Music and Theatre Arts Program Auditions

The audition will consist of two songs sung from memory and a sight-singing example which will be provided during the audition. One memorized song must be in English and one song must be in a foreign language. Folk songs, spirituals, popular songs, or music theatre selections are not allowed.  No a cappella or recorded accompaniments are permitted.

The voice faculty suggests that appropriate literature for high school auditionees may be found in the Twenty-six Italian Songs & Arias published by Alfred Publishing, the Joan Boytim/Hal Leonard series, the Boosey & Hawkes Imperial Edition series, or the Oxford series.  Songs from the Class A State Music Festival lists are recommended.

Accompanist:

You must perform your pieces with live accompaniment. We can provide an accompanist for you, by request (at least 2 weeks’ notice and submission of sheet music required), or you may bring your own. Virtual auditioners may use either live or pre-recorded accompaniment in their audition video, but it must be audible. Please plan to memorize your music for your audition.

Requirements for incoming first-year and transfer students:

The audition will consist of excerpts from two songs sung from memory and a sight-singing example which will be provided during the audition. Each excerpt must be 32 bars in length and from the musical theatre repertoire. One should be an up-tempo and the other a ballad. Folk songs, spirituals, or popular songs are not allowed. No a cappella or recorded accompaniments are permitted.

The voice faculty suggests that appropriate literature for high school auditionees may be found in the Singer's Musical Theatre Anthology published by Hal Leonard or from vocal scores of the complete musicals. 

Accompanist:

You must perform your pieces with accompaniment - this can either be pre-recorded or live.  The accompaniment should be audible on the video.

You should memorize the music for your audition. 

Incoming First-Year and Transfer Requirements are the Same:

• Three prepared solos representing a variety of musical styles, with a minimum of one memorized. Repertoire selections should be comparable to pieces on the Wisconsin School Music Association’s “Class A” solo list. 
• Auditions will also include sight-reading.

Cello  

Requirements for incoming first-year and transfer students are the same: 

One major or minor scale, one etude (Popper, Lee, Duport etc.), and one movement of a sonata or concerto from the standard violoncello repertoire

String Bass

Requirements for incoming first-year and transfer students are the same: 

One two-octave major or minor scale of the applicant's choice;                  
Two contrasting pieces (these may be a movement of a solo work, or an orchestral excerpt)

Applicants primarily interested in participating in jazz ensembles should prepare a head and walking bass line for a jazz standard (this may count as one of the two contrasting pieces in the requirement above).

Viola

Requirements for incoming first-year and transfer students are the same: 

One three-octave scale, major or minor. Two contrasting pieces, WSMA Class A or equivalent

Violin

Requirements for incoming first-year and transfer students are the same: 

One three-octave major or minor scale and two contrasting pieces

Guitar

Requirements for incoming first-year and transfer students are the same: 

Classical Guitar

Two contrasting etudes, pieces, or movements of a larger solo work from the standard classical guitar repertoire.  

Jazz Guitar

Applicants primarily interested in participating in jazz ensembles should prepare one classical guitar piece and one jazz standard. For the jazz standard, you can play the head and improvise over a backing track or prepare a chord melody of a jazz standard.

General Requirements:

• One prepared solo (memorization optional)
• Major scales
• Sight-reading

Bassoon

Requirements for incoming first-year and transfer students are the same:

1. Scales
   1. Chromatic: low B-flat to top of student's range
   2. Major scales: two or more octaves, through four sharps/flats including C major
2. Prepared solo, preferably with accompaniment (if applicable). Entrance auditions on bassoon should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.  
3. Sight-reading

Suggested Repertoire:     

• Galliard, J. E. - Six Sonatas: two movements from any sonata
• Hailstork, Adolphus - Bassoon Set: any two movements
• Hindemith, Paul - Sonata
• Hurlstone, William - Sonata: any movement
• Merci, Luigi - Sonata in G minor     
• Mozart, W. A. - Concerto, K. 191: any movement     
• Telemann, G. P. - Sonata in F minor
• Weber, C. M. von - Concerto: any movement
• Weissenborn, J. - Capriccio
• Wilson, Jacqueline - Dance Suite: any two movements

Clarinet

1. Scales
   1. Chromatic: low E to high G above staff
   2. All scales 2 octaves, except E, F, F#, and G, which should be prepared 3 octaves if possible
   3. Transfer students only: Melodic minor scales through four sharps and flats
2. Two contrasting solos or solo with contrasting etude. Entrance auditions on clarinet should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list or on the MSHSL approved music list. See suggested repertoire below.
3. Sight-reading
4. Bass clarinet applicants should ideally audition on Bb clarinet, but if this is not an option, please prepare a solo equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest bass clarinet list.

