2021 Audition Dates

January 30 | February 13 | February 27

(for all programs except GRADUATE ACCOMPANYING/OPERA COACHING)

ACCOMPANYING/OPERA COACHING Auditions

January 22 | February 12

Music Theatre Auditions

Jan 30 | jan 31 | Feb 6 | Feb 7
Feb 20 | feb 21 | feb 27 | feb 28 

Additional Graduate student Auditions

January 29 (voice) | February 12 (voice)
February 26 (piano and voice)

 

Audition Repertoire Requirements


Brass

Trumpet
Auditions are to be unaccompanied.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from 36 Trancendental Etudes.
Performance Applicants
  1. All major scales and arpeggios
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from Trancendental Etudes
  4. 3-4 orchestral excerpts of contrasting styles.

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
    • Recording uploads, unedited, from within the last two years (video preferred, CD or DVD recordings will not be accepted):
      • One movement each from two contrasting solos
      • One etude from either Brandt, Charlier, or Bitsch
      • Four standard orchestral excerpts

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. Chris Moore.

Auditions are to be unaccompanied.
  1. Two contrasting solos
  2. At least one étude from either Brandt, Charlier, or Bitsch
  3. At least four standard orchestral excerpts
  4. An example of small horn playing - either E-flat or piccolo or both

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

French Horn
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. 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
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 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.

Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
MM Applicants
  1. Mozart Horn Concerto #2, K. 417: 1st movement exposition or #4, K. 495: 1st movement exposition
  2. Contrasting solo
  3. Orchestral Excepts:
    • 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 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
  4. Sight reading
DM Applicants
  1. Mozart Horn Concerto #4, K. 495: 1st movement exposition
  2. Contrasting solo
  3. Orchestral Excepts:
    • 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 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
  4. Sight reading

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

Euphonium
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. 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
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 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 repertoire please contact Dr. Justin Benavidez
  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: The Melody Shop
    • Sousa: Festival Variations
    • Sullivan: Pineapple Poll
    • Tchaikovsky: Finale from Symphony No. 4 (trans. Safranek)
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Trombone
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants 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
  • Teleman: 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
Applicants who have questions about appropriate audition repertoire please contact  Dr. John Drew.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
Applicants who have questions about appropriate audition repertoire please contact  Dr. John Drew.
Tuba
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus brass auditions.
Non-Performance Applicants
  1. All major scales and arpeggios
  2. 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
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):
      • 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 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 repertoire please contact Dr. Justin Benavidez
  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
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez

Jazz

All Instruments

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

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

Perform selections in three different styles (ballad, swing, etc.). 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.

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 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.

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

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

Non-Performance Applicants

(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

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

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

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

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

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

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.

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

Additional Requirements for Assistantships:

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

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

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

Prerequisites for Admission

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

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

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

  • French, German or Italian.

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

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

Recitals

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

AUDITION INFORMATION

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

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

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

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

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

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

    4. Sight-reading

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

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

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

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

Prerequisites for Admission:

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

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

Prerequisites for Graduation:

Foreign Languages:

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

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

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

Four Recitals:

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

AUDITION INFORMATION

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

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

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

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

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

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

    4. Sight-reading

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

Applicants who have questions about appropriate audition repertoire 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 from another school should play repertoire appropriate to their year of study.
  • Applicants who have questions about appropriate audition repertoire please contact  Dr. Iain Quinn.

Organ Studies at FSU

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

Organ Studies at FSU

Opera Coaching

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

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

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

 

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

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

PREREQUISITES FOR GRADUATION

FOREIGN LANGUAGE REQUIREMENT

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

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

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

OPERA COACHING PROJECT

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

RECITAL

The student will accompany one vocal recital.

Percussion

Percussion

All applicants must perform upon Snare Drum, Marimba (two-mallet and four-mallet), and Timpani; Drum Set is optional. Repertoire below is suggested; please consult with your private instructor and select works that reflect your ability level. You may contact Dr. Parks if you have any questions concerning the audition process. Sight Reading will be part of the audition.

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.

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 please 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; 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.

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 please contact Dr. John Parks.

Strings

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

Memorization required for all repertoire.

