鶹ý City University | Graduate Instrumental Auditions

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Graduate Instrumental Auditions

We are offering several audition opportunities for instrumental students:

On-Campus Audition Dates

Nov. 15 & 16, 2024
Jan. 31 & Feb. 1, 2025
Feb. 21 & Feb. 22, 2025
  • Special Programming: 鶹ý Symphony side-by-side rehearsal with Prof. Jeffrey Grogan (Saturday only)

Feb. 28 & Mar. 1, 2025
  • Special Programming: 鶹ý Wind Ensemble side-by-side rehearsal with Dr. Matthew Mailman (Saturday only)

Alternate audition dates are easily arranged!

  • To request an alternate on-campus audition date, select "alternate date in-person" as your audition date preference in the application.


Recorded Auditions

Step 1: Apply to the University

Applicants must begin the 鶹ý City University Graduate application prior to auditioning. Applications may be obtained by contacting the Graduate Admissions Office at (405) 208-5094 or online.


Step 2: Submit the audition form

audition applications for the 2024-2025 season are OPEN!

Instrumental auditions completed by March 1 will receive priority scholarship and assistantship consideration. Acceptances, scholarships, and assistantships are awarded on a rolling basis. Learn more about scholarships and assistantships...

Candidates auditioning for spring semester entry must complete their audition no later than Nov. 15.

All instrumental auditions will include sight-reading. Photocopied music and taped accompaniments are not permitted.

Step 3: Audition Requirements

FLUTE
  • 1st movement of the Mozart G or D concerto, including cadenza
  • One movement of a 20th or 21st century sonata
  • One piece of your choice
  • Three orchestral excerpts chosen from the following:
    • Daphnis and Chloe, Symphonic Metamorphosis, Brahms #4, Leonore #3, Mendelssohn's Scherzo, or Carnival of the Animals
  • Sight-reading

Please contact Dr. Lucy Song ([email protected]) with any questions about flute repertoire or audition requirements.


CLARINET
  • Three contrasting works, or movements from larger works, including at least one selection from the 20th or 21st century (e.g. Mozart exposition, a movement from a sonata, the second movement of Stravinsky’s Three Pieces). A substantial etude may be used as one of the three selections.
  • Two contrasting orchestral excerpts
  • Sight-reading

Please contact Dr. Lisa Kachouee ([email protected]) with any questions about clarinet repertoire or audition requirements.


SAXOPHONE
  • Major, harmonic minor, and chromatic scales (full range)
  • Two contrasting pieces from the standard repertoire
    • Examples: Desenclos Prelude, Cadence, et Finale, Husa Elegie et Rondeau, Noda Ѳï, Decruck Sonate, Tomasi Concerto, or equivalent
  • One contemporary piece composed after 1980
    • Examples: Dundee Star Bits, Lauba Neuf Études, Garrop Tantrum, Yoshimatsu Fuzzy Bird Sonata, Shrude Kantada, or equivalent
  • Jazz excerpts and improvisation are optional but welcomed 
  • Sight-reading

Please contact Dr. Joshua Heaney ([email protected]) with any questions about saxophone repertoire or audition requirements.


OBOE & BASSOON
  • Candidates are required to perform four pieces of varied styles and periods. Repertoire may be solos or etudes written for the instrument.
  • Sight-reading

Please contact Dr. Rachel Maczko ([email protected]) with any questions about oboe repertoire or audition requirements.

Please contact Dr. Anna Resnick ([email protected]) with any questions about bassoon repertoire or audition requirements.

  • Primary Instrument: Two major contrasting works
  • Secondary Instrument #1: One major work
  • Secondary Instrument #2: One minor work or etude

Please contact Dr. Lisa Kachouee ([email protected]) with any questions about multiple woodwind repertoire or audition requirements.

TRUMPET, HORN, TROMBONE, EUPHONIUM & TUBA
  • Candidates are required to perform two pieces of varied styles and periods. 
  • 2-5 standard orchestral excerpts are also required for trumpet, horn, trombone, and tuba. 2-5 standard band excerpts are required for euphonium.
  • Sight-reading

Please contact Prof. Michael Anderson ([email protected]) with any questions about trumpet repertoire or audition requirements.

Please contact Dr. Kate Pritchett ([email protected]) with any questions about horn repertoire or audition requirements.

Please contact Prof. Joshua Gaub ([email protected]) with any questions about trombone repertoire or audition requirements.

Please contact Dr. Genevieve Clarkson ([email protected]) with any questions about euphonium/tuba repertoire or audition requirements.

VIOLIN
  • An outer movement from a major concerto written after 1775, preferably from the Romantic, Modern, or Contemporary Periods.
  • A movement of an unaccompanied sonata or partita by J.S. Bach.
  • A contrasting work of choice. This selection must be either a sonata, showpiece, or caprice. An additional movement from a major concerto or solo Bach will not fulfill this requirement. Applicants may only perform caprices by Fiorillo, Rode, Dont, or Paganini.
  • Sight-reading

Please contact Dr. Nicholas Hatt ([email protected]) with any questions about violin repertoire or audition requirements. 


VIOLA
  • A movement from a major concerto.
  • A movement from the Bach Cello Suites (transcribed for viola).
  • A movement from a major sonata.
  • A contrasting work that is considered to be from the standard viola solo repertoire. This may include a viola solo work, a concert piece, or a solo movement from unaccompanied works.
  • Sight-reading

Memorization is encouraged except for sonatas.

Please contact Dr. Shaohong "Betty" Yuan ([email protected]) with any questions about viola repertoire or audition requirements.


