undergraduate music admissions
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AUDITION REQUIREMENTS
Music auditions are classified as either performance-level or concentration-level.
Performance-level auditions are for students interested in undergraduate degree programs in:
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Performance
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Piano Pedagogy
Concentration-level auditions are for students interested undergraduate degree programs in:
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Jazz Arranging/Composition
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Music Education
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Music Education/Jazz Studies Component
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Music History
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Music Theory
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Music Therapy
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Music Therapy/Jazz Studies Component
Composition
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Composition students do not have a performance or concentration audition.
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Applicants must submit (via mail or email) a composition portfolio including three original compositions. Recording can supplement the scores, but are not required. Portfolios will NOT be returned. Deadline: January 1, 2012
Portfolios should be sent to:
Kristi Morgridge
Presser Hall
2001 N. 13th Street
Philadelphia, PA 19122
kristi.morgridge@temple.edu
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Students will be invited, based on portfolio review, to a live interview, theory testing and comprehensive testing.
AUDITION REQUIREMENTS
INSTRUMENTAL
Brass | Guitar | Harp | Percussion | Strings | Winds
JAZZ
Instrumental | Percussion | Voice
KEYBOARD
VOICE
INSTRUMENTAL
CLASSICAL GUITAR
Guitar Performance and Concentration
BM: Classical Guitar Performance
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
All auditions must be taken on a classical guitar using classical technique.
Technique:
Repertoire:
These works must be performed from memory.
HARP
Harp Performance and Concentration
BM: Harp Performance
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
Repertoire:
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An etude by Bochsa, Posse or equivalent.
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A fast movement from a Baroque or Classical sonata or concerto, i.e. Handel, Dittersdorf, Boieldieu, memorized.
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A romantic or 20th century work from the major harp repertoire, i.e. Impromptu, Op. 86 by Faurè, Impromptu-Caprice by Piernè, Scintillation by Salzedo, memorized.
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Two orchestral excerpts and or cadenzas.
PERCUSSION
Percussion Performance and Concentration
Snare Drum
1. Perform one of the following solos or one of your own choice that is of equivalent of greater difficulty:
- The Glenwood Boy - Harr, in Haskell Harr Drum Method Book II (M.M. Cole)
- Pass in Review - Pratt, 14 Modern Contest Solos (Belwin)
2. Perform one of the following:
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No. 48 - Standard Drum Method - Podemski (Mills Music)
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No. 32 - Standard Drum Method - Podemski (Mills Music)
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No. 2 from Portraits in Rhythm – Cirone (Belwin)
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No. 13 from Portraits in Rhythm – Cirone (Belwin)
3. Perform the following rudiments.
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Multiple Bounce Roll (1) Loud (ff) to (2) soft (pp) to Loud
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Flams as eighth notes (q = 132 mm)
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Single Drags as eighths notes (q = 120 mm)
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Single and Double Paradiddles (Slow to Fast)
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Triple Ratamacue – Moderate to Fast Tempo
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Nine Stroke Roll (Double Stroke) - Moderate to Fast Tempo
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Five Stroke Roll (Double Stroke) - Moderate to Fast Tempo
Marimba or Xylophone
1. Perform (1) one of the following solos or one of your own choice that is of equivalent or greater difficulty.
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Sabre Dance - Khatchaturian - Goldenberg (Leeds)
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Any solo from Masterpeices for Marimba - McMillan (Pro Art)
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Page 66, no. VII - Modern School for Xylophone - Goldenberg (Chappel & Co.)
2. Perform scales and arpeggios (2 octaves), in major, through 3 sharps and 3 flats; and in harmonic minor, one sharp and one flat.
