• Regional Part Tracks for 23-24
     
    Alleluia by Elaine Hagenberg
     
    From Dr. Copley-
    This “Alleluia” setting was published in 2020. Elaine is a wonderful composer from my home state of Iowa. She is a graduate of Drake University in Des Moines, and I really love programming her music.

    mm. 1-14: breathe every two measures.

    Whenever tenors and basses are in three parts, sing the high, middle, or low part assigned to you by the regional honor choir coordinator. These sections will require some “road-mapping” by the second tenors and baritones assigned that middle part.
    An exception is mm. 43-50, when all tenors sing the tenor line and bass section will divide (12-B1 and 13-B2).
     
    When there’s a divide in the sopranos in this song, first and second sopranos will cover this. All the altos will stay on the alto part.
    m. 20: everyone adds an 8th rest on the “and of 4”
    m. 28: add a quarter rest on beat 4
    m. 36: T/B add an 8th rest on the “and of 2”
    m. 36: S/A add an 8th rest on the “and of 3”
    m. 43: Altos and basses cross out the dot on the word “end” and add an 8th rest
     
    Liebst du um Schonheit (If You Love For Beauty) by Clara Shumann
     
    From Dr. Copley-
    Clara Schumann was an incredible pianist and composer in the 19th century. She was married to the more historically famous Robert Schumann however, her music is now becoming more and more recognized and celebrated.
    This arrangement of one of her famous songs is filled with tempo rubato. Please observe all ritardandos and a tempo markings in the score. Also, observe the tenuto markings and various accents over the notes—giving them emphasis and time. In almost every case the music moves to these markings and then dynamically releases.
     
    Ta Na Solbici by Samo Vovk
     
    From Dr. Copley-
    Thanks to Ben Hawkinson, a former NAU student who is now the Director of Choral Studies at Millikin University in Illinois, for introducing me to this folksong. It is very rhythmic—going back and forth between a triple and duple rhythm. The major sections of the piece are repeated, so it will help you prepare. There is also clapping and stomping which can be a little complicated.
     
    Please observe the dynamics. There are crescendos that happen over 8 measures and sometimes over only one measure.
     
    There is a pronunciation guide found in the score. Please transfer the pronunciation into your voice part. There is also a translation of the Serbian.
     
    You should also have an mp3 file with the composer singing the text in rhythm.
     
    You’ll notice in the video that the tone quality in places is quite nasal--this is correct.
     
    When the sopranos and altos have 3-parts, as in mm. 40-51, mm. 94-105, mm. 128-135, please sing your 3-part divisi assignment.
     
    We will place the final “stomp” after we sing the final chord.
     
    Nessumn Dorma by Douglas E. Wagner (TTB)
     
    From Dr. Copley-
    This is one of the most famous tenor opera arias. It was recently arranged for a three-part tenor/bass ensemble. The SW honor choir coordinator will provide a list indicating who should sing tenor, baritone, or bass for this arrangement AND for all the other music in our program that has a three-part divide in the tenors and basses.

    A phonetic and IPA Italian pronunciation guide can be found on the inside cover of the octavo. If the “e” is underlined the vowel is a bright “ay” vowel. Also, remember to flip your “r” sounds. Second syllables should be sung less, especially last words in the phrase. All breath marks are indicated in the score.
     
    I Thank You God for Most This Amazing Day by Christopher Aspaas
     
    From Dr. Copley-
    This is another new piece based on a famous e.e. cummings poem. Long, connected vowels are needed throughout. The tenor/bass part at times is in the upper register, so these sections will need a light, floating tone, especially in the basses.
     
    Delivering the text will be especially important in this piece. “All of the sounds of all of the words.”
     
    Almost all of the time, you will breathe where there is a rest. I couple of exceptions:
    m. 32 T/B add a slight lift after the word “love”
    m. 48 Everyone breathe on beat 4
    m. 66 T/B breathe on beat 3
    mm. 15-16 4-part divisi in T/B
    mm. 16 and 19 4-part divisi in S/A
    m. 21 4-part divisi in S/A 3-part divisi in T/B
    m. 26 Begins 3-part divisi in S/A going into 4-part divisi
    mm. 26-28 3-part divisi in T/B
    pg. 7 Stay on your own voice part line
    m. 48 3-part divisi in S/A
    m. 51 3-part divisi in T/B
    m. 52 Be ready to move!
    m. 55 divided altos and divided tenors
    mm. 61-63 3-part divisi in T/B
    m. 65 3-part divisi in S/A (This could be too high for middle A1)
    m. 69-71 Only four first sopranos will sing the top notes in this 3-part divisi
    m. 68-69, 71 3-part divisi in T/B
     
    I Will Sing by Michael Engelhardt
     
    From Dr. Copley-
    This great gospel-style piece asks us to share our “song” during the time we have on this earth. It is very rhythmic throughout. There are places where the sopranos and altos divide into 3-parts (mm. 28-30, mm. 83-90, and the final chords). Please sing your assigned 3-part divisi part. Tenors and basses only divide at the very end.

    When the melody is syncopated, please add slight lifts between those notes.

    We will “re-write” the score similar to the YouTube recording below. We will repeat mm. 95-98 two times, then sing mm. 95-96 before going back to the last note of m. 87..
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    Regional and All State Materials
     
    Please click on the link below to access past regional and all state sight reading examples.
    Use these examples to practice for your regional and all state auditions. 
     
     
    These are the solos students may choose from to audition for Regional Honor Choir
     
     
     
    Links to Accompaniment
     
     
     
     
     
    Regional Part Tracks for 23-24
     
    Coming Spring 2024