{"slug": "old-124th", "name": "OLD 124TH", "meter_label": "10.10.10.10.10", "meter": {"pattern": [10, 10, 10, 10, 10], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "louis-bourgeois", "composer_date": "1551", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "old-124th-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "OLD 124TH (10.10.10.10.10), the proper tune for Psalm 124 in the Genevan Psalter, 1551 (melody attributed to Louis Bourgeois, d. 1560). US public domain by pre-1931 publication. Encoded from The Cyber Hymnal.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "old-124th-cyberhymnal", "tune": "old-124th", "music_file": "old-124th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "time_changes": [{"soprano_note": 45, "time": "6/4"}, {"soprano_note": 49, "time": "4/4"}], "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 124TH (Genevan Psalter, 1551; melody attr. Louis Bourgeois, d. 1560), the proper tune for Psalm 124; a four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py, checked against the Cyber Hymnal engraving at import (four independent readers reconciled; the tenor's ~bar-12 chromatic was respelled des'->cis' to match the engraving's printed sharp, the same sounding pitch). Metered as the Cyber Hymnal engraves it: 20 bars of 4/4 with one printed 6/4 bar (bar 18) and a printed 4/4 restoration (bar 19), declared via time_changes; every barline of the render falls where the plate bars it (re-verified against the engraving, 2026-07-27; originally imported as a free-meter rhythmic chorale only because mid-hymn meter changes did not yet exist in the corpus schema). \u26a0 2026-07-27 re-examination (docs/loose-ends.md, OLD 124TH encoding-vs-plate entry): mid2ly flattened the plate's layered inner-voice figures inside 8 bars (incl. a soprano bar-15 eighth pair the plate does not print), and the decompressed Old124th.nwc SongInfo names its model as The Hymnbook (PCUSA, 1955) #357 \"also in The English Hymnal (1906) #114\" \u2014 so per house rule the CH assets alone cannot carry the pre-1931 basis for the SETTING; the melody itself is 1551 Genevan and safely PD. The pre-1931 basis for this harmonization should be re-grounded on The English Hymnal 1906 #114 or the 1912 Psalter sel. 353 (leaf n307, located) in the re-encode pass recorded in loose-ends.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 124th\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) \u2014 Genevan Psalter, 1551 (melody attr. Louis\n%% Bourgeois), the proper tune for Psalm 124, here paired with The Scottish\n%% Psalter (1650) Psalm 124 \"Now Israel may say, and that truly\" (+ the second\n%% version \"...and that in truth\"). Encoded from The Cyber Hymnal (public domain):\n%% the SATB MIDI was converted with tools/mid2ly.py and the four-voice render was\n%% verified against the Cyber Hymnal engraving (four independent readers +\n%% reconcile; the soprano agreed note-for-note, and the tenor's ~bar-12 chromatic\n%% was respelled des'->cis' to match the engraving's printed sharp \u2014 same pitch).\n%% METERED, as the Cyber Hymnal engraves it: 4/4 throughout except ONE printed\n%% 6/4 bar (bar 18) with an explicit 4/4 restoration at bar 19 \u2014 20 bars, each\n%% poetic line 4 bars except the last (4/4+6/4+4/4+4/4). The meter change is\n%% declared in the sidecar (`time_changes`), NOT here: this file carries exactly\n%% one \\time, the opening meter, as the schema requires. (Imported 2026-07-07 as\n%% a free-meter rhythmic chorale because the corpus then had no mid-hymn meter\n%% change; converted to the plate's real meter 2026-07-27 once `time_changes`\n%% landed. The \"|\" below are readable bar marks at the plate's own barlines.)