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Essay
Students wishing to seek admission must submit an audition/interview application that includes an essay answering the following questions:

• What life event, engineer, producer, or artist inspired you to choose a career in the music industry and why?
• Pick one of your favorite songs and describe the audio production.  As part of your response, tell us what you like about it, describe some of the aspects of the engineering/production process, and what you think could have been improved.

If students have samples of projects they have worked on/created, they are encouraged to submit those as well (but this is not required). A link to a folder of examples may be sent to Dr. Steven Walker (Steven.Walker@ung.edu).
 
Interview/Audition
Student must interview with a member of the Audio/Sound Arts faculty at one of the Music Department’s formal audition dates.

• If the student plays in an applied medium, perform a formal audition applied on their applied instrument.
• Students wishing to be considered for scholarships must perform a traditional audition at one of the department audition dates.

For additional information on audition dates and requirements, visit the Auditions page. 

Repertoire Questions?

Email Steven Walker.

• Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
• Sight-reading
• In addition, persons should prepare two of the following:
  • An etude from Bille, Simandi, or Storch Hrabe
  • A movement from a concerto such as those by Capuzzi, Dittersdorf, Dragonetti, Koussevitzky, or Bottesini
  • A movement from a sonata or short piece such as those by Eccles or Handel

Repertoire Questions?

Email Iris Marcipar.

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
  • L. Milde: 25 Studies in Scales and Chords, op. 24
  • Mozart: Concerto in Bb Major, K. 191
  • Telemann: Sonata in F minor, TWV 41: f1
  • J. Weissenborn: 50 Advanced Studies, op. 8

Repertoire Questions?

Email Dr. Lisa Prodan - Dahlonega

• Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo
• Sight-reading
• In addition, persons should prepare two of the following:
  • An etude of moderate difficulty by composers such as Popper, Duport, Dotzauer, etc.
  • A movement from the Cello Suites of Bach
  • A movement from a concerto such as those by Boccherini, Saint-Saëns, or Haydn
  • A movement from a sonata or short piece such as those by Brahms, Bruch, Fauré, Eccles, Sammartini, Schumann, or Beethoven

Repertoire Questions?

Email Dr. Philip Snyder

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
  • André Messager: Solo de concours
  • Mozart: Concerto in A Major, K. 622
  • Cyrille Rose: 32 Etudes for Clarinet
  • Carl Stamitz: Clarinet Concerti
  • Igor Stravinsky: Three Pieces for Clarinet Solo
  • Carl Maria von Weber: Concertino and all Clarinet Concerti
  • Louis Spohr: Clarinet Concerti
  • Paul Harvey: Three Etudes on Themes of Gershwin

Repertoire Questions?

Email Timothy Fitzgerald Boyd

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are NOT the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
  • Arban: Carnival of Venice
  • Barat: Introduction and Dance
  • Clinard: Sonata for Unaccompanied Euphonium
  • Clark: From the Shores of the Might Pacific
  • Curnow: Rhapsody for Euphonium
  • Deluca: Beautiful Colorado
  • Guilmant: Morceau Symphonique
  • Haddad: Suite for Baritone Horn
  • Horovitz: Euphonium Concerto
  • Marcello: Sonata in F major
  • Rochut/Bordogni: Melodious Etudes for Trombone Vol. 1
  • Sparke: Fantasy
  • Sparke: Pantomine
  • Tyrell: 40 Progressive studies for Trombone

Repertoire Questions?

Email Dr. Adam Frey

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
  
  • Sonatas by J.S. Bach, Handel, Hindemith, Poulenc, Telemann
  • Karl Joachim Andersen: 24 Studies, Op. 21
  • Cécile Chaminade: Concertino pour Flute, Op. 107
  • Claude Debussy: Syrinx
  • Gabriel Fauré: Fantasie for Flute, Op. 79

Repertoire Questions?

Email Dr. Jovana Damnjanovic

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
  • Andraud/ Pottag: 355 Selected Melodious Studies for Horn
  • Beethoven: Horn Sonata, Op. 17
  • Gallay: 40 Preludes for Horn, Op. 27
  • Kling: 40 Characteristic Etudes
  • Kopprasch: 60 Selected Studies
  • Mozart: Concertos
  • Strauss: Concerto

Repertoire Questions?

