Audition Information

WOODWIND, BRASS & STRING INSTRUMENTS
1. Major scales, the chromatic scale.
2. A solo concert piece of the student’s choosing that demonstrates both technique and musicality.
3. Two contrasting etudes selected from the following or equivalent material:

FLUTE
*  Melodious & Progressive Studies (Book 1, blue), Pub. Southern.
*  18 Exercises, Berbiguier.

OBOE
*  48 Famous Studies for the Oboe, W. Ferling.

BASSOON
*  50 Bassoon Studies, Op. 8, Vol. 2, Weissenborn.

CLARINET
*  32 Etudes, or 40 Etudes, Rose.
*  Melodious & Progressive Studies (Book 1 or 2), Hite.

SAXOPHONE
*  48 Famous Studies, W. Ferling
*  Selected Studies, H. Voxman (Rubank)

TRUMPET
*  Complete Conservatory Method – J.B. Arban
*  Lyrical Studies – G. Concone
*  60 Selected Studies – C. Kopprasch
*  Melodious & Rhythmical Studies – J.L. Small

HORN
*  Lyrical Studies – G. Concone
*  60 Selected Studies – C. Kopprasch
*  Advanced Method, Vol. I – H. Voxman (Rubank)

LOW BRASS
*  Melodious Studies – J. Rochut
*  Advanced Method, Vol. I – H. Voxman (Rubank)

STRINGS
*  Please consult with us regarding your audition material.

PERCUSSION

Students should demonstrate training and facility in at least two (2) of the four (4) core instrument categories.  Only published works may be selected.

Snare Drum (core instrument)
1.  One rudimental solo/etude from Pratt, Wilcoxon.
2.  One orchestral solo/etude from Cirone, Peters, Goldenberg.

Mallets (core instrument)
1.  All major scales and arpeggios, the chromatic scale (two octaves).
2.  One solo/etude from Goldenberg, Peters, Abe, J.S. Bach, Creston, Musser, Rosauro, or equivalent (published works only). A 4-  mallet solo is preferred, though not required.

Timpani (core instrument)
1.  Demonstrate tuning ability (tune a given pitch on any drum).
2.  One prepared solo/etude for 3-4 timpani from Goodman, Vic Firth, Peters.

Drum Set (core instrument)
1.  Demonstrate the following styles with either a metronome or (preferably) a play-along track (e.g. “Essential Styles” Book 1 by Steve Houghton):
  *  Swing (also demonstrate trading 4-bar solos and time)
  *  Funk/Rock
  *  Bossa Nova
  *  Samba

Hand Drumming / World Percussion (optional – please contact us prior to the audition)
  *  Demonstrate mastery of technique and various style on congas, bongos, Brazilian instruments, djembe, and/or other various ethnic percussion instruments. Candidate should contact the instructor prior to the audition to confirm instrument availability and acceptable repertoire.

GUITAR

The audition for the guitar studio is an overall evaluation. Not all categories (below) are required. Most applicants are not equally strong in all categories; in some cases, a deficiency in one area may be mitigated by excelling in another.
1.  Scales - Movable Major scale patterns, any key. Useful fingerings may be found in Berklee, Vol.1 (pp. 60, 70, 80, 90, 100); the “3 notes per string” system; or the Segovia Diatonic Major and Minor Scales (Belwin Mills Publishing Co.).
2.  Chord vocabulary - Ability to play chords to a jazz tune, in tempo, from a lead sheet or jazz fakebook. Two fingerings (i.e., “shapes”) for: major 7th, dominant 7th, minor 7th, and diminished 7th chords. Knowledge of chord symbols (e.g., “Dm7, G7,” etc) is required.
3.  Improvisation - Improvisation on a blues or jazz standard of your choice. For this, play-along CDs, such as the Jamey Aebersold Jazz Aids series, are highly recommended. Recommended: “Nothin’ But Blues” or “Blues in All Keys.”
4.  Solo pieces - One or Two (in contrasting style) pieces for solo guitar. Pieces from the classical repertoire or jazz standards are preferred.

PIANO

Prepare two compositions of contrasting styles, preferably from memory.

Examples of Suggested Repertoire:
  *  J. S. Bach – Two or Three-part Inventions
  *  D. Scarlatti – keyboard sonatas
  *  One or more movements taken from a Classical keyboard sonata by such composers as Franz J. Haydn, W. A. Mozart, Ludwig van Beethoven, Muzio Clementi, etc.
  *  F. Schubert – Impromptus, Moments Musicaux
  *  F. Chopin – Preludes, Nocturnes, Waltzes
  *  F. Mendelssohn – Songs Without Words
  *  J. Brahms – Waltzes, Intermezzi, etc.
  *  C. Debussy – Children’s Corner Suite, Suite Bergamasque, etc.
  *  S. Prokofieff – Visions Fugitives
  *  B. Bartok – Mikrokosmos

VOICE

Prospective students in voice should be prepared to sing two (B.S. in Music Industry) or three (B.A. in Music and B.S. in Music Education) songs from the standard vocal repertoire for their audition. Songs of contrasting style, mood, and tempo, are recommended. A song in a foreign language is encouraged, but not required.  It is recommended that students dress professionally and sing their audition songs from memory.  Please bring music on the day of your audition for the pianist (who is provided at no cost.)

Criteria for acceptance as a music major in voice include the following:

1. Tone Production, as demonstrated by clarity of sound, resonance, breath management and vocal health.

2. Musicianship, as demonstrated by the ability to sing with pitch and rhythmic accuracy, as well as careful attention to dynamics and articulation.

3. Artistry and interpretation, as demonstrated by clarity of diction and expressive communication.

4. Stage presence and professionalism, as demonstrated through preparation and delivery.

Examples of suggested literature:

ART SONGS OR ARIAS from any opera or solo vocal collection such as the ones listed below

• 24 or 26 Italian Art Songs and Arias (published by Schirmer or Alfred).
• The First Book series (individual books are by voice part), edited by Boytim.

• 15 American Art Songs, edited by Arvin.
• The Singing Book, edited by Bunch and Vaughn

THEATER SONGS from any theater songbook collection or Broadway musical score

• The Singers’ Musical Theater Anthology (published by Hal Leonard)
• Music Theatre Anthology for Teens (published by Hal Leonard)

JAZZ SONGS from any standard jazz collection

• Great Standards Collection – (Pro Vocal Series, published by Hal Leonard)

CONTEMPORARY COMMERCIAL SONGS (Non-classical songs in popular styles)

• Available on most music printing websites and a variety of other sources
• The music selection should be lyrical and translate well to a piano accompaniment if the student will be collaborating with the pianist provided.
• Recorded accompaniment is not permitted, but in some cases students may prefer to accompany themselves on piano or guitar. 
• No more than one of the three audition selections should be from this category.