Audition Requirements

Required audition materials

For jazz studies auditions, whether in-person or pre-recorded, we ask that you prepare the following three items. For pre-recorded auditions, each item should be a separate video.

1. Scales/Rudiments

2. Piece #1

3. Piece #2

Scales/Rudiments

All pitched instrumentalists should play two major scales of the applicant’s choosing, one in a sharp key and one in a flat key and cover a minimum of two octaves ascending and descending. Articulation and tempo are your choice, but know that the main purpose of these scales is to demonstrate your tone and fundamental technique. Pianists should play hands together.

Jazz Drumset applicants should perform the following rudiments open to closed to open (slow to fast to slow) on the snare drum. Refer to the Percussive Arts Society International Drum Rudiments.

1. Double stroke roll

2. Flam Paradiddle

For recorded auditions, please play both scales/rudiments in a single, unedited video.

Piece #1

Pitched instrumentalists should prepare a tune from the broader “jazz” canon, especially swing, bebop, bossa, Afro-Cuban and samba. You should play the melody and a 1-2 chorus improvised solo. Piano, guitar, and bass should also comp/walk for a chorus.

Sample tunes might include:

• Swing: Autumn Leaves, After You’ve Gone, Take the ‘A’ Train, Stella by Starlight, Up Jumped Spring, Someday My Prince Will Come

• Bebop: Anthropology, Donna Lee, Confirmation, Billy’s Bounce

• Post-bop/Modal: Inner Urge, Yes or No, Night Dreamer

• Bossa: Blue Bossa, Recorda-Me, Meditation, Wave, Black Orpheus

• Afro-Cuban: A Night in Tunisia, Mambo Inn, Afro-Blue, Como Fue

• Ballad: In a Sentimental Mood, Body and Soul, My Funny Valentine, Misty

• Fusion: Spain, Strasbourg and St. Denis

You are not limited to the above choices; these are only examples. However, free improvisation, a demonstration of favorite licks or playing an ensemble part from a big band arrangement will not meet the audition requirements.

Drummers should prepare the following grooves, unaccompanied (16 bars each, at a tempo that is appropriate for the given groove): 

1. Medium Swing

2. Jazz Waltz

3. Bossa

4. Samba

5. Mambo (in the style of Art Blakey or Elvin Jones)

6. 12/8 Afro-Cuban

7. Backbeat of your choice

For recorded auditions, drummers should play all of the grooves in a single, unedited video, leaving a few seconds of rest between them (i.e. play 16 bars medium swing, stop and leave a brief silence, then count off the jazz waltz and play 16 bars, etc).

Piece #2

Applicants can choose any tune/style for their second piece. We ask that it contrast in some way with Piece #1, to give us a fuller sense of your musical personality and skill level.

For pitched instrumentalists, the All-VA Jazz Ensemble audition etude can be used as one of pieces.

Accompaniment

Jazz auditionees are welcome to play with, or without accompaniment. If you use recorded accompaniment please ensure that you choose a track that does not include your instrument already (i.e. bassists should play with a bassless track). 

In-person auditionees can choose to play one of their pieces with accompaniment by a VCU jazz faculty member, in which case you should bring a lead sheet/chart for them to read.

For in-person auditions: drummers should bring their own cymbals, hi-hat clutch, sticks and brushes. Guitarists and bassists should bring a ¼” cable.

For recorded auditions: please make sure we can see your arms/hands, instrument, and torso in the video (or the entire body).

If you have any questions, contact Taylor Barnett, director of jazz studies.

Required audition materials

For the bassoon auditions, whether live or virtual (recorded), we ask that you please prepare the following:

Scales

Please prepare two major scales of your choosing.

