{"slug": "power-in-the-blood", "name": "POWER IN THE BLOOD", "meter_label": "10.9.10.8 with Refrain", "meter": {"pattern": [10, 9, 10, 8], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "lewis-e-jones", "composer_date": "1899", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "power-in-the-blood-tabernacle-hymns-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Tune by Lewis Edgar Jones (1865-1936) to his own words, written 1899 and first published that year by H. L. Gilmour. Read here from the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 \u2014 archive.org tabernaclehymnsn00chic, leaf 0180 \u2014 footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\", and collated note for note against a second scan of the same plate (tabernaclehymnsn02chic, leaf 0178) and against an independent engraving of the same setting in the same key of B-flat (archive.org greatt00weig, leaf 0028, no. 24), which is used for corroboration only and carries no date. US public domain by publication in 1899; both dated witnesses are themselves pre-1931. tools/tune_fingerprint.py finds NO corpus melody closer than 0.138 (LAUDA ANIMA), far below the 0.80 duplicate threshold, so this is not a tune the corpus already holds under another name. THE METER IS 10.9.10.8, not the 10.9.10.9 some indexes give: the plate elides \"power\" to \"pow'r\" on a single notehead throughout, so line 2 (\"There's pow'r in the blood; pow'r in the blood;\") is nine syllables and line 4 (\"There's won-der-ful pow'r in the blood.\") is eight \u2014 37 verse noteheads in all, counted on the plate. Neither dated plate names the tune on the staff; POWER IN THE BLOOD is the name the later hymnals and Hymnary print for it, after its first line, and no printed alt_name is recorded.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "power-in-the-blood-tabernacle-hymns-1921", "tune": "power-in-the-blood", "music_file": "power-in-the-blood-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 37, 46, 52, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "there is pow'r,", "durations": ["8", "8", "2"], "onset": 33}, {"text": "In the blood", "durations": ["8.", "16", "4"], "onset": 41}, {"text": "of the Lamb;", "durations": ["8.", "16", "4"], "onset": 45}, {"text": "There is pow'r,", "durations": ["8", "8", "2"], "onset": 49}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Lewis E. Jones's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 \u2014 archive.org item tabernaclehymnsn00chic, leaf 0180 \u2014 which is headed \"172  There is Power In the Blood.\", credits \"L. E. J.\" and \"L. E. Jones.\", prints four stanzas interlinear with a written-out chorus and a second lyric row for the tenor/bass answer, and is footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\" (The leaf is 0180 in the item's own _jp2 numbering; an earlier note recorded n177, which is a different hymn.) \u26a0 CORRECTED AFTER IMPORT \u2014 BAR 7's RHYTHM. As first shipped, bar 7 read quarter, eighth, eighth on \"There's WON-DER-ful\" in all four voices, because that bar was taken to repeat bar 1 rather than read off the page. The plate prints quarter, DOTTED EIGHTH, SIXTEENTH: the \"won\" chord carries an augmentation dot in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a double flag in both staves, on all three printings. All four voices are corrected. Note that 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, so the bar closed at four beats either way and validate_corpus, the unit suites and the .ly regression net ALL PASSED while the hymn was wrong \u2014 the pitches were read and confirmed by eye, the durations of that one bar were not. The claim below that every pitch was confirmed by eye is true; it never covered every duration. HOW THE PITCHES WERE READ. For every staff the five staff lines were re-found LOCALLY and the band-by-band measurements interpolated rather than straight-fitted (a straight fit is 1-2 px out where the paper is cockled and lets a staff line into the reading column); grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space. Each note column was read from the CLEAN EDGE of its ink group, with the edge clip measured per staff rather than assumed, and every hollow (half and dotted-half) head was read a second way from its own two arcs. EVERY pitch that ships was then confirmed BY EYE on a crop with the fitted grid drawn over it at 6x-14x. THREE WITNESSES: (1) this plate; (2) a SECOND COPY of the same 1921 book \u2014 archive.org tabernaclehymnsn02chic leaf 0178, 22.8-23.2 px staff space; it is NOT the same impression, since it differs from n00chic at one note (see the DIVERGENCE note below), so it is a second printing and not a second scan \u2014 read with its own binarisation and its own staff-line fits \u2014 its 14-column reading of system 2 and its 15-column reading of system 1 agree with scan 1 everywhere except the one note recorded below; (3) an INDEPENDENT ENGRAVING of the same setting in the same key of B-flat, \"There is Power in the Blood.\" no. 24 in archive.org greatt00weig leaf 0028, whose verse wording differs (\"free from THE burden\", \"the blood,\"). \u26a0 WITNESS 3 IS NOT PD EVIDENCE AND IS NOT RELIED ON FOR LICENSING: its title page and preface carry no date and archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY MEYER and BROTHER\" printed on its hymn 25. It was used to CORROBORATE NOTES ONLY, and that is what was done \u2014 it reproduces all 14 columns of system 2, all 12 upper columns plus both echo columns of system 3, all 13 upper plus 6 echo columns of system 4, and system 5 including the hymn's highest note, identically. (An earlier note called witness 3 E-flat major; it is not \u2014 its key signature is two flats.) \u26a0 THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (soprano note 14, the sixteenth in bar 3). The page prints bass F-SHARP 3, tenor G3, alto F-NATURAL 4 and soprano B-NATURAL 4. The upper three spell a G7 without its fifth; the bass F-sharp3 is a chromatic lower neighbour between the F3 before it and the F3 after it; the result is a FALSE (octave) RELATION, F-natural4 over F-sharp3, which a gospel song of 1899 does not normally write. This is what refused the import twice. It is neither a plate defect nor a misreading: the sharp (two full-height verticals, two slanted crossbars, centred on the F3 line) and the natural (offset half-height verticals \u2014 that is how it was distinguished from a sharp) were each read at 10x on BOTH Tabernacle scans, which put the sharp's crossbar midpoint on the F3 line (6.00 on scan 1 against noteheads at 7.1 and 6.00; 6.12 on scan 2 against 6.96 and 6.00). THE TWO DATED WITNESSES AGREE. The Weigle engraving is NOT counted here and an earlier draft of this record wrongly said it was: it prints a sharp in the same column, but its crossbar midpoint measures about a step higher, level with the tenor's