Wells School of Music

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • Examples: Bach, Marcello, Vivaldi, Corelli, Eccles, etc.
  • Examples: Dragonetti, Dittersdorf, Koussevitzky, Proto, Rabbath, etc.
• One movement from a Baroque Sonata
• One movement from a Classical, Romantic, or Contemporary piece
• All major scales
• Sight-reading

Should you have additional questions, feel free to contact our Bass studio faculty – Prof. Peter Paulson

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • example but not limited to: Telemann Sonata in f minor, Bourdeau Premier Solo, Pierne Solo de Concert, von Weber Concerto in F major.
• Two pieces/movements of your choice, in contrasting styles
• All major scales, minimum two octaves, three octaves when possible, i.e. B-flat or C;
• Sight-reading

Should you have additional questions, feel free to contact our Bassoon studio faculty – Prof. Jon Gaarder

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
  • Examples of repertoire: Haydn concerto in C Major, 1st movement, Saint-Saens – Allegro Appassionato, Faure – Elegie, Eccles – Sonata in G Minor, Bach Suite no 1.
• Two pieces/movements of your choice, in contrasting styles
• Scales up to four accidentals, minimum of 3 octaves
• Sight-reading
• Bachelor of Music Performance
  • Examples of acceptable repertoire: A movement of a concerto by any of these composers: Saint-Saens, Haydn, Lalo, Boccherini/Grutzmacher. Sonatas by Brahms, Sammartini/Berteau, Breval G Major. Studies: Capricces by Franchomme, Popper, Duport. Pieces: Saint-Saens – Allegro Appassionato, Faure – Elegie, Tarantella by Popper, Gavotte by Popper.
• Two pieces/movements of your choice, in contrasting styles
• Scales up to four accidentals, minimum of 3 octaves
• Sight-reading

Should you have additional questions, feel free to contact our Cello studio faculty – Dr. Ovidiu Marinescu

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
  • Examples of acceptable repertoire: Weber Concertino, Hindemith Sonata, Mozart movements 1 and 2 or 2 and 3, Saint-Saens Sonata, movements 1 and 2, Rose 32 Etudes or Rose 40 Studies to name a few.
• Two pieces/movements of your choice, in contrasting styles
• All major scales, slurred, in two octaves and an E chromatic scale in three octaves.
• Sight-reading
• Bachelor of Music Performance
• Two Pieces/movements of your choice in contrasting styles
• Examples of acceptable repertoire: A movement or complete section from works such as Stravinsky Three Pieces, Harvey Three Etudes on Themes of Gershwin, Weber Concerti nos. 1 and 2, Copland Concerto, Mozart Concerto, Finzi Concerto, McAllister Black Dog, Muczynski Time Pieces, Rabuad Solo de Concours.
• Examples of acceptable excerpts-Kodaly Dances of Galanta, Brahms Symphony no 3, movement 1 and 2 solos, Beethoven Symphony no 8, Minuet, Beethoven Symphony no. 6, solos from movements 1 and 2
• Major and melodic minor scales, slurred, in two octaves with E,F,F# and G in three octaves, a G chromatic scale three octaves, major thirds and an orchestral excerpt.
• Sight-reading

Should you have additional questions, feel free to contact our Clarinet studio faculty – Dr. Karen Dannessa

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Two contrasting works (or a movement from each work) that display both lyrical playing and technical proficiency. Examples: Bach Flute Sonata, Mozart Flute Concerto, Faure Fantasy, Hindemith Sonata
• All major scales – 2 octaves, slurred eighth notes at the tempo of your choice
• Sight-reading
  *Piano accompaniment not required
• Bachelor of Music Performance
• Mozart Flute Concerto in G Major OR D Major, mvt 1
• Contrasting work that displays both lyrical playing and technical proficiency. Examples: Faure Fantasy, Chaminade Concertino, Poulenc Sonata mvt 1, Hindemith Sonata, mvt 1
• All major scales – 2 octaves, slurred eighth notes at the tempo of your choice
• Sight-reading
  *Piano accompaniment not required

Should you have additional questions, feel free to contact our Flute studio faculty – Dr. Kim Reighley

