John Leavitt has established himself as one of the most prolific and respected choral composers in American music education. His arrangements and original compositions appear regularly on honor choir festivals, all-state programs, and concert seasons across the country, where his gift for crafting singable lines and sophisticated harmonies has earned him a devoted following among directors.
Why we love this
Leavitt's treatment transforms this beloved hymn into something that feels both rooted in tradition and freshly imagined. The writing respects the melody while weaving counterpoint and harmonic color that will keep your singers engaged; this is a piece where every voice matters, not a hymn arrangement where three parts hang back while sopranos carry the tune.
What to expect
Stately and exultant. The piece has the weight of a genuine hymn but moves with forward energy; singers feel the nobility of the text without getting bogged down in heavy counterpoint.
Who it's for
This octavo works for choirs with solid SATB blend and basic harmonic literacy. You'll find it equally at home in a concert setting, a worship service, or as part of a sacred music festival program.
How to get the most out of it
Establish the hymn tune's natural phrasing early so singers understand where to breathe and how each phrase connects to the next. Mark these in rehearsal even before diving into parts.
Balance the inner voices carefully; Leavitt's alto and tenor lines deserve to be heard distinctly without overwhelming the melody.
Let the text shape your interpretation. The grandeur of praising a king calls for confidence and lift, not a sleepy hymn tempo.
How to use it
Open a concert with this to set a reverent but joyful tone, or place it as an anchor in a sacred music set where you're mixing styles and periods. At eleven pages, it's substantial enough to carry weight but brief enough that it won't demand rehearsal time away from larger works.
Skills your students will build
Singing hymn tune-based melody with harmonic independence
Blending interior voices within SATB texture
Shaping longer phrases with textual intention
Understanding counterpoint as a tool for melodic clarity rather than complexity
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