{"slug": "thompson", "name": "THOMPSON", "meter_label": "11.7.11.7 with Refrain", "meter": {"pattern": [11, 7, 11, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "will-l-thompson", "composer_date": "1880", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "thompson-1921", "provenance": {"layer": "tune", "source": "sparkling-gems-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune and words alike by Will L. Thompson (1847-1909) of East Liverpool, Ohio, who published them himself. First printing read for this record: Sparkling Gems Nos. 1 [and 2 combined], compiled by J. Calvin Bushey (East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" and signed at the foot \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" \u2014 archive.org item sparklinggemsnos00bush, leaf n55. US public domain by publication before 1929. The tune name THOMPSON is the name the hymnals print (Hymnary tune authority thompson_thompson, 790 instances); neither the 1882 nor the 1921 page names the tune, so no alt_name is recorded. The soprano's first sixteen scale degrees match that authority's incipit 3211712166511132 exactly.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "thompson_thompson", "total_instances": 790}}, "harmonization": {"slug": "thompson-1921", "tune": "thompson", "music_file": "thompson-1921.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 19, 30, 38, 54, 65], "breaks_manual": true, "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39, "inline": true}, "bass_echo": {"segments": [{"text": "Come home,", "durations": ["8", "4."], "onset": 25}, {"text": "come home,", "durations": ["8", "4."], "onset": 28}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Will L. Thompson's own four-part setting of his own tune, \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" \u2014 long expired, and read here off a dated pre-1931 page rather than a modern one. Transcribed notehead by notehead from Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing Co.; Little Rock: Southern Hymn Books Exchange, 1921), hymn 191, \"Softly and Tenderly\", archive.org item tabernaclehymnsn02chic, leaf n196 \u2014 close score, four flats, 6/8, marked \"pp Very slow.\", with \"Hope Publishing Co., owner. Used by permission.\" at the foot (a 1921 permission line for a 1880 copyright that had itself lapsed; the page is pre-1931 either way). Every notehead was fixed by measuring its staff position against the scan's detected staff lines and then re-read by eye at 5-12x, including all four printed accidentals (bar 3 alto d-natural; bar 11 alto a-natural and its cancelling flat, and soprano d-natural; bar 12's d-natural and d-flat on the fermata chords). Cross-checked against the FIRST printing, Sparkling Gems Nos. 1 [and 2 combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" with the 1880 copyright line at the foot \u2014 archive.org item sparklinggemsnos00bush, leaf n55. The Cyber Hymnal's NoteWorthy file was decompressed only as a third opinion and is NOT evidence: its |SongInfo| Comments names the 1975 Baptist Hymnal and Tabernacle Hymns No. 4 (1953) as the editions it was copied from. It differs from both dated printings at exactly one place \u2014 bar 3, note 3 \u2014 where the modern edition raises the chord to alto f' / soprano des'' so bar 3 matches bar 7. Both 1921 and 1882 print bar 3's first three chords identically as alto ees' / soprano aes', and Hymnary's incipit for tune authority thompson_thompson (3211712166511132) reads 1-1-1 there. The dated printing is what is encoded.