{"slug": "trust-in-jesus", "name": "TRUST IN JESUS", "meter_label": "8.7.8.7 with Refrain", "meter": {"pattern": [8, 7, 8, 7], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "william-j-kirkpatrick", "composer_date": "1882", "canonical_key": {"tonic": "aes", "mode": "major"}, "preferred_harmonization": "trust-in-jesus-songs-of-triumph-1882", "provenance": {"layer": "tune", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Music by William J. Kirkpatrick (1838\u20131921), first published with Louisa M. R. Stead's text in Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46, footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/songsoftriumphad00insk, leaf 0052). Confirmed against The Epworth Hymnal No. 2 (1891), No. 62, p. 61 (archive.org/details/epworthhymnalno200meth, leaf 0065). NOTE: neither printing prints a tune name; TRUST IN JESUS is the name of Hymnary's tune authority (tune/trust_in_jesus_kirkpatrick), under which the tune is catalogued in 436 hymnals. Public domain: published 1882, composer d. 1921.", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "trust_in_jesus_kirkpatrick"}}, "harmonization": {"slug": "trust-in-jesus-songs-of-triumph-1882", "tune": "trust-in-jesus", "music_file": "trust-in-jesus-songs-of-triumph-1882.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "william-j-kirkpatrick", "arrangement_type": "harmonization", "provenance": {"layer": "harmonization", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting read off the page image of Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46 \u2014 the hymn's first publication, footed \"Copyright, 1882, by W. J. Kirkpatrick.\" Scan: archive.org/details/songsoftriumphad00insk, JP2 leaf songsoftriumphad00insk_0052. Read independently a second time from The Epworth Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891), No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065) \u2014 a different house and different plates. Noteheads were MEASURED, not eyeballed: per staff the five lines were detected locally and fitted against x, and each head's ink centroid converted to a diatonic step on that fitted grid (staff step 29.0 px / 28.5 px). Exact numbers: of the 240 voice-notes the detector located 233 on the 1882 leaf and 234 on the 1891 leaf, 228 on BOTH \u2014 and on every one of those 228 the two printings give the same STAFF POSITION, not one differs. That measurement cannot see accidentals \u2014 it reads heads, not the sharps and flats before them \u2014 so it never underwrote the accidental reading, and an encoded B-natural survived it. The two printed accidentals were checked separately, by eye, on both leaves. Median distance from an exact staff position 0.086 of a step, 89% within 0.25, worst 0.49; every reading past 0.25 (a ledger line fused to a head, or a hollow half-note split into arcs) was re-probed with a stricter filter and then read by eye off a 5x-7x crop of BOTH pages. Eleven notes were located automatically on only one leaf and one (the soprano of the final chord) on neither; all twelve were read by eye on both leaves, which agree. As an independent third check the soprano of system 1 reproduces Hymnary's catalogued incipit for this tune, 32176 16513 53212. DEPARTURES FROM THE PAGE: (1) both plates print a \"p\" over the last system; this encoding carries no dynamic, the engine having no dynamics layer. (2) Where tenor and bass sound the same pitch \u2014 soprano ordinals 7, 8, 22, 23, all A-flat 3 \u2014 both plates print ONE notehead with two stems; this encoding writes the unison out in both voice streams (house convention) and engraves as the same one notehead with two stems, so the difference is in the encoding only. (3) Neither plate prints a tune name; TRUST IN JESUS is Hymnary's tune-authority name. Nothing else departs \u2014 rhythm, barring, key, meter, the alto's D-natural (the ONLY printed accidental; the tenor below it is B-flat from the signature \u2014 a bare B-natural was encoded here at