All-State Choir Audition Material

This is the official listing of the 2021–2022 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

  • Click here for IPA charts, Prep Sheets, and Time Markers.


LSC Voice Ranges

Large School Choir Packet


Mixed Choir

Conductor: Dr. Jason Max Ferdinand, Oakwood University


Dixit Dominus (first movement)

Voicing: SATB
Composer: G.F. Handel, Ed. Herrman
Publisher: G. Schirmer
Product ID: 1353307
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]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
* measure 67 - soprano 2 should be F# as in piano. (updated 6/15)
*TAKE NOTE - measure 117 and 199 - Tenors sing A natural against the Ab in the piano. To the best of our knowledge, this is correct. (updated 6/15)

Conductor's Rehearsal notes:
As you learn the music and become familiar with the notes and rhythms, also ask these questions
regularly, “What human emotion is aligned with the text and music? “How does this phrase, this song,
this chord etc., make me feel”? “What do I wish for the listening audience to perceive during this song,
this program etc.? These questions I deem critical as we seek to create an experience for all involved.

I cannot wait for this! Learn this one on a non-sense syllable or count singing. Be in no hurry to add the text!!! The dynamic shifts will come quickly and need to be clear to the ear. This has to dance and be very articulate. Our tones will have to be forward, bright and resonate. Did I mention dance?

• m. 22- Sopranos crescendo through “me-o.”
• m. 23- everyone accent each entrances.
• m. 24-25- Altos crescendo & decrescendo “me-o.”
• m. 39- Tenors crescendo through “me-o.”
• m. 42- Tenors and Basses move through “sede.”
• m. 46-47- Sopranos and Altos decrescendo through phrase.
• m. 52-53- Sopranos give stress to the word “donec” and crescendo through “ponam.”
• m. 55-57- Sopranos give stress to the words “inimicos” and “tuos.”
• m. 59-62- Sopranos give stress to the words “scabellum,” “pedum” and ‘tu’ of “tuorum”
• m. 62- Altos and Tenors decrescendo.
• m. 68- Sopranos and Altos decrescendo.
• m. 75- Sopranos crescendo.
• m. 76-77- decrescendo through the phrase (ALL)
• m. 78- crescendo starting at the word “ponam." (ALL)
• m. 82- decrescendo starting at the word “donec.” (ALL)
• m. 83- crescendo starting at the word “inimicos.” (ALL)
• m. 84- decrescendo and crescendo through the phrase. (ALL)
• m. 94- Tenors and Basses give stress to “donec.”
• m. 105-106- decrescendo through the phrase. (ALL)
• m. 117- crescendo starting at the word “pedum.” (ALL)


The Proclamation - Gloria in Excelsis Deo (from Gloria)

Voicing: SSAATTBB
Composer: Karl Jenkins
Publisher: Hal Leonard
Product ID: HL 48023119
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: Eb4-Ab5] [S2: Eb4-Bb5] [A1: G3-C5] [A2: G3-C5] [T1: D3-G4] [T2: D3-G4] [B1: E2-D4] [B2: E2-D4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
Rehearsal Recording: Learn divisi as written (m. 7-25 and m.66-end) on staff (S1 - top note, Soprano 2 and Alto 1 - middle note, and Alto 2 - bottom note) and use the tag (m.66-end) rehearsal recording as a reference. (updated 6/27)

Tenors & Basses will sing divisi as written in the score (T1, T2, B1, B2) - m. 7-12, 16-25, 50, 52, 66- 71, 75-100 (updated 8/15)

Sop 1's will follow Area split instructions for measures 22-24, 70, and 76.
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. (updated 6/1)

Conductor's Rehearsal notes:
This fanfare should be just that! Full sound great energy, crisp entrances and releases, and excited faces! Let's blow the roof off to start. Be sure to engage your bodies
on this!

