Audition Requirements

Majors:

• Two contrasting solos or etudes from the standard flute repertory
• A short selection of sightreading.

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• Four contrasting pieces from the standard flute repertory
• Three standard orchestral excerpts
• A short selection of sightreading.

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Danilo%20Mezzadri!
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa!

Majors:

• Two contrasting solo pieces or etudes representing the applicant’s strengths.
• Applicants should also be prepared to play all major and minor scales.
• Sightreading will also be requested.

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• Two to three selected major works in the oboe repertory.
  • Prospective graduates might choose to substitute a major technical etude by Bozza or any for the Sixteen Grand Studies by Barret in lieu of the third solo piece.
• Students should also prepare three contrasting orchestral excerpts of their choice.

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Pablo%20Hernandez.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

• All major scales
• Chromatic Scale
• 2 Contrasting solos, movements of solo works, or etudes
• Sightreading

Minors:

• All major scales
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)
• Sightreading

Graduate Students:

• Prepare 20-30 minutes of clarinet repertoire that includes contrasting styles and tempos.
• Single movements taken from larger works are acceptable.
• Orchestral excerpts of your choice are encouraged to be included in this timeframe.

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Jackie%20McIlwain.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

• Scales:
  • 2 major scales, 2 octaves, with 2 or more flats
  • 2 major scales, 2 octaves, with 2 or more sharps
  • 1 harmonic minor scale
  • 1 melodic minor scale
• 2 solo works or etudes contrasting in style and tempo.

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• 2 solo works contrasting in period, style and tempo.
• 3 major orchestral excerpts of the applicant's choice.

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities) 

For more information, please contact Dr.%20Kimberly%20Woolly.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

• Two works of contrasting styles and tempo (minimum of 10 minutes total).

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• Two or Three major works of contrasting styles (minimum 30 minutes total).

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Dannel%20Espinoza.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

FRESHMAN

• Bb, Eb, G, D major scales (concert pitch, two octaves where applicable).
• Chromatic scale (low F# to high C).
• Two contrasting solos and/or etudes.
• Sightreading

TRANSFER

• Bb, Db, B, A major scales (concert pitch, two octaves where applicable).
• Chromatic scale (low F# to high C).
• Two contrasting solos and/or etudes.
• Sightreading

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• Three contrasting pieces from the standard trumpet repertoire.
• Three standard orchestral Excerpts.
• Sightreading 

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20T.J.%20Tesh.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

FRESHMEN

• Three (3) major scales, two octaves (the candidate may choose which octaves)
• Chromatic scale, two octaves (the candidate may choose which octaves)
• Two contrasting solos and/or etudes 
  • Etudes should be selected from:
    • Kopprasch Sixty Selected Studies for Horn
    • Maxime-Alphonse 200 Etudes Nouvelles: Books 2-5
    • A standard etude book of similar difficulty
• Sight-reading

TRANSFER STUDENTS

• Three (3) major scales, two octaves (the candidate may choose which octaves)
• Chromatic scale, two octaves (the candidate may choose which octaves)
• Two contrasting solos and/or etudes 
  
  • Etudes should be selected from:
    • Kopprasch Sixty Selected Studies for Horn
    • Maxime-Alphonse 200 Etudes Nouvelles: Books 2-5
    • A standard etude book of similar difficulty.
• Sight-reading

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert A-flat
  • Concert D-flat
  • Concert B-flat
  • Concert E-flat
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• Two (2) contrasting solos from the standard horn repertoire.
• Orchestral Excerpts - prepare five (5) of the following:
  • Beethoven - Symphony No. 3, Mvt. III., Trio, mm. 169-202, Horn 2 in E-flat
  • Beethoven - Symphony No. 7, Mvt. I., Vivace, mm. 82-101, Horn 1 in A
  • Brahms - Symphony No. 1, Mvt II., Andante, mm. 91-105 ([E]-[F]), Horn 1 in E
  • Brahms - Symphony No. 3, Mvt. III., mm. 98-110, Horn I in C
  • Haydn - Symphony No. 31, Mvt. II., mm. 12-16 & mm. 35-38, Horn 2 in D
  • Mahler - Symphony No. 1, Mvt. III., 4 measures after [13] - [15], Horn 4 in F
  • Mendelssohn - A Midsummer Night's Dream, Incidental Music, Op.61, No. 7, Nocturne, mm. 1-34, Horn 1 in E
  • Shostakovich - Symphony No. 5, Mvt. I., Moderato (mm. 17-21), low tutti in F
  • Strauss - Don Juan, Allegro (11 m. after N–P), Tutti call, Horn 1 in F
  • Strauss - Heldenleben, Opening tutti (beginning - m. 6), Horn 1 in F
  • Strauss - Till Eulenspiegels lustige Streiche, Opening - [1] (mm. 6-20), Horn I in F
  • Wagner - Gotterdammerung (Short Call), Solo, Horn 1 in F

