1. Scales and arpeggios: Concert F, G, and Bb, two octave scales with arpeggios (Applicant's choice for pattern and tempo)
2. Goedicke: Concert Etude
3. Charlier: Etude no. 2 from 36 Trancendental Etudes.

1. Scales and arpeggios: Concert F, G, and Bb, two octave scales with arpeggios (Applicant's choice for pattern and tempo)
2. Goedicke: Concert Etude
3. Charlier: Etude no. 2 from Trancendental Etudes
4. 3-4 orchestral excerpts of contrasting styles.

Applicants who have questions about appropriate audition repertoire please contact Dr. Chris Moore.

1. Mozart Horn Concerto #2, 3, or 4: 1st movement exposition
2. Contrasting solo, Grade 5, 6, or 7 on the FBA Solo and Ensemble list (or equivalent)
3. Orchestral Excepts :
   • Brahms: Symphony #3 - Horn 1, mvt. 3, one measure before F to 12 after F
   • R. Strauss: Till Eulenspiegel - Horn 1, Beginning to rehearsal 1
   • One additional excerpt of choice
4. Scales: F major and C major (horn pitch) three octaves, quarter notes (quarter = 80), forte

1. Mozart Horn Concerto #2, K. 417: 1st movement exposition or #4, K. 495: 1st movement exposition
2. Contrasting solo, Grade 5, 6, or 7 on the FBA Solo and Ensemble list (or equivalent)
3. Orchestral Excepts:
   • Brahms: Symphony #3 - Horn 1, mvt. 3, one measure before F to 12 after F
   • R. Strauss: Till Eulenspiegel - Horn 1, Beginning to rehearsal 1
   • Choose one high exerpt: Bach: Brandenburg Concerto #1 - Horn 1, mvt. 4, Trio 2 or Beethoven Symphony #7 - Horn 1, mvt 1, 25 before C to two measures after C or Wagner Gotterdamerung - short call
   • Choose one low exerpt: Beethoven: Symphony #3 - Horn 2, mvt. 3, Trio: Allegro vivace or Shostakovich Symphony #5 - Horn 1, mvt. 1, Rehearsal 17 to one measure after 21
4. Scales: F major and C major (horn pitch) three octaves, quarter notes (quarter = 80), forte

Applicants who have questions about appropriate audition repertoire please contact Prof. Michelle Stebleton.

1. All major scales and arpeggios (Waived for 2021)
2. One lyrical etude from Rochut Melodious Etudes Book 1: Etude #4, #7, or #9
3. One technical etude from Voxman Selected Studies for Baritone: Bohme/B Flat Major, Gatti/A Flat Major, or Gatti/A Minor

1. All major and minor scales and arpeggios (Waived for 2021)
2. One solo work from the following list:
   • Barat: Introduction and Dance
   • Guilmant: Morceau Symphonique
   • Haddad: Suite for Baritone
   • Jacob: Fantasia
   • Marcello: Sonata in F Major (Arr. Ostrander)
   • Marcello: Sonata in C Major (Arr. Ostrander)
3. Two standard wind band excerpts from the following list:
   • Fillmore: Rolling Thunder
   • Grainger: Lincolnshire Posy
   • Holst: First Suite for Military Band
   • Holst: Second Suite for Military Band
   • King: The Melody Shop
   • Sousa: Stars and Stripes Forever

• Handel: Sonata No. 3
• Blazevich: Concert Piece No. 5
• Barat: Andante et Allegro
• Galliard: Sonatas
• Marcello: Sonatas
• Teleman: Sonata in F minor

• 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

1. All major scales and arpeggios (Waived for 2021)
2. One lyrical etude from Bordogni 43 Bel Canto Etudes for Tuba: Etude #1, #3, or #7
3. One technical etude from Blazhevich 70 Studies for Tuba, Volume 1: Etude #7, #8, or #11

1. All major and minor scales and arpeggios (Waived for 2021)
2. One solo work from the following list:
   • Bach: Air and Bourée (Arr. Bell)
   • Gregson: Concerto for Tuba
   • Haddad: Suite for Tuba
   • Lebedev: Concerto in One Movement
   • Marcello: Sonata in F Major (Arr. Little)
   • Marcello: Sonata in C Major (Arr. Little)
3. Two standard orchestral or wind band excerpts from the following list:
   • Hindemith: Symphony in B Flat
   • Grainger: Lincolnshire Posy
   • Prokofiev: Symphony No. 5
   • Vaughan Williams: Toccata Marziale
   • Wagner: Overture to Die Meistersinger
   • Wagner: Ride of the Valkyries

Trumpet, Trombone, Saxophone, Acoustic or Electric Bass, Piano applicants:

• Applicants should prepare three jazz selections in contrasting styles (ballad, swing, contemporary jazz) that will best demonstrate their musicianship and proficiency in jazz improvisation.

