All-State Choir Audition Material

This is the official listing of the 2022–2023 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 any CPDL selections, if available, 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.

LSC and SSC Resources


LSC Voice Ranges

Large School Choir Packet


Mixed Choir

Conductor: Dr. Julie Yu-Oppenheim, Kansas State University


Trinity Te Deum

Voicing: SSAATTBB
Composer: Ēriks Ešenvalds
Publisher: Musica Baltica
Product ID: MB1416A
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S1: C#4-A5--S2: C#4-F#5--A1: B3-D5--A2: B3-D5--T1: C#3-G#4--T2: C#3-E4--B1: A2-D#4--B2: F#2-C4

Instructions/Errata:
LSC PLAYLIST: https://tinyurl.com/23LSCMusic

PIANO SCORE ONLY: m. 47 - SATB should be a dotted quarter note (updated 7/7)

Conductor's Rehearsal notes:
• Ešenvalds provides very clear directions on phrase endings with rests.
• Please follow the dynamic markings as provided.
• Sabaoth [sa’ ba ot]

• m. 27 All no breath
• m. 48 All lift on the and of beat 1
• m. 56 All off on beat 2
• m. 68-101 will be sung sweetly and with the influence of folk songs of the British Isles—much less formal and robust. Please know when you are foreground and when you are background.
• m. 76 - S/A no breath
• m. 78 - S1 no breath
• m. 79-84 - T/B no breath/stagger breathe
• m. 92 - All no breath
• m. 94-101 - T/B no breath/stagger breathe


Joy Never Leaves

Voicing: SATB
Composer: Christopher Harris
Publisher: Graphite Publishing
Product ID: GP-H023
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S1: C4-G5--S2: C4-G5--A1: Bb3-C5--A2: Bb3-C5--T1: F3-Gb4--T2: F3-Gb4--B1: Bb2-Eb4--B2: Bb2-Eb4

Conductor's Rehearsal notes:
• Joy Never Leaves is composed by Texas native Dr. Christopher Harris. This piece celebrates homorhythmic singing featuring lush chords enhanced through the use of inversions and extensions. What I would most focus on is being a good listener as you sing - always adjusting to my (the conductor’s) expectations on balance, tone, and timbre.

• Be aware of the pitfalls of singing in “American” English. In order to tune chords and achieve the brilliant overtones we hope to create, pure vowels are essential. The important thing is not to let fat-tongue consonants (l, r, th, etc.) influence your vowels. And sustain the primary vowel of a diphthong to only give the hint of the 2nd vowel as you release.

• Danger diction words:
• I (diphthong)
• Full (watch l)
• Tears (watch r)
• Of (ə should have some height)
• Joy (diphthong)
• That (1 syllable) [æ]
• Well (watch l)
• Flow (diphthong)
• Carry (watch r)
• Life (diphthong)
• Anew [ə ŋu’]
• Hand (1 syllable) [æ]
• Ours (think hours)
• Could (color with [u])
• Birthed (watch r, th)
• From (ə should have some height)
• Love (ə should have some height)
• Sustains (diphthong)
• Does (ə should have some height)
• Which [hwɪtʃ]
• Now (diphthong)
• Prayer (watch r’s)

• If you’re already an “overdoer” please don’t make your vowels affected by over-brightening or swallowing the sound. Ask your director if you’re not sure. But if you don’t usually think about these diction concepts, then it would probably benefit you to work with your directors on this.


• m. 18 - S/T off on beat 3; A/B off on the and of beat 2
• m. 27 - Alto lift on beat 2
• m. 33 - All no breath
• m. 76 - All lift at comma
• m. 78 - S/T off on beat 3; A/B off on the and of beat 2


Trois Chansons Bretonnes

Voicing: SATB
Composer: Henk Badings
Publisher: Edition Ferrimontana
Product ID: 123152
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
S1: D4-A5 -- S2: D4-G5 -- A1: C4-D5 -- A2: C4-D5 -- T1: D3-A4 -- T2: D3-A4 -- B1: G2-E4 -- B2: G2-E4

Instructions/Errata:
Movements 1 and 3 designated for Area auditions.


