Admissions

Join 750 highly talented musicians from around the world who are enrolled annually in the ASU School of Music.

Home / Admissions / Auditions

2020-21 Auditions

Special note: Auditions for the 2020-2021 season will be a combination of recordings and virtual meetings with faculty unless otherwise indicated.

All applicants are required to perform an audition or interview to be considered for a music major. Recordings will be required for the 2020-2021 admissions year.

The audition is performed for representative members of the music  faculty. Evaluations are based on technical and musical proficiency. A schedule of your virtual audition and interview schedule will be sent to you 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 the 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). Please pay special attention to the application deadlines and audition requirements for your specific program of interest.

A virtual schedule will be sent only after complete application materials are received. Once a virtual audition and interview confirmation email has been sent, a $15 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.) to meet with faculty and experience the music program.

Music Virtual Audition Dates + Repertoire

All music applicants are required to perform an audition or interview for their desired program of study. Auditions will be conducted as recordings uploaded into the music application and followed up by a required meeting with faculty on one of the days listed below. The virtual meeting may include additional playing sight reading or other items specific to your area. You should consult with the faculty in your area regarding the virtual meeting requirements.

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

Bassoon (Nov. 14, Jan.16, Feb. 13, Feb. 27)

Bassoon (Nov. 14, Jan.16, Feb. 13, Feb. 27)

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.

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The Recorded Audition deadline is January 5 for fall 2021 admission. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

Non-Performance Majors (music learning and teaching, 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.

Cello (Nov.14, Feb. 13, Feb. 27)

Cello (Nov.14, Feb. 13, Feb. 27)

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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 learning and teaching, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

 

  • An etude.
  • Two works contrasting in tempo and style.

 

Clarinet (Nov. 14, Jan.16, Feb. 13, Feb. 27)

Clarinet (Nov. 14, Jan.16, Feb. 13, Feb. 27)

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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 learning and teaching, 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. One of your selections may be an original piece or improvisation.

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
    • You may choose an original piece or improvisation for your contrasting selection. It should highlight your creative work and command of the instrument.

Double Bass (Nov.14, Jan. 16, Feb. 13, Feb. 27)

Double Bass (Nov.14, Jan. 16, Feb. 13, Feb. 27)

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

 

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 learning and teaching, 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.

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz guitar, select email MusicAdmissions@asu.edu to schedule a second audition.

Euphonium (Nov.14, Jan. 16, Feb. 13, Feb. 27)

Euphonium (Nov.14, Jan. 16, Feb. 13, Feb. 27)

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

 Auditions are 10 minutes in length. All applicants should prepare the following:

 

  • Scales: Major scales in two octaves

  • Sight-reading

  • Perform something technical and something lyrical 

  • Possible etudes chosen from the following or comparable collections:

    • Voxman: Selected Studies

    • Bordogni and Rochut: Melodious Studies, Vol. 1

    • Arban: Characteristic Studies

  • Possible solos from which to choose or another comparable solo in your repertoire:

    • Curnow: Rhapsody for Euphonium

    • Arban: Carnival of Venice and Variations on a Tyrolean Song

    • DeLuca: Beautiful Colorado

    • Clinard: Sonata for Unaccompanied Euphonium

  • Additional demonstrations or samples of your work as a musician are encouraged and welcomed (jazz, composition, other styles of music, instrument double, other)

  • Short interview – regarding your desire to be a music major

Flute (Jan. 16, Feb. 13, Feb. 27)

Flute (Jan. 16, Feb. 13, Feb. 27)

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

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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, musical strengths and artistic interpretation. 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 learning and teaching, theory, music therapy, Bachelor of Arts).

Piano accompaniment is strongly recommended, but not required.

  • Scales: All major and minor scales, preferably more than two octaves in range.
  • One technical etude or study of your choice.
  • J.S. Bach: One movement from any sonata.
  • One movement from a standard concerto.

Guitar (Nov. 14, Jan. 16, Feb. 13)

Guitar (Nov. 14, Jan. 16, Feb. 13)

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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 learning and teaching, 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.

  • Etudes: Two etudes of your choice.
  • Three solo works demonstrating different musical styles and techniques at an intermediate level. 

 

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for virtual meeting dates and repertoire. To audition on both classical and jazz guitar, select email MusicAdmissions@asu.edu to schedule a second audition.

Harp (By Appointment)

Harp (By Appointment)

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details. VIrtual meetings are done on an ad-hoc basis. Applicants should contact Charles Lynch to schedule a virtual meeting. 

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.

If on-campus, applicants may practice and audition on ASU harps. ASU owns a Lyon & Healy 85 CG.

Horn (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Horn (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

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 learning and teaching, 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.

