Pianists and organists: 1. Three contrasting piano works from different style periods: one Baroque, one Classical, and one Romantic or 20th/21st century. For Music Education and Piano Performance applicants, all works must be performed from memory. For other applicants, at least one work must be performed from memory. The vast scope of piano repertoire makes it difficult to make specific recommendations. If you are uncertain about how to choose pieces for your audition, we can suggest the 4-volume "Audition Repertoire for the Advancing Pianist: Two Stylistically Balanced and Technically Diverse Programs," edited by Jane Magrath, published by Alfred. Volumes 3-4 are suitable for Music Education and Piano Performance auditions; Volumes 2-4 are suitable for other Music Major auditions; Volumes 1-4 are suitable for Music Minor auditions. It is important to choose all pieces from the same program within one of these books, as the pieces are designed to complement one another. 2. Three-octave major and minor scales and arpeggios. 3. Auditioning students may be asked to sight-read. Vocalists (accompanist provided) Undergraduate: BA (except musical theatre), BS, BME, BM: Two memorized songs; one must be in English and the other must be in Italian, German or French. Examples of suggested periods and languages are Italian baroque songs or arias, German romantic Lieder, French romantic melodies, and 20 th or 21 st century American or English art songs. A musical theatre selection may be chosen in place of the 20 th Century American or English art song. BA Musical Theatre: Two memorized songs; one must be in English. At least one of the selections must be from the musical theatre/opera genre. Examples of suggested periods and languages for a non-musical theatre/opera selections are Italian baroque songs or arias, German romantic Lieder, French romantic mélodies, and 20 th or 21 st century American or English songs. Vocalists (accompanist provided) Graduate: Candidates for graduate study in voice must prepare four memorized selections, one each in English, Italian, German, and French, representing a variety of styles and historical periods. Both arias and art songs are acceptable. A minimum of two (2) contrasting operatic or oratorio arias in the original language must be performed. Page 1 7/17/2012
String players: Play three-octave major and minor scales and arpeggios slurred or with separate bows at a moderate tempo: for example, triplets at a metronome speed 60 (MM=60). Play at least two pieces or movements in different tempi, preferably in two different style periods: baroque, classical, romantic, and 20th century. Violin: Baroque Bach, unaccompanied sonatas and partitas; Corelli, sonatas. Classical Accolay, concerto; Seitz, concerto; Mozart, sonatas and concerti. Romantic Brahms, sonatas; Mendelssohn, concerto. 20th century Hindemith, sonatas; Bartók, Rumanian dances. Viola: Play at least two pieces or movements in different tempi, from contrasting style periods: baroque, classical, romantic, and 20th century. Cello: Two or three movements or etudes in contrasting styles. Etudes: Popper, Lee, Gruetzmacher, Dotzauer, or similar level. Suggested Repertoire: Solo Suites by Bach; Sonatas by Marcello, Vivaldi, Boccherini, Brahms, or Beethoven; Concerti by Vivaldi, Haydn, Boccherini, Elgar, Dvorak, or Saint-Saens; Concert pieces by Popper, Bruch, Faure, or Saint-Saens. Bass: Baroque Movements from the Bach suites (any edition); Vivaldi, Eccles, Birkenstock, Marcello or similar Sonatas. Classical Works by Capuzzi, Dragonetti, Vanhal, Sperger, Dittersdorf, Keyper, etc.. Romantic Works by Bottesini, Kousevitsky, etc.. 20th century Works by Vagn Holmboe, David Ellis, Levitan; a good anthology of short works from which to choose is Schirmer s Solos for the Double Bass Player. Classical guitar: Major and minor scales in two and three octaves using rest strokes and free strokes; be prepared to sight-read melodies up to the fifth position. In addition, applicants must perform from memory one work in each of the following categories, not to exceed 15 minutes: 1. A transcription of a work written before 1750. 