G3, so the third printing does not clearly say WHICH note is altered. On the two dated witnesses it is ENCODED AS PRINTED and deliberately kept rather than smoothed; this corpus prints what the page prints. THE ACCIDENTAL SWEEP (and what the automated figures do NOT cover). The measurement above is blind to accidentals: it reports staff positions only. All 90 note columns were therefore swept for printed accidentals SEPARATELY, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine of scan 2 and all eight of the Weigle plate; its ~35 candidates were each accounted for as a hollow-notehead outline, a quarter rest, a stem, an end-of-system double bar or lyric ink, except the three below, which are the tallest candidates on the page). The hymn carries exactly THREE accidental glyphs: (a) the sharp on the bass F3 of note 14; (b) the natural on the soprano B4 of note 14; (c) TWO STACKED NATURALS before note 18 (the sixteenth in bar 4) \u2014 the lower on the ALTO's E4, a real alteration (E-natural4 as the chromatic lower neighbour of F4, over a held B-flat), and the upper on the SOPRANO's C5, which is REDUNDANT because C is already natural in B-flat major. The redundant one is a COURTESY accidental: the engraver set the same figure a fourth lower in bar 3, where the soprano really is altered, and carried the caution up with it. Both glyphs are on both Tabernacle scans AND on the Weigle engraving, so it is deliberate; it changes no pitch and the redundant glyph is not reproduced. No other accidental appears anywhere in the hymn on any of the three printings. DEPARTURES FROM THE PAGE, stated plainly. (1) THE FINAL CHORD IS PRINTED IN FIVE PARTS: on the last \"Lamb.\" the lower staff prints three dotted-half noteheads on one stem \u2014 B-flat3, F3 and B-flat2 \u2014 under the treble's B-flat4 and D4, and the Weigle engraving prints the same three. The corpus admits four voices and forbids divisi, so soprano B-flat4, alto D4, tenor B-flat3 (the preceding F7's leading tone A3 resolving up) and bass B-flat2 (the F3 dominant pedal falling a fifth) are encoded and the printed F3 between them is NOT reproduced; the four encoded voices therefore lack the chord's fifth, which the page supplies. (2) SYSTEM BREAKS are at poetic line ends, not where the 1921 plate breaks \u2014 that plate breaks mid-line and casts the hymn in five systems, while breaking at line ends costs eight and, with four interlinear stanzas, two pages. (3) The plate's HEAVY SECTION BARLINE between the verse and the chorus falls MID-BAR (bar 8, between the verse's last dotted half and the chorus's two-eighth pickup \"There is\"); the engine draws no such divider, and the ordinary barline structure is what ships. The mid-bar placement is the page's own and the arithmetic only closes at four beats if the pickup belongs to bar 8. (4) THE LAST BAR IS THREE BEATS, as printed \u2014 a dotted half on \"Lamb.\" then the closing double bar, with no rest and no fourth beat; that is reproduced, not padded. (5) No Amen is printed and none is encoded; no fermata is printed anywhere \u2014 but the plate DOES print a \">\" accent over each of the four chorus half notes in the treble (refrain bars 9 and 13, on \"pow'r, pow'r,\"), and this corpus does not engrave accents, so those four are dropped too. (6) BEAMING in the four echo phrases \u2014 the plate flags the tenor/bass dotted eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose echo row is placed by rhythm rather than by \\lyricsto, so it does not break the beam) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's, exactly as recorded on showalter-tabernacle-hymns-1921. \u26a0 DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note. On \"vic-to-ry WIN?\" (soprano note 29, the dotted quarter in bar 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 \u2014 a clean notehead above a clean C4 ledger line \u2014 while the tabernaclehymnsn02chic copy of the same book prints B-flat3 in the space above the top line with no ledger at all. The Weigle engraving prints B-flat3, and the IDENTICAL cadence \"...of SIN?\" in verse line 1 (note 10) is B-flat3 on all three printings. Two witnesses to one, and the parallel agrees: B-FLAT3 SHIPS, and the n00chic variant is recorded rather than hidden. The tenor D4 above the ledger IS correct four notes later, on \"There's\" at the head of verse line 4 (note 30), where all three printings agree, so this is not a systematic misreading of the ledger. \u26a0 AN UNUSUAL CHORD THAT IS NOT AN ERROR. On \"sin? THERE'S\" (note 11, the eighth-note upbeat closing bar 2) the voices read B-flat4 / F4 / C4 / B-flat2 \u2014 a B-flat chord with a NINTH in the tenor and no third, the C4 anticipating the fifth of the F major chord on the next downbeat. All three printings show the ledger-line C4. The parallel upbeat closing bar 6 (note 30) is a plain B-flat chord with tenor D4 on all three, so the two upbeats really are harmonised differently, and both are kept as printed. THE ALTO IS RHYTHMICALLY INDEPENDENT at the end of verse line 2 (bar 3): under the soprano's held half note on \"blood;\" the alto sings two SLURRED QUARTERS, F4 then E-flat4, on its own down-stem, turning F major into F7. Both Tabernacle scans print it and it is encoded as printed; the four voices are not forced to restrike together. It is the only slur in the hymn and the only place the four voices do not share a rhythm within a staff. There are no ties anywhere. US public domain: the setting was first published in 1899 and both dated witnesses read here are themselves pre-1931; Jones died in 1936, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 0180), collated against a second scan of the same plate (archive.org tabernaclehymnsn02chic, leaf 0178) and, for the notes only, against the independent undated engraving in archive.org greatt00weig, leaf 0028, no. 24. No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% POWER IN THE BLOOD (10.9.10.8 with Refrain) \u2014 \"Would You Be Free from Your\n%% Burden of Sin?\"  Lewis E. Jones's own four-part setting of his own tune,\n%% key B-flat major, 4/4, no pickup, 16 bars (8 verse + 8 refrain; the last\n%% bar is THREE beats \u2014 see RHYTHM below).  RULES (CI-enforced): exactly the\n%% variables soprano/alto/tenor/bass/global; absolute octaves; each voice\n%% rhythmically complete; NO chords <>, NO <<>>, NO \\secondShift/\n%% \\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%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 \u2014\n%% archive.org item tabernaclehymnsn00chic, leaf 0180 \u2014 headed \"172  There is\n%% Power In the Blood.\", credited \"L. E. J.\" over the words and \"L. E. Jones.\"\n%% over the music, and footed \"Copyright, 1899, by H. L. Gilmour.  Used by\n%% permission.\"  (The leaf is 0180 in the item's own _jp2 numbering, NOT the\n%% n177 an earlier note recorded; n177 is a different hymn.)