Repertoire

For your audition, you should choose two contrasting pieces (i.e., lyrical and technical) that represent you’re playing at its best. Ideally, you should choose pieces that are part of the standard bassoon repertoire. Suggestions include, but are not limited to, a movement or two from the selections below:

• Telemann – “Sonata in F minor”
• Galliard – any of the six sonatas
• Senaille – “Allegro Spiritoso”
• Mozart – “Concerto for Bassoon” (movements two and three are most commonly
  played)
• Weissenborn – an etude from “50 Advanced Studies”
• Hindemithe – “Sonata for Bassoon”

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Bruce Hammel, professor of bassoon.

Required audition materials

1. Scales: a three-octave major scale, and a three-octave minor scale of your choosing. Bowings and tempo are your choice, but please use the whole bow and demonstrate your tone.
   
2. Repertoire: 2 contrasting solo pieces (or movements) 

Important Details:

What do we mean by “contrasting” pieces? Your selections should demonstrate different skill sets. You could play a slow\lyrical and a fast/technical movement, or choose different styles, like a Baroque and a Romantic selection. Show us your current level of skill and artistry. Orchestra parts (for example, the cello part to a symphony movement) cannot be used as repertoire.

If you would like a virtual repertoire consultation ahead of the audition, please reach out to Prof. Dana McComb: dmmccomb@vcu.edu. You can take a free lesson by signing up for our shadow day experience.

We always recommend auditioning live over the recorded option, because you’ll get to meet the faculty and current students, see the campus, and learn what we are all about! 

The sooner you audition, the sooner you will know if you are accepted. We issue “rolling” acceptance letters.

Memorization is optional. We evaluate your audition on the following elements:

• Technical setup 
• Intonation
• Sound & bowing fluidity
• Phrasing and musicality
• Rhythmic vitality

For live auditions: 

• There will be no accompaniment. 
• You do not need to bring scores of your music.
• Dress comfortably, business casual

For recorded auditions: 

• Please make sure we can see your arms, torso, and instrument in the video (or the entire body). The f-holes of your instrument should be facing towards the camera (like the camera is in the audience).
• Piano accompaniment is not required. 
• Please create separate video files (one for scales, one for your first piece/movement, and one for your second piece/movement).

If you have questions about your audition, please contact Dana McComb, Prof. of Cello dmmccomb@vcu.edu or  Susanna Klein, coordinator of strings sbklein@vcu.edu.

Required audition materials

• Scales: Choose two major scales from scales with key signatures up to four sharps and four flats and perform one slurred and the other articulated, in any rhythm and at any tempo.
• Repertoire: Prepare two contrasting works.  One work should demonstrate your lyrical and melodic playing, and the other should demonstrate your technique.  Each work should demonstrate your tone, articulation, range, and overall musicianship.  The works may include any combination of etudes, single movements of sonatas, concerti, and solo works, and orchestral excerpts.  Piano accompaniment is not required.  Some examples may include, but are not limited to, the following:
  • 32 Etudes or 40 Etudes by Rose
  • Caprices by Cavallini
  • Advanced Studies by Polatschek
  • Any movement from concerti by Stamitz, Mozart, and Weber
  • Sonatas by Brahms, Poulenc, Saint-Saens, Bernstein
  • Solo works by Lefebvre, Messager, Rabaud, Debussy
  • Unaccompanied works by Stravinsky, Osborne, Rozsa or Sutermeister
  • Orchestral excerpts of Beethoven, Brahms, Mendelssohn, and Rimsky-Korsakov

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact George Stoffan, Associate Professor of Clarinet.

Required audition materials

1. Scales: a two-octave major scale, and a two-octave minor scale of your choosing. Bowings and tempo are your choice, but please use the whole bow and demonstrate your tone.
2. Repertoire: 2 contrasting solo pieces (or movements) 

Important Details:

What do we mean by “contrasting” pieces? Your selections should demonstrate different skill sets. You could play a slow\lyrical and a fast/technical movement, or choose different styles, like a Baroque and a Romantic selection. Show us your current level of skill and artistry. Orchestra parts (for example, the bass part to a symphony movement) do not fulfill the repertoire requirement.