2. A classical or romantic work (including the Segovia repertoire) written for guitar. 3. A 20th century work written for guitar. Repertoire suggestions Renaissance: Milan - Pavanes, Narvaez - Guardame las vacas, Anon. - Six Lute Pieces of the Renaissance; Baroque: a movement from a Bach suite, Sanz - Suite Espanola; Classical: Sor - Studies (Segovia edition), Legnani - Caprices, Op. 20; Romantic: Ponce - Preludes, Tarrega - Preludes, Llobet - Catalan Folksongs; Contemporary: Brouwer - Etudes Simples. Page 2 7/17/2012
Flute Undergraduate: 1. Two works in contrasting style. Suggested repertoire: J. S. Bach, sonatas; Mozart, concerti in D or G, C. P. E. Bach, Sonata in A minor, Gaubert, Nocturne et Allegro Scherzando or Fantaisie; Enesco, Cantabile et Presto; Griffes, Poem; Hue, Fantaisie: Poulenc, Sonata; Hindemith, Sonata; Prokofiev, Sonata; Liebermann, Sonata. 2. Sight reading. Flute Graduate: 1. Four pieces in contrasting styles (one needs to be a concerto) 2. Three orchestral excerpts from the standard repertoire 3. Sight reading Oboe: Any selection from Everybody s Favorite Oboe Solos; Handel, Sonatas 1-3; W. Ferling, Forty-eight Famous Studies for Oboe; Barret, Forty Progressive Melodies. Clarinet: Two or three movements or etudes in contrasting styles. Etudes: Rose-32 Etudes, Rose 40 Studies, Cavallini 30 Caprices, Jean-Jean 20 Etudes, Jean-Jean 18 Etudes, or similar level. Solos: Weber Concertino, Weber Concerto #1 or #2, Mozart Concerto, Stamitz Concerto, Saint-Saens Sonata, Poulenc Sonata, Debussy Rhapsody, Hindemith Sonata, Stravinsky Three Pieces, Osborne Rhapsody, Sutermeister Cappricio, or similar level. Bassoon: Any of the 50 advanced studies by Julius Weissenborn; Weber, Andante and Hungarian Rondo, Op. 35; any movement from any concerto by Vivaldi; any movement from any sonata by Galliard. Saxophone: 1. Prepare all major scales, full-range, slurred. 2. Sight-reading. 3. Two contrasting movements or etudes from the following works (or works of similar difficulty): Eccles Sonata, Heiden Sonata, Creston Sonata, Maurice's Tableaux de Provence, Noda's Improvisation I, Glazounov Concerto, Creston Concerto. Etudes: 48 Famous Studies - Ferling/Mule, 18 Etudes - Berbiguer/Mule 4. Optional jazz improvisation. Prepare the melody and improvise over one standard tune. (Example: Now's the Time, Bb Rhythm Changes, Blue Bossa, All the Things You Are, etc.) Page 3 7/17/2012
Horn Undergraduate & Graduate: Two works in contrasting style. Suggested repertoire: First and 2nd movements of any Mozart or Strauss Horn Concerto; Franz Strauss Concerto; Beethoven Sonata; Hindemith Sonata or other standard solo literature; OR Two etudes in contrasting styles from Kopprasch, Gallay, Maxime-Alphonse or Verne Reynolds. Prepare all major scales two octaves. All students will sight read. Performance degree candidates should also prepare five standard orchestral excerpts. Trumpet: 1. All Major scales, two octaves, slurred 2. One etude to be chosen from the following: Arbans 14 Characteristic Studies, Bordogni Vocalises, Bousquet 36 Celebrated Etudes, Brandt Orchestra and Last Etudes, Charlier 36 Transcendental Etudes 3. One solo Suggested repertoire: Arutunian Concerto, Balay Prelude and Ballade or Piece de Concours, any solo by Herbert L. Clarke, Ewazen Sonata, Goedicke Concerto or Concert Etude, Haydn Concerto, Hummel Concerto, Kennan Sonata, Peeters Sonata, any piece by Turrin, Stevens Sonata 4. Performance majors must prepare 4 orchestra excerpts from the standard trumpet orchestral repertoire. Trombone: Alexandre Guilmant, Morceau Symphonique; Joseph Eduoard Barat, Andante et Allegro or Piece in Mi Bemol; Paul V. de la Nux, Concert Piece; Camille Saint-Saens, Cavatine; any Marcello sonata; any etude from Melodius Etudes, Book 1, by Johannes Rochut. Page 4 7/17/2012
