Audition Requirements
Instrumental
Vocal
Flute suggested audition repertoire
- Standard Concerti: Mozart GM or DM, Reinecke, Quantz GM, Vivaldi CM (picc)
- Standard Sonatas: Bach (any of 6), Hindemith, Copland, Prokofiev, Muczynski, Poulenc
- Unaccaompanied works: J.S. Bach Partita in Am, CPE Bach Sonata in Am, Debussy Syrinx, Fukushima Mei
Orchestral excerpts:
Scherzo from Mendelssohn's Midsummer Night's Dream Opening to Debussy's Afternoon of a Faun Solo from Ravel's Daphnis and Chloe Solo from movement 4 of Brahms' Symphony #4 "Bird" solo from Prokofiev's Peter and the Wolf
Questions: Email Here
Oboe suggested audition repertoire
Major and melodic minor scales and arpeggios up to 4 sharps and 4 flats from Barret Oboe
Method (pp. 19-21) or IMEA scale sheet
Two contrasting etudes from Barret Oboe Method or Ferling 48 Studies
One or two movements from one of the following concertos or sonatas:
Marcello - Concerto in c
Albinoni - Concerto in d
Cimarosa - Concerto in C
Mozart - Concerto in C
Corelli - Concerto in F
Handel - Concerto in B flat or g
Handel - Sonatas in c, g or F
Questions: Email Here
Clarinet suggested audition repertoire
A standard concerto, such as Mozart, Weber, Crusell or Copland
A standard sonata, such as Brahms, Devienne, Poulenc or Bernstein
An unaccompanied piece, such as Stravinsky Three Pieces, M. Rozsa Sonatina, Sutermeister Capriccio or Smith Five Pieces
Orchestral Excerpts, such as Beethoven Symphonies #6 and #8, Brahms Symphony #3, Mendelssohn Scherzo from A Midsummer's Night Dream and Kodaly Dances of Galanta
Questions: Email Here
Bassoon suggested audition repertoire
Applicants should be prepared to play major and minor scales and arpeggios
Applicants should choose 2 selections- one fast and one slow- from repertoire such as the following:
A movement from a concerto by Vivaldi, Weber, or Mozart
A movement from a sonata by Galliard, Hindemith, or Telemann
An etude from Milde Concert Studies or Weissenborn Etudes
If you are interested in playing bassoon at SIUC as a non-music major, please contact Dr. Mackey by email for more information.
Questions: Email Here
Saxophone suggested audition repertoire
All Major, Natural Minor, Harmonic Minor, and Melodic Minor Scales - Full Range
Two contrasting etudes from Ferling 48 Studies, Lacour 8 Brilliant Etudes, or Bozza Douze Etudes-Caprices
One or Two Movements from one of the following compositions:
Play the Melody and Improvise several choruses over two of the following standards:
Trumpet suggested audition repertoire
Horn Audition Requirements
All audition material selected should be representative of the highest level possible for the individual player.
Bachelor of Music – Performance and Music Education majors:
- Two etudes in contrasting styles by Kopprasch, 60 Selected Studies Book 1 or 2; Concone/Shoemaker, Legato Etudes; or Maxime-Alphonse, Book II-IV
- R. Strauss, Concerto No. 1, first movement OR Mozart, Concerto No. 3, K. 446, first movement
- All Major Scales – covering the largest part of the individual player’s range
Bachelor of Arts
- Two etudes in contrasting styles by Kopprasch, 60 Selected Studies Book 1; Pottag, 335 Melodius Progressive, and Technical Studies, Maxime-Alphonse, Book II-III
- Saint-Saëns, Romance, Op. 36
- All Major Scales – 2 octaves
Trombone suggested audition repertoire
Any etude from Melodious Etudes Book 1 by J. Rochut (Bordogni)
Recommended solos:
Andante and Allegro -- Barat
Andante and Allegro -- Ropartz
Morceau Symphonique -- Guillmant
Sonata -- by either Galliard or Marcello
Concerto -- Rimsky-Korsakov
Concertino – David
Questions? Email Here
Baritone/Tuba suggested audition repertoire
Select etudes from:
1. 70 studies for BBb tuba, Book 1, by Vladislav Blazhevich, published by Robert King Music.
2. 40 Advanced studies for Bb Bass by Tyrell
Recommended solo literature includes :
-
Suite for Tuba and Piano by Don Haddad, published by Shawnee Press
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Suite for Tuba and Piano by Vaclav Nelhybel, published by G. Shirmer
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Sonata #3 in A Minor, by Vivaldi, transcribed by Winston Morris, published by Shawnee Press.
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Sonata #1 in F major by Marcello, arranged by Don Little, published by Southern Music Co.
Violin/Viola suggested audition repertoire
One movement of an Unaccompanied Bach Sonata or Partita
One movement of a concerto, preferably with accompaniment
One short piece from the 19th Century Romantic period.
Questions: Email Here
Cello suggested audition repertoire
Two contrasting movements from a Bach Suite
One movement from a concerto or major solo work by Haydn, Boccherini, Elgar, Saint-Saens, or Popper
Questions: Email Here
Double Bass suggested audition repertoire
One-octave major scales: all
Two-octave major scales: F, G, Ab and A
Two-octave melodic minor scales: E and F#
Simandl: "Etude No. 17: Tempo di Polacca" from 30 Studies
A slower, lyrical movement from a Baroque or Classical sonata, or a comparable work such as:
Purcell: Aria
Rachmaninoff: Vocalise
A faster, rhythmic movement from a Baroque or Classical sonata, or a comparable work such as:
Russell: any allegro movement from Buffo Set
Saint-Saens: "L'Elephant" from Le Carnaval des Animaux
Guitar suggested audition repertoire
Two and Three-octave major and minor scales (Andres Segovia edition).
