TABLE OF CONTENTS
1. Overview of 2018-2019 Audition Process
2. All State Chorus Rehearsal Notes
3. All-State High School Musicianship Test Guidelines
4. High School Vocabulary List
5. All-State Middle School Musicianship Test Guidelines
6. Middle School Vocabulary List
7. All-State Sight-Reading Procedures Information
8. All-State Sight-Reading Guidelines & NEW MS 6/8 Exercise Examples
9. Sight-Reading Tally Sheets
10. All-State Vocal Quality Procedures Information
11. All-State Vocal Quality Rubric
12. Vocal Quality Recording Verification Sheet
13. 2019 All-State Chorus Conductors & Repertoire List
All-State Choirs Omnibus 2018-2019
Calendar Fall - All-State Online Registration (set by District Chair)
September 1– Deadline for FMEA/FVA Membership (via www.flmusiced.org) September 22 –Tampa hotel blocks open at 9:00 am and 2019 Conference Pre-Registration opens online October 1– Vocal Quality vocalise and prepared excerpts released (via www.fva.net) November 9– All-State Seats announced (via www.fva.net) November 10- Hotel Cancellation deadline at 5:00 pm November 13- Hotels will charge one night of each room reserved December 7- FMEA Pre-Registration ends at midnight (via www.flmusiced.org)
Registration Registration for the 2019 All-State choruses will proceed via MPA Online (flmusiced.org/mpaonline).
The voicings for each choir will be as follows: HS- S1, S2, A1, A2, T1, T2, B1, B2; MS Mixed- S, A, T, B and MS Treble- T1, T2, T3. Directors will also provide emergency contact information, height, and a student headshot at the time of registration. No changes may be made after the registration window has closed. Registrations will not be accepted after the window has closed set by District Chair.
• Middle School: Maximum of 15 treble/unchanged singers as listed below, unlimited changed voice TB singers
• 7-8 Treble Choir is limited to 3 students each of Treble 1, 2, and 3.
• 7-8 Concert Choir is limited to 3 Sopranos, 3 Altos, and unlimited Tenors or Basses (changed voices).
• High School: Maximum of 12 S/A singers as listed below, unlimited T/B singers
• 3 students each of Soprano 1, Soprano 2, Alto 1, and Alto 2
• Students must sing the voice part for which they are registered. No students will be permitted to change voiceparts from their original assignment at any point in the process.
NOTE: In accordance with FSMA policy, 6th graders may not audition for All-State.
FMEA & FVA Contracts The FMEA Contract and FVA Contract will print from MPA Online and the student name and other in-
formation will be populated from the registration information. The FMEA Contract has been reduced to one page. The two contracts must be printed double-sided on the same sheet of paper and sent to the District Chair before testing. District Chairs will be unable to print any All-State testing materials for that student until they have the signed contracts. Students with incomplete or missing contracts will not be permitted to complete any portion of the All-State audition.
Musicianship Testing No changes have been made to the procedures for the Musicianship Test from the previous school year.
Musicianship study materials will be available on the website for teacher and student use. In recent years, the test itself has been re-ordered with chord quality and interval recognition coming before melodic/rhythmic recognition and questions have been added in which the student must select the note value that best completes a given measure. The vocabulary list has not changed for this cycle.
Each student will receive a bar code sticker to use on their Scantron/ZipGrade sheet. This identification number will be used throughout the All-State process.
PASSING SCORES (out of 50) MIDDLE SCHOOL– 35 HIGH SCHOOL (WOMEN’S/MEN’S)- 35 HIGH SCHOOL (CONCERT/SIGHT-READING)- 40
All-StateProcedures 2018-2019
Sight-Reading Testing Students will be able to actualize pitch and rhythm during the study time in the Sight-Reading Audition.
Any pitches or rhythms performed during the study time will not be adjudicated or count towards the student’s final score. All other Sight-Reading Audition policies remain in place. In addition, Middle School students will read an additional four measure exercise in 6/8 time. The minimum number of measures to pass for Middle School has not changed. Example measures can be found in the Omnibus.
All districts are encouraged to make use of the tally scratch sheets during the testing. The tally sheets are available in the Omnibus. Sight-Reading examples and study materials will be available on the website for teacher and student use.
The top 25 scoring high school students in each section (S,A,T,B) will be placed in the Sight-Reading Chorus. The minimum score accepted into the chorus is 30 measures out of 40.
Each student will receive a Sight-Reading adjudication sheet with a pre-printed bar code. This identifica-tion number will be used throughout the All-State process.
PASSING SCORES MIDDLE SCHOOL– 8 out of 28 HIGH SCHOOL (SSAA/TTBB)- 10 out of 40 HIGH SCHOOL (CONCERT)- 20 out of 40
High School Concert Chorus Opt Out ProceduresThe intent of the Opt Out is to allow students who might be on the lower edge of the Concert Chorus audition pool to prepare for the choir that they will be more likely to participate in at the January conference. They will " opt out" of Concert Chorus (much like we allow students to " opt out" of Reading Chorus consideration).
If a director wishes to move students out of the Concert Chorus pool, please be advised of the following:
- No guarantees can be made as to what the minimum composite score will be accepted into the Concert Chorus.
NOTE: The highest possible composite score after Musicianship/Sight-Reading is 65.00000- that's two perfect scores 50/50 on the Musicianship exam and 40/40 on Sight-Reading. A student with the minimum qualifying score of 40/50 on the Musicianship exam and 20/40 on Sight-Reading would have a composite score of 41.50000. Stu-dents’ current composites can be viewed on the " All-State Auditions" page of MPA Online by clicking “Score Report for Composite Scores" at the bottom of the page.
- Once a student has moved out of the Concert Chorus pool, they cannot be moved back, regardless of their scoreresults when auditions have concluded. It is a permanent "opt out."
- It is the director’s responsibility to work with students and parents when making this decision. FVA willtake no responsibility for the decision to move a student from the Concert Chorus audition pool into the Women'sor Men's Chorus audition pool. Directors must use their best judgement when making these decisions. A statementwill be posted on the FVA website that will serve as public notice that the option is available. Please DO NOTsubmit a student to be moved without notifying the student and parent in an appropriate manner.
