Music Entrance Requirements

• All major scales, one or two octaves (within the practical range)
• All minor scales (one form – natural, harmonic or melodic)
• Two contrasting études demonstrating melodic and technical styles
• One solo, preferably from the WSMA (or your state’s) Solo Contest List
• Sight-reading and aural skills test

Digital portfolio containing your best three to five representative works from the following:

Written scores (at least one required)

• Include digital versions only.
• The score may be of any size – from large ensemble to solo.
• Computer-generated scores (Finale or Sibelius) are acceptable but not required.

Recordings

• Include digital versions only.
• Recordings may or may not be the same as the written scores you submit.

Other

• MIDI form of completed work (standard MIDI File format required).
• Video of a performance or sound track to a Video, DVD, Film, Theatre, Inter-Media presentation.
• Collaborative work with other image, dance, and/or performance artist(s).

Classical Guitar

Technical Exercises

• One major and one minor scale of three octaves from the Diatonic Major and Minor Scales edited by Segovia (Columbia Music).
• Arpeggio Studies Nos. 25 Through 35 by Giuliani, Op. 1, Pt. 1 (any edition).
• Sight-reading: first through fifth positions, simple chords, one- and two-part textures with various rhythms.

Studies

One study to be chosen by the applicant and performed from memory from works such as:

• Eight Lessons for Guitar by D. Aguado (Columbia Music).
• 25 Estudios, Op. 60 by M. Carcassi (any edition).
• Études, Op. 31, 35 or 60 by F. Sor (any edition).

Repertoire

Two easy pieces of contrasting styles to be chosen by the applicant (memorization is required). Examples below:

• Six Pavanas by L. Milan.
• “Gigue” from the Partita in A Minor by A. Logy.
• “Lagrima” by F. Tarrega.
• Equivalent selections, subject to approval.

Jazz Guitar

• Play any major and minor scales (two octaves) chosen by auditioning faculty.
• Improvise over blues changes in F.
• Sight-read a single line melody from bebop literature.
• Sight-read a chord chart.
• Optional: Play a chord/melody solo.

Snare Drum

• One concert style snare drum solo or étude (Mitchell Peters’ books, Cirone “Portraits in Rhythm,” or similar).
• Sight reading.
• Optional: An additional solo or étude in a rudimental style (Wilcoxon, Pratt, or similar) and/or a demonstration of some standard rudiments.

Keyboard Percussion (marimba, vibraphone, xylophone)

• One solo or étude that utilizes two mallets.
• If possible, one solo or étude that utilizes four mallets is encouraged (Mitchell Peters’ “Yellow After the Rain,” Mark Ford’s “Marimba Technique Through Music,” or similar).
• Major scales in two octaves.
• Sight reading.

Timpani

• One solo or étude utilizing two, three, or four drums (books/collections by Goodman, Hochrainer, Peters, Firth, or similar).

Drum Set or World Percussion

• Optional: A solo or demonstration of musical styles on the drum set
• Optional: A solo or demonstration of musical styles on a world percussion instrument such as congas, djembe, steel pan, tabla, etc.

Performance Major

Four compositions of the student’s choice chosen from Baroque, Classical, Romantic, and Impressionist or Modern periods (memorization is expected). Examples below:

• Bach Sinfonias (Three-Part Inventions) or “Prelude and Fugue” from Well-Tempered Clavier Book I or II.
• One movement from a sonata by Beethoven, Mozart, Haydn or Schubert.
• Romantic repertoire such as a Chopin Nocturne, Scherzo, or Impromptu; Schumann Fantasiestucke or Papillons; Mendelssohn Songs Without Words or Variations Serieuses.
• Impressionistic or Modern Period solo (20^th/21^st century).

