{"slug": "wachet-auf", "name": "WACHET AUF", "meter_label": "8.7.8.7.D", "meter": {"pattern": [8, 7, 8, 7], "doubled": true, "refrain": false, "alleluia": false, "irregular": false}, "composer": "phillip-nicolai", "composer_date": "1917", "canonical_key": {"tonic": "c", "mode": "major"}, "preferred_harmonization": "wachet-auf-oh209", "provenance": {"layer": "tune", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "hymnary_ids": {"tune_auth": "wachet_auf_nicolai", "total_instances": 382}}, "harmonization": {"slug": "wachet-auf-oh209", "tune": "wachet-auf", "music_file": "wachet-auf-oh209.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 19, 27, 37, 46, 60, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [10, 19, 27, 37, 46, 54, 60, 66, 70, 78], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:209", "encoding_license": "PD-dedication"}, "music_ly": "%% Wake, Awake, for Night Is Flying\n%% Imported from Open Hymnal ABC X:209 via tools/abc_import.py\n%% Open Hymnal X:209; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'1 | c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | d'4 e'4 f'2 e'2 | g'2 a'4 b'4 c''2. c''4 e''4 d''4 c''2 | g'2 c''4 g'4 a'4 e'4 f'4 d'4 c'1\n}\nalto = {\n  g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'1 | g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'2 | s8 d'4 e'2. d'4 c'4 b4 c'2 | s8 e'4 d'2. c'4 c'4 b4 c'2 | b4 c'4 c'4( b4) c'2 | e'2 f'4 f'4 e'2. f'4 g'4 g'4 e'2 | e'2 e'4 e'4 c'4 c'4 c'4 b4 c'1\n}\ntenor = {\n  e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e1 | e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e2 | r8 g4 g2. a4 g4 g4 e2 | r8 c'4 bes2. a4 g4 g4 e2 | g4 g4 f2 g2 | c'2 c'4 d'4 c'2. c'4 c'4 b4 c'2 | c'2 c'4 b4 a4 g4 a4 g4 e1\n}\nbass = {\n  c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c1 | c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c2 | s8 b,4 c2. f4 g4 g,4 c2 | s8 c4 g,2. a,4 c4 g,4 c2 | g,4 c4 d2 c2 | c2 f4 d4 a2. a4 g4 g4 c2 | c2 a,4 e4 f4 c4 f,4 g,4 c1\n}\n"}, "harmonizations": [{"slug": "wachet-auf-bwv140-7", "tune": "wachet-auf", "music_file": "wachet-auf-bwv140-7.ly", "harmonizer": "johann-sebastian-bach", "arrangement_type": "harmonization", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "4/4", "pickup": null, "time_changes": [{"soprano_note": 25, "time": "3/4"}, {"soprano_note": 29, "time": "4/4"}], "system_breaks": [14, 28, 42, 56, 72], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "refrain": null, "source_line": "WACHET AUF, Philipp Nicolai, 1599; harmonization J. S. Bach (BWV 140/7). Public domain.", "provenance": {"layer": "harmonization", "source": "bach-chorales-1784", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune WACHET AUF (Philipp Nicolai, Freudenspiegel dess ewigen Lebens, 1599); four-part harmonization by Johann Sebastian Bach (1685-1750) \u2014 the closing chorale BWV 140/7 of the cantata \"Wachet auf, ruft uns die Stimme\" (1731), No. 179 in the Breitkopf collection 371 vierstimmige Choralgesaenge (1784-87). US public domain by pre-1931 publication. Encoded from the craigsapp/bach-370-chorales kern edition (chor179.krn, referenced against the c. 1875 Doerffel/Breitkopf 4th edition) via tools/kern2ly.py. The kern encodes the Stollen once with a repeat (*>[A,A,B]); the corpus file writes it out A-A-B. The A section begins on a downbeat and ends with a three-beat bar, so the first Stollen close stands as a genuine 3-beat bar (declared via time_changes, the OLD 124TH mid-hymn-meter