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Students planning to earn a bachelor of music through the Capital University Conservatory of Music follow a two-step process to become fully admitted.
We offer the option to complete your audition either on-campus or using a video. Be sure to note the audition requirements below prior to your audition.
Complete the audition application to select the date that best fits your schedule and to learn more about what to expect on your audition date.
The dates for 2015 are as follows:
We encourage students who are unable to attend an on-campus audition to submit a video audition. Follow the same instrument guidelines found below and upload your recorded audition pieces.
Contact Susanna Mayo, Coordinator of Conservatory Recruitment, by phone at 614-236-6101 or by email at email@example.com.
Bassoon | Clarinet | Composition | Double Bass | Jazz/Contemporary Bass | Euphonium | Flute | Horn | Classical/Jazz/Contemporary Guitar | Harp | Jazz/Contemporary Keyboard | Oboe | Organ | Percussion | Piano | Saxophone | Trombone | Trumpet | Tuba | Viola | Violin | Violoncello | Voice
Major scales in two octaves. A study of the following or equivalent: Jancourt, 26 Melodic Studies; Milde, Op. 24, 25 Studies; Weissenborn Studies. A solo piece from the following or equivalent: Galliard, Sonata No. 1 in B-flat; Weber, Concerto in F. Sight-reading.
Major and chromatic scales in two octaves. One etude from any of the following studies: Melodious and Progressive Studies Book I or II; Rose 32 Etudes; Rose 40 Etudes. A solo piece comparable to the following: Mozart, Concerto K. 622 (movements 1 or 3); von Weber, Concertino; Cavallini, Adagio and Tarantella; Poulenc, Sonata (movements 1 or 3). Sight-reading.
Composition applicants must submit a portfolio of representative original compositions, with the expectation of three to four works of contrasting style. The portfolio must be submitted with the audition application and should include notated scores of all acoustic compositions and recorded representations (CD or cassette of live performances or computer realizations) of all pieces. In addition to the composition audition/interview, you will be scheduled to audition on your primary instrument.
Major and minor scales and arpeggios in one, two or three octaves. Two contrasting – slow and fast – movements or complete works. Sight-reading.
Minimum one-octave major scales – all keys. Chromatic scale, minimum two octaves, starting with low F. Walking bass pattern over a 12-bar blues progression in B-fl at or F. Two selections must be chosen from the following: "Misty,” “Autumn Leaves,” “A-Train,” “Don’t Get Around Much Anymore,” “Satin Doll” or “Gone With The Wind.” Preparation of the two selections should be as follows: melody, bass line, solo (improvisation) optional. The two selections must be performed in contrasting styles (i.e. walking 4/4 swing style vs. bossa or ballad. The student also must prepare one selection of his or her choice. Sight-reading.
All major and chromatic scales, one octave. One etude from Rochut, Melodious Etudes or Tyrell 40 Progressive Etudes or equivalent, and a solo piece equivalent to or from the following: Blazhevich, Concert Piece No. 5; Barat, Andante and Allegro; Guilmant, Morceau Symphonique. Sight-reading.
Two-octave major and minor scales and arpeggios, all keys; three-octaves for C and chromatic. Two contrasting solos from different style periods. Possible solos from various periods are Bach, Handel or Telemann sonatas or suites (Baroque); Mozart, Quantz or Stamitz concerti (classical); Chaminade Concertino, Faure Fantasie, Poulenc Sonata (French/Romantic); the Debussy Syrinx, Hindemith Sonata, works by Muczynski (20th century). Sight-reading. (Optional: Orchestral excerpts of student’s choice. For example Brahms’ 4th Symphony, Beethoven’s Overture to Leonore #3, Debussy’s Afternoon of a Faun, Mendelssohn’s Scherzo. Minor scales [natural, melodic and/or harmonic] and arpeggios also are optional.)
All major and chromatic scales, one octave. Major arpeggios, legato and articulated. Two contrasting etudes from Kopprasch, Alphonse, Gallay or a comparable etude of the student’s choice. One solo movement from a concerto or sonata by Mozart, Franz Strauss, Richard Strauss, Hindemith or Heiden or a solo of comparable difficulty. Sight-reading.
Major scales, one or two octaves using at least two fingerings. Two solo pieces any style. Sight-reading melodies. Demonstrate improvisational skills and chord progressions if jazz/contemporary guitar major.
Major and minor scales in all keys. Two contrasting solos and two orchestral excerpts preferable, including one cadenza, e.g. “Nutcracker,” “Swan Lake” or Britten’s “Young Person’s Guide to the Orchestra.” Sight-reading.
Major and minor scales, hands together. Ability to play a prepared melody and accompaniment for two contrasting selections in the popular/jazz idiom. Realization of popular/jazz chord progressions at sight. Any prepared classical literature. Demonstrate improvisational skills.
