{"slug": "trust-and-obey", "name": "TRUST AND OBEY", "meter_label": "6.6.9.D with Refrain", "meter": {"pattern": [6, 6, 9], "doubled": true, "refrain": true, "alleluia": false, "irregular": false}, "composer": "daniel-b-towner", "composer_date": "1887", "canonical_key": {"tonic": "f", "mode": "major"}, "preferred_harmonization": "trust-and-obey-1887", "provenance": {"layer": "tune", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Daniel B. Towner (1850-1919), music director of the Moody Bible Institute, first published with Sammis's words in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 \u2014 read on the archive.org scan hymnsnewoldforus00town, leaf n62, in F major, 3/4, with a two-eighth anacrusis, and signed at the foot 'Copyright, 1887, by D. B. Towner.' US public domain by publication before 1929 (the 1887 copyright expired long ago and Towner died in 1919). The soprano's first fifteen scale degrees read off that page (12332 11355 43334) match Hymnary tune authority trust_and_obey_towner's incipit exactly, as does its printed meter, 6.6.9 D with refrain. The 1887 page does not letter the tune on the plate; TRUST AND OBEY is the name the hymnals print and the name Hymnary's tune authority carries. A soprano fingerprint of this melody against all 275 corpus tunes returned a best match of 0.56 (GROSSER GOTT), well under the 0.80 duplicate threshold \u2014 the tune is new to the corpus.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "trust_and_obey_towner", "total_instances": 480}}, "harmonization": {"slug": "trust-and-obey-1887", "tune": "trust-and-obey", "music_file": "trust-and-obey-1887.ly", "harmonizer": "daniel-b-towner", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 21, 33, 42, 52], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 42, "pitch": "f,"}, {"voice": "bass", "voice_note": 65, "pitch": "f,"}], "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "D. B. Towner's own four-part setting as first printed, in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 \u2014 archive.org item hymnsnewoldforus00town, leaf n62 (the 63rd scanned image), headed 'No. 59. Trust and Obey.', credited 'Rev. J. H. SAMMIS.' / 'D. B. TOWNER.', and signed at the foot 'Copyright, 1887, by D. B. Towner.' F major, 3/4, two-eighth anacrusis, 22 bars (14 verse + 8 chorus after the double bar and 'Chorus.'). The 1887 copyright expired long ago; US public domain by publication before 1929, and no modern arranger stands anywhere in the chain \u2014 this is the composer's own setting on its first page. TRANSCRIBED NOTEHEAD BY NOTEHEAD FROM THAT SCAN, not from any modern edition: a staff-line grid was fitted to the page (the five line rows of each of the eight staves located to a tenth of a pixel; one diatonic step = 11.7 px), every chord read against it, and every chord whose reading was not unambiguous re-read at 7-12x. THE CYBER HYMNAL IS A SCAFFOLD, NEVER THE WITNESS: its NoteWorthy file TrustAndObey.nwc (decompressed, zlib from byte 6) was decoded staff-position by staff-position as a second opinion, but its own |SongInfo| Comments field names post-1930 models \u2014 'Book of Worship for United States Forces (Washington, DC: U.S. Government Printing Office, 1974), # 112' and 'Tabernacle Hymns Number Four (Chicago: Tabernacle Publishing, 1953), # 199' \u2014 so it can carry no licensing weight, and the render-diff found it revoicing the 1887 page in two inner notes, BOTH of which are encoded here as the PLATE has them: (a) bar 12 beat 1 ('all', soprano bes'), where the print's alto notehead sits squarely in the f' space and the Cyber Hymnal reads d', doubling the tenor and stripping the B-flat chord of its fifth; (b) bar 20 beat 3b ('to', soprano g'), where the print's tenor notehead straddles the c' ledger line exactly as the following