Department of Music

Auditions

Auditions are held on campus each spring for prospective music majors. An audition is required of all students. One audition serves as both an entrance/placement audition as well as an audition for scholarship consideration.

Students who are planning to major in music performance or music education should schedule their auditions for one of the three advertised audition dates. Students who intend to minor in music do not audition during the advertised audition schedule and are auditioned in August during the first week of classes. For students unable to attend one of the published on-campus audition dates, recorded auditions are acceptable (see details below). All recorded auditions must be received prior to the final audition date for consideration. 

For ensemble auditions (instrumental or vocal), please visit the Ensembles page by clicking here. 

Audition Schedule

12/9/17 – ALL Auditions

1/20/18 – Brass/Woodwinds, Percussion

2/8/18 – AU Symphonic Honor Band Participants Majoring in Music ONLY

2/10/18 – Piano/Voice/Strings


To receive an audition appointment, students must:

1. Submit the University application (online)
2. Submit the Department of Music application (online)

Due to the limited number of audition appointments, students are strongly encouraged to apply as early as possible in order to receive a requested audition date. Audition appointments are only assigned upon completion of the above steps by the required deadlines. Completed Department of Music Applications must be received no later than one week prior to the requested audition date. Students are notified by e-mail of their scheduled audition time.

Students who are unable to attend any of the on-campus auditions may submit a high-quality CD or DVD recording. The recording does not have to be professionally made, however we recommend that you ensure the recording is of high quality without technical problems (e.g. issues with format or volume). Recordings must be received by the final audition date for consideration. Students submitting a recorded audition must still submit an application.

Audition Requirements

Audition requirements for each area are listed below. Requirements specific to each instrument are also listed. You may bring an accompanist, but no accompaniment is required. The Department does not provide piano accompanists. Questions about audition requirements and recommendations should be directed to the applied faculty. In addition to auditioning, students will also be interviewed by the audition committee. This interview needs no advance preparation and is simply a way for students to introduce themselves to the faculty, briefly discuss their background and outline their academic and musical aspirations.

Horn

  1. Scales: All scales two-octave with at least one three-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: All major scales (two octaves where applicable); G chromatic scale 2 octaves
  2. One solo piece or movement from a multi-movement work. Suggested repertoire by: Arutunian, Balay, Barat, Bozza, Haydn, Hummel, Kennan, Ropartz, or of similar ability.
  3. One etude or solo piece showing contrasting style from 2. Suggested etudes by: Arban, Bousquet, Brandt, Charlier, Concone, Getchell, Goldman, Small, Wurm, or of similar ability.

Questions? Contact Mark DeGoti

Low Brass

  1. All major scales two octaves; Full range chromatic scale
  2. 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

Percussion

Required - Concert Snare Drum

  1. An etude from such methods as Anthony Cirone’s Portraits in Rhythm or Jacques Delecluse’s Douze Etudes pour Caisse-Claire (12 Etudes for Snare Drum). The piece should demonstrate your technical and musical ability, and be played in its entirety.
  2. Rudiments – you will be asked to demonstrate rudiments from the PAS 40 standard rudiments sheet.

Required - Keyboard – Marimba, Xylophone or Vibraphone, 2 and/or 4 mallets

  1. Choose a piece (2 or 4 mallet, or one of each) that fully demonstrates your technical and musical ability. Your selection should be a published, full length piece. Pieces from collections or methods are acceptable as long as they are of sufficient length and difficulty. Some composers to consider may include Smadbeck, Stout, Abe, Sammut, Bach, Green, Gomez, etc.
  2. Major scales, 2 octaves and sight reading.

Required - Timpani

  1. An etude from methods books such as Saul Goodman’s Modern Method for Timpani, Vic Firth’s The Solo Timpanist, or Raynor Carroll’s Exercises, Etudes, and Solos for the Timpani. Students should provide their own pitch source for tuning.
  2. Additional interval singing and/or tuning the drums.

Optional:

  • Rudimental Snare Drum.
  • A solo from methods such as Freytag’s Rudimental Cookbook.
  • A drum set play-along from such methods as Tommy Igoe’s Groove Essentials, Steve Houghton’s Essential Styles, etc., demonstrating all musical styles that you are familiar with.

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

Questions? Contact Doug Rosener at rosendb@auburn.edu.

Piano

BM Performance and Music Minor

  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

Bachelor of Arts and Music Education

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

Recordings may be submitted at the discretion of the faculty.

Questions? Contact Jeremy Samolesky

Strings

Violin

Music Education, Bachelor of Arts, Music Minors
  1. One three-octave scale of your choice
  2. One Kreutzer etude
  3. One movement from any of the following: Bach, unaccompanied sonatas and partitas; Violin concertos, sonatas or solo pieces from the Baroque (Bach, Handel, Vivaldi, etc.) through the Classical periods (Mozart, Haydn, etc.)
Bachelor of Music
  1. One three-octave scale of your choice
  2. One etude from the following collections: Kreutzer, Rode, Dont
  3. One movement from an unaccompanied sonata or partita by Bach
  4. First movement from a violin concerto, sonata, or a substantial solo piece from the Classical period (Mozart, Haydn, etc.), 19th century (Mendelssohn, Bruch, Tchaikovsky, etc.), or 20th century (Sibelius, Prokofiev, Bartók, etc.)

