2018 Audition Dates

January 27 | February 10 | February 24

(for all programs except accompanying)

Accompanying Auditions

January 19 | February 16

Additional Music Theatre Auditions

January 28 | February 11 | February 25 

Additional Graduate Auditions

January 26 (voice) | February 9 (voice)
February 23 (piano and voice)

Audition Requirements By Instrument


Brass

Trumpet
Auditions are to be unaccompanied. Recorded auditions will not be accepted.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from 36 Trancendental Etudes.
Performance Applicants
  1. All major scales and arpeggios
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from Trancendental Etudes
  4. 3-4 orchestral excerpts of contrasting styles.
Auditions are to be unaccompanied. Recorded auditions will not be accepted.
  1. Two contrasting solos
  2. At least one étude from either Brandt, Charlier, or Bitsch
  3. At least four standard orchestral excerpts
  4. An example of small horn playing - either E-flat or piccolo or both
French Horn
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales
  2. Two contrasting solos of your choice
Performance Applicants
  1. All major scales
  2. Standard excerpts
  3. Two contrasting solos of your choice.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
Euphonium
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. Two etudes of contrasting styles from Voxman Selected Studies or Rochut Melodious Etudes Volume 1
Performance Applicants
  1. All major and minor scales and arpeggios
  2. Two solo works of contrasting styles
  3. Three standard wind band excerpts
  1. Two solo works of contrasting styles
  2. One Mead Advanced Concert Studies etude
  3. Four standard wind band excerpts
Trombone
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales
  2. Two works such as - Handel: Sonata No. 3; Blazevich: Concert Piece No. 5; Barat: Andante et Allegro; Galliard: Sonatas; Marcello: Sonatas; Teleman: Sonata in F minor.
Performance Applicants
  1. All major scales
  2. Two works such as - Guilmant: Morceau Symphonique; Galliard: Sonatas; Marcello: Sonatas; Jones: Sonatina; Handel: Concerto in f minor; Corelli: Sonata in F major; Hindemith: Sonata; Saint-Säens: Cavatine; David: Concertino; Larson: Concertino.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
Tuba
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. Two etudes of contrasting styles from Blazhevich 70 Studies Volume 1 or Bordogni/Rochut Melodious Etudes Volume 1
Performance Applicants
  1. All major and minor scales and arpeggios
  2. Two solo works of contrasting styles
  3. Three standard orchestral or wind band excerpts
  1. Two solo works of contrasting styles
  2. One Snedecor Low Register etude
  3. Four standard orchestral or wind band excerpts

Jazz

All Instruments

NOTE: Trumpet, Trombone, Saxophone, Acoustic Bass, Piano and Drum Set only.

Live auditions are strongly encouraged. For situations in which distance makes a live audition impossible, applicants may submit a recorded audition (fifteen minute maximum with content clearly marked). Lists of pertinent experiences may also be included. Applied music placement will be determined by a live audition when the student arrives on campus.

Applicants should be prepared to perform three examples of jazz performance in contrasting styles (ballad, swing, contemporary jazz) that will best demonstrate musicianship and proficiency in Jazz improvisation. A drumset will be provided for drummers, but you should bring your own sticks/brushes. Double Bassists should plan to use their own amplifier or make arrangements in advance with the jazz faculty to use FSU equipment.

NOTE: Those applicants auditioning on-campus should plan to bring at least three copies of their audition music.

Sample Audition Literature

NOTE: Trumpet, Trombone, Saxophone, Acoustic Bass, Piano and Drum Set only.

Perform selections in three different styles (ballad, swing, etc.). Acoustic Bass applicants should plan to bring their own amplifier.

NOTE: Those applicants auditioning on-campus should plan to bring at least three copies of their audition music.

Keyboard

Piano
All pieces must be presented from memory. You should be prepared to perform any and all sections of your audition repertoire. You will choose which piece to perform first; for Performance applicants, the faculty will indicate to you which piece or pieces to perform next. Student compositions, pieces in jazz or popular styles, simplifications and/or arrangements are not acceptable for this audition. You must submit a complete list of standard works studied and performed, indicating clearly which pieces may be played on the audition.

Applicants who have questions about appropriate audition repertoire please contact Dr. Read Gainsford.

