Audition

Audition Information

Audition Dates for Fall 2014 admittance:

  • December 6, 2013 – during the Tri-State Select Honor Band Festival
  • Saturday, February 15, 2014
  • Saturday, April 5, 2014
  • If you cannot make either of these dates, we are happy to set up another appointment. Call 304-336-8930 or send an email to [email protected] to schedule an alternate date.

CLICK HERE TO SCHEDULE YOUR AUDITION NOW BY FILLING OUT THE ONLINE FORM.

If you are participating in The Tri-State Select Honor Band Festival, you can audition while you’re on campus! Click HERE to find out more.

In addition to meeting the regular university entrance requirements, students desiring to major in music must demonstrate musical ability by auditioning before the Department of Music faculty. Prospective students should arrange for this music audition at the same time he or she applies to the Office of Admissions. Prospective students should prepare audition materials according to the guidelines below. If you would like assistance choosing music audition materials, or have questions about the audition process, please do not hesitate to contact us: [email protected]

To Schedule an Audition

If you have read the audition requirements below, and you have selected an audition date from above, then you are ready to schedule your audition! Please click the link above to fill out the on-line form. You will be contacted within one week with a confirmation of your audition date.  Specific audition times will be determined the morning of the audition. Students should prepare to keep the day free as audition times, tours, etc. may run into the afternoon.

For Accompanied Auditions:

Students are strongly encouraged to bring their own accompanists; however, if needed, one may be provided for you. Arrangements must be made with the Department (send email to [email protected] or contact an appropriate faculty member) and sheet music must be mailed no less than two weeks prior to auditions.

Music Audition Requirements:

As part of the audition procedure all students complete an aural skills diagnostic exam.  All students may be asked to sight-read.  Read below for specific audition requirements according to your applied area.

BRASS INSTRUMENTS

1. Major scales through 4-flats and 4-sharps, 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:

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)

GUITAR

The audition for the guitar studio is an overall evaluation. Most applicants are not equally strong in all areas; in some cases, a deficiency in one area may be mitigated by excelling in another.

1. Sight reading
Fluency in basic sight reading skills is required, and is possibly the most important element of the audition. With hard work, an acceptable level of sight reading ability can be achieved in a matter of a few months. Recommended Preparation: Leavitt, Wm., A Modern Method for Guitar, Berklee Series, Vol. 1 (Milwaukee: Hal Leonard Publications). pp.4-59.

2. 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.).

3. Chord vocabulary
Ability to play chords to a jazz tune, in tempo, from a lead sheet or jazz fakebook, is required. 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.

4. 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 and can be mailed to you through Volkwein’s Music (Pittsburgh: 1-800-553-8742; 412-788-5900). Recommended: “Nothin’ But Blues” or “Blues in All Keys.”

5. Solo pieces
Two pieces for solo guitar, in contrasting style. Pieces from the classical repertoire or jazz standards are preferred.NOT acceptable: any piece which is not complete in itself, or not meant for guitar alone, such as an accompaniment for voice or any other instrument; part of an arrangement for a band; or supported by another instrument (e.g., bass, piano, or another guitar).

PERCUSSION
Students should demonstrate training and facility in at least two (2) of the four (4) core instrument categories.

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

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 (published works only).

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, or equivalent (published works only).

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.

PIANO

1. 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

PIPE ORGAN

1. Perform a composition from the Baroque Era, preferably by Johann Sebastian Bach, such as a chorale prelude from the Orgelbüchlein, or one of the preludes and fugues.

2. Perform either:

  • a composition selected from the French romantic repertoire, OR
  • a composition from the 20th-century repertoire

VOICE

Prospective students in voice should be prepared to sing two or three songs from the standard vocal repertoire for their vocal audition. Songs of contrasting mood, tempo, and language are recommended. One of the songs may be from the musical theater repertoire. It is recommended, but not required, that students bring their own accompanists whenever possible. It is also recommended that students sing as many of their audition songs as possible from memory.

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

1. An easily produced vocal tone of adequate size and pleasing quality.

2. Good vocal musicianship, as demonstrated by the ability to sing with good pitch and rhythmic accuracy, and to sing legato phrases in which dynamics are meaningfully employed.

3. Expressiveness, as demonstrated by the communication to the listener of the emotional content of the song being sung.

Recommended Literature:

TRADITIONAL ART SONG

  • An aria in Italian from 26 Italian Art Songs and Arias, edited Paton.
  • An art song or aria from The First Book series (individual books are by voice part), edited Boytim.

20TH CENTURY ART SONG

  • 15 American Art Songs, compiled Arvin.
  • 20th Century Art Songs or Fundamentals in Singing, edited Paton.

THEATER SONGS from any beginning theater songbook collection

  • The Singers’ Musical Theater Anthology or Music Theater Classics.

WOODWIND INSTRUMENTS

1. Major scales through 4-flats and 4-sharps, 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)

MARCHING HILLTOPPERS

Please visit the Marching Band page for details about joining this organization.

SCHEDULE YOUR AUDITION NOW BY CLICKING HERE!