Natalie L. Haslam College of Music

Undergraduate Admission Requirements by Degree Program

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Music Majors

Bachelor of Music – Music Performance

Introductory Video: [RECOMMENDED]  introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [REQUIRED] on your primary instrument/voice

Bachelor of Music – Music Education

Introductory Video: [REQUIRED] Share a brief introduction including your name, your instrument/voice, where you currently attend school, and any private music lessons you are taking. Share why you want to be a music educator and why you want to pursue a music education degree at the University of Tennessee specifically.

Audition: [REQUIRED] on your primary instrument/voice

Bachelor of Music – Theory / Composition

Introductory Video: [RECOMMENDED] introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [REQUIRED] on your primary instrument/voice

Interview: [REQUIRED] with our music theory and composition faculty

Bachelor of Arts – Applied Music

Introductory Video: [RECOMMENDED]  introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition/Interview: [REQUIRED] on your primary instrument/voice/studio.

Bachelor of Arts – Music & Culture

Introductory Video: [RECOMMENDED] introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [OPTIONAL] on your primary instrument/voice. Students who audition will be eligible to take lessons as part of their performance requirement. Students who do not audition will not be eligible to take lessons as part of their performance requirement.

Interview: [REQUIRED] with our musicology faculty

Bachelor of Arts – Music Business Administration

Introductory Video: [RECOMMENDED]  introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [OPTIONAL] on your primary instrument/voice. Students who audition will be eligible to take lessons as part of their performance requirement. Students who do not audition will not be eligible to take lessons as part of their performance requirement.

Interview: [REQUIRED] with the Coordinator of Music Business & Communications, to be done in February. The interview will discuss items in the Digital Portfolio.

Digital Portfolio: [REQUIRED] upload each bulleted item below to your Acceptd application:

  • Statement of Goals: Provide a short (1 page max) statement of your goals for college and future.
  • A short video where you:
  • Present some music on any instrument (including technologies/computers) or voice. They should contact the Coordinator before applying with any questions regarding acceptable instrumental presentation. It would be helpful if you:
    • Perform a prepared or improvised piece
    • Demonstrate some kind of notational competency, e.g. traditional music notation, computer music notation, lead sheet notation, etc.

For Music Business Administration students interested in entrance into the Jazz Guitar Studio:

Applicants should submit video recordings of themselves playing the following to the best of their ability: 

  • Major scales in at least two positions, two octaves, in quarter notes, 120 bpm
  • Major 7th, Dominant 7th, and Minor 7th chords
  • A video of themselves improvising over a jazz standard (Autumn Leaves, Satin Doll, etc.) or a twelve-bar blues progression. Play the chord changes once through the form, and then improvise a solo for two choruses. Applicants may use a live band or a backing track.

Bachelor of Arts – Music Advertising and Public Relations

Introductory Video: [RECOMMENDED]  introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [OPTIONAL] on your primary instrument/voice. Students who audition will be eligible to take lessons as part of their performance requirement. Students who do not audition will not be eligible to take lessons as part of their performance requirement.

Interview: [REQUIRED] with the Coordinator of Music Business & Communications, to be done during January or February audition dates. The interview will discuss items in the Digital Portfolio.

Digital Portfolio: [REQUIRED] upload each bulleted item below to your Acceptd application:

  • Statement of Goals: Provide a short (1 page max) statement of your goals for college and future.
  • A short video where you:
  • Present some music on any instrument (including technologies/computers) or voice. They should contact the Coordinator before applying with any questions regarding acceptable instrumental presentation. It would be helpful if you:
    • Perform a prepared or improvised piece
    • Demonstrate some kind of notational competency, e.g. traditional music notation, computer music notation, lead sheet notation, etc.

Bachelor of Arts – Music Journalism and Media

Introductory Video: [RECOMMENDED]  introduce yourself, share about your high school experience, your anticipated major, and why you want to attend UT.

Audition: [OPTIONAL] on your primary instrument/voice. Students who audition will be eligible to take lessons as part of their performance requirement. Students who do not audition will not be eligible to take lessons as part of their performance requirement.

Interview: [REQUIRED] with the Coordinator of Music Business & Communications, to be done during January or February audition dates. The interview will discuss items in the Digital Portfolio.

Digital Portfolio: [REQUIRED] upload each bulleted item below to your Acceptd application:

  • Statement of Goals: Provide a short (1 page max) statement of your goals for college and future.
  • A short video where you:
  • Present some music on any instrument (including technologies/computers) or voice. They should contact the Coordinator before applying with any questions regarding acceptable instrumental presentation. It would be helpful if you:
    • Perform a prepared or improvised piece
    • Demonstrate some kind of notational competency, e.g. traditional music notation, computer music notation, lead sheet notation, etc.