Non-Performance Applicants
  1. A Sinfonia or Prelude and Fugue by J.S. Bach
  2. A quick movement from a Classical sonata
  3. A work of your choice from the 19th, 20th or 21st century
Performance Applicants
  1. A Prelude and Fugue from the Well-Tempered Clavier by Bach
  2. A complete sonata by Haydn, Mozart or Beethoven (excluding Op 49 and Op 79)
  3. A piece from the 19th, 20th or 21st century
  4. An etude of virtuosity

All MM and DM Piano Performance and MM Piano Pedagogy applicants who are not current FSU students must submit a prescreening by December 1st, to include:

  • Florida State University Application and fee payment
  • College of Music Supplemental application, including:
    • Comprehensive Solo Repertoire List
    • Recording uploads, unedited, from within the last two years (video preferred, CD/DVD submissions are not acceptable):
      • MM: Three (3) contrasting works from differing style periods. Individual movements of larger works are acceptable.
      • DM: Approximately 30 minutes of music from three style periods.

Prescreening submissions will not be accepted after December 1. Following faculty review, a select number of applicants will be invited for a live audition. Notifications will be emailed by December 15.

Applicants who have questions about appropriate audition repertoire please contact Dr. Read Gainsford.

All MM and DM Piano Performance and MM Piano Pedagogy applicants who are not current FSU students must submit a pre-screening audition by December 1. Following faculty review, a select number of applicants will be invited to audition.

Present from memory three contrasting pieces selected from three of the following four categories:

  • a major work by J. S. Bach (such as a Prelude and Fugue);
  • a complete sonata by Haydn, Mozart, Schubert, or Beethoven (excluding Op 49 and Op 79);
  • a Romantic work;
  • a twentieth or twenty-first century work.

In addition to the above requirements, Doctoral auditions will include a brief interview in which you may be asked to discuss the works you have presented in your audition or other general musical topics.

Applicants who have questions about appropriate audition repertoire please contact Dr. Read Gainsford.

Additional Requirements for Assistantships:

  • All applicants will be considered for Private Piano teaching assistantships.
  • Piano candidates who wish to be considered eligible for Accompanying Assistantship must meet with members of the accompanying faculty and do a short sight-reading test. This will take place on the Friday afternoon of audition weekends; candidates must contact Professor Trujillo (vtrujillo@fsu.edu) to arrange a time.
  • Candidates interested in Group Piano Assistantships must give a mock lesson for the Piano Pedagogy faculty; candidates must contact Music Admissions (musicadmissions@fsu.edu) to arrange a time.
Piano Accompanying

Piano Accompanying Applicants: Please submit a list of accompanying repertoire well in advance of your audition to Professor Valerie Trujillo (vtrujillo@fsu.edu) and musicadmissions@fsu.edu. The Accompanying Faculty will select works they would like to hear during your audition. Applicants will also be asked to sightread. Please know that an on-campus audition is required for admission into this program. Recorded auditions are not acceptable.

The emphasis in Accompanying is designed for the advanced pianist who wishes to make accompanying and chamber music a major part of his or her career. Students may elect a concentration in either Vocal Accompanying and Coaching or Instrumental Accompanying and Chamber Music. Each track will include practical experience in the appropriate vocal and instrumental studios and ensembles. Due to the performance requirements – three recitals – and the amount of time necessary for adequate rehearsal and individual preparation, students enrolled in this curriculum should plan to distribute their course load over a two-year period. This will enable them to obtain maximum experience and take full advantage of the numerous opportunities in various areas of accompanying.

Prerequisites for Admission

  • A completed bachelor’s degree in piano performance (or equivalent) from an accredited institution.
  • Repertoire lists and programs showing evidence of extensive performance experience and a thorough acquaintance with the appropriate vocal and instrumental repertoire (submitted at the time of application); a repertoire list of solo works should also be included.
  • A personal audition consisting of two parts (solo and accompanying).

Admission is based on demonstrated ability comparable to the technical and musical proficiency of an entering graduate level performance major, and the additional artistic qualities and technical skills necessary for accompanying and ensemble playing.

Prerequisites for Graduation
Foreign Languages: Proficiency in two of the following languages:

  • French, German or Italian.

*Proficiency is interpreted as having completed one year of each language at the college level with a grade of “B” or better OR satisfactory performance on the language entrance examination administered by the accompanying faculty.

Note: Identified language deficiencies will have to be made up during the period of residence, most likely at a credit level not applicable to the total graduate credit hour requirement of the degree.

