Undergraduate Audition Requirements

Undergraduate Audition Dates

An audition serves as the admission and scholarship application for the Glenn Korff School of Music.
All majors and most minors require an audition.

Brass, Composition, Percussion, and Woodwinds

Friday, January 31, 2025
Saturday, March 1, 2025

Dance

Saturday, February 1, 2025
Friday, February 28, 2025

Keyboard

Saturday, February 1, 2025
Friday, February 28, 2025

Strings

Saturday, February 1, 2025
Friday, February 28, 2025

Voice

Friday, January 31, 2025
Saturday February 1, 2025
Friday, February 28, 2025
Saturday, March 1, 2025

Video Auditions

Thursday, February 27, 2025 @ 5 p.m.

Video Audition Deadline
Video deadline for scholarship eligibility

Request an Audition

Brass Auditions

Euphonium:

  1. 12 major scales. Two-octave and memorized if possible.
  2. Two contrasting sections/works - One should be faster and technical in nature, and the other should be slower, legato, and cantabile in style.                                       
    Solos with contrasting sections: Capuzzi, Andante and Rondo; Barat, Andante et Allegro, Introduction and Dance;  Deluca, Beautiful Colorado; Horowitz, Concerto for Euphonium (mvt. 1); Galliard, Sonatas: Marcello, Sonatas.                                                                    
    Technical Etudes: Kopprasch, 60 Selected Studies; Arban's Complete Conservatory Method;               

    Legato Etudes: Bordogni/Rochut, Melodious Etudes; Brad Edwards, Simply Singing for Winds.       
  3. Questions about appropriate euphonium repertoire?     
    Email:     ratlas2@unl.edu                                                                

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. Questions about appropriate horn repertoire? Email: alan.mattingly@unl.edu

Bass Trombone:

  1. Two-octave major scales where possible: and
  2. One etude from the Voxman-Selected Studies for Trombone book or Blazhevich 70 Studies for Tuba.
  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. Questions about appropriate bass trombone repertoire? Email: scott.anderson@unl.edu

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. Questions about appropriate tenor trombone repertoire? Email: scott.anderson@unl.edu

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. Questions about appropriate trumpet repertoire? Email: dwhite2@unl.edu

Tuba:

  1. 12 major scales. Two-octave and memorized if possible
  2. Two contrasting sections/works - One should be faster and technical in nature, and the other should be slower, legato, and cantabile in style.                                        
    Solos with contrasting sections: Vaughan, Concertpiece #1; Capuzzi, Andante and Rondo; Marcello, Sonatas; Bach-Bell, Air and Bouree; Beversdorf Sonata; Lebedev, Concerto in one movement;                   

    Technical Etudes: Kopprasch, 60 Selected Studies; Blazevich, Etudes; Tyrell, 40 Studies; Arban's Complete Conservatory Method.                                                 
    Legato Etudes: Bordogni/Rochut, Melodious Etudes; Brad Edwards, Simply Singing for Winds       
  3. Questions about approriate tuba repertoire?              Email: ratlas2@unl.edu 

Dance Auditions

The Dance Audition is done as a group. Come prepared to take a 1-hour long dance class that will include somatic movement, modern dance, ballet and hip hop. Please wear clothing that will allow ease of movement . You may bring socks and/or ballet slippers. You may also bring shoes for Hip Hop that have NEVER been worn outside Otherwise you can do this segment in bare feet). Hair should be pulled back, secured, but NOT in a tight bun. If you have never done a form of dance that we will be showing, please remember that the dance faculty will be looking for your potential, not necessarily your experience in this form. Technical questions about dance auditions? Email: slo@unl.edu

Go to Video

Percussion Auditions

Percussion players should demonstrate technical facility and musical understanding in the areas listed below. The undergraduate percussion audition is 30 minutes. Please contact Dr. Emily Salgado at esalgado3@unl.edu if you have any questions regarding the appropriate audition repertoire.

