Audition Requirements

Scales

For your virtual introduction video please perform the following scales: Two major 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 ascending and descending. Play each scale in the following two ways:

1.) 100 bpm, Swing 8ths, legato tongued, somewhat soft

2.) 120 bpm, Straight 8ths, slurred, somewhat loud

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

Audition Pieces

VCU Jazz faculty offer accompaniment to auditionees as needed; an extra copy of your sheet music is welcome. A play-along CD is possible but usually not preferable to live interaction.

• Horns: Prepare two tunes, especially swing, bossa, Afro-Cuban and samba. The first tune should be played unaccompanied, including the melody and, if possible, 1-chorus of an improvised solo. The second tune should be played with accompaniment, and should include the melody and a 1-2 chorus improvised solo. You can use a play-along track, or in many cases the faculty can accompany you live. You will be asked to play major and possibly minor scales to assess range, tone and/or technique.
• Piano: Prepare two tunes, especially swing, bossa, Afro-Cuban and samba. The first tune should be played unaccompanied, including the melody and, if possible, 1-chorus of an improvised solo. The second tune should be played with accompaniment, and should include the melody, 1-chorus of comping, and 1-chorus of an improvised solo. You can use a play-along track (be sure it does not include piano comping already), or in many cases the faculty can accompany you live. You will be asked to play major and possibly minor scales to assess range, tone and technique. Potential comping of a variety of styles on request, especially swing, bossa and samba.
• Guitar and Bass: Prepare two tunes, especially swing, bossa, Afro-Cuban and samba. The first tune should be played unaccompanied, including the melody and, if possible, 1-chorus of an improvised solo. The second tune should be played with accompaniment, and should include the melody, 1-chorus of comping, and 1-chorus of an improvised solo. You can use a play-along track (be sure it does not include bass comping already), or in many cases the faculty can accompany you live. You will be asked to play major and possibly minor scales to assess range, tone and technique. Potential comping of a variety of styles on request, especially swing, bossa and samba. VCU will supply guitar and bass amps; guitarists and electric bassists are required to bring their own quarter-inch cords. Double bassists will audition acoustically.
• Drums: Unaccompanied performance of a variety of styles on request, including swing, ballad, waltz, bossa, samba and Afro-Cuban, plus possibly trading fours. Drummers are required to bring their own cymbals, hi-hat clutch, sticks and brushes.
• All: Sight reading: You will have 1-2 minutes to study an excerpt from a piece. A recommended tempo will be marked but is not mandatory.

Sample tunes might include:

• Swing: “Autumn Leaves,” “Satin Doll,” “Now’s the Time,” “Take the ‘A’ Train” and “Stella by Starlight”
• Bossa: “Blue Bossa,” “Recorda-Me,” “Meditation,” Wave” and “Black Orpheus”
• Samba: Samba versions of the bossas above are acceptable.
• Afro-Cuban: “Mambo Inn” (2-3 clave), “Afro-Blue” (12/8), “Frenesí” (cha-cha), “Como Fue” (cha-cha) and “A Night in Tunisia” (possible in a variety of settings)
• Ballad: “In a Sentimental Mood,” “Body and Soul,” “My Funny Valentine,” “Polka Dots and Moonbeams” and “Misty”
• Waltz: “Up Jumped Spring,” “Someday My Prince Will Come,” “Alice in Wonderland,” “All Blues” and “Bluesette”

You are not limited to the above choices; these are only examples. However, free improvisation, a demonstration of favorite licks or singing a favorite blues tune along with accompaniment will not meet the audition requirements. Also note that VCU Jazz does not offer any curricular vocal jazz instruction at this time, though student vocalists sometimes sing with our large and small jazz ensembles.

Attire

You are welcome to wear comfortable clothes for your VCU Jazz Audition. Attire spans from slacks or dresses to coat and tie; jeans are acceptable if neat. We welcome you to present yourself as you would to a range of jazz audiences.