If a director wishes to move a student into the Men's/Women's audition pool and have that student audition on the TTBB/SSAA packet, please do the following:
1. Find the students unique All-State ID number. This is a 5 digit number. How to find the All-State ID number.:- Login to MPAOnline- Click "All-State Auditions"- Click "Sight-Reading Score Sheets"- The 5 digit All-State Audition number appears below the barcode.
2. The deadline to submit an "opt out" request is Monday, October 1st at midnight. Send an e-mail to DavidVerdoni, All-State Chair ([email protected]) with the following information:
School Name Student Name Student Grade Student Voice Part Student All-State ID
NOTE: We cannot see student names in the Administrator side of MPA Online. Please make sure you submit the correct All-State ID.
3. When the notification e-mail that all students have been moved comes out, directors should login to MPAOnline again and confirm that students are now showing in the new choir. Here's how to verify the student's choirplacement:- Login to MPAOnline- Click "All-State Auditions"- Click "All-State Audition Entries (Add/Edit/View)"- The student's choir placement appears in the central column.
Vocal Quality/Music Preparation Testing Adjudicator Selection
The FVA Board has selected an Audition Chair for each voice part. The Audition Chairs are spread throughout the state and will be responsible for selecting two other adjudicators for their assigned voice part and communicating problems with FVA. That panel will meet at a central location and complete the adjudication. They will be paid for their services.
Audition Information The Vocal Quality/Music Preparation is an individual audition. Students will perform all four sections
(vocalizes and 3 music excerpts) as an individual with prepared accompaniment tracks. There will be no retests, unless the first recording attempt is incomplete as determined by the directors in the recording room. The proce-dure has not changed from the previous year.
Vocalise Each student will perform a required vocalise to demonstrate range, quality and intonation. There will be
one ascending and one descending vocalise which will be performed on “zaw” with the consonant only performed on the initial pitch of each exercise. The vocalise will be performed with a recorded track that will set tempo and pitch. The vocalise tracks for each voice part are available on the FVA website. Students should prepare the vocal-ise with the track to ensure confidence. The vocalise portion will last approximately 1 minute.
NOTE: Check the website and make sure your students are practicing with the tracks created by ChoralTracks for FVA.
Repertoire to be Auditioned
CONCERT CHORUS: High School students who score at least 80% on the Musicianship Test AND score a minimum of 20 measures on the Sight-Reading Test are eligible for the SATB Concert Chorus. They will audition on 3 (three) pieces selected from the Concert Chorus repertoire (list located at the end of the Omnibus). There are 7 pieces in the purchased repertoire packet. Learning tracks for all of the repertoire is available for purchase and download from ChoralTracks. One audition piece will be announced by October 1st.
SSAA CHORUS/TTBB CHORUS: High School students who pass the Musicianship and Sight-Reading Tests, but score less than 80% AND/OR read fewer than 20 measures, are eligible for the SSAA or TTBB Chorus. These students will audition on 3 (three) pieces from their respective reper-toire packets (list located at the end of the Omnibus). There are 6 pieces in the purchased SSAA repertoire packet, and 6 pieces in the purchased TTBB packet. Learning tracks for all of the repertoire is available for purchase and download from ChoralTracks. One audition piece for each chorus will be announced by October 1. MS MIXED CHORUS: Students auditioning for the Middle School Mixed Chorus will audition on 3 (three) pieces (list located at the end of the Omnibus). There are 7 pieces in their repertoire packet (The African Repertoire will be performed as a set). Learning tracks for all of the repertoire is available for purchase and down-load from ChoralTracks (separate versions for Districts 1-8 and 9-18, based on the part splits indicated below). One audition piece will be announced by October 1. MS TREBLE CHORUS: Students auditioning for the Middle School Treble Chorus will audition on 3 (three) pieces (list located at the end of the Omnibus). There are 6 pieces in their purchased repertoire packet . Learning tracks for all of the repertoire is available for purchase and download from ChoralTracks (separate ver-sions for Districts 1-8 and 9-18, based on the part splits indicated below). One audition piece will be announced by October 1.
Part Splits If a voice part splits beyond the part divisions already established, Districts 1-8 will learn the upper notes and Districts 9-18 will learn the lower notes. This is to ensure that there is a somewhat equal distribution for the clinicians to work with in January. Clinicians may decide to re-voice at that time. Part splits will not be considered in the adjudication of Vocal Quality auditions, as long as one of the part options is performed correctly. Additional or unique part splits are listed in this omnibus. PLEASE make sure your students are learning the correct voice parts and splits if applicable. See Rehearsal Notes and Part Splits below.
Rehearsal Tracks and Purchasing Music EACH STUDENT MUST ARRIVE ON SITE AT THE VOCAL AUDITION
WITH THEIR OWN COMPLETE PACKET OF MUSIC! PHOTOCOPIED MUSIC IS NOT PERMITTED, AND WILL RESULT IN DISQUALIFICATION!
SHARING MUSIC PACKETS IS NOT PERMITTED, AND WILL RESULT IN DISQUALIFICATION! ChoralTracks is our vendor for rehearsal and audition tracks this year.
There are 4 permutations of each track:
Balanced voices, Part Predominant, Part Muted, and Accompaniment only.
MASTER LICENSE- Allows the teacher to distribute as many copies as needed. Each school that purchases a Master License receives a secure and free digital download of all tracks. Students also have access to free mobile app. Choral Tracks accepts PayPal, Credit Card, or check.
Concert Chorus= $99.99 SSAA or TTBB Chorus= $49.99 MS Mixed or MS Treble Chorus= $49.99
Note: Schools with small numbers should consider purchasing the track for only their singer’s voice part for $13.99. CDs are also available for an extra charge.
