{"slug": "i-am-thine", "name": "I AM THINE", "alt_name": "DRAW ME NEARER", "meter_label": "10.7.10.7. with Refrain", "meter": {"pattern": [10, 7, 10, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1875", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "i-am-thine-brightest-and-best-1875", "provenance": {"layer": "tune", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by William Howard Doane (1832-1915), written 1875 for Fanny Crosby's words. The printing read here is the first printing, Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23 \u2014 archive.org brighte00lowr, leaves 0024 and 0025 \u2014 where it is credited \"W. H. DOANE.\" under the heading \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"\u2014Heb. 10: 22, with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot. US public domain: the printing read is 1875 and the composer died in 1915, so it is also PD in life+70 jurisdictions. THE PLATE PRINTS NO TUNE NAME \u2014 gospel-song plates of this house name only the hymn \u2014 and the name I AM THINE is the tune authority's (Hymnary tune authority i_am_thine_o_lord_i_have_heard_doane, whose melodic incipit \"34322 23211 17666\" in A-flat major is the first fifteen soprano notes of this reading exactly); hymnals also index the tune as DRAW ME NEARER, the plate's own heading. The metre label follows the corpus's gospel-song convention; the authority states the full form 10.7.10.7.9.7.11.7 (the refrain's third line interpolates a third \"near-er,\").", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "i_am_thine_o_lord_i_have_heard_doane"}}, "harmonization": {"slug": "i-am-thine-brightest-and-best-1875", "tune": "i-am-thine", "music_file": "i-am-thine-brightest-and-best-1875.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 35, 51], "breaks_manual": true, "markings": [{"soprano_note": 36, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 36}, "bass_echo": {"segments": [{"text": "near -- er, near -- er,", "durations": ["4", "4", "4", "4"], "onset": 33}]}, "alternates": [{"voice": "bass", "voice_note": 35, "pitch": "aes,"}], "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "W. H. Doane's four-part setting of his own tune, read from the FIRST PRINTING: Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"\u2014Heb. 10: 22, credited \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot of both pages \u2014 archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025 (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across, staff space 19.8-20.0 px. US public domain: the printing read is 1875 and both author and composer died in 1915, so it is also PD in life+70 jurisdictions. COLLATED END TO END against the independent re-engraving in Gospel Hymns Nos. 1 to 6 Complete (New York: Biglow & Main; Cincinnati: John Church, 1894), No. 572, printed page 581 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaf 0587 \u2014 the same 1875 copyright line, the whole hymn reset on one page in four systems with the lyric type and spacing fully reset: two independent engravings of the one setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: three independent reads of every system of the 1875 plate (the wave-6 noteread rig's per-column machine pass with local five-line refits; a complete vision read off 5x-10x grid-overlay strips of all eight staves; and a bar-arithmetic / harmonic-function pass), disagreements settled by per-chord ASCII pixel maps, then the 1894 witness machine-read end to end and eye-checked at every flagged point. The five chords the blocked-hymns register carried as unresolved all certified, and all five confirm on the second witness: (a) the refrain's \"near\u2014er,\" halves are E-flat5/A-flat4 then C5/E-flat4 \u2014 the same chords the plate prints as machine-clean FILLED quarters in bar 13, the tenor C4 / bass A-flat3 beneath forcing the tonic reading, and the 1894's rounder hollow halves sit unambiguously in their spaces at 9x; (b) the final chord's alto is a hollow C4 on the one-ledger line below the treble staff, the ledger stroke visible through the head on both engravings, giving a final A-flat chord with tripled root and no fifth (A-flat4/C4/A-flat3/A-flat2), as both witnesses print; (c) the \"bleed-ING\" chord's bass-staff heads are G3/E-flat3 (an eighth; E-flat7 against the treble's B-flat4/D-flat4, resolving to the final tonic), two heads at zoom 10 on the 1875 plate and machine-confirmed +7/+5 on the 1894 \u2014 the register's \"three heads\" was the pale-centred letterpress inking of that plate corner; (d) the \"Thee.\" cadence prints THREE hollow heads \u2014 C4, A-flat3, A-flat2 \u2014 under one stem on both engravings; tenor C4, bass A-flat3, with the A-flat2 carried as a cue-sized alternates member (house decision, flagged for owner review); (e) the \"To Thy\" tenor is E-flat4 then D-flat4 on ledger lines above the bass staff (the register's \"E4/D4, unusually high\" was the key's own flats measured correctly), and the same high ledgered D-flat4 tenor recurs at \"drawn to\" \u2014 both spots machine-read +11 on the 1894 witness. ACCIDENTALS WERE SWEPT SEPARATELY: every column of all eight staves of BOTH witnesses at magnification. The sweep found ZERO accidental glyphs \u2014 the hymn is purely diatonic in A-flat major. The five alto ambiguities the strips left (the verse pickups' 16ths, the refrain lead-ins' 16ths, and \"And be\") were settled by ASCII pixel maps against the fitted grid: F4, F4, E-flat4, E-flat4 and D-flat4 respectively, each confirmed by the 1894 machine read. NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point; the one external check is Hymnary's incipit for tune authority i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\", the first fifteen soprano notes of this reading exactly. THE ONE WITNESS DIVERGENCE in the whole hymn is bar 5 beat 1 (\"long\"), bass: the 1875 plate prints E-FLAT 3 (ASCII-mapped, a space-5 head between clean line fits) where the 1894 re-engraving prints A-flat2; the first printing is followed. DEPARTURES FROM THE PAGE, in full: (1) the heavy REFRAIN divider the plate draws MID-BAR before the \"Draw me\" pickup (with \"REFRAIN.\" above) is carried as the refrain marking at soprano note 36, not as a barline; (2) the FERMATA both engravings print over and under bar 14's \"Lord,\" (the D-flat major climax chord) is not carried, this corpus having no fermata on this path; (3) the printed BEAM over bar 3's \"to\" (dotted-eighth A-flat4 + sixteenth F4, one syllable) is carried as a slur so the underlay merges the pair into one slot \u2014 the plates' small-type underlay does the same by setting \"to\" once under the pair; (4) the A-flat2 of the \"Thee.\" cadence rides as a cue-sized alternates member (divisi being forbidden). Nothing else departs: every pitch, every duration, both quarter rests per phrase-end bar, the bass's off-beat eighth-rest-plus-B-flat3 answers in bars 8 and 12, the tenor/bass unisons (bar 2 \"And it\" C3; bar 3's converging sixteenth A-flat3), and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 first-printing page images of Brightest and Best, hymn 22 (archive.org brighte00lowr leaves 0024-0025), collated end to end against the independent 1894 re-engraving in Gospel Hymns Nos. 1 to 6 Complete, No. 572 (archive.org gospelhymnsnos1t0000unse_s2j5 leaf 0587). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: W. H. Doane, as printed in Brightest and Best, 1875. Public domain.", "music_ly": "%% I AM THINE (10.7.10.7. with Refrain) \u2014 W. H. Doane, \"DRAW ME NEARER.