School of Music Auditions

Undergraduate Requirements

1. Three contrasting piano works from different style periods: one Baroque, one Classical, and one Romantic or 20th/21st century. Works should be concert repertoire, not popular music.
2. Three-octave major and minor scales and arpeggios.
3. Auditioning students may be asked to sight-read.

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.

Undergraduate Suggested Repertoire

If you are uncertain about how to choose pieces for your audition, we can suggest the four-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 Undergraduate Music Education and Piano Performance auditions; Volumes 2-4 are suitable for other Undergraduate Music Major auditions; Volumes 1-4 are suitable for Undergraduate 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.

Graduate Requirements (Piano Performance, Music Therapy, and Music Education Applicants)

Present three works that present a balanced program of different stylistic periods showcasing your technical and musical development. These must be performed from memory. If you live outside of Illinois, you may audition live on campus or via video/audio recording.

Graduate Collaborative Piano Requirements

1. A substantial solo piece that showcases your technical and musical development. This work must be performed from memory.
2. A major work for instrument and piano (not a concerto or other orchestral transcription). This must be performed with the instrumentalist.
3. An art song from the standard repertory that has a substantial piano part (No arias). This must be performed with the singer.

If you are auditioning live at ISU, you may either use ISU collaborating students, or bring your own collaborators. If you use ISU collaborators, you will need to work with a list of approved repertoire; a new repertoire list is created each school year – email Professor Geoffrey Duce for details. If you are bringing your own partners or submitting a video/audio recording, you may choose your own repertoire from the standard repertory within the above guidelines. Auditioning students may be asked to sight read.

Undergraduate Requirements

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see each studio's requirements) and also a jazz audition (requirements listed below.)

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Comp using good jazz voicings over the progressions you select for your solo improvisations.
5. Sight read a selection provided at the audition.

For numbers 2 - 4, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Undergraduate Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

Graduate Requirements

1. Play major, natural minor, harmonic minor, melodic minor (ascending version only), major modes, diminished, whole tone, and blues scales in all keys. Scales should be played two octaves ascending and descending.
2. Comp and improvise over a standard jazz blues progression in Bb or F in a swing style at a tempo of quarter note = 140 or above.
3. Play melody, comp, and improvise to a standard jazz tune in a swing style at a tempo of quarter note = 120 or above. Suggestions include: All the Things You Are, Stella by Starlight, Have You Met Miss Jones, What Is This Thing Called Love, or something similar.
4. Play melody, comp, and improvise to bebop or Rhythm Changes tune at a tempo of quarter note = 160 or above. Suggestions include: Groovin' High, Scrapple from the Apple, Afternoon in Paris, Au Privave, Blues for Alice, Anthropology, or Ornithology.
5. Sight-read a selection provided at the audition.

For numbers 2 - 4, students may use a play-along device of their choosing, such as "I-Real Pro." If a play-along option is available at the audition, then it will likely be used. If not, a student may need to play unaccompanied.

Graduate Jazz Standard Suggested Repertoire

• All the Things You Are
• Stella by Starlight
• Have You Met Miss Jones
• What Is This Thing Called Love

Graduate Bebop or Rhythm Changes Suggested Repertoire

• Groovin' High
• Scrapple from the Apple
• Afternoon in Paris
• Au Privave,
• Blues for Alice
• Anthropology
• Ornithology

Undergraduate Requirements (accompanist provided)

• Sing two songs chosen from the standard, classical Art Song repertoire. Examples of suggested composers are (but not limited to):
• Handel, Mozart, Schubert, Schumann, Fauré, Hahn, Donaudy, Caldara, Granados, de Falla, Ireland, Quilter, Burleigh, Niles, Hundley, etc.
• Singers should present repertoire that supports a lyrical style of singing appropriate to classical training.
• Both songs must be memorized and performed with piano accompaniment (Accompanist provided for in-person auditions on campus during School of Music audition days only).
• Arias must be performed in original keys and languages. (Operetta arias may be performed in English).
• Each audition will include a sight-reading portion which must be attempted by the auditionee for full consideration. Sight-reading excerpts will include examples of the following:
• rhythmic example
• melody in a major key
• melody in a minor key
• a harmonic minor scale (which should be prepared in advance of the audition)
• Auditionees should review major/minor key signatures up to 4 flats/4 sharps prior to auditioning.
• Permission to perform alternate repertoire must be obtained ahead of time from the voice area auditions coordinator. E-mail Professor John Koch with questions.