Audition Procedures All students should be given the excerpts and asked to clearly mark their music with stopping and starting points. Students should be given the opportunity to practice the excerpts as a group with the Soprano 1/Soprano/Treble 1 version of the All-State Vocal Quality audition tracks so that they may hear exactly how the pitches and count-offs will be given in the audition. No student should be auditioned without having first had the opportunity to practice with the audition cuts at least once. Students will be organized and sent to recording rooms using whatever method the district traditionally uses for assigning students to rooms. The student will enter a recording room that is equipped with a recording device, a playback device and a music stand. Two directors will also be need in each recording room. It is not nec-essary to prevent students from recording their audition in a room with their own director. The directors will greet the student, issue short instructions (get music in order, a reminder of what to say at the beginning of the recording) and begin the audition. The student will stand at the music stand approximately one to two feet from the micro-phone of the recording device. The directors will need to determine the optimal distance for clear recordings before beginning. The student will begin by stating their voice part and their All-State ID number (example: H12-1234). One director will begin the playback of the prepared tracks and the other director will press “record” on the record-ing device. The student will perform the four sections of the audition. When the recording is completed, the student will have the opportunity to hear random sections of the track to verify that the recording is complete. The verifica-tion sheet will also serve as a paper record of the order in which the students were recorded. Then, the student will affix their barcode sticker to a verification sheet and sign that their recording was complete. There will be no re-tests, unless the directors agree that the recording is incomplete. In the event that two recordings are made, both tracks should be saved and the District Chair should be notified and will verify that the first recording was unusa-ble. The directors will save the files after it has been verified. All files must be recorded in .mp3 format. They will save each file in this format: All-State ID Number.mp3 (examples: M31-014.mp3 or H31-015.mp3). It is highly recommended that all audition files be kept until after the All-State Choruses have been seated.
Approved Recording Devices
ALL FILES MUST BE RECORDED IN .MP3 FORMAT! PC or MAC computer (laptop or desktop) with Audacity or GarageBand (RECOMMENDED)
NOTE: Audacity is FREE audio editor available at audacity.sourceforge.net. It is also necessary to down-load the LAME .mp3 encoder from lame.buanzo.com.ar to record into .mp3 format automatically. Tutorials on the use of Audacity, the LAME encoder and GarageBand will be available on the FVA website. External microphones MUST be used in ALL Vocal Quality recording rooms in ALL districts. The recommended brand is Blue Microphones (www.bluemic.com), which sells USB-input mics of good quality and USB mic converters that can be used with an XLR mic.
COMPLETE INSTRUCTIONS FOR WORKING WITH AUDACITY AND
GARAGEBAND CAN BE FOUND ON THE FVA WEBSITE. Approved Playback Devices
PC or MAC computer (laptop or desktop) with .mp3 player or Audacity, iTunes or oth-er .mp3 capable playback program (RECOMMENDED)
CD player (.mp3 compatible) NOTE: If the internal speakers on the playback computer are not adequate, it is strongly recommended that external speakers be used to ensure that the student can hear the track clearly. Auditioning students will not listen to the track on headphones/earbuds while making the recording.
Post-Audition The District Chair will need to collect and upload all audition recordings. It is recommended that USB drives and external hard drives be used to quickly move the files onto one computer. Files will be uploaded to the FMEA website. It is recommended that students be required to stay at the audition site until it has been confirmed that their audition has been uploaded successfully.
Adjudication Adjudicators will receive adjudication instructions via e-mail, and will have about two weeks to finish their adjudication. Scores will be input directly into the MPA Online program. Each recording will be scored using a rubric based on the Vocal Solo and Choral Performance MPA adju-dication sheets. The maximum Vocal Audition score will be 80. Each recording will be adjudicated by three judg-es. The final score will be an average of the 3 judges’ scores. Each adjudicator will listen to a minimum of 5 re-cordings at random to help set a baseline. A “random” button will be used for this purpose and will not show the All-State ID number of the student being heard to establish a baseline. Judges will have the option to indicate that they do not recommend a student for All-State, based on the student’s recording. If 2 out of 3 judges do not rec-ommend a student, the student will not be seated in an All-State chorus unless they meet a balance need.
Seat Allocations Seat allocations for the 2019 Florida All-State Choirs will be conducted as in the previous year. Please note that representative students will be seated based on the balance needs of the All-State Choruses, rather than the highest score of the represented school. Seats will be announced MPA Online on or before November 9, 2018. Every effort will be made to get this information out as early as possible while still ensuring that all results are properly verified and checked by multiple eyes. Thank you for your patience!
FVA Position on Transgender Students The Florida Vocal Association strives to be inclusive for students who identify as transgender. Transgender stu-dents may audition for the gender-specific All-State ensemble for which they identify. However, it would be ex-pected that the student meets all of the expectations for that ensemble, including demonstrating the necessary vocal range for the voice part for which they are auditioning as part of their Vocal Quality audition. The FVA encourages its members to work with their school and county administration to ensure a positive and inclusive environment for transgender students. This may include placing transgender students in gender-specific ensembles for which they identify, modifying uniform expectations for all students, and increased awareness of transgender students’ hormone therapies which would effect the singing voice.
Security The Florida Vocal Association is committed to providing meaningful, musical, educational opportunities for our Florida stu-dents. Safety for our teachers and students is a priority. It is required that each district hire security for all FVA events includ-ing the All State auditions.