Keyboard:
    1. 4-mallet marimba solo of your choice (ex. works by Ford, Davila, Sammut, Smadbeck, Trevino, or equivalent)
    2. 2-mallet solo of your choice (ex. Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg or a movement from a work by J.S. Bach)
    3. Major scales, 2 octaves
    4. 2-mallet sight-reading

    Snare Drum:

    1. Concert solo of your choice (ex. Portraits in Rhythm by Anthony Cirone; Advanced Etudes for Snare Drum by Keith Aleo; Mitchel Peters etudes)

    2. Rudimental solo of your choice* (ex. 14 Modern Contest Solos by John S. Pratt, The All-American Drummer by Charley Wilcoxon, or equivalent)

      *to be performed on a concert snare drum

    3. Sight-reading

    Timpani

    1. Solo of your choice (ex. works by Hochrainer, Firth, Peters, Goodman, or equivalent)

    Optional (highly recommended*):

    1. Drum-set: demonstration of 4 contrasting styles (ex. rock, swing, funk, bossa nova, etc.)

      * send video via email to Dr. Salgado (esalgado3@unl.edu)

    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. Questions about appropriate piano repertoire? Email:mclinton1@unl.edu

    String Auditions

    Violin, Viola, Cello, Double Bass, and Bass Guitar

    Two contrasting pieces or movements.

    Questions about appropriate string repertoire?

    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 (fingerstyle), 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. Composition auditions only happen during our regular audition season in February. Prospective composition majors must submit a portfolio of 2-3 PDF scores of compositions, with audio recordings (MIDI is acceptable, but live recordings are preferred).  Upload PDF scores and audio recordings to SlideRoom 
    2. In addition, all prospective composition majors (whether intending to pursue the BA, 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. All composition applicants are required to complete an interview with the composition faculty. Discussion topics may include your background as a composer and performer, your theory proficiency, and other relevant topics. Interviews are usually not given outside of audition days; however, students with unavoidable conflicts on both days should contact the head of area Greg Simon to discuss possible alternatives. 

    Voice Auditions

    • Voice majors and minors: prepare two contrasting solos without cuts.
      • The first selection should be classical in nature (folk song arrangements are acceptable).  
      • The second selection is the student’s choice (classical, musical theatre, or non-classical genre). 
      • Music theater minor: two (2) contrasting music theater selections. You must be a music major or theater major to audition for the music theater minor. You may audition live at a scheduled audition day or via video on SlideRoom. 
    • Memorization for both selections is required.
    • UNL collaborative pianists are available only on the scheduled audition days. Auditionees are welcome to bring their own collaborative pianist. 
      • A cappella auditions and auditions with pre-recorded accompaniment are not recommended. There is no technical support available (e.g. amplification) for pre-recorded accompaniments.
      • Should you choose to use UNL’s provided collaborative pianist on live audition days, you must provide a full piano score in a printed copy.
    • Questions about appropriate voice audition repertoire can be directed to Dr. Jamie Reimer jreimer2@unl.edu. Requirements are identical for voice majors and minors with the exception of music theater minors.  

    Vocal music collections recommended for auditioning freshmen may include, but are not limited to:

    • 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). All scales must be performed from memory.
    3. Be prepared to sight-read. Flute repertoire questions? email: jbailey1@unl.edu

    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). All scales must be performed from memory.
    3. Be prepared to sight-read. Oboe repertoire questions? email: wmcmullen1@unl.edu

    Bassoon:

    1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique.
    2. Scales: Chromatic (minimum three octaves) and major scales through four sharps and flats (2 octaves minimum, Bb Major 3 octaves required). All scales must be performed from memory.
    3. Be prepared to sight-read; the example may contain bass and/or tenor clef. Bassoon repertoire questions? email: jcompton6@unl.edu

    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). All scales must be performed from memory.
    3. Be prepared to sight-read. Saxophone repertoire questions? email: phaar2@unl.edu

    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). All scales must be performed from memory.
    3. Be prepared to sight-read. Clarinet repertoire questions? email dbarger1@unl.edu