If you would like a virtual repertoire consultation ahead of the audition, reach out to Prof. Ayça Kartari at: kartaria@vcu.edu. You can take a free lesson by signing up for our shadow day experience.

We always recommend auditioning live over the recorded option, because you’ll get to meet the faculty and current students, see the campus, and learn what we are all about! 

The sooner you audition, the sooner you will know if you are accepted. We issue “rolling” acceptance letters.

Memorization is optional. We evaluate your audition on the following elements:

• Technical setup 
• Intonation
• Sound & bowing fluidity
• Phrasing and musicality
• Rhythmic vitality

For live auditions: 

• There will be no accompaniment. 
• You do not need to bring scores of your music.
• Dress comfortably, business casual

For recorded auditions: 

• Please make sure we can see your arms, torso, and instrument in the video (or the entire body). The f-holes of your instrument should be facing towards the camera (like the camera is in the audience).
• Piano accompaniment is not required. 
• Please create separate video files (one for scales, one for your first piece/movement, and one for your second piece/movement).

If you have questions about your audition, please contact Ayça Kartari, Prof. of bass kartaria@vcu.edu or Susanna Klein, coordinator of strings sbklein@vcu.edu.

Required audition materials

For the euphonium audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Db Major, two-octaves

A Major, two-octaves

Repertoire:

When auditioning, you should choose two contrasting pieces (i.e., lyrical and technical) that represent your playing at its best. Ideally, you should choose pieces that are part of the standard euphonium repertoire. These include, but are not limited to:

• Ropartz – “Andante and Allegro”
• Alexander Guilmant – “Morceau Symphonique”
• G.P. Telemann – “Sonata in F minor”
• Antonio Capuzzi – “Andante and Allegro”
• J.B. Arban – “Brilliante Fantasie” (in Arban’s “Complete Method”)
• Gordon Jacob – “Fantasia”

Please note that these are only examples. Solos should be chosen to suit the individual.

You will be evaluated in several areas including:

• A representative tone on the instrument – listen to examples of professionals to hone this skill
• Technical facility on the instrument – develop this through study of Arban’s “Complete Method” for trombone, euphonium or tuba
• Goal-oriented music playing – develop this through study of Rochut’s “Melodious Etudes”

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Ross Walter, associate professor of low brass.

Required audition materials

For the flute audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Please prepare two scales of the applicant’s choosing, one in a sharp key and one in a flat key. Ideally, the selected scales will demonstrate a minimum of two octaves tongued ascending and descending.

You may use the All-VA Audition guidelines for major scales to prepare.

Repertoire:

When auditioning, you should choose two contrasting pieces that represent your playing at its best. Audition materials for the woodwind instruments typically include etudes or solo literature, such as sonatas, concertos and solos. Examples may include, but are not limited to, the following:

• Etudes by Anderson, Berbiguier, Karg-Elert, Piazzolla, and Mary Karen Clardy, and/or concerto movements by Chaminade, Mozart, Nielsen and Rodrigo
• Sonata or unaccompanied solo movements by Telemann, Bach, Faure, Coleman and Boulanger

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Tabatha Easley, professor of flute.

Required audition materials

For the french horn audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Prepare two major scales and two minor scales of your choosing.

Repertoire:

For your audition, you should choose two contrasting pieces or movements (i.e., lyrical and technical) that represent your playing at its best. Ideally, you should choose pieces that are part of the standard solo horn repertoire, and/or excerpts from the standard orchestral repertoire.

These include, but are not limited to:

• Mozart – “Four Horn Concertos”
• Beethoven – “Sonata, Op. 17”
• Hindemith – “Sonata”
• Bozza – “En Foret”
• Dukas – “Villanelle”
• Jacob – “Concerto”
• Strauss – “First Horn Concerto”
• Larsson – “Concertino”

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Patrick Smith, associate professor of horn.

