• Music (B.A.)
• Music/Business (B.S.)
• Music Composition (B.M.)
• Music Education (B.M.)
• Music Performance (B.M.)
• Music Therapy (B.M.)
• Non-music majors who'd like to perform in a College ensemble and compete for a music scholarship

For musical theatre, see the THEATRE audition information below.

For music majors: All students are considered for scholarship opportunities. If awarded, the scholarship will be included in your financial aid award letter.

For non-music majors: You are welcome and encouraged to audition for a non-music-major ensemble scholarship to perform in a Nazareth College choir, band, orchestra, or jazz ensemble. You do not have to receive a scholarship to perform in any Nazareth College music ensemble. At this time we cannot offer this scholarship to those who play the flute or are a vocalist within alto soprano ranges.

Jazz musicians: The Paul and Beverly Smoker Jazz scholarship is awarded annually to an entering first-year music major who minors in jazz. To apply for the jazz scholarship, send a video audition with at least two examples — either solo performances with jazz groups and/or a solo jazz work that represents improvisation and playing over appropriate chord changes. Send your submission or any questions directly to Prof. Nancy Strelau, nstrela1@naz.edu. Video audition deadline: March 15.

Watch Prof. Nancy Strelau's video: How to Ace Your Music Audition >

SCHEDULE

Prior to your audition

Once you have registered for your audition date you will receive a supplemental form that requests the following information to help prepare our School of Music for your visit:

• Music resume
• The repertoire your plan to audition with
• A piano placement assessment
• General information about you and your music experience

What to expect at your audition

We are excited to welcome students and their families to campus for auditions! We will hand out schedules to students the day of your audition. On your audition day, you can expect the following on your schedule:

• Aural skills assessment*
• Music Theory placement assessment*
• Warm up time
• Your audition and interview with faculty from your performance area as well as your major

In addition to these pieces of your audition, we will have opportunities to meet with current students and faculty from the School of Music. We encourage you to interact and ask them questions while on campus!

If you would like a full campus tour and information session, please follow www.naz.edu/visit to schedule this component of your visit. 

*Assessments are used to register you for the appropriate course sections once a Nazareth student

Program specific

• Music composition majors: Your audition on a performance instrument will be followed by a composition interview. If available, please bring scores and/or recordings of your best work. Online links to recordings and videos are acceptable.
• Music/business majors have the option to follow a different audition format, as detailed below in “Prepare for Music/Business Major Audition”

Auditioning virtually?

The School of Music will coordinate with you a recorded audition and Zoom interview. We are planning to interview students this way on two audition days: January 17 and February 25.  Additionally, we will send out virtual options for any assessments that would be given in person.

Please email Amanda Brady at abrady8@naz.edu if you’d like to pursue this option.

• 9 – 10 a.m. parent  Q&A meeting with Nazareth College School of Music director and student ambassadors
• 10 a.m. student Q&A meeting with other music majors
• 10:45 a.m. your music interview
• 11:30 a.m. piano assessment

• For technology issues, questions about the admissions process, or questions regarding your application, contact Devon Ash at dash2@naz.edu or call at 585-389-2831.
• For questions related to study at the School of Music or audition material, contact Nancy Strelau at nstrela1@naz.edu or call at 585-389-2056.

1. Perform 2 or 3 memorized works selected from contrasting historical style periods - Baroque, Classical, Romantic, 20th-Century. B.M. in Performance applicants must perform 3 works.
2. Scales/arpeggios (two octaves hands together) may be requested.
3. Sight-reading

For questions concerning repertoire selection or piano audition requirements, contact Dr. Jacob Ertl, jertl2@naz.edu.

1. One work by J.S. Bach or another Baroque composer
2. One primarily virtuosic piece by either a romantic or contemporary period composer
3. One primarily lyrical piece by a romantic or contemporary composer
4. Scales/arpeggios (two octaves hands together) may be requested
5. Sight-reading

The entrance audition demonstrates your ability to sing in tune with good quality, correct rhythm, and musical intelligence.