BA or MusEd BFA Principal Instrument

• Any three major and minor scales, hands together, two octaves.
• Two contrasting pieces from the following sample repertoire or comparable (memorization not required): Examples below:
  • Bach Sinfonias (Three-Part Inventions) or “Prelude and Fugue” from Well-Tempered Clavier Book I or II.
  • One movement from a sonata by Beethoven, Mozart, Haydn or Schubert.
  • Romantic repertoire such as a Chopin Nocturne, Scherzo, or Impromptu; Schumann Fantasiestucke or Papillons; Mendelssohn Songs Without Words or Variations Serieuses.
  • Impressionistic or Modern Period solo (20^th/21^st century).

Non-Principal Instrument

• Any three major or minor scales, hands together, one octave. 
• Two contrasting pieces from the following sample repertoire or comparable (memorization not required). Examples below: 
  • Beethoven, Sonatinas.
  • J.S. Bach, Notebook for Anna Magdalena.
  • J.S. Bach, Easy Preludes.
  • Prokofiev Op. 65.
  • Bartók, For Children.
  • Bartók, Mikrokosmos.

Collaborative Piano

No transcriptions please.

• One art song (any language).
• One aria from an opera (any language).
• One movement from a classical sonata for piano and a string instrument.
• A contrasting movement of a chamber piece (any combination of instruments) of the student’s choice (this selection must be chosen from musical styles other than classical).

Violin

Memorization of all material except the étude is preferred. Any deviation from the requirements must be approved prior to the audition.

• Three octave major and minor scales.
• One Étude or Caprice, chosen from Kreutzer (except 1-8), Dont Op. 37, Fiorillo, Rode.
• Two contrasting movements from a Bach Suite, Sonata, or Partita.
• A movement from a standard Concerto (Classical, Romantic, or 20th Century) excluding Baroque Concerti.

Viola – BFA Performance Major

Memorization of all material except the étude is preferred. Any deviation from the requirements must be approved prior to the audition.

• Three octave major and minor scales.
• An étude by Mazas, Kreutzer, Fuchs, Rode or Paganini.
• Two contrasting movements of a Bach Suite, Sonata, or Partita.
• One movement of a Concerto or Sonata from the standard repertoire (ex. Concertos: J.C. Bach, Handel, Hoffmeister, Stamitz, Walton, Hindemith, Bartok, Sonatas; Schubert, Brahms, Clarke, etc.).

Viola – BA or MusEd BFA Principal Instrument

Memorization of all material except the étude is preferred. Any deviation from the requirements must be approved prior to the audition.

• Three octave major and minor scales.
• Étude by Mazas, Kreutzer, Fuchs, Rode or Paganini.
• One movement of a Bach Suite.
• One movement of a Concerto (ex. Telemann, J. C. Bach, Handel, Hoffmeister, Stamitz, etc.).

Cello

All material should be memorized except the étude. Any deviation from the requirements must be approved prior to the audition.

• Three octave major and minor scales.
• An étude by Popper, Dotzauer, Duport, Lee or Kummer.
• Two contrasting movements of one of the first three Bach Suites for Solo Cello.
• One movement of Concerto from standard repertoire (ex. Lalo, Saint-Saens, Haydn in C Major).

String Bass – BFA Performance Major

Any deviation from the requirements must be approved prior to the audition.

• Major and minor scales and Arpeggios; E-B, three octaves, C-E flat, two octaves (memorized).
• Étude by Storch-Hrabe II or Hrabe II.
• Two contrasting movements from a Baroque Sonata or two contrasting movements from a Bach cello Suite.
• One movement of a Concerto from the standard repertoire (Kousevitzky, Dragonetti, Dittersdorf, Bottesini) Memorization is required.
• Excerpts from Beethoven Symphonies No. 5 and 9 and Mozart Symphony No. 40.

String Bass – BA or MusEd Principal Instrument

Any deviation from the requirements must be approved prior to the audition.

• Major and minor scales and Arpeggios; E-B, three octaves, C-E flat, two octaves (memorized).
• Étude by Simandl or Hrabe.
• Two contrasting movements from a Baroque Sonata.
• One movement of a Concerto from the standard repertoire, (Kousevitzky, Dragonetti, Dittersdorf, Bottesini).

