• 10-minute audition
• Two selections in contrasting style
• A major and minor scale of your choice.
• Piano accompaniment is optional and must be provided by candidate.

• 10-minute audition
• Two selections in contrasting style
• A major and minor scale of your choice. For harp, scales are not required. Memorization is strongly encouraged. Piano accompaniment is optional and must be provided by candidate.

• Percussion: please note that auditions will only be held on the February 10, 2024 date. Please email the Academic Coordinator, David Fox (David.A.Fox@utah.edu), if you need to make other arrangements.
• 15-minute audition
  
  1. Snare Drum Solo or Etude of choice (orchestral or rudimental):
     • Examples: Pieces by Cirone, Delecluse, Peters, Pratt, Jeff Queen, Matt Savage,  All-State Etudes or equivalent.
  2. Two Mallet Keyboard Solo or Etude of choice (marimba, xylophone, vibraphone):
     • Two Mallet Examples: George Hamilton Green  Xylophone Rags, Gottlieb Masterworks for Mallets, All-State Etudes or equivalent.
  3. Four Mallet Keyboard Solo of choice (marimba or vibraphone):
     • Four Mallet Examples: Pieces by Abe, Burton, Burritt, Friedman, Ford, Glentworth, Kopetzki, Metzger, Musser, Peters, Smadbeck, Schmitt, Sammutt, Stout, Zivkovic, All State Etudes or equivalent.

CHOOSE ONE OF THE FOLLOWING CATEGORIES:

1. Timpani Solo or Etude of student choice (performed at in-person audition):
   • Examples: Pieces by Carter, Delecluse, Vic Firth, Nick Woud or equivalent.
OR
2. Drum set: a sample of your time / style playing/ soloing in the following styles: up-tempo swing, funk and Latin/ Afro-Cuban (choose 1: bossa nova, samba, mambo, 12/8 Afro-Cuban). Can also send any live performances on drumset: jazz band (school), other gigs. Please submit these via video recording. Video submission through YouTube link(s). Email to: mike.sammons@utah.edu

EQUIPMENT PROVIDED LIST

• 10-minute audition
• Prospective students are expected to prepare 1 classical vocal selection (selected from art song, folk song, opera, or oratorio literature).
• Song selection must be sung from memory. You are welcome to bring a pianist you have worked with, but a collaborative pianist will be provided
• You may choose your own repertoire, or you may choose from the suggested songs. If you choose to sing one of the suggested pieces, we have provided vocal and accompaniment rehearsal tracks in the link below.
• A brief interview with the audition panel will follow the audition.

If you would like to schedule a 15-minute Zoom coaching before your audition, please email one of the faculty members listed below. In your email, please suggest three possible meeting times to expedite the scheduling process. Per university policy, we are not allowed to engage in one-on-one email communication with minors. Therefore, please copy a parent/guardian on the email before you submit. 

Julie Wright-Costa, Professor, Soprano
julie.wrightcosta@utah.edu

Robert Breault, Professor, Tenor, Director of Opera
robert.breault@music.utah.edu

Kirstin Chávez, Professor, Mezzo-Soprano, Artist in Residence
K.Chavez@utah.edu

Seth Keeton, Associate Professor, Bass-baritone, Voice Area Head
seth.keeton@utah.edu

Emily Mercado, Assistant Professor, Mezzo-Soprano, Choral Music Education
Emily.Mercado@utah.edu

• 15-minute audition
• Play or sing one major, one melodic minor, and one harmonic minor scale (key centers chosen by the faculty).
• Perform or sing a prepared jazz solo transcription and/or a short jazz etude (3-minute maximum).
• Perform or sing the melody and improvise over the chord changes of 1-3 jazz standard(s) from memory. Guidelines for memorizing jazz repertoire and a suggested list of songs to learn may be viewed here.
• Piano accompaniment will be provided for auditions. Alternatively, professional level play-along recordings such as those by Jamey Aebersold are acceptable; an audio playback system will be provided. Drum set, piano, bass, and guitar amps will be provided. Guitarists must bring their own patch cords.

