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Audition Information – School of Music

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The School of Music encourages all prospective students to schedule an audition on the announced audition days in January and February. Each announced audition day includes the opportunity for parents and students to ask questions of the administration and current EKU student representatives, a tour of the Foster Music Building, audition with EKU Music faculty, and sit in during large ensemble rehearsals.

Audition Dates

Undergraduate Audition Dates – By Appointment Only

  • Thursday, January 23, 2025 at 10 am
  • Monday, February 3, 2025 at 10:00 am
  • Thursday, February 20, 2025 at 10:00 am
Schedule Your Audition

Graduate auditions are by appointment only. Please contact the faculty representative for your applied instrument.

Students are expected to demonstrate acceptable levels of achievement during their audition performance. Students may also be accepted on probationary status at the discretion of the applied teacher and the director of the School of Music.

Audition Requirements

Prospective students should peruse the appropriate information below, apply for acceptance into the School of Music, and then schedule an audition.

Students may arrange an audition anytime by emailing the School of Music at music@eku.edu with the subject arrange an audition.

Students should also schedule their Theory Placement Interview during their visit to the School of Music. Prospective students must also apply to and be accepted by Eastern Kentucky University. Auditionees are expected to demonstrate acceptable levels of achievement during their audition performance. Students may also be accepted on probationary status at the discretion of the applied teacher and the department chair.

Auditions for admittance to the brass area will consist of the following:

  • Demonstration of major scales (preferably two octaves)
  • Sight reading
  • Prepared solo or two etudes of contrasting styles (i.e. technical and lyrical)

Instrument specific sample literature can be found in the expanding sections below.

Sample Euphonium Solo Literature

  • Barat – Andante et Allegro
  • Barat – Introduction and Dance
  • Galliard – Sonatas
  • Guilmant – Morceau Symphonique
  • Handel / arr. Fitzgerald – English Suite
  • Marcello – Sonatas
  • Ropartz – Andante et Allegro

Sample etudes

  • Arban – Complete Method for Trombone or Baritone
  • Blazhevich – 70 Studies for Tuba – books 1 and 2
  • Blume – 36 Studies for Trombone
  • Bordner – Practical Studies for Trombone – books 1 and 2
  • Bordogni/Rochut – Melodious Etudes for Trombone – Book 1
  • Getchell – Practical Studies for Tuba – books 1 and 2
  • Kopprasch – Sixty Selected Studies for Trombone (and Tuba)
  • Paudert – 24 Studies for Trombone
  • Tyrell – 40 Progressive Studies for Trombone (and Tuba)

Other possibilities might include

  • All-state or district tryout music
  • A solo (other than one above) used for solo and ensemble festival

If you have questions concerning your audition music or would like to set up an audition, contact Kelly Diamond at 859-626-5178 or kelly.diamond@eku.edu.

Sample Solo Literature

  • Beethoven Sonata for Horn
  • Mozart any of his horn concertos
  • Saint-Saens Concertpiece (Morceau de Concert)
  • F. Strauss Nocturno or Concerto, Op. 8
  • R. Strauss Concerto No. 1

Sample Etudes

  • Kopprasch Sixty Selected Studies for Horn
  • Maxime-Alphonse 200 Etudes Nouvelles (Vol. 2 or 3)
  • Pottag Preparatory Melodies to Solo Work
  • Shoemaker Legato Etudes for French Horn

Other Possibilities Might Include

  • All-state or district tryout music
  • A solo (other than one above) used for solo and ensemble festival

Much of the above music is available as a free download. If you have questions concerning your audition music or would like to set up an audition, contact Dr. Mick Sehmann at 859-893-2507 or mick.sehmann@eku.edu.

Sample Solo Literature

  • Barat – Andante et Allegro
  • De La Nux – Concert Piece
  • Galliard – any one of the six sonatas
  • Guilmant – Morceau Symphonique
  • Ropartz – Andante et Allegro
  • Rousseau – Concert Piece
  • Saint-Saens – Cavatine

Sample Technical Etudes

  • Arban – Complete Method for Trombone or Baritone
  • Blume – 36 Studies for Trombone
  • Bordner – Practical Studies for Trombone – books 1 and 2
  • Kopprasch – Sixty Selected Studies for Trombone
  • Paudert – 24 Studies for Trombone
  • Tyrell – 40 Progressive Studies

Sample Lyrical Etudes

  • Bordogni/Rochut Melodious Etudes – book 1
  • Cimera 55 – Phrasing Studies for Trombone
  • Fink – Studies in Legato

Other Possibilities Might Include

  • All-state or district tryout music
  • A solo (other than one above) used for solo and ensemble festival

If you have questions concerning your audition music or would like to set up an audition, contact Dr. Brad Granville at 502-548-9988 or brad.granville@eku.edu.

