{"slug": "kirkpatrick", "name": "KIRKPATRICK", "meter_label": "11.8.11.8 with refrain", "meter": {"pattern": [11, 8, 11, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1890", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "kirkpatrick-tabernacle-1921", "provenance": {"layer": "tune", "source": "finest-of-the-wheat-1890", "source_kind": "hand_encoded", "pd_evidence": "Tune KIRKPATRICK (11.8.11.8 with refrain), William James Kirkpatrick (1838-1921), written for Fanny Crosby's \"A wonderful Saviour is Jesus my Lord\". FIRST PRINTING READ: The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" \u2014 archive.org finestofwheath00elde, leaf n59; a second scan of the same book is archive.org finestofwheathym00elde (leaf n57, whose jp2 archive would not serve). The received claim that the hymn first appeared in Songs of Redeeming Love, No. 1 (1882) is NOT what was found: the full-text index of that book (archive.org songsofredeeming00swen) and of its No. 2 (songsofredeeming02swen, 1887) return no match for \"hideth my soul\", and the copyright the plates themselves carry is 1890. The encoding here is taken not from the 1890 leaf (staff space 22.9 px = 11.4 px per diatonic step, below this project's reading tolerance) but from Tabernacle Hymns, No. 2 (1921), hymn 164, which prints the same tune in the same key and metre; see the harmonization record. US public domain: first published 1890, every printing read is pre-1931, and the composer died in 1921.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "kirkpatrick-tabernacle-1921", "tune": "kirkpatrick", "music_file": "kirkpatrick-tabernacle-1921.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 20, 31, 40, 51, 60, 71, 81], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "source_line": "Setting: William J. Kirkpatrick, 1890, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Kirkpatrick's own four-part setting of his tune, as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" and \"Wm. J. Kirkpatrick.\", footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.  Used by permission.\", in D major (two sharps) and 6/8 with a one-eighth pickup; the hymn runs over two leaves, the second headed \"He Hideth My Soul.\u2014Concluded.\" US public domain: the printing read is 1921 and the setting's own copyright dates, printed on the page, are 1890 and 1918 \u2014 all before 1931 \u2014 and no modern arranger stands anywhere in the chain; Kirkpatrick died in 1921 and Crosby in 1915. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE \u2014 archive.org tabernaclehymnsn00chic leaves n172+n173 (2365 px across, staff space 29.24 px = 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaves n170+n171 (1877 px across, staff space 23.15 px = 11.6 px per diatonic step); they are two scans of the one book, and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, hollow interiors under 0.55 staff spaces squared filled, staff lines suppressed by vertical run length AFTER that fill, heads isolated by morphological opening, over-wide cores split at the valleys of their own column profile, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Scan 1 resolved 88 of the 90 treble chords and 90 of 90 bass chords; scan 2 resolved 85 and 90. EVERY chord both scans resolved agrees in every voice \u2014 0 disagreements \u2014 and every chord only one resolved, plus every merged split landing further than 0.25 step from an exact position, was read a third way off crops carrying the fitted five-line grid at 2.6x to 10x; that third reading is what ships. It corrected the automated pass in one place only: the last four treble chords on the second leaf, where scan 1's merged split said steps -2/-3 and both the grid and scan 2's unmerged cores say -2/-4 then -1/-4 (C sharp 4 over A3, then D4 over A3). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, column by column, on ALL FOUR leaves at high magnification, because the automated figures above cover staff positions only and are blind to accidentals: the sweep found exactly ONE printed accidental in the hymn \u2014 a sharp before the LOWER note of the refrain chord on \"shad-OWS\" (soprano note 54), giving alto D sharp 4 \u2014 and nothing else in any voice, the two-sharp signature standing at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE; no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO FURTHER DATED PRINTINGS were opened as corroboration and agree wherever compared \u2014 The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, the first printing, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" (archive.org finestofwheath00elde, leaf n59), and Hymns of the Christian Life, No. 3 (1904), no. 201 (archive.org hymnsofchristi1904simp, leaf n214); both are in D major and 6/8 and both print the same low final cadence, in which the treble staff drops onto ledger lines below the staff for \"with His hand.\" DEPARTURES FROM THE PAGE, in full: (1) the plate ties its last two chords but prints NO curve from the eighth before them, though the lyric \"hand.\" stands under that eighth and no syllable follows \u2014 a slur over those three notes is ADDED here, in all four voices, so the syllable spans the notes it is sung over; without it the last two chords would render wordless. Nothing else is added and no printed curve is dropped. (2) The plate prints a fermata on the chord ending its fifth system (the word \"love,\", soprano note 71); this corpus has no fermata field, so it is absent. (3) The casting is not the page's: the page breaks after soprano notes 12, 24, 40, 55 and 71, three of those inside a poetic line and its last system holding 19 noteheads, so the systems here break at the nine poetic-line ends instead. (4) The page prints no Amen. Nothing else departs: every pitch and every duration is the plate's, all four voices restrike together on every notehead because that is what the plate prints, and each place where the plate prints ONE head under two stems is written here as the unison it is.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 164 \u2014 archive.org tabernaclehymnsn00chic leaves n172 and n173, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaves n170 and n171. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% KIRKPATRICK (11.8.11.8 with refrain) \u2014 William J. Kirkpatrick. Four SATB\n%% voice streams, canonical key D major, 6/8, one-eighth pickup, 18 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. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" on\n%% the left and \"Wm. J. Kirkpatrick.\" on the right, marked \"CHORUS.\" above the\n%% fourth system, and footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.\n%% Used by permission.\" The hymn runs over two leaves; the second is headed\n%% \"He Hideth My Soul.\u2014Concluded.\" Read off TWO independent scans of that same\n%% plate: archive.org tabernaclehymnsn00chic leaves n172 + n173 (2365 px across,\n%% staff space 29.24 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaves n170 + n171 (1877 px across, staff space\n%% 23.15 px = 11.6 px per diatonic step). The two items are two scans of the one\n%% book (n00chic's title page, leaf n7, reads \"Tabernacle Hymns No. 2 \u2026\n%% Copyright 1921 \u2026 Tabernacle Publishing Company \u2026 Chicago\"), and at this hymn\n%% n00chic runs two leaves later than n02chic \u2014 the same offset the ADELAIDE\n%% record found at hymn 21.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing; then holes smaller than 0.55 staff spaces\n%% squared are filled (the ADELAIDE recipe's 1.2 floods the pocket between a\n%% head, its stem and the line above on THIS plate and welds two heads and the\n%% augmentation dots into one blob 2.8 staff spaces wide); then staff lines are\n%% suppressed by vertical run length \u2014 AFTER the fill; then a horizontal opening\n%% of 0.62 staff space and a vertical opening of 0.45 staff space leave a head\n%% core, and any core still wider than 1.80 staff spaces is split at the valleys\n%% of its own column profile instead of being discarded. Every core was converted\n%% to a diatonic step against a FRESH five-line fit made in a +-2.6-staff-space\n%% window around that core's own x. Merged soprano-over-alto blobs were split at\n%% the midpoint of their two clean outer edges with the separation snapped to a\n%% whole step.