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Two contrasting pieces or movements of a solo work from your current repertoire
• An etude of your choice
• Sight-reading

*If you have questions about selecting repertoire, please contact our Horn Studio Faculty

• Bachelor of Music Performance
• Two contrasting pieces or movements of a solo work from your current repertoire
• An etude of your choice
• Three orchestral excerpts
• Sight-reading

*If you have questions about selecting repertoire, please contact our Horn Studio Faculty

Should you have additional questions, feel free to contact our Horn studio faculty – Dr. Liz Pfaffle

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
• Two classical guitar solos (melody and supporting parts are all played simultaneously on one guitar). Guitar solos by any of the following composers are acceptable: Sor, Giuliani, Carcassi, Aguado, Carulli, Tárrega, Sagreras, Villa-Lobos, Barrios, Brouwer, Dowland, Milan, Visée, Weiss, and Bach.
• All major and minor scales in open position meaning the first four frets. One-octave and two-octave scales must be played at quarter note = 60 (with 8th notes, triplets, and 16th notes) with index and middle right-hand finger alternation, rest stroke scales.

Should you have additional questions, feel free to contact our Guitar studio faculty – Prof. David Cullen

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
• Solo Repertoire: Salzedo, Grandjany, Bach (tempos and dynamics are noted in music.)
• Repertoire: Concerto in B flat, Grandjany version (tempos and dynamics as marked in music.)
• Scales and Arpeggios four octaves.
• Tempo 90 on the metronome per quarter note.

Should you have additional questions, feel free to contact our Harp studio faculty – Prof. Gloria Galante

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
• Solo piece - must include one slow and one fast movement. Examples include works by Handel, Telemann, Bach, Haydn, Mozart, etc.. In leu of two separate movements, an auditionee may perform a piece that has both slow and fast sections within the same movement. Please have at least 5 minutes of solo material ready for the audition.
• Scales - please be prepared to play all major scales, with Bb, B, C, C#, and D prepared at 2 octaves and the rest one octave.
• Sight reading

Should you have additional questions, feel free to contact our Oboe studio faculty – Dr. Henry Grabb

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • Examples: Prelude & Fugue by J.S. Bach, 19th century work, 20th/21st century work, hymn
• Repertoire – memory is not required
• Sight-reading – a solo organ example

Should you have additional questions, feel free to contact our Organ studio faculty – Prof. Anita Greenlee

Students must demonstrate proficiency on snare drum, keyboard percussion, and timpani

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Snare Drum: Perform a concert snare drum solo/etude (e.g. Cirone, Delecluse, Firth, etc.). Be prepared to play standard snare drum rudiments (applicants can elect to perform a rudimental snare drum solo/etude - e.g. Pratt, Wilcoxon, etc. - in place of the rudiments).
• Keyboard Percussion: Perform a 2-mallet or 4-mallet keyboard percussion solo/etude (marimba is preferable, vibraphone and xylophone are acceptable).
• Timpani: Perform a 2-drum, 3-drum, or 4-drum timpani solo/etude (e.g., Carroll, Firth, Goodman, Peters, Whaley, etc.).
• All applicants should prepare 2-octave major scales in all keys.
• Sight Reading: All applicants will be asked to sight read on snare drum and 2-mallet marimba.
• Bachelor of Music Performance
• Snare Drum: Perform a concert snare drum solo/etude and a rudimental snare drum solo/etude. See above for more detail.
• Keyboard Percussion: Perform a 2-mallet solo/etude and a 4-mallet solo/etude.
• Timpani: Perform a 2-drum, 3-drum, or 4-drum timpani solo/etude (e.g., Carroll, Firth, Goodman, Peters, Whaley, etc.).
• All applicants should prepare 2-octave major scales in all keys.
• Sight Reading: All applicants will be asked to sight read on snare drum and 2-mallet marimba.

