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, a movement of an unaccompanied Bach Suite (originally for cello) and a movement of the student’s choice. Works from at least two different composers should be represented on the audition. 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 consult with Lembi Veskimets (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. 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 Regina Mushabac (rmushaba@bw.edu or 440-826-2099) 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: Execution of two scales from “The Segovia Scales,” as well as a three-octave chromatic scale. (Other scales are permitted, with a minimum two-octave range). Performance of any etude or concert piece by Fernando Sor, Mauro Giuliani, or other composers of the Classical era. Performance of any work or complete movement of the Renaissance or Baroque era. Performance of any work or complete movement composed in the 20th or 21st century. Applicants are encouraged to consult with Colin Davin (cdavin@bw.edu) if there are any questions about these repertoire 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 sonatas by Handel, Telemann, Saint-Saëns, Hindemith or Poulenc, or from concertos by Mozart, Marcello or Strauss; contrasting etudes by Barrett or Ferling; all major and minor scales.

Clarinet: At least two selections in contrasting styles. Sonatas by Hindemith, Saint-Saëns, Brahms and Bernstein. Concertos by Mozart, Weber and Debussy. Etudes by Rose and Cavallini.

Saxophone: Two contrasting etudes by Ferling, Voxman, or Mule. One major work, to be performed in its entirety, by Glazunov, Creston, Ibert, Desenclos, Dubois or others. Scales: Major, harmonic minor, and melodic minor scales in all keys (full range). Feel free to contact Professor Banks (sbanks@bw.edu) to inquire about repertoire choices that you may be unsure about. Please 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 Hindemith, Kennan or Halsey Stevens; a concerto by Haydn, Hummel or Neruda; two contrasting etudes by Arban, Brandt or Charlier. Standard excerpts from the orchestral repertoire. Scales and sight-reading may be required.

Horn: Mozart Concerto No. 2 or No. 4, first movement; R. Strauss Concerto No. 1, first movement; Tchaikovsky Symphony No. 5, second movement solo. 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.

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

Tuba: Two contrasting etudes; one taken from Bordogni/Rochut and one from Kopprasch. Solo of choice from the standard repertiore. (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.

Organ: Three contrasting selections from the following categories: 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; works of the Romantic era by composers such as Mendelssohn, Franck, or Brahms; works of the late Romantic era, 20th or 21st Century by composers such as Langlais, 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 regarding the above requirements.

All music majors with piano or organ as the primary applied instrument may choose to prepare an audition of one solo piece on an orchestral instrument or voice. This audition will be considered for the student’s secondary instrument and/or large ensemble requirement for the desired degree program.

Piano: Applicants for the Bachelor of Music (all degree programs) and Bachelor of Music Education must prepare a Prelude and Fugue by J.S. Bach from the Well-Tempered Clavier, a first or last movement of a Sonata by Mozart, Haydn, or Beethoven, plus one other work (or movement of larger works) by another composer. All pieces MUST BE MEMORIZED and should demonstrate a range of technical, musical, and expressive styles. 

Applicants for the Bachelor of Arts 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 consult with Professor Mary Dobrea-Grindahl (mdobrea@bw.edu) if they have questions. 

Voice: An accompanist will be provided for all 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 bring three memorized one-minute selections, two will be chosen in the audition room; an accompanist will be provided.
• Drama/Theatre: one age-appropriate monologue from either classical or contemporary drama not to exceed one minute in length. It is highly recommended that you read the play in advance.
• Dance: a group dance call will be conducted at the end of the audition day. Bring appropriate movement clothes and jazz shoes.