This arrangement of the traditional Ira Sankey hymn has three stanzas, opening with piano solo accompaniment for the first stanza, and the instruments joining in on the refrain. A half-step modulation occurs in the piano for the second stanza, and the instruments join in, and remain for another half-step modulation for the third stanza. Voices are unaccompanied for the final refrain. The director is encouraged to clearly gesture rubato, dynamic shape, and breathing space for the final refrain to instill satisfying results, as demonstrated in this video. Includes a full score, a piano score, and all individual instrumental parts: treble clef C instrument, treble clef B-flat instrument, horn, and bass clef instrument.
Real Responses from Congregations
Molly plays for the church my mother-in-law attends. The congregation becomes like a big choir with her arrangements. I’ve enjoyed the music when we’ve visited!
The beautiful accompaniment and the unison congregation could be used both congregationally and chorally (as we did)… For small to medium-sized choirs on low attendance Sundays these could be effective choral pieces or as a way to develop choir and orchestra when (as is our case) some choir members are also instrumentalists. We used three pieces as part of our Easter celebration. All were very well received. We were able to include our developing orchestra with all of it. So, thank you!

We love using these arrangements at Valley Community Baptist Church in our worship setting, regardless if we are using just piano and organ on a particular Sunday, or our full orchestra with choir and congregation. As the organist, the conductors score offers a great organ score option as an asset for churches using organ with these settings without revamping the piano score, making it quite easy… Thank you, Molly!
Molly’s congregational accompaniments add a freshness to treasured hymns of the past that enables a cross-generational congregation to join together in passionate worship of a great God.


