DMA in Church Music

• Solo Repertoire: 
  • A movement from a standard concerto.
  • One or two additional contrasting selections, demonstrating both lyrical expression and technical skill. This may include individual movements from multi-movement works, or complete works that stand alone. Selections should be performed without accompaniment. Optional: Applicants are encouraged to pick one of their selections by a composer from an historically underrepresented racial/ethnic group, gender, and/or culture. Choosing works that represent the applicant’s own cultural background is also welcomed. See suggestions listed below:
    • Jenni Brandon: Colored Stones
    • Nancy Galbraith: Sonata
    • William Grant Still: Three Songs
    • Adolphus Hailstork: Bassoon Set
    • Ulysses Kay: Sonata 
    • Mark Lomax: Trouble Don't Last for bassoon and piano 
    • Francisco Mignone: 16 Waltzes for solo bassoon
    • Natalie Moller: Translations: One movement
    • Jeff Scott: Elegy for Innocence
    • Jose Siqueira: Three Etudes
    • Jacqueline Wilson: Dance Suite
• Etude: An etude of your choice from 25 Studies in Scales & Chords Op. 24 by Ludwig Milde.
• Orchestral Excerpts: Three excerpts from the standard orchestral repertoire. Suggestions include, but are not limited to:
  • Mozart: Overture to The Marriage of Figaro
  • Tchaikovsky: Symphony no. 4, movement 2
  • Ravel: Bolero
  • Stravinsky: Rite of Spring
  • Shostakovich: Symphony No. 9, movements 4 and 5
  • Beethoven: Symphony 4, movement 4

• We prefer to hear auditions without piano accompaniment.
• First movement of a standard concerto, including cadenza if applicable, memorized
• Two contrasting movements of unaccompanied Bach, memorized
• Single movement virtuosic work or etude
• Sonata movement of the candidate’s choice demonstrating stylistic contrast

• Solo Repertoire: Mozart Concerto for Clarinet K622 – 1^st movement, exposition only.  Two additional works or movements of contrasting style from the standard repertory (such as Weber, Spohr, Copland, Nielsen, Brahms, Schumann, or Debussy). We prefer to hear auditions without piano accompaniment.
• Orchestral Excerpts: 
  • Beethoven: Symphony No. 6 – 2^nd movement – measures 68-78
  • Brahms: Symphony No. 3 – 2^nd movement – opening until measure 23
  • Mendelssohn: Scherzo from A Midsummer Night’s Dream – opening until rehearsal B

• A movement of a concerto or other major work from the double bass repertoire
• Another piece or movement from a larger work in contrasting style
• Two contrasting movements of solo Bach (from the suites for cello)
• Two standard orchestral excerpts by different composers

• Live Audition
  • Two movements of a major work like a sonata or concerto (piano accompaniment is optional)
  • An unaccompanied work of contrasting style or period
  • Five standard band/orchestra excerpts
  • (Optional) A selection showing any secondary area of expertise (for example, doubling or jazz improvisation)
  • All two octave major and minor scales by memory
  • Sightreading

•  
• Three contrasting selections from different stylistic time periods that demonstrate both lyrical expression and technical skill. The selections should come from three different works. Individual movements from multi-movement pieces and complete pieces that stand alone are equally welcome.
• Scales: All major scales and arpeggios.
• Three contrasting orchestral excerpts of your choice. (Some examples include: Mendelssohn Scherzo from A Midsummer Night's Dream, Debussy Prelude to the Afternoon of a Faun, Ravel Daphnis et Chloe, Stravinsky Firebird Suite, Saint-Saens Carnival of the Animals, JS Bach 'Aus Liebe' from St. Matthew Passion, Hindemith Symphonic Metamorphosis, Beethoven Leonore Overture No. 3, Prokofiev Peter and the Wolf)
• Selections should be performed without piano accompaniment.
•  

• Two works of contrasting styles and periods from the harp repertoire
• Three contrasting orchestral excerpts

