{"slug": "peters-admonition", "name": "PETER'S ADMONITION", "meter_label": "C.M.", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "joshua-raj", "composer_date": "2026", "canonical_key": {"tonic": "es", "mode": "major"}, "preferred_harmonization": "peters-admonition-raj", "provenance": {"layer": "tune", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "PETER'S ADMONITION (C.M.), composed by Joshua Raj for Doddridge's text as sung at #doreancon 2026; published in the conference hymnal (doreancon.org; MusicXML at gitlab.com/svrbc/doreancon.org). A modern work: not public domain by age. Imported 2026-08-14 at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). The tune has no established name in any published index; it is carried here under the name of its text, the convention for unnamed single-text tunes.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "peters-admonition-raj", "tune": "peters-admonition", "music_file": "peters-admonition-raj.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PETER'S ADMONITION, Joshua Raj, 2026, written for the text; from the #doreancon 2026 conference hymnal. Public domain (composer dedication).", "provenance": {"layer": "harmonization", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Joshua Raj's own four-voice setting, imported 2026-08-14 from the composer's MusicXML in the conference repository (gitlab.com/svrbc/doreancon.org, hymns/2026/musicxml \u2014 two-stave close score, voices 1/5 = S+A / T+B chords), at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). NOTE: the encoding's own creator field is an unfilled MuseScore placeholder ('Composer / arranger'); the attribution to Raj rests on the conference's credits and the owner's direct contact with him, not on the file. E-flat major, 3/4, one-beat anacrusis; the encoding's 2-beat + 1-beat measure pairs at phrase seams merge into shared 3/4 bars (PBHT-1907 precedent); explicit same-pitch ties merge to single notes (alto b at 'in-nate', bass es/c under moving tenors) and the phrase-2 cadence hold is kept as a tie across its joint bar (S/T/B bes2.~bes2, alto es'2.-d'2 moving). Melisma slurs follow the encoding's slur marks; repeated-pitch pairs are unslurred whether each note carries its own syllable (the tenor/bass G-G pairs of engraved bar 11) or the pair sits under one melisma syllable (the alto d'-d' and b-b eighth pairs) \u2014 a repeated-pitch slur would print as a tie. The alto's B natural (the encoding's measure 12; engraved bar 11 under the anacrusis) is the encoding's own reading \u2014 no flat alter on those notes, with an explicit natural accidental, the only accidental element in the file. The encoding's final two measures \u2014 the composer's plagal Amen \u2014 are deliberately NOT in the tune body: the corpus amens feature synthesizes an Amen on the E-flat final, and its plan was verified 2026-08-14 to be NOTE-FOR-NOTE the composer's own (chord 1 as,/as/c'/es', chord 2 es/g/bes/es' \u2014 all eight pitches identical to the encoding's final two measures); the book engraves the feature's Amen, which is therefore also his. Derivation machine-checked round-trip (32/32/31/29 events, 46 beats in every voice). EMENDED 2026-08-19 at the conference's direction (their post-publication review): engraved bar 11's tenor/bass G-G pairs re-leveled from the encoding's two dotted quarters to a half + quarter; pitches, slurs and event counts unchanged. EMENDED 2026-08-25 at the book owner's direction: the encoding's final bar is a full three beats despite the one-beat anacrusis; a two-beat closing bar is appended, every voice tied over from the final chord (es'2.~ es'2 \u2014 the final E-flat chord held five beats), so the anacrusis and the last bar complete each other. Pitches, slurs, syllable slots and event counts unchanged (a tied note is the same event); 48 beats in every voice.", "pd_jurisdictions": {"US": true}, "encoding_origin": "gitlab.com/svrbc/doreancon.org hymns/2026/musicxml/peters-admonition.musicxml, import session 2026-08-14"}, "music_ly": "%% PETER'S ADMONITION (C.M.) \u2014 Joshua Raj's own four-voice setting, written\n%% for Doddridge's \"Peter's Admonition\" as sung at #doreancon 2026. Imported\n%% 2026-08-14 from the conference's own MusicXML (gitlab.com/svrbc/\n%% doreancon.org, hymns/2026/musicxml/peters-admonition.musicxml \u2014 the\n%% composer's encoding, two-stave close score, voices 1/5 carrying S+A / T+B\n%% as chords), at the owner's direction after the composer confirmed the\n%% music is public domain (see sidecar pd_evidence). E-flat major, 3/4 with\n%% a one-beat anacrusis; the file's 2-beat + 1-beat measure pairs at the\n%% phrase seams merge into shared 3/4 bars (the PBHT-1907 precedent), and\n%% the phrase-2 cadence holds bes'2.