Here are your songs on youtube! |
"But how do I practice?????" - Student in despair.
"Don't worry. I got this. Just click here," - Mr. B.
"Don't worry. I got this. Just click here," - Mr. B.
Large School Choir Packet
Mixed Choir
Conductor: Amanda Quist
Dies Irae, from Mozart RequiemSATBMozartG Schirmer50603574 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II: F4 – G5; AI & II: C4 – D5; TI & II: F3 – G4; BI & II: Bb2 – D4
Instructions/Errata:
Note: This is a new octavo (not different arrangement) being printed specifically for the Texas All-State Choir.
Conductor's Rehearsal notes:
Notes:
Text written in the mid 13th century
Text stress is crucial. Half notes in general should have a strong onset with a bit of decay. Sequences should build in dynamic. If there is only a mark in the soprano part, it applies to all 4 parts below it- please transfer in to your score.
Here is a recording:
https://www.youtube.com/watch?v=0T7eMctuJLQ
Translation:
Dies irae, dies illa
(Day of wrath, that day)
Solvet saeclum in favilla,
(When the earth will be dissolved to ashes)
Teste David cum Sibylla
(As testified by David and Sibyl)
Quantus tremor est futurus,
(What great fear there will be)
Quando iudex est venturus
(When the judge comes)
Cuncta stricte discussurus!
(To judge all things strictly!)
"Wie lieblich sind deine Wohnungen" Mov’t IV A German Requiem SATB Johannes Brahms G Schirmer 50486753 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II: D4 – Ab5; AI & II: Bb3 – Eb5; TI & II: Db3 – Ab4; BI & II: G2 – Eb4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
This piece will be auditioned and performed in German.
Please observe all printed dynamics and musical indications
S/A/T- m. 8, quarter rest on beat 2
B- m. 9, eighth rest before “Herr”
SATB- m. 11, eighth rest before “Herr”
All- m. 18- quarter rest beat 2
T- m. 30, quarter rest beat 2
B- m. 34-35, slight crescendo over the bar
S/A/B- m. 40, quarter rest beat 2
T- m. 41, quarter rest beat 2
B- m. 48, breath before “verlanget”
m. 48-62 all parts, eighth rest at the commas after “sehnet”
m. 69 all parts, breath beat 3
m. 77, no breath
A- m. 79 breath after “lebendigen”
T- m. 80 breath after “lebendigen”
S/A/T- m. 93- quarter rest beat 2
B- m. 94- eighth rest after “Wohnungen”
All- m. 96- eighth rest after “Zebaoth”
All- m. 103- quarter rest after “Wohnungen”
B- m. 105- quarter rest after “Zebaoth”
m. 123- “die loben dich immerdar”- half note/quarter note theme- strong, marcato, weight on the first part of the beat
-eighth note theme- lighter, shorter
-breathe at commas in text
T/B- m. 143-148- weight on “lo” of die loben
S/A- m. 142-148- stagger breathe
A/B- m. 162- quarter rest beat 2, same m. 164
All- m. 164-end, stagger breathe
Translation:
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
(How lovely are thy dwellings, Lord of hosts!)
Meine Seele verlanget
(My soul longs)
Und sehnet sich nach den Vorhöfen des Herrn;
(And sighs to enter the courts of the Lord;)
Mein Leib und Seele freuen sich in dem lebendigen Gott.
(My heart and soul rejoice in the living God.)
Wohl denen, die in deinem Hause wohnen,
(Blessed are they that dwell in your house,)
Die loben dich immerdar.
(They praise you forever)
Wie lieblich sind deine Wohnungen!
(How lovely are thy dwellings!)
Threads of Joy SATB Amanda Quist/Tim BrentWalton WW1788 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: D4-G5; SII: D4-E5; AI: A3-D5; AII: A3-D5; TI: D3-G4; TII: D3-F#4; BI: F#2-D4; BII: E2-D4
Instructions/Errata:
Solo and Small group for "Threads of Joy" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:
Threads of Joy- Brent/Quist
My husband and I wrote this piece together for the Westminster Vocal Institute chorus. We were inspired by the poem by Laura Foley to write something that we felt reflected light. There is a soprano solo in the beginning, and also a descant for a few first sopranos on p. 7; the solo comes back at the end.
Here are the breaths:
Breathe after the fermatas
m. 5, after “too”
m. 12, S + A, after “pain”
m. 14, S, make the dotted half a half note with quarter rest.
m. 24, after “through”
m. 27, after “darkness”
m. 29, after “too”
m. 39-40, tenors breathe after “silence”- eighth rest.
m. 47-51, sopranos breathe for a quarter rest before each “it presses through”
m. 59, all breathe after beat 1
Here is a recording:
https://www.youtube.com/watch?v=KgrYFhLef_w
Ride in the Chariot SATB Brandon Waddles GIA PubG-8532 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: F4-A natural 5; SII: F4-Ab5; AI: B natural 3-C5; AII: Bb3-C5; TI: C3-A4; TII: C3-F4; BI: F2-D4; BII: F2-C4
Instructions/Errata:
Solos and Small Groups for "Ride in the Chariot" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:
Breaths (eighth rest)
m. 6, 14, 16 (quarter rest), 18 after “me”, 22, 24, 30, 32, 38, 40 (quarter rest), 42 (after “me), 72 for men after “me”, 79 before “the band”.
Please learn the solos if you are interested- there are solos for tenor and soprano.
