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Undergraduate Audition Requirements

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

Classical Degree Audition Requirements

  • Must sing/play the required audition materials (see below) for a faculty committee based on their vocal part/instrumental area
    • Music Studies applicants must submit a 250-500 word written statement answering the question "Why do you want to teach music?" to the media tab of your Acceptd application and submit your application three weeks prior to the audition date selected. This statement will be referenced during a short interview on your audition day. You will also be asked to complete a short aural skills assessment as part of the interview.  
    • Classical vocalists must submit a pre-screen video to the media tab of your Accepted application and submit your application three weeks prior to the audition date selected. A decision as to whether you will be invited to our live auditions on the date that you selected will be made as soon as possible after your application is submitted.
    • Students interested in SRT must submit an additional pre-screen video to the media tab based on the SRT video requirements to be considered for this degree option. A decision as to whether you will be invited to interview the day of our live auditions will be made as soon as possible after your application is submitted.
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  • Scales: All major scales played all eighth notes, slurred two octaves, with equal rhythm throughout and memorized (suggested minimum tempo: quarter note = 88).

    Excerpts:

    Solos/Etudes: Solos are the preferred audition repertoire. Prepare two contrasting solos (three to four minutes per solo) from the Baroque, Classical, Romantic, Impressionistic, and Contemporary periods.  Solos prepared should be comparable to the Class I list (UIL) or the "Virtuoso" list. Solos from Twenty-four Short Concert Pieces, edited by R. Cavally, published by Southern Music Co. are acceptable; however, if one of these is chosen, a technical etude or solo should also be prepared as the second work.

    • 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

    Although solo material is preferred, students may perform one solo and one etude of contrasting styles or two etudes 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.

    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.

  • Scales: All 12 major scales, two octaves, memorized.

    Solo:  Two contrasting movements or works. 

    Etude:  Two contrasting etudes from either Barret “40 Progressive Melodies” or Ferling “48 Etudes.”

    Sight-reading: Not required.

    Accompanist:  Not required, nor provided.

  • 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.

  • 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.

  • 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 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.

    Note: Students admitted into the School of Music are required to invest in a Professional Line Instrument. You will be expected to meet one of the following:

    1. Arrive for the first semester of study with one of the following brands/models:
      • Selmer Reference
      • Selmer Super Action 80
      • Selmer Super Action 80 Series II
      • Selmer Mark VI
      • Eastman 52nd Street
      • Yamaha Custom
    2. Consult with Dr. Oxford about purchasing one of the above brands/models above during the first semester of study.
  • 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.

  • 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 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

  • 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.

  • 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

  • SRT majors may audition on classical percussion instruments (see below) or on Drum Set only (see the Drum Set - SRT Only tab under the Jazz Degree Audition Requirements).

     

    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.

    Accompanist: Not required, nor provided.

  • 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.

  • 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.

  • Scales: ONE three or four octave scale of the student's choice.

    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 will on-campus accompanists will not be provided.

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

    Solos: TWO contrasting solos for double-bass or transcriptions of solos for another instrument. ONE piece should be slow and lyrical and ONE should be faster and more technical. The two solos may be contrasting movements from the same piece.

    Sight-reading: Required

    Accompanist: Not required, nor provided.

    Contact Professor David Dawson with audition repertoire questions.

  • Scales: TWO, two-octave major scales up to 4 sharps and 4 flats will be requested.

    Solos: TWO contrasting solos.

    Sight-reading: Required

    Accompanist: Not required, nor provided.

    Contact Professor David Dawson for questions or guidance in selecting appropriate solos.

  • 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.

  • 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.

  • 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.

  • PRE-SCREEN PROCESS: Submit a video upload of ONE song (memorized) on your Acceptd 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 Acceptd as soon as possible after your submission is received if you will be invited to our live auditions on your selected date. Note: Your pre-screen selection may be one of the selections you are preparing to sing if invited to our live auditions.

     

    Requirements for submission of a pre-screening video for the Texas State Voice Area

    • Announce your name and the title of your piece clearly and slowly enough to be heard and understood.

    • The selection(s) that you present must be memorized

    • Your performance should preferably be with live piano accompaniment. If live accompaniment is not possible, the playback that you use must be played through a loud speaker – with a volume level such that the audition panel can hear it clearly without disturbing the quality of the voice recording

    • Singer should stand in front - or just to the side - of the piano

    • The camera must be far enough away from singer so that the audition panel has a full body view.

    • Video should be recorded in a neutral room (preferably in your school choir room, but living room or voice teacher’s studio is acceptable)

    • Videos recorded in bedrooms, bathrooms, or cars are NOT acceptable

    • Make sure the lighting in the room is bright enough for the panel to see you clearly

    • Face the camera as you would face an audience

    • Dress in the way that you would for a job interview in an office, or how you might dress to attend a special school event.

