{"slug": "nun-komm-der-heiden-heiland", "name": "NUN KOMM, DER HEIDEN HEILAND", "meter_label": "7.7.7.7", "meter": {"pattern": [7, 7, 7, 7], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer_source": "Plainchant, Veni redemptor gentium", "arranger": "martin-luther", "canonical_key": {"tonic": "a", "mode": "minor"}, "preferred_harmonization": "nun-komm-der-heiden-heiland-bwv62", "provenance": {"layer": "tune", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "NUN KOMM, DER HEIDEN HEILAND (7.7.7.7), the Advent chorale adapted by Martin Luther from the plainchant hymn \"Veni redemptor gentium\" (Ambrose of Milan, c. 397), first published in the Erfurt Enchiridion, 1524. The melody is carried here as the soprano of J. S. Bach's harmonization BWV 62/6, published in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87; Bach died 1750). Identity verified: the soprano opens with the authentic NUN KOMM incipit (scale degrees 1-1-7-3-2-1-2-1 in A minor, matching the hymnary.org tune authority incipit for its first phrase exactly), and the tune shows the chorale's ABCA form (phrase 4 repeats phrase 1). All components centuries pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text \u2014 see staged NOTES.txt)"}, "harmonization": {"slug": "nun-komm-der-heiden-heiland-bwv62", "tune": "nun-komm-der-heiden-heiland", "music_file": "nun-komm-der-heiden-heiland-bwv62.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN KOMM, DER HEIDEN HEILAND, Erfurt Enchiridion, 1524; harm. J. S. Bach (BWV 62). 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), the closing chorale of the cantata \"Nun komm, der Heiden Heiland\" BWV 62 (1724); No. 170 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 (chor170.krn, which is referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified note-for-note against the kern source in all four voices, including the explicit naturals (soprano/alto/tenor G-naturals and F-naturals, kern \"nX\") and the alto and bass sixteenth-note figures. A minor, 4/4, no pickup; fermatas at the four phrase ends (soprano ordinals 8, 16, 25, 33) are omitted per house style.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text \u2014 see staged NOTES.txt)"}, "music_ly": "%% NUN KOMM, DER HEIDEN HEILAND (7.7.7.7) \u2014 four SATB voice streams, canonical key A minor.\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%% J. S. Bach's harmonization BWV 62/6 (the closing chorale of the cantata \"Nun\n%% komm, der Heiden Heiland\" BWV 62; Breitkopf/Riemenschneider No. 170), converted\n%% from the craigsapp/bach-370-chorales kern edition (chor170.krn) with\n%% tools/kern2ly.py and verified note-for-note against the kern source (all four\n%% voices, including the explicit naturals and the alto/bass sixteenth figures).\n%% A minor, 4/4, no pickup. The source prints fermatas at soprano ordinals 8, 16,\n%% 25, 33 (phrases 8+8+9+8; form ABCA \u2014 phrase 4 repeats phrase 1); fermatas are\n%% omitted per house style. MELISMATIC: 33 soprano notes for 28 syllables\n%% (7.7.7.7) \u2014 the soprano's 5 two-note eighth figures (notes 5-6, 9-10, 19-20,\n%% 22-23, 30-31) are melisma slurs, one syllable each; the setting holds the\n%% continuations with '_' at soprano notes 6, 10, 20, 23, 31 every stanza\n%% (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2 |\n  a'8( b'8) c''4 d''4 c''4 |\n  d''4 e''4 c''2 |\n  c''4 d''4 e''8( d''8) c''4 |\n  d''8( c''8) b'4 a'2 |\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2\n}\n\nalto = {\n  e'4 d'4 e'4 e'4 |\n  e'8 fis'8 gis'4 e'2 |\n  e'8 gis'8 a'4 d'4 g'4 |\n  f'4 e'8 f'16 g'16 f'2 |\n  f'4 f'4 e'4 e'4 |\n  d'8 a'8 gis'4 e'2 |\n  dis'8 e'8 fis'4 e'4 e'4 |\n  f'8 c'8 d'4 cis'2\n}\n\ntenor = {\n  c'4 b8 a8 b8 a8 g8 a8 |\n  b8 c'8 d'4 c'2 |\n  c'8 d'8 e'8 f'8 b8 a8 g8 a8 |\n  b4 c'8 g8 a2 |\n  a4 b8 c'8 b4 a4 |\n  a4 e'8 d'8 c'2 |\n  fis4 b4 b4 a4 |\n  a4. gis8 e2\n}\n\nbass = {\n  a8 g8 f4 e4 e8 fis8 |\n  gis8 a8 e8 e,8 a,2 |\n  a,4 a4 g8 f8 e4 |\n  d4 c4 f2 |\n  f8 e8 d4 gis4 a8 g8 |\n  f8 d8 e4 a,2 |\n  b,8 cis8 dis8 b,8 e8 d8 c8 a,8 |\n  d8 e16 f16 e4 a,2\n}\n"}, "harmonizations": [{"slug": "nun-komm-der-heiden-heiland-bwv62", "tune": "nun-komm-der-heiden-heiland", "music_file": "nun-komm-der-heiden-heiland-bwv62.