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Audition Requirements

All prospective music majors will take the Basic Music Qualifying Exam on New Student Audition Day. The test will cover the fundamentals of music theory: major and minor key signatures, interval qualities, triad qualities, all forms of scales, and rhythmic values. Aural skills tests will also be administered. These test results may be considered as faculty make acceptance decisions. (Music Theory Help Website)

All prospective music majors must be able to read music, a skill which needs to be demonstrated through sight-reading in the audition.

Bringing supportive material to your audition is highly recommended. This can include letters of recommendation; a repertoire list; a statement of career goals; or any other material that further supports your application.

• Accompanists are not required for instrumental auditions; one will be provided for voice auditions.
• FLUTISTS should be prepared to play either the first or last movement of a Mozart concerto or a piece from Flute Music by French Composers.
• SAXOPHONISTS should be prepared to play one of the following: Paul Creston's Sonata (any two movements); Bernard Heiden's Sonata (first or third movement); Villa-Lobos' Fantasia (first and second movements); or Jacques Ibert's Concertino da Camera (either movement).
• CLARINETISTS should be prepared to play one of the following: Carl Maria von Weber's Concertino; the first and second movement of either Weber concerto; or the first and second movement of the Mozart Concerto, K.622. In addition, please be prepared to play either an etude representative of your current level, or several standard orchestral excerpts.
• BASSOONISTS should be prepared to play two contrasting movements of a sonata or concerto of moderate difficulty, plus one slow, melodic etude (preferrably by Milde, Orefici or Weissenborn).
• TRUMPETERS should perform one or two solo movements or etudes which demonstrate their current and highest level of technical and musical development. Multiple tonguing and scales to demonstrate range may also be requested at the audition.
• HORNISTS should be prepared to play a brief work or movement from the standard repertoire, as well as a contrasting solo or etude, demonstrating both lyrical and technical playing. You may be invited to demonstrate other techniques, such as multiple tonguing and lip trills.
• TROMBONISTS should be prepared to play a representative solo (no accompanist needed) demonstrating both lyrical and technical playing OR two etudes of contrasting style. Trombonists may also be asked to demonstrate multiple tonguing (both double and triple), as well as one or two scales to demonstrate both high and low range.
• If you are auditioning on any other BRASS OR WOODWIND instrument, you should prepare a solo piece representative of your ability to perform at the audition. (It is not necessary for you to bring an accompanist, and your solo piece need not be memorized.)
• PIANISTS should prepare three memorized pieces: One from the Baroque era; one from the Romantic era or 20th century; and a movement of a Classical sonata (Haydn, Mozart, or Beethoven).
• PERCUSSIONISTS should prepare two pieces: One on snare drum and the other on timpani or a mallet/keyboard instrument.
• SINGERS should prepare two memorized art songs or arias: One in English and one in a foreign language. An accompanist will be provided.
• STRING players should prepare two contrasting solo pieces (memorization is recommended).
• If you are a GUITARIST, you must be aware that only the Jazz Studies major is available to you. Guitarists (Jazz Studies) should prepare (1) a 12-bar blues head with two or three solo choruses to follow; (2) a jazz standard with improvised choruses; and (3) sight reading of jazz pieces.

Jazz Scholarship Audition

If you have a strong background in jazz, you might want to audition with the Jazz Area Faculty for jazz scholarship consideration in addition to your other audition. If so, you should be prepared to play or sing:

1. A piece of your choice in 12-bar blues form (such as Billie's Bounce or Straight, No Chaser) with two or three improvised choruses to follow;
2. A jazz standard of your choice (such as Autumn Leaves, All the Things You Are, Oleo) with improvised choruses to follow;
3. Sight reading of jazz pieces.

An accompanist will be provided, if necessary. Jazz drummers should be prepared to play swing time at various tempos; demonstrate knowledge of 12-bar blues and 32-bar AABA (rhythm changes) song forms; trade 4s, 8s and choruses with a rhythm section over these forms; demonstrate various Latin rhythms, straight-eighth or funk grooves; and demonstrate time with brushes.