Audition - Conservatory of Performing Arts

Music education, music therapy, music composition, instrumental performance, voice performance, keyboard performance, music theory, music history & literature, Bachelor of Arts in music.

Classical vocalists and instrumentalists have the option of submitting a recorded audition.

Instrumental & Classical Voice Auditions: Zoom

Instrumental & Classical Voice Auditions: On-Campus

Instrumental & Classical Voice Auditions: Recorded

Accepted throughout the audition season for a March decision.

Recorded Audition

Classical vocalists and instrumentalists, including piano and organ, may instead submit a recorded audition to the Conservatory of Performing Arts by selecting the recorded audition option on the application.

Recorded audition materials may be uploaded into the applicant portal, after submitting the audition fee by clicking "Edit Portfolio." The recorded audition will be reviewed after the application, uploaded audition, and supporting materials have been received.

Music theatre applicants will only be asked to sing live on their audition date regardless of format or location of audition.

By your audition date, you are expected to upload a one-minute monologue, one-minute wild card video, one-minute dance combo video, and a 60-second video of the applicant singing any song that they would like, for faculty review. In addition, you should upload a headshot and resume.

Music Theatre Auditions: Zoom

Music Theatre Auditions: On-Campus

Music Theatre Organization Specific Auditions

Applicant's membership in a specific organization will be checked prior to confirmation except for the Chicago Unified Auditions which are open to all.

Please submit your audition fee using your applicant portal after submitting your application. Instructions for logging into your applicant portal are emailed once your application is received.

The audition fee for all auditions is $125 and is non-refundable. Students who wish to audition for more than one Conservatory program are only charged a flat rate of $125.

You will receive an email confirmation of your payment. Audition confirmations will also be emailed when finalized.

If paying the audition fee is a financial hurdle, you are invited to contact music@yqczg.net to request an audition fee waiver. The Baldwin Wallace Conservatory of Performing Arts is dedicated to ensuring that all prospective students regardless of financial standing can secure an audition opportunity if spots are currently available.

Soon after payment of the audition fee or approval of the fee waiver, you will have access to the audition calendar within the applicant portal to select a date to conduct your audition.

Whether you audition on-campus, Zoom or a recorded video, we will offer all applicants the opportunity to attend an information session prior to their audition.

In addition, masterclasses, sample lessons and Q&A sessions with faculty and current students may be offered throughout the audition season. We invite you to take advantage of as many of the sessions as possible to enrich your understanding of the BW Conservatory of Performing Arts culture.

For those auditioning over Zoom, off campus, or recorded video, we invite you and your family to schedule a personal campus tour and information session. We look forward to seeing you on campus, off campus, or online this audition season!

Violin: Three contrasting movements should be selected that demonstrate the applicant's range of capabilities, both technical and stylistic. These three works should include one movement of a standard concerto, one movement of an unaccompanied work (such as a Bach solo sonata or partita) and one work of the applicant's choice. Works by at least two different composers should be represented on the audition. Applicants are encouraged to consult with Steve Koh (skoh@yqczg.net) if there are any questions about these repertoire requirements.

Viola: Three contrasting movements which demonstrate a student's range of capabilities. These movements should include a movement of a concerto (or work for viola and orchestra), a movement of an unaccompanied Bach Suite (originally for cello) and a movement of the student's choice. In addition, applicants should be prepared to play a major and minor 3-octave scale of the applicant's choice, slurred and spiccato. Applicants are encouraged to contact Lembi Veskimets (kveskime@yqczg.net) if there are any questions about these repertoire requirements. Viola Applicants are also required to submit a letter of recommendation from their private viola teacher.

Cello: Any three contrasting works which demonstrate the student’s range of capabilities, both technical and stylistic. The applicant may choose movements from any repertoire including sonatas, concertos, Bach Suites, or etudes/caprices. If the applicant wishes, it is acceptable to pick 2 movements from the same work, though at least 2 composers must be represented. Although not a requirement, it is highly encouraged to select at least 1 work from an underrepresented composer. Applicants are encouraged to consult with Khari Joyner (kjoyner@yqczg.net) if there are questions about these repertoire requirements.

