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UNDERGRADUATE AUDITIONS

Which programs pre-screen? What do you need to prepare for your audition?

Pre-Screening

Pre-screening is a method the faculty use to determine eligibility for the live audition. Due by November 1, the pre-screen is a video submitted with the application and is only required in certain areas of performance. Audition notifications are sent by December 20. 
 

The following are the undergraduate areas of study that require pre-screening:

Piano (Minor, B.A., B.M., B.M.E., B.M./B.M.E.)

Please submit a video recording of 8–10 minutes worth of music that is representative of your ability. Your recording should include a minimum of two contrasting styles. You may submit excerpts of a longer work, but the total amount of music submitted on the recording should not go over 10 minutes. The recording must be a video recording, and please make sure it shows your hands on the keyboard.
 

Voice (Minor, B.A., B.M., B.M.E., B.M./B.M.E.)

Please submit a video recording sung from memory of two contrasting songs chosen from solo vocal literature (songs or arias of composers such as Gluck, Handel, Purcell, Mozart, Schubert, Faurè, Barber or Rorem). Musical theater songs or self-accompanied "pop" songs are not acceptable for an audition. Please provide music for accompanist if you are invited for a live audition.
 

Audition Repertoire

Please adhere strictly to the repertoire indicated for your area of performance. Audition repertoire does not need to match the pre-screen repertoire. 
 

Jazz

All prospective jazz applicants should be prepared to discuss previous performance experience, teachers and method books used in study. Please bring your own mp3 or CD accompaniment and/or we will provide any of the Aebersold play-a-long recordings for all auditions.

B.A., B.M., B.M.E.

Jazz saxophone, trumpet, trombone, guitar, piano and bass (acoustic preferred)

  1. A major or minor blues melody of your choice or a similar piece from a jazz repertoire. Some examples: Now's the Time; Billie's Bounce; Tenor Madness; Straight, No Chaser; Stolen Moments.
    1. Sax, trumpet, trombone: perform the melody of the piece from memory, play a two- or three-chorus improvised solo.
    2. Guitar and piano: perform the melody of the piece from memory, play a two- or three-chorus improvised solo and comp for another soloist.
    3. Bass: perform the melody of the piece from memory, play a two- or three-chorus improvised solo and play a walking bass line for another soloist.
  2. A jazz ballad of your choice, such as But Beautiful; Darn That Dream; You Don’t Know What Love Is; or a similar piece from the jazz repertoire.
    1. All instruments, except bass: perform the melody of the piece from memory, play two or more improvised solo choruses.
    2. Bass: accompany the melody with an appropriate ballad bass line, play two or more improvised solo choruses (optional, play the melody of the “A” section).
  3. One medium-swing piece from this list: Beautiful Love; All The Things You Are; Invitation; It Could Happen To You; or There Will Never Be Another You.
    1. All instruments, except bass: perform the melody of the piece from memory, play two or more improvised solo choruses.
    2. Bass: accompany the melody with a jazz bass line, play two or more improvised solo choruses.
  4. One fully notated piece without improvisation, such as a jazz etude or a solo transcription (bring three copies of the music for the audition panel).
  5. Demonstrate sight-reading proficiency.

Drumset
Auditions consist of the applicant demonstrating their ability to play in the following musical styles:

  1. 4/4/ swing at a variety of tempos
  2. Funk and rock styles at a variety of tempos
  3. Samba and bossa nova
  4. Mambo
  5. Afro-Cuban 6/8

Additional skills assessed during the jazz drumset audition:

  1. Brush technique
  2. Waltz and odd meter performance
  3. Repertoire: transcription or jazz etude
     

Piano

B.M.
From memory:

  1. Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach.
  2. Complete sonata by Beethoven, excluding Opus 49 and Opus 79.
  3. Major composition by a 19th-century romantic composer.
  4. Composition from the last 100 years in a style representative of developments in music of the 20th or 21st century.

Minor, B.A., B.M. in composition, B.M.E.
From memory:

  1. Sinfonia or Prelude and Fugue by J. S. Bach.
  2. First movement (in sonata-allegro form) of a Classic period sonata.
  3. Composition by a 19th-century composer.
  4. Composition from the last 100 years in a style representative of developments in music of the 20th or 21st century.
     

