{"slug": "harvest", "name": "HARVEST", "meter_label": "12.11.12.11 with Refrain", "meter": {"pattern": [12, 11, 12, 11], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "george-a-minor", "composer_date": "1880", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "harvest-1885", "provenance": {"layer": "tune", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by George A. Minor (1845-1904), written in 1880 for Knowles Shaw's 1874 text. Read here from the dated page image of Songs of Joy and Gladness (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 \u2014 archive.org songsofjoygladne00mcdo_0, image n40 \u2014 which credits \"Music by Geo. A. Minor. By per.\" on the staff, and re-read end to end on a second, independent scan of a different copy of the same 1885 printing (archive.org songsofjoygladne00mcdo, image n40). US public domain by publication before 1929; the composer died in 1904, so it is also PD in life+70 jurisdictions. TWO TUNES CARRY THIS TEXT and this is the second of them. Knowles Shaw wrote his own setting in 1874; George A. Minor's 1880 tune, called HARVEST, is the one everybody sings. The plate read here settles which is which in two independent ways. (1) The staff credit names only Minor as composer: it prints \"Words from 'Songs of Glory.'\" on the left \u2014 a collection, not a person \u2014 and \"Music by Geo. A. Minor. By per.\" on the right, so Shaw is not the composer of what is engraved here. A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the two credits explicitly: \"KNOWLES SHAW.\" on the left for the words and \"GEORGE A. MINOR, by per.\" on the right for the music. (2) The melody itself is the familiar one: in B-flat major the soprano opens F4 F4 F4 G4 F4 D4 \u2014 scale degrees 5 5 5 6 5 3 on \"Sow -- ing in the morn -- ing,\" \u2014 rises to 8 8 8 9 8 6 on \"sow -- ing seeds of kind -- ness,\" and the chorus enters on 3 5 5 6 5 for \"Bring -- ing in the sheaves,\". PYTHONPATH=. python3 tools/tune_fingerprint.py finds no corpus melody with any similarity at all to it (best match 0.00, YORKSHIRE), so this is not a duplicate of anything already imported. The 1885 plate does not print a tune name on the staff \u2014 gospel collections of this kind rarely do \u2014 so the name HARVEST is the one the hymnals and Hymnary carry for Minor's tune; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "harvest-1885", "tune": "harvest", "music_file": "harvest-1885.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 23, 35, 46, 56, 67, 77], "breaks_manual": true, "markings": [{"soprano_note": 47, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 47}, "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "George A. Minor's tune in the four-part setting engraved in Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney & W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 \u2014 archive.org item songsofjoygladne00mcdo_0, image n40 \u2014 credited on the staff \"Words from 'Songs of Glory.'\" and \"Music by Geo. A. Minor. By per.\" WHICH TUNE THIS IS: two settings carry Knowles Shaw's text, Shaw's own of 1874 and Minor's HARVEST of 1880. This is Minor's, and the plate itself says so \u2014 the only composer named on it is \"Geo. A. Minor\", the left-hand credit is to a collection (\"Songs of Glory\") and not to a person, and the soprano is the familiar melody (F4 F4 F4 G4 F4 D4 on \"Sow -- ing in the morn -- ing,\"). A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the credits explicitly, \"KNOWLES SHAW.\" for the words against \"GEORGE A. MINOR, by per.