Email Dr. Adam Frey

Those auditioning for the guitar should prepare 2 pieces in contrasting styles from the                  standard classical literature:

• One must be an etude that demonstrates basic classical or fingerstyle technique on the instrument. Suggested composers: Carcassi, Carulli, Sor, Brouwer, Giuliani, etc.
• The second may be of your choosing.

In addition, students will be asked to demonstrate the following:

• Major scales: C, G (Segovia edition preferred)
• Minor scales: A minor
• Sight reading of a single line piece (to be presented at the audition)

Repertoire Questions?

Email Dr. Philip Snyder

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
  • Slow aria/cantata by J.S. Bach
  • Barrett: 40 Progressive Melodies
  • Ferling: 48 Famous Studies for Oboe
  • Handel: Sonatas or Concerto in G Minor
  • Haydn (attrib.): Oboe Concerto in C Major
  • Hindemith: Oboe Sonata, first movement
  • Mozart: Oboe Concerto in C Major, K. 314
  • Nielsen: Fantasy Pieces (Romance and/or Humoresque)
  • Schumann: Three Romances, Op. 94

Repertoire Questions?

 lisa.prodan@ung.edu

Percussion applicants must perform on snare drum, mallets and timpani. Drum set is optional but encouraged. Instruments will be provided for the audition. Applicants must provide all sticks and mallets, and bring a copy of the music to be performed.

Snare Drum

• Be prepared to demonstrate any rudiment from the Standard 40 Percussive Arts Society Rudiments
• Prepare 2 snare etudes; one in the rudimental style and one in the concert/orchestral style.
• Sight Reading

Keyboard Percussion

• 4 major scales of your choice - 2 octaves, with arpeggio - performed in 1/8th notes at 144BPM
• 4-mallet etude or solo
• Sight reading
• All keyboard auditions will be performed on marimba unless arrangements are made in advance with the audition panel

Timpani

• Demonstrate basic tuning skills by tuning one drum from a pitch source and then tuning a second drum by interval
• Timpani solo that demonstrates various techniques: rolls, muting, dynamic control and various articulations
• Sight Reading

Drum Set (Optional)

• Demonstrate the ability to perform basic time patterns in swing, rock and Latin styles
• Trading 4s, 8s and 16s, in any of the above styles
• Site reading and/or chart interpretation

Repertoire Questions?

Email Prof. Steven Walker

Performance Concentration

1. All major and harmonic & melodic minor scales and arpeggios, 4 octaves, hands together
2. A Baroque composition
3. A fast movement from a Classical sonata by Haydn, Mozart, Beethoven, or Schubert
4. A Romantic or contemporary work
5. Sight-reading

Musical Arts or Music Education

1. All major and harmonic minor scales and arpeggios, at least two octaves, hands together
2. Two contrasting pieces from different periods (ie. Baroque, Classical, Romantic, contemporary)
3. Sight-reading

All solo works must be performed by memory

Recordings may be submitted at the discretion of the faculty.

Piano Accompanying Scholarship Audition Requirements (Gainesville Campus)

Students who are interested in receiving a piano accompanying scholarship must have superior piano skills and experience in choral accompanying, including abilities in open score reading and sight reading, and must also process a strong desire for collaborative performances.

• A minimum of three pieces from the solo repertoire (it can be same as piano performance major audition repertoire)
• One 4 part choral hymn
• One piano accompaniment part from any vocal/ instrument repertoire

In addition, sight reading, harmonization and open score reading abilities will be tested.

Repertoire Questions?

Email Dr. Joe Chapman

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire.
  • Berbiguier: 18 Etudes
  • Paul Creston: Sonata, Opus 19
  • W. Ferling: 48 Etudes for Saxophone
  • Alexander Glazunov: Concerto, Op. 109
  • Bernhard Heiden: Sonata
  • Paule Maurice: Tableaux de Provence

Repertoire Questions?

