{"slug": "sweet-hour", "name": "SWEET HOUR", "alt_name": "SWEET HOUR OF PRAYER", "meter_label": "L.M.D.", "meter": {"pattern": [8, 8, 8, 8], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "william-b-bradbury", "composer_date": "1861", "canonical_key": {"tonic": "d", "mode": "major"}, "preferred_harmonization": "sweet-hour-methodist-1905", "provenance": {"layer": "tune", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Read for this record off the dated printing in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364 \u2014 archive.org methodi00meth leaf n375, collated against a second scan of the same plate, archive.org methodisthymnal01churgoog leaf n382. That page heads the tune \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\" and sets it in D major and 3/8. US public domain: the printing actually read is itself pre-1931. \"William B. Bradbury\" is the credit the page itself prints; the 1861 first publication in his Golden Chain of Sabbath School Melodies is the received date and was NOT verified here against a copy of that book \u2014 nothing in this record depends on it, since the licensing basis is the 1905 printing. THE METRE WAS TAKEN FROM THE MUSIC, not from the page's heading: the tune sets eight lines of eight syllables (64 syllables over 67 soprano noteheads, three of them two-note melismas), i.e. L.M.D. \u2014 the 1905 page's \"8s. D.\" is the same count in that hymnal's older notation. The tune is entered under the shorter name SWEET HOUR, the form this repo's own gospel-song survey uses (docs/research/14-gospel-song-expansion.md), with the page's heading kept as `alt_name`. Not a duplicate: tools/tune_fingerprint.py run on a MIDI written from THIS page reading scores 0.54 against its nearest corpus neighbour (CRANHAM), far below the 0.80 duplicate threshold.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "sweet-hour-methodist-1905", "tune": "sweet-hour", "music_file": "sweet-hour-methodist-1905.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/8", "pickup": "8", "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Bradbury's SWEET HOUR as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\", in D major and 3/8 with a one-eighth pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE \u2014 archive.org methodi00meth leaf n375 (2768 px across) and archive.org methodisthymnal01churgoog leaf n382 (3262 px across). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, noteheads isolated by morphological erosion (which deletes staff lines, stems and beams), merged soprano-over-alto pairs \u2014 all of them exactly a third apart on this page \u2014 split at the midpoint of their two clean outer edges, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew and page curvature cannot drag a reading. On scan 1, 265 of 267 cores land within 0.15 diatonic step of an exact staff position; the two that do not are the head of a bass clef and the flag of an eighth-note stem, both identified by eye at 5x and discarded. Scan 2, read independently the same way, agrees with scan 1 on all 69 chords in all four voices \u2014 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, one notehead carrying both an up and a down stem is a unison, and one notehead carrying a single stem (the three melismas, where the bass alone holds) is that stem's voice only. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE. The Cyber Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian Church in the United States, 1955), # 398\" as the edition it was copied from. An earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4, commit 981a613) was rejected; its committed .ly differs from this plate in exactly six notes and in nothing else \u2014 the tenor's first note in mm. 2, 10 and 26 (plate A3, that file D4) and both notes of m. 20 (plate tenor A3-A3 and alto F#4-F#4, that file tenor D4-F#3 and alto F#4-D4). The plate is followed at all six. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the page beams the three two-note melismas as eighth pairs and they are slurred here, which is how this corpus marks a two-note syllable \u2014 a notation change, not a pitch or duration change; (3) the thick phrase rules the page draws mid-bar at the ends of poetic lines 1-7 are not reproduced, but the system breaks fall at those same soprano ordinals; (4) the page casts two poetic lines per system and this hymn casts one, because 17 noteheads exceeds MAX_SYSTEM_NOTES. Nothing else departs: every pitch and every duration below is the plate's, the bass holds its quarter under each melisma exactly where the plate holds it, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 516, p. 364 \u2014 archive.org methodi00meth leaf n375, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n382. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET HOUR (L.M.D.) \u2014 William B. Bradbury. Four SATB voice streams,\n%% canonical key D major, 3/8, one-eighth pickup, 32 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed\n%% \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\". Read off TWO\n%% independent scans of that plate: archive.org methodi00meth leaf n375\n%% (2768 px across) and archive.org methodisthymnal01churgoog leaf n382\n%% (3262 px across).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan: adaptive binarisation\n%% (ink < 82% of the local paper level, then a 5x5 closing to seal the\n%% highlights the plate's ink leaves inside a notehead); noteheads isolated by\n%% morphological erosion with an ellipse of semi-axes 0.29 x 0.215 staff\n%% spaces, which deletes staff lines, stems and beams but leaves a notehead\n%% core; every merged pair on this page turned out to be exactly one staff\n%% space (a third) apart, and each was split at its midpoint, which is the\n%% mean of two clean outer edges. Every core was then converted to a diatonic\n%% step with a FRESH five-line fit made in a +-2.4-staff-space window around\n%% that core's own x, so the plate's skew and curvature cannot drag a reading.\n%% 265 of the 267 cores on scan 1 land within 0.15 diatonic step of an exact\n%% staff position; the two that do not are the head of a bass clef and the\n%% flag of an eighth-note stem (a few flags do survive the erosion), and both\n%% were identified by eye at 5x and discarded. Scan 2, read the same way with\n%% its own staff-line fits, agrees with scan 1 on all 69 chords x 4 voices \u2014\n%% 0 disagreements.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. The Cyber\n%% Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md\n%% records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian\n%% Church in the US, 1955), # 398\" as the edition it was copied from. An\n%% earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4,\n%% commit 981a613) was rejected; its committed .ly differs from this plate in\n%% exactly six notes and in nothing else \u2014 the tenor's first note in mm. 2, 10\n%% and 26 (plate a, i.e. A3; that file d', i.e. D4) and both notes of m. 20,\n%% where the plate prints tenor a-a and alto fis'-fis' against its tenor\n%% d'-fis and alto fis'-d'. The plate is followed at all six.\n%%\n%% THE PRINTED METRE IS 3/8, not the 6/8 modern hymnals use: every bar is a\n%% quarter on the beat plus an eighth upbeat, so each poetic line ends on a\n%% QUARTER that shares its bar with the next line's pickup eighth (pickup 1/8\n%% + final 2/8 = one whole bar, so the piece is metrically complete). The\n%% thick rules the page draws at the ends of poetic lines 1-7 are phrase\n%% double bars falling MID-bar, between that quarter and the next line's\n%% pickup; they are NOT barlines and are NOT reproduced here (the engine draws\n%% ordinary barlines and a system break at those same soprano ordinals).\n%%\n%% THE THREE MELISMAS (soprano notes 12-13, 29-30, 62-63 \u2014 the 4th syllable of\n%% poetic lines 2, 4 and 8: \"from\", \"wants\", \"-turn\") are the two-note pairs\n%% slurred below. The page BEAMS them as eighth pairs; this corpus marks a\n%% two-note syllable with a slur, so that is a departure in notation, not in\n%% pitch or duration. Under each of them the bass alone holds a quarter while\n%% the three upper voices move in eighths \u2014 the page prints that, and it is\n%% the only place in the hymn where the four voices are not homorhythmic;\n%% everywhere else all four restrike together, exactly as the plate does.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a double bar at the end\n%% of the last sung line, and before the closing heavy double bar, the plate\n%% prints two chords under \"A-MEN\", written as dotted quarters (a full 3/8 bar\n%% each): S d' / A b / T g / B g, , then S d' / A a / T fis / B d \u2014 a plagal\n%% G-to-D. This corpus never authors an amen per harmonization (they are synthesized\n%% as an optional book feature), so `amen: false` and those two chords are\n%% simply absent; with the book option on, the synthesized plagal amen holds\n%% the alto on d' where the plate prints b and then a.\n%%\n%% 67 soprano noteheads carry 64 syllables (8 lines x 8, L.M.D.