Undergraduate Audition Requirements

Undergraduate Audition Requirements

Solo pieces: 
The bowed strings audition at the Hayes School of Music consists of at least two solos of the student's choice that contrast in tempo and/or 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 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 Expositions. 

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. 

If desired, the student may elect to perform a non-classical, third solo for the audition (e.g. a selection of jazz, folk, traditional, or other type of non-classical music) that represents the student's musical interests and skills. This is optional and is not a requirement.  Prospective double bass majors may also demonstrate their musical abilities on electric bass for the optional third piece. 

Although not required, 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. Lastly, sight-reading may be included in the audition.

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.

(updated September 2022)

Students will have the opportunity 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.

Repertoire

Students will prepare and perform:

  • A longer piece of the applicant's choice that demonstrates a variety of skills (lyrical, technical, and expressive playing) that best showcase the applicant's performance abilities.
    Or
  • Two individual shorter pieces (or two movements of a multi-movement work) of the applicant's choice that demonstrates a variety of skills (lyrical, technical, and expressive playing) that best showcase the applicant's performance abilities.

Either choice is acceptable. Please see the required repertoire listed below.*


*Repertoire MUST be chosen from the literature below. 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 useful 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; any All-District/All-State audition piece (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.

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); Concertino (Wilborn); Melodious Etudes (Bordogni/Rochut), a work from the NCBA All-State Band requirements.

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); Concerto Allegro (Lebedev); Concertino Basso (Lieb); Melodious Etudes (Bordogni/Rochut - read down one octave); a work from the NCBA All-State Band requirements for Trombone OR Tuba.

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. Beth Wiese, Associate Professor of Euphonium and Tuba with any questions about repertoire choices: wieseba@appstate.edu


Tuba

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

Please contact Dr. Beth Wiese, Associate Professor of Euphonium and Tuba with any questions about repertoire choices: wieseba@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 September 2022)

Entrance into Hayes School of Music degree programs as a guitar major is competitive. The available openings in the guitar class are usually filled after the February auditions. A limited number of scholarships are available to guitarists. Students should plan to audition between January and February to be considered for these.

All guitarists who are 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 time using simple and dotted note values.

Suggested audition music is as follows:


Performance Major

Two pieces of contrasting styles 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.


Music Industry Studies Major

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 Industries. 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 ASU, 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. In lieu 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 ASU, 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 well in advance of the audition date.


Music Education Major

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


Music Therapy Major

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 James 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 September 2022)

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. Memorization, while encouraged, is not required except for Piano Performance majors, 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.

Well before your audition, contact the piano faculty to make sure your chosen repertoire will be considered suitable for the audition. Standard piano literature is expected. Pop songs and self-composed music are not suitable.

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.

Memorization, while encouraged, is not required except for Piano Performance majors, who must have all pieces memorized. All auditioners should also prepare two scales of their choice, four-octaves hands together, ascending and descending that will be heard during the online audition. We would like to be able to see your hands when you play your scales. The online audition will also include a sight-reading portion. We do not need to see your hands for your sight-reading portion.

If you have any questions about repertoire selection, please contact Dr. Rodney Reynerson, Professor of Piano by email or by phone (828-262-6466) 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 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 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 2022)

Prepare one solo or etude on all three percussion instruments

  • snare drum
  • mallet keyboard
  • timpani

Performing on the drumset is an option as well but not required. If you are doing so, demonstrate basic grooves for one to two minutes including: swing (medium tempo) trading 4's with yourself, bossa, samba, and waltz. Audition drumset solos can be found in Contemporary Drumset Solos by Murray Houllif.

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


Audition materials can be found at the following:

  • For snare drum in Method for Snare Drum by Jacques Delecluse, Portraits in Rhythm by Anthony Cirone or 14 Modern Contest Solos for Snare Drum by John Pratt.
  • For mallet keyboard - two mallet solos or etudes can be found in Masterworks for Mallets transcribed and arranged by Beth Gottlieb, Xylophone Rags by George Hamilton Green or Modern School for Xylophone, Marimba, Vibraphone by Morris Goldenberg; four mallet solos can be found in Impressions on Wood by Julie Davila.
  • For timpani in The Artist Timpanist by Duncan Patton, The Solo Timpanist by Vic Firth or Timpani Technique for the Virtuoso Timpanist by Fred Hinger.

Pieces on any of the three instruments from other method books or solo literature are also welcomed. Please contact Dr. Rob Falvo at falvorj@appstate.edu with any questions.

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

(updated September 2022)

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 2022)

 

Bassoon Audition Requirements

Please contact Dr. Jon Beebe, Professor of Bassoon by email at beebejp@appstate.edu or by phone (828-262-6460) with any questions.

Repertoire
The applicant should prepare a solo (or solos) of their choice that displays contrasting musical styles and tempi. Literature should be chosen that allows the applicant to demonstrate his/her present level of musical development.

Technique Requirements
The applicant will be asked to perform major scales and arpeggios, a chromatic scale demonstrating their full range, and to sight-read appropriate literature.


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

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.

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
  • Sight-reading will be administered during your audition.


Music Performance Major

Repertoire
Bb clarinet

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.

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
  • Sight-reading will be administered during your audition.


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):

  • Paul Creston: Sonata, any movement(s)
  • Bernhard Heiden: Sonata, third movement
  • Alexander Glazunov: Concerto in Eb for Alto Saxophone (excerpts)
  • Paule Maurice: Tableaux de provence, at least one fast and one slow movement
  • NC All-State Honors Band audition (rotation #2), accessible here.

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
  • Sight reading excerpt will be administered during the online audition


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 G, Poulenc: Sonata, Hindemith: Sonata, selections from 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.
  • Sight reading excerpt will be administered during the online audition


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 one 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 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
  • Sight-reading will be administered during the audition


(updated September 2022)