\n%%\n%% HOW THE PITCHES WERE MEASURED.  For every staff the five staff lines were\n%% re-found LOCALLY \u2014 the darkest row inside a small window in each 40px band,\n%% then the band-by-band measurements interpolated (not a straight fit, which is\n%% 1-2 px out where the paper is cockled and lets a staff line into the reading\n%% column).  Grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space.\n%% Each note column was then read from the CLEAN EDGE of its ink group (bottom\n%% edge on an up-stem staff, top edge on a down-stem staff), with the edge clip\n%% measured per staff rather than assumed; hollow (half and dotted-half) heads,\n%% whose outlines the letterpress breaks and whose interiors a filled-head\n%% template loses, were read a second way from their own two arcs.  EVERY pitch\n%% that ships was then confirmed BY EYE on a crop with the fitted grid drawn over\n%% it at 6x-14x.  The measurement is blind to accidentals, ties, slurs, beams,\n%% flags, dots, rests and stem direction; all of those were read by eye.\n%%\n%% THREE WITNESSES.  (1) tabernaclehymnsn00chic leaf 0180, staff space 28.6-29.0\n%% px \u2014 the plate cited above.  (2) A SECOND SCAN of the same 1921 plate,\n%% tabernaclehymnsn02chic leaf 0178, staff space 22.8-23.2 px, read with its own\n%% binarisation and its own staff-line fits.  (3) An INDEPENDENT ENGRAVING of the\n%% same setting, in the same key of B-flat: \"There is Power in the Blood.\" no. 24\n%% in The Great Revival Hymnal? (archive.org greatt00weig, leaf 0028), whose\n%% verse wording differs (\"free from THE burden\", \"the blood,\" where the\n%% Tabernacle plate prints \"the blood;\").  \u26a0 WITNESS 3 IS NOT AND MUST NOT BE\n%% CITED AS PD EVIDENCE: its title page and preface carry NO date, and\n%% archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY\n%% MEYER and BROTHER\" printed on its hymn 25.  It is used here to CORROBORATE\n%% NOTES ONLY, and that is what was done.  (An earlier note called witness 3\n%% E-flat major with three flats; it is not \u2014 its key signature is two flats and\n%% every one of its staff positions matches the Tabernacle plate's, which is\n%% itself the strongest evidence that the two engravings carry the same setting.)\n%%\n%% \u26a0 THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (verse line 2, soprano\n%% note 14 of 69, the sixteenth in bar 3).  The page prints, bottom to top,\n%% F-SHARP 3 in the bass, G3 in the tenor, F-NATURAL 4 in the alto and\n%% B-NATURAL 4 in the soprano.  The upper three voices spell a G7 (G-B-F, no\n%% fifth); the bass F-sharp3 is a chromatic lower neighbour between the F3 of the\n%% dotted eighth before it and the F3 of the half note after it.  The result is a\n%% FALSE (octave) RELATION \u2014 F-natural4 sounding over F-sharp3 \u2014 which a gospel\n%% song of 1899 does not normally write, and it was the reason this import was\n%% refused twice.  It is NOT a plate defect and it is NOT a misreading: the sharp\n%% (two full-height verticals, two slanted crossbars, centre on the F3 line) and\n%% the natural (offset half-height verticals \u2014 this is how it was told from a\n%% sharp) were each read at 10x on BOTH Tabernacle scans.  THE TWO DATED WITNESSES\n%% AGREE, and they are what this reading rests on: on scan 1 the sharp's two\n%% crossbar centres measure steps 7.0 and 5.0 (midpoint 6.00) against noteheads at\n%% 7.1 and 6.00, and scan 2 reproduces it (crossbars 7.22 / 5.02, midpoint 6.12;\n%% heads 6.96 and 6.00) \u2014 the sharp is on the bass note, not the tenor's.  THE\n%% WEIGLE ENGRAVING IS NOT COUNTED HERE, and an earlier draft of this header\n%% wrongly claimed it was: it prints a sharp in the same column, but its crossbar\n%% midpoint measures about a step higher, level with the tenor's G3, so the third\n%% printing does not clearly say WHICH note is altered.  It is therefore ENCODED\n%% AS PRINTED on the two dated witnesses, deliberately kept rather than smoothed\n%% to F-natural3 or G3; this corpus prints what the page prints.\n%%\n%% THE OTHER TWO ACCIDENTALS, and the sweep that found them.  Every one of the\n%% 90 note columns was swept for printed accidentals separately from the pitch\n%% measurement, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as\n%% well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine\n%% of scan 2 and all eight of the Weigle plate).  The whole hymn carries exactly\n%% THREE accidental glyphs:\n%%   (a) the SHARP on the bass F3 of note 14, above;\n%%   (b) the NATURAL on the soprano B4 of note 14, above;\n%%   (c) TWO STACKED NATURALS in front of note 18 (verse line 2, the sixteenth on\n%%       \"pow'r in THE blood;\", bar 4) \u2014 the lower one on the ALTO's E4, which is\n%%       a real alteration (E-natural4 as the chromatic lower neighbour of F4, the\n%%       chord being a double neighbour over a held B-flat), and the UPPER one on\n%%       the SOPRANO's C5, which is REDUNDANT: C is already natural in B-flat\n%%       major.  It is a courtesy accidental \u2014 the engraver set the same figure a\n%%       fourth lower in bar 3, where the soprano really is altered (B-natural4),\n%%       and carried the caution up with it.  Both glyphs are on both Tabernacle\n%%       scans AND on the independent Weigle engraving, so the courtesy natural is\n%%       deliberate, not a one-plate quirk.  It changes no pitch, and this\n%%       encoding does not reproduce the redundant glyph; the alto's E-natural4\n%%       is encoded as e'16 \u2014 LilyPond prints the natural\n%%       automatically, since E is flat in the key signature.\n%% No other accidental appears anywhere in the hymn, on any of the three\n%% printings.\n%%\n%% RHYTHM.  Verse half-lines are quarter, eighth, eighth, quarter, eighth, eighth\n%% (bars 1, 5) or quarter, eighth, eighth, dotted quarter, eighth (bars 2, 6);\n%% \"pow'r in the blood\" is quarter, dotted eighth, sixteenth, half (bars 3, 4).\n%% BAR 7 IS NOT A REPEAT OF BAR 1, and this encoding first said it was.  On\n%% \"There's WON-DER-ful pow'r in the\" the plate prints quarter, DOTTED EIGHTH,\n%% SIXTEENTH, quarter, eighth, eighth: the \"won\" chord carries an augmentation dot\n%% in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a\n%% DOUBLE flag in both staves.  All three printings agree.  It was first encoded\n%% as two plain eighths \u2014 a bar assumed to repeat bar 1 rather than read \u2014 and\n%% because 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, the bar still closed\n%% at four beats and validate, the unit suites and the regression net all passed\n%% while the hymn was wrong.  Corrected in all four voices after import.\n%% Bar 8 is the verse's last note (dotted half on \"blood.\") plus the chorus's\n%% two-eighth pickup \"There is\" \u2014 the plate prints a HEAVY SECTION BARLINE between\n%% them, MID-BAR, and that is the page, not an error: the arithmetic only closes\n%% at four beats if the pickup belongs to bar 8.  