Patti Drennan's choral credentials span teaching, composing, and building national recognition. After earning degrees in music education from Oklahoma State University and the University of Oklahoma, she spent 28 years directing choirs in Norman Public Schools, where her ensembles consistently earned superior ratings and she was named Teacher of the Year. The Oklahoma Choral Directors Association honored her with the Director of Distinction Award in 2004.
Since retiring from the classroom, Drennan has established herself as one of the most prolific and performed arrangers in American choral music, with over two million copies of her work in circulation and more than 425 octavos published by major houses. Her work as a clinician has taken her across 19 states and Canada, while her compositions have appeared at Carnegie Hall. She continues to lead composer weekends, conduct music reading sessions for publishers, and perform with her daughter Emily as part of RoxSteady Music.
Why we love this
Drennan's arrangement captures the infectious spirit of a standard that deserves regular repertoire rotation. The 12-page octavo sits in a sweet spot: substantial enough to feel rewarding across a full rehearsal cycle, yet accessible enough that you can build from it quickly rather than spending months on a single piece. Her voice leading lets each section breathe while maintaining the song's natural joy.
What to expect
The arrangement radiates warmth and intention. It's the kind of piece that energizes a rehearsal room not through technical complexity but through the sincerity of its message and the satisfaction of blending four voices into something greater than the parts.
Who it's for
Sacred and concert choirs looking for repertoire that bridges traditional and contemporary styles without demanding advanced harmonic reading. This works equally well in church music programs and school choral competitions where you want music that connects emotionally with both singers and audiences.
How to get the most out of it
Shape the text naturally without over-articulation. The title's repetition works best when singers treat each iteration as conversational rather than percussive.
Anchor the rhythm section early. Locking the bass line and harmonic foundation frees the upper voices to blend without pushing for clarity.
Balance ensemble texture by having soloists or semi-soloists carry lines before the full choir enters. This approach preserves energy for the climactic moments.
How to use it
Slot this into spring or summer programming when you want material that builds morale and reminds singers why they chose choral music. It pairs naturally with other spirituals or contemporary sacred works and works equally well as a concert opener or closer.
Skills your students will build
Maintaining phrase shape across longer sustained notes
Balancing four-part harmony without sacrificing vowel clarity
Singing with intentional text communication rather than mechanical execution
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