Hayes School of Music

Solo pieces: 

The bowed strings (violin, viola, cello, and double bass) audition at the Hayes School of Music consists of at least two solos of the student's choice that contrast in tempo and/or historical style. The two compositions may be written by a single composer (e.g., two movements from the same work with contrasting tempos) or by two different composers (preferably from differing style historical periods). The chosen literature should demonstrate the student’s present skill level.  Time may not permit entire movements from concertos/sonatas to be performed in the auditions, but rather major compositional sections, such as the first major section of a sonata or concerto.

Double Bassists may select a Jazz Standard to perform as one of their two solo selections. Please perform the melody, and walk a bass line for one chorus. Use of a backing track such as iRealPro is acceptable. Soloing for one chorus is optional.

Scales/arpeggios:
Additionally, the student should prepare a two-octave or three-octave scale of the student’s choice.  

Violin and viola students are asked to prepare a 3-octave scale of their choice with the tonic arpeggio. Scales and arpeggios should be memorized, should represent the student’s current skill level, and should demonstrate the student’s attention to intonation and shifting technique.

Cello students are asked to prepare a 3-octave scale of their choice. The scales should be played by memory. 

Bass students are asked to prepare a 2-octave scale of their choice. 

Sight-reading will be included for all string auditions.

Optional:
If desired, the auditioning student may elect to perform a non-classical, third solo for the audition (e.g., a selection of jazz, folk, traditional, or other types of non-classical music) that represents the student's musical interests and skills. This not a requirement. The student may also elect to perform an étude or technical study as their third piece - one that reflects their current level of technical skill. As well, prospective double bass majors may also demonstrate their musical abilities on electric bass as the optional third piece.

For questions regarding these requirements, please contact Dr. Eric Koontz at koontzee@appstate.edu, Coordinator of the String Area. The Hayes School of Music string faculty can advise aspiring music students with suggestions and information about repertoire to be performed in the audition.

• In addition, the string faculty may be consulted by communicating with the following faculty members:
• Dr. Nancy Bargerstock, violin (bargrstockne@appstate.edu)
• Dr. Eric Koontz, viola (koontzee@appstate.edu)
• Dr. Ellie Wee, cello (weeeh@appstate.edu)
• Dr. Adam Booker, double bass (bookeras1@appstate.edu)

(updated July, 2024)

Students will be able to meet our brass faculty during your audition to learn more about the degree programs and the brass performance area. Please reach out at any time if you have any questions.

HSOM Brass Faculty:

Dr Stokes-Trumpet - stokesjm@appstate.edu

Dr Corbliss-Horn - corblissdc@appstate.edu

Dr Brown-Trombone - brownja9@appstate.edu

Dr Ambrose-Tuba and Euphonium - ambrosesr@appstate.edu

Repertoire

Students will prepare and perform solo pieces totaling 5 to 7 minutes of music. The selection or selections should demonstrate a variety of musical skills (lyrical, technical, and expressive playing) that best showcase the applicant's performance abilities. Please see the required repertoire listed below.*

*It is recommended that the student perform literature from the below selections. If you would prefer to perform a work that is not listed, you MUST contact the applied professor for prior approval. Compositions by BIPOC and/or female composers are encouraged. The following websites are helpful to find compositions by diverse composers - Institute for Composer Diversity and Music by Black Composers.

Trumpet

Concerti: Haydn or Hummel (1st Mvts), Arutiunian, Pakhmutova; Sonati: (1st Mvts): Kennan, Hindemith, Stevens; Single movement works: Goedicke/Concert Etude, Handel/Fitzgerald/Aria con Variazioni, Balay/Prelude et Ballade, Arban or Clarke Cornet solos; Unaccompanied works: Hailstork/Var. for Trumpet, Ketting/Intrada; Etudes: Charlier, Arban, Small; or a piece from the NCBA All-State Audition Requirements (11-12).

Please contact Dr. James Stokes, Professor of Trumpet and Co-Director of the Performance Degree Program, with any questions about repertoire choices: stokesjm@appstate.edu

Horn

R. Strauss, Horn Concerto No. 1, Mvt. 1; F. Strauss, Nocturno; Arnold, Fantasy for Horn; Krol, Laudatio; Raum, Sherwood Legend, Mvt. 3; Mozart, Concerti Nos. 2,3, or 4, any Mvt.; Saint-Saens, Morceau de Concert; or a piece from the NCBA All-State Audition Requirements (11-12).