Recitals

  • Three degree recitals, which will include a combination of vocal and instrumental repertoire

AUDITION INFORMATION

The audition for the MM Accompanying degree will consist of the following:

  1. Solo Performance of one memorized major work that demonstrates your technical and musical command of the keyboard

     2. Instrumental repertoire - choose two of the following composers:

  • Franck: Violin Sonata in A Major (second movement only)
  • Hindemith: Trumpet Sonata (first movement only)
  • Mozart: Violin Sonata in B-flat Major, K. 378 (first movement only)
  • Prokofiev: Flute/Violin Sonata, Op. 94 (first and second movements)

     3. Vocal repertoire - prepare all selections in the high key:

  • Schubert: Die Forelle
  • Strauss: Allerseelen
  • Debussy: Il pleure dans mon coeur
  • Fauré: Clair de lune
  • Argento: Spring

    4. Sight-reading

The list of repertoire to be performed at your audition must be submitted to the Coordinator of Accompanying at least two weeks in advance of your scheduled audition date. (Please note that this is in addition to the comprehensive repertoire list of solo and collaborative works studied, which you are requested to submit along with your College of Music application).

Piano Accompanying Applicants: Please submit a list of accompanying repertoire well in advance of your audition to Professor Valerie Trujillo (vtrujillo@fsu.edu) and musicadmissions@fsu.edu. The Accompanying Faculty will select works they would like to hear during your audition. Applicants will also be asked to sightread. Please know that an on-campus audition is required for admission into this program. Recorded auditions are not acceptable.

The emphasis in Accompanying is designed for the advanced pianist who wishes to make chamber music and vocal accompanying a major part of his or her career.

Prerequisites for Admission:

  • A completed master’s degree in piano performance or collaborative piano (or equivalent) from an accredited institution
  • Repertoire lists and programs showing evidence of extensive performance experience and a thorough acquaintance with the appropriate vocal and instrumental repertoire (submitted at the time of application); a repertoire list of solo works should also be included
  • A personal audition consisting of two parts (solo and accompanying)

Admission is based on demonstrated ability comparable to the technical and musical proficiency of an entering doctoral level performance major, and the additional artistic qualities and technical skills necessary for accompanying and ensemble playing.

Prerequisites for Graduation:

Foreign Languages:

  • Reading and diction proficiency* in French, German and Italian
  • Diction proficiency in English, Spanish and IPA

*Proficiency is interpreted as having completed one year of each language at the college level with a grade of “B” or better OR satisfactory performance on the language entrance examination administered by the accompanying faculty.

Note: Identified language deficiencies will have to be made up during the period of residence, most likely at a credit level not applicable to the total graduate credit hour requirement of the degree.

Four Recitals:

  • One (or two) vocal recitals, which include representative standard vocal repertoire
  • One (or two) instrumental recitals, which include representative standard solo works for both winds and strings, PLUS works for other chamber ensembles
  • Studio/Lecture recital, which includes both vocal and instrumental works

AUDITION INFORMATION

The audition for the DM Accompanying degree will consist of the following:

  1. Solo Performance of one memorized major work that demonstrates your technical and musical command of the keyboard

     2. Instrumental repertoire - choose three of the following composers:

  • Franck: Violin Sonata in A Major (second movement only)
  • Hindemith: Trumpet Sonata (first movement only)
  • Mozart: Violin Sonata in B-flat Major, K. 378 (first movement only)
  • Prokofiev: Flute/Violin Sonata, Op. 94 (first and second movements)

     3. Vocal repertoire - prepare all selections in the high key:

  • Schubert: Die Forelle
  • Strauss: Allerseelen
  • Debussy: Il pleure dans mon coeur
  • Fauré: Clair de lune
  • Argento: Spring

    4. Sight-reading

The list of repertoire to be performed at your audition must be submitted to the Coordinator of Accompanying at least two weeks in advance of your scheduled audition date. (Please note that this is in addition to the comprehensive repertoire list of solo and collaborative works studied, which you are requested to submit along with your College of Music application).

