Finding and Playing Come Now Is The Time To Worship Sheet Music

Most people looking for this music are coming from Mosaic Music Publishing or Hal Leonard. The original arrangement by Matt Redman is in the key of G major for the verse, moving to D major for the chorus. If you're playing piano or keyboard, the standard published version uses a straightforward 4/4 time signature at around 72 BPM. Nothing fancy rhythmically, but getting the timing clean matters more than people realize. The sheet music typically spans about two pages for the vocal lead line with piano accompaniment. The chord symbols above the staff are mostly diatonic with a couple of secondary dominants that show up when transitioning into the bridge. Here's the progression most people mess up: the pre-chorus hits a IV to V move that briefly hints at A major before resolving. Beginners often try to simplify it, but that kills the lift the song needs heading into the final chorus.

Where to Get Come Now Is The Time To Worship Sheet Music

You can grab the official arrangement through Mosaic Music Publishing's website or through Hal Leonard's digital sheet music platform. There's also a version available on Songteller by CCLI, which some church music directors prefer because it's designed for quick print and rearrangement. The physical copy runs roughly $2.99 to $3.49 depending on the retailer. If you only need the lead sheet without the full piano reduction, third-party sites sometimes have simplified arrangements, but those often get the harmony wrong in the bridge section. I ran into a real problem a while back when a church pianist printed a free PDF from a random site and showed up to rehearsal with the chorus transposed a half step down. The song had been arranged in F sharp major instead of G. She tried to play along with the congregation and it was obviously off within the first measure. We ended up just singing a cappella until she could figure out the correct key from the audio reference. Always double-check the key signature against a recording before printing, even if the site claims it's the "official" arrangement. Sometimes the uploaded files have errors in them. The tempo marking on the published sheet music says andante, but honestly it sits somewhere between andante and moderato depending on how your team handles it. Some churches drag it down to around 68 BPM and it works fine. Others push it toward 78 and it sounds more urgent. There's no single right answer there, but picking one and sticking with it across all three repetitions of the song matters more than hitting the exact metronome mark. For organ players, the published arrangement works well as-is but you'll want to avoid using the full swell pedal through the entire verse. The dynamics marking says mezzo-piano for the opening verse, and organ players tend to flood the space with sound anyway. Try starting with just the principal 8-foot stop and add the string 4-foot when the chorus hits. The bridge benefits from a light tremulant, but not everyone has access to one on older consoles, and it's not actually required. If you're transposing for a vocalist who can't handle G major, A major is the most common alternative. It sits well for tenor ranges and keeps the same relative chord shapes on piano. Down to E major works too if the singer is lower, but you lose some of the brightness the original arrangement relies on. The song works in any key, just be aware that G major has open string resonance on guitar that contributes to the sound. Moving too far away from it changes the guitar voicings significantly and you'll need to rework the parts. One thing the sheet music doesn't make obvious is that the final chorus often gets repeated twice in live settings. The notation only shows one ending, so if you're leading this and want to extend it, you'll need to cue the band or musicians yourself. Marking a "D.C. al Fine" or simply repeating from the top with a verbal count-in is standard practice. I keep a small annotation on my copy now noting where we usually do the second pass so new musicians aren't left wondering when to stop. The bridge section has a moment where the harmony briefly touches on E minor relative to the prevailing G. This is easy to miss if you're reading the melody line without also looking at the chord symbols underneath. If you're playing bass or guitar, hitting that E minor chord correctly during the bridge gives the middle section its emotional weight. Without it, the bridge sounds flat and the resolution back to G on "now is the time to worship" loses its impact. Digital platforms like ForPlay or SmartMusic can work for this piece, but they don't always capture the subtle dynamic shifts that the printed edition notates. If you rely solely on screen-reading software, consider keeping a printed copy handy for rehearsals where the lighting makes screens hard to read. I switched back to paper after my display stopped working mid-song during a service and couldn't flip between pages fast enough. Nobody likes watching a worship leader struggle with technology while the congregation is sitting in silence.