Audition Requirements

• Two memorized classical art songs or arias in contrasting styles. We recommend that one piece be in English and one be in a foreign language to be considered for a scholarship.
• The faculty will be listening for clarity of tone and diction, flexibility in the voice, and interpretive/dramatic elements as they apply to your selections.
• Please send copies of the music for the songs you’ll perform at your live audition must be uploaded to Acceptd when submitting your application materials.
• Sightreading will be included in the audition

• 2 memorized pieces in contrasting styles (examples include, but are not limited to, a Bach Two or Three-part Invention or Prelude and Fugue, a first movement of a Classical period Sonata, a Chopin Nocturne or equivalent Romantic or 20th Century work).
• All major and minor scales and arpeggios, 2 octaves.
• Sight reading will be included in the audition

• Two pieces/movements in contrasting styles (i.e. two contrasting movements from a concerto; a movement of a concerto and a movement of Bach’s unaccompanied works; a show piece and a slow work; a movement of a concerto and a movement of a sonata; two contrasting movements from a sonata)
• An etude
• Three octave scales and arpeggios (up to three sharps and three flats, slurred or staccato). Scales: 4, 8, 12, or 24 notes per bow. Arpeggios: 3 or 9 notes per bow.
• Sightreading will be included in the audition.
• For scholarship consideration: at least one movement from a concerto by such composers as Bruch, Wieniawski, Saint-Saens, Sibelius, Tchaikovsky, and a movement of an unaccompanied Bach sonata or partita.

• Two movements in contrasting styles. An example is a movement of a concerto by Stamitz or Hoffmeister, and a piece such as the Bloch Suite Hebrique or Hindemith Trauermusik. One should be played from memory.
• An etude, such as one by Kreutzer, Mazas, Campagnoli, etc.
• Sight reading will be included in the audition
• For scholarship consideration, both movements should be memorized.

• Two pieces/movements in contrasting styles (i.e. two contrasting movements from a concerto; a movement of a concerto and a movement of Bach’s unaccompanied works; a show piece and a slow work; a movement of a concerto and a movement of a sonata; two contrasting movements from a sonata)
• An etude
• Three octave scales and arpeggios (up to three sharps and three flats, slurred or staccato). Scales: 4, 8, or 12 notes per bow. Arpeggios: 3, 6 or 9 notes per bow.
• Sightreading will be included in the audition.
• For scholarship consideration: at least one movement from a concerto and a movement of an unaccompanied Bach sonata.

• Two contrasting movements of a concerto or sonata OR one movement of a concerto or sonata and a contrasting work.
• An etude – Simandl, Bille, Sturm or Storch-Hrabe
• One orchestral excerpt of applicant’s choice
• Two scales: one major and one melodic minor; applicant’s choice; 3 octaves
• Sight reading will be included in the audition

• Two pieces/movements in contrasting styles: Renaissance Lute work or a movement of Bach from either a solo cello suite, lute suite, or violin sonata/partita; and a piece or movement from either the 18th century repertoire (Sor, Guilliani, etc.), 19th century repertoire (Tarrega, Mertz, etc.) or the 20th century repertoire (Brouwer, Villa-lobos, Rodrigo, etc.)
• Scales in all 12 keys, major and minor, 1-2 octaves
• Sight reading will be included in the audition

• Two contrasting solo works or movements from standard solo repertory representing different historical periods and demonstrating an understanding of different musical styles. For performance emphasis, both works should be memorized.
• Sight reading will be included in the audition

• Two pieces from the solo literature (two movements of the same sonata is preferable, but not required): One piece demonstrating slow, lyrical playing and one piece demonstrating technical agility. Appropriate repertoire can include: Mozart or other substantial concerto; Bach sonatas; repertoire from the “Flute Music by French Composers” collection. Scholarship applicants must have a movement of a concerto
• A third piece which can be either a movement from a concerto or an etude.
• All major scales in two octaves, three octaves where appropriate
• Sight reading will be included in the audition

• Two contrasting movements of a major oboe concerto
• Two contrasting etudes
• Major scales up to three sharps and three flats
• Sight reading will be included in the audition

• Prepare all major scales in two octaves, and three octaves for E, F, G. Chromatic scale: Lowest E to high G. Scales do not need to be memorized. They should be played at a steady tempo in 8th notes at quarter note = 40 or faster in the articulation pattern of your choosing.
• Your audition should show your best self and demonstrate what you’re capable of. Present a balance of fast/slow, lyrical/technical. The repertoire requirements are flexible so you can select music that makes you feel confident and that resonates with you. Select two to three contrasting works, selected from etudes and/or solo repertoire. Any questions about repertoire choice can be directed to Dr. Natalie Groom at ngroom@umbc.edu.
  • Examples of etudes: Kirsten Denny-Chambers Finger Fitness Etudes, Mauricio Murcia 30 Short Colombian Pieces, Cyrille Rose 32 Etudes or 40 Etudes.
  • Examples of accompanied repertoire, and note that works for clarinet/piano do not have to be performed with accompaniment at the audition: Gerald Finzi Five Bagatelles, Augusta Holmès Fantaisie, Zenobia Powell Perry Sonatine, Marie-Elisabeth von Sachsen-Meiningen Romanze, Carl Stamitz Concerto No. 3, Carl Maria Von Weber Concertino or
  • Examples of unaccompanied repertoire: Malcolm Arnold Fantasy, Jenni Brandon Chansons de la Nature, Kirsten Denny-Chambers This Time Tomorrow, Katherine Hoover Set for Clarinet, Willson Osborne Rhapsody, Roberto Sierra Cinco Bocetos.
• Sight reading will be included in the audition.
• If bass clarinet is the primary instrument, at least half of the audition scales and repertoire should be played on soprano clarinet.