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns No. 2 page image (archive.org tabernaclehymnsn02chic leaf n196), cross-read against the 1882 Sparkling Gems first printing (sparklinggemsnos00bush leaf n55)", "encoding_license": "PD-dedication"}, "music_ly": "%% THOMPSON (11.7.11.7 with Refrain) \u2014 \"Softly and Tenderly Jesus Is Calling\"\n%% Will L. Thompson's own words-and-music setting, copyright 1880 by Will L.\n%% Thompson & Co., East Liverpool, Ohio. Four SATB voice streams, canonical key\n%% A-flat major, 6/8, no pickup, 16 bars.\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. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymnsn02chic = Tabernacle Hymns No. 2 (Chicago:\n%% Tabernacle Publishing / Little Rock: Southern Hymn Books Exchange, 1921),\n%% hymn 191, leaf n196, headed \"Softly and Tenderly. / W. L. T. / WILL L.\n%% THOMPSON.\" in close score (S+A on the treble staff, T+B on the bass staff),\n%% four flats, 6/8, \"pp Very slow.\" Every notehead was located by staff position\n%% with a pixel measurement of the scan and then read again by eye at 5-12x.\n%% Cross-checked against the FIRST printing in the same collection's own\n%% publisher: archive.org sparklinggemsnos00bush = Sparkling Gems Nos. 1 [and 2\n%% combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co.,\n%% 1882), page 54, titled \"For You And For Me.\", \"Copyright, 1880 by Will L.\n%% Thompson & Co.\"\n%%\n%% NOT FROM THE CYBER HYMNAL. Its NoteWorthy file\n%% (SoftlyAndTenderlyJesusIsCalling.nwc) was decompressed and read as a\n%% cross-check only: its |SongInfo| Comments names \"Baptist Hymnal (Nashville:\n%% Convention Press, 1975), # 190\" and \"Tabernacle Hymns Number Four (1953),\n%% # 123\" as the editions it was copied from \u2014 both post-1930, so it can be no\n%% part of the public-domain evidence. It agrees with the 1921 page everywhere\n%% EXCEPT bar 3 note 3 (\"...call-ing FOR you...\"), where the modern edition\n%% raises the pair to alto f' / soprano des'' so that bar 3 matches bar 7. BOTH\n%% dated printings (1921 leaf n196 and 1882 page 54) instead print bar 3's first\n%% three chords identically as alto ees' / soprano aes', and Hymnary's incipit\n%% for tune authority thompson_thompson (3211712166511132) has 1-1-1 at exactly\n%% those three notes. The dated reading is what stands here.\n%%\n%% THE SPLIT BAR 8. The page draws a double bar and the word \"Chorus.\" AFTER the\n%% tied \"me.\" but BEFORE the chorus's up-beat eighth, so its bar 8 is engraved as\n%% 5/8 + 1/8 across that double bar. It is one 6/8 bar here (aes'4.~ aes'4 ees'8);\n%% the double bar is presentational and the engine draws it from the sidecar.\n%%\n%% THE ECHO. Bars 9-10 are the answering figure: the soprano holds \"home,\"\n%% while alto, tenor and bass answer \"Come home,\" on the second beat \u2014 alto g',\n%% tenor des'/ees', bass ees/aes \u2014 which is why those three voices carry a\n%% quarter rest at each bar's head and the soprano's up-beat eighths (\"Come\",\n%% \"come\") are printed with a rest under them. The words of that answer are the\n%% sidecar's `bass_echo`, not a fifth voice.\n%%\n%% ACCIDENTALS, all four of them printed on the 1921 page and all four confirmed\n%% at 9x: bar 3 alto d'-natural on the dotted eighth of \"...for YOU...\" (giving\n%% the passing D-diminished over the bass f); bar 11 alto a-natural on the\n%% sixteenth of \"wea-\" and held through the next dotted eighth (F7 -> V7 of\n%% E-flat), cancelled by the printed flat on the eighth of \"come\"; and bar 11's\n%% soprano d''-natural (B-flat 7). Bar 12's fermata chords print the same pair:\n%% a natural before the middle chord's d'', a flat before the last chord's des''.