Auditions/Scholarships

• Three contrasting pieces from different musical eras, one of which must be the first movement of a Classical sonata.
• Minimum level of difficulty comparable to a Two-Part Invention by Johann Sebastian Bach or Ludwig van Beethoven Sonata in G Major Op. 49 No. 2.
• Memorization encouraged but not required.
• Four octave scales and arpeggios in all major and minor keys, HT, ♩ = 69, play ♬
• Four octave scales, hands together, performed in 16th notes
  • D Major, D harmonic minor and D melodic minor
  • B Major, B harmonic minor and B melodic minor
  • F# major, F# harmonic minor and F# melodic minor

• Three contrasting pieces from different musical eras, one of which must be the first movement of a Classical sonata.
• Minimum Level of difficulty comparable to a Three-Part Sinfonia by Johann Sebastian Bach, Sonata in G Major K. 283 by Wolfgang Amadeus Mozart or Chopin Nocturne Op. 9 No. 2 by Frederick Chopin.
• Memorization required
• Four octave scales and arpeggios in all major and minor keys, HT, ♩ = 76, play ♬
• Four octave scales, hands together, performed in 16th notes
  
  • D Major, D harmonic minor and D melodic minor
  • B Major, B harmonic minor and B melodic minor
  • F# major, F# harmonic minor and F# melodic minor

Scales (performed from memory)

• Major scales up to 4 sharps and 4 flats
• Chromatic scale of your choice in as many octaves you are comfortable

Music

• One solo piece for horn, equivalent to the OMEA (Ohio) Class A or B list

OR

• Two etudes/excerpts demonstrating both lyrical and technical styles. OMEA or KMEA (Kentucky) All-State or Select Band excerpts are encouraged and accepted.

Suggested etudes (can be combined with All-State List, or select two etudes from the following)

• “Preparatory Melodies for Solo Work” - Max Pottag
• “200 New Melodic and Gradual Etudes” Volume 1 - Maxime Alphonse
• “Sixty Selected Studies for French Horn” Book 1 - Georg Kopprasch

• All Major Scales (2 Octaves where possible)
• Two Octave Chromatic Scale
• Two Contrasting Etudes that demonstrate lyrical and technical ability OR one solo
• Possible sight-reading

Recommended Etudes:

• Getchell-2ND Book of Practical Studies
• Concone-Lyrical Studies for Trumpet
• Voxman-Selected Studies for Trumpet
• Wurm-40 Etudes
• Hering-40 Progressive Etudes
• Hering-32 Etudes
• Small-27 Melodious and Technical Studies
• Arban-12 Characteristic Studies
• Brandt-34 Etudes

Recommended Solos:

• Barat-Fantasie in Eb
• Barat-Orientale
• Barat-Andante et Scherzo
• Balay-Andante and Allegretto
• Balay-Petite Piece Concertante
• Ropartz-Andante and Allegro
• Voxman-Concert and Contest Collection
• Godicke-Concert Etude
• Any Movement from Sonatas by Kennan, Hindemith, Hansen, or Ewazen
• Any Movement from Concerti by Haydn, Hummel, or Arutunian

• 2 contrasting etudes (technical/lyrical) or one solo

Technical:

• Blume: 36 Studies for Trombone
• Kopprasch: 60 Selected Studies for Trombone
• Tyrell: 40 Progressive Studies
• Voxman: Selected Studies

Lyrical:

• Bordogni/Rochut Melodious Etudes
• Edwards: Lip Slur Melodies
• Fink Studies in Legato

Solo:

• Barat: Andante et Allegro
• Barat: Introduction and Dance
• Curnow: Rhapsody for Euphonium
• David: Concertino
• Galliard: Six Sonatas (minimum two movements from any sonata)
• Guilmant: Morceau Symphonique
• Rimsky-Korsakov Concerto
• Ropartz: Andante et Allegro
• Telemann: Sonata in F
• Vaughan Williams – Six Studies in English Folk Song

• Major scales (two octaves where possible) and chromatic scale

Technical Etude from the following:

• Tyrell 40 Advanced Etudes for BBb Tuba
• Blazhevich 70 Studies for BBb Tuba
• Kopprasch 60 Selected Studies

Lyrical Etude from the following:

• Fink Studies in Legato
• Bordogni Melodious Etudes

• Major Scales
• Sight-reading
• Two movements from different compositions from the standard flute repertoire that show contrasting styles or two contrasting single movement works from the standard flute repertoire

• Major scales
• Chromatic scale
• Sight-reading
• Two selections of contrasting styles: one that demonstrates technical facility and one that demonstrates musical phrasing and tone. These selections may be etudes or movements of compositions from the standard clarinet repertoire.

• Possible scales and sight-reading upon request
• Two contrasting pieces from the standard repertoire

• Be prepared to play major scales and at least one octave. Twelve major scales are preferred; however, the student is encouraged to perform scales that they are comfortable with performing for the panel. Students that perform 12 major scales either extended or 2 octaves will increase the chance for acceptance and scholarship consideration.
• An etude or movement of a work that demonstrates technical facility of the student. Accompaniment is not required for admission.
• An etude or movement of a work that is of a slower tempo and demonstrates lyrical and/or expressive facility of the student. Accompaniment is not required for admission.
• If possible, the student should perform an etude, movement, or other piece in jazz or commercial style. Although the student will focus on the methodologies and skillsets associated with classical saxophone, the student will also be required to demonstrate a basic understanding of jazz saxophone performance during their course of study. For students interested in scholarship consideration, performing a jazz or commercial piece may increase the chances for scholarship consideration.
• Sight reading either in classical or jazz style or both.

• Familiarity with some of the most significant saxophonists in jazz history.
• Familiarity with some of the most significant recordings in jazz history.
• Characteristics of a saxophone tone that may be associated with jazz or commercial music.
• An etude in jazz or commercial style. If multiple etudes are prepared, at least one etude should be in what is known as a typical swing style.
• Perform and Improvise over 2 tunes from what is widely considered jazz standard repertoire. One of the tunes may be a blues, and students are encouraged to perform different styles, tempo, etc.
• If possible, the student should perform an etude, movement, or other piece in classical style. For students interested in scholarship consideration, performing a classical piece may increase the chances for scholarship consideration.
• Sight reading either in jazz or classical style or both.

• Familiarity with some of the most significant saxophonists in jazz history.
• Familiarity with some of the most significant recordings in jazz history.
• Characteristics of a saxophone tone that may be associated with jazz or commercial music.
• An etude in the jazz or commercial style. If multiple etudes are prepared, at least one etude should be in what is known as a typical swing style.
• If possible, the student should perform an etude, movement, or other piece in classical style. For students interested in scholarship consideration, performing a classical piece may increase the chances for scholarship consideration.
• Perform and improvise at least one song from the standard jazz repertoire. A blues is acceptable. For students interested in scholarship consideration, performing this requirement may increase the chances for scholarship consideration.
• Sight-reading either in jazz or classical style or both.

Please submit a video audition with the following elements:

• If submitting your audition via video, please introduce yourself, tell us a bit about yourself, and tell us why you would like to go into music.
• 1 scale of choice (as many octaves as you are comfortable and with the bowing of choice)
• 2 contrasting pieces

If submitting your audition via video, please introduce yourself, tell us a bit about yourself, and tell us why you would like to go into music.

Requirements for admission:

• Two contrasting pieces
• Possible scales and sight-reading upon request

Requirements for scholarship consideration (in addition to admission requirements):

• A movement of a concerto or sonata OR any solo from the standard repertoire for the instrument
• Scales
• Sight-reading

If submitting your audition via video, please introduce yourself, tell us a bit about yourself, and tell us why you would like to go into music.