\n%%\n%% The two scans were read END TO END, independently, by that same rig. Scan 1\n%% resolved 88 of the 90 chords in the treble staff and 90 of 90 in the bass;\n%% scan 2 resolved 85 in the treble and 90 in the bass. Every chord that BOTH\n%% resolved agrees \u2014 0 disagreements in any voice \u2014 and every chord that only\n%% one resolved, plus every chord whose merged split landed further than 0.25\n%% step from an exact position, was then read a third way off crops carrying the\n%% fitted five-line grid drawn over the page at 2.6x to 10x. It is that third\n%% reading that ships wherever the two differ in confidence. It corrected the\n%% automated pass at exactly one place: the last four chords of the treble on\n%% the second leaf, where scan 1's merged split reported steps -2/-3 and the\n%% grid (and scan 2's unmerged cores, deviation 0.01-0.09) show -2/-4 and then\n%% -1/-4 \u2014 C sharp 4 over A3 under \"His hand\", D4 over A3 under the closing tie.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. The automated figures above\n%% cover staff positions only and never covered accidentals. Every column of\n%% ALL FOUR leaves (n00chic n172+n173 and n02chic n170+n171) was swept\n%% separately BY EYE at high magnification. The sweep found exactly ONE printed\n%% accidental in the whole hymn: a SHARP in the refrain, immediately before the\n%% lower note of the chord on the syllable \"-ows\" of \"shad-ows\" (soprano note\n%% 54), sitting in the space below the bottom line of the treble staff \u2014 alto\n%% D sharp 4, written `dis'` below. Nothing else: no accidental in the soprano,\n%% tenor or bass anywhere, and the two-sharp signature stands at the head of\n%% every staff on both leaves. The same sharp is on both scans.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% Two FURTHER dated printings were opened as corroboration and agree with this\n%% reading wherever they were compared: The Finest of the Wheat (Chicago:\n%% R. R. McCabe & Co., 1890), no. 49 \u2014 the first printing, footed \"Copyright,\n%% 1890, by Wm. J. Kirkpatrick\" \u2014 at archive.org finestofwheath00elde leaf n59,\n%% and Hymns of the Christian Life, No. 3 (1904), no. 201, at archive.org\n%% hymnsofchristi1904simp leaf n214. Both are in the same key (D major, two\n%% sharps) and the same 6/8, and both print the same low final cadence.\n%%\n%% THE PLATE'S RHYTHM. Every bar is two dotted-quarter beats and the engraving\n%% flags each note separately; the recurring figure is dotted-eighth + sixteenth\n%% + eighth. All four voices are homorhythmic THROUGHOUT \u2014 the plate restrikes\n%% every voice on every notehead, and there is not one place in the hymn where\n%% one voice holds while another moves. Where soprano and alto (or tenor and\n%% bass) share a pitch the plate prints ONE head carrying an up stem and a down\n%% stem; those are the unisons written twice below (soprano notes 7, 27, 41, 81,\n%% 85 and the pairs in the bass staff at notes 41, 46, 47).\n%%\n%% 90 soprano noteheads carry 84 syllables (38 verse + 46 refrain). The six\n%% multi-note groups are: notes 19-20, 39-40, 59-60 and 89-90 (TIES \u2014 the two\n%% heads are the same pitch in all four voices, on \"me;\", \"see.\", \"land;\" and\n%% the closing \"hand.\"), note 79-80 (a printed SLUR, soprano A4 to G4, on the\n%% first \"hand,\"), and note 88 joined to 89-90 (see the departure below).\n%%\n%% DEPARTURES FROM THE PAGE, in full:\n%%   (1) THE LAST SYLLABLE'S SLUR IS ADDED. The plate prints ties between its\n%%       last two chords but draws NO curve from the eighth before them, even\n%%       though the lyric \"hand.\" stands under that eighth and there is no\n%%       further syllable. A slur is written here over all three notes in all\n%%       four voices so the syllable spans the notes it is sung over; without it\n%%       the last two chords would render wordless. Nothing is added anywhere\n%%       else, and no printed curve is dropped.\n%%   (2) THE FERMATA IS NOT CARRIED. The plate prints a fermata over/under the\n%%       chord that ends its fifth system (the word \"love,\", soprano note 71).\n%%       This corpus has no fermata field, so it is absent.\n%%   (3) THE CASTING IS NOT THE PLATE'S. The page casts six systems, breaking\n%%       after soprano notes 12, 24, 40, 55 and 71; three of those fall inside a\n%%       poetic line. The systems here break at the ends of the nine poetic\n%%       lines (notes 11, 20, 31, 40, 51, 60, 71, 80), which also keeps every\n%%       system under MAX_SYSTEM_NOTES.