Should you have additional questions, feel free to contact one of our Percussion studio faculty – Dr. Ralph Sorrentino

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Repertoire:
• A two or three-part Invention of J.S. Bach or Scarlatti Sonata
• The first movement of a sonata by Haydn, Mozart, Schubert or Beethoven (excluding Op. 49 & Op. 79)
• Any piece from the 19th, 20th or 21st century, equivalent in difficulty to the sonata movement above.
  *All works are to be performed from memory. In certain cases, literature substitutions may be made upon request
• All major and minor scales (harmonic and melodic), four octaves
• Arpeggios, majors and minors, four octaves, hands together, at a fluent tempo
• Sight-read a solo piano example
• Bachelor of Music Therapy
• 2 selections from the standard piano repertoire from contrasting style periods:
  Baroque (Ex. Bach, Handel, Scarlatti)
  Classical (Ex. Mozart, Haydn, Clementi, Beethoven, First movement of Classical era sonata)
  Romantic (Ex. Chopin, Grieg, Liszt)
• major and harmonic minor scales
• sight-read a short selection
• Bachelor of Music Performance
• Repertoire:
• A prelude and fugue, Toccata, or several movements from a Suite or Partita by J.S. Bach
• A complete sonata by Haydn, Mozart, Schubert or Beethoven (excluding Op. 49 & Op. 79)
• A solo work of substantial length and difficulty from the 19th, 20th or 21st century.
  *All works are to be performed from memory. In certain cases, literature substitutions may be made upon request
• All major and minor scales, four octaves (harmonic and melodic), hands together. Suggested minimum tempo, M.M. = 132 (4 notes/click)
• Arpeggios, majors and minors, four octaves, hands together. Suggested minimum tempo, M.M. = 112 (3 notes/click)
• Sight-reading a solo piano example

Should you have additional questions, feel free to contact one of our Piano studio faculty – Dr. Igor Resnianski

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • If the work is a sonata, a movement is acceptable as one selection.
  • Etudes from the Mule edition of Ferling are also acceptable.
  • An example list of composers and collections, but not limited to: J.B. Singelee, Bozza, Gurewich, Debussy, Karg-Elert, Koechlin, Creston, Teal & Patrick Solo Collections, Rascher Collection
• Sight-reading example
• Scales – all major scales, full range, slurred.
• Two contrasting works from the body of classical saxophone repertoire.

Should you have additional questions, feel free to contact our Saxophone studio faculty – Prof. Jonathan Ragonese

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy

One lyrical selection and one technical selection which best show your proficiency. Selections could be movements from the standard solo repertoire or advanced etudes from Bordogni, Tyrell or similar works. Be prepared to play all major scales (2 octaves with arpeggios if possible) and complete a sight-reading example.

Suggestions for tenor trombone solo literature:

• J. Edouard Barat – Andante et Allegro
• Ferdinand David – Concertino
• Friedebald Grafe – Grand Concerto
• Alexandre Guilmant – Morceau Symphonique
• Lars-Erik Larsson – Concertino
• Nikolai Rimsky-Korsakov – Concerto
• J. Guy Ropartz – Piece in E-flat Minor
• Enst Sachse – Concertino
• Camille Saint-Saens – Cavatine
• Stjepan Sulek – Sonata Vox Gabrieli

Suggestions for bass trombone solo literature:

• G.F. Handel/Yeo – Sonata in F
• Gordon Jacob – Cameos
• Jan Koetsier – Allegro Maestoso
• Pierre Lantier – Introduction, Romance et Allegro
• Eduard Lassen/Bollinger – Zwei Fantasiestucke
• Alexej Lebedjew (Lebedev) – Concerto No. 1 or Concerto Allegro
• Patrick McCarty – Sonata
• Ralph Vaughan Williams – Tuba Concerto

• Bachelor of Music Performance

Two complete works from the standard trombone concerto or sonata repertoire, in contrasting styles, which best show your proficiency OR one complete standard work and three contrasting orchestral excerpts from the standard audition literature. Be prepared to play all major scales (2 octaves with arpeggios if possible) and complete a sight-reading example.