first and is corrected) at note 14 of systems 1 and 3, and the four fifteen-note systems are the printed ones, and neither page carries a slur, a tie or a melisma. Public domain: first published 1882; Kirkpatrick d. 1921; both printings read for this record are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1882 and 1891 page images (this repository)", "encoding_license": "PD-dedication"}, "music_ly": "%% 'TIS SO SWEET TO TRUST IN JESUS \u2014 tune TRUST IN JESUS, W. J. Kirkpatrick\n%%\n%% SOURCE OF EVERY NOTE BELOW: the page image of Songs of Triumph (Philadelphia:\n%% National Publishing Association for the Promotion of Holiness, 1882), No. 46,\n%% printed p. 46 \u2014 the FIRST publication, footed \"Copyright, 1882, by W. J.\n%% Kirkpatrick.\"  archive.org identifier songsoftriumphad00insk, JP2 leaf\n%% songsoftriumphad00insk_0052 (scan p. 46).\n%%\n%% SECOND DATED PRINTING read independently and required to agree: The Epworth\n%% Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891),\n%% No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" \u2014\n%% archive.org epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065.\n%% Different house, different plates, higher-resolution scan.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For each of the eight staves on\n%% each page the five staff lines were detected LOCALLY \u2014 dark-row density inside\n%% a +/-110 px window swept across the staff, then a first-order fit of top-line y\n%% and staff step against x, so the scans' skew and warp could not let a global\n%% grid drift.  Noteheads were isolated by run-length filters (a head is thick\n%% both horizontally and vertically; staff lines, ledger lines, stems, barlines\n%% and beams are thick in one direction only), with the enclosed interiors of\n%% hollow half-notes size-capped-and-filled first.  Each head's ink centroid was\n%% converted to a diatonic step offset from the top staff line on that staff's\n%% fitted grid.  Staff step measured 29.0 px (1882) and 28.5 px (1891).\n%%\n%% THE NUMBERS, exactly.  The setting has 240 voice-notes (60 chords x 4 voices).\n%% The detector located 233 of them on the 1882 leaf and 234 on the 1891 leaf;\n%% 228 were located on BOTH, and on every one of those 228 the two printings give\n%% the same pitch \u2014 not one differs.  Across the 468 accepted measurements the\n%% median distance from an exact staff position is 0.086 of a diatonic step; 69%\n%% are within 0.15 and 89% within 0.25, and the worst is 0.49.  Every reading\n%% past 0.25 has a known cause \u2014 a thick ledger line fused to the head, or a\n%% hollow half-note whose ring split into two arcs \u2014 and every one was re-probed\n%% with a stricter vertical-run threshold AND then read by eye off a 5x-7x crop\n%% of BOTH pages before being accepted.  Eleven of the 240 were located\n%% automatically on only one leaf and one (the soprano of the very last chord,\n%% A-flat 4) on neither; all twelve were read by eye at 5x-7x on both leaves,\n%% and both leaves agree.  As a third, independent check the soprano of system 1\n%% reproduces Hymnary's catalogued incipit for this tune, \"32176 16513 53212\"\n%% (scale degrees in A-flat: C Bb Ab G F Ab F Eb | Ab C Eb C Bb Ab Bb).\n%%\n%% DEPARTURES FROM THE PAGE \u2014 the complete list:\n%%   1. The 1882 plate prints a \"p\" over the last system (system 4, the second\n%%      half of the refrain); the 1891 plate prints it too.  This encoding carries\n%%      NO dynamic: the engine has no dynamics layer.\n%%   2. Where tenor and bass sound the same pitch \u2014 soprano ordinals 7, 8, 22 and\n%%      23, all A-flat 3 \u2014 both plates print ONE notehead carrying two stems.\n%%      This encoding writes the unison out in both voice streams, the house\n%%      convention; the engraved result was checked and is the same one notehead\n%%      with two stems, so this is a difference in the encoding only.\n%%   3. Both plates head the piece with the title only; NEITHER prints a tune\n%%      name.  \"TRUST IN JESUS\" is Hymnary's tune-authority name\n%%      (tune/trust_in_jesus_kirkpatrick), not a name read off either page.\n%%   4. Nothing else.  Rhythm, barring, key, meter, accidentals (the D-natural /\n%%      only printed accidental, the ALTO's D-natural at note 14 of systems 1 and\n%%      3 \u2014 the tenor there is B-flat from the key signature, giving B-flat/D/F/A-flat,\n%%      V7-of-V into the E-flat at note 15. This file first encoded a bare `b`\n%%      (B-NATURAL) there in both places and described a \"D-natural/B-natural\n%%      diminished chord\"; neither plate prints that, and it is corrected) and the four\n%%      system breaks are the printed ones; both plates cast the hymn in exactly\n%%      these four systems of fifteen soprano notes.  There are no slurs, no ties\n%%      and no melismas on either page: every note takes its own syllable.\n%%\n%% Public domain: first published 1882; Kirkpatrick d. 1921, Stead d. 1917; both\n%% printings read for this record are themselves pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n  c''4 es''4 es''4 c''4 | bes'4 as'4 c''4 bes'4 | c''4 es''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4 es'4 | des''4. f'8 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n}\nalto = {\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | es'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n  as'4 as'4 as'4 as'4 | g'4 f'4 as'4 g'4 | as'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4 c'4 | f'4. des'8 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n}\ntenor = {\n  as4 es4 es4. as8 | as4 as4 as4 as4 | c'4 es'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4. as8 | as4 as4 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n  es'4 c'4 c'4 es'4 | des'4 c'4 es'4 es'4 | es'4 c'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4 as4 | as4. as8 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n}\nbass = {\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n  as4 as4 as4 as4 | es4 f4 es4 es4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4 as,4 | des4. des8 as,4 as,4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n}\n"}, "harmonizations": [{"slug": "trust-in-jesus-songs-of-triumph-1882", "tune": "trust-in-jesus", "music_file": "trust-in-jesus-songs-of-triumph-1882.ly", "canonical_key": {"tonic": "aes", "mode": "major"}, "time": "4/4", "pickup": null, "system_breaks": [15, 30, 45], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 31}, "markings": [{"soprano_note": 31, "kind": "refrain"}], "harmonizer": "william-j-kirkpatrick", "arrangement_type": "harmonization", "provenance": {"layer": "harmonization", "source": "songs-of-triumph-1882", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting read off the page image of Songs of Triumph (Philadelphia: National Publishing Association for the Promotion of Holiness, 1882), No. 46, printed p. 46 \u2014 the hymn's first publication, footed \"Copyright, 1882, by W. J. Kirkpatrick.\" Scan: archive.org/details/songsoftriumphad00insk, JP2 leaf songsoftriumphad00insk_0052. Read independently a second time from The Epworth Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891), No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" (archive.org/details/epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065) \u2014 a different house and different plates. Noteheads were MEASURED, not eyeballed: per staff the five lines were detected locally and fitted against x, and each head's ink centroid converted to a diatonic step on that fitted grid (staff step 29.0 px / 28.5 px). Exact numbers: of the 240 voice-notes the detector located 233 on the 1882 leaf and 234 on the 1891 leaf, 228 on BOTH \u2014 and on every one of those 228 the two printings give the same STAFF POSITION, not one differs. That measurement cannot see accidentals \u2014 it reads heads, not the sharps and flats before them \u2014 so it never underwrote the accidental reading, and