• 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 music majors: Exceptional auditions may qualify you for scholarship funding distributed by the music faculty and included in your financial aid award letter.

For non-music majors: You are welcome and encouraged to participate in choirs, bands, orchestras, and jazz ensembles at Nazareth College. Audition for a seat and to be considered for a non-music-major Ensemble Scholarship ($1,000 to $1,500 per year). These scholarships are open to ensemble members and visual and performing arts minors.

You'll be assigned an audition time and get a schedule that includes time for warm-up, audition, and interview.

If you want to major in one of the music programs, your schedule also will include a music theory placement exam, sight-singing, and piano proficiency exams. (That's not the case if you want to pursue a music minor.)

Your audition on a performance instrument will be followed by an interview with the program director.

Piano

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.

Organ

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

Voice

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 degrees 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 performance must present four pieces.
• Sight-reading

Brass and Woodwinds

1. All major scales, as well as solo material which demonstrates the practical range of the instrument and a variety of slurring and tonguing techniques.
2. Two solo pieces or movements of contrast in tempi are required.
3. Sight-reading

Guitar

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

Strings

1. A 3-octave major scale and related melodic minor scale with accompanying major and minor arpeggios of the applicants 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
5. Sight-reading

Percussion

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

Music/business applicants will interview with music/business faculty at audition time, 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.

Your audition on a performance instrument will be followed by a composition interview. Please bring scores and/or recordings of your best work. Online links to recordings and videos are acceptable.

Exceptions: Music/business majors, see "Auditions for music/business majors." Music composition majors, see "Auditions for music composition majors."

Piano

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.

Organ

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

Voice

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 degrees 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 performance must present four pieces.
• Sight-reading

Brass and Woodwinds

1. All major scales, as well as solo material which demonstrates the practical range of the instrument and a variety of slurring and tonguing techniques.
2. Two solo pieces or movements of contrast in tempi are required.
3. Sight-reading

Guitar

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

Strings

1. A 3-octave major scale and related melodic minor scale with accompanying major and minor arpeggios of the applicants 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
5. Sight-reading

Percussion

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

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

You may also be asked to warm up with a scale or two before you play your pieces.

Vocalists

Prepare two pieces from the classical repertoire.

You'll have a brief rehearsal with a pianist prior to the audition.

Have a question not answered on this page?

Contact

Nancy Strelau

nstrela1@naz.edu

585-389-2691

Audition required:

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

Porfolio review required:

• Technical Production (B.F.A.)

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

Students auditioning for admission or a scholarship should present a resume at the audition.

The following guidelines are standard for prepared monologue auditions across the country.

Selection of Material

Choose 2 monologues:

1. Select two pieces which contrast comedy/drama or character.
2. Each piece should be less than 2 minutes long.
3. Choose characters within 5 years of your current age.
4. Sell your acting strengths: comedy, drama, style, etc.

Performance

Arrive early enough to have a chance to look at the stage and make any necessary preparation. Costumes are not appropriate for auditions. Dress comfortably and in a way that does not distract from your characters.

• Enter. Stop center stage. Place chair where you need it (if at all). Please bring no other props.
• Establish eye contact with the auditor(s) (faculty) and greet them.
• Introduce your piece, stating the play title and character name.
• Take about 5 seconds to adjust your body and mind into character, locating the imaginary character you are addressing above the heads of the auditors.
• Perform your piece. Memorization is mandatory.
• Expect auditors to want you to do your best, but do not expect any reaction from them. This is not a reflection of the quality of your work.
• Freeze after the last moment of the monologue. Hold for two counts.
• Establish eye contact. Thank auditors.
• There will be a short interview and some time to relax and ask questions.

Audition in three performance areas: vocal, dance, and acting components. Musical theatre students will also complete a music theory placement exam. Individual sight-singing and keyboard placement interviews will be scheduled within the remaining time.

• Vocal portion: Students must prepare two 32-bar musical theatre songs that demonstrate their ability to sing in tune with good quality and musical intelligence. Both songs should be memorized and one should be written before 1965. One of the songs should be a ballad. Please bring your sheet music in a hard-back, three-ring binder (for easiest page-turning) and in the correct key. An accompanist will be provided.
• Acting portion: Students must prepare two monologues which contrast comedy/drama or character. Each piece should be less than two minutes long and memorized. Select audition monologues that contain characters within five years of your current age.
• Dance portion: Students will learn a brief dance combination from a musical. Those with extensive training may be asked to demonstrate additional dance skills. There will be time to change into dance attire. Students should dress in appropriately fitted dance or athletic clothes.

An interview follows the audition. Musical theatre students must submit a resume that includes personal goals as a theatre artist, relevant theatre experience, special skills and hobbies, and other performance or athletic experience. Your resume will be collected on the date you are scheduled to audition.

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)

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)

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

The BFA in Technical Production 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

Students auditioning for admission or a scholarship should present a resume at the audition. The following guidelines are standard for prepared monologue auditions across the country.

Selection of Material

Choose 2 monologues:

1. Select two pieces which contrast comedy/drama or character.
2. Each piece should be less than 2 minutes long.
3. Choose characters within 5 years of your current age.
4. Sell your acting strengths: comedy, drama, style, etc.

Performance

Arrive early enough to have a chance to look at the stage and make any necessary preparation. Costumes are not appropriate for auditions. Dress comfortably and in a way that does not distract from your characters.

• Enter. Stop center stage. Place chair where you need it (if at all). Please bring no other props.
• Establish eye contact with the auditor(s) (faculty) and greet them.
• Introduce your piece, stating the play title and character name.
• Take about 5 seconds to adjust your body and mind into character, locating the imaginary character you are addressing above the heads of the auditors.
• Perform your piece. Memorization is mandatory.
• Expect auditors to want you to do your best, but do not expect any reaction from them. This is not a reflection of the quality of your work.
• Freeze after the last moment of the monologue. Hold for two counts.
• Establish eye contact. Thank auditors.
• There will be a short interview and some time to relax and ask questions.

Students wishing to focus on dramaturgy, directing, or stage management are welcome to interview with a theatrical review or dramaturgical writing sample (dramaturgy/generalist), or a technical portfolio as listed for technical production candidates (directing/stage management).

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.

You must register for your dance audition at least one week prior to the scheduled date to allow for proper evaluation.

If you haven't already, be sure to:

Register

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

Come prepared to take a warm-up class (Ballet barre, and center Modern combination) with appropriate body-conforming dancewear, ballet shoes, convertible tights/bare feet, and a water bottle. Then plan to perform a prepared 2-minute solo in the style of your choice, followed by an individual interview with a faculty member.

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

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

Attend a Portfolio Review Day: If you plan to attend a Portfolio Review Day in person, you can bring your portfolio with you and you do not have to upload digital files of your work. If you haven't signed up already for a Portfolio Review Day, be sure to:

Register

If you are unable to attend any of the offered sessions but still wish to submit a portfolio in person, please schedule an appointment by emailing Mitch Messina at mmessin2@naz.edu, or by calling 585-389-2530.

Digital Submission: If you are unable to visit campus for an in-person review prior to an admissions decision being made, you should create digital files of your portfolio and email them to Mitch Messina at mmessin2@naz.edu or submit them by creating a SlideRoom account (free). Note: Coming to campus for a review with faculty is an encouraged, important part of the admission decision and scholarship-selection process.

Nazareth College Art Department faculty review portfolios and provide a score that is used to make a final admissions decision.

Nazareth offers additional scholarships based on the quality of students’ portfolio submissions. 

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.

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.