Observe all divisi, accents, and dynamic markings


• m. 7- take a breath after “gloria.” (ALL)
• m. 8- take a breath after “gloria.” (ALL)
• m. 12- take a breath after “Deo.” (ALL)
• m. 13-15- Soprano and Altos carry “gloria” to beat 3.
• m. 13-15 - Bass I sing the tenor notes
• m. 18- Everyone carry ‘o’ of “deo” to the beat 1 of m. 19.
• m. 50- cut off on the and of beat 3 (ALL)
• m. 52- cut off on the and of beat 3 (S&T)
• m. 53- cut off on the and of beat 3 (A&B)
• m. 55- cut off on the and of beat 3 (ALL)
• m. 56- Basses give stress to beat 3 of “Pax.”
• m. 57- cut off on the and of beat 3 (ALL)
• m. 58- Basses give stress to beat 3 of “Pax.”
• m. 59- Altos and Basses give stress to beat 3 of “Pax.”
• m. 60-63 - Bass I sing the tenor notes
• m. 72-74 - Bass I sing the tenor notes


O Perfect Love

Voicing: SSAATTBB
Composer: Joseph Barnby, Arr. Stephen Murphy
Publisher: Walton Music (GIA Publications)
Product ID: WW1762
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: C4-F5] [S2: C4-F5] [A1: Ab4-Bb4] [A2: Ab4-Bb4] [T1: Eb3-Eb4] [T2: Eb3-Eb4] [B1: G2-D4] [B2: Eb2-D4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
*m. 60 - F natural and G - divisi among Alto 1, Alto 2 will sing the D. (updated 7/13)

Conductor's Rehearsal notes:
I have put very few markings here. This was arranged by a former student, now fellow faculty member of mine. You will enjoy the lush nature of this. Zero in on the text. You would agree that our world needs what this song is describing. When we get together we will make sure that chords are balanced nicely, and the colors are right. Stephen Murphy is a fan of the group Take 6, and so am I. Look up that group if you do not know them. It will make more sense when you wrap your ears around this piece.


• m.1-4- SAT TB crescendo & decrescendo through the phrase.
• m. 32-33- Tenors & Basses move through their entrances.
• m. 45- take a breath after “endurance.” (ALL)
• m.45-48- Crescendo through the phrase.
• m. 48- take a breath after “pain.” (ALL)


He’s Got the Whole World In His Hands

Voicing: SSAATTBB
Composer: Traditional, Arr. Cedric Dent
Publisher: GIA Publications
Product ID: WW1901
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: Eb4 - D6][S2: D4 -  Bb5][A1: G3 - F5][A2: G3 - Eb5][T1: F3 - A4][T2: Eb3 - G4][B1: F2 - D4][B2: Bb1 - C4] (updated 7/1)
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
*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. (updated 6/1)
*measure 26 - Bass 1 - disregard the half rest and observe the quarter rest on beat 2 with Bass 2, continue singing beat 3.

Conductor's Rehearsal notes:
I mentioned Take 6 before. Did you look them up? This is brand new and arranged by Dr. Cedric Dent, who was the original baritone in the group. This has a South African vibe that is clear in the
main hook. The verses are choral music as we know it. I will also send two audio clips to further explain this.

• m. 4- Sopranos and Altos put the ‘s’ of “His” on beat 1 of measure 4; Tenors and Basses take a breath after “His.”
• m. 5- Tenors crescendo and decrescendo the phrase.
• m. 6- Tenors crescendo starting on “oh.”
• m. 7- Tenors and Basses decrescendo.
• m. 9- Sopranos and Altos crescendo and decrescendo.
• m. 17- Sopranos and Altos articulate the bar “in His hands.”
• m. 20- Sopranos decrescendo.
• m. 23- Tenors crescendo and decrescendo the phrase.
• m. 25- Tenors crescendo and decrescendo the phrase.
• m. 29- Tenors carry “His” to “hands.”
• m. 30- Tenors decrescendo.
• m. 72- Everyone decrescendo.


