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2018-2019 Auditions

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

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.

Undergraduate Admissions

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

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

The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature. The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. Piano accompaniment is not required.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • Scales: All major scales (three octaves for B-flat and C; two octaves for all others).
  • Two contrasting etudes from Weissenborn: 50 Advanced Studies or one etude from Milde: Concert Studies, Vol. 1.
  • One selection from the list below:
    • A movement from a standard concerto (Mozart, Weber, Vivaldi, Hummel)
    • A movement from a standard sonata (Hindemith, Saint-Säens, Telemann, Hurlstone, Cascarino)
    • A single movement work in its entirety (Elgar: Romance, Pierné: Solo de Concerto, Op. 35 or Prelude de Concert, Bourdeau: Premier Solo, Osborne: Rhapsody) or a similar composition.

Performance Majors

  • Scales: All major scales (three octaves for B-flat and C; two octaves for all others), all melodic minor scales (two octaves), and a three-octave chromatic scale.
  • Milde: One etude from Concert Studies, Vol. 1.
  • One selection from the list below:
    • A fast movement from a standard concerto (Mozart, Weber, Vivaldi, Hummel)
    • A fast movement from a sonata (Hindemith, Saint-Säens, Telemann, Hurlstone, Tansman, Cascarino)
    • A single movement work in its entirety (Elgar: Romance, Pierné: Solo de Concerto, Op. 35 or Prelude de Concert, Bourdeau: Premier Solo, Osborne: Rhapsody) or a similar composition.

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

Cello (Nov.17, Jan. 26, Feb.9, Feb16)

Cello (Nov.17, Jan. 26, Feb.9, Feb16)

These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

  • An etude.
  • Two works contrasting in tempo and 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. 16)

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

The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature. The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. Piano accompaniment is not required.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • Scales: All major scales, range from low E to high G. Some knowledge of minor scales and major scales in thirds, (one octave).
  • Ability to perform etudes contained in such materials as Melodious and Progressive Etudes, Book 2, edited by David Hite, published by Southern Music, and Rose’s 32 Etudes.
  • Audition should consist of contrasting selections from standard clarinet literature and/or the above etudes.

Performance Majors

  • Scales: All major scales, range from low E to high G. Ability to perform minor scales in at least one form, range from low E to high G and major scales in thirds, (one octave).
  • Some knowledge of dominant 7th chords.
  • Ability to perform etudes contained in such materials as Melodious and Progressive Etudes, Book 2, edited by David Hite, published by Southern Music, and Rose’s 32 Etudes.
  • Audition should consist of contrasting selections from standard clarinet literature and/or the above etudes. Standard literature should be representative of works such as:
    • Weber: Concertos or Concertino
    • Mozart: Concerto
    • Brahms: Sonatas
    • Schumann: Fantasy Pieces
    • 20th-century works such as Stravinsky: Three Pieces

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

Double Bass (Feb. 9, Feb. 16 )

Double Bass (Feb. 9, Feb. 16 )

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

 

These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

  • An etude exemplifying the applicant's technical ability.
  • Two works (or movements) contrasting in tempo and style.

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

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz double bass, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

These guidelines should be used for all programs and majors, although admission into performance programs requires more advanced development of embouchure, articulation, range, tone and flexibility than is required for non-performance programs (composition, music education, theory, music therapy, Bachelor of Arts). While orchestral excerpts are not required of performance applicants, the inclusion of several standard excerpts as a part of your audition is welcomed. Piano accompaniment is not required.

  • Scales: Major scales in two octaves.
  • Sight-reading.
  • Etudes chosen from the following or comparable collections:
    • Voxman: Selected Studies
    • Bordogni and Rochut: Melodious Studies, Vol. 1
    • Arban: Characteristic Studies.
  • Two contrasting movements from works comparable in difficulty to the following representative samples: 
    • Curnow: Rhapsody for Euphonium
    • Arban: Carnival of Venice and Variations on a Tyrolean Song
    • DeLuca: Beautiful Colorado
    • Clinard: Sonata for Unaccompanied 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.

The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature. The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts).

Piano accompaniment is strongly recommended, but not required.

  • Scales: All major and minor scales.
  • One technical etude or study of your choice.
  • J.S. Bach: One movement from any sonata.
  • One movement from a standard concerto.

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

Guitar (Spring-Ad-Hoc, Jan. 26, Feb. 16)

Guitar (Spring-Ad-Hoc, Jan. 26, Feb. 16)

Prior private instruction from a qualified classical guitar teacher is strongly advised. These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). You may be asked to sight-read a short piece to be selected at the time of the audition.