an encoded B-natural survived it. The two printed accidentals were checked separately, by eye, on both leaves. Median distance from an exact staff position 0.086 of a step, 89% within 0.25, worst 0.49; every reading past 0.25 (a ledger line fused to a head, or a hollow half-note split into arcs) was re-probed with a stricter filter and then read by eye off a 5x-7x crop of BOTH pages. Eleven notes were located automatically on only one leaf and one (the soprano of the final chord) on neither; all twelve were read by eye on both leaves, which agree. As an independent third check the soprano of system 1 reproduces Hymnary's catalogued incipit for this tune, 32176 16513 53212. DEPARTURES FROM THE PAGE: (1) both plates print a \"p\" over the last system; this encoding carries no dynamic, the engine having no dynamics layer. (2) Where tenor and bass sound the same pitch \u2014 soprano ordinals 7, 8, 22, 23, all A-flat 3 \u2014 both plates print ONE notehead with two stems; this encoding writes the unison out in both voice streams (house convention) and engraves as the same one notehead with two stems, so the difference is in the encoding only. (3) Neither plate prints a tune name; TRUST IN JESUS is Hymnary's tune-authority name. Nothing else departs \u2014 rhythm, barring, key, meter, the alto's D-natural (the ONLY printed accidental; the tenor below it is B-flat from the signature \u2014 a bare B-natural was encoded here at first and is corrected) at note 14 of systems 1 and 3, and the four fifteen-note systems are the printed ones, and neither page carries a slur, a tie or a melisma. Public domain: first published 1882; Kirkpatrick d. 1921; both printings read for this record are pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1882 and 1891 page images (this repository)", "encoding_license": "PD-dedication"}, "music_ly": "%% 'TIS SO SWEET TO TRUST IN JESUS \u2014 tune TRUST IN JESUS, W. J. Kirkpatrick\n%%\n%% SOURCE OF EVERY NOTE BELOW: the page image of Songs of Triumph (Philadelphia:\n%% National Publishing Association for the Promotion of Holiness, 1882), No. 46,\n%% printed p. 46 \u2014 the FIRST publication, footed \"Copyright, 1882, by W. J.\n%% Kirkpatrick.\"  archive.org identifier songsoftriumphad00insk, JP2 leaf\n%% songsoftriumphad00insk_0052 (scan p. 46).\n%%\n%% SECOND DATED PRINTING read independently and required to agree: The Epworth\n%% Hymnal No. 2 (New York: Phillips & Hunt; Cincinnati: Cranston & Stowe, 1891),\n%% No. 62, printed p. 61, also footed \"Copyright, 1882, by W. J. Kirkpatrick\" \u2014\n%% archive.org epworthhymnalno200meth, JP2 leaf epworthhymnalno200meth_0065.\n%% Different house, different plates, higher-resolution scan.\n%%\n%% HOW THE NOTEHEADS WERE READ (not by eye).  For each of the eight staves on\n%% each page the five staff lines were detected LOCALLY \u2014 dark-row density inside\n%% a +/-110 px window swept across the staff, then a first-order fit of top-line y\n%% and staff step against x, so the scans' skew and warp could not let a global\n%% grid drift.  Noteheads were isolated by run-length filters (a head is thick\n%% both horizontally and vertically; staff lines, ledger lines, stems, barlines\n%% and beams are thick in one direction only), with the enclosed interiors of\n%% hollow half-notes size-capped-and-filled first.  Each head's ink centroid was\n%% converted to a diatonic step offset from the top staff line on that staff's\n%% fitted grid.  Staff step measured 29.0 px (1882) and 28.5 px (1891).\n%%\n%% THE NUMBERS, exactly.  The setting has 240 voice-notes (60 chords x 4 voices).\n%% The detector located 233 of them on the 1882 leaf and 234 on the 1891 leaf;\n%% 228 were located on BOTH, and on every one of those 228 the two printings give\n%% the same pitch \u2014 not one differs.  Across the 468 accepted measurements the\n%% median distance from an exact staff position is 0.086 of a diatonic step; 69%\n%% are within 0.15 and 89% within 0.25, and the worst is 0.49.  