{"slug": "plainfield", "name": "PLAINFIELD", "meter_label": "7.8.7.8 with Refrain", "meter": {"pattern": [7, 8, 7, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "robert-lowry", "composer_date": "1876", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "plainfield-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Robert Lowry (1826-1899), written for his own words and first published in Gospel Music, ed. William H. Doane & Robert Lowry (New York: Biglow & Main, 1876), no. 7. Read here from the dated reprint in Gospel Hymns Consolidated, Nos. 1 to 4 (1883), no. 332, printed page 303 \u2014 archive.org hymnsconso00blis, leaf 307 \u2014 whose left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\"; collated against the same plates in Gospel Hymns Nos. 1 to 6 (1894), no. 195, page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207). US public domain by publication before 1929. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly, and tools/tune_fingerprint.py finds no corpus melody closer than 0.53 (FILLMORE), so this is not a duplicate. Neither dated page names the tune on the staff \u2014 gospel books of this series rarely do \u2014 so the name PLAINFIELD is the one the hymnals and Hymnary print for it (after Plainfield, New Jersey, where Lowry was pastor of Park Avenue Baptist Church); no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "plainfield_lowry", "total_instances": 477}}, "harmonization": {"slug": "plainfield-1883", "tune": "plainfield", "music_file": "plainfield-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 43], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Lowry's own four-part setting, engraved \"Copyright, 1876, by Rev. Robert Lowry\" in the left margin of the page it was read from: Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 332, printed page 303 \u2014 archive.org item hymnsconso00blis, leaf 307. Every chord of all four voices was read notehead by notehead off that scan (staff-line geometry recovered locally per column, so the page's curvature could not shift a reading) and then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894), no. 195, printed page 201 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207. The two dated witnesses agree note for note; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly. The Cyber Hymnal's NoteWorthy file was deliberately NOT used as the encoding: its |SongInfo| Comments names The United Methodist Hymnal (1989) no. 362 as the edition it was copied from, and it diverges from the dated plates in four ways \u2014 key of F, dotted-eighth/sixteenth pairs where the plates print four even flagged eighths in bars 3/7/15, bass a step high (its D3 = E3 in G) under \"me\" in refrain bar 11 where the plates hold the D pedal, and a three-note divisi final chord where the plates print two noteheads. The fingerprints of this reading are all visible at high magnification on the 1883 scan: the four eighths carry single flags and no dots; the alto sits on d' under all four of them while the soprano rises g'-g'-g'-a' and the tenor b-b-b-c'; the bass drops to g, at the end of each verse half (bars 4, 8), again at the end of the refrain (bar 16), and once mid-bar on \"of\" in bar 15, where the corresponding verse bars stay on g; and the refrain's \"snow\" is a quarter b' slurred to d'' over a sustained half g' in the alto, mirrored as a quarter d' slurred to b over a half g in the lower staff.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 307), collated against the 1894 Gospel Hymns Nos. 1 to 6 reprint of the same plates (gospelhymnsnos1t0000unse_s2j5, leaf 207). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% PLAINFIELD (7.8.7.8 with Refrain) \u2014 \"Nothing but the Blood of Jesus\"\n%% Robert Lowry's own four-part setting, key G major, 4/4, no pickup, 16 bars.\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%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883),\n%% no. 332, printed page 303 \u2014 archive.org hymnsconso00blis, leaf 307 \u2014 whose\n%% left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\". Every chord was\n%% then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894),\n%% no. 195, printed page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf\n%% 207). The two witnesses agree note for note. The soprano's first fifteen scale\n%% degrees, 11123 53111 23321, match Hymnary's incipit for tune authority\n%% plainfield_lowry exactly.\n%%\n%% THE CYBER HYMNAL WAS NOT USED. Its NoteWorthy file for this hymn\n%% (NothingButTheBlood.nwc) names its own source in |SongInfo| Comments as \"The\n%% United Methodist Hymnal ... 