Drum Set applicants:

1. Play swing time/feel for 1 minute at each of the following tempos: Quarter = 60, 120, 240 (demonstrate time and light fills as well)
2. Demonstrate (at any tempo) knowledge of these latin styles: Bossa Nova, Samba, Mambo, 12/8 Afro-Cuban – 1 minute each (demonstrate time and light fills as well)
3. Demonstrate knowledge of these essential rudiments: 5- Stroke Roll, 10-Stroke roll, Flam Paradiddle, Triple Ratamacue (Start each slow, build up speed, then back down to slow)
4. Perform the snare drum etude “Rolling in Rhythm” from Charley Wilcoxin's Modern Rudimental Swing Solos
5. Find a recording of a jazz standard of your choice to play along with (or record with a live trio, if possible) and perform it thusly: Play along with the recording into a couple solos, then at some point stop the recording and solo over the song form of the tune for (2) choruses, then stop at the point where the melody should come back in.

Sample Audition Literature

Pianists applying for any non-performance music degree programs (BA Music, Music Education, Music Therapy, Commercial Music, etc.) or those applying for the music minor are not required to submit a prescreening.
Piano Performance applicants only must submit a prescreening by December 1, 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 or DVD recordings will not be accepted):
    • Recordings should include at least three or the four requirements for the full audition. If the Classical sonata is chosen, the recording may include one or more movements, but must include a movement in Sonata-Allegro form.
    • Works must be performed by memory.
    • Prescreening repertoire and full audition repertoire selections may differ.

Prescreening submissions will not be accepted after December 1. Following faculty review, a select number of applicants will be invited to submit the full audition requirements. Notifications will be emailed by December 15.

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

All MM & DM applicants will submit a video for prescreening. The video must include 1 song or aria and 1 movement from an instrumental sonata and both selections must be presented with a partner. If the applicant is invited for a live remote audition, the repertoire presented on the prescreening video can be used at that audition. Deadline for the prescreening video is December 1.

Applicants invited to audition for the faculty will do so by a live remote audition Friday, January 22, 2021 or Friday, February 19, 2021. The applicant must have at least one partner at the live remote audition. Repertoire for the live remote auditions is as follows:

1.  Vocal repertoire:
   • one 19th century German lied (any key)
   • one 19th or 20th century French mélodie (any key)
   • one 20th or 21st century American or British song (any key)
   • one operatic aria from any period
2.  Instrumental repertoire - choose two of the following:
   • 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. Solo Performance of one major work that demonstrates your technical and musical command of the keyboard (memorization optional)
4. Sight-reading: Candidates will need to bring a book of songs by Gabriel Fauré and a book of songs by either Robert Schumann or Hugo Wolf (in any key) for sight reading purposes.

Applicants who have questions about appropriate audition repertoire (or repertoire substitutions) please contact Prof. Valerie Trujillo.

• 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

All applicants will submit a video for prescreening, uploaded to the Application Status Page. The video must include two contrasting opera arias, and both selections must be presented with a singer. If the applicant is invited for a live remote audition, the repertoire presented on the prescreening video can be used at that audition. Deadline for the prescreening submission is December 1.

Questions about suitable repertoire should be sent to Prof. Douglas Fisher.

Please note: A flawless, complete take of the audition material is not expected; in fact, you may start selections over or make a second attempt if you make mistakes. For example: a fabulous marimba performance followed by issues with the next selection does not require starting over unless you deem the overall impression of your playing to be less than optimal. We are simply trying to replicate a live audition to the best of our ability, and often ask for second renditions of selections in-person.

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:

• 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.

Applicants who have questions about appropriate audition repertoire or the recorded audition equipment and setup should contact Dr. John Parks.

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 (which displays advanced technique)

Applicants for the music minor are only required to prepare two contrasting pieces.

1. One 3-octave scale in a key of the applicant's choosing
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.

Applicants who have questions about appropriate audition repertoire please contact Dr. Pamela Ryan.

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 (waived for 2020-21)

Applicants who have questions about appropriate audition repertoire please contact Prof. Gregory Sauer.

1. Major and minor scales - 2 octaves with arpeggios Waived for 2020-21
2. Two contrasting works or movements, selected from standard etudes, concerti, or Baroque sonatas

• Pozzoli: Studi Di Media Difficolta (Selection)
• Dussek: Six Sonatines (Selection)
• Flagello: Berceuse
• Grandjany: Le bon petit Roi d’Yvetot
• Tournier: Six Noels Pour La Harpe, Op.32

1. Two orchestral excerpts from Bullen: Principal Harp, A Guidebook for the Orchestral Harpist
2. Two works in contrasting styles and tempi such as:
   • Beethoven: Variations on a Swiss Air
   • Corelli: Giga
   • Grandjany: Automne
   • Naderman: Sept Sonates Progressive (Selection)
   • Natra: Sonatina for Harp

Applicants who have questions about appropriate audition repertoire please contact Prof. Mary Roman.

1. Major and minor scales (Segovia edition or equivalent): C major, G major, A minor, B minor
   • im, mi, am, ma, ia, ai combinations, rest stroke and free stroke
2. Chromatic scale encompassing the whole fingerboard
3. Right-hand arpeggios: Carcassi Etudes Opus 60 nos. 2, 3, and/or 7; Giuliani 120 Daily Studies for the Right Hand (selections)
4. Three contrasting solo works (Standard études, such as those of Aguado, Carcassi, Giuliani; selections from Sor Studies (Segovia edition); or minor works by Milan, Bach, Tarrega).

