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Classical

Cello

  • Students should be prepared to perform 4 works: a complete standard concerto, an etude (such as Popper or Piatti); 2 movements of a solo Bach; and another solo or duo sonata.


Composition/Theory

  • All: Portfolio of original compositions to be submitted to the theory/composition faculty. Applicants wishing to be considered for Bombard Fellowships in composition should include works that demonstrate an inclination and ability to write for the human voice.

  • Theory majors: samples of analysis and other research papers.

  • Interview with members of the composition or theory/composition faculty. This may include an assessment of skills in ear training, sight singing, and piano.

  • At the time of application, students may be asked to provide additional evidence of knowledge of string, woodwind, and brass instruments; written, aural, and keyboard harmony; elementary counterpoint; analysis of musical forms and genres; history and literature of music. (In addition, all graduate students take entrance examinations in music history and in theory/musicianship. These exams are administered just prior to the beginning of the first semester of study.)

  • Graduate applicants in composition and theory do not need to audition on an instrument or voice at the time of application.

Guitar - Classical

  • Must have completed all requirements for undergraduate study as well as an undergraduate degree recital.

  • Appropriate repertoire should include any or all of the following: Lute Suites by J.S. Bach, larger concert works by Mauro Giuliani and Fernando Sor, Preludes and Etudes by Heitor Villa-Lobos.

Horn

  • At least two movements of a major horn concerto (Mozart, R. Strauss, F. Strauss, Saint-Saens-Morceau, Gliere, Jacob) or of a major work for horn and piano (Beethoven-Sonata, Hindemith Sonate or Schumann-Adagio and Allegro).

  • All majors and minor scales, at least two octaves.

  • Two contrasting etudes that show your level of technical facility. [e.g. German/French; or dramatic/lyrical; or steady/rhapsodic; or predominantly loud/predominantly soft; or staccato/legato]

  • Several orchestral excerpts

  • Sight reading may include transposition

Jazz

Contact Mike Tracy, Director of Jazz Studies, for specific instrument requirements
Major Instrument Requirement:
You will be asked to play the melody and improvise selected pieces from memory. You will be accompanied by a faculty rhythm section or, if you are a rhythm section player, with the remainder of the rhythm section and a faculty soloist.

  • Select one tune from three of the five categories: Ballad, BeBop, Contemporary, Rhythm and Standard.

  • Select a blue of your choice.

  • Sight read a piece.

  • Play transcribed solos of your choice: Transcription should be at least one chorus of a ballad, two of a standard/contemporary rhythm tune, and four of a blues.

  • You wil be asked to demonstrate your jazz keyboard skills. The selection will not be required of piano applicants. Special consideration will be given to percussionists.

  • Play at least one hand voicing (at least three notes other than the root) in either left or right hand with Aebersold volumes 3 (II V7 I) track 1 (major II V7 I).

  • Play at least one hand voicing (atl east three notes other than the root) in either left or right hand with Aebersold volume 3 (II V7 I) track 4 (minor ii V7 I).

  • Play at least one hand voicing (at least three notes other than the root) in either left or right hand with Aebersold volume 1(Jazz: How to Play and Improvise) track 7 or 8 (blues in Bb or F).

  • Improvise over Aebersold volume 1 (Jazz: How to Play and Improvise) track 7 or 8 (blues in Bb or F).

  • Play at least one hand voicing (at least three notes other than the root) in the left hand, and the melody to a standard of your choice.


NOTE: Courses in addition to degree requirements may be added to address any deficiencies. These courses may include Improvisation 340 and Jazz Piano Ensemble 519.

Piano - Classical

  • Be able to read compositions of moderate difficulty at sight

  • Have acquired systematic methods of practice

  • Have studied composition as Bach inventions, classical sonatas, and selections by such composers as Schumann, Mendolssohn, Chopin, DeBussy, Bartok and Kabalevsky.


At the audition, students should be prepared to play:

  • Three pieces of contrasting style

  • Some Bach

  • A Romantic or Twentieth Century Piece

  • A composition of moderate difficulty at sight

Trombone

Tenor:

  • Have proficiency in all major and minor scales; one Rochut Etude (Vol. 2); one intermediate or advanced Tommy Pederson etude; Rossini Overture to La Gazza Ladra; Schumann Symphony No. 3, fourth movement; Strauss Ein Heldenleben; Wagner "Ride", Ravel Bolero; two contrasting works by Tomasi, Hindemith, Jacob, or Wagenseil.


Bass:

  • Have proficiency in all major and minor scales; one Rochut Etude (Vol. 2); Bach Suite No. 5 for Cello; Sarabande and orchestral excerpts; Haydn The Creation, No. 26; Kodaly Hary Janos Suite, fourth movement; Rossini Overture to La Gazza Ladra; Schumann Symphony No. 3, fourth movement; Strauss Ein Heldenleben; Wagner "Ride"; two contrasting works by Bozza, Spillman, Vaughan-Williams (Tuba Concerto).

 

Trumpet

Graduate applicants should include four pieces of contrasting styles. The ability to play different instruments (i.e. C trumpet, B-flat, piccolo, flugel, etc.) will strengthen the audition.

Viola

  • One 3 octave scale (the student may choose the key)

  • Two contrasting movements from the Bach Unaccompanied Cello Suites

  • One movement from the standard viola sonata repertoire (e.g. Brahms, Schumann, Schubert, Shostakovich, etc.)

  • One movement from the standard viola concerto repertoire (e.g. Handel, Stamitz, Walton, Bartok, etc.)

Voice

Repertoire to be presented:
3 art songs (one German Lied, one French mélodie, one American or English art song)
One aria from an opera or oratorio

NOTE: One of the 4 selections presented must be from the 20th century or later.



Please bring a copy of any recital programs presented as an undergraduate. Audio copies of programs are also welcomed, although not required.
It is strongly recommended that all materials be submitted prior to your audition.
ALL of the materials listed below must be submitted before the School of Music can admit a student or make a scholarship offer.

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