Sample Solo Literature

  • Barat – Andante et Allegro
  • Goedicke – Concert Etude
  • Haydn – Concerto for Trumpet
  • Hindemith – Sonata for Trumpet
  • Hummel – Concerto for Trumpet
  • Ligeti – Mysteries of the Macabre
  • Ropartz – Andante et Allegro

Sample Etudes

  • Arban – Complete Method for Trumpet
  • Bousquet – Thirty-Six Celebrated Studies
  • Charlier – 36 Etudes
  • Concone – Lyrical Studies
  • Getchell – Second Book of Practical Studies
  • Vannetelbosch – Etudes

Other Possibilities Might Include

  • All-state or district tryout music
  • A solo (other than one above) used for solo and ensemble festival

If you have questions concerning your audition music or would like to set up an audition, contact Dr. Joseph Van Fleet at 859-948-9374 or joseph.vanfleet@eku.edu.

Sample Solo Literature

  • Bach / arr. Bell – Air and Bouree
  • Barat – Introduction and Dance
  • Galliard – Sonatas
  • Haddad – Suite for Tuba
  • Marcello – Sonatas
  • Vaughan Williams – Six Studies in English Folksong
  • Wilder – Suite No. 1 for Tuba(Effie)

Sample Etudes

  • Arban – Complete Method for Trombone or Baritone
  • Blazhevich – 70 Studies for Tuba – books 1 and 2
  • Blume – 36 Studies for Trombone
  • Bordner – Practical Studies for Trombone – books 1 and 2
  • Bordogni/Rochut – Melodious Etudes for Trombone – Book 1
  • Getchell – Practical Studies for Tuba – books 1 and 2
  • Kopprasch – Sixty Selected Studies for Trombone (and Tuba)
  • Paudert – 24 Studies for Trombone
  • Tyrell – 40 Progressive Studies for Trombone (and Tuba)
  • Tubists may use any version of Bordogni Vocalises.

Other Possibilities Might Include

  • All-state or district tryout music
  • A solo (other than one above) used for solo and ensemble festival

If you have questions concerning your audition music or would like to set up an audition, contact Kelly Diamond at 859-626-5178 or kelly.diamond@eku.edu.

Welcome! If you a prospective student, please begin by completing this Google form. After Dr. Dennis Davis receives your responses, he will contact you to discuss the application for admission to the School of Music, scheduling an audition, and applying to and be accepted by the university. Be sure to contact Dr. Davis if you have any questions about the application or audition process. Talented guitarists are also encouraged to apply for guitar scholarship consideration. If awarded, the amount of the guitar scholarship will be based on the talent of the applicant (not the financial need). All students are encouraged to prepare classical, jazz, and contemporary selections for their audition and Dr. Davis can help you prepare for your audition if you email him at dennis.davis@eku.edu to arrange coaching sessions. The suggested repertoire for scholarship consideration includes, but is not limited to:

Classical Guitar

  • Perform two works from the standard repertoire for classical guitar. These works should be selected from different style periods and have contrasting tempos. Suggested composers include J.S. Bach, Francisco Tárrega, Leo Brouwer, Fernando Sor, Mauro Giuliani, John Dowland, and Andrew York. However, the list of composers for classical guitar is extensive and grows daily, so feel encouraged to ask if a particular work/composer is suitable for your audition. Prospective students should select works that best demonstrate their skills and abilities.
  • Fingerstyle sight-reading in the first three positions in various keys and with a variety of rhythms.
  • Two and three octave major and minor scales.