Graduate Requirements (accompanist provided)

• Candidates for graduate study in voice must prepare four memorized selections, one each in English, Italian, German, French, or Spanish, representing a variety of styles and historical periods.
• Both operatic/oratorio arias and art songs are acceptable.
• Permission to perform alternate repertoire must be obtained ahead of time from the voice area auditions coordinator. E-mail Professor John Koch with questions.
• Musical theatre repertoire is not acceptable for voice auditions.

Undergraduate Requirements

1. Two works in contrasting style
2. Sight Reading

Undergraduate Suggested Repertoire

• J.S. Bach—Sonatas
• Telemann—Fantasies
• Stamitz—Concerto in G major
• CPE Bach—Hamburg Sonata
• Mozart—Concerto in D major or G major
• Gaubert—Fantaisie
• Enesco—Cantabile et Presto
• Taffanel—Andante Pastoral et Scherzettino
• Mouquet—La Flute de Pan
• Poulenc—Sonata
• Hanson—Serenade
• Hindemith—Sonata
• Hue—Fantaisie
• Ibert—Piece
• Muczynski—Sonata
• Griffes—Poem
• Hoover—Kokopelli

Graduate Requirements

1. Four pieces in contrasting styles (one needs to be a concerto)
2. Three orchestral excerpts from the standard repertoire
3. Sight Reading

Undergraduate Requirements

Two pieces of music that are contrasting in style.

Oboists feel more secure playing audition music that has rests (breathing spots) built in. That means there should be time between phrases or sections so that backed-up air can be exhaled before new air is inhaled.

Graduate Requirements

1. Two pieces of music that are contrasting in style.
2. Three standard orchestral excerpts.

Suggested Repertoire

• Everybody's Favorite Oboe Solos
• Handel, Sonatas 1-3
• W. Ferling, Forty-eight Famous Studies for Oboe
• Barret, Forty Progressive Melodies

Undergraduate Requirements

Two or three movements or etudes in contrasting styles. Music needs to show off your technical ability and your musical ability.

Undergraduate Suggested Repertoire

Etudes

• Rose—32 Etudes
• Rose—40 Studies
• Cavallini—30 Caprices
• Jean-Jean—20 Etudes
• Jean-Jean—18 Etudes

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

These are guidelines to give an idea of the level of repertoire we are looking for. It is okay to play something not listed above. The goal of the audition is to demonstrate how well you can play the clarinet, so be sure to include at least two contrasting and complete movements or etudes. The music needs to show off your technical ability and your musical ability. Email Professor David Gresham with any questions regarding your audition music.

Graduate Requirements

Prepare 20-25 minutes of music, including pieces/movements from different musical time periods which show the range of your ability, both musically and technically. Acceptable choices include movements from concerti, movements from sonatas or other works for clarinet and piano, unaccompanied solos. You may also include some orchestral excerpts. If you have questions about your audition repertoire, email David Gresham.

Undergraduate Requirements

1. Two selections in contrasting styles that best demonstrate overall technical development
2. Major scales and arpeggios
3. Short selection from memory or by ear

You are welcome to audition on soprano, alto, tenor, or baritone saxophones. Choose the instrument on which you are most experienced. Always plan to have your instrument checked by a quality repair technician well in advance of your audition. If you become a member of the saxophone studio at Illinois State, you will have the opportunity to perform on each of the saxophone family, soprano through bass.

Ask your private teacher or band director for advice in choosing a work from this list, or in recommending a work of similar difficulty. If you are interested, we would be happy to hear an example of your jazz playing. You might choose to play a particular jazz tune, or a transcribed solo. If you use a rhythm-section based recording such as a Jamey Aebersold CD, please bring the recording to your audition. However, you should also prepare the other required classical materials listed at the link above.

Email Professor Nolen with questions or concerns regarding audition repertoire.

Memorization is not required, but you may choose to do so.

