{"slug": "joyful-song", "name": "JOYFUL SONG", "meter_label": "12.10.12.10.11.10 with Refrain", "meter": {"pattern": [12, 10, 12, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "chester-g-allen", "composer_date": "1869", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "joyful-song-1887", "provenance": {"layer": "tune", "source": "bright-jewels-1869", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Chester G. Allen (1838-1878), first published with Fanny Crosby's words in Bright Jewels for the Sunday School (Lowry, Sherwin & Allen; New York: Biglow & Main, 1869), no. 82, headed 'PRAISE! GIVE PRAISE.' \u2014 read on the archive.org scan brightjewelsfors00lowr_0 leaf n85 (A major there; reprinted a semitone lower in A-flat in Gospel Hymns No. 5, 1887, no. 4, page 6). US public domain by publication before 1929. The soprano's first fifteen scale degrees (35132 32176 51351) match Hymnary tune authority joyful_song_allen's incipit exactly. The name JOYFUL SONG is the name the hymnals print (Hymnary tune authority 'JOYFUL SONG (Allen)', 358 hymnals); neither dated printing names the tune on the page, and the Cyber Hymnal's 'Lazio [Joyful Praise]' is that site's own invented place-name, so it is NOT recorded here as a printed alt_name.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "joyful_song_allen", "total_instances": 358}}, "harmonization": {"slug": "joyful-song-1887", "tune": "joyful-song", "music_file": "joyful-song-1887.ly", "harmonizer": "chester-g-allen", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 23, 35, 46, 58, 69, 81], "breaks_manual": true, "markings": [{"soprano_note": 70, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 70, "inline": true}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-5-1887", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Chester G. Allen's own four-part setting, copyright 1869 by Biglow & Main and long expired; the encoded note-data was diffed bar by bar against the dated A-flat printing in Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 4, printed page 6 (archive.org gospelhymnsno500sank leaf n9), whose right margin reads 'Copyright, 1869, by Biglow & Main.' The same setting is in the first printing, Bright Jewels for the Sunday School, 1869, no. 82, a semitone higher in A major. Both witnesses are pre-1931 US public domain and no modern arranger stands anywhere in the chain. Encoded from the DECOMPRESSED Cyber Hymnal NoteWorthy file, not from its MIDI (tools/mid2ly.py mis-voices bar 18 and drops the phrase-breath rests). The two idiosyncratic accidentals are the fingerprint and land in the same voice in the 1887 engraving: the alto D-natural sustained through bars 7/23 ('won-der-ful', giving V7/V) and the alto G-flat on the second chord of bars 13/29 ('Strength and', giving the Ab7 that resolves to D-flat). 88 soprano notes carry 87 syllables: the single melisma is the slurred bes'-g' of bar 18 (soprano notes 47-48), pinned from the NWC's two |Slur marks and visible in both dated scans, with the alto plainly holding two dotted quarters underneath. The 1887 page prints 24 bars with a segno at bar 9 and FINE at bar 16 and takes the refrain D.S. al Fine; that repeat is written out here as bars 25-32, so bar 32 is the printed FINE chord rather than the Cyber Hymnal's own revoiced final chord, which appears in neither dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Praise Him, Praise Him\" (http://www.hymntime.com/tch/htm/p/h/i/m/phimphim.htm); NoteWorthy Composer source file PraiseHimPraiseHim.nwc decoded staff-position by staff-position, then render-diffed against the 1887 Gospel Hymns No. 5 engraving", "encoding_license": "PD-dedication"}, "music_ly": "%% JOYFUL SONG (12.10.12.10.11.10 with Refrain) \u2014 \"Praise Him! Praise Him!\"\n%% Four SATB voice streams, canonical key A-flat major, 6/8, no pickup, 32 bars.\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. Decoded staff-position by staff-position out of the\n%% DECOMPRESSED Cyber Hymnal NoteWorthy file (PraiseHimPraiseHim.nwc, NWC 2.751,\n%% \"Source: Bright Jewels ... 1869, # 82\") \u2014 NOT from its MIDI: tools/mid2ly.py\n%% corrupts this piece (it hands the alto and the bass the soprano's bar-18\n%% melisma rhythm and drops the three phrase-breath eighth rests entirely).\n%% Every bar was then render-diffed against the 1887 engraving, archive.org\n%% gospelhymnsno500sank leaf n9 = Gospel Hymns No. 5, no. 4, printed page 6\n%% (\"Copyright, 1869, by Biglow & Main\"), which is the harmonization's dated\n%% pre-1931 witness. The soprano's first fifteen scale degrees (35132 32176\n%% 51351) match Hymnary's incipit for tune authority joyful_song_allen exactly.