Contemporary Guitar (plectrum and/or fingerstyle)

  • Jazz
    Perform two contrasting jazz standards by playing the head, comping the changes, and then improvising over the chord changes. Students may bring their own recorded accompaniments or use backing tracks provided at their audition. Suggested styles include Swing, Latin, Blues, and Bebop, and representative songs include Autumn Leaves, All the Things You Are, Black Orpheus, Straigt No Chaser, Girl from Ipanema, Just Friends, Satin Doll, Blue Bossa, Blues for Alice, or similar selections from the Real Book.
  • Contemporary
    Perform any contemporary guitar work of your choosing (pickstyle, fingerstyle, pop, jazz, blues, etc…). Selections by artists such as Andy McKee, Tuck Andress, Mike Stern, Tommy Emmanuel, Joe Satriani, Steve Vai, Chet Atkins, Earl Klugh, Joe Pass, Wes Montgomery, Herb Ellis, Pat Metheny, John Scofield, or Al DiMeola, for example, are encouraged. You may also substitute an original composition for this part of the audition.

Theory/History

Written and aural examinations test the prospective student’s knowledge of music notation, theory (aural/written), and history. While this test is only diagnostic, students are encouraged to prepare for it so that they can avoid remedial theory courses during their first year. Please prepare by studying our Music Theory Review Guide. If you have trouble, we offer remedial help to students during your first year at EKU. Please see the websites below for free theory and rhythm learning tools.

Basic Assumptions

Some high school guitarists are prepared to study guitar at the college level. However, most freshman guitar students have problems reading music and few have adequate classical preparation. These deficiencies are quite normal, but they need to be quickly resolved and those students will remain provisional until the end of their first semester.

It is assumed that all freshman guitar majors, regardless or their degree program, will work diligently to remedy any deficiencies that fall below the minimum national standards acceptable for collegiate guitar study at the freshman level. Such standards include, but are not limited to the following:

  • Ability to read music through the 5th position (12th position is needed by the end of the freshman year).
  • Ability to perform a variety of notated rhythms, including dotted and tied values, various 1/16th note groupings, and triplets.
  • A basic understanding of musical terms and nomenclature symbols, such as: D.S., repeat signs, key signatures, accidentals, ties/slurs, left/right hand fingering indications, pick-stroke markings, and basic Italian tempo and expression markings.
    Knowledge of the modes and how they align with chords and chord progressions. The order of sonorities found in major and minor keys. The CAGED system of fretboard visualization and basic major 7th, minor 7th, dominant 7th, half-diminished 7th, and diminished 7th chord shapes.
  • Again, no student has been able to perfectly execute all of these tasks at their audition. Some of my finest students could not read music well when they first began their guitar studies. Students who are serious about majoring in guitar quickly remedy their deficient areas. Its not important how many years you’ve owned a guitar; its how many hours you’ve practiced–and practiced intelligently with good problem solving skills.

YouTube has a plethora of tutorial videos for guitarists to study. Use them to learn proper classical technique, sitting position, left and right hand mechanics (see rest strokes, free strokes, and fretting technique, for example), and there are also many video lessons of viable audition works, such as Lagrima.

There are numerous videos on how to play jazz, including chord shapes, the CAGED system, modes, and jazz standards.

Other sites teach users how to read notation and rhythms and understand music theory. Other YouTube videos discuss specific strategies for learning how to read music on the guitar.

EKU Percussion Auditions (for all undergraduate music degree programs):

  • Snare Drum – One solo or etude from Delecluse, Albright, Cirone, Peters, Goldenberg, or equivalent.
  • Marimba – 2 or 4-mallet solo. One movement or solo/etude from Stout, Abe, J.S. Bach, Creston, Musser, Rosauro, or equivalent.
  • Timpani – A short solo or etude: 3-4 timpani preferred (Carter, Goodman, Vic Firth, Peters, Delecluse, Schinstine, or equivalent).
  • Drum Set – Demonstrate basic skills and techniques on drum set with an emphasis on time and feel. Perform a basic groove in the styles of jazz, rock and Latin.
  • World Percussion – (optional) Demonstrate basic skills and techniques on the world percussion instrument of your choice (conga drum, timbales, djembe, dumbek, etc.) with an emphasis on good time and feel.

EKU Percussion Auditions (for graduate level degree programs):

  • A Delecluse snare drum etude or advanced level etude/solo of your choice.
  • An advanced-level 4-mallet marimba solo suitable for a senior recital.
  • An advanced-level timpani solo or advanced etude.


