"Sources" San Diego – June 9, 2012

General Information

There are several vocal solos located in five of the seven movements of "Sources".  These will be performed by people who are singing in the larger choir (except for possibly the rap solo in the last movement).  Auditions will be held in early 2012 for the vocal solos (see "Audition Information" below).  What follows is a list of all of the sections of each movement that have vocal solos.  The total number of people covering these various solo will depend on how many people audition as well as other factors. 

Ø      Movement #2 ("Transformation")

o        Measures 13-44 (possibly split between 2 soloists)

o        Measures 77-88 [rehearsal letter D]

o        Measures 135-146 [rehearsal letter H]

Ø      Movement #3 ("All Lifted Hearts")

o        Solo throughout (no congregational singing)

Ø      Movement #4 ("On Wings of Praise")

o        Measures 1-9

o        Measures 25-40, 57-72, 88-105, and 121-END

Ø      Movement #5 ("No Other World")

o        Measures 11-61 and measures 119-END

Ø      Movement #7 ("The Promise")

o        Measures 11-28, 55-72, and 156-END

o        Rap Solo in Measures 91-139

Audition Information

Auditions for vocal solos will take place on Saturday, March 10th @ 4:00-7:00 PM at Palomar UU Fellowship and on Sunday, April 15th @ 4:00-7:00 PM at Chalice UU Congregation. If you would like to audition for one or more of the solos above, please send an e-mail to Tim McKnight (tmcknight20@cox.net) listing the movement/movements you are interested in.  You will then receive an e-mail with information regarding what part of each movement to prepare as well as how to sign-up for a slot on one of the two audition dates.

More Details and Performance Notes from the Composer

Here are some guidelines about the voice types and styles of each movement, as well as some relevant [although sometimes paraphrased] excerpts of Jason Shelton’s Performance Notes for "Sources", which are all in bold type.  This will give you some guidance on which movements your voice might fit as well what the composer wants.

Ø      Movement #2 ("Transformation")

The first section of this song (m. 13-44) is originally sung by the entire choir, but in our performance it will be sung by one or possibly two soloists. All solos are open to treble or bass voices and are gender unspecific.  There could be a few as one soloist in this movement or as many as four.

"This movement draws from the music of Central and South America, exploring some of the themes of Liberation Theology, which has deep roots in Brazil. The musical influences I drew from include some of the pioneers of Latin Jazz such as Gilberto and Jobim, as well as more contemporary popular music from Brazil and Cuba (not to mention Western artists who have incorporated these styles so well, such as Sting and UU musician Jim Scott). The vocal sound for this movement should be like much of the vocal jazz tradition smooth and light, with very little vibrato. The syncopations should be effortless and crisp, rather than labored and sloggy."

Ø      Movement #3 ("All Lifted Hearts")

Rather than incorporating congregational singing in this movement, the soloist will continue to sing the melody throughout this movement, accompanied by the choir.  One soloists will sing the entire movement, rather than splitting it up.  Even though the recording is a bass voice, auditions for this solo are open to all voice types. 

"This is a meditation on the golden rule, a bit of wisdom that seems to have manifested itself in nearly every culture and religious tradition found on the planet. The musical inspiration fo this piece is hard to pin down except to say that this kind of churchy music has been part of my musical repertoire for a very long time. Perhaps there is a little Taizé influence, perhaps some monastic Psalm chants. The soloist intones the refrain, then the choir sings it back (letter B).  The open sections between sung refrains are for the narrators."

Ø      Movement #4 ("On Wings of Praise")

There are 2 distinct solos in this movement. The first solo (measures 1-9) is a barucha or "blessing", and would be ideal for anyone who has a cantorial background. The other four solo sections (Measures 25-40, 57-72, 88-105, and 121-END) represent a gospel-style solo and, and as the composer says, requires a "knock-it-out-of-the-park gospel-style soloist, who should be given considerable liberty to, as they say, make it work."  Both solos are gender unspecific and open to treble and bass voices.  It is conceivable, but not necessary, that we could have 2 different soloists to split the gospel sections.

"The text for this piece draws evenly from both Psalm and Gospel imagery. Kendyl’s text jumped off the page as an African-American Gospel-style tune, and I took some comfort in knowing how heavily that community has drawn upon the story of the liberation of the Hebrew people for their own strength and solace. But ultimately I wanted to be a little more explicit in acknowledging the music of the Jewish tradition, so I added the introductory barucha.  The translation of the Hebrew text is "Blessed are You, Eternal God, Sovereign of the universe, Source of creation and its wonders."

Ø      Movement #5 ("No Other World")

This solo will require one soprano soloist, who will sing both solo sections. 

"The experience of the traditional Humanist, especially in the often mindlessly faith-centered culture we live in today, can be one of loneliness. I was deeply moved by Kendyl’s text for this movement, and I was intrigued by the fact that this would follow the bombastic celebration at the end of On Wings of Praise [movement #4]. When everything around you is over the top in its certainty and triumphant hoopla, what does the voice of the doubter sound like? Thus the lengthy, plaintive solo, which eventually becomes a huge chorus of common sojourners in the quest for truth.

The general musical idea for this piece is that of a modern Broadway-esque ballad. I love

Copland and Sondheim, and they both show up in the opening section.  You’ll need a soprano soloist who can really carry this piece, someone with that beautifully pure and light tone currently en vogue on the Broadway stage."

Ø      Movement #7 ("The Promise")

This movement requires two very different soloists.  The first is the rap soloist who speaks and raps off-and-on throughout the movement.  The second sings the three vocal solos (measures 11-28, 55-72, and 156-END).  Since they are in the same movement, the two voices need to be very different (i.e. one treble and one bass).  Both soloists need to be able to get the audience excited and involved so that the end of the work becomes an experience for every person present, not just those on stage!

"The tune is a straight-ahead modern funk/hip-hop tune with a refrain that the audience should be encouraged to sing.  The soloist should really be able to bring it from a pop/funk perspective. She should feel free to take considerable liberties with the melody and rhythm, especially at letters K and L."