Graduate Requirements

1. Two major works (all movements)
2. All major and minor scales, full range; all major and harmonic minor thirds, full range; and all major fourths, full range.
3. Sight Reading

Please bring an audition repertoire list showing all selections with movement titles, and the audition committee will choose excerpts from your program. NOTE: Applicants who wish to audition via recording must obtain prior approval by emailing Professor Nolen a list of their audition pieces before submission.

Candidates should choose one work from each list or works of comparable depth and scope. List A is comprised of major concerti, while list B consists of sonata and unaccompanied repertoire. Email Professor Nolen for questions about substitutions or repertoire in general.

Graduate Suggested Repertoire

List A:

• Bolcom Concert Suite for Alto Saxophone and Band
• Creston Concerto for Alto Saxophone and Band
• Dahl Concerto for Alto Saxophone and Band
• Debussy Rhapsodie for Alto Saxophone and Orchestra
• Dubois Concerto for Alto Saxophone and Orchestra (first or second concerto)
• Ibert Concertino da Camera
• Larsson Concerto for Alto Saxophone and Orchestra
• Lennon Symphonic Rhapsody
• Maslanka Concerto
• Villa-Lobos Fantasia for Soprano Saxophone and Orchestra

List B:

• Albright Sonata
• Bach, J.S. Flute Partita in A minor, BWV 1013
• Berio Sequenza VIIb or IXb
• Bolcom Lilith
• Brahms Sonatas (trans. Rousseau)(F minor or Eb major)
• Decruck Sonata
• Denisov Sonata
• Desenclos Prelude, Cadence, et Finale
• Hindemith Sonata for Alto Saxophone or Viola Sonata, op. 11, no. 4 (transcribed)
• Lauba Neuf Etudes (selected)
• Lennon Distances Within Me
• Larsen Holy Roller
• Maslanka Sonata
• Tower Wings
• Zupko In Transit

Undergraduate Requirements

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Saxophone requirements) and also a jazz audition (requirements listed below.)

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology, or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
1. A standard jazz blues progression in Bb or F.
2. A tune from the jazz standard repertoire that contrasts the blues selection.
3. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real-Pro" or they may choose to play unaccompanied.

Undergraduate Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• "Rhythm Changes"
• Autumn Leaves
• Ladybird

Graduate Requirements

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology, or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
1. A standard jazz blues progression in Bb or F.
2. A "Rhythm Changes" head and improvisation.
3. A standard jazz ballad including melody and improvisation.
4. A tune from the jazz standard repertoire that contrasts the blues selection.
4. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Graduate Jazz Standard Suggested Repertoire

• Stella by Starlight
• All the Things You Are
• There Will Never Be Another You

Undergraduate Requirements

Auditions at Illinois State are approximately 15 minutes in length and allow you to showcase your skills for a small audience. The studio teacher and other woodwind faculty will listen, ask questions and answer any of your questions. We understand that this is a stressful time, and we strive to make this experience as enjoyable and positive as possible.

Undergraduate Suggested Repertoire

• A selection from 50 Advanced Studies, Weissenborn
• Milde Concert Studies
• Sonatas- Telemann, Galliard, etc.
• Weber, Andante and Hungarian Rondo, Op. 35
• Any movement from any concerto by Vivaldi

If you are currently working on literature with a private teacher, that repertoire may also be appropriate. Please reach out and communicate with us on what pieces you may be preparing and whether or not they will be appropriate.

Graduate Requirements

• Any Milde Concert Study from Book 2
• Concerto for Bassoon and Orchestra by Mozart (1st movement) or
• Concerto in F, Op. 75 by Weber (1st movement) and
• A concerto of your choice for bassoon and strings by Vivaldi
• Sight reading may be asked

Undergraduate Requirements

1. Two contrasting solo pieces or movements; OR one solo and a contrasting etude
2. All major scales (two octaves)
3. Performance majors should also prepare three contrasting orchestral excerpts
4. Students may be asked to sight read.

