{"slug": "my-redeemer", "name": "MY REDEEMER", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "james-mcgranahan", "composer_date": "1877", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "my-redeemer-welcome-tidings-1877", "provenance": {"layer": "tune", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by James McGranahan (1840-1907), first published with Bliss's words in Welcome Tidings (New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53, headed 'MY REDEEMER.' with 'JAMES McGRANAHAN' at the right and the engraved footer 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' beneath the hymn's last system on p. 52 \u2014 read on the archive.org scan welcometidingsne00lowr, leaves n55-n56. Reprinted in the same A-flat, note for note, in Gospel Hymns No. 5 (1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168). US public domain by publication before 1929. The soprano's first fifteen scale degrees, 51233 32122 57244, match the published MY REDEEMER incipit, so this is the right tune and not a mislabelled asset. NAME: the hymnals and Hymnary's tune authority print MY REDEEMER; the Cyber Hymnal's 'Burnley' is that site's own invented English place-name (its 'Hymn Tunes - B' index glosses it 'Burnley, Lancashire, England', the site's habitual coinage pattern) and is therefore NOT recorded here as a printed alt_name. Neither dated printing names the tune on the page. Both dated printings engrave the verse in 9/8 and an explicit 12/8 at 'CHORUS.' in BOTH staves; that mid-hymn meter change is carried by the harmonization sidecar's `time_changes`.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "my-redeemer-welcome-tidings-1877", "tune": "my-redeemer", "music_file": "my-redeemer-welcome-tidings-1877.ly", "harmonizer": "james-mcgranahan", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "9/8", "pickup": "4.", "time_changes": [{"soprano_note": 43, "time": "12/8", "partial": "4."}], "system_breaks": [10, 21, 31, 42, 53, 64, 75], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 91, "pitch": "aes,"}, {"voice": "bass", "voice_note": 92, "pitch": "aes,"}], "refrain": {"soprano_note_start": 43, "inline": true}, "bass_echo": {"segments": [{"onset": 36, "text": "Sing, oh! sing of my Re -- deem -- er, Sing, oh! sing of my Re -- deem -- er, With His blood He pur -- chased me, With His blood He pur -- chased me, On the cross He sealed my par -- don, On the cross He sealed my par -- don, Paid the debt, and made me free, made me free, and made me free.", "durations": ["4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4."]}]}, "provenance": {"layer": "harmonization", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "James McGranahan's own four-part setting as first printed, in Welcome Tidings (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53 \u2014 archive.org welcometidingsne00lowr, leaves n55-n56 \u2014 whose engraved footer beneath this hymn's own last system on p. 52 reads 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' (the identical notice at the FOOT of p. 53 belongs to the next hymn on that page, 'Lord, Come Away!'). Second dated witness, note for note and in the same A-flat: Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168), whose vertical sidebar reads 'used by per. The John Church Co., owners of the Copyright'. Both pre-1931 US public domain, and no modern arranger stands anywhere in the chain. THE NOTES were transcribed from the 1877 engraving at 3-10x and cross-checked against the DECOMPRESSED Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte 6), which is a SCAFFOLD ONLY and never a licensing witness: its own SongInfo block names 'Crusade Songs, edited by