1. All major scales and arpeggios
2. Goedicke: Concert Etude
3. Charlier: Etude no. 2 from 36 Trancendental Etudes.

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.

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. Sight reading

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. Sight reading

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

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

• 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
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
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

NOTE: Trumpet, Trombone, Saxophone, Acoustic or Electric 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. 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

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

(One selection from each category)

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

(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

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).

• 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

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.

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.

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.

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)

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.

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

1. Major and minor scales - 2 octaves with arpeggios
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

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.

Four memorized selections representing contrasting styles chosen from 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.

An accompanist will be provided. 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.

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

• At least one of the four pieces must be sung in English
• At least one of the four pieces must be sung in a foreign language (Italian, German, or French)

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.

• Unofficial transcript and ACT/SAT scores
• Headshot and theatrical resume
• Videos of two contrasting musical selections (approx. 16 bars each; one uptempo and one ballad)

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. All major and minor scales (2 octaves, any form of minor scales are accepted), A 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

1. Two contrasting solo pieces (or movements). Examples given below.
2. All major scales.

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

• 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. 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.

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.

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).

All of the above, plus 12 harmonic minor scales