I Heard The Voice Of Jesus: SAB Choral Octavo
I Heard The Voice Of Jesus Sheet Music Preview

I Heard The Voice Of Jesus: SAB Choral Octavo

As performed by L.P. Breedlove / As performed by Horatius Bonar / Arranged by Tyler Mabry

Item: 35-DS00400602
Digital Download
$2.99
Description

I Heard The Voice Of Jesus: SAB Choral Octavo isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS00400602

More about this title

About the Artist: L.P. Breedlove

L.P. Breedlove was a prolific composer and arranger working in the American sacred music tradition during the nineteenth century. His output ranged from hymn tune settings to larger choral works, and he shaped the musical vocabulary of Protestant worship in his era through accessible, singable compositions that prioritized clarity of text.

Why we love this

Tyler Mabry's arrangement respects the hymnic integrity of Breedlove's original while crafting something genuinely rewarding for a three-part mixed ensemble. The voicing sits naturally across all three parts, and the harmonic language is rich enough to feel current without abandoning the spiritual directness that makes this text so powerful.

What to expect

The piece carries the quiet conviction of a personal testimony, with phrases that build in warmth and confidence as the voice of Jesus grows more present to the singer. There's an intimacy here that doesn't require a large ensemble to communicate fully; three parts singing together feel like a conversation of believers rather than a formal pronouncement.

Who it's for

This arrangement serves adult choirs, college ensembles, and advanced high school singers looking for sacred repertoire with emotional substance and reasonable technical demands. It works equally well for worship settings and concert programming where text clarity and spiritual resonance matter.

How to get the most out of it

  • Balance the melody between soprano and alto in measures where the tune splits; neither voice should dominate, as they're equally essential to the line's expression.
  • Shape the phrase endings with a slight breath and soften the dynamic, allowing the text's spiritual weight to land rather than pushing toward the next phrase.
  • Keep the baritone line steady and grounded; this voice anchors the harmony and supports the other parts' expressivity through consistent support.
  • Work slowly through the harmonic rhythm first before adding tempo; understanding how the chords move will help all three parts lock together smoothly.

How to use it

Pair this with other sacred works of similar length and difficulty for a focused thematic concert, or use it as an anchor piece in a mixed sacred program where it can balance lighter material. The ten-page length and moderate difficulty make it suitable for spring or Easter programming when rehearsal time may be competing with other commitments.

Skills your students will build

  • Blending three independent harmonic lines while maintaining melodic shape
  • Text projection and phrasing in a devotional context
  • Handling harmonic density without loss of rhythmic precision
  • Listening for and balancing the soprano-alto melody split

You May Also Like