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Undergraduate Audition Repertoire

Auditions normally last about ten minutes and are heard by a committee of faculty members from your area of interest. What you should prepare varies for your instrument. Listed below are the guidelines for each area.

Horn

  • One movement of a solo from the standard repertoire
    Suggested Repertoire:
    • Franz Strauss, Nocturno
    • W. A. Mozart, Concerto 2, 3 or 4
    • R. Strauss, Horn Concerto No. 1
    • L. Beethoven, Horn Sonata
    • Bernhard Heiden, Sonata
    • Hindemith, Sonata in F
  • Two contrasting etudes demonstrating technical and lyrical playing
    Suggested Repertoire:
    • Kopprasch, Book 1
    • Maxime-Alphonse, Book 3
    • Gallay (any etude or prelude)
  • All major scales
  • Possible sight reading

If you have any questions about the audition or audition repertoire, please feel free to contact Katie Johnson at kjohn138@utk.edu

Trumpet

  • Any solos by Barat or Balay, Concert Etude by Goedicke, Sonata by Hindemith, Sonata by Ewazen, Concerto by Arutunian, Concert in Eb by Haydn, Concerto in Eb by Hummel, Sonata by Kennan, Andante et Allegro by Ropartz.
  • Etudes by Arban, Bousquet, Brandt, Charlier, Getchell or Concone.

Trombone

  • One movement or less than 8 minutes of a solo from the standard repertoire:
    Suggested Repertoire (non-exclusively):
    • A. Guilmant – Morceau Symphonique
    • B. Marcello – Sonatas in F Major, A minor, or E minor
    • G.P. Telemann – Sonata in F minor
    • C. Saint-Saëns – Cavatine
    • L. Larsson – Concertino ­(Mvts I and II)
  • Choose two contrasting etudes, one lyrical and one technical in nature.
    Etudes should be chosen from the following books (exclusively):
    • J. Rochut/Borodogni – Melodius Etudes for Trombone Book 1
    • G. Kopprasch – 60 Selected Studies for Trombone
    • H. Voxman – Selected Studies for Trombone Book 1
    • V. Blazhevich – Clef Studies for Trombone (a.k.a School for Trombone in Clefs).
  • All major scales
  • Chromatic scale from any starting pitch
  • Possible sight-reading

Euphonium

  • One movement of a solo from the standard repertoire
    Suggested Repertoire:
    • Guilmant – Morceau Symphonique
    • Capuzzi – Andante and Rondo
    • Ropartz -  Andante et Allegro
    • Censhu – A Walk in the Woods
    • Clinard – Sonata for Unaccompanied Euphonium
  • Two contrasting etudes demonstrating technical and lyrical playing
    Suggested Repertoire:
    • Rochut – Melodious Etudes for Euphonium
    • Voxman – Selected Studies for Baritone or Trombone
    • Kopprasch -  60 Selected Studies for Tuba
  • All major scales
  • Possible sight reading

If you have any questions about the audition or audition repertoire, please feel free to contact Alexander Lapins at alapins@utk.edu.

Tuba

  • One movement of a solo from the standard repertoire

    Suggested Repertoire:
    • Paul Hindemith, Sonata
    • Capuzzi, Andante and Rondo
    • Marcello, Sonata in F major
    • Gregson, Concerto (mvmt 1)
    • Haddad, Suite
    • Hartlet, Suite for Unaccompanied Tuba
  • Two contrasting etudes demonstrating technical and lyrical playing

    Suggested Repertoire:
    • Bordogni – Melodious Etudes for Tuba
    • Blazhevich – 70 Advanced Studies for Tuba
    • Kopprasch -  60 Selected Studies for Tuba
  • All major scales
  • Possible sight reading

If you have any questions about the audition or audition repertoire, please feel free to contact Alexander Lapins at alapins@utk.edu.

Students wishing to study organ may audition on either the organ or the piano or a combination of the two. Students who choose to audition on the piano should follow the guidelines for piano auditions.

Bachelor of Music in Organ Performance, Bachelor of Music in Sacred Music/Organ, Bachelor of Music in Music Education

  • One of the Eight Little Preludes and Fugues attributed to J.S. Bach or another baroque work of a similar or more advanced level of difficulty.
  • Two other contrasting pieces including a piece from the 20th century.
  • Sight-reading of an unfamiliar hymn or chorale from a standard hymnal (sight-reading may be done at the piano).