\" for the music. HOW THE NOTES WERE READ. Every chord of all four voices was measured notehead by notehead off that 1885 scan by a rig that re-finds the five staff lines LOCALLY around each notehead's own x (a long horizontal opening of the ink, so a notehead can never drag its own reference lines), binarises against the LOCAL paper level per column slab, isolates heads by morphological erosion sized in staff spaces, splits merged soprano-over-alto blobs on the midpoint of their two clean outer edges with the separation snapped to a whole staff step, and converts each centroid to a diatonic step by interpolation between the two nearest local lines. The plate's staff space is 28.5 px, so one diatonic step is 14.25 px. 299 solid noteheads were measured; the worst residual from an exact staff position was 0.27 of a step and the median about 0.09, against a decision boundary of 0.5. THE INDEPENDENT CHECK IS A SECOND SCAN, NOT THIS ONE. The whole page was then read end to end again on a physically different copy of the same 1885 printing \u2014 archive.org songsofjoygladne00mcdo, image n40, staff space 22.8 px \u2014 by the same rig with its own binarisation and its own staff-line fits. The two readings agree at every chord of all sixteen bars; where one scan missed a head (a hollow half-note ring, or a head merged into its neighbour) the other supplied it, and the twelve half-note chords were additionally magnified to 8-11x on both scans and read by eye. No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used at any point, so nothing here can be checked against itself. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE \u2014 the notehead figure above covers NONE of them, because a head probe reads heads and not the sharps and flats in front of them. A second, shape-based pass hunted tall open glyphs inside the staff on both scans, and each candidate was then magnified to 11-12x and read by eye on both. The plate carries exactly three accidentals: a NATURAL on the soprano's b (B-natural 3) and a SHARP on the alto's g (G-sharp 3) at the fourth eighth of bar 4, and a NATURAL on the alto's e-flat (E-natural 4) at the fourth eighth of bar 12. Both bar-4 glyphs and the bar-12 glyph were identified by their strokes and by the midpoint of their two crossbars, which lands on the exact staff positions of those notes. Everything else takes the key signature: every B is B-flat and every E is E-flat. DEPARTURES FROM THE PAGE, STATED PLAINLY. (1) At four places the plate prints THREE noteheads on one stem in the lower staff \u2014 bar 11 third and fourth eighths and bar 15 third and fourth eighths, each time bes / f / bes, and confirmed on both scans. Divisi cannot be represented in this corpus, so the lower two are encoded (tenor f, bass bes,) and the topmost bes is dropped; the dropped note is a pure octave doubling of the bass, so no pitch of the chord is lost, and the tenor of bars 11 and 15 then reads exactly like the tenor of the parallel bar 7, where the same phrase prints only f / bes,. (2) Two very small specks sit just to the right of the first and fourth chords of bar 16 on BOTH scans, i.e. they are on the plate. They are read here as plate blemishes rather than augmentation dots \u2014 they are about half the area of this plate's real augmentation dots, only one appears per chord where real dots come in pairs, and neither is followed by a sixteenth's second flag \u2014 so bar 16 is encoded as four even eighths and a half note. (3) The plate's five-system casting is not reproduced; see the system_breaks comment above. Nothing else departs: no rest was added or removed, no restrike stands where the page holds, no slur or tie was added or dropped (the page prints none), no stanza was omitted, and there is no Amen on the page and none here. TENOR/BASS UNISONS ARE THE PAGE'S: where the lower staff prints one notehead carrying both an up-stem and a down-stem, both voices have that pitch \u2014 all of bar 4 (f), bar 8's fourth eighth (f), and bar 12's second eighth (bes).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1885 Songs of Joy and Gladness page image (archive.org songsofjoygladne00mcdo_0, image n40), read again end to end on a second, independent scan of a different copy of the same printing (archive.org songsofjoygladne00mcdo, image n40). No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HARVEST (12.11.12.11 with Refrain) \u2014 \"Bringing in the Sheaves\"\n%% George A. Minor's tune, key B-flat major, 4/4, no pickup, 16 bars\n%% (8-bar verse pair + 8-bar refrain). 