Undergraduate Admission & Audition Information

Undergraduate Admission Information

  • Admission to the School of Music is contingent on admission to the University via the ApplyTexas application. Select pre-Music or pre-SRT on the ApplyTexas Application as the desired degree plan.
  • In addition to meeting University admission criteria, students intending to major in music must audition on their principal instrument or voice part. Auditions are held periodically throughout the year. All audition dates occur on Saturday's.
  • Any prospective music student who is unable to audition in person due to geographic distance from Texas State may submit an audio or DVD recording of the required repertoire for their instrument or voice, representative of their performing abilities (see below).
  • Admission will be based upon the audition and the available space in each studio. A successful audition does not automatically ensure acceptance to the University or the School of Music.
  • Prospective music majors will not be permitted to enroll in applied music and other music majors classes until acceptance is granted via a performance audition.

Audition Requirements by Performance Area

 

Classical Based Degree Plans (including SRT)

  • Must sing/play the required audition materials (see below) for a faculty committee based on their vocal part/instrumental area
    • Vocalists must submit a pre-screen video online one month prior to the audition date selected. A response on whether or not an in-person audition has been approved will be sent through SlideRoom 2 weeks before the audition date selected.
    • Students interested in SRT must submit a pre-screen pack by the date indicated on the SRT website to be considered for an audition.
  • Must complete the aural diagnostic
  • Potential SRT students must complete an interview with a member of the SRT faculty either before or after their audition occurs.

 

Jazz Based BM-Performance Degree Plan Only

  • Must play the required audition materials (see below) for the jazz faculty committee
  • Must complete the aural diagnostic

 

Mariachi Based BM-Music Studies, Choral Concentration Degree Plan Only

  • Must sing and play the required audition materials (see Vocalist - Freshmen - Mariachi below) for the Latin Music Studies faculty committee
  • Must complete the aural diagnostic

 

If you have specific repertoire questions that are not answered by the information below, we encourage you to contact the/one of the applied lesson faculty members for your instrument/voice part. 

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Vocalists - Freshmen - Classical

PRE-SCREEN PROCESS: Submit a video upload of ONE song (memorized) on your SlideRoom application media tab that is considered a Texas UIL Grade 1 Solo on the Prescribed Music List for your voice type. Once on the site, click on Visit the Prescribed Music List, then choose Grade 1 in the drop down menu, and lastly find your voice type under the Event Code drop down menu. Your upload must be submitted at least one month before your selected audition date. The faculty will review your submission and you will be notified via SlideRoom within two weeks if you have been granted an in-person audition on your selected date.

IN PERSON AUDITIONS: TWO MEMORIZED SELECTIONS. These songs should represent contrasting styles chosen from early Italian, 19th and 20th century art songs, and folk songs. No country, pop or jazz music is allowed. All selections may be sung in English; foreign language selections are welcome. Although it is good for the singer to have had some foreign language experience, it is not required that freshman applicants sing in a foreign language in the audition.

Sight-reading: Not required, however, you will be vocalized to establish your range, pitch matching and aural retention skills.

Accompanist: An in-person accompanist is required and provided by the School of Music. Please bring a copy of the sheet music for all pieces in the proper keys to the audition to share with the accompanist that is provided. You will have a chance to briefly work with the accompanist prior to your audition. Singing a cappella or performing to pre-recorded music is not allowed!!! Taped accompaniments are also not allowed. You may bring your own accompanist if you choose.

NOTE: Because the vocal instrument of students auditioning at the freshman level is usually in the elementary stages of growth and development, the particular selections presented in this audition are only important in how well they show evidence of the following: freedom, pleasantness and naturalness of quality, and production technique; range, extensity and intensity potential; and musical, expressive-communicative possibilities. Previous musical experiences, such as school musicals, choral singing, community theatre etc. are essential, and previous study on an instrument, especially piano, is desirable. The distinction between the BM in Performance (Vocal) degree track and a non-performance degree track (BM Music Studies (Choral), BA Music, Sound Recording Technology, etc.) is based not on the difficulty of the repertory presented, but in the potential of success in the chosen Degree Program as perceived by the Faculty.

Vocalists - Freshmen - Mariachi

Vocal Mariachi Audition: TWO MEMORIZED MARIACHI SONGS. These songs should represent contrasting styles. Classical repertoire is also acceptable if the student is comfortable with that repertoire.

