Undergraduate Percussion Audition Requirements:     Percussion Main Page

A reference list.

 

This list was compiled for the 2003 PASIC clinic "Making the most out of your college audition" presented by John R. Beck and James A. Strain. (Click on the title link to see the entire handout.) All the information was collected from the web pages of the institutions listed, and is presented to give high school students a representative idea of what different schools require at an undergraduate percussion audition. Students should go directly to the official school web sites for accurate and up to date information.

 

North Carolina School of the Arts

Appalachian State University

Baylor University

Cincinnatti College - Conservatory

Boston Conservatory

University of Minnesota

Indiana State U.

James Madison U.

Carnegie Mellon University

Oberlin Conservatory

Arizona State University

Temple

Ithaca College

Capital University

Arizona State U.

Fredonia

U. of Kentucky

Bowling Green State University

Manhattan

Central Florida U.

Ohio State University

Michigan  St. U.

Northern Illinois U.

SUNY Purchase

New England Conservatory

Central Michigan U.

Northern Arizona University

Ohio U.

University of Nebraska

LSU - Louisiana

Penn State

Royal Northern College - England

Vanderbilt -  Blair School of Music

Potsdam SUNY

Berklee - Boston

University of Colorado at Boulder

San Francisco Conservatory

Rutgers

Cleveland Institute of Music

U. of Michigan

University of Louisville

Indiana University of PA

U. of MD

U. of Missouri - Kansas City

Humber College, Canada

U. of Miami

Julliard

The University of Toronto

U. of OK

U. of Maine

The University of Texas at Austin

U. of IL

U. of North Texas

The University of Orgeon

Lawrence U.

DePaul University

Illinois State U.

Miami of Ohio

New York Universtiy

St. Francis Xavier University - Canada

Eastman School of Music

Florida State University

Wilfrid Laurier University - Canada

Northwestern U.

University of Utah

Queen’s University - Canada

Belmont University

UNLV - Nevada

U. of Windsor - Ontario Candada 

UNC-Greensboro

East Carolina University

Western Carolina University

Indiana University

Universtiy of South Carolina

University of Iowa

Peabody Conservatory

Texas Tech

UNC - Asheville

University of Wisconsin-Madison

 

 

 

 

 

Percussion Audition Requirements (Click the link or scroll down in order)

 

 

North Carolina School of the Arts

Percussion Audition Requirements:

All auditioning college and high school students should prepare etudes or solos on the following: snare drum (rudimental and orchestral), timpani, and keyboard (marimba, xylophone, or vibes). A multiple percussion solo may replace the snare drum solos. Sight-reading, timpani tuning, scales and rudiments will be a part of the audition. Drum set is optional and is not required for acceptance, but is the fourth major area of study in the high school and undergraduate program. Master's Degree applicants should prepare advanced solos in the three areas listed above, and at least one orchestral excerpt on snare drum, timpani, and xylophone. High school students who do not have access to keyboards or timpani should contact John R. Beck before scheduling an audition.

 

Suggested audition material includes, but is not limited to the following composers:

 

Snare Drum

Timpani 

 Keyboard

 Cirone

 Firth

 Goldenberg

 Schinstine

 Hochrainer

 Whaley

 Pratt

 Goodman

 Peters

 Wilcoxen

 Peters

 Delecluse

 Firth

 Friese/Lepak

 Handel

 Albright

 Delecluse

 Bach

 Delecluse

 Beck

 Musser

 Peters

 Ludwig

 Green

 Aleo

 Bergamo

 Abe

 Podemski

 Muczynski

 Any Concerto

 

 

Cincinnati College - Conservatory of Music

Undergraduate

1.snare drum etude (orchestral style), demonstrate orchestral roll at varying dynamics

2.marimba selection- 2 mallet required, 4 mallet encouraged (if you don't have mallet skills you should strongly consider not auditioning)

3.timpani etude, demonstrate tuning

4.sight reading

 

Graduate

1.snaredrum etude (orchestral style), demonstrate orchestral roll at varying dynamics

2.marimba selections- 2 mallet and 4 mallet

3.timpani etude, demonstrate tuning

4.orchestral excerpts on snaredrum, xylophone and timpani (Not twenty on each instrument! Just enough to demonstrate your skills in this area.)

5.sight reading

 

Over the past year I have received a lot of email asking what one should play when auditioning for the percussion program at CCM. I hope these guidelines will help. This information is also included in the info sent out by the University. If you have a specific question that is not covered here feel free to email me. I will respond as my schedule allows. Please be patient! Thanks

 

Russell Burge-Assistant Professor of Percussion

 

Cincinnati College-Conservatory of Music

 

Indiana State U.

Percussion

 

1.      Snare Drum

1.      A solo

2.      Rudiments (1-13)

2.      Mallets (Marimba, Xylophone, Vibraphone)

1.      A solo

2.      Major scales

3.      Demonstrate proficiency in one of the following:

1.      Timpani

2.      Multiple Percussion

3.      Drum Set

4.      Sight reading

1.      Snare Drum

2.      Mallets

 

Oberlin Conservatory

       

Percussion

 

*       one composition or movement from a composition on marimba (xylophone) and timpani (demonstrating tuning ability)

*       an etude on a snare drum (demonstrating musicality as well as technical ability)

*       and a multiple percussion composition

*       major and minor scales are required for mallet instruments

 

Preferably, the compositions should be works written specifically for the instrument, rather than transcriptions.

 

Ithaca College Percussion

 

Requirements for B.M. degrees in performance and performance/music education

 

Mallets. 8 minutes. Marimba or vibes.

 

Marimba

 

*       Two-mallet étude, comparable to or chosen from the following: Modern School for Marimba, by Morris Goldenberg ("39 Etudes" section); Tone-Row Exercises for Marimba, by Howard Zwickler; Style Studies, by John Bergamo.

*       Four-mallet solo (optional, but recommended).

*       Scales and arpeggios in all major and minor keys (at least two octaves).

 

Vibes – étude, chosen from Vibraphone Technique, by David Friedman (Etudes 1-10). Four-mallet solo. Scales and arpeggios in all major and minor keys (at least two octaves).

 

Timpani. 8 minutes.

 

*       Etude, comparable to or chosen from the following: Modern Method for Timpani, by Saul Goodman (pp. 46-60); Etuden für Timpani, by Richard Hockrainer (nos. 10-25); Timpani Method, by Friese/Lepak (Section 3, nos. 5-15); or a solo using four drums.

*       Tuning and intonation suggested study guide: Timpani Method, by Friese/Lepak (Section 3, pp. 35-43).

 

Snare Drum. 8 minutes.

 

*       Solo (concert style), comparable to or chosen from the following: Modern School for Snare Drum, by Morris Goldenberg (pp. 44-51); Portraits in Rhythm, by Anthony Cirone; 20th-Century Orchestral Snare Drum Studies, by Thomas McMillan.

*       Solo (rudimental style), comparable to or chosen from the following: Modern Rudimental Swing Solos, by Charles Wilcoxon; 14 Modern Contest Solos, by John S. Pratt.

 

Drum Set (optional, but recommended). 6 minutes.

 

Demonstration of knowledge of various contemporary styles, including jazz (swing), rock, various Latin beats.

 

The audition normally is 30 minutes (drum set included). Substitutions for any of the above may be made by advance consultation with Gordon Stout, (607) 274-3427.

 

Requirements for all other music degrees

 

Concert Snare Drum Solo.

 

*       Illustrating use of closed rolls, flams, ruffs, and rhythms.

*       Sight-reading.

 

Timpani Solo. Illustrating use of rolls and rhythms.

 

Timpani Ear Training. Demonstrating the ability to match pitches and tune the drums with the intervals of seconds, thirds, fourths, and fifths.

 

Mallets.

 

*       Two-or four-mallet solo. Select music you feel represents the best of what you can perform at the time of your audition.

*       All major and minor scales and arpeggios.

*       Sight-reading.

 

Fredonia Percussion:

Perform solos on snare drum, timpani and a mallet instrument, representative scales and arpeggios on a mallet instrument, rudiments, and tune timpani. Multiple percussion or drum set may be played for extra consideration, but is not necessary.

 

Manhattan

Percussion Audition Procedures/Repertoire

               

        Related Links

Percussion Degree Sequence Plans

How to Apply

Percussion Department

Orchestral Performance (Graduate Program)

 

Listed below are the audition procedures as well as the various audition requirements/repertoire for each degree level.

 

Audition Procedures

 

Auditions are approximately 20 minutes in length for freshmen applicants and all others are approximately 30 minutes. Each applicant chooses a first work. The faculty will choose other works from the repertoire list provided by the applicant. Three (3) copies of prepared materials are requested.

 

Undergraduate Audition Requirements

 

1.      Three solos or studies (one each on snare drum, mallets, and timpani) selected to display level of advancement.

2.      Sight-reading.

 

Graduate Audition Requirements

 

1.      Four solos or studies (one each on snare drum, 2 mallets, 4 mallet, and timpani) selected to display graduate level of advancement.

2.      Selected standard orchestral excerpts.

3.      Sight-reading.

 

Orchesral Performance (Graduate Program)

 

(Please see Orchestral Performance page for information about this program.)

 

Doctoral and Professional Studies Audition Requirements

 

1.      Present portions of a full-length recital. The audition must include works of contrasting style for mallets, timpani, snare drum, and multi- percussion.

2.      Orchestral repertoire for all instruments at the professional level

3.      A video of multi-percussion setups should be submitted to augment the live audition.

 

Michigan  St. U.

PERCUSSION:

Undergraduate Audition Requirements

 

*       Snare solo or etude - symphonic / orchestral style (i.e. Cirone, Peters, Delecleuse)

*       Snare solo or etude - rudimental (traditional; i.e. Wilcoxon, Pratt)

*       Four mallet solo (i.e. Peters, Gomez, Zivkovic, Musser)

*       Two mallet solo (i.e. McMillan, Green, Breuer, Hatch)

*       Timpani (Carroll, Peters, McMillan, Whaley)

*       Sight-reading on snare drum and keyboard

*       Tuning on timpani

Graduate Audition Requirements

 

*       Keyboard: Significant solo repertoire

*       Timpani: Advanced solo or etude and/or orchestral excerpts

*       Snare Drum: Advanced etude repertoire such as Delecleuse and/or excerpts

*       Multiple Percussion: Please send videotaped performance prior to the live audition. Multiple percussion will not be heard at the live audition.

*       Optional: Demonstrate other areas of expertise (i.e. drum set, hand drumming, etc.)

 

New England Conservatory

Percussion Audition Requirements

 

Undergraduate: Be prepared to play a solo piece in each of three categories: mallets, snare drum, and timpani. The mallet selection should be chosen for musical content and technical difficulty (two- and four-mallet work is desirable). Scales, arpeggios, and sight-reading may be required. The snare drum selection should clearly demonstrate your level of technical ability. Rudiments, including an orchestral roll, at all dynamic levels are required. The solo timpani selection should utilize two or more drums. Rolls with different dynamic levels on different drums should be demonstrated. Intonation and sight-reading abilities will be tested.

 

Graduate: Applicants should demonstrate a high level of performance on timpani, mallets (two and four mallets), snare drum, and multiple percussion. Be prepared to play an advanced solo in each category as well as excerpts from the standard repertoire in each category. Examples:

 

Timpani: Carter Etudes

Mallets: Stout Two Mexican Dances

Snare: Studies by Delacluse

 

Ohio U.

Percussion

Prepare solos or etudes that demonstrate your experience in the following areas of percussion:

 

Snare drum

Mallets

Timpani

 

You will also be asked to demonstrate fundamental skills in these areas of percussion, including rudiments, scales, timpani tuning, and sightreading.

 

If desired, you may also prepare selections to show additional skills in the areas of drum set, multiple percussion, or hand drums.

 

Penn State PERCUSSION

 

All auditionees must audition on snare drum and mallets and timpani.

* Asterisked numbers represent materials required of all auditioning students.

 

Snare Drum

 

*1. Demonstration of a thorough knowledge of the rudiments.

 

*2. Rudimental solo from the Wilcoxon "All American Drummer" or similar material.

 

*3. Concert snare drum etude demonstrating concert style roll, dynamic control, and reading ability. Any etude from the Cirone Portraits in Rhythm (except for etude #1) or similar material would be appropriate.

 

Mallets

 

*1. Demonstrate knowledge of the major scales. Play each scale at least two octaves up and down the keyboard. Knowledge of minor scales encouraged but not required.

 

*2. Two-mallet marimba or xylophone solo which demonstrates the student's current level of ability. Teachers may help choose an appropriate piece or the student may contact Dan Armstrong and he will suggest one.

 

3. Optional: Short four-mallet solo or portion of a longer piece for four mallets.

 

Timpani

 

*1. Demonstrate ability to match pitch and tune a drum correctly.

 

*2. A three or four-drum etude from the Goodman Modern Method for Timpani or similar material.

 

Drum Set (Optional)

 

1. Demonstrate knowledge of styles (swing, rock, Latin, funk, etc.)

 

2. Short solo or "trading fours."

 

3. Optional: a short written-out or transcribed solo such as those in the back of the Latham Advanced Funk Studies book.

 

Auditionees are expected to provide all of their own music, sticks, and mallets. If local stores do not have what is needed, materials may be mail-ordered from:

 

Steve Weiss Music

2324 Wyandotte Rd.

Willow Grove, PA 19090

(215) 659-0100 or

(215) 659-1170 FAX

 

Students must prepare the material for each area; drum set material is optional. Auditionees are not expected to be an "expert" on all areas, but a strong background must be demonstrated in snare drum or mallets or timpani. If there are any questions about what is appropri- ate or expected, do not hesitate to e-mail or call Dan Armstrong.

 

Instructor: Dan Armstrong

(814) 863-4418

dxa5@psu.edu

 

Potsdam

PERCUSSION

 

Snare solos and multiple percussion solos: Colgrass, Gauger, Petercsak, Firth, Albright, Cirone, Payson. Mallet solos for keyboard percussion instruments: Bach, Musser, Stout, Peters. Timpani solos: Price, Noak, Beck, Tcherepnine, McKenzie, Jones, Bergamo, Williams. Substitutions can be made from the Grade V and VI lists in the NYSSMA Manual.

 

San Francisco Conservatory

Percussion

Undergraduate

Demonstrate ability to perform on two, preferably three, of the following: timpani, snare drum, mallets.

The following methods are suggested: Saul Goodman Modern Method for Timpani; Podemski Standard Snare Drum Method; Goldenberg Modern School for Xylophone. 

 

Graduate

Mallets: Gordon Stout Mexican Dances or Van Geem Passacaglia-Improvisation or Bach lute suite; 

Snare Drum: Delecluse Études pour Caisse Claire (select one).

Timpani: Elliott Carter Eight Solo Pieces for Four Timpani (select one). 

 

U. of Michigan

Percussion

In order to provide as much quality interactive time with the percussion faculty as possible, applicants will be scheduled for two separate twenty-minute auditions. Memorization is neither required nor discouraged. Part I with Professor Udow: Please select music from the solo recital literature and/or orchestral excerpts which demonstrates your highest musical and technical abilities in snare drum, mallet-keyboard instruments, and timpani. Sight-reading and timpani tuning will be evaluated. Applicants are required to demonstrate skills in all of the above areas.

 

Part II with Professor Gould: General two and four limb coordination abilities will be evaluated. If you have skills in the areas of drum set and/or hand drumming, please prepare audition materials demonstrating your highest musical and technical abilities in these areas. Please Note: 1) Auditions in Ann Arbor are highly preferred; if you have a videotape of any percussion performance that includes steel drum, Latin percussion, or drum set playing in an ensemble setting, and/or multiple percussion repertory, please bring a VHS copy to your audition. 2) Videotaped auditions will be considered only in unusual circumstances. If you wish to audition via videotape, write or call Professor Udow (734/764-6520) for permission before preparing your video.

 

U. of MD

PERCUSSION

 

Bachelor of Music

 

1.      Snare drum solo comparable to repertoire from any State Festival List of repertoire, such as the Maryland Band Director's Association Festival Competition List, and must be from grades 4-6.

2.      Rudiments, open to closed; single strokes; long roll; five and seven-stroke rolls; flams; drags; and four-stroke ruffs.

3.      Must also perform on tympani, as well as marimba or xylophone. selections for the audition may be drawn from the solo repertoire, or other methods and materials, which will demonstrate the applicant's potential.

 

PERCUSSION

Bachelor of Arts

 

1.      Snare drum solo comparable to repertoire from any State Festival List of repertoire, such as the Maryland Band Director's Association Festival Competition List, and must be from grades 4-6.

2.      Rudiments, open to closed; single strokes; long roll; five and seven-stroke rolls; flams; drags; and four-stroke ruffs.

3.      Must also perform on tympani, as well as marimba or xylophone. selections for the audition may be drawn from the solo repertoire, or other methods and materials, which will demonstrate the applicant's potential.

 

PERCUSSION

Bachelor of Music in Music Education

 

1.      Snare drum solo comparable to repertoire from any State Festival List of repertoire, such as the Maryland Band Director's Association Festival Competition List, and must be from grades 4-6.

2.      Rudiments, open to closed; single strokes; long roll; five and seven-stroke rolls; flams; drags; and four-stroke ruffs.

3.      Must also perform on tympani, as well as marimba or xylophone. selections for the audition may be drawn from the solo repertoire, or other methods and materials, which will demonstrate the applicant's potential.