CELLO
  • The exposition of a standard concerto
  • Two movements from a Bach suite
  • An additional contrasting work such as: a virtuosic étude by Popper, Grützmacher, Servais or a caprice by Piatti or Franchomme, a work or movement of a work from the 20th or 21st century, a movement from a major sonata, a showpiece, or a lyrical piece
  • Sight-reading

Please contact Prof. Emily Stoops ([email protected]) with any questions about cello repertoire or audition requirements.


DOUBLE BASS
  • Complete first movement of a concerto, including cadenza 
  • One movement of a Bach Cello Suite (any transcription or key is acceptable) or any unaccompanied piece under 5 minutes
  • Two Orchestral Excerpts, or an additional solo work
  • Sight-reading

Please contact Prof. Tyler Shepherd ([email protected]) with any questions about double bass repertoire or audition requirements.


HARP
  • One solo work from the Baroque or Classical period
  • One solo work from the standard harp literature
  • One solo work that represents your artistic musicianship
  • Orchestral excerpt:
    • The cadenza from The Nutcracker "Waltz of the Flowers", Tchaikovsky
  • Sight-reading

Sight reading may also be requested. All solo pieces must be memorized, while sheet music may be used for the orchestral excerpts.

Please contact Prof. Emily Duncan ([email protected]) with any questions about harp repertoire or audition requirements.

Please contact Dr. Tommy Dobbs ([email protected]) with any questions about percussion repertoire or audition requirements.

SOLO LITERATURE
  • Snare Drum: One etude by Delecluse, Tompkins, Pratt, or Cirone
  • Marimba (Two Mallets): One solo demonstrating two mallet ability.
    • Examples: J.S. Bach’s Sonatas and Partitas for Solo Violin, Bach’s Cello Suites, Gene Koshinski’s “Two” solos, George Hamilton Green’s Xylophone Rags, or something similar
  • Marimba (Four Mallets): One substantial four-mallet solo.
    • Examples: Druckman, Vinao, Sammut, Abe, Stout, Burritt, or something similar
  • Timpani: One Solo or Etude
    • Examples: Delecluse, Carter, Hochrainer, Beck, Goodman, Lepak, or something similar
ORCHESTRAL EXCERPTS
  • Snare Drum: Two contrasting orchestral excerpts (Scheherazade, Lieutenant Kijé, etc.)
  • Timpani: Two contrasting orchestral excerpts (Beethoven, Tchaikovsky, etc.)
  • Xylophone: Two contrasting orchestral excerpts (Porgy and Bess, Polka, Exotic Birds, etc.)
  • Glockenspiel: Two contrasting orchestral excerpts (Magic Flute, Sorcerer’s Apprentice, etc.)
OPTIONAL (but encouraged)
  • Drumset: Medium/Up-tempo swing (time and trading fours), Bossa Nova, Funk, and Samba
  • World Percussion: Steel Pan solo (pans provided if requested), congas (provided), riq, maracas, various frame drums, etc.
GEAR PROVIDED
  • Brass Pearl Philharmonic Snare Drum (4” with REMO Skyntone Head) or Aluminum Pearl Philharmonic Snare Drum (5.5” with REMO M5 Head)
  • Yamaha YM-5104A 5.0 Marimba or Malletech Stiletto 5.0 Marimba
  • Yamaha Dresden and Balanced Action Timpani will be available
  • Adams Alpha 鶹ý Xylophone (low C)
  • Yamaha YG-2500 Pedal Glockenspiel (3 1/3 Octave Range)

Feel free to contact Dr. Tommy Dobbs ([email protected]) for a free lesson, a personal tour of our facilities, or to setup an audition date.

Follow the 鶹ý Percussion Studio on , and .

  • Candidates are required to perform a thirty-minute program representing important works from at least three of the following historical styles:
    • Baroque period (e.g., Bach, Scarlatti, Handel, Rameau, Couperin)
    • Classical period (e.g., Beethoven, Haydn, Mozart)
    • Romantic period (e.g., Chopin, Schubert, Liszt, Brahms, Schumann)
    • Twentieth century (e.g., Debussy, Ravel, Bartok, Hindemith, Prokofieff, Schoenberg, Copland, Barber)
  • Candidates may be asked to perform all or part of their prepared repertoire.

Please contact Dr. Sergio Monteiro ([email protected]) with any questions about piano repertoire or audition requirements. 

  • A thirty-minute program should be prepared to include the following:
    • One major work by J.S. Bach or another Baroque composer.
    • Two additional pieces in differing styles from the Romantic period or later (e.g., one lyrical, one virtuosic piece).
  • Playing from memory is encouraged, but not required. Ample time and pistons will be provided for registering the program.

Please contact Dr. Melissa Plamann ([email protected]) with any questions about organ repertoire or audition requirements. 

  • The graduate guitar audition consists of at least 30 minutes of music performed on classical, acoustic, or electric guitar. 
    • Additional works (not required) may include original compositions and performances on other plucked string historical or folk instruments such as the lute, theorbo, banjo, and mandolin.
  • Please provide a resume listing music-related accomplishments and provide links to completed creative projects. (Spotify, podcasts, websites, etc.)
  • Applicants will be contacted and interviewed by the Guitar faculty upon completion of the application.

Please contact Prof. Matt Denman ([email protected]) with any questions about guitar repertoire or audition requirements. 

Questions?

Are you still thinking about whether or not to audition? That's okay, let's explore and see if we're a good fit for each other! and we'll follow up degree options, ensembles, scholarships, and tips for the college audition process.

We want to ensure your success and help you find your passion!

Please reach out to us at [email protected].
405-208-5050
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