野狼社区

FLUTE

• 1^st 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 20^th or 21^st century (e.g. Mozart exposition, a movement from a sonata, the second movement of Stravinsky鈥檚 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 惭补茂, Decruck Sonate, Tomasi Concerto, or equivalent
• One contemporary piece composed after 1980
  • Examples: Dundee Star Bits, Lauba Neuf 脡tudes, 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 茅tude by Popper, Gr眉tzmacher, Servais or a caprice by Piatti or Franchomme, a work or movement of a work from the 20^th or 21^st 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鈥檚 Sonatas and Partitas for Solo Violin, Bach鈥檚 Cello Suites, Gene Koshinski鈥檚 鈥淭wo鈥� solos, George Hamilton Green鈥檚 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 Kij茅, 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鈥檚 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鈥� with REMO Skyntone Head) or Aluminum Pearl Philharmonic Snare Drum (5.5鈥� 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 Series 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 OCU 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.