3. Applied (Performance) applicants: All of the above and a four mallet marimba solo (Examples below).
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Yellow After the Rain (Mitchell Peters, pub. M. Peters)
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Rain Dance (Alice Gomez, pub. Southern)
Timpani
1. Perform one of the following solos or études or one of your own choice that is equivalent or of greater difficulty.
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Scherzo - Peters, (Mitchells Peters, 3231 Beuda Place, Los Angeles, CA 90028)
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Three Designs for Timpani- Muczynski, (Schirmer)
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Pg. 31 from Musical Studies for the Intermediate Timpanist (Garwood Whaley, Merideth)
2. Perform a roll (1) Loud (ff); (2) Soft (pp).
3. Tune four notes given from the piano note.
4. Tune the tonic-dominant (the interval of a 5th) and the dominant-tonic (the interval of a 4th) in several key signatures after one given note on the piano.
STRINGS
String Performance (Double Bass – see below)
BM: String Performance
Technique:
Repertoire:
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Two contrasting movements of an unaccompanied
Bach sonata, partita or suite
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One movement from a Classical sonata or concerto
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One movement from a Romantic or Contemporary work to represent the student's level of proficiency
String Concentration (Double Bass – see below)
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
Technique:
Repertoire: Two contrasting movements from a Baroque sonata or suite and a composition from the Classical, Romantic or Contemporary period, which could be a movement of a concerto or sonata or a shorter work.
(Some flexibility in specific repertoire is permissible; the intention is that you select works of contrasting styles that are representative of your level of playing and show both lyrical and technical skill.)
Double Bass Performance
BM: String Performance
Technique:
Repertoire:
Double Bass Concentration
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
Technique:
Repertoire:
WINDS OR BRASS
Winds or Brass Performance
BM: Performance
Winds or Brass Concentration
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
JAZZ
PRESCREENING REQUIREMENT
All jazz guitar applicants to Boyer's jazz department must submit a preliminary screening recording (DVD, CD, video, or tape). Following the review of the recording, students will be contacted in order to schedule their audition.
Each applicant must perform West Coast Blues (pg. 401) and one additional jazz standard from The New Real Book, Sher Music Company - Volume 1. All selections must be performed from memory. Applicants are expected to improvise on each selection. Deadline: January 1, 2012
Please email YouTube links or audio files, along with your name, mailing address, and intended program, to: music@temple.edu. You will receive an email confirming that your files were received.
Jazz Instrumental Performance Major
BM: Jazz Performance
Jazz guitar applicants: Please see Pre-screening Recording requirements listed above.
Technique:
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Scales-major and minor (harmonic and melodic)
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Major and minor arpeggios, triads and seventh chords will be performed two octaves (piano four octaves)
Repertoire:
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Each applicant must perform Sandu and two additional jazz standards from The New Real Book, Sher Music Company - Volume 1. All selections must be performed from memory. Applicants are expected to improvise on each selection. (In the Sher "New Real Book, Volume I," Sandu is on page 307.)
Jazz Instrumental Concentration
BM: Jazz Arranging/Composition
BM: Music Education/Jazz Studies Component
BM: Music Therapy/Jazz
Jazz guitar applicants: Please see Pre-screening Recording requirements listed above.
Technique:
Repertoire:
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Each applicant must perform Sandu and two additional jazz standards from The New Real Book, Sher Music Company - Volume 1. All selections must be performed from memory. Applicants are expected to improvise on each selection. (In the Sher "New Real Book, Volume I," Sandu is on page 307.)
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Applicants of chord instruments may be asked to accompany on various styles such as: Latin, bossa nova, funk/rock, etc.
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Videotapes, audiotapes and/or DVD’s are accepted at the discretion of the audition committee. If a student is accepted, auditions must include all of the components listed above. The sight-reading component must be replaced with an étude (either classical or jazz).
Jazz Percussion
Jazz Percussion Performance and Concentration
BM: Jazz Performance
BM: Jazz Arranging/Composition
BM: Music Education/Jazz Studies Component
BM: Music Therapy/Jazz
Repertoire:
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Play one (1) chorus of time over the form of a jazz standard, and transition between brushes and sticks for various sections of the form (to be determined by the audition panel). This will be done alone, without the rhythm section.
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Sight read a single line snare drum etude.
