{"slug": "sunshine", "name": "SUNSHINE", "meter_label": "8.6.8.6 with Refrain", "meter": {"pattern": [8, 6, 8, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "john-r-sweney", "composer_date": "1887", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "sunshine-glad-hallelujahs-1887", "provenance": {"layer": "tune", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_evidence": "Tune by John Robson Sweney (1837\u20131899) for Eliza E. Hewitt's \"There's sunshine in my soul today\", first published in his own collection Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84 \u2014 archive.org gladhall00swen, leaf 0088 = p. 84 \u2014 footed \"Copyright, 1887, by JNO. R. SWENEY.\" Read from that dated first printing and collated end to end against the independent pre-1931 engraving in Christian Endeavor Hymns, ed. Ira D. Sankey, No. 173 (archive.org christianendeavo00sank, leaf 0177), same key, the same setting: the MELODY agrees note for note throughout (the three inner-voice/bass points where the re-engraving diverges are named on the harmonization). US public domain by 1887 publication; both witnesses are themselves pre-1931. The soprano matches Hymnary's incipit for the tune authority sunshine_sweney (SUNSHINE, John R. Sweney, A-flat major), 12356 71233 43252, digit for digit across all fifteen notes (A-flat: aes bes / c ees f g aes bes / c c des c bes ees bes) \u2014 re-fetched and re-checked 2026-07-31. tools/tune_fingerprint.py finds no corpus melody above the duplicate threshold (best 0.60, threshold 0.80). Neither plate names the tune on the staff (both head the page with the hymn title, \"Sunshine in the Soul\"); SUNSHINE is the name Hymnary and the later hymnals use, and no printed alt_name is recorded. THE METER AS PRINTED is 8.6.8.6 with refrain: both witnesses contract line 1 to \"There's\" (eight syllables over nine noteheads, the line-opening pair slurred); Hymnary's tune authority labels the meter \"9.6.8.6 with refrain\" (some hymnal instances print \"Irregular\"), and the uncontracted later text would be 9.6.8.6 \u2014 neither describes this plate.", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sunshine-glad-hallelujahs-1887", "tune": "sunshine", "music_file": "sunshine-glad-hallelujahs-1887.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 31, 40, 49, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 33}, {"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 37}, {"text": "hap -- py mo -- ments roll,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 45}]}, "source_line": "SUNSHINE, John R. Sweney, 1887; four-part antiphonal setting from the first printing, Glad Hallelujahs (Philadelphia: Sweney & Kirkpatrick, 1887). Public domain.", "provenance": {"layer": "harmonization", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John R. Sweney's own four-part setting of his own tune, read from the dated FIRST PRINTING: Glad Hallelujahs, ed. John R. Sweney & Wm. J. Kirkpatrick (Philadelphia, 1887), No. 84, \"SUNSHINE IN THE SOUL.\", credited \"E. E. Hewitt.\" / \"JNO. R. SWENEY.\" and footed \"Copyright, 1887, by JNO. R. SWENEY.