Principal Instrument/Voice Audition Requirements
All students (except those applying for the Master of Music in Composition or the Master of Music in Education degree) must audition on their principal instrument as part of the admissions process.
Please prepare an instrument/voice audition using the guidelines below. If auditioning remotely, create a video of your audition and post it as unlisted to YouTube. Send the link to the video to [email protected] at least one day before your audition date. Accompaniment (live or pre-recorded) is required for vocal auditions only. Meetings, interviews and other activities will be conducted via Zoom on your audition day. Percussionists, please contact [email protected] if you need access to equipment.
Bassoon
- All major scales (two octaves each)
- Etude (e.g. Weissenborn)
- Prepared solo - present contrasting styles (e.g. fast, tongued and energetic vs. slow, slurred and lyrical). Choose from the standard repertoire such as Telemann, Fasch, Galliard, Mozart or Weber.
Suggested Solos:
Composer: Title; Publisher – Remarks
- Senaille: Allegro Spiritoso; Southern – Originally for violin, the tune's contagious!
- Rathaus: Polichinelle; Belwin – Energetic dance, sounds impressive.
- Jacob: Four Sketches; Emerson – Very attractive vignettes, esp. "Prelude to the Afternoon of a Dinosaur!"
- Galliard: Sonatas I–VI (2 vols.); International – Nos. III and V are very good.
- Weissenborn: Capriccio; Carl Fischer – This one's dandy.
- Telemann: Sonata in F Minor; Amadeus – Very effective Baroque music, second movement works alone.
- Phillips: Concert Piece; Carl Fischer – Snazzy conservative 20th-century idiom.
- Kozeluh: Concerto; Elkan-Vogel – A decent 18th-century concerto, third movement is exciting!
- Elgar: Romance; Novello – The bassoonist's Brahms! For good musicians.
- Schickele: Summer Serenade; Presser – What a neat piece!
- Mozart: Concerto, K. 191; Hofmeister – Stick to the third movement your first time around with this piece!
- Pierne: Solo de Concert; Kalmus – Romantic and powerful, needs a good accompanist.
- Grovlez: Sicilienne et Allegro Giocoso; Leduc – One of the best-sounding Conservatoire pieces.
- Weber: Ungarische Fantasie; Universal Ed. – A rip-snorter!
- Tansman: Sonatine; Leduc – For the best musicians.
Feel free to reach out to Dr. Reynolds with questions at [email protected].
Cello
Undergraduate repertoire requirements:
- 3-Octave Galamian Scales:
- Choose 2 keys from the list (Key of Eb, F, G, Ab, A, or Bb) and play the major, melodic minor, and harmonic minor scales in each corresponding key using the Galamian scale method. Download Scale PDF.
- Metronome: quarter note equals 60 with scales in eighth notes.
- Scales must be played slurred, four notes to a bow as shown in the highlighted green box (refer to Scale PDF). Please be sure you are using the full length of the bow and distributing the bow evenly among all four notes in each slur.
- Scales must be played for memory in both in-person and remote auditions.
- Etude of choice (Popper, Duport, Piatti, or other technical study)
- Two solo selections presenting contrasting styles chosen from the standard repertoire. Piano accompaniment is welcome but not required.
Graduate repertoire requirements:
- Etude (Popper, Duport, Piatti, or other technical studies)
- Two contrasting movements, one of which is the Prelude, from one of the Bach unaccompanied suites.
- An allegro movement from the standard cello concerto literature. Piano accompaniment is welcome but not required.
*Movements of Bach and the concerto must be memorized.
Music Minor repertoire requirements:
- Choice of two major scales (3 octaves, if applicable)
- One solo selection demonstrating your level of playing. Piano accompaniment is welcome but not required.
For questions about audition repertoire, please contact Prof. Deborah Pae. To learn more about the studio and our young artists, visit the EMU CELLO Website.
