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Audition Repertoire Requirements

Auditionees may be asked to sight-read; instrumentalists may be asked to demonstrate proficiency in both scales and arpeggios.

WOODWINDS

For admission to the School of Music and scholarship consideration:

Flute, Oboe, Clarinet, Saxophone, Bassoon – At least two contrasting works from the standard repertoire, including movements of sonatas, concerti and other solo pieces. Auditionees will be asked to sight-read and demonstrate proficiency in both scales and arpeggios.

For admission to the School of Music and consideration for a full-tuition chamber touring ensemble scholarship: (The Howe Woodwind Quintet or otherwise)

Flute

Scales: All major and minor scales covering the range of the instrument (at least two octaves). Tempo quarter =90, playing eight notes. Tongued, slurred. 3 octave chromatic scale in triplets
1)      1st movement of Mozart concerto in D or G
2)      CPE Bach unaccompanied sonata (2nd or 3rd movement)
3)      1st movement of Prokofiev, Muszynski, Martinu, or Lieberman sonatas.
4)      Density 21.5 by Varese

Oboe

Scales: All major and minor scales covering the range of the instrument (at least two octaves). Tempo quarter = 90, playing eight notes. Tongued, slurred.
1)      1st Mvt of Mozart concerto in C
2)      One mvt of romantic/early 20th century (Saint Saens, Poulenc, Schumann Romances)
3)      Britten Metamorphoses, two contrasting mvts: Niobe, Bacchus

Clarinet

Scales: All major and minor scales covering the range of the instrument (at least two octaves). Tempo quarter =90, playing eight notes. Tongued, slurred.
1)      1st movement of Mozart concerto
2)      One movement of romantic/early 20th century (Poulenc Sonata, 3rd  mvt; Bernstein Sonata, 2nd mvt; Saint-Saens Sonata, 4th  mvt; Weber Concerto, 1st  or 3rd  mvt)
3)      Stravinsky Three Pieces (2nd mvt)

Bassoon

All Major Scales:
C & Bb three octaves
All others at least two octaves

Minor Scales: through 3b's and 3#'s
melodic and harmonic, two octaves

repertoire
Three selected from the following four options:

1- One movement of any Vivaldi Concerto OR the Telemann Sonata in f minor.
2- Mozart- Concerto in Bb major, any movement, with cadenza
3- Weber- Concerto in F Major, two movements (one fast and one slow)

OR the Weber- Andante e Rondo Ongarese

4-Wilson Osborne- Rhapsody OR two movements from the Gordon Jacob- Partita

For clarification or substitution approval, please contact Professor Stolle at kstolle@depauw.edu.

BRASS

For admission to the School of Music and scholarship consideration:

Horn, Trumpet, Trombone, Euphonium/Baritone, Tuba – At least two contrasting works from the standard repertoire, including movements of sonatas, concerti and other solo pieces.  Auditionees will be asked to sight-read and demonstrate proficiency in both scales and arpeggios.

For admission to the School of Music and consideration for a full-tuition chamber touring ensemble scholarship: (The Mansfield Brass Quintet, Howe Wind Quintet or otherwise)

Trumpet

At least two contrasting works from the standard repertoire, including movements of sonatas, concerti and other solo pieces. Sight-reading and proficiency in both scales and arpeggios.

Horn

All major scales two octaves
1)      A movement from a Mozart Concerto or from the Beethoven Sonata
2)      A movement from the R. Strauss Concerto No. 1 or Saint Saens Morceau du Concert

(Substitutions of comparable literature are acceptable as long as the applicant contacts Prof Danforth prior to audition to ensure suitability- rdanforth@depauw.edu)

Trombone 

 2-octave major and harmonic minor scales

1)      2nd trombone solo from Mozart's Tuba mirum
2)      Berlioz's Hungarian March
3)      One Group I solo. Such as: David Concertino, Sulek Sonata (Vox Gabrieli), Gordon  Jacob Concerto 1st Mvt., Grondahl  Concerto 1st Mvt.

Tuba

Ability to play all major scales as requested. Sight-reading and pitch-matching.

1)      Two etudes (from Blazhevich, Tyrell, Kopprasch) showing the student's level of technical and musical accomplishment.
2)      Two contrasting solo movements

(For clarification of 1, 2, contact Professor Smith osmith@depauw.edu)

PERCUSSION

For admission to the School of Music and scholarship consideration:

One selection from each of the following categories: (1) snare drum; (2) marimba, xylophone or vibraphone (demonstrating two and four-mallet technique); (3) timpani (demonstrating tuning ability); optional: drum set or multiple percussion.

For admission to the School of Music and consideration for a full-tuition chamber touring ensemble scholarship:

Repertoire should be taken from the following list. Substitutions of equivalent material are at the discretion of Dr. Whiting (bonniewhiting@depauw.edu). You will also be asked to sight read on marimba and snare drum.