\" \u2014 archive.org item gladhall00swen, leaf 0088 = printed page 84 (29.6\u201329.8 px staff space). US public domain (published 1887; the witness page is itself pre-1931; Sweney d. 1899 and Hewitt d. 1920, so PD in life+70 jurisdictions too). Every notehead was read three ways with the in-repo rig (tools/noteread.py): machine column tables per system, hollow heads re-read from their arc pairs (rings), and every system re-read by eye on grid-overlay crops at 7\u201314x, with barlines pixel-detected and the underlay anchored to the book's own OCR word boxes. COLLATED END TO END against an independent pre-1931 engraving of the same setting in the same key: Christian Endeavor Hymns, ed. Ira D. Sankey (New York: Biglow & Main), No. 173, \"Sunshine in the Soul.\", same credits plus \"Used by per.\" \u2014 archive.org christianendeavo00sank, leaf 0177 (16.4\u201316.5 px staff space, machine column tables per system plus eye reads at 10\u201314x and ASCII pixel maps at every decision point). The two engravings agree at every decision point named below \u2014 the anacrusis barring and split bars, the D-natural, both triplet divisions, the low S/A halves and the C4/A-flat3 cadence pair (CEH engraves the pair on two textbook ledgers), the echo rhythms, the independent-alto quarters \u2014 and the MELODY agrees note for note throughout; but the claim is NOT note-for-note in all voices: the collation found THREE musical divergences, all followed here in the 1887 reading. (1) CEH's bass PICKUP prints G2 \u2014 the head sits ON the fitted bottom line, ASCII-mapped, paper at the A-flat2 position \u2014 an engraver's misprint for the A-flat2 the 1887 plate prints (G2 under the A-flat anacrusis chord is unsingable; the 1887 head was ASCII-mapped dead centre in the A2 space). (2) CEH's alto 16th at m1 b3.75 AND m5 b3.75 (under \"my\") is E-FLAT4 (head ON the bottom line in both verse halves, ASCII-mapped) where the 1887 plate prints D-FLAT4 (head centred in the D4 space, both spots ASCII-mapped) \u2014 a systematic variant, CEH anticipating the next bar's E-flat. (3) CEH's FINAL CHORD prints only TWO bass-staff heads, A-flat3 + A-flat2 \u2014 the E-flat3 fifth of the 1887 plate's three-head chord is absent \u2014 i.e. the independent re-engraving itself makes exactly the four-voice reduction encoded here. Textual variants (CEH \"in my soul\", \"His\", \"flow'rs\", no quotes at \"laid up\") are recorded on the text layer; the 1887 plate is followed throughout. THE THREE REGISTER QUESTIONS, resolved on both witnesses: (1) the refrain \"bar 1 that would not close\" is a ONE-BEAT ANACRUSIS \u2014 every phrase of the piece starts on beat 4 (\"There's\", \"More\", \"Than\", \"Oh, there's\", \"While the\", \"When\"), and with the pickups so read every bar closes at exactly four beats; (2) the \"unexplained low writing\" at the end of refrain line 1 is the SOPRANO AND ALTO THEMSELVES: the second antiphonal phrase sinks a third lower than the first \u2014 S+A hold hollow halves E-flat4 over C4 (the upper head ON the E4 line, the lower ON a drawn C4 ledger that extends past the head on both sides, read at 13x and by ring-arcs) and cadence on quarters C4 over A-flat3 (two drawn ledgers) \u2014 while tenor+bass echo \"sun-shine in the soul,\" in octaves below; the low S+A then climb back up through refrain line 2 (\"While the peace-ful hap-py...