\" Four\n%% SATB voice streams, canonical key A-flat major, 4/4, a one-quarter pickup,\n%% fifteen full bars and a 3-beat final bar (half plus printed quarter rest, the\n%% complement of the opening pickup \u2014 the PITB/Tabernacle pattern).\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. The FIRST PRINTING: Brightest and Best (New York:\n%% Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\"\n%% over the motto \"Let us draw near with a true heart.\"\u2014Heb. 10: 22, credited\n%% \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", \"COPYRIGHT 1875, BY BIGLOW & MAIN.\"\n%% at the foot \u2014 archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025\n%% (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across,\n%% staff space 19.8-20.0 px (9.9-10.0 px per diatonic step). Collated END TO\n%% END against the independent re-engraving in Gospel Hymns Nos. 1 to 6\n%% Complete (1894), No. 572, printed page 581 \u2014 archive.org\n%% gospelhymnsnos1t0000unse_s2j5, leaf 0587, staff space 14.7-15.0 px \u2014 which\n%% resets the whole hymn on one page in four systems; the lyric type, note\n%% spacing and system casting all differ, so they are two independent\n%% engravings of the one setting.\n%%\n%% HOW THE NOTEHEADS WERE READ (tools/noteread.py, the wave-6 rig, plus eye).\n%% Three independent reads of every system: (1) the rig's per-column machine\n%% read (local five-line refits, edge-anchored steps, hollow heads via ring\n%% arcs); (2) a full vision read off 5x-10x grid-overlay strips covering every\n%% column of all eight staves of the 1875 plate; (3) a musical-consistency\n%% pass \u2014 every bar closes at 4/4 in all four voices, and every cadence was\n%% checked for function. Disagreements went to per-chord ASCII pixel maps\n%% (five alto positions were settled that way: the two verse pickups' alto\n%% 16ths are F4, the two refrain lead-ins' alto 16ths are E-flat 4, and the\n%% \"And be\" alto is D-flat 4 below the line). The five positions the register\n%% carried as unresolved all certified: (a) the refrain's \"near\u2014er,\" halves\n%% are E-FLAT 5 / A-FLAT 4 then C5 / E-flat 4 \u2014 proven three ways: the\n%% machine's clean read of the same chords printed as FILLED quarters in bar\n%% 13 (steps +7/+3, residuals .02-.18), the harmonic parallel (tenor C4 +\n%% bass A-flat 3 under them force the tonic), and a direct eye read of the\n%% 1894 plate's round hollow halves sitting unambiguously in their spaces;\n%% (b) the final chord's alto is C4, hollow, on the one-ledger line below the\n%% treble staff, the ledger stroke visible through the head on both\n%% engravings; (c) the \"bleed-ING\" bass chord is G3 / E-flat 3 (an eighth,\n%% E-flat 7 with the treble), two heads at zoom 10 \u2014 the register's \"three\n%% heads\" was the pale-centred letterpress inking of that corner splitting\n%% blobs; (d) the \"Thee.\" cadence prints THREE hollow heads C4 / A-flat 3 /\n%% A-flat 2 under one stem on both engravings \u2014 see the sidecar's alternates\n%% note; (e) the \"To Thy\" tenor is E-FLAT 4 then D-FLAT 4 on ledgers above\n%% the bass staff (the earlier \"E4/D4\" scare was the key's own flats), and\n%% the same high ledgered tenor D-flat 4 recurs at \"drawn to\" \u2014 both\n%% confirmed by the 1894 machine read (+11 at both spots).\n%%\n%% ACCIDENTALS: every column of all eight staves of BOTH witnesses was swept\n%% at magnification (5x-10x strips on the 1875, 2.5x-9x on the 1894). The\n%% sweep found ZERO accidental glyphs \u2014 no sharp, no natural, no flat beyond\n%% the four-flat signature at the head of every staff. The hymn is purely\n%% diatonic in A-flat.