Contemporary Music Division

Details on requirements for auditions in Composition, TIMARA and Jazz Studies.

• Composition
• TIMARA
• Jazz Studies

Composition (Program Information & Course Information)

Applicants intending to major in composition should submit at least three scores (and recordings, if possible). At least two of the three must be handwritten. Scores will be judged for originality, variety of style, instrumentation, legibility, and accuracy of notation. Applicants who choose to come to Oberlin for one of the audition weekends will be able to attend a group session as well as an individual interview with a member of the composition department.

Applicants wishing to major in composition will be judged on their knowledge of contemporary music. They should submit lists of the following:

1. contemporary music pieces (scored for traditional instruments) they have heard;
2. electronic pieces they have heard;
3. jazz pieces (or performers) they have heard;
4. 20th-century pieces in other categories (such as multimedia) they have heard; and
5. the pieces, composers, and performers they prefer from each of these categories.

Applicants will be judged on their instrumental and ensemble experience. They should submit information about the following:

1. piano skills, including years of formal study and current level;
2. other instrumental skills, including years of formal study, and current level;
3. orchestral and/or other ensemble (including choral) experience; and
4. conducting experience.

Applicants should submit information regarding their experience in the following non-music areas:

1. foreign languages, including years of study and current level;
2. mathematics studies, including names of specific courses;
3. computer skills, including languages used and level of programming skills;
4. other performing arts experience, such as dance or theater; and
5. other arts interests.

Technology in Music and Related Arts (TIMARA)

Interested applicants who have substantial preparation in a traditional performance medium, acoustic composition, and/or related artforms, but little or no experience in music technology, are encouraged to submit a screening portfolio.  The TIMARA Faculty place more value on creativity and artistic expression than technological wizardry. Please do not hesitate to contact a member of the TIMARA Faculty with questions about the program.

2009-10 On-campus TIMARA Audition Dates

            Saturday, December 5, 2009 (for applicants invited to audition for early review)
            Saturday, February 20, 2010 (for applicants invited to audition)
            Saturday, February 27, 2010 (for applicants invited to audition)

TIMARA Screening

Applicants in TIMARA are required to submit the Unified Application and a screening portfolio prior to being invited to audition on campus.  The deadline for receipt of the application and screening portfolio is December 1 (November 1 for Early Review). Screening portfolios received after the deadline will be reviewed and considered at the discretion of the TIMARA Department and the admissions office.  Applicants will receive e-mail notification of the screening decision by mid-December (mid-November for Early Review). Those applicants who progress beyond the screening process will receive an invitation to audition on campus and information about submitting additional materials.

The TIMARA screening portfolio should consist of a completed Screening Materials Mailing Form (with attached résumé and essay) and 3 examples of creative work.

Applicants are encouraged to include a variety of works that illustrate skill in more than one style, aesthetic approach, and compositional technique. Appropriate formats include purely electronic works submitted on CD, purely acoustic works submitted on printed notation, and video works submitted on DVD.

Presentation and thoroughness of the portfolio are very important. Please carefully label all items.

TIMARA Auditions

Details of the various events occurring during audition weekends will be communicated after the screening process.

Jazz Studies

Jazz composition and jazz performance applicants must fulfill different audition requirements.

2009-10 On-campus Jazz Audition Dates

Friday, December 4, 2009
Friday, February 19, 2010
Friday, March 5, 2010

Jazz Composition

Applicants must submit recordings and scores of three original compositions and one arrangement of a pre-existing composition for some combination of five or more instrumentalists, including a rhythm section.

Jazz Performance General Information

All applicants can download the jazz accompaniment recorded by the Oberlin Jazz Faculty Quintet.

• Applicants performing on-campus auditions must submit a screening recording. The screening recording should be submitted using the same guidelines as a recorded audition. Additionally, on-campus auditions will be performed with a live accompaniment.
• Applicants who perform regional auditions should practice with the background recording in the manner outlined below.  Additionally, regional auditions will be performed with a background recording.
• Recorded auditions must include a recording of the applicant playing with the background recording as instructed below. The applicant should check that the background recording is played at an appropriate volume.

Note: The recording must be clearly marked to indicate whether it is a screening or a recorded audition.

If an applicant is unable to download the accompaniment, contact the Office of Conservatory Admissions by e-mailing Conservatory.Admissions@oberlin.edu or by calling (440) 775-8413 and a CD will be mailed to the applicant. When requesting a CD, be sure to include a name, address, telephone number, the intended major, and the date and location of the audition.

Jazz Screening

Applicants in jazz are required to submit a screening CD, DVD, audiotape, or videotape prior to being invited to audition on campus (early review deadline: November 1 or regular review deadline: December 1).  For further instructions, refer to the sections below for audition requirements. Indicate on the recording if it is an on-campus-screening or audition recording. You will receive e-mail notification of an invitation decision and confirmation of your audition on campus. Screenings received after the deadlines will be reviewed and considered at the discretion of the jazz department and the admissions office. Regional auditions do not require a screening recording.

