All-State Choir Audition Material

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Sehnsucht

Voicing: SATB
Composer: Johannes Brahms/ed. Bruce Southard
Publisher: CPDL
Product ID: CPDL
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: E4-A5  Soprano 2: E4-A5  Alto 1: Ab3-Eb5  Alto 2: Ab3-Eb5  Tenor 1: D3-A4  Tenor 2: D3-A4  Bass 1: F2-D4  Bass 2: F2-D4
Reference Recording: https://youtu.be/wY7EWF5OV8c?si=8YcJeVz_ZNz_qWJJ

Resources:

• Time Markers
• Pronunciation Guide (mp3)

Instructions/Errata:
- m. 16: piano reduction should be C natural in the right hand, not Cb

Conductor's Rehearsal notes:
Few pieces in all of the repertoire are so seamlessly integrated between the singers and the piano to create such a picture of desolation.

- Careful attention to the unstressed schwa at the end of several words [eg. rinnen, Wasser, Deine, and Verrgagenen with a double schwa]
- Legato and espressivo are imperative at all times.
- The tension felt between the duple and triple subdivision is critical … be accurate on all of these rhythmic moments between the piano and the voice parts.
- Always a bit of extra time on surprising cadences such as the downbeat to ms. 18, 32, 39, 71, 72, 76, 78 and others!
- m. 9: Soprano and Alto shorten second quarter to an eighth
- m. 13: Bass and Tenor breathe on the final eighth
- m. 20: Tutti lift on the last sixteenth
- m. 29: Tenor breathe at the end of Zeit
- m. 32: Tutti breath at the end of Zeit
- ms. 42-45: Emphasize appoggiatura quarter notes
- ms. 42-46: Clear the ‘s’ before the downbeat of the bar
- ms. 48/54: Good glottal on ‘und’
- m. 57: Clear for the second beat [‘n’ before beat two]
- m. 65: Soprano and Alto eighth note lift
- m. 67: Tutti eighth note lift at the the of the bar
- m. 70: Soprano ornament is written out in this edition to match Tenor in m. 16
- ms. 70-71: Decrescendo to mp
- m. 72: Subito forte
- ms. 72/74/76: Breathe after ‘wacht’

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Over the Rainbow [with Lo, How a Rose]

Voicing: SSAATTBB a cappella
Composer: arr. Rick Bjella
Publisher: Hal Leonard
Product ID: 428505
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: B3-E5  Soprano 2: G#3-D5  Alto 1: F3-A4  Alto 2: F3-A4  Tenor 1: E3-F#4  Tenor 2: E3-F#4  Bass 1: B2-E4  Bass 2: E2-C#4
Reference Recording: https://www.youtube.com/watch?v=5CTXz3nNjVg

Resources:

• Time Markers

Instructions/Errata:
- ms. 9-10: Soprano 2 add a tie between two pitches D to match the Alto voice (added 6/3/24)

Conductor's Rehearsal notes:
These two timeless melodies and lyrics must be performed with phrase direction at all times. Little vibrato throughout on the choral parts, the jazz harmonies should be balanced and heard clearly. Follow all marked lifts as an eighth note in duration.

- Bass 1/Bass 2 will audition all parts throughout the piece, even if noted as only one part is singing
- m. 4: [hw] needed on ‘whose’
- m. 10-11: Descending line between Soprano 2 and Alto should be seamless
- m. 13: Bass 1 - no heaviness in the ascending line
- m. 31: Tutti small lift after the first ‘why’

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Unwritten

Voicing: SSAATTBB
Composer: Natasha Bedingfield/arr. Vince Peterson
Publisher: Sheet Music Direct
Product ID: Sheet Music Direct
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: C4-G5  Soprano 2: C4-G5  Alto 1: G3-D5  Alto 2: G3-D5  Tenor 1: D3-G4  Tenor 2: D3-G4  Bass 1: Bb2-E4  Bass 2: F2-D4
Reference Recording: https://youtu.be/WnwLPEegxtU?si=gd1tsRDgZoSk31OW

Resources:

• Time Markers
• Piano Reduction

Instructions/Errata:
OFFICIAL AUDITION TRACK SHARED BY REGION VOCAL CHAIR (added 8/30/24)

- ms. 34/63/82: Basses chance spelling to “drench” [not drech as written] (added 6/3/24)
- m. 35: Tenor change “you” to “your” and match Alto text
- m. 58: Alto ignore the quarter rest above “Feel”
- m. 64: Tenor change “you” to “your” and match Alto text

*Order individual copies at www.sheetmusicdirect.com

Conductor's Rehearsal notes:
Changes in the vowels have been made with the permission of the arranger [notes below]. All consonant ‘d’ performed with the tongue only, no jaw movement.

