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Auditions

All potential music majors are required to complete an audition. Students who audition for the music program are automatically considered for scholarships. Non-majors who wish to be considered for a music scholarship must audition before the music faculty.

Audition Dates

  • November 17, 2018 (Dahlonega)
  • February 2, 2019 (Gainesville)
  • March 23, 2019 (Dahlonega)
  • July 27, 2019 (Gainesville) - Admissions only

Audition Requirements by Instrument

Bass

  • Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
  • Sight-reading
  • In addition, persons should prepare two of the following:
    • An etude from Bille, Simandi, or Storch Hrabe
    • A movement from a concerto such as those by Capuzzi, Dittersdorf, Dragonetti, Koussevitzky, or Bottesini
    • A movement from a sonata or short piece such as those by Eccles or Handel

Repertoire Questions?

Email Prof. Luca Lombardi

Bassoon

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
    • L. Milde: 25 Studies in Scales and Chords, op. 24
    • Mozart: Concerto in Bb Major, K. 191
    • Telemann: Sonata in F minor, TWV 41: f1
    • J. Weissenborn: 50 Advanced Studies, op. 8

Repertoire Questions?

Email Prof. Warren Stokes - Dahlonega

Cello

  • Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo
  • Sight-reading
  • In addition, persons should prepare two of the following:
    • An etude of moderate difficulty by composers such as Popper, Duport, Dotzauer, etc.
    • A movement from the Cello Suites of Bach
    • A movement from a concerto such as those by Boccherini, Saint-Saëns, or Haydn
    • A movement from a sonata or short piece such as those by Brahms, Bruch, Fauré, Eccles, Sammartini, Schumann, or Beethoven

Repertoire Questions?

Email Dr. Philip Snyder

Clarinet

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
    • Andr ́Messager: Solo de concours
    • Mozart: Concerto in A Major, K. 622
    • Cyrille Rose: 32 Etudes for Clarinet
    • Carl Stamitz: Concerto No. 3 in B-flat Major
    • Igor Stravinsky: Three Pieces for Clarinet Solo
    • Carl Maria von Weber Concerto in E-flat Major, Op. 26

Repertoire Questions?

Email Dr. Ashley Jarrell

Euphonium

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are NOT the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
    • Arban: Carnival of Venice
    • Barat: Introduction and Dance
    • Clinard: Sonata for Unaccompanied Euphonium
    • Clark: From the Shores of the Might Pacific
    • Curnow: Rhapsody for Euphonium
    • Deluca: Beautiful Colorado
    • Guilmant: Morceau Symphonique
    • Haddad: Suite for Baritone Horn
    • Horovitz: Euphonium Concerto
    • Marcello: Sonata in F major
    • Rochut/Bordogni: Melodious Etudes for Trombone Vol. 1
    • Sparke: Fantasy
    • Sparke: Pantomine
    • Tyrell: 40 Progressive studies for Trombone

Repertoire Questions?

Email Dr. Adam Frey

Flute

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
    • Sonatas by J.S. Bach, Handel, Hindemith, Poulenc, Telemann
    • Karl Joachim Andersen: 24 Studies, Op. 21
    • Cécile Chaminade: Concertino pour Flute, Op. 107
    • Claude Debussy: Syrinx
    • Gabriel Fauré: Fantasie for Flute, Op. 79

Repertoire Questions?

Email Prof. Kelly Via

French Horn

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
    • Andraud/ Pottag: 355 Selected Melodious Studies for Horn
    • Beethoven: Horn Sonata, Op. 17
    • Gallay: 40 Preludes for Horn, Op. 27
    • Kling: 40 Characteristic Etudes
    • Kopprasch: 60 Selected Studies
    • Mozart: Concertos
    • Strauss: Concerto

Repertoire Questions?

Email Dr. Adam Frey

Guitar

Those auditioning for the guitar should prepare 2 pieces in contrasting styles from the                  standard classical literature:

  • One must be an etude that demonstrates basic classical or fingerstyle technique on the instrument. Suggested composers: Carcassi, Carulli, Sor, Brouwer, Giuliani, etc.
  • The second may be of your choosing.

In addition, students will be asked to demonstrate the following:

  • Major scales: C, G (Segovia edition preferred)
  • Minor scales: A minor
  • Sight reading of a single line piece (to be presented at the audition)

Repertoire Questions?