Harp

• Two and a half octave scales (in any key).
• Technical étude of the level of Pozzoli Studi di Media Difficolta.
• Two solos of contrasting styles.
• An orchestral cadenza of the student’s choice.

All Voice Applicants

• Students are encouraged to select repertoire that is appropriate for their level of vocal and musical development. Repertoire need not be overly difficult to successfully showcase a student’s ability and potential.  
• A pianist will be provided. If performing with the pianist, bring sheet music consisting of a full piano vocal score. We are not able to accommodate lead or chord sheets. Be sure this music is in the correct key as the pianist will not transpose.  
• Students may perform with the provided pianist, use backing tracks, or self-accompany on guitar, piano, or another instrument when stylistically appropriate.  When using backing tracks, tracks must be “karaoke” style and cannot include the solo vocal line or other vocals. 
• A short vocal and musical skills assessment will conclude the audition. 

Voice – BA Principal Instrument

• Two memorized, contrasting solo voice selections from any genre.

Voice – Music Education BFA Principal Instrument

• Two memorized, contrasting solo voice selections. 
  • One selection must be classical in nature.
  • The other selection may be from any genre (classical, musical theatre, contemporary commercial music, original compositions, etc.)

Voice – BFA Performance

• Two memorized, contrasting solo voice selections from any genre—one must be in English and one in a language other than English.
  • One selection must be classical in nature (aria, art song, oratorio, etc.)
  • The other selection may be from any genre (classical, musical theatre, contemporary commercial music, original compositions, etc.)

Versatile Voice – BFA Performance

• Three contrasting (tempo and style) memorized solo voice selections. Each selection should be no more than 3 minutes in length with a total time of no more than 8 minutes for all three pieces – please make cuts if necessary and mark them clearly in the score. 
  • One selection must be classical in nature
  • One selection must be musical theatre
  • One selection should be a song from a contemporary classical music (CCM) genre: pop, rock, R&B, country, folk, gospel, original composition, etc.

The Musical Theatre degree is located within our Theatre Department. Please see the this section on the apply page for details relating to entrance requirements.

Flute

• All major and minor scales.
• Two contrasting solos (use the WSMA or your state’s solo contest list as a guide).
• One étude of your choice.
• May include sight-reading.

Oboe

• Major and minor scales through four flats and four sharps.
• Barret Oboe Method: Progressive Melodies No. 1 and No. 13.
• Two contrasting movements from one of the following works.
  • Cimarosa: Concerto
  • Handel: Concerto in G Minor
  • Handel: Sonata No. 1 in C Minor
  • Haydn: Concerto in C Major
  • Marcello: Concerto in C Minor
  • Mozart: Concerto in C, K. 314
  • Mozart: Quartet in F, K. 370
  • Telemann: Partita No. 2 in G Major
  • Telemann: Sonata in A Minor

Clarinet

• Major and minor scales through four sharps and four flats.
• Two contrasting études demonstrating melodic and technical styles.
• One solo, preferably from WSMA (or your state’s solo contest list).
• May include a sight-reading or aural skills test.

Saxophone

• All major scales (full range as listed in Trent Kynaston’s Daily Studies).
• Two contrasting études demonstrating melodic and technical styles.
• One solo from WSMA (or your state’s Class A list. Examples include:
  • Bozza: “Improvisation et Caprice”
  • Creston’s Sonata
  • Dubois’ Concerto
  • Ibert: “Concertino da Camera”
  • Francaix: Cinq Danses Exotiques
  • Glazounov’s Concerto
  • Hindemith’s Sonata
  • Heiden’s Sonata
  • Maurice: Tableaux de Provence
  • Milhaud: “Scaramouche”
  • Noda: “Improvisation I”
  • Villa Lobos’ Fantasia
• Sight-reading

Bassoon

• All major and minor scales
• Two contrasting études demonstrating melodic and technical styles
• Choose the first two movements of one of the following: 
  • Hummel: Concerto in F
  • Mozart: Concerto in B-Flat
  • Weber: Concerto in F
• May include sight-reading

All Brass Instruments

• All major and minor scales, one/two/three octaves (within the practical range of the instrument).
• Sight-reading. 
• Aural skills test. 