1989, # 362\" \u2014 a modern edition \u2014 and it differs\n%% from the 1876/1883 plates in four places: it is in F, it dots the four eighths\n%% of bar 3 into dotted-eighth/sixteenth pairs, it puts the bass on E3 (its D3)\n%% instead of D3 (its C3) under \"me\" in refrain bar 11, and it ends on a\n%% three-note divisi chord. Only the dated plates are encoded here.\n%%\n%% STRUCTURE. Bars 1-4 are the first half of the verse and bars 5-8 repeat them\n%% note for note (the page prints them as two systems, \"What can wash away my\n%% stain? / Nothing but the blood of Jesus;\" then \"What can make me whole again?\n%% / Nothing but the blood of Jesus.\"). Bars 9-16 are the REFRAIN, likewise two\n%% four-bar systems. 57 soprano noteheads in all: 30 in the verse, 27 in the\n%% refrain.\n%%\n%% EVEN EIGHTHS, NOT A DOTTED FIGURE. Bars 3, 7 and 15 print four separately\n%% flagged eighth notes with no augmentation dots and even horizontal spacing\n%% (\"Noth-ing but the\"); verified at high magnification on both dated scans.\n%%\n%% ONE SLUR, refrain bar 12 (\"snow\"), soprano notes 42-43. The page engraves the\n%% soprano there as a QUARTER b' with a slur to d'' while the alto holds a HALF\n%% g' under it, and mirrors the figure in the lower staff (tenor quarter d'\n%% slurred to b over a half g in the bass). Fixed for the single refrain text, so\n%% it is slurred here and the setting stays one_to_one.\n%%\n%% LOW BASS OCTAVES ARE THE PAGE'S. The bass drops to g, at the close of each\n%% verse half (bars 4 and 8) and of the refrain (bar 16), and again on \"of\" in\n%% bar 15 \u2014 bar 15's fifth and sixth quarters are g and g,, a real octave leap\n%% that the corresponding verse bars (3 and 7) do NOT make. All four spots were\n%% re-checked against the bottom staff line on the 1883 scan.\n%%\n%% UNISONS. Soprano and alto share one printed notehead on the last beat of bar\n%% 11 and on the second half of bars 4, 8 and 16; both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% NO PHRASE-BREATH RESTS: bars 4, 8 and 16 are two plain half notes in all four\n%% voices, exactly as printed.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  a'2 a'4 g'4 |\n  a'4 a'4 b'4( d''4) |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2\n}\n\nalto = {\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  fis'2 fis'4 g'4 |\n  fis'4 fis'4 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2\n}\n\ntenor = {\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  c'2 c'4 b4 |\n  d'4 d'4 d'4( b4) |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2\n}\n\nbass = {\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  d2 d4 d4 |\n  d4 d4 g2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g,4 |\n  d2 g,2\n}\n"}, "harmonizations": [{"slug": "plainfield-1883", "tune": "plainfield", "music_file": "plainfield-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 43], "breaks_manual": true, "markings": [{"soprano_note": 31, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Robert Lowry's own four-part setting, engraved \"Copyright, 1876, by Rev. Robert Lowry\" in the left margin of the page it was read from: Gospel Hymns Consolidated, Nos. 1 to 4 (New York: Biglow & Main; Cincinnati: John Church, 1883), no. 332, printed page 303 \u2014 archive.org item hymnsconso00blis, leaf 307. Every chord of all four voices was read notehead by notehead off that scan (staff-line geometry recovered locally per column, so the page's curvature could not shift a reading) and then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894), no. 195, printed page 201 \u2014 archive.org gospelhymnsnos1t0000unse_s2j5, leaf 207. The two dated witnesses agree note for note; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. The soprano's first fifteen scale degrees (11123 53111 23321) match Hymnary tune authority plainfield_lowry's incipit exactly. The Cyber Hymnal's NoteWorthy file was deliberately NOT used as the encoding: its |SongInfo| Comments names The United Methodist Hymnal (1989) no. 362 as the edition it was copied from, and it diverges from the dated plates in four ways \u2014 key of F, dotted-eighth/sixteenth pairs where the plates print four even flagged eighths in bars 3/7/15, bass a step high (its D3 = E3 in G) under \"me\" in refrain bar 11 where the plates hold the D pedal, and a three-note divisi final chord where the plates print two noteheads. The fingerprints of this reading are all visible at high magnification on the 1883 scan: the four eighths carry single flags and no dots; the alto sits on d' under all four of them while the soprano rises g'-g'-g'-a' and the tenor b-b-b-c'; the bass drops to g, at the end of each verse half (bars 4, 8), again at the end of the refrain (bar 16), and once mid-bar on \"of\" in bar 15, where the corresponding verse bars stay on g; and the refrain's \"snow\" is a quarter b' slurred to d'' over a sustained half g' in the alto, mirrored as a quarter d' slurred to b over a half g in the lower staff.