Audition Requirements For Prospective Music Majors
Music major auditions consist of three components: Repertoire, Technical Skills, and Sight-Reading. Each area has submitted guidelines as the minimum requirements for acceptance into the major. The repertoire lists are meant as suggestions and are not exhaustive. Please consult with the appropriate applied instructor with questions regarding musical substitutions.
Note: All music to be accompanied must reach the Department of Music at least two (2) weeks prior to the audition. Complete the Music Major Application Form to schedule an audition for acceptance into the Department of Music. For additional information, contact the departmental administrative support associate at (336) 750-2520. No walk-ins.
Repertoire
Intermediate Level Student:
1 Etude – Choose one from the following list of etudes:
- Hite – Melodius and Progressive Studies, Book I
- Rubank – Intermediate Method for Clarinet
- Klose – Twenty Characteristic Studies
- Rose - Thirty-Two etudes
- Rose - Forty Studies, Book 1
- Uhl – 48 Studies for Clarinet
Solos – Choose among the following list:
- Cavallini – Adagio and Tarantella
- Stamitz – Concerto No. 3 in B-flat
- Saint Saens – Sonata for Clarinet and Piano
- Weber – Concertino
- Mozart – Concerto
Technique
- Chromatic Scale – 2 Octaves
- Major Scales – 2 Octaves
- Major Scales in Thirds – 1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition.
Repertoire
Intermediate Level Student (Larry Krantz Flute Repertoire List Grade 3 or Above):
Etude (choose from the following, or a from a representative work)
- Moyse, M. 24 Short and Melodious Studies Moyse: Leduc
- Anderson, 18 Studies, op. 41: International or Southern
- Anderson, 26 Caprices: International, Southern or Schirmer
1 Repertoire Piece (choose from the following, or a representative work from Larry Krantz Flute Repertoire Grade 3 or above)
- Bizet. Minuet from L’Arlesienne
- Faure, Gabriel. Sicilienne
- Handel, George Frederic. Sonata in F op.1, no. 11
- Kuhlau, Friedrich. Sonatina
- Telemann, George Philipp. Sonata in F
Technique
- Play all major scales in two octaves with their accompanying arpeggios when possible.
- Play two octave chromatic scale
Sight-Reading
A sight-reading example will be provided at the time of the audition.
Repertoire>
The student should be able to solos or etudes of similar difficulty on the following instruments:
- Snare Drum (Concert/Rudimental)\
- Portraits in Rhythm by Anthony Cirone
- Snare Drum Etude in 4/4 by Morris Goldenberg
- Etudes 1-120 by Charley Wilcoxon
(Solos 1-14) 14 Modern Contest Solos by John S. Pratt
40 PAS Rudiments played in the open-closed-open position
Mallets
- Sonatina by Heinrich Lichner arranged by Garwood Whaley
- Etude or exercises from method books such as Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg
- 12 Major Scales performed two octaves ascending and descending
Timpani
- Ability to tune multiple drums from a given pitch
- Excerpt, Etude or Solo from: o Musical Studies for the Intermediate Timpanist by Garwood Whaley
- Modern Method for Timpani by Saul Goodman
- Exercises, Etudes, and Solos for the Timpani by Raynor Carroll
- The Solo Timpanist by Vic Firth
Technique
Snare Drum
- Demonstrate the 40 P.A.S. Rudiments (Rolls, Diddles, Flams, etc.) in an open-closed-open (slow-fast-slow) fashion./li>
- Perform a snare drum solo piece (Rudimental or Concert) or etude.
Mallets
- Demonstrate major scales (two octaves ascending and descending).
- Perform a chromatic scale at least two octaves ascending and descending).
- A two-mallet solo piece or etude.
Timpani
- Demonstrate the ability to tune pitches or intervals.
- Perform a solo piece or etude.
Sight-Reading
Demonstrate the ability to read at sight on a selected percussion instrument.
Repertoire
At least two (2) compositions at an intermediate level
- One Baroque or Classical composition
- One Romantic composition
- One 20th Century composition (optional)
- One composition of choice (optional)
Selected repertoire should exhibit the following features:
- Greater independence in hands
- Arpeggiated chords
- Sixteenth notes and rests
- Ornaments: appoggiatura and acciaccatura
- Continuous pedal technique
*Suggested audition repertoire is listed below
Technique
Major and Harmonic Minor Scales
- Keys with up to three sharps or three flats
- Hands separately or together
- Two octaves ascending and descending
Major and Minor Arpeggios
- Keys with up to three sharps or three flats
- Hands together
- Two octaves ascending and descending
Sight-Reading
A short piano piece at the early intermediate level.