~ bes'2 across such a joint bar (S/T/B\n%% tied, alto moving es'2. d'2 beneath). Same-pitch tied pairs inside one\n%% voice (alto b at \"in-nate\", bass es/c under moving tenors) are merged to\n%% single longer notes. EMENDED 2026-08-19 at the conference's direction\n%% (post-publication review of the engraved page): engraved bar 11's\n%% tenor/bass G-G pairs are re-leveled from the encoding's two dotted\n%% quarters to a half + quarter (pitches and note counts unchanged).\n%% EMENDED 2026-08-25 at the book owner's direction: the encoding closed on\n%% a full three-beat bar despite its one-beat anacrusis; a two-beat closing\n%% bar is added, every voice tied over from the final chord (es'2.~ es'2),\n%% so the anacrusis and the last bar together make one bar of 3/4. Pitches\n%% and syllable slots unchanged; the final chord is held five beats.\n%% The file's final two measures are the composer's own\n%% plagal Amen (as,-chord to es-chord) \u2014 NOT imported: the book's amens\n%% feature synthesizes the identical IV-I on this final (see sidecar).\n%% The alto's b (B natural; the encoding's measure 12 = engraved bar 11\n%% under the anacrusis) is the file's own reading \u2014 a secondary-dominant\n%% moment at \"in-nate\", carried with an explicit natural accidental and no\n%% flat alter in the encoding; every pitch spelling cross-checked against\n%% the encoding's alter elements. Public domain (composer dedication, 2026).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 g'2 as'4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 bes'4 c''2 bes'4 as'2 g'4 bes'2.~ bes'2 bes'4 c''2 c''4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 f'4 es'2 g'4 f'2 es'4 es'2.~ es'2\n}\nalto = {\n  bes4 es'2 es'4 es'2 es'4 d'4.( c'8) d'8 d'8 es'2 es'4 as'2 g'4 es'2 es'4 es'2.( d'2) es'4 es'2 es'4 es'2 es'4 b2 b8 b8 c'2 d'4 c'2 es'4 bes2 c'4 bes2.~ bes2\n}\ntenor = {\n  g4 bes2 c'4 bes2 bes4 bes4.( as8) as4 g4( bes4) g4 es2 es'4 c'2 bes4 bes2.~ bes2 g4 es2 es4 g2 g4 g2 g4 es4( g4) bes4 as2 c'4 bes2 as4 g2.~ g2\n}\nbass = {\n  es4 es2 es4 es2 bes,4 bes,4.( c8) d4 es2 g,4 as,2 es4 es2 es4 bes,2.~ bes,2 g,4 as,2 as,4 g,2 g,4 g,2 g,4 c2 bes,4 as,2 as,4 bes,2 bes,4 es2.~ es2\n}\n"}, "harmonizations": [{"slug": "peters-admonition-raj", "tune": "peters-admonition", "music_file": "peters-admonition-raj.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "es", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [17], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "PETER'S ADMONITION, Joshua Raj, 2026, written for the text; from the #doreancon 2026 conference hymnal. Public domain (composer dedication).", "provenance": {"layer": "harmonization", "source": "doreancon-2026", "source_kind": "open_encoding", "pd_basis": "pd_by_dedication", "pd_evidence": "Joshua Raj's own four-voice setting, imported 2026-08-14 from the composer's MusicXML in the conference repository (gitlab.com/svrbc/doreancon.org, hymns/2026/musicxml \u2014 two-stave close score, voices 1/5 = S+A / T+B chords), at the book owner's direction after the owner confirmed directly with the composer that the music is public domain (owner attestation, 2026-08-14). NOTE: the encoding's own creator field is an unfilled MuseScore placeholder ('Composer / arranger'); the attribution to Raj rests on the conference's credits and the owner's direct contact with him, not on the file. E-flat major, 3/4, one-beat anacrusis; the encoding's 2-beat + 1-beat measure pairs at phrase seams merge into shared 3/4 bars (PBHT-1907 precedent); explicit same-pitch ties merge to single notes (alto b at 'in-nate', bass es/c under moving tenors) and the phrase-2 cadence hold is kept as a tie across its joint bar (S/T/B bes2.~bes2, alto es'2.