88 soprano noteheads: 46 verse, 42 refrain.\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. Read notehead by notehead off the dated page image of\n%% Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney &\n%% W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page\n%% 37 \u2014 archive.org songsofjoygladne00mcdo_0, image n40 \u2014 headed \"Bringing in\n%% the Sheaves.\" and credited on the staff \"Words from 'Songs of Glory.'\" /\n%% \"Music by Geo. A. Minor.  By per.\" Every chord was then re-read END TO END on\n%% a SECOND, INDEPENDENT SCAN of a DIFFERENT physical copy of the same 1885\n%% printing \u2014 archive.org songsofjoygladne00mcdo, image n40 \u2014 by the same rig\n%% with its own binarisation, its own staff-line fits and its own staff space\n%% (28.5 px on the first scan, 22.8 px on the second).\n%%\n%% WHICH TUNE THIS IS. Two different tunes carry Knowles Shaw's text: Shaw's own\n%% 1874 setting and George A. Minor's 1880 HARVEST. The page read here names\n%% \"Geo. A. Minor\" on the staff and does NOT name Shaw as composer (it credits\n%% the WORDS only, and to the collection \"Songs of Glory\", not to a person); its\n%% soprano is the melody everyone sings \u2014 5 5 5 6 5 3 / 8 8 8 9 8 6 in B-flat,\n%% \"Sow-ing in the morn-ing\" on f' f' f' g' f' d'. This is Minor's HARVEST.\n%%\n%% MEASUREMENT, NOT EYESIGHT. Pitches were taken by a notehead rig: local paper\n%% level per column slab; the five staff lines recovered LOCALLY as a function of\n%% x by a long horizontal opening of the ink (so a notehead's own ink can never\n%% drag its own reference lines); heads isolated by morphological erosion sized\n%% in staff spaces; merged soprano-over-alto blobs split on the midpoint of their\n%% clean outer edges with the separation snapped to a whole staff step; each\n%% centroid converted to a diatonic step by interpolation between the two nearest\n%% local lines. 299 solid noteheads were measured on scan 1; the worst residual\n%% was 0.27 of a diatonic step and the median about 0.09 (tolerance 0.5 is the\n%% decision boundary between adjacent steps). The 32 HOLLOW (half-note) heads\n%% were measured separately \u2014 the ring's own clean outer edges in a narrow\n%% central strip \u2014 and each was additionally read by eye at 8-11x on both scans.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and flats in front of them, so the automated figure above covers NO\n%% accidental. Every accidental was hunted with a second, shape-based pass (tall\n%% open glyphs inside the staff) and then magnified to 11-12x on BOTH scans and\n%% read by eye. The plate carries exactly THREE:\n%%   * bar 4, fourth eighth: a NATURAL on the soprano's b (B-natural 3) and a\n%%     SHARP on the alto's g (G-sharp 3) \u2014 the chromatic double neighbour that\n%%     resolves to the half-note c'/a over the F pedal (a half cadence on V);\n%%   * bar 12, fourth eighth: a NATURAL on the alto's e' (E-natural 4), making\n%%     the chord g/c'/e'/bes' = C7, which resolves to the F-major half note.\n%% Both glyphs were identified by their strokes (a natural's left stroke runs UP\n%% and its right stroke DOWN; a sharp's two verticals both overrun both bars) and\n%% by the midpoint of their two crossbars, which lands on step -3 and step -5 of\n%% the treble staff in bar 4 and on step 0 in bar 12. Everything else takes the\n%% key signature: every B is B-flat and every E is E-flat.\n%%\n%% STRICTLY SYLLABIC. The plate prints NO slur and NO tie anywhere in the piece;\n%% every one of the 88 soprano noteheads carries its own syllable. There are no\n%% grace notes, no fermatas, no repeat signs, no dynamics and no Amen.\n%%\n%% RHYTHM. Four patterns, each verified by eye at 3-7x (flags counted, dots\n%% looked for) and cross-checked against the engraver's horizontal spacing:\n%%   bars 1,2,3,5,6  8 8 8. 16 4 4   (dotted eighth + sixteenth on \"in the\")\n%%   bars 7,11,15    8 8 8 8 4 4     (four even eighths, no dot, no sixteenth)\n%%   bars 4,8,12,16  8 8 8 8 2\n%%   bars 9,10,13,14 8 8 8. 