{"slug": "lenox", "name": "LENOX", "meter_label": "6.6.6.6.8.8 with repeat", "meter": {"pattern": [6, 6, 6, 6, 8, 8, 8], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lewis-edson", "composer_date": "1782", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "lenox-methodist-1905", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Read for this record off the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212 \u2014 archive.org methodisthymnal01churgoog leaf n230, collated against a second scan of the same plate, archive.org methodi00meth leaf n223. That page heads the tune \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\" and sets it in B-flat major and 4/4. US public domain: the printing actually read is itself pre-1931, and Edson died in 1820. THE COMPOSER'S DATES (1748-1820) COME FROM THE SAME BOOK: its index of composers reads \"Edson, Lewis (1748-1820) 207, 212\", which is also how it is known that this hymnal prints LENOX twice \u2014 at hymn 294 on page 207 and at hymn 301 on page 212. Only the page-212 printing was read; the page-207 printing was NOT opened and nothing here depends on it. The 1782 first publication (in Simeon Jocelin's The Chorister's Companion) is the RECEIVED date and was NOT verified here against a copy of that book \u2014 nothing in this record depends on it either, since the licensing basis is the 1905 printing. THE METRE WAS TAKEN FROM THE MUSIC as well as from the page's heading: the tune sets four lines of six syllables and two of eight, and it SINGS LINE 5 TWICE, so 40 syllables of text fall on 48 soprano noteheads. Not a duplicate: tools/tune_fingerprint.py, run on a MIDI written from THIS page reading, scores 0.56 against its nearest corpus neighbour (LOWER LIGHTS), far below the 0.80 duplicate threshold; the three tunes already in the corpus at this metre (ARTHUR'S SEAT, DARWALL'S 148TH, REGENT SQUARE) are none of them this melody. The `meter_label` here normalises the page's spacing: the plate sets \"6. 6. 6. 6. 8. 8.\".", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "lenox-methodist-1905", "tune": "lenox", "music_file": "lenox-methodist-1905.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Four-part setting of Lewis Edson's LENOX as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\", in B-flat major and 4/4 with a half-note pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE \u2014 archive.org methodisthymnal01churgoog leaf n230 (3270 px across, staff space 34.9 px, i.e. 17.4 px per diatonic step) and archive.org methodi00meth leaf n223 (2836 px across, staff space 29.1 px, 14.6 px per step). THE PLATE IS HOMOPHONIC, NOT FUGUING: LENOX has independent voice entries in its eighteenth-century printings, but this page prints one lyric row under the treble staff only and all four voices restrike together at every one of the 48 sung chords except one alto passing figure, so nothing here needed a form the corpus cannot express. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey-dilation plus box filter, then a 5x5 closing), its five staff lines erased column by column, and heads found by TWO INDEPENDENT DETECTORS over that mask \u2014 hole-fill plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff spaces for filled heads, and a vertical closing 0.80 staff space tall that seals the white middle of a hollow head for the half and dotted-half chords. Every core was converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew cannot drag a reading; merged pairs were split 0.31 staff space in from their two clean outer edges. HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one entered: all 34 hollow noteheads (9 chord columns \u2014 the pickup, the four phrase ends and the last three sung chords) were cropped at 3-6x with the fitted five-line grid drawn over them and read by eye, and separately measured a fourth way from the midpoint of their two clean outer edges. All four readings agree on all 34. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE \u2014 no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. The second scan, read independently the same way with its own binarisation and its own staff-line fits, agrees with the first on the pitch of every notehead on the page: 48 chords x 4 voices plus the alto's one passing quarter = 193 notes, 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, and one notehead carrying both an up-stem and a down-stem is a unison (8 columns, listed in the .ly header; the stems were read at 5x on the churgoog scan and methodi00meth prints the same single head at the same pitch at each). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, because a notehead probe reads staff positions and is blind to them: all six staves of BOTH leaves were read at magnification in twelve overlapping strips, and every chord column was additionally scanned for tall narrow ink immediately to its left. The plate prints NO accidental anywhere; the two-flat key signature is the only accidental matter on the page, and the harmony is wholly diatonic in B-flat. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the thick phrase double bars the page draws MID-BAR at the ends of poetic lines 1, 2, 4 and the repeat of line 5 (after soprano notes 6, 12, 24 and 40) are not reproduced, but three of those four ordinals are where the system breaks fall; (3) the page casts the hymn in three systems of 18, 14 and 16 soprano notes and this setting casts it in four of 12, 12, 16 and 8, because 18 exceeds this engine's MAX_SYSTEM_NOTES of 16. Nothing else departs: every pitch and every duration below is the plate's, the alto's two slurred quarters under the soprano's held A4 are printed slurred on the page, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 301, p. 212 \u2014 archive.org methodisthymnal01churgoog leaf n230, collated notehead by notehead against archive.org methodi00meth leaf n223. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% LENOX (6.6.6.6.8.8) \u2014 Lewis Edson. Four SATB voice streams, canonical key\n%% B-flat major, 4/4, half-note pickup, 15 measures after the pickup.\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 Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed\n%% \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\". Read off TWO independent\n%% scans of that plate: archive.org methodisthymnal01churgoog leaf n230\n%% (3270 px across, staff space 34.9 px) and archive.org methodi00meth leaf\n%% n223 (2836 px across, staff space 29.1 px).\n%%\n%% THE PLATE IS HOMOPHONIC, NOT FUGUING. LENOX is a fuguing tune in its\n%% eighteenth-century printings, but this one is not: both scans show ONE\n%% printed lyric row, under the treble staff only, and all four voices\n%% restriking together at every one of the 48 sung chords except the single\n%% alto passing figure noted below. There are no independent voice entries on\n%% this page and nothing here needed a form the corpus cannot express.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: adaptive\n%% binarisation (ink darker than 82% of the LOCAL paper level, from a 41x41\n%% grey-dilation plus box filter, then a 5x5 closing to seal the pale gaps the\n%% plate's ink leaves inside a head); the five staff lines erased column by\n%% column; then TWO INDEPENDENT DETECTORS over the same mask \u2014 (a) hole-fill\n%% plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff\n%% spaces, which deletes staff lines, stems and barlines but leaves a filled\n%% head's core, and (b) a HOLLOW-HEAD detector that seals the white middle of a\n%% half / dotted-half head with a vertical closing 0.80 staff space tall and\n%% then reads it the same way. Every core was converted to a diatonic step\n%% against a FRESH five-line fit made in a +-2.4-staff-space window around that\n%% core's own x, so the plate's skew cannot drag a reading. Heads two steps\n%% apart that merged into one blob were split 0.31 staff space in from the\n%% blob's two clean outer edges.