FLORIDA VOCAL ASSOCIATION All-State 2019
Rehearsal Notes; Middle School Treble 2019 Conductor: Sydney Guillaume
Akeem -Sydney Guillaume SSA Sydney Guillaume
http://sydneyguillaume.com/product/akeem/
Men Nou -Sydney Guillaume SSA Sydney Guillaume
http://sydneyguillaume.com/product/men-nou/
Registered Voice Part District(s) Voice part student sings
in music
Additional Splits
Treble 1 All Districts Soprano; Entire Song
Treble 2 Districts 1-8 Soprano; m25-m43 Soprano 2; m46-end
Treble 2 Districts 9-18 Alto; m25-m43 Soprano 2; m46-end
Treble 3 All Districts Alto; Entire Song
Registered Voice
Part
District(s) Voice part student
sings in music
Additional Splits Additional Splits
Treble 1 All Districts Soprano; Entire Song
Treble 2 Districts 1-8 Soprano & Bottom Split for Soprano Divisi; m3-m113
(stay on soprano line for m80&m88)
Soprano 2; m114-end
Treble 2 Districts 9-18 Alto & Top Split; m80&m88
Soprano 2; m114-end
Treble 3 All Districts Alto; Entire Song
Cradle Hymn -Kim Andre Arnesen SSAA SBMP
She Sings -Amy F. Bernon SSA Heritage
Oye -Jim Papoulis 3 Part Boosey & Hawkes
Registered Voice Part District(s) Voice part student sings
in music
Additional Splits
Treble 1 All Districts Soprano; Entire Song
Treble 2 District 1-8 Soprano; m5-m16 Soprano 2; m17-end
Treble 2 Districts 9-18 Alto; m5-m16 Alto 1; m17-end
Treble 3 All Districts Alto; m5-16 Alto 2; m17-end
Registered Voice Part District(s) Voice part student sings in music
Treble 1 District 1-8 Soprano 1; m.26-27, *top note on split
Treble 1 Districts 9-18 Soprano 1; m.26-27, *bottom note on split
Treble 2 All Districts Soprano 2; Entire Song
Treble 3 All Districts Alto; Entire Song
Registered Voice Part District(s) Voice part student sings in music
Treble 1 All Districts Treble 1; Entire Song
Treble 2 All Districts Treble 2; Entire Song
Treble 3 All Districts Treble 3; Entire Song
Kafal Sviri -Petar Liondev 3 Part
Registered Voice
Part
District(s) Voice part student
sings in music
Additional Splits Additional Splits
Treble 1 Districts 1-8 Part I; Slow Section Part I; Moderato Section -2nd ending
Sop1;After Repeat to the end
Treble 1 Districts 9-18 Part I; Slow Section Part I; Moderato Section -2nd ending
Sop 2; After Repeat to the end
Treble 2 District 1-8 Part II; Slow Sec-tion
Part II; Moderato Section -2nd ending
Sop 3; After Repeat to the end
Treble 2 Districts 9-18 Part III; Top Divisi Part II; Moderato Section -2nd ending
Sop 4; After Repeat to the end
Treble 3 All Districts Part III; Bottom Divisi
Part III; Moderato Section -2nd ending
Alto; After Repeat to the end *if comfortable in voice, sing the Low e
FLORIDA VOCAL ASSOCIATION All-State 2019
Rehearsal Notes; Middle School Mixed 2019
Conductor: Daniel Gutierrez
Domine Fili Unigenite -Antonio Vivaldi SATB Walton Music
I Saw a Child -Ryan Main SATB ryanmain.com
Registered Voice Part District(s) Voice part student sings in music
Soprano All Districts Soprano; Entire Song
Alto All Districts Alto; Entire Song
Tenor All Districts Tenor; Entire Song
Bass All Districts Bass; Entire Song
Registered Voice Part District(s) Voice part student sings in music
Soprano Districts 1-8 Soprano; Top note when split
Soprano Districts 9-18 Soprano; Bottom note when split
Alto Districts 1-8 Alto; Top note when split
Alto Districts 9-18 Alto; Bottom note when split
Tenor Districts 1-8 Tenor; Top note when split
Tenor Districts 9-18 Tenor; Bottom note when split
Bass All Districts Bass; Entire Song
This is the Day -Gerald T. Smith SATB Boosey & Hawkes
Walk in Jerusalem -Rollo Dilworth SATB Hal Leonard
Registered Voice
Part
District(s) Voice part student sings in music
Soprano All Districts Soprano; Entire Song
Alto All Districts Alto; Entire Song
Tenor All Districts Tenor; Entire Song
Bass All Districts Bass; Entire Song
Registered Voice Part District(s) Voice part student sings in music Additional Splits
Soprano Districts 1-8 Soprano; Entire Song Top Split Measures 40-41
Soprano Districts 9-18 Soprano; Entire Song Bottom Split Measures 40-41
Alto Districts 1-8 Alto; Entire Song Top Split Measures 40-41
Alto Districts 9-18 Alto; Entire Song Bottom Split Measures 40-41
Tenor All Districts Tenor; Entire Song
Bass All Districts Bass; Entire Song
San’Bonani / Namhla Kudibene -Michael Barrett SATB SBMP
Nda Wana -Michael Barrett SATB SBMP
Registered Voice Part District(s) Voice part student sings in music
Soprano All Districts Soprano; Entire Song
Alto Districts 1-8 Alto; Top note measures 35&39
Alto Districts 9-18 Alto; Bottom note measures 35&39
Tenor Districts 1-8 Tenor; Top note measures 35&39
Tenor Districts 9-18 Tenor; Bottom note measures 35&39
Bass 1 Districts 1-8 Bass 1; Entire Song
Bass 2 Districts 9-18 Bass 2 ; Entire Song - m.42 to end - Anyone comforta-
ble with Low G, sing it
Registered Voice Part District(s) Voice part student sings in music
Soprano All Districts Soprano; Entire Song
Alto All Districts Alto; Entire Song
Tenor All Districts Tenor; Entire Song
Bass Districts 1-8 Bass; Top note when split
Bass Districts 9-18 Bass; Bottom note when split
Mangisondele Nkosi Yam -Michael Barrett SATB SBMP
Registered Voice Part District(s) Voice part student sings in music
Soprano Districts 1-8 Soprano; Top note when split
Soprano Districts 9-18 Soprano; Bottom note when split
Alto Districts 1-8 Alto; Top note when split
Alto Districts 9-18 Alto; Bottom note when split
Tenor All Districts Tenor; Entire Song
Bass Districts 1-8 Bass; Top note when split
Bass Districts 9-18 Bass; Bottom note when split
FLORIDA VOCAL ASSOCIATION All-State 2019
Rehearsal Notes; Senior High TTBB Chorus 2019 Conductor: James Bass
Salvation is Created -Pavel Chesnokov TTBB Timothy C. Takach
*Semi-Chorus TBD on-site
Please Stay -Jake Runestad TTBB Jake Runestad Music
*Solo will be auditioned on site.
Registered Voice Part
District(s) Voice Part Student Sings in Music
Additional Splits Additional Splits
Tenor 1 All Districts Tenor 1; Entire Song
Tenor 2 All Districts Tenor 2; Entire Song
Bass 1 All Districts Baritone; Entire Song
Bass 2 Districts 9-18 Bass; Entire Song except
Bottom Split; m33-m40 (Any Bass 2 comforta-ble with the lower notes)
Bottom Split; m73-m80 (Any Bass 2 comfort-able with the lower notes)
Registered Voice Part District(s) Voice Part Student Sings in Music
Additional Splits Additional Splits
Tenor 1 All Districts 2-Part Splits - Sing top note 3-Part Splits - Sing top note 4-Part Splits - Sing top note
Tenor 2 All Districts 2-Part Splits - Sing top note 3-Part Splits - Sing top note 4-Part Splits - Sing 2nd note from the top
Bass 1 All Districts 2-Part Splits - Sing bottom note
3-Part Splits - Sing middle note
4-Part Splits - Sing 2nd note from bottom
Bass 2 All Districts 2-Part Splits - Sing bottom note
3-Part Splits - Sing bottom note
4-Part Splits - Sing bottom note
Kin -Timothy C Takach TB Timothy C Takach
Du bist die Ruh -Schubert/Eklund TTBB SBMP
Vive L’Amour -Parker/Shaw TTBB Alfred
*Solo will be auditioned on site.
