{"slug": "victory", "name": "VICTORY", "alt_name": "PALESTRINA", "meter_label": "8.8.8 with Alleluias", "meter": {"pattern": [8, 8, 8], "doubled": false, "refrain": true, "alleluia": true, "irregular": false}, "composer": "giovanni-pierluigi-da-palestrina", "arranger": "william-h-monk", "canonical_key": {"tonic": "e", "mode": "major"}, "preferred_harmonization": "victory-oh111", "provenance": {"layer": "tune", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Printed in Hymns Ancient and Modern, 1861, at Hymn 114 \u2014 plate read for this import (archive.org henrmode00chur, leaf 174): four sharps, no printed time signature, the tune in minims, three systems, the Alleluia section at the head and a segno pair bracketing the verse. The same book's first-line index reads 'The strife is o'er, the battle won ... 8,8,8 ... Victory ... 114'. No composer credit is printed on the 1861 MUSIC PAGE \u2014 but the same book attests both credits ITSELF, in its INDEX OF TUNES (leaf 25), which under '8 8 8 (Iambic)' prints the row 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by'. (The column structure is unmistakable in the neighbouring rows \u2014 'O Filii et Filiae | From La Feillee | W. H. Monk | 108'.) This corrects the import's first record, which routed both credits through the American reprint below as though 1861 gave neither. The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), also read for this import, prints as its TUNE-NAME LINE \u2014 not as a separate setting credit \u2014 'VICTORY. 8.8.8.4. Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594.' The 1916 setting is in the same key (E major) and prints its time signature as 3/2. The Open Hymnal ABC (X:111) adds the alternative tune name 'Palestrina' and dates the Palestrina original 1591 \u2014 that date is the Open Hymnal's claim and was not verified against any page read for this import. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "harmonization": {"slug": "victory-oh111", "tune": "victory", "music_file": "victory-oh111.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 21, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain_first": {"refrain_notes": 12}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 13, "kind": "verse"}], "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "source_line": "Music: VICTORY, adapted by William H. Monk from Palestrina; setting from Hymns Ancient and Modern, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting printed in Hymns Ancient and Modern, 1861, at Hymn 114; plate read for this import (archive.org henrmode00chur, leaf 174). Collated against The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), which prints the same setting in the same key: the four voices of verse bars 3-5 were read note by note off the 1916 plate for this import and agree with the encoding, including the bass rising to c' (C#4, on the first ledger above the bass staff) at the end of verse bars 3 and 11. THE HARMONIZER CREDIT RESTS ON THE 1861 BOOK'S OWN INDEX OF TUNES (leaf 25), which prints 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by' \u2014 i.e. the primary source names Monk as the harmonizer, in those words. The import first rested this credit on two strings that do not carry it, and the correction is recorded rather than swapped in silently: The Hymnal 1916's 'Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594' is that book's TUNE-NAME LINE, a credit for adapting the MELODY, and by this project's own standing rule a melody credit says nothing about who wrote the four parts; and the Open Hymnal ABC's C: line 'Setting: William Henry Monk, 1861.' is a modern encoder's claim, not a printing. Both are quoted verbatim and both were read for this import; neither is now doing the work. TWO DIVERGENCES FROM THE PRINTINGS ARE RECORDED RATHER THAN SILENTLY CARRIED: (1) BAR 1 IS AN ORGAN NOTE. On both plates read here all four voices rest on the first beat and a single note is printed below the bass staff on a ledger, labelled 'Org.' / 'ORG.'; the Open Hymnal folds that note into the sung bass, which is why its bass has 13 notes in the Alleluia section against the other voices' 12. It is kept here as the encoding source has it, so this engraving asks the bass to sing a note the printings mark organ-only. (2) NOTE VALUES. Both plates write the tune in minims, three to the bar; the 1861 page prints no time signature at all and the 1916 page prints 3/2. The Open Hymnal halves the values to 3/4 and that is what is encoded here. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "music_ly": "%% The Strife Is O'er, the Battle Done \u2014 VICTORY\n%% Hand-encoded from Open Hymnal ABC X:111 (OpenHymnal2014.06), bar by bar, and\n%% arithmetic-verified: every bar of every voice sums to 3/4, note counts per\n%% voice per section match the ABC, and the four voices are token-for-token\n%% IDENTICAL to what tools/abc_import.py 111 emits over this span (that tool does\n%% run on this block; it warns the w: underlay is off by one and it carries the\n%% Alleluia section twice, so it was used as a check, not as the source).\n%% One deliberate difference: where the ABC writes an invisible rest `x`,\n%% abc_import emits a spacer `s` and this file writes `r`, so that a beat on which\n%% BOTH voices of a staff rest collapses to the single centred rest the plates\n%% print (chorus bars 1 and 7, verse bar 13).\n%% The ABC prints the Alleluia section twice (head and, after the |: :| repeat,\n%% tail).  Hymns Ancient and Modern 1861 #114 \u2014 the source the Open Hymnal cites\n%% \u2014 and The Hymnal (Episcopal) 1916 #173 both print it ONCE, at the head, with a\n%% segno pair bracketing the verse; both plates were read in this session, so only\n%% the leading copy is encoded here (43 soprano notes: 12 + 31).\n%% Public domain: tune adapted by W. H. Monk from Palestrina, setting printed in\n%% Hymns Ancient and Modern, 1861. All components pre-1931 (pd_basis: pub_pre_1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 }\n\nsoprano = {\n  r4 gis'4 gis'4 a'2. gis'4 b'4 b'4 cis''2. b'4 b'4 e''4 dis''2. e''2 r4 b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. gis'4 gis'4 gis'4 gis'2 gis'4 gis'4( fis'4) e'4 fis'2. b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. r4 b'4 e''4 dis''2. e''2.\n}\nalto    = {\n  r4 e'4 e'4 e'2. e'4 e'4 e'4 e'2. e'4 e'4 gis'4 fis'2. gis'2 r4 gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. e'4 e'4 e'4 e'2 dis'4 e'4( cis'4) cis'4 dis'2. gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. r4 e'4 gis'4 fis'2. gis'2.\n}\ntenor   = {\n  r4 b4 b4 cis'2. b4 gis4 gis4 a2. gis4 b4 b4 b2. b2 r4 e'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. b4 b4 b4 cis'2 b4 b4( a4) gis4 b2. dis'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. r4 e'4 b4 b2. b2.\n}\nbass    = {\n  e,4 e4 e4 a,2. e4 e4 e4 a,2. e4 gis4 e4 b,2. e2 r4 e4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. e4 e4 e4 cis2 gis4 e4( fis4) cis4 b,2. gis4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. r4 gis4 e4 b,2. e2.\n}\n"}, "harmonizations": [{"slug": "victory-oh111", "tune": "victory", "music_file": "victory-oh111.ly", "canonical_key": {"tonic": "e", "mode": "major"}, "time": "3/4", "pickup": null, "system_breaks": [12, 21, 30], "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain_first": {"refrain_notes": 12}, "markings": [{"soprano_note": 1, "kind": "refrain"}, {"soprano_note": 13, "kind": "verse"}], "harmonizer": "william-h-monk", "arrangement_type": "harmonization", "source_line": "Music: VICTORY, adapted by William H. Monk from Palestrina; setting from Hymns Ancient and Modern, 1861. Public domain.", "provenance": {"layer": "harmonization", "source": "hymns-ancient-and-modern-1861", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Four-part setting printed in Hymns Ancient and Modern, 1861, at Hymn 114; plate read for this import (archive.org henrmode00chur, leaf 174). Collated against The Hymnal (Episcopal), 1916, #173 (archive.org authoriz00epis, leaf 297), which prints the same setting in the same key: the four voices of verse bars 3-5 were read note by note off the 1916 plate for this import and agree with the encoding, including the bass rising to c' (C#4, on the first ledger above the bass staff) at the end of verse bars 3 and 11. THE HARMONIZER CREDIT RESTS ON THE 1861 BOOK'S OWN INDEX OF TUNES (leaf 