Conservatory of Music /
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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.
General Vocal Audition Requirements and Information:
Major Specific Vocal Audition Requirements:
Voice Chad Payton (area head), Jacqueline Barlow-Ware, Brian Banion, Dione Bennett, Anthony Benz, Josh Borths, Scott Clark, Catherine Goode, Lynda Hasseler (Director of Choral Activities), Lynn Roseberry and Sharon Stohrer
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
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.
Violin Erin Gilliland
Viola Kenichiro Matsuda
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 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 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, 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 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
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
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
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
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
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
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
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. 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
Double Bass Nick Barnaby
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
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 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 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