Conservatory of Music /
In this section..
Whether it’s an audience of thousands or an audience of three, you were born to perform. Life on the stage is all you've ever dreamed about. Now it’s time to take your talent and passion, and turn that dream into reality. A Bachelor of Music Performance degree from Capital’s Conservatory of Music emphasizes performance in all aspects of study — instrumental performance, vocal performance, vocal performance with opera/musical theatre emphasis or keyboard performance on piano or organ. Simply add in the self-discipline and intellectual curiosity necessary to succeed, and you're well on your way. You also have the unique opportunity to combine a challenging and dynamic Conservatory experience with the broad-based learning provided by Capital’s liberal arts core curriculum. That will make you well rounded and adaptable, which is exactly the skill set you need to perform well — in any field.
From start to finish, this degree emphasizes performance in all aspects of study. Begin by choosing one of four areas of emphasis:
These areas of emphasis include wide-ranging performance experiences, from solo and stage to instrumental, choral, chamber and large ensemble. Then add a core curriculum that centers on applied lessons, music theory, history, keyboard studies, conducting and world music. The result is intense personalized instruction by world-class performers and educators, and outstanding practical experience — the perfect formula for a successful and rewarding career.Capital’s performance majors go on to do great things in the world of music. Many pursue advanced degrees at the finest graduate schools in the country, like Indiana University, Eastman School of Music, Yale University, Manhattan School of Music and more. Others are living their dreams with opera houses and orchestras, or as solo or ensemble performers in this country or Europe. In fact, students who pursued their dreams and followed their passion with a Performance degree from Capital have performed on Broadway, with the Santa Fe Opera, the Columbus Symphony, the Indianapolis Symphony and with standouts like Maestro Lorin Maazel and Peter Frampton. Their lives and careers as performers took shape at Capital, and they’re even more meaningful today — impacting the world through music.
Admission into this program will require you to complete a two-part process to gain admittance to both Capital University and the Conservatory of Music.
CONSERVATORY ADMISSION REQUIREMENTS
At the Capital University Conservatory of Music, our instructors are some of the best in the business—and in the classroom. That means you will be learning from people who, quite frankly, have been there, done that. As committed educators, they are prepared to share their knowledge, expertise and contacts so you, too, can orchestrate a career in music, whether your passion is classical, contemporary or somewhere in between.
Choose your emphasis below to see the audition requirement and the instructors you'll be studying under.
**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 email@example.com,
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.
**For fall 20 and spring 2021 virtual auditions, please pre-record the following materials. During the remote “live” portion of your audition you may be asked to play scales and sight readingA Three octave Scale and Arpeggios: Choose from in the key of D, E-flat, E, and F.A movement from any of Bach Solo Cello suites.The first movement of one of the following concertos: JCBach, Hummel Fantasie, Hoffmeister, Stamitz, Bartok, Hindemith, and Walton.
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