Suggestions for tenor trombone solo literature:

• J. Edouard Barat – Andante et Allegro
• Ferdinand David – Concertino
• Friedebald Grafe – Grand Concerto
• Alexandre Guilmant – Morceau Symphonique
• Lars-Erik Larsson – Concertino
• Nikolai Rimsky-Korsakov – Concerto
• J. Guy Ropartz – Piece in E-flat Minor
• Enst Sachse – Concertino
• Camille Saint-Saens – Cavatine
• Stjepan Sulek – Sonata Vox Gabrieli

Suggestions for bass trombone solo literature:

• G.F. Handel/Yeo – Sonata in F
• Gordon Jacob – Cameos
• Jan Koetsier – Allegro Maestoso
• Pierre Lantier – Introduction, Romance et Allegro
• Eduard Lassen/Bollinger – Zwei Fantasiestucke
• Alexej Lebedjew (Lebedev) – Concerto No. 1 or Concerto Allegro
• Patrick McCarty – Sonata
• Ralph Vaughan Williams – Tuba Concerto

Suggestions for tenor trombone orchestral excerpts:

• Berlioz – Hungarian March
• Borodin – Polovetsian Dances
• Mahler – Symphony 3
• Mozart – Tuba Mirum from Requiem
• Ravel – Bolero
• Rimsky-Kosakov – Russian Easter Overture
• Rossini – La Gazza Ladra
• Saint-Saens – Symphony 3
• Wagner – Introduction to Act 3 of Lohengrin, Ride of the Valkyries, Tannhauser

Suggestions for bass trombone orchestral excerpts:

• Berlioz – Hungarian March
• Haydn – Creation
• Kodaly – Hary Janos
• Mozart – Overture to Magic Flute
• Schumann – Symphony 3
• Verdi – Nabucco Overture
• Wagner – Introduction to Act 3 of Lohengrin, Ride of the Valkyries, Tannhauser

Should you have additional questions, feel free to contact our Trombone studio faculty – Dr. Dan Cherry

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance

Students should be able to present 2 pieces in contrasting style, one lyrical and one articulated. Some examples to choose from are:

• Lyrical:
• Haydn Trumpet Concerto, 2nd movement
• Senée Concertino, 2nd movement
• Hummel Trumpet Concerto, 2nd movement
• One of the Bordogni or Concone Etudes
• Charlier Etudes 2, 4 or 6
• Articulated:
• Neruda Trumpet Concerto, 1st movement
• Kennan Trumpet Sonata, 1st movement
• Hummel Trumpet Concerto, 1st movement
• Brandt Etudes Nos. 1–5
• Bousquet Etudes Nos. Nos. 1–4

• All Major scales in two octaves when possible and a 2-octave chromatic scale starting on low C.
• sight-reading

Should you have additional questions, feel free to contact our Trumpet studio faculty – Dr. JC Dobrzelewski or Prof. Rob Skoniczin

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • Examples - One etude from Bordogni/Rochut (lyrical) and a Tyrell or Blazhevich (Technical)
    or
    Euphonium - Morceau Symphonique or (Guillmant)/Rhapsody for Euphonium (Curnow)
  • Tuba - Sonata in F (Marcello ed. Little) or Suite for Unaccompanied Tuba (Hartley)
• Please prepare two contrasting works or one work that has contrasting sections or movements.
• Major scales at quarter note equals 100. Play with an accurate and beautiful sound.

Should you have additional questions, feel free to contact our Tuba/Euphonium studio faculty – Dr. Jon Fowler

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• Bachelor of Music Therapy
• Bachelor of Music Performance
  • Example, 1 movement from a Bach sonata or partita, any movement from a violin concerts, and/or a short piece of your choice. Does not need to me memorized.
• Two pieces/mvt of your choice in contrasting styles and tempo.
• One etude by Wohlfahrt, Kayser, Mazas, Kreutzer, Fiorillo, Rode op 35 or 37, or equivalent
• All major scales in either 2 or 3 octaves. Quarter note=72: please be prepared to slur two quarter notes per bow as well as six eighth note triplets per bow. Memorized.
• sight-reading

Should you have additional questions, feel free to contact our Violin studio faculty – Prof. Carlos Rubio

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
• One major and one minor scale in 2 octaves
• One mov. of a Sonata, concerto, or show piece.
• One mov. of a Bach Suite
• Bachelor of Music Therapy
• One major scale in 2 octaves
• One mov. Of a concerto, Bach suite, or sonata.
• Bachelor of Music Performance
• One major and one minor scale in 3 octaves
• One etude or caprice
• One mov. of a Sonata, concerto, or show piece.
• Two movements of a Bach Suite

Should you have additional questions, feel free to contact our Viola studio faculty – Prof. Adrianna Linares

It is not necessary to bring an accompanist. One will be provided for you. You may bring your own pianist if you prefer.