precedent) and the B section's one-beat pickup completes the second close to a full 4/4 bar \u2014 exactly the barring of the independently encoded music21 witness bwv140.7.mxl (its m8 carries 3 beats against the backward repeat; its m8a is the 1-beat pickup bar). Machine comparison against that witness, sounding events, all four voices, run in the source key: soprano identical event-for-event (96 events); tenor differs only at bar 7 beats 1-1.5 and its Stollen repeat, where the witness holds a dotted quarter against the kern's repeated quarter + eighth; alto differs only at bars 21-22, where the witness ties the barline and holds a quarter against the kern's repeated notes; bass differs only in octave at the bar-7/8 walking-line tail and the final cadence (the kern reads the tail an octave above the witness and itself writes the low octave at bar 24, deliberately differentiating the two passages). The kern reading is kept as the declared source. The source key is E-flat major (the kern's *k[b-e-a-] with *E-:); the corpus file is TRANSPOSED a minor third down to C major, the tune's corpus canonical key, shared with wachet-auf-oh209 (one canonical key per tune, validator-enforced; congregational range, soprano top e'' instead of the cantata's g'') \u2014 a pure transposition verified note-for-note, every note exactly -3 semitones with durations, ties and slurs identical. 4/4 (met C), no pickup; fermatas at the twelve phrase ends (soprano ordinals 8, 19, 28, 36, 47, 56, 62, 68, 72, 76, 81, 90) are omitted per house style. The melisma slurs follow Bach's own underlay as witnessed by the texted mxl (full German underlay, two lyric verses in the Stollen agreeing on every hold, one in the Abgesang).", "pd_jurisdictions": {"US": true}, "encoding_origin": "craigsapp/bach-370-chorales kern edition, chor179.krn (BWV 140/7, Breitkopf No. 179), converted with tools/kern2ly.py; underlay and barring witness music21 bach corpus MusicXML bwv140.7.mxl (both archived in imports/batchC/)", "encoding_license": "CC BY-NC-SA 4.0 is claimed on the kern edition, which is itself a faithful transcription of the public-domain 1784-87 Breitkopf text. The corpus record does not rest on that edition: the music is by Bach (d. 1750) and this .ly is a fresh re-encoding via tools/kern2ly.py, with the kern file vendored alongside so the conversion can be re-checked. Same analysis for every Bach kern import in the corpus."}, "music_ly": "%% WACHET AUF (8.7.8.7.D) \u2014 four SATB voice streams, canonical key C major.\n%% Corpus harmonization source for the HymnBookGenerator close-score engine.\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%% J. S. Bach's harmonization BWV 140/7 (the closing chorale of cantata 140,\n%% \"Wachet auf, ruft uns die Stimme\"; Breitkopf No. 179), converted from the\n%% craigsapp/bach-370-chorales kern edition (chor179.krn, imports/batchC/) with\n%% tools/kern2ly.py and verified against the kern source in all four voices.\n%% The source is E-flat major (the kern's *k[b-e-a-] + *E-:); this file is\n%% TRANSPOSED a minor third down to C major, the tune's corpus canonical key\n%% (one canonical key per tune, validator-enforced, shared with the OH209\n%% setting) \u2014 a pure transposition, verified note-for-note (every note exactly\n%% -3 semitones; durations, ties and slurs identical; the chromatics spell\n%% fis/gis/bes/b-natural). 