french horn BYU

All School of Music applicants must audition on an instrument or voice. To audition, complete a Music Admission/Scholarship Application and submit a letter of recommendation from a qualified music teacher online. Once the application materials have been submitted to the School of Music, the student may either schedule a time to perform a live audition at BYU or submit a recorded audition on DVD or audio recording (cassette tape or CD). Recorded auditions must be sent by the date listed to:

School of Music Admissions
Brigham Young University
C-550 Harris Fine Arts Center
Provo, UT 84602

Live auditions are held in the Harris Fine Arts Center. For driving directions and hotel information, click here. During live auditions, it may not be possible to hear all the music prepared. Often, representative samples or sections of audition pieces will be heard. Only those auditioning are allowed in the audition studio. For live auditions, piano accompaniment is not required, but you may bring an accompanist if you’d like. Applicants for degrees other than performance or general music must both audition for their given instrument and submit additional materials for their prospective major.

Performance Requirements

Bassoon

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

  1. Two contrasting etudes from the Weissenborn 50 Advanced Studies
  2. One solo of your choice (no accompanist necessary)
  3. Chromatic Scale
    1. Three octaves (or more, if possible)
    2. Recommended Tempo: ♫ = 100 m.m.
  4. Major scales
    1. Full range, if possible (for example C major can be played three octaves; G major can be played two octaves plus three notes, to high C)
    2. In eighth notes (recommended tempo, ♫ = 100 m.m.)
  5. Harmonic minor scales (not required, but encouraged)
    1. Full range, if possible (for example C harmonic minor can be played three octaves; E harmonic minor can be played two octaves, and five notes, to high C)
    2. In eighth notes (recommended tempo, ♩= 100 m.m.)

Note: Selections need not be memorized.

Click here to download more Bassoon audition and studio information.

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Cello

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Technique

One of the following:

  • One Popper etude, from High School of Cello Playing 40 Etudes by David Popper.
  • Piatti etude.

Repertoire

  1. One movement of a standard concerto. This should be memorized.
  2. One movement of a sonata or piece for cello and piano.
  3. Two contrasting movements from the cello suites of J. S. Bach. For example: Prelude and Courante, Sarabande and Gigue.

Click here to download more Cello audition and studio information.

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Clarinet

Audition using the following material. If you cannot attend the live auditions, submit a DVD (video) recording in which the embouchure and fingers are visible. Audio-only recordings will not be accepted.

Technique

  1. Scales: Perform five major and five natural minor scales (of your choice) with at least a two octave range in sixteenth notes at a tempo no slower than ♩ = 80 m.m. Be able to play each scale legato or staccato.
  2. Sight-reading (for those performing live auditions)

Repertoire

Excerpts and/or solo, to demonstrate:

  1. Technical facility and rhythm: music of a fast tempo containing varied rhythms and articulations, particularly demonstrating the ability to tongue numerous consecutive staccato notes.
  2. Expression and tone: music of a slow tempo containing expressive legato passages with varied dynamics.

Note: Repertoire should be chosen from the standard clarinet repertoire; specifically well-known concertos, orchestral excerpts, or sonatas and other chamber music.

Click here to download more Clarinet audition and studio information.

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Double Bass

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Technique

Major and minor scales, two octaves, played in quarter-notes at ♩= 120 m.m.

Repertoire

    1. Two pieces of contrasting tempo and style: one lyrical and slower, the other more technical and fast. These may be different pieces, or movements from the same sonata or concerto.
    2. Two orchestral excerpts from among the following composers: Beethoven, Brahms, Mendelssohn, Mozart, Schubert, R. Strauss, or Tchaikovsky.
    3. For students interested in Jazz Studies:

• One octave scales and modes (Dorian, Phrygian, Lydian, and Mixolydian) in all keys. • Demonstrate correct ways of playing in swing, Latin, and fusion idioms. • Prepare one swing tune: play the head, walk one full chorus, and improvise a solo over the changes.

Click here to download more Double Bass audition and studio information.

