COVID-19 Updates

All in-person TMEA meetings and events are suspended for the remainder of the school year. For the latest updates, go to the COVID-19 Updates page. The information on the COVID-19 webpage supersedes any standard program information presented on this website.

This is the official listing of the Vocal Division All-State Audition Material.
All amendments, corrections and errata will become official only when it is published here.

The All-State clinician/conductor rehearsal notes will be posted here when available.

Should you discover any errata in the music that may have been missed, please notify the TMEA Vocal Division Vice-President by August 30. No errata will be added after September 1.

Rehearsal tracks and a rehearsal/accompaniment CD will be available from Educational Enterprises Recording Company.

LSC = Large School Choir path open to UIL classes 1A - 6A; All-State Mixed, Treble and Tenor-Bass Choirs
SSC = Small School Choir path open to UIL classes 1A - 4A; All-State Small School Mixed Choir

Publishers: The Large School Choir will need approximately 15,000 packets. The Small School Choir will need approximately 3,000 packets.

Links to download the CPDL selections are provided with the listing below.


LSC and SSC Sightreading Criteria
  • Sightreading may be used at any level of audition but is mandatory at high school Pre-Area and Area auditions. The sightreading audition shall be 20% of the total score.
  • The sightreading exercise shall be written in one of the following key signatures: C, G, D, A, E, F, B-flat, E-flat or A-flat. There will be no modulations or altered tones.
  • The sightreading exercise shall be written in one of the following meter signatures: 2/4, 3/4 or 4/4, and approximately 8 measures in length.
  • The sightreading exercise may include the following rhythmic devices: half notes, quarter notes, eighth notes, dotted quarter notes, dotted eighth notes, sixteenth notes, quarter rests, eighth rests, and simple syncopation.
  • The sightreading exercise will include a minimum of 30 notes.


Large School Choir Packet


Mixed Choir

Conductor: Amanda Quist
Title Voicing Composer Publisher Catalog No Audition Levels
Dies Irae, from Mozart Requiem SATB Mozart G Schirmer 50603574 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II:  F4 – G5; AI & II:  C4 – D5; TI & II:  F3 – G4; BI & II:  Bb2 – D4
Instructions/Errata:
Note: This is a new octavo (not different arrangement) being printed specifically for the Texas All-State Choir.
Conductor's Rehearsal notes:
Notes:

Text written in the mid 13th century

Text stress is crucial. Half notes in general should have a strong onset with a bit of decay. Sequences should build in dynamic. If there is only a mark in the soprano part, it applies to all 4 parts below it- please transfer in to your score.

Here is a recording:
https://www.youtube.com/watch?v=0T7eMctuJLQ

Translation:
Dies irae, dies illa
(Day of wrath, that day)
Solvet saeclum in favilla,
(When the earth will be dissolved to ashes)
Teste David cum Sibylla
(As testified by David and Sibyl)
Quantus tremor est futurus,
(What great fear there will be)
Quando iudex est venturus
(When the judge comes)
Cuncta stricte discussurus!
(To judge all things strictly!)

"Wie lieblich sind deine Wohnungen"   Mov’t IV A German Requiem SATB Johannes Brahms G Schirmer 50486753 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II: D4 – Ab5; AI & II: Bb3 – Eb5; TI & II: Db3 – Ab4; BI & II: G2 – Eb4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:

Please observe all printed dynamics and musical indications
S/A/T- m. 8, quarter rest on beat 2
B- m. 9, eighth rest before “Herr”
SATB- m. 11, eighth rest before “Herr”
All- m. 18- quarter rest beat 2
T- m. 30, quarter rest beat 2
B- m. 34-35, slight crescendo over the bar
S/A/B- m. 40, quarter rest beat 2
T- m. 41, quarter rest beat 2
B- m. 48, breath before “verlanget”
m. 48-62 all parts, eighth rest at the commas after “sehnet”
m. 69 all parts, breath beat 3
m. 77, no breath
A- m. 79 breath after “lebendigen”
T- m. 80 breath after “lebendigen”
S/A/T- m. 93- quarter rest beat 2
B- m. 94- eighth rest after “Wohnungen”
All- m. 96- eighth rest after “Zebaoth”
All- m. 103- quarter rest after “Wohnungen”
B- m. 105- quarter rest after “Zebaoth”
m. 123- “die loben dich immerdar”- half note/quarter note theme- strong, marcato, weight on the first part of the beat
-eighth note theme- lighter, shorter
-breathe at commas in text
T/B- m. 143-148- weight on “lo” of die loben
S/A- m. 142-148- stagger breathe
A/B- m. 162- quarter rest beat 2, same m. 164
All- m. 164-end, stagger breathe

