{"slug": "nun-danket", "name": "NUN DANKET", "alt_name": "NUN DANKET ALLE GOTT", "meter_label": "6.7.6.7.6.6.6.6", "meter": {"pattern": [6, 7, 6, 7, 6, 6, 6, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "johann-cruger", "composer_date": "1647", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "nun-danket-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "NUN DANKET (also NUN DANKET ALLE GOTT), Johann Cr\u00fcger (1598-1662), 1647; the proper tune for Martin Rinkart's \"Nun danket alle Gott\" (Winkworth's \"Now Thank We All Our God\"). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis). The soprano is syllabic apart from a single two-note melisma (a slurred g'-a' eighth-note pair at line 6); the printed accidentals (a descending D-flat in the bass, a raised F-sharp neighbour, and A/B/E naturals) were confirmed against the score. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Cr\u00fcger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "nun-danket-cyberhymnal", "tune": "nun-danket", "music_file": "nun-danket-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 26, 32, 39, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Cr\u00fcger, 1647. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUN DANKET (Johann Cr\u00fcger, 1647); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand \u2014 soprano+alto right, tenor+bass left \u2014 so the single-track homophonic splitter was used) and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; the final dotted half completes the pickup). The soprano agreed with the engraving note-for-note; the lone two-note melisma (soprano g'-a' at line 6) is held with '_' each stanza (verse_variable_melisma). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Cr\u00fcger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) \u2014 four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% 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%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun Danket\", Johann Cr\u00fcger, 1647) with\n%% tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand \u2014 soprano+alto\n%% on the right, tenor+bass on the left \u2014 so the single-track homophonic splitter is\n%% used) and verified against the Cyber Hymnal engraving. E-flat major, 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final dotted half completes the pickup.\n%% MELISMATIC: 51 soprano notes for 50 syllables (6.7.6.7.6.6.6.6); the one two-note\n%% melisma is the slurred soprano g'8( a'8) at line 6 (soprano notes 34-35), held\n%% with '_' each stanza (verse_variable_melisma). The cadential bass octave-doublings\n%% (Eb) are reduced to the lower octave; the printed accidentals (bass des, tenor\n%% fis, A/B/E naturals) match the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 | f'2. f'4 | g'8( a'8) bes'4 c''4 a'4 | bes'2. bes'4 |\n  c''4 bes'4 as'4 g'4 | as'2. g'4 | f'4 es'4 es'4 d'4 | es'2.\n}\nalto = {\n  es'4 |\n  f'4 es'4 es'4 c'8 d'8 | es'2. es'8 d'8 | c'8 d'8 es'4 d'4 es'4 | es'4 d'4 es'4 es'4 |\n  f'4 es'4 es'4 es'4 | es'2. es'4 | es'8 d'8 es'4 es'8 d'8 c'8 b8 | c'4 bes8 as8 g4 bes4 |\n  c'4 d'8 c'8 bes4 es'4 | d'2. f'4 | es'4 f'4 es'4 d'4 | d'2. d'4 |\n  c'4 c'4 c'4 e'4 | f'2. es'8 d'8 | c'4 g8 as8 bes4 bes8 as8 | g2.\n}\ntenor = {\n  g4 |\n  f4 g4 as4 es8 f8 | g2. g4 | as4 bes4 bes4 bes4 | bes2 g4 g4 |\n  f4 g4 as4 as4 | g2. g4 | as4 bes4 f4 d4 | f8 es8 d4 es4 d4 |\n  f4 bes8 a8 g4 bes4 | bes2. bes4 | bes4 bes4 bes8 a8 g8 fis8 | g2. bes4 |\n  g4 f8 g8 as8 bes8 c'4 | c'2. bes4 | as4 es8 f8 g4 f4 | g2.