In the refrain the upper two\n%% voices hold half and dotted-half notes while tenor and bass answer underneath\n%% (the sidecar's bass_echo); the lower staff prints QUARTER RESTS where the men\n%% wait (bars 10, 11, 12 \u2014 four of them).  THE LAST BAR IS THREE BEATS: the page\n%% prints a dotted half on \"Lamb.\" and then the closing double bar, with no rest\n%% and no fourth beat.  That is reproduced, not padded.  ACCENTS NOT REPRODUCED:\n%% the plate prints a \">\" accent over each of the two treble half notes in refrain\n%% bar 9 and again in bar 13 (four in all, on \"pow'r, pow'r,\"); this corpus does\n%% not engrave accents, so they are dropped.\n%%\n%% THE ALTO IS RHYTHMICALLY INDEPENDENT AT THE END OF VERSE LINE 2 (bar 3): under\n%% the soprano's held half note on \"blood;\" (C5) the alto sings TWO SLURRED\n%% QUARTERS, F4 then E-flat4, on its own down-stem, turning the F major of the\n%% phrase into F7.  Both Tabernacle scans print it; it is encoded as printed and\n%% the four voices are NOT forced to restrike together.  It is the only place in\n%% the hymn where the four voices do not share a rhythm within a staff.\n%%\n%% TENOR AND BASS IN UNISON.  At the end of each echo phrase (\"...there is\n%% POW'R,\", refrain bars 9 and 13) the men answer on a single B-flat3 notehead\n%% carrying an up-stem and a down-stem; both voices carry the pitch here and\n%% LilyPond's default collision resolver is left to kiss the noteheads.  The same\n%% single-head-two-stems engraving is used for the tenor/bass unison F3 on\n%% \"pow'r in\" (bar 7, verse line 4).\n%%\n%% \u26a0 DEPARTURE \u2014 THE FINAL CHORD IS PRINTED IN FIVE PARTS.  On the last \"Lamb.\"\n%% the lower staff prints THREE dotted-half noteheads on one stem: B-flat3, F3\n%% and B-flat2, under the treble's B-flat4 and D4.  The corpus admits exactly\n%% four voices and forbids divisi.  Encoded are soprano B-flat4, alto D4, tenor\n%% B-flat3 (the tenor's A3 is the leading tone of the preceding F7 and resolves\n%% up a step) and bass B-flat2 (the F3 dominant pedal falling a fifth to the\n%% tonic); the printed F3 between them \u2014 the chord's fifth, which the four voices\n%% as encoded therefore lack \u2014 is NOT reproduced.  The same three-notehead final\n%% chord is printed on the Weigle engraving, so it is the setting, not a slip.\n%%       THIS WAS CHALLENGED AFTER IMPORT and the encoding is kept.  The objection\n%%       was that a tonic with no fifth is not a chord this idiom ends on, and that\n%%       F3 should be the tenor instead.  It should not: the penultimate chord is a\n%%       COMPLETE root-position F7 (bass F3, tenor A3, alto E-flat4, soprano C5),\n%%       and resolving it strictly \u2014 leading tone A3 up to B-flat3, seventh E-flat4\n%%       down to D4, bass F3 down to B-flat2 \u2014 yields exactly B-flat2/B-flat3/D4/\n%%       B-flat4, the textbook incomplete tonic with tripled root.  Taking F3 as the\n%%       tenor would make the leading tone leap DOWN a third instead of resolving.\n%%       The missing fifth is not a defect in the reading; it is why the engraver\n%%       adds a fifth notehead at all.  FACE TO FACE, from the same book, prints the\n%%       same five-note chord at the same cadence and its parallel cadence \u2014 where\n%%       the soprano has F4 and the four voices already contain the fifth \u2014 prints\n%%       only FOUR noteheads, which is the page's own confirmation of this reading.\n%%\n%% \u26a0 DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note.\n%% On \"vic-to-ry WIN?\" (verse line 3, soprano note 29, the dotted quarter in bar\n%% 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 \u2014 a clean notehead\n%% sitting above a clean C4 ledger line \u2014 while the tabernaclehymnsn02chic copy\n%% of the same book prints B-flat3, in the space above the top line, with no\n%% ledger at all.  The independent Weigle engraving prints B-flat3, and the\n%% IDENTICAL cadence \"...of SIN?\" in verse line 1 (soprano note 10) is B-flat3 on\n%% all three printings.  Two witnesses to one, and the parallel agrees with them:\n%% B-FLAT3 SHIPS.  The n00chic variant is recorded here rather than hidden.\n%% (Note that the tenor D4 above the ledger IS correct four notes later, on\n%% \"There's\" at the head of verse line 4, soprano note 30, where all three\n%% printings agree \u2014 so the two readings are not a systematic misreading of the\n%% ledger, they are a real difference between two printings at one note.)\n%%\n%% \u26a0 AN UNUSUAL CHORD THAT IS NOT AN ERROR (RULE 8).  On \"sin? THERE'S\" (soprano\n%% note 11, the eighth-note upbeat at the end of bar 2) the four voices read\n%% B-flat4 / F4 / C4 / B-flat2 \u2014 a B-flat chord with a NINTH (the tenor's C4)\n%% and no third.  The tenor's C4 anticipates the fifth of the F major chord that\n%% follows on the downbeat.  Both Tabernacle scans read C4 on its ledger line and\n%% the Weigle engraving prints the same ledger-line C4; the parallel upbeat at\n%% the end of bar 6 (note 30, \"win? THERE'S\") is a plain B-flat chord with tenor\n%% D4 on all three, so the two upbeats really are harmonised differently.  Kept\n%% as printed.\n%%\n%% BEAMING DEVIATION.  In the four echo phrases the plate FLAGS the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine BEAMS that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  The pitches and durations\n%% are the plate's; the beam is the house engraver's.  (The same deviation is\n%% recorded on showalter-tabernacle-hymns-1921, the other Tabernacle Hymns plate\n%% in the corpus, for the same reason.)\n%%\n%% NO TIES ANYWHERE, and exactly ONE SLUR (the alto's F4-E-flat4 in bar 3).  The\n%% soprano is strictly syllabic: 69 noteheads for 37 verse syllables + 32 refrain\n%% syllables, one note each.  NO AMEN on the page, and none is encoded.  No\n%% fermata is printed.  No Cyber Hymnal asset, MIDI or modern edition was\n%% consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 c''8. b'16 c''2 |\n  bes'4 d''8. c''16 d''2 |\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 a'8. a'16 c''4 bes'8 a'8 |\n  bes'2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''2. bes'8. c''16 |\n  d''2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''4. ees''8 d''4 c''8. c''16 |\n  bes'2.\n}\n\nalto = {\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 f'4( ees'4) |\n  d'4 f'8. e'16 f'2 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 ees'4 d'8 c'8 |\n  d'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'2. d'8. ees'16 |\n  f'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'4. ees'8 f'4 ees'8. ees'16 |\n  d'2.\n}\n\ntenor = {\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. c'8 |\n  c'4 a8. g16 a2 |\n  f4 bes8. bes16 bes2 |\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. d'8 |\n  c'4 c'8. c'16 a4 f8 f8 |\n  f2. bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 r4 |\n  r4 a8. a16 a4 r4 |\n  r4 bes8. bes16 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 c'8. bes16 |\n  a4. c'8 bes4 a8. a16 |\n  bes2.