W. Hines Sims (Nashville, Tennessee: Broadman Press, 1954), # 20' as its model, so all three Cyber Hymnal assets (burnley.mid, MyRedeemer.pdf, MyRedeemer.nwc) inherit a post-1930 model. tools/mid2ly.py is ruled out for this file at any threshold \u2014 its rhythm-identical-chords model breaks in the very first pickup, soprano ees'8 aes'8 over alto c'4. The render-diff found four places where the print and the Cyber Hymnal disagree, and the PRINT is what is encoded: (a) each 6-eighth verse cadence is two TIED dotted quarters in the print, one dotted half in the NWC; (b) the chorus's 8-eighth holds are dotted-half tied to quarter, not whole notes; (c) bar 12 ('...purchased me,......... On the') and the final bar hold NINE eighths in the print (dotted half tied to a DOTTED quarter \u2014 the augmentation dot is plain at 8x, and the bar then totals 12 like its neighbours), where the NWC writes a whole note and bar 12 totals only 11; (d) the bass staff of bars 12 and 15 has SEVEN notes, 4 8 4 8 4. 4 8, carrying the men's seven syllables, not the NWC's eight even pairs. The NWC also hides behind a HideRest the alto's opening Ab4 quarter of the last bar, which the print engraves beside the soprano's held Ab4. MELISMAS ARE PRINT-PINNED, NEVER GUESSED: every two-note melisma encoded here is a BEAMED PAIR in the 1877 engraving, every other eighth is separately flagged, and every held syllable is fixed by the print's own extender dots. The verse is perfectly regular \u2014 slots 1 and 5 of each of its four lines are two-note melismas \u2014 which is why the setting stays one_to_one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1877 Welcome Tidings engraving (archive.org welcometidingsne00lowr leaves n55-n56), with the decompressed Cyber Hymnal NoteWorthy file MyRedeemer.nwc used only as a transcription scaffold and render-diffed against it bar by bar", "encoding_license": "PD-dedication"}, "music_ly": "%% MY REDEEMER (8.7.8.7 with Refrain) \u2014 \"I Will Sing of My Redeemer\"\n%% Four SATB voice streams, canonical key A-flat major. The VERSE is 9/8 with a\n%% three-eighth pickup; the CHORUS is 12/8 with its own three-eighth pickup. The\n%% meter change is declared in the sidecar (`time_changes`), NOT here: this file\n%% carries exactly one \\time, the hymn's opening meter, as the schema requires.\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. Transcribed from the FIRST printing: Welcome Tidings\n%% (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1877), printed pp. 52-53, archive.org item\n%% welcometidingsne00lowr leaves n55-n56, whose engraved footer on p. 52 reads\n%% \"COPYRIGHT 1877, BY JOHN CHURCH & CO.\" Second dated witness for every bar:\n%% Gospel Hymns No. 5, 1887, no. 161, printed p. 165 (gospelhymnsno500sank n168),\n%% which prints the same 9/8 verse and the same explicit 12/8 at \"CHORUS.\"\n%%\n%% The decompressed Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte\n%% 6) was used as a transcription SCAFFOLD only \u2014 it names *Crusade Songs*, ed.\n%% W. Hines Sims (Broadman Press, 1954), #20 as its own model in its SongInfo\n%% block, so it is post-1930 and can never be the licensing witness. Every bar\n%% was render-diffed against the 1877 engraving at 3-10x. Four places where the\n%% 1877 print and the Cyber Hymnal disagree, and the print wins in all four:\n%%   (a) the print writes each 6-eighth VERSE cadence as two TIED dotted quarters\n%%       (bars 4 and 8, all voices); the NWC writes a single dotted half;\n%%   (b) the chorus's 8-eighth holds are dotted-half TIED to quarter in the\n%%       print, a whole note in the NWC (same sounding value);\n%%   (c) bar 12 (\"...purchased me,......... On the\"): the print holds 9 eighths\n%%       (dotted half tied to a DOTTED quarter \u2014 the dot is plainly there at 8x,\n%%       and the bar then totals 12) where the NWC writes a whole note and the\n%%       bar totals only 11. Same at the final bar (17), 9 eighths in the print;\n%%   (d) bar 15 in the bass staff has 7 notes (4 8 4 8 4. 