Audition Repertoire

• An etude of your choice from Bordogni: Melodious Etudes or Rochut: Melodious Etudes
• A technical etude 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 etude from Kopprasch: 60 Selected Studies
• One etude demonstrating your beautiful sound and phrasing abilities from Gallay, Kling or Maxime
• First movement from the list of pieces below ​(​or from selections of comparable difficulty​)​:
  • Beethoven: Horn Sonata in F Major, Op. 17
  • Hindemith: Horn Sonata
  • ​Krol: Laudatio (all)
  • Ketting: Intrada (all)​
  • Mozart Horn Concertos ​2, 3 or 4​
  • Mozart: Concert Rondo in E-flat Major, K. 371​ (all)​
  • F. Strauss: Concerto, Op. 8
  • F. Strauss: Nocturno, Op. 7 (all)​
  • R. Strauss: Concerto No. 1, Op. 11
• 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 etude from Bordogni/Rochut: Melodious Etudes nos. 2-24
• One technical etude 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 etude from Bordogni/Rochut: Melodious Etudes nos. 2-24 (as written and down an octave)
• One technical etude 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.

• One 18th century piece chosen from the following:
  • Haydn: Trumpet Concerto in E-flat Major (movements I or III only)
  • J.N. Hummel: Trumpet Concerto in E-flat Major
  • Neruda: Trumpet Concerto in E-flat Major
• One 20th century piece chosen from the following:
  • Hindemith: Trumpet Sonata (movements I or III only)
  • Kennan: Sonata for Trumpet and Piano
  • Stevens: Sonata for Trumpet and Piano (movement I only)
  • Enesco: Legend
• Two contrasting etudes
• All major scales memorized, one octave
• Sight-reading

• An Etude of your choice from Bordogni: Melodius Etudes
• A Technical Etude 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)

Snare Drum

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

Keyboard

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

Timpani

• One etude 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.

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.

• 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

• First movement of a standard double bass concerto or equivalent single movement work
• Any two standard orchestral excerpts chosen from the following composers: Beethoven, Brahms, Mozart and Strauss

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

At least one work should be performed from memory; etudes 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.
Accompaniment is not required or provided for the live audition, but permitted if so desired and provided by the auditionee.

• 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.

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
• From Studies in all Keys (Studies in Scales and Chords), Op. 24 by Ludwig Milde: Study #1, quarter note = 60-72
• A lyrical movement from a solo piece or etude of choice.
• 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.

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):

• All major scales
• Chromatic scale, full-range
• Three contrasting movements that represent at least two composers. At least two movements must be from solo pieces and one may be an etude.
• Sing a major scale and an arpeggio
• Perform the following rhythms:

Video Prescreening (required):

• Two contrasting études from Rose 32 Études for Clarinet
• 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
• 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):

• Mozart: Concerto in G Major, K. 313 (exposition of first movement only)
• Any complete work from Flute Music by French Composers, edited by Louis Moyse, published by Schirmer

Prescreening repertoire does not need to be accompanied.
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 or Concerto in D Major, K. 314 (first movement only)
• Two contrasting works or movements from the standard solo repertoire
• One etude
• Two contrasting orchestral excerpts

Audition must be unaccompanied.

There is no required repertoire for undergraduate entrance auditions.
Each applicant should be prepared to play a selection of works (three movements or etudes) that represent his/her musical and technical abilities. These movements or etudes should be contrasting in style, tempo, and time period.  Please do not play three baroque sonatas or Ferling etudes. Two examples of appropriate audition repertoire are:

• Mozart: Concerto in C Major, K. 314 (first movement)
• Hindemith: Oboe Sonata (1st movement)
• Barret: Grand Study

OR

• Handel: Sonata in C minor, Op. 1, HWV 366 (second movement)
• Saint-Säens: Oboe Sonata, Op. 166 (first movement)
• Ferling Etude (fast or slow)

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