Graduate Requirements

1. Two contrasting solo works
2. One etude
3. Three contrasting orchestral excerpts
4. All major, melodic minor, and harmonic minor scales (two octaves)
5. Students may be asked to sight read

Undergraduate Requirements

1. All Major scales slurred.
• Two octaves from F# – C required, Db – F are to be played one octave
2. Please prepare two contrasting selections which best demonstrate your strengths as a player and show technical and expressive abilities. These selections can be two separate solo works, or two contrasting movements from within one solo.
3. In addition to your prepared material, you will also be asked to sight read.

An example of an adequate audition piece is one of the Arban—Characteristic Studies.

Graduate Requirements

1. A movement from 2 different solo works demonstrating a variety of styles. This could include works representing different stylistic eras, works showing technical and expressive playing and/or Bb, C, Eb or piccolo trumpets.
2. Orchestral excerpts:
   • Pictures at an Exhibition: Promenade
   • Ives Variations Across America: Variation V. reh O-P
   • Respighi Pines of Rome: II. off-stage solo (8 measures after 10-9 measures before 11)
3. Sight reading and transposition will be required.

Undergraduate Requirements

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Trumpet requirements) and also a jazz audition (requirements listed below).

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: "Billie's Bounce," "Au Privave," "Blues for Alice," "Confirmation," "Anthropology," or "Ornithology."
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Undergraduate Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

Graduate Requirements

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: "Billie's Bounce," "Au Privave," "Blues for Alice," "Confirmation," "Anthropology," or "Ornithology."
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A "Rhythm Changes" head and improvisation.
• A standard jazz ballad including melody and improvisation.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Graduate Jazz Standard Suggested Repertoire

• Stella by Starlight
• All the Things You Are
• There Will Never Be Another You

Undergraduate Requirements

Perform two works in contrasting style.

Suggested Repertoire

• 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

Undergraduate Requirements

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Trombone requirements) and also a jazz audition (requirements listed below.)

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Undergraduate Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

Graduate Requirements

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology, or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A "Rhythm Changes" head and improvisation.
• A standard jazz ballad including melody and improvisation.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Sight read a selection provided at the audition.

For numbers 2 and 3, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Graduate Jazz Standard Suggested Repertoire

• Stella by Starlight
• All the Things You Are
• There Will Never Be Another You

Undergraduate Requirements

Please prepare two contrasting selections which best demonstrate your tone, range, technique, and musical abilities. These selections can be etudes, solo works, or a combination of both. In addition to your prepared material you will also be asked to sight read.

Graduate Requirements

Two contrasting solos/concertos/sonatas from the standard repertoire. In addition, prepare three excerpts from the orchestral and/or band repertoire. You will also be asked to sight read.

Undergraduate (Core Area) Requirements

All prospective percussion majors and minors must demonstrate ability in the three (3) core percussion areas: snare drum, keyboard percussion, and timpani.

Since the time constraints of the audition process limit the total interview time, students may choose to submit additional video performances (via DVD or private YouTube videos) that include other performance areas such as Multiple Percussion, Drum Set, and/or World Percussion that would enhance their application (this is optional and not required). Optional performance on multiple percussion, drum set, or ethnic percussion may be possible at the audition.

ISU Percussion video audition recommendations

Email David Collier with questions regarding the audition, music, technical aspects, instruments to bring, etc.

Some etude and solo selections include, but are not limited to:

Snare Drum

1. Performance of a concert and/or rudimental style solo or etude
2. Sight-reading

Keyboard Percussion

1. Performance of a two-mallet and/or four-mallet solo on marimba, xylophone, or vibes
2. Sight-reading (2 mallets)

Timpani

1. Performance of standard work or etude to demonstrate musicianship
2. Demonstrate ability to match a pitch with the voice and then tune the timpani

Extras

You may choose to also play drum set. If you wish to do this at your audition, please let us know in advance so the equipment can be set up. Be prepared to play the following: medium swing, up-tempo swing, jazz waltz, bossa nova, samba, funk, and trading-fours in swing. In addition, if you are auditioning on drum set, please bring a recording containing your performance in various groups (i.e., big band, combo, rock band, etc).

