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Audition Requirements

Accordion

Notes: The candidate may enter on the piano accordion with either the 120-bass (“stradella”) or any free bass left-hand system, or both.

The candidate is strongly urged to contact the instructor for further information and degree goals prior to auditioning: Dr. Robert Young McMahan, mcmahan@tcnj.edu.

Minimum Entrance Requirements:

1.Major and harmonic minor scales through four flats and four sharps, right-hand and left-hand (need not be hands together), one octave, moderate to fast tempo. The left-hand scales may be done on either the stradella or free bass system, or both.

2. Right-hand major and minor arpeggios, two octaves, through four flats and four sharps, moderate to fast tempo.

3. The candidate must play three pieces of varying tempi and style from or at the level of the Palmer/Hughes series, Book 8 or higher.

Brass

Trumpet

Technique: 2 octave scales – Ab, A, Bb, B, C Major; 2 octave chromatic scale, any key

Studies: Choose any one study from the following:

Brandt – “Etudes for Trumpet” (Vacchiano edition)
Arban
Clarke – “Characteristic Studies”

Solo: Choose one movement from any one of the following:

Haydn – “Trumpet Concerto”
Kennan – “Sonata for Trumpet and Piano”
Balay – “Andante and Allegro”
An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Trombone

Technique: 2 octave scales – F, G, Ab, Bb Major

Studies: Choose one study from the following:

Bordogni-Rochut – “Melodious Etudes”
Book I Kopprasch – “60 Selected Studies” Book I or II

Solo: Choose any one:

Guilmant – “Morceau Symphonique”
Simons – “Atlantic Zephyrs”
An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Horn

Technique: 2 octaves chromatic F; All major scales – 2 octaves

Studies: Choose one study from the following:

Kopprasch – “60 Selected Studies” Book 1 or Book 2

Solo: Choose any one:

Mozart – Any concerto or the “Concert Rondo”
Beethoven – “Horn Sonata” op. 17
Strauss – “Concerto #1″
Saint-Saens – “Morceau de Concert”
An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Euphonium

Technique: 2 octave scales in F, G, Ab, Bb Major, All major scales – one octave, F chromatic scale – two octaves slurred

Studies: Select two contrasting etudes from:

Bordogni-Rochut – “Melodius Etudes,” Book I
Kopprasch – “60 Selected Studies,” Book I or Book II (any one study) or equivalent
Slama – “66 Etudes” or equivalent

Solo: Choose any one:

Guilmant – “Morceau Symphonique”
Curnow – “Rhapsody for Euphonium”
Benedetto Marcello – “Sonata in F Major for Euphonium and Piano” (edited by Adam Frey)
An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Tuba

Technique: All major scales, one octave. The following scales to be played two octaves: F, G, Ab, Bb Major.  Bb and F Chromatic scales, two octaves slurred.

Studies: Two contrasting etudes from any of the following:

Kopprasch
Bordogni
Blazhevich
Grigoriev
Or equivalent

Solo: Any tuba solo of the candidate’s choice.  An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Percussion

Note: Candidates must be prepared to audition on all percussion instruments and must bring all appropriate sticks and mallets. All instruments will be provided. The candidate may be asked to play a piece at sight on any of the three instruments.

Repertoire selections are merely suggestions to indicate the level of difficulty required.

Since the snare and/or trap drummer may not have the opportunity to familiarize himself or herself with pitched instruments to perfect his/her craft, it would be advisable to pursue the study of ear training-sight singing before entering an institution of higher learning.

Questions may be directed to Professor William Trigg, trigg@tcnj.edu.

Snare Drum

Technique: The 26 rudiments of the Snare Drum; Orchestral and rudimental rolls at various dynamics

Studies: Anthony Cirone—“Portraits in Rhythm”
Jacques Delecluse – “Douze Etudes pour Caisse Claire”
Charles Wilcoxon—“Modern Rudimental Swing Solos”
Or any of the following composers: Albright, Pratt, Hochrainer, Wanamaker, et al.

Solo: Two contrasting solos or etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos.

Timpani

Technique: Tuning to various intervals; Rolls at various dynamics

Studies: Saul Goodman — “Modern Method for Timpani”
Firth — “The Solo Timpanist”,
Carroll – “Exercises, Etudes & Solos for the Timpani”,
Hochrainer – “Übungen für Timpani”, et al

Solo: A selected solo or two contrasting etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos.

Mallet Instruments

Technique: All major scales and arpeggios, 2 octaves up and down.

