1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. Generally speaking, compositions that appear on state Solo & Ensemble contest lists are considered acceptable examples of Vocal Performance Students should prepare two songs of contrasting style, one preferably in a foreign language. At least one of the songs should be memorized. A selection from musical theatre is acceptable. Voice auditions must be accompanied. Following the presentation of solo material, the candidate will be asked to demonstrate Instrumentalbasic pitch and rhythmic Performance sight-reading – Keyboard ability. Candidates for the B.A. in Piano or Organ Performance should be prepared to play – either from score or memory – no less than two pieces. They should be varied, both as to period and style. The candidate should also be prepared to play major and minor scales and arpeggios. Some basic pitch matching exercises will Instrumentalbe asked of the candidate. Performance – Non-Keyboard Instrumentalists should prepare two shorter selections in contrasting styles from the standard literature (or one longer work) that best display musical accomplishments. Major scales and chromatic scales may also be requested. Instrumentalists are not required to perform with accompaniment. Percussionists should prepare a snare drum solo and basic rudiments, and either a timpani or mallet instrument solo. MusicSome basic Composition pitch matching exercises will be asked of the candidate. Candidates should performAcceptance one into representative the Music Composition work on programtheir primary (both Compositioninstrument or for voice the Concert and also Stage present and Compositiona portfolio of for Film & Media) is based on both an interview/portfolio review and an audition. at least two scores (with recordings, if possible) of their original compositions. Scores should demonstrate the candidate’s creativity and ability to realize his or her ideas with accuracy and in accordance to theconventional candidate. notational practices. Candidates should be able to discuss their influences and music interests as they relate to the field of composition. Some3 basic pitch matching exercises will be asked of 4 Music Industry: Sound Engineering Acceptance into the Music Industry: Sound Engineering program is based both on an interview and a demonstration of the candidate’s fluency on a particularwe require instrument. that candidates Because havethis concentration some facility is on not a musicala performance-oriented instrument or voicedegree, and the can level demonstrate of performance basic does literacy not need in conventional to reflect the music same notationstringent. Candidatesstandards. However,should be sinceprepared it is toa discussmusic degree, reasons why they wish to pursue the technology concentration. Support materials (CD recordings, creative work, past editing projects, etc.) are helpful, but not necessary Musicfor admittance Industry: into the Music program. Business Some basic pitch matching exercises will be asked of the candidate. Acceptance into the Music Business program consists of both an interview and an audition on the candidate’s primary instrument weor voice.require Because that candidates the Music Businesshave some concentration facility on a is musical not a performance-oriented instrument or voice anddegree, can the demonstrate level of performance basic literacy does in not conventional need to reflect music the notation same stringent. Candidates standards. should However,be prepared since to discussit is a music reasons degree, why they wish to pursue the Music Business concentration. Taped/Recorded Auditions Students who do not live within a 300-mile radius of Indiana University Southeast may submit a recorded audition. A DVD or video files (.avi, .wmv., .mov., .mp4, .flv) on disc is preferred, but a CD or audio files (.mp3, .wav, .flac) on disc will be accepted. Students who submit a recorded audition may only be provisionally accepted. Students deemed qualified will still be required to perform a live audition at some point prior to the start of the semester. Accompanists Vocal auditions