{"slug": "my-jesus-i-love-thee-english", "name": "MY JESUS, I LOVE THEE", "alt_name": "BOUNDLESS SALVATION", "meter_label": "11.11.11.11", "meter": {"pattern": [11, 11, 11, 11], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "English melody, attributed to J. Ellis", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "my-jesus-i-love-thee-english-sa1899", "provenance": {"layer": "tune", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "English melody, in US print long before Booth wrote words to it in 1893: Hymnary's dated instance list for tune authority my_jesus_i_love_thee_english records The Revivalist (Troy, New York, 1868) as \"English Melody\" and Salvation Army Music (1880); it is printed with Booth's \"Oh, boundless Salvation!\" in \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed. (New York, copyright entered 1899), no. 5, p. 10 \u2014 the printing this corpus transcribes \u2014 and again in \"The Salvation Army / Songs and Music / COMPILED 1922\", no. 185, p. 185. Either US printing alone satisfies pub_pre_1931 and Hymnary flags the tune authority \"Public Domain\". THE NAME: the Salvation Army Tune Book calls it MY JESUS, I LOVE THEE (no. 340, at A-flat, per the 1930 words book's own heading), which is why hymn no. 186 in the 1922 book \u2014 \"My Jesus I Love Thee\" \u2014 is directed \"Tune-185\". Neither the 1899 nor the 1922 music page names the tune; it is also printed as FIDELITY (Latter-day Saints Psalmody 1889), CALLESTR (Hymns and Songs 1887), AMO TE (AME Hymn and Tune Book 1898), AFFECTION, \"TIS NOW and, in modern books, BOUNDLESS SALVATION. THE COMPOSER IS CONTESTED and is therefore recorded as an anonymous origin rather than a person: \"J. Ellis\" (Hymns and Songs 1887, the Cyber Hymnal, The Christian Life Hymnal 2006), \"John Ellis, 1760-1839\" (Our Great Redeemer's Praise 2022), \"E. F. Miller\" / \"Emily Miller, 1833-1913\" (Redemption Hymnal, Praise!), \"English Melody\" (1868), \"Welsh melody\" (Perennial Songs 1891) and \"Unknown\" (Methodist Hymn-Book 1933); the Cyber Hymnal's own page asks readers for Ellis's full name and dates, so no source establishes them. A widely repeated claim of first publication in \"Melodies of Zion\" (London, 1866) could not be confirmed from any primary source and is not asserted here. THE KEY: B-flat is the key of both dated US music printings (1899 and 1922, both verified two flats, common time); the Salvation Army Tune Book sets it at A-flat, and the Cyber Hymnal engraves it in G. B-flat is kept as the key of the source transcribed.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "harmonization": {"slug": "my-jesus-i-love-thee-english-sa1899", "tune": "my-jesus-i-love-thee-english", "music_file": "my-jesus-i-love-thee-english-sa1899.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Setting: One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed., New York, 1899, no. 5. Public domain.", "provenance": {"layer": "harmonization", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part close score transcribed note by note from the page image of \"One Hundred Favorite Songs and Music of The Salvation Army\", SECOND EDITION, compiled by Commander Booth Tucker (New York: The Salvation Army Publishing House, 120-124 West 14th Street), copyright entered 1899 by Frederick de L. Booth Tucker \u2014 archive.org item onehundredfavori00boot, leaf n13 = printed p. 10, song no. 5 (title page leaf n4, copyright page leaf n5). Published in the United States in 1899, so public domain in the US; the arranger is unnamed in the book. NOTE the page is HEADED \"The Heavenly Gales are Blowing\" (the title of the separate 6/8 chorus printed overleaf at p. 11, which 1893-era Salvation Army practice interleaved between the verses); the song itself is Booth's \"Oh, boundless Salvation!