Organ
All organ applicants are strongly encouraged to audition on campus, and should plan to arrive by 12pm the day before their audition date to allow for practice time on the audition organ.
  • Freshman applicants are required to perform three pieces in contrasting styles and tempi at least two of which must use pedals. Suggested repertoire includes shorter works/movements of Bach, Buxtehude, Franck, Hindemith, Langlais, Mendelssohn.
  • Freshman applicants with a piano background can audition with two contrasting pieces on the piano, one of which should be a prelude and fugue or another large work of Bach. A brief organ lesson follows the audition. This option does not apply to transfer students.
  • Transfer applicants from another school should play repertoire appropriate to their year of study.
  • Applicants who have questions about appropriate audition repertoire please contact Dr. Iain Quinn.

Organ Studies at FSU

  • Applicants are required to perform three works of contrasting styles and tempi including a major work of Bach. Non-performance majors perform two works.
  • Applicants who have questions about appropriate audition repertoire please contact Dr. Iain Quinn.
  • All organ applicants are strongly encouraged to audition on campus.
  • Organ applicants should plan to arrive by 12pm the day before their audition date to allow for practice time on the audition organ.

Organ Studies at FSU

Opera Coaching

The audition for the Master of Music in Opera with an emphasis in coaching is outlined below. Please be certain to submit a list of your audition selections to the Music Director of Opera at least two weeks in advance of your scheduled audition date. This audition is scheduled directly with the Director.

Douglas Fisher
Florida State University
College of Music
Tallahassee, FL 32306-1180
(850) 645-4903

  1. Two scenes from the opera repertory, in contrasting styles. Examples of appropriate selections include a finale from a Mozart or Rossini opera, a complete act of a Puccini or Verdi opera, or a complete scene from the operas of Bizet, Massenet, Gounod, Wagner, Richard Strauss, etc.
  2. Three arias in contrasting languages and styles. Auditioners should select repertoire that reveals their technical and musical skills. Prospective students are strongly advised to select a major aria from the operas of Mozart, along with challenging arias from the works of Handel, Gounod, Massenet, Wagner, Richard Strauss, Stravinsky, etc.
    1. In 1 and 2 the student will be expected to demonstrate his/her skills in playing the orchestral reduction of opera excerpts at the piano, singing cues in ensembles and multi-character scenes, and following a conductor.
    2. The repertoire selected for the audition should be prepared in the original languages, and should cover at least three different languages (Italian, French, German, English, Czech, Russian).
  3. Sightreading

 

Opera coaching applicants should have a repertoire that reflects experience in and acquaintance with the standard operatic repertoire.

The emphasis in opera coaching is designed for the advanced pianist who wishes to make opera coaching a major part of his/her career. Due to the comprehensive nature of the program, it is suggested that enrolled students plan to distribute their course load over a two year period. This will enable them to obtain maximum experience and take full advantage of the numerous opportunities in various areas of coaching and accompanying. Students who desire conducting experience as part of their studies will also have opportunities to study conducting, lead rehearsals, and conduct performances, if appropriate.

PREREQUISITES FOR GRADUATION

FOREIGN LANGUAGE REQUIREMENT

Reading proficiency in French, German and Italian. In addition, all candidates must exhibit a thorough knowledge of correct diction in these languages, including the ability to correctly transcribe them into the International Phonetic Alphabet (IPA).

“Proficiency” is to be interpreted as having completed one year of each language at the college level with a grade of “B” or higher OR satisfactory performance on the language entrance examination administered by the coaching faculty.

Identified language deficiencies will have to be made up during the period of residence.

OPERA COACHING PROJECT

The student will be responsible for the musical preparation and performance of an approved opera performance: scenes program, chamber opera, etc.

RECITAL

The student will accompany one vocal recital.

Percussion

Percussion

All applicants must perform upon Snare Drum, Marimba (two-mallet and four-mallet), and Timpani; Drum Set is optional. Repertoire below is suggested; please consult with your private instructor and select works that reflect your ability level. You may contact Dr. Parks if you have any questions concerning the audition process. Sight Reading will be part of the audition. We ask that you plan to audition on campus at Florida State University. Recorded auditions will not be accepted.

Snare Drum: Etudes by Delecluse, Whaley, Aleo, etc.
Marimba: Two Mallets: Bach Sonatas and Partitas for Solo Violin, Cello Suites (excluding A-minor Violin Concerto)
Marimba: Four Mallets: Solos by Burritt, Stout, Ford, etc.
Timpani: Beck, Goodman, Lepak, etc. Please do not select solos from Carter Eight Pieces for Four Timpani for the audition.

