{"slug": "words-of-life", "name": "WORDS OF LIFE", "meter_label": "8.6.8.6.6.6 with Refrain", "meter": {"pattern": [8, 6, 8, 6, 6, 6], "doubled": false, "refrain": true, "alleluia": false, "irregular": false}, "composer": "philip-paul-bliss", "composer_date": "1874", "canonical_key": {"tonic": "g", "mode": "major"}, "preferred_harmonization": "words-of-life-1883", "provenance": {"layer": "tune", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "Tune by Philip Paul Bliss (1838-1876), written for his own words and first published in Words of Life (Chicago, 1874). Read here from the dated printing in Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 \u2014 archive.org hymnsconso00blis, leaf 259 \u2014 credited \"P. P. Bliss, by per.\" over the staff; collated end to end against a SECOND, INDEPENDENT 1883 scan of the same plate, archive.org gospelhymnsconso00blis_202606, no. 282, printed page 255, leaf 252. US public domain by publication before 1929. Key of G major (one printed sharp), 6/8, no pickup; 12 bars of verse and, written out from the plate's repeat, 8 bars of chorus. tools/tune_fingerprint.py finds no corpus melody closer than 0.56 (WUNDERBARER K\u00d6NIG), well under the 0.80 duplicate threshold, so this is not a duplicate. NEITHER dated page names the tune on the staff \u2014 the Gospel Hymns plates rarely do \u2014 so the name WORDS OF LIFE is the one the later hymnals and Hymnary print for it, after the 1874 collection in which it first appeared; no printed alt_name is recorded.", "pd_jurisdictions": {"US": true}}, "harmonization": {"slug": "words-of-life-1883", "tune": "words-of-life", "music_file": "words-of-life-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 28, 44, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "source_line": "Setting: P. P. Bliss, 1874, as printed in Gospel Hymns Consolidated, Nos. 1 to 4, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, engraved \"P. P. Bliss, by per.\" over the staff of the page it was read from: Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 \u2014 archive.org item hymnsconso00blis, leaf 259. Every chord of all four voices was read notehead by notehead off that scan and then re-read, end to end, on a SECOND, INDEPENDENT 1883 scan of the SAME plate \u2014 archive.org gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs \u2014 Consolidated No. 1-4, 1883), no. 282, printed page 255, leaf 252 \u2014 by the same measuring rig, with its own binarisation and its own staff-line fits. The two dated witnesses agree at every notehead read; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO MIDI and NO Cyber Hymnal asset was used at any stage. HOW THE PITCHES WERE MEASURED: the staff space on the primary scan is 28.6-29.0 px (one diatonic step 14.3-14.5 px); heads were isolated by morphological erosion with an ellipse sized in staff spaces, so staff lines, stems, flags, beams and ledger lines are removed before any centroid is taken, and each centroid was converted to a diatonic step offset against five staff lines RE-FOUND in a \u00b170 px window around that head's own x. Merged and displaced pairs were resolved individually at 3-6x: the soprano/alto second at \"Won-\" (verse bars 3 and 7) is printed as two horizontally displaced heads, d' with an up stem and c' with a down stem, and the tenor's C4/D4 above the bass staff were anchored on the PRINTED C4 ledger line rather than on an extrapolated grid. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification, on BOTH scans, system by system, because a notehead probe reads heads and not the signs in front of them: the plate prints NO accidental anywhere in the music, and the only sharp on the page is the one-sharp key signature on F5 at the head of every staff. DEPARTURES FROM THE PAGE, stated plainly. (1) THE REPEAT IS WRITTEN OUT. The plate engraves the chorus once, between a repeat sign and a repeat barline, with a one-bar \"1st.\" volta (soprano g'4 b'8 d''4. on \"Life,\") and a one-bar \"2d.\" volta (two dotted quarters on g' for \"Life.