\n%%   (4) The page prints no Amen: after the last tied chord it draws a\n%%       light-heavy double bar and stops. `amen: false`.\n%% Nothing else departs: every pitch and every duration below is the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 a'4 a'8 |\n  a'8. g'16 fis'8 fis'8 g'8 fis'8 |\n  e'4.~( e'4) a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 g'8 e'8 |\n  d'4.~( d'4) a'8 |\n  cis''8. cis''16 cis''8 cis''4 b'16 cis''16 |\n  d''8. cis''16 b'8 a'4 a'8 |\n  g'8. fis'16 g'8 e'8 b'8 a'8 |\n  fis'4.~( fis'4) a'8 |\n  d''8. d''16 d''8 d''4 d''16 d''16 |\n  e''8. d''16 d''8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 a'8 a'8 |\n  a'4.( g'8 a'8) b'8 |\n  a'8. fis'16 d'8 g'8. cis'16 cis'8 |\n  d'4.~( d'4)\n}\n\nalto = {\n  fis'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 fis'4 fis'8 |\n  fis'8. e'16 d'8 d'8 e'8 d'8 |\n  cis'4.~( cis'4) g'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 d'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) a'8 |\n  g'8. g'16 g'8 g'4 g'16 g'16 |\n  fis'8. a'16 g'8 fis'4 fis'8 |\n  e'8. dis'16 e'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) fis'8 |\n  fis'8. fis'16 fis'8 fis'4 fis'16 fis'16 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 fis'8 e'8 fis'8 g'8 |\n  fis'4.( g'8 a'8) g'8 |\n  fis'8. d'16 d'8 cis'8. a16 a8 |\n  a4.~( a4)\n}\n\ntenor = {\n  a8 |\n  a8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) cis'8 |\n  d'8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 b4 d'8 |\n  d'8. a16 fis8 e8 e8 g8 |\n  fis4.~( fis4) a8 |\n  e'8. e'16 e'8 e'4 a16 a16 |\n  a8. a16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  b8. b16 b8 b4 d'8 |\n  d'8. d'16 d'8 cis'8 d'8 e'8 |\n  d'4.( cis'8 d'8) d'8 |\n  d'8. a16 fis8 e8. g16 g8 |\n  fis4.~( fis4)\n}\n\nbass = {\n  d8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 d4 d8 |\n  d8. d16 d8 d8 cis8 d8 |\n  a,4.~( a,4) a,8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 g,4 g,8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  d8. d16 d8 d4 d8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) d8 |\n  d8. d16 d8 d4 d16 d16 |\n  g8. g16 g8 g4 g8 |\n  a8. a16 a8 a,8 a,8 a,8 |\n  d4.( e8 fis8) g,8 |\n  a,8. a,16 a,8 a,8. a,16 a,8 |\n  d4.~( d4)\n}\n"}, "harmonizations": [{"slug": "kirkpatrick-tabernacle-1921", "tune": "kirkpatrick", "music_file": "kirkpatrick-tabernacle-1921.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "6/8", "pickup": "8", "system_breaks": [11, 20, 31, 40, 51, 60, 71, 81], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 41}, "markings": [{"soprano_note": 41, "kind": "refrain"}], "source_line": "Setting: William J. Kirkpatrick, 1890, as printed in Tabernacle Hymns, No. 2, 1921. Public domain.", "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Kirkpatrick's own four-part setting of his tune, as printed in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" and \"Wm. J. Kirkpatrick.\", footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.  Used by permission.\", in D major (two sharps) and 6/8 with a one-eighth pickup; the hymn runs over two leaves, the second headed \"He Hideth My Soul.\u2014Concluded.\" US public domain: the printing read is 1921 and the setting's own copyright dates, printed on the page, are 1890 and 1918 \u2014 all before 1931 \u2014 and no modern arranger stands anywhere in the chain; Kirkpatrick died in 1921 and Crosby in 1915. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE \u2014 archive.org tabernaclehymnsn00chic leaves n172+n173 (2365 px across, staff space 29.24 px = 14.6 px per diatonic step) and archive.org tabernaclehymnsn02chic leaves n170+n171 (1877 px across, staff space 23.15 px = 11.6 px per diatonic step); they are two scans of the one book, and at this hymn n00chic runs two leaves later than n02chic. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, hollow interiors under 0.55 staff spaces squared filled, staff lines suppressed by vertical run length AFTER that fill, heads isolated by morphological opening, over-wide cores split at the valleys of their own column profile, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x. Scan 1 resolved 88 of the 90 treble chords and 90 of 90 bass chords; scan 2 resolved 85 and 90. EVERY chord both scans resolved agrees in every voice \u2014 0 disagreements \u2014 and every chord only one resolved, plus every merged split landing further than 0.25 step from an exact position, was read a third way off crops carrying the fitted five-line grid at 2.6x to 10x; that third reading is what ships. It corrected the automated pass in one place only: the last four treble chords on the second leaf, where scan 1's merged split said steps -2/-3 and both the grid and scan 2's unmerged cores say -2/-4 then -1/-4 (C sharp 4 over A3, then D4 over A3). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, column by column, on ALL FOUR leaves at high magnification, because the automated figures above cover staff positions only and are blind to accidentals: the sweep found exactly ONE printed accidental in the hymn \u2014 a sharp before the LOWER note of the refrain chord on \"shad-OWS\" (soprano note 54), giving alto D sharp 4 \u2014 and nothing else in any voice, the two-sharp signature standing at the head of every staff. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE; no MIDI, no .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point. TWO FURTHER DATED PRINTINGS were opened as corroboration and agree wherever compared \u2014 The Finest of the Wheat (Chicago: R. R. McCabe & Co., 1890), no. 49, the first printing, footed \"Copyright, 1890, by Wm. J. Kirkpatrick\" (archive.org finestofwheath00elde, leaf n59), and Hymns of the Christian Life, No. 3 (1904), no. 201 (archive.org hymnsofchristi1904simp, leaf n214); both are in D major and 6/8 and both print the same low final cadence, in which the treble staff drops onto ledger lines below the staff for \"with His hand.\" DEPARTURES FROM THE PAGE, in full: (1) the plate ties its last two chords but prints NO curve from the eighth before them, though the lyric \"hand.\" stands under that eighth and no syllable follows \u2014 a slur over those three notes is ADDED here, in all four voices, so the syllable spans the notes it is sung over; without it the last two chords would render wordless. Nothing else is added and no printed curve is dropped. (2) The plate prints a fermata on the chord ending its fifth system (the word \"love,\", soprano note 71); this corpus has no fermata field, so it is absent. (3) The casting is not the page's: the page breaks after soprano notes 12, 24, 40, 55 and 71, three of those inside a poetic line and its last system holding 19 noteheads, so the systems here break at the nine poetic-line ends instead. (4) The page prints no Amen. Nothing else departs: every pitch and every duration is the plate's, all four voices restrike together on every notehead because that is what the plate prints, and each place where the plate prints ONE head under two stems is written here as the unison it is.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of Tabernacle Hymns, No. 2 (1921), hymn 164 \u2014 archive.org tabernaclehymnsn00chic leaves n172 and n173, collated notehead by notehead against archive.org tabernaclehymnsn02chic leaves n170 and n171. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% KIRKPATRICK (11.8.11.8 with refrain) \u2014 William J. Kirkpatrick. Four SATB\n%% voice streams, canonical key D major, 6/8, one-eighth pickup, 18 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. Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing\n%% Co., 1921), hymn 164, headed \"He Hideth My Soul.\" over \"Fanny J. Crosby.\" on\n%% the left and \"Wm. J. Kirkpatrick.\" on the right, marked \"CHORUS.\" above the\n%% fourth system, and footed \"Copyright, 1890 and 1918, by Wm. J. Kirkpatrick.\n%% Used by permission.\" The hymn runs over two leaves; the second is headed\n%% \"He Hideth My Soul.\u2014Concluded.\" Read off TWO independent scans of that same\n%% plate: archive.org tabernaclehymnsn00chic leaves n172 + n173 (2365 px across,\n%% staff space 29.24 px = 14.6 px per diatonic step) and archive.org\n%% tabernaclehymnsn02chic leaves n170 + n171 (1877 px across, staff space\n%% 23.15 px = 11.6 px per diatonic step). The two items are two scans of the one\n%% book (n00chic's title page, leaf n7, reads \"Tabernacle Hymns No. 2 \u2026\n%% Copyright 1921 \u2026 Tabernacle Publishing Company \u2026 Chicago\"), and at this hymn\n%% n00chic runs two leaves later than n02chic \u2014 the same offset the ADELAIDE\n%% record found at hymn 21.