16 2\n%% In the dotted bars the plate prints TWO augmentation dots (one at each\n%% notehead of the chord) and a DOUBLE flag on the following sixteenth, and the\n%% dotted note is given ~116 px of width against ~86 px for a plain eighth; in\n%% the even bars there is no dot, no second flag, and the spacing is uniform.\n%% DEPARTURE DECLARED: two very small specks sit just right of the first and\n%% fourth chords of bar 16 on BOTH scans (they are on the plate, not the paper).\n%% They are read here as plate blemishes, not augmentation dots: they are about\n%% half the area of this plate's real augmentation dots, only one appears per\n%% chord where real dots come in pairs, and neither is followed by a sixteenth's\n%% second flag; bar 16 is therefore encoded as four even eighths and a half note.\n%%\n%% TENOR/BASS UNISONS ARE THE PAGE'S. Where the lower staff prints ONE notehead\n%% carrying both an up-stem and a down-stem, both voices have that pitch: all of\n%% bar 4 (f throughout, four eighths and the half), bar 8's fourth eighth (f),\n%% and bar 12's second eighth (bes). LilyPond's default collision resolver is\n%% left to kiss those noteheads.\n%%\n%% DEPARTURE DECLARED \u2014 THREE-NOTE CHORDS IN THE LOWER STAFF. At four places the\n%% plate prints THREE noteheads on one stem in the bass staff: bar 11 third and\n%% fourth eighths, and bar 15 third and fourth eighths, each time bes / f / bes,\n%% (confirmed on both scans). Divisi cannot be represented in this corpus, so the\n%% LOWER TWO are encoded (tenor f, bass bes,) and the topmost bes is DROPPED. The\n%% dropped note is a pure octave doubling of the bass, so no pitch of the chord\n%% is lost, and it makes the tenor of bars 11 and 15 read exactly like the tenor\n%% of the parallel bar 7, where the same phrase prints only f / bes,.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  d'8 d'8 c'8 b8 c'2 |\n  d'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  d''8 d''8 c''8 bes'8 c''2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2\n}\n\nalto = {\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  bes8 bes8 a8 gis8 a2 |\n  bes8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 d'4 |\n  f'8 f'8 f'8 e'8 f'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 f8 f8 f8 f2 |\n  f8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 f8 f2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 f4 |\n  bes8 bes8 c'8 c'8 a2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 a8 bes2\n}\n\nbass = {\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  f8 f8 f8 f8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 bes,4 |\n  bes,8 bes8 a8 g8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2\n}\n"}, "harmonizations": [{"slug": "harvest-1885", "tune": "harvest", "music_file": "harvest-1885.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [12, 23, 35, 46, 56, 67, 77], "breaks_manual": true, "markings": [{"soprano_note": 47, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 47}, "provenance": {"layer": "harmonization", "source": "songs-of-joy-and-gladness-1885", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "George A. Minor's tune in the four-part setting engraved in Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney & W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page 37 \u2014 archive.org item songsofjoygladne00mcdo_0, image n40 \u2014 credited on the staff \"Words from 'Songs of Glory.'\" and \"Music by Geo. A. Minor. By per.\" WHICH TUNE THIS IS: two settings carry Knowles Shaw's text, Shaw's own of 1874 and Minor's HARVEST of 1880. This is Minor's, and the plate itself says so \u2014 the only composer named on it is \"Geo. A. Minor\", the left-hand credit is to a collection (\"Songs of Glory\") and not to a person, and the soprano is the familiar melody (F4 F4 F4 G4 F4 D4 on \"Sow -- ing in the morn -- ing,\"). A second dated printing, Gospel Hymns Nos. 1 to 6 (1894), no. 609 (archive.org gospelhymnsnos1t0000unse_s2j5, image n612), separates the credits explicitly, \"KNOWLES SHAW.\" for the words against \"GEORGE A. MINOR, by per.