The Collegiate Choral Audition
Jason Heald, Repertoire and Standards Chair, Two-Year College and Vocal Jazz

The audition is a choral director’s first step in assembling a cohesive ensemble. As a choral director at a community college, I audition incoming college students for my program and prepare other students for their auditions at four-year institutions. It has been my experience that auditions can be terribly unreliable. Many of the most valuable choristers may not distinguish themselves during the audition process. So it is vitally important that choral directors have an effective method of quickly determining the skills of perspective choristers.

It is equally important that singers thoroughly prepare for the audition so the director will clearly recognize their musical potential. Here are suggestions from four collegiate choral directors that may assist students in preparing for their college audition and may provide a new perspective on the audition process for directors.

Know what is expected
Every college choral program has specific requirements for its audition. The student should contact the specific college music department and gather as much information as possible.

“Ask what is expected,” states Dr. Matthew Strauser, Director of Choral Activities at Corban College.

“No prepared solo is necessary for the Chamber Singers audition,” according to Dr. Solveig Holmquist, Director of Choral Studies at Western Oregon University. “Singers are tested for range, vocal quality, memory, and both rhythmic and melodic sight-reading.”

"We require 7-10 minutes of music, two pieces in contrasting styles,” says Dr. Michael Connelly at University of Portland. “We do not request specific pieces. One piece must be classical and the other can be of the student’s choosing.” Connelly continues, “Learn about the program. Students are applying to many schools these days and sometimes they know little about what is offered. That does not impress the faculty.”

Dr. Steven Zielke, Director of Choral Studies at Oregon State University says: “The auditions are short. We do five days of auditions and can only allow ten minutes per student. Students perform a prepared song that is either classical or a musical theater selection that is classical in nature and shows off the voice. We provide the accompanist for them. If students do not have a prepared song, we provide them with a sheet of folk and national songs, like ‘Greensleeves’, ‘God Bless America’, and ‘Amazing Grace’. However, membership in the most advanced choirs requires solid preparation.” Going into an audition with the knowledge that the student has prepared for all aspects of the audition will boost confidence and increase chances of success.

Sing what is best, not what is most difficult
Students often make the mistake of thinking that the harder the piece, the more impressive it will be. This frequently leads to a very uneven and lackluster performance. “Sometimes students select repertoire that is either too hard or not appropriate,” says Connelly. “We want to hear what they can do well, so playing over their heads is not helpful.”

Stylistic and range appropriateness is often an issue. Strauser observes, “People often think they sing lower than they do and frequently audition using a pop or jazz style. Use your best classical style!”

Students should perform selections that are appropriate for the ensemble they wish to join, and should always present their most polished material.

In addition, being physically prepared to sing on the day of the audition is a must. According to Holmquist: “Curiously, a fair number [of students] don’t take the time to warm up before coming to the audition! For me, this is a major red flag since serious singers should want to make the best first impression and be able to do their best. Also, [the student should] get plenty of rest and hydration before coming in.”

Be more than just another pretty voice
Musicianship skills are valued in any choral ensemble. Sight-singing skills are universally desired, and piano skills are a tremendous asset. “I listen for pitch and tone,” says Zielke. “I watch for a quick learner and a strong performer. We usually have them sing some prepared sight reading exercises that test their ability to sing a melody line without accompaniment. I love it when they show prior training by using either numbers or solfege. If they do well, they will get at least one exercise in a minor key to test their understanding of keys.” Holmquist concurs. “Secure sight reading is the greatest need, particularly in descending intervals and dotted rhythms.” Strauser also emphasizes reading skills by having choristers “sight read their part on an unfamiliar hymn while another part is played, e.g., play the soprano part while they read alto, or play the bass part while they read tenor.”

Dress for success
Clothes do not make the singer, but the manner in which a student is dressed may be an indicator of how much effort the student is putting into the audition. Connelly emphasizes the importance of the singer’s appearance, “We hope that students will dress in a manner that shows they are serious. Sometimes sloppy dress can give a bad first impression.” A neat, well-groomed appearance is an obvious, easy way to ensure that an audition gets started on the right foot.

Personality is a plus
In addition to looking for good voices and musicianship skills, directors are looking for singers who are good team players—musicians who are pleasant and cooperative. Holmquist suggests, “It’s good to have an open, positive personality.”
 Zielke echoes this sentiment. “I want to see and hear musical intelligence and personality. I am a sucker for a sharp wit and a quick study. A sense of humor and a bright personality are highly valued.” “Do not talk about your weaknesses,” Strauser recommends. In short, always present a winning attitude.

I would like to thank my colleagues for sharing their gems of wisdom. Best of luck with all of your auditions, conductors and singers alike!