Audition Requirements

1. Scales: Major scales up to three sharps/flats may be required.
2. Repertoire: Two études or two movements of a piece for bassoon, one of which is on the fast side and shows technical facility, and one slower to show lyrical playing. Typical choices might be two études from the Weissenborn 50 Studies, two movements from a Galliard Sonata, Telemann Sonata or something similar. If in doubt, please contact Dr. Brian Kershner, kershnerbrk@ccsu.edu.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire:

   Three octave major and minor scale and arpeggio.

   Two contrasting movements or works; one slower to demonstrate lyricism and the other, a faster work to show technical facility. Sonatas by Eccles, Marcello, Vivaldi, or Sammartini, Suite in G Major by J.S. Bach (2 contrasting movements such as Prelude and Courant), Concertos by JC Bach, Saint Saens or Lalo

   Faure Elegy, or the Popper Hungarian Rhapsody. If you have questions or would like to schedule a lesson, please contact us at music@ccsu.edu

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: The scale requirement should also include the Chromatic Scale from low E to altissimo E (three octaves) up and down.

   Repertoire should include the following:

   Two études and one solo work. 
   
   One slow étude to demonstrate musicality and rhythmic integrity.
   
   One fast étude to demonstrate technical ability.  Both of these may be chosen from Rose, 32 Studies for Clarinet,any edition is acceptable.
   
   Mozart, Concerto in A major, K. 622, measures 57 through 98.
   
   If you have questions please contact Professor O'Connor at kellio@ccsu.edu

*Note: Clarinetists must audition on a B-flat (soprano) clarinet

1. Scales: Candidates should be prepared to play all 2-3 octave Diatonic Major and Minor Scales. Suggested fingerings by Segovia, Shearer, or equivalent.
2. Studies: Candidates are to prepare a single technical study showing their ability to play arpeggios and/or scales. ( Carcassi, Carulli, Sor-Segovia, Giuliani or Brouwer)
3. Repertoire: Candidates are to prepare two solo pieces in contrasting style. Choose repertoire from two contrasting style periods, for example Bach Bourrée from the first Lute Suite with Villa Lobos prelude or etude. *
4. Sight Reading: Candidates will be asked to play a short 8-measure slight reading excerpt in 1st position and rhythms limited to divisions of the beat as small as eighth notes.

 * If you wish to consult someone about your repertoire choice,please email Nick Cutroneo at: Nick.Cutroneo@ccsu.edu

1. Scales: Major scales with arpeggios up to 3 sharps and 3 flats and a chromatic scale.

2. Repertoire: Sight Reading

   A solo or etude that demonstrates technical facility and lyrical expressive playing.
   The use of method and or etude books that the student is currently using would be acceptable.

   Euphonium 
   Rubank Method 
   Arban Method 
   Tyrell Progressive Studies 
   Silver Burdett Method
   Kopprasch Studies 

   Tuba
   Rubank Method
   Arban Method
   Tyrell Progressive Studies
   Bach for Tuba
   Bordogni Studies for Tuba

   For further information please contact Walter Gibson, edenmuse@aol.com

1. Scales:
   • Major scales up to three sharps/flats: two octaves (three octaves for C Major, if possible), tongued.
   • Chromatic scale: slurred, from low A to high A

2. Repertoire: One technical etude/study

   Two contrasting movements (slow/fast) or one piece with a tonal and technical section.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: Two contrasting pieces or movements from standard horn repertoire; major and minor scales; In addition, a standard etude (eg. Kopprasch, Kling, Maxime Alphonse)

   For further information contact Barbara Hill, email: jaynbarb@me.com

1. Sight-reading and/or scales (from memory) may be required at the discretion of the audition panel.

2. Repertoire: 

   All applicants to the Jazz Studies program are expected to prepare the following:

   • Two tunes of varying style and tempo
   • Each tune should display melodic prowess and ability to improvise
   • Each tune should demonstrate the performers ability to improvise
   • Each tune should demonstrate comping and trading ability (rhythm section)

Please contact Dr. Knox, the director of the Jazz program, if you need further assistance at knoxc@ccsu.edu.

1. Scales: Major Scales up to three sharps and flats; those in C, D, and E-flat should be in two octaves. Candidates should also prepare a chromatic scale in two octaves (C to C), legato.

2. Repertoire: Two études or two movements of a piece for oboe, one of which is on the fast side and shows technical facility, and one slower to show lyrical playing. Typical choices might be contrasting pieces from the Barret Method for Oboe, or two movements (fast and slow) from a Sonata or Concerto by Handel, Telemann, or similar composer.

