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Audition Requirements
The KSU Bailey School of Music will provide accompanists for voice auditions. No accompaniment is required or expected for instrumental auditions. Applicants to the jazz program should provide audio tracks to play along with.
NOTE: If you are not able to audition in person, an audition video may be accepted and must include all of the requirements as specified below.
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Applicants must play three jazz tunes (two of which should be written transcriptions) of contrasting styles including one blues (see the list below for suggestions). You will be expected to play the melody and improvise at least two choruses. You should also be prepared to “walk” a full chorus on swing tunes.
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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Prepare three jazz standards of contrasting styles including medium swing, samba, and ballad with brushes. You will be expected to improvise a chorus or trade fours on each of the three songs. Demonstrate knowledge of form, style, and comping within the three songs. In addition to the jazz standard, prepare a snare drum solo of your choosing from Charles Wilcoxon's "All American Drummer: 150 Rudimental snare solos," and a melodic Ă©tude, jazz standard, or classical piece for piano or vibraphone.
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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All jazz guitarists must play Major scales in 5 positions and Dorian and Mixolydian
scales in 2 positions. Applicants will also be asked to play one chord melody and
perform two jazz standards of contrasting styles demonstrating melody, comping and
improvisation (see tune list below for suggestions). Please provide the audition panel
with play-along tracks on either CD or MP3; playback equipment will be provided for
your audition. Applicants should also be prepared to sight-read chord charts and single
note melodies.
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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Prepare three jazz tunes of contrasting styles, one of which should be a blues (see
the list below for suggestions). You will be expected to play the melody and improvise
at least two choruses. Applicants must also demonstrate competency on their primary
instrument via two contrasting (lyrical and technical) works in the classical idiom
(one must be a movement from a standard solo work and an etude may be substituted
for the other).
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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In addition to co Prepare three jazz tunes of contrasting styles, one of which should
be a blues (see the list below for suggestions). You will be expected to play the
melody and improvise at least two choruses. Applicants must also demonstrate competency
on their primary instrument via two contrasting (lyrical and technical) works in the
classical idiom (one must be a movement from a standard solo work and an etude may
be substituted for the other).
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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Prepare three jazz tunes of contrasting styles, one of which should be a blues (see
the list below for suggestions). You will be expected to play the melody and improvise
at least two choruses. Applicants must also demonstrate competency on their primary
instrument via two contrasting (lyrical and technical) works in the classical idiom
(one must be a movement from a standard solo work and an etude may be substituted
for the other).
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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Prepare three jazz tunes of contrasting styles, one of which should be a blues (see
the list below for suggestions). You will be expected to play the melody and improvise
at least two choruses. Applicants must also demonstrate competency on their primary
instrument via two contrasting (lyrical and technical) works in the classical idiom
(one must be a movement from a standard solo work and an etude may be substituted
for the other).
Suggested Standards
Billie’s Bounce
Recordame
Tune Up
Someday My Prince Will Come
Bluesette
Take the A Train
Lover Man
Tenor Madness
Song for My Father
Blue Bossa
Oleo
What’s New
Mr. PC
Watermelon Man
Satin Doll
Alice in Wonderland
Anthropology
Body and Soul
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Prepare three jazz tunes of contrasting styles selected from standard jazz repertoire.
An accompanist will be provided for your audition. |
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Auditions must demonstrate proficiency on timpani, snare drum and a mallet instrument
- marimba, vibraphone, or xylophone. Snare Drum: Prepare an etude, such as Etude in
5/4 from Modern School for Snare Drum by Morris Goldenberg, or any from the Delecluse:
12 Etudes for Snare Drum. Also be prepared to demonstrate concert rolls at all volume
levels. Mallet: Prepare a four-mallet solo piece, for example Rain Dance by Alice
Gomez, Yellow After the Rain by Mitchell Peters or another similar piece, or a two-mallet
etude from Modern School for Marimba, Xylophone and Vibraphone by Morris Goldenberg.
Timpani: Prepare one piece for timpani, for example Exercise 72 from Modern Method
for Timpani by Saul Goodman or a similar piece.