\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. fis16 f2 |\n  bes,4 bes,8. bes,16 bes,2 |\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. f16 f4 f8 f8 |\n  bes,2. bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 r4 |\n  r4 f8. f16 f4 r4 |\n  r4 bes,8. bes,16 bes,4 bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 f8. f16 |\n  f4. f8 f4 f8. f16 |\n  bes,2.\n}\n"}, "harmonizations": [{"slug": "power-in-the-blood-tabernacle-hymns-1921", "tune": "power-in-the-blood", "music_file": "power-in-the-blood-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 37, 46, 52, 61], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 38}, "markings": [{"soprano_note": 38, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "there is pow'r,", "durations": ["8", "8", "2"], "onset": 33}, {"text": "In the blood", "durations": ["8.", "16", "4"], "onset": 41}, {"text": "of the Lamb;", "durations": ["8.", "16", "4"], "onset": 45}, {"text": "There is pow'r,", "durations": ["8", "8", "2"], "onset": 49}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_evidence": "Lewis E. Jones's own four-part setting of his own tune, hand-encoded from the dated page image of Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 \u2014 archive.org item tabernaclehymnsn00chic, leaf 0180 \u2014 which is headed \"172  There is Power In the Blood.\", credits \"L. E. J.\" and \"L. E. Jones.\", prints four stanzas interlinear with a written-out chorus and a second lyric row for the tenor/bass answer, and is footed \"Copyright, 1899, by H. L. Gilmour.  Used by permission.\" (The leaf is 0180 in the item's own _jp2 numbering; an earlier note recorded n177, which is a different hymn.) \u26a0 CORRECTED AFTER IMPORT \u2014 BAR 7's RHYTHM. As first shipped, bar 7 read quarter, eighth, eighth on \"There's WON-DER-ful\" in all four voices, because that bar was taken to repeat bar 1 rather than read off the page. The plate prints quarter, DOTTED EIGHTH, SIXTEENTH: the \"won\" chord carries an augmentation dot in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a double flag in both staves, on all three printings. All four voices are corrected. Note that 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, so the bar closed at four beats either way and validate_corpus, the unit suites and the .ly regression net ALL PASSED while the hymn was wrong \u2014 the pitches were read and confirmed by eye, the durations of that one bar were not. The claim below that every pitch was confirmed by eye is true; it never covered every duration. HOW THE PITCHES WERE READ. For every staff the five staff lines were re-found LOCALLY and the band-by-band measurements interpolated rather than straight-fitted (a straight fit is 1-2 px out where the paper is cockled and lets a staff line into the reading column); grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space. Each note column was read from the CLEAN EDGE of its ink group, with the edge clip measured per staff rather than assumed, and every hollow (half and dotted-half) head was read a second way from its own two arcs. EVERY pitch that ships was then confirmed BY EYE on a crop with the fitted grid drawn over it at 6x-14x. THREE WITNESSES: (1) this plate; (2) a SECOND COPY of the same 1921 book \u2014 archive.org tabernaclehymnsn02chic leaf 0178, 22.8-23.2 px staff space; it is NOT the same impression, since it differs from n00chic at one note (see the DIVERGENCE note below), so it is a second printing and not a second scan \u2014 read with its own binarisation and its own staff-line fits \u2014 its 14-column reading of system 2 and its 15-column reading of system 1 agree with scan 1 everywhere except the one note recorded below; (3) an INDEPENDENT ENGRAVING of the same setting in the same key of B-flat, \"There is Power in the Blood.\" no. 24 in archive.org greatt00weig leaf 0028, whose verse wording differs (\"free from THE burden\", \"the blood,\"). \u26a0 WITNESS 3 IS NOT PD EVIDENCE AND IS NOT RELIED ON FOR LICENSING: its title page and preface carry no date and archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY MEYER and BROTHER\" printed on its hymn 25. It was used to CORROBORATE NOTES ONLY, and that is what was done \u2014 it reproduces all 14 columns of system 2, all 12 upper columns plus both echo columns of system 3, all 13 upper plus 6 echo columns of system 4, and system 5 including the hymn's highest note, identically. (An earlier note called witness 3 E-flat major; it is not \u2014 its key signature is two flats.) \u26a0 THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (soprano note 14, the sixteenth in bar 3). The page prints bass F-SHARP 3, tenor G3, alto F-NATURAL 4 and soprano B-NATURAL 4. The upper three spell a G7 without its fifth; the bass F-sharp3 is a chromatic lower neighbour between the F3 before it and the F3 after it; the result is a FALSE (octave) RELATION, F-natural4 over F-sharp3, which a gospel song of 1899 does not normally write. This is what refused the import twice. It is neither a plate defect nor a misreading: the sharp (two full-height verticals, two slanted crossbars, centred on the F3 line) and the natural (offset half-height verticals \u2014 that is how it was distinguished from a sharp) were each read at 10x on BOTH Tabernacle scans, which put the sharp's crossbar midpoint on the F3 line (6.00 on scan 1 against noteheads at 7.1 and 6.00; 6.12 on scan 2 against 6.96 and 6.00). THE TWO DATED WITNESSES AGREE. The Weigle engraving is NOT counted here and an earlier draft of this record wrongly said it was: it prints a sharp in the same column, but its crossbar midpoint measures about a step higher, level with the tenor's G3, so the third printing does not clearly say WHICH note is altered. On the two dated witnesses it is ENCODED AS PRINTED and deliberately kept rather than smoothed; this corpus prints what the page prints. THE ACCIDENTAL SWEEP (and what the automated figures do NOT cover). The measurement above is blind to accidentals: it reports staff positions only. All 90 note columns were therefore swept for printed accidentals SEPARATELY, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine of scan 2 and all eight of the Weigle plate; its ~35 candidates were each accounted for as a hollow-notehead outline, a quarter rest, a stem, an end-of-system double bar or lyric ink, except the three below, which are the tallest candidates on the page). The hymn carries exactly THREE accidental glyphs: (a) the sharp on the bass F3 of note 14; (b) the natural on the soprano B4 of note 14; (c) TWO STACKED NATURALS before note 18 (the sixteenth in bar 4) \u2014 the lower on the ALTO's E4, a real alteration (E-natural4 as the chromatic lower neighbour of F4, over a held B-flat), and the upper on the SOPRANO's C5, which is REDUNDANT because C is already natural in B-flat major. The redundant one is a COURTESY accidental: the engraver set the same figure a fourth lower in bar 3, where the soprano really is altered, and carried the caution up with it. Both glyphs are on both Tabernacle scans AND on the Weigle engraving, so it is deliberate; it changes no pitch and the redundant glyph is not reproduced. No other accidental appears anywhere in the hymn on any of the three printings. DEPARTURES FROM THE PAGE, stated plainly. (1) THE FINAL CHORD IS PRINTED IN FIVE PARTS: on the last \"Lamb.