2021 
Auditions

Due to the COVID-19 pandemic, all 2021 auditions will be conducted via video recording submission

VIRTUAL OPEN HOUSE FOR APPLICANTS:
JANUARY 30 | FEBRUARY 13 | FEBRUARY 27

Music Theatre remote Auditions

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

ACCOMPANYING/OPERA COACHING AUDITIONS

JANUARY 22 | FEBRUARY 12
(VIA ZOOM)

 

Audition Repertoire Requirements


Brass

Trumpet
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Non-Performance Applicants
  1. Scales and arpeggios: Concert F, G, and Bb, two octave scales with arpeggios (Applicant's choice for pattern and tempo)
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from 36 Trancendental Etudes.
Performance Applicants
  1. Scales and arpeggios: Concert F, G, and Bb, two octave scales with arpeggios (Applicant's choice for pattern and tempo)
  2. Goedicke: Concert Etude
  3. Charlier: Etude no. 2 from Trancendental Etudes
  4. 3-4 orchestral excerpts of contrasting styles.

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

Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  1. Two contrasting solos (one movement each from two contrasting separate works)
  2. 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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
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. Scales: F major and C major (horn pitch) three octaves, quarter notes (quarter = 80), forte
Performance Applicants
  1. Mozart Horn Concerto #2, K. 417: 1st movement exposition or #4, K. 495: 1st movement exposition
  2. Contrasting solo, Grade 5, 6, or 7 on the FBA Solo and Ensemble list (or equivalent)
  3. Orchestral Excepts:
    • Brahms: Symphony #3 - Horn 1, mvt. 3, one measure before F to 12 after F
    • R. Strauss: Till Eulenspiegel - Horn 1, Beginning to rehearsal 1
    • Choose one high exerpt: Bach: Brandenburg Concerto #1 - Horn 1, mvt. 4, Trio 2 or Beethoven Symphony #7 - Horn 1, mvt 1, 25 before C to two measures after C or Wagner Gotterdamerung - short call
    • Choose one low exerpt: Beethoven: Symphony #3 - Horn 2, mvt. 3, Trio: Allegro vivace or Shostakovich Symphony #5 - Horn 1, mvt. 1, Rehearsal 17 to one measure after 21
  4. Scales: F major and C major (horn pitch) three octaves, quarter notes (quarter = 80), forte

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

Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
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
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Non-Performance Applicants
  1. All major scales and arpeggios (Waived for 2021)
  2. One lyrical etude from Rochut Melodious Etudes Book 1: Etude #4, #7, or #9
  3. One technical etude from Voxman Selected Studies for Baritone: Bohme/B Flat Major, Gatti/A Flat Major, or Gatti/A Minor
Performance Applicants
  1. All major and minor scales and arpeggios (Waived for 2021)
  2. One solo work from the following list:
    • Barat: Introduction and Dance
    • Guilmant: Morceau Symphonique
    • Haddad: Suite for Baritone
    • Jacob: Fantasia
    • Marcello: Sonata in F Major (Arr. Ostrander)
    • Marcello: Sonata in C Major (Arr. Ostrander)
  3. Two standard wind band excerpts from the following list:
    • Fillmore: Rolling Thunder
    • Grainger: Lincolnshire Posy
    • Holst: First Suite for Military Band
    • Holst: Second Suite for Military Band
    • King: The Melody Shop
    • Sousa: Stars and Stripes Forever
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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 to submit the full audition requirements. Notifications will be emailed by December 15.

Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
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.
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Perform two works of contrasting styles and tempos. Play selected scales/studies upon request.
Applicants who have questions about appropriate audition repertoire please contact  Dr. John Drew.
Tuba
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
Non-Performance Applicants
  1. All major scales and arpeggios (Waived for 2021)
  2. One lyrical etude from Bordogni 43 Bel Canto Etudes for Tuba: Etude #1, #3, or #7
  3. One technical etude from Blazhevich 70 Studies for Tuba, Volume 1: Etude #7, #8, or #11
Performance Applicants
  1. All major and minor scales and arpeggios (Waived for 2021)
  2. One solo work from the following list:
    • Bach: Air and Bourée (Arr. Bell)
    • Gregson: Concerto for Tuba
    • Haddad: Suite for Tuba
    • Lebedev: Concerto in One Movement
    • Marcello: Sonata in F Major (Arr. Little)
    • Marcello: Sonata in C Major (Arr. Little)
  3. Two standard orchestral or wind band excerpts from the following list:
    • Hindemith: Symphony in B Flat
    • Grainger: Lincolnshire Posy
    • Prokofiev: Symphony No. 5
    • Vaughan Williams: Toccata Marziale
    • Wagner: Overture to Die Meistersinger
    • Wagner: Ride of the Valkyries
Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.

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 to submit the full audition requirements. Notifications will be emailed by December 15.

Applicants who have questions about appropriate repertoire please contact Dr. Justin Benavidez
Recorded audition guidelines: Video required. All audition materials should be unedited. Selections may be recorded separately or in one continuous video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  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
Recorded audition guidelines: Video required. All audition materials should be unedited. Please introduce yourself at the beginning of each video. If possible, please record your audition with a backing track. Tracks can be found on You Tube or www.learnjazzstandards.com, or by using an app like iReal Pro.

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

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

Drum Set applicants:

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

Sample Audition Literature

Please contact the faculty member for your instrument if you have questions about appropriate repertoire
Recorded audition guidelines: Video required. All audition materials should be unedited. Please introduce yourself at the beginning of each video. If possible, please record your audition with a backing track. Tracks can be found on You Tube or www.learnjazzstandards.com, or by using an app like iReal Pro.

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

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

Drum Set applicants:

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

Sample Audition Literature

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

Keyboard

Piano

Pianists applying for any non-performance music degree programs (BA Music, Music Education, Music Therapy, Commercial Music, etc.) or those applying for the music minor are not required to submit a prescreening.
Piano Performance applicants only must submit a prescreening by December 1, to include:

  • Florida State University Application and fee payment
  • College of Music Supplemental application, including:
    • Comprehensive Solo Repertoire List
    • Recording uploads, unedited, from within the last two years (video preferred, CD or DVD recordings will not be accepted):
      • Recordings should include at least three or the four requirements for the full audition. If the Classical sonata is chosen, the recording may include one or more movements, but must include a movement in Sonata-Allegro form.
      • Prescreening repertoire and full audition repertoire selections may differ.

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

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

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

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

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

All MM 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. 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

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

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

  1.  Vocal repertoire:
    • one 19th century German lied (any key)
    • one 19th or 20th century French mélodie (any key)
    • one 20th or 21st century American or British song (any key)
    • one operatic aria from any period
  2.  Instrumental repertoire - choose two of the following:
    • Franck: Violin Sonata in A Major (second movement only)
    • Hindemith: Trumpet Sonata (first movement only)
    • Mozart: Violin Sonata in B-flat Major, K. 378 (first movement only)
    • Prokofiev: Flute/Violin Sonata, Op. 94 (first and second movements)
  3. Solo Performance of one major work that demonstrates your technical and musical command of the keyboard (memorization optional)
  4. Sight-reading: Candidates will need to bring a book of songs by Gabriel Fauré and a book of songs by either Robert Schumann or Hugo Wolf (in any key) for sight reading purposes.

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

Piano Accompanying:

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

Questions about suitable repertoire should be sent to Prof. Valerie Trujillo.

