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Ensemble Auditions

Ensemble placement auditions occur at the beginning of the fall semester. Download the excerpts for your instrument and sign up for an audition below. If you want to join an ensemble but missed the auditions, you should contact the Music Department. It may still be possible to perform in one of our groups.

First, find the excerpts for your instrument(s). You'll need to prepare these short pieces to be considered for any ensemble that requires an audition. We offer Concert Choir and University Band that do not require auditions. Second, sign up for your auditon using the audition schedule links below.

Woodwind Excerpts	Brass Excerpts	Percussion Excerpts
Flute Oboe Clarinet Bassoon Saxophone*	French Horn Trumpet* Trombone* Bass Trombone Euphonium Tuba	Percussion/Drum set*
String Excerpts	Choir Auditions	Jazz/Commercial Excerpts
Violin Viola Cello Bass	Choir Auditions	Jazz/Commercial Voice Jazz/Commercial Rhythm Section
*Jazz excerpts included in these packets

 

Schedule your ensemble audition:

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Entrance Auditions

*If you are auditioning for the B.M. Commercial Music degree, you must complete a performance audition with your respective area coordinator according to the guidelines below AND you must submit additional materials.

Guidelines and Portfolio Submission

Piano

Performance Major (All repertoire must be memorized)

• One major Baroque work
• One or more movements from a major Classical Sonata
• One major work from the Romantic Era
• Sight-reading
• Four octave, hands together Major and harmonic minor scales played at MM=126

Other music majors (All repertoire must be memorized- BA/BS in Music, Integrated Studies, AS in Music) (Piano is not a valid Music Education emphasis)

• One Baroque work
• One movement from a major Classical Sonata
• One work from the Romantic Era
• Sight-reading
• Four octave, hands together Major and harmonic minor scales

Hilary Demske, Piano, NC 742, 801-863-7360, [email protected]

Piano Commercial Music Major

There are two audition rounds for Commercial Music/Piano Emphasis Majors. The first round, with Hilary Demske, assesses general piano technique and classical music proficiency. The second round, with David Baker, assesses commercial and jazz proficiency. Students requesting both audition rounds on the same day should send a preliminary DVD or internet link of their Round 1 material to Hilary Demske.

Hilary Demske, Piano, GT337b, 801-863-7360, [email protected]
David Baker, Jazz Performance, NC 720, 801-863-5643, david.baker@uvu.edu 

Voice

Performance Major

• One memorized classical art song or aria in English
• One memorized classical art song or aria in Italian, German or French

Commercial Music Major

• Present two contrasting, memorized selections in at least two different genres.
• Students may accompany themselves, bring an accompanist, or bring a pre-recorded track.

Other Music Majors (Music Education, BA/BS in Music, Integrated Studies, AS in Music)

• Two contrasting, memorized classical art songs, one of which may be an aria.  One must be in French, German, or Italian.

Melissa Heath, Voice, NC 723, 801-863-5307, [email protected]

Strings

Performance Major

• One movement from an unaccompanied Bach solo sonata, partita, or suite
• One movement from a standard concerto or sonata, such as Bériot, Mozart, Sphor, Bach, Telemann, Vivaldi, Viotti
• One major and one minor 3-octave scale, student's choice
• A jazz improvisation or transcription (optional – recommended for bass players)
  (applicant must supply backtrack for audition)
• Sight-reading of an orchestral excerpt (live audition) – Additional etude or short piece (recorded audition)

Other Music Majors (Music Education, BA/BS in Music, Commercial Music, Integrated Studies, AS in Music)

• One slow piece or etude demonstrating tone quality and vibrato
• One fast piece or etude demonstrating technical ability, proficiency with higher positions and standard bowing techniques (spiccato, martelé, etc.)
• One major and one minor 3-octave scale, student's choice
• A jazz improvisation or transcription (optional – recommended for bass players)
  (applicant must supply backtrack for audition)
• Sight-reading of an orchestral excerpt (live audition) – Additional etude or short piece (recorded audition)

Donna Fairbanks, Violin and Viola, NC 750, 801-863-6538, [email protected]
Cheung Chau, Cello and Bass, NC 749, 801-863-5488, [email protected]

Harp

Performance Major

• Four-octave ascending and descending scale (hands together) and arpeggios (alternating hands)
• Two selections from different style periods, demonstrating memorization, appropriate tempo and technical ability
• Harpists may use a UVU harp for the audition or bring their own harp

Other Music Majors (Music Education, BA/BS in Music, Commercial Music, Integrated Studies, AS in Music)

• Two selections from different style periods, demonstrating appropriate tempo and technical ability
• Harpists may use a UVU harp for the audition or bring their own harp

Janet Peterson, Harp, NC 625, [email protected]

Guitar

Performance Major (Classical)

• Two contrasting etudes by Giuliani, Sor, Carcassi, Carulli, or equivalent
• Major and Minor scales (Segovia)
• Sight-reading – Single line melody

Other Music Majors (BA/BS in Music, Commercial Music, Integrated Studies, AS in Music) (Music Education excluded)

• An etude or piece from any period/composer
• Basic ability to sight reading
• Major and Minor scales (any fingering)

David Baker, Commercial Music Coordinator, NC 720, [email protected]

Electric Bass

Commercial Music Major

• All major and minor scales (two octaves)
• A prepared piece that demonstrates significant technical skill
• Sight-reading

David Baker, Jazz Performance, NC 720, 801-863-5643, [email protected] 

Woodwinds

Performance Major

• One movement from an unaccompanied solo or etude
• One movement from a standard concerto or sonata, such as Mozart, Weber, Chaminade, Debussy, Brahms, Schumann, Krommer, Spohr, Stamitz, Vaughan-Williams, Creston
• Sight-reading of a standard excerpt

Other music majors (Music Education, BA/BS in Music, Commercial Music, Integrated Studies, AS in Music)

• One slow piece or etude demonstrating tone quality and expression
• One fast piece or etude demonstrating technical ability and proficiency with articulation
• Sight-reading of a standard excerpt

Jeffrey O'Flynn, Woodwinds, NC 751, 801-863-8810, [email protected]

Brass

Performance Major

• One movement from a standard concerto or sonata
• Two contrasting etudes or 2-3 contrasting orchestral excerpts of your choice
• Sight-reading

Other music majors (Music Education, BA/BS in Music, Commercial Music, Integrated Studies, AS in Music)

• One lyrical solo or etude demonstrating tone quality, phrasing, and musicianship
• One fast piece or etude demonstrating technical ability
• Sight-reading

Ryan Nielsen, Brass, [email protected], NC 744, 801-863-5931

Percussion

Performance Major

Snare Drum

• Concert etude/solo required (Peters, Cirone, Vic Firth, Delecluse, or equivalent)
• Rudimental etude/solo required (Wilcoxon, Pratt, or equivalent)
• Sight reading

Keyboard (marimba, xylophone, or vibraphone)

• 2 mallet solo/etude required (Zivkovic, Goldenberg, Hatch, Koshinski, Green, JS Bach, or equivalent) memorized
• 4 mallet solo required (Abe, Sammut, Peters, Smadbeck, Schmitt, Stout, or equivalent) memorized
• 2 mallet sight reading