bar's 'trust' c' does \u2014 the two were measured side by side at 12x \u2014 and the Cyber Hymnal reads d'. The Cyber Hymnal further prints fermatas at three cadences that the 1887 plate does not have; none is encoded. tools/mid2ly.py was not used. THREE INDEPENDENT CHECKS ON THE MELODY agree with the reading: the Cyber Hymnal MIDI yields 65 soprano notes identical to the soprano encoded here; the first fifteen scale degrees (12332 11355 43334) are exactly Hymnary tune authority trust_and_obey_towner's published incipit; and the sung text of the page fits the notes one syllable to one notehead, 42 in the verse and 23 in the chorus, with no slur, tie, or rest anywhere on the plate. THE TWO PRINTED ACCIDENTALS are the fingerprint and both are engraved on the page: the alto's F-sharp on the chorus's 'no' (bar 17, a sharp before the lower notehead of the d''/fis' chord) and the bass's E-flat on 'there's' (bar 16, last eighth, a flat before the notehead), the chromatic step down to the D major of bar 17.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving (archive.org hymnsnewoldforus00town leaf n62), read against a fitted staff-line grid at 3-12x, with the decompressed Cyber Hymnal NoteWorthy file TrustAndObey.nwc used only as a transcription scaffold and diffed chord by chord against the plate", "encoding_license": "PD-dedication"}, "music_ly": "%% TRUST AND OBEY (6.6.9 D with Refrain) \u2014 \"When we walk with the Lord\"\n%% Four SATB voice streams, canonical key F major, 3/4, two-eighth anacrusis\n%% (a quarter's worth, declared in `global`), 22 full bars: 14 of verse, then 8\n%% of chorus.\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 from the FIRST printing:\n%% Hymns New and Old, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887),\n%% no. 59, archive.org hymnsnewoldforus00town leaf n62, whose foot reads\n%% \"Copyright, 1887, by D. B. Towner.\" Every chord was read against a staff-line\n%% grid fitted to the scan (staff-line rows located to a tenth of a pixel, one\n%% diatonic step = 11.7 px) and the ambiguous ones re-read at 7-12x.\n%%\n%% THE CYBER HYMNAL IS A SCAFFOLD ONLY, NEVER THE WITNESS. Its NoteWorthy file\n%% TrustAndObey.nwc (zlib from byte 6) was decompressed and used as a second\n%% opinion, but its own |SongInfo| Comments field names post-1930 models \u2014\n%% \"Book of Worship for United States Forces (Washington, DC: U.S. Government\n%% Printing Office, 1974), # 112\" and \"Tabernacle Hymns Number Four (Chicago:\n%% Tabernacle Publishing, 1953), # 199\" \u2014 so it cannot be the pd_evidence, and\n%% where the two disagree THE 1887 PLATE IS WHAT IS ENCODED HERE. It disagrees\n%% in exactly two inner-voice notes, both re-read at 7x against the grid:\n%%   * bar 12 beat 1, \"all\" (soprano bes'): the print's ALTO is f' (its notehead\n%%     sits in the f' space, 0.15 step off centre); the Cyber Hymnal revoices it\n%%     to d', doubling the tenor's d' and leaving the Bb chord with no fifth.\n%%   * bar 20 beat 3b, \"to\" (soprano g'): the print's TENOR is c' \u2014 its notehead\n%%     straddles the c' ledger line exactly as the next bar's \"trust\" c' does,\n%%     measured side by side; the Cyber Hymnal raises it to d'.\n%% The Cyber Hymnal also prints fermatas at three cadences; the 1887 plate has NO\n%% fermata anywhere, and none is encoded. Both witnesses DO agree on the two\n%% cadence chords whose bass staff carries three noteheads, A3/F3/F2 \u2014 bar 14\n%% (the verse's \"o-bey.\") and bar 22 (the chorus's \"o-bey.\") \u2014 read here as\n%% tenor a, bass f, and an OPTIONAL low octave F2, which house style records as\n%% an `alternates` cue note, never as divisi.