\n%%\n%% NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no\n%% existing encoding was opened at any point. The one external check is\n%% Hymnary's melodic incipit for tune authority\n%% i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\" in A-flat major,\n%% which is the first fifteen soprano notes of this reading exactly (C5,\n%% D-flat 5 / C5, B-flat 4, B-flat 4, B-flat 4, C5 / B-flat 4, A-flat 4,\n%% A-flat 4, A-flat 4, G4 / F4, F4, F4).\n%%\n%% RHYTHM AND BARRING. The signature figure is the dotted-eighth+sixteenth on\n%% every phrase pickup. Each half-verse and each refrain phrase ends half\n%% note + printed QUARTER REST (old-style comma glyph, both staves) + the next\n%% phrase's dotted pickup completing the bar \u2014 bars 4, 8, 12 and 16. The\n%% REFRAIN divider (a heavy barline with \"REFRAIN.\" above) falls MID-BAR\n%% between bar 8's rest and the \"Draw me\" pickup, exactly the Face-to-Face /\n%% PITB pattern; it is not carried (the corpus draws barlines from the metre).\n%% In bars 8 and 12 the BASS alone answers the lead-in off the beat: an\n%% EIGHTH REST then an off-beat eighth on B-FLAT 3 \u2014 briefly above the\n%% tenor's dotted A-flat 3 figure \u2014 printed with its own down-stem on both\n%% engravings; encoded exactly as printed (r8 bes8). In bar 9 the tenor and bass sing quarters\n%% under the soprano/alto halves with their own small-type lyric row\n%% \"near-er, near-er,\" \u2014 the sidecar's bass_echo. In bar 11 the alto and\n%% tenor hold HALVES (\"where\u2014Thou\": E-flat 4, A-flat 3) while the soprano\n%% falls D-flat 5 - C5 and the bass walks D-flat 3 - C3 - B-flat 2 - A-flat 2.\n%% Bar 14's \"Lord,\" (D-flat 5 over the IV chord) carries a FERMATA on both\n%% engravings and both staves; this corpus carries no fermata on this path,\n%% so it is recorded here and in the sidecar, not engraved.\n%%\n%% TENOR/BASS UNISONS, as printed: \"And it\" in bar 2 is ONE head (C3) in the\n%% bass staff \u2014 tenor and bass in unison \u2014 and the 16th of bar 3's \"to\" is\n%% ONE head (A-flat 3) after the two-head dotted eighth (tenor F3 over bass\n%% D-flat 3): both voices converge on the unison sixteenth. Both witnesses\n%% agree at both places. THE ONE WITNESS DIVERGENCE in the whole hymn is bar\n%% 5 beat 1 (\"long\"), where the 1875 plate prints bass E-FLAT 3 (an\n%% ASCII-mapped space-5 head) and the 1894 re-engraving prints A-flat 2; the\n%% first printing is followed.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 aes'8. g'16 |\n  f'4 f'4 f'4 aes'8.( f'16) |\n  ees'2 r4 c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 bes'8 c''8 |\n  des''4 des''4 g'4 g'4 |\n  aes'2 r4 c''8. des''16 |\n  ees''2 c''2 |\n  bes'8 aes'8 g'8 f'8 ees'4 aes'8. g'16 |\n  f'4 aes'4 des''4 c''4 |\n  bes'2 r4 c''8. des''16 |\n  ees''4 ees''4 c''4 c''4 |\n  bes'8 aes'8 g'8 f'8 des''4 c''8. bes'16 |\n  aes'4 aes'4 c''4. bes'8 |\n  aes'2 r4\n}\n\nalto = {\n  ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 ees'8. ees'16 |\n  des'4 des'4 des'4 des'4 |\n  c'2 r4 ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 des'8 ees'8 |\n  f'4 f'4 ees'4 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'2 ees'2 |\n  f'8 f'8 ees'8 des'8 c'4 ees'8. ees'16 |\n  des'4 ees'2 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'4 aes'4 ees'4 ees'4 |\n  f'8 f'8 ees'8 des'8 f'4 f'8. f'16 |\n  ees'4 ees'4 ees'4. des'8 |\n  c'2 r4\n}\n\ntenor = {\n  aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 c8. c16 |\n  aes4 aes4 aes4 f8. aes16 |\n  aes2 r4 aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 aes8 aes8 |\n  aes4 bes4 bes4 des'4 |\n  c'2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 aes8. aes16 |\n  aes4 aes2 aes4 |\n  