UNDERGRADUATE AUDITION REQUIREMENTS
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| Violin Viola Cello Double Bass |
Flute Oboe Clarinet Bassoon Saxophone |
Trumpet French Horn Trombone Euphonium Tuba |
Percussion
Piano Voice Composition |
Music majors and music theatre majors qualify for private lessons through the audition process required for acceptance into the major. Non-music majors may also be able to register for private music lessons for credit. Click here for more information about lessons.
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Auditionees should prepare material that will represent them at their best. Audition material should show both technical facility and expressiveness. This material might be two different works (solos or etudes), or contrasting movements of a larger work. Auditionees should also be prepared to play major scales, major arpeggios, and a chromatic scale, all covering the full range of the instrument (to high C). Students are encouraged to confer with the instructor regarding audition repertoire. Instructor: Daryl Durran |
For the performance degree in cello (Bachelor of Music or Bachelor of Musical Arts), students should prepare an etude and two contrasting pieces or movements of pieces (this may include movements of a concerto, sonata, Suites by Bach, or short pieces). For a Bachelor of Music Education or the Bachelor of Arts program students should prepare approximately ten minutes of music from movements of sonatas or concertos, short pieces, or etudes. Instructor: Kim Cook |
The requirements for this audition are very flexible and may be satisfied in a variety of ways. Students should prepare a piece or pieces which allow them to play in both a slow, sustained, lyrical style as well as something more technically demanding. The latter should include selections which have fast slurred passage work and tonguing passages. A movement or two from any piece in the standard repertoire would do nicely. (Example: the slow movement of the Mozart Concerto or the Weber Concertino, or any etudes studied in the last few years.) Students should be prepared to play scales at least up to and including four flats and sharps. Scales studied beyond these, including minor scales, may be played, but are not required. Students will be asked to do pitch matching and some rudimentary rhythmic dictation. Instructor: Smith Toulson |
Students should submit a portfolio of at least three works. At least two of these must be notated in standard music notation (send copies, not originals). Works in a variety of styles and media may be submitted and are encouraged, including concert music, songs and music for film or other media. Recordings on compact disc are also encouraged. There also will be an audition day meeting of approximately 45 minutes for both evaluative and informative purposes. Students should be prepared for a short aural skill exam and be able to discuss their musical interests and possible career objectives. In addition to the session with the composition faculty as described above, students will audition for the faculty in their major performance area. The requirements for each instrument or voice vary; consult the written audition requirements for that area. In cases where the Bachelor of Performance degree audition requirements differ from the Bachelor of Music Education or Bachelor of Arts, prospective composition majors should follow the guidelines for the latter two. If the student's primary performance medium is one for which we have no full-time faculty instruction, such as guitar or harp, the student will audition for the composition faculty on that instrument. Instructor: Dr. Paul Barsom |
Students contemplating a performance degree in double bass (Bachelor of Music or Bachelor of Musical Arts) should be prepared to play a movement from a standard concerto or sonata, one or two etudes from Simandl or others and some two-octave scales. Those intending to pursue the Bachelor of Science in Music Education or the Bachelor of Arts program should be prepared to play a short piece or movement from a concerto or sonata, at least one etude, and some one- or two-octave scales. Instructor: Robert Nairn |
Students should play a prepared piece of their choice and an etude from any of the following method books: Students should know all major scales (two octaves), and chromatic scales demonstrating the student's full range. In addition, there will be some sight-reading. Instructor: Velvet Brown |
To prepare for the audition, students should choose works that they feel represent them at their best. The audition faculty would like to hear contrasting materials that show both technical facility and music expressiveness. This may be two different pieces (solos or etudes), or two movements of a large work. In addition, students should be prepared to play all major scales in two octaves, either slurred or tongued upon request, and the chromatic scale from low C up and down three octaves. Instructor: Dr. Eleanor Armstrong |
Required: Two-octave major scales: C, F, Bb, Eb, Ab, G, D, A, E Chromatic scales demonstrating the student's full range. Solo(s) or Etude(s) demonstrating
Instructor: Lisa Bontrager |
Students should prepare two contrasting pieces, perhaps one from the Baroque period (Bach, Handel, Telemann, etc.) and one from another period. They will be asked to play a D major and Eb major scale, two octaves slurred. There will also be a short sight-reading piece. Students may call or write if they need any help, suggestions on audition music, information about new and used instruments, or a private lesson. Instructor: Timothy Hurtz |
