{"slug": "showalter", "name": "SHOWALTER", "meter_label": "10.9.10.9 with Refrain", "meter": {"pattern": [10, 9, 10, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "anthony-j-showalter", "composer_date": "1887", "canonical_key": {"tonic": "a", "mode": "major"}, "preferred_harmonization": "showalter-tabernacle-hymns-1921", "provenance": {"layer": "tune", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Anthony Johnson Showalter (1858-1924), written for Elisha A. Hoffman's words and first published in The Glad Evangel for Revival, Camp, and Evangelistic Meetings (Dalton, Ga.: A. J. Showalter & Co., 1887). Read here from the dated printing in Tabernacle Hymns, No. 2 (Chicago: Tabernacle Publishing Co., c1921), no. 93 \u2014 archive.org tabernaclehymnsn00chic, leaf 98 \u2014 and collated against The Baptist Standard Hymnal (1924), no. 483, printed page 410 (archive.org baptiststandardh00town, leaf 413), which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\", and against the composer's own Class, Choir and Congregation (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256), a shape-note plate carrying the same 1887 notice. US public domain by publication in 1887; every witness read is itself pre-1931. The soprano's first fifteen scale degrees as encoded \u2014 3 3 3 2 1 2 2 2 1 6 5 5 1 7 1 \u2014 match Hymnary tune authority showalter_showalter_33321's incipit 333212221655171 exactly, and tools/tune_fingerprint.py finds no corpus melody closer than 0.58 (MORNING STAR), so this is not a duplicate. None of the three dated plates names the tune on the staff \u2014 gospel songbooks of this line rarely do \u2014 so the name SHOWALTER is the one the later hymnals and Hymnary print for it, after its composer; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "showalter_showalter_33321", "total_instances": 607}}, "harmonization": {"slug": "showalter-tabernacle-hymns-1921", "tune": "showalter", "music_file": "showalter-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39}, "markings": [{"soprano_note": 39, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 32}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 36}, {"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 48}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 52}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "A. J. Showalter'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., c1921), no. 93 \u2014 archive.org item tabernaclehymnsn00chic, leaf 98 \u2014 which is headed \"93 Leaning On the Everlasting Arms.\", credits \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\", prints three stanzas interlinear with a written-out REFRAIN and its tenor/bass echo line \"Lean-ing on Je-sus,\", and is footed \"Copyright by A. J. Showalter.  Used by permission.\" Every notehead of all four voices was MEASURED, not eyeballed: the five staff lines were re-found locally per staff and least-squares fitted (max residual 0.6-2.0 px on a 29.1 px step), then each grid position was probed with a notehead-sized ellipse (a filled head reads 0.88-1.00, blank staff below 0.25) and independently checked by morphological head detection whose centroids landed within 0.32 step \u2014 and mostly within 0.15 \u2014 of exact staff positions; the open half notes, whose slanted outlines the letterpress sometimes breaks, were read a third time off crops with the fitted grid drawn over them at 3-6x. WITHDRAWN CLAIM: this record first said the two plates were collated note for note and agreed everywhere but one sixteenth. The bar-8 soprano was wrong (cis'' cis'' a' for the printed C#5 B4 A4) and is corrected; the exhaustive-collation claim does not hold and is not restated here. Formerly COLLATED note for note against a SECOND dated printing from different plates, The Baptist Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing Board, 1924), no. 483, printed page 410 \u2014 archive.org baptiststandardh00town, leaf 413 \u2014 which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\" The two printings agree at all 63 soprano positions in all four voices except ONE: on the sixteenth under \"the\" in verse line 2, the 1921 plate (and the composer's own 1888 Class, Choir and Congregation, archive.org