Bassoon

• Prepare two contrasting selections, such as individual movements from sonatas, concertos, or other solo works.
• One of these selections can be an etude.
• Six major scales of your choosing, 2-3 octaves.
• A chromatic scale that demonstrates your entire range.
• Sight reading will be required.
• For questions regarding audition repertoire or to set up a lesson either on or in advance of your audition day, please contact Michael Harley, mharley@mozart.sc.edu

Clarinet
Clarinet candidates should prepare at least two selections that demonstrate contrasting styles, one fast and technical and the other slow and lyrical. These should include prepared pieces selected from standard repertoire and etudes. Two single movement works or individual movements from multiple movement works are acceptable. Considerable flexibility is permitted in the choice of audition material, although All-State/Region band audition music is discouraged if these are not taken from standard clarinet repertoire. Also, it is preferred to select two works from standard repertoire or one from standard repertoire and one from a standard etude book. Having only two works from only etude books is also discouraged. Clarinetists admitted to the undergraduate program must demonstrate a degree of technical fluency and musical awareness appropriate to the level of the audition literature. Some appropriate audition pieces include standard etudes by C. Rose or the Melodious Studies/Hite book, etc., standard repertoire by Mozart, Saint-Saens, Stamitz, Stravinsky, Messeger, Weber, Tartini, Cavallini, Schumann, Osborne, and the likes thereof, or pieces chosen from collection books such as the Sixteen Grand Concert Pieces. Auditions will include sight reading and a short ear training test where one is expected to sing back pitches played on the piano. Major and minor scales will be asked along with their respective arpeggios. Accompaniment is not required.

Guitar
Considerable flexibility is permitted in the choice of audition material. Guitarists admitted to the undergraduate program should demonstrate a degree of technical fluency and musical awareness appropriate to the level of audition literature. This means it is better to play easier pieces well than it is to play difficult pieces poorly.  Candidates should prepare two pieces from contrasting style periods, e.g., Baroque and Romantic or Classical and Modern, as well as open-position major and minor scales, cadences and sight-reading.  If more advanced scales have been studied, e.g., two- and three-octave scales, these may be substituted for the open-position scales.

Please contact Mak Grgić if you have any questions about your audition repertoire.

Composition
Composition applicants should demonstrate creativity and musical ability and promise, and they should have completed all of the requirements of the UofSC application process. Students should submit the following when completing the School of Music Application:

1.  Composition Portfolio: Written musical examples from 1-3 works; audio or video recordings of those works are not necessary but would be helpful.
2.  A brief personal statement about your musical experience and interest in composition and aspirations in the field of music.
3.  1-2 letters of recommendation from teachers or other mentors familiar with your musical and/or academic background. These can be submitted via the application portal or emailed directly to Jennifer Mitchell at jmitchell@mozart.sc.edu.

All prospective composition majors must also successfully complete a music audition.

More information can be found on our Bachelor of Music Composition Audition page.

Euphonium
Candidates in the brass area should prepare two movements from different compositions from the standard solo repertoire that show a contrast in style, one fast and the other slow and lyrical. Two single movement works are also acceptable. Accompaniment is not required. Major scales should be prepared; sight-reading is required.

Flute
Candidates in flute should prepare two movements from different compositions from the standard solo repertoire that show a contrast in style, one fast and the other slow and lyrical. Two single movement works are also acceptable. It is recommended that one of these selections be by an underrepresented composer (woman, BIPOC composer).

Accompaniment is not required. Major scales should be prepared; sight-reading is required.

Horn
Candidates for Horn should prepare one of the two concertos listed below.  In addition, a contrasting solo of the candidate's choice should be selected.

• Richard Strauss, Concerto No. 1, op. 11 - Mvt. 1
• Franz Strauss, Concerto, op. 8 - Mvt. 1

Jazz

Bass
Contact Craig Butterfield

Audition may be on double bass or electric bass or a mixture of both.

1. Play the melody of Au Privave (Blues in F) and be prepared to improvise a walking bass line over the chord changes
2. Play a walking bass line over 2-3 choruses of Autumn Leaves in any key of your choice
3. Play a bass line over the chord changes to a standard “Latin” tune, such as Blue Bossa, Song for my Father, Recordame, etc.
4. Sight reading
5. Optional - play a 2 - 3 chorus improvised solo over any of the tunes listed above

Drums and Percussion
Contact Colleen Clark

1. Pick two standards (two different styles and tempos) to do the following:
1. Play the melody on the snare drum while playing time (four on the floor, hats on 2 & 4, swing pattern on RC)
2. Trade and/or solo over the form
2. Sight-reading excerpt
3. Demonstration of the following:
1. Swing: Medium to fast, shuffle
2. Brushes at various tempos
3. Straight Eighths: bossa nova, mambo, salsa, samba, songo, funk, pop, etc.