   Please contact Dr. Jan Oliver Homann with any questions: ohomann@snet.net

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 

   Mallets: Major scales and arpeggios-2 octaves
   Snare Drum: Rudiments -roll pp<ff>pp and flams
   Timpani: Tuning (4th and 5th) and roll pp<ff>pp

   Audition should also include an etude or solo work for snare drum, mallets and timpani, that demonstrates your level of play on each instrument. Repertoire from All State Music Lists is acceptable. The following is an example from a recent Connecticut list.

   SNARE DRUM

   Demonstrate knowledge of rudiments upon request and perform a closed roll: pp<FF>pp. An etude or solo comparable to Mitchell Peters "Intermediate Snare Drum Studies," Cirone "Portraits in Rhythm," or one required for regional or all-state auditions is acceptable.

   TIMPANI

   Perform an etude or solo from Vic Firth "The Solo Timpanist," Saul Goodman "Modern Method for Timpani," or Peters "Fundamental Solos for Timpani," or similar. Demonstrate tuning of a 4th and 5th and perform a roll pp<FF>pp.

   MALLETS

   Mallets: Perform major scales upon request, two octaves. Perform any two or four mallet solo from Mcmillan "Masterpieces for Marimba," Mitchel Peters "Fundamental Solos for Mallets," or similar.

   If you have questions please contact Professor Lassell at nlassell@gmail.com.

1. Scales: Be prepared to play a four-octave major and a harmonic minor scale (other than C Major/A Minor), hands together, at a moderate tempo (i.e. MM 80, four notes to a beat). The audition will also test basic musical skills, including sight-reading and sight-singing.

2. Repertoire: 

   Undergraduate
   Please prepare two contrasting pieces from the classical repertoire -- one to demonstrate dexterity and clarity, and the other to demonstrate tone production, phrasing, and pedaling. (An example of this pairing might be a Bach Prelude from the WTC and a short Romantic work of Chopin or Brahms)
   
   Be prepared to play a four-octave major and a harmonic minor scale (other than C major/A minor), hands together, at a moderate tempo (i.e. MM 80, four notes to a beat).
   
   The audition will also text basic musical skills, including sight-reading and sight-singing.
   
   Please contact Dr. Cheng at susancheng@ccsu.edu if you have questions about repertoire or the piano studio.
   
   Graduate
   Please prepare two contrasting pieces from the classical repertoire -- one to demonstrate dexterity and clarity, and the other to demonstrate tone production, phrasing, and pedaling. (An example of this pairing might be a movement of a Haydn or Beethoven period and a major work of Chopin or Debussy).
   
   Be prepared to play a four-octave major and a harmonic minor scale (other than C major/A minor), hands together, at a moderately rapid tempo (i.e. MM 120, four notes to a beat).
   
   The audition will also test basic musical skills, including sight-reading and sight-singing.
   
   Please contact Dr. Cheng at susancheng@ccsu.edu if you have questions about repertoire or the piano studio.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: All applicants to the saxophone studio are expected to prepare the following audition requirements:  

   
   A technical etude (Ferling, Selected Studies, Klose or similar)

   Solo compositions of the applicant’s choice that will demonstrate their musical and technical level of achievement - a contrast of lyrical and technical styles is suggested. (any Sonata from the CMEA regional list is acceptable. Ex. Sonata by Henri Eccles, any Bach or Handel sonata transcription, Sonata by Paul Creston or Sonata by Robert Muczynski.

   Please contact Dr. Knox at  knoxc@ccsu.edu if you have questions about repertoire or the saxophone studio.

*Note: Saxophonists may audition on either alto or tenor saxophone.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 
   A two-octave major and two-octave minor scale and arpeggio

   Two contrasting movements or pieces. One slow to demonstrate sound quality and lyricism and the other faster to demonstrate technical facility and rhythmic integrity.

   Suggested repertoire includes: A slow and fast movement of a sonata by Vivaldi, Marcello, Eccles or a movement of a Bach unaccompanied cello suite or pair of slow/fast gamba sonata movements, Bloch "Supplication", a study from Simandl "30 Studies or a concerto movement by Dittersdorf, Vanhal, Koussevitsky, Dragonetti, or Bottesini. 

