Please bring your own mp3 or CD accompaniment and/or we will provide any of the Aebersold play-a-long recordings for all auditions.

B.A., B.M., B.M.E.

Jazz Saxophone, Trumpet, Trombone, Guitar, Piano and Bass (acoustic preferred, not required**)

1. A major or minor blues melody* of your choice from the jazz repertoire. Examples include: Now’s the Time, Billie’s Bounce, Tenor Madness, Straight No Chaser, Stolen Moments.
   1. Sax, trumpet and trombone: perform melody from memory and play two or three choruses of improvisation.
   2. Piano and guitar: perform melody from memory, play two or three choruses of improvisation, and play one or two choruses comping as if there is another soloist in the ensemble.
   3. Bass: perform melody from memory, play two or three choruses of improvisation, and play a walking bass line for one or two choruses.
2. A ballad of your choice from the jazz repertoire. Examples include: Body and Soul, Misty, Darn That Dream, In A Sentimental Mood.
   1. All instruments: interpret the melody, play one improvised chorus. Bass can opt to play an appropriate bass line one would play behind a soloist.
3. A medium or medium-up tempo swing piece of your choice. Examples include: Oleo, All The Things You Are, There Will Never Be Another You, There Is No Greater Love.
   1. Sax, trumpet and trombone: perform melody and play two or three choruses of improvisation.
   2. Piano and guitar: perform melody, play two or three choruses of improvisation and play one or two choruses comping as if there is another soloist in the ensemble.
   3. Bass: perform melody, play two or three choruses of improvisation and play a walking bass line for one or two choruses.
4. One fully notated piece of music, no improvisation. This could include a jazz étude, a written out solo transcription or a “classical” étude. Here are links to potential resources by instrument: saxophone, trumpet, trombone, piano, guitar and bass.

*Melodies with chord changes/harmony can be found in the “Real Book Sixth Edition” (Hall Leonard Pub), “Aebersold Play-Alongs” and/or “Hal Leonard Play-Along Series.”

**It is expected that all jazz bass majors will primarily study the acoustic bass. It is expected that students own their own acoustic bass when entering into the major.

Drumset

Auditions consist of the applicant demonstrating their ability to play in the following musical styles:

1. 4/4 swing at a variety of tempos
2. Funk and rock styles at a variety of tempos
3. Samba and bossa nova
4. Mambo
5. Afro-Cuban 6/8

Additional skills assessed during the jazz drumset audition:

1. Brush technique
2. Waltz and odd meter performance
3. Repertoire: transcription or jazz étude. One possible resource can be found on Jeremy Jones’ website.

B.M.
From memory:

1. Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach.
2. One of the following: A complete sonata by Beethoven, excluding opus 49 and opus 79; a complete sonata by Mozart; a complete sonata by Haydn from the following list: Hob. XVI Nos. 20, 23, 24, 32, 48, 49, 50 and 52 or a complete sonata by Schubert.
3. A major composition by a 19th-century Romantic era composer.
4. A composition from the last 100 years in a style representative of the many diverse developments in music of the 20th or 21st century, or a work of your personal choice reflecting current genres in today’s inclusive musical landscape.

Some suggestions for 20th and 21st-century pieces:

Three Pieces for Piano (1976) by Deborah Yardley Beers
5 Sketches of Water (2014) by Hon Ki Cheung
Le danse de la bergere (2016) by Quinn Mason
The Never-ending Ocean of Identity (2017-2018) by Quinn Mason
Evening Reflection (2017) by Teresa Cobarrubia Yoder
Faerie Floss (2017) by Bryan A Crumpler

B.A., B.M. in composition, B.M.E., Minor
From memory:

1. Sinfonia or Prelude and Fugue from the Well-Tempered Clavier by J. S. Bach.
2. The first movement, in sonata-allegro form, of a Classical period sonata, i.e. a Beethoven, Mozart, Haydn or Schubert.
3. A composition by a 19th-century Romantic era composer.
4. A composition from the last 100 years in a style representative of the many diverse developments in music of the 20th or 21st century, or a work of your personal choice reflecting current genres in today’s inclusive musical landscape.

Some suggestions for 20th and 21st-century pieces:

Le danse de la bergere (2016) by Quinn Mason
The Never-ending Ocean of Identity (2017-2018) by Quinn Mason
Evening Reflection (2017) by Teresa Cobarrubia Yoder
Faerie Floss (2017) by Bryan A Crumpler

Violin, Viola, Cello
B.A., B.M., B.M.E., Minor

1. A movement of an unaccompanied work by Bach, performed from memory.
2. A complete movement, other than a slow movement, of a concerto or other work for soloist and orchestra, performed from memory.
3. An étude, study or caprice; or a short contemporary work that highlights a particular instrumental challenge or extended technique.