Core Area Suggested Repertoire

Snare Drum:

• Cirone—Portraits in Rhythm
• Delecluse—12 Studies for Snare Drum
• Colgrass—6 Unaccompanied Solos for Snare Drum
• Gauthreaux—Technica 9
• Pratt—14 Modern Contest Solos
• Wilcoxon—any solo

Keyboard Percussion:

• Kreisler—Tambouin Chinois (2-mallet)
• G. H. Green—any ragtime piece (2-mallet)
• Handel—a fast movement from sonata (2-mallet)
• Creston—Concertino for marimba, movement 1 (2-mallet)
• Peters—Yellow After the Rain (4-mallet)
• Musser—Etude, Op. 6, #9 or #10 (4-mallet)
• Smadbeck-Rhythm Song (4- mallet)
• Abe-Michi

Timpani:

• Beck—Sonata for Timpani
• Frock—Seven Solo Dances
• Mitchell Peters—Primal Mood
• Mitchell Peters—Rondino
• Bergamo—Four Pieces for Timpani
• Firth—The Solo Timpanist

Email David Collier regarding questions on audition repertoire.

Graduate Requirements

Snare Drum:

• Any concert solo or etude by Delécluse, Masson, Aleo, Tompkins, Zivkovic, The Noble Snare collection, Nexus collection, or the equivalent.
• Two (2) standard orchestral excerpts of your choice.

Mallet Keyboard:

• A contemporary work or study to demonstrate multiple-mallet style such as works by, Abe, Aldridge, Burritt, Deane, Druckman, Lansky, Reynolds, Schwantner, Viñao, or the equivalent.
• Demonstration of two-mallet playing with a movement from Sonatas & Partitas for Violin or Six Suites for Cello by J.S. Bach.
• Two (2) standard orchestral excerpts of your choice (glockenspiel or xylophone).

Timpani:

• An advanced work or study to demonstrate musicianship such as Eight Pieces for Four Timpani, Elliott Carter; Variations for Solo Kettledrums, Jan Williams; or Rhythm Gradation, Toshi Ichyanagi, an etude by Delécluse, Hochrainer, or the equivalent.
• One standard orchestral excerpt of your choice.

Multiple-percussion (for Video Submission):

• A solo or etude to demonstrate musicianship such as music by Campbell, Hamilton, Hollinden, Ishii, Kopetzki, Kotche, Lang, Volans, Xenakis, Zivkovic, or the equivalent.

OPTIONAL Areas (for Video Submission):

• Drum Set/World Percussion – Demonstrate jazz, rock, Latin, Afro-Cuban, Asian, and/or other musical styles of drum set, hand percussion, or frame drum performance.

Email David Collier regarding questions on audition repertoire.

General Requirements

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Percussion requirements) and also a jazz audition (requirements listed below.)

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Comp using good jazz voicings over the progressions you select for your solo improvisations.
5. Sight read a selection provided at the audition.

For numbers 2-4 above, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Jazz Standard Suggested Repertoire

• All the Things You Are
• There will never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

All students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Percussion requirements) and also a jazz audition (requirements listed below.)

1. On a mallet instrument or on the piano- play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. Demonstrate snare drum rolls in:
• concert style (multiple bounce)
• rudimental style (double stroke)
3. Demonstrate the following styles on the drum set:
• 4/4 Swing (at least two tempos): Medium (120-140bpm) and Fast (200+ bpm)
• "Trade 4's" at medium tempo and "Trade 8's" at the fast tempo
• Bossa Nova
• Samba
• Mambo
• 6/8 or 12/8 Afro-Cuban
• Back beat groove (Funk or Fusion)
• Brushes- medium swing and ballad styles
• Jazz Waltz
4. Sight read a selection (provided) from a big band chart.

Undergraduate and Graduate Requirements

Two pieces or movements in different tempi, from contrasting style periods.

Violin Performance Graduate Requirements

1. Two movements of contrasting style, one of which must be the first movement of a concerto
2. Two movements from Bach's unaccompanied Sonatas and Partitas.

Suggested Repertoire

• Solo Sonata or Partita movements by Bach
• Sonatas by Handel
• Romances by Beethoven
• Pieces by Kreisler
• Concerti by De Beriot, Haydn, Kabalevsky, Mozart, Bruch, Lalo, or Mendelssohn
• Etudes by Mazas or Kreutzer

Undergraduate Requirements

For undergraduate admission, students should prepare: two contrasting pieces (or movements of larger works) and one short etude for admission to the School of Music.

