Undergraduate Auditions

Violin and Viola

1. An unaccompanied Bach movement or comparable selection;
2. One movement of a concerto or a virtuosic piece;
3. An étude or caprice.

Cello

1. A technical study/étude or comparable selection that demonstrates your highest level of proficiency;
2. Two solo selections (Bach, a concerto, or another virtuosic piece) that demonstrate your range of musicality and proficiency. One should be somewhat slow and lyrical to demonstrate tone and phrasing, while the other should be in a contrasting, quicker style that will demonstrate your dexterity, rhythm, and technical ability.

String Bass/Electric Bass 

1. Two scales in two or three octaves. Choose one major and one minor (natural, harmonic or melodic);
2. A technical study/etude, transcription, improvisation or comparable selection that demonstrates your highest level of proficiency;
3. Two solo selections or solo excerpts that demonstrate your range of musicality. One should be somewhat slow and lyrical to demonstrate tone and phrasing, while the other should be in a contrasting, quicker style that will demonstrate your dexterity, rhythm, and technical ability. Two contrasting movements of a solo are acceptable as are selections from different genres.

Please note: At least one submitted piece must be based on standard musical notation. Sight reading may be required at the discretion of the faculty.

Harp

1. One etude;
2. One solo;
3. One orchestral excerpt.

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

Guitar

1. One classical (fingerstyle or pick-style guitar) selection from any period
2. A technical study/étude that demonstrates your highest level of proficiency 
3. Major scales and minor pentatonic scales in two octaves 
4. Chord forms with the root on 6th and 5th strings: Maj7, dom7, mi7, half-dim7, dim7
5. Sight reading may be required at the discretion of the faculty 

Please note: At least one demonstrated piece must be based on standard musical notation. 

Graduate Pre-Screening

Piano accompaniment is preferred but not required. Pre-screening recordings shall be evaluated equally, whether with accompaniment or without.

1. One movement of a standard concerto from memory.
2. One unaccompanied Bach movement from memory. 

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

Violin

Performer's Certificate

1. Two unaccompanied Bach movements from memory;
2. One movement of a concerto from memory;
3. Another work or movement in a contrasting style (memorization optional).

Master of Music in Performance

1. Two unaccompanied Bach movements from memory;
2. One movement of a concerto from memory;
3. Caprice (Paganini or Wieniawski) or étude (Rode, Dont, or Kreutzer);
4. Another work in a contrasting style.

Doctor of Musical Arts in Performance

1. A complete concerto from memory;
2. Two unaccompanied Bach movements from memory;
3. One movement of a sonata;
4. A twentieth- or twenty-first-century work (memorization optional);
5. Caprice or a showpiece.

One of the above selections must be from the Classical period.

Viola

Performer's Certificate

1. Two unaccompanied Bach movements from memory;
2. One movement of a concerto from memory;
3. Another work or movement in a contrasting style (memorization optional).

Master of Music in Performance

1. Two unaccompanied Bach movements from memory;
2. One movement of a concerto from memory;
3. An etude or caprice;
4. Another work in a contrasting style.

Doctor of Musical Arts in Performance

1. A complete concerto from memory;
2. Two unaccompanied Bach movements from memory;
3. One movement of a sonata;
4. Caprice or a showpiece.

One of the above selections must be from the Classical period and another must be written after 1918.

Cello

Performer's Certificate 

1. One movement of a standard concerto;
2. Two unaccompanied movements by Bach or comparable selections;
3. Another work in a contrasting style.

Master of Music in Performance

1. A technical study (étude) or comparable selection that demonstrates your highest level of proficiency;
2. One movement of a standard concerto;
3. Two unaccompanied movements by Bach or comparable selections;
4. Another work in a contrasting style.

Doctor of Musical Arts in Performance

1. A memorized complete standard concerto
2. Two memorized unaccompanied movements of Bach or similar
3. A standard sonata movement
4. A twentieth- or twenty-first-century work;
5. A virtuosic piece.

One of the above selections must be from the Classical period.

String Bass/Electric Bass

Same as the undergraduate requirements on this site.

Harp

1.  One étude (Bach-Grandjany, Bochsa, Grossi, LaRiviere, Nadermann, Pozzoli, Zabel or comparable);
2. Two memorized harp solos of contrasting style;
3. Two orchestral excerpts.

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

Guitar

Same as the undergraduate requirements on this site.

Undergraduate Auditions

1. Two solo pieces showing the applicant’s level of technical and musical advancement. 
   • The first solo selection should be in a slower tempo to demonstrate tone production, control, and phrasing. 
   • The second solo selection should be in a moderately fast tempo to demonstrate dexterity and technical facility. 
2.  Choose at least one from the following (or any combination thereof):
   • An etude;
   • A solo excerpt from standard orchestral, wind band, chamber, or jazz literature;
   • A different solo work

Graduate Pre-Screening

Piano accompaniment is preferred but not required. Prescreening recordings shall be evaluated equally, whether with accompaniment or without.