The Chariot Jubilee

Voicing: SSAATTBB
Composer: R. Nathaniel Dett
Publisher: GIA Publications
Product ID: G-10178
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges: [S1: D4-B5] [S2: D4-A5] [A1: G3-E5] [A2: G3-E5] [T1: D3-G#4] [T2: B2-G#4] [B1: F#2-E4] [B2: F#2-E4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
*Music misprint - measure 65 - Alto rhythm should match soprano and piano (updated 6/25)
*measure 74, beat 4 ¼ the pianist played D natural instead of D#
*measure 104 - last note in the piano should be an A to match the vocal parts. (updated 6/25)
*measure 92, Alto - should be C# (updated 8/22)
*measure 110, Bass 1 - should be G# (updated 8/22)

Conductor's Rehearsal notes:
The soloist for this piece during the All-State Concert is an invited guest performer. Audition information to come. (updated 5/1)

I am VERY passionate about this piece. I did my doctoral research on it and I am thrilled that it is being performed more now around the country. It is a piece worth performing and hearing. R. Nathaniel Dett takes the gem of a negro spiritual and creates this expanded work.

• m.45- put the ‘s’ of “heavens” on the and of beat 3, within the tenor solo.
• m.52- take a breath after the first “amen.”
• m.53- put the ‘n’ of amen on beat 4.
• m.54- Sopranos carry the word “promise” to “of.”
• m.56- Sopranos put the ‘n’ of amen on beat 4.
• m.59- close the ‘m’ on the word “home”, within the tenor solo.
• m.64- STB carry “low” to “sweet”; Altos carry “swing” to “low.”
• m.65- put ‘t’ on the and of beat 4.
• m.68- SA take breath after “heaven”; TB carry “low” to “sweet.”
• m.69- Everyone take breath on beat 4.
• m.70- S1 and Altos crescendo.
• m.71- SA decrescendo and put the ‘n’ of “salvation” on beat 4; TB put the ‘t’ of “chariot” on beat 4.
• m.72- SA take a breath after “heavens.”
• m.76- SA carry the word “low” to “sweet”; TB take a breath after “heavens.”
• m.77- SA put the ‘t’ of chariot on beat 4; TB take a breath after “swinging.”
• m.78- Tenors connect “heaven” to “down.”
• m.79- SA crescendo through phrasing; TB crescendo & decrescendo the phrase; Everyone takes a on the and of beat 4.
• m. 80- SA carry “low” to “sweet.”
• m. 81- SA put the ‘t’ of “chariot” on beat 4; TB take a breath after “swinging.”
• m.83- TB take a breath after “salvation.”
• m. 84- Everyone decrescendo.
• m. 86- Everyone carries “covenant” to “for.”
• m. 87- Everyone keeps “glory” connected and release “grace” on beat 4.
• m. 88- Sopranos take a breath after “covenant.”
• m. 89- SAT put the ‘t’ of “covenant” on beat 1 of measure 90.
• m. 90- Everyone takes a breath after “lord.”
• m. 91- SAT take after “lord.”
• m. 93- SAT crescendo the word “Christ”; Basses turn ‘nant’ of “covenant” into an eighth note/ eighth rest.
• m. 94- SAT release “covenant” on beat 4; Basses turn ‘nant’ of “covenant” into an eighth note/ eighth rest.
• m. 95- Sopranos carry “covenant” to “for”; Basses take a breath after “covenant.”
• m. 96- SAT take a breath after “covenant.”
• m. 98- Everyone decrescendo on “Christ.”
• m. 102- Everyone closes on the ‘m’.
• m. 103- Everyone crescendo & decrescendo the phrase.
• m. 104- Everyone takes a breath after “home .”
• m. 106- Sopranos and Altos crescendo and take breath after “heav’n.”
• m. 107- Altos and Basses crescendo & decrescendo; Tenors and Basses take a breath on beat 4.
• m. 108- Sopranos and Altos take a breath after “home”; Tenors take a breath after “lord.”
• m. 109- SAT take a breath before “shall.”
• m. 112- Sopranos and Basses take a breath after “home”; Basses decrescendo the word “home.”
• m. 114- SAB take a breath after “home.”
• m. 115-116- ATB crescendo & decrescendo through the phrase.
• m. 117- Sopranos take a breath after “low.”
• m. 118- Altos and Basses take a breath after “low.”
• m. 119- Sopranos take a breath after “low”; Basses take a breath after “swing.”
• m. 130- Sopranos and Altos decrescendo; Tenors and Basses crescendo.
• m. 145- Everyone crescendo on beat 3 of the measure.
• m. 148- Tenors take a breath after “chariot.”
• m. 149- SAT decrescendo the phrase; Sopranos and Altos take a breath after “grace.”
• m. 151- SAT takes a breath on beat 4.
• m. 154- Soprano carry “covenant” over the bar to the word “God”
• m. 155- SAT takes a breath on beat 4.
• m. 158- Everyone takes a breath after the word “chariot.”
• m.159- Soprano 1, Tenor and Bass take a breath after the first sung “home.”
• m. 160- Everyone takes a breath on beat 2.
• m. 161- Everyone takes a breath after “me.”
• m. 162- Everyone takes a breath after “home.”


