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2018-2019 Auditions

The audition is performed for representative members of the music performance faculty. Evaluations are based on technical and musical proficiency. Auditions are scheduled only after complete application materials have been received. Because of faculty availability and the high volume of applicants, we are unable to honor special requests for particular times on an audition day. Please allow the entire day (8 a.m. – 6 p.m. for instrumental/piano and 8 a.m. – 8 p.m. for voice) for auditions when making travel arrangements. Please pay special attention to the application deadlines and audition requirements for your specific program of interest.

An audition date/time will be scheduled only after complete application materials are received. Once an audition confirmation email has been sent, a $10 Audition Change fee applies to any change to the assigned date or time requested by the applicant. Please allow the entire day (8 a.m. – 6 p.m.) for auditions when making travel arrangements.

Dates + Repertoire

All applicants are required to perform a live audition or submit an audition recording.

The November audition date is for spring admission only. January and February audition dates are for fall admission.

Bassoon (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Bassoon (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Master of Music

Prepare a 20-minute audition including the following:

  • Two or three movements from solo works of contrasting periods (Baroque, Classical/Romantic, and 20th Century).
  • Two etudes chosen from the following or comparable collections:
    • Milde
    • Bozza
    • Dubois
    • Bianchi
    • Bertoni
    • Boutry
    • Bitsch
  • Two contrasting orchestral excerpts.
  • Scales: All scales and arpeggios.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of a 20-minute audio recording of the following:

  • One to two movements of a standard piece.
  • One piece demonstrating command of 20th/21st century techniques.
  • Additional selections of the applicant's choice.

For the live audition, prepare a 30-minute audition including the following:

  • Three works of contrasting periods (Baroque, Classical/Romantic, and 20th Century).
  • Two etudes chosen from the following or comparable collections:
    • Milde
    • Bozza
    • Dubois
    • Bianchi
    • Bertoni
    • Boutry
    • Bitsch
  • Three contrasting orchestral excerpts.
  • Scales: All scales and arpeggios

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Cello (TBD)

Cello (TBD)

Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

  • An outer movement of a standard concerto.
  • J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
  • An etude by Popper or Piatti.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • An outer movement of a standard concerto and two movements of unaccompanied Bach.

For the live audition, please prepare the following:

  • A complete concerto.
  • J.S. Bach: A complete unaccompanied cello suite.
  • An additional work of contrasting style.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Clarinet (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Clarinet (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Master of Music
The clarinet area keeps auditions less formulaic and does not have a required repertoire list so you have the opportunity to present yourself in what you feel is your best possible light. We suggest two contrasting works—these can be excerpts of pieces as well as a couple of short orchestral excerpts.

If you come to campus, the actual audition time is 20 minutes and we spend some time with you following the audition. If you upload a recording, make it no longer than 20 minutes and make certain it is of high quality and represents you at your best. While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of a 20-minute audio recording of the following:

  • One to two movements of a standard piece.
  • One piece demonstrating command of 20th/21st century techniques.
  • Additional selections of the applicant's choice.

A live audition is required for admission. Auditions are relatively structured to keep them as fair as possible. Choices of literature can be changed from the list below if changes are discussed and will “show you off” at your best. The audition for the DMA program consists of six sections:

  • A standard classical piece for clarinet such as a movement from Mozart: Concerto, K. 622.
  • A Romantic era work such as one or two movements of a Brahms sonata.
  • A 20th-century work with piano accompaniment such as Berg: Four Pieces or Berry: Fantasy in Five Statements.
  • A 20th-century unaccompanied work such as Stravinsky: Three Pieces for Solo Clarinet.
  • Orchestral excerpts such as the following:
    • Scheherazade, the excerpts from the International Series;
    • Mendelssohn: Mid-Summer Nights Dream
    • Capriccio Espagnol: first movement and cadenza only, and a slow excerpt of your choice.
  • A 5- to 10-minute interview.

Composition Interview (Nov. 17, Feb. 9, Feb. 16)

Composition Interview (Nov. 17, Feb. 9, Feb. 16)

To be considered for an interview, the composition program requires a prescreening portfolio to be uploaded to the School of Music Application:

  • Three to five of the applicant's strongest compositions demonstrating technical facility in a variety of genres. Recent works are preferred.
  • Materials should include scores in PDF and may include recordings.
  • Undergraduate applicants invited for an interview must also perform an audition to be considered for admission.

Applicants who pass the prescreening are scheduled for an live and in-person interview with the composition faculty on the ASU Tempe Campus. The interview day includes an ear training test and theory exam, which are required to be taken for teaching assistantship eligibility

Conducting: Choral (Audition by Invitation)

Conducting: Choral (Audition by Invitation)

Doctor of Musical Arts in Choral Conducting

To be considered for a live, in-person audition, applicants must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • A 10-minute video that shows you conducting in rehearsal. The camera should be placed from the point-of-view of the singers (not behind you), and all instructions to the choir should be clearly audible and understandable. An additional video from a performance is acceptable, but not required.

Conducting: Music Direction (Audition by Invitation)

Conducting: Music Direction (Audition by Invitation)

Master of Music in Music Theatre/Opera Direction

This is an entry-level degree in conducting with an emphasis in music direction for theatre. The program is geared toward those with strong keyboard/piano skills who are eager to learn the skills necessary for a successful career as a musical director. This competitive program admits only one student per year and includes study of both opera and musical theater repertoire. Since 1991, the graduates of this program have had a remarkable record of success, whether working in the profession, in academia or in pursuing further conducting study.

When submitting the Graduate Admissions Application, select Music Theatre/Opera Performance (MM) from the degree search list. There will be an opportunity to designate Music Theatre/Opera Direction as the emphasis on the Music Application.

Prerequisites

  • Basic knowledge of conducting technique.
  • Basic knowledge of opera and/or musical theatre repertoire.
  • Proficiency as an instrumental or vocal performer, including strong keyboard and sight-reading skills.
  • Those studying operatic repertoire should have demonstrable experience in French, German or Italian.