Mvt. 3
m. 33 - bass note should be a C flat (updated 7/7)
m.44 - Tenor should be a C#
m. 60-61 (last note) - Tenor 2 will sing the A and D. (updated 7/2)

Conductor's Rehearsal notes:
• One of the most effective ways for us to sound French is to honor the schwa [Ə] in the final unaccented consonants of words. So instead of saying “brise” [bri’ sε], you would say [bri’ sƏ]. Thank you for honoring this.
• Also flip all r’s, avoid heavy tongue l’s, and be aware of the combination vowels (ask an expert for help on this).
• Hardly will you ever sing note to note with equal emphasis. Phrases are always going somewhere or going away from somewhere.

Mvt. 1
• Acknowledge rests as written
• m. 10-13 - S/A stagger breathe
• m.21 - T/B no breath

Mvt. 2
• m. 2-3 - S1/S2/A no breath
• m. 10 - T/B1/B2 off on the and of beat 1
• m. 12 - All lift between beat 1 & 2; All lift on the and of 3
• m. 12-14 - All “ah” singers stagger breathe
• m. 13 - All lift between m. 13-14
• m. 14 - S2/A off on beat 6 with S1; T/B1/B2 off on the and of beat 6
• m. 20 - T/B1 no breath
• m. 29 - All no breath

Mvt. 3
• m. 2-3 - All no breath
• m. 4 - All lift on the and of beat 3
• m. 7-8 - S/A/T no breath
• m. 8 - S/A/T lift on the and of beat 4
• m. 12-13 - S/A no breath
• m. 13 - S/A lift on the and of beat 3; T/B no breath
• m. 14 - T/B lift on the and of beat 1
• m. 18 - All lift on the and of beat 3
• m. 21-22 - All no breath
• m. 22 - Sop lift on the and of beat 3; A/T/B no breath
• m. 26 - All lift on beat 4
• m. 30 - All lift on beat 4
• m. 38 - All lift on the and of beat 4
• m. 42 - All lift after fermata
• m. 46 - All lift on beat 4
• m. 48 - All lift on the and of beat 4
• m. 50 - All lift on beat 4
• m. 54 - All lift on beat 4


Lamentations of Jeremiah

Voicing: SATB
Composer: Alberto Ginastera
Publisher: Theodore Presser
Product ID: 352-00103
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges
S1: C4-Bb5--S2: C4-Bb5--A1: F3-E5--A2: F3-E5--T1: D3-A4--T2: D3-A4--B1: E2-E4B2: D2-E4

Instructions/Errata:
Movements 2 and 3 designated for Area auditions



Mvt. 1

m. 63 - bass rhythm should match Soprano and piano and should be an eighth note, NOT a sixteenth.

Conductor's Rehearsal notes:
• Singers will need to demonstrate a healthy and excellent vocal technique in this piece as voices sometimes sing at the extremes of their vocal ranges.
• Love those primary pure Latin vowels. Flip r’s.


Mvt. 1
• m. 1-14 - S/A Ah’s cut off on beat 1
• m. 10 - T/B off on beat 3
• m. 12 - T/B off on beat 3
• m. 14 - All off on beat 2
• m. 17 - All off on beat 3
• m. 23 - Bass lift on the and of 1
• m. 28 - Tenor lift on the and of 1
• m. 29 - Bass off on 3
• m. 33 - Alto lift on the and of 1
• m. 36 - Tenor off on beat 3
• m. 40 - Soprano off on beat 1
• m. 42 - Sop. lift on the and of 1; A/T/B off on beat 1
• m. 49 - All off on beat 3
• m. 56 - T/B off on beat 2; Alto connect over the barline
• m. 63 - All off on the and of 2
• m. 69 - S/T release on beat 1
• m. 81 - All off on beat 3
• m. 88 - All off on the and of beat 3
• m. 90 - All off on beat 3
• m. 92 - All off on beat 3
• m. 96 - All off on beat 3
• m. 105 - T/B off on beat 3
• m. 109 - All off on beat 3

Mvt. 2
• m. 8 - Bass off on beat 4
• m. 10 - T/B off on 4
• m. 12 - Alto off on beat 4
• m. 14 - S/T/B off on beat 4
• m. 16 - Tenor off on beat 4
• m. 22 - All off on beat 4
• m. 30 - T/B off on beat 4; S/T release on beat 1 of m. 31
• m. 37 - All off on beat 4
• m. 45 - A/T/B off on the and of beat 4; Sop release on beat 1 of m. 46
• m. 46-51 - T/B stagger breathe. Leave off [s] when you breathe
• m. 51 - A/T/B off on beat 4

