{"slug": "morris", "name": "MORRIS", "meter_label": "9.10.9.10.10", "meter": {"pattern": [9, 10, 9, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "lelia-n-morris", "composer_date": "1898", "canonical_key": {"tonic": "des", "mode": "major"}, "preferred_harmonization": "morris-make-christ-king-1914", "provenance": {"layer": "tune", "source": "pentecostal-praises-1898", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Lelia N. Morris (1862-1929), words and music, first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 \u2014 archive.org pentecostalprais00kirk, leaf n125 \u2014 where the page is footed \"Copyright, 1898, by H. L. Gilmour.\" US public domain: published 1898, and every printing read for this record is itself pre-1931; the composer died in 1929, so it is also PD in life+70 jurisdictions. THE NOTES WERE NOT READ OFF THE 1898 PLATE: the largest derivative archive.org offers for that item is 1840 px across, about 5.9 px per diatonic step, roughly a third of what a four-voice reading needs, so the 1898 printing is cited here for the tune's first publication and its copyright notice only. The melody carried here was read off two LATER and much larger printings of the same 1898 setting, and they were required to agree \u2014 The New Make Christ King (Glad Tidings Publishing Co.), No. 87, archive.org newmakechristkin00unse leaf 0091 (staff space 28.97 px; the volume's latest printed copyright year is 1914), and Songs of Praise and Salvation (The Christian Witness Co.), hymn 63, archive.org songsofpraisesal00mcla_0 leaf 0065 (staff space 29.13 px; latest printed copyright year 1902, catalogued by archive.org as 1900). Both are footed with the same \"Copyright, 1898, by H. L. Gilmour\" notice; the Make Christ King page adds \"USED BY PERMISSION\". THE KEY IS D-FLAT MAJOR \u2014 the signature was counted glyph by glyph at 9x on both clefs and is five flats, not the four it looks like at page scale and not the A-flat modern books use; the hymn opens and closes on D-flat major and its dominant needs a C natural. THE TUNE NAME \"MORRIS\" is the name later hymnals give this melody after its composer; NEITHER page read here prints a tune name at all (the Make Christ King page heads only \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at the right). METRE TAKEN FROM THE MUSIC: 48 soprano note-groups carrying 48 syllables, 9.10.9.10 with the fourth line repeated. Not a duplicate: tools/tune_fingerprint.py, run on a MIDI written from THIS reading, scores 0.61 against its nearest corpus neighbour (ES IST KEIN TAG), far below the 0.80 duplicate threshold.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "morris-make-christ-king-1914", "tune": "morris", "music_file": "morris-make-christ-king-1914.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Lelia N. Morris's MORRIS (\"Nearer, Still Nearer\"), her own 1898 harmonization, in D-flat major and 4/4 with no pickup, 20 measures. US public domain: first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 (archive.org pentecostalprais00kirk leaf n125, footed \"Copyright, 1898, by H. L. Gilmour.\"), and every printing read for this record is itself pre-1931; the composer died in 1929. THE 1898 PLATE COULD NOT CARRY THE NOTES \u2014 its largest archive.org derivative is 1840 px across, about 5.9 px per diatonic step \u2014 so the reading was made on TWO DIFFERENT ENGRAVINGS of the same 1898 setting, chosen deliberately so that a plate defect cannot fool both: PRIMARY The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 87, headed \"C. H. M.\" / \"Mrs. C. H. Morris.\" and footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH, N. J. \u2014 USED BY PERMISSION\" (archive.org newmakechristkin00unse leaf 0091, 2407x3742 px, staff space 28.97 px = 14.5 px per diatonic step); SECOND WITNESS Songs of Praise and Salvation (Chicago/Boston: The Christian Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\" (archive.org songsofpraisesal00mcla_0 leaf 0065, 2319x3768 px, staff space 29.13 px). BOTH TITLE PAGES WERE OPENED AND NEITHER PRINTS A YEAR: the Make Christ King title page prints only \"A COLLECTION OF CHOICE GOSPEL HYMNS FOR THE CHURCH, THE SUNDAY SCHOOL AND EVANGELISTIC MEETINGS\" with its price list and its editors (E. O. Excell, musical editor), and the Songs of Praise and Salvation cover prints only \"G. A. McLaughlin, C. J. Fowler, W. J. Kirkpatrick, H. L. Gilmour / THE CHRISTIAN WITNESS CO., 151 Washington St. Chicago, 36 Bromfield St. Boston / Price 10c \u2014 $6.00 per hundred.