- 3-Octave Galamian Scales:
Clarinet
Solo Repertoire Performance
All students should prepare at least one solo or two etudes for the audition. The work(s) should encompass a minimum of two contrasting styles of performance (such as slow/lyrical, fast/technical, articulated.) Accompaniment is desirable but optional. The following compositions are representative of solo repertoire appropriate for the audition. However, solos or etudes of comparable difficulty are also acceptable. Please call if you have any questions regarding appropriate audition repertoire.
- Baermann, H. – Adagio
- Brahms, J. - Sonatas, Op. 120, No. 1 and 2
- Cavallini, E. - Adagio and Tarentella
- Debussy, C. - Premiere Rhapsodie
- Finzi, G. - Five Bagatelles
- Hindemith, P. - Sonate
- Jeanjean, P. - Arabesques
- Messager - Solo de Concours
- Milhaud, D. - Sonatine
- Mozart, W. A. - Concerto
- Osborne, W. - Rhapsody
- Poulenc, F. - Sonate
- Rabaud, H. - Solo de Concours
- Schumann, R.- Fantasy Pieces
- St. Saens, C. - Sonate
- Stamitz, J. - Any concerto
- Stamitz, K. - Any concerto
- Stravinsky - Three Pieces
- Vaughn Williams, R. - Six Studies in English Folk Song
- Weber, C. M. - Concertino, Either concerto, or Introduction and Rondo
Sight Reading
A short work will be selected for sight reading at the audition
Scales (all degrees)
- Major Scales: All major scales, articulated and slurred.
- Three octave minimum for E, F, F# and G major.
- Two octave minimum for all remaining keys.
Scales (Bachelor of Music - Performance, Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Science and Bachelor of Arts)
- Melodic Minor Scales: All melodic minor scales, articulated and slurred.
- Three octave minimum for E, F, F# and G.
- Two octave minimum for all remaining keys.
Scales (Bachelor of Music - Performance. Highly recommended for all degrees programs)
- Chromatic Scale: Ascending and Descending from chalumeau E through altissimo G.
For graduate auditions, if you have questions, please contact Professor Sandra Jackson.
Double Bass
Undergraduate
- All major scales (two octaves each)
- Etude
- Two prepared solo selections (presenting contrasting styles chosen from the standard repertoire)
For additional information regarding audition requirements, please contact Professor Derek Weller.
Euphonium
Your audition will consist of the following:
- Major scales in all 12 keys (two octaves when possible).
- Prepared solos and/or etudes - two contrasting works (one lyrical and one technical) or two contrasting movements within one work (required). See below for examples of solo works appropriate for audition
- Sight-reading
- Brief interview/question and answer session
It is important that you play something that you play well. Good luck!
Flute
The following are flute audition requirements and guidelines for undergraduate applicants. The audition will last approximately 15–20 minutes and is an important part of the application process. For graduate audition requirements please contact Dr. Julie Stone.
Scales
For all majors please play one of your choice from each of the following categories:
- Major scale, 2 octaves
- Minor scale, harmonic or melodic minor form, 2 octaves
- Chromatic scale, 2 octaves (more if possible but not required)
For minors
- Major scale, 2 octaves
Solo Literature
Bachelor of Music Performance: Two solos of contrasting styles from the list below or of comparable difficulty
Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Arts: One solo from the list below or of comparable difficulty.
Flute minors: One solo of your choice not necessarily from list below.
- Bach, J.S. - Sonatas
- Bloch - Suite Modale
- Burton - Sonatina
- Chaminade - Concertino
- Debussy - Syrinx
- Enesco - Cantabile et Presto
- Faure - Fantaisie
- Gaubert - Nocturne et Allegro Scherzando
- Griffes - Poem
- Handel - Sonatas
- Hindemith - Sonata
- Honegger - Danse de la chevre
- Hue - Fantaisie
- Kennan - Night Soliloquy
- Mozart - Concerto in D or G
- Poulenc - Sonata
- Quantz - Concerto in G
- Stamitz - Concerto in G
- Telemann - Fantasies
Sight Reading
A short work will be selected by Dr. Julie Stone for sight reading at the audition.