Email Dr. Bart Walters

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument.
  • Barat: Andante & Allegro
  • Blazhevich: Clef Studies
  • Bordogni: Complete Vocalises (#2-16)
  • Bordogni/ Rochut: Studies in Legato
  • David: Concertino
  • Galliard: Sonatas #1, 3, or 5
  • Guilmant: Morceau Symphonique
  • Jacob: Concerto
  • Larsson: Concertino Rochut -
  • Melodious Etudes for Trombone Vol. 1
  • Saint-Saens: Cavatine
  • Sulek: Sonata vox Gabrieli
  • Telemann: Sonata in f minor
  • Tyrell: 40 Progressive Studies (#1-15)
  • Voxman: Selected Studies (any)

Repertoire Questions?

Email Dr. Adam Frey

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument
  • Barat: Andante et Allegro
  • Bousquet: 36 Celebrated Studies
  • Brandt: 34 Orchestral Etudes
  • Charlier: 36 Transcendental Etudes
  • Concone: Lyrical Studies
  • Haydn: Concerto in E flat Major
  • Hering: 32 Etudes
  • Hummel: Concerto in E flat Major
  • Kent Kennan: Sonata
  • Rochut: Melodious Etudes

Repertoire Questions?

Email Dr. Adam Frey

• Four major scales, chosen from all 12 major scales and a chromatic scale throughout the entire range of the instrument. Scales will be chosen by the committee.
• Sight-reading
• Two selections of contrasting style (lyrical and technical) totaling roughly 8-10 minutes. The following repertoire should be considered “representative” of the level of entrance for each instrument. These are not the only pieces that can be performed. All repertoire should be chosen from the standard classical repertoire for each respective instrument. 
  • Rochut: Melodious Etudes for Trombone (down one octave)
  • Blazevich: 70 Advanced Studies for Tuba, Vol. 1
  • Bordogni: Legato Etudes
  • Kopprasch: 60 Selected Studies for Tuba
  • Capuzzi: Andante and Rondo
  • Gregson: Concerto
  • Haddad: Suite
  • Hartley: Suite for Unaccompanied Tuba
  • Hindemith: Sonata
  • Marcello: Sonata in F Major
  • Tyrell: Advanced Studies for B-Flat Brass
  • Vaughan Williams: Concerto for Tuba

Repertoire Questions?

Email Dr. Adam Frey

• Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
• Sight-reading
• In addition, persons should prepare two of the following:
  • An etude of moderate difficulty by composers such as Wohlfahrt, Mazas, Kreutzer, Dont, Rode, or Fiorillo, etc.
  • A movement from the Cello Suites of Bach
  • A movement from a concerto such as those by Telemann, Stamitz, Handel, J.C. Bach, or Hoffmeister
  • A movement from a sonata or sonatina by Schubert, Brahms, Vivaldi, Handel, or Eccles

Repertoire Questions?

Email Yeasol.Kang@ung.edu

• Play from memory one major scale and one minor scale with accompanying arpeggio in two or three octaves. Scales should be demonstrated both bowed separately and, if possible, slurred two and three notes to a bow. These should be played at a steady, moderate tempo.
• Sight-reading
• In addition, persons should prepare two of the following: 
  • An etude of moderate difficulty by composers such as Mazas, Kreutzer, Dont, Rode, etc.
  • A movement from the Bach unaccompanied Sonatas and Partitas
  • A movement from a standard concerto such as those by Vivaldi, Bach, Mozart, Haydn, Beethoven, Mendelssohn, Bruch, or Barber
  • A movement from a sonata or sonatina by Handel, Bach, Telemann, Mozart, Schubert, Beethoven, Franck, or Brahms
  • A short single-movement piece such as an encore-piece

Repertoire Questions?

 Email Yeasol.Kang@ung.edu

All voice applicants should prepare from memory two (2) contrasting art songs and/or arias from the standard secular or sacred repertoire from the 17th-21st centuries.

• One selection must be in English
• One selection must be in either Italian, French, or German

Those auditioning are strongly encouraged to bring their own accompanist. However, the Â鶹ÊÓƵ Music Department will provide an accompanist if one is needed. Those using a Â鶹ÊÓƵ staff accompanist must bring a copy of their music to the audition for the accompanist’s use which should be in the form of the original score. For music in the public domain in which photocopies are used, the music should be copied in double-sided format.
No taped or CD accompaniments will be allowed.

Repertoire Questions?