\" The dated years used here are therefore read off the pages of the volumes themselves: the latest copyright year printed anywhere in the Make Christ King volume is 1914 (26 notices), and in the Songs of Praise and Salvation volume 1902 (6 notices, e.g. \"Copyright, 1902, by H. L. Gilmour, Wenonah, N. J.\" and \"Copyright, 1902, by Wm. J. Kirkpatrick\") \u2014 so archive.org's catalogue year of 1900 for the latter is too early by at least two years. Both are far inside pre-1931 either way. THE KEY IS D-FLAT MAJOR, FIVE FLATS. The signature was counted glyph by glyph at 9x on BOTH clefs of the primary plate and is B-flat/E-flat/A-flat/ D-flat/G-flat in the standard order on each; function confirms it (the hymn opens and closes on D-flat major, and its dominant A-flat major needs a C natural). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED, AND THEN CONFIRMED BY EYE: each scan was binarised against its own despeckled local paper level, noteheads located by an edge-plus-ellipse pass, and every head converted to a diatonic step against a five-line grid refit LOCALLY from measured line positions around that head's own x, so skew and page cockle cannot drag a reading (grid-fit residuals 0.23-0.90 px mean against a ~29 px staff space; head residuals 0.11 to 0.17 step). Every pitch that ships was then read off a grid-overlay crop at 5x-10x by eye, and every chord was spelled out and named. The two scans were read with their own binarisations and their own staff-line fits and their FINAL READINGS AGREE ON ALL 48 CHORDS IN ALL FOUR VOICES \u2014 no column differs. TWO columns needed adjudication before that could be said, and both are recorded here rather than smoothed over: fitted over a whole-system window the two scans differed by one step at m. 6 beat 1 (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans give A-flat4 over F4 at m. 6 \u2014 the only reading that makes that chord a triad \u2014 and G3 over E-flat3 at m. 7, the reading the printed natural and the V/V function both demand. Those are the readings shipped. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE \u2014 no Cyber Hymnal .nwc or .mid, no other MIDI, and no existing encoding was opened at any point. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, OVER ALL 48 COLUMNS ON BOTH LEAVES, because the automated figures above see staff positions only and are blind to accidentals. The hymn prints exactly THREE accidental glyphs, identically on both leaves, all in the lower staff: (a) a natural before the tenor G3 at m. 7 beat 3, carried by the measure rule to beat 4 \u2014 giving E-flat major (V/V) and then E-flat 7 (V7/V) into the A-flat of m. 8; and (b) at m. 18 beat 3, a natural before the tenor G3 together with a DOUBLE FLAT (two flat glyphs side by side at the same staff position) before the bass B2, again carried to beat 4. That spelling is the page's and is kept: B-double-flat2 under G-natural3 is an AUGMENTED SIXTH \u2014 an Italian sixth on beat 3, a French sixth on beat 4 once the soprano takes E-flat4 \u2014 and m. 19 resolves both voices outward onto the octave A-flat2/A-flat3, exactly as an augmented sixth must. Nowhere else does the hymn print an accidental. DEPARTURES FROM THE PAGE, in full, and there are two. (1) M. 8: under the held A-flat chord both plates print, BELOW the bass staff, a FIFTH line of four quarter notes walking down A-flat2 - G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its own down stem, alongside \u2014 not instead of \u2014 the dotted-half A-flat3/A-flat2 chord that carries the tenor and bass on the plate's usual single-stemmed two-note bass-staff chord. That is five simultaneous parts; this corpus admits exactly four and forbids divisi, so the walking figure is NOT carried and the four sung voices follow the plate's own chord. (2) The page casts THREE systems of 15, 16 and 17 soprano notes; 17 exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE systems, one per poetic line, breaking at the page's own line ends. NOTHING ELSE DEPARTS. Every pitch and every duration below is the plate's, including: the five phrase-end quarter rests in both staves (mm. 4, 8, 12, 16, 20), engraved in the old reversed-7 form; the two printed tenor slurs (m. 5 G-flat3 to B-flat3 and m. 13 A-flat3 to D-flat4, both under a held soprano); the one beamed pair of bass eighths at m. 3 beat 4; the dotted quarter plus flagged eighth at mm. 15 and 19; and the plate's unisons, which it prints as a single notehead (soprano with alto on D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor with bass on A-flat3 at m. 12) and its seconds, which it prints as two heads side by side (soprano E-flat4 over alto D-flat4 at m. 7 beat 4 and m. 18 beat 4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The New Make Christ King, No. 87 \u2014 archive.org newmakechristkin00unse leaf 0091 \u2014 collated notehead by notehead against archive.org songsofpraisesal00mcla_0 leaf 0065 (Songs of Praise and Salvation, hymn 63), a different engraving of the same 1898 setting. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% MORRIS (9.10.9.10, last line repeated) \u2014 Lelia N. Morris, 1898, words and\n%% music. Four SATB voice streams, canonical key D-FLAT MAJOR, 4/4, no pickup,\n%% 20 measures (five four-bar phrases), 48 soprano note-groups.\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. TWO DIFFERENT ENGRAVINGS of the same 1898 setting were\n%% read independently, note by note, and required to agree \u2014 deliberately two\n%% engravings rather than two impressions of one plate, so that a plate defect\n%% cannot fool both:\n%%   PRIMARY  The New Make Christ King (Chicago: Glad Tidings Publishing Co.),\n%%            No. 87, headed \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at\n%%            the right, footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH,\n%%            N. J. \u2014 USED BY PERMISSION\" \u2014 archive.org newmakechristkin00unse\n%%            leaf 0091 (2407x3742 px, staff space 28.97 px = 14.5 px per\n%%            diatonic step). The title page prints NO year; the latest\n%%            copyright year printed anywhere in the volume is 1914.\n%%   SECOND   Songs of Praise and Salvation (Chicago/Boston: The Christian\n%%            Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\"\n%%            \u2014 archive.org songsofpraisesal00mcla_0 leaf 0065 (2319x3768 px,\n%%            staff space 29.13 px). Its title page also prints NO year; the\n%%            latest copyright year printed anywhere in that volume is 1902\n%%            (archive.org catalogues it as 1900).\n%% The 1898 FIRST printing (Pentecostal Praises, ed. W. J. Kirkpatrick & H. L.\n%% Gilmour, Philadelphia: Hall-Mack Co., 1898, p. 117 \u2014 archive.org\n%% pentecostalprais00kirk) was NOT used for the notes: its largest available\n%% derivative is 1840 px across, about 5.9 px per diatonic step, a third of the\n%% floor this reading needs. It is cited for the tune's first publication only.\n%%\n%% THE KEY IS D-FLAT MAJOR \u2014 FIVE FLATS, not the four it looks like at page\n%% scale and not the A-flat of modern books. The signature was counted glyph by\n%% glyph at 9x on BOTH clefs of the primary plate: treble B-flat(B4) E-flat(E5)\n%% A-flat(A4) D-flat(D5) G-flat(G4); bass B-flat(B2) E-flat(E3) A-flat(A2)\n%% D-flat(D3) G-flat(G2) \u2014 five each, in the standard order, with the time\n%% signature immediately after. Function agrees: the hymn opens on D-flat major\n%% and closes on D-flat major, and its dominant (A-flat major, m. 8 and m. 15)\n%% needs a C natural, which only a five-flat signature gives. Reading four\n%% flats instead opens the hymn on IV, writes an augmented fourth D-flat4 to G4\n%% in the tune, and puts a diminished fifth between soprano and alto in m. 3.\n%%\n%% HOW THE NOTEHEADS WERE READ. Each scan was binarised against its own local\n%% paper level (ink darker than 82% of a despeckled, dilated local paper\n%% estimate), noteheads located by an edge/ellipse pass, and every head\n%% converted to a diatonic step against a five-line grid refit LOCALLY from the\n%% measured line positions around that head's own x, so the plate's skew and\n%% cockle cannot drag a reading. Grid-fit residuals ran 0.23-0.90 px mean\n%% against a ~29 px staff space; head residuals averaged 0.11-0.17 step. EVERY\n%% pitch that ships was then confirmed by eye on a grid-overlay crop at 5x-10x,\n%% and every chord was named and tested against the idiom (see below). The two\n%% scans were read with their own binarisations and their own staff-line fits\n%% and their FINAL readings agree on all 48 chords in all four voices \u2014 no\n%% column differs. TWO columns needed adjudication before that could be said,\n%% and both are recorded here rather than smoothed over: fitted over a\n%% whole-system window the two scans differed by one step at m. 6 beat 1\n%% (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow\n%% windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans\n%% give A-flat4 over F4 at m. 6 (the only reading that makes that chord a\n%% triad) and G3 over E-flat3 at m. 7 (the reading the printed natural and the\n%% V/V function both demand). Those are the readings below. NO SCAFFOLD WAS USED: no\n%% Cyber Hymnal .nwc or .mid, no MIDI, no existing encoding was opened at any\n%% point, and nothing here was checked against one.