Any selections from the Twenty Studies for Guitar by Fernando Sor (Segovia edition).
Selected solo repertiore from the Renaissance (Milan,Dowland,etc.)
Baroque(Sanz, Bach, etc.)periods.
Sight-reading proficiency.
Questions: Email Here
Piano suggested audition repertoire
UNDERGRADUATE MUSIC MAJORS & GRADUATES/UNDERGRADUATES SEEKING ELECTIVE CREDIT:
- TECHNIQUE: Be prepared to play any of the 12 Major scales, hands together, a minimum 2 octaves ascending and descending, at a metronome speed in the range of 60-100, 4 notes per beat. Minor scales in natural, harmonic and melodic forms, as well as triad and 4-note arpeggios may also be requested, but are not necessarily required for acceptance into an applied piano studio.
- REPERTOIRE: Perform 2 pieces of contrasting periods/styles from the standard Classical piano literature, at least one of which should be performed from memory. Representative examples include (but are not limited to) the following:
- Baroque: J. S. Bach 2 or 3-Part Inventions or Prelude/Fugue from Well-Tempered Clavier, Scarlatti Sonata, etc.
- Classical: Sonata movement by Haydn, Mozart, Beethoven, Clementi, etc.
- Romantic: Chopin Waltzes or Nocturnes, Mendelssohn Songs without Words, Brahms Intermezzi, or works by Schumann, Liszt, etc.
- 20th Century: Debussy Preludes, Bartok Bagatelles, shorter works by Kabalevsky, Prokofiev, Shotakovich, etc.
- SIGHT-READING: Sight-read a brief excerpt selected by the piano faculty.
M.M. GRADUATE PIANO AND PEDAGOGY MAJORS:
Present a well-balanced solo program of at least 30 minutes' length including at least 3 style periods from the standard Classical literature. Technical requirements will include solid proficiency in all Major and minor scales and arpeggios, hands together, 4 octaves at a minimum metronome speed of 80, 4 notes per beat. A brief sight-reading demonstration will also be requested.
Questions: Email Here
Percussion Audition Guidelines
Each candidate is scheduled a 30-minute audition. You should prepare approximately 20 minutes of music demonstrating musical competency and instrumental versatility. 10 minutes of your audition is allotted for an interview to answer your questions, discuss your past musical experiences and future career goals, and review your audition.
The prepared material should demonstrate understanding of fundamental sound production, rhythmic control, and the necessary technical proficiency in at least two of the following areas:
Snare Drum
1. Solo/Etude – Rudimental and/or Orchestral style
2. Sight Reading (provided at the audition)
Keyboard
1. Major scales and natural minor scales
2. Solo/Etude - 2 or 4 mallets
3. Sight Reading (provided at the audition)
Drum Set
1. Demonstration of styles – swing, jazz waltz, funk, rock, Afro-Cuban (mambo, mozambique), Brazilian (samba, bossa-nova), etc.
2. Prepared solo or transcription (optional)
3. CD play-along (optional)
Timpani
1. Solo/Etude and/or orchestral excerpts
2. Demonstrate tuning ability and pitch matching
Demonstration of abilities in other areas such as hand drums, multiple percussion, orchestral accessories, or steel drums is acceptable and highly encouraged. Supplemental audio and/or video recordings of these additional areas may be submitted at/or prior to your audition. Original compositions may be performed or submitted in hard copy, audio, and/or video formats. For any questions concerning audition materials or procedure please contact:
Ron Coulter, Percussion
Southern Illinois University
School of Music, MC 4302
Carbondale, IL 62901-4302
618-453-2823
Vocal
MM in Opera/Music Theater audition requirements
1 Musical Theater selection appropriate to voice and type
1 Aria, preferably in a foreign language appropriate to vocal type
1 30-60 second monologue, preferably comic.
Head shot and 1 page resume of performed roles and training.
If you are unable to audition in person, we will accept DVD recordings.
MM in Vocal Performance audition requirements
2 Art songs of varying language and style.
1 song or aria composed within the last 50 years
1-2 Arias, preferably in a foreign language appropriate to vocal type
1-2 Page resume of performance experience and literature performed.
If you are unable to audition in person, we will accept DVD recordings.
Questions: Email Here
Conducting Audition Guidelines
Applicants are required to submit an initial screening videotape/DVD of a performing group they have conducted recently. It is preferred that the tape be a rehearsal and the conducting applicant be facing the camera. The purpose of this tape is to aid in the evaluation of the candidate's conducting competency.
Following the receipt of application materials, the conducting faculty will review each file to determine which candidates will be invited to campus for an audition (the on-campus audition may be waived in specific cases). The audition date will be determined in consultation with the candidate. All travel arrangements and expenses associated with the audition process are the responsibility of the candidate.
The on-campus audition will include an interview, live conducting in the major area, and performance in the principal performing area (refer to "suggested audition repertoire" above for appropriate audition material and/or contact the appropriate applied faculty).
Conducting Faculty
Choral: Dr. Susan Davenport
Orchestral: Mr. Edward Benyas
Wind: Dr. Christopher Morehouse