Undergraduate Audition Requirements

Double Bass- Classical

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 two or three selections of the following:

• A standard concerto such as Lalo, Dvorak or Haydn C Major
• Two movements of solo Bach
• And 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.

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; Calrke - Maid of the Mist; Alary - Concert Piece; Hutchinson - Sonatina.

Freshman level etudes would constitute the following books: Fink, Studies in Legato; Bordogni-Rochut, Melodius Etudes, Bk.1; Tyrrell, 40 Progressive Studies; Arban, Complete Method for the Euphonium; Remington, Warm-ups; Bowman, Practical Hints on Playing the Euphonium.

Flute

Students should play two 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 - Classical

All prospective 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 three contrasting pieces preferably from different historical periods (i.e. Renaissance, Baroque, etc.) Two 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 two pieces of contrasting styles, scales, and to sight-read.

Oboe

Be prepared to play 2-3 works of contrasting styles, such as 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 achievements.

Required:

• One 2-Mallet and/or 4-Mallet keyboard work (with or without piano accompaniment)

• Two Snare Drum work (rudimental and orchestral)

• On Timpani work (2, 3 or 4 Drums)

• Snare Drum Rudiments

Optional:

• One Multiple percussion work

• Drum sets: Various styles (Jazz, Bossa Nova, Afro, Cuban, etc.)

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

Percussion - Jazz Drum Set

• Demonstrate the following styles in either 32 or 12 bar form:

1. Swing

2. Bossa Nova

3. Rock (Any Style)

• Be able to play time in 4/4 and 3/4

• Demonstrate proficiency on two of the following: Mallets, Timpani, Snare

• Demonstrate various styles on Drum set: Jazz, Afro Cuban, etc.

• Demonstrate the ability to play with brushes

• Trade 4's over a Blues

Piano - Classical

• Be able to play all major and minor scales and arpeggios correctly in moderately rapid tempo

• Have acquired systematic methods of practice

• Be able to read compositions of moderate difficulty at sight

• Have studied such compositions as Bach inventions, classical sonatas, and selections by such composers as Schumann, Mendelssohn, Chopin, Debussy, Bartok and Kabalevsky

At the audition, students should be prepared to play three pieces of contrasting style:

• Some Bach

• A movement of a classical sonata

• A Romantic of Twentieth Century piece

• Scales and arpeggios

• A composition of moderate difficulty at sight

Saxophone

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

Trombone

Tenor Trombone: proficiency in major scales, two octaves; one Rochut Medlodius Etude; Morceau Symphonique by Guilmant or Concertino by David

Bass Trombone: proficiency in major scales, two octaves; one Rochut Melodius Etude (Vol. 1); pick on solo; Patrick McCarty Sonata/Lenedev Sonata; Telemann Fantasies

Trumpet

Prospective students are required to play two 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 solos compositions represent the level of achievement expected for freshman-level study on the tuba and euphonium at the School of Music. Nay 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. 1; Tyrell, 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 four-year degree program in violin, the student should be prepared to perform all of the following:

• Two movements of any Bach Sonata or Partita

• A movement of any Mozart Concerto

• A movement of any Romantic Violin Concerto

Voice

During the Audition

Be prepared to sing at least two songs in the classical style, from memory, in contrasting styles and moods. Usually this means one is in 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 two 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.