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Flute

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Technique

  1. Scales: Two-octave scales in all major and melodic minor keys. Play slurred. Three-octave chromatic and three-octave C major scales will also be required. Play single tongued at a tempo of ♩= 96 m.m. or faster.
  2. Sight-reading (for those performing live auditions).

Repertoire

  1. Two contrasting movements from the solo sonatas of J.S. Bach, Telemann, or Handel.
  2. The first movements of either the Mozart Concerto in G or in D.
  3. A piece that demonstrates tone quality and technical fluency selected from either the nineteenth-century, French conservatory pieces, or twentieth-century works.

Click here to download more Flute audition and studio information.

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Guitar

Audition using the following material. If you cannot attend the live auditions, submit a DVD (video) recording. Audio-only recordings will not be accepted.

Classical/Contemporary Guitar Repertoire

  1. A movement from one of the lute suites by J. S. Bach.
  2. One of the Preludes by Villa-Lobos.
  3. A movement or entire piece (five minutes maximum) from the Segovia repertoire: Castelnuovo-Tedesco, Moreno-Torroba, Ponce, Tansman, Turina, etc.

Jazz Studies Guitar Repertoire

  1. For students interested in Jazz Studies be prepared to:
    • Play the melody, “comp” the chords, and improvise a solo over the chord changes of two jazz standards, one swing and the other a bossa nova.
      • These tunes should be performed with an accompaniment backing track, such as a Jamey Abersold or a track from iReal Pro app.
    • Play major and jazz scales with different modes (two octaves).
    • Sight-reading (for live auditions only).
    • Demonstrate standard jazz chord voicings.

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Harp

Audition using the following material. If you cannot attend the live auditions, submit a DVD (video) recording. Audio-only recordings will not be accepted. Harpists should perform two memorized selections representing different styles and periods of composition. Choose repertoire that demonstrates current highest level of technical ability and musicianship. Harpists may either bring their own harp for the audition or use the BYU harp supplied at the audition.  This harp is a Lyon and Healy Concert Grand harp.  Harpists will also be able to practice on the BYU harps the night before the audition and during the 30 minutes prior to their audition time.

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Horn

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Repertoire

Solo or etude demonstrating:

  • Technique
  • Lyrical quality
  • Range

Note: Orchestral excerpts may be used with or in place of a solo or etude.

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Oboe

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Repertoire

Prepare at least two contrasting repertoire selections from the standard oboe literature.

  1. Technical facility and rhythm: Music containing a generous number of quick packages.
  2. Expression and tone: Slower music chosen to demonstrate beautiful tone, legato and mature musical feeling.

Note: Choose from contrasting periods, slow and fast movements from sonatas and concertos or complete works.  These selections should be at least the level of difficulty, for example, of the Handel Sonatas for oboe, Carl Neilsen Fantasy Pieces, of the Paladihle Concertante.

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Organ

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording. For those with an organ background, perform on the organ:

  1. A work by Bach (prelude and fugue or chorale prelude).
  2. A work from the 19th or 20th-century repertoire, such as a chorale prelude by Brahms, Peeters, Dupré or Pepping; a movement from a Mendelssohn sonata; “Toccata” from Boellman’s Suite Gothique; “Carillon” from 24 Pieces in Free Style by Vierne, etc.
  3. A hymn.

For those without an organ background, perform on the piano:

  1. One major and one minor scale, four octaves in parallel motion and contrary motion in two octaves.
  2. One major, one minor, and one dominant-seventh or diminished-seventh arpeggio, four octaves.
  3. A work by Bach (a two-part invention, three-part invention, or a prelude and fugue from the Well-Tempered Clavier.)
  4. One work from the classic, romantic, or 20th-century periods.

Note: Memorized auditions are encouraged but not required. All keyboard performance applicants are strongly encouraged to review the frequently asked questions before making their application.

