Department of Music

 Each candidate must perform creditably on snare and one additional category as follows:

1. Snare Drum
   1. One solo or etude of moderate difficulty
   2. Demonstrate control of the sustained roll at all dynamic levels
   3. Sight reading at a moderately difficult level
2. Marimba, Xylophone or Vibraphone
   1. One solo or etude of moderate difficulty
   2. Major scales and arpeggios through four sharps and four flats and the chromatic scale performed from memory 
   3. Sight reading at a moderately difficult level
3. Timpani
   1. Perform a solo or etude of moderate difficulty B. Demonstrate control of the sustained roll at all dynamic levels
   2. Demonstration of accurate tuning
   3. Sight reading at a moderately difficult level
4. The candidate may perform a multiple percussion solo or etude.

Applicants in the live audition will perform with a rhythm section consisting of current SIUE students. 

• Perform and improvise over a blues shuffle, any key
• Perform and improvise on at least one of the following:
  • Jazz Standard or American Songbook Standard ("Autumn Leaves," "There Will Never Be Another You," etc.)
  • Bossa Nova (any Jobim, "Blue Bossa," etc.)
  • Ballad ("Misty," "Body and Soul," etc.)
• Ear evaluation through call and response
• Demonstrate current scale/chord knowledge
• Demonstrate current sight reading ability
  

Bass, piano and guitar players should be prepared to demonstrate accompanying techniques (comping chord changes, walking bass lines, etc.).

Drummers should be prepared to demonstrate the following rhythm feels: (1) swing, (2) latin-samba, (3) bossa nova and (4) ballad. Drummers should bring their own cymbals.

Perform one piece (or single movement) from either composer in each group below:

• J.S. Bach or S.L. Weiss
• F. Sor or M. Giuliani
• H. Villa-Lobos or A. Lauro

Perform as listed below:

• Naderman: Book of Seven Progressive Sonatas, Op. 92 (select any sonata)
• Grandjany: Petite Suite Classique (select any two movements)

All audition repertoire should be approved by Director of Keyboard Area Angela Kim, DMA, prior to the scheduled audition.

• Bachelor of Music
  • J.S. Bach: Any Choral Prelude or Prelude and Fugue
  • Brahms: Any Chorale Prelude from Op. l22
  • Langlais: Organ Book (No. l-Prelude, No. 5-Musette, or No. l0-Pasticcio)
• Master of Music
  • Perform at least three pieces from three different periods. Selections should equal the difficulty of: 
    • Baroque: Fugue, Prelude and Fugue, Toccata and Fugue, or Choral Prelude by J.S. Bach 
    • Romantic:
      • Brahms' Choral Prelude, Op. 122
      • A movement from Boellmann’s “Suite Gothique,” Op.25
      • Reger’s Chorale Prelude
    • 20th Century:
      • Benoit’s “Elevations”
      • Langlais (No.1, No.5, or No.10)
      • Manz’ Chorale Improvisation
      • Peeters’ Chorale Prelude
      • Willan’s Chorale Prelude
  • Technical Test
    • A short sight-reading

All audition repertoire should be approved by Director of Keyboard Area Angela Kim, DMA, prior to the scheduled audition.

1. Bachelor of Music
   • Perform at least two pieces from memory from two different periods. Selections should equal the difficulty of:
     • Baroque: Bach Inventions, Preludes and Fugues, or Scarlatti Sonatas
     • Classical: One movement of a Mozart, Haydn or early Beethoven sonata
     • Romantic: One movement work of Chopin, Brahms, Schumann, Schubert or Rachmaninoff
     • Contemporary: Bartok, Kabalevsky or Shostakovich
   • Technical Scales
     • Four octaves, major and minor, hands together
     • Arpeggios-four octaves, major and minor, hands together
2. Master of Music

All audition repertoire should be approved by the Director of Keyboard Area Angela Kim, DMA, prior to the scheduled audition.

1. Bachelor of Music
   • Perform at least two pieces from memory from two different periods. Selections should equal the difficulty of:
     • Baroque: Bach Inventions, Preludes and Fugues, or Scarlatti Sonatas
     • Classical: One movement of Mozart, Haydn or Beethoven sonata
     • Romantic: One movement work of Chopin, Brahms, Schumann, Schubert or Rachmaninoff
     • Contemporary: Bartok, Kabalevsky or Shostakovich
   • Technical Scales
     • Four octaves, major and minor, hands together
     • Arpeggios-four octaves, major and minor, hands together
2. Master of Music
   • Perform at least three pieces that include one solo piece and two collaborative works (must perform both vocal and instrumental) 
   • Solo piece should be performed from memory. Selection should equal the difficulty of standard classical sonatas or romantic one-movement works. Please see the performance major audition requirement for repertoire guidelines.
   • You MUST bring your own collaborators to the auditions. There will be no exception.
     • Collaborative selections should equal the difficulty of:
       • German Lieder by Brahms, Schubert, Schumann or Wolf
       • French Art Songs by Debussy or Fauré
       • One or more movements of String Sonatas by Mozart, Beethoven and Brahms
       • Other instrumental collaborative repertoire (Must be approved by the director of keyboard area via email)
     For Master of Music collaborative applicants: if you cannot bring your own collaborators, you must follow the performance major audition requirement.

For violin, viola and double bass applicants, please contact Lenora Anop, DMA, directly for further information.

For cello applicants, please contact Marta Simidtchieva, DMA, directly for further information

1. Performance Majors
   • Movement of a standard concerto
   • One or two movements of contrasting solo Bach
   • Three octave major and melodic minor scales
   • Sight reading
2. Music Education Majors
   • Perform two contrasting solo works
   • Three octave major and melodic minor scales
   • Sight reading
3. Music Minors
   • Solo of your choice
   • Major and melodic minor scales
   • Sight reading

Students who wish to major in Theory/Composition follow a two-step audition process:

• First, each candidate should contact Kim Archer, DMA, to arrange a composition audition. This audition consists of submitting the scores for three completed works, with recordings or MIDI demos if available. Normally, this may be done via mail or email.
• Second, each candidate should schedule an applied audition on his/her instrument or voice. Following that audition, there will be a brief, informal meeting with the Theory/Composition faculty to discuss the student's compositions and professional goals.