{"slug": "jesus-meine-zubersicht", "name": "JESUS, MEINE ZUVERSICHT", "alt_name": "ZUVERSICHT", "meter_label": "7.8.7.8.7.7", "meter": {"pattern": [7, 8, 7, 8, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1653", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "jesus-meine-zubersicht-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "JESUS, MEINE ZUVERSICHT (also called ZUVERSICHT), Johann Cr\u00fcger, 1653. A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4; fully syllabic 7.8.7.8.7.7 \u2014 44 soprano notes = 44 syllables). The raised passing/leading tones in the melody (fis', gis') and inner voices are printed with sharps in the source and carried with the matching spellings. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Cr\u00fcger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "jesus-meine-zubersicht-cyberhymnal", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 15, 22, 30, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT, Johann Cr\u00fcger, 1653. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESUS, MEINE ZUVERSICHT (Johann Cr\u00fcger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 7.8.7.8.7.7). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Cr\u00fcger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) \u2014 four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesus, meine Zuversicht\", Johann\n%% Cr\u00fcger 1653) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 7.8.7.8.7.7 (44 soprano notes = 44 syllables).\n%% The soprano fis' and gis' in the fifth phrase are printed with sharps in the\n%% source; the inner-voice chromatics (tenor fis, cis', gis; bass cis) are printed\n%% sharps too. The phrase-1 bass passing eighth is a-natural (a,) but is written\n%% a-sharp (ais,) in its written-out repeat (phrase 3) \u2014 both carried as printed.\n%% The four phrase-end dotted-half + quarter-rest cadences (all voices resting) are\n%% collapsed to whole notes per house style.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 | a'2 c''2 |\n  a'4 g'4 f'4 e'4 | d'2 c'2 | g'2 e'2 | a'4 b'4 c''4. c''8 |\n  b'1 | a'2 c''2 | a'4 g'4 f'4 e'4 | d'2 c'2 |\n  e'2 fis'2 | g'4 a'4 a'4 gis'4 | a'2 b'4 c''4 | d''4 e''4 d''4 d''4 |\n  c''1\n}\nalto = {\n  e'2 c'2 | c'4 f'4 e'4. d'8 | d'1 | d'2 e'2 |\n  f'4 d'4 c'4 c'4 | c'4 b4 c'2 | e'2 c'2 | c'4 f'4 e'4. d'8 |\n  d'1 | d'2 e'2 | f'4 d'4 c'4 c'4 | c'4 b4 c'2 |\n  c'2 d'2 | d'4 e'4 f'4 e'4 | e'2 e'4 e'4 | g'4 g'4 a'4 g'4 |\n  e'1\n}\ntenor = {\n  c'2 g2 | f4 g4 g4. fis8 | g1 | f2 g2 |\n  c'4 b4 a4 g4 | g2 e2 | c'2 g2 | f4 g4 g4. fis8 |\n  g1 | f2 g2 | c'4 b4 a4 g4 | g2 e2 |\n  g2 c'2 | b4 a4 d'4 b4 | cis'2 gis4 a4 | b4 c'4 c'4 b4 |\n  g1\n}\nbass = {\n  c2 c2 | f4 d4 c4. a,8 | g,1 | d2 c2 |\n  f,4 g,4 a,4 c4 | g,2 c2 | c2 e2 | f4 d4 c4. ais,8 |\n  g,1 | d2 c2 | f,4 g,4 a,4 c4 | g,2 c2 |\n  c2 a,2 | b,4 cis4 d4 e4 | a,2 e4 a4 | g4 c4 f4 g4 |\n  c1\n}\n"}, "harmonizations": [{"slug": "jesus-meine-zubersicht-bwv365", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-bwv365.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "system_breaks": [7, 16, 23, 32, 39], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT (ZUVERSICHT), Johann Cr\u00fcger, 1653; harm. J. S. Bach (BWV 365). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 365 \u2014 the standalone chorale \"Jesus, meine Zuversicht\". US public domain by pre-1931 publication: Luke Dahn's catalogue entry for BWV 365 (bach-chorales.com/BWV0365.htm, retrieved for this import) lists its concordances as \"Riemenschneider 175; Breitkopf 175; Birnstiel 180; AmB 46II p.151\", and the kern edition this file is converted from names its own source in its !!!YOR lines as \"371 vierstimmige Choralges\u00e4nge von Johann Sebastian Bach, 4th ed. by Alfred D\u00f6rffel (Leipzig: Breitkopf und H\u00e4rtel, c.1875). 