\" for the music. HOW THE NOTES WERE READ. Every chord of all four voices was measured notehead by notehead off that 1885 scan by a rig that re-finds the five staff lines LOCALLY around each notehead's own x (a long horizontal opening of the ink, so a notehead can never drag its own reference lines), binarises against the LOCAL paper level per column slab, isolates heads by morphological erosion sized in staff spaces, splits merged soprano-over-alto blobs on the midpoint of their two clean outer edges with the separation snapped to a whole staff step, and converts each centroid to a diatonic step by interpolation between the two nearest local lines. The plate's staff space is 28.5 px, so one diatonic step is 14.25 px. 299 solid noteheads were measured; the worst residual from an exact staff position was 0.27 of a step and the median about 0.09, against a decision boundary of 0.5. THE INDEPENDENT CHECK IS A SECOND SCAN, NOT THIS ONE. The whole page was then read end to end again on a physically different copy of the same 1885 printing \u2014 archive.org songsofjoygladne00mcdo, image n40, staff space 22.8 px \u2014 by the same rig with its own binarisation and its own staff-line fits. The two readings agree at every chord of all sixteen bars; where one scan missed a head (a hollow half-note ring, or a head merged into its neighbour) the other supplied it, and the twelve half-note chords were additionally magnified to 8-11x on both scans and read by eye. No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used at any point, so nothing here can be checked against itself. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE \u2014 the notehead figure above covers NONE of them, because a head probe reads heads and not the sharps and flats in front of them. A second, shape-based pass hunted tall open glyphs inside the staff on both scans, and each candidate was then magnified to 11-12x and read by eye on both. The plate carries exactly three accidentals: a NATURAL on the soprano's b (B-natural 3) and a SHARP on the alto's g (G-sharp 3) at the fourth eighth of bar 4, and a NATURAL on the alto's e-flat (E-natural 4) at the fourth eighth of bar 12. Both bar-4 glyphs and the bar-12 glyph were identified by their strokes and by the midpoint of their two crossbars, which lands on the exact staff positions of those notes. Everything else takes the key signature: every B is B-flat and every E is E-flat. DEPARTURES FROM THE PAGE, STATED PLAINLY. (1) At four places the plate prints THREE noteheads on one stem in the lower staff \u2014 bar 11 third and fourth eighths and bar 15 third and fourth eighths, each time bes / f / bes, and confirmed on both scans. Divisi cannot be represented in this corpus, so the lower two are encoded (tenor f, bass bes,) and the topmost bes is dropped; the dropped note is a pure octave doubling of the bass, so no pitch of the chord is lost, and the tenor of bars 11 and 15 then reads exactly like the tenor of the parallel bar 7, where the same phrase prints only f / bes,. (2) Two very small specks sit just to the right of the first and fourth chords of bar 16 on BOTH scans, i.e. they are on the plate. They are read here as plate blemishes rather than augmentation dots \u2014 they are about half the area of this plate's real augmentation dots, only one appears per chord where real dots come in pairs, and neither is followed by a sixteenth's second flag \u2014 so bar 16 is encoded as four even eighths and a half note. (3) The plate's five-system casting is not reproduced; see the system_breaks comment above. Nothing else departs: no rest was added or removed, no restrike stands where the page holds, no slur or tie was added or dropped (the page prints none), no stanza was omitted, and there is no Amen on the page and none here. TENOR/BASS UNISONS ARE THE PAGE'S: where the lower staff prints one notehead carrying both an up-stem and a down-stem, both voices have that pitch \u2014 all of bar 4 (f), bar 8's fourth eighth (f), and bar 12's second eighth (bes).