The Water Is Wide: SATB Choral Octavo
Arr. Mark Hayes
Item: 00-PO-0002187
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About the Arranger: Mark Hayes

Mark Hayes has established himself as one of the most prolific voices in choral and keyboard music, with over 1,750 published works across multiple genres. A summa cum laude graduate in Piano Performance from Baylor University, he has conducted at Lincoln Center, the National Cathedral, and Carnegie Hall, and received the 2010 Award for Exemplary Leadership in Christian Music from Baylor University Center for Christian Music Studies.
Beyond his conducting and arranging work, Hayes is an accomplished orchestrator and record producer whose compositions span sacred and secular choral music, orchestral works, and musical theater. He has premiered major works internationally, including his Requiem at Lincoln Center in 2013 and at St. Ignatius Basilica in Rome as part of the Vatican-sponsored Festival Pro Musica E Arte Sacra. His catalog includes over 100 piano books and numerous choral suites that have become standards in the repertoire.
Why we love this
Hayes structures this arrangement to showcase four distinct approaches to the same timeless melody: unison clarity, echo effects, lush harmonization, and gender-divided counterpoint. This progression keeps singers and audiences engaged while building interpretive sophistication that feels earned rather than imposed. The ending instruction to fade "like the morning dew" reveals Hayes' attention to emotional detail, transforming a final chord into a complete musical statement.
What to expect
The arrangement moves like water itself: sometimes flowing as one current, sometimes breaking into separate streams, sometimes deep and reflective, always moving toward quietness. Hayes honors the tune's simplicity while layering unexpected harmonic colors that deepen without overwhelming the melody's essential character.
Who it's for
This octavo suits intermediate to advanced choirs of any age who want to explore a well-known folk tune through sophisticated arranging. The range of voicing approaches makes it valuable for groups looking to develop their sectional independence and blend across four distinct textures.
How to get the most out of it
- Balance the unison opening with full voice support; this section establishes the melody's strength and should feel anchored rather than tentative.
- Shape the echo passages with clear dynamic contrast between statement and response; resist the urge to let echoes drift into blur.
- In the harmonized third verse, maintain textural transparency despite the lush voicing by keeping inner parts lighter than outer ones.
- Plan the final fade carefully in rehearsal; assign specific singers to drop out first so the effect feels deliberate rather than accidental.
How to use it
Program this as a centerpiece in a concert of folk song arrangements or pair it with other spirituals and traditional songs to create a thematic program. The piece works equally well in a spring concert celebrating vocal blend and in a formal setting where its contemplative fade provides a moment of genuine repose.
Skills your students will build
- Maintaining unison intonation and vowel consistency across sustained passages
- Balancing melody against moving inner voices in four-part texture
- Executing echo effects with rhythmic precision and clear articulation
- Creating harmonic blend in lush, chromatic passages
- Managing dynamic control across a four-verse arc with varied voicing