Email Dr. Philip Snyder

Oboe

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
    • Slow aria/cantata by J.S. Bach
    • Barrett: 40 Progressive Melodies
    • Ferling: 48 Famous Studies for Oboe
    • Haydn: Oboe Concerto in C Major
    • Handel: Sonatas or Concerto in G Minor
    • Hindemith: Oboe Sonata
    • Mozart: Oboe Quartet or Concerto

Repertoire Questions?

Email Dr. Rachel Maczko

Percussion

Percussion applicants must perform on snare drum, mallets and timpani. Drum set is optional but encouraged. Instruments will be provided for the audition. Applicants must provide all sticks and mallets, and bring a copy of the music to be performed.

Snare Drum

  • 40 Percussive Arts Society snare drum rudiments
  • Sight Reading
  • Rudimental solo and an orchestral style solo of your choice (see the below list for source suggestions)
    • Rudimental:
      • 150 All-American Rudimental Solos (Charles Wilcoxon)
      • Rudimental Swing Solos (Charles Wilcoxon)
      • 14 Modern Contest Solos (John S. Pratt)
    • Orchestral:      
      • Advanced Snare Drum Studies (Mitchell Peters)
      • Portraits in Rhythm (Anthony Cirone)
      • 12 Studies for Snare Drum (Jaques Delecluse)

Keyboard Percussion

  • All major scales played two octaves in sixteenth notes
  • Chromatic scale for the entire range of the instrument of your choice
  • Sight reading
  • Two or four mallet solo of your choice (see below for suggestions)
    • Two Mallet:
      • Modern School for Vibraphone, Xylophone, Marimba; pp.64-101 (Morris Goldenberg)
      • Any Xylophone Rag (George Hamilton Green, or similar)
      • Any Chorale or Cello Suite (J.S. Bach)
    • Four Mallet:     Yellow After the Rain (Mitchell Peters)
      • Rain Dance (Alice Gomez/Marilyn Rife)
      • Rotation II (Eric Sammut)
      • Rotation IV (Eric Sammut)
      • Echoes (Kevin Bobo)

Timpani

  • Demonstration of basic tuning/interval recognition and drum-to-drum movement
  • Sight Reading
  • Prepared solo of your choice (see the below list for source suggestions)
    • The Solo Timpanist (Vic Firth)
    • Modern Method for Tympani; pp. 46-68 (Saul Goodman)
    • Fundamental Method for Timpani; pp. 139-199 (Mitchell Peters)

Drum Set (Optional)

  • Demonstrate the ability to perform basic time patterns in swing, rock, and Latin styles
  • Prepared solo of your choice in any of the above styles
  • Sight reading and/or chart interpretation

Repertoire Questions?

Email Prof. Steven Walker

Piano

Those intending to major in performance should prepare a 10-15 minute audition from memory including:
  • A Baroque composition
  • A movement from a Classical Sonata (except Beethoven Op. 27/2, 49/1, 49/2, and 79)
  • A composition from the Romantic period or a 20th/21st century composition
(No jazz, improvisations, pop, or original compositions will be accepted. In addition, transcriptions, arrangements, and hymn settings are not acceptable.)

In addition, students will be asked to demonstrate proficiency in:
  • Major & minor scales in all keys
  • Sight-reading

Piano Accompanying Scholarship Audition Requirements (Gainesville Campus)

Students who are interested in receiving a piano accompanying scholarship must have superior piano skills and experience in choral accompanying, including abilities in open score reading and sight reading, and must also process a strong desire for collaborative performances.

Students who receive this scholarship will have accompanying opportunities within the vocal/instrumental studio accompanying, vocal/ instrumental recitals, assisting in accompanying class, UNG chorale, college related functions and any other areas requiring the collaboration of a pianist.

Those interested in receiving this scholarship should prepare the following:
  • A minimum of three pieces from the solo repertoire (it can be same as piano performance major audition repertoire)
  • One 4 part choral hymn
  • One piano accompaniment part from any vocal/ instrument repertoire


In addition, sight reading, harmonization and open score reading abilities will be tested.

Repertoire Questions?

