Audition Information

Compositions may be selected from among the following composers: Bach; one movement of a sonata by Haydn, Mozart, or Beethoven; a work by Mendelssohn, Chopin, Schumann, Brahms; a work by Debussy, Ravel, Bartok, Prokofiev, etc.

Applicants for the bachelor of science degree in music education are urged, but not required to play from memory.

Applicants for the bachelor of art in music degree are expected to play at least two compositions for their audition, at least one of which must be from memory. One of these two must be selected from the above list, and the other can be the applicant’s own choice.

Prospective students should be prepared to demonstrate keyboard proficiency in organ and piano. Individuals should prepare a contrapuntal work, such as a Prelude and Fugue by Bach, and a musical selection of a romantic or contemporary nature for the organ. You will need to demonstrate proficiency in all major and minor scales and arpeggios on the piano. A keyboard proficiency of a piano major is expected.

Prospective students should prepare two musical selections from different genres.  Music appropriate for the audition includes art songs; folk songs; arias from an opera or oratorio; solos from a musical theatre production or jazz tradition.

All selections should be memorized and performed with piano accompaniment.  You may bring your own accompanist, or one can be provided for you, or you may bring a clear, audible pre-recorded accompaniment on a cell phone, or laptop.   If you need an accompanist, email music@lvc.edu at least one week before the confirmed audition date. Music for the audition must include an accompaniment score. The lead sheets are not acceptable.

At least one of the selections should be sung in English; the other selection can be in English or a foreign language, such as Italian, French, Spanish, German, Portuguese, or Latin.

Pop music and singing a voice part from a choral work are not preferred for this audition.

Sustained tones and lip slurs, utilizing the major portion of the playing register of the instrument.

Diatonic major scales in the following keys: C, F, Bb, Eb, Ab, Db, G, D, A, and E. Correct fingering as shown in any standard method book should be used.

French horn players should be familiar with the double horn and should know the Bb horn, as well as the F horn fingerings.

Baritone players should play in bass clef.

A solo exhibiting the highest ability level attained. A movement from a concerto or sonata, a district band try out solo, or a similar piece is suggested.

All woodwind players should prepare:

• Major and chromatic scales (required), and minor scales (optional)—2-3 octaves, tongued and slurred
• All woodwind players will be requested to sight-read at their audition.

Saxophone

Classical

• A slow and smooth selection (i.e., Adagio, Andante, etc. movement from a standard solo or etude (i.e., Mule, Ferling) with similar characteristics)
• A fast, articulate and rhythmic selection (i.e., Allegro, Vivace, Presto, etc. movement from a standard solo or an etude with similar characteristics)

Jazz

• It is possible to substitute a jazz selection (i.e., Parker Omnibrook, another transcription or jazz tune with melody and improvised solo) for one of the above selections.  A jazz selection is not required for admittance into the music department.

Flute

• Flutists should prepare two contrasting pieces. Repertoire Suggestions: Concerto in G Major or Concerto in D Major by Mozart, any of the French Conservatory pieces (i.e., Flute Music by French Composers), Sonatas by J. S. Bach, Handel, or Telemann.

Clarinet

All clarinet players should prepare:

• An etude that demonstrates your highest technical level of playing.
  • Repertoire Suggestions: Rose 32 Studies
• A solo piece from the standard literature for the instrument that illustrates both technical and musical ability. Repertoire Suggestions: Concertino, op. 26 by Von Weber, Solo de Concours by Rabaud, Solo de Concours by Messager.

Oboe and Bassoon

• Two contrasting etudes and/or solo selections should be prepared.

All string players should prepare:

• Two contrasting pieces that most accurately represent your musical and technical abilities. Repertoire suggestions for specific instruments are listed below.
• Scales as per the guidelines for your specific instrument.

All string players will be requested to sight-read at their audition.

