{"slug": "old-100th", "name": "OLD 100TH", "alt_name": "OLD HUNDREDTH", "meter_label": "8.8.8.8", "meter": {"alleluia": false, "doubled": false, "irregular": false, "pattern": [8, 8, 8, 8], "refrain": false}, "composer": "louis-bourgeois", "composer_date": "1551", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "old-100th-oh", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "old-100th-oh", "tune": "old-100th", "music_file": "old-100th-oh.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 16, 24, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:306", "encoding_license": "PD-dedication"}, "music_ly": "%% Awake, My Soul, And With The Sun\n%% Imported from Open Hymnal ABC X:306 via tools/abc_import.py\n%% Open Hymnal X:306; all components published pre-1931 (latest year 1674).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 g'4 fis'4 e'4 d'4 | g'2 a'2 b'2. | b'2 b'4 b'4 a'4 g'4 | c''2 b'2 a'2. | g'2 a'4 b'4 a'4 g'4 | e'2 fis'2 g'2. | d''2 b'4 g'4 a'4 c''4 | b'2 a'2 g'2.\n}\nalto = {\n  d'2 d'4 d'4 b4 b4 | b2 d'2 d'2. | d'2 d'4 g'4 fis'4 g'4 | g'2 g'2 fis'2. | g'2 fis'4 g'4 fis'4 d'4 | e'2 d'2 d'2. | d'2 d'4 g'4 fis'4 e'8 fis'8 | g'2 fis'2 d'2.\n}\ntenor = {\n  b2 b4 a4 g4 fis4 | g2 fis2 g2. | g2 b4 d'4 c'4 b4 | e'2 d'2 d'2. | b2 d'4 d'4 d'4 d'4 | c'4( b4) a2 b2. | b2 g4 b4 d'4 e'4 | d'2 d'4( c'4) b2.\n}\nbass = {\n  g2 g4 d4 e4 b,4 | e2 d2 g,2. | g2 g4 g4 d4 e4 | c2 g,2 d2. | e2 d4 g4 d4 b,4 | c2 d2 g,2. | g2 g4 e4 d4 a,4 | b,4( c4) d2 g,2.\n}\n"}, "harmonizations": [{"slug": "old-100th-bwv326", "tune": "old-100th", "music_file": "old-100th-bwv326.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [8, 16, 24], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLD 100TH (Genevan Psalter, 1551); harm. J. S. Bach (BWV 326). 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 326 \u2014 the standalone chorale \"Herr Gott, dich loben alle wir\". It is No. 164 in RIEMENSCHNEIDER and in the c. 1875 Doerffel (4th) Breitkopf edition, which is the edition the kern header names as its source; the 1784-87 first Breitkopf print numbers it 167 (Dahn's catalogue: \"Riemenschneider 164; Breitkopf 167; Birnstiel 172; AmB 46II p.88; Penzel 121\"). US public domain by pre-1931 publication either way. The tune Bach is harmonizing is the Genevan melody of 1551 (Zahn 368, the Psalm 134 tune that English use took over for Psalm 100) \u2014 the same tune as the corpus's OLD 100TH, which is why this enters as a second harmonization of an existing tune rather than as a new one; the melody identification is confirmed independently by Luke Dahn's catalogue entry for BWV 326 (\"Tune: Herr Gott, dich loben alle wir, Geneva 1551, based on a 15th c. melody (Zahn 368)\") and by direct comparison with the corpus soprano. Encoded from the craigsapp/bach-370-chorales kern edition (chor164.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 with an independent parser. Bach's key is B-flat major (the kern's *k[b-e-] with *B-:); the corpus file is STORED IN G MAJOR, transposed down a minor third and machine-checked at exactly -3 semitones per note across all 189 notes in every voice with durations unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and OLD 100TH's is G major (shared with old-100th-oh, the preferred harmonization, which this import leaves untouched). The transposition