  • Scales: Two major and melodic-minor scales of your choice in at least two octaves.
  • Three solo works demonstrating different musical styles and techniques at an intermediate level. Selections may include or be equivalent in difficulty to the following:
    • A Renaissance work originally for lute or vihuela
    • A Baroque movement from a suite by Sanz, DeVisee, Bach or Weiss, or a sonata by Scarlatti
    • A Classical study by Sor, Carcassi, Aguado, or Giuliani
    • A Romantic/Modern study or prelude by Villa-Lobos, Brouwer, etc.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship consideration. Please note: Spring auditions are Ad-Hoc or recorded only. See "Recordings + Portfolios" for technical specifications.

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz guitar, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

Harp (Auditions by Appointment)

Harp (Auditions by Appointment)

These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). All solos to be performed from memory.

  • Two solos of choice in contrasting style, one of which is a programmatic work from the standard harp repertoire.
  • One Orchestral Cadenza.
  • Level III/Advanced–Professional Warmup from On Playing the Harp by Yolanda Kondonassis.

Applicants may practice and audition on ASU harps. ASU owns a Lyon & Healy 85 CG.

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)

These guidelines should be used for all programs and majors, although admission into performance programs requires more advanced development of embouchure, articulation, range, tone and flexibility than is required for non-performance programs (composition, music education, theory, music therapy, Bachelor of Arts). While orchestral excerpts are not required of performance applicants, the inclusion of several standard excerpts as a part of your audition is welcomed. Piano accompaniment is not required.

  • Major scales in two octaves.
  • Sight-reading.
  • Two contrasting movements from works comparable in difficulty to the following representative samples: 
    • Hindemith: Sonata
    • Mozart: Concertos 2, 3 or 4
    • F. Strauss: Nocturno
    • R. Strauss: Concerto No. 1

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)

Each applicant must perform a 15-minute audition accompanied by members of the jazz faculty. Studio instruction in jazz is only available to jazz performance majors. Therefore, only applicants applying for the Bachelor of Music in Jazz Performance, Bachelor of Music in Music Education and Bachelor of Music in Music Therapy or Bachelor of Arts in Music and Culture may audition in jazz.

The Bachelor of Music in Jazz Performance is offered on the following instruments:

  • Double Bass
  • Guitar
  • Piano
  • Percussion
  • Saxophone
  • Trombone
  • Trumpet
  • 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:

  • Ballad, in tempo (Body and Soul, Lover Man, In a Sentimental Mood, etc.)
  • Jazz Standard, moderate to up-tempo (All the Things You Are, There Will Never Be Another You, There Is No Greater Love, etc.)
  • Rhythm Changes (I Got Rhythm, Anthropology, Oleo, etc.)
  • Straight-Eighth tune, moderate tempo or faster (Blue Bossa, Little Sunflower, etc)
  • 12-Bar Blues, any tempo
  • Play a bebop head from memory (Confirmation, Donna Lee, Ornithology, Scrapple from the Apple, etc.) to demonstrate jazz phrasing and articulation skills.
  • Chords and Scales: In addition, all candidates are expected to have knowledge of and may be called upon to perform, all major and minor scales, and the II–V7–I progression in arpeggiated format (all chords up to the 9th).
  • 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.

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
  • Bass: In addition to the above requirements, bassists will be asked to walk bass lines through the progressions of any or all selections.
  • 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.

Classical Study for Jazz Majors

Students who wish to take classical lessons must pass a classical studio audition to be eligible to take these lessons while pursuing jazz studies at ASU. To audition in both classical and jazz, select "Bachelor of Music: Performance" as your 2nd Choice Degree on the School of Music application.

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

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

The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature. The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

  • Basic knowledge of reed making is required.
  • Scales: Major scales in two octaves up to E-flat and chromatic scale.
  • Sight-reading.
  • One etude from the list below or from a work of comparable difficulty:
    • Barret: Oboe Method
    • Brod: Oboe Method
    • Ferling: Forty-eight Etudes.
  • One solo from the list below or from a work of comparable difficulty
    • Bellini: Concerto
    • Donizetti: Sonata
    • Guilhaud: Concertino
    • Haydn: Concerto
    • Hindemith: Sonata
    • Hummell: Adagio, Theme and Variations
    • Mozart: Quartet or Concerto
    • Paladilhe: Solo de Concert
    • Saint-Säens: Sonata
    • Telemann: Sonata in A-minor.