Please contact Dr. Dakota Corbliss, Assistant Professor of Horn with any questions about repertoire choices: corblissdc@appstate.edu 

Trombone

Andante et Allegro (Barat); Concertino Op.4 (David); Concerto (Grondahl); Morceau Symphonique (Guilmant); Romance (Raum); Romance (Weber); Concerto (Rimsky-Korsakov); Cavatine (Saint-Saens); Melodious Etudes (Bordogni/Rochut), or a piece from the NCBA All-State Audition Requirements (11-12).

Please contact Dr. Joseph Brown, Assistant Professor of Trombone, with any questions about repertoire choices: brownja9@appstate.edu

Bass Trombone

Rhapsody (Hidas); Cameos (Jacob); Concerto in One Movement (Lebedev); Concertino Basso (Lieb); Melodious Etudes (Bordogni/Rochut - read down one octave); a piece from the NCBA All-State Band Audition Requirements for Trombone OR Tuba (11-12).

Please contact Dr. Joseph Brown, Assistant Professor of Trombone, with any questions about repertoire choices: brownja9@appstate.edu

Euphonium

Beautiful Colorado (J. De Luca), Rhapsody for Euphonium (J.Curnow), Morceau Symphonique (A. Guilmant), Andante and Rondo (A. Capuzzi), Andante and Allegro (J.E. Barat), Concerto for Trombone (N. Rimsky-Korsakov), a selection from the Concert & Contest Collection (compiled by H. Voxman), or a piece from the NCBA All-State Audition material.

Please contact Dr. Samuel Ambrose, Visiting Assistant Professor of Euphonium and Tuba with any questions about repertoire choices: ambrosesr@appstate.edu

Tuba

Concerto No. 1 (Alexander Lebedev), Andante and Rondo (A. Capuzzi), Sonata in F Major (B. Marcello/D. Little), Suite for Unaccompanied Tuba (Walter Hartley), a selection from the Concert & Contest Collection (compiled by H. Voxman) or a piece from the NCBA All-State Audition Requirements.

Please contact Dr. Samuel Ambrose,  Assistant Professor of Euphonium and Tuba with any questions about repertoire choices: ambrosesr@appstate.edu

Technique Requirements

Scales

• The applicant will prepare major scales (up to 4 flats: F, Bb, Eb, Ab, 4 sharps: G, D, A, E and C) and a chromatic scale (2 octaves). Scales will be randomly selected by the audition committee for performance in the live audition (or online recording). Suggested audition tempos: Quarter = 76-92.

Sight-reading

The applicant will be asked to perform a short intermediate level sight-reading piece (Grade level IV; 4 sharps/4 flats; 4/4, 3/4, 6/8.). Accurate rhythm, pitch, and music expressiveness are minimal expectations of a good sight-reading performance.

(updated July, 2024)

Entrance into Hayes School of Music degree programs with guitar as the primary instrument of student is competitive. The available openings in the guitar studio are usually filled after the February auditions. A limited number of scholarships are available to guitarists. Given the large number of students auditioning to pursue a program of study with guitar as a major instrument, early auditions are encouraged to have the best opportunity to be awarded a scholarship.

All guitarists auditioning to be music majors must have and demonstrate music reading skills. Auditionees will be expected to sight-read a single-line passage in 4/4, 3/4, or 6/8 meters using simple and dotted note values.

Suggested audition music is as follows:

Bachelor of Music in Music Performance (Guitar)

Two pieces of contrasting style period from the standard classic guitar repertoire, including but not limited to works of Villa Lobos, Ponce, Giuliani, Bach, Sor, etc. Selections may also be taken from the Royal Conservatory Series (published by Frederick Harris Music), level 3 or higher.

Bachelor of Science in Music Industry Studies

Two prepared pieces, at least one of which must be learned from written music in standard notation (NOT tablature). Classical guitar is an option, NOT a requirement for Music Industry Studies. Students may complete all of their requirements for the Music Industry Studies degree in jazz guitar, and may audition with plectrum/steel string/electric style guitar. Some sight-reading of unprepared material will be required as well (see above). Students are advised to audition in either classical or jazz styles, but not both.