• Bachelor of Music Education
• Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • No choral music excerpts or Musical Theatre
    *All selections must be memorized
  • 2 songs from the classical repertoire
  • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)
• Bachelor of Music Therapy
  • No choral music excerpts or Musical Theatre
    *All selections must be memorized
  • one classical selection (may be in a foreign language)
  • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)
  • one additional selection. Please choose from the following
  • Music Theater (1940-1980 preferred, or similar style), sung in a "legit" or lighter technique
  • Hymn
  • Spiritual
  • Folk song
• Bachelor of Music Performance
  • *No choral music excerpts or Musical Theatre
    *All selections must be memorized
  • 3 songs from the classical repertoire; English and Foreign language must be represented
  • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)

The jazz performance major is generally only offered for saxophone, trumpet, trombone, guitar, double bass, percussion, and piano. Please contact the Associate Director of Admissions if you have interest in the degree, but your instrument is not listed.

All applicants must complete the classical studio requirements for their instrument, in addition to the following jazz components:

• Tunes: Perform three songs of contrasting styles
• Interpret a melody in an effective and creative way
• Improvise on chord changes in a confident manner to perform an original solo that is creative and musically effective
• Scales (except percussion)
• Major, harmonic minor, melodic minor (modes from the ascending melodic minor only), diminished (half/whole & whole/half), whole tone, pentatonic
• Drum Set:
• Demonstrate three contrasting styles including jazz, funk/rock, and Latin (acceptable play along tracks include Tommy Igoe's Groove Essentials, John Riley's The Art of Bop Drumming, or equivalent).
• Demonstrate trading 4 bar phrases as a soloist in a jazz style.
• Sight read a jazz band chart (provided during the audition).

* Please bring a copy of the tunes you will perform, if you have any further questions please contact the Director of Jazz Studies, Jonathan Ragonese

All applicants must complete the above classical requirements on their primary instrument, and the following components:

• Three scores and recordings (an mp3 of MIDI playback is acceptable) of original compositions (no arrangements). Please submit material prior to the audition through the admission portal.

All students should come prepared on audition day to have a conversation style interview with the Music Composition faculty during their audition regarding their interest in Music Composition.

All applicants must complete the above classical requirements on their primary instrument, and the following components:

• Submit an essay (100-150 words) about why you are interested in a career in music education. Material should be submitted through admission portal 3 days prior to audition.

All students should come prepared on audition day to have a conversation style interview with the music education faculty during their audition regarding their interest in Music Education.

All applicants must complete the above classical requirements on their primary instrument, and the following components:

• Submit a music resume including performances, ensemble experiences, repertoire, private study experience or lessons, and any other information you think is relevant.

All students should come prepared on audition day to have a conversation style interview with the instrumental studio faculty regarding their interest in this degree during their audition.

All applicants must complete the above classical requirements on their primary instrument and the following components:

Theorists: Roman numeral analysis and written analysis in the form of short essays of three compositions from different eras (Baroque, Classical, Romantic, etc.). Please submit material prior to the audition through the admission portal.

Historians: A writing sample (minimum 700-1,000 words) on any musical topic and a minimum GPA of 3.0.

All students should come prepared on audition day to have a conversation style interview with the Music History, Theory and Composition faculty during their audition regarding their interest in Music History or Theory.

All applicants must complete the above classical requirements on their primary instrument, and the following components:

• Submit a music resume including performances, ensemble experiences, repertoire, private study experience or lessons, and any other information you think is relevant.

