BRASS Auditions

Euphonium:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as: Arban's Complete Conservatory Method; Barat, Andante et Scherzo, Introduction and Dance; Bordogni/Rochut, Melodious Etudes; Capuzzi, Andante and Rondo; Clarke, From the Shores of the Mighty Pacific; Deluca, Beautiful Colorado; Evald, Romance; Galliard, Sonatas: Marcello, Sonatas; Kopprasch, 60 Selected Studies; Tyrell, 40 Progressive Studies.

Horn:

  1. Two-octave major scales where possible: and
  2. One solo selected from: Beethoven, Sonata; Glazunov, Reverie; Mozart, Concerto No.1, K. 412, or No. 3, K. 447; Franz Strauss, Nocturno; or comparable solo; and
  3. One etude from: Maxime Alphonse, books II, III, and IV; Gallay; Kopprasch, books I and II; and Müller.

Bass Trombone:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as:
    Bordogni/Rochut, Melodious Etudes (down an octave); Dedrick, Lyric Etude; Hindemith, Drei leichte Stüke; Lebedev, Concerto; Lieb, Concertino basso; and Ostrander, Concert piece in Fugal Style or equivalent.

Tenor Trombone:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as:
    Arban's Complete Conservatory Method; Voxman, Selected Studies; Bordogni/Rochut, Melodious Etudes; Pichaureau 30 Recreations; Barat, Andante et Scherzo; Guilmant, Morceau Symphonique; Telemann, Sonata in F minor or equivalent.

Trumpet:

  1. Two-octave major scales where possible: and
  2. Two contrasting movements from solo repertoire such as:
    Haydn-Concerto, Arutunian-Concerto, Kennan-Sonata, Latham-Suite, Hindemith-Sonata, Corelli-Air and Dance, Ropartz-Andante et Allegro, Turrin-Caprice, Corelli/Fitzgerald -Sonata VII.

Tuba:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as:
    Arban's Complete Conservatory Method; Vaughan, Concertpiece #1; Bordogni/Rochut, Melodious Etudes; Capuzzi, Andante and Rondo; Marcello, Sonatas; Bach-Bell Air and Bouree; Kopprasch, 60 Selected Studies; Tyrell, 40 Progressive Studies; Blazevich, Etudes.

DANCE Auditions

The Dance Audition is done as a group. Come prepared to take a 2 hour long modern dance class. Proper attire will include leotard and footless or convertible tights. You may bring socks for the beginning of the class. Hair should be pulled back, secured, but NOT in a tight bun. If you have never done modern dance before, remember that the panel will be looking for your potential, not necessarily your experience in this form.

ORGAN Auditions

Organists should prepare two or three pieces in contrasting sytles. Preferably, one should be by J.S. Bach (or another Baroque composer) and one from the Romantic period. At least one piece should be for manuals and pedal. Pianists who have not previously studied organ but are serious about undertaking an organ degree may be considered for admission by way of a piano audition to evaluate existing keyboard skills. It should be noted that more intensive study may be required of such a student during the undergraduate degree, in order to provide a strong organ foundation.

PERCUSSION Auditions

Percussion players should demonstrate technical facility and musical understanding in the three areas listed below. Accomplishment in two of the areas is required; strongest consideration will be given to those who can successfully perform in all three. Sight-reading will be on the instrument of the performer's choice.

Keyboard Percussion:

  1. A two mallet solo or etude on xylophone or marimba that demonstrates technical facility, understanding of the style and musical elements.
  2. A four mallet solo or etude, in addition, is suggested; this may be on vibraphone if desired. Suggested sources: Modern School for Xylophone, Marimba and Vibraphone by Morris Goldenberg, Musical Studies for the Intermediate Mallet Player by Garwood Whaley, Masterpieces for Marimba by Thomas McMillan

Snare Drum:

  1. A concert/orchestral style solo or etude that includes rolls, flams and other grace note ornaments such as drags/ruffs performed with concert interpretations (multiple bounce rolls, closed drags, etc.). The selected piece should incorporate dynamic ranges. Suggested sources: Portraits in Rhythm by Anthony J. Cirone, Modern School for Snare Drum by Morris Goldenberg, Intermediate Snare Drum Studies by Mitchell Peters (select from 13 - 32)
  2. A rudimental style solo or etude that includes rolls, flams, drags, and specifically indicated stickings performed with various length double stroke rolls, rudimental drags, accent patterns, etc.