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert A-flat
  • Concert D-flat
  • Concert B-flat
  • Concert E-flat
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Rob%20Detjen.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors: 

TENOR TROMBONE: FRESHMAN

• All major scales (two octaves preferred, but not required)
• Sightreading
• A prepared selection drawn from ONE of the following sources 
  
  • Choose two contrasting etudes from the following books:
    • Bordogni/Rochut Melodious Etudes
    • Voxman Selected Studies
    • Concone The Complete Solfeggi
  • Your State’s All State Audition Music - contrasting selections preferred.
  • Choose one of the following solos:
    • Guilmant Morceau Symphonique
    • Rimsky-Korsakov Concerto (Movement 1 and 2)
    • Saint-Säens Cavatine
    • Barat Andante et Allegro
    • David Concertino (Movements 1 and 2)
      
      Other selection choices must be approved by Dr. McIlwain

TENOR TROMBONE: TRANSFER STUDENT

• All major scales – 2 octaves
• Sightreading
• One prepared solo such as:
  • David Concertino (Movements 1 and 2)
  • Hindemith Sonata (Movements 1 and 3)
  • Grondahl Concerto (Movement 1)
  • Larrson Concertino (Movements 1 and 2, 3 is optional)
• Other selection choices must be approved by Dr. McIlwain

BASS TROMBONE: FRESHMAN 

• All major scales (two octaves preferred, but not required)
• Sightreading
• A prepared selection drawn from ONE of the following sources
  • Choose two contrasting etudes from the following books:
    • Bordogni/Rochut Melodius Etudes
    • Voxman Selected Studies
    • Concone The Complete Solfeggi
  • Your State’s All State Audition Music - contrasting selections preferred.
  • Choose one of the following solos:
    • Lieb Concertino Basso
    • Hindemith Drei leichte Stücke (Movements 1 and 2)
    • Jacob Cameos (Movements 1, 2, and 5)
    • Lebedev Concerto No. 1
    • McCarty Sonata for Bass Trombone (Movements 1 and 2)
• Other selection choices must be approved by Dr. McIlwain

BASS TROMBONE: TRANSFER STUDENT

• All major scales – 2 octaves
• Sightreading
• One prepared solo such as:
  • Lebedev Concerto No. 1
  • McCarty Sonata for Bass Trombone (Movements 1 and 2)
  • Bozza New Orleans
  • Hidas Rhapsody
  • Koetsier Allegro Maestoso
  • Sachse Concertino
• Other selection choices must be approved by Dr. McIlwain

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• 2-3 contrasting solos from the standard repertory (20 minute minimum)
• Choose 3 standard orchestral excerpts.

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Ben%20McIlwain!
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa!

Majors:

FRESHMAN

• All major scales (two octaves preferred, but not required)
• Sightreading
• A prepared selection from ONE of the following:
  • Two contrasting etudes from one of the following books:
    • Bordogni/Rochut Melodious Etudes (Carl Fischer)
    • Fink Studies in Legato (Carl Fischer)
    • Voxman Selected Studies (Rubank)
  • Your state’s All-State audition material (prepare contrasting etudes if possible)
  • One of the following solos:
    • Barat/Smith Introduction and Dance (Southern Music)
    • Davis Variations on a Theme of Robert Schumann (Southern Music)
    • Guilmant (Alfred)
    • James Curnow Rhapsody (Rosehill Music)
  • Other works are acceptable but must be approved by Dr. Perry before the audition.

TRANSFER

• All major scales (two octaves required)
• Sightreading
• A prepared solo from the following list:
  • James Curnow, Rhapsody (Rosehill Music)
  • Antonio Capuzzi/Philip Catelinet, Andante and Rondo (complete work) (Boosey &Hawkes)
  • Georg Philipp Telemann/Ostrander, Sonata in F minor (International) (movements 1 and 2)
  • Gordon Jacob, Fantasia (Boosey & Hawkes)
  • Other works are acceptable but must be approved by Dr. Perry before the audition.