Here is a reference recording:
https://www.giamusic.com/store/resource/ride-in-the-chariot-print-g8532
Sleep SSAATTBB Eric Whitacre walton WJMS1035 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: Bb3-Ab5; SII: G3-G5; AI: G3-Eb5; AII: G3-Bb4; TI: C3-G4; TII: C3-G4; BI: Ab2-D4; BII: Eb2-D4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
The recording is our best reference for the piece in terms of sound and vocalism, please see below. Please take quarter rest breaths after these words:
moon, m. 5
dune, m. 7
head, m. 19
deep, m. 46 (beat 3 for S & A, beat 4 for T & B)
deep, m. 50 (T & B)
m. 62, watch for ritardando, “p” on beat 4
m. 66, sopranos, “p” on beat 3 (all others stagger breathe)
m. 68, A, T, B “p” on beat 4, sopranos carry
Other notes:
m. 18, put the “d” of bed on beat 1
m. 27- basses, sotto voce (think falsetto)
m. 50- S & A, “p” of leap on beat 1
m. 52- T & B, “p” of deep on beat 3
m. 53- S & A, “p” of sleep on beat 1
m. 55- T & B, “p” of deep on beat 3
m. 56- S & A, “p” of sleep on beat 1
Recording:
https://www.youtube.com/watch?v=zLSRVE3t17E
Treble Choir
Conductor: Shawna Stewart
TitleVoicingComposerPublisherCatalog NoAudition Levels
Les Papillons SSA Ernest Chausson Arr. By Mari Valverde Walton WLG157 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: D4 – G5; SII: D4 – F#5; AI & AII: G#3 – D5
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
-Please write in the poetic English translation, found on p. 11, under each phrase of French in the score.
-Marking Your Score:
Tempo: quarter=92, please observe all written tempo fluctuations.
Dynamics and phrasing: I will say “phrase to…” to indicate the peak of each phrase. The implication is that all singers crescendo to the peak and diminuendo away from the peak (“Grow and Go”)
Please observe all written dynamics, but remember dynamics are collectively sung! So, if you have a piano written, you will have to sing softer than that to get a collectively sung piano dynamic.
Releases:
Release all tied eighth notes on the beat.
All other releases are as written.
Breathe only on the rests.
“Phrase to” - Where the phrase is to peak:
Phrase measures
m. 3-6: peak phrase at m.5, bt. 1
m. 7-10: peak at m.8, bt. 1
m. 11-12: (start at mp): peak at m. 12, bt. 1
m. 3-18: peak at m.16, bt. 2
m. 20-24 (start at mp+): peak at m. 23, bt. 1
m. 25-28: peak at m. 28, bt. 1
m. 29-33 (start at mf-): peak at 32, bt. 1
m. 34-38 phrase begins to taper m. 35, bt. 1
m. 39-42: phrase quickly grows to mf
and slightly flexible and faster tempo to m. 42, bt. 1
m. 43-end: as written
Benigne Fac DomineSSAAJohann Hasse, ed. By Martin BannerDean15/1820RDesignated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI: F4 – G5; SII: E4 – G5; AI: C4 – C5; AII: G3 – C5
Instructions/Errata:
M. 70-71 - Small notes will be addressed by Region and All-State Clinicians. Use the big notes for auditions.
Conductor's Rehearsal notes:
Notes:
Please familiarize yourself with the editor’s notes in the score.
Please copy the poetic translation into your score.
Note: Lines 1-5 (m. 1-62 bt. 2) are from Psalm 51: 18-19; Lines 6-8 (m. 62 bt. 3-end) are the Gloria Patri.
Benigne fac Domine in bona voluntate tua Sion, (Grant kindness, Lord, to Zion according to your will,)
Ut aedificentus muri Jerusalem.
(that the walls of Jerusalem may be rebuilt.)
Tunc acceptabis sacrificium justitiae,
(Then you will accept a just sacrifice,)
Oblationes et holocaustos.
(oblations and the burnt offerings,)
Tunc imponent super altare tuum vitulos.
(then they will place bullocks upon your altar)
Gloria Patri et Filio et Spiritui Sancto.
(Glory to the Father, the Son and the Holy Spirit.)
Sicut erat in principio et nunc et semper,
Et in saecula saeculorum. Amen.
(As it was in the beginning, is now,
and will always be. Amen.)
Latin pronunciation:
In lines 1-5 there are a number of words that may not be as familiar as some other Latin words.
The IPA is provided below for those lines. Please flip all r’s.
Benigne fac Domine in bona voluntate tua Sion
Bɛniɳe fɑk Dɔminɛ in bɔnɑ vɔluntɑtɛ tuɑ Siɔn
Ut aedificentus muri Jerusalem
Ut ɛdifitʃɛntus muri jɛrusɑlɛm
Tunc acceptabis sacrificium justitiae,
Tunk ɑtʃɛptɑbis sɑkrifitʃium justitiɛ
Oblationes et holocaustos.
ɔblɑtsiɔnɛs ɛt ɔlɔcɑ:ustɔs
Tunc imponent super altare tuum vitulos.
Tunk impɔnɛnt supɛr ɑltɑrɛ tuum vitulɔs
Marking your score
Tempo:
m. 1-21- “Allegro” is quarter = 110
m. 22- please ignore the Piu Presto
Please put slashes at all punctuation marks.
(i.e.. put a slash through a comma or period and the word to which it pertains.)
Those indicate phrases or subphrases.
Sometimes those subphrases will be just 2 or 3 beats!
Between the slashes, sing hairpin (crescendo/diminuendo) phrases unless otherwise indicated.
Please underline all stressed syllables and sing the correct syllabic stress.
HINT: The stressed syllable or most important word/syllable of the phrase usually has a longer note value.
M. 11, S1/S2-please take a slight lift (not a breath) between “on” and “ut” to set off the new phrase. Altos, release on 2 as written.
Breath marks:
All rests
M. 7, tutti on bt. 2
M. 14, on the & of 4
M. 26, S2 after bt. 1 AND A2 on the & of 4
M. 27, S1 after bt. 1 AND A1 on the & of 2
M. 35, A2 on the & of 3
M. 36, S1 S2 & A1 after beat 1
M. 41, S1 & A1 lift after “re” (bt. 1)
M. 44, S2 & A1 lift after “re” (bt. 1)
M. 48, S1 on the & of 4
M. 49, A1 on the & of 3
M. 56, S2 on the & of 3
M. 57, S1 on the & of 3
M. 54-62, all Altos stagger breathe
M. 62, tutti release ON beat 2
M. 73 & 74, all singers lift and put a glottal stroke on the “A” of “Amen
Altos stagger to the end
M. 75, S1 & S2 breathe after beat 1
Please sing a light shadow vowel at all cadences.
You Do Not Walk Alone SSAA Elaine Hagenberg Beckenhorst 2240 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: B3 – A5; SII: B3 – F5; AI: A3 – C#5; AII: F3 – C#5
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Treble Choir
Conductor's Rehearsal notes:
Notes to come at a later date.