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In addition to completing an audition on a principal applied instrument following the requirements detailed above, applicants to the B.M. in Composition must submit a portfolio of notated scores consisting of 2 to 3 compositions representing your best work and demonstrating substance and variety. Recordings of live performances, readings, or computer realizations of the works are recommended, but not required. Composition portfolios must be submitted along with this application by the deadlines for your desired audition date.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions for the saxophone studio must include one (1) movement from a sonata/concerto/aria written for the saxophone* and one (1) etude from “48 Famous Studies for the Saxophone or Oboe” by Wilhelm Ferling.
* Suggested works
“Sonata for alto saxophone and piano” Op.19 Paul Creston
“Aria” for alto saxophone and piano Eugene Bozza
“Sonata for alto saxophone and piano” Lawson Lunde
“Histories” Jaques Ibert
Be prepared to play all major scales (two octaves where possible).
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions must include at least two (2) solo works written for the specific instrument.
One work may be an etude or study. The other work should be a solo, sonata, or concerto,
which specifically demonstrates a faster, articulate movement or section and a slower,
lyrical movement or section. Be prepared to play all 12 major scales in two octaves
where possible.
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Auditions will last 10-15 minutes, and must include two solo works representative
of the baroque, classical, romantic, impressionistic or contemporary periods. Music
must be memorized. The audition will also include performance of scales and tonic
arpeggios in four octaves, both hands together, in the keys of the pieces to be performed.
Sight-reading will also be assessed at the audition. You must bring a typed list of
your audition program in the order you will be performing to the audition.
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In addition to completing an audition on a principal applied instrument following
the requirements detailed above, applicants to Music Education will be asked to interview
with a member of the Music Education faculty, and to submit the name and email address
of a music teacher who can provide a letter of recommendation. |
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Auditions must include at least two (2) solo works, one of which must be a complete
movement from a concerto or sonata from the baroque, classical, romantic or contemporary
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Auditions must include two solo works. Suitable selections include, but are not limited
to, works from the Royal Conservatory series volumes 4 and up, or studies by Sor,
Carcassi and Brouwer. The first four scales from the Segovia edition of diatonic major
and minor scales, or other fingerings of scales in two and three octaves are also
required.
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Auditions must include at least two (2) solo works, one of which must be a complete
movement from a concerto or sonata from the baroque, classical, romantic or contemporary
period.
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Auditions must include at least two (2) solo works, one of which must be a complete
movement from a concerto or sonata from the baroque, classical, romantic or contemporary
period.
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Auditions must include at least two (2) solo works, one of which must be a complete
movement from a concerto or sonata from the baroque, classical, romantic or contemporary
period.
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Auditions must include at least two (2) solo works, one of which must be a complete
movement from a concerto or sonata from the baroque, classical, romantic or contemporary
period.
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Auditions must demonstrate clear diction, accurate pitch, acceptable tone quality,
breath control, a concept of phrasing, and an ability to communicate through song.
Applicants to the Bachelor of Music in Performance or the Bachelor of Music in Music
Education must have two (2) solo songs in contrasting styles chosen from baroque,
classical, romantic, or contemporary art song repertory, one of which would preferably
be in English. (Audition repertory could include English and Italian art songs, German
and French art songs, oratorio and opera aria, and contemporary English art songs.)
Auditioning for a minor in Voice:
Prepare and sing from memory one (1) traditional song from the classical repertoire OR a Golden Age Musical Theater song. You may sing in a foreign language but not required. Sing a selection that best demonstrates your range, tone quality and musical strengths. Bring sheet music and an accompanist will be provided.
All music performed must be memorized, and an accompanist will be provided. Please
bring a clear hard copy of your audition music with the piano part clearly visible
for your accompanist. You will be provided an opportunity for a short rehearsal with
your accompanist prior to your audition. Recorded accompaniment is not acceptable
for the audition. All voice auditions include a sight-reading and tonal memory component.
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In addition to completing an audition on a principal applied instrument following
the requirements detailed above, applicants to the B.M. in Music Theory must complete
an interview with a music theory faculty member. A music theory faculty member will
contact the applicant once their application has been received and processed.
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Don't forget about Scholarships!
If you wish to be considered for merit-based scholarship from the Bailey School of
Music, you must complete the university’s scholarship application.
The deadline for scholarship applications is March 1, 2025.
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