Who needs to audition for the school of music?
Any student seeking a four-year Baccalaureate degree in Music Education (MUED.BME) must audition and be accepted into the music program.
Can I visit campus before my audition?
Yes! We encourage you to visit AB’s campus, attend classes and rehearsals, and take a free private lesson in preparation for your audition. You can chat with faculty and students, eat in the school dining hall, or spend a night in a residence hall. Call the Admissions Office at (800) 263.1549 to make arrangements for your campus visit.
Is there something I need to submit before my audition?
As part of the admission process to the School of Music, please submit the Prospective Music Major Questionnaire. (Contact the Admissions Office at (800) 263.1549 if you need help submitting the form electronically or if you wish to receive a paper copy through the mail.)
What if I have questions about affordability?
You will want to be in regular contact with the Financial Aid Office at (304) 457.6354 not only before your music audition, as you plan for the cost of your education, but particularly after your audition, as you work out your total financial aid package. Important: there is financial aid available to you directly related to your high school GPA, SAT or ACT test scores, and musical talent. If you wish, the Admissions Office can arrange an appointment for you and/or your parent(s) to consult with a financial aid counselor the day of your School of Music audition.
Who can I speak with if I have other questions about my music major audition?
Contact Mr. Lewis R. Hall (firstname.lastname@example.org), assistant professor of music/music education. He will be most happy to speak with you and answer any questions you might have.
When are the school of music auditions?
School of Music auditions are set up on an individual basis and are strongly encouraged to occur in the Fall semester.
How do I arrange for an audition?
To schedule an audition, call the School of Music at (304) 457.6200. If you need to reschedule or decide to cancel your audition, please notify the School of Music as soon as possible so that another student can be scheduled during the time slot reserved for you. If you have specific questions about the audition process itself, see the list of audition suggestions below (FAQ: PART III – What Do I Play Or Sing?), or contact Mr. Lewis R. Hall, (email@example.com) assistant professor of music/music education. (304) 457.6297.
What should I expect at my audition?
Your audition will include:
- your solo performance(s)
- an ear-training primary skills assessment
- a piano skills assessment (in order to place you in the appropriate freshman piano class)
- an interview with the music faculty
- you may be asked to sight-read a short excerpt on your chosen instrument or voice
What will the audition be like?
Some college and university music auditions seem impersonal: you arrive, warm-up, perform, and leave. You have little opportunity to talk to the faculty, meet current music students, or find out much about the program. At Alderson Broaddus University, it’s different: you will audition in an atmosphere that is friendly and supportive. You may have the opportunity to hear individuals and musical groups perform and also to eat together with faculty, staff, and students. We want you and your family to spend some time to get to know us.
I need an accompanist for my audition. What do I do?
We are happy to provide a qualified accompanist free of charge if you are unable to bring your own accompanist. In this event, please contact Mr. Hall at firstname.lastname@example.org and (304) 457.6297 at least two weeks prior to your audition with the selections you are performing. He will let you know if the School of Music has the music. If not, you will be asked to either: send the music to Mr. Hall at Alderson Broaddus University, Box 2126, Philippi, WV 26416; fax it to Mr. Hall at (304) 457.6239; or scan it to Mr. Hall at email@example.com. Please put your name on and number all pages of the music you send.
I usually perform with CD accompaniment.
We discourage the use of recorded accompaniments for School of Music auditions. Generally, commercially-produced accompaniments are used for pieces usually inappropriate for School of Music auditions, such as popular or contemporary Christian songs, and more appropriate for auditions for “The West Virginians’. However, if you find it necessary, please let us know ahead of time and arrangements for CD playback can be made.
How should I prepare for my audition?
We expect that the audition literature you choose will demonstrate your musical achievement on your primary instrument/voice. We recommend that you consult first with your high school and/or private teacher. Also, see the suggestions in the paragraphs below (What Do I Play Or Sing?). You are especially invited to contact the appropriate music faculty persons directly for suggestions—see the music faculty list below. They are all willing to give you a free private lesson at your convenience to help you prepare. The smartest thing is to start preparing NOW.
I play more than one instrument and also sing.
The main part of your audition will be focused on demonstrating your primary instrument or voice. However, if you have another primary or a secondary instrument/voice performance specialty in which you are fairly competent, you are encouraged to perform a short piece or excerpt on that instrument/voice as well.
What do I play or sing for my audition?
