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Auditions

These requirements are the same for the Music Certificate Program.

Brass

  • Trumpet: Two contrasting solos (or solo/etude) and five standard orchestral excerpts of candidate’s choice
  • Trombone: Two contrasting solo works, two or three standard orchestral excerpts and two-octave scales
  • Horn: Two complete solo works, four orchestral excerpts and one or two etudes
  • Tuba: Two or three contrasting pieces (solos/etudes), scales, sight-reading and two or three orchestral excerpts
  • Euphonium: Two or three contrasting pieces (solos/etudes), scales, sight-reading and two or three band excerpts

 

Woodwinds

  • Flute: Two or three contrasting movements or pieces and sight-reading
  • Oboe: Two contrasting pieces, sight-reading, orchestral excerpt and major and minor scales
  • Clarinet: Two or three contrasting movements or pieces
  • Bassoon: Two contrasting pieces, sight-reading, two orchestral excerpts and major and harmonic minor scales.
  • Saxophone: Two solos, scales and sight-reading

 

Composition

Students will be asked to submit three or four original scores of their best works for review by the composition faculty.

 

Conducting

Band

Interview on scheduled audition day.

Choral

Application Deadline: February 2

Audition requirements for admission to the master’s degree program in choral conducting as well as for graduate assistantship consideration for those who wish to major in choral conducting or choral music education.

  1. Rehearse and conduct one of the choral ensembles at BGSU.
  2. Demonstrate musicianship by singing or by playing on any instrument a short piece of his/her own choosing.
  3. An interview with Dr. Mark Munson, director of choral activities, will be required. Depending upon degree program, candidates will also interview with either the chair of music education, Dr. Kenneth Thompson, or the chair of performance studies, Dr. William Mathis.

To schedule an audition, please call Sherri White at (419) 372-2182. After an audition is scheduled, contact Dr. Mark Munson at (419) 372-8288 or munson@bgsu.edu for details concerning repertoire.

Orchestra

Application deadline is January 5 for admission to the Orchestral Conducting Program

  1. Interview with Dr. Emily Freeman Brown, director of orchestral activities
    1. Play a Bach chorale in open score. The example you are to perform will be sent to you one week prior to the audition.
    2. Basic ear training tests.
  2. Conduct the Bowling Green State University Philharmonia (10–15 minutes) on agreed upon repertoire.
  3. Symphonic literature identification exam.
  4. Audition on your major instrument with the appropriate College of Musical Arts faculty member for the purpose of evaluating level of musicianship.
  5. Interviews with College of Musical Arts faculty for consideration for assistantships in areas other than orchestral conducting.
  6. Interview with Dr. Robert Satterlee, Director of Graduate Studies

Serious applicants should contact Dr. Emily Freeman Brown by email (efbrown@bgsu.edu) and submit a DVD of recent conducting in performance and/or rehearsal for review. Send to: Emily Freeman Brown, College of Musical Arts, Bowling Green State University, Bowling Green, Ohio 43403-0290. Invitations to the audition will follow DVD review, which must be postmarked no later than January 20. Auditions will take place in February.

 

Ethnomusicology

Incoming graduate majors are required to interview and give a sample of their writing (two or three in-depth undergraduate papers).

History

Incoming history graduate majors are required to interview and give a sample of their writing (two or three in-depth undergraduate papers—preferably history papers).

 

Jazz

  • Jazz Saxophone:Performance of a “standard” or “American songbook” composition complete with melody and improvised choruses. The instrumentalist should expect to perform this composition with one or more of the jazz faculty acting as rhythm accompanists. Additionally, jazz-style sight-reading will be required, and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field. If the candidate has experience in woodwind doubling, he/she should demonstrate this instrumentally to the jazz faculty.
  • Jazz Trumpet/Trombone: Performance of a “standard” or “American songbook” composition complete with melody and improvised choruses. The instrumentalist should expect to perform this composition with one or more of the jazz faculty acting as rhythm accompanists. Additionally, jazz-style sight-reading will be required, and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field. 
  • Jazz Piano: Performance of a “standard” or “American songbook” composition complete with melody and improvised choruses, with the linear and chordal approach common to a jazz piano performance. The instrumentalist should expect to perform this composition with one or more of the jazz faculty acting as rhythm accompanists. A pianist might also be asked to perform a solo composition. Additionally, jazz-style sight-reading will be required, and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field.
  • Jazz Guitar: Performance of a “standard” or “American songbook” composition complete with melody and improvised choruses, with the linear and chordal approach common to a jazz guitar performance. The instrumentalist should expect to perform this composition with one or more of the jazz faculty acting as rhythm accompanists. A guitarist might also be asked to perform a solo composition. Additionally, jazz-style sight-reading will be required, and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field.
  • Jazz Double Bass: Same as above. Additionally, the double bassist will be asked to play examples of various “grooves” representative of specific jazz rhythmic styles.
  • Jazz Drums: Drummers will be asked to demonstrate various “grooves” representative of specific jazz rhythmic styles. The candidate may be asked to perform these rhythmic styles with a jazz faculty rhythm performer. Additionally, sight-reading of a big-band chart will be required, and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field.
  • Jazz Voice: Students must perform two contrasting songs (American songbook or jazz standards) from memory, complete with melody and improvised choruses. For example a ballad (like "Skylark" or "Body and Soul") and a medium tempo selection (like "Cheek to Cheek" or "There is No Greater Love"). An accompanist will be provided. Please bring lead sheets of your selections in the key that you will sing them. There will be no rehearsal time. Students are not permitted to use recorded accompaniments. Students should also bring a list of other songs in their repertoire and the auditioning student should expect inquiry by the jazz faculty into knowledge of jazz repertoire and experiences in the field.