Note: Dresden Timpani will be set American; do not select solos with tuning changes. We will evaluate your pitch understanding through a separate test.

Audition instruments include two Black Swamp Mercury Series snare drums (4” and 3.5” with Remo Diplomat M5 heads), Adams Classic Custom 5.0 Marimba, Adams Dresden Classic Timpani. You are free to bring your own snare drum if you choose.

All applicants must perform upon Snare Drum, Marimba (two-mallet and four-mallet), Xylophone, Glockenspiel, and Timpani; Drum Set is optional. Repertoire below is suggested; please consult with your private instructor and select works that reflect your ability level. You may contact Dr. Parks if you have any questions concerning the audition process. Sight Reading will be part of the audition. We ask that you plan to audition on campus at Florida State University. Recorded auditions will not be accepted.

Snare Drum: Etudes by Delecluse, Tompkins, Sherwood, etc.
Marimba: Two Mallets: Bach Sonatas and Partitas for Solo Violin, Cello Suites, Koshinski “Two” solos
Marimba: Four Mallets: Solos by Druckman, Thomas, Burritt, Vinao, etc.
Xylophone: Two excerpts (Porgy and Bess, Shostakovich Polka, Exotic Birds, etc.)
Glockenspiel: Two excerpts (Magic Flute, The Sorcerer’s Apprentice, etc.)
Timpani: Solos by Beck, Goodman, Lepak, etc. Please do not select solos from Carter Eight Pieces for Four Timpani.

Note: Dresden Timpani will be set American; do not select solos with tuning changes. We will evaluate your pitch understanding through a separate test.

Audition instruments include two Black Swamp Mercury Series snare drums (4” and 3.5” with Remo Diplomat M5 heads), Adams Classic Custom 5.0 Marimba, Adams Dresden Classic Timpani. You are free to bring your own snare drum if you choose.

Strings

Violin
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions. When selecting your audition date, please choose the earliest date possible as slots later in the audition cycle tend to fill up quickly.

Memorization required for all repertoire.

  1. First movement of a standard concerto, with cadenza if applicable
  2. Two contrasting movements from the Bach Solo Sonatas and Partitas
  3. A showpiece
You may audition with or without accompaniment; however, accompanists will not be provided for live auditions. When selecting your audition date, please choose the earliest date possible as slots later in the audition cycle tend to fill up quickly.
Masters Memorization required for all repertoire
  1. First movement (or 2nd and 3rd) of a major concerto, with cadenza if applicable
  2. Two contrasting movements from the Bach Solo Sonatas and Partitas, or the Chaconne
  3. A virtuoso showpiece (such as, but not limited to, a Paganini Caprice or a movement from an Ysaye Solo Sonata)
Doctoral Memorization required for all repertoire
  1. A complete major concerto
  2. Bach Solo Sonatas and Partitas - either one movement plus a fugue, or the Chaconne
  3. A virtuoso showpiece (such as, but not limited to, a Paganini Caprice or a movement from an Ysaye Solo Sonata)
Viola
Perform two works of contrasting styles and tempos. Play selected scales and studies upon request. Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
Memorization recommended for all repertoire

 

  1. 3 octave scales and arpeggios
  2. One movement of J.S. Bach's Six Suites for Solo Viola (originally for Cello)
  3. A concerto movement, of your choice, that differs in style or character from the solo Bach movement.
Perform two works in contrasting styles and tempi (unless otherwise noted below). Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
Memorization recommended for all repertoire

 

