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Graduate Audition Repertoire/Interview Information

The process for admission to graduate study varies by area. Many areas require auditions and/or interviews. Below are the guidelines for the various programs:

Horn

  • Two contrasting movements from the standard solo repertoire, demonstrating technical and lyrical playing.
    Suggested repertoire:
    • W.A. Mozart, Concerto No. 2, 3, or 4
    • R. Strauss, Concerto No. 1 or 2
    • Cherubini, Two Sonatas
    • Gliere, Concerto
    • L. Beethoven, Horn Sonata
    • Hindemith, Sonata in F or E-flat
    • Persichetti, Parable VIII for Solo Horn
    • Messiaen, Appel Interstellaire
  • Two contrasting etudes from the standard repertoire
    Suggested repertoire:
    • Kopprasch, Book 2
    • Maxime-Alphonse, Books 3-5
    • Verne Reynolds, 48 Etudes
    • Gallay, 40 Unmeasured Preludes
    • Charles Chaynes, 15 Etudes
  • Three contrasting orchestral etudes of your choice
    Suggested repertoire:
    • Bach, Mass in B-minor, Quoniam (ms. 1-15)
    • Strauss, Till Eulenspiegel, opening call
    • Strauss, Ein Heldenleben, opening, horn 1
    • Tchaikovsky, Symphony No. 5 , mvt. 2
    • Beethoven, Symphony No. 3, trio, horn II
    • Shostakovich, Symphony No. 5, Low tutti
    • Brahms, Symphony No. 3 (horn 1, mvt. 3, ms. 98-110)
    • Wagner, Short Call from Siegfried's Rhine Journey
  • All major and minor scales
  • Sight Reading

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

Trumpet

  • Two contrasting concerto or sonata movements from the standard repertoire.
  • One etude by Charlier, Brandt, Bousquet, or Small.
  • Three orchestral excerpts.
  • Be prepared to play major and minor scales.

Trombone

Please prepare a 15 minute audition of contrasting selections from the solo, method/etude, and orchestral repertoire.  The suggestion lists below are not exhaustive, and you may choose to include any level-appropriate selection that is not shown below.

  • Suggested Solo Repertoire – Tenor Trombone:
    • Casterede: Sonatina
    • Grondahl: Concerto
    • Tomasi: Contcerto
    • Ewazen: Sonata
    • Hinedmith: Sonata
    • Sulek: Sonata (Vox Gabrieli)
    • Martin: Ballade
  • Suggested Etude Repertoire – Tenor Trombone:
    • Blazhevich: Studies
    • Bozza: 13 Caprices
    • Bitsch: 15 Etudes
    • Bordogni: Melodious Etudes Vol 3
    • Paudert: Etudes
  • Suggested Orchestral Excerpts – Tenor Trombone:
    • Mozart: Tuba Mirum
    • Berlioz: Hungarian March (2nd Trombone)
    • Wagner: Ride of the Valkyries (second B major statement)
    • Mahler: Symphony 3 (three solos from Principal Trombone part)
    • Ravel: Bolero
    • Rossini:  Overture to William Tell
    • Rossini: Overture to La Gazza Ladra
  • Suggested Solo Repertoire – Bass Trombone:
    • Ewazen: Concerto or Concertino
    • Stevens: Concertino
    • Bach: Cello Suites
    • Lebedev: Concerto in One Movement
    • Hidas: Meditation
    • White: Tetra Ergon
  • Suggested Etude Repertoire – Bass Trombone:
    • Wilborn: Etudes
    • Gillis: 20 Etudes
    • Grigoriev: 24 Studies
    • Blazhevich/Vernon: Studies
  • Suggested Orchestral Excerpts – Bass Trombone:
    • Wagner: Rheingold
    • Wagner: Ride of the Valkyries
    • Berlioz: Hungarian March
    • Koday: Hary Janos
    • Haydn: Creation
  • All scales from the major modes (Ionian, Dorian, etc.) in any key, all whole tone and octatonic scales (6 total).
  • Possible sight-reading

Euphonium

  • Two contrasting movements from the standard advanced solo repertoire, demonstrating technical and lyrical playing.
  • Any complete etude from Bordogni, arr. Rochut, Melodious Etudes, book 2
  • Several standard band audition excerpts
  • All major and minor scales
  • Sight Reading

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

Tuba

  • Two contrasting movements from the standard advanced solo repertoire, demonstrating technical and lyrical playing. At least one solo piece should be performed on F or E-flat tuba.  
  • Any complete etude from Snedecor Low Etudes performed on C tuba. 
  • Several standard orchestra and band audition excerpts 
  • All major and minor scales 
  • Sight Reading

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

Students applying for graduate study in composition theory should:

  • Submit two or more (preferably three) compositions with recordings (midi files acceptable) representative of your work. Include pieces that show your ability to write for diverse instrumentations.
  • Interview with members of the composition faculty.