For prospective students interested in focusing on jazz guitar studies at Appalachian State University, it is strongly suggested that they choose jazz material for their two prepared audition pieces. Jazz standards, bebop tunes, bossa nova, jazz waltzes, contemporary modern jazz (etc) are solid choices as they make up the standard jazz repertoire. Examples can be found in the Hal Leonard Real Book Series, Aebersold Play-along series or from one of the Berklee Press publications (such William Leavitt's Melodic Rhythms for Guitar), etc. Any questions regarding the suitability of jazz-related material should be directed to Professor Andy Page well in advance of the audition date. This material should demonstrate the applicant's melodic interpretation, comping, and improvisation skills. If applicable, a backing-track CD may be used along with your audition. Instead of a (preferred) physical CD, the applicant must provide the means to playback a digital recording.

For prospective students interested in focusing on classical guitar studies at Appalachian State University, two classical pieces as described for Performance major auditions are acceptable, Royal Conservatory series (published by Frederick Harris Music) level 1 or higher. Any questions regarding the suitability of classical style material should be directed to Dr. Adam Kossler, Coordinator of Guitar Studies well in advance of the audition date.

Bachelor of Music in Music Education (Guitar)

As described above in Performance Major, with selections from the Royal Conservatory Series (published by Frederick Harris Music) Level 2 is also acceptable.

Bachelor of Music in Music Therapy

Guitarists applying to the Music Therapy program may audition in either classical or jazz style as described above for Music Industries Studies and Music Education.

All Majors

Please consult with Professors Kossler or Page before the audition if in doubt of the suitability of any audition pieces. Questions regarding classical pieces should be directed to Dr. Adam Kossler. Jazz-related audition questions should be directed to Professor Andy Page.

(updated July, 2024)

Undergraduate Applicants should prepare the following material for an audition:

Solo pieces: 

1. Two contrasting pieces of the applicant’s choice from two different stylistic periods (Baroque, Classical, Romantic, Impressionist, Contemporary). The chosen literature should demonstrate the student’s present skill level.  

2. Optional third solo (or etude) that represents the applicant's musical interests and/or skills. This could be a non-classical piece (e.g. a selection of jazz, folk, traditional, or other type of non-classical music), or the applicant’s own composition. This is optional and is not a requirement. 

Note: Please be advised that auditions are scheduled within a 15-minute time slot. Time may not permit entire works or concerto movements to be performed and applicants will be asked to play selections from the works they have prepared. 

Scales and Arpeggios:

1. A two-handed, three-octave scale of the applicant’s choice.

2. A 5-octave arpeggio of the applicant’s choice.

Sight Reading:

Music reading skills are critical to a student’s success as a harpist. Applicants will be given a short passage to sight read in the audition that is comparable to early-intermediate level repertoire.

Bachelor of Music in Performance (Harp) only:

Orchestra excerpt: Applicants intending to pursue a degree in Harp Performance should also prepare one of the following orchestral excerpts:

1. Bizet: L’Arlesienne Suite No. 2, Mvt 3, Menuet (m.1 - m.42)

2. Britten: Young Person’s Guide to the Orchestra, cadenza

3. Rimsky-Korsakov, Capriccio Espagnol, cadenza

4. Tchaikovsky: Nutcracker, Cadenza from Waltz of the Flowers.

For questions about repertoire, degree programs, or any other concern about harp auditions, please contact Prof. Amber Joy Koeppen.

 

(updated September, 2023)

The Bachelor of Music in Performance (Jazz Concentration) is a Bachelor of Music in Performance degree program with a focus on Jazz Studies. Currently, the following performance areas may audition for this program:

• Saxophone
• Trumpet
• Trombone
• Guitar-Jazz
• Piano
• Bass
• Drum Set

Note: Students applying for the Bachelor of Music in Performance (Jazz Concentration) must schedule two audition sessions on their instrument. The first audition is with the applied faculty. Please prepare the audition requirements listed under their performance area (e.g., trumpet, double bass, etc.). On the second audition, the student will prepare the audition requirements listed below.

Example:  If you are a prospective trumpet student applying for the Bachelor of Music in Performance (Jazz Studies) program, you will audition once with Dr. James Stokes for your trumpet audition in the morning of the audition day. Then, you will perform a second audition in the afternoon with our jazz faculty to demonstrate your jazz proficiency. Please review the Jazz Studies audition requirements below.