 

U. of Miami

Undergraduate Percussion Audition Requirements

------------------------------------------------------------------------

Snare Drum | Keyboard/Mallet | Drumset | Timpani

 

Instrumental Performance majors - Perform the snare drum, the mallet, and the timpani requirements.

 

Studio Music and Jazz majors - Perform the snare drum, the mallet, and the drumset requirements.

 

All other majors - Perform the snare drum and the mallet requirements.

 

In addition to the above, you may enhance your audition by performing requirements not listed for your major.

 

Please note that drumset is the principal instrument for Studio Music and Jazz majors only. For all other majors, snare drum and mallets are the principal instruments.

 

On campus auditions are preferred. Sight-reading will be required.

 

Regional auditions: Perform the snare drum requirments and bring a tape on which you have recorded your performance on the other instruments. Provide copies of all music performed live and on the tape. Sight-reading will be required.

 

Audition tapes: State clearly before each selection what will be played, etude number, name of solo, etc. and include copies of each selection. Instrumental Performance majors must also provide a videotape of the pieces included on the audiotape.

 

Snare Drum

 

*       An etude or piece that best demonstrates your ability.

*       Portions of both a rudimental and an orchestral solo, which demonstrates your familiarity with these styles (2-3 minutes each).

 

Mallet

 

*       Knowledge of all major and minor scales and arpeggios. Play at least two major and two minor scales two octaves, as fast and as accurately as possible.

*       An etude or piece that best demonstrates your ability with 2 or 4 mallets.

 

Drumset

 

Taped Audition

 

(Perform each of the following:)

 

*       One swing jazz piece in a trio or quartet setting with a walking bass line. Short solos ('fours') should be included.

*       One contemporary fusion or rock piece, played with an appropriate rhythm section.

*       One piece with Afro-Caribbean or Brazilian rhythm.

*       One big band excerpt.

 

On-Campus Audition

 

You will be asked to play along with a tape and read charts to demonstrate your knowledge of swing (slow, fast), pop/funk, and Afro-Caribbean or Brazilian styles.

Timpani

 

*       Demonstrate your ability to match pitches and tune the timpani

*       An etude or solo that best demonstrates your ability, both technically and expressively.

 

U. of Oklahoma

Percussion. One or more pieces of contrasting style for at least 2 of the following areas: Snare Drum, Mallets, Timpani, and Drum Set. Sightreading will be asked on snare and marimba. All-State material or pieces of that level are appropriate.

 

Supporting Materials

 

Be sure to include in your audition/application materials, the following:

 

*       A full resumé which includes the name/address of your high school, name of your high school band/orchestra/choir director(s), name of your private music teacher(s), honors and awards, work experience and musical performance experience.

*       A one-page, double-spaced typewritten or word processed essay describing what part music plays in your life and why you wish to study music at the university level.

*       Two letters of recommendation (one music & one non-music recommendation).

*       A completed Audition Registration Form (requires the free Adobe Acrobat Reader).

 

U. of Illinois

Percussion

Undergraduate: Prospective students will be evaluated on their skills of tone production, intonation, musicality, rhythmic accuracy, technical proficiency, sight reading, and overall musical experience. The student will be asked to perform a solo or etude of moderate difficulty in each of the following instrumental areas: Snare Drum (concert style), Marimba or Xylophone, Timpani, and Drum Set (a demonstration of time-keeping in contrasting styles will suffice on drum set; a prepared solo is not required). Each applicant must also demonstrate sight-reading ability on the snare drum and marimba.

 

Graduate: Applicants for the M.M. degree or D.M.A. degree must perform one major solo in each of the following instrumental areas: Mallet-keyboard percussion (marimba, vibraphone, or xylophone), Timpani, Multiple-Percussion (a cassette tape and score of a recent performance will satisfy this requirement), and Drum Set (a demonstration of time-keeping in contrasting styles will suffice on drum set; a prepared solo is not required). Each applicant must also demonstrate mastery of snare drum (concert style), plus substantial sight-reading ability on the marimba, snare drum, and timpani.

 

The School of Music will provide instruments for the audition.

U of Illinois

Candidates for admission into the School of Music are evaluated in the following areas:

 

1. A Supplemental Undergraduate Music Application Form (to be completed and submitted prior to the scheduling of an audition)

 

2. An Audition on primary instrument and/or in voice

 

3. An Interview (accompanied by supporting materials), where applicable

 

4. Music Fundamentals Proficiency Exam (to be taken on the day of the audition)

 

5. Undergraduate Letter of Reference

 

6. Review of Academic Profile

 

Auditions are scheduled only through the Office of the Assistant Director for Enrollment Management and Student Services.  The applicant must demonstrate natural musical ability, accurate technical facility, and knowledge of music fundamentals specific to the performance area of specialization. All applicants will be asked to sight read a composition of moderate difficulty on their principal instrument. See areas of  specialization below for specific discipline requirements.

World Wide Web

 

Please check our web site regularly at http://www.music.uiuc.edu for updated information that may be of assistance to you.

 

Audition Days

 

Upon receipt of the Supplemental Undergraduate Music Application Form, an audition will be scheduled for you. Auditions Days are listed on the Supplemental Undergraduate Music Application Form and at http://www.music.uiuc.edu/Program/ug.html. If an audition cannot be scheduled for a regular audition day, please contact the Office of Enrollment Management and Student Services for details on other options.

 

Preparations for the Music Fundamentals Proficiency Exam

 

1. Online: http://www-camil.music.uiuc.edu/Classes/101/samples/diagnostic-test.html

 

2. Online: http://reese2.music.uiuc.edu/Theory/toc.htm (Please note: this webpage is temporarily unavailable; please check availability after June 20, 2003.)

 

3. Tonal Harmony (fourth edition) by Kostka and Payne (the Music Fundamentals Proficiency Exam will cover chapters 1-3 in this book)

 

4. MacGamut, a computerized aural skills program for Mac computers.

 

Tonal Harmony and MacGamut are available for purchase through the Illini Union Bookstore, phone 217/333.2050.  There is a slight charge for shipping.

Audition requirements - For specific repertoire requirements in your principal performance area, please click here.

 

THE SCHOOL OF MUSIC APPLICATION FORM MUST BE COMPLETED AND SUBMITTED AT LEAST TEN DAYS PRIOR TO YOUR AUDITION DATE!

 

 

MUSIC PERFORMANCE

 

1. Successful completion of an audition on your applied instrument or in voice (see repertoire and times as listed below).

 

2. Successful completion of the Music Fundamentals Proficiency Exam.

 

 

MUSIC EDUCATION (15-30 minutes)

 

1. Successful completion of an audition on your applied instrument or in voice (as listed below).

 

2. Successful completion of the Music Fundamentals Proficiency Exam.

 

3. Successful completion of a music education interview, to be taken on a "walk-in" basis on the same day as your audition.

 

4. Completion of the music education supplemental form, to be submitted with your School of Music Application Form at least 10 days prior to your audition/interview.

 

Lawrence U.

Percussion:

 

*       Students will be asked to perform in all four areas listed below:

*       Timpani: Etude I from The Solo Timpanist by Firth or any solo from Eight Pieces for Timpani by Carter

*       Keyboard Percussion: The Modern School for Xylophone, Marimba, Vibraphone, pp. 94-96; Violin Concerto in a minor by Bach; or a jazz vibraphone solo

*       Snare Drum: Etude #32 from Portraits in Rhythm by Circone; Etude #140 from The All American Drummer by Wilcoxon

*       Drum set: be prepared to play different set styles

*       We ask percussion students to audition on-campus.

 

Miami of Ohio

 

Percussions are encouraged to audition in two of the three major performing areas listed below. Solos for the audition should be selected from the most recent edition of "The Required Music for Senior High Solo and Ensemble Contest." Further requirements depend on the performing area:

 

*       Timpani: tuning excercizes

*       Keyboards (marimba, xylophone, vibraphone): major scales to four sharps and four flats

*       Batterie (snare drum, drum set, others): standard drum rudiments.

 

Eastman School of Music

Undergraduate Audition Requirement and Repertory Guidelines, 2003

Requirements

All undergraduates must audition in order to be accepted to the BM degree program, regardless of major.

Applied study is part of the core curriculum for all majors. Students in Jazz and Contemporary Media

majors take “classical” lessons for two years as part of their training. Music education majors study with

the same teachers and perform in the same ensembles as performance majors.

Memorization of the audition program is required if it is typical for repertory for your instrument to be

performed from memory.

All auditions are performed unaccompanied, with the exception of voice auditions. Voice applicants who

audition at regional audition sites must provide their own accompanists. Voice applicants who audition in

Rochester may indicate on their application forms whether they will bring their own accompanist or wish

the School to provide one.

Guidelines

The following section lists audition repertory guidelines by applied area. In most cases, several suggestions

are given within each category. Applicants should choose audition repertory within the guidelines that will

best demonstrate their musical and technical achievements. Applicants are urged to consult their current

private teachers for appropriate audition materials. Most auditions are from 10 to 15 minutes in length.

Applicants should prepare complete movements or works.

Repertory

 

Percussion

All applicants must audition on snare drum, timpani, and marimba.

ß Snare drum: études from Cirone, Albright, Firth, Peters, Lepak, Aleo, Delecluse, or equivalent

solo material

ß Timpani: études from Firth, Hinger, Lepak, Beck, Delecluse, or equivalent solo material

ß Marimba: solo material displaying two-and four-mallet technique (e.g., Stout, Burritt, Bach,

Musser, Creston, Basta, Kurka, or music by Japanese composers)

 

THE AUDITION

 

In Rochester

 

Students auditioning in Rochester are expected to be available from 9 a.m. to 6 p.m. on the audition day. For undergraduate applicants, the audition day at Eastman includes a general convocation, a question-and-answer session for parents, a diagnostic theory test, a group interview with a staff member (applied music majors), and the instrumental/vocal audition itself. Composition, music education, musical arts, and theory majors will have interviews scheduled with faculty members of those departments.

 

Graduate applicants attend the general convocation on audition days. In addition to the instrumental/vocal audition, most graduate applicants will be scheduled for at least one meeting. Interviews will be scheduled according to the graduate awards indicated on the application forms and according to the requirements of the degree programs and majors.

 

All applicants and their parents are invited to take tours of the Eastman campus and Sibley Music Library on audition days. Voice applicants auditioning in Rochester may bring their own accompanist or request one on the Vocal Accompanist Request form. School accompanists meet with the applicant just prior to their audition to review pieces for tempo, etc. Applicants should provide clear, legible copies of their music that will stay open and flat for the accompanist. All instrumental auditions are unaccompanied.

 

Auditionees are responsible for making their own arrangements for transportation and overnight lodging. The Eastman Student Living Center is not able to provide housing for auditionees. All applicants must be available from 9 a.m. to 6 p.m. on the audition day, with no exceptions. Please plan travel accordingly.

 

At regional audition centers

 

Students auditioning at regional centers are expected to be available for at least half a day. For undergraduate applicants, the audition day at a regional center includes the instrumental/vocal audition, a theory test, and an information session for parents and students. The theory test and information session normally are held in the middle of the day; auditions are scheduled both before and after the midday sessions. Music education majors will have their interviews with the staff member running the regional audition. Applicants who are accepted to this major following regional auditions will take the music education skills test during orientation in Rochester.

 

Graduate applicants may request times at regional audition centers. In addition to the audition, graduate applicants are invited to attend the information session given at each site. Note, however, that there are no interviews for graduate awards at regional auditions. Because faculty supervisors are reluctant to recommend candidates for positions of responsibility unless they have had an opportunity to meet and evaluate those candidates, graduate applicants who cannot audition in Rochester have significantly reduced chances of receiving a graduate award.

 

Voice applicants must provide their own accompanists at regional sites; all instrumental auditions are unaccompanied.

 

Auditions at regional centers are run by a member of the Admissions Office staff; Eastman faculty are not present at regional auditions. Following a regional audition, the tapes and evaluations made at the site are forwarded to Eastman faculty for evaluation. Thus applicants are heard and evaluated by the same faculty members who listen to auditions at Eastman.

 

For the programs and instruments listed here, auditions at regional audition centers are not permitted:

 

*       BM programs in theory and musical arts;

*       BM, MM, and DMA programs in jazz studies and contemporary media;

*       MM and DMA programs in piano accompanying and chamber music;

*       all DMA programs;

*       BM, MM, MA, DMA, and PhD programs in composition;

*       classical guitar;

*       organ;

*       percussion.

 

Applicants to all of the above must audition in Rochester, except that classical guitar applicants may choose to audition by video tape. Organ and percussion applicants may choose to audition in Rochester or by self-prepared recording.

 

Self-prepared recorded auditions

 

In many cases, an audition by self-prepared tape recording or compact disc is acceptable. Recordings should have been made within the nine months prior to the application deadline. The applicant’s name, instrument, and degree program must be on the recording and the recording container. Do not send audition recordings to Eastman faculty. Recordings must be sent directly to the Admissions Office with the application for admission. The Admissions Office will circulate the recordings to the same Eastman faculty members who hear auditions in Rochester. Because of the large number received, recordings will not be returned.

 

*       Audio tapes: Cassettes must be analog, not DAT, format. Record on one side only, 15 to 45 minutes of material, according to the repertory guidelines for your degree, major, and instrument. Both the cassette and the cassette box should be labeled with the applicant’s name, degree program, major, and instrument/voice.

*       Compact discs: CDs may be submitted instead of audio cassettes. Both the CD and the CD container should be labeled with the applicant’s name, degree program, major, and instrument/voice.

*       Video tapes: Video tapes should be in VHS format. International applicants should be sure that the material is recorded on, or converted to, NTSC format. (We are not able to review tapes in the wrong format.) Video tapes (not audio tapes or CDs) are required from clarinet, guitar, harp, and trumpet applicants, and are strongly recommended for organ and percussion applicants who are auditioning by tape.

*       Applicants should review the recording for quality before mailing it with the application.

 

Applicants admitted on the basis of an audition recording may be asked to perform for the faculty at the beginning of the first semester of enrollment to confirm the audition assessment.

   4.  An aural skill assessment test.

 

Northwestern U.

 

Audition should include snare drum, timpani, and keyboard percussion. Snare drum: Cirone's Portraits in Rhythm; Peters' Intermediate or Advanced Studies. Timpani: Beck's Sonata for Timpani, Carter's Eight Pieces for Solo Timpani; Firth's The Solo Timpanist. Keyboard percussion: Creston's Concertino for Marimba; Musser's Etudes and Preludes; Stout's Mexican Dances and Nocturnes; G. H. Green's Xylophone Solos. Audition may also include drum set and orchestral excerpts. Sight-reading required.

 

Belmont University

Percussion Performance, Music Education, Church Music, Music with an Outside Minor, Theory, Composition, Music Minor: one solo or etude on each of the following instruments: snare drum, timpani, and marimba plus sight-reading, standard snare drum rudiments, timpani tuning, and marimba scales.

 

Commercial Music: one solo or etude on snare drum plus a second solo on either timpani or marimba plus sight-reading, standard snare drum rudiments and timpani tuning or marimba scales. Also, demonstration of the following styles on drumset: rock, funk, swing, shuffle, and Latin (bossa nova and samba).

 

UNC-Greensboro

Be prepared to demonstrate proficiency in at least one (more if possible) major area of percussion (snare drum, mallet instruments, or timpani). Solo pieces or etudes constitute acceptable audition material. 

 

Indiana University

Snare Drum: Portraits in Rhythm - Cirone; Contemporary Studies for Snare
Drum - Albright; 12 Etudes for Snare Drum - Delecluse

Keyboard Percussion: No specific titles, the bulletin says, "A two and
four mallet solo demonstrating present level of technical ability and
musicianship."

Timpani: Modern Method for Timpani - Goodman; The Solo Timpanist -
Firth; Technique for the Virtuoso Timpanist - Hinger

 

Peabody Conservatory

 

Percussion

 

1.      Know proper usage of instruments as bass drum, cymbals, triangle, tambourine, castanets, etc.

2.      Snare Drum - Circone Portraits in Rhythm, Etude No 13 and Prokofiev Peter and the Wolf, Rehearsal 49 - end of 50

3.      Marimba - Bach Violin Concerto in a minor (Goldengerg Method)

4.      Xylophone - Gershwin Porgy and Bess Overture, Kabalevsky Colas Breugnon, Shostakovich Polka from the Golden Age

5.      Timpani (demonstrate a fluent tuning control of the timpani) - Goodman Ballad for the Dance, Beethoven Symphony No 5, Fourth movement, measures 374-395

 

Jazz

6.      Drummers only: Demonstrate the following: Medium swing (sticks); m.m =120; Up-tempo swing (sticks) m.m. = 240; Up-tempo swing (brushes) m.m. = 240; Latin (sticks) m.m. =120; Latin (sticks) m.m. 240; Ballad (sticks) m.m. =60; Ballad (brushes) m.m. = 60; Rock or funk (sticks) m.m. = 90

 

 

Appalachian State University

All students wishing to enter the School of Music must successfully complete an audition. The School of Music schedules several audition dates each year. Individual appointments may also be scheduled. Each prospective student must prepare one piece on snare drum, timpani, a mallet keyboard instrument and drum set or multiple percussion. Audition material can be found for snare drum in Method for Snare Drum by Jacques Delécluse or Portraits in Rhythm by Anthony Cirone, for mallet keyboard in Modern School for Xylophone, Marimba, Vibraphone by Morris Goldenberg, for timpani in The Solo Timpanist by Vic Firth or Timpani Technique for the Virtuoso Timpanist by Fred Hinger, for multiple percussion in Studies in Solo Percussion by Morris Goldenberg, for drumset in Contemporary Drumset Solos by Murry Houllif. Pieces from the solo literature are welcomed. The audition will also include scales and arpeggios on mallet keyboard, rudiments on snare drum, tuning on timpani and sightreading on all mediums. The student must demonstrate musical skills on all four areas of percussion



Boston Conservatory

Proficiency in at least two of the following categories: 

1. Snare Drum-knowledge of rudimental vocabulary. One concert etude of drum solo of three minutes duration. Suggested authors: Firth, Cirone, Delecluse

2. Drum Set-one or more etudes not to exceed four minutes. Suggested authors: Ted Reed, Chapin, Dahigren

3. Mallets-xylophone/marimba/vibraphone-demonstrate basic technical two-and/or four-mallet skills including two octave major/minor/chromatic scales and arpeggios. A concert solo or étude at least four minutes in duration. Suggested sources: Bach Sonatas and Partitas for Unaccompanied Violin (adapted); Goldenberg (xylophone/marimba); Finkel (vibraphone). 

