Audition Instructions by Instrument

Composition Portfolio

In addition to the primary instrument audition, composition applicants should submit a portfolio of three to four original compositions (no arrangements), preferably with recordings. Scores that are submitted electronically must be in either .pdf or .mus format, and recordings that are submitted electronically must be in .mp3 format. Compositions will be evaluated based on the following criteria: originality, musical interest, quality of instrumental/vocal writing, and accuracy of notation. An interview with the composition faculty is also required.

Please email PDFs and audio files (mp3) to music@wheaton.edu.

Music Education Interview

In addition to the primary instrument audition, Music Education applicants will interview with a professor either in person or via a video call. Questions may cover your short-term and long-term goals, why you want to be a music teacher, how you manage your time, and your non-musical interests.

Euphonium

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.

Horn

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.

Trombone

All Major and chromatic scales, two octaves. Select two etudes and one solo that demonstrates the ability to play in time, in tune, with a characteristic sound, in a variety of styles, including legato and marcato. Also, be prepared to sight-read and be able to read in alto and tenor clefs. Suggested repertoire includes but should not be limited to Rochuet/Bordogni - Melodious Etudes, Tyrell, Kopprasch, Arbans, Blazhevich - Studies in Clefs, Guilmant - Morceau Symphonique, David, Larsson, Saint-Saens, and Galliard. Repertoire suggestions for Bass Trombonists include Lebedev, McCarty, Three Easy Pieces by Hindemith, or Concertino by Lieb.

Trumpet

Three contrasting solos (selected excerpts are fine). Choose repertoire that demonstrates an understanding of style, interpretation, and phrasing as well as tone quality, dynamics, range, and technique. Performance majors should also include three orchestral excerpts.

Tuba

Major scales A flat, D flat, G flat, 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.

Organ

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.

Piano (Bachelor of Music in Performance)

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). Prepare four major and four harmonic minor scales. Two should begin on a black note and two on a white note. Each must be performed over a four-octave span, hands together, minimum quarter note = 84, 4 notes per beat. Major and minor triad arpeggios in the same sharp and flat keys, four-octave span, hands together, minimum quarter note = 72, 4 notes per beat. Applicants must submit a repertoire list of significant works performed over the last four years. Your music must be memorized.

Piano (All other music degrees)

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). Prepare four major and four harmonic minor scales. Two should begin on a black note and two on a white note. Each must be performed over a four-octave span, hands together, minimum quarter note = 72, 4 notes per beat. Major and minor triad arpeggios in the same sharp and flat keys, four-octave span, hands together, minimum quarter note = 60, 4 notes per beat. Applicants must submit a repertoire list of significant works performed over the last four years. Your music must be memorized.

Cello

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, or a work of comparable difficulty; a movement of a J.S. Bach suite.

Doublebass

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.

Guitar

Candidates will perform two or more pieces contrasting in tempo and historical period from memory. Recommend repertoire includes works from the Renaissance through contemporary periods as well as études by Sor, Giuliani, Carcassi, Villa-Lobos, and Brouwer. Sight-reading and scale study will also be evaluated during the audition. For more information, please contact Dr. Brian Torosian (brian.torosian@wheaton.edu).

Harp

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.

Viola

Scales and Arpeggios: D major and D minor (harmonic or melodic) 3-octave scales and arpeggios to be played slurring three notes at a time. One etude from Kreutzer, Mazas, Campagnoli, or Fuchs.  Two contrasting movements from either:  Bach – Cello Suites, Violin Sonatas, and Partitas, or Telemann – Fantasies, or  M. Reger Suite No 1 in G minor.  One movement from a substantial work such as: Hoffmeister- Concerto in D Major (mvt I), Stamitz- Concerto in D Major (mvt I or III), Bloch- Suite Hebraique (mvt I), J.C Bach-Concerto (mvt I or III), Hindemith- Trauermusik (all mvts), 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.

Violin

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, Dont or Rode; the first movement of a standard concerto, such as Mozart, Mendelssohn, Bruch, Lalo, Barber, or another of comparable difficulty; memorization is encouraged; applicants are welcome to demonstrate any work they may have done in improvisation or composition.

Voice

Three songs of contrasting nature, sung from memory: 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. 

For in-person auditions, an excellent accompanist will be provided. For recorded auditions, live accompaniment is preferred but recorded or no accompaniment will be accepted.

Bassoon

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 fast and slow movements preferred.

Clarinet

All major and melodic minor scales.  Any scale starting on E, F, F#/Gb, or G should be 3 octaves, all others 2 octaves only. Two etudes of contrasting styles from Rose 32: one demonstrating technical development, the other demonstrating lyricism. One solo piece such as Mozart's Concerto, concerti by Weber or Stamitz, Osborne Rhapsody, Stravinsky 3 Pieces, or any work equivalent in difficulty.  Sight-reading may be asked.

Flute

Prepare either: Exercise EJ#4, in its entirety, from Taffanel-Gaubert - 17 Grands Exercises 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. If the work is a concerto, a single movement is sufficient.

Oboe

Major and harmonic minor scales through four sharps and four flats. Two pieces in contrasting styles by different composers and periods. Etudes by Barret or Ferling and movements from concertos or solos from the standard repertoire are all acceptable. Choose a repertoire that demonstrates an understanding of style, musical interpretation, dynamics, range, and technique. Performance majors should also prepare two orchestral excerpts.

Percussion

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.

Saxophone

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 styles: 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: Glazounov Concerto, Creston Sonata or a piece of equal difficulty.