{"slug": "sweet-by-and-by", "name": "SWEET BY AND BY", "meter_label": "9.9.9.9 with Refrain", "meter": {"pattern": [9, 9, 9, 9], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "joseph-p-webster", "composer_date": "1868", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "sweet-by-and-by-tabernacle-hymns-1918", "provenance": {"layer": "tune", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_evidence": "Tune by Joseph Philbrick Webster (1819-1875), written 1868 in Elkhorn, Wisconsin, to S. Fillmore Bennett's words and first published that year in The Signet Ring; Webster died in 1875, so the tune is long PD everywhere. Read here from the dated printing in Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 \u2014 archive.org tabernaclehymns00town, leaf 0087, credited \"Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" (the 1910 claim covers the four-part arrangement) \u2014 and collated end to end against the same 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230, archive.org newmakechristkin00unse leaf 0215. Both witnesses are in G major, 4/4, and agree in every soprano note. THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335; 9.9.9.9 with refrain; 659 instances; the authority page's representative key is F, both witnesses here print G) matches the first fifteen soprano notes read off the plate exactly. tools/tune_fingerprint.py finds no corpus melody near the 0.80 duplicate threshold, so this is not a tune the corpus already holds under another name. The meter is 9.9.9.9 with refrain: 36 verse noteheads and 30 chorus noteheads, all strictly syllabic \u2014 no tie, slur or melisma anywhere. \u26a0 Christ in Song 1908, The Evangelical Hymnal 1921 and The Baptist Standard Hymnal 1924 print DIFFERENT altos \u2014 separate arrangements; they were not consulted and must not be mixed with this one (register note, docs/blocked-hymns.md).", "pd_basis": "pub_pre_1931", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sweet-by-and-by-tabernacle-hymns-1918", "tune": "sweet-by-and-by", "music_file": "sweet-by-and-by-tabernacle-hymns-1918.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "In the sweet", "durations": ["8", "8", "4"], "onset": 34}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 38}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 46}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 50}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 54}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part arrangement of J. P. Webster's tune copyrighted 1910 by J. H. Webster, hand-encoded from the dated page image of Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 \u2014 archive.org item tabernaclehymns00town, leaf 0087 \u2014 headed \"81  Sweet By-and-By. / S. Fillmore Bennett. / Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" US public domain: the tune was first published in 1868 (The Signet Ring), the 1910 arrangement copyright had itself expired without renewal long before 2006, and the page read here is in any case pre-1931. HOW THE NOTES WERE READ. Every notehead was located by staff position with a pixel measurement of the scan (tools/noteread.py \u2014 local five-line refits, per-staff edge-clip calibration; 23.1-23.5 px staff space), hollow heads re-read from their own arc pairs (rings), and every chord confirmed BY EYE on grid-overlay crops at 6x-14x; every bar was then closed at four beats in all four voices (the pickup and the three-beat final bar balance). SECOND WITNESS, read end to end: the SAME 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230 \u2014 archive.org newmakechristkin00unse, leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H. WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" (28.5-28.9 px staff space). That witness is a COMPRESSED engraving, and its volta topology was mapped before collating: the VERSE prints pickup + bars 1-3 shared (both text passes), volta 1 = bar 4 (\"far;\" + repeat), volta 2 = bars 7-8 separately engraved (\"pare us a dwell-ing place there.