\n%%\n%% HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one that ships.\n%% There are 9 hollow chord columns on this page (the pickup, the four phrase\n%% ends, and the last three sung chords) carrying 34 hollow noteheads. Every\n%% one of them was cropped at 3-6x with the FITTED five-line grid drawn over it\n%% and read by eye, and separately measured a FOURTH way from the MIDPOINT OF\n%% ITS TWO CLEAN OUTER EDGES in a narrow column window (the measurement that\n%% survives a staff line cutting a ring in half). The two automated detectors,\n%% the grid-overlay eye read and the edge-midpoint measurement agree on all 34.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% Cyber Hymnal asset and no existing encoding was opened at any point. The\n%% second witness (methodi00meth n223) was read end to end by the same rig with\n%% its own binarisation and its own staff-line fits, and agrees with the first\n%% on the pitch of every notehead on the page: 48 sung chords x 4 voices plus\n%% the alto's one passing quarter = 193 notes, 0 disagreements.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE (the notehead measurement above is\n%% blind to them): all six staves of BOTH leaves were read at magnification in\n%% twelve overlapping strips, and every chord column was additionally scanned\n%% for tall narrow ink immediately to its left. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE \u2014 the two-flat key signature is the only accidental matter on the\n%% page, and the harmony below is wholly diatonic in B-flat (every chord is a\n%% B-flat, E-flat, F, F7, G minor, D minor or C minor triad).\n%%\n%% THE PRINTED METRE IS 4/4 with a HALF-NOTE pickup, and the last sung bar is\n%% two beats, so the piece is metrically complete. The thick rules the plate\n%% draws at the ends of poetic lines 1, 2, 4 and the REPEAT of line 5 (after\n%% soprano notes 6, 12, 24 and 40) fall MID-bar, between the dotted half or\n%% half that ends the line and the next line's first note; they are phrase\n%% double bars, NOT barlines, and are not reproduced here. Lines 3 and 5 end at\n%% the plate's own system ends, which carry no such rule.\n%%\n%% THE ONLY NON-HOMORHYTHMIC BAR is the second-to-last (soprano notes 46-47):\n%% under the soprano's half-note A4 the ALTO moves in two slurred quarters\n%% C4-E-flat4 while tenor and bass hold their halves. The plate prints that\n%% figure slurred; it is the alto's, not the soprano's, so the syllable count\n%% is unaffected.\n%%\n%% UNISONS. Where the plate prints ONE notehead carrying both an up-stem and a\n%% down-stem, the two voices on that staff are in unison. There are 8 such\n%% columns: the treble staff at soprano notes 4 and 41 (soprano and alto both\n%% F4), and the bass staff at soprano notes 8 (tenor and bass both G3), 10, 14,\n%% 16 and 20 (both B-flat3) and 47 (both F3). The stems were read at 5x on the\n%% churgoog scan; methodi00meth prints the same single notehead at the same\n%% pitch at each of the 8. All are written out in both voices below.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After the last sung chord the\n%% plate prints a light-heavy double bar and then two half-note chords under\n%% \"A-MEN\": S bes' / A ees' / T g / B ees, then S bes' / A d' / T f / B bes, \u2014\n%% a plagal E-flat-to-B-flat. This corpus never authors an amen per\n%% harmonization (they are synthesized as an optional book feature), so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% 48 soprano noteheads carry 48 syllables: the six poetic lines are\n%% 6+6+6+6+8+8 = 40 syllables, and this tune sings line 5 TWICE.