Timpani:

A solo or etude that demonstrates technical facility on 2-4 drums and includes rolls, dynamic contrasts and other musical elements. Selections with tuning changes within and/or between movements are not required but strongly recommended. Suggested sources: Musical Studies for the Intermediate Timpanist by Garwood Whaley, Solos and Duets for Timpani by Garwood Whaley, Modern Method for Tympani by Saul Goodman, Fundamental Method for Timpani by Mitchell Peters

PIANO Auditions

  1. At least three solo works of contrasting styles from the standard classical repertoire. Majors: all pieces must be memorized. Minors: minimum one piece must be memorized.
  2. Be prepared to play scales.
  3. Be prepared to sight-read.

STRING Auditions

Two contrasting pieces or movements.
Guitar Auditions
  1. Any person interested in auditioning on guitar must first contact the instructor and schedule a personal or telephone interview in order to be approved for an audition.
  2. Perform two short contrasting solo guitar pieces (finger style), either jazz or classical, including both melody and harmony.
  3. Sight-read accurately a simple single-line melody written in standard music notation (not TAB)
  4. Play a two-octave major scale in any key as requested by the adjudicating faculty member(s).
  5. Play a number of chord voicings as requested by the adjudicating faculty member(s).
  6. Optional - Improvise in a jazz style.  (Please notify the instructor in advance so that he can provide accompaniment).

COMPOSITION Auditions

  1. Submit a portfolio of 3-5 compositions (hard copy printed or manuscript scores & CD examples) of your best work in any media or genre to the UNL School of Music, 113 Westbrook Music Building, Lincoln, NE 68588-0100. Portfolios should be submitted not less than 4 weeks in advance of the scheduled audition.
  2. In addition to private composition lessons, all undergraduate composition majors must study an instrument or voice at the minor level. Please click here to schedule an instrumental or vocal audition on your primary instrument.
  3. Schedule a personal interview with members of our composition faculty on the day you intend to audition by contacting the head of area Dr. Eric Richards to discuss your background as a composer, assess your theory proficiency and other relevant topics.

VOICE Auditions

Prepare two contrasting solos, classical in nature. Folk song arrangements and sacred solos are also acceptable. It is required that auditions be performed from memory . Auditionees may be asked to vocalize. UNL accompanists are available only on the scheduled audition days. Auditionees are always welcome to bring their accompanist. Audition requirements are identical for voice majors and minors.

A Sampling of Vocal Music Collections Recommended for Auditioning Freshmen

  • 100 English Folksongs, ed. by Sharp, published by Dover Press
  • *Folk Songs for Solo Singers Vol. I & II, published by Alfred (both Volumes available in Medium High & Medium Low vocal ranges)
  • The Arnold Book of Old Songs, arrangements by Roger Quilter, published by Boosey & Hawkes
  • Reliquary of English Songs, ed. by Potter, published by G. Schirmer
  • *26 Italian Songs & Arias of the 17th and 18th Centuries, ed. by Paton, published by Alfred (available in Medium High & Medium Low vocal ranges)
  • *24 Italian Songs & Arias of the 17th and 18th Centuries, published by G. Schirmer (available in Medium High & Medium Low vocal ranges)
  • *First Books of Solos, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone/Bass Volumes)
  • *Easy Songs for Beginning Singers, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone Volumes)
  • Sing Solo, various ed., published by Oxford University Press (available in Soprano, Contralto, Tenor and Baritone Volumes)
  • Great Art Songs of Three Centuries, ed. by Bernard Taylor, published by G. Schirmer (available in High and Low Volumes)
  • Teen's Musical Theatre Collection, ed. by Lerch, published by Hal Leonard (available in both a young women's collection and a young men's collection)
  • First Book of Broadway Solos, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone/Bass Volumes)

NOTE: An * indicates the availability of a CD recording of piano accompaniments that may be purchased with the indicated book (for rehearsing).

WOODWIND Auditions

Flute:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Oboe:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Clarinet: (B-flat/soprano clarinet; prior permission from professor required for bass clarinet auditions)

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (three octaves) and major scales through four sharps and flats (three octaves when possible).
  3. Be prepared to sight-read.

Saxophone:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Bassoon:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through two sharps and flats.
  3. Be prepared to sight-read.