must be accompanied. Accompanied instrumental auditions are preferred, but not required. (atYou www.ius.edu/music/accompanists must provide your own accompanist if one is needed for your audition. If you need assistance in securing an accompanist, you can view our list of recommended accompanists available on our web site ) and contact them directly. Be advised that you will need to contact an accompanist as far in advance of your audition date as possible. Also, please be aware that you will need to negotiate accompanist fees with the accompanist. www.ius.edu/music For more information about the audition process, please visit or contact the Music Department at 812.941.2655 or e-mail [email protected] The following lists are drawn mainly from the Indiana State School Music Association’s Solo & Ensemble Contest listings, and are only suggestions regarding the styles and level of difficulty we expect to hear from those auditioning4 for a music degree. 5 PIANO/KEYBOARD COMPOSER TITLE Adler Sonata Breve Mallorca Bach Fantasia in C Minorfor Piano (1st or 3rd mvt.) Albeniz , Op. 202 Bach Italian Concerto Bach Well-TemperedInventions (one Clavier Two-Part and one Three-Part) Barber Ballade (1st or 3rd mvt.) * Allegro Barbaro , Books 1 and 2 (any paired Prelude and Fugue) , Op. 46 Mikrokosmos Vol. 6 BeethovenBartók Six Variations on “Nel cor piu non mi sento” BeethovenBartók Sonata“Six Dances in Bulgarian Rhythm” from (any 2 dances) Beethoven Sonata Beethoven Sonatas, Op. 49, No.1 (complete) , Op. 49, No.2 (complete) Ballade , Op. 2, No.1; Op. 2, No. 2; Op. 2, No. 3; Op. 10, No.1; Op. 10, No.2; ThreeOp. 10, Intermezzi No.3; Op. 13; Op. 14, No.1; Op. 14, No.2 (any first or last mvt. of these) Brahms Klavierstücke, Op. 10, No.1 or Op. 118, No.3 Brahms Rhapsodies , Op. 117 (any one from this Opus) ChopinBrahms Etudes , Op. 118 (any Intermezzo from this Opus) ChopinBrahms Fantaisie-Impromptu, Op. 79 (No.1 or 2); Op. 119, No. 4 (any one of these listed) * Chopin Mazurkas, Op. 10; Op. 25 (any etude from either,(any but one not of thesethe Posthumous listed) etudes) Chopin Nocturnes , Op. 66 Chopin Polonaises, Op. 33, No. 4; Op. 50, No.1 or 3 Chopin Waltzes , Op. 9, No.1 or 2; Op. 27, No.1; Op. 37, No.2; Op. 55, No.1; Op. 72, No.1 Coleridge-Taylor Three Fours, Op. 26, No.1 or 2; Op. 40, No.1 or 2 Copland Scherzo ,Humoristique Op. 34, No.1; Op. 64, No.2 or 3; Op.69, No.1; Op.70, No.1 or 2 Debussy Deux Arabesques, Op. 71, No. 6 Debussy Estampes (The Cat and the Mouse) Debussy Mazurka (either one) Debussy Preludes (any one) Debussy Suite Bergamasque Debussy Suite Pour, Vols. le Piano I or II (any mvt.) Preludes Dett MarchJuba Dance of the from Dwarfs “In the Bottoms” Gershwin Wedding Day at Troldhaugen Grieg , Op. 54, No.3 HaydnGrieg Sonatas , Op.65, No.6 Guion SonatinaThe Harmonica Player from “Alley Tunes” Variations (any first mvt.) KhachaturianKabalevsky Toccata , Op. 13, No.1 Kabalevsky , Op. 40, No.1 Hungarian Rhapsodies Lecuona LiebestraumMalaguena from “Andalusia” MacDowellLiszt Witches Dance , Nos. 6, 8, 10, 11, 13 MacDowellLiszt Czardas , No.3 in A-flat Mendelssohn Rondo Capriccioso, Op. 17, No. 2 Mendelssohn Scherzo ,in Op. E minor24, No. 4 Rondo in D Major, , Op. 14 Sonatas , Op. 16, No.2 Mozart K. 485 5 Mozart (any first or last mvt.) 6 (Piano/Keyboard) Sonatina Poulenc Mouvements perpetuals Muczynski Sonata in E minor Poulenc PreludeToccata infrom C Major “Trois Pieces” Price, F. Humoresque (any mvt.) Prokofiev Preludes, Op. 23 , Op. 12, No.7 from “Episodes” SchubertRachmaninoff Four Impromptus, Op. 10, No. 5 SchubertRachmaninoff Sonatas (No. 5 or 6) Fantastic Pieces , Op. 90 Scenes from (any Childhood first mvt.) ScottSchumann Lotus Land , Op. 12 (In the Evening, Soaring, Whims, or In the Night) SibeliusSchumann Romance Sinding Rustle of Spring Tcherepnin Bagatelles, Op. 5 Turina Danses Gitanes Piano Preludes Toccata II , Op.55 Valenti (No. 1 or 10) Wishart STRINGS VIOLIN COMPOSER TITLE Dvořák, A. Romance in f minor, Op. 11 Dvořák, A. Sonatina in G Major Bach,Accolay, J.S. J. B. AriosoConcerto No. 1 in a minor Eccles, H. Sonata in g minor Bach, J.S. Air on the G String Faurè, G.