{"slug": "rescue", "name": "RESCUE", "meter_label": "11.10.11.10 with Refrain", "meter": {"pattern": [11, 10, 11, 10], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-howard-doane", "composer_date": "1870", "canonical_key": {"tonic": "bes", "mode": "major"}, "preferred_harmonization": "rescue-1870", "provenance": {"layer": "tune", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "Tune by William Howard Doane (1832-1915), first published with Fanny Crosby's words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 \u2014 read on the archive.org scan devotionc00doan, leaf n261, where it is set in B-flat, 4/4, with a repeat and 1st/2nd endings and a four-bar chorus. Reprinted, written out without the repeat, in Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), credited 'W. H. DOANE, by per.' \u2014 same key, same notes. US public domain by publication before 1929; the composer died in 1915, so the tune is PD in life+70 jurisdictions too. Neither dated page names the tune (gospel songs are printed under their title), so the name RESCUE is the name the hymnals give it; no printed alternate name was seen on either page, so none is recorded.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "rescue-1870", "tune": "rescue", "music_file": "rescue-1870.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 53], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "W. H. Doane's own four-part setting, published with the words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 \u2014 read note by note off the archive.org scan devotionc00doan, leaf n261 \u2014 and diffed bar by bar against the second dated witness, Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), which prints the same music in the same key with the repeat WRITTEN OUT; the written-out 12-bar layout is what is encoded here. The two engravings agree on every note, including the three idiosyncrasies that are this setting's fingerprint (see also the CORRECTED AFTER IMPORT note in the .ly header: the opening figure was first encoded with a repeated note in soprano and alto, and was corrected to the printed rising D-E-flat-F / B-flat-C-D by re-measuring both scans against locally detected staff lines \u2014 so 'read note by note' describes the corrected state, not the reading this record originally shipped): the alto's E natural on 'and the' in bar 4 (making the C7 between two F chords); the ees-bes under f'-a' on the second chord of bars 2/6/11, which is not a triad but is printed identically on both pages; and the dotted eighth + sixteenth on 'per-ish' in the chorus's first bar (bar 9), dotted in all four voices and carrying a double flag on the sixteenth. 63 soprano notes carry 63 syllables \u2014 there is no slur, tie or melisma anywhere in the piece \u2014 and the quarter rest that ends bar 4 in all four voices is the printed phrase breath, kept rather than collapsed. Both printings are US public domain by publication before 1929 and no modern arranger stands anywhere in the chain: the 1875 page credits only 'W. H. DOANE, by per.'", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the archive.org page images devotionc00doan leaf n261 (Songs of Devotion, 1870, p. 258) and ghss1875music leaf n25 (Gospel Hymns and Sacred Songs, 1875, p. 20), read at 4-9x magnification against a pitch grid; no MIDI, no NoteWorthy file and no Cyber Hymnal scaffold was used (hymntime.com was unreachable during this import)", "encoding_license": "PD-dedication"}, "music_ly": "%% RESCUE (11.10.11.10 with Refrain) \u2014 \"Rescue the Perishing\"\n%% Four SATB voice streams, canonical key B-flat major, 4/4, no pickup, 12 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 note by note off two dated printings, both opened\n%% on archive.org, and diffed against each other bar by bar:\n%%   (a) FIRST PRINTING, W. H. Doane's own setting \u2014 Songs of Devotion (New York:\n%%       Biglow & Main, 1870), hymn 642, printed page 258 (item devotionc00doan,\n%%       leaf n261). Two staves, S+A over T+B, as gospel songs are engraved.\n%%   (b) Gospel Hymns and Sacred Songs (New York: Biglow & Main / Cincinnati:\n%%       John Church, 1875), no. 18, printed page 20 (item ghss1875music, leaf\n%%       n25), headed \"FANNY J. CROSBY. / W. H. DOANE, by per.