• Two contrasting pieces from either the standard repertoire or etudes. Examples include: Paul Creston: Sonata for Alto Saxophone, Eugène Bozza: Improvisation et Caprice, W. Ferling: 48 Famous Studies for Oboe or Saxophone, Voxman: Selected Studies.
• All major scales and full range chromatic scale
• Sight reading will be included in the audition

• Two contrasting works or movements from works that demonstrate your ability technically and musically.
• An additional piece of material that exemplifies your musicianship and versatility (i.e. an orchestral excerpt, an etude, etc.)
• Major and chromatic scales
• Sight reading will be included in the audition

• Two contrasting selections of your choice; suggested, though not required, repertoire includes: Mozart Concertos 1-4; Franz Strauss: Nocturno, Op. 7; Franz Strauss: Concerto, Op. 8; Richard Strauss: Concerto No. 1 in E Major, Op. 11 or comparable solo. It is recommended, but not required, to choose as one of the two works one etude from one of the following books: Kopprasch, 60 Selected Studies for French Horn; Maxime-Alphonse, Two Hundred New Melodic and Gradual Studies, Gallay, 12 Etudes for Second French Horn, Op 57 or comparable etude.
• Scales up to 4 sharps and 4 flats, two octaves when possible. Two octave Chromatic Scale on a starting not of your choice.
• Sight reading will be included in the audition.

• Two contrasting selections of your choice; suggested repertoire includes: Balay: Andante and Allegretto; Hindemith: Sonata for Trumpet and Piano, first movement; Kennen: Sonata for Trumpet and Piano, first movement; Haydn: Concerto in E-Flat for Trumpet, first movement; Hummel: Concerto in E-Flat, first movement.
• Scales up to 4 sharps and 4 flats, 2 octaves when possible; 2 octave chromatic scale on a starting note of your choice—from low F# to high C if possible
• Sight reading will be included in the audition

• Two pieces or movements in contrasting styles demonstrating the candidate’s musicality and abilities on the instrument.
• Scales up to 4 sharps and 4 flats, two octaves when possible. Two octave Chromatic Scale on a starting note of your choice.
• Sight reading will be included in the audition.

• Two pieces or movements in contrasting styles demonstrating the candidate’s musicality and abilities on the instrument, one piece demonstrating slow, lyrical playing and one piece demonstrating technical agility. It is encouraged, but not required, to prepare as one of the selections a lyrical etude from Rochut, Melodius Etudes for Trombone Vol. 1
• Scales up to 4 sharps and 4 flats, two octaves when possible. Two octave Chromatic Scale on a starting note of your choice.
• Sight reading will be included in the audition.

• Two pieces or movements in contrasting styles demonstrating the candidate’s musicality and abilities on the instrument  One piece demonstrating slow, lyrical playing and one piece demonstrating technical agility. It is encouraged, but not required, to prepare as one of the selections a lyrical etude from Bordigni’s Bel Canto Studies or Rochut, Melodius Etudes for Trombone Vol. 1.
• Scales up to 4 sharps and 4 flats, two octaves when possible. Two octave Chromatic Scale on a starting note of your choice.
• Sight reading will be included in the audition.

• Mallets: A solo for marimba or vibraphone using two or four mallets.
• Snare Drum: A solo for snare drum in the concert or rudimental style.
• Choose one or more of the following:
  • Timpani: A solo, etude, or several orchestral excerpts.
  • Drum Set: A solo and/or a demonstration of a variety of styles.
  • Multiple Percussion: A solo for any combination of percussion instruments.
  • World Percussion Instruments: A solo or improvisation.
• Sight reading for snare drum and mallet instruments will be included in the audition.

• Two prepared pieces: 1) A mid-tempo jazz standard (Students applying for Jazz Performance must include improvisation). 2) A piece demonstrating instrumental facility. Examples include an up-tempo jazz composition, a classical etude or repertoire, a jazz transcription, or a solo arrangement.
• 12 major scales and chromatic scale.
• Basic seventh chord arpeggios (root position) in all keys. Piano, guitar, and mallet percussion also need to demonstrate voicings.
• Sightreading will be included in the audition
• Jazz Mallet Percussion – All major scales, two octaves; Chromatic scale, two octaves; sightreading
• Jazz Drumset – 26 Percussive Arts Society International drum rudiments. Demonstrate a variety of grooves and tempi; prepare a solo piece for jazz drumset (example: jazz etude or transcription); Soloing: trading fours with yourself (alternate 4 bars soloing/improvising–and 4 bars playing time) at medium swing tempo, metronome marking quarter note = 120-160; Sightreading, chosen from a standard big band chart.

• If you are auditioning in a jazz-style idiom, improvisation is optional.
• 2-3 original scores (in PDF format) and recordings of those pieces if available;
• An artistic resume outlining your musical training and performance/composition experience.

• If you are auditioning in a jazz-style idiom, improvisation is optional.
• Provide portfolio audition materials that includes the following:
  • 1) at least three examples of audio recordings you have had a hand in engineering.
  • 2) a text file explaining your role in the recording and how you made it.
  • 3) an artistic resume outlining your musical training and experience.
  • 4) A 1-2 minute video of you playing your primary instrument

You will audition on your primary instrument (e.g., viola, voice, bassoon). Please see above for instrumental or vocal audition requirements.