25), which prints 'Victory | From Palestrina | W. H. Monk | 114' across columns headed 'Composer, or source whence taken' and 'Harmonized or Arranged by' \u2014 i.e. the primary source names Monk as the harmonizer, in those words. The import first rested this credit on two strings that do not carry it, and the correction is recorded rather than swapped in silently: The Hymnal 1916's 'Adapted by WILLIAM H. MONK from PALESTRINA, 1515-1594' is that book's TUNE-NAME LINE, a credit for adapting the MELODY, and by this project's own standing rule a melody credit says nothing about who wrote the four parts; and the Open Hymnal ABC's C: line 'Setting: William Henry Monk, 1861.' is a modern encoder's claim, not a printing. Both are quoted verbatim and both were read for this import; neither is now doing the work. TWO DIVERGENCES FROM THE PRINTINGS ARE RECORDED RATHER THAN SILENTLY CARRIED: (1) BAR 1 IS AN ORGAN NOTE. On both plates read here all four voices rest on the first beat and a single note is printed below the bass staff on a ledger, labelled 'Org.' / 'ORG.'; the Open Hymnal folds that note into the sung bass, which is why its bass has 13 notes in the Alleluia section against the other voices' 12. It is kept here as the encoding source has it, so this engraving asks the bass to sing a note the printings mark organ-only. (2) NOTE VALUES. Both plates write the tune in minims, three to the bar; the 1861 page prints no time signature at all and the 1916 page prints 3/2. The Open Hymnal halves the values to 3/4 and that is what is encoded here. All components pre-1931.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:111", "encoding_license": "PD-dedication"}, "music_ly": "%% The Strife Is O'er, the Battle Done \u2014 VICTORY\n%% Hand-encoded from Open Hymnal ABC X:111 (OpenHymnal2014.06), bar by bar, and\n%% arithmetic-verified: every bar of every voice sums to 3/4, note counts per\n%% voice per section match the ABC, and the four voices are token-for-token\n%% IDENTICAL to what tools/abc_import.py 111 emits over this span (that tool does\n%% run on this block; it warns the w: underlay is off by one and it carries the\n%% Alleluia section twice, so it was used as a check, not as the source).\n%% One deliberate difference: where the ABC writes an invisible rest `x`,\n%% abc_import emits a spacer `s` and this file writes `r`, so that a beat on which\n%% BOTH voices of a staff rest collapses to the single centred rest the plates\n%% print (chorus bars 1 and 7, verse bar 13).\n%% The ABC prints the Alleluia section twice (head and, after the |: :| repeat,\n%% tail).  Hymns Ancient and Modern 1861 #114 \u2014 the source the Open Hymnal cites\n%% \u2014 and The Hymnal (Episcopal) 1916 #173 both print it ONCE, at the head, with a\n%% segno pair bracketing the verse; both plates were read in this session, so only\n%% the leading copy is encoded here (43 soprano notes: 12 + 31).\n%% Public domain: tune adapted by W. H. Monk from Palestrina, setting printed in\n%% Hymns Ancient and Modern, 1861. All components pre-1931 (pd_basis: pub_pre_1931).\n\\version \"2.24.0\"\n\nglobal  = { \\key e \\major \\time 3/4 }\n\nsoprano = {\n  r4 gis'4 gis'4 a'2. gis'4 b'4 b'4 cis''2. b'4 b'4 e''4 dis''2. e''2 r4 b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. gis'4 gis'4 gis'4 gis'2 gis'4 gis'4( fis'4) e'4 fis'2. b'4 b'4 b'4 cis''2 b'4 b'4( a'4) gis'4 b'2. r4 b'4 e''4 dis''2. e''2.\n}\nalto    = {\n  r4 e'4 e'4 e'2. e'4 e'4 e'4 e'2. e'4 e'4 gis'4 fis'2. gis'2 r4 gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. e'4 e'4 e'4 e'2 dis'4 e'4( cis'4) cis'4 dis'2. gis'4 gis'4 gis'4 a'2 gis'4 gis'4( cis'4) cis'4 fis'2. r4 e'4 gis'4 fis'2. gis'2.\n}\ntenor   = {\n  r4 b4 b4 cis'2. b4 gis4 gis4 a2. gis4 b4 b4 b2. b2 r4 e'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. b4 b4 b4 cis'2 b4 b4( a4) gis4 b2. dis'4 e'4 e'4 e'2 e'4 dis'4( fis'4) e'4 dis'2. r4 e'4 b4 b2. b2.\n}\nbass    = {\n  e,4 e4 e4 a,2. e4 e4 e4 a,2. e4 gis4 e4 b,2. e2 r4 e4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. e4 e4 e4 cis2 gis4 e4( fis4) cis4 b,2. gis4 e4 e4 a2 e4 gis4( fis4) cis'4 b2. r4 gis4 e4 b,2. e2.\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}