Evaluation will not rest solely on the difficulty of the composition; much consideration is given to the mastery of the composition in performance. Specific instructions based on instrument are listed below.
All instrumentalists are required to perform, at a minimum: (see specific information below for vocalists)
- Two contrasting compositions
- Sight-reading (All prospective music majors must be able to read music.)
It is recommended that students select two solo compositions in contrasting styles that represent their current level. These should be from the standard repertoire and represent different style periods as listed below:
- Baroque – 1600-1750; composers such as J.S. Bach, G. F. Handel, Domenico Scarlatti
- Classical – 1750-1820; composers such as Haydn, Mozart, Beethoven
- Romantic – 1820-1900; composers such as Chopin, Brahms, Schumann
- 20th-21st centuries – composers such as Debussy, Bartok, Prokofiev
An accompanist will be provided for auditions. Please provide original, unmarked copies of the accompaniment.
Vocal Audition Requirements
- Perform two songs from memory
- Songs should be chosen from the traditional art song repertoire, opera arias, folk song arrangements, and sacred songs in English
- A song in a foreign language is strongly suggested
- One song may be a musical theater piece
Woodwind and Brass Requirements
- Major scales - up to and including four sharps and four flats
- Chromatic scale - two octaves
- One All-State required etude or an etude of comparable difficulty
- One solo composition of regional solo festival level
Prepare two out of the following three options: (All-State audition pieces are acceptable)
- Snare drum etude (any intermediate or advanced studies from Cirone’s Portraits in Rhythm, Peters’
- Etudes for Snare Drum, or Goldenberg’s Modern Method for Snare Drum, Pratt’s 14 Modern Contest Solos, or equivalent).
- Timpani solo (any intermediate or advanced studies or solos by Saul Goodman, Mitchell Peters, Vic Firth, or equivalent). Tuning adjustments within the piece is not required. Drum tuning will be asked apart from the etude/solo
- Marimba solo (any intermediate or advanced etude or solo for two, three or four mallets) Recommendations: McMillan’s Keyboard Percussion Technique, Peters’s Chant for Marimba, Teardrops, or Yellow After the Rain, Gomez’s Anasazi, or equivalent. (Major scales and arpeggios will also be assessed.)
- Perform two contrasting solo compositions from different style periods.
- Memorization is optional but preferable.
- Play major and minor scales and arpeggios, two octaves, hands together.
- Diatonic major and minor scales
- Andrés Segovia edition, Columbia Music
--The student will be asked to play scales in several keys from this edition.
- One study from one of the following collections: Matteo Carcassi, 25 Studies Op. 60
--Fernando Sor, Op. 6 or Op. 29
--Mauro Giuliani, Op. 48 or Op. 51
- Two solo works in contrasting styles that represent the guitarist’s current level.
- Sight-reading section of guitar music in staff notation.