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

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

  1.  Vocal repertoire:
    • one 19th century German lied (any key)
    • one 19th or 20th century French mélodie (any key)
    • one 20th or 21st century American or British song (any key)
    • one operatic aria from any period
  2.  Instrumental repertoire - choose two of the following:
    • Franck: Violin Sonata in A Major (second movement only)
    • Hindemith: Trumpet Sonata (first movement only)
    • Mozart: Violin Sonata in B-flat Major, K. 378 (first movement only)
    • Prokofiev: Flute/Violin Sonata, Op. 94 (first and second movements)
  3. Solo Performance of one major work that demonstrates your technical and musical command of the keyboard (memorization optional)
  4. Sight-reading: Candidates will need to bring a book of songs by Gabriel Fauré and a book of songs by either Robert Schumann or Hugo Wolf (in any key) for sight reading purposes.

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

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

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

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

All applicants will submit video prescreening recordings, due by December 1. 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 Prof. Douglas Fisher at least two weeks in advance of your scheduled audition date.

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

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

Percussion

Percussion
Recorded audition guidelines: Video required. Candidates should set the camera to have all instruments visible in the frame (snare drum, timpani, and marimba). Please play your entire audition in one take, that is without leaving the frame between pieces or instruments.

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

All applicants must perform upon Snare Drum, Marimba (two-mallet and four-mallet), and Timpani; Drum Set is optional. Repertoire below is suggested; please consult with your private instructor and select works that reflect your ability level:

  • Snare Drum: Etudes by Delecluse, Whaley, Aleo, etc.
  • Marimba (Two Mallets): Bach Sonatas and Partitas for Solo Violin, Cello Suites (excluding A-minor Violin Concerto)
  • Marimba (Four Mallets): Solos by Burritt, Stout, Ford, etc.
  • Timpani: Beck, Goodman, Lepak, etc. Please do not select solos from Carter Eight Pieces for Four Timpani for the audition.

    Note: Dresden Timpani will be set American; do not select solos with tuning changes. We will evaluate your pitch understanding through a separate test.

Audition instruments include two Black Swamp Mercury Series snare drums (4” and 3.5” with Remo Diplomat M5 heads), Adams Classic Custom 5.0 Marimba, Adams Dresden Classic Timpani. You are free to bring your own snare drum if you choose.

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

Recorded audition guidelines: Video required. Candidates should set the camera to have all instruments visible in the frame (snare drum, timpani, marimba, xylophone, and glockenspiel). Please play your entire audition in one take, that is without leaving the frame between pieces or instruments.

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

All applicants must perform upon Snare Drum, Marimba (two-mallet and four-mallet), Xylophone, Glockenspiel, and Timpani; Drum Set is optional. Repertoire below is suggested:

  • Snare Drum: Etudes by Delecluse, Tompkins, Sherwood, etc., plus two orchestral excerpts (Scheherazade, Lieutenant Kijé, etc.)
  • Marimba (Two Mallets): Bach Sonatas and Partitas for Solo Violin, Cello Suites, Koshinski “Two” solos
  • Marimba (Four Mallets): Solos by Druckman, Thomas, Burritt, Vinao, etc.
  • Xylophone: Two excerpts (Porgy and Bess, Shostakovich Polka, Exotic Birds, etc.)
  • Glockenspiel: Two excerpts (The Magic Flute, The Sorcerer’s Apprentice, etc.)
  • Timpani: Solos by Beck, Goodman, Lepak, etc. Please do not select solos from Carter Eight Pieces for Four Timpani; also two orchestral excerpts (Beethoven, Tchaikovsky, etc.)

    Note: Dresden Timpani will be set American; do not select solos with tuning changes. We will evaluate your pitch understanding through a separate test.

Audition instruments include two Black Swamp Mercury Series snare drums (4” and 3.5” with Remo Diplomat M5 heads), Adams Classic Custom 5.0 Marimba, Adams Dresden Classic Timpani. You are free to bring your own snare drum if you choose.

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

Strings

Violin
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.

