LIVE AUDITION REQUIREMENTS

• Applicants should submit a completed application and application fee by the deadline.
• Applicants are encouraged to audition early to be given priority for merit Scholarship consideration.
• Auditions take place on the University of North Carolina School of the Arts campus.

• Undergraduate and high school voice applicants are required to have an accompanist.
• Instrumental auditions are conducted without an accompanist.
• The School of Music is prepared to provide an accompanist for voice applicants for on-campus auditions.
• The accompanist fee is $25 and will be collected by the School of Music at the time of audition. Do not send the accompanist fee to the Office of Admissions.

Auditioning in person is strongly recommended. Applicants unable to attend on-campus auditions may submit a recording of the required audition repertoire.

• Audio or video auditions must be accompanied by a completed and signed application.
• All recordings should include the following: name, address and audition program.
• Video recordings must be in U.S. VHS or DVD format. Audio recordings may be a compact disc or cassette tape.
• Recordings will only be returned if accompanied by a self-addressed and postage-paid envelope at the time of application.
• Applicants submitting recorded auditions may, in exceptional cases, be asked to come for a live audition.

All incoming undergraduate students will be given a Basic Musicianship Placement Examination upon entering the program in the fall. 11TH & 12TH grade students will be given a Basic Musicianship Placement Examination.

Audition Dates and Exceptions

• Applicants check in at 8 am at Watson Hall and may expect to spend the entire day on campus. Audition times are assigned at check-in.
• Brass applicants should call the School of Music at 336-770-3260 to schedule an audition. The Office of Admissions does not schedule brass auditions.

Audition Date		Application Deadline
Friday, January 15, 2010*		December 4, 2009
Friday, February 5, 2010*		January 8, 2010
Friday, February 26, 2010*		January 29, 2010
Friday, April 9, 2010		March 19, 2010
Friday, May 7, 2010		April 16, 2010

Audition Date		Application Deadline
Saturday, January 16, 2010*		December 4, 2009
Saturday, February 6, 2010*		January 8, 2010
Saturday, February 27, 2010*		January 29, 2010
Friday, April 9, 2010		March 19, 2010
Friday, May 7, 2010		April 16, 2010

VIOLIN, VIOLA, VIOLONCELLO
High School

• One movement from a Bach solo sonata or partita or suite preferably from memory
• The first movement from a standard concerto (for particular instrument)
• Applicant may be asked to demonstrate ability to sight-read
• For more specific repertoire information contact the School of Music.

• One movement from a Bach solo sonata or partita or suite preferably from memory
• The first movement from a standard concerto
• One work of the applicant's own choosing
• Applicants may be asked to demonstrate ability to sight-read
• For more specific repertoire information contact the School of Music.

• Two contrasting works for solo double bass that demonstrate lyricism and virtuosity.
• The first and second movement of a standard concerto or sonata are examples of suitable audition pieces.
• Please contact Professor Sharpe if there are questions regarding specific repertoire.

• Two contrasting works that demonstrate lyricism and virtuosity.
• A suitable audition program could include a movement from a standard concerto by Capuzzi, Cimador, Dragonetti, Dittersdorf, Koussevitsky, or Bottesini and a movement from a Baroque sonata or suite by Bach, Vivaldi, Scarlatti, Marcello, or others.
• Applicants should contact Mr. Sharpe before their audition if they are uncertain of the suitability of their planned repertoire, or if they would like deviate substantially from the above suggestions.
• Memorization of one of the pieces is preferred.

• One piece representative of the Student’s ability
• Scales

• Two movements from a JS Bach Sonata;
• First movement of a Mozart Concerto (G or D) exposition by memory
• One Paris Conservatoire Piece (as from the Flute Music by French Composers book - Schirmer);
• Three Standard Orchestral Excerpts (as from the Baxtresser book);

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections in contrasting styles including at least one solo or movement of a solo and one etude
• All major and minor scales
• Sight-reading

• One complete solo trumpet work from standard literature (ex. Kennan, Arutunian)
• One movement from a sonata or concerto
• One contrasting etude of choice
• Two standard Orchestral excerpts
• Display proficiency in all major and minor scales
• Sight-reading

• Two or three etudes or movements of a solo in contrasting styles
• Display proficiency on all major and minor scales

• A major solo work for trombone (e.g. Grondahl, Hindemith)
• Two or three etudes of contrasting styles
• Display proficiency on all major and minor scales
• For more specific repertoire information contact the School of Music.