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 307), collated against the 1894 Gospel Hymns Nos. 1 to 6 reprint of the same plates (gospelhymnsnos1t0000unse_s2j5, leaf 207). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% PLAINFIELD (7.8.7.8 with Refrain) \u2014 \"Nothing but the Blood of Jesus\"\n%% Robert Lowry's own four-part setting, key G major, 4/4, no pickup, 16 bars.\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%% SOURCE OF THE NOTES. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Nos. 1 to 4 (Biglow & Main / John Church, 1883),\n%% no. 332, printed page 303 \u2014 archive.org hymnsconso00blis, leaf 307 \u2014 whose\n%% left margin engraves \"Copyright, 1876, by Rev. Robert Lowry\". Every chord was\n%% then re-read on the SAME plates reprinted in Gospel Hymns Nos. 1 to 6 (1894),\n%% no. 195, printed page 201 (archive.org gospelhymnsnos1t0000unse_s2j5, leaf\n%% 207). The two witnesses agree note for note. The soprano's first fifteen scale\n%% degrees, 11123 53111 23321, match Hymnary's incipit for tune authority\n%% plainfield_lowry exactly.\n%%\n%% THE CYBER HYMNAL WAS NOT USED. Its NoteWorthy file for this hymn\n%% (NothingButTheBlood.nwc) names its own source in |SongInfo| Comments as \"The\n%% United Methodist Hymnal ... 1989, # 362\" \u2014 a modern edition \u2014 and it differs\n%% from the 1876/1883 plates in four places: it is in F, it dots the four eighths\n%% of bar 3 into dotted-eighth/sixteenth pairs, it puts the bass on E3 (its D3)\n%% instead of D3 (its C3) under \"me\" in refrain bar 11, and it ends on a\n%% three-note divisi chord. Only the dated plates are encoded here.\n%%\n%% STRUCTURE. Bars 1-4 are the first half of the verse and bars 5-8 repeat them\n%% note for note (the page prints them as two systems, \"What can wash away my\n%% stain? / Nothing but the blood of Jesus;\" then \"What can make me whole again?\n%% / Nothing but the blood of Jesus.\"). Bars 9-16 are the REFRAIN, likewise two\n%% four-bar systems. 57 soprano noteheads in all: 30 in the verse, 27 in the\n%% refrain.\n%%\n%% EVEN EIGHTHS, NOT A DOTTED FIGURE. Bars 3, 7 and 15 print four separately\n%% flagged eighth notes with no augmentation dots and even horizontal spacing\n%% (\"Noth-ing but the\"); verified at high magnification on both dated scans.\n%%\n%% ONE SLUR, refrain bar 12 (\"snow\"), soprano notes 42-43. The page engraves the\n%% soprano there as a QUARTER b' with a slur to d'' while the alto holds a HALF\n%% g' under it, and mirrors the figure in the lower staff (tenor quarter d'\n%% slurred to b over a half g in the bass). Fixed for the single refrain text, so\n%% it is slurred here and the setting stays one_to_one.\n%%\n%% LOW BASS OCTAVES ARE THE PAGE'S. The bass drops to g, at the close of each\n%% verse half (bars 4 and 8) and of the refrain (bar 16), and again on \"of\" in\n%% bar 15 \u2014 bar 15's fifth and sixth quarters are g and g,, a real octave leap\n%% that the corresponding verse bars (3 and 7) do NOT make. All four spots were\n%% re-checked against the bottom staff line on the 1883 scan.\n%%\n%% UNISONS. Soprano and alto share one printed notehead on the last beat of bar\n%% 11 and on the second half of bars 4, 8 and 16; both voices carry the pitch here\n%% and LilyPond's default collision resolver is left to kiss the noteheads.\n%%\n%% NO PHRASE-BREATH RESTS: bars 4, 8 and 16 are two plain half notes in all four\n%% voices, exactly as printed.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  g'4 g'4 g'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2 |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  a'2 a'4 g'4 |\n  a'4 a'4 b'4( d''4) |\n  d''2 b'4 a'4 |\n  b'4 d''4 b'2 |\n  g'8 g'8 g'8 a'8 b'4 b'4 |\n  a'2 g'2\n}\n\nalto = {\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  d'4 d'4 d'4 fis'4 |\n  g'4 b'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  fis'2 fis'4 g'4 |\n  fis'4 fis'4 g'2 |\n  g'2 g'4 fis'4 |\n  g'4 g'4 g'2 |\n  d'8 d'8 d'8 d'8 g'4 g'4 |\n  fis'2 g'2\n}\n\ntenor = {\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b4 b4 b4 d'4 |\n  d'4 d'4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2 |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  c'2 c'4 b4 |\n  d'4 d'4 d'4( b4) |\n  b2 d'4 d'4 |\n  d'4 b4 d'2 |\n  b8 b8 b8 c'8 d'4 d'4 |\n  c'2 b2\n}\n\nbass = {\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g4 g4 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g4 |\n  d2 g,2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  d2 d4 d4 |\n  d4 d4 g2 |\n  g2 g4 d4 |\n  g4 g4 g2 |\n  g8 g8 g8 g8 g4 g,4 |\n  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."}