Questions about Violin? Contact Guy Harrison at gharrison@auburn.edu.

Viola

Music Education, Bachelor of Arts, Music Minors
  1. One three-octave scale of your choice
  2. One selection each from any two of the following categories, for a total of two selections: One movement of unaccompanied Bach, or one unaccompanied work ; One movement from a standard sonata, e.g., Brahms, Schubert, Schumann, Shostakovich or a comparable work ; One movement from the Bartok, Walton, or Hindemith concertos or a virtuoso movement from a standard classical concerto
Bachelor of Music
  1. One three-octave scale of your choice
  2. One movement of unaccompanied Bach, or one unaccompanied work
  3. One movement from a standard sonata, e.g., Brahms, Schubert, Schumann, Shostakovich or a comparable work
  4. One movement from the Bartok, Walton, or Hindemith concertos or a virtuoso movement from a standard classical concerto

Questions about Viola auditions? Contact Guy Harrison at gharrison@auburn.edu.

Cello

Music Education majors, Bachelor of Arts, Music Minors
  1. One three-octave scale of your choice
  2. One etude of your choice
  3. One work from the following, its equivalent or more advanced: J.S. Bach, any of the Unaccompanied Suites (1 movement, no repeats); One or two movements from a standard sonata; Saint-Saens: Allegro Appassionato; Bruch: Kol Nidre, or Faure: Elegie.
Bachelor of Music
  1. One three-octave scale of your choice and one three-octave arpeggio
  2. One etude from the following collections: Duport or Popper
  3. Your personal choice of two selections from the following three options:
    • Two contrasting movements from an Unaccompanied Suite by J.S. Bach [no repeats]
    • The first movement from a major concerto (ex. Boccherini, Haydn, Lalo, Saint-Saens, or its equivalent)
    • One movement from a standard sonata
  4. One standard orchestra excerpt by Beethoven, Brahms, or Mozart representing your highest level of orchestral playing ability

Questions about Cello? Contact Guy Harrison at gharrison@auburn.edu.

Double Bass

Music Education majors, Bachelor of Arts, Music Minors
  1. One two-octave scale of your choice
  2. One etude of your choice
  3. One solo piece from any of the following categories: Two contrasting movements from a baroque sonata, e.g. Marcello, Eccles, or comparable work; One movement from a standard double bass concerto; or a solo piece representing your highest level of playing ability from George Vance’s “Progressive Repertoire for the Double Bass, Vol.3” or, “Solos for the Double Bass Player” by Oscar Zimmerman
Bachelor of Music
  1. One two-octave scale of your choice and one two-octave arpeggio
  2. One etude from any of the following collections: Simandl, J. Hrabe, Storch-Hrabe, Bille, or Nanny.
  3. Your personal choice of two selections from the following three options:
    • One movement from an Unaccompanied Suite by J.S. Bach [no repeats]
    • One movement from a major concerto (ex. Capuzzi, Dittersdorf, Dragonetti, Koussevitsky, or Bottesini)
    • One movement of a sonata (ex. Marcello, Eccles, Vivaldi, or comparable work), or a single solo work (such as Keyper- Romance and Rondo, Lorenzitti- Gavotte, or a comparable work)
  4. One standard orchestra excerpt by Beethoven, Brahms, or Mozart representing your highest level of orchestral playing ability

Questions about Double Bass? Contact Guy Harrison at gharrison@auburn.edu.

Guitar

Music Education, Music Minors
  1. Sight reading of standard music notation
  2. One two-octave major scale of your choice
  3. One published piece of your choice from the standard classical guitar repertoire
Bachelor of Music, Bachelor of Arts
  1. Sight reading of standard music notation
  2. One two-octave major scale of your choice
  3. Two published pieces of your choice of contrasting style from the standard classical guitar repertoire

Questions? Contact Joseph Ikner at wji0004@auburn.edu.

Voice

  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 the 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. The Music Department will provide an accompanist for vocal auditions. Music for the accompanist must be in either original form or two-sided copies in a black binder. Recorded accompaniment is discouraged. Professional attire is recommended.
  4. You will be responsible for sending a list of titles, composers, and keys of all repertoire to be performed two weeks before your audition date. This list should be emailed to music@auburn.edu.

Questions? Contact Dr. Matthew Hoch.

Woodwinds

Prepare scales according to the specifications listed for your instrument. Sight-reading may be asked.

Flute

  1. Several two-octave major scales may be heard. Any articulation is acceptable. Scales need not be memorized. Chromatic scale from your lowest note to your highest note.
  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 Andersen, Gariboldi or Berbiguier).
  3. Performance majors only: One of the two contrasting pieces must be a movement from a standard flute sonata or concerto.

Questions? Contact Alina Windell

Oboe

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

Questions? Contact Kristin Leitterman

Clarinet

  1. Several major scales may be heard. Scales need not be memorized. Articulated ascending, slurred descending. One three-octave scale will be required. Chromatic Scale from low E to high G (or your highest note).
  2. 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).
  3. Performance majors 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. Chromatic scale from your lowest note to your highest note.
  2. Two contrasting pieces. May be from standard etude books (such as Weissenborn) or standard solo and concerto repertoire.
  3. Performance majors 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 Kristin Leitterman

Saxophone

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

Questions? Contact Mike Pendowski

Last Updated: September 20, 2017