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Required Repertoire

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Required Repertoire for Undergraduate Auditions

Note: these audition materials are for acceptance into a degree program, not for ensemble participation. Ensemble auditions are handled separately.

The area(s) you audition with depend on the degree you would like to pursue. For most degrees, you will need to audition with appropriate applied faculty for your primary instrument (or voice), using the materials outlined below.

You do not need to complete these auditions in order to participate in ensembles. For example, if you are a trumpet player pursuing a Bachelor of Arts in Music, you would only need to audition with the trumpet professor, even if you wanted to perform in the Jazz bands and sing in a choir.

Composition majors are not required to audition with an applied area, but can still enroll in lessons. Students pursuing the traditional Music Minor will need to audition with their applied area, but students pursuing the Instrumental Jazz Minor only need to audition with jazz faculty. Music Education students will also interview with Music Education faculty.

If you aren't sure what to prepare, please contact Beth Wilson.

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Strings

Violin

Students may substitute the audition requirements below, for the current year Oklahoma Violin Etude and Excerpts for the audition.

All works below are to be played from memory.

  1. A solo work from a representative etude or movement from a J.S. Bach solo sonata or partita.
  2. Fast movement of a standard violin concerto.
  3. Scales and arpeggios.

Viola

  1. Two (2) works of contrasting style from the standard viola repertoire. One of the selections is recommended (but not required) to be a fast movement from a standard concerto or sonata. If one of the 2 works chosen is a Bach Cello Suite (transcribed for viola), 2 movements of contrasting tempo are required.
  2. An etude demonstrating the applicant’s highest current level of technical accomplishment (e.g. an etude by Mazas, Dont, Bruni, Kayser, Kreutzer, etc.).
  3. 3-octave scales and arpeggios in parallel major and minor keys (e.g. D-Major
    and D-Minor). Scales should be prepared both with separate bowing
    (unslurred) and with 4-note slurs.

Cello

2 or 3 works from the following:

  1. An etude by Duport, Schroeder, Popper, Dotzauer, etc.
  2. A movement from a Bach Suite or other Baroque work (e.g. Vivaldi or Eccles
    Sonatas).
  3. A solo piece of the student's choice.

Double Bass

At least 2 contrasting works from the following:

  1. A movement from a Baroque work
  2. Etudes from the standard repertoire
  3. A work of the student's choice
  4. Orchestral excerpts

Harp

  • 2 works of contrasting style. May include technical etudes and/or orchestral excerpts of the student's choice.

Guitar

  1. A selected major and minor scale from the Segovia edition of Diatonic Major and Minor Scales, including demonstration of all seven right hand patterns.
  2. 2 selected arpeggio studies by Giuliani, demonstrating the ascending and descending arpeggio preparation technique.
  3. A selected study of F. Sor from the Segovia edition of 20 Studies by F. Sor.
  4. A selected study from 25 Melodic and Progressive Etudes by Carcassi.
  5. A work of the student's choice.

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Woodwinds

  • 2 works (one lyrical and one technical) of contrasting styles and tempos from the standard repertoire including movements of sonatas, concerti or other solo works. May substitute etude for solo work.

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Brass

  1. 2 works (one lyrical and one technical) of contrasting styles and tempos from the standard repertoire including movements of sonatas, concerti or other solo works.
  2. An All-State audition etude. You may substitute the etude for solo work of comparable difficulty.
  3. All major and minor scales should be prepared.

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Percussion

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Students are encouraged to select repertoire that best displays their musical and technical abilities. We would rather see you perform repertoire within your comfort range at a high-level than see an uncomfortable performance of the most challenging pieces. Because we focus on a total percussion curriculum, we expect audition repertoire to focus on several areas of percussion playing. Below is an outline of an ideal audition. Examples of particular composers are just that – examples. Students should not feel restricted to those listed.

  1. Concert snare drum etude (ex. Anthony Cirone Portraits in Rhythm; Keith Aleo Advanced Etudes for Snare Drum; Mitchel Peters etudes)
  2. 4-mallet marimba or vibraphone solo (ex. Works by Ford, Davila, Sammut, Smadbeck, Stout, Friedman, Molenhof)
  3. 2-mallet keyboard etude/solo (ex. Works by Green, Goldenberg, Bach, McMillan)
    • While an etude/solo is preferred, students may instead choose to display 2-mallet competency through prepared scale/arpeggio exercises in lieu of an etude/solo.
  4. Timpani etude/solo* (ex. Works by Hochrainer, Horner, Firth, Peters, Goodman)
    • While a timpani solo/etude is preferred, if the student is unable to prepare a timpani etude/solo, a basic technique demonstration including rolls at various dynamics and tuning different pitches will suffice.
  5. Sight-reading – snare drum and 2-mallet keyboard (Students are strongly encouraged to practice sight-reading as diligently as selected audition material.)

If the student would like to demonstrate drum set skills, we suggest submitting a video to display different styles such as rock, swing, funk, bossa nova, as well as any performances with an ensemble. Time permitting, students may request to demonstrate drum set styles live.

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Voice

Two contrasting classical songs or arias, both must be memorized. One must be in a Foreign Language (Italian, German, French, or Spanish) and one must be in English. A lyrical ballad from standard musical theatre may be used for the English piece. An accompanist will be provided.

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Piano

Piano Major (BM: Piano, BM: Piano Pedagogy, BMA, BA)

  • The audition program should include two, preferably three, pieces in contrasting styles performed from memory.
  • Recommended repertoire should be comparable to:
    • Baroque - A contrapuntal work by JS Bach such as Well Tempered Clavier
    • Classical - A movement or movements from Beethoven Sonata Op. 10 No. 1
    • Romantic - Chopin Nocturne
    • Impressionist, 20th, or 21st Centuries - Pieces from Bartok Mikrokosmos (works for prepared piano cannot be accomodated)

A repertoire list of works that you have rehearsed and/or studied (even if you did not perform them in public recitals) should be presented at the beginning of the audition. Repertoire should be listed by historical period, and then alphabetically by composer. Bring 5 copies of your audition program to the audition.

Piano Minor

  • At least one piece should be memorized.
  • The audition program should include two or three pieces in contrasting styles.
  • Recommended repertoire should be comparable to:
    • Baroque - A two or three part invention by JS Bach
    • Classical - A movement or movements from Clementi and Haydn Sonata
    • Romantic - A short Waltz/Mazurka by Chopin, or a short character piece by Schumann
    • Impressionist, 20th, or 21st Centuries - A prelude by Debussy or short piece by Bartok (works for prepared piano cannot be accomodated)

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Organ

  • 2 or 3 pieces in contrasting styles from the following:
    • A movement by J.S. Bach
    • A 19th century French or German movement
    • A 20th century work

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Composition

  • For class study at the lower division level, 1 or 2 scores falling under the general rubric of contemporary classical art music.
  • For private study at the upper division level, 2 or 3 completed works with legibly copied scores and parts, and a tape of at least one of the works.
  • While a live performance is acceptable in lieu of a tape, a sequenced MIDI
    performance is not.

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Jazz

The audition process may vary depending on your instrument. For more information, contact the Coordinator of Jazz Studies, Jay Wilkinson.