• Audition repertoire for all degree programs must include at least two languages and contrasting historical styles.
• All selections must be memorized.
• Musical theater, jazz, or pop styles are not acceptable.
• Students auditioning for the Bachelor of Music in music education, music therapy, music theory, music history, and Bachelor of Arts music degree  must present three pieces selected from the standard classical vocal repertoire suitable to your age and ability. Students auditioning for the Bachelor of Music in music performance must present four pieces.
• You'll be asked to sight read.
• An accompanist will be provided for you. If you wish to bring your own accompanist, please let us know.

1. Chromatic Scale and two major scales (multiple octaves) demonstrating the practical range of the instrument using a variety of slurring and tonguing techniques.
2. Two solo pieces or movements of contrast in tempi are required. These may come from a sonata or concerto, or etude.

1. Scales in two or three octaves (Segovia) played with two or more of the following combinations: i m i m/ i a i a/ m a m a/ a m i/ i m a m
2. Studies by Carcassi, Sor, Giuliani, Brouwer, et cetera
3. Two pieces representing contrasting styles, such as works by Milan, Sor, Tarrega, Villa-Lobos, or Brouwer
4. Sight-reading

Violinists, violists, cellists:

1. A 3-octave major scale and related melodic minor scale with accompanying major and minor arpeggios of the applicant's choice
2. Two compositions or two contrasting movements from two different compositions. Selections must be of contrasting tempi or different time periods (Baroque, Classical, Romantic, Contemporary).
3. One movement of an unaccompanied suite or partita by J.S. Bach
4. One etude or technical study

Double bassists:

1. A 2 to 3 -octave major scale and related melodic minor scale with accompanying major and minor arpeggios of the applicant's choice
2. Two compositions or two contrasting movements from two different compositions. Selections must be of contrasting tempi or different time periods (Baroque, Classical, Romantic, Contemporary).
3. One etude or technical study

Harpists:

1. A 3-octave major scale and related melodic minor scale with accompanying major and minor arpeggios of the applicant's choice
2. Two compositions or two contrasting movements from two different compositions. Selections must be of contrasting tempi or different time periods (Baroque, Classical, Romantic, Contemporary).
3. One etude or technical study

1. A short solo on each of the following instruments: snare drum, marimba, and timpani. As a general guide, NYSMMA level V and VI solos are preferred, with level IV acceptable in an area of less experience.
2. Rudiments, scales and arpeggios, and timpani tuning
3. Sight-reading
4. Optional: In addition to auditioning on snare drum, timpani, and marimba, you may choose to perform on drum set.

Sample literature includes:

• Rudimental Swing Solos by Wilcoxen
• Portraits in Rhythm by Cirone
• Three Dances for Snare Drum by Warren Benson
• Violin Sonata in A Minor, movement I or III by Bach
• Suite for Xylophone and Orchestra by David Carey
• selections from Raggedy Ragtime Rags by Randy Eyles
• Juniper by Kristen Shiner McGuire
• Suite for Timpani by Dave Mancini
• selections from The Solo Timpanist by Vic Firth
• Seven Solo Dances for the Advanced Timpanist by George Frock
• Sonata for Timpani by John Beck

All music/business applicants interview with music/business faculty as part of your audition and you will take placement examinations in theory, aural skills, and piano.

You may choose the regular music-major audition format (see "Prepare for Music-Major Audition" on this page) OR if you have experience and interest in contemporary styles such as jazz, pop, rock, or musical theater, you may elect to present an audition with the following repertoire:

Voice

1. Sing two songs of contrasting nature:

• One must be an art song (for example, one of the 24 Italian songs) or a traditional aria (for example, one of the arias from the Messiah).
• The second selection could be a jazz, pop, rock, or musical theatre selection, or a piece that you have composed.

2. Sight-reading

Guitar

1. Perform two pieces of a contrasting nature:

• One must be on an acoustic guitar in a classical style (demonstrating your ability to “finger pick” in a traditional classical guitar style).
• The second piece may be in a jazz, pop or rock style and can be something you've composed. The piece may be performed on an electric guitar. You have the option of demonstrating your ability to improvise if this will enhance your audition.