•  
• We prefer to hear auditions without piano accompaniment.
• All major and harmonic-minor scales
• A single movement from two different solo works of contrasting style and character. Piano accompaniment is not required
• One étude from Verne Reynolds 48 Etudes and Maxime Alphonse Book No.5
• 3-5 contrasting orchestral excerpts as appropriate to training and experience
• Sight-reading
•  

• Solo Repertoire: A movement from a standard concerto. 
• Two other contrasting selections from different periods or styles of composition. Repertoire can be by a standard composer or by an underrepresented composer. We prefer to hear auditions without piano accompaniment. Optional: Applicants are encouraged to choose from the suggestions listed below by underrepresented composers:
  • Jennifer Higdon: Oboe Concerto
  • Alyssa Morris: Collision Etudes for Oboe Solo
  • Oscar Navarro: Legacy Oboe Concerto
  • Jenni Brandon: Wood Song 
  • Clara Schumann: Romances
  • James Lee III: Principal Brothers No. 2
  • Alyssa Morris: Four Personalities (first or last movements) 
  • Thea Musgrave: Night Windows for Oboe and Piano
  • Marina Dranishnikova: Poem
• Etude: an etude from any of Ferling, Bozza Etudes, or any of the Sixteen Grand Studies by Barret.
• Orchestral Excerpts: Three excerpts from the standard orchestral repertoire. Suggestions include, but are not limited to: Ravel Le Tombeau de Couperin, Brahms Violin Concerto, Debussy La Mer, Beethoven Eroica Symphony, Rossini La Scala di Seta, Stravinsky Pulcinella, and Strauss Don Juan.

MM in Performance (Organ)

• Solo repertoire of at least 30 minutes in duration from three style periods. The program must include one large work of J.S. Bach such as a trio-sonata, a large-scale diptych, or another comparable work, and one virtuosic work from the 19^th, 20^th, or 21^st centuries. Auditions in person are recommended but not required.

MM in Church Music - Performance (Orgran)

• Solo repertoire of at least 20 minutes in duration from three style periods. The program must include one work of J.S. Bach, such as a trio-sonata, large-scale chorale-prelude (from the Leipzig collection or Clavierübung III), or a diptych. Auditions in person are recommended but not required.
• One hymn (extended introduction and three verses with varied accompaniment, including interlude with modulation before the last verse)

D.M.A. in Church Music with Organ Concentration

Prepared to play a thirty-minute audition, including at least the following components:

• one major work by J. S. Bach, such as a prelude and fugue
• one work from a representative Romantic composer
• one work from the 20th or 21st century

Graduate percussion applicants are required to submit a pre-screening video (requirements below) with their music application. The pre-screening video is due by December 1. After evaluation of the pre-screen video, those that are qualified will be invited to a live audition and will have the opportunity to perform the audition repertoire for the faculty. All candidates are welcome to communicate directly with Dr. Todd Meehan with questions regarding their application, repertoire, etc.

Pre-screening:

• A keyboard solo of significant length
• Concert snare drum solo or etude
• Timpani solo or etude

Live Audition Material (if invited):

• Mallets:
  • One 4-mallet marimba or vibraphone solo of significant length
  • Two orchestral mallet excerpts of your choice
• Snare:
  • One concert solo or etude (ex. Delecluse etude or something of similar difficulty)
  • One rudimental solo or etude (played on a concert snare, ex. Wilcoxon or something of similar difficulty)
  • Two orchestral snare excerpts of your choice
• Timpani
  • One solo or etude (ex. Carter or Delecluse etude or something of similar difficulty)
  • Two orchestral timpani excerpts of your choice
  • Demonstrate ability to tune intervals
• Miscellaneous - Please choose ONE of the following three areas to supplement your audition:
  • Multiple percussion solo
  • Drum set (demonstrating different styles or prepared solo)
  • Any other area in which you possess a degree of mastery (ex.accessory excerpts, hand drumming, other world music genres,etc.)

