Classical Undergraduate Audition Requirements

BASS (DOUBLE BASS)
Be prepared to play 2-3 contrasting solo selections, standard orchestral excerpts, and major and minor scales. You may also be asked to sight-read.

BASSOON
Be prepared to play 2-3 works of contrasting styles. You may be asked to play scales and to sight-read.

CELLO
Be prepared to play 2 or 3 selections of the following:

• A standard concerto such as Lalo, Dvorak or Haydn C Major
• Two movements of solo Bach
• An etude such as Duport or Popper
• A solo sonata such as Eccles, Boccherini A Major, or Valentini
• All major and minor scales

CLARINET
Be prepared to play 2 works, or movements of works, of contrasting styles. Scales are not required, but you will be asked to sight-read.

COMPOSITION
To be admitted as a composition major, students must submit a portfolio of compositions. This portfolio is the audition for the composition major. Although each student must play or sing a performance audition for the School of Music, composition majors also audition by submitting a portfolio. The portfolio should contain 3 or 4 samples of original compositions, along with recordings for the same works, if possible. Evidence of experience using various instrumental and/or vocal combinations is helpful. Students who have questions about what to submit in the portfolio should feel free to ask questions before submitting.

EUPHONIUM
The entrance audition will consist of a prepared solo or etude, all major/minor scales, and sight reading. The solo/etude should be chosen with the goal of showing your maximum performance capabilities on the tuba or euphonium. If you have done little studying with a teacher, you should play any piece you play well.

The following solo compositions represent the level of achievement expected for freshman-level study on euphonium at the School of Music. Any of these works (or others of similar difficulty) would be suitable for audition: Capuzzi – Andante and Rondo; Ropartz – Andante and Allegro; Guilmant – Morceau Symphonique; Barat – Introduction and Dance; Clarke – Maid of the Mist; Alary – Concert Piece; Hutchinson – Sonatina.

Freshman level etudes would constitute the following books: Fink, Studies in Legato; Bordogni-Rochut, Melodious Etudes, Bk.I; Tyrrell, 40 Progressive Studies; Arban, Complete Method for the Euphonium; Remington, Warm-ups; Bowman, Practical Hints on Playing the Euphonium.

FLUTE
Students should play 2 pieces of contrasting styles for the audition, for a total of about 8-10 minutes of music. Be prepared to sight-read and play a few scales.

GUITAR
All prospective guitar students must display the following:

• Completion of Aaron Shearer's "Classic Guitar Technique,Vol.I," or a comparable classic guitar method.
• Preparation of at least 3 contrasting pieces preferably from different historical periods (i.e. Renaissance, Baroque, etc.). Two of the pieces should be etudes by such composers as Aguado, Brouwer, Carcassi, Giuliani, Sor, Tarrega, or Villa-Lobos.
• Knowledge of applicable technical studies: Giuliani's 120 Right Hand Studies, Segovia's Diatonic Major and Minor Scales, Carlevaro's School of Guitar.
• Have sufficient sight-reading abilities.

HARP
Be prepared to play 2 pieces of contrasting styles, for a total of 12-15 minutes of playing.

HORN (FRENCH HORN)
Prospective students are required to play 2 pieces of contrasting styles, scales, and to sight-read.

OBOE
Be prepared to play 2-3 works of contrasting styles, such as a Handel Sonata or pieces of comparable difficulty. Students may be asked to play scales and to sight-read.

PERCUSSION
Students should perform works in the following categories that accurately represent their current level of achievement.

Required:
• One 2-Mallet and/or 4-Mallet keyboard work (with or without piano accompaniment)
• Two Snare Drum works (rudimentary and orchestral)
• One Timpani work (2, 3, or 4 Drums)
• Snare Drum Rudiments

Optional:
• One Multiple percussion work
• Drum set: Various styles (Jazz, Bossa Nova, Afro, Cuban, etc.)

Also: Possible sight-reading on all instruments (keyboards, timpani, snare drum)

PIANO

To be admitted as an undergraduate piano major, students should:

be able to play all major and minor scales and arpeggios correctly at a moderately rapid
tempo;

have the skills to sight read compositions of moderate difficulty; and
have already studied such compositions as Bach Inventions, classical sonatas, and
works by such composers as Mendelssohn, Chopin, Schumann, Debussy, Bartok, and

Kabalevsky.