If you have questions, please contact Dr. Julie Stone.
French Horn
Thank you for your interest in auditioning for the horn studio at Eastern Michigan University. Auditions take the form of a sample lesson and I will ask you to play a prepared solo, an etude from a method book and scales. During the audition I make a judgment of your potential for success by assessing the following important musical skills:
- Rhythmic skills - Do you have the ability to keep an even pulse and to subdivide?
- Aural skills - Can you hear intervals before you play them? Can you sing the music you are playing?
- Tone quality (breathing skills) - Do you have a centered and rich tone?
- Technique - Do you know fingerings for F and Bb horn for the entire range of the horn? Can you tongue cleanly and quickly? Can you play with smooth slurs? Can you play stopped horn?
- Musicality - Do you play beautiful phrases?
- Embouchure - Does your embouchure allow you to play in the entire range of the horn? This is last in order, because faulty embouchures can usually be fixed or improved.
Solo Repertoire
The following repertoire is useful for auditions, but by no means is the only music allowed for auditioning on the horn:
- Beethoven - Sonata, Op. 17
- Cooke - Rondo in B flat
- Mozart - Concertos One, Two, Three or Four
- Saint-Saëns - Morceau de Concert (Concert Piece)
- Franz Strauss - Concerto , Op. 8
- R. Strauss - Concerto One or Two
Method book - an etude from one of the following:
- Kopprasch, Bk I or II
- Maxime- Alphonse, Bk. I or II
- Mueller - Bk I or II
- Pottag - Hovey Bk. II
Scales
Be prepared to play as many scales as you can for the audition. Please begin now to make major and minor (melodic form) scales part of your daily practice routine.
For graduate auditions, or if you have questions, please contact Dr. Denise Root Pierce by phone or e-mail.
Guitar
Bachelor of Arts, Bachelor of Science, Bachelor of Music Therapy
- Major scales in two octaves with right hand fingering im, ia, ma; keys of C, G, D, A and E.
- A basic knowledge of left-hand and right-hand functions (i.e. slurs, rest stroke and free stroke).
- An understanding of classical guitar notation including the fingerboard through ninth position and sight reading in first position, simple etudes (i.e. Sor, Carcassi, Carulli).
- Two standard etudes; one of which should be selected from Sor Twenty Studies (Segovia Edition) or Carcassi 25 Studies, Opus 60.
- Two compositions from the following list or two compositions, selected by the applicant, that demonstrate technical facility and musicianship:
- Bach - Prelude in D Minor
- Milan - Six Pavanes (Franco Colombo NY 2090-8)
- Ponce - Preludes (Schott GA 125-125)
- Six Renaissance Lute Pieces in D Major (Colombia Music Company)
- Villa-Lobos - Preludes I–V (Max Eschig)
Bachelor of Music
- Major scales in two octaves with right hand fingerings im, ia, ma; keys of C, G, D, A, and E.
- A basic knowledge of left-hand and right-hand functions (i.e. slurs, rest stroke and free stroke).
- An understanding of classical guitar notation including the fingerboard through ninth position and sight reading in first position, simple etudes (i.e. Sor, Carcassi, Carulli)
The following compositions are representative solos appropriate for those auditioning for the Bachelor of Music degree. Other compositions of comparable difficulty are also acceptable. Capricho Arabe - Tarrage (Many)
- Prelude, Cello Suite No. 1 - Bach (Schott)
- Preludes No. One, Two or Five - Villa-Lobos (Eschig)
- Study No. 17 - Sor (Segovia Edition - Marks)
- Fantasia - Mudarra (Many)
- Vals - Ponce (Schott)
- Guardame las Vacas - Narvaez (Many)
- Fantasie - Wiess (Schott)
- Sonatina - Mereno-Torroba (Columbia)
- La Catedral - Barrios (Belwin)
Guitar Minor
- A basic knowledge of left-hand and right-hand functions (i.e. slurs, rest stroke and free stroke).
