Dear Texas All State Women,

Transcription

1 Dear Texas All State Women, I am extremely honored to be your conductor this year! I earned my DMA in Choral Conducting in the state of Texas, and I can t wait to come back down and spend time making music with each of you! As you are aware, the Texas All State carries an incredible history of excellence in singing, and I ve selected a program that will allow us to experience music that explores many aspects of the voice through different style periods and genres. I am confident that you will bring the house down! Thank you in advance for your preparation and hard work. This will be an unforgettable experience, and I can t wait to hear the powerful sound you will make as a choir. Regarding solos we will hear auditions for Under the Willow and Will the Circle Be Unbroken during our first full day of rehearsals together. Please see below for more information about those. I ve included notes below for the pieces. Please have these breath marks and translations in your music before the first rehearsal so we can get right to the important stuff making music! Looking forward and best wishes as we prepare together, Amanda Quist Rejoice, William Byrd 1. Please number your measures. Measure 1 begins on the second sopranos joice. 2. Breaths are as follows: m. 2, S2, beat 1 becomes quarter note, quarter rest. m. 3, S1, beat 1 becomes quarter note, quarter rest. m. 5, S1, beat 1 becomes half note, half rest m. 6, S2, beat 1 becomes quarter note, quarter rest m. 8, S2 & A2, beat 1 becomes quarter note, quarter rest m. 8, Christ his staccato m. 9, this is staccato for S1, S2, A1. (Both times for S1 & S2) S1 & S2 day becomes quarter note, quarter rest. Alto 2, day eighth note eighth rest, this staccato. m. 10, S2 & A2, decrescendo day so we hear the other parts. S1 joice becomes half note, quarter rest. m. 11, S1 joice becomes quarter note, eighth rest, put the /s/ sound of rejoice on the eighth rest. m. 12, all parts, in Christ his staccato. m. 13, A1, day becomes quarter note, quarter rest. A2, accent re joice.

2 m. 14, A1& A2 follow m. 11 instructions for S1. A2, joice becomes quarter note, quarter rest. Accent re joice m , A1, accent re joice. m. 15, S1 & S2, accent re joice. Follow m. 11 instructions. A1, follow m. 11 instructions for the first rejoice, final joice becomes quarter note, quarter rest. m. 16, A1 &A2 accent re joice. m. 17, S1, S2, A1 accent re joice. All parts follow instructions for m. 11 m. 18, A2, re joice accented both times. m. 19, S2, first joice is quarter note, quarter rest. S2 & A2, follow m. 11 instructions. m. 20, S1, follow m. 11 A2, joice becomes half note, half rest. Accent this day m. 21, S1, S2, A1, joice becomes eighth note eighth rest. m. 22, S2, follow m. 11. A2, joice becomes half note half rest. All Crescendo to the end. 3. Articulation and pronunciation as follows: We will use British English. Rejoice is normally pronounced rih joice, but since we often sing a melissma on that word, we will use a more closed e sound, as in ree joice /ridʒɔɪs/. Flip all beginning r sounds. Ending r sounds should disappear, so heart becomes haht. /hɔt/. The sound should be rhythmic and buoyant, not legato. Stabat Mater, Pergolesi 1. Please write in the translation: Stabat mater dolorosa = stood the mother sorrowful Juxta crucem lacrimosa = next to the cross, weeping Dum pendebat filius = while hanging, her son 2. Breaths and articulation are as follows: m , eighth rest breath after mater for both parts m , for the first grace note on de =bat, make the note value eighthquarter. For m. 23, make fi lius quarter eighth. These are appoggiaturas, and are meant to add expression to the sound in the Baroque period. m , start piano, crescendo to filius m. 30, eighth rest breath after mater m , eighth rest breaths after the word crucem m. 40 let fi lius be two even eighth notes