Now Let Me Fly SSAA Stacey Gibbs WaltonWJMS1137 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: C4 – A5; SII: A3 – D5; AI: G3 – D5; AII: F3 – D5
Instructions/Errata:
All divisi within each of the four voice parts in "Now Let Me Fly" will be divided by Areas: A-D will take upper split and Areas E-H will take the lower split.
Update (6/9/2020): Pg. 15, m. 85-87, Alto 2 in Areas A-D will take the bottom notes of the Alto 1 staff, then move back down to Alto 2 staff in m. 88.
Update (6/9/2020): M. 8, Sop. 1 should be a G natural, not an A.
Conductor's Rehearsal notes:
Notes:
• Please strictly observe all markings in the score.
Additional markings:
Tempo:
M. 1 freely within quarter=100
Dynamics:
M. 23, crescendo arrives at mf+
M. 37-43, slow movement to a f-
M. 76, phrase starts at mf+
M. 85 will start mp+
As a general rule: accent/bring out the syncopation throughout, even when just implied.
E.g:
M. 38 , bt. 4&, sopranos
M. 40, bt. 3&, all singers, bt 4&, sopranos
Releases and breathing clarifications:
M. 4, A2 catch breath after bt. 3 if needed to make it m. 7, bt. 1
M. 8, everyone carries over
M. 15, Altos catch breath after bt. 2
M. 19, A2 catch breath after bt. 3
M. 24, ALL catch breath off of the fermata
M. 30, S1/A3 catch breath after bt. 3
M. 31, S2/A1 catch breath after bt. 3
M. 32-33, ALL carry over
M. 38. Sopranos breathe on bt. 4
M. 37-40, altos stagger breathe
M. 56, Soprano + A2 catch breath on bt. 2&, A1 catch breath on bt. 3
M. 72, ALL catch breath after bt. 3
M. 84, A1 catch breath after bt. 2 throughout breakdown
M. 91, ALL breath after the fermata
Pronunciation (with this tempo, just a few words need clarification)
Never pronounce the ending r
Always give a little accent on the “f” of the word “fly,” with even more emphasis when the accent sign is written.
Ending S’s should be pronounced “z”
Ending “er”+“uh”
No “r” in morning=mohneeng
Take care to minimize the diphthong at the end of the word “fly”
Voice internal and beginning “th” except the word “thing”
Suggested pronunciation of specific words below are to minimize the use of diphthongs for ensemble unification:
Away=uhweh
Celestial=cehlehscheeuhl
Now=nah
Lord=lohd
Shore=shoh
Way=weh
Down=dahn
Angels=aynjəlz
Workin’=wuhkin
Tenor-Bass Choir
Conductor: Deanna Joseph
O Sing to the Lord TTBB Dan Davison WaltonWW1497 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: A2 - G4; T2: A2 - E4; BI: A2 - D4; B2: A2 - D4
Instructions/Errata:
M. 15-17 - Tenor I will split: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!
M. 24 - Bass II will split notes: Areas A-D Bass II will take UPPER NOTE OF THE SPLIT. Areas E-H Bass II will take the LOWER NOTE OF THE SPLIT!
Update(6/11/2020): Tie is missing in bass 1 m. 50
Conductor's Rehearsal notes:
Notes:
Generally, 4-bar phrases and release on rests
NB, m. 6
m. 8; release on rest
m. 12; release on rest
NB, m. 14
NB, m. 15
m. 16, BI and II release on rest
m. 18, TI and TII release on downbeat
m. 18, NB BI and BII
m. 20, release on rest
m. 22, NB
m. 23; all BII’s sing, then divide in m. 24
m. 24; TI, TII, BI release on rest
m. 26, NB
m. 28; release on rest
m. 30, BI and BII release on rest
m. 31, TI and TII release on rest
m. 32, BI and BII release on rest
m. 33, NB for all (smart staggering)
m. 34, NB for all (smart staggering)
m. 37, release on downbeat
m. 44; release on rest
m. 48, release on rest
m. 50; release on rest
m. 52, release on rest
m. 58; release on rest
m. 62; release on downbeat
"Dance" from Invocation and Dance TTBB David Conte EC Schirmer4179B Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
TI: G3 - B4; T2: F#3 - G#4; BI: G2 - E4; BII: F#2 - D4
Instructions/Errata:
M. 160 - Bass line upper two notes will be a Bass I split. Areas A-D Bass I will take UPPER NOTES OF THE SPLIT. Areas E-H Bass I will take the LOWER NOTES OF THE SPLIT! Bass II will take the lowest notes of the staff.
M. 206-209 - Tenor I will split upper notes: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!
Conductor's Rehearsal notes:
Updated: 6/17/2020
Tempo: quarter=144
m. 23; release ‘s’ on rest
m. 26; release ‘s’ on rest
m. 28; release ‘f’ on rest
m. 32; release ‘s’ on rest
m. 38; release ‘s’ on rest
m. 42; release ‘s’ on rest
m. 43; release ‘f’ on rest
m. 46; release ‘v’ on rest
m. 49; release ‘v’ on downbeat
m. 50; release ‘z’ on rest
m. 51; release ‘z’ on rest
m. 53; BI and II, release ‘z’ on rest; TI and II, NB
m. 56; release ‘th’ on rest
m. 63; release ‘t’ on downbeat
m. 68; release ‘m’ on rest
m. 72; release ‘l’ on rest
m. 73; NB after ‘bring’
m. 74; ‘ng’ on rest
m. 78; release on downbeat
m. 88; release ‘s’ on rest
m. 93; release ‘m’ om rest
m. 97; release ‘d’ on rest
m. 103; release ‘d’ on rest; TI carry
m. 108; release ‘th’ on rest
m. 115; release ‘s’ on rest
m. 120, NB after ‘them’
m. 124; release ‘d’ on rest
m. 132; NB for tenors; Basses release on rest
m. 135; release ‘th’ on the rest
m. 141; release ‘s’ on rest
m. 149; release ‘p’ on rest
m. 151; release ‘ng’ on rest
m. 152; release ‘f’ on rest
m. 153; release ‘ds’ on rest
m. 155; release ‘t’ on rest
m. 156; release ‘f’ on rest
m. 157; release ‘ds’ on rest
m. 159, release ‘t’ on rest
m. 162; release ‘t’ on quarter rest and ‘c’ on eighth rest
General note about this section, starting at m. 162, the ‘c’ of ‘dance’ goes on the rest and please create space on at the dotted quarter note ‘sing’ to give this section a jazzy and slightly detached feeling as the composer requests.
