Apply and Audition
Acceptance into the Department of Music is achieved through the entrance audition. There are minimum standards for acceptance on each instrument and voice. Students who meet these standards are accepted as enrollment capacity allows. Some students who nearly meet the standards may be accepted on probationary status. In addition to the literature listed below, students may elect to perform any work which is of a similar (or greater) level of difficulty.
Please click the appropriate link below to request your entrance audition appointment. Once your completed form is received, the faculty will contact you to schedule your audition time.
Entrance Dates & Policies
Acceptance into the Department of Music does not guarantee acceptance into the University. To apply to WWU, click here.
Audition Requirements
Brass and Percussion
To request a brass or percussion audition, click here.
Christopher Bianco, Brass and Percussion Area Coordinator; PAC 60; (360) 650-3404;
Horn—2 or 3 etudes from “Method for French Horn” by Pottag, (ed. Hovey). Mozart “Concerto No. 3” or Saint-Saens “Romance.” Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Trumpet—1 or 2 etudes from “34 Studies” by Brand (ed. Nagel). Hayden “Concerto” (1st & 2nd movements), or Vidal “Concertino” or Thome “Fantasy in Eb” or Corelli “Sonata VIII”, (ed. Fitzgerald). Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Tenor/Bass Trombone & Euphonium—2 or 3 studies from “Melodious Etudes” by Rochut, Book I. Studies 1-10 of the Blashevich Clef Studies. 5 selected studies from the Arban Method book I. Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Tuba—Any 2 of the first four solos in “Solos for the Tuba Player” by Wekselblatt. First 10 studies from the “Studies for BBb Tuba” by Tyrell. Major & minor scales through 4 sharps & 4 flats (2 octaves).
Percussion—On entering, percussion students should demonstrate proficiency in snare drum, timpani, and keyboard percussion, and have some experience and ability on drum set and accessory instruments (bass drum, cymbals, tambourine, etc.).
Snare Drum—The 40 Percussive Arts Society snare drum rudiments, a concert and a rudimental style etude or solo.
Timpani—Demonstrate the ability to tune various intervals and perform an etude or solo using four drums.
Keyboard Percussion (Marimba, Vibraphone, Xylophone)—Major and minor scales and arpeggios through 4 sharps and 4 flats (2 octaves), an etude or solo utilizing two and/or four mallet techniques.
Drum Set (optional)—Demonstrate knowledge of various contemporary styles (Jazz, Rock, Latin) and the ability to maintain a steady pulse.
In addition, sight-reading is required in each of the above categories.
Piano
To request a piano audition, click here.
Milica Jelača Jovanović, Piano Area Coordinator; PAC 172; (360) 650-2870;
milica.jelacajovanovic@wwu.edu
Piano—Baroque, Classical, Romantic and contemporary literature at the level of difficulty or greater than: Bach, “Short Preludes” & “Inventions”; Clementi, Haydn, Mozart & Beethoven “Sonatinas”; Bartok “Mikrokosmos” Books 3 & 4. Three pieces of different style periods, all from memory. Sight-reading required.
Strings
To request a string audition, click here.
Walter Schwede, String Area Coordinator; PAC 139; (360) 650-6856;
David Feingold, Guitar Area Coordinator; PAC 271; (360) 650-7712;
Violin—Scales, either three or four octaves at a moderate tempo, six to eight notes per bow. Arpeggios, three or four octave, both minor and major, three notes per bow. Etudes: any of the etudes/caprices of Kreutzer, Rode, Fiorillo, Dont (op. 35) Gavinies, Paganini, Wieniawski ( opus 10) or Ernst. One movement of a Solo Sonata or Partita, of J.S. Bach, and either a movement of any of the major concertos, Beethoven, Brahms, Mendelssohn, Saint-Saens, Tchaikovsky, et al, or, a virtuoso work such as Havanaise-Introduction and Rondo Capriciosso of Saint-Saens, Polonaise Brillante of Wieniawski, Zapateado of Sarasate, or Tzigane by Ravel, et al.
Viola—Handel, Purcell or other sonatas; Telemann Concerto in G Major or Vivaldi Concerto in e Minor. Scales two octaves (major & melodic minor).
Cello—3 or 4 octave scales. Etude by Popper or similar. Two contrasting works from different stylistic periods. Eg. Bach Solo Suite and Sonata (by Brahms/Grieg/Shostakovich etc.) or Concerto (by Saint-Saens, Lalo, Dvorak, Haydn, etc.) or shorter concert work is also acceptable.
Double Bass—1 etude from Nanny’s “Complete Methods” book 1 OR solo of candidate’s choice. Two contrasting orchestral excerpts (1 Mozart). Scales through half, 1st & 2nd positions.
Guitar, Classical—Scales-two octaves, any key (I and m), major and minor; Reading-easy pieces through 5th position; prepare two contrasting pieces from “Solo Guitar Playing” Book 1 (Noad) or “100 Graded Studies” (Noad).
Harp—Two pieces of different style, memorized, such as Handel Concerto in B-flat, Haydn Theme & Variations, Pescetti C Major Sonata, Pierne Impromptu Caprice, Debussy First Arabesque, selections from Suite of Eight Dances by Salzedo. Major and melodic minor scales. Sightreading.
Voice and Choirs
To request a voice audition, click here.
Leslie Guelker-Cone, Vocal Area Coordinator; PAC 43; (360) 650-3772;
Voice—2 songs of contrasting styles from the classical or folk song repertoires. At least one song in a language other than English is recommended, i.e. Italian, German or French art song or Aria (memorization preferred). Accompanist provided.
Woodwinds
To request a woodwind audition, click here.
Eugene Zoro, Woodwind Area Coordinator; PAC 145; (360) 650-3781;
Flute—Any Handel sonata (except E minor)—select at least 1. Any etude from Anderson Etude Method, op. 41—select any 2 of the 18. Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Oboe—Handel Sonata No. 1. Any melodic study from Barret or etude from Ferling “48 Studies.” Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Clarinet—Any 2 etudes from “Thirty-two Etudes for Clarinet” by C. Rose, or from “Preliminary Studies for the Accomplished Clarinetist” Vol. 1 by R. Jettel. One solo work comparable to the Weber “Concertino” or Hindemith “Sonata”. Major & minor scales & arpeggios through 4 sharps and 4 flats (2 octaves).
Bassoon—3 or 4 selected studies from Weissenborn Complete Method. Any two studies from Weissenborn Advanced Studies. Mozart “Concerto in Bb” (2nd & 3rd movements), or Galliard “Sonatas I & VI” or Phillips “Concertpiece” or Telemann “Sonata in F”. Scales & arpeggios through 4 sharps & 4 flats (2 octaves).
Saxophone—2 studies from Ferling 48 Famous Sutdies, Rubank Selected Studies, Klose 25 Exercises or Niehaus Jazz Studies. 1 solo work comparable to Glazounov: Concerto, Ibert: Concertino da Camera, Villa-Lobos: Fantasia, Bozza: Aria or Ibert Aria. Major & minor scales & arpeggios through 4 sharps & 4 flats (2 octaves or full range).