Audition Guidelines are specific to each musical instrument and level of study. What is required of a graduate-level applicant is different from an undergrad, and depending on your desired major, your audition day experience will include a unique combination of components.
Audition Guidelines
All prospective music majors must submit an Audition Portfolio.
Your portfolio submission must meet the guidelines for your primary instrument and/or
program of study. Use the tabs and tables below to locate the audition guidelines
that fit your desired major.
For applicants to the following programs of study:
- Artist Diploma (AD) in Performance
- Master of Music (MM) in Performance
- International Pathway for the MM in Performance
| Bassoon | Bassoon (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
|---|---|
| Cello | Cello (GR) Applicants are expected to prepare the following works: One etude (Popper OR Piatti), two contrasting movements from a Bach Cello Suites, first movement from a standard cello concerto. |
| Clarinet | Clarinet (GR) Graduate applicants must prepare the following repertoire: Mozart Concerto (1st movement exposition); one (1) of the following solo works: Stravinsky (Three Pieces), Debussy (Premier Rhapsodie), Nielsen (Concerto), Copland Concerto; two (2) of the following orchestral excerpts: Beethoven Symphony No. 6 (1st movement: m. 474-492), Beethoven Symphony No. 8 (3rd movement: Trio), Mendelssohn Scherzo from “A Midsummer Night’s Dream”, Mendelssohn Symphony No. 3 (2nd movement: m. 8-102), Brahms Symphony No. 3 (2nd movement: m. 1-22); two (2) of the following additional excerpts: Rachmaninoff Symphony No. 2 (3rd movement: m. 6-28), Shostakovich Symphony No. 9 (2nd movement: m. 1-32), Respighi Pines of Rome (3rd movement), Stravinsky The Firebird (Variation), Kodaly Dances of Galanta (m. 31-66). |
| Classical Guitar | Classical Guitar (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Double Bass | Double Bass (GR) Applicants are expected to prepare the following works: Two movements from one of the following double bass concertos: Vanhal, Kousseviztky, Bottesini. Two contrasting movements of solo Bach. Four excerpts from the standard repertoire as follows: One excerpt from a Mozart symphony, one excerpt from a Beethoven symphony, one excerpt from a Brahms symphony, and one excerpt from a Strauss tone poem. |
| Euphonium | Euphonium (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Flute | Flute (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| French Horn | French Horn (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Harp | Harp (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Jazz Bass | Jazz Bass (GR) Perform a complete solo transcription of any legendary jazz bassist (e.g. Ray Brown, Jimmy Blanton, Paul Chambers, Charles Mingus, Marcus Miller, Oscar Pettiford, Scott LaFaro) or any bass part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to walk in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Guitar | Jazz Guitar (GR) Perform a complete solo transcription of any legendary jazz guitarist (e.g. Wes Montgomery, Grant Green, Charlie Christian, Barney Kessel, George Benson, Joe Pass, Django Reinhart) or any guitar part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Percussion |
Jazz Percussion (GR) Vibes - Perform a complete solo transcription of any legendary jazz vibraphonist (e.g. Milt Jackson, Lionel Hampton, Bobby Hutcherson, Cal Tjader) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Piano | Jazz Piano (GR) Perform a complete solo transcription of any legendary jazz pianist (e.g. Oscar Peterson, Wynton Kelly, Thelonious Monk, Bill Evans, Chick Corea, Herbie Hancock) or any piano part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Saxophone | Jazz Saxophone (GR) Perform a complete solo transcription of any legendary jazz saxophone player (e.g. Charlie Parker, Dexter Gordon, Pepper Adams, Cannonball Adderly, John Coltrane or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Trombone | Jazz Trombone (GR) Perform a complete solo transcription of any legendary jazz trombone player (e.g. J.J. Johnson, Frank Rosolino, Bennie Green, Curtis Fuller) or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Trumpet | Jazz Trumpet (GR) Perform a complete solo transcription of any legendary jazz instrumentalist (e.g. Louis Armstrong, Dizzy Gillespie, Clifford Brown, Miles Davis) or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Jazz Voice | Jazz Voice (GR) Perform a complete solo transcription of any legendary jazz vocalist (e.g. Billie Holiday, Ella Fitzgerald, Chet Baker, Frank Sinatra) plus a personal interpretation of An American Songbook standard (Porter, Kern, Berlin, Gershwin. Etc.) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Demonstrate improvisation over a 12-bar blues and any 32-bar form. |