Prescreening
To be considered for a live, in-person audition, applicants must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Video recording of three pieces performed at the piano. Chosen repertoire should demonstrate as wide a range of repertoire as possible. 10–15 minutes in length total. Applicants who wish to use the same video in lieu of a live piano audition should be sure the repertoire adheres to the requirements of the recorded piano audition.
  • Video recording containing excerpts of the candidate leading a rehearsal or performance from either the keyboard or the podium with a small or varied ensemble (may include singers and piano/keyboard, or a small mixed ensemble or larger). 10–15 minutes in length total.

Live Audition
To successfully complete the entrance audition, the applicant must pass both a piano and music theatre/opera audition. The applicant must also submit a resume reflecting training and performance experience.

  • Piano Audition: Piano proficiency is important in both the audition process and throughout the course of study, which includes two semesters of master's level piano study. Applicants should prepare and perform from memory three piano works of varying periods and styles. The piano audition may be performed live for the piano faculty on one of the piano audition dates, or as an uploaded video recording.
  • Music Theatre/Opera Audition: The music theatre/opera audition must be performed live for the music theatre faculty. The audition takes approximately one hour, may not be scheduled on a regular audition date, and is arranged by invitation only (pending review of prescreening and application materials). If the applicant is performing a live piano audition, the Music Theatre/Opera audition will be scheduled the day before.
    • At the piano, the candidate will:
      • Perform one solo piano piece or movement from memory. Not to exceed 10 minutes.
      • Play and sing a prepared aria or solo excerpt from an opera or a musical of the applicant's choosing.
      • Play a prepared excerpt of a complex orchestral section of an opera or a musical such as an overture or dance selection of the candidate's choosing.
      • Sight-read excerpts from operas or musicals.
    • The candidate will conduct a pianist in a previously agreed upon excerpt from an opera or musical to demonstrate proficiency in the basic knowledge of conducting patterns, etc.
    • The candidate will be examined verbally by the faculty on her/his basic knowledge and experience in opera and/or musical theatre performance, repertoire, music theory, orchestration, full score familiarity, etc. Applicants on campus for the live audition will have the opportunity on the day of the audition to speak with current students, attend classes and rehearsals, and tour the facility.
    • If the candidate's major performance area is not piano, the candidate may also perform one memorized piece or movement in the applicant's major performance area (instrumental or voice). Not to exceed 10 minutes.

Conducting: Orchestra/Opera (Audition by Invitation)

Conducting: Orchestra/Opera (Audition by Invitation)

Master of Music in Orchestral Conducting

To be considered for a live, in-person audition, applicants must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Applicants are required to submit an initial screening video recording of recent conducting approximately 10 - 15 minutes in length. It is preferred that the video recording has both performance and rehearsal excerpts of contrasting repertoire and the conducting applicant be facing the camera.

Doctor of Musical Arts in Orchestra/Opera Conducting

To be considered for a live, in-person audition, applicants must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Applicants are required to submit an initial screening video recording of recent conducting approximately 10 - 15 minutes in length. It is preferred that the video recording has both performance and rehearsal excerpts of contrasting repertoire and the conducting applicant be facing the camera.

Conducting: Wind Band (Audition by Invitation)

Conducting: Wind Band (Audition by Invitation)

Master of Music and Doctor of Musical Arts in Wind Band Conducting

To be considered for a live, in-person audition, applicants must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Applicants are required to submit an initial screening video recording of recent conducting approximately 10 - 15 minutes in length. It is preferred that the video recording has both performance and rehearsal excerpts of contrasting repertoire and the conducting applicant be facing the camera.

Double Bass (Feb. 9, Feb. 16)

Double Bass (Feb. 9, Feb. 16)

Spring 2019 applicants should contact Professor Catalin Rotaru directly to scheduel an ad-hoc audition. The dates listed above are for fall admission only.

Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

  • Two contrasting movements of a standard concerto.
  • A movement of a standard sonata.
  • A shorter work from an additional style period.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • An outer movement of a standard concerto and two movements of unaccompanied Bach.

For the live audition, please prepare the following:

  • A complete concerto.
  • J.S. Bach: 3-4 contrasting movements from any of the unaccompanied cello suites.
  • An additional work of contrasting style.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Euphonium (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Euphonium (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

 The entrance audition must display a level of development in embouchure, articulation, range, tone, flexibility and musicality that allows you to start with the listed repertoire or comparable literature. Piano accompaniment is not required for brass auditions.

Master of Music

  • Scales: Major and minor scales.
  • Sight-reading.
  • Six band/orchestra excerpts.
  • Two selections from the following:
    • Charlier: 36 Etudes: Transcendantes
    • Arban: Characteristic Studies
    • Joseph Horovitz: Concerto for Euphonium
    • James Curnow: Symphonic Variants
    • Jan Bach: Concert Variations
    • David R. Gillingham: Blue Lake Fantasie
    • Simone Mantia: All Those Endearing Young Charms
    • Rolf Wilhelm: Concertino for Euphonium and Piano
    • John Stevens: Concerto for Euphonium

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Two solo works or movements of contrasting style.
  • Three standard excerpts.

For the live audition, please prepare the following:

  • Scales: Major and minor scales.
  • Sight-reading.
  • Six band/orchestra excerpts.
  • Two selections from the following:
    • Charlier: 36 Etudes: Transcendantes
    • Arban: Characteristic Studies
    • Joseph Horovitz: Concerto for Euphonium
    • James Curnow: Symphonic Variants
    • Jan Bach: Concert Variations
    • David R. Gillingham: Blue Lake Fantasie
    • Simone Mantia: All Those Endearing Young Charms
    • Rolf Wilhelm: Concertino for Euphonium and Piano
    • John Stevens: Concerto for Euphonium

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Flute (Jan. 26, Feb. 9, Feb. 16)

Flute (Jan. 26, Feb. 9, Feb. 16)

The Flute studio only accepts applications for Fall admission. No openings are available for Spring admission.

