“There Is Power In The Blood - Intermediate Piano Arrangement No. 2” is classified as a Level 3 Piano work worth 1,550 points within the Road to Virtuosity progression system. It is categorized under Intermediate Piano Arrangements → Hymns, Hymns - Easter and is part of the Sacred collection. The sheet music for “There Is Power In The Blood - Intermediate Piano Arrangement No. 2” provided on this website is available for non-commercial use. This means it may be downloaded, printed, studied, and performed for personal or educational purposes, but it may not be sold, redistributed commercially, or used as part of a paid product without permission.
“There Is Power In The Blood” is an intermediate piano arrangement of the gospel hymn by Lewis E. Jones. This arrangement by Michael Kravchuk is written in C major and common time, with a clear hymn melody, steady chordal accompaniment, and a confident gospel-hymn character. The texture is simpler than an advanced arrangement, but it still requires solid rhythm, clean chord playing, and careful balance between the melody and harmony. Students should focus on keeping the tune strong, playing the chords evenly, and maintaining a steady tempo from beginning to end.
Measures 1–4 introduce the opening phrase of the hymn. The right hand carries the melody while the left hand supports with full chords underneath. The sound should be confident and clear, with the melody projected above the accompaniment.
Measures 5–8 continue the opening material with a similar melody-and-chord texture. The right hand repeats familiar melodic shapes, while the left hand provides steady harmonic support. Students should keep the chords controlled so they do not overpower the tune.
Measures 9–12 begin the next phrase of the hymn. The right hand moves through stepwise and repeated-note figures, while the left hand continues with simple chords. This section should stay rhythmically steady and hymn-like.
Measures 13–16 complete the first page with a stronger cadence. The right hand uses a mixture of melody notes and two-note chords, while the left hand gives firm support underneath. The phrase should close clearly before the second page begins.
Measures 17–20 bring back the opening hymn idea. The right hand again presents the main melody, while the left hand supports with full chords and a small moving bass figure near the end of the phrase. This return should sound familiar and settled.
Measures 21–24 continue the repeated hymn material with slightly fuller writing. The right hand includes more chordal support around the melody, while the left hand keeps the harmony steady below. Balance is important so the melody remains easy to hear.
Measures 25–28 move into the refrain-like closing material. The texture becomes stronger, with repeated chords and a firmer rhythmic feel. This section should sound more energetic while still staying clean and controlled.
Measures 29 to the end form the final closing passage. Both hands use fuller chords, giving the ending a bold and confident sound. The final cadence should feel strong, settled, and complete.
Interesting fact: “There Is Power in the Blood” is also known by its first line, “Would you be free from the burden of sin?” Hymnary lists Lewis E. Jones as the author and gives the tune title as POWER IN THE BLOOD. The hymn’s repeated refrain helped make it one of the most recognizable gospel hymns about cleansing and redemption.
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