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan, with its own\n%% binarisation and its own staff-line fits: ink is whatever is darker than 82%\n%% of the LOCAL paper level (41x41 grey dilation then a 41x41 box filter),\n%% followed by a 5x5 binary closing; then holes smaller than 0.55 staff spaces\n%% squared are filled (the ADELAIDE recipe's 1.2 floods the pocket between a\n%% head, its stem and the line above on THIS plate and welds two heads and the\n%% augmentation dots into one blob 2.8 staff spaces wide); then staff lines are\n%% suppressed by vertical run length \u2014 AFTER the fill; then a horizontal opening\n%% of 0.62 staff space and a vertical opening of 0.45 staff space leave a head\n%% core, and any core still wider than 1.80 staff spaces is split at the valleys\n%% of its own column profile instead of being discarded. Every core was converted\n%% to a diatonic step against a FRESH five-line fit made in a +-2.6-staff-space\n%% window around that core's own x. Merged soprano-over-alto blobs were split at\n%% the midpoint of their two clean outer edges with the separation snapped to a\n%% whole step.\n%%\n%% The two scans were read END TO END, independently, by that same rig. Scan 1\n%% resolved 88 of the 90 chords in the treble staff and 90 of 90 in the bass;\n%% scan 2 resolved 85 in the treble and 90 in the bass. Every chord that BOTH\n%% resolved agrees \u2014 0 disagreements in any voice \u2014 and every chord that only\n%% one resolved, plus every chord whose merged split landed further than 0.25\n%% step from an exact position, was then read a third way off crops carrying the\n%% fitted five-line grid drawn over the page at 2.6x to 10x. It is that third\n%% reading that ships wherever the two differ in confidence. It corrected the\n%% automated pass at exactly one place: the last four chords of the treble on\n%% the second leaf, where scan 1's merged split reported steps -2/-3 and the\n%% grid (and scan 2's unmerged cores, deviation 0.01-0.09) show -2/-4 and then\n%% -1/-4 \u2014 C sharp 4 over A3 under \"His hand\", D4 over A3 under the closing tie.\n%%\n%% ACCIDENTALS ARE NOT WHAT A NOTEHEAD PROBE SEES. The automated figures above\n%% cover staff positions only and never covered accidentals. Every column of\n%% ALL FOUR leaves (n00chic n172+n173 and n02chic n170+n171) was swept\n%% separately BY EYE at high magnification. The sweep found exactly ONE printed\n%% accidental in the whole hymn: a SHARP in the refrain, immediately before the\n%% lower note of the chord on the syllable \"-ows\" of \"shad-ows\" (soprano note\n%% 54), sitting in the space below the bottom line of the treble staff \u2014 alto\n%% D sharp 4, written `dis'` below. Nothing else: no accidental in the soprano,\n%% tenor or bass anywhere, and the two-sharp signature stands at the head of\n%% every staff on both leaves. The same sharp is on both scans.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. No MIDI, no\n%% .nwc, no Cyber Hymnal asset and no existing encoding was opened at any point.\n%% Two FURTHER dated printings were opened as corroboration and agree with this\n%% reading wherever they were compared: The Finest of the Wheat (Chicago:\n%% R. R. McCabe & Co., 1890), no. 49 \u2014 the first printing, footed \"Copyright,\n%% 1890, by Wm. J. Kirkpatrick\" \u2014 at archive.org finestofwheath00elde leaf n59,\n%% and Hymns of the Christian Life, No. 3 (1904), no. 201, at archive.org\n%% hymnsofchristi1904simp leaf n214. Both are in the same key (D major, two\n%% sharps) and the same 6/8, and both print the same low final cadence.\n%%\n%% THE PLATE'S RHYTHM. Every bar is two dotted-quarter beats and the engraving\n%% flags each note separately; the recurring figure is dotted-eighth + sixteenth\n%% + eighth. All four voices are homorhythmic THROUGHOUT \u2014 the plate restrikes\n%% every voice on every notehead, and there is not one place in the hymn where\n%% one voice holds while another moves. Where soprano and alto (or tenor and\n%% bass) share a pitch the plate prints ONE head carrying an up stem and a down\n%% stem; those are the unisons written twice below (soprano notes 7, 27, 41, 81,\n%% 85 and the pairs in the bass staff at notes 41, 46, 47).