Please note: All transfer students will be expected to be fluent in bass clef. Knowledge of tenor clef is desirable, but not required.

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• At least three solos from the standard euphonium repertoire
• Three band excerpts from the following list:
  • Alford, The World is Waiting for the Sunrise
  • Shostakovich/Hunsberger, Festive Overture
  • Holst, Second Suite in F, 1st movement
  • Persichetti, Symphony No. 6
  • Barber, Commando March
  • Grainger, Children’s March 

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Richard%20Perry.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

FRESHMAN

• All major scales (two octaves preferred, but not required)
• Sightreading
• A prepared selection from ONE of the following:
  • Two contrasting etudes, drawn from the following method books:
    • Blazhevich, 70 Studies, Volume 1 (Robert King)
    • Bordogni, 43 Bel Canto Studies (Robert King)
    • Fink, Studies in Legato (Carl Fischer)
    • Tyrrell, Advanced Studies for Bb Bass (Boosey & Hawkes)
  • Your state’s All-State audition material (prepare contrasting etudes if at all possible)
  • One of the following solos:
    • S. Bach/William Bell, Air and Bouree (Carl Fischer) (complete work)
    • Benedetto Marcello/Donald Little, Sonata No. 1 in F Major (first two movements) (Southern Music)
    • Don Haddad, Suite (Movement II and either Movement I or III)
    • Ed. Barat/Glenn Smith, Introduction and Dance (complete work) (Southern Music)
  • Other works are acceptable but must be approved by Dr. Perry before the audition.

TRANSFER

• All major scales, two octaves
• Sightreading
• A prepared solo from the following list:
  • Walter Hartley, Suite for Unaccompanied Tuba (complete work)
  • Antonio Capuzzi/Philip Catelinet, Andante and Rondo (complete work) (Boosey &Hawkes)
  • Alexei Lebedev, Concert Allegro (complete work)
  • Other works are acceptable but must be approved by Dr. Perry before the audition.

Minors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

Graduate Students:

• At least three solos from the standard tuba repertoire
• Three orchestral excerpts from the following list:
  • Wagner, Die Meistersinger, Prelude
  • Wagner, Ride of the Valkyries
  • Berlioz, “Rakoczy March” from Damnation of Faust
  • Berlioz, Symphonie Fantastique
  • Gershwin, An American in Paris
  • Strauss, Till Eulenspiegel

Non-majors:

• Two (2) Major Scales (selected from the following):
  • Concert Ab
  • Concert Db
  • Concert Bb
  • Concert Eb
• Chromatic Scale
• Prepared Selection (solo or audition piece picked by the student that demonstrates both technical and lyrical qualities)

For more information, please contact Dr.%20Richard%20Perry.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

• Prepare two pieces to sing. One of those selections must be a Classical art song. The other piece may be in the style of your choosing. No accompanist is required.
• For vocal performance majors, one of the two pieces must be in French, German, or Italian.
• Music must be memorized.

Masters:

• Demonstrate, by audition:
  •  Advanced vocal technique
  • Good diction in Italian, French, German, and English
  • Good vocal quality and musicianship
• The repertoire must be memorized and may include:
  
  • An aria from opera or oratorio
  • May include a seventeenth- or eighteenth-century Italian song or aria
  • A German Lied
  • A French Mélodie
  • An art song in English

Doctoral: 

•  Demonstrate, by audition:
  • Advanced vocal technique
  • Good diction in Italian, French, German, and English
  • Good vocal quality and musicianship.
  • The repertoire must be memorized and may include:
    • An aria from opera or oratorio
    • May include a seventeenth- or eighteenth-century Italian song or aria
    • A German Lied
    • A French Mélodie
    • An art song in English
  • A minimum of five pieces will be heard at your audition/

Majors:

• Any three-octave scale and arpeggios (minimum 3 notes per bow)
• Etude
• A movement of concerto

Minors:

• Two contrasting pieces

Graduate Students:

• A concerto movement
• Two contrasting movements of unaccompanied Bach
• An etude, concert piece or sonata movement

Non-majors:

• Any prepared piece

For more information, please contact Dr.%20Borislava%20Iltcheva.