- An understanding of classical guitar notation including the fingerboard through ninth position and sight reading in first position, simple etudes (i.e. Sor, Carcassi, Carulli).
- Two selections, selected by the applicant, that demonstrate technical facility and musicianship.
For graduate auditions, or if you have any questions, please contact Prof. Jonathan Edwards
Harp
Undergraduate
- All major scales (two octaves each)
- Etude
- Two prepared solo selections (presenting contrasting styles chosen from the standard repertoire)
For additional information regarding audition requirements for your specific instrument, or for graduate audition information please contact the appropriate faculty member:
- Daniel Foster, Violin
- Ruth Myers-Brown, Harp
- Derek Weller, Double Bass
- Deborah Pae, Cello
Harpsichord
All students wishing to study harpsichord at Eastern Michigan University must audition in person or by unedited, continuous recording. Arrangements of popular music are not permissible audition material.
Undergraduate
Undergraduate auditionees wishing to major or minor in harpsichord may audition on the piano. If you choose to audition on the piano instead of on the harpsichord, please include a work of J. S. Bach and a movement of a Classical sonata as part of your audition. Improvisation is welcome at any audition.
Bachelor of Music - Performance
Perform three contrasting works, including a prelude and fugue or movements from a dance suite of J. S. Bach, a French piece (for instance, by Couperin or Rameau) and a piece of your choice. Memory is encouraged. Students may be asked to sightread, to perform a continuo piece and perform major and minor scales.
Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Arts, Bachelor of Science
Perform two contrasting pieces, including a work of J. S. Bach. Students may be asked to sightread and perform a major scale.
Minor
Perform two contrasting pieces, including a work of J. S. Bach. Students may be asked to sightread and perform a major scale.
Elective
Students wishing to take private lessons as an elective must schedule an audition. Perform two contrasting pieces, including a work of J. S. Bach.
Graduate
All students applying for Master of Arts degree in harpsichord are required bring a repertoire list to their audition. Improvisation is welcomed at any audition.
Master of Music in Performance - Harpsichord
Perform three contrasting works, including a J. S. Bach Prelude and Fugue, or movements from a dance suite, a French Baroque work (for instance, by Couperin or Rameau) and a piece of your choice. Memory is encouraged. Perform a continuo part. Students may be asked to sightread and perform major and minor scales.
Oboe
Solo Repertoire Performance
All students should prepare at least one solo or two etudes for the audition. The work(s) should encompass a minimum of two contrasting styles of performance (such as slow/lyrical, fast/technical, articulated.)
Accompaniment is desirable but optional.
The following compositions are representative of solo repertoire appropriate for the audition. However, solos or etudes of comparable difficulty are also acceptable. Please call if you have any questions regarding appropriate audition repertoire.
- Albinoni, T. - Concerto (any)
- Britten, B. - Six Metamorphoses after Ovid
- Cimarosa, D. - Concerto
- Debussy, C. - Premiere Rhapsodie
- Handel, G. F. - Sonata or Concerto (any)
- Haydn, F. J. - Concerto in C Major
- Hindemith, P. - Sonate
- Hummel - Adagio and Variations
- Marcello, B. - Concerto
- Mozart, W. A. - Concerto in C Major, Quartet for Oboe and Strings
- Poulenc, F. - Sonate
- Schumann, R. - Three Romances
- St. Saens, C. - Sonate
- Telemann, G. P. - Sonata in A Minor
Sight Reading
A short work will be selected for sight-reading at the audition
Scales
All Degrees
- Major scales: All major scales, articulated and slurred. Two octave minimum for C and D major. One octave minimum for all remaining keys.
Bachelor of Music - Performance, Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Science and Bachelor of Arts
- Melodic minor scales: All melodic minor scales, articulated and slurred. One octave minimum for all keys.
Bachelor of Music - Performance (Highly recommended for all degrees programs)
- Chromatic scale: Ascending and Descending from low C through high E
Auditions normally last about 20 to 30 minutes, including a short interview. Because openings and scholarships are limited, auditioning as early as possible is recommended.
