Undergraduate Audition Requirements

For Applications to Undergraduate Music Programs

Please click on the program(s) of interest below to review what is required for the audition. Within the requirements, auditionees are encouraged to choose repertoire they feel represents them at their best. Please contact the appropriate faculty member if you would like clarification about any audition requirements.

Please note: All audition requirements are the same for in person and remote auditions.

Music Admissions Information

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Details by Instrument/Area

Applicants are limited to the BM: Composition, BM: Music Technology, Bachelor of Arts (BA), or the music performance minor.

Repertoire:

Auditionees should prepare approximately ten minutes of music consisting of contrasting pieces that demonstrate both technical facility and expressiveness, either a cappella or with a track. They should come prepared to play major, minor, and pentatonic scales, and to sight-read to the best of their ability.

Questions about the Audition Materials? Contact:

Jesse Moore

Repertoire:

Auditionees should prepare two contrasting solo selections (pieces, movements, or études) from the standard bassoon repertoire. Your two selections should contrast in terms of style, period of composition, technical demands, or tempo. Piano accompaniment is not required.

Scales:

Auditionees will be asked to play a selection of major and harmonic minor scales (two octaves minimum, any steady tempo, and any articulation.)

Other:

Sight-reading may be required.

Example Audition:

George Phillip Telemann, Sonata in F Minor, II. Allegro
Ludwig Milde, Concert Étude, op. 26, no. 1
Asked to play the A major and F harmonic minor scales
Sight-reading

Questions About Audition Material? Contact:

Professor Carlos López Soria

Repertoire:

Auditionees should prepare:

Two solo selections of repertoire from different musical style periods or contrasting movements. Selections may include single movements of sonatas, concertos, suites, or short pieces.
One selection may be an étude (study) or another contrasting piece.

Questions About Audition Material? Contact:

Professor Jonathan Dexter

Repertoire:

The total duration of the prepared repertoire should be approximately 12-15 minutes.

The chosen works should allow auditionees to showcase their ability to play in contrasting styles:

A slow, sustained, lyrical style
A fast, technically demanding style that includes articulated passages

The selections may be two contrasting movements of the same work or single movements of different works. Note: an étude (such as one of the Rose 32 Studies) is acceptable for one selection only.

Scales:

Auditionees should prepare all major scales up to four sharps and flats and a three-octave chromatic scale.

For students auditioning virtually, please submit a video link that includes the following scales: E major (three octaves), E-flat major (two octaves), A-flat major (two octaves), and a chromatic scale (three octaves) Note: please position the camera so that both of your hands are viewable.

Other:

The audition will include a sight-reading selection.

Prior permission from the professor is required for bass clarinet auditions.

Questions About Audition Material? Contact:

Dr. Anthony Costa (ajc26@psu.edu)

Portfolio:

Auditionees to the Bachelor of Music in Composition are required to submit a composition portfolio via Acceptd. For priority consideration, auditionees are encouraged to submit their portfolio by December 15th. However, portfolio submissions will be accepted up to one week before the audition/interview date.

A successful portfolio submission includes the following items:

one to five sample notated scores (with optional recordings)
List of works and performances
Personal statement describing your experience as a musician/composer
Curriculum vitae or resume

Other:

There will be an interview of approximately 30 minutes on the scheduled audition day for both evaluative and informative purposes. Auditionees should be prepared for a short aural skills exam and to discuss their musical interests and possible career objectives.
Auditionees for the Bachelor of Music in Composition are required to audition on an instrument or in voice to determine placement at an appropriate level of applied music study. The primary instrument or voice type must be indicated through Acceptd, as well as a comprehensive list of all other areas of applied music competency.
If the applicant is an accomplished performer on multiple instruments or the voice, one or two other applied study areas may be indicated. In this case, the auditionee must audition not only in their major performance area but in each additional applied area indicated. The audition for the area(s) of the intended study may take place on campus during the scheduled audition days or by special arrangement.

Questions About the Audition Materials? Contact:

Dr. Baljinder Sekhon (b ss5477@psu.edu)

Repertoire:

For the Bachelor of Music in Performance and Bachelor of Musical Arts, applicants should prepare the following:

The first movement of a concerto
One contrasting piece of your choice
One standard orchestral excerpt

For the Bachelor of Music Education, Bachelor of Music in Composition, Bachelor of Music in Music Technology, Bachelor of Arts degree, and the Music Performance Minor, applicants should prepare:

Two contrasting solo selections (e.g., single movements from sonatas, concertos, suites, études, or short pieces)

Scales:

For the Bachelor of Music in Performance and Bachelor of Musical Arts, applicants should prepare the following:

One (1) three-octave scale or three (3) two-octave scales of choice

For the Bachelor of Music Education, Bachelor of Music in Composition, Bachelor of Music in Music Technology, Bachelor of Arts degree, and the Music Performance Minor, applicants should prepare:

One (1) three-octave scale or two (2) two-octave scales of your choice

Other:

All applicants may also perform unaccompanied Bach, jazz standards, concert pieces, etudes, transcriptions, or music of your choice. Pieces by underrepresented and/or living composers are encouraged.