\n%%\n%% CORROBORATION OF THE MELODY (independent of both the scan-reading and the\n%% NWC): the Cyber Hymnal MIDI trust_and_obey.mid yields exactly 65 soprano\n%% notes, note for note identical to the soprano below, and the first fifteen\n%% scale degrees (12332 11355 43334) are Hymnary tune authority\n%% trust_and_obey_towner's published incipit.\n%%\n%% NO SLURS, NO TIES, NO RESTS. The plate is strictly syllabic: 65 noteheads\n%% carry 65 syllables (42 verse + 23 chorus), so the setting stays one_to_one and\n%% the notehead ordinals and the lyric slots are the same numbers throughout.\n%%\n%% ACCIDENTAL. One only: the alto's F-sharp on the chorus's \"no\" (bar 17 beat 1),\n%% printed as a sharp before the LOWER notehead of the d''/fis' chord, making the\n%% D major that leans on the following G-minor-ish \"way\". The chorus's bass also\n%% touches E-flat on \"there's\" (bar 16, last eighth) \u2014 a flat is engraved before\n%% that notehead \u2014 passing chromatically down from f to the d of bar 17.\n%%\n%% STRUCTURE. Bar 14 is the verse's own dotted-half cadence; the double bar and\n%% \"Chorus.\" fall after it, so the chorus is bars 15-22 and begins at soprano\n%% notehead 43. Bar 22 is a half note, completing the opening \\partial 4.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 c''4 a'4 |\n  g'2 f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 f'4 g'4 |\n  f'2. |\n  c''4 g'4 c''4 |\n  a'2 a'8 a'8 |\n  d''4 a'4 c''4 |\n  bes'2 bes'8 bes'8 |\n  bes'4 a'4 g'4 |\n  a'4 c''4 f'8 g'8 |\n  a'4 f'4 g'4 |\n  f'2\n}\n\nalto = {\n  c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 f'4 f'4 |\n  e'2 c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 c'4 c'4 |\n  c'2. |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  fis'4 f'4 f'4 |\n  g'2 g'8 g'8 |\n  g'4 f'4 e'4 |\n  f'4 f'4 f'8 f'8 |\n  f'4 c'4 c'4 |\n  c'2\n}\n\ntenor = {\n  a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 c'4 |\n  c'2 a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 bes4 |\n  a2. |\n  g4 c'4 c'4 |\n  c'2 c'8 c'8 |\n  a4 d'4 d'4 |\n  d'2 c'8 c'8 |\n  c'4 c'4 c'4 |\n  c'4 a4 c'8 c'8 |\n  c'4 a4 bes4 |\n  a2\n}\n\nbass = {\n  f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  f4 f4 f4 |\n  c2 f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  c4 c4 c4 |\n  f2. |\n  c4 c4 c4 |\n  f2 f8 ees8 |\n  d4 d4 d4 |\n  g2 e8 d8 |\n  c4 c4 c4 |\n  f4 f4 a,8 bes,8 |\n  c4 c4 c4 |\n  f2\n}\n"}, "harmonizations": [{"slug": "trust-and-obey-1887", "tune": "trust-and-obey", "music_file": "trust-and-obey-1887.ly", "harmonizer": "daniel-b-towner", "arrangement_type": "harmonization", "canonical_key": {"tonic": "f", "mode": "major"}, "time": "3/4", "pickup": "4", "system_breaks": [12, 21, 33, 42, 52], "breaks_manual": true, "markings": [{"soprano_note": 43, "kind": "refrain"}], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "alternates": [{"voice": "bass", "voice_note": 42, "pitch": "f,"}, {"voice": "bass", "voice_note": 65, "pitch": "f,"}], "refrain": {"soprano_note_start": 43}, "provenance": {"layer": "harmonization", "source": "hymns-new-and-old-1887", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "D. B. Towner's own four-part setting as first printed, in Hymns New and Old, for Use in Gospel Meetings and Other Religious Services, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887), no. 59 \u2014 archive.org item hymnsnewoldforus00town, leaf n62 (the 63rd scanned image), headed 'No. 59. Trust and Obey.', credited 'Rev. J. H. SAMMIS.' / 'D. B. TOWNER.', and signed at the foot 'Copyright, 1887, by D. B. Towner.' F major, 3/4, two-eighth anacrusis, 22 bars (14 verse + 8 chorus after the double bar and 'Chorus.'). The 1887 copyright expired long ago; US public domain by publication before 1929, and no modern arranger stands anywhere in the chain \u2014 this is the composer's own setting on its first page. TRANSCRIBED NOTEHEAD BY NOTEHEAD FROM THAT SCAN, not from any modern edition: a staff-line