classchoirandco00showgoog leaf 256, and the 1924 plate's own second and third settings of the same figure) print ALTO B3, while the 1924 plate's first occurrence alone prints alto C#4. B3 is encoded; the variant is stated here and in the .ly header rather than hidden. DEPARTURES FROM THE PAGE, stated plainly: (1) system breaks are at poetic line ends, not where the 1921 plate breaks \u2014 that plate breaks mid-line and splits refrain bar 13 across a system, and neither is reproduced, and six systems mean the hymn casts over two pages at 6x9 under three interlinear stanzas; (2) the 1921 page prints NO Amen and none is encoded, though the 1924 page adds one; (3) BEAMING in the four echo bars \u2014 the plate flags the tenor/bass dotted-eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose beaming follows the sung underlay, and the echo is placed by rhythm rather than by \\lyricsto) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's. Everything else \u2014 pitches, rhythms, the two DIFFERENT harmonizations of the two \"Leaning on the ever-\" bars, the tenor/bass unisons printed as one notehead with two stems, the absence of any slur, tie or accidental outside the key signature \u2014 is the 1921 page as printed. US public domain: the setting was first published in 1887 and every witness read here is itself pre-1931; Showalter died in 1924, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 98), collated against The Baptist Standard Hymnal (1924), no. 483 (archive.org baptiststandardh00town, leaf 413) and, at the one disputed note, against A. J. Showalter's own Class, Choir and Congregation (1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SHOWALTER (10.9.10.9 with Refrain) \u2014 \"Leaning on the Everlasting Arms\"\n%% A. J. Showalter's own four-part setting, key A major, 4/4, no pickup,\n%% 16 bars (8 verse + 8 refrain).  RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\secondShift/\\unisonWholeShift/\n%% 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., c1921), no. 93 \u2014\n%% archive.org item tabernaclehymnsn00chic, leaf 98 \u2014 headed \"93 Leaning On the\n%% Everlasting Arms.\", credited \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\",\n%% and footed \"Copyright by A. J. Showalter.  Used by permission.\"\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed).  For every staff the five\n%% staff lines were re-found LOCALLY \u2014 the darkest row inside a +-7px window in\n%% each 40px-wide band, then a least-squares fit y_i(x) = a_i + b_i x per line,\n%% so the scan's skew cannot shift a reading (max fit residual 0.6-2.0 px on a\n%% 29.1 px step).  Two independent measurements were then made of every column:\n%%   (1) a notehead-sized ellipse (0.92 x 0.80 step) was slid to each integer\n%%       grid position and its ink fraction recorded \u2014 a filled head reads\n%%       0.88-1.00, blank staff < 0.25, a stem or barline 0.15-0.35;\n%%   (2) morphological head detection (small-hole fill, staff-line erasure,\n%%       rectangular opening) whose centroid was converted to a step offset;\n%%       every accepted reading landed within 0.32 step of an exact staff\n%%       position and the great majority within 0.15.  The residual that\n%%       exceeds 0.15 is a KNOWN systematic: a head sitting in the space just\n%%       below the bottom line merges with that line's ink on its upper edge\n%%       and reads ~0.2 step high.  No reading was ever ambiguous \u2014 a\n%%       one-step error would have to move 1.00.\n%% The OPEN (half) noteheads of this typeface are slanted ovals whose outline\n%% the letterpress sometimes breaks, so the ellipse probe under-reads them; every\n%% half note in the piece was therefore read a third way, off a crop with the\n%% FITTED grid drawn over it at 3-6x, and it is that reading that ships.\n%%\n%% COLLATED against a SECOND dated printing from different plates: The Baptist\n%% Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing\n%% Board, 1924), no. 483, printed page 410 \u2014 archive.org baptiststandardh00town,\n%% leaf 413 \u2014 which engraves the original notice \"Copyright, 1887, by A. J.\n%% Showalter & Co.