Music Program Requirements

Bachelor of Music (120 credits)

Bachelor of Arts: Music Major (120 credits)

Bachelor of Arts: Music Concentration (90 credits)

Music Minor (18 credits)

Worship Arts Minor (21 credits)

Ambrose University assesses the performance level and music theory background of all applicants. Your audition, theory placement test (or proof of level) and interview assist us in both determining admission and fostering your success as a student and professional musician.

See detailed outline of the required courses

Materials to Submit

Resume

Please submit a resume which outlines your music background. This can include private lessons, ensemble experience, high school/church/community music, competitions, and leadership opportunities.

Ambrose Arts Mentorship Award Personal Statement

To be considered for the Ambrose Arts Mentorship Award applicants are required to submit a Personal Statement with the title ‘Ambrose Arts Mentorship Award Statement of Purpose.’ In approximately 250 words, please tell a story about who you are and discuss your educational and career goals. Please describe how the mentorship program will help you achieve your goals.

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Audition Information

General Audition Dates for 2024-25 are as follows:

November 19, 2024
February 11, 2025
March 11, 2025

It is highly recommended that applicants audition before the end of March (please note University scholarship deadlines). If the applicant cannot audition on one of the general audition dates, other (earlier or later) times may be arranged, subject to Music Department approval.

Music minors only need to audition if they plan to include Applied Lessons in their minor.

It is expected that applicants within reasonable driving distance of Ambrose University will audition in person. Recorded auditions may be considered subject to approval by the Music Department. Please contact the Music Department before submitting a recorded audition: baylie.adams@ambrose.edu

In preparing your audition, please see specific instrument requirements below.

Instructions:

Please submit all of your audition materials to: Baylie Adams baylie.adams@ambrose.edu

Apply to the University and the music degree of your choice. It is also possible to apply to the University following your audition, but the entrance audition will not be considered valid until a University application is completed.
Submit your resume. If you wish to apply for an Ambrose Arts Mentorship Award, please submit your Personal Statement.
Contact Ambrose Arts Administrative Assistant, Baylie Adams, baylie.adams@ambrose.edu (or phone 403-407-9507) and clearly identify the following:
- To which program are you applying—BMus? BA (Music), Music Minor, or Worship Arts?
- What is your instrument?
Choose one of the audition dates and arrange an audition.
If you require an accompanist for the audition, you may bring your own or contact Barbara de Bruyn prior to your audition.
Indicate any special equipment needed for your audition. Do you require—playback system, amps, percussion instruments, etc.?
Arrange for your theory placement exam, if needed. Do you plan to write the theory placement exam at the time of your audition or at a later date? We recommend that a theory placement exam be written by the end of June.
Your audition visit will include an informal interview with Ambrose Arts faculty where you will discuss your career and educational goals, learn more about the Ambrose University music program, and ask questions.

Music Theory Information

A minimum theory understanding is required of each applicant. This may be satisfied by:

Showing a Level 8 RCM Theory Exam or passing a placement exam, based on the Level 8 RCM [formerly called “Advanced Rudiments”] theory requirements. Students may write the exam at the time of their audition or at another pre-arranged time. Theory requirement must be satisfied by the end of June for a Fall entrance and the end of November for a January entrance. Contact Ambrose Arts Administrative Assistant, Baylie Adams, baylie.adams@ambrose.edu if an alternate arrangement is needed.
Please note that a minimum of 70% is required on the theory placement exam. If an applicant is deficient (below a 70% mark), a plan for remedial study and/or re-examination will be established but the student cannot enter the music program until the theory requirement is satisfied. Remedial study may be met by registering for MU 016 or MU 036 - Rudiments of Music Theory offered by Ambrose University.

Preparation for Music Theory Placement Exam

This is a sample of the examined material

Preparation for Music Theory Placement Exam 2024-25

The applicant should know the following:

Required Keys:

all major and minor keys

Pitch and Notation:

alto and tenor clefs; (notes and key signatures)

score types; (string quartet and modern vocal in short and open score)

transcription of melody to any other clef at the same pitch; (including alto and tenor clef)

transposition of melody to concert pitch for orchestral instruments

In B flat (trumpet and clarinet)

In F (French horn and English horn)

Rhythm and Meter:

simple & compound time

hybrid meters; 5/4, 7/8, 10/16

application of time signatures, bar lines, notes, and rests

Intervals:

all simple and compound intervals and their inversions up to a fifteenth above or below a given note (using signatures or accidentals)

use of enharmonic note changes

Scales:

all major, minor (natural, harmonic, and melodic), chromatic, whole-tone, pentatonic, blues & octatonic in treble, bass, alto, and tenor clefs

starting on any scale degree (using key signatures and/or accidentals)

diatonic modes

Ioninan (major), Phrygian, Lydian, Mixolydian, Aeolian (natural minor), and Locrian, starting on any pitch