Suggested repertoire:

Etudes:

• Rose: 32 Etudes
• Voxman: Selected Studies

Solos:

• Paquito D’Rivera: Vals Venezolano and Contradanza
• Adolphus Hailstork: Three Smiles for Tracey, mvt II
• Felix Mendelssohn: Sonata
• W. A. Mozart: Concerto
• Willson Osborne: Rhapsody
• Johann Stamitz: Concerto in Bb Major
• Eva Wasserman-Margolis: The Generation of Hope
• C.M. v.Weber: Concertino
• C.M. v.Weber: Concerto No. 1 or 2

Flute

Requirements for incoming first-year and transfer students are the same:

1. Major scales in at least two octaves
2. Two contrasting works or movements, contrasting both in tempo and in style, i.e., a slow legato work in the "singing style," and a faster technical work. Entrance auditions on flute should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Sight-reading

Suggested Repertoire:

• Johann Sebastian Bach: Sonatas
• Henri Büsser: Prélude et Scherzo
• Valerie Coleman: Fanmi Imèn, Danza de la Mariposa
• George Enesco: Cantabile et Presto
• Gabriel Fauré: Fantasie
• George Frideric Handel: Sonatas
• Paul Hindemith: Sonata
• Arthur Honneger: Danse de la chèvre
• Louis Ganne: Andante et Scherzo
• Philippe Gaubert : Fantaisie, Nocturne et Allegro Scherzando
• Katherine Hoover: Kokopeli, Winter Spirits
• Wolfgang Amadeus Mozart: Concertos, Andante in C
• Francis Poulenc: Sonata
• Georg Philipp Telemann: Fantasias, Suite in A Minor, Sonatas 

Oboe

Requirements for incoming first-year and transfer students are the same:

1. Scales: All major scales, 2 octaves or full range of student’s ability
2. One melody from the 40 Progressive Melodies of Barrett’s Oboe Method (imslp.org) (can also be found in Gekler’s Oboe Method, Book 2)
3. Prepared solo of two contrasting movements. Entrance auditions on oboe should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.  Please feel free to contact Dr. Garvey with any questions about audition repertoire.
4. Sight-reading

Suggested Repertoire:

• Tomaso Albinoni: Concerto for Oboe in d minor (imslp.org)
• Benjamin Britten: Six Metamorphoses after Ovid
• Madeline Dring: Danza Gaya (trevcomusic.com)
• Vivian Fine: Sonatina for Oboe and Piano (imslp.org)
• Ulysses Kay: Suite in B (trevcomusic.com)
• Alyssa Morris: Four Personalities (trevcomusic.com)
• Carl Nielsen: Fantasy Pieces (imslp.org)
• Clara Schumann: Three Romances, Op. 22 (imslp.org)
• Robert Schumann: Three Romances, Op. 94 (imslp.org)
• Camille Saint-Saëns: Oboe Sonata (imslp.org)
• William Grant Still: Incantation and Dance (trevcomusic.com)
• Georg PhilippTelemann: Sonata in A Minor (imslp.org)

Saxophone

Requirements for incoming first-year and transfer students are the same:

1. Scales
   1. Chromatic: low B-flat to high F
   2. All major scales: two octaves when possible
   3. Transfer students only: also prepare minor scales: through four sharps/flats including a minor
2. Prepared solo. Entrance auditions on saxophone should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Sight-reading

Suggested repertoire: Alto Saxophone:

• Creston: Sonata    
• Eccles: Sonata
• Frackenpohl: Dorian Elegy    
• Handel-Rascher: Sonata No. 3
• Jacobi: Sonata
• Rueff: Chanson et Passepied

French Horn

Requirements are the same for incoming first-year and transfer students:

1. Major and minor scales up through four sharps and flats
2. Prepared solo representing both lyrical and technical ability, or two works/movements that represent those areas. Entrance auditions on French horn should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Sight-reading

Suggested Repertoire:    