All Instruments (except drumset):

Techniques:

• All major scales, in 8th notes at quarter note = 100 BPM. These may be swung or straight 8th notes.

(updated September 2024)

Repertoire*:

• Perform and Improvise over Billie’s Bounce (Blues in F) at Quarter Note = 154
• Perform and Improvise over All the Things You Are (A flat) at Quarter Note = 132
• Perform and Improvise over Triste (B flat) at Quarter Note = 176

Sight-reading:

• Perform a short excerpt from a big band score provided by the audition panel. The sight reading repertoire will come from the standard big band repertoire, such as Count Basie.

Rhythm Section Instruments

Piano/Guitar/Double Bass: Perform the required tunes (see repertoire above) in the following manner:

• Piano:  Play the melody once through the form, accompany (comp with chords) once through the form, and improvise once through the form.
• Guitar:  Play the melody once through the form, accompany (comp with chords) once through the form, and improvise once through the form. (Tablature is not permitted.) An Amplifier will be provided.
• Double Bass:  Play the melody once through the form, walk a bass line once through the form (or play in the bossa style for Triste), and improvise once through the form. One selection may be on the electric bass. An amplifier will be provided.

 

Drumset:
A complete drum set is provided, including snare, bass, two toms, hi hat, and ride cymbal. Auditionees are welcome to bring their snare, cymbals, and bass drum beater, but this is unnecessary and may cut into audition time.  Auditionees are expected to bring their own sticks, brushes, and mallets.

On the drumset*:

• Demonstrate Funk and Rock styles at quarter note = 85 bpm.
• 4/4 swing at quarter note = 120 once through the form of All the Things You Are using brushes.
• 4/4 swing at quarter note = 240 bpm three times through the form of Billie’s Bounce using sticks; one chorus groove, two choruses of trading fours (alternate groove and solo over the form every four measures).
• Demonstrate Bossa Nova style at quarter note = 132 over Triste once through the form.

*a backing track will be available

Piano Auditions

Repertoire and Technique Requirements

Three contrasting pieces from the following historical style periods: Baroque, Classical, Romantic or Twentieth/Twenty-First Centuries. Music Industry Studies auditioners may present only two pieces. We encourage repertoire by traditionally under-represented composers. The following websites are useful to find compositions by diverse composers - Institute for Composer Diversity and Music by Black Composers. Pop songs and self-composed music are not suitable. 

Memorization, while encouraged, is optional except for students pursuing the Bachelor of Music in Performance (Piano), who must have all pieces memorized. All auditioners should prepare two scales of their choice: four-octaves hands together, ascending and descending. The audition will also include a sight-reading portion.

If you have any questions about repertoire selection, please contact Dr. Catherine Garner, Coordinator of Keyboard Activities, for assistance.

 

Organ Auditions

Repertoire and Technique Requirements

All intended Organ principals in all major programs should follow these requirements. Non-organists who wish to major in Sacred Music will audition for the studio of their intended principal instrument. Organ audition requirements include:

• Any solo organ composition by J.S. Bach, Buxtehude, Böhm, de Grigny, or F. Couperin. May include any or all movements of multi-movement works.
• Two additional solo organ compositions in contrasting historical styles to the above. Choices may be made from but need not be limited to:
  • post-Bach German style (Mendelssohn, Rheinberger, Reger, Brahms, Schroeder, Walcha, Distler, Heiller, etc.);
  • French Symphonic style (Franck, Widor, Vierne, Dupré, Guilmant, Dubois, Gigout, Boëllmann, Langlais, Messiaen, etc.);
  • Victorian and later British styles (Vaughan Williams, Willan, Howells, Whitlock, Mathias, etc.);
  • any American composer.
  • Feel free to choose from the concert repertoire as well as from music intended for worship settings. Works by women and composers of color are always welcome. The following websites are useful to find compositions by diverse composers - Institute for Composer Diversity and Music by Black Composers.
• One standard hymn tune of your choice: may be played as if to be sung, may be a solo arrangement by any composer, or may be improvised.

Please contact Dr. Joby Bell, Professor of Organ by email or by phone (828-262-6467) at any time with questions.