m. 164; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 165; release ‘s’ on rest
m. 166; release ‘s’ on rest and ‘c’ on eighth rest
m. 167; release ‘s’ on rest
m. 168; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 170; release ‘s’ on quarter rest and ‘c’ on eighth rest
m. 172; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 173; release ‘s’ on rest
m. 174; release ‘s’ on quarter rest and ‘c’ on eighth rest; space after ‘sing’ (remove dot)
m. 175; release ‘s’ on rest
m. 176; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 178; Upper two voices, ‘s’ on quarter rest. BII, leave off ‘s’ – just sing ‘u – ni – ver’. All parts place the ‘c’ on the final eighth rest.
m. 180; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 182; ‘s’ on beat two and ‘c’ on the eighth rest
m. 184; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 186; ‘z’ on beat two; ‘s’ on eithth rest
m. 188; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 190; ‘z’ on beat two; ‘s’ on eighth rest
m. 192; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 194; ‘z’ on beat two; space after ‘sing’ (remove dot)
m. 196; ‘z’ on beat two; space after ‘sing’ (remove dot)
m. 198; z’ on beat two
m. 201; ‘s’ on beat three
m. 210; ‘z’ on downbeat
Jaglied- Hunting Song, A cappella TTBB Felix Mendelssohn, ed. By Frank MuellerG Schirmer50319340 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: G3 - G4; TII: E3 - F4; BI: C3 - D4; BII: G2 - D4
Instructions/Errata:
Soli group will not be auditioned during the All-State Audition process and will be determined at TMEA Convention. Instructions will be available in the Information packet after Area Auditions.
Update (6/9/2020): Piano reduction is missing a tie from m. 19-20. Rhythm should reflect that of the voice parts.
Update (6/11/2020): M. 72 bass 2 in solo should be an F#.
Conductor's Rehearsal notes:
Notes:
This piece will be auditioned and performed in German.
No measure numbers or page numbers, so everyone will need to add them in.
Vs. 1
M. 3; cross off dot and breathe
M. 5; TI, TII, BII; cross off dot and breathe; BI sustain.
M. 7; NB
M. 9; TI and TII, cross off dot and breathe; BI and BII; release on rest
M. 13; TI, TII, BI, breathe on the rest (BI will need to cross off the dot to line up with TI and TII)
M. 14; poco rit (very slight)
M. 15; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 23; breathe at rest
M. 27; breathe at rest (BII will cross off dot and breathe along with upper three parts)
M. 29, no breath
M. 31, solo group cross off dot and breathe
M. 33; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 37; carry through, no breath at the end of the bar
Mm 37-42; stagger, no group breaths
Vs. 2
M. 45; cross off dot and breathe
M. 47; TI, TII, BII; cross off dot and breathe; BI sustain
M. 49; all sustain
M. 51; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 55: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 56; poco rit (very slight)
M. 57; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 61; breathe at eighth rest
M. 65; breathe at eighth rest
M. 69; breathe at eighth rest
M. 71; all sustain
M. 73: Solo group cross off dot and breathe
M. 75; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 79; NB
M. 83: poco rit
Vs. 3
M. 87; cross off dot and breathe
M. 89; TI, TII, BII; cross off dot and breathe; BI sustain
M. 91; all sustain
M. 93; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 97: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 98; poco rit (very slight)
M. 99; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 103; breathe at eighth rest
M. 107; breathe at eighth rest
M. 111; breathe at eighth rest (BII will need to cross off dot and add eighth rest and breathe)
M. 113; all sustain
M. 115: Solo group cross off dot and breathe
M. 117; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 121; NB
M. 125: poco rit – a bit more than the previous two since it’s the end of the piece.
I Will Be a Child of Peace TTBB Elaine Hagenberg BeckenhorstCU1051 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: Bb2 - Ab4; T2: Bb2 - F4; BI: Ab2 - Eb4; BII: Ab2 - C4
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Tenor-Bass Choir
Conductor's Rehearsal notes:
Notes:
M. 11; breathe at eighth rest
M. 13; breathe at eighth rest
M. 14; NB
M. 15: “s” on eighth note plus breath
M. 16; NB
M. 19; release “s” on downbeat
M. 23; breath
M. 24; NB
M. 25; breath
M. 26; NB
M. 27; “s” and breath on rest
M. 28; NB
M. 31; “s” on downbeat
M. 35; breathe at rest
M. 36; NB
M. 37; breath at rest
M. 38; NB
M. 39; “s” on eighth rest plus breath
M. 40; NB
M. 43; release “s” on downbeat
M. 43; rit as marked
M. 44 starts a broader (slightly slower) tempo
M. 45; breath
M. 46; NB
M. 47; breath at rest
M. 48; NB
M. 49; breath and “s” at eighth rest
M. 50; NB
M. 52; “s” on quarter rest
M. 54; TI, TII, BII – NB. BI make beat one an eighth note, eighth rest and breathe
End of m. 58 into 59 – NB
M. 60; final “s” releases on the downbeat of this bar
Mixed Choir
Conductor: Amanda Quist
Dies Irae, from Mozart RequiemSATBMozartG Schirmer50603574 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II: F4 – G5; AI & II: C4 – D5; TI & II: F3 – G4; BI & II: Bb2 – D4
Instructions/Errata:
Note: This is a new octavo (not different arrangement) being printed specifically for the Texas All-State Choir.
Conductor's Rehearsal notes:
Notes:
Text written in the mid 13th century
Text stress is crucial. Half notes in general should have a strong onset with a bit of decay. Sequences should build in dynamic. If there is only a mark in the soprano part, it applies to all 4 parts below it- please transfer in to your score.
Here is a recording:
https://www.youtube.com/watch?v=0T7eMctuJLQ
Translation:
Dies irae, dies illa
(Day of wrath, that day)
Solvet saeclum in favilla,
(When the earth will be dissolved to ashes)
Teste David cum Sibylla
(As testified by David and Sibyl)
Quantus tremor est futurus,
(What great fear there will be)
Quando iudex est venturus
(When the judge comes)
Cuncta stricte discussurus!
