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The first verse starts off by introducing a lovely variation to this well-known melody. The underlying structure and feel of the song is the same as the hymnal version, but the sopranos in particular take a new path. The sound should be tender and expressive from the very beginning. Use the fermatas well, giving them plenty of time, to bring a beautiful mood to the music. After the brief piano introduction, enjoy the nice fermata pause, then bring in the choir softly with the first poignant phrase, hanging on the last syllable: “The Lord is my shepherd.” Then hold again, letting the sound and significance settle in the air a moment. Then equally lovely and perhaps building slightly, “no want shall I know.” As this phrase ends, try to repeat the same expressiveness as with the first phrase, but without the extended hold of a fermata. Continuing on with the next line, feel the restfulness of the word “rest.”
Enjoy the next phrase as you hear the “clear waters flow” in the music. The movement of the waters leads into the crescendos as written in the music through measure 23. (Note that measure numbers are printed above the first measure of each line.) Here, again, use the poignant pause of the fermata to set up the sweet message of “redeems when oppressed.”
The subsequent verses feature the natural dynamics that come from women-only and men-only singing. Enjoy the flow and messages of this beautiful hymn as it continues to unfold.
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This energetic song is a lot of fun to perform. The message of moving forward with enthusiasm, goodness, and a positive attitude is a motivating addition to a talk or sermon on almost any topic. (Plus, it's a great way to wake everyone up with a positive charge of energy halfway through a meeting.)
Leading this song is pretty straightforward. Keep it bright and peppy, but don’t let it run away from you. Lead with small, choppy 4/4 movements.
The brief Adagio passage at measures 20 and 21 (bottom of page 9) brings out the meaning of those words as it adds variety to the arrangement. Don't be abrupt in changing tempo at the beginning of measure 20. Keep "Our little af-" light and mostly up to tempo. As "-flictions" is sung, broaden your arm movements to slow things down to a stop. (In other words, lead the first two beats of measure 20 mostly up to tempo with short , choppy arm movements, then exaggerate the third and fourth beats with long, sweeping arm movements.) This sets the choir up for the Adagio and minor key "tho' painful at present," also with sweeping arm movements. Then have the men really hit their next line with vigor as you launch back into the bright tempo and short, 4/4 arm movements.
Measure 26 is a little tricky, but very exciting. As you break the parts out and learn them individually, you’ll find each to be quite easy to memorize. The only exception is the alto part, which you’ll probably want to drill into them by having them sing it with the piano ten or twelve times in rapid succession. The piano accompaniment plays all the parts, by the way, which helps reinforce those notes. Once learned, it should be easy to keep this passage up to tempo, adding great excitement to the music. (By the way, most or even all sopranos can remain on the "c" in measure 27. Only those who feel confident with the "f" need sing it.) (The basses can move to either the higher or lower "f" in that measure, as long as they hit it with good volume.)
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This is a beautiful song with a wonderful message from Our Savior. It's a fun arrangement to sing, as the mens and womens parts weave in and out, but it is all very easy to follow. We hope you enjoy it!
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This arrangement will be received in performance as an impressive production, featuring a small children's choir, two male soloists, and two female soloists, as well as full choir. Yet each part is so easy it is actually very simple to put together. Don’t hesitate at all to try it. Really, try this song – in fact, try try try it – you’ll love it!
The childrens’ part is nothing more than the melody and song they probably already know. If they don’t already know it, it’s a wonderful children’s song that’s very simple to learn. All you really need are about six children who will sing out (or have a microphone nearby). If you can get more children, so much the better. If a large group, great.
You may consider having someone else lead the children as you lead the choir, depending on the number of children and your confidence in leading them. If you do use a second chorister, be sure you lead throughout the entire song, so the childrens’ chorister can follow your timing.
Each solo part is just a single phrase, and in an easy range that will compliment most any voice, male or female. One soloist could actually sing all four solos, but that wouldn’t have quite the same impact. Even someone who normally is uncomfortable singing a solo could really shine if given one of these short phrases to sing. Think about using choir members who fit that description. It may be the only chance like this they’ll have.
Please let us know how this works out. We’d love to hear from you. (Scroll up and click "Your Comments" in the upper right corner of the screen.)
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What a powerful, worshipful piece of music. This arrangement offers beautiful piano accompaniment with slight variations to the melody and harmony that flow from the lyrics.
Measure 5 has an unusual harmony that includes an "e-flat" in the men’s part, rather than the "e-natural" of the regular melody. It may be a little tricky for the men to learn at first, but it has such a nice sound. Somehow, this unexpected chord seems to very nicely set up the rest of the harmonies throughout the arrangement.
This lovely and flowing piece is suddenly interrupted towards the end with a surprizing climax to reinforce the main message. This occurs at measure 28 (top of page 30). Let this be sudden. Sing the first "More Savior" in the same reverent manner as the measures leading up to it. Then hold fully at the fermata. Then really hit the second "More Savior," and don't hold back through the third "More Savior" in measure 29. (The brief pause between measure 28 and 29 is really just enough for the choir to take a breath.) Then really reach a crescendo with "More" at the beginning of measure 30, but immediately decrescendo as the sopranos gently lead us back down with sweetness and loveliness to reverently finish the phrase and the song: "like thee."
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This is another energetic song that’s a lot of fun to lead and to sing. The message is powerful, too, and applicable to almost any topic: Do good works today, while the opportunity’s here (i.e. while the sun's shining).
Leading this piece of music is pretty straightforward, with no real surprizes. A fun change of harmony starts at measure 40, lending nice variety to the arrangement. It shouldn't impact your leading, though, other than to make you slow down and go back initially in rehearsals to let the choir learn it. It's not difficult, just a little different from the rest of the song.
Once past that pleasant diversion, it's on to the last page and into familiar territory through the lively end of the song.
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Of all the children’s songs ever written, this is one of the most beautiful. Through it, we lovingly highlight the simple miracles of this earth, all with the undercurrent of knowing they have been created by a loving Heavenly Father for us, his children. The song of a bird, the blue sky, a velvet rose, a lilac tree, our eyes, our ears, our heart, our very life – "yes, I know Heavenly Father loves me."
This arrangement is the most difficult one in this book. Of course, it is still very do-able for any choir. Just take your time and learn it piece by piece. No part of it is especially difficult, it just doesn't have a lot of repetition. Once you’ve made it past the first two pages, it becomes much easier.
It is very expressive, with a lot of fermatas and even a timing change from 6/8 to 4/4 then back. But there's nothing you can't handle. In fact, there's a nice hold just before you change to 4/4 time that makes it easy for you to get your bearings. Once you get used to it, the song will flow nicely.
Here's the most important tip: Lead the 6/8 time as if it were 2/2. Otherwise, you'll never feel the flow.
The only other tip beyond that is to not be shy about using the fermatas. Hold them as long as you feel.
One last thing: there are several places where the choir holds a note much longer than is possible by most humans. That’s the beauty of a choir. You can do that simply by having the choir members stagger their breath through those passages. (In other words, don't breathe when the person next to you is taking a breath.)
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This last piece is not difficult to lead. There are no surprizes, just a steady building through the development and interweaving of two musical themes, and the repetition of the lyric, "Forgive, and ye shall be forgiven." Few mediums other than religious choir music lend the opportunity to repeat one powerful message over and over. This is a message, in the Savior's own words, that deserves repeating and pondering.
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