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

Scales

For your virtual introduction video please perform the following scales: Two major and two minor scales of the applicant’s choosing.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, 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 bassoon repertoire. Suggestions include, but are not limited to, a movement or two from almost any Baroque sonata such as:

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

Sight-reading

You will be asked to sight-read a passage as part of your audition. You will be given a few moments to look it over and then we will ask you to perform it.

Preparation tips

Be sure to bring at least two reeds that you feel comfortable playing. Rotating reeds will not only extend their life, but also ensure that you have an adequate backup reed in case of emergency.

Check through your instrument for loose screws that may fall off at an inopportune time.

Cover one end of your bocal and blow air through the other end. Air should emanate from the whisper keyhold (the dimple on the side of the bocal). Past students have struggled through their audition because this small but important hole was plugged.

Practice playing through your audition pieces in the clothes that you intend to wear for the actual audition. Suit jackets can interfere with the fingers of the right hand if not properly secured. Dress comfortably so you can play your best.

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

Scales

For your virtual introduction video please perform the following scales: A major and d minor, three octaves. Free choice of bowings.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two contrasting solo pieces or movements of one piece. The choice of solos is up to the applicant. Demonstrating tone, musicianship and technique are all important in the repertoire selection. Suggestions include, but are not limited to:

• Bach – Suites for Cello
• Brevel and Vivaldi sonatas
• Any Romantic Concerto
• Haydn Concertos
• Popper – Etudes

If you have any questions, contact cello professors Dana McComb and Stephen McComb. You may also contact Susanna Klein, coordinator of strings.

For your audition, you should choose two works of contrasting character (i.e., lyrical and technical) to demonstrate your tone, musicianship and technique. These can be etudes, movements of larger concertos/sonatas, or solo pieces.

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

• Etudes by Rose, Baermann, Kroepsch, Polatschek
• Movements of concertos by Stamitz, Weber, Crusell, Mozart
• Sonatas/sonatinas by Arnold, Bernstein, Martinu, Poulenc, Saint-Saëns
• Solo de concours by Debussy, Lefebvre, Marty, Messager, Rabaud
• Unaccompanied works by Stravinsky, Osborn, Rozsa, or Sutermeister

If you have any questions, contact Tabatha Easley, area coordinator of Woodwinds, Brass, and Percussion.

Scales

For your virtual introduction video please perform the following scales: Bb major and g minor, minimum of two octaves. Free choice of bowings.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two contrasting solo pieces or movements of one piece. The choice of solos is up to the applicant. Demonstrating tone, musicianship and technique are all important in the repertoire selection. Suggestions include, but are not limited to:

• Marcello – Sonatas
• Capuzzi  or Koussevitzky Concertos
• Rabbath – Etudes
• Bach Cello Suites
• Simandl – Etudes

If you have any questions, contact bass professor Andrew Sommer, or Susanna Klein, coordinator of strings.

Scales

For your virtual introduction video please perform the following scales: Two octave D-flat major and A major scales.

Additional scales may be requested during your audition.

Performance Pieces

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.

Preparation tips

The audition committee will be evaluating you 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”

Choose your solo and/or excerpt music early and work on it carefully with a private teacher. Practice sight-reading — it sounds counterintuitive, but a person only becomes an expert from doing it a lot. Borrow etude books you haven’t seen and read one etude a day. Practice your scales so thoroughly that you can’t make a mistake, even when you’re nervous.

Finally, set up several mock auditions with your parents and friends. If you become familiar with the process of playing your solo pieces, having people request scales of you and having them choose sight-reading pieces, you’ll find all of your college auditions to be a lot easier — you might even enjoy them!

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

Scales

For your virtual introduction video please perform: 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.

Be prepared to perform any of your major scales upon request. You will be asked to play two major scales at the beginning of the audition. You may use the All-VA Audition guidelines for major scales to prepare.