-d'2 moving). Melisma slurs follow the encoding's slur marks; repeated-pitch pairs are unslurred whether each note carries its own syllable (the tenor/bass G-G pairs of engraved bar 11) or the pair sits under one melisma syllable (the alto d'-d' and b-b eighth pairs) \u2014 a repeated-pitch slur would print as a tie. The alto's B natural (the encoding's measure 12; engraved bar 11 under the anacrusis) is the encoding's own reading \u2014 no flat alter on those notes, with an explicit natural accidental, the only accidental element in the file. The encoding's final two measures \u2014 the composer's plagal Amen \u2014 are deliberately NOT in the tune body: the corpus amens feature synthesizes an Amen on the E-flat final, and its plan was verified 2026-08-14 to be NOTE-FOR-NOTE the composer's own (chord 1 as,/as/c'/es', chord 2 es/g/bes/es' \u2014 all eight pitches identical to the encoding's final two measures); the book engraves the feature's Amen, which is therefore also his. Derivation machine-checked round-trip (32/32/31/29 events, 46 beats in every voice). EMENDED 2026-08-19 at the conference's direction (their post-publication review): engraved bar 11's tenor/bass G-G pairs re-leveled from the encoding's two dotted quarters to a half + quarter; pitches, slurs and event counts unchanged. EMENDED 2026-08-25 at the book owner's direction: the encoding's final bar is a full three beats despite the one-beat anacrusis; a two-beat closing bar is appended, every voice tied over from the final chord (es'2.~ es'2 \u2014 the final E-flat chord held five beats), so the anacrusis and the last bar complete each other. Pitches, slurs, syllable slots and event counts unchanged (a tied note is the same event); 48 beats in every voice.", "pd_jurisdictions": {"US": true}, "encoding_origin": "gitlab.com/svrbc/doreancon.org hymns/2026/musicxml/peters-admonition.musicxml, import session 2026-08-14"}, "music_ly": "%% PETER'S ADMONITION (C.M.) \u2014 Joshua Raj's own four-voice setting, written\n%% for Doddridge's \"Peter's Admonition\" as sung at #doreancon 2026. Imported\n%% 2026-08-14 from the conference's own MusicXML (gitlab.com/svrbc/\n%% doreancon.org, hymns/2026/musicxml/peters-admonition.musicxml \u2014 the\n%% composer's encoding, two-stave close score, voices 1/5 carrying S+A / T+B\n%% as chords), at the owner's direction after the composer confirmed the\n%% music is public domain (see sidecar pd_evidence). E-flat major, 3/4 with\n%% a one-beat anacrusis; the file's 2-beat + 1-beat measure pairs at the\n%% phrase seams merge into shared 3/4 bars (the PBHT-1907 precedent), and\n%% the phrase-2 cadence holds bes'2.~ bes'2 across such a joint bar (S/T/B\n%% tied, alto moving es'2. d'2 beneath). Same-pitch tied pairs inside one\n%% voice (alto b at \"in-nate\", bass es/c under moving tenors) are merged to\n%% single longer notes. EMENDED 2026-08-19 at the conference's direction\n%% (post-publication review of the engraved page): engraved bar 11's\n%% tenor/bass G-G pairs are re-leveled from the encoding's two dotted\n%% quarters to a half + quarter (pitches and note counts unchanged).\n%% EMENDED 2026-08-25 at the book owner's direction: the encoding closed on\n%% a full three-beat bar despite its one-beat anacrusis; a two-beat closing\n%% bar is added, every voice tied over from the final chord (es'2.~ es'2),\n%% so the anacrusis and the last bar together make one bar of 3/4. Pitches\n%% and syllable slots unchanged; the final chord is held five beats.\n%% The file's final two measures are the composer's own\n%% plagal Amen (as,-chord to es-chord) \u2014 NOT imported: the book's amens\n%% feature synthesizes the identical IV-I on this final (see sidecar).\n%% The alto's b (B natural; the encoding's measure 12 = engraved bar 11\n%% under the anacrusis) is the file's own reading \u2014 a secondary-dominant\n%% moment at \"in-nate\", carried with an explicit natural accidental and no\n%% flat alter in the encoding; every pitch spelling cross-checked against\n%% the encoding's alter elements. Public domain (composer dedication, 2026).\n\\version \"2.24.0\"\n\nglobal  = { \\key es \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  es'4 g'2 as'4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 bes'4 c''2 bes'4 as'2 g'4 bes'2.~ bes'2 bes'4 c''2 c''4 bes'2 g'4 f'4.( es'8) as'8( g'8) g'2 f'4 es'2 g'4 f'2 es'4 es'2.~ es'2\n}\nalto = {\n  bes4 es'2 es'4 es'2 es'4 d'4.( c'8) d'8 d'8 es'2 es'4 as'2 g'4 es'2 es'4 es'2.( d'2) es'4 es'2 es'4 es'2 es'4 b2 b8 b8 c'2 d'4 c'2 es'4 bes2 c'4 bes2.~ bes2\n}\ntenor = {\n  g4 bes2 c'4 bes2 bes4 bes4.( as8) as4 g4( bes4) g4 es2 es'4 c'2 bes4 bes2.~ bes2 g4 es2 es4 g2 g4 g2 g4 es4( g4) bes4 as2 c'4 bes2 as4 g2.~ g2\n}\nbass = {\n  es4 es2 es4 es2 bes,4 bes,4.( c8) d4 es2 g,4 as,2 es4 es2 es4 bes,2.~ bes,2 g,4 as,2 as,4 g,2 g,4 g,2 g,4 c2 bes,4 as,2 as,4 bes,2 bes,4 es2.~ es2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}