(To judge all things strictly!)
"Wie lieblich sind deine Wohnungen" Mov’t IV A German Requiem SATB Johannes Brahms G Schirmer 50486753 Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI & II: D4 – Ab5; AI & II: Bb3 – Eb5; TI & II: Db3 – Ab4; BI & II: G2 – Eb4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
This piece will be auditioned and performed in German.
Please observe all printed dynamics and musical indications
S/A/T- m. 8, quarter rest on beat 2
B- m. 9, eighth rest before “Herr”
SATB- m. 11, eighth rest before “Herr”
All- m. 18- quarter rest beat 2
T- m. 30, quarter rest beat 2
B- m. 34-35, slight crescendo over the bar
S/A/B- m. 40, quarter rest beat 2
T- m. 41, quarter rest beat 2
B- m. 48, breath before “verlanget”
m. 48-62 all parts, eighth rest at the commas after “sehnet”
m. 69 all parts, breath beat 3
m. 77, no breath
A- m. 79 breath after “lebendigen”
T- m. 80 breath after “lebendigen”
S/A/T- m. 93- quarter rest beat 2
B- m. 94- eighth rest after “Wohnungen”
All- m. 96- eighth rest after “Zebaoth”
All- m. 103- quarter rest after “Wohnungen”
B- m. 105- quarter rest after “Zebaoth”
m. 123- “die loben dich immerdar”- half note/quarter note theme- strong, marcato, weight on the first part of the beat
-eighth note theme- lighter, shorter
-breathe at commas in text
T/B- m. 143-148- weight on “lo” of die loben
S/A- m. 142-148- stagger breathe
A/B- m. 162- quarter rest beat 2, same m. 164
All- m. 164-end, stagger breathe
Translation:
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
(How lovely are thy dwellings, Lord of hosts!)
Meine Seele verlanget
(My soul longs)
Und sehnet sich nach den Vorhöfen des Herrn;
(And sighs to enter the courts of the Lord;)
Mein Leib und Seele freuen sich in dem lebendigen Gott.
(My heart and soul rejoice in the living God.)
Wohl denen, die in deinem Hause wohnen,
(Blessed are they that dwell in your house,)
Die loben dich immerdar.
(They praise you forever)
Wie lieblich sind deine Wohnungen!
(How lovely are thy dwellings!)
Threads of Joy SATB Amanda Quist/Tim BrentWalton WW1788 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: D4-G5; SII: D4-E5; AI: A3-D5; AII: A3-D5; TI: D3-G4; TII: D3-F#4; BI: F#2-D4; BII: E2-D4
Instructions/Errata:
Solo and Small group for "Threads of Joy" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:
Threads of Joy- Brent/Quist
My husband and I wrote this piece together for the Westminster Vocal Institute chorus. We were inspired by the poem by Laura Foley to write something that we felt reflected light. There is a soprano solo in the beginning, and also a descant for a few first sopranos on p. 7; the solo comes back at the end.
Here are the breaths:
Breathe after the fermatas
m. 5, after “too”
m. 12, S + A, after “pain”
m. 14, S, make the dotted half a half note with quarter rest.
m. 24, after “through”
m. 27, after “darkness”
m. 29, after “too”
m. 39-40, tenors breathe after “silence”- eighth rest.
m. 47-51, sopranos breathe for a quarter rest before each “it presses through”
m. 59, all breathe after beat 1
Here is a recording:
https://www.youtube.com/watch?v=KgrYFhLef_w
Ride in the Chariot SATB Brandon Waddles GIA PubG-8532 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: F4-A natural 5; SII: F4-Ab5; AI: B natural 3-C5; AII: Bb3-C5; TI: C3-A4; TII: C3-F4; BI: F2-D4; BII: F2-C4
Instructions/Errata:
Solos and Small Groups for "Ride in the Chariot" will be determined at Region Clinic and All-State Clinic, respectively, and shall not be auditioned during the All-State Audition process.
Conductor's Rehearsal notes:
Notes:
Breaths (eighth rest)
m. 6, 14, 16 (quarter rest), 18 after “me”, 22, 24, 30, 32, 38, 40 (quarter rest), 42 (after “me), 72 for men after “me”, 79 before “the band”.
Please learn the solos if you are interested- there are solos for tenor and soprano.
Here is a reference recording:
https://www.giamusic.com/store/resource/ride-in-the-chariot-print-g8532
Sleep SSAATTBB Eric Whitacre walton WJMS1035 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: Bb3-Ab5; SII: G3-G5; AI: G3-Eb5; AII: G3-Bb4; TI: C3-G4; TII: C3-G4; BI: Ab2-D4; BII: Eb2-D4
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
The recording is our best reference for the piece in terms of sound and vocalism, please see below. Please take quarter rest breaths after these words:
moon, m. 5
dune, m. 7
head, m. 19
deep, m. 46 (beat 3 for S & A, beat 4 for T & B)
deep, m. 50 (T & B)
m. 62, watch for ritardando, “p” on beat 4
m. 66, sopranos, “p” on beat 3 (all others stagger breathe)
m. 68, A, T, B “p” on beat 4, sopranos carry
Other notes:
m. 18, put the “d” of bed on beat 1
m. 27- basses, sotto voce (think falsetto)
m. 50- S & A, “p” of leap on beat 1
m. 52- T & B, “p” of deep on beat 3
m. 53- S & A, “p” of sleep on beat 1
m. 55- T & B, “p” of deep on beat 3
m. 56- S & A, “p” of sleep on beat 1
Recording:
https://www.youtube.com/watch?v=zLSRVE3t17E
Treble Choir
Conductor: Shawna Stewart
TitleVoicingComposerPublisherCatalog NoAudition Levels
Les Papillons SSA Ernest Chausson Arr. By Mari Valverde Walton WLG157 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: D4 – G5; SII: D4 – F#5; AI & AII: G#3 – D5
Instructions/Errata:
Errata----
Conductor's Rehearsal notes:
Notes:
-Please write in the poetic English translation, found on p. 11, under each phrase of French in the score.
-Marking Your Score:
Tempo: quarter=92, please observe all written tempo fluctuations.