Memorization is not required, but is recommended for students wishing to major in Organ Performance.

Bachelor of Arts in Music or Minor in Music

  • Two contrasting pieces, one of them from the baroque period.
  • Sight-reading of an unfamiliar hymn or chorale from a standard hymnal (sight-reading may be done at the piano).

Memorization is not required.

The undergraduate admission audition for the UT Percussion Studies area / UT School of Music requires a solo performance audition as well as a short interview with the percussion area faculty.

Students should perform solo repertoire in at least three percussive areas (outlined below) and will sight-read on both 2-mallet keyboard and concert snare drum.

While each individual will likely have areas of personal strength, the faculty would like to emphasis how important it is that students demonstrate abilities on a diversity of repertoire and instruments.

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 should bring any sticks or mallets needed for the audition as well as original copies of the music they are performing.

Required Audition Areas (must do both)

  • Keyboard Percussion Two solos on marimba, vibraphone, or xylophone. One selection should demonstrate 2-mallet proficiency while the other demonstrates 4-mallet ability using whichever grip / technique is most comfortable for the student.
  • Snare Drum A concert snare drum solo/etude is required. An additional solo in a rudimental style is optional.

Choice Audition Areas (choose one or more)

  • Timpani An etude or solo for two, three, or four drums. Excerpts from the standard orchestral repertoire would also be acceptable.
  • Multiple Percussion An etude/solo on any combination of percussion instruments.
  • Drum Set A prepared solo and/or improvisation in a variety of styles.
  • World Percussion Instruments A prepared solo and/or improvisation in an area of your choice.

Bachelor of Music in Piano Performance

  • Baroque Composition
  • First Movement of a Classical Sonata
  • 19th Century Composition
  • 20th Century Composition

Memorization Required

Bachelor of Music in Piano Pedagogy, Bachelor of Music in Music Education (keyboard emphasis)

  • Choose three from the above list.

Memorization Strongly Suggested

Bachelor of Arts in Music, Music Minor

  • Choose two from the above list.

Memorization Strongly Suggested

NOTE: All live string auditions for the UT School of Music will be without piano accompaniment.

Bass

  • Two contrasting movements of standard bass concertos or comparable works from the standard double bass solo repertoire.
  • One orchestral excerpt from the standard orchestral repertoire.
  • One movement of a solo Bach suite or a movement of a baroque sonata such as Vivaldi or Marcello.  
  • Two octave major and minor scales
**Note: Jazz bassists, see Studio Music and Jazz

Cello

  • Two contrasting movements from the Solo Bach Suites. From memory, if possible.
  • First movement of a Standard Cello Concerto. From memory, if possible.
  • One etude by Popper or Piatti, or Duport.

Viola (Undergraduate) – Music Education & BA

  • Any two pieces from two different musical period.

Viola – Performance

  • Two contrasting movements from the Solo Bach Suites. From memory, if possible.
  • First movement of a standard viola concerto. From memory, if possible.
  • One etude by Kreutzer, Fiorillo, Campagnoli or equivalent.

Violin – Music Education or Minor

  • Any two pieces from two different musical periods

Violin – Performance

  • One three- octave scale and arpeggios of candidate's choice
  • One movement from J.S. Bach's unaccompanied sonatas and partitas
  • First or second and third movement from a concerto

Memorization is encouraged, but optional

A live audition is expected prior to admission in the Jazz Studies program. Students will be asked to perform the following:

  • Two (2) prepared tunes from memory. At least one of these tunes should be performed with play-a-long accompaniment. Students should be prepared to play the melody and improvise for two or three choruses. Pianists and guitarists will be asked to comp for two additional choruses.
  • Major scales covering the full range of your instrument.
  • Sight-reading. Horn players and drum set students may also be asked to sight-read selections from big band charts.