grid was fitted to the page (the five line rows of each of the eight staves located to a tenth of a pixel; one diatonic step = 11.7 px), every chord read against it, and every chord whose reading was not unambiguous re-read at 7-12x. THE CYBER HYMNAL IS A SCAFFOLD, NEVER THE WITNESS: its NoteWorthy file TrustAndObey.nwc (decompressed, zlib from byte 6) was decoded staff-position by staff-position as a second opinion, but its own |SongInfo| Comments field names post-1930 models \u2014 'Book of Worship for United States Forces (Washington, DC: U.S. Government Printing Office, 1974), # 112' and 'Tabernacle Hymns Number Four (Chicago: Tabernacle Publishing, 1953), # 199' \u2014 so it can carry no licensing weight, and the render-diff found it revoicing the 1887 page in two inner notes, BOTH of which are encoded here as the PLATE has them: (a) bar 12 beat 1 ('all', soprano bes'), where the print's alto notehead sits squarely in the f' space and the Cyber Hymnal reads d', doubling the tenor and stripping the B-flat chord of its fifth; (b) bar 20 beat 3b ('to', soprano g'), where the print's tenor notehead straddles the c' ledger line exactly as the following bar's 'trust' c' does \u2014 the two were measured side by side at 12x \u2014 and the Cyber Hymnal reads d'. The Cyber Hymnal further prints fermatas at three cadences that the 1887 plate does not have; none is encoded. tools/mid2ly.py was not used. THREE INDEPENDENT CHECKS ON THE MELODY agree with the reading: the Cyber Hymnal MIDI yields 65 soprano notes identical to the soprano encoded here; the first fifteen scale degrees (12332 11355 43334) are exactly Hymnary tune authority trust_and_obey_towner's published incipit; and the sung text of the page fits the notes one syllable to one notehead, 42 in the verse and 23 in the chorus, with no slur, tie, or rest anywhere on the plate. THE TWO PRINTED ACCIDENTALS are the fingerprint and both are engraved on the page: the alto's F-sharp on the chorus's 'no' (bar 17, a sharp before the lower notehead of the d''/fis' chord) and the bass's E-flat on 'there's' (bar 16, last eighth, a flat before the notehead), the chromatic step down to the D major of bar 17.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1887 Hymns New and Old engraving (archive.org hymnsnewoldforus00town leaf n62), read against a fitted staff-line grid at 3-12x, with the decompressed Cyber Hymnal NoteWorthy file TrustAndObey.nwc used only as a transcription scaffold and diffed chord by chord against the plate", "encoding_license": "PD-dedication"}, "music_ly": "%% TRUST AND OBEY (6.6.9 D with Refrain) \u2014 \"When we walk with the Lord\"\n%% Four SATB voice streams, canonical key F major, 3/4, two-eighth anacrusis\n%% (a quarter's worth, declared in `global`), 22 full bars: 14 of verse, then 8\n%% of chorus.\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 from the FIRST printing:\n%% Hymns New and Old, comp. D. B. Towner (Chicago: Fleming H. Revell, 1887),\n%% no. 59, archive.org hymnsnewoldforus00town leaf n62, whose foot reads\n%% \"Copyright, 1887, by D. B. Towner.\" Every chord was read against a staff-line\n%% grid fitted to the scan (staff-line rows located to a tenth of a pixel, one\n%% diatonic step = 11.7 px) and the ambiguous ones re-read at 7-12x.\n%%\n%% THE CYBER HYMNAL IS A SCAFFOLD ONLY, NEVER THE WITNESS. Its NoteWorthy file\n%% TrustAndObey.nwc (zlib from byte 6) was decompressed and used as a second\n%% opinion, but its own |SongInfo| Comments field names post-1930 models \u2014\n%% \"Book of Worship for United States Forces (Washington, DC: U.S. Government\n%% Printing Office, 1974), # 112\" and \"Tabernacle Hymns Number Four (Chicago:\n%% Tabernacle Publishing, 1953), # 199\" \u2014 so it cannot be the pd_evidence, and\n%% where the two disagree THE 1887 PLATE IS WHAT IS ENCODED HERE. It disagrees\n%% in exactly two inner-voice notes, both re-read at 7x against the grid:\n%%   * bar 12 beat 1, \"all\" (soprano bes'): the print's ALTO is f' (its notehead\n%%     sits in the f' space, 0.15 step off centre); the Cyber Hymnal revoices it\n%%     to d', doubling the tenor's d' and leaving the Bb chord with no fifth.