All students should come prepared on audition day to have a conversation style interview with the instrumental studio faculty covering career aspirations during their audition.

All applicants must complete the above Music Therapy requirements on their primary instrument, and the following components:

• Sing a song from any genre of music (pop song, children's song, etc.), while self-accompanying on piano or guitar, if possible.
• Submit an essay prior to the audition through the admission portal, no more than 2 pages, answering the following questions:
1. Why are you interested in becoming a music therapist?
2. Based upon your experience, please describe at least one example as to how music therapy may provide benefits to clients and patients.

Please Note: It is recommended that prospective music therapy majors either observe a music therapy session or speak with a board-certified music therapist prior to applying for the degree program. This will allow prospective candidates to have a better understanding of the field before auditioning.

*If you are a transfer student, it is encouraged that you reach out to Dr. Guerriero, Music Therapy Program Director (aguerriero@wcupa.edu), to set-up a conversation regarding transfer credits. *

All applicants must complete the above classical requirements on their primary instrument, and the following components:

• 2-3 recordings of music that you have recorded, produced, composed, and/or performed. At least one recording must include original music that you have composed. For each recording, you have the option to submit a score of sheet music and the option to submit a visual medium (film, animation, video game samples, etc.) to which the music is synchronized. Scores and visual media are not required. 
• A single PDF that describes each recording. Were you a producer, engineer, performer, composer? If the work is a scored scene, is there a plot background we should know? Feel free to include any other information you think would be useful for us.  

This test is required of all incoming students and is used to determine if a student begins in the core courses or in MTC Q14. Basic Ear Training and Sight Singing. The material tested on this quiz is as follows:

• Section 1: Identification: Students must name scale-degrees (what pitch is the 2^nd step in D Major, etc.), identify notes on a keyboard, name triad qualities based on music notation (major, minor, etc.), name intervals between two pitches, and find what rhythmic duration is required to complete an incomplete bar.
• Section 2: Chord Quality Identification: Students must label a sounded chord as major, minor, or neither major nor minor.
• Section 3: Identifying melodic contour: matching sounded melodies to musical notation
• Section 4: Melody singing: reading musical passages and singing them using solfège. For this, students will need to access the camera and microphone features of the device being used to take the placement exam. 

This quiz may be taken to determine if it is appropriate for an incoming student to “pass out” of Aural Activities I (MTC 114) and instead be placed in Aural Activities II (MTC 115). Incoming students do not need to take this quiz if they feel that entering in the first level of musicianship is appropriate; they will instead be placed directly into MTC 114.

No musical instrument may be used as a reference while taking this placement test.

The material tested on this quiz is as follows:

• Section 1: Identifying intervals: identifying sounded intervals by size and quality (major second, minor sixth, etc.)
• Section 2: Identifying chord qualities: identifying sounded root-position chords by quality (major, minor, diminished, augmented, dom7, sus)
• Section 3: First scale degrees: identifying the first scale degree heard in recordings.
• Section 4: Solfege: reading musical passages and singing them using movable-DO solfège. For this, students will need to access the camera and microphone features of the device being used to take the placement exam. 

This quiz may be taken to determine if it is appropriate for an incoming student to “pass out” of Music Theory I (MTC 112) and instead be placed in Music Theory II (MTC 113). Incoming students do not need to take this quiz if they feel that entering in the first level of music theory is appropriate; they will instead be placed directly into MTC 112.

The material tested on this quiz is as follows:

• Time signatures: reading a musical passage and choosing what time signature would be appropriate based on note durations and beaming patterns.
• Scales and modes: reading scales and determining if they represent modes such as major, harmonic minor, whole-tone, chromatic, octatonic, etc.
• Intervals: identifying the size of musical intervals, such as major second, augmented fourth, etc.) and choosing a pitch that is a specified interval above or below a given note.
• Chords: reading chords and determining root (by pitch name), quality (major, minor, dom7, etc.), and position (5/3, 4/3, etc.).
• Non-chord tones: labeling non-chord tones by type (passing tone, appoggiatura, etc.).
• Harmonic function analysis: assigning Roman numerals to chords based on their relationship to a key.