Registered Voice Part District(s) Voice Part Student Sings in Music Additional Splits
Tenor 1 All Districts Tenor
Tenor 2 All Districts Tenor
Bass 1 All Districts Bass
Bass 2 All Districts Bass
Registered Voice Part District(s) Voice Part Student Sings in Music
Tenor 1 All Districts Tenor; Top Split
Tenor 2 All Districts Tenor; Bottom Split @ m. 79, sing B1 note on final chord
Bass 1 All Districts Bass 1 @ m. 79, sing top B2 note on final chord (Eb2)
Bass 2 All Districts Bass 2 @ m.79, sing cued notes. (Any bass 2 comfortable with the lower pitch - sing it)
Registered Voice Part District(s) Voice Part Student Sings in Music
Tenor 1 All Districts Tenor 1
Tenor 2 All Districts Tenor 2
Bass 1 All Districts Bass 1
Bass 2 All Districts Bass 2 @ m.15, m.31, m.79 (all sing lower note)
Sanctus -Randall Johnson TTBB SBMP
Registered Voice Part District(s) Voice Part Student Sings in Music
Tenor 1 All Districts Tenor 1
Tenor 2 All Districts Tenor 2
Bass 1 All Districts Bass 1
Bass 2 All Districts Bass 2
Bass 2 Districts 9-18 Bass 2 Octave Split (If comfortable in voice)
FLORIDA VOCAL ASSOCIATION All-State 2019
Rehearsal Notes; Senior High SSAA 2019 Conductor: Beth Holmes
As the Rain Hides the Stars - Elaine Hagenberg SSA Hinshaw Music
*Solos will be auditioned on site.
Sto mi e milo - Daniel Hughes SSA earthsongs
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano 1; Entire Song
Soprano 2 All Districts Soprano 2; Entire Song
Alto 1 All Districts Alto; Entire Song
Alto 2 All Districts Alto; Entire Song
Registered Voice
Part District(s) Voice Part Student Sings in Music Additional Splits
Soprano 1 Districts 1-8 Soprano 1; Entire Song
Soprano 1 Districts 9-18 Soprano 1; m1-m64 Soprano 1; Bottom Split m65-m80
Soprano 2 All Districts Soprano 2; Entire Song
Alto 1 All Districts Alto; Entire Song
Alto 2 All Districts Alto; Entire Song
Hold On -Clifton J. Noble, Jr. 4-Part Alfred
I Cannot Dance, O Lord -Stephen Paulus SSAA Paulus Publications
Registered Voice
Part District(s) Voice Part Student Sings in Music Additional Splits
Soprano 1 All Districts Soprano 1; Entire Song
Soprano 2 Districts 1-8 Soprano 2; Entire Song except Top Split; m50-m51
Soprano 2 Districts 9-18 Soprano 2; Entire Song except Bottom Split; m50-m51
Alto 1 Districts 1-8 Alto 1; Entire Song except Top Split; m50-m51
Alto 1 Districts 9-18 Alto 1; Entire Song except Bottom Split; m50-m51
Alto 2 All Districts Alto 2; Entire Song
Registered Voice
Part District(s) Voice Part Student Sings in Music Additional Splits Additional Splits
Soprano 1 Districts 1-8 Soprano 1; Entire Song except Top Split; m107-m111& m121
Top Split; m130-m134
Soprano 1 Districts 9-18 Soprano 1; Entire Song except Middle Split; m107-m111& m121
Middle Split; m130-m134
Soprano 2 All Districts Soprano 2 ; Entire Song except Bottom Split; m107-m111&
Bottom Split; m130-m134
Alto 1 All Districts Alto 1; Entire Song
Alto 2 All Districts Alto 2; Entire Song
Siuil A Ruin -Michael McGlynn SSA Warner Cappell Music
Suscepit Israel -Bach SSA Hinshaw Music
The clinician has requested to split sopranos accordingly. Please READ CAREFULLY.
Registered Voice Part District(s) Voice Part Student Sings in Music Additional Splits
SOLO TBD on-site Soprano 1
Small Group TBD on-site Soprano 2
Soprano 1 All Districts Soprano 3; Top Split
Soprano 2 All Districts Soprano 3; Bottom Split
Alto 1 All Districts Alto; Top Split
Alto 2 All Districts Alto; Bottom Split
Registered Voice Part District(s) Voice Part Student Sings in Music Additional Splits
Soprano 1 Districts 1-8 Soprano 1; Entire song
Soprano 1 Districts 9-18 Soprano 2; Entire Song
Soprano 2 Districts 1-8 Soprano 1; Entire song
Soprano 2 Districts 9-18 Soprano 2; Entire Song
Alto 1 Districts 1-8 Soprano 2; Entire Song
Alto 1 Districts 9-18 Alto; Entire Song
Alto 2 All Districts Alto; Entire Song
FLORIDA VOCAL ASSOCIATION All-State 2019
Rehearsal Notes; Senior High Concert Chorus 2019
Conductor: Brad Holmes
Windham - Arr. Brad Holmes SATB bradholmesmusic.com
*Please observe stem direction on splits because there is voice crossing.