\n%%\n%% RESTS. The phrase-breath eighth rests at the ends of bars 2, 6, 12, 14 and 16\n%% are printed in all voices and are kept as printed (the house collapse\n%% convention is documented for 4/4 only).\n%%\n%% NOT RENDERED, present in the source. The 1921 page prints FERMATAS over (and\n%% inverted under) all three chords of bar 12 and over bar 15's notes 3, 5 and 6,\n%% plus the expression marks \"pp Very slow.\", \"cres.\", a hairpin, \"pp\", \"ppp\",\n%% \"rit.\" and a closing \"pp\". Fermatas are omitted per house style (the Bach\n%% chorales here do the same); dynamics and tempo words have no field in the\n%% corpus schema. If house style ever renders them, bar 12's are soprano notes\n%% 52-54 and bar 15's are soprano notes 68, 70 and 71.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 aes'8 c''8. bes'16 aes'8 |\n  bes'4.~ bes'4 r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 ees'8 |\n  bes'4.~ bes'4 c''8 |\n  aes'4( bes'8 c''4.) |\n  bes'8 bes'8 bes'8 c''16 c''8. d''8 |\n  ees''4( d''8 des''4) r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 ees'8 d'8. des'16 des'8 |\n  ees'4.~ ees'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8 |\n  r4 g'8 g'4 r8 |\n  r4 g'8 aes'4. |\n  g'8 g'8 bes'8 a'16 a'8. aes'8 |\n  g'4 aes'8 bes'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8\n}\n\ntenor = {\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  c'8 c'8 c'8 aes8. aes16 bes8 |\n  g4.~ g4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8 |\n  r4 des'8 des'4 ees'8 |\n  c'4 ees'8 ees'4. |\n  ees'8 ees'8 ees'8 ees'16 ees'8. bes8 |\n  bes4 bes8 ees'4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8\n}\n\nbass = {\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  aes8 aes8 aes8 f8. f16 f8 |\n  ees4.~ ees4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8 |\n  r4 ees8 ees4 r8 |\n  r4 ees8 aes4. |\n  bes8 bes8 g8 f16 f8. bes8 |\n  ees4 f8 g4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8\n}\n"}, "harmonizations": [{"slug": "thompson-1921", "tune": "thompson", "music_file": "thompson-1921.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [11, 19, 30, 38, 54, 65], "breaks_manual": true, "markings": [{"soprano_note": 39, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 39, "inline": true}, "bass_echo": {"segments": [{"text": "Come home,", "durations": ["8", "4."], "onset": 25}, {"text": "come home,", "durations": ["8", "4."], "onset": 28}]}, "provenance": {"layer": "harmonization", "source": "tabernacle-hymns-2-1921", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Will L. Thompson's own four-part setting of his own tune, \"Copyright, 1880 by Will L. Thompson & Co., East Liverpool, O.\" \u2014 long expired, and read here off a dated pre-1931 page rather than a modern one. Transcribed notehead by notehead from Tabernacle Hymns No. 2 (Chicago: Tabernacle Publishing Co.; Little Rock: Southern Hymn Books Exchange, 1921), hymn 191, \"Softly and Tenderly\", archive.org item tabernaclehymnsn02chic, leaf n196 \u2014 close score, four flats, 6/8, marked \"pp Very slow.\", with \"Hope Publishing Co., owner. Used by permission.\" at the foot (a 1921 permission line for a 1880 copyright that had itself lapsed; the page is pre-1931 either way). Every notehead was fixed by measuring its staff position against the scan's detected staff lines and then re-read by eye at 5-12x, including all four printed accidentals (bar 3 alto d-natural; bar 11 alto a-natural and its cancelling flat, and soprano d-natural; bar 12's d-natural and d-flat on the fermata chords). Cross-checked against the FIRST printing, Sparkling Gems Nos. 1 [and 2 combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co., 1882), page 54, headed \"For You And For Me. / Words and Music by WILL. L. THOMPSON.