\" the lower staff prints three dotted-half noteheads on one stem \u2014 B-flat3, F3 and B-flat2 \u2014 under the treble's B-flat4 and D4, and the Weigle engraving prints the same three. The corpus admits four voices and forbids divisi, so soprano B-flat4, alto D4, tenor B-flat3 (the preceding F7's leading tone A3 resolving up) and bass B-flat2 (the F3 dominant pedal falling a fifth) are encoded and the printed F3 between them is NOT reproduced; the four encoded voices therefore lack the chord's fifth, which the page supplies. (2) SYSTEM BREAKS are at poetic line ends, not where the 1921 plate breaks \u2014 that plate breaks mid-line and casts the hymn in five systems, while breaking at line ends costs eight and, with four interlinear stanzas, two pages. (3) The plate's HEAVY SECTION BARLINE between the verse and the chorus falls MID-BAR (bar 8, between the verse's last dotted half and the chorus's two-eighth pickup \"There is\"); the engine draws no such divider, and the ordinary barline structure is what ships. The mid-bar placement is the page's own and the arithmetic only closes at four beats if the pickup belongs to bar 8. (4) THE LAST BAR IS THREE BEATS, as printed \u2014 a dotted half on \"Lamb.\" then the closing double bar, with no rest and no fourth beat; that is reproduced, not padded. (5) No Amen is printed and none is encoded; no fermata is printed anywhere \u2014 but the plate DOES print a \">\" accent over each of the four chorus half notes in the treble (refrain bars 9 and 13, on \"pow'r, pow'r,\"), and this corpus does not engrave accents, so those four are dropped too. (6) BEAMING in the four echo phrases \u2014 the plate flags the tenor/bass dotted eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose echo row is placed by rhythm rather than by \\lyricsto, so it does not break the beam) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's, exactly as recorded on showalter-tabernacle-hymns-1921. \u26a0 DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note. On \"vic-to-ry WIN?\" (soprano note 29, the dotted quarter in bar 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 \u2014 a clean notehead above a clean C4 ledger line \u2014 while the tabernaclehymnsn02chic copy of the same book prints B-flat3 in the space above the top line with no ledger at all. The Weigle engraving prints B-flat3, and the IDENTICAL cadence \"...of SIN?\" in verse line 1 (note 10) is B-flat3 on all three printings. Two witnesses to one, and the parallel agrees: B-FLAT3 SHIPS, and the n00chic variant is recorded rather than hidden. The tenor D4 above the ledger IS correct four notes later, on \"There's\" at the head of verse line 4 (note 30), where all three printings agree, so this is not a systematic misreading of the ledger. \u26a0 AN UNUSUAL CHORD THAT IS NOT AN ERROR. On \"sin? THERE'S\" (note 11, the eighth-note upbeat closing bar 2) the voices read B-flat4 / F4 / C4 / B-flat2 \u2014 a B-flat chord with a NINTH in the tenor and no third, the C4 anticipating the fifth of the F major chord on the next downbeat. All three printings show the ledger-line C4. The parallel upbeat closing bar 6 (note 30) is a plain B-flat chord with tenor D4 on all three, so the two upbeats really are harmonised differently, and both are kept as printed. THE ALTO IS RHYTHMICALLY INDEPENDENT at the end of verse line 2 (bar 3): under the soprano's held half note on \"blood;\" the alto sings two SLURRED QUARTERS, F4 then E-flat4, on its own down-stem, turning F major into F7. Both Tabernacle scans print it and it is encoded as printed; the four voices are not forced to restrike together. It is the only slur in the hymn and the only place the four voices do not share a rhythm within a staff. There are no ties anywhere. US public domain: the setting was first published in 1899 and both dated witnesses read here are themselves pre-1931; Jones died in 1936, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 0180), collated against a second scan of the same plate (archive.org tabernaclehymnsn02chic, leaf 0178) and, for the notes only, against the independent undated engraving in archive.org greatt00weig, leaf 0028, no. 24. No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% POWER IN THE BLOOD (10.9.10.8 with Refrain) \u2014 \"Would You Be Free from Your\n%% Burden of Sin?\"  Lewis E. Jones's own four-part setting of his own tune,\n%% key B-flat major, 4/4, no pickup, 16 bars (8 verse + 8 refrain; the last\n%% bar is THREE beats \u2014 see RHYTHM below).  RULES (CI-enforced): exactly the\n%% variables soprano/alto/tenor/bass/global; absolute octaves; each voice\n%% rhythmically complete; NO chords <>, NO <<>>, NO \\secondShift/\n%% \\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%% Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., 1921), no. 172 \u2014\n%% archive.org item tabernaclehymnsn00chic, leaf 0180 \u2014 headed \"172  There is\n%% Power In the Blood.\", credited \"L. E. J.\" over the words and \"L. E. Jones.\"\n%% over the music, and footed \"Copyright, 1899, by H. L. Gilmour.  Used by\n%% permission.\"  (The leaf is 0180 in the item's own _jp2 numbering, NOT the\n%% n177 an earlier note recorded; n177 is a different hymn.)\n%%\n%% HOW THE PITCHES WERE MEASURED.  For every staff the five staff lines were\n%% re-found LOCALLY \u2014 the darkest row inside a small window in each 40px band,\n%% then the band-by-band measurements interpolated (not a straight fit, which is\n%% 1-2 px out where the paper is cockled and lets a staff line into the reading\n%% column).  Grid fit residual 0.4-1.0 px mean on a 28.6-29.0 px staff space.\n%% Each note column was then read from the CLEAN EDGE of its ink group (bottom\n%% edge on an up-stem staff, top edge on a down-stem staff), with the edge clip\n%% measured per staff rather than assumed; hollow (half and dotted-half) heads,\n%% whose outlines the letterpress breaks and whose interiors a filled-head\n%% template loses, were read a second way from their own two arcs.  EVERY pitch\n%% that ships was then confirmed BY EYE on a crop with the fitted grid drawn over\n%% it at 6x-14x.  The measurement is blind to accidentals, ties, slurs, beams,\n%% flags, dots, rests and stem direction; all of those were read by eye.