At the audition, students will be expected to play three pieces of contrasting style including:

Bach Two or Three Part Invention or suite movement
Movement of a classical sonata
Romantic, Impressionistic, or Twentieth/Twenty-first Century work

They will also be asked to present:

Scales and arpeggios in any major or minor key
Sight reading of an intermediate level work

Students must bring to the audition a Repertoire List including works studied in the past five years.

SAXOPHONE
Be prepared to play 2-3 works, or movements of works, of contrasting styles. Students may be asked to play major and minor scales and to sight-read.

THEORY
To be admitted as a theory major, students must submit a portfolio of work. This portfolio is the audition for the theory major. Although each student must play or sing a performance audition for the School of Music, theory majors also audition by submitting a portfolio. Applicants to the BM program with emphasis in Music Theory must submit a portfolio of work that includes the following: (a) scores of one or two original music compositions, with recordings if available, and (b) two exercises in traditional 4-part tonal harmony (figured bass, melody, harmonization, etc.). Students who have questions about what to submit in the portfolio should feel free to ask questions before submitting.

TROMBONE
Tenor Trombone: Proficiency in major scales, 2 octaves; 1 Rochut Melodious Etude; Morceau Symphonique by Guilmant or Concertino by David
Bass Trombone: Proficiency in major scales, 2 octaves; 1 Rochut Melodious Etude (Vol. 1); pick 1 solo: Patrick McCarty Sonata/Lebedev Sonata, Telemann Fantasies

TRUMPET
Prospective students are required to play 2 pieces of contrasting styles, scales, and to sight-read.

TUBA
The entrance audition will consist of a prepared solo or etude, all major/minor scales, and sight reading. The solo/etude should be chosen with the goal of showing your maximum performance capabilities on the tuba or euphonium. If you have done little studying with a teacher, you should play any piece you play well.

The following solo compositions represent the level of achievement expected for freshman-level study on the tuba and euphonium at the School of Music. Any of these works (or others of similar difficulty) would be suitable for audition: Holmes – Lento; Bach/Bell – Air and Bouree; Hogg – Sonatina; McFarland – Sketches; Marcello/Little – Sonata in F Major; Troje/Miller – Sonatina Classical; Nelhybel – Suite for Tuba.

Freshman level etudes would constitute the following books: Fink, Studies in Legato for Bass Trombone; Blazevich, 70 Studies, Bk. I; Tyrrell, Advanced Studies; Koppracsh, 60 Studies; Remington, Warm-Ups; Little, Practical Hints on Playing the Tuba; Arban, Complete Method for the Tuba.


VIOLA
Be prepared to play:

• One 3 octave scale (the student may choose the key)
• One movement from the Bach Unaccompanied Cello Suites
• One movement from the standard viola literature that best demonstrates the student’s ability

VIOLIN

To enter the degree program in violin performance, the student should be prepared to perform:

A movement of any Bach Sonata or Partita
A movement of any Mozart Concerto
A movement of any Romantic Violin Concerto
To enter any other degree program, the student should be prepared to perform:

Two movements of contrasting styles, one of which should be a movement of unaccompanied Bach

VOICE
During the Audition
Be prepared to sing at least 2 songs in the classical style, from memory, in contrasting styles and moods. Usually this means one is in a moderate or slow tempo, which shows your ability to sustain good vocal tone, and one is in a livelier mood, which demonstrates articulation and vocal flexibility.
The songs you choose should be memorized from printed music and must be accompanied by piano. Songs may have either English or foreign texts. You should get advice on appropriate selections and, if possible, vocal training from a competent and knowledgeable voice teacher in preparation for the audition.

In addition to singing 2 songs, you will be asked to sing at sight a short musical example. There may also be a tonal memory evaluation in which you will sing back a few brief sequences of intervals that have been played on the piano. These are diagnostic exercises that help in assessing your level of musical security and independence.

Note: Vocal auditions may be videotaped.