Questions About the Audition Materials? Contact:

Dr. Patricia Wietzel (pvw5227@psu.edu)

Applicants are limited to the BM: Composition, BM: Music Technology, Bachelor of Arts (BA), or the music performance minor.

Repertoire:

Students should be prepared to play at minimum:

a slow funk rock groove for at least one minute at quarter note =76. Students are requested to play a fill on bar four then continue to groove.
a Bossa Nova groove for at least one minute at quarter note =120
A medium swing tempo for at least two minutes at quarter note=145. Students are requested to incorporate some light comping in the snare and kick drums.
Most applicants prepare a short “etude” or “solo,” often self-composed, featuring a bunch of different drum set styles played back to back with fills as transitions: rock, funk, samba, Bossa nova, medium swing, fast swing, brushes - these are a few of the styles you might include/choose from – others are fine too.

Repertoire:

Auditionees should prepare an étude or study of choice. You may also choose from any of the following method books: Blazevich, Bordogni/Rochet, Fink, Kopprasch, Tyrell, or their equivalent. You will also be asked to play a solo of your choice demonstrating two contrasting styles. This is the time to showcase you as a musician and to learn and have fun as you prepare!

Scales:

Auditionees should be prepared to demonstrate all major scales (two octaves) and the chromatic scale, each encompassing the auditionee's full range.

Other:

Auditionees should be prepared to sight-read.

Students auditioning for the Bachelor of Music in Performance, or the Bachelor of Musical Arts should also prepare two standard orchestral or band excerpts.

Questions About the Audition Materials? Contact:

Distinguished Professor Velvet Brown (vmb10@psu.edu)

Repertoire:

Auditionees should prepare contrasting materials that demonstrate both technical facility and music expressiveness. This may be two different pieces (solos or études) or two movements of a large work.

Scales:

Auditionees should be prepared to play all major scales in two octaves either slurred or tongued and the chromatic scale from low C, ascending and descending for three octaves, upon request.

Questions About the Audition Materials? Contact:

Dr. Naomi Seidman (nks11@psu.edu)

Repertoire:

Auditionees should prepare two contrasting pieces from two different composers. The repertoire choices may come from solo literature or études and should demonstrate both technical facility and musical expressiveness.

Scales:

Auditionees should also be prepared to demonstrate all two-octave major scales and the chromatic scale encompassing the auditionee’s full range.

Other:

Auditionees should be prepared to sight-read.

In addition to the repertoire above, those auditioning for the Bachelor of Music in Performance should prepare two orchestral excerpts of their choice.

Questions About the Audition Materials? Contact:

Dr. Sarah Schouten (sms642@psu.edu)

Repertoire:

Auditionees should prepare approximately ten minutes of music consisting of contrasting pieces that demonstrate both technical facility and expressiveness and should come prepared to play major, minor, and pentatonic scales, and to sight-read.

Questions About the Audition Materials? Contact:

Dr. Jonathan Gangi (jjg27@psu.edu)

Applicants are limited to the BM: Composition, BM: Music Technology, Bachelor of Arts (BA), or the music performance minor.

Repertoire:

Two contrasting pieces

Other:

If you have performed with orchestra, please be prepared to provide a list of the works you have performed.

Questions About the Audition Materials? Contact:

Professor Ruth Hunter (ruthe@ruthhunter.com)

Portfolio:

Auditionees to the Bachelor of Arts in Music Technology are required to submit a portfolio via Acceptd. For priority consideration, auditionees are encouraged to submit their portfolio by December 15th. However, portfolio submissions will be accepted up to one week before the audition/interview date.

A successful portfolio submission includes the following items:

One to five work samples (may be created music, tracks you audio engineered, research papers, software or hardware you have made, documentation of performances, and more.)
An informal narrative describing your aspirations, and talking about the communities from whom you learned music and/or tech.