The etude and solo must be contrasting works that demonstrate a good command of tone, technique, articulation and musicianship.

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

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.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • Scales: All major and harmonic minor scales in four octaves in sixteenth-notes at a quarter note = 92 at the piano.
  • Two short pieces from any of the following collections:
    • Brahms: 11 Chorale Preludes, Op. 122
    • Vierne: 24 Pieces in Free Style, Op. 31
    • Mendelssohn: Slow movement from any of the 6 sonatas

Performance Majors

  • Sight-reading of a hymn or four-part chorale.
  • Bach: One Prelude and Fugue from Eight Little Preludes and Fugues.
  • Bach: Two chorale preludes from Orgelbüchlein.
  • One romantic or modern work of your choice. This work may be appropriate for a church service.

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)

First-Time Freshman Applicants

Prospective first–time freshman must demonstrate technical strength and reading ability on keyboard and at least two of the three percussion areas of snare drum, timpani and drum set. Performances on all four instruments will improve an applicant's chances of admission and scholarship consideration. The examples listed below are indicative of the minimum level of ability expected for incoming students. This list serves only as a suggestion; you are welcome to choose different literature that is similar in style and technical demand.

 

These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts).

 

Keyboard
  • Scales: All major scales, two octaves at a moderate tempo.
  • Two-mallet sight reading.
  • Performance of a 2 and/or 4 mallet composition such as:
    • Morris Goldenberg: One of the 39 etudes from Modern School for Xylophone, Marimba and Vibraphone
    • J.S. Bach: Any 2 or 4 mallet movement from a Sonata or Partita for violin or Suite for cello (without repeats)
    • Michael Burritt: The Offering
    • Lalo Davila: Sueños
    • Alice Gomez: Rain Dance
    • George Hamilton Green: Any xylophone ragtime solo
    • Ney Rosauro: Prelude No. 1
    • Paul Smadbeck: Etude No. 1, 2 or 3
    • Rich O’Meara: Restless

Timpani

  • Relaxed roll at pp and ff dynamic levels.
  • Ability to match pitches on the drums.
  • Familiarity with pitch intervals (major 3rd, perfect 4th, etc.)
  • One solo or étude comparable to:
    • Garwood Whaley: Fundamental Studies or Musical Studies for the Intermediate Timpanist
    • Mitchell Peter: Étude from Fundamental Method for Timpani
    • Saul Goodman: An exercise from section two or three of Modern Method for Tympani
    • Raynor Carroll: Exercises, Etudes, and Solos for the Timpani
    • Vic Firth: The Solo Timpanist
Snare Drum
  • Rudimental roll open-closed-open.
  • Closed orchestral roll at ppp through fff.
  • Sight read compound, simple and changing meter exercises.
  • Selected rudiments from the 40 Percussive Arts Society International Drum Rudiments played in “open to closed to open” style.
  • Performance of a concert style solo comparable to the following:
    • Fred Albright: Contemporary Studies
    • Anthony Cirone: Portraits in Rhythm
    • Vic Firth: Solo Snare Drummer
  • Optional: Performance of a rudimental style solo by any of the following:
    • Charles Wilcoxin
    • John Pratt
    • Marty Hurley
    • John Wooton
    • Eddie Frytag
Drum Set
  • Ability to keep steady time and play fills several basic beat styles: swing, Afro-Cuban, Brazilian, funk, rock and jazz waltz alternating 4 measures of time with 4 measures of solo.

Transfer Applicants

Prospective transfer students must demonstrate technical strength and reading ability on keyboard and two of the remaining three percussion areas. Performances on all four instruments will improve an applicant's chances of admission and scholarship consideration. The examples listed below give an idea of the expected minimum level of ability for first- and second-year students. Performance at the audition will determine how many lesson credits will transfer into the ASU program of study.

These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts).