\"). This engine cannot print a repeat or a volta, so bars 13-16 and 17-20 here are the two passes written out; the sounding music is identical, but the printed page shows eight chorus bars instead of three plus two endings, and the chorus words stand twice in the text. (2) THE MELISMAS ARE SLURRED, NOT BEAMED. Verse bars 9 and 11 set one syllable over their third and fourth eighths, and the plate marks that by BEAMING the pair while flagging the eighths around it; slurs are used here because the underlay engine merges slurred notes and not beamed ones, so two slur marks appear that the plate does not print. (3) BEAMING generally is LilyPond's 6/8 default, not the plate's 1870s practice of a separate flag on nearly every eighth. (4) The plate prints NO \"Chorus.\" label \u2014 only the repeat sign \u2014 so no marking is declared here either. Nothing else differs: no rest is added or removed, no stanza is dropped, no note is re-struck where the page holds, and no amen is carried (the page has none). FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: verse bars 1 and 5 open with a QUARTER b' over d' followed by four flagged eighths, under which tenor and bass share ONE notehead on g; the phrase \"Won-der-ful words of\" (bars 3 and 7) begins on a LOW soprano d' \u2014 a fifth below the a' that ends the preceding bar \u2014 with the alto a second under it on c' and the lower staff on fis/d throughout; verse bars 9-12 hold a g pedal in tenor AND bass on a single shared notehead while the upper voices climb b'-c''-d''-e''; and the chorus opens on d''/b'/d'/d, a sonority with no g in it at all, before three chords of a'/c''-over-d that make the dominant seventh.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 259), collated notehead by notehead against a second independent 1883 scan of the same plate (archive.org gospelhymnsconso00blis_202606, leaf 252). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WORDS OF LIFE (8.6.8.6.6.6 with Refrain) \u2014 \"Wonderful Words of Life\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup.\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. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow\n%% & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 \u2014\n%% archive.org item hymnsconso00blis, leaf 259 \u2014 headed \"Wonderful Words of\n%% Life.\", credited \"P. P. B.\" on the left and \"P. P. Bliss, by per.\" on the\n%% right. Every chord of all four voices was then re-read, end to end, on a\n%% SECOND, INDEPENDENT 1883 scan of the same plate: archive.org\n%% gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs \u2014 Consolidated\n%% No. 1-4, 1883), no. 282, printed page 255, leaf 252. The two witnesses agree\n%% at every notehead read. No MIDI, no NoteWorthy file and no Cyber Hymnal\n%% asset was used at any point.\n%%\n%% MEASUREMENT, not eyeballing. Staff space on the primary scan is 28.6-29.0 px\n%% (one diatonic step = 14.3-14.5 px). Heads were isolated by eroding a\n%% locally-binarised window with an ellipse sized in staff spaces (kills staff\n%% lines, stems, flags, beams and ledger lines), and each centroid was converted\n%% to a diatonic step offset using five staff lines RE-FOUND in a +-70 px window\n%% around that head's own x. Notes above the bass staff (the tenor's C4/D4) were\n%% additionally anchored on the printed C4 ledger line rather than on an\n%% extrapolated grid.\n%%\n%% ACCIDENTALS were checked SEPARATELY, by eye, at high magnification, on BOTH\n%% dated scans, system by system: the plate prints NO accidental anywhere in the\n%% music. The only sharp on the page is the one-sharp key signature (F5) at the\n%% head of every staff. Every f in this file is therefore the key signature's\n%% f sharp; the notehead measurement above never covered accidentals.\n%%\n%% STRUCTURE. The verse is 12 bars (systems 1-3 of the plate): bars 1-2 line 1,\n%% bars 3-4 line 2, bars 5-6 line 3, bars 7-8 line 4, bars 9-10 line 5, bars\n%% 11-12 line 6. Bars 5-7 repeat bars 1-3 note for note, and bars 11-12 repeat\n%% bars 9-10 note for note; both identities were verified independently on the\n%% plate, not assumed. 