\n%%\n%% THREE WITNESSES.  (1) tabernaclehymnsn00chic leaf 0180, staff space 28.6-29.0\n%% px \u2014 the plate cited above.  (2) A SECOND SCAN of the same 1921 plate,\n%% tabernaclehymnsn02chic leaf 0178, staff space 22.8-23.2 px, read with its own\n%% binarisation and its own staff-line fits.  (3) An INDEPENDENT ENGRAVING of the\n%% same setting, in the same key of B-flat: \"There is Power in the Blood.\" no. 24\n%% in The Great Revival Hymnal? (archive.org greatt00weig, leaf 0028), whose\n%% verse wording differs (\"free from THE burden\", \"the blood,\" where the\n%% Tabernacle plate prints \"the blood;\").  \u26a0 WITNESS 3 IS NOT AND MUST NOT BE\n%% CITED AS PD EVIDENCE: its title page and preface carry NO date, and\n%% archive.org's catalogue year of 1900 is contradicted by \"COPYRIGHT, 1910, BY\n%% MEYER and BROTHER\" printed on its hymn 25.  It is used here to CORROBORATE\n%% NOTES ONLY, and that is what was done.  (An earlier note called witness 3\n%% E-flat major with three flats; it is not \u2014 its key signature is two flats and\n%% every one of its staff positions matches the Tabernacle plate's, which is\n%% itself the strongest evidence that the two engravings carry the same setting.)\n%%\n%% \u26a0 THE OCTAVE CROSS-RELATION AT \"pow'r in THE blood\" (verse line 2, soprano\n%% note 14 of 69, the sixteenth in bar 3).  The page prints, bottom to top,\n%% F-SHARP 3 in the bass, G3 in the tenor, F-NATURAL 4 in the alto and\n%% B-NATURAL 4 in the soprano.  The upper three voices spell a G7 (G-B-F, no\n%% fifth); the bass F-sharp3 is a chromatic lower neighbour between the F3 of the\n%% dotted eighth before it and the F3 of the half note after it.  The result is a\n%% FALSE (octave) RELATION \u2014 F-natural4 sounding over F-sharp3 \u2014 which a gospel\n%% song of 1899 does not normally write, and it was the reason this import was\n%% refused twice.  It is NOT a plate defect and it is NOT a misreading: the sharp\n%% (two full-height verticals, two slanted crossbars, centre on the F3 line) and\n%% the natural (offset half-height verticals \u2014 this is how it was told from a\n%% sharp) were each read at 10x on BOTH Tabernacle scans.  THE TWO DATED WITNESSES\n%% AGREE, and they are what this reading rests on: on scan 1 the sharp's two\n%% crossbar centres measure steps 7.0 and 5.0 (midpoint 6.00) against noteheads at\n%% 7.1 and 6.00, and scan 2 reproduces it (crossbars 7.22 / 5.02, midpoint 6.12;\n%% heads 6.96 and 6.00) \u2014 the sharp is on the bass note, not the tenor's.  THE\n%% WEIGLE ENGRAVING IS NOT COUNTED HERE, and an earlier draft of this header\n%% wrongly claimed it was: it prints a sharp in the same column, but its crossbar\n%% midpoint measures about a step higher, level with the tenor's G3, so the third\n%% printing does not clearly say WHICH note is altered.  It is therefore ENCODED\n%% AS PRINTED on the two dated witnesses, deliberately kept rather than smoothed\n%% to F-natural3 or G3; this corpus prints what the page prints.\n%%\n%% THE OTHER TWO ACCIDENTALS, and the sweep that found them.  Every one of the\n%% 90 note columns was swept for printed accidentals separately from the pitch\n%% measurement, by eye at 6x-14x, on both Tabernacle leaves, and mechanically as\n%% well (a vertical-stroke-geometry pass over all ten staves of scan 1, all nine\n%% of scan 2 and all eight of the Weigle plate).  The whole hymn carries exactly\n%% THREE accidental glyphs:\n%%   (a) the SHARP on the bass F3 of note 14, above;\n%%   (b) the NATURAL on the soprano B4 of note 14, above;\n%%   (c) TWO STACKED NATURALS in front of note 18 (verse line 2, the sixteenth on\n%%       \"pow'r in THE blood;\", bar 4) \u2014 the lower one on the ALTO's E4, which is\n%%       a real alteration (E-natural4 as the chromatic lower neighbour of F4, the\n%%       chord being a double neighbour over a held B-flat), and the UPPER one on\n%%       the SOPRANO's C5, which is REDUNDANT: C is already natural in B-flat\n%%       major.  It is a courtesy accidental \u2014 the engraver set the same figure a\n%%       fourth lower in bar 3, where the soprano really is altered (B-natural4),\n%%       and carried the caution up with it.  Both glyphs are on both Tabernacle\n%%       scans AND on the independent Weigle engraving, so the courtesy natural is\n%%       deliberate, not a one-plate quirk.  It changes no pitch, and this\n%%       encoding does not reproduce the redundant glyph; the alto's E-natural4\n%%       is encoded as e'16 \u2014 LilyPond prints the natural\n%%       automatically, since E is flat in the key signature.\n%% No other accidental appears anywhere in the hymn, on any of the three\n%% printings.\n%%\n%% RHYTHM.  Verse half-lines are quarter, eighth, eighth, quarter, eighth, eighth\n%% (bars 1, 5) or quarter, eighth, eighth, dotted quarter, eighth (bars 2, 6);\n%% \"pow'r in the blood\" is quarter, dotted eighth, sixteenth, half (bars 3, 4).\n%% BAR 7 IS NOT A REPEAT OF BAR 1, and this encoding first said it was.  On\n%% \"There's WON-DER-ful pow'r in the\" the plate prints quarter, DOTTED EIGHTH,\n%% SIXTEENTH, quarter, eighth, eighth: the \"won\" chord carries an augmentation dot\n%% in BOTH staves (treble at A4 and F4, bass at C4 and F3) and \"der\" carries a\n%% DOUBLE flag in both staves.  All three printings agree.  It was first encoded\n%% as two plain eighths \u2014 a bar assumed to repeat bar 1 rather than read \u2014 and\n%% because 0.75 + 0.25 sums to the same beat as 0.5 + 0.5, the bar still closed\n%% at four beats and validate, the unit suites and the regression net all passed\n%% while the hymn was wrong.  Corrected in all four voices after import.\n%% Bar 8 is the verse's last note (dotted half on \"blood.\") plus the chorus's\n%% two-eighth pickup \"There is\" \u2014 the plate prints a HEAVY SECTION BARLINE between\n%% them, MID-BAR, and that is the page, not an error: the arithmetic only closes\n%% at four beats if the pickup belongs to bar 8.  In the refrain the upper two\n%% voices hold half and dotted-half notes while tenor and bass answer underneath\n%% (the sidecar's bass_echo); the lower staff prints QUARTER RESTS where the men\n%% wait (bars 10, 11, 12 \u2014 four of them).  THE LAST BAR IS THREE BEATS: the page\n%% prints a dotted half on \"Lamb.\" and then the closing double bar, with no rest\n%% and no fourth beat.  That is reproduced, not padded.  ACCENTS NOT REPRODUCED:\n%% the plate prints a \">\" accent over each of the two treble half notes in refrain\n%% bar 9 and again in bar 13 (four in all, on \"pow'r, pow'r,\"); this corpus does\n%% not engrave accents, so they are dropped.\n%%\n%% THE ALTO IS RHYTHMICALLY INDEPENDENT AT THE END OF VERSE LINE 2 (bar 3): under\n%% the soprano's held half note on \"blood;\" (C5) the alto sings TWO SLURRED\n%% QUARTERS, F4 then E-flat4, on its own down-stem, turning the F major of the\n%% phrase into F7.  