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Graduate Audition Repertoire Information

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.

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


Classical Degree Audition Requirements

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  • Scales: Will be chosen from all major and minor scales and arpeggios, preferably in the full range of the instrument (up to high C or, if possible, high D). They should be prepared slurred, tongued, and with mixed articulations. The minimum tempos are: for full range scales, quarter note = 100 (play eight notes) and for 2 or 3 octave scales, quarter note = 84 - 88 (play sixteenth notes).

    Excerpts: Performance majors must prepare a minimum of THREE orchestral excerpts from standard orchestral repertoire. Performance and Pedagogy majors must prepare a minimum of TWO orchestral excerpts from standard orchestral repertoire.

    Etudes: It is strongly recommended that prospective graduate students use solo repertoire for the audition but if one etude is chosen, suggested materials would be Andersen Etudes Op. 30, 33, or 63. Etudes from 24 Concert Studies from J.S. Bach's Works, or etudes of a comparable level.

    Solos: THREE contrasting pieces from standard Baroque, Classical, Romantic, Impressionist, and Contemporary periods demonstrating high levels of technical and musical abilities.

    • Suggestions include solos from:
      • Flute Music by French Composers
      • J.S. Bach Sonatas or the Partita in a minor
      • Mozart Concerti
      • Reinecke Sonata
      • Poulenc Sonata
      • Prokofiev Sonata
      • Martinu Sonata
      • Schubert Introduction, Theme and Variations

    Sight-reading: Required. Two to three excerpts will be chosen with varying tempi, style, articulation, and time signatures.

    Accompanist: Not required, nor provided.

    Other: Memorization is not required. Students need to provide a thorough repertoire list of etudes, solos, chamber music, and orchestral excerpts studied and/or performed. If available, a recording of a previous recital would be helpful. These should be uploaded to the student's online audition application. 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.

  • 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.

  • Scales: Memorized - all major and minor (natural, harmonic, and melodic) in full range with basic arpeggios (I5, V7, and vii diminished 7).

    Excerpts: Orchestral excerpts, examples include: Beethoven and Brahms Symphonies, Stravinsky's Firebird, Kodaly, Galanta Dances, etc.

    Etudes: If preparing etudes you must be able to perform ONE fast and ONE slow etude of your choosing.

    Solos: ONE solo repertoire piece, examples:

    • Weber - Concertos No. 1 or 2
    • Mozart - Concerto
    • Debussy - Rhapsody; Tower, Wings

    This only suggested repertoire! Other works of equal significance or comparable qualities and level of difficulty is acceptable. A total of 15 - 20 minutes of music that represents significant repertoire in contrasting styles is the requirement.

    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. Current Texas State Music Majors that have the approval of their major professor and two additional members of the woodwind area may use their bachelor's degree recital as their audition for the MM in Performance program.

  • Scales: Prepare all major and minor scales, full range of the instrument and memorized.

    Excerpts: Choose FIVE from the following:

    • Bartók: Concerto for Orchestra, Sz. 116
    • Beethoven: Symphony No. 4 in B-flat Major, Op. 60 OR Violin Concerto in D Major, Op. 61
    • Berlioz: Symphonie fantastique, Op. 14
    • Brahms: Violin Concerto in D Major, Op. 77
    • Donizetti: "Una furtiva lagrima" from L'elisir d'amore
    • Dukas: The Sorcerer's Apprentice
    • Mozart: The Marriage of Figaro, K. 492 OR Symphony No. 35 in D Major, K. 385 'Haffner'
    • Ravel: Bolero OR Piano Concerto in G Major
    • Rimsky Korsakov: Scheherazade, Op. 35
    • Shostakovich: Symphony No. 9 in E-flat Major, Op. 70
    • Stauss: Till Eulenspiegels lustige Streiche, Op. 28
    • Stravinsky: The Rite of Spring OR The Firebird
    • Tchaikovsky: Symphony No. 4 in f minor, Op. 36 OR Symphony No. 5 in e minor, Op. 64 OR Symphony No. 6 in b minor, Op. 74 'Pathétique'

    Etudes: Any contrasting etudes from Jacobi, Piard, or Bozza.