4. Timpani-demonstrate technical proficiency with pitch matching and interval tuning, tremolo control, cross-sticking and sight-reading. Also, a two- to four-drum etude of three minutes in duration. Suggested authors: Goodman, Firth, Beck.

 

James Madison U.

Percussionists should perform a prepared solo on snare drum (or multiple percussion that includes snare-drum technique) and keyboard (marimba, xylophone or vibes) and will be asked to sight-read on snare drum and marimba. A tympani solo is optional. If you want to show expertise on drum set, please bring a tape or CD of you performing with any ensemble to the audition.

 

Arizona State University

Percussion Audition Procedures

 

For entrance into the School of Music, a student must demonstrate technical strength and reading ability on keyboard and two of the three percussion areas of snare drum, timpani and drum set. The examples listed below give potential music majors an idea of the expected minimum level of ability for incoming students. Performance majors should naturally anticipate a higher entrance standard than a percussionist applying for other undergraduate music degree programs.

 

Keyboard

Smooth two-mallet roll

All major scales, two octaves at a moderate tempo

Two-mallet sight reading

 

Solo comparable to the following:

Morris Goldenberg: one of the 39 etudes from Modern School for Xylophone, Marimba and Vibraphone

Mitchell Peters: Yellow after the Rain

Thomas Pitfield: Introduction or Intermezzo from Sonata for Xylophone

Johannes Brahms: Hungarian Dance no. 5

 

Snare Drum

Rudimental roll and closed orchestra roll at ppp through fff

Sight read compound, simple and changing meter exercises.

 

Solo comparable to the following:

Anthony Cirone: Etude from Portraits in Rhythm

Fred Albright: Study no. 3 from Contemporary Studies for Snare Drum

John S. Pratt: Rudimental solo from Twelve Concert Solos

 

Timpani

Relaxed roll at pp and ff dynamic levels

Ability to match intervals on the drums

 

One solo or etude comparable to:

Garwood Whaley: Fundamental Studies or Musical Studies for the Intermediate Timpanist

Mitchell Peters: etude from Fundamental Method for Timpani

An exercise from section two or three of Saul Goodman's Modern Method for Tympani

 

Drum Set

Ability to keep steady time and play fills in rock, jazz, Latin styles.

 

Percussion Transfer Students

For entrance into the School of Music as a transfer student in percussion, a student must demonstrate technical strength and reading ability on keyboard and two of the remaining three percussion areas. The examples listed below give an idea of the expected minimum level of ability for first- and second-year students. Performance at the audition will determine how many lesson credits will transfer into the ASU program of study.

 

Keyboard

All major and minor scales, two octaves at a moderate tempo

Two-mallet sight reading

 

Four-mallet solo comparable to the following:

Rich O'Meara:  Restless

Paul Smadbeck:  one of his marimba etudes

Gordon Stout:  one of his marimba etudes

Movement from a J. S. Bach Violin Sonata or Partita

 

Timpani

Relaxed roll at pp and ff dynamic levels

Ability to tune drums by relative pitch, i.e. by using a tuning fork

One solo or etude for two or more drums that involves tuning changes comparable to:

 

John Beck:  Sonata for Timpani

An etude from Alexander Lepak's 32 Solos for Timpani

A solo from Fred Hinger's Solos for the Virtuoso Tympanist

 

Snare Drum

Rudimental roll and closed orchestra roll at ppp through fff

Sight read compound, simple and changing meter exercises

 

Prepared solo using rolls, drags, flams and a wide dynamic range comparable to the following:

Jacques Delecluse: Etude from Douze Etudes

Anthony Cirone: Etude from Portraits in Rhythm

Mitchell Peters: Etude from Hard Times

 

Drum Set

Ability to keep steady time and play fills in rock, jazz, Latin styles.

 

Capital University

 

Applicant should demonstrate ability in a minimum of two of the following five areas: snare drum: solo or etude; mallet percussion: solo or etude using two, three or four mallets; timpani: contest solo, orchestral excerpts, or etude of moderate difficulty; drum set: demonstrate basic style concepts of drum set drumming and may prepare a short solo to demonstrate improvisational skills; multiple percussion: solo or etude of moderate difficulty. Student also should be prepared to sight-read and play rudiments and scales. Students should supply sticks, mallets and literature. Demonstrate improvisational skills if appropriate.

 

U. of Kentucky

AUDITION INFORMATION FOR PERCUSSION

 

An Audition Request and Scholarship Application Form may be requested from the UK Band Office at (859) 257-2263 / FAX at (859) 257-8192 or from the UK School of Music web site at: www.uky.edu/FineArts/Music

 

The following list serves as a guide to choosing appropriate audition material for incoming undergraduate students. Although this list serves only as a suggestion, please choose literature that is similar in style, depth, and breadth. You are encouraged to go beyond the scope of All-State audition music. The purpose of an audition is to demonstrate your talents, so choose literature that you are comfortable with.

 

Prospective music majors and minors should demonstrate ability in at least 3 percussion areas. Candidates are required to audition in the Mallet Keyboard area and two or more additional areas chosen from Snare Drum, Timpani, Multiple Percussion, and Drum Set/Hand Percussion.

 

Mallet Keyboard

- Technical demonstration and/or theoretical understanding of all major and minor scales and arpeggios - two octaves.

- Chromatic scale - throughout your instrument’s entire range.

- A standard work or study to demonstrate musicianship such as Tambourin Chinois by Kreisler, Yellow After The Rain by Peters, Frogs by Abe, or a movement from Sonatas & Partitas for Violin by J.S. Bach.

- Sight Reading (two mallets).

 

Snare Drum

- Selected rudiments from the 40 Percussive Arts Society International Drum Rudiments played in “open to closed to open” style.

- A solo or etude, in rudimental or concert style, such as Portraits in Rhythm by Cirone, 12 Etudes for Snare Drum by Delecluse, or 14 Modern Contest Solos by Pratt.

- Sight Reading.

 

Timpani

- A standard work or study to demonstrate musicianship such as Musical Studies for the Intermediate Timpanist by Whaley, The Solo Timpanist by Firth, or a movement from Sonata for Timpani by Beck.

- Demonstrate ability to tune multiple drums from a single given pitch.

- Sight Reading.

 

Multiple Percussion

- A standard work or study to demonstrate musicianship such as Studies in Solo Percussion by Goldenberg, Tork or Engine Room by Campbell, or a movement from the French Suite by Kraft.

 

Drum Set/Hand Percussion

- Demonstrate jazz, Latin, rock and other musical styles of drum set or hand percussion performance. Display time keeping and solo fills in each style.                

- Chart sight reading will be required.

 

MARCHING BAND AUDITION INFORM

 

All “Wildcat” Marching Band auditionees should only prepare the snare drum area suggested. The drum line staff allows anyone to audition for snare drum, multi-tenors, bass drum and cymbals. The U.K. Marching Band does not field a "front ensemble" section. Formal auditions for non-music majors are held each spring and instrumental placement takes place during the pre-season "Early Week".

 

WEB SITES

 

For more information regarding auditions for the UK "Wildcat" Marching

Band Drum Line visit their Web Site at www.uky.edu/FineArts/Music/Bands or visit the U.K. Percussion Society at www.uky.edu/StudentOrgs/Percussion

 

ADDITIONAL INQUIRY

 

All questions pertaining to repertoire, auditions, or curriculum can be directed to:

 

James B. Campbell

Director of Percussion Studies

Voice & FAX: (859) 257-8187

E-mail: jbcampØØ@uky.edu

 

Central Florida University

 Percussion: Choose two of three: mallet (either 2 or 4 mallets), snare (rudimental or concert), and/or timpani solo; be prepared to sight read on mallet and snare.

 

Northern Illinois U.

Audition Information

Undergraduate Level: All prospective undergraduates must perform a keyboard percussion solo or etude and a snare drum solo or etude for their audition. In addition, solos or etudes in a minimum of two other areas are required. These other areas include timpani, drum set, multiple percussion, and world percussion. Scales, sight-reading and pitch matching will also be included in the audition. If a personal audition is not possible, you may submit a videotaped audition. Audio cassette tapes will not be acceptable for auditions.

 

Graduate Level: All prospective graduate students should be prepared to perform senior recital level literature in each of the following areas: two-mallet keyboard percussion, four-mallet keyboard percussion, timpani, snare drum, and an orchestral excerpt on keyboard percussion, snare drum, and accessory instruments. In addition, you may also choose to perform on drum set, demonstrate proficiency on jazz vibraphone, and/or perform on world percussion instruments. If a personal audition is not possible, you may submit a videotaped audition. Audio cassette tapes will not be acceptable for auditions.

 

Central Michigan University

 

Percussion:  Performance on orchestral and rudimentary snare drum, two-mallet keyboard (four-mallet is also recommended), and timpani.  In addition, a multiple-percussion solo may be performed.  Snare, keyboard, and timpani require separate pieces to be performed.  Student should have knowledge of major and minor scales.  Sight reading required.  Large instruments will be provided.  Please contact the Percussion Studio at (989) 774-3583 to request any additional equipment.

 

To be considered for a music scholarship, students MUST audition by the last official audition day.

 

Music Major auditions consist of:

*       An audition with the private instructor(s) of your area (see below), accompanist not required for instrumentalists, but is provided for singers.

 

*       A piano skill assessment test,

 

*       A theory skill assessment test,

(theory test studying tips

 

*       An aural skill assessment test. 

 

Percussion: 

Performance on orchestral and rudimentary snare drum, two-mallet keyboard (four-mallet is also recommended), and timpani. In addition, a multiple-percussion solo may be performed. Snare, keyboard, and timpani require separate pieces to be performed. Student should have knowledge of major and minor scales. Sight reading required. Large instruments will be provided. Please contact the Percussion Studio at (989) 774-3583 to request any additional equipment.

 

Percussion Audition Requirements

 

A personal audition with the percussion instructor or audition tape recording will determine the student's ability and appropriate placement level. Proficiency in at least one of the following main areas and a working knowledge in any one of the other listed areas is required for entrance into percussion studies.

 

The first 4 areas represent the "main" areas.

 

1. Snare Drum

 

A strong rudimental background in snare drumming as demonstrated by performance of solos by Wilcoxon, Markovich, or equivalent; and/or concert style snare drum performance from Cirone, Albright, Firth, Peters or Goldenberg books or the equivalent. If concert style snare drum solos are chosen exclusively, then the playing of rudiments may be requested.

 

If this category is chosen as a secondary audition instrument, then more elementary material may be chosen.

 

2. Timpani

 

A basic knowledge of the mechanical and pitched characteristics of the timpani; a performing command of two drum exercises as found in the Modern Method for Timpani by Saul Goodman; a basic understanding of intervals and scales and ability to hear, sing and tune them on the timpani.

 

If this category is chosen as a secondary audition instrument, then the singing and tuning of intervals and scales will not be required.

 

3. Keyboard percussion

 

A basic playing and/or theoretical understanding of major and minor scales and arpeggios; a reading command of intermediate difficulty literature such as found in Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg or the equivalent. A solo work of two or four mallets demon- strating the student's current level of technical ability.

 

If this category is chosen as a secondary instrument, then only major scales will be required and an elementary level solo may be presented.

 

4. Drum Set

 

A strong command of jazz, rock and other musical styles of drum set performance must be demonstrated through performance of "playing time," improvising fills, and solos in each style; and a basic understanding of chart reading displayed by performance with recorded music or live musicians.

 

If this category is chosen as a secondary audition instrument, then more elementary material may be presented.

 

Areas five and six are not to be considered "main" areas, but may be used, if the student so desires, as secondary audition instruments or areas.

 

5. Accessories

 

Demonstration of varied techniques on: tambourine, triangle, cymbals, bass drum etc. as found in the orchestral repertoire section of the Goldenberg, Modern School for Snare Drum.

 

6. Ethnic percussion

 

Proficiency in one of the following: Latin percussion, tabla playing, Middle Eastern hand drumming, Baroque tambourine technique, or any other exotic percussion practice not listed above.

 

If you have any questions regarding these requirements or the percussion program at UMaine in general, please do not hesitate to call or pay us a visit.

 

U. of Nebraska

PERCUSSION auditions:

Solos or etudes demonstrating skills in the following areas:

 

1.      Snare drum (both concert and rudimental styles). Music should include rolls and flams.

2.      Bar percussion (two and/or four mallet); include four major scales and arpeggios (two octaves); chromatic scales (two octaves).

3.      Timpani (optional but preferred).

4.      Sightreading on instrument of student's choice.

 

Royal Northern College of Music - England

ENTRY AUDITIONS

 

The auditions take place either at the end of November or the beginning of December. The pieces specified for the auditions to be held in Nov/Dec 2003, for entry to the RNCM in September 2004, are listed below. Please note that these audition requirements may change slightly from year to year.

 

Undergraduate application forms should be returned by October 1st in the year prior to that in which admission is being sought. Postgraduate ones should be returned by October 31st.

 

UNDERGRADUATE AUDITIONS

for both the BMus & BA COURSES

 

TUNED

Own choice piece, at least Grade 8 level. 

 

TIMPANI

Choose and prepare one of the following pieces from the Associated Board Grade 8 list :-

 

MODERN TIMES

TCHAIKOVSKY PLUS

WALTZ VARIATIONS

 

SNARE DRUM

Choose and prepare one of the following pieces from the Associated Board Grade 8 list :-

 

SICILIENNE

SCHEHERAZADIA

 

SIGHT READING

Sight reading may be given on any instrument

 

POSTGRADUATE AUDITION REQUIREMENTS

 

Candidates will be asked to play one piece of their own choice on each of the following instruments:-

 

TUNED PERCUSSION

TIMPANI

SNARE DRUM        

 

The level of difficulty should be comparable to that of the pieces played in the candidate's undergraduate diploma/degree recital.

 

ORCHESTRAL REPERTOIRE The following repertoire excerpts should also be prepared for the audition:-

 

TUNED

Dukas : Sorcerer's Apprentice

Gershwin : Porgy & Bess

Kabalevsky : Colas Breugnon

Kodaly : Hary Janos

 

SNARE DRUM

Prokofiev : Lieutenant Kijé

Rimsky-Korsakov : Scheherazade

Suppé : Pique Dame

 

TIMPANI

Beethoven Symphonies No. 1 & 7

Britten : Peter Grimes (Storm)

Stravinsky : Rite of Spring (Danse Sacrale)

 

INSTRUMENTS The following instruments will normally be provided for both undergraduate and postgraduate auditions:-

 

TIMPANI   Four Adams Symphonic Timpani (32", 29", 26", 23") with Renaissance heads. These drums have Premier-type pedals and the tuning gauges on the drums will be disabled for the audition. Candidates may tune from a tuning fork or take an A from the marimba.

 

SNARE DRUM   A snare drum will be provided, but candidates may bring their own drum if they wish.

 

TUNED   The instruments available will be a 4.3 octave Concorde marimba (fixed height), a 5-octave Yamaha marimba (blocks are available) and a 4-octave Adams xylophone (adjustable height). A piano will not be available for accompaniment. A Yamaha vibraphone will be available for postgraduate auditions.

 

Berklee

Percussion Audition Guidelines

 

 Below are some guidelines to use in preparing for your audition. Please note that we will have many people to hear and you should make the most of the available time. Make sure you are warmed up and ready to play at your assigned time, and come prepared to display your strengths regardless of style of music!

 

*       Prepared Piece: (one page in length) on concert snare drum

*       Demonstration of major scales on either vibraphone or marimba

*       Prepared piece on solo marimba (3-5 minutes in length)

*       Prepared piece on solo timpani (3-5 minutes in length)

 

Ear Training

You will be asked to participate in call and response exercises. The audition team will play short rhythms and melodies which you will play back to them on your instrument.

 

Reading

20 minutes before your audition, you will be given reading examples to be performed in the audition - snare drum reading as well as reading "kicks" within various grooves.

 

By the way, it's important to us to find out how you practice. Please feel free to show us exercises which are part of your practice routine.

Drumset Audition Guidelines

 

 

 Below are some guidelines to use in preparing for your audition. Please note that we will have many people to hear and you should make the most of the available time. Make sure you are warmed up and ready to play at your assigned time, and come prepared to display your strengths regardless of style of music!