• Composition, Theory, Music Education, BA in Music, Music Minor
  • Prepare two piano solo works in contrasting style from traditional piano repertoire.
    • Examples:
      1. Any work of Bach
      2. Any movement from sonata by Hayden, Mozart, Beethoven or Schubert
      3. Any Romantic  work by composers in Romantic, Impressionist, or 20th Century periods.
• Piano Performance and Piano Pedagogy
  1. Prospective students are expected to prepare a minimum of 15 minutes of music for the audition. Memorization is required.
  2. Audition duration: 10 minutes. At the discretion of the Piano Faculty, students may be asked for specific portions of any of the prepared repertoire.
  3. A Baroque work by JS Bach, Handel, Rameau, Scarlatti, or others.
     • Examples: any Prelude and Fugue from the Well-Tempered Clavier, Scarlatti Sonatas, and movements from major Baroque Suites are also acceptable.
  4. A first-movement Allegro of a Classical Sonata by Mozart (except Sonata K. 545), Haydn, Beethoven (except Sonatas Op. 49 No. 1 or 2), Schubert, or Hummel.
  5. A Romantic work.
     • Examples: Chopin Fantaisie-Impromptu Op. 66, or a selection from larger cycles such as Schumann’s Kreisleriana, Op. 16.
  6. One Virtuoso Etude
     • Examples: Chopin Etude Op. 25, No. 2
  7. Any repertoire requests outside the specific requirements listed above must be approved by the Head of the Piano Area before the scheduled audition.

• 15-20 minute audition
• Prepare one Baroque piece and one post-Baroque piece.
• Memorization is not required.
• Audition includes coaching time with the faculty.

• 10-minute audition
• Two prepared works
  1. Etude by one of the following: Sor, Aguado, Carcassi, Carulli or Giuliani
  2. Composition of candidate's choice from Baroque (e.g. Sanz, Bach, Weiss), Romantic (e.g. Tarrega), or 20th-century (e.g. Torroba, Villa-Lobos, Ponce) guitar literature. Consult The Christopher Parkening Guitar Method, vols. 1 & 2, for examples
• A major and minor scale of your choice. Memorization is strongly encouraged. Piano accompaniment is optional and must be provided by candidate.
• Sight read ensemble parts: single-line melody and accompaniment.

• Audition on your major primary instrument or voice, using the above guidelines. At the audition, please inform the panel of your intended degree program. If you are applying for BMUS in Composition, in addition to the audition, you will need to schedule a 15-minute interview with the composition area head.

• 20-minute audition
• Submit a link to a video recording on the graduate application. The video should include both rehearsal and performance and should be positioned to show the front of the conductor. At the discretion of the faculty, candidates may be asked to perform a live audition. Please see complete program guidelines for details.

• 25-minute audition
• Prepare three or more jazz standards in contrasting styles to perform from memory. At least one should be an up-tempo swing piece, one should be a ballad, and the third should demonstrate a contrasting style such as a jazz waltz, a bossa nova, or an advanced modal tune. Guidelines for memorizing jazz repertoire and a suggested list of songs to learn may be viewed here.
• Piano accompaniment will be provided for auditions. Alternatively, professional level play-along recordings such as those by Jamey Aebersold are acceptable; an audio playback system will be provided. Drum set, piano, bass, and guitar amps will be provided. Guitarists must bring their own patch cords.
• Candidates must be prepared to play major and melodic minor scales and/or any of their modes in all twelve keys, as well as all forms of minor scales in any key.
• Be prepared for a brief verbal interview to discuss your knowledge of jazz theory, including chord/scale relationships, commonly used jazz modes, extended and altered chords, common jazz chord progressions, and key attributes of various jazz styles, etc.

• 20-minute audition
• Four selections: one must be in English; one must be an aria. Different styles and languages are encouraged. No musical theater or contemporary commercial music. If you need assistance locating a collaborative pianist, please contact Dr. Seth Ketton at seth.keeton@utah.edu.
• An interview with the audition panel will follow the audition.

