Undergraduate Auditions

Audition Requirements

All applicants to the School of Music are required to give evidence of musical ability through an audition on a major instrument or voice before an examining committee.

The formal audition date for admittance in Spring 2008 is January 3, 2008. To schedule an audition for spring admission on another date, contact the applied professor for the instrument on which you wish to audition.

The audition dates for admittance in Fall 2008 are:

• December 1 (Open House*)
• January 18-19
• February 2 (Open House*)

*Open House Schedule

• 8:00 am - Building opens
• 8:30 am - Coffee, donuts available
• 9:00 am - Auditions begin
• 11:00 am - Auditions stop
• 11:15 am - 12:00 pm - Parent/Student Meeting
• 12:00 - 1:00 pm - Lunch on your own: We suggest the East Campus Dining Hall, just a short walk from the Hodgson School of Music.
• 1:00 pm - Auditions begin again and continue through the afternoon.

At the time of audition the following should have been submitted to the School of Music Undergraduate Office:

• a completed School of Music application
• a minimum of one letter of recommendation
• a résumé

Application to the University of Georgia should also be completed.

Repertoire requirements for the audition are listed below. If there is any question about a particular choice of repertoire, contact the School of Music Undergraduate Office, 706-542-2764. Also, be aware that the audition committee will sample, but may not hear, all of the prepared material.

Students are encouraged to perform audition repertoire from memory, particularly concertos and solo pieces. An accompanist is required for voice auditions only.

Repertoire Requirements

Brass

Trumpet

• All major scales and arpeggios from memory
• One fast movement and one slow movement from Concerto in E-flat by Haydn, Concerto in E-flat by Hummel, or comparable standard solos
• One of the 14 Characteristic Studies from the Complete Method by Arban
• One cornet solo or technically comparable composition
• Additional optional solos or orchestral excerpts (if student wishes)
• Sight-reading at a moderately difficult level

Horn, Trombone

• Two solo movements of moderate difficulty and contrasting styles
• One etude which displays the performer's ability in legato and marcato styles
• From memory, six chromatically adjacent major scales and the chromatic scale performed at the tempo and range reflective of the performer's ability
• Sight-reading at a moderately difficult level

Euphonium

• Be prepared to play any two-octave major scale and be able to demonstrate the upper and lower extremities of your range
• Choose one etude from each group:
  1. Rochut - Melodius Etudes for Trombone, Vol. 1, #4, #23, or #19
  2. Voxman - Selected Studies for Baritone, A-flat Major Allegro, F Major Allegro, C Minor Allegro
• Select one of these solos:
  • Barat - Andante and Allegro
  • Capuzzi - Andante and Rondo
  • Curnow - Rhapsody for Euphonium
  • Guilmant - Morceau Symphonique
  • Marcello - Sonata in F Major
  • Mozart - Bassoon Concerto, movements 2 and 3

Tuba

• Be prepared to play any two-octave major scale and be able to demonstrate the upper and lower extremities of your range
• Choose one etude from each group:
1. Rochut - Melodius Etudes for Trombone, Vol. 1, #4, #23, or #19 (down one octave)
2. Blazevic - 70 Advanced Studies for Tuba, Vol. 1, #32; Kopprasch - 60 Selected Studies for Tuba
• Select one of these solos
  • Capuzzi- Andante and Rondo
  • Gregson- Concerto, movement 1
  • Haddad- Suite
  • Hartley- Suite for Unaccompanied Tuba
  • Hindemith- Sonata, any two movements
  • Marcello- Sonata in F Major

Percussion

Percussion applicants must perform on snare drum, mallets and timpani. Drum set is optional, but encouraged. Instruments will be provided for the audition. Applicants must provide all sticks and mallets, and bring a copy of the music to be performed.

Snare Drum

• One concert style solo or etude of moderate difficulty (examples – Cirone: Portraits in Rhythm, Delecleuse: Douze Etudes, Albright: Contemporary Studies)
• One rudimental style solo or etude of moderate difficulty (examples - Wilcoxon, Rudimental Swing Solos, Pratt: 14 Modern Contest Solos)
• Demonstration of the buzz roll (concert style), pp-ff-pp
• Demonstration of the double stroke roll, slow-fast-slow
• Sight-reading

Marimba or Xylophone

• All major scales and arpeggios from memory
• One solo or etude of moderate difficulty for two mallets (examples – Goldenberg: Modern School for Xylophone #38, McMillan: Masterpieces for Marimba, any G. H. Green rags, Hatch: Furioso & Valse, Bach: any movements from the Violin Sonatas and Partitas or Cello and Lute Suites, etc.)
• Optional: four-mallet solo (examples – Peters: Yellow After The Rain, Sea Refractions, Musser/Burritt/Smadbeck Etudes or Preludes, Gomez: Rain Dance, etc.)
• Sight-reading