 

Prepared Piece

Demonstrate the following grooves:

 

*       4/4 Swing, 3/4 Swing

*       Rock, Funk

*       Shuffle, Bossa Nova, Samba

*       Trading fours and eights in 4/4 Swing, Shuffle, and Rock grooves

 

Ear Training

You will be asked to participate in call and response exercises. The audition team will play short rhythms and melodies which you will play back to them on your instrument.

 

Reading

20 minutes before your audition, you will be given reading examples to be performed in the audition - snare drum reading as well as reading "kicks" within various grooves.

 

By the way, it's important to us to find out how you practice. Please feel free to show us exercises which are part of your practice routine.

 

Rutgers

Classical Percussion

 

You should be prepared to perform on at least two, and preferably three, of the following:

 

*       Snare drum: two solo works (rudimental and/or classical), plus rudiments

*       Keyboard percussion instruments: one solo work for either marimba or xylophone, played with either two or four mallets, plus scales

*       Timpani: one solo work

*       Drumset: play time and a solo in a jazz style of your choice

 

Jazz Drumset

 

*       Perform the following time feels: swing in 4/4 and 3/4 (slow, medium, and up-tempo, with sticks and brushes), bossa nova, samba, shuffle, and Afro-Cuban

*       Sight read basic figures in swing style while keeping time. Play intermediate level rudimental and orchestral snare drum solos

*       Improvise 4-bar, 8-bar, and full-chorus drum solos within the context of a standard jazz form

*       26 standard N.A.R.D. rudiments

*       Aural recognition of triads and basic intervals, 7th chords, and rhythms

 

U. of Louisville

Percussion

Students should perform works in the following categories that accurately represent their current level of achievements.

 

Required:

*       One 2-Mallet and/or 4-Mallet keyboard work (with or without piano accompaniment)

*       Two Snare Drum workd (rudimental and orchestral)

*       On Timpani work (2, 3 or 4 Drums)

*       Snare Drum Rudiments

 

Optional:

*       One Multiple percussion work

*       Drumsets: Various styles (Jazz, Bossa Nova, Afro, Cuban, etc.)

 

Also: possible sight-reading on all instruments (keyboards, timpani, snare drum)

Percussion - Jazz Drum Set

*       Demonstrate the following styles in either 32 or 12 bar form:

1.      Swing

2.      Bossa Nova

3.      Rock (Any Style)

*       Be able to play time in 4/4 and 3/4

*       Demonstrate proficiency on two of the following: Mallets, Timpani, Snare

*       Demonstrate various styles on Drumset: Jazz, Afro Cuban, etc.

*       Demonstrate the ability to play with brushes

*       Trade 4's over a Blues

umkc

 

U. of Missouri at Kansas City

Percussion Audition Information

 

AUDITION

 

Acceptance to private study in the Conservatory is based on an audition prior to enrollment.  Auditions are judged by the appropriate applied faculty and are normally arranged through the Conservatory Admissions Office.  In the case of students residing a significant distance from Kansas City, a high quality videocassette recording may serve for provisional admittance.  Auditions are normally 10 minutes in length at the undergraduate level, 20 minutes at the master’s level, and 30 minutes at the doctoral level.

 

AUDITION REPERTOIRE

 

Repertoire for an audition, at any level of study, should reflect competency in more than one area of percussion.  Because of the diversity of literature, styles and teaching, the following should be used as a guide by prospective students in preparing an audition.  The suggested composers’ works may be found in the UMKC Percussion Syllabus (Percussion at UMKC) and may be ordered from your local music store or by mail from the Steve Weiss Catalog.  Non-performance majors should perform repertoire which best demonstrates their level of ability.  Undergraduate applicants should be aware that a basic level of musicianship in the areas of snare drum and mallets is necessary before attempting admission to the Conservatory.

 

Undergraduate level

 

Applicants should demonstrate ability on snare drum and mallets and  at least one  of either timpani or multiple percussion.  Prepare solos selected from the standard literature and be ready to sight read:

 

Studio Audition

 

1) Snare Drum (Perform one concert and one rudimental solo)

 

        Rudimental (Peters, Pratt, Markovich or others)

 

        Concert (Benson, Colgrass, Cirone, or others)

 

2) Keyboard Percussion (Two and/or four mallet solo)

 

3) Timpani (Solos by Beck, Forth, Hinger or others)

 

4) Multiple Percussion (Udow, Kraft, or others)

 

Drum Set

 

Auditions for drum set will be separate from the percussion studio auditions.  Students wishing to audition on drum set will be given a second audition time on the same day as their studio audition.  Members of the UMKC Jazz Faculty will be present.  A drum set will be provided, students are welcome to bring their own cymbals and bass drum pedals.

 

Stylistic Component: Students should be prepared to perform examples from all of the following areas:

 

1) Swing (moderate and up-tempo feels)                                                                2) Ballad (demonstrating brush techniques)

 

3) Latin (Bossa Nova and Samba)                                                                            4) World Music (Afro-Cuban, Reggae)

 

Creative Component:

 

1) Performance with UMKC Jazz Combo

 

Students should use this time to convey their knowledge of the Jazz idiom through performance in this traditional setting.

 

2) Chart Reading

 

                Students will read from both lead sheets and rhythm charts

 

Master's Level 

 

Advanced ability should be demonstrated in all four of these areas:    

 

1) Snare drum:  

 

            Orchestral Repertoire (From Goldenberg or other excerpts)

 

            Advanced Solos/Etudes (Delecluse, Albright or others)

 

2) Keyboard Percussion:

 

            Two mallet work (G.H. Green Xylophone Rag or similar)

 

            Four mallet (Should show both chorale style as well as more dexterous section)

 

            Orchestral Repertoire

 

3) Multiple Percussion

 

4) Timpani:

 

            Orchestral Repertoire

 

            Etude/Solo with pitch changes                                                                                      

 

 

 

Doctoral Level

 

Doctoral applicants should submit a list of all solo, chamber and ensemble repertoire performed, as well as copies of programs from public performances.  For the in-person audition, the same area requirements for the master’s will be in effect, yet a higher level of skill and more mature interpretation will be expected.  Doctoral applicants should already possess professional level technical skills, with mature interpretive insight.

 

UNDERGRADUATE & GRADUATE AUDITION AND INTERVIEW PROCEDURES

 

Please read carefully:

 

1.       To assure adequate scheduling and notification procedures, all Conservatory application materials should be submitted at least four weeks prior to the requested audition date.  Audition dates, times and rooms will be confirmed approximately three weeks prior to the scheduled audition.

 

2.       All applicants are advised to audition on campus.  If scheduling difficulties or distances are insurmountable, applicants should request to audition by tape or CD.  Applicants not auditioning on the Kansas City campus may be required to audition live, in person before final acceptance into the Conservatory.

 

3.       Auditions should be scheduled only in the major performing area.  If a student is highly           proficient in more than one instrument, he/she may audition in more than one area.  Each audition will require a separate Audition Request Form, which is available by calling the Conservatory Admissions Office at 816-235-5209. 

 

4.       UMKC will provide staff accompanists for all voice auditions.  Accompaniments for orchestral instruments and classical guitar are not required and will not be provided.  There is no fee for an accompanist.

 

5.       The auditioning committee will have the option of hearing as much of the prepared repertoire, in whole or in part, as it deems necessary to assess the applicant’s ability.  Each applicant may choose the first piece to be performed.

 

 

 

Applicants will perform an audition consisting of works from the standard repertoire.  Scales and sight-reading may be requested.  More detailed information and suggestions are available from the appropriate applied faculty member.

 

If the applicant is an UNDERGRADUATE, a 10-minute audition is required.

 

If the applicant is a MASTER’S performance candidate, a 20-minute audition is required.

 

If the applicant is a DOCTORAL performance candidate, a 30-minute audition is required.

 

 

Julliard

Entrance Audition Requirements

Music

 

1. All applicants should refer to the General Applications Procedures.

2. Undergraduate applicants are eligible for either the Bachelor of Music degree or the Diploma, which requires at least three years.

3. Undergraduate applicants may also pursue studies in the cross-registration (B-C-J exchange) program.

4. Transfer status is available only to those accepted into undergraduate programs. Advanced standing for music students is based entirely on faculty evaluations of the student’s capabilities and by the placement exams which are administered after acceptance.

5. Graduate applicants are eligible for the following programs: Master of Music, Graduate Diploma, Doctor of Musical Arts, or the Artist Diploma.

6. Those interested in the Artist Diploma should refer to the Artist Diploma section in General Applications Procedures.

7. International Students: Please refer to International Students section.

8. TOEFL and T.W.E./essay rating will be required for students for whom English is not the native language. Please refer to International Students section for details.

 

Music Entrance Auditions

 

In some departments, audition spaces are limited and auditions may be scheduled for applications received on a first-come-first-served basis.

 

Jazz Studies

(B.M. and Artist Diploma Only)

 

All applicants must submit a standard CD or cassette tape with selections from the following repertoire for pre-screening. Name and address should appear on both the tape and the tape cover. All selections must include the accompaniment as listed. Performances of the selections below should be between three and four minutes in length. Applicants are encouraged to incorporate timbral and vocal effects into their performances to demonstrate the human aspects of jazz music.

 

Note: If invited to audition, additional repertoire will be forwarded. All music must be memorized.

 

Choose one selection from each category:

 

Rhythm section instruments should demonstrate the ability to accompany a soloist on one of these selections.

 

1.      Up Tempo Swing

a. Airegin – Sonny Rollins

(Ab Major) half note = 132-144

b. Lover – Rodgers-Hart

(C Major) half note = 138-152

c. Lover Come Back to Me – Romberg-Hammerstein

(F Major) half note = 138-152

d. The Song Is You – Kern-Hammerstein

(C Major) half note = 126-136

2.      Blues

a. Cheryl – Charlie Parker

(C Major) half note = 88-104

b. Dance of the Infidels – Bud Powell

(F Major) half note = 92-102

c. Mr. Day – John Coltrane

(Gb Major) half note = 100-108

d. Pie-Eyed Blues – Duke Ellington

(Eb Major) quarter note = 116-126

3.      Ballads

a. Soul Eyes – Mal Waldron

(C Minor)

b. Peace – Horace Silver

(Bb Major)

c. Autumn in New York – Vernon Duke

(F Major)

d. Someone to Watch Over Me – George Geshwin

(C Major)

e. Chelsea Bridge – Billy Strayhorn

(Db Major)

4.      Selections in 3/4 or 6/8 Time

a. Barbara – Horace Silver

(Eb Major)

b. Night Dreamer – Wayne Shorter

(G Major)

c. The Jitterbug Waltz – Thomas "Fats" Waller

(Eb Major)

d. Valse Hot – Sonny Rollins

(Ab Major)

5.      Grooves

a. My Little Suede Shoes – Charlie Parker

(Eb Major)

b. Pensativa – Clare Fischer

(Gb Major)

c. Meditations – Antonio Carlos Jobim

(C Major)

d. Bolivia – Cedar Walton

(Eb Major)

6.      Medium Swing

a. Woody ’n You – Dizzy Gillespie

(Db major) quarter note = 104-116

b. Stompin’ At the Savoy – Goodman-Webb-Sampson-Razaf

(Db Major) quarter note = 144-168

c. Where or When – Rodgers-Hart

(Eb Major) quater note = 116-126

d. I Can’t Give You Anything But Love – Jimmy McHugh

(G Major) quarter note = 112-120

 

Drums

Please state the type of example that you are demonstrating on the tape for clarity:

 

Unaccompanied Material– Each example should be approximately one to one and a half minutes in length.

 

*       Perform a swing groove at a slow, medium, and fast tempo using sticks.

*       Perform a swing groove at a slow, medium, and fast tempo using brushes.

*       Perform the shuffle rhythm, first with no accent, then with an accent or backbeat on 2 and 4.

*       Soloing – perform a 12 bar blues at a medium to fast tempo trading (alternating) choruses between playing straight time and soloing for 8 choruses.

*       Perform the following grooves:

New Orleans

6/8 Afro Cuban

Bossa Nova

 

Accompanied Material– Choose one selection from each of the categories above. Selections should not exceed three to four minutes in length. Accompanists should include piano or guitar, and bass.

 

Percussion

 

All undergraduate and graduate applicants not currently enrolled at Juilliard must submit a standard videotape with the following repertoire for pre-screening. Name and address should appear on both the tape and the tape cover.

 

Undergraduate

 

1.      Mallets

a. Two Mallets – Bach – Violin Concerto in A Minor–Transcription from Morris Goldenberg – Modern Method for Xylo, etc. Play from the beginning to the 5th measure of letter D. quarter note = 96

 

b. Four Mallets – Georg Neumark – Chorale no repeats quarter note = 80 (do not roll)

 

If low A instrument in not available, please play entire piece up one octave.

2.      Snare Drum

a. Long Roll

b. WilcoxonRhythmania from Modern Rudimental Swing Solos beginning to downbeat of m. 16 quarter note = 100

 

c. Cirone – Portraits in Rhythm , Etude No. 4, beginning to downbeat of m. 30 (please note that the F in bar 8 applies to the 2nd eighth note) dotted quarter note = 58

 

3.      Timpani

Please tune exclusively with a tuning fork, and without the use of gauges.

a. Long Roll

b. Goodman – Modern Method for Timpani – Etude No. 57 quarter note = 92

 

Graduate

 

1.      Mallets

a. Two mallets – any 2 mallet movement from J.S. Bach Sonatas and Partitas for solo violin or Suites for solo cello

–no repeats.

 

b. Four mallets – a 2-3 minute excerpt from a work of your choice

2.      Snare Drum

a. Long Roll quarter note = 80 (see undergraduate)

 

b. WilcoxonRhythmania from Modern Rudimental

Swing Solos beginning to downbeat of m. 16; quarter note = 100

 

c. Delecluse – Etude No. 1 from 12 Etudes pour caisse clair beginning to downbeat of m. 46; quarter note = 76

 

3.      Timpani

a. Long roll quarter note = 80 (see undergraduate below)

 

b. Goodman – Modern Method for Timpani – Etude No. 72

 

c. Tchaikovsky – Symphony No. 4 – First movement, 2 before T to 3 before U quarter note = 80

 

If invited, applicants should be prepared to present the following material in each category and should bring four copies of all materials.

 

1.      Mallets

Undergraduate

a. two-mallet solo of your choice

b. four-mallet solo of your choice

c. knowledge of scales and arpeggios

d. sight-reading

 

Graduate:

e. all of the above plus four standard orchestral excerpts

 

2.      Snare Drum

Undergraduate:

a. Etudes from Cirone Portraits in Rhythm or Delecluse 12 Etudes or the equivalent

b. knowledge of rudiments and ornaments

c. ability to roll at all dynamic levels

d. sight-reading

 

Graduate:

e. all of the above plus four standard orchestral excerpts

 

3.      Timpani

Undergraduate:

a. Etudes from Goodman method, Firth, Delecluse, or Hochrainer books or the equivalent.

b. ability to tune accurately

c. ability to roll at all dynamic levels

d. sight-reading

 

Graduate:

e. all of the above plus four standard orchestral excerpts

 

Ohio University Percussion

Prepare solos or etudes that demonstrate your experience in the following areas of percussion:

 

Snare drum

Mallets

Timpani

 

You will also be asked to demonstrate fundamental skills in these areas of percussion, including rudiments, scales, timpani tuning, and sightreading.

 

If desired, you may also prepare selections to show additional skills in the areas of drum set, multiple percussion, or hand drums.

 

U. of Maine

Percussion Audition Requirements


A personal audition with the percussion instructor or audition tape recording will determine the student's ability and appropriate placement level. Proficiency in at least one of the following main areas and a working knowledge in any one of the other listed areas is required for entrance into percussion studies.

 

The first 4 areas represent the "main" areas.

 

1. Snare Drum

A strong rudimental background in snare drumming as demonstrated by performance of solos by Wilcoxon, Markovich, or equivalent; and/or concert style snare drum performance from Cirone, Albright, Firth, Peters or Goldenberg books or the equivalent. If concert style snare drum solos are chosen exclusively, then the playing of rudiments may be requested.

 

If this category is chosen as a secondary audition instrument, then more elementary material may be chosen.

 

2. Timpani

A basic knowledge of the mechanical and pitched characteristics of the timpani; a performing command of two drum exercises as found in the Modern Method for Timpani by Saul Goodman; a basic understanding of intervals and scales and ability to hear, sing and tune them on the timpani.

 

If this category is chosen as a secondary audition instrument, then the singing and tuning of intervals and scales will not be required.

 

3. Keyboard percussion

A basic playing and/or theoretical understanding of major and minor scales and arpeggios; a reading command of intermediate difficulty literature such as found in Modern School for Xylophone, Marimba, and Vibraphone by Morris Goldenberg or the equivalent. A solo work of two or four mallets demon- strating the student's current level of technical ability.

 

If this category is chosen as a secondary instrument, then only major scales will be required and an elementary level solo may be presented.

 

4. Drum Set

A strong command of jazz, rock and other musical styles of drum set performance must be demonstrated through performance of "playing time," improvising fills, and solos in each style; and a basic understanding of chart reading displayed by performance with recorded music or live musicians.

 

If this category is chosen as a secondary audition instrument, then more elementary material may be presented.