Other:

There will be an interview of approximately 20 minutes on the scheduled audition day for both evaluative and informative purposes. Auditionees should be prepared for a short aural skill exam, to discuss listening examples, solve problems, and be able to discuss their musical interests and possible career objectives.
Auditionees for the Bachelor of Arts in Music Technology degree are required to audition on an instrument or in voice to determine placement at an appropriate level of applied music study. The auditionee's choice of a primary instrument must be indicated when submitting their application in Acceptd.
If the applicant is an accomplished performer on multiple instruments or voice, one or two other applied study areas may be indicated through Acceptd. In this case, the student must audition in each additional applied area indicated. The audition for the area(s) of intended study should take place on campus during the scheduled audition days or by special arrangement if there are no slots available for the given instrument or voice during the music technology interview days or if the distance for an in-person interview is prohibitive.

Questions About the Audition Materials? Contact:

Dr. Sarah Genevieve Burghart Rice (sgbr745@psu.edu)

Repertoire:

Auditionees should prepare two contrasting pieces from different style periods, demonstrating lyrical and technical abilities.

Scales:

The applicant will be asked to play two to four scales during the audition, with assumed knowledge of all major and minor scales.

Other:

Auditionees will be asked to sight-read.

Questions About the Audition Materials? Contact:

Dr. Andreas Oeste (abo5235@psu.edu)

Repertoire:

One snare drum concert solo or étude (auditionees may additionally play a rudimental solo)
One four-mallet solo or étude on marimba (auditionees may additionally play a two-mallet solo)
One solo or étude on timpani
If desired, auditionees may demonstrate styles on the drum set (rock, funk, jazz, samba, bossa nova, etc.), for additional consideration.

Other:

All auditioning students are expected to provide electronic copies of their audition music by uploading the digital scores to Acceptd.

Questions About the Audition Materials? Contact:

Dr. Lee Hinkle (leehinkle@psu.edu)

Repertoire:

Auditionees for the Bachelor of Music in Performance or the Bachelor of Musical Arts degrees should prepare a program of at least fifteen minutes of music (no popular music, please). The repertoire should be memorized and demonstrate advanced performance ability in various styles. The audition repertoire should be of comparable difficulty to the following:

A three-part sinfonia (three-part invention) or a prelude and fugue from the Well-Tempered Clavier by J.S. Bach
One or two movements of a sonata by Haydn, Mozart, or Beethoven (excluding Beethoven's op. 49)
Works by Romantic, Impressionist, and/or Twentieth-Century composers that require technical and musical poise.

Auditionees for the Bachelor of Music Education, Bachelor of Music in Composition, the Bachelor of Arts, or the Music Performance Minor should prepare repertoire of at least ten minutes of music, including at least one memorized piece (no popular music, please). The audition should demonstrate the ability to study at an advanced level, with the fluent performance of works in various styles comparable to the following:

A three-part sinfonia or a more difficult two-part invention by J. S. Bach (exceptions: nos. 1, 8, and 14)
The first movement or finale of a classical sonata by Haydn, Mozart, or Beethoven. (Intermediate repertoire such as Beethoven, op. 49 or Mozart, K. 545 should be avoided.)
Romantic works of medium length (such as a Chopin waltz or nocturne, Schubert impromptu, or Schumann's piece from Forest Scenes). Note: a comparable Impressionist or later Twentieth-Century piece may be substituted or offered in addition.
At least one piece should demonstrate lyrical style and the use of the pedal.

Scales:

All auditionees may be asked to perform major and minor scales and arpeggios.

Other:

All auditionees may be asked to sight-read.
For those auditioning virtually: when recording audition videos, the camera angle should include a view of the applicant’s face, hands, and feet.
Transfer students will be evaluated in relation to the standards above for entering first-year students.

Questions About the Audition Materials? Contact:

Dr. Melody Quah, area coordinator (mquah@psu.edu)

Repertoire:

Auditionees should prepare at least two solo selections of contrasting styles from the standard concert (“classical”) saxophone repertoire. The selections may be a complete piece, a multi-movement piece, selected movements of the same piece, or selected movements of different pieces. The total duration of prepared repertoire pieces should be approximately 12-15 minutes.

Auditionees should select and prepare the material with attention to musical expression, tone quality, appropriate stylistic considerations, and technical accuracy and facility demonstrating both lyrical and technical skills. Several advanced études may be performed in place of one of the selections.

Scales:

Scales should be performed as sixteenth notes at a minimum tempo of 80, slurred. Articulation variations are optional.

All major scales, full range of the instrument, ascending and descending
Chromatic scale, full range of the instrument, ascending and descending
Auditionee’s choice of three harmonic minor scales, full range of the instrument, ascending and descending

Other:

Auditionees may be asked to demonstrate additional skills, including sight-reading, interpretive variations in the solo repertoire, ear training, and scale variations.