All auditionees must audition on snare drum and mallets and timpani. Snare Drum *1. Demonstration of a thorough knowledge of the rudiments. *2. Rudimental solo from the Wilcoxon "All American Drummer" or similar material. *3. Concert snare drum etude demonstrating concert style roll, dynamic control, and reading ability. Any etude from the Cirone Portraits in Rhythm (except for etude #1) or similar material would be appropriate. Mallets *1. Demonstrate knowledge of the major scales. Play each scale at least two octaves up and down the keyboard. Knowledge of minor scales encouraged, but not required. *2. Two-mallet marimba or xylophone solo which demonstrates the student's current level of ability. Teachers may help choose an appropriate piece or the student may contact Dan Armstrong, who will suggest one. 3. Optional: Short four-mallet solo or portion of a longer piece for four mallets. Timpani *1. Demonstrate ability to match pitch and tune a drum correctly. *2. A three or four-drum etude from the Goodman Modern Method for Timpani or similar material. Drum Set (Optional) 1. Demonstrate knowledge of styles (swing, rock, Latin, funk, etc.) 2. Short solo or "trading fours." 3. Optional: a short written-out or transcribed solo such as those in the back of the Latham Advanced Funk Studies book. Auditionees are expected to provide all of their own music, sticks, and mallets. If local stores do not have what is needed, materials may be mail-ordered from: Steve Weiss Music Students must prepare the material for each area; drum set material is optional. Auditionees are not expected to be an "expert" on all areas, but a strong background must be demonstrated in snare drum or mallets or timpani. If there are any questions about what is appropriate or expected, do not hesitate to e-mail or call Dan Armstrong. Instructor: Dan Armstrong |
1. Auditionees will be asked to perform several pieces in person before an audition committee. To substitute a tape recording, see special instructions. All auditionees may be asked to perform major and minor scales and arpeggios. Sight-reading ability may also be checked. 2. Prospective piano performance majors (Bachelor of Music or Bachelor of Musical Arts degrees) should prepare a program of at least 15 minutes duration, memorized, demonstrating advanced performance ability in various styles, COMPARABLE to the following literature levels:
3. Pianists intending to pursue the Bachelor of Science in Music Education or the Bachelor of Arts program should prepare repertoire of at least 10 minutes total duration, including at least one memorized piece, demonstrating an ability to study at an advanced level, with fluent performance of works in various styles COMPARABLE to:
Note: Transfer students will be evaluated, and if accepted, placed in relation to these standards for entering freshman. Contact: Dr. Timothy Shafer |
Students should prepare the following: 2. Scales: All major scales and chromatic, using the full range of the instrument. 3. Jazz Skills (optional): Demonstrate proficiency at interpreting and improvising on a blues or "standard" tune. Instructor: David Stambler |
Auditions for the trombone studio generally occur during January and February, typically on Sundays. The audition process includes:
Students will be required to play a variety of music which includes sight-reading and a selection of prepared music that demonstrates proficiency and contrasts in musical style.
Instructor: Mark Lusk |
1. All major scales, two octaves when possible. 2. Chromatic scale, full range, slurred and/or tongued. 3. Lip slurs. 4. Any two movements or sections (slow and fast) of a sonata or concerto for trumpet, or any standard solo trumpet piece. 5. An etude or study. 6. Prepared orchestral excerpts, if desired. 7. Sight-reading. Instructor: Dr. Langston Fitzgerald |
Students should play a prepared piece of their choice and an etude from any of the following method books: Students should know all major scales (two octaves), and chromatic scales demonstrating the student's full range. In addition, there will be some sight-reading. Instructor: Velvet Brown |
Students contemplating a violin or viola performance degree (Bachelor of Music or Bachelor of Musical Arts) should be prepared to play a movement from a standard concerto, contrasting music (preferably including unaccompanied Bach), one or two etudes from Kreutzer or other advanced etudes, and some three-octave scales in various bowings. Violinists or violists intending to pursue the Bachelor of Science in Music Education or the Bachelor of Arts program should prepare approximately ten minutes of music consisting of contrasting pieces (preferably including a concerto movement), etudes, and two- or three-octave scales in various bowings. Instructor: James Lyon, violin Instructor: Max Zorin, violin Instructor: Dr. Timothy Deighton, viola |
Voice applicants should download two files:
Give the recommendation letter guidelines to two people who are familiar with your work. If you are studying voice, one of those people needs to be your voice teacher. Please see that these letters are received by the School of Music (not the general admissions office) at least seven days before your audition. Note: Incomplete files will be at a disadvantage. To make sure the recommendations have been received, contact Ms. Irene Kohute in the Undergraduate Music Admissions Office at music-ug-adm@psu.edu or (814) 863-0418.
Voice Area Coordinator: Note: Music Theatre applicants must contact the School of Theatre for information and audition requirements, and to set up an audition. |