The Lord Is My Shepherd (Psalm 23): SA, a cappella Choral Octavo

Goodall's melody has already proven itself in the cultural consciousness through its use as the theme for The Vicar of Dibley, yet this choral setting strips away that television context entirely to reveal something more intimate and profound. The simplicity of the SA voicing makes it achievable for developing choirs, but the harmonic language never talks down to the singers. Directors appreciate that it works equally well in a concert setting, a worship service, or as a bridge between secular and sacred programming.

Goodall's setting is both comforting and dignified. The melody unfolds naturally, with a warmth that comes from strong harmonic grounding rather than from sentimental ornamentation. Singing it creates a sense of quiet confidence, as if the words themselves are settling into your voice.

This works beautifully for SA choirs at the middle school level and up, particularly those seeking repertoire that feels substantial without requiring advanced sight-reading or extended ranges. It also suits church choirs and community ensembles looking for sacred music that carries both familiarity and musical integrity.

• Shape the melodic line with gentle forward motion rather than treating phrase endings as places to stop. The text naturally suggests where to breathe, and respecting that often produces more expressive phrasing than marking breaths on the score.
• Balance the two voices carefully in rehearsal. The soprano line will naturally project, so spend time strengthening the alto line so it becomes a genuine foundation rather than merely harmonic filler.
• Approach the unaccompanied texture as an opportunity to create warmth through vowel consistency. Even small adjustments to vowel color between verses can reshape how the piece feels without changing the notes themselves.

This pairs particularly well in programs exploring sacred music across genres or time periods, where its television origins and concert credibility each add dimension to the other. Consider it for spring or fall concerts, or as a centerpiece in any program examining how contemporary composers approach traditional texts.

• Sustaining melodic line without instrumental support
• Balancing two-part voicing with equal textural weight
• Interpretive choices in a cappella singing (vowel placement, phrase shaping)
• Relationship between harmonic function and emotional expression in sacred text