Dynamics and phrasing: I will say “phrase to…” to indicate the peak of each phrase. The implication is that all singers crescendo to the peak and diminuendo away from the peak (“Grow and Go”)
Please observe all written dynamics, but remember dynamics are collectively sung! So, if you have a piano written, you will have to sing softer than that to get a collectively sung piano dynamic.
Releases:
Release all tied eighth notes on the beat.
All other releases are as written.
Breathe only on the rests.
“Phrase to” - Where the phrase is to peak:
Phrase measures
m. 3-6: peak phrase at m.5, bt. 1
m. 7-10: peak at m.8, bt. 1
m. 11-12: (start at mp): peak at m. 12, bt. 1
m. 3-18: peak at m.16, bt. 2
m. 20-24 (start at mp+): peak at m. 23, bt. 1
m. 25-28: peak at m. 28, bt. 1
m. 29-33 (start at mf-): peak at 32, bt. 1
m. 34-38 phrase begins to taper m. 35, bt. 1
m. 39-42: phrase quickly grows to mf
and slightly flexible and faster tempo to m. 42, bt. 1
m. 43-end: as written
Benigne Fac DomineSSAAJohann Hasse, ed. By Martin BannerDean15/1820RDesignated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
SI: F4 – G5; SII: E4 – G5; AI: C4 – C5; AII: G3 – C5
Instructions/Errata:
M. 70-71 - Small notes will be addressed by Region and All-State Clinicians. Use the big notes for auditions.
Conductor's Rehearsal notes:
Notes:
Please familiarize yourself with the editor’s notes in the score.
Please copy the poetic translation into your score.
Note: Lines 1-5 (m. 1-62 bt. 2) are from Psalm 51: 18-19; Lines 6-8 (m. 62 bt. 3-end) are the Gloria Patri.
Benigne fac Domine in bona voluntate tua Sion, (Grant kindness, Lord, to Zion according to your will,)
Ut aedificentus muri Jerusalem.
(that the walls of Jerusalem may be rebuilt.)
Tunc acceptabis sacrificium justitiae,
(Then you will accept a just sacrifice,)
Oblationes et holocaustos.
(oblations and the burnt offerings,)
Tunc imponent super altare tuum vitulos.
(then they will place bullocks upon your altar)
Gloria Patri et Filio et Spiritui Sancto.
(Glory to the Father, the Son and the Holy Spirit.)
Sicut erat in principio et nunc et semper,
Et in saecula saeculorum. Amen.
(As it was in the beginning, is now,
and will always be. Amen.)
Latin pronunciation:
In lines 1-5 there are a number of words that may not be as familiar as some other Latin words.
The IPA is provided below for those lines. Please flip all r’s.
Benigne fac Domine in bona voluntate tua Sion
Bɛniɳe fɑk Dɔminɛ in bɔnɑ vɔluntɑtɛ tuɑ Siɔn
Ut aedificentus muri Jerusalem
Ut ɛdifitʃɛntus muri jɛrusɑlɛm
Tunc acceptabis sacrificium justitiae,
Tunk ɑtʃɛptɑbis sɑkrifitʃium justitiɛ
Oblationes et holocaustos.
ɔblɑtsiɔnɛs ɛt ɔlɔcɑ:ustɔs
Tunc imponent super altare tuum vitulos.
Tunk impɔnɛnt supɛr ɑltɑrɛ tuum vitulɔs
Marking your score
Tempo:
m. 1-21- “Allegro” is quarter = 110
m. 22- please ignore the Piu Presto
Please put slashes at all punctuation marks.
(i.e.. put a slash through a comma or period and the word to which it pertains.)
Those indicate phrases or subphrases.
Sometimes those subphrases will be just 2 or 3 beats!
Between the slashes, sing hairpin (crescendo/diminuendo) phrases unless otherwise indicated.
Please underline all stressed syllables and sing the correct syllabic stress.
HINT: The stressed syllable or most important word/syllable of the phrase usually has a longer note value.
M. 11, S1/S2-please take a slight lift (not a breath) between “on” and “ut” to set off the new phrase. Altos, release on 2 as written.
Breath marks:
All rests
M. 7, tutti on bt. 2
M. 14, on the & of 4
M. 26, S2 after bt. 1 AND A2 on the & of 4
M. 27, S1 after bt. 1 AND A1 on the & of 2
M. 35, A2 on the & of 3
M. 36, S1 S2 & A1 after beat 1
M. 41, S1 & A1 lift after “re” (bt. 1)
M. 44, S2 & A1 lift after “re” (bt. 1)
M. 48, S1 on the & of 4
M. 49, A1 on the & of 3
M. 56, S2 on the & of 3
M. 57, S1 on the & of 3
M. 54-62, all Altos stagger breathe
M. 62, tutti release ON beat 2
M. 73 & 74, all singers lift and put a glottal stroke on the “A” of “Amen
Altos stagger to the end
M. 75, S1 & S2 breathe after beat 1
Please sing a light shadow vowel at all cadences.
You Do Not Walk Alone SSAA Elaine Hagenberg Beckenhorst 2240 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: B3 – A5; SII: B3 – F5; AI: A3 – C#5; AII: F3 – C#5
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Treble Choir
Conductor's Rehearsal notes:
Notes to come at a later date.
Now Let Me Fly SSAA Stacey Gibbs WaltonWJMS1137 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
SI: C4 – A5; SII: A3 – D5; AI: G3 – D5; AII: F3 – D5
Instructions/Errata:
All divisi within each of the four voice parts in "Now Let Me Fly" will be divided by Areas: A-D will take upper split and Areas E-H will take the lower split.
Update (6/9/2020): Pg. 15, m. 85-87, Alto 2 in Areas A-D will take the bottom notes of the Alto 1 staff, then move back down to Alto 2 staff in m. 88.
Update (6/9/2020): M. 8, Sop. 1 should be a G natural, not an A.
Conductor's Rehearsal notes:
Notes:
• Please strictly observe all markings in the score.
Additional markings:
Tempo:
M. 1 freely within quarter=100
Dynamics:
M. 23, crescendo arrives at mf+
M. 37-43, slow movement to a f-
M. 76, phrase starts at mf+
M. 85 will start mp+
As a general rule: accent/bring out the syncopation throughout, even when just implied.
