Audition Requirements

Audition using the following material.

TECHNIQUE

Scales:

1. A chromatic scale in eight notes, ♩= 120, from the bottom to the top of your range and back.
2. Two major scales in flat keys AND two major scales in sharp keys, two octaves (within the normal range of the instrument) in sixteenth notes at a tempo of ♩= 96 m.m. or faster.
3. Sight-reading (for those performing live auditions).

REPERTOIRE

Two contrasting solos or solo movements*, to demonstrate:

1. Technical facility: a technical movement or piece to demonstrate an advanced command of technical skills such as range, slide technique, rapid articulation, and flexibility.
2. Lyricism: a contrasting lyrical movement or piece to demonstrate an advanced command of musicality, expressiveness, and legato.

If you are interested in the Jazz Studies program, be prepared to play the following:

1. The head from a traditional jazz tune (Charlie Parker Omnibook, Traditional Bebop Heads, or a comparable source may be used).
2. A lead chart from a big band tune. Range is not as important as an appropriate style.
3. A solo demonstrating your improvisation skills. Please provide a play-along CD. You may use your stereo.

*Suggested audition pieces include Guilmant, Morceau Symphonique; Barat, Andante et Allegro; Rimsky-Korsakov, Concerto; Telemann, Sonata in F; Saint-Saens, Cavatine; Galliard, Sonata No. 1; Marcello, Sonata in A Minor; David, Concerto; Serocki, Sonatina.

Scholarship money is available for some qualified candidates. Live audition is strongly preferred. Video audition may be submitted as well, so long as the audio and video clearly represent the playing of the candidate. In any case, please contact Dr. Allphin to discuss applying and auditioning.

Trumpet Admissions Scholarship Audition Requirements:

Perform two contrasting pieces, one lyrical, one technical. In most cases, this refers to a solo work and an etude. An applicant could also perform common orchestral excerpts.

• If you choose to perform your selections from solo literature, please choose from reputable composers of trumpet literature. Some examples could include: Arban, Arutunian, Balay, Bohme, Brandt, Clarke, Dello Joio, Enesco, Ewazen, Goedicke, Haydn, Hindemith, Hummel, Jolivet, Kennan, McKee, Ropartz, Stevens, Turrin, etc.
• If you choose to perform an etude, common etude books can include: Bordogni, Bousquet, Brandt, Charlier, Goldman, Longinotti, Nagel, Arban’s Characteristic Studies, Stamp, etc.

For jazz audition requirements, please see "Jazz Trumpet" and/or "Lead Trumpet" in the Jazz Section below.

Tuba and Euphonium scholarships are available for both music majors and non-majors. Live auditions are preferred. Contact Brother Moore to schedule. DVD or YouTube is acceptable if a live audition is not possible. Accompaniment is not required.

Audition Requirements for Admissions and Scholarships: Two contrasting solos or solo movements, to demonstrate:

1. Technical facility: a technical movement or piece to demonstrate an advanced command of technical skills such as range, slide technique, rapid articulation, and flexibility.
2. Lyricism: a contrasting lyrical movement or piece to demonstrate an advanced command of musicality, expressiveness, and legato.

For additional information or repertoire suggestions, contact Brother Moore directly at moorem@byui.edu, or at 208-496-4969.

Transcription or étude selected from the following or equivalent:

• A transcription you have done of a notable jazz saxophonist. Examples include but are not limited to:
  
  • Alto: Charlie Parker, Cannonball Adderly, Phil Woods, Kenny Garrett, Gerald Albright
  • Tenor: Sonny Rollins, John Coltrane, Wayne Shorter, Joe Henderson, Michael Brecker, Bob Mintzer
  • Baritone: Gerry Mulligan, Pepper Adams, Ronnie Cuber, Nick Brignola
• Charlie Parker Omni Book
• Jim Snidero Jazz Conception
• Lennie Niehaus Advanced Jazz ConceptionBob Mintzer Blues and Jazz Etudes, Blues and Funk Etudes, or 12 Contemporary Etudes

Improvisation with a backup track (such as Jamey Aebersold or Hal Leonard), sample tunes include but are not limited to:

• Technical facility: a technical movement or piece to demonstrate an advanced command of technical skills such as range, slide technique, rapid articulation, and flexibility.
  
  • All of Me
  • Autumn Leaves
  • Doxy
  • Killer Joe
  • Work Song
  • Satin Doll
  • Take the "A" Train
• Scales and arpeggios: all major scales full range (root up to F or F-sharp, down to low B-flat or B, back to root), eighth notes at MM=120, foundational jazz articulation (tongue the upbeat, slur to the downbeat); arpeggios full range 13571, foundational jazz articulation.

Sources include:

• emp.byui.edu/WatkinsM
• jazzbooks.com
• jazzstandards.com
• learnjazzstandards.com
• grooveshark.com

For more information contact: Dr. Mark Watkins

Jazz Studies Program Audition and Scholarship Requirements

Students interested in the Jazz Studies program on trumpet will also need to be accepted into the trumpet studio. Applicants should be prepared to play the following:

• The head from a traditional jazz tune (Charlie Parker Omnibook, Traditional Bebop Heads, or a comparable source may be used).
• A lead chart from a big band tune. Range is not as important as an appropriate style, and understanding the jazz language.
• A solo transcription of your choice by a known jazz great that will be played by you.
• A solo demonstrating your improvisation skills. Please provide a play-along option. You may use a speaker in the audition.