Treble Choir

Conductor: Dr. Lynda Hasseler, Capital University


Rise Up

Voicing: SSAA
Composer: Jake Runestad
Publisher: Jake Runestad
Product ID: JR0063
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: Bb3-A5] [S2: Bb3-F5] [A1: Bb3-C5] [A2: Bb3-Bb4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Conductor's Rehearsal notes:
Carefully and intentionally observe and perform all of the score markings – including dynamics, accents, tempo changes, and instructions. Composer, Jake Runestad, is extremely intentional with his score markings – giving the singers all they need to perform musically and expressively.

The word “Rise” should always be sung as an “Ah” vowel with a change to the “ee” diphthong just before the final consonant. The “z” consonant sound of “rise” should be sounded just before the word “up” with a slight glottal on [up.

Most phrases are followed by a rest. Sing all consonant releases (voiced and unvoiced) precisely on the rest.


Vier Gesänge, Op. 17, No. 1 & 3

Voicing: SSA
Composer: Johannes Brahms
Publisher: CPDL
CPDL Download: https://www.cpdl.org/wiki/images/3/30/Vier_Ges%C3%A4nge_f%C3%BCr_Frauenchor_op._17-Brahms.pdf
Product ID: CPDL
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: G4-A5] [S2: F4-Eb5] [A1: Bb3-Eb5] [A2:Bb3-Eb5]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Conductor's Rehearsal notes:
1. Es tönt ein voller Harfenklang
Brahms is known for writing long beautiful expressive phrases that require breath energy and pacing. There are only three phrases total in this first movement. There is one added breath at m.12 on the and of beat 3.

You will need to stagger breathe for this piece. Remember the rules of stagger breathing:
Never between words
Never at a bar line
Never at the same time as your “neighbor”
Always during a word or long note. Gracefully take a silent breath (without a consonant) and gracefully resume singing.

3. Der Gärtner
This piece demonstrates Brahms’ expressive phrasing and dynamic range. There must be distinct contrast in the dynamic markings. The phrases are again long, and stagger breathing will be necessary.

The long phrases in this piece represent beautiful examples of “arch and taper phrasing” or “rainbow phrasing.” Some phrases taper in the middle and “renew.” When you see that word it means to re-energize the phrase right after the taper and/or syllabic stress


The Song of Perfect Propriety

Voicing: SSA
Composer: Carol Barnett
Publisher: Earthsong
Product ID: S-291
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S1: C#4-A5] [S2: C#4-F#5] [A1: F#3-D5] [A2: F#3-D5]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
* Music misprint - page 14 - piano should be ALL BASS CLEF. (updated 6/15)

Conductor's Rehearsal notes:
This is a character piece. The tone quality and stage presence will change throughout according to the text. The composer has captured the changing persona with clear markings and instructions. There are a few additional markings I’ve put in the score to guide interpretation.

Be prepared to do some theatrical staging while singing this piece. Think about the contrast of “little ladies writing little songs” and pirates who ride the seas doing “pirate things” (see text!)!