E.g:
M. 38 , bt. 4&, sopranos
M. 40, bt. 3&, all singers, bt 4&, sopranos
Releases and breathing clarifications:
M. 4, A2 catch breath after bt. 3 if needed to make it m. 7, bt. 1
M. 8, everyone carries over
M. 15, Altos catch breath after bt. 2
M. 19, A2 catch breath after bt. 3
M. 24, ALL catch breath off of the fermata
M. 30, S1/A3 catch breath after bt. 3
M. 31, S2/A1 catch breath after bt. 3
M. 32-33, ALL carry over
M. 38. Sopranos breathe on bt. 4
M. 37-40, altos stagger breathe
M. 56, Soprano + A2 catch breath on bt. 2&, A1 catch breath on bt. 3
M. 72, ALL catch breath after bt. 3
M. 84, A1 catch breath after bt. 2 throughout breakdown
M. 91, ALL breath after the fermata
Pronunciation (with this tempo, just a few words need clarification)
Never pronounce the ending r
Always give a little accent on the “f” of the word “fly,” with even more emphasis when the accent sign is written.
Ending S’s should be pronounced “z”
Ending “er”+“uh”
No “r” in morning=mohneeng
Take care to minimize the diphthong at the end of the word “fly”
Voice internal and beginning “th” except the word “thing”
Suggested pronunciation of specific words below are to minimize the use of diphthongs for ensemble unification:
Away=uhweh
Celestial=cehlehscheeuhl
Now=nah
Lord=lohd
Shore=shoh
Way=weh
Down=dahn
Angels=aynjəlz
Workin’=wuhkin
Tenor-Bass Choir
Conductor: Deanna Joseph
O Sing to the Lord TTBB Dan Davison WaltonWW1497 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: A2 - G4; T2: A2 - E4; BI: A2 - D4; B2: A2 - D4
Instructions/Errata:
M. 15-17 - Tenor I will split: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!
M. 24 - Bass II will split notes: Areas A-D Bass II will take UPPER NOTE OF THE SPLIT. Areas E-H Bass II will take the LOWER NOTE OF THE SPLIT!
Update(6/11/2020): Tie is missing in bass 1 m. 50
Conductor's Rehearsal notes:
Notes:
Generally, 4-bar phrases and release on rests
NB, m. 6
m. 8; release on rest
m. 12; release on rest
NB, m. 14
NB, m. 15
m. 16, BI and II release on rest
m. 18, TI and TII release on downbeat
m. 18, NB BI and BII
m. 20, release on rest
m. 22, NB
m. 23; all BII’s sing, then divide in m. 24
m. 24; TI, TII, BI release on rest
m. 26, NB
m. 28; release on rest
m. 30, BI and BII release on rest
m. 31, TI and TII release on rest
m. 32, BI and BII release on rest
m. 33, NB for all (smart staggering)
m. 34, NB for all (smart staggering)
m. 37, release on downbeat
m. 44; release on rest
m. 48, release on rest
m. 50; release on rest
m. 52, release on rest
m. 58; release on rest
m. 62; release on downbeat
"Dance" from Invocation and Dance TTBB David Conte EC Schirmer4179B Designated for Area Audition use. May be used for auditions prior to Area
Voice Ranges:
TI: G3 - B4; T2: F#3 - G#4; BI: G2 - E4; BII: F#2 - D4
Instructions/Errata:
M. 160 - Bass line upper two notes will be a Bass I split. Areas A-D Bass I will take UPPER NOTES OF THE SPLIT. Areas E-H Bass I will take the LOWER NOTES OF THE SPLIT! Bass II will take the lowest notes of the staff.
M. 206-209 - Tenor I will split upper notes: Areas A-D Tenor I will take UPPER NOTE OF THE SPLIT. Areas E-H Tenor I will take the LOWER NOTE OF THE SPLIT!
Conductor's Rehearsal notes:
Updated: 6/17/2020
Tempo: quarter=144
m. 23; release ‘s’ on rest
m. 26; release ‘s’ on rest
m. 28; release ‘f’ on rest
m. 32; release ‘s’ on rest
m. 38; release ‘s’ on rest
m. 42; release ‘s’ on rest
m. 43; release ‘f’ on rest
m. 46; release ‘v’ on rest
m. 49; release ‘v’ on downbeat
m. 50; release ‘z’ on rest
m. 51; release ‘z’ on rest
m. 53; BI and II, release ‘z’ on rest; TI and II, NB
m. 56; release ‘th’ on rest
m. 63; release ‘t’ on downbeat
m. 68; release ‘m’ on rest
m. 72; release ‘l’ on rest
m. 73; NB after ‘bring’
m. 74; ‘ng’ on rest
m. 78; release on downbeat
m. 88; release ‘s’ on rest
m. 93; release ‘m’ om rest
m. 97; release ‘d’ on rest
m. 103; release ‘d’ on rest; TI carry
m. 108; release ‘th’ on rest
m. 115; release ‘s’ on rest
m. 120, NB after ‘them’
m. 124; release ‘d’ on rest
m. 132; NB for tenors; Basses release on rest
m. 135; release ‘th’ on the rest
m. 141; release ‘s’ on rest
m. 149; release ‘p’ on rest
m. 151; release ‘ng’ on rest
m. 152; release ‘f’ on rest
m. 153; release ‘ds’ on rest
m. 155; release ‘t’ on rest
m. 156; release ‘f’ on rest
m. 157; release ‘ds’ on rest
m. 159, release ‘t’ on rest
m. 162; release ‘t’ on quarter rest and ‘c’ on eighth rest
General note about this section, starting at m. 162, the ‘c’ of ‘dance’ goes on the rest and please create space on at the dotted quarter note ‘sing’ to give this section a jazzy and slightly detached feeling as the composer requests.
m. 164; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 165; release ‘s’ on rest
m. 166; release ‘s’ on rest and ‘c’ on eighth rest
m. 167; release ‘s’ on rest
m. 168; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 170; release ‘s’ on quarter rest and ‘c’ on eighth rest
m. 172; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 173; release ‘s’ on rest
m. 174; release ‘s’ on quarter rest and ‘c’ on eighth rest; space after ‘sing’ (remove dot)
m. 175; release ‘s’ on rest
m. 176; release ‘n’ on rest; space after ‘sing’ (remove dot)
m. 178; Upper two voices, ‘s’ on quarter rest. BII, leave off ‘s’ – just sing ‘u – ni – ver’. All parts place the ‘c’ on the final eighth rest.