• Mozart Any of the four Concerti and Concert Rondo
• Strauss, R. Concerto Op. 11 (No. 1)
• Strauss, Fr. Concerto
• Hindemith Sonate
• Heiden Sonata

Trombone

Requirements are the same for incoming first-year and transfer students:

1. Scales
   1. Major scales ascending-descending in two octaves (where possible) 
   2. Chromatic scales in two octaves ascending &descending from any pitch
   3. Transfer students only: Minor scales through four flats/sharps including a minor
2. Prepared solo or two contrasting movements. Entrance auditions on trombone should be equal to or surpass the performance proficiency required for Class A solos or movements from the Sonata Category on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.  
3. Sight-reading - may be included with audition panel's discretion

Suggested Repertoire:    

• Olmutz Concerto, Elizabeth Raum, Editions Bim
• Red Sky, Anthony Barfield, Self Published
• "Andante et allegro J. Ed.", Barat, Southern Music Co.
• Sonata No. 3 in a minor, B. Marcello, Kendor Music Co.
• Sonata in f minor, Telemann, Ostrander, International Music Co.
• Annie Laurie, A. Pryor, Ludwig Music Co.     
• Morceau Symphonique, A. Guilmant, Warner Brothers
• Concertino, F. David, International Music Co. (Mvts. I &II or II &III)     
• Hasse Suite, Hasse, Gower Rubank
• Thoughts of Love, A. Pryor, Carl Fischer
• Cavatine, C. Saint-Seans, Durand & Co.
• Romance, C. M. von Weber, Kalmus
• Concerto for Trombone, L. Grondahl (pick two movements)

Trumpet

Incoming First-Year Students:

1. Scales 
   1. Chromatic: low B-flat to top of student's range  
   2. Major scales: two octaves - C, F, Bb, Eb, Ab, G, D, A, E
2. Prepared work(s) exhibiting flexibility, lyrical and technical qualities. Genres of prepared works should include contrasting styles from the baroque, classical, and 20th century musical periods. Entrance auditions on trumpet should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Possible sight-reading

Transfer Students:

1. Scales
   1. Chromatic: low G to top of student's range 
   2. All major scales: two octaves      
   3. Natural and harmonic minor: two octaves
2. Prepared work(s) exhibiting flexibility, lyrical and technical qualities. Genres of prepared works should include contrasting styles from the baroque, classical, and 20th century musical periods. Entrance auditions on trumpet should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Possible sight-reading

Suggested Solo Repertoire:

• Arban,  Jean-Baptiste, Carnival of Venice
• Arutunian, Alex, Concerto for Trumpet
• Balay, Guillaume, Andante and Allegretto
• Bozza, Eugene, Badinage
• Bozza, Eugene, Caprice
• Clarke, Herbert L., Maid of The Mist, Bride of The Waves, The (Polka Brillante), From The Shores of The mighty Pacific, Sounds From The Hudson, The Southern Cross, The Debutante
• Enesco, George, Legende
• Goedicke, Alexander, Concert Etude
• Handel, George Frideric, Aria con Variazioni
• Hindemith, Paul, Sonata For Trumpet
• Hummel, Johann Napomuk, Concerto for trumpet
• Haydn, Joseph, Concerto for Trumpet
• Kennan, Kent, Sonata for trumpet
• Neruda, Johann Baptist Georg, Concerto For Trumpet
• Ropartz, Guy, Andante and Allegro
• Thome, Francis, Fantasie
• Charlier  Theo, 36 Etudes transcendantes  #2, 4, 6, 24
• (Charlier Etudes must be in addition to a Solo)

Euphonium or Tuba

1. Major and minor scales up through four sharps and flats
2. Prepared solo representing both lyrical and technical ability, or two works/movements that represent those areas. Entrance auditions on euphonium or tuba should be equal to the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See suggested repertoire below.
3. Sight-reading

Suggested Repertoire:

Euphonium:

• Guilmant Morceau Symphonique
• Barat, J.E. Introduction and Dance
• Mozart Concerto for Bassoon, K. 191, Mvmt. I or Mvmt. III

Tuba:    

• Haddad, Don Suite for Tuba, Mvmt. I
• Vaughan-Williams, R. Concerto in F minor, Mvmt. I
• Gregson, Edward Tuba Concerto, Mvmt. I

Requirements for Incoming First-Year Students:

• Scales: Auditioning student may be asked to play all major scales and arpeggios on the xylophone or marimba.
• TWO prepared solos (memorization optional) demonstrating the student's musical and technical abilities on concert/orchestral snare drum (NOT marching/rudimental), and keyboard/mallet percussion (4-mallet technique encouraged but not required). An additional solo/etude on timpani and/or multiple percussion is fine, but not a requirement. Entrance auditions on percussion should, at minimum, be equal to or exceed the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. See www.wsmamusic.com under Festival Music List for possible repertoire suggestions. 
• Play an orchestral snare drum roll - begin as quiet as comfortable for around 3 seconds, then crescendo up about 3 seconds to the loudest roll comfortable, hold for a couple of seconds, then back down to the softer level again.

Requirements for Transfer Students:

• Scales: All major scales and arpeggios on the xylophone or marimba.
• THREE prepared solos (memorization optional) demonstrating the student's musical and technical abilities on concert/orchestral snare drum (NOT marching/rudimental), keyboard/mallet percussion (4-mallet technique encouraged but not required), and timpani. An additional solo/etude on multiple percussion is fine, but not a requirement. Transfer auditions on percussion should exceed the performance proficiency required for Class A solos on the Wisconsin School Music Association's State Contest list. 

Shared Requirements for All Applicants:

• Sight-reading required in all areas of percussion performance.
• Students are required to bring CONCERT size snare drum sticks, one pair medium mallets, and one pair timpani sticks. Concert snare drum, mallet instruments, small percussion, and timpani will be furnished at the audition site if needed. Please contact Dr. Crowell at least 5 days before the audition with any equipment requests so as to have the correct instruments in place for your audition time.

For students interested in becoming a composition major, the composition audition consists of a meeting with a composition faculty member to discuss your musical works and to take a musicianship exam.

For this meeting, bring some of your compositions (2-3 of your best works) along with you and any recordings if you have them. In addition, you must audition on your principal instrument (which might be voice) and take the piano placement exam (if not auditioning on piano). We also encourage composition students to audition on their secondary instruments (if you have one) as well.

Be sure to read the requirements for the audition process for those instruments. If you are accepted into the composition program, but not on your principal or secondary instrument, you may take five semesters of piano lessons to fulfill the applied instrument requirement.

Auditions take place in Haas Fine Arts Center (121 Water Street, Eau Claire). Your audition email will provide information on the best places to park, as this can vary depending on the day of the week. We recommend parking in the Water Street Lot (across Water Street from our building), crossing at the crosswalk, and entering through our main entrance on the east side of the building (facing the Water Street Bridge and the Chippewa River). Make your way to the main lobby and the audition check-in table, where you will receive printed materials including an agenda for the day and a building map. Depending on the instrument you are auditioning on, we may also have additional forms for you to fill out per the request of the studio faculty. Please plan to check-in during the designated window (typically from 8:45-9:15 AM, but please reference your agenda for the day to confirm).

While there is no official “dress code” for auditions, most students choose to wear clothes that are business casual, or what you might wear to an interview for a part-time or student job. We want you to feel comfortable during your audition.

We will hold an information meeting right away in the morning, led by our Department Chair and a panel of faculty members. This is an opportunity for you (students and parents) to learn more about our programs. We do ask that all prospective students attend this meeting.

We often also schedule Parent (and/or Interested Student!) meetings for a discussion related to the degrees at our institution as well as a Q&A session, and/or opportunities for prospective students to meet with our current Music & Theatre Arts students to ask questions best answered by fellow students. Please refer to your audition day agenda for exact times and meeting locations.

After the morning informational meeting, our newly renovated practice room suite on the second floor will be available for warming up on a first-come, first-served basis, and there are plenty of rooms. Our students and staff present on audition day will be happy to point you in the right direction to find them.

When it is your turn to audition, please be near your audition room (noted on your agenda) at least 5 minutes in advance of your assigned time. When the faculty are ready for you, they will find you in the lobby/hallway and bring you in. You will have a chance to introduce yourself, perform your prepared pieces, answer questions from faculty, and have a chance to ask questions yourself. Please refer to the “Audition Requirements for Studios” section above for a full list of what each studio expects to hear at an audition.

Once your audition is finished, you are free to leave. We encourage you to explore our two facilities (Haas Fine Arts and Pablo Center – check for their building hours), campus, and the city in general.