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Percussion

Audition using the following material. If you cannot attend the live auditions, submit a DVD (video) recording. Audio-only recordings will not be accepted. Demonstrate proficiency in the following areas:

  1. Snare Drum: Select an etude or solo that includes rolls, flams, drags, and good dynamic contrast. Demonstrate these in an appropriate orchestral style. Suggested literature: a selection from Portraits in Rhythm by Anthony Cirone or from Twelve Etudes by Jacques Delécluse.
  2. Keyboard Percussion: Select a solo or etude that demonstrates your technique and musicianship to best advantage. Suggested literature: one of the 39 etudes from Morris Goldenberg’s Modern School for Xylophone, Marimba, and Vibraphone. Suggested solos: Tambourin Chinois by Fritz Kreisler or a selection from either Volume 1 or 2 of Intermediate Masterworks for Marimba
  3. Timpani: Select a solo or etude that demonstrates a variety of articulation, rolls, and dynamics, and that includes tuning changes. Suggested literature: a selection from The Solo Timpanist by Vic Firth or from The Timpani Challenge by Nick Woud.
  4. Drum Set: Demonstrate the ability to play a variety of styles (swing, rock, Afro-Cuban, Brazilian). Perform a solo that demonstrates your technique/abilities to best advantage: Suggested solos: Jazz Solos, Vol. 1 by Rich Thompson or from Advanced Funk Studies by Rick Latham. Demonstrate your ability to play brushes, trade fours in a swing or rock style, and play figures from a big band chart.

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Piano

PRESCREENING REQUIREMENTS

All piano students auditioning on the piano—for any major—MUST complete the piano pre-screening process. This process includes the following:

  1. Complete the online School of Music application and letter(s) of recommendation at /apply.
  2. Upload your prescreening audition recording video to YouTube by December 1. Follow the directions provided online after submitting the School of Music application. Perform two contrasting works from the actual audition requirements listed below. A single movement of the classical sonata can count for one of these prescreening works.  If recording the Bach, please submit both the prelude and the fugue as a single work.  No scales are necessary in the prescreening stage. Memorization is required.
  3. Prospective students (including transfer students) who pass the pre-screening process will be invited to perform on audition day (the last Saturday in January). Only the students who have completed the application process – including the recording, application, and letters of recommendation – by December 1 – will be considered in the pre-screening process for the live auditions in January.
  4. Because this is a new process, if you have any questions or concerns, please contact the music admissions office at musicadmissions@byu.edu or 801-422-2660.

Audition requirements: Must be performed by memory.

  1. A major work by J.S. Bach (prelude and fugue, set of dances, toccata, etc.). Inventions or other similar intermediate level pieces are not acceptable.
  2. Complete sonata, (all movements) by Haydn, Mozart, Beethoven, or Schubert.
  3. A solo work by a 19th or 20th century composer. This work must be of moderately difficult level or higher, as defined in Maurice Hinson’s Guide to the Pianist’s Repertoire, a standard piano repertoire reference text.
  4. Scales: all major and harmonic minor scales, hands together, four octaves up and down, in sixteenth notes at a minimum tempo of quarter note = 132 m.m.

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Saxophone

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

  1. Scales: Perform all major scales and the chromatic scale in the full range of the instrument in sixteenth notes at a tempo of ♩ = 96 m.m. or faster. Play them legato and with single-tongued staccato.
  2. Excerpts and/or solo, to display:
    1. Technical facility and rhythm: music containing a generous number of passages comprising the equivalent of at least four consecutive sixteenth notes at a tempo of ♩= 80 m.m. or faster.
    2. Expression and tone: slower music chosen to demonstrate ability to play legato and with mature musical feeling and intonation.
  3. If you have skills in jazz, be prepared to play the following:
      1. The head from a traditional Bebop tune, such as from the Charlie Parker Omnibook, or a comparable source.
    1. A lead chart from a big band swing tune.
    2. A solo demonstrating your improvisation skills.  Please provide a CD or ipod play-along.
  4. Sight-reading (for live auditions only).

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Trombone

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Technique

  1. Scales: Perform all major scales in two octaves (within the normal range of the instrument) in sixteenth notes at a tempo of ♩= 96 m.m. or faster.
  2. Sight-reading (for those performing live auditions).

