Undergraduate Audition Requirements

Undergraduate Audition Dates

Friday, January 20, 2017

Admission & Scholarship
Brass, Composition, Percussion, Voice & Winds

Saturday, January 21, 2017

Admission & Scholarship
Dance, Keyboard, Strings (including Guitar) & Voice

Friday, February 24, 2017

Admission & Scholarship
Dance, Keyboard, Strings (no Guitar) & Voice

Saturday, February 25, 2017

Admission & Scholarship
Brass, Composition, Guitar, Percussion, Voice & Winds

Undergraduate Audition Requirements

Brass Auditions

Euphonium:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as: Capuzzi, Andante and Rondo; Barat, Andante et Allegro, Introduction and Dance; Clarke, From the Shores of the Mighty Pacific; Deluca, Beautiful Colorado; Horowitz, Concerto for Euphonium (mvt. 1); Galliard, Sonatas: Marcello, Sonatas; Kopprasch, 60 Selected Studies; Arban's Complete Conservatory Method; Bordogni/Rochut, Melodious Etudes.

Horn:

  1. Two-octave major scales where possible
  2. Two contrasting movements or sections from the standard horn repertoire. An etude or orchestral excerpts may be substituted for the second selection. Examples of solo repertoire include the Beethoven Sonata, the Glazunov Reverie, any of the Mozart concerti, and the Franz Strauss Nocturno. Examples of etude books include Kopprasch, Maxime Alphonse, the Pottag Preparatory Melodies, and Mueller.

Bass Trombone:

  1. Two-octave major scales where possible: and
  2. One etude from the Voxman-Selected Studies for Trombone book or
  3. One slow and one fast section from works such as: Dedrick-Lyric Etude, Hindemith-Drei leichte Stüke, Lebedev-Concerto, Boutry-Tubaroque, McCarty-Sonata or equivalent.

Tenor Trombone:

  1. Two-octave major scales where possible: and
  2. One etude from the Voxman-Selected Studies for Trombone book
  3. One slow and one fast section from a solo work of your choice. Suggested literature includes: Barat-Andante et Allegro, Guilmant-Morceau Symphonique, Telemann-Sonata in F minor, David-Concertino op.4, de la Nux-Solo de Concours, Ropartz-Andante et Allegro, Marcello-Six Sonatas (choose one), Rimsky-Korsakov-Concerto for Trombone

Trumpet:

  1. Two-octave major scales where possible: and
  2. Two contrasting movements from solo repertoire such as: Haydn-Concerto, Arutunian-Concerto, Kennan-Sonata, Latham-Suite, Hindemith-Sonata, Corelli-Air and Dance, Ropartz-Andante et Allegro, Turrin-Caprice, Corelli/Fitzgerald -Sonata VII.

Tuba:

  1. Two-octave major scales where possible: and
  2. One slow and one fast section from works or etude books such as: Vaughan, Concertpiece #1; Capuzzi, Andante and Rondo; Marcello, Sonatas; Bach-Bell, Air and Bouree; Beversdorf Sonata; Lebedev, Concerto in one movement; Kopprasch, 60 Selected Studies; Blazevich, Etudes; Bordogni/Rochut, Melodious Etudes; Arban's Complete Conservatory Method;

Dance Auditions

The Dance Audition is done as a group. Come prepared to take a 2 hour long modern dance class. Proper attire will include leotard and footless or convertible tights. You may bring socks for the beginning of the class. Hair should be pulled back, secured, but NOT in a tight bun. If you have never done modern dance before, remember that the panel will be looking for your potential, not necessarily your experience in this form.

Organ Auditions

Organists should prepare two or three pieces in contrasting sytles. Preferably, one should be by J.S. Bach (or another Baroque composer) and one from the Romantic period. At least one piece should be for manuals and pedal. Pianists who have not previously studied organ but are serious about undertaking an organ degree may be considered for admission by way of a piano audition to evaluate existing keyboard skills. It should be noted that more intensive study may be required of such a student during the undergraduate degree, in order to provide a strong organ foundation.

Undergraduate PERCUSSION Auditions

Percussion players should demonstrate technical facility and musical understanding in all four of the areas listed below. Please contact Dr. Dave Hall if you have any questions regarding appropriate audition repertoire.

Keyboard Percussion:

  1. A four-mallet marimba solo.
  2. A two-mallet solo, etude, or orchestral excerpt(s).
  3. Major scales and arpeggios.
  4. Sight-reading.

Snare Drum:

  1. A concert/orchestral solo or etude.
  2. A rudimental solo (to be performed on a concert snare drum).
  3. Demonstration of PAS 40 essential rudiments.
  4. Sight-reading.