g2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 ees'8. des'16 |\n  c'4 c'4 aes4. g8 |\n  aes2 r4\n}\n\nbass = {\n  aes,8. aes,16 |\n  aes,4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 c8. c16 |\n  des4 des4 des4 des8. aes16 |\n  aes,2 r4 aes,8. aes,16 |\n  ees4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 aes,8 aes,8 |\n  des4 bes,4 ees4 ees4 |\n  aes2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 aes,4 c8. c16 |\n  des4 c4 bes,4 aes,4 |\n  ees2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 des4 des8. des16 |\n  ees4 ees4 ees4. ees8 |\n  aes,2 r4\n}\n"}, "harmonizations": [{"slug": "i-am-thine-brightest-and-best-1875", "tune": "i-am-thine", "music_file": "i-am-thine-brightest-and-best-1875.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [18, 35, 51], "breaks_manual": true, "markings": [{"soprano_note": 36, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 36}, "bass_echo": {"segments": [{"text": "near -- er, near -- er,", "durations": ["4", "4", "4", "4"], "onset": 33}]}, "alternates": [{"voice": "bass", "voice_note": 35, "pitch": "aes,"}], "provenance": {"layer": "harmonization", "source": "brightest-and-best-1875", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "W. H. Doane's four-part setting of his own tune, read from the FIRST PRINTING: Brightest and Best (New York: Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\" over the motto \"Let us draw near with a true heart.\"\u2014Heb. 10: 22, credited \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", with \"COPYRIGHT 1875, BY BIGLOW & MAIN.\" at the foot of both pages \u2014 archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025 (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across, staff space 19.8-20.0 px. US public domain: the printing read is 1875 and both author and composer died in 1915, so it is also PD in life+70 jurisdictions. COLLATED END TO END against the independent re-engraving in Gospel Hymns Nos. 1 to 6 Complete (New York: Biglow & Main; Cincinnati: John Church, 1894), No. 572, printed page 581 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaf 0587 \u2014 the same 1875 copyright line, the whole hymn reset on one page in four systems with the lyric type and spacing fully reset: two independent engravings of the one setting. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: three independent reads of every system of the 1875 plate (the wave-6 noteread rig's per-column machine pass with local five-line refits; a complete vision read off 5x-10x grid-overlay strips of all eight staves; and a bar-arithmetic / harmonic-function pass), disagreements settled by per-chord ASCII pixel maps, then the 1894 witness machine-read end to end and eye-checked at every flagged point. The five chords the blocked-hymns register carried as unresolved all certified, and all five confirm on the second witness: (a) the refrain's \"near\u2014er,\" halves are E-flat5/A-flat4 then C5/E-flat4 \u2014 the same chords the plate prints as machine-clean FILLED quarters in bar 13, the tenor C4 / bass A-flat3 beneath forcing the tonic reading, and the 1894's rounder hollow halves sit unambiguously in their spaces at 9x; (b) the final chord's alto is a hollow C4 on the one-ledger line below the treble staff, the ledger stroke visible through the head on both engravings, giving a final A-flat chord with tripled root and no fifth (A-flat4/C4/A-flat3/A-flat2), as both witnesses print; (c) the \"bleed-ING\" chord's bass-staff heads are G3/E-flat3 (an eighth; E-flat7 against the treble's B-flat4/D-flat4, resolving to the final tonic), two heads at zoom 10 on the 1875 plate and machine-confirmed +7/+5 on the 1894 \u2014 the register's \"three heads\" was the pale-centred letterpress inking of that plate corner; (d) the \"Thee.