is diatonic, so spellings follow the new signature: Bach's f-sharp, the leading tone of the line-3 cadence on G minor, becomes d-sharp, and his cautionary f-naturals become plain d. 3/4 throughout with a quarter pickup and a closing 2-beat bar; the kern encodes no sectional repeat, so the chorale is already written out straight and there are no seam bars. Fermatas at the four phrase ends (soprano ordinals 8, 16, 24, 32) are omitted per house style. SOPRANO AGAINST THE EXISTING CORPUS HARMONIZATION old-100th-oh, both in G: 32 notes against 32, of which 31 are pitch-identical; the single variant is soprano ordinal 13 (line 2, syllable 5), where old-100th-oh reads g and Bach reads b. Both are current readings of the tune's second line. The note VALUES differ throughout, since the corpus tune is a free-metre cadenza reading and Bach's is metered 3/4, but the sung shape is the same \u2014 8 notes per line, four lines \u2014 and both are fully syllabic, so the two harmonizations carry the same text identically. ONE DELIBERATE DIVERGENCE FROM THE KERN, bar 12 beat 1, bass: the kern reads G3 (token \"2G\"); this file writes G2 (e,2 after transposition). Two independent witnesses print the low octave: (a) the Greentree-lineage encoding bwv326.mxl distributed via the music21 corpus, archived in imports/batchC/ \u2014 genuinely independent of the Sapp kern, though NOT a MuseData file (its own metadata credits Margaret Greentree, 2004, encoded with music21 5.3.0 / MuseScore 2.1.0); and (b) Luke Dahn's critical edition at bach-chorales.com, where the bar-12 bass notehead centre measures y=1565.0 against staff lines at y=1448/1477/1506/1535/1564, i.e. on the G2 bottom line to within 0.07 of a diatonic step (G3 would sit at y=1462). That measurement was made twice, independently, by the builder and by the adversarial verifier. The reading is also the one the surrounding register supports: bar 11 ends on the dominant root dropped to its low octave and the phrase-3 cadence answers it up a fourth, the following quarter resetting the register for line 4. (Stated as support, not as proof \u2014 the kern's G3 is playable, and makes the bar-13 ascent G3-A3-B-flat3-C4 stepwise where G2 requires a leap of a ninth.) A full machine collation of the two independent editions over all 189 events in the four voices found this ONE divergence and no other: soprano, alto and tenor agree note for note and duration for duration, and the bass agrees at its other 80 events.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor164.krn (BWV 326, Riemenschneider/Breitkopf-371 No. 164), converted with tools/kern2ly.py; underlay and collation witness music21 bach corpus MusicXML bwv326.mxl (both archived in imports/batchC/)", "encoding_license": "The kern edition carries a CC BY-NC-SA 4.0 claim, but that claim sits on a faithful transcription of a public-domain text \u2014 the 1784-87 Breitkopf collection as reprinted by Doerffel c. 1875 \u2014 and a faithful transcription of a public-domain score originates no new copyright. The corpus record does not rest on that edition in any case: the music is Bach's (d. 1750), this .ly is a fresh re-encoding produced by tools/kern2ly.py plus a machine transposition, and the one place where the corpus file departs from the kern is settled against two witnesses outside it, so nothing expressive of the kern editor's own judgement is carried over. The kern file is vendored in imports/batchC/ so the whole conversion can be re-checked. The Greentree-lineage witness bwv326.mxl is used only for collation and to confirm the syllabic underlay, not as the encoding source. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% OLD 100TH (OLD HUNDREDTH, 8.8.8.8) \u2014 four SATB voice streams, canonical key\n%% G major. Corpus harmonization source for the HymnBookGenerator close-score\n%% 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 326, the standalone chorale \"Herr Gott, dich\n%% loben alle wir\" (Paul Eber's 1561 German paraphrase of Psalm 134). No. 164 in\n%% Riemenschneider and in the c. 1875 Doerffel Breitkopf edition the kern names\n%% as its source; the 1784-87 first Breitkopf print numbers it 167.\n%% Bach is setting the SAME Genevan melody as OLD 100TH \u2014 Geneva 1551, Zahn 368,\n%% the Psalm 134 tune that English use took over for Psalm 100 \u2014 which is why\n%% this is a second harmonization of an existing corpus tune and not a new one.\n%% Converted from the craigsapp/bach-370-chorales kern edition (chor164.krn)\n%% with tools/kern2ly.py and verified event-for-event against the kern source in\n%% all four voices.\n%%\n%% Bach's key is B-FLAT MAJOR (the kern's *k[b-e-] with *B-:, as Breitkopf\n%% prints it); STORED HERE IN G MAJOR \u2014 transposed down a minor third, every\n%% voice, machine-checked at exactly -3 semitones per note with durations\n%% unchanged \u2014 because the corpus keeps every harmonization of a tune in the\n%% tune's canonical key (the validate_corpus duplicated-fact equality), and OLD\n%% 100TH's is G major, shared with old-100th-oh. The transposition is diatonic,\n%% so the spellings follow the new signature: Bach's f# (leading tone of the\n%% line-3 cadence on G minor) becomes dis, and his cautionary f-naturals become\n%% plain d. 3/4 throughout, quarter pickup, closing 2-beat bar completing it \u2014\n%% the kern writes the chorale straight through with no sectional repeat, so\n%% there are no seam bars and no time_changes.\n%%\n%% SOPRANO vs the corpus's existing old-100th-oh harmonization (both in G):\n%% 31 of 32 notes identical. The single variant is soprano ordinal 13 (line 2,\n%% syllable 5), where old-100th-oh reads g' and Bach reads b'. Both are current\n%% readings of the tune's second line; the note values differ throughout (the\n%% corpus tune is a free-metre cadenza reading, Bach's is metered 3/4) but the\n%% sung shape is identical: 8 notes per line, four lines, fermata at each line\n%% end (soprano ordinals 8, 16, 24, 32). Fermatas are omitted per house style.\n%%\n%% ONE DELIBERATE DIVERGENCE FROM chor164.krn \u2014 bar 12 beat 1, BASS. The kern\n%% reads G3 (its token `2G`), which here would be e2; this file writes e,2 (G2\n%% in Bach's key). TWO independent witnesses print the low octave: (a) the\n%% Greentree-lineage encoding bwv326.mxl distributed via the music21 corpus,\n%% archived alongside in imports/batchC/ \u2014 independent of the Sapp kern, but\n%% NOT a MuseData file (its metadata credits Margaret Greentree, 2004); and\n%% (b) Luke Dahn's critical edition at bach-chorales.com, where the bar-12\n%% bass notehead centre measures y=1565.0 against staff lines at\n%% y=1448/1477/1506/1535/1564 \u2014 on the G2 bottom line to within 0.07 of a\n%% diatonic step (G3 would sit at y=1462), measured twice independently.