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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
Memorization recommended for all repertoire

 

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

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

Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
Memorization recommended for all repertoire

 

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

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

cello
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  1. Two contrasting movements of a Bach Suite, a Vivaldi Sonata or something similar
  2. A movement of a concerto by Saint-Saëns, Lalo, Haydn, Goltermann or the like
  3. One etude by Popper, Duport, Schroeder, Merk, etc.
  4. All major and minor scales in three octaves (waived for 2020-21)

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

Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  1. Major and minor scales - 2 octaves with arpeggios Waived for 2020-21
  2. Two contrasting works or movements, selected from standard etudes, concerti, or Baroque sonatas
Applicants who have questions appropriate repertoire please contact Prof. George Speed
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
  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
Recorded audition guidelines: Video required. All audition materials should be recorded in one continuous, unedited video. Please introduce yourself at the beginning of the video. Auditions are to be unaccompanied.
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.

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

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

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

Voice

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

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

Original songs, pieces in jazz or popular styles, or music theatre selections are not acceptable for this audition. Auditionees may be disqualified for inappropriate or insufficient selections.

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

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

Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions must be accompanied (live or pre-recorded accompaniment is acceptable).
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 to upload the full audition requirements. Notifications will be emailed by December 15.

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

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

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 audition repertoire selections may differ.

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

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

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

Songs: Students should prepare two contrasting pieces

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

Monologue: Students should prepare one monologue

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

Dance: Students should prepare two videos

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

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

As your health and that of others is our top priority, Florida State Music Theatre 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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
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. 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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied. 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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
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.

Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
Non-Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. All major scales. Waived for 2020-21
Performance Applicants
  1. Two contrasting solo pieces (or movements). Examples given below.
  2. One orchestral excerpt. Examples given below.
  3. All major scales. Waived for 2020-21
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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
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
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
All Applicants
  1. 1st and 2nd movements of W.A. Mozart: Concerto for Bassoon, K. 191 or 1st and 2nd movements of C.M. von Weber: Concerto for Bassoon in F Major, Op. 75
  2. A work of your choice in a contrasting style.
  3. One etude from Ludwig Milde: Concert Studies, Op. 26, volume I (etudes #1-25)
  4. Twelve major scales, at least two octaves (in 8th notes, at least at quarter=80). All scales should be recorded in one video.
Performance Major Applicants All of the above, plus two standard orchestral excerpts chosen from the following list:
  • Mozart: Overture to The Marriage of Figaro
  • Rimsky-Korsakov: Scheherazade, solo only
  • Tchaikovsky: Symphony No. 4, 2nd movement
  • Berlioz: Symphonie Fantastique, 4th or 5th movements
  • Rossini: Overture to The Italian in Algiers
  • Ravel: Bolero
Recorded audition guidelines: Video required. All audition materials should be recorded in separate, unedited videos. Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
All applicants should prepare:
  1. W.A. Mozart: Concerto for Bassoon, K. 191, entire (any edition)
  2. One complete major work in 18th or 19th century style
  3. One etude from Ludwig Milde: Concert Studies, Op. 26, volumes I or II (any edition)
  4. One etude from Ludwig Milde: Studies on Scales and Chords, Op. 24 (any edition)
  5. Work of your choice (can be 20th/21st century)
  6. At least 4 standard orchestral excerpts

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

alto Saxophone
Recorded audition guidelines: Video required. Audition materials may be recorded in separate videos or one continuous unedited video (scales should all be in the same video). Please introduce yourself and the piece you are performing at the beginning of each recording. Auditions are to be unaccompanied.
Non-Performance Applicants
  1. Scales: Db major, E major, Bb Major, G major, F# major
  2. 5-10 minutes of music from the standard repertoire for alto saxophone (ex: Creston Sonata, Heiden Sonata, Glazunov Concerto, Ibert Concertino da Camera, Maurice Tableaux de Provence, or equivalent),
  3. 1 etude (ex: Ferling, Voxman, Lacour, Bozza, or equivalent).
Performance Applicants

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

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