Audition Requirements

Required audition materials

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

Scales

Two major scales of the applicant’s choosing, one in a sharp key and one in a flat key. The selected scales should cover a minimum of two octaves ascending and descending. Play each scale in the following two ways:

• 100 bpm, Swing 8ths, legato tongued, somewhat soft
• 120 bpm, Straight 8ths, slurred, somewhat loud

Jazz Drumset applicants should perform the following rudiments open to closed to open (slow to fast to slow) on the snare drum:

• Double stroke roll
• Paradiddle-diddle

Repertoire

For in-person auditions 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 the following grooves (8-16 bars each, at a tempo that is appropriate for the given groove): medium swing, jazz waltz, bossa, samba, ballad (with brushes), 12/8 Afro-Cuban, and up tempo swing. 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.

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 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.

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

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”

Sightreading

Sight-reading will only take place for in-person auditions. 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.

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

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

Scales:

1 three-octave major scale, your choice of key

1 three-octave minor scale, your choice of key

Bowings and tempo for the scales are your choice, but please demonstrate good sound quality, intonation, and bow distribution.

Repertoire:

2 contrasting pieces (or movements) of your choice

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).

When choosing audition pieces, aim to demonstrate your current technique, tone, and musicianship level. Musicianship (phrasing and dynamics) is the most important of these!

What we mean by “contrasting”: your repertoire should demonstrate different skills. You could play a slow and a fast movement, for example, or a Baroque and Romantic piece.

Memorization is not required.

Piano accompaniment is optional for recorded auditions. We do not require accompaniment for live auditions; a pianist is not provided.

You do not have to bring extra copies of sheet music for your live audition.

If you have questions about auditions, please contact either cello professors: Prof. McComb or Prof. Veselov.

Required audition materials

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

Scales:

E Major, three-octaves

F Major, thee-octaves

F# Major, three octaves

G Major, three-octaves

Repertoire:

For your audition, you should choose 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

Sight-reading:

Sight-reading will only take place for in-person auditions. You will be asked to sight-read a short passage or etude 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.

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, Assistant Professor of Clarinet.

Required audition materials

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

Scales:

1 two-octave or three-octave major scale, your choice of key

1 two-octave or three-octave minor scale, your choice of key

Bowings and tempo for the scales are your choice, but please demonstrate good sound quality, intonation, and bow distribution.

Repertoire:

2 contrasting pieces (or movements) of your choice

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).

When choosing audition pieces, aim to demonstrate your current technique, tone, and musicianship level. Musicianship (phrasing and dynamics) is the most important of these!

What we mean by “contrasting”: your repertoire should demonstrate different skills. You could play a slow and a fast movement, for example, or a Baroque and Romantic piece.

Memorization is not required.

Piano accompaniment is optional for recorded auditions. We do not require accompaniment for live auditions; a pianist is not provided.

You do not have to bring extra copies of sheet music for your live audition.

If you have questions about auditions, please contact Ayça Kartari, Prof. of Bass.

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

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

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.

In-person auditions may be asked to play additional scales.

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

Sight-reading:

Sight-reading will only take place for in-person auditions. Sight-reading is not required; however, you may be asked to do so during your in-person 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 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

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

Etude or Scales:

One Etude from La Rivière, Grossi, or a similar exercise/etude book written for harp.

Or

Play two scales and arpeggios of your choice, one in a major key and the other in a minor key. You may choose the number of octaves and combination of hands that fits your current level of playing.

Repertoire:

2 contrasting pieces (or movements) of your choice.

Memorization is required for at least one selection.

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).

When choosing audition pieces, aim to demonstrate your current technique, tone, and musicianship level. Musicianship (phrasing and dynamics) is the most important of these!

What we mean by “contrasting”: your repertoire should demonstrate different skills. You could play a slow and a fast movement, for example, or a Baroque and Romantic piece.

Memorization is required for at least one selection.

We provide a Lyon & Healy Harp for your live audition and give you ample time to warm up on it.

You do not have to bring extra copies of sheet music for your live audition.

If you have any questions about auditions, please contact Anastasia Jellison, Professor of Harp.

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.

In person auditions may be asked to play additional scales.

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 Tabatha Easley, 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

In-person auditions may be asked to play additional scales.

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:

Prepare two major scales and two minor scales, (harmonic minor and melodic minor) two-octaves, in the keys of your choosing. Please perform the scales with hands together. We suggest that you perform the scales with a tempo of 92 per quarter note.

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

Repertoire:

For your audition, please prepare two contrasting selections (i.e., lyrical and technical): two pieces from two different historical periods by two different composers.

For example:

Sinfonia by Bach (Baroque) and Nocturne by Chopin (Romantic), or Etude by Czerny (Romantic) and Prelude by Debussy (Impressionist).

Memorization is not required.

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. 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

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

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 Tabatha Easley, 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.

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

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

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

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 Tabatha Easley, 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

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

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

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

Scales:

1 three-octave major scale, your choice of key

1 three-octave minor scale, your choice of key

Bowings and tempo for the two scales are your choice, but please demonstrate a strong tone and use a whole bow.

Repertoire:

2 contrasting pieces (or movements) of your choice

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).

When choosing audition pieces, aim to demonstrate your current technique, tone, and musicianship level. Musicianship (phrasing and dynamics) is the most important of these!

What we mean by “contrasting”: your repertoire should demonstrate different skills. You could play a slow and a fast movement, for example, or a Baroque and Romantic piece.

Memorization is not required.

Piano accompaniment is optional for recorded auditions. We do not require accompaniment for live auditions; a pianist is not provided.

You do not have to bring extra copies of sheet music for your live audition.

If you have questions about auditions, please contact Dr. Stephen Schmidt, Prof. of Viola.

Required audition materials

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

Scales:

One three-octave major scale, your choice of key

One three-octave minor scale, your choice of key

Bowings and tempo for the two scales are your choice, but please demonstrate a strong tone and use a whole bow.

Repertoire:

2 contrasting pieces (or movements) of your choice

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).

When choosing audition pieces, aim to demonstrate your current technique, tone, and musicianship level. Musicianship (phrasing and dynamics) is the most important of these!

What we mean by “contrasting”: your repertoire should demonstrate different skills. You could play a slow and a fast movement, for example, or a Baroque and Romantic piece.

Memorization is not required.

Piano accompaniment is optional for recorded auditions. We do not require accompaniment for live auditions; a pianist is not provided.

You do not have to bring extra copies of sheet music for your live audition.

If you have questions about auditions, please contact Susanna Klein, Prof. of Violin.

Required audition materials

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.

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.

https://apps.apple.com/us/app/perfect-piano-learn-to-play/id942937409

https://play.google.com/store/apps/details id=com.gamestar.perfectpiano&hl=en_US&gl=US

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.