Letters of recommendation for auditioning for acceptance as a Music major or Music minor are a mandatory part of your audition application. You are required to supply 1 letter from a high school director or other appropriate music instructor, though you are welcome to submit additional letters if you’d prefer. Please see instructions below for requesting and submitting the letter(s). Letters must be submitted at least one week prior to the audition date.

As you complete your audition application, notify your recommenders to expect an email from "Gold for Blugolds Scholarship Network" or "scholarships@uwec.edu". Tell them to look for your name in the email's subject line. Letters must be submitted at least one week prior to your audition date. Be sure to notify your recommenders of this requirement so they can plan accordingly. Your recommenders will receive an email with a link to this website where they will upload their letter of recommendation. Make sure to explain to your recommenders that they will be submitting their reference letter online; they will not be printing and mailing a letter.

If you are auditioning for voice studio and/or Musical Theatre and planning to audition in-person, your audition must be accompanied live. You may bring your own accompanist, or our department can also provide one for you, free of charge. If you choose to use our departmental accompanist, we will need your sheet music (submitted through your audition application in Gold for Blugolds) no later than 2 weeks prior to your audition date. Music should be scanned as a pdf (one file per piece) and either uploaded to your Gold for Blugolds audition application or emailed to musthe53@uwec.edu.

Virtual auditioners for voice studio and/or Musical Theatre may choose to use either live or pre-recorded accompaniment in their audition video, but it must be audible.

For all other instrumental auditions, you are welcome to bring your own accompanist, but it is neither expected nor common. We are unable to provide one for you.

All prospective students may do a piano placement exam on their audition day, which includes  sight-reading and an assessment of fundamental keyboard skills. If you have had piano lessons, this is a good opportunity to test in to a higher class piano course. To sign up, please note your desire to do one in your Gold for Blugolds audition application.

Students with little or no piano background will be placed into the first class piano course (MUSI 106). Applicants with previous keyboard experience who feel a more advanced class may be appropriate will take a keyboard placement exam on the audition day.

If you wish to test out of Class Piano (MUSI 106) and be placed into Advanced Class Piano (MUSI 108), you should demonstrate:

• the ability to sight read both clefs with hands together
• basic knowledge of scales and key signatures
• understanding of fundamental chord progressions (I, IV, V)

If you wish to test out of Advanced Class Piano (MUSI 108) you should demonstrate:

• advanced knowledge of scales and/or arpeggios
• performance of a prepared solo(s)
• intermediate sight-reading skills
• ability to harmonize melodies with chord symbols given
• ability to transpose

Transfer Students and Applicants with AP Music Theory Credits

If you have completed the Advanced Placement Exam in music theory with a score of 3 or better, or if you have had college level music theory at another college or university, you can take a Written Theory and Aural Skills Placement Exam during the January audition if you are entering the music program in the spring semester, or during the August audition if you are entering the music program in the fall semester.  This exam takes approximately an hour and a half to complete.

To register for a Music Theory Placement exam, please indicate your desire to take the exam in your Gold for Blugolds application or contact the office at musthe53@uwec.edu.

An outline of this exam is available by clicking the link below.  For information on how to receive college credit for previous work in written theory and aural skills, please contact us.

Music Theory and Musicianship Placement Exam Outline

Additionally, upon acceptance into the Music program, you will receive information related to a free Music Theory assessment, which can help determine if it would be beneficial for you to take a summer Music Theory course to prepare for fall entrance into Written Theory I (MUSI 141) and Aural Theory I (MUSI 142).

While it is preferred that students audition in-person, we do currently offer a virtual audition option for those who would have to travel quite a distance to audition with us on campus. Virtual auditions require that audition videos be submitted via email.

Music Theory Placement exams and Piano Placement exams are only offered in-person; there is no virtual option.

All students who audition for the Music & Theatre Arts Department at UW-Eau Claire are automatically eligible for departmental scholarships – we distribute close to $60,000 in scholarships to first-year students every year! There are no extra steps required on your part. Once you complete your audition, you will be considered for these funds.

All our scholarships for incoming students (and nearly all scholarships for continuing students) are for majors/minors only – a few ensembles have non-major scholarships (Singing Statesmen, BMB, and Women’s Concert Chorale), but the majority of our scholarships are earmarked for majors/minors within the department.

Scholarship decisions are made following the final spring audition date – if you are selected for a scholarship, you will receive notification with your acceptance letter to the program.