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TMEA All-State Vocal Repertoire for 2016-2017

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 in June.

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 is available from Educational Enterprises Recording Company.

LSC = Large School Choir path open to UIL 2016-2018 classes 1A - 6A; All-State Mixed, Treble and Tenor-Bass Choirs
SSC = Small School Choir path open to UIL 2016-2018 classes 1A - 4A; All-State Small School Mixed Choir

Vocal Ranges for LSC and SSC Auditions


Mixed Choir

Conductor: Dr. Jerry Blackstone, Professor Emeritus, University of Michigan
Title Voicing Composer Publisher Catalog No Audition Levels
Mount Rushmore, Movt' I - George Washington (Removed (5/20) SATB Divisi Daugherty, Michael Boosey HL 48023925 DO NOT USE THIS MOVEMENT FOR AUDITION PURPOSES.
Instructions/Errata:
This movement is being withdrawn from the Region and Area audition repertoire.
Movement I will be performed at All-State as supplemental repertoire, as will Mov't II.
DO NOT USE THESE MOVEMENTS FOR AUDITION PURPOSES. (Updated 6/24/2019)
If you wish to perform as a part of Region weekend, you have the option to do so. (Posted 5/20)

Suggested Orchestra reduction by Dr. Daugherty for the Mount Rushmore for All-Region Concerts. (Posted 6/24/2019)

-String Quartet
-Piano
-Percussion

Conductor's Rehearsal notes:
19-22: 8 soloists, SSAATTBB; top 2 in each section of the choir; nasal sound, similar to shape-note singing
27-30: tutti choir; no breath between 28 & 29
40-43: same 8 soloists; same nasal sound
61-63: same 8 soloists; same nasal sound
73-76: same 8 soloists; same nasal sound

Note:
Mov't II -Thomas Jefferson, will be added at TMEA Convention. If you wish to perform as a part of Region weekend, you have the option to do so.


Mount Rushmore, Movt' III - Theodore Roosevelt SATB Divisi Daugherty, Michael Boosey HL 48023925 Designated for Area Audition use. May be used for auditions prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.

Mt. Rushmore, mvt. 3, m. 169, the last soprano note should be a G, not an A. (Posted 6/20/19)
Conductor's Rehearsal notes:
16-32: Pay attention to the asterisks that indicate equal 3-part TB divisi; this pattern will continue each time the TII and BI have the same notes
34: TTBB divisi
36-41: returns to 3-part divisi
48-60: equal 3-part SA divisi, please
71: rih-VEEL, not REE-VEEL; similar every time it occurs
93: add quarter rest at the end of the bar for all voices
140-144: “Ages” on long notes should be AY-JEHZ; on shorter notes, AY-juhz
150: AY-juhz
151: add quarter rest at the end of the bar
152: same 3-part divisi TB
160-165: SI, SII, AI, AII, TI, TII, BI, BII divisi
169: add quarter rest at the end of the bar
173: add quarter rest at the end of the bar
177-178: no breath
179, 181, 186: quarter rest at the end of the bar
198: TI, TII, BI, BII divisi


Mount Rushmore, Mov't IV - Abraham Lincoln SATB Divisi Daugherty, Michael Boosey HL 48023925 Designated for Area Audition use. May be used for auditions prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.

*In the piano reduction on m. 170, top staff: the chord should spell an E-major chord (from bottom to top: top: B, E, G#, B), not a D-major chord as printed. (Posted 6/16/19)

*Music misprint - m.181 Bass line - there should be NO G-natural. ALL Bass I and II remain on Db. (posted 6/24/2019)

