{"slug": "heaven", "name": "HEAVEN", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "emily-d-wilson", "composer_date": "1898", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "heaven-cyberhymnal", "provenance": {"layer": "tune", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "HEAVEN, composed by Emily Divine Wilson (1865-1942), printed on the page as \"Mrs. J. G. Wilson\", as the setting for E. E. Hewitt's \"When We All Get to Heaven\". First published in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, with the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" at the foot of the page \u2014 US public domain (published pre-1931); also PD in life+70 jurisdictions since 2013. The page image (archive.org item pentecostalprais00kirk, leaf 156 = printed p. 148) was fetched and read: five flats, 4/4, no pickup, sixteen measures, the chorus marked \"Chorus.\" and set antiphonally. canonical_key is that printed key, D-flat major. Hymnary tune authority heaven_wilson (Emily D. Wilson, 1898, 8.7.8.7 with refrain) corroborates the attribution and gives 310 hymnals; its published incipit \"55513 45653 44432\" matches this melody degree for degree.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "heaven_wilson", "total_instances": 310}}, "harmonization": {"slug": "heaven-cyberhymnal", "tune": "heaven", "music_file": "heaven-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 34, 41, 51], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "for us a place.", "durations": ["4", "4", "4", "4"], "onset": 27}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 33}, {"text": "What a day of re -- joic -- ing that will be!", "durations": ["8.", "16", "4", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 41}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 49}, {"text": "and shout the vic -- to -- ry.", "durations": ["4", "8.", "16", "8.", "16", "2"], "onset": 59}]}, "source_line": "HEAVEN, Emily D. Wilson, 1898; four-part antiphonal setting from the first printing, Pentecostal Praises (Philadelphia: Hall-Mack Co., 1898). Public domain.", "provenance": {"layer": "harmonization", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HEAVEN with its four-part setting, first printed in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, over the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" \u2014 US public domain (published pre-1931). What is encoded here IS that page: transcribed notehead by notehead from the archive.org scan (pentecostalprais00kirk, leaf 0156), each chord fixed by pixel measurement against per-staff detected staff lines and re-read by eye at 3-6x, then reconciled against The Cyber Hymnal's public-domain reduction as a prior (per-chord log: review/heaven-1898/READING.md). The 1898 chorus is antiphonal \u2014 soprano sustains while alto, tenor and bass rest and answer on a second underlaid lyric row, and the verse's last bar does the same (\"for us a place.\") \u2014 and that texture is encoded faithfully here (the answer row is the bass_echo sidecar field). The two verse readings where the Cyber Hymnal diverges from the plate follow the plate: m2 beat 2 tenor A-flat3, m4 beat 1 bass A-flat2. The closing sonority is exactly two open noteheads (tenor A-flat3, bass D-flat3) under the soprano's tied half notes: an earlier render-diff's report of a three-note divisi there conflated the echo's D-flat4 chord with the final chord, so no divisi reduction is involved. Printed accidentals each checked on the plate: G-flat throughout; naturals on alto e' and bass g at m6 b4 and m14 b4; natural on the alto g' in m11 (courtesy flat restoring g-flat in m12); C-flat as the seventh at m13 in the Cyber Hymnal is NOT in the plate \u2014 the plate's \"see\" chord is tenor c' (natural by signature) over bass f. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-27 from the 1898 Pentecostal Praises page image (archive.org pentecostalprais00kirk leaf 0156 = p. 148), replacing the prior encoding derived from The Cyber Hymnal's SATB MIDI (when_we_all_get_to_heaven.mid via tools/reconstruct_voices.py, C major transposed to the 1898 D-flat). The Cyber Hymnal reading was kept as the reconciliation prior; its homophonic chorus is a reduction and was replaced by the plate's antiphonal texture. Slug retained for platform continuity.", "encoding_license": "PD-dedication"}, "music_ly": "%% HEAVEN (8.7.8.7 with Refrain) - Emily D. Wilson, 1898, for E. E. Hewitt's\n%% \"When We All Get to Heaven\". NOTE-DATA WITNESS: the 1898 FIRST PRINTING,\n%% Pentecostal Praises, ed. Wm. J. Kirkpatrick & H. L. Gilmour (Philadelphia:\n%% Hall-Mack Co., 1898), p. 148, \"Copyright, 1898, by Mrs. J. G. Wilson.\" -\n%% transcribed notehead by notehead from the archive.org scan\n%% (pentecostalprais00kirk, leaf 0156): staff lines pixel-detected per staff\n%% (staff-space 23.5px, flat to +-1px), every chord located by ellipse\n%% convolution and measured by column-profile centroid, then re-read by eye\n%% at 3-6x with a staff-step grid, then reconciled against the Cyber Hymnal\n%% reduction as a suspicious prior. Evidence pack: review/heaven-1898/.\n%% (The slug keeps its historical `heaven-cyberhymnal` name - the Cyber\n%% Hymnal MIDI was the ORIGINAL encoding source and the render indexes and\n%% pinned collections key on the slug - but the notes below are the 1898\n%% plate's, not the CH reduction's.)\n%%\n%% THE 1898 CHORUS IS ANTIPHONAL, and so is the verse's last phrase. The\n%% soprano sustains (\"all\", \"heav'n\", \"day...be\", \"place\") while ALTO, tenor\n%% and bass rest (printed old-style quarter rests, upper staff for the alto)\n%% and answer on a second, smaller lyric row: \"for us a place.\" (m7 b4-m8),\n%% \"When we all\" (m9, m13), \"What a day of rejoicing that will be!\"\n%% (m11 b2-m12), \"and shout the victo-ry.\" (m15 b4-m16). The Cyber Hymnal\n%% flattens all of this to a homophonic chorus; its readings that this file\n%% previously carried are now replaced by the plate's:\n%%   - m2 b2 tenor as (CH des'), m4 b1 bass as, (CH c) - the two divergences\n%%     the old render-diff recorded, both confirmed by centroid measurement;\n%%   - m7: alto f' f' ges' ges' / tenor des' des' es' as / bass as as as as\n%%     (lower voices in plain quarters, T+B b4 a printed unison single head);\n%%   - m8: lower voices sing the \"for us a place.\" echo in quarters\n%%     (f'/ges'/f', as/bes/as, des/des/des) then REST the pickup beat -\n%%     the \"When we\" up-beats are the soprano's alone, both times;\n%%   - m9/m11/m13: echo entries r4 + 8. 16 (+4) as measured;\n%%   - m12: alto ges' (plate prints a courtesy flat after m11's g-naturals)\n%%     over five T+B <c' as> chords (each a measured h=48 double head);\n%%   - m13 \"see\": T c'-natural + B f (CH read ces'/des);\n%%   - m15: lower voices in plain quarters under the soprano gallop;\n%%   - m16: soprano des''2~des''2 AS PRINTED (tied halves, not CH's whole),\n%%     echo \"and(m15 b4) shout the vic-to-ry.\" converging on half notes at\n%%     b3. The final sonority is exactly TWO open heads, tenor as + bass des\n%%     (A and D lines, arcs measured): the \"three-note divisi D-flat4 +\n%%     A-flat3 + D-flat3\" the old render-diff reported conflated the echo's\n%%     <des' des> (x~1424) with the final <as des> (x~1633-52); no divisi\n%%     exists, so no house-style reduction is needed - the complete D-flat\n%%     triad is the plate's own.