The Water Is Wide: SSA Choral Octavo

Hayes's approach to this folk tune respects the song's core while revealing fresh harmonic and textural possibilities at every verse. The arc of the arrangement, moving from unison strength through echo techniques to intricate counterpoint, gives singers tangible musical goals and keeps audiences engaged. The final fade, described as dissolving "like the morning dew," shows thoughtful attention to how a piece concludes in memory.

There is a pastoral quality to this setting, grounded in the simplicity of the folk melody yet enriched by Hayes's harmonic language. The arrangement moves seamlessly between moments of quiet introspection and fuller vocal texture, creating an emotional journey that feels both intimate and expansive.

This arrangement works for treble choirs ranging from high school and college to community and adult ensembles. The SSA/SSAA voicing accommodates choirs with varying numbers of singers and allows flexibility in doubling parts where needed.

• Emphasize the unison melody in the opening verse; clarity and confidence here establish the tune's identity before harmonic layers enter.
• Shape the echo section with precision and balance; the responding voices must sit just beneath the primary line so the device enhances rather than muddies the melody.
• Prepare the counterpoint passage carefully in sectionals; ensure lower voices understand their independent line while trusting the sopranos to carry the folk tune.
• Build the final diminuendo gradually and deliberately, allowing the music to dissolve rather than simply fade to silence.

This piece fits naturally into programs built around American or British folk traditions, or as part of a concert exploring water imagery and nature themes in vocal music. Its moderate length and variable difficulty level make it suitable for both opening and closing positions in a concert.

• Singing sustained unison lines with tonal blend and precision
• Executing echo technique as a responsive ensemble device
• Reading and performing independent vocal lines in counterpoint
• Managing dynamic control during extended diminuendos