    Solos: Any repertoire from St. Saens, Tansman, Bozza, Mozart, or Weber.

    Sight-reading: Not required.

    Accompanist: Not required, nor provided.

    Other: Must provide a record/history of reed-making.

  • Auditions may occur on any of the following saxophones:

    • Alto
    • Tenor
    • Baritone

    Scales: Refer to "Daily Studies" by Trent Kynaston for proper scale format.

    • All full range major, harmonic minor, and melodic minor scales from memory performed slurred in sixteenth notes at a tempo of quarter note = 86.
    • All major and harmonic minor 3rds performed slurred in sixteenth notes at a tempo of quarter note = 86.
    • All major, minor, and dominant seventh arpeggios, full range with altissimo, performed slurred in sixteenth notes at quarter note = 100.
    • The chromatic scale in three octaves performed in sixteenth notes at a quarter note = 120.
    • All major 4ths, full range with altissimo in sixteenth notes at quarter note = 86 (as requested).
    • All whole-tone scales performed in sixteenth notes at quarter note = 86.

    Etudes: Perform TWO contrasting etudes from Bozza Etudes/Caprices, Lacour 28 Etudes After Messiaen, Lauba Neuf Etudes, Koechlin Etudes for Saxophone and Piano, Karg-Elert 25 Capricen und Sonate, Londeix Nouvelle Etudes, Muel 18 Exercises, or Muel 53 Etudes. No memorization is required.

    Solos: Perform at least TWO major solo works of contrasting style. Examples: Albright Sonata, Amram Ode to Lord Buckley, Aperghis Alter Egos (tenor), Asia The Alex Set (soprano), Berio Sequenza IXb, Berio Sequenza VIIb (soprano), Bolcom Concert Suite, Bolcom Lilith, Dahl Concerto, Denisov Sonata, Harbison San Antonio, Hurel Opcit (tenor), Husa Elegie et Rondeau, Husa Concerto, Larsson Concerto, Lennon Distances with Me, Lennon Symphonic Rhapsody, Mihalovici Chant Premier (tenor), Scelsi Tre Pezzi (soprano or tenor), Schmitt Legende, Tanada Mysterious Morning III (soprano), Villa-Lobos Fantasia (soprano or tenor), Williams Six Studies in English Folksong,  and Yoshimatsu Fuzzy Bird Song.

    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.

  • Scales: Students must play all major and minor scales (two octaves).

    Etudes/Solos: You must submit a repertoire list prior to your selected audition date. The repertoire list should be a complete list of musical works (solos, books, chamber music, etc.) that you have studies/performed. This will give the faculty a comprehensive look at your musical background and training. You will select a few works from this list to bring to the audition.

    Sight-reading: Required

    Accompanist: Not required, nor provided.

  • NOTE: All horn auditions are for Fall 2019 consideration only. Dr. Steiger will not be present at the November audition date. Therefore, we recommend you select the February, March, or April audition date.

    Spring 2019 acceptance consideration is not available.

    Scales: All major and minor (all three forms) scales (memorized), two octaves, tongued, and any tempo.

    Excerpts: Tchaikowsky's Symphony No. 5, Andante cantabile, con alcuna licenza and R. Strauss, Til Eulenspiegel, opening 1st horn solo.

    Etudes: Kling #18, tempo is dotted half = 50-60. Horn. Composed by Henri Kling. Edited by Lorenzo Sansone. Brass Solos & Ensembles - Horn Methods/Studies. Southern Music. Instructional and Etudes. Collection of etudes. 34 pages. Southern Music Company #B131. Published by Southern Music Company (HL.3770209)

    Solos: Mozart's Concerto No. 2 (K. 417) in Eb, 1st movement only (any edition).

    Sight-reading: Required

    Accompanist: Not required, nor provided

    Other: You should prepare all of the above, though the audition committee will only select portions from the above to hear during your audition.