 

Harpsichord Auditions

Repertoire and Technique Requirements

• Any solo keyboard composition considered “early” music. May include any or all movements of multi-movement works. You may choose any composer from any country, such as but not limited to the following:
  • Germany (Bach, Buxtehude, Handel, Böhm, Telemann, etc.)
  • France (de Grigny, Rameau, any of the Couperin dynasty, etc.)
  • Italy (Frescobaldi, Scarlatti, etc.)
  • the Netherlands (Sweelinck, Cornet, etc.)
  • England (Byrd, Bull, Gibbons, Redford, Tallis, etc.)
  • Any solo harpsichord piece from the 20th or 21st century.
• Continuo performance of each of the following:
  • One recitative, one aria OR one chorus from Handel's Messiah;
  • Any other piece of your choosing.
• Works by women and composers of color are always welcome. The following websites are useful to find compositions by diverse composers - Institute for Composer Diversity and Music by Black Composers.

Please contact Dr. Joby Bell, Professor of Organ, by email or by phone (828-262-6467) at any time with questions.

(updated September, 2023)

Prepare at least one solo or etude on all three of the main concert percussion instruments:

• Snare Drum

  • Both Concert and Rudimental Snare Drum solos are acceptable

    Performance majors are encouraged to prepare both a Concert and Rudimental Solo

  • Suggested repertoire: Method for Snare Drum, Douze Etudes, or Keiskleiriana by Delecluse, Portraits in Rhythm by Cirone, Advanced Snare Drum Studies by Peters, All-American Drummer by Wilcoxon, 14 Modern Contest Solos by Pratt

• Mallet Keyboard

  • A two-mallet solo/etude is required 

  • An additional four-mallet solo/etude is recommended

  • Suggested two-mallet repertoire: Funny Mallets by Zivkovic, Masterworks for Mallets by Gottlieb, Modern School for Xylophone, Marimba, Vibraphone by Goldenberg, various Xylophone Rags by G.H. Green

  • Suggested four-mallet repertoire: Marimba: Technique Through Music by Ford, Impressions on Wood by Davila, A Fresh Approach to Technique and Musicianship with Four Mallets by Skidmore, or solos by Abe, Sammut, Peters, Smadbeck, Stout, etc. 

• Timpani

  • Solo/etude can be for any number of drums and involve any amount of re-tuning

    Must demonstrate ability to tune the drums by ear

  • Suggested repertoire: The Artist Timpanist by Patton, The Solo Timpanist by Firth, Timpani Technique for the Virtuoso Timpanist by Hinger or etude collections by Hochrainer, Lepak, or Goodman.

Performing selections on the three main instruments from any other repertoire source is also welcome, as are orchestral excerpts. If you have any questions about repertoire, don't hesitate to contact Dr. Brady Spitz at spitzbj@appstate.edu.   

Performing on the drumset is an option but not required. If you are doing so, demonstrate basic grooves for one to two minutes including: swing (medium tempo - including trading 4's with yourself) trading 4's with yourself, funk, bossa, samba, and waltz. 

If access to some of these percussion instruments is not possible, please contact: Dr. Brady Spitz, Professor of Percussion, at spitzbj@appstate.edu or 828-262-4979.

All solos and etudes suggested may be purchased from:
Steve Weiss Music
888-659-3477

(updated July 2024)

Music Education, Performance, Music Industry Studies, Sacred Music, Music Therapy, Theory/Composition

Prospective students are required to sing from memory two solo selections from standard art song, sacred music, folksong, opera or oratorio repertoire. The selections should be contrasting in style and tempo, and highlight technical proficiency and use of expression. Both should be for voice with piano accompaniment, and we welcome a work written by an underrepresented composer (female composer, composer of color or another underrepresented group) or a new composer. The following websites are useful to find compositions by diverse composers - Institute for Composer Diversity and Music by Black Composers.

Recorded accompaniment or backing track is not allowed for your audition. If you don't plan to bring your own accompanist, a Hayes School of Music accompanist will play your audition for you. If you have questions or concerns regarding accompaniment, please contact Dr. Gennard Lombardozzi at lombardozzig@appstate.edu

Recommended Repertoire

The anthologies and publishers on this list are only suggestions. Appropriate literature may be found in other sources. If you have an inquiry about a song you would like to use that is not on the list, please contact Dr. Gennard Lombardozzi at lombardozzig@appstate.edu

During your audition, we will have a brief conversation about your educational and career goals in music. Finally, you will be evaluated on your skills in tonal memory, and sight reading of melody and rhythm. Basic piano skills and private voice study are suggested before entering Appalachian, but not required.