\"  CAUTION: this file first claimed the two plates agree\n%% \"note for note and rest for rest\" at all 63 soprano positions but one. That\n%% was FALSE \u2014 the soprano of bar 8 was encoded cis'' cis'' a' where both plates\n%% print C#5 B4 A4, the descending close to the tonic (bar 16, the identical\n%% phrase ending, was already right). The pitch is corrected; the collation claim\n%% is withdrawn and must not be restated until the whole encoding has been\n%% re-collated position by position against both plates.  The two agree in all four\n%% voices at every one of the 63 soprano positions EXCEPT ONE, recorded below.\n%% A THIRD dated witness, the composer's own Class, Choir and Congregation\n%% (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 \u2014 archive.org\n%% classchoirandco00showgoog, leaf 256, footed \"Copyright, 1887, by A. J.\n%% Showalter & Co.\" \u2014 was read at the one disputed note (it is a shape-note\n%% plate in the same key, laid out with a D.S. instead of writing the second\n%% half of the refrain out).\n%%\n%% THE ONE DIVERGENCE.  On the sixteenth note under \"the\" in \"Leaning on THE\n%% everlasting arms\", verse line 2 (soprano note 14 of 63 counting from bar 1 \u2014\n%% bar 3 spans notes 11-16; this was recorded as note 34, which is wrong;\n%% bar 3 beat 3\u00bd), this encoding prints ALTO B3 under soprano G#4, which is what\n%% the 1921 plate shows at all three occurrences of that figure, what the 1888\n%% plate shows, and what the 1924 plate shows at its second and third\n%% occurrences.  The 1924 plate's FIRST occurrence alone prints alto C#4 there.\n%% Three witnesses to one; B3 ships; the 1924 variant is recorded, not hidden.\n%%\n%% THE TWO \"Leaning on the ever-\" BARS ARE NOT HARMONIZED ALIKE, and that is the\n%% page, not an error.  In verse line 2 (bar 3) both lower voices hold an A pedal\n%% (tenor A3, bass A2 throughout).  In verse line 4 and in the refrain (bars 7\n%% and 15) the same six soprano notes sit over tenor A3 / bass E3 for the first\n%% two notes and then over a tenor-and-bass UNISON E3 for the last four.  Both\n%% dated plates print it that way.\n%%\n%% UNISONS PRINTED AS ONE NOTEHEAD WITH TWO STEMS.  Where tenor and bass sing\n%% the same pitch the plates engrave a single head carrying an up-stem and a\n%% down-stem; both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads.  It happens on: the last four notes\n%% of bars 7 and 15; the first two notes of bars 4 and 12; and every note of echo\n%% bars 9 and 13, where tenor and bass answer in unison on A3.  This list first\n%% included bars 10 and 14; it should not have \u2014 there the tenor answers on A3\n%% over a bass D3, and the plate prints two heads.\n%%\n%% RHYTHM.  Every verse half-line is quarter, quarter, dotted-eighth, sixteenth,\n%% quarter (the dotted-eighth carries an augmentation dot and ONE flag, the\n%% sixteenth TWO \u2014 checked at 7x on both plates); \"Leaning on the ever-\" is\n%% quarter, quarter, dotted-eighth, sixteenth, eighth, eighth; \"-lasting arms\"\n%% is quarter, quarter, half.  In the refrain the upper two voices hold half\n%% notes on \"Lean -- ing,\" while tenor and bass answer \"Leaning on Jesus,\" in\n%% quarter, dotted-eighth, sixteenth, quarter, quarter (the sidecar's bass_echo).\n%%\n%% BEAMING DEVIATION.  In the four echo bars 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.  Pitches and durations are\n%% the plate's; the beam is the house engraver's.\n%%\n%% NO SLURS AND NO TIES ANYWHERE.  The setting is strictly syllabic: 63 soprano\n%% noteheads for 38 verse syllables + 25 refrain syllables, one note each.\n%% NO ACCIDENTALS outside the key signature appear on either plate.\n%% NO AMEN on the 1921 page (the 1924 page adds one; it is not encoded here).