\n%%\n%% 90 soprano noteheads carry 84 syllables (38 verse + 46 refrain). The six\n%% multi-note groups are: notes 19-20, 39-40, 59-60 and 89-90 (TIES \u2014 the two\n%% heads are the same pitch in all four voices, on \"me;\", \"see.\", \"land;\" and\n%% the closing \"hand.\"), note 79-80 (a printed SLUR, soprano A4 to G4, on the\n%% first \"hand,\"), and note 88 joined to 89-90 (see the departure below).\n%%\n%% DEPARTURES FROM THE PAGE, in full:\n%%   (1) THE LAST SYLLABLE'S SLUR IS ADDED. The plate prints ties between its\n%%       last two chords but draws NO curve from the eighth before them, even\n%%       though the lyric \"hand.\" stands under that eighth and there is no\n%%       further syllable. A slur is written here over all three notes in all\n%%       four voices so the syllable spans the notes it is sung over; without it\n%%       the last two chords would render wordless. Nothing is added anywhere\n%%       else, and no printed curve is dropped.\n%%   (2) THE FERMATA IS NOT CARRIED. The plate prints a fermata over/under the\n%%       chord that ends its fifth system (the word \"love,\", soprano note 71).\n%%       This corpus has no fermata field, so it is absent.\n%%   (3) THE CASTING IS NOT THE PLATE'S. The page casts six systems, breaking\n%%       after soprano notes 12, 24, 40, 55 and 71; three of those fall inside a\n%%       poetic line. The systems here break at the ends of the nine poetic\n%%       lines (notes 11, 20, 31, 40, 51, 60, 71, 80), which also keeps every\n%%       system under MAX_SYSTEM_NOTES.\n%%   (4) The page prints no Amen: after the last tied chord it draws a\n%%       light-heavy double bar and stops. `amen: false`.\n%% Nothing else departs: every pitch and every duration below is the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 6/8 \\partial 8 }\n\nsoprano = {\n  a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 a'4 a'8 |\n  a'8. g'16 fis'8 fis'8 g'8 fis'8 |\n  e'4.~( e'4) a'8 |\n  a'8. g'16 fis'8 fis'8 e'8 d'8 |\n  b'8. b'16 b'8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 g'8 e'8 |\n  d'4.~( d'4) a'8 |\n  cis''8. cis''16 cis''8 cis''4 b'16 cis''16 |\n  d''8. cis''16 b'8 a'4 a'8 |\n  g'8. fis'16 g'8 e'8 b'8 a'8 |\n  fis'4.~( fis'4) a'8 |\n  d''8. d''16 d''8 d''4 d''16 d''16 |\n  e''8. d''16 d''8 d''4 b'8 |\n  a'8. a'16 a'8 a'8 a'8 a'8 |\n  a'4.( g'8 a'8) b'8 |\n  a'8. fis'16 d'8 g'8. cis'16 cis'8 |\n  d'4.~( d'4)\n}\n\nalto = {\n  fis'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 fis'4 fis'8 |\n  fis'8. e'16 d'8 d'8 e'8 d'8 |\n  cis'4.~( cis'4) g'8 |\n  fis'8. e'16 d'8 d'8 d'8 d'8 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 d'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) a'8 |\n  g'8. g'16 g'8 g'4 g'16 g'16 |\n  fis'8. a'16 g'8 fis'4 fis'8 |\n  e'8. dis'16 e'8 cis'8 cis'8 cis'8 |\n  d'4.~( d'4) fis'8 |\n  fis'8. fis'16 fis'8 fis'4 fis'16 fis'16 |\n  g'8. g'16 g'8 g'4 g'8 |\n  fis'8. fis'16 fis'8 e'8 fis'8 g'8 |\n  fis'4.( g'8 a'8) g'8 |\n  fis'8. d'16 d'8 cis'8. a16 a8 |\n  a4.~( a4)\n}\n\ntenor = {\n  a8 |\n  a8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) cis'8 |\n  d'8. a16 a8 a8 g8 fis8 |\n  d'8. d'16 d'8 b4 d'8 |\n  d'8. a16 fis8 e8 e8 g8 |\n  fis4.~( fis4) a8 |\n  e'8. e'16 e'8 e'4 a16 a16 |\n  a8. a16 d'8 d'4 a8 |\n  a8. a16 a8 a8 a8 a8 |\n  a4.~( a4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  b8. b16 b8 b4 d'8 |\n  d'8. d'16 d'8 cis'8 d'8 e'8 |\n  d'4.( cis'8 d'8) d'8 |\n  d'8. a16 fis8 e8. g16 g8 |\n  fis4.~( fis4)\n}\n\nbass = {\n  d8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 d4 d8 |\n  d8. d16 d8 d8 cis8 d8 |\n  a,4.~( a,4) a,8 |\n  d8. d16 d8 d8 d8 d8 |\n  g,8. g,16 g,8 g,4 g,8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) a8 |\n  a8. a16 a8 a4 a16 a16 |\n  d8. d16 d8 d4 d8 |\n  a,8. a,16 a,8 a,8 a,8 a,8 |\n  d4.~( d4) d8 |\n  d8. d16 d8 d4 d16 d16 |\n  g8. g16 g8 g4 g8 |\n  a8. a16 a8 a,8 a,8 a,8 |\n  d4.( e8 fis8) g,8 |\n  a,8. a,16 a,8 a,8. a,16 a,8 |\n  d4.~( d4)\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}