\n%% MELISMATIC (51 soprano notes for 50 syllables); the 1 melisma continuation is\n%% held with '_' every stanza (verse_variable_melisma) at syllable 37, a slurred\n%% c''-e' eighth-note pair.\n%% \u26a0 2026-07-27: the NWC decode + 400dpi plate zooms show that pair is a mid2ly\n%% flattening ARTIFACT (the plate's soprano bar 15 is plain quarters over alto\n%% f'4. e'8), and 7 more bars carry flattened inner-voice figures \u2014 see\n%% docs/loose-ends.md \"OLD 124TH encoding deviates from the plate\" for the true\n%% readings and the owner-reviewed re-encode this awaits.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | e'1 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''8( e'8) c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'2 f'2 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 c'4 f'4 | f'2 f'4 e'4 | d'4 d'4 c'4 c'4 | c'1 |\n  c'2 f'4 e'4 | d'2 e'2 | f'4 f'4 d'4 d'4 | c'1 |\n  c'2 a4 b4 | c'2 f'2 | d'4 d'4 f'4 d'4 | e'1 |\n  f'2 f'4 g'4 | f'2 d'4 e'4 | f'4 c''8 e'8 d'4 d'4 | e'1 |\n  f'4 e'4 d'4 d'4 | c'2 f'2 d'4 g'4 | f'2. e'4 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 g,8 a8 g4 g4 | a4 e4 d4 c4 |\n  f4 e4 f8 g8 a4 | bes2 g4 a4 | bes4 c'4 bes4 g,8 a8 | g4 bes,4 a,4 g,4 |\n  f2 f4 f4 | g4 c'4 bes4 a4 | g4 g4 c'4 d'4 | d'2 cis'2 |\n  c'2 a4 g4 | c'2 bes2 | c'4. b8 a4 g4 | g4 bes,4 a,4 g,4 |\n  f2 bes4 g,8 a8 | g2 c'2 d'4 bes4 | c'4 d'4 g2 | a1\n}\nbass = {\n  f2 e4 f4 | bes,4 d4 f2 | bes,4 g,8 a8 c4 c4 | f4 e4 d4 c4 |\n  f4 e4 d8 g8 c4 | bes,2 c2 | d4 f4 bes,4 g,8 a8 | c4 bes,4 a,4 g,4 |\n  a,2 d4 d4 | c2 d2 | bes,4 g,4 a,4 bes,4 | a,1 |\n  a,2 d4 e4 | f2 bes2 | a4. g8 f4 g4 | c4 bes,4 a,4 g,4 |\n  f,2 bes,4 g,8 a8 | c2 a,2 bes,4 a,4 | a,4 bes,4 c2 | f,1\n}\n"}, "harmonizations": [{"slug": "old-124th-cyberhymnal", "tune": "old-124th", "music_file": "old-124th-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 41], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "time_changes": [{"soprano_note": 45, "time": "6/4"}, {"soprano_note": 49, "time": "4/4"}], "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune OLD 124TH (Genevan Psalter, 1551; melody attr. Louis Bourgeois, d. 1560), the proper tune for Psalm 124; a four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py, checked against the Cyber Hymnal engraving at import (four independent readers reconciled; the tenor's ~bar-12 chromatic was respelled des'->cis' to match the engraving's printed sharp, the same sounding pitch). Metered as the Cyber Hymnal engraves it: 20 bars of 4/4 with one printed 6/4 bar (bar 18) and a printed 4/4 restoration (bar 19), declared via time_changes; every barline of the render falls where the plate bars it (re-verified against the engraving, 2026-07-27; originally imported as a free-meter rhythmic chorale only because mid-hymn meter changes did not yet exist in the corpus schema). \u26a0 2026-07-27 re-examination (docs/loose-ends.md, OLD 124TH encoding-vs-plate entry): mid2ly flattened the plate's layered inner-voice figures inside 8 bars (incl. a soprano bar-15 eighth pair the plate does not print), and the decompressed Old124th.nwc SongInfo names its model as The Hymnbook (PCUSA, 1955) #357 \"also in The English Hymnal (1906) #114\" \u2014 so per house rule the CH assets alone cannot carry the pre-1931 basis for the SETTING; the melody itself is 1551 Genevan and safely PD. The pre-1931 basis for this harmonization should be re-grounded on The English Hymnal 1906 #114 or the 1912 Psalter sel. 353 (leaf n307, located) in the re-encode pass recorded in loose-ends.