All the good you can

The often-quoted Charles Wesley text is set here using the congregation as a central element of the music. First the phrases they sing are modeled by a soloist (or soprano section,) then supported by the soprano line, but eventually the congregation is left on its own to hold a note now and then while the choir moves on. Emotional and compelling, the piece is written with several accompanimental options: Piano can be used, playing from the choral score. The full score shows an optional handbell part (5 bells in a 2 oct. range,) a separate organ part, and a special piano part to be used only if done with organ.