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "a", "mode": "minor"}, "time": "4/4", "pickup": null, "system_breaks": [8, 16, 25], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "NUN KOMM, DER HEIDEN HEILAND, Erfurt Enchiridion, 1524; harm. J. S. Bach (BWV 62). 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), the closing chorale of the cantata \"Nun komm, der Heiden Heiland\" BWV 62 (1724); No. 170 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 (chor170.krn, which is referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified note-for-note against the kern source in all four voices, including the explicit naturals (soprano/alto/tenor G-naturals and F-naturals, kern \"nX\") and the alto and bass sixteenth-note figures. A minor, 4/4, no pickup; fermatas at the four phrase ends (soprano ordinals 8, 16, 25, 33) are omitted per house style.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor170.krn (BWV 62/6, Breitkopf/Riemenschneider No. 170), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 claimed on the kern edition (faithful transcription of the PD 1784-87 Breitkopf text \u2014 see staged NOTES.txt)"}, "music_ly": "%% NUN KOMM, DER HEIDEN HEILAND (7.7.7.7) \u2014 four SATB voice streams, canonical key A minor.\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%% J. S. Bach's harmonization BWV 62/6 (the closing chorale of the cantata \"Nun\n%% komm, der Heiden Heiland\" BWV 62; Breitkopf/Riemenschneider No. 170), converted\n%% from the craigsapp/bach-370-chorales kern edition (chor170.krn) with\n%% tools/kern2ly.py and verified note-for-note against the kern source (all four\n%% voices, including the explicit naturals and the alto/bass sixteenth figures).\n%% A minor, 4/4, no pickup. The source prints fermatas at soprano ordinals 8, 16,\n%% 25, 33 (phrases 8+8+9+8; form ABCA \u2014 phrase 4 repeats phrase 1); fermatas are\n%% omitted per house style. MELISMATIC: 33 soprano notes for 28 syllables\n%% (7.7.7.7) \u2014 the soprano's 5 two-note eighth figures (notes 5-6, 9-10, 19-20,\n%% 22-23, 30-31) are melisma slurs, one syllable each; the setting holds the\n%% continuations with '_' at soprano notes 6, 10, 20, 23, 31 every stanza\n%% (verse_variable_melisma).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\minor \\time 4/4 }\n\nsoprano = {\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2 |\n  a'8( b'8) c''4 d''4 c''4 |\n  d''4 e''4 c''2 |\n  c''4 d''4 e''8( d''8) c''4 |\n  d''8( c''8) b'4 a'2 |\n  a'4 a'4 g'4 c''4 |\n  b'8( a'8) b'4 a'2\n}\n\nalto = {\n  e'4 d'4 e'4 e'4 |\n  e'8 fis'8 gis'4 e'2 |\n  e'8 gis'8 a'4 d'4 g'4 |\n  f'4 e'8 f'16 g'16 f'2 |\n  f'4 f'4 e'4 e'4 |\n  d'8 a'8 gis'4 e'2 |\n  dis'8 e'8 fis'4 e'4 e'4 |\n  f'8 c'8 d'4 cis'2\n}\n\ntenor = {\n  c'4 b8 a8 b8 a8 g8 a8 |\n  b8 c'8 d'4 c'2 |\n  c'8 d'8 e'8 f'8 b8 a8 g8 a8 |\n  b4 c'8 g8 a2 |\n  a4 b8 c'8 b4 a4 |\n  a4 e'8 d'8 c'2 |\n  fis4 b4 b4 a4 |\n  a4. gis8 e2\n}\n\nbass = {\n  a8 g8 f4 e4 e8 fis8 |\n  gis8 a8 e8 e,8 a,2 |\n  a,4 a4 g8 f8 e4 |\n  d4 c4 f2 |\n  f8 e8 d4 gis4 a8 g8 |\n  f8 d8 e4 a,2 |\n  b,8 cis8 dis8 b,8 e8 d8 c8 a,8 |\n  d8 e16 f16 e4 a,2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}