Studies: Clair Omar Musser – Etudes,
Paul Smadbeck – “Rhythm Song”
Morris Goldenberg—“Modern School for Marimba, Xylophone, Vibes”
Or any of the following composers: Stout, Burritt, Abe, Sammut, et al.

Transcriptions of solos for other instruments are also acceptable by composers such as Handel, Vivaldi or Telemann. Also, the sonatas and partitas or suites of J.S. Bach for solo violin or cello.

Solo: A selected solo or two contrasting etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos. Four mallet technique should be demonstrated, if possible.

Piano

Notes: (1) Music must be memorized completely. (2) Pianists are required to audition on a secondary instrument (please see below).

Questions may be directed to Dr. Tomoko Kanamaru, kanamaru@tcnj.edu.

Piano study primarily focuses on classical repertoire. There may be opportunities to participate in the jazz ensemble during the course of study; however, there is no degree offered in jazz piano. Selection(s) from genres other than classical may not be used for this audition; the specific requirements are as follows.

Solo: The applicant will be asked to perform three pieces from different style periods, choosing works which best represent his/her capabilities with regards to musicianship and technical facility, from the following categories. All three selections must be performed from memory.

1. A set of Prelude and Fugue from the Well-Tempered Clavier*, or a Three-Part Sinfonia by J. S. Bach [*Excluding the Prelude and Fugue in C Major from WTC, Book I.]

2. One fast movement of a classical sonata by Haydn, Mozart**, or Beethoven*** [**Excluding K. 331 (K. 300i) ***Excluding Op. 49]

3. One composition of the applicant’s choice from the following list. In choosing a piece from the 19th or 20th Century repertoires, candidates for the Music Performance degree should choose a substantial work.

a. A virtuoso etude by Chopin (Op. 10 or 25), Moszkowski (Op. 72), or one of comparable difficulty
b. A 19th Century work
c. A 20th Century work

The Applicant for the Bachelor of Arts degree will only be asked to perform two pieces from different style periods, choosing works which best represent his/her capabilities with regards to musicianship and technical facility, from the following categories. Both selections must be performed from memory.

1. A set of Prelude and Fugue from the Well-Tempered Clavier, one Three-Part Sinfonia, or two Two-Part Inventions by J. S. Bach.

2. One fast movement of a classical sonata by Haydn, Mozart**, or Beethoven.

Basic Skills: The applicant may be asked to demonstrate some basic skills such as Major and Minor (three forms) scales (four octaves) and/or basic cadence patterns in all inversions.

Sight Reading: The applicant may be asked to play a piece (or part of a piece) at sight that is comparable in difficulty to a classical sonatina.

Repertoire List: The applicant is requested to submit a list of the standard works that s/he performed and/or studied during the past three years at the time of the application or by four weeks prior to the audition date, whichever comes later. This list should be sent electronically to Dr. Kanamaru at kanamaru@tcnj.edu. A sample repertoire list is available on the Department of Music website at Sample Repertoire – Piano

Required Secondary Instrument for all Pianists:

Pianists are asked to choose whether they will pursue a Keyboard – Vocal track or a Keyboard – Instrumental track and to audition on their secondary instrument.

• If you choose Keyboard – Vocal track, the vocal audition will include a short, prepared song of your choice, sight reading, and vocalization. You may sing “My Country ‘Tis of Thee” or some other familiar song, instead of an art song, should you wish to do so.

• If you choose Keyboard – Instrumental track, the audition on your secondary instrument will include scales, sight reading, and a short, 2 – 5 minute prepared piece of your choice. You may perform your part from one of your band pieces in lieu of a solo piece, should you wish to do so.

Thus, the audition for the secondary instrument is not meant to be seen in the same light as the audition for the primary instrument. Rather, students must demonstrate through audition the ability to successfully participate in a curricular ensemble as determined by an ensemble Director and/or a studio instructor.

Strings

Violin

Technique: Major and minor scales in 2 and 3 octaves and arpeggios (at least one in 3 octaves) (candidate’s choice)

Studies: Kreutzer, Fiorello, Mazas, Dont or Paganini

Solo: Any concerto by Viotti, Mozart, Bruch or an equivalent, or a sonata by Schubert, Handel, Corelli or Bach – Solo Sonata or Partita (candidate’s choice)

Sight Reading: The candidate will be asked to play a short piece at sight.

