Auditions

1. Apply through the Ontario Universities’ Application Centre (OUAC).
2. Once your application is received by Laurier from OUAC, you will be emailed login information for Laurier’s Faculty of Music Online Audition Portal (starting Dec. 15).
3. Laurier’s Faculty of Music Online Audition Portal requires you to submit:
   • Your contact information.
   • Your preferred choice(s) of in-person audition and interview date**
   • Contact information for one reference (reference will be contacted by Laurier via email to complete a reference questionnaire).
   • Your current academic information.
   • Details on your musical background and career goals.
   • An optional portfolio of past performances, composed and/or original music may be submitted in the portal through video or audio links.
   • $70 audition fee (payable by credit card).
4. Once this information and your $70 audition fee is submitted through Faculty of Music Online Audition Portal you will receive a confirmation email of your audition date within seven days.

Most applicants will hear from us once all audition candidates for their instrument have been auditioned. In some cases, this may not be until late April or May.

If your audition is successful, you will receive an email from the Faculty of Music recommending you for admission. This is not a guarantee of your acceptance. Providing that you meet all academic admission requirements of the university and you have received a recommendation from the Faculty of Music, Laurier’s Recruitment and Admissions Office will send you your official offer of admission.

If your audition is unsuccessful, you will be automatically considered for an alternate offer of admission to another Laurier program and contacted by Recruitment and Admissions.

Regardless of outcome, the Faculty of Music will contact all students by email with their audition results.

Piano proficiency is not tested at your audition; however, faculty may discuss Laurier’s keyboard facility requirements during your audition or interview.

All Bachelor of Music students (except those whose major instrument is piano) must meet Laurier’s keyboard facility standards. Failure to meet these standards by the beginning of a student’s third year can result in withdrawal from the program.

All incoming Bachelor of Music students will be required to sign up for a keyboard placement interview during Orientation Week to discuss Laurier’s keyboard facility standards and in some cases to prove they have met our requirements.

During this interview students can:

• Provide proof of completing a Grade 6 (or higher) Royal Conservatory of Music (RCM) piano exam in the form of an official certificate or examination results, which must have been completed within the previous three calendar years.
• Attempt Laurier’s keyboard facility exam, meant to test piano skills at a Grade 6 RCM equivalency.
• Discuss their current level of piano knowledge and discuss Laurier’s keyboard facility standards and optional workshop.

Keyboard Facility Workshop

If students are unable to pass the keyboard facility exam or do not opt to attempt the test we recommend they take the Laurier keyboard facility workshop. This workshop is offered to assist students to prepare for the equivalency exam, which is administered as part of the workshop. This workshop does not count towards academic credit. This workshop runs each term and may be taken for up to four terms (i.e. up to the end of second year).

Should you decide to pursue piano studies on your own in lieu of taking the workshop, you must arrange to retake the keyboard facility exam or present a RCM Grade 6 piano certificate before you enter your third year of study.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

1. One Wissenborn or Milde étude.
2. Two contrasting pieces or movements from any standard bassoon concerto or sonata that demonstrate your level of music and technical maturity.

1. Three-octave scale and arpeggio of your choice.
2. One étude of your choice OR one movement from any of the Suites for solo cello by J.S. Bach.
3. One movement from a sonata for cello and piano.
4. One movement of a concerto.
5. Sight-reading may be requested.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

• Technique: Grade 8 RCM.
• Select one study from: Rose, Forty Studies for Clarinet; or Rose, 32 Études.
• Select two contrasting pieces or movements that demonstrate your current level of musical and technical maturity. Possible repertoire includes:
  
  • Finzi, Five Bagatelles.
  • Poulenc, Sonata.
  • Mozart, Concerto.
  • Tartini/Jacob, Concertino.
  • Schumann, Fantasy Pieces.
  • Weber, Concertino.
• Sight-reading.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Perform one sonata (two contrasting movements, one fast and one slow) with piano accompaniment from this list:

• Marcello: Six sonatas for double bass and piano (originally violoncello).
• Vivaldi: Six sonatas for double bass and piano (originally violoncello).

Perform one étude from the list below without accompaniment:

• Simandl: Any of 30 études for double bass.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Select one work from each group:

1. Two contrasting movements from a Baroque era sonata (e.g. J.S. Bach, M. Blavet) OR one movement from a Classical era concerto (e.g. Mozart or CPE Bach)
   
   
2. One of the following that demonstrates expressive and technical capabilities. Works by IBPOC and female composers welcome and encouraged. 
   1. any work from Flute Music by French Composers (ed. L. Moyse, publisher G. Schirmer) 
   2. a twenty or twenty-first century sonata or unaccompanied solo work
      
      
3. You may be asked for major, minor and chromatic scales, 2 octaves (C, C#, D 3 octaves).

Repertoire may be substituted with permission from the Faculty of Music. Contact musicauditions@wlu.ca.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

• All major scales, two octaves.
• Two contrasting selections of your choice.