Performance Pieces

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
• Concerto movements by Chaminade, Mozart, Nielsen and Rodrigo
• Sonata or unaccompanied solo movements by Telemann, Bach, Faure, Coleman and Boulanger

Sight-reading

You will be asked to sight-read a passage as part of your audition. You will be given 30-seconds to look it over and then we will ask you to perform it.

Preparation tips

Practice performing your pieces and scales for others in advance of your audition. Wear comfortable, layered clothing so you are prepared for any room temperature. The woodwind faculty will be listening for tone, technique, and musicality in the audition. We will also set aside time for your questions and informal conversation about your goals and aspirations.

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

Scales

For your virtual introduction video please perform the following scales: Two major and two minor scales of the applicant’s choosing.

Additional scales may be requested during your audition.

Audition Pieces

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”

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

Scales

For your virtual introduction video please perform the following scales: C Major, G Major, D Major, and F Major.

Additional scales may be requested during your audition.

Audition Pieces

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.

Preparation tips

Students who are planning to audition should be studying with a qualified classical guitar instructor. A qualified instructor can properly prepare you for a successful audition.

If you have any questions, contact John Patykula, coordinator of guitar.

Scales

For your virtual introduction video please perform the following scales: Play two scales and arpeggios of your choice, one in a major key and the other in a minor key.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two contrasting solo pieces or movements of one piece. The choice of solos is up to the applicant. Demonstrating tone, musicianship and technique are all important in the repertoire selection. Memory is required for at least one selection, and strongly encouraged for both. Suggestions include, but are not limited to:

• Naderman Sonatina
• Bochsa Etudes – Op. 34
• Pierne Impromptu-Caprice
• Handel Concerto in Bb
• Salzedo Song in the Night

If you have any questions, contact harp professor Colleen Thorburn or Susanna Klein, coordinator of strings.

Scales

For your virtual introduction video, please perform the following scales: G and Eb major.

Additional scales may be requested during your audition.

Performance Pieces

For your audition, you should prepare two pieces of contrasting character. 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 Luft, Ferling, Barret and Voxman (“Selected Studies”)
• Concerto movements by Mozart and Haydn
• Sonata movements by Handel, Albinoni, Valentine, Loelliet and Saint-Saens

Preparation tips

Occasionally, a member of your audition committee may ask a student to do something in a slightly different way in order to evaluate the flexibility or “teachability” of the student.

If you have any questions, contact Tabatha Easley, area coordinator of Woodwinds, Brass, and Percussion.

Scales

Prospective percussionists are required to audition in at least 3 of the 5 areas listed below. The repertoire suggestions in each area are intended to be representative of the expected level of musical and technical ability. You are free to perform similar works that are not listed.

***Please note that students auditioning as jazz percussion majors are not required to perform a classical audition. Please see the jazz drums audition requirements for more information.***

Drum Set

• Demonstration of styles (rock/pop, swing, Afro-Cuban, and Brazilian)
• Ability to “trade fours” with yourself (four bars of time, followed by four bars of soloing)

Global Percussion

• Demonstration of groove playing and soloing on any of the following non-Western instruments: djembe, congas, frame drum, doumbek, or similar.

Snare drum

• One concert-style etude, such as those by Cirone (Portraits in Rhythm), Peters (Intermediate or Advanced Snare Drum Studies), or Delecluse (Douze Etudes).
• One rudimental-style solo, such as those by Wilcoxon, Pratt, Freytag (Rudimental Cookbook) and Savage (Rudimental Workshop).
• Sightreading

Keyboard percussion

• One two mallet solo, such as those by Gottlieb (Masterworks for Marimba), Bach, or similar
• One four mallet solo, such as those by Sammut, Stout, Abe, Treviño, or similar

Timpani

• One solo, such as those by Beck (Concepts for Timpani), Peters (Intermediate Timpani Studies), or Firth (The Solo Timpanist)

Preparation tips

• Be organized. Make sure you have all of the sticks and mallets that you need, as well as copies of your audition etudes or music.
• Be open to suggestions. I’m most interested in your curiosity and willingness to be teachable!
• Have fun! We want you to perform well!

