Herberger Institute for Design and the Arts

Woodwind Audition Information

Bassoon (BM)

l  The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature.

l  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.

Audition Repertoire

l  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.

l  Milde: One etude from Concert Studies, Vol. 1.

l  One selection from the list below:

ü  A fast movement from a standard concerto (Mozart, Weber, Vivaldi, Hummel)

ü  A fast movement from a sonata (Hindemith, Saint-Säens, Telemann, Hurlstone, Tansman, Cascarino)

ü  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.

Clarinet (BM)

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.

Audition Repertoire

l  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).

l  Some knowledge of dominant 7th chords.

l  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.

l  Audition should consist of contrasting selections from standard clarinet literature and/or the above etudes. Standard literature should be representative of works such as:

ü  Weber: Concertos or Concertino

ü  Mozart: Concerto

ü  Brahms: Sonatas

ü  Schumann: Fantasy Pieces

ü  20th-century works such as Stravinsky: Three Pieces

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship

                             consideration.

Flute (BM)

l  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.

l  The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths.

l  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).

l  Piano accompaniment is strongly recommended, but not required.

ü  Scales: All major and minor scales.

ü  One technical etude or study of your choice.

ü  J.S. Bach: One movement from any sonata.

ü  One movement from a standard concerto.

Recorded Auditions: While recorded auditions are acceptable, a live audition is strongly recommended for scholarship

                             consideration.

Oboe (BM)

l  The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature.

l  The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths.

l  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). 

l  Piano accompaniment is not required.

ü  Basic knowledge of reed making is required.

ü  Scales: Major scales in two octaves up to E-flat and chromatic scale.

ü  Sight-reading.

ü  One etude from the list below or from a work of comparable difficulty:

²  Barret: Oboe Method

²  Brod: Oboe Method

²  Ferling: Forty-eight Etudes.

ü  One solo from the list below or from a work of comparable difficulty

²  Bellini: Concerto

²  Donizetti: Sonata

²  Guilhaud: Concertino

²  Haydn: Concerto

²  Hindemith: Sonata

²  Hummell: Adagio, Theme and Variations

²  Mozart: Quartet or Concerto

²  Paladilhe: Solo de Concert

²  Saint-Säens: Sonata

²  Telemann: Sonata in A-minor.

ü  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.

Saxophone (BM)

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

l  The entrance audition must display a level of development that will allow students to start with the listed repertoire or comparable literature.

l  The point of the audition is to demonstrate your current level of playing, so choose works that showcase your sound, musicianship and musical strengths. 

l  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). 

l  Piano accompaniment is not required. 

ü  Scales: All full range major, minor and chromatic scales (using front E and F and using appropriate fingerings for the chromatic scale).

ü  One selection of standard concert saxophone repertoire with contrasting melodic and technical sections. Memorization is encouraged. Some suggestions are listed below:

²  P. Creston: Sonata

²  B. Heiden: Sonata

²  J. Ibert: Concertino da camera

²  A. Glazounov: Concerto

²  H. Villa Lobos: Fantasia

²  P. Maurice: Tableaux de Provence

²  P.M. Dubois: Concerto

ü  Sight-reading.

ü  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.

                                                                                                                                   Updated 0n 08/01/2018