  • Tenor Trombone:

    1. Play one etude comparable in difficulty to:
    • Rochut: Book I, #55- 60
    • Bitsch: 15 Etudes de Rythme, Etude #3
    • Boutry: 12 Etudes de haut Perfectionnement, Etudes #7

    2. Play two works of contrasting styles comparable in difficulty to:
    • Grondahl - Concerto
    • Larsson - Concertino
    • Sulek - Sonata vox Gabrieli
    • David – Concertino

    3. Play 5 orchestral excerpts comparable in difficulty to:
    • Mozart: Tuba Mirum from Requiem
    • Berlioz: Hungarian March (2nd trombone part)
    • Rossini: La Gazza Ladra Overture
    • Wagner: Ride of the Valkyries
    • Ravel: Bolero

    Bass Trombone:

    1. Play one etude comparable in difficulty to:
    • Rode: 15 Caprices
    • Rochut: Volume I (#49-60 played 8vb)
    • Maenz: Zwanzig Studien fur Bassposaune

    2. Play two works of contrasting styles comparable in difficulty to:
    • Bozza - New Orleans
    • Lebedev - Concerto No. 1
    • Sachse – Konzert (ed. Arno Hermann)
    • Koetsier - Allegro Maestoso

    3. Play 5 orchestral excerpts comparable in difficulty to:
    • Haydn: Achieved is the Glorious Work from The Creation
    • Berlioz: Hungarian March
    • Schumann: Symphony No. 3, "Rhenish"
    • Rossini: William Tell Overture
    • Wagner: Entry of the Gods into Valhalla from Das Rheingold

    Sight-reading: Not required

    Accompanist: Not required, nor provided

  • 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 = 120. Students must be prepared to play all 12 major minor (natural, harmonic, and melodic) scales.

    Excerpts: Prepare all excerpts. THREE will be selected at the audition.

    • Euphonium
      • Barber: Commando March, letter B - C
      • Holst: Second Suite for Military Band, 1st movement, solo section, also letter E - G AND 4th movement letter G to the end; AND The Planets (Mars)
      • Smith: Festival Variations, mm. 79-109 AND 274-323
      • Shostakovich/Hunsberger: Festive Overture, #8 - #10, #21 - #23, AND #33 to the end
      • King: The Melody Shop, entire march
      • Sullivan/Mackerras: Pineapple Poll, bar 5 - 9; after number 1; number 11 to the end
      • Moussorgsky/Ravel - Pictures at an Exhibition (Bydlo)
    • Tuba
      • Berlioz: Symphonie Fantastique, mvmts. 4 AND 5
      • Bruckner: Symphony No. 7, mvmt. 4
      • Mahler: Symphony No. 1, mvmt. 3
      • Prokofiev: Symphony No. 5, mvmt. 1
      • Respighi: Fountains of Rome
      • Strauss: Till Eulenspiegel
      • Wagner: Ride of the Valkyries AND Overture to Die Meistersinger

    Solos: ONE solo, memorization not required.

    • Euphonium
      • H. Bellstedt - Napoli
      • Boccalari - Fantasia di Concerto
      • Curnow - Symphonic Variants, play 2 mvmts of your choice
      • Horovitz - Concerto, play 2 mvmts of your choice
      • Jacob - Fantasia
      • Mantia - Believe Me If All Those Endearing Young Charms
      • Ross - Partita
      • Schubert - Arpeggione Sonata
    • Tuba
      • Broughton - Sonata, play 2 mvmts of your choice
      • Gregson - Sonata, play 2 mvmts of your choice
      • Hindemith - Sonata, play 2 mvmts of your choice
      • Lebedev - Concerto in One Movement
      • R.V. Williams - Concerto, play 2 mvmts of your choice

    Sight-reading: Required

    Accompanist: Not required, nor provided

  • Excerpts: Orchestral excerpts are optional.

    Etudes/Solos: Memorization is not required.

    • ONE concert style snare drum etude or solo
    • ONE rudimental snare drum etude or solo
    • ONE 2 mallet etude or solo
    • ONE 4 mallet etude or solo
    • ONE timpani etude or solo
    • Drum set is optional

    Sight-reading: Required on snare drum and marimba. Timpani and drum set are optional.