Violin

• Repertoire Suggestions: Concerto movements from Bruch, de Beriot, Haydn, Mozart, Viotti, Mendelssohn, etc. Sonata movements from Bach, Corelli, Beethoven, Mozart, etc. Movements from unaccompanied sonatas and partitas by Bach, Telemann, etc. Character pieces by Elgar, Kreisler, Sarasate, etc. Etudes by Dont, Fiorillo, Gavinies, Kreutzer, Mazas, etc.
• Three-octave scales to four sharps and flats, with various bowing styles

Viola

• Repertoire Suggestions:  Concerto movements from Dittersdorf, Hoffmeister, Stamitz, Telemann, Vanhal, etc. Sonata movements from Bach, Brahms, Mendelssohn, Schubert, etc. Movements from unaccompanied suites by Bach, Reger, etc. Character pieces by Bloch, Bruch, Mendelssohn, Schumann, etc. Etudes by Campignoli, Dont, Kreutzer, Mazas, etc.
• Three-octave scales to four sharps and flats, with various bowing styles

Cello

• Repertoire Suggestions:  Concerto movements by Goltermann, Haydn, Kabalevsky, Klengel, Saint-­-Saens, etc. Sonata movements from Eccles, Mendelssohn, Vivaldi, etc. Movements from unaccompanied suites by Bach Character pieces by Bloch, Bruch, Faure, Glazunov, Mendelssohn, Saint-­-Saens, etc. Etudes by Dotzauer, Duport, Lee, Schroeder, etc.
• Three-octave scales to four sharps and flats, with various bowing styles.

String Bass

• Repertoire Suggestions: Sonata movements from Marcello, Vivaldi, Eccles, Scarlatti, Corelli, etc. Concerto movements from Capuzzi, Dittersdorf, Vanhal, etc..  Etudes by Hrabe, Simandl, Gouffe, etc.
• Optional Jazz: Play the melody and then improvise a walking bass line and solo to a standard blues tune and a standard 32-bar tune. Suggested blues tunes include, but are not limited to, Sandu, Billie’s Bounce, The Blues Walk, etc.. Suggested 32-bar standards include, but are not limited to, Autumn Leaves, Oleo, The Days of Wine and Roses, Stella By Starlight, etc.. Play-along recordings or backing tracks may be used.
• 2 octave major and minor scales, four sharps and flats, as well as a 2-octave chromatic scale, starting on open E, with various bowing styles.

*Double bass majors are encouraged, but not required, to also study electric bass.

Electric Bass

• Repertoire Suggestions: A classical etude, such as what is suggested for double bass: a jazz etude, Effective Etudes for Jazz; a transcription, such as a James Jamerson bass line from Standing in the Shadows of Motown.
• Jazz: Play the melody and then improvise a walking bass line and solo to a standard blues tune and a standard 32-bar tune. Suggested blues tunes include, but are not limited to, Sandu, Billie’s Bounce, The Blues Walk, etc. Suggested 32-bar standards include, but are not limited to, Autumn Leaves, Oleo, The Days of Wine and Roses, Stella By Starlight, etc. Play-along recordings or backing tracks may be used.
• Two octave major and minor scales in all 12 keys;  major7, minor 7, and dominant 7  1 octave arpeggios in all 12 keys.
• Demonstrate sight-reading ability.

*Electric bass majors are encouraged, but not required, to also study double bass.

The guitar audition is focused on your skill, technique, and musicianship as a guitarist.

• Perform two recognizable pieces (Girl from Ipanema, Yesterday, etc.), chords, and melody.
• Guitar only, no vocals, please.
• Demonstrate feeling by playing melodically.
• Demonstrate dexterity in fingering and hand position, up and down the fretboard.
• Please, no original compositions for the audition.
• If possible, please use an acoustic guitar, (we have a small amp if electric guitar is necessary).
• Preference is to not use effects, stomp boxes, etc.
• Preference is to play without a recorded backing track.
• Be ready to play a couple of scales (know the fingering for basic major/minor harmonic scales, two octaves) at a steady tempo.
• Be ready to sight-read some music involving pitch and rhythm.

Prospective students should be prepared to demonstrate their proficiency on at least two of the following performance mediums. Recorded accompaniments may be used.

Snare Drum or Multiple Percussion

• Prepare rudiments
• Prepare a solo selection (rudimental or concert)

Keyboard Percussion Instruments

• Perform major scales and arpeggios in all keys
• Prepare a solo or orchestral repertoire selection

Timpani

• Demonstrate fundamental skills including tuning ability
• Prepare a solo or symphonic repertoire selection

A standard four-piece drum set will be provided for auditions. Drum Set players should provide their own sticks, brushes, mallets, etc.

• All players should prepare to play at least two of the three following styles with a recorded track:
  • Rock
  • Jazz (Big Band Style)
  • Latin (Bossa Nova, Samba)
• A prepared drum set solo
  • The solo can be drum transcription or an original composition
• Sight Reading
  • Selection will be chosen from a big band style chart
  • Example of drum sight read sheet