 

Areas five and six are not to be considered "main" areas, but may be used, if the student so desires, as secondary audition instruments or areas.

 

5. Accessories

Demonstration of varied techniques on: tambourine, triangle, cymbals, bass drum etc. as found in the orchestral repertoire section of the Goldenberg, Modern School for Snare Drum.

 

6. Ethnic percussion

Proficiency in one of the following: Latin percussion, tabla playing, Middle Eastern hand drumming, Baroque tambourine technique, or any other exotic percussion practice not listed above.

 

If you have any questions regarding these requirements or the percussion program at UMaine in general, please do not hesitate to call or pay us a visit. 

 

U. of North Texas

 

Percussion

Either a live audition (preferable) or video tape is necessary for scholarship consideration. The applicant should bring sticks, mallets, and music. The college will provide instruments and stands unless the performer prefers to bring personal equipment. Undergraduates should prepare solos for snare drum, mallets and timpani. Style performance will be required on drumset. Sight reading will be required on all instruments.

 

*       Snare Drum: Rudiments: PAS rudiments. Solo: a prepared rudimental piece/orchestral etude. Memorization not required. Suggested repertoire: Cirone, Portraits in Rhythm. Sight reading: material given by the examiner. 

*       Timpani: Fundamental: tuning; stickings; dampings; intervals; intonation; tone production. Solo: a prepared piece or etude. Memorization not required. Suggested repertoire: Firth, 26 Etudes. Sight reading: material given by the examiner. 

*       Marimba: Scales and Arpeggios: two-octave scales and arpeggios, major and minor. Solo: a prepared piece or etude. Memorization not required. Suggested repertoire: Goldenberg, Modern School for Marimba/ Xylophone. Sight reading: material given by the examiner. 

*       Drumset: Fundamentals: performing different styles; stick and/or wire brush technique. Solo: perform alternating 4 bars "time" with 4 bars solo in 4/4. Sight reading: a typical drum part from a jazz arrangement.

*       Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable.  There is no memory requirement.  The instrumentalist should prepare 10-15 minutes of music.

*       see www.music.unt.edu/Percussion for more details


 

Undergraduate - Percussion Audition Requirements For All Music Degrees Except Jazz Studies:

 

Final acceptance as a music major with a percussion emphasis will be determined by an audition consisting of prepared solos in mallets, timpani and snare drum. Students will also be asked to perform a variety of musical styles on drum set (i.e., jazz, Latin, funk, etc.).  Students will sight read on snare drum, drum set, and marimba at the audition.

 

Undergraduate and Graduate - Percussion Audition Requirements For Jazz Studies:

 

All applicants for Jazz Studies degrees (graduate and undergraduate) must perform the following for an audition:  Performance of styles and sight reading on drum set;  a snare drum solo/etude and sight reading;  a marimba or vibraphone solo (can be a jazz or classical selection) and sight reading.

 

Suggested Repertoire for Undergraduates:

 

    Snare Drum:

 

*       Contemporary Studies by Fred Albright, published by Belwin.

*       Portraits in Rhythm by Anthony Cirone, published by Belwin.

*       Solo Snare Drummer by Vic Firth, published by Fischer.

 

    Mallets:

 

*       Modern School for Marimba/Xylophone by Morris Goldenberg, published by Chappell.

*       Masterpieces for Marimba by Thomas McMillan, published by Pro Art.

*       Any published marimba/vibraphone solo.

 

    Timpani:

 

*       The Solo Timpanist by Vic Firth, published by Fischer.

*       Any published timpani solo.

 

    Drum set:

 

*       A variety of different musical styles (i.e., jazz, funk, Latin, etc.)

 

Taped Auditions:

 

As stated before, a personal audition/interview is preferred, but a 20-30 minute video may be submitted for conditional acceptance. Choose a solo of appropriate level or one etude from each of the following areas: snare, mallets and timpani. For mallets include 3 major and 3 minor scales and arpeggios.  On drum set include a variety of style performances (i.e., jazz. Latin, funk, etc.).  If possible, include a drum set performance with a jazz combo or big band.  Tapes should be received by February 22 for scholarship consideration.  If you do not wish to be considered for a scholarship, tapes must be in by April 1.

 

Scholarships:

 

For scholarship consideration it is recommended that you audition in person.  If this is not possible, send a high quality video recording including the information listed above under "Taped Auditions".

Students awarded a music scholarship receive an out-of-state tuition waiver and a cash award of $1,000 a year.

 

------------------------------------------------------------------------

 

Audition Requirements for Graduate Students in Percussion Performance:

 

As stated before, a personal audition/interview is preferred, but a 50 minute video tape may be submitted for conditional acceptance. If a tape is sent to the College of Music Graduate office with an application for an assistantship, the applicant should personally notify Mr. Ford. Tapes should include solos, etudes, accompanied or unaccompanied pieces, and/or chamber music.

 

Students auditioning for graduate study in person, will be expected to sight read and perform the following solos:

 

*       A major mallet work of sufficient length and difficulty which demonstrates 2 and 4 mallet ability, suitable for applied music recitals (Senior, Masters.)

*       A snare drum etude demonstrating adequate proficiency.

*       A timpani solo (including tuning) demonstrating adequate proficiency.

*       Perform a variety of styles on drum set.

 

Multi-percussion solos are not performed during on campus auditions.  Applicants may submit a supplemental video tape of a multiple percussion solo from a recent performance for consideration.  Tapes will not be returned.

 

 

DePaul University

Percussion Auditions

 

Audition material should be challenging to the candidate and, particularly in the case of marimba, very carefully prepared. Neither memorization nor piano accompaniment is required for percussion auditions.

Undergraduate

 

Undergraduate auditions typically consist of scales and prepared selections, which should include one or more movements from the standard solo, sonata, or concerto repertoire. Etudes may also be included. Sight-reading may be requested. Selections need not be memorized, and piano accompaniment is optional.

Undergraduate percussion auditions consist of the following music and techniques:

Snare Drum

- Solo (Comperable to Cirone's Portraits in Rhythm)

- Rudiments

- Sight reading

Marimba

Demonstrate 2 & 4 mallet technique

- 2 Mallet (Bach's A minor Violin Concerto, Creston Concerto, or comparable

- 4 Mallet (Peter's Yellow After the Rain, Stout's Mexican Dances, or comparable)

- Sight reading

 

New York University

The Steinhardt School of Education

Department of Music and Performing Arts Professions

 

AUDITION REQUIREMENTS

 

Bachelor of Music:

 

Undergraduate auditions are November 2nd and November 16th and by appointment through late February with Professor Jonathan Haas at NYU.  Rarely and under very unusual circumstances, a VIDEO Taped audition may be submitted:  audio tapes are NOT accepted.  Audition requirements include a composition of your own choosing for each of the following instruments: snare, timpani, marimba/vibraphone/xylophone.  The choice of compositions should reflect the applicant’s tastes and technical abilities. Excerpts from the orchestral literature should be included.

 

For further information call our department (212-998-5424) or visit our web site at http://www.nyu.edu/education/music or for financial aid information as well as an NYU undergraduate admissions application call (212) 998-4500 or visit  http://www.nyu.edu/ugadmissions. Merit scholarships at the department, school (Steinhardt School) and university levels are awarded based on academic and musical talents. 

 

Master of Music

 

All masters applicants must pass an individual audition. Applicants should prepare sufficient material to perform a full solo recital containing works which show a diversity of periods, styles, and instruments, including timpani, mallet percussion, snare drum, and multiple percussion. Standard orchestral excerpts should be included. Music theory, aural training and music history placement exams are required after a student has been accepted but before commencing classes in the department; therefore, these traditional placement exams are not part of the admissions process.  The masters curriculum in percussion performance requires completion of a minimum of 36 points not including any remedial classes that might result from the music theory, aural training and music history placement exams.

 

Undergraduate/Graduate

Jazz Vibraphone/Percussion Audition Requirements

 

Acceptance may be obtained by submission of a cassette tape, VHS tape, compact disc or DVD no longer than 20 minutes. If you perform with a musical group the tape should be edited to feature your performance only. Tapes should be received by February for fall admission and November for Spring admission. Auditions must consist of a solo selection from each of the percussion areas listed below. Evaluations are primarily based on the students selected area of study. The repertoire listed below is strongly suggested but not required. You may selected works that do not appear on the list with the approval of Dr. Sherrie Maricle.

 

MALLETS/JAZZ VIBRAPHONE

 

1. All major/minor/jazz scales and arpeggios in 2 octaves: Select 3 keys if preparing a tape.

 

2. A 2 mallet or 4 mallet realization of 3 jazz standards reflecting varying jazz styles: SWING, BRAZLIAN or AFRO-CUBAN and BALLAD. Each Form should include the melody, 1 chorus of "comping", 2 choruses of improvisation, concluding with the melody.

 

3. Select one etude from The Modern School for Xylophone, Marimba and Vibes by Morris Goldenberg (Publisher, Chappell) 

 

SNARE DRUM (select one solo and rudiments)

 

1. Contemporary Studies - Fred Albright (publisher, Belwin)

2. Portraits in Rhythm - Anthony Cirone (publisher, Belwin)

3. Solo Snare Drummer - Vic Firth (publisher, Fischer)

4. All N.A.R.D. Rudiments - select a long roll and 2 additional rudiments for tape                              

 

       TIMPANI

 

1. Tuning of intervals: For  tape select 4 intervals.

2. Prepare a solo piece from: The Solo Timpanist by Vic Firth; Fundamental Timpani Solos by Mitchell Peters; Eight Pieces for Timpani by Elliot Carter or Timpani Method by Saul Goodman.

 

DRUM SET (not required for Jazz Vibraphone auditions)

 

1. Basic Beat Styles; Swing, Afro-Cuban, Brazilian, Funk alternating 8 measures of time with 8 measures of solo

 

2. A Performance with your school or professional band.

 

3. A "comping" example from John Riley's Be-Bop Drumming and Beyond.

 

ETHNIC INSTRUMENTS (not required)

 

You may perform on any ethnic percussion instrument; i.e - conga, bongo, djembe, etc.

 

Florida State University

We ask that you plan to audition on campus at Florida State University. Videotape auditions are accepted in very rare cases, and you must have the permission of Dr. Parks in order to be considered.

Please check the FSU School of Music Auditions website for 2003-2004 audition dates.

UNDERGRADUATE (BM, BME, BA): All applicants must perform in all listed major areas (Snare Drum, Mallets, Timpani); drum set is optional. Repertoire below is only a suggestion; please contact Dr. Parks if you have any questions concerning appropriate alternative repertoire. Sight Reading is part of the audition.

Snare Drum: Etudes by Delecluse, Cirone, Whaley, Peters, etc.

Mallets: Four-mallet solos by Stout, Peters, Abe, Smadbeck, etc.

Timpani: Solos by Vic Firth, Carter, Beck, Goodman, etc.

Drum Set: Optional--demonstrate proficiency in different styles (swing, latin, funk, etc.).

University of Utah

Material to Prepare

As an entering student, you can easily prepare for auditions by having at least one solo piece ready to perform. The solo piece should demonstrate to others what you do best and not what you are currently working on. Always put your best foot forward! 

Instrumentalists should know from memory some major and minor scales as well. The scales may or may not be asked for, but it is always good to be prepared.

Most auditions, whether instrumental or vocal, expect some evidence of sight-reading ability. Students should be prepared to sight-read musical excerpts generally selected from fairly short passages of standard literature.  The best way to prepare for sight-reading is to sight-read.  Obtain music you have never seen before and perform it straight through without stopping.  Try to incorporate all the musical markings and make it sound as if you have performed it many times before.

At the Audition

Come to the audition dressed appropriately. First impressions are important and to come well dressed is generally an indication of your interest and commitment to the ensemble or the course of study. Don't make excuses for yourself before you even begin, just do your best and let it go at that.

Even though some auditions might run late your should arrive on time and be ready to perform.  Keep yourself psychologically prepared so you do your best when it is your turn to audition.

UNLV

Percussion
Demonstrate strengths in two or more of the following areas:
snare drum, mallet percussion, timpani, drum set 

East Carolina University

UNDERGRADUATE ADMISSION AND AUDITIONS

Admission to the university does not guarantee admission to the School of Music. Prospective music majors and minors must be admitted both to the university and to the School of Music.  Admission to the School of Music is determined by an acceptable level of performance as demonstrated through a personal audition or a recent taped recording. A satisfactory audition is required of all entering freshmen, transfer students, and students being readmitted. Acceptance of the audition is based upon an affirmative vote by a majority of the auditioning committee, which comprises a minimum of three faculty members. Admission is limited in some applied disciplines in the School of Music. For detailed information, students should contact the assistant dean for undergraduate studies of the School of Music.

   

Percussion:

 

All students planning to major in music, with percussion as their performance area, must audition in a minimum of three areas: Snare Drum, Mallets (marimba or xylophone) and Timpani or Drum Set. Each audition will ask the student to demonstrate technical skills, a prepared solo and sight-reading.  The level of mastery expected will depend upon which degree you anticipate pursuing.

B.M. in Music Education

B.M. in Music Therapy

B.M. in Music Theory/Composition:

 

Students interested in pursuing the Bachelors degree in Music Education, Music Therapy or Theory/Composition should prepare an audition consisting of the following materials.

 

Snare Drum: Perform all rudiments from the list below from slow to fast.  A prepared solo (#’s 22,29,31 or 32 from Intermediate Snare Drum Studies by Mitchell Peters or another solo of similar difficulty).  Sight-reading.

 

Mallets:  All major scales two octaves leading with either hand. All major triad arpeggios 3 octaves leading with either hand. Prepared solo for two mallets (Handel  Sonata, pp. 10-11 in Masterpieces for Marimba by Thos. McMillan or similar).  Sight-reading.

 

Timpani:  Tune the timpani to a given pitch.  Tune to a P4or P5 above or below a given pitch.  Long roll, ppp to fffPrepared solo (Firth - The Solo Timpanist, exercise 1 or similar). Sight-reading.

 

Drum set: Be prepared to play time and trade 4’s in the following styles: rock, funk, swing, samba, mambo Read a big band chart with accompaniment

 

Bachelor of Music in Percussion Performance

Students planning to pursue the degree of Bachelor of Music in Percussion Performance should prepare an audition to include all of the following areas.

 

Snare Drum: Perform all rudiments from the list below from slow to fast.  A prepared solo (Etudes # 4,6,12,13 from  Portraits in Rhythm  by Anthony Cirone or similar).  Sight-reading.

 

Mallets:  All major and natural minor scales, two octaves, lead with either hand.  All major and minor triad arpeggios three octaves, leading with either hand.  Prepared two-mallet solo (Handel Sonata, pp 20-21 in Masterpieces for Marimba by Thos. McMillan or similar), prepared 4 mallet solo (Yellow After the Rain  by Mitchell Peters or similar).  Sight-reading.

 

Timpani: Tune timpani to a given pitch and to P4, P5, M6, and M3 above or below that given pitch.  Prepared solo (Firth - The Solo Timpanist, exercise 2,3 or similar), long roll ppp-fff

Sight-reading.

 

Drum Set: Be prepared to play time and trade 4’s in the following styles: rock, funk, swing, samba, mambo Read a big band chart with accompaniment.

 

Bachelor of Music in Jazz Studies

Students planning to pursue the degree of Bachelor of Music in Jazz Studies should prepare an audition to include the following areas.

 

Snare Drum: Perform all rudiments from the list below from slow to fast A prepared solo (#’s 22,29,31 or 32 from Intermediate Snare Drum Studies by Mitchell Peters or another solo of similar difficulty).  Sight-reading.

 

Mallets:  All major scales two octaves leading with either hand. All major triad arpeggios 3 octaves leading with either hand. Prepared solo for two mallets (Handel  Sonata, pp. 10-11 in Masterpieces for Marimba by Thos. McMillan or similar).  Sight-reading.

 

Drum Set: Be prepared to play time and trade 4’s in the following styles: rock, funk, swing, samba, mambo Read a big band chart with accompaniment.

 

Probation

A student whose performance proficiency level is slightly below the minimum for entering freshmen may be admitted on probation in his or her major applied area. The student may take freshman music courses for credit and preparatory work in his or her major applied area for no credit for a maximum of one semester, as determined by the faculty in the major area.

 

Placement Examinations

Transfer students are given placement tests in basic music knowledge during the summer orientation to determine their appropriate levels of study in music theory and history courses.

 

Transfer students are given jury examinations in their major applied areas at the end of the first semester to establish their appropriate proficiency levels.

 

GRADUATE ADMISSION AND AUDITIONS

An audition is required for admission in performance, including current ECU undergraduates who continue on into graduate degree study. Students applying for the Music Education program, both licensure and no licensure, may request admission by portfolio evaluation. Students applying for composition or theory must submit scores and tapes; for Music Therapy, a portfolio that includes at least a professional résumé.

 

The M.M. degree in Percussion Performance is designed to prepare the student for a career as a performing percussionist or as a college percussion teacher.

The audition for acceptance to the M.M. degree will require the candidate to demonstrate technical skills and also to perform pieces that require musical maturity and advanced abilities.  These abilities must be demonstrated in at least three of the following four areas.

Mallets  (two and four mallet skills on marimba, xylophone or vibraphone)

Timpani

Snare drum/multi-percussion

Drum set/Latin Percussion

 

Basic technical skills should include:

Mallets:  Scales (all major and all forms of minor), arpeggios (Maj.7th, min7th, dominant 7th, diminished 7th).