Trumpet

• Two études demonstrating melodic and technical styles—at least one from Charlier Trente Six Études Transcendantes.
• Two solos from the standard repertoire.
• Two contrasting major orchestral excerpts.

French Horn

• Two contrasting études demonstrating melodic and technical styles.
• Portions of two standard solo works for horn—Mozart or Strauss concerti preferred.
• Two contrasting major orchestral excerpts.

Tenor Trombone

• Two contrasting études demonstrating melodic and technical styles.
• One solo at the level of Grondahl or David concerti preferred.
• Two contrasting major orchestral excerpts

Bass Trombone

• Two contrasting études demonstrating melodic and technical styles.
• One solo at the level of Ritter George or Ewazen concerti preferred.
• Two contrasting major orchestral excerpts.

Euphonium

• Two contrasting études demonstrating melodic and technical styles.
• At least one solo from the standard repertoire. Examples below:
  • Curnow: Symphonic Variants; Fantasia di Falcone 
  • Ellerby: Concerto for Euphonium 
  • Horowitz: Concerto for Euphonium 
  • Sparke: Pantomime; Party Piece; Song for Ina 
• Two contrasting excerpts from the band repertoire.

Tuba

• Two contrasting études demonstrating melodic and technical styles.
• A solo demonstrating technical ability and beauty of sound. Examples below:
  • Plog: Three Miniatures 
  • Hindemith: Sonata for Tuba 
  • Vaughan Williams: Concerto for Bass Tuba 
  • J.S. Bach: Cello Suites 
  • Casterede: Sonatine for Tuba 
  • Wilhelm: Concertino for Tuba 
• Three contrasting orchestral or band excerpts. Examples below:
  • Prokofiev: Symphony No. 5
  • Wagner: Die Meistersinger von Nürnberg; Ride of the Valkyries 
  • Gershwin: An American in Paris 
  • Berlioz: Symphonie Fantastique 

Portfolio of three to five original compositions including at least one each below:

1. Audio, MIDI or video recording
2. Written score
3. Work of electro-acoustic origin (computer-based)

• Compositions may be of any size or instrumentation, from large ensemble to solo instrument; and may be collaborative with other artists (dance, film, art, theatre, etc). Compositions may also be improvisation scores or instruction algorithms. Consideration of collaborative composition(s) will depend on the nature/integration of the project (i.e. member of a band vs your compositional work in the collaboration).
• Computer-generated scores (i.e. Finale, Sibelius) are preferred but not required. Written score(s) should be uploaded as individual PDF(s).
• Recordings may be submitted as audio, MIDI (standard format only) or video files. Sound quality must be acceptable.
• Recording Portfolio should be uploaded as a single PDF. For each work included in the portfolio, please include:
  • Exact URL of audio, MIDI or video recording, with password if necessary. Videos may be hosted on a personal website, site such as Soundcloud, YouTube or Vimeo, or in an online folder share such as Dropbox or OneDrive.
  • Work information: title, year of composition, instrumentation.
  • Performance information, if applicable (i.e. performers and/or collaborators, venue/company/organization, date of performance, etc).

Optional: One analytical paper and/or presentation can be submitted; examples include: analytical research paper or presentation for a theory or electro-acoustic organization/conference; computer-assisted analysis or presentation in such areas as spectromorphology or acoustic/electro-acoustic theory.

