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Students planning to study in the following areas need to complete a two part process to gain admittance to both Capital University and the Conservatory of Music.
Be sure to note the audition requirements below prior to your audition. On-Campus auditions The audition dates for Fall 2017 are as follows:
Plan to be on campus starting at 9:00 a.m. until early afternoon on your scheduled audition day. You will receive your individual schedule with your audition time, listening skills assessment time and theory assessment time when you arrive for your day.
Complete the audition application and let us know what day works best for you.
*Your audition date will be confirmed after you have been academically accepted to Capital University.
Video auditions We encourage students who are unable to attend an on-campus audition to submit a video audition. Follow the same guidelines found by clicking above on "Emphasis Requirements and Professors" and upload your recorded audition pieces. Questions?Contact Susanna Mayo, Coordinator of Conservatory Recruitment, by phone at 614-236-6101 or by email at firstname.lastname@example.org.
Your audition is your chance to make a positive impression on the faculty. Dress nicely and professionally, but make sure to bring layers on account of the weather. (Our auditions are in the winter!)
Additionally, you want to always remember that you’re never fully dressed without a smile! Your appearance and body language is a key part of showing the faculty that you are confident and prepared.
Most auditions are completed by early afternoon. We do provide lunch and encourage all students and their parents to join us for the meal. This lunch is a great opportunity for you to sit down with our current students to ask questions about life as a music major at Capital University.
The faculty in your applied area (instrument or voice) wants to hear what you can do with an already published work, regardless of your major.
NOTE: Composition applicants must submit a portfolio of representative original compositions, with the expectation of three to four works of contrasting style. You will be scheduled for a separate interview with the composition faculty in which to discuss and review these works.
Instrumental students do not need to bring a copy of their music. All instrumental pieces should be performed solo, with the exception of jazz auditions, which should have a recorded accompaniment.
Vocalists are provided with an accompanist and will need to bring one copy of your music with them to your audition. Vocalists will have a brief opportunity to rehearse with the accompanist prior to your audition. Music for the accompanist should be clear and easy to read. Make sure all of the accompaniment notes are present if copies are being used. Mark cuts and any other musical information to help make the rehearsal and audition successful. Please no lead sheets or electronic display devices (i.e.: iPads, laptops, etc.).
We encourage you to know your limits. We trust that you will make the right decision for your health. If you are ill the day of your audition and cannot perform to your highest quality, we encourage you to cancel and reschedule for a later date. When possible, please provide 24 hours’ notice.
Your parents are more than welcome to accompany you to campus. However, the audition, theory assessment and listening skills assessment are closed. There is planned programming for parents including a financial aid session and a student panel, both of which are designed to provide them with valuable information to assist you through your college transition.
As a vocalist, can I sing jazz, pop, or country for my audition?
Your first year in the Conservatory will be focused on traditional repertoire, regardless of major. To make sure that you can be successful in that area, the voice faculty wants to hear you sing at least one traditional piece in your vocal audition. Consider selecting from the OMEA Solo & Ensemble list or your musical theatre repertoire.
There is no charge for your audition. Parking, lunch and accompanists (if required) are all covered for you.
Major scales in all keys, at least 2 octaves. Chromatic scale demonstrating applicant's complete range (preferably at least 3 octaves). Two contrasting solos; possible choices include movements from Mozart, Weber or Vivaldi bassoon concertos or Telemann Sonata in f minor; one of the solos may be an etude from Weissenborn, Milde, Gambaro or equivalent. Sight-reading.
Bassoon Betsy Sturdevant
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.
Clarinet Dr. Gail L. Zugger
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.
Guitar Stan Smith
One solo or movement from a large work such as a sonata or concerto. One
etude from any standard technique book. Major and minor scales through
four sharps and four flats. Sight-reading.
Double Bass Nick Barnaby
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.
Euphonium and Trombone Dr. Thomas Zugger
Two-octave major 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, Doppler Fantasie (Romantic); the Debussy Syrinx, Hindemith Sonata, works by Muczynski or Hoover (contemporary). Sight-reading. Optional: Minor scales [natural, melodic, and/or harmonic] and arpeggios.
Flute Dr. Lisa A. Jelle
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.
Horn Kimberly McCann
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.
Jazz Contemporary Bass Roger Hines
Major and minor scales, hands together in four octaves. 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.
Jazz Piano/Contemporary Keyboard Erik Augis
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.
Oboe Melissa Stevens
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.
Organ Kevin Jones
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.
Percussion Robert Breithaupt (area head), Eric Paton, Ryan Kilgore and Nathan Anders
All major and harmonic minor scales and arpeggios in four octaves. Repertoire from three contrasting styles or periods (Baroque, Classical - one movement from a sonata by Haydn, Mozart, or Beethoven, Romantic or Contemporary). All pieces must be memorized. Sight-reading.
Piano Tianshu Wang (area head), Seymour Fink and Orlay Alonso
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.
Jazz Trombone Professor Ryan Hamilton
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.
Trumpet Rob Parton
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.
Viola Kenichiro Matsuda
Violin Erin Gilliland
One solo or movement from a large work such as a sonata or concerto. One etude from any standard technique book. Major and minor scales through four sharps and four flats. Sight-reading.
Cello Joseph Mueller
General Vocal Audition Requirements and Information:
Major Specific Vocal Audition Requirements:
Voice Lynda Hasseler (area head), Mark Baker, Jacqueline Barlow-Ware, Brian Banion, Dione Bennett, Eileen Davis, Elise Des Champs, Scott Ewing, Sara Pardo, Amy Rakowczyk, Lynn Roseberry and Sharon Stohrer