• 20-minute audition
• Two contrasting works plus five standard orchestral excerpts of candidate's choice.
• Piano accompaniment is optional for live auditions and must be provided by candidate. Accompaniment preferred for recorded auditions.

Clarinets

• Mozart Clarinet Concerto, mvt 1 exposition
• Copland Concerto beginning to end of cadenza
• Orchestral excerpts:
  • Mendelssohn Scherzo (beginning to bar 48),
  • Rachmaninoff Symphony #2 (mvt. 3, opening solo through bar 47)
  • Beethoven 6 mvt 1, (2 bars before K to the end,
  • Shostakovich Symphony 9, mvt 2 and mvt 3
• Auxiliary instruments: Please select Eb or Bass. You can choose both.
  • Eb Clarinet
    • Berlioz  Symphonie fantastique, mvmt. 5: figure 63 to 5 after figure 64
    • Strauss Till Eulenspiegel’s Merry Pranks 1 after [30] to downbeat of [32]; 40 to 9 after 40
    • Ravel Bolero
  • Bass Clarinet:
    • Khachaturian Piano Concerto Start at 390 to fermata
    • Shostakovich Violin Concerto No.1 (mvt II) 1 before 23 to 13 after 24

• Percussion: please note that auditions will only be held on the February 10, 2024 date. Please email the Academic Coordinator, David Fox (David.A.Fox@utah.edu), if you need to make other arrangements.
• 20-minute audition
  
  1. Snare Drum
     1. Snare Drum Solo of choice:
        • Examples: Pieces by Delecluse, Tompkins, Masson, Martynciow, Modern Snare Drum Competition repertoire, or equivalent.
     2. Snare Drum Orchestral Excerpts:
        1. Rimsky Korsakov: Scheherazade, Movement 3
        1. Letter D to G (do not observe excessive measures of rests)
        2. Rimsky Korsakov: Scheherazade, Movement 4
        1. 4 measures before Letter N to U (do not observe excessive measures of rests)
  2. Keyboard / Mallets
     1. One movement of choice from:
        1. J. S. Bach: Sonatas and Partitas for Solo Violin or Suites for Solo Cello or equivalent. No repeats
     2. Four Mallet Keyboard Solo of choice (marimba or vibraphone):
        1. Examples: Pieces by Abe, Burritt, Deane, Druckman, Glentworth, Harnsburger, Klatzow, Kopetzki, Lansky, Metzger, Miki, Miyake, Psathas, Rosauro, Sammutt, Sejourne, Schwantner, Tanaka, Thomas, Vinao, Weiner or equivalent.
     3. Xylophone Orchestral Excerpts:
        1. Stravinsky: Firebird (complete Ballet, 1910), mm 127 - 133
        2. One additional contrasting excerpt of your choice
  3. Timpani
     1. 3 Orchestral Excerpts in total representing:
        1. 1 from Classical Period
        2. 1 from Romantic Period
        3. 1 from 20th/21st Century Period
  4. Multi-Percussion – video submission through YouTube link. Email to mike.Sammons@utah.edu
     1. A full-length recording of a solo work of choice:
        1. Examples: Pieces by Adams, Dietz, Hollinden, Ishii, Kitazume, Kopetzk, Lang, Lindroth, Mackey, Maric, Pintscher, Volans, Rolf Wallin, Christian Wolf, James Wood, Xenakis, or equivalent.
  5. Choose ONE of the following video submissions through YouTube link. Email to mike.Sammons@utah.edu
     1. Drumset: a sample of your time / style playing/ soloing in the following styles: up-tempo swing, funk, bossa nova, samba, mambo, 12/8 Afro-Cuban. 3 minute time limit. Can also send any live performances on drumset.
     2. Global Music: a demonstration of your understanding of basic tones, sense of groove/feel and clear communication of style. May include, but not limited to: Afro-Cuban hand drums and percussion; Samba (all styles); pan-African hand drums and percussion; steel pan; middle-eastern frame drums/percussion, etc...

