{"slug": "promises", "name": "PROMISES", "meter_label": "11.11.11.9 with Refrain", "meter": {"pattern": [11, 11, 11, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "russell-kelso-carter", "composer_date": "1886", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "promises-songs-of-perfect-love-1886", "provenance": {"layer": "tune", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by R. Kelso Carter (1849-1928), first published with his own words in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 \u2014 read on the archive.org scan songsofperfectlo00cart, leaf 101 \u2014 headed 'Standing on the Promises.' with 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' Reprinted in the same B-flat \u2014 but NOT note for note: Christ in Song (1908) re-sets the chorus's 'of God (my Saviour;)' bar and differs at one soprano notehead in the bar before. Formerly described as note for note but for a single soprano notehead, in Christ in Song (ed. F. E. Belden, 1908), hymn 219, printed pp. 212-213 (archive.org songfora00beld leaves 162-163). US public domain by publication before 1929. NAME: neither plate names the tune on the page; PROMISES is the name under which Hymnary's tune authority (PROMISES, Carter) and later hymnals print it, and its meter there \u2014 11.11.11.9 with refrain \u2014 is the meter the 1886 engraving actually sets, 11 + 11 + 11 + 9 syllables over 42 soprano notes with a 30-note chorus. The soprano's first eleven scale degrees, 5 5 5 6 5 4 3 4 5 8 8 in B-flat, are the published PROMISES incipit; tools/tune_fingerprint.py puts this melody's best corpus match at 0.53 (UXBRIDGE), far below the 0.80 duplicate threshold, so the tune is new to the corpus and not a mislabelled asset.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "promises-songs-of-perfect-love-1886", "tune": "promises", "music_file": "promises-songs-of-perfect-love-1886.ly", "harmonizer": "russell-kelso-carter", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 42, 46, 58, 62], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "bass_echo": {"segments": [{"onset": 32, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 36, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 48, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 52, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4"]}]}, "provenance": {"layer": "harmonization", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "R. Kelso Carter's own four-part setting as FIRST PRINTED, in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 \u2014 archive.org item songsofperfectlo00cart, leaf 101, an unrestricted Princeton Theological Seminary copy \u2014 headed 'Standing on the Promises.' with 'R. K. C.' at the left and 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' beneath the hymn's own last system. US public domain by publication before 1929, and no arranger other than the composer stands anywhere in the chain. SECOND DATED WITNESS, read independently: Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope Publishing Co., 1908), hymn 219, printed pp. 212-213 \u2014 archive.org item songfora00beld, leaves 162-163 \u2014 whose footer reads 'Copyright, 1886, by JOHN J. HOOD. Used by permission.' Same key and same tune; the 1908 reprint is NOT the same setting throughout (it re-sets the chorus's 'of God' bar). NO SCAFFOLD OF ANY KIND WAS USED: no Cyber Hymnal .nwc or .mid, no other MIDI, no existing encoding. Every notehead was measured off the 1886 page (method in the .ly header) and then checked against the 1908 plate column by column. WHERE THIS ENCODING DEPARTS FROM THE 1886 PAGE \u2014 all of it, stated plainly: (a) verse bar 8 prints a dotted half plus a quarter rest in all four voices and is written here as a whole note, per the house cadence-breath convention (same sounding length, same ordinals); (b) both plates print an inverted fermata over the chorus's second '...ing,' (soprano note 62) and it is NOT rendered, per house style, which records fermatas in the .ly header instead; (c) appearance only, no note and no duration changed: the 1886 plate FLAGS every note separately \u2014 one flag on each dotted eighth, two on each sixteenth, and no beam anywhere on the page. The verse engraves that way here too, but in the CHORUS, where the soprano holds and the answering voices move under it, the engine beams those pairs. The plate's section label also reads 'CHORUS.' where the house style prints 'Refrain'; (d) the two printings disagree at exactly one notehead \u2014 chorus bar 3 note 6, where 1886 prints the soprano in the C5 space and 1908 on the D5 line. This file follows the 1886 plate it cites and encodes C5. Nothing else differs: pitch for pitch and rhythm for rhythm this is the 1886 engraving, including its THREE single-notehead unisons \u2014 the third is chorus bar 7 (ly bar 15) note 8, the closing sixteenth of 'prom-is-es OF God', one F3 head carrying an up-stem and a down-stem, each double-flagged (verse bar 7 notes 7-8 on F3, chorus bar 4 note 1 on B-flat 3) and the tenor's B-flat 3 / F3 difference between the otherwise identical cadence bars 2 and 6, which both plates print.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1886 Songs of Perfect Love engraving (archive.org songsofperfectlo00cart leaf 101), measured notehead by notehead and cross-read against Christ in Song 1908 (songfora00beld leaves 162-163)", "encoding_license": "PD-dedication"}, "music_ly": "%% PROMISES (11.11.11.9 with Refrain) \u2014 \"Standing on the Promises\"\n%% Words and music R. Kelso Carter, 1886. Four SATB voice streams, canonical key\n%% B-flat major, 4/4 throughout, no pickup. 16 bars: an 8-bar verse and an 8-bar\n%% chorus.\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 \u2014 THE FIRST PRINTING, AND NOTHING ELSE.\n%% Transcribed from Songs of Perfect Love (comp. John R. Sweney & R. Kelso\n%% Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 \u2014\n%% archive.org item songsofperfectlo00cart, leaf 101 \u2014 headed \"Standing on the\n%% Promises.\" with \"R. K. C.\" at the left and \"R. KELSO CARTER\" at the right,\n%% and the engraved footer \"Copyright, 1886, by JOHN J. HOOD.\" beneath the last\n%% system. No scaffold of any kind was used: no Cyber Hymnal .nwc or .mid, no\n%% MIDI, no existing encoding. Every notehead below was measured off that page.\n%%\n%% SECOND DATED WITNESS, read independently and required to agree:\n%% Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope\n%% Publishing Co., n.d. but 1908), hymn 219, printed pp. 212-213 \u2014 archive.org\n%% item songfora00beld, leaves 162-163 \u2014 whose own footer reads \"Copyright,\n%% 1886, by JOHN J. HOOD. Used by permission.\" Same key, same meter, same\n%% setting. The two plates were compared column by column. They agree everywhere\n%% at one notehead, chorus bar 3 note 6 (\"...prom-IS-es...\"), where 1886\n%% (this file first said the plates agree EXCEPT there; they also diverge at chorus\n%% bar 4, where 1908 re-sets \"of God (my Saviour;)\" with an open half notehead and a\n%% slur over a dotted half, against 1886's four plain quarters and no curve \u2014 THIS\n%% FILE FOLLOWS THE 1886 PLATE)\n%% prints the soprano in the C5 space and 1908 prints it on the D5 line. THIS\n%% FILE FOLLOWS THE 1886 PLATE IT CITES and encodes c''.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For every note column the five\n%% staff lines were detected LOCALLY (a sliding x-window, each line then fitted\n%% as a quadratic in x, so the scan's skew and warp are followed rather than\n%% averaged away). Each head's centre was taken as the midpoint of its own\n%% full-width ink rows in that column's vertical darkness profile, with the\n%% staff-line rows interpolated out so a line running through a head could not\n%% stretch it. The centre was converted to a diatonic step by interpolating\n%% between the two NEAREST fitted lines only \u2014 no global vertical scale. Over\n%% 253 filled heads on the 1886 plate the residual to an exact staff position\n%% has median 0.00 step, with two systematic offsets estimated from the whole\n%% page and subtracted: a head engraved in a space sits about 0.21 step off the\n%% space centre, in the direction its stem points (up in the treble staff, down\n%% in the bass), while a head on a line sits on the line to within 0.02 step.