Keyboard

  • Class Piano Assistants: Interview with the chair of music education and the coordinator of group piano required. An audition is also requested. In the audition, students will be asked to perform three works of different styles and to demonstrate functional keyboard skills.
  • Collaborative Piano: Two solo works from different style periods by memory. Two collaborative works, one instrumental and one vocal.
  • Organ: Representative works from the major areas of organ literature—a major Bach work, a Romantic work and a contemporary work.

Piano Performance

  • applied lessons and/or admission as a performance major: Students will be asked to perform three works of different styles from memory.
  • for assistantship consideration: Students will be asked to perform three works of different styles, sight-reading (one vocal instrument and one instrumental accompaniment) and discussion of accompanying experience, goals, background, etc.

 

Music Education

All students interested in an assistantship in the Department of Music Education or interested in majoring in music education must be interviewed. Music education applicants must present an interview and submit the following:

  • 10-minute, video-taped performance on an instrument or voice
  • continuous 15-minute, video-taped teaching or rehearsal segment
  • writing sample on a topic of the faculty’s choice. (Contact Dr. Kenneth Thompson, Chair of Music Education for details.)

Percussion

Suggested Percussion Repertoire for Graduate Assistant Audition
  1. Advanced works for Marimba
    • 4-mallet works
      • Concerto for Marimba – Rosauro
      • Concerto for Marimba and Vibraphone – Milhaud
      • Dream of the Cherry Blossoms – Abe
      • Merlin – Thomas
      • Michi – Abe
      • My Lady White – Maslanka
      • Time for Marimba – Miki
      • Two Mexican Dances – Stout
      • Variations of Lost Love – Maslanka
      • Water and Fire – Skoog
      • Wind in the Bamboo Grove – Abe
    • 2-mallet works
      • Concertino for Marimba – Creston
      • Tambourin Chinois – Kreisler
      • Selected Rags – G.H. Green
  2. Works for Vibraphone (4-mallet works)
    • Ben Vindo – Rosauro
    • Mourning Dove Sonnet – Deane
    • Selections from Mirror from Another – Friedman
    • Selections from Music of the Day – Molenhoff
    • Trilogy – Huesgen
    • Wallflower, Snowbird and Carillon – Gibson
  3. Timpani (minimum of 4 drums)
    • Eight Pieces for 4 Timpani – Carter
    • Four Verses for Timpani – Houllif
    • Parita in C for 6 Timpani – Druschetzsky
    • 3 Movements for 5 Timpani – Beck
  4. Snare Drum
    • American Suite – Gauthreaux
    • 6 Pieces for Unaccompanied Snare Drum – Colgrass
    • Three Dances – Benson
    • Any work by Mitch Markovitch
  5. Multiple Percussion or Drumset
    • Any work by David Holliden
    • Concerto for Solo Percussionist – Suderburg
    • Concerto pour Batterie – Milhaud
    • Inspirations Diabolique – Tagawa
    • French Suite – Kraft
  6. Orchestral Excepts
    • Porgy and Bess – Gershwin (xylophone)
    • Colas Bruegnon – Kabalevsky (xylophone)
    • The Sorcerer’s Apprentice – Dukas (bell)
    • Carnival Overture – Dvorak (tambourine)
    • Capriccio Espagnol – Rimsky-Korsokov (snare)
    • Lieutenant Kije Suite – Prokofiev (snare)
    • Scheherzade – Rimsky-Korsokov (snare)
    • Symphony No. 3 – Schumann (snare)

Strings

  • Violin, Viola, Cello, Bass, Harp: Students should perform repertoire that reflects two types of contrasting styles and represents their level of experience. Consult your teacher for suggestions.
  • Classical Guitar: Students should perform, from memory, repertoire that reflects two types of contrasting styles and represents their level of experience.

 

Theory

Incoming theory graduate majors are required to interview (includes a demonstration of theory and aural skills) and give a sample of their writing (analysis paper usually).

 

Voice

Applied lessons and/or admission as a performance major

Students will be asked to sing one art song in English, French, German and Italian. In addition, an operatic aria or oratorio is required. It would be to the student’s advantage to have the repertoire memorized. If you need an accompanist, please notify the Music Office and have a PDF of your music sent to skwhite@bgsu.edu at least two weeks prior to your audition date.