\" C4\u2013D-flat4\u2013E-flat4 \u2013A-flat4\u2013C5\u2013E-flat5), so the register excursion is the melody's own design, not divisi and not another voice sharing the staff; (3) the antiphonal texture is exactly the THOMPSON/HEAVEN bass_echo shape (rests are not even needed: the answering voices carry the main text everywhere except the three echo phrases). PRINTED TRIPLETS at refrain bar 1 beat 4, \"3\" over both staves on both witnesses: S+A sing three triplet eighths (B-flat4\u2013A-flat4 slurred on \"Bless-\", F4 on \"-ed\") while T+B divide the same beat quarter-plus-eighth (\u2013); both divisions are encoded as printed. ACCIDENTALS: the hymn prints exactly ONE accidental glyph \u2014 the natural on the soprano D5 at \"my\" (m7 beat 4, verified at 13x on both witnesses), spelling B-flat7 = V7/V into the half cadence on \"light.\" (V); a full-column sweep of all ten staves found no other glyph. RHYTHMIC INDEPENDENCE, as printed on both witnesses: at the \"When\" pickup (m12 b4) and at \"smil-\" (m14 b1) the alto strikes a plain quarter on its own down-stem under the soprano's dotted 8.+16 pair. FIVE-PART FINAL CHORD: the closing \"soul.\" prints three full-size dotted-half heads in the bass staff of the 1887 plate \u2014 A-flat3, E-flat3, A-flat2 \u2014 under the treble's A-flat4 and C4. The corpus admits four voices and forbids divisi, so tenor A-flat3 (the preceding V chord's G3 resolving up) and bass A-flat2 (E-flat3 falling a fifth) are encoded and the printed E-flat3 \u2014 the chord's fifth \u2014 is NOT reproduced, exactly as on POWER IN THE BLOOD's five-part final chord; the CEH re-engraving corroborates the reduction by printing only the two heads A-flat3 + A-flat2 itself. BEAMING: the plate flags the echo's dotted-eighths and sixteenths separately because each carries its own syllable; the engine beams the pair (house rule, as recorded on power-in-the-blood-tabernacle-hymns-1921); the \"Bless-ed\" triplet is engraved beam-two-plus-flagged-third on the plate and the house engraver draws its own triplet grouping. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-30 from the 1887 Glad Hallelujahs page image (archive.org gladhall00swen leaf 0088 = p. 84), collated end to end against Christian Endeavor Hymns No. 173 (christianendeavo00sank leaf 0177). Read with tools/noteread.py (columns/rings/grid crops); no MIDI and no Cyber Hymnal asset was consulted. Per-chord log: review/sunshine-in-my-soul/READING.md.", "encoding_license": "PD-dedication"}, "music_ly": "%% SUNSHINE (8.6.8.6 with Refrain as printed; Hymnary's authority meter is\n%% \"9.6.8.6 with refrain\" on the tune authority) - John R. Sweney, 1887, for E. E. Hewitt's \"There's\n%% sunshine in my soul to-day\". NOTE-DATA WITNESS: the 1887 FIRST PRINTING,\n%% Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84,\n%% \"SUNSHINE IN THE SOUL.\", footed \"Copyright, 1887, by Jno. R. Sweney.\" -\n%% archive.org gladhall00swen, leaf 0088 (29.6-29.8 px staff space), read\n%% notehead by notehead with tools/noteread.py (columns + rings + grid crops\n%% at 7-14x), collated end to end against the independent pre-1931 engraving\n%% in Christian Endeavor Hymns (Sankey), No. 173 - christianendeavo00sank,\n%% leaf 0177. Evidence pack: review/sunshine-in-my-soul/.\n%%\n%% THE REFRAIN IS ANTIPHONAL, phrase by phrase:\n%% m9: S+A hold \"sun----shine.\" (C5 half falling to A4) while T+B answer\n%% \"sun-shine in the soul,\" on repeated UNISON A-flat3 single heads\n%% (8. 16 8. 