Once your application has been submitted to OUAC and processed by the Registrar, the Auditions Coordinator will email you a link to access the Faculty of Music Online Application. Once this application is complete and submitted, the Auditions Coordinator will email you an audition confirmation with the date, time and location of your audition. Audition fee payment should be promptly submitted to guarantee your audition time.
Students should audition in person if possible, but those who live beyond 400 km from the campus may prepare an AUDITION CD/DVD. CDs/DVDs should include all required audition repertoire. CDs/DVDs should be of the highest quality to assure accurate representation of your musical ability. CDs/Tapes must be clearly labeled with the name and address of the applicant and include a list ofeach selection recorded in order of performance. CDs/DVDs must be sent with your audition fee payment, only after you have completed the Online Application to the Faculty of Music, and NO LATER THAN MARCH 22nd, 2013.
Applicants who have significant proficiency on a second instrument, and would consider enrolling as a major on either,should seriously consider auditioning on both instruments. Players of orchestral instruments other than percussion must bring their own instruments.
Confirmation of your audition appointment will arrive two weeks in advance of the scheduled date. If this date is not suitable, notify the Audition Coordinator immediately in order to arrange an alternate appointment.
1. Please bring legal copies of your pieces for the audition panel.
2. Please arrive at least one-half hour before your audition time in order to have time to warm up in one of our practice rooms.
3. The audition panel consists of two or three Music faculty who will assess your musicianship and technical ability.
4. Professional accompanists are provided and the cost of this is included in your audition fee (there is an extra $15 charge if you are auditioning twice and need two accompanists); you must provide the music to be used by the accompanist. If you prefer, you may bring your own accompanist.
5. There is a $50 audition fee (non-refundable).
On the day of your audition, you will be asked to write a theory placement test. You should have thorough knowledge of the rudiments of music equivalent to Conservatory Advanced Rudiments, and be able to identify, by ear, intervals, triads, rhythmic patterns, and short melodies. The test includes:
Values of notes and rests
Meanings of time signatures
Harmonic function of triads
Intervals–melodic and harmonic
One-measure rhythmic patterns
Non-piano majors who have not completed Royal Conservatory Grade VI Piano (or equivalent) prior to entering the B.Mus. program must demonstrate proficiency at this level before proceeding to third year. For those who have not completed a Grade VI Exam, successful completion of an Equivalency Exam may be used to fulfill the piano requirement.
All incoming and transfer students will be required to sign up for a placement interview during Orientation week. The placement interview is an opportunity for students to:
• provide proof of completing a Grade VI exam in the form of an official certificate or a copy of examination results, completed within the previous 3 calendar years.
• try the Equivalency Exam
• display their current level of proficiency at the piano for workshop placement purposes
Students unable to pass the Equivalency Exam are strongly recommended to take the Piano Facility workshop. This workshop is offered to assist students to prepare for the Equivalency Exam, which is administered as part of the workshop at no additional charge. Students may register for the Piano Facility workshop through Continuing and Part Time Studies, which may be taken for up to four terms (i.e. up to the end of second year).
Should students decide to pursue piano studies on their own in lieu of taking the workshop they must arrange to re-take the Equivalency Exam or present a Grade VI certificate before they enter their third year of study. The Equivalency Exams may be taken by a student entering their 2nd or 3rd year during Orientation week along with the incoming first year students at no additional charge, or students may arrange for an exam to be administered at any time, arranged with the Piano Facility Coordinator, for a fee of $50.
For complete Keyboard Facilty and Equivalency Exam Requirements, please click here.
OFFER OF ADMISSION
Admission to Music is based primarily on the audition, but applicants must also have satisfactory academic records and satisfactory scores on the theory placement test. While some students may receive their audition results early via email, the majority of applicants will not know their results until all audition candidates on their instrument have been heard. In some cases, this may not be until late April or early May. Official offers of admission are issued only by the Office of the Registrar. For applicants who are not currently enrolled in an Ontario secondary school, admission status is determined upon completion of the audition and the receipt of official transcripts from the current and previous schools attended.
Students admitted to the Faculty of Music with unusually extensive formal training in performance, music history, or music theory, but without corresponding university credits, may earn credit for certain courses in these areas through satisfactory completion of validating examinations, which are similar to the final examinations of the courses.
