Bachelor of Music in Instrumental Performance
This degree prepares students for careers in concert or opera performance. While classical training is emphasized, the student will be well-prepared to perform in a variety of styles and genres.
Audition requirements for the Bachelor of Music in Instrumental Performance
- An audition is required to be admitted as a music or theatre major or minor, to be considered for a scholarship, or to participate in a performance ensemble as a non-performing arts major.
- All prospective music majors take a placement test in music theory and are assigned to an appropriate piano course. Performing arts enrollment is limited, so early application is strongly suggested.
- Audition dates are subject to change. Verify dates on the School of Performing Arts website: Reinhardt.edu/SOPA
- All auditioning students are expected to perform at least two solo works and demonstrate their skills in sight-reading or sight-singing.
- Auditionees will also interview with faculty members in their respective areas.
- Two letters of recommendation
- The below listed requirements by instrument
Applicants in Trumpet should prepare 12 Major scales from memory, 2 contrasting etudes from standard repertoire (Cichowicz, Arban, Wurm, etc.) and a solo of the candidates choice. Sight reading is required.
Applicants in flute should prepare 2 contrasting works or movements from the standard solo rep2 contrasting etudes from Melodious and Progressive Studies, Book 1 or Book 2 (ie. one lyrical and one technical etude). 12 Major scales from memory and sight reading are also required.
Applicants in Tuba and/or Euphonium should prepare 2 contrasting works or movements from the standard tuba/euphonium solo repertoire OR 2 contrasting etudes (i.e. complete etudes from the Bordogni, Voxman, or Tyrell books). The panel will need to hear demonstrations of both your lyrical and your technical musicianship. Applicants may mix 1 etude with 1 technical solo, or vice versa. Specific questions should be directed to Dr. Dickinson. Major scales from memory and sight reading are also required.
Applicants in saxophone should prepare 2 contrasting works or movements from the standard solo repertoire for saxophone (i.e. “Sonata No. 3” byHandel/Rachel and “Chanson et Passepied” by Jeanine Rueff) or 2 contrasting etudes from “48 Famous Studies for Oboe or Saxophone” by W. Ferling (ie. one lyrical and one technical etude). 12 Major scales from memory and sight reading are also required.
Applicants in clarinet should prepare 2 contrasting works or movements from the standard solo repertoire for clarinet (ie. Concertinoby C.M. Weber and Clarinet Concerto by W. A. Mozart) or 2 contrasting etudes from 32 Etudes by C. Rose (ie. one lyrical and one technical etude). 12 Major scales from memory and sight reading are also required.
Applicants should demonstrate proficiency on snare drum, timpani, and a mallet instrument (marimba, xylophone, vibraphone). Drum set is optional. Potential repertoire could include selections from the following:
Snare drum- One solo or etude from Cirone, Peters, Delecluse, Goldenberg, Albright or equivalent
Timpani- A short solo or 3 or 4-drum etude by Hochrainer, Firth, Peters, Goodman, Delecluse or equivalent.
Mallets- A two mallet etude by Goldenberg, xylophone rag by GH Green, or transcription of a cello suite or violin sonata by JS Bach
One 4-mallet movement or solo/etude from Stout, Abe, Bach, Sammut, Zivkovic, Rosauro or equivalent
Drumset (optional)- Demonstrate basic skills with an emphasis on timing and feel. Perform jazz, rock, and Latin styles unaccompanied or with a track from Groove Essentials, Essential Styles, or similar.
Applicants in Horn should prepare 2 contrasting works or movements from the standard solo repertoire for Horn (i.e. a movement from Concerto No. 1-4 by W. A. Mozart and Horn Concerto No. 1 by Richard Strauss) OR 2 contrasting etudes from 60 Studies for Low Horn by G. Kopprasch (ie. one lyrical and one technical etude). 12 Major scales from memory and sight reading are also required.
- Applicants in Tenor Trombone should prepare 2 contrasting works or movements from the standard solo repertoire for trombone (i.e.Morceau Symphonique/Guilmant and Concertino/David) or 2 contrasting etudes from two different etude books (ie. one lyrical and one technical etude). Major scales from memory and sight reading are also required.
- Applicants in Bass Trombone should prepare 2 contrasting works or movements from the standard solo repertoire for bass trombone or tuba (i.e. Saraband/Bach Suite for Cello No. 5 and Sonata/Galliard) or 2 contrasting etudes from two different etude books (ie. one lyrical and one technical etude). Major scales from memory and sight reading are also required.
Applicants in oboe should prepare 2 contrasting works or movements from the standard solo repertoire for oboe (i.e. Sonata in A minor by Teleman and Sonate by Hindemith) or 2 contrasting etudes from 48 Studies for Oboe by Ferling or the Barret Oboe Method (ie. one lyrical and one technical etude). Major scales from memory and sight reading are also required.