\n%%   * bar 20 beat 3b, \"to\" (soprano g'): the print's TENOR is c' \u2014 its notehead\n%%     straddles the c' ledger line exactly as the next bar's \"trust\" c' does,\n%%     measured side by side; the Cyber Hymnal raises it to d'.\n%% The Cyber Hymnal also prints fermatas at three cadences; the 1887 plate has NO\n%% fermata anywhere, and none is encoded. Both witnesses DO agree on the two\n%% cadence chords whose bass staff carries three noteheads, A3/F3/F2 \u2014 bar 14\n%% (the verse's \"o-bey.\") and bar 22 (the chorus's \"o-bey.\") \u2014 read here as\n%% tenor a, bass f, and an OPTIONAL low octave F2, which house style records as\n%% an `alternates` cue note, never as divisi.\n%%\n%% CORROBORATION OF THE MELODY (independent of both the scan-reading and the\n%% NWC): the Cyber Hymnal MIDI trust_and_obey.mid yields exactly 65 soprano\n%% notes, note for note identical to the soprano below, and the first fifteen\n%% scale degrees (12332 11355 43334) are Hymnary tune authority\n%% trust_and_obey_towner's published incipit.\n%%\n%% NO SLURS, NO TIES, NO RESTS. The plate is strictly syllabic: 65 noteheads\n%% carry 65 syllables (42 verse + 23 chorus), so the setting stays one_to_one and\n%% the notehead ordinals and the lyric slots are the same numbers throughout.\n%%\n%% ACCIDENTAL. One only: the alto's F-sharp on the chorus's \"no\" (bar 17 beat 1),\n%% printed as a sharp before the LOWER notehead of the d''/fis' chord, making the\n%% D major that leans on the following G-minor-ish \"way\". The chorus's bass also\n%% touches E-flat on \"there's\" (bar 16, last eighth) \u2014 a flat is engraved before\n%% that notehead \u2014 passing chromatically down from f to the d of bar 17.\n%%\n%% STRUCTURE. Bar 14 is the verse's own dotted-half cadence; the double bar and\n%% \"Chorus.\" fall after it, so the chorus is bars 15-22 and begins at soprano\n%% notehead 43. Bar 22 is a half note, completing the opening \\partial 4.\n\\version \"2.24.0\"\n\nglobal  = { \\key f \\major \\time 3/4 \\partial 4 }\n\nsoprano = {\n  f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 c''4 a'4 |\n  g'2 f'8 g'8 |\n  a'4 a'4 g'4 |\n  f'2 f'8 a'8 |\n  c''4 c''4 bes'4 |\n  a'2 a'8 a'8 |\n  bes'4 d''4 bes'4 |\n  a'4 f'4 g'4 |\n  f'2. |\n  c''4 g'4 c''4 |\n  a'2 a'8 a'8 |\n  d''4 a'4 c''4 |\n  bes'2 bes'8 bes'8 |\n  bes'4 a'4 g'4 |\n  a'4 c''4 f'8 g'8 |\n  a'4 f'4 g'4 |\n  f'2\n}\n\nalto = {\n  c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 f'4 f'4 |\n  e'2 c'8 c'8 |\n  f'4 f'4 e'4 |\n  f'2 f'8 f'8 |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  f'4 f'4 f'4 |\n  f'4 c'4 c'4 |\n  c'2. |\n  e'4 e'4 e'4 |\n  f'2 f'8 f'8 |\n  fis'4 f'4 f'4 |\n  g'2 g'8 g'8 |\n  g'4 f'4 e'4 |\n  f'4 f'4 f'8 f'8 |\n  f'4 c'4 c'4 |\n  c'2\n}\n\ntenor = {\n  a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 c'4 |\n  c'2 a8 bes8 |\n  c'4 c'4 bes4 |\n  a2 a8 c'8 |\n  c'4 g4 c'4 |\n  c'2 c'8 c'8 |\n  d'4 bes4 d'4 |\n  c'4 a4 bes4 |\n  a2. |\n  g4 c'4 c'4 |\n  c'2 c'8 c'8 |\n  a4 d'4 d'4 |\n  d'2 c'8 c'8 |\n  c'4 c'4 c'4 |\n  c'4 a4 c'8 c'8 |\n  c'4 a4 bes4 |\n  a2\n}\n\nbass = {\n  f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  f4 f4 f4 |\n  c2 f8 f8 |\n  f4 f4 c4 |\n  f2 f8 f8 |\n  c4 c4 c4 |\n  f2 f8 f8 |\n  bes,4 bes,4 bes,4 |\n  c4 c4 c4 |\n  f2. |\n  c4 c4 c4 |\n  f2 f8 ees8 |\n  d4 d4 d4 |\n  g2 e8 d8 |\n  c4 c4 c4 |\n  f4 f4 a,8 bes,8 |\n  c4 c4 c4 |\n  f2\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}