Master of Music

  • Mozart: One movement from either the G Major or D Major Concerto.
  • Two 20th-century works for solo flute or flute and piano.
  • Three orchestral excerpts.

While recorded auditions are acceptable for the Master of Music, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

 The prescreening consists of a 20-minute audio recording of the following:

  • One to two movements of a standard piece.
  • One piece demonstrating command of 20th/21st century techniques.
  • Additional selections of the applicant's choice.

A live audition is required and consists of the following:

  • Mozart G-major Concerto.
  • Five orchestral excerpts.
  • A variety of repertoire from the Baroque, Romantic, and 20th-century periods: one major work from each period either for solo flute or flute and piano.

Guitar (TBD)

Guitar (TBD)

Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

  • Three contrasting works such as selected movements from a multi–movement work (a suite, sonata, or concerto), a theme with variations, a modern work, etc.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Four contrasting works showing advanced technique and interpretative skills, such as a complete Baroque suite or concerto.

For the live audition, please prepare the following:

  • Four contrasting works showing advanced technique and interpretative skills, such as a complete Baroque suite or concerto.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Harp (Auditions by Appointment)

Harp (Auditions by Appointment)

Applicants may use ASU school harps to practice and audition on. ASU owns a Lyon & Healy 85 CG. Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

All solos are to be performed from memory.

  • One solo of choice, from the standard harp repertoire.
  • One solo work from the Baroque or Classical period.
  • One solo work from the 20th Century period.
  • Two Orchestral Cadenzas.
  • LaRiviere: Etude No. 36 in E-flat.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • 20-30 minutes of any portion of a public recital, concerto, or chamber music performance showcasing your ability in the most positive way.

For the live audition, please prepare the following. All solos are to be performed from memory.

  • One solo of choice, from the standard harp repertoire.
  • One solo work from the Baroque or Classical period.
  • One solo work from the 20th Century period.
  • Two Orchestral Cadenzas.
  • LaRiviere: Etude No. 36 in E-flat.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Horn (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Horn (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

 The entrance audition must display a level of development in embouchure, articulation, range, tone, flexibility and musicality that allows you to start with the listed repertoire or comparable literature. Piano accompaniment is not required for brass auditions.

Master of Music

  • Transposing at sight.
  • Orchestra excerpts to include:
    • Brahms: Symphony No. 3 (third movement–first horn)
    • Strauss: Till Eulenspiegel (opening calls–first horn)
    • Four other orchestral excerpts of the applicant's choice
  • Two works comparable in difficulty to the following representative samples:
    • Dukas: Vilanelle
    • Gliere: Concerto
    • Haydn:Concerto No. 1
    • Jacob: Concerto
    • Mozart: Concerto No. 2 or 4
    • Schumann: Adagio and Allegro
    • R. Strauss: Concerto No.2

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Two solo works or movements of contrasting style.
  • Three standard excerpts.

For the live audition, please prepare the following:

  • Transposing at sight.
  • Orchestra excerpts to include:
    • Brahms: Symphony No. 3 (third movement–first horn)
    • Strauss: Till Eulenspiegel (opening calls–first horn)
    • Four other orchestral excerpts of the applicant's choice
  • Two works comparable in difficulty to the following representative samples:
    • Dukas: Vilanelle
    • Gliere: Concerto
    • Haydn:Concerto No. 1
    • Jacob: Concerto
    • Mozart: Concerto No. 2 or 4
    • Schumann: Adagio and Allegro
    • R. Strauss: Concerto No.2

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Jazz Instruments (Nov. 17, Jan. 26. Feb. 9, Feb. 16)

Jazz Instruments (Nov. 17, Jan. 26. Feb. 9, Feb. 16)

Master of Music in Performance with an emphasis in Jazz Studies

Each candidate will perform a 20–30 minute audition accompanied by members of the jazz studies faculty. Candidates will also take both a jazz theory (90 minutes) and piano skills (15 minutes) diagnostic exams on the day of the audition.

This degree is offered on the following instruments:

  • Double Bass
  • Guitar
  • Piano
  • Percussion
  • Saxophone
  • Trombone
  • Trumpet
  • Tuba
  • Woodwind and string auditions are at the discretion of the jazz studies faculty.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. Applicants must demonstrate improvisational skills on a recorded audition. See "Recordings + Portfolios" for technical specifications.

Bring to Your Audition:

  1. Your instrument
  2. 3 copies of lead sheets in concert key for songs that you wish to perform
  3. Drummers: cymbals and hi-hats (if desired), sticks, brushes
  4. Guitarists and Bassists: bring your own cords

We Will Supply:

  1. Amplifiers
  2. Drum set
  3. Piano
  4. Stereo system

Audition Repertoire

The titles suggested in this section illustrate the kind and quality of music appropriate for an audition. Applicants are free to choose a program using music from this list or music of comparable quality. Candidates for all instruments (except for drum set: see separate requirements) should prepare something similar to the following, although not all selections may be heard:

  • Required with improvisation on all selections:
    • Ballad, in tempo (Body and Soul, Embraceable You, In a Sentimental Mood, etc.)
    • Jazz Standard, moderate to up-tempo (All the Things You Are, Stella By Starlight, There Is No Greater Love, etc.)
    • Rhythm Changes (I Got Rhythm, Anthropology, Oleo, etc.)
    • Straight-Eighth tune, moderate tempo or faster (Recorda-Me, Wave, etc.)
    • 12-Bar Blues, any tempo
  • Sight Reading: Candidates will be asked to play written lines, interpret chord symbols, and improvise from chord changes at sight from the standard jazz repertoire.