Conductor's Rehearsal notes:
10: no breath at the comma
15: no breath after “proposition”
17: breathe after “equal,” before “are”
29: add quarter rest at the end of the bar
39: change the quarter note on beat 4 to an eighth note, eight rest
72: rhythm in all voices should be quarter note, eighth rest, eighth note
80: take time on “and proper that we should do this;” conductor will dictate
85: SATB release together at end of bar
86: SATB release together on downbeat of 87
87: SATB release together at end of bar
88: SATB release together on downbeat of 89
101: SATB release together on downbeat of 102
111: add eighth rest on beat 3
112: no breath between “forget” and “what”
132: add eighth rest at end of bar (release before the downbeat of 133)
136: dedicated=DEH-dih-cay-tehd
147: dih-VOH-shuhn
147-148: no breath
150: vowel in final syllable of “measure” should rhyme with oo in “book”
167: breathe after “vain”
173, 174, 175: no breath after “people”
178, 179: beat 3 in each bar should be changed to eighth note, eighth rest
191: TB hmm’s should be sung NNNN with lips lightly closed; SA hmm’s should be sung with an AH inside the mouth, lips lightly closed


Unclouded Day SSAATTBB Kirchner Boosey HL 48021256 Any Audition prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.
Conductor's Rehearsal notes:
https://www.youtube.com/watch?v=A1H5PlvbO0I

Divisi (top to bottom of page): S I & II, A, T, B1, B2 (TB will be divided into 3 equal parts at TMEA)
Sing immediately on the m of home; on the n of land, etc.
Sound should be less sophisticated, more folk-like, headed toward Appalachia
4: A, T, B no breath
6: tutti breath during this measure
8: tutti breath on beat 4.
10: T, B1, B2 no breath
14: A, B1 no breath
15: A, BI no breath
16: B breathe after “day”
18: T breathe after “home”
19: BI breathe before “they”
21: T breathe on beat 4
22: B1, B2 breathe after “way”
23: T breathe after “way”; B2 no breath
26: S, A breathe after “Day”, T, B1, B2 no breath.
32: A, B1 no breath
33: A, B1 no breath
34: B1 and B2 breathe on bt 4.
Page 9 (top to bottom): SI, SII, AI, AII, TI, TII, BI, BII
40: SII, AII, TII no breath
44: SSAA quarter rest on beat 4
45: TTBB quarter rest on beat 4
48: SI, AI, TI, TII, BII quarter rest on beat 4; SII, AII, BI no breath
50: tutti rest on beat 4


Geistliches Lied SATB Brahms Oxford #9780193851733 Any Audition prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.
Conductor's Rehearsal notes:
Listen to the recording of me reading the German text
Make sure all final syllables with schwa’s (en, le, gen, etc.) are not accented and sung with an open uh or eh sound; never a bright eh
Shape each phrase beautifully; final notes are always softer
Pay attention to stressed and unstressed syllables, especially the unstressed ones
12-13: Alto dim on “dauren” and “Trauren”
13-14: Bass dim on “dauren” and Trauren”
14-15: final syllable of “stille” should be much softer
16-17: “fügt” should continue dimming over 2 beats
19: “Wille” should continue dimming throughout the bar
24: confirming that the S first note should be a C, not an E-flat as it is in some editions
25: S breathes as the comma
26: S & T breathe at the comma
29: confirming that the T first note should be a C, not a B-0flat as in some editions
30: A should be marked piano
31: B should be marked piano
34: S should breathe after “Deine”
35: T should breathe after “Deine”
45: A dim “Handel”
46: A dim “Wandel;” B dim “Handel”
47: B dim “Wandel”
47-48: SATB final “ste” of “feste” is MUCH softer than the “fe”
49: confirming that the B first note should be an F, not a G as it is in some editions
52: SATB release before the downbeat of 53


Borgoroditse Devo SATB Divisi Rachmaninoff/Legge CPDL #19871 Any Audition prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.
Conductor's Rehearsal notes:
https://www.youtube.com/watch?v=FIgy63b5ack