Required audition materials

For the guitar audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

C Major, G Major, D Major and F Major.

For in-person auditions you may be asked to play additional scales.

Repertoire:

Classical guitar auditions consist of two selections of contrasting styles and character that will demonstrate the student’s technical and musical ability. Selections to be performed should be chosen from the standard solo repertoire for the classical guitar and both selections together should total no more than 10 minutes in length. Suggested repertoire includes:

• Luis Milan – “Pavana No. 1” and “Pavana No. 6”
• J.S. Bach – “Prelude in D minor” and “Bourrée in E minor”
• Mateo Carcassi – Studies Nos. 1, 2, 3 and 19 from “25 Melodious Studies”
• Fernando Sor – any of the “Studies for the Guitar” (Segovia edition)
• Francisco Tàrrega – “Làgrima” and “Adelita”
• Manuel Poncé – any of the preludes (Segovia edition)
• Heitor Villa-Lobos – any of the preludes

Original compositions and arrangements of popular songs are not acceptable repertoire for the audition.

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions contact David Toussaint, Professor of Guitar.

Required audition materials

1. Technical Component: Play one Etude from La Rivière, Grossi, or any similar exercise/etude book written for harp.
2. Repertoire: Play 2 contrasting pieces (or movements) of your choice.

Important Details:

You may bring your own harp or use ours. We use our very nice Lyon & Healy 85CG for auditions, and you will get ample warm-up time on it, so we suggest you use our harp.

What do we mean by “contrasting” pieces? Your selections should demonstrate different skill sets. You could play a slow\lyrical and a fast/technical movement, or choose different styles, like a Baroque and a Romantic selection. Show us your current level of skill and artistry. Orchestra parts (for example, a harp part to a symphony) may fulfill one of the two repertoire pieces if it is a substantial solo (for example, the Nutcracker cadenza).

Reach out to Prof. Jellison at jellisonai@vcu.edu if you would like a repertoire consultation. You can take a free lesson by signing up for our shadow day experience.

We always recommend auditioning live over the recorded option, because you’ll get to meet the faculty and current students, see the campus, and learn what we are all about! 

The sooner you audition, the sooner you will know if you are accepted. We issue “rolling” acceptance letters.

Memorization is optional. We evaluate your audition on the following elements:

• Technical approach 
• Sound and articulation
• Phrasing and musicality
• Rhythmic vitality

For live auditions: 

• You do not need to bring scores of your music.
• Dress comfortably, business casual

For recorded auditions: 

• Please make sure we can see your hands, torso, and most of your instrument in the video (or the entire body). We don’t need to see the pedals. Pretend we are sitting in the audience when you set up the camera.
• Please create separate video files (one for scales, one for your first piece/movement, and one for your second piece/movement).
  

If you have questions about your audition, please contact Prof. Jellison, harp professor, jellisonai@vcu.edu 

Required audition materials

For the oboe audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Prepare two scales of the applicant’s choosing, one in a sharp key and one in a flat key. Ideally, the selected scales will demonstrate a minimum of two octaves tongued ascending and descending.

Repertoire:

For your audition, prepare two selections of contrasting character (different tempos, compositional eras or styles, for example). Audition materials for the woodwind instruments typically include etudes or solo literature such as sonatas, concertos or unaccompanied solos.

Examples may include, but are not limited to, the following:

• Etudes by Barret, Ferling, Rossari
• Concerto movements by Marcello, Cimarosa, Mozart
• Sonata or unaccompanied solo movements by Handel, Telemann, Britten

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact George Stoffan, area coordinator of Woodwinds, Brass, and Percussion, or Alyssa McKeithen, professor of oboe.