\"\n%% NOT from the Cyber Hymnal: hymntime.com was unreachable during this import, so\n%% no scaffold was used at all; every pitch here comes off the two scans.\n%%\n%% CORRECTED AFTER IMPORT. The opening gesture was first encoded with a repeated\n%% note \u2014 soprano f' d' d' f' f' f' and alto d' bes bes d' d' d' in bars 1 and 5 \u2014\n%% and that was wrong on both counts. Independent re-measurement against locally\n%% detected staff lines on BOTH scans (1875 leaf n25, line step 14.375px; 1870\n%% leaf n261, step 10.56px) puts the third notehead 7.94/7.91 diatonic steps below\n%% F5 in the soprano (E-flat, not D) and 10.06/9.98 in the alto (C, not B-flat),\n%% each within 0.1 step of an exact staff position and a full step from the\n%% alternative. What the pages print is a rising D-E-flat-F passing motion with\n%% the alto in parallel thirds B-flat-C-D over the B-flat pedal in tenor and bass.\n%% Two independently engraved witnesses agree, so the reading is not a scan\n%% artefact. These are soprano notes 3 and 27 of 63 \u2014 the tune's opening figure on\n%% \"RES-cue the PER-ish-ing\" \u2014 so the error was in the four most recognizable\n%% notes in the hymn, in both halves of the verse.\n%%\n%% STRUCTURE. The 1870 page prints 8 bars with a repeat and 1st/2nd endings\n%% (bars 1-3, ending A \"sin and the grave;\" :|| ending B \"mighty to save.\") plus\n%% a 4-bar chorus. The 1875 page WRITES THE REPEAT OUT \u2014 12 bars, three per\n%% system \u2014 and that is the layout encoded here: bars 1-4 = verse first half,\n%% bars 5-8 = verse second half (bars 5/6/7 are bars 1/2/3 note for note, as the\n%% 1870 repeat sign says they must be, and every note of bars 5-7 was re-read on\n%% the 1875 page to confirm the engraver copied them), bars 9-12 = the chorus.\n%%\n%% RHYTHM. The dactylic lines take a long-short-short figure that is NOT uniform:\n%% bars 1/5/11 are 4 4. 4. 4. 4. 4 (q e e e e q) while bars 3/7 are q e e q e e \u2014\n%% checked flag by flag at 4x on both scans, since the two patterns sum to the\n%% same 4/4 bar and a mis-read would be inaudible in the arithmetic. Bar 9 (the\n%% chorus's first bar) carries the one dotted figure: a dotted eighth + sixteenth\n%% on \"per-ish\", printed with the dot in all four voices and a DOUBLE flag on the\n%% sixteenth (clearest in the bass staff of the 1875 page).\n%%\n%% ACCIDENTALS. One printed accidental in the whole piece: the alto's E NATURAL\n%% on the two eighths of bar 4 (\"and the\"), giving the C7 (c-e-g-bes) between the\n%% F chords either side of it. It is engraved as a natural before the LOWER\n%% notehead of the treble staff on both pages; no other voice takes it, and it\n%% does not recur in bar 8 (the second ending sets that syllable over E-flat).\n%%\n%% PHRASE BREATH. Bar 4 ends the first half-verse with a quarter note plus a\n%% quarter REST in all four voices (\"...and the grave;\"), printed on both pages\n%% and kept as printed: the house collapse convention is written for the\n%% dotted-half-plus-rest cadence, not for this one, and the rest is the breath\n%% the singers take before \"Weep o'er the erring one\".\n%%\n%% VOICING ODDITY, kept because both dated pages print it: the second chord of\n%% bars 2/6/11 sets ees + bes under f' + a' (E-flat and B-flat under F and A) \u2014\n%% not a triad, but the passing sonority Doane wrote, identical in the 1870 and\n%% 1875 engravings, and it recurs at the same place in the chorus's third bar.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 g'8 f'4 r4 |\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 a'8 bes'2 |\n  c''4 bes'8 c''8 d''8. c''16 bes'4 |\n  c''4 bes'8 c''8 d''4 bes'4 |\n  bes'4 a'8 g'8 f'8 bes'8 d''4 |\n  c''4 bes'8 a'8 bes'2\n}\n\nalto = {\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  f'4 e'8 e'8 f'4 r4 |\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  g'4 f'8 f'8 f'2 |\n  f'4 f'8 f'8 f'8. ees'16 d'4 |\n  f'4 f'8 f'8 f'4 f'4 |\n  g'4 f'8 ees'8 d'8 f'8 f'4 |\n  g'4 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  a4 g8 bes8 a4 r4 |\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  bes4 d'8 c'8 d'2 |\n  a4 g8 a8 bes8. f16 f4 |\n  a4 g8 a8 bes4 d'4 |\n  ees'4 bes8 bes8 bes8 d'8 bes4 |\n  bes4 d'8 c'8 