    Accompanist: Not required, nor provided.

  • Scales: All three-octave scales.

    Solos: A recital program of at least 30 minutes representing a minimum of THREE contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods, demonstrating high levels of technical and musical abilities.

    Sight-reading: Required

    Accompanist: Not required, nor provided.

  • Scales: All major and melodic minor three-octave scales and arpeggios at quarter note = 60 bpm or faster will be required.

    Solos: A 30-minute program of solo works representing a variety of stylistic and historical periods (at least THREE styles/periods).

    Sight-reading: Required

    Accompanist: Not required, nor provided.

  • Scales: All major and minor scales in three-octaves.

    Solos: A recital program of at least 30 minutes representing a minimum of THREE contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods, demonstrating high levels of technical and musical abilities.

    Sight-reading: Required

    Accompanist: Not required, nor is one provided by the School of Music.

  • Scales: All two or three (when appropriate)-octave scales.

    Solos: A recital program of at least 30 minutes representing a minimum of THREE contrasting works chosen from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods, demonstrating high levels of technical and musical abilities.

    Sight-reading: Required

    Accompanist: Not required, nor provided.

  • PRE-SCREEN PROCESS: Submit a video upload of two selections (one aria and one art song) from the standard classical repertoire on your Acceptd application media tab. 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 Acceptd or email a minimum of two weeks before the audition if you have been granted an in-person audition on your selected date. If you are an out-of-state applicant and need more notice than two weeks in order to make travel arrangements, please contact the School of Music graduate office. Note: Your pre-screen selections may be ones you are preparing to sing if invited to an in-person audition.

    If granted a live audition following your pre-screening submission in Acceptd, your live audition will consist of the following:

    Solos/Monologue: SIX MEMORIZED SONGS. These songs should represent major style periods and languages (English, Italian/Latin, German, French). You will choose  and sing one piece and the faculty may choose to hear more at their discretion. In addition, you must prepare and perform ONE monologue of no more than one minute in length, from a time period no earlier than 1900.

    Sight-reading: Not required, however, you may be asked to complete exercises in pitch matching, range, etc. This is done at the faculty's discretion.

    Accompanist: An in-person accompanist is required and provided by the School of Music. Please bring a copy of each of the pieces on your list 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 that is provided. Singing a cappella or performing to pre-recorded music or taped accompaniments are not allowed!!! You may bring your own accompanist if you choose.

    NOTE: You are required to provide 11 word-processed copies of the list of the repertoire you have prepared for the audition.

  • Scales: Two Octave Scales - First Position: E Major, F Major, G Major, e minor, and g minor. Three Octave Scales (Segovia or original systematic fingering): E Major, F Major, F# Major, G Major, and A Major as well as c# and e melodic minor. All scales should be played as 8th notes at 100 - 120 bpm.

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

    • Etudes
      • Fernando Sor: No. 10, No. 12, No. 17, or No. 20 – from Andres Segovia - Twenty Studies for the Guitar by Fernando Sor
      • Matteo Carcassi: No. 1, No. 6, No. 7, No. 9, No. 11, No. 16, No. 20, or No. 23 – from Twenty-five Melodic Etudes, Op. 60
      • Leo Brouwer: No. 11, No. 16, or No. 17 – from Simple Etudes (Estudios Sencillos or Etudes Simples)
    • Solos
      • Capricho Arabe by F. Tearrega
      • Danza Caracteristica or Ojos Brujos by L. Brouwer
      • Fandanguillo (from Suite Castellana) by F.M. Torroba - choose ONE movement
      • Fandanguillo by J. Turina
      • Passacaille by S.L. Weiss
      • Tarantelle by J.K. Mertz
      • Tarantelle by M. Castelnuevo-Tedesco

    Sight-reading: Required

  • Solos: THREE contrasting works (one being a sonata) chosen from the Baroque, Classical, Romantic, Impressionistic and Contemporary periods. These may be performed as a recital of 30 minutes. Students should be able to demonstrate high levels of technical and musical abilities.

    Sight-reading: Will be required for in-person auditions.