\"); the CHORUS opens a start-repeat at the \"In the\" pickup, shares bar 9, puts bars 10-12 under volta 1, and opens volta 2 MID-BAR at bar 13's beat 4 (its own \"by and\" figure), running bars 14-16 in full. So all but two beats of the 1918 engraving are independently engraved on the 1914 and were collated chord by chord. The verify pass caught ONE encoding error the salvaged draft carried and the collation prose had papered over: bar 7 beats 1.5-2 (\"us\", \"a\") \u2014 both plates print a two-head chord, tenor G3 over BASS B2 (head centered on the second line, flag wedge below the staff), not the draft's G3 unison; the bass now reads b,8 b,8, matching the parallel bar-5 figure. Between the witnesses themselves there is exactly ONE pitch divergence: at bar 13's \"and\" (soprano note 55) the 1918 plate prints alto F-SHARP-4 (completing D major, 9x grid crop) where the 1914's volta-2 opening prints alto D4 doubling the tenor (9x grid crop) \u2014 the 1918 reading ships. The two 1918-only beats are a volta-compression artifact, recorded honestly: bar 12's beat 4 (1918: bass ALONE takes \"In the\" on G2 8. 16, tenor rests) exists on the 1914 only as the shared chorus pickup, where tenor AND bass rest \u2014 so that beat's bass G2 rests on the 1918 alone; and bar 13's beats 1-3 ride bar 9's shared engraving, with which the 1918's bar 13 is in any case identical. Bar rhythms agree on BOTH witnesses everywhere, including the pair the register worried about: bar 3 is DOTTED (we 8. can 16, it 8. a- 16) and bar 7 PLAIN (us, a, ing, place as even eighths) on the 1918 AND the 1914 (whose separately-engraved volta-2 bar 7 prints plain single flags, no dots). THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335) matches the first fifteen soprano notes read off the plate exactly. THE ANTIPHONAL CHORUS (the reading the register said was missing): the lower staff answers on a second printed lyric row \u2014 \"In the sweet\" in bar 9, \"by and by,\" in bars 10, 12, 13 and 14 \u2014 always beat 2, eighth + eighth + quarter, encoded in bass_echo with the rests and notes in the voices exactly as printed. The texture varies bar to bar (tenor answer over a bass G2 pedal in bars 9 and 13, bass alone in bar 10, tenor D4s over bass G2s in bar 12, octaves C4/C3 in bar 14; the .ly header itemises them). Three reading traps are worth recording: the bass G2 heads of bars 9, 12 and 13 sit ON the bottom staff line and hide at low zoom \u2014 the pixel read's +0 findings forced the re-look (its echo answers at x 990/1062/1132, 908/978/1048 and 1402/1472/1542 on the 1918 leaf all carry a G2 below the tenor); bar 12's \"shore,\" and bar 14's \"by,\" are QUARTERS in the lower staff (the echo needs beats 2-3) under the upper voices' dotted halves; and bar 12 beat 4 gives the \"In the\" pickup to the BASS alone (G2 8. 16, tenor rests) where bar 8's parallel rests both voices. THE HOLLOW CADENCE CHORDS the register flagged (bars 4, 6, 8, 9, 10, 12, 13, 14, 16) were each read three ways: filled-template columns, the rings arc-pair pass, and the eye at 6x-14x; \"day,\"/\"way,\" are plain halves <D4 B3 / G3 G2>, \"far;\" is <A4 D4 / F#3 D3>, the chorus's \"sweet\" / \"by,\" / \"shore,\" carry dotted halves in the upper voices only, and the two G-cadences (\"there.