Major and minor scales in two octaves. A study from one of the following or equivalent: Barret, Melodious Studies; Ferling, 48 Famous Studies; Sellner, Progressive Studies. A solo piece from the following or the equivalent: Handel, Sonata No. 1 or Concerto No. 2 in B-fl at; Emil Paladilhe, Solo De Concert; Haydn, Concerto in C. Sight-reading.
A minimum of two selections (three preferred) of contrasting styles or periods. One from the following or the equivalent: Prelude in G Minor, Prelude in F Major from J.S. Bach Eight Little Preludes and Fugues. Sight-read one hymn. Applicants who have not previously studied organ should play a Bach two-part invention or a comparable piece on the piano.
Applicant should demonstrate ability in a minimum of three of the following five areas: snare drum: solo or etude; mallet percussion: solo or etude using two, three or four mallets; timpani: contest solo, orchestral excerpts, or etude of moderate difficulty; drum set: demonstrate basic style concepts of drum set drumming and may prepare a short solo to demonstrate improvisational skills; multiple percussion: solo or etude of moderate difficulty. Student also should be prepared to sight-read and play rudiments and scales. Students should supply sticks, mallets and literature. Demonstrate improvisational skills if appropriate.
Candidates for piano study must demonstrate evidence reasonably justifying that they will satisfactorily complete a four-year degree program. They should have acquired systematic methods of practice and are expected to play fluently on all major and harmonic minor scales and arpeggios in four octaves. Standard works corresponding in difficulty to the sonatas of Haydn, Mozart and early Beethoven should have been studied. Repertoire for the audition should include three compositions in contrasting styles, comparable to the following: Beethoven Sonata Op. 2, No.1; Mozart Sonatas K283 and K332; Chopin Preludes, Waltzes and Nocturnes; a dance movement from J.S. Bach Suites or a prelude and fugue from the WTC I&II. Audition material must be performed from memory. Sight-reading materials will be given at the audition.
Major and chromatic scales, two octaves or full range. Minor scales optional. An OMEA Class A or comparable contest-level solo such as the Maurice Tableaux de Provence, Heiden Solo or Sonata, Creston Sonata, Sonatas by Bach or Handel, Ibert Concertino da camera, etc. Jazz saxophonists may present two contrasting selections (such as medium swing, ballad, straight-eighth, be-bop, etc.) with improvisation, in place of or in addition to the above materials. A play-along CD is recommended for jazz auditions. All wind players will be asked to sight-read as part of the audition.
All major and chromatic scales. One etude from Rochut, Melodious Etudes, Book 1; or Tyrell, Blume, Kopprasch or equivalent and a contrasting solo composition equivalent to Barat, Andante and Allegro; Guilmant, Morceau Symphonique; Rimsky-Korsakov, Concerto. Jazz trombone players may present two contrasting selections (such as medium swing, ballad, straight-eighth, be-bop, etc.) with improvisation, in place of or in addition to the above materials. A play-along CD is recommended for jazz auditions. All brass players will be asked to sight-read as part of the audition.
Major and chromatic scales, minor scales optional. Two contrasting etudes from: Brandt, Concone, Goldman, Small, Vannettelbosch, Voxman or a comparable etude of applicant’s choice. One solo selection from a concerto or sonata by Arutiunian, Haydn, Hindemith, Hummel, Kennan, Stevens or a comparable solo of the applicant’s choice. Jazz trumpet players may present two contrasting selections (such as medium swing, ballad, straight-eighth, be-bop, etc.) with improvisation, in place of or in addition to the above materials. A play-along CD is recommended for jazz auditions. All brass players will be asked to sight-read as part of the audition.
All major and chromatic scales one octave. Two contrasting studies from one of the following or the equivalent: Blazhevich, Grigoriev, Vasiliev, Bordogni, Rochut. A solo piece from the following or the equivalent: Bach/Bell, Air and Bourree; Beversdorf, Sonata for Tuba; Capuzzi/Catilinet, Andante and Rondo; Catozzi, Beelzebub; Nelhybel, Suite. Sight-reading.
Major and minor scales and arpeggios. One etude equivalent to Kreutzer. Two short contrasting solos, or two contrasting movements of the same work.
Major and minor scales and arpeggios (three octaves preferred). One etude from Kreutzer, Rhode or equivalent. Two contrasting solo works, or two contrasting movements of a concerto or sonata.
Major and minor scales in three octaves through four sharps and four flats. An etude equivalent to Dotzauer or Schroeder Foundation Studies. Two solos of contrasting style, or two contrasting movements that show both bowing and fingering technique. Sight-reading.
All material must be memorized.
Capital University is a private four-year undergraduate institution and graduate school located in the Columbus, Ohio, neighborhood of Bexley. Copyright © 2014 Capital University