Orchestral Excerpts

  • Timpani – Beethoven: Symphony No.9, Mvmt. IV, 7 measures after letter T to the end
  • Snare Drum – Prokofiev: Lt. Kije, Mvmt. I, rehearsal 1-1 to measure before rehearsal 2
  • Rimsky-Korsakov: Scheherazade, Mvmt. IV, 4 measures before Letter N to 18 measures after Letter N
  • Xylophone – Gershwin: Porgy and Bess (opening measures)
  • Glockenspiel – Dukas: Sorcerer’s Apprentice, rehearsal 17 to 4 measures after rehearsal 19; rehearsal 22 to rehearsal 24
  • Drum Set –Demonstration of time and soloing in the following styles: medium swing, up-tempo swing, rock, bossa nova, mambo, and samba.
  • World Percussion – If the applicant has any experience with World Percussion (Afro-Cuban hand-drumming, Steel Pan, Brazilian, etc.) a short performance is encouraged but not mandatory.

*For those graduate students seeking teaching assistantships, drum set solo is mandatory.

Undergraduate Audition Requirements

Performance

  • Two contrasting pieces originally written for the piano from the Baroque, Classical, Romantic, 20th Century or Impressionistic eras.
  • All pieces should be memorized
  • Approximately 10-15 minutes of music
  • Sight reading
  • Students should prepare four major and four harmonic minors scales and Arpeggios, hands together, at least two octaves, parallel motion

Music Education / Music Industry

  • Two contrasting pieces originally written for the piano from the Baroque, Classical, Romantic, 20th Century or Impressionistic eras.
  • Memorization encouraged, but not required
  • Approximately 10 minutes of music
  • Sight reading
  • Students should prepare two major and two harmonic minors scales and Arpeggios, hands together encouraged, at least two octaves, parallel motion

Graduate Audition Requirements

Performance

  • Three to Four contrasting pieces originally written for the piano from the Baroque, Classical, Romantic, 20th Century or Impressionistic eras.
  • All pieces should be memorized
  • At least 20 minutes of music
  • Sight reading

Music Education / Music Industry

  • Two to three contrasting pieces originally written for the piano from the Baroque, Classical, Romantic, 20th Century or Impressionistic eras.
  • Memorization encouraged
  • At least 15 minutes of music
  • Sight reading

Undergraduate Requirements

  • All prospective voice majors are required to sing two pieces of contrasting styles. Prospective voice minors should prepare one piece. Music that would be sung at solo/ensemble contests (i.e. art songs, arias) is preferred. Parts from choral pieces, rock, pop, country songs, etc. are not suitable.
  • Performance & Music Education majors:
  • Both pieces must be performed from memory.
  • One piece must be in a foreign language.
  • Music Industry majors:
  • One piece must be performed from memory. (Memorization of both pieces is strongly encouraged.)
  • A piece in a foreign language is recommended but not required.
  • Sight reading exercises
  • Tonal memory exercises

Graduate Requirements

  • Prospective graduate students in vocal performance are required to sing four pieces of contrasting styles and time periods.
  • Students must sing one piece in each of the following languages: English, Italian, German, and French.
  • Memorization is required.
  • Music should be at a level of difficulty and execution as would be expected of an undergraduate senior recital.

NOTE: An accompanist will be provided for all undergraduate and graduate voice auditions, although singers are welcome to bring their own accompanist. If an EKU accompanist is used, singers must provide a copy of the music for the audition. Please ensure copies are easy to read and contain the entire piano part. Rehearsal time will not be available. Please contact Dr. Waters if you plan to bring your own accompanist. Recorded accompaniments are not allowed.

University Singers
Auditions for University Singers are held during the first two days of the fall semester in Foster 104. A prepared piece is not necessary. You will be asked to sing “My Country ‘Tis of Thee,” will be vocalized to determine your range, and will be asked to demonstrate sight-reading, interval, and tonal memory skills. The audition lasts approximately 10 minutes.

EnChor and Koros
Participation in EnChor or Koros does not require an audition. Simply register for the course, and we’ll see you at the first rehearsal.

More Information
For more information about the EKU Choirs, email Director of Choral Activities Dr. Richard Waters at richard.waters@eku.edu.

The EKU School of Music offers a Master of Music in Conducting, with emphases in choral, orchestral, or wind conducting. This degree prepares students to excel in the areas of conducting, rehearsal techniques, score study, interpretation, repertoire, research, and pedagogy. Graduate choral conductors sing in and direct university ensembles, and take courses that prepare them to teach choral music in public and private schools, further their education at the doctoral level, work in the field of church music, or a combination of several areas. A two-year, full-time residency is expected for this degree program. Limited graduate assistantships are available to highly qualified applicants.

