University of Connecticut University of UC Title Fallback Connecticut

School of Fine ArtsMusic Department

Audition Requirements

Brass

1. Two movements (of contrasting style) of any concerto or equivalent work.
2. Choose one from the following (or any combination thereof):

  • An etude of choice.
  • An orchestral etude of choice.
  • A different solo work of choice.

Sight reading and/or scales may be required at the discretion of the faculty.

Brass Graduate Audition Requirements

Concerto
Contrasting Solo Work – 20th or 21st Century (transcriptions/arrangements can be included)
Etude
Excerpts (5) – from standard Orchestra or Wind Band literature


Woodwinds

Two solo pieces and one technical etude.

  1. The first solo selection should be in a slower tempo to demonstrate tone production, control and phrasing.
  2. The second solo selection should be in a moderately quick to fast tempo to demonstrate dexterity and technical facility.
  3. A technical study or etude.

Sight reading may be required at the discretion of the faculty.

NOTE: Clarinetists must audition on a B-flat (soprano) clarinet. Saxophonists must audition on either an alto or tenor instrument.


Percussion

  1. Mallets:
    • A prepared solo for two mallets and four mallets
  2. Snare Drum:
    • An etude from Portraits in Rhythm by Cirone
    • Long roll at all dynamic levels
  3. Timpani:
    • Tuning
    • A prepared étude from Goodman or Lepak method book
  4. Sight Reading:
    • Sight reading on mallet instruments and snare drum

Applicants should bring a copy of all materials.


Organ

Performance degree

  1. A major organ work by J. S. Bach, either a prelude and fugue or trio sonata.
  2. Two selections from either the 19th or 20th century, one lyrical and one virtuoso.

Sight reading may be required at the discretion of the faculty.

Non-performance degree

  1. A major organ work by J. S. Bach, either a prelude and fugue or trio sonata.
  2. One selection from either the 19th or 20th century.
  3. A Hymn.

Sight reading may be required at the discretion of the faculty.


Piano

Undergraduate degree

All works must be performed from memory. Scales and arpeggios as well as sight-reading will be required:

  • A prelude and Fugue from the Well-Tempered Clavier or comparable large work by J. S. Bach.
  • A first or final movement of a sonata by Haydn, Mozart, Beethoven or Schubert.
  • A work from the Romantic period.
  • A work from the Twentieth Century

Graduate degree

The applicant is expected to present a solo program of at least 30 minutes in length that includes a representation of at least three contrasting styles. The program must include a complete sonata (by Mozart, Haydn, Beethoven or Schubert) and a work from the twentieth century. All works must be performed by memory.

Sight reading may be required at the discretion of the faculty.

Pre-Screening Recordings

All Master’s and Doctoral piano applicants must submit a preliminary audition recording via mail or email by January 16, 2017. Applicants whose recordings are selected for an in-person audition will be scheduled to perform for the faculty on an individual basis. (Piano applicants currently enrolled in a degree program at UConn are not pre-screened.)

The pre-screening recording must include the following repertoire only:

  1. A complete sonata by Mozart, Haydn, Beethoven or Schubert
  2. A large-scale 19th-century solo work (not a concerto)

It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials.

Links or sound files may be emailed to: angelina.gadeliya@uconn.edu

CD recordings may be mailed to:

Attn: Dr. Angelina Gadeliya
University of Connecticut
Department of Music
1295 Storrs Rd., Unit 1012
Storrs, CT 06269-1012

Any questions regarding repertoire and submission of recordings should be directed to Dr. Angelina Gadeliya: angelina.gadeliya@uconn.edu


Strings

Violin 

Bachelor of Arts or Bachelor of Music

  • An unaccompanied Bach movement from memory
  • One movement of a concerto or a virtuoso piece from memory
  • An étude or caprice
  • Non-performance applicants should play at least one of the selections from memory. 

Performance Certificate (one-year program)

  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto from memory
  • Another work or movement in a contrasting style (memorization is optional) 

Master of Music in Performance 

  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto from memory
  • Caprice (Paganini, Wieniawski) or étude (Rode, Dont, Kreutzer)
  • Another work in a contrasting style

Doctor of Musical Arts in Performance 

  • A complete concerto from memory
  • Two movements of unaccompanied Bach from memory
  • One movement of a Sonata
  • Twentieth- or twenty-first-century work (memorization is optional)
  • Caprice or a showpiece
  • One of the above selections must be classical

Viola

Bachelor of Arts or Bachelor of Music

  • A movement of unaccompanied Bach from memory
  • One movement of a concerto or a virtuoso piece from memory
  • An étude or caprice (memorization is optional)
  • Non-performance applicants should play at least one of the selections from memory.