Cedit, Hyems

Voicing: SSAA
Composer: Abbie Betinis
Publisher: G. Schirmer
Product ID: 50490336
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges: [S1: B3-A5] [ S2: G3-F#5] [A1: A3-D5] [A2: F3-A4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
*Any Divisi in specific 4-voice part for LSC will be split:  Areas A-D will take the lower divisi.  Areas E-H will take the higher divisi. (updated 6/1)

*m. 88 - divisi will be handled at the convention. For audition purposes, students will sing the D4 and G3. However, for the Region Choir clinic and concert, Region Chairs may determine the best approach to divisi for the integrity of the performance. (updated 7/5)

Conductor's Rehearsal notes:
Rhythmic integrity is essential to this piece. Note the constant meter changes and feel the micro-pulse (the eighth note) throughout.

Remember that all Latin vowels are pure – no diphthongs.

The clean vowel onset applies regularly throughout this piece.

The “H” is silent in Latin. Ex. Hyems = Ee-[ehmz


Tenor-Bass Choir

Conductor: Dr. Gary Packwood, Mississippi State University


Adspice Domine Op. 121, Mvt. 3

Voicing: TTBB
Composer: Felix Mendelssohn
Publisher: CPDL
CPDL Download: https://www.cpdl.org/wiki/images/5/57/Op._121_Adspice_Domine-Mendelssohn.pdf
Product ID: CPDL
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [T1: E3-A4] [T2: F#3-F4] [B1:C3-E4] [B2: F2-D4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Conductor's Rehearsal notes:
General Comments
• be sure to number your measures beginning with 114 from the CPDL version.
• We will put space between all dotted notes and the note that follows. For example, if the figure is a dotted eighth-note followed by a 16th-note, then the space will occur rhythmical on the dot. You will see this throughout the piece.
• Please ignore the solo markings – for now, treat everything a tutti
• All tied note across the bar line will crescendo on the beat before the downbeat of the new measure. For example, T1, m. 120, the crescendo begins on beat 3 and lasts for two counts; unlike m. 161, B1, here the crescendo begins immediately and lasts two counts. I will NOT list all of these below, but please find them and mark accordingly.


Dynamics
• Regardless of the indicated dynamic markings, refrain from accenting final syllables, as in the word “intende”
• m. 118, change to mf
• m. 120 everyone crescendo on beat 3, through beat one of m. 121
• pick-up to m. 123, mf
• m. 124 everyone crescendo on beat 3, through beat one of m. 125
• B1, m. 129, beat 2 crescendo, through beat one of next measure
• B1, pick-up to m. 133, mf
• Pick-up to m. 136, forte
• B1, m. 127, beat 3 crescendo, through beat one of next measure
• B1, m. 146 “Gloria” forte
• M. 148 everyone forte
• M. 171, mf
• Pick-up to m. 178, forte, decrescendo, unaccented m. 181
• M. 204, mf, tenuto or without decay

Breathing, Entrances, and Releases
• The beginning of all phrase markings should be marked tenuto, no decay on that note
• We will observe every comma as a lift or breath, with a few exceptions
• We will change quarter notes to eighth note followed by eighth note release when a comma appears in the text on the quarter note – this occurs frequently - for example, m. 122, T2, beat 2 – the release is on the and of beat 2. In this same measure the T1, B1 and B2, sing half notes, but will release on the and of 2 as well. Follow this formula throughout the score - other examples include mm. 126, 146; T1, m. 137, m. 140 (T1 release on the and of two, B2 on three because they don’t have a note immediately following
• m. 128, change the downbeat from a half note to a quarter note followed by a quarter rest
• m. 135, B1, change half note to quarter note followed by quarter rest
• m. 148, T2 no breath
• m. 150, B1, no breath
• pick-up to m. 147, B1 stagger breathing until m. 152, breathe on the and of beat 2
• m. 152, m. 154, T1, breath on the and of beat 2
• m. 154, T2, breath on the and of beat 2
• m. 169, m. 171, 173, 177, 185, 194 everyone, breathe on and of beat 2


