This is a beautiful Sally DeFord original Easter hymn: words, music, and arrangement by her. It’s SATB a capella. I made only one slight change (except for the tuning noted below): on the final verse, the Bass drops down an octave as the Tenor does the suspension resolution. In her original, an optional Bass note is shown an octave lower than the main one.

This version has Barbershop-style Just Intonation microtuning (meaning that the 7th chords are tuned with 7/4 harmonic minor sevenths instead of 16/9 melodic minor sevenths for better lock-and-ring — this is most noticeable on the second-to-last chord).

As with the scores in my Barbershop folder, you will see strange pseudo-accidentals in front of most notes, that look like half-sharps (only one vertical stroke) and reversed flats, and the occasional sharp with three horizontal strokes or flat with a stroke through it. These are called “Turkish Commas” and are how I do the Just Intonation tuning. In the final version, I’ll hide those, and perhaps use arrows on note heads to show where less obvious tuning adjustments need to be made.

For now, ignore the half-sharps and reversed flats, and if you see a three-horizontal one-vertical-stroke sharp (there aren’t any in this particular score) or a flat with a diagonal stroke (there are two eighth-note ones in the Soprano part [Measures 6 & 10] and one quarter note in the Tenor as noted below), pitch those notes slightly sharper or flatter (respectively) than they might otherwise be. Your brain and ear will help you do this. The main thing is not to resist the feel of tuning just because two notes look to be the same note on paper.

A specific example in this particular song is the Tenor line in Measure 11. The last three notes are all B-flats, but the last of the three should be slightly but noticeably flatter than the first two, which should be sung normally. Then go back up to the normal B-flat pitch for the final measure. If this is done, that C7 chord will lock and ring wonderfully.