Auditions for Fall 2018 admittance
To schedule an audition, please use the Online Registration Form (below) or Contact Us.
CLICK HERE TO SCHEDULE YOUR AUDITION NOW BY FILLING OUT THE ONLINE FORM.
WHY DO WE AUDITION STUDENTS?
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 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].
The audition is more than just a musical performance evaluation, however. We want to know your level of commitment to success as a student in our programs. Therefore, the faculty present at the audition may start a dialog – an “interview” of sorts – about your prior experience in music and your career goals. The Audition is a time to present your best to the faculty.
SCHOLARSHIPS
Your audition may result in being awarded a College of Arts and Communication Scholarship in the form of tuition remission and/or a housing waiver. Scholarships are awarded based on your potential for success in our program, which includes elements of your performance as well as the “interview” with the faculty. Amounts vary widely and can be based on the current needs of the program, available scholarship money, and/or student needs. More information about scholarships is available here: https://westliberty.edu/music/scholarships/
SCHEDULE AN AUDITION
There are two ways to schedule an audition: Register Online or Contact Us via phone or email. Please click the link below to fill out the Online Form. After submitting the completed form, you will be contacted with a confirmation of your audition date. Specific audition times will be determined the morning of the audition and students are encouraged to keep the day free because audition times, campus tours, etc., may run into the afternoon.
If you have any questions, please call 304-336-8006 or send an email to [email protected]
If you are participating in The Tri-State Select Music Festival (Honor Band and/or Honor Choir) or WVMEA Region VI Solo & Ensemble, you can audition while you’re on campus! Click here to find out more about the Tri-State Select Music Festival.
A typical Audition Day (see dates above) follows this schedule:
- 8:00am – Arrival, Registration, Warm-Up Time. Specific Audition times are assigned based on arrival.
- 9:00am – Auditions begin. Based on the number of students auditioning, this could last until noon.
- Upon completion, each student is administered a brief music aptitude test we call the “Standardized Aural Perception Examination” (SAPE). This is simply a diagnostic exam that helps us determine your basic musicianship skills. Don’t worry, it’s painless.
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. 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. Sight reading
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. 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
One or Two (in contrasting style) pieces for solo guitar. Pieces from the classical repertoire or jazz standards are preferred.
PERCUSSION Students should demonstrate training and facility in at least two (2) of the four (4) core instrument categories.
Snare Drum (core instrument)
- One rudimental solo/etude from Pratt, Wilcoxon, or equivalent (published works only).
- One orchestral solo/etude from Cirone, Peters, Goldenberg, or equivalent (published works only).
Mallets (core instrument)
- All major scales and arpeggios, the chromatic scale (two octaves).
- 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)
- Demonstrate tuning ability (tune a given pitch on any drum).
- One prepared solo/etude for 3-4 timpani from Goodman, Vic Firth, Peters, or equivalent (published works only).
Drum Set (core instrument)
- 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.