\n%% The surrounding register supports the reading: bar 11 ends on the dominant\n%% root dropped to its low octave (b,, here, D2 in Bach's key) and the\n%% phrase-3 cadence answers it up a fourth, after which the quarter is the\n%% pickup that resets the register for line 4. Stated as support, not proof \u2014\n%% the kern's G3 is playable and makes the bar-13 ascent stepwise.\n%% Machine collation of the two independent editions over all 189 events in the\n%% four voices found this ONE divergence and nothing else \u2014 soprano, alto and\n%% tenor agree note for note and duration for duration.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  g'4 |\n  g'2 fis'4 |\n  e'2 d'4 |\n  g'4 a'2 |\n  b'2 b'4 |\n  b'2 b'4 |\n  a'2 b'4 |\n  c''4 b'2 |\n  a'2 g'4 |\n  a'2 b'4 |\n  a'2 g'4 |\n  e'4 fis'2 |\n  g'2 d''4 |\n  b'2 g'4 |\n  a'2 c''4 |\n  b'4 a'2 |\n  g'2\n}\n\nalto = {\n  d'4 |\n  e'2 d'4 |\n  c'2 b4 |\n  b4 e'4 d'4 |\n  d'2 fis'4 |\n  e'2 e'4 |\n  e'4 d'4 d'4 |\n  d'4 d'2 |\n  d'2 e'4 |\n  d'2 d'8 g'8 |\n  e'4 d'8 c'8 b4 |\n  e'4 e'4 dis'4 |\n  e'2 d'4 |\n  d'2 e'4 |\n  d'2 d'4 |\n  d'4 e'4 d'8 c'8 |\n  b2\n}\n\ntenor = {\n  b4 |\n  b2 b4 |\n  g2 g4 |\n  g2 fis4 |\n  g2 fis4 |\n  g2 g4 |\n  g4 fis4 g4 |\n  a4 g2 |\n  fis2 b4 |\n  a2 g4 |\n  g4 fis4 g4 |\n  g8 b8 c'4 b4 |\n  b2 a4 |\n  b2 b4 |\n  fis2 fis4 |\n  g2 fis4 |\n  d2\n}\n\nbass = {\n  g,8 fis,8 |\n  e,8 fis,8 g,8 a,8 b,8 g,8 |\n  c8 d8 e8 fis8 g8 fis8 |\n  e8 d8 c8 b,8 c8 d8 |\n  g,2 dis,4 |\n  e,8 b,8 e8 d8 c8 b,8 |\n  c8 a,8 d8 c8 b,8 a,8 |\n  g,8 fis,8 g,8 a,8 b,8 c8 |\n  d2 e4 |\n  fis8 d8 e8 fis8 g8 e8 |\n  c8 b,8 c8 d8 e8 b,8 |\n  c8 g,8 a,8 fis,8 b,8 b,,8 |\n  e,2 fis4 |\n  g8 a8 g8 fis8 e8 d8 |\n  c8 e8 d8 c8 b,8 a,8 |\n  g,8 b,8 c8 a,8 d8 d,8 |\n  g,2\n}\n", "preferred": false}, {"slug": "old-100th-oh", "tune": "old-100th", "music_file": "old-100th-oh.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [16], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "phrase_barlines": [8, 16, 24, 32], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:306; all components published pre-1931 (latest year 1674).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:306", "encoding_license": "PD-dedication"}, "music_ly": "%% Awake, My Soul, And With The Sun\n%% Imported from Open Hymnal ABC X:306 via tools/abc_import.py\n%% Open Hymnal X:306; all components published pre-1931 (latest year 1674).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\cadenzaOn }\n\nsoprano = {\n  g'2 g'4 fis'4 e'4 d'4 | g'2 a'2 b'2. | b'2 b'4 b'4 a'4 g'4 | c''2 b'2 a'2. | g'2 a'4 b'4 a'4 g'4 | e'2 fis'2 g'2. | d''2 b'4 g'4 a'4 c''4 | b'2 a'2 g'2.\n}\nalto = {\n  d'2 d'4 d'4 b4 b4 | b2 d'2 d'2. | d'2 d'4 g'4 fis'4 g'4 | g'2 g'2 fis'2. | g'2 fis'4 g'4 fis'4 d'4 | e'2 d'2 d'2. | d'2 d'4 g'4 fis'4 e'8 fis'8 | g'2 fis'2 d'2.\n}\ntenor = {\n  b2 b4 a4 g4 fis4 | g2 fis2 g2. | g2 b4 d'4 c'4 b4 | e'2 d'2 d'2. | b2 d'4 d'4 d'4 d'4 | c'4( b4) a2 b2. | b2 g4 b4 d'4 e'4 | d'2 d'4( c'4) b2.\n}\nbass = {\n  g2 g4 d4 e4 b,4 | e2 d2 g,2. | g2 g4 g4 d4 e4 | c2 g,2 d2. | e2 d4 g4 d4 b,4 | c2 d2 g,2. | g2 g4 e4 d4 a,4 | b,4( c4) d2 g,2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}