2022 
Auditions

JANUARY 29 | FEBRUARY 12 |
FEBRUARY 26

Music Theatre Final Callbacks

February 20 | february 27 

Accompanying/Opera Coaching Auditions

JANUARY 21 | FEBRUARY 18
 

Audition Repertoire Requirements


Brass

Trumpet
Auditions are to be unaccompanied.
Non-Performance Applicants
  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 Transcendental Etudes.
Performance Applicants
  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 Transcendental Etudes
  4. 3-4 orchestral excerpts of contrasting styles.
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

All MM and DM Brass Performance applicants 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
    • Video recording, one take, in the following order:
      • Charlier, Etude No. 6, measures 1-35 on B-flat trumpet
      • Handel, Suite in D Major, Movement I, unaccompanied on A piccolo trumpet
      • Haydn, Concerto in E-flat, Movement I, exposition only, measures 37-83 on E-flat trumpet, unaccompanied
      • Orchestral Excerpts:
        • Mussorgsky, Pictures at an Exhibition, Promenade
        • Stravinsky, Petrouchka (1947), Ballerina Dance, Begin 4th measure of rehearsal #134
        • Respighi, Pines of Rome, Off-Stage Solo, Mvt. II

Prescreening submissions are due by 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. Chris Moore.
Auditions are to be unaccompanied.
  1. Two contrasting solos (one movement each from two contrasting separate works)
  2. One étude from either Brandt, Charlier, or Bitsch
  3. Orchestral Excerpts:
    • Mussorgsky, Pictures at an Exhibition, Promenade
    • Stravinsky, Petrouchka (1947), Ballerina Dance, Begin 4th measure of rehearsal #134
    • Respighi, Pines of Rome, Off-Stage Solo, Mvt. II
    • Ives, Variations on “America”, Variation V, Letter “O” to Letter “P”
  4. An example of small horn playing - either E-flat or piccolo or both
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

French Horn
Auditions are to be unaccompanied.
Non-Performance Applicants
  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 Excerpts :
    • 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
Performance Applicants
  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 Excerpts:
    • 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 excerpt: 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 excerpt: 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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

Auditions are to be unaccompanied.
MM Applicants
  1. Mozart Horn Concerto #2, K. 417: 1st movement exposition or #4, K. 495: 1st movement exposition
  2. Contrasting solo
  3. Orchestral Excerpts:
    • Brahms: Symphony #3 - Horn 1, mvt. 3, one measure before F to 12 after F
    • Shostakovich Symphony #5 - Horn 1, mvt. 1, Rehearsal 17 to one measure after 21
    • R. Strauss: Till Eulenspiegel - Horn 1, Beginning to rehearsal 1
    • R. Strauss: Ein Heldenleben - Horn 1, Beginning to rehearsal 5
    • Choose one high excerpt: 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
  4. Sight reading
DM Applicants
  1. Mozart Horn Concerto #4, K. 495: 1st movement exposition
  2. Contrasting solo
  3. Orchestral Excerpts:
    • Brahms: Symphony #3 - Horn 1, mvt. 3, one measure before F to 12 after F
    • Shostakovich Symphony #5 - Horn 1, mvt. 1, Rehearsal 17 to one measure after 21
    • R. Strauss: Till Eulenspiegel - Horn 1, Beginning to rehearsal 1
    • R. Strauss: Ein Heldenleben - Horn 1, Beginning to rehearsal 5
    • Choose one high excerpt: 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
  4. Sight reading
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

Euphonium
Auditions are to be unaccompanied.
Non-Performance Applicants
  1. All major scales and arpeggios
  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
Performance Applicants
  1. All major and minor scales and arpeggios
  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
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez

All MM and DM Brass Performance applicants 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 or DVD recordings will not be accepted):
      • Rochut: Melodious Etude #52
      • Grainger: Molly on the Shore, measures 71-99
      • Sousa: Stars and Stripes Forever, entire piece with no repeats
      • Schuman: New England Triptych - When Jesus Wept, measures 4-28