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Old 124th\" (Genevan Psalter); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) \u2014 Genevan Psalter, 1551 (melody attr. Louis\n%% Bourgeois), the proper tune for Psalm 124, here paired with The Scottish\n%% Psalter (1650) Psalm 124 \"Now Israel may say, and that truly\" (+ the second\n%% version \"...and that in truth\"). Encoded from The Cyber Hymnal (public domain):\n%% the SATB MIDI was converted with tools/mid2ly.py and the four-voice render was\n%% verified against the Cyber Hymnal engraving (four independent readers +\n%% reconcile; the soprano agreed note-for-note, and the tenor's ~bar-12 chromatic\n%% was respelled des'->cis' to match the engraving's printed sharp \u2014 same pitch).\n%% METERED, as the Cyber Hymnal engraves it: 4/4 throughout except ONE printed\n%% 6/4 bar (bar 18) with an explicit 4/4 restoration at bar 19 \u2014 20 bars, each\n%% poetic line 4 bars except the last (4/4+6/4+4/4+4/4). The meter change is\n%% declared in the sidecar (`time_changes`), NOT here: this file carries exactly\n%% one \\time, the opening meter, as the schema requires. (Imported 2026-07-07 as\n%% a free-meter rhythmic chorale because the corpus then had no mid-hymn meter\n%% change; converted to the plate's real meter 2026-07-27 once `time_changes`\n%% landed. The \"|\" below are readable bar marks at the plate's own barlines.)\n%% MELISMATIC (51 soprano notes for 50 syllables); the 1 melisma continuation is\n%% held with '_' every stanza (verse_variable_melisma) at syllable 37, a slurred\n%% c''-e' eighth-note pair.\n%% \u26a0 2026-07-27: the NWC decode + 400dpi plate zooms show that pair is a mid2ly\n%% flattening ARTIFACT (the plate's soprano bar 15 is plain quarters over alto\n%% f'4. e'8), and 7 more bars carry flattened inner-voice figures \u2014 see\n%% docs/loose-ends.md \"OLD 124TH encoding deviates from the plate\" for the true\n%% readings and the owner-reviewed re-encode this awaits.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'1 |\n  a'2 bes'4 c''4 | d''2 c''2 | bes'4 a'4 g'4 f'4 | e'1 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'1 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''8( e'8) c''4 b'4 | c''1 |\n  a'2 g'4 f'4 | e'2 f'2 g'4 bes'4 | a'2 g'2 | f'1\n}\nalto = {\n  c'2 c'4 f'4 | f'2 f'4 e'4 | d'4 d'4 c'4 c'4 | c'1 |\n  c'2 f'4 e'4 | d'2 e'2 | f'4 f'4 d'4 d'4 | c'1 |\n  c'2 a4 b4 | c'2 f'2 | d'4 d'4 f'4 d'4 | e'1 |\n  f'2 f'4 g'4 | f'2 d'4 e'4 | f'4 c''8 e'8 d'4 d'4 | e'1 |\n  f'4 e'4 d'4 d'4 | c'2 f'2 d'4 g'4 | f'2. e'4 | f'1\n}\ntenor = {\n  a2 c'4 c'4 | d'2 c'2 | c'4 g,8 a8 g4 g4 | a4 e4 d4 c4 |\n  f4 e4 f8 g8 a4 | bes2 g4 a4 | bes4 c'4 bes4 g,8 a8 | g4 bes,4 a,4 g,4 |\n  f2 f4 f4 | g4 c'4 bes4 a4 | g4 g4 c'4 d'4 | d'2 cis'2 |\n  c'2 a4 g4 | c'2 bes2 | c'4. b8 a4 g4 | g4 bes,4 a,4 g,4 |\n  f2 bes4 g,8 a8 | g2 c'2 d'4 bes4 | c'4 d'4 g2 | a1\n}\nbass = {\n  f2 e4 f4 | bes,4 d4 f2 | bes,4 g,8 a8 c4 c4 | f4 e4 d4 c4 |\n  f4 e4 d8 g8 c4 | bes,2 c2 | d4 f4 bes,4 g,8 a8 | c4 bes,4 a,4 g,4 |\n  a,2 d4 d4 | c2 d2 | bes,4 g,4 a,4 bes,4 | a,1 |\n  a,2 d4 e4 | f2 bes2 | a4. g8 f4 g4 | c4 bes,4 a,4 g,4 |\n  f,2 bes,4 g,8 a8 | c2 a,2 bes,4 a,4 | a,4 bes,4 c2 | f,1\n}\n", "preferred": true}, {"slug": "old-124th-goudimel-ebrard-1852", "tune": "old-124th", "music_file": "old-124th-goudimel-ebrard-1852.ly", "harmonizer": "claude-goudimel", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 20, 30, 40], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "OLD 124TH, Genevan Psalter, 1551. Harmonization: Claude Goudimel, ed. August