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

Scales

Audition Pieces

For your piano audition, you should prepare two contrasting solo works; one from the Baroque or Classical periods, and one from the Romantic, Impressionist, or 20th century.

Suggested repertoire for each historical period includes, but is not limited to:

• Baroque – J.S. Bach preludes and fugues, suites or partitas; Handel suites
• Classical – sonatas, or movements from sonatas, or variations by Haydn, Mozart, Beethoven or Schubert
• Romantic – works by Chopin, Schumann, Brahms, Liszt, Tchaikovsky, Franck, Fauré, Rachmaninoff or early Scriabin
• Impressionist and 20th century – works by Debussy, Ravel, Prokofiev, Shostakovich, late Scriabin, Stravinsky, Poulenc, Bartok, Hindemith, Copland or Barber

Preparation tips

Memorization is required. Arrangements of popular songs and works of a similar nature are not acceptable.

Recommended attire is semiformal.

If you have any questions, contact Sonia Vlahcevic, professor of piano and coordinator of keyboard studies.

Scales

For your virtual introduction video, please perform the following scales: F, D, Eb and E major, all 2 octaves.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two pieces of contrasting character. 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”) and Karg-Elert
• Concerto movements by Ibert and Glazunov
• Sonata movements or solo pieces by Heiden, Creston, Muczinsky and Bozza

Preparation tips

Occasionally, a member of your audition committee may ask a student to do something in a slightly different way in order to evaluate the flexibility or “teachability” of the student.

If you have any questions, contact Tabatha Easley, area coordinator of Woodwinds, Brass, and Percussion.

Scales

For your virtual introduction video, please perform the following scales: Two octave D-flat major and A major scales

Additional scales may be requested during your audition.

Performance Pieces

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.

Preparation tips

The audition committee will be evaluating you 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”

Choose your solo and/or excerpt music early and work on it carefully with a private teacher. Practice sight-reading — it sounds counterintuitive, but a person only becomes an expert from doing it a lot. Borrow etude books you haven’t seen and read one etude a day. Practice your scales so thoroughly that you can’t make a mistake, even when you’re nervous.

Finally, set up several mock auditions with your parents and friends. If you become familiar with the process of playing your solo pieces, having people request scales of you and having them choose sight-reading pieces, you’ll find all of your college auditions to be a lot easier — you might even enjoy them!

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

Scales

For your virtual introduction video, please perform the following scales: A major and B major scales for trumpet.

Additional scales may be requested during your audition.

Performance Pieces

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”

Don’t worry if you aren’t familiar with these pieces. The most important thing is that you play pieces with which are familiar and comfortable. You will not be penalized for playing repertoire that is unfamiliar to the audition committee and you are better off playing simpler music very well than playing more challenging music poorly.

Preparation tips

Choose your solo and/or excerpt music early and work on it carefully with a private teacher. Practice sight-reading — it sounds counterintuitive, but a person only becomes an expert from doing it a lot. Borrow etude books you haven’t seen and read one etude a day. Practice your scales so thoroughly that you can’t make a mistake, even when you’re nervous.

Finally, set up several mock auditions with your parents and friends. If you become familiar with the process of playing your solo pieces, having people request scales of you and having them choose sight-reading pieces, you’ll find all of your college auditions to be a lot easier — you might even enjoy them!

If you have any questions, contact Rex Richardson, professor of trumpet.

Scales

For your virtual introduction video, please perform the following scales: Two octave D-flat major and A major scales

Additional scales may be requested during your audition.

Performance Pieces

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 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.

Preparation tips
The audition committee will be evaluating you 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”

Choose your solo and/or excerpt music early and work on it carefully with a private teacher. Practice sight-reading — it sounds counterintuitive, but a person only becomes an expert from doing it a lot. Borrow etude books you haven’t seen and read one etude a day. Practice your scales so thoroughly that you can’t make a mistake, even when you’re nervous.

