{"slug": "seelenbr-utigam", "name": "SEELENBR\u00c4UTIGAM", "meter_label": "55.88.55", "meter": {"pattern": [5, 5, 8, 8, 5, 5], "doubled": false, "refrain": false, "alleluia": false, "irregular": false}, "composer": "adam-drese", "composer_date": "1698", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "seelenbr-utigam-cyberhymnal", "provenance": {"layer": "tune", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "SEELENBR\u00c4UTIGAM, composed by Adam Drese (1620-1701) in 1698, the standard tune for Nikolaus L. von Zinzendorf's \"Seelenbr\u00e4utigam, Jesu, Gottes Lamm\" (1721), known in English through Jane Borthwick's translation \"Jesus, still lead on\" (1846). A public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables \u2014 the slurred eighth-note pairs are inner-voice passing tones in the alto and bass, not soprano melismas). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbr\u00e4utigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "seelenbr-utigam-cyberhymnal", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 26, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SEELENBR\u00c4UTIGAM, Adam Drese, 1698. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEELENBR\u00c4UTIGAM (Adam Drese, 1620-1701; composed 1698); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables, 55.88.55). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbr\u00e4utigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEELENBR\u00c4UTIGAM (55.88.55) \u2014 four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% Encoded from The Cyber Hymnal SATB MIDI (\"Seelenbr\u00e4utigam\", Adam Drese, 1698)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4, no\n%% anacrusis; fully SYLLABIC (36 soprano notes = 36 syllables, 55.88.55). The\n%% slurred eighth-note pairs are inner-voice passing tones, NOT soprano melismas:\n%% the alto b8 cis'8 (bars 1, 9) and the bass b,8 c8 (bars 3, 11) and e8 fis8\n%% (bar 4), each under a sustained soprano quarter \u2014 mid2ly's voice-split leaked\n%% these into the melody line, corrected here against the raw MIDI and engraving.\n%% The chromatic passing tones cis' (alto/tenor) and dis' (alto) are printed with\n%% sharps in the source (each rises to its resolution).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2 | b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 | a'2 g'4 a'4 | b'4 a'4 g'4 fis'4 | g'2 fis'2 |\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2 | d'4 g'4 fis'4 g'4 |\n  g'4 fis'4 d'4 e'4 | fis'2 e'4 fis'4 | g'4 fis'4 e'4 dis'4 | e'2 dis'2 |\n  e'4 dis'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2\n}\ntenor = {\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2 | g4 g4 a4 g8 a8 |\n  b4 d'4 b4 cis'4 | d'2 b4 d'4 | d'4 d'4 b4 b4 | b2 b2 |\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2\n}\nbass = {\n  g,4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2 | d4 e4 d4 e8 fis8 |\n  g4 d4 g2 | d2 e4 d4 | g4 d4 e4 b,4 | e4 g4 fis2 |\n  e4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2\n}\n"}, "harmonizations": [{"slug": "seelenbr-utigam-bwv409", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-bwv409.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 27, 32], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "SEELENBR\u00c4UTIGAM, Adam Drese, 1698; harm. J. S. Bach (BWV 409). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part harmonization by Johann Sebastian Bach (1685-1750), BWV 409 \u2014 the standalone chorale \"Seelenbr\u00e4utigam\" on Adam Drese's 1698 tune, No. 141 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87) and in Riemenschneider's numbering. US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor141.