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'2 |\n  bes'4 bes'4 f'4 g'4 | f'2. f'4 | bes'4 c''4 d''4 c''4 | bes'2 bes'2 |\n  d''4 f''4 d''4 bes'4 | c''2. c''4 | d''4 bes'4 c''4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''4 c''4 c''4 d''4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''2 a'2 | bes'2\n}\n\nalto = {\n  d'2 |\n  d'4 d'4 f'4 ees'4 | c'2. d'4 | d'4 f'4 f'4 ees'4 | d'2 d'2 |\n  f'4 f'4 f'4 f'4 | f'2. f'4 | f'4 g'4 g'4 f'4 | f'2. d'4 |\n  d'4 d'4 d'4 d'4 | ees'4 ees'4 ees'4 d'4 | f'4 f'4 f'4 f'4 |\n  d'4 d'4 d'4 f'4 | ees'4 ees'4 ees'4 f'4 | ees'2 c'4( ees'4) | d'2\n}\n\ntenor = {\n  f2 |\n  f4 bes4 bes4 bes4 | a2. a4 | g4 a4 bes4 a4 | bes2 bes2 |\n  bes4 c'4 bes4 bes4 | a2. a4 | bes4 bes4 ees'4 c'4 | d'2. bes4 |\n  f4 f4 f4 bes4 | bes4 bes4 bes4 bes4 | a4 a4 a4 a4 |\n  bes4 bes4 bes4 bes4 | bes4 bes4 bes4 f4 | g2 f2 | f2\n}\n\nbass = {\n  bes,2 |\n  bes,4 bes,4 d4 ees4 | f2. d4 | g4 f4 bes4 f4 | bes,2 bes,2 |\n  bes4 a4 bes4 d4 | f2. f4 | bes4 g4 ees4 f4 | bes,2. bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | ees4 ees4 ees4 bes,4 | f4 f4 f4 d4 |\n  g4 g4 g4 d4 | ees4 ees4 ees4 d4 | c2 f2 | bes,2\n}\n"}, "harmonizations": [{"slug": "lenox-methodist-1905", "tune": "lenox", "music_file": "lenox-methodist-1905.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "2", "system_breaks": [12, 24, 40], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_evidence": "Four-part setting of Lewis Edson's LENOX as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\", in B-flat major and 4/4 with a half-note pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ END TO END AND REQUIRED TO AGREE \u2014 archive.org methodisthymnal01churgoog leaf n230 (3270 px across, staff space 34.9 px, i.e. 17.4 px per diatonic step) and archive.org methodi00meth leaf n223 (2836 px across, staff space 29.1 px, 14.6 px per step). THE PLATE IS HOMOPHONIC, NOT FUGUING: LENOX has independent voice entries in its eighteenth-century printings, but this page prints one lyric row under the treble staff only and all four voices restrike together at every one of the 48 sung chords except one alto passing figure, so nothing here needed a form the corpus cannot express. THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level (ink darker than 82% of a 41x41 grey-dilation plus box filter, then a 5x5 closing), its five staff lines erased column by column, and heads found by TWO INDEPENDENT DETECTORS over that mask \u2014 hole-fill plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff spaces for filled heads, and a vertical closing 0.80 staff space tall that seals the white middle of a hollow head for the half and dotted-half chords. Every core was converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew cannot drag a reading; merged pairs were split 0.31 staff space in from their two clean outer edges. HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one entered: all 34 hollow noteheads (9 chord columns \u2014 the pickup, the four phrase ends and the last three sung chords) were cropped at 3-6x with the fitted five-line grid drawn over them and read by eye, and separately measured a fourth way from the midpoint of their two clean outer edges. All four readings agree on all 34. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE \u2014 no MIDI, no Cyber Hymnal asset and no existing encoding was opened at any point. The second scan, read independently the same way with its own binarisation and its own staff-line fits, agrees with the first on the pitch of every notehead on the page: 48 chords x 4 voices plus the alto's one passing quarter = 193 notes, 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, and one notehead carrying both an up-stem and a down-stem is a unison (8 columns, listed in the .ly header; the stems were read at 5x on the churgoog scan and methodi00meth prints the same single head at the same pitch at each). ACCIDENTALS WERE SWEPT SEPARATELY AND BY EYE, because a notehead probe reads staff positions and is blind to them: all six staves of BOTH leaves were read at magnification in twelve overlapping strips, and every chord column was additionally scanned for tall narrow ink immediately to its left. The plate prints NO accidental anywhere; the two-flat key signature is the only accidental matter on the page, and the harmony is wholly diatonic in B-flat. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the thick phrase double bars the page draws MID-BAR at the ends of poetic lines 1, 2, 4 and the repeat of line 5 (after soprano notes 6, 12, 24 and 40) are not reproduced, but three of those four ordinals are where the system breaks fall; (3) the page casts the hymn in three systems of 18, 14 and 16 soprano notes and this setting casts it in four of 12, 12, 16 and 8, because 18 exceeds this engine's MAX_SYSTEM_NOTES of 16. Nothing else departs: every pitch and every duration below is the plate's, the alto's two slurred quarters under the soprano's held A4 are printed slurred on the page, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 301, p. 212 \u2014 archive.org methodisthymnal01churgoog leaf n230, collated notehead by notehead against archive.org methodi00meth leaf n223. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% LENOX (6.6.6.6.8.8) \u2014 Lewis Edson. Four SATB voice streams, canonical key\n%% B-flat major, 4/4, half-note pickup, 15 measures after the pickup.\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 Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 301, printed page 212, headed\n%% \"301  LENOX  6. 6. 6. 6. 8. 8.\" over \"LEWIS EDSON\". Read off TWO independent\n%% scans of that plate: archive.org methodisthymnal01churgoog leaf n230\n%% (3270 px across, staff space 34.9 px) and archive.org methodi00meth leaf\n%% n223 (2836 px across, staff space 29.1 px).\n%%\n%% THE PLATE IS HOMOPHONIC, NOT FUGUING. LENOX is a fuguing tune in its\n%% eighteenth-century printings, but this one is not: both scans show ONE\n%% printed lyric row, under the treble staff only, and all four voices\n%% restriking together at every one of the 48 sung chords except the single\n%% alto passing figure noted below. There are no independent voice entries on\n%% this page and nothing here needed a form the corpus cannot express.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye alone). Per scan: adaptive\n%% binarisation (ink darker than 82% of the LOCAL paper level, from a 41x41\n%% grey-dilation plus box filter, then a 5x5 closing to seal the pale gaps the\n%% plate's ink leaves inside a head); the five staff lines erased column by\n%% column; then TWO INDEPENDENT DETECTORS over the same mask \u2014 (a) hole-fill\n%% plus morphological erosion with an ellipse of semi-axes 0.30 x 0.22 staff\n%% spaces, which deletes staff lines, stems and barlines but leaves a filled\n%% head's core, and (b) a HOLLOW-HEAD detector that seals the white middle of a\n%% half / dotted-half head with a vertical closing 0.80 staff space tall and\n%% then reads it the same way. Every core was converted to a diatonic step\n%% against a FRESH five-line fit made in a +-2.4-staff-space window around that\n%% core's own x, so the plate's skew cannot drag a reading. Heads two steps\n%% apart that merged into one blob were split 0.31 staff space in from the\n%% blob's two clean outer edges.\n%%\n%% HOLLOW HEADS WERE READ A THIRD WAY, and that reading is the one that ships.\n%% There are 9 hollow chord columns on this page (the pickup, the four phrase\n%% ends, and the last three sung chords) carrying 34 hollow noteheads. Every\n%% one of them was cropped at 3-6x with the FITTED five-line grid drawn over it\n%% and read by eye, and separately measured a FOURTH way from the MIDPOINT OF\n%% ITS TWO CLEAN OUTER EDGES in a narrow column window (the measurement that\n%% survives a staff line cutting a ring in half). The two automated detectors,\n%% the grid-overlay eye read and the edge-midpoint measurement agree on all 34.\n%%\n%% NO SCAFFOLD WAS USED and nothing here was checked against one. No MIDI, no\n%% Cyber Hymnal asset and no existing encoding was opened at any point. The\n%% second witness (methodi00meth n223) was read end to end by the same rig with\n%% its own binarisation and its own staff-line fits, and agrees with the first\n%% on the pitch of every notehead on the page: 48 sung chords x 4 voices plus\n%% the alto's one passing quarter = 193 notes, 0 disagreements.