Upcoming Events at the Brooks Center

JOIN THE FRIENDS OF THE BROOKS CENTER

May 6th, 2008 - June 2nd, 2008 at 1:00 pm - We ask you to take a moment to consider your part in our pursuit of excellence as we prepare for our Learn More...

WordBRIDGE Playwrights Laboratory

June 7th, 2008 - June 22nd, 2008 at 1:00 pm - A collaboration between the Clemson’s Department of Performing Arts and the Generous Company, a non- Learn More...

WordBRIDGE • New Play Development: Past, Present and Future in the United States

June 10th, 2008 at 4:30 pm - As part of WordBRIDGE a panel discussion on the development of new plays in the United States is pla Learn More...

WordBRIDGE • Workshop/Lecture with Crosby Hunt

June 11th, 2008 at 4:30 pm - As part of WordBRIDGE Crosby Hunt will lead a workshop/lecture on storytelling. Hunt is a theatre p Learn More...

WordBRIDGE • Presents Daniel Stein in "TIMEPIECE"

June 13th, 2008 at 8:00 pm - As a part of WordBRIDGE, Daniel Stein will perform his one-man mime movement work "Timepiece," a wor Learn More...

Music Auditions Requirements/Suggestions

Music Audition Suggestions

The following repertoire suggestions may help you plan your audition. They are not strict requirements, but ideas for you to use.

Voice Strings Bass Woodwinds Brass Piano, Organ, Carillon Guitar Percussion

VOICE

Students are required to perform two contrasting selections from memory. A selection in a foreign language is encouraged. It is best to choose literature that brings out the best qualities of your voice. Suggested literature is contained in the following collections:

  • Twenty Four Italian Songs and Arias, ed. Baker, G. Schirmer
  • Twenty Six Italian Songs and Arias, ed. Paton, Alfred Music
  • Pathways of Song, ed. LaForge, M. Whitmark & Sons, Inc.
  • 56 Songs You Like to Sing, G. Schirmer
  • Musical Theatre Anthology, G. Schirmer

In addition to your prepared solos, you may be asked to sing several scales or vocalises and sightread a short excerpt.

STRINGS - VIOLIN, VIOLA, CELLO

All individuals auditioning for admission into the degree programs in the area of strings are asked to prepare the following program:

  • Three-octave scales (violin, viola and cello)
  • Two selections of contrasting styles, one which demonstrates technical facility and the other which demonstrates tone quality. Suggested repertoire includes a movement of an unaccompanied Bach Suite and a movement from a concerto or sonata written for your instrument.

All applicants will be asked to sightread.

BASS

Classical studies:
  • Two octave major scales from three of the following keys : F, G , A or B.
  • Two octave melodic minor scale : f or b flat melodic minor
  • Solo: Two movements of contrasting style from the sonata's of Marcello, Vivaldi or Scarlatti or an etude from 30 etudes by Franz Simandl or Wilhelm Sturm 110 studies Volume One.

Other repertoire may be considered upon approval of instructor.

Jazz studies:
  • Two octave major scales from three of the following keys : F, G, A or B
  • Two octave melodic minor scale : f or b flat.
  • Demonstration of a Blues walking bass line in the key of F or B flat major.
  • Demonstration of a bass line to a standard song in either a swing, ballad or bossa style.

Other repertoire may be considered upon approval of instructor.

WOODWINDS

All individuals auditioning for admission into the degree programs in the area of woodwinds are asked to prepare the following program:

  • Scales
  • Two selections of contrasting styles, one which demonstrates technical facility and the other which demonstrates tone quality. The compositions and etudes listed below are suggestions, although repertoire of equal or more advanced difficulty may be substituted.

All applicants will be asked to sightread.

Suggested Solos and Etudes for Woodwinds

A. Flute

  • One or more movements from a standard concerto (e.g., Mozart, Quantz, Vivaldi)
  • One or more movements from a sonata (e.g., Handel, Bach, Hindemith, Polenc)
  • Works by Fauré (Fantasie), Chaminade (Concertino), Debussy (Syrinx), or Ibert (Piece)
  • Etudes by Berbiguer, Anderson, Karg-Elert

B. Oboe

  • One or more movements of a standard concerto (e.g., Marcello, Haydn)
  • One or more movements from a standard sonata (e.g., Telemann)
  • An aria from a Bach cantata or two movements from Six Metamorphoses after Ovid by Britten
  • Etudes by Barret or Ferling

C. Clarinet

  • Mozart, Concerto K.622; Concerto No. 3 in B-flat (first movement only)
  • Saint Saëns, Sonata, Op. 67 (first and second movements)
  • Arnold, Sonatina for Clarinet and Piano (entire work)
  • Weber, Concertino, op. 26 (entire work) or any other equivalent composition
  • Etudes by Rose or Klose

