After All (Holy) (arr. Ken Litton): SATB Choral Octavo

Ken Litton's SATB setting captures the contemplative strength of Crowder's original without sacrificing any of its emotional resonance. The arrangement sits perfectly in the sweet spot between contemporary sensibility and choral tradition, giving your singers material that feels current while sounding genuinely beautiful in four-part harmony.

The piece unfolds with quiet conviction, building from introspection toward affirmation without resorting to bombast. There's an intimacy in the voicing that invites the listener into genuine reflection rather than entertainment, the kind of musical prayer that lands differently each time you sing it.

This arrangement works beautifully for church choirs seeking contemporary sacred repertoire with real substance, as well as community and collegiate choirs programming worship music alongside traditional literature. The moderate range and part writing make it accessible to volunteer singers while offering enough sophistication to engage experienced ensembles.

• Balance the text intelligibility with harmonic blend in the chorus sections; these moments carry the theological weight and deserve clarity without sacrificing the lush voicing Litton provides.
• Pay attention to the dynamic shape across all fourteen pages rather than treating each section in isolation; this creates a sense of spiritual progression rather than episodic singing.
• Let the sopranos sit slightly forward during their sustained lines to anchor the harmonic movement without overpowering the alto and tenor counterpoint.

Nest this into a thematic concert exploring contemporary approaches to sacred texts, where it can dialogue with both traditional hymns and other modern worship arrangements. It also serves as an accessible entry point for choirs beginning to explore the David Crowder Band's compositional language.

• Singing contemporary harmonic idioms (extended harmonies and voice leading typical of modern worship music)
• Balancing blend and diction in homophonic textures
• Sustaining musical phrases across longer harmonic progressions
• Interpreting score markings that bridge classical and contemporary notation systems