2. Sight-reading

Electric Guitar

1. Play two contrasting pieces (style/feel, tempo, etc.).
• One piece should display technical proficiencies, and the other highlight your musicality
• The second piece can be another cover tune or an original composition.
2. The entire audition should be performed on an electric guitar.
3. At least one of the pieces should be a cover tune.
4. You will be asked to do some finger picking and improvisation.
5. You will be asked to play a scale. You get to decide what scale to play.
6. You will be asked about chord knowledge ("Can you play an Ab chord?  Ab minor? Ab minor7?") We will ask for either a # or b chord because that shows a higher level of awareness and knowledge.
7. Sight-reading

Bass

1. Perform two pieces of a contrasting nature.
• One must be performed on a double bass in a classical style. This piece should demonstrate your ability to work effectively with a bow.
• The other piece may be in a jazz, pop or rock style. You have the option of performing the second piece on an electric bass guitar. The selection can be something you've composed.
2. Sight-reading

Electric Bass

1. You will prepare two pieces of music from separate styles on the electric bass. One jazz or contemporary piece and one classical etude will be performed.
2. You will demonstrate melody, accompaniment, and improvisation as well as technique and time-feel. Accompaniment must be appropriate to the style i.e. jazz walking bass, rock bass line. 
3. You must play 2 octave major scales and arpeggios in 12 keys.
4. Sight-reading

Percussion

Perform either jazz/rock/popular or classical:

1. Jazz/Rock/Popular - drum set or vibraphone

A. Drum Set

• Prepare a tune played with a CD (Music Minus One, Aebersold, Hal Leonard). Include comping with the chart and some fills and kicks.
• Be able to demonstrate the following styles in a 4 plus 4 format (4 measures time, 4 measures fill) - slow, medium, and fast swing; bossa nova, samba; Afro-Cuban, jazz waltz, brush ballad.
• Sight-reading

B. Vibraphone

• Prepare a tune played with a CD. Perform melody and improvise over the changes.
• Prepare major scales and arpeggios, ascending and descending, for 2 octaves.
• Sight-read a 2-mallet example.
• Sight-reading

2. Classical/Traditional - snare drum, mallet percussion, or timpani

• Prepare a solo on either snare drum, timpani, or mallet percussion. Should be NYSSMA level V-VI.
• Sight-reading, scales and arpeggios, timpani tuning, and rudiments may be requested.

Keyboard (piano)

1. On an acoustic piano, perform two pieces of a contrasting nature.
• One selection should be classical in nature, and if possible, performed from memory.
• The second selection could be a jazz solo or a piece in a rock or popular music style; it may be something you composed.
2. Scales/arpeggios (two octaves hands together) may be requested.
3. Sight-reading

Other Traditional Band and/or Orchestral Instruments

For all other instruments (e.g., violin, viola, cello, flute, clarinet, oboe, sax, etc.), you will follow the same audition procedures as for other Bachelor of Music degrees (see "Prepare for Music-Major Audition" on this page), with one exception: For the second selection, you have the option of performing a piece in a jazz, pop or rock genre. The piece may be an original composition.

Prescreen and audition required:

• Musical Theatre (BFA)

Essay and interview required:

• Theatre Arts (B.A)
• Theatre Arts with Elementary Education (B.S.)
• Theatre Arts with Adolescence Certification in English (B.A.)

Portfolio review and interview required:

• Theatre Design & Technology (BFA)

An exceptional audition or portfolio submission may qualify you for a theatre scholarship. If you are selected, the scholarship appears on your financial aid award letter.

Nazareth College follows the Musical Theatre Common Prescreen (MTCP). For the 2021/2022 Audition Cycle, MTCP has included a list of helpful hints. We strongly encourage that you take advantage of these resources which have been thoughtfully and intentionally crafted by the expertise of multiple programs nationwide to support the excellence of the audition and for your benefit. View the MTCP Audition Resources.