\", \"shore.\") are dotted halves in all voices. FIVE-PART CADENCES: at BOTH \"there.\" (bar 8) and the final \"shore.\" (bar 16) the lower staff prints three dotted-half heads on one stem \u2014 B3, G3, G2 \u2014 on BOTH witnesses. The corpus admits four voices and forbids divisi, so S G4, A D4, T B3, B G2 are encoded and the printed doubled-root G3 is NOT reproduced (POWER IN THE BLOOD final-chord precedent). ACCIDENTAL SWEEP: every note column of both witnesses was swept by eye at 6x-14x; the hymn prints NO accidental glyph anywhere \u2014 the count is zero on both plates; every F-sharp is the key signature's. There are no ties and no slurs; 66 soprano noteheads carry 66 syllables one-to-one. DEPARTURES FROM THE PAGE: (1) the doubled-root G3 of the two five-part cadences, as above; (2) the plate's heavy \"CHORUS.\" double bar falls mid-bar 8 and is presentational \u2014 the engine's refrain marking replaces it; (3) the echo eighths are printed FLAGGED and the engine beams them (house style, the automatic-echo-beaming rule); (4) fermatas: none are printed; dynamics: none are printed; nothing else is dropped.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1918 Tabernacle Hymns page image (archive.org tabernaclehymns00town leaf 0087), cross-read end to end against the 1914 New Make Christ King printing of the same 1910 arrangement (newmakechristkin00unse leaf 0215). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET BY AND BY (9.9.9.9 with Refrain) \u2014 \"Sweet By-and-By\"\n%% J. P. Webster's tune in the four-part arrangement copyrighted 1910 by\n%% J. H. Webster (Oliver Ditson Co.), read from the dated 1918 printing.\n%% Four SATB voice streams, canonical key G major, 4/4, one-quarter pickup,\n%% 16 bars (final bar three beats). RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymns00town = Tabernacle Hymns (Chicago: Tabernacle\n%% Publishing Co., 1918), hymn 81, leaf 0087, headed \"81  Sweet By-and-By. /\n%% S. Fillmore Bennett. / Jos. P. Webster.\" in close score (S+A on the treble\n%% staff, T+B on the bass staff), one sharp, 4/4, footed \"Copyright, 1910, by\n%% J. H. Webster.  Used by per. Oliver Ditson Co.\"  Every notehead was located\n%% by staff position with a pixel measurement of the scan (tools/noteread.py,\n%% local five-line refits, hollow heads re-read from their arc pairs) and then\n%% read again by eye at 6x-14x on grid-overlay crops. Cross-read END TO END\n%% against the SAME 1910 arrangement in The New Make Christ King (Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 230, archive.org\n%% newmakechristkin00unse leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H.\n%% WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" \u2014 a COMPRESSED engraving\n%% (verse and chorus carry first/second-ending voltas), collated phrase by\n%% phrase. Per-chord log: review/sweet-by-and-by/READING.md.\n%%\n%% THE ANTIPHONAL CHORUS. From the chorus the lower staff is antiphonal: the\n%% upper voices hold dotted halves (\"sweet\", \"by,\", \"shore,\") while tenor and\n%% bass answer on a second, smaller printed lyric row \u2014 \"In the sweet\" once\n%% (bar 9), then \"by and by,\" four times (bars 10, 12, 13, 14) \u2014 always\n%% entering on beat 2 with eighth + eighth + quarter. The answer's texture\n%% varies and is encoded exactly as printed:\n%%   bar  9: T and B answer together, T G3-A3-B3 over a bass G2 pedal;\n%%           beat 4: T joins the upper voices' \"by and\" on D4s, B rests.\n%%   bar 10: T sings \"by,\" D4 with the upper voices then rests (printed high\n%%           quarter rests); B rests beat 1 then answers alone on D3 D3 D3;\n%%           beat 4: both sing \"We shall\" on octave D4/D3.