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For students who have not been admitted to the School of Music, please follow the instructions below. For students who have already been admitted to the School of Music, please refer to the next section.

• Submit a portfolio: Students who have previously composed works for acoustic instruments and/or digital media should submit a maximum of three examples of their work. For each work both a recording, if available, and a score, if applicable, should be submitted. Recordings should be formatted as mp3, aiff, or wav files and scores should be formatted as PDF files. This portfolio must be submitted at least one week prior to your New Students Admission Day.  You will submit your portfolio when completing your Music Application. 
   
• On the New Student Admissions Day of your choice, you attend the information session presented by the composition faculty. You will have a 20-minute audition with Dr. Coons, during which you will be asked questions about your portfolio, your interest in the program, your knowledge of music theory, and your goals. If you are auditioning remotely, we will schedule a phone interview. (Note that if you intend to take private instrumental lessons during your time at �������ϲʹ���ֱ��, you are also required to complete an instrumental audition).

Following the final New Student Admissions Day, the composition faculty will assess each student’s potential for success in the program. Then each student will receive a letter. The possible outcomes of this process are below:

1) Admitted to the School of Music: The applicant can begin to register for classes within the School of Music that are applicable to the B.M. in Music Composition degree. Note that following your initial coursework in the two music composition classes, you will undergo another evaluation to advance in the program. The process for this evaluation is the same process as described below for undergraduate applicants who are already admitted to the School of Music. Admitted students fall into one of two categories.

• You are allowed to register for Composition I class your freshman year: Composition faculty determine whether or not students are prepared to take Composition I class in their freshman year. This determination is based on previous theory and compositional experience. This group is allowed to register for Composition I before completing the two music theory prerequisite courses.
• You must register for Composition I class in your sophomore year: This group is required to complete the first two music theory courses prior to registering for Composition I class. This does not delay graduation; it just insures that all participants are prepared for Composition I class before they enroll.

2) Not Admitted to the School of Music to Pursue Music Composition: This means that the composition faculty members do not feel that you are prepared to study music composition at this time. This does not impact your ability to audition into the School of Music on an instrument. You can audition twice for any program at the School of Music.

Undergraduate applicants already admitted to the School of Music

If you are already admitted to the School of Music and attending �������ϲʹ���ֱ��, please follow the process below to apply for the undergraduate program in music composition. The criteria to determine eligibility for admission to the composition program appear below. Materials are due by March 1 for admission the following fall semester.

1. GPA and Minimum Grade Requirements: Admission to the composition major requires at least a 2.5 GPA in the music core (no grade less than C), as well as a 3.25 GPA in the sophomore-level courses in composition. Make certain you understand all that will be expected to fulfill the degree requirements as listed in the .

2. Portfolio Review and Submission: Students must submit two to three scores, if applicable, and recordings, if available. Most students submit the work that they have completed in the composition classes. You will be submitting these works while enrolled in MUS 2630: Composition II. The faculty will review submitted works to determine admission. Student work will be evaluated based on notation, clarity of compositional ideas, cohesion of musical ideas, and structure. Acceptance is based on the quality of work and space availability. Your portfolio should be submitted via the Dropbox function on Elearning connected to the Music Composition Studio Elearning page. The folder is labeled "Undergraduate Composition Application Files." If you have not already been added as a member of the music composition studio Elearning group, please contact Dr. Biggs: @email

3. Optional: You can also submit a brief statement regarding your interest in and your reasons for applying to be a composition major. Not submitting such a letter will not negatively impact your application, but, if you feel that your portfolio might be lacking, you can show your enthusiasm and goals in this statement.

Following the evaluation of your work, there are three possible outcomes:

1. Accepted: You are accepted as a composition major and can register for private lessons the following year.
2. Provisionally Accepted: You are accepted provisionally and can register for private lessons the following year. Students who are accepted provisionally must demonstrate marked improvement in their first year of private composition study in order to continue. Students who are admitted provisionally must submit an updated portfolio the following March 1. At that time they will either be admitted or dismissed from the program.
3. Not Admitted: You are not admitted to the composition major at this time, but can reapply next year. For students who are not admitted, there are other degree options within the School of Music, such as the B.A.

