Music Education

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.
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Interview Requirements

Prospective Music Education (BM) majors will complete an interview with members of the Music Education faculty. The purpose of the interview is to assess the applicant’s oral communication skills, leadership potential and other elements that may contribute to success in the profession. A writing exercise will also be completed. Interview results are used in conjunction with academic criteria, applied audition results and music skills assessment results to determine admission to the program.

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.

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).

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.

Drum Set/Jazz Percussion

Perform, with recordings, one medium or up-tempo swing piece, one ballad with brushes, one contemporary jazz-fusion piece, and one medium/upper grade snare solo or orchestral excerpt. Play all major scales one octave on a mallet instrument. Sight-reading on drum set and snare drum are required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition. Drum set is provided for jazz percussion auditions.

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 auditions@su.edu 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.

Jazz Bass (Electric or Upright)

Prepare four required tunes, as listed and detailed below:

• Bb Blues: Four choruses. Walk for the first two choruses, then solo two choruses.
• Oleo (Bb): Three choruses. Play the melody, walk one chorus, solo one chorus.
• Latin (e.g. Black Orpheus, Desifinado, etc.): Play the melody, one chorus of bass line, solo one chorus.
• Tune of Choice: Three choruses. Play the melody, one chorus of bass line, solo one chorus.

Upright bassists should demonstrate use of the bow on at least one of the four required tunes. Sight-reading and major and harmonic minor scales are required for all auditionees. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition. Amps are provided for electric guitar and electric bass auditions.

Jazz Guitar

Two jazz pieces including:

1. One jazz solo ballad such as “Misty” or “I Can’t Get Started,” where the melody and chords are voiced together
2. One jazz medium-tempo selection demonstrating melody, improvisation and comping. Major scales and sight-reading of notation and chord symbols are required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition.

Jazz Piano

One memorized classical piece (e.g. Bach Little Prelude and Fugue; a Clementi Sonatina; Schumann Album for the Young); major and harmonic minor scales; jazz solo ballad and a jazz medium-tempo selection in piano trio format, demonstrating melody, improvisation and comping. Sight-reading of notation and chord symbols is also required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition.

Jazz Saxophone

One fast and one slow classical étude (e.g. Voxman Selected Studies or W. Ferling 48 Études) and two jazz standards demonstrating melody and improvisation and showing basic knowledge of jazz style. Major scales (in eighth notes, quarter = 80) and sight-reading are also required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition.

Jazz Trombone

One prepared classical solo (grade 5-6) or two classical études of equal difficulty and two jazz standards in contrasting styles, demonstrating melody and improvisation. Major and minor (natural, harmonic and melodic) scales and sight-reading are also required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition.

Jazz Trumpet

An étude (e.g. Arban Characteristic Studies), first or third movement of a major work for trumpet (e.g. Haydn or Hummel concerto, Hindemith or Kennan sonata) or a complete trumpet solo (e.g. Carnival of Venice, Bride of the Waves). Two jazz standards demonstrating melody and improvisation, scales and sight-reading are required. All applicants must provide a recorded accompaniment (such as the “iReal” app, an online backing track, or something similar) for the jazz portion of the audition.

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.

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.

Preferred — one concert and one rudimental solo/etude.

Repertoire suggestions: Concert snare — works by Peters, Cirone, Delecluse 

Rudimental snare — works by Pratt, Wilcoxon, Tompkins

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

Preferred — one 2-mallet solo and one 4-mallet solo

Repertoire suggestions: 2-mallet — works by Bach, Green, Koshinski

4-mallet — works by Abe, Bach, Sammut, Rosauro, Trevino

• Timpani: Required — one solo/etude

Preferred — one solo/etude using 3-4 timpani

Repertoire suggestions — works by Goodman, Hochrainer, Carroll

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.