• 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 Nazareth ensemble and compete for a music scholarship

For musical theatre, see details here »

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 University choir, band, orchestra, or jazz ensemble. You do not have to receive a scholarship to perform in any Nazareth University 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.

SCHEDULE

Prior to your audition

As you register for your audition date you will be asked for:

• The repertoire your plan to audition with
• A piano placement assessment
• General information about you and your music experience
• You will also have the opportunity to provide an optional Music resume. This will be uploaded through your Admissions dashboard after applying to Nazareth.

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 visit 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 “Options based on your major in Music: Music/Business"
• Music Therapy majors: have the option to follow a different audition format, as detailed below in “Options based on your major in Music: Music Therapy"

Auditioning virtually?

The School of Music will coordinate with you a recorded audition and Zoom interview. You will submit your recordings through your Admissions dashboard using YouTube. 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.

• For technology issues, questions about the admissions process, or questions regarding your application, contact Amanda Brady, abrady8@naz.edu or 585-389-2831.
• For questions related to study at the School of Music or audition material, contact Sarah Rhee, at srhee2@naz.edu or call 585-389-2695.

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.

Music therapy majors auditioning on piano, voice, guitar, or percussion have the option to include different audition content, as noted in the “Prepare for a Music Major Audition” instructions.

All music therapy major auditions will include a brief singing/aural skills assessment with music therapy faculty. This will occur “in the moment”, so there is nothing that you need to prepare. 

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.

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.
• Students auditioning for Music Therapy can perform two pieces,  one  may be a jazz/contemporary/popular piece.
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.
• Generally, Musical theater, jazz, or pop styles are not acceptable with the exception of Music Therapy (one of the three pieces may be jazz/musical theatre/or contemporary). 
• Students auditioning for the Bachelor of Music in music education, music composition, music therapy, music business, 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
• Students auditioning for Music Therapy: One of the two pieces 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 or an acoustic guitar. You have the option of demonstrating your ability to improvise within the piece, if this will enhance your audition.
One piece must demonstrate finger picking. 
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.
• Students auditioning for Music Therapy may prepare a short solo on snare drum, mallet percussion, and drum set or timpani. For drum set, prepare a written etude or play a song with a play-along track. Sight-reading, scales and arpeggios, timpani tuning, drum set styles and rudiments may be requested on the instruments being played for the audition. Contact the Percussion Coordinator for more information and/or solo suggestions. 
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

Vocalists

Prepare two pieces from the classical repertoire.

Prescreen and audition required:

• Musical Theatre (BFA)

Essay and interview required:

• Theatre Arts (B.A)
• Theatre Arts with Early Childhood/Childhood Education (B.S.) — elementary education
• Theatre Arts with Adolescence Certification in English (B.A.)

Portfolio review and interview required:

• Theatre Design & Technology (BFA)

See musical theatre prescreen and audition requirements »

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.

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.

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 Matt Ames, mames7@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, you may not audition again later for the same program.

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 University'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.

2023-24:

First-year students applying to the Art & Design Department do not require a portfolio review for admission, just for a scholarship.

Transfer students require a portfolio review for:

• 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.)

There is no 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 scholarships.

A strong portfolio includes 7-10 pieces, at least some 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.