Prescreening submissions are due by 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 repertoire please contact Dr. Justin Benavidez
Auditions are to be unaccompanied.
  1. Two solo works of contrasting styles from the following list:
    • Cosma: Concerto for Euphonium
    • Curnow: Symphonic Variants
    • Ellerby: Concerto for Euphonium
    • Gillingham: Blue Lake Fantasies
    • Horovitz: Concerto for Euphonium
    • Sparke: Pantomime
    • Sparke: Harlequin
    • Stevens: Soliloquies
  2. One etude from Mead New Concert Studies: Court, "Reflections" or Curnow, "Flying High"
  3. Four standard wind band excerpts from the following list:
    • Grainger: Molly on the Shore
    • Holst: First Suite for Military Band
    • King: The Melody Shop
    • Makris: Aegean Festival Overture
    • Schoenberg: Theme and Variations
    • Shostakovich: Festive Overture
    • Smith: Festival Variations
    • Sousa: Stars and Stripes Forever
    • Sullivan: Pineapple Poll
    • Tchaikovsky: Finale from Symphony No. 4 (trans. Safranek)
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Trombone
Auditions are to be unaccompanied.
Non-Performance Applicants Two contrasting works, such as (but not limited to):
  • Handel: Sonata No. 3
  • Blazevich: Concert Piece No. 5
  • Barat: Andante et Allegro
  • Galliard: Sonatas
  • Marcello: Sonatas
  • Telemann: Sonata in F minor
Performance Applicants Two contrasting works, such as (but not limited to):
  • 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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate audition repertoire please contact  Dr. John Drew.
Auditions are to be unaccompanied.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request.
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate audition repertoire please contact  Dr. John Drew.
Tuba
Auditions are to be unaccompanied.
Non-Performance Applicants
  1. All major scales and arpeggios
  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
Performance Applicants
  1. All major and minor scales and arpeggios
  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
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez

All MM and DM Brass Performance applicants 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 required, CD or DVD recordings will not be accepted):
      • Snedecor: Low Register Etude #4
      • Wagner: Overture to Die Meistersinger, Rehearsal J to Rehearsal L
      • Prokofiev: Symphony No. 5, First Movement, Rehearsal 3 to Rehearsal 6
      • Berlioz: Hungarian March, Rehearsal 4 to four measures after Rehearsal 5

Prescreening submissions are due by 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 repertoire please contact Dr. Justin Benavidez
Auditions are to be unaccompanied.
  1. Two solo works of contrasting styles from the following list:
    • Broughton: Sonata
    • Daugherty: Reflections on the Mississippi
    • Hindemith: Sonata
    • Kraft: Encounters
    • Penderecki: Capriccio
    • Plau: Concerto for Tuba
    • Vaughan Williams: Concerto for Tuba
    • Williams (John): Concerto for Tuba
  2. Snedecor Low Register Etude #5 or #6
  3. Four standard orchestral or wind band excerpts from the following list:
    • Berlioz: Hungarian March
    • Berlioz: Symphonie Fantastique
    • Grainger: Lincolnshire Posy
    • Hindemith: Symphony in B Flat
    • Holst: First Suite for Military Band
    • Prokofiev: Symphony No. 5
    • Sousa: Stars and Stripes Forever
    • Vaughan Williams: Toccata Marziale
    • Wagner: Overture to Die Meistersinger
    • Wagner: Ride of the Valkyries
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez

Jazz

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

Sample Audition Literature

  • All applicants should bring three copies of lead sheets for each selection chosen.
  • Drum Set applicants should also prepare the snare drum etude “Rolling in Rhythm” from Charley Wilcoxin's Modern Rudimental Swing Solos and may be asked to demonstrate other styles as well.
Recorded audition guidelines: Video required. All audition materials should be unedited. Please introduce yourself at the beginning of each video. If possible, please record your audition with a backing track. Tracks can be found on YouTube or www.learnjazzstandards.com, or by using an app like iReal Pro.

Special instructions for 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.
Please contact the faculty member for your instrument if you have questions about appropriate repertoire.
Applicants should prepare three jazz selections in contrasting styles (ballad, swing, contemporary jazz) that will best demonstrate their musicianship and proficiency in jazz improvisation.