• Maxime-Alphonse: Études, Book 1, published by A.Leduc.
• Kopprasch: Sixty Selected Études for French Horn, Book 1, any edition.
• Mozart, W.A.: Concerto No. 3 in E flat, first movement, any edition.
• Solos for the Horn Player, selected and edited by Mason Jones (anything from this book), published by G. Schirmer.

Admission to the Bachelor of Music is based on the collective results of your audition, academics, theory and ear training test, interview, reference and optional portfolio.

Audition repertoire should be solo classical guitar works performed at a Grade 7 RCM level equivalent or higher, from memory. Students must possess the ability to read music. Please feel free to contact us at musicauditions@wlu.ca with any questions regarding repertoire, as repertoire does have some degree of flexibility.

RCM formal training and exams are not required.

You must play your audition pieces on a classical guitar. This means you must play on a nylon-string classical guitar with at least six strings, without any accompaniment.

Prepare one piece from three of the four categories:

• Renaissance
• Baroque
• Classical
• Romantic
• 20th Century
• Written music or transcriptions of music by Spanish, South and Central American composers
• Written music or transcriptions of music from non-Western countries
• Contemporary music (21st Century)
• Original solo composition, solo guitar arrangement, or solo improvisation

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

You must play two contrasting pieces and a study, or a third piece plus the technical requirements at a minimum RCM Grade 8 level.

Sight reading will also be included.

Prepare four pieces, one from each of the following groups. At least two works must be memorized; memorization of all four is advised.

Group 1

• A work from the Baroque era, in one of the following genres:
• Prelude and Fugue.
• Toccata.
• 3-part Invention (Sinfonia).

OR

• Two movements from a dance suite.

OR

• A work outside of the Western classical canon that incorporates multiple voices (parts)

Note: Other Baroque genres are ineligible even though they may appear on Conservatory examination lists.

Group 2

• The first movement of a sonata composed between 1750 and 1830 (e.g. Haydn, Mozart, Beethoven, Schubert). Fantasias are not eligible.

OR

• A major work outside of the Western classical canon

Group 3

• A work written between 1825 and 1925 (Chopin, Schumann, Mendelssohn, Liszt, Brahms, Grieg, Rachmaninov, Scriabin, Debussy, or one of their contemporaries)

OR

• A work outside of the Western classical canon that requires command of advanced keyboard techniques

Group 4

• Your own composition, improvisation, or a work written since 1900 (Ravel, Poulenc, Bartók, Prokofiev, Shostakovich, etc.).

All, or portions only of pieces, may be heard at the audition, depending on time. You may choose what you like to begin with. In addition to playing your prepared pieces, you will be asked to sight-read a short passage.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required. Acquiring a rudimentary knowledge of reed-making prior to the start of the program is strongly advised.

Please pick one selection from each of the following lists. Aim to choose repertoire that showcases your strengths and also shows a variety of scope within your playing. Substitutions are allowed, but must be approved by the oboe faculty. Email musicauditions@wlu.ca for substitution approval.

List A:

• Cimarosa, Concerto. First two movements.
• Handel, Sonatas in C minor or F major. First two movements.
• Haydn, Concerto in C major. First movement.
• Marcello, Concerto in C (or D) minor. First two movements.
• Mozart, Quartet for oboe and strings K370. First movement.
• Mozart, Concerto in C major, K314. First movement.
• Telemann, Sonata in A minor. First two movements.

List B:

• Archer, Four Moods for Solo Oboe. One movement of your choice.
• Britten, Six Metamorphoses. One movement of your choice.
• Dring, Italian Dance
• Dring, Three Piece Suite. One movement of your choice.
• Gipps, Sea-Shore Suite, Op. 3b. One movement of your choice.
• Hétu, Incantation Op. 28
• Hindemith, Sonata. First movement.
• Nash, 9 NYC Miniatures. Any two contrasting movements
• Nielsen, Two Fantasy Pieces. Both movements.
• Poulenc, Sonata. First movement.
• Saint-Saëns, Oboe Sonata. First or second movement.
• Still, Incantation and Dance

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Prospective students shall audition on snare drum, timpani, and mallet percussion. Instruments for auditions will be provided. Please bring at least one copy of sheet music for the audition panel. Students should be prepared to speak briefly about their repertoire selections. We recommend that you prepare by making sure you have done some research on the composers of your pieces. You will also be asked to comment on your musical interests and career aspirations.