PLEASE BE SURE TO COMPLETE ALL FOUR STEPS BELOW:

  • Step One: Apply to the EKU Graduate School as soon as possible.
    Please note that decisions regarding admission cannot be made until the Graduate School receives a COMPLETE application package.
  • Step Two: Complete the EKU School of Music application
  • Step Three: Submit the following pre-audition materials (listed below) directly to Dr. Richard Waters, Director of Choral Activities, via email
    DEADLINE: February 1
  • PRE-AUDITION MATERIALS:
  • Resumé or curriculum vitae
  • Two (2) letters of recommendation
  • Audio or video recording (5 minutes) that demonstrates the applicant’s ability level on their major instrument (voice, piano, etc.).
  • Video (15-20 minutes) that shows the applicant conducting a choir:
  • If possible, the video should include excerpts from both a rehearsal and performance.
  • At least two contrasting pieces are recommended.
  • Front view of the conductor is preferred.
  • Include a sheet with a list of the repertoire being rehearsed/performed, as well as information about the ensemble(s) in the video (choir that the applicant regularly conducts, ad hoc group put together for the video, etc.).
  • Acceptable formats include YouTube links, shared Google Drive folders, or Dropbox files.
  • Apply for a Graduate Assistantship
    DEADLINE: February 15

ON CAMPUS AUDITION
Following a review of the preliminary screening videos, selected applicants will be invited to campus (normally in March) for a live audition with a university ensemble. This audition will consist of:

  • Run-through of a piece that is familiar to the ensemble (selected by the conducting faculty).
  • Rehearsal (10-15 minutes) of a piece that is not familiar to the ensemble (selected by the applicant in consultation with the conducting faculty).
  • Interview with the Director of Choral Activities to discuss your teaching philosophy, rehearsal techniques, career goals, etc.

Woodwinds 

Undergraduate or Transfer
Students will be asked to perform the following:

  • Major scales, up to three flats and three sharps (at least two octaves) & a two octave chromatic scale
  • Two selections of contrasting styles – one that demonstrates technical facility and the other that demonstrates a quality in tone and phrasing. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted. Please feel free to contact the instructor with questions regarding the audition repertoire.
  • Vivaldi concerto (any)
  • Galliard Sonata
  • Telemann Sonata
  • Weissenborn’s 50 Advanced Studies
  • Milde Scale or Concert Studies
  • Sight-reading

Graduate or Transfer
Students will be asked to perform the following:

  • Major and minor scales (two and/or three octaves when possible) & a three octave chromatic scale
  • Two selections of contrasting styles – one that demonstrates technical facility and the other that demonstrates a quality in tone and phrasing. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted. Please feel free to contact the instructor with questions regarding the audition repertoire.
  • Mozart Bassoon Concerto, K 191(mvts. 1 & 2)
  • Osbourne Rhapsody
  • Saint-Saens Sonata
  • Gordon Jacob’s Partita for Solo Bassoon
  • Weber Ungarische Fantasie or Concerto in F Major, op. 75
  • Vivaldi, Concerto in a minor, F.8, No. 7
  • Vivaldi, Concert on e minor, F.8, No. 6
  • Milde Concert Studies I or II
  • Sight-reading

For additional information regarding bassoon auditions and admission, you may contact Dr. Christine Carucci at christine.carucci@eku.edu.

Undergraduate or Transfer
Students will be asked to perform the following:

  • Major scales (at least two octaves)Two selections of contrasting styles – one that demonstrates technical facility and one that demonstrates tone quality and musicality. Suggested repertoire includes the following, although repertoire of equal or more advanced difficulty may be substituted. Please feel free to contact the instructor with questions regarding the audition repertoire:
  • Weber Concertino
  • Mozart Concerto for Clarinet(any movement)
  • Weber Concerto No. 1 or No. 2(any movement)
  • Concerti by Stamitz
  • Etudes by C. Rose (Rose 32)
  • All-State or Regional Audition Music
  • Sight-reading

Graduate or Transfer
Students will be asked to perform the following:

  • Major and minor scales (two and/or three octaves when possible)
  • Two selections of contrasting styles – one that demonstrates technical facility and one that demonstrates tone quality and musicality. Suggested repertoire includes the following, although repertoire of equal or more advanced difficulty may be substituted. Please feel free to contact the instructor with questions regarding the audition repertoire.
  • Sonatas by Brahms, Poulenc
  • Concerti by Mozart, Weber, Copland, Nielsen
  • Muczynski Time Pieces
  • Etudes by Cavallini (30 Caprices), Jeanjean (18 Etudes)
  • Two contrasting orchestral excerpts – Suggested repertoire includes the following, although repertoire of equal or more advanced difficulty may be substituted.
  • Beethoven – Symphony No. 4, 6, 8
  • Mendelssohn – Midsummer’s Night Dream (Scherzo)
  • Rimsky-Korsakov – Capriccio Espagnol, Scheherazade.
  • Sight-reading

For additional information regarding clarinet auditions and admission, you may contact Dr. Adria Sutherland at adria.sutherland@eku.edu.

Undergraduate or Transfer
Students are encouraged to prepare two contrasting works or movements for their audition that demonstrate technical facility and musical expression. Students should also be prepared play any of the major scales up to four sharps or flats in two octaves. A brief demonstration of sight-reading abilities may be requested.

Suggestions for audition repertoire:

  • Any All State or Regional audition pieces
  • Mozart Andante in C
  • Gluck Dance of the Blessed Spirits
  • Bach – any sonata
  • Handel any sonata
  • Works from the following collections:
  • Donald Peck 36 Repertoire Pieces for Solo Flute(Schirmer)
  • Cavally 24 Short Concert Pieces(Southern)
  • Flute Music by French Composers(Schirmer)

Graduate
Graduate students should prepare two major solos, one from each area below.

Earlier Periods

  • Bach Sonata in B minor
  • Bach Sonata in E minor
  • Bach Sonata in E major
  • Bach Partita in A minor
  • Bach Suite in B minor
  • Telemann Suite in A minor
  • CPE Bach Sonata in A minor
  • CPE Bach Concerto in D minor
  • Mozart Concerto in D
  • Mozart Concerto in G

Later Periods

  • Dutilleux Sonatine
  • Hanson Serenade
  • Prokofiev Sonata
  • Jolivet Chant du Linos
  • Liebermann Sonata
  • Colquhoun Charanga
  • Bozza Image
  • Taktakishvilli Sonata

After the Audition
The actual audition is very brief, and is followed by a sample lesson. Any student interested in a full sample lesson is encouraged to contact Dr. Kean at kristen.kean@eku.edu in advance of their audition.

Undergraduate or Transfer
Students will be asked to perform the following:

  • Major scales, at least 2 octaves up to high d (d above the staff)
  • Two selections of contrasting styles. One should be a fast selection which demonstrates technical proficiency, and a slow selection which demonstrates lyricism and tone. The following is some suggested repertoire. Please feel free to contact the instructor with any questions regarding the audition repertoire.
  • movements from Telemann Sonata in A minor
  • movements from Handel Sonata in C minor
  • William Grant Still Incantation and Dance
  • Gabriel Grovlez Sarabande et Allegro
  • Etudes from Gekeler Oboe Method, book 2
  • Etudes from Ferling, 48 famous studies
  • Etudes from Rubank, Advanced Method (book 3)
  • Sight-reading

Graduate
Students will be asked to perform the following:

  • Major and all forms of minor scales, with a range up to high g
  • Two solo selections of contrasting styles. One which demonstrates technical proficiency and another demonstrating lyricism. The following is some sample repertoire. Please feel to contact the instructor with any questions regarding the audition repertoire.
  • Movements from Mozart Oboe Concerto
  • Movements from the Strauss Concerto
  • Tomasi Evocations
  • Dorati Cinq Pieces
  • Saint-Saëns Sonata
  • Etudes from Ferling, 48 famous studies
  • Barret Grand Studies etudes
  • Two contrasting standard orchestral excerpts
  • Sight-reading

For additional information regarding oboe auditions and admission, you may contact Dr. Julie Smith at Julie.Smith@eku.edu.

Undergraduate or Transfer
What to expect – a typical audition consists of playing one or more pieces from the standard repertory that the student has prepared, scales as requested by the instructor, sight-reading, and (optionally) a prepared jazz piece – possibly a solo, etude, or transcription – and an improvised solo. While auditioning on alto saxophone is not mandatory, it is desirable that at least one selection be performed on alto, and it should be understood that students’ lessons will primarily be on the alto saxophone.