4/4 (met C), NO pickup. The kern encodes the Stollen\n%% once with a repeat (*>[A,A,B]); written out here A-A-B by the converter's\n%% sectional expansion. The A section both begins on a downbeat and ends with a\n%% THREE-BEAT bar, so at the first seam nothing merges and bar 8 is a genuine\n%% 3-beat bar (the sidecar declares it via time_changes: 3/4 at soprano note\n%% 25, 4/4 back at note 29, both true sync points); at the second seam the B\n%% section's one-beat pickup completes that same 3-beat bar to a full 4/4 bar\n%% 16. The music21 witness bwv140.7.mxl (imports/batchC/) bars it the same way\n%% as-written: its m8 carries 3 beats against the backward repeat and its m8a\n%% is the 1-beat B pickup bar, so the written-out barring above is the\n%% witness's own; the repeat form needs no printed signature, the written-out\n%% form prints 3/4 / 4/4 at bar 8 (the OLD 124TH mid-hymn-meter precedent).\n%% Machine comparison against that independently encoded witness (music21\n%% MusicXML, full German underlay), sounding events, all four voices, run in\n%% the source key: soprano identical event-for-event (96 events); tenor\n%% differs only at bar 7 beats 1-1.5 and its Stollen repeat (bar 15), where\n%% the witness holds a dotted quarter against the kern's repeated quarter +\n%% eighth (printed here c'4 c'8); alto differs only at bars 21-22, where the\n%% witness ties the barline g'4~ g'8 and holds f'4 (source key) against the\n%% kern's repeated notes (printed here e'4 e'8 d'8 d'8); bass differs only in\n%% octave at the bar-7/8 walking-line tail f-g-a-d-c (printed octave; kern an\n%% octave above the witness \u2014 the kern itself writes the LOW octave at the\n%% parallel bar 24, so the two passages are deliberately differentiated) and\n%% at the final d4 g,4 c2. The kern reading is kept as the declared source.\n%% The source prints fermatas at soprano ordinals 8, 19, 28, 36, 47, 56, 62, 68,\n%% 72, 76, 81, 90 (the twelve phrase ends of the bar form); fermatas are omitted\n%% per house style. MELISMATIC: 90 soprano notes for 82 syllables; the melisma\n%% map follows Bach's own underlay in the texted witness (both Stollen lyric\n%% verses agree on every hold): two-note slurs at soprano notes 12-13, 17-18,\n%% 25-26 (Stollen, sung twice: 40-41, 45-46, 53-54) and 77-78, 87-88 (Abgesang).\n%% The setting holds the continuations with '_' at soprano notes 13, 18, 26, 41,\n%% 46, 54, 78, 88 every stanza.\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\time 4/4 }\n\nsoprano = {\n  c'4 e'4 g'4. g'8 |\n  g'4 g'4 a'2 |\n  g'2 r4 g'4 |\n  c''4 g'4 c''8( d''8) e''4 |\n  d''4 c''4 b'4( a'4) |\n  g'2 r4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'4 |\n  c'4 e'4 g'4. g'8 |\n  g'4 g'4 a'2 |\n  g'2 r4 g'4 |\n  c''4 g'4 c''8( d''8) e''4 |\n  d''4 c''4 b'4( a'4) |\n  g'2 r4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'4 g'4 |\n  g'4. f'8 e'4 d'4 |\n  c'2 r4 g'4 |\n  g'4. f'8 e'4 d'4 |\n  c'2 r4 d'4 |\n  e'4 f'4 e'4 g'4 |\n  a'4 b'4 c''4 c''8( d''8) |\n  e''4 d''4 c''4 g'4 |\n  c''4 g'4 a'4 e'4 |\n  f'8( e'8) d'4 c'2\n}\n\nalto = {\n  g4 c'4 e'4 d'4 |\n  e'4 d'4 e'4 d'4 |\n  d'2 r4 d'4 |\n  g'4. f'8 e'8 f'8 g'4 |\n  g'4 a'4~ a'8 g'4 fis'8 |\n  d'2 r4 e'4 |\n  f'4 e'4 c'4 c'4 |\n  c'4 b4 g4 |\n  g4 c'4 e'4 d'4 |\n  e'4 d'4 e'4 d'4 |\n  d'2 r4 d'4 |\n  g'4. f'8 e'8 f'8 g'4 |\n  g'4 a'4~ a'8 g'4 fis'8 |\n  d'2 r4 e'4 |\n  f'4 e'4 c'4 c'4 |\n  c'4 b4 g4 d'4 |\n  e'4. d'8 g8 a8 b4 |\n  a2 r4 b8 c'8 |\n  d'4 d'4~ d'8 c'4 b8 |\n  g2 r4 b4 |\n  c'4. b8 c'4 e'4 |\n  e'8 d'8 d'8 e'8 e'4 e'8 f'8 |\n  g'4. f'8 e'4 e'8 f'8 |\n  g'8 f'8 