Instrument-Specific Requirements

  • Piano and Guitar (strongly encouraged for all other candidates): One of the above required pieces must be performed as an unaccompanied solo
  • Drum Set: Candidates for drum set will be asked to sight-read big band charts and demonstrate proficiency in the following areas: brush work at a ballad and medium fast swing tempo, Afro Cuban and related grooves (such as mambo, rhumba and bolero), Brazilian bossa nova, samba, contemporary rock, and grooves in 5/4 or 7/4. Candidates should be prepared to demonstrate ability to play time, delineate form and improvise over the following types of tunes: blues, rhythm changes (I Got Rhythm, Anthropology, Oleo, etc.), and modal (So What, Impressions, Little Sunflower, etc.). In addition, candidates will be asked to trade 4s, 8s and choruses.
  • Original compositions and non-standard repertoire are optional but acceptable as part of the audition and may be performed or submitted. Please keep in mind that the jazz faculty will not be available to rehearse. Bring 3 photocopies of each selection in lead sheet form.

Music Therapy (Jan. 26, Feb. 9, Feb.16)

Music Therapy (Jan. 26, Feb. 9, Feb.16)

An audition in functional music skills, involving the demonstration of advanced guitar accompaniment skills, piano accompaniment in several styles, improvisation skills and vocal abilities is required. Contact Robin Rio to arrange a live audition. A recorded audition may also be uploaded to the School of Music Application.

Prerequisites

  • Applicants with undergraduate degrees specifically in music therapy are eligible to apply for the Master of Music program in Music Therapy: Two Year Track.
  • Applicants with undergraduate degrees in music (Bachelor of Music or Bachelor of Arts in Music), but not specifically in music therapy, are eligible to apply for the Master of Music program in Music Therapy: Three Year Track.
  • Applicants without undergraduate degrees in music or music therapy are not eligible to apply and are instead recommended to pursue a bachelor's degree in music therapy from the ASU School of Music.

Audition Requirements

  • A short piece on your major instrument or voice
  • A simple song sung while accompanying yourself on the piano
  • A simple song sung while accompanying yourself on the guitar
  • A song sung without accompaniment
  • 1–2 songs you have written or adapted for a music therapy client

Oboe (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Oboe (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Master of Music

Prepare a 15- to 20-minute audition including the following (etudes are acceptable):

  • A Baroque selection from the standard oboe repertoire.
  • A post-1950 work from the standard oboe repertoire. 
  • One to two orchestral excerpts. 

While recorded auditions are acceptable for the Master of Music, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of a 20-minute audio recording of the following:

  • One to two movements of a standard piece.
  • One piece demonstrating command of 20th/21st century techniques.
  • Additional selections of the applicant's choice.

A live audition is required. Prepare a 30-minute recital including the following to demonstrate a very high level of musical and instrumental accomplishment:

  • Orchestral excerpts.
  • One selection in modern 20th-century language (i.e. not Poulenc or Hindemith).

Organ (Audition by Appointment)

Organ (Audition by Appointment)

Prospective organists should contact Dr. Kimberly Marshall directly to set up an ad hoc audition (by appointment). Organ auditions are not offered on regular audition dates.

Master of Music

You should prepare an audition program for the Fritts organ. The program should include 15–20 minutes of the following:

  • Some pre-Bach.
  • A work by Bach.
  • A later work that can be played effectively without a Swell box.
  • You may be asked to sight read a hymn or to provide a simple analysis of an organ score during the audition.

Doctor of Musical Arts

Prescreening is not required of doctoral organ applicants. The live audition program should be prepared for the Fritts organ. The program should last slightly longer than 15–20 minutes and include the following:

  • Some pre-Bach.
  • A work by Bach.
  • A later work that can be played effectively without a Swell box.
  • You may be asked to sight read a hymn or to provide a simple analysis of an organ score during the audition.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

 

Percussion (Nov. 17, Jan. 26, Feb. 9 Feb. 16)

Percussion (Nov. 17, Jan. 26, Feb. 9 Feb. 16)

Performance of the following (or works of comparable difficulty) is required. You are encouraged to demonstrate abilities on other instruments as well, such as drum set, world percussion, and auxiliary instruments.

Master of Music

Keyboard

  • Abe: Cherry Blossoms, Wind in the Bamboo Grove, Variations on Japanese Children’s Songs, Memories of the Seashore
  • J.S. Bach: Suites, Preludes, Partitas, Sonatas
  • Burritt: Shadow Chasers, Scirocco
  • Edwards: Marimba Dances
  • Miki: Time for Marimba
  • Miyoshi: Torse III
  • Naito: Memory of the Woods
  • Sammut: Four Rotations
  • Spencer: Tribeca Sunflower
  • Stout: Two Mexican Dances, Astral Dance, Rumble Strips
  • Tanaka: Two Movements for Marimba
  • Orchestral excerpts

Timpani

  • Bergamo: Four Pieces for Timpani
  • Cahn: Raga No. 1
  • Carter: Eight Pieces for Four Timpani
  • Delecluse: Trent Etudes, Book 3
  • Delecluse: Vingt Etudes
  • Hinger: Solos for the Virtuoso Tympanist
  • Houllif: Four Verses for Timpani, Three Settings for Timpani, Suite for Timpani
  • Lepak: 32 Solos for Timpani
  • Williams: Variations for Solo Kettledrums
  • Orchestral excerpts

 

Snare Drum

  • Albright: Contemporary Studies for the Snare Drum
  • Colgrass: Six Unaccompanied Solos
  • Delecluse: Douze Etudes
  • Lepak: 50 Contemporary Snare Drum Etudes
  • Peters: Hard Times
  • Smith (ed.): The Noble Snare, Vol. I–IV
  • Orchestral excerpts

Multiple Percussion

In lieu of live performance, submission of recordings of the following (or comparable) is acceptable.