178 pp. Plate \\\"V.A.10\\\".\" (quoted with the umlauts the file actually carries; an earlier transliteration here was presented as a quotation and was not one). The PD basis is the Breitkopf/Birnstiel/AmB line and the c.1875 D\u00f6rffel edition, all pre-1931, with the composer dead in 1750. NOT Riemenschneider: that is Albert Riemenschneider's G. Schirmer edition of 1941, a 20th-century NUMBERING reference and not an early collection \u2014 an earlier draft swept it into \"every one of those is pre-1931\", which was false. THE TUNE IS THE CORPUS TUNE, which is why this enters as a SECOND harmonization of an existing tune and not as a new tune. The kern header's own title is OTL@@DE \"Jesus, meine Zuversicht\"; Dahn's entry gives the tune as \"Jesus, meine Zuversicht, Berlin 1653 (Zahn 3432)\", the same 1653 Berlin melody the corpus tune record carries as Johann Cr\u00fcger, 1653. The music confirms it: the two sopranos are identical IN PITCH through phrases 1 and 3 (7 of 7, twice \u2014 the rhythms differ throughout: the control reads g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 where Bach reads g'4 e'4 a'4 b'4 | c''4 c''4 b'2) and, once the two holds are absorbed, agree at 36 of 44 syllable positions (measured \u2014 see the divergence note below). Bar form AAB in both (the kern's *>[A,A,B]), 7.8.7.8.7.7 in both, C major in both. NO TRANSPOSITION. The kern declares *k[] and *C: \u2014 C major \u2014 which is already the tune's canonical key, so tools/kern2ly.py emitted \"global = { \\key c \\major \\time 4/4 }\" and not one note was moved. Several other Bach kern imports in the corpus ARE stored transposed (nun-danket-bwv386, old-100th-bwv326, christus-der-ist-mein-leben-bwv281), so the equality here is stated as checked rather than assumed. Encoded from the craigsapp/bach-370-chorales kern edition (chor175.krn, vendored at imports/batchC/chor175.krn) via tools/kern2ly.py, which exited 0 with an empty stderr. The conversion was verified event-for-event against the kern source in all four voices with a parser written for this import: 234 written noteheads (46/66/58/64 S/A/T/B), 223 sounding events once ties merge (46/59/54/64), 14 bars, and every bar sums to exactly 4 quarters in every voice. The kern's sectional repeat is written out A-A-B (bars 1-5, 6-10, 11-14); both sections begin and end on whole bars, so there are no partial seam bars and a single \\time governs. Fermatas at soprano ordinals 7, 16, 23, 32, 39, 46 are omitted per house style. COLLATION AGAINST A SECOND ENCODING LINEAGE: bwv365.mxl, the music21-corpus MusicXML of the same chorale (vendored in imports/batchC/), parsed and compared event for event against this file in all four voices with ties collapsed on both sides. Result: ONE divergence in the whole chorale \u2014 the bass's last eighth of bar 13 reads d here, following the kern, and e in that encoding. Everything else agrees, pitch and sounding duration, in all four voices. The kern is the declared source and its reading is kept; the divergence is itemized in the .ly header so a reader can find it. No printed edition was consulted for this note \u2014 the two encodings are the only witnesses located here, and they disagree, so the point is open rather than settled. TEXTLESS CHORALE \u2014 and the melisma map does not rest on any underlay. Dahn's entry states in full: \"This chorale survives without text. The text that appears here is the one provided by editors of the Bach Gesellschaft Ausgabe (BGA).