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE (the notehead measurement above is\n%% blind to them): all six staves of BOTH leaves were read at magnification in\n%% twelve overlapping strips, and every chord column was additionally scanned\n%% for tall narrow ink immediately to its left. THE PLATE PRINTS NO ACCIDENTAL\n%% ANYWHERE \u2014 the two-flat key signature is the only accidental matter on the\n%% page, and the harmony below is wholly diatonic in B-flat (every chord is a\n%% B-flat, E-flat, F, F7, G minor, D minor or C minor triad).\n%%\n%% THE PRINTED METRE IS 4/4 with a HALF-NOTE pickup, and the last sung bar is\n%% two beats, so the piece is metrically complete. The thick rules the plate\n%% draws at the ends of poetic lines 1, 2, 4 and the REPEAT of line 5 (after\n%% soprano notes 6, 12, 24 and 40) fall MID-bar, between the dotted half or\n%% half that ends the line and the next line's first note; they are phrase\n%% double bars, NOT barlines, and are not reproduced here. Lines 3 and 5 end at\n%% the plate's own system ends, which carry no such rule.\n%%\n%% THE ONLY NON-HOMORHYTHMIC BAR is the second-to-last (soprano notes 46-47):\n%% under the soprano's half-note A4 the ALTO moves in two slurred quarters\n%% C4-E-flat4 while tenor and bass hold their halves. The plate prints that\n%% figure slurred; it is the alto's, not the soprano's, so the syllable count\n%% is unaffected.\n%%\n%% UNISONS. Where the plate prints ONE notehead carrying both an up-stem and a\n%% down-stem, the two voices on that staff are in unison. There are 8 such\n%% columns: the treble staff at soprano notes 4 and 41 (soprano and alto both\n%% F4), and the bass staff at soprano notes 8 (tenor and bass both G3), 10, 14,\n%% 16 and 20 (both B-flat3) and 47 (both F3). The stems were read at 5x on the\n%% churgoog scan; methodi00meth prints the same single notehead at the same\n%% pitch at each of the 8. All are written out in both voices below.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After the last sung chord the\n%% plate prints a light-heavy double bar and then two half-note chords under\n%% \"A-MEN\": S bes' / A ees' / T g / B ees, then S bes' / A d' / T f / B bes, \u2014\n%% a plagal E-flat-to-B-flat. This corpus never authors an amen per\n%% harmonization (they are synthesized as an optional book feature), so\n%% `amen: false` and those two chords are simply absent.\n%%\n%% 48 soprano noteheads carry 48 syllables: the six poetic lines are\n%% 6+6+6+6+8+8 = 40 syllables, and this tune sings line 5 TWICE.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 2 }\n\nsoprano = {\n  bes'2 |\n  bes'4 bes'4 f'4 g'4 | f'2. f'4 | bes'4 c''4 d''4 c''4 | bes'2 bes'2 |\n  d''4 f''4 d''4 bes'4 | c''2. c''4 | d''4 bes'4 c''4 a'4 | bes'2. f'4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''4 c''4 c''4 d''4 |\n  bes'4 bes'4 bes'4 f'4 | g'4 g'4 g'4 bes'4 | c''2 a'2 | bes'2\n}\n\nalto = {\n  d'2 |\n  d'4 d'4 f'4 ees'4 | c'2. d'4 | d'4 f'4 f'4 ees'4 | d'2 d'2 |\n  f'4 f'4 f'4 f'4 | f'2. f'4 | f'4 g'4 g'4 f'4 | f'2. d'4 |\n  d'4 d'4 d'4 d'4 | ees'4 ees'4 ees'4 d'4 | f'4 f'4 f'4 f'4 |\n  d'4 d'4 d'4 f'4 | ees'4 ees'4 ees'4 f'4 | ees'2 c'4( ees'4) | d'2\n}\n\ntenor = {\n  f2 |\n  f4 bes4 bes4 bes4 | a2. a4 | g4 a4 bes4 a4 | bes2 bes2 |\n  bes4 c'4 bes4 bes4 | a2. a4 | bes4 bes4 ees'4 c'4 | d'2. bes4 |\n  f4 f4 f4 bes4 | bes4 bes4 bes4 bes4 | a4 a4 a4 a4 |\n  bes4 bes4 bes4 bes4 | bes4 bes4 bes4 f4 | g2 f2 | f2\n}\n\nbass = {\n  bes,2 |\n  bes,4 bes,4 d4 ees4 | f2. d4 | g4 f4 bes4 f4 | bes,2 bes,2 |\n  bes4 a4 bes4 d4 | f2. f4 | bes4 g4 ees4 f4 | bes,2. bes,4 |\n  bes,4 bes,4 bes,4 bes,4 | ees4 ees4 ees4 bes,4 | f4 f4 f4 d4 |\n  g4 g4 g4 d4 | ees4 ees4 ees4 d4 | c2 f2 | bes,2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}