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, over every one of the 48 columns\n%% on BOTH leaves \u2014 the measurement above sees staff positions only and is\n%% blind to accidentals. The whole hymn prints exactly THREE accidental glyphs,\n%% identically on both leaves, all of them in the LOWER staff:\n%%   1. a NATURAL before the tenor G3 at m. 7 beat 3 (primary plate x~=584 in\n%%      the treble column, x~=572 in the bass), carried by the measure rule to\n%%      the same G3 on beat 4. Chords: E-flat3/G-natural3/B-flat3/E-flat4 =\n%%      E-flat major = V/V, then E-flat3/G-natural3/D-flat4/E-flat4 = E-flat 7\n%%      = V7/V, resolving to A-flat major (V) in m. 8.\n%%   2+3. at m. 18 beat 3, a NATURAL before the tenor G3 AND A DOUBLE FLAT\n%%      (two flat glyphs side by side at the same staff position, B2) before\n%%      the bass \u2014 carried by the measure rule to beat 4. That spelling is\n%%      deliberate and correct: B-double-flat2 under G-natural3 is an AUGMENTED\n%%      SIXTH. Beat 3 = B-double-flat2/G-natural3/D-flat4/D-flat4, an Italian\n%%      sixth; beat 4 adds E-flat4 in the soprano, a French sixth; and m. 19\n%%      resolves both voices outward onto the octave A-flat2/A-flat3 exactly as\n%%      an augmented sixth must. It is written here as `beses,`, the page's own\n%%      spelling, not as its enharmonic A natural.\n%% Nowhere else in the hymn is a single accidental printed.\n%%\n%% THE SETTING IS NOT HOMORHYTHMIC, and three plate conventions matter:\n%%   - a long curve rising from a stem top is a SLUR, not an eighth flag. Two\n%%     are printed, both in the tenor and both carried here: m. 5 (G-flat3 to\n%%     B-flat3, under the soprano's held B-flat4) and m. 13 (A-flat3 to\n%%     D-flat4, under the soprano's held D-flat5).\n%%   - unisons and seconds between two voices sharing a staff are printed as\n%%     two heads SIDE BY SIDE, one x-position apart, not stacked. Read as one\n%%     chord here at m. 7 beat 4 (soprano E-flat4 / alto D-flat4) and m. 18\n%%     beat 4 (soprano E-flat4 / alto D-flat4). Where the two voices are in\n%%     UNISON the plate prints ONE head, sometimes with two stems: soprano and\n%%     alto share D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor and\n%%     bass share A-flat3 at m. 12.\n%%   - eighth notes are flagged individually, never beamed, except for the one\n%%     beamed pair in the bass at m. 3 beat 4 (G-flat2 + B-flat2).\n%%\n%% RESTS ARE ON THE PAGE, not editorial. Each of the five poetic lines ends\n%% with a dotted half in all four voices followed by a QUARTER REST in both\n%% staves (mm. 4, 8, 12, 16, 20). They are engraved in the old \"reversed 7\"\n%% quarter-rest form and are reproduced here.\n%%\n%% DEPARTURES FROM THE PAGE, in full \u2014 there are two:\n%%   (1) UNDER the held A-flat chord of m. 8 both plates print, BELOW the bass\n%%       staff, a fifth line of four quarter notes walking down A-flat2 -\n%%       G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its\n%%       own down stem, alongside \u2014 not instead of \u2014 the dotted-half\n%%       A-flat3/A-flat2 chord that carries the tenor and bass. That is five\n%%       simultaneous parts; this corpus admits exactly four and forbids divisi,\n%%       so the walking figure is NOT carried. The four sung voices are encoded\n%%       as the plate's own two-note, single-stemmed bass-staff chord plus the\n%%       treble chord, which is what every other bar of the hymn uses.\n%%   (2) THE PAGE CASTS THREE SYSTEMS of 15, 16 and 17 soprano notes. Seventeen\n%%       exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE\n%%       systems, one per poetic line (9, 10, 9, 10, 10). The breaks fall at the\n%%       page's own poetic line ends.\n%% Nothing else departs. Every pitch, every duration, both slurs, the one\n%% beamed eighth pair, all five phrase-end rests and all three accidentals\n%% below are the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  des'2 ges'4 ges'4 |\n  f'2. r4 |\n  bes'2 bes'4 bes'4 |\n  aes'2 f'4 f'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. r4 |\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  bes'2 c''4 des''4 |\n  c''2. r4 |\n  des''2 c''4 bes'4 |\n  aes'2 f'4 aes'4 |\n  aes'2 aes'4. ges'8 |\n  f'2. r4 |\n  bes'2 c''4 des''4 |\n  des''2 des'4 ees'4 |\n  f'2 f'4. ees'8 |\n  des'2. r4\n}\n\nalto = {\n  des'2 des'4 des'4 |\n  ees'2 ees'2 |\n  des'2 des'4 des'4 |\n  des'2. r4 |\n  