Both Tabernacle scans print it; it is encoded as printed and\n%% the four voices are NOT forced to restrike together.  It is the only place in\n%% the hymn where the four voices do not share a rhythm within a staff.\n%%\n%% TENOR AND BASS IN UNISON.  At the end of each echo phrase (\"...there is\n%% POW'R,\", refrain bars 9 and 13) the men answer on a single B-flat3 notehead\n%% carrying an up-stem and a down-stem; both voices carry the pitch here and\n%% LilyPond's default collision resolver is left to kiss the noteheads.  The same\n%% single-head-two-stems engraving is used for the tenor/bass unison F3 on\n%% \"pow'r in\" (bar 7, verse line 4).\n%%\n%% \u26a0 DEPARTURE \u2014 THE FINAL CHORD IS PRINTED IN FIVE PARTS.  On the last \"Lamb.\"\n%% the lower staff prints THREE dotted-half noteheads on one stem: B-flat3, F3\n%% and B-flat2, under the treble's B-flat4 and D4.  The corpus admits exactly\n%% four voices and forbids divisi.  Encoded are soprano B-flat4, alto D4, tenor\n%% B-flat3 (the tenor's A3 is the leading tone of the preceding F7 and resolves\n%% up a step) and bass B-flat2 (the F3 dominant pedal falling a fifth to the\n%% tonic); the printed F3 between them \u2014 the chord's fifth, which the four voices\n%% as encoded therefore lack \u2014 is NOT reproduced.  The same three-notehead final\n%% chord is printed on the Weigle engraving, so it is the setting, not a slip.\n%%       THIS WAS CHALLENGED AFTER IMPORT and the encoding is kept.  The objection\n%%       was that a tonic with no fifth is not a chord this idiom ends on, and that\n%%       F3 should be the tenor instead.  It should not: the penultimate chord is a\n%%       COMPLETE root-position F7 (bass F3, tenor A3, alto E-flat4, soprano C5),\n%%       and resolving it strictly \u2014 leading tone A3 up to B-flat3, seventh E-flat4\n%%       down to D4, bass F3 down to B-flat2 \u2014 yields exactly B-flat2/B-flat3/D4/\n%%       B-flat4, the textbook incomplete tonic with tripled root.  Taking F3 as the\n%%       tenor would make the leading tone leap DOWN a third instead of resolving.\n%%       The missing fifth is not a defect in the reading; it is why the engraver\n%%       adds a fifth notehead at all.  FACE TO FACE, from the same book, prints the\n%%       same five-note chord at the same cadence and its parallel cadence \u2014 where\n%%       the soprano has F4 and the four voices already contain the fifth \u2014 prints\n%%       only FOUR noteheads, which is the page's own confirmation of this reading.\n%%\n%% \u26a0 DIVERGENCE BETWEEN THE TWO SCANS OF THE 1921 PLATE, at exactly one note.\n%% On \"vic-to-ry WIN?\" (verse line 3, soprano note 29, the dotted quarter in bar\n%% 6) the tabernaclehymnsn00chic copy prints the TENOR as D4 \u2014 a clean notehead\n%% sitting above a clean C4 ledger line \u2014 while the tabernaclehymnsn02chic copy\n%% of the same book prints B-flat3, in the space above the top line, with no\n%% ledger at all.  The independent Weigle engraving prints B-flat3, and the\n%% IDENTICAL cadence \"...of SIN?\" in verse line 1 (soprano note 10) is B-flat3 on\n%% all three printings.  Two witnesses to one, and the parallel agrees with them:\n%% B-FLAT3 SHIPS.  The n00chic variant is recorded here rather than hidden.\n%% (Note that the tenor D4 above the ledger IS correct four notes later, on\n%% \"There's\" at the head of verse line 4, soprano note 30, where all three\n%% printings agree \u2014 so the two readings are not a systematic misreading of the\n%% ledger, they are a real difference between two printings at one note.)\n%%\n%% \u26a0 AN UNUSUAL CHORD THAT IS NOT AN ERROR (RULE 8).  On \"sin? THERE'S\" (soprano\n%% note 11, the eighth-note upbeat at the end of bar 2) the four voices read\n%% B-flat4 / F4 / C4 / B-flat2 \u2014 a B-flat chord with a NINTH (the tenor's C4)\n%% and no third.  The tenor's C4 anticipates the fifth of the F major chord that\n%% follows on the downbeat.  Both Tabernacle scans read C4 on its ledger line and\n%% the Weigle engraving prints the same ledger-line C4; the parallel upbeat at\n%% the end of bar 6 (note 30, \"win? THERE'S\") is a plain B-flat chord with tenor\n%% D4 on all three, so the two upbeats really are harmonised differently.  Kept\n%% as printed.\n%%\n%% BEAMING DEVIATION.  In the four echo phrases the plate FLAGS the tenor/bass\n%% dotted-eighth and sixteenth separately (each carries its own echo syllable);\n%% the engine BEAMS that pair, because the echo row is placed by rhythm rather\n%% than by \\lyricsto and so does not break the beam.  The pitches and durations\n%% are the plate's; the beam is the house engraver's.  (The same deviation is\n%% recorded on showalter-tabernacle-hymns-1921, the other Tabernacle Hymns plate\n%% in the corpus, for the same reason.)\n%%\n%% NO TIES ANYWHERE, and exactly ONE SLUR (the alto's F4-E-flat4 in bar 3).  The\n%% soprano is strictly syllabic: 69 noteheads for 37 verse syllables + 32 refrain\n%% syllables, one note each.  NO AMEN on the page, and none is encoded.  No\n%% fermata is printed.  No Cyber Hymnal asset, MIDI or modern edition was\n%% consulted at any point.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 c''8. b'16 c''2 |\n  bes'4 d''8. c''16 d''2 |\n  f'4 f'8 f'8 f'4 f'8 f'8 |\n  g'4 g'8 g'8 f'4. bes'8 |\n  a'4 a'8. a'16 c''4 bes'8 a'8 |\n  bes'2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''2. bes'8. c''16 |\n  d''2. f'8 bes'8 |\n  d''2 d''2 |\n  c''8 bes'8 bes'8 g'8 f'4 a'8. bes'16 |\n  c''4. ees''8 d''4 c''8. c''16 |\n  bes'2.\n}\n\nalto = {\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 f'4( ees'4) |\n  d'4 f'8. e'16 f'2 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  ees'4 ees'8 ees'8 d'4. f'8 |\n  f'4 f'8. f'16 ees'4 d'8 c'8 |\n  d'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'2. d'8. ees'16 |\n  f'2. d'8 d'8 |\n  f'2 f'2 |\n  g'8 g'8 g'8 ees'8 d'4 c'8. d'16 |\n  ees'4. ees'8 f'4 ees'8. ees'16 |\n  d'2.\n}\n\ntenor = {\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. c'8 |\n  c'4 a8. g16 a2 |\n  f4 bes8. bes16 bes2 |\n  bes4 bes8 bes8 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes4. d'8 |\n  c'4 c'8. c'16 a4 f8 f8 |\n  f2. bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 r4 |\n  r4 a8. a16 a4 r4 |\n  r4 bes8. bes16 bes4 bes8 bes8 |\n  bes4 bes8 bes8 bes2 |\n  bes8 bes8 bes8 bes8 bes4 c'8. bes16 |\n  a4. c'8 bes4 a8. a16 |\n  bes2.\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. fis16 f2 |\n  bes,4 bes,8. bes,16 bes,2 |\n  bes,4 bes,8 bes,8 bes,4 bes,8 bes,8 |\n  ees4 ees8 ees8 bes,4. bes,8 |\n  f4 f8. f16 f4 f8 f8 |\n  bes,2. bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 r4 |\n  r4 f8. f16 f4 r4 |\n  r4 bes,8. bes,16 bes,4 bes,8 bes,8 |\n  bes,4 d8 f8 bes2 |\n  ees8 ees8 ees8 ees8 bes,4 f8. f16 |\n  f4. f8 f4 f8. f16 |\n  bes,2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}