bes2\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  c4 c8 c8 f4 r4 |\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  ees4 f8 f8 bes,2 |\n  f4 f8 f8 bes,8. bes,16 bes,4 |\n  f4 f8 f8 bes,4 bes,4 |\n  ees4 ees8 ees8 bes,8 bes,8 bes,4 |\n  ees4 f8 f8 bes,2\n}\n"}, "harmonizations": [{"slug": "rescue-1870", "tune": "rescue", "music_file": "rescue-1870.ly", "harmonizer": "william-howard-doane", "arrangement_type": "harmonization", "canonical_key": {"tonic": "bes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [11, 21, 32, 42, 53], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "songs-of-devotion-1870", "source_kind": "hand_encoded", "pd_evidence": "W. H. Doane's own four-part setting, published with the words in Songs of Devotion (New York: Biglow & Main, 1870), hymn 642, printed page 258 \u2014 read note by note off the archive.org scan devotionc00doan, leaf n261 \u2014 and diffed bar by bar against the second dated witness, Gospel Hymns and Sacred Songs (Biglow & Main / John Church Co., 1875), no. 18, printed page 20 (archive.org ghss1875music, leaf n25), which prints the same music in the same key with the repeat WRITTEN OUT; the written-out 12-bar layout is what is encoded here. The two engravings agree on every note, including the three idiosyncrasies that are this setting's fingerprint (see also the CORRECTED AFTER IMPORT note in the .ly header: the opening figure was first encoded with a repeated note in soprano and alto, and was corrected to the printed rising D-E-flat-F / B-flat-C-D by re-measuring both scans against locally detected staff lines \u2014 so 'read note by note' describes the corrected state, not the reading this record originally shipped): the alto's E natural on 'and the' in bar 4 (making the C7 between two F chords); the ees-bes under f'-a' on the second chord of bars 2/6/11, which is not a triad but is printed identically on both pages; and the dotted eighth + sixteenth on 'per-ish' in the chorus's first bar (bar 9), dotted in all four voices and carrying a double flag on the sixteenth. 63 soprano notes carry 63 syllables \u2014 there is no slur, tie or melisma anywhere in the piece \u2014 and the quarter rest that ends bar 4 in all four voices is the printed phrase breath, kept rather than collapsed. Both printings are US public domain by publication before 1929 and no modern arranger stands anywhere in the chain: the 1875 page credits only 'W. H. DOANE, by per.'", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the archive.org page images devotionc00doan leaf n261 (Songs of Devotion, 1870, p. 258) and ghss1875music leaf n25 (Gospel Hymns and Sacred Songs, 1875, p. 20), read at 4-9x magnification against a pitch grid; no MIDI, no NoteWorthy file and no Cyber Hymnal scaffold was used (hymntime.com was unreachable during this import)", "encoding_license": "PD-dedication"}, "music_ly": "%% RESCUE (11.10.11.10 with Refrain) \u2014 \"Rescue the Perishing\"\n%% Four SATB voice streams, canonical key B-flat major, 4/4, no pickup, 12 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 note by note off two dated printings, both opened\n%% on archive.org, and diffed against each other bar by bar:\n%%   (a) FIRST PRINTING, W. H. Doane's own setting \u2014 Songs of Devotion (New York:\n%%       Biglow & Main, 1870), hymn 642, printed page 258 (item devotionc00doan,\n%%       leaf n261). Two staves, S+A over T+B, as gospel songs are engraved.\n%%   (b) Gospel Hymns and Sacred Songs (New York: Biglow & Main / Cincinnati:\n%%       John Church, 1875), no. 18, printed page 20 (item ghss1875music, leaf\n%%       n25), headed \"FANNY J. CROSBY. / W. H. DOANE, by per.\"\n%% NOT from the Cyber Hymnal: hymntime.com was unreachable during this import, so\n%% no scaffold was used at all; every pitch here comes off the two scans.\n%%\n%% CORRECTED AFTER IMPORT. The opening gesture was first encoded with a repeated\n%% note \u2014 soprano f' d' d' f' f' f' and alto d' bes bes d' d' d' in bars 1 and 5 \u2014\n%% and that was wrong on both counts. Independent re-measurement against locally\n%% detected staff lines on BOTH scans (1875 leaf n25, line step 14.375px; 1870\n%% leaf n261, step 10.56px) puts the third notehead 7.94/7.91 diatonic steps below\n%% F5 in the soprano (E-flat, not D) and 10.06/9.98 in the alto (C, not B-flat),\n%% each within 0.1 step of an exact staff position and a full step from the\n%% alternative. What the pages print is a rising D-E-flat-F passing motion with\n%% the alto in parallel thirds B-flat-C-D over the B-flat pedal in tenor and bass.