Undergraduate Suggested Repertoire

• Sonata movements by Vivaldi, Marcello, Schubert, Schumann, Brahms
• Concerto movements by J.C. Bach/Casadesus, Handel/Casadesus, Stamitz, Hoffmeister, Forsyth, Walton
• Short works by Bruch, Bloch, Clarke
• Prelude or dance movement from Bach Cello Suites I – III
• Etudes: Wohlfahrt, Mazas, Kreutzer

Graduate Requirements

For graduate admission, students should prepare a minimum of: one full movement of a standard concerto; one full movement of a sonata, one movement of a Bach suite; one etude.

Graduate Suggested Repertoire

• Sonatas: Brahms, Shostakovich, Schubert, Clarke, Hindemith
• Concerti: Stamitz, Hoffmeister, Walton, Forsyth, Hindemith, Bartok
• Bach: Cello Suites II – V or a movement of a Violin Sonata or Partita
• Etudes: Kretuzer, Campagnoli, Rode, Dont, Palaschko

Undergraduate Requirements

For undergraduate admission to the School of Music, students should prepare two contrasting pieces (or movements of larger works) that they feel best represent their skills and musicianship. Two pieces of different tempi, different characters, and/or different eras is appreciated.

Undergraduate Suggested Repertoire

• Sonata movements by composers such as Vivaldi, Eccles, Marcello, Boccherini, Breval, Brahms
• Concerto movements by composers such as Boccherini, Haydn, Saint-Saens, Goltermann, Elgar
• Short works by composers such as Popper, Faure, Bruch, Squire, Beach
• Prelude or dance movement from Bach Suites I–III
• Etudes by composers such as Dotzauer, Lee, Duport, Greutzmacher, Popper, Minsky

Graduate Requirements

For graduate admission, students should prepare a minimum of: one full movement of a standard concerto; one full movement of a sonata; one movement of a Bach suite or other substantial unaccompanied work; one etude or showpiece.

Graduate Suggested Repertoire

• Sonata: Brahms, Shostakovich, Grieg, Francouer, Beethoven, Boccherini, Smythe, Prokofeiv
• Concerto: Haydn, Elgar, Dvorak, Shostakovich, Tchaikovsky
• Unaccompanied Work: Bach Suites II–V, Britten, Crumb, Chen, Holst
• Etude or Showpiece: Duport, Greutzmacher, Popper, Piatti, Cassado, Davidoff, Martinu

Audition Requirements

1. A movement from Bach Cello Suites
2. A movement from the standard solo literature, OR the 1st movement from a standard bass concerto or sonata, including the published cadenza
3. A standard orchestral excerpt

Suggested Repertoire

Baroque

• Movements from the Bach suites (any edition)
• Sonatas by Vivaldi, Eccles, Birkenstock, Marcello, etc.

Classical

• Works by Capuzzi, Dragonetti, Vanhal, Sperger, Dittersdorf, Keyper

Romantic

• Works by Bottesini, etc.

20th century

• Works by Koussevitsky, etc.
• Sonatas by Vagn Holmboe, David Ellis, Yuri Levitan, etc.
• Fryba suite in olden style

In general, a good anthology from which to choose shorter works is Schirmer's Solos for the double bass player.

Audition Requirements

All Students auditioning for acceptance into the B.M. in Jazz Studies sequence must complete two separate auditions: one classical audition on your instrument (see Double Bass requirements) and also a jazz audition (requirements listed below.)

1. Play with bow major and minor scales two octaves ascending and descending including natural, harmonic and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Play a walking bass line outlining the chord progressions that you select for your solo improvisation.
5. Sight read a selection provided at the audition.

For numbers 2 - 4 above, students may use a play-along device of their choosing if desired (such as "I-Real Pro") or they may choose to play unaccompanied.

Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

General Requirements

In order to audition for the guitar studio at Illinois State, a student must have at least six months of consistent guitar lessons from a qualified instructor before auditioning. Practice diligently. Classical technique serves as a good foundation for your hands when you play other styles. When learned well, classical technique affords efficient use of the hands/fingers.