Mvt. 3
• m. 5 - Soprano off on beat 4
• m. 6 - Alto off on the and of beat 4
• m. 9 - Soprano off on beat 2; Alto off on beat 4; Bass off on beat 2
• m. 13 - Soprano off on beat 3; Tenor off on beat 4
• m. 17 - A/B off on beat 2
• m. 18 - Tenor off on beat 3
• m. 20 - Soprano release on beat 1
• m. 23 - All lift on beat 2
• m. 24 - Tenor no breath
• m. 28 - Tenor off on beat 4
• m. 29 - Bass off on beat 4
• m. 33 - All off on beat 4
• m. 36 - All off on beat 4
• m. 39 - All off on beat 4
• m. 42 - All off on the and of 4
• m. 53 - Alto releases on beat 1
• m. 60 - Alto slight lift at the comma
• m. 62 - Tenor slight lift at the comma
• m. 62-67 - Tenors stagger breathe
• m. 80 - Bass lift on the and of beat 2
• m. 84 - All release on the and of 2


Treble Choir

Conductor: Dr. Jennifer Sengin, Georgia State University


Sigue

Voicing: SSAA
Composer: Ivette Herryman Rodriguez
Publisher: GIA Publications/Walton
Product ID: WLG150
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S1: B3-E5--S2: B3-D5--A1: G3-D5--A2: F#3-D5

Instructions/Errata:
Please observe the PRINTED measure numbers. (6/1)

Music misprint—Alto, m.57, rhythm should match previous two
rhythms. (6/29)

Conductor's Rehearsal notes:
Any Divisi in a specific part for LSC will be split: Areas A-D will take the lower divisi. Areas E-H will take the higher divisi.

Sigue Spoken Text out of Rhythm - https://youtu.be/u-5EjGukJbU Sigue Text Spoken in Rhythm - https://youtu.be/Xv8ZWDMOpy4
Sigue Speaking on Text with Space for Repetitions - https://youtu.be/_LEATJdgj_Q

· Please listen to the pronunciation guides by a Cuban speaker. There are several options of pronunciation tracks and I hope they are helpful to you in your learning. Please write in the pronunciation of the text in a way that is meaningful to you – IPA, phonetically, etc… so that you can sing the piece with fluency before our first rehearsal. That will allow us to sing with a high level of musical artistry.

· All of the “t” sounds should be dentalized and very gentle – you will hear that in the recordings provided. This happens from putting your tongue between your teeth in order to say the “t” sound. You will hear that in the pronunciation guides.

· The “d” sound in Spanish is pronounced differently than English. Place the tongue behind your teeth and say the consonant unaspirated. Listen for these subtleties on the recordings provided.

· All of the “r”s in this piece should be flipped and done with the tip of the tongue instead of the American “r” that happens further back in the mouth.

· Please come with this piece memorized so that we can incorporate physical movement.

· mm. 25-26 – no breath
· mm. 46-47 – no breath
· m. 53, 55, 57 - S1 and S2 – take a catch breath at the end of the measure
· m. 61 – S1 and A2 – take a catch breath at the end of the measure
· m. 63, 67, 71, 83, 90 – all voices – take a catch breath at the end of the measure


God Will Give Orders/Sweet Child from "Snow Angel"

Voicing: SSAA
Composer: Sarah Quartel
Publisher: Oxford University Press
Product ID: 9780193525429
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S1: F4-G5--S2: F4-D5--A1: C4-Bb4--A2: G3-Bb4

Conductor's Rehearsal notes:
· The opening of this piece requires a sustained legato, much like “Laudate Pueri”. Practicing on a warm, neutral syllable will help to incorporate that legato style. Some suggestions of neutral syllables include “noh”, “loh”, etc…

· Every time that the phrase, “about you,” comes up, please make sure to separate the “t” and the “y” so that it is “about-you” and not “about-chu”. This phrase happens frequently so please write it in each time. It will help to have less aspiration on the “t” there.