Jazz Skills (Optional):

In addition to the items above, students may elect to perform jazz selections.

Interpret the melody of, and improvise on, a jazz standard tune or blues.
Perform a transcription of a recorded jazz solo, playing along with a recording.

Suggested Repertoire:

Below is a sample list of suitable audition repertoire. The auditionee’s selected repertoire does not need to be on the list to be acceptable. Other more advanced pieces are acceptable (consult the graduate saxophone audition list). Please feel free to contact Dr. David Stambler with any questions about audition materials.

Solo Repertoire:

Bach – Partita in A minor (flute unacc.)
Bach/Londeix – Cello Suites I-VI
Bach/Mule – Sonata No. 6 (flute)
Bedard – Fantaisie (sop.)
Ben-Haim – Three Songs Without Words
Benson – Concertino (Aeolian Song)
Bonneau – Caprice en forme de valse
Boutry – Divertimento
Bozza – Aria Constant – Concertante
Cowell – Air and Scherzo
Creston – Concerto or Sonata
Debussy – Rapsodie (several arrangements available)
Debussy – Syrinx (flute)
Decruck – Sonata
Demersseman – Le Carnival de Venise
Demersseman – Fantasie sur un theme original
Desenclos – Prelude, Cadence, et Finale
d’Indy – Choral varie
Dubois – Concerto or Dix figures a danser
Duckworth – Pitt County Excursions (tenor)
Eccles/Rascher – Sonata
Glazounov – Concerto
Gotkovsky – Brilliance
Grundman – Concertante
Handel/Rascher – Sonata No. 3
Hartley – Poem (tenor)
Heiden – Diversion, Sonata, or Solo
Hindemith – Sonata
Husa – Elegie et Rondeau
Ibert – Concertino da Camera
Jolivet – Fantaisie-Impromptu
Lantier – Sicilienne
Lunde – Sonata
Maurice – Tableau de Provence
Milhaud – Scaramouche
Monti – Czardas
Muczynski – Sonata
Noda – Improvisation I, II, & III (unacc.)
Pascal – Sonatine
Platti – Sonata in G (sop., originally flute)
Quate – Light of Sothis
Ravel – Piece en forme de Habanera
Rorem – Picnic on the Marne
Rueff – Chanson et Passepied
Rueff – Sonata
Sancan – Lamento et Rondo
Schmitt – Legende
Schumann – Three Romances
Singelee – Solo de Concert (9 for different saxophones)
Tcherepnine – Sonatine Sportive
Tomasi – Ballade
Tomasi – Introduction et Danse
Tull – Sarabande and Gigue
Villa-Lobos – Fantasia (sop.)
Vivaldi – Sonata in G minor
Whitney – Introduction and Samba
Whitney – Rumba
Woods, Phil – Sonata
Yoshimatsu – Fuzzy Bird Sonata

Suggested Collections or Etudes:

Ferling – 48 Etudes
Teal – Solos for the Alto Saxophone
Voxman – Selected Studies

Questions About the Audition Material? Contact:

Dr. David Stambler (dbs12@psu.edu)

Repertoire:

Auditionees will be required to play two contrasting etudes, excerpts or solos demonstrating their proficiency and musicality. These selections should showcase both lyrical and technical playing.
Acceptable etudes along the lines of Rochut/Bordogni, Kopprasch, Tyrell, Blazevich, Voxman etc.
Solos and excerpts can be anything in the standard repertoire. Examples of solo literature may include Morceau Symphonique (Guilmant), Cavative (Saint-Saëns) for tenor, or Concerto in One Movement (Lebedev) or Allegro Maestoso (Koetsier) for bass. Use this time to show off what you do best!

Scales:

Auditionees should prepare all major scales in 2 octaves as range permits.
Applicant will also be asked to play an ascending chromatic scale from Low E to the highest point of the player’s range.

Other:

Auditionee should be prepared to sightread.