Timpani: Tuning any pitch from a single given pitch, strokes, cross sticking.

Drum Set: Play time and solo in a variety of standard styles and meters, play

a big band chart along with a band/recording.

 

Audition performances should include works that display an advanced level of ability and musicianship.  Suggested pieces might include the following.

 

Mallets – 2 mallets: Bach: Violin Partita movements, concertos (Creston, Kurka, Bach, Mendellsohn etc.), Musser: Masterworks, Preludes, Etudes or anything of similar difficulty and maturity.   4 mallets:  Stout: Mexican Dances, Bach: Cello Suites, Tchaikovsky: Album for the Young (Stevens arr.), Rosauro: Concerto etc.

 

Timpani – Tharichen: Concerto, Hinger: Solos for the Virtuoso Timpanist, Steele: Sonata for Timpani, Gauthreaux: Capriccio For Solo Timpani etc.

 

Snare Drum – Delecluse: Douze Etudes pour Caisse Claire, Colgrass: Unaccompanied Solos for Snare Drum, Pratt: 14 Modern Contest Solos, etc.

 

A personal on-campus audition is preferred, but conditional acceptance may be obtained by submission of a high-quality audio or video cassette. Tapes should include solos, etudes, accompanied or unaccompanied works, and/or chamber music.  For consideration of a position as a Graduate Teaching Assistant, an on-campus audition/interview is required.

 

Snare Drum Rudiments

All required snare drum rudiments are selected from the Percussive Arts Society (P.A.S.). Notation for rudiments may be seen and downloaded from http://www.pas.org/Publications/rudiment.pdf

 

 

Roll Rudiments                            Drag Rudiments

5 Stroke Roll (alternating)                              Drag (alternating)

7 Stroke Roll (non-alternating)                       Single Drag Tap (alternating)

9 Stroke Roll (alternating)                              Double Drag Tap (alternating)

10 Stroke Roll (non-alternating                      Single Ratamacue (alternating)

11 Stroke Roll (non-alternating)                     Double Ratamacue (alternating)

13 Stroke Roll (alternating)                            Triple Ratamacue (alternating)

15 Stroke Roll (non-alternating)                     Lesson 25 (non-alternating)

Long roll (open-close-open)                         Flam Rudiments

Single Stroke Roll (open-close-open)             Flam (alternating)

Diddle Rudiments                                          Flam Tap (alternating)

Single Paradiddle (alternating)                       Flam Accent (alternating)

Double Paradiddle (alternating)                      Flamacue (non-alternating)

Drag Paradiddle #1 (alternating)                    Flam Paradiddle (alternating)

Drag Paradiddle #2 (alternating)                    Flam Paradiddle-diddle (alternating)

 

 

University of South Carolina

Percussionists should provide their own sticks, mallets, and music. The school has all of the instruments and stands unless performers desire to use their own. The applicant should perform in two of the following areas:

 

SNARE DRUM

1. Rudiments - Long Roll (open and closed, all dynamic levels), Single stroke roll (open and closed), Short rolls (closed, all dynamic levels), Flams and flam related rudiments, Drags
2. Prepared solo or etude.
3. Sight-reading.

 

TIMPANI

1. Knowledge of tuning, ranges, pedals, stickings, dampings, and recognition of intervals, bass clef notation, intonation and tone production are all part of this area.
2. Prepared solo or etude.
3. Sight-reading.

 

MARIMBA

1. Perform two octave major scales and arpeggios, and demonstrate at least a basic knowledge of the minor scale (harmonic form), and the chromatic scale.
2. Prepared solo or etude.
3. Sight-reading.

 

Texas Tech

Percussion Applicants:  Prepare at least two pieces or etudes demonstrating two different percussion areas (i.e. snare and mallets, snare and timpani, mallets and timpani, drumset and mallets, drumset and timpani).  Accompaniment is not necessary but you may provide your own if you like.

 

Baylor University

PERCUSSION

 

Students should be prepared to demonstrate proficiency in at least one major area of percussion (snare drum, mallet instruments, or timpani). Instruments for the audition will be provided by Baylor University.

 

University of Minnesota

Percussion: Prepare one solo or etude from the following instruments: snare drum (rudimental and concert styles), mallets (marimba or xylophone) and timpani. Sight-reading will be required for snare drum and mallets along with scales (mallets) and tuning (timpani). Performance on a drum set, hand drums, or ethnic instruments is encouraged but not required. Specific repertoire guidelines are available by request from the School of Music.

 

Carnegie Mellon University

Percussion (Auditions in Pittsburgh only)

Percussion auditionees are expected to demonstrate superior ability in one of the six categories listed below. Competency in one additional category must be demonstrated. Auditions in all categories are not required. Auditionees will be evaluated on the basis of techniques, a prepared piece, sight reading and ear test. Memorization of a piece is optional. Sticks and mallets are to be brought by the auditionees. Instruments will be provided by the Percussion department. Copies of the prepared pieces must be provided for the jury.

 

Specific audition requirements in the various categories:

 

I. Timpani: Demonstrate the various types of rolls (fp, p, f, ff, etc.), rhythms and interval tuning; solos and or etudes (Hochrainer, Delecluse, Goodman, etc.); orchestral excerpts (Beethoven, Brahms, Mozart, Hindemith, etc.).

 

II. Keyboard Percussion: Perform two octave scales and arpeggios in major and minor keys, four-mallet solo (marimba), two- mallet solo (Xylophone or marimba); orchestral excerpts (Bells, xylophone or vibraphone).

 

III. Drum Set: Demonstrate various styles: swing, bop, rock, Latin, funk. Play short solo incorporating all of the styles.

 

IV. Latin Percussion: Techniques on bongos, congas, timbales, claves, maracas, etc.

 

V. Snare drum: Play various types of rolls from slow to fast (5-stroke, 7-stroke, 9-stroke, etc.). Demonstrate other rudiments upon request. Solo (concert and rudimental style; ex: Pratt, Wilcoxin, Cirone, Peters, Delecluse, etc.). Orchestral excerpts.

 

VI. General Percussion: Demonstrate techniques on crash cymbals, tambourine, triangle, castanets, bass drum, etc.

 

All Students are required to play from categories I, II and V for admission into the Percussion Department. Other categories may be asked in the audition as well as prepared segments.

 

Taped auditions for percussion:

Auditionees are expected to record some examples of the basic techniques as described above in the categories chosen. A prepared short piece is required. Group and/or piano accompaniment is optional. For several categories, do not exceed three minutes in each category. For specialization in one category only, five to eight minutes on tape will be sufficient. Every segment recorded must be announced. Copies of the music must be provided for the jury and mailed with the tape.

 

University of Washington

Percussion: Choose from two of the following: 1) Mallet solo with or without accompaniment (xylophone, marimba, vibraphone); 2) snare drum solo; 3) multi-percussion solo; 4) timpani solo. NOTE: Jazz Studies Degree applicants may audition on the drum set (drum set not provided by the School of Music). Please provide complete repertoire list.

 

Temple

Undergraduate Audition Requirements for Percussion

 

Classical Percussion Auditions

 

All prospective students will be expected to perform on snare drum, keyboard percussion, and timpani. Those who possess advanced ability in one area only will also be considered. Evidence of good basic technique and sensitive musicianship is essential.

 

Snare Drum

 

1.      Perform one (1) of the following solos or one of your own choice that is of equivalent of greater difficulty.

*       The Glenwood Boy - Harr, in Haskell Harr Drum Method Book II (M.M. Cole)

*       Pass in Review - Pratt, (Belwin)

*       No. 21 - Cirone - in Portraits in Rhythm (Belwin)

 

2.      Perform one (1) of the following études from Podemski's Standard Drum Method (Mills Music)

*       No. 48

*       No. 32

*       No. 52

*       No. 13 from Portraits in Rhythm - Cirone

 

3.      Perform the following rudiments.

*       Multiple Bounce Roll (1) Loud (ff) (2) soft (pp)

*       Flams as eighth notes (quarter note = 132 mm)

*       Single Drags as eighths notes (quarter note = 120 mm)

*       Single and Double Paradiddles (Slow to Fast)

*       Drag Paradiddle No. 2

 

Marimba or Xylophone

 

1.      Perform (1) one of the following solos or one of your own choice that is of equivalent or greater difficulty.

*       Sabre Dance - Khatchaturian - Goldenberg, (Leeds)

*       Any solo from Masterpeices for Marimba - McMillan, (Pro Art)

*       Tambourin - Rameau, from Percussion Keyboard Technique McMillan, (Pro Art)

*       Page 28 - Modern School for Xylophone - Goldenberg, (Chappel & Co.)

*       Page 78 - Modern School for Xylophone - Goldenberg, (Chappel & Co.)

 

2.      Perform scales and arpeggios (2 octaves) through 4 sharps and 4 flats.

 

Timpani

 

1.      Perform one of the following solos or études or one of your own choice that is equivalent or of greater difficulty.

*       Étude No. 49 - Modern Method for Timpani - Goodman, (Mills Music)

*       Étude No. 29 - Modern Method for Timpani - Goodman, (Mills Music)

*       Scherzo - Peters, (Mitchells Peters, 3231 Beuda Place, Los Angeles, CA 90028)

*       Three Designs for Timpani- Muczynski, (Schirmer)

 

2.      Perform a roll (1) Loud (ff) (2) Soft (pp).

3.      Tune four notes given from the piano.

4.      Tune the tonic-dominant (the interval of a 5th) and the dominant-tonic (the interval of a 4th) in several key signatures after one given note on the piano.

 

Sight Reading

Some sight reading will be asked in each of the three major areas - Snare Drum, Marimba, and Timpani.

Evidence of varied ensemble experience will be considered.

 

Arizona State U.

 

For entrance into the School of Music, a student must demonstrate technical strength and reading ability on keyboard and two of the three percussion areas of snare drum, timpani and drum set. The examples listed below give potential music majors an idea of the expected minimum level of ability for incoming students. Performance majors should naturally anticipate a higher entrance standard than a percussionist applying for other undergraduate music degree programs.

 

Keyboard

Smooth two-mallet roll

All major scales, two octaves at a moderate tempo

Two-mallet sight reading

 

Solo comparable to the following:

Morris Goldenberg: one of the 39 etudes from Modern School for Xylophone, Marimba and Vibraphone

Mitchell Peters: Yellow after the Rain

Thomas Pitfield: Introduction or Intermezzo from Sonata for Xylophone

Johannes Brahms: Hungarian Dance no. 5

 

Snare Drum

Rudimental roll and closed orchestra roll at ppp through fff

Sight read compound, simple and changing meter exercises.

 

Solo comparable to the following:

Anthony Cirone: Etude from Portraits in Rhythm

Fred Albright: Study no. 3 from Contemporary Studies for Snare Drum

John S. Pratt: Rudimental solo from Twelve Concert Solos

 

Timpani

Relaxed roll at pp and ff dynamic levels

Ability to match intervals on the drums

 

One solo or etude comparable to:

Garwood Whaley: Fundamental Studies or Musical Studies for the Intermediate Timpanist

Mitchell Peters: etude from Fundamental Method for Timpani

An exercise from section two or three of Saul Goodman's Modern Method for Tympani

 

Drum Set

Ability to keep steady time and play fills in rock, jazz, Latin styles.

 

Percussion Transfer Students

For entrance into the School of Music as a transfer student in percussion, a student must demonstrate technical strength and reading ability on keyboard and two of the remaining three percussion areas. The examples listed below give an idea of the expected minimum level of ability for first- and second-year students. Performance at the audition will determine how many lesson credits will transfer into the ASU program of study.

 

Keyboard

All major and minor scales, two octaves at a moderate tempo

Two-mallet sight reading

 

Four-mallet solo comparable to the following:

Rich O'Meara:  Restless

Paul Smadbeck:  one of his marimba etudes

Gordon Stout:  one of his marimba etudes

Movement from a J. S. Bach Violin Sonata or Partita

 

Timpani

Relaxed roll at pp and ff dynamic levels

Ability to tune drums by relative pitch, i.e. by using a tuning fork

One solo or etude for two or more drums that involves tuning changes comparable to:

 

John Beck:  Sonata for Timpani

An etude from Alexander Lepak's 32 Solos for Timpani

A solo from Fred Hinger's Solos for the Virtuoso Tympanist

 

Snare Drum

Rudimental roll and closed orchestra roll at ppp through fff

Sight read compound, simple and changing meter exercises

 

Prepared solo using rolls, drags, flams and a wide dynamic range comparable to the following:

Jacques Delecluse: Etude from Douze Etudes

Anthony Cirone: Etude from Portraits in Rhythm

Mitchell Peters: Etude from Hard Times

 

Drum Set

Ability to keep steady time and play fills in rock, jazz, Latin styles.

 

Bowling Green St. U.

Percussion: Students will be asked to perform an etude on snare drum or multiple drums and/or keyboard percussion instrument (marimba, xylophone or vibraphone). Students should be prepared to demonstrate sight reading proficiency, rudiments and scales.

 

Ohio State University

Percussion

Prospective students need only bring sticks, mallets and music. Instruments will be provided (snare drum, marimba, xylophone, timpani).

The audition should consist of the following: (The pieces listed below are suggested works. Other repertoire of a comparable level is acceptable.)

 

1.      Snare drum: concert solo or etude (Portraits in Rythym by Anthony Circone, Intermediate Snare Drum Studies by Mitchell Peters.) Students may also prepare a rudimental solo (14 Modern Contest Solos by John Pratt, The All-American Drummer by Charley Wilcoxon)

2.      Mallet keyboard: two mallet solo or etude (Furioso and Valse by Earl Hatch, The Whistler by G.H. Green) and a four mallet solo or etude (Yellow After the Rain by Mitchell Peters, Etude in B Major by Claire Musser)

3.      Timpani: solo or etude (Sonata for Timpani by John Beck, Six Concert Pieces by Bill Cahn)

 

SUNY Purchase

Percussion

• Timpani: one étude from Goodman, Firth, or equivalent.

• Snare drum: one étude from Portraits in Rhythm by Cirone or 12 Etudes by Delecluse,or equivalent.

• Mallet instruments: a two mallet solo of your choice Knowledge of scales or arpeggios. Optional four mallet solo of your choice.

Jazz Studies

 

• Drummers: Play medium and uptempo swing, jazz waltz, bossa nova, and samba. Thirty-two bars in each style, unaccompanied. Demonstrate your ability to play and maintain a groove.

 

Northern Arizona University

Scholarship audition dates are available through the NAU Band and Orchestra Office at (520) 523-3413. If the scheduled official dates are problematic, please call for special audition arrangements. 

 

When preparing for studio entrance auditions and music scholarship auditions, it is important to select audition materials that encompass several areas of percussion. Percussion scholarships are more frequently awarded to individuals who have prepared music in each of the major areas: snare drum, keyboard percussion (usually marimba), timpani, and drumset

 

Snare drum material selection should include music that emphasizes both concert and rudimental proficiencies. Concert etudes may be choosen from "Portraits in Rhythm" by Anthony Cirone, or "Contemporary Studies" by Fred Albright, or "The Solo Snare Drum" by Vic Firth, among other sources. Rudimental solos may be selected from "The Rudimental Cookbook" by Edward Freytag, or other similar collections. 

 

For the keyboard percussion area, it is recommended that the student select both a two and four-mallet work. A two-mallet work is required, but as music scholarships are very competitive, the inclusion of a four-mallet piece is encouraged for enhanced scholarship consideration. Major and minor scales will be requested, in addition to two-mallet sight reading. A student may wish to choose a selection from one of the etudes by Clair Omar Musser, or "Yellow After the Rain" by Mitchell Peters, or "Tambourine Chinoise" by Kreisler, or a work by Alice Gomez, or a selection from the "Challenge I" collection by Earl Hatch, or a study from "Complete Method for Rhythmical Articulation" by Pasquale Bona (a method for voice instruction). There are numerous other possibilities. 

 

Select a timpani solo or etude that exposes your understanding of the instrument, including tuning, stroke types, muffling, tone production and technical demands. Tuning is surely one of the most important aspects of timpani performance. Therefore include a strong ear-training program in your audition preparation. An appropriate audition etude may be selected from "Fundamental Method for Timpani" by Mitchell Peters, or from "Timpani Method" by Alfred Friese and Alexander Lepak, or perhaps one of the following solos: "The Solo Timpanist" by Vic Firth, "Sonata for Timpani" by John Beck, "Suite for Timpani" by David Mancini, or "Soundings" by Douglas Igelsrud

 

LSU

Represent yourself in as many areas as you feel comfortable including concert and rudimental snare drum, two and four mallet marimba/xylophone, timpani, and drumset. In areas where solos cannot be prepared you will be asked to demonstrate basic techniques and sight reading: snare drum (rolls, rudiments), timpani (tuning, muffling), mallets (scales, arpeggios).

 

Rice – Shepherd School of Music

Percussion

Be prepared to play representative etudes demonstrating your skills on timpani, mallet instruments, and snare drum. These etudes should come from such standard percussion studies as the Goldenberg Snare Drum Method, the Cirone Portraits of Rhythm, Goldenberg Xylophone Method, or the Goodman Timpani Method. Two solos on marimba (one four-mallet contemporary solo and one two-mallet solo, e.g., a Bach sonata or partita, would be preferable). Prepared solos on mallets, timpani, and snare drum are required; orchestral excerpts on each instrument are also required. You should also be able to demonstrate your proficiency in tuning the timpani and in performance on all the other basic utility percussion instruments (triangle, tambourine, cymbals). Sight reading will be included.

