Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
Pianists and organists:
1. Three contrasting piano works from different style periods: one Baroque, one Classical, and one Romantic or
20th/21st century. For Music Education and Piano Performance applicants, all works must be performed from
memory. For other applicants, at least one work must be performed from memory.
The vast scope of piano repertoire makes it difficult to make specific recommendations. If you are uncertain
about how to choose pieces for your audition, we can suggest the 4-volume "Audition Repertoire for the
Advancing Pianist: Two Stylistically Balanced and Technically Diverse Programs," edited by Jane Magrath,
published by Alfred. Volumes 3-4 are suitable for Music Education and Piano Performance auditions; Volumes
2-4 are suitable for other Music Major auditions; Volumes 1-4 are suitable for Music Minor auditions. It is
important to choose all pieces from the same program within one of these books, as the pieces are designed to
complement one another.
2. Three-octave major and minor scales and arpeggios.
3. Auditioning students may be asked to sight-read.
Vocalists (accompanist provided) – Undergraduate:
BA (except musical theatre), BS, BME, BM: Two memorized songs; one must be in English and the other must be
in Italian, German or French. Examples of suggested periods and languages are Italian baroque songs or arias,
German romantic Lieder, French romantic melodies, and 20th or 21st century American or English art songs. A
musical theatre selection may be chosen in place of the 20th Century American or English art song.
BA – Musical Theatre: Two memorized songs; one must be in English. At least one of the selections must be from
the musical theatre/opera genre. Examples of suggested periods and languages for a non-musical theatre/opera
selections are Italian baroque songs or arias, German romantic Lieder, French romantic mélodies, and 20th or 21st
century American or English songs.
Vocalists (accompanist provided) – Graduate:
Candidates for graduate study in voice must prepare four memorized selections, one each in English, Italian,
German, and French, representing a variety of styles and historical periods. Both arias and art songs are acceptable.
A minimum of two (2) contrasting operatic or oratorio arias in the original language must be performed.
Page 1
7/17/2012
Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
String players:
Play three-octave major and minor scales and arpeggios slurred or with separate bows at a moderate tempo: for
example, triplets at a metronome speed 60 (MM=60). Play at least two pieces or movements in different tempi,
preferably in two different style periods: baroque, classical, romantic, and 20th century.
Violin:
Baroque—Bach, unaccompanied sonatas and partitas; Corelli, sonatas. Classical — Accolay, concerto; Seitz,
concerto; Mozart, sonatas and concerti. Romantic — Brahms, sonatas; Mendelssohn, concerto. 20th century—
Hindemith, sonatas; Bartók, Rumanian dances.
Viola:
Play at least two pieces or movements in different tempi, from contrasting style periods: baroque, classical,
romantic, and 20th century.
Cello:
Two or three movements or etudes in contrasting styles. Etudes: Popper, Lee, Gruetzmacher, Dotzauer, or
similar level. Suggested Repertoire: Solo Suites by Bach; Sonatas by Marcello, Vivaldi, Boccherini, Brahms, or
Beethoven; Concerti by Vivaldi, Haydn, Boccherini, Elgar, Dvorak, or Saint-Saens; Concert pieces by Popper,
Bruch, Faure, or Saint-Saens.
Bass:
Baroque — Movements from the Bach suites (any edition); Vivaldi, Eccles, Birkenstock, Marcello or similar
Sonatas. Classical—Works by Capuzzi, Dragonetti, Vanhal, Sperger, Dittersdorf, Keyper, etc.. Romantic—
Works by Bottesini, Kousevitsky, etc.. 20th century—Works by Vagn Holmboe, David Ellis, Levitan; a good
anthology of short works from which to choose is Schirmer’s Solos for the Double Bass Player.
Classical guitar:
Major and minor scales in two and three octaves using rest strokes and free strokes; be prepared to sight-read
melodies up to the fifth position. In addition, applicants must perform from memory one work in each of the
following categories, not to exceed 15 minutes:
1. A transcription of a work written before 1750.
2. A classical or romantic work (including the Segovia repertoire) written for guitar.
3. A 20th century work written for guitar.
Repertoire suggestions
Renaissance: Milan - Pavanes, Narvaez - Guardame las vacas, Anon. - Six Lute Pieces of the Renaissance;
Baroque: a movement from a Bach suite, Sanz - Suite Espanola; Classical: Sor - Studies (Segovia edition),
Legnani - Caprices, Op. 20; Romantic: Ponce - Preludes, Tarrega - Preludes, Llobet - Catalan Folksongs;
Contemporary: Brouwer - Etudes Simples.