An audition program, at least 20 minutes in duration, of memorized solo repertoire from three style periods is required for admission in Pedagogy and in Church Music. The program should include at least one major work, such as a complete sonata, substantial variation set, major single-movement work, etc.

• Three contrasting selections from different stylistic time periods that demonstrate both lyrical expression and technical skill. The selections should come from three different works. Individual movements from multi-movement pieces and complete pieces that stand alone are equally welcome.
• Scales: All major and minor scales, arpeggios, and broken 3rds.  All full range.
• Selections should be performed without piano accompaniment.

Trombone applicants are required to submit a pre-screening video (requirements below) with their music application. After evaluation of the pre-screen video, those that are qualified will be invited to a live audition and will have the opportunity to perform the audition repertoire for the faculty.

• Pre-screening Video (Due December 15):
  • Ferdinand David (first page) beginning through letter D
• Live Audition Material (if invited):
  • We prefer to hear auditions without piano accompaniment.
  • Snedecor etude No. XI
  • Blazevich No. 63
  • Excerpts
    • Mahler 3 first solo
    • Rossini La Gaza Ladra
    • Wagner Ride

Trombone applicants are required to submit a pre-screening video (requirements below) with their music application. After evaluation of the pre-screen video, those that are qualified will be invited to a live audition and will have the opportunity to perform the audition repertoire for the faculty.

• Pre-screening Video (Due December 15):
  • A. Lebedev, Concerto in One Mvt down through measure 88 (before the tempo 1)
• Live Audition Material (if invited):
  • We prefer to hear auditions without piano accompaniment.
  • Otto Maenz - 20 Studies, No. 1
  • Doms - 24 Etudes, No. 1
  • Excerpts
    • Frank D minor
    • Strauss Till Eulenspiegel
    • Wagner Das Rheingold Spear Motif
  • Sight-reading and interview

Prospective Graduate Students should contact Prof. Rudd directly for pre-screening requirements.

• Pre-screening Video (due December 15)
  • Theo Charlier, 36 Etudes Transcendantes, No. 2 (Du Style) – beginning through measure 36.
  • J.B. Arban, Characteristic Study No. 12 – begin at measure 37 (C Major) and continue to the end
• Live Audition Material (if invited):
  • Charlier No. 2 Du Style – complete piece
  • Charlier 3: Intervalles (Les Tierces) – beginning to fermata before meno mosso
  • Hummel, Concerto for Trumpet, Movement I – First 80 measures of the solo part (up to the rests before the key change)
  • Orchestral Excerpts
    • Pictures at an Exhibition – Promenade (opening solo)
    • The Pines of Rome – offstage solo
    • Petrouchka – Ballerina’s Dance
    • One additional band or orchestral excerpt (player’s choice) or jazz/lead/commercial excerpt (player’s choice)
  • Sight-reading, G (concert F) major scale (ascending from low G to high D, then descending to low G), brief interview

• Two movements of a major work like a sonata or concerto (piano accompaniment is optional)
• An unaccompanied work of contrasting style or period
• Five standard band/orchestra excerpts
• (Optional) A selection showing any secondary area of expertise (for example, doubling or jazz improvisation)
• All two octave major and minor scales by memory
• Sightreading

• First movement of a 20th century concerto, memorized
• Two contrasting movements of unaccompanied Bach, memorized
• Single movement virtuosic work
• Sonata movement of the candidate's choice demonstrating stylistic contrast

• First movement of a standard concerto including cadenza, memorized
• Two contrasting movements of unaccompanied Bach, memorized
• Short work of the candidate's choice demonstrating virtuosity and stylistic contrasts, memorized

• A minimum of three vocal selections - additional selections may be offered at the applicant’s discretion.
• At least two art songs and/or arias in two languages other than English.
• One aria from a major sacred oratorio or cantata.
• No repertoire in a popular music style will be accepted for audition purposes.
• Prospective students must bring all repertoire for in-person auditions. Please have all music in a three-ring binder and copied double-sided to more easily facilitate page turns.
• All auditions will be video recorded for internal use only.