des'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 bes4 des'4 |\n  c'2. r4 |\n  des'2 des'4 des'4 |\n  ees'2 f'2 |\n  ges'2 ges'4 f'4 |\n  ees'2. r4 |\n  aes'2 aes'4 ges'4 |\n  f'2 des'4 des'4 |\n  c'2 c'4. c'8 |\n  des'2. r4 |\n  ges'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 c'4. c'8 |\n  des'2. r4\n}\n\ntenor = {\n  aes2 aes4 aes4 |\n  aes2 ees2 |\n  f2 bes4 bes4 |\n  aes2. r4 |\n  ges4( bes4) des'4 des'4 |\n  des'2 aes4 aes4 |\n  bes2 g4 g4 |\n  aes2. r4 |\n  aes2 aes4 aes4 |\n  aes2 des'2 |\n  des'2 aes4 aes4 |\n  aes2. r4 |\n  aes4( des'4) des'4 des'4 |\n  des'2 aes4 f4 |\n  ees2 ees4. aes8 |\n  aes2. r4 |\n  des'2 c'4 bes4 |\n  aes2 g4 g4 |\n  aes2 aes4. ges8 |\n  f2. r4\n}\n\nbass = {\n  des2 des4 des4 |\n  c2 c2 |\n  bes,2 ges,4 ges,8 bes,8 |\n  des2. r4 |\n  ges2 ges4 ges4 |\n  des2 des4 des4 |\n  bes,2 ees4 ees4 |\n  aes,2. r4 |\n  des2 des4 des4 |\n  c2 des2 |\n  ges2 ees4 des4 |\n  aes2. r4 |\n  f2 ges4 ges4 |\n  des2 des4 des4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4 |\n  ges,2 ges,4 ges,4 |\n  aes,2 beses,4 beses,4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4\n}\n"}, "harmonizations": [{"slug": "morris-make-christ-king-1914", "tune": "morris", "music_file": "morris-make-christ-king-1914.ly", "canonical_key": {"tonic": "des", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [9, 19, 28, 38], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "new-make-christ-king-1914", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Lelia N. Morris's MORRIS (\"Nearer, Still Nearer\"), her own 1898 harmonization, in D-flat major and 4/4 with no pickup, 20 measures. US public domain: first published in Pentecostal Praises, ed. W. J. Kirkpatrick & H. L. Gilmour (Philadelphia: Hall-Mack Co., 1898), p. 117 (archive.org pentecostalprais00kirk leaf n125, footed \"Copyright, 1898, by H. L. Gilmour.\"), and every printing read for this record is itself pre-1931; the composer died in 1929. THE 1898 PLATE COULD NOT CARRY THE NOTES \u2014 its largest archive.org derivative is 1840 px across, about 5.9 px per diatonic step \u2014 so the reading was made on TWO DIFFERENT ENGRAVINGS of the same 1898 setting, chosen deliberately so that a plate defect cannot fool both: PRIMARY The New Make Christ King (Chicago: Glad Tidings Publishing Co.), No. 87, headed \"C. H. M.\" / \"Mrs. C. H. Morris.\" and footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH, N. J. \u2014 USED BY PERMISSION\" (archive.org newmakechristkin00unse leaf 0091, 2407x3742 px, staff space 28.97 px = 14.5 px per diatonic step); SECOND WITNESS Songs of Praise and Salvation (Chicago/Boston: The Christian Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\" (archive.org songsofpraisesal00mcla_0 leaf 0065, 2319x3768 px, staff space 29.13 px). BOTH TITLE PAGES WERE OPENED AND NEITHER PRINTS A YEAR: the Make Christ King title page prints only \"A COLLECTION OF CHOICE GOSPEL HYMNS FOR THE CHURCH, THE SUNDAY SCHOOL AND EVANGELISTIC MEETINGS\" with its price list and its editors (E. O. Excell, musical editor), and the Songs of Praise and Salvation cover prints only \"G. A. McLaughlin, C. J. Fowler, W. J. Kirkpatrick, H. L. Gilmour / THE CHRISTIAN WITNESS CO., 151 Washington St. Chicago, 36 Bromfield St. Boston / Price 10c \u2014 $6.00 per hundred.\" The dated years used here are therefore read off the pages of the volumes themselves: the latest copyright year printed anywhere in the Make Christ King volume is 1914 (26 notices), and in the Songs of Praise and Salvation volume 1902 (6 notices, e.g. \"Copyright, 1902, by H. L. Gilmour, Wenonah, N. J.\" and \"Copyright, 1902, by Wm. J. Kirkpatrick\") \u2014 so archive.org's catalogue year of 1900 for the latter is too early by at least two years. Both are far inside pre-1931 either way. THE KEY IS D-FLAT MAJOR, FIVE FLATS. The signature was counted glyph by glyph at 9x on BOTH clefs of the primary plate and is B-flat/E-flat/A-flat/ D-flat/G-flat in the standard order on each; function confirms it (the hymn opens and closes on D-flat major, and its dominant A-flat major needs a C natural). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED, AND THEN CONFIRMED BY EYE: each scan was binarised against its own despeckled local paper level, noteheads located by an edge-plus-ellipse pass, and every head converted to a diatonic step against a five-line grid refit LOCALLY from measured line positions around that head's own x, so skew and page cockle cannot drag a reading (grid-fit residuals 0.23-0.90 px mean against a ~29 px staff space; head residuals 0.11 to 0.17 step). Every pitch that ships was then read off a grid-overlay crop at 5x-10x by eye, and every chord was spelled out and named. The two scans were read with their own binarisations and their own staff-line fits and their FINAL READINGS AGREE ON ALL 48 CHORDS IN ALL FOUR VOICES \u2014 no column differs. TWO columns needed adjudication before that could be said, and both are recorded here rather than smoothed over: fitted over a whole-system window the two scans differed by one step at m. 6 beat 1 (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans give A-flat4 over F4 at m. 6 \u2014 the only reading that makes that chord a triad \u2014 and G3 over E-flat3 at m. 7, the reading the printed natural and the V/V function both demand. Those are the readings shipped. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE \u2014 no Cyber Hymnal .nwc or .mid, no other MIDI, and no existing encoding was opened at any point. ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, OVER ALL 48 COLUMNS ON BOTH LEAVES, because the automated figures above see staff positions only and are blind to accidentals. The hymn prints exactly THREE accidental glyphs, identically on both leaves, all in the lower staff: (a) a natural before the tenor G3 at m. 7 beat 3, carried by the measure rule to beat 4 \u2014 giving E-flat major (V/V) and then E-flat 7 (V7/V) into the A-flat of m. 8; and (b) at m. 18 beat 3, a natural before the tenor G3 together with a DOUBLE FLAT (two flat glyphs side by side at the same staff position) before the bass B2, again carried to beat 4. That spelling is the page's and is kept: B-double-flat2 under G-natural3 is an AUGMENTED SIXTH \u2014 an Italian sixth on beat 3, a French sixth on beat 4 once the soprano takes E-flat4 \u2014 and m. 19 resolves both voices outward onto the octave A-flat2/A-flat3, exactly as an augmented sixth must. Nowhere else does the hymn print an accidental. DEPARTURES FROM THE PAGE, in full, and there are two. (1) M. 8: under the held A-flat chord both plates print, BELOW the bass staff, a FIFTH line of four quarter notes walking down A-flat2 - G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its own down stem, alongside \u2014 not instead of \u2014 the dotted-half A-flat3/A-flat2 chord that carries the tenor and bass on the plate's usual single-stemmed two-note bass-staff chord. That is five simultaneous parts; this corpus admits exactly four and forbids divisi, so the walking figure is NOT carried and the four sung voices follow the plate's own chord. (2) The page casts THREE systems of 15, 16 and 17 soprano notes; 17 exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE systems, one per poetic line, breaking at the page's own line ends. NOTHING ELSE DEPARTS. Every pitch and every duration below is the plate's, including: the five phrase-end quarter rests in both staves (mm. 4, 8, 12, 16, 20), engraved in the old reversed-7 form; the two printed tenor slurs (m. 5 G-flat3 to B-flat3 and m. 13 A-flat3 to D-flat4, both under a held soprano); the one beamed pair of bass eighths at m. 3 beat 4; the dotted quarter plus flagged eighth at mm. 15 and 19; and the plate's unisons, which it prints as a single notehead (soprano with alto on D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor with bass on A-flat3 at m. 12) and its seconds, which it prints as two heads side by side (soprano E-flat4 over alto D-flat4 at m. 7 beat 4 and m. 18 beat 4).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The New Make Christ King, No. 87 \u2014 archive.org newmakechristkin00unse leaf 0091 \u2014 collated notehead by notehead against archive.org songsofpraisesal00mcla_0 leaf 0065 (Songs of Praise and Salvation, hymn 63), a different engraving of the same 1898 setting. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% MORRIS (9.10.9.10, last line repeated) \u2014 Lelia N. Morris, 1898, words and\n%% music. Four SATB voice streams, canonical key D-FLAT MAJOR, 4/4, no pickup,\n%% 20 measures (five four-bar phrases), 48 soprano note-groups.\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. TWO DIFFERENT ENGRAVINGS of the same 1898 setting were\n%% read independently, note by note, and required to agree \u2014 deliberately two\n%% engravings rather than two impressions of one plate, so that a plate defect\n%% cannot fool both:\n%%   PRIMARY  The New Make Christ King (Chicago: Glad Tidings Publishing Co.),\n%%            No. 87, headed \"C. H. M.\" at the left and \"Mrs. C. H. Morris.