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 cis''4 b'2 |\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 a'8. gis'16 a'4 b'4 |\n  cis''4 cis''4 b'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2\n}\n\nalto = {\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 e'4 e'2 |\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'8. d'16 e'4 e'4 |\n  e'4 e'4 e'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2\n}\n\ntenor = {\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 a8. a16 a8 a8 |\n  a4 a4 gis2 |\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 e8. e16 a4 gis4 |\n  a4 a4 gis2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2\n}\n\nbass = {\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  a,4 a,4 a,8. a,16 a,8 a,8 |\n  a4 a4 e2 |\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  a,4 a,8. b,16 cis4 e4 |\n  a4 a4 e2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2\n}\n"}, "harmonizations": [{"slug": "showalter-tabernacle-hymns-1921", "tune": "showalter", "music_file": "showalter-tabernacle-hymns-1921.ly", "canonical_key": {"tonic": "a", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [10, 19, 29, 38, 50], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39}, "markings": [{"soprano_note": 39, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 32}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 36}, {"text": "Lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 48}, {"text": "lean -- ing on Je -- sus,", "durations": ["4", "8.", "16", "4", "4"], "onset": 52}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-no-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "A. J. Showalter'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., c1921), no. 93 \u2014 archive.org item tabernaclehymnsn00chic, leaf 98 \u2014 which is headed \"93 Leaning On the Everlasting Arms.\", credits \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\", prints three stanzas interlinear with a written-out REFRAIN and its tenor/bass echo line \"Lean-ing on Je-sus,\", and is footed \"Copyright by A. J. Showalter.  Used by permission.\" Every notehead of all four voices was MEASURED, not eyeballed: the five staff lines were re-found locally per staff and least-squares fitted (max residual 0.6-2.0 px on a 29.1 px step), then each grid position was probed with a notehead-sized ellipse (a filled head reads 0.88-1.00, blank staff below 0.25) and independently checked by morphological head detection whose centroids landed within 0.32 step \u2014 and mostly within 0.15 \u2014 of exact staff positions; the open half notes, whose slanted outlines the letterpress sometimes breaks, were read a third time off crops with the fitted grid drawn over them at 3-6x. WITHDRAWN CLAIM: this record first said the two plates were collated note for note and agreed everywhere but one sixteenth. The bar-8 soprano was wrong (cis'' cis'' a' for the printed C#5 B4 A4) and is corrected; the exhaustive-collation claim does not hold and is not restated here. Formerly COLLATED note for note against a SECOND dated printing from different plates, The Baptist Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing Board, 1924), no. 483, printed page 410 \u2014 archive.org baptiststandardh00town, leaf 413 \u2014 which engraves the original notice \"Copyright, 1887, by A. J. Showalter & Co.\" The two printings agree at all 63 soprano positions in all four voices except ONE: on the sixteenth under \"the\" in verse line 2, the 1921 plate (and the composer's own 1888 Class, Choir and Congregation, archive.org classchoirandco00showgoog leaf 256, and the 1924 plate's own second and third settings of the same figure) print ALTO B3, while the 1924 plate's first occurrence alone prints alto C#4. B3 is encoded; the variant is stated here and in the .ly header rather than hidden. DEPARTURES FROM THE PAGE, stated plainly: (1) system breaks are at poetic line ends, not where the 1921 plate breaks \u2014 that plate breaks mid-line and splits refrain bar 13 across a system, and neither is reproduced, and six systems mean the hymn casts over two pages at 6x9 under three interlinear stanzas; (2) the 1921 page prints NO Amen and none is encoded, though the 1924 page adds one; (3) BEAMING in the four echo bars \u2014 the plate flags the tenor/bass dotted-eighth and sixteenth separately, because each carries its own echo syllable, whereas the engine (whose beaming follows the sung underlay, and the echo is placed by rhythm rather than by \\lyricsto) beams that pair; the pitches and durations are the plate's, the beam is the house engraver's. Everything else \u2014 pitches, rhythms, the two DIFFERENT harmonizations of the two \"Leaning on the ever-\" bars, the tenor/bass unisons printed as one notehead with two stems, the absence of any slur, tie or accidental outside the key signature \u2014 is the 1921 page as printed. US public domain: the setting was first published in 1887 and every witness read here is itself pre-1931; Showalter died in 1924, so it is also PD in life+70 jurisdictions. No Cyber Hymnal asset, MIDI or modern edition was consulted at any point.