Tildes over letters indicate an added j glide (y sound)
Accent marks indicate stressed syllables
Dots under H’s are pronounced like ch in Bach
2-3: carry through at comma (no breath)
4: breathe after duysya
8: breathe after Marie
11: Tenors, be careful to sing correct rhythm and sustain suspended E
13: At TMEA, we’ll divide Sopranos and Altos into 3 equal sections, not S, AI, AII
13: Altos breathe after beat 1, S, T, B breathe at end of measure
17: Altos breathe after beat 1; S, T at end of measure
18: Altos carry through; no breath at end of measure
19: Altos breathe at comma (after Tvoyego); S, T breathe at end of measure
21: A, B breathe after beat 1; S, T breathe after beat 2
22: Basses carry through to 24 (no breath); Altos breathe after beat 1
23: Tenors breathe after beat 1 (which may need the syllable “la” added on beat 1)
27: everyone sings a dark, swallowed, covered IH vowel; final H has dot under it (ch sound)



Treble Choir

Conductor: Dr. Julie Yu, Co-Director of Choral Studies, Kansas State University
Title Voicing Composer Publisher Catalog No Audition Levels
Salut Printemps SSA Debussy Editions Choudens/Hal Leonard 14038732 Designated for Area Audition use. May be used for auditions prior to Area
Instructions/Errata:
*Vocal Score misprint - m. 13 and m. 32-Soprano line should have a D#, not D-natural.(Posted 6/20/19)

Music misprint in Piano Vocal Score— m. 21, b. 3 Soprano 1 and 2—should have 2 ♪ and syllable “si” so that word is “invisible”. (Posted 6/20/19)

Salut Printemps--Recording mistake- "qui" is pronounced incorrectly and should be sung as "kee." (Posted 6/22/19)
Conductor's Rehearsal notes:
*The Salut Printemps SSA vocal score has no piano accompaniment, just the vocal parts written. The SSA score with piano WILL NOT be included in the All-State packet. If you wish to obtain said score with piano, please order separately.

Salut Printemps Debussy SSA with piano:
Editions Choudens/Hal Leonard
#14038730.

The soloist for this piece during the All-State Concert is an invited guest performer. (Posted 6/16/19)


Kyrie Gloria SSAA Skold Walton WSK119 Any Audition prior to Area
Instructions/Errata:
The ladies are to learn both, the Kyrie and the Gloria. (Posted 6/20/19)

*Page 10 is a bit tricky.  For the parts to work together correctly, the alto must add a quarter rest before beginning the repeat.  An extra half rest was added in the soprano part at the end of m.55 and alto part at the beginning of m. 56 (Posted 6/16/19)
Conductor's Rehearsal notes:


The Composition of a Kiss SSA Padworski Santa Barbara SBMP1511 Any Audition prior to Area
Instructions/Errata:

Conductor's Rehearsal notes:


My Lord Has Come SSAA Todd Oxford/Peters #9780193410121 Any Audition prior to Area
Instructions/Errata:

Conductor's Rehearsal notes:



Tenor-Bass Choir

Conductor: Dr. Cameron LaBarr, Director of Choral Studies, Missouri State University
Title Voicing Composer Publisher Catalog No Audition Levels
Laus Trinitas TTBB Morgan Walton WW1804 Designated for Area Audition use. May be used for auditions prior to Area
Instructions/Errata:

Conductor's Rehearsal notes:
● All grace notes to be on the beat
● M. 14, T1: breath after comma
● M. 15, B1/B2: breath after comma
● M. 19, B1/B2: breath after comma
● M. 21, T1: breath after comma
● M. 22, B1/B2: breath after comma
● M. 24, T1/T2: breath after comma
● M. 31, T1/T2: breath before ‘accreatrix’
● M. 42, T2: change to quarter note-quarter rest-quarter note
● M. 45,T1/T2: change to quarter note-quarter rest-quarter note
● M. 47, All: change to half note-quarter rest
● M. 57, T2/B2: breath after comma
● M. 59-60, T1/B1: no breath
● M. 60-61, T2/B2: no breath
● M. 70, All: change to half note-quarter rest
● M. 86-end, All: maintain full dynamic and rhythmic intensity


Widerspruch TTBB Schubert Alfred LG00513 Any Audition prior to Area
Instructions/Errata:
M. 86 piano note is written A-natural, but should be A# like the bass.  Recorded accompaniment is correct. (Posted 5/16)
Conductor's Rehearsal notes:
● Approximate tempo: quarter note = 120
● Reference Camerata Muisca Limberg recording for example of phrasing and style


O Magnum Mysterium TTBB Schmidt Colla Voce 15-95570  Any Audition prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.