Instrumental Mariachi Audition: In addition to the vocal audition above, students are required to perform Son de la Negra, on either Violin, Trumpet, or Armonía (Guitarrón and/or Vihuela). Any part on your instrument is acceptable.

NOTE: The mariachi vocal concentration is only available to students who wish to pursue and are accepted into the BM in Music Studies - Choral concentration with the Mariachi minor. Students who can demonstrate advanced skills across various sections of the mariachi will be given preference in the acceptance process. 

Vocalists - Transfers (Sophomores & Juniors)

PRE-SCREEN PROCESS: Submit a video upload of TWO songS (memorized) on your SlideRoom application media tab that is considered a Texas UIL Grade 1 Solo on the Prescribed Music List for your voice type. Once on the site, click on Visit the Prescribed Music List, then choose Grade 1 in the drop down menu, and lastly find your voice type under the Event Code drop down menu. Your upload must be submitted at least one month before your selected audition date. The faculty will review your submission and you will be notified via SlideRoom within two weeks if you have been granted an in-person audition on your selected date.

IN PERSON AUDITIONS: FOUR MEMORIZED SELECTIONS. These songs must represent contrasting styles chosen from early Italian, 19th and 20th century art songs, and folk songs and include at least one foreign language piece as well as one English piece. One selection may be an operatic or oratorio aria. An accompanist will be provided. Students must provide the accompanist with the music for all pieces in the proper keys.

Sight-reading: Not required, however, you will be vocalized to establish your range, pitch matching and aural retention skills.

Accompanist: An in-person accompanist is required and provided by the School of Music. Please bring a copy of the sheet music for all pieces in the proper keys to the audition to share with the accompanist that is provided. You will have a chance to briefly work with the accompanist prior to your audition. Singing a cappella or performing to pre-recorded music is not allowed!!! Taped accompaniments are also not allowed. You may bring your own accompanist if you choose.

NOTE:The distinction between the BM in Performance (Vocal) degree track and a non-performance degree track (BM Music Studies (Choral), BA Music, Sound Recording Technology, etc.) is based not on the difficulty of the repertory presented, but in the potential of success in the chosen Degree Program as perceived by the Faculty. It is recommended that the singer perform art songs such as those found in the G. Schirmer Anthology of Italian Songs of the 17th and 18th Centuries; Witmark's Pathways of Song; Boosey and Hawkes' Echo on Temps Passe (edited by J.B. Weckerlin); and Presser's German Art Songs (edited by Taylor). Folk songs, especially those arranged for piano and voice by composers such as Britten, Copland, and Quilter, are acceptable.

Keyboard - Classical - BM-Performance Majors

Solos: THREE contrasting works (one being a sonata) chosen from the Baroque, Classical, Romantic, Impressionistic and Contemporary periods.

Sight-reading: Will be required.

Other: Memorization is required for all students applying to any degree program on piano.

Keyboard - Classical - BA, BM-Music Studies, or SRT Majors

Solos: TWO contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic and Contemporary periods.

Sight-reading: Will be required.

Other: Memorization is required for all students applying to any degree program on piano.

Guitar - Classical - BM-Performance or BA Majors

Scales: Two Octave Scales - First Position: E Major, F Major, G Major, e minor, and g minor. Three Octave Scales: E Major, F Major F# Major, and G Major. All scales should be played as 8th notes at 100 bpm.

Etudes and/or Solos: TWO contrasting pieces, memorized, from the following list.

  • Etudes
    • Fernando Sor: No. 1, No. 2, No. 5, No. 6 – from Andres Segovia - Twenty Studies for the Guitar by Fernando Sor
    • Matteo Carcassi: No. 1, No. 2, No. 3, No. 5, No. 8, No. 9 – from Twenty-five Melodic Etudes, Op. 60
    • Leo Brouwer: No. 1, No. 2, No. 3, No. 4, No. 5, No. 6 – from Simple Etudes (Estudios Sencillos or Etudes Simples)
  • Solos
    • Rosita, Maria, or Lágrima by Tárrega
    • Suite in D Minor by Robert de Visée (choose one movement)
    • Prelude No. 3 by Heitor Villa-Lobos
    • Aria by J. A. Jogy
    • Ojos Brulos, Cancion de Cuna, or Un Dia de Noviembre by Leo Brouwer
    • Julia Florida by A. Barrios
    • Sounds of Bells by J. Guimaraes
    • Prelude (from Cello Suite No. 1 BWV 1007) or Sarabande (from Solo Partita No. 1 BWV 1002) by J. S. Bach
    • Pavana by G. Sanz
    • Siguenza (from Castles of Spain) or Fandanguillo (from Suite Castellana) by F. M. Torroba
    • Prelude No. 1 by M. Ponce

Sight-reading: Required and consists of single line, easy rhythms.