44 soprano noteheads in the verse.\n%%\n%% THE REPEAT IS WRITTEN OUT \u2014 DEPARTURE FROM THE PAGE. The plate engraves the\n%% chorus ONCE (system 4) between a repeat sign and a repeat barline, with a\n%% \"1st.\" volta (one bar, \"Life,\") and a \"2d.\" volta (one bar, \"Life.\"). Nothing\n%% in this engine can print a repeat or a volta, so the chorus is written out in\n%% full here: bars 13-16 are the first pass (A B C + 1st ending) and bars 17-20\n%% the second (A B C + 2nd ending). The sounding music is unchanged; the printed\n%% page differs in that it shows eight chorus bars instead of three plus two\n%% endings. 31 soprano noteheads in the chorus, 75 in all.\n%%\n%% RHYTHM. 6/8 throughout. Verse bars 1/5 and 9/11 are a quarter plus four\n%% eighths; bars 2/6 are quarter, eighth, dotted quarter; bars 3/7 are three\n%% eighths, a quarter and an eighth; bars 4/8/10/12 are two dotted quarters.\n%% Chorus bars 13/14/17/18 are three eighths and a dotted quarter; bars 15/19\n%% are three eighths, a quarter and an eighth; bar 16 (1st ending) is a quarter,\n%% an eighth and a dotted quarter in the soprano over two dotted quarters in the\n%% other voices; bars 20 (2nd ending) is two dotted quarters. Every bar was\n%% counted against the printed barlines, whose x positions were measured on the\n%% primary scan.\n%%\n%% THE MELISMAS. Verse bars 9 and 11 set ONE syllable (\"life\"/\"faith\" in stanza\n%% 1) over the third and fourth eighths, and the plate marks that by BEAMING the\n%% pair while flagging the eighths around it; the lower staff sustains a quarter\n%% underneath. This file marks those pairs with SLURS instead, because the\n%% underlay engine merges slurred notes, not beamed ones \u2014 a real difference in\n%% what is printed. Likewise the plate's beaming is 1870s practice (separate\n%% flags on nearly every eighth); LilyPond re-beams by its own 6/8 rules here.\n%%\n%% THE SLURS THAT ARE THE PAGE'S. Bars 4, 8, 16 and 20 carry printed slurs, one\n%% above and one below the staff, over the two-note setting (in bar 16 the plate's soprano slur covers only g'-b';\n%% this file extends it to the d'' so the underlay forms one \"Life,\" group \u2014 extra\n%% ink the page does not print, recorded as a departure) of\n%% of \"Life;\" / \"Life.\" / \"Life,\" \u2014 those are transcribed as slurs in every\n%% voice that moves under them.\n%%\n%% UNISONS AND SECONDS. The lower staff prints ONE notehead with two stems\n%% wherever tenor and bass share a pitch (verse bars 1, 5 and the whole of bars\n%% 8-12); both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads. At the word \"Won-\" (verse bars 3 and\n%% 7) soprano d' and alto c' are a SECOND apart and the plate displaces the alto\n%% head to the right of the soprano's, each with its own stem and flag; that is\n%% the default resolver's job too.\n%%\n%% THE LOW SOPRANO AT \"Won-\". Verse bars 3 and 7 begin on soprano d' \u2014 a fifth\n%% BELOW the a' that ends the preceding bar \u2014 with the alto on c' under it. That\n%% reading was confirmed three ways: the erosion measurement (off-grid residual\n%% 0.10 step), the printed lyric column (stanza 3's \"Won-\" is centred at x=1625\n%% against the notehead at x=1622), and by eye at 5x on both dated scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( d'4.) |\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( g'4.) |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4( b'8 d''4.) |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4.( g'4.)\n}\n\nalto = {\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( g'4.) |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( d'4.)\n}\n\ntenor = {\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.) |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.)\n}\n\nbass = {\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g,4.( g,4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.)