Translation:
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
(How lovely are thy dwellings, Lord of hosts!)
Meine Seele verlanget
(My soul longs)
Und sehnet sich nach den Vorhöfen des Herrn;
(And sighs to enter the courts of the Lord;)
Mein Leib und Seele freuen sich in dem lebendigen Gott.
(My heart and soul rejoice in the living God.)
Wohl denen, die in deinem Hause wohnen,
(Blessed are they that dwell in your house,)
Die loben dich immerdar.
(They praise you forever)
Wie lieblich sind deine Wohnungen!
(How lovely are thy dwellings!)

Threads of Joy SATB Amanda Quist/Tim Brent Walton WW1788 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: D4-G5; SII: D4-E5; AI: A3-D5; AII: A3-D5; TI: D3-G4; TII: D3-F#4; BI: F#2-D4; BII: E2-D4
Instructions/Errata:
Solo and Small group for "Threads of Joy" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:

Threads of Joy- Brent/Quist
My husband and I wrote this piece together for the Westminster Vocal Institute chorus. We were inspired by the poem by Laura Foley to write something that we felt reflected light. There is a soprano solo in the beginning, and also a descant for a few first sopranos on p. 7; the solo comes back at the end.

Here are the breaths:
Breathe after the fermatas
m. 5, after “too”
m. 12, S + A, after “pain”
m. 14, S, make the dotted half a half note with quarter rest.
m. 24, after “through”
m. 27, after “darkness”
m. 29, after “too”
m. 39-40, tenors breathe after “silence”- eighth rest.
m. 47-51, sopranos breathe for a quarter rest before each “it presses through”
m. 59, all breathe after beat 1

Here is a recording:
https://www.youtube.com/watch?v=KgrYFhLef_w

Ride Up in the Chariot SATB Brandon Waddles GIA Pub G-8532 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: F4-A natural 5; SII: F4-Ab5; AI: B natural 3-C5; AII: Bb3-C5; TI: C3-A4; TII: C3-F4; BI: F2-D4; BII: F2-C4
Instructions/Errata:
Solos and Small Groups for "Ride in the Chariot" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:

Breaths (eighth rest)
m. 6, 14, 16 (quarter rest), 18 after “me”, 22, 24, 30, 32, 38, 40 (quarter rest), 42 (after “me), 72 for men after “me”, 79 before “the band”.
Please learn the solos if you are interested- there are solos for tenor and soprano.
Here is a reference recording:
https://www.giamusic.com/store/resource/ride-in-the-chariot-print-g8532

Sleep SSAATTBB Eric Whitacre walton WJMS1035 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: Bb3-Ab5; SII: G3-G5; AI: G3-Eb5; AII: G3-Bb4; TI: C3-G4; TII: C3-G4; BI: Ab2-D4; BII: Eb2-D4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:

The recording is our best reference for the piece in terms of sound and vocalism, please see below. Please take quarter rest breaths after these words:
moon, m. 5
dune, m. 7
head, m. 19
deep, m. 46 (beat 3 for S & A, beat 4 for T & B)
deep, m. 50 (T & B)
m. 62, watch for ritardando, “p” on beat 4
m. 66, sopranos, “p” on beat 3 (all others stagger breathe)
m. 68, A, T, B “p” on beat 4, sopranos carry

Other notes:
m. 18, put the “d” of bed on beat 1
m. 27- basses, sotto voce (think falsetto)
m. 50- S & A, “p” of leap on beat 1
m. 52- T & B, “p” of deep on beat 3
m. 53- S & A, “p” of sleep on beat 1
m. 55- T & B, “p” of deep on beat 3
m. 56- S & A, “p” of sleep on beat 1

Recording:
https://www.youtube.com/watch?v=zLSRVE3t17E

Treble Choir

Conductor: Shawna Stewart
Title Voicing Composer Publisher Catalog No Audition Levels
Les Papillons SSA Ernest Chausson Arr. By Mari Valverde Walton WLG157 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI:  D4 – G5; SII:  D4 – F#5;  AI & AII:  G#3 – D5
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:

-Please write in the poetic English translation, found on p. 11, under each phrase of French in the score.