No performance audition is required.

If you are applying for a graduate assistantship, you must pass the Ear Training Diagnostic Exam. This exam is given on the computer and must be taken at UT. The test usually takes at least 2 hours; some students have needed considerably more time. The test consists of melodic and harmonic dictation examples. The exam can be taken on the audition/interview day or another day before March 15.

In order to be considered for a theory/composition GTA position, you must interview and complete a teaching audition. At the interview you will be asked about your background, interests, teaching experience, and future plans. At the teaching audition, you will teach a 10-minute lesson on one of the following topics: scales, intervals, or basic diatonic harmonic progressions. On interview day, you will also take a music theory assistantship exam that includes questions on written and aural skills. The exam takes about an hour.

Choral Conducting applicants should:

  • Submit a pre-screening DVD of both rehearsal and performance, if possible. Only DVD disc or online media delivery is accepted. Please label the DVD with "Pre-screening DVD: Conducting/Instrumental" or "Pre-screening DVD: Conducting/Choral" and your name, address, and e-mail.
  • After a review of all the applicants for admission, a select group of auditionees will be invited to campus to audition for the program and interview with the Director of Choral Activities.

Orchestral Conducting applicants should:

  • Submit a pre-screening DVD of both rehearsal and performance, if possible. Only DVD disc or online media delivery is accepted. Please label the DVD with "Pre-screening DVD: Conducting/Instrumental" and your name, address, and e-mail.
  • Once you pass the pre-screening, your audition and interview will be scheduled.

In addition to the normal application to UT and application to the School of music, those graduate students applying for acceptance into the wind conducting program as well as for graduate assistantship in the band area should send directly to:

Director of Bands
1914 Andy Holt Ave
HPER 202C
Knoxville, TN 37906-2605

Wind Conducting applicants should submit the following information:

  • A current curriculum vitae (resume).
  • Three current confidential letters of recommendation.
  • A DVD or VHS tape demonstrating your conducting technique. The area would prefer seeing both a rehearsal and a performance if possible. Obviously, the view should be from the front (what your group sees) not the back (what the audience sees).

Based upon candidate's vitae, letters of recommendation, and video, a select group of auditionees will be invited to campus to audition for the program. If selected for an audition, you will need to:

  • come to campus.
  • conduct the wind ensemble in a short rehearsal of a standard work.
  • interview with the band faculty.

Classical

  • Two contrasting movements of standard bass concertos or comparable works from the standard double bass solo repertoire.

Jazz

  • Three prepared tunes to be memorized demonstrating contrasting tempos and feel.  Candidates should be prepared to play melodies, walk two or three choruses and solo.  A transcription may be substituted for one of these tunes.

For admission to graduate study in musicology, students should:

  • Interview with Musicology Faculty
  • Submit scores for the general portion of the GRE

This degree program does NOT require a performance audition.

  • One free work by Johann Sebastian Bach (a prelude and fugue or one or more movements from a trio sonata)
  • A Romantic work in a contrasting style
  • A work by a 20th/21st century composer
  • A hymn, with an introduction and 2 stanzas, as if accompanying a congregation
  • Sight-Read an unfamiliar hymn or chorale from a standard hymnal

Auditions

MM candidates should prepare an audition of 20-35 minutes in length. Each candidate is required to perform on a minimum of four (4) instrumental areas. (see below) All candidates are also required to provide a curriculum vita and repertoire list at their audition.

Required Areas

Solo Keyboard

  • Performance(s) of significant solo repertoire on the marimba and/or vibraphone, which must include at least one 4-mallet selection. Works might include, but are not restricted tom those composed by J.S. Bach, Roger Reynolds, Steven Mackey, Paul Lansky, Jacob Druckman, Franco Donatoni, Philippe Manoury, or equivalent.
  • Sight Reading on 2-mallet marimba.

Snare Drum

  • A solo or etude by Jacques Delecluse, Joseph Tompkins, or equivalent.
  • Sight Reading in concert style.

Timpani

  • A solo or etude to demonstrate musical tone by Delecluse, Hochrainer, Carter, or equivalent.
  • Ability to tune multiple drums from one given pitch.

Solo Percussion

  • Performance(s) of significant solo repertoire. Works might include, but are not restricted to, those composed by Iannis Xenakis, Frederic Rzewski, Vinko Globokar, Georges Aperghis, John Cage, Brian Ferneyhough, Michael Gordon, David Lang, or equivalent.

Various Orchestral Excerpts

  • A variety of orchestral / band excerpts on keyboard (glockenspiel and/or xylophone), snare drum, timpani,and accessory instruments. Minimum 7 excerpts displaying as much variety as possible.

