Music

Audition

Click here to Register for an Audition

After submitting the completed form, you will be contacted with a confirmation of your audition date.  You will receive specific audition information and a detailed schedule at least two weeks prior to your audition date.

2023-2024 AUDITION DATES

  • November 4, 2023
  • January 20, 2024
  • February 10, 2024
  • March 23, 2024

Students may audition in person on the WLU campus, or via video. Students may also request a date other than those listed above. Contact us for details: music@westliberty.edu

 

WHY DO WE AUDITION STUDENTS?

If you are interested in one of our many Music Scholarships, you must audition. The faculty also want to know your level of commitment to success, therefore the faculty will ask you about your prior experience in music and your career goals. Prospective students should prepare audition materials according to the guidelines below or in consultation with a member of the Music Faculty. If you would like assistance choosing music audition materials, or have questions about the audition process, please do not hesitate to contact  any member of the faculty or email music@westliberty.edu.

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 music@westliberty.edu or contact an appropriate faculty member) and sheet music must be mailed (or emailed) no less than two weeks prior to auditions.

Audition Guidelines

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.

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

GUITAR

You may demonstrate ability in any of the following categories:
Scales
Chord Vocabulary
Improvisation
Solo Pieces

WOODWIND AND BRASS INSTRUMENTS

You may demonstrate ability in any of the following categories:
Scales

  1. Major scales through 4-flats (minimum of 2 octaves) and 4-sharps (minimum of 2 octaves).
  2. Chromatic scale which demonstrates the full range of their instrument.

Solo Literature & Etudes

  1. Two contrasting movements from a solo work, which demonstrates both technique and musicality.
  2. Two contrasting etudes selected from your state’s All-State Band Audition Packet or the following/equivalent material:

Flute

  • Melodious & Progressive Studies, Book 1 (Southern Publications)
  • 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
  • 25 Daily Exercises for Saxophone – H. Klose (Fischer)

Trumpet

  • Characteristic Studies – J.B. Arban
  • Lyrical Studies – G. Concone
  • Melodious & Rhythmical Studies – J.L. Small
  • 36 Etudes Transcendantes – Theo Charlier
  • 20 Etudes Mélodiques et Techniques Trompette – L. J. Vanntelelbosch

French Horn

  • Pottag-Hovey Method for French Horn, Bk 1 – Pottag & Hovey (Alfred Music)
  • Pottag-Hovey Method for French Horn, Bk 2 – Pottag & Hovey (Alfred Music)
  • 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)

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 Charley Wilcoxon The All-American Drummer: 150 Rudimental Solos (full page etude toward the back of the book) or John Pratt 14 Modern Contest Solos.
  2. One concert solo/etude from Anthony Cirone Portraits in Rhythm or Mitchell Peters Intermediate Snare Drum Studies.

Mallets (core instrument)

  1. All major scales, two octaves.
  2. One numbered etude from the back of Morris Goldenberg Modern School for Xylophone, Marimba, and Vibraphone, or equivalent
  3. A 4-mallet solo is recommended but not required.

Timpani (core instrument)

  1. Demonstrate tuning ability (tune a given pitch on any drum), demonstrate tuning a P4 and P5 above and below a given note.
  2. One prepared solo/etude for 3-4 timpani from Mitchell Peters Fundamental Method for Timpani or Raynor Carroll Exercises, Etudes and Solos for the Timpani.

Drum Set (core instrument)

  1. Demonstrate the following styles with either a metronome or a play-along track (i.e. Steve Houghton Essential Styles: Book 1 or Tommy Igoe Groove Essentials):
  • Swing (“trading” 4-bar solos and time, recommended)
  • Funk/Rock
  • Bossa Nova
  • Samba

Hand Drumming / World Percussion (optional – please contact us prior to the audition)

  • Demonstrate technique and typical style patterns on congas, bongos, jembe, and/or other various ethnic percussion instruments. Candidate should contact the instructor prior to the audition to confirm instrument availability.

MARCHING HILLTOPPERS 

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

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