-Marking Your Score:
Tempo: quarter=92, please observe all written tempo fluctuations.
Dynamics and phrasing: I will say “phrase to…” to indicate the peak of each phrase. The implication is that all singers crescendo to the peak and diminuendo away from the peak (“Grow and Go”)
Please observe all written dynamics, but remember dynamics are collectively sung! So, if you have a piano written, you will have to sing softer than that to get a collectively sung piano dynamic.
Releases:
Release all tied eighth notes on the beat.
All other releases are as written.
Breathe only on the rests.

“Phrase to” - Where the phrase is to peak:
Phrase measures
m. 3-6: peak phrase at m.5, bt. 1
m. 7-10: peak at m.8, bt. 1
m. 11-12: (start at mp): peak at m. 12, bt. 1
m. 3-18: peak at m.16, bt. 2
m. 20-24 (start at mp+): peak at m. 23, bt. 1
m. 25-28: peak at m. 28, bt. 1
m. 29-33 (start at mf-): peak at 32, bt. 1
m. 34-38 phrase begins to taper m. 35, bt. 1
m. 39-42: phrase quickly grows to mf
and slightly flexible and faster tempo to m. 42, bt. 1
m. 43-end: as written

Benigne Fac Domine SSAA Johann Hasse, ed. By Martin Banner Dean 15/1820R Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI:  F4 – G5; SII:  E4 – G5; AI:  C4 – C5; AII:  G3 – C5
Instructions/Errata:
M. 70-71 - Small notes will be addressed by Region and All-State Clinicians. Use the big notes for auditions.
Conductor's Rehearsal notes:
Notes:

Please familiarize yourself with the editor’s notes in the score.
Please copy the poetic translation into your score.
Note: Lines 1-5 (m. 1-62 bt. 2) are from Psalm 51: 18-19; Lines 6-8 (m. 62 bt. 3-end) are the Gloria Patri.

Benigne fac Domine in bona voluntate tua Sion, (Grant kindness, Lord, to Zion according to your will,)
Ut aedificentus muri Jerusalem.
(that the walls of Jerusalem may be rebuilt.)
Tunc acceptabis sacrificium justitiae,
(Then you will accept a just sacrifice,)
Oblationes et holocaustos.
(oblations and the burnt offerings,)
Tunc imponent super altare tuum vitulos.
(then they will place bullocks upon your altar)
Gloria Patri et Filio et Spiritui Sancto.
(Glory to the Father, the Son and the Holy Spirit.)
Sicut erat in principio et nunc et semper,
Et in saecula saeculorum. Amen.
(As it was in the beginning, is now,
and will always be. Amen.)

Latin pronunciation:
In lines 1-5 there are a number of words that may not be as familiar as some other Latin words.
The IPA is provided below for those lines. Please flip all r’s.

Benigne fac Domine in bona voluntate tua Sion
Bɛniɳe fɑk Dɔminɛ in bɔnɑ vɔluntɑtɛ tuɑ Siɔn

Ut aedificentus muri Jerusalem
Ut ɛdifitʃɛntus muri jɛrusɑlɛm

Tunc acceptabis sacrificium justitiae,
Tunk ɑtʃɛptɑbis sɑkrifitʃium justitiɛ

Oblationes et holocaustos.
ɔblɑtsiɔnɛs ɛt ɔlɔcɑ:ustɔs

Tunc imponent super altare tuum vitulos.
Tunk impɔnɛnt supɛr ɑltɑrɛ tuum vitulɔs

Marking your score
Tempo:
m. 1-21- “Allegro” is quarter = 110
m. 22- please ignore the Piu Presto
Please put slashes at all punctuation marks.
(i.e.. put a slash through a comma or period and the word to which it pertains.)
Those indicate phrases or subphrases.
Sometimes those subphrases will be just 2 or 3 beats!
Between the slashes, sing hairpin (crescendo/diminuendo) phrases unless otherwise indicated.
Please underline all stressed syllables and sing the correct syllabic stress.
HINT: The stressed syllable or most important word/syllable of the phrase usually has a longer note value.
M. 22, S1/S2-please take a slight lift (not a breath) between “on” and “ut” to set off the new phrase. Altos, release on 2 as written.