    Other: Memorization is required.


Latin Degree Audition Requirements

  • All Mariachi instrumentalists must prepare and perform the following TWO selections on at least one instrument.

    • Son de la Negra
      • Violin – First Part
      • Trumpet – First Part
      • Armonía – Guitarrón and Vihuela Parts
    • Viva Veracruz
      • Violin – First Part
      • Trumpet – First Part
      • Armonía – Guitarrón and Vihuela Parts

    Recommended Vocal audition requirements:

    • Perform TWO Mariachi songs in contrasting styles. Classical repertoire may also be performed if you are comfortable with that repertoire.

    NOTE: Those students who can demonstrate advanced skills across the various sections of the Mariachi will be given preference.

  • All Mariachi vocalists must prepare and perform TWO Mariachi songs in contrasting styles. Classical repertoire may also be performed if you are comfortable with that repertoire.

     

    Recommended Instrumental audition requirements: All Mariachi instrumentalists must prepare and perform the following TWO selections on at least one instrument.

    • Son de la Negra
      • Violin – First Part
      • Trumpet – First Part
      • Armonía – Guitarrón and Vihuela Parts
    • Viva Veracruz
      • Violin – First Part
      • Trumpet – First Part
      • Armonía – Guitarrón and Vihuela Parts

     

    NOTE: Those students who can demonstrate advanced skills across the various sections of the Mariachi will be given preference.

  • Applicants with a Salsa/Afro-Caribbean music background.

    Prepared Music

    • Perform THREE (3) contrasting songs from The Latin Real Book, Latin Jazz category.

    Sight-reading

    • Candidates will sight-read TWO excerpts selected by the audition panel.
      1. A syncopation rhythm sheet
      2. A salsa music excerpt

     

    Applicants with a Classical or Jazz background.

    Prepared Music

    • Perform THREE (3) musical selections in contrasting styles. You may use a CD track or program such as iReal Pro for accompaniment.

    Sight-reading

    • Candidates will sight-read TWO excerpts selected by the audition panel.
      1. A syncopation rhythm sheet
      2. A salsa music excerpt
  • Applicants with a Salsa/Afro-Caribbean music background.

    Foundation

    • Play page 36 from True Cuban Bass/El Verdadero Bajo Cubano by Carlos Del Puerto and Silvio Vergara.
    • Demonstrate patterns in various Latin genres besides son montuno:
      • cha cha cha
      • bolero
      • merengue
      • any other genre of your choosing

    Prepared Music

    • Prepare FOUR (4) songs from The Latin Real Book. The Latin Real Book divides its songs into four categories (found on pages i - ii). Your selections should include one piece from each of the four categories:
      • Contemporary Salsa
      • Salsa Classics - Arsenio Rodriguez to Tito Rodriguez
      • Salsa Classics - Standards
      • Latin Jazz

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.

     

    Applicants with a classical or jazz background.

    Prepared Music

    • Perform THREE (3) contrasting musical selections. Choose pieces that do not require bowing.

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.

     

  • Applicants with a Salsa/Afro-Caribbean music background.

    Foundation

    • Play piano montuno variations in 2-3 and 3-2 clave using the following chord progressions with a conga playing along with you:
      • (I-IV/V-IV) (i-iv/V-iV)
      • (I-ii-V7-I) (im7-iib5-V7b9-im7)
      • (I-V7-V7-I) (i-V7-V7-i)
    • Play the appropriate montunos or standard piano patterns for the following genres:
      • cha cha cha
      • bolero
      • merengue
      • any other genre of your choosing

    Prepared Music

    • Perform FOUR songs from The Latin Real Book. The Latin Real Book divides its songs into four categories (found on pages i - ii). Your selections should include one piece from each of the four categories:
      • Contemporary Salsa
      • Salsa Classics - Arsenio Rodriguez to Tito Rodriguez
      • Salsa Classics - Standards
      • Latin Jazz

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.

     

    Applicants with a classical or jazz background.

    Prepared Music

    • Perform THREE contrasting musical selections.