PERFORMANCE REQUIREMENTS FOR ALL HONOURS MUSIC PROGRAMS
• Keyboard Players – minimum Grade IX Conservatory level
• Singers – minimum Grade VIII Conservatory level
• Instrumentalists – minimum Grade VIII Conservatory level
Note: Official Conservatory certificates are not required. The level of performance demonstrated in the audition, not the Conservatory certificate, determines admission. Because of the restricted enrolment and competition for studio space, a higher level of performance may be required.
Be prepared to play a hymn (any hymnal), and two pieces of contrasting nature. The hymn should be played as if leading a congregation; use of pedals is optional. You will also be asked to sight-read a short piece.
Bach, J.S. Any selection from Das Orgelbuechlein
(recommended edition: Concordia)
Bach, J.S. Number 1 or 4 from Eight Short Preludes and Fugues
Brahms, J. Any chorale prelude (recommened edition: Mercury)
Clerembault, L.N. Any movement from Livre d’orgue (any edition, e.g., Kalmus)
Langlais, J. Any selection from 10 Pieces (recommended edition: Elkan-Voegel)
Mendelssohn, F. Any movement from any of the Sonatas (any edition)
Peeters, Flor. Any chorale prelude from Opus 68, 69, or 70 (recommended edition: Peters)
Reger, Max. Any chorale prelude from Opus 67 (recommended edition: Bote and Bock)
Vierne, L. Any selection from 24 Pieces en style libre (recommended edition: Durand)
Other pieces of comparable difficulty (or more difficultly, of course) will be acceptable.
1. Three octave scale and arpeggios of your choice.
2. One étude or caprice of your choice.
3. One movement from any of the sonatas and partitas for solo violin by J.S. Bach.
4. One movement of a concerto or show piece.
5. Sight reading may be requested.
These are only guidelines; any program of comparable difficulty is acceptable.
1. Scales and arpeggios in three octaves. An etude of Kreutzer or Rode.
2. Two contrasting movements from a Bach Suite for Cello (BWV1007-1012)
3. One of the following:
Bach, J.S. Concerto
Schubert “Argpeggione” Sonata
Telemann Concerto or any other sonata or concerto of equivalent or greater difficulty.
4. Any work written in the twentieth century.
Overall musicality, level of technical development, and general musical background are considered.
Performance majors should be prepared to play three selections. Movements should be contrasting, i.e., some fast, some slow. Comprehensive, Music Education and Music Therapy majors should prepare two of the three categories.
1. Boccerini or Saint-Saëns a movement from a concerto
2. Beethoven or Brahms a movement from a sonata
3. Bach, J.S. or a movement from a Suite, or Popper a movement from an etude
Prepare one sonata and one étude from this list (two contrasting movements, one fast and one slow)
1. Marcello, B. Six sonatas for double bass and piano (originally violoncello)
2. Vivaldi, A. Five sonatas for double bass and piano (originally violoncello)
3. Simandl. Any of 30 études for double bass
Select one work from each group:
1. Bach, J.S. Any flute sonata, two contrasting movements
Handel, G.F. Any flute sonata, two contrasting movements
Mozart, W.A. Concerto in D major, any two movements, Concerto in G major, any two movements
Pargolesi, G.B. Concerto in G
Stamitz, K.P. Concerto in G
2. Godard, B. Suite, Op. 116, 1st and 2nd movements
Chaminade, C. Concerto
Doppler, F. Hungarian Pastoral Fantasie
Fauré, G. Fantasie
Hindeminth, P. Sonata for Flute and Piano
Hue, G. Fantasie
Poulenc, F. Sonata
3. Choose one study from the collections of Berbiquer, Anderson, Kohler, or Genzmer.
4. All major scales, 2-3 octaves
In addition to the listed repertoire, more difficult audition repertoire may be substituted with permission of the Faculty of Music.
Applicants will be asked to play several major scales. Also, it is strongly advised that they have a rudimentary knowledge of reed-making.
Please pick a slow and fast movement from the following list. Both movements don't have to come from the same piece:
Mozart, Quartet for oboe and strings K370
Mozart, Concerto in C major, K314
Haydn, Concerto in C major
Handel, Concerto in G minor
Marcello, Concerto in D (or D) minor
Any of the following:
Prepare a slow and fast Barret study from the 40 Progressive Melodies. Fast melodies may be chosen from the following: #14, #16, #19, #20, #25.