Breath marks:
All rests
M. 7, tutti on bt. 2
M. 14, on the & of 4
M. 26, S2 after bt. 1 AND A2 on the & of 4
M. 27, S1 after bt. 1 AND A1 on the & of 2
M. 35, A2 on the & of 3
M. 36, S1 S2 & A1 after beat 1
M. 41, S1 & A1 lift after “re” (bt. 1)
M. 44, S2 & A1 lift after “re” (bt. 1)
M. 48, S1 on the & of 4
M. 49, A1 on the & of 3
M. 56, S2 on the & of 3
M. 57, S1 on the & of 3
M. 54-62, all Altos stagger breathe
M. 62, tutti release ON beat 2
M. 73 & 74, all singers lift and put a glottal stroke on the “A” of “Amen
Altos stagger to the end
M. 75, S1 & S2 breathe after beat 1
Please sing a light shadow vowel at all cadences.


You Do Not Walk Alone SSAA Elaine Hagenberg Beckenhorst 2240 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI:  B3 – A5; SII:  B3 – F5; AI:  A3 – C#5; AII: F3 – C#5
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Treble Choir
Conductor's Rehearsal notes:
Notes to come at a later date.

Now Let Me Fly SSAA Stacey Gibbs Walton WJMS1137 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI:  C4 – A5; SII:  A3 – D5; AI:  G3 – D5; AII:  F3 – D5
Instructions/Errata:
All divisi within each of the four voice parts in "Now Let Me Fly" will be divided by Areas: A-D will take upper split and Areas E-H will take the lower split.
Conductor's Rehearsal notes:
Notes:

• Please strictly observe all markings in the score.
Additional markings:
Tempo:
M. 1 freely within quarter=100
Dynamics:
M. 23, crescendo arrives at mf+
M. 37-43, slow movement to a f-
M. 76, phrase starts at mf+
M. 85 will start mp+
As a general rule: accent/bring out the syncopation throughout, even when just implied.
E.g:
M. 38 , bt. 4&, sopranos
M. 40, bt. 3&, all singers, bt 4&, sopranos
Releases and breathing clarifications:
M. 4, A2 catch breath after bt. 3 if needed to make it m. 7, bt. 1
M. 8, everyone carries over
M. 15, Altos catch breath after bt. 2
M. 19, A2 catch breath after bt. 3
M. 24, ALL catch breath off of the fermata
M. 30, S1/A3 catch breath after bt. 3
M. 31, S2/A1 catch breath after bt. 3
M. 32-33, ALL carry over
M. 38. Sopranos breathe on bt. 4
M. 37-40, altos stagger breathe
M. 56, Soprano + A2 catch breath on bt. 2&, A1 catch breath on bt. 3
M. 72, ALL catch breath after bt. 3
M. 84, A1 catch breath after bt. 2 throughout breakdown
M. 91, ALL breath after the fermata
Pronunciation (with this tempo, just a few words need clarification)
Never pronounce the ending r
Always give a little accent on the “f” of the word “fly,” with even more emphasis when the accent sign is written.
Ending F’s and S’s should be pronounced “z”
Ending “er”+“uh”
No “r” in morning=mohneeng
Take care to minimize the diphthong at the end of the word “fly”
Voice internal and beginning “th” except the word “thing”
Specific words:
Away=uhweh
Celestial=cehlehscheeuhl
Now=nah
Lord=lohd
Shore=shoh
Way=weh
Down=dahn
Angels=aynjəlz
Workin’=wuhkin

Tenor-Bass Choir

Conductor: Deanna Joseph
Title Voicing Composer Publisher Catalog No Audition Levels
O Sing to the Lord TTBB Dan Davison Walton WW1497 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: A2 - G4; T2: A2 - E4; BI: A2 - D4; B2: A2 - D4
Instructions/Errata:

M. 15-17 - Tenor I will split: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!

M. 24 - Bass II will split notes: Areas A-D Bass II will take UPPER NOTE OF THE SPLIT. Areas E-H Bass II will take the LOWER NOTE OF THE SPLIT!
Conductor's Rehearsal notes:
Notes:

Generally, 4-bar phrases and release on rests
NB, m. 6
m. 8; release on rest
m. 12; release on rest
NB, m. 14
NB, m. 15
m. 16, BI and II release on rest
m. 18, TI and TII release on downbeat
m. 18, NB BI and BII
m. 20, release on rest
m. 22, NB
m. 23; all BII’s sing, then divide in m. 24
m. 24; TI, TII, BI release on rest
m. 26, NB
m. 28; release on rest
m. 30, BI and BII release on rest
m. 31, TI and TII release on rest
m. 32, BI and BII release on rest
m. 33, NB for all (smart staggering)
m. 34, NB for all (smart staggering)
m. 37, release on downbeat
m. 44; release on rest
m. 48, release on rest
m. 50; release on rest
m. 52, release on rest
m. 58; release on rest
m. 62; release on downbeat

"Dance" from Invocation and Dance TTBB David Conte EC Schirmer 4179B Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
TI: G3 - B4; T2: F#3 - G#4; BI: G2 - E4; BII: F#2 - D4
Instructions/Errata:
M. 160 - Bass line upper two notes will be a Bass I split. Areas A-D Bass I will take UPPER NOTES OF THE SPLIT. Areas E-H Bass I will take the LOWER NOTES OF THE SPLIT! Bass II will take the lowest notes of the staff.

M. 206-209 - Tenor I will split upper notes: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!
Conductor's Rehearsal notes:
Notes to come at a later date.

Jaglied- Hunting Song, A cappella TTBB Felix Mendelssohn, ed. By Frank Mueller G Schirmer 50319340 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: G3 - G4; TII: E3 - F4; BI: C3 - D4; BII: G2 - D4
Instructions/Errata:
Soli group will not be auditioned during the All-State Audition process and will be determined at TMEA Convention. Instructions will be available in the Information packet after Area Auditions.
Conductor's Rehearsal notes:
Notes:

No measure numbers or page numbers, so everyone will need to add them in.

Vs. 1
M. 3; cross off dot and breathe
M. 5; TI, TII, BII; cross off dot and breathe; BI sustain.
M. 7; NB
M. 9; TI and TII, cross off dot and breathe; BI and BII; release on rest
M. 13; TI, TII, BI, breathe on the rest (BI will need to cross off the dot to line up with TI and TII)
M. 14; poco rit (very slight)
M. 15; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 23; breathe at rest
M. 27; breathe at rest (BII will cross off dot and breathe along with upper three parts)
M. 29, no breath
M. 31, solo group cross off dot and breathe
M. 33; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 37; carry through, no breath at the end of the bar
Mm 37-42; stagger, no group breaths

Vs. 2
M. 45; cross off dot and breathe
M. 47; TI, TII, BII; cross off dot and breathe; BI sustain
M. 49; all sustain
M. 51; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 55: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 56; poco rit (very slight)
M. 57; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 61; breathe at eighth rest
M. 65; breathe at eighth rest
M. 69; breathe at eighth rest
M. 71; all sustain
M. 73: Solo group cross off dot and breathe
M. 75; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 79; NB
M. 83: poco rit

Vs. 3
M. 87; cross off dot and breathe
M. 89; TI, TII, BII; cross off dot and breathe; BI sustain
M. 91; all sustain
M. 93; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 97: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 98; poco rit (very slight)
M. 99; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 103; breathe at eighth rest
M. 107; breathe at eighth rest
M. 111; breathe at eighth rest (BII will need to cross off dot and add eighth rest and breathe)
M. 113; all sustain
M. 115: Solo group cross off dot and breathe
M. 117; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 121; NB
M. 125: poco rit – a bit more than the previous two since it’s the end of the piece.

I Will Be a child of Peace  TTBB Elaine Hagenberg Beckenhorst CU1051 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: Bb2 - Ab4; T2: Bb2 - F4; BI: Ab2 - Eb4; BII: Ab2 - C4
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Tenor-Bass Choir
Conductor's Rehearsal notes:
Notes:

M. 11; breathe at eighth rest
M. 13; breathe at eighth rest
M. 14; NB
M. 15: “s” on eighth note plus breath
M. 16; NB
M. 19; release “s” on downbeat
M. 23; breath
M. 24; NB
M. 25; breath
M. 26; NB
M. 27; “s” and breath on rest
M. 28; NB
M. 31; “s” on downbeat
M. 35; breathe at rest
M. 36; NB
M. 37; breath at rest
M. 38; NB
M. 39; “s” on eighth rest plus breath
M. 40; NB
M. 43; release “s” on downbeat
M. 43; rit as marked
M. 44 starts a broader (slightly slower) tempo
M. 45; breath
M. 46; NB
M. 47; breath at rest
M. 48; NB
M. 49; breath and “s” at eighth rest
M. 50; NB
M. 52; “s” on quarter rest
M. 54; TI, TII, BII – NB. BI make beat one an eighth note, eighth rest and breathe