16) landing on beat 3 WITH the upper \"shine.\";\n%% beat 4 is a printed TRIPLET, \"3\" over both staves: S+A three 8ths\n%% (bes'-aes' slurred on \"Bless-\", f' on \"-ed\") over T+B quarter+8th\n%% ( then ) - two different triplet divisions at\n%% once, exactly as engraved.\n%% m10: the answer repeats a third lower: S \"sun----shine,\" = E-FLAT4 HALF\n%% OVER C4, then C4 OVER A-FLAT3 - the register-entry's \"unexplained\n%% low writing\", which is simply the S+A pair themselves sinking to\n%% close the phrase (measured at 13x: the upper hollow head sits ON\n%% the E4 line, the lower ON a drawn C4 ledger that extends past the\n%% head both sides; the quarter pair after it sits on TWO drawn\n%% ledgers = c'/aes). T+B echo in OCTAVES this time.\n%% m12: S+A hold \"roll;\" (dotted half) while T+B echo \"hap-py mo-ments\n%% roll,\" on with the \"roll,\" melisma rising , then\n%% all four voices strike the \"When\" pickup (V).\n%% m13-16: all four voices together to the end (no echo row printed).\n%% The echo lyric row itself is the sidecar's bass_echo (three segments).\n%%\n%% ACCIDENTALS: the hymn prints exactly ONE accidental glyph on both\n%% witnesses - the NATURAL on the soprano D5 at \"my\" (m7 beat 4), giving\n%% B-flat7 = V7/V at the half cadence into \"light.\" (V). Verified at 13x on\n%% both plates; full-column sweep found no other glyph.\n%% RHYTHMIC INDEPENDENCE, as printed: at the \"When\" pickup (m12 b4) and at\n%% \"smil-\" (m14 b1) the ALTO strikes a plain quarter on its own down-stem\n%% while the soprano sings the dotted 8.+16 pair above it.\n%% FIVE-PART FINAL CHORD: the last \"soul.\" prints THREE dotted-half heads in\n%% the 1887 plate's bass staff - A-flat3, E-flat3, A-flat2 - under the\n%% treble's A-flat4 + C4. The corpus admits four voices and forbids divisi,\n%% so tenor A-flat3 (the V chord's G3 resolving up) and bass A-flat2\n%% (E-flat3 falling a fifth) are encoded and the printed E-flat3 between\n%% them - the chord's fifth - is NOT reproduced (POWER IN THE BLOOD\n%% precedent; the CEH re-engraving itself prints only A-flat3 + A-flat2,\n%% making the same reduction).\n%% A-flat major, 4/4, one-quarter anacrusis; every phrase starts on beat 4\n%% and every bar closes at four beats. 67 soprano noteheads; the refrain\n%% anchors at notehead 32 (\"Oh,\").\n\\version \"2.24.0\"\n\nglobal = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n aes'8.( bes'16)\n c''4 ees'4 f'8. g'16 aes'8. bes'16\n c''2. c''8.( des''16)\n c''4 bes'4 ees'4 bes'4\n aes'2. aes'8.( bes'16)\n c''4 ees'4 f'8. g'16 aes'8. bes'16\n c''2. c''4\n bes'4. bes'8 c''4 d''4\n ees''2. ees''8. des''16\n c''2 aes'4 \\tuplet 3/2 { bes'8( aes'8) f'8 }\n ees'2 c'4 c'8. des'16\n ees'4 aes'4 c''8. ees''16 des''8. c''16\n bes'2. ees''8.( des''16)\n c''4 c''4 des''4. c''8\n c''8.( bes'16) aes'8.( f'16) ees'4 aes'8 bes'8\n c''8 c''4. bes'4 bes'4\n aes'2.\n}\nalto = {\n c'8.( des'16)\n ees'4 c'4 des'8. des'16 f'8. f'16\n ees'2. ees'8.( f'16)\n ees'4 des'4 des'4 des'4\n c'2. c'8.( des'16)\n ees'4 c'4 des'8. des'16 f'8. f'16\n ees'2. ees'4\n ees'4. ees'8 aes'4 aes'4\n g'2. g'8. ees'16\n ees'2 ees'4 \\tuplet 3/2 { f'8( aes'8) des'8 }\n c'2 aes4 aes8. bes16\n c'4 c'4 ees'8. ees'16 ees'8. ees'16\n ees'2. ees'4\n ees'4 ees'4 f'4. ees'8\n f'4 f'8.( des'16) c'4 ees'8 f'8\n ees'8 ees'4. des'4 des'4\n c'2.