Performance Style (Consideration when judging at auditions): Acute attention to rhythm and pitch throughout with clarity and intention to the text. Lighter singing in general with attention to accented sections to be more fully stated with intention and stronger diction, never oversinging. The sections that quote the Bach fugue should be performed in a Baroque style, always tapering the final note before a rest (eg. Soprano, m. 69), moving dynamically toward the second note of the three, then backing off. No scooping throughout. In contemporary a cappella singing, always be aware of your dynamic role in the musical texture – melody is always dominant, chords (pads) are in the background, and rhythmic/bass elements are present. Utilize these ideas when adding dynamic contrast. [added 8/9/24]

- Tutti beath at all commas except ms. 37/66
- ms. 1-10: Slight change of vowels for the Soprano and Tenor to “Dah”
- ms. 7-8: Alto change to “Doh” [m. 9, switch to “Dah” as written]
- m. 27: Soprano change to ‘Oh”
- ms. 29 [starting on beat 2] through 37: All Soprano 1 and Soprano 2 tacet until m. 38, then continuing as written on “Dah”
- ms. 71-72: Bass 2 only [Bass 1 tacet until m. 73]
- m. 71: Sopranos and Bass 2 change from “Doo” to “Doh”
- m. 72: Alto and Tenor change from “Doo” to “Doh”
- m. 73: Alto and Bass change to ‘Dah” on beat 4
- m. 74: Soprano and Tenor change to “Dah” on beat 1
- m. 92: Sing as a jazz instrumentalist … crescendo evenly to a clear downbeat cutoff on m. 93

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Lacrimosa from Requiem

Voicing: SATB
Composer: W.A. Mozart/ed. Robert D. Levin
Publisher: Carus
Product ID: 338680
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: C#4-A5  Soprano 2: C#4-A5  Alto 1: A3-D5  Alto 2: A3-D5  Tenor 1: F3-Ab4  Tenor 2: F3-Ab4  Bass 1: F2-E4  Bass 2: F2-E4
Reference Recording: https://www.youtube.com/watch?v=R7IrFfLCs4A

Resources:

• Time Markers
• Pronunciation Guide (mp3)

Instructions/Errata:
- m. 8: Piano should have octave A in the left hand on beat 7 (not a G on the top)
- m. 14: Piano should have an A on beat 12, not C#

Conductor's Rehearsal notes:
We will use the Austro-German pronunciation guide found in the Jeffers book, pgs 42-44 on Latin Pronunciation Guide. The following words are changed slightly in pronunciation:
- "Lacrimosa" is pronounced with a voiced ‘z’ instead of an unvoiced ‘s’
- "Jesu" will also use the voiced ‘z’
- Final ‘s’ remains an [s] sound
- All ‘h’ are aspirated [as in the words “homo” and “huic”]
- All ‘o’ vowels are closed with no diphthong [as in “LacrimOsa”]
- "Ex" is pronounced with a closed [e] followed by [kz]
- "Resurget" is pronounced with a closed [e] and a hard [g] as in the word ‘give”
- "Qua" is pronounced as [kva]
- “parce” is pronounced as [partsɛ] (added 8/30/24)
- “Requiem” is pronounced as [rekviɛm] (added 8/30/24)
- Always move towards the main stress of each word [eg. La - kri - MO - za], usually the third beat of each bar
- First syllable stress in all two syllable words [eg. Do - na]
- Breathe at all commas with an eighth note lift
- m. 10: Bass add an eighth note rest at the end (added 8/1/24)
- m. 11: Bass carry through to m. 12 (added 8/1/24)
- m. 14: Soprano 1 & 2 eliminate the low A, only observe the high A on beat 5
- m. 16: Tutti breath at the end of the measure
- m. 17: Tutti pp
- ms. 19 and 21: Bass 1 may sing the F up an octave if low F is beyond singable range

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Amen from Requiem

Voicing: SATB
Composer: W.A. Mozart/ed. Robert D. Levin
Publisher: Carus-Verlag
Product ID: 338680
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano 1: D4-Bb5  Soprano 2: D4-Bb5  Alto 1: G3-D5  Alto 2: G3-D5  Tenor 1: D3-A4  Tenor 2: D3-A4  Bass 1: F2-E4  Bass 2: F2-E4
Reference Recording: https://www.youtube.com/watch?v=tno1veZvYig