| Oboe | Oboe (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Organ | Organ (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Percussion | Percussion (GR) Snare Drum: Rudimental snare drum solo/etude of applicant’s choice (Pratt, Wilcoxin, etc.) plus concert snare drum solo/etude of applicant’s choice (Delecluse, Peters, etc.) plus five excerpts of choice from the standard orchestral repertoire. Mallets: Two mallet solo/etude of applicant’s choice, plus four mallet solo/etude of applicant’s choice, plus five excerpts of choice from the standard orchestral repertoire. Timpani: Solo/etude of applicant’s choice (Firth, Carroll, Goodman, Delecluse, etc.) plus five excerpts of choice from the standard orchestral repertoire. |
| Piano |
Piano (GR) Prepare approximately 45 minutes of solo repertoire, or the equivalent of a performance degree recital. Audition repertoire must represent at least 3 periods of composition: Baroque, Classic, Romantic, Impressionistic, and 20th/21st Century. All works presented at the audition must be memorized. Be prepared to play any major or harmonic minor scale, 4 octaves up and down. There also will be sight-reading. All graduate applicants must have completed at minimum an undergraduate degree in piano performance (or equivalent) from an accredited institution. Additional requirements for Collaborative Piano: |
| Saxophone | Saxophone (GR) Perform 12 major scales and harmonic minor scales with triads, as well as chromatic scale - all full range of the saxophone. Prepare a total of approximately 30 minutes of repertoire (equivalent to that of a senior recital for an undergraduate music major). The repertoire should be varied, ideally demonstrating skills including vibrato, extreme dynamics, musical phrasing, various articulations at different tempos, rapid technical passages, advanced rhythms, and altissimo passages. Examples would include "Sonata for Saxophone" by P. Creston or R. Muczynski; Fuzzy Bird Sonata by T. Yashimatsu; "Prelude Cadence et Finale" by A. Desenclos; "Concertino da Camera" by J. Ibert; "Concerto for Saxophone" by I. Dahl; "Improvisation et Caprice" by E. Bozza. |
| Trombone, Bass | Trombone, Bass (GR) Applicants should prepare two contrasting solo pieces or two contrasting etudes, three to four standard orchestral excerpts, major and minor scales 2 octaves and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Bozza New Orleans, McCarty Sonata, Lebedev Sonata, and Telemann Fantasies. Etudes should be similar to or exceed in difficulty the Blazhevich 70 Studies for Tuba volume 1, Grigoriev 24 Studies, Bordogni Melodious Études book 1&2 8VB. Orchestral excerpts should be similar to or exceed in difficulty the Schumann 3rd Symphony 4th movement, Haydn The Creation, Rossini Gazza Ladra Overture, Wagner Ride of the Valkyries, and Wagner Entry of the Gods into Valhalla. |
| Trombone, Tenor | Trombone, Tenor (GR) Applicants should prepare two contrasting solo pieces or two contrasting etudes, three to four standard orchestral excerpts, major and minor scales 2 octaves and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Tomasi Concerto, David Concertino, Grondahl Concerto, and Hindemith Sonata. Etudes should be similar to or exceed in difficulty the Bordogni Meldious Études book 2, Kopprasch Sixty Selected Studies, Blazhevich Clef Studies, and Tyrell 40 studies. Orchestral excerpts should be similar to or exceed in difficulty the Mozart Tuba Mirum, Rossini Gazza Ladra Overture, Saint Saens Organ Symphony, Mahler 3rd Symphony, Wagner Ride of the Valkyries, and Ravel Bolero. |
| Trumpet | Trumpet (GR) Two contrasting etudes, one of which must be a Charlier etude (select from Charlier, Bitsch, Smith Top Tones, etc.) Two complete solos, one of which must be Haydn concerto (complete) Four orchestral excerpts, one of which must be on piccolo trumpet (Bach B Minor Mass, Christmas Oratorio, Magnificat, etc.) Sight reading will be required. |
| Tuba | Tuba (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Viola | Viola (GR) One movement of a Concerto such as Stamitz, Hoffmeister, Walton, Rozsa, Hindemith, Bartok etc. One movement of a Sonata or equivalent such as Schumann Märchenbilder, Bruch Romance etc. Two contrasting movements of Bach cello suite or violin Sonata and Partitas. *At least one piece must be performed by memory. Prepare all 3-octave scales; major or minor with corresponding arpeggios at medium and fast tempi. |