\n}\n"}, "harmonizations": [{"slug": "words-of-life-1883", "tune": "words-of-life", "music_file": "words-of-life-1883.ly", "canonical_key": {"tonic": "g", "mode": "major"}, "time": "6/8", "pickup": null, "system_breaks": [13, 28, 44, 60], "breaks_manual": true, "final_barline": "|.", "amen": false, "verse_variable_melisma": false, "refrain": {"soprano_note_start": 45}, "source_line": "Setting: P. P. Bliss, 1874, as printed in Gospel Hymns Consolidated, Nos. 1 to 4, 1883. Public domain.", "provenance": {"layer": "harmonization", "source": "gospel-hymns-consolidated-1883", "source_kind": "hand_encoded", "pd_basis": "pub_pre_1931", "pd_evidence": "P. P. Bliss's own four-part setting, engraved \"P. P. Bliss, by per.\" over the staff of the page it was read from: Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 \u2014 archive.org item hymnsconso00blis, leaf 259. Every chord of all four voices was read notehead by notehead off that scan and then re-read, end to end, on a SECOND, INDEPENDENT 1883 scan of the SAME plate \u2014 archive.org gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs \u2014 Consolidated No. 1-4, 1883), no. 282, printed page 255, leaf 252 \u2014 by the same measuring rig, with its own binarisation and its own staff-line fits. The two dated witnesses agree at every notehead read; both are pre-1931 US public domain and no modern arranger stands anywhere in the chain. NO MIDI and NO Cyber Hymnal asset was used at any stage. HOW THE PITCHES WERE MEASURED: the staff space on the primary scan is 28.6-29.0 px (one diatonic step 14.3-14.5 px); heads were isolated by morphological erosion with an ellipse sized in staff spaces, so staff lines, stems, flags, beams and ledger lines are removed before any centroid is taken, and each centroid was converted to a diatonic step offset against five staff lines RE-FOUND in a \u00b170 px window around that head's own x. Merged and displaced pairs were resolved individually at 3-6x: the soprano/alto second at \"Won-\" (verse bars 3 and 7) is printed as two horizontally displaced heads, d' with an up stem and c' with a down stem, and the tenor's C4/D4 above the bass staff were anchored on the PRINTED C4 ledger line rather than on an extrapolated grid. ACCIDENTALS WERE CHECKED SEPARATELY, BY EYE, at high magnification, on BOTH scans, system by system, because a notehead probe reads heads and not the signs in front of them: the plate prints NO accidental anywhere in the music, and the only sharp on the page is the one-sharp key signature on F5 at the head of every staff. DEPARTURES FROM THE PAGE, stated plainly. (1) THE REPEAT IS WRITTEN OUT. The plate engraves the chorus once, between a repeat sign and a repeat barline, with a one-bar \"1st.\" volta (soprano g'4 b'8 d''4. on \"Life,\") and a one-bar \"2d.\" volta (two dotted quarters on g' for \"Life.\"). This engine cannot print a repeat or a volta, so bars 13-16 and 17-20 here are the two passes written out; the sounding music is identical, but the printed page shows eight chorus bars instead of three plus two endings, and the chorus words stand twice in the text. (2) THE MELISMAS ARE SLURRED, NOT BEAMED. Verse bars 9 and 11 set one syllable over their third and fourth eighths, and the plate marks that by BEAMING the pair while flagging the eighths around it; slurs are used here because the underlay engine merges slurred notes and not beamed ones, so two slur marks appear that the plate does not print. (3) BEAMING generally is LilyPond's 6/8 default, not the plate's 1870s practice of a separate flag on nearly every eighth. (4) The plate prints NO \"Chorus.