\" and is credited \"Words by GENERAL BOOTH\". B-flat major, common time, one-quarter anacrusis, 20 measures in four systems of five (barlines measured off the scan); 65 soprano notes. Cross-checked against a second dated printing, \"The Salvation Army / Songs and Music / COMPILED 1922\" (New York/Chicago/San Francisco, 1922), no. 185, p. 185 \u2014 archive.org item salvationarmyson0000vari leaf n157, which prints the SAME melody in the same key with a different (fuller) harmonisation, and which proves the tune identity in its own hand: hymn no. 186 on that page is \"My Jesus I Love Thee. Tune-185.\" The melody was additionally cross-checked against the Cyber Hymnal's independent SATB encoding of the same tune (MIDI track name \"Boundless Salvation\", credited J. Ellis), which agrees on the soprano everywhere except m15 b4 (E-flat5 here, F5 there) and on the m11 rhythm (four quarters here, dotted-quarter + eighth there); its inner voices are a different setting and are NOT used. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "music_ly": "%% MY JESUS, I LOVE THEE (English melody, 11.11.11.11) \u2014 the tune of William\n%% Booth's \"O Boundless Salvation\" (The Founder's Song).\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% HAND-TRANSCRIBED, note by note, from the page image of the dated US printing\n%%   \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed.,\n%%   New York: The Salvation Army Publishing House, 1899 (copyright entered\n%%   1899 by Frederick de L. Booth Tucker), song no. 5, printed p. 10\n%%   (archive.org item onehundredfavori00boot, leaf n13).\n%% B-flat major, common time, one-quarter anacrusis, 20 measures in four\n%% printed systems of five measures each (barlines measured off the scan);\n%% 65 soprano notes.\n%%\n%% The nine SLURS below are the printed slurs of that page \u2014 they are the\n%% melisma map, and every one is read off the engraving, not inferred:\n%%   soprano notes 8-9 (m3 b1-2), 13-14 (m4 b4-4.5), 21-22 (m7 b1-2),\n%%   33-34 (m11 b1-2), 37-38 (m12 b1-2), 40-41 (m13 b1-2), 47-48 (m15 b1-2),\n%%   51-52 (m16 b1-2.5), 61-62 (m19 b1-2).\n%% 65 notes carry 56 sung slots (11.11.11 + the sung last line 6+6+6+5 = 23),\n%% and the count closes exactly on all four stanzas the 1899/1922 books\n%% underlay. A tenth printed slur at m10 b3-4 is NOT a melisma for these\n%% stanzas (the 1899 page underlays \"\u2026ing, so\" / \"\u2026ters can\" there, one\n%% syllable per note); it serves the metrically irregular stanza \"O ocean of\n%% mercy\", which this corpus does not carry. It is therefore omitted.\n%%\n%% NOT the Cyber Hymnal encoding: that undated file agrees with this melody\n%% but differs in the inner voices (its alto doubles the soprano at m2 b1/b3\n%% where the 1899 print has D4; its m11 is dotted-quarter + eighth where the\n%% print has four quarters; its m15 b4 is F5 where the print has E-flat5).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'2 bes'4 d''4 |\n  f'2 f'4 g'4 |\n  f'4( es'4) d'4 f'4 |\n  bes'2. bes'8( bes'8) |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2. bes'4 |\n  d''2 d''4 d''4 |\n  c''2 c''4 d''4 |\n  bes'4( a'4) bes'4 g'4 |\n  g'4( f'2) es'4 |\n  d'4( f'4) bes'4 bes'4 |\n  bes'2 f'4 f'4 |\n  bes'4( d''4) f''4 es''4 |\n  d''4.( c''8) bes'4 bes'4 |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2.