  • Cangelosi: Naglfar
  • Hollinden: Cold Pressed
  • Finley: Blade
  • Lindroth: Bell Plates

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Marimba and/or Vibraphone: solo repertoire and orchestral excerpts
  • Snare Drum: solo repertoire and orchestral excerpts
  • Timpani: solo repertoire and orchestral excerpts
  • Drumset and/or multiple percussion
  • Optional: World percussion and/or accessory instruments

 

For the live audition, please prepare material from the following list of sample pieces (or comparable). You are encouraged to demonstrate abilities on other instruments as well such as drum set, world percussion, and auxiliary instruments.

Keyboard

  • Bach: Sonatas and Partitas for Violin
  • Cancian: Lo Que No Es Azul
  • Deane: Mourning Dove Sonnet
  • Donatoni: Omar
  • Druckman: Reflections on the Nature of Water
  • Ewazen: Northern Lights
  • Helble: Preludes 1–6, Sonata Brevis and Toccata Fantasy
  • Kessner: Continuum
  • Klatzow: Dances of Earth and Fire
  • Lansky: Three Moves for Marimba
  • Mackey: See Ya Thursday
  • Niimi: For Marimba I and For Marimba II
  • S. Smith: Links Nos. 1–4
  • Schwantner: Velocities
  • Serry: Night Rhapsody
  • Sueyoshi: Mirage for Marimba
  • Thomas: Merlin
  • Vinao: Khan Variations, Burritt Variations
  • Zivkovic: Ultimatum, Concerto No. 1, Concerto No. 2
  • Orchestral excerpts

Timpani

  • Carter: Eight Pieces for Four Timpani
  • Farberman: Concerto for Timpani and Orchestra
  • Helble: Three Etudes for Five Timpani
  • Parchman: Timpani Concerto
  • Raphling: Concerto for 5 Timpani and Orchestra
  • Tharichen: Konzert für Pauken und Orchester
  • Orchestral excerpts

 

Snare Drum

  • Delecluse: Douze Etudes
  • Lepak: 50 Contemporary Snare Drum Etudes
  • Peters: Hard Times
  • Smith (ed.): The Noble Snare, Vol. I–IV
  • Orchestral excerpts

Multiple Percussion

In lieu of live performance, recordings of the following (or comparable) are acceptable.

  • Cangelosi: Wicca
  • Ferneyhough: Bone Alphabet
  • Fukushi: Ground I
  • Globokar: Toucher
  • Gordon: XY
  • Hamilton: Edge (Corrugated Box)
  • Ishii: Thirteen Drums
  • Lang: Anvil Chorus
  • Norgard: I Ching
  • Stockhausen: Zyklus
  • Volans: Asanga
  • Wood: Rogósanti
  • Xenakis: Psappha and Rebonds

Piano: Collaborative (Nov. 17 , Feb. 2, Feb. 8)

Piano: Collaborative (Nov. 17 , Feb. 2, Feb. 8)

Applicants must email audition repertoire choices to Dr. Andrew Campbell well in advance of the confirmed audition date. You may bring your own collaborative partner or use one provided by ASU for your audition. Tests in sight reading and foreign languages will be given. Applicants will be assessed their ability to pronounce materials in French, German and Italian and elementary ability to translate one of the above languages into English.

Master of Music

When submitting your Graduate Admissions Application, select Piano, Collaborative (MM) from the degree search list.

Live Audition
A live audition is required, consisting of the following: 

  • All of the following songs (high key):
    • Mozart: An Chloë
    • Schubert: Gretchen am Spinnrade
    • Debussy: Il pleure dans mon coeur
    • Strauss: Allerseelen
    • Barber: The Monk and His Cat
  • Puccini: Mi chiamano Mimi and Quando m'en vo' from La Bohème
  • One of the following instrumental works:
    • Schumann: Fantasiestücke, Op. 73
    • Brahms: Sonata in f minor, Op. 120, #1, Movement I
    • Brahms: Sonata in E-flat major, Op. 120, #2, Movement I
  • Three solo compositions from contrasting stylistic periods performed from memory.


Doctor of Musical Arts

When submitting your Graduate Admissions Application, select Music Performance (DMA) from the degree search list. You will have an opportunity to designate Collaborative Piano as your emphasis on the Music Application.

Prerequisites

  • A master's degree in piano performance or in collaborative piano, piano accompanying/chamber music, or its equivalent.
  • Sufficient vocal and instrumental repertoire to suggest that the applicant will be able to fulfill the degree requirements.

Prescreening
To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Two art songs of contrasting styles and one large outer movement of a duo sonata (Brahms, Franck, Beethoven, etc). All selections must include a collaborative partner.

Live Audition
A live audition is required, consisting of the following. Repertoire substitutions are allowed only if you are bringing your own partners and must be approved in advance.

  • All of the following songs (high key):
    • Mozart: An Chloë
    • Schubert: Gretchen am Spinnrade
    • Debussy: Il pleure dans mon coeur
    • Strauss: Allerseelen
    • Barber: The Monk and His Cat
  • Puccini: Mi chiamano Mimi and Quando m'en vo' from La Bohème
  • One of the following duo sonatas:
    • Beethoven: Violin Sonata in F major, Op. 24
    • Brahms: Sonata in f minor or E–flat major, Op. 120, #1 or #2
    • Franck: Sonata in A major
    • Prokofiev: Sonata Op. 94
  • One solo composition performed from memory.

Piano: Pedagogy (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Piano: Pedagogy (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Master of Music

  • Audition: Solo recital program of 45–60 minutes, representing a variety of styles and including works from three or more historical periods. Concertos are not accepted. Memorization is required, except in compositions that involve advanced contemporary techniques.
  • Teaching Demonstration (uploaded to the School of Music Application): Video recordings of piano teaching in English, including two complete lessons, preferably of students at different levels. Individual and/or group lessons at any level are acceptable.

While recorded auditions are acceptable for the Master of Music, a live audition is strongly recommended for scholarship consideration. Recorded auditions must be submitted in video format. Audio recordings are not accepted. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Performance: 15–25 minutes of solo repertoire (no concertos or chamber music), representing a variety of styles. Complete works are not required: movements or sections of larger works are acceptable. Memorization is required except for compositions involving advanced contemporary techniques.
  • Teaching Demonstration: Video recording of your teaching one student of any level for 15–20 minutes.