\" label \u2014 only the repeat sign \u2014 so no marking is declared here either. Nothing else differs: no rest is added or removed, no stanza is dropped, no note is re-struck where the page holds, and no amen is carried (the page has none). FINGERPRINTS OF THIS READING, all visible at high magnification on both scans: verse bars 1 and 5 open with a QUARTER b' over d' followed by four flagged eighths, under which tenor and bass share ONE notehead on g; the phrase \"Won-der-ful words of\" (bars 3 and 7) begins on a LOW soprano d' \u2014 a fifth below the a' that ends the preceding bar \u2014 with the alto a second under it on c' and the lower staff on fis/d throughout; verse bars 9-12 hold a g pedal in tenor AND bass on a single shared notehead while the upper voices climb b'-c''-d''-e''; and the chorus opens on d''/b'/d'/d, a sonority with no g in it at all, before three chords of a'/c''-over-d that make the dominant seventh.", "pd_jurisdictions": {"US": true}, "encoding_origin": "Hand-encoded from the 1883 Gospel Hymns Consolidated page image (archive.org hymnsconso00blis, leaf 259), collated notehead by notehead against a second independent 1883 scan of the same plate (archive.org gospelhymnsconso00blis_202606, leaf 252). No MIDI and no Cyber Hymnal asset was used.", "encoding_license": "PD-dedication"}, "music_ly": "%% WORDS OF LIFE (8.6.8.6.6.6 with Refrain) \u2014 \"Wonderful Words of Life\"\n%% P. P. Bliss's own four-part setting, key G major, 6/8, no pickup.\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. Read notehead by notehead off the dated page image of\n%% Gospel Hymns Consolidated, Embracing Numbers 1, 2, 3 and 4 (New York: Biglow\n%% & Main; Cincinnati: The John Church Co., 1883), no. 282, printed page 255 \u2014\n%% archive.org item hymnsconso00blis, leaf 259 \u2014 headed \"Wonderful Words of\n%% Life.\", credited \"P. P. B.\" on the left and \"P. P. Bliss, by per.\" on the\n%% right. Every chord of all four voices was then re-read, end to end, on a\n%% SECOND, INDEPENDENT 1883 scan of the same plate: archive.org\n%% gospelhymnsconso00blis_202606 (Gospel Hymns and Sacred Songs \u2014 Consolidated\n%% No. 1-4, 1883), no. 282, printed page 255, leaf 252. The two witnesses agree\n%% at every notehead read. No MIDI, no NoteWorthy file and no Cyber Hymnal\n%% asset was used at any point.\n%%\n%% MEASUREMENT, not eyeballing. Staff space on the primary scan is 28.6-29.0 px\n%% (one diatonic step = 14.3-14.5 px). Heads were isolated by eroding a\n%% locally-binarised window with an ellipse sized in staff spaces (kills staff\n%% lines, stems, flags, beams and ledger lines), and each centroid was converted\n%% to a diatonic step offset using five staff lines RE-FOUND in a +-70 px window\n%% around that head's own x. Notes above the bass staff (the tenor's C4/D4) were\n%% additionally anchored on the printed C4 ledger line rather than on an\n%% extrapolated grid.\n%%\n%% ACCIDENTALS were checked SEPARATELY, by eye, at high magnification, on BOTH\n%% dated scans, system by system: the plate prints NO accidental anywhere in the\n%% music. The only sharp on the page is the one-sharp key signature (F5) at the\n%% head of every staff. Every f in this file is therefore the key signature's\n%% f sharp; the notehead measurement above never covered accidentals.\n%%\n%% STRUCTURE. The verse is 12 bars (systems 1-3 of the plate): bars 1-2 line 1,\n%% bars 3-4 line 2, bars 5-6 line 3, bars 7-8 line 4, bars 9-10 line 5, bars\n%% 11-12 line 6. Bars 5-7 repeat bars 1-3 note for note, and bars 11-12 repeat\n%% bars 9-10 note for note; both identities were verified independently on the\n%% plate, not assumed. 44 soprano noteheads in the verse.\n%%\n%% THE REPEAT IS WRITTEN OUT \u2014 DEPARTURE FROM THE PAGE. The plate engraves the\n%% chorus ONCE (system 4) between a repeat sign and a repeat barline, with a\n%% \"1st.\" volta (one bar, \"Life,\") and a \"2d.\" volta (one bar, \"Life.\"). Nothing\n%% in this engine can print a repeat or a volta, so the chorus is written out in\n%% full here: bars 13-16 are the first pass (A B C + 1st ending) and bars 17-20\n%% the second (A B C + 2nd ending). The sounding music is unchanged; the printed\n%% page differs in that it shows eight chorus bars instead of three plus two\n%% endings. 31 soprano noteheads in the chorus, 75 in all.\n%%\n%% RHYTHM. 6/8 throughout. Verse bars 1/5 and 9/11 are a quarter plus four\n%% eighths; bars 2/6 are quarter, eighth, dotted quarter; bars 3/7 are three\n%% eighths, a quarter and an eighth; bars 4/8/10/12 are two dotted quarters.