\" The paired setting therefore places its two holds on the NOTE VALUES: 46 soprano notes against 44 syllables, Bach's fermata-phrases running 7/9/7/9/7/7, so exactly one hold belongs in phrase 2 and one in its written-out repeat, and in each of those phrases the ONLY notes shorter than a quarter are a single beamed eighth pair (soprano ordinals 8-9 and 24-25) whose second note can only be a continuation. The editorial German underlay CORROBORATES that and does not determine it: bwv365.mxl carries BOTH Stollen texts as two lyric verses, and in both the second eighth (soprano note 9 of the un-repeated form) carries no syllable at all \u2014 verse 1 sings \"und\" across the pair, verse 2 sings \"da-\" across it with \"-rum\" on the next note. The same witness gives phrase 6's dotted quarter and eighth separate syllables (\"dan\"/\"ken\"), matching the arithmetic that forbids a hold there. Both German Stollen scan 7+8 and the Abgesang 7+7, i.e. the tune's 7.8.7.8.7.7 and the same 44 syllables the paired English text carries in each of its six stanzas. DIVERGENCE FROM THE TUNE'S EXISTING HARMONIZATION, stated as measured. Against jesus-meine-zubersicht-cyberhymnal (the preferred harmonization, which this import leaves untouched), syllable-aligned soprano agreement is 36 of 44: phrase by phrase 7/7, 6/8, 7/7, 6/8, 4/7, 6/7. The Stollen diverges in its middle (corpus 6 1' [6 5] 4 3 2 1, Bach 6 1' [5 3] 4 3 2 1), phrase 5 diverges at three notes (corpus 3 #4 [5] 6 [6 #5] 6, Bach 3 #4 [#5] 6 [7 7] 6) and phrase 6 at one (corpus ...2' [2'] 1', Bach ...2' [1'] 1'). A READER WHO SINGS BOTH SETTINGS IN ONE BOOK WILL HEAR A DIFFERENT CLOSE TO EACH STOLLEN AND A DIFFERENT PHRASE 5 \u2014 worth knowing before pairing them. NEITHER READING IS THE OUTLIER, and no correction to the corpus file is proposed here or was made. Hymnary's instance export for this tune authority (in:instances tuneAuthNumber: \"^jesus_meine_zuversicht_cruger$\", fetched for this import) returns 215 rows carrying 9 distinct incipits, of which 206 carry one identical string inherited from the authority record \u2014 the 9 rows with a value of their own split cleanly along exactly this divergence. Three print the corpus reading, 536711761654321: The Cyber Hymnal #3223, Evangelisches Gesangbuch (Bayern/Mitteldeutschland/Th\u00fcringen) 2014 #526, and Hymns and Devotions for Daily Worship 2024 #351 (5367117616, agreeing as far as it goes). Three print BACH'S reading, 536711761534321 \u2014 which is note for note this file's first fifteen soprano scale degrees: Gesangbuch der Evangelisch-reformierten Kirchen der deutschsprachigen Schweiz 1952 #165, The Hymnal (Protestant Episcopal, USA) 1916 #340 under the tune name LOUISE, and Unser Liederbuch 1893 #472. Two are hybrids and one (Culto Cristiano 1964 #191) is too short to discriminate. Neither reading is located as the sole form in these sources. A TRAP FOR ANYONE CHECKING THIS AGAINST HYMNARY: the authority page hymnary.org/tune/jesus_meine_zuversicht_cruger (fetched) records \"Incipit: 54367 11767 15434\", which matches NEITHER reading \u2014 it is note for note the first fifteen written soprano degrees of the OTHER setting of this same melody in the kern edition, chor338.krn, in D. That string is the one