\n}\nbass = {\n  es4 |\n  d4 es4 as4 as,4 | es2. es4 | f4 g8 as8 bes4 es4 | bes,2 es,4 es4 |\n  des4 des4 c8 bes,8 as,4 | es,2. es8 d8 | c4 bes,4 as,4 d4 | as,4 bes,4 es,4 bes,4 |\n  a,4 bes,4 es,8 f,8 g,8 a,8 | bes,2. d4 | es4 d4 c4 d4 | g,2. g8 f8 |\n  e4 d8 e8 f4 c4 | f,2. g,4 | as,4 c4 bes,4 bes,4 | es,2.\n}\n"}, "harmonizations": [{"slug": "nun-danket-bwv386", "tune": "nun-danket", "music_file": "nun-danket-bwv386.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 14, 20, 28, 34, 41, 47], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Cr\u00fcger, 1647; harm. J. S. Bach (BWV 386). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 386 \u2014 the standalone chorale \"Nun danket alle Gott\" (Cr\u00fcger's tune), No. 32 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor032.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices. The kern encodes the Stollen once with a sectional repeat (*>[A,A,B]); the corpus file writes it out A-A-B via the converter's repeat expansion, the complementary partial bars at the section seams merging to full 4/4 bars (no odd-length seam bars). Bach's key is A major (the kern's *k[f#c#g#] with *A:, as Breitkopf prints it); the corpus file is STORED IN E-FLAT MAJOR, transposed down an augmented fourth and machine-checked at exactly -6 semitones per note in every voice with durations and curves unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and NUN DANKET's is E-flat (from the Cyber Hymnal harmonization). 4/4, quarter pickup; fermatas at the eight phrase ends (soprano ordinals 6, 14, 20, 28, 34, 41, 47, 54) are omitted per house style, and Bach's phrase-end breath rests (half note + quarter rest at six of the eight cadences) are kept, since the corpus collapses only the all-voice dotted-half+rest case. Machine comparison against the independently derived music21-corpus encoding (bwv386.mxl, MuseData/Greentree lineage): soprano pitch-identical at all 40 as-written notes; the editions diverge only at the melisma eighth-pairs and the tenor's bar-15 pair (that edition reads dotted-eighth+sixteenth for the kern's even eighths), the tenor's bar-11 passing eighth pair (a plain quarter there), an alto tie across bars 3-4 that the kern re-strikes, the alto's bar-13 re-struck eighths (merged there), and the bass pickup into bar 13 plus that bar's first five eighths, which that edition reads an octave lower \u2014 the kern reading (the declared source) is kept throughout and each divergence is itemized in the music file header. The melisma slurs follow Bach's own underlay as carried by the texted bwv386.mxl witness (full German text, 50 syllables + 4 melisma continuations = 54 sung notes; the Stollen's two lyric verses agree on the hold).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor032.krn (BWV 386, Breitkopf/Riemenschneider No. 32), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) \u2014 four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% 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%% J. S. Bach's harmonization BWV 386 (the standalone chorale \"Nun danket alle\n%% Gott\", Breitkopf/Riemenschneider No. 32), converted from the\n%% craigsapp/bach-370-chorales kern edition (chor032.krn) with tools/kern2ly.py\n%% and verified event-for-event against the kern source in all four voices.\n%% Bach's key is A major (the kern's *k[f#c#g#] + *A:, as Breitkopf prints it);\n%% STORED HERE IN E-FLAT MAJOR \u2014 transposed down an augmented fourth, every\n%% voice, machine-checked at exactly -6 semitones per note \u2014 because the corpus\n%% keeps every harmonization of a tune in the tune's canonical key (the\n%% validate_corpus duplicated-fact equality), and NUN DANKET's is E-flat from\n%% the Cyber Hymnal harmonization. 