g'8 e'8 f'4 c'4 |\n  c'4 b4 g2\n}\n\ntenor = {\n  e4 g4 c'4 b4 |\n  c'4 g4 g4 fis4 |\n  b2 r4 b4 |\n  c'4 c'4 g4 c'4 |\n  d'4 d'4 d'4~ d'8 a8 |\n  b2 r4 c'4 |\n  c'4 c'8 bes8 a4 a4 |\n  a8 g8 f4 e4 |\n  e4 g4 c'4 b4 |\n  c'4 g4 g4 fis4 |\n  b2 r4 b4 |\n  c'4 c'4 g4 c'4 |\n  d'4 d'4 d'4~ d'8 a8 |\n  b2 r4 c'4 |\n  c'4 c'8 bes8 a4 a4 |\n  a8 g8 f4 e4 g4 |\n  c'8 b8 a8 b8 c'4 g8 f8 |\n  e2 r4 g4 |\n  g8 a8 b4 g8 a4 g8 |\n  e2 r4 g4 |\n  g4 a8 f8 g4 c'4 |\n  c'4 b4 a4 c'4 |\n  c'4 b4 c'4 c'4 |\n  g4 c'4 c'4. a8 |\n  a8 g8 f4 e2\n}\n\nbass = {\n  c2~ c8 e8 g8 f8 |\n  e8 d8 c8 b,8 c8 a,8 d4 |\n  g,2 r4 g8 f8 |\n  e8 f8 e8 d8 c4 c'4 |\n  b8 a8 g8 fis8 g4 d4 |\n  g,2 r4 c8 bes,8 |\n  a,8 b,8 c4 f8 g8 a4 |\n  d4 g,4 c4 |\n  c2~ c8 e8 g8 f8 |\n  e8 d8 c8 b,8 c8 a,8 d4 |\n  g,2 r4 g8 f8 |\n  e8 f8 e8 d8 c4 c'4 |\n  b8 a8 g8 fis8 g4 d4 |\n  g,2 r4 c8 bes,8 |\n  a,8 b,8 c4 f8 g8 a4 |\n  d4 g,4 c4 b,4 |\n  c4 d4 e8 f8 g8 g,8 |\n  a,2 r4 e4 |\n  b,8 a,8 g,4 c8 a,8 f,8 g,8 |\n  c2 r4 g8 f8 |\n  e4 d4 c4 c'4 |\n  fis4 gis4 a4 a4 |\n  e8 f8 g4 a,4 c8 d8 |\n  e8 d8 e8 c8 f,8 g,8 a,4 |\n  d4 g,4 c2\n}\n", "preferred": false}, {"slug": "wachet-auf-oh209", "tune": "wachet-auf", "music_file": "wachet-auf-oh209.ly", "canonical_key": {"tonic": "c", "mode": "major"}, "time": "free", "pickup": null, "system_breaks": [10, 19, 27, 37, 46, 60, 70], "final_barline": "|.", "amen": false, "verse_variable_melisma": true, "phrase_barlines": [10, 19, 27, 37, 46, 54, 60, 66, 70, 78], "refrain": null, "provenance": {"layer": "harmonization", "source": "oh-source-1931", "source_kind": "open_encoding", "pd_basis": "pub_pre_1931", "pd_evidence": "Open Hymnal X:209; all components published pre-1931 (latest year 1917).", "pd_jurisdictions": {"US": true}, "encoding_origin": "Open Hymnal Project 2014.06, X:209", "encoding_license": "PD-dedication"}, "music_ly": "%% Wake, Awake, for Night Is Flying\n%% Imported from Open Hymnal ABC X:209 via tools/abc_import.py\n%% Open Hymnal X:209; all components published pre-1931 (latest year 1917).\n\\version \"2.24.0\"\n\nglobal  = { \\key c \\major \\cadenzaOn }\n\nsoprano = {\n  c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'1 | c'2 e'2 g'2. g'4 g'4 g'4 a'4( g'4 a'2) g'2 | r8 g'4 c''4 g'4 c''4 e''4 d''4 e''4 d''2 g'2 | r8 g'4 c''4 g'4 a'4 e'4 f'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | r8 g'4 g'2. f'4 e'4 d'4 c'2 | d'4 e'4 f'2 e'2 | g'2 a'4 b'4 c''2. c''4 e''4 d''4 c''2 | g'2 c''4 g'4 a'4 e'4 f'4 d'4 c'1\n}\nalto = {\n  g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'1 | g2 c'2 d'2. d'4 e'4 e'4 e'4( d'4 e'4 d'8 c'8) b2 | s8 c'4 e'4 d'4 c'4 g'4 g'4 g'4 g'4( fis'4) d'2 | s8 e'4 e'4 e'4 c'4 c'4 a4 b4 c'2 | s8 d'4 e'2. d'4 c'4 b4 c'2 | s8 e'4 d'2. c'4 c'4 b4 c'2 | b4 c'4 c'4( b4) c'2 | e'2 f'4 f'4 e'2. f'4 g'4 g'4 e'2 | e'2 e'4 e'4 c'4 c'4 c'4 b4 c'1\n}\ntenor = {\n  e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e1 | e2 a2 b2. b4 b4 c'4 c'4( g2 fis4) g2 | r8 e4 g4 b4 g4 c'4 d'4 c'8 b8 a2 b2 | r8 c'4 c'4 b4 a4 g4 f4 g4 e2 | r8 g4 g2. a4 g4 g4 e2 | r8 c'4 bes2. a4 g4 g4 e2 | g4 g4 f2 g2 | c'2 c'4 d'4 c'2. c'4 c'4 b4 c'2 | c'2 c'4 b4 a4 g4 a4 g4 e1\n}\nbass = {\n  c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c1 | c2 a,2 g,2. g4 e4 c4 a,4( b,4 c4 d4) g,2 | s8 c4 c4 g4 e4 c4 b,4 c4 d2 g2 | s8 c4 a,4 e4 f4 c4 d4 g,4 c2 | s8 b,4 c2. f4 g4 g,4 c2 | s8 c4 g,2. a,4 c4 g,4 c2 | g,4 c4 d2 c2 | c2 f4 d4 a2. a4 g4 g4 c2 | c2 a,4 e4 f4 c4 f,4 g,4 c1\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}