· m. 20 – take a catch breath breath after “you”
· m. 32 – take a catch breath at the end of the measure, that is where you will release the “ah” vowel
· m. 40 – S2, A1, A2 – take a catch breath after “you”
· mm. 44-45 – no breath over the barline
· m. 48 – release the “ah” at the end of beat 3
· m. 50 – no breath after “poorly”
· m. 52 – place the final “nuh” sound of “children” on the final eighth note
· m. 54 – no breath after “have”
· m. 56 – take a catch breath after “heav’n”
· m. 59 – no breath
· m. 64 – take a catch breath at the end of the measure
· m. 67 – no breath
· m. 72, 84, 88, 92, 96, 100 – take a catch breath at the end of the measure
· m. 104 – take a catch breath before beat 4 and the text, “Sweet”
· m. 106 and m. 108 – put the final “d” of the word, “child” on beat 4
· mm. 109-112 – no breath
· m. 112, A2 – lift (breath) before “oh sweet”
· m. 112 – S1, S2, A1 – place the “ng” of “song on the last eighth note value
· mm. 113-116 – no breath
· m. 116, A2 – lift (breath) before “Oh sweet”
· m. 116 – S1, S2, A1 – eighth rest at the end of the measure
· m. 118, 120, 122 – take a catch breath at the end of the measure
· mm. 123-126 – no breath


Tximeletak

Voicing: SSA
Composer: Eva Ugalde
Publisher: CM Ediciones Musicales
Product ID: CM.2.0030
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S1: D4-A5--S2: B3-D5--A1: G3-B4--A2: G3-B4

Instructions/Errata:
Please use the pronunciation Guide from composer - https://bit.ly/3O7M8jb (updated 7/7)

m. 35 - 36
in the three part split the Alto I will sing the lowest note in the Soprano 2 (G4-E4-G4-F#4)

The soprano 2's will sing the divisi present according to the Area note below.

Conductor's Rehearsal notes:
Any Divisi in a specific part for LSC will be split: Areas A-D will take the lower divisi. Areas E-H will take the higher divisi.

· The challenging part in this piece is the mixed meter and the tone clusters. As you practice, work to tap a steady eighth note beat while you practice the parts. This will help us to ensure we stay together rhythmically.

· When we get together in February, we will also count-sing this piece. Please be prepared to sing it in beat groupings. For example, in the 8/8 measure, it is grouped as 3+3+2 so you would sing the notes on the numbers, “1-2-3, 1-2-3, 1-2”. Be prepared to do that throughout the piece. That will really help us to line up the rhythms.

· Please write in the solfege for this piece. Since there are sections where there are some significant divisi and some intervals of a 2nd, we may utilize solfege in rehearsal to address any intonation challenges that arise.

· I have provided a pronunciation guide above. Please write in the pronunciation of the text in a way that is meaningful to you – IPA, phonetically, etc… so that you can sing the piece with fluency before our first rehearsal. That will allow us to sing with a high level of musical artistry.

· m. 8 – add an eighth rest at the end of the measure
· mm. 10-11 – no breath
· m. 13 – put the final “k” sound of “gainetik” on beat 1
· m. 24 – lift at the end of the measure
· mm. 30-31 – no breath
· mm. 32-33 – no breath
· m. 37 – put the final “k” sound of “besterik” on beat 1
· m. 43, S2 and A – put the final “ts” sound of the word, “ixilitasunerantz” on the last eighth note so you can take a breath
· m. 45, S2 and A – lift after the final eighth note in this measure


Lauda Jerusalem

Voicing: SSAA
Composer: Nicolà Popora, Arr. Martin Banner
Publisher: Alliance Music
Product ID: AMP 0772
Audition Levels: Designated for Area Audition use.
Selection Voice Ranges
S1: A4-F5--S2: F4-F5--A1: C4-B4--A2: A3-Bb4

Conductor's Rehearsal notes:
· Please transfer the underlined syllables into your music. These are the places in the text that we should stress.

· When you are practicing, please work these text stresses into your singing from the very beginning. Direct the peaks of phrases to the emphasized syllables. This will help us to elevate the phrasing and save us time when we begin rehearsing.

· I have provided a pronunciation guide that will be included with the resource link. Please write in the pronunciation of the text in a way that is meaningful to you – IPA, phonetically, etc… so that you can sing the piece with fluency before our first rehearsal. That will allow us to sing with a high level of musical artistry.