(updated September 2023)

 

Bassoon Audition Requirements

Please contact Dr. David Wells, Assistant Professor of Bassoon by email at wellsda2@appstate.edu or by phone (828-262-6460) with any questions.

Repertoire

Two selections of your choice that demonstrate your present level of performance and that together showcase both your lyrical/expressive playing and your technical ability. These may either be two movements from solo repertoire (sonatas, concertos, etc.) or one movement paired with an etude.

The below repertoire lists are suggestions, not comprehensive lists. If you have questions regarding repertoire choices, please contact Dr. Wells.

Suggested solo repertoire:

• Adrienne Albert: Serenade for Solo Bassoon (available from the composer)

• Jenni Brandon: Colored Stones

• Adolphus Hailstork: Bassoon Set

• Wolfgang Amadeus Mozart: Concerto in B-flat , K. 191

• William Grant Still: Songs for Bassoon and Piano, arr. Alexa Still

• Antonio Vivaldi: any of his 37 bassoon concertos

• Carl Maria von Weber: Concerto in F Major, op. 75

• Jacqueline Wilson: Dance Suite (available from the composer)

• This year’s NC All-State Honors Band audition solo (accessible here)

Suggested etudes:

• Ludwig Milde: 25 Studies in Scales and Chords, op. 24

• Julius Weissenborn: Complete Method for Bassoon

Technique Requirements

• Chromatic scale – beginning on low B-flat through your entire range

• Major scales and arpeggios

  • Music Performance Applicants: all major scales

  • Music Education, Music Therapy, Composition/Theory, and Music Industry Studies applicants: major scales through 4 flats and 4 sharps

• Each student will be asked to sight-read a short musical excerpt.

 

Clarinet Audition Requirements

Please contact Dr. Soo Goh, Assistant Professor of Clarinet by email at gohsk@appstate.edu or by phone (828-262-6134) with any questions.

Music Education, Composition/Theory, Music Therapy, and Music Industry Studies Major

Repertoire
Bb clarinet

• A selection of your choice. Selection can be chosen from your district audition piece or the All-State Honors Band clarinet audition piece. Watch Dr. Soo Goh perform the piece here.
• Two short excerpts provided here.

Bass clarinet
Applicants who wish to focus on the bass clarinet during their studies at Appalachian State University will also prepare their audition repertoire on the Bb clarinet. Even if you choose to emphasize the bass clarinet during your studies, you will still be required to study and perform on the Bb clarinet in addition to the bass clarinet. A strong musical fundamental on the Bb clarinet is transferable to the bass clarinet and will serve you well. Furthermore, fluency on both instruments open doors for more performing opportunities and is also critical for future educators.

• Etude No. 1 from Rose 32 etude book or All-State Honors Band bass clarinet audition piece. Watch Dr. Soo Goh perform the piece here.
• Two short excerpts provided here performed on the Bb clarinet.

Technique Requirements

• Major scales up to 4-flats (Ab major) and 4-sharps (E major), at least two octaves.
• Chromatic scale - minimum 3 octaves starting on low E, up to as high as you can comfortably go, ascending and descending.
• Tempo for scales - at a comfortable tempo that you can perform evenly and accurately
• Each student will be asked to sight-read a short musical excerpt.

Music Performance Major

Repertoire
Bb clarinet

• All-State Honors Band clarinet audition piece. Watch Dr. Soo Goh perform the piece here. Other pieces may be considered. Please contact Dr. Soo Goh at gohsk@appstate.edu if you choose to perform another piece. 
• Two short excerpts provided here.

Bass clarinet
Music performance applicants who wish to focus on the bass clarinet during their studies at Appalachian State University will also prepare their audition repertoire on the Bb clarinet. Even if you choose to emphasize the bass clarinet during your studies, you will still be required to study and perform on the Bb clarinet in addition to the bass clarinet. A bass clarinetist is frequently expected to play the Bb clarinet when it comes to gigs. Fluency on both instruments is critical to be a successful performer in our field.

• Etude No. 5 from Rose 32 etude book or All-State Honors Band bass clarinet audition piece. Watch Dr. Soo Goh perform the piece here.
• Two short excerpts provided here performed on the Bb clarinet.