• Complete an interview with music education faculty during a New Student Audition Day. This will be in addition to your Studio Audition (see below for specific instrument/studio audition requirements).
• Instrumental: Admission to this program is by audition on a primary instrument and an interview with education faculty during a New Student Audition Day.
• Choral/General: Admission to this program is by audition in voice or piano, and an interview with education faculty during a New Student Audition Day.

Submit a portfolio as part of your Music Application. This portfolio should highlight your existing work with technology.  This portfolio must be submitted at least one week prior to your New Students Admission Day. Your portfolio may contain:

• Audio files on which you were involved in the production, including but not limited to recording, mixing, etc. These may be original songs/compositions or covers of preexisting music.
• Video files on which you were involved in the production, including but not limited to video editing, videography, animation, audio editing, etc. This may include archived streams from platforms like YouTube, Twitch, etc.
• Document listing live-sound experience or other technological experience that did not result in a product you can submit. Please provide detailed information including names of events, dates, equipment worked with, your role, etc.
• Any other materials related to your knowledge and/or experience using technology to create audio or visual art.

When attending the New Student Audition Day, you will do the following:

• Complete an interview with the Multimedia Arts Technology faculty.  During the interview you will be asked about your desired career path; quizzed on the audio and/or video software, hardware, or processes that you mentioned in your application; asked about your music background/quizzed on basic music theory, and asked about items submitted in your portfolio.
• Give a brief musical performance (no more than 1-2 minutes in duration) on either:
  • A traditional or non-traditional acoustic instrument (including any vocal style or guitar). You are responsible for providing your own instrument.
  • Any traditional or non-traditional electronic instrument (including electric guitar, keyboard, or DJ-style performance): If you have questions about what technology we have available, please email carter.rice@wmich.edu

If the applicant wishes to take applied lessons for credit, they must arrange for an additional Studio Audition time on New Student Admissions Day.

Undergraduate: Music Therapy Applicants

• Students interested in music therapy must complete an audition for entry into the School of Music and interview with the music therapy faculty during a New Student Admission Day (NSAD) event.

Certificate: Music Therapy Equivalency Applicants

• Applications to the Certificate program are currently submitted through �������ϲʹ���ֱ��'s Undergraduate Admissions system. 
• Choose the Non-degree Seeking Applicants option. 
• Within the application itself select the following options for your Academic Plan Intent:
  
      Student Type = I want to earn an undergraduate certificate 
  
      Non-Degree Program = Music Therapy Equivalency-Certificate

Demonstration of Performance Skills: Demonstrate your current level of skill on your primary instrument, voice, piano, and optionally guitar. You may submit video links via .  Alternatively, you can reach out to Professor Fiore to arrange an on-campus interview or video conference call (e.g., Zoom)

• Applicants are admitted to the program based on their academic credentials and an interview with faculty. A music audition is not required.
• Submit a portfolio with two papers and complete an interview with Music Research and Cultural Studies Faculty.