| Violin | Violin (GR) One Movement of a Concerto of your choice, such as Bruch, Mendelssohn, Lalo or harder, or a solo piece of the same technical difficulty of those Concerti. One solo Bach (any one movement). One Etude such as Kreutzer, Dont, Gavinies, Paganini. Your choice of a 3 Octave Scale and matching Arpeggios (ideally from Carl Flesch Exercise No. 5) 3rds in the key of your Scale. Octaves in the key of your Scale. Memorization not required, but you may perform from memory if you prefer. |
| Voice, Alto/Mezzo | Voice, Alto/Mezzo (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). Applicants should prepare at least four pieces: one in Italian, German, French, and English. At least one selection must be an operatic aria from the standard repertoire. All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Voice, Bass/Baritone | Voice, Bass/Baritone (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). Applicants should prepare at least four pieces: one in Italian, German, French, and English. At least one selection must be an operatic aria from the standard repertoire. All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Voice, Counter Tenor | Voice, Counter Tenor (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). Applicants should prepare at least four pieces: one in Italian, German, French, and English. At least one selection must be an operatic aria from the standard repertoire. All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Voice, Soprano | Voice, Soprano (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). Applicants should prepare at least four pieces: one in Italian, German, French, and English. At least one selection must be an operatic aria from the standard repertoire. All applicants must pass the audition process in order to be accepted into the graduate performance department. |
| Voice, Tenor | Voice, Tenor (GR) Graduate applicants should prepare a total of approximately 30 minutes of repertoire for the audition (equivalent to that of a senior recital for an undergraduate music major). Applicants should prepare at least four pieces: one in Italian, German, French, and English. At least one selection must be an operatic aria from the standard repertoire. All applicants must pass the audition process in order to be accepted into the graduate performance department. |
For applicants to the following programs of study:
- Master of Music Therapy (MMT)
- Master of Music Therapy (MMT) Equivalency
| Master of Music Therapy (MMT) |
For the Audition Portfolio, all MMT applicants will submit a recording of them singing a total of 10 songs and accompanying themselves on piano (for 5 songs) and guitar (for 5 songs). Songs should be diverse across genre (e.g., children’s, spiritual, contemporary [2000-present], and R&B). Applicants will interview with music therapy faculty to demonstrate program readiness. The interview will also provide an opportunity for you to interact with faculty, ask questions, and discuss program outcomes and expectations. Proof of board-certification as a music therapist must be uploaded to your application checklist. *This requirement will be waived for international students that do not plan to practice Music Therapy in the US. |
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| Master of Music Therapy (MMT) Equivalency |
All MMT Equivalency applicants will submit an Audition Portfolio with approximately 12-15 minutes of music demonstrated in video recordings on their primary instrument. In addition, the portfolio should contain video of the applicant singing 5 songs of diverse style/genre while accompanying themselves on either piano or guitar. Applicants will interview with music therapy faculty to demonstrate program readiness. The interview will also provide an opportunity for you to interact with faculty, ask questions, and discuss program outcomes and expectations. Based on audition/interview results candidates may be required to take further clinical musicianship placement exams. Further piano, guitar, and voice coursework may also be required. |
For applicants to the following programs of study:
- Bachelor of Music (BM) in Performance
| Bassoon | Bassoon (UGP) Suggested solos include any concerto by Vivaldi; Sonata by Galliard or Hindemith; Etude by Orefici. Applicants are expected to play major and minor scales in legato and staccato. |
|---|---|
