Cat No. JM51328
Price £32.00
Arranger: Anne McGinty
Category: SACRED MUSIC

Grade 1.5
Duration 2.0

DOWN TO THE RIVER TO PRAY is a traditional gospel song dating back to the mid 1800s and was featured in the film “0 Brother, Where Art Thou?” It is known by many different titles, including “The Good Old Way,” “Down In The Valley To Pray,” “As I Went Down In The Valley To Pray” and “Down To The River To Pray.” It is an uplifting, feel-good song and should be performed with great joy.

The tempo is marked at quarter equals 126 and a two-beat, cut time feel would also work very well. The half notes in the low brass and woodwinds, measure 1, should lead the listener to the downbeat of measure 2 and beyond. Make sure your students have sufficient breath support as well as clean attacks on these accented notes.

The first statement of the tune is presented by the clarinets, accompanied by the tambourine. Since this piece is based on a song, the style should be rather legato, with a slight space between the repeated notes for clarity. At measure 14, the flute and alto saxophone take over the melody, with the clarinets providing the harmony. The trumpets, marked one level softer than the other instruments, recall the opening three notes of the piece.

Careful attention to the written dynamics is very important. There are many different color combinations of instruments used in the scoring which will also add interest and texture, but the written dynamics will add a lot to the musical performance of this piece. At measure 40, the oldest version of this song the arranger could find, “The Good Old Way,” is presented by full band, with the dynamic changing one degree every four measures as the tune builds. This version is slightly different than the one presented earlier and your students will need to be alert. At measures 43 and 47, allow the last three notes of the phrase to decrescendo slightly. There is a tendency to give that last note a little kick, which is not appropriate for this tune.
The percussion section is very important to this piece. They provide both a steady beat and color; however, do not allow your percussion students to play too loudly. As always, subdivision of the beat is essential to a clean and rhythmic performance. The after beats in the tambourine and the snare drum must be placed exactly to keep the tempo from rushing or dragging.
The note values beginning at measure 63 have .been elongated and will provide a satisfying conclusion to this traditional gospel song without adding an additional ritardando. The decrescendo will end the piece in a very gentle manner.

Above all, allow the spirit of the music to prevail as you introduce your students and your audience to this wonderful song.