• Horn: Prepare a brief work or movement from the standard repertoire, as well as a contrasting solo or etude, demonstrating both lyrical and technical playing. You may be invited to demonstrate other techniques, such as multiple tonguing and lip trills.
• Trumpet: Prepare one or two solo movements or etudes that demonstrate your current and highest level of technical and musical development. Sight reading will be assessed at the audition, as well as Multiple tonguing and scales to demonstrate range.
• Trombone: Prepare a representative solo demonstrating both lyrical and technical playing or two etudes of contrasting style. Trombonists may also be asked to demonstrate multiple tonguing (both double and triple), as well as one or two scales to demonstrate both high and low range. For more information, see wmich.edu/trombone/auditions/undergraduate.
• Tuba:
  ● Be prepared to perform any major and chromatic scales (two octaves)
  demonstrating low and high range.
  ● Sight-reading may be included in this audition.
  ● An étude of your choice from Bordogni Melodious Studies
  ● A technical étude of your choice from one of the following:
  - V. Blazhevich: 70 Studies
  - C. Kopprasch: 60 Selected Studies
  - H.W. Tyrell: 40 Advanced Studies
  ● Representative solo works include but not limited to:
  - J.E. Barat: Andante and Allegro
  - Benedetto Marcello: Sonatas
  - Antonio Capuzzi: Andante and Rondo
  - Fernando Deddos: Introduction and Dance
  - Eric Ewazen: Concerto
  - Edward Gregson: Concerto, Movement I
  - Sofia Gubaidulina: Lamento
  - Walter Hartley: Suite for Unaccompanied Tuba
  - Paul Hindemith: Tuba Sonata
  - Libby Larsen: Concert Piece or Ursa
  - Alexi Lebedev: Concerto in One Movement or Concertante Allegro
  - Quinn Mason: Sonata ‘Darkplace’
  - Elizabeth Raum: Ballad and Burlesque or Romance
  - Antonio Vivaldi: Sonatas
  - Barbara York: Romance for Susie or Concerto
• Euphonium:
  ● Be prepared to perform any major and chromatic scales (two octaves)
  demonstrating low and high range.
  ● Sight-reading may be included in this audition.
  ● An étude of your choice from Rochut Melodious Studies
  ● A technical étude of your choice from one of the following:
  - H.W. Tyrell: 40 Progressive Studies for Trombone
  - H. Voxman: Selected Studies
  ● Representative solo works include but not limited to:
  - J.E. Barat: Andante and Allegro
  - Antonio Capuzzi: Andante and Rondo
  - Fred Clinard: Sonata
  - James Curnow: Rhapsody for Euphonium
  - Ferdinand David: Concertino
  - Kevin Day: Concerto
  - Eric Ewazen: Sonata
  - Alexandre Guilmant: Morceau Symphonique
  - Benjamin Horne: Stutter Step
  - Joseph Horovitz: Concerto
  - Gordon Jacob: Fantasia
  - Misa Mead: Concertino or Concert Piece
  - Elizabeth Raum: Romance
  - Philip Sparke: Fantasy
  - Georg Philipp Telemann: Fantasies or Sonatas
  - Donald White, Lyric Suite
  - Barbara York, Sonatas

• Piano: Students auditioning for the Piano Performance should prepare three memorized pieces: one from the Baroque era, one from the Romantic era or 20th century, and a movement of a Classical sonata (Haydn, Mozart or Beethoven). Students auditioning on piano for other School of Music programs (Music Therapy, Music Education, Jazz Performance, Composition) should prepare two memorized pieces, including at least one from the Baroque or Classical era.

• Candidates for percussion study should know all major scales (minors preferred as well) and be prepared to sight read on mallets and snare drum. The music chosen and prepared for the audition should represent the candidate's current playing ability on mallets (two and/or four mallets), snare drum (a concert solo or étude is required, additional rudimental solo optional) and timpani (tuning required). Performance on any other instrument in the percussion family is welcomed, but not required. The candidate is expected to bring any sticks/mallets necessary for the repertoire they have prepared.

• Violin: One movement from a Bach solo sonata or partita, One movement of a major concerto, One étude or caprice by Paganini, Ernst, Wieniawski, Dont, or Rode,Kreutzer, Wohlfahrt; or a short virtuosic work or movement for solo violin (Non-music performance major can select two pieces from three catalogs above.)
• Viola: One movement from a Bach cello solo suites or violin sonatas/partitas, One movement of a standard concerto (J.C.Bach, Hoffmeister, Stamitz or similar), One étude or virtuosic work representative of the applicant’s technical achievement (from Kreutzer, Campagnoli, Bruni, Don't, Palashko or similar) (Non-music performance major can select two pieces from three catalogs above.)
• Cello: A movement of a cello concerto, A movement of a Solo Bach Cello Suite, An etude representative of the applicant’s technical achievement (such as Popper High School of Cello Playing) (Memorization is recommended but not required for all works.)
• Double Bass: One movement from any double bass concerto, sonata, or comparable solo work; One movement from any Bach suite or comparable solo work; One etude and/or orchestral excerpt of your choice.