Guitar and Piano
Contact Matthew White

Prepare 3 "standard" tunes:

• Medium Swing
• Ballad
• Straight eighth (bossa nova, samba)

Be prepared to play melody and improvise on each tune.

• Play "Blues" in any key of your choice. Be able to play a blues melody (head) and improvise.
• Major and minor scales and arpeggios
• The audition will also consist of sight-reading different styles of music. Jazz, Latin, Straight 8th (Latin or rock). 

Guitarists and Pianists are expected to play the melody and improvise and will be asked to "comp" the chord changes as well. 

Trombone, Trumpet and Woodwinds

1. Play the melody of Au Privave (Blues in F) and improvise three choruses (36 measures total) on the song form. 
2. Play the ballad “In A Sentimental Mood” (first chord concert D minor) by Duke Ellington. Play the entire melody and improvise on the first 24 measures of the form (AAB) and play the final 8 measures of the melody (final A). 
3. All major scales
4. Sight-reading

Trombone: Contact Michael Wilkinson
Trumpet: Contact Matthew White
Woodwinds: Contact Lauren Meccia

Vocals
Contact Lauren Meccia or Aletha Jacobs

1. In a medium swing tempo and an appropriate key for your voice, sing the chorus (melody) followed by one chorus of improvisation (scat syllables) on one of the following standards:
   All of Me
   Fly Me To the Moon
   Honeysuckle Rose
   How High the Moon
   Satin Doll
   Summertime
2. In a ballad tempo, sing the chorus (melody) of one of the following standards:
   At Last
   Misty
   My Funny Valentine
   Georgia On My Mind
   Good Morning Heartache
   Someone to Watch Over Me
3. Sight-singing

 

Application Requirements for the Bachelor of Science in Music Industry Studies

Essay
Applicants will submit a well-written essay about their experiences in the Music Industry so far, why they believe The University of South Carolina can help them achieve their goals in the Music Industry, and what the student believes that they can offer The University of South Carolina.  Consideration should be given to the breadth of the Industry when responding to this prompt.
Students should include all relevant experience, including but not limited to:

1. Producing music and artists
2. Learning and digital audio software (Logic, Pro Tools, Cubase, Garage Band, Fruity Loops, Reaper, Audition, etc)
3. Playing in a band
4. Booking and/or promoting shows
5. Writing a music focused blog
6. Hosting a radio show
7. Song writing and/or composition
8. Building musical instruments/accessories
9. Live sound engineering
10. Managing social media
11. Running lights and/or sound for drama or high school performing groups
12. Recording other musicians
13. Job shadowing industry specialists
14. Music industry internships (radio station, recording studio, label, venue, booking agents, etc).

Digital Portfolio
Applicants will submit a digital portfolio that demonstrates their experiences in the Music Industry.  Due to the expansive nature of the field, no two students will submit similar portfolios.  Consider all the aspects of the experiences mentioned in your essay and provide examples of as many as possible.
This may include:

1. Audio recordings
2. Videos of live performances
3. Compositions
4. Songs you have written
5. Video clips for which you have composed music
6. Flyers for concerts you have booked/promoted
7. Newspaper articles about your music/compositions/concerts
8. Social media presence (Facebook, Twitter, Soundcloud, etc)
9. Any other material that you feel shows your capabilities in the Music Industry field.

Interview
The interview will occur after Music Industry faculty has reviewed the prospective student’s essay and portfolio. The interview will be largely based on discussing the topics of the essay as well as any questions the faculty has about the portfolio.  This interview will be conducted in person on select audition days.

Optional Audition
As this is not a performance degree, an audition on your instrument of choice is not required.  
Should you wish to be considered for applied lessons and/or scholarships, please consult the audition requirements found here. 

Oboe

1. Two etudes showing the applicant’s level of technical and musical ability 
2. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece 
3. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical 
4. Three orchestral excerpts demonstrating slow, fast, and articulated passages 

Oboists admitted to the undergraduate program should demonstrate a degree of technical fluency and musical awareness appropriate to the level of the audition literature. Auditions will include sight reading and scales. Music scholarships are available to qualified applicants. Scholarship candidates are strongly encouraged to apply early. 