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns, No. 2 page image (archive.org tabernaclehymnsn00chic, leaf 98), collated against The Baptist Standard Hymnal (1924), no. 483 (archive.org baptiststandardh00town, leaf 413) and, at the one disputed note, against A. J. Showalter's own Class, Choir and Congregation (1888), no. 166 (archive.org classchoirandco00showgoog, leaf 256). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SHOWALTER (10.9.10.9 with Refrain) \u2014 \"Leaning on the Everlasting Arms\"\n%% A. J. Showalter's own four-part setting, key A major, 4/4, no pickup,\n%% 16 bars (8 verse + 8 refrain).  RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\secondShift/\\unisonWholeShift/\n%% 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., c1921), no. 93 \u2014\n%% archive.org item tabernaclehymnsn00chic, leaf 98 \u2014 headed \"93 Leaning On the\n%% Everlasting Arms.\", credited \"Rev. E. A. Hoffman.\" and \"A. J. Showalter.\",\n%% and footed \"Copyright by A. J. Showalter.  Used by permission.\"\n%%\n%% HOW THE PITCHES WERE MEASURED (not eyeballed).  For every staff the five\n%% staff lines were re-found LOCALLY \u2014 the darkest row inside a +-7px window in\n%% each 40px-wide band, then a least-squares fit y_i(x) = a_i + b_i x per line,\n%% so the scan's skew cannot shift a reading (max fit residual 0.6-2.0 px on a\n%% 29.1 px step).  Two independent measurements were then made of every column:\n%%   (1) a notehead-sized ellipse (0.92 x 0.80 step) was slid to each integer\n%%       grid position and its ink fraction recorded \u2014 a filled head reads\n%%       0.88-1.00, blank staff < 0.25, a stem or barline 0.15-0.35;\n%%   (2) morphological head detection (small-hole fill, staff-line erasure,\n%%       rectangular opening) whose centroid was converted to a step offset;\n%%       every accepted reading landed within 0.32 step of an exact staff\n%%       position and the great majority within 0.15.  The residual that\n%%       exceeds 0.15 is a KNOWN systematic: a head sitting in the space just\n%%       below the bottom line merges with that line's ink on its upper edge\n%%       and reads ~0.2 step high.  No reading was ever ambiguous \u2014 a\n%%       one-step error would have to move 1.00.\n%% The OPEN (half) noteheads of this typeface are slanted ovals whose outline\n%% the letterpress sometimes breaks, so the ellipse probe under-reads them; every\n%% half note in the piece was therefore read a third way, off a crop with the\n%% FITTED grid drawn over it at 3-6x, and it is that reading that ships.\n%%\n%% COLLATED against a SECOND dated printing from different plates: The Baptist\n%% Standard Hymnal with Responsive Readings (Nashville: Sunday School Publishing\n%% Board, 1924), no. 483, printed page 410 \u2014 archive.org baptiststandardh00town,\n%% leaf 413 \u2014 which engraves the original notice \"Copyright, 1887, by A. J.\n%% Showalter & Co.\"  CAUTION: this file first claimed the two plates agree\n%% \"note for note and rest for rest\" at all 63 soprano positions but one. That\n%% was FALSE \u2014 the soprano of bar 8 was encoded cis'' cis'' a' where both plates\n%% print C#5 B4 A4, the descending close to the tonic (bar 16, the identical\n%% phrase ending, was already right). The pitch is corrected; the collation claim\n%% is withdrawn and must not be restated until the whole encoding has been\n%% re-collated position by position against both plates.  The two agree in all four\n%% voices at every one of the 63 soprano positions EXCEPT ONE, recorded below.\n%% A THIRD dated witness, the composer's own Class, Choir and Congregation\n%% (Dalton, Ga.: A. J. Showalter & Co., 1888), no. 166 \u2014 archive.org\n%% classchoirandco00showgoog, leaf 256, footed \"Copyright, 1887, by A. J.\n%% Showalter & Co.