Pre-screening

All applicants are required to submit a pre-screening video portfolio. Following review of your submitted portfolio by your program’s ensemble director, you will be contacted directly if you have been selected for a live audition and/or if additional materials are needed. Video repertoire for pre-screening should consist of the following, depending on your emphasis/focus:

• Video recordings should be high quality, unedited, and produced without artificial enhancement (such as filters, echo or electronic reverb). They should feature you as conductor in full frontal view, with a part of the ensemble also in view. Videos may be hosted on a personal website, streaming site such as YouTube or Vimeo, or in an online folder share such as Dropbox or OneDrive. Each video URL (and password, if applicable) must be provided on the applicable questionnaire document uploaded. That uploaded document should also include the applicable information about the recording: selection title, composer, date of recording, ensemble, etc.
• Choral Emphasis: 15-20 minutes of rehearsal and performance footage from two contrasting pieces. Video should contain at least 10 minutes of unedited rehearsal and live performance of at least one work.
• Instrumental Emphasis – Orchestral Focus: 10-20 minutes, required to show two examples in contrasting styles.
• Instrumental Emphasis – Wind Band Focus: 10-15 minutes of unedited rehearsal, and live performance of at least one work. 

Live Audition

In-person rehearsal with UWM student ensemble is required (exemptions can be granted for overseas domestic and/or international applicants); audition date will be discussed/confirmed with the ensemble director. Repertoire will vary.

• Choral Emphasis: as discussed with ensemble director (chosen from current ensemble repertoire).
• Instrumental Emphasis – Orchestra Focus: as chosen by ensemble director.
• Instrumental Emphasis – Wind Band Focus: as chosen by ensemble director.

Classical Guitar

Pre-Screening

All applicants are required to submit a Pre-screening video portfolio. Following review of your submitted portfolio by the guitar faculty, you will be contacted directly if you have been selected for a live audition and/or if additional materials are needed.

Technical

• One major and one minor scale (three octaves).
• Sight-reading portion of any major work in the repertoire 

Repertoire

Choose five selections from the following:

• Two contrasting movements by J.S. Bach, chosen from: Suites, Sonatas, or Partitas for Lute, Cello, Violin or Flute (including Prelude, Fugue and Allegro for Lute BWV 998) or equivalent. Two movements count as one selection.
• Mauro Giuliani: Variations, op. 38; Grande Ouverture, op. 61; Variations op. 105 or op. 107; Sei grandi variazioni, op. 122; Le Rossiniane, op. 119-124; Giulianate, op. 148; Gran sonata eroica, op 150.
• Nicolo Paganini: Grand Sonata in A, arr. for guitar solo.
• Fernando Sor: Introduction and variations on a theme by Mozart, op. 9; Grand solo, op. 14; Sonata, op. 15b; Grande Sonate, op. 22; Deuxieme Grande Sonate, op. 25; Introduction and Variations, op. 26 or op. 28; Septieme fantaisie et variations brillantes, op. 30; Fantaisie sur un air favori ecossaise, op. 40; Fantaisie Élégiaque, op. 59 (or equivalent).
• An étude by Villa Lobos.
• A work by Barrios, Brouwer, Lauro, Ponce, or another Latin American composer.
• A work by Albeniz, Rodrigo, Turina, Torroba, or another Spanish composer.
• A work by an American or European composer from the 20^th or 21^st century 

Jazz Guitar

Technical

• Demonstrate 7^th chord inversions (root pos., 1st, 2nd, & 3rd inv.) of 4 chord types (maj7, dom7, m7, half-diminished 7) on three string groups: 2/3/4/6, 1/2/3/5, 1/2/3/4.
• Sight-read single line melody.

Repertoire

• Chord/melody solo arrangement of one of the following: “Stella by Starlight” by Victor Young, “Body and Soul” by Johnny Green, “All the Things You Are” by Jerome Kern.
• Rhythm changes (quarter note=200bpm or higher) of one of the following by Charlie Parker: “Moose the Mooche,” “Anthropology,” “Dexterity.”
• One of the following: “Half Nelson” by Miles Davis, “Groovin’ High” by Dizzy Gillespie, “Airegin” by Sonny Rollins.