4 8), like its twin\n%%       bar 12, not the NWC's eight even 4 8 pairs; the seven notes carry the\n%%       men's seven syllables \"debt, and made me free, made me\".\n%% The NWC also hides the alto's opening Ab4 quarter in the last bar behind a\n%% HideRest; the 1877 print engraves that notehead beside the soprano's held\n%% Ab4, and it is written here.\n%%\n%% MELISMAS ARE PRINT-PINNED, NEVER GUESSED. Each two-note melisma below is a\n%% BEAMED PAIR in the 1877 engraving (and carries the NWC's own |Slur mark);\n%% every other eighth is separately flagged, and every held syllable is pinned\n%% by the print's extender dots. The verse is perfectly regular: slots 1 and 5\n%% of each of its four lines are two-note melismas (\"I\", \"my\"; \"And\", \"love\";\n%% \"On\", \"cross\"; \"From\", \"set\" in stanza 1), which is why the setting stays\n%% one_to_one \u2014 every stanza puts a syllable boundary in the same places.\n%%\n%% BARS. Verse: 3-eighth pickup + 8 bars of 9/8 (bar 8 holds 6, the chorus's\n%% own pickup completing it, exactly as the print's section barline falls).\n%% Chorus: 3-eighth pickup + 7 bars of 12/8 + a final bar of 9 eighths.\n%%\n%% DIVISI \u2014 and the two cadences DIFFER in this plate, which is easy to get wrong.\n%% The CHORUS's final chord (bar 17) is engraved with THREE notes in the bass\n%% staff, C4 / Ab3 / Ab2: tenor takes C4, bass takes Ab3, and the low Ab2 prints\n%% cue-small through the sidecar's `alternates`, per the house no-divisi rule.\n%% The VERSE cadence (bar 8) has only TWO \u2014 C4 and Ab2, with nothing on the A3\n%% line \u2014 so the bass sings the low Ab2 outright there and no alternate is\n%% declared. Measured on the plate: at the chorus chord C4->Ab3 is 22 px and\n%% C4->Ab2 is 104 px; at the verse cadence the only ink below C4 is at 104.5 px.\n%% Ab2 also keeps the bass line continuous with bars 5-6, which the print already\n%% has down there. NB the 1887 reprint (Gospel Hymns No. 5 no. 161) DOES print\n%% three at the verse cadence; this file follows the 1877 plate it cites.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) bes'8 |\n  des''4.~ des''4 des''8 des''8( c''8) bes'8 |\n  c''4.~ c''4. ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) aes'8 |\n  bes'4.~ bes'4 bes'8 bes'8( aes'8) g'8 |\n  aes'4.~ aes'4. |\n  aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  bes'2.~ bes'4 bes'8 bes'8( aes'8) bes'8 |\n  c''2.~ c''4. aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  ees''2.~ ees''4 des''8 c''4 bes'8 |\n  aes'2.~ aes'4.\n}\n\nalto = {\n  c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. |\n  c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 |\n  ees'2.~ ees'4. c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 aes'8 |\n  c''2.~ c''4 bes'8 aes'4 g'8 |\n  aes'4 ees'8 f'4 f'8 ees'4.\n}\n\ntenor = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g4 g8 |\n  bes4.~ bes4 bes8 bes8 aes8 g8 |\n  aes4.~ aes4. aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g8 bes8 c'8 |\n  des'4.~ des'4 des'8 des'8 c'8 bes8 |\n  c'4.~ c'4. |\n  aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  des'2.~ des'4 des'8 des'8 c'8 bes8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4. ees'4 ees'8 |\n  c'4 c'8 des'4 des'8 c'4.