Students interested in the Jazz Studies program on trombone should be prepared to play the following:

• The head from a traditional jazz tune (Charlie Parker Omnibook, Traditional Bebop Heads, or a comparable source may be used).
• A lead chart from a big band tune. Range is not as important as an appropriate style.
• A solo demonstrating your improvisation skills. Please provide a play-along CD. You may use your stereo.

Auditions for admission (and scholarship, if applicable) my be played at any time on campus by making arrangements with Dr. Kerr. If distance precludes a campus visit, then the audition may be submitted by DVD or You Tube link. Be sure that the video shows both the organ keyboards as well as the pedalboard. A limited number of scholarships are available to qualified non-music majors to study the organ.

The audition for Admission should include the following elements:

• Play an organ work of J. S. Bach, a work from another period, and a hymn.
• At the piano, play one major and one minor scale in parallel motion (four octaves) and contrary motion (two octaves) in sixteenth notes; quarter note = 80.
• Students with no organ background but strong piano skills can be considered for admission to an organ major by performing a keyboard work of J.S. Bach and a significant work from another period on the piano.

The audition for Scholarship should include the following elements:

• Play an larger-scale organ work of J. S. Bach (for instance, other than the so-called Eight Little Preludes and Fugues) or a large scale Bach chorale, a work from the standard organ repertoire from the 19th or 20th centuries, and a hymn.
• At the piano, play one major and one minor scale in parallel motion (four octaves) and contrary motion (two octaves) in sixteenth notes; quarter note = 92.

Include in your audition the following memorized repertoire:

• Prelude and Fugue from "Well-Tempered Clavier" by J.S. Bach
• Allegro movement from a Classical sonata (generally first or last movement)
• Significant selection from the 19th or 20th century

Select an etude that includes rolls, flams, drags, and good dynamic contrast. Good concert style should be demonstrated using buzz (closed) rolls and performing with appropriate equipment for orchestral snare drum performance.

Suggested method books: Cirone Portraits in Rhythm, Whaley Recital Solos for Snare Drum.

Select a solo or etude that demonstrates your technique and musicianship to best advantage.

Suggested method books for two-mallet: Goldenberg Modern School for Xylophone, Marimba, and Vibraphone or Whaley Musical Studies for the Intermediate Mallet Player.

Suggested two mallet solos: Tanner Sonata for Marimba, Kreisler "Tambourin Chinois." Suggested method book for four-mallet: Howarth, "Simply Four".

Suggested solos: Musser Etude, Op. 6, No. 9; Musser Etude, Op. 6, No. 10; Peters "Yellow After the Rain;" Peters "Waves." Vibes solos: Molenhof, "Music of the Day", Molenhof, "Vibe Songs."

Select a solo or etude that demonstrates a variety of articulations, rolls, and dynamics and that includes tuning changes.

Suggested method books:

• Firth The Solo Timpanist
• Friese-Lepak Timpani Method
• Hinger Virtuoso Timpanist

Suggested solos:

• Muczinski "Three Designs for Three Timpani"
• Kraft "Variations for King George"

Flute Scholarships are available only for students majoring in music. Live audition is preferred, but uploaded recordings are also acceptable.

Admissions Audition Requirements

Two contrasting solo pieces, and two-octave major and minor scales.

Scholarship Audition Requirements

Technique

1. All major and melodic minor scales, 2 octaves, slurred in sixteenth notes, quarter note = 96
2. Three octave chromatic scale, single tongued at a tempo of quarter note = 96 or faster.

Repertoire

1. Two contrasting movements from sonatas of J.S. Bach, Telemann or Handel.
2. Mozart, Concertos: G, K 313 or D, K 314, first movement, no cadenzas.
3. A composition that demonstrates tone quality and technical fluency from the 19th century, French conservatory examination piece, or 20th century Sonata.

Some limited scholarship funds are available to fine oboists who are not music majors who are willing to take lessons and participate in ensembles. Live on-campus audition is preferred, but YouTube and DVD submissions are acceptable.

Admissions Audition Requirements

Technique

1. All major scales, two octaves (within the normal range of the instrument), in eighth notes, quarter note = 88 or faster. Slurred up and tongued down.
2. Chromatic scale, full range in eighth notes, quarter note = 88 or faster.

Repertoire

1. Two contrasting selections from the solo literature that demonstrate tone quality, technical fluency, articulation and musical expression.
2. Possible audition repertoire includes: Handel Sonatas, Schumann Romances, or All-State Excerpts.

Scholarship Audition Requirements are the same as admissions requirements.

Scholarships are available to music majors and non-music majors based on a scholarship audition. See requirements below. Live auditions are preferred; YouTube links are also accepted.

Admissions Audition Requirements

Technique

1. All major scales, two octaves (three when possible), all slurred and all tongued in sixteenth notes, quarter note = 88.
2. Chromatic scale, three octaves (low E to high E), all slurred and all tongued in sixteenth notes, quarter note = 88.

Repertoire

1. Two contrasting selections from the solo literature (Grade IV or higher) that demonstrate tone quality, technical fluency, articulation and musical expression.

Scholarship Audition Requirements

Technique

1. All major scales, two octaves (three when possible), all slurred and all tongued in sixteenth notes, quarter note = 88.
2. Chromatic scale, three octaves (low E to high E), all slurred and all tongued in sixteenth notes, quarter note = 88.

Repertoire

1. One movement from a standard clarinet concerto. Weber Concertino, Mozart Concerto, or Weber Concertos preferred.
2. Rose Etude or All-State Audition Excerpts.