Performance Certificate (one-year program)

  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto from memory
  • Another work or movement in a contrasting style (memorization is optional)

Master of Music in Performance

  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto  from memory
  • An étude or caprice
  • Another work in a contrasting style

Doctor of Musical Arts in Performance 

  • A complete concerto from memory
  • Two movements of unaccompanied Bach from memory
  • One movement of a sonata
  • Caprice or a showpiece
  • One of the above selections must be classical and another must be written after 1918

Cello

Bachelor


  • A movement of unaccompanied Bach from memory
  • One movement of a concerto or a virtuoso piece from memory
  • An étude or caprice (memorization is optional)

Non-performance applicants should play at least one of the selections from memory.

Master of Music in Performance 


  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto from memory
  • An étude or caprice
  • Another work in a contrasting style

Doctor of Musical Arts in Performance 

  • A complete concerto from memory
  • Two movements of unaccompanied Bach from memory
  • One movement of a Sonata
  • 20th or 21st century work (memorization is optional)
  • Showpiece
  • One of the above selections must be classical

Performance Certificate (one year program)


  • Two movements of unaccompanied Bach from memory
  • One movement of a concerto from memory
  • Another work or movement in a contrasting style (memorization is optional)

String Bass

  • Two scales (one major, one minor-natural, harmonic or melodic) of the applicant’s choosing in two or three octaves.
  • An Etude by Simandl, Bille, Nanny or Kreutzer.
  • A solo of the applicant’s choosing from the double bass repertoire.

Guitar

A.  Required Repertoire

Prepare one classical guitar selection from the following repertoire found in “Solo Guitar Playing” Vol.1 by Frederick M. Noad (Amsco Pub.): Etude (Carulli) pg. 83, Orlando Sleepeth (Dowland) pg. 118,  Etude in B Minor (Sor)  pg. 152

Prepare one jazz guitar selection from the following repertoire found in The Real Book (Hal Leonard Pub.): All The Things You Are, Blue Bossa, Lady Bird, Oleo, Out of Nowhere, Solar, Straight, No Chaser, Tune Up, West Coast Blues. Prerecorded accompaniment may be used (Jamie Aebersold “Play-A- Longs”). The candidate is responsible for providing the audio CD. The selection must include performance of the melody, improvisation, and “comping” in the style of Freddie Greene and Wes Montgomery.

B.  Sight Reading

C.  Scales: two octaves

  • Major, Harmonic Minor

D.  Chord Forms:

  • Maj 7, Dom 7, Min 7, Half Dim 7, Dim 7, Dom 7sus4,
  • Maj 9, Dom 9, Min 9,  Dom7b9, Dom7+5

Voice

Bachelor of Arts or Bachelor of Music

Applicants should prepare two memorized contrasting selections: Two art songs written by classical composers and accompanied by piano. At least one selection should be in English. A foreign-language art song may be used if appropriate to the student’s level. A pianist will be provided at the audition. Please bring a copy of the music to the audition for the pianist’s use.

Master of Music (MM) and Performer Certificate

Applicants should prepare five memorized contrasting selections:

  • One art song in each of the following languages: German, French, Italian, English
  • One operatic aria in the original language of the opera

Doctor of Musical Arts (DMA)

Applicants should prepare selections equivalent to a recital (roughly one hour of music), with sets of three to five songs in each of the following languages: German, French, Italian, English. Additionally, applicants should prepare one operatic aria (must be in the aria’s original language).

Applicants for graduate studies should contact Dr. Rock: constance.rock@uconn.edu to schedule an audition.  Auditions will be held on Friday, January 20th, Saturday, January 21st, Friday, January 27th, and Saturday, January 28th.


Jazz Studies, all instruments

Note: students are officially admitted into the jazz emphasis program after the successful completion of their sophomore hearing.

  1. Required Repertoire:
    1. Prepare two contrasting pieces from the jazz idiom. These should be memorized and must include performance of the melody as well as improvisation. Prerecorded accompaniment may be used (Aebersold, Ricker, Dobbins, etc.) if ‘live’ accompaniment is unavailable. The candidate is responsible for providing the audio CD or cassette tape.Recommended selections: Billie’s Bounce, Au Privave, Oleo, Solar, All The Things You Are, Body and Soul, Blue Bossa, Beautiful Love, Out of Nowhere.
    2. Prepare two contrasting selections from the classical repertoire.
  2. Sight Reading
  3. Special Requirements
    • Drummers must demonstrate:
      • various styles at various tempos (swing, shuffle, Afro-Cuban, funk, bossa, samba, etc.)
      • proficiency with brushes as well as sticks
      • facility on mallet instruments (vibes and marimbas will be provided)
    • In addition, jazz drummers must demonstrate classical skills by performing:
      • any snare drum etude from Portraits in Rhythm by Cirone
      • a prepared mallet solo
    • Bass players must demonstrate the ability to improvise appropriate bass lines on each piece. •Pianists must demonstrate ‘comping’ on all jazz pieces.