\n%% After that correction every head encoded here lands within 0.15 step of an\n%% exact position; the handful that did not were cropped at 5-9x and read\n%% against the fitted grid one at a time.\n%%\n%% THE TEXTURE. Verse: strictly homorhythmic, all four voices, in the gospel\n%% dotted figure 8. 16 8. 16 8. 16 8. 16 for the long bars and 4 4 2 for the\n%% cadence bars. Chorus: ANTIPHONAL, and the plate really does print it that\n%% way. In chorus bars 1, 2, 5 and 6 the SOPRANO holds \"Stand \u2014\u2014\u2014 ing,\" in half\n%% notes while ALTO, TENOR and BASS answer underneath in the dotted figure with\n%% their own words, \"Standing on the promise,\" \u2014 the 1886 page carries two\n%% lyric rows between the staves for exactly this (the melody's row and the\n%% answer's row), and the 1908 reprint prints the same two rows. In chorus bars\n%% 3, 4, 7 and 8 all four voices sing the melody's words together. The answer is\n%% carried in the sidecar as `bass_echo`, which prints it as a second, smaller\n%% row directly beneath the refrain row \u2014 i.e. between the staves, where both\n%% plates put it.\n%%\n%% WHAT THE ENGRAVING DOES NOT REPRODUCE (appearance only, no note and no\n%% duration changed): the 1886 plate FLAGS every note separately \u2014 one flag on\n%% each dotted eighth, two on each sixteenth, and no beam anywhere on the page.\n%% The verse comes out that way here too, but in the CHORUS, where the soprano\n%% holds and the answering voices move under it, this engine beams those pairs.\n%% The plate's section label also reads \"CHORUS.\" where the house style prints\n%% \"Refrain\".\n%%\n%% UNISONS. Where the plate engraves a SINGLE notehead in the lower staff, tenor\n%% and bass are in unison and both are written here. That happens at verse bar 7\n%% notes 7-8 (one F3 head, confirmed on both plates at 8x) and at chorus bar 4\n%% note 1, where the 1886 plate prints one head just above the bass staff's top\n%% line \u2014 B-flat 3 \u2014 with a single down stem and nothing below it.\n%%\n%% FERMATA \u2014 PRESENT ON THE PAGE, NOT RENDERED. Both plates print an inverted\n%% fermata on the chorus's second \"\u2026ing,\" (soprano note 62, the E-flat 5 dotted\n%% quarter in chorus bar 6). House style omits fermatas and records them here,\n%% as the Bach chorales and FILLMORE in this corpus already do; adding it would\n%% be the one token ees''4.\\fermata.\n%%\n%% CADENCE BREATH. At the end of the verse (bar 8) the plate prints a dotted\n%% half plus a quarter rest in ALL FOUR voices, 4/4. That is written here as a\n%% whole note, per the house cadence-breath convention \u2014 sounding value\n%% unchanged, ordinals unchanged, singers breathe naturally.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  g'8. g'16 g'8. a'16 bes'8. bes'16 a'8. g'16 |\n  g'4 f'4 f'2 |\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  d''8. d''16 bes'8. bes'16 c''8. c''16 a'8. a'16 |\n  bes'1 |\n  d''2 bes'2 |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 c''8. c''16 bes'8. c''16 |\n  d''4 bes'4 g'4 bes'4 |\n  d''2 bes'2 |\n  g'2 ees''4. c''8 |\n  bes'8. bes'16 bes'8. c''16 d''8. d''16 c''8. c''16 |\n  bes'1\n}\n\nalto = {\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  ees'8. ees'16 ees'8. f'16 g'8. g'16 f'8. ees'16 |\n  ees'4 d'4 d'2 |\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  f'8. f'16 d'8. d'16 ees'8. ees'16 ees'8. ees'16 |\n  d'1 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 d'8 d'4. |\n  f'8. f'16 f'8. f'16 f'8. f'16 f'8. f'16 |\n  f'4 d'4 ees'4 d'4 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 g'8 g'4 ees'8 |\n  d'8. d'16 d'8. ees'16 f'8. f'16 ees'8. ees'16 |\n  d'1\n}\n\ntenor = {\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 ees'8. ees'16 bes8. bes16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 f4 f2 |\n  bes8. bes16 f8. f16 g8. g16 f8. f16 |\n  f1 