To audition for our studio you will need:

• Classical guitar (nylon strings)
• No picks allowed (fingers or fingernails only)
• No tabs (You must be able to read notes in order to enter the program. Every music major will know how to read notes on their instrument and classical guitar is no exception.)
• Classical repertoire only (for studio auditions)
• Major and minor scales in two and three octaves using rest strokes and free strokes, and using different left hand fingerings. (For best results, prepare scales from the Segovia Diatonic Major and Minor Scales book.)
• Footstool or similar device that helps keep the guitar neck at an angle.

Undergraduate Requirements

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 one work from memory 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.

Undergraduate Classical Guitar Suggested Repertoire

• Milan—Pavanes (Renaissance)
• Narvaez—Guardame las vacas (Renaissance)
• A movement form a Bach suite (Baroque)
• Sanz—Canarios (Baroque)
• Sor—Studies (Segovia edition) (Classical)
• Legnani—Caprices, Op. 20 (Classical)
• Ponce—Preludes (Romantic)
• Tarrega—Preludes (Romantic)
• Llobet—Catalan Folksongs (Romantic)
• Brouwer—Etudes Simples (Contemporary)

Graduate Requirements

Choose any three of the following (or works of equivalent level):

• A major work by Bach
• Elegy or any two pieces from the Bardenklange, op.13, no. 1-11 by Mertz; OR two etudes by Regondi; OR a sonata or fantasy by Sor; OR a major work by Giuliani
• Three etudes by Villa-Lobos, OR a major work by de Falla, Torroba, Martin, Ponce, Castelnuovo-Tedesco, José, Tansman, Rodrigo, Turina, Britten, Walton, Bennett, or Berkeley
• A work written since 1975, e.g. Takemitsu, Henze, Ginastera, Sculthorpe, etc.

Undergraduate Requirements

1. Play major and minor scales two octaves ascending and descending including natural, harmonic, and melodic minor forms.
2. At least one prepared bebop melody (head) selected from: Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology or Ornithology.
3. Play a solo improvisation outlining the chord progression to:
• A standard jazz blues progression in Bb or F.
• A tune from the jazz standard repertoire that contrasts the blues selection.
4. Comp using good jazz voicings over the progressions you select for your solo improvisations.
5. Sight read a selection provided at the audition.
6. Perform one prepared (not improvised) piece selected from the following:
• A classical guitar piece from the standard repertoire.
• A Jazz Chord/melody solo on a jazz standard
• A written jazz solo transcription of a jazz guitar master such as Wes Montgomery, Grant Green, Jim Hall, etc. (This could be a published transcription, or a transcription notated by the student)

For numbers 2 - 4, students may use a play-along device of their choosing if desired such as "I-Real Pro" or they may choose to play unaccompanied.

Undergraduate Jazz Standard Suggested Repertoire

• All the Things You Are
• There Will Never Be Another You
• Rhythm Changes
• Autumn Leaves
• Ladybird

Graduate Requirements

Choose at least one of the following:

• Perform a transcription of a jazz solo (minimum 32 bars, preferably with a recording.)
• Perform a solo guitar piece of the candidate's choosing (ie., jazz chord-melody, a jazz etude or classical piece).

Theory

• Demonstrate knowledge of major, melodic minor, and harmonic minor scales in a variety of positions on the guitar neck (additionally, students may also choose to demonstrate pentatonic, diminished, whole-tone and other relevant scales of their choosing as supplementary material.)
• Demonstrate knowledge of major, minor, dominant, half-diminished and diminished arpeggios in a variety of positions on the guitar neck.
• Demonstrate knowledge of 7th chord inversions of their choosing in a variety of positions on the guitar neck.

Repertoire

• Perform melody, improvisation and comping on one bebop song such as (but not limited to): Billie's Bounce, Au Privave, Blues for Alice, Confirmation, Anthropology, Ornithology, Donna Lee, 26-2, Milestones (John Lewis), Groovin' High, Yardbird Suite, Segment, etc.
• Perform melody, improvisation and comping on one jazz ballad of the candidate's choice.
• Perform melody, improvisation and comping on one other tune of the candidate's choice (preferably of contrasting nature to the previous selections).