M. 10, piano is written with a G 1/8 note, but should be an Ab like the bass voice part.  Recorded accompaniment is correct. (Posted 5/16)



Conductor's Rehearsal notes:
● Approximate tempo: quarter note = 70
● M. 2, All: breath after ‘magnum’ to phrase with B2
● M. 6, T2: breath after ‘mysterium’
● M. 9, B1/B2: breath after ‘mysterium’ on the and of beat 3
● M. 14, B1/B2: breath after ‘sacramentum’ on the and of beat 2
● M. 31, All: no breath between beats 3 and 4
● M. 35, T1: breath after ‘Dominum’
● M. 37, T1: breath after ‘Dominum’
● M. 41, T1: breath after ‘Alleluia’ on and of beat 2
● M. 42, T2/B1/B2: breath after ‘Alleluia’ on and of beat 2
● M. 43, T1: breath after ‘Alleluia’ on and of beat 2
● M. 44, T2/B1/B2: breath after ‘Alleluia’ on and of beat 2
● M. 45, T1: breath after ‘Alleluia’ on and of beat 2


Come and Go to that Land TTBB Waddles Mark Foster 35030670 Any Audition prior to Area
Instructions/Errata:
*Any Divisi in a specific voice part for LSC will be split:  Areas A-D will take the upper divisi.  Areas E-H will take the lower divisi.

*The repeat m. 70 was not observed. (Posted 6/16/19)

Conductor's Rehearsal notes:
● M. 6, All: breath on beat 2
● M. 8, All: breath on beat 2
● M. 10, All: no breath between ‘land’ and ‘where’
● M. 12, All: breath on beat 2
● M. 14, All: breath on beat 2
● M. 16, All: breath on beat 2
● M. 18, All: no breath between ‘land’ and ‘where’
● M. 27, All: breath on beat 2
● M. 28, T1/B1/B2: breath between ‘go’ and ‘go’
● M. 31, All: breath on beat 2
● M. 33, All: breath on the and of beat 2
● M. 35, All: breath on beat 2
● M. 57, All: breath on beat 2
● M. 61, All: breath on beat 2
● M. 70/72/etc. All: place ‘s’ of ‘house’ on beat 2
● M. 91, All: breath on beat 2
● M. 93, All: no breath between ‘land’ and ‘where’
● M. 95, All: breath on beat 2
● M. 99, T2: breath on beat 2



Small School Mixed Choir

Conductor: Dr. Ken Fulton, Professor Emeritus, LSU
Title Voicing Composer Publisher Catalog No Audition Levels
Kyrie SATB Porpora Hinshaw 08763151  Designated for Area Audition use. May be used for auditions prior to Area
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 6/17/19)
Conductor's Rehearsal notes:
I am happy to provide you with these notes to prepare for our performance together next year in San Antonio. Let me encourage you to prepare carefully and completely the entire program so that our time together can be spent working on the message and the expressiveness of the music rather than “chasing the pitches.” If we are to be successful, correct pitches are the starting point not the “finish line!”

In each piece, I have tried to identify for you the most difficult and challenging portions of the work. I urge you to spend extra time in those passages and let those portions of the music be your “starting point” in learning the music. Look for the “CAUTIONS” in the materials for each piece. While I’ve tried to be thorough and complete in my thoughts, as you know, there are always passages which require more time and attention.

Some general observations:

1. Since choral music has TEXT, we want the music to reinforce the meaning and the “story” of the text. Thus, please “break” the text at EVERY point of punctuation so that you are ALWAYS singing thoughts, ideas, and messages. Please try to avoid breathing when you “need to breathe” and breathe as you “finish a thought” in the text – this is true even when you’re singing another language! We may choose later on to add some needed “breaths” to the music but always start with singing the text as it is organized by the punctuation.