\n%%\n%% STRUCTURE. The 1887 page prints 24 bars with a segno at bar 9 and FINE at\n%% bar 16; the refrain is \"D.S. al Fine\", i.e. bars 9-16 sung again to the\n%% chorus words. That repeat is WRITTEN OUT here as bars 25-32 so the refrain\n%% can carry its own centred lyric line. Bar 32 is therefore bar 16 verbatim\n%% (the printed FINE chord); the Cyber Hymnal's own revoiced final chord\n%% (alto c' / tenor aes) is editorial and appears in neither dated printing.\n%%\n%% ONE MELISMA, bar 18, soprano notes 47-48 (line 5 syllable 3: \"shep-(herd)\" /\n%% \"prais-(es)\" / \"com-(ing)\"), pinned from the NWC's two |Slur marks \u2014 one per\n%% staff \u2014 and seen in the 1887 engraving, where the alto plainly holds TWO\n%% dotted quarters under the slurred pair. The TENOR carries the same two-note\n%% figure (g4 bes8). Fixed across all three stanzas, so it is slurred here and\n%% the setting stays one_to_one.\n%%\n%% ACCIDENTALS. Alto D-natural through bars 7 and 23 (five sounding d' each \u2014\n%% the 1887 page prints one natural before the LOWER notehead of \"won-der-\",\n%% carrying through the bar; it makes bes,-d'-aes-c'' = V7/V). Alto G-flat on\n%% the second chord of bars 13/29 (\"Strength and\" / \"praise Him!\"), printed as a\n%% flat before the LOWER notehead, making the Ab7 that resolves to Db.\n%%\n%% PHRASE BREATHS. Bars 8, 16, 24 (and so 32) print a dotted quarter tied to a\n%% quarter plus an eighth rest in all four voices; kept as printed rather than\n%% collapsed, since the house collapse convention is documented for 4/4 only.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8 |\n  bes'4. c''4. |\n  bes'4( g'8) ees'4. |\n  des''8 c''8 bes'8 c''4 des''8 |\n  c''4. bes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  ees'8 ees'8 ees'8 ees'4 ees'8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8\n}\n\ntenor = {\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8 |\n  g4. aes4. |\n  g4( bes8) g4. |\n  bes8 aes8 g8 aes4 bes8 |\n  aes4. g4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8\n}\n\nbass = {\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8 |\n  ees4. ees4. |\n  ees4. ees4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  ees4. ees4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8\n}\n"}, "harmonizations": [{"slug": "joyful-song-1887", "tune": "joyful-song", "music_file": "joyful-song-1887.ly", "harmonizer": "chester-g-allen", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [12, 23, 35, 46, 58, 69, 81], "breaks_manual": true, "markings": [{"soprano_note": 70, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 70, "inline": true}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-5-1887", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Chester G. Allen's own four-part setting, copyright 1869 by Biglow & Main and long expired; the encoded note-data was diffed bar by bar against the dated A-flat printing in Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 4, printed page 6 (archive.org gospelhymnsno500sank leaf n9), whose right margin reads 'Copyright, 1869, by Biglow & Main.' The same setting is in the first printing, Bright Jewels for the Sunday School, 1869, no. 82, a semitone higher in A major. Both witnesses are pre-1931 US public domain and no modern arranger stands anywhere in the chain. Encoded from the DECOMPRESSED Cyber Hymnal NoteWorthy file, not from its MIDI (tools/mid2ly.py mis-voices bar 18 and drops the phrase-breath rests). The two idiosyncratic accidentals are the fingerprint and land in the same voice in the 1887 engraving: the alto D-natural sustained through bars 7/23 ('won-der-ful', giving V7/V) and the alto G-flat on the second chord of bars 13/29 ('Strength and', giving the Ab7 that resolves to D-flat). 88 soprano notes carry 87 syllables: the single melisma is the slurred bes'-g' of bar 18 (soprano notes 47-48), pinned from the NWC's two |Slur marks and visible in both dated scans, with the alto plainly holding two dotted quarters underneath. The 1887 page prints 24 bars with a segno at bar 9 and FINE at bar 16 and takes the refrain D.S. al Fine; that repeat is written out here as bars 25-32, so bar 32 is the printed FINE chord rather than the Cyber Hymnal's own revoiced final chord, which appears in neither dated printing.