Darest, O Soul

Voicing: TTBB
Composer: Mari Esabel Valverde
Publisher: Mari Esabel Valverde
Product ID: MVC-092
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [T1: Eb3-Ab4] [T2: Eb3-F4] [B1: Bb2-Eb4] [B2: Eb2-Eb4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Conductor's Rehearsal notes:
Tempi
• EXACTLY AS WRITTEN – Dynamics, Breathing
• Rubato will be utilized, at mm. 3 and 4; mm. 20-23; a tempo at pick-up to m. 24, m. 57
• m. 31, meno mosso = 80 to the quarter-note
• m. 60, con moto = 112 to the quarter-note


Invictus

Voicing: TTBB
Composer: Reginal Wright
Publisher: Hal Leonard
Product ID: HL00367282
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [T1: F3-A4] [T2: F3-Gb4] [B1: A2-Gb3] [B2: A2-Db4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Instructions/Errata:
*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. (updated 6/1)
*measure 42 - piano (bass clef) - beat 3½ should be C-flat (updated 6/1)

Conductor's Rehearsal notes:
• Opening, spoken part of “I am the Captain of my soul” – RANDOMLY (Please work for random words stress, tempo, dynamics, EACH time you repeat the phrase) Be sure to continue until beat 4, measure 6, with a decrescendo starting in m. 5.

Dynamics
• EXACTLY AS WRITTEN
• Careful not to decrescendo and the ends of phrases
• m. 53, beat 2, we will crescendo, without accenting, just a little to ensure movement of the phrase (micro-phrasing = either the rhythmic suggestion, metric accentuation, or word stress, depending on the importance of the phrase)
• m. 64, crescendo, SLOWLY, put the “t” on beat 1 of m. 65
• m. 76, slow crescendo; balanced crescendo; and the crescendo will go through mm. 76-77.

Breathing, Entrances, and Releases
When possible, through the word or vowel being sung, release the sound by releasing the breath and keeping the mouth opened, not by closing the mouth, as in the word “soul”
• m. 40, B1/2, no breath until the and of beat 1 in m. 42
• m. 43, put the “d” on the and of beat 3; m. 45 “6” on beat 1
• mm. 54, 56, 58, 60, release on the and of beat 4
• m. 58, tenors, “t” on the and of beat 4
• m. 61, tenors, release on the and of beat 3, NOT on beat 3
• m. 62 B1/2, release on the and of beat 4
• m. 72, “t” on the and of beat 4

Diction
• Avoid singing the American “r” at the end of a word, such as: “Master” – instead sing a neutral vowel or the schwa (always unaccented!)
• “Captain” but begin with a hard “k” sounds, especially at the beginning of the piece and later when the dynamics are mf or louder
• Be sure to begin words like “I” with AIR to avoid glottal on-sets; other examples include: “It, “ “And,” and “Under”
• In general, diphthongs will not be weighted/timed equally – the first syllable is prolonged, and the second vowel sound is extremely short, almost non-existent – as in the word “my”


Alto Rhapsody, Op. 53

Voicing: TTBB
Composer: Brahms/ ed. Rainer Boss
Publisher: Carus-Verlag
Product ID: CV10.397/05
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges: [T1: G3-Ab4] [T2: E3-Gb4] [B1: C3-Gb3] [B2: F2-Ab3]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGkr4U1GthweS83Rcgcye7K

Conductor's Rehearsal notes:
The soloist for this piece during the All-State Concert is an invited guest performer. Audition information to come. (updated 5/1)

In general, follow all markings in the score and BE SURE THAT ALL MEASURES ARE NUMBERED. The first is numbered m. 116, therefore you should write in every measure number after that unless it has been numbered by the editor. We will move very quickly in rehearsal and this procedure will aid in our efficiency and pacing.


Tempi
• m. 116 (Adagio = 50 to the quarter-note)
• mm. 172-175, the ritardando is implied through the rhythmic value (note values are longer) therefore we will not slow down much – you should be looking up by this point, so watch.