The student should be prepared to play major scales up to (at least) four sharps and four flats and in two octaves where possible, a solo of the student’s choice with piano accompaniment (demonstrating good intonation and appropriate style and musicality), and two etudes of contrasting style, preferably one lyric and one technical. Excellent sources for etudes for various instruments would include the following:
- Trumpet: Voxman Selected Studies; Snedecor Lyric Studies; Arbans Complete Method; Brandt Orchestral Studies; J. L. Small Etudes
- Horn: Kopprasch, Pottag or Shoemaker Studies; any etude from Selected Melodious Progressive and Technical Studies, Vol. I (“The Blue Book”)
- Trombone and Euphonium: Bordogni/Rochut Lyric Studies; Voxman Selected Studies; Tyrell Etudes
- Tuba: Bordogni, Blazevich, or Tyrell Etudes
The student should be prepared to play major and minor scales, chord arpeggios, and a repertoire of standard guitar works from the Renaissance through the 20th Century. Typical works might include:
- one of the Six Lute Pieces from the Italian Renaissance (ed. Chilosetti)
- one of the movements from the Suite in D Minor by Visee (ed. Karl Scheit, Universal Edition nr. 11322)
- etudes by Carcassi, Giuliani, Sor or Carulli
The student should be prepared to play the following (music does not need to be memorized):
- one hymn of the student’s choice
- one pedal scale of the student’s choice, in a major key, one octave
- a short excerpt by a 17th – 18th century composer (Pachelbel, Buxtehude, J.S. Bach, Daquin, etc.)
- a short excerpt by a 19th – 21st century composer (Mendelssohn, Franck, Widor, Langlais, etc.)
- The student will be asked to sight-read a simple hymn or chorale.
The student should perform a prepared solo or an etude on snare and on one or both of the other major percussion areas, mallet/keyboard, and timpani. Students should provide their own sticks and mallets, if possible. Pieces should be drawn from the standard repertory of percussion literature. Suggested materials:
- Snare drum: Mitchell Peters’ Intermediate Studies for Snare Drum (Solo No. 1)
- Timpani: Saul Goodman’s Modern Method for Timpani (Exercises 18 or 19)
- Mallets: Morris Goldenberg’s Modern School for Xylophone, Marimba, Vibraphone (Etude No. 5)
- The student will be asked to sight-read on snare drum
Students who are reasonably competent and experienced on drum set are encouraged to demonstrate their skills. NOTE: If you are interested in including drum set performance as part of your audition, please inform the School of Music two weeks prior to your audition so that a set can be made available for you and additional time allowed for your audition.
The student should be prepared to play major scales (at least two octaves, hands together in parallel motion). At least two solo works are to be performed, each chosen from a different style period. It is recommended that at least one solo piece be memorized. Some suggestions:
- Baroque (e.g., Bach)
- Classical (e.g., Haydn, Mozart, Beethoven)
- Romantic (e.g., Chopin, Brahms)
- Impressionistic (e.g., Debussy)
- Modern (e.g., Bartok)
- The student will be asked to sight-read a simple hymn or chorale.
Students who have experience as accompanists should inform the music faculty of this experience.
The student should prepare two solo art songs which display the student’s musicality, vocal range, and a full, resonant classical tone quality. An excerpt from a classical choral piece (for example, from music sung for All-State or for WVACDA Chamber Choir) can be substituted for one solo art song. No pop or show tunes will be accepted as substitutes for art songs. Applicants are strongly encouraged to sing at least one song in a foreign language (Italian, German, French, Spanish, Latin, etc.). It is recommended that at least one solo art song be memorized. Students who do not have a voice teacher should prepare solos with the help of their school music teacher or church choir director. Choose pieces from, or similar to, those found in the following collections:
- 24 Italian Songs and Arias or 26 Italian Songs and Arias (G. Schirmer or Alfred, publishers)
- Boytim First Book of Solos, Parts I or II (Hal Leonard, publisher)
- Standard Vocal Literature (Hal Leonard, publisher)
- Handel Arias (International, publisher)
- Favorite German Art Songs (Hal Leonard, publisher)
- Favorite French Art Songs (Hal Leonard, publisher)
- The student may be asked to sight-sing a verse from a simple hymn or chorale.
All students should be prepared to play the following:
- All major scales (two to three octaves where possible)
- Chromatic scale (full range of the instrument)
- One solo of the student’s choice with piano accompaniment
- One lyric and one technical etude from an appropriate method/etude book.