Keyboard Percussion (Marimba, Xylophone, or Vibraphone)

 One two-mallet and one four-mallet solo of your choice, to be taken from the following:
Abe: Dream of The Cherry Blossoms or Michi, Miyoshi: any movement(s) from Conversation, Musser: any etude, Druckman: any movement from Reflections on the Nature of Water, Bach: selection from Sonatas and Partitas for solo violin, Cello Suites, or Lute Suites, Hovhaness: Fantasy on Japanese Woodprints (option for xylophone or marimba), Cowell: Ostinato Pianissimo (xylophone solo only), Ragtime selection (George Hamilton Green or equivalent; no accompaniment necessary).

vibraphone

Manoury: Solo from Livre des Claviers, Deane: Mourning Dove Sonnet

Major and minor scales (2 octaves)

Snare Drum

One selection from Delécluse Douze Etudes, Cirone Portraits in Rhythm or Aleo Advanced Etudes for Snare Drum.

Mastery of closed and open rolls at all dynamic levels

Timpani

Two contrasting etudes from Firth, Delécluse, or Hochrainer books
Ability to tune accurately.
Ability to roll at all dynamic levels.

Optional

Drumset solo
Multiple percussion solo

PIANO

For admission to the School of Music and scholarship consideration:

Three selections (all performed from memory) from each of the following categories: (1) a prelude and fugue from the Well-Tempered Klavier by J.S. Bach; (2) a movement from a sonata by Haydn, Mozart or Beethoven; (3) a Romantic, Impressionist or Contemporary work of choice.

For admission to the School of Music and consideration for a full-tuition chamber touring ensemble scholarship:

To be played from memory:

1) A prelude and fugue from the Well-Tempered Clavier by J.S. Bach
2) A complete sonata by Haydn, Mozart or Beethoven (excluding Op. 14, 49 and 79)
3) A Romantic, Impressionist, or Contemporary work of the applicant’s choice, not less than six minutes (e.g. Chopin Scherzo, Ballade). A collection of shorter works is permissible (e.g. a set of Chopin Mazurkas, or a set of Debussy Preludes).

Successfully sightread a given piece with accuracy and appropriate musicality.

ORGAN

At least two selections: (1) prelude and fugue by J.S. Bach or a work by another Baroque composer; (2) a 19th- or 20th-century composition.

STRINGS

For admission to the School of Music and scholarship consideration:

Violin, Viola, Violoncello, Double Bass – At least two contrasting works from the following three choices: (1) a movement from a J.S. Bach solo sonata or partita, or other Baroque work; (2) a movement from a 19th- or 20th-century sonata or concerto; (3) a work of the student’s choice. Auditionees will be asked to sight-read and demonstrate proficiency in both scales and arpeggios.

For admission to the School of Music and consideration for a full-tuition chamber touring ensemble scholarship: (The Asbury String Quartet or otherwise)

Violin

major and minor scales in 8th notes, three octaves (quarter-note = 80)

1) two contrasting movements from a Bach solo sonata or partita
2) two contrasting movements from a standard violin concerto including, or at a level comparable to or higher than, the following (with cadenzas when applicable): Barber,  Bruch G minor, Kabalevsky, Khatchaturian, Mendelssohn, Mozart #3, #,4, or #5, Paganini #1, Saint-Saens #1 and #3, Vieuxtemps #2, #4, or #5, Wieniawski d minor and f# minor
3) a study from Dont, Gaviniés, Rode, or Paganini

Viola

1)      Two contrasting movements from Bach cello suites II, III, IV, or V, or two contrasting movements from any Bach violin sonata or partita
2)  A movement from a standard Romantic or Modern sonata or concerto such as: Schubert Arpeggione sonata, Rebecca Clarke sonata, Vieuxtemps sonata Op 36 in Bb Major, Brahms sonatas in Eb Major or f minor, Hindemith Der Schwanendreher, Walton concerto, Bartok concerto or another work with the approval of Prof. Brockmann nicolebrockmann@depauw.edu

Cello

1)       One complete movement of a standard concerto or sonata such as: Saint-Saens A Minor Concerto, Schumann Concerto, Elgar Concerto, Lalo Concerto, Shostakovich Concerto No.1, Prokofiev Symphonie-Concertante, Beethoven Sonatas III-V, Brahms Sonatas in E minor/F major 
2)       Two movements from Bach Suites III-VI (two movements)

Double Bass

1)      One movement of unaccompanied Bach
2)      First movement of one of the following concertos: Bottesini 2, Koussevitzky, Vanhal
3)      Four orchestral excerpts from the standard audition repertoire