MUSIC AUDITION REQUIREMENTS AND INSTRUCTIONS

MUSIC AUDITION RECOMMENDATIONS

NOTE: The following repertoire suggestions are not strict requirements. They are ideas that may help you as you plan your audition.

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 which 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 vocalize and sight read a short excerpt.

Strings

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

1. Three-octave scales (violin, viola and cello)

2. 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 sight read.

Guitar

Students may concentrate in either classical or jazz guitar. Audition material should consist of 2 contrasting works. Jazz guitarists should play a standard and a blues, and demonstrate a minimal mastery of basic improvisational skills. Classical guitarists should demonstrate finger style technique. Students must be able to read musical notation. While sight reading ability will be examined, fluency is not an absolute requirement.

Piano, Organ and Carillon

Individuals auditioning for admission into the program with a piano, organ or carillon emphasis will be asked to prepare, on piano, two solo works to be performed from memory from the following: (please contact Dr. Linda Li-Bleuel, llibleu@clemson.edu, regarding substitutions):

  1. One piece from the Baroque Era by Domenico Scarlatti or J.S. Bach (Prelude and Fugue in its entirety or 2 contrasting movements from a suite) OR a Classical-Era sonata 1st or last movement by Mozart, Haydn, or Beethoven
  2. One Romantic-era piece by Chopin, Schubert, Mendelssohn, Schumann, Brahms, Grieg, Liszt, Franck, Rachmaninov OR one 20th Century-era piece by Debussy, Ravel, Prokofiev, Shostakovich, Bartok, Copland, Barber, Kabalevksy, Khachaturian, Scriabin, Ginastera, Poulenc, Muczynski

*Please Note: All piano pieces must be memorized

 

Woodwinds

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

1. Scales

2. Two selections of contrasting styles, one demonstrating technical facility and the other demonstrating 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 sight read.

SUGGESTED SOLOS AND ETUDES

A. Flute

1. One or more movements from a standard concerto (e.g., Mozart, Quantz, Vivaldi)

2. One or more movements from a sonata (e.g., Handel, Bach, Hindemith, Polenc)

3. Works by Fauré (Fantasie), Chaminade (Concertino), Debussy (Syrinx), or Ibert (Piece)

4. Etudes by Berbiguer, Anderson, Karg-Elert

B. Oboe

1. One or more movements of a standard concerto (e.g., Marcello, Haydn)

2. One or more movements from a standard sonata (e.g., Telemann)

3. An aria from a Bach cantata or two movements from Six Metamorphoses after Ovid by Britten

4. Etudes by Barret or Ferling

C. Clarinet

1. 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

2. Etudes by Rose or Klose

D. Bassoon

1. 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)

2. 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

1. One or more movements of a sonata (e.g., Creston (movements 1 or 3), Vivaldi, Handel, Eccles/Rascher, Jacobi, Wilder, etc.)

2. Works by Corelli, Whitney, Guilhaud, Robaud, Creston (Suite, movement 1 or 2)

3. 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:

1. Scales

2. 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 sight read.

SUGGESTED SOLOS AND ETUDES

A. Horn

1. One or more movements from a standard concerto (e.g. Mozart or Strauss)

2. Saint Saëns, Morceau de Concert; Dukas, Villanelle

3. Etudes by Belloli, Gallay (op. 32, 43, 57), Kling, or Kopprasch

B. Trumpet

1. First movement of a standard concerto (Haydn, Hummel)

2. 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

1. Works by Galliard (sonatas, any two contrasting movements); Grafe, Concerto for Trombone; Guilmant, Morceau Symphonique; Barat, Andante et Allegro

2. Etudes by Bordogni-Rochut (Melodious Etudes, volume 1); Kopprasch (Sixty Studies for Trombone, any)

D. Euphonium

1. 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)

2. A Romantic work typical of the following: Schumann, Five Pieces in Folk Style; Saint- Saëns, Morceau de Concert; Schostakovich, Four Preludes

3. 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)

Percussion

Percussionists will be asked to demonstrate proficiency in at least two of the following areas of percussion. 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.

  • Drum set: 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 drum set charts is also highly regarded.

Bass

Classical Studies:

  • Two octave major scales from three of the following keys: F, G, A or B
  • Two octave melodic minor scales: 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.

Jazz Studies:

  • Two octave major scales from three of the following keys: F, G, A or B
  • Two octave melodic minor scales: f or b flat melodic minor
  • 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

 

MUSIC AUDITION INTERVIEW INFORMATION

  • Students are encouraged to provide:

                  • • a resume listing any experiences and/or skills pertinent to their performing arts interest
            • • at least two current letters of recommendation. One of these letters should come from a current performing arts teacher.

Please Note: Letters of recommendation may be mailed to the Performing Arts Department 2 weeks prior to the audition date. Please send to:

Department of Performing Arts

221 Brooks Center

Clemson University

Clemson, SC 29634

If time does not allow for mailing – please bring the letters with you when you come.

 

    • Students should be prepared to answer the following questions:

  • • What attracted you to this degree program?
  • • What are your career aspirations?
  • • What are your experiences and background in the arts?
  • • What other (non-arts) activities were you involved with in your school and/or community during your high school career?

Understanding that this degree requires collaborative teamwork with students of varying performing arts backgrounds:

  • • How do you see yourself fitting into this curriculum?
  • • What previous experiences have you had in collaboration?