\" with the 1880 copyright line at the foot \u2014 archive.org item sparklinggemsnos00bush, leaf n55. The Cyber Hymnal's NoteWorthy file was decompressed only as a third opinion and is NOT evidence: its |SongInfo| Comments names the 1975 Baptist Hymnal and Tabernacle Hymns No. 4 (1953) as the editions it was copied from. It differs from both dated printings at exactly one place \u2014 bar 3, note 3 \u2014 where the modern edition raises the chord to alto f' / soprano des'' so bar 3 matches bar 7. Both 1921 and 1882 print bar 3's first three chords identically as alto ees' / soprano aes', and Hymnary's incipit for tune authority thompson_thompson (3211712166511132) reads 1-1-1 there. The dated printing is what is encoded.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1921 Tabernacle Hymns No. 2 page image (archive.org tabernaclehymnsn02chic leaf n196), cross-read against the 1882 Sparkling Gems first printing (sparklinggemsnos00bush leaf n55)", "encoding_license": "PD-dedication"}, "music_ly": "%% THOMPSON (11.7.11.7 with Refrain) \u2014 \"Softly and Tenderly Jesus Is Calling\"\n%% Will L. Thompson's own words-and-music setting, copyright 1880 by Will L.\n%% Thompson & Co., East Liverpool, Ohio. Four SATB voice streams, canonical key\n%% A-flat major, 6/8, no pickup, 16 bars.\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. Transcribed notehead by notehead off the dated page:\n%% archive.org tabernaclehymnsn02chic = Tabernacle Hymns No. 2 (Chicago:\n%% Tabernacle Publishing / Little Rock: Southern Hymn Books Exchange, 1921),\n%% hymn 191, leaf n196, headed \"Softly and Tenderly. / W. L. T. / WILL L.\n%% THOMPSON.\" in close score (S+A on the treble staff, T+B on the bass staff),\n%% four flats, 6/8, \"pp Very slow.\" Every notehead was located by staff position\n%% with a pixel measurement of the scan and then read again by eye at 5-12x.\n%% Cross-checked against the FIRST printing in the same collection's own\n%% publisher: archive.org sparklinggemsnos00bush = Sparkling Gems Nos. 1 [and 2\n%% combined] (J. Calvin Bushey; East Liverpool, O.: Will L. Thompson & Co.,\n%% 1882), page 54, titled \"For You And For Me.\", \"Copyright, 1880 by Will L.\n%% Thompson & Co.\"\n%%\n%% NOT FROM THE CYBER HYMNAL. Its NoteWorthy file\n%% (SoftlyAndTenderlyJesusIsCalling.nwc) was decompressed and read as a\n%% cross-check only: its |SongInfo| Comments names \"Baptist Hymnal (Nashville:\n%% Convention Press, 1975), # 190\" and \"Tabernacle Hymns Number Four (1953),\n%% # 123\" as the editions it was copied from \u2014 both post-1930, so it can be no\n%% part of the public-domain evidence. It agrees with the 1921 page everywhere\n%% EXCEPT bar 3 note 3 (\"...call-ing FOR you...\"), where the modern edition\n%% raises the pair to alto f' / soprano des'' so that bar 3 matches bar 7. BOTH\n%% dated printings (1921 leaf n196 and 1882 page 54) instead print bar 3's first\n%% three chords identically as alto ees' / soprano aes', and Hymnary's incipit\n%% for tune authority thompson_thompson (3211712166511132) has 1-1-1 at exactly\n%% those three notes. The dated reading is what stands here.\n%%\n%% THE SPLIT BAR 8. The page draws a double bar and the word \"Chorus.\" AFTER the\n%% tied \"me.\" but BEFORE the chorus's up-beat eighth, so its bar 8 is engraved as\n%% 5/8 + 1/8 across that double bar. It is one 6/8 bar here (aes'4.