the 206 inherited rows carry. TWO CORRECTIONS TO AN EARLIER DRAFT OF THIS SENTENCE, both made in verification. (i) Its designation: no witness writes \"BWV 145/a\". index.hmd line 341 and the file's own !!!SCT both read \"BWV 145/8\" (movement 8 of Cantata 145); Dahn writes \"BWV 145a\". (ii) Its author: it is NOT securely Bach's. Dahn's BWV0145a.htm \u2014 the page his BWV 365 entry itself links under \"Other Harmonizations\", fetched for this correction \u2014 carries the note \"Question of Authenticity: This setting is most likely composed by Carl Philipp Emanuel Bach.\" Calling it \"Bach's other setting\" overstated what the cited authority says. The same page's Composer field says \"Johann Cr\u00fcger (1656)\" while its own Notes (Psalter Hymnal Handbook) say \"First published in Johann Cr\u00fcger's Praxis Pietatis Melica (1653) without attribution, JESUS, MEINE ZUVERSICHT was credited to Cr\u00fcger (PHH 42) in the 1668 edition of that hymnal\" and \"This splendid bar form (AAB) tune is set in its original rhythm\". The corpus tune record's 1653 is the defensible date; do not cite that incipit or that 1656 for this tune. DISTINCTNESS \u2014 this is not an unlabelled copy of anything already in the corpus, and in particular jesus-meine-zubersicht-cyberhymnal is NOT an unlabelled Bach setting. Interval-sequence similarity of the four voices against 269 of the corpus's other harmonization .ly files (56 skipped: the sweep's simple parser cannot read chord/tuplet/free-metre files) puts the top match at 0.455 mean (liebster-jesu-wir-sind-hier-bwv373 \u2014 noise), and ranks jesus-meine-zubersicht-cyberhymnal 8th at 0.383 (the sweep run for this record said 7th, off by one because its parser skipped 56 files; an independent sweep reading all 325 puts ebenezer-oh at 0.407 above it), with soprano 0.78 (the shared melody) but ALTO 0.15 and BASS 0.18, i.e. below the noise floor of unrelated hymns. Time-aligned at the 44 syllable onsets, the two settings' inner voices agree at alto 22/44, tenor 16/44, bass 18/44 \u2014 chance level for a diatonic C-major bass. In phrase 1, where the two sopranos are identical in pitch (G E A B C C B), the basses agree at only 2 of the 7 positions and the phrase cadences differently: the corpus file holds G-B-D-G through a whole bar, Bach resolves an alto 4-3 suspension (a'-gis') over an E bass to E major. Texture settles it: this file has 100 sub-quarter noteheads of 234 (43%) against the corpus file's 8 of 178 (4.5%), and those 8 are all the same homorhythmic dotted-quarter-plus-eighth in bar 2 and its written-out repeat, with all four voices moving together.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor175.krn (BWV 365, Riemenschneider/Doerffel-Breitkopf No. 175), converted with tools/kern2ly.py; collation witness music21 bach corpus MusicXML bwv365.mxl (both vendored in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text \u2014 the Doerffel/Breitkopf c. 1875 edition of the 371 chorales, which the kern header itself names as its source \u2014 and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), and this .ly is a fresh re-encoding produced by tools/kern2ly.py with no transposition and no re-spelling, carrying nothing expressive of the kern editor's own judgement. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The music21-corpus bwv365.mxl is used only for collation and corroboration, never as the encoding source \u2014 which matters because the vendored copy carries an embedded credit-words element reading \"PDF (c) 2004 Margaret Greentree\" (the jsbchorales.net edition it descends from). Whatever that claim covers, it covers a typeset PDF and not Bach's notes, and none of it reaches this .ly; noted here because the file is vendored into the repository, where a reader will meet the string. The two two-note soprano slurs are this import's own editorial melisma marks \u2014 neither witness carries a slur. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) \u2014 four SATB voice streams, canonical\n%% key C major. Corpus harmonization source for the HymnBookGenerator\n%% close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% J. S. Bach's harmonization BWV 365 \u2014 the standalone chorale \"Jesus, meine\n%% Zuversicht\" \u2014 converted from the craigsapp/bach-370-chorales kern edition\n%% (chor175.krn, vendored at imports/batchC/chor175.krn) with tools/kern2ly.py,\n%% which exited 0 with an EMPTY stderr (no seam report). The kern header names\n%% its own source in its !!!YOR lines, verbatim (umlauts as the file carries\n%% them; an earlier transliteration here was inside quotation marks and so read\n%% as a quotation it was not): \"371 vierstimmige Choralges\u00e4nge von Johann\n%% Sebastian Bach, 4th ed. by Alfred D\u00f6rffel (Leipzig: Breitkopf und H\u00e4rtel,\n%% c.1875). 178 pp. Plate \\\"V.A.10\\\".\".\n%%\n%% KEY: NO TRANSPOSITION ANYWHERE. The kern declares *k[] with *C: \u2014 C major \u2014\n%% and the tune's canonical key is C major, so the converter's `\\key c \\major`\n%% is already the corpus key and not one note was moved. (Several other Bach\n%% kern imports ARE stored transposed \u2014 nun-danket-bwv386, old-100th-bwv326,\n%% christus-der-ist-mein-leben-bwv281 among them \u2014 so the equality is worth\n%% stating, not assuming.)\n%%\n%% FORM: the kern encodes the bar form once with a sectional repeat\n%% (*>[A,A,B]); tools/kern2ly.py writes it out A-A-B over 14 bars \u2014 A = bars\n%% 1-5, its repeat = bars 6-10, B = bars 11-14. Every section begins and ends\n%% on a whole bar, so there are no partial seam bars and a single \\time 4/4\n%% governs throughout. 56 quarters in every voice. Written noteheads\n%% 46/66/58/64 (S/A/T/B) = 234; 223 sounding events once ties are merged\n%% (46/59/54/64).\n%%\n%% The source prints fermatas at soprano ordinals 7, 16, 23, 32, 39, 46 \u2014 one\n%% per text line of 7.8.7.8.7.7, giving fermata-phrases of 7/9/7/9/7/7 notes.\n%% Fermatas are omitted per house style; the phrase ends are carried by the\n%% system breaks instead. The kern's four editorial cautionary naturals\n%% (written nX: alto g in bar 3 and its repeat in bar 8, bass f in bar 11,\n%% bass g and alto g in bar 13) are not engraved: C major asks for no\n%% accidental at those pitches and LilyPond's default accidental rules place\n%% none. Nothing sounds different.\n%%\n%% MELISMATIC: 46 soprano notes for the paired text's 44 syllables. Exactly two\n%% notes are held, at soprano ordinals 9 and 25 \u2014 the SAME note of the Stollen,\n%% written out twice. Each hold is FORCED BY THE NOTE VALUES, not chosen: in\n%% fermata-phrase 2 (ordinals 8-16, nine notes for eight syllables) and in its\n%% written-out repeat (ordinals 24-32) the only notes shorter than a quarter\n%% are a single beamed eighth pair \u2014 the kern's `8aL` `8bJ` opening bar 3 and\n%% bar 8 \u2014 while every other note in those phrases is a quarter, a half or a\n%% whole and can carry its own syllable. The second note of a beamed eighth\n%% pair can only be a continuation, so no other placement is defensible.