Required audition materials

For the percussion audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Two major, two-octaves scales of your choosing

Rudiments: played slow-fast-slow (30 seconds)

• Single Stroke Roll
• Double Stroke Roll
• Paradiddle
• Flam Accent
• Flam Tap

Repertoire:

Please prepare approximately 10-20 minutes of solo repertoire that best highlights your strengths as a percussionist across as many instruments and genres as possible. This can include:

• Snare Drum: Concert and/or Rudimental solos
• Keyboard Percussion (Marimba, Vibraphone, Xylophone): 2-mallet and/or 4-mallet solos
• Timpani: Solos, Etudes, or Orchestral Excerpt Repertoire
• Drum set: Pop, Rock, Jazz, and Latin styles (with or without a backing track)
• Accessory/Hand Percussion: Orchestral Excerpts, Latin American and/or African Styles

Instruments provided will include:

• 5-octave Adams Alpha Marimba
• 3 octave Adams Alpha Vibraphone
• 4×14” Pearl Aluminum Philharmonic Snare Drum
• Clevelander Timpani (4)
• 5 pc. Pearl Masters drum set with 2 cymbals + hi-hat

Other instruments available upon request. Please email jlalexander@vcu.edu prior to your audition to make your request.

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Dr. Justin Alexander, associate professor of percussion.

Required audition materials

For the piano audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Any two major scales and two minor scales, (harmonic minor and melodic minor).

* Scales are expected to be played hands together, in four-octave range. We suggest that you play the scales at MM=75, four notes per beat.

Repertoire:

Two contrasting selections (fast-technical and slow-lyrical), from two different historical periods by two different composers (for example, Prelude and Fugue by J.S.Bach and the first movement  L.van Beethoven’s sonata).

If you are auditioning via recorded (virtual) audition: please create three separate video files (one for your introduction and scales, one for piece No. 1, and one for piece No. 2).

Your choice of audition pieces should aim at demonstrating your current technique and musicianship level, the latter involving  your ability to show dynamic contrasts, your understanding of phrasing  and structure of the piece, and  your overall expressivity).   

Memorization is not required, however, strongly encouraged. 

If you have any questions, contact Dr. Magdalena Adamek, professor of piano and collaborative piano.

Required audition materials

For the saxophone audition, whether live or virtual (recorded), we ask that you please prepare the following:

Prepare the following two-octave scales: F Major, D Major, Eb Major and E Major

Repertoire:

For your audition, you should prepare two pieces of contrasting character, one faster and the other slower. Audition materials for the woodwind instruments typically include etudes or solo literature, such as sonatas, concertos and solos. Examples may include, but are not limited to, the following:

• Etudes by Ferling, Voxman (“Selected Studies”)
• Concerto movements by Ibert and Glazunov
• Sonata movements or solo pieces by Heiden, Creston, Handel and Bozza

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact George Stoffan, area coordinator of Woodwinds, Brass, and Percussion.

Required audition materials

For the trombone audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Prepare the following two-octave scales: Db Major and A Major.

Repertoire:

For your audition, you should prepare two contrasting pieces (i.e., lyrical and technical) that represent your playing at its best. Ideally, you should choose pieces that are part of the standard trombone repertoire. These include, but are not limited to:

• Ropartz – “Andante and Allegro”
• Alexander Guilmant – “Morceau Symphonique”
• Barat – “Andante and Allegro”
• Ferdinand David – “Concertino”
• Lars Erik Larsson – “Concertino”
• Serocki – “Sonatine”

Please note that these are only examples. Solos should be chosen to suit the individual.

You will be evaluated in several areas including:

• A representative tone on the instrument – listen to examples of professionals to hone this skill
• Technical facility on the instrument – develop this through study of Arban’s “Complete Method” for trombone, euphonium or tuba
• Goal-oriented music playing – develop this through study of Rochut’s “Melodious Etudes”

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Ross Walter, associate professor of low brass.

Required audition materials

For the trumpet audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Prepare the following scales: A Major and B Major

Repertoire:

For your audition, you should prepare two contrasting pieces (i.e., lyrical and technical) that represent your playing at its best. Ideally, you should choose pieces that are part of the standard solo trumpet repertoire and/or excerpts from the standard orchestral repertoire.