Majors:

• Choose one major scale and one minor scale (three octaves for each is preferred) to play.
• Etude
• A movement of concerto or sonata.

Minors:

• Choose one major scale and one minor scale (three octaves for each is preferred) to play.
• Etude
• A movement of concerto or sonata.

Graduate Students:

• A concerto movement
• Two contrasting movements of unaccompanied Bach
• An etude, concert piece or sonata movement

Non-majors:

• Candidate’s choice of a piece of repertoire

For more information, please contact Dr.%20Hsiaopei%20Lee.

Majors:

• Concerto or sonata movement
• Two contrasting movements of unaccompanied Bach
• An etude or concert piece

Graduate Students:

• Concerto or sonata movement
• Two contrasting movements of unaccompanied Bach
• An etude or concert piece

For more information, please contact Dr.%20Alexander%20Russakovsky.

Majors:

• Scales, two octaves with arpeggios. (Major and Minor) (2 keys)
• One Short Etude to show candidate's technical proficiency.
• Two contrasting movements of a sonata (Vivaldi, Marcello, etc.) and/or a concerto (Dittersdorf, Koussevitzky, Dragonetti, Bottesini, etc.)

Graduate Students:

• Scales, three octaves with arpeggios. (Major and Minor) (2 keys)
• One Etude (Simandl, Nanny, Kreutzer, Mengoli, etc.)
• Two Contrasting movements of a Sonata or concerto
• One Movement of a Bach Cello Suite
• Submit a curriculum vitae (listing your complete activities as a musician, including awards). Please indicate the degree you wish to apply for, your age, and if you will be entering the University directly or needing to study English first.

For more information, please contact Dr.%20Marcos%20Machado.

Majors:

• Required: one etude by a composer from the 19th or 20th century
• Encouraged: scales played according to the "Diatonic Major and Minor Scales," as fingered by Andres Segovia
• A brief sightreading test
• Background in classical guitar preferred
• You can email Dr. Ciraldo in advance with a proposal of music you wish to play at your audition

Minors:

• No audition required!

Graduate Students:

• Master of Music
  • Any movement of an unaccompanied work by J.S. Bach except a Sarabande
  • A movement of a work or a single-movement work written after the Baroque Period
  • You can email Dr. Ciraldo in advance with a proposal of music you wish to play at your audition
• Doctorate of Musical Arts
  • Any movement of an unaccompanied work by J.S. Bach except a Sarabande
  • A movement of a work or a single-movement work from the Classical or Romantic periods
  • A movement of a work or a single-movement work that is Contemporary in style
  • You can email Dr. Ciraldo in advance with a proposal of music you wish to play at your audition

Non-majors:

• No audition required!

For more information, please contact Dr.%20Nicholas%20Ciraldo.

Non-majors:

• No audition required!

For more information, please contact Dr.%20Kristina%20Finch. 

Majors:

• Prepare an appropriate level solo/etude on the following percussion instruments:
  • Snare drum
  • Mallet keyboard
  • Timpani
  • Drum set
• The audition also will consist of sightreading on all the mentioned instruments.
• Students are encouraged to audition on various other instruments as well, such as steel pans, congas, tabla, etc.

Graduate Students:

• Prepare an appropriate level solo/etude on the following percussion instruments:
  • Snare drum
  • Mallet keyboard
  • Timpani
  • Drum set
• The audition also will consist of sightreading on all the mentioned instruments.
• Students are encouraged to audition on various other instruments as well, such as steel pans, congas, tabla, etc.

For more information, please contact Dr.%20John%20Wooton.
For non-majors who would still like to participate in band, please contact Dr.%20Travis%20Higa.

Majors:

BACHELOR OF ARTS

• Three pieces, with one being memorized.

BACHELOR OF MUSIC EDUCATION

• Three pieces (or movements) of contrasting style periods, with at least two memorized, from the standard piano repertoire.

BACHELOR OF MUSIC PERFORMANCE

• Three pieces (or movements) of contrasting style periods, with all three memorized, from the standard piano repertoire.

Minors:

• No audition required!

Graduate Students:

MASTER OF MUSIC IN PIANO PERFORMANCE

• The audition must be memorized, and be at least 30 minutes in length.
• Must include works from at least three different periods of music (e.g., Baroque, Classical, Romantic, Impressionist, or Contemporary).