Double Bass: Two contrasting movements from the standard repertory plus 1 technical etude, which demonstrate the student’s range of capabilities. Standard repertory includes Baroque sonatas by Eccles, Marcello, Scarlatti and Vivaldi and concertos by Dragonetti, Dittersdorf and Koussevitsky. In addition, applicants should be prepared to play one 3-octave major/melodic minor scale and arpeggio, slurred and detaché. Applicants are encouraged to consult with Charles Carleton (ccarleto@yqczg.net) if you have any questions about the repertoire requirements.

Harp: Two solos of contrasting period/style of the applicant's choice, and two excerpts from the standard orchestral repertoire. Applicants are encouraged to consult with Jody Guinn (jguinn4277@aol.com) if there are any questions about these repertoire requirements.

Guitar: Guitarists of varying backgrounds and styles (e.g., classical, rock, jazz) are encouraged to audition for acceptance to the guitar studio at BW. All players should prepare three contrasting pieces/excerpts (approved by BW faculty before audition day; backing tracks are welcomed) that demonstrate their range of capabilities and artistic interests (sound equipment can be provided on request, please contact guitar faculty or admissions staff before the audition day). Applicants are encouraged to consult Bryan Reichert (breicher@yqczg.net) with questions/concerns regarding these audition requirements or to schedule a sample lesson.

Flute: One movement of a classical concerto or baroque sonata, i.e., Mozart Concerto in D major or G major or Bach Sonatas in E major or e minor. One piece from music by French composers (Schirmer) or equivalent. One piece of choice, in a contrasting style. All major, harmonic, and melodic minor scales; minimum two-octave range. Applicants are encouraged to consult with Sean Gabriel (sgabriel@yqczg.net) or Kaleb Chesnic (kchesnic@yqczg.net) if they have questions.

Oboe: Any movement(s) from a baroque sonata or concerto. And, a movement from Saint-Saëns, Hindemith or Poulenc sonatas, or from concertos by Mozart, Strauss, Vaughan-Williams, etc. Also, an etude by Barrett or Ferling; you might be asked for any of the major scales and arpeggios, as well as a full range chromatic scale from low Bb to high D. Applicants are encouraged to consult with Johanna Pennington (jopennin@yqczg.net) if they have any questions.

Clarinet: Prepare at least two selections in contrasting styles. Works such as sonatas by Hindemith, Saint-Saens, Brahms, and Bernstein, concertos by Mozart, Weber, and Debussy, and etudes by Rose and Cavallini would all be good choices but there are many other great works to choose from. Please do not hesitate to contact Amy Zoloto (azoloto@yqczg.net) or Justin Wisner (jwisner@yqczg.net) with any questions.

Saxophone: Two contrasting etudes by Ferling, Voxman or Mule. Additional solo repertoire is welcomed. Scales: All major and harmonic minor scales at any tempo. Feel free to contact Professor Piqué (gpique@yqczg.net) to inquire about repertoire choices or questions regarding the audition process. Come prepared to discuss in detail your current musical activities and goals for the future.

Bassoon: Major and minor scales through 5 flats and 5 sharps; 2 contrasting movements of a standard concerto or sonata from the following list: Mozart Concerto, Weber Concerto, Hummel Concerto, Saint-Saens Sonata, Hindemith Sonata, Telemann Sonata, Fasch Sonata; Etude of choice. Please email Professor English at tenglish@yqczg.net if you would like to perform another work or for any questions.

Trumpet: Please choose two contrasting movements from the standard sonata or concerto repertoire. In addition to the solo movements, please prepare two contrasting etudes by composers such as Arban, Boehme, Brandt, Clarke, Charlier, Ost, Voxman, Wurm, or similar. Choose three standard excerpts from the orchestral repertoire. Major scales and sight-reading may be required.

Horn: Select two contrasting etudes by Kopprasch, Gallay or Maxine-Alphonse. Then, select a solo of your choice. In addition, a selection of contrasting horn excerpts from the standard orchestral repertoire. All major and minor scales and arpeggios, two octaves.

Trombone: Etudes from materials such as Kopprasch, Blazhevich and Rochut. Solos such as David, Hindemith, Guilmant and Marcello. Orchestral excerpts welcome but not required. Sight reading may be asked.

