All Is Well: Choral Instrumental Pak

The instrumental writing here feels genuinely orchestral without overwhelming the vocal line or requiring musicians beyond typical high school or community ensemble levels. Leavitt lets the Michael W. Smith melody speak quietly, surrounding it with warm harmonic support that gives the piece real presence in performance without demanding excessive rehearsal time.

Stillness with gentle motion. The piece inhabits that quiet space where reflection becomes communal, warmed by instruments that shimmer without demanding attention. It feels spacious enough for the lyrics to land clearly, yet full enough that the choir never sounds unsupported.

Chamber choirs performing at holiday concerts, church services, or special occasions will find this setting immediately effective. The ePak format works well for directors who want instrumental support without hiring an outside orchestra.

• Shape the opening carefully by listening to the harp and string entrances; they should bloom gradually rather than arrive all at once, creating space for the voices to settle in.
• Balance the sustaining lines in the lower strings against the soprano melody. Those foundational parts need independence without weight.
• Work the ritardando and tempo flexibility in final measures with the ensemble as a unit; these moments communicate the peace the text conveys, but only if everyone moves together.

Place this near the end of a holiday concert program to create a contemplative moment before a final triumphant selection. At approximately 3 minutes 20 seconds, it offers substantial musical weight without the scale of larger works, fitting perfectly into programs built around chamber forces or smaller venues.

• Blending chamber voices within an orchestral texture
• Maintaining stillness and control in sustained passages
• Listening to instrumental foundations while supporting the vocal line
• Interpreting tempo flexibility and ritardando in expressive contexts