• In-person audition days—Perform two memorized art songs or arias: one in English and one in a foreign language. No music theatre or pop pieces are allowed for classical voice auditions. A pianist will be provided, please bring copies of your music 3-hole punched in a binder for the pianist. The audition will also include short unprepared sight-reading and tonal memory examples. For in-person auditions, no pre-screening recording is required.
  • For the virtual audition date only:
    • One week prior to the audition day, please email YouTube links for the two audition pieces (same requirements as the in-person auditions listed above) to @email. Note that they must be YouTube links, with one link per piece. The virtual audition on audition day will be the sight-singing and tonal memory only.

For Jazz Voice audition requirements, please see below

• Flute: Prepare a movement from a Classical concerto and an additional contrasting piece. The material that you select should demonstrate your highest level of proficiency, both technically and musically. Please be prepared to sight read, and to play full-range major, minor and chromatic scales.
• Oboe: Prepare a Barret or Ferling etude, along with a solo of choice that best demonstrates your playing ability. Also be prepared to play scales throughout the practical range of the oboe (i.e. low B-flat to high F.)
• Clarinet: Prepare two solo works of contrasting style and either a representative etude or two standard orchestral excerpts. The material that you select should demonstrate your highest level of proficiency, both technically and musically. You may be asked to play full-range scales—chromatic and all major and minor. Because of the limitations of repertoire, bass clarinet is not allowed as a primary instrument of study. All clarinetists must audition on B-flat soprano clarinet (or A clarinet when appropriate). At the live interview on NSAD, please be prepared to play scales and sight reading. 
• Bassoon: Prepare two contrasting movements of a sonata or concerto of moderate difficulty, plus one slow, melodic etude (preferably by Milde, Orefici, or Weissenborn).
• Saxophone: Prepare one original composition or movement from the standard recital or concerto repertoire (e. g. by Paul Creston, Paule Maurice, Jacques Ibert, Alexander Glazounov, Heitor Villa-Lobos, Fernande Decrück, Robert Muczynski). Prepare one additional work of contrasting style – original contemporary repertoire, transcriptions and etudes are excellent options (e. g. works by Johann Sebastian Bach, Robert Schumann, Astor Piazzolla, Franz Wilhelm Ferling, Ryo Noda, Stacy Garrop). Also be prepared to demonstrate from memory all major, harmonic minor and chromatic scales over the full range of the instrument (excluding altissimo).

Please prepare the following:

1. Two jazz songs in contrasting styles (swing, bossa nova, ballad, jazz waltz etc…) preferably with vocal improvisation as part of one of them.
2. If neither selection includes vocal improvisation, (scat-singing) then be prepared to improvise 2 choruses over 12-bar blues.  

You are welcome to bring your own accompaniment - pianist or guitarist. You may also audition with pre-recorded "backing tracks" such as Aebersold, iREal pro etc... if these accompaniment options are not available to you, there will also be a pianist available at your audition. 

The rest of your live audition will include:

1. Sight-reading: demonstrate sight-reading skills by singing the provided excerpts.
2. Aural recall:  sing back a series of notes played at the piano.
3. Harmonic recall:  sing the notes you hear when a chord is played at the piano.
4. Sing a C major scale, a C minor scale (of your choosing) and a C chromatic scale, ascending and descending.
5. Vocalize to explore your vocal range.  (Be vocally warmed up prior to audition)
6. Interview: this is an opportunity for you to ask questions and for me to get to know you a bit more. 

Long Distance (virtual) Audition Requirements:

Be prepared to submit a video of the following:

1. Two jazz songs in contrasting styles (swing, bossa nova, ballad, jazz waltz, etc…) preferably with vocal improvisation as part of one of them.
2. If neither selection includes vocal improvisation, (scat-singing) then be prepared to improvise 2 choruses over 12-bar blues.  

You are welcome to bring your own accompaniment - a pianist or guitarist. You may also audition with pre-recorded "backing tracks" such as Aebersold, iREal pro etc... if these accompaniment options are not available to you, there will also be a pianist available at your audition. 