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/8 \\partial 8 }\n\nsoprano = {\n  d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | e'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | a'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4\n}\n\nalto = {\n  d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | cis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | fis'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4\n}\n\ntenor = {\n  fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4\n}\n\nbass = {\n  d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4\n}\n"}, "harmonizations": [{"slug": "sweet-hour-methodist-1905", "tune": "sweet-hour", "music_file": "sweet-hour-methodist-1905.ly", "canonical_key": {"tonic": "d", "mode": "major"}, "time": "3/8", "pickup": "8", "system_breaks": [8, 17, 25, 34, 42, 50, 58], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": null, "provenance": {"layer": "harmonization", "source": "methodist-hymnal-1905", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting of Bradbury's SWEET HOUR as printed in The Methodist Hymnal (New York: Eaton & Mains; Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\", in D major and 3/8 with a one-eighth pickup. US public domain: the printing read is 1905, well before 1931, and no modern arranger stands anywhere in the chain. TWO DATED SCANS OF THAT PLATE WERE READ AND REQUIRED TO AGREE \u2014 archive.org methodi00meth leaf n375 (2768 px across) and archive.org methodisthymnal01churgoog leaf n382 (3262 px across). THE NOTEHEADS WERE MEASURED, NOT EYEBALLED: each scan was binarised against its own local paper level, noteheads isolated by morphological erosion (which deletes staff lines, stems and beams), merged soprano-over-alto pairs \u2014 all of them exactly a third apart on this page \u2014 split at the midpoint of their two clean outer edges, and every core converted to a diatonic step against a FRESH five-line fit made in a window around that core's own x, so skew and page curvature cannot drag a reading. On scan 1, 265 of 267 cores land within 0.15 diatonic step of an exact staff position; the two that do not are the head of a bass clef and the flag of an eighth-note stem, both identified by eye at 5x and discarded. Scan 2, read independently the same way, agrees with scan 1 on all 69 chords in all four voices \u2014 0 disagreements. Voices were separated by the plate's own engraving: two noteheads in a staff are its upper and lower voice, one notehead carrying both an up and a down stem is a unison, and one notehead carrying a single stem (the three melismas, where the bass alone holds) is that stem's voice only. NO SCAFFOLD WAS USED AND NOTHING WAS CHECKED AGAINST ONE. The Cyber Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian Church in the United States, 1955), # 398\" as the edition it was copied from. An earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4, commit 981a613) was rejected; its committed .ly differs from this plate in exactly six notes and in nothing else \u2014 the tenor's first note in mm. 2, 10 and 26 (plate A3, that file D4) and both notes of m. 20 (plate tenor A3-A3 and alto F#4-F#4, that file tenor D4-F#3 and alto F#4-D4). The plate is followed at all six. DEPARTURES FROM THE PAGE, in full: (1) the page's engraved Amen is not carried, see the `amen` comment above; (2) the page beams the three two-note melismas as eighth pairs and they are slurred here, which is how this corpus marks a two-note syllable \u2014 a notation change, not a pitch or duration change; (3) the thick phrase rules the page draws mid-bar at the ends of poetic lines 1-7 are not reproduced, but the system breaks fall at those same soprano ordinals; (4) the page casts two poetic lines per system and this hymn casts one, because 17 noteheads exceeds MAX_SYSTEM_NOTES. Nothing else departs: every pitch and every duration below is the plate's, the bass holds its quarter under each melisma exactly where the plate holds it, and all four voices restrike together everywhere else because that is what the plate prints.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the page images of The Methodist Hymnal 1905, hymn 516, p. 364 \u2014 archive.org methodi00meth leaf n375, collated notehead by notehead against archive.org methodisthymnal01churgoog leaf n382. No MIDI, no Cyber Hymnal asset and no existing encoding was used at any point.", "encoding_license": "PD-dedication"}, "music_ly": "%% SWEET HOUR (L.M.D.) \u2014 William B. Bradbury. Four SATB voice streams,\n%% canonical key D major, 3/8, one-eighth pickup, 32 measures.\n%% RULES (CI-enforced): exactly the variables soprano/alto/tenor/bass/global;\n%% absolute octaves; each voice rhythmically complete; NO chords <>, NO <<>>,\n%% NO \\secondShift/\\unisonWholeShift/tightSpacing, NO \\break, NO \\bar, NO lyrics.\n%%\n%% SOURCE OF THE NOTES. The Methodist Hymnal (New York: Eaton & Mains;\n%% Cincinnati: Jennings & Graham, 1905), hymn 516, printed page 364, headed\n%% \"SWEET HOUR OF PRAYER 8s. D.\" over \"William B. Bradbury\". Read off TWO\n%% independent scans of that plate: archive.org methodi00meth leaf n375\n%% (2768 px across) and archive.org methodisthymnal01churgoog leaf n382\n%% (3262 px across).