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Sight read a drumset big band chart excerpt.
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Perform Sandu and one additional jazz standard from The New Real Book, Sher Music Company, with the provided rhythm section. (In the Sher "New Real Book, Volume I," Sandu is on page 307.) This will include playing behind a soloist, trading, and soloing over the form (to be determined by the audition panel).
Jazz Vocal Performance
BM: Jazz Voice Performance
Technique:
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Scales, major and minor (harmonic) one octave (solfege syllables preferred).
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Major and minor arpeggios, triads and seventh chords will be performed one octave.
Repertoire:
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Vocalists are expected to perform Autumn Leaves and two additional jazz standards from The New Real Book, Sher Music Company, Volume 1. (In the Sher "New Real Book Volume I", Autumn Leaves, with
lyrics, is on page 12. )
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Videotapes, audiotapes and/or DVD’s are accepted at the discretion of the audition committee. If accepted, auditions must include all of the components listed above. The sight-reading component must be replaced with an etude (either classical or jazz).
Jazz Vocal Concentration
BM: Jazz Arranging/Composition
BM: Music Education/Jazz Studies Component
BM: Music Therapy/Jazz
Technique:
Repertoire:
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Vocalists are expected to perform Autumn Leaves and two additional jazz standards from The New Real Book, Sher Music Company, Volume 1. (In the Sher "New Real Book Volume I", Autumn Leaves, with
lyrics, is on page 12. )
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All selections must be performed from memory.
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Applicants are expected to improvise.
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Applicants will be required to sight read material from the jazz idiom and/or a sight singing etude.
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Videotapes or DVD’s are accepted at the discretion of the audition committee. If accepted, auditions must include all of the components listed above. The sight-reading component must be replaced with an etude (either classical or jazz).
KEYBOARD
Piano Performance
BM: Piano Performance
BM: Piano Pedagogy
Technique:
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Scales, major and minor (melodic and harmonic), and arpeggios, major and minor, four octaves, hands together at a fast tempo
Repertoire: One piece from each of the following periods, all works are to be played from memory:
Classical: Entire sonata by Mozart, Beethoven (excluding Opus 49, Nos. 1 and 2), Haydn, or Schubert.
Piano Concentration
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
Technique:
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Scales, major and minor (melodic and harmonic), and arpeggios, major and minor, two octaves, hands together at a fast tempo.
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Sight reading.
Repertoire:
One piece from each of the following periods, at least two must be from memory:
Classical: First movement of a sonata by Haydn, Mozart, or Beethoven (except Opus 49, Nos. 1 and 2.)
Harpsichord Performance
BM: Harpsichord Performance
Applicants without previous harpsichord study, same as piano performance audition requirements.
Applicants with some harpsichord and piano experience, the work of J.S. Bach (required in the piano audition) or another baroque work should be performed on harpsichord, with the remainder as listed in the piano requirements.
Applicants with harpsichord but no piano experience should be prepared to perform:
Harpsichord Concentration
BM: Theory
BM: Music History
For applicants without previous harpsichord experience, same as Piano Concentration Audition Requirements.
For applicants with some harpsichord experience:
Applicants with harpsichord but no piano experience should be prepared to perform:
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A Prelude and Fugue
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Invention or Sinfonia of J.S. Bach
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A work from the French baroque repertoire
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A Scarlatti Sonata OR an English work from the Fitzwilliam Virginal Book.
VOICE
Voice Performance
BM: Voice Performance
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An Italian song from the 17th or 18th century
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An English song from the baroque or contemporary period
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An additional classical selection to be chosen by the applicant
Musical theater selections, jazz, pop, or original compositions are not acceptable.
All songs must be memorized and sung in their original languages.
Accompanist will be provided for on-campus auditions.
Voice Concentration
BM: Music Education
BM: Theory
BM: Music History
BM: Music Therapy
Musical theater selections, jazz, pop, or original compositions are not acceptable.
All songs must be memorized and sung in their original languages.
Accompanist will be provided for on-campus auditions.
