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).
- Double Bass
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. 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 repertoire that demonstrates an understanding of style, musical interpretation, dynamics, range and technique. Performance majors should also prepare 2 orchestral excerpts.
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.
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.
- 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 also 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 also submit a repertoire list of significant works performed over the last four years. Your music must be memorized.
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.
All major and chromatic scales, two octaves. Select two etudes and one solo that demonstrates ability to play in time, in tune, with a characteristic sound, in a variety of styles including legato and marcato. Also be prepared to sightread 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.
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.
- Academic Studies Requirements
Bachelor of Music - Composition: In addition to the primary instrument audition, applicants should submit
a portfolio of three to four original compositions (no arrangements), preferably with recordings. 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.
Bachelor of Music - History and Literature: In addition to the primary instrument audition, applicants should submit a paper (2-3 pages in length) demonstrating both writing skills and interest in historical music. Recorded Audition Instructions
- Recorded Audition Instructions
On-campus auditions are strongly recommended and are required for applicants living within 350 miles of Wheaton. If you live beyond 350 miles, you may submit a recording, which should be of the best possible sound quality, using audio or video formats; video formats are preferred. It is important that you present yourself as professionally as possible. For example, pianists and vocal accompanists should use the highest quality instrument available. Label the recording with your name, instrument or voice part, and audition repertoire. The recording may not be edited, except to add tracks or chapters.
A limited number of Skype audition slots are also available.
Repertoire requirements for recorded auditions are identical to those conducted on-campus. Note: Instrumentalists should play two scales and two arpeggios (four total).
Recorded auditions must be postmarked by November 1 for Early Action and January 10 for Regular Action.
Mail to: Admissions Office, Wheaton College, 501 E. College Ave. Wheaton, IL 60187-5593.