I Will Sing - Michael Engelhardt SSATB mikeemusic.com
Registered Voice
Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano
Soprano 2 All Districts Soprano + *Bottom Split @ m.49 - end
Alto 1 All Districts Alto
Alto 2 All Districts Alto
Tenor 1 All Districts Tenor
Tenor 2 All Districts Tenor + *Bottom Split @ m.49 - end
Bass 1 All Districts Bass
Bass 2 All Districts Bass
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano
Soprano 2 All Districts Soprano + Middle Note Split in 3 part sections
Alto 1 All Districts Alto
Alto 2 All Districts Alto
Tenor 1 All Districts Tenor
Tenor 2 All Districts Tenor + Middle Note Split in 3 part section @ m.93-94
Bass 1 All Districts Bass
Bass 2 All Districts Bass
Come, Let Us Worship (Priidite Poklonimsia) -Sergei Rachmaninoff SATB Musica Russica
Verbum caro factum est - Hassler SATB bradholmesmusic.com
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano 1
Soprano 2 All Districts Soprano 2
Alto 1 All Districts Alto 1
Alto 2 All Districts Alto 2
Tenor 1 All Districts Tenor 1
Tenor 2 All Districts Tenor 2
Bass 1 All Districts Bass 1
Bass 2 All Districts Bass 2 (split only if comfortable with low d @ m.19 - if not stay on a)
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano 1
Soprano 2 All Districts Soprano 2
Alto 1 All Districts Alto
Alto 2 All Districts Alto
Tenor 1 All Districts Tenor
Tenor 2 All Districts Baritone
Bass 1 All Districts Bass
Bass 2 All Districts Bass
Your Voices Tune - Handel SATB Belwin
Flight Song - Kim Andre Arnesen SATB earth songs
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano
Soprano 2 All Districts Soprano
Alto 1 All Districts Alto
Alto 2 All Districts Alto
Tenor 1 All Districts Tenor
Tenor 2 All Districts Tenor
Bass 1 All Districts Bass
Bass 2 All Districts Bass
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano 1
Soprano 2 All Districts Soprano 2
Alto 1 All Districts Alto 1
Alto 2 All Districts Alto 2
Tenor 1 All Districts Tenor 1
Tenor 2 All Districts Tenor 2
Bass 1 All Districts Bass 1
Bass 2 All Districts Bass 2
Himne - Roelof Temmingh SATB Choir Sire Music
*Measures 111-115 will be determined on-site.
Registered Voice Part District(s) Voice Part Student Sings in Music
Soprano 1 All Districts Soprano 1
Soprano 2 All Districts Soprano 2
Alto 1 All Districts Alto 1
Alto 2 All Districts Alto 2
Tenor 1 All Districts Tenor 1
Tenor 2 All Districts Tenor 2
Bass 1 All Districts Bass 1
Bass 2 All Districts Bass 2
FVA ALL-STATE: HIGH SCHOOL MUSICIANSHIP TEST
The format of the test remains the same from the previous cycle.
The first four sections of the exam are administered with a recorded audio track and narrative. Section 1: Chord Quality Recognition 5 pts - Students identify Major, minor, Augmented, and diminished chords when played melodically and harmonically. Section 2: Interval Recognition 5 pts - Students identify Major and minor intervals when played melodically and harmonically. Section 3: Rhythmic Recognition 2 pts - Students identify correctly and incorrectly played rhythmic exercises. Section 4: Melodic and Rhythmic Recognition 8 pts - Students identify correctly and incorrectly played measures in a melody. Section 5: Complete the Measures 2 pts - Students select the best possible rhythmic pattern to complete a partial measure of rhythm. Section 6: Time Signature Recognition 2 pts - Students identify the correct time signature of a two measure example of rhythm. Section 7: Key signatures, major and minor 8 pts - Students identify Major and minor key signatures Section 8: Vocabulary 18 pts - Students select correct definitions to vocabulary words from the FVA HS Vocabulary list. TOTAL 50 points
A comprehensive battery of FVA All-State Exams is available on the FVA website. These exams are very helpful in understanding the format and style
of the Musicianship Test.
Revised 2018
PROCEDURES 1. Student enters room and gives adjudicators completed adjudication sheet. 2. Adjudicators determine what clef the student will use (Treble, Bass, Changing Voice). 3. The FVA example track will be played for each student. Treble/Bass clef students use track 1,
Changing Voice students use track 2. 4. Adjudicators should confirm that the student is looking at the correct examples and that no
marks have been made on the SR examples. Every student should be reminded of the proce-dures– how tonality will be established, how much study time they have for each exercise and the rules for stopping and starting over. Remember to be positive and encouraging, without commenting on the student’s performance (no “congratulations!” or “good jobs!”).
FOR EACH EXERCISE... 1. Establish key, ask student to sing beginning pitch, establish tempo by counting off one measure 2. Inform student of study time limit and tell them to begin studying. One adjudicator keeps time.
Students may actualize pitch and rhythm and hand signs while studying. Any elements performed during the study time will NOT COUNT towards the final score.
3. Establish key, ask student to sing beginning pitch, establish tempo by counting off one meas-ure.
4. Student reads exercise. 5. Both adjudicators use individual cross-off sheets to mark measures sung incorrectly. 6. After all exercises have been performed and the student has left, the adjudicators confer on the
measures sung incorrectly and place their agreed upon result on the score sheet.
PLEASE DO NOT GIVE STUDENTS A RUNNING TOTAL OF THEIR SCORE.
PLEASE DO NOT INFORM STUDENTS OF WHETHER OR NOT THEY HAVE PASSED THE SIGHT READING EXAMINATION.
KEY ESTABLISHMENT The key for each exercise will be established by playing an eighth note ascending and de-scending scale and arpeggio in the manner demonstrated on the CD (quarter note = 60). Students should be encouraged to sing along with the key establishment. Students may continue to estab-lish the key beyond what is played, if they choose. High School Only– The minor exercise (#3) should be established using the harmonic minor scale (raised 7th). Tablet-style computers with piano keyboard applications may be used to establish tonality in the FVA All-State sight-reading audition. Volume should be turned up for the student to adequately hear.
If a student has a limited range and is uncomfortable in the established key, find a key that fits the singer.
REVISED 2018
TEMPI Adjudicators must establish the tempo for the student for each exercise at quarter note = 60. Students may choose a faster tempo, but may not choose a slower tempo. The compound triple exer-cise (#4) should be established at eighth note = 90 or dotted quarter note = 30. STUDY TIMES ROOM SET-UP 10 seconds– HS #1, MS #1 Keyboard 20 seconds– HS #2-4, MS #2 CD Player 30 seconds– HS #5, MS #3-4 Music stand with SR examples placed face down AWARD MEASURES IF... • all pitches and rhythms sung correctly, rests are held for the correct length • Students may use any sight reading method or neutral syllable and may switch between systems
in the same exercise as long as pitches and rhythms are correct. DO NOT AWARD MEASURES IF... • incorrect pitches or rhythms are performed • Modulations– do not give credit for the measure where the modulation occurred, but do award
credit for the remaining measures if they are sung correctly in the new key. Students may modu-late multiple times in the same exercise. The measure of each modulation would NOT be award-ed.