\n%% Chorus bars 13/14/17/18 are three eighths and a dotted quarter; bars 15/19\n%% are three eighths, a quarter and an eighth; bar 16 (1st ending) is a quarter,\n%% an eighth and a dotted quarter in the soprano over two dotted quarters in the\n%% other voices; bars 20 (2nd ending) is two dotted quarters. Every bar was\n%% counted against the printed barlines, whose x positions were measured on the\n%% primary scan.\n%%\n%% THE MELISMAS. Verse bars 9 and 11 set ONE syllable (\"life\"/\"faith\" in stanza\n%% 1) over the third and fourth eighths, and the plate marks that by BEAMING the\n%% pair while flagging the eighths around it; the lower staff sustains a quarter\n%% underneath. This file marks those pairs with SLURS instead, because the\n%% underlay engine merges slurred notes, not beamed ones \u2014 a real difference in\n%% what is printed. Likewise the plate's beaming is 1870s practice (separate\n%% flags on nearly every eighth); LilyPond re-beams by its own 6/8 rules here.\n%%\n%% THE SLURS THAT ARE THE PAGE'S. Bars 4, 8, 16 and 20 carry printed slurs, one\n%% above and one below the staff, over the two-note setting (in bar 16 the plate's soprano slur covers only g'-b';\n%% this file extends it to the d'' so the underlay forms one \"Life,\" group \u2014 extra\n%% ink the page does not print, recorded as a departure) of\n%% of \"Life;\" / \"Life.\" / \"Life,\" \u2014 those are transcribed as slurs in every\n%% voice that moves under them.\n%%\n%% UNISONS AND SECONDS. The lower staff prints ONE notehead with two stems\n%% wherever tenor and bass share a pitch (verse bars 1, 5 and the whole of bars\n%% 8-12); both voices carry the pitch here and LilyPond's default collision\n%% resolver is left to kiss the noteheads. At the word \"Won-\" (verse bars 3 and\n%% 7) soprano d' and alto c' are a SECOND apart and the plate displaces the alto\n%% head to the right of the soprano's, each with its own stem and flag; that is\n%% the default resolver's job too.\n%%\n%% THE LOW SOPRANO AT \"Won-\". Verse bars 3 and 7 begin on soprano d' \u2014 a fifth\n%% BELOW the a' that ends the preceding bar \u2014 with the alto on c' under it. That\n%% reading was confirmed three ways: the erosion measurement (off-grid residual\n%% 0.10 step), the printed lyric column (stanza 3's \"Won-\" is centred at x=1625\n%% against the notehead at x=1622), and by eye at 5x on both dated scans.\n\\version \"2.24.0\"\n\nglobal  = { \\key g \\major \\time 6/8 }\n\nsoprano = {\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( d'4.) |\n  b'4 b'8 b'8 c''8 b'8 |\n  b'4 a'8 a'4. |\n  d'8 a'8 a'8 b'4 a'8 |\n  g'4.( g'4.) |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  b'4 b'8 b'8( c''8) d''8 |\n  e''4. d''4. |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4( b'8 d''4.) |\n  d''8 c''8 c''8 c''4. |\n  c''8 b'8 b'8 b'4. |\n  b'8 a'8 g'8 a'4 fis'8 |\n  g'4.( g'4.)\n}\n\nalto = {\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  d'4 d'8 d'8 e'8 d'8 |\n  d'4 c'8 c'4. |\n  c'8 c'8 c'8 d'4 c'8 |\n  b4.( b4.) |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  g'4 g'8 g'8( a'8) b'8 |\n  c''4. b'4. |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( g'4.) |\n  b'8 a'8 a'8 a'4. |\n  a'8 g'8 g'8 g'4. |\n  d'8 d'8 d'8 d'4 d'8 |\n  d'4.( d'4.)\n}\n\ntenor = {\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  g4 fis8 fis4. |\n  fis8 fis8 fis8 fis4 fis8 |\n  g4.( g4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.) |\n  d'8 d'8 d'8 d'4. |\n  d'8 d'8 d'8 d'4. |\n  d'8 c'8 b8 c'4 a8 |\n  b4.( b4.)\n}\n\nbass = {\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  g4 g8 g8 g8 g8 |\n  d4 d8 d4. |\n  d8 d8 d8 d4 d8 |\n  g,4.( g,4.) |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  g4 g8 g4 g8 |\n  g4. g4. |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.) |\n  d8 d8 d8 d4. |\n  g8 g8 g8 g4. |\n  d8 d8 d8 d4 d8 |\n  g4.( g4.)\n}\n", "preferred": true}], "license": "The hymn texts and tunes are in the public domain; per-layer provenance is recorded on each record."}