Suggested Audition Repertoire
Baroque
J. S. Bach 2-Part Inventions, 3-Part Inventions, Little Preludes and Fugues, Preludes
and Fugues from Well-Tempered Clavier I and II
Classical
- Clementi Sonatinas
- Kuhlau Sonatinas
- Haydn Sonatas (one movement)
- Mozart Sonatas (one movement)
- Beethoven Sonatas (one movement)
Romantic
- Brahms Impromptus, Ballades
- Chopin Preludes, Waltzes, Mazurkas, Nocturnes
- Mendelssohn Easier Songs without Words
- Schumann Kinderszenen, Waldszenen, album for the Young
- Rachmaninoff Preludes
Twentieth Century
- Bartok Easy Pieces, Selections from Mikrokosmos, Vol. 3-4
- Kabalevsky Preludes
- Shostakovich Preludes
Repertoire
Two compositions minimum of your choosing at the intermediate or higher level of difficulty: one of a slightly slow lyrical nature (for expression) and one on the faster side to demonstrate articulation and other areas of technique.
The following is a sample list of repertoire or substitute others of comparable levels of difficulty:
- Sonata No. 6 (1st movement) flute transcription for Eb Alto Saxophone
- Solos for the Alto Saxophone Player (select any from this collection)
- Three Romances (alto saxophone transcriptions) Schumann-Hemke
- Aria by Eugene Bozza
- Chanson et Passapied – Rueff
Technique
- Play all major scales in two octaves with their accompanying arpeggios when possible
- Play the chromatic scale for the full practical range of their instrument
Sight-Reading
The ability to sight-read at an intermediate level
Repertoire
Intermediate Level Student (American String Teachers Association- Certificate Advancement Program Level 5 or higher):
1 Etude (choose from the following, or a representative work from ASTA-CAP level 5)
- Violin: The Doflein Method, Vol. 4 & 5; Dont 30 Progressive Exercises, Op. 38; Wohlfahrt/Aiquoni Foundation Studies Vol. II
- Viola: Don’t 24 Studies Op. 37; Wohlfahrt Foundation Studies
- Cello: Dotzauer 113 Etudes Vol. 2; Grutzmacher 24 Etudes Vol. 1; Merk 20 Exercises Op. 11; Schroeder 170 Foundation Studies Vol. 2
- Bass: Simandl Book I or 30 Etudes; Yorke Studies for Double Bass
1 Repertoire Piece (choose from the following, or a representative work from ASTA-CAP level 5)
- Violin: Albinoni Concerto in G Op. 4 No. 4; Barber Solos for the Violinist Vol. 2; Borowski Adoration; Corelli Sonatas Op. 5 Book 2 No. 7-11; Dancla Air Varies Op. 89; Reiding Concerto in G Op. 24; Reiding Concerto in A Minor Op. 21; Seitz First, Third or Fourth Pupil’s Concerto; Sitt Concerto in A Minor Op. 70; Suzuki Violin School Book 5; Vivaldi Concerto in A Fl 51; Vivaldi Concerto in A Minor Op. 9 No. 5
- Viola: Accolay Concerto No. 1; Haydn Divertimento; Klengel Album of Classical Pieces; Marcello Sonatas in C, G and E Minor; Mozart Divertimento; Suzuki School of Viola Book 5
- Cello: Bach Arioso; Breval Concerto 1 in G; Couperin-Bazelaire Pieces en Concert; Cui Orientale; Gabriel-Marie La Cinquitaine; Glazunov Chanson Arabe; Goltermann Etude-Caprice; Goltermann Concertos 4 and 5; Romberg Sonatas Op. 41 No. 1-3; Saint-Saens The Swan; Telemann Sonata in D; Suzuki School of Cello Book 5
- Bass: Saint-Saens The Elephant; Giovannino Sonata in A Minor (4th Mvt); Laska Romanza; Rameau Dance; Holst The Perfect Fool op. 39
Technique
- 1 Octave Chromatic Scale starting on the lowest note.
- 3 Octave Scales (2 Major in the key of the student’s choosing; eighth notes, four to a bow)
- 2 Octave Scales (4 Minor in the key of the student’s choosing; eighth notes, four to a bow)
Sight-Reading
A sight-reading example will be provided at the time of the audition. (American String Teachers Association-Certificate Advancement Program Level 3)
Repertoire
Intermediate Level Student (Developed from ITEA and ITA music repertoire level advancement):
1 Etude (choose from the following, or a representative work from ITEA or ITA published standard repertoire)
- Trombone: Bordner, G. First Book of Practical Studies and Second Book of Practical Studies; Cimera, J. 170 Studies for Trombone; Gower, W.M./Voxman, H. Rubank Advanced Method for Trombone; Hering, S. 40 Progressive Etudes
- Euphonium: Hering, S. 32 Etudes; Bordner, G. First Book of Practical Studies and Second Book of Practical Studies; Voxman, Selected Studies; Vandercook, H.A. Vandercook Etudes
- Tuba: Getchell, R.W. First Book of Practical Studies and Second Book of Practical Studies; Kopprasch, C. 60 Selected Studies; Tyrell, H.W. 40 Advanced Studies; Vandercook, H.A. Vandercook Etudes
1 Orchestral and/or Wind Band excerpt (choose from the following or a representative work from ITEA or ITA published standard repertoire)