End of m. 58 into 59 – NB
M. 60; final “s” releases on the downbeat of this bar


Small School Choir Packet


Small School Mixed Choir

Conductor: Eduardo Garcia Novelli
Title Voicing Composer Publisher Catalog No Audition Levels
Vidi Aquam SSATB Kevin Padworski Santa Barbara SBMP1483 Designated for SSC Area use. May be used for any SSC only audition prior to Area.
Voice Ranges:
SI: Eb4 - G5; SII: Eb4 - F5; A: Eb4 - D5; T: E3 - E4; B: Eb3 - D4
Instructions/Errata:
Approach to divisi will be determined by Region Coordinators and TMEA Executive Board.
The ranges for Soprano I and II are essentially the same with the SI singing a G5 for one beat in m. 59 and m.97.

M. 79 - Tenor upper voice is optional and should not be auditioned.
M. 79 - Bass lower voice is optional and should not be auditioned.

M. 101-102 - Sop. line B5 is optional and should not be auditioned

M. 100-102 All Altos will take third treble staff from the top...for now. Three-part soprano split will be determined by Region Coordinators and TMEA Executive Board.

M. 100-102 -Tenor line F#4 will be considered optional and should not be auditioned.

Conductor's Rehearsal notes:
Notes:

m. 9 Deciso! But start P
m. 10 and 11 cresc. to MP+
m. 12 Schwa on downbeat
m. 13 Deciso! Start MP
m. 14 and 15 cresc. to MF
m. 16 Schwa on downbeat
m. 21 Schwa on downbeat
m. 30 Schwa on downbeat
m. 66 & m. 70 Sing FULL measure (this is a change from the score, approved by the composer)
m. 88 T on beat 4

Die Nacht SATB Heinrich von Herzogenberg, ed. By Richard Blesch Alliance AMP0045 Designated for SSC Area use. May be used for any SSC only audition prior to Area.
Voice Ranges:
S: C#4 - A5; A: A3 - C5; T: E3 - G#4; B: F#2 - B3
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:

m. 14 Downbeat: Goal of the phrase for T. Note two: unaccented syllable
m.16 Downbeat: Goal of the phrase for SAB. Note two: unaccented syllable for SAB
m. 59 and 60 Both exactly on the downbeat (it’s good to feel the meter here, piano doesn’t help!)
m. 22 Downbeat: Goal of the phrase. Note two: unaccented syllable
m. 24 “D” (pronounced T) on the last 8th of the measure for TB
m.26 “D” (pronounced T) on the last 8th of the measure for AB
m. 29 Downbeat: Goal of the phrase for ATB. Note two: unaccented syllable for ATB
m. 31 “D” (pronounced T) on the last 8th of the measure for SA
m. 33 “D” (pronounced T) on the last 8th of the measure for ST
m. 36 Downbeat: Goal of the phrase for STB. Note two: unaccented syllable
m. 36 Alto: unaccented syllable
m. 38 Beat 2, AB: 8th + Rest (consonant on rest)
m. 40 Note 2 for T: quarter + rest. “N” on rest + breath
m. 40 Note 1 for B: quarter + rest. “N” on rest + breath
m. 47 “D” (pronounced T) on rest
m. 49 Downbeat: Goal of the phrase for all. Note two: unaccented syllable
m. 56 Unaccented downbeat

She Walks in Beauty SATBB Z. Randall Stroope Carl Fischer CM9607 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: B3-Ab5; SII: B3-F5; A: Ab3-Db4; T: C3-Gb4; BI: Ab2-Db4; BII: G#2(yes, enharmonically the same as Ab2)-Db4
Instructions/Errata:
Approach to divisi will be determined by Region Coordinators and TMEA Executive Board. Would be best to learn both parts if you are able.