1. Technique: Grade VIII Conservatory level.
2. Select one study from: Rose, Forty Studies for Clarinet OR Rose, 32 Etudes.
3. Select two contrasting pieces or movements from:
Finzi. Five Bagatelles
Schumann, Fantasy Pieces
Works originally written for A clarinet may be played on B flat clarinet, if the edition used provides a transposed accompaniment.
4. Sight Reading.
1. All major scales, full range.
From the following, choose one concerto movement and one sonata movement for a total of two selections:
2. Concerti: Mozart in B flat Major, K191; Weber Concerto in F Major or Andante & Rondo; Vanhal Concerto in C Major, Vivaldi #1-37; Hummel Grand Concerto in F Major
3. Sonatas: Boismortier Opus 14, 20, 26, 40, 50 or 66; Corrette #1-6; Hindemith Sonata; Schreck Sonata; Tansman Sonatine or Suite
Choose a fast and contrasting slow movement. You may audition on any other saxophones, but you must have an alto saxophone if you are admitted to Laurier.
Bozza, Eugene. Aria (publisher - Leduc)
Eccles, Henri. Sonate (publisher - Elkan Vogel)
Glazounov. Concerto (publisher - Leduc)
Handel. Sonata #3 (publisher - Rascher)
Ibert, J. Aria (publisher - Leduc)
Maurice. Tableaux de Provence (publisher - Lemoines)
Tourneur, George. Concerto (publisher - Leduc)
Ferling. 48 Daily Exercises
Klosé. 25 Daily Exercises
Voxman. Selected Studies
All major scales, two octaves.
(Select two contrasting studies and/or pieces from this list or of own choice):
Alphonse, M. Maxime-Alphonse Etudes, Book 1 by A.Leduc
Kopprash. Sixty Selected Etudes for French Horn, Book 1 by C.Fischer
Mozart, W.A. Concerto No. 3 in E flat, 1st movement by International
Solos for the Horn Player, selected and edited by Mason Jones (anything from this book) pub. G. Schirmer
Technique: B major, A minor harmonic, melodic, natural, 2 octaves scale and arpeggio.
1. one study or etude
2. two contrasting solo works (with piano accompaniment, or unaccompanied, if required by the
Bissell. Little Suite
Coulthard. Fanfare Sonata
Jean Jean. Capriccioso
or Any solo repertoire by Clarke or Arban
4. You may be requested to play any scale.
Prepare major and minor scales. Sight-reading will be given.
Choose a fast and contrasting slow movement
Solos written for tenor trombone:
Barat. Andante and Allegro
Guilmant. Morceau Symphonique
Rousseau. Piece Concertante
Nux. Concert Piece
Transcriptions for tenor trombone:
Solos written for bass trombone:Transcriptions for bass trombone:
Lieb. Concertino Basso
Galliard. Sonata #5
Vivaldi. Cello Sonata #3
Qualities looked for: Sound: open and beautiful in all registers, clean attacks, good intonation
Style: ability to communicate musical content, correct pitches, dynamics, rhythms, and articulations
Technique: all major and harmonic/melodic minor scales and arpeggios, one octave. Please note the following is suggested for the audition, but selections of similiar difficulty are acceptable.
Masso. Suite for Louise (publisher - Kendor)
Beethoven (Bell) Variations on a theme from Judas Maccabeus by Handel (publisher - Fischer)
Troje Miller. Sonatina Classica (publisher - Belwin-Mills)
Any two contrasting movements from a Galliard or Marcello Sonata, published by International.
Students should prepare ONE piece from each list of snare drum, mallet percussion and timpani pieces. Those who have drum kit experience should be prepared to demonstrate, in any tempo and time signature, various styles including jazz (or swing), rock (or pop) and latin. Multiple percussion works are optional.
William Street. "Steppin' Out" - Pub. Carl Fischer
William Street. "Swinging Down the Street" - Pub. Carl Fischer
Traditional "The Downfall of Paris" - Pub. Ludwig
Traditional "Connecticut Halftime" - Pub. Ludwig
Methods or Collections
America's N.A.R.D. Drum Solos (Collection) - Pub. Ludwig
Anthony Cirrone. Portraits in Rhythm (Collection) - Pub. Belwin Mills
Fred Albright. Contemporary Studies for Snare Drum (Collection) - Pub. Belwin Mills
Morris Goldenberg. Modern School for Snare Drum (Both) - Published Chappell & Co.
