Audition Repertoire

• An étude of your choice from Bordogni: Melodious Etudes or Rochut: Melodious Etudes
• A technical étude of your choice from one of the following:
  • Voxman: Selected Studies for Baritone
  • Arban: Characteristic Studies
  • Bousquet: 36 Celebrated Studies
• A solo of your choice selected from:
  • Barat: Andante and Allegro
  • Capuzzi: Andante and Rondo
  • Curnow: Rhapsody for Euphonium
  • Guilmant: Morceau Symphonique
  • Marcello: any sonata
  • Jacob: Fantasia

• One technical étude from Kopprasch: 60 Selected Studies
• One étude demonstrating your beautiful sound and phrasing abilities from Gallay, Kling or Maxime
• One solo work of the applicant's choice from the list of pieces below ​(​or from selections of comparable difficulty​)​:
  • Hindemith: Horn Sonata (first mvmt)
  • ​Krol: Laudatio (all)
  • Ketting: Intrada (all)​
  • Mozart Horn Concertos ​2, 3 or 4​ (first mvmt)
  • Mozart: Concert Rondo in E-flat Major, K. 371​ (all)​
  • F. Strauss: Concerto, Op. 8 (first mvmt)
  • F. Strauss: Nocturno, Op. 7 (all)​
  • R. Strauss: Concerto No. 1, Op. 11 (first or third mvmt)
• Applicants will be asked to demonstrate ear, range and flexibility through simple scale and arpeggio exercise​s
• ​Applicants will be asked to demonstrate sight-reading ability
• Major scales, two octaves memorized​

Tenor Trombone applicants:

• One étude from Bordogni/Rochut: Melodious Etudes nos. 2-24
• One technical étude from Voxman: Selected Studies
• A solo of applicant’s choice (works such as Guilmant: Morceau Symphonique, Op. 88; Ferdinand David: Concertino; Concerti by Grondahl, Jacob, or Wagenseil; Sonatas by Sulek or Galliard)
• Applicants will also be asked to demonstrate sight-reading ability

Bass Trombone applicants:

• One étude from Bordogni/Rochut: Melodious Etudes nos. 2-24 (as written and down an octave)
• One technical étude from Blume-Fink: 36 Studies for Trombone with F Attachment or Uber/Knaub: 30 Studies
• A solo of applicant’s choice (works such as Hidas, Rhapsody; Lebedev, Concerto in One Movement; Jacob, Cameos; Stevens, Sonatina).
• Applicants will also be asked to demonstrate sight-reading ability

Any questions regarding trombone audition requirements or repertoire may be addressed to Professor Brickens.

• All major scales, two octaves up to high C
• Two contrasting études (Example: slow like Étude #2 by Charlier and quicker like Characteristic Study #1 by Arban)
• A solo of your choice 
• Standard orchestral excerpts (optional)

• An étude of your choice from Bordogni: Melodius Etudes
• A technical étude of your choice from one of the following:
  • Blazevich: 70 Advanced Etudes
  • Kopprasch: 60 Selected Studies
  • Tyrell: 40 Advanced Studies
• A solo of your choice from one of the following:
  • Capuzzi: Andante and Rondo
  • Gregson: Tuba Concerto, mvt. 1
  • Haddad: Suite for Tuba
  • Hartley: Suite for Unaccompanied Tuba
  • Hindemith: Tuba Sonata
  • Marcello: Sonata (any)
  • Bach/Bell: Air and Bouree
  • Barat: Introduction and Dance

• Display ability to walk a bass line that outlines the chord progression and maintains a steady tempo
• Walk and improvise over a blues in the key of F (four to five choruses)
• Walk and improvise over a non-blues piece of your choice from standard jazz repertoire (Autumn Leaves, Satin Doll, My Romance, etc)
• Perform a prepared piece/transcription (optional)
• Sight read a lead sheet chord progression
• Display aural skills (chord recognition)

• Display ability to play different grooves appropriate to the jazz idiom (swing, bossa nova, samba etc.)
• Play time/trade “fours” with jazz faculty 
• Display skills with brushes
• Perform a prepared piece/transcription (optional)

Video Prescreening (required):

Submit a video recording that contains three selections:

• Melody and improvisation over a blues progression
• Melody and improvisation over a bossa nova or samba
• Melody and improvisation over a jazz standard

Applicants may be accompanied by a play-along recording or a live rhythm section.
Applicants may use the sample titles but are not restricted to those selections. Sample titles for each category are as follows:

• Blues: Tenor Madness or Straight, No Chaser
• Bossa Nova/Samba: Triste or Blue Bossa
• Jazz Standard: Take The "A' Train or What Is This Thing Called Love

Upload and attach your video prescreening to the Butler School of Music application form and submit by Dec. 1. Audio-only prescreening submissions do not qualify.