Your choice of audition repertoire should represent you at your best, while also displaying a wide range of technique, style and expression.

Have a question about your repertoire? Want to propose a substitution that better represents you? Prospective students frequently consult our faculty—we’d love to hear from you!

Eric Kutz, cello
Irina Muresanu, violin
David Salness, violin
James Stern, violin

Double Bass
B.A., B.M., B.M.E., Minor

1. A three-octave major scale and arpeggio.
2. 5-8 minutes of any solo music that you feel represents your abilities and interests. This can be more than one work.
3. Two orchestral excerpts of your choice.

Harp
B.A., B.M., B.M.E., Minor

1. A movement of a concerto or solo work, performed from memory.
2. A movement from a solo work or étude in a style that contrasts from the first selection.
3. Two orchestral or operatic excerpts of the auditionee's choice. One preferably to include a cadenza.

Your choice of audition repertoire should represent you at your best, while also displaying a wide range of technique, style and expression.

Have a question about your repertoire? Want to propose a substitution that better represents you? Prospective students frequently consult our faculty—we’d love to hear from you!

Gréta Ásgeirsson, harp

B.A., B.M., B.M.E., B.M./B.M.E., Minor

Please prepare to perform, from memory, two contrasting songs, solo oratorio selections or operatic arias. These may be either in different languages or both in the same language. Songs should be chosen from solo vocal literature, performed with a pianist or pre-recorded piano accompaniment. Selections may be chosen from composers such as, but not limited to:

Early Music/Baroque: Henry Purcell, Barbara Strozzi, George Frideric Handel, J.S. Bach.

Classical/Romantic: Joseph Haydn, W.A. Mozart, Clara Schumann, Robert Schumann, Johannes Brahms, Pauline Viardot, Fanny Mendelssohn, Franz Schubert, Enrique Granados, Gabriel Faure, Reynaldo Hahn, Claude Debussy.

20th/21st Century: Margaret Bonds, Benjamin Britten, Hall Johnson, Florence Price, Samuel Barber, Libby Larsen, H.T. Burleigh, Jake Heggie, Miguel del Aguila.

Art songs, traditional folk music songs, spirituals and golden age musical theater songs, (non-belting) are acceptable, but self-accompanied popular songs are not.

Frequently asked questions for recorded auditions:

For students that are unable to perform an in-person, live audition, recorded auditions may be submitted through the School of Music application.

Q. Can I use a recording of another instrumental accompaniment besides a piano? An orchestra, a lute, a guitar?
A. An orchestra, lute or other instruments are acceptable, as long as your voice is prominent. A guitar is acceptable if it is a song written for voice and guitar.

Q. Where should I make my video recording?
A. The faculty recognizes that our circumstances are not ideal and will judge the audition and not the location. However, we do recommend that you try to record in a space that is uncluttered and does not detract from the focus being on you.

Q. What should I wear?
A. Please try to dress with nice, professional wear. Concert attire is not necessary.

Q. How do I know if my video has been received and is able to be viewed?
A. Admissions will inform you if there is a problem.

Q. Where can I find online accompaniments for my audition?
A. Appcompanist offers a lot of piano accompaniments that may be useful.

Q. Where can I find sheet music?
A. You can start with the following:

• http://artsongcentral.com/source-index
• https://imslp.org/wiki/Main_Page 

Other resources are available at:

• https://www.composerdiversity.com
• http://africandiasporamusicproject.org
• http://www.theoperadatabase.com/index.html

Q. Where can I find assistance for foreign language diction questions?
A. Dictionbuddy.com is a resource that some of our students have found beneficial.

Flute
B.A., B.M., B.M.E., Minor

At least two contrasting works of any style that demonstrate your training, level of technical proficiency and your lyrical playing on the flute. You are also free and encouraged to further include any piece that is particularly meaningful to you either personally or artistically.
 
Many state music education websites list works appropriate for high school solo and ensemble festivals. For instance, from the Maryland Band Directors Association Festival List, a suitable solo would be one chosen from grades 4-6. However, your audition repertoire need not be included in this list but should demonstrate your level of achievement and potential.

Oboe
B.A., B.M., B.M.E., Minor

At least two contrasting works or études of any style that demonstrate your training, level of technical proficiency and your lyrical playing on the oboe. You are also free and encouraged to further include any piece that is particularly meaningful to you either personally, culturally or artistically.
 