  1. First movement of a standard concerto, with cadenza if applicable
  2. Two contrasting movements from the Bach Solo Sonatas and Partitas
  3. A showpiece (which displays advanced technique)

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

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

 

  1. 3 octave scales and arpeggios
  2. One movement of J.S. Bach's Six Suites for Solo Viola (originally for Cello)
  3. A concerto movement, of your choice, that differs in style or character from the solo Bach movement.

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

Perform two works in contrasting styles and tempi (unless otherwise noted below). Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
Memorization recommended for all repertoire

 

  1. 3 octave scales and arpeggios
  2. One movement of J.S. Bach's Six Suites for Solo Viola (originally for Cello)
  3. A concerto movement, of your choice, that differs in style or character from the solo Bach movement.
  4. A contrasting piece or etude

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

cello
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Two contrasting movements of a Bach Suite, a Vivaldi Sonata or something similar
  2. A movement of a concerto by Saint-Saëns, Lalo, Haydn, Goltermann or the like
  3. One etude by Popper, Duport, Schroeder, Merk, etc.
  4. All major and minor scales in three octaves

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

You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.
  1. One movement of a standard concerto
  2. At least two contrasting movements of a Bach Suite
  3. One contrasting work, preferably from the 20th or 21st-century solo literature, or a virtuoso character piece

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

Double Bass
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Major and minor scales - 2 octaves with arpeggios
  2. Two contrasting works or movements, selected from standard etudes, concerti, or Baroque sonatas
Applicants who have questions appropriate repertoire please contact Prof. George Speed
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  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
Applicants who have questions appropriate repertoire please contact Prof. George Speed
harp
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
Non-Performance Applicants 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

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

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 live auditions.

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

classical Guitar
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus string auditions.
  1. Major and minor scales (Segovia edition)
  2. Right-hand arpeggios
  3. Knowledge of entire fingerboard
  4. Adequate musical performance of such standard études as those of Aguado, Carcassi, Giuliani; selections from Sor Studies (Segovia edition); performance of minor works by Milan, Bach, Tarrega.

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 live auditions.
  1. Movement or movements from a major work by J.S. Bach: Cello Suites, Lute Suites, Violin sonatas and Partitas.
  2. A piece or movement of a major guitar composer – Ponce, Rodrigo, Tedesco, Villa-Lobos; or modern works – Britten, Henz, etc.
  3. Extensive background of study.

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

Voice

Classical Voice

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.

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 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.

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

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 for on-campus voice auditions.

Master of Music in Performance Degree:

Six (6) memorized selections including:

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

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.

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, 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.

Applicants who have questions about appropriate repertoire please contact Dr. Gayle Seaton

After the prescreening round, a number of qualified applicants will be invited to campus for the live audition. The audition should demonstrate that the student has a strong potential for developing the skills and artistry necessary for a professional career. Enrollment is small and highly selective.

Auditions are divided into two sections:

  • A group dance audition involving ballet, contemporary, and jazz techniques.
  • A private audition consisting of two musical theatre songs (32 bars each, contrasting styles), a monologue, and a brief interview.
Dance:

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

Singing:

Songs (32-bar cuts) must be memorized. For your songs, pick two contrasting selections with which you are comfortable and which demonstrate your voice at its best. One selection should be ballad style and the other more rhythmic or "up-tempo." It is not necessary that the selections be from a musical, although it is recommended. An accompanist will be provided.

Acting:

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

Interview:

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

Music Theatre Dos and Don'ts

Applicants who have questions about appropriate repertoire please contact Dr. Gayle Seaton

Woodwinds

Flute
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
All Applicants
  1. Required Piece - W.A. Mozart: Concerto in C for Flute, Harp, and Orchestra, K. 299; Movement 1 - all, Movement 2 - exposition (beginning to m. 24)
  2. One piece of your choice contrasting style
  3. One etude
  4. All major and minor scales (2 octaves, any form of minor scales are accepted), A chromatic scale (3 octaves)
Performance Applicants All of the above, plus one of the works or etudes must be performed from memory.
Applicants who have questions about appropriate repertoire please contact Prof. Eva Amsler or Dr. Karen Large
You may audition with or without accompaniment; however, accompanists will not be provided for live auditions. At least one solo repertoire piece must be performed from memory.
For MM Applicants
  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
  4. One piece of your choice (contrasting style from above)
  5. Orchestral excerpts:
    • Beethoven: Leonore; first and second excerpts
    • Strauss: Salome
    • Hindemith: Symphonic Metamorphasis
Applicants who have questions about appropriate repertoire please contact Prof. Eva Amsler or Dr. Karen Large
Oboe
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
All Oboe applicants should prepare:
  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.

Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
All Oboe Performance applicants should prepare:
  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.

Clarinet
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. All major scales.
Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. One orchestral excerpt. Examples given below.
  3. All major scales.
Examples of solo pieces:
  • Concert pieces by Stamitz, Weber, Crusell, Mozart
  • Sonatas/sonatinas by Arnold, Bernstein, Martinu, Poulenc, Saint-Saens
  • Solo de concours by Debussy, Lefebvre, Marty, Messager, Rabaud
  • Burgmuller Duo, Cavallini Adagio & Tarantella, Widor Introduction & Rondo
Examples of orchestral exerpts:
  • Beethoven Symphonies 4, 6, 8
  • Brahms Symphonies 2-4
  • Mendelssohn Scherzo; Symphonies 3, 4
  • Prokofiev, Peter and the Wolf
  • Rimsky-Korsakov, Capriccio Espagnol
  • Tchaikovsky Symphonies 5, 6
Applicants who have questions about appropriate repertoire please contact Dr. Deborah Bish or Dr. Jonathan Holden
Play selected scales and studies upon request. Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Master of Music Applicants
  1. Two contrasting solo pieces (or movements). Selections should be appropriate to graduate level study. Examples given below.
  2. Two contrasting orchestral excerpts. Examples given below.
Doctor of Music Applicants
  1. Three contrasting solo pieces (or movements) including one unaccompanied piece. Selections should be appropriate to graduate level study. Examples given below.
  2. Three contrasting orchestral excerpts. Examples given below.
Examples of solo pieces:
  • Concert pieces by Copland, Mozart, Nielsen, Francaix
  • Sonatas/sonatinas by Bernstein, Brahms, Hindemith, Poulenc, Tedesco
  • Debussy Premiere Rhapsodie, Francaix Theme & Variations, Muczynski Time Pieces, Penderecki Miniatures, Schumann Fantasy Pieces
Examples of unaccompanied pieces:
  • Bassett soliloquies
  • Carter Gra
  • Denisov Sonata
  • Kovacs Hommages
  • Larsen Dancing Solo
  • Mandat (various)
  • Martino Set
  • Ran Monologue
  • Tower Wings
Examples of orchestral exerpts:
  • Bartok Concerto for Orchestra; Miraculous Mandarin
  • Beethoven Symphonies 4, 6, 8
  • Brahms Symphonies 2-4
  • Kodaly Dances of Galanta
  • Mendelssohn Scherzo; Symphonies 3, 4; Hebrides Overture
  • Rachmaninoff Symphony No. 2
  • Ravel Daphnis & Chloe, Suite 2
  • Respighi Pines of Rome
  • Rimsky-Korsakov Capriccio Espagnol; scheherazade
  • Shostakovich Symphonies 9, 10
  • Stravinsky Firebird
  • Tchaikovsky Symphonies 5, 6
Applicants who have questions about appropriate repertoire please contact Dr. Deborah Bish or Dr. Jonathan Holden
Bassoon
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. All major scales
  2. Two works such as - Bakaleinikov: Three Pieces; Galliard: any of the Six Sonatas; Hess: any of the Seven Recital Pieces; Telemann: Sonata.
Performance Applicants
  1. All major and minor scales:
  2. Two works such as - Vivaldi: Concerti in a minor, e minor, or d minor; Mozart: Concerto, K.191; Hindemith: Sonata; Weber: Concerto.

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

Perform two works of contrasting styles and tempos. Play selected scales/studies upon request. You may audition with or without accompaniment; however, accompanists will not be provided for live auditions.

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

alto Saxophone
Applicants may audition with accompaniment or unaccompanied. Accompanists will not be provided by the College of Music for on-campus woodwind auditions.
Non-Performance Applicants
  1. 12 major scales,
  2. 5-10 minutes of music from the standard repertoire for alto saxophone (ex: Creston Sonata, Heiden Sonata, Glazunov Concerto, Ibert Concertino da Camera, Maurice Tableaux de Provence, or equivalent),
  3. 1 etude (ex: Ferling, Voxman, Lacour, Bozza, or equivalent).
Performance Applicants

All of the above, plus 12 harmonic minor scales

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