Organ
Audition repertory should consist of one contrapuntal work by Bach or Buxtehude, a work from the nineteenth century, and, if possible, a piece from the twentieth century. Memorization is not required.

Percussion
Undergraduate Auditions - if you have questions about your audition repertoire, please contact Dr. Scott Herring

Students must audition in the three areas below. 

Snare Drum:  A snare drum solo from Advanced SD Studies by Mitchell Peters, Advanced Etudes for Snare Drum by Keith Aleo, or Douze Etudes by Jaques Delecluse

Marimba:   A four-mallet solos suited to the student’s abilities.  Examples could include Restless by Rich O’Meara, Gitano by Alice Gomez, Preludes for marimba by Michael Burritt, Michi by Keiko Abe, Preludes for marimba by Ney Rosauro.

Timpani:  A solo or Etude from Etuden fur Timpani by Richard Hochrainer, Modern Method for Timpani by Saul Goodman, or Etudes, Exercises, and Solos for Timpani by Raynor Carroll.

Sightreading may be requested on marimba and snare drum.

Piano
Students auditioning to be considered for a performance degree should prepare a balanced program of three memorized works from contrasting style periods. The program may involve either complete works or individual movements from larger works. Students auditioning for entrance to other music degree programs or auditioning for a minor in music should prepare two works from contrasting style periods. Students majoring in areas other than music, but wishing to pursue elective study in piano, should prepare one piece that best represents their skills. In the case of non-performance degrees, memorization is encouraged but not required. There is no examination of technical rudiments, but sight-reading is required.

Saxophone
Saxophonists should prepare two movements from different compositions from the standard solo repertoire, or etudes that show a contrast in style. One should be fast, showing the applicant’s technical level, and the other slow and lyrical. Two single movement works are also acceptable; however, at least one of the two works performed must be from the standard solo repertoire. Considerable flexibility is permitted in the choice of audition material, although the use of two etudes is discouraged. Major scales should be prepared and sight-reading is required. Saxophonists admitted to the undergraduate program must demonstrate a degree of technical fluency and musical awareness appropriate to the level of the audition literature. Appropriate audition pieces include, but are not limited to the following: Voxman Selected Studies, Ferling Etudes; Eccles/Rascher, Sonata; Creston Sonata; Heiden Sonata; Glazounov Concerto; Ibert, Concertino da Camera; Milhaud, Scaramouche; Maurice, Tableaux de Provence.  Accompaniment is not required.

Strings:

Double Bass

Bachelor of Music in Performance, Bachelor of Music Education, and Performance Certificate

• First movement from a standard double bass concerto – Dragonetti, Koussevitzky, Dittersdorf, or similar
• A Standard Etude – Simandl, Bille, Storch-Hrabe, or similar.

 These are suggested pieces only – any standard works of comparable quality are acceptable.

 

Violin

***Alternative repertoire will be approved on a case by case basis.***

Bachelor of Music in Performance and Performance Certificate

• One movement from a solo sonata or partita by J.S. Bach
• One movement of a standard concerto from the Classical, Romantic or 20^th Century periods
• One additional piece (such as a challenging etude or a caprice, or character/virtuoso work) that best reflects the applicant’s playing ability.

 (It is highly recommended that one selection be performed from memory)

Music Education

• One movement from a solo sonata or partita by J.S. Bach
• One movement of a standard concerto from the Classical, Romantic or 20^th Century periods

Bachelor of Arts and Music Minor

• Two contrasting movements from the standard violin literature

 

Cello

*Please contact Claire Bryant with any questions regarding audition repertoire*

Bachelor of Music in Performance, Bachelor of Music Education, and Performance Certificate

• 3-octave major and melodic minor scale (key of your choice)
• One movement from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto or an equivalent concert piece
• One additional piece of choice (contemporary repertoire encouraged)

Bachelor of Arts and Music Minor

• 3-octave major and melodic minor scale (key of your choice)
• Two contrasting works/movements from the cello literature

(Performances from memory are encouraged for solo and concerto repertoire)

Viola 

***Alternative repertoire will be approved on a case by case basis.***

Bachelor of Music in Performance, Bachelor of Music Education, and Performance Certificate

• One movement from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto
• One additional piece of choice or another contrasting movement of a Bach Cello Suite. An etude is also accepted in this category. 