\n%% Accidentals, each verified on the plate: G-flat throughout; m6 b4 and\n%% m14 b4 print naturals on BOTH the alto e' and the bass g (common-tone\n%% dim.7); m11 prints a natural before the alto g' (\"day\"), good for the\n%% bar; m13 b4 tenor c' is plain (C is natural in the signature).\n%% D-flat major, 4/4, no pickup. 66 soprano noteheads = 65 lyric slots\n%% (verse notes 1-34 with the four fixed slurred melismas, refrain notes\n%% 35-66 with the final tie); the m16 tie is AFTER the refrain anchor so\n%% the note-35 refrain plan is unaffected.\n%% The echo lyric row itself is the sidecar's bass_echo (five segments,\n%% placed by rhythm); the plate flags every echo eighth - the corpus beams\n%% them under a held soprano syllable by the automatic house rule (7d9b214).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  as'4 as'4 as'4 des''4 f'8( ges'8) as'8( bes'8) as'4 f'4 ges'4 ges'4 ges'8( f'8) es'8( des'8) ges'4 as'4 f'2 as'4 des''4 des''4 as'4 bes'4 des''4 des''4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2. f'8. as'16 des''2. c''8. bes'16 as'2 f'4 as'8. as'16 des''4 des''8. des''16 des''8. des''16 c''8. des''16 es''2. as'8. des''16 f''2. des''4 des''2 bes'4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2~ des''2\n}\nalto = {\n  f'4 f'4 f'4 f'4 des'8( es'8) f'8( ges'8) f'4 des'4 es'4 es'4 es'8( des'8) c'8( des'8) es'4 c'4 des'2 f'4 f'4 f'4 f'4 ges'4 ges'4 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'4 ges'4 f'4 r4 r4 f'8. f'16 f'4 as'8. ges'16 f'2 des'4 r4 r4 as'8. as'16 g'4 g'8. g'16 ges'8. ges'16 ges'8. ges'16 ges'4 r4 r4 as'8. as'16 as'4 as'4 ges'2 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'8. f'16 ges'8. ges'16 f'2\n}\ntenor = {\n  des'4 des'4 des'4 as4 as4 as4 des'4 as4 c'4 c'4 as4 as4 as4 as4 as2 des'4 as4 as4 des'4 des'4 bes4 bes4 des'4 des'4 des'4 es'4 as4 as4 bes4 as4 r4 r4 as8. as16 as4 des'8. des'16 des'2 as4 r4 r4 as8. as16 bes4 bes8. bes16 c'8. c'16 c'8. c'16 c'4 r4 r4 des'8. des'16 as4 c'4 bes2 des'4 des'4 des'4 des'4 es'4 es'4 des'8. as16 bes8. bes16 as2\n}\nbass = {\n  des4 des4 des4 des4 des4 des4 des4 des4 as,4 as,4 as,4 as,4 as,4 as,4 des2 des4 des4 des4 des4 ges4 ges4 ges4 g4 as4 as4 as4 as4 des4 des4 des4 r4 r4 des8. des16 des4 des8. des16 des2 des4 r4 r4 f8. f16 es4 es8. es16 as8. as16 as8. as16 as4 r4 r4 des8. des16 des4 f4 ges2 ges4 g4 as4 as4 as4 as4 des8. des16 des8. des16 des2\n}\n"}, "harmonizations": [{"slug": "heaven-cyberhymnal", "tune": "heaven", "music_file": "heaven-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 34, 41, 51], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 35}, "markings": [{"soprano_note": 35, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "for us a place.", "durations": ["4", "4", "4", "4"], "onset": 27}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 33}, {"text": "What a day of re -- joic -- ing that will be!", "durations": ["8.", "16", "4", "8.", "16", "8.", "16", "8.", "16", "4"], "onset": 41}, {"text": "When we all", "durations": ["8.", "16", "4"], "onset": 49}, {"text": "and shout the vic -- to -- ry.", "durations": ["4", "8.", "16", "8.", "16", "2"], "onset": 59}]}, "source_line": "HEAVEN, Emily D. Wilson, 1898; four-part antiphonal setting from the first printing, Pentecostal Praises (Philadelphia: Hall-Mack Co., 1898). Public domain.", "provenance": {"layer": "harmonization", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune HEAVEN with its four-part setting, first printed in Pentecostal Praises, ed. William J. Kirkpatrick & Henry L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 148, over the imprint \"Copyright, 1898, by Mrs. J. G. Wilson.