Admissions

Undergraduate Suggested Audition Materials

VOICE: Sing three songs by memory from the standard repertoire (First Book/Second Book of Solo Songs compiled by Joan Boytim, various Italian, German, or French Art Song collections, etc.). The songs should be of contrasting style. At least one should be in English, and one in Italian, German, or French. Songs should show potential, interpretive ability, and musicianship. No acapella or prerecorded music please. Students should also be prepared to do a brief sight singing or ear training exercise if requested by the voice faculty.

PIANO: A work by J.S. Bach (two or three part invention, a Suite, or equivalent), a fast movement from a Haydn, Mozart or Beethoven sonata, a 19th or 20th century composition. All major and harmonic minor scales and arpeggios, parallel motion, 4 octaves. Memorization is expected.

HARP: Possess a thorough knowledge of the fundamental principles of contemporary harp playing; knowledge of piano playing is desirable. Candidates should perform from memory two transcriptions from the classics and two works from contemporary literature.

VIOLIN: Play two contrasting movements from Bach solo Sonatas or Partitas. Play scales with arpeggios and double stops. Perform first movement of standard concertos such as: Mendelssohn, Vieuxtemps, Wienyavsky, Bruch, Lalo, Viotti.

VIOLA: Play major and minor scales, etudes from Hans, Sitt, Dont or Kreutzer, and a movement from a sonata such as the Marcello Sonata in E Minor, or others of equal difficulty.

CELLO: Play (1) an etude from Popper ³High School of Cello Playing,² or Grutzmacher Second Book (Nos. 13-24), (2) a sonata by Breval, G major (Cassado ed.), or Francoeur, E major (Schott ed.), (3) Bach (Prelude and one movement from Suites 1,2, or 3), (4) a movement of a concerto by Lalo, Haydn (C major, 3rd mvt. or D major, 1st or 3rd mvt.), Saint-Saens (entire concerto), Elgar (1st and 2nd mvts.), Dvorak, Khachaturian, Schumann, or Shostakovich, and (5) a scale and arpeggios of their choice.

STRING BASS: Please contact Professor Budrow at Wbudrow@aol.com

FLUTE: Prepare all major and harmonic minor scales through the full range of the instrument; play two contrasting etudes from books such as Anderson (op. 21, op. 33 or higher opus), Berbiquier (18 studies), Kohler or Boehm and two solos to demonstrate tone, technique and musicianship (preferably of contrasting periods i.e. Bach, Sonata in Eb, Faure, Fantasie).

OBOE: Play major and minor scales (two octaves where practical), studies from Barret 40 Progressive Melodies, and a contrasting solo to demonstrate technique, tone, and musicianship.

CLARINET: Play major and minor scales (two octaves), any studies from the Rose Etudes, and a solo to demonstrate technique, tone, and musicianship.

SAXOPHONE: Prepare all major and harmonic minor scales complete normal range of the instrument. Choose one etude from Ferling/Mule 48 Studies after Ferling or Berbiguier/Mule 18 Studies. Choose and prepare one of the following works or a major work of similar scope and difficulty: Bozza, Improvisation et Caprice; Bozza, Inpromptu et Danse; Creston Sonata; Dubois Concerto; Ibert, Concertino da Camera; Debussy/Rousseau, Rhapsody; Francaix, Cinq Danses Exotiques; Glazounov, Concerto; Hartley Concerto; Hindemith Sonata; Heiden Sonata; Maurice Tableaux de Provence; Milhaud, Scaramouche; Noda, Improvisation I; Van Delden, Sonatine; Wilder Sonata; Villa Lobos, Fantasia

BASSOON: Prepare all major and harmonic minor scales in all keys that demonstrate the student's full range; two contrasting etudes from the Weissenborn Fifty Bassoon Studies or one etude from the MildeConcert Studies. One movement from a major concerto or sonata, or a single movement work in its entirety.

• Although repertoire selection and performance in the audition bear great importance, final acceptance is based upon the demonstration of talent, dedication, and the desire to achieve excellence rather than solely upon the level of proficiency already achieved.

TRUMPET: Play all major and minor scales (two octaves up to high C), perform basic transposition of easy exercises similar to Arban No. 17, page 14, perform Arban Characteristic Etude No. 6, or an equivalent Etude, perform a solo of the level of Fantasie in Bb by J. Ed. Barat, and other materials which demonstrate musicianship, embouchure, and potential.

HORN: Play all major and melodic minor scales (two octaves), technical etudes such as in Kopprasch or Maxime-Alphonse, and solo literature such as Mozart, Saint-Saens, and Dukas that demonstrates range and musicianship.

TROMBONE: Play all major and melodic minor scales (two octaves where possible): contrasting etudes by Rochut, Blazhevich, and/or Tyrrell: and a solo piece such as Concertino by David, Morceau Symphonique by Guilmant, Andante and Allegro by Barat or a movement from concertos by Grondahl or Jacob.

EUPHONIUM: Demonstrate to the best of your ability your command of tone quality, range, intonation, articulation, and rhythm. Prepare major scales, melodic minor scales, and chromatic scales covering two octaves whenever possible. Prepare one - two solo works or movements featuring varied musical styles (at a difficulty level equal to or more challenging than the Guilmant – Morceau Symphonique). Prepare one - two contrasting etudes, which demonstrate lyrical and marcato styles of performance (using study books by Fink, Arban, Rochut, Voxman, and Tyrell). A reading knowledge of both treble and bass clef is desired. Expect to do a short sight reading passage, and a short aural response exercise.