Using key signatures and/or accidentals

Chords and Harmony:

triads built on any degree of a major or minor (natural or harmonic) scale in root position and inversions using functional chord symbols and root/quality chord symbols

dominant 7th chords and their inversions using functional chord symbols and root/quality chord symbols

leading-tone diminished 7th chords in minor keys using functional chord symbols and root/quality chord symbols

identification and writing of authentic, half, and plagal (IV–I or iv–i) cadences on a grand staff, employing root position triads in major and minor keys, in keyboard style and chorale style

identification of cluster chords, quartal chords, and polychords

Melody and Composition:

melodic passing tones (unaccented) and neighbor tones (unaccented) within a harmonic context of I, IV, and V chords (major keys) or i, iv, and V chords (minor keys) maintaining a clearly defined harmonic rhythm

composition of a contrasting period in a major or minor key, given the first two measures

Form and Analysis:

identification of any concept from this level and previous levels within a short music example

application of functional or root/quality chord symbols to a melody using root-position I, IV, and V chords (major keys) or i, iv, and V chords (minor keys), maintaining a clearly defined harmonic rhythm;

identification of types of motion: parallel, similar, contrary, oblique, and static

Music Terms and Signs

French Terms

cédez – yield; hold the tempo back

léger – light lightly

lentement – slowly

modéré – at a moderate tempo

mouvement – tempo, motion

vite – fast

German Terms

bewegt – moving

langsam – slow, slowly

mässig – moderate, moderately

mit Ausdruck – with expression

schnell – fast

sehr – very

Italian Terms

allargando, allarg. – broadening, becoming slower

arco – on a bowed string instrument, resume bowing after a pizzicato passage

attacca – proceed without a break

calando – becoming slower and softer

comodo – at a comfortable, easy tempo

con sordino – with mute

largamente – broadly

l’istesso tempo – the same tempo

pizzicato – on a bowed string instrument, pluck the string instead of bowing

ritenuto, riten. – suddenly slower, held back

stringendo – pressing, becoming faster

To prepare, we recommend The Complete Elementary Music Rudiments by Mark Sarnecki (Published by Essential Music Theory: https://essentialmusictheory.ca)

https://essentialmusictheory.ca/products/the-complete-elementary-music-rudiments

Individual Instrument Audition Requirements

Please see the requirements for your instrument(s) below.

Music Minor students only need to audition if they plan to include Applied Lessons in their minor. If auditioning for applied lessons (regardless of their instrument), Music Minors are asked to perform 1 - 2 pieces which represent their current level.

Classical Studies

Brass excluding Trombone

Two contrasting pieced and/or etudes that reflect their level of performance. A grade Eight RCM level of performance is recommended. (See RCM Syllabi)
Major and minor scales and arpeggios
Sight reading

Guitar

Major Scales in two octaves (ascending & descending), preferably with note name recital.
Demonstrate proficiency in both rest and free stroke techniques using at least two different alternating finger patterns (i.e. i-m, m-a, i-m-a etc.)
Arpeggios; two or more contrasting arpeggio patterns from Giuliani’s 120 Right Hand studies OR from the RCM Bridges Technique book.
Two works demonstrating proficiency in contrasting stylistic periods. (i.e. Renaissance, Baroque, Classical, Romantic, etc.)

Percussion

Snare drum:

One rudimental solo from Wilcoxon, Rudimental Swing Solos or similar.
One orchestral solo from Cirone, Portraits in Rhythm; Delécluse méthode de caisse-claire; or similar.

Keyboard:

One two- or four-mallet solo (single movement if from a multi-movement work) from J.S. Bach, Violin Concerto in A Minor, Suites for Solo Cello, Violin Sonatas and Partitas; Kabalevski (arr. Goldenberg), Galloping Comedians; Khachaturian (arr. Goldenberg), Sabre Dance; or similar.
Major & minor scales and arpeggios

Timpani:

One study from Vic Firth - The Solo Timpanist; Mitchell Peters - Intermediate Timpani Studies; Saul Goodman - Modern Method for Timpani; Delécluse studies; or similar
Tuning tasks involving one or more pitches from a different reference pitch
Sight reading on keyboard and snare drum.

Piano

BMus

Three contrasting pieces, of which one should be a classical sonata at the Grade Ten RCM or equivalent level.

BA: Music Major or Concentration

Three contrasting pieces which one must be a classical sonata from the Grade Nine RCM or equivalent level.

Strings

3 octave scale and arpeggio (own choice) slurred and spicatto, at the fastest comfortable tempo
One movement from an unaccompanied Bach suite, sonata or partita
One movement from a concerto from the standard repertoire
One selection from any musical period excluding the musical period represented byt their own choice concerto movement

Trombone

Major and minor scales, up to four flats and sharps, legato and marcato.
Own choice of Bordogni Vocalise from "Melodious Etudes for Trombone" J. Rochut ed, Volume 1
One solo work of own choice, one movement (examples to choose from, but not limited to: Hasse Suite, Marcello Sonatas, Galliard Sonatas, Ropartz Andante and Allegro)

Voice

Assessment is based on ability and potential.
A minimum of two songs of contrasting nature should be prepared for the audition
Selections that demonstrate your vocal ability are expected.
Selections should normally be from Classical or folk repertoire. Languages other than English are welcome

Woodwinds

Applicants will be required to play two contrasting pieced and/or etudes that reflect their level of performance. A grade Eight RCM level of performance is recommended. (See RCM Syllabi)
Major and minor scales and arpeggios
Sight reading

Jazz Studies

Jazz Double Bass

Major, melodic minor, and harmonic minor scales in 12 keys over two octaves.
Arpeggios of major and minor triads and 7th chord forms (dom.7, maj7, min7, min7b5, dim7).
Play a jazz standard in medium swing tempo
Play a second one in contrasting feel (Latin, jazz waltz jazz ballad). On each selected tunes be prepared to play the melody and at least one chorus of improvised solo.
In addition, be ready to perform a short classical etude of your choice.
Sight reading excerpts from jazz and classical styles will be provided.

