Chris Tomlin is a modern hymn writer whose work has become central to contemporary Christian worship. His gift lies in crafting melodies and texts that bridge traditional hymnody with accessible, singable contemporary idioms, making his compositions work equally well in congregational and concert settings.
Why we love this
Heather Sorenson's arrangement preserves the anthem-like dignity of Tomlin's composition while building in moments of genuine vulnerability and power that keep singers and listeners engaged across all eleven pages. The voicing remains textually clear throughout, allowing the majesty of the text to land without melodic obscuring or gratuitous divisi.
What to expect
The piece unfolds with ceremonial warmth. There's reverence in the harmony without heaviness, and moments where the four voices lock into powerful unison give way to passages of gentle interweaving. The overall arc feels like a conversation building toward affirmation rather than a declaration imposed from above.
Who it's for
This arrangement suits established SATB choirs with singers who can handle eight and a half to ten minutes of sustained singing across a moderate range. It works beautifully for Easter programming but also functions as a concert closer or processional piece when you need something grounded in faith and musical substance.
How to get the most out of it
Balance the alto line carefully in the opening phrases; it carries harmonic weight that prevents the texture from feeling top-heavy.
Shape the dynamics toward textual emphasis rather than just crescendo markings. The phrase "Crown Him" works best when the intensity comes from conviction, not volume.
Find a tempo that lets the piece breathe. This is not a sprint; allow the full harmonic movement to resonate between phrases.
How to use it
Consider pairing this with a shorter, more contemplative sacred work to create a closing set that moves from reflection to affirmation. The length and emotional arc make it a natural finale for Easter services or spring concerts, particularly when you want to end on something both musically substantive and spiritually grounded.
Skills your students will build
Sustaining long phrases with consistent breath support across changing harmonies
Balancing part independence within a cohesive four-part texture
Interpreting dynamic shape within a hymnic framework
Ensemble intonation in extended held notes and unison passages
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