'Cross the Wide Missouri: 3-Part Mixed Choral Octavo

Besig and Price have woven together two iconic melodies with the specificity and care that earns a piece repeat performances. The 3-part voicing sits comfortably for changing voices and smaller ensembles, while the optional flute obbligato transforms the piece from accessible staple to concert-worthy selection without requiring it. Repertoire that serves double duty this way—approachable enough for everyday rehearsals, compelling enough for festivals—rarely comes along.

Two beloved folk melodies converge in a arrangement that feels both familiar and freshly discovered. The result is contemplative and flowing, with the kind of gentle vocal momentum that comes from strong melodic writing rather than complex harmony. The optional flute adds air and lightness without disrupting the choral focus.

This octavo suits developing mixed choirs, smaller church ensembles, and high school groups working with SAB voicing. The accessible range and straightforward part writing make it ideal for conductors seeking repertoire that builds vocal blend and sustained tone without excessive technical demands.

• Balance the soprano and alto lines throughout; the alto part carries significant melodic weight and should never sit as pure harmony. Hear it as a true voice.
• The flowing accompaniment suggests a tempo that feels unhurried but not static. Avoid dragging, which will weigh down the piece's natural lyricism.
• If using the optional flute obbligato, rehearse the choir without it first to establish secure vocal lines, then layer the flute in as a complement rather than a focal point.
• Shape phrases through breath placement rather than dynamics alone. Let the text and melody arc guide your singers toward natural phrase breaks.

Program this as a centerpiece for a folk or Americana-themed concert, or pair it alongside other seasonal or spiritual repertoire where its reflective quality fits naturally. The 12-page length and festival designation make it suitable for spring or fall competitions, and the optional instrumentation means it works equally well as a standalone vocal piece.

• Sustaining legit vowels across long phrases
• Balancing SAB voicing with equal melodic weight across all three parts
• Reading and singing layered folk melody arrangements
• Coordinate with optional instrumental accompaniment