\" cadence prints THREE hollow heads \u2014 C4, A-flat3, A-flat2 \u2014 under one stem on both engravings; tenor C4, bass A-flat3, with the A-flat2 carried as a cue-sized alternates member (house decision, flagged for owner review); (e) the \"To Thy\" tenor is E-flat4 then D-flat4 on ledger lines above the bass staff (the register's \"E4/D4, unusually high\" was the key's own flats measured correctly), and the same high ledgered D-flat4 tenor recurs at \"drawn to\" \u2014 both spots machine-read +11 on the 1894 witness. ACCIDENTALS WERE SWEPT SEPARATELY: every column of all eight staves of BOTH witnesses at magnification. The sweep found ZERO accidental glyphs \u2014 the hymn is purely diatonic in A-flat major. The five alto ambiguities the strips left (the verse pickups' 16ths, the refrain lead-ins' 16ths, and \"And be\") were settled by ASCII pixel maps against the fitted grid: F4, F4, E-flat4, E-flat4 and D-flat4 respectively, each confirmed by the 1894 machine read. NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point; the one external check is Hymnary's incipit for tune authority i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\", the first fifteen soprano notes of this reading exactly. THE ONE WITNESS DIVERGENCE in the whole hymn is bar 5 beat 1 (\"long\"), bass: the 1875 plate prints E-FLAT 3 (ASCII-mapped, a space-5 head between clean line fits) where the 1894 re-engraving prints A-flat2; the first printing is followed. DEPARTURES FROM THE PAGE, in full: (1) the heavy REFRAIN divider the plate draws MID-BAR before the \"Draw me\" pickup (with \"REFRAIN.\" above) is carried as the refrain marking at soprano note 36, not as a barline; (2) the FERMATA both engravings print over and under bar 14's \"Lord,\" (the D-flat major climax chord) is not carried, this corpus having no fermata on this path; (3) the printed BEAM over bar 3's \"to\" (dotted-eighth A-flat4 + sixteenth F4, one syllable) is carried as a slur so the underlay merges the pair into one slot \u2014 the plates' small-type underlay does the same by setting \"to\" once under the pair; (4) the A-flat2 of the \"Thee.\" cadence rides as a cue-sized alternates member (divisi being forbidden). Nothing else departs: every pitch, every duration, both quarter rests per phrase-end bar, the bass's off-beat eighth-rest-plus-B-flat3 answers in bars 8 and 12, the tenor/bass unisons (bar 2 \"And it\" C3; bar 3's converging sixteenth A-flat3), and the closing heavy double bar are the plates'.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1875 first-printing page images of Brightest and Best, hymn 22 (archive.org brighte00lowr leaves 0024-0025), collated end to end against the independent 1894 re-engraving in Gospel Hymns Nos. 1 to 6 Complete, No. 572 (archive.org gospelhymnsnos1t0000unse_s2j5 leaf 0587). No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "source_line": "Setting: W. H. Doane, as printed in Brightest and Best, 1875. Public domain.", "music_ly": "%% I AM THINE (10.7.10.7. with Refrain) \u2014 W. H. Doane, \"DRAW ME NEARER.\" Four\n%% SATB voice streams, canonical key A-flat major, 4/4, a one-quarter pickup,\n%% fifteen full bars and a 3-beat final bar (half plus printed quarter rest, the\n%% complement of the opening pickup \u2014 the PITB/Tabernacle pattern).\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. The FIRST PRINTING: Brightest and Best (New York:\n%% Biglow & Main, 1875), hymn 22, printed pages 22-23, headed \"DRAW ME NEARER.\"\n%% over the motto \"Let us draw near with a true heart.\"\u2014Heb. 10: 22, credited\n%% \"FANNY J. CROSBY.\" and \"W. H. DOANE.\", \"COPYRIGHT 1875, BY BIGLOW & MAIN.