OVERALL

Each piece should be filmed/uploaded as a separate piece of media. No continuous videos. All prescreen videos should be uploaded to Nazareth’s Acceptd account: nazarethcollege.getacceptd.com

SLATE

• There should not be a separate “slate” video. Instead, slates are to appear at the beginning of each piece. The proper slate for a song is to share your name, the song title, and show in which it appears.
• The proper slate for a monologue is to share your name, the title of the play, and the playwright.

SONGS

Students should prepare 2 contrasting pieces:

• One song should be a ballad, and one song should be an uptempo.
• Each song file should be 60-90 seconds. (This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.)
• Students must sing to live or recorded accompaniment. No “a cappella” singing.
• Songs should be filmed in a ¾ shot, which means the top of the head to the knees should be visible in the frame.
• COMPLETE MTCP OPTION A
• One song should be written prior to 1970. This song can be either the uptempo or the ballad (student’s choice).
• One song should be written after 1970 and contrast the style of the first.

MONOLOGUES

• Monologues must be from a published play. 
• Monologues cannot be from musicals, television shows, or movies.
• Each monologue file should be 60-90 seconds in length. (This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.)
• MTCP OPTION A:
• One 60-90-second contemporary monologue (written during the 20^th Century-present) from a published play. This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.
• The contemporary monologue should be filmed in a “close-up” shot, which means the top of the head to the chest should be visible in the

DANCE

• All dance media should be filmed in a “full body” shot, taking care to keep your entire body in the frame at all times.
• You do not need to slate in any dance media.
• Regardless of which style of dance you execute, the choreography and the movement should be story-driven and connected to the music where you are dancing with a sense of purpose.
• HELPFUL HINT: You are encouraged to keep a full-length mirror behind the filming device to see yourself as you execute choreography.
• REQUIRED DANCE OPTION
• 30-60 seconds of dance in whatever dance discipline you feel most confident. This may include, but is not limited to jazz, ballet, tap, modern, cultural dance styles, hip hop, lyrical, or contemporary.
• Please do not submit "barre work." Instead, check to see if the auditioning program offers the optional "Ballet Submission."
• Please use steps, movement, and physical vocabulary that you are familiar with and can execute well.
• Dance media can be self-choreographed, but must be a solo video of you. This can include a show, competition, or other performance so long as you are clearly featured on your own.
• All choreography must be performed to music; please no a cappella dance media.
• BALLET (Optional)
• Ballet media should be no more than 30 seconds.
• Execute a brief series of plié, tendu and grande battement; and also pirouette en déhors (to both sides), and grand jeté across the floor.
• WILD CARD (Required)
• Submissions should be no more than 60 seconds.
• This media can be anything you want: a special skill, an interesting story about yourself, a passion speech, an instrument that you play, etc. (What do you want us to know about you? What makes you unique?)

Once these pieces are submitted, you will be invited to sign up for an audition.

Watch video: Prepare for your musical theatre audition »

Audition in three performance areas: vocal, dance, and acting components. Before your scheduled audition day, please submit these three portions to Acceptd following the prescreen requirements above. On your audition day, please bring with you a headshot and resume.

• Vocal portion: Sing two contrasting 60-90 second songs that demonstrate your ability to sing in tune with good quality and musical intelligence. Both songs should be memorized. At least one should be musical theatre, and the other can be a pop/contemporary song. Preferably, these pieces should be different from what was demonstrated in your prescreen.
• Acting portion: Prepare one contemporary memorized monologue that's less than two minutes long. Select audition monologues that contain characters within five years of your current age.
• Dance portion: You will be provided a brief dance combination to learn and perform during your audition date. There will be time to review, but please become familiar with the combination prior. Those with extensive training may be asked to demonstrate additional dance skills.

For your scheduled audition date, you will receive confirmation emails prior but will not receive the full schedule until you arrive on your audition day. Each audition starts with the dance portion, so you're free to come dressed appropriately. Auditions also will include a brief interview with our faculty.