The following are recommendations for each Woodwind; however, other standard solos or etudes may be performed:
- Flute: etudes may be selected from: Cavally Melodious and Melodic Studies; Voxman Selected Studies;
- solo – any Bach Sonata; any Handel Sonata; Mozart Concerto in G or Concerto in D
- Oboe: etudes may be selected from: Barret 40 Progressive Melodies; Brod Etudes; Ferling 48 Famous Studies;
- solo – Telemann Sonatas in G minor or A minor; any Albinoni Concerto; any selection from Schumann’s Three Romances
- Clarinet: etudes may be selected from: Rose 32 Etudes or 40 Studies; Hite Melodious and Progressive Studies (Book 1);
- solo – Stamitz Concerto No. 3 in Bb Major; Weber Concertino Op. 26 or Concerto No. 1 in f minor; Osborne Rhapsody
- Saxophone: etudes may be selected from: Ferling 48 Famous Studies; Voxman Selected Studies;
- solo – Bozza Aria; Glazunov Concerto; Rueff Chanson et Passepied; Creston Sonata; Eccles Sonata; Bencriscutto Serenade
- Bassoon: etudes may be selected from: Weissenborn Method for Bassoon; Pares Daily Exercises and Studies;
- solo – any of the Galliard Six Sonatas (Vol. 1); Telemann Sonata in f minor; Benson Song and Dance; Rachmaninoff Vocalise op. 34, No. 14
Assistant Professor of Music / Music Education
Mr. Hall teaches applied voice lessons, voice class, and music education methods classes including secondary choral methods, elementary methods, and music for elementary classroom teachers. Mr. Hall also directs the Vocal Chamber Ensemble and oversees the Music Education Laboratory.
Mr. Hall is a Tenor/Countertenor with a Bachelor of Arts degree from Alderson Broaddus University in Music Education and a Master of Arts degree from Texas Woman’s University in Vocal Pedagogy and Performance. Mr. Hall did his graduate studies with renowned vocal pedagogue Joan Wall, and worked for Pst . . Inc. publishers on the Singers Edition Operatic Anthology, Diction for Singers textbook, and The Performer Prepares 100% Commitment videotape.
While in Texas, Mr. Hall was a regular soloist with the Denton Bach Society, the Denton Light Opera Company, the Chamber Symphony of the Metrocrest, and many local churches in the Dallas area.
Mr. Hall has presented master classes, guest recitals, and served as guest conductor for many institutions including Frostburg State University in Maryland, Denton Independent School District, Texas Music Educators Association-Region V, Barbour County All-County Chorus, and the Barbour County Arts and Humanities Council. In Texas, Mr. Hall spent seven years as Choral Director and Chairman of the Fine Arts Department at Lake Dallas High School and Middle School and Director of Music at Lake Cities United Methodist Church. He has recorded, with Helm Publishing; a compact disc recording entitled “Holiday Songs for the Soul.”
Assistant Professor of Music, Director of Bands
Dr. Valarie Huffman, Assistant Professor of Music, joins the faculty of Alderson Broaddus University in the Fall of 2016 where she will conduct the Symphonic Band, Brass Choir and teaching courses in conducting, studio brass, music education and music history. During the 2015 year she taught as an Adjunct Professor at Alderson Broaddus and conducted the Symphonic Band. Prior to her joining the faculty at Alderson Broaddus, Dr. Huffman was Associate Professor of Music and Director of Bands at Fairmont State University from 2003-2015. Other positions that Dr. Huffman has held include positions with Kansas City, Kansas Community College, and Ponca City, Oklahoma. At Ponca City, the ensembles Dr. Huffman worked with appeared in concert for the Oklahoma Music Educators Association and appeared at the 2001 Inaugural parade for President George W. Bush.
A native of Morgantown, West Virginia, Dr. Huffman is a graduate of Morgantown High School, Fairmont State College (B.A. Music Education, 1995), Ohio University in Athens (M.M. Conducting and Music Education, 1998), and the University of Missouri-Kansas City Conservatory of Music, with a Doctor of Musical Arts degree in Conducting (2003). While at UMKC, Dr. Huffman served as the conductor for the Kansas City Youth Wind Ensemble, as well as an associate conductor for the Conservatory Wind Symphony and Wind Ensemble.
Dr. Huffman is an active member of the College Band Directors National Association (CBDNA), Pi Kappa Lambda Music Honor Society, Sigma Alpha Iota International Music Honorary, and Kappa Kappa Psi Band Honorary.
Chun-Han Sophia Lin
Assistant Professor of Music
Matthew J. Swallow
Adjunct Professor/Lecturer in Music
Matthew James Swallow is a saxophonist, music educator, and new music enthusiast from Western Pennsylvania. He has earned a Bachelor of Music in Music Education and Saxophone Performance (Magna Cum Laude) from Slippery Rock University, Pennsylvania and Master of Music in Saxophone Performance from Miami University, Ohio. Currently, Swallow is pursuing a Doctor of Musical Arts degree at West Virginia University studying with Michael Ibrahim. His previous teachers include: Jeremy Long, Terry Steele, Chris Hemmingway, and Varden Armstrong.