TUBA: Demonstrate to the best of your ability your command of tone quality, range, intonation, articulation, and rhythm. Prepare major scales, melodic minor scales, and chromatic scales covering two octaves whenever possible. Prepare oen - two solo works or movements featuring varied musical styles (at a difficulty level equal to or more challenging than the James Curnow-Concertino). Prepare one - two contrasting etudes, which demonstrate lyrical and marcato styles of performance (using study books by Fink, Arban, Bordogni, Blazevich, and Tyrell). A reading knowledge of both treble and bass clef is desired. Expect to do a short sight reading passage, and a short aural response exercise.

PERCUSSION: Snare solo or etude - symphonic / orchestral style (i.e. Cirone, Peters, Delecleuse). Snare solo or etude - rudimental (traditional; i.e. Wilcoxon, Pratt). Four mallet solo (i.e. Peters, Gomez, Zivkovic, Musser). Two mallet solo (i.e. McMillan, Green, Breuer, Hatch). Timpani (Carroll, Peters, McMillan, Whaley). Sight-reading on snare drum and keyboard. Tuning on timpani.

JAZZ STUDIES: All applicants are expected to have knowledge of, and may be called upon to perform, all major scales, all Dorian, Lydian, and Mixolydian modes, and arpeggios at a steady, brisk, tempo. All applicants should also be prepared to play one classical etude or piece.

     ACOUSTIC BASS: Applicants will also be asked to demonstrate their ability to walk bass lines from memory over the following: “A blues progression in any key”, “All the Things You Are” “A Jazz Standard”, “Just Friends”, “Green Dolphin Street”, “Ladybird”, etc.

Bass players must also prepare the melody of a jazz standard and a ballad melody such as: “Round Midnight”, “My One and Only Love”, “Body & Soul”, “In A Sentimental Mood”

Performed in either Arco or pizzicato. Applicants must also demonstrate their improvisation abilities by soloing over the blues and a standard tune selected from above.

     DRUM SET: Applicants should be prepared to perform an etude or exercise demonstrating knowledge of snare drum rudiments. Set players are also asked to demonstrate proficiency in the following areas: Brush work at a ballad, medium fast swing tempo

Be prepared to demonstrate ability to play time, delineate form, and improvise over the following types of tunes: blues and rhythm changes.

     PIANO: All scales, modes, and arpeggios should be played with both hands in unison at the octave.

Applicants should perform the following from memory: The melody of one bebop tune such as: “Donna Lee”, “Ornithology”, and “Scrapple from the Apple”

The melody of one ballad such as: “Round Midnight”, “My One and Only Love”, “Body & Soul”, “In A Sentimental Mood”

As demonstration of improvisational skills, applicants should prepare, from memory, a blues tune and a standard tune such as:” All the Things You Are”, “Just Friends”, “Ladybird”, “Green Dolphin Street”, etc.

     VOICE: Applicants should perform the following from memory the melody of one ballad such as: “Round Midnight”, “My One and Only Love”, “Body & Soul”, “In A Sentimental Mood”

As demonstration of improvisational skills, applicants should prepare, from memory, a blues tune and a standard tune such as: “All the Things You Are”, “Just Friends”, “Ladybird”, “Green Dolphin Street”, etc.

     WOODWIND OR BRASS INSTRUMENTS, VIBES OR GUITAR: Applicants should perform the following from memory the melody of one ballad such as: “Round Midnight”, “My One and Only Love”, “Body & Soul”, “In A Sentimental Mood”

As demonstration of improvisational skills, applicants should prepare, from memory, a blues tune and a standard tune such as: “All the Things You Are”, “Just Friends”, “Ladybird”, “Green Dolphin Street”, etc.

ADDITIONAL REQUIREMENTS FOR MUSIC EDUCATION MAJORS AND MUSIC COMPOSITION AND THEORY MAJORS

MUSIC EDUCATION: When you come to the College of Music for your audition, you will also be scheduled for an interview with a music education faculty member. The purpose of the interview is to provide our admissions committee with additional information about your potential as a music education major. The interview will be comprised of a 5-minute aural skills test and a 15-minute personal interview regarding your background and teaching interests.

On the aural skills test, you will be asked to echo simple melodic and rhythmic patterns, sing the song “My Country Tis of Thee,” and sight sing a one-line melody that uses primarily stepwise motion and quarter notes. You will be evaluated as to your melodic and rhythmic accuracy, your singing voice, and your sight singing ability. (If you have difficulty sight singing, do not be too concerned. A number of our incoming music education students have not yet developed sight singing skills at the time of the interview.)

In the personal interview, you will be asked questions about your musical background, your academic record, and your teaching or leadership experiences. You will also be asked for your opinions in several questions for which there are no right or wrong answers. (Example: Why do you want to be a music teacher?) You will be evaluated as to your background, your interests and attitudes about teaching, and your communication skills.

The Music Education rating will be used in combination with the audition results when making admission decisions.

MUSIC COMPOSITION AND THEORY: Applicants must submit a one-page (typed or computer printed) statement of professional and artistic goals and a portfolio of three to five original compositions and/or musical arrangements, at least two of which must be completely and accurately notated, two of which must be accompanied by cassette tape or CD-R recordings of performances or MIDI realizations, and one of which must have a minimum duration of approximately five minutes. OPTIONAL, but encouraged: an interview with the area chairs of Composition and Music Theory (and/or other members of the faculty).

Applicants will be evaluated by the Area Chairs of Composition and Music Theory (or their faculty designees). Admission decisions will be made in combination with audition results.

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