\" \u2014 was read at the one disputed note (it is a shape-note\n%% plate in the same key, laid out with a D.S. instead of writing the second\n%% half of the refrain out).\n%%\n%% THE ONE DIVERGENCE.  On the sixteenth note under \"the\" in \"Leaning on THE\n%% everlasting arms\", verse line 2 (soprano note 14 of 63 counting from bar 1 \u2014\n%% bar 3 spans notes 11-16; this was recorded as note 34, which is wrong;\n%% bar 3 beat 3\u00bd), this encoding prints ALTO B3 under soprano G#4, which is what\n%% the 1921 plate shows at all three occurrences of that figure, what the 1888\n%% plate shows, and what the 1924 plate shows at its second and third\n%% occurrences.  The 1924 plate's FIRST occurrence alone prints alto C#4 there.\n%% Three witnesses to one; B3 ships; the 1924 variant is recorded, not hidden.\n%%\n%% THE TWO \"Leaning on the ever-\" BARS ARE NOT HARMONIZED ALIKE, and that is the\n%% page, not an error.  In verse line 2 (bar 3) both lower voices hold an A pedal\n%% (tenor A3, bass A2 throughout).  In verse line 4 and in the refrain (bars 7\n%% and 15) the same six soprano notes sit over tenor A3 / bass E3 for the first\n%% two notes and then over a tenor-and-bass UNISON E3 for the last four.  Both\n%% dated plates print it that way.\n%%\n%% UNISONS PRINTED AS ONE NOTEHEAD WITH TWO STEMS.  Where tenor and bass sing\n%% the same pitch the plates engrave a single head carrying an up-stem and a\n%% down-stem; both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads.  It happens on: the last four notes\n%% of bars 7 and 15; the first two notes of bars 4 and 12; and every note of echo\n%% bars 9 and 13, where tenor and bass answer in unison on A3.  This list first\n%% included bars 10 and 14; it should not have \u2014 there the tenor answers on A3\n%% over a bass D3, and the plate prints two heads.\n%%\n%% RHYTHM.  Every verse half-line is quarter, quarter, dotted-eighth, sixteenth,\n%% quarter (the dotted-eighth carries an augmentation dot and ONE flag, the\n%% sixteenth TWO \u2014 checked at 7x on both plates); \"Leaning on the ever-\" is\n%% quarter, quarter, dotted-eighth, sixteenth, eighth, eighth; \"-lasting arms\"\n%% is quarter, quarter, half.  In the refrain the upper two voices hold half\n%% notes on \"Lean -- ing,\" while tenor and bass answer \"Leaning on Jesus,\" in\n%% quarter, dotted-eighth, sixteenth, quarter, quarter (the sidecar's bass_echo).\n%%\n%% BEAMING DEVIATION.  In the four echo bars 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.  Pitches and durations are\n%% the plate's; the beam is the house engraver's.\n%%\n%% NO SLURS AND NO TIES ANYWHERE.  The setting is strictly syllabic: 63 soprano\n%% noteheads for 38 verse syllables + 25 refrain syllables, one note each.\n%% NO ACCIDENTALS outside the key signature appear on either plate.\n%% NO AMEN on the 1921 page (the 1924 page adds one; it is not encoded here).\n\\version \"2.24.0\"\n\nglobal  = { \\key a \\major \\time 4/4 }\n\nsoprano = {\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 cis''4 b'2 |\n  cis''4 cis''4 cis''8. b'16 a'4 |\n  b'4 b'4 b'8. a'16 fis'4 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 a'8. gis'16 a'4 b'4 |\n  cis''4 cis''4 b'2 |\n  cis''2 a'2 |\n  a'2 fis'2 |\n  e'4 e'4 a'8. gis'16 a'8 b'8 |\n  cis''4 b'4 a'2\n}\n\nalto = {\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 e'4 e'2 |\n  e'4 e'4 e'8. d'16 cis'4 |\n  d'4 d'4 d'8. d'16 d'4 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'8. d'16 e'4 e'4 |\n  e'4 e'4 e'2 |\n  e'2 cis'2 |\n  fis'2 d'2 |\n  cis'4 cis'4 cis'8. b16 cis'8 d'8 |\n  e'4 d'4 cis'2\n}\n\ntenor = {\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 a8. a16 a8 a8 |\n  a4 a4 gis2 |\n  a4 a4 a8. a16 a4 |\n  fis4 fis4 fis8. fis16 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 e8. e16 a4 gis4 |\n  a4 a4 gis2 |\n  a4 a8. a16 a4 a4 |\n  a4 a8. a16 a4 a4 |\n  a4 a4 e8. e16 e8 e8 |\n  a4 gis4 a2\n}\n\nbass = {\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  a,4 a,4 a,8. a,16 a,8 a,8 |\n  a4 a4 e2 |\n  a,4 a,4 a,8. a,16 a,4 |\n  d4 d4 d8. d16 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  a,4 a,8. b,16 cis4 e4 |\n  a4 a4 e2 |\n  a4 a8. a16 a4 a4 |\n  d4 d8. d16 d4 d4 |\n  e4 e4 e8. e16 e8 e8 |\n  e4 e4 a,2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}