\n}\nalto = {\n  f'4 |\n  d'2 d'4 f'4 |\n  d'2 d'4 es'4 |\n  d'4( c'4) bes4 d'4 |\n  d'2. d'8( d'8) |\n  f'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2. d'4 |\n  f'2 f'4 f'4 |\n  f'2 f'4 fis'4 |\n  g'4( d'4) d'4 es'4 |\n  es'4( d'2) c'4 |\n  bes4( d'4) d'4 d'4 |\n  d'2 d'4 d'4 |\n  d'4( f'4) f'4 g'4 |\n  f'4.( es'8) d'4 f'4 |\n  g'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2.\n}\ntenor = {\n  f4 |\n  f2 f4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  bes2. bes8( bes8) |\n  a2 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2. f4 |\n  bes2 bes4 bes4 |\n  a2 a4 d'4 |\n  d'4( c'4) bes4 bes4 |\n  bes2. f4 |\n  f4( bes4) bes4 bes4 |\n  bes2 bes4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  g4 c'8 bes8 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2.\n}\nbass = {\n  f4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 es4 |\n  f2 bes,4 bes,4 |\n  bes,2. bes,8( bes,8) |\n  f2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  f2 f4 d4 |\n  g4( fis4) g4 es4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 d4 es4 |\n  f4.( fis8) g4 d4 |\n  es2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2.\n}\n"}, "harmonizations": [{"slug": "my-jesus-i-love-thee-english-sa1899", "tune": "my-jesus-i-love-thee-english", "music_file": "my-jesus-i-love-thee-english-sa1899.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "Setting: One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed., New York, 1899, no. 5. Public domain.", "provenance": {"layer": "harmonization", "source": "sa-one-hundred-favorite-songs-1899", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part close score transcribed note by note from the page image of \"One Hundred Favorite Songs and Music of The Salvation Army\", SECOND EDITION, compiled by Commander Booth Tucker (New York: The Salvation Army Publishing House, 120-124 West 14th Street), copyright entered 1899 by Frederick de L. Booth Tucker \u2014 archive.org item onehundredfavori00boot, leaf n13 = printed p. 10, song no. 5 (title page leaf n4, copyright page leaf n5). Published in the United States in 1899, so public domain in the US; the arranger is unnamed in the book. NOTE the page is HEADED \"The Heavenly Gales are Blowing\" (the title of the separate 6/8 chorus printed overleaf at p. 11, which 1893-era Salvation Army practice interleaved between the verses); the song itself is Booth's \"Oh, boundless Salvation!\" and is credited \"Words by GENERAL BOOTH\". B-flat major, common time, one-quarter anacrusis, 20 measures in four systems of five (barlines measured off the scan); 65 soprano notes. Cross-checked against a second dated printing, \"The Salvation Army / Songs and Music / COMPILED 1922\" (New York/Chicago/San Francisco, 1922), no. 185, p. 185 \u2014 archive.org item salvationarmyson0000vari leaf n157, which prints the SAME melody in the same key with a different (fuller) harmonisation, and which proves the tune identity in its own hand: hymn no. 186 on that page is \"My Jesus I Love Thee. Tune-185.\" The melody was additionally cross-checked against the Cyber Hymnal's independent SATB encoding of the same tune (MIDI track name \"Boundless Salvation\", credited J. Ellis), which agrees on the soprano everywhere except m15 b4 (E-flat5 here, F5 there) and on the m11 rhythm (four quarters here, dotted-quarter + eighth there); its inner voices are a different setting and are NOT used. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand transcription from the page scan of One Hundred Favorite Songs and Music of The Salvation Army, 2nd ed. (New York, 1899), song 5, p. 10 (archive.org onehundredfavori00boot, leaf n13)", "encoding_license": "PD-source", "hymnary_ids": {"tune_auth": "my_jesus_i_love_thee_english", "total_instances": 46}}, "music_ly": "%% MY JESUS, I LOVE THEE (English melody, 11.11.11.11) \u2014 the tune of William\n%% Booth's \"O Boundless Salvation\" (The Founder's Song).