Keyboard
  • Scales: All major and minor scales, two octaves at a moderate tempo.
  • Two-mallet sight reading.
  • Four-mallet solo comparable to the following:
    • Keiko Abe: Michi or Wind in the Bamboo Grove
    • J.S. Bach: One movement from a Sonata or Partita for violin
    • Mark Ford: Polaris
    • Takatsugu Muramatsu: Land
    • Eric Sammut: Four Rotations, Cameleon, Libertango
    • Matthias Schmidt: Ghanaia
    • Paul Smadbeck: Rhythm Song, Virginia Tate
    • Blake Tyson: a cricket sang and set the sun
  • An orchestral excerpt such as:
    • Dukas: The Sorcerer's Apprentice
    • Gerschwin: Porgy and Bess, overture
    • Kabalevsky: Colas Breugnon
    • Mozart: Act 1 Finale from The Magic Flute
    • Respighi: Pines of Rome
    • Schostakovich: Polka from The Golden Age
Snare Drum
  • Rudimental roll and closed orchestra roll at ppp through fff.
  • Sight read compound, simple and changing meter exercises.
  • Prepared solo using rolls, drags, flams and a wide dynamic range comparable to the following:
    • Anthony Cirone: Étude from Portraits in Rhythm
    • Jacques Delecluse: an étude from Douze Etudes
    • Mitchell Peters: Étude from Hard Times

Timpani

  • Relaxed roll at pp and ff dynamic levels.
  • Ability to tune drums by relative pitch (i.e., by using a tuning fork).
  • One solo or étude for two or more drums that involves tuning changes comparable to:
    • John Beck: Sonata for Timpani
    • John Bergamo: Four Pieces for Timpani
    • Christopher Deane: Prelude for Four Timpani
    • Fred Hinger: A solo from Solos for the Virtuoso Timpanist
    • Alexander Lepak: An étude from 32 Solos for Timpani
  • Orchestral excerpt such as:
    • Bartok: Concerto for Orchestra
    • Beethoven: Symphony No. 5, Symphony No. 7, or Symphony No. 9
    • Hindemith: Symphonic Metamorphosis
    • Mahler: Symphony No. 5
    • Tchaikovsky: Symphony No. 4

Drum Set

  • Ability to keep steady time and play fills several basic beat styles: swing, Afro-Cuban, Brazilian, funk, rock and jazz waltz alternating 4 measures of time with 4 measures of solo.

Multiple Percussion

  • Works of comparable difficulty to the following representative samples:
    • James Campbell: Engine Room
    • Lynn Glassock; Motion
    • Eckhard Kopetzki: Canned Heat
    • William Kraft: French Suite or English Suite
    • Ricky Tagawa: Inspirations Diabloque

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

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz percussion, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

All prospective students must be able to play major and minor scales and arpeggios with facility and appropriate fingerings, and be prepared to sight–read at the audition. The audition must be memorized and demonstrate technical facility, musicality and understanding of musical styles consisting of the following works or their equivalents.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • An Invention by J.S. Bach.
  • An allegro movement from a Classical sonata.
  • A work from the 19th century.
  • A work from the 20th or 21st century.

Solo Performance Majors

  • A Prelude and Fugue by J.S. Bach, or at least two movements of a French or English Suite or Partita.
  • A complete Classical sonata.
  • A work from the 19th century.
  • A work from the 20th or 21st century.

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.

Collaborative Piano: Students interested in the collaborative piano major should prepare the solo performance major audition and email Dr. Andrew Campbell prior to their audition.

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz piano, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

Applicants wishing to enter in Spring 2018 should contact Dr. Creviston to schedule an ad hoc audition.

The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature. The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. These guidelines should be used for all programs and majors, although performance majors should anticipate a higher entrance standard than non-performance majors (composition, music education, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

  • Scales: All full range major, minor and chromatic scales (using front E and F and using appropriate fingerings for the chromatic scale).
  • One selection of standard concert saxophone repertoire with contrasting melodic and technical sections. Memorization is encouraged. Some suggestions are listed below:
    • P. Creston: Sonata
    • B. Heiden: Sonata
    • J. Ibert: Concertino da camera
    • A. Glazounov: Concerto
    • H. Villa Lobos: Fantasia
    • P. Maurice: Tableaux de Provence
    • P.M. Dubois: Concerto
  • Sight-reading.
  • Optional, but strongly encouraged: One jazz etude and/or solo choruses over blues changes.

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

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz saxophone, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

Prospective students are encouraged to visit the ASU campus for a lesson and visit with Dr. Edwards.  Please email well in advance to arrange a time.  Skype lessons are possible but are not an equal substitute for personal interaction.

Trombonists should prepare 2-3 pieces in contrasting styles: lyrical/legato and technical/tongued. These varied styles can be different movements from the same work. Students may select etudes, solos or orchestral excerpts. In addition, sight-reading is required. Candidates are free to select other works of comparable difficulty. Above all, applicants should choose music on which they sound their best.