Requirements for admission:

• Two contrasting pieces
• One orchestral excerpt (For example, the cadenza from Nutcracker, or the first page of Berlioz Symphony Fantastique)

Requirements for scholarship consideration (in addition to admission requirements):

• Two contrasting pieces
• One orchestral excerpt (For example, the cadenza from Nutcracker, or the first page of Berlioz Symphony Fantastique)
• One etude/warm up (For example, Level 3 warm-up from "On Playing the Harp" by Kondonassis, or any of the 15 preludes from the Lawrence/Salzedo method)

Requirements for admission:

• Play a blues in Bb and improvise at least 2 choruses
• Be prepared to play all major scales – if not known, please provide a list of major scales to the panel
• Perform 1 classical etude of your choice

Requirements for scholarship consideration (in addition to admission requirements):

• Perform 2-3 jazz standards of your choice, with improvisation
• Perform 1 etude in the jazz or commercial music idiom

• Familiarity with some of the most significant saxophonists in jazz history.
• Familiarity with some of the most significant recordings in jazz history.
• Characteristics of a saxophone tone that may be associated with jazz or commercial music.
• An etude in jazz or commercial style. If multiple etudes are prepared, at least one etude should be in what is known as a typical swing style.
• Perform and Improvise over 2 tunes from what is widely considered jazz standard repertoire. One of the tunes may be a blues, and students are encouraged to perform different styles, tempo, etc.
• If possible, the student should perform an etude, movement, or other piece in classical style. For students interested in scholarship consideration, performing a classical piece may increase the chances for scholarship consideration.
• Sight-reading either in jazz or classical style or both.

• Familiarity with some of the most significant saxophonists in jazz history.
• Familiarity with some of the most significant recordings in jazz history.
• Characteristics of a saxophone tone that may be associated with jazz or commercial music.
• An etude in the jazz or commercial style. If multiple etudes are prepared, at least one etude should be in what is known as a typical swing style.
• If possible, the student should perform an etude, movement, or other piece in classical style. For students interested in scholarship consideration, performing a classical piece may increase the chances for scholarship consideration.
• Perform and improvise at least one song from the standard jazz repertoire. A blues is acceptable. For students interested in scholarship consideration, performing this requirement may increase the chances for scholarship consideration.
• Sight-reading either in jazz or classical style or both.

• A selection from the Solo and Ensemble List
• Perform the following jazz standards from memory
  
  • Misty
  • Fly Me to the Moon
  • Girl from Ipanema

Requirements for admission:

• All potential students MUST read music!
• All major scales, one octave minimum. (Pianists hands together)
• Level 4 minimum classical etude or movement from a classical piece.
• Sight-reading
• Play the melody, accompany, and improvise a blues. (Bb or F)

Requirements for scholarship consideration (in addition to admission requirements):

• All major scales, 2 octaves. (Pianists hands together)
• Minor scales, all 3 forms, up to 4 flats, 4 sharps.
• Sight-reading
• Play the melody, accompany and improvise a blues from memory.
• Play the melody, accompany and improvise two jazz standards of contrasting styles from memory.

• Prepare a classical etude or piece that demonstrates skill sets in that music genre.
  
• Must be able to perform these basic rhythms on the drumset.
  • Medium swing
  • Backbeat with 4 on the Floor at 120 bpm
  • 12 bar Blues shuffle
  • Bossa Nova

• Successful audition on a primary instrument (consult individual applied areas for literature guidelines or recommendations)
• Theory placement exam
• Optional piano placement
• Interview with composition and/or commercial music faculty (may be done on the same day as your audition)
• Submission of at least two scores and recordings or MIDI realizations of original compositions

Requirements for admission:

• Successful audition on a primary instrument (consult individual applied areas for literature guidelines or recommendations)
• Theory placement exam
• Optional piano placement
• Interview with composition and/or commercial music faculty (may be done on the same day as your audition)
• Submission of at least two mp3 recordings of original creative work e.g., songs, mixes, instrumental works, etc.
• Perform 3 songs of any genre. Each song must be of a different style.
• Sight read – rhythm section instruments may read written parts and/or chords.

Requirements for scholarship consideration (in addition to admission requirements):

• All major scales
• Perform an etude in the jazz or commercial music idiom