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

  • Major scales.
  • Sight-reading.
  • Two contrasting selections. These may be of your choice and of any musical style, but should of comparable overall technical difficulty to selctions from the following representative samples:
    • Mozart: Concertos
    • F. Strauss: Nocturno or Concerto, Op. 8
    • R. Strauss: Concerto No. 1
    • Mozart: Concerto

Jazz Instruments (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Jazz Instruments (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Each applicant must perform a 15-minute audition.

 A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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 Learning and Teaching 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.

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, denote this on your music application and email musicadmissions@asu.edu.

Oboe (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Oboe (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

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 learning and teaching, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

 

  • 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.

Organ (Audition by Appointment)

Organ (Audition by Appointment)

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

Prospective organists should contact Dr. Kimberly Marshall directly to set up an ad hoc virtual meeting (by appointment). Organ auditions are not offered for spring 2021 admission.

Non-Performance Majors (composition, music learning and teaching, 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.

Percussion (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Percussion (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

First-Time Freshman Applicants

Prospective first–time freshman must demonstrate technical strength and reading ability on keyboard and at least two additional instruments such as snare drum, timpani, drum set, multiple percussion, steel pan, or other non-Western percussion instruments. Performances on three or more 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, and auditioning percussionists are encouraged to contact faculty about repertoire and percussion instruments not listed. 

 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 learning and teaching, 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.

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

Transfer Applicants
Prospective transfer students must demonstrate technical strength and reading ability on keyboard and at least two additional instruments such as snare drum, timpani, drum set, multiple percussion, steel pan, or other non-Western percussion instruments.

Performances on three or more 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, and auditioning percussionists are encouraged to contact faculty about repertoire and percussion instruments not listed.  

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 learning and teaching, 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
    • Gershwin: Porgy and Bess, overture
    • Kabalevsky: Colas Breugnon
    • Mozart: Act 1 Finale from The Magic Flute
    • Respighi: Pines of Rome
    • Shostakovich: 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

 

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz guitar, select email MusicAdmissions@asu.edu to schedule a second audition.

Piano (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Piano (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

A recorded video audition for the 2020-2021 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

All auditions 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 learning and teaching, theory, music therapy, Bachelor of Arts)

  • Two pieces of contrasting tempos and styles from the Baroque, Classical or Romantic time periods.
  • A third piece of your choice. The piece can be from the 20th or 21st century, an original composition, an improvisation or a piece in a style of your choosing.
  • Two-octave major and harmonic minor scales with facility and appropriate fingerings in the following keys: 

If you would like to consult with a current ASU professor on your audition repertoire, contact Hannah.Creviston@asu.edu

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.

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 Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz piano, select email MusicAdmissions@asu.edu to schedule a second audition.

Popular Music (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Popular Music (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Audition Process for admittance to BA in Music (Popular Music) concentration:

A recorded video audition for the 2020-2021 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

Artist Statement:
All auditioning students must submit an artist statement explaining both their current work and vision of their future work in popular music. A minimum of 250 words is required.

Audition:
An audition is required for admission to the BA program in popular music and for placement in MUP 111 Studio Instruction in popular music. An audition consists of a 15-minute performance or presentation consisting of three to five selections of live or digital music performance. The selections may be original works or selections from popular music repertoire. The audition will also include scales, improvisation and aural skills. Students may also provide a recorded sample of their creative popular music work if they so choose.

For students seeking to pursue popular music performance, a recorded performance video is required for at least part of the audition. For other disciplines in which a video is not possible (studio recording, music creation and composition), students are required to submit a digital audio sound recording of three to five selections.

The audition also includes a virtual interview on a date listed above.

Students interested in pursuing classical music lessons in addition to their popular music studies are required audition and follow the classical repertoire audition requirements for MUP 111 Studio Instruction in addition to auditioning for MUP 111 Studio Instruction in popular music.

Saxophone (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Saxophone (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

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 learning and teaching, theory, music therapy, Bachelor of Arts). Piano accompaniment is not required.


A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

 

  • 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.

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz saxophone, select email MusicAdmissions@asu.edu to schedule a second audition.

Trombone (Nov. 14, Jan. 16, Feb. 13. Feb. 27)

Trombone (Nov. 14, Jan. 16, Feb. 13. Feb. 27)

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. If applicants feel that they cannot visit campus, they can arrange an online leson and should email Dr. Edwards.

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, including presenting creative work that doesn't fit the traditional mold.

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 learning and teaching, theory, music therapy, Bachelor of Arts).

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz guitar, select email MusicAdmin@asu.edu to schedule a second audition.

Trumpet (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Trumpet (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

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 learning and teaching, 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.