RESTARTS • Each student is allowed ONE restart. • Adjudicators should use their discretion about what is a significant stop and what is a “stumble,”
“hitch,” or “pause.” • No measures sung after a stop should be counted towards the student’s score. • If the adjudicators determine the student has stopped they will ask the student immediately if the
restart will be used. • If the student says “yes,” establish tonality, starting pitch and tempo but do not give study time. • If the student says “no,” continue to the next exercise. • If a student wishes to use their restart after reading an entire exercise, no correct measures from
the first reading may be counted. Adjudicators should establish tonality, starting pitch and tempo but do not give study time.
MEASURE TALLY • Please remember that the MAXIMUM possible measures that can be tallied for the Middle School
Sight Reading is 28 measures. The maximum can not exceed 28 measures. • Please remember that the MAXIMUM possible measures that can be tallied for the High School
Sight Reading is 40 measures. The maximum can not exceed 40 measures.
HIGH SCHOOL TALLY SHEET
MIDDLE SCHOOL TALLY SHEET
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4
PROCEDURES 1. Student enters room and gives directors their note card and extra label. 2. The directors perform a sound level check while the student sings a major scale on the pitch of
their choosing. 3. The directors verify that the student has their music in order and open to the correct page. The
audition measures should be marked into each score before the student enters the room. 4. The student then performs their audition with the prepared auditon track containing the vocalises,
the prepared excerpts and the two unprepared excerpts. One directors operates the recording device while the other operates the playback device. The student must clearly state their All-State ID number on the recording before the audition track has begun to play. Once the record-ing process has begun, neither the recording nor playback device will be paused or stopped until the student has finished recording all audition material.
5. The track is immediately played back for the student’s verification. The entire track does not need to be played, but should be skimmed through checking that the recording is audible and there are no technical difficulties. The student may opt to not listen to their recording. If technical difficulties occur, a second recording may be made at the discretion of the directors (see information be-low).
6. The directors save the file in .mp3 format under the student’s All-State ID number (example: H12-3456.mp3). Refer to the student’s label on the note card and double check that the correct ID number is used.
7. The student affixes their label to the Verification Sheet, signs that their recording was made and reviewed, each director initials and indicates whether it was necessary to make a second record-ing.
WHEN TO RE-RECORD AN AUDITION... • There is audible hissing/popping/crackling due to malfunctioning equipment that obscures the
voice. • The voice is not audible due to malfunctioning equipment (this does not apply if the student can-
not produce an audible sound when placed a reasonable distance from the microphone). • A cell phone/announcement/other noise interrupts the audition and obscures a portion of the vo-
cal audition. • Auditions will not be re-recorded if a student becomes emotional, nervous or distressed. This is
the nature of auditions– each performer gets one opportunity to perform at their best in that mo-ment.
REVISED AUGUST 2015
Playback Device
ROOM SET-UP
Audio recording device (computer, .mp3 recorder, etc.) Audio playback device (CD player, computer, etc.) Music stand Vocal Quality Verification sheets RECOMMENDED POSITIONS
~2 ft. ~1 ft.
Student Recording Device
ALL-STATE VOCALISES The following vocalises should be performed on the syllable “zaw” (IPA: [za]) without reiterating the consonant sound on each pitch. Each vocalise will be performed SIX times– the first two repetitions will be accompanied by the piano, the remaining repe-titions will be performed a cappella with a click track and chromatic cues in between each repetition. The vocalises are performed at a tempo of 100 beats per minute. NOTE: The Vocalise tracks have been replaced with new tracks produced by ChoralTracks. The new tracks can be found on the website.
VOCALISE RANGES
VOCALISE #1 (ascending)
VOCALISE #2 (descending)
HS S1, MS S, MS Tr1 HS S2, MS Tr2 HS A1, MS A, MS Tr3 HS A2
HS T1, MS T HS T2 HS B1, MS B HS B2
Flor
ida V
ocal
Asso
ciatio
n A
ll-S
tate
Ch
oru
s V
oc
al
Qu
ality
Ru
bri
c
Each s
tudent
will
receiv
e a
score
fro
m 1
-5 in t
he c
ate
gories lis
ted
be
low
. T
he m
axim
um
score
for
the V
oca
l Q
ualit
y a
uditio
n is 8
0.
Po
ints
bre
akdow
n: 1
0 p
ts m
ax p
er
voca
lise x
2 v
ocalis
es =
20.
Plu
s 2
0 p
ts m
ax p
er
excerp
t x 3
excerp
ts =
60.
Each jud
ge in the
ir a
ssig
ne
d V
Q c
om
mitte
e w
ill lis
ten to s
evera
l excerp
ts a
nd c
onfe
r w
ith the o
ther
jud
ges to e
sta
blis
h a
baselin
e for
consis
tent scoring w
ithin
the
ir a
s-
sig
ne
d e
xcerp
ts.
Each v
oca
lise w
ill b
e g
rade
d s
epara
tely
. If
2 o
ut of
3 a
dju
dic
ato
rs in
dic
ate
“not re
com
mended
” aft
er
scoring, th
e s
tud
ent
will
be ine
ligib
le to p
art
icip
ate
in t
he A
ll S
tate
Ch
oir.
VO
CA
LIS
E 1
& 2
(10
po
ints
max
per
vo
calis
e)
5
4
3
2
1
F
ree
do
m &
Be
auty
A h
ealthy, vib
rant, r
esonant,
and f
ree t
one t
hat is
consis
t-
ently w
ell-
support
ed.
An e
nerg
ized t
one that oft
en
dis
pla
ys f
ocus a
nd r
esonance
in e
xtr
em
e r
egis
ters
.
A g
enera
lly g
ood tone b
ut
excessiv
e v
ibra
to, te
nsio
n,
and/o
r bre
ath
iness a
re p
re-
sent.
To
ne s
eld
om
possesses
space,
resonance, and f
ocus.
Fre
edom
and s
upport
, and/o
r beauty
of to
ne a
re s
eld
om
achie
ved.