These guidelines should be used for all programs and majors, although admission into performance programs requires more advanced development of embouchure, articulation, range, tone and flexibility than is required for non-performance programs (composition, music education, theory, music therapy, Bachelor of Arts).

TENOR TROMBONE

  • Suggested solos:
    • Guilmant: Morceau Symphonique
    • Galliard or Marcello: Sonata 1
    • Barat: Andante et Allegro
    • Rimsky Korsakov: Concerto (esp. mvts. I and II)
    • St. Sëans: Cavatine
    • Larsson: Concertino (esp. mvts II and III)
  • Suggested etudes:
    • Bordogni/Rochut: Melodious Etudes for Trombone
    • Voxman, ed.: Selected Studies
  • Suggested excerpts (not required)
    • Mozart: "Tuba mirum" from Requiem
    • Berlioz: "Hungarian March" from The Damnation of Faust

BASS TROMBONE

  • Suggested solos:
    • Haddad: Suite for Tuba (esp. mvts I and II)
    • Lassen/Bollinger: Two Fantasy Pieces
    • Jacob: Cameos (esp. mvts. I, II or III)
    • Hindemith: Drei Leichte Stucke (Three Easy Pieces)
  • Suggested etudes:
    • Bordogni/Rochut: Melodious Etudes for Trombone (down one octave)
    • Bordogni/Ostrander: Melodious Etudes for Bass Trombone
    • Grigoriev: Studies

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

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz trombone, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

These guidelines should be used for all programs and majors, although admission into performance programs requires more advanced development of embouchure, articulation, range, tone and flexibility than is required for non-performance programs (composition, music education, theory, music therapy, Bachelor of Arts). While orchestral excerpts are not required of performance applicants, the inclusion of several standard excerpts as a part of your audition is welcomed. Piano accompaniment is not required.

  • Scales: Major scales in two octaves.
  • Sight-reading.
  • Perform two contrasting movements, pieces or études.

 

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

 

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz trumpet, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

These guidelines should be used for all programs and majors, although admission into performance programs requires more advanced development of embouchure, articulation, range, tone and flexibility than is required for non-performance programs (composition, music education, theory, music therapy, Bachelor of Arts). While orchestral excerpts are not required of performance applicants, the inclusion of several standard excerpts as a part of your audition is welcomed. Piano accompaniment is not required.

  • Scales: Major scales in two octaves.
  • Sight-reading.
  • Two contrasting movements from works comparable in difficulty to the following representative samples: 
    • Grigoriev: Studies for Tuba
    • Bordogni: Legato Etudes Vol. 1
    • Blazhevich: 70 Studies for Tuba
    • Haddad: Suite for Tuba
    • Hindemith: Sonata for Bass Tuba
    • Vaughn Williams: Concerto for Bass Tuba, Mvmt. 1
    • Holmes: Lento
    • Wilder: Suite No. 1 for Tuba
    • Marcello: Sonata in F–Major
    • Marcello: Sonata in A–Minor

 

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

 

Jazz: Applicants interested in the Bachelor of Music in Jazz Studies should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz tuba, select "Bachelor of Music: Jazz Studies" as your 2nd Choice Degree on the School of Music application.

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

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

Piano accompaniment is not required.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • Scales and Arpeggios: All major and minor three octave scales and arpeggios.
  • Two works contrasting in style and tempo.

Performance Majors

  • Scales and Arpeggios: All major and minor three octave scales and arpeggios.
  • J.S. Bach: One movement from any of the unaccompanied cello suites.
  • A movement or piece from the standard viola repertoire comparable to:
    • Bloch: Suite Hebraique
    • Handel: Casadesus B Minor Concerto
    • Hummel: Fantasie
    • Stamitz: Concerto
    • Vaughan Williams: Suite
    • Weber: Andante and Hungarian Rondo

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.

Non-Performance Majors (composition, music education, theory, music therapy, Bachelor of Arts)

  • Scales and Arpeggios: All major and minor three octave scales and arpeggios.
  • Two works contrasting in style and tempo.

Performance Majors

  • Scales and Arpeggios: All major and minor three octave scales and arpeggios.
  • An outer movement of a standard concerto.
  • J.S. Bach: One movement from any of the unaccompanied violin partitas or sonatas.

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

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

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

Voice applicants should include the following in the ASU School of Music Application:

  • Repertoire List: Your repertoire list should include all solo repertoire studied. It is not necessary to list choral repertoire unless you were a featured soloist. It is appropriate to list any roles you have performed.
  • Resume: If you are seeking admission to Voice Performance or Music Theatre Performance, you should show evidence of a minimum of one year of private instruction in voice and extensive performance experience in the form of a resume.