Email Dr. Joanna Kim

Saxophone

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
    • Berbiguier: 18 Etudes
    • Paul Creston: Sonata, Opus 19
    • W. Ferling: 48 Etudes for Saxophone
    • Alexander Glazunov: Concerto, Op. 109
    • Bernhard Heiden: Sonata
    • Paule Maurice: Tableaux de Provence

Repertoire Questions?

Email Dr. Bart Walters

Trombone

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
    • Barat: Andante & Allegro
    • Blazhevich: Clef Studies
    • Bordogni: Complete Vocalises (#2-16)
    • Bordogni/ Rochut: Studies in Legato
    • David: Concertino
    • Galliard: Sonatas #1, 3, or 5
    • Guilmant: Morceau Symphonique
    • Jacob: Concerto
    • Larsson: Concertino Rochut -
    • Melodious Etudes for Trombone Vol. 1
    • Saint-Saens: Cavatine
    • Sulek: Sonata vox Gabrieli
    • Telemann: Sonata in f minor
    • Tyrell: 40 Progressive Studies (#1-15)
    • Voxman: Selected Studies (any)

Repertoire Questions?

Email Dr. Adam Frey

Trumpet

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument
    • Barat: Andante et Allegro
    • Bousquet: 36 Celebrated Studies
    • Brandt: 34 Orchestral Etudes
    • Charlier: 36 Transcendental Etudes
    • Concone: Lyrical Studies
    • Haydn: Concerto in E flat Major
    • Hering: 32 Etudes
    • Hummel: Concerto in E flat Major
    • Kent Kennan: Sonata
    • Rochut: Melodious Etudes

Repertoire Questions?

Email Dr. Adam Frey

Tuba

  • Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
  • Sight-reading
  • Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument. 
    • Rochut: Melodious Etudes for Trombone (down one octave)
    • Blazevich: 70 Advanced Studies for Tuba, Vol. 1
    • Bordogni: Legato Etudes
    • Kopprasch: 60 Selected Studies for Tuba
    • Capuzzi: Andante and Rondo
    • Gregson: Concerto
    • Haddad: Suite
    • Hartley: Suite for Unaccompanied Tuba
    • Hindemith: Sonata
    • Marcello: Sonata in F Major
    • Tyrell: Advanced Studies for B-Flat Brass
    • Vaughan Williams: Concerto for Tuba

Repertoire Questions?

Email Dr. Adam Frey

Viola

  • Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
  • Sight-reading
  • In addition, persons should prepare two of the following:
  • An etude of moderate difficulty by composers such as Wohlfahrt, Mazas, Kreutzer, Dont, Rode, or Fiorillo, etc.
    • A movement from the Cello Suites of Bach
    • A movement from a concerto such as those by Telemann, Stamitz, Handel, J.C. Bach, or Hoffmeister
    • A movement from a sonata or sonatina by Schubert, Brahms, Vivialdi, Handel, or Eccles

Repertoire Questions?

Email Prof. Martha Gardner

Violin

  • Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
  • Sight-reading
  • In addition, persons should prepare two of the following: 
  • An etude of moderate difficulty by composers such as Wohlfahrt, Mazas, Kreutzer, Dont, Rode, or Fiorillo, etc.
    • A movement from the Bach unaccompanied Sonatas and Partitas
    • A movement from a standard concerto such as those by Vivaldi, Bach, Mozart, Haydn, Beethoven, Mendelssohn, Bruch, or Barber
    • A movement from a sonata or sonatina by Handel, Bach, Telemann, Mozart, Schubert, Beethoven, Franck, or Brahms
    • A short single-movement piece such as an encore-piece

Repertoire Questions?

Email Prof. Martha Gardner

Voice

All voice applicants should prepare from memory two (2) contrasting art songs and/or arias from the standard secular or sacred repertoire from the 17th-21st centuries.

  • One selection must be in English
  • One selection must be in either Italian, French, or German

Those auditioning are strongly encouraged to bring their own accompanist. However, the UNG Music Department will provide an accompanist if one is needed. Those using a UNG staff accompanist must bring a copy of their music to the audition for the accompanist’s use which should be in the form of the original score. For music in the public domain in which photocopies are used, the music should be copied in double-sided format.
No taped or CD accompaniments will be allowed.

Repertoire Questions?

If you have a question regarding vocal auditions or about the eligibility of a repertoire piece, please contact Dr. Benjamin Schoening before the audition.

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