\n%%   bar 12: \"shore,\" is a QUARTER for T+B (D4/G3) while the upper voices\n%%           hold it dotted-half; the answer prints TWO heads per column \u2014\n%%           T D4-D4-D4 (ledgered, above the staff) over B G2-G2-G2 (on the\n%%           bottom line) \u2014 on BOTH witnesses; beat 4: B alone takes the\n%%           \"In the\" pickup on G2 8. 16 while T rests.\n%%   bar 13: T answers G3-A3-B3 over the bass G2 pedal again (text now\n%%           \"by and by,\"); beat 4: T D4s with the upper \"by and\", B walks\n%%           G2 8. B2 16 into the C chord of bar 14.\n%%   bar 14: \"by,\" is a QUARTER for T+B (C4/C3); both answer in octaves\n%%           C4/C3; beat 4: \"We shall\" on G3 8. G3 16 over C3 8. C3 16.\n%% The answer-row words live in the sidecar's bass_echo, not in a fifth voice.\n%%\n%% FIVE-PART CADENCES, stated plainly. At BOTH G-cadences \u2014 \"there.\" (bar 8)\n%% and the final \"shore.\" (bar 16) \u2014 the lower staff prints THREE dotted-half\n%% noteheads on one stem: B3, G3 and G2, under the treble's G4 and D4, on both\n%% witnesses. The corpus admits four voices and forbids divisi, so soprano G4,\n%% alto D4, tenor B3 (the third, completing the triad) and bass G2 are encoded\n%% and the printed doubled-root G3 between them is NOT reproduced (the\n%% POWER IN THE BLOOD final-chord precedent).\n%%\n%% ACCIDENTALS: the hymn prints NONE \u2014 no sharp, flat or natural anywhere on\n%% either witness beyond the one-sharp key signature (all ~66 columns swept by\n%% eye at 6x-14x on both plates). Every fis here is the key signature's F-sharp.\n%% There are NO ties and NO slurs anywhere: 66 soprano noteheads, 66 syllables.\n%%\n%% RHYTHM NOTES. The verse's inner bars are quarter + two plain eighths\n%% (bars 1, 5, 7, 11, 15) EXCEPT bar 3, which the 1918 plate prints DOTTED\n%% (we 8. can 16, it 8. a- 16) \u2014 the 1914 witness prints its shared verse bar\n%% dotted as well, and both readings ship as their plates print them. All\n%% phrase pickups (\"There's a\", \"And by\", \"For the\", \"To pre\", \"In the\",\n%% \"by and\", \"We shall\") are dotted-eighth + sixteenth. Bars 2, 4 and 6 close\n%% with a printed quarter rest in all four voices after the half note, as\n%% engraved. Bar 8 and bar 16 are dotted halves with no rest (bar 16 is a\n%% THREE-BEAT bar balancing the one-beat pickup, as printed).\n%%\n%% NOT RENDERED, present in the source: the heavy \"CHORUS.\" double bar after\n%% \"there.\" falls mid-bar 8 (the chorus pickup \"In the\" completes that bar);\n%% the engine draws its refrain marking from the sidecar instead.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 b'8. b'16 d''4 d''8. b'16 |\n  a'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 fis'8 |\n  g'2. b'8. c''16 |\n  d''2. d''8. b'16 |\n  a'2. a'8. b'16 |\n  c''4 c''8 c''8 c''4 b'8 a'8 |\n  b'2. b'8. c''16 |\n  d''2. b'8. a'16 |\n  g'2. fis'8. e'16 |\n  d'4 g'8 b'8 a'4 g'8 fis'8 |\n  g'2.\n}\n\nalto = {\n  d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8. d'16 g'4 g'8. d'16 |\n  d'2 r4 d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8 d'8 e'4 d'8 d'8 |\n  d'2. g'8. a'16 |\n  b'2. b'8. g'16 |\n  fis'2. fis'8. g'16 |\n  a'4 a'8 a'8 a'4 g'8 fis'8 |\n  g'2. g'8. a'16 |\n  b'2. g'8. fis'16 |\n  e'2. d'8. c'16 |\n  b4 d'8 d'8 d'4 d'8 d'8 |\n  d'2.\n}\n\ntenor = {\n  b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8. g16 b4 b8. g16 |\n  fis2 r4 b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8 g8 c'4 b8 a8 |\n  b2. r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  d'4 r4 r4 d'8. d'16 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  d'4 d'8 d'8 d'4 r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  c'4 c'8 c'8 c'4 g8. g16 |\n  g4 b8 d'8 c'4 b8 a8 |\n  b2.