Questions About the Audition Material? Contact:

Dr. Ben Carasquillo (bmcarrasquillo@psu.edu)

Repertoire:

Auditionees intending to pursue the Bachelor of Music in Performance, or the Bachelor of Musical Arts degree programs should prepare the following:

One etude
One complete solo work

Auditionees intending to pursue the Bachelor of Music Education, Bachelor of Music in Composition, and the Bachelor of Arts degrees or the Music Performance Minor should prepare one of the options below:

Two contrasting etudes (demonstrating lyrical and technical ability)
One complete solo work

Scales:

All major scales, two octaves when possible
Chromatic scale, two octaves

Other:

Auditionees will be asked to sight-read.
Jazz/improvisation/lead trumpet excerpts/etudes are optional, but highly encouraged and welcomed

Suggested Repertoire:

Recommended Etudes:

Getchell - Second Book of Practical Studies
Concone - Lyrical Studies for Trumpet
Voxman - Selected Studies for Trumpet
Wurm - 40 Etudes
Hering - 32 Etudes
Small - 27 Melodious and Technical Studies
Arban - 12 Characteristic Studies
Brandt - 34 Etudes

Recommended Solos:

Barat-Fantasie in Eb
Barat-Orientale
Barat-Andante et Scherzo
Balay-Andante and Allegretto
Balay-Petite Piece Concertante
Ropartz-Andante and Allegro
Voxman-Concert and Contest Collection
Godicke-Concert Etude
Any movement from sonatas by Kennan, Hindemith, Hansen, or Ewazen
Any movement from concerti by Haydn, Hummel, or Arutunian

Questions About the Audition Material? Contact:

Dr. George Carpten, IV (guc136@psu.edu)

Repertoire:

Auditionees should play an étude or study of choice. You may also choose from any of the following method books: Blazevich, Bordogni, Fink, Kopprasch, Snedecor, Tyrell, or their equivalent. You will also be asked to play a solo of your choice demonstrating two contrasting styles. This is the time to showcase YOU as a musician and to learn and have fun as you prepare!

Scales:

Auditionees should be prepared to demonstrate all major scales (two octaves) and the chromatic scale encompassing the auditionee's full range.

Other:

Auditionees should be prepared to sight-read.

Students auditioning for the Bachelor of Music in Performance, or the Bachelor of Musical Arts should also prepare two standard orchestral or band excerpts.

Questions About the Audition Materials? Contact:

Distinguished Professor Velvet Brown (vmb10@psu.edu)

Repertoire:

Auditionees should prepare the following:

Two solo selections of repertoire, preferably from different musical style periods.
One étude or another contrasting piece

It is suggested that auditionees choose one slower, lyrical piece and a faster, more brilliant piece to demonstrate musical expression, technical facility, good tone production, and an understanding of appropriate musical style.

Scales:

At least one three-octave major and minor scale.

Questions About the Audition Materials? Contact:

Dr. Tim Deighton (tjd8@psu.edu)

Repertoire:

Auditionees intending to pursue the Bachelor of Music in Performance or the Bachelor of Musical Arts degree programs should prepare the following:

One movement from a standard concerto
One movement of an unaccompanied partita or sonata by J.S. Bach
One contrasting work or étude (Kreutzer, Dont, Rode or Gaviniès, or a caprice by Wieniawski or Paganini)

Contrasting pieces (preferably including a concerto movement)
Études

Scales:

Two or three-octave scales in various bowings.

Questions About the Audition Materials? Contact:

Professor James Lyon (jpl5@psu.edu)

Dr. Max Zorin (mxz16@psu.edu)

Repertoire:

Please prepare three contrasting classical selections to be performed from memory. The repertoire should contrast in style, language, time period, and/or tempo. You are encouraged to share your personal artistry, love of singing, and showcase works that reflect your individual point of view. You are also encouraged to perform repertoire by historically underrepresented composers. Additional repertoire from musical theatre or other styles may be included beyond the three classical selections.

Other:

A pianist will be provided for your audition. Please bring legible copies of all of your repertoire for the pianist. You may bring your own pianist if you wish.

At the audition, singers begin with the classical piece of their choice, and the panel of voice and choral faculty may ask for additional selections as needed and as time allows. In addition to the singing audition, auditionees will take a short tonal memory assessment, scheduled typically directly following their audition.

Those auditioning as transfer students should provide a list of all repertoire previously studied.

Auditionees are encouraged to visit campus, preferably on a Friday, to shadow a current student. They will be invited to sit in on a Concert Choir rehearsal and to attend Voice Forum, in addition to other course offerings.

Applicants should be prepared to submit a voice résumé as a part of their supplemental application in Acceptd.

Recommended Résumé Structure

Contact Information
Education
Musical Activities/Ensembles
Awards/Honors/Leadership Roles
Additional Skills
Work Experience (if applicable)
Volunteer Service (if applicable)

Formatting Tips

Keep it to one page
Use consistent fonts and spacing
Reverse chronological order (most recent first)
Use bullet points, not long paragraphs
Proofread carefully

Questions About the Audition Materials? Contact:

Dr. Ted Christopher (euc11@psu.edu), voice area auditions coordinator