All instrumentalists are expected to play two-octave major scales and arpeggios unless indicated otherwise below. An accompanist will be available for solo instrumental selections, upon request.
Applicants in bassoon should prepare 2 contrasting works or movements (one slow/lyrical and one fast) from the standard solo repertoire for bassoon or cello (e.g., Mozart Bassoon Concerto in B-flat Major, K. 191; Telemann Sonata in F minor, TWV 41:f1; or other standard works of the candidate's choosing). Accompaniment is not required. Major scales from memory and sight reading are also required.
Director of the Reinhardt Honors Guitar Orchestra and Festival
Music Program Coordinator
Guitar, Guitar Ensemble, Guitar Methods, Music Theory
B.M. Georgia State University
M.M. University of Georgia
D.M.A. University of Georgia
Assistant Professor of Music
Artist Affiliate, Saxophone
B.M. Kennesaw State University
M.M. Northern Illinois University
Atlanta-based saxophonist Michael Opitz is a versatile musician equally at home in a jazz big band, the orchestra pit, or a Rhythm and Blues group. While based in Atlanta, Michael appeared with a number of artists including Tim Armacost, Todd Williams, Carl Allen, Wycliffe Gordon, Chantae Cann, and Joe Gransden. As a sideman, Michael has appeared frequently in the Joe Gransden Big Band, the Atlanta Latin Jazz Orchestra, and the Rebel Big Band. During his time studying at Kennesaw State University, Michael was able to travel to Italy, as well as perform at a wide variety of jazz clubs including Café 290, Churchill Grounds, the Velvet Note, and the Blue Note in New York. As an educator, Michael has taught clinics at numerous high schools and middle schools in Atlanta, as well as been on faculty at the Atlanta International School and Ponier Music as a woodwind instructor. Michael recently graduated from Northern Illinois University with a MM in Jazz Performance and is currently an Artist Affiliate at Reinhardt University.
Artist Affiliate, Percussion
M.A. University of Central Florida
A.B.D. University of Georgia
Justin Iadonisi is a percussionist and teacher. He is the owner of Pike Street Percussion, a private lesson studio in historic downtown Lawrenceville, GA. He has recently joined the music faculty at Reinhardt University as Artist Affiliate in Percussion, and is on the music faculties of Young Harris College and Clark Atlanta University.
Mr. Iadonisi provides percussion services to numerous school music programs, including masterclasses, consultations, and instrument maintenance. He maintains a regular performance schedule, primarily playing in musical theatre and symphony orchestras.
His goal with all students is the confident control of common percussion instruments, including snare drum, timpani, mallets, accessory instruments (the so-called “toys”), and drum set. He teaches from a performer’s perspective, ensuring students reach their musical goals through a well-rounded and diverse education. His students have successfully auditioned for college graduate programs, audition-based ensembles, and national music festivals, as well as obtaining jobs in music education and performance.
Mr. Ladonisi holds a Master of Arts in Music degree from the University of Central Florida and is A.B.D. status at the University of Georgia. His principal teachers include Timothy Adams, Jr., Jeff Moore, Kirk Gay, Thad Anderson, Iain Moyer, and Mitch Markovich.
Artist Affiliate, Oboe
New England Conservatory of Music and the Colburn School
Martha Kleiner Stephenson has performed oboe and english horn throughout the United States and abroad. She has held positions as an acting section member of the National Symphony Orchestra, San Diego Symphony, and the Auckland Philharmonia. Martha is a regular guest musician with the Los Angeles Philharmonic, and joined the orchestra on their 2019 international tour. Ms. Kleiner has been a guest principal with the San Antonio Symphony and the Pittsburgh Symphony, and has had other performances with the Atlanta Symphony, Atlanta Opera, Boston Symphony, Utah Symphony, Nashville Symphony, Sarasota Orchestra, Jacksonville Symphony, Savannah Philharmonic and Charleston Symphony.
Martha is a graduate of the New England Conservatory of Music and the Colburn School. She was a fellow at the Tanglewood Music Center, and spent other summers at the Aspen Music Festival, National Repertory Orchestra, and Music Academy of the West. Her teachers have included John Ferrillo, Anne Marie Gabriel, and Alan Vogel.
Artist Affiliate, Horn
B.M. Boston University
M.M. New England Conservatory of Music
Mackenzie Newell is a French hornist and educator currently based in Atlanta, Georgia. She holds a Bachelor of Music from Boston University and a Master of Music from the New England Conservatory of Music. While in Boston, Mackenzie performed with groups such as the Boston Pops and the Cape Cod Chamber Orchestra. In addition to playing regularly with the Georgia Symphony Orchestra, Mackenzie currently teaches horn players from beginner through collegiate levels.
Assistant Professor of Music
Piano, Theory, Director of the Reinhardt Piano Festival and Academy
B.M. University of Southern California
M.M. Cleveland Institute of Music
D.M.A. Cleveland Institute of Music