Other: Nylon strings are the only acceptable strings for these programs, no plectrum.

Bass Guitar - SRT Majors Only

Scales: One to two, two octave scales of up to 4 sharps and 4 flats will be requested.

Solos: TWO pieces of contrasting tempos from the standard repertoire. Both works must be solos, not bass lines. Standard repertoire can be found in Jaco Pastorius' repertoire (Dotzaur Cello Etudes, Bach Cello Suites, etc.) or from other publications that are appropriate (ex. written out jazz solos, double bass etudes, etc.).

Sight-reading: Required

Accompanist: Not required, nor provided.

Other: Copies of the two solos must be provided to the audition panel.

Flute

Scales: Should be played all slurred, eighth notes, two octaves, and with equal rhythm throughout (suggested minimum tempo: quarter note = 88). Minimum requirement: C Major, F Major, Bb Major, Eb Major, Ab Major, G Major, D Major, A Major, and E Major.

Excerpts:

Etudes: Solos are preferred (see below), but if etudes are prepared, students must prepare TWO of contrasting style, tempo, and key. Suggested etudes are selected from Melodious and Progressive Studies Book 1, Selected Studies (ed. Voxman), Flute Etudes Book (Clardy), Andersen Twenty-four Etudes Op. 33, or etudes of similar level.

Solos: Should be comparable to the Class I list (UIL) or the "Virtuoso" list. Also acceptable are solos from Twenty-four Short Concert Pieces, edited by R. Cavally, published by Southern Music Co. If one of these is chosen, a technical etude or solo should also be performed.

  • Suggested choices include:
    • Mozart Concerti
    • Handel Sonatas
    • Bach Sonatas
    • Telemann Sonatas or Fantasies
    • Fauré Fantasy
    • Chaminade Concertino
    • Enesco Cantabile et Presto
    • Molique Andante
    • Reinecke Ballade
    • Poulenc Sonata
    • Honegger Danse de la Chèvre

Sight-reading: Required. Students should be prepared to sight-read two short excerpts with different keys, tempi, and time signatures.

Accompanist: Not required, nor provided.

Other: Memorization is not required. A thorough repertoire list of etudes, solos, and chamber music (trios, quartets, flute choir, etc.) studied and/or performed should be included as an upload on the online application. This list is in addition to the required resume upload. It is recommended that prospective students contact Dr. Adah Jones (am10@txstate.edu) prior to the audition date to discuss repertoire choices and other details. Please refer to the flute website, www.txstateflutes.com for more information.

Oboe

Scales: Students must prepare all 12 major scales, two octaves if possible (any tempo is acceptable). All scales should be memorized.

Etudes/Solos: Students must choose TWO OR MORE from the following:

  • Etudes
    • Forty Progressive Melodies from Barret Oboe Method Book
    • Fifteen Grand Etudes from the Barret Oboe Method Book
    • Ferling 48 Etudes
  • Solos
    • Marcello Concerto
    • Handel Oboe Sonata
    • Saint-Seans Oboe Sonata
    • Any solo on the Class 1 UIL list

Sight-reading: Not required

Accompanist: Not required, nor provided.

Other: Memorization of solos and etudes is not required. It is recommended that prospective students contact Dr. Ian Davidson (ian.davidson@txstate.edu) prior to the audition date to discuss repertoire choices and other details.

Clarinet

Scales: All major and minor (melodic only) in two octaves, Circle of Fifths after Klose with different articulations (legato, tenuto, and staccato).

Etudes/Solos: Students should prepare 10 - 15 minutes of music. Solo repertoire pieces from the Texas UIL Prescribed Music List are preferred.

Sight-reading: Required

Accompanist: Not required, nor provided.

Other: Memorization is not required. Auditions are restricted to B-flat and/or A soprano clarinet. There is no degree plan for bass clarinet. Clarinetists may perform bass clarinet in addition to their Bb or A clarinet in clarinet choir, band, or orchestra ensembles.

Bassoon

Scales: All 12 major scales, two or three octaves if possible (any tempo is acceptable), memorized.