Those applicants that are invited to audition are strongly recommended to play a live audition on one of the scheduled audition days.

Audition (if invited):

• Display abilities to comp with voicings and rhythms idiomatic to jazz
• Improvise and comp over a blues in the key of F (four to five choruses)
• Play the melody, improvise, and comp over a non-blues piece of your choice from standard jazz repertoire (Autumn Leaves, Satin Doll, My Romance, etc.)
• Perform a prepared piece/transcription (optional)
• Sight-read a lead sheet chord progression
• Display aural skills (chord recognition)

• Display abilities to comp with voicings and rhythms idiomatic to jazz
• Improvise and comp over a blues in the key of F (four to five choruses)
• Play the melody, improvise, and comp over a non-blues piece of your choice from standard jazz repertoire (Autumn Leaves, Satin Doll, My Romance, etc.)
• Perform a prepared piece/transcription (optional)
• Sight read a lead sheet chord progression
• Display aural skills (chord recognition)

• Improvise over a blues in the key of F (four to five choruses)
• Play the melody and improvise over a non-blues piece of your choice from standard jazz repertoire (Autumn Leaves, Satin Doll, My Romance, etc.)
• Perform a prepared piece/transcription (optional)
• Sight read big band excerpts chosen by the jazz faculty
• Display aural skills (chord recognition)

Audition material should consist of contrasting works or movements lasting 15 – 20 minutes (memorization not required), and taken from the following:

• One work of Johann Sebastian Bach
• A selection of various pieces from different styles/periods

Prescreening (required): 

Performance applicants: At least twenty minutes of music representing three of the four following style periods: Baroque, Classical, Romantic, Impressionistic/Contemporary. Memorization is required.

Music Studies (Music Education) and Bachelor of Arts in Music applicants: At least ten minutes of music representing two of the four following style periods: Baroque, Classical, Romantic, Impressionistic/Contemporary. Memorization is required.

Suggestions for repertoire:

• Preludes and Fugues by Bach, Scarlatti Sonatas, etc.
• Sonatas (or movements of Sonatas) by Haydn, Mozart or Beethoven
• A work from the Romantic period by Chopin, Schumann, Brahms, Mendelssohn, Liszt, etc.
• A work by Debussy, Ravel, Bartok, Prokofiev, Shostakovich, etc.

Prescreening Submission Instructions: Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Live audition (if invited):

The repertoire requirements for the in-person audition are the same as the prescreening repertoire requirements. You may perform the same works for the prescreening and in-person audition, if invited.

Questions concerning the admissibility of repertoire choices should be addressed to Professor Nel.

Snare Drum

• Two études from Advanced Snare Drum Studies by Mitchell Peters or similar (concert style)
• Sight-reading

Keyboard

• One two-mallet solo/étude from Modern School for the Xylophone by Morris Goldenberg or similar
• One intermediate to advanced level four-mallet solo/étude
• Sight-reading

Timpani

• One étude from Fundamental Solos for Timpani by Mitchell Peters or similar

Drum set (not required but if applicable)

• Demonstrate knowledge of the following styles:  Jazz, Latin, and Rock

Any questions regarding percussion audition requirements or repertoire may be addressed to Professor Burritt.

• Two movements of unaccompanied Bach, performed from memory
• One movement of a standard concerto, performed from memory

Classical Guitar definition: A six-string classical acoustic guitar with nylon trebles and silver or gold wound basses. Dreadnoughts and steel string guitars do not qualify.