\n}\n\nbass = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. aes,4 aes,8 |\n  aes,4. aes,4. aes,4 aes,8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. |\n  aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 |\n  ees4 ees8 ees4 ees8 ees4. ees8 f8 g8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes4 aes8 |\n  ees4 ees8 ees4 ees8 ees4. ees4 ees8 |\n  aes2.~ aes4.\n}\n"}, "harmonizations": [{"slug": "my-redeemer-welcome-tidings-1877", "tune": "my-redeemer", "music_file": "my-redeemer-welcome-tidings-1877.ly", "harmonizer": "james-mcgranahan", "arrangement_type": "harmonization", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "9/8", "pickup": "4.", "time_changes": [{"soprano_note": 43, "time": "12/8", "partial": "4."}], "system_breaks": [10, 21, 31, 42, 53, 64, 75], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 91, "pitch": "aes,"}, {"voice": "bass", "voice_note": 92, "pitch": "aes,"}], "refrain": {"soprano_note_start": 43, "inline": true}, "bass_echo": {"segments": [{"onset": 36, "text": "Sing, oh! sing of my Re -- deem -- er, Sing, oh! sing of my Re -- deem -- er, With His blood He pur -- chased me, With His blood He pur -- chased me, On the cross He sealed my par -- don, On the cross He sealed my par -- don, Paid the debt, and made me free, made me free, and made me free.", "durations": ["4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4", "8", "4.", "4", "8", "4", "8", "4", "8", "4."]}]}, "provenance": {"layer": "harmonization", "source": "welcome-tidings-1877", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "James McGranahan's own four-part setting as first printed, in Welcome Tidings (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main / Cincinnati: John Church & Co., 1877), printed pages 52-53 \u2014 archive.org welcometidingsne00lowr, leaves n55-n56 \u2014 whose engraved footer beneath this hymn's own last system on p. 52 reads 'COPYRIGHT 1877, BY JOHN CHURCH & CO.' (the identical notice at the FOOT of p. 53 belongs to the next hymn on that page, 'Lord, Come Away!'). Second dated witness, note for note and in the same A-flat: Gospel Hymns No. 5 (Cincinnati: John Church Co. / New York: Biglow & Main, 1887), no. 161, printed page 165 (archive.org gospelhymnsno500sank leaf n168), whose vertical sidebar reads 'used by per. The John Church Co., owners of the Copyright'. Both pre-1931 US public domain, and no modern arranger stands anywhere in the chain. THE NOTES were transcribed from the 1877 engraving at 3-10x and cross-checked against the DECOMPRESSED Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte 6), which is a SCAFFOLD ONLY and never a licensing witness: its own SongInfo block names 'Crusade Songs, edited by W. Hines Sims (Nashville, Tennessee: Broadman Press, 1954), # 20' as its model, so all three Cyber Hymnal assets (burnley.mid, MyRedeemer.pdf, MyRedeemer.nwc) inherit a post-1930 model. tools/mid2ly.py is ruled out for this file at any threshold \u2014 its rhythm-identical-chords model breaks in the very first pickup, soprano ees'8 aes'8 over alto c'4. The render-diff found four places where the print and the Cyber Hymnal disagree, and the PRINT is what is encoded: (a) each 6-eighth verse cadence is two TIED dotted quarters in the print, one dotted half in the NWC; (b) the chorus's 8-eighth holds are dotted-half tied to quarter, not whole notes; (c) bar 12 ('...purchased me,......... On the') and the final bar hold NINE eighths in the print (dotted half tied to a DOTTED quarter \u2014 the augmentation dot is plain at 8x, and the bar then totals 12 like its neighbours), where the NWC writes a whole note and bar 12 totals only 11; (d) the bass staff of bars 12 and 15 has SEVEN notes, 4 8 4 8 4. 