| Cello | Cello (UGP) Applicants are expected to prepare the following works: One etude (from Merk, Duport, Dotzauer or Popper), One movement from any Bach Cello Suites, First movement from a standard cello concerto. |
| Clarinet | Clarinet (UGP) Applicants must prepare one of the following solo works: Mozart Concerto (1st movement), Weber Concertino, Weber Concerto No. 1 (1st movement), or Weber Concerto No. 2 (1st movement). Applicants must also prepare a solo work of their choosing along with two (2) contrasting etude selections from Rose (32 Etudes or 40 Etudes). |
| Classical Guitar | Classical Guitar (UGP) Applicants should prepare two compositions representative of at least two of the following musical periods: Renaissance, Baroque, Classical, Romantic, or 20th Century. Memorization not required, but preferred. Applicants must also be prepared to demonstrate the following technical skills. Scales: Two octaves for all twelve keys of major scales, harmonic and melodic. Arpeggios: PIMA, PAMI, PIMAMI, IMA, AMI, IAMA. Chords: At least two different voicings of major, minor, Dom 7th, Minor 7th, Major 7th. Sight-Reading: Single line played above the first position with key signatures containing up to four sharps or flats and three voice compositions in first position. |
| Double Bass | Double Bass (UGP) Applicants are expected to prepare the following works: One 3 octave major scale, one 3 octave melodic or harmonic minor scale, one movement of a standard double bass concerto, one movement of solo Bach, two contrasting orchestral excerpts from the standard repertoire. |
| Euphonium | Euphonium (UGP) Suggested solos include Morceau Symphonique by Guilmant or Andante et Allegro by Barat. Applicants are also expected to play major scales and to demonstrate sight reading. |
| Flute | Flute (UGP) Applicants are expected to prepare scales in all major and minor harmonic keys over two octaves, slurred. Applicants should also prepare: One etude of choice, two contrasting movements of a baroque sonata of choice (e.g. Telemann, Vivaldi, Handel, Bach), one 20th century work of choice. Piano accompaniment is not required. |
| French Horn | French Horn (UGP) Suggested solos include Horn Concerto No. 1 or No. 3 by Mozart; Horn Concerto No. 2 by Haydn; Sonata by Beethoven. Applicants are also expected to play major scales and to demonstrate sight reading. |
| Harp | Harp (UGP) Applicants are expected to perform two contrasting works, one by a 17th or 18th century composer and one by a 20th century composer (preferably memorized). In addition, applicants are asked to prepare an etude (such as Bochsa Etude No. 1 from Cinquante Etudes Op. 34, Book One) and an orchestral excerpt (such as the Waltz of the Flowers harp cadenza from the Nutcracker Suite). There may be a brief sight-reading excerpt required during the audition. |
| Jazz Bass | Jazz Bass (UGP) Perform a complete solo transcription of any legendary jazz bassist (e.g. Ray Brown, Jimmy Blanton, Paul Chambers, Charles Mingus, Marcus Miller, Oscar Pettiford, Scott LaFaro) or any bass part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to walk in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Guitar | Jazz Guitar (UGP) Perform a complete solo transcription of any legendary jazz guitarist (e.g. Wes Montgomery, Grant Green, Charlie Christian, Barney Kessel, George Benson, Joe Pass, Django Reinhart) or any guitar part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Percussion |
Jazz Percussion (UGP) Vibes - Perform a complete solo transcription of any legendary jazz vibraphonist (e.g. Milt Jackson, Lionel Hampton, Bobby Hutcherson, Cal Tjader) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Piano | Jazz Piano (UGP) Perform a complete solo transcription of any legendary jazz pianist (e.g. Oscar Peterson, Wynton Kelly, Thelonious Monk, Bill Evans, Chick Corea, Herbie Hancock) or any piano part from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read notated rhythms, written lines and chord changes and demonstrate the ability to comp in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Saxophone | Jazz Saxophone (UGP) Perform a complete solo transcription of any legendary jazz saxophone player (e.g. Charlie Parker, Dexter Gordon, Pepper Adams, Cannonball Adderly, John Coltrane or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Trombone | Jazz Trombone (UGP) Perform a complete solo transcription of any legendary jazz trombone player (e.g. J.J. Johnson, Frank Rosolino, Bennie Green, Curtis Fuller) or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Trumpet | Jazz Trumpet (UGP) Perform a complete solo transcription of any legendary jazz instrumentalist (e.g. Louis Armstrong, Dizzy Gillespie, Clifford Brown, Miles Davis) or a section part (shout chorus or soli) from classic jazz ensemble literature (Duke Ellington, Count Basie, Thad Jones) that demonstrates the ability to interpret jazz (swing) phrasing. Sight-read music containing typical rhythms in both swing and straight eighth-note styles. Optional Improvisation over a 12-bar blues or any 32-bar form. |