For graduate auditions, or if you have questions, please contact Professor Kristin Reynolds.
Organ
All students wishing to study organ at Eastern Michigan University must audition in person or by unedited, continuous recording. Arrangements of popular music are not permissible audition material.
Undergraduate
Undergraduate auditionees wishing to major or minor in organ may audition on the piano. If you choose to audition on the piano instead of on the organ, please include a work of J. S. Bach and a movement of a Classical sonata as part of your audition. Improvisation is welcomed at any audition.
Bachelor of Music - Performance
Perform three contrasting works, including a piece of J. S. Bach, a Romantic work and a piece of your choice. Memory is encouraged. Perform a hymn, including creative treatment of one of the stanzas and/or the introduction. Students may be asked to sightread and perform major and minor scales.
Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Arts, Bachelor of Science
Perform two contrasting pieces, including a work of J. S. Bach. Perform a hymn. Students may be asked to sightread and perform a major scale.
Minor
Perform two contrasting pieces, including a work of J. S. Bach. Perform a hymn. Students may be asked to sightread and perform a major scale.
Elective
Students wishing to take private lessons as an elective must schedule an audition. Perform two contrasting pieces, including a work of J. S. Bach.
Graduate
All students applying for a graduate degree in organ are required bring a repertoire list to their audition. Improvisation is welcomed at any audition.
Master of Music in Performance - Organ
Perform three contrasting works, including two movements of a J. S. Bach work (Prelude and Fugue, or two movements of a trio sonata, for example), a Romantic work and a piece of your choice. Memory is encouraged. Perform a hymn, including creative treatment of one of the stanzas and/or the introduction. Students may be asked to sightread and perform major and minor scales.
Graduate Assistantships in Accompanying
Graduate assistantships in accompanying are available. To apply, students must complete a Graduate Assistant Financial Form through the Graduate School. The audition includes a prepared piece, sightreading and an interview. Students must submit a repertoire list and resumé of accompanying experience.
Percussion
Undergraduate
At minimum, applicants auditioning on percussion should be prepared to perform at least one solo or etude on snare drum, mallet keyboard percussion and timpani. Approximately 10 to 15 minutes of music should be prepared, selected from appropriate solo recital literature. Above all, students should strive to play something that they are comfortable playing and accurately represents their abilities and potential. Prospective students will be evaluated on technical proficiency, pitch and rhythm accuracy, tone production, intonation, musical expressiveness and sight-reading ability. Because scholarships are limited and competitive, students who may receive the highest recommendations for scholarships often exceed the minimum requirements for audition repertoire including a two- and four-mallet marimba solo, snare drum solos in both rudimental and concert style and a timpani solo demonstrating tuning proficiency.
Listed below are but a few suggested pieces of solo literature from which to choose, though other works of comparable or greater difficulty are also welcome and encouraged.
Snare Drum
- Benson: Three Dances for Snare Drum
- Cirone: Portraits in Rhythm
- Markovitch: Stamina
- Markovich: Tornado
- McCormick: Solo Suite for Snare Drum
- Pratt: Fourteen Modern Contest Solos
Mallet Keyboard Percussion
- Bach: Concerto in A Minor (for violin)
- Gomez/Rife: Rain Dance
- Handel: Violin Sonata No. 3 in F Major
- Hatch: Furioso and Valse in D Minor
- Kreisler: Tambourin Chinois
- Peters: Yellow After the Rain
Timpani
- Beck: Sonata for Timpani
- Beck: Triptych Motif
- Firth: The Solo Timpanist - 26 Etudes
- Goodman: Introduction and Allegro
- Muczynski: Three Designs for Three Timpani
- Peters: Rondino
Major and minor scales, snare drum rudiments, timpani tuning and sight-reading should also be expected as part of the audition process. Auditionees are expected to provide all of their own music, sticks and mallets. Instruments will be provided. Auditions normally last about 20 to 30 minutes and include a short interview.