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.
  • Applicants with a Salsa/Afro-Caribbean music background.

    Foundation

    • Please demonstrate the standard percussion patterns for all genres listed below. Instruments will be provided in the audition room (inc. congas, timbal, bongo, tambora, and small percussion).
      • son montuno
      • cha cha cha
      • merengue
      • charanga
      • danzón
      • bolero
      • afro-cuban 6/8
      •  guaguancó
      • any other genre of your choosing

    Prepared Music

    • Play syncopation exercises 1, 2, 3, and 4 from Progressive Steps to Syncopation for the Modern Drummer by Ted Reed.
      • Play each exercise on a different instrument (congas, bongo, and timbal). The fourth should be on the instrument that you dominate the most.
      • For each exercise, play four measures of son montuno pattern followed by line 1 of the exercise, then return to four measures of son montuno, and follow with line 2, and so on.  Continue until the end of the exercise.
      • The exercises can be played on open tones but interpretation using various timbre choices (rim shots, cymbal hits, bass tones, slaps, high and low drums, etc.) is preferred.

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.

     

    Applicants with a Classical or Jazz background.

    Prepared Music

    • As the M.M. in Performance with Latin concentration focuses on Hispanic Caribbean percussion instruments such as congas, timbal, and bongo, among others, candidates are encouraged to demonstrate any skills they may have on these instruments.
      • Classical percussionists
        1. Perform TWO keyboard selections (preferably on vibraphone).
        2. Perform ONE snare solo.
        3. Optional: Demonstrate any patterns in Hispanic Caribbean genres that you know on drum set.
      • Jazz percussionists
        1. Perform TWO selections on vibraphone (you may use a CD track or program such as iReal Pro for accompaniment).
        2. Perform TWO selections on drum set.
        3. Demonstrate any Hispanic Caribbean genres that you know on drum set.

    Sight-reading

    • Candidates will sight-read an excerpt selected by the audition panel.
  • Applicants with a Salsa/Afro-Caribbean music background.

    Prepared Music

    • Perform FOUR (4) songs in the following genres:
      • salsa dura
      • contemporary salsa
      • an additional genre such as bolero, cha cha cha, merengue, etc.

    Improvisation

    • Be prepared to improvise (sonear) over the coro of a standard salsa song from the salsa dura period. The song will be called for at the time of the audition and you will improvise to the provided montuno and coro.

     

    Applicants with a classical or jazz background.

    Prepared Music

    • Perform THREE contrasting musical selections of your choice (selections should be in Spanish).

Jazz Degree Audition Requirements

  • Scales: Students should have prepared all major, harmonic minor, and diminished scales.

    Solos/Improvisation: 

    • Prepare the melody to ONE medium/medium-up swing jazz standard of your choice and improvise at least THREE choruses
    • Prepare at least ONE blues head and improvise on the changes
    • Prepare the melody to the jazz standard "All The Things You Are" and improvise at least ONE chorus
    • Prepare the melody to ONE standard jazz ballad and improvise at least ONE chorus

    Sight-reading: Required

    Other: There is no classical audition requirement.

  • Scales: Students should have prepared all major, harmonic minor, and diminished scales.

    Solos/Improvisation: 

    • Prepare the melody to ONE medium/medium-up swing jazz standard of your choice and improvise at least THREE choruses
    • Prepare at least ONE blues head and improvise on the changes
    • Prepare the melody to the jazz standard "All The Things You Are" and improvise at least ONE chorus
    • Prepare the melody to ONE standard jazz ballad and improvise at least ONE chorus

    Sight-reading: Required

    Other: There is no classical audition requirement.

  • Scales: Selected scales from major and minor (aeolian, dorian, melodic), selected mixolydian bebop scales, and diminished and altered scales.

    Etudes: Advanced etudes demonstrating proficiency in the different jazz styles - swing, Latin, ballad, etc.

    Solos/Improvisation: Perform THREE diverse standards from memory.

    Sight-reading: Required

    Other: There is no classical audition requirement.

