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Admission to the School of Music as a music major or music minor, and for scholarship consideration, requires an audition. This audition is in addition to the formal application process for admission to the University of Nebraska-Lincoln. For information on university admissions, contact admissions@unl.edu

Performance auditions offer applicants the opportunity to demonstrate their ability to pursue college-level, private music instruction on voice or an instrument. Candidates may audition in more than one area, but should plan to audition in the area in which he or she can present the best possible performance. Students can choose only one area for major study. Major areas may be changed, pending faculty approval.

Auditions are heard by the School of Music faculty and are usually 10-15 minutes in length. Accompaniment is provided upon request, but rehearsal time with accompanist prior to the audition is not provided. To assist candidates in achieving a successful audition, each performance area has set forth audition requirements for their department. Please refer to the list below in knowing how to prepare for a successful audition.

BRASS auditions:

Euphonium :

1. Two-octave major scales where possible: and
2. One slow and one fast section from works or etude books such as: Arban's Complete Conservatory Method; Barat, Andante et Scherzo, Introduction and Dance; Bordogni/Rochut, Melodious Etudes; Capuzzi, Andante and Rondo; Clarke, From the Shores of the Mighty Pacific; Deluca, Beautiful Colorado; Evald, Romance; Galliard, Sonatas: Marcello, Sonatas; Kopprasch, 60 Selected Studies; Tyrell, 40 Progressive Studies.

Horn:

1. Two-octave major scales where possible: and
2. One solo selected from: Beethoven, Sonata; Glazunov, Reverie; Mozart, Concerto No.1, K. 412, or No. 3, K. 447; Franz Strauss, Nocturno; or comparable solo; and
3. One etude from: Maxime Alphonse, books II, III, and IV; Gallay; Kopprasch, books I and II; and Müller.

Bass Trombone:

1. Two-octave major scales where possible: and
2. One slow and one fast section from works or etude books such as:
   Bordogni/Rochut, Melodious Etudes (down an octave); Dedrick, Lyric Etude; Hindemith, Drei leichte Stüke; Lebedev, Concerto; Lieb, Concertino basso; and Ostrander, Concert piece in Fugal Style or equivalent.

Tenor Trombone:

1. Two-octave major scales where possible: and
2. One slow and one fast section from works or etude books such as:
   Arban's Complete Conservatory Method; Voxman, Selected Studies; Bordogni/Rochut, Melodious Etudes; Pichaureau 30 Recreations; Barat, Andante et Scherzo; Guilmant, Morceau Symphonique; Telemann, Sonata in F minor or equivalent.

Trumpet:

1. Two-octave major scales where possible: and
2. Two contrasting movements from solo repertoire such as:
   Haydn-Concerto, Arutunian-Concerto, Kennan-Sonata, Latham-Suite, Hindemith-Sonata, Corelli-Air and Dance, Ropartz-Andante et Allegro, Turrin-Caprice, Corelli/Fitzgerald -Sonata VII.

Tuba:

1. Two-octave major scales where possible: and
2. One slow and one fast section from works or etude books such as:
   Arban's Complete Conservatory Method; Vaughan, Concertpiece #1; Bordogni/Rochut, Melodious Etudes; Capuzzi, Andante and Rondo; Marcello, Sonatas; Bach-Bell Air and Bouree; Kopprasch, 60 Selected Studies; Tyrell, 40 Progressive Studies; Blazevich, Etudes.

ORGAN auditions:

Organists should prepare two or three pieces in contrasting sytles. Preferably, one should be by J.S. Bach (or another Baroque composer) and one from the Romantic period. At least one piece should be for manuals and pedal. Pianists who have not previously studied organ but are serious about undertaking an organ degree may be considered for admission by way of a piano audition to evaluate existing keyboard skills. It should be noted that more intensive study may be required of such a student during the undergraduate degree, in order to provide a strong organ foundation.

PERCUSSION auditions:

Percussion players should demonstrate technical facility and musical understanding in the three areas listed below. Accomplishment in two of the areas is required; strongest consideration will be given to those who can successfully perform in all three. Sight-reading will be on the instrument of the performer's choice.