\n}\n\nbass = {\n  g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 g8. g16 g4 g8. g16 |\n  d2 r4 g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 b,8 b,8 c4 d8 d8 |\n  g,2. r4 |\n  r4 g,8 g,8 g,4 r4 |\n  r4 d8 d8 d4 d8. d16 |\n  d4 d8 d8 d4 d8 d8 |\n  g4 g,8 g,8 g,4 g,8. g,16 |\n  g,4 g,8 g,8 g,4 g,8. b,16 |\n  c4 c8 c8 c4 c8. c16 |\n  d4 d8 d8 d4 d8 d8 |\n  g,2.\n}\n"}, "harmonizations": [{"slug": "sweet-by-and-by-tabernacle-hymns-1918", "tune": "sweet-by-and-by", "music_file": "sweet-by-and-by-tabernacle-hymns-1918.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "4/4", "pickup": "4", "system_breaks": [17, 32, 44, 56], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 37, "inline": true}, "markings": [{"soprano_note": 37, "kind": "refrain"}], "bass_echo": {"segments": [{"text": "In the sweet", "durations": ["8", "8", "4"], "onset": 34}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 38}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 46}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 50}, {"text": "by and by,", "durations": ["8", "8", "4"], "onset": 54}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-1918", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "The four-part arrangement of J. P. Webster's tune copyrighted 1910 by J. H. Webster, hand-encoded from the dated page image of Tabernacle Hymns (Chicago: Tabernacle Publishing Co., 1918), hymn 81 \u2014 archive.org item tabernaclehymns00town, leaf 0087 \u2014 headed \"81  Sweet By-and-By. / S. Fillmore Bennett. / Jos. P. Webster.\" and footed \"Copyright, 1910, by J. H. Webster.  Used by per. Oliver Ditson Co.\" US public domain: the tune was first published in 1868 (The Signet Ring), the 1910 arrangement copyright had itself expired without renewal long before 2006, and the page read here is in any case pre-1931. HOW THE NOTES WERE READ. Every notehead was located by staff position with a pixel measurement of the scan (tools/noteread.py \u2014 local five-line refits, per-staff edge-clip calibration; 23.1-23.5 px staff space), hollow heads re-read from their own arc pairs (rings), and every chord confirmed BY EYE on grid-overlay crops at 6x-14x; every bar was then closed at four beats in all four voices (the pickup and the three-beat final bar balance). SECOND WITNESS, read end to end: the SAME 1910 arrangement in The New Make Christ King (Chicago: Glad Tidings Publishing Co., 1914), No. 230 \u2014 archive.org newmakechristkin00unse, leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H. WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" (28.5-28.9 px staff space). That witness is a COMPRESSED engraving, and its volta topology was mapped before collating: the VERSE prints pickup + bars 1-3 shared (both text passes), volta 1 = bar 4 (\"far;\" + repeat), volta 2 = bars 7-8 separately engraved (\"pare us a dwell-ing place there.