Excerpts: Choose two or more from the following:

  • Mozart: Marriage of Figaro
  • Rimsky Korsakov: Scheherazade (solos and cadenzas)
  • Ravel: Bolero (solo)
  • Stravinsky: Rite of Spring (opening solo)
  • Tchaikovsky: Sym No 4, (2nd mvmt solo)
  • Stravinsky: Firebird (solo)

Etudes: Weissenborn, Jacobi Caprices, Orefici Melodic Studies, and Milde Concert Studies

Solos: Mozart Bassoon Concerto and Weber Bassoon Concerto

Sight-reading: Not required.

Accompanist: Not required, nor provided.

Saxophone

Scales: Refer to "Daily Studies" by Trent Kynaston for proper scale format. All full range major scales from memory (play as high into the palm keys and as low for each key as is possible) performed slurred in sixteenth notes at a tempo of quarter note = 86.

Etudes/Solos: Perform TWO contrasting movements from a UIL Class I solo OR TWO contrasting etudes from 48 Etudes by Ferling.

Sight-reading: Required

Accompanist: Not required for "in-person" auditions at Texas State. Required for video audition submissions which are ONLY allowed in special approved cases.

Other: Brief interview regarding career goals and aspirations.

Trumpet - Classical

Scales: Students must play all major and chromatic scales (two octaves if possible).

Etudes/Solos: Students must perform excerpts from contrasting movements of ONE Class I solo from the Texas UIL Prescribed Music List or TWO etudes (one slow and one fast).

Sight-reading: Required

Accompanist: Not required, nor provided.

French Horn

Scales: All major scales (memorized), two octaves, tongued, and any tempo. Students will not be required to play all 12 major scales, but should have all prepared. Typically, students are asked to perform 2 - 4 major scales during the audition.

Etudes: Choose comparable to Kopprasch number 22, mm. 1 - 10 only, with a tempo of eighth note = 60 - 72, not memorized; Composed by C. Kopprasch. Brass - French Horn Method or Collection; Masterworks. Kalmus Edition. Studies and Technique. Instructional book. 46 pages. Published by Kalmus Classic Edition (AP.K04527).

Solos: Choose comparable to Concerto No. 1 (K. 412) in D Major, 1st movement only (any edition). Make sure the edition you select is in the original key of D Major - 3 sharps in the horn part.

Sight-reading: Required

Accompanist: Not required, nor provided

Trombone - Classical

Scales: All Major scales. Tempo and style is decided by the student, but choices are noted by those evaluating the audition. Two octaves may be requested where appropriate.

 

Etudes/Solos: Students may choose to perform TWO of the three TMEA etudes for the current year OR TWO contrasting movements from a Class I solo from the UIL Contest List OR ONE TMEA etude AND ONE movement from a Class I solo if the two pieces are in contrasting styles.

Sight-reading: Required

Accompanist: Not required, but students may bring their personal accompanist if they wish.

Euphonium & Tuba

Scales: All scales are to be performed two octaves, tongued up and down in an eighth note pattern at a minimum tempo of quarter note = 92. Students must be prepared to play all 12 Major scales.

Etudes: TWO etudes of contrasting style may be selected from the following (memorization not required).

  • Euphonium
    • Arban - 14 Characteristic Studies
    • Bousquet - 36 Celebrated Studies
    • Voxman - Selected Studies for Baritone
  • Tuba
    • Blazevich - 70 Studies, Vol. I or Vol. II
    • Grigoriev - 78 Studies for Tuba
    • Kopprasch - 60 Selected Studies
    • Tyrell - 40 Advanced Studies
    • Vasiliev - 24 Melodious Etudes

Solos: ONE solo, memorization not required.

  • Euphonium
    • J. E. Barat - Andante et Allegro OR Introduction and Dance
    • Capuzzi - Andante and Rondo
    • Clinard - Sonata, play 2 mvmts, your choice
    • DeLuca - Beautiful Colorado
    • Guilmant - Morceau Symphonique
    • Haddad - Suite for Baritone, play 2 mvmts, your choice
    • Hutchison - Sonatina, play 2 mvmts, your choice
  • Tuba
    • Arnold - Fantasy
    • Barat - Introduction and Dance
    • Beversdorf - Sonata, play 2 mvmts, your choice
    • Frackenpohl - Concertino, play 2 mvmts, your choice
    • Haddad - Suite for Tuba, play 2 mvmts, your choice
    • Vaughan - Concertpiece No. 1

Sight-reading: Required

Accompanist: Not required, nor provided

Percussion - Classical

Etudes/Solos:

  • ONE concert snare drum etude (memorization not required) from the book of the students choosing.
  • ONE rudimental snare drum solo (memorization not required) of the students choosing.
  • ONE 2 mallet etude or solo of the students choosing (memorization is not required).
    • A 4 mallet etude or solo of the students choosing is optional.

