College Violin Scholarships

College Violin Scholarships

college violin scholarships
what is the best violin song for music scholarship audition?!?

I am applying for music scholarship with violin at U of A.

I’ve been playing the violin for 9 years,

and since it is a college level audition

I want something not too hard, but good enough

to impress judges..

i played some hard peices.. but i have no idea..

Please Help me experts!

http://beststudentviolins.com/AuditionsGigs.html#6

Issues in Choice of Undergraduate Programs

(6) As a general rule, what are the audition requirements for undergraduate programs in violin and viola?

The answer to this question really depends on what university music school or music conservatory the student is auditioning for. Standards vary, and performance levels are not consistent throughout the many options a music student may have. With respect to exceptionally able students in smaller, perhaps local programs, the phrase “big fish in a small pond” is often heard. However, there are other combinations possible, since the quality of the pond (and the performance opportunities) is the real issue.

More importantly, the career goals of the student must be kept in mind from the onset. If, for example, the student really wants to be a professional instrumental player, they need to go to one of the dozen or so top professional schools; the majority of performers come from those schools. To get in, students should study with those teachers in summer programs before auditioning. Alternatively, if the student’s focus is teaching, considerations are different; if they want to do public school, there’s licensing to deal with. For private teaching, some schools have String Projects and other great pedagogical programs. As a general rule, studies indicate that the best players make the best teachers.

Choice of an undergraduate program should probably be based on a few primary considerations:

1. The emotional maturity of the student;
2. The available financial package (including scholarships, grants and loans);
3. The performance level of the student;
4. The student’s work ethic, commitment and future goals.

1. With respect to the emotional maturity of the student; whether or not they’re ready to move far from home, or would benefit from being in a nearby state or other good undergraduate program, is a key issue. If the student lives near a great state school (Indiana, for example), that is often the choice. Students vary widely in their emotional development; some really would benefit from doing an undergraduate program near home, and then, after four years, going on to a more demanding graduate program further out of state. Human adolescence has stretched beyond the teenage years, by some reports. This is not meant as a pejorative comment against young people. On the contrary, it is more like a recognition that human evolution has progressed to the point that maturity requires a broader educational base, and probably an additional 10 years or so, compared to past eras.

2. Schools vary widely with respect to the scholarship funds available. Many solid state school programs offer the so-called “orchestra scholarship,” which is not dissimilar to a football scholarship: students commit to three weekly, two and a half hour rehearsals and the concerts each term, and are given tuition waivers for this. Just like a sports team, orchestras must have certain numbers of players to exist. This is a huge benefit, and parents should be made aware of this, particularly in light of the rising costs of education.

3. and 4. Students vary widely in their abilities, commitments, and goals. Finding the right teacher is key, in this sense, a teacher who will support the student’s goals and inspire a higher level of performance. Incidentally, my recommendation has always been that the student contact the teacher with whom they wish to work, rather than taking an audition, cold. That teacher will either be a direct, deciding factor on the admissions committee, or will be consulted regarding the student’s admission. So the smart thing to do is for the student to contact the teacher directly, stating that the student wishes to study with them.

Sample Undergraduate Audition – Violin/Viola
See also: Pre-College Prep New!

Prospective students should consult the program catalogs online or hardcopy, to determine the specific requirements of any particular program. As a general rule, the minimum requirements for an acceptable undergraduate audition are probably something like:

1. First movement of a concerto, the more advanced the better. From memory, is also a good idea, and the whole work, from memory, better still.

Violin: Mozart may do for some schools; Barber or Mendelssohn first movement would be a step up from that. Both would be better.

Viola: Hoffmeister Concerto is a good first work.

Of course, Mozart (D Major, A Major or G Major in violin) and Telemann (viola) are the standards, but probably one should try to avoid the Suzuki materials and demonstrate that the student has moved beyond the Suzuki books.

2. Some schools may require two contrasting movements from Bach [violin, viola];

3. All three octave major and minor scales and arpeggios; thirds, sixths, octaves and fingered octaves are also recommended; [Carl Flesh (violin, viola); Trott Melodious Doublestops, (violin, viola)];

4. A list of worked on études is recommended, and these should include the following:

Wohlfahrt: Book 1, violin, Book 2, violin; Book 1, viola, Book 2, viola;
Kayser: violin; viola;
Mazas: violin; viola;
Dont Op. 37: violin; viola;
Kreutzer: violin; viola;
Dont Op. 35 [violin; viola], Gavinies and Paganini are not unexpected, though not required for many undergraduate entrance levels;
Sevcik [violin, viola] and other études may be included, if the student has been exposed to them;
On viola, Hoffmeister études, Campagnoli, Fuchs.

5. Orchestra experience, chamber music experience and sightreading ability. Private lessons for at least four or five years is recommended.

6. Keyboard proficiency is an advantage, as well, along with at least some general knowledge in music theory and history, the conducting patterns, and perhaps some specialized interest, such as baroque performance practice, jazz, or contemporary composition and literature.

Related Video for college violin scholarships
LACESMA Music Scholarship Competition 2008

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