\"); the CHORUS opens a start-repeat at the \"In the\" pickup, shares bar 9, puts bars 10-12 under volta 1, and opens volta 2 MID-BAR at bar 13's beat 4 (its own \"by and\" figure), running bars 14-16 in full. So all but two beats of the 1918 engraving are independently engraved on the 1914 and were collated chord by chord. The verify pass caught ONE encoding error the salvaged draft carried and the collation prose had papered over: bar 7 beats 1.5-2 (\"us\", \"a\") \u2014 both plates print a two-head chord, tenor G3 over BASS B2 (head centered on the second line, flag wedge below the staff), not the draft's G3 unison; the bass now reads b,8 b,8, matching the parallel bar-5 figure. Between the witnesses themselves there is exactly ONE pitch divergence: at bar 13's \"and\" (soprano note 55) the 1918 plate prints alto F-SHARP-4 (completing D major, 9x grid crop) where the 1914's volta-2 opening prints alto D4 doubling the tenor (9x grid crop) \u2014 the 1918 reading ships. The two 1918-only beats are a volta-compression artifact, recorded honestly: bar 12's beat 4 (1918: bass ALONE takes \"In the\" on G2 8. 16, tenor rests) exists on the 1914 only as the shared chorus pickup, where tenor AND bass rest \u2014 so that beat's bass G2 rests on the 1918 alone; and bar 13's beats 1-3 ride bar 9's shared engraving, with which the 1918's bar 13 is in any case identical. Bar rhythms agree on BOTH witnesses everywhere, including the pair the register worried about: bar 3 is DOTTED (we 8. can 16, it 8. a- 16) and bar 7 PLAIN (us, a, ing, place as even eighths) on the 1918 AND the 1914 (whose separately-engraved volta-2 bar 7 prints plain single flags, no dots). THE HYMNARY INCIPIT for tune authority sweet_by_and_by_webster (123212165123335) matches the first fifteen soprano notes read off the plate exactly. THE ANTIPHONAL CHORUS (the reading the register said was missing): the lower staff answers on a second printed lyric row \u2014 \"In the sweet\" in bar 9, \"by and by,\" in bars 10, 12, 13 and 14 \u2014 always beat 2, eighth + eighth + quarter, encoded in bass_echo with the rests and notes in the voices exactly as printed. The texture varies bar to bar (tenor answer over a bass G2 pedal in bars 9 and 13, bass alone in bar 10, tenor D4s over bass G2s in bar 12, octaves C4/C3 in bar 14; the .ly header itemises them). Three reading traps are worth recording: the bass G2 heads of bars 9, 12 and 13 sit ON the bottom staff line and hide at low zoom \u2014 the pixel read's +0 findings forced the re-look (its echo answers at x 990/1062/1132, 908/978/1048 and 1402/1472/1542 on the 1918 leaf all carry a G2 below the tenor); bar 12's \"shore,\" and bar 14's \"by,\" are QUARTERS in the lower staff (the echo needs beats 2-3) under the upper voices' dotted halves; and bar 12 beat 4 gives the \"In the\" pickup to the BASS alone (G2 8. 16, tenor rests) where bar 8's parallel rests both voices. THE HOLLOW CADENCE CHORDS the register flagged (bars 4, 6, 8, 9, 10, 12, 13, 14, 16) were each read three ways: filled-template columns, the rings arc-pair pass, and the eye at 6x-14x; \"day,\"/\"way,\" are plain halves <D4 B3 / G3 G2>, \"far;\" is <A4 D4 / F#3 D3>, the chorus's \"sweet\" / \"by,\" / \"shore,\" carry dotted halves in the upper voices only, and the two G-cadences (\"there.\", \"shore.\") are dotted halves in all voices. FIVE-PART CADENCES: at BOTH \"there.\" (bar 8) and the final \"shore.\" (bar 16) the lower staff prints three dotted-half heads on one stem \u2014 B3, G3, G2 \u2014 on BOTH witnesses. The corpus admits four voices and forbids divisi, so S G4, A D4, T B3, B G2 are encoded and the printed doubled-root G3 is NOT reproduced (POWER IN THE BLOOD final-chord precedent). ACCIDENTAL SWEEP: every note column of both witnesses was swept by eye at 6x-14x; the hymn prints NO accidental glyph anywhere \u2014 the count is zero on both plates; every F-sharp is the key signature's. There are no ties and no slurs; 66 soprano noteheads carry 66 syllables one-to-one. DEPARTURES FROM THE PAGE: (1) the doubled-root G3 of the two five-part cadences, as above; (2) the plate's heavy \"CHORUS.