At The Cross Words & music by Darlene Zschech and Reuben Morgan
Integrity Stock #
A r r a n g e d b y D a n G a l b r ai ai t h
00000
Based on the popular recording from the Hillsong album “Mighty To Save”
eC h a r t s W o r s h i p B a n d S e r i es es is a unique and growing series of arrangements by some of today’s top new arrangers. The P r a i s eC These arrangements are geared towards a contemporary “R&B horns” praise band sound while at the same time being scalable up to a medium-sized church orchestra. orchestra. The core parts (rhythm, vocals, and brass) may be enhanced with the other parts in any combination. The layout and look was very carefully chosen to provide a fresh and relaxed, yet professional look for the player.
Rhythm section: The Rhythm part is for the section player (pianist, guitarist, or drummer) with all the specific rhythms and chords necessary for the arrangement. The Lead Sheet is is a combination rhythm and vocal chart meant for the vocalists, worship leader, or rhythm player needing more vocal cues. The Piano, Vocal part part includes a full piano part in “songbook format” for those those not comfortable with playing from a chord chart. When playing with a complete band the pianist would be advised to simplify this part in order to "stay out of the way". SAT (Soprano, Alto, Tenor) with the baritone/basses singing the melody (soprano) down an octave Vocals: The vocal arrangement should be sung as SAT (Soprano, – any exceptions are are listed on the score. When the part is written written in unison, the men should sing it down one octave octave or it may be done as a solo. solo. This method provides a contemporary sound in an easy-to-learn fashion.
Alternate keys: There is at least one alternate key included to accommodate either a keyboard-based band or a guitar-based band, to give the orchestra a more playable key, or to make the vocal range more accessible if necessary.
Other notes: Rehearsal numbers are given in the form of “1”, “2”, and “3”, providing the easy use of finger signals by the worship leader who may want to make impromptu changes during worship. Normally, “1” is the verse of the song, “2” is the chorus, and “3” is a bridge or other section, but there are exceptions. When a section is repeated in its entirety later in the arrangement, it is labeled “1a” or “2a”, etc. All endings and repeats are clearly notated to facilitate these impromptu changes. changes. Finally, each instrumental part includes lyric cues to aid the player in keeping their place.
Parts included in the P r a i s eC eC h a r t s W o r s h i p B a n d S e r i es es Lead Sheet – for worship leader and vocalists m R h y t h m – more ore detailed chart for keyboard, guitars, and drums.
Piano/Voc al – includes written-out piano part and vocals – modified Rhythm part i n appropriate capo keys – Ac. Guit Guitar ar
Core Worship Band instrumental parts (written as a section): Trumpet 1-2 1-2 Alto Sax Trombon e 1-2 1-2
Trumpet 3 (doubles Alto Sax) Tenor Sax 1-2 (doubles Trombone)
A note on brass stylings: For most titles, the brass parts should be interpreted with jazz articulations and inflections in mind. They have been notated very very carefully to aid the player in this interpretation.
Additional Orchestral parts (these enhance the arrangement, but the Worship Band parts may also stand alone): Written with core brass Written as a section Written as a section
Bass Trombone/Tuba
Percussion (Timpani, Percussion (Timpani, Bells, Sus. Cymbal, etc)
Bass Trombone) Trombone) Bari Sax Sax (doubles Bass Horn 1- 2 (French Horn) Flute/Oboe 1-3 rd Clarinet (doubles 3 Flute) Strings (Sy nth) - may be played by a synth or by a full string string section (Violin/Viola on top top staff, Cello/Bass on bottom staff)
Lead Sheet
Key: E
At the Cross
Darlene Zschech & Reuben Morgan Arr. by Charlie Sinclair
( b a s ed ed o n t h e r e c o r d i n g f r o m t h e H i l l s o n g a l b u m " M i g h t y t o S a v e " )
Slowly, with a steady tempo
# # # # 4 # # # # & 4
A
B
E G
A
A
B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P Pno. only
# # # # # # & # # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ E G
A
B
E G
A
A
B
Add Synth, Ac. & El. Gtr. Pno. - simile
1 Verse
9
E G
A
A
5
q = 68
# # # # # # & # # Œ œ œ œ œ œ œ . œj œ Œ Œ œ œ œ œ œ E G
Synth & E.G. out
1. O
A2
B
Lo Lord,
C
You've searched
# # # # # # & # # ˙ .
E G
m
E G
7
A2
me,
A2
You know
7
A2
my way.
Œ ‰ œj œ œ œ œ œ œ . œj œ Œ œ . œj œ œ P-F # # # # # # & # # œ . œj œ Œ . Œ œ œ œ œ œ œ . œj œ Œ B
12
E - ven when
E B
16
love
1a Verse
B
I
C
fail
You,
ho go
-
# # # # # # & # # œ . B
22
7
ly pres be - fore
son, me;
m
You
me way.
A
I
-
7 m
- ence me,
A2
Œ Œ œ œ œ œ œ in ev Your hand
œj œ Œ . œ . œj œ œ C
-
C
E G
B
ing my
know
B
# # # # # # & # # Œ œ œ œ œ œ ˙ . A2
-
Add Synth
I
A2
Your 2. Y ou ou
sur - round You shield
m
2x - All in
E G
me.
E G
19
B
Repeat 1st X only
know
Y ou
E B
-
'ry sea up - holds
œ . œj œ Œ .
love
B
me.
CCLI # 4591816 © 2006 Hillsong Publishing (admin. in the US and Canada by Integrity's Hosanna! Music) c/o Integrity Media, Inc. 1000 Cody Rd., Mobile, AL 36695. All rights reserved. Used by permission. W i t h a C C L I l i c e n s e, e, t h e o r i g i n a l p u r c h a s e r o f t h i s c h a r t m a y m a k e o n l y t h e c o p i e s n e c e s s a r y f o r h i s / h e r l o c a l c o r p o r a t e w o r s h i p n e e d s ( t h i s d o e s N O T i n c l u d e c h o r a l p e r f o r m a n c e ). ). D u p l i c a t io io n o u t s i d e o f t h i s p u r p o s e i s n o t a l l o w e d .