\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye). Per scan: adaptive binarisation\n%% (ink < 82% of the local paper level, then a 5x5 closing to seal the\n%% highlights the plate's ink leaves inside a notehead); noteheads isolated by\n%% morphological erosion with an ellipse of semi-axes 0.29 x 0.215 staff\n%% spaces, which deletes staff lines, stems and beams but leaves a notehead\n%% core; every merged pair on this page turned out to be exactly one staff\n%% space (a third) apart, and each was split at its midpoint, which is the\n%% mean of two clean outer edges. Every core was then converted to a diatonic\n%% step with a FRESH five-line fit made in a +-2.4-staff-space window around\n%% that core's own x, so the plate's skew and curvature cannot drag a reading.\n%% 265 of the 267 cores on scan 1 land within 0.15 diatonic step of an exact\n%% staff position; the two that do not are the head of a bass clef and the\n%% flag of an eighth-note stem (a few flags do survive the erosion), and both\n%% were identified by eye at 5x and discarded. Scan 2, read the same way with\n%% its own staff-line fits, agrees with scan 1 on all 69 chords x 4 voices \u2014\n%% 0 disagreements.\n%%\n%% NO SCAFFOLD WAS USED, and nothing here was checked against one. The Cyber\n%% Hymnal's SweetHour.nwc was not opened for this record; docs/loose-ends.md\n%% records that its |SongInfo| Comments names \"The Hymnbook (Presbyterian\n%% Church in the US, 1955), # 398\" as the edition it was copied from. An\n%% earlier import scaffolded from that file (branch worktree-wf_1d58a7df-a58-4,\n%% commit 981a613) was rejected; its committed .ly differs from this plate in\n%% exactly six notes and in nothing else \u2014 the tenor's first note in mm. 2, 10\n%% and 26 (plate a, i.e. A3; that file d', i.e. D4) and both notes of m. 20,\n%% where the plate prints tenor a-a and alto fis'-fis' against its tenor\n%% d'-fis and alto fis'-d'. The plate is followed at all six.\n%%\n%% THE PRINTED METRE IS 3/8, not the 6/8 modern hymnals use: every bar is a\n%% quarter on the beat plus an eighth upbeat, so each poetic line ends on a\n%% QUARTER that shares its bar with the next line's pickup eighth (pickup 1/8\n%% + final 2/8 = one whole bar, so the piece is metrically complete). The\n%% thick rules the page draws at the ends of poetic lines 1-7 are phrase\n%% double bars falling MID-bar, between that quarter and the next line's\n%% pickup; they are NOT barlines and are NOT reproduced here (the engine draws\n%% ordinary barlines and a system break at those same soprano ordinals).\n%%\n%% THE THREE MELISMAS (soprano notes 12-13, 29-30, 62-63 \u2014 the 4th syllable of\n%% poetic lines 2, 4 and 8: \"from\", \"wants\", \"-turn\") are the two-note pairs\n%% slurred below. The page BEAMS them as eighth pairs; this corpus marks a\n%% two-note syllable with a slur, so that is a departure in notation, not in\n%% pitch or duration. Under each of them the bass alone holds a quarter while\n%% the three upper voices move in eighths \u2014 the page prints that, and it is\n%% the only place in the hymn where the four voices are not homorhythmic;\n%% everywhere else all four restrike together, exactly as the plate does.\n%%\n%% THE PAGE'S ENGRAVED AMEN IS NOT CARRIED HERE. After a double bar at the end\n%% of the last sung line, and before the closing heavy double bar, the plate\n%% prints two chords under \"A-MEN\", written as dotted quarters (a full 3/8 bar\n%% each): S d' / A b / T g / B g, , then S d' / A a / T fis / B d \u2014 a plagal\n%% G-to-D. This corpus never authors an amen per harmonization (they are synthesized\n%% as an optional book feature), so `amen: false` and those two chords are\n%% simply absent; with the book option on, the synthesized plagal amen holds\n%% the alto on d' where the plate prints b and then a.\n%%\n%% 67 soprano noteheads carry 64 syllables (8 lines x 8, L.M.D.).\n\\version \"2.24.0\"\n\nglobal  = { \\key d \\major \\time 3/8 \\partial 8 }\n\nsoprano = {\n  d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | e'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | a'4 a'8 |\n  d''4 cis''8 | d''4 b'8 | a'4 fis'8 | e'4 d'8 |\n  fis'4 g'8 | a'4 a'8 | b'4 cis''8 | d''4 b'8 |\n  a'4 fis'8 | fis'8( e'8) d'8 | fis'4 e'8 | d'4\n}\n\nalto = {\n  d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | cis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | fis'4 fis'8 |\n  fis'4 g'8 | a'4 g'8 | fis'4 d'8 | cis'4 d'8 |\n  d'4 e'8 | fis'4 fis'8 | g'4 a'8 | b'4 g'8 |\n  fis'4 d'8 | d'8( cis'8) d'8 | d'4 cis'8 | d'4\n}\n\ntenor = {\n  fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 a8 |\n  a4 a8 | a4 d'8 | d'4 a8 | a4 fis8 |\n  a4 a8 | a4 d'8 | d'4 d'8 | d'4 d'8 |\n  d'4 a8 | a8( g8) fis8 | a4 g8 | fis4\n}\n\nbass = {\n  d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | d4 d8 |\n  d4 e8 | fis4 g8 | d4 d8 | a,4 d8 |\n  d4 d8 | d4 d8 | g4 g8 | g4 g8 |\n  d4 d8 | d4 d8 | a,4 a,8 | d4\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}