Resources:

• Time Markers

Conductor's Rehearsal notes:
- Lift at all commas throughout when you have a quarter note

(The following added on 8/30/24)
There are three clearly distinct articulations throughout:
1. MAIN THEME as in the alto m. 1-7: Tenuto on each long note with direction to the last long note (eg. m. 6 for the altos). When the theme is inverted first in the soprano at m. 59, again move to m. 64, the last long note. Final ‘men’ shorten to an eighth note and a closed [e] (shadow Vowel). No diphthong and no accent.
2. COUNTER SUBJECT as in soprano m. 2-8: First two quarter notes staccato with a tenuto on the third quarter followed by short and lighter eighth notes and an eighth note on the ‘men’. This articulation is followed for all counter-subject themes as in the alto m. 8-14, tenor m. 14-20 , and bass m. 20-26. All running eighth notes should be lighter and separated at all times.
3. OTHER MATERIAL: Such as in the alto m. 15 longer quarter on the jump of the fourth, then eighth note spacing before m. 16 with tenuto to the first beat appoggiatura - again shorten all of the final ‘men’ to an eighth note, even if followed by a rest. When coming into a run of eighth notes, always an eighth note lift before singing the eighth notes with clarity and direction to the final note without emphasizing it. (eg. m. 13 sopranos lift after the first note, then clean on the last three eighth notes with musical direction.)

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The Coolin from Reincarnations

Voicing: SATB
Composer: Samuel Barber
Publisher: G. Schirmer
Product ID: 50301460
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano 1: D4-A5  Soprano 2: D4-A5  Alto 1: G3-Eb5  Alto 2: G3-Eb5  Tenor 1: F3-G4  Tenor 2: F3-G4  Bass 1: F2-Eb4  Bass 2: F2-Eb4
Reference Recording: https://www.youtube.com/watch?v=PjGF1sk4fkA

Resources:

• Time Markers

Conductor's Rehearsal notes:
No two measures of this piece are exactly the same tempo. There is give and take at the ends of every phrase. The most sublime subtlety, vocal finesse, and clarity of purposeful diction is needed throughout.

- m. 1: Glottal on “under”, but no breath
- m. 4: Glottal on “or”, but no breath
- m. 6: Soprano and Alto diminuendo to ppp
- m. 6: Tenor and Bass eighth note breath before “And”
- m. 7: Glottal on “until”, but no breath
- m. 8: Tenor eighth note breath before “out”
- m. 9: Bass eighth note breath before “on”
- m. 11: Soprano sixteenth note breath before “But”
- m. 12: Bass eighth note breath before “And”
- m. 13: Bass sixteenth note breath before “And”
- m. 15: Soprano eighth note breath before “And”
- m. 15: Tenor and Bass sixteenth note breath before “And a sigh”
- m. 16: Soprano and Alto eighth note breath before last “a”
- m. 17: Soprano and Alto eighth note breath before last “a”
- m. 18: Soprano and Tenor sixteenth note breath before “And a”
- m. 18: Alto eighth note breath before final “A”
- m. 20: Alto and Tenor eighth note breath before “to”
- m. 21: Alto and Tenor eighth note breath before “to find”
- m. 21: Soprano eighth note breath before “ah”
- m. 22: Alto 1 & 2 eighth note breath before “ah”
- m. 22: Bass 1 eighth note breath before final “and a”
- m. 22: Bass 2 sings dotted whole note C
- m. 23: Bass 1 eighth note lift before “and a sigh”
- m. 23: Bass 1 & 2 eighth note lift before final “A”
- m. 25: Alto/Tenor/Bass eighth note breath at the end of the bar
- m. 27: Tuttu eighth note breath before “And the”
- m. 30: Soprano and Tenor glottal on “And”, but no breath
- m. 30: Bass eighth note breath at the end of the bar
- m. 31: Tutti no vibrato on the word “still”
- m. 31: Tutti breath after “still” at the of the bar
- m. 32: Tenor and Bass eighth note breath after the first “Stay”
- m. 33: Glottal on “under”, but no breath
- m. 36: Tutti breath at the end of the measure with the tenderest ‘t’
- m. 38: Bass 1 sing falsetto middle C with the Tenors if the Bass F is too low for you - please, don’t force the low notes [updated 7/15]

