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“Jester, I believe we have a gem here.” Both Hairston Hold On
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and Johnson later published arrangements of the tune SSATTBB, unaccompanied, solo
in 1955 and 1956, respectively. Duration, 2:35
Performance notes for the interpretation of Elijah Bourne Co., 1955
Rock were discussed by Tim Sharer in the September Ranges
1979 issue of the Choral Journal. It is interesting to
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note that Hairston originally intended the work to be
“staged and lighted,” starting with the basses standing
alone on a dimly lit stage. As the song progressed, ad-
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ditional voice parts were to walk on stage as the lights Hairston was an exceptional storyteller, often creat-
increased in brightness. ing fictional narratives to enhance his works. He stat-
Additional performance suggestions include utiliz- ed, “Sometimes, I conjure up a situation and make an
ing a “slow and methodical” tempo and avoiding a appropriate story to go along with the song if I can’t
break between the words “shout, shout” (Figure 1). find the authentic story.” By understanding Hairston’s
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The latter recommendation is curious, as all available fictional narrative, performers and audience are able to
recordings produced under Hairston’s supervision in- gain insight into the emotional and musical context of
corporate a subtle lift between these words. Reasons for the work as envisioned by the composer.
this interpretive discrepancy are unknown. It is possi- Hold On, for divisi mixed chorus, serves as one ex-
ble that Hairston’s tempo and rhythmic concerns stem ample of Hairston’s use of fictional narrative. For this
from the arrangement produced by his mentor and col- work, Hairston imagines a revival meeting in which a
league, Hall Johnson, who notated a faster tempo and sinner sits on the mourner’s bench receiving prayer.
quarter note quarter rest pattern on the text in question During the service, a deaconess comes over and tells
(Figure 1). In Hairston’s interactions with ensembles, the sinner,
singers also familiar with Johnson’s arrangement may
have unconsciously exaggerated a rhythmic break, The only way… that you’ll be able to reach
leading Hairston to suggest these performance recom- heaven is to keep your hand on the plow… If
mendations. you’re plowing with a plow in the field, and
you hold on firmly to the handles, and press
down hard, you get a straight furrow. But if
you take one hand off that plow… that plow is
gonna wiggle. 29

In Hairston’s story, the plow symbolizes Jesus and a
spiritual need to hold firmly to Him.
Throughout the work, the melody is passed between
the tenor and soprano, with the supporting voices ac-
Additionally, reasons for Hairston’s suggested “slow centuating the melody through a rhythmic delay, enter-
and methodical” tempo may stem from his use of syn- ing on beat two. This rhythmic feature, in combination
copation in Figure 1, which may encourage some en- with Hairston’s use of syncopation, gives the song a
sembles to rush, as well as a response to Johnson’s use lurching effect, imitating the “wiggle” of the plow.
of a faster tempo in his arrangement. A solo is indicated in measure 5, occupying the ten-
or staff; however, there is no indication when the solo
should end or what the remaining tenor section should
sing. In a recording produced by Hairston, a group of
tenors perform the solo, implying that it is optional.
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If utilizing a tenor solo, this author suggests ending the

CHORAL JOURNAL October 2025 Volume 66 Number 3 27