 (The String Faculty recommends at least one selection be memorized)

 Bachelor of Arts and Music Minor

• Two contrasting movements from the standard viola literature

Trombone

Trombonists should prepare two or three pieces in contrasting styles: lyrical/legato and technical/tongued. These varied styles can be different movements from the same work. Students may select etudes, solos (piano accompaniment is not necessary), or orchestral excerpts. In addition, each trombonist will read a short sight-reading excerpt during their audition.

*Candidates are free to select works of comparable difficulty to the suggested works below. Above all, auditionees should choose music on which they sound their best.

Suggested solos (tenor trombone):

Guilmant, Morceau Symphonique
Galliard, Sonata No. 1
Barat, Andante and Allegro
Rimsky Korsakov, Concerto (esp. mvts. I and II)
Saint-Saëns, Cavatine
Larsson, Concertino (esp. mvts II and III)

Suggested etudes (tenor trombone):
Bordogni/Rochut, Melodious Etudes for Trombone
Voxman, ed., Selected Studies

Suggested solos (bass trombone):
Haddad, Suite for Tuba (esp. mvts I and II)
Lassen/Bollinger, Two Fantasy Pieces
Jacob, Cameos (esp. mvts. I, II, or III)
Hindemith, Drei Leichte Stucke (Three Easy Pieces)

Suggested etudes (bass trombone):
Bordogni/Rochut, Melodious Etudes for Trombone (down an octave)
Bordogni/Ostrander, Melodious Etudes for Bass Trombone
Grigoriev, Studies

Trumpet

Candidates in the brass area should prepare two movements from different compositions of choice from the standard solo repertoire that show a contrast in style (one fast and the other slow and lyrical). Two single movement works are also acceptable. All-State materials are also acceptable for this degree only. Accompaniment is not required. Sight Reading and scales may be asked.

Suggested compositions may include: Brandt Etudes, Charlier Etudes, one movement from solo literature such as Kent Kennan Sonata, Haydn Concerto in Eb, Hummel Concerto in Eb, or the Halsey Stevens Sonata. No accompaniment is required.

 

Tuba
Candidates in the brass area should prepare two movements from different compositions from the standard solo repertoire that show a contrast in style, one fast and the other slow and lyrical. Two single movement works are also acceptable. Accompaniment is not required. Major scales should be prepared; sight-reading is required.

Voice
Students should prepare three memorized selections in contrasting style. Examples of repertoire could include selections from the "Twenty-Four Italian Songs and Arias" collection or "The First/Second Book of SATB Solos," compiled by Joan Boytim. One music theater piece is also permissible. One selection must be in a foreign language. No pop songs or unaccompanied selections are allowed. Aural and sightsinging skills will be tested.

Accompaniment: A staff pianist will be provided on the day of auditions. No "a cappella" singing (meaning singing without accompaniment) will be allowed. Students must provide staff pianist with sheet music at their time of audition.

*When scheduling a voice audition, please be aware of a conflict on January 20 for participants in the SC ACDA Honor Choir.

Musical Theatre
Students should prepare two contrasting pieces and one monologue:
One 32-bar cut from a musical theatre song written before 1970 OR a complete aria or art song. This selection can be either "uptempo" or "ballad" (student's choice).
One 32-bar cut from a contemporary musical theatre song written after 1970, in contrast to the style and tempo of the first selection.
*One selection must show "legit"/lyrical style, and one must show contemporary mix/belt.
Students must also prepare a memorized, 1-minute monologue from a published play.

Accompaniment: A staff pianist will be provided on the day of auditions.  No "a cappella" singing (meaning singing without accompaniment) will be allowed. Students must provide staff pianist with sheet music at their time of audition.

Voice
Students should prepare three memorized selections in contrasting style. Examples of repertoire could include selections from the "Twenty-Four Italian Songs and Arias" collection or "The First/Second Book of SATB Solos," compiled by Joan Boytim. One music theater piece is also permissible. One selection must be in a foreign language. No pop songs or unaccompanied selections are allowed. Aural and sightsinging skills will be tested.

Accompaniment: A staff pianist will be provided on the day of auditions. No "a cappella" singing (meaning singing without accompaniment) will be allowed. Students must provide staff pianist with sheet music at their time of audition.

*When scheduling a voice audition, please be aware of a conflict on January 20 for participants in the SC ACDA Honor Choir.