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  a8. a16 a8. a16 a8. a16 g8. a16 |\n  bes4 f4 bes4 f4 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4 g8 |\n  bes8. bes16 bes8. a16 bes8. bes16 a8. f16 |\n  f1\n}\n\nbass = {\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 ees8. ees16 f8. f16 |\n  bes,1 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 g8 g4. |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes4 bes,4 bes,4 bes,4 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 ees8 ees4 ees8 |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes,1\n}\n"}, "harmonizations": [{"slug": "promises-songs-of-perfect-love-1886", "tune": "promises", "music_file": "promises-songs-of-perfect-love-1886.ly", "harmonizer": "russell-kelso-carter", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 22, 33, 42, 46, 58, 62], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "markings": [{"soprano_note": 43, "kind": "refrain"}], "bass_echo": {"segments": [{"onset": 32, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 36, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 48, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4."]}, {"onset": 52, "text": "Stand -- ing on the prom -- ise,", "durations": ["8.", "16", "8.", "16", "8", "4"]}]}, "provenance": {"layer": "harmonization", "source": "songs-of-perfect-love-1886", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "R. Kelso Carter's own four-part setting as FIRST PRINTED, in Songs of Perfect Love (comp. John R. Sweney & R. Kelso Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 \u2014 archive.org item songsofperfectlo00cart, leaf 101, an unrestricted Princeton Theological Seminary copy \u2014 headed 'Standing on the Promises.' with 'R. K. C.' at the left and 'R. KELSO CARTER' at the right and the engraved footer 'Copyright, 1886, by JOHN J. HOOD.' beneath the hymn's own last system. US public domain by publication before 1929, and no arranger other than the composer stands anywhere in the chain. SECOND DATED WITNESS, read independently: Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope Publishing Co., 1908), hymn 219, printed pp. 212-213 \u2014 archive.org item songfora00beld, leaves 162-163 \u2014 whose footer reads 'Copyright, 1886, by JOHN J. HOOD. Used by permission.' Same key and same tune; the 1908 reprint is NOT the same setting throughout (it re-sets the chorus's 'of God' bar). NO SCAFFOLD OF ANY KIND WAS USED: no Cyber Hymnal .nwc or .mid, no other MIDI, no existing encoding. Every notehead was measured off the 1886 page (method in the .ly header) and then checked against the 1908 plate column by column. WHERE THIS ENCODING DEPARTS FROM THE 1886 PAGE \u2014 all of it, stated plainly: (a) verse bar 8 prints a dotted half plus a quarter rest in all four voices and is written here as a whole note, per the house cadence-breath convention (same sounding length, same ordinals); (b) both plates print an inverted fermata over the chorus's second '...ing,' (soprano note 62) and it is NOT rendered, per house style, which records fermatas in the .ly header instead; (c) appearance only, no note and no duration changed: the 1886 plate FLAGS every note separately \u2014 one flag on each dotted eighth, two on each sixteenth, and no beam anywhere on the page. The verse engraves that way here too, but in the CHORUS, where the soprano holds and the answering voices move under it, the engine beams those pairs. The plate's section label also reads 'CHORUS.' where the house style prints 'Refrain'; (d) the two printings disagree at exactly one notehead \u2014 chorus bar 3 note 6, where 1886 prints the soprano in the C5 space and 1908 on the D5 line. This file follows the 1886 plate it cites and encodes C5. Nothing else differs: pitch for pitch and rhythm for rhythm this is the 1886 engraving, including its THREE single-notehead unisons \u2014 the third is chorus bar 7 (ly bar 15) note 8, the closing sixteenth of 'prom-is-es OF God', one F3 head carrying an up-stem and a down-stem, each double-flagged (verse bar 7 notes 7-8 on F3, chorus bar 4 note 1 on B-flat 3) and the tenor's B-flat 3 / F3 difference between the otherwise identical cadence bars 2 and 6, which both plates print.