DOCTORATE OF MUSICAL ARTS IN PIANO PERFORMANCE

• The audition must be a full, memorized recital
• It must include works from at least three different periods of music (e.g., Baroque, Classical, Romantic, Impressionist, Contemporary).
• The faculty may select portions from the repertoire submitted.

Non-majors:

• No audition required!

For more information, please contact Dr.%20Ellen%20Elder or Dr.%20Elizabeth%20Moak.

Graduate Students:

MASTER OF MUSIC IN COLLABORATIVE PIANO PERFORMANCE

• Two contrasting art songs from the German, French, or English vocal repertoire: e.g. Schumann, Schubert, Duparc, Fauré, Barber, Vaughan Williams
• Two contrasting movements from the standard duo instrumental repertoire e.g. Brahms, Beethoven, Prokofiev, Franck
• The first movement from a Mozart orchestral reduction. Choose one from the following:
  • Violin: K.216 in G major, K.218 in D major, or K.219 in A major
  • Flute: K. 313/285c in G major
  • Oboe: K. 314/271k in C major
  • Clarinet: K. 622 in A major
  • Bassoon: K. 191 in Bb major
• Prepare 2 songs in each language, German, French and English (Total six songs). Below is a sample of the types of songs to include for your audition. They can include these selections, but you may also prepare your own. We will select two total for you to perform at your audition.
  • German
    • Brahms Meine Liebe ist grün or Wie melodien zieht es mir
    • Schubert Gretchen am Spinnrade or Im Frühling
    • Schumann Mondnacht or Widmung
  • French
    • Duparc Extase or Chanson Triste
    • Debussy Il pleure dans mon coeur or C'est l'extase
    • Fauré Mandoline or Notre amour
  • English
    • Barber The Desire for Hermitage or The Monk and his Cat
    • Copland Heart! We Will Forget Him!
    • Vaughan Williams The Vagabond or The Roadside Fire

DMA IN COLLABORATIVE PIANO PERFORMANCE

• Two contrasting art songs from the German, French, or English vocal repertoire: e.g. Schumann, Schubert, Duparc, Fauré, Barber, Vaughan Williams
• A complete standard instrumental sonata for piano and strings, winds or brass. e.g. Brahms, Beethoven, Prokofiev, Franck
• The first movement from a Mozart orchestral reduction. Choose one from the following:
  • Violin: K.216 in G major, K.218 in D major, or K.219 in A major
  • Flute: K. 313/285c in G major
  • Oboe: K. 314/271k in C major
  • Clarinet: K. 622 in A major
  • Bassoon: K. 191 in Bb major
• Prepare 2 songs in each language, German, French and English (Total six songs). Below is a sample of the types of songs to include for your audition. They can include these selections, but you may also prepare your own. We will select two total for you to perform at your audition.
  • German
    • Brahms Meine Liebe ist grün or Wie melodien zieht es mir
    • Schubert Gretchen am Spinnrade or Im Frühling
    • Schumann Mondnacht or Widmung
  • French
    • Duparc Extase or Chanson Triste
    • Debussy Il pleure dans mon coeur or C'est l'extase
    • Fauré Mandoline or Notre amour
  • English
    • Barber The Desire for Hermitage or The Monk and his Cat
    • Copland Heart! We Will Forget Him!
    • Vaughan Williams The Vagabond or The Roadside Fire

For more information, please contact Dr.%20Michael%20Bunchman.

Majors:

• Prepare two pieces to sing. One of those selections must be of the fine arts/classical style. The other piece may be in the style of your choosing. No accompanist is required.
• For vocal performance majors, one of the two pieces must be in French, German, or Italian.
• Music must be memorized.

Minors:

• Prepare one fine art/classical style piece to sing. No accompanist is required.
• Memorization is recommended but not required.

Graduate Students:

MASTER OF MUSICAL ARTS

• Demonstrate, by audition:
  • Advanced vocal technique
  • Good diction in Italian, French, German, and English
  • Good vocal quality and musicianship

• The repertoire list must be comprised of five memorized pieces inclusive of:

  •  

    An aria from opera or oratorio

  • A German Lied

  • A French Mélodie

  • An art song in English

  • And may include a seventeenth- or eighteenth century Italian song or aria.

