Wade in the Water: 2-Part Choral Octavo

Ford Simms and Beck have taken a beloved spiritual and reimagined it entirely, trading reverence for rhythmic energy and fun. The jazz waltz groove with call-and-response writing lets singers feel like soloists even in a 2-part setting, making it an engaging choice for choirs that need confidence-building repertoire without sacrificing musical substance.

Bold and soulful from the first moment, this arrangement swings with a modern edge while honoring the song's roots. The groovy jazz waltz feels playful and sophisticated at once, building from intimate call-and-response moments into an exuberant final refrain that leaves the audience energized.

This octavo works best for developing 2-part choirs in grades 6-9 who can handle rhythmic independence and want to sing something contemporary and groove-oriented. Directors seeking to energize singers and audiences alike will find this arrangement delivers novelty without gimmickry, grounded in solid choral writing and the spiritual tradition.

• Lock the swing feel in the verse by establishing the waltz pulse clearly in rehearsal; the call-and-response sections rely on rhythmic confidence from both sections working independently.
• Feature your strongest vocalist for the solo introduction to capture the dramatic opening the arrangement promises.
• Work the modulation passage section-by-section before putting it together; the key change requires clean ensemble balance to land with impact.
• If performing with a jazz combo, schedule combined rehearsals early to sync the recorded accompaniment tempo with your live band's feel.

Program this alongside other spirituals to create a thematic concert arc that shows the genre's range from traditional to contemporary. It works equally well as a high-energy closing piece before an intermission or as a festival selection where its distinctive jazz treatment will stand out from more conventional arrangements.

• Reading and performing swing rhythm in a waltz meter (3/4 time)
• Maintaining independence while singing call-and-response patterns
• Tracking and executing a key modulation as a full ensemble
• Coordinating with instrumental accompaniment and live ensemble partners