Finally, set up several mock auditions with your parents and friends. If you become familiar with the process of playing your solo pieces, having people request scales of you and having them choose sight-reading pieces, you’ll find all of your college auditions to be a lot easier — you might even enjoy them!

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

Scales

For your virtual introduction video please perform the following scales: D major and e minor. Free choice of bowings.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two contrasting solo pieces or movements of one piece. The choice of solos is up to the applicant. Demonstrating tone, musicianship and technique are all important in the repertoire selection. Suggestions include, but are not limited to:

• Telemann, Stamitz, or Hoffmeister concertos
• Bach – concertos, Cello Suites, Violin Partitas
• Romantic or contemporary concertos and pieces

If you have any questions, contact viola professors Molly Sharpe or Stephen Schmidt. You may also contact Susanna Klein, coordinator of strings.

Scales

For your virtual introduction video please perform the following scales: C major and b minor, three octaves.  Free choice of bowings.

Additional scales may be requested during your audition.

Audition Pieces

For your audition, you should prepare two contrasting solo pieces or movements of one piece. The choice of solos is up to the applicant. Demonstrating tone, musicianship and technique are all important in the repertoire selection. Suggestions include, but are not limited to:

• Mozart – any concerto
• Bach – any solo sonata and partita
• Any romantic concerto
• Beethoven – Romances

If you have any questions, contact violin professor Meredith Riley or Susanna Klein, coordinator of strings.

Scales

For your virtual introduction video please perform the following scales: any major scale in whatever key suits your voice.

Additional scales may be requested during your audition.

Audition Pieces

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.  Musical theatre, commercial, pop and gospel songs are not appropriate for the audition. Choral parts (soprano, alto, tenor or bass lines from choral works) are not acceptable.

Repertoire suggestions
English language

• Folk song arrangements such as Quilter’s “The Arnold Book of Old Songs”
• 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

Foreign language

• If you wish to present a selection in a foreign language, standard art songs in French, German, Italian and Spanish are appropriate.

Accompaniment

Auditions should be accompanied by piano.  Live accompaniment is preferred but recorded accompaniment is acceptable.

Preparation tips

Your song choices should present your voice at its best. Your musicianship and the beauty of your singing are important — the difficulty of your music is not.

A career in music requires that you play the piano and read music with fluency. Your audition will be more successful if you have studied a musical instrument and are familiar with the keyboard.

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

Applicants will upload videos in SlideRoom after submitting the Common Application. In SlideRoom, you will upload an introductory video of yourself. The video should include the following:

1. 1. A brief introduction including your name, where you are from, what instrument you play and how long you have been playing. 
   2. You should also perform scales of your instrument. Scale requirements for each instrument can be found here on the audition requirements page.

Then you will additionally upload 2 more videos showcasing contrasting pieces. Piece suggestions can be found by instrument above. Please upload separate videos per piece. At the beginning of the video, please introduce the name of the piece and the composer.  

Yes, in person auditions will have the chance to meet Faculty.

Virtual auditions will need to reach out to music@vcu.edu to see about scheduling a time to meet with Faculty. Meetings with Faculty are not guaranteed for virtual auditions.

Once we receive your video audition and all other components of your application have been submitted (transcripts, test scores, etc.) you will receive a decision within 2 weeks.

Do your best with what is available to you. You can use some basic strategies to improve the quality of your recording, such as:

• Minimize background noise by turning off fans and appliances, closing doors and windows, etc.
• Set up your device on a stable surface and make sure the microphone is not obstructed.
• Do some test recordings and experiment with the placement of your device to see what will give you the best sound. Listen to the recording on more than one device if you can.
• Record your video in a well-lit space.

Please submit one video for each piece.

You’ll only submit your prepared pieces in SlideRoom.

Auditions should be accompanied by piano.  Live accompaniment is preferred but recorded accompaniment is acceptable.  Contact Ken Wood at kewood@vcu.edu for more information.

Contact Justin Alexander at jlalexander@vcu.edu for more information.