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7/17/2012
Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
Flute – Undergraduate:
1. Two works in contrasting style. Suggested repertoire: J. S. Bach, sonatas; Mozart, concerti in D or G, C. P. E.
Bach, Sonata in A minor, Gaubert, Nocturne et Allegro Scherzando or Fantaisie; Enesco, Cantabile et Presto;
Griffes, Poem; Hue, Fantaisie: Poulenc, Sonata; Hindemith, Sonata; Prokofiev, Sonata; Liebermann, Sonata.
2. Sight reading.
Flute – Graduate:
1. Four pieces in contrasting styles (one needs to be a concerto)
2. Three orchestral excerpts from the standard repertoire
3. Sight reading
Oboe:
Any selection from Everybody’s Favorite Oboe Solos; Handel, Sonatas 1-3; W. Ferling, Forty-eight Famous
Studies for Oboe; Barret, Forty Progressive Melodies.
Clarinet:
Two or three movements or etudes in contrasting styles. Etudes: Rose-32 Etudes, Rose 40 Studies, Cavallini 30
Caprices, Jean-Jean 20 Etudes, Jean-Jean 18 Etudes, or similar level. Solos: Weber Concertino, Weber Concerto #1
or #2, Mozart Concerto, Stamitz Concerto, Saint-Saens Sonata, Poulenc Sonata, Debussy Rhapsody, Hindemith
Sonata, Stravinsky Three Pieces, Osborne Rhapsody, Sutermeister Cappricio, or similar level.
Bassoon:
Any of the 50 advanced studies by Julius Weissenborn; Weber, Andante and Hungarian Rondo, Op. 35; any
movement from any concerto by Vivaldi; any movement from any sonata by Galliard.
Saxophone:
1. Prepare all major scales, full-range, slurred.
2. Sight-reading.
3. Two contrasting movements or etudes from the following works (or works of similar difficulty): Eccles Sonata,
Heiden Sonata, Creston Sonata, Maurice's Tableaux de Provence, Noda's Improvisation I, Glazounov Concerto,
Creston Concerto. Etudes: 48 Famous Studies - Ferling/Mule, 18 Etudes - Berbiguer/Mule
4. Optional jazz improvisation. Prepare the melody and improvise over one standard tune. (Example: Now's the
Time, Bb Rhythm Changes, Blue Bossa, All the Things You Are, etc.)
Page 3
7/17/2012
Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
Horn – Undergraduate & Graduate:
Two works in contrasting style. Suggested repertoire:
First and 2nd movements of any Mozart or Strauss Horn Concerto; Franz Strauss Concerto; Beethoven Sonata;
Hindemith Sonata or other standard solo literature; OR Two etudes in contrasting styles from Kopprasch, Gallay,
Maxime-Alphonse or Verne Reynolds. Prepare all major scales two octaves. All students will sight read.
Performance degree candidates should also prepare five standard orchestral excerpts.
Trumpet:
1. All Major scales, two octaves, slurred
2. One etude to be chosen from the following:
Arbans – 14 Characteristic Studies, Bordogni – Vocalises, Bousquet – 36 Celebrated Etudes, Brandt – Orchestra
and Last Etudes, Charlier – 36 Transcendental Etudes
3. One solo – Suggested repertoire:
Arutunian Concerto, Balay – Prelude and Ballade or Piece de Concours, any solo by Herbert L. Clarke,
Ewazen – Sonata, Goedicke – Concerto or Concert Etude, Haydn – Concerto, Hummel – Concerto,
Kennan – Sonata, Peeters – Sonata, any piece by Turrin, Stevens – Sonata
4. Performance majors must prepare 4 orchestra excerpts from the standard trumpet orchestral repertoire.
Trombone:
Alexandre Guilmant, Morceau Symphonique; Joseph Eduoard Barat, Andante et Allegro or Piece in Mi Bemol;
Paul V. de la Nux, Concert Piece; Camille Saint-Saens, Cavatine; any Marcello sonata; any etude from Melodius
Etudes, Book 1, by Johannes Rochut.
