The Sharon Gratto Global Music Series Pavane Publishing P1604 - Also available in large print 11 pages - $2.45 Performance duration: Approx. 3:39
*Some listings might show the publication as SSAA, but there are actually only 3 choral parts in the score.
Text
Bring me little water, Sylvie. Bring me little water now. Bring me little water, Sylvie,Ev’ry little once in a while.
Sylvie come a runnin’, bucket in my hand. I need a little water, fast as I can.
Can’t you see me comin’? Can’t you see me now? I need a little water ev’ry little once in a while.
Bring it in a bucket, Sylvie. Bring it in a bucket now. Bring it in a bucket, Sylvie, ev’ry little one in a while.
Can’t you hear me callin’? Can’t you hurry now? I need a little water ev’ry little once in a while.
The title of this piece first caught my attention in the early 1990s when I heard it recorded by Sweet Honey in the Rock. I have since heard choral arrangements of this piece in live performance, and I am especially fond of this 2018 publication from the Sharon Gratto Global Music Series of Pavane Publishing. Sylvie is classified as an African-American field holler, and it is attributed to Huddie Ledbetter (c1885-1949)—also known as Lead Belly—a song writer, folk singer, and guitarist of international acclaim.
As one would expect from anything associated with Dr. Sharon Gratto, arranger Dr. Robert Jones offers some distinctive characteristics that will establish this piece as a concert favorite: a wonderful string bass part included in the choral score (and available
separately for free download from the publisher), hand claps, and two solos intended to be sung with improvisation. Also given in the score are excellent performance notes and background information about the piece, including instructions about appropriate diction, biographical information about Ledbetter and about the arranger, and other helpful information.
Another strength in this arrangement and publication is the fact that many other arrangements of the same song include little or no information, or even inaccurate information. The goal of this new series is to include as much information as possible that will be helpful to the choral director.
Jones arranged the song in D major, and he assigned the melody to the soprano 2. The alto part requires voices that can sing low A’s and G’s with ease. The unmistakable folk quality of the song and of this arrangement is supported by the soprano 1 which does not sing above D5 (the note higher than one octave above middle C), creating classic “girl group” harmony above the soprano 2 melody. The choral parts are homophonic throughout, with overlapping rhythms provided by the solo parts which span over 12 measures.
In my assessment, I hear this arrangement as a wonderful “cushion” for any part of the interior of a program, or depending upon the performance, as a “soft” but compelling opener. I can also hear this piece as one that precedes the last song of a concert, or even as an encore piece. It is, without question, equally fitting for an SSA show choir program. Also worthy of note, Dr. Jones is in the process of creating an SAB arrangement in response to a request from the publisher.
William C. Powell serves as Professor of Music and director of choral activities at Auburn University. He conducts the Chamber Choir, Men’s Chorus, Concert Choir, and Gospel Choir, and he teaches choral-related courses.
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August/September 2018
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