\"\n%% at the foot \u2014 archive.org brighte00lowr, leaves 0024 (systems 1-3) and 0025\n%% (the \"DRAW ME NEARER. Concluded.\" system), oblong plates 2272 px across,\n%% staff space 19.8-20.0 px (9.9-10.0 px per diatonic step). Collated END TO\n%% END against the independent re-engraving in Gospel Hymns Nos. 1 to 6\n%% Complete (1894), No. 572, printed page 581 \u2014 archive.org\n%% gospelhymnsnos1t0000unse_s2j5, leaf 0587, staff space 14.7-15.0 px \u2014 which\n%% resets the whole hymn on one page in four systems; the lyric type, note\n%% spacing and system casting all differ, so they are two independent\n%% engravings of the one setting.\n%%\n%% HOW THE NOTEHEADS WERE READ (tools/noteread.py, the wave-6 rig, plus eye).\n%% Three independent reads of every system: (1) the rig's per-column machine\n%% read (local five-line refits, edge-anchored steps, hollow heads via ring\n%% arcs); (2) a full vision read off 5x-10x grid-overlay strips covering every\n%% column of all eight staves of the 1875 plate; (3) a musical-consistency\n%% pass \u2014 every bar closes at 4/4 in all four voices, and every cadence was\n%% checked for function. Disagreements went to per-chord ASCII pixel maps\n%% (five alto positions were settled that way: the two verse pickups' alto\n%% 16ths are F4, the two refrain lead-ins' alto 16ths are E-flat 4, and the\n%% \"And be\" alto is D-flat 4 below the line). The five positions the register\n%% carried as unresolved all certified: (a) the refrain's \"near\u2014er,\" halves\n%% are E-FLAT 5 / A-FLAT 4 then C5 / E-flat 4 \u2014 proven three ways: the\n%% machine's clean read of the same chords printed as FILLED quarters in bar\n%% 13 (steps +7/+3, residuals .02-.18), the harmonic parallel (tenor C4 +\n%% bass A-flat 3 under them force the tonic), and a direct eye read of the\n%% 1894 plate's round hollow halves sitting unambiguously in their spaces;\n%% (b) the final chord's alto is C4, hollow, on the one-ledger line below the\n%% treble staff, the ledger stroke visible through the head on both\n%% engravings; (c) the \"bleed-ING\" bass chord is G3 / E-flat 3 (an eighth,\n%% E-flat 7 with the treble), two heads at zoom 10 \u2014 the register's \"three\n%% heads\" was the pale-centred letterpress inking of that corner splitting\n%% blobs; (d) the \"Thee.\" cadence prints THREE hollow heads C4 / A-flat 3 /\n%% A-flat 2 under one stem on both engravings \u2014 see the sidecar's alternates\n%% note; (e) the \"To Thy\" tenor is E-FLAT 4 then D-FLAT 4 on ledgers above\n%% the bass staff (the earlier \"E4/D4\" scare was the key's own flats), and\n%% the same high ledgered tenor D-flat 4 recurs at \"drawn to\" \u2014 both\n%% confirmed by the 1894 machine read (+11 at both spots).\n%%\n%% ACCIDENTALS: every column of all eight staves of BOTH witnesses was swept\n%% at magnification (5x-10x strips on the 1875, 2.5x-9x on the 1894). The\n%% sweep found ZERO accidental glyphs \u2014 no sharp, no natural, no flat beyond\n%% the four-flat signature at the head of every staff. The hymn is purely\n%% diatonic in A-flat.\n%%\n%% NO SCAFFOLD WAS USED: no MIDI, no .nwc, no Cyber Hymnal asset and no\n%% existing encoding was opened at any point. The one external check is\n%% Hymnary's melodic incipit for tune authority\n%% i_am_thine_o_lord_i_have_heard_doane, \"34322 23211 17666\" in A-flat major,\n%% which is the first fifteen soprano notes of this reading exactly (C5,\n%% D-flat 5 / C5, B-flat 4, B-flat 4, B-flat 4, C5 / B-flat 4, A-flat 4,\n%% A-flat 4, A-flat 4, G4 / F4, F4, F4).\n%%\n%% RHYTHM AND BARRING. The signature figure is the dotted-eighth+sixteenth on\n%% every phrase pickup. Each half-verse and each refrain phrase ends half\n%% note + printed QUARTER REST (old-style comma glyph, both staves) + the next\n%% phrase's dotted pickup completing the bar \u2014 bars 4, 8, 12 and 16. The\n%% REFRAIN divider (a heavy barline with \"REFRAIN.