Some Folks Do (But We Don't): Choral Octavo SoundTrax CD

Mary Donnelly and George L. O. Strid transform a Foster standard into something unexpectedly theatrical through the partner song format, layering a brand-new melody against the familiar tune. The humor lands without overshadowing the musicality, and the movement and staging opportunities make this piece genuinely fun to rehearse and perform rather than simply entertaining.

Nostalgic and playful without being cloying, with the clever juxtaposition of old and new melodies creating moments of delightful surprise. The humor emerges from the music itself rather than relying on cuteness, and the partner song structure gives singers a tangible sense of collaboration and musical independence within the ensemble.

Treble and lower voice choirs seeking repertoire that combines musical substance with genuine entertainment value. This arrangement works for concert choirs wanting a novelty number with real craft, as well as community and church choirs that need material singers will enjoy learning and audiences will remember.

• Balance the two melodic lines carefully so neither overwhelms the other; the interplay between the traditional melody and the new countermelody creates the arrangement's charm, and muddy texture defeats the purpose.
• Integrate the recorded accompaniment early in rehearsals to help singers lock into the harmonic framework, then gradually reduce reliance on it as parts solidify.
• Coordinate movement and staging decisions before finalizing vocal entrances and transitions; physical staging and vocal precision reinforce each other in this arrangement.

Position this as a concert opener or finale where its theatrical energy and humor reset audience engagement. It pairs well on a program with other Foster arrangements or with spirituals, creating a thread of American vocal tradition while the novelty aspect prevents the concert from feeling static.

• Singing partner songs and managing independent melodic lines within a harmonic context
• Coordinating vocal precision with movement and staging cues
• Balancing blend and balance when multiple melodic ideas sound simultaneously
• Interpreting stylistic cues that blend nostalgia with contemporary arrangement language