· m. 7 – all voices, change the quarter note on beat 1 to an eighth note followed by an eighth rest
· m. 13 – all voices, change the quarter note on beat 1 to an eighth note followed by an eighth rest
· m. 14 – A1 and A2, strong “k” sound on “Quoniam”
· m. 20 – S1, S2, and A1, change the quarter note on beat 1 to an eighth note followed by an eighth rest
· m. 26 – all voices, change the half note on the downbeat to a dotted quarter note followed by an eighth rest
· m. 34 – All voices, change the half note on beat 1 to a dotted quarter note followed by an eighth rest
· m. 39 – All voices, change the quarter note on beat 1 to an eighth note followed by an eighth rest
· m. 54 – S1 and S2, change the quarter note on the down beat to an eighth note followed by an eighth rest
· m. 54 – A1 and A2, put the “s” of “ejus” on beat 3
· m. 55 – A1 and A2, strong “k” sound on the word, “Qui” (kwi)
· m. 56 – S1 and S2, place the “m” of “nivem” on beat 1
· m. 57 – A1 and A2, place the “m” of “nivem” on beat 1
· m. 61 – S2 and A1, change the quarter note on the beat 1 to an eighth note followed by an eighth rest; put the final “m” of the word, “lanam”, on the eighth rest
· m. 61 – S1 and A2, add an eighth rest at the end of this measure and place the “m” on the rest
· m. 72 – change the half notes to a dotted quarter note followed by an eighth rest and place the “t” of “spargit” on the rest
· m. 77 – change beat 3 to an eighth note followed by an eighth rest; put the “s” of “buccellas” on that last eighth rest
· m. 83 – change beat three to an eighth note followed by an eighth rest; put the “t” of “sustinebit” on that eighth rest
· m. 87 – put the “t” of “sustinebit” on the final eighth note
· m. 92 – put the “m” of “su-um” on the final eighth note
· m. 96 – change beat 3 to an eighth note followed by an eighth rest
· m. 106 – add an eighth rest at the end of the measure so you can take a breath
· m. 113 – all voices, change the half note to a dotted quarter note followed by an eighth rest, and put the “b” of “Jacob” on the rest
· m. 117 – change beat 3 to an eighth note followed by an eighth rest
· m. 128 – change beat 3 to an eighth note followed by an eighth rest
· mm. 134-135 – no breath
· m. 145 – S1, change beat 1 to an eighth note followed by an eighth rest
· m. 154 – change beat 3 to an eighth note followed by an eighth rest
· m. 158 – add an eighth rest to the end of the measure, put the “m” of “saeculorum” on the rest
· m. 165 – place the “n” of “amen” on beat 3 with a tiny shadow vowel


Tenor-Bass Choir

Conductor: Dr. Eugene Rogers, University of Michigan


A passer-by

Voicing: TTBB
Composer: Byron Adams
Publisher: earthsongs
Product ID: M-20
Audition Levels: Any audition prior to Area
Selection Voice Ranges
T1: F3-Cb5--T2: Eb3-A4--B1: Bb2- Eb4--B2: Gb2-Db4

Conductor's Rehearsal notes:
·m.2 breathe after “ship”
·m.5 decrescendo on “urgent West”
·m.6 breathe after “rising”
·m. 6 [I] on “-est”
·m.8 no breath between “away” and “fair”; slight crescendo
·m.11 cut off on beat 3
·m.27 crescendo through the end of the phrase
·m.34 Bar/B stress on the word “haven” and decrescendo through release
·m.34 cut off on beat one
·m.38 cut off on beat one
·m.60 crescendo on the word “grand”
·m.63 cut off on beat three
·m.64 tenuto on “up” and release on beat three
·m.77 breathe after “yet”
·m.78 cut off on beat three
·m.81 tenuto on “fan-” and accent first three notes of “right-“
·m.81 [I] on “di-“
·m.83 cut off on beat three
·m.84 accent “that”
·m.85 lift between “joyful” and “a”; tenuto on “blame-“; lift between “-less” and “thy”
·m.86 crescendo on “-sured”; cut off on beat three
·m.88 crescendo on “mine”; cut off on beat three
·m.90-92 legato; no breath between 91-92; accent “-en” of “given”
·m.92 [I] on “enough”
·m.94 accent beat one; tenuto beat two; cut off on beat three
·m.96 accent on beat three; no breath to measure 97
·m.97 cut off on beat three
·m.98 crescendo through measure
·m.99 a little more weight on beat one
·m.101 crescendo on “crowd-“
·m.102 cut off on beat one
·m.104 change “ff” to “mf”; cut off on beat four
·m.105 change “ff” to “f”
·m.108 move the “fff” to measure m.110