4/4, quarter pickup. The kern encodes the\n%% Stollen once with a sectional repeat (*>[A,A,B]); the converter writes it\n%% out A-A-B, the complementary partial bars at the section seams merging to\n%% full 4/4 bars (no odd-length seam bars, single \\time throughout). Bach's own\n%% phrase-end breath rests (half note + quarter rest at six of the eight\n%% cadences) are kept: the corpus collapses only the all-voice dotted-half+rest\n%% case. The source prints fermatas at soprano ordinals 6, 14, 20, 28, 34, 41,\n%% 47, 54 (phrases 6+8+6+8+6+7+6+7, one per text line of 6.7.6.7.6.6.6.6);\n%% fermatas are omitted per house style.\n%% Machine-compared against the independent music21-corpus encoding of the same\n%% chorale (bwv386.mxl, MuseData/Greentree lineage): soprano pitch-identical at\n%% all 40 as-written notes; the two editions diverge only at (a) the Stollen and\n%% final-line soprano melisma eighth-pairs and the tenor's bar-15 beat-4 pair,\n%% which that edition reads dotted-eighth+sixteenth for the kern's even eighths;\n%% (b) the tenor's passing eighth pair in the line-6 bar (bar 11 beat 2, here\n%% bes8 f8), which that edition reads as a plain quarter; (c) an alto tie\n%% (here es'4~es'8) across bars 3-4 (both passes) that the kern re-strikes;\n%% (d) the alto at bar 13, kern re-struck eighths (here g'4 g'8 f'8 f'8 e'8) vs\n%% that edition's merged g'4. f'4 e'8; and (e) the bass pickup into bar 13 and\n%% that bar's first five eighths (here es4, then as8 g8 f8 e8 f8), which that\n%% edition reads an octave lower \u2014 the kern reading (the declared source,\n%% Doerffel/Breitkopf c. 1875) is kept throughout. MELISMATIC: 54 soprano notes\n%% for 50 syllables (6.7.6.7.6.6.6.6); the melisma map is Bach's own underlay\n%% as carried by the texted bwv386.mxl witness (full German text; the Stollen's\n%% two lyric verses agree on the hold): two-note slurs at soprano notes 11-12,\n%% 25-26, 36-37, 50-51, held with '_' every stanza at notes 12, 26, 37, 51\n%% (see the setting). Bach's line-6 melisma pair lands on the same printed\n%% g'8( a'8) as the Cyber Hymnal harmonization's lone melisma.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 |\n  bes'2 r4 g'4 |\n  as'4 g'4 f'4 g'8( as'8) |\n  f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 |\n  bes'2 r4 g'4 |\n  as'4 g'4 f'4 g'8( as'8) |\n  f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 |\n  f'2 r4 f'4 |\n  g'8( a'8) bes'4 bes'4 a'4 |\n  bes'2 r4 bes'4 |\n  c''4 bes'4 as'4 g'4 |\n  as'2 r4 g'4 |\n  f'4 g'8( as'8) f'4. es'8 |\n  es'2.\n}\n\nalto = {\n  es'4 |\n  es'4 es'4 es'4 es'4 |\n  es'2 r4 es'4 |\n  f'4 es'4 d'4 es'4 |\n  es'8 c'8 d'4 bes4 es'4 |\n  es'4 es'4 es'4 es'4 |\n  es'2 r4 es'4 |\n  f'4 es'4 d'4 es'4 |\n  es'8 c'8 d'4 bes4 d'8 c'8 |\n  bes4 bes4 bes4 bes4 |\n  bes2 r4 d'4 |\n  es'4 d'4 c'4 c'4 |\n  d'2 r4 es'4 |\n  es'8 f'8 g'4 g'8 f'8 f'8 e'8 |\n  f'2 r4 es'4 |\n  d'4 es'4 es'4 d'4 |\n  bes2.\n}\n\ntenor = {\n  g4 |\n  g4 g4 as4 as4 |\n  g2 r4 c'4 |\n  bes4 bes4 bes4 bes4 |\n  bes8 as16 g16 as4 g4 g4 |\n  g4 g4 as4 as4 |\n  g2 r4 c'4 |\n  bes4 bes4 bes4 bes4 |\n  bes8 as16 g16 as4 g4 f8 es8 |\n  d8 es8 f4. es16 d16 es4 |\n  d2 r4 bes4 |\n  bes4 bes8 f8 g4 f4 |\n  f2 r4 g4 |\n  as4 g4 c'4 des'8 c'8 |\n  c'2 r4 bes4 |\n  bes4 bes8 c'8 c'8 as8 f8 bes8 |\n  g2.