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Caritas Abundat [Great and Fiery Force]

Voicing: SSAA a cappella
Composer: Michael John Trotta
Publisher: Carl Fischer
Product ID: CM9563
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: F4-G5  Soprano 2: F4-F5  Alto 1: A3-D5  Alto 2: A3-D5
Reference Recording: https://youtu.be/KAyRGwRCza0?si=Im4lzElXDiQhJnsa

Resources:

• Time Markers

Conductor's Rehearsal notes:
Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 7: Upper two dotted whole notes in the Soprano line [D5 and G5] will be split between Soprano 1 by assigned Area
- m. 12-13: All voices no breath
- m. 14: All place the final [s] on the following measure
- m. 16: All place the final [s] on the following measure
- m. 17: All place [s] of “things” on the final eighth rest
- m. 20: All change “fields” quarter to an eighth note/eighth rest
- m. 21: All connect “force” and “that”
- m. 22: All perform the F octave split as written
- m. 24: Beginning here, Soprano 1 observe same markings as listed above in this melodic passage
- m. 28: Lower three voices slight lift at the end of the measure. [s] should not bleed over to m. 29
- m. 29: Beginning here, Soprano 1 and Soprano 2 observe same markings as listed above in this melodic passage
- m. 31: Soprano 1 and Soprano 2 perform the F octave split as written using assigned Area divisi
- m. 43: All place final [s] of “things” at the onset of “Ah” in m. 44
- m. 52: Soprano 1 breath on beat four
- m. 57: All breath on beat four
- m. 65: Alto 1 place [s]/breath on beat four
- m. 66: Soprano 1 place [s]/breath on beat two
- m. 66: Alto 2 place [s]/breath on beat four
- m. 67: Soprano 2 place [s]/breath on beat two
- ms. 68/69: All no breath between “in” and “om - ni”
- m. 72: Soprano 2 breath before tempo change and new text at m. 73
- ms. 73-93: All voices apply same markings as prescribed in the previous 42 measures of the piece
- m. 98: Upper two whole notes in the Alto line [D4 and G4] will be split between Alto 1 by assigned Area

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Ich stand in dunklen Träeumen

Voicing: SSAA
Composer: Clara Schumann; ed. James McCullough
Publisher: Galaxy Music Corp
Product ID: I.3599
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: E4-G5  Soprano 2: E-G5  Alto 1: Bb3-D5  Alto 2: F3-C4
Reference Recording: https://youtu.be/njVX8hDUaJg?si=Vp_ZeEVZ9CPvkj4b

Resources:

• Time Markers
• Pronunciation Guide (mp3)

Instructions/Errata:
- m. 7: Piano right hand lower pitches beats 2 & 3 should be a C instead D ad written in the score (added 8/1/24)
- m. 13: All Soprano 1 and Soprano 2 will sing a half note C instead of a half not Bb as written in the score. This will be incorrect on the practice track provided by EERC (added 8/1/24)
- m. 28: All voices change nich to the word “nicht” (added 6/3/24)

Conductor's Rehearsal notes:
24-25 Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 6: Pitches in the Alto 2 line [beat three eighth notes] will be split between Alto 2 by assigned Area (added 6/26/24)
- m. 7: All lift on beat three [ignore editorial mark for no breath]
- ms. 10-12: All no breath/connect these three measures
- ms. 15-19, beat 2: Alto 1 please sing the Alto 2 line
- m. 19: Alto 1 return to their line on beat three “und”
- m. 21: All no breath
- m. 28: All lift on the and of beat two
- m. 29: All lift on the and of beat two
- m. 31: Pitches in the Alto 2 line [beat one half note] will be split between Alto 2 by assigned Area (added 6/26/24)

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Always Keep This Close

Voicing: SSAA
Composer: Zachary J. Moore
Publisher: Santa Barbara Music Publishing, Inc
Product ID: SBMP1342
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano 1: B3-A5  Soprano 2: B3-A5  Alto 1: B3-E5  Alto 2: G3-E5
Reference Recording: https://youtu.be/K_KCNVaMfXs?si=Cda35X_isVnL0MPy

Resources:

• Time Markers

Instructions/Errata:
- m. 59: Alto 2 pitches on “linger” should match Alto 1. Change the E to a D