    • Sing expressively

     

    Before you submit your video:

    Watch your video with a critical eye and ear, remembering that this video will determine if you get a live audition. Avoid the mistake of thinking, "It's only a prescreen video..." Treat this like a live audition. Listen carefully to your intonation. You want to present us with your best performance so that we are interested in hearing more. While a professional video is not necessary, your performance and presentation should be as professional as you can make it.

     

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

    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, performing to pre-recorded music or taped accompaniment is 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.

  • PRE-SCREEN PROCESS: Submit a video upload of TWO songs (memorized) on your Accepted 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 Acceptd as soon as possible after your submission if you have been invited to our live auditions on your selected date. Note: Your pre-screen selections may be ones you are preparing to sing if invited to our live auditions.

     

    Requirements for submission of a pre-screening video for the Texas State Voice Area

    • Announce your name and the title of your piece clearly and slowly enough to be heard and understood.

    • The selection(s) that you present must be memorized

    • Your performance should preferably be with live piano accompaniment. If live accompaniment is not possible, the playback that you use must be played through a loud speaker – with a volume level such that the audition panel can hear it clearly without disturbing the quality of the voice recording

    • Singer should stand in front - or just to the side - of the piano

    • The camera must be far enough away from singer so that the audition panel has a full body view.

    • Video should be recorded in a neutral room (preferably in your school choir room, but living room or voice teacher’s studio is acceptable)

    • Videos recorded in bedrooms, bathrooms, or cars are NOT acceptable

    • Make sure the lighting in the room is bright enough for the panel to see you clearly

    • Face the camera as you would face an audience

    • Dress in the way that you would for a job interview in an office, or how you might dress to attend a special school event.

    • Sing expressively

     

    Before you submit your video:

    Watch your video with a critical eye and ear, remembering that this video will determine if you get a live audition. Avoid the mistake of thinking, "It's only a prescreen video..." Treat this like a live audition. Listen carefully to your intonation. You want to present us with your best performance so that we are interested in hearing more. While a professional video is not necessary, your performance and presentation should be as professional as you can make it.

     

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

    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, performing to pre-recorded music or taped accompaniment is 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.


Latin - Mariachi Degree Audition Requirements

BM - Music Studies, Choral - Mariachi

  • Must sing and play the required audition materials for the Latin Music Studies faculty committee
  • 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. Live accompaniment (student accompanies themself by performing on their primary mariachi ensemble instrument) or singing-along with a PISTA (karaoke accompaniment) track are acceptable. If the PISTA option is selected, we will provide an auxiliary cable to run from the student's electronic device (phone, laptop, etc.) to our PA system, however, if the track is on the newest iPhone, the student will need to provide their own adapter in order to connect to the provided auxiliary cable.


Jazz Degree Audition Requirements

  • Must play the required audition materials (see below) for the jazz faculty committee. No classical audition is required.
  • Electric bass students may audition/be accepted on this instrument. However, once at Texas State, you will be required to transition to Double Bass.
  • 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.

  • 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.

  • 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.

  • 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). 
    2. One jazz ballad (to illustrate your lyrical melodic style). 
    3. One Latin/Jazz or Jazz/Funk, straight-eighth tune 
    4. One medium tempo jazz standard 

    Scales: Major scales in all keys; Jazz scales

    Chord knowledge: Maj7, min7, dominant7 all keys

    Sight reading: melody and chord symbols

  • 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.

  • Prospective bass majors must audition for Dr. Utah Hamrick (utah.hamrick@txstate.edu) on double-bass, as this will be their main instrument of study. Electric bass auditions must be approved in advance by Dr. Hamrick.

    Etude/Solo: 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)
    • Scales and arpeggios: two-octaves, major and minor.

    Improvisation: Students must demonstrate improvisational skills by performing ONE chorus of melody, TWO improvised choruses, and creating 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

    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. 

  • Prospective drum set players must audition for Butch Miles (cm52@txstate.edu). Jazz drum set auditions consist of the applicant being able to 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
    • Various Latin rhythms i.e. samba, etc.

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

    • Music reading ability
    • 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)

    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.

     

  • Prospective SRT drum set players will audition for Butch Miles (cm52@txstate.edu) and two other rhythm section faculty. SRT drum set auditions consist of the applicant being able to 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
    • And/or various Latin rhythms i.e. samba, etc.

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

    • Music reading ability
    • Knowledge of form and repertoire

    Other: The prospective student should be prepared to discuss previous performance experience, teachers, and method books used in study.


Reminders

  • Admission to the School of Music is contingent on admission to the University via the ApplyTexas application. Select pre-music on the ApplyTexas Application as the desired degree plan.
  • Any prospective music student who is unable to audition in person due to geographic distance from Texas State (out-of-state or out-of-country) may submit an video recording of the required repertoire for their instrument or voice, representative of their performing abilities (see above) on the media tab of their Acceptd application.
  • Admission will be based upon the students audition and 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.