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1886 Songs of Perfect Love engraving (archive.org songsofperfectlo00cart leaf 101), measured notehead by notehead and cross-read against Christ in Song 1908 (songfora00beld leaves 162-163)", "encoding_license": "PD-dedication"}, "music_ly": "%% PROMISES (11.11.11.9 with Refrain) \u2014 \"Standing on the Promises\"\n%% Words and music R. Kelso Carter, 1886. Four SATB voice streams, canonical key\n%% B-flat major, 4/4 throughout, no pickup. 16 bars: an 8-bar verse and an 8-bar\n%% chorus.\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 \u2014 THE FIRST PRINTING, AND NOTHING ELSE.\n%% Transcribed from Songs of Perfect Love (comp. John R. Sweney & R. Kelso\n%% Carter; Philadelphia: John J. Hood, 1886), hymn 120, printed page 101 \u2014\n%% archive.org item songsofperfectlo00cart, leaf 101 \u2014 headed \"Standing on the\n%% Promises.\" with \"R. K. C.\" at the left and \"R. KELSO CARTER\" at the right,\n%% and the engraved footer \"Copyright, 1886, by JOHN J. HOOD.\" beneath the last\n%% system. No scaffold of any kind was used: no Cyber Hymnal .nwc or .mid, no\n%% MIDI, no existing encoding. Every notehead below was measured off that page.\n%%\n%% SECOND DATED WITNESS, read independently and required to agree:\n%% Christ in Song for All Religious Services, ed. F. E. Belden (Chicago: Hope\n%% Publishing Co., n.d. but 1908), hymn 219, printed pp. 212-213 \u2014 archive.org\n%% item songfora00beld, leaves 162-163 \u2014 whose own footer reads \"Copyright,\n%% 1886, by JOHN J. HOOD. Used by permission.\" Same key, same meter, same\n%% setting. The two plates were compared column by column. They agree everywhere\n%% at one notehead, chorus bar 3 note 6 (\"...prom-IS-es...\"), where 1886\n%% (this file first said the plates agree EXCEPT there; they also diverge at chorus\n%% bar 4, where 1908 re-sets \"of God (my Saviour;)\" with an open half notehead and a\n%% slur over a dotted half, against 1886's four plain quarters and no curve \u2014 THIS\n%% FILE FOLLOWS THE 1886 PLATE)\n%% prints the soprano in the C5 space and 1908 prints it on the D5 line. THIS\n%% FILE FOLLOWS THE 1886 PLATE IT CITES and encodes c''.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For every note column the five\n%% staff lines were detected LOCALLY (a sliding x-window, each line then fitted\n%% as a quadratic in x, so the scan's skew and warp are followed rather than\n%% averaged away). Each head's centre was taken as the midpoint of its own\n%% full-width ink rows in that column's vertical darkness profile, with the\n%% staff-line rows interpolated out so a line running through a head could not\n%% stretch it. The centre was converted to a diatonic step by interpolating\n%% between the two NEAREST fitted lines only \u2014 no global vertical scale. Over\n%% 253 filled heads on the 1886 plate the residual to an exact staff position\n%% has median 0.00 step, with two systematic offsets estimated from the whole\n%% page and subtracted: a head engraved in a space sits about 0.21 step off the\n%% space centre, in the direction its stem points (up in the treble staff, down\n%% in the bass), while a head on a line sits on the line to within 0.02 step.\n%% After that correction every head encoded here lands within 0.15 step of an\n%% exact position; the handful that did not were cropped at 5-9x and read\n%% against the fitted grid one at a time.\n%%\n%% THE TEXTURE. Verse: strictly homorhythmic, all four voices, in the gospel\n%% dotted figure 8. 16 8. 16 8. 16 8. 