Timpani

• One solo or etude of moderate difficulty (examples – Beck: Sonata for Timpani; Peters: Scherzo, Primal Mood or Rondino; Whaley: Scherzo or Statement for Timpani; etudes from Goodman: Modern Method or Firth: The Solo Timpanist)
• Demonstration of accurate tuning
• Demonstration of the sustained roll at all dynamic levels

Woodwinds

Bassoon, Clarinet, Flute, Oboe, Saxophone

• Two contrasting solos or etudes: one demonstrating lyrical-expressive capabilities; one demonstrating technical skill
• From memory, all major scales with arpeggios and the chromatic scale
• Sight-reading at a moderately difficult level

Strings

Violin

• From memory, two three-octave scales slurred four and eight notes to a bow; two three-octave arpeggios slurred three and six notes to a bow
• An etude of moderate difficulty by composers such as Kreutzer, Dont, Op. 35, Rode, or Fiorillo
• A movement from the Bach Sonatas and Partitas
• A movement from a standard concerto such as those by Bach, Mozart, Lalo, Mendelssohn, Bruch or Barber

Viola

• From memory, two three-octave scales slurred four and eight notes to a bow; two three-octave arpeggios slurred three notes to a bow
• Two contrasting etudes from Mazas Etudes Brillantes, Mazas Etudes Speciales, Op. 36; or Kreutzer Forty-Two Studies
• Two of the following: a movement from a concerto such as those by Telemann, Stamitz, Handel, J.C. Bach, or Hoffmeister; a movement from the Cello Suites of Bach; a movement from a sonata by Schubert, Brahms, Vivaldi, Handel, or Eccles

Cello

• From memory, Two three-octave scales slurred four and eight notes to a bow; two three-octave arpeggios slurred three notes to a bow
• An etude of moderate difficulty by Popper, Duport, Kummer, Dotzauer, etc.
• Two of the following: a movement from the Bach Suites; a movement of a sonata or a short piece such as those by Brahms, Bruch, Fauré, Eccles, Sammartini, Schumann or Beethoven; a movement from a concerto such as those by Boccherini, Saint-Saëns Lalo or Haydn

Bass

• From memory, two three-octave scales slurred four notes to a bow; two three-octave arpeggios in separate bows
• Two etudes from Billé, Simandl or Storch Hrabe
• A movement from a sonata or a short piece such as those by Eccles or Handel
• A movement from a concerto such as those by Capuzzi, Dittersdorf, Dragonetti, Koussevitzky or Bottesini

Guitar

• From memory, two three-octave scales using fingering patterns as in the Segovia edition
• One solo of moderate difficulty by any Renaissance or Baroque composer
• Two studies by composers such as Sor and Carcassi which demonstrate various technical skills of classical guitar playing
• Optional: a composition or etude by Villa-Lobos

Harp

• One or two etudes, such as those by Pozzoli, Larivierre, or Grossi, which demonstrate technical facility in performing scales and arpeggios in both hands
• Two contrasting pieces of moderate difficulty
• The harp cadenza from "Waltz of the Flowers," Tchaikovsky's Nutcracker Suite

Voice

• Two memorized compositions of contrasting style from standard vocal repertoire chosen from: German, French, Italian, Russian, English, or American art songs; arias or selected solos from opera, oratorio, or musical theater in the original language
• Sight-singing at a moderately difficult level
• Demonstration of aural ability: pitch, scales, and tonal memory

If necessary, an accompanist can be provided. In such case, the music, clearly marked with name and address, must be received at least two weeks in advance. Or, titles, keys, and composers of selected pieces may be emailed, two weeks in advance, to the chair of the voice area, .

It is recommended that the applicant have at least minimal keyboard or instrumental training before auditioning as a vocal major. Vocal training for music majors is given largely in classical repertoire; the School of Music does not offer a musical theater program.

Keyboard

Piano

• From memory, a Baroque composition
• From memory, two or more works in contrasting styles chosen from the Classical, Romantic, Impressionistic, or Contemporary eras
• Sight-reading

Those intending to major in performance should prepare a 15 minute audition including:

• A Prelude and Fugue from the Well-Tempered Clavier by J.S. Bach
• A movement from a Classical Sonata (except Beethoven Op. 27/2, 49/1, 49/2, and 79)
• A composition from the Romantic period
• A 20th-century composition
• Sight-reading

Those intending to minor in music should prepare:

• From memory, two compositions in contrasting styles chosen from the Baroque, Classical, Romantic, Impressionistic, or Contemporary eras
• Sight-reading

Organ

• Two compositions of contrasting style and period from the standard organ repertoire
• Sight-reading: chorale or hymn-tune style