Major and harmonic minor scales through four sharps and four flats; an etude that provides a good representation of technical development such as one of the Weissenborn Advanced Studies. A solo work demonstrating maturity as a musician: inclusion of both a fast and slow movement preferred.

Three octave major and harmonic minor scales through four sharps and four flats; an etude of the applicant's choice; a first movement of a concerto, such as Haydn C Major or Boccherini Bb Major; and a movement of a J.S. Bach suite.

Major and harmonic minor scales through four sharps and four flats (two octaves, tongued) E, F and G scales should be three octaves. Two etudes of contrasting style: one demonstrating technical development, the other a slow etude from the Rose 32 Etudes. One solo piece such as: Weber Concertino, Weber Concerto No 1 or 2 (one movement), Osborne Rhapsody, a Stamitz Concerto (one movement).

Three two-octave scales and one three-octave scale. An etude of the applicant's choice, representing the highest level of technical achievement; two compositions of the applicant's choice, at least of the difficulty level of the Eccles Sonata, or a concerto first movement; an orchestral excerpt, Mozart or Beethoven are recommended.

Major scales A flat, D flat, G flat, B and chromatic scale through two octaves. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. A technical etude from Tyrell, Kopprasch or Arbans. A solo, such as Andante and Allegro by Barat, or Sonatina by Hutchinson.

Prepare either: Exercise EJ#4, in its entirety,from Taffanel-Gaubert - 17 Grands Exercices Journaliers de Mecanisme -or- a complete exercise from Reichert - Seven Daily Exercises, op. 5. Prepare an Etude or Caprice by Anderson, Berbiguier or Karg Elert. Prepare a work of your choice and one complete work by Bach, Mozart or Handel.

Etudes by Brouwer, Sor, Ca-cassi, Carulli, Giuliani or Aguado. Two contrasting pieces-one piece, slower in tempo, should demonstrate an ability to shape phrases and control rubatos, tenutos and dynamics. The second piece should be faster in tempo, demonstrating a technical command of scales, arpeggios, slurs, shifts, etc. Any dances from the Lute works or Cello works of J.S. Bach will be especially valuable at the audition, although not required.

Scales and Tonic Glissandos in all Keys. Etudes such as Salzedo: Conditioning Exercises for Harp or Salzedo/Lawrence: Method for the Harp. Two contrasting pieces such as: Sonata in C minor by Peschetti, Sonatina I, II by Dusek, The Harmonious Blacksmith by Handel/Salzedo, Impromptu Capprice by Pierne, A Ceremony of Carols by Britten, Concerto in B Flat by Handel or any of the following pieces by Salzedo: Suite of Eight Dances, Song in the Night, Tango or Rhumba. This repertoire list is suggested only.

Three pieces of contrasting styles by different composers and periods. Please demonstrate range, technique, lyrical style, and dynamic contrast. Those auditioning for performance should prepare several varied orchestral excerpts.

Major and harmonic minor scales through four sharps and four flats. An etude that demonstrates the fullest extent of the student's technical development. Three important orchestral excerpts, contrasting in nature such as: Brahms Violin Concerto, 2nd mvt., Beethoven Symphony No. 3, Overture to Italian in Algiers by Rossini.

Two organ works of contrasting periods and styles, one fast and articulate, and the other slow and lyrical, demonstrating the student's best efforts and abilities. Piano proficiency is required. Students with no previous organ study may elect to audition on piano with pieces such as 1) two J.S. Bach Two- or Three-part Inventions, 2) a fast movement from a Classical sonata (Haydn, Mozart, Beethoven, et al.), 3) a Romantic or 20th-century work. Read more about the Casavant Organ in Edman Chapel.

Performance on snare drum, keyboard percussion, and timpani. Any solo, etude, or excerpt that best reflects the student's experience and ability as a percussionist in these areas will be accepted.

Three compositions:

1. A Bach three-part Sinfonia or a Prelude and Fugue from the Well - Tempered Clavier
2. An Allegro movement from a sonata by Haydn, Mozart, or Beethoven (achievement level of at least Haydn D Major, Hob.XVI:37, Mozart K. 282 or Beethoven Op. 79)
3. Either a nineteenth or a twentieth-century work (achievement level of at least Schubert Impromptu, Op. 142 No. 2, Bartok Sonatina, or Debussy Arabesque)

Major and harmonic minor scales in two sharp keys and in two flat keys, each must be performed over a four-octave span, hands separately or together, minimum quarter note = 84, 4 notes per beat. Major and minor triad arpeggios in the same sharp keys and flat keys, four-octave span, hands separately or together, minimum quarter note = 60, 4 notes per beat. Applicants also must submit a repertoire list of significant works performed over the last four years.

