“I Need Thee Every Hour & How Great Thou Art Medley” is a five-page solo piano arrangement by Justin K. Reeve. The piece combines two well-known hymns into one continuous devotional setting, beginning with a flowing treatment of “I Need Thee Every Hour” and later expanding into the broader, more powerful character of “How Great Thou Art.” The arrangement uses steady left-hand arpeggios, right-hand melody fragments, octave movement, full chordal climaxes, and softer returns to create a gradual emotional arc from quiet dependence to strong worshipful affirmation.

Measures 1–25 introduce the first hymn material in a gentle, flowing texture. The left hand begins with repeated broken-chord patterns that continue almost like a quiet accompaniment ostinato, while the right hand enters with fragments of the “I Need Thee Every Hour” melody above it. The dynamic begins piano and gradually grows through the long crescendo, giving the opening a prayerful but steadily intensifying character.

Measures 26–36 continue the first section and bring it to a temporary close. The right hand becomes more chordal in places, while the left hand keeps the arpeggiated motion moving underneath. The texture briefly relaxes through mezzo piano and a ritardando, creating a pause before the music returns to tempo.

Measures 37–56 return to the opening hymn idea with a fuller sound. The left hand resumes the flowing arpeggios, while the right hand brings back the melody in a slightly more developed texture. The dynamic moves through piano, mezzo piano, and fuller chord shapes, so this section feels like a second statement of the same prayer rather than a completely new idea.

Measures 57–87 move into the main transition toward “How Great Thou Art.” The accompaniment remains flowing, but the right hand begins to use broader melodic shapes, thicker chords, and more expansive register changes. The texture grows in strength through repeated patterns and a larger dynamic range, preparing the arrangement to move from the intimate sound of “I Need Thee Every Hour” into a more powerful hymn statement.

Measures 88–116 create the strongest dramatic build of the piece. The music begins more softly, then gradually expands through repeated accompaniment figures, wider hand motion, and a long crescendo. By measures 109–112, the texture reaches a full forte and then fortissimo climax, with large chords and a strong bass foundation giving the medley its most powerful moment.

Measures 117–134 bring the arrangement back down into a quieter final section. After the climax, the music softens to piano and mezzo piano, with the right hand returning to a more lyrical melodic shape over the left hand’s steady support. The ritardando near the end slows the motion, and the final measures close gently, allowing the medley to finish in a reflective mood rather than with another large climax.

Interesting fact: “How Great Thou Art” became especially famous through Elvis Presley’s gospel recordings. His 1967 album How Great Thou Art won the Grammy Award for Best Sacred Performance, and his later live version of the title song also became one of his best-known sacred performances. That history gives the hymn a major place not only in church music, but also in American popular music and concert performance.