Undergraduate Audition Repertoire

Brass Instruments

Horn

  • One solo from the horn repertoire (if multi-movement, choose one movement) can be chosen from, but not limited to:
    • Amparo Edo Biol, Sweet Song
    • Eugene Bozza, En Irlande
    • Bernard Krol, Laudatio
    • W. A. Mozart, Concerto No. 3
    • William Grant Still, Songs for horn and piano
    • Franz Strauss, Nocturno
  • Two contrasting etudes demonstrating technical and lyrical playing can be chosen from, but not limited to:
    • Marco Bordogni, Melodious Etudes
    • Kopprasch, 60 Selected Studies
    • Maxime-Alphonse, volumes 2-4
    • John Shoemaker, Legato Etudes

Trumpet

  • One movement of a solo from the standard repertoire
    Suggested Repertoire:
    • Ropartz, Andante et Allegro
    • Haydn, Trumpet Concerto, 1st or 3rd movement
    • Hummel, Trumpet Concerto, 1st or 3rd movement
    • Arutunian, Trumpet Concerto, 2 contrasting sections
    • Ewazen, Trumpet Sonata, 1st or 3rd movement
    • Kennan, Sonata, 1st movement
    • Hindemith, Sonata 1st movement
    • Goedicke, Concert Study
    • Arban, any of the 12 Solos, Fantasies and Variations (found at the end of method)
  • Two contrasting etudes demonstrating technical and lyrical playing
    Suggested Repertoire:
    • Voisin, 11 Studies
    • Getchell, Second Book of Practical Studies
    • Concone, Lyrical Studies
    • Borgdoni, Vocalises
    • Brandt, 34 Orchestral Etudes
    • Arban, 14 Characteristic Studies
    • Charlier, 36 Études Transcendantes
    • Bohme, 24 Melodic Etudes
  • All major scales
  • Possible sight reading

If you have any questions about the audition or audition repertoire, please feel free to contact Arthur Zanin at adecamar@utk.edu.

Trombone

  • One movement or less than 8 minutes of a solo from the standard repertoire:
    Suggested Repertoire:
    • 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.
    Suggested Repertoire:
    • 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 or two movements of a solo from the standard repertoire
    Suggested Repertoire:
    • Barat – Introduction and Dance
    • Marcello – Sonata in F
    • Guilmant – Morceau Symphonique
    • Capuzzi – Andante and Rondo
    • Ropartz – Andante et Allegro
    • Falcone – Mazurka
  • Two contrasting etudes demonstrating technical and lyrical playing
    Suggested Repertoire:
    • Bordogni, arr. Rochut – Melodious Etudes for Trombone
    • Tyrell – Trombone Studies
    • 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:
    • Capuzzi, Andante and Rondo
    • Marcello, Sonata in F major
    • Lebedev, Concerto
    • Haddad, Suite
    • Hartlet, Suite for Unaccompanied Tuba
    • Hindemith, Sonata
  • Two contrasting etudes demonstrating technical and lyrical playingSuggested Repertoire:
    • Bordogni, arr. Rochut – Melodious Etudes for Trombone,played down one octave
    • Grigoriev –78 Studies
    • Vasiliev –24 Melodious Etudes
    • Blazhevich – 70 Advanced Studies for Tuba
    • Kopprasch – 60 Selected Studies for Tuba
    • Tyrell – Advanced Studies for B-flat Bas
  • 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.

Music & Culture

Organ

  • 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.
  • A hymn, with an introduction and 2 stanzas, as if accompanying a congregation
  • Sight-read an unfamiliar hymn or chorale from a standard hymnal (sight-reading may be done at the piano).

Percussion

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.

Piano

Bachelor of Music in Piano Performance

A minimum of three works representing different stylistic periods. One work of the three must be the first movement of a classical sonata.

Memorization strongly suggested

BA Applied Music, BM Music Education, BM Theory/Composition, & Music Minors:

  • Choose two from the above list.

Memorization Strongly Suggested

Bachelor of Music in Sacred Music

  • Two contrasting pieces from different periods (Baroque, Classical, Romantic, and 20th/21st Century). At least one memorized.
  • Two hymn arrangements, one published, and the other published or your own improvisation.

String Instruments

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

Bass – Music Education or BA

  • Any two pieces from two musical areas

Bass – Performance

  • First movement of a standard bass concerto
  • One movement of a Baroque sonata or Bach Suite
  • One etude from Hrabe, Sturm, Simandl, etc.

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 – 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

  • Two contrasting movements (or Fugue or Chaconne) of unaccompanied J.S. Bach sonata or partita
  • One movement of any concerto
  • Any piece or caprice of candidate’s choice

Memorization is encouraged, but optional

Studio Music & Jazz Majors

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, two octaves
  • 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.