Conductor's Rehearsal notes:
Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 10: All lift on the and of beat three “time”
- ms. 11/12: Connect beats three and four
- m. 15: Alto 2 release on beat four
- m. 25: Alto 1 and Alto 2 put space among eighth notes between beats three and four
- m. 25: Soprano 1 and Soprano 2 carry beat four over the bar line and cut off on beat one of m. 26
- m. 27: All slight lift between beat three and four
- m. 39: All sing with no breaks in this measure
- m. 40: Soprano 2 and Alto 1 place [m] on the and of beat three
- m. 44: Alto 1 and Alto 2 lift between “are” and “you” on beat three
- m. 48: Soprano 1 and Soprano 2 lift on the and of beat three
- m. 59: Alto 1 and Alto 2 lift on the and of beat three

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I’ll Never Study

Voicing: SSAA
Composer: Paul David Thomas
Publisher: Hal Leonard
Product ID: 00394989
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano 1: D4-G5  Soprano 2: C#4-G5  Alto 1: A#3-D5  Alto 2: F#3-D5
Reference Recording: https://youtu.be/nibTnrYPiGo?si=IMWecqD-spZS0t_s

Resources:

• Time Markers

Instructions/Errata:
- m. 42: All voices change “Through” to “Though” to match the text printed inside the front cover. (added 6/3/24)

Conductor's Rehearsal notes:
Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 2: All close to [n] on the second sixteenth pulse of beat one
- m. 4: All quick lift before “I’ll”
- m. 5: Alto 2 lift on the and of beat two
- m. 25: All close to [n] on the second sixteenth pulse of beat two
- m. 27: Alto 1 and Alto 2 slight lift after “square”
- m. 36: All lift on the and of beat three
- m. 38: All lift on the and of beat three
- m. 40: No breaks in the line
- m. 42: All lift on the and of beat three
- ms. 43/45: All lift on the and of beat four
- m. 48: All lift on the and of beat three
- m. 50: Full beat breath after firmata before beat five “But”
- m. 59: All close to [n] on the second sixteenth pulse of beat two
- m. 61: Alto 1 and Alto 2 slight lift after “square”
- m. 64: Soprano 2, Alto 1 and Alto 2 connect beat one to beat two
- m. 66: All lift on the and of beat three
- m. 68: All breath on beat three
- m. 70: All lift on the and of beat three
- m. 71: All lift on the and of beat four
- ms. 72/74/75: Soprano 1 and Alto 2 articulate “one, one, two” as staccato
- ms. 83-90: Soprano 1 “A few voices” will not be auditioned at Area. To be added at All-State.
- m. 102: No breaks in the line
- ms. 104-106: All Soprano 1 voices will observe the upper pitches in these three measures. There is no divisi by Area since the lower pitches double the Soprano 2 line.

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Convidando está la noche

Voicing: TTBB
Composer: Juan García de Zespedes/arr. Eugene Rogers
Publisher: Hal Leonard
Product ID: 00265665
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Tenor 1: A3-F4  Tenor 2: F3-D4  Bass 1: D2-C4  Bass 2: F2-G3
Reference Recording: https://youtu.be/fr69-lcHxR0?si=qa5ondeILOA6Mp1U

Resources:

• Time Markers
• Pronunciation Guide (mp3)

Conductor's Rehearsal notes:
24-25 Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 14: All Bass 2 sing the low F on beats 2-3 [F2], not the upper F
- ms. 54/56: Bass 1 observe divisi by Area assignment
- m. 64: All Bass 2 sing the low F on beats 2-3 [F2], not the upper F
- ms. 104/106: Bass 1 observe divisi by Area assignment

SPANISH PRONUNCIATION: While this edition contains an IPA Pronunciation Guide inside the cover, singers are asked to consult the pronunciation track provided on the TMEA website [Audition Materials] and the EERC rehearsal recordings. The editor made the decision to include IPA for a South American dialect of the piece. After consultation with the editor and consideration of the composers background as a Mexican composer, the decision has been made to use a native Mexican pronunciation of the text. This include words such as “llueven” = [yu e ben] with the use of the traditional Spanish “y” sound. (added 8/13/24)

If this piece is auditioned for certification, regions are encouraged to make the solo/small group sections as part of the audition selection. (added 8/1/24)

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The River

Voicing: TTBB
Composer: Susan LaBarr
Publisher: Walton Music
Product ID: WW1849
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Tenor 1: Eb3-Ab4  Tenor 2: D3-F4  Bass 1: Bb2-Eb4  Bass 2: F-Eb4
Reference Recording: https://youtu.be/Zw8gGX7bWVs?si=JBygZj634vFdicPG