4 8, carrying the men's seven syllables, not the NWC's eight even pairs. The NWC also hides behind a HideRest the alto's opening Ab4 quarter of the last bar, which the print engraves beside the soprano's held Ab4. MELISMAS ARE PRINT-PINNED, NEVER GUESSED: every two-note melisma encoded here is a BEAMED PAIR in the 1877 engraving, every other eighth is separately flagged, and every held syllable is fixed by the print's own extender dots. The verse is perfectly regular \u2014 slots 1 and 5 of each of its four lines are two-note melismas \u2014 which is why the setting stays one_to_one.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1877 Welcome Tidings engraving (archive.org welcometidingsne00lowr leaves n55-n56), with the decompressed Cyber Hymnal NoteWorthy file MyRedeemer.nwc used only as a transcription scaffold and render-diffed against it bar by bar", "encoding_license": "PD-dedication"}, "music_ly": "%% MY REDEEMER (8.7.8.7 with Refrain) \u2014 \"I Will Sing of My Redeemer\"\n%% Four SATB voice streams, canonical key A-flat major. The VERSE is 9/8 with a\n%% three-eighth pickup; the CHORUS is 12/8 with its own three-eighth pickup. The\n%% meter change is declared in the sidecar (`time_changes`), NOT here: this file\n%% carries exactly one \\time, the hymn's opening meter, as the schema requires.\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. Transcribed from the FIRST printing: Welcome Tidings\n%% (comp. Robert Lowry, W. Howard Doane, Ira D. Sankey; New York: Biglow & Main /\n%% Cincinnati: John Church & Co., 1877), printed pp. 52-53, archive.org item\n%% welcometidingsne00lowr leaves n55-n56, whose engraved footer on p. 52 reads\n%% \"COPYRIGHT 1877, BY JOHN CHURCH & CO.\" Second dated witness for every bar:\n%% Gospel Hymns No. 5, 1887, no. 161, printed p. 165 (gospelhymnsno500sank n168),\n%% which prints the same 9/8 verse and the same explicit 12/8 at \"CHORUS.\"\n%%\n%% The decompressed Cyber Hymnal NoteWorthy file (MyRedeemer.nwc, zlib from byte\n%% 6) was used as a transcription SCAFFOLD only \u2014 it names *Crusade Songs*, ed.\n%% W. Hines Sims (Broadman Press, 1954), #20 as its own model in its SongInfo\n%% block, so it is post-1930 and can never be the licensing witness. Every bar\n%% was render-diffed against the 1877 engraving at 3-10x. Four places where the\n%% 1877 print and the Cyber Hymnal disagree, and the print wins in all four:\n%%   (a) the print writes each 6-eighth VERSE cadence as two TIED dotted quarters\n%%       (bars 4 and 8, all voices); the NWC writes a single dotted half;\n%%   (b) the chorus's 8-eighth holds are dotted-half TIED to quarter in the\n%%       print, a whole note in the NWC (same sounding value);\n%%   (c) bar 12 (\"...purchased me,......... On the\"): the print holds 9 eighths\n%%       (dotted half tied to a DOTTED quarter \u2014 the dot is plainly there at 8x,\n%%       and the bar then totals 12) where the NWC writes a whole note and the\n%%       bar totals only 11. Same at the final bar (17), 9 eighths in the print;\n%%   (d) bar 15 in the bass staff has 7 notes (4 8 4 8 4. 4 8), like its twin\n%%       bar 12, not the NWC's eight even 4 8 pairs; the seven notes carry the\n%%       men's seven syllables \"debt, and made me free, made me\".\n%% The NWC also hides the alto's opening Ab4 quarter in the last bar behind a\n%% HideRest; the 1877 print engraves that notehead beside the soprano's held\n%% Ab4, and it is written here.