Two Video recordings of your teaching: 

• One should be classroom teaching or rehearsal. This should demonstrate your organization of the lesson around learning objectives for students beyond playing notes on the page. How are you showing the development of musicianship and musical understanding? 
• The second may be a performance or a lesson from a different level of students. This one can be intended to show the musical outcomes of your teaching whether in formal performance, or the final play through of material in a general music classroom. 
• Each should be 20-40 minutes in length, unedited for classroom material. The camera angle should be set to capture the students as well as yourself. 
• Videos may be hosted on a personal website, site such as YouTube or Vimeo, or in an online folder share such as Dropbox or OneDrive. Each video URL (and password, if applicable) must be provided along with information about the groups shown, and lesson focus. 

• Resume/CV.
• Statement of reason for pursuing study.
• 3 letters of recommendation.
• Writing sample: 1-2 research papers completed during undergraduate study. If a Music History paper is unavailable, a paper in Music theory, history, area studies, or another humanities discipline is acceptable. 

Snare Drum

• One concert-style solo or étude. Examples below:
  • Delecluse: Twelve Studies 
  • Cirone: Portraits in Rhythm 
• One rudimental-style solo or étude. Examples below:
  • Wilcoxon: The All-American Drummer 
  • Pratt: 14 Modern Contest Solos 
  • Tompkins: Nine French-American Rudimental Solos 
• Sight reading.
• Optional: one or two standard orchestral excerpts.

Keyboard Percussion (marimba, vibraphone, xylophone)

• One solo or étude that utilizes two mallets, or two standard orchestral excerpts.
• One solo that utilizes four mallets.
• Sight reading.

Timpani

• One solo or étude utilizing 3-4 drums. Examples below:
  • Delecluse: Twenty Studies, Thirty Studies
  • Firth: The Solo Timpanist
  • Carter: Eight Pieces for Four Timpani

Drum Set, Auxiliary or World Percussion

• Optional: Orchestral excerpts on crash cymbals, tambourine, or triangle.
• Optional: One solo or demonstration of musical styles on drum set.
• Optional: One solo or demonstration of musical styles on a world percussion instrument such as congas, djembe, steel pan, tabla, etc.

All

Sight-reading is required if you would like to be considered for a Teaching/Project Assistantship.

Piano – Performance

Memorization required for all.

• One J.S. Bach work, chosen from: Prelude and Fugue, English or French Suite, Partita, or Toccata.
• One classical sonata by Beethoven, Haydn, Mozart, or Schubert (excluding Beethoven Op. 27, No. 2; Mozart K.545; Mozart K.332).
• One Romantic work longer than 6 minutes.
• One virtuoso étude by Chopin, Liszt, Debussy, Stravinsky, etc.
• One 20^th or 21^st century work longer than 4 minutes.

Collaborative Piano – Instrumental

• One allegro movement from a classical duo sonata (string) or a set of variations.
• One lyrical movement from another period.
• One movement from a 20^th or 21^st century work.
• One short piano solo (4-7 minutes in length, memorization required).

Collaborative Piano – Vocal

• One lied by Strauss, Schubert, Schumann, or Brahms.
• One melodié by Debussy, Fauré, or Duparc.
• One American art song.
• One Italian operatic aria by Puccini or Verdi.
• One aria from an opera by Mozart.
• One short piano solo.

Violin – Performance

• One étude by Rode, Dont op. 35, or Paganini (memorization required).
• One movement of a J.S. Bach Sonata or Partita for Solo Violin (memorization required).
• One movement of a Mozart concerto or sonata.
• One movement of a concerto from standard repertoire (memorization required).

Violin – Pedagogy

• One étude by Rode, or Dont op. 35.
• One movement of a J.S. Bach Sonata or Partita for Solo Violin (memorization required).
• One movement of a Mozart concerto.
• One movement of a concerto from standard repertoire (memorization required).

Viola

• One étude by Kreutzer, Mazas, Fuchs, Rode, or Paganini.
• Two contrasting movements of a J.S. Bach Suite, Sonata, or Partita.
• Two contrasting concerto or sonata movements from the 18^th-21^st century.

