Audition & Interview Requirements

Audition	Portfolio Review	Program Interview	Music Skills Assessment	Music Theory Diagnostic
An audition paneled by Conservatory Faculty members.	A review by Conservatory Program Faculty members of submitted artistic creations. Portfolio must be submitted a minimum of 2 weeks prior to interview.	An interview paneled by the Conservatory Program Faculty members for the degree of application.	A short, in-person assessment of an individual’s ability to clap, count, and sing basic rhythms.	A computerized theory diagnostic that assesses an individual’s music theory knowledge. This diagnostic is used only for theory class placement purposes.
✔	✔	✔	✔	✔

Interview Requirements

Prospective Composition (BM) majors will complete an interview with the Director of Composition to discuss the contents of the applicant’s portfolio (described below). In addition to portfolio review, the interview will assess the applicant’s current musical knowledge, experience and goals, as well as the student’s communication skills about their own creative work. Interview results are used in conjunction with academic criteria, applied audition results and music skills assessment results to determine admission to the program.

Applicants for the Music Composition program must submit the following items at least two weeks before the audition date:

1. Scores for 2-3 recently completed original works (no arrangements) – must be electronically uploaded
   • Uploaded scores must be in pdf format – no files in notation software format (ie. Finale, Sibelius, MuseScore, etc.)
   • Upload and submit scores after the undergraduate application is received.
2. Recordings for the scores detailed above
   • Recordings may be audio/video (live players) or MIDI
   • Recordings should be uploaded in compressed file formats: mp3, m4a or mp4
   • Upload and submit recordings after the undergraduate application is received.
3. A 100-word Artist Statement describing the applicant’s ideas on what their music is or says, and why

Music Skills Assessment & Written Theory Diagnostic

All students auditioning must complete a music skills assessment as part of their audition schedule. This assessment involves sight-singing, tonal memory and rhythmic skills.

A computerized theory diagnostic will also be given. The results of this diagnostic will only be used for theory placement purposes should the applicant be accepted and choose to attend Shenandoah.

Audition Requirements

Composition applicants audition in either a major instrument or voice (classical idiom), in addition to an interview and review of their portfolio. Please see the appropriate section below for your chosen instrument specialization.

Bassoon

Two contrasting études (from Weissenborn, Milde, Ferling, etc.) and one solo work demonstrating level of proficiency (a single movement is acceptable). Scales (major required, major and harmonic minor preferred) and sight-reading are required.

Cello

Two contrasting works that display technical and musical ability plus one étude of appropriate difficulty. For performance applicants, one of the selections must be a movement of a standard concerto.

Clarinet

Two contrasting pieces or movements – one demonstrating technical ability and one demonstrating lyricism and expression. These pieces may be drawn from the standard clarinet literature – études (e.g. Rose études), sonatas (e.g. Saint-Saëns, Brahms, Poulenc) and/or concertos (e.g. Weber, Mozart). Those students whose primary instrument is bass clarinet should prepare the same repertoire as listed for the standard b flat clarinet on bass clarinet, as well as one movement/etude of your choice on the b flat clarinet.

Double Bass

Two works in contrasting styles from the Baroque, Classical, Romantic and Contemporary periods (e.g. Eccles and Bottesini) that demonstrate the applicant’s highest level of technical proficiency and musical expression.

Euphonium

One étude and one solo demonstrating contrasting styles and current level of proficiency. Scales and sight-reading are required.

Flute

Two pieces in contrasting styles demonstrating both technical ability and expression. Specific portions or movements may be requested from these pieces. All major scales and arpeggios should be prepared from memory.

Guitar

Three pieces. Although music from the classical guitar repertoire is preferred (see the Performance Major audition description above), the inclusion of popular music selections featuring finger-style playing techniques is also acceptable. (Students should contact contact their admissions counselor with any questions they may have about suitable audition repertoire.) Applicants may be asked to demonstrate sight-reading and knowledge of scale and arpeggio patterns. Composition students are encouraged, though not required, to perform a work of their own.

Harp

Two solos from contrasting periods demonstrating technical proficiency and musical ability plus one orchestral excerpt or etude.

Horn

First movement of a horn concerto by Mozart, Richard Strauss or Franz Strauss, or an equivalent piece from the standard horn solo repertoire. Also, one additional solo or étude of your choice. All major scales (two octaves, as possible) and a demonstration of sight-reading are required.

Oboe

One movement from a sonata or concerto from the standard oboe repertoire and one Barret Grand Study. Major and minor scales and sight-reading are required.

Percussion

All applicants must demonstrate proficiency in all three primary percussion areas. Students should select repertoire that best represents their current technical and musical skills. In addition to the prepared repertoire below, sight-reading (on mallets and snare drum) and major scales (mallets) may be asked.

• Snare drum: Required — one concert or rudimental solo/etude.

• Keyboard Percussion: Required — one 2-mallet solo or one 4-mallet solo

• Timpani: Required — one solo/etude

Piano

Approximately six minutes of solo piano repertoire (does not need to be memorized) from at least two periods. Major and harmonic minor scales are required.

Saxophone (Alto)

One étude from the W. Ferling 48 Famous Studies and one of the following:

• Paul Creston, Sonata for Alto Saxophone, movements 1 and/or 3
• Jacques Ibert, Concertino da Camera for Alto Saxophone, movements 1 and/or 3.

Sight-reading and all major and minor scales (performed on full range of the instrument in sixteenth notes at quarter = 100) are required.

Trombone

One étude and one solo demonstrating level of proficiency. Scales and sight-reading are required.

Trumpet

One étude and/or one solo demonstrating level of proficiency in both lyrical and technical performance. Scales and sight-reading are required.

Tuba

One étude and one solo demonstrating contrasting styles and current level of proficiency. Scales and sight-reading are required.

Viola

A concerto movement or concert solo and a contrasting work (such as an unaccompanied Bach, concert piece, sonata movement or contemporary work). An Etude that demonstrates the applicant’s highest level of technical proficiency.

Violin

A concerto movement or concert solo, a contrasting work (such as an unaccompanied Bach, concert piece, sonata movement or contemporary work), and an étude or caprice demonstrating level of proficiency. Scales in three octaves are required.

Voice

Two memorized songs from standard classical solo voice repertoire, one in English and one in another language. Material should be appropriate to the applicant’s voice and current musical development. Musical Theatre selections or contemporary pop/rock music are not appropriate for the voice performance audition.