A live audition is required, consisting of the following:

  • Solo recital program of 60–90 minutes in length, representing a variety of styles and including works from the pre–classical, classical/romantic and contemporary periods. Memorization is required except for compositions involving advanced contemporary techniques.

Teaching Demonstration for Assistantships
Those applying for graduate assistantships in class piano or piano preparatory teaching are required to upload the following to the School of Music Application: a video recording of piano teaching in English, including two complete lessons, preferably of students at different levels. Individual and/or group lessons at any level are acceptable. It is also advised that the three recommendation letters address the applicant’s teaching ability and probability of success as a teaching assistant. If you did not upload your teaching demonstration to your School of Music Application, please email musicadmissions@asu.edu for instructions on submitting your recording.

Piano: Solo (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Piano: Solo (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Master of Music

Solo recital program of 45–60 minutes, representing a variety of styles and including works from three or more historical periods. Concertos are not accepted. Memorization is required, except in compositions that involve advanced contemporary techniques.

While recorded auditions are acceptable for the Master of Music, a live audition is strongly recommended for scholarship consideration. Recorded auditions must be submitted in video format. Audio recordings are not accepted. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • 15–25 minutes of solo repertoire (no concertos or chamber music), representing a variety of styles. Complete works are not required: movements or sections of larger works are acceptable.
  • Memorization is required except for compositions involving advanced contemporary techniques.

A live audition is required and consists of the following:
Solo recital program of 60–90 minutes in length, representing a variety of styles and including works from the pre–classical, classical/romantic and contemporary periods. Memorization is required except for compositions involving advanced contemporary techniques.

Teaching Demonstration for Assistantships
Those applying for teaching assistantships in class piano or piano preparatory teaching are required to upload the following to the School of Music Application: a video recording of piano teaching in English, including two complete lessons, preferably of students at different levels. Individual and/or group lessons at any level are acceptable. It is also advised that the three recommendation letters address the applicant’s teaching ability and probability of success as a teaching assistant. If you did not upload your teaching demonstration to your School of Music Application, please email musicadmissions@asu.edu for instructions on submitting your recording.

Saxophone (Nov. 17, Jan. 26, Feb. 16)

Saxophone (Nov. 17, Jan. 26, Feb. 16)

 

Master of Music

Auditions are 20 minutes long and consist of the following:

  • Scales: All full range, altissimo (tonic to tonic), and three octave chromatic.
  • 24 contrasting works (or movements) showcasing the player's breadth, technique and musical maturity, comparable in difficulty to the following representative samples. Including jazz is strongly encouraged.
    • Luciano Berio: Sequenza VIIb
    • Dorothy Chang: Two Preludes
    • Jacques Ibert: Concertino da Camera
    • Lars Erik Larsson: Concerto
    • Ingolf Dahl: Concerto
    • Edison Denisov: Sonata
    • William Albright: Sonata
    • Florent Schmitt: Legende
    • William Bolcom: Concert Suite
    • John Anthony Lennon: Distances Within Me
    • John Anthony Lennon: Symphonic Rhapsody
    • David Heinick: Mantis
  • Optional, but strongly encouraged: Jazz standard(s) or blues with soloing

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of a 20-minute audio recording of the following:

  • One to two movements of a standard piece.
  • One piece demonstrating command of 20th/21st century techniques.
  • Additional selections of the applicant's choice.Applicants are encouraged to include jazz and improvisation.

Live auditions are 30 minutes long and consist of the following:

  • Scales: All full range, altissimo (tonic to tonic), and three octave chromatic.
  • 24 contrasting works (or movements) showcasing the player's breadth, technique and musical maturity, comparable in difficulty to the following representative samples. Including jazz is strongly encouraged.
    • Luciano Berio: Sequenza VIIb
    • Dorothy Chang: Two Preludes
    • Jacques Ibert: Concertino da Camera
    • Lars Erik Larsson: Concerto
    • Ingolf Dahl: Concerto
    • Edison Denisov: Sonata
    • William Albright: Sonata
    • Florent Schmitt: Legende
    • William Bolcom: Concert Suite
    • John Anthony Lennon: Distances Within Me
    • John Anthony Lennon: Symphonic Rhapsody
    • David Heinick: Mantis
  • Optional, but strongly encouraged: Jazz standard(s) or blues with soloing

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Trombone (Nov. 17, Jan. 26, Feb. 16)

Trombone (Nov. 17, Jan. 26, Feb. 16)

The entrance audition must display a level of development in embouchure, articulation, range, tone, flexibility and musicality that allows you to start with the listed repertoire or comparable literature. Piano accompaniment is not required for brass auditions.

Master of Music

Tenor Trombone

  • Suggested solos:
    • Arnold: Fantasy
    • Crespo: Improvisation No. 1
    • Defaye: Deux Dances
    • Hindemith: Sonata
    • Martin: Ballade
    • Ropartz: Piece in E-flat minor
    • Stojowski: Fantasy
    • Tomasi: Concerto
  • Suggested excerpts:
    • Berlioz: "Hungarian March" from The Damnation of Faust
    • Mozart: "Tuba mirum" from Requiem
    • Ravel: Bolero
    • Wagner: "Ride of the Walküre" from Die Walküre

Bass Trombone

  • Suggested solos:
    • Fetter: Spain
    • Hidas: Meditation
    • Bozza: New Orleans
    • Ewazen: Concerto
    • Ritter George: Concerto
    • Lebedev: Concerto
    • Spillman: Concerto
  • Suggested excerpts:
    • Bach: "Sarabande" from Cello Suite No. 5
    • Haydn: The Creation
    • Schumann: Symphony No. 3, "Rhenish"
    • Wagner: Das Rheingold
    • Wagner: "Ride of the Walküre" from Die Walküre

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

      • Two solo works or movements of contrasting style.
      • Three standard excerpts.