\n}\ntenor = {\n ees4\n aes4 aes4 aes8. aes16 aes8. aes16\n aes2. aes4\n aes4 g4 g4 ees4\n ees2. ees4\n aes4 aes4 aes8. aes16 aes8. aes16\n aes2. aes4\n g4. g8 bes4 bes4\n bes2. bes8. bes16\n aes8. aes16 aes8. aes16 c'4 \\tuplet 3/2 { des'4 aes8 }\n aes8. aes16 aes8. aes16 ees4 ees8. ees16\n aes4 ees4 aes8. c'16 bes8. aes16\n g8. g16 g8. g16 g8.( aes16) bes4\n aes4 aes4 aes4. aes8\n des'4 des'8.( aes16) aes4 aes8 aes8\n aes8 aes4. g4 g4\n aes2.\n}\nbass = {\n aes,4\n aes,4 aes,4 des8. des16 des8. des16\n aes,2. aes,4\n ees4 ees4 ees4 ees4\n aes,2. aes,4\n aes,4 aes,4 des8. des16 des8. des16\n aes,2. aes,4\n bes,4. bes,8 bes,4 bes,4\n ees2. ees8. g16\n aes8. aes16 aes8. aes16 aes4 \\tuplet 3/2 { des4 des8 }\n aes,8. aes,16 aes,8. aes,16 aes,4 aes,8. aes,16\n aes,4 aes,4 aes8. aes16 g8. aes16\n ees8. ees16 ees8. ees16 ees8.( f16) g4\n aes4 aes4 aes4. aes8\n des4 des8.( aes16) aes,4 c8 des8\n ees8 ees4. ees4 ees4\n aes,2.\n}\n"}, "harmonizations": [{"slug": "sunshine-glad-hallelujahs-1887", "tune": "sunshine", "music_file": "sunshine-glad-hallelujahs-1887.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [16, 31, 40, 49, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 32}, "markings": [{"soprano_note": 32, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 33}, {"text": "sun -- shine in the soul,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 37}, {"text": "hap -- py mo -- ments roll,", "durations": ["8.", "16", "8.", "16", "4"], "onset": 45}]}, "source_line": "SUNSHINE, John R. Sweney, 1887; four-part antiphonal setting from the first printing, Glad Hallelujahs (Philadelphia: Sweney & Kirkpatrick, 1887). Public domain.", "provenance": {"layer": "harmonization", "source": "glad-hallelujahs-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "John R. Sweney's own four-part setting of his own tune, read from the dated FIRST PRINTING: Glad Hallelujahs, ed. John R. Sweney & Wm. J. Kirkpatrick (Philadelphia, 1887), No. 84, \"SUNSHINE IN THE SOUL.\", credited \"E. E. Hewitt.\" / \"JNO. R. SWENEY.\" and footed \"Copyright, 1887, by JNO. R. SWENEY.\" \u2014 archive.org item gladhall00swen, leaf 0088 = printed page 84 (29.6\u201329.8 px staff space). US public domain (published 1887; the witness page is itself pre-1931; Sweney d. 1899 and Hewitt d. 1920, so PD in life+70 jurisdictions too). Every notehead was read three ways with the in-repo rig (tools/noteread.py): machine column tables per system, hollow heads re-read from their arc pairs (rings), and every system re-read by eye on grid-overlay crops at 7\u201314x, with barlines pixel-detected and the underlay anchored to the book's own OCR word boxes. COLLATED END TO END against an independent pre-1931 engraving of the same setting in the same key: Christian Endeavor Hymns, ed. Ira D. Sankey (New York: Biglow & Main), No. 173, \"Sunshine in the Soul.\", same credits plus \"Used by per.