Repertoire

  1. Two contrasting solos or solo movements, to demonstrate:
    • Technical facility: a technical movement or piece to demonstrate an advanced command of technical skills such as range, slide technique, rapid articulation, and flexibility.
    • Lyricism: a contrasting lyrical movement or piece to demonstrate an advanced command of musicality, expressiveness, and legato.
  2. If you are interested in the Jazz Studies program, be prepared to play the following:
    • The head from a traditional jazz tune (Charlie Parker Omnibook, Traditional Bebop Heads, or a comparable source may be used).
    • A lead chart from a big band tune. Range is not as important as an appropriate style.
    • A solo demonstrating your improvisation skills. Please provide a play-along CD. You may use your stereo.

*Suggested audition pieces include Guilmant, Morceau Symphonique; Barat, Andante et Allegro; Rimsky-Korsakov, Concerto; Saint-Saens, Cavatine; Galliard, Sonata No. 1; Marcello, Sonata in A Minor; David, Concerto; Serocki, Sonatina.

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Trumpet

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

  1. Be prepared to play at least one complete movement of a work from the standard solo literature (Haydn, Hummel, Arutunian, Kennan, Barat, Ropartz, Clarke, Arban, or a comparable work).
  2. Be prepared to play one etude taken from a traditional etude book (e.g., Arban Characteristic Study, Brandt, Goldman, Caffarelli, Concone, Charlier, or a comparable study). It should be in a style that contrasts your solo selection.
  3. If you are interested in the jazz emphasis program, be prepared to play the following:
    • The head from a traditional jazz tune (Charlie Parker Omnibook, Traditional Bebop Heads, or a comparable source may be used.
    • A solo demonstrating your improvisation skills. Please provide a play-along CD. A player will be provided.
    • A lead chart from a big band tune. Range is not as important as an appropriate style.
  4. Option: If you have experience with orchestral literature, please indicate so and have two or three orchestral excerpts prepared.
  5. Be prepared to play major scales in all 12 keys. They should be single tongued sixteenth notes at a tempo of ♩= 80 or faster. Play two octaves when it is within your range. All scales should be played both up and down.
  6. Be prepared to play a two-octave, slurred chromatic scale. Choose a starting note that will effectively demonstrate your range. Play this scale both up and down.

Note: Trumpet auditions are approximately 15 minutes in length and will be recorded. They will take place in E-393 (the trumpet studio). The purpose of the audition is to demonstrate your ability to perform musically and cleanly in several different styles. A piano will be available if you choose to bring an accompanist with you. A CD player will be provided if you choose to bring a jazz play-along CD. Please provide a typewritten list of the works you have prepared for your audition.

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Tuba/Euphonium

Technique

  1. Scales: Perform all major scales in two octaves (within the normal range of the instrument) in sixteenth notes at a tempo of ♩= 80 m.m. or faster. Also play a two-octave chromatic scale starting on B-flat concert. Play them
    single tongued at a tempo of your choice.
  2. Sight-reading (for those performing live auditions).

Repertoire

  1. Excerpts and/or solo, to display:
    1. Technical facility and rhythm: music containing a generous number of passages comprising the equivalent of at least four consecutive sixteenth notes at a tempo of quarter note = 80 m.m. or faster.
    2. Expression and tone: slower music chosen to demonstrate ability to play legato and with mature musical feeling.
    3. Literature recommendations for tuba include 1) Air and Bouree by Bach-Bell. (C.Fischer), 2) Suite for Tuba by Haddad (Shawnee Press), and 3) Concertino by Curnow (Tuba Press).
    4. Literature recommendations for euphonium include: 1) English Suite by R. Bernard Fitzgerald (T. Presser), 2) Six Studies In English Folksong by Ralph Vaughan Williams (R. Galaxy Music Corp.), 3) Rhapsody for Euphonium and Brass Band by James Curnow (Rosehill Music), and 4) Andante and Rondo by Capuzzi-Catanalet (Hinrichsen Edition).