\n%% Two independently engraved witnesses agree, so the reading is not a scan\n%% artefact. These are soprano notes 3 and 27 of 63 \u2014 the tune's opening figure on\n%% \"RES-cue the PER-ish-ing\" \u2014 so the error was in the four most recognizable\n%% notes in the hymn, in both halves of the verse.\n%%\n%% STRUCTURE. The 1870 page prints 8 bars with a repeat and 1st/2nd endings\n%% (bars 1-3, ending A \"sin and the grave;\" :|| ending B \"mighty to save.\") plus\n%% a 4-bar chorus. The 1875 page WRITES THE REPEAT OUT \u2014 12 bars, three per\n%% system \u2014 and that is the layout encoded here: bars 1-4 = verse first half,\n%% bars 5-8 = verse second half (bars 5/6/7 are bars 1/2/3 note for note, as the\n%% 1870 repeat sign says they must be, and every note of bars 5-7 was re-read on\n%% the 1875 page to confirm the engraver copied them), bars 9-12 = the chorus.\n%%\n%% RHYTHM. The dactylic lines take a long-short-short figure that is NOT uniform:\n%% bars 1/5/11 are 4 4. 4. 4. 4. 4 (q e e e e q) while bars 3/7 are q e e q e e \u2014\n%% checked flag by flag at 4x on both scans, since the two patterns sum to the\n%% same 4/4 bar and a mis-read would be inaudible in the arithmetic. Bar 9 (the\n%% chorus's first bar) carries the one dotted figure: a dotted eighth + sixteenth\n%% on \"per-ish\", printed with the dot in all four voices and a DOUBLE flag on the\n%% sixteenth (clearest in the bass staff of the 1875 page).\n%%\n%% ACCIDENTALS. One printed accidental in the whole piece: the alto's E NATURAL\n%% on the two eighths of bar 4 (\"and the\"), giving the C7 (c-e-g-bes) between the\n%% F chords either side of it. It is engraved as a natural before the LOWER\n%% notehead of the treble staff on both pages; no other voice takes it, and it\n%% does not recur in bar 8 (the second ending sets that syllable over E-flat).\n%%\n%% PHRASE BREATH. Bar 4 ends the first half-verse with a quarter note plus a\n%% quarter REST in all four voices (\"...and the grave;\"), printed on both pages\n%% and kept as printed: the house collapse convention is written for the\n%% dotted-half-plus-rest cadence, not for this one, and the rest is the breath\n%% the singers take before \"Weep o'er the erring one\".\n%%\n%% VOICING ODDITY, kept because both dated pages print it: the second chord of\n%% bars 2/6/11 sets ees + bes under f' + a' (E-flat and B-flat under F and A) \u2014\n%% not a triad, but the passing sonority Doane wrote, identical in the 1870 and\n%% 1875 engravings, and it recurs at the same place in the chorus's third bar.\n\\version \"2.24.0\"\n\nglobal  = { \\key bes \\major \\time 4/4 }\n\nsoprano = {\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 g'8 f'4 r4 |\n  f'4 d'8 ees'8 f'8 f'8 f'4 |\n  bes'4 a'8 g'8 g'4 f'4 |\n  f'4 g'8 a'8 bes'4 c''8 d''8 |\n  c''4 bes'8 a'8 bes'2 |\n  c''4 bes'8 c''8 d''8. c''16 bes'4 |\n  c''4 bes'8 c''8 d''4 bes'4 |\n  bes'4 a'8 g'8 f'8 bes'8 d''4 |\n  c''4 bes'8 a'8 bes'2\n}\n\nalto = {\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  f'4 e'8 e'8 f'4 r4 |\n  d'4 bes8 c'8 d'8 d'8 d'4 |\n  d'4 f'8 ees'8 ees'4 d'4 |\n  c'4 ees'8 f'8 f'4 f'8 f'8 |\n  g'4 f'8 f'8 f'2 |\n  f'4 f'8 f'8 f'8. ees'16 d'4 |\n  f'4 f'8 f'8 f'4 f'4 |\n  g'4 f'8 ees'8 d'8 f'8 f'4 |\n  g'4 f'8 ees'8 d'2\n}\n\ntenor = {\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  a4 g8 bes8 a4 r4 |\n  bes4 f8 f8 bes8 bes8 bes4 |\n  bes4 bes8 bes8 bes4 bes4 |\n  a4 bes8 c'8 d'4 a8 bes8 |\n  bes4 d'8 c'8 d'2 |\n  a4 g8 a8 bes8. f16 f4 |\n  a4 g8 a8 bes4 d'4 |\n  ees'4 bes8 bes8 bes8 d'8 bes4 |\n  bes4 d'8 c'8 bes2\n}\n\nbass = {\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  c4 c8 c8 f4 r4 |\n  bes,4 bes,8 bes,8 bes,8 bes,8 bes,4 |\n  bes,4 ees8 ees8 bes,4 bes,4 |\n  f4 f8 f8 f4 f8 bes,8 |\n  ees4 f8 f8 bes,2 |\n  f4 f8 f8 bes,8. bes,16 bes,4 |\n  f4 f8 f8 bes,4 bes,4 |\n  ees4 ees8 ees8 bes,8 bes,8 bes,4 |\n  ees4 f8 f8 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."}