Audition

Violin: Three contrasting movements should be selected that demonstrate the applicant’s range of capabilities, both technical and stylistic. These three works should include one movement of a standard concerto, one movement of an unaccompanied work (such as a Bach solo sonata or partita) and one work of the applicant’s choice. Works by at least two different composers should be represented on the audition. Applicants are encouraged to consult with Julian Ross (jross@bw.edu) if there are any questions about these repertoire requirements.

Viola: Three contrasting movements which demonstrate a student’s range of capabilities. These movements should include a movement of a concerto (or work for viola and orchestra), a movement of an unaccompanied Bach Suite (originally for cello) and a movement of the student’s choice. In addition, applicants should be prepared to play a major and minor 3-octave scale of the applicant’s choice, slurred and spiccato. Applicants are encouraged to contact Lembi Veskimets at kveskime@bw.edu if there are any questions about these repertoire requirements. 

Cello: Any three contrasting movements which demonstrate the student’s range of capabilities, both technical and stylistic. The applicant may choose movements from any repertoire including sonatas, concertos, Bach Suites; or etudes, caprices and lyrical pieces. If the applicant wishes, it is acceptable to pick two movements from the same work, though at least two composers must be represented. Applicants are encouraged to consult with Khari Joyner (kjoyner@bw.edu) if there are questions about these repertoire requirements.

Double Bass: Three contrasting movements which demonstrate a student’s range of capabilities. These movements should include a movement of a concerto, a movement of a sonata, and a concert étude. Examples include works by Bach, Bottesini, Dittersdorf, Eccles, Koussevitsky, Marcello, Scarlatti and Vivaldi. In addition, applicants should prepared to play a 3-octave major and minor scale and arpeggio, slurred and detaché. You are encouraged to consult with Charles Carleton, ccarleto@bw.edu, if you have any questions about the repertoire requirements.

Harp: Two solos of contrasting period/style of the applicant's choice, and two excerpts from the standard orchestral repertoire.

Guitar: Guitarists of varying backgrounds and styles (e.g. classical, rock, jazz) are encouraged to audition for acceptance to the guitar studio at BW. All players should prepare three contrasting pieces/excerpts (approved by BW faculty prior to audition day; backing tracks are welcomed) which demonstrate their range of capabilities and artistic interests (sound equipment can be provided on request, please contact guitar faculty or admissions staff prior to the audition day). Applicants are encouraged to consult Bryan Reichert (breicher@bw.edu) with questions or concerns regarding these audition requirements.

Flute: One movement of a classical concerto or baroque sonata, i.e, Mozart Concerto in D major or G major or Bach Sonatas in E major or e minor. One piece from music by French composers (Schirmer) or equivalent. One piece of choice, in a contrasting style. All major, harmonic and melodic minor scales; minimum two-octave range. Applicants are encouraged to consult with George Pope (gpope@bw.edu) and Sean Gabriel (sgabriel@bw.edu) if they have questions.

Oboe: Any movement(s) from a baroque sonata or concerto. A movement from Saint-Saëns, Hindemith or Poulenc sonatas, or from concertos by Mozart, Strauss, Vaughan-Williams, etc. An etude by Barrett or Ferling. You might be asked for any of the major scales and arpeggios, as well as a full range chromatic scale from low Bb to high D.

Clarinet: Prepare at least two selections in contrasting styles. Works such as sonatas by Hindemith, Saint-Saens, Brahms and Bernstein, concertos by Mozart, Weber and Debussy, and etudes by Rose and Cavallini would all be good choices but there are many other great works to choose from. Please don’t hesitate to contact Daniel McKelway at dmckelwa@bw.edu with any questions.

Saxophone: Two contrasting etudes by Ferling, Voxman or Mule. One movement or section from a longer work such as a Concerto by A. Glazunov, Sonata by P. Creston, Concertino da camera by J. Ibert, Concerto by P. Dubois, Tableaux de Provence by P. Maurice, Sonata by L. Lunde, Scaramouche by. D. Milhaud, or other. Scales: Major, harmonic minor scales full range and in all keys. Feel free to contact Professor Piqué (gpique@bw.edu) to inquire about repertoire choices or questions regarding the audition process. Come prepared to discuss in detail your current musical activities and goals for the future.

Bassoon: Sonatas by Vivaldi, Telemann, Fasch, Saint-Saëns and Hindemith; concertos by Vivaldi, Mozart and Weber.

Trumpet: A sonata by Paul Hindemith, Kent Kennan or Halsey Stevens; one movement of a standard concerto; two contrasting etudes by Arban, Brandt, Charlier or a similar composer. Standard excerpts from the orchestral repertoire. Scales and sight-reading may be required.

Horn: Two contrasting etudes by Kopprasch, Gallay or Maxine-Alphonse. Select one of the following solos: Mozart Concerto No. 2, first movement; Mozart Concerto No. 4, first movement; R. Strauss Concerto No. 1, first movement. A selection of contrasting horn excerpts from the standard orchestral repertoire. All major and minor scales and arpeggios, two octaves.

Trombone: Etudes from materials such as Kopprasch, Blazhevich and Rochut. Solos such as David, Hindemith, Guilmant and Marcello. Orchestral excerpts welcome but not required. Sight reading may be asked.