Graduate
Applicants for graduate study need to demonstrate musical maturity and advanced technical abilities. Applicants should be prepared to play advanced solos on snare drum (rudimental and concert style), mallets (two and four mallets) and timpani as well as a few excerpts from standard orchestral repertoire on each instrument. Auditions will also include sight-reading on snare drum and marimba. If you have any questions, please contact Professor John Dorsey.
Piano
Undergraduate
Bachelor of Music - Performance
Perform three contrasting pieces. Must include a piece of J.S. Bach, a movement of a Classical sonata, and a piece of your choice. All selections must be memorized. All major and minor scales in four octaves. Students may be asked to sightread.
Bachelor of Music Education, Bachelor of Music Therapy, Bachelor of Arts, Bachelor of Science
Perform two contrasting pieces (preferably by memory) that demonstrate your highest musicianship. The two pieces may contrast in mood, time period, or genre. Students may be asked to sightread and perform major scales during the audition as an additional assessment. If you have any questions regarding the acceptability of your audition selections, please contact Dr. Joel Schoenhals.
Minor
Perform two contrasting pieces from the standard literature. One must be memorized. Students may be asked to sightread and perform a major scale.
Elective
Students wishing to take private lessons as an elective must schedule an audition. Perform two contrasting pieces of your choice from the standard piano literature.
Graduate
All students applying for Master of Arts degree in piano are required to bring a repertory list to their audition.
Master of Music in Performance - Piano
Perform three contrasting pieces. Must include a piece of J.S. Bach, a complete Classical sonata, and one piece from the 19th to the 21st century. All selections must be memorized. All major and minor scales in four octaves.
Master of Music in Performance - Collaborative Piano
Perform one solo piece from the standard piano literature by memory. Perform a chamber work from the standard literature with soloist/full ensemble or two songs with a vocalist. Candidate must arrange for instrumentalists or vocalists to be present at the audition. All major and minor scales in four octaves.
Master of Music in Piano Pedagogy
Perform three contrasting pieces. Must include a piece of J.S. Bach, a movement of a Classical sonata, and a piece of your choice. One selection must be memorized. All major and minor scales in four octaves. Students may be asked to sightread. Submit a written statement of your teaching philosophy.
Graduate Assistantships in Accompanying
Graduate assistantships in accompanying are available. To apply, students must complete a Graduate Assistant Financial Form through the Graduate School. The audition includes a prepared piece, sightreading and an interview. Students must submit a repertoire list and resumé of accompanying experience.
If you have any questions, please contact Dr. Joel Schoenhals.
Saxophone
Students wishing to audition for music major status on saxophone must demonstrate the following: - All major scales, two octaves, in eighth notes, memorized at quarter note=160.
- A record of solo performance in Solo and Ensemble Festival.
- Acceptable performance of a solo
Examples of a solo piece for audition include:
- Chanson et Passepied by Jeanine Rueff
- Sonata by Henri Eccles
- Sonata IV by Handle-Mule
- Pulcinella by Eugene Bozza
- Improvisation I by Ryo Noda
- Any solo of similar level or difficulty
Trombone
The following are representative solos/etudes appropriate for applicants auditioning for the Bachelor of Music curriculum. Other works of comparable difficulty are also acceptable. It is not necessary to prepare entire multi-movement pieces, but to be able to demonstrate the ability to play lyrically and technically. In auditions, more stress is placed on the quality of performance and literature than on the difficulty of the work(s).
You will also need to be able to demonstrate all major scales and some ability to sight read.