D. Bassoon

  • Mozart, Bassoon Concerto in B-flat, K. 191 (first and third movements)
  • Galliard, Sonata No. 3 (Allegro)
  • Handel, Concerto in c minor (grave and first allegro)
  • Hindemith, Sonata (first movement)
  • Etudes by Weissenborn (Practical Method for Bassoon, no. 1, 2, or 15)
  • Milde (25 Studies in Scales and Chords, op. 24, no. 1)
  • Gambro (18 Studies for Bassoon, no. 2)

E. Saxophone

  • One or more movements of a sonata (e.g., Creston (movements 1 or 3), Vivaldi, Handel, Eccles/Rascher, Jacobi, Wilder, etc.)
  • Works by Corelli, Whitney, Guilhaud, Robaud, Creston (Suite, movement 1 or 2)
  • Etudes by Ferling, Klose, Mule, or Voxman

BRASS

All individuals auditioning for admission into the degree program in the area of brass are asked to prepare the following program:

  • Scales
  • Two selections of contrasting styles, one which demonstrates technical facility and the other which demonstrates tone quality.
  • The compositions and etudes listed below are suggestions, although repertoire of equal or more advanced difficulty may be substituted.

All applicants will be asked to sightread.

Suggested Solos and Etudes for Brass

A. Horn

  • One or more movements from a standard concerto (e.g. Mozart or Strauss)
  • Saint Saëns, Morceau de Concert; Dukas, Villanelle
  • Etudes by Belloli, Gallay (op. 32, 43, 57), Kling, or Kopprasch

B. Trumpet

  • First movement of a standard concerto (Haydn, Hummel)
  • Works by Barat, Arutunian, Hindemith Sonata, etc. (allegro, ed. Fitzgerald), Ropartz, Corelli, Sonata VIII, Handel, Aria con variazioni
  • Etudes by Arban, Brandt, Hering (28 Melodious and Technical Studies, any), Charlier, St. Jacome, or Gatti

C. Trombone

  • Works by Galliard (sonatas, any two contrasting movements); Grafe, Concerto for Trombone; Guilmant, Morceau Symphonique; Barat, Andante et Allegro
  • Etudes by Bordogni-Rochut (Melodious Etudes, volume 1);Kopprasch (Sixty Studies for Trombone, any)

D. Euphonium

  • One or more movements of a Baroque sonata typical of the following: Galliard, Sonata no. 1 or no. 5 (arr. for trombone); Marcello, Sonata in C Major (arr. for trombone); Corelli, Sonata in F Major (arr. for trombone)
  • A Romantic work typical of the following: Schumann, Five Pieces in Folk Style; Saint-Saëns, Morceau de Concert; Schostakovich, Four Preludes
  • A modern work typical of the following: Barat, Introduction and Serenade; Guilmant, Morceau Symphonic; Haddad, Suite for Baritone; Presser, Sonatina; Ropartz, Andante and Allegro; Clark, Bride of the Waves

E. Tuba

  • One or more movements of a Baroque work typical of the following: Bach, Air and Bourée; Marcello, Sonata in C Major; Telemann, Sonata in F Major; Corelli, Sonata in F Major
  • A Classic or Romantic work typical of the following: Beethoven Variations on a Theme by Handel; Mozart, Concerto No. 3 for Horn; Chopin, Preludes, op. 28
  • A modern work typical of the following: Haddad, Suite for Tuba;Presser, Minute Sketches; Frackenpohl, Concertino; Bartles, Scherzo for Tuba; Barat, Introduction and Serenade (trombone); McKay, Sonata for Trombone; White, Lyric Suite (slow and fast movements)

PIANO, ORGAN & CARILLON

Individuals auditioning for admission into the program with a piano, organ or carillon emphasis will be asked to prepare the following on piano:

  • All major and harmonic minor scales in four octaves, with hands one octave apart
  • Two solo works from the classical music repertoire to include.
      • sonata movement
      • two contrasting pieces from different periods that best represent one’s musical and technical capabilities

All applicants will be asked to sightread.

GUITAR

The guitar program at Clemson is essentially classical in nature. Students can play either classical or acoustic guitars and must be able to read musical notation. Two contrasting works with fingerstyle technique should be presented in audition. Sightreading ability will also be examined, but fluency is not an absolute requirement.

PERCUSSION

Percussionists will be asked to demonstrate proficiency in at least two of the following areas of percussion. In addition, sight-reading is required in one area of the student’s choice.

  • Snare Drum: A snare drum solo in either a concert or rudimental style, or both. Demonstrated proficiency on the Percussive Arts Society International Drum Rudiments is also expected as well as the ability to sight-read standard rhythms and stickings.
  • Keyboard: A basic understanding of major and minor scales and arpeggios and demonstrated technical proficiency on a two or four-mallet marimba, vibraphone, or xylophone solo is required.
  • Timpani: A basic knowledge of the mechanical and pitch characteristics of timpani; technical command of a three or four drum timpani solo; a basic understanding of intervals and scales and the ability to hear, sing, and tune notes on timpani.
  • Drumset: A strong command of various musical styles including jazz, rock, funk, Latin, and ballads (using brushes) must be displayed through performance of playing time, improvising fills and solos, and a thorough background in snare drum performance. A basic understanding of reading drumset charts is also highly regarded.