Additional Requirements

  • Piano, Guitar – Demonstrate all basic chords: major, minor, diminished and augmented (added 6th, 7th, and 9th).
  • Piano, Guitar – Sight-read a simple chord progression.
  • Drums – Demonstrate time in swing, latin, funk/rock.
  • Bachelor of Music in Vocal Performance
  • Bachelor of Music in Music Education (Vocal Emphasis)
  • Bachelor of Music in Sacred Music (Vocal Emphasis)
  • Bachelor of Arts Music Minor

Freshmen

  • Two memorized selections, in contrasting styles from the 17th – 21st centuries, are required for consideration into the vocal program at the School of Music.
  • One selection must be from the standard Classical sacred or secular vocal repertoire.
  • Each selection may be performed in English or a foreign language, according to the student's vocal training.
  • Arias from opera, as well as American Musical Theater styles are also allowed, however, the singing of difficult, dramatic selections is neither encouraged nor desired. Singers should, therefore, choose repertoire that exudes a pleasant vocal quality, expressiveness, good intonation and dynamic contrasts, as well as musical and expressive-communicative qualities. In addition, sight singing and the matching of pitches may be required at the time of the audition.

Transfer students

  • Four memorized selections in contrasting styles from the Classical repertoire of the 17th through 21st centuries that demonstrate the singer's present vocal talent are required.
  • A typed repertoire list representing the singer's previous vocal training must be presented at the time of the audition.

Additional Requirements

All vocal selections must be published for solo voice and piano. Singers may bring their own accompanist or use the accompanist provided by the School of Music. If using the School of Music accompanist, please bring original copies of your vocal selections to your audition. No taped accompaniments are allowed. Repertoire may be chosen from the following:

  • 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, for medium high or medium low voice. G. Schirmer, Inc., distributed by Hal Leonard Corporation
  • 26 Italian Songs and Arias, medium high or medium low voice, John Glenn Paton, editor. Alfred Publishing Co., Inc.
  • The First Book of Solos series for soprano, mezzo-soprano/alto, tenor, and baritone/bass voice, compiled by Joan Frey Boytim. G. Schirmer, Inc., distributed by Hal Leonard Corporation
  • Standard Vocal Literature series. Hal Leonard Corporation
  • Pathways of Song vocal series, for medium high or medium low voice, compiled and edited by Frank Laforge and Will Earhart. Alfred Publishing Company, Inc.
  • The Young Singer series, compiled and edited by Richard D. Row. Carl Fischer Music
  • Folk Songs for Solo Singers, medium high or medium low voice, compiled and edited by Jay Althouse; Alfred Publishing Co., Inc.

Woodwind players auditioning for acceptance into the music program at UT will be expected to play:

  • any/all major scales
  • two contrasting selections (see below)

Flute

  • Chromatic scale, Major and Minor scales extended over the full range of the flute.
  • Anderson Etudes or Berbiquer Etudes; Concerto in G by Mozart; and Solo from Music by French Composers edited by Louis Moyse (published by G. Schirmer); any Handel Sonata; Kuhlau Grand Solos #1, #2, #3; Syrinx by Debussy; Danse de la Chevre by Honegger; Kokopeli by Hoover.

Oboe

  • Concertos by Mozart, Cimarosa, Marcello or Haydn. Sonatas by Handel.
  • Contrasting studies from the Barrett Oboe Method.

Clarinet

Performance Majors should select 3 orchestra excerpts from the standard audition selections. An informal interview follows the audition. Students are asked about their musical experiences and career aspirations. Instructor will meet with the student and parent(s) following the audition. It is recommended to contact the Instructor prior to the audition to set-up a free lesson.

  • Major and Minor ( harmonic and melodic ) scales.
  • One Slow Etude and One Fast Etude from the Rose Studies ( Hite Edition ), Baermann, Jean-Jean or Klose Studies.
  • One solo piece from the Standard Repertoire (Possible choices include Weber, Mozart, Poulenc, Crusell, Stravinsky and Brahms).

Bassoon

  • Concertos by Mozart, Weber, Vivaldi. Sonatas by Telemann, Galliard, Hindemith.
  • Contrasting examples from Weissenborn, Advanced Studies (also known as Op. 8, Volume II).

Saxophone

Students should be able to display both their technical facility and melodic interpretation. This can be demonstrated through contrasting movements of a solo or by playing contrasting etudes as those by Ferling.

  • Sonatas by Creston, Heiden; Tableaux de Provence-Maurice;
  • Concertos by Glazounov, Creston, Dahl;
  • OR Contrasting etudes from 48 etudes after Ferling (Mule edition).
  • Major and minor scales extended to the full range of the instrument.
  • Sight-reading.
  • Chromatic scale.

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