Applicants who have questions about appropriate audition repertoire please contact Prof. Bruce Holzman.

Four memorized selections representing contrasting styles chosen from the classical repertoire. (Suggested works include early Italian, 19th and 20th century art songs, and folk songs.) The singing of difficult, vocally demanding, dramatic literature is discouraged. Folk songs, especially those arranged for piano and voice by composers such as Britten, Copland, and Quilter are acceptable. Audition will include a short sightreading selection. (Sightreading waived for 2020-21)

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.

• At least one of the four pieces must be sung in English
• At least one of the four pieces must be sung in Italian, German, or French
• The remaining two pieces may be sung in English or any other language

Applicants who have questions about appropriate audition repertoire please contact  Professor Valerie Trujillo.

Florida State University has adopted the 2020-2021 Musical Theatre Common Prescreen Criteria, and all applicants must submit a prescreening by December 1, to include:

• Florida State University Application and fee payment
• Music Theatre Supplemental application, including:
  • Headshot and resume
  • Video uploads (see below)
    • Prescreening repertoire and audition repertoire selections may differ.

OVERALL VIDEO GUIDELINES: Each piece should be filmed/uploaded as a separate piece of media. No continuous videos.

Slate: There should not be a separate “slate” video. Instead slates are to appear at the beginning of each piece.

• The proper slate for a song is to share your name, the song title, and show in which it appears.
• The proper slate for a monologue is to share your name, the stitle of the play, and the playwright.

Songs: Students should prepare two contrasting pieces

• One song should be a ballad and one song should be an uptempo. One song should be written prior to 1970. This song can be either the uptempo or the ballad. The second song should be written after 1970 and contrast the style of the first.
• Each song file should be 60-90 seconds (this time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds)
• Students must sing to live or recorded accompaniment. No “a cappella” singing.
• Songs should be filmed in a ¾ shot which means the top of the head to the knees should be visible in the frame.

Monologue: Students should prepare one monologue

• One 60-90 second contemporary monologue (written during the 20th Century-present) from a published play. (This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.)
• The contemporary monologue should be filmed in a “close-up” shot which means the top of the head to the chest should be visible in the frame.
• Monologues cannot be from musicals, television shows, or movies.

Dance: Students should prepare two videos

• 30-60 seconds of dance, in whatever dance discipline you are most comfortable with: jazz, ballet, modern, African, hip hop, lyrical, or contemporary (no tap). Please use steps, movement, and physical vocabulary that you are familiar with and can execute well. Regardless of which style of dance you execute, the choreography and the movement should be story-driven and connected to the music where the applicant is dancing with a sense of purpose. Dance media can be self-choreographed, but must be a solo video of you. This can include a show, competition, or other performance so long as you are clearly featured on your own. All choreography must be performed to music; no “a cappella” dance media please.
• Ballet, no more than 30 seconds. Execute a brief series of plié, tendu and grande battement; and also pirouette en déhors (to both sides), and grand jeté across the floor.
• All dance media should be filmed in a “full body” shot taking care to keep the student’s entire body in the frame at all times.
• Applicants do not need to slate in any dance media.
• Helpful hint: Applicants are encouraged to keep a full-length mirror behind the filming device so as to see themselves as they execute choreography.

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

As your health and that of others is our top priority, Florida State Music Theatre will conduct callbacks this season virtually. If the global health situation allows, we will invite all students who receive offers to visit campus/classes in March/April.

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. Chromatic scale (3 octaves)

1. The first or last movement of a classical concerto or chamber work;
2. one movement of a contemporary solo;
3. one slow and one fast etude of Barret, Brod, or Ferling;
4. three orchestral excerpts;
5. sight reading and scales upon request

Applicants who have questions about appropriate audition repertoire please contact Dr. Eric Ohlsson.

1. Two contrasting solo pieces (or movements). Examples given below.
2. All major scales. Waived for 2020-21

1. Two contrasting solo pieces (or movements). Examples given below.
2. One orchestral excerpt. Examples given below.
3. All major scales. Waived for 2020-21

• 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

• 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

1. 1st and 2nd movements of W.A. Mozart: Concerto for Bassoon, K. 191 or 1st and 2nd movements of C.M. von Weber: Concerto for Bassoon in F Major, Op. 75
2. A work of your choice in a contrasting style.
3. One etude from Ludwig Milde: Concert Studies, Op. 26, volume I (etudes #1-25)
4. Twelve major scales, at least two octaves (in 8th notes, at least at quarter=80). All scales should be recorded in one video.

• Mozart: Overture to The Marriage of Figaro
• Rimsky-Korsakov: Scheherazade, solo only
• Tchaikovsky: Symphony No. 4, 2nd movement
• Berlioz: Symphonie Fantastique, 4th or 5th movements
• Rossini: Overture to The Italian in Algiers
• Ravel: Bolero

1. Scales: Db major, E major, Bb Major, G major, F# major
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).

All of the above, plus the following minor scales: Eb minor, F minor, D minor, B minor, A minor