Entrance into the School of Music at the University of South Florida requires a performance audition for all undergraduate programs and several of the Master of Music concentrations, as well as for some Graduate Certificate Programs. Specific instrument and program requirements are listed below.

Brass (quetions to Dr. Jay Coble)
1. Major scales, performed slurred and as musically as possible (musicality is more important than tempo). Two octaves where possible.
2. Chromatic scale, performed slurred and as musically as possible. Full range of instrument.
3. A major solo work written for your instrument (no transcriptions) chosen to demonstrate the ability to play an expressive phrase musically and a technical passage handily. Separate movements, or even works, may be emplyed to accomplish this. Select music that will show you at your best, not simply the most difficult piece you know.
4. Sight reading may be asked.

Composition Majors (questions to Dr. Michael Timpson)
Applicants for graduate and undergraduate composition study must submit a portfolio of 3-5 recent compositions for review by the composition faculty. Scores must be included for each work (unless irrelevant); recordings of each work should be included when available (midi realizations are also helpful), but are not required.

Applicants for undergraduate composition must also audition for the appropriate applied faculty since two years of performance study are required for the undergraduate composition degree. Refer to the appropriate requirements for the performance area(s) of your choice.

Applicants should arrange for an interview with the Composition faculty (by phone or email). For undergraduate applicants this is normally done on a performance audition date; for graduate applicants, this interview maybe done in person (when possible) or by phone.

Conducting, Instrumental (graduate level only)
Contact Dr. John Carmichael (bands), or Dr. Bill Wiedrich (orchestra) for specific portolio and audition requirements.

Conducting, Choral (graduate level only)
Contact Dr. Robert Summer for specific portolio and audition requirements.

Electronic Music (undergraduate level only)
Electro-Acustic Music (graduate level only)
Contact Dr. Paul Reller for specific portolio and audition requirements.

Pianists, guitarists, and wind players are expected to play the melody and improvise. Pianists and guitarists will be asked to “comp” the chord changes as well. Bassists will be asked to play bass lines which outline the harmony and reflect the rhythmic style of the selection. Bassists may also improvise if they choose to.

Jazz Drummers will be asked to:
1) sight read
2) demonstrate styles:
a) medium swing – sticks and brushes
b) Latin – Bossa Nova, Samba, Afro-Cuban
c) Ballad – brushes
3) Alternate keeping time and improvising for 4, 8, and 12 measure groups (trading)

Jazz Composition (graduate level only)
Contact Professor Chuck Owen for specific portolio requirements.

Snare drum: Any etude from Cirone, Peters or Delecluse snare texts. Any solo from FBA solo list (or other contest list) or equivalent. Demonstrate soft-loud rolls and basic technique.

Keyboard Percussion: (i.e., marimba, xylophone, vibes, etc.) Any etude in the Goldenberg Modern School for Xylophone text. Any solo from the FBA (or other) contest list. Bach sonatas or suites highly recommended.

Timpani: Any etudes from the Goodman, Friese or Firth texts. Any solo from the FBA (or other) contest list. Carter etudes highly recommended.

Drumset: Demonstrate practical rhythms such as swing, latin, fusion, etc. Sightread a chart.

The audition process in percussion is designed to be informal so that you may ask questions and find out about our program in general. Sight reading and demonstration of basic technique and tuning may also be asked.

Voice (questions to Professor Warren Jaworski)
Freshmen:
Prepare two songs of classical (Art song) nature in contrasting style or tempo.
Repertoire used for the Solo and Ensemble Festival are good examples.
Material for auditions can be found in “Twenty-Four Italian Songs & Arias” collection or The First/Second Book of SATB Solos, also the Joan Boytim Series. One selection must be in a foreign language (German, French, Italian or Spanish).
Folk Songs or Musical Theater selections are not acceptable.
Selections must be performed by memory.

Undergraduate Transfer Students:
Prepare three pieces. One may be an operatic or oratorio aria, if appropriate to your level of vocal ability and you have worked on it with a voice teacher.
Art Songs are preferred. Two of the selections must be in a foreign Language. (French. German, Italian or Spanish)
Selections must be performed by Memory.

Graduate Students:
Prepare five pieces. One should be an operatic aria, at least one must be in English, one in German, one in French, one in Italian.
In addition 2-3 Art Songs of a variety should be prepared for the panel to hear if needed to show flexibility of repertoire.
Selections must be performed by memory.

ALL VOICE AUDITIONS:
Please do not bring taped accompaniment.
A piano accompanist will be provided for all auditions without charge (Note: There will be no rehearsal with the accompanist)
Auditioners may bring their own accompanist, if desired.

Woodwinds (questions to Professor Kim McCormick)
1. Major scales with arpeggios on the tonic note in any pattern of your choice.
2. Chromatic scale, full range of the instrument in any pattern, any articulation.
3. Two solos or etudes of your choice.  The choices should be contrasting; one displaying slow, lyrical playing with the other displaying proficiency in technique and articulation.  Any piece Grade 5 or above on the FBA list (or other state festival list) would be considered appropriate. Some examples
might include: two contrasting movements of a sonata, concerto, etude, or a Paris Conservatory contest piece.
4. A short sight-reading example will be asked.