Voice

  • 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 in Applied (Vocal Emphasis)

First Year Students

  • 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.
  • Accompanist provided.

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. You will begin with a piece of your choice and we will select a second from your repertoire list.
  • A typed repertoire list representing the singer’s previous vocal training must be presented at the time of the audition.
  • Accompanist provided.

Applied Music Minor – Voice

  • 2 memorized songs (English or foreign language). One song can be musical theater.

Woodwind Instruments

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

  • All Major scales and chromatic scale, performed with different articulations (e.g.- all slurred, 2 staccato-2 slurred, all staccato, etc).
  • 2 Contrasting selections, choose one from each of the following groups:
    • Group 1: One selection from the standard repertoire: French Conservatory pieces, Classical concertos, Baroque repertoire or modern works
      • This can include but is not limited to: all works included in the book Flute Music by French Composers, edited by Louis Moyse, published by Shirmer; a movement of a Concerto by Wolfgang Amadeus Mozart; a movement of a sonata by Johann Sebastian Bach, Georg Philipp Telemann or George Friedrich Handel, etc.
    • Group 2: A selection from a solo flute repertoire (flute alone). It is strongly encouraged to perform a work by an underrepresented composer (Female composer, BIPOC composer, Latin-American/Latinx composer, Asian/Asian-American composer, LGBTQ+ composer, etc.)
      • This can include but is not limited to: works by Katherine Hoover (Kokopeli, Winter Spirits), Raimundo Pineda (El Bachiano), Valerie Coleman (Danza de la Mariposa, Matisseries), Alberto Ginastera (Tango-Etudes), Adolphus Hailstork (Yuwah, Flute Set, Pied Piper of Harlem), Allison Loggins-Hull (Homeland), Marco Granados (La Bella), Coleridge-Taylor Perkinson (Sonata a la baroque), Laurel Zucker (Lookout), etc.
      • If interested in finding other options for diverse repertoire please visit the resources page from the National Flute Association (NFA).
  • An etude/study from any of the books below:
    • Henri Altés- 26 selected studies
    • Carl Andersen- 24 Studies Op. 33 or 18 Studies Op.41
    • Benoit Berbiguier 18 etudes in all tonalities
    • Giuseppe Gariboldi- 20 Etudes for the Flute, Op.132
    • Ernesto Koehler- 24 Etudes Op. 33 (Book 1) or 12 Etudes Op.33 (Book 2)
  • Sight reading

For any questions regarding repertoire selection and accessibility, don’t hesitate to contact Dr. Castillo via email at mcastil7@bclark

Oboe

  • Chromatic scale
  • Two contrasting selections from the following repertoire
    • One movement from a concerto by Mozart, Haydn, Cimarosa, or Marcello
    • One movement from a Sonata by Handel or Telemann
    • One solo piece from standard oboe literature
    • One selection from the Barret Oboe Method

Clarinet

  • Major Scales – full range (slurred or articulated, ascending and descending).
  • Chromatic Scale – full range (ascending and descending).
  • One Slow Etude – Rose 32 or 40 Studies.
  • One Fast Etude – Rose 32 or 40 Studies.
  • One solo piece from the Standard Repertoire (Possible choices include Weber, Finzi, Mozart, Rabaud, Messager, Stamitz, Tartini, Poulenc, Crusell, Stravinsky and Brahms).

Students are asked about their musical experiences and career aspirations. Instructor will meet with the student and guardians following the audition. It is recommended to contact the Instructor prior to the audition to set-up a free lesson.

Bassoon

All Major Scales
Two contrasting selections – suggested repertoire include:

  • Concertos of: Mozart, Weber, or Vivaldi
  • Sonatas of: Telemann, Besozzi, Fasch, Marcello, Devienne, Hindemith, or Saint-Saëns
  • Etudes of: Weissenborn or Milde
  • Showpieces of: Tansman, Bordeaux, Senaille, Bozza, Weber, Pierne

Saxophone

At least two contrasting movements from a multi-movement work in the saxophone literature, or two contrasting etudes (such as the Ferling etudes). One movement or etude should showcase your ability to play lyrically, while the other demonstrates your technical skills.

  • Suggested repertoire:
    • Sonatas by Creston, Heiden, Eccles, Fasch, Tableaux de Provence-Maurice
    • Concertos by Glazunov, Creston, Ibert
  • Chromatic scale
  • Major scales extended to the full range of the instrument 
  • Harmonic/melodic minor scales (full range preferred but not required)
  • Sight-reading

Students may audition on any type of saxophone (soprano, alto, tenor, baritone), but should not bring multiple saxophones to the audition due to time constraints.