The poetic translation of Psalm 23 in the 1650 Scottish Psalter, most famously set to the tunes Crimond and Brother James' Air, is often the first version of this text that people encounter. In this unaccompanied choral setting, a gentle stress can be given to many of the syllables after barlines, but otherwise the changes of metre are mainly there for guidance. The music references Aeolian modality, but makes occasional diversions (for example, in the fourth stanza where the raised leading note picks out the rhyme of 'foes' and 'overflows'). A performance will be best guided by the flow of the words, creating a sense of ease and calm, especially in the opening solo and as the music settles in the final stanza.