  1. 3 octave scales and arpeggios
  2. One movement of J.S. Bach's Six Suites for Solo Viola (originally for Cello)
  3. A concerto movement, of your choice, that differs in style or character from the solo Bach movement.
  4. A contrasting piece or etude
cello
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Two contrasting movements of a Bach Suite, a Vivaldi Sonata or something similar
  2. A movement of a concerto by Saint-Saëns, Lalo, Haydn, Goltermann or the like
  3. One etude by Popper, Duport, Schroeder, Merk, etc.
  4. All major and minor scales in three octaves
You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
  1. One movement of a standard concerto
  2. At least two contrasting movements of a Bach Suite
  3. One contrasting work, preferably from the 20th or 21st-century solo literature, OR a virtuoso character piece
Double Bass
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Major and minor scales - 2 octaves with arpeggios
  2. Two works such as - Bille: New School for the Double Bass, Book 1; Simandl: New Method for the Double Bass, Book 1; Sturm: 110 Etudes; Simandl: 30 Etudes; sonatas by Marcello, Vivaldi, Corelli, Scarlatti; Eccles: Sonatas; Weinstein: Modal Solos; any standard double bass concerti - two movements.
Perform two works in contrasting styles and tempi. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
harp
Perform two works of contrasting styles and tempos. Play selected scales and studies upon request. Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
Non-Performance Applicants Two works such as - Dussek: Six Sonatas; Tournier: Six Noels Pour La Harpe; Flagello: Berceuse; Grandjany: Et Ron, Ron, Ron, Petit Patapon; Corelli: Giga; Bochsa: Selections from Quarante Etudes Faciles, Op. 318.
Performance Applicants Two works such as - Bach-Grandjany: Largo from Violin Sonata No. 5; Haydn-Salzedo: Theme and Variations; Beethoven: Variations on a Swiss Air; Grandjany: The Children's Hour; Dello Joio: Bagatelles.
Perform two works in contrasting styles and tempi. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
classical Guitar
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Major and minor scales (Segovia edition)
  2. Right-hand arpeggios
  3. Knowledge of entire fingerboard
  4. Adequate musical performance of such standard études as those of Aguado, Carcassi, Giuliani; selections from Sor Studies (Segovia edition); performance of minor works by Milan, Bach, Tarrega.
You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
  1. Movement or movements from a major work by J.S. Bach: Cello Suites, Lute Suites, Violin sonatas and Partitas.
  2. A piece or movement of a major guitar composer – Ponce, Rodrigo, Tedesco, Villa-Lobos; or modern works – Britten, Henz, etc.
  3. Extensive background of study.

Voice

Classical Voice

Four memorized selections representing contrasting styles chosen from early Italian, 19th and 20th century art songs, and folk songs. For Freshmen, all selections may be sung in English, however transfer applicants must include at least one foreign language. An accompanist will be provided for on-campus voice auditions. Students must provide the accompanist with the music for all pieces in the proper keys. Original songs, pieces in jazz or popular styles, or music theatre selections are not acceptable for this audition. Auditionees may be disqualified for inappropriate or insufficient selections.

The singing of difficult, vocally demanding, dramatic literature is discouraged. It is recommended that the singer perform art songs such as those found in the G. Schirmer Anthology of Italian Songs of the 17th and 18th Centuries; Witmark's Pathways of Song; Boosey and Hawkes' Echo on Temps Passe (edited by J.B. Weckerlin); and Presser's German Art Songs (edited by Taylor). Folk songs, especially those arranged for piano and voice by composers such as Britten, Copland, and Quilter are acceptable.

All applicants are strongly encouraged to audition on campus. Those who audition live are generally more successful in their audition and, in most cases, receive higher priority for scholarships. If a recorded audition is your only option, please ensure that your recordings are of the highest quality possible, you sing with accompaniment, and you upload all four required selections. Otherwise, your audition will be disqualified.

All MM and DM Voice Performance applicants must submit a prescreening by December 1st, to include:
  • Florida State University Application and fee payment
  • College of Music Supplemental application, including:
    • Two recording uploads, one aria and one art song representing two different languages chosen from Italian, German, French, and English (video preferred, CD/DVD submissions are not acceptable)
    • Doctoral applicants should also upload a writing sample, either a graded paper from a graduate-level course or a new composition outlining your goals and aspirations as a singer, two to three pages, double-spaced, in length.
Prescreening submissions will not be accepted after December 1. Following faculty review, a select number of applicants will be invited for a live audition. Notifications will be emailed by December 15.

All MM and DM Voice Performance applicants must submit a prescreening audition by December 1. Following faculty review, a select number of applicants will be invited to audition. Accompanists are provided for on-campus voice auditions.

Master of Music in Performance Degree:

Seven (7) memorized selections including:

  • One aria or art song from the Baroque or Classic Eras.
  • One Romantic or 20th or 21st Century Aria in the original language.
  • Four art songs OR three art songs and another aria.
  • An example of Italian secco recitative (recitatives composed to be accompanied by keyboard or continuo group, not orchestrally-accompanied recitative). This example may introduce one of the arias from the above group or may be independent of those arias.