| Jazz Voice | Jazz Voice (UGP) Perform a complete solo transcription of any legendary jazz vocalist (e.g. Billie Holiday, Ella Fitzgerald, Chet Baker, Frank Sinatra) plus a personal interpretation of An American Songbook standard (Porter, Kern, Berlin, Gershwin. Etc.) that demonstrates the ability to interpret jazz (swing) phrasing. Optional Improvisation over a blues or any 32-bar form. |
| Oboe | Oboe (UGP) Suggested solos include the G Minor Concerto or a sonata by Handel; F Minor Concerto or A Minor Sonata by Telemann; Concerto in C Minor by Marcello; Concerto by Cimarosa; Sonata by Hindemith. Applicants are also expected to prepare one or two etudes (e.g. Barret), preferably of contrasting tempi. |
| Organ | Organ (UGP) Applicants are expected to prepare the following: Bach fugue, one piece from the Romantic Period, one piece from the 20th or 21st Century, and a hymn of your choosing. Applicants will be asked to sight read a simple hymn with pedals. |
| Percussion | Percussion (UGP) Snare Drum: Rudimental snare drum solo/etude of applicant’s choice (Pratt, Wilcoxin, etc.) plus concert snare drum solo/etude of applicant’s choice (Delecluse, Peters, etc.), Mallets: Two mallet solo/etude of applicant’s choice, plus four mallet solo/etude of applicant’s choice plus Major and minor scales and arpeggios, Timpani: Solo/etude of applicant’s choice (Firth, Carroll, Goodman, Delecluse, etc.). |
| Piano | Piano (UGP) Three solo works are required with all 3 memorized. The audition must represent 3 of the following periods of composition: Baroque, Classic, Romantic, Impressionistic, and 20th/21st Century. Concertos are not allowed for the audition, but they can be included as part of the Audition Portfolio. Be prepared to play any major or harmonic minor scale, 4 octaves up and down. There also will be a sight-reading excerpt. |
| Saxophone | Saxophone (UGP) Perform all 12 major scales and full range chromatic scale. Prepare a total of 15 minutes of solo and/or or etude literature which demonstrates skill levels including expressive tone and phrasing, as well as technical passages including various articulations. Examples of solos would include "Scaramouche" by D. Milhaud, "Sonata for Saxophone" by P. Creston or L. Lunde, "Concertino da Camera" by J. Ibert, "Concerto for Saxophone" by A. Glazanov or P. M. Dubois. Etudes can be included from the "Selected Studies for Saxophone" by H. Voxman or "48 Famous Studies for Oboe or Saxophone" by W. Ferling. Sight reading will be included in this audition. |
| Trombone, Bass | Trombone, Bass (UGP) Applicants should prepare two contrasting solo pieces or two contrasting etudes, three to four standard orchestral excerpts, major and minor scales 2 octaves and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Bozza New Orleans, McCarty Sonata, Lebedev Sonata, and Telemann Fantasies. Etudes should be similar to or exceed in difficulty the Blazhevich 70 Studies for Tuba volume 1, Grigoriev 24 Studies, Bordogni Melodious Études book 1&2 8VB. Orchestral excerpts should be similar to or exceed in difficulty the Schumann 3rd Symphony 4th movement, Haydn The Creation, Rossini Gazza Ladra Overture, Wagner Ride of the Valkyries, and Wagner Entry of the Gods into Valhalla. |
| Trombone, Tenor | Trombone, Tenor (UGP) Applicants should prepare two contrasting solo pieces or two contrasting etudes, three to four standard orchestral excerpts, major and minor scales 2 octaves and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Tomasi Concerto, David Concertino, Grondahl Concerto, and Hindemith Sonata. Études should be similar to or exceed in difficulty the Bordogni Meldious Études book 2, Kopprasch Sixty Selected Studies, Blazhevich Clef Studies, and Tyrell 40 studies. Orchestral excerpts should be similar to or exceed in difficulty the Mozart Tuba Mirum, Rossini Gazza Ladra Overture, Saint Saens Organ Symphony, Mahler 3rd Symphony, Wagner Ride of the Valkyries, and Ravel Bolero. |