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

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.

Audition Repertoire

Voice Performance, Composition, Music Education, Theory, BA Music

  • Two classical songs in varying styles or tempi.
  • At least one piece should be in a foreign language.
  • The second selection may be an American or English art song, or a song in a different foreign language.

Music Therapy

  • Two classical selections OR
  • One classical selection and one selection from musical theater, jazz, or folk music.

Music Theatre Performance

  • One classical selection (an art song or an aria from opera or oratorio), which may be in English or in a foreign language.
  • One complete musical theater selection, either ballad or uptempo. Must be from a musical.
  • Monologue: One monologue from a musical or a play not exceeding one minute in length will be performed separately from the singing and dance audition.
  • Dance Assessment: All music theatre applicants must perform a dance assessment separate from the singing audition. The purpose of the assessment is to gain a full picture of the complete musical theatre performer. Students should wear comfortable movement or dance attire and character shoes or 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.

Composition Prescreening + Interview (TBD)

Composition Prescreening + Interview (TBD)

To be considered for an interview, the composition program requires a prescreening portfolio to be uploaded to the School of Music Application. Refer to "Recordings + Portfolios" for technical specifications.

Portfolio Requirements

  • 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 recordings.

Applicants who pass the prescreening are scheduled for an interview with the composition faculty. In the event that you are not selected for an interview, you may still audition for admission in another degree.

Composition applicants invited for an interview must also perform an audition to be considered for admission. Refer to your instrument or voice above for audition repertoire.

Music and Culture Interview (Jan. 26, Feb. 9)

Music and Culture Interview (Jan. 26, Feb. 9)

Applicants who select Music and Culture as their first-choice major are scheduled for an interview with at least three musicology faculty to establish their potential as Music and Culture majors. In the interview, you will be asked questions about your musical background and interest in music and culture, as well as related creative, research, and interdisciplinary experiences. You will also demonstrate your singing voice, sight-reading of rhythm and pitch on voice or your instrument, and audiation (capacity to sing back accurately) during your interview. Your examples of musicianship may also consist of such areas of your choice as songwriting, composition, improvisation in some style of your choosing, performance art, a documented interdisciplinary installation of your own creation, etc. in a live demonstration or through video-recorded performance. Students who wish to take studio lessons as part of the Music and Culture degree must also perform an audition with the studio faculty. Acceptance into any performance studio is at the discretion of the respective studio faculty. Refer to your instrument or voice above for audition repertoire.

Music Education Interview (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

Music Education Interview (Nov. 17, Jan. 26, Feb. 9, Feb. 16)

In addition to performing an audition, applicants who select Music Education as their first  choice are scheduled for an interview with music education faculty to establish their potential as education majors. In the music education interview, you will be asked questions about your musical background and interest in music education, as well as experience working with people of various ages. You will also be asked to demonstrate your singing voice, rhythmic sense, sight-singing, audiation (singing back), and improvisation and sight-reading on your primary instrument. As you will be asked to perform on your primary instrument during your interview, you need to bring it with you to the meeting.

Music Education applicants must also perform an audition to be considered for admission. Refer to your instrument or voice above for audition repertoire.

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

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

 Applicants Applying to Spring 2019 should contact Dr. Melita Belgrave for an ad-hoc audition. The interview dates listed above are only for fall admission.

In addition to performing an audition, applicants who select Music Therapy as their first choice major are scheduled for an interview with music therapy faculty to establish their potential as therapy majors. In the music therapy interview, you will be asked questions about your musical background and interest in music therapy, as well as experience working with people of various backgrounds and abilities. You will also be asked to demonstrate your singing voice, rhythmic sense, sight-singing, audiation (singing back), and improvisation and sight-reading on your primary instrument. You may prepare a short piece that showcases a particular talent, such as songwriting, composition, banjo, ukulele, etc. As you will be asked to perform on your primary instrument during your interview, you need to bring it with you to the meeting.

Music Therapy applicants must also perform an audition to be considered for admission. Refer to your instrument or voice above for audition repertoire.

Recorded Auditions

A live audition is recommended. Applicants who are unable to visit the campus for a live audition may submit a link from YouTube or Vimeo for their recorded audition in the School of Music Application. Scholarship consideration is prioritized to applicants who perform on-campus auditions instead of recorded auditions.

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.