modern\n%% edition was consulted at any point.\n\\version \"2.24.0\"\n\nglobal = { \\key ees \\major \\time 4/4 }\n\nsoprano = {\n g'4 g'4 g'8. f'16 g'8. aes'16 |\n bes'2 g'2 |\n aes'4 aes'4 aes'8. bes'16 aes'8. g'16 |\n f'2( bes'2) |\n g'4 g'4 g'8. f'16 g'8. aes'16 |\n bes'2 g'4 g'8 aes'8 |\n f'4 f'8( g'8) aes'4 g'8( f'8) |\n ees'1 |\n c''4 c''4 ees''8. d''16 ees''8. c''16 |\n bes'2 g'4. g'8 |\n aes'8. g'16 aes'8. g'16 aes'8. g'16 aes'8.( f'16) |\n g'2 bes'2 |\n c''8. c''16 c''8. c''16 ees''8. d''16 ees''8. c''16 |\n bes'2 g'4 g'4 |\n f'4 f'8.( g'16) aes'4 g'8( f'8) |\n ees'1\n}\n\nalto = {\n ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n g'2 ees'2 |\n f'4 f'4 f'8. g'16 f'8. ees'16 |\n d'1 |\n ees'4 ees'4 ees'8. ees'16 ees'8. f'16 |\n g'2 ees'4 ees'8 f'8 |\n d'4 d'8( ees'8) f'4 ees'8( d'8) |\n ees'1 |\n aes'4 aes'4 aes'8. aes'16 aes'8. aes'16 |\n g'2 ees'4. ees'8 |\n f'8. ees'16 f'8. ees'16 f'8. ees'16 f'8.( d'16) |\n ees'2 g'2 |\n aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 aes'8. aes'16 |\n g'2 ees'4 ees'4 |\n d'4 d'8.( ees'16) f'4 ees'8( d'8) |\n ees'1\n}\n\ntenor = {\n bes4 bes4 bes8. bes16 bes8. bes16 |\n ees'2 bes2 |\n bes4 bes4 bes8. bes16 bes8. bes16 |\n bes1 |\n bes4 bes4 bes8. bes16 bes8. bes16 |\n ees'2 bes4 bes8 bes8 |\n bes4 bes4 bes4 bes8 aes8 |\n g1 |\n c'4 c'4 c'8. b16 c'8. aes16 |\n ees'2 bes4. bes8 |\n bes8. bes16 bes8. bes16 bes8. bes16 bes4 |\n bes2 ees'2 |\n aes8. aes16 aes8. aes16 c'8. b16 c'8. aes16 |\n ees'2 bes4 bes4 |\n bes4 bes8. bes16 bes4 bes8 aes8 |\n g1\n}\n\nbass = {\n ees4 ees4 ees8. ees16 ees8. ees16 |\n ees2 ees2 |\n bes,4 bes,4 bes,8. bes,16 bes,8. bes,16 |\n bes,1 |\n ees4 ees4 ees8. ees16 ees8. ees16 |\n ees2 ees4 ees8 ees8 |\n bes,4 bes,4 bes,4 bes,4 |\n ees1 |\n aes4 aes4 aes8. aes16 aes8. aes16 |\n ees2 ees4. ees8 |\n bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,4 |\n ees2 ees2 |\n aes8. aes16 aes8. aes16 aes8. aes16 aes8. aes16 |\n ees2 ees4 ees4 |\n bes,4 bes,8. bes,16 bes,4 bes,4 |\n ees1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}