Ebrard, 1852. Public domain.", "provenance": {"layer": "harmonization", "source": "ebrard-1852", "source_kind": "scan", "pd_basis": "pub_pre_1931", "pd_evidence": "Transcribed note by note from the printed plate of August Ebrard, Ausgew\u00e4hlte Psalmen Davids nach Goudimel's Weisen deutsch bearbeitet und mit dem vierstimmigen Satze herausgegeben (1852), Nro. 25 \"Psalm 124 \u2014 War's nicht der Herr, der uns zur Seite war\", printed pp. 54-55; digitised by the Universit\u00e4tsbibliothek T\u00fcbingen (opendigi Mk90-Nachtr_21, shelfmark Mk 90; NACHTR-21, urn:nbn:de:bsz:21-dt-28417), IIIF canvases /canvas/54 and /canvas/55, images Mk90-Nachtr_21_54.jp2 and _55.jp2. The page images relied on are committed at imports/batchC-genevan/ebrard-1852-p54.jpg and -p55.jpg and the per-system measurement log is review/batch-c-wave2/old-124th/ READING.md. US public domain by pre-1931 publication (1852); the melody is Genevan Psalter 1551 and the harmony Goudimel (d. 1572), both long out of copyright, and Ebrard himself died in 1888. ATTRIBUTION: the harmony is Goudimel's but this is NOT Goudimel unedited \u2014 Goudimel's own 1565 psalter (Jaqui, Geneva) sets the melody in the TENOR while Ebrard prints it in the soprano, which he states he did deliberately (introduction p. 13, paragraph e; that page is committed as evidence at imports/batchC-genevan/ebrard-1852-p13-introduction.jpg). What that re-voicing did to the three lower parts is NOT established here: it would take a note-by-note reading of the 1565 CONTRA and BASSVS, which was not done (see COLLATION below). His appendix (printed pp. 69-70, \"Urspr\u00fcngliche musikalische Lesarten, welche in vorstehender Ausgabe abge\u00e4ndert worden sind\") lists his own departures from the original readings, including \"Ps. 124, Z. 3, T. 3\" (line 3, bar 3) which the plate also flags with a printed \"+\" above the third system. COLLATION: checked against the 1565 Jaqui print, Gallica ark:/12148/btv1b525015926 vue f648 (running head \"SVPER. PSEAV. CXXIIII. TH. BE.\"), whose TENOR partbook carries this melody \u2014 its first system holds the ten notes of poetic line 1 plus the first note of line 2, in the contour 0 +1 +2 +3 +2 +1 0 0 -1 0 and the note-value pattern long-short-short-long-long-short-short-short-short-long, which is Ebrard's line 1 exactly. That collation was made on the SUPERIUS/TENOR page only; the CONTRA/BASSVS leaf f649 was downloaded but not read, so no claim is made here about Goudimel's inner parts note for note. TRANSPOSED: the plate is in G major (one sharp), captioned \"Hypojonisch, eine Sec. h\u00f6her\"; every pitch was transposed down a major second into the corpus's canonical F major and re-checked note for note against the plate reading.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Measured transcription from the T\u00fcbingen scan of Ebrard 1852 pp. 54-55 (tools/noteread.py arc pass + grid-overlaid vision read + bar arithmetic; see review/batch-c-wave2/old-124th/READING.md)", "encoding_license": "PD-dedication"}, "music_ly": "%% OLD 124TH (10.10.10.10.10) \u2014 the Genevan proper tune for Psalm 124 (Genevan\n%% Psalter, 1551; melody attr. Louis Bourgeois), in the four-part setting printed\n%% as Nro. 25 \"Psalm 124 \u2014 War's nicht der Herr, der uns zur Seite war\" in\n%% August Ebrard, \"Ausgew\u00e4hlte Psalmen Davids nach Goudimel's Weisen deutsch\n%% bearbeitet und mit dem vierstimmigen Satze herausgegeben\" (1852), printed\n%% pp. 54\u201355.  