\" above) falls MID-BAR\n%% between bar 8's rest and the \"Draw me\" pickup, exactly the Face-to-Face /\n%% PITB pattern; it is not carried (the corpus draws barlines from the metre).\n%% In bars 8 and 12 the BASS alone answers the lead-in off the beat: an\n%% EIGHTH REST then an off-beat eighth on B-FLAT 3 \u2014 briefly above the\n%% tenor's dotted A-flat 3 figure \u2014 printed with its own down-stem on both\n%% engravings; encoded exactly as printed (r8 bes8). In bar 9 the tenor and bass sing quarters\n%% under the soprano/alto halves with their own small-type lyric row\n%% \"near-er, near-er,\" \u2014 the sidecar's bass_echo. In bar 11 the alto and\n%% tenor hold HALVES (\"where\u2014Thou\": E-flat 4, A-flat 3) while the soprano\n%% falls D-flat 5 - C5 and the bass walks D-flat 3 - C3 - B-flat 2 - A-flat 2.\n%% Bar 14's \"Lord,\" (D-flat 5 over the IV chord) carries a FERMATA on both\n%% engravings and both staves; this corpus carries no fermata on this path,\n%% so it is recorded here and in the sidecar, not engraved.\n%%\n%% TENOR/BASS UNISONS, as printed: \"And it\" in bar 2 is ONE head (C3) in the\n%% bass staff \u2014 tenor and bass in unison \u2014 and the 16th of bar 3's \"to\" is\n%% ONE head (A-flat 3) after the two-head dotted eighth (tenor F3 over bass\n%% D-flat 3): both voices converge on the unison sixteenth. Both witnesses\n%% agree at both places. THE ONE WITNESS DIVERGENCE in the whole hymn is bar\n%% 5 beat 1 (\"long\"), where the 1875 plate prints bass E-FLAT 3 (an\n%% ASCII-mapped space-5 head) and the 1894 re-engraving prints A-flat 2; the\n%% first printing is followed.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 aes'8. g'16 |\n  f'4 f'4 f'4 aes'8.( f'16) |\n  ees'2 r4 c''8. des''16 |\n  c''4 bes'4 bes'4 bes'8. c''16 |\n  bes'4 aes'4 aes'4 bes'8 c''8 |\n  des''4 des''4 g'4 g'4 |\n  aes'2 r4 c''8. des''16 |\n  ees''2 c''2 |\n  bes'8 aes'8 g'8 f'8 ees'4 aes'8. g'16 |\n  f'4 aes'4 des''4 c''4 |\n  bes'2 r4 c''8. des''16 |\n  ees''4 ees''4 c''4 c''4 |\n  bes'8 aes'8 g'8 f'8 des''4 c''8. bes'16 |\n  aes'4 aes'4 c''4. bes'8 |\n  aes'2 r4\n}\n\nalto = {\n  ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 ees'8. ees'16 |\n  des'4 des'4 des'4 des'4 |\n  c'2 r4 ees'8. f'16 |\n  ees'4 des'4 des'4 des'8. ees'16 |\n  des'4 c'4 c'4 des'8 ees'8 |\n  f'4 f'4 ees'4 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'2 ees'2 |\n  f'8 f'8 ees'8 des'8 c'4 ees'8. ees'16 |\n  des'4 ees'2 ees'4 |\n  ees'2 r4 ees'8. ees'16 |\n  aes'4 aes'4 ees'4 ees'4 |\n  f'8 f'8 ees'8 des'8 f'4 f'8. f'16 |\n  ees'4 ees'4 ees'4. des'8 |\n  c'2 r4\n}\n\ntenor = {\n  aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 c8. c16 |\n  aes4 aes4 aes4 f8. aes16 |\n  aes2 r4 aes8. aes16 |\n  aes4 g4 g4 g8. g16 |\n  g4 aes4 aes4 aes8 aes8 |\n  aes4 bes4 bes4 des'4 |\n  c'2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 aes8. aes16 |\n  aes4 aes2 aes4 |\n  g2 r4 aes8. aes16 |\n  c'4 c'4 aes4 aes4 |\n  aes8 aes8 aes8 aes8 aes4 ees'8. des'16 |\n  c'4 c'4 aes4. g8 |\n  aes2 r4\n}\n\nbass = {\n  aes,8. aes,16 |\n  aes,4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 c8. c16 |\n  des4 des4 des4 des8. aes16 |\n  aes,2 r4 aes,8. aes,16 |\n  ees4 ees4 ees4 ees8. ees16 |\n  ees4 aes,4 aes,4 aes,8 aes,8 |\n  des4 bes,4 ees4 ees4 |\n  aes2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 aes,4 c8. c16 |\n  des4 c4 bes,4 aes,4 |\n  ees2 r4 r8 bes8 |\n  aes4 aes4 aes,4 aes,4 |\n  des8 des8 des8 des8 des4 des8. des16 |\n  ees4 ees4 ees4. ees8 |\n  aes,2 r4\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}