We are pleased that you are applying for admission to the Capital University Conservatory of Music.
The purpose of the audition is to determine the musical qualifications of each student. The guidelines under emphasis requirements on the Conservatory Admission webpage can assist you as you select the pieces you plan to perform. In addition to performing your prepared audition pieces, you will also be required to complete musicianship and audiation (theory), and piano assessments.
Your audition performance, academic record and admission application information will be used to determine your scholarship eligibility. For questions, contact Summer Slusher, Coordinator of Conservatory Recruitment, by phone at 614-236-6190 or by email at email@example.com.
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.
Schedule a Visit
Be sure to note the audition requirements below prior to your audition. On-Campus auditions for students starting in Fall 2020All audition dates for students planning to attend Capital starting in Fall 2020 are as follows:
The Fall 2020 audition application will open for students who have been academically admitted to Capital.
Students applying internationally: If you are unable to audition in person, please submit a video audition in your preferred format to Sofia Closson at firstname.lastname@example.org. Please follow the audition requirements here for your video.
Can’t make it to any scheduled audition days? Have questions?Contact Summer Slusher, Coordinator of Conservatory Recruitment, by phone at 614-236-6190 or by email at email@example.com.
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
Composition applicants must submit a portfolio
of representative original compositions, with the expectation of three to four
works of contrasting style. Composition majors should submit both their composition
portfolio to Summer Slusher, the Coordinator of
Conservatory recruitment at firstname.lastname@example.org,
prior to the audition date, and an audition
application for their primary instrument. The portfolio should include notated
scores of all acoustic compositions (in PDF
format) and recorded representations (live performances
or computer realizations) of all pieces. In addition to the composition
audition/interview, you will be scheduled to audition on your primary
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 Dr. Thomas Zugger and Tony Zilincik
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
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 Guitar Doug Neel
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.
Harp Jude Mollenhauer
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 Tony Bonardi
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 Chad Baker
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 and Ryan Kilgore
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) 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 , Lance Witty
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 Chad Payton (Area Head), Jacqueline Barlow-Ware, Dione Bennett, Josh Borths (Director of Opera & Musical Theater), Lynda Hasseler (Director of Choral Activities), Lynn Roseberry and Sharon Stohrer
We look forward to hosting you for your on campus audition. After you submit the required documents, a confirmation email will be sent with more information on your audition date.
During your audition day, you can expect assessments in the following four areas. These assessments are designed to determine your ability to be successful in the Capital University Conservatory of Music and beyond.
1) Performance - Your performance in the audition will be conducted by the faculty of your applied area of study (voice or instrument). This will assess your current level of training, as well as your potential for growth in your program of choice. There will be a short interview with the faculty to ensure that they get to know you on a personal level as well as a performance level.
Students planning to major in composition will be scheduled for an audition with the composition faculty to review your background and discuss your portfolio in addition to your instrumental/vocal audition.
2) Music Theory - Your music theory session will assess your music theory competency as you complete an audio test that will measure your comprehension of pitch and meter.
3) Listening Skills - Your listening skills portion will gauge your auditory skills in matching pitch as well as sight singing. In this assessment, you will sit one on one with a music theory faculty member.
4) Piano Placement - Your piano placement portion will assess your level of competency in piano skills from little to no experience to expert.
We will be mailing a parking pass, campus map and more details on locations approximately 2 weeks prior to your audition. Plan to arrive for registration between 8:30 and 9:00 a.m. The exact times for your audition, theory, listening skills, and piano placement assessments will be given to you a few days prior to your audition date.
Your audition is your chance to make a positive impression on the faculty. Dress nicely and professionally. Your appearance and body language is a key part of showing the faculty that you are confident and prepared.
Because every person that auditions receives their own personalized schedule, plan to be on campus from approximately 9:00am-2:00pm for your audition. In addition to your required audition activities, there will be campus tours, a student panel, a time for lunch, and other opportunities to keep you busy.
Performing an original composition is discouraged on audition day. 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, which should be placed neatly in a 3-ring binder. 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, contact Summer Slusher, Conservatory of Music Admission Counselor to cancel and reschedule your audition. 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.
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.
Students applying internationally are welcome to submit a video audition. Submit a video in your preferred format to Sofia Closson at email@example.com. All other applicants can contact Summer Slusher at firstname.lastname@example.org for video audition questions.