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py; the conversion was verified event-for-event against the kern source in all four voices. The kern carries NO sectional repeat: the chorale is written out straight in eleven full 4/4 bars, the converter reported no seam bars, and every bar of every voice sums to exactly 4 quarters \u2014 so no time_changes adaptation is needed. Bach's key is A major (the kern's *k[f#c#g#] with *A:, as Breitkopf prints it); the corpus file is STORED IN G MAJOR, transposed down a major second and machine-checked at exactly -2 semitones AND -1 diatonic step per note in every voice (so the spelling follows the new signature: a->g, cis->b, gis->fis, and the alto/tenor chromatic eis'->dis'), with durations, ties and slurs unchanged, because the corpus keeps every harmonization of a tune in the tune's canonical key and SEELENBR\u00c4UTIGAM's is G major (from the Cyber Hymnal harmonization); the transposition was cross-checked token-for-token against LilyPond's own \\transpose a g of the converter output, 180 of 180 note tokens identical. 4/4, no anacrusis \u2014 the same meter and downbeat start as the corpus's Cyber Hymnal harmonization of this tune, and the same total length (176 sixteenths), so the two settings are bar-for-bar comparable. Fermatas at the six phrase ends (soprano ordinals 5, 10, 18, 27, 32, 38) are omitted per house style; Bach writes no phrase-end breath rests in this chorale. Machine comparison against the independently derived music21-corpus encoding (bwv409.mxl, MuseData/Greentree lineage, vendored beside the kern): soprano and bass identical event-for-event, and the alto identical once each edition's own ties are resolved to sounding events (43 events in both). The editions diverge only in the NOTATION of six held notes \u2014 alto bar 4 beat 3 (here g'4~ g'8, there a dotted quarter), alto bar 5 beat 2.5 (here a'8~ a'8, there a quarter), alto bar 7 beat 2 (here fis'4~ fis'8, there a dotted quarter), alto bar 8 beat 2 (here e'2, there two tied quarters), tenor bar 7 beat 1 (here d'4~ d'8, there a dotted quarter) \u2014 and in exactly one attack count, tenor bar 8, where the kern re-strikes the two half notes (b2 b2) that the other edition ties. The kern reading is kept throughout and each divergence is itemized in the music file header. Distinct from the corpus's existing Cyber Hymnal harmonization of this tune: sampled per sixteenth over the identical 176-sixteenth span the two agree on 97.7% of the soprano (the two cadential anticipations are the whole difference) but only 52.3% of the alto, 51.1% of the tenor and 65.9% of the bass \u2014 Bach's inner voices are markedly more active (49 alto and 46 tenor note tokens against the Cyber Hymnal setting's 39 and 38, with tied suspensions and sixteenth figuration the older setting has nothing like). The melisma slurs follow Bach's own underlay as carried by the texted bwv409.mxl witness: 36 German syllables + 2 melisma continuations = 38 sung notes, the continuations at soprano notes 26 and 37.", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor141.krn (BWV 409, Breitkopf/Riemenschneider No. 141), converted with tools/kern2ly.py", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside (imports/batchC/chor141.krn) so the conversion can be re-checked. The same analysis applies to the music21-corpus MusicXML witness vendored beside it (imports/batchC/bwv409.mxl), which is used only as an independent collation check and as the source of Bach's own text underlay. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% SEELENBR\u00c4UTIGAM (55.88.55) \u2014 four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% J. S. Bach's harmonization BWV 409 (the standalone chorale\n%% \"Seelenbr\u00e4utigam\", Adam Drese's 1698 tune, Breitkopf/Riemenschneider\n%% No. 141), converted from the craigsapp/bach-370-chorales kern edition\n%% (chor141.krn) with tools/kern2ly.py. No sectional repeat: the kern writes\n%% the chorale out straight in eleven full 4/4 bars, the converter reported no\n%% seam bars, and every bar in every voice sums to exactly 4 quarters \u2014 so\n%% there is no time_changes adaptation here.