Submit an Audition
Audition Submission Guidelines
Prospective students who are interested in pursuing their musical interests at W&L are encouraged to upload audio or video recordings of their solo performing ability through the admissions applicant portal.
Submissions strengthen your application portfolio in general, but also provide our ensemble directors and applied lesson instructors a better understanding of the skills and interests of the incoming class. Submitting recording(s) won't commit you to majoring in music, but it will make the process easier if that's what you decide to do.
Repertoire Suggestions
Two songs chosen from the categories below:
- Art songs in English or another language.
- Selections from Broadway-style musicals.
- Arias from operas, operettas or oratorios.
- Arrangements of popular, jazz or sacred songs.
Selections should be performed from memory whenever possible. Selections chosen from contrasting categories and those representing contrasting styles (e.g., one fast and one slow, one from the Baroque Era and one from the Romantic Era, etc.) are encouraged in order to demonstrate the breadth of your performing ability. Whenever possible, you should submit examples that feature you performing with live accompaniment at the time of recording. This accompaniment can be by piano, guitar, or an instrumental ensemble.
Two pieces chosen from any of the categories below
- The Baroque Era (examples include works by such composers as J.S. Bach, François Couperin, or Domenico Scarlatti)
- The Classical Era (examples include works by such composers as Joseph Haydn, W.A. Mozart, or Muzio Clementi)
- The Romantic Era (examples include works by such composers as Beethoven, Chopin, Schumann, Brahms, or Liszt)
- The Modern Era (examples include works by such composers as Debussy, Bartók, Copland, or Ginastera)
- Any other prepared pieces.
The selections should be played from memory whenever possible and should contrast with one another in style and/or historical era.
Two contrasting selections (or excerpts from extended works) of medium to difficult levels as indicated on the graded lists of various music publishers. Selections do not need to be memorized and should demonstrate your ability to play both lyrical and technically demanding passages. Playing with a live accompanist at the time of recording is preferred, except in the case of a solo sonata.
One selection from works composed for each of the following instruments: snare drum, timpani, and mallet percussion, for a total of three examples. These do not have to be memorized.
Classical: Two contrasting pieces from the standard classical guitar repertoire, such as those by Villa Lobos, Ponce, Giuliani or Bach.
Acoustic: Two pieces of any style or origin, learned by standard notation whenever possible as opposed to tablature.
Two contrasting pieces from the standard classical harp repertoire, such as those by Carlos Salzedo, Marcel Grandjany, Henriette Renié, or J.S. Bach (transcriptions). Both pieces must be played from memory.
One standard orchestra excerpt of your choosing. Excerpts may be played with music and memorization is not required.
Two pieces from the categories below:
- Works by Bach, Pachelbel, or any classical composer.
- A hymn setting.
- Any other prepared pieces.
If you think you may pursue the Theory/Composition Sequence as a music major, you should submit at least two examples of your work as a composer. Submit these as Finale or Sibelius files along with recordings of the selections. Recordings can feature acoustic and/or electronic instruments.