\" \u2014 archive.org christianendeavo00sank, leaf 0177 (16.4\u201316.5 px staff space, machine column tables per system plus eye reads at 10\u201314x and ASCII pixel maps at every decision point). The two engravings agree at every decision point named below \u2014 the anacrusis barring and split bars, the D-natural, both triplet divisions, the low S/A halves and the C4/A-flat3 cadence pair (CEH engraves the pair on two textbook ledgers), the echo rhythms, the independent-alto quarters \u2014 and the MELODY agrees note for note throughout; but the claim is NOT note-for-note in all voices: the collation found THREE musical divergences, all followed here in the 1887 reading. (1) CEH's bass PICKUP prints G2 \u2014 the head sits ON the fitted bottom line, ASCII-mapped, paper at the A-flat2 position \u2014 an engraver's misprint for the A-flat2 the 1887 plate prints (G2 under the A-flat anacrusis chord is unsingable; the 1887 head was ASCII-mapped dead centre in the A2 space). (2) CEH's alto 16th at m1 b3.75 AND m5 b3.75 (under \"my\") is E-FLAT4 (head ON the bottom line in both verse halves, ASCII-mapped) where the 1887 plate prints D-FLAT4 (head centred in the D4 space, both spots ASCII-mapped) \u2014 a systematic variant, CEH anticipating the next bar's E-flat. (3) CEH's FINAL CHORD prints only TWO bass-staff heads, A-flat3 + A-flat2 \u2014 the E-flat3 fifth of the 1887 plate's three-head chord is absent \u2014 i.e. the independent re-engraving itself makes exactly the four-voice reduction encoded here. Textual variants (CEH \"in my soul\", \"His\", \"flow'rs\", no quotes at \"laid up\") are recorded on the text layer; the 1887 plate is followed throughout. THE THREE REGISTER QUESTIONS, resolved on both witnesses: (1) the refrain \"bar 1 that would not close\" is a ONE-BEAT ANACRUSIS \u2014 every phrase of the piece starts on beat 4 (\"There's\", \"More\", \"Than\", \"Oh, there's\", \"While the\", \"When\"), and with the pickups so read every bar closes at exactly four beats; (2) the \"unexplained low writing\" at the end of refrain line 1 is the SOPRANO AND ALTO THEMSELVES: the second antiphonal phrase sinks a third lower than the first \u2014 S+A hold hollow halves E-flat4 over C4 (the upper head ON the E4 line, the lower ON a drawn C4 ledger that extends past the head on both sides, read at 13x and by ring-arcs) and cadence on quarters C4 over A-flat3 (two drawn ledgers) \u2014 while tenor+bass echo \"sun-shine in the soul,\" in octaves below; the low S+A then climb back up through refrain line 2 (\"While the peace-ful hap-py...\" C4\u2013D-flat4\u2013E-flat4 \u2013A-flat4\u2013C5\u2013E-flat5), so the register excursion is the melody's own design, not divisi and not another voice sharing the staff; (3) the antiphonal texture is exactly the THOMPSON/HEAVEN bass_echo shape (rests are not even needed: the answering voices carry the main text everywhere except the three echo phrases). PRINTED TRIPLETS at refrain bar 1 beat 4, \"3\" over both staves on both witnesses: S+A sing three triplet eighths (B-flat4\u2013A-flat4 slurred on \"Bless-\", F4 on \"-ed\") while T+B divide the same beat quarter-plus-eighth (\u2013); both divisions are encoded as printed. ACCIDENTALS: the hymn prints exactly ONE accidental glyph \u2014 the natural on the soprano D5 at \"my\" (m7 beat 4, verified at 13x on both witnesses), spelling B-flat7 = V7/V into the half cadence on \"light.\" (V); a full-column sweep of all ten staves found no other glyph. RHYTHMIC INDEPENDENCE, as printed on both witnesses: at the \"When\" pickup (m12 b4) and at \"smil-\" (m14 b1) the alto strikes a plain quarter on its own down-stem under the soprano's dotted 8.+16 pair. FIVE-PART FINAL CHORD: the closing \"soul.