Video Prescreening (required):

• One movement of Bach (or equivalent Baroque composer, i.e. Scarlatti, Weiss, etc.)
• One contrasting work from another period

Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

• One movement of Bach (or equivalent baroque composer, i.e. Scarlatti, Weiss, etc.)
• Two contrasting works from other periods

• One movement from the Bach Cello Suites OR a movement of a baroque sonata
• A contrasting work (or movement of a work) selected from the standard solo literature
• Two standard orchestral excerpts of the applicant’s choice

• Two works (or movements of larger works) of contrasting style (recommended: Handel, Debussy, Haydn, Salzedo, Hovhaness, Scarlatti, Bach, Grandjany, Renie, Tournier, Hasselmans) 
• Lariviere: Étude No. 36 in Eb Major

At least one work should be performed from memory; études may be performed from printed music.

If you have any further questions regarding harp audition requirements, please contact Delaine Leonard by email or phone: 512/413-3152.

Video Prescreening (required):

• One movement from the Bach Cello Suites
• A piece or movement from another historical period

Please note, all concerto and unaccompanied works are to be performed from memory in both prescreening and live rounds.
Piano accompaniment is required for all concerti as well as any other works that have a piano part.

­­­­­Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

• Two contrasting movements from the Bach Cello Suites
• A piece or movement from another historical period

Please note, all concerto and unaccompanied works are to be performed from memory in both prescreening and live rounds.
Accompaniment is not required or provided for the live audition.

Video Prescreening (required):

Memorization is REQUIRED for ALL works.
Piano accompaniment for the prescreening recording is REQUIRED.

• One movement of a standard concerto
• One movement from 6 Solo Sonatas and Partitas by J.S. Bach

Please note a movement and its "Double" constitute one movement.

Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

Memorization is REQUIRED for ALL works.
Piano accompaniment for the live audition is not permitted.

• One movement of a standard concerto
• One movement from 6 Solo Sonatas and Partitas by J.S. Bach
• First movement exposition from Violin Concerto No. 3, 4 or 5 by W.A. Mozart

Video Prescreening (required):

• One Italian Art Song or Aria
• One English Art Song or Aria

All works are to be performed from memory and with accompaniment.

Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

• The repertoire requirements for the in-person audition are the same as the prescreening requirements. You may perform the same works for the prescreening and in-person audition, if invited.
• Please bring copyright compliant scores to your audition.
• Accompaniment is required for voice auditions on The University of Texas at Austin campus. If you select a university-provided accompanist (free of charge) on the Butler School of Music application, your music must be attached to the Butler School of Music application form before submission.

Video prescreening (required):

• Chromatic scale slurred from low Bb to high C in eighth notes at quarter note = 92; Fully diminished 7th chord arpeggios from low B flat to high B flat, from low B to high B and from low C to high C in eighth notes at quarter note = 80; F harmonic minor scale and arpeggio, 2 octaves, moderate tempo; G melodic minor scale and arpeggio, 2 octaves, moderate tempo
• Study #1 in C Major, from 25 Studies in Scales and Chords, op. 24, by Ludwig Milde (preferred edition is edited by Benjamin Kamins and William Short, published by Presser)
• One movement chosen from the following pieces:
  • Jenni Brandon: Colored Stones
  • Nancy Galbraith: Sonata for Bassoon and Piano
  • Adolphus Hailstork: Bassoon Set
  • José Siqueira: Three Études for Bassoon and Piano
• Please submit a one to three minute video recording on which you verbally introduce yourself and discuss your musical and non-musical interests, your goals, your reasons for applying to UT Austin and a creative project in which you have been involved.
• Clap the beat while singing the following rhythms on a neutral syllable:

  

Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Zoom Audition (if invited):

If you pass the prescreening round and choose to audition via Zoom you will be required to upload the following audition repertoire to your music application no later than January 15. You may count repertoire from your prescreen toward these requirements or submit new videos if you feel you have improved.

• Two movements from solo pieces and one étude, for a total of three contrasting works. At least one work must be chosen from the following pieces:
  • Jenni Brandon: Colored Stones
  • Nancy Galbraith: Sonata for Bassoon and Piano
  • Adolphus Hailstork: Bassoon Set
  • José Siqueira: Three Études for Bassoon and Piano
• Sing a major scale and an arpeggio
• Clap the beat while singing the audition rhythms on a neutral syllable.

You may be asked to perform any of the in-person audition requirements below in your Zoom audition.