• A major solo work for bass trombone (e.g. Lebedev, McCarty)
• Two or three etudes of contrasting styles
• Display proficiency on all major and minor scales
• For more specific repertoire information contact the School of Music.
• Demonstrate the ability to sight-read.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Two or three selections (including movements from sonatas and concertos)
• Major and minor scales
• Compositions should demonstrate the applicant's ability in phrasing, sustained playing and facility.
• For more specific information contact the School of Music.

• Etudes or solos (grade 5 or above) on the following: snare drum (rudimental and orchestral), timpani (2, 3, or 4 drums) and keyboard (marimba, vibes or xylophone)
• 2 mallet keyboard solo
• Demonstration on 4 mallet technique either through solo literature or at a minimum, chords and arpeggios
• A multiple percussion solo may replace the snare drum solos
• Sight-reading, timpani tuning, scales and rudiments will be part of the audition.
• Drum set is optional and is not required for acceptance, but is the fourth major area of study in the high school and undergraduate program.
• For questions about the specific repertoire or for high school students who do not have access to keyboards or timpani visit www.uncsa.edu/music/faculty.htm

• Etudes or solos (grade 5 or above) on the following: snare drum (rudimental and orchestral), timpani (2, 3, or 4 drums) and keyboard (marimba, vibes or xylophone)
• 2 mallet keyboard solo
• Demonstration on 4 mallet technique either through solo literature or at a minimum, chords and arpeggios
• A multiple percussion solo may replace the snare drum solos
• Sight-reading, timpani tuning, scales and rudiments will be part of the audition.
• Drum set is optional and is not required for acceptance, but is the fourth major area of study in the high school and undergraduate program.
• For questions about the specific repertoire or for high school students who do not have access to keyboards or timpani visit www.uncsa.edu/music/faculty.htm

• Three contrasting selections performed from memory
• Open position major scales in common keys
• Demonstrate the ability to sight-read elementary material in open position
• For more specific information contact the School of Music.

• Three contrasting selections (performed from memory)
• Open position and upper position major and minor scales in common keys
• Demonstrate the ability to sight-read
• For more specific information contact the School of Music.

• One composition from the Baroque period
• One composition from the Romantic period
• A composition from the 20th - 21st centuries
• For more specific information contact the School of Music.

• One composition from the Baroque period
• One composition from the Romantic period
• A composition from the 20th - 21st centuries
• For more specific information contact the School of Music.

• Passacaglia by Handel
• Chansons dans la Nuit by Salzedo
• One solo from the Romantic period or 20th century.
• For more specific information contact the School of Music.
• All audition requirements must be played from memory.

• First movement of the Concerto in B-flat major by Handel
• First Arabesque by Debussy
• One solo from the 20th century.
• For more specific information contact the School of Music.
• All audition requirements must be played from memory.

• One piece by JS Bach
• A movement from a classical sonata
• Two 19th c. pieces in contrasting style
• One 20th c. piece
• All scales and arpeggios.
• Audition material must be memorized.
• For more specific information contact the School of Music.
• All audition requirements must be played from memory.

• A Prelude and Fugue (Well-Tempered Clavier Book 1 or 2) by JS Bach
• A classical sonata
• Two 19th c. pieces in contrasting style
• One 20th century piece
• All scales and arpeggios
• All pieces must be memorized.
• For more specific information contact the School of Music.
• All audition requirements must be played from memory.

• Arias or songs from the classical Italian repertory of the 17th and 18th centuries
• Early English, i.e., Purcell, Arne, Elizabethan composers, or any other comparable work
• Standard oratorio arias from the Baroque, Classical or Romantic literature
• German lieder from the Classical or Romantic periods sung in German, or English translations
• French, Spanish, Russian, or Scandinavian arts songs in the original language or English translations
• American compositions of the 19th, 20th centuries and 21st centuries, i.e., Barber, Rorem, Ives, Thompson, Copland, Britten, etc.
• Folk songs, written spiritual (no choral passages)
• Demonstrate the ability to sight-read.
• For more specific information contact the School of Music.

• Arias or songs from the classical Italian repertory of the 17th and 18th centuries
• Early English, i.e., Purcell, Arne, Elizabethan composers, or any other comparable work
• Standard oratorio arias from the Baroque, Classical or Romantic literature
• German lieder from the Classical or Romantic periods sung in German, or English translations
• French, Spanish, Russian, or Scandinavian arts songs in the original language or English translations
• American compositions of the 19th, 20th centuries and 21st centuries, i.e., Barber, Rorem, Ives, Thompson, Copland, Britten, etc.
• Folk songs, written spiritual (no choral passages)
• Demonstrate the ability to sight-read.
• For more specific information contact the School of Music.

• For more specific information contact the School of Music.