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1885 Songs of Joy and Gladness page image (archive.org songsofjoygladne00mcdo_0, image n40), read again end to end on a second, independent scan of a different copy of the same printing (archive.org songsofjoygladne00mcdo, image n40). No scaffold, no MIDI, no MusicXML and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% HARVEST (12.11.12.11 with Refrain) \u2014 \"Bringing in the Sheaves\"\n%% George A. Minor's tune, key B-flat major, 4/4, no pickup, 16 bars\n%% (8-bar verse pair + 8-bar refrain). 88 soprano noteheads: 46 verse, 42 refrain.\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. Read notehead by notehead off the dated page image of\n%% Songs of Joy and Gladness, ed. W. McDonald, Joshua Gill, John R. Sweney &\n%% W. J. Kirkpatrick (Boston: McDonald, Gill & Co., 1885), no. 40, printed page\n%% 37 \u2014 archive.org songsofjoygladne00mcdo_0, image n40 \u2014 headed \"Bringing in\n%% the Sheaves.\" and credited on the staff \"Words from 'Songs of Glory.'\" /\n%% \"Music by Geo. A. Minor.  By per.\" Every chord was then re-read END TO END on\n%% a SECOND, INDEPENDENT SCAN of a DIFFERENT physical copy of the same 1885\n%% printing \u2014 archive.org songsofjoygladne00mcdo, image n40 \u2014 by the same rig\n%% with its own binarisation, its own staff-line fits and its own staff space\n%% (28.5 px on the first scan, 22.8 px on the second).\n%%\n%% WHICH TUNE THIS IS. Two different tunes carry Knowles Shaw's text: Shaw's own\n%% 1874 setting and George A. Minor's 1880 HARVEST. The page read here names\n%% \"Geo. A. Minor\" on the staff and does NOT name Shaw as composer (it credits\n%% the WORDS only, and to the collection \"Songs of Glory\", not to a person); its\n%% soprano is the melody everyone sings \u2014 5 5 5 6 5 3 / 8 8 8 9 8 6 in B-flat,\n%% \"Sow-ing in the morn-ing\" on f' f' f' g' f' d'. This is Minor's HARVEST.\n%%\n%% MEASUREMENT, NOT EYESIGHT. Pitches were taken by a notehead rig: local paper\n%% level per column slab; the five staff lines recovered LOCALLY as a function of\n%% x by a long horizontal opening of the ink (so a notehead's own ink can never\n%% drag its own reference lines); heads isolated by morphological erosion sized\n%% in staff spaces; merged soprano-over-alto blobs split on the midpoint of their\n%% clean outer edges with the separation snapped to a whole staff step; each\n%% centroid converted to a diatonic step by interpolation between the two nearest\n%% local lines. 299 solid noteheads were measured on scan 1; the worst residual\n%% was 0.27 of a diatonic step and the median about 0.09 (tolerance 0.5 is the\n%% decision boundary between adjacent steps). The 32 HOLLOW (half-note) heads\n%% were measured separately \u2014 the ring's own clean outer edges in a narrow\n%% central strip \u2014 and each was additionally read by eye at 8-11x on both scans.\n%%\n%% ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE. A notehead probe reads heads, not\n%% the sharps and flats in front of them, so the automated figure above covers NO\n%% accidental. Every accidental was hunted with a second, shape-based pass (tall\n%% open glyphs inside the staff) and then magnified to 11-12x on BOTH scans and\n%% read by eye. The plate carries exactly THREE:\n%%   * bar 4, fourth eighth: a NATURAL on the soprano's b (B-natural 3) and a\n%%     SHARP on the alto's g (G-sharp 3) \u2014 the chromatic double neighbour that\n%%     resolves to the half-note c'/a over the F pedal (a half cadence on V);\n%%   * bar 12, fourth eighth: a NATURAL on the alto's e' (E-natural 4), making\n%%     the chord g/c'/e'/bes' = C7, which resolves to the F-major half note.\n%% Both glyphs were identified by their strokes (a natural's left stroke runs UP\n%% and its right stroke DOWN; a sharp's two verticals both overrun both bars) and\n%% by the midpoint of their two crossbars, which lands on step -3 and step -5 of\n%% the treble staff in bar 4 and on step 0 in bar 12. Everything else takes the\n%% key signature: every B is B-flat and every E is E-flat.