\" prints three full-size dotted-half heads in the bass staff of the 1887 plate \u2014 A-flat3, E-flat3, A-flat2 \u2014 under the treble's A-flat4 and C4. The corpus admits four voices and forbids divisi, so tenor A-flat3 (the preceding V chord's G3 resolving up) and bass A-flat2 (E-flat3 falling a fifth) are encoded and the printed E-flat3 \u2014 the chord's fifth \u2014 is NOT reproduced, exactly as on POWER IN THE BLOOD's five-part final chord; the CEH re-engraving corroborates the reduction by printing only the two heads A-flat3 + A-flat2 itself. BEAMING: the plate flags the echo's dotted-eighths and sixteenths separately because each carries its own syllable; the engine beams the pair (house rule, as recorded on power-in-the-blood-tabernacle-hymns-1921); the \"Bless-ed\" triplet is engraved beam-two-plus-flagged-third on the plate and the house engraver draws its own triplet grouping. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded 2026-07-30 from the 1887 Glad Hallelujahs page image (archive.org gladhall00swen leaf 0088 = p. 84), collated end to end against Christian Endeavor Hymns No. 173 (christianendeavo00sank leaf 0177). Read with tools/noteread.py (columns/rings/grid crops); no MIDI and no Cyber Hymnal asset was consulted. Per-chord log: review/sunshine-in-my-soul/READING.md.", "encoding_license": "PD-dedication"}, "music_ly": "%% SUNSHINE (8.6.8.6 with Refrain as printed; Hymnary's authority meter is\n%% \"9.6.8.6 with refrain\" on the tune authority) - John R. Sweney, 1887, for E. E. Hewitt's \"There's\n%% sunshine in my soul to-day\". NOTE-DATA WITNESS: the 1887 FIRST PRINTING,\n%% Glad Hallelujahs, ed. Sweney & Kirkpatrick (Philadelphia, 1887), No. 84,\n%% \"SUNSHINE IN THE SOUL.\", footed \"Copyright, 1887, by Jno. R. Sweney.\" -\n%% archive.org gladhall00swen, leaf 0088 (29.6-29.8 px staff space), read\n%% notehead by notehead with tools/noteread.py (columns + rings + grid crops\n%% at 7-14x), collated end to end against the independent pre-1931 engraving\n%% in Christian Endeavor Hymns (Sankey), No. 173 - christianendeavo00sank,\n%% leaf 0177. Evidence pack: review/sunshine-in-my-soul/.\n%%\n%% THE REFRAIN IS ANTIPHONAL, phrase by phrase:\n%% m9: S+A hold \"sun----shine.\" (C5 half falling to A4) while T+B answer\n%% \"sun-shine in the soul,\" on repeated UNISON A-flat3 single heads\n%% (8. 16 8. 16) landing on beat 3 WITH the upper \"shine.\";\n%% beat 4 is a printed TRIPLET, \"3\" over both staves: S+A three 8ths\n%% (bes'-aes' slurred on \"Bless-\", f' on \"-ed\") over T+B quarter+8th\n%% ( then ) - two different triplet divisions at\n%% once, exactly as engraved.\n%% m10: the answer repeats a third lower: S \"sun----shine,\" = E-FLAT4 HALF\n%% OVER C4, then C4 OVER A-FLAT3 - the register-entry's \"unexplained\n%% low writing\", which is simply the S+A pair themselves sinking to\n%% close the phrase (measured at 13x: the upper hollow head sits ON\n%% the E4 line, the lower ON a drawn C4 ledger that extends past the\n%% head both sides; the quarter pair after it sits on TWO drawn\n%% ledgers = c'/aes). T+B echo in OCTAVES this time.\n%% m12: S+A hold \"roll;\" (dotted half) while T+B echo \"hap-py mo-ments\n%% roll,\" on with the \"roll,\" melisma rising , then\n%% all four voices strike the \"When\" pickup (V).\n%% m13-16: all four voices together to the end (no echo row printed).