\" at\n%%            the right, footed \"COPYRIGHT, 1898, BY H. L. GILMOUR, WENONAH,\n%%            N. J. \u2014 USED BY PERMISSION\" \u2014 archive.org newmakechristkin00unse\n%%            leaf 0091 (2407x3742 px, staff space 28.97 px = 14.5 px per\n%%            diatonic step). The title page prints NO year; the latest\n%%            copyright year printed anywhere in the volume is 1914.\n%%   SECOND   Songs of Praise and Salvation (Chicago/Boston: The Christian\n%%            Witness Co.), hymn 63, footed \"Copyright, 1898, by H. L. Gilmour.\"\n%%            \u2014 archive.org songsofpraisesal00mcla_0 leaf 0065 (2319x3768 px,\n%%            staff space 29.13 px). Its title page also prints NO year; the\n%%            latest copyright year printed anywhere in that volume is 1902\n%%            (archive.org catalogues it as 1900).\n%% The 1898 FIRST printing (Pentecostal Praises, ed. W. J. Kirkpatrick & H. L.\n%% Gilmour, Philadelphia: Hall-Mack Co., 1898, p. 117 \u2014 archive.org\n%% pentecostalprais00kirk) was NOT used for the notes: its largest available\n%% derivative is 1840 px across, about 5.9 px per diatonic step, a third of the\n%% floor this reading needs. It is cited for the tune's first publication only.\n%%\n%% THE KEY IS D-FLAT MAJOR \u2014 FIVE FLATS, not the four it looks like at page\n%% scale and not the A-flat of modern books. The signature was counted glyph by\n%% glyph at 9x on BOTH clefs of the primary plate: treble B-flat(B4) E-flat(E5)\n%% A-flat(A4) D-flat(D5) G-flat(G4); bass B-flat(B2) E-flat(E3) A-flat(A2)\n%% D-flat(D3) G-flat(G2) \u2014 five each, in the standard order, with the time\n%% signature immediately after. Function agrees: the hymn opens on D-flat major\n%% and closes on D-flat major, and its dominant (A-flat major, m. 8 and m. 15)\n%% needs a C natural, which only a five-flat signature gives. Reading four\n%% flats instead opens the hymn on IV, writes an augmented fourth D-flat4 to G4\n%% in the tune, and puts a diminished fifth between soprano and alto in m. 3.\n%%\n%% HOW THE NOTEHEADS WERE READ. Each scan was binarised against its own local\n%% paper level (ink darker than 82% of a despeckled, dilated local paper\n%% estimate), noteheads located by an edge/ellipse pass, and every head\n%% converted to a diatonic step against a five-line grid refit LOCALLY from the\n%% measured line positions around that head's own x, so the plate's skew and\n%% cockle cannot drag a reading. Grid-fit residuals ran 0.23-0.90 px mean\n%% against a ~29 px staff space; head residuals averaged 0.11-0.17 step. EVERY\n%% pitch that ships was then confirmed by eye on a grid-overlay crop at 5x-10x,\n%% and every chord was named and tested against the idiom (see below). The two\n%% scans were read with their own binarisations and their own staff-line fits\n%% and their FINAL readings agree on all 48 chords in all four voices \u2014 no\n%% column differs. TWO columns needed adjudication before that could be said,\n%% and both are recorded here rather than smoothed over: fitted over a\n%% whole-system window the two scans differed by one step at m. 6 beat 1\n%% (soprano) and at m. 7 beats 3-4 (the two lower voices). Re-fitted on narrow\n%% windows and then read by eye off grid-overlay crops at 8x-10x, BOTH scans\n%% give A-flat4 over F4 at m. 6 (the only reading that makes that chord a\n%% triad) and G3 over E-flat3 at m. 7 (the reading the printed natural and the\n%% V/V function both demand). Those are the readings below. NO SCAFFOLD WAS USED: no\n%% Cyber Hymnal .nwc or .mid, no MIDI, no existing encoding was opened at any\n%% point, and nothing here was checked against one.\n%%\n%% ACCIDENTALS WERE SWEPT SEPARATELY, BY EYE, over every one of the 48 columns\n%% on BOTH leaves \u2014 the measurement above sees staff positions only and is\n%% blind to accidentals. The whole hymn prints exactly THREE accidental glyphs,\n%% identically on both leaves, all of them in the LOWER staff:\n%%   1. a NATURAL before the tenor G3 at m. 7 beat 3 (primary plate x~=584 in\n%%      the treble column, x~=572 in the bass), carried by the measure rule to\n%%      the same G3 on beat 4. Chords: E-flat3/G-natural3/B-flat3/E-flat4 =\n%%      E-flat major = V/V, then E-flat3/G-natural3/D-flat4/E-flat4 = E-flat 7\n%%      = V7/V, resolving to A-flat major (V) in m. 8.\n%%   2+3. at m. 18 beat 3, a NATURAL before the tenor G3 AND A DOUBLE FLAT\n%%      (two flat glyphs side by side at the same staff position, B2) before\n%%      the bass \u2014 carried by the measure rule to beat 4. That spelling is\n%%      deliberate and correct: B-double-flat2 under G-natural3 is an AUGMENTED\n%%      SIXTH. Beat 3 = B-double-flat2/G-natural3/D-flat4/D-flat4, an Italian\n%%      sixth; beat 4 adds E-flat4 in the soprano, a French sixth; and m. 19\n%%      resolves both voices outward onto the octave A-flat2/A-flat3 exactly as\n%%      an augmented sixth must. It is written here as `beses,`, the page's own\n%%      spelling, not as its enharmonic A natural.