Many state music education websites list works appropriate for high school solo and ensemble festivals. For instance, from the Maryland Band Directors Association Festival List, a suitable solo would be one chosen from grades 4-6. However, your audition repertoire need not be included in this list but should demonstrate your level of achievement and potential.

Clarinet
B.A., B.M., B.M.E., Minor

1. Two compositions of contrasting styles, one of which must be selected from solo literature for the instrument, such as the Maryland list found below; the other may be a solo or an étude.
2. The solo should be of the highest difficulty level. Many states have a State Festival List of repertoire which will include suitable repertoire. For instance, from the Maryland Band Directors Association Festival List, a suitable solo would be one chosen from grades 4-6. 

Bassoon
B.A., B.M., B.M.E., Minor

Two compositions of contrasting styles, one of which must be selected from the solo literature; the other may be a solo or an étude.

Classical Saxophone
B.A., B.M., B.M.E., Minor

1. One étude to be selected from one of the following: Ferling 48 Études, Berbiguier/Mule 18 Études, J.L. Small 27 Melodious and Rhythmical Exercises, Bassi 27 Virtuoso Studies, Gatti 35 Melodius Technical Studies or Voxman Selected Studies.
2. Two contrasting movements from a multi-movement work or two different works. Repertoire can be chosen from the following (or works of similar difficulty found on the MMEA solo and ensemble list grades 4-6):
   1. Alto Saxophone:
      1. Heiden - Sonata
      2. Maurice - Tableaux de Provence
      3. Creston - Sonata 
      4. Jacobi - Sonata
      5. Rueff - Chanson et Passepied
      6. Glazuov - Concerto
      7. Milhaud - Scaramouche
      8. Bozza - Improvisation et Caprice
      9. Ibert - Concertino da Camera
      10. Still - Romance
   2. Tenor Saxophone:
      1. Bennett - Concerto (First Movement)
      2. Vivaldi - Sonata VI in G minor
      3. Telemann - Sonata in C minor
      4. Ostransky - Ballet Impressions
      5. Singelee - Adagio et Rondo
      6. Schmidt - Sonatina
3. All major scales and chromatic scale

An accompanist is not required and will not be provided.

Any questions regarding audition repertoire should be directed to Tim Powell.

Horn
B.A., B.M., B.M.E., Minor

1. Please choose two contrasting solo works from the following:
   1. Wolfgang A. Mozart: Horn Concertos
      1. No. 1 K. 412 
      2. No. 2 K. 417
      3. No. 3, K. 447
      4. No. 4 K. 495
   2. Richard Strauss: Horn Concerto No. 1 in E-flat Major
   3. Ludwig van Beethoven: Sonata for Horn and Piano
   4. Camille Saint-Saëns: Morceau de Concert
   5. Any one selection from “Solos for the Horn Player,” edited by Mason Jones
2. Please choose two of the following études:
   Georg Kopprasch “Sixty Selected Studies for French horn, Book 1”
   1. No. 15, No. 19, No. 22, No. 31, No. 34
3. Please choose two of the following excerpts:
   1. Paul Hindemith: Symphonic Metamorphosis - IV. March - D - 8 after E
   2. William Grant Still: Afro-American Symphony - III. Reh 23 - 3 after Reh 26
   3. Joan Tower: Fanfare for the Uncommon Woman 
   4. Piotr Tchaikovsky: Symphony No. 5 - II. m. 9 - 28
   5. John Williams: Star Wars Medley - Yoda’s theme - Beg - m. 27
4. All 12 major scales in one octave, played in a 16th note pattern at quarter note = 72.
5. Optional: We encourage you to perform any selection not on this list that represents your strengths and passions.

Trumpet
B.A., B.M., B.M.E., Minor

Please prepare 7-10 minutes of music. This will be performed in a 15 minute audition, to allow for adequate rest and recovery time.

You are invited to perform music that you are most comfortable with, drawing from a wide and diverse repertoire that may include music from any cultural source. Feel free to bring examples of trumpet concert solos, excerpts from orchestral and wind ensemble works, study études, examples of jazz compositions (this could include parts from combo and big band compositions/arrangements), music drawn from folk and world sources and improvisation in any style. Again, for any trumpeter applying for study at UMD, we welcome the inclusion of repertoire from a wide range of cultural expression.

1. Use Bb and/or C trumpet, nothing smaller than C, please.
2. No memorization is required.
3. Having a pianist is not required for any audition, though you are welcome to use piano if it is convenient. If playing without piano, count out all rests as marked.