Beati mortui

Voicing: TTBB
Composer: Felix Mendelssohn
Publisher: CPDL
CPDL Download: https://www.cpdl.org/wiki/images/7/78/Mendelssohn_115-1.pdf
Product ID: CPDL
Audition Levels: Any audition prior to Area
Selection Voice Ranges
T1: G3-G4--T2: E3-F4--B1: F2-C4--B2: E2-C4

Instructions/Errata:
m. 46, beat 1 - tenor 2 should sing "i" (updated 6/6)
m. 51, beat 1 - tenor 2 should sing "i" (updated 6/6)

Conductor's Rehearsal notes:
Notes: Omit solo
Performance Notes:
• m.2 stress on beat 1
• m.4 stress on beat 1 and breathe on the and of beat three
• m.4-8 starting with the B2 entrance then with the B1,T2 and T1 each entrance dynamic level starts “p”
• m.11 stress on beat one and decrescendo across the bar
• m.15 T2,B1,B2 stress on beat 1
• m.16 everyone fermata
• m.18 B1 and B2 breathe after “-tus”
• m.19 everyone stress on beat 3
• m.23 T1,B1,B2 decrescendo the bar; T2 crescendo/decrescendo
• m.24 everyone breathe after “-is”
• m.26 T1,B1,B2 breathe after “-tus”; B2 carry through
• m.27-28 everyone carry across the bar
• m.29 everyone breathe after “-is”
• m.30-31 non-crescendo
• m.35 everyone crescendo to “f”
• m.37-40 non-crescendo
• m.40 everyone breathe after “-tes”
• m.43 everyone rit.
• m.44 B1 lift on the and of beat one;B2 breathe on beat two
• m.44-45 everyone starts their phrase “pp”
• m.46 T2 and B2 breathe on the and of beat three
• m.49 B1 breath on the and of beat one; B2 breathe on beat two
• m.49-50 everyone starts their phrase “mp”
• m.51 T2 breathe on the and of beat 3; B1 no breath; B2 carry across the bar
• m.53 T1 and T2 stress on beat 1
• m.54 everyone rit.; T2 and B1 breathe after beat 2


Steal Away

Voicing: TTBB
Composer: Arr. Stacey V. Gibbs
Publisher: Hal Leonard/Mark Foster
Product ID: HL 00265619
Audition Levels: Any audition prior to Area
Selection Voice Ranges
T1: D3-B4--T2: D3-E4--B1: B2-B3--B2: D2-G3

Conductor's Rehearsal notes:
Any Divisi in a specific part for LSC will be split: Areas A-D will take the lower divisi. Areas E-H will take the higher divisi.

Notes: Tenor solo starting at m.19-25
Pronunciations:
I = ah

Performance Notes:
• m.1 & 3 “to” = [tə]
• m.2 breathe after “here”
• m.2-3 stress on “I” and “ain’t”
• m.3 stress on the dotted eighth of “stay”
• m.4 crescendo/decrescendo the word “here” and breathe after “here”
• m.5 clear shadow consonant on “done”; breathe after “done”
• m.6 carry “run” to “then”
• m.8 crescendo/decrescendo the word “home”; Tenor 2 quarter rest on beat four
• m.9 everyone take a breath after beat 4
• m.10 everyone take a breath after beat 4
• m.11 “to” = [tu]
• m.12 everyone stress on “Je-”; Bass 2 breathe after “Jesus” and connect “oh” all the way to beat one of m.13
• m.13 everyone breathe after “way”
• m.15 Baritone tenuto and cresc/decresc on “home”; Bass 2 tenuto on “home”; everyone breathe after “home”
• m.16 “to” = [tə]
• m.17 tenuto & staccato on beat one; everyone take a breath after “here”
• m.18-24 Tenor solo; Tenor 1 sings the top notes of the Tenor 2 line
• m.23 accent every note
• m.24 Tenor 1 go back to singing original part starting on the word “I: ; everyone take a breath after “home”
• m.27-29 staccato “my”; tenuto on the words “Lord” and “calls”; take a breath after “me”
• m.30 take a breath after “thunder”; Starting on the word “the” dynamic level “mp”
• m.31 T1 breathe after beat 2 and 4; T2 breathe after beat 3 and 4; B1 accent entrance; B2 breathe after 3; B2 accent “trum-“; B1 accent “trum-pet”
• m.30-32 Bass 2 accent the words “the trumpet sounds”
• m.32 Bass1 breathe on beat one and tenuto on every “trum-“; T1/T2/B1 no breath between each “trumpet”; everyone breathe before “the”
• m.33 everyone breathe on beat 3; molto legato on “with-in-a-my”
• m.37-38 everyone breathe at the end of each measure
• m.39 “to” = [tu]
• m.40 T1,T2,B1 breath at the end of the measure; B2 breathe after “Jesus” and the “oh” across the bar
• m.41 everyone breathe at the end of the measure
• m.47 T1 (lower),T2,B1 breath at the end of the measure; B2 carry across the bar
• m.48 T2 and B1 accent each entrance
• m.49 T1 (lower),T2,B1 breathe at the end of the measure; B2 carry across the bar
• m.50 T2 and B1 accent each entrance
• m.51 T1 (upper) lift before beat four