\" \u2014 US public domain (published pre-1931). What is encoded here IS that page: transcribed notehead by notehead from the archive.org scan (pentecostalprais00kirk, leaf 0156), each chord fixed by pixel measurement against per-staff detected staff lines and re-read by eye at 3-6x, then reconciled against The Cyber Hymnal's public-domain reduction as a prior (per-chord log: review/heaven-1898/READING.md). The 1898 chorus is antiphonal \u2014 soprano sustains while alto, tenor and bass rest and answer on a second underlaid lyric row, and the verse's last bar does the same (\"for us a place.\") \u2014 and that texture is encoded faithfully here (the answer row is the bass_echo sidecar field). The two verse readings where the Cyber Hymnal diverges from the plate follow the plate: m2 beat 2 tenor A-flat3, m4 beat 1 bass A-flat2. The closing sonority is exactly two open noteheads (tenor A-flat3, bass D-flat3) under the soprano's tied half notes: an earlier render-diff's report of a three-note divisi there conflated the echo's D-flat4 chord with the final chord, so no divisi reduction is involved. Printed accidentals each checked on the plate: G-flat throughout; naturals on alto e' and bass g at m6 b4 and m14 b4; natural on the alto g' in m11 (courtesy flat restoring g-flat in m12); C-flat as the seventh at m13 in the Cyber Hymnal is NOT in the plate \u2014 the plate's \"see\" chord is tenor c' (natural by signature) over bass f. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-27 from the 1898 Pentecostal Praises page image (archive.org pentecostalprais00kirk leaf 0156 = p. 148), replacing the prior encoding derived from The Cyber Hymnal's SATB MIDI (when_we_all_get_to_heaven.mid via tools/reconstruct_voices.py, C major transposed to the 1898 D-flat). The Cyber Hymnal reading was kept as the reconciliation prior; its homophonic chorus is a reduction and was replaced by the plate's antiphonal texture. Slug retained for platform continuity.", "encoding_license": "PD-dedication"}, "music_ly": "%% HEAVEN (8.7.8.7 with Refrain) - Emily D. Wilson, 1898, for E. E. Hewitt's\n%% \"When We All Get to Heaven\". NOTE-DATA WITNESS: the 1898 FIRST PRINTING,\n%% Pentecostal Praises, ed. Wm. J. Kirkpatrick & H. L. Gilmour (Philadelphia:\n%% Hall-Mack Co., 1898), p. 148, \"Copyright, 1898, by Mrs. J. G. Wilson.\" -\n%% transcribed notehead by notehead from the archive.org scan\n%% (pentecostalprais00kirk, leaf 0156): staff lines pixel-detected per staff\n%% (staff-space 23.5px, flat to +-1px), every chord located by ellipse\n%% convolution and measured by column-profile centroid, then re-read by eye\n%% at 3-6x with a staff-step grid, then reconciled against the Cyber Hymnal\n%% reduction as a suspicious prior. Evidence pack: review/heaven-1898/.\n%% (The slug keeps its historical `heaven-cyberhymnal` name - the Cyber\n%% Hymnal MIDI was the ORIGINAL encoding source and the render indexes and\n%% pinned collections key on the slug - but the notes below are the 1898\n%% plate's, not the CH reduction's.)\n%%\n%% THE 1898 CHORUS IS ANTIPHONAL, and so is the verse's last phrase. The\n%% soprano sustains (\"all\", \"heav'n\", \"day...be\", \"place\") while ALTO, tenor\n%% and bass rest (printed old-style quarter rests, upper staff for the alto)\n%% and answer on a second, smaller lyric row: \"for us a place.\" (m7 b4-m8),\n%% \"When we all\" (m9, m13), \"What a day of rejoicing that will be!\"\n%% (m11 b2-m12), \"and shout the victo-ry.\" (m15 b4-m16). The Cyber Hymnal\n%% flattens all of this to a homophonic chorus; its readings that this file\n%% previously carried are now replaced by the plate's:\n%%   - m2 b2 tenor as (CH des'), m4 b1 bass as, (CH c) - the two divergences\n%%     the old render-diff recorded, both confirmed by centroid measurement;\n%%   - m7: alto f' f' ges' ges' / tenor des' des' es' as / bass as as as as\n%%     (lower voices in plain quarters, T+B b4 a printed unison single head);\n%%   - m8: lower voices sing the \"for us a place.