For the live audition, please prepare the following:

Tenor Trombone

  • Suggested solos:
    • Arnold: Fantasy
    • Crespo: Improvisation No. 1
    • Defaye: Deux Dances
    • Hindemith: Sonata
    • Martin: Ballade
    • Ropartz: Piece in E-flat minor
    • Stojowski: Fantasy
    • Tomasi: Concerto
  • Suggested excerpts:
    • Mozart: "Tuba mirum" from Requiem
    • Ravel: Bolero
    • Rossini: William Tell Overture (Storm Scene)
    • Wagner: "Ride of the Walküre" from Die Walküre
    • Schumann: Symphony No. 3, "Rhenish"
    • Strauss: Til Eulenspiegel 
    • Strauss: Ein Heldenleben (Battle Scene)

Bass Trombone

  • Suggested solos:
    • Fetter: Spain
    • Hidas: Meditation
    • Bozza: New Orleans
    • Ewazen: Concerto
    • Ritter George: Concerto
    • Lebedev: Concerto
    • Spillman: Concerto
  • Suggested excerpts:
    • Bach: "Sarabande" from Cello Suite No. 5
    • Haydn: The Creation
    • Respighi: The Fountains of Rome
    • Rossini: William Tell Overture (Storm Scene)
    • Schumann: Symphony No. 3, "Rhenish"
    • Wagner: Das Rheingold
    • Wagner: "Ride of the Walküre" from Die Walküre

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Trumpet (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Trumpet (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

The entrance audition must display a level of development in embouchure, articulation, range, tone, flexibility and musicality that allows you to start with the listed repertoire or comparable literature. Piano accompaniment is not required for brass auditions.

Master of Music

No specific works are required.

  • Several contrasting styles from the standard trumpet repertoire that demonstrate all facets of your playing and show proficiency on B-flat, C, E-flat and piccolo trumpets. 
  • Sight-reading.
  • Transposing at sight.
  • Orchestra calls from standard audition materials.

Recorded Auditions: While recorded auditions are acceptable for MM applicants, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Two solo works or movements of contrasting style.
  • Three standard excerpts.

A live audition is required. Please prepare the following (no specific works are required).

  • Several contrasting styles from the standard trumpet repertoire that demonstrate all facets of your playing and show proficiency on B-flat, C, E-flat and piccolo trumpets. 
  • Sight-reading.
  • Transposing at sight.
  • Orchestra calls from standard audition materials.

Tuba (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Tuba (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

The entrance audition must display a level of development in embouchure, articulation, range, tone, flexibility and musicality that allows you to start with the listed repertoire or comparable literature. Piano accompaniment is not required for brass auditions.

Master of Music

  • Scales: Major and minor scales.
  • Sight–reading.
  • Six orchestral excerpts.
  • Two selections from the following:
    • Charlier: Transcendantes from 36 Etudes:
    • Smith: Top Tones for Trumpet
    • Arban: Characteristic Studies
    • Vaughn Williams: Concerto for Bass Tuba
    • Benjamin Miles: Contraptions for Solo Tuba (Movements 1, 2, 3, or 5)
    • Penderecki: Capriccio
    • Plog: Three Miniatures
    • Gregson: Concerto for Tuba
    • Roland Szentpali: Concerto for Tuba

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Two solo works or movements of contrasting style.
  • Three standard excerpts.

For the live audition, please prepare the following:

  • Scales: Major and minor scales.
  • Sight–reading.
  • Six orchestral excerpts.
  • Two selections from the following:
    • Charlier: Transcendantes from 36 Etudes:
    • Smith: Top Tones for Trumpet
    • Arban: Characteristic Studies
    • Vaughn Williams: Concerto for Bass Tuba
    • Benjamin Miles: Contraptions for Solo Tuba (Movements 1, 2, 3, or 5)
    • Penderecki: Capriccio
    • Plog: Three Miniatures
    • Gregson: Concerto for Tuba
    • Roland Szentpali: Concerto for Tuba

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications. 

Viola (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Viola (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

  • J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
  • First movement from one of the major viola concertos, such as Bartók, Walton, Schnittke, or Hindemith: Der Schwanendreher.
  • An additional work of contrasting style.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • An outer movement of a standard concerto and two movements of unaccompanied Bach.

For the live audition, please prepare the following:

  • J.S. Bach: A complete unaccompanied cello suite.
  • A complete viola concerto, such as Bartók, Walton, Hindemith, or Schnittke.
  • An additional work composed within the last fifty years, such as Penderecki: Cadenza or Ligeti: Sonata.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Violin (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Violin (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Piano accompaniment is not required for any string audition, however, applicants are permitted to perform with accompaniment through their own arrangements if they so choose. Pianists are not provided for auditions.

Master of Music

  • An outer movement of a standard concerto from the 19th or 20th century.
  • J.S. Bach: Two contrasting movements from any of the unaccompanied violin sonatas or partitas.
  • An additional work of contrasting style.

Doctor of Musical Arts

To be considered for a live, in-person audition, applicants for all doctoral performance concentrations must upload a prescreening recording to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • An outer movement of a standard concerto and two movements of unaccompanied Bach.

For the live audition, please prepare the following:

  • A complete concerto from the 19th or 20th century.
  • J.S. Bach: A complete unaccompanied violin sonata or partita.
  • An additional work of contrasting style.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. See "Recordings + Portfolios" for technical specifications.

Voice: Opera + Musical Theatre (Nov. 17, Jan. 26, Feb. 9, Feb. 16, Feb. 23)

Voice: Opera + Musical Theatre (Nov. 17, Jan. 26, Feb. 9, Feb. 16, Feb. 23)

Master of Music: Music Theatre/Opera Performance

Please see Conducting - Music Director for the Master of Music in Music Theatre/Opera Direction.