1. One movement of a standard solo work (concerto or sonata) or five to eight minutes from a single-movement work
2. One etude of the applicant's choice
3. Three standard orchestral excerpts from standard orchestra, wind band, chamber, or jazz literature.

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

1. One complete concerto from the standard repertoire;
2. At least one major solo of the applicant’s choice;
3. Two etudes showing the applicant’s level of technical and musical advancement;
4. Three to five solo excerpts from standard orchestra, wind band, chamber, or jazz literature.

Undergraduate Auditions

Snare Drum

1. Roll of 20 seconds from ppp-fff-ppp;
2. Any etude from collections by Cirone, Peters, Wilcoxon, Pratt, Delécluse, or other composer of your choice.

Keyboard Percussion

1. A two-mallet etude from any source;
2. A four-mallet etude from any source.

Timpani

1. Any etude from collections by Firth, Hochrainer, Goodman, Friese-Lepak, Peters, or
   other composer of your choice.

Please note: if the applicant has not had practice on one of the above-named instrument groups, please contact Robert McEwan, Instructor of Percussion, at robert.mcewan@uconn.edu to discuss an accommodation.

Applicants should bring a copies of all music.

Graduate Pre-Screening

Snare Drum

1. Concert etude demonstrating technical and musical sophistication

Keyboard Percussion

1. Five to ten minutes of a significant work for Marimba or Vibraphone (a contemporary composition or classical transcription) utilizing four mallets. 

Timpani 

1. Concert etude demonstrating technical and musical sophistication. 

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

Snare Drum

1. Concert etude demonstrating technical and musical sophistication.
2. Rudimentary solo demonstrating technical and musical sophistication.

Keyboard Percussion

Five to ten minutes of a significant work for marimba or vibraphone (a contemporary
composition or classical transcription) utilizing four mallets.

Timpani

1. Concert etude demonstrating technical and musical sophistication.
2. Orchestral Excerpts
   • Two snare drum excerpts;
   • Two keyboard excerpts;
   • Two timpani excerpts;
   • One tambourine excerpt;
   • One cymbal excerpt.

Multi-percussion

Five to ten minutes of a multi-percussion solo, preferably of small setup size.

Applicants should bring a copy of all music.

Undergraduate Auditions

1. Two solo pieces as follows:
   • The first solo selection should be in a slower tempo to demonstrate tone production, control, and phrasing;
   •  The second solo selection should be in a moderately quick to fast tempo to demonstrate
     dexterity and technical facility. Contrasting movements from the same piece are
     acceptable.
2. A technical study, etude, or comparable selection that best demonstrates your highest level of proficiency.

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

Graduate Pre-Screening

Piano accompaniment is preferred but not required. Prescreening recordings shall be evaluated equally, whether with accompaniment or without.

1. One movement of a standard solo work (concerto or sonata) or five to eight minutes from a single-movement work
2. One etude of the applicant's choice
3. Three standard orchestral excerpts from standard orchestra, wind band, chamber, or jazz literature.

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

1. Two solo pieces as follows:
   • The first solo selection should be in a slower tempo to demonstrate tone production, control, and phrasing;
   •  The second solo selection should be in a moderately quick to fast tempo to demonstrate
     dexterity and technical facility. Contrasting movements from the same piece are
     acceptable.
2. A technical study, etude, or comparable selection that best demonstrates your highest level of proficiency.

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

Undergraduate Auditions

Organ

1. A major organ work by J.S. Bach (preferable) or any work from the Baroque period;
2. One selection from either the nineteenth or the twentieth century;
3. A hymn.

Piano

Audition Requirements for BM in Piano Performance

Applicants should be prepared to play fifteen minutes of music based on the requirements listed below; these selections should demonstrate their personal strengths and interests. Applicants are strongly encouraged to include repertoire by composers from historically underrepresented groups.

1. A prelude and fugue from The Well-Tempered Clavier or comparable large work by J.S. Bach;
2. A first or final movement of a sonata by Haydn, Mozart, Beethoven, or Schubert;
3. And a work from the nineteenth, twentieth, or twenty-first centuries.
4. Sight reading will also be required.

Audition Requirements for All Other Bachelor’s Degrees

1. A work from either the Baroque, Classical, or Romantic period;
2. An additional work of the applicant’s choosing, which could be an original composition, an improvisation, a non-classical work, or another classical work. For jazz pianists, be prepared to demonstrate comping on standard jazz repertoire from the jazz list above.

Graduate Pre-Screening

Piano

1. A complete sonata by Mozart, Haydn, Beethoven, or Schubert;
2. A large-scale nineteenth-century solo work that is not a concerto.