Interview expectations

• Verbal explanations of portfolio pieces
• Responsibilities for productions presented
• Design concepts
• Personal design process
• Discoveries which occurred during pre-production process (building)
• Critical analysis and self evaluation of your work
• Responses to questions which reveal your knowledge and understanding of theatre
• Personal philosophy and goals as an artist of the theatre

Guidelines for resume

• Should include minimum three productions worth of experience
• Should highlight leadership/supervisory positions
• Should show us what you feel is your best work
• References (examples): directors, theatre advisor, immediate supervisor, any professional or community theatre personnel
• Addresses and phone numbers of individuals chosen as references

Guidelines for technical portfolio

Costume design

• Costume renderings/drawings
• Mounted photographs or slides of production costumes
• Photographs or slides of costumes constructed
• Full-scale sample of designed or constructed costumes (not always possible)
• Artwork from other mediums that provides examples of your artistic eye (i.e. photographs, studio art, sketches, wood working, etc.)

Lighting design

• Drawings/sketches of intended lighting design
• Mounted photographs or slides of production lighting design
• Drafted light plot
• Paper work (instrument schedule, patch sheet, cue sheets, cheat sheets)
• Artwork from other mediums that provides examples of your artistic eye (i.e. photographs, studio art, sketches, wood working, etc.)

Scenic design

• Sketches and/or Color Rendering samples
• Color photographs of work 
• Working drawings and/or drafting samples
• Painter’s elevations
• Artwork from other genres – i.e. studio art (painting or drawing classes), interior design, graphic design, photography, woodworking, or sewing/upholstery
• Sample show bill documenting your position
• Artwork from other mediums that provides examples of your artistic eye (i.e. photographs, studio art, sketches, wood working, etc.)

The BFA in Theatre Design and Technology will also prepare students for careers in the following areas:

Sound design

• Samples of designs on CD or cassette
• Cue sheets
• Cue level/setting chart
• Sample show bill documenting your position

Stage management

• Sample prompt book with lighting and sound cue notes and blocking notes
• Sample Rehearsal Schedule
• Sample Crew Plot
• Sample property/furniture plot
• Sample rehearsal and production notes
• Sample show bill documenting your position

Technical director

• Working drawings and/or drafting samples
• Mounted photographs or slides showing construction of scenic elements
• Paper work (production work schedules, build schedules)
• Sample show bill documenting your position

Please submit your supplemental material at least one week before your scheduled audition/review day.

Tips from Prof. Allen Shannon >

Students interviewing for admission or a scholarship should present a resume and headshot. In addition to the headshot and theatrical resume, Theatre Arts students are asked to write an essay to demonstrate your theatre arts knowledge.

Essay guidelines 

Your essay should be 3-4 pages, double-spaced, in 12 pt. font. Include your name, date, and title on the first page (no cover page) in the upper left corner.

As the subject of your essay, select an artist of the theater (actor, designer, playwright, etc.) about whose work you are passionate. The essay should include an introduction, at least three paragraphs in the body, and a closing that assesses the strengths and weaknesses of your chosen artist. Questions to consider might include:

• What about their work affects you?

• What makes their work rise to the level of “art?”

• What does their art say about the world in which it was created?

• There will be an opportunity at the end of the interview session to ask questions. If you have any questions about the essay, please email Lindsay Reading Korth, lkorth3@naz.edu.

For your scheduled review date, you will complete an interview and talk about your completed essay. Please submit your supplemental material at least one week before your scheduled audition/review day.

If you audition and are not admitted to your first-choice program in Musical Theatre or Acting, you may not audition again later for the same program.

Instrumentalists

Prepare

• 2 minutes of a movement or piece that is slow
• 2 minutes of a movement or piece that is at a fast tempo

Vocalists

Prepare two pieces from the classical repertoire.

All applicants for the dance studies major must audition.

Applicants who want to pursue a dance minor are encouraged to audition to be considered for a performing arts scholarship.

Nazareth College's Theatre and Dance Department faculty evaluate auditions. Their conclusions are used by the admissions office to make a final admissions decision.

Dance majors and dance minors: Nazareth offers performing arts scholarships based on the quality of your dance audition.