Resources:

• Time Markers

Instructions/Errata:
- ms. 43-end: Piano accompaniment is missing the key signature [four flats] at the beginning of each system through the conclusion of the piece (added 6/3/24)

Conductor's Rehearsal notes:
- m. 3: Place the [m] of “man” on the second sixteenth note. Follow this same consonant placement on the sixteenth note rhythm throughout the duration of the composition.
- m. 29: All slight lift [no breath] on the and of beat one (changed 8/13/24)
- m. 39: Tenor 1 and Tenor 2 lift before beat four “Flow” to line up with lower voices

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Kyrie

Voicing: TTBB a cappella
Composer: Sofia Söderberg
Publisher: Bo Ejeby Förlag
Product ID: 1409
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Tenor 1: F#3-G4  Tenor 2: E3-D4  Bass 1: C3-B3  Bass 2: D2-B3
Reference Recording: https://www.youtube.com/watch?v=BrTFt1wMpEs

Resources:

• Time Markers

Conductor's Rehearsal notes:
24-25 Divisi: Areas A-D lower pitches and Areas E-H upper pitches

Pronunciation of the vowel [e] should be somewhat closed, similar to Germanic Latin [not open as in Italianate Latin]. Chords should tune similar to Barbershop with space.

- ms. 1-9: All “hum” pitches until start of Kyrie text [this occurs at m. 6 for Tenor 1]
- m. 12: All lift on the and of beat three
- m. 13: Bass 2 have the option of singing the Bass C if a resonant D2 is not accessible
- m. 14: Tenor 2 release on the and of beat three
- m. 23: Bass 2 have the option of singing the Bass C if a resonant D2 is not accessible (added 8/1/24)
- m. 30: All crescendo beat four through barline to next measure

Area A-D Bass 2 that don’t have access to the low D2 may sing the upper Bass pitch in ms. 18, 21, 26, 32, and 36 (added 8/1/24)

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The Wall Breaks Asunder

Voicing: TTBB
Composer: Anthony J. Maglione
Publisher: Gentry
Product ID: JG2739
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Tenor 1: Bb3-B4  Tenor 2: Gb3-Gb4  Bass 1: Bb2-Eb4  Bass 2: Ab2-Eb4
Reference Recording: https://youtu.be/jY3aa3LBNm4?si=j5l6_Q7R-CXeqgmR

Resources:

• Time Markers

Conductor's Rehearsal notes:
24-25 Divisi: Areas A-D lower pitches and Areas E-H upper pitches

- m. 3: All release [ks] on the and of beat 3
- m. 5: All release [ks] on the and of beat 3
- m. 8: Tenor 1 use head voice
- m. 12: Bass 1 and Bass 2 no break between beats 1 and 2
- m. 13: Tenor 1 no break between half note and “like divine”
- m. 18: All slight lift [no breath] between dotted eighth note and sixteenth note
- ms. 39-40 [through half note]: Strong and marcato
- m. 44: Molto ritard “in a burst of splendor”
- m. 47: All crescendo through end of the measure

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Laudate Pueri from Vesperae Solennes de Confessore

Voicing: SATB
Composer: W.A. Mozart
Publisher: CPDL
Product ID: CPDL
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano: C#4-G5  Alto: G3-D5  Tenor: C3-G4  Bass: G#2-D4
Reference Recording: https://youtu.be/KcmI4BclEDw?si=aVsSYPMCTTGH1zqp

Resources:

• Time Markers

Instructions/Errata:
- m. 80: Soprano A whole note should be a half note to match all other voice parts

Conductor's Rehearsal notes:
Breathing and Releases:
- Follow punctuation throughout for options to lift or breathe
- No breath in the middle of text [eg. ms. 5-8 in the Bass “lau - da — te”]

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Hope Lingers On

Voicing: SATB
Composer: Lisa Schneckenburger/arr. Andrea Ramsey
Publisher: Musicspoke
Product ID: Musicspoke
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano: C4-F5  Alto: G3-C5  Tenor: C3-D4  Bass: G2-G3
Reference Recording: https://youtu.be/b0bmhcvPwTI?si=ac0Rpwqt5jtmoecU

Resources:

• Time Markers

Instructions/Errata:
- m. 28: Bass tie two eighth notes “on” to match the other voices

Conductor's Rehearsal notes:
Breathing and Releases:
- These should be exactly as written when there are tied notes. Sing the value of the tied note each time and release on the rest that follows.