| Trumpet | Trumpet (UGP) Two contrasting (lyrical/technical) etudes of applicant's choice, taken from any of the following books: Voxman, Charlier, Arban, Bousquet, Bitsch, Goldman, Smith (Top Tones), etc. Two complete solos of applicants choice from major solo literature (I.e. Haydn, Hummel, Arutunian, Hindemith, Kennan, Stevens, Enesco, etc.) Three to four orchestral excerpts from the standard literature. Examples include: Mussorgsky/Ravel: Pictures at an Exhibition (Promenade); Stravinsky: Petrouchka (Ballerina’s Dance and Waltz); Mahler: Symphony No. 5 (opening); Respighi: Pines of Rome (offstage solo). Sight reading will be required. |
| Tuba | Tuba (UGP) Applicants should prepare two contrasting selections which demonstrate their ability on the instrument and overall musicianship. Suggested repertoire includes etudes by Bordogni and Blazhevich and/or solos such as Bach/Bell Air and Bouree, Persichetti Serenade #12, and Hartley Unaccompanied Suite. Applicants may also be asked to play major scales and sight read at the audition. |
| Viola | Viola (UGP) One movement of a concerto (for example: Hoffmeister, Stamitz, JC Bach) or any other piece such as a movement of a Sonata that best represents the applicant's playing ability. One movement of Bach Cello suite or any other unaccompanied piece for viola such as Reger, Telemann Fantasias etc. One etude from Mazas, Bruni, Fuchs, Kreutzer, Rode, Campagnoli or equivalent. Scales: 3-octave scales; choice of a major or relative minor scale with corresponding arpeggios. Medium and fast tempi. |
| Violin | Violin (UGP) One Movement of a Concerto of your choice, such as Bach A minor or harder (Bruch, Mendelssohn, Lalo), or a solo piece of the same technical difficulty of those Concerti. Solo Bach (any movement) is also acceptable in addition to the above, but not required. One movement only. One Etude such as Mazas/Kreutzer and harder (Dont, Gavinies, Paganini). A Major 3 Octave Scale and Arpeggios (ideally from Carl Flesch Exercise No. 5). Memorization not required, but you may perform from memory if you prefer. |
| Voice, Alto/Mezzo | Voice, Alto/Mezzo (UGP) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Bass/Baritone | Voice, Bass/Baritone (UGP) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Counter Tenor | Voice, Counter Tenor (UGP) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Soprano | Voice, Soprano (UGP) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Tenor | Voice, Tenor (UGP) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
For applicants to the following programs of study:
- Bachelor of Arts (BA) in Music
- Bachelor of Music (BM) in Music Ministry
- Bachelor of Music (BM) in Music Technology
- Bachelor of Science (BS) in Music Education
- Bachelor of Science (BS) in Music Therapy
| Bassoon | Bassoon (UG) Suggested solos include any concerto by Vivaldi; Sonata by Galliard or Hindemith; Etude by Orefici. Applicants are expected to play major and minor scales in legato and staccato. |
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| Cello | Cello (UG) Applicants are expected to prepared the following works: One movement from any Bach Suites, a 3-octave major scale, first movement from a standard cello concerto OR sonata |
| Clarinet | Clarinet (UG) Applicants must prepare a solo work of their choosing (suggestions include concertos of Mozart, Stamitz, Crussel, or Weber; your state's current Music Educator Association contest piece) along with two (2) contrasting etude selections from Rose (32 Etudes or 40 Etudes). |
| Classical Guitar | Classical Guitar (UG) Applicants should prepare two compositions representative of at least two of the following musical periods: Renaissance, Baroque, Classical, Romantic, or 20th Century. Memorization not required, but preferred. Applicants must also be prepared to demonstrate the following technical skills. Scales: Two octaves for all twelve keys of major scales, harmonic and melodic. Arpeggios: PIMA, PAMI, PIMAMI, IMA, AMI, IAMA. Chords: At least two different voicings of major, minor, Dom 7th, Minor 7th, Major 7th. Sight-Reading: Single line played above the first position with key signatures containing up to four sharps or flats and three voice compositions in first position. |
| Double Bass | Double Bass (UG) Applicants are expected to prepare the following works: One 2 octave major scale of your choice starting no lower than G major. One 2 octave melodic or harmonic minor scale starting no lower than g minor. One etude chosen from Simandl Volume 1, Simandl Volume 2, Simandl 30 Etudes, Bille 18 Studies, Storch-Hrabe 57 Studies, or similar. One solo movement chosen from sonatas by Marcello, Vivaldi, Eccles or concertos by Capuzzi, Dragonetti, Dittersdorf, or similar. No accompaniment is required. |