Live component via Zoom or FaceTime [30min]

1. Sight-reading: demonstrate sight-reading skills by singing the provided excerpts.
2. Aural recall:  sing back a series of notes played at the piano.
3. Harmonic recall:  sing the notes you hear when a chord is played at the piano.
4. Sing a C major scale, a C minor scale (of your choosing), and a C chromatic scale, ascending and descending.
5. Vocalize to explore your vocal range.  (Be vocally warmed up prior to audition)
6. Interview: this is an opportunity for you to ask questions and for me to get to know you a bit more.

Please prepare the following:

1. A piece of your choice in 12-bar blues form (such as Billie’s Bounce or Straight, No Chaser) with two or three improvised choruses to follow.
2. A jazz standard of your choice (such as Autumn Leaves, All the Things You Are, Oleo) with improvised choruses to follow.
3. Basic Ear-Training, selected two-octave scales (Major, Harmonic, Natural, Melodic Minor) and Chromatic Scale (full-range low Bb - High F), and sight-reading.

Accompaniment will be provided during your audition (Dr. Rathbun will accompany you, or you may use play-along recordings).

Please prepare the following:

1.     A piece of your choice in 12-bar blues form (such as Billie’s Bounce or Straight, No Chaser) with two or three improvised choruses to follow.

2.     A jazz standard of your choice (such as Autumn Leaves, All the Things You Are, Oleo) with improvised choruses to follow.

3. Select two-octave major scales (for sound and range), basic ear-training (imitate single and short phrases & basic chord ID) and sight-reading of jazz pieces. 

4. Optional: An excerpt from a classical etude, lyrical studies, or classical solo literature. 

Please prepare the following:

1.     A piece of your choice in 12-bar blues form (such as Billie’s Bounce or Straight, No Chaser) with two or three improvised choruses to follow.

2.     A jazz standard of your choice (such as Autumn Leaves, All the Things You Are, Oleo) - melody plus one or two choruses of improvisation and one chorus of comping.  

3. Two-octave major scales, chord-types (play a voicing representing a given chord symbol), basic assessment of aural comprehension (identify triad qualities or intervals by ear, for example), and sight-reading.

Please prepare the following:

1. A piece of your choice in 12-bar blues form (such as Billie’s Bounce or Straight, No Chaser) - melody plus two or three improvised choruses.
2. A jazz standard of your choice (such as Autumn Leaves, All the Things You Are, Oleo) - melody plus improvised choruses

The audition will also include questions about two-octave major scales (for sound and range), chord-types (play a voicing representing a given chord symbol), pitch-matching (play what you hear), and sight-reading of jazz pieces and rhythm.

Please prepare the following:

1. A piece of your choice in 12-bar blues form at 100-120bpm (such as Billie’s Bounce, Now’s the Time or Straight, No Chaser) playing the melody followed by two walking choruses and one or two improvised choruses.
2. A jazz standard of your choice 120-140 bpm (such as Stella by Starlight, Autumn Leaves, All the Things You Are, Oleo) playing the melody followed by one or two walking choruses.

Select two-octave major scales (for sound and range), and sight-reading of jazz pieces.

Please prepare the following:

1. Swing time in the 12-bar blues form at 132 bpm
   1. Play 3 choruses of time
   2. Trade 4’s for 2 choruses
   3. Solo for two choruses
   4. Play 1 chorus of time
2. Swing time in the 32-bar AABA form between 190-200 bpm
   1. Play 2 choruses of time
   2. Trade 8’s for one chorus
   3. Solo for one chorus
   4. Play 1 chorus of time
3. Afro-Caribbean Grooves 
   Choose 3 from the following: Mambo, African 6/8, Songo,
   Samba, Bossa Nova, Mozambique, Rumba, or others. 
4. Brushes
   1. Play Ballad time on the snare at 60 bpm
   2. Medium Swing on the snare at 120 bpm
      1. 16 bars in a ‘two-feel’
      2. Transition to a ‘4-feel’ for 16 bars.
5. Funk at 76 bpm and 100 bpm.