\n%% Fermata-phrase 6 also contains a dotted quarter plus an eighth (ordinals\n%% 44-45) but takes NO hold: it has 7 notes for 7 syllables, so its map is\n%% forced arithmetically.\n%% CORROBORATION, NOT BASIS: BWV 365 is a chorale that survives WITHOUT TEXT\n%% (bach-chorales.com/BWV0365.htm, Luke Dahn: \"This chorale survives without\n%% text. The text that appears here is the one provided by editors of the Bach\n%% Gesellschaft Ausgabe (BGA)\"), so the German printed in modern editions is\n%% the BGA editors' supply and can only corroborate a placement, never\n%% establish it. It does corroborate: the texted music21-corpus encoding\n%% bwv365.mxl carries BOTH Stollen underlays as two lyric verses, and BOTH\n%% leave the second eighth (soprano note 9) without a syllable \u2014 verse 1 sings\n%% \"und\" across the pair, verse 2 sings \"da-\" across it and puts \"-rum\" on the\n%% next note. The same witness gives the phrase-6 dotted quarter and eighth\n%% their own syllables (\"dan\"/\"ken\"), matching the no-hold arithmetic there.\n%% The two-note slurs printed at soprano 8-9 and 24-25 are EDITORIAL: the kern\n%% encodes a beam (L/J), not a slur, and bwv365.mxl carries no slur at all;\n%% they are added here as the engraved melisma marks. Under\n%% verse_variable_melisma the setting's '_' marks drive the underlay, so the\n%% slurs are indication only.\n%%\n%% COLLATION against an independent encoding lineage: bwv365.mxl, the\n%% music21-corpus MusicXML of this chorale (vendored in imports/batchC/), was\n%% compared event for event against this file in all four voices with ties\n%% collapsed on both sides. ONE divergence in the whole chorale: the BASS's\n%% last eighth of bar 13 (the B section's third bar, beat 4.5) reads d here,\n%% following the kern, and e in that encoding. Everything else \u2014 every pitch\n%% and every sounding duration in all four voices \u2014 is identical. The kern is\n%% the declared source and its reading is kept. The two lineages also differ\n%% in NOTATION \u2014 never in sound \u2014 at six source positions where the kern ties\n%% what that encoding writes as one longer note: alto bar 2 (a'4~a'4 for a\n%% half), alto bar 3 (d'4~d'8 for a dotted quarter), alto bar 4 (d'8~d'8 for a\n%% quarter), tenor bar 3 (c'4~c'8 for a dotted quarter, and g8~g8 for a\n%% quarter) and alto bar 11 (d'4~d'8 for a dotted quarter); the five inside the\n%% Stollen recur in the written-out repeat at bars 7-9. The tied values sound\n%% identical and count as agreements above.\n%%\n%% AGAINST THE TUNE'S OTHER CORPUS HARMONIZATION\n%% (jesus-meine-zubersicht-cyberhymnal, the preferred one, untouched by this\n%% import): syllable-aligned \u2014 that is, after absorbing the two holds \u2014 the\n%% sopranos agree at 36 of 44 positions: 7/7, 6/8, 7/7, 6/8, 4/7, 6/7 by\n%% phrase. They diverge inside the Stollen (corpus 6 1' [6 5] 4 3 2 1 vs Bach\n%% 6 1' [5 3] 4 3 2 1), through phrase 5 (corpus 3 #4 [5] 6 [6 #5] 6 vs Bach\n%% 3 #4 [#5] 6 [7 7] 6) and at one note of phrase 6 (corpus ...2' [2'] 1' vs\n%% Bach ...2' [1'] 1'). A reader who sings both settings in one book will hear\n%% a different close to each Stollen and a different phrase 5.