\n}\n\nbass = {\n  es,4 |\n  es8 f8 g8 es8 as,8 bes,8 c8 as,8 |\n  es2 r4 es4 |\n  d4 es4 bes,8 as,8 g,8 es,8 |\n  bes,2 es,4 es,4 |\n  es8 f8 g8 es8 as,8 bes,8 c8 as,8 |\n  es2 r4 es4 |\n  d4 es4 bes,8 as,8 g,8 es,8 |\n  bes,2 es,4 bes,4 |\n  bes,8 c8 d8 bes,8 es,8 f,8 g,8 es,8 |\n  bes,,2 r4 bes,4 |\n  es8 f8 g8 d8 es8 c8 f8 f,8 |\n  bes,2 r4 es4 |\n  as8 g8 f8 e8 f8 as,8 bes,8 c8 |\n  f,2 r4 g,8 as,8 |\n  bes,4 es8 c8 as,8 f,8 bes,8 bes,,8 |\n  es,2.\n}\n", "preferred": false}, {"slug": "nun-danket-cyberhymnal", "tune": "nun-danket", "music_file": "nun-danket-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [6, 13, 19, 26, 32, 39, 45], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN DANKET (NUN DANKET ALLE GOTT), Johann Cr\u00fcger, 1647. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune NUN DANKET (Johann Cr\u00fcger, 1647); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand \u2014 soprano+alto right, tenor+bass left \u2014 so the single-track homophonic splitter was used) and verified against the Cyber Hymnal engraving (E-flat major, 4/4, one-beat anacrusis; the final dotted half completes the pickup). The soprano agreed with the engraving note-for-note; the lone two-note melisma (soprano g'-a' at line 6) is held with '_' each stanza (verse_variable_melisma). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Nun Danket\" (Johann Cr\u00fcger, 1647); SATB MIDI + engraving, converted with tools/mid2ly_chords.py", "encoding_license": "PD-dedication"}, "music_ly": "%% NUN DANKET (NUN DANKET ALLE GOTT, 6.7.6.7.6.6.6.6) \u2014 four SATB voice streams,\n%% canonical key E-flat major. Corpus harmonization source for the\n%% 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%% Encoded from The Cyber Hymnal SATB MIDI (\"Nun Danket\", Johann Cr\u00fcger, 1647) with\n%% tools/mid2ly_chords.py (the MIDI packs the voices per keyboard hand \u2014 soprano+alto\n%% on the right, tenor+bass on the left \u2014 so the single-track homophonic splitter is\n%% used) and verified against the Cyber Hymnal engraving. E-flat major, 4/4 with a\n%% one-beat anacrusis (\\partial 4); the final dotted half completes the pickup.\n%% MELISMATIC: 51 soprano notes for 50 syllables (6.7.6.7.6.6.6.6); the one two-note\n%% melisma is the slurred soprano g'8( a'8) at line 6 (soprano notes 34-35), held\n%% with '_' each stanza (verse_variable_melisma). The cadential bass octave-doublings\n%% (Eb) are reduced to the lower octave; the printed accidentals (bass des, tenor\n%% fis, A/B/E naturals) match the engraving.\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 bes'4 |\n  bes'4 bes'4 c''4 c''4 | bes'2. bes'4 | as'4 g'4 f'4 g'4 | f'2 es'4 f'4 |\n  f'4 f'4 g'4 g'4 | f'2. f'4 | g'8( a'8) bes'4 c''4 a'4 | bes'2. bes'4 |\n  c''4 bes'4 as'4 g'4 | as'2. g'4 | f'4 es'4 es'4 d'4 | es'2.\n}\nalto = {\n  es'4 |\n  f'4 es'4 es'4 c'8 d'8 | es'2. es'8 d'8 | c'8 d'8 es'4 d'4 es'4 | es'4 d'4 es'4 es'4 |\n  f'4 es'4 es'4 es'4 | es'2. es'4 | es'8 d'8 es'4 es'8 d'8 c'8 b8 | c'4 bes8 as8 g4 bes4 |\n  c'4 d'8 c'8 bes4 es'4 | d'2. f'4 | es'4 f'4 es'4 d'4 | d'2. d'4 |\n  c'4 c'4 c'4 e'4 | f'2. es'8 d'8 | c'4 g8 as8 bes4 bes8 as8 | g2.\n}\ntenor = {\n  g4 |\n  f4 g4 as4 es8 f8 | g2. g4 | as4 bes4 bes4 bes4 | bes2 g4 g4 |\n  f4 g4 as4 as4 | g2. g4 | as4 bes4 f4 d4 | f8 es8 d4 es4 d4 |\n  f4 bes8 a8 g4 bes4 | bes2. bes4 | bes4 bes4 bes8 a8 g8 fis8 | g2. bes4 |\n  g4 f8 g8 as8 bes8 c'4 | c'2. bes4 | as4 es8 f8 g4 f4 | g2.\n}\nbass = {\n  es4 |\n  d4 es4 as4 as,4 | es2. es4 | f4 g8 as8 bes4 es4 | bes,2 es,4 es4 |\n  des4 des4 c8 bes,8 as,4 | es,2. es8 d8 | c4 bes,4 as,4 d4 | as,4 bes,4 es,4 bes,4 |\n  a,4 bes,4 es,8 f,8 g,8 a,8 | bes,2. d4 | es4 d4 c4 d4 | g,2. g8 f8 |\n  e4 d8 e8 f4 c4 | f,2. g,4 | as,4 c4 bes,4 bes,4 | es,2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}