DOCTORATE OF MUSICAL ARTS

• Demonstrate, by audition:
  • Advanced vocal technique
  • Good diction in Italian, French, German, and English
  • Good vocal quality and musicianship.

• The repertoire list must be comprised of eight memorized pieces and should include:

  • An aria from opera or oratorio

  • A German Lied

  • A French Mélodie

  • An art song in English

  • A seventeenth- or eighteenth century Italian song or aria may also be included.

  • A minimum of five pieces will be heard at your audition.

Non-majors:

• Sing one piece. It is preferred that this piece be of the fine arts/classical style. No accompanist is required.

For more information please contact Dr.%20Gregory%20Fuller, Dr.%20Jonathan%20Kilgore, Dr.%20Meredith%20Johnson, Dr.%20Kimberley%20Davis, Dr.%20Taylor%20Hightower, or Dr.%20Jonathan%20Yarrington.

Majors:

WIND INSTRUMENTS

• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
• Easy level sightreading.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

BASS

• Bass line realization of a standard jazz tune using a lead sheet (melody and chord symbols) in swing style walking quarter note, bossa nova style, samba or other latin style is optional. -(prepared)Bass line realization in varied styles of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Bass Line realization on a jazz style blues progression.
• Encouraged but not required: perform a piece of jazz band music of your choosing, or solo transcription, jazz etude (e.g. Snidero Jazz Conception) or original composition that best demonstrates your abilities. Improvise on any of the above of #’s 1,2,3.

PIANO AND GUITAR

• Chord voicing realization of a standard jazz tune -(prepared)
• Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
• Varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings may include some extensions and do not need to include the root of the chord. Pianists may be asked to demonstrate these in both the left hand and right hand.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
• Easy level sightreading of both notes and chord symbols.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

VIBES

• Chord voicing realization of a standard jazz tune -(prepared)
• Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
• Easy level sightreading of both notes and chord symbols.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

DRUMSET

• Demonstration of the beat patterns for the following styles – 8 bar phrases with fills at the end of each phrase: Medium tempo swing, up tempo swing (up to 180 bpm), Bossa Nova, Samba or Mambo, Shuffle Funk/Hip Hop, Ballad w brushes (optional.)
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz drum solo etude are also good choices.
• Easy level sight reading of a big band drum part.

Non-majors:

WIND INSTRUMENTS

• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner. Easy level sightreading.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

BASS

• Bass line realization of a standard jazz tune using a lead sheet (melody and chord symbols) in swing style walking quarter note, bossa nova style, samba or other latin style is optional. -(prepared)
• Bass line realization in varied styles of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Bass Line realization on a jazz style blues progression.
• Encouraged but not required: perform a piece of jazz band music of your choosing, or solo transcription, jazz etude (e.g. Snidero Jazz Conception) or original composition that best demonstrates your abilities. Improvise on any of the above of #’s 1,2,3.

PIANO AND GUITAR

• Chord voicing realization of a standard jazz tune -(prepared)
• Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
• Varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings may include some extensions and do not need to include the root of the chord. Pianists may be asked to demonstrate these in both the left hand and right hand.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
• Easy level sightreading of both notes and chord symbols.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

VIBES

• Chord voicing realization of a standard jazz tune -(prepared)
• Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
• Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
• Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
• Easy level sightreading of both notes and chord symbols.
• Suggested Repertoire:
  • Satin Doll (Ellington)
  • Autumn Leaves (Kosma)
  • Billie’s Bounce (Parker)
  • I’ve Got Rhythm (Gershwin)
  • Cotton Tail (Ellington)
  • Summertime (Gershwin)
  • Four (Miles Davis)
  • Blue Bossa (Kenny Dorham)
  • Straight, No Chaser (Thelonious Monk)
  • Work Song (Nat Adderly)
• Most of these can be found in play along form with a book and CD from Jamey Aebersold on the website: jazzbooks.com.
• You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

DRUMSET

• Demonstration of the beat patterns for the following styles – 8 bar phrases with fills at the end of each phrase: Medium tempo swing, up tempo swing (up to 180 bpm), Bossa Nova, Samba or Mambo, Shuffle Funk/Hip Hop, Ballad w brushes (optional.)
• Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz drum solo etude are also good choices.
• Easy level sight reading of a big band drum part.

For more information, please contact Mr.%20Lawrence%20Panella!