Keyboard Percussion:

1. A two mallet solo or etude on xylophone or marimba that demonstrates technical facility, understanding of the style and musical elements.
2. A four mallet solo or etude, in addition, is suggested; this may be on vibraphone if desired. Suggested sources: Modern School for Xylophone, Marimba and Vibraphone by Morris Goldenberg, Musical Studies for the Intermediate Mallet Player by Garwood Whaley, Masterpieces for Marimba by Thomas McMillan

Snare Drum:

1. A concert/orchestral style solo or etude that includes rolls, flams and other grace note ornaments such as drags/ruffs performed with concert interpretations (multiple bounce rolls, closed drags, etc.). The selected piece should incorporate dynamic ranges. Suggested sources: Portraits in Rhythm by Anthony J. Cirone, Modern School for Snare Drum by Morris Goldenberg, Intermediate Snare Drum Studies by Mitchell Peters (select from 13 - 32)
2. A rudimental style solo or etude that includes rolls, flams, drags, and specifically indicated stickings performed with various length double stroke rolls, rudimental drags, accent patterns, etc.

Timpani:

A solo or etude that demonstrates technical facility on 2-4 drums and includes rolls, dynamic contrasts and other musical elements. Selections with tuning changes within and/or between movements are not required but strongly recommended. Suggested sources: Musical Studies for the Intermediate Timpanist by Garwood Whaley, Solos and Duets for Timpani by Garwood Whaley, Modern Method for Tympani by Saul Goodman, Fundamental Method for Timpani by Mitchell Peters

PIANO auditions:

1. At least three solo works of contrasting styles from the standard classical repertoire. Majors: all pieces must be memorized. Minors: minimum one piece must be memorized.
2. Be prepared to play scales.
3. Be prepared to sight-read.

STRING auditions:

Two contrasting pieces or movements. Personal accompanist strongly recommended when possible; however,    School of Music can provide accompaniment if needed.

VOICE auditions:

NOTE: Provide 9 completed copies of the Voice-Area Entrance Information form.

Prepare two contrasting solos, classical in nature. Folk song arrangements and sacred solos are also acceptable. It is required that auditions be performed from memory . Auditionees may be asked to vocalize. UNL accompanists are available only on the scheduled audition days. Auditionees are always welcome to bring their accompanist. Audition requirements are identical for voice majors and minors.

WOODWIND auditions:

Flute

1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique. Accompaniment not required.
2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
3. Be prepared to sight-read.

Oboe

1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique. Accompaniment not required.
2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
3. Be prepared to sight-read.

Clarinet (B-flat/soprano clarinet; prior permission from professor required for bass clarinet auditions)

1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique. Accompaniment not required.
2. Scales: Chromatic (three octaves) and *major scales through four sharps and flats (three octaves when possible).
3. Be prepared to sight-read.

Saxophone

1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique. Accompaniment not required.
2. Scales: Chromatic (two octaves) and major scales through four sharps and flats (two octaves if possible).
3. Be prepared to sight-read.

Bassoon:

1. Prepared solo, including two contrasting movements or sections to demonstrate phrasing/expressive playing and technique. Accompaniment not required.
2. Scales: Chromatic (two octaves) and major scales through two sharps and flats.
3. Be prepared to sight-read.

DANCE auditions:

1. Come prepared to perform ballet and modern dance. Proper attire will include leotard and tights (preferably convertible to allow for shoes and bare feet); hair pulled back and secured, minimal jewelry. Only ballet shoes will be required.
2. There will be warm ups in ballet and modern as well as center and traveling combinations taught in both genres.

• Hospitality Room for students and parents
• Student Ambassadors available for assistance
• Practice Rooms for warm-up prior to audition
• Information Sessions:
  Music Degrees and the Freshman Year
  Financial Aid
• Student Recital
• Lunch provided for students and family
• Admissions Representative available for consultation

• Phone: (402) 472-6845
• Fax: (402) 472-8962
• Regular Mail:
  Admissions Coordinator
  UNL School of Music
  108 Westbrook Music Building
  Lincoln, NE 68588-0100
• e-mail: School of Music
• On-line audition request