Every reading\n%% past 0.25 has a known cause \u2014 a thick ledger line fused to the head, or a\n%% hollow half-note whose ring split into two arcs \u2014 and every one was re-probed\n%% with a stricter vertical-run threshold AND then read by eye off a 5x-7x crop\n%% of BOTH pages before being accepted.  Eleven of the 240 were located\n%% automatically on only one leaf and one (the soprano of the very last chord,\n%% A-flat 4) on neither; all twelve were read by eye at 5x-7x on both leaves,\n%% and both leaves agree.  As a third, independent check the soprano of system 1\n%% reproduces Hymnary's catalogued incipit for this tune, \"32176 16513 53212\"\n%% (scale degrees in A-flat: C Bb Ab G F Ab F Eb | Ab C Eb C Bb Ab Bb).\n%%\n%% DEPARTURES FROM THE PAGE \u2014 the complete list:\n%%   1. The 1882 plate prints a \"p\" over the last system (system 4, the second\n%%      half of the refrain); the 1891 plate prints it too.  This encoding carries\n%%      NO dynamic: the engine has no dynamics layer.\n%%   2. Where tenor and bass sound the same pitch \u2014 soprano ordinals 7, 8, 22 and\n%%      23, all A-flat 3 \u2014 both plates print ONE notehead carrying two stems.\n%%      This encoding writes the unison out in both voice streams, the house\n%%      convention; the engraved result was checked and is the same one notehead\n%%      with two stems, so this is a difference in the encoding only.\n%%   3. Both plates head the piece with the title only; NEITHER prints a tune\n%%      name.  \"TRUST IN JESUS\" is Hymnary's tune-authority name\n%%      (tune/trust_in_jesus_kirkpatrick), not a name read off either page.\n%%   4. Nothing else.  Rhythm, barring, key, meter, accidentals (the D-natural /\n%%      only printed accidental, the ALTO's D-natural at note 14 of systems 1 and\n%%      3 \u2014 the tenor there is B-flat from the key signature, giving B-flat/D/F/A-flat,\n%%      V7-of-V into the E-flat at note 15. This file first encoded a bare `b`\n%%      (B-NATURAL) there in both places and described a \"D-natural/B-natural\n%%      diminished chord\"; neither plate prints that, and it is corrected) and the four\n%%      system breaks are the printed ones; both plates cast the hymn in exactly\n%%      these four systems of fifteen soprano notes.  There are no slurs, no ties\n%%      and no melismas on either page: every note takes its own syllable.\n%%\n%% Public domain: first published 1882; Kirkpatrick d. 1921, Stead d. 1917; both\n%% printings read for this record are themselves pre-1931.\n\\version \"2.24.0\"\n\nglobal  = { \\key aes \\major \\time 4/4 }\n\nsoprano = {\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4. g'8 | f'4 as'4 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n  c''4 es''4 es''4 c''4 | bes'4 as'4 c''4 bes'4 | c''4 es''4 es''4. c''8 | bes'4 as'4 bes'2 |\n  c''4 bes'4 as'4 es'4 | des''4. f'8 f'4 es'4 | as'4 c''4 f'4. bes'8 | as'4 g'4 as'2 |\n}\nalto = {\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | es'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4. es'8 | des'4 des'4 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n  as'4 as'4 as'4 as'4 | g'4 f'4 as'4 g'4 | as'4 as'4 as'4. as'8 | es'4 d'4 es'2 |\n  es'4 des'4 c'4 c'4 | f'4. des'8 des'4 c'4 | c'4 es'4 des'4. f'8 | es'4 es'4 es'2 |\n}\ntenor = {\n  as4 es4 es4. as8 | as4 as4 as4 as4 | c'4 es'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4. as8 | as4 as4 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n  es'4 c'4 c'4 es'4 | des'4 c'4 es'4 es'4 | es'4 c'4 c'4. es'8 | es'4 bes4 g2 |\n  as4 es4 es4 as4 | as4. as8 as4 as4 | es4 as4 as4. des'8 | c'4 bes4 c'2 |\n}\nbass = {\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4. c8 | des4 f4 as4 as4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n  as4 as4 as4 as4 | es4 f4 es4 es4 | as4 as4 as4. as8 | g4 f4 es2 |\n  as,4 as,4 as,4 as,4 | des4. des8 as,4 as,4 | as,4 as,4 des4. des8 | es4 es4 as,2 |\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}