Euphonium: Two contrasting etudes by Bordogni/Rochut, Arban or Kopprasch. Solo of choice from the standard repertoire. All major scales. Applicants are encouraged to contact Ken Heinlein (kheinlei@yqczg.net) with any questions.

Tuba: Two contrasting etudes; one taken from Bordogni/Rochut and one from Kopprasch. Solo of choice from the standard repertoire. (Suggestions include Hindemith, Vaughn Williams, Gregson, Lebedev or others of similar level). All major scales. Applicants are encouraged to contact Ken Heinlein (kheinlei@yqczg.net) with any questions.

Percussion: Etudes or pieces comparable in difficulty to those listed below. Performance on mallet percussion and snare drum is required along with the applicant's choice of timpani or drum set. Applicants should be prepared to play two major scales and sight-read on snare drum and marimba.

• Snare Drum: Performance in concert and rudimental styles, e.g., one of Cirone's Portraits in Rhythm and a solo from Wilcoxon's The All-American Drummer.
• Mallets: Performance of a marimba, xylophone, or vibraphone solo or etude by Musser, Peters, Smadbeck, Zeltsman, etc. Applicants are invited to perform a 2 and a 4-mallet solo if they wish.
• Timpani: An etude from the Goodman, Hinger, Hochrainer, Carroll or Delecluse methods. Interval tuning may be required.
• Drum Set: Demonstration of different styles and/or transcriptions. A written solo is not necessary.

Students may perform a styles demonstration or a transcription on drum set. This can be done in place of the timpani requirement. Applicants are encouraged to contact Josh Ryan (jryan@yqczg.net) with any questions.

All music majors with piano or organ as the primary applied instrument may choose to prepare an audition of one solo piece on an orchestral instrument or voice. This audition will be considered for the student's secondary instrument and/or large ensemble requirement for the desired degree program.

Organ

Three contrasting selections from the following categories:

1. Choral preludes, free works (preludes/fantasias and fugues, etc.), or other compositions by Bach or other composers of the Baroque era such as Buxtehude, Böhm, or Lübeck.
2. Works of the Romantic or Late Romantic era by composers such as Mendelssohn, Franck, Langlais, or Reger.
3. Works of the 20th or 21st Century by composers such as Hindemith, Sowerby, or Albright. Selections should include a balance of lyricism, expression, and virtuosity.

Memorization is not required but is strongly encouraged.

Applicants will be asked to sight-read a short selection. Applicants are encouraged to contact Dr. Sungeun Kim at skim@yqczg.net with any questions.

Piano

Applicants for the BM in Performance:

1. A Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach.
2. The first movement of a Sonata by Haydn, Mozart, or Beethoven (excluding Mozart Sonata, K. 545, Beethoven Sonatas, Op. 49, Nos. 1 and 2; and “Moonlight” Sonata, Op. 27 No. 2).
3. One contrasting work from the 19th, 20th, or 21st century

Applicants for Music Therapy, Music Education, Music Theory, and Music History:

1. A Two-Part or Three-Part Invention, or a Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach.
2. The first movement of a Sonata by Haydn, Mozart, or Beethoven (excluding Mozart Sonata, K. 545, Beethoven Sonatas, Op. 49, Nos. 1 and 2; and “Moonlight” Sonata, Op. 27 No. 2).
3. One contrasting work from the 19th, 20th, or 21st century.

Applicants for Music Composition and BA in Music:

1. One work from the Baroque era.
2. One contrasting work from the 18th, 19th, 20th, or 21st century.

All pieces must be memorized and should demonstrate a range of technical, musical, and expressive styles. Four-octave major and minor scales and arpeggios, and sight-reading are also part of all piano primary auditions. Applicants are encouraged to contact Dr. Sungeun Kim at skim@yqczg.net with any questions.

An accompanist or backing track/recorded accompaniment is expected for all voice auditions. An accompanist will be provided for all in-person voice auditions. 

Vocal performance applicants should prepare three memorized selections:

• Songs and arias of the 17th and 18th centuries.
• Art songs from the 19th century to the present.
• Operatic and oratorio literature may be presented when suitable for the singer.

At least one of the three pieces should be from the classical repertoire listed above and in a foreign language (Italian, German, or French). The two remaining pieces may be from any of the repertoire listed above.