\" double bar falls mid-bar 8 and is presentational \u2014 the engine's refrain marking replaces it; (3) the echo eighths are printed FLAGGED and the engine beams them (house style, the automatic-echo-beaming rule); (4) fermatas: none are printed; dynamics: none are printed; nothing else is dropped.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1918 Tabernacle Hymns page image (archive.org tabernaclehymns00town leaf 0087), cross-read end to end against the 1914 New Make Christ King printing of the same 1910 arrangement (newmakechristkin00unse leaf 0215). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET BY AND BY (9.9.9.9 with Refrain) \u2014 \"Sweet By-and-By\"\n%% J. P. Webster's tune in the four-part arrangement copyrighted 1910 by\n%% J. H. Webster (Oliver Ditson Co.), read from the dated 1918 printing.\n%% Four SATB voice streams, canonical key G major, 4/4, one-quarter pickup,\n%% 16 bars (final bar three beats). RULES (CI-enforced): exactly the variables\n%% soprano/alto/tenor/bass/global; absolute octaves; each voice rhythmically\n%% complete; NO chords <>, NO <<>>, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymns00town = Tabernacle Hymns (Chicago: Tabernacle\n%% Publishing Co., 1918), hymn 81, leaf 0087, headed \"81  Sweet By-and-By. /\n%% S. Fillmore Bennett. / Jos. P. Webster.\" in close score (S+A on the treble\n%% staff, T+B on the bass staff), one sharp, 4/4, footed \"Copyright, 1910, by\n%% J. H. Webster.  Used by per. Oliver Ditson Co.\"  Every notehead was located\n%% by staff position with a pixel measurement of the scan (tools/noteread.py,\n%% local five-line refits, hollow heads re-read from their arc pairs) and then\n%% read again by eye at 6x-14x on grid-overlay crops. Cross-read END TO END\n%% against the SAME 1910 arrangement in The New Make Christ King (Chicago:\n%% Glad Tidings Publishing Co., 1914), No. 230, archive.org\n%% newmakechristkin00unse leaf 0215, footed \"COPYRIGHT, 1910, BY JOAN H.\n%% WEBSTER. USED BY PER. OF OLIVER DITSON CO.\" \u2014 a COMPRESSED engraving\n%% (verse and chorus carry first/second-ending voltas), collated phrase by\n%% phrase. Per-chord log: review/sweet-by-and-by/READING.md.\n%%\n%% THE ANTIPHONAL CHORUS. From the chorus the lower staff is antiphonal: the\n%% upper voices hold dotted halves (\"sweet\", \"by,\", \"shore,\") while tenor and\n%% bass answer on a second, smaller printed lyric row \u2014 \"In the sweet\" once\n%% (bar 9), then \"by and by,\" four times (bars 10, 12, 13, 14) \u2014 always\n%% entering on beat 2 with eighth + eighth + quarter. The answer's texture\n%% varies and is encoded exactly as printed:\n%%   bar  9: T and B answer together, T G3-A3-B3 over a bass G2 pedal;\n%%           beat 4: T joins the upper voices' \"by and\" on D4s, B rests.\n%%   bar 10: T sings \"by,\" D4 with the upper voices then rests (printed high\n%%           quarter rests); B rests beat 1 then answers alone on D3 D3 D3;\n%%           beat 4: both sing \"We shall\" on octave D4/D3.\n%%   bar 12: \"shore,\" is a QUARTER for T+B (D4/G3) while the upper voices\n%%           hold it dotted-half; the answer prints TWO heads per column \u2014\n%%           T D4-D4-D4 (ledgered, above the staff) over B G2-G2-G2 (on the\n%%           bottom line) \u2014 on BOTH witnesses; beat 4: B alone takes the\n%%           \"In the\" pickup on G2 8. 16 while T rests.\n%%   bar 13: T answers G3-A3-B3 over the bass G2 pedal again (text now\n%%           \"by and by,\"); beat 4: T D4s with the upper \"by and\", B walks\n%%           G2 8. B2 16 into the C chord of bar 14.\n%%   bar 14: \"by,\" is a QUARTER for T+B (C4/C3); both answer in octaves\n%%           C4/C3; beat 4: \"We shall\" on G3 8. G3 16 over C3 8. C3 16.