General Audition Preparation Tips:
Please do not work up the hardest pieces you can find in an effort to impress. Please choose pieces that represent your strengths and that you have experience playing. This is not the type of audition where missing notes means you “lose”. Rather, this is an evaluation and interview for you, and Professor Burgstaller to see if there is a good fit for all parties.

Professor Burgstaller would especially like to hear your best sounds, hear you demonstrate your personal musicality and interpretation, and learn about your creative process, who you are, your diverse musical interests, your dreams and career goals, etc.  Share me as much as you can in as many different ways as you know to see if ASU can get you to “the next level”. There are many paths to “success” available and much of that success depends on you being who you are. And growing and expanding too, of course! Please understand that the audition slot may be limited in time and therefore each selection may not be heard in its entirety, but some of everything will be heard.

Audition requirements:

  • Choose three contrasting pieces of music of your choice (solos, études, standard excerpts, movements, pieces). A mix of “standard” and “non-standard” pieces, including pieces of varying genres is welcomed. Professor Burgstaller has a diverse musical background and career and appreciates your diversity and interests. Choose pieces that represent different facets of the career path you would like to pursue, and choose pieces that represent your personal mix of musical background. If it is in your skillset, include in your mix of repertoire an original composition or an improvisation. If you have other ideas and are not sure about them, please email Professor Burgstaller at joeburgstaller@asu.edu to discuss.
  • Scales: Be prepared to play all major scales in two octave where capable.
  • Sight Reading: Be prepare to sight read at your virtual meeting as this is an important part of being a musician.

Virtual Meet and Greet: Be prepared to attend a vitual meeting/lesson

Jazz: Professor Burgstaller has a diverse musical background that includes several charted crossover CDs as well as some Canadian Brass CDs that focus on traditional Jazz as realized by the late great Luther Henderson (of Louis Armstrong, Duke Ellington, etc.). So if you enjoy doing both classical and jazz and are trained or have experience in both, you can be involved in all genres at ASU! 

If you are interested specifically in the Bachelor of Music in Jazz Performance, please refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz trumpet, select email MusicAdmissions@asu.edu to schedule a second audition.

Tuba (Nov.14, Jan. 16, Feb. 13, Feb. 27)

Tuba (Nov.14, Jan. 16, Feb. 13, Feb. 27)

Tuba auditions are 10 minutes in length and the following should be prepared for the audition in addition to the virtual meeting with faculty:

  • Scales: Major scales in two octaves.
  • Sight-reading.
  • Perform something technical and something lyrical
  • Possible etude selection or something comparable:
    • Grigoriev: Studies for Tuba
    • Bordogni: Legato Etudes Vol. 1
    • Blazhevich: 70 Studies for Tuba
  • Possible Solo Selection - or something comparable
    • 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
  • Additional demonstrations or samples of your work as a musician are encouraged and welcomed (jazz, composition, other styles of music, instrument double, other)
  • Short virtual interview regarding your deisre to be a music major on the date listed above.

Jazz: Applicants interested in the Bachelor of Music in Jazz Performance should refer to the Jazz Instruments section for audition dates and repertoire. To audition on both classical and jazz tuba, email MusicAdmissions@asu.edu and indicate that you wish to audition for Jazz Performance on your music application.

Viola (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Viola (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Piano accompaniment is not required.

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

 

Non-Performance Majors (composition, music learning and teaching, 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

Violin (Nov. 14, Jan. 16. Feb. 13, Feb. 27)

Violin (Nov. 14, Jan. 16. Feb. 13, Feb. 27)

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

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.

Voice + Music Theatre (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Voice + Music Theatre (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

A recorded video audition for the 2020-21 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

Voice applicants should include the following in the 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: Voice Performance or Music Theatre Performance applicants please list any training (voice, acting, dance) and performance experience.

The Audition

Materials must be memorized. The songs must be performed with live or recorded accompaniment unless otherwise specified.

A recorded video audition for the 2020-2021 admission year followed by a virtual meeting with faculty is required. Plan to upload your video audition recording in your music application. The recording should be in one take with no editing. See the Recordings and Portfolio webpage for more details.

Audition Repertoire

Voice Performance

  • Two classical songs in varying styles or tempi, one in English and one in a language other than English.
  • A third selection of your choice of 60 seconds or less, which demonstrates your artistic strengths, flexibility, personality and unique attributes – something that shows us who YOU are. This selection does not need to be a song; for instance, it could include spoken word, dance/movement or a special skill such as juggling or playing an instrument.

BA Music, Music Performance Minor

Two selections of your choice, which demonstrate your artistic strengths, flexibility, personality and unique attributes – pieces that show us who YOU are.These may be classical, music theatre, jazz, gospel, popular, etc. One of these may be an original composition.