To be considered for a live, in-person audition, applicants for all voice performance concentrations must upload a prescreening video to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Opera Emphasis: Three complete classical selections: one each in French, German and Italian. One selection must be an opera aria.
  • Musical Theatre Emphasis: One complete classical selection, one complete musical theater selection, and one monologue no more than one minute in length.

For the live audition, please prepare the following:

Opera Emphasis
Four memorized classical pieces:

  • One French selection.
  • One German selection.
  • One Italian selection.
  • One English selection.
  • At least one must be an opera aria, but not all four.

Musical Theatre Emphasis

  • One classical selection, which should be an art song or aria in any language.
  • Two complete contrasting musical theatre selections, one ballad and one uptempo.  At least one selection should be from the Golden Age/classical musical theatre genre. 
  • One monologue from a musical or play not exceeding one minute in length. Monologues will be performed separate from the dance and singing auditions and may be coached by the panel.
  • All Muisc Theatre applicants must perform a dance assessment. The purpose of the assessment is not so much to seek strong dancers, as it is to gain a full picture of the complete musical theatre performer. Students should wear comfortable movement or dance attire and character shoes that are easy to move in. Students will be taught two brief combinations. There will be dressing rooms available in which to change before and after the dance audition. The dance and monologue audition will take place prior to the singing audition.

The Audition

Pieces should be memorized. The audition must be accompanied by a pianist. You may bring your own accompanist or request an official ASU accompanist to be provided for your audition free of charge.

If you are using the ASU accompanist, you must submit the titles, names of composers and keys of your audition repertoire on the Audition Confirmation form within 24 hours of receiving your Audition Time Confirmation email. The Audition Confirmation form will be available to you online after you receive your Audition Time Confirmation email.

On the day of your audition, you are required to bring piano scores of your audition pieces for the pianist. The scores should be double-sided and organized in a three-ring binder.

The official ASU accompanist, who is an experienced collaborative pianist, is available to meet briefly immediately prior to your audition time to discuss any cuts and/or breath marks. A rehearsal is not possible with an official ASU accompanist. If you wish to be able to rehearse with a pianist prior to the audition, please contact Dr. Andrew Campbell to inquire after hiring an accompanist for the audition.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. Recorded auditions must be submitted in video format. Audio recordings are not accepted. See "Recordings + Portfolios" for technical specifications.

Voice: Solo (Nov. 17, Jan. 26, Feb. 9, Feb. 16, Feb. 23)

Voice: Solo (Nov. 17, Jan. 26, Feb. 9, Feb. 16, Feb. 23)

To be considered for a live, in-person audition, applicants for all voice performance concentrations must upload a prescreening video to the School of Music Application and submit the application by October 1 for spring admission and December 1 for fall admission. See "Recordings + Portfolios" for technical specifications.

The prescreening consists of the following:

  • Three classical selections: one each in French, German and Italian. One selection must be an aria.

For the live audition, please prepare the following.

Master of Music (Voice Performance, Voice Performance Pedagogy)

Four memorized classical pieces:

  • One French selection.
  • One German selection.
  • One Italian selection.
  • One English selection.
  • At least one must be an opera aria, but not all four.

Doctor of Musical Arts (Voice Performance)

Prepare a 30-minute mini-recital consisting of the following:

  • A minimum of four song groups in different languages. Please include at least one opera aria and one oratorio aria.
  • Please bring to your audition six copies of a program listing your audition repertoire. At the time of your audition, you will select your starting piece. The audition panel will select from the remaining pieces listed on your program. You will not necessarily sing everything.
  • Scores may be used for oratorio arias only. All other repertoire must be memorized. All pieces must be sung with live piano accompaniment.

The Audition

Pieces should be memorized. The audition must be accompanied by a pianist. You may bring your own accompanist or request an official ASU accompanist to be provided for your audition free of charge.

If you are using the ASU accompanist, you must submit the titles, names of composers and keys of your audition repertoire on the Audition Confirmation form within 24 hours of receiving your Audition Time Confirmation email. The Audition Confirmation form will be available to you online after you receive your Audition Time Confirmation email.

On the day of your audition, you are required to bring piano scores of your audition pieces for the pianist. The scores should be double-sided and organized in a three-ring binder.

The official ASU accompanist, who is an experienced collaborative pianist, is available to meet briefly immediately prior to your audition time to discuss any cuts and/or breath marks. A rehearsal is not possible with an official ASU accompanist. If you wish to be able to rehearse with a pianist prior to the audition, please contact Dr. Andrew Campbell to inquire after hiring an accompanist for the audition.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. Recorded auditions must be submitted in video format. Audio recordings are not accepted. See "Recordings + Portfolios" for technical specifications.

 

Recorded Auditions

A live audition is recommended. Applicants who are unable to visit the campus for a live audition may upload a recorded audition to the School of Music Application. Scholarship consideration is prioritized to applicants who perform on-campus auditions instead of recorded auditions. Note that some areas require live auditions for doctoral applicants.

Audition recordings must conform to the same audition requirements as an on-campus audition unless otherwise noted. DVD, CD, (or similar) submissions received by postal mail or email are not accepted. Refer to "Recordings + Portfolios" for acceptable formats and submission instructions.

AD HOC Audition

Ad hoc auditions are required for harp and organ applicants and not available to voice applicants.

If you are unable to attend one of the scheduled audition dates for a live audition, it may be possible to arrange an ad hoc audition (by appointment) on another date by following these steps:

  1. Contact a faculty member in your area to request an ad hoc audition. Note that faculty are not obligated to accommodate ad hoc audition requests.
  2. Once an ad hoc audition has been scheduled, submit the School of Music Application with the Ad Hoc Audition section completed with the audition date, time and faculty member.
  3. Submit the School of Music Application prior to the audition date.

The final date for ad hoc auditions is Nov. 30 for spring admission and Feb. 28 for fall admission.

Accommodations

Hotel accommodations are listed on the Tempe Convention and Visitors Bureau website.