In addition to English, at least two foreign languages must be chosen from Italian, French, and German. Latin may not substitute for Italian. Other languages may be used in addition.

Doctor of Music in Performance Degree:

Eight (8) memorized selections including:

  • One aria or art song from the Baroque or Classic Eras.
  • One Romantic aria
  • One 20th or 21st Century aria or art song in the original language.
  • Four art songs OR three art songs and another aria.
  • An example of Italian secco recitative (recitatives composed to be accompanied by keyboard or continuo group, not orchestrally-accompanied recitative). This example may introduce one of the arias from the above group or may be independent of those arias.

The English, Italian, French, and German languages must be represented. Latin may not substitute for Italian. Other languages may be used in addition to the required four.

Music Theatre

The audition should demonstrate that the student has a strong potential for developing the skills and artistry necessary for a professional career. Enrollment is small and highly selective.

Auditions are divided into two sections:

  • A group dance audition involving ballet, contemporary, and jazz techniques.
  • A ten-minute private voice audition consisting of two art songs and two musical theatre songs, a monologue, and a brief interview. (You may not be asked to sing all four songs, but you should be prepared to do so if asked.)
Singing:

All four pieces must be memorized. A pianist will be provided, but you may bring your own accompanist if you wish. Be sure that the music you bring is clear and that pages can be turned easily. Do not ask the pianist to transpose. Any cuts or alterations must be clearly marked.

  • Classical selections:
    Your two art songs should represent contrasting styles chosen from early Italian, 19th- and 20th-century art songs, and folk songs. Incoming Freshmen may sing both selections in English. Transfer students should include at least one piece in a foreign language.

  • Music Theatre selections:
    For your two music theatre numbers, select two contrasting songs with which you are comfortable and which demonstrate your voice at its best. One selection should be ballad style and the other more rhythmic or "up-tempo." It is not necessary that the selections be from a musical, although it is recommended.

Acting:

You should select a character that is within your commercial range. Select a piece that you like and enjoy performing. Any dramatic or comic monologue is suitable. The piece must not exceed 90 seconds in length. Be sure that it is timed carefully and does not exceed this limit.

Interview:

Provide a copy of a resume of your academic and performance experience, and be prepared to discuss your long-range goals and your reasons for wishing to be in a Music Theatre program. Include with your resume an 8x10 headshot.

Dance:

You will participate, with other candidates, in a dance class. Combinations in varying degrees of difficulty will be given. Appropriate dance-wear is required.

Music Theatre Dos and Don'ts

Woodwinds

Flute
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
All Applicants
  1. Required Piece - W.A. Mozart: Concerto in C for Flute, Harp, and Orchestra, K. 299; Movement 1 - all, Movement 2 - exposition (beginning to m. 24)
  2. One piece of your choice contrasting style
  3. One etude
  4. Major and harmonic minor scales over 2 octaves, chromatic scale over 3 octaves (any form of the minor scale)
Performance Applicants All of the above, plus one of the works or etudes must be performed from memory.
You may audition with or without accompaniment; however, accompanists will not be provided for live auditions. At least one solo repertoire piece must be performed from memory.
For MM Applicants
  • C.P.E. Bach: Sonata in A Minor, H. 562; Mvt. 1
  • W.A. Mozart: Concerto in D Major, K. 314; Mvts. 2 and 3
  • K. Fukushima: Mei
  • One piece of your choice (contrasting style from above)
  • and the following orchestral excerpts:
    • Beethoven: Leonore; first and second excerpts
    • Strauss: Salome
    • Hindemith: Symphonic Metamorphasis
For DM Applicants
  • J.S. Bach: Partita in A minor, BWV 1013; Corrente and Sarabande
  • Carl Stamitz: Concerto in G, Op. 29; Mvts. 2 (with cadenza) and 3
  • Berio: Sequenza I
  • One piece of your choice (contrasting style from above)
  • and the following orchestral excerpts:
    • Beethoven: Leonore; first and second excerpts
    • Strauss: Salome
    • Hindemith: Symphonic Metamorphasis
Oboe
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions. Recorded auditions will not be accepted.
All Oboe applicants should prepare:

 

  1. The first movement of Mozart Oboe Concerto, K. 314 or third movement of Mozart Quartet, K. 370;
  2. one slow and one fast etude of Ferling;
  3. two major orchestral excerpts.
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions. Recorded auditions will not be accepted.
All Oboe Performance applicants should prepare:

 

  1. The first movement of Mozart Oboe Concerto, K. 314 or third movement of Mozart Quartet, K. 370;
  2. one slow and one fast etude of Ferling;
  3. two major orchestral excerpts;
  4. a Baroque sonata or concerto of the auditionee's choosing.
Clarinet
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. All major scales.
Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. One orchestral excerpt. Examples given below.
  3. All major scales.
Examples of solo pieces:

 

  • Concert pieces by Stamitz, Weber, Crusell, Mozart
  • Sonatas/sonatinas by Arnold, Bernstein, Martinu, Poulenc, Saint-Saens
  • Solo de concours by Debussy, Lefebvre, Marty, Messager, Rabaud
  • Burgmuller Duo, Cavallini Adagio & Tarantella, Widor Introduction & Rondo
Examples of orchestral exerpts:

 

  • Beethoven Symphonies 4, 6, 8
  • Brahms Symphonies 2-4
  • Mendelssohn Scherzo; Symphonies 3, 4
  • Prokofiev, Peter and the Wolf
  • Rimsky-Korsakov, Capriccio Espagnol
  • Tchaikovsky Symphonies 5, 6
Play selected scales and studies upon request. Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Master of Music Applicants
  1. Two contrasting solo pieces (or movements). Selections should be appropriate to graduate level study. Examples given below.
  2. Two contrasting orchestral excerpts. Examples given below.
Doctor of Music Applicants
  1. Three contrasting solo pieces (or movements) including one unaccompanied piece. Selections should be appropriate to graduate level study. Examples given below.
  2. Three contrasting orchestral excerpts. Examples given below.
Examples of solo pieces:

 

  • Concert pieces by Copland, Mozart, Nielsen, Francaix
  • Sonatas/sonatinas by Bernstein, Brahms, Hindemith, Poulenc, Tedesco
  • Debussy Premiere Rhapsodie, Francaix Theme & Variations, Muczynski Time Pieces, Penderecki Miniatures, Schumann Fantasy Pieces
Examples of unaccompanied pieces:

 

  • Bassett soliloquies, Carter gra, Denisov Sonata, Kovacs Hommages, Larsen Dancing Solo, Mandat (various), Martino Set, Ran Monologue, Tower Wings
Examples of orchestral exerpts:

 

  • Bartok Concerto for Orchestra; Miraculous Mandarin
  • Beethoven Symphonies 4, 6, 8
  • Brahms Symphonies 2-4
  • Kodaly Dances of Galanta
  • Mendelssohn Scherzo; Symphonies 3, 4; Hebrides Overture
  • Rachmaninoff Symphony No. 2
  • Ravel Daphnis & Chloe, Suite 2
  • Respighi Pines of Rome
  • Rimsky-Korsakov Capriccio Espagnol; scheherazade
  • Shostakovich Symphonies 9, 10
  • Stravinsky Firebird
  • Tchaikovsky Symphonies 5, 6
Bassoon
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. All major scales
  2. Two works such as - Bakaleinikov: Three Pieces; Galliard: any of the Six Sonatas; Hess: any of the Seven Recital Pieces; Telemann: Sonata.
Performance Applicants
  1. All major and minor scales:
  2. Two works such as - Vivaldi: Concerti in a minor, e minor, or d minor; Mozart: Concerto, K.191; Hindemith: Sonata; Weber: Concerto.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
alto Saxophone
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. 12 major scales,
  2. 5-10 minutes of music from the standard repertoire for alto saxophone (ex: Creston Sonata, Heiden Sonata, Glazunov Concerto, Ibert Concertino da Camera, Maurice Tableaux de Provence, or equivalent),
  3. 1 etude (ex: Ferling, Voxman, Lacour, Bozza, or equivalent).
Performance Applicants

All of the above, plus 12 harmonic minor scales

    For questions regarding repertoire and etude choices, or to request permission to audition on tenor saxophone, contact Dr. Weintraub
    Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
    Prepare 2-4 works for saxophone demonstrating the highest level of musical and technical development (ex: Albright Sonata, Denisov Sonata, Dahl Concerto, Bolcom Lilith, Berio Sequenza VIIb or IXb, Schmitt Légende, Stockhausen In Freundschaft, or equivalent; transcriptions of works written in the 19th century or earlier are also encouraged)