Keith Getty is a Northern Irish Christian music composer and recording artist whose work bridges traditional hymn writing with contemporary worship sensibilities. His collaborations with Stuart Townend have produced some of the most widely performed modern hymns in churches worldwide, combining melodic accessibility with theological substance.
Why we love this
Getty and Townend's modern hymn writing lands in a sweet spot that contemporary choirs rarely find: theologically grounded without feeling preachy, accessible without sacrificing harmonic interest, and singable by congregation and choir alike. Mark Edwards' SATB arrangement gives the piece enough textural variety to hold an audience's attention across seven pages while preserving the directness that makes the song work in worship settings.
What to expect
The piece has the warmth of a hymn you've known for years, even on first hearing. There's a quiet confidence in both the melody and harmony that communicates conviction without bombast, creating space for reflection alongside affirmation.
Who it's for
This octavo suits choirs with intermediate reading skills and mixed vocal maturity. It works equally well for sacred concerts, Easter services, or worship settings where contemporary hymns connect with congregational familiarity.
How to get the most out of it
Emphasize the hymn's declarative nature by keeping the overall sound grounded and honest rather than oversinging or adding unnecessary style.
Balance part independence against the underlying simplicity of the harmonic progression; allow inner voices to be heard without forcing them.
Use any extended section to let the text breathe, resisting the urge to rush through repeated musical phrases.
How to use it
Pair this with a traditional Easter hymn to frame your service or concert with both classical and contemporary voices. Its moderate length and modest technical demands make it an ideal anchor piece when programming around larger or more demanding works.
Skills your students will build
singing sustained harmonic textures that serve the text rather than dominate it
balancing part independence with ensemble unity in four-part writing
interpreting modern hymn style with appropriate restraint and reverence
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