Sample Audition Literature

  • All applicants should bring three copies of lead sheets for each selection chosen.
  • Drum Set applicants should also prepare the snare drum etude “Rolling in Rhythm” from Charley Wilcoxin's Modern Rudimental Swing Solos and may be asked to demonstrate other styles as well.
Recorded audition guidelines: Video required. All audition materials should be unedited. Please introduce yourself at the beginning of each video. If possible, please record your audition with a backing track. Tracks can be found on YouTube or www.learnjazzstandards.com, or by using an app like iReal Pro.

Special instructions for 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.
Please contact the faculty member for your instrument if you have questions about appropriate repertoire.

Keyboard

Piano

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 of 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 are due by 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. Heidi Williams.

All pieces must be presented from memory. 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.
Non-Performance Applicants (BA Music, Music Education, Music Therapy, Commercial Music, etc., or those applying for the music minor)

(One selection from each category)

  1. A Sinfonia or Prelude and Fugue by J.S. Bach
  2. A movement in a quick tempo from a Classical sonata
  3. A work of your choice from the 19th, 20th or 21st century
Performance Applicants

(One selection from each category)

  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
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video.
Applicants who have questions about appropriate audition repertoire please contact  Dr. Heidi Williams.

 

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 only, CD or DVD recordings will not be accepted). Individual movements of larger works are acceptable:
      • MM: Three (3) contrasting works from differing style periods.
      • DM: Approximately 30 minutes of music from three style periods.
      • Works must be performed by memory.

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. Heidi Williams.

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.

MM Applicants 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.
DM Applicants Present a program of at least 50 minutes including at least 3 major works representing 3 different style periods. Doctoral auditions will also 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.
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video.
Applicants who have questions about appropriate audition repertoire please contact Dr. Heidi Williams.

 

Additional Requirements for Assistantships:

  • All applicants will be considered for Private Piano teaching assistantships.
  • Piano candidates who wish to be considered eligible for Accompanying and/or Group Piano Teaching Assistantships should complete the Piano Assistantship form on their Application Status Check (after pre-screen results are released). Those seeking accompanying assistantships will play a short, additional audition on Friday afternoon/evening of their audition weekend. Those seeking group piano teaching assistantships will teach a short lesson to a class on audition day.
Piano Accompanying

All MM and DM Accompanying applicants 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 only, CD or DVD recordings will not be accepted), and both selections must be presented with a partner:
      • One song or aria
      • One movement from an instrumental sonata

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

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

All MM and DM applicants must submit a pre-screening audition by December 1. Following faculty review, a select number of applicants will be invited to audition.

Repertoire for the live audition is as follows:
  1.  Vocal repertoire (Prepare three of the following):
    • Schubert: Die Forelle (Db Major)
    • Strauss: Allerseelen (Eb Major)
    • Debussy: Il pleure dans mon coeur (G# Minor)
    • Fauré: Clair de lune (Bb Minor)
    • Argento: Spring (F Major)
  2.  Instrumental repertoire (Prepare 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 #2 in D Major (second movement only)
  3. Solo Performance of one major work that demonstrates your technical and musical command of the keyboard (memorization optional)
  4. Sight-reading

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

All MM and DM applicants must submit a pre-screening audition by December 1. Following faculty review, a select number of applicants will be invited to audition.

Repertoire for the live audition is as follows:
  1.  Vocal repertoire (Prepare all of the following):
    • Schubert: Die Forelle (Db Major)
    • Strauss: Allerseelen (Eb Major)
    • Debussy: Il pleure dans mon coeur (G# Minor)
    • Fauré: Clair de lune (Bb Minor)
    • Argento: Spring (F Major)
  2.  Instrumental repertoire (Prepare three 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 #2 in D Major (second movement only)
  3. Solo Performance of one major work that demonstrates your technical and musical command of the keyboard (memorization optional)
  4. Sight-reading

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

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 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.
  • 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

All applicants 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 only, CD or DVD recordings will not be accepted), consisting of two contrasting opera arias (both selections must be presented with a singer).
Prescreening submissions will not be accepted after December 1. Following faculty review, a select number of applicants will be invited to the live audition. Notifications will be emailed by December 15.
 

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

All applicants will submit video prescreening recordings, due by December 1. The requirements for the live audition are outlined below. Please be certain to submit a list of your audition selections to Prof. Douglas Fisher at least two weeks in advance of your scheduled audition date.