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7/17/2012
Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
Euphonium:
Choose two etudes or solo selections that demonstrate the technical and lyrical aspects of your playing. You will
also be asked to sight-read a short musical example. Some etude and solo sections include, but are not limited to:
Etude BooksArban, Complete Method for Trombone/Euphonium (Characteristic Studies)
Mead, 20 Dances for Euphonium or New Concert Studies Vol. 1 or Vol. 2
Bordogni/Rochut, Melodious Etudes for Trombone Vol. 1
Rubank, Advanced Method Vol. 1 or Vol. 2
Tyrell, 40 Progressive Studies
SolosBarat, Andante et Allegro or Introduction and Dance
Capuzzi, Andante and Rondo
Curnow, Rhapsody
Galliard, Sonata (any movement)
Haddad, Suite for Baritone
Horovitz, Concerto (any movement)
Guilmant, Morceau Symphonique
Mozart, Concert Rondo (from Bassoon Concerto k. 191)
Richards, Midnight Euphonium
Sparke, Song for Ina
Telemann, Sonata (any movement)
Tuba:
Choose two etudes or solo selections that demonstrate the technical and lyrical aspects of your playing. You will
also be asked to sight-read a short musical example. Some etude and solo sections include, but are not limited to:
Etude BooksBordogni, 43 Bel Canto Studies
Grigoriev, 78 Studies
Kopprasch, 60 Studies
Tyrell, 40 Advanced Studies
Vasiliev, 24 Melodius Etudes
SolosBach, Air and Bouree Bach, Air and Bouree
Barat, Introduction and Dance for Tuba
Gregson, Tuba Concerto (any movement)
Haddad, Suite for Tuba (any movement)
Hindemith, Sonata for Tuba (1st movement)
Lebedev, Concerto in One Movement
Marcello, Sonata in F Major
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7/17/2012
Illinois State University
School of Music
Audition Repertoire Recommendations
The following suggestions are representative of acceptable repertoire. There are obviously hundreds of selections
which would serve adequately, so you are obviously not limited to these. Students should not hesitate to use music
similar in nature and difficulty.
Percussion:
Perform on snare drum, keyboard percussion, timpani. Optional performance on multiple percussion, drum set, or
accessories may also be performed. See recommendations below. Questions regarding any music not listed here,
technical aspects, instruments to bring, etc., should be directed to David Collier, director of percussion studies, by
telephone at (309) 438-8022 or by E-mail at dcollier@ilstu.edu.
Snare Drum
1. Performance of concert or rudimental style solo or etude. Recommendations: Cirone—Portraits in Rhythm,
Delecluse—12 Studies for Snare Drum, Abel—2040’s Sortie, Colgrass—6 Unaccompanied Solos for Snare
Drum, Gauthreaux—Technica 9, Schinstine—any solo, Pratt—any solo, Wilcoxon—any solo
2. Play isolated rudiments from the 40 International Drum Rudiments. Contact director of percussion studies if
a copy is needed.
3. Sight-read.
Keyboard Percussion
1. Performance of a two-mallet or four-mallet solo on marimba, xylophone, or vibes. Recommendations:
Kreisler—Tambouin Chinois (2), G. H. Green—any ragtime piece (2), Handel—any sonata (2), Creston—
Concertino, movement 1 (2), Peters—Yellow After the Rain (4), Musser—Etude, Op. 6, #9 or #10 (4),
2. Play any major scale, 2 octaves. Play major arpeggios.
3. Sight-read.
Timpani
1. Perform a solo on two, three, or four timpani. Recommendations: Goodman—etudes from Modern Method
for Timpani, Firth—The Solo Timpanist, Thomas Brown—Timpani: The Solo Collection, Beck—Sonata
for Timpani, Frock—Seven Solo Dances, Mitchell Peters—Primal Mood, Mitchell Peters—Rondino,
Mitchell Peters—Scherzo for Three Timpani
2. Demonstrate ability to match a pitch with the voice and then tune the timpani.
Extras
You may choose to also play a short solo on multiple percussion, drum set, or accessories. If you wish to do this at
your audition, please let us know in advance so the equipment can be prepared. In addition, if you are auditioning
on drum set, please bring a tape containing your performance in various styles (i.e., big band swing, jazz, waltz,
funk, basic rock, Latin).
Composition – Undergraduate:
Composition majors must be accepted into a performance studio like all other music majors.
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