\n%% Bach's key is A MAJOR (the kern's *k[f#c#g#] with *A:, as Breitkopf prints\n%% it); STORED HERE IN G MAJOR \u2014 transposed down a major second, every voice,\n%% machine-checked at exactly -2 semitones AND -1 diatonic step per note (so\n%% the enharmonic spelling follows the new signature: a->g, cis->b, gis->fis,\n%% and the alto/tenor chromatic eis'->dis'), durations, ties and slurs\n%% unchanged \u2014 because the corpus keeps every harmonization of a tune in the\n%% tune's canonical key (the validate_corpus duplicated-fact equality), and\n%% SEELENBR\u00c4UTIGAM's is G major (from the Cyber Hymnal harmonization). The\n%% transposition was cross-checked token-for-token against LilyPond's own\n%% \\transpose a g of the converter output: 180 of 180 note tokens identical.\n%% 4/4, no anacrusis \u2014 the same meter and downbeat start as the corpus's Cyber\n%% Hymnal harmonization of this tune, so the two are bar-for-bar comparable\n%% (both 176 sixteenths long).\n%% The source prints fermatas at soprano ordinals 5, 10, 18, 27, 32, 38 (phrase\n%% lengths 5+5+8+9+5+6, one per text line of 55.88.55); fermatas are omitted per\n%% house style, and the ordinals are what system_breaks is built from.\n%% Machine-compared against the independent music21-corpus encoding of the same\n%% chorale (bwv409.mxl, MuseData/Greentree lineage; vendored beside the kern):\n%% SOPRANO and BASS are identical event-for-event, and the ALTO is identical\n%% once each edition's own ties are resolved to sounding events (43 events in\n%% both). The two editions diverge ONLY in how six held notes are notated, and\n%% at exactly one of them in attack count:\n%%   (a) alto bar 4 beat 3, here g'4~ g'8   \u2014 that edition writes a dotted quarter;\n%%   (b) alto bar 5 beat 2.5, here a'8~ a'8 \u2014 that edition writes a quarter;\n%%   (c) alto bar 7 beat 2, here fis'4~ fis'8 \u2014 that edition writes a dotted quarter;\n%%   (d) alto bar 8 beat 2, here e'2      \u2014 that edition writes two tied quarters;\n%%   (e) tenor bar 7 beat 1, here d'4~ d'8 \u2014 that edition writes a dotted quarter;\n%%   (f) tenor bar 8, here b2 b2 RE-STRUCK \u2014 that edition ties the two halves\n%%       (the only attack-count difference anywhere in the four voices).\n%% The kern reading (the declared source, Doerffel/Breitkopf c. 1875) is kept\n%% throughout. All three cross-barline ties (alto bars 4-5 and 5-6, tenor bars\n%% 9-10 and 10-11) are present in both editions.\n%% MELISMATIC: 38 soprano notes for 36 syllables (55.88.55). Bach's setting is\n%% the Cyber Hymnal harmonization's melody note-for-note with two cadential\n%% ANTICIPATIONS added: the corpus's g'2 at its ordinal 25 becomes g'4. fis'8\n%% (the line-4 cadence), and its a'4 at ordinal 35 becomes a'8 g'8 (the final\n%% cadence). Every one of the 36 corpus soprano pitches occurs here in the same\n%% order (pitch LCS 36/36 = 1.000) and 34 of them with the identical note value\n%% too; the only unmatched corpus notes are those two, and the only extra notes\n%% here are the two anticipations. The melisma map is Bach's OWN underlay as\n%% carried by the texted bwv409.mxl witness (Zinzendorf's German\n%% \"Seelenbr\u00e4utigam, Jesu, Gottes Lamm\" \u2014 the very text Jane Borthwick's\n%% \"Jesus, still lead on\" translates): two-note slurs at soprano notes 25-26\n%% (\"Trie-\" over g'4. fis'8, before \"-be\" on the cadence fis'2) and 36-37\n%% (\"-tes\" over a'8 g'8, before \"Lamm.\" on the final g'2), held with '_' every\n%% stanza at soprano notes 26 and 37 (see the setting).