Snare Drum

• two (2) contrasting snare drum solos (one using closed rolls, one using open rolls)
• knowledge of basic rudiments and ornaments – PAS International Drum Rudiments
• Sight Reading
• Repertoire Examples (or similar):
  • WHALEY – Musical Studies for the Intermediate Snare Drummer
  • CIRONE – Portraits in Rhythm
  • PRATT – 14 Modern Contest Solos
  • WILCOXON – The All American Drummer

Timpani

• one (1) timpani étude or solo
• Tuning of a major triad
• Repertoire Examples (or similar):
  • FIRTH – The Solo Timpanist
  • CARROLL – Exercises, Etudes and Solos for the Timpani
  • WHALEY – Musical Studies for the Intermediate Timpanist
  • PETERS – Fundamental Method for Timpani

Mallet Percussion

• one OR two solos on either marimba, xylophone or vibraphone demonstrating two and/or four-mallet technique
• Major and minor (harmonic and chromatic) scales, two octaves
• Sight Reading
• Repertoire Examples (or similar):
  • MACMILLAN – Masterpieces for Marimba
  • BACH – Six Sonatas & Partitas for Solo Violin
  • BACH – Six Suites for Solo Cello
  • GREEN/EYLES – Xylophone Rags of George Hamilton Green
  • GOMEZ/RIFE – Rain Dance
  • PETERS – Yellow After the Rain
  • HOPPER – Ghost Garden

Drum Set (optional)

Students may also demonstrate drum set proficiency. Applicants should be prepared to demonstrate the following styles with fills:

• Swing
• Rock
• Funk
• Latin (ie. bossa, samba, mambo)

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Choose a fast and contrasting slow movement. You may audition on other saxophones but you must have an alto saxophone if you are admitted to Laurier.

Possible repertoire:

• Bonneau: Suite for Alto Saxophone (publisher: Leduc).
• Bozza: Aria (publisher: Leduc).
• Eccles: Sonate (publisher: Elkan Vogel).
• Heiden: Sonata (publisher: Schott).
• Handel: Sonata #3 (publisher: Rascher).
• Ibert: Aria (publisher: Leduc).
• Maurice: Tableaux de Provence (publisher: Lemoines).

Studies:

• Ferling: 48 Daily Exercises.
• Voxman: Selected Studies.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Perform a study which demonstrates your highest level of technical and musical ability.

• Choose a fast and contrasting slow movement.
• Prepare major and minor scales.
• Sight-reading will be given.

Suggested solos written for tenor trombone:

• J. E. Barat, Andante and Allegro
• A. Guilmant, Morceau Symphonique
• S, Rousseau, Piece Concertante
• P V de la Nux, Concert Piece

Transcriptions for tenor trombone:

• Galliard, Sonatas.
• Marcello, Sonatas.

• Boutry, Tubaroque.
• Lieb, Concertino Basso.

• Galliard, Sonata #5.
• Vivaldi, Cello Sonata #3.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Repertoire:

• One study or etude, RCM Grade 8 or higher.
• Two contrasing solo pieces with piano accompaniment.

Possible works include:

• A.Vivaldi, Armate face et anduibus.
• G.F. Handel, Sonata, HWV 366.
• G. Balay, Prelude et Ballade

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

Perform a study which demonstrates your highest level of technical ability.

• Possible repertoire includes:
  • Herring: 32 Etudes for Trombone.
  • Voxman: Selected Studies for Euphonium
  • Rochut/Bordogni : Melodious Etudes

Perform two contrasting movements (slow/fast, lyrical/technical). Movements can be from the same piece if preferred.

• Possible repertoire includes:
  • Howard Cable: Point Pelee.
  • Cohen: Concert Piece.
  • Curnow: Rhapsody for euphonium.
  • Haddad: Suite for Baritone.
  • Handel: Honor and Arms.
  • Hasse: Hasse Suite.
  • Marcello: Sonata in E minor.

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

These are only guidelines; any program of comparable difficulty is acceptable.

• A three octave scale, slurring four sixteenth notes per bow, quarter note = 60.
• Any standard étude of Kreutzer or Campagnoli caprice.
• Two contrasting movements from Solo Bach Suite for Cello (BWV1007-1012).
• One movement of a viola concerto.
  
  

Audition repertoire should be performed at a Grade 8 RCM level or higher. RCM formal training and exams are not required.

• Three octave scale and arpeggios of your choice.
• One étude or caprice of your choice.
• One movement from any of the sonatas and partitas for solo violin by J.S. Bach.
• One movement of a concerto or show piece.

Sight-reading may be requested.

The private instruction in the common year BMus voice program is largely classically based, although students may cover a broad range of repertoire and genre throughout their degree as they develop their voice. What we look for in the audition is:

• Vocal potential and ability
• A passion for singing and communicating
• Facility for languages; clarity of diction
• Enthusiasm and curiosity for learning about music and the voice

1. Three songs (memorized) with piano accompaniment.

Choose selections from the standard classical/musical theater vocal repertory in contrasting styles and languages, one of which should be in English and at least one other selection in a language other than English. Variety is key!

Possible Repertoire: (this is only an example of 5 possible choices; any similar program is acceptable):

• Leslie Adams: “For you there is no song”
• Reynaldo Hahn: “A Chloris"
• Stephen Schwarz: “Popular”
• Giulio Caccini: “Amarilli”
• Clara Schumann: “Liebst du um Schönheit”

2. Applicants will be required to sight read a short passage.