\" echo in quarters\n%%     (f'/ges'/f', as/bes/as, des/des/des) then REST the pickup beat -\n%%     the \"When we\" up-beats are the soprano's alone, both times;\n%%   - m9/m11/m13: echo entries r4 + 8. 16 (+4) as measured;\n%%   - m12: alto ges' (plate prints a courtesy flat after m11's g-naturals)\n%%     over five T+B <c' as> chords (each a measured h=48 double head);\n%%   - m13 \"see\": T c'-natural + B f (CH read ces'/des);\n%%   - m15: lower voices in plain quarters under the soprano gallop;\n%%   - m16: soprano des''2~des''2 AS PRINTED (tied halves, not CH's whole),\n%%     echo \"and(m15 b4) shout the vic-to-ry.\" converging on half notes at\n%%     b3. The final sonority is exactly TWO open heads, tenor as + bass des\n%%     (A and D lines, arcs measured): the \"three-note divisi D-flat4 +\n%%     A-flat3 + D-flat3\" the old render-diff reported conflated the echo's\n%%     <des' des> (x~1424) with the final <as des> (x~1633-52); no divisi\n%%     exists, so no house-style reduction is needed - the complete D-flat\n%%     triad is the plate's own.\n%% Accidentals, each verified on the plate: G-flat throughout; m6 b4 and\n%% m14 b4 print naturals on BOTH the alto e' and the bass g (common-tone\n%% dim.7); m11 prints a natural before the alto g' (\"day\"), good for the\n%% bar; m13 b4 tenor c' is plain (C is natural in the signature).\n%% D-flat major, 4/4, no pickup. 66 soprano noteheads = 65 lyric slots\n%% (verse notes 1-34 with the four fixed slurred melismas, refrain notes\n%% 35-66 with the final tie); the m16 tie is AFTER the refrain anchor so\n%% the note-35 refrain plan is unaffected.\n%% The echo lyric row itself is the sidecar's bass_echo (five segments,\n%% placed by rhythm); the plate flags every echo eighth - the corpus beams\n%% them under a held soprano syllable by the automatic house rule (7d9b214).\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  as'4 as'4 as'4 des''4 f'8( ges'8) as'8( bes'8) as'4 f'4 ges'4 ges'4 ges'8( f'8) es'8( des'8) ges'4 as'4 f'2 as'4 des''4 des''4 as'4 bes'4 des''4 des''4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2. f'8. as'16 des''2. c''8. bes'16 as'2 f'4 as'8. as'16 des''4 des''8. des''16 des''8. des''16 c''8. des''16 es''2. as'8. des''16 f''2. des''4 des''2 bes'4 bes'4 as'4 des''4 des''8. c''16 bes'8. c''16 des''2~ des''2\n}\nalto = {\n  f'4 f'4 f'4 f'4 des'8( es'8) f'8( ges'8) f'4 des'4 es'4 es'4 es'8( des'8) c'8( des'8) es'4 c'4 des'2 f'4 f'4 f'4 f'4 ges'4 ges'4 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'4 ges'4 f'4 r4 r4 f'8. f'16 f'4 as'8. ges'16 f'2 des'4 r4 r4 as'8. as'16 g'4 g'8. g'16 ges'8. ges'16 ges'8. ges'16 ges'4 r4 r4 as'8. as'16 as'4 as'4 ges'2 ges'4 e'4 f'4 f'4 ges'4 ges'4 f'8. f'16 ges'8. ges'16 f'2\n}\ntenor = {\n  des'4 des'4 des'4 as4 as4 as4 des'4 as4 c'4 c'4 as4 as4 as4 as4 as2 des'4 as4 as4 des'4 des'4 bes4 bes4 des'4 des'4 des'4 es'4 as4 as4 bes4 as4 r4 r4 as8. as16 as4 des'8. des'16 des'2 as4 r4 r4 as8. as16 bes4 bes8. bes16 c'8. c'16 c'8. c'16 c'4 r4 r4 des'8. des'16 as4 c'4 bes2 des'4 des'4 des'4 des'4 es'4 es'4 des'8. as16 bes8. bes16 as2\n}\nbass = {\n  des4 des4 des4 des4 des4 des4 des4 des4 as,4 as,4 as,4 as,4 as,4 as,4 des2 des4 des4 des4 des4 ges4 ges4 ges4 g4 as4 as4 as4 as4 des4 des4 des4 r4 r4 des8. des16 des4 des8. des16 des2 des4 r4 r4 f8. f16 es4 es8. es16 as8. as16 as8. as16 as4 r4 r4 des8. des16 des4 f4 ges2 ges4 g4 as4 as4 as4 as4 des8. des16 des8. des16 des2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}