The King Of Love My Shepherd Is Sheet Music Preview

The King Of Love My Shepherd Is: SATB Choral Octavo

As performed by Henry Williams Baker / Arranged by John Leavitt

Item: 35-DS00360264

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Additional Details
Publisher: Hal Leonard
Page Count: 7
SKU: 35-DS00360264

More about this title

About the Artist: Henry Williams Baker

Henry Williams Baker (1821-1877) was an English clergyman and hymnodist whose literary gifts shaped the devotional lives of countless congregations. As vicar of Monkland in Herefordshire, he devoted himself to poetry and hymn writing, eventually compiling and editing "Hymns Ancient and Modern," one of the most influential hymnals in the Anglican tradition. His theological depth and poetic sensitivity made him a central figure in nineteenth-century Christian music.

Baker's hymn texts remain staples of sacred music education and worship because they combine theological substance with accessible language. His work influenced generations of composers and arrangers, including John Leavitt, whose settings continue to introduce students to the marriage of text and music that defines great hymnody.

Why we love this

Leavitt's arrangement honors the hymn's stately character while making it genuinely engaging for singers of intermediate ability. The voicing sits comfortably across all four parts, and the harmonic writing reinforces the text's spiritual weight without becoming overly complex. This is the kind of anthem that builds singers' confidence in navigating four-part writing while delivering a performance that moves an audience.

What to expect

There is quiet strength in this music. The hymn unfolds with the contemplative assurance of someone resting in faith; Leavitt's arrangement preserves that calm certainty through clear four-part writing and harmonic directness. Singing it should feel meditative, even as the work engages every voice in the ensemble.

Who it's for

This octavo suits intermediate SATB choirs preparing sacred music for church services, concert programs, or festival competitions. It works equally well for high school choirs with solid fundamentals and adult community ensembles seeking meaningful repertoire.

How to get the most out of it

  • Establish the hymn's inherent dignity through steady, grounded phrasing rather than rushing the quarter-note movement. Let the text breathe.
  • Balance the inner voices carefully so the alto and tenor lines remain audible; they carry important harmonic color that brings depth to the arrangement.
  • Shape dynamic arcs phrase by phrase, building slightly into cadences without abandoning the reverent character the text demands.
  • Work the soprano and bass lines together first to establish the harmonic foundation, then layer in the inner voices for clarity.

How to use it

This pairs naturally with other hymn-based sacred music in a concert devoted to congregational texts, or it can anchor the second half of a mixed program that includes instrumental works. Consider programming it during Advent or Lent, or as part of a service of lessons and carols.

Skills your students will build

  • Reading and maintaining independent melodic lines within four-part harmonic texture
  • Balancing voice parts to reveal inner harmonic movement
  • Shaping long phrases with text-based breathing and phrasing
  • Interpreting dynamic and expressive markings in service of lyrical continuity

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