M. 67-68. Bass Db 2 will be considered optional during auditions.
Conductor's Rehearsal notes:
Notes:

m. 4 Use schwa between “in” and “beauty” (and every other time)
m. 7 Use schwa between “and” and “starry”
m. 7 Flip “R” on “starry”
m. 4-8 Observe non-breath markings / stagger breathe as needed
m. 9 Eliminate the “R” on “dark” and roll the “R” on “bright”
m. 10 Flip the “R” on “her”
m. 5 m. 6 Energize long note; aim for the future
m. 17 Use schwa between “one” and “shade”
m. 17-21 Observe non-breath markings / stagger breathe as needed
m. 22 Eliminate the “R” on “o’er” and “her”
m. 31 Eliminate the “R” on “Where”
m. 34 Eliminate the “R” on “pure” (also on m. 38)
m. 35 SA eliminate the “R” on “dear” / TB flip the “R” on “dear”
m. 38-41 Be patient with this section: use time to internalize the sound and tune carefully
m. 39 Eliminate the “R” on “dear” and “dwelling”
m. 42 Soft “S” on downbeat
m. 44 Use schwa between “on” and “that”
m. 45 Eliminate the “R” on “o’er”
m. 46 Roll the “R” on “Brow”
m. 50 Use schwa between “in” and “goodness”
m. 57 Use schwa between “and” and “starry”
m. 65 Soft “T” on downbeat

Shout Glory SATB Byron Smith Fred Bock 8739172 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
S: Eb4 - Eb5; A: Eb4 - Eb5; T: Eb3 - Gb4; B: C3 - Cb4
Instructions/Errata:
Solo will not be auditioned during the All-State audition process. Further instructions will be given in supplemental packet after the Area Audition.
Conductor's Rehearsal notes:
Notes:

SHOUT GLORY – Byron J. Smith
m. 8 no breath
m. 9 end with an 8th rest
m. 36 end with a quarter rest
m. 38 no breath
m. 39 end with an 8th rest
m. 58 SA, end with an 8th rest
m. 59 TB, end with an 8th rest
m. 62 end with a quarter rest

Sicut Cervus SATB Palestrina CPDL To be determined by Region Chairs and TMEA Executive Board
CPDL Download: http://www1.cpdl.org/wiki/images/f/f1/Sicut_Cervus_three_page.pdf
Voice Ranges:
S: D4 -D5; A:G3 - G4; T: D3 - E4; B: G2 - C4
Instructions/Errata:
Conductor's Rehearsal notes:
Notes:

SICUT CERVUS – Giovanni P. da Palestrina

Use Roman-Latin
Use dental T and dental D
Use “Z’ when the “S” is between two vowels
Use stagger breathing as necessary
Syllable accent is very important in Latin.

From Jeffers:
Sicut cérvus desíderat at fóntes aquárum:
Ita desíderat ánima méa ad te, Déus.
Energize beginning long notes throughout the piece

m. 6 T, “rum” sustain, energize
m. 10 S, last note = quarter + rest
m. 15 T, 3rd note, staccato / also on m. 26
m. 17 A, 1st note = half + rest
m. 21 S, 3rd note, staccato
m. 29 2nd note, staccato
m. 30 A, 3rd note, staccato
m. 32 A, 3rd note = quarter + rest
m. 34 TB, 2nd note, staccato
m. 42 B, 1st note, half + rest
m. 44 A, 1st note, quarter + rest
m. 46 T, 1st note = rest / last note = C natural
m. 47 B, 1st note = quarter + rest
m. 48 A, 2nd note = quarter + rest
m. 48 T, 3rd note, staccato
m. 49 B, last note = quarter + rest
m. 51 B, 2nd note = quarter + rest
m. 52 A, 1st note = quarter + rest
m. 53 T, 1st note = 8th + rest
m. 54 B, 3rd note = 8th + rest


LSC and SSC Sightreading Criteria
  • Sightreading may be used at any level of audition but is mandatory at high school Pre-Area and Area auditions. The sightreading audition shall be 20% of the total score.
  • The sightreading exercise shall be written in one of the following key signatures: C, G, D, A, E, F, B-flat, E-flat or A-flat. There will be no modulations or altered tones.
  • The sightreading exercise shall be written in one of the following meter signatures: 2/4, 3/4 or 4/4, and approximately 8 measures in length.
  • The sightreading exercise may include the following rhythmic devices: half notes, quarter notes, eighth notes, dotted quarter notes, dotted eighth notes, sixteenth notes, quarter rests, eighth rests, and simple syncopation.
  • The sightreading exercise will include a minimum of 30 notes.