Sight-reading: For BA, BM - Music Studies, and BM - Performance (classical) majors - Required on snare drum AND marimba. For SRT majors - Required on drum set.

Accompanist: Not required, nor provided.

Other: SRT majors audition ONLY on snare drum and drum set.

Violin

Scales: One to two scales will be chosen from all three-octave scales.

Solos: TWO contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods. ONE piece should be slow and lyrical and ONE should be faster and technical. Two separate movements from the same piece will not be accepted.

Sight-reading: Required

Accompanist: Not required, nor provided.

Viola

Scales: One to two, three-octave scales of the student's choice at quarter note = 60 bpm or faster will be required.

Solos: TWO works (or movements of works) from different styles and historical periods.

Sight-reading: Required

Accompanist: Not required, nor provided.

Cello

Scales: ONE three or four octave scale of the student's choice, preferably with four to eight notes slurred per bow.

Etudes: ONE etude chosen from: High School of Cello Playing by David Popper, or Schroeder Vol. 2 or 3. Etudes do not need to be memorized.

Solos: The requirements below should demonstrate contrasting tempos and styles (ex. Romantic Concerto + Baroque Bach solo)

  • ONE movement of a standard Concerto, performed by memory
  • ONE movement of Unaccompanied Bach (student's choice)

Sight-reading: Required

Accompanist: Not required, however, a student's personal, professional accompanist is allowed to accompany the student during the audition if they wish. On-campus accompanists will not be provided.

Upright Bass - Classical

Scales: One to two, two octave scales up to 4 sharps and 4 flats will be requested.

Solos: TWO contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods. ONE piece should be slow and lyrical and ONE should be faster and more technical. Two separate movements from the same piece will not be accepted.

Sight-reading: Required

Accompanist: Not required, nor provided.

Saxophone - Jazz

Scales: Students should have prepared all Major scales and arpeggios.

Solos/Improvisation: 

  • Play the MELODY to either Anthropology or Donna Lee (available in the Charlie Parker Omnibook)
  • IMPROVISE over the following tunes (backing tracks will be provided at the audition):
    • Billie's Bounce (Aebersold, Vol. 6, Track 1), play one chorus of melody and improvise a minimum of two choruses.
    • There Will Never Be Another You (Abersold, Vol. 15, Track 2), play one chorus of melody and improvise a minimum of two choruses.

Sight-reading: Required

Other: The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study. If available, the prospective student will have an opportunity to demonstrate the above skills in a performance situation with either a large or small jazz ensemble.

Trumpet - Jazz

Scales: Students should have prepared all Major scales and arpeggios.

Solos/Improvisation: 

  • Play the MELODY to either Anthropology or Donna Lee (available in the Charlie Parker Omnibook)
  • IMPROVISE over the following tunes (backing tracks will be provided at the audition):
    • Billie's Bounce (Aebersold, Vol. 6, Track 1), play one chorus of melody and improvise a minimum of two choruses.
    • There Will Never Be Another You (Abersold, Vol. 15, Track 2), play one chorus of melody and improvise a minimum of two choruses.

Sight-reading: Required

Other: The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study. If available, the prospective student will have an opportunity to demonstrate the above skills in a performance situation with either a large or small jazz ensemble. In addition to the above requirements, all trumpet students must audition and be accepted by the classical applied trumpet faculty. For information regarding the classical component of the audition please look under the Trumpet - Classical area above.

Trombone - Jazz

Scales: Students should have prepared all Major and minor (Aeolian) scales. Scales must be performed in eighth notes with arpeggios at the end at a tempo of 70 - 80 bpm.

Etudes: Have ready to perform etudes that demonstrate up swing, Latin, and ballad styles (ex. Jim Snidero books or the All-State etudes).