Dynamics
Be mindful that dynamics are relative; they are relative to your voice; to the space in which we rehearse and perform. During these months of preparation, be conscience of dynamics as it correlates to the “resonant feeling” of your voice/vocal production.
• m. 119, crescendo to mf, beat 1 – decrescendo to pp by beat 3
• m. 120, enter at pp with a slight crescendo to mp on beat 3 (text: Ton)
• m. 122, enter at mp stress the entrance/no decay “tenuto” on beats 1 through 4 (T1 and B2); same thing for T2 on beats 3 and 4; BI, stress beats 1 and 3 (stress or more weight on those notes/beats)
• m. 124, beats 3 and 4, slight crescendo to downbeat of m. 25
• m. 126 crecendo to beat 3, mf; decrescendo to mp beat 4
• m. 127, decrescendo to pp
• m. 131, beat 3, mf; m. 132 decrescendo to mp
• m. 139, beat 1 mf; beat 3 mp; downbeat m. 40 mf; m. 141 p
• m. 148, crescendo to mf, m. 149, beat 1 – decrescendo to p by beat 3
• m. 150, begin at p, crescendo to beat 2, mp and back to p by beat 3
• No crescendo between mm. 151-155
• m. 156 crescendo from p to mf by beat 3; decrescendo to mp by beat 4, m. 156, and continue to decrescendo to p by beat 3 of m. 157
• m. 159, enter at mp, crescendo to mf by m. 161, beat 1; decrescendo in m. 161 to mp by beat 3
• m. 163, B2 enter at pp, poco crescendo to mp by beat 1 of measure 165; T1 enter at mp m. 165 (mixed tone if necessary), poco crescendo to mf, beat 1 m. 167, with slight decay to beat 2, m. 167; T2, m. 166, enter at mp, poco crescendo to mf beat 1 m. 167, with slight decay to beat 2; B1, enter m. 165 at mp, poco crescendo to mf beat 1 m. 167, with slight decay to beat 2
• m. 165, B1, enter at mp, poco crescendo to mf beat 1 m. 167, with slight decay to beat 2
• m. 168, all crescendo to ff by beat 3 of m. 169, decrescendo immediately to pp by beat 1 of m. 170 and even softer by m. 171
• m. 172 crescendo slightly to mp, beat 1 m. 173 then decrescendo to the end

Breathing, Entrances, and Releases
• no breath between mm. 120-121; in m. 121 put the “ch” on the and of beat 4
• m. 124, T1, T2, B2, breathe on the and of beat 2; B1 a very quick lift on the last 16th note of 123; next breath for everyone one is on beat 4, m. 127
• stagger breathing from mm. 129-132, mm. 138-141; release on beat 2 of m. 141
• m. 151, “ch” on the and of beat 4
• m. 153, B1, breath on the and of 1; next breath on the and of 4, m. 154
• m. 152, Tenors and B2, no breath until the and of beat 2, m. 154
• m. 157 and 161, put the “z” on beat 4
• m. 167, put the “z” on beat 3
• m. 168 and 169, lift on the and of beat 3
• m. 175, watch for the “z”



*The Alto Rhapsody TTBB vocal score has no piano accompaniment, just the vocal parts written. The TTBB score with piano WILL NOT be included in the All-State packet. If you wish to obtain said score with piano, please order separately.

Alto Rhapsody Choral Score:
Ed. Boss Edition Carus-Verlag
#10.397/03


LSC and SSC Resources

  • Click here for IPA charts, Prep Sheets, and Time Markers.



Small School Choir Packet


Small School Mixed Choir

Conductor: Dr. Pearl Shangkuan, Calvin University


Arirang

Voicing: SATB
Composer: Traditional, Arr. Hyo-Won Woo
Publisher: Walton Music (GIA Publications)
Product ID: WW1670
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S: D4-Bb5] [A: A3-F5] [T: D3-Ab4] [B: C3-Eb4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGtPq9CxisJjPBO80KHBHtC

Instructions/Errata:
*Any Divisi in a specific voice part for SSC will be split:  Areas North and East will take the upper divisi and Areas South, West, and Central will take the lower 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. (updated 5/1)
*Do not observe the descant until the second ending, disregard m. 116-117. (updated 6/1)

Conductor's Rehearsal notes:
Here’s a link to a beautiful performance of this well-known Korean folk song arranged by today’s most renowned Korean choral composer.