 

 

Vanderbilt -  Blair School of Music

 

Percussion (Performance)

Selections from all three areas:

 

Snare Drum

 

1.      Demonstrated proficiency of basic techniques including open and closed rolls, flams, paradiddles, ruff, and drags

2.      Solo in rudimental or concert style

 

Keyboard Percussion (marimba, xylophone, vibraphone)

 

1.      Major and minor scales, two octaves

2.      Major and minor arpeggios, two octaves

3.      Solo using two to four mallets

 

Timpani

 

1.      Demonstrated proficiency of basic strokes and rolls using contrasting dynamics

2.      Interval recognition

3.      Solo using two to four drums

 

Percussion (Musical Arts)

Selections from at least two areas:

 

Snare Drum

1.      Etude by Cirone, Feldstein, Firth, Goldenberg, Wilcoxen, Handel, McMillan, or Whaley

 

Keyboard Percussion (marimba, xylophone, vibraphone)

1.      Major and minor scales, two octaves

2.      Solo by Bach, Cirone, Goldenberg, Handel, McMillan, Peters, or Whaley

 

Timpani

1.      Etude by Cirone, Firth, Goodman, Hinger, McMillan, Peters, or Whaley

 

Drum Set

1.      Etude by Appice, Cappazolli, Chopin, Fink, Kettle, Reed, or Rogers. Demonstration of selected styles (i.e. Rock, Swing, Latin, etc.)

middle tennessee state university

Audition Information

for Percussionist

 

Audition Repertoire For Percussion

Perspective percussion students will be expected to audition in the following areas:

*       Snare Drum – Concert and Rudimental Style

*       Marimba – Four Mallets

*       Xylophone – Two Mallets

*       Timpani

 

The following literature is representative of the level of difficulty expected for the audition:

(Comparable works may be substituted.)

Orchestral Snare Drum

You may choose an etude from one of the following:

*       Etude from “Portraits in Rhythm” by Anthony Cirone

*       Etude from “The Solo Snare Drummer” by Vic Firth

*       Etude from 12 Studies for Snare Drum” by J. Delecluse

 

Rudimental Snare Drum:

You may choose an etude from one of the following:

 

Solos by...

*       Charles Wilcoxin

*       John Pratt

*       Marty Hurley

*       John Wooton

*       Eddie Frytag

 

Keyboard Percussion:

*       Scales and arpeggios – two octaves

*       Solo – Prepared Piece or Etude

 

Suggested repertoire for two mallets:

*       Masterpieces for Marimba by McMillan

*       Etudes from “Modern School for Marimba, and Xylophone”  by M. Goldenberg

*       Furioso and Valse by E. Hatch

*       Any George H. Green xylophone rag

 

Suggested repertoire for four mallets:

*       Yellow After the Rain by M. Peters

*       Tune for Mary O by Rich O’Meara

*       Etudes by Paul Smadbeck

*       Etudes by C. O. Musser

*       Spanish Dance by Kaisteinngards

 

Timpani:

 

A prepared solo or etude

Suggested Repertoire:

*       Sonata for Timpani by John Beck

*       Rondo for Timpani by D.L. Kaska

*       Alpine Slide by John Beck

*       Solo from “Eight Pieces for Timpani” by E. Carter

 

 

UNIVERSITY OF COLORADO AT BOULDER

UNDERGRADUATEAUDITION REQUIREMENTS

PERCUSSION

Snare Drum*

1. Play at least 8 rudiments, slow-fast-slow for 30 seconds.

2. Rudimental solo from The All-American Drummer, by C.H. Wilcoxon or similar material.

3. Concert snare drum demonstrating concert style roll, dynamic control, and reading ability.

4. Any etude from the Cirone Portraits in Rhythm or similar material would be appropriate.

Mallets*

1. Demonstrate knowledge of the major scales through four flats and sharps. Knowledge of

minor scales encouraged but not required.

2. Two-mallet marimba or xylophone solo which demonstrates your level of ability. Your

teacher can help you choose an appropriate piece, or you can call me and I will suggest one.

3. Optional: Short four-mallet solo or portion of a longer piece.

Timpani (Optional)

1. Demonstrate ability to match pitch and tune a drum correctly.

2. A two-drum etude from the Goodman Modern Method for Timpani or similar material.

Drum Set (Optional)

1. Demonstrate knowledge of styles (swing, Latin, funk, samba, Bossa-Nova, etc.).

2. Short solo and "trading fours."

3. Optional: A short written-out or transcribed solo.

Auditionees are expected to provide their own music, sticks, and mallets.

* All Auditionees are required to audition on Snare Drum and Mallets.

You must prepare the material for each area, though the drum set audition material is optional. This

does not mean that you are expected to be an "expert" in all areas, but you must demonstrate a strong

background in snare drum and mallets. If you have any questions about what is appropriate or what

you are expected to do, please don't hesitate to call me and ask.

Live auditions are preferred, but a high quality recording may be substituted if travel distance is

prohibitive. Please write on the label and announce at the beginning of the recording your

name, instrument or voice, and repertoire selections. Audition times on campus are also

available by appointment for those who cannot attend one of the Saturday auditions dates in

February.

Good luck!

Dr. Douglas Walter University of Colorado at Boulder

(303) 492-8240 College of Music, 301 UCB

Douglas.Walter@Colorado.EDU Boulder, CO 80309-0301

 

 

Cleveland Institute of Music

Undergraduate Audition Requirements

Since the following audition repertoire represents minimal requirements, works of greater difficulty may be

substituted in any category. CIM will provide an accompanist for applicants in voice only; in other major areas,

accompanists are neither required nor provided.

Most candidates are tested in sightreading. Besides the major audition/interview, each applicant must complete

appropriate admission testing on the scheduled audition day. (See Undergraduate Programs, Admission

Examinations and/or Transfer Applicants.)

 

Timpani and Percussion

• Snare Drum: Demonstrate advanced skills by performing rolls, rudiments and/or other technical aspects of snare

drumming in two contrasting etudes from advanced sources; e.g., Delécluse, Peters, Goldenberg, Wilcoxin, or Pratt.

The performance of orchestral excerpts is optional for undergraduate applicants.

• Keyboard Percussion: Demonstrate advanced technical and musical skills by performing at least two

contrasting movements from one or more concerti or solo works; e.g. Stout: Mexican Dances; Abe: Frogs; Bach:

Sonatas and Partitas for Solo Violin; Creston: Concertino for Marimba; Musser: any advanced etude. The performance

of orchestral excerpts is optional for undergraduate applicants. Applicants may be asked to demonstrate

advanced technical skills by performing scales, arpeggios, and/or other technical exercises.

• Timpani: Demonstrate skills in performance of long-short rolls, single strokes, and technical patterns;

perform at least one etude or solo for three or four timpani, showing musicianship and aptitude; demonstrate

knowledge of intervals, pitch recognition and tuning ability.

Sightreading may be requested in any segment of the audition.

All students study both percussion and timpani. Study during the third and fourth years is customarily in the

major field of concentration, as determined by the department in consultation with the student. However,

with the agreement of the department, in consultation with the student, a student may continue to study

both percussion and timpani during the third and fourth years of the undergraduate program.

  

INDIANA UNIVERSITY OF PENNSYLVANIA

DEPARTMENT OF MUSIC

AUDITION PROCEDURES

 

LIST OF SUGGESTED AUDITION MATERIAL

 

PERCUSSION

Prepare an etude or solo for each of the following instruments: snare drum, a keyboard

percussion instrument, and timpani according to the following guidelines:

1. If you are studying percussion privately: select the solo/etude with the assistance

of your private instructor. Choose material which accurately demonstrates your

ability as a percussionist. (You may also consider the material mentioned in B

below).

2. If you do not have a private teacher to assist you, select the material from

MORE AUDITION ETUDES by Garwood Whaley, published by Meredith.

3. If you are completely unfamiliar with any of the instruments mentioned above,

omit that area and do the rest. If your intended program is B.A. or B.F.A. in

performance, you must audition in all three areas.

4. You should bring your own sticks/mallets and music for the audition.

Instruments will be provided.

 

The Department of Music offers three degree programs at the undergraduate level. These

programs include Bachelor of Science, Bachelor of Arts, and Bachelor of Fine Arts.

The Bachelor of Science in Education with a music major provides a certificate to teach

in the public schools of Pennsylvania. This program is also acceptable for teaching in

private schools and for public schools in other states. The Bachelor of Arts in music

which has been designed to give the student a general experience in music, offers a

choice of four concentrations: Performance, Music Theory/Composition, Music

History/Literature, and Jazz Studies. The Bachelor of Fine Arts in Music (equivalent

to the Bachelor of Music Degree) is an intensive performance program in which the

student selects a major from one of twenty-one different instruments or voice. The

student in this program prepares for a career as a professional performing musician.

1. The content of your audition will depend on the curriculum you intend to follow.

A. Bachelor of Science in Music Education or Bachelor of Arts in Music:

Applicants who intend to pursue either of these degree programs should prepare

approximately ten minutes of music in one of the following concentrations:

Instrumental Concentration: The instrumentalist (any standard band or

orchestral instrument) will prepare a selection on his/her instrument. If you

play more than one instrument (or sing) you may also audition in your

secondary area.

 

Humber College, Canada

Percussion Audition Requirements

PLEASE BE ADVISED THAT YOU MUST HAVE ALL

AUDITION REQUIREMENTS THOROUGHLY PREPARED,

OR YOU MAY FORFEIT YOUR AUDITION.

(Out of province students may audition by tape - contact Roger Flock)

The audition, along with the theory and ear test, comprise the evaluating process for acceptance into the Music

Program at Humber College. It is highly recommended that you study with a competent drum set or

percussion teacher as well as take some basic theory lessons. Basic piano skills would also be a great asset in

preparation for your audition.

REQUIREMENTS FOR DRUM SET:

You should be prepared to play some "time" in a variety of styles, and tempos including:

1. Jazz - 2 feel, 4 feel, shuffle

2. Rock - 8th feel, 16th feel & shuffle-funk

3. A few Latin rhythms - for ex. -Bossa Nova, Samba, Mambo, Songo etc.

4. Brushes - Ballad, Medium Swing

IMPROVISATION

Be prepared to play some improvised solos ( in a jazz or rock feel ) in four measure segments, i.e. trade fours -

four measures of time alternating with four measure solos.

SNARE DRUM

Prepare a piece for solo snare drum from a published book of etudes or solos solos. The piece should include rolls,

dynamics and grace notes.

You will be required to sight read various rhythms on drum set, read a drum chart and read snare music at a

basic level.

OPTIONAL

If you have expertise on keyboard percussion, timpani and/or Latin percussion, you may prepare some

repertoire for these instruments. You may be asked to sight read at a basic level on any of the instruments that

you have experience.

Please bring to your audition any sticks, brushes and mallets that you require, as well as copies of your

prepared pieces. Drum sets and percussion instruments will be supplied.

FACULTY CONTACT” Roger Flock (416) 675-6622 ext. 3401

LOCATION: Humber College, Lakeshore Campus, Room A122A

 

University of Toronto

FACULTY OF MUSIC

UNIVERSITY

OF

TORONTO

AUDITION & THEORY

REQUIREMENTS

2003 - 2004

At the Audition/Interview Candidates Will Be Asked . . .

1. To play the pieces (or parts of the pieces) the applicant has prepared; these pieces must be approved by the

Faculty of Music prior to the audition.

2. To sight read a short piece on their instrument and/or sight sing a short piece, and to identify intervals, chords and cadences.

3. Questions to assess knowledge of repertoire for their instrument, general repertoire and structural features of

chosen audition repertoire. Applicants will also be asked to comment on musical interests and career goals.

ALL CANDIDATES ARE STRONGLY ENCOURAGED TO MAKE EVERY EFFORT TO COME FOR A LIVE AUDITION.

Candidates living over 400km/250 miles from Toronto may send a tape. DO NOT automatically send in a tape; indicate on your questionnaire that you intend to send one in and wait for additional instructions before sending it.

Audition Requirements

AN ACCOMPANIST IS REQUIRED FOR VOICE, STRINGS, BRASS & WOODWINDS.

APPLICANTS MUST ARRANGE FOR THEIR OWN ACCOMPANIST.

a) Applicants for Performance should prepare repertoire that exhibits an advanced command of the instrument, appropriate to a program in preparation for a professional performing career. Total performance time for audition repertoire should not be less than 25 minutes, except for piano/organ/violin (35 minutes).

b) Applicants for the Common First Year program, (Composition, Education, History & Theory), should present repertoire that represents a moderate to advanced level. Total performance time must not be less than 20 minutes, except for Piano/Organ/Violin (35 minutes).

The Specifics : Audition Repertoire Required

 

PERCUSSION

Prepare at least 3 pieces, incorporating the following four elements:

1) A standard timpani etude

2) 1 or 2 snare drum solos displaying rudimentary & orchestral techniques

3) 1 or 2 mallet solos demonstrating 2 and/or 4 mallet techniques

4) A 20th Century work

 

Special Jazz Requirements:

1) Drummers: a) should be prepared to demonstrate various styles (eg. Swing, shuffle, afro-cuban, funk, bossa nova & samba) at various tempos; b) should include trading 4's and/or 8's in their performance of the required repertoire; c) should use brushes as well as sticks; d) may elect to demonstrate facility on mallet instruments (vibes will be provided)

Sight Reading

Candidates will be asked to sight read jazz material of medium difficulty.

Theory Entrance Requirements

Completion of the Royal Conservatory of Music Grade 2 Rudiments and Grade 3 Harmony (or the equivalent, eg. Advanced Placement Theory) are prerequisites for admission. Details of acceptable equivalents are available from the Admissions Officer at the Faculty of Music.

Anyone not meeting these requirements must write the Entrance Theory Examination and obtain a mark of at least 60% in each section (Rudiments & Harmony). Students may write the Entrance Theory Exam at the Faculty of Music. Exams will be held in the Edward Johnson Building on Saturdays from 1-4pm ~ March 1, April 26 & May 3 ~ Applicants living outside of commuting distance to Toronto may request to have the examination sent to a nominee in the city where they live; OR you may register for the appropriate courses offered through the Summer Theory Institute. Classes are taught by a faculty member. Details may be obtained from the Admissions Officer in early Spring.

Students whose major instrument is not keyboard will find that a level of Grade 6 piano will be advantageous; however, this is NOT an entrance requirement.

The examination covers the following material:

Rudiments

• Alto/Bass/Tenor/Treble Clefs

• All major and minor scales; names of degrees of the scale (tonic, supertonic, etc.)

• Time signatures, time values of notes and rests

• Key signatures and accidentals

• Intervals (above & below a given note) and their inversions, including compound intervals and enharmonic equivalents

• Keys in which given intervals may be found

• Keys in which given chords may be found

• Basic musical terms & signs

• Dominant seventh chord & inversions

• Cadences (perfect, plagal & imperfect)

• Transposition of a given melody

• Figured bass symbols for triads and seventh chords

Harmony

• 4-part harmonization of a given melody or figured bass using the following materials:

I,V,V7; I6,V6,VII6; inversions of V7; IV,II,II6 leading to V; the cadential 6/4

• Harmonic analysis (Roman numerals, figured bass symbols & cadences) of a given passage (chorale style)

• Recognition of non-chord notes (passing & neighbouring notes, suspension, anticipation, appoggiatura) in a given passage

• Melody writing: adding a consequent melodic phrase in answer to a given opening and writing a cadence at the end of each phrase

Updated: October 2002

 

The University of Texas at Austin

Percussion Department

Undergraduate Audition Guidelines:

Snare Drum:

2-3 Etudes from Portraits in Rhythm by Tony Cirone or similar (Concert Style)

1 Rudimental Style Snare Drum Solo

Keyboard:

1 – Two-mallet solo/etudes – Modern School for the Xylophone….. Goldenberg

1 – Four-mallet solo/etude – Intermediate level

Timpani:

1 – Timpani solo/etudes – The Solo Timpanist… Vic Firth

or Fundamental Solos for Timpani… Mitchell Peters

Drum set:

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

Sight reading will be asked on Snare Drum and Keyboard.

If you have questions please feel free to contact me.

Thomas Burritt

Assistant Professor of Percussion

University of Texas at Austin

tburritt@mail.utexas.edu

(512) 471-0818

 

University of Oregon

Percussionists will be asked to perform the rudiments and to demonstrate ability on the following instruments: orchestra snare drum, mallet instrument, timpani, and drum set. Please bring mallets. Sight-reading on all four instruments is required.

 

We prefer that you come to the University campus and perform a live audition. However, if this is impossible, a cassette recording of your audition performance may be submitted (Percussionists MUST perform an on-campus audition for admission.) All taped auditions should be recorded on a high-quality cassette tape. The tape should be labeled with your name, performance area, date of recording, and a listing of the title and composer of each piece. All students who are admitted on the basis of a taped audition will need to play a live audition for teacher and level placement upon arrival.

 

School of Music Admissions

Auditions | Admission to a Specific Degree Program Placement Examination | Performance Studies | Jazz Studies | Online Request for Information | UO Admissions Application

 

PLEASE NOTE:

The deadline for general University and School of Music admission materials and financial aid materials is January 15, 2004.