Jazz Electric Bass

Major, melodic minor, and harmonic minor scales in 12 keys over two octaves.
Arpeggios of major and minor triads and 7th chord forms (dom.7, maj7, min7, min7b5, dim7).
A jazz standard in a medium swing tempo and
A second standard in contrasting feel.
For both tunes be ready to play the melody, at least one full chorus of improvised solo and a walking bass line.

Jazz Guitar

Major Scales in 2 octaves (ascending & descending), preferably with note name recital
All basic 7th chords (Maj7, Min7, Dominant7, Min7b5), 2 versions of each
Brief reading assessment (using randomly chosen lead sheet)
2 prepared jazz pieces*: 1 jazz standard (with expectation of melody, chords & improvisation in time), 1 solo jazz piece (brief chord melody).
examples of acceptable Jazz Standards:
- Autumn Leaves, Blue Bossa, Billie’s Bounce, Take The A Train, Equinox, Tune Up

Jazz Percussion

Perform a snare drum solo

Demonstrate the top 40 rudiments listed by PAS http://www.pas.org/resources/education/Rudiments1.aspx
Demonstrate the following styles:
Jazz 4/4 feel – medium and fast tempo
Trading 4's in a Jazz format
Shuffle - Blues/Rock & Jazz Shuffle
Brush playing - ballad and medium swing feel
Brazilian - Bossa Nova and Samba feel
Cuban - Songo, Afro Cuban 6/8 feel, Cha-cha, Mambo
Funk - straight 16th note groove & swung 16th note groove

Listed below are some recommended books to help assist in the student’s development and preparation for the audition.

Art of Bop - John Riley
Stick Control - George Stone
Modern Rudimental Swing Solos for the Advanced Drummer - Charley Wilcoxon
Brazilian Rhythms for Drumset - Duduka Da Fonseca/Bob Weiner
The Essence of Afro-Cuban Percussion & Drum set - Ed Uribe

Jazz Piano

Major scales played at minimum quarter note = 80 played in this sequence:
- quarter notes = 1 octave
- eighth notes- = 2 octaves
- triplets = 3 octaves
- sixteenth notes = 4 octaves
Diatonic chords
- Solid, hands together, one octave up and down in any key.
Seventh chords:
- in all keys, maj, mi7, mi7b5, mi(maj7) and diminished 7th.
- Play these solid in all inversions, hands together.
- Broken in all inversions hands together.
Voicings in ii-V-I
- 3rds and 7ths in the left hand.
- if possible, two-handed voicings, major and minor ii-V-I.
Perform a written piece that reflects a minimum grade 8 level. Can be classical or in the jazz style (a transcription, or published piece in the jazz style).
one or two jazz pieces (playing melody and an improvised solo).
- Swing pieces can consist of a Blues (i.e. Billie’s Bounce; Sonny Moon For Two; Straight No Chaser; Tenor Madness; Au Privave etc.) or swing “standards” (i.e. Autumn Leaves; Take The “A” Train; Beautiful Love;
- Softly As In A Morning Sunrise; So What; Solar).

Contrasting repertoire to swing could be a

Ballad (i.e. In A Sentimental Mood; Polka Sots and Moonbeams; What’s New; I’ve Grown Accustomed to Her Face; Moonlight In Vermont; Stardust; I Can’t Get Started),
a Latin (i.e. Blue Bossa; Song For My Father; A Night In Tunisia; Desifinado; Black Orpheus; Wave),
or a “straighteighth” Rock, Funk,
or Shuffle (i.e. Watermelon Man; Mr. Clean; Little Sunflower; Sister Sadie; The Jody Grind; Sugar).

Jazz Saxophone

Major scales: All major scales are in play, but only a couple will be requested, full range of the instrument, in eighth notes, starting on the lowest root note going as high as possible within the key, down as low as possible, and then back to lowest root note (m.m.100).
Minor Scales: Natural minor and harmonic minor up to two flats and two sharps are in play, but, only a couple will be requested, full range of the instrument, in eighth notes, starting on the lowest root note going as high as possible within the key, down as low as possible, and then back to lowest root note (m.m.100).
Prepared pieces:

Two jazz pieces of contrasting styles prepared (playing melody and an improvised solo).

Swing pieces can consist of a Blues (i.e. Billie’s Bounce; Sonny Moon For Two; Straight No Chaser; Tenor Madness; Au Privave etc.) or swing “standards” (i.e. Autumn Leaves; Take The “A” Train; Beautiful Love; Softly As In A Morning Sunrise; So What; Solar).