\n%% The answer-row words live in the sidecar's bass_echo, not in a fifth voice.\n%%\n%% FIVE-PART CADENCES, stated plainly. At BOTH G-cadences \u2014 \"there.\" (bar 8)\n%% and the final \"shore.\" (bar 16) \u2014 the lower staff prints THREE dotted-half\n%% noteheads on one stem: B3, G3 and G2, under the treble's G4 and D4, on both\n%% witnesses. The corpus admits four voices and forbids divisi, so soprano G4,\n%% alto D4, tenor B3 (the third, completing the triad) and bass G2 are encoded\n%% and the printed doubled-root G3 between them is NOT reproduced (the\n%% POWER IN THE BLOOD final-chord precedent).\n%%\n%% ACCIDENTALS: the hymn prints NONE \u2014 no sharp, flat or natural anywhere on\n%% either witness beyond the one-sharp key signature (all ~66 columns swept by\n%% eye at 6x-14x on both plates). Every fis here is the key signature's F-sharp.\n%% There are NO ties and NO slurs anywhere: 66 soprano noteheads, 66 syllables.\n%%\n%% RHYTHM NOTES. The verse's inner bars are quarter + two plain eighths\n%% (bars 1, 5, 7, 11, 15) EXCEPT bar 3, which the 1918 plate prints DOTTED\n%% (we 8. can 16, it 8. a- 16) \u2014 the 1914 witness prints its shared verse bar\n%% dotted as well, and both readings ship as their plates print them. All\n%% phrase pickups (\"There's a\", \"And by\", \"For the\", \"To pre\", \"In the\",\n%% \"by and\", \"We shall\") are dotted-eighth + sixteenth. Bars 2, 4 and 6 close\n%% with a printed quarter rest in all four voices after the half note, as\n%% engraved. Bar 8 and bar 16 are dotted halves with no rest (bar 16 is a\n%% THREE-BEAT bar balancing the one-beat pickup, as printed).\n%%\n%% NOT RENDERED, present in the source: the heavy \"CHORUS.\" double bar after\n%% \"there.\" falls mid-bar 8 (the chorus pickup \"In the\" completes that bar);\n%% the engine draws its refrain marking from the sidecar instead.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 4/4 \\partial 4 }\n\nsoprano = {\n  g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 b'8. b'16 d''4 d''8. b'16 |\n  a'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 e'8 |\n  d'2 r4 g'8. a'16 |\n  b'4 a'8 g'8 a'4 g'8 fis'8 |\n  g'2. b'8. c''16 |\n  d''2. d''8. b'16 |\n  a'2. a'8. b'16 |\n  c''4 c''8 c''8 c''4 b'8 a'8 |\n  b'2. b'8. c''16 |\n  d''2. b'8. a'16 |\n  g'2. fis'8. e'16 |\n  d'4 g'8 b'8 a'4 g'8 fis'8 |\n  g'2.\n}\n\nalto = {\n  d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8. d'16 g'4 g'8. d'16 |\n  d'2 r4 d'8. d'16 |\n  g'4 d'8 d'8 e'4 e'8 c'8 |\n  b2 r4 d'8. d'16 |\n  d'4 d'8 d'8 e'4 d'8 d'8 |\n  d'2. g'8. a'16 |\n  b'2. b'8. g'16 |\n  fis'2. fis'8. g'16 |\n  a'4 a'8 a'8 a'4 g'8 fis'8 |\n  g'2. g'8. a'16 |\n  b'2. g'8. fis'16 |\n  e'2. d'8. c'16 |\n  b4 d'8 d'8 d'4 d'8 d'8 |\n  d'2.\n}\n\ntenor = {\n  b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8. g16 b4 b8. g16 |\n  fis2 r4 b8. c'16 |\n  d'4 d'8 d'8 c'4 g8 g8 |\n  g2 r4 g8. fis16 |\n  g4 g8 g8 c'4 b8 a8 |\n  b2. r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  d'4 r4 r4 d'8. d'16 |\n  d'4 d'8 d'8 d'4 d'8 d'8 |\n  d'4 d'8 d'8 d'4 r4 |\n  r4 g8 a8 b4 d'8. d'16 |\n  c'4 c'8 c'8 c'4 g8. g16 |\n  g4 b8 d'8 c'4 b8 a8 |\n  b2.\n}\n\nbass = {\n  g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 g8. g16 g4 g8. g16 |\n  d2 r4 g8. g16 |\n  g4 b,8 b,8 c4 c8 c8 |\n  g,2 r4 b,8. d16 |\n  g4 b,8 b,8 c4 d8 d8 |\n  g,2. r4 |\n  r4 g,8 g,8 g,4 r4 |\n  r4 d8 d8 d4 d8. d16 |\n  d4 d8 d8 d4 d8 d8 |\n  g4 g,8 g,8 g,4 g,8. g,16 |\n  g,4 g,8 g,8 g,4 g,8. b,16 |\n  c4 c8 c8 c4 c8. c16 |\n  d4 d8 d8 d4 d8 d8 |\n  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."}