This is Goudimel's harmony AS EBRARD EDITED IT, not Goudimel\n%% plain: Goudimel's own 1565 four-part psalter puts the melody in the TENOR\n%% (see the collation below) while Ebrard prints it in the soprano, which he\n%% says he did deliberately.  What that re-voicing did to the three lower\n%% parts is NOT established here \u2014 establishing it would take a note-by-note\n%% reading of the 1565 CONTRA and BASSVS, which was not done (the collation\n%% below covers the SUPERIUS/TENOR page only).  Ebrard's own appendix\n%% (pp. 69\u201370) lists the places where he altered the original readings \u2014 one\n%% of them, \"Ps. 124, Z. 3, T. 3\" (line 3, bar 3), is marked on the plate\n%% itself with a printed \"+\" above the third system.\n%%\n%% TRANSPOSED: the plate prints G major (one sharp), captioned \"Hypojonisch,\n%% eine Sec. h\u00f6her\" \u2014 a second higher than the corpus's F major.  Every pitch\n%% here is the plate's pitch transposed DOWN a major second, verified note for\n%% note (review/batch-c-wave2/old-124th/READING.md).\n%%\n%% METERED exactly as the plate bars it: C (= 4/4) throughout, 20 bars, no\n%% mid-hymn meter change.  Ebrard writes every line-final note as a MINIM, and\n%% after lines 2, 3 and 5 fills the bar with a half rest; after lines 1 and 4 he\n%% does not, so the next line's first note completes that bar and the printed\n%% double bar falls MID-BAR.  That is what makes the whole hymn come out as\n%% exactly 20 bars of 4/4 (14 + 18 + 16 + 14 + 18 = 80 beats).  The rests are\n%% the plate's own and are kept.\n%%\n%% SYLLABIC: 50 soprano noteheads for 50 syllables, no melisma anywhere.  The\n%% plate is a second, independent witness that OLD 124TH's soprano is 50 notes \u2014\n%% the corpus's own old-124th-cyberhymnal.ly carries 51 because mid2ly flattened\n%% a bar-15 figure into a slurred c''-e' eighth pair the Cyber Hymnal plate does\n%% not print (docs/loose-ends.md, \"OLD 124TH encoding deviates from the plate\").\n%%\n%% One printed voice crossing is kept as engraved: in bar 15 (poetic line 4,\n%% syllable 7) the plate offsets the two bass-staff heads horizontally and puts\n%% the DOWN stem on the upper one, so the bass sings a (A3 at pitch) above the\n%% tenor's f (F3).  Both notes sound either way; the assignment follows the\n%% plate's stems.  Bar 19 (line 5, syllables 8\u20139) is the one place where an\n%% inner voice has its own rhythm: the tenor moves g4 f2 e4 against the outer\n%% voices' two minims, a 7\u20136 suspension resolving into the final cadence.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 4/4 }\n\nsoprano = {\n  f'2 g'4 a'4 | bes'2 a'2 | g'4 f'4 f'4 e'4 | f'2 a'2 |\n  bes'4 c''4 d''2 | c''2 bes'4 a'4 | g'2 f'2 | e'2 r2 |\n  c'2 f'4 f'4 | e'2 f'2 | g'4 bes'4 a'4 g'4 | a'2 r2 |\n  c''2 c''4 bes'4 | a'2 g'2 | a'4 c''4 c''4 b'4 | c''2 a'2 |\n  g'4 f'4 e'2 | f'2 g'4 bes'4 | a'2 g'2 | f'2 r2\n}\nalto = {\n  c'2 c'4 c'4 | d'2 c'2 | c'4 a4 bes4 g4 | a2 c'2 |\n  d'4 e'4 f'2 | f'2 d'4 c'4 | c'2 c'2 | c'2 r2 |\n  a2 c'4 c'4 | c'2 a2 | c'4 d'4 c'4 d'4 | cis'2 r2 |\n  f'2 f'4 d'4 | c'2 c'2 | c'4 c'4 d'4 d'4 | e'2 c'2 |\n  c'4 a4 a2 | a2 c'4 d'4 | c'2 c'2 | c'2 r2\n}\ntenor = {\n  f2 e4 f4 | f2 f2 | e4 d4 d4 c4 | c2 f2 |\n  f4 g4 bes2 | a2 f4 f4 | e2 a2 | g2 r2 |\n  f2 a4 a4 | g2 f2 | e4 f4 f4 g4 | e2 r2 |\n  a2 a4 f4 | f2 e2 | f4 f4 g4 g4 | g2 f2 |\n  e4 d4 cis2 | d2 e4 g4~ | g4 f2 e4 | f2 r2\n}\nbass = {\n  f2 c4 f4 | bes,2 f2 | c4 d4 bes,4 c4 | f,2 f2 |\n  d4 c4 bes,2 | f2 bes,4 f,4 | c2 f,2 | c2 r2 |\n  f,2 f,4 f,4 | c2 d2 | c4 bes,4 f,4 bes,4 | a,2 r2 |\n  f2 f4 bes,4 | f2 c2 | f4 a4 g4 g4 | c2 f2 |\n  c4 d4 a,2 | d2 c4 g,4 | a,2 c2 | f,2 r2\n}\n", "preferred": false}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}