Audition requirements:
  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.
  3. Sightreading
  • In 1 and 2 the student will be expected to demonstrate their skills in playing the orchestral reduction of opera excerpts at the piano, singing cues in ensembles and multi-character scenes, and following a conductor.
  • 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).

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

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:

  • 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.

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:

  • Snare Drum: Etudes by Delecluse, Tompkins, Sherwood, etc., plus two orchestral excerpts (Scheherazade, Lieutenant Kijé, 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 (The 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; also two orchestral excerpts (Beethoven, Tchaikovsky, etc.)

    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.

Strings

Violin

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.

Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording.
Applicants who have questions about appropriate repertoire please contact Prof. Corinne Stillwell, Prof. Benjamin Sung, or Dr. Shannon Thomas

All MM and DM Violin Performance applicants 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
    • Video recordings of the following:
      • First movement of a major concerto, with cadenza if applicable
      • Two contrasting movements from the Bach Solo Sonatas and Partitas, or the Chaconne

Prescreening submissions are due by 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 repertoire please contact Prof. Corinne Stillwell, Prof. Benjamin Sung, or Dr. Shannon Thomas
All MM and DM applicants must submit a prescreening by December 1. Those invited for the live audition will prepare the following:
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)
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording.
Applicants who have questions about appropriate repertoire please contact Prof. Corinne Stillwell, Prof. Benjamin Sung, or Dr. Shannon Thomas
Viola
Memorization recommended for all repertoire
  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.
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

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

Memorization recommended for all repertoire
  1. One major concerto movement (first or principal movement) from the 19th, 20th or 21st century, memorized
  2. Two contrasting movements from one of the Bach Cello Suites of your choice (if you choose Suite 5, use modern or scordatura tuning; if you choose Suite 6, play in the key of G)
  3. A cadenza from a Classical style concerto or two Classical style orchestral excerpts or a Caprice, etude, or showpiece of your choice in any style
  4. A first or principal movement of an accompanied or unaccompanied sonata
Be sure to include in the above works, at least one example in all three of these styles: Classical, Romantic, and Modern
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

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

cello
Memorization strongly suggested but not required.
  1. Two contrasting movements of a Bach Suite
  2. A movement of a standard concerto
  3. An etude (Popper, Schroeder, Dotzauer, etc.), or a virtuoso character piece that demonstrates technical facility
Recorded audition guidelines: Video required. All audition materials should be unedited, and each piece may be recorded separately. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

Master's Applicants (Memorization strongly suggested but not required.):
  1. One movement of a standard concerto
  2. Two contrasting movements of a Bach Suite
  3. A work from the 20th or 21st-century solo literature, or a virtuoso character piece
Doctoral Applicants:
  1. One movement of a standard concerto from memory
  2. Two contrasting movements of a Bach Suite from memory
  3. A work from the 20th or 21st-century solo literature, or a virtuoso character piece
Recorded audition guidelines: Video required. All audition materials should be unedited, and each piece may be recorded separately. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

Double Bass
Auditions are to be unaccompanied.
  1. Major and minor scales - 2 octaves with arpeggios
  2. Two contrasting works or movements, selected from standard etudes, concerti, or Baroque sonatas
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied. Contact Prof. Speed regarding the scale/arpeggio requirement.
Applicants who have questions appropriate repertoire please contact Prof. George Speed
Auditions are to be unaccompanied.
  1. First movement of a standard concerto
  2. One movement from the Bach suites for solo cello
  3. Two contrasting excerpts from the standard orchestral repertoire
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Applicants who have questions appropriate repertoire please contact Prof. George Speed
harp
Auditions are to be unaccompanied.
Non-Performance Applicants One etude and two works in contrasting styles and tempi, such as:
  • 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
Performance Applicants
  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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

Auditions are to be unaccompanied.
Perform two works in contrasting styles and tempi and two orchestral excerpts from Principal Harp, A Guidebook for the Orchestral Harpist by Bullen. You may audition with or without accompaniment; however, accompanists will not be provided for campus auditions.
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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

classical Guitar
  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).
Recorded audition guidelines: Video required. Audition materials should be unedited, but selections may be recorded seperately or all in one take. Please introduce yourself and the piece you are performing at the beginning of each recording.