Strings

Violin, Viola, Cello
Minor, B.A., B.M., B.M.E.

  1. Movement of an unaccompanied work by Bach, performed from memory.
  2. First movement of a standard major concerto, or comparable single-movement work, performed from memory.
  3. Standard etude.

Double Bass
Minor, B.A., B.M., B.M.E.

  1. A three-octave major scale and arpeggio.
  2. First movement of a standard concerto OR two contrasting movements from a baroque sonata or Bach cello suite.
  3. Two orchestral excerpts chosen from the standard audition repertoire.

Harp
Minor, B.A., B.M., B.M.E.

  1. Movement of a concerto or solo work, performed from memory.
  2. Movement from a solo work or etude in a style that contrasts from the first selection.
  3. Two orchestral or operatic excerpts of the auditionee's choice from the standard repertoire. One preferably to include a cadenza.
     

Voice

From memory:

Two contrasting songs chosen from solo vocal literature (songs or arias of composers such as Gluck, Handel, Purcell, Mozart, Schubert, Faurè, Barber or Rorem). Musical theater songs or self-accompanied "pop" songs are not acceptable for an audition. Please provide music for accompanist if you are invited for a live audition.
 

Winds & Brass

Oboe, Clarinet, Euphonium, Tuba
Minor, B.A., B.M., B.M.E.

  1. Two compositions of contrasting styles, one of which must be selected from the solo literature; the other may be a solo or an etude.
  2. The solo should be of the highest difficulty level. Many states have a State Festival List of repertoire which will include suitable repertoire. For instance, from the Maryland Band Directors Association Festival List, a suitable solo would be one chosen from grades 4-6. The Maryland Music Educators Association produces a similar list, which can be downloaded here.

Flute
Minor, B.A., B.M., B.M.E.

Please prepare two pieces, one of which should be from “The French Book” ed. Moyse or a piece of similar difficulty. Students should be prepared with major, minor and chromatic scales. The audition will include sight-reading. 

Bassoon
Minor, B.A., B.M., B.M.E.

  1. An etude from the standard repertoire, e.g. Weissenborn, Milde, Jancourt, etc.
  2. One or more movements from a concerto, sonata or other solo work.

Classical Saxophone
Minor, B.A., B.M., B.M.E.

  1. Two contrasting etudes from Ferling, Berbiguier/Mule, J.L. Small, Labanchi or Voxman Selected Studies
  2. One complete, multi-movement classical work or two to three contrasting movements from two different works. Repertoire to be selected from: concertos by Creston, Dubois, Glazunov, Ibert, Tomasi; sonatas by Bach (arr. Mule), Creston, Fasch (arr. Rascher), Heiden, Muczynski, Rueff; Bozza Improvisation et Caprice; Milhaud Scaramouche; Noda Improvisation I
  3. All major scales (full range) and chromatic scale (low Bb to high F#)
  4. Accompanist is not required, and will not be provided.

Horn
Minor, B.A., B.M., B.M.E.

  1. Please choose two contrasting solo works from the following:
    1. Mozart Concerto No. 3, K. 447
    2. Strauss Concerto No. 1 in E flat Major
    3. Beethoven Sonata for Horn and Piano
    4. Saint-Saens Morceau de Concert
  2. Please choose one selection from the following:
    1. Solos for the Horn Player, edited by Mason Jones
  3. Please choose two of the following etudes:
    1. C. Kopprasch Sixty Selected Studies for French horn, Book 1
      1. No. 15, No. 19, No. 22, No. 31, No. 34
  4. All major scales

Trumpet
Minor, B.A., B.M., B.M.E.