Euphonium: Two contrasting etudes by Bordogni/Rochut, Arban or Kopprasch. Solo of choice from the standard repertoire. All major scales.

Tuba: Two contrasting etudes; one taken from Bordogni/Rochut and one from Kopprasch. Solo of choice from the standard repertoire. (suggestions include Hindemith, Vaughn Williams, Gregson, Lebedev or others of similar level). All major scales.

Percussion: Etudes or pieces comparable in difficulty to those listed below. Performance on mallet percussion and snare drum is required along with the applicant’s choice of timpani or drum set. Applicants should be prepared to play major scales and sight-read on snare drum and marimba.

• Snare Drum: Performance in concert and rudimental styles, e.g., one of Cirone’s Portraits in Rhythm and a solo from Wilcoxon’s The All-American Drummer.
• Mallets: Performance of a marimba, xylophone or vibraphone solo or etude by Musser, Peters, Smadbeck, Zeltsman, etc. Applicants are invited to perform a 2 and a 4 mallet solo if they wish.
• Timpani: An etude from the Goodman, Hinger, Hochrainer, Carroll or Delecluse methods. Interval tuning may be required.
• Drum Set: Demonstration of different styles and/or transcriptions. A written solo is not necessary.

Students may perform a styles demonstration or a transcription on drum set. This can be done in place of the timpani requirement.

Organ: Three contrasting selections from the following categories: 1. Choral preludes, free works (preludes/fantasias and fugues, etc.), or other compositions by Bach or other composers of the Baroque era such as Buxtehude, Böhm, or Lübeck; 2. Works of the Romantic or Late Romantic era by composers such as Mendelssohn, Franck, Langlais, or Reger; 3. Works of the 20th or 21st Century by composers such as Hindemith, Sowerby, or Albright. Selections should include a balance of lyricism, expression and virtuosity. Memorization is not required, but is strongly encouraged.

Applicants will be asked to sight read a short selection. Applicants are encouraged to consult with Nicole Keller nkeller@bw.edu with any questions.

Piano: Applicants for the BM in Performance, Music Therapy, Music Theatre Direction, and Music History or Theory and BME must prepare a Prelude and Fugue by J.S. Bach from the Well-Tempered Clavier, a first or last mvt of a Sonata by Mozart, Haydn, or Beethoven (except Op. 49, Op. 27, No. 2 first mov’t,) plus one other work (or mvt of larger works) by another composer from the 19th through 21st century. All pieces must be memorized and should demonstrate a range of technical, musical, and expressive styles.

Applicants for the BM in Composition and BA degree must prepare a Prelude and Fugue by J.S. Bach from The Well-Tempered Clavier plus one other contrasting work; all pieces must be memorized.

Four octave major and minor scales and arpeggios, sight-reading and an ear test are also part of all piano primary auditions. Applicants are encouraged to contact Sungeun Kim at skim@bw.edu with any questions.

An accompanist will be provided for all in-person voice auditions. Three memorized selections chosen from songs and arias of the 17th and 18th centuries and art songs from the 19th century to present. Operatic and oratorio literature may be presented when suitable for the singer.

Music Theatre Audition: You will be expected to audition in voice, theatre and dance areas.

• Voice: Please prepare three one-minute cuts. We will select two during your live or Zoom audition. An accompanist will be provided for all live auditions. You will need to provide recorded accompaniment if auditioning on Zoom or as part of the New City Music Theatre or The College Audition dates.
• Acting: You will be asked to submit a video of one age-appropriate monologue from either classical or contemporary drama.
• Dance: You will be asked to submit a video of the combination we will send you when we confirm your audition date.
• Wild Card: You will be asked to submit a video, no more than 60 seconds, of anything: a special skill, a passion speech, etc.

The acting, dance and wildcard videos must be received by your audition date.

Optional Prescreen: Please submit video of 2 16-bar cuts. We will try to respond within 2 weeks.

While Baldwin Wallace does not require a prescreen submission as part of the application process, BW uses the MT Common Prescreen criteria for digital audition submissions. International students may contact the admission office for permission to submit a recorded audition.

Applicants for the BM in Music Theatre Direction must prepare a Prelude and Fugue by J.S. Bach from the Well-Tempered Clavier, and a first or last mvt of a Sonata by Mozart, Haydn, or Beethoven (except Op. 49, Op. 27, No. 2 first mov’t). All pieces must be memorized and should demonstrate a range of technical, musical, and expressive styles. Four octave major and minor scales and arpeggios, sight-reading, and an ear test are also part of all piano primary auditions. Applicants are encouraged to contact Sungeun Kim at skim@bw.edu with any questions.

In addition, applicants must prepare a piece from the repertoire of Stephen Sondheim, Jason Robert Brown, Leonard Bernstein, Lin Manuel Miranda, or Georgia Stitt that demonstrates groove and/or complicated melodic figures. Applicants may also prepare one other piece that has personal significance, and be prepared to discuss why that piece is important to them. These pieces do not need to be memorized. Applicants may reach out to Matt Webb at mwebb@bw.edu with any questions.