| Euphonium | Euphonium (UG) Suggested solos include Morceau Symphonique by Guilmant or Andante et Allegro by Barat. Applicants are also expected to play major scales and to demonstrate sight reading. |
| Flute | Flute (UG) Applicants are expected to prepare scales in all major and minor harmonic keys over two octaves, slurred. Applicants should also prepare: One etude of choice, two contrasting movements of a baroque sonata of choice (e.g. Telemann, Vivaldi, Handel, Bach), and one 20th century work of choice. Piano accompaniment is not required. |
| French Horn | French Horn (UG) Suggested solos include Horn Concerto No. 1 or No. 3 by Mozart; Horn Concerto No. 2 by Haydn; Sonata by Beethoven. Applicants are also expected to play major scales and to demonstrate sight reading. |
| Harp | Harp (UG) Applicants are expected to perform two contrasting works, one by a 17th or 18th century composer and one by a 20th century composer (preferably memorized). In addition, applicants are asked to prepare an etude (such as Bochsa Etude No. 1 from Cinquante Etudes Op. 34, Book One) and an orchestral excerpt (such as the Waltz of the Flowers harp cadenza from the Nutcracker Suite). There may be a brief sight-reading excerpt required during the audition. |
| Jazz Bass | Jazz Bass (UG) Perform a portion of a solo transcription of any legendary jazz bassist (e.g. Ray Brown, Jimmy Blanton, Paul Chambers, Charles Mingus, Marcus Miller, Oscar Pettiford, Scott LaFaro) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Guitar | Jazz Guitar (UG) Perform a portion of a solo transcription of any legendary jazz guitarist (e.g. Wes Montgomery, Grant Green, Charlie Christian, Barney Kessel, George Benson, Joe Pass, Django Reinhart) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Percussion |
Jazz Percussion (UG) Vibes - Perform a portion of a solo transcription of any legendary jazz vibraphonist (e.g. Milt Jackson, Lionel Hampton, Bobby Hutcherson, Cal Tjader) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Piano | Jazz Piano (UG) Perform a portion of a solo transcription of any legendary jazz pianist (e.g. Oscar Peterson, Wynton Kelly, Thelonious Monk, Bill Evans, Chick Corea, Herbie Hancock) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Saxophone | Jazz Saxophone (UG) Perform a portion of a solo transcription of any legendary jazz saxophone player (e.g. Charlie Parker, Dexter Gordon, Pepper Adams, Cannonball Adderly, John Coltrane) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Trombone | Jazz Trombone (UG) Perform a portion of a solo transcription of any legendary jazz trombone player (e.g. J.J. Johnson, Frank Rosolino, Bennie Green, Curtis Fuller) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Trumpet | Jazz Trumpet (UG) Perform a portion of a solo transcription of any legendary jazz trumpet player (e.g. Louis Armstrong, Dizzy Gillespie, Clifford Brown, Miles Davis) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Jazz Voice | Jazz Voice (UG) Perform a portion of a solo transcription of any legendary jazz vocalist (e.g. Billie Holiday, Ella Fitzgerald, Chet Baker, Frank Sinatra) or a personal interpretation of a jazz standard that demonstrates the ability to interpret jazz (swing) phrasing. |
| Oboe | Oboe (UG) Suggested solos include the G Minor Concerto or a sonata by Handel; F Minor Concerto or A Minor Sonata by Telemann; Concerto in C Minor by Marcello; Concerto by Cimarosa; Sonata by Hindemith. Applicants are also expected to prepare one or two etudes (e.g. Barret), preferably of contrasting tempi. |
| Organ | Organ (UG) Applicants are expected to prepare the following: a piece by J.S. Bach, a piece from the Romantic period or the 20th or 21st century, and a hymn of your choosing. In addition, applicants will be asked to sight read a simple hymn. Suggested pieces of appropriate difficulty by J.S. Bach include one of his 8 Little Preludes and Fugues (BWV 553-560), one of his chorale preludes in the Orgelbuchlein (BWV 599-644), and any fugue of similar difficulty. |
| Percussion | Percussion (UG) Snare Drum: Solo of choice, Mallets: Two or Four mallet Solo of applicant’s choice plus major and minor scales and arpeggios, Timpani: Solo/etude of applicant’s choice (Firth, Carroll, Goodman, Delecluse, etc.). |
| Piano |