Cello – Performance

• One étude by Popper, Grützmacher, or Caprice by Servias or Piatti.
• Two contrasting movements from one of the last three J.S. Bach Suites for Solo Cello.
• One movement of a standard repertoire concerto by Dvorak, Schumann, Haydn, Tchaikovsky, Elgar, etc.
• One additional work from the genres of character/showpieces, solo or sonata repertoire.

Cello – Pedagogy

• One étude by Popper, Dotzauer, Duport.
• Two contrasting movements from J.S. Bach Six Suites for Solo Cello.
• One movement of a standard repertoire concerto by Lalo, Saint-Saens, Haydn, etc.
• One additional work from the genres of character/showpieces, solo or sonata repertoire.

String Bass – Performance

• One étude by Findeisen, Kreutzer, or Nanny.
• One complete sonata or complete concerto (memorization required).
• One 20^th or 21^st century work (memorization required). Excerpts from: 
  • Beethoven: Symphony No. 5 
  • Beethoven: Symphony No. 9 
  • Mozart: Symphony No. 40 

String Bass – Pedagogy

• One étude by Storch/Hrabe, Hrabe.
• Two contrasting movements from a Baroque sonata or a J.S. Bach Cello Suite.
• One movement of standard repertoire concerto by Kousevitzky, Fragonetti, Dittersdorf, or Bottesini (memorization required).

Harp

• One technical étude.
• Two and a half octave scales (any key).
• Two solos in contrasting styles.

• Sight-Singing and Aural Skills assessment
• Repertoire: five selections total from the art song, opera, oratorio and (if desired) musical theatre and contemporary commercial music (CCM) repertoires. All selections must be memorized, with the exception of oratorio arias for which score usage is permitted.
  • One selection must be an opera or oratorio aria
  • One selection must be an art song
  • The remaining elections can be opera, oratorio, or art song. One musical theatre or CCM piece may substitute for one of the remaining selections. 
• Repertoire Notes:
  • Selections should display a variety of musical styles and historical periods. 
  • Selections must represent the following four languages: German, French, Italian, and English. Additional languages are welcome beyond the four listed. 
• Video Submission: In cases where travel to Milwaukee is prohibitive, applicants may request to submit videos and meet virtually in lieu of a live audition. Applicants wishing to pursue this option must contact the Voice Area Head for consent.
  • Individuals will still be required to attend a live Zoom session on one of the schedule entrance audition dates for an interview and the sight-singing and aural skills assessment. 
  • The repertoire video links should be submitted via the Graduate School application (the portfolio section). 

Flute

• One movement of a standard concerto by Mozart, Ibert, Nielsen, etc.
• Two contrasting solo works (from concerti, sonatas, works with piano, or flute alone), including one written after 1980.
• Two contrasting orchestral excerpts from the standard repertoire.

Oboe

• All major and minor scales.
• Two contrasting études by Barret or Ferling.
• Two contrasting orchestral excerpts from the standard repertoire.
• One solo work of your choice.

Clarinet

• All major and harmonic minor scales.
• Two contrasting études from Rose 32 Études.
• Two contrasting solo works (from concerti, sonatas, works with piano, or clarinet alone).
• All orchestral solos from the following:
  • Beethoven: 6th Symphony, 1^st and 2^nd movements 
  • Rimsky-Korsakov: Capriccio Espagnol, 1^st and 3^rd movements 
  • Mendelssohn: Scherzo 
  • Mendelssohn: 3^rd Symphony, 2^nd movement 
  • Brahms: 3^rd Symphony, 1^st and 2^nd movement

Saxophone

• All major and minor scales, full range.
• Major and minor thirds and fourths.
• Three contrasting pieces from at least two different time periods.
• Sight-reading.

Bassoon

• Mozart’s Bassoon Concerto, Mvt. 1 with cadenza.
• Sonata movement of choice.
• Three contrasting orchestral excerpts from the standard repertoire.