To
ne c
om
ple
tely
lacks s
pace,
support
, fo
cus, fr
eedom
, and
beauty
. A
ND
/OR
Vocalis
e is n
ot sung w
ith p
re-
scrib
ed d
irectio
ns (
vow
el,
art
icula
tio
n, etc
.)
R
eg
iste
r A
dju
stm
ent
Beauty
of to
ne is c
onsis
tent
in
extr
em
es o
f re
gis
ter
without
obvio
us t
ransitio
ns. In
tonatio
n
is c
onsis
tent th
roughout th
e
vocal re
gis
ter.
Beauty
of to
ne is o
ften p
resent
in e
xtr
em
es o
f re
gis
ter.
Tra
nsi-
tio
ns a
re o
ften h
andle
d w
ell.
In
tonatio
n is o
ften c
onsis
tent
thro
ughout
the v
ocal re
gis
ter.
Beauty
of to
ne s
om
etim
es
occurs
in e
xtr
em
es o
f re
gis
ter.
R
egis
ter
shifts
are
appare
nt.
Into
natio
n is s
om
etim
es c
on-
sis
tent th
roughout th
e v
ocal
regis
ter.
Beauty
of to
ne is s
eld
om
pre
- sent in
extr
em
es o
f re
gis
ter.
O
bvio
us r
egis
ter
shifts
hin
der
the o
vera
ll effect. I
nto
natio
n is
seld
om
accura
te thro
ughout
the v
ocal re
gis
ter.
Fre
edom
and b
eauty
of to
ne is
not
achie
ved d
ue t
o in
appro
pri
- ate
regis
ter
adju
stm
ents
. R
ange is in
suff
icie
nt fo
r voic
e
part
. T
onal cente
r is
never
esta
blis
hed.
EX
CE
RP
TS
(3
)
(20
po
ints
max
per
exc
erp
t)
5
4
3
2
1
Te
ch
nic
al P
rep
ara
tio
n
Pitch a
ccura
cy,
rhyth
mic
pre
ci-
sio
n, and p
uls
e a
ware
ness
confirm
a w
ell-
pre
pare
d p
erf
or-
m
ance.
Contr
ol of
puls
e a
nd a
ccura
te
know
ledge o
f pitches is e
vid
ent
with a
few
min
or
pro
ble
ms.
Recovery
fro
m a
ny p
roble
ms is
imm
edia
te.
Accura
cy o
f pitch a
nd r
hyth
m,
ste
ady p
uls
e, and r
ele
ases a
nd
entr
ances a
re a
t tim
es a
ccu-
rate
, in
dic
atin
g a
vera
ge p
repa
- ra
tio
n o
f th
e m
usic
al score
.
Rhyth
mic
and/o
r pitch a
ccura
- cy is s
eld
om
achie
ved. P
uls
e is
dra
ggin
g o
r ru
shin
g m
ost
of th
e
tim
e.
Pitches a
nd r
hyth
ms a
re p
oor-
ly p
repare
d.
Entr
ances a
nd r
e-
leases a
re n
ot execute
d.
Th
ere
may b
e a
n o
vera
ll la
ck
of
un-
ders
tandin
g o
f th
e s
core
due t
o p
oor
pre
para
tio
n.
M
usic
alit
y
Th
e c
om
poser’s inte
nt re
gard
- in
g t
em
po, sty
le,
and m
ark
ings
are
consis
tently follo
wed.
Dy-
nam
ics, phra
sin
g, art
icula
tio
ns,
and in
terp
reta
tive n
uances a
re
art
istically
execute
d.
A m
usic
al perf
orm
ance t
hat
oft
en e
xhib
its p
roper
tem
po
and s
tyle
. M
ark
ings a
re o
ften
follo
wed.
Dynam
ic c
ontr
ast,
art
istically
shaped m
usic
al lin
e,
and a
ppro
pria
te a
rtic
ula
tio
ns
are
pre
sent m
ost
of th
e tim
e.
Tem
po, sty
le,
and p
hra
sin
g
som
etim
es follo
w t
he c
om
pos-
er’s inte
nt. U
ses o
f dynam
ics,
art
icula
tio
ns,
and n
uances a
re
som
etim
es s
tylis
tically
corr
ect,
but
contr
ived.
Perf
orm
ance s
eld
om
exhib
its
pro
per
tem
po a
nd s
tyle
, or
does n
ot fo
llow
music
al m
ark
- in
gs. P
hra
sin
g is m
ostly m
e-
chanic
al or
contr
ived.
Dynam
ic
range is v
ery
lim
ited a
nd/o
r to
o
much c
ontr
ast is
used.
Tem
po a
nd s
tyle
are
never
corr
ect. T
here
is a
n in
accu-
rate
use o
f dynam
ic r
anges.
Th
ere
is n
ever
a f
eelin
g o
f phra
se s
hape.
Into
na
tio
n
Into
natio
n a
nd t
onal cente
r are
consis
tent th
roughout
vocal
regis
ters
.
Into
natio
n is o
ften a
ccura
te,
with a
dju
stm
ents
made in
ex-
trem
e r
anges.
Pitch is s
om
etim
es c
orr
ect,
with p
roble
ms c
aused b
y la
ck
of
bre
ath
support
and v
ocal
faults.
Into
natio
n is s
eld
om
accura
te,
show
ing a
la
ck o
f lis
tenin
g
skill
s a
nd u
nders
tandin
g o
f vocal adju
stm
ent.
To
nal cente
r is
never
esta
b-
lished. B
asic
pitch m
atc
hin
g
skill
s a
re a
bsent.
F
ree
do
m &
Be
auty
A h
ealthy, vib
rant, r
esonant,
and f
ree t
one t
hat is
consis
t-
ently w
ell-
support
ed.
An e
nerg
ized t
one that oft
en
dis
pla
ys f
ocus a
nd r
esonance
in e
xtr
em
e r
egis
ters
.
A g
enera
lly g
ood tone b
ut
excessiv
e v
ibra
to, te
nsio
n,
and/o
r bre
ath
iness a
re p
re-
sent.
To
ne s
eld
om
possesses
space,
resonance, and f
ocus.
Fre
edom
and s
upport
, and/o
r beauty
of to
ne a
re s
eld
om
achie
ved.
To
ne c
om
ple
tely
lacks s
pace,
support
, fo
cus, fr
eedom
, and
beauty
.
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