These include, but are not limited to:

• Solo Repertoire
  • Concertos by J.N. Hummel, F.J. Haydn, A. Arutunian and E. Gregson
  • Sonatas by K. Kennan, H. Stevens and P. Hindemith
  • “Legend” by G. Enesco
  • “Intrada” by A. Honnegger
• Orchestral excerpts
  • Copland – “Outdoor Overture”
  • Mahler – Symphonies No. 3, 5, 6, or 7
  • Respighi – “Pines of Rome”
  • Strauss – “Don Juan” or “Don Quixote”
  • Stravinsky – “Petrouchka” or “Firebird”

Please note that these are only examples. Solos should be chosen to suit the individual.

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact George Stoffan, area coordinator of Woodwinds, Brass, and Percussion.

Required audition materials

For the tuba audition, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Prepare the following scales: Db Major and A Major

Repertoire:

For your audition, you should prepare two contrasting pieces (i.e. lyrical and technical that represent your playing at its best. Ideally, you should choose pieces that are part of the standrard tuba repertoire. These include, but are not limited to:

• J.S. Bach – “Air and Bourée” (arr. Bell)
• Don Haddad – “Suite for Tuba”
• Catozzi – “Beelzebub”
• Walter Hartley – “Sonatina”
• Alexander Tcherepinin – “Andante Op. 64”
• Franz Strauss – “Nocturne for Tuba and Piano”

Please note that these are only examples. Solos should be chosen to suit the individual.

You will be evaluated in several areas including:

• A representative tone on the instrument – listen to examples of professionals to hone this skill
• Technical facility on the instrument – develop this through study of Arban’s “Complete Method” for trombone, euphonium or tuba
• Goal-oriented music playing – develop this through study of Rochut’s “Melodious Etudes”

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, contact Ross Walter, associate professor of low brass.

Required audition materials

1. Scales: one three-octave major scale, and one three-octave minor scale of your choosing. Bowings and tempo are your choice, but please use the whole bow and demonstrate your tone.
   
2. Repertoire: 2 contrasting solo pieces (or movements) 

Important Details:

What do we mean by “contrasting” pieces? Your selections should demonstrate different skill sets. You could play a slow\lyrical and a fast/technical movement, or choose different styles, like a Baroque and a Romantic selection. Orchestra parts (for example, the viola part to a symphony) may not be used as repertoire.

If you would like a virtual repertoire consultation ahead of the audition, reach out to Dr. Danielle Wiebe Burke: wiebeburked@vcu.edu. You can take a free lesson by signing up for our shadow day experience.

We always recommend auditioning live over the recorded option, because you’ll get to meet the faculty and current students, see the campus, and learn what we are all about! 

The sooner you audition, the sooner you will know if you are accepted. We issue “rolling” acceptance letters.

Memorization is optional. We evaluate your audition on the following elements:

• Technical setup 
• Intonation
• Sound & bowing fluidity
• Phrasing and musicality
• Rhythmic vitality

For live auditions: 

• There will be no accompaniment. 
• You do not need to bring scores of your music.
• Dress comfortably, business casual

For recorded auditions: 

• Please make sure we can see your arms, torso, and instrument in the video (or the entire body). The f-holes of your instrument should be facing towards the camera (like the camera is in the audience).
• Piano accompaniment is not required. 

Please create separate video files (one for scales, one for your first piece/movement, and one for your second piece/movement).
If you have questions about your audition, please contact one of the following:

Dr. Danielle Wiebe Burke, viola professor, wiebeburked@vcu.edu 

Dr. Stephen Schmidt, viola professor, sschmidt@vcu.edu 

Prof. Susanna Klein, coordinator of strings, sbklein@vcu.edu

Required audition materials

1. Scales: one three-octave major scale, and one three-octave minor scale of your choosing. Bowings and tempo are your choice, but please use the whole bow and demonstrate your tone.
2. Repertoire: 2 contrasting solo pieces (or movements) 

Please note:

Important Details:

What do we mean by “contrasting” pieces? Your selections should demonstrate different skill sets. You could play a slow\lyrical and a fast/technical movement, for example, or choose different styles, like a Baroque and a Romantic selection. Orchestra parts (for example, the 1st violin part to Brahms’ first symphony) do not fulfill the repertoire requirement.

