String Auditions
The Fall 2024 string audition schedule will be announced at the beginning of August. The auditions will take place during the first three days of the fall semester - August 19, 20 and 21.
Sign-up sheets for audition times will be posted on the orchestra bulletin board (check back later for details).
String auditions are held once per academic year, during the first three days of the fall semester. Sign-up sheets will be posted outside the orchestra room during the week before the semester begins. Audition materials for strings will be available mid July. String players entering the university in a Spring semester may contact Dr. Jonathan Shames at jshames@ou.edu to arrange an audition.
String auditions for Fall 2025 / Spring 2026 will take place at the following times and locations:
Monday, August 25:
CMC 124 (Orchestra room)
Violas
1:30-3:20 pm
Tuesday, August 26:
Sharp Hall stage
Cellos
9:30-11:30 am
Basses
12 noon-1 pm
Wednesday, August 27:
CMC 124 (Orchestra room)
Violins
1:30-3:20 pm
Sign-up sheets will be posted on the orchestra bulletin board outside CMC 124.
Make sure to present yourself to the proctor at least 10 minutes before your audition. On Monday and Wednesday, this person will be next to the orchestra bulletin board outside CMC 124; on Tuesday, outside the stage right door in the backstage area of Sharp Hall.
Audition Excerpts
See below for the excerpts and solo requirements for your instrument (a solo is not required for violists).
A word about preparing these excerpts: The metronome markings represent common performance practice, and are given to help you get to know the works they come from, but you should not feel compelled to adhere to them. You can certainly modify them within a range of 10-15 metronome marks in either direction. The important things to focus on are not exact metronome adherence but rather a vivid sense of the music and (this is part of that vivid sense) strong rhythm - no rushing or dragging, and a vital feeling of pulse.
If the excerpt is unfamiliar to you (and even if it isn’t) find a recording and a full score to supplement your orchestral part, so that you can study and understand what else is going on in the orchestra at the moment of the excerpt. Scores are available online on the IMSLP website, and YouTube will provide many recordings to choose from.
A useful way to practice would be to arrange a certain number of mock auditions for yourself after you’ve learned the excerpts. Ask friends or family to listen to you as judges, or record yourself playing. This sort of work will help you a great deal in getting ready for your audition.
Please remember that the auditions are our way of getting to know you. We understand the challenges they bring your way, but try to prepare and play them with joy and beauty. We’re looking forward very much to hearing you.
If you have any questions about the excerpts or how to prepare for your audition, please contact Dr. Shames at jshames@ou.edu.
1. Solo work (it is likely that the judges will stop you after 2-3 minutes)
2. Mozart Symphony No. 39, 4th movement: beginning to m. 79 (Rehearsal B)
- PDF link
- Quarter-note = 120-126
3. Elgar Enigma Variations: Variation 2 from Rehearsal 5 to end of variation
- PDF link
- Dotted quarter-note = 60-66
4. Strauss Don Juan: Beginning to 13 bars after Rehearsal C (this encompasses the first page of the part)
- PDF link
- Half-note = 82
A note from Dr. Neumann: At a later point I will convey directly to the violists a few helpful or needed bowings, fingerings and style tips.
No solo work required
1. ELGAR - ENIGMA VARIATIONS
- PDF link
-
Var. IX (Nimrod): Figure 36 to the end
- Tempo: quarter note = 48
- No cuts
-
Var. X (Dorabella): Figure 42 to Figure 44
- Tempo: quarter note = 80
- No cuts
-
Var. IV: complete
- Tempo: dotted half note = 63-72 (the higher end is preferable, if attainable with accuracy and cleanliness)
- No cuts - count through all rests and empty measures
2. BEETHOVEN - EGMONT OVERTURE
- PDF link
-
From 6 bars before Figure D to 2 bars after Figure F
- Tempo: dotted half note = 56-58
- Cut: from 12 bars before E (skip over double-stops C-Bb) to the 5th bar after E.
- Replace the cut section with one empty measure of 3/4.
3. DVORAK - THE NOONDAY WITCH
- PDF link
-
From 5 bars before Figure 6 to the first bar of Figure 7
- Tempo: quarter note = 108-112
- Cuts: turn the 5-bar rest after Figure 6 into a one-bar rest, and 12 bars later turn the 8-bar rest into a one-bar rest as well.
-
From the 10th bar after Figure 8 until Figure 9 (8th-note C# on downbeat only)
- Tempo: quarter note = 76-84
- No cuts - count all rests
4. GRIEG - "MORNING" from PEER GYNT SUITE
- PDF link
-
From Figure A through the 2nd bar of Figure C
- Tempo: dotted quarter note = 52
- No cuts - count through the 2-bar rest
1. Solo work (it is likely that the judges will stop you after 2-3 minutes)
2. Elgar, Enigma Variations
- PDF link
-
3 after Rehearsal 52 to Rehearsal 54
- Quarter-note=66
-
8 before Rehearsal 62 to 3 after Rehearsal 62
- Quarter-note=138
3. Beethoven, Symphony No. 8
- PDF link
- Movement 3, Trio (mm. 45-78), No repeats
- Quarter-note=126
1. Solo work (it is likely that the judges will stop you after 2-3 minutes)
2. Beethoven Egmont Overture
- PDF link
- Last page (Allegro con brio to the end, m. 287 ff.)
- Quarter-note=152
3. Elgar Enigma Variations
- PDF link
-
Variation II: Reh. 6 - 7
- Dotted-quarter-note=66
-
Variation IV: Reh 11 - 13
- Quarter-note=166
-
Variation XI: Reh 47 - 48
- Half-note=83
4. Beethoven Symphony No. 8
- PDF link
- 1st mvmt: Letter D - E (m. 190-217)
- Quarter-note=172

