Principal Instrument/Voice Audition Requirements

All students (except those applying for the Master of Music in Composition degree) must audition on their principal instrument as part of the admissions process.

Accompanists are not required for instrumental auditions, but are required for voice auditions. Vocalists may bring their own accompanist or one will be provided. Vocalists should contact Dr. MeeAe Nam at the School of Music & Dance (mnam@emich.edu) no later than one week prior to auditions if they plan to bring an accompanist. 

While an in-person audition is preferred, those living more than 300 miles from Ypsilanti may send an unedited, continuous recording (uploaded as an 'unlisted' YouTube link) in lieu of a live audition. Please send auditions recordings to Dr. Donald Babcock (dbabcock@emich.edu). 

  • 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.

    For graduate auditions, if you have questions, please contact Dr. David Pierce.

  • Cello

    Undergraduate

    • All major and minor (harmonic and melodic minor) scales (three octaves)
    • Etude (Popper, Duport, Piatti or other technical study)
    • Two solo selections (presenting contrasting styles chosen from the standard repertoire)

    Graduate

    • Etude (Popper, Duport, Piatti or other technical study)
    • Two solo selections: Prelude from one of the Bach Unaccompanied Suites and an allegro movement from the standard cello concerto literature.

    For questions about audition repertoire, please contact Professor Deborah Pae.

  • 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

    • All major keys, two octaves (three octaves when possible), quarter note equals 120 with scales in eighth notes
    • All minor keys, natural, harmonic and melodic minor form, two octaves, quarter note equals 120 with scales in eighth notes

    For minors (pending faculty availability)

    • All major keys, two octaves (three octaves when possible), quarter note equals 120 with scales in eighth notes
    • All minor keys melodic minor form, two octaves, quarter note equals 120 with scales in eighth notes

    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 Science and/or Bachelor of Arts: One solo from the list below or of comparable difficulty.

    Flute minors: (pending faculty availability): One solo from the list below or of comparable difficulty.

    • 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 Professor Nelson Amos.

  • 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:

  • 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 from the standard piano literature. Must include a piece of J.S. Bach. One of the two selections must be memorized. Students may be asked to sightread and perform a major scale.

    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 one of our keyboard faculty members, Dr. Garik Pedersen or 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

    For graduate auditions, if you have questions, please contact Woody Chenoweth.

  • 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 Professor Carter Eggers.

  • 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:

  • 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 Science, Bachelor of Music Education - Vocal and the Bachelor of Music Therapy degree programs will be expected to:

    • Sing two songs of contrasting styles (classical art songs or arias); first selection in English and second selection 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.

    Transfer students should prepare three 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. The applicant is required to bring a representative list of vocal repertoire previously studied. All selections must be performed from memory except an oratorio aria which may be performed with music. Due to time constraints, we may not hear all prepared pieces.

    Students wishing to audition for the Bachelor of Music in vocal performance are expected to:

    • Sing three songs of contrasting styles (classical art songs or arias) prepared from memory. One of these selections must be in a foreign language; i.e., French, German, or Italian.
    • Demonstrate the ability to match pitches and sight read rhythmic and melodic examples.

    Minor and Elective Study

    Students wanting to study voice as a voice minor or for elective credit must also present an audition for the vocal area faculty, and are expected to sing two songs of contrasting styles that demonstrate technical facility and musicianship.

    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.

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.

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