Technique Requirements

• All major and melodic minor scales and arpeggios - any form of your choice
• Chromatic scale - minimum 3 octaves starting on low E, up to as high as you can comfortably go, ascending and descending.
• Tempo - at a comfortable tempo that you can perform evenly and accurately
• Each student will be asked to sight-read a short musical excerpt.

Saxophone Audition Requirements

Please contact Dr. Scott Kallestad, Professor of Saxophone by email at kallestadsd@appstate.edu, by office phone (828) 262-8025, or cell phone (828) 719-0852 with any questions.

Repertoire
Saxophone applicants should prepare a solo that will showcase the performer’s lyrical/expressive ability, and their faster/technical skills. Your selection may include lyrical and technical sections from one solo, two separate movements from a single piece, or contrasting movements from two different pieces. Be sure to choose music that is appropriate to your musical and technical skill levels.

Examples of suggested solo repertoire difficulty level (but not limited to):

• Bencriscutto, Frank:   Serenade (all)

• Creston, Paul:   Sonata (slow and fast excerpts)
• Glazunov, Alexander: Concerto in Eb for Alto Saxophone (slow and fast excerpts)
• Heiden, Bernhard:   Diversion (all)
• Heiden, Bernhard: Sonata, third movement
• Jolivet, Andre:   Fantaisie-Impromptu (all)
• Lunde, Lawson:   Sonata (slow and fast excerpts)
• Maurice, Paule: Tableaux de Provence, at least one fast and one slow movement

If you have questions regarding repertoire choices or would like help in choosing a solo, please contact Dr. Kallestad.

Technique Requirements
The applicant will be expected to perform major scales and arpeggios, a chromatic scale demonstrating their full range, and to sight-read appropriate literature. A brief evaluation of Aural Skills will also take place during the saxophone audition.

Flute Audition Requirements

Please contact Dr. Nancy Schneeloch-Bingham, Professor of Flute by email at schneelochna@appstate.edu or by phone (828-262-6447) with any questions.

Music Education, Composition/Theory, Music Therapy, and Music Industry Studies Majors

Repertoire
Solo demonstrating slower/lyrical and faster/technical playing: two movements from the same piece or contrasting movements from two different pieces. If you have questions about appropriate pieces or would like help choosing your piece, please contact Dr. Nancy Schneeloch-Bingham

e.g. Sonatas by Telemann, Handel or other pieces from solo compilation books:
Solos for Flute (ed. Peck), 24 Short Concert Pieces (ed. Cavally)

Technique Requirements

• All Major scales and arpeggios and a three-octave chromatic scale
• Each student will be asked to sight-read a short musical excerpt.

Music Performance

Repertoire
Solo demonstrating slower/lyrical and faster/technical playing: two movements from the same piece or contrasting movements from two different pieces. If you have questions about appropriate pieces or would like help choosing your piece, please contact Dr. Nancy Schneeloch-Bingham

e.g. Bach: Sonatas, Mozart: Concerto in D or, selections from solo compilation book: Flute Music by French Composers (ed. Moyse)

Technique Requirements

• All major scales and arpeggios and a three-octave chromatic scale. Harmonic minor scales through 4 flats and sharps.
• Each student will be asked to sight-read a short musical excerpt.

Oboe Audition Requirements

Please contact Dr. Alicia Chapman, Associate Professor of Oboe by email at chapmanam@appstate.edu or by phone (828-262-4898) with any questions.

Repertoire

Two solos of your choice:  from a sonata, concerto, or other soloist repertoire.  You may also choose a solo movement paired with an etude. The music literature that you choose should demonstrate your present level of performance and reflect contrasts in musical styles, expressions, and tempi. 

Suggested solo repertoire (but not limited to):

• Cimarosa Concerto, 1st and 2nd mvts.
• Marcello Concerto, 1st or 3rd mvts.
• Britten, from Six Metamorphoses - no. 1: Pan or no. 3: Niobi
• Hindemith Sonata, 1st mvt.
• Vaughan Williams Concerto, 1st mvt.
• An etude from the Prestini Raccolta di Studi, or from the Ferling 48 Etudes volume

Technique Requirements

• Chromatic scale – beginning on low Bb through your entire range
• Major scales and arpeggios through 5-flats and 5-sharps
• Each student will be asked to sight-read a short musical excerpt.

(updated July 2024)