EQUIPMENT PROVIDED LIST

• 20-minute audition
• Two contrasting works, one should be Bach or similar. Piano accompaniment is optional for live auditions and must be provided by candidate. Accompaniment preferred for recorded auditions.

• Prepare a 40-50 minute solo recital program of music from at least three representative periods. Memorization is required.
  Recommended Repertoire (suggested guidelines)
  • Baroque: Bach preludes and fugues, partitas, English suites, Italian Concerto or other substantial work.
  • Classical: Beethoven, Mozart, Haydn: first or last movements from sonatas.
  • Romantic: Chopin impromptus, polonaises, scherzi or ballades; Schubert: impromptus, sonata movements
  • Impressionist: Debussy, etudes or preludes; Ravel, Sonatine, Gaspard de la nuit, Tombeau de Couperin, Mirrors (all or selected).
  • 20th/21st Century: discretion of the candidate.
• Brief interview with audition panel will follow audition

• Please contact Steven Vanhauwaert (Assistant Professor, Collaborative Piano) with inquiries. Although it is recommended to bring your own collaborator(s) for this audition, you may contact Professor Steven Vanhauwaert for assistance in providing local collaborators.
• There is no language requirement for entrance into the program.
• Prepare a 10-20 minute solo audition in addition to a 10-20 minute instrumental and vocal audition. (30 minutes total) (Candidates must choose repertoire from A. B. and C.)
  1. Instrumental collaborative repertoire
     • Choose from the list. Comparable repertoire is permissible but must be approved prior to the audition at the time of application
     • Choose one sonata (or movements) from the list below (or comparable)
       • Beethoven Violin Sonata in F Major, Op. 24 "Spring"
       • Brahms Clarinet/Viola Sonata No. 1 in F Minor, Op. 120 No. 1
       • Brahms Clarinet/Viola Sonata No. 2 in E-flat Major, Op. 120, No. 2
       • Prokofiev Sonata in D Major, Op. 94, (flute or violin)
  2. Vocal collaborative repertoire
     • Choose from the list. Comparable repertoire is permissible but must be approved prior to the audition at the time of application.
     • Prepare audition from the selections below (or comparable) in the original key:
       • Barber: The Monk and His Cat, from Hermit Songs
       • Debussy: II pleure dans mon Coeur, from Ariettes oubliees
       • Puccini: Che gelida manina, La Boheme
       • Schubert: Die Forelle
       • Strauss: Allerseelen
  3. Solo Repertoire
     • Prepare a solo program of music from at least two representative periods. Memorization is required.
       • Baroque: Bach preludes and fugues, partitas, English suites, Italian Concerto or other substantial work.
       • Classical: Beethoven, Mozart, or Haydn: first or last movements from sonatas.
       • Romantic: Chopin impromptus, polonaises, scherzi or ballades; Schubert: impromptus, sonata movements
       • Impressionist: Debussy, etudes or preludes; Ravel, Sonatine, Gaspard de la nuit, Tombeau de Couperin, Mirrors (all or selected)
       • 20th/21st Century: Discretion of the candidate
• A brief sight reading example and interview with audition panel will follow audition.

• Prepare a 20-30 minute program of music from at least three representative periods. Memorization is required.
  Recommended Repertoire (suggested guidelines)
  • Baroque: Bach preludes and fugues, partitas, English suites, Italian Concerto or other substantial work.
  • Classical: Beethoven, Mozart, Haydn: first or last movements from sonatas.
  • Romantic: Chopin impromptus, polonaises, scherzi or ballades; Schubert: impromptus, sonata movements
  • Impressionist: Debussy, etudes or preludes; Ravel, Sonatine, Gaspard de la nuit, Tombeau de Couperin, Mirrors (all or selected).
  • 20th/21st Century: discretion of the candidate.
• Brief interview with audition panel will follow audition.

• 15-20 minute audition
• Prepare one Baroque piece and one post-Baroque piece.
• Memorization is not required.
• Audition includes coaching time with the faculty. 

• 10-minute teaching video recording
• Video should show a sample of the applicant's teaching in either an applied or rehearsal setting.
• You can upload the video directly on the graduate application.