\n%% Nowhere else in the hymn is a single accidental printed.\n%%\n%% THE SETTING IS NOT HOMORHYTHMIC, and three plate conventions matter:\n%%   - a long curve rising from a stem top is a SLUR, not an eighth flag. Two\n%%     are printed, both in the tenor and both carried here: m. 5 (G-flat3 to\n%%     B-flat3, under the soprano's held B-flat4) and m. 13 (A-flat3 to\n%%     D-flat4, under the soprano's held D-flat5).\n%%   - unisons and seconds between two voices sharing a staff are printed as\n%%     two heads SIDE BY SIDE, one x-position apart, not stacked. Read as one\n%%     chord here at m. 7 beat 4 (soprano E-flat4 / alto D-flat4) and m. 18\n%%     beat 4 (soprano E-flat4 / alto D-flat4). Where the two voices are in\n%%     UNISON the plate prints ONE head, sometimes with two stems: soprano and\n%%     alto share D-flat4 at m. 3 beat 1, m. 18 beat 3 and m. 20; tenor and\n%%     bass share A-flat3 at m. 12.\n%%   - eighth notes are flagged individually, never beamed, except for the one\n%%     beamed pair in the bass at m. 3 beat 4 (G-flat2 + B-flat2).\n%%\n%% RESTS ARE ON THE PAGE, not editorial. Each of the five poetic lines ends\n%% with a dotted half in all four voices followed by a QUARTER REST in both\n%% staves (mm. 4, 8, 12, 16, 20). They are engraved in the old \"reversed 7\"\n%% quarter-rest form and are reproduced here.\n%%\n%% DEPARTURES FROM THE PAGE, in full \u2014 there are two:\n%%   (1) UNDER the held A-flat chord of m. 8 both plates print, BELOW the bass\n%%       staff, a fifth line of four quarter notes walking down A-flat2 -\n%%       G-flat2 - F2 - E-flat2 (the last on its own ledger line), each with its\n%%       own down stem, alongside \u2014 not instead of \u2014 the dotted-half\n%%       A-flat3/A-flat2 chord that carries the tenor and bass. That is five\n%%       simultaneous parts; this corpus admits exactly four and forbids divisi,\n%%       so the walking figure is NOT carried. The four sung voices are encoded\n%%       as the plate's own two-note, single-stemmed bass-staff chord plus the\n%%       treble chord, which is what every other bar of the hymn uses.\n%%   (2) THE PAGE CASTS THREE SYSTEMS of 15, 16 and 17 soprano notes. Seventeen\n%%       exceeds this engine's MAX_SYSTEM_NOTES of 16, so this hymn casts FIVE\n%%       systems, one per poetic line (9, 10, 9, 10, 10). The breaks fall at the\n%%       page's own poetic line ends.\n%% Nothing else departs. Every pitch, every duration, both slurs, the one\n%% beamed eighth pair, all five phrase-end rests and all three accidentals\n%% below are the plate's.\n\\version \"2.24.0\"\n\nglobal  = { \\key des \\major \\time 4/4 }\n\nsoprano = {\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  des'2 ges'4 ges'4 |\n  f'2. r4 |\n  bes'2 bes'4 bes'4 |\n  aes'2 f'4 f'4 |\n  f'2 ees'4 ees'4 |\n  ees'2. r4 |\n  f'2 f'4 f'4 |\n  aes'2 aes'2 |\n  bes'2 c''4 des''4 |\n  c''2. r4 |\n  des''2 c''4 bes'4 |\n  aes'2 f'4 aes'4 |\n  aes'2 aes'4. ges'8 |\n  f'2. r4 |\n  bes'2 c''4 des''4 |\n  des''2 des'4 ees'4 |\n  f'2 f'4. ees'8 |\n  des'2. r4\n}\n\nalto = {\n  des'2 des'4 des'4 |\n  ees'2 ees'2 |\n  des'2 des'4 des'4 |\n  des'2. r4 |\n  des'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 bes4 des'4 |\n  c'2. r4 |\n  des'2 des'4 des'4 |\n  ees'2 f'2 |\n  ges'2 ges'4 f'4 |\n  ees'2. r4 |\n  aes'2 aes'4 ges'4 |\n  f'2 des'4 des'4 |\n  c'2 c'4. c'8 |\n  des'2. r4 |\n  ges'2 ges'4 ges'4 |\n  f'2 des'4 des'4 |\n  des'2 c'4. c'8 |\n  des'2. r4\n}\n\ntenor = {\n  aes2 aes4 aes4 |\n  aes2 ees2 |\n  f2 bes4 bes4 |\n  aes2. r4 |\n  ges4( bes4) des'4 des'4 |\n  des'2 aes4 aes4 |\n  bes2 g4 g4 |\n  aes2. r4 |\n  aes2 aes4 aes4 |\n  aes2 des'2 |\n  des'2 aes4 aes4 |\n  aes2. r4 |\n  aes4( des'4) des'4 des'4 |\n  des'2 aes4 f4 |\n  ees2 ees4. aes8 |\n  aes2. r4 |\n  des'2 c'4 bes4 |\n  aes2 g4 g4 |\n  aes2 aes4. ges8 |\n  f2. r4\n}\n\nbass = {\n  des2 des4 des4 |\n  c2 c2 |\n  bes,2 ges,4 ges,8 bes,8 |\n  des2. r4 |\n  ges2 ges4 ges4 |\n  des2 des4 des4 |\n  bes,2 ees4 ees4 |\n  aes,2. r4 |\n  des2 des4 des4 |\n  c2 des2 |\n  ges2 ees4 des4 |\n  aes2. r4 |\n  f2 ges4 ges4 |\n  des2 des4 des4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4 |\n  ges,2 ges,4 ges,4 |\n  aes,2 beses,4 beses,4 |\n  aes,2 aes,4. aes,8 |\n  des2. r4\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}