Gordon Stout

Retired Professor, Music Performance

Title

Audition Information

GENERAL AUDITION NOTES FROM GORDON STOUT

  1. For the last few years I have auditioned more than 50 prospective students.  I am instructed by
    the Dean and the Director of Admissions to accept between 10 and 12 of the students I audition in a
    given year.  Normally we have between four and six students in each freshman class.  The
    students that are coming have achieved very high scores on their auditions.  They are always
    quite proficient in all the basic three areas of percussion performance - snare drum, timpani, and
    mallets.  They may or may not have much drumset ability. If you do not  play one of those
    three areas at all, you will not be accepted.  You should present as well rounded an audition in
    percussion as possible in order to be strongly considered for acceptance to the Ithaca
    College percussion program.
  2. Multiple percussion solos are not recommended for the audition. Set-up time and logistics make this
    difficult.
  3. The repertoire listed here is recommended. You can play other material as long as it is comparable in
    difficulty to the works listed.
  4. All required instruments will be provided for you to warm up on and audition with. You may bring your
    own snare drum or mallet instrument if it helps you to feel more comfortable. Do not bring your own
    drum set to the audition.

FOR PERFORMANCE DEGREES
Bachelor of Music in Performance
Bachelor of Music in Performance and Music Education

FOR OTHER DEGREES

Bachelor of Music in Music Education

Bachelor of Music in Jazz Studies
Bachelor of Music in Theory
Bachelor of Music in Combination with an Outside Field
Bachelor of Music in Composition
Bachelor of Music in Recording
Bachelor of Arts


MALLETS: Marimba or Vibes

Marimba:
Two mallet etude, comparable to or chosen from the following:
* Modern School for Marimba, by Morris Goldenberg ("39" Etudes
section).
* Tone-Row Exercises for Marimba, by Howard Zwickler
* Style Studies, by John Bergamo
Four-mallet solo (highly recommended).
Scales and arpeggios in all major and minor keys (at least two octaves).
Vibes:
Etude, chosen from Vibraphone Technique, by David Friedman (etudes1-10).
Four-mallet solo (highly recommended)
Scales and arpeggios in all major and minor keys (at least two octaves)

TIMPANI
Etude, comparable to or chosen from the following:
* Modern Method for Timpani, by Saul Goodman (pp.46-60)
* Etuden Fur Timpani, by Richard Hockrainer (#'s 10-25)
* Timpani Method, by Friese/Lepak (Section 3, #'s 5-15)OR
Solo, using four drums.
Suggested Tuning and intonation study guide:
* Timpani Method, by Friese/Lepak (Section 3, pp. 35-43)

SNARE DRUM

Solo (concert style), comparable to or chosen from the following:
* Modern School for Snare Drum, by Morris Goldenberg (pp. 44-51)
* Portraits in Rhythm, by Anthony Cirone
* 20th Century Orchestral Snare Drum Studies, by Thomas McMillanSolo (rudimental style), comparable to
or chosen from the following:
* Modern Rudimental Swing Solos, by Charles Wilcoxon
* 14 Modern Contest Solos, by John S. Pratt

DRUM SET

This is required for the Jazz Studies degree, and optional but recommended for the others.
Demonstration of knowledge of various contemporary styles, including
jazz (swing), rock, and various Latin beats.  Sight reading a big band chart is required for the
Jazz Studies degree as well.

Minor in Music
CONCERT SNARE DRUM SOLO

Solo should illustrate use of closed rolls, flams, ruffs, and rhythms.
Sightreading.

TIMPANI SOLO

Solo should illustrate use of rolls and rhythms.

TIMPANI - EAR TRAINING

Demonstrating ability to match pitches and tune the drums with the intervals of
seconds, thirds, fourths, and fifths.

MALLETS

Two or four mallet solo (comparable to a NYSSMA grade IV or V level)
All major and minor scales and arpeggios
Sight-reading

Please consult with Gordon Stout at 607-274-3427 or via e-mail
if you have questions.