Music education applicants should prepare three memorized selections:

• Songs and arias of the 17th and 18th centuries.
• Art songs from the 19th century to the present.
• Musical theatre cannon
• Popular music selection.
• Operatic and oratorio literature may be presented when suitable for the singer.

At least one of the three pieces should be from the classical repertoire listed above and in a foreign language (Italian, German, or French). The two remaining pieces may be from any of the repertoire listed above.

Examples:

• You may prepare three contrasting classical pieces.
• You may prepare one classical song and two musical theatre songs.
• You may prepare two classical songs and a pop song.

All other voice applicants (non-music theatre) should prepare three memorized selections:

• English or foreign-language art songs from the 19th century to the present.
• Musical theatre cannon.
• Popular music selection.
• Operatic and oratorio literature may be presented when suitable for the singer.

At least one of the three pieces should be from the classical repertoire listed above. The two remaining pieces may be from any of the repertoire listed above.

Examples:

• You may prepare three contrasting classical pieces.
• You may prepare one classical song and two musical theatre songs.
• You may prepare two classical songs and a pop song.

Music Theatre Audition: Your live or Zoom audition will include a voice audition, with acting, dance, wild card, and voice piece videos submitted via your applicant portal by your audition date.

• Voice: For your live audition, have three 1-minute cuts ready to go (there is no genre requirement - sing what you love). We will provide an accompanist for live auditions on campus; live auditions off campus or Zoom may require you to provide your own recorded accompaniment. We will choose two of your selections during your live or Zoom audition. In addition, in your applicant portal, please upload an approximately 60-90-second voice video of your choice for studio placement purposes. (Anything you'd like!)
• Acting: Upload an age-appropriate monologue that you connect with, from any genre.
• Dance: Upload a video or approximately 90 seconds, which shows off your most advanced level of dance. If you would like further guidance, email music@yqczg.net and we will provide you with a specific dance combination to follow.
• Wild Card: Upload a video, approximately 60 to 90 seconds long, of anything that shows your personality: a special skill, a passion speech, etc.
• Headshot and Resume: Must be uploaded to your portal by your audition date.

While BW does not prescreen, you are welcome to repurpose videos you have already recorded to meet the video requirements listed above.

Prospective music education, music theory, music history and literature, composition and music therapy majors will have a brief interview with one or more members of the faculty to assess the applicant's suitability for the desired major. Students who submit a recorded audition are responsible for contacting the Conservatory admission office to arrange the required interview.

It is recommended that candidates for the music education major submit at least one recommendation from an instructor in their school setting. This could be a band, orchestra or choir director or an academic teacher.

Prospective Bachelor of Music in composition majors must submit two to four original compositions for review. Recordings are strongly recommended (live or midi versions). The preferred option for submission is uploading them into the applicant portal by clicking "Edit Portfolio." Scores should be uploaded as PDF files and recordings should be uploaded as mp3 files. The second option is to upload files through our composition submission system.

Candidates for the music theory major or music history and literature major should describe their interest in pursuing a theory or history major in the music essay. In addition, candidates should submit a writing sample that demonstrates research ability.

Prospective acting BFA students will be welcomed on campus for an event where families are encouraged to attend. After this, prospective students may participate in a voice, movement or acting workshop and audition with their fellow auditionees for the acting faculty. The rest of the day can be spent touring the campus, enjoying lunch in our cafeteria, and attending an on-campus performance. All auditioning students and their families receive complimentary tickets to any show produced by the theatre and dance department the weekend that they audition.

Prospective acting BFA students will be invited to participate in a virtual information session prior to their audition experience on Zoom. Auditionees have approximately 10 minutes with the panel of acting faculty to audition and interview. Upon the conclusion of the audition experience, auditionees will have an opportunity to interact with current acting BFA students as well as engage in a Q&A session.

Please submit your $125 audition fee using your applicant portal after submitting your application. Instructions for logging into your applicant portal are emailed once your application is received. Auditions are scheduled after the audition fee is received.

Students who wish to audition for both a Conservatory of Performing Arts program and the acting BFA program are offered a flat rate of $125. Audition fee waivers are considered upon request by emailing mmiller@yqczg.net.