Chôros No. 3 'Pica-Pau'

Voicing: TTBB
Composer: Heitor Villa-Lobos
Publisher: Hal Leonard/Durand S.A. Editions Musicales
Product ID: HL00905925
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges
T1: Eb3-B4--T2: C3-Ab4--B1: Bb2-Eb4--B2: Gb2-Db4

Instructions/Errata:
m. 114-115, T1 and T2 - discrepancy with practice track, see score for beat 3 correction (updated 8/3)

Conductor's Rehearsal notes:
A tour de force for TTBB choirs composed one of the most important Brazilian composers of all time--Villa-Lobos. This setting uses sounds of the rainforest and vocables to bring out the desired character and colors of this piece. Tenor 1's should use a reinforced falsetto color to bring out the part.

All of the text use the following vowels: A (ah), E (eh), I (ee), O (oh) and U (oo)

Any Divisi in a specific part for LSC will be split: Areas A-D will take the lower divisi. Areas E-H will take the higher divisi.


• m. 2-3 T2 stress on beat 1
• m. 6-7 T1 stress on beat 1
• m. 8 T1 breathe on beat 1; T2 stress on beat 1
• m. 9 T2 stress on beat 1; cresc on beat 3-4
• m. 10 B1 stress on beat 1; T2 staccato/accent on beat 1; staccato on the word “orekua”
• m. 11 B1 stress on beat 1, staccato on beat 2, stress on beat 3; T2 accent on beat 4
• m. 12 B2 stress on beat 1; B1 off on beat 1
• m. 13 B1 beat 1 staccato, beat 2 staccato, stress on beat 3 and crescendo to next measure
• m. 14 B1 off on beat 1; B2 beat 1 staccato, beat 2 staccato, stress on beat 3 and crescendo to next measure
• m. 15 B2 off on beat 1; B1 staccato beat 2, stress on beat 3 and crescendo to next measure
• m. 16 B1 off on beat 1; B2 staccato beat 2, stress on beat 3 and crescendo to next measure
• m. 17 T1,B1,B2 crescendo; T2 off on beat one; B1 accent beat 2
• m. 18 T1 breath after “ce” and stress on “na-“; T2,B1,B2 staccato each eighth note and stress on the and of beat 2; B1 and B2 carry across the bar
• m. 19 T1 crescendo; T2 off on beat 1; B1 and B2 stress on beat 2
• m. 20 T1 breath after “ka” T2,B1,B2 staccato each eight note and stress on beat 3; B1 and B2 carry across the bar
• m. 21 T1 crescendo; T2 off on beat 1; B1 accent beat 2
• m. 22 T1 beat 3 staccato, breathe on the and of beat 3; T2, B1, B2 beat 1 & 2 staccato, stress on beat 3
• m. 23 T1 breathe after “-lo”; T2 off on beat 1
• m. 24 T1 no breath; B1 stress on beat 3, accent the and of beat 4
• m. 25 B1 accent beat 1, stress on beat 3, accent the and of beat 4
• m. 26 B1 accent beat 1, stress on beat 3, accent the and of beat 4
• m. 39 T1 crescendo
• m. 45-46 T1 crescendo and decrescendo
• m. 47 T1 breathe after beat 1; T1 and T2 staccato the eighth notes and carry across the bar
• m. 48 T1/T2 accent on beat 1
• m. 53-55 T1 crescendo and decrescendo
• m.55 B1 and B2 on beat 2 change the word to “pau”
• m. 59 T1 breathe after beat 1
• m. 60 B2 beat 2 add the word “-au” and accent it.
• m. 62 T2 add a “sfz p”
• m. 66 T2 breathe after beat 1; B2 adding dynamic “f” starting at the word “Noza”
• m. 77 T1 and T2 sing line at a “mp”
• m. 82 B2 add a quarter rest before the word “pa”
• m. 83 T1 and T2 sing line at a “mp”
• m. 89 B2 quarter rest on beat 2
• m. 90 T1 and T2 sing line at a “mf”
• m. 98 T2 and B2 staccato the word “na” and stress the syllable “No” of “Noza”
• m. 99 T2 and B2 add a “sfz p”
• m. 100 B2 change dynamic to “f”
• m. 101-104 change the word to “vzz”
• m. 105-106T2 sing the line legato; B2 sing the line marcato
• m. 108 T1 and B1 starting dynamic “mf”; B2 starting dynamic “f”
• m.108-111 T1/B1 change dynamic to “mf”; T2 make the quarter notes into eighths
• m. 110 B2 accent the word “rahan” and crescendo
• m. 111 B2 off on beat one
• m. 112 B2 crescendo beat 2
• m. 113 B2 off on beat one
• m. 115 B2 accent the word “toza” and crescendo
• m. 116 B2 off on beat one
• m. 118 B2 off on beat one
• m. 122-124 T1,T2,B1 breathe one the eight note of the triple
• m. 130-131 everyone breathe after the word “pao” each time it appears


