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.

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. 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

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

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.

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: an amplifier will be provided in the audition room.

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

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 live audition. If the Classical sonata is chosen, the recording may include one or more movements, but must include a movement in Sonata-Allegro form.
    • Prescreening repertoire and live 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 for a live audition. Notifications will be emailed by December 15.

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

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).

Applicants who have questions about appropriate audition repertoire 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

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.

Guidelines for those applicants submitting recorded auditions: Candidates should set the camera to have all instruments visible in the frame (snare drum, timpani, and marimba for undergraduate auditionees, xylophone and glockenspiel added for graduate auditionees). Please play your entire audition in one take, that is without leaving the frame between pieces or instruments. Recorded auditions will be submitted via the FSU Application Status Page. Please contact Dr. Parks if you have any questions about the process, equipment, or audio/video setup.

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 please 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. 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.

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

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

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

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

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.

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.

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 Italian, German, or French
• The remaining two pieces may be sung in English or any other language

Recorded auditions are acceptable if you are unable to travel to campus. If you select this 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 may be disqualified.

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 live 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 live audition. Notifications will be emailed by December 15.

As your health and that of others is our top priority, Florida State Music Theatre may decide to conduct callbacks this season virtually. In the event that we do not hold on campus callbacks, we will invite all students who receive offers to visit campus/classes in March/April assuming it is safe to do so at that time.

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

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.

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.

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

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