- Trombone: Alford, K. Army of the Nile; Dvorak, A. Symphony No. 9; Fillmore, H. Lassus Trombone; Mozart, W.A. Requiem, Sousa, J.P. The Glory of the Yankee Navy
- Euphonium: Barber, S. Commando March; Fillmore, H. Rolling Thunder; Holst, G. First Suite in Eb and Second Suite in F; Vaughan Williams, R. Toccata Marziale;
- Tuba: Gershwin, G. An American in Paris; Holst, G. First Suite in Eb and Second Suite in F; Prokofiev, S. Symphony No. 5; Sousa, J.P. George Washington Bicentennial
1 Repertoire Piece (choose from the following or a representative work ITEA or ITA published standard repertoire)
- Trombone: Clerisse, R./Smith, G. Idylle; Corelli, A./Powell, R. Prelude and Minuet; Dubois, T./Voxman, H. Solo de Concert; Missa, E./Voxman, H. Morceau de Concours; Ostransky, L./Voxman, H. Concerto Miniature
- Euphonium: Balay, G. Petite Piece Concertante; Barat, J.Ed./Voxman, H. Orientale; Kopke, P./ Voxman, H. L’Allegro; Mead, S. New Concert Studies for Euphonium (unaccompanied); Ostransky, L./Voxman, H. Concertino
- Tuba: Bach, J.S./Wekselblatt, H. Two Bourees; Handel, G.F./Voxman, H. Adagio and Allegro; Koepke, P./ Voxman, H. Persiflage; Mozart, W.A./Voxman, H. First Movement; Ostransky, L./Voxman, H. Serenade and Scherzo
Technique
- Chromatic Scale starting on the lowest note -- 1 Octave
- Major Scales and Arpeggios -- 1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition (selected from ITEA or ITA published standard repertoire)
Repertoire
Intermediate Level Student
1 Etude (choose from the following, or a representative work)
- Werner
- Arban
2 Repertoire Pieces of contrasting styles (choose from the following, or a representative work)
- H. Voxman, Concert and Contest Collection
- Balay, Petite Piece Concertante
- Clarke, The Carnival of Venice
- Lamb, Classic Festival Solos
- Rubank, Soloist Folio
- Fisher, Solos for Trumpet
Technique
- Chromatic Scale starting on the lowest note -- 1 Octave
- Major Scales and Arpeggios --1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition.
It is recommended that applicants have at least minimal keyboard or instrumental training before auditioning as a vocal major. Winston-Salem State University does not currently offer a degree in vocal performance/musical theatre. Although vocal training may touch on this genre, it will focus on the classical repertoire as a foundation.
Repertoire
At least three (3) memorized selections at an intermediate level:
- One (1) Art Song in English
- One (1) Art Song in a language other than English (i.e. Italian; French; German)
- One (1) song of the applicant’s choice (language is optional)
*Suggested audition repertoire is listed below
Technique
Selected repertoire should exhibit the following features:
- A developing tone quality where the extremes in range are usually controlled.
- Dynamic levels are discerned.
- Phrasing is usually consistent and sensitive to the style of the music being performed.
- Sometimes performs with nuance and style as indicated in the score
- Entrances and articulation markings within the score are usually executed accurately.
- Articulates diction somewhat clearly and text can be understood.
- Rhythm is demonstrated closely to what is indicated within the music being performed.
- Shows little tension in the throat, jaw and/or body while performing
Sight-Reading
A brief musical excerpt at the beginning/intermediate level.
Suggested Audition Repertoire
- Abt. Ave Maria
- Anon L’amour de moi
- Arne Blow, Blow, Thou Winter Wind
- Bach Forget Me Not
- Bach Jesus, Fount of Consolation
- Barber Crucifixion, The
- Beethoven Ich liebe dich
- Burleigh (arr.) Deep River
- Burleigh (arr.) Nobody Knows the Trouble I’ve Seen
- Burleigh (arr.) Swing Low, Sweet Chariot
- Carpenter Sleep That Flits on Baby’s Eyes, The
- Coates Who is Sylvia?
- Delbruck Un doux lien
- Delibes Bonjour, Suzon!
- Fauré Ici-bas!
- Franz Widmung
- Handel Oh Sleep, Why Dost Thou Leave Me?
- Handel Weep No More
- Handel Where’er You Walk
- Haydn Mermaid’s Song, The
- Hopkinson Beneath a Weeping Willow’s Shade
- Irish (Traditional) Danny Boy
- Johnson (arr.) My Lord, What a Mornin’
- Liddle How Lovely Are Thy Dwellings
- Liszt Du bist wie eine Blume
- Malotte Beatitudes, The
- Mendelssohn O Rest in the Lord
- Mozart Ave Verum
- Mueller Create In Me a Clean Heart
- Myers (arr.) Jesus Walked This Lonesome Valley
- Myers (arr.) Let Us Break Bread Together
- Niles Black is the Color of My True Love’s Hair
- Niles Go ‘way from My Window
- Niles Rovin’ Gambler, The
- Niles Wayfaring Stranger
- Payne (arr.) Crucifixion
- Saint-Saens Ave Maria
- Schubert Ständchen
- Schubert Wanderers Nachtlied
- Schubert Was it Sylvia?
- Schumann Du bist wie eine Blume
- Speaks Lord is My Light, The
- Stölzel Bist du bei mir
