“Nothing But The Blood” is arranged here as an advanced piano solo with a hymn melody placed inside a steady, flowing piano texture. The arrangement begins with a fuller chordal introduction, then moves into repeated arpeggiated accompaniment patterns under the melody before shifting into a stronger final section with thicker chords and a brighter key change near the end.

Measures 1–19 present the opening hymn material. The first measures begin with strong chords and rhythmic movement in both hands, then the melody settles into the upper voice while the left hand keeps a steady broken accompaniment underneath. The texture is clear and hymn-like, but the moving bass pattern gives it more energy than a plain four-part setting.

Measures 20–38 continue the main tune with the same rolling accompaniment style. The right hand keeps the melody mostly in simple note values, while the left hand repeats broken patterns that keep the piece moving forward. This section stays close to the original hymn character while gradually giving the arrangement more flow.

Measures 39–54 bring back the hymn material again with slightly fuller right-hand harmony and a more developed accompaniment. The left hand continues the same arpeggiated motion, but the right hand begins using more chord tones around the melody, making the texture broader than the earlier statements.

Measures 55–75 form the final large section. The key changes and the writing becomes more chordal and confident, with stronger bass support, thicker right-hand harmony, and repeated accompaniment figures. The final measures build into a broad closing cadence, ending the arrangement with a fuller and more settled hymn sound.

Interesting fact: “Nothing But the Blood” was written by Robert Lowry in 1876 and first became popular at a camp meeting in Ocean Grove, New Jersey. The hymn has continued into modern worship and gospel recordings, including versions by Randy Travis, Carrie Underwood, Matt Redman, and Tommee Profitt.