Jazz Performance Audition Requirements

Specific audition requirements for individual instruments are listed below. The recorded tuning note for all instruments is concert A. The following chords are used for the blues and "rhythm changes" for all instruments.

Blues:
//F7/B-flat7/F7/F7/B-flat7/B-flat7/F7/D7/G-7/C7/F7/(G-7 C7)//

Rhythm Changes:
//B-flat G7/C-7 F7/B-flat G7/C-7 F7/B-flat B-flat7/E-flat Edim/B-flat G7/C-7 F7/

//B-flat G7/C-7 F7/B-flat G7/C-7 F7/B-flat B-flat7/E-flat Edim/B-flat G7/C-7 F7/

/D7/D7/G7/G7/C7/C7/F7/F7//

//B-flat G7/C-7 F7/B-flat G7/C-7 F7/B-flat B-flat7/E-flat Edim/B-flat G7/C-7 F7//

The accompaniment music files can be found below under the audition requirements for the respective instruments. Applicants are asked to download the files and rehearse with them as instructed below.
To download the files:

• PC: Right click on the link, and choose "Save Target As"
• Mac: Hold down the "control" button and click on the link, then choose "Download Linked File"

Horns (Trumpet, Trombone, Saxophone)/Guitar

In addition to the numbered requirements, guitarists must "comp" on the
F Blues and Body and Soul of the piano audition.

1. F Blues, four choruses. Play an appropriate blues head (Billie's Bounce, Au Privave, Straight No Chaser, etc.) and then improvise three choruses to the ending.
   MUSIC LINK: Tuning Note
   MUSIC LINK: F Blues
2. Body and Soul (D flat), two choruses. Play the entire melody on the first chorus. On the second chorus, improvise over the first two A sections and the bridge, and then play the melody on the last A section to the ending.
   MUSIC LINK: Body and Soul
3. Ladybird(C), four choruses. Play the melody one time and then improvise three choruses to the ending.
   MUSIC LINK: Ladybird
4. Rhythm Changes (B flat), three choruses. Play an appropriate melody (Oleo, Anthropology, etc.), and then improvise two choruses to the ending.
   MUSIC LINK: Rhythm Changes

Piano (guitar "comp" on F Blues and Body and Soul)

1. F Blues, four choruses. Play an appropriate blues head (Billie's Bounce, Au Privave, Straight No Chaser, etc.), improvise two choruses, and then "comp" the last chorus to the ending.
   MUSIC LINK: Tuning note and F Blues
2. Body and Soul (D flat), two choruses. Play the entire melody on the first chorus. On the second chorus, improvise over the first two A sections and the bridge, and then play the melody on the last A section to the ending.
   MUSIC LINK: Body and Soul
3. Ladybird (C), four choruses. Play the melody one time, improvise two choruses, and then "comp" the last chorus to the ending.
   MUSIC LINK: Ladybird
4. Rhythm Changes (B flat), three choruses. Play an appropriate melody (Oleo, Anthropology, etc.), and then improvise two choruses to the ending.
   MUSIC LINK: Rhythm Changes

Double Bass (auditions must be on acoustic, double bass; majors are not offered and auditions are not heard in electric bass)

1. B flat Blues, four choruses. Walk for the first two choruses, then improvise two choruses to the ending.
   MUSIC LINK: Tuning Note
   MUSIC LINK: B flat Blues
2. Body and Soul (D flat), two choruses. On the first chorus, play the entire melody (bow if possible). On the second chorus, improvise over the first two A sections and the bridge, and then play the melody on the last A section to the ending.
   MUSIC LINK: Body and Soul
3. Ladybird (C), four choruses. Play the melody one time, improvise one chorus, and then walk two choruses to the ending.
   MUSIC LINK: Ladybird
4. Rhythm Changes (B flat), three choruses. Walk all three choruses.
   MUSIC LINK: Rhythm Changes

Drums (on-campus auditions only)

1. F Blues, four choruses. Play time for four choruses to the ending.
   MUSIC LINK: F Blues
2. Body and Soul (D flat), two choruses. Play brushes for two choruses to the ending.
   MUSIC LINK: Body and Soul
3. Ladybird (C), four choruses. Play time on the first chorus, catching rhythms of the melody. Play time on the second chorus. On the third and fourth chorus trade "fours" with piano. On the fifth chorus, play melody to the ending.
   MUSIC LINK: Ladybird
4. Rhythm Changes (B flat), three choruses. Play time with brushes for two choruses. Improvise with the bass and piano accompaniment for the third chorus to the ending.
   MUSIC LINK: Rhythm Changes
5. Blue Bossa (C minor), four choruses plus tag. This should have a bossa nova feel. Play time on all four choruses, catching the melody and tag (ending).
   MUSIC LINK: Blue Bossa