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

You may audition with or without accompaniment; however, accompanists will not be provided for campus 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.
Recorded audition guidelines: Video required. Audition materials should be unedited, but selections may be recorded seperately or all in one take. Please introduce yourself and the piece you are performing at the beginning of each recording.

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

Voice

Classical Voice
An accompanist is provided, free of charge, for all voice auditions on campus. Rehearsal time is not provided, however, and scores should not be submitted in advance. Please bring neat copies, in a book or organized in a binder, in the appropriate key(s). Students may bring their own accompanist to the audition if they wish.

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.

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.

Language Requirement
  • 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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions must be accompanied (live or pre-recorded accompaniment is acceptable).

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

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 uploaded video recordings: one aria and one art song representing two different languages chosen from Italian, German, French, and English
    • 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 are due by December 1. Following faculty review, a select number of applicants will be invited to campus for the full audition. Notifications will be emailed by December 15.

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

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, free of charge, for all voice auditions on campus. Rehearsal time is not provided, however, and scores should not be submitted in advance.

Master of Music in Performance Degree:

Six (6) memorized selections including:

  • One aria or art song from the Baroque or Classical Eras.
  • One Romantic or 20th or 21st Century Aria in the original language.
  • Four art songs OR three art songs and another aria.

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:

Seven (7) 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.

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.

Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions must be accompanied (live or pre-recorded accompaniment is acceptable).

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

Music Theatre

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
  • Pre Screen requirements, including:
    • Theatrical resume
    • Headshot
    • Music Theatre Future/Career Goals
    • Three Letters of Recommendation
    • Pre Screen Videos (see below)

    OVERALL 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 title 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 callback round over Zoom. Notifications will be emailed by December 15.

    A final callback round will be held on campus in February.
    Applicants who have questions about appropriate repertoire please contact Prof. Alisa Hauser

    After the prescreening round, a number of qualified applicants will be invited for a callback audition. First round callbacks will be held on Zoom in December and January.

    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.

    Final Callbacks will be held on campus February 19 & 20 and 26 & 27.

    Applicants who have questions about appropriate repertoire please contact Prof. Alisa Hauser

    Woodwinds

    Flute
    Auditions are to be unaccompanied. Please note that flute auditions will be held on February 12 and 26, but not on January 29. (Additional dates by request)
    All Applicants
    1. Required Piece - W.A. Mozart: Concerto in C for Flute, Harp, and Orchestra, K. 299; Movement 1 - all, Movement 2 - exposition (m. 13 to m. 24)
    2. One piece of your choice contrasting style
    3. One etude
    4. Chromatic scale (3 octaves)
    Performance Applicants All of the above, plus one of the works or etudes must be performed from memory.
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Auditions are to be unaccompanied.
    Applicants who have questions about appropriate repertoire please contact Dr. Karen Large
    Auditions are to be unaccompanied. At least one solo repertoire piece must be performed from memory. Please note that flute auditions will be held on February 12 and 26, but not on January 29. (Additional dates by request)
    For MM Applicants
    1. Three solo pieces of contrasting style, one selected from each of the three categories below. These works should be appropriate to graduate level study. All movements should be prepared for the audition.
      • Category 1 - Baroque or Classical:

        Works by JS Bach, CPE Bach, Mozart, or similar

      • Category 2 - French:

        Works by Demersseman, Faure, Gaubert, Hue, Taffanel, Sancan, Dutilleux, or similar

      • Category 3 - 20th or 21st Century:

        Works by Aitken, Dick, Fukushima, Offermans, Ran, Takemitsu, or similar

    2. Three contrasting standard orchestral excerpts.
    For DM Applicants
    1. J.S. Bach: Partita in A minor, BWV 1013; Corrente and Sarabande
    2. W.A. Mozart: One full concerto with cadenzas (G Major, K. 313 or D Major, K. 314)
    3. One piece composed by Luciano Berio, Elliott Carter, Robert Dick, Brian Ferneyhough, or Cristóbal Halffter, or similar
    4. One piece of your choice (contrasting style from above)
    5. Orchestral excerpts:
      • Beethoven: Leonore; first and second excerpts
      • Strauss: Salome
      • Hindemith: Symphonic Metamorphasis
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Auditions are to be unaccompanied.
    Applicants who have questions about appropriate repertoire please contact Dr. Karen Large
    Oboe
    Auditions are to be unaccompanied. Please note that Oboe auditions will be available on January 22 and Feburary 12 only. (Additional dates by request)
    All Oboe applicants should prepare:
    1. Solos:
      • Mozart Concerto (1st movement) or Haydn Concerto For Oboe (1st movement)
      • In addition, you may play a solo for English horn (if you have one)
    2. Etudes:
      • Ferling: 48 Famous Etudes, Number 4
      • Barret: a slow Grand Study or Progressive Melody of your choosing
    3. Orchestral excerpts:
      • JS Bach: Cantata number 156 (Ferrillo, p. 22)
      • Rossini: Overture to L’Italiana in Algeri
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

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

    Auditions are to be unaccompanied. Please note that Oboe auditions will be available on January 22 and Feburary 12 only. (Additional dates by request)
    All Oboe Performance applicants should prepare:
    1. Solos:
      • Mozart: Concerto in C Major, K.314 (1st movement) or Mozart: Quartet for Oboe and Strings, K.370 (1st movement)
      • Britten: Six Metamorphoses After Ovid, (Movement III: Niobe)
      • If you play English horn you may select a solo of your choice in place of the Britten
    2. Etudes:
      • Ferling: 48 Famous Etudes, Number 4
      • Barret: Grand Study Number 14
    3. Orchestral excerpts:
      • JS Bach: Adagio from the Easter Oratorio (Ferrillo Orchestral Excerpts for Oboe, page 25)
      • Mendelssohn: Symphony number 3, Vivace non troppo (Ferrillo, pp. 53-54)
      • Ravel: Le Tombeau de Couperin, Prelude (Ferrillo, pp. 64-65)
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

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

    Clarinet
    Auditions are to be unaccompanied.
    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
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
    Applicants who have questions about appropriate repertoire please contact Dr. Deborah Bish or Dr. Jonathan Holden
    Auditions are to be unaccompanied.
    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
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
    Applicants who have questions about appropriate repertoire please contact Dr. Deborah Bish or Dr. Jonathan Holden
    Bassoon
    Auditions are to be unaccompanied.
    All Applicants
    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), full-range chromatic scale.
    Performance Major Applicants All of the above, plus two standard orchestral excerpts chosen from the following list:
    • 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
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. A recording of all major scales and a full-range chromatic scale should be included. Auditions are to be unaccompanied.

    Applicants who have questions about appropriate audition repertoire please contact Prof. Jeff Keesecker.

    Auditions are to be unaccompanied.
    All applicants should prepare:
    1. W.A. Mozart: Concerto for Bassoon, K. 191, entire (any edition)
    2. One complete major work in 18th or 19th century style
    3. One etude from Ludwig Milde: Concert Studies, Op. 26, volumes I or II (any edition)
    4. One etude from Ludwig Milde: Studies on Scales and Chords, Op. 24 (any edition)
    5. Work of your choice (can be 20th/21st century)
    6. At least 4 standard orchestral excerpts
    Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

    Applicants who have questions about appropriate audition repertoire please contact Prof. Jeff Keesecker.

    alto Saxophone
    Auditions are to be unaccompanied.
    Non-Performance Applicants
    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).
    Performance Applicants

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

      Recorded audition guidelines: Video required. Audition materials may be recorded in separate videos or one continuous unedited video (scales should all be in the same video). Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
      For questions regarding repertoire and etude choices, or to request permission to audition on tenor saxophone, contact Dr. Geoffrey Deibel
      Auditions are to be unaccompanied.
      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).

       

      Graduate Applicants, especially at the Doctoral level, are encouraged to program thoughtfully and artistically in a way that expresses their unique musical voices.

      Recorded audition guidelines: Video required. Audition materials may be recorded in separate videos or one continuous unedited video. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
      For questions regarding repertoire and etude choices, contact Dr. Geoffrey Deibel
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