Drumset:

  1. Demonstrate several musical styles (funk/rock, swing, samba, jazz waltz, et. al) with appropriate fills.
  2. Solo or “trade fours” in a medium or fast swing style.

Timpani

  1. A solo or etude that demonstrates technical facility on 2-4 drums.

Auditions will also include a short interview with the UNL Percussion Faculty.

Piano Auditions

  1. At least three solo works of contrasting styles from the standard classical repertoire. Majors: all pieces must be memorized. Minors: minimum one piece must be memorized.
  2. Scales may be requested, but are not necessarily a prerequisite for the audition.
  3. A short sight-reading example may be included in the audition, strictly for assessment purposes.

String Auditions

Two contrasting pieces or movements.

Guitar Auditions

  1. Any person interested in auditioning on guitar must first contact the instructor and schedule a personal or telephone interview in order to be approved for an audition.
  2. Perform two short contrasting solo guitar pieces (finger style), either jazz or classical, including both melody and harmony.
  3. Sight-read accurately a simple single-line melody written in standard music notation (not TAB)
  4. Play a two-octave major scale in any key as requested by the adjudicating faculty member(s).
  5. Play a number of chord voicings as requested by the adjudicating faculty member(s).
  6. Optional - Improvise in a jazz style. (Please notify the instructor in advance so that he can provide accompaniment).

Composition Auditions

  1. Prospective composition majors must submit a portfolio of either 2 PDF scores and 3 audio files, or 3 PDF scores and 2 audio files. This process is conducted in a third party application called Slideroom at the following URL: https://unlarts.slideroom.com/#/permalink/program/30813 The Slideroom submussion process will require a credit card and cost $6. Portfolios should be submitted not less than 4 weeks in advance of the scheduled audition. 
  2. In addition, all prospective composition majors (whether intending to pursue the BM degree or the BME degree) must demonstrate their personal ability as a performer by means of a live audition. To be admitted as a composition major, your skill on an instrument or voice must be at a level sufficient for admission as a minor. (Audition requirements for all performance areas are on this webpage.) Please click here to schedule a vocal or instrumental audition in your primary performance area on the appropriate Undergraduate Audition Day.
  3. Finally, you should schedule a personal interview with members of our composition faculty for the Undergraduate Audition Day on which you intend to audition, by contacting the head of area Greg Simon
    Discussion topics may include your background as a composer and performer, your theory proficiency, and other relevant topics.

Voice Auditions

Prepare two contrasting solos, classical in nature, to be performed from memory. Folk song arrangements are acceptable.  The second selection may be from the musical theatre repertoire. UNL accompanists are available only on the scheduled audition days. Auditionees are welcome to bring an accompanist, but auditions with taped/recorded accompaniments are not permitted. Audition requirements are identical for voice majors and minors.

A Sampling of Vocal Music Collections Recommended for Auditioning Freshmen:

  • 100 English Folksongs, ed. by Sharp, published by Dover Press
  • Folk Songs for Solo Singers, Vol. I & II, published by Alfred (both volumes available in Medium High & Medium Low vocal ranges)
  • The Arnold Book of Old Songs, arrangements by Roger Quilter, published by Boosey & Hawkes
  • Reliquary of English Songs, ed. by Potter, published by G. Schirmer
  • 26 Italian Songs & Arias of the 17th and 18th Centuries, ed. by Paton, published by Alfred (available in Medium High & Medium Low vocal ranges)
  • 24 Italian Songs & Arias of the 17th and 18th Centuries, published by G. Schirmer (available in Medium High & Medium Low vocal ranges)
  • First Books of Solos, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone/Bass Volumes)
  • Easy Songs for Beginning Singers, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone Volumes)
  • Sing Solo, various eds., published by Oxford University Press (available in Soprano, Contralto, Tenor and Baritone Volumes)
  • Great Art Songs of Three Centuries, ed. by Bernard Taylor, published by G. Schirmer (available in High and Low Volumes)
  • Teen's Musical Theatre Collection, ed. by Lerch, published by Hal Leonard (available in both a young women's collection and a young men's collection)
  • First Book of Broadway Solos, ed. by Boytim, published by Hal Leonard (available in Soprano, Mezzo/Alto, Tenor and Baritone/Bass Volumes)

Woodwind Auditions

Flute:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Oboe:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Bassoon:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through two sharps and flats.
  3. Be prepared to sight-read.

Saxophone:

  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
  3. Be prepared to sight-read.

Clarinet:

(B-flat/soprano clarinet; prior permission from professor required for bass clarinet auditions)
  1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
  2. Scales: Chromatic (three octaves) and major scales through four sharps and flats (three octaves when possible).
  3. Be prepared to sight-read.