In-Person Audition (if invited):

• All major scales
• Chromatic scale, full-range
• Two movements from solo pieces and one étude, for a total of three contrasting works. At least one work must be chosen from the following pieces:
  • Jenni Brandon: Colored Stones
  • Nancy Galbraith: Sonata for Bassoon and Piano
  • Adolphus Hailstork: Bassoon Set
  • José Siqueira: Three Études for Bassoon and Piano
• Sing a major scale and an arpeggio
• Clap the beat while singing the audition rhythms on a neutral syllable.

Video Prescreening (required):

• Two contrasting études from Rose 32 Études for Clarinet. Rose Études required for TMEA All State auditions in 2019/20 and 2020/21 will not be accepted.
• Mozart: Clarinet Concerto in A major, K. 622 - 1st movement exposition (may be played on Bb clarinet if no A clarinet is available)

Upload and attach your video prescreening to the Butler School of Music application form and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

• Two contrasting études from Rose 32 Études for Clarinet. Rose Études required for TMEA All State auditions in 2019/20 and 2020/21 will not be accepted.
• Mozart: Clarinet Concerto in A major, K. 622 - 1st movement
• One piece of the applicant's choosing from the standard solo repertoire
• Two contrasting orchestral excerpts
• Sight-reading

Video Prescreening (required):

• Please submit a one to three minute video recording on which you verbally introduce yourself and discuss your musical and non-musical interests, goals, creative or volunteer work and reasons for applying to UT Austin. 
• ​​​​​Mozart: Concerto in G major, K. 313 – Mvt. 1, Letter A to D
• Choose two (2) additional pieces or études that demonstrate musical and technical abilities, and represent a variety of styles, tempos and time periods. Please do not choose two pieces from the same work or étude book. Below are examples to indicate a range of style and difficulty, though you are encouraged to offer ANY pieces that demonstrate your best qualities.  Please choose a combination of fast and slow pieces.
  • Köhler: 25 Romantische Etüden im modernen Stil, Op.66
  • Chaminade: Concertino
  • Bizet: Carmen Suite No. 2 Intermezzo (Prelude to Act III)
  • Hindemith: Sonate für Flöte und Klavier, Mvt I. Heiter bewegt
  • Honegger: Danse de la Chèvre

Prescreening repertoire may be unaccompanied.
Upload and attach your video prescreening to the Butler School of Music application and submit by December 1. Audio-only prescreening submissions do not qualify.

Audition (if invited):

• ​​​​​Mozart: Concerto in G major, K. 313 – Mvt. 1 in its entirety
• Choose three (3) additional pieces or études that demonstrate musical and technical abilities, and represent a variety of styles, tempos and time periods. Please do not choose two pieces from the same work or étude book. Below are examples to indicate a range of style and difficulty, though you are encouraged to offer ANY pieces that demonstrate your best qualities.  Please choose a combination of fast and slow pieces.
  • Köhler: 25 Romantische Etüden im modernen Stil, Op.66
  • Chaminade: Concertino
  • Bizet: Carmen Suite No. 2 Intermezzo (Prelude to Act III)
  • Hindemith: Sonate für Flöte und Klavier, Mvt I. Heiter bewegt
  • Honegger: Danse de la Chèvre

Audition must be unaccompanied.

• One movement from a piece of your choice
• Choose a piece from the following:
  • Alyssa Morris: Four Personalities
  • William Grant Still: Incantation and Dance
  • Ruth Gipps: The Piper of Dreams

Technical Requirements
12 Major Scales and Chromatic Scale, full range and performed from memory

Repertoire Requirements
Two contrasting movements from the standard repertoire such as:

• Maurice: Tableaux de Provence
• Creston: Sonata, Op. 19
• Ibert: Concertino da Camera
• Tomasi: Ballade
• Glazunov: Concerto in E-flat Major, Op. 109
• Milhaud: Scaramouche
• Heiden: Sonata for Alto Saxophone in E-flat and Piano
• Villa Lobos: Fantasia
• Or other works of similar scope and difficulty

Accepted Substitutions
One lyrical and one technical étude from Forty-Eight Etudes by Ferling/Mule (published by Leduc), or similar etude study, may be substituted per movement of repertoire selection.

• Examples:
  • As a substitution for performing Heiden’s Sonata movement 1 + 2, the student may perform Heiden’s Sonata movement 1 and two Ferling études (one lyrical, one technical)
  • As a substitution for performing Heiden’s Sonata movement 1 + 2, the student may present four Ferling études (two technical and two lyrical)