Organ

1. A major organ work by J.S. Bach (either a prelude and fugue or trio sonata);
2. Two selections from either the nineteenth or twentieth century, one lyrical and one virtuosic.

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

Piano

The applicant is expected to present a solo program of at least thirty 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; a large Romantic work; and a work from the twentieth or twenty-first Century. All works must be performed from memory. Sight reading will also be required.

Organ

1. A major organ work by J.S. Bach (either a prelude and fugue or trio sonata);
2. Two selections from either the nineteenth or twentieth century, one lyrical and one virtuosic.
3. Sight reading may be required at the discretion of the faculty.

Undergraduate Auditions

Two memorized Western notated (i.e., “art songs” or songs in “classical” style); one of the selections should be in English. A foreign-language song or another English song in this style may be used for the other selection.

A pianist will be provided at the live audition. Please bring a copy of the music to the audition for the pianist’s use.

Graduate Pre-Screening

Performer’s Certificate and Master of Music

1. One memorized art song in English;
2. One memorized operatic aria in the original language of the opera.

Doctor of Musical Arts

1. Four memorized arts songs in contrasting style, time period, and language (one must be English)
2. One memorized operatic aria in the original language of the opera

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials. 

Graduate Auditions

Performer's Certificate and Master of Music

1. Four memorized art songs in contrasting styles and time periods and in four languages (one must be English);
2. One memorized operatic aria in the original language of the opera;

Doctor of Musical Arts

1. Memorized sets of three to five art songs each, in contrasting styles and periods, and in four languages (one must be English);
2. One memorized operatic aria in original language of the opera.

 

A pianist will be provided for the live audition. Please bring a copy of the music to the audition for the pianist’s use.

Undergraduate Auditions

1. Saxophone, trumpet, trombone, piano, guitar, string bass/electric bass, drum set 
   1. Two contrasting jazz standards* (including melody & improvisation) 
   2. An étude or solo transcription 
   3. A notated “classical” selection (from any period) 
   4. Sight reading may be required at the discretion of the faculty 

   *Suggested standards: Billie’s Bounce, Oleo, Solar, All the Things You Are, Body and Soul, Blue Bossa, Beautiful Love, Out of Nowhere, Doxy, Summertime. 

   Instrument-specific Additional Requirements: 

   Drummers: 

   1. Various styles & tempos (swing, shuffle, Afro-Cuban, samba, ballad, funk, etc.) 
   2. Proficiency with brushes 
   3. Select an étude from “Portraits in Rhythm” by Anthony J. Cirone 
   4. A prepared mallet solo to demonstrate proficiency in reading pitched notation.

   Guitarists: 

   1. Comping on the jazz selections 
   2. Major scales and minor pentatonic scales in two octaves 
   3. Chord forms with the root on 6th and 5th strings: Maj7, dom7, mi7, half-dim7, dim7 

   Pianists: 

   1. Comping and improvising on the jazz selections 

   String Bass/Electric Bass: 

   1. Improvised walking bass lines on the selected jazz standards  
   2. Two scales in two or three octaves. Choose one major and one minor (natural, harmonic or melodic) 

Graduate Pre-Screening

1. Three to five performances with a rhythm section. Include a variety of tempos and styles. 

If invited for a live audition, it is not necessary that the repertoire prepared for the audition be identical to the pre-screening materials.

Graduate Auditions

1. If invited for a live audition, prepare: 
   1. A medium tempo jazz standard (not a blues or rhythm changes piece) 
   2. An up-tempo rhythm changes piece 
   3. An original composition or a modern jazz piece composed after 1960. 
   4. A ballad 

   Perform the melody and several choruses of improvisation. Additionally, rhythm section players should be prepared to demonstrate their characteristic accompanying roles. 

   Play-a-long recorded accompaniment may be utilized if a UConn student rhythm section is unavailable for the audition. The applicant is responsible for providing lead sheets and audio tracks. 

Graduate Pre-Screening

Choral & Instrumental

Video showing at least 15 minutes of continuous, unedited rehearsal and 5 minutes of performance excerpts. Camera angle should be pointed at the applicant to show hands and facial gestures, and speaking should be clearly audible.

Graduate Auditions

Choral Conductors

Please contact Dr. Jamie Spillane, Director of Choral Studies, at jamie.spillane@uconn.edu.

Instrumental Conductors

Please contact Dr. Janet Kim, Director of the UConn Wind Ensemble at janetsongkim@uconn.edu.

Graduate conducting applicants will be invited to audition upon review of their application.

Undergraduate Auditions

No audition requirement, except the requirement specific to the student's instrument.

Note: Students begin their compositional focus at the second semester of their first year and are officially admitted into the Composition program after the successful completion of their promotional jury at the end of their sophomore year. Students should audition with their respective instruments; please check the audition requirements for your specific instrument.

More info at BM in Composition page.