William Schinstine. 17 Plus 1 Percussion Pieces (Collection) - Pub. Southern Music
Jacques Delecluse. Methode de Caisse Claire - Pub. Alphonse Leduc
Morris Goldenberg. Modern School for Xylo., Marimba & Vibraphone - Pub. Chappell & Co.
Arr. Thos. MacMillan. Masterpieces for Marimba (Collection) - Pub.Belwin Mills
Bach for Marimba (Collection)
George H. Green. Caprice Valsant - Pub. Carl Fischer
George H. Green. Valse Brilliante - Pub. Carl Fischer
Mitchell Peters. Yellow After the Rain
George H. Green. Any of Green's Xylophone 'Rags' - Pub. Meredith Music
Clair Omar Musser. Any Etudes - Pub. Studio 4 Productions
Gordon Stout. Any Etudes - Pub. Studio 4 Productions
Keiko Abe. Any Etudes - Pub. Studio 4 Productions
J.S. Bach. Any work from Bach's Six Sonatas & Partitas for Solo Violin (violin version or one prepared for keyboards)
Jacques Delecluse. 12 Etudes pour Timbales - Pub. Alphonse Leduc
Vic Firth. The Solo Timpanist - 26 Etudes - Pub. Carl Fischer
Garwood Whaley. Musical Studies for the Intermediate Timpanist - Pub. JR Publications
Fred Begun. 21 Studies for Timpani - Pub. Meredith Music
William Schinstine. Timp Tunes - 19 Pieces - Pub. Southern Music
Fred Hinger. Solos for the Virtuoso Timpanist
Mitchell Peters. Fundamental Method for Timpani (any etudes) - Pub. Alfred
Roy Burns / Sandy Feldstein. Intermediate Percussion Solos - Pub. Belwin Mills
Charles Camilleri. Percussion Solos/Duos/Trios - Pub. Waterloo Music
Prepare four pieces, one from each of the following groups:
A work from the Baroque era, in one of the following genres:
i) Prelude and Fugue
ii) Toccata or Fantasia
iii) 3-part Invention (Sinfonia), or
iv) two movements from a dance suite
Note: Other Baroque genres are ineligible even though they may appear on Conservatory
A fast movement (usually first or last) from a sonata composed between 1750 and 1830 (for example, Haydn, Mozart, Beethoven).
A Romantic work written between 1825 and 1925 (Schubert, Chopin, Schumann, Mendelssohn, Liszt, Brahms, Grieg, Rachmaninov, Scriabin, Debussy, or one of their contemporaries),
A work written since 1900 (Ravel, Poulenc, Bartók, Prokofiev, Shostakovich, etc.,), or your own composition, or your own improvisation.
All, or portions only of pieces may be heard at the audition, depending on time. Memorization is advised. You may choose what you would like to begin with. In addition to playing your prepared pieces, you will be asked to sight-read a short passage.
Voice applicants should prepare two songs from the standard classical vocal repertory in contrasting styles and languages; one piece should be in English. Music theatre or folk song repertoire is acceptable for the English selection. Songs must have piano accompaniment.
VOICE - OPERA DIPLOMA
Opera Diploma applicants should prepare two arias from the standard classical operatic repertory in contrasting styles and languages. Arias must have piano accompaniment.
Performers must play their audition pieces on a classical guitar with appropriate classical guitar technique. Prepare three to four pieces from various periods. Each piece must have a minimum difficulty level equivalent to repertoire in the Grade VI Royal Conservatory of Toronto guitar syllabus. Be ready to sight-read as well as to demonstrate scales and standard techniques. Ideally, all repertoire will be memorized.
Choose your own two contrasting pieces.
Students having difficulty locating music should contact one of the larger suppliers of percussion repertoire such as Long and McQuade and St. Johns Music who have stores across Canada, Brandenburg Music in Alberta, Just Drums and Soul Drums in Toronto, and Sherwood Music and MusicPlus in the Kitchener-Waterloo area.
Music Plus, 5 Michael Street, Kitchener, ON N2G 1L7
(519) 745-8530, or email@example.com.
St. John’s Music, 188 Joseph Street, Kitchener ON Canada N2G 1J7
Phone: (519) 886-4990
Fax: (519) 886-4999
Order Desk: 1-800-563-9683 (toll free)