  1. F.J. Haydn Concerto in Eb, second movement
  2. J.B. Arban Characteristic Study no. 6, first 28 measures, stop at the first double bar, where the key changes to D major
  3. K. Kennan Sonata for Trumpet and Piano, first movement
    • Opening to letter F
    • 7th bar after N to end of movement

Please Note:

  1. Please play the selections above in the order listed.
  2. Use Bb and/or C trumpet, nothing smaller than C, please.
  3. No memorization is required.
  4. Having a pianist is not required for any audition, though you are welcome to use piano if it is convenient. If playing without piano, count out all rests as marked.
  5. For additional trumpet questions, please contact Professor Chris Gekker.

 
Minor, B.A., B.M., B.M.E., 15 minutes

  1. F.J. Haydn Concerto in Eb, second movement
  2. J.B. Arban Characteristic Study No. 6, first 28 measures, stop at the first double bar, where the key changes to D major
  3. K. Kennan Sonata for Trumpet and Piano, first movement
    • Opening to letter F
    • 7th bar after N to end of movement

Trombone, Tenor
Minor, B.A., B.M., B.M.E.

  1. One movement from two contrasting standard solos, chosen from:
    • Concertino, Op. 4 – Ferdinand David
    • Morceau Symphonique Op. 88 – Alexandre Guilmant
    • Sonata for Trombone and Piano – Paul Hindemith
    • Andante et Allegro – J.E. Barat
    • Sonatas – J.E. Galliard
    • Cavatine – Camille Saint-Saens
    • Sonata in F Major – Telemann
  2. Two contrasting etudes of the candidate’s choice
  3. Three standard orchestral excerpts of the candidate’s choice
  4. All major and minor scales
  5. Sight-reading

 
Trombone, Bass
Minor, B.A., B.M., B.M.E.

  1. One movement from two contrasting standard solos, chosen from:
    • Three Easy Pieces – Paul Hindemith
    • Concerto in One Movement – Alexei Lebedev
    • Unaccompanied Suite for Cello – J. S. Bach
    • Sonata Breve – Walter Hartley
    • Sonata – Patrick McCarty
    • Concerto in F Major – Ernest Sachse
    • Cameos – Gordon Jacob
  2. Two contrasting etudes of the candidate’s choice
  3. Three standard orchestral excerpts of the candidate’s choice
  4. All major and minor scales
  5. Sight-reading
     

Percussion

Snare Drum
Minor, B.A., B.M., B.M.E.

  1. Demonstrate rudiments and rolls at various dynamics
  2. One solo or etude from Delecluse, Albright, Peters, Goldenberg, Wilcoxin, Pratt, Podemski, or equivalent
  3. Sight-reading

Marimba/Xylophone
Minor, B.A., B.M., B.M.E.

  1. All major and minor scales, two octaves
  2. One movement or solo piece/etude from Peters, Stout, Abe, Bach (Sonatas and Partitas for Solo Violin), Creston, Musser, Rosauro, etc.
  3. Sight-reading

Timpani
Minor, B.A., B.M., B.M.E.

  1. Rolls and general strokes at various dynamics. Basic knowledge of intervals and tuning.
  2. A short solo or etude; 3-4 timpani preferred (Goodman, Vic Firth, Peters, Delecluse, Schinstine, etc.)
  3. Sight-reading
     

Music Education

B.M.E.

  1. All Bachelor of Music Education applicants must audition on their principal performing instrument. 
  2. Applicants for the Bachelor of Music Education degree will be scheduled for teaching demonstration with the music education faculty the same day as their live audition on their principal performing instrument. Additional information on what to prepare for the demonstration will be sent with the audition notification email.

Music Theory & Composition

Theory (B.M.)

  1. Applications for the theory major are accepted from students who are already a part of the School of Music. Students new to the School of Music should apply for either a performance or education major with their major instrument. Once in the School of Music, you may then speak with the theory faculty about becoming a theory major.

Composition (B.M.)

  1. Requires advanced comprehension of music theory.
  2. Applicants must audition on their principal performing instrument. Applications whose principal instrument is piano should follow the audition requirements as stated for the B.A. degree.
  3. Please submit a portfolio of 3–5 scores (required) and recordings (highly recommended) that represent your most recent work in music composition. The portfolio should demonstrate an awareness of contemporary compositional techniques and the ability to work in a variety of media. The compositions must be submitted electronically as part of the School of Music application.