Viola

Technique: Major and melodic minor scales in 2 and 3 octaves (candidate’s choice)

Studies: Mazas, Kayser, Campagnoli, or equivalent (candidate’s choice)

Solo: Concerto by Telemann, Hoffmeister, J.C. Bach, or a sonata by Marcello or Handel (candidate’s choice)

Sight Reading: The candidate will be asked to play a short piece at sight.

Cello

Technique: Scales and arpeggios in G, D, F Major; a, e, d minor (at least one in 3 octaves)

Studies: Etudes by Dotzauer, Dupont or Popper (candidate’s choice)

Solo: Choose any sonata by Corelli, Marcello, Sammartine (any movement); or Goltermann Concerto (any movement); or Bach Arioso or equivalent (candidate’s choice)

Sight Reading: The candidate will be asked to play a short piece at sight.

Double Bass

Technique: One or two major or minor scales.

Studies: An etude at the candidate’s level of technical proficiency.

Solo: One or two movements of a sonata, concerto, or other solo work(s) demonstrating the candidate’s musical ability and achievement on the instrument.

Sight Reading: The candidate may be asked to play a short piece at sight.

Harp

Technique: Major scales, four octaves

Studies: Naderman, Bochsa, Bach/Grandjany, or an equivalent

Solo: Two contrasting solos

Sight Reading: The candidate may be asked to play a piece at sight.

Classical Guitar

Notes: (1) The Department of Music offers a major in classical guitar only. (2) Guitarists are required to audition on a secondary instrument (please see below).

Questions may be directed to Dr. James Day, day@tcnj.edu.

Technique: Diatonic Major and Minor Scales, 2-3 octaves. Candidates should be prepared to play scales that are in the same keys as the pieces they perform for the audition, as well as the relative major or minor key. For example, if you will be performing a piece in the key of G major, play a G major scale and its relative minor, E minor. Suggested fingerings are those by Segovia, Shearer or equivalent.

Studies: One study/etude. Suggestions include: Carcassi Op. 60 (Chanterelle); Sor- Segovia Studies (Marks Music M394), Giuliani Op. 50 or 100; Brouwer Études Simples (Estudio sencillos), Villa-Lobos – Etude no. 1; Scott Tennant’s Pumping Nylon: Supplemental Repertoire, or equivalent.

Solo: Two solo pieces contrasting in style, character, and key (if possible)
The following is a sampling of pieces you might select, but is intended only as a guide:

Milán – one of the Six Pavans
Dowland — any Galliard
Bach – Prelude BWV 999
Bach – Minuets from 1st Suite for ‘Cello (trans. for guitar) BWV 1007
Giuliani – Sonatinas, Op. 71
Tárrega – Logríma, a mazurka, or a vals
Ponce-Segovia – one of the Twelve Preludes
Villa-Lobos – Prelude 1 or 4

Sight Reading: The candidate may be asked to play a short 8-measure selection at sight.

NB: An excellent source for graded repertoire and study pairings can be found in: Royal Conservatory of Music, Guitar Series, Third Edition, Albums Introductory, 1-8, and Technique. Mississauga, Ontario, Canada: Frederick Harris Music Co., Ltd., 2004.

Required Secondary Instrument Audition for all Guitarists

Guitarists are asked to choose whether they will pursue a Guitar – Vocal track or a Guitar – Instrumental track and to audition on their secondary instrument.

• If you choose Guitar – Vocal track, the vocal audition will include a short, prepared song of your choice, sight reading, and vocalization. You may sing “My Country ‘Tis of Thee” or some other familiar song, instead of an art song, should you wish to do so.

• If you choose Guitar – Instrumental track, the audition on your secondary instrument will include scales, sight reading, and a short, 2 – 5 minute prepared piece of your choice. You may perform your part from one of your band pieces in lieu of a solo piece, should you wish to do so.

Thus, the audition for the secondary instrument is not meant to be seen in the same light as the audition for the primary instrument. Rather, students must demonstrate through audition the ability to successfully participate in a curricular ensemble as determined by an ensemble Director and/or a studio instructor.

Voice

Notes: Vocal study primarily focuses on the classical repertoire. There are opportunities to participate in musical theatre, but there is no degree offered in musical theatre. Songs from the musical comedy or popular repertoire may not be used for this audition.

Questions may be directed to Dr. Suzanne Hickman, hickman@tcnj.edu.

Required Musical Selections:

1. Two memorized selections from the classical repertoire are required.

2. One song must be in the English language and one in a foreign language.

The selections chosen should show the candidate’s skill in the following areas: musical ability, breathing, tone production, language skills and communication skills.