LSC and SSC Resources


SSC Voice Ranges

Small School Choir Packet


Small School Mixed Choir

Conductor: Dr. Jeffery Redding, University of Central Florida


Verdurôn

Voicing: SATB
Composer: Arr. Randy Haldeman
Publisher: GIA Publications / Walton Music
Product ID: WSZ102
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S: Eb4-G5 -- A: D4-Eb5 -- T: Eb3-G4 -- B: Bb2-Eb4

Instructions/Errata:
SSC PLAYLIST: https://tinyurl.com/23SSCMusic

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.

Any Divisi in a specific voice part for SSC will be split: Areas North and East will take the LOWER divisi and Areas South, West, and Central will take the HIGHER divisi for Area Audition. However, for the Region Choir clinic and concert, Region Coordinators may determine the best approach to divisi for the integrity of the performance.


i thank you God for most this amazing day

Voicing: SATB
Composer: Dan Forrest
Publisher: Breckenhurst Press
Product ID: DF1004
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S: B3-A5 -- A: A3-D5 -- T: E3-D#4 -- B: G#2-C4

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.

Any Divisi in a specific voice part for SSC will be split: Areas North and East will take the LOWER divisi and Areas South, West, and Central will take the HIGHER divisi for Area Audition. However, for the Region Choir clinic and concert, Region Coordinators may determine the best approach to divisi for the integrity of the performance.


We Remember Them

Voicing: SATB
Composer: Susan LaBarr
Publisher: Walton
Product ID: WW1753
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S: D4-Ab5 -- A: Eb4-F5 -- T: D3-A4 -- B: A2-Eb4

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.


Soon I Will be done

Voicing: SATB
Composer: Arr. Marques L.A. Garrett
Publisher: Walton
Product ID: WW1900
Audition Levels: Any audition prior to Area
Selection Voice Ranges
S: C#4-A5 -- A: A3-D5 -- T: D3-A4 -- B: F-D4

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.

Any Divisi in a specific voice part for SSC will be split: Areas North and East will take the LOWER divisi and Areas South, West, and Central will take the HIGHER divisi for Area Audition. However, for the Region Choir clinic and concert, Region Coordinators may determine the best approach to divisi for the integrity of the performance.


Berusa Er

Voicing: SATB
Composer: Sten Källman
Publisher: GIA Publications / Walton Music
Product ID: WW1528
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges
S: F4-G5 -- A: D4-Db5 -- T: G3-G4 -- B: C3-D4

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.

Any Divisi in a specific voice part for SSC will be split: Areas North and East will take the LOWER divisi and Areas South, West, and Central will take the HIGHER divisi for Area Audition. However, for the Region Choir clinic and concert, Region Coordinators may determine the best approach to divisi for the integrity of the performance.


Te Deum - Hob. XXIIIc:2

Voicing: SATB
Composer: Joseph Hadyn
Publisher: Carus
Product ID: 51.999/05
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges
S: C4-G5--A: B3-E5--T: C3-G4--B: F#2-E4

Conductor's Rehearsal notes:
Rehearsal notes will be posted here when available.


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.