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Praise Him, Praise Him\" (http://www.hymntime.com/tch/htm/p/h/i/m/phimphim.htm); NoteWorthy Composer source file PraiseHimPraiseHim.nwc decoded staff-position by staff-position, then render-diffed against the 1887 Gospel Hymns No. 5 engraving", "encoding_license": "PD-dedication"}, "music_ly": "%% JOYFUL SONG (12.10.12.10.11.10 with Refrain) \u2014 \"Praise Him! Praise Him!\"\n%% Four SATB voice streams, canonical key A-flat major, 6/8, no pickup, 32 bars.\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. Decoded staff-position by staff-position out of the\n%% DECOMPRESSED Cyber Hymnal NoteWorthy file (PraiseHimPraiseHim.nwc, NWC 2.751,\n%% \"Source: Bright Jewels ... 1869, # 82\") \u2014 NOT from its MIDI: tools/mid2ly.py\n%% corrupts this piece (it hands the alto and the bass the soprano's bar-18\n%% melisma rhythm and drops the three phrase-breath eighth rests entirely).\n%% Every bar was then render-diffed against the 1887 engraving, archive.org\n%% gospelhymnsno500sank leaf n9 = Gospel Hymns No. 5, no. 4, printed page 6\n%% (\"Copyright, 1869, by Biglow & Main\"), which is the harmonization's dated\n%% pre-1931 witness. The soprano's first fifteen scale degrees (35132 32176\n%% 51351) match Hymnary's incipit for tune authority joyful_song_allen exactly.\n%%\n%% STRUCTURE. The 1887 page prints 24 bars with a segno at bar 9 and FINE at\n%% bar 16; the refrain is \"D.S. al Fine\", i.e. bars 9-16 sung again to the\n%% chorus words. That repeat is WRITTEN OUT here as bars 25-32 so the refrain\n%% can carry its own centred lyric line. Bar 32 is therefore bar 16 verbatim\n%% (the printed FINE chord); the Cyber Hymnal's own revoiced final chord\n%% (alto c' / tenor aes) is editorial and appears in neither dated printing.\n%%\n%% ONE MELISMA, bar 18, soprano notes 47-48 (line 5 syllable 3: \"shep-(herd)\" /\n%% \"prais-(es)\" / \"com-(ing)\"), pinned from the NWC's two |Slur marks \u2014 one per\n%% staff \u2014 and seen in the 1887 engraving, where the alto plainly holds TWO\n%% dotted quarters under the slurred pair. The TENOR carries the same two-note\n%% figure (g4 bes8). Fixed across all three stanzas, so it is slurred here and\n%% the setting stays one_to_one.\n%%\n%% ACCIDENTALS. Alto D-natural through bars 7 and 23 (five sounding d' each \u2014\n%% the 1887 page prints one natural before the LOWER notehead of \"won-der-\",\n%% carrying through the bar; it makes bes,-d'-aes-c'' = V7/V). Alto G-flat on\n%% the second chord of bars 13/29 (\"Strength and\" / \"praise Him!\"), printed as a\n%% flat before the LOWER notehead, making the Ab7 that resolves to Db.\n%%\n%% PHRASE BREATHS. Bars 8, 16, 24 (and so 32) print a dotted quarter tied to a\n%% quarter plus an eighth rest in all four voices; kept as printed rather than\n%% collapsed, since the house collapse convention is documented for 4/4 only.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8 |\n  bes'4. c''4. |\n  bes'4( g'8) ees'4. |\n  des''8 c''8 bes'8 c''4 des''8 |\n  c''4. bes'4. |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  c''8 bes'8 aes'8 bes'4 c''8 |\n  bes'4.~ bes'4 r8 |\n  c''4. ees''4. |\n  aes'4. c''4. |\n  bes'8 c''8 bes'8 aes'8 g'8 f'8 |\n  ees'4. aes'4. |\n  c''4. ees''4. |\n  des''4. bes'4. |\n  aes'8 g'8 aes'8 c''4 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  ees'8 ees'8 ees'8 ees'4 ees'8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  c'4. c'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  ees'4.~ ees'4 r8 |\n  ees'4. ees'4. |\n  ees'4. ees'4. |\n  f'8 f'8 f'8 f'8 ees'8 des'8 |\n  c'4. c'4. |\n  ees'4. ges'4. |\n  f'4. f'4. |\n  ees'8 ees'8 ees'8 aes'4 g'8 |\n  aes'4.~ aes'4 r8\n}\n\ntenor = {\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8 |\n  g4. aes4. |\n  g4( bes8) g4. |\n  bes8 aes8 g8 aes4 bes8 |\n  aes4. g4. |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes8 aes8 aes8 f4 aes8 |\n  g4.~ g4 r8 |\n  aes4. c'4. |\n  c'4. aes4. |\n  des'8 des'8 des'8 aes8 aes8 aes8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  aes4. des'4. |\n  c'8 bes8 c'8 ees'4 des'8 |\n  c'4.~ c'4 r8\n}\n\nbass = {\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8 |\n  ees4. ees4. |\n  ees4. ees4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  ees4. ees4. |\n  aes,4. c4. |\n  f4. f4. |\n  bes,8 bes,8 bes,8 bes,4 bes,8 |\n  ees4.~ ees4 r8 |\n  aes4. aes4. |\n  aes4. aes4. |\n  des8 des8 des8 des8 des8 des8 |\n  aes,4. aes,4. |\n  aes,4. c4. |\n  des4. des4. |\n  ees8 ees8 ees8 ees4 ees8 |\n  aes,4.~ aes,4 r8\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}