\n%%\n%% MELISMAS ARE PRINT-PINNED, NEVER GUESSED. Each two-note melisma below is a\n%% BEAMED PAIR in the 1877 engraving (and carries the NWC's own |Slur mark);\n%% every other eighth is separately flagged, and every held syllable is pinned\n%% by the print's extender dots. The verse is perfectly regular: slots 1 and 5\n%% of each of its four lines are two-note melismas (\"I\", \"my\"; \"And\", \"love\";\n%% \"On\", \"cross\"; \"From\", \"set\" in stanza 1), which is why the setting stays\n%% one_to_one \u2014 every stanza puts a syllable boundary in the same places.\n%%\n%% BARS. Verse: 3-eighth pickup + 8 bars of 9/8 (bar 8 holds 6, the chorus's\n%% own pickup completing it, exactly as the print's section barline falls).\n%% Chorus: 3-eighth pickup + 7 bars of 12/8 + a final bar of 9 eighths.\n%%\n%% DIVISI \u2014 and the two cadences DIFFER in this plate, which is easy to get wrong.\n%% The CHORUS's final chord (bar 17) is engraved with THREE notes in the bass\n%% staff, C4 / Ab3 / Ab2: tenor takes C4, bass takes Ab3, and the low Ab2 prints\n%% cue-small through the sidecar's `alternates`, per the house no-divisi rule.\n%% The VERSE cadence (bar 8) has only TWO \u2014 C4 and Ab2, with nothing on the A3\n%% line \u2014 so the bass sings the low Ab2 outright there and no alternate is\n%% declared. Measured on the plate: at the chorus chord C4->Ab3 is 22 px and\n%% C4->Ab2 is 104 px; at the verse cadence the only ink below C4 is at 104.5 px.\n%% Ab2 also keeps the bass line continuous with bars 5-6, which the print already\n%% has down there. NB the 1887 reprint (Gospel Hymns No. 5 no. 161) DOES print\n%% three at the verse cadence; this file follows the 1877 plate it cites.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 9/8 \\partial 4. }\n\nsoprano = {\n  ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) bes'8 |\n  des''4.~ des''4 des''8 des''8( c''8) bes'8 |\n  c''4.~ c''4. ees'8( aes'8) bes'8 |\n  c''4. c''4. c''8( bes'8) aes'8 |\n  bes'4. bes'4. ees'8( g'8) aes'8 |\n  bes'4.~ bes'4 bes'8 bes'8( aes'8) g'8 |\n  aes'4.~ aes'4. |\n  aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  bes'2.~ bes'4 bes'8 bes'8( aes'8) bes'8 |\n  c''2.~ c''4. aes'8( bes'8) c''8 |\n  des''2.~ des''4 des''8 f'8( aes'8) des''8 |\n  c''4. c''2. ees'8( aes'8) c''8 |\n  ees''2.~ ees''4 des''8 c''4 bes'8 |\n  aes'2.~ aes'4.\n}\n\nalto = {\n  c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. c'4 des'8 |\n  ees'4. ees'4. ees'8 des'8 c'8 |\n  ees'4. ees'4. ees'4 ees'8 |\n  ees'4.~ ees'4 ees'8 ees'4 ees'8 |\n  ees'4.~ ees'4. |\n  c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 ees'4 ees'8 |\n  ees'2.~ ees'4. c'8 des'8 ees'8 |\n  f'2.~ f'4 f'8 des'8 f'8 f'8 |\n  ees'4. ees'2. c'8 ees'8 aes'8 |\n  c''2.~ c''4 bes'8 aes'4 g'8 |\n  aes'4 ees'8 f'4 f'8 ees'4.\n}\n\ntenor = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g4 g8 |\n  bes4.~ bes4 bes8 bes8 aes8 g8 |\n  aes4.~ aes4. aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  g4. g4. g8 bes8 c'8 |\n  des'4.~ des'4 des'8 des'8 c'8 bes8 |\n  c'4.~ c'4. |\n  aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  des'2.~ des'4 des'8 des'8 c'8 bes8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes4 aes8 |\n  aes4 aes8 aes4 aes8 aes4 aes8 aes8 c'8 ees'8 |\n  ees'4 ees'8 ees'4 ees'8 ees'4. ees'4 ees'8 |\n  c'4 c'8 des'4 des'8 c'4.\n}\n\nbass = {\n  aes4 aes8 |\n  aes4. aes4. aes4 aes8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. aes,4 aes,8 |\n  aes,4. aes,4. aes,4 aes,8 |\n  ees4. ees4. ees4 ees8 |\n  ees4.~ ees4 ees8 ees4 ees8 |\n  aes,4.~ aes,4. |\n  aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 |\n  ees4 ees8 ees4 ees8 ees4. ees8 f8 g8 |\n  aes4 aes8 aes4 aes8 aes4. aes4 aes8 |\n  des4 des8 des4 des8 des4 des8 des4 des8 |\n  aes,4 aes,8 aes,4 aes,8 aes,4 aes,8 aes4 aes8 |\n  ees4 ees8 ees4 ees8 ees4. ees4 ees8 |\n  aes2.~ aes4.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}