3 Ave Maria, Holst 1. Please number your measures 2. Please write in the translation: Ave Maria, gratia Plena, Dominus tecum = Hail Mary, full of grace, the Lord is with you Benedicta tu in mulieribus = Blessed art thou among women, Et benedictus fructus ventris tui, Jesus = and blessed is the fruit of your womb, Jesus. Sancta Maria, Mater Dei = Holy Mary, Mother of God, Ora pro nobis peccatoribus = pray for us sinners, Nunc et in hora mortis nostrae. Amen = now and in the hour of our death. Amen. 2. Breaths: Choir 1: m. 6, catch breath (eighth rest) before m. 7. m. 7, same as above m. 11, make all note values match S1. m. 14, catch breath after plena before Dominus m. 17, quarter rest at the end of the bar m.19, S2 and A2, eighth rest after tu m. 19, S1 quarter rest on beat 1. A1, quarter rest beat 2 m. 21, A2, beat 6 becomes quarter rest m. 22, A1, beat 3 becomes quarter rest A2, catch breath after benedicta m. 26, all parts carry to m. 27 m. 40, dictus ends with half note, quarter rest m. 50, eighth rest at the end of the bar all parts m. 60, A1, beat six becomes quarter rest m. 61, S1, S2, beat 3 becomes quarter rest m. 62, S1, A2, beat 6 becomes quarter rest S2, beat 3 quarter rest S2, A1, catch breath after final Amen of measure Choir 2: m. 3, S1 and A2, quarter rest at the end of Maria. S2 and A1, catch breath after Maria m. 5, catch breath before m. 6 m. 13, catch breath after plena before Dominus m. 19, beat 2, bus eighth note eighth rest m. 21, A2, beat 6 becomes quarter rest m. 22, S1, catch breath after Benedicta S2, make tu half note quarter rest m , all parts carry m. 41, A1 and A2 ventris becomes half note quarter rest m. 46, S1 beat 4 becomes quarter note, quarter rest (after Maria ) A2, beat 6 becomes quarter rest S2, A1, catch breath after beat 3 m. 47, A2, beat 6 becomes quarter rest S1, catch breath after beat 6

4 m , carry, one s m. 50, S2 catch breath after beat 3 m. 51, S1, S2, catch breath after Maria A2, beat 5 becomes quarter rest m. 56, S1, S2, A1, beat 6 becomes quarter rest m. 58, S2, A1, A2, beat 6 becomes quarter rest m. 59, S1, A2, beat 6 quarter rest m. 60, A1, beat 5 quarter rest m. 61, A2, beat 3 quarter rest m. 62, S1, A2, beat 6 quarter rest A1, beat 5 quarter rest S2, catch breath after Amen Canciones de los Tsachillas Follow written instructions. We will have members of the choir play rainsticks, shakers, and similar. We will also audition singers who can make interesting animal noises= bird sounds, insect sounds, wind, etc. Under the Willow, Labarr 1. Small group will be selected during rehearsal. Tone should be clear, musical, and simple. 2. breaths m. 4, all lift beat 6 m. 8, same m. 10 beginning here through m. 16, S1 lift with punctuation m. 12, S2, A1, A2, lift with melody m. 16, S2, A1, A2, lift beat 3 m. 18, all lift after hair m. 22, same m. 26, 28, 30, all parts lift beat 6 m. 36, eighth rest on beat 5 m eighth rest beat 6 m. 46, choir breath on beat 6 m. 48, 50, 52, 54, + 55, A1, A2 breath on 6 m. 56, all breath beat 6 m. 58, small lift before m. 59 m. 60, lift beat 6 m. 62, all parts lift after the word ever m. 64, lift after golden hair A1, A2, lift beat 6 m. 68, S1, S2, A2, breath on 6 m. 70, S2, A1, breath on 6 m. 72, S2 breath after hair m. 73 end, choir stagger until the end

5 Will the Circle Be Unbroken Solos will auditioned in the first day of rehearsals. This will most likely be a trio of singers. This youtube video shows an example of how this could be sung. The style is blue grass/gospel.