\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% HAND-TRANSCRIBED, note by note, from the page image of the dated US printing\n%%   \"One Hundred Favorite Songs and Music of The Salvation Army\", 2nd ed.,\n%%   New York: The Salvation Army Publishing House, 1899 (copyright entered\n%%   1899 by Frederick de L. Booth Tucker), song no. 5, printed p. 10\n%%   (archive.org item onehundredfavori00boot, leaf n13).\n%% B-flat major, common time, one-quarter anacrusis, 20 measures in four\n%% printed systems of five measures each (barlines measured off the scan);\n%% 65 soprano notes.\n%%\n%% The nine SLURS below are the printed slurs of that page \u2014 they are the\n%% melisma map, and every one is read off the engraving, not inferred:\n%%   soprano notes 8-9 (m3 b1-2), 13-14 (m4 b4-4.5), 21-22 (m7 b1-2),\n%%   33-34 (m11 b1-2), 37-38 (m12 b1-2), 40-41 (m13 b1-2), 47-48 (m15 b1-2),\n%%   51-52 (m16 b1-2.5), 61-62 (m19 b1-2).\n%% 65 notes carry 56 sung slots (11.11.11 + the sung last line 6+6+6+5 = 23),\n%% and the count closes exactly on all four stanzas the 1899/1922 books\n%% underlay. A tenth printed slur at m10 b3-4 is NOT a melisma for these\n%% stanzas (the 1899 page underlays \"\u2026ing, so\" / \"\u2026ters can\" there, one\n%% syllable per note); it serves the metrically irregular stanza \"O ocean of\n%% mercy\", which this corpus does not carry. It is therefore omitted.\n%%\n%% NOT the Cyber Hymnal encoding: that undated file agrees with this melody\n%% but differs in the inner voices (its alto doubles the soprano at m2 b1/b3\n%% where the 1899 print has D4; its m11 is dotted-quarter + eighth where the\n%% print has four quarters; its m15 b4 is F5 where the print has E-flat5).\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  f'4 |\n  bes'2 bes'4 d''4 |\n  f'2 f'4 g'4 |\n  f'4( es'4) d'4 f'4 |\n  bes'2. bes'8( bes'8) |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2. bes'4 |\n  d''2 d''4 d''4 |\n  c''2 c''4 d''4 |\n  bes'4( a'4) bes'4 g'4 |\n  g'4( f'2) es'4 |\n  d'4( f'4) bes'4 bes'4 |\n  bes'2 f'4 f'4 |\n  bes'4( d''4) f''4 es''4 |\n  d''4.( c''8) bes'4 bes'4 |\n  c''2 c''4 c''4 |\n  d''2 es''4 es''4 |\n  d''4( c''4) bes'4 a'4 |\n  bes'2.\n}\nalto = {\n  f'4 |\n  d'2 d'4 f'4 |\n  d'2 d'4 es'4 |\n  d'4( c'4) bes4 d'4 |\n  d'2. d'8( d'8) |\n  f'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2. d'4 |\n  f'2 f'4 f'4 |\n  f'2 f'4 fis'4 |\n  g'4( d'4) d'4 es'4 |\n  es'4( d'2) c'4 |\n  bes4( d'4) d'4 d'4 |\n  d'2 d'4 d'4 |\n  d'4( f'4) f'4 g'4 |\n  f'4.( es'8) d'4 f'4 |\n  g'2 f'4 f'4 |\n  f'2 g'4 g'4 |\n  f'4( es'4) d'4 c'4 |\n  d'2.\n}\ntenor = {\n  f4 |\n  f2 f4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  bes2. bes8( bes8) |\n  a2 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2. f4 |\n  bes2 bes4 bes4 |\n  a2 a4 d'4 |\n  d'4( c'4) bes4 bes4 |\n  bes2. f4 |\n  f4( bes4) bes4 bes4 |\n  bes2 bes4 bes4 |\n  bes2 bes4 bes4 |\n  a2 bes4 bes4 |\n  g4 c'8 bes8 a4 a4 |\n  bes2 bes4 bes4 |\n  bes4( a4) bes4 f4 |\n  f2.\n}\nbass = {\n  f4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 es4 |\n  f2 bes,4 bes,4 |\n  bes,2. bes,8( bes,8) |\n  f2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  f2 f4 d4 |\n  g4( fis4) g4 es4 |\n  bes,2. bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 bes,4 bes,4 |\n  bes,2 d4 es4 |\n  f4.( fis8) g4 d4 |\n  es2 f4 f4 |\n  bes2 es4 es4 |\n  f2 f4 f4 |\n  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."}