When In Our Music God Is Glorified (arr. Susan Brumfield) Sheet Music Preview

When In Our Music God Is Glorified (arr. Susan Brumfield): 3-Part Treble Choral Octavo

By Charles Villiers Stanford / Arranged by Susan Brumfield

Item: 35-DS00288209

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Additional Details
Publisher: Hal Leonard
Page Count: 6
SKU: 35-DS00288209

More about this title

About the Composer: Charles Villiers Stanford

Charles Villiers Stanford (1852-1924) was an Irish composer and conductor whose prolific output shaped the British choral tradition. A professor at the Royal College of Music for over forty years, Stanford authored nearly two hundred compositions across all genres, but his choral works remain his most enduring legacy in music education. His liturgical and secular choral pieces combine accessible melodic writing with sophisticated harmonic language, making them staples of school and collegiate choral programs worldwide.

Stanford's gift for writing singable, memorable lines within richly textured harmonies made him beloved by conductors and singers alike. His influence on subsequent generations of British composers was substantial, and his choral works continue to reward both student singers and accomplished ensembles with their blend of craftsmanship and genuine musical substance.

Why we love this

Susan Brumfield's arrangement distills Stanford's hymn tune into a setting that serves treble choirs without sacrificing the original's harmonic integrity. The three-part voicing sits naturally for developing singers while preserving enough musical substance to feel substantive in performance, making it accessible yet artistically satisfying.

What to expect

Bright and affirmative, with the warmth of a traditional hymn tune harmonized with care. The three-part writing creates an intimate, conversational quality that feels both reverent and joyful, inviting singers to inhabit the text fully.

Who it's for

Treble choirs at the middle school, high school, or community level will find this arrangement well within their technical grasp while offering genuine musical content. It works equally well for church choirs, festival programming, or school concerts where you need a piece that balances accessibility with artistic credibility.

How to get the most out of it

  • Shape the melody with purpose from phrase to phrase; treble choirs often rush through hymn-based material, so conduct with clear long lines to anchor the singers' sense of architecture.
  • Balance the inner voices carefully during the harmonic progressions. The middle line carries supporting material that deserves clarity without overshadowing the top line.
  • Consider the text and allow natural breath points to serve both musical and liturgical phrasing, even if they don't align with every phrase ending.

How to use it

Position this as a concert opener or closing number for programs celebrating sacred music, gratitude, or the role of music itself. Its moderate length and direct character make it an ideal pairing with more contemporary treble repertoire, bridging classical tradition with modern programming sensibilities.

Skills your students will build

  • Part singing in three voices with attention to voice leading
  • Lyrical phrasing and text expression in hymn-based material
  • Harmonic awareness through listening to chord progressions
  • Independence of the upper, middle, and lower lines

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