Studio Admission Criteria and Audition Repertoire

• Two contrasting etudes or solo works which represent the student’s level of technique, range and musical expression.
• Prepare three to five major scales (one octave) which demonstrate range capabilities.

The student should prepare two pieces in contrasting styles from the standard repertoire. These may include such works as studies by Carcassi from his Twenty-Five Etudes, Op. 60; selections from Leo Brouwer's Etudes Simples, vols. 1 or 2; or Fernando Sor's Twenty Studies edited by Segovia. The student may also perform pieces such as the Divertimenti by Robert Benedict, Suite #2 by James McGuire, or any comparable works.

Prospective students should be familiar with basic right and left hand techniques and should be able to read well in the first position. Students wishing to be considered for scholarships should demonstrate ability to perform advanced works such as Villa-lobos preludes, movements from Bach lute or cello suites, or other pieces of comparable difficulty.

Percussion majors are required to be well-rounded and capable of functioning at high levels on all instruments: concert percussion, solo percussion, timpani, mallet instruments, drum-set and also improvisation in many styles. Be prepared to demonstrate anything and everything you are currently working on in lessons, band, orchestra or just on your own.

If possible, prepare solos or etudes on:

1. mallet instrument,
2. timpani, and
3. snare drum.

Additional material may be included if desired.

A student applying for admission to the University of Idaho Lionel Hampton School of Music as a freshman or transfer piano student in the BA, BS, or BM program is required to perform a minimum of two contrasting pieces, each from different stylistic periods (Baroque, Classical, Romantic, 20th/21st century).

The two pieces are to be presented in their entirety (one movement of a sonata or the combination of several short movements from a suite is acceptable).

Memorization is required for both pieces.

Students may be asked to demonstrate their knowledge of scales and/or sight reading during their audition.

The student should prepare one or two movements demonstrating contrasting styles from the standard concerto or sonata repertoire.

Auditionees should sing two songs, preferably from the standard art song repertory (such as those on the state solo and ensemble list). An aria from an oratorio or opera may substitute for one of the songs. All audition pieces should be memorized. Auditionees should also be prepared to demonstrate their sight-reading abilities – i.e. read a solo or choral part. Each auditionee will also be asked to perform simple vocal exercises so that the faculty may hear your range and vocal ability. (Email us if you or your teacher have any questions about audition requirements or procedures.)

We will provide an accompanist for all auditions. Please supply our pianist with either the original music or a copy in the original format (double-sided), three-hole punched in a three-ring binder. No copies of the music are needed for the voice faculty. We prefer that no audition pieces are sung with CD accompaniment or a cappella.

• An etude that is representative of the student's level of technique, range and expression.
• One or more solo works (movements) of your choice. Consult your State Solo List for appropriate selections.
• All major scales-generally two octaves; more if possible.

• All major scales and chromatic scale.
• Two contrasting selections. Repertoire for the audition may include: studies or etudes; sonata or concerto literature; and orchestral excerpts.

• All major scales and chromatic scale (three octave). Performance of scales in an extended range is encouraged.
• Two contrasting selections. Repertoire for the audition may include:
  • studies or etudes;
  • sonata or concerto literature; and
  • orchestral excerpts.
• All applicants will be asked to sight-read at the audition.

• All major scales should be played full range.

• All major scales at least two octaves (three octaves where possible)
• Bassoonists should also prepare three contrasting standard orchestral excerpts.