Euphonium: Choose two etudes or solo selections that demonstrate the technical and lyrical aspects of your playing. You will also be asked to sight-read a short musical example. Some etude and solo sections include, but are not limited to: Etude Books- Arban, Complete Method for Trombone/Euphonium (Characteristic Studies) Mead, 20 Dances for Euphonium or New Concert Studies Vol. 1 or Vol. 2 Bordogni/Rochut, Melodious Etudes for Trombone Vol. 1 Rubank, Advanced Method Vol. 1 or Vol. 2 Tyrell, 40 Progressive Studies Solos- Barat, Andante et Allegro or Introduction and Dance Capuzzi, Andante and Rondo Curnow, Rhapsody Galliard, Sonata (any movement) Haddad, Suite for Baritone Horovitz, Concerto (any movement) Guilmant, Morceau Symphonique Mozart, Concert Rondo (from Bassoon Concerto k. 191) Richards, Midnight Euphonium Sparke, Song for Ina Telemann, Sonata (any movement) Tuba: Choose two etudes or solo selections that demonstrate the technical and lyrical aspects of your playing. You will also be asked to sight-read a short musical example. Some etude and solo sections include, but are not limited to: Etude Books- Bordogni, 43 Bel Canto Studies Grigoriev, 78 Studies Kopprasch, 60 Studies Tyrell, 40 Advanced Studies Vasiliev, 24 Melodius Etudes Solos- Bach, Air and Bouree Bach, Air and Bouree Barat, Introduction and Dance for Tuba Gregson, Tuba Concerto (any movement) Haddad, Suite for Tuba (any movement) Hindemith, Sonata for Tuba (1st movement) Lebedev, Concerto in One Movement Marcello, Sonata in F Major Page 5 7/17/2012
Percussion: Perform on snare drum, keyboard percussion, timpani. Optional performance on multiple percussion, drum set, or accessories may also be performed. See recommendations below. Questions regarding any music not listed here, technical aspects, instruments to bring, etc., should be directed to David Collier, director of percussion studies, by telephone at (309) 438-8022 or by E-mail at dcollier@ilstu.edu. Snare Drum 1. Performance of concert or rudimental style solo or etude. Recommendations: Cirone Portraits in Rhythm, Delecluse 12 Studies for Snare Drum, Abel 2040 s Sortie, Colgrass 6 Unaccompanied Solos for Snare Drum, Gauthreaux Technica 9, Schinstine any solo, Pratt any solo, Wilcoxon any solo 2. Play isolated rudiments from the 40 International Drum Rudiments. Contact director of percussion studies if a copy is needed. 3. Sight-read. Keyboard Percussion 1. Performance of a two-mallet or four-mallet solo on marimba, xylophone, or vibes. Recommendations: Kreisler Tambouin Chinois (2), G. H. Green any ragtime piece (2), Handel any sonata (2), Creston Concertino, movement 1 (2), Peters Yellow After the Rain (4), Musser Etude, Op. 6, #9 or #10 (4), 2. Play any major scale, 2 octaves. Play major arpeggios. 3. Sight-read. Timpani 1. Perform a solo on two, three, or four timpani. Recommendations: Goodman etudes from Modern Method for Timpani, Firth The Solo Timpanist, Thomas Brown Timpani: The Solo Collection, Beck Sonata for Timpani, Frock Seven Solo Dances, Mitchell Peters Primal Mood, Mitchell Peters Rondino, Mitchell Peters Scherzo for Three Timpani 2. Demonstrate ability to match a pitch with the voice and then tune the timpani. Extras You may choose to also play a short solo on multiple percussion, drum set, or accessories. If you wish to do this at your audition, please let us know in advance so the equipment can be prepared. In addition, if you are auditioning on drum set, please bring a tape containing your performance in various styles (i.e., big band swing, jazz, waltz, funk, basic rock, Latin). Composition Undergraduate: Composition majors must be accepted into a performance studio like all other music majors. Page 6 7/17/2012