Three compositions:

1. A Bach two-part Invention;
2. An Allegro movement from an easier sonata by Haydn, Mozart, or Beethoven (achievement level of at least Beethoven Op. 49 No. 1 or Mozart K. 545);
3. Either a 19th or 20th century work (achievement level of at least Chopin Prelude Op. 28 No. 6, Schumann Scenes of Childhood, Roy Harris Little Suite, Kabalevsky Sonatina Op. 13 No. 1)

Major and harmonic minor scales in two sharp keys and in two flat keys, each must be performed over a four-octave span, hands separately or together, minimum quarter note = 72, 4 notes per beat. Major and minor triad arpeggios in the same sharp keys and flat keys, four-octave span, hands separately or together, minimum quarter note = 50, 4 notes per beat. Applicants also must submit a repertoire list of significant works performed over the last four years.

Major and harmonic minor scales through four sharps and four flats; these scales should be played the full range of the instrument. Chromatic scale throughout the full range of the instrument. Two etudes of contrasting style: one demonstrating technical development, the other a slow etude. (i.e. the Ferling Studies.) These studies should demonstrate the fullest extent of the student's musical development. A major work such as the Glazounov Concerto or the Creston Sonata.

Major scales Ab, Db, Gb, B and chromatic scale through two octaves. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. A technical etude from Ty rell, Kopprasch or Arbans. An etude from Blazhevich Studies in Clefs (Alto and Tenor Clef). A solo such as Lebedev, McCarty, Three Easy Pieces by Hindemith, or Concertino by Lieb.

Major scales Ab, Db, Gb, B and chromatic scale through two octaves. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. A technical etude from Tyrell, Kopprasch or Arbans. An etude from Blazhevich Studies in Clefs (Alto and Tenor Clef). A solo such as Guilmant: Morceau Symphonique, David, Larsson.

Three contrasting trumpet solos that demonstrate an understanding of style, interpretation, and phrasing, as well as tone quality, dynamics, range, and technique. Select solos from three different historic/stylistic periods. For example: Handel, Concerto in D Minor, Hummel, Concerto in E flat Major and the Concerto by Arutunian. Please play only representative passages from the solos. Also include three orchestral excerpts.

Major scales Ab, Db, Gb B and chromatic scale through two octaves. A legato etude from Concone, Fink, or Bordegni/Rochnet. A technical etude from Tyrell, Kopprasch or Arbans. A solo such as Suite for Tuba by Hadad, Concertino by Frackenpuhl, Air and Bouree by Bach, Adagio and Allegro by Telemann.

D Maj and D min (harmonic or melodic) 3-octave scales and arpeggios played slurring three notes at a time. An Etude by either: Kreutzer, Mazas, Campagnoli, or Fuchs. Two contrasting mvmts. by either: J.S. Bach- Cello Suites or the Violin Sonatas and Partitas, or Telemann- Fantasies, or M. Reger- Suite No.1 in G min. One movement from a substantial work such as: Hoffmeister- Concerto in D Maj (mvt I), Stamitz- Concerto in D Maj (mvt I or III), Bloch- Suite Hebraique (mvt. I), J.C Bach- Concerto (mvt. I or III), Hindemith- Trauermusik (all mvmts), Hindemith- Der Schwanendreher (mvt. I or II), Schumann- Fairy Tales (any mvt), Schubert- Arpeggione Sonata (any mvt), Walton- Concerto for Viola (mvt I), Bartok- Concerto for Viola (mvt I), Brahms- Sonatas Op.120 No.1 or 2 (any mvt), Bruch- Romance

Three octave major and melodic minor scales and arpeggios through four sharps and four flats; a movement of a solo Bach sonata or partita; an etude, such as Kreutzer, Don't, or Rode; a first movement of a standard concerto, such as Mozart, Mendelssohn, Bruch, Lalo, or Barber. Applicants are welcome to demonstrate any work they may have done in improvisation or composition.

Three songs of contrasting nature:

1. An Italian, German or French art song
2. An American or British art song
3. Own choice

Tonal quality, pitch perception, and poetic sense will be evaluated along with sight singing and rhythm. An accompanist is provided for all voice auditions. Please notify the Conservatory Admissions Counselor if you will not need the staff accompanist.

Bachelor of Music - Composition or Emphasis in Media/Film: In addition to the performance audition, applicants should prepare a portfolio of at least three works showing a variety of performance media. At least one of the scores must be handwritten. Please include a recording of the works, if at all possible.

Bachelor of Music - History and Literature: In addition to the performance audition, applicants should submit a paper (2-3 pages in length) demonstrating both writing skills and interest in historical music.

On campus auditions are preferred and required for applicants living within 350 miles. If a recorded audition is necessary, please submit either DVD or CD using the same guidelines for on campus auditions. Note: Instrumentalists should play no more than two scales and two arpeggios (four total). Please announce each piece before it is performed allowing sufficient breaks between movements and selections. Recordings should be prepared with great care. If you cannot have the recording made professionally, be sure to locate the best equipment, acoustical situation and personal assistance possible. The recording should not be edited or spliced. Recordings should be mailed to Wheaton Conservatory of Music, Wheaton College, Wheaton, IL 60187-5593. Deadline for recorded auditions is November 1 for Early Action and January 10 for Regular Action.