Tips from Prof. Heather Roffe: Ace Your Dance Audition »

Master Class

Come to your audition prepared to take a master class taught by Nazareth dance faculty (ballet barre and center, across-the-floor modern combination), dressed in appropriate body-conforming dance wear. Please bring ballet shoes and wear leggings or convertible tights for going bare-foot during Modern.

Solo

After the group class, you will perform a prepared two-minute solo in the style of your choice. Please bring any appropriate dance shoes, your music (on your phone app is perfect; we have an adapter for the sound system), and a water bottle in addition to the attire above.

• Art Education (B.S. or B.S.-M.S. combined master's option)
• Design (B.S.)
• Studio Art (B.S.), (B.F.A.)
• Visual Communication Design (B.F.A.)

Note: there is not a portfolio requirement for the Art History major.

Each portfolio submitted for review, as part of the Admissions process, is evaluated for its quality to determine admission into a program and for possible additional merit scholarships.

A strong portfolio includes a significant number of pieces based on direct observation from life (as opposed to photographs). We recommend portraits and self-portraits, drawings of hands and feet, landscapes, perspective drawings and a well-composed still-life. Do NOT include pieces that are copied from published photographs, advertisements, logos, copyrighted characters, etc.
In addition a strong portfolio should demonstrate your artistic spirit and personal creative direction within your area of interest.

The portfolio is evaluated based on the following criteria:

• Understanding of the elements of art and principles of design (dynamic, balanced composition).
• Idea development (content is inventive; the piece communicates an idea).
• Craftsmanship (evidence of skill; technique enhances the meaning of the art).
• Presentation of the portfolio (professional, clean, well-organized); electronic and slide portfolios must have documentation of images, and the images must clearly and accurately represent the work.

The pieces chosen for your portfolio should include:

• Your strongest work.
• At least three different media (pencil, charcoal, pen & ink, pastels, acrylics, water color, collage and some three-dimensional work if possible: clay, metals, etc.) Photography and digital work can also be included.
• Drawings from life (still life, self-portrait, figure drawing, landscape).
• Thematic projects showing the development of concepts.

Tips from Prof. Mitch Messina >

Basic drawing from life

Pencil, charcoal, graphite, pen & ink

• Heads: life-size from a variety of angles, not just head-on.
• Figures: If it is possible, the ambitious student may want to take a figure drawing course. If not, clothed figures are fine.
• Page of life-size hands: drawings of the student's hand in gestures.
• Self-portrait: life-size, showing at least the student's head and drawing hand. (The student must give some thought to lighting, what to wear, background, etc.)
• Perspective Drawing: a view down a hallway with lots of detail or the exterior of a complicated building, rendered beautifully. Combine lines with tonality and a sense of atmosphere.

Three-dimensional works

• Realistic sculpture of a head in clay
• Thrown ceramic forms exhibiting inventive form/surface relationships
• Expressive or symbolic self-portrait in clay or other 3D materials
• Interpretation of an object using found objects
• Planar interpretation of a tool or musical instrument (e.g. using cardboard)
• Linear interpretation of a tool or musical instrument (e.g. using wire)
• A container emphasizing interior/exterior relationships
• A wearable piece that exaggerates or visually alters the body
• A wearable piece designed as a tribute to an artist
• A surrealistic architectural space constructed of clay, metal, wood, etc.

Thematic projects

Consider the following thematic projects done in drawing and painting, printmaking, and or digital imaging:

• Realistic color landscape: with pastels (from observation, not photos).
• Fauve landscape: Look it up. A good companion piece for the realistic landscape done with more expressive strokes and more emotional use of color.
• Creative still-life: One that says something about the student - items should go beyond the usual vases, etc.
• Cubist still-life: A variation on the usual realistic image after the student has some knowledge of what the Cubists were doing with form, color, texture, etc.
• Surrealism: Explore juxtaposition of seemingly unrelated objects to create symbolic imagery.
• Expressionism: An emotional piece influenced by German Expressionism.
• Abstraction based on forms, textures, shapes, etc. Elements of the subject matter, whether it is landscape, still-life, machinery, architecture, etc., can be reordered, transformed, echoed, amplified, severely cropped, and exaggerated in many ways.
• Grid drawings or designs.