If you would like a virtual repertoire consultation ahead of the audition, please reach out to Prof. Susanna Klein sbklein@vcu.edu. You can take a free lesson by signing up for our shadow day experience.

We always recommend auditioning live over the recorded option, because you’ll get to meet the faculty and current students, see the campus, and learn what we are all about! 

The sooner you audition, the sooner you will know if you are accepted. We issue “rolling” acceptance letters.

Memorization is optional. We evaluate your audition on the following elements:

• Technical setup 
• Intonation
• Sound & bowing fluidity
• Phrasing and musicality
• Rhythmic vitality

For live auditions: 

• There will be no accompaniment. 
• You do not need to bring scores of your music.
• Dress comfortably, business casual

For recorded auditions: 

• Please make sure we can see your arms, torso, and instrument in the video (or the entire body). The f-holes of your instrument should be facing towards the camera (like the camera is in the audience).
• Piano accompaniment is not required. 
• Please create separate video files (one for scales, one for your first piece/movement, and one for your second piece/movement).
  

If you have questions about your audition, please contact Susanna Klein, Prof. of Violin and coordinator of strings, at sbklein@vcu.edu.

Required audition materials

As part of your audition, there will be an interview that will consist of a conversation about your goal as a musician and the strengths that you would bring to VCU Music. In addition, you will be guided through a sight-reading exercise. In the exercise you will be asked to play the example, preferably on a piano/keyboard, and then sing the same example without accompaniment.

• For virtual interviews, or if you do not have access to a piano/keyboard there is a free App called “Perfect Piano” that can be downloaded to Apple or Android devices. The links are below.

For voice auditions, whether live or virtual (recorded), we ask that you please prepare the following:

Scales:

Introduce yourself, tell us a few of your musical highlights and announce the titles and composers of your audition pieces before singing your scales.

We simply ask that you sing a major scale ascending and descending in whatever key suits your voice.  Solfege is great, but not required if it gets in your way.  Feel free to reach out if you have any other questions (apply4music@vcu.edu).

Repertoire:

For your audition, you should prepare two contrasting songs — if one song is slow and sustained, for example, the other should be in a quicker tempo. At least one of the two songs must be in English. Both songs must be memorized. Pop, rock, R&B and choral parts (soprano, alto, tenor or bass lines from choral works) are not acceptable. Songs from the Great American Songbook are generally acceptable.

If you wish to present a selection in a foreign language that you have studied, standard art songs in French, German, Italian and Spanish are appropriate. Ideally, you should choose pieces that are part of the standard solo voice repertoire. These include, but are not limited to:

• Arrangements of British and American folk songs
• Arrangements of Hymns
• Folk song arrangements such as Quilter’s “The Arnold Book of Old Songs”
• Spirituals arranged by Harry T. Burleigh, Hall Johnson, or Moses Hogan
• Henry Purcell
• Lute songs by Dowland, Campian, Morely, etc.
• John Jacob Niles
• Roger Quilter
• Ralph Vaughan Williams
• Samuel Barber
• Aaron Copland
• Richard Hundley
• Lee Hoiby

There will be an accompanist provided for in-person auditions. Please submit your audition pieces to apply4music@vcu.edu a week before your audition date.

Please note:

If you are auditioning via recorded (virtual) audition: please create 3 separate video files (one for scales, one for piece No. 1, and one for piece No. 2).

If you have any questions, please contact Kenneth Wood, coordinator of vocal studies.