Tenor Trombone
- Voxman - Concert and Contest Collection
- Bernstein - Elegy for Mippy II
- Corelli/Gibson - Sonata in D Minor
- Corelli/Ostrander - Sonata in Minor
- Dubois, T. - Concert Piece in Ab Major
- Galliard - Six Sonatas
- Morel - Piece in F Minor
- Porret - Six Esquisses
- Rachmaninoff-Smith - Vocalize, Op. 34, No. 14
- Ropartz - Andante et Allegro
- Tanner - Aria
- Tyrrell - 40 Progressive Studies
- Cimera - 79 Progressive Studies
- Hering - 40 Progressive Etudes
- Gregoriev - 78 Studies
- Rochut-Bordogni - Melodious Etudes (vols. 1–3)
- Guilmant - Morceau Symphonique
- Saint-Saens - Cavatine, Op. 144
- Vivaldi - Suite in C Minor
- Mozart/Ernst - Concert Rondo
- Faure - Apres un reve
- Rimsky-Korsakov - Concerto for Trombone
Bass Trombone
- Bach/Marsteller - Suites for Violincello
- Pederson (Elem., Interm., Adv.) Etudes for Bass Trombone
- Raph - 26 Studies
- Tyrrell - 40 Etudes
- Bitsch - Impromptu
- Brown - Meditation, Recitative, Lied and Final
- Johnston - Revelstoke Impressions
- Marcello/Brown - Sonata in G Major
- Presser - Three Folktales
- Bordogni - Legato Etudes for Tuba
- Gregoriev - 50 Etudes for Tuba (vols. 1–2)
- Cimera - 73 Studies
- Kopprasch - Etudes
For graduate auditions, if you have questions, please contact Professor Donald Babcock.
Trumpet
Students interested in majoring in trumpet at EMU must perform a prepared solo or etude, preferably demonstrating contrasting styles (i.e. lyrical/technical) within their comfortable playing range.
For graduate auditions, if you have questions, please contact Dr. Anderson Romero.
Tuba
Undergraduate
Your audition will consist of the following:
- Major scales in all 12 keys (two octaves when possible)
- Prepared solos and/or etudes - two contrasting works (one lyrical and one technical) or two contrasting movements within one work (required). See below for examples of solo works appropriate for audition
- Sight-reading
- Brief interview/question and answer session
It is important that you play something that you play well. Good Luck!
Graduate
Tuba Solo Suggestions
- Air and Bouree - Bach/William Bell
- Allegro Spiritoso - Jean Baptiste
- Andante and Rondo (from Concerto for Double Bass) - Antonio Capuzzi/Catelenet
- Carnival of Venice Concertino - Arban
- Concertino for Tuba and Band - Rolf Wilhelm
- Concerto Etude Op. 49 - Goedicke/Emilson
- Concerto for Tuba (movement 1) - Vaughan Williams
- Concerto for tuba and Band (movement 1) - Edward Gregson
- Concerto in One Movement - Lebedev/Allen Ostrander
- Concerto in A Minor (two contrasting mvts) - Vivaldi/ Allen Ostrander
- Fantasy for Tuba (unaccompanied) Introduction and Dance Nocturno, Op. 7 - Malcolm Arnold
- Introduction and Dance - Barat/Smith
- Nocturno, Op. 7 - Strauss
- Ricercar - Gabrieli /Winston Morris
- Serenade No. 12, Op. 88 (two contrasting mvts.) - Vincent Persichetti
- Sonata (two contrasting mvts) - Thomas Beversedorf
- Sonata (two contrasting mvts) - Paul Hindemith
- Sonata for Tuba (two contrasting mvts) - Bruce Broughton
- Sonata in F Major (two contrasting mvts) - Telemann
- Sonatina - Jan Koetsier
- Suite for Tuba (two contrasting mvts) - Don Haddad
- Suite No. 1 (Effie Suite) (two contrasting mvts) - Alec Wilder
- Two Pieces from Children's Corner - Debussy/Frackenpohl
- Variations on a Theme of Judas Maccabeus - Handel/ Beethoven/ William Bell
Tuba Etude Suggestions (Optional)
(One technical and one lyrical etude can be selected from these method books)
- Arban/Young - Arban Complete Method for Tuba (Characteristic Studies)
- Blazhevich - 70 Studies (Volume I)
- Bordogni - 43 Bel Canto Studies
- Grigoriev - 78 Studies
- Kopprasch - 60 Studies
- Rubank - Advanced Method Vol. 1 or Vol. 2
- Tyrell - 40 Advanced Studies
- Vasiliev - 24 Melodius Etudes
Orchestral Excerpts (Optional)
- Berlioz - Symphonie Fantastique - last movement, 84 - end
- Berlioz - Hungarian March from Damnation of Faust - #4–two after #5
- Hindemith - Symphonic Metamorphoses - Mvt II: 4 after L–two after P
- Mahler - Symphony No. 1 - Mvt III: four before #3–#4
- Wagner - Overture to Die Meistersinger - Beginning - A, J–K/L