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 |\n  a'2 g'4 a'4 |\n  b'4 a'4 g'2 |\n  b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 |\n  a'2 g'4 a'4 |\n  b'4 a'4 g'4 fis'4 |\n  g'4.( fis'8) fis'2 |\n  g'4 g'4 fis'4 g'4 |\n  a'2 g'4 a'4 |\n  b'4 a'8( g'8) g'2\n}\n\nalto = {\n  d'4 d'4 d'4 d'8 e'8 |\n  fis'2 e'4 d'4 |\n  d'4 d'4 d'2 |\n  g'4 g'4 g'4~ g'8 a'8~ |\n  a'8 g'8 fis'8 a'8~ a'8 g'16 fis'16 g'4~ |\n  g'4 fis'4 e'4 fis'4 |\n  g'4 fis'4~ fis'8 e'4 dis'8 |\n  e'8 dis'8 e'2 dis'4 |\n  e'4 d'4 d'4 d'4 |\n  d'2 b8 e'8 d'4~ |\n  d'8 g'8 fis'4 d'2\n}\n\ntenor = {\n  b4 b4 a4 b4 |\n  d'2 b8 c'8 b8 a8~ |\n  a8 g4 fis8 b2 |\n  d'4 e'4 d'4 e'8 d'8 |\n  d'4 d'4 d'2 |\n  d'2 b4 d'4 |\n  d'4~ d'8 c'8 b4 b4 |\n  b2 b2 |\n  b4 b4 a4 g4~ |\n  g4 fis4 g8 c'8 b8 a8 |\n  g8 d'8 d'8. c'16 b2\n}\n\nbass = {\n  g,8 a,8 b,8 c8 d4 g,4 |\n  d2 e4 fis4 |\n  g4 d4 g,2 |\n  g8 fis8 e4 b,4 e8 fis8 |\n  g4 d8 fis8 g4 g,4 |\n  d2 e4 d4 |\n  g4 d4 e4 b,4 |\n  e,8 fis,8 g,8 a,8 b,2 |\n  e4 b,8 c8 d4 b,8 g,8 |\n  d2 e4 fis4 |\n  g4 d4 g,2\n}\n", "preferred": false}, {"slug": "seelenbr-utigam-cyberhymnal", "tune": "seelenbr-utigam", "music_file": "seelenbr-utigam-cyberhymnal.ly", "harmonizer": null, "arrangement_type": "harmonization", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [5, 10, 18, 26, 31], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "source_line": "SEELENBR\u00c4UTIGAM, Adam Drese, 1698. Public domain.", "provenance": {"layer": "harmonization", "source": "cyberhymnal", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune SEELENBR\u00c4UTIGAM (Adam Drese, 1620-1701; composed 1698); a public-domain four-part setting encoded from The Cyber Hymnal SATB MIDI via tools/mid2ly.py and verified against the Cyber Hymnal engraving (G major, 4/4, no anacrusis; fully syllabic, 36 soprano notes for 36 syllables, 55.88.55). All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "The Cyber Hymnal, \"Seelenbr\u00e4utigam\" (Adam Drese, 1698); SATB MIDI + engraving, converted with tools/mid2ly.py", "encoding_license": "PD-dedication"}, "music_ly": "%% SEELENBR\u00c4UTIGAM (55.88.55) \u2014 four SATB voice streams, canonical key G major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% Encoded from The Cyber Hymnal SATB MIDI (\"Seelenbr\u00e4utigam\", Adam Drese, 1698)\n%% with tools/mid2ly.py and verified against the Cyber Hymnal engraving. 4/4, no\n%% anacrusis; fully SYLLABIC (36 soprano notes = 36 syllables, 55.88.55). The\n%% slurred eighth-note pairs are inner-voice passing tones, NOT soprano melismas:\n%% the alto b8 cis'8 (bars 1, 9) and the bass b,8 c8 (bars 3, 11) and e8 fis8\n%% (bar 4), each under a sustained soprano quarter \u2014 mid2ly's voice-split leaked\n%% these into the melody line, corrected here against the raw MIDI and engraving.\n%% The chromatic passing tones cis' (alto/tenor) and dis' (alto) are printed with\n%% sharps in the source (each rises to its resolution).\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 }\n\nsoprano = {\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2 | b'4 c''4 d''4 c''4 |\n  b'4 a'4 b'2 | a'2 g'4 a'4 | b'4 a'4 g'4 fis'4 | g'2 fis'2 |\n  g'4 g'4 fis'4 g'4 | a'2 g'4 a'4 | b'4 a'4 g'2\n}\nalto = {\n  d'4 d'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2 | d'4 g'4 fis'4 g'4 |\n  g'4 fis'4 d'4 e'4 | fis'2 e'4 fis'4 | g'4 fis'4 e'4 dis'4 | e'2 dis'2 |\n  e'4 dis'4 d'4 b8 cis'8 | d'2 b4 d'4 | d'4 d'4 b2\n}\ntenor = {\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2 | g4 g4 a4 g8 a8 |\n  b4 d'4 b4 cis'4 | d'2 b4 d'4 | d'4 d'4 b4 b4 | b2 b2 |\n  b4 b4 a4 g4 | fis2 g4 fis4 | g4 fis4 g2\n}\nbass = {\n  g,4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2 | d4 e4 d4 e8 fis8 |\n  g4 d4 g2 | d2 e4 d4 | g4 d4 e4 b,4 | e4 g4 fis2 |\n  e4 b,4 d4 e4 | d2 e4 d4 | b,8 c8 d4 g,2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}