• 20-minute audition
• Submit a link to the video recording on the graduate application. The video should include both rehearsal and performance and should be positioned to show the front of the conductor. At the discretion of the faculty, candidates may be asked to perform a live audition. Please see complete program guidelines for details.

• 20-minute audition
• Five selections: one must be in English; one must be an aria. Different styles and languages are encouraged. No musical theater or contemporary commercial music. If you need assistance locating a collaborative pianist, please contact Dr. Seth Ketton at seth.keeton@utah.edu.
• An interview with the audition panel will follow the audition.

• 20-minute audition
• Two solo works in contrasting style from standard repertoire, plus five standard orchestral excerpts of candidate’s preference.
• Piano accompaniment is optional for live auditions and must be provided by candidate. Accompaniment preferred for recorded auditions.

• 20-minute audition
• Mozart Clarinet Concerto, mvt 1 exposition
• Copland Concerto beginning to end of cadenza
• Orchestral excerpts:
  • Mendelssohn Scherzo (beginning to bar 48),
  • Rachmaninoff Symphony #2 (mvt. 3, opening solo through bar 47)
  • Beethoven 6 mvt 1, (2 bars before K to the end,
  • Shostakovich Symphony 9, mvt 2 and mvt 3
• Auxiliary instruments: Please select Eb or Bass. You can choose both.
  • Eb Clarinet
    • Berlioz  Symphonie fantastique, mvmt. 5: figure 63 to 5 after figure 64
    • Strauss Till Eulenspiegel’s Merry Pranks 1 after [30] to downbeat of [32]; 40 to 9 after 40
    • Ravel Bolero
  • Bass Clarinet:
    • Khachaturian Piano Concerto Start at 390 to fermata
    • Shostakovich Violin Concerto No.1 (mvt II) 1 before 23 to 13 after 24

• 20-minute audition
• Two contrasting movements from sonatas and partitas for solo violin, or suites for solo solo cello/viola/double bass by J.S. Bach
• One movement from a major standard concerto
• One Paganini Caprice or equivalent. Piano accompaniment is optional for live auditions and must be provided by candidate. Accompaniment preferred for recorded auditions.

• Percussion: please note that auditions will only be held on the February 10, 2024 date. Please email the Academic Coordinator, David Fox (David.A.Fox@utah.edu), if you need to make other arrangements.
• 20-minute audition
  
  1. Snare Drum Solo of choice or 2 contrasting orchestral excerpts
  2. Two Mallet Keyboard Solo of choice or 2 contrasting xylophone orchestral excerpts
  3. Four Mallet Keyboard Solo of choice (marimba / vibraphone)
  4. Timpani
     1. orchestral excerpts in total representing:
        • 1 from Classical Period
        • 1 from Romantic Period
        • 1 from 20th/21st Century Period
  5. Orchestral Accessories
     • 1 Tambourine excerpt of choice
     • 1 Cymbal excerpt of choice
  6. IN ADDITION:
     • Submit recordings of past recitals or professional performance environments within the last 6-12 months totaling approximately 30 minutes of music.
     • Samples of drum set, multiple percussion, non-western percussion, and improvisation are encouraged.
• Video submissions through youtube link. Email to mike.Sammons@utah.edu

EQUIPMENT PROVIDED LIST

• Pre-Screening strongly recommended. Live audition required. If invited by the piano faculty to perform a live audition, the candidate must come to the University of Utah campus to be considered for admission.
• Pre-screening: Submit a link to an hour-long, unedited video recording uploaded to a site like YouTube to Academic Coordinator, no later than December 1st for fall admission or August 16th for spring admission. The choice of repertoire will be considered on musical and technical merit, as well as the artistic level of the performance.
• Live Audition: Applicants should come prepared to perform an hour-long program. The faculty will select 20-30 minutes from the prepared repertoire to have the student perform. Memorization is required.
• Brief interview with audition panel will follow audition process.

• 10-minute teaching video recording
• Video should show a sample of the applicant's teaching in either an applied or rehearsal setting.
• You can upload the video directly on the graduate application.