Solos/Improvisation: Be able to demonstrate improvisation on various styles of jazz standards including:

  • Playing the MELODY to either Anthropology or Donna Lee (available in the Charlie Parker Omnibook)
  • IMPROVISING over the following tunes (backing tracks will be provided at the audition):
    • Billie's Bounce (Aebersold, Vol. 6, Track 1), play one chorus of melody and improvise a minimum of two choruses.
    • There Will Never Be Another You (Abersold, Vol. 15, Track 2), play one chorus of melody and improvise a minimum of two choruses.

Sight-reading: Required

Other: The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study. If available, the prospective student will have an opportunity to demonstrate the above skills in a performance situation with either a large or small jazz ensemble. In addition to the above requirements, all trombone students must audition and be accepted by the classical trombone applied faculty. For information regarding the classical component of the audition please look at the Trombone - Classical area above.

 

Piano - Jazz

Solos/Improvisation: Incoming freshmen must be prepared to perform the head and improvise ONE of the following four styles. Transfer students must be prepared to perform the head and improvise from at least TWO the following four styles:

  1. One jazz blues in a standard key (F or Bb, not C). Examples include:
    • Bb or F Blues from Aebersold Vol. 54 (Tracks 3 or 10) OR Vol. 2 (Tracks 3, 4, 8, or 9)
    • Blue Monk
    • Straight, No Chaser
    • Blue Train
    • Au Privave
  2. One jazz ballad (to illustrate your lyrical melodic style). Examples include:
    • Misty
    • Tenderly
    • 'Round Midnight
    • Funny Valentine
    • Some Other Time
    • My Romance
    • My Foolish Heart
    • Gershwin (any)
    • Ellington (any)
  3. One Latin/Jazz or Jazz/Funk, straight-eighth tune (samba, bossa, funk/rock, salsa) to illustrate your rhythmic precision and groove. Examples include:
    • Jobim (any)
    • The Shadow Of Your Smile
    • Green Dolphin Street
    • Black Orpheus
    • Blue Bossa
    • Recorda-Me
  4. One medium tempo jazz standard or original composition (to illustrate your melodic style over chord changes). Examples include:
    • Sweet Georgia Brown
    • Solar
    • Satin Doll
    • Ellington (any)
    • Fly Me To The Moon
    • There is no Greater Love
    • There Will Never Be Another You
    • Out Of Nowhere
    • Night and Day

Upright Bass - Jazz

Scales: Students must be prepared to perform all two-octave major and minor scales and arpeggios.

Etudes/Solos: Students must demonstrate Jazz style by performing ONE of the etudes below OR a solo transcription (transcriptions must be approved in advance).

  • Etudes from 60 Melodic Etudes by John Patitucci (Carl Fisher): Major (C, F, or Eb); Mixolydian (Bb or G)

Improvisation: Students must demonstrate improvisational skills by performing ONE chorus of melody, TWO improvised choruses, and A "walking" bass line on the following two selections:

  • Blues in F or Bb, Aebersold, Vol. 54, Tracks 3 or 10
  • "There Will Never Be Another You," Aebersold, Vol. 15, Track 2

Sight-reading: Required

Other: Auditions must occur on double-bass, as this will be the student's main instrument of study. Electric bass auditions must be approved in advance by Dr. Utah Hamrick. The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study. If available, they will have an opportunity to demonstrate the above skills in a performance situation with either a large or small jazz ensemble. In addition to the above requirements, all double-bass students must audition and be accepted on his/her primary instrument by the classical applied faculty. For information regarding the classical component of the audition please look under the Upright Bass - Classical section above.

Guitar - Jazz

Solos/Improvisation: Students are expected to demonstrate their improvisation skills through the performance of at least ONE blues progression and at least ONE jazz standard (ex. "Autumn Leaves," "All of Me," or similar material). In addition, students must play a chord melody arrangement of a jazz standard.

Other: Use of a plectrum is only allowed for the improvisation portion of the audition.

Drum Set - Jazz Only

Styles: Students must demonstrate rhythmic and "groove" competency in the following musical styles:

  • 4/4 swing at a variety of tempos
  • Funk and rock styles at a variety of tempos
  • Samba and Bossa Nova
  • Mambo
  • Afro-Cuban 6/8

Skills: In addition to the above, the following skills will be assessed:

  • Brush technique
  • Knowledge of form and repertoire
  • “Trading Fours”
  • “Call and Response”: ability in drum set patterns and ear exercises (i.e., hearing a phrase and playing it back)

Sight-reading: Required (big band charts)

Other: The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study. If available, they will have an opportunity to demonstrate the above skills in a performance situation with either a large or small jazz ensemble.