Kyrie - Nicola Porpora 

Ranges: S:D4-G5 A:A3-C5 T:C3-G4 B:F2-D4 

This is in three big sections (mm 10 – 52, mm 53 – 102, and mm 103-end) 

Section 1:

1. Hard “K” on each Kyrie –
2. Always phrase the notes on the “upbeat” with the FOLLOWING note rather than connecting it to the previous one. For example, the sixteenths in the Soprano in mm 13 should “lead” my ear to the FOLLOWING quarters rather than being a part of the preceding dotted quarters.
3. Keep all the notes in this first section nice and “fat” in the middle – i.e. sustained and tenuto, rather than marcato.
4. There is a dissonance on almost every single “downbeat” of a bar so “lean” into those and make the dissonances stand out.
5. This movement is filled with long phrases so keep them “spinning” throughout.
6. Each long phrase has similar material and “feels” the same so try to keep them similar in articulation and style.
7. As the notes get shorter (ca. mm 41-45), let the articulation become more marcato, or with a little more “pop” to the beginning of each note.
8. Keep the music spinning to the climax of the movement at the downbeat of mm 50.
Section 2 (mm 53 – 102)
1. This section will have a “lilt” to it - feels like a dance and in “2!”
2. You will have many places singing eighth notes (for example, see the Soprano in mm 61). IMPORTANT: In all of these instances, sing those eighth notes in “2” groups of “3” RATHER than “3” groups of “2!” Again, looking at the soprano line in mm 61, the 4th eighth note, the “F,” should get an ACCENT to begin the second group. That will syncopate the music and provide a little “spice” to the rhythm! 
3. CAUTION: In this meter, there are ALWAYS six quarter notes to a bar, but they can be grouped in 2 groups of three OR 3 groups of two. There are many places where the normal 2 groups of three are altered (see mm 65 for instance) and that little change provides a really wonderful “change of pace” in the music so be on the lookout for those places and stay “right in time” each time that happens! Here’s where I found the change to 3 groups of two: mm 65-69, mm 79 (Sop and Alto only), mm 94-95 (Alto and Bass only).
4. This is a really fun section of this piece. It should “dance” and “lilt” throughout – Keep it light, bouncy and spirited BUT CAUTION: rhythmically VERY ACCURATE!
MM 103-111
1. This brief little section recalls Section 1 – long sustained notes and those dotted rhythms from the opening – perform it as we did in Section 1!
Section 3 (mm112 – the end of the piece)
1. Although filled with “white” notes (half notes, whole notes etc), this final section moves quickly – it is a moderately FAST movement.
2. Please observe this rule: ALL notes are marcato and the shorter the note, the greater the accent!!
3. There is a lot of imitation (i.e. everyone singing the same melody) so listen and imitate the other voices.
4. CAUTION: Observe the accidentals very carefully – Keep the F#’s, C#’s, G#’s and B naturals VERY HIGH!
5. Whenever your part enters, make sure that we are aware your entrance - be aggressive and assertive each and EVERY time. ALSO make sure that you are really aggressive with the beginning notes AFTER a break!
6. Again, a really HARD “K” (like the first section) on “Kyrie!”
7. You repeat melodic lines quite a lot here so make sure that WHEN you repeat, you make it special EVERY time.
8. This is lengthy and repetitive section, but the melodic ideas repeat – your job here is to make sure that your repetitions are always consistent in the style and “insistent” in their personality – don’t let the music become “stale” and “lifeless” regardless of the repetition! This is a lively and energetic movement – stay “in the moment!”
I think, in many ways, this is our most challenging piece to perform BUT it is also our greatest opportunity to really make a statement with our performance. Have some fun with this piece – it’s great fun to sing and perform!