\n%% The echo lyric row itself is the sidecar's bass_echo (three segments).\n%%\n%% ACCIDENTALS: the hymn prints exactly ONE accidental glyph on both\n%% witnesses - the NATURAL on the soprano D5 at \"my\" (m7 beat 4), giving\n%% B-flat7 = V7/V at the half cadence into \"light.\" (V). Verified at 13x on\n%% both plates; full-column sweep found no other glyph.\n%% RHYTHMIC INDEPENDENCE, as printed: at the \"When\" pickup (m12 b4) and at\n%% \"smil-\" (m14 b1) the ALTO strikes a plain quarter on its own down-stem\n%% while the soprano sings the dotted 8.+16 pair above it.\n%% FIVE-PART FINAL CHORD: the last \"soul.\" prints THREE dotted-half heads in\n%% the 1887 plate's bass staff - A-flat3, E-flat3, A-flat2 - under the\n%% treble's A-flat4 + C4. The corpus admits four voices and forbids divisi,\n%% so tenor A-flat3 (the V chord's G3 resolving up) and bass A-flat2\n%% (E-flat3 falling a fifth) are encoded and the printed E-flat3 between\n%% them - the chord's fifth - is NOT reproduced (POWER IN THE BLOOD\n%% precedent; the CEH re-engraving itself prints only A-flat3 + A-flat2,\n%% making the same reduction).\n%% A-flat major, 4/4, one-quarter anacrusis; every phrase starts on beat 4\n%% and every bar closes at four beats. 67 soprano noteheads; the refrain\n%% anchors at notehead 32 (\"Oh,\").\n\\version \"2.24.0\"\n\nglobal = { \\key aes \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n aes'8.( bes'16)\n c''4 ees'4 f'8. g'16 aes'8. bes'16\n c''2. c''8.( des''16)\n c''4 bes'4 ees'4 bes'4\n aes'2. aes'8.( bes'16)\n c''4 ees'4 f'8. g'16 aes'8. bes'16\n c''2. c''4\n bes'4. bes'8 c''4 d''4\n ees''2. ees''8. des''16\n c''2 aes'4 \\tuplet 3/2 { bes'8( aes'8) f'8 }\n ees'2 c'4 c'8. des'16\n ees'4 aes'4 c''8. ees''16 des''8. c''16\n bes'2. ees''8.( des''16)\n c''4 c''4 des''4. c''8\n c''8.( bes'16) aes'8.( f'16) ees'4 aes'8 bes'8\n c''8 c''4. bes'4 bes'4\n aes'2.\n}\nalto = {\n c'8.( des'16)\n ees'4 c'4 des'8. des'16 f'8. f'16\n ees'2. ees'8.( f'16)\n ees'4 des'4 des'4 des'4\n c'2. c'8.( des'16)\n ees'4 c'4 des'8. des'16 f'8. f'16\n ees'2. ees'4\n ees'4. ees'8 aes'4 aes'4\n g'2. g'8. ees'16\n ees'2 ees'4 \\tuplet 3/2 { f'8( aes'8) des'8 }\n c'2 aes4 aes8. bes16\n c'4 c'4 ees'8. ees'16 ees'8. ees'16\n ees'2. ees'4\n ees'4 ees'4 f'4. ees'8\n f'4 f'8.( des'16) c'4 ees'8 f'8\n ees'8 ees'4. des'4 des'4\n c'2.\n}\ntenor = {\n ees4\n aes4 aes4 aes8. aes16 aes8. aes16\n aes2. aes4\n aes4 g4 g4 ees4\n ees2. ees4\n aes4 aes4 aes8. aes16 aes8. aes16\n aes2. aes4\n g4. g8 bes4 bes4\n bes2. bes8. bes16\n aes8. aes16 aes8. aes16 c'4 \\tuplet 3/2 { des'4 aes8 }\n aes8. aes16 aes8. aes16 ees4 ees8. ees16\n aes4 ees4 aes8. c'16 bes8. aes16\n g8. g16 g8. g16 g8.( aes16) bes4\n aes4 aes4 aes4. aes8\n des'4 des'8.( aes16) aes4 aes8 aes8\n aes8 aes4. g4 g4\n aes2.\n}\nbass = {\n aes,4\n aes,4 aes,4 des8. des16 des8. des16\n aes,2. aes,4\n ees4 ees4 ees4 ees4\n aes,2. aes,4\n aes,4 aes,4 des8. des16 des8. des16\n aes,2. aes,4\n bes,4. bes,8 bes,4 bes,4\n ees2. ees8. g16\n aes8. aes16 aes8. aes16 aes4 \\tuplet 3/2 { des4 des8 }\n aes,8. aes,16 aes,8. aes,16 aes,4 aes,8. aes,16\n aes,4 aes,4 aes8. aes16 g8. aes16\n ees8. ees16 ees8. ees16 ees8.( f16) g4\n aes4 aes4 aes4. aes8\n des4 des8.( aes16) aes,4 c8 des8\n ees8 ees4. ees4 ees4\n aes,2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}