Where to Find Like Him Piano Sheet Music and How to Actually Use It
I've been helping people with Hillsong Worship arrangements for years, and "Like Him" is one of the more commonly requested pieces. The song sits in Bb major and follows a pretty standard worship ballad structure, which makes it approachable but also means there are some traps in the sheet music that can waste your time if you're not careful. There are a few places to grab the Like Him Piano Sheet Music, and honestly, not all of them are equal. Musicnotes.com has an official arrangement that's decent, though it's more simplified than what most church pianists actually need for a full performance. If you're playing at a service level, you'll want something with more left-hand movement. Fake Book Standard publishes a version that's closer to the original key and includes the chromatic passing chords that give the song its character. Then there are user-submitted versions on Free Sheet Music Project that vary wildly in accuracy—some are transcribed by ear and some are spot on.
Like Him Piano Sheet Music: What to Expect
The original track by Hillsong Worship is in the key of Bb major. The tempo is around 72 beats per minute, which is standard for this genre. The left hand does more than just play root notes—it moves through inversions and often traces the bass line of the chord progression rather than staying static. If you're used to playing hymns or simpler contemporary worship material, that left-hand part might feel different than what you're expecting. Here's a practical note about learning it: I once spent about three weeks trying to nail the bridge section of a particular arrangement because the sheet music had the left hand and right hand in conflicting octave placements. The right hand was written an octave higher than it sounds, which is common convention, but the left hand part wasn't clearly marked and I kept doubling myself. What I ended up doing was printing the score and writing my own octave signs directly on the page, then recording myself playing along with the Hillsong Worship studio track to check where my voicings landed relative to the original. That process took about 45 minutes total but saved me weeks of frustration. The chord progression itself is straightforward if you know common worship language. The verse moves through Bb to Gm to Cm to F, which is essentially I–vi–ii–V in the key. The pre-chorus introduces a relative minor feel with Eb major entering as the IV chord, and the chorus lands back on the tonic with some added extension tones—major 7ths and sus4 resolutions that create the emotional lift the song is known for. If you're comfortable with figured bass or chord symbols, you can learn this faster than reading the full notation because the patterns repeat across sections.
One thing people tend to miss when they first sit down with this music is how the dynamics shape the entire performance. The song starts very quietly in the intro and builds through the first chorus before settling into a more sustained intensity for the second pass. Some arrangements don't indicate this dynamic arc clearly enough, so you end up playing everything at mezzo-piano whether the song calls for it or not. I always mark in the margins where the swell should happen—typically at the start of "You are who You are" in the chorus, where the harmony opens up and the left hand should gently expand its register rather than just getting louder. There's also a transition at the end of the second chorus that many arrangements gloss over. The original track modulates up a half step for the final chorus, moving from Bb to B major. Some sheet music versions include this, some don't. If you're playing with a band or congregation, that key change matters because it affects what key you announce. I recommend checking your arrangement against the studio recording before committing to a specific transposition, especially if you're playing in a context where the pianist leads the key selection. If the official sheet music doesn't work for your skill level, you can transpose it yourself. Most piano players find that transposing down a half step to A major makes the left-hand stretches more comfortable without losing the emotional quality of the arrangement. Going up a half step to B major is also an option if you need it to sit higher in a mix, but that's where the extended reach becomes genuinely uncomfortable for most players. The middle ground—A major or the original Bb—usually covers most real-world situations.
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