For Us, there is no other help, but thee; in Russian: Nye Imami iniya pomoshchi SATB Chesnokov EC Schirmer 8248  Designated for Area Audition use. May be used for auditions prior to Area
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 6/17/19)
Conductor's Rehearsal notes:
Ne imami iniya pomoshchi- Pavel Chesnokov 

RANGES: S:E4-G5 A:B3-C#5 T:F#3-G4 B:E2-C#4

Russian:
Women: Nyeh ee-mah-mih ee-nih-yah poh-moh-shee
Men: nyeh ee-mah-mih ee-nih-yah nah-dyehsh-dee, raz-vyeh Tyeh-byeh,
All: prehzveeah-tah-yah deeyeh-voh.

All:
Tee nahm poh-moh-zee nah Tyeh-byeh nah-dyeh -yehm-see-ah toh-boh-yoohkvah-leem-seeyah.

Tvoh-ee boh-yehs-mee rah-bee, nah nyeh poh-stih-dyeem-siyah.

A couple of observations about this piece:
1. Don’t be intimidated by the language – it’s actually not difficult and actually fun.
2. This is really chordal music and the occasional dissonances add a little “spice” to the harmony. They always resolve quickly and naturally – I’m going to take the time to actually list the dissonant notes (and also CAUTION NOTES) so that you’ll know exactly which pitches to “lean into” a bit to create harmonic tension. Here they are:
Mm 1-4 – There are some dissonances here ladies, but all are “passing” notes – just sing your line!
CAUTION: the large leap in the alto line in mm 2, 3rd count! Also, the eighth notes in mm 4, 1st count!
Mm 4-11 – T1 – the C# on 3rd count of mm 7! Also, NO BREATH in mm 6. Breathe ONLY with punctuation in the text.
CAUTION: B2 – the large leap from “C#” to the low “E” in mm 9. Really dig into the low “E” and the following rising line from mm 9 – 10. Also, the dissonance between the T2 and B1 on the 1st count of mm 9!!
CAUTION: the “E#” and G#” in the voices at mm 11-12 – that unexpected MAJOR chord represents God and we’ll want that to be special – notice how long that last note in mm 12-13 really is – we’ll probably “hold it” a bit longer even!
Mm 13-20 – There is a LONG and LARGE crescendo throughout this long phrase culminating on mm 20!
Mm 14 – “C#” in mm 14 by T2 – bring it out guys.
Mm 15 – Soprano1 B at the beginning of the bar, Tenor “C#” at beginning of bar
Mm 16 – T2 – “A#” is dissonant – lean on it!
CAUTION: B1 – the “E#” in mm 16 needs to be really high!
CAUTION: Please in this long phrase, mm 13-20, take a breath ONLY when you have punctuation!!
Mm 21 – tenor and soprano: “D” against “E” on beat 1!!
Mm 22 – “G#” and “E#” need extra attention!
Mm 23 – “A” against “B” in Soprano1,2 – extra weight!
Mm 24-25 – bring out T2 line a bit
Mm 27 – A2 “D” against A1 “E” – lean into both pitches.
Mm 30 -35 – another long gradual crescendo
Mm 31 – A2: that octave leap (“B” to “B”) – careful! Also, men your pitch on count 3 tunes with the ladies!
Mm 35 – B2 that octave leap down (“F#” to “F#”) needs clarity!
CAUTION: mm 36 – “G naturals” NOT “G#’s”
Mm 41 – Bass 2, another octave leap and aim towards the “B” in mm 42!
One of my all-time favorites – Basses, if you can sing those low E’s and C#’s - great, the more the merrier! Careful of the E# in mm 11-12 (alto and B1) – it makes the chord unexpectedly major.
Take all dynamics literally and then exaggerate them some – make it a “passionate” rendering!



Earth Song SATB Ticheli Hinshaw 8765743 Any Audition prior to Area
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 6/17/19)
Conductor's Rehearsal notes:
Earth Song – Frank Tichili

RANGES: S:C4-F5 A:A2-A3 T:E3-F5 B:E2-G3  

This is a beautiful work that is simple yet has a very profound and moving text.

Here is the overall form of the piece:

Introduction: mm 1-8: the musical ideas in this short section are repeated at a different pitch level in the A section that follows.