Click here to download more Tuba/Euphonium audition and studio information.

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Viola

Audition using the following material. If you cannot attend the live auditions, submit a DVD or CD recording.

Technique

  1. Scales: Any two scales, one in major and one in minor, covering three octaves, in sixteenth notes at a tempo of ♩ = 96 m.m. or faster. Demonstrate slurred, detache, spiccato, and sautille bowings.
  2. Arpeggios in a major and minor key other than those selected for the scales, played at the same tempo as the scales, three octaves, with slurred and spiccato bowings.

Repertoire

  1. A movement from solo Bach Suite or a Telemann Fantasie.
  2. A slow movement from a sonata, concerto, or a slow piece that demonstrates tone quality.
  3. A fast movement from a concerto that demonstrates technical ability (such as those by Stamitz, Hindemith, Bartok, etc).

Click here to download more Viola audition and studio information.

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Violin

Prescreening Requirements

All violin students auditioning on the violin—for any major—MUST complete the violin pre-screening process. This process includes the following:

  1. Complete the online School of Music application and letter(s) of recommendation at /apply.
  2. Upload your prescreening audition recording (video, not just audio) to YouTube by December 1. Follow the directions provided online after submitting your application. Perform all the audition requirements listed at the bottom of this page.
  3. Prospective students (including transfer students*) who pass the pre-screening process will be invited to perform a live audition. Only the students who have completed the application process by December 1 will be considered in the pre-screening process for the live auditions in January. All music needs to be memorized for the live audition.

Audition Requirements

  1. A movement from a Bach solo Sonata or Partita.
  2. A slow movement from a sonata or concerto, or a slow piece that demonstrates tone quality and vibrato.
  3. A fast movement from a concerto that demonstrates technical ability, such as those by Mozart (3, 4, or 5), Lalo, Mendelssohn, Tchaikovsky, Barber, Sibelius, Paganini, Wieniawski, etc.
  4. Beethoven’s Symphony No. 7 and the 3-octave scale in the PDF at the end of this section.

Note: Memorization encouraged for pre-screening, required for live auditions. Pianist encouraged for pre-screening video, but not required. *Transfer students: All questions about transfer credits will be answered after acceptance to the School of Music.

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Voice—Classical

Prescreening Requirements

All vocal students auditioning for the BM in Music Education, specializing in K-12 choral or elementary music, need not complete the pre-screening process. They will have an opportunity to audition for the vocal faculty while taking Music 176. Required repertoire for auditioning music education students is the same as for all applicants and may be found below. More details on the application process for music education students may be found on the division’s undergraduate degree program pages. All vocal students auditioning for the BM in Vocal Performance or BM in Composition MUST complete the pre-screening process. This process includes the following:

  1. Complete the online School of Music application and letter(s) of recommendation at /apply.
  2. Upload your pre-screening audition recording to YouTube by December 1. Follow the directions provided online after submitting your application.
  3. Prospective students who pass the pre-screening process will be invited to perform a live audition. Only the students who have completed the application process by December 1 will be considered in the pre-screening process for the live auditions in January.

Audition Requirements

  1. Prepare three pieces of contrasting nature (styles, tempo, mood, language) that explore your most successful classical vocal repertoire. Include literature that demonstrates any language proficiency in addition to English. Include literature that demonstrates any language proficiency in addition to English. Sing your best pieces first.
  2. If your three selections do not fully demonstrate the integration and limits of your full-voiced pitch range, you may wish to conclude with a series of vocalises that do. The voice faculty may, additionally, ask you to sing a brief portion of a well-known hymn that shows ability to sing with sense of centered pitch.
  3. Prospective vocal performance and composition students: Remember to complete the application online at /apply.

Live Auditions

If you are invited to the live audition, be aware of the following: You will select your first song, and the jury will choose from among the other songs you have prepared to complete your audition. A skilled accompanist will be provided; or you may bring your own. Only those auditioning are allowed in the audition studio.

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