16 for the long bars and 4 4 2 for the\n%% cadence bars. Chorus: ANTIPHONAL, and the plate really does print it that\n%% way. In chorus bars 1, 2, 5 and 6 the SOPRANO holds \"Stand \u2014\u2014\u2014 ing,\" in half\n%% notes while ALTO, TENOR and BASS answer underneath in the dotted figure with\n%% their own words, \"Standing on the promise,\" \u2014 the 1886 page carries two\n%% lyric rows between the staves for exactly this (the melody's row and the\n%% answer's row), and the 1908 reprint prints the same two rows. In chorus bars\n%% 3, 4, 7 and 8 all four voices sing the melody's words together. The answer is\n%% carried in the sidecar as `bass_echo`, which prints it as a second, smaller\n%% row directly beneath the refrain row \u2014 i.e. between the staves, where both\n%% plates put it.\n%%\n%% WHAT THE ENGRAVING DOES NOT REPRODUCE (appearance only, no note and no\n%% duration changed): the 1886 plate FLAGS every note separately \u2014 one flag on\n%% each dotted eighth, two on each sixteenth, and no beam anywhere on the page.\n%% The verse comes out that way here too, but in the CHORUS, where the soprano\n%% holds and the answering voices move under it, this engine beams those pairs.\n%% The plate's section label also reads \"CHORUS.\" where the house style prints\n%% \"Refrain\".\n%%\n%% UNISONS. Where the plate engraves a SINGLE notehead in the lower staff, tenor\n%% and bass are in unison and both are written here. That happens at verse bar 7\n%% notes 7-8 (one F3 head, confirmed on both plates at 8x) and at chorus bar 4\n%% note 1, where the 1886 plate prints one head just above the bass staff's top\n%% line \u2014 B-flat 3 \u2014 with a single down stem and nothing below it.\n%%\n%% FERMATA \u2014 PRESENT ON THE PAGE, NOT RENDERED. Both plates print an inverted\n%% fermata on the chorus's second \"\u2026ing,\" (soprano note 62, the E-flat 5 dotted\n%% quarter in chorus bar 6). House style omits fermatas and records them here,\n%% as the Bach chorales and FILLMORE in this corpus already do; adding it would\n%% be the one token ees''4.\\fermata.\n%%\n%% CADENCE BREATH. At the end of the verse (bar 8) the plate prints a dotted\n%% half plus a quarter rest in ALL FOUR voices, 4/4. That is written here as a\n%% whole note, per the house cadence-breath convention \u2014 sounding value\n%% unchanged, ordinals unchanged, singers breathe naturally.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  g'8. g'16 g'8. a'16 bes'8. bes'16 a'8. g'16 |\n  g'4 f'4 f'2 |\n  f'8. f'16 f'8. g'16 f'8. ees'16 d'8. ees'16 |\n  f'4 bes'4 bes'2 |\n  d''8. d''16 bes'8. bes'16 c''8. c''16 a'8. a'16 |\n  bes'1 |\n  d''2 bes'2 |\n  g'2 bes'2 |\n  c''8. c''16 c''8. c''16 c''8. c''16 bes'8. c''16 |\n  d''4 bes'4 g'4 bes'4 |\n  d''2 bes'2 |\n  g'2 ees''4. c''8 |\n  bes'8. bes'16 bes'8. c''16 d''8. d''16 c''8. c''16 |\n  bes'1\n}\n\nalto = {\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  ees'8. ees'16 ees'8. f'16 g'8. g'16 f'8. ees'16 |\n  ees'4 d'4 d'2 |\n  d'8. d'16 d'8. ees'16 d'8. c'16 bes8. c'16 |\n  d'4 d'4 d'2 |\n  f'8. f'16 d'8. d'16 ees'8. ees'16 ees'8. ees'16 |\n  d'1 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 d'8 d'4. |\n  f'8. f'16 f'8. f'16 f'8. f'16 f'8. f'16 |\n  f'4 d'4 ees'4 d'4 |\n  f'8. f'16 f'8. f'16 d'8 d'4. |\n  ees'8. ees'16 ees'8. ees'16 g'8 g'4 ees'8 |\n  d'8. d'16 d'8. ees'16 f'8. f'16 ees'8. ees'16 |\n  d'1\n}\n\ntenor = {\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 ees'8. ees'16 bes8. bes16 |\n  bes4 bes4 bes2 |\n  bes8. bes16 bes8. bes16 bes8. f16 f8. f16 |\n  bes4 f4 f2 |\n  bes8. bes16 f8. f16 g8. g16 f8. f16 |\n  f1 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  a8. a16 a8. a16 a8. a16 g8. a16 |\n  bes4 f4 bes4 f4 |\n  bes8. bes16 bes8. bes16 bes8 bes4. |\n  bes8. bes16 bes8. bes16 bes8 bes4 g8 |\n  bes8. bes16 bes8. a16 bes8. bes16 a8. f16 |\n  f1\n}\n\nbass = {\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  ees8. ees16 ees8. ees16 ees8. ees16 ees8. ees16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 bes,8. bes,16 |\n  bes,4 bes,4 bes,2 |\n  bes,8. bes,16 bes,8. bes,16 ees8. ees16 f8. f16 |\n  bes,1 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 g8 g4. |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes4 bes,4 bes,4 bes,4 |\n  bes,8. bes,16 bes,8. bes,16 bes,8 bes,4. |\n  ees8. ees16 ees8. ees16 ees8 ees4 ees8 |\n  f8. f16 f8. f16 f8. f16 f8. f16 |\n  bes,1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}