Music Performance

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.
✔	✘	✘	✔	✔

Music Skills Assessment & Written Theory Diagnostic

All students auditioning for Music Performance (BM) 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

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 of contrasting styles, time periods and/or geographic origins, chosen from the Renaissance, Baroque, Classical, Romantic, Spanish, Latin American and Contemporary repertoires. (Students should contact their admissions counselor with any questions they may have about suitable audition repertoire.) While applicants may be asked to play examples of their scale and arpeggio work, the primary focus will be on the performance of the three prepared pieces. The applicant may also be asked to demonstrate sight-reading skills.

Harp

Two solos from contrasting periods, one or both memorized, and one orchestral excerpt demonstrating technical proficiency and musical ability. Also, one etude and two scales and arpeggios in major and minor keys of the player’s choice. Sight-reading is required.

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.
• Also prepare the exposition of the Mozart Concerto in C and two orchestral excerpts from the standard orchestral repertoire.

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

A memorized program of a minimum of 20 minutes, to include a work from the Baroque era, a Classical sonata and the remainder consisting of works from the Romantic and/or later eras. A demonstration of a thorough knowledge of major and minor scales and arpeggios is also 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

Seven to 10 minutes of solos, études and/or excerpts that demonstrate lyrical and technical ability. Scales (to demonstrate agility and range) and sight-reading are also 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.