 

The undergraduate audition date for 2004-2005 is scheduled for February 7-8, 2004.

 

Students who are eligible for admission to the university may apply to the School of Music for admissions as music majors.

 

ADMISSION TO A

SPECIFIC DEGREE PROGRAM

Initial admission to the School of Music is as a music major. Official admission to a degree program occurs after the student successfully completes the first two years of core courses. Core courses are listed under General Requirements in the University of Oregon Catalog.

 

Students who have been in residence for two years but have not successfully completed the first two years of core courses are placed on probation as music majors. If these courses have not been completed by the end of the third year, the student is suspended from the major and must pay for lessons. Reinstatement to the major occurs automatically once the courses have been successfully completed.

 

Procedures and requirements for admission to a specific degree program in the School of Music vary with each program. See the University of Oregon Catalog for details.

 

 

PLACEMENT EXAMINATION

Placement examinations are required of all first-year music majors and transfer students. The freshman placement examination determines the appropriate placement for students beginning college-level study in music theory, aural skills, and keyboard skills. Students are placed either in preparatory courses or in undergraduate core courses. The transfer placement examination determines the appropriate core courses for students who have some college-level study in music. Study guides for these examinations are available in the undergraduate office.

 

PERFORMANCE STUDIES

Placement in performance studies requires an audition, which can be scheduled by appointment. Dates for auditions, usually held winter term, are available in the undergraduate office of the School of Music. Details about repertory and procedure are available on request from the undergraduate office. Applicants who are unable to arrange an on-campus audition may submit a tape recording.

 

JAZZ STUDIES

Students who want to enter the jazz studies major have a second audition. A placement examination specific to jazz studies is required of freshmen and transfer students who want to enter the program.

 

Illinois State U.

Percussion

Perform on snare drum, keyboard percussion, timpani. Optional performance on multiple percussion, drum set, or accessories may also be performed. See recommendations below. Questions regarding any music not listed here, technical aspects, instruments to bring, etc., should be directed to David Collier, director of percussion studies, by telephone at (309) 438-8022 or by E-mail at dcollier@ilstu.edu.

 

Snare Drum

1. Performance of concert or rudimental style solo or etude.

Recommendations: Cirone Portraits in Rhythm, Delecluse 12 Studies for Snare Drum, Abel 2040‚s Sortie, Colgrass 6 Unaccompanied Solos for Snare Drum, Gauthreaux Technica 9, Schinstineany solo, Prattany solo, Wilcoxon, any solo

2. Play isolated rudiments from the 40 International Drum Rudiments. Contact director of percussion studies if a copy is needed.

3. Sight-read.

 

Keyboard Percussion

1. Performance of a two-mallet or four-mallet solo on marimba, xylophone, or vibes.

Recommendations: Kreisler Tambouin Chinois (2), G. H. Greenany ragtime piece (2), Handelany sonata (2), Creston Concertino, movement 1 (2), Peters Yellow After the Rain (4), Musser Etude, Op. 6, #9 or #10 (4),

2. Play any major scale, 2 octaves. Play major arpeggios.

3. Sight-read.

 

Timpani

1. Perform a solo on two, three, or four timpani.

Recommendations: Goodman etudes from Modern Method for Timpani, Firth The Solo Timpanist, Thomas Brown Timpani: The Solo Collection, Beck Sonata for Timpani, Frock Seven Solo Dances, Mitchell Peters Primal Mood, Mitchell Peters Rondino, Mitchell Peters Scherzo for Three Timpani

2. Demonstrate ability to match a pitch with the voice and then tune the timpani.

 

Extras

You may choose to also play a short solo on multiple percussion, drum set, or accessories. If you wish to do this at your audition, please let us know in advance so the equipment can be prepared. In addition, if you are auditioning on drum set, please bring a tape containing your performance in various styles (i.e., big band swing, jazz, waltz, funk, basic rock, Latin).

St. Francis Xavier University

Percussion Audition requirements:

 

1 Snare drum etude, 1 mallet etude

(2 or 4 mallets), major scales (2 octaves), 1 timpani etude.

Drum set:

64 bars of time (with fills) in each of the following styles:

Swing, Bossa

Nova, Samba, Mambo, Afro-Cuban 6/8 (bembe).

Demonstrate ability to "trade

4's" in a jazz setting and ability with brushes

(64 bars of time, solo if possible).

Sightreading: demonstrate ability to sightread on the

following instruments:

snare drum, keyboards (xylophone or vibraphone), and drum

set (both rhythmic patterns and big band charts).

 

Wilfrid Laurier University - Canada

PERCUSSION

Students should prepare ONE piece from each list of snare drum, mallet percussion and timpani pieces. Those who have drum kit experience should be prepared to demonstrate, in any tempo and time signature, various styles including jazz (or swing), rock (or pop) and latin. Multiple percussion works are optional.

 

Students having difficulty locating music should contact one of the larger suppliers of percussion repertoire such as Long and McQuade and St. Johns Music who have stores across Canada, Brandenburg Music in Alberta, Just Drums and Soul Drums in Toronto, and Sherwood Music and MusicPlus in the Kitchener-Waterloo area.

 

Snare Drum:

Solo Pieces

William Street  "Steppin' Out" - Pub. Carl Fischer

William Street  "Swinging Down the Street" - Pub. Carl Fischer

Traditional     "The Downfall of Paris" - Pub. Ludwig

Traditional     "Connecticut Halftime" - Pub. Ludwig

 

Methods or Collections

America's N.A.R.D. Drum Solos (Collection) - Pub. Ludwig

Anthony Cirrone Portraits in Rhythm (Collection) - Pub. Belwin Mills

Fred Albright   Contemporary Studies for Snare Drum (Collection) - Pub. Belwin Mills

Morris Goldenberg       Modern School for Snare Drum (Both) - Published Chappell & Co.

William Schinstine      17 Plus 1 Percussion Pieces (Collection) - Pub. Southern Music

Jacques Delecluse       Methode de Caisse Claire - Pub. Alphonse Leduc

 

Mallets:

Morris Goldenberg       Modern School for Xylo., Marimba & Vibraphone - Pub. Chappell & Co.

Arr. Thos. MacMillan    Masterpieces for Marimba (Collection) - Pub.Belwin Mills

Bach for Marimba (Collection)

George H. Green Caprice Valsant - Pub. Carl Fischer

George H. Green Valse Brilliante - Pub. Carl Fischer

Mitchell Peters Yellow After the Rain

George H. Green Any of Green's Xylophone 'Rags' - Pub. Meredith Music

Clair Omar Musser       Any Etudes - Pub. Studio 4 Productions

Gordon Stout    Any Etudes - Pub. Studio 4 Productions

Keiko Abe       Any Etudes - Pub. Studio 4 Productions

J.S. Bach       Any work from Bach's Six Sonatas & Partitas for Solo Violin (violin version or one prepared for keyboards)

 

Timpani:

Jacques Delecluse       12 Etudes pour Timbales - Pub. Alphonse Leduc

Vic Firth       The Solo Timpanist - 26 Etudes - Pub. Carl Fischer

Garwood Whaley  Musical Studies for the Intermediate Timpanist - Pub. JR Publications

Fred Begun      21 Studies for Timpani - Pub. Meredith Music

William Schinstine      Timp Tunes - 19 Pieces - Pub. Southern Music

Fred Hinger     Solos for the Virtuoso Timpanist

Mitchell Peters Fundamental Method for Timpani (any etudes) - Pub. Alfred

 

Multiple Percussion:

Roy Burns / Sandy Feldstein     Intermediate Percussion Solos - Pub. Belwin Mills

Charles Camilleri       Percussion Solos/Duos/Trios - Pub. Waterloo Music

 

Queen’s University - Canada

Percussion

------------------------------------------------------------------------

 

Prepare the following:

        2 contrasting snare drum solos (one using closed rolls, one using open rolls)

        1 timpani solo

        1 mallet solo

 

Applicants with additional experience on mallet percussion may also prepare a solo that uses four mallet technique (not required).

 

Students may also demonstrate drum set proficiency.  Applicants should be prepared to demonstrate the following grooves:

 

        swing - slow, medium, fast

        rock - eighth note

        funk - sixteenth note

        latin - basic latin grooves

 

Timpani

Any of the etudes contained in these method books would be acceptable as audition pieces.

Beck, John      Concepts for Timpani

Friese, Alfred & Lepak, Alexander       The Complete Timpani Method

Goodman, Saul   Modern Method for Timpani

Whaley, Garwood Primary Handbook for Timpani

 

Any timpani solos by Paul Price, Mitchell Peters, Raynor Carrol and John Beck would also be acceptable.

 

Snare

Cirone, Anthony Portraits in Rhythm

Goldenberg, Morris      Modern School for Snare Drum

Podemski, Banjamin      Podemski's Standard Snare Drum Method

Pratt, John     14 Modern Contest Solos

Wilcoxin, Charles       Modern Rudimental Swing Solos for the Advanced Drummer

All American Drummer

 

Mallet Instruments

These mallet books contain some basic pieces for marimba or xylophone.  Any example from these methods would be an effective audition piece.  If you are unable to find music created for the mallet instruments, you may substitute a transcription of any grade six/eight clarinet, flute or saxophone solo.

Goldenberg, Morris      Modern School for Xylophone, Marimba and Vibraphone

Hatch, Earl     My Marimba and I

Jolliff, Art    Music for Marimba (Volume 1, II, III)

Seventy-Eight Solosa for Marimba (Volume I, II)

Solos for Marima, Zylophone or Vibes

 

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate's level, achievement and strengths.

 

There will also be a sight-reading component to the audition.

 

U. of Windsor-Ontario 

 

One rudimentary snare drum piece, by Cirone, Lepak or Délécluse. One mallet instrument piece, such as McMillan's Baroque Transcriptions, E. Hatch, or M. Peters. One piece for timpani or multiple percussion by Schinstine, Lepak, Kraft, or Whaley. Major and minor scales will be asked on mallet instruments.

 

University of Western Ontario

AUDITION REQUIREMENTS

 

Applicants must:

 

Instruments for auditions will be provided. Prospective students shall audition on snare drum, timpani, and any keyboard mallet instrument. Applicant should be prepared to play pieces at the Conservatory Grade VIII level (Grade X for prospective Performance candidates). Technique should be demonstrated as follows:

 

*       Snare Drum: all twenty-six rudiments at M.M. quarter note = 100-120.

*       Timpani: tuning two timpani from a given pitch. Exercises on striking,rolls, staccato, damping, cross striking from Goodman, Modern Method fo Timpani (Mills) pp. 8-48.

*       Mallet Keyboard: Major and minor scales, one octave, ascending and descending, M.M. quarter note = 120.

*       Arpeggios: All major, minor, dominant sevenths, M.M. quarter note = 100-200.

Western Carolina University

All music majors and minors must take the Music Aptitude Placement (MAP) Exam as part of the audition process. This exam is used to determine which level of music theory the student will enter. It consists of two parts:

 

*       Aural Skills--Identify major and minor scales and triads; identify rhythmic and melodic errors; take rhythmic and melodic dictation.

*       Written theory--Identify pitches and key signatures; notate scales and rhythms.

 

Wind, String and Percussion Majors and Minors:

 

*       Play a prepared solo (accompaniment unnecessary)

*       Play scales (as many as possible).  Percussion players will be asked several rudiments.

*       Sight read

 

Suggested Solos

Following is a suggested list of solos for each instrument. Other solos of equal or greater difficulty may be substituted. Please call the department of music at (828) 227-7242 if you need assistance in planning your audition.

 

Percussion Instruments:

 

Snare Drum: Any etude in the concert style from the Cirone Portraits in Rhythm, sightreading, and rudiments.

Marimba/Xylophone:  All major scales, sightreading, any two-mallet etude selected from the following: Whaley Fundamental Studies for Mallets, p. 36; Whaley: Musical Studies for the Intermediate Mallet Player, p. 6-9, 14-15, 19-28; or any etude from Goldenberg: Modern School.

Timpani: One of the following etudes from the Whaley: Musical Studies for The Intermediate Timpani Player, p. 9, 21-22, 26, 31, 38

University of Iowa

Audition Information for Percussion

Undergraduate/Major

The following list is a guide for choosing appropriate audition material for incoming undergraduate students. These are suggestions. The purpose of an audition is to demonstrate your talents, so choose literature that you are comfortable with that is, as a minimum, similar in style and scope to the suggested material. Prospective music majors in Performance or Music Education should prepare as much material as possible from the mallet category and something from at least two additional areas.

 

Mallet Keyboard

• Demonstration and/or theoretical understanding of all major and minor scales and arpeggios,

two octaves.

• A standard work or study to demonstrate musicianship, such as a contest solo like

Tambourine Chinois by Fritz Kreisler, Etude in D Minor by Alice Gomez, Yellow After the

Rain by Mitchell Peters, or an etude or exercise from a method book such as Modern School

for Xylophone, Marimba, and Vibraphone by Morris Goldenberg;

• Sight reading (two mallets).

 

Snare Drum

• Selected rudiments from the Percussive Arts Society International Drum Rudiments played in

open to closed to open” style.

• A solo or etude, in either rudimental or concert style, such as from Portraits in Rhythm by

Anthony Cirone or 14 Modern Contest Solos by John S. Pratt.

• Sight reading.

 

Timpani

• Demonstrate ability to tune multiple drums from a given pitch.

• A standard work or study to demonstrate musicianship, such as from Musical Studies for the

Intermediate Timpanist by Garwood Whaley, Modern Method for Tympany by Saul

Goodman, or The Solo Timpanist by Vic Firth.

 

Multi-Percussion

• A standard work or study to demonstrate musicianship, such as Studies in Solo Percussion by

Morris Goldenberg or a movement from French Suite by William Kraft.

 

Drum Set

• Demonstrate a variety of musical styles such as Jazz, Latin, and rock, including playing time and

solo fills in each style.

• Demonstrate ability to play with click track or metronome.

• Sight reading of a standard big band arrangement

 

UNC – Asheville

Percussion

Timpani - Etude from Goodman and/or Firth books and/or orchestral excerpts. Demonstrate tuning and rolling at all dynamics.

Snare Drum - Etude from Cirone or Delecluse books and/or orchestral excerpts.

Mallets - Two mallet solos from standard repertoire.

 

JAZZ STUDIES & PERFORMANCE

Percussion: Percussionists will be expected to demonstrate a knowledge of basic rudiments on snare drum, and/or a familiarity with keyboard or mallet instruments, and, in the case of set players, a knowledge of several different rhythm patterns including Latin and swing.

 

ALL APPLICANTS

Ear Training: Aural identification of intervals, triads, and basic seventh chord types.

 

AUDITION  GUIDELINES  FOR  PROSPECTIVE  MUSIC   MAJORS

The audition is one of the prerequisites for acceptance into the music program. Only those students who have already been accepted by the UNCA Office of Admissions by the audition date will be auditioned. Auditions are held twice a year (once each semester) in the Department of Music located on the bottom floor of Lipinsky Hall. Prospective students may arrange an audition by submitting the "Application for Audition" form by the appropriate deadline (check the music web page for audition dates and deadlines www.unca.edu/music). If distance precludes the possibility of an in-person audition, the student should consult the department for other arrangements. (In some cases, a cassette tape may be submitted in lieu of an in-person audition.)

PLACEMENT TESTS

Theory, aural skills, and keyboard proficiency placement tests are administered on the day of the audition in order to determine entry levels to the respective courses. If you have had previous keyboard experience, please bring a piece that best demonstrates your level of proficiency. In the special case of auditions presented on CD, these placement and proficiency tests must be taken prior to registration. Please contact the Department of Music for details.

 

MATERIAL

Approximately ten minutes of material should be prepared for performance on the student’s principal instrument.

Sight Reading: To be selected by faculty. 

 

MUSIC TECHNOLOGY PROGRAM

 Though not required to pursue instrumental studies as part of their degree program, students wishing to enroll in the Music Technology Program are expected to audition. They may follow either the Jazz or General Music Studies Guidelines in preparing their audition. Music Technology students must audition into the 200 level of Applied or take Applied Music 191 and 192.

University of Wisconsin - Madison

Students should be prepared to perform solo repertoire on at least three different percussion instruments as outlined below. Choosing works from your state's contest "A" list (or works of equal difficulty) is a good place to begin looking for repertoire.

Though it is understood that each student will have areas of personal strength, preparation on diverse repertoire and instruments is very important to the percussion faculty. While the primary emphasis in admission and scholarship decisions is placed upon the prepared material, sight reading on snare drum and keyboard percussion will be included in the audition process.

All equipment that auditioning students may need will be provided in the practice and audition rooms. Students who prefer to bring personal instruments are welcome to do so. Students are expected to bring any sticks or mallets needed for the audition.

Required Areas (must do both)

1) Keyboard Percussion   A solo or solos on marimba, vibraphone, or xylophone. The solo(s) may be for two or four mallets (however, a four-mallet solo is strongly encouraged).

2) Snare Drum   A snare drum solo in concert style is required. However, if the student chooses, a rudimentary style solo may be included as well.

Choice Areas (choose one or more)

1) Timpani   A solo for two, three, or four drums. Excerpts from the standard orchestral repertoire would also be acceptable.

2) Multiple Percussion   A solo on any combination of percussion instruments.

3) Drum Set   A prepared solo and/or improvisation in a variety of styles.

4) World Percussion Instruments  A prepared solo and/or improvisation in a variety of styles.