Music Therapy

  • A classical song. This can be in any language, including English.
  • A second song, from any genre you choose, such as classical, music theatre, popular, hip-hop, folk, jazz, gospel, or others.
  •  third selection of your choice of 60 seconds or less, which demonstrates your artistic strengths, flexibility, personality and unique attributes – something that shows us who YOU are. This selection does not need to be a song; for instance, it could include spoken word, dance/movement or a special skill such as juggling or playing an instrument.

Music Theatre Performance

  • Two complete music theatre songs, whole songs and no cuttings, from contrasting time periods and/or styles demonstrating versatility, vocal quality and range.
  • A third selection of your choice of 60 seconds or less, which demonstrates your artistic strengths, flexibility, personality and unique attributes – something that shows us who YOU are. This selection does not need to be a song; for instance, it could include spoken word, dance/movement or a special skill such as juggling or playing an instrument.
  • Monologue: One monologue speech, memorized with clear character choices made, 60-90 seconds in length. Choose from one of the following options:
    • A monologue of your chooseing from a published play or musical, or
    • A monologue from the list provided here
  • Dance Assessment:
    • Required: Learn and prepare the music theatre combination: There are 3 levels from which to choose. Pick the level that best suits your knowledge of dance and you can execute with your best individual efforts and ability. LINK COMING SOON.
    • Required: Prepare and upload a 60-90 second clip of yourself moving/dancing. Create a piece that has some connection to the music such as story or emotion. Choose a style you feel showcases yourself best: music theatre, ballet, jazz, contemporary, hip hop, African, etc. No tap.
    • Optional - Additional Movement Performance: Show what makes you unique! For those students who have a specialty or cultural dance background, you may submit a video no longer than 60 seconds showing off your skills in that area. Examples include, but are not limited to: tap, clogging, Flamenco, pointe, Indian classical dance, belly dance, tumbling/acrobatics/gymnastics, breakdancing, voguing, pop-and-locking, etc. For those students with ballet training, you may submit a 60-second video of general barre work and turns!
      • note: side view is best for this; this may serve as the “choose-your-own” selection above.
      • Dance Attire: Please dress in something that is easy to move in such as basic dancewear or rehearsal attire. Character, jazz or ballet shoes or bare feet are acceptable.

Composition Prescreening + Interview (Nov. 14, Feb. 13, Feb. 27)

Composition Prescreening + Interview (Nov. 14, Feb. 13, Feb. 27)

To be considered for an interview, the composition program requires a prescreening portfolio to be uploaded to the music application. Refer to "Recordings + Portfolios" for technical specifications. Interviews will be conducted virtually for the 2020-21 admission year.

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 apply for another music degree.

Composition applicants are not required to perform an audition to be considered for admission to the composition program. If you wish to take lessons in your main instrument, you must complete an audition and follow those audition repertoire guidelines.

Music and Culture Interview (Nov. 14 Jan. 16, Feb. 27))

Music and Culture Interview (Nov. 14 Jan. 16, Feb. 27))

 A virtual audition for the 2020-21 admission year with faculty is required. 

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 Learning and Teaching Interview (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Music Learning and Teaching Interview (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

In addition to performing an audition, applicants who select Music Learning and Teaching as their first  choice are scheduled for an interview with music learning and teaching faculty. In the interview you will be asked questions about your musical background and interest in music teaching, as well as your experience working with people of various ages. You will also be asked to demonstrate your singing voice, rhythmic sense, audiation (singing back), and improvisation. Please bring your primary instrument with you to the meeting.

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

Music Therapy Interview (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

Music Therapy Interview (Nov. 14, Jan. 16, Feb. 13, Feb. 27)

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. Interviews will be conducted virtually for the 2020-21 admission year.

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. Additionally, you will also be asked to demonstrate your singing voice.

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 for 2020-21

Applicants must submit a link from YouTube or Vimeo for their recorded audition in the music application and will then be scheduled for a virtual meeting and interview with faculty.

Audition recordings must conform to the same audition requirements as a live audition unless otherwise noted. Submissions received by postal mail or email are not accepted. Refer to Recordings + Portfolios for acceptable formats and submission instructions.

AD HOC Virtual Meeting

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 your virtual interview, it may be possible to arrange an ad hoc virtual meeting (by appointment) on another date by following these steps:

  1. Contact a faculty member in your area to request an ad hoc virtual meeting. Note that faculty are not obligated to accommodate ad hoc requests.
  2. Notify the School of Music, Dance and Theatre at musicadmissions@asu.edu of your ad-hoc meeting.

The final date for ad hoc virtual meetings 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.