Follow the IPA pronunciation on the inside from the cover page for the most accurate pronunciation.

On measures 110-117 at the first time, all sopranos learn the highest of the 3 parts, leaving altos to split. At the repeat, all S1 sing the descant, with S2, A1, A2 singing the same notes as the first time.


Bésame Mucho

Voicing: SATB
Composer: Velázquez/ arr. Julio Morales
Publisher: Hal Leonard
Product ID: HL 00265666
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges: [S: D#4-Ab5] [A: B3-C5] [T: E3-G4] [B: G#2-Eb4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGtPq9CxisJjPBO80KHBHtC

Instructions/Errata:
*Any Divisi in a specific voice part for SSC will be split:  Areas North and East will take the upper divisi and Areas South, West, and Central will take the lower 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. (updated 5/1/21)
*measure 35 - music misprint - piano should be C# to match the alto line. (update 6/15)


You Do Not Walk Alone

Voicing: SATB
Composer: Elaine Hagenberg
Publisher: Beckenhorst Press
Product ID: BP2212
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S: B3-A5] [A: A3-D5] [T: E3-D#4] [B: G#2-C4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGtPq9CxisJjPBO80KHBHtC

Conductor's Rehearsal notes:
- Observe and articulate shadow vowels and beginning/ending consonants or vowels throughout the piece
- Schwa [ə] = uh for “the” throughout piece
- m. 12 beat 1 (head), dotted quarter note followed by eighth rest
- m. 18 beat 1 (hear), eighth note followed by eighth rest
- m. 20 decrescendo beats 1 and 2
- m. 25 crescendo beats 1 and 2
- m. 28 crescendo beats 1 and 2
- m. 46 S/A/B (head), dotted quarter note followed by eighth rest
- m. 46 Tenor (head) beat two, eighth note followed by eight rest
- m. 52 S/A (hear) beat 1, eighth note followed by eighth rest
- m. 52 T/B (hear) quarter note followed by a quarter rest
- m. 52 SATB crescendo beats 1 and 2
- m. 68 SATB, no breath
- m. 77 T, eighth rest at the end of measure
- m. 80 S/A, quarter rest at the end of measure
- m. 81 T, quarter rest at the end of measure
- m. 82 B, eighth rest at the end of measure
- m. 84 SATB, tenuto on beat 1
- m. 88 SATB, quarter rest on beat 2
- m. 94 A/B, beat 1 eighth note followed by eighth rest
- m. 104 SATB, no breath
- m. 110 SATB, no breath
- m. 124 T/B, MF dynamic on beat 3
- m. 135 S/A/T, eighth rest at the end of measure


Laudate Jehovam omnes gentes

Voicing: SATB
Composer: G.P. Telemann
Publisher: Concordia House
Product ID: 97-4838
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area
Selection Voice Ranges: [S: Eb4-G5] [A: D4-Eb5] [T: Eb3-G4] [B: Bb2-Eb4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGtPq9CxisJjPBO80KHBHtC


This is the Day

Voicing: SATB
Composer: Arr. Keith Hampton
Publisher: earthsongs
Product ID: S-459
Audition Levels: Any audition prior to Area
Selection Voice Ranges: [S: F4 - G5][A: D4 - Db5][T: F3 - G4][B: G2 - D4]
Reference Recording: https://youtube.com/playlist?list=PLRxLPbce4PjGtPq9CxisJjPBO80KHBHtC

Instructions/Errata:
* The first numbered measure is m.11, which should be m.10 due to the pick-up measure as m.0. (updated 6/15)
* measure 78, beat 3 - Tenor should sing Eb to match the piano. (updated 6/15)


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.