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'4 e'4 a'4 b'4 |\n  c''4 c''4 b'2 |\n  a'8( b'8) c''4 g'4 e'4 |\n  f'4 e'4 d'2 |\n  c'1 |\n  g'4 e'4 a'4 b'4 |\n  c''4 c''4 b'2 |\n  a'8( b'8) c''4 g'4 e'4 |\n  f'4 e'4 d'2 |\n  c'1 |\n  e'4 fis'4 gis'4 a'4 |\n  b'4 b'4 a'2 |\n  b'4 c''4 d''4 e''4 |\n  d''4. c''8 c''2\n}\n\nalto = {\n  e'4 c'8 d'8 e'4 e'4 |\n  e'4 a'4~ a'4 gis'4 |\n  a'4 g'8 e'8 d'4~ d'8 g8 |\n  c'8 d'8~ d'8 c'8 c'4 b4 |\n  g1 |\n  e'4 c'8 d'8 e'4 e'4 |\n  e'4 a'4~ a'4 gis'4 |\n  a'4 g'8 e'8 d'4~ d'8 g8 |\n  c'8 d'8~ d'8 c'8 c'4 b4 |\n  g1 |\n  c'4 d'4~ d'8 f'8 e'8 c'8 |\n  f'8 d'8 b8 e'16 d'16 c'2 |\n  g'4 g'4 g'4 g'4 |\n  a'8 f'8 d'8 g'16 f'16 e'2\n}\n\ntenor = {\n  c'4 g4 c'4 b4 |\n  a4 e'4 e'2 |\n  c'4~ c'8 g8~ g8 b8 g8 e8 |\n  a8 g8 g4 a4 g8 f8 |\n  e1 |\n  c'4 g4 c'4 b4 |\n  a4 e'4 e'2 |\n  c'4~ c'8 g8~ g8 b8 g8 e8 |\n  a8 g8 g4 a4 g8 f8 |\n  e1 |\n  g4 a4 b8 d'8 c'8 a8 |\n  a4. gis8 a2 |\n  d'4 e'4 d'4 c'4 |\n  c'4 b4 g2\n}\n\nbass = {\n  c4 c8 b,8 a,4 gis,4 |\n  a,8 b,8 c8 d8 e2 |\n  f4 e4 b,8 g,8 c4 |\n  a,8 b,8 c4 f,4 g,4 |\n  c,1 |\n  c4 c8 b,8 a,4 gis,4 |\n  a,8 b,8 c8 d8 e2 |\n  f4 e4 b,8 g,8 c4 |\n  a,8 b,8 c4 f,4 g,4 |\n  c,1 |\n  c8 c,8 c4 b,4 c8 f8 |\n  d8 b,8 e4 a,2 |\n  g8 f8 e8 d8 c8 b,8 c8 d8 |\n  f8 d8 g4 c2\n}\n", "preferred": false}, {"slug": "jesus-meine-zubersicht-cyberhymnal", "tune": "jesus-meine-zubersicht", "music_file": "jesus-meine-zubersicht-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [7, 15, 22, 30, 37], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "JESUS, MEINE ZUVERSICHT, Johann Cr\u00fcger, 1653. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune JESUS, MEINE ZUVERSICHT (Johann Cr\u00fcger, 1653); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified note-for-note against the Cyber Hymnal engraving (C major, 4/4, fully syllabic 7.8.7.8.7.7). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Jesus, meine Zuversicht\" (Johann Cr\u00fcger, 1653); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% JESUS, MEINE ZUVERSICHT (7.8.7.8.7.7) \u2014 four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% Encoded from The Cyber Hymnal SATB MIDI (\"Jesus, meine Zuversicht\", Johann\n%% Cr\u00fcger 1653) with tools/mid2ly.py and verified note-for-note against the Cyber\n%% Hymnal engraving. Fully syllabic 7.8.7.8.7.7 (44 soprano notes = 44 syllables).\n%% The soprano fis' and gis' in the fifth phrase are printed with sharps in the\n%% source; the inner-voice chromatics (tenor fis, cis', gis; bass cis) are printed\n%% sharps too. The phrase-1 bass passing eighth is a-natural (a,) but is written\n%% a-sharp (ais,) in its written-out repeat (phrase 3) \u2014 both carried as printed.\n%% The four phrase-end dotted-half + quarter-rest cadences (all voices resting) are\n%% collapsed to whole notes per house style.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  g'2 e'2 | a'4 b'4 c''4. c''8 | b'1 | a'2 c''2 |\n  a'4 g'4 f'4 e'4 | d'2 c'2 | g'2 e'2 | a'4 b'4 c''4. c''8 |\n  b'1 | a'2 c''2 | a'4 g'4 f'4 e'4 | d'2 c'2 |\n  e'2 fis'2 | g'4 a'4 a'4 gis'4 | a'2 b'4 c''4 | d''4 e''4 d''4 d''4 |\n  c''1\n}\nalto = {\n  e'2 c'2 | c'4 f'4 e'4. d'8 | d'1 | d'2 e'2 |\n  f'4 d'4 c'4 c'4 | c'4 b4 c'2 | e'2 c'2 | c'4 f'4 e'4. d'8 |\n  d'1 | d'2 e'2 | f'4 d'4 c'4 c'4 | c'4 b4 c'2 |\n  c'2 d'2 | d'4 e'4 f'4 e'4 | e'2 e'4 e'4 | g'4 g'4 a'4 g'4 |\n  e'1\n}\ntenor = {\n  c'2 g2 | f4 g4 g4. fis8 | g1 | f2 g2 |\n  c'4 b4 a4 g4 | g2 e2 | c'2 g2 | f4 g4 g4. fis8 |\n  g1 | f2 g2 | c'4 b4 a4 g4 | g2 e2 |\n  g2 c'2 | b4 a4 d'4 b4 | cis'2 gis4 a4 | b4 c'4 c'4 b4 |\n  g1\n}\nbass = {\n  c2 c2 | f4 d4 c4. a,8 | g,1 | d2 c2 |\n  f,4 g,4 a,4 c4 | g,2 c2 | c2 e2 | f4 d4 c4. ais,8 |\n  g,1 | d2 c2 | f,4 g,4 a,4 c4 | g,2 c2 |\n  c2 a,2 | b,4 cis4 d4 e4 | a,2 e4 a4 | g4 c4 f4 g4 |\n  c1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}