Audition Requirements

The entrance audition demonstrates the student's ability to sing in tune, with correct rhythm, and good vocal quality. 

For Music Education, Music Therapy, and BA applicants, please choose two pieces from the following list.  For Vocal Performance applicants, please choose three:

1. One 16^th-18^th century Italian song or aria, in Italian
2. One 19^th or 20^th century German or French art song.  Original language is recommended, but this piece may be sung in English.
3. One 20^th or 21^st century American or British art song
4. One additional song of your choice from traditional vocal literature (musical theater selections, jazz, or original compositions are not acceptable).

The selections must be chosen from the standard classical vocal repertoire, show contrasting musical and historical styles, and include at least one language other than English. All selections must be memorized.  

If you have any questions about your selections, please contact Professor Constance Fee (Director of Vocal Studies) at fee_constance@doinghg.com.

An accompanist will be provided upon request.  In this case, music scores must be sent to the RWC Music Office at least three weeks prior to the audition date. 

For further information, please contact the Department of Music and Performing Arts at music@doinghg.com.

Two contrasting compositions or movements from different periods. For example, one piece from the Baroque or Classical period, and one piece from the Romantic or 20th century. 

Memorization is encouraged, but not required.

If you have any questions about your selections, please contact Professor Joseph Werner (Director of Piano Studies) at werner_joseph@doinghg.com.

Trombone: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

One solo from the standard repertoire by David, Barat, Guilmant, Telemann, Pryor, Hindemith, or equivalent.

Be prepared to play all major scales.

Trumpet: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

Sonatas by Kennan, mvts. 1 or 3, Halsey Stevens, mvt. 1, Hindemith, mvts. 1 or 3; Concerti by Haydn, Hummel, Arutunian, Corelli; Goedicke, Concert Etude; Solos by Arban or Clarke, Etudes by Charlier, or similar.

Be prepared to play all major scales.

Tuba:

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

One solo from the standard repertoire by Hindemith, Wilder, Persichetti, Hartley, Marcello, Nelhybel, York, or equivalent. Etudes by Bordogni, Blazhevich, Grigoriev, Kopprasch, or equivalent.

Be prepared to play all major scales.

Euphonium:

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

One solo from the standard repertoire by Marcello, Mozart (bsn cto.), Clarke, Bach (cello suites), Jacob, Sparke, York, or equivalent. Etudes from Bordogni/Rochut, Tyrell, Kopprasch or equivalent.

Be prepared to play all major scales.

French Horn: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work).

Solos by Bozza; Dukas, Villanelle; Concerti by Haydn, Mozart, Strauss;  Sonatas by Beethoven and Hindemith; Saint-Saens, Morceau de Concert; F. Strauss, Nocturno, or similar.

Be prepared to play all major scales.

If you have any questions about your selections, please contact Dr. Paul Shewan (Director of Instrumental Studies) at shewanp@doinghg.com.

Bassoon: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work).

Be prepared to play all major scales.

Flute: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work).

Be prepared to play all major scales.

Oboe:

Two works of contrasting styles and one etude from Ferling or Barret.

Be prepared to play all major scales.

Clarinet:

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work).

Etudes from 32 Etudes by Cyrille Rose.  Solos by Weber, Mozart, Osborn, Hindemith, or similar.

Be prepared to play all major scales.

Saxophone: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

Movements from works by Bach, Creston, Fasch, Glazounov, Heiden, Ibert, Lunde, Milhaud, Smith, and/or Villa-Lobos.

Be prepared to play all major scales (low b flat to high F).

Sign reading may be included as part of the audition.

If you have any questions about your selections, please contact Dr. Paul Shewan (Director of Instrumental Studies) at shewanp@doinghg.com.

Violin: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

A movement from unaccompanied Bach or a movement from a standard concerto or short, solo works (eg. showpieces by Sarasate, Kreisler).  One etude or caprice by Mazas, Dont, Kreutzer, Rode, etc.

Two 3-octave scales of the student's choice (Major, Harmonic Minor, and Melodic Minor) and its arpeggios (Major and Minor).

Viola: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

One movement from J.C. Bach, Stamitz, or Walton Concerto and one contrasting movement from a Bach cello suite.

Be prepared to play one scale (Major, Harmonic Minor, and Melodic Minor) and its arpeggios (Major and Minor) in 3 octaves.

Cello:

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

A movement from a Bach suite, a movement from a standard concerto or sonata, a show piece or character piece, and/or an etude by Duport, Popper or Piatti.

One major and one minor three-octave scale with arpeggios.

Bass:

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

A movement from a concerto or sonata, a movement of solo Bach (in any key), or an etude such as a Kreutzer etude transcribed for bass, a Storch-Hrabe etude, or a Simandl etude.

Harp: 

Two contrasting movements or pieces from different periods (demonstrating slow lyrical playing and fast passage work). For example:

A representative etude such as Bochsa, Quarante Etudes Faciles, Op. 318. Solo works by B. Andrès, M. Grandjany, P. Hindemith, H. Renié, C. Salzedo, M. Tournier, etc. Orchestral excerpts or cadenzas.

If you have any questions about your selections, please contact Dr. Paul Shewan (Director of Instrumental Studies) at shewanp@doinghg.com.

Audition pieces should include three contrasting major works from different stylistic periods that best represent the applicant’s technical and artistic strengths. For example, this may include a memorized solo from the standard repertoire and two etudes that utilize different techniques (i.e. arpeggio, scale, rest-stroke melody).

Be prepared to perform from memory any two and three octave major and melodic minor scales (Segovia edition) with rest or free stroke (i-m; m-a).

NOTE: electric guitar may NOT be used for auditions.

Guitarists must call Adjunct Professor of Guitar, Dr. Tim Shannon before scheduling the audition (585-613-5013).

Repertoire should reflect your current playing level, realizing that may be different for each area of percussion. Players should prepare the following material:

Snare Drum: 

One orchestral/concert snare drum solo (i.e. Mitchell Peters, Anthony Cirone) and one rudimentary snare drum solo (i.e. John Pratt, Charley Wilcoxon).

Mallets:

One two-mallet marimba solo of the player's choice. Players are encouraged to demonstrate four-mallet technique in the form of an etude or solo (optional).

Timpani:

One solo of the player's choice (i.e. Beck, Hochrainer, Carroll, Firth).

Optional Drum Set: 

Demonstration of three contrasting styles (i.e. swing, Latin, rock).

If you have any questions about your selections, please contact Kyle Peters (Instructor of Percussion Studies) at peters_kyle@doinghg.com.

You will be asked to complete an interview and several interactive musical experiences in addition to the normal audition requirements (see instrument of choice above).

Neither of these additional components require advanced preparation for the applicant.