m. 180; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 182; ‘s’ on beat two and ‘c’ on the eighth rest
m. 184; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 186; ‘z’ on beat two; ‘s’ on eithth rest
m. 188; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 190; ‘z’ on beat two; ‘s’ on eighth rest
m. 192; ‘n’ on beat two; space after ‘sing’ (remove dot)
m. 194; ‘z’ on beat two; space after ‘sing’ (remove dot)
m. 196; ‘z’ on beat two; space after ‘sing’ (remove dot)
m. 198; z’ on beat two
m. 201; ‘s’ on beat three
m. 210; ‘z’ on downbeat
Jaglied- Hunting Song, A cappella TTBB Felix Mendelssohn, ed. By Frank MuellerG Schirmer50319340 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: G3 - G4; TII: E3 - F4; BI: C3 - D4; BII: G2 - D4
Instructions/Errata:
Soli group will not be auditioned during the All-State Audition process and will be determined at TMEA Convention. Instructions will be available in the Information packet after Area Auditions.
Update (6/9/2020): Piano reduction is missing a tie from m. 19-20. Rhythm should reflect that of the voice parts.
Update (6/11/2020): M. 72 bass 2 in solo should be an F#.
Conductor's Rehearsal notes:
Notes:
This piece will be auditioned and performed in German.
No measure numbers or page numbers, so everyone will need to add them in.
Vs. 1
M. 3; cross off dot and breathe
M. 5; TI, TII, BII; cross off dot and breathe; BI sustain.
M. 7; NB
M. 9; TI and TII, cross off dot and breathe; BI and BII; release on rest
M. 13; TI, TII, BI, breathe on the rest (BI will need to cross off the dot to line up with TI and TII)
M. 14; poco rit (very slight)
M. 15; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 23; breathe at rest
M. 27; breathe at rest (BII will cross off dot and breathe along with upper three parts)
M. 29, no breath
M. 31, solo group cross off dot and breathe
M. 33; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 37; carry through, no breath at the end of the bar
Mm 37-42; stagger, no group breaths
Vs. 2
M. 45; cross off dot and breathe
M. 47; TI, TII, BII; cross off dot and breathe; BI sustain
M. 49; all sustain
M. 51; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 55: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 56; poco rit (very slight)
M. 57; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 61; breathe at eighth rest
M. 65; breathe at eighth rest
M. 69; breathe at eighth rest
M. 71; all sustain
M. 73: Solo group cross off dot and breathe
M. 75; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 79; NB
M. 83: poco rit
Vs. 3
M. 87; cross off dot and breathe
M. 89; TI, TII, BII; cross off dot and breathe; BI sustain
M. 91; all sustain
M. 93; TI and TII; cross off dot and breathe; BI and BII; release on rest
M. 97: breathe at rest (BI will cross off dot and breathe along with upper two parts)
M. 98; poco rit (very slight)
M. 99; small tenuto as marked (not much at all); add in eighth rest and breathe at end of the bar
M. 103; breathe at eighth rest
M. 107; breathe at eighth rest
M. 111; breathe at eighth rest (BII will need to cross off dot and add eighth rest and breathe)
M. 113; all sustain
M. 115: Solo group cross off dot and breathe
M. 117; big choir releases on big beat two (TI and TII will need to cross off eighth rest and add a dot to their notes). Solo group cross off dot and breathe on last eighth note.
M. 121; NB
M. 125: poco rit – a bit more than the previous two since it’s the end of the piece.
I Will Be a Child of Peace TTBB Elaine Hagenberg BeckenhorstCU1051 To be determined by Region Chairs and TMEA Executive Board
Voice Ranges:
TI: Bb2 - Ab4; T2: Bb2 - F4; BI: Ab2 - Eb4; BII: Ab2 - C4
Instructions/Errata:
Composer Elaine Hagenberg will also play this piece for 2021 Texas All-State Tenor-Bass Choir
Conductor's Rehearsal notes:
Notes:
M. 11; breathe at eighth rest
M. 13; breathe at eighth rest
M. 14; NB
M. 15: “s” on eighth note plus breath
M. 16; NB
M. 19; release “s” on downbeat
M. 23; breath
M. 24; NB
M. 25; breath
M. 26; NB
M. 27; “s” and breath on rest
M. 28; NB
M. 31; “s” on downbeat
M. 35; breathe at rest
M. 36; NB
M. 37; breath at rest
M. 38; NB
M. 39; “s” on eighth rest plus breath
M. 40; NB
M. 43; release “s” on downbeat
M. 43; rit as marked
M. 44 starts a broader (slightly slower) tempo
M. 45; breath
M. 46; NB
M. 47; breath at rest
M. 48; NB
M. 49; breath and “s” at eighth rest
M. 50; NB
M. 52; “s” on quarter rest
M. 54; TI, TII, BII – NB. BI make beat one an eighth note, eighth rest and breathe
End of m. 58 into 59 – NB
M. 60; final “s” releases on the downbeat of this bar
|
2020-2021 PHS All-State Singers!
Texas Music Educators Association, or TMEA, is an organization of over 20,000 Texas school music educators. It is responsible for auditions and concerts for Texas All-Region and All-State Choirs. FWISD is in the very competitive TMEA Region 5. There are 4 audition levels in the All-State Process. The final audition, Area, is held to determine membership in the All-State Choirs. Procedures for Auditioning for All-State
IMPORTANT DATES! On Campus Mock Auditions: Thursday, August 30 and Friday, August 31 Paschal HS District Auditions: Saturday, September 21, Martin HS Region Auditions: Saturday, October 19, Mansfield Summit HS Region Clinic & Concert: Saturday, November 16, Mansfield PAC all day Pre-Area Audition: Friday, November 15, TBA Area (All-State) Auditions: Saturday, January 11th, UTA All-State Clinic & Concert: February 12–15, San Antonio, TX |
ALL-STATE CAMPS AVAILABLE TO STUDENTS
|
