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 firstname.lastname@example.org.
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.
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ANNOUNCEMENT REGARDING 2020-2021 AUDITIONS
Traditionally, Capital University Conservatory of Music welcomes both future students and their families to the campus for an all-day audition experience. While we are unable to welcome you to campus for an in-person audition this fall and spring semester, we are still going to hold auditions for Fall 2021 arrival. Your audition will be part recorded and part live remote. When you click on your instrument below, you will see extra instructions for this year’s auditions.
After you are academically admitted to Capital, you may select a date to submit the audition recording, followed by a live, virtual one-on-one with the applied instrumental or vocal faculty. Additionally, a virtual campus tour given by students, a Q & A with the Dean, and a Q&A student panel are planned. The dates of both the audition days and extra events through the audition season are listed below. We hope you join us remotely so we can answer your questions and engage you in conversation about what it is like to be part of #CapFam. For additional questions, please contact Summer Slusher, Coordinator of Conservatory Recruitment at email@example.com or 614-236-6190.
We encourage you to take a look at the other visit offerings Capital currently has to offer - schedule your next visit or conversation here.
Be sure to note the audition requirements below prior to your audition.
Conservatory 101 how to be a music major:Conversations with Dean Dr. Thomas Zugger, Coordinator of Conservatory Recruitment Summer Slusher, and current Conservatory students.
Thursday October 15th 7pmWednesday, November 4th 6pmThursday, December 10th 7pmThursday, January 7th 7pm
The Fall 2021 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 Summer Slusher 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.
**For fall 20 and spring 2021 virtual auditions, please pre-record your selected solo and etude repertoire. During the remote “live” portion of your audition you will be asked to play scales and sight reading.
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
**For fall 20 and spring 2021 auditions please pre-record your selected solo and etude repertoire. During the remote “live” portion of you audition you may be asked to play scales, sight reading, or a short portion of your pre-recorded material.
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
In order to assure the best virtual audition experience for Fall 2021/Spring 2021, we require the piano applicants to submit a video recording of the repertoire portion: performance of two solo jazz piano selections of contrasting style/tempo (medium, ballad, Latin, etc.). The video should show both hands and must be unedited.
The Skills (scales/arpeggios) and sight reading portion will take place live on the audition day through Zoom.
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
CU Percussion Audition Requirements 20-21
Given the nature of access to percussion equipment for the purpose of an audition we will aim to be as flexible as possible to accommodate your audition.
Applicant should demonstrate ability in a minimum of three of the following five areas via live Zoom audition, or video submission:
1) snare drum: solo or etude;
2) mallet percussion: solo or etude using two, three or four mallets;
3) timpani: contest solo, orchestral excerpts, or etude of moderate difficulty;
4) drum set: demonstrate basic style concepts of drum set drumming and may prepare a short solo to demonstrate improvisational skills;
5) multiple percussion: solo or etude of moderate difficulty.
Due to limitations of distribution of music and access to equipment, there will be an adjustment to sight reading on keyboards and snare drum.
Upon completion of submitting or performing your prepared material or live audition, you will be contacted to set up a 24-hour window that is convenient for you and accessing equipment. We will then send you short etudes, one on keyboard and one on snare drum, to be prepared and resubmitted within 24 hours.
Whether you chose to perform live via Zoom or submit a pre-recorded video we as a faculty will still schedule a 30 min audition window where we will review your performance or videos. We will use this time to get to know you better, and you to get to know the faculty better.
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
In order to assure the best virtual audition experience, we require the piano applicants to submit a video recording of the Repertoire portion: performance of three contrasting pieces. The video should show both hands and must be unedited.
The Scales/Arpeggios and Sightreading portion will take place live on the audition day through Zoom.
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 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:
Voice Area Virtual Audition Requirements
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.
This audition is your chance to make a positive impression on the faculty. Dress nicely and professionally.
Allow 30 minutes for your virtual audition experience. This time will include asking questions of the faculty and completing the remaining portions of your audition.
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.
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.
There is no charge for your audition.
Record your video audition with your preferred device. You will be asked to upload your video to Youtube as an unlisted video. You will then upload the link to your video to your Capital Status Page for official submission.
*Please refer to the emphasis requirements for your video component.