   Please contact Dr. D'Addios at DAddioD@ccsu.edu or Professor Gareau at Trumpetleg@aol.com if you have questions about repertoire or the trumpet studio.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 

   A two-octave major and two-octave minor scale and arpeggio

   Two contrasting movements or pieces. One slow to demonstrate sound quality and lyricism and the other faster to demonstrate technical facility and rhythmic integrity.

   Suggested repertoire includes: A slow and fast movement of a sonata by Vivaldi, Marcello, Eccles or a movement of a Bach unaccompanied cello suite or pair of slow/fast gamba sonata movements, Bloch "Supplication", a study from Simandl "30 Studies or a concerto movement by Dittersdorf, Vanhal, Koussevitsky, Dragonetti, or Bottesini. 

   Please contact Dr. D'Addio at DAddioD@ccsu.edu or Professor Gareau at Trumpetleg@aol.com if you have questions about repertoire or the trumpet studio.

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 

   Sight reading

   Two contrasting etudes or one solo piece with two contrasting movements or large sections. Examples would include (others also accepted):

   A Rochut Etude and another piece or Etude highlighting technical fluency (Blume, Voxman, Kopprasch, etc.).

   Guilmant, Morceau Symphonique

   Barat, Andante et Allegro

   David, Concert (movements 1 and 2)

   Rimsky-Korsakov, Concerto (movements 1 and 2)

   For further information please contact Dr. Topher Logan, email topher.logan@gmail.com

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: Please use the following as a guide. If you need assistance, please contact Dr. Daniel D’Addio at Daddiod@ccsu.edu

   Badinage – Eugéne Bozza

   Fantasietta – Marcel Bitsch

   Choral – Pierre Max Dubois 

   Gaminerie – Georges Friboulet

   Mont-Saint-Michel – Geoffrey Robbins

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 

   Two contrasting movements or pieces. One slow to demonstrate sound quality and lyricism and the other faster to demonstrate technical facility and rhythmic integrity.

   Selections could include solos from book 5 or 6 of the Suzuki Method

   Telemann G Major Concerto, Arpeggione by Franz Schubert,

   Hindemith Der Schwanendreher

   Please contact Karin Fagerburg if you have any questions.
   Fagerburgk@aol.com or kfagerburg@ccsu.edu

1. Scales: Major scales up to three sharps/flats may be required.

2. Repertoire: 

   Two contrasting movements or pieces. One slow to demonstrate sound quality and lyricism and the other faster to demonstrate technical facility and rhythmic integrity.

   Selections could include, two contrasting movements from the Handel sonatas, the Haydn Concerto in G, Mozart Concerto in G, the Bach solo sonatas or partitas or a Beethoven Romance. Please contact Karin Fagerburg if you have any questions.

   Fagerburgk@aol.com or kfagerburg@ccsu.edu

1. Scales: The audition will include some basic musical skills, such as sight-reading, tonal memory, and a scale.

2. Repertoire: Two songs in contrasting styles or tempos. At least one should be in English. These works will ideally be from the standard classical solo repertoire (see repertoire suggestions below).

   Your music should be memorized. An accompanist will be provided. Please bring a copy of the music to the audition for the pianist’s use. You may bring your own accompanist if you prefer.

   Suggestions for Repertoire:

   Anything composed by (listed alphabetically): Bach, Barber, Beethoven, Bononcini, Brahms, Britten, Burleigh, Caccini, Caldara, Carissimi, Chausson, Copland, de Falla, de Luca, Delibes, Dowland, Durante, Fauré, Fetis, Franck, Giordani, Gluck, Guion, Handel, Hogan, Hundley, Legrenzi, Lotti, Marcello, Mendelssohn, Monteverdi, Mozart, Niles, Paisiello, Parisotti, Pergolesi, Purcell, Quilter, Scarlatti, Schubert, Schumann, Stradella, Sullivan, Thiman, Torelli, Vaughn Williams, Wolf, or any similar composer.

   If you have any questions about audition repertoire or procedure, contact Dr. Robinson at grobinson@ccsu.edu.

   We are often asked whether it is acceptable to sing a musical theater selection, or song in some other popular style. The short answer is 'yes'. The more complete answer is, it is not quite as useful to the audition committee to hear a performance in such a style since you are auditioning for admission to a program that focuses on training students in the western classical art tradition. That having been said, you should sing whatever repertoire will best showcase your voice.

*Note: An accompanist will be provided. Please bring a copy of the music to the audition for the pianist’s use. You may bring your own accompanist if you prefer.