Preparation

  • Standard Repertory – one or more solo or etude excerpts that demonstrate technical proficiency on the saxophone as well musicality, ideally in contrasting styles. The Kentucky All-State material from the current or previous years may be used as part of the audition; other examples may be found below. The pieces do not have to be memorized.
  • Eugene Bozza, Aria, prepare whole piece
  • Pierre Lantier, Sicilienne, prepare whole piece
  • Handel / Rascher, Sonata III or XIII, prepare 2 contrasting movements
  • Lawson Lunde, Sonata, prepare 2 movements
  • Bernhard Heiden, Sonata, prepare movements 1 and 2 or movement 3
  • Paul Creston, Sonata, prepare 2 movements
  • W. Ferling, 48 Famous Studies, prepare 2 contrasting etudes
  • Gatti / Lasilli, 35 Melodious Technical Ex., prepare 2 contrasting etudes
  • Scales – it is expected that students would know at a minimum the major scales through four sharps and four flats (minimum) and a chromatic scale. These scales should be performed from memory and should include the full range of the horn. Students who do not know these scales are still encouraged to audition, but they should expect to learn them quickly upon admission to the Music program.
  • Sight-reading – the best way to “practice” sight-reading is to sight-read regularly, paying close attention not only to notes and rhythms but also to dynamics, articulations, and other musical nuances.
  • Jazz solo, etude, or transcription (optional) – common examples include etudes from “Jazz Conception for Saxophone” (Int. or Adv.) by Lennie Niehaus, one of the etude books by Bob Mintzer, the Charlie Parker Omnibook, or similar etude books or transcription anthologies.
  • Improvised solo (optional) – students are encouraged to improvise a solo over a blues progression, “rhythm changes,” or other standard chord progression. A limited number of playalong CDs may be available; students are encouraged to bring an accompaniment CD or make arrangements for one to be provided prior to the audition.

Graduate
Auditions follow a similar format; students are expected to be familiar with major and natural, harmonic, and melodic minor scales in all 12 keys as well as the chromatic scale using the full range of the horn. Suggested solo literature should include pieces of appropriate technical and interpretive difficulty; some examples include the Sonataby Paul Creston, Sonataby Robert Muczynski, and Caprice en forme de valseby Paul Bonneau.

For more information regarding saxophone auditions and admission contact Dr. Larry Nelson at 859-622-5006 or larry.nelson@eku.edu.

Large Instrumental Ensembles

Auditions will take place in Gifford Theatre. To register for an audition, complete and submit this form prior to audition day. If you know you are auditioning, we recommend completing the form as soon as possible.

Within the registration form, there are 3 steps to register for the audition:

If you have any questions or concerns regarding the audition process, please contact Dr. Rebekah Daniel at rebekah.daniel@eku.edu.

Rankings and Placement
Auditions are ranked by ensemble directors with the assistance of applied faculty. Results will be shared via email before classes start. If a student auditions for the Wind Ensemble but is not selected, they will be offered a spot in the Concert Band. Students are responsible for finalizing their schedules before the start of classes.

Rehearsals are scheduled to begin during the first week of classes.

Premier full orchestra performing the best in orchestral literature from all eras. Open to string students with only a seating audition. Audition required for wind and percussion players.
String seating audition required.

Contact
Dr. David Galant – Director of Orchestras
david.galant@eku.edu

Audition FAQs

It’s easy! All applicants that mark they would like to be considered for a scholarship on the school of music application, are received by March 1 and have auditioned by March 1 will be considered for a scholarship.

There may be several faculty members present at your audition, the number may vary. These faculty members will be familiar with your instrument and upon a successful completion of your audition, some will be your future instructors.

Each instrument has different requirements that are found above. Please prepare for the audition using these requirements as a guide.

Please bring any materials you need for your performance, including music for an accompanist, if needed. Please specify your accompaniment needs on your application form and be sure to prepare the specific audition requirements for your applied area (instrument or voice). Additionally, please wear a mask while visiting EKU and if you have a performance mask (silted instrument mask) please bring it as well if needed for your instrument.

Directly across from the Foster building on Crabbe St. is a pay lot with an app where you can park. Alternatively, you can request a visitors parking permit. Visitor parking is limited, and only allowed in marked locations. There is a fee for a visitors parking permit. Get more information about all these options on the Parking page.

Scholarship determinations are made in multiple rounds. Results from the first round will be released March 15, and results from the final round will be released June 1. You may receive notice of an awarded scholarship any time between those dates.