Prepare scales in all major keys, two or three octaves as appropriate to each instrument. Sight-reading may be requested. Applicants should prepare one substantial work or 2 smaller works of contrasting styles.

Horn

1. Scales: All scales 2-octave with at least one 3-octave scale
2. Solo: Recommended composers - W. Mozart, F. Strauss, R. Strauss, L. Cherubinni, R. Gliere, P. Hindemith
3. Recommended etudes: Gallay, 12 Studies; Kling, 40 characteristic etudes; Kopprasch, 60 selected studies, Mueller, 34 studies.
4. Any other equivalent solo work or etude for horn that shows your best playing ability is also acceptable.

Questions? Contact William Schaffer

Trumpet

1. Scales: Prepare all 12 major scales, one octave. No fewer than 3 should be performed two octaves.
2. One movement of a standard concerto or sonata (such as those of Haydn, Hummel, Hindemith, Kennan, Ewazen, Neruda, Arutunian, Boehme or Vivaldi) or a standard etude (such as Arban 12 Characteristic Studies, Charlier 36 Etudes, Small 27 Melodious and Rhythmic Exercises, Goldman Celebrated Studies, Bousquet 36 Studies, Caffarelli Studies for Trumpet, Brandt 34 Studies for Trumpet).
3. Any other equivalent solo or etude for trumpet that shows your best playing ability is also acceptable.

Questions? Contact Ray Vasquez

Low Brass

1. All major scales two octaves
2. Full range chromatic scale
3. One solo or movement(s) of a multi-movement piece that demonstrates the lyricism and technical ability. Two etudes of contrasting styles (one lyrical, one technical) may be substituted. The solo literature and etudes must be at an appropriate level for an entering college Freshman.

Questions? Contact Matthew Wood

1. Prepare 2 one-minute excerpts of songs from musical theatre of differing sytles
2. Prepare 2 one-minute monologues of contrasting style.

Questions? Contact Joey Bates

Please bring all of the sticks and mallets that you require to perform your audition, as well as at least one copy of your music.

Required:

1. Concert Snare Drum
   1. An etude from such methods as Anthony Cirone’s Portraits in Rhythm or Jacques Deleclude’s Douze Etudes poue Caisse-Claire (12 Etudes for Snare Drum), or your state’s all-state audition list. The piece should demonstrate your technical and musical ability, and be played in its entirety.
   2. Rudiments – rudiments from the PAS 40 standard rudiments sheet with which you are comfortable.
2. Keyboard – Marimba or Vibraphone, 2 or 4 mallets
1. Choose a piece that demonstrates your technical and musical ability. Your selection should be a published, full length piece, not an etude from a method book (solos from Nancy Zeltsman’s Four Mallet Marimba Playing are acceptable).  Pieces may also be selected from your all-state list, and should be performed in their entirety.
2. Major scales, 2 octaves
3. Timpani
   An etude from methods books such as Saul Goodman’s Modern Method for Timpani, Vic Firth’s The Solo Timpanist, Raynor Carroll’s Exercises, Etudes, and Solos for the Timpani.
   

Optional

1. Rudimental Snare Drum
   A solo from books like Freytag’s Rudimental Cookbook
2. Drum Set
   1. A play-along from such methods as Tommy Igoe’s Groove Essentials, Steve Houghton’s Essential Styles
   2. Demonstration of all musical styles that you are familiar with

Questions? Contact Doug Rosener

BA Performance

1. All major and minor scales and arpeggios, 4 octaves, hands together
2. A work by J.S. Bach (Prelude and Fugue, Invention, or movement from a suite)
3. A fast movement from a Classical sonata by Haydn, Mozart, or Beethoven
4. A Romantic or contemporary work
5. All solo works must be memorized
6. Sight-reading

Music Education and Music Minor

1. All major and minor scales and arpeggios, at least 2 octaves, hands together
2. Two contrasting pieces from different periods (ie. Baroque, Classical, Romantic), memorized
3. Sight-reading

Questions? Contact Jeremy Samolesky

1. Prepare all major scales.
2. Prepare two contrasting pieces. Pieces may be from standard etude books and/or standard solo repertoire. One piece should be a movement from a standard concerto or sonata.
3. Sight-reading may be asked.

Questions? Contact Howard Goldstein

1. Prepare two songs of the classical music tradition (i.e., Italian, French, German or English art song and/or aria), one of which should be in English. A song from standard musical theater repertoire may be substituted for one of the songs of the classical music tradition. Popular songs (e.g., country, gospel, contemporary Christian, praise and worship, rhythm and blues, urban, pop, jazz, and such like) are not acceptable.
2. The audition may include sight singing in addition to the performance of the prepared song
3. You may bring your own accompanist or use a recorded accompaniment. Please note that the department does not provide piano accompanists. Your attire should be professional.

Questions? Contact Michael Koon

Prepare scales in all major keys. Sight-reading may be asked.

Flute

1. Several two octave major scales may be heard. Any articulation is acceptable. Scales need not be memorized.
2. Two contrasting pieces (or excerpts of pieces) approximately five minutes in length each. Solos and/or etudes should be from the standard repertoire (such as the solo concerti or sonatas of Mozart, Bach or Handel or exercises of Anderson, Gariboldi or Berbiguier).
3. BA Performance only: One of the two contrasting pieces must be a movement from a standard solo or concerto

Questions? Contact Karen Garrison

Oboe

1. Several major scales may be heard. Scales need not be memorized. Articulated ascending, slurred descending. Two octaves if possible.
2. Chromatic scale from your lowest note to your highest note
3. Two contrasting pieces. May be from standard etude books (such as Barret, Ferling) or standard solo and concerto repertoire
4. BA Performance only: One of the two contrasting pieces must be a movement from a standard oboe sonata or concerto

Questions? Contact Ann Knipschild

Clarinet

1. Several major scales may be heard. Scales need not be memorized. Articulated ascending, slurred descending. One three-octave scale will be asked.
2. Chromatic Scale from low E to high G (or your highest note).
3. Prepare two contrasting pieces. May be from standard etude books (such as Rose, Rode, Langenus, Klosé) and/or pieces or movements from the standard solo repertoire (such as the Mozart Concerto, Weber Concerti or Concertino, Osborne Rhapsody, Finzi Bagatelles).
4. BA Performance only: One of the two contrasting pieces must be a movement from a standard clarinet concerto or sonata

Questions? Contact David Odom

Bassoon

1. Several major scales may be heard. Scales need not be memorized.
   Articulated ascending, slurred descending. Two octaves if possible.
2. Chromatic scale from your lowest note to your highest note
3. Two contrasting pieces. May be from standard etude books (such as Weissenborn) or standard solo and concerto repertoire
4. BA Performance only: One of the prepared pieces should be a movement from a standard concerto, such as a Vivaldi Bassoon Concerto, Mozart Bassoon Concerto in Bb Maj or Weber Bassoon Concerto in F Maj.

Questions? Contact Shane Dickerson

Saxophone

1. Several major scales may be heard. Scales need not be memorized.
   Articulated ascending, slurred descending. Two octaves if possible.
2. Chromatic scale from your lowest note to your highest note
3. Two contrasting pieces. May be from standard etude books (such as Universal Method, Ferling) or standard solo and concerto repertoire
4. BA Performance only: One of the two contrasting pieces must be a movement from a standard saxophone sonata or concerto

Questions? Contact Ann Knipschild