Bachelor of Music in
Instrumental Performance

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
JSR_8121
JSR_0442

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
AND
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.

Program Faculty

Guitar

Matthew-Anderson

Matt Anderson

Director of the Reinhardt Honors Guitar Orchestra and Festival
Music Program Coordinator

MMA@reinhardt.edu
770-720-5569

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

www.athensguitarduo.com
www.matthewandersonguitar.com

 

Guitar

Nic-Deuson

Nicolas Deuson

Adjunct Professor of Music

NAD2@reinhardt.edu
770-720-5560

Guitar, Music Theory

B.M. University of Georgia
M.M. Cleveland Institute of Music
D.M.A. The University of Southern California

www.nicolasdeuson.com

Trumpet

John Bryant

Flute

Kelly-Bryant

Kelly Bryant

Artist Affiliate, Flute

KSB@reinhardt.edu
770-720-5790

B.M. University of South Carolina
M.M. University of South Carolina
Atlanta Opera Orchestra

Tuba/Euphonium

Paul-Dickinson

Paul Dickinson

Artist Affiliate, Euphonium and Tuba

ptd@reinhardt.edu
770-720-5799

Tuba, Euphonium

B.M. Furman University
M.M. Georgia State University
D.M. Florida State University

Saxophone

brandyn-taylor

Brandyn Taylor

Artist Affiliate, Saxophone, Director of Jazz Studies

Brandyn.Taylor@reinhardt.edu

678-644-6752

Jazz, Saxophone
B.M. Columbus State University
M.M. Georgia State University

Vandoren Artist-Clinician
https://www.dansr.com/vandoren/artists/regional-artists
Conn-Selmer Performing Artist
https://centerstage.conn-selmer.com/artists/brandyn-taylor

Clarinet

Jeanne Heinze

Jeanne Heinze

Artist Affiliate, Clarinet

JMH@reinhardt.edu
770-720-5790

Clarinet

B.M.E. Louisiana State University
M.M. Manhattan School of Music
Atlanta Opera Orchestra

Percussion

Nathaniel-Lee

Nathaniel Lee

Artist Affiliate, Percussion

nsl@reinhardt.edu 
770-720-9170

Percussion

B.M. Indiana University
M.M. University of Georgia
D.M.A. University of Georgia

Oboe

Martha Kleiner

Martha Kleiner-Stephenson

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.

Horn

Newell-headshot

Mackenzie Newell

Artist Affiliate, Horn

Mackenzie.Newell@reinhardt.edu

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.

Trombone

H-Lawing

Holly Lawing-Pritchard

Artist Affiliate, Trombone

hlp@reinhardt.edu
770-720-5799
Cell - 678-492-1130

B.M. Georgia State University
Graduate Studies at the Cleveland Institute of Music

Piano

Mason-Conklin

Mason Conklin

Assistant Professor of Music

NMC@reinhardt.edu
770-720-5658

Piano, Class Piano, Theory

B.M. Baylor University
M.M. Baylor University
Ph.D. University of Oklahoma

Piano

Alexander-Wasserman

Alex Wasserman

Assistant Professor of Music

AMW@reinhardt.edu
770-720-5560

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