Piano (UG) Three solo works are required; memorization is optional. The audition must represent 3 of the following periods of composition: Baroque, Classic, Romantic, Impressionistic, and 20th/21st Century. Suggestions (non-exhaustive) for repertoire of appropriate difficulty include: Baroque - J.S. Bach: Two-Part Invention or Three-Part Sinfonia Major or harmonic minor scales of the keys of the 3 works—2 octaves up and down, hands together—are required. There also will be a short sight-reading excerpt. |
| Saxophone | Saxophone (UG) Perform major scales up to 4 sharps and 4 flats and a two octave chromatic scale. Prepare a total of 5 minutes of solo and/or or etude literature which demonstrates skill levels including expressive tone and phrasing, as well as technical passages including various articulations. Examples of solos would include transcriptions of Sonatas by Eccles, Handel, and Bach, or "Sonata for Saxophone" by L. Lunde or B. Heiden, "Aria" by E. Bozza, or "Concerto for Saxophone" by A.Glazanov. Etudes can be included from the "Selected Studies for Saxophone" by H. Voxman or "48 Famous Studies for Oboe or Saxophone" by W. Ferling. |
| Trombone, Bass | Trombone, Bass (UG) Applicants should prepare two contrasting solo pieces or two contrasting etudes, major and minor scales 2 octaves up to 5 flats or 5 sharps and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Sachse Concertino and Galliard Sonatas. Etudes should be similar to or exceed in difficulty the Bordogni Melodious Études book 1 8VB, Kopprasch Etudes adapted for bass trombone, and Cimera 55 Phrasing Studies 8VB. |
| Trombone, Tenor | Trombone, Tenor (UG) Applicants should prepare two contrasting solo pieces or two contrasting etudes, major and minor scales 2 octaves up to 5 flats or 5 sharps and be prepared to do some sight-reading. Solos should be similar to or exceed in difficulty the Guilmant Morceau Symphonique and Barat Andante and Allegro. Etudes should be similar to or exceed in difficulty the Bordogni Melodious Études book 1, Rubank Advanced Method, and Cimera 55 Phrasing Studies. |
| Trumpet | Trumpet (UG) Two contrasting (lyrical/technical) etudes of applicants choice, taken from any of the following books: Voxman, Charlier, Arban, Bousquet, Bitsch, Goldman, Smith (Top Tones), etc. Required Solo: Franz Joseph Haydn, Concerto in Eb, Mvt. 1 (exposition). Applicant may add an additional solo of their choice. Sight reading will be required. |
| Tuba | Tuba (UG) Applicants should prepare two contrasting selections which demonstrate their ability on the instrument and overall musicianship. Suggested repertoire includes etudes by Bordogni and Blazhevich and/or solos such as Bach/Bell Air and Bouree, Persichetti Serenade #12, and Hartley Unaccompanied Suite. Applicants may also be asked to play major scales and sight read at the audition. |
| Viola | Viola (UG) One solo piece of choice: suggestions include first movement from Hoffmeister or Stamitz viola Concerto, Telemann Concerto (2 contrasting movements), a prelude from one of the 6 suites by JS Bach, or any other solo piece that best represents the applicant's ability at the time of the auditions. One etude of choice from either Kayser, Mazas, Kreutzer, Campagnoli etude books or equivalent. Scales: 3 octaves; choice of one major scale with relative minor plus corresponding arpeggios. Suggested sources are #11 from Mogill scale book or Carl Flesch #5 from the chosen major & minor key. Medium tempo. |
| Violin | Violin (UG) Any Concerto (one movement) or solo piece of the level of Vivaldi A Minor/Bach A Minor/Mozart G Major or harder (Bruch, Mendelssohn, Lalo). One Etude from the level of Mazas/Kreutzer or harder (such as Dont, Gavinies, Paganini). Any 2 or 3 Octave Scale and a Major and Minor arpeggio in that same key. Memorization not required, but you may perform from memory if you prefer. |
| Voice, Alto/Mezzo | Voice, Alto/Mezzo (UG) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Bass/Baritone | Voice, Bass/Baritone (UG) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Counter Tenor | Voice, Counter Tenor (UG) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Soprano | Voice, Soprano (UG) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
| Voice, Tenor | Voice, Tenor (UG) Applicants are expected to prepare two songs or arias of different styles and periods from memory, demonstrating vocal ability and potential. One should be from the 20th Century in English and one in a foreign language (French, German, Italian). *The two songs must be coached professionally as the student will be judged on diction and style. Vocal exercises may be requested. The student may also be asked to sing without accompaniment and to sight sing. |
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