- Wagner - Die Walkure "Ride of the Valkyries - 125–142
Viola
Undergraduate
- All major scales (two octaves each)
- Etude
- Two prepared solo selections (presenting contrasting styles chosen from the standard repertoire)
For additional information regarding audition requirements for your specific instrument, or for graduate audition information please contact the appropriate faculty member:
- Daniel Foster, Violin
- Ruth Myers-Brown, Harp
- Derek Weller, Double Bass
- Deborah Pae, Cello
Violin
Undergraduate
- All major scales (two octaves each)
- Etude
- Two prepared solo selections (presenting contrasting styles chosen from the standard repertoire)
For additional information about graduate auditions, please contact Professor Daniel Foster.
Voice
Undergraduate
Students must successfully complete an audition before being admitted into a music degree program as a voice major.
Those wishing to apply for the Bachelor of Arts, Bachelor of Music Education - Vocal and the
Bachelor of Music Therapy degree programs must:- Sing two songs of contrasting styles (classical art songs or arias preferred). All audition
repertoire must be memorized. - Demonstrate the ability to match pitches and sight read rhythmic and melodic examples.
Students wishing to audition for the Bachelor of Music in Vocal Performance must:
Sing three songs of contrasting styles (classical art songs or arias). One of these selections
must be in a foreign language; i.e., French, German, or Italian. All audition repertoire must be
memorized. - Demonstrate the ability to match pitches and sight read rhythmic and melodic examples.
Those wishing to apply as Transfer students must:
- Sing three contrasting songs or arias representing differing styles and periods. One of these
selections must be in a foreign language. The repertoire should represent the applicant's
voice growth and progress to date. All selections must be performed from memory except for oratorio arias which may be performed with music. Due to time constraints, all prepared
pieces may not be heard. - Bring a representative list of solo vocal repertoire studied at their previous institution.
Minor and Elective Study
Sing two songs of contrasting styles that demonstrate technical facility and musicianship for the voice faculty.
Graduate
Students applying for the Master of Music in Vocal Performance must have an undergraduate degree in music with voice as the primary instrument. The applicant must present five memorized vocal works of contrasting styles in three different languages. Each student must also submit a comprehensive list of solo repertoire previously studied. Due to time constraints, all prepared pieces may not be heard.
Students applying for the Master of Music in Music Education must have an undergraduate degree in music with voice as the primary instrument. The applicant must present three memorized vocal works of contrasting styles in three different languages. Each student must also submit a comprehensive list of solo repertoire previously studied.
Vocal Music Ensembles
Participation in a performance ensemble at EMU is required in every degree program.
If you have any questions, please contact the Director of Choral Activites, Brandon Johnson.
- Sing two songs of contrasting styles (classical art songs or arias preferred). All audition
Keyboard and guitar performers applying for the Bachelor of Music Education Instrumental (MEDI) or Vocal (MEDV) degree must attend a secondary instrument audition.
Students applying for the Master of Music Education (MUED) degree, please note that the principal instrument/voice audition for the Master of Music Education (MUED) degree is for applied music placement only, but does not determine acceptance into the degree.
Note: Students are allowed to audition for admission into the School of Music & Dance for applied music instruction a maximum of three times. If a student is not admitted after the third audition, they may not audition again. Given sufficient, extenuating circumstance, a music faculty member may make a request to the director of the School of Music & Dance to allow a student to audition more than three times.