  • Solos/Improvisation: Students must be prepared to perform the head and improvise all four styles below:

    • Prepare the melody to one medium/medium-up swing jazz standard of your choice and improvise at least three choruses
    • Prepare at least one blues head and improvise on the changes
    • Prepare the melody to the jazz standard "All The Things You Are" and improvise at least one chorus
    • Prepare the melody to one standard jazz ballad and improvise at least one chorus

    Prepare all major, melodic minor, and diminished scales

    Other: There is no classical audition requirement.

  • Scales: Students should have prepared all major, harmonic minor, and diminished scales.

    Solos/Improvisation: Students must be prepared to walk an uptempo bass line and/or demonstrate a "two-feel" for the tunes below.

    • Prepare the melody to ONE medium/medium-up swing jazz standard of your choice and improvise at least THREE choruses
    • Prepare at least ONE blues head and improvise on the changes
    • Prepare the melody to the jazz standard "All The Things You Are" and improvise at least ONE chorus
    • Prepare the melody to ONE standard jazz ballad and improvise at least ONE chorus

    Sight-reading: Required

    Other: There is no classical audition requirement.

  • Scales: Students should have prepared all major, harmonic minor, real melodic minor (raised 6th and 7th both ascending and descending), blues, minor pentatonic, and diminished scales in all keys and positions on the guitar neck.

    Solos/Improvisation: 

    • Prepare the melody to ONE medium/medium-up swing jazz standard of your choice and improvise at least THREE choruses
    • Prepare at least ONE blues head and improvise on the changes
    • Prepare the melody to the jazz standard "All The Things You Are" and improvise at least ONE chorus
    • Prepare the melody to ONE standard jazz ballad and improvise at least ONE chorus
    • Prepare ONE chord-melody arrangement for solo guitar

    Sight-reading: Required

    Other: There is no classical audition requirement.

  • 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: There is no classical audition requirement.

     


Conducting Degree Audition Requirements

  • Conducting Videos

    • Summer applicants
      • Proof of a degree in choral/vocal music or have relative experience and have a minimum of 3 years of excellence as a professional conductor/educator.
      • Videos that focus on the conductor with a center view, of you: 
      • Conducting a complete octavo or movement of a large work that includes polyphony
      • Conducting a complete octavo or movement of a larger work that demonstrates phrase-shaping and dynamic conture.
      • 15 minutes of rehearsal - does not need to be continuous
    • Fall applicants
      • Video demonstrating rehearsal techniques and two pieces demonstrating your conducting for the entire piece with the camera focused on you, the conductor.

    Score Reading Assessment: There is an open-score reading assessment that is administered by Dr. Jonathan Babcock.

    Accompaniment: Provided for the choral conducting portion of the audition.

    We will provide results of your pre-screening as soon as possible. Live auditions for approved applicants will be arranged with the area coordinator.

    Contact Dr. Joey Martin (joey.martin@txstate.edu) if you have any questions or concerns regarding the Choral Conducting program.

  • Conducting Videos: Submit a 20 - 30 minute video of yourself conducting an ensemble or various ensembles. The video must be taken from the players point of view (front view of conductor). Ideally, the video will include both rehearsal and performance footage, however, both are not required.

    Other: Upon review of all application materials and video footage, some applicants will be invited for an on-campus interview with Dr. Beatty and a live audition rehearsal session with the Wind Symphony. On-campus interviews and auditions are usually scheduled for sometime in February or early March.

    Contact Dr. Caroline Beatty, ccbeatty@txstate.edu if you have any questions or concerns regarding the Band Conducting program.

  • Conducting Video: A 20 - 30-minute video of yourself conducting an orchestra or string ensemble. The video must be taken from the players point of view (front view of conductor). Ideally, the video will include both rehearsal and performance footage, however, both are not required.

    Other: Upon review of all application materials and video footage, some applicants will be invited for an on-campus interview with Dr. Harrison and a live audition rehearsal session with the Symphony Orchestra. On-campus interviews and auditions are usually scheduled for sometime in February or early march.

     

    Contact Dr. Jacob Harrison, jacob.harrison@txstate.edu if you have any questions or concerns regarding the Orchestral Conducting program.