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Soneto 52: Tu Voz

Voicing: SATB divisi
Composer: Shawn Kirchner
Publisher: Santa Barbara Music Publishing, Inc
Product ID: SBMP705
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano: A3-G5  Alto: G3-D5  Tenor: C3-G4  Bass: G2-D4
Reference Recording: https://youtu.be/5roD8imr5Wc?si=MlXyRHfSbvJDXmPt

Resources:

• Time Markers
• Pronunciation Guide (mp3)

Instructions/Errata:
- m. 60: Tenor place the word “de” on the beat 5 quarter note C [this should beat an eighth note beat before the Bass “de” on beat 6]. (added on 6/3/24)

Conductor's Rehearsal notes:
Breathing and Releases:
- Observe all tied notes literally. The composer generally presents a rest where he would like a breath. eg. m. 8 - sustain until the rest on the fifth eighth beat. eg. m. 12: sustain until the rest on the sixth eighth beat where the rest is placed.

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Magnificat

Voicing: SATB
Composer: Francesco Durante
Publisher: CPDL
Product ID: CPDL
Audition Levels: Any audition prior to Area
Selection Voice Ranges
Soprano: F4-F5  Alto: C#4-D5  Tenor: C3-F4  Bass: F2-D4
Reference Recording: https://youtu.be/8d8uhWuYh4U?si=CiX4WZXayIgggubR

Resources:

• Time Markers

Instructions/Errata:
- m. 11: Tenor Bb half note should be a quarter note to match all other voice parts
- m. 27: Tenor D half note should be a quarter note to match Alto voice

Conductor's Rehearsal notes:
Breathing and Releases:
- The opening chant with the text “Magnificat anima mea dominum” should be sung on one breath [or the illusion of one breath!] without any breaks
- Follow punctuation throughout for options to lift or breathe
- No breath in the middle of text [eg. m. 9 in the Tenor “me - a”]

- m. 10: Bass singers unable to sing the low F may sing it up an octave for audition purposes
- m. 61: Bass singers unable to sing the low F may sing it up an octave for audition purposes

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Softly

Voicing: SATB
Composer: Will Todd
Publisher: Oxford University Press
Product ID: 10540618
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano: C4-G5  Alto: Bb3-Bb4  Tenor: C3-Eb4  Bass: Eb2-Bb3
Reference Recording: https://youtu.be/XA0LHbI008A?si=_nPWDzCzAGX7DoGD

Resources:

• Time Markers

Conductor's Rehearsal notes:
Breathing and Releases:
- Wherever there is punctuation there will be a slight lift [on the and of the beat]. eg. first four bars there will be a lift on the and of beat four in the Alto and Tenor parts.
- There is never a breath when there is no punctuation. eg. m. 12 after the word “darkness”.

- ms. 32-33: Soprano will prepare and sing all lower pitches for auditions when divisi is present. Upper pitches will be assigned at All-State.
- ms. 38-41, 48-50, and 54-55: Bass will prepare and sing all upper pitches for auditions when divisi is present. Lower pitches will be assigned at All-State.

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Tchaka

Voicing: SATB divisi
Composer: Sydney Guillaume
Publisher: Sydney Guillaume Music
Product ID: Sydney Guillaume Music
Audition Levels: Designated for Area Audition use. May be used for auditions prior to Area.
Selection Voice Ranges
Soprano: D4-G5  Alto: A3-B4  Tenor: D3-F#4  Bass: G2-D4
Reference Recording: https://youtu.be/_8p4AImR3Hs?si=zcsUvlcCUtKS_kNv

Resources:

• Time Markers
• IPA Chart
• Pronunciation Guide (mp3)
• Piano Reduction

Conductor's Rehearsal notes:
Any divisi in specific voice part for SSC will be split: Areas North and East will prepare/audition the LOWER divisi and Areas South, West, and Central will prepare/audition the UPPER divisi for Area Audition. However, should this music be performed for the Region Choir clinic/concert prior to Area Audition, SSC Region Coordinators may determine the best approach to divisi for the integrity of the performance.

- ms. 61-64: Bass will observe divisi assigned by Area
- ms. 94-106: Alto will observe divisi assigned by Area
- ms. 136-139: Bass will observe divisi assigned by Area