If you have any questions about our program, or would like to discuss repertoire options, please do not hesitate to contact Chris Gekker.

Trombone, Tenor
B.A., B.M., B.M.E., Minor

1. One movement from two contrasting solos. Selections may include:
   1. Andante et Allegro – J.E. Barat 
   2. Concertino, Op.4 – Ferdinand David
   3. Psalm 1 for tenor/bass trombone - Emma Lou Diemer
   4. Sonatas – J.E. Galliard
   5. Morceau Symphonique Op. 88 - Alexandre Guilmant
   6. Sonata for Trombone and Piano – Paul Hindemith
   7. Cavatine – Camille Saint-Saens
   8. Romance for Trombone & Piano – William Grant Still (Yeo)
   9. Sonata in F Major –G.F. Telemann
   10. Concertino for Trombone & Piano – David Wilborn
2. Two études of contrasting style of the candidate’s choice
3. Two orchestral excerpts of the candidate’s choice (optional)
4. Three major scales of the candidate’s choice (any pattern or octaves)

Trombone, Bass
B.A., B.M., B.M.E., Minor

1. One movement from two contrasting solos. Selections may include:
   1. Unaccompanied Suites for Cello – J.S. Bach
   2. Psalm 1 for tenor/bass trombone - Emma Lou Diemer
   3. Lied – Ida Gotkovsky
   4. Sonata Breve – Walter Hartley
   5. Three Easy Pieces – Paul Hindemith
   6. Concerto in One Movement – Alexei Lebedev
   7. Sonata – Patrick McCarty
   8. Sonata for Bass Trombone & Piano – Alonso Pirio
   9. Concerto in F Major – Ernest Sachse
   10. Cameos – Gordon Jacob
2. Two études of contrasting styles of the candidate’s choice
3. Two orchestral excerpts of the candidate’s choice (optional)
4. Three major scales of the candidate’s choice (any pattern or octaves)

Euphonium, Tuba
B.A., B.M., B.M.E., Minor

Two compositions of contrasting styles, one of which must be selected from solo literature for the instrument, such as the Maryland list found below; the other may be a solo or an étude.

The solo should be of the highest difficulty level. Many states have a State Festival List of repertoire which will include suitable repertoire. For instance, from the Maryland Band Directors Association Festival List, a suitable solo would be one chosen from grades 4-6.

Snare Drum
B.A., B.M., B.M.E., Minor

1. Demonstrate rudiments and rolls at various dynamics.
2. One solo or étude from Delecluse, Albright, Peters, Goldenberg, Wilcoxon, Pratt, Podemski or equivalent.

Marimba/Xylophone
B.A., B.M., B.M.E., Minor

1. All major and minor scales, two octaves.
2. One movement or solo piece/étude from Peters, Stout, Abe, Bach (Sonatas and Partitas for Solo Violin), Creston, Musser, Rosauro, etc.

Timpani
B.A., B.M., B.M.E., Minor

1. Rolls and general strokes at various dynamics. Basic knowledge of intervals and tuning.
2. A short solo or étude; 3-4 timpani preferred (i.e. Goodman, Vic Firth, Peters, Delecluse, Schinstine, etc.)

B.M.E.

1. All Bachelor of Music Education applicants must audition on their principal performing instrument.
2. Applicants for the Bachelor of Music Education degree will be scheduled for a teaching demonstration with the music education faculty the same day as their live audition on their principal performing instrument. Additional information on what to prepare for the demonstration will be sent with the audition notification email.

Theory (B.M.)

1. Students already enrolled in the School of Music who have completed at least four semesters of the undergraduate core curriculum or equivalent with an A- or higher in the two most recent semesters can apply for the B.M. in music theory. Applicants should submit a portfolio of their most advanced work in music theory that includes at least three examples written in music notation (e.g., short compositions, partwriting or counterpoint exercises) and two music analyses written in scholarly prose (e.g., short papers, paragraph essays). Students may also be invited to an interview with the music theory faculty.

Composition (B.M.)

1. Requires advanced comprehension of music theory.
2. Applicants must audition on their principal performing instrument. Applicants whose principal instrument is piano should follow the audition requirements as stated for the B.A. degree.
3. Please submit 3–5 examples of what you feel is your best work in composition to date. These works may be in any style and should demonstrate your abilities with compositional techniques and your creativity. You should include works for which you have musical scores. This selection of works should reflect your range of interests in composition. A recording of each work submitted is highly recommended (MIDI recordings are acceptable; live performances are preferred). Your compositions must be submitted electronically (score in PDF format, recordings in mp3 format) as part of the School of Music application.