~ aes'4 ees'8);\n%% the double bar is presentational and the engine draws it from the sidecar.\n%%\n%% THE ECHO. Bars 9-10 are the answering figure: the soprano holds \"home,\"\n%% while alto, tenor and bass answer \"Come home,\" on the second beat \u2014 alto g',\n%% tenor des'/ees', bass ees/aes \u2014 which is why those three voices carry a\n%% quarter rest at each bar's head and the soprano's up-beat eighths (\"Come\",\n%% \"come\") are printed with a rest under them. The words of that answer are the\n%% sidecar's `bass_echo`, not a fifth voice.\n%%\n%% ACCIDENTALS, all four of them printed on the 1921 page and all four confirmed\n%% at 9x: bar 3 alto d'-natural on the dotted eighth of \"...for YOU...\" (giving\n%% the passing D-diminished over the bass f); bar 11 alto a-natural on the\n%% sixteenth of \"wea-\" and held through the next dotted eighth (F7 -> V7 of\n%% E-flat), cancelled by the printed flat on the eighth of \"come\"; and bar 11's\n%% soprano d''-natural (B-flat 7). Bar 12's fermata chords print the same pair:\n%% a natural before the middle chord's d'', a flat before the last chord's des''.\n%%\n%% RESTS. The phrase-breath eighth rests at the ends of bars 2, 6, 12, 14 and 16\n%% are printed in all voices and are kept as printed (the house collapse\n%% convention is documented for 4/4 only).\n%%\n%% NOT RENDERED, present in the source. The 1921 page prints FERMATAS over (and\n%% inverted under) all three chords of bar 12 and over bar 15's notes 3, 5 and 6,\n%% plus the expression marks \"pp Very slow.\", \"cres.\", a hairpin, \"pp\", \"ppp\",\n%% \"rit.\" and a closing \"pp\". Fermatas are omitted per house style (the Bach\n%% chorales here do the same); dynamics and tempo words have no field in the\n%% corpus schema. If house style ever renders them, bar 12's are soprano notes\n%% 52-54 and bar 15's are soprano notes 68, 70 and 71.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 6/8 }\n\nsoprano = {\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 aes'8 c''8. bes'16 aes'8 |\n  bes'4.~ bes'4 r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 ees'8 |\n  bes'4.~ bes'4 c''8 |\n  aes'4( bes'8 c''4.) |\n  bes'8 bes'8 bes'8 c''16 c''8. d''8 |\n  ees''4( d''8 des''4) r8 |\n  c''8. bes'16 aes'8 aes'8 g'8 aes'8 |\n  bes'8 aes'8 f'8 f'8 ees'8 r8 |\n  aes'8 aes'8 des''8 c''8. aes'16 bes'8 |\n  aes'4.~ aes'4 r8\n}\n\nalto = {\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 ees'8 d'8. des'16 des'8 |\n  ees'4.~ ees'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8 |\n  r4 g'8 g'4 r8 |\n  r4 g'8 aes'4. |\n  g'8 g'8 bes'8 a'16 a'8. aes'8 |\n  g'4 aes'8 bes'4 r8 |\n  ees'8. des'16 c'8 ees'8 des'8 c'8 |\n  des'8 des'8 des'8 des'8 c'8 r8 |\n  ees'8 ees'8 f'8 ees'8. c'16 des'8 |\n  c'4.~ c'4 r8\n}\n\ntenor = {\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  c'8 c'8 c'8 aes8. aes16 bes8 |\n  g4.~ g4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8 |\n  r4 des'8 des'4 ees'8 |\n  c'4 ees'8 ees'4. |\n  ees'8 ees'8 ees'8 ees'16 ees'8. bes8 |\n  bes4 bes8 ees'4 r8 |\n  aes8. aes16 aes8 aes8 ees8 ees8 |\n  f8 f8 aes8 aes8 aes8 r8 |\n  aes8 aes8 aes8 aes8. aes16 g8 |\n  aes4.~ aes4 r8\n}\n\nbass = {\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  aes8 aes8 aes8 f8. f16 f8 |\n  ees4.~ ees4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8 |\n  r4 ees8 ees4 r8 |\n  r4 ees8 aes4. |\n  bes8 bes8 g8 f16 f8. bes8 |\n  ees4 f8 g4 r8 |\n  aes,8. aes,16 aes,8 c8 bes,8 aes,8 |\n  des8 des8 des8 aes,8 aes,8 r8 |\n  c8 c8 des8 ees8. ees16 ees8 |\n  aes,4.~ aes,4 r8\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}