\n%%\n%% STRICTLY SYLLABIC. The plate prints NO slur and NO tie anywhere in the piece;\n%% every one of the 88 soprano noteheads carries its own syllable. There are no\n%% grace notes, no fermatas, no repeat signs, no dynamics and no Amen.\n%%\n%% RHYTHM. Four patterns, each verified by eye at 3-7x (flags counted, dots\n%% looked for) and cross-checked against the engraver's horizontal spacing:\n%%   bars 1,2,3,5,6  8 8 8. 16 4 4   (dotted eighth + sixteenth on \"in the\")\n%%   bars 7,11,15    8 8 8 8 4 4     (four even eighths, no dot, no sixteenth)\n%%   bars 4,8,12,16  8 8 8 8 2\n%%   bars 9,10,13,14 8 8 8. 16 2\n%% In the dotted bars the plate prints TWO augmentation dots (one at each\n%% notehead of the chord) and a DOUBLE flag on the following sixteenth, and the\n%% dotted note is given ~116 px of width against ~86 px for a plain eighth; in\n%% the even bars there is no dot, no second flag, and the spacing is uniform.\n%% DEPARTURE DECLARED: two very small specks sit just right of the first and\n%% fourth chords of bar 16 on BOTH scans (they are on the plate, not the paper).\n%% They are read here as plate blemishes, not augmentation dots: they are about\n%% half the area of this plate's real augmentation dots, only one appears per\n%% chord where real dots come in pairs, and neither is followed by a sixteenth's\n%% second flag; bar 16 is therefore encoded as four even eighths and a half note.\n%%\n%% TENOR/BASS UNISONS ARE THE PAGE'S. Where the lower staff prints ONE notehead\n%% carrying both an up-stem and a down-stem, both voices have that pitch: all of\n%% bar 4 (f throughout, four eighths and the half), bar 8's fourth eighth (f),\n%% and bar 12's second eighth (bes). LilyPond's default collision resolver is\n%% left to kiss those noteheads.\n%%\n%% DEPARTURE DECLARED \u2014 THREE-NOTE CHORDS IN THE LOWER STAFF. At four places the\n%% plate prints THREE noteheads on one stem in the bass staff: bar 11 third and\n%% fourth eighths, and bar 15 third and fourth eighths, each time bes / f / bes,\n%% (confirmed on both scans). Divisi cannot be represented in this corpus, so the\n%% LOWER TWO are encoded (tenor f, bass bes,) and the topmost bes is DROPPED. The\n%% dropped note is a pure octave doubling of the bass, so no pitch of the chord\n%% is lost, and it makes the tenor of bars 11 and 15 read exactly like the tenor\n%% of the parallel bar 7, where the same phrase prints only f / bes,.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 f'8. g'16 f'4 d'4 |\n  d'8 d'8 c'8 b8 c'2 |\n  d'8 f'8 f'8. g'16 f'4 d'4 |\n  bes'8 bes'8 bes'8. c''16 bes'4 g'4 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  d''8 d''8 c''8 bes'8 c''2 |\n  d'8 f'8 f'8. g'16 f'2 |\n  g'8 bes'8 bes'8. g'16 f'2 |\n  f'8 f'8 bes'8 c''8 d''4 bes'4 |\n  c''8 bes'8 d''8 c''8 bes'2\n}\n\nalto = {\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8. ees'16 d'4 bes4 |\n  bes8 bes8 a8 gis8 a2 |\n  bes8 d'8 d'8. ees'16 d'4 bes4 |\n  d'8 f'8 f'8. g'16 g'4 ees'4 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 d'4 |\n  f'8 f'8 f'8 e'8 f'2 |\n  bes8 d'8 d'8. ees'16 d'2 |\n  ees'8 g'8 g'8. ees'16 d'2 |\n  d'8 d'8 d'8 ees'8 f'4 f'4 |\n  ees'8 d'8 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 bes8. bes16 bes4 f4 |\n  f8 f8 f8 f8 f2 |\n  f8 bes8 bes8. bes16 bes4 f4 |\n  f8 bes8 bes8. bes16 bes4 bes4 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 f8 f2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 f4 |\n  bes8 bes8 c'8 c'8 a2 |\n  f8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 bes8. bes16 bes2 |\n  bes8 bes8 f8 f8 bes4 bes4 |\n  a8 bes8 bes8 a8 bes2\n}\n\nbass = {\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  f8 f8 f8 f8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,4 bes,4 |\n  bes,8 d8 d8. ees16 ees4 ees4 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 bes,4 |\n  bes,8 bes8 a8 g8 f2 |\n  bes,8 bes,8 bes,8. bes,16 bes,2 |\n  ees8 ees8 ees8. ees16 bes,2 |\n  bes,8 bes,8 bes,8 bes,8 bes,4 d4 |\n  f8 f8 f8 f8 bes,2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}