Choice Areas

World Percussion

  • A prepared solo or improvisation on frame drums, congas, tabla, or other non-Western instrument.

Drumset

  • A prepared solo or improvisation in a variety of styles.

Important Notes

  • An accompanist is neither required nor provided; candidates may bring an accompanist at their own discretion but should notify Dr. Bliss ahead of time.
  • Candidates should choose repertoire in each area that best highlights their performance abilities and artistic interests.
  • Students choosing to audition in the solo percussion or world percussion areas should communicate ahead of time via email to ensure that the appropriate instruments are available. All students are welcome to bring small personal instruments such as snare drums, tambourines, or specific items needed for solo percussion or world percussion repertoire.
  • Repertoire requiring electronics of any kind is welcome, but should also be discussed/cleared with Dr. Bliss prior to auditioning.

Interview and Graduate Assistantship Requirements

  • Following the performance audition, candidates will also take part in an interview with the percussion faculty and should be prepared to formally discuss the repertoire chosen on the recital program and their goals for pursuing a MM degree.
  • Candidates who are interested in being considered for an assistantship may also be asked to teach a private lesson and are encouraged to include provide teaching footage via URL links in their application.

Play by memory a minimum of three works representing three different stylistic periods. One work of the three must be a complete classical sonata.

Graduate violin performance majors

  • 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

Graduate Viola majors

  • Excerpts from a recital program at least 30 minutes in length, including movements from no fewer than three contrasting compositions.

Graduate Cello majors

  • Excerpts from a recital program at least 30 minutes in length, including movements from no fewer than three contrasting compostions.

A live audition is expected prior to admission in the MM in Jazz Studies program. Students auditioning for the Master of Music in Jazz Studies are expected to have completed an undergraduate music degree comparable to the University of Tennessee Bachelors Degree in Studio Music and Jazz. The audition will consist of the student performing 2 or 3 compositions of their choice WITH the jazz faculty. Please prepare several memorized tunes from the jazz repertoire to perform with the jazz faculty.

Students applying for graduate study in music theory should:

  • Submit copies of two papers that demonstrate your writing skills. These papers can be any type of paper, preferably on a musical topic, and preferably related to music theory.
  • interview with members of the theory faculty.

No performance audition is required.

If you are applying for a graduate assistantship, you must pass the Ear Training Diagnostic Exam. This exam is given on the computer and must be taken at UT. The test usually takes at least 2 hours; some students have needed considerably more time. The test consists of melodic and harmonic dictation examples. The exam can be taken on the audition/interview day or another day before March 15.

In order to be considered for a theory/composition GTA position, you must interview and complete a teaching audition. At the interview you will be asked about your background, interests, teaching experience, and future plans. At the teaching audition, you will teach a 10-minute lesson on one of the following topics: scales, intervals, or basic diatonic harmonic progressions. On interview day, you will also take a music theory assistantship exam that includes questions on written and aural skills. The exam takes about an hour.

Vocal Performance/Knoxville Opera Studio applicants should:

  • Submit a pre-screening, through Accept’d, of 3 songs (a combination of arias and art songs) in 3 different languages (Italian, French, German, or English).
  • Audition Requirement: 4-5 pieces (a combination of arias and art songs) in 3 different languages (Italian, French, German, or English). At your audition, please provide the faculty with a typed repertoire list of these pieces. You will begin with a piece of your choice and then the faculty will choose a second piece.
  • Accompanist provided.

 

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.
  • Two contrasting selections:
    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

  • All major/minor scales
  • Two contrasting selections:
    Concertos by Mozart, Cimarosa, Marcello or Haydn. Sonatas by Handel.
    Contrasting studies from the Barrett Oboe Method.

Clarinet

  • Two contrasting solos from the standard clarinet repertoire (see UT Clarinet Studio page for a list of solos)
  • Two contrasting Etudes from the Rose Studies, Cavallini or Baermann studies
  • Major scales and 3 forms of minor scales
  • An interview discussing the students goals for graduate school and career goals
  • Sight-Reading and rhythm assessment

Performance Majors should select 5 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.

Bassoon

  • All major/minor scales
  • Two contrasting selections:
    • 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

  • Two contrasting works from the standard saxophone literature that showcase different styles. Suggested pieces include:
    • Ibert Concertino da Camera, Desenclos Prélude, Cadence, et Finale, Albright Sonata, Dahl Concerto, Denisov Sonata, Larsson Konsert, op. 14, Swerts Klonos Noda Mai or Improvisation, Scelsi Tre Pezzi, Berio Sequenza, Yoshimatsu Fuzzy Bird Sonata, Lauba Neuf Etudes
    • Other works of similar scope and difficulty
  • Chromatic scale
  • Major and minor scales extended to the full range of the instrument
  • Sight-reading

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