A mm 8-16: This is divided into two phrases (a) mm 8-12 and (b) 12-16,
which are repeated in 16-20 and 20-25 (slightly altered).
B mm 25-33: This very short middle section has two identical parts,
(c) mm 24-29 and (c) again almost exactly in mm 29-33.
A mm 33-43: The opening materials return with added “alleluia’s” and
while the material is not exactly the same, it is clearly recognizable as the opening –
Closing mm 44-45: A brand new chord and tonality emerges on the final
word, “Peace,” a surprising and serene E major chord to end the
piece – we’ll take some extra time on each of the final two chords so
be prepared to watch carefully there!  

As I said, this is not a difficult piece BUT CAUTION:   there are some dangerous spots:

mm 7: Alto – the “E” natural needs to be REALLY high!
mm 10: Soprano – the octave leap DOWN to “C” WITH the alto!
mm 14: The “C naturals” in the Soprano and Tenor CLASH with the “D” in the Alto!
Alto needs to be really secure there!
mm 20-21 Alto pitches are really low here and the Alto line is briefly CAUTION: UNDER the
Tenor line in mm 21. Tenor 1 – be prepared to sing EITHER your part OR the
Alto part there and ALTO, be prepared to sing Tenor there – we’ll decide when
we actually hear it!
mm 26-33 Soprano line with large downward leaps again – just go down to the same pitch as the Alto each time. Also, tenor “E” naturals in mm 31 – should “clash” with the “F’s”.
mm 37-39 Take the crescendo as given but CAUTION: let’s not get faster too – if anything we’ll want to “stretch” the tempo there.

Look carefully at ALL dynamics – we want this to be expressive and dramatic – keep the decrescendo’s in control – don’t let them be too sudden and too extreme.

You’ll sing this piece beautifully I’m sure!


I Will Keep Still SATB Trotta Alliance AMP0892 Any Audition prior to Area
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 6/17/19)

Music misprint—m. 38, Bass word should be “bird’s” instead of “from”. (Posted 6/16/19)

Conductor's Rehearsal notes:


Great Gettin' Up Morning SSAATTBB Giardiniere Walton WW1364 Any Audition prior to Area
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 6/17/19)

Music misprint—m. 72, beat 1, Bass should remain an F natural as is in piano reduction. (Posted 6/16/19)

Conductor's Rehearsal notes:
Great Getting’ up Morning - arr. David Giardiniere 

RANGES S:F4-B5 A:G3-C4 T:E3-G4 B:F2-C4

There’s a lot of voice parts in the piece but they are not difficult and there’s a lot of repetition!

TAKE ALL REPEAT SIGNS!!

Mm 5-11 Everyone in the sections should sing WHENEVER YOUR LINE IS MARKED
“Optional solo!” NO EXCEPTIONS!
Men – SOLID on your parts and every time your line begins with the word, ”Tell”- make it a big deal – sing “tell” like a strong command every time!

Everyone: each time you sing “fare thee well,” can we have a TINY lift between “fare” and “Thee??”

Mm 21 Really “EXPLODE” the beginning of the refrain EVERY TIME!

Mm 32 Same materials just up ½ step!

Mm 33 Ladies same aggressive style but “mp”

Mm 37 and 41 Ladies watch and be really aggressive on those syncopations – Kick ‘em!

Mm 43 Tenor must hear that Fb!

Mm 49 Refrain again – SUBITO (suddenly) F!!

Mm 60 Same materials but a modulation up ½ step again! We must hear the S1 and T1
entrance at mm 61! That’s the beginning of the next verse which goes from
mm 61-71.

mm 78-97 We’re going to clap through this section which means CAUTION: THIS PIECE MUST
BE MEMORIZED!!!!!!!

AGAIN: THIS PIECE IS TO BE MEMORIZED!!!!!!

Mm 98-99 We’ll take some extra time on the Grand Pause (i.e. railroad tracks in mm 98) and
Really make the final chords firm and dramatic!

Learning this piece simply means watching carefully through ALL the repetitions of musical materials to be diligent and detail oriented to SMALL changes. Don’t hesitate to compare your parts with previous similar parts to find whether or not there are differences!