The following list should be used only as a guide for the pieces that would be appropriate for the audition. A simple art song that is well sung and convincingly presented is preferable to a more difficult aria that may be beyond the capabilities of a young singer. On the other hand, if a candidate has been studying advanced literature for at least a year, an aria might be appropriate.

1. Early Italian songs such as those found in G. Schirmer’s “Twenty-Four Italian Songs and Arias” or in Alfred’s ” Twenty-Six Italian Songs and Arias”

2. German lieder by Mozart, Schubert, Schumann, or Brahms

3. French bergerettes or songs by Fauré

4. Songs found in collections such as the “First Solo Songs” and ” Second Solo Songs” edited by Joan Frey Boytim, published by G. Schirmer/Hal Leonard

IMPORTANT: Please bring all printed music to be performed. Absolutely NO PHOTOCOPIES, please. Due to the legal ramifications of using copied music, any candidate arriving at his or her audition with copied music will not be allowed to perform. The performance component of the audition will have to be rescheduled, time permitting. However, please note that CD Sheet Music is legal and acceptable.

Piano Accompaniment: Taped or CD accompaniment will NOT be permitted under any circumstances. Candidates are encouraged to rehearse with and bring their own accompanist to the audition. If this is not possible, an accompanist will be provided for vocal auditions. Please be aware that because of time constraints, rehearsal time will not be available with this accompanist. There will be enough time to discuss tempo and musical markings only.

If the candidate plans to use the accompanist provided by TCNJ, the candidate must make this request and must provide the following information to the Music Department no later than five business days before his/her audition:

♦ Titles and composer names for musical selections (not the music itself unless specifically requested to do so)

♦ Title of collection or edition

♦ Publisher name of music to be sung

♦ Key of piece (please use letter key, not voice part or “medium-high”)

The candidate may email this information to Dr. Hickman at hickman@tcnj.edu or fax it to her at 609.637.5182.

Woodwinds

Flute

Technique: Major Scales in C, G, D, A, E, F, Bb, Eb, Ab

Studies: Andersen, Altes, Karg-Elert, Koehler, Moyse (or equivalent)

Solo: (1) A movement from a work by Bach, Handel or Mozart

(2) Choose one of the following works:
Fauré – “Fantasy”
Enesco – “Cantabile and Presto”
Griffes – “Poem”
Ibert – “Concerto” (3rd mvt)

(3) An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Oboe

Technique: All major scales slurred

Studies: Barret Studies or Ferling Studies

Solo: Any standard oboe sonata or concerto An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

Clarinet

Clarinet Applicants

Scales: All Major and Natural Minor Scales (from memory)

Etude: 2 contrasting etudes from the Rose 32 Etudes (perform on Clarinet)

Solo: Choose one of the following complete works (for Clarinet applicants only)

Weber: Concertino Weber: Concerto #1 or Concerto #2

Osborne: Rhapsodie
Stravinsky: 3 Pieces for Solo Clarinet

Stamitz: Concerto #3

Rabaud: Solo de Concourse

Erland von Koch: Monolog 3

Or any other comparable solo work.

Bass Clarinet Applicants

Scales: All Major and Natural Minor Scales (perform on Clarinet or Bass Clarinet)

Etude: 2 contrasting etudes from the Rose 32 Etudes (perform on Clarinet)

Solo: Choose one of the following complete works (perform on Bass Clarinet)

Bozza: Ballad

Desportes: Andante & Allegro

Frangkiser: Concert Theme

Osborne: Rhapsodie

Rhoads: Adagio & Allegro

Galliard/Merriman: Adagio & Allegro

Or any other comparable solo work.

Saxophone

Applicants may audition on alternate saxophones (SATB) with the appropriate repertoire. Questions may be addressed to Ms. Kathleen Mitchell; michylo13@aol.com.

Technique: All major scales slurred or articulated. Chromatic Scale.

Studies: Klose, Berbiguier (Marcel Mule Edition), W. Ferling, 48, or equivalent.

Solo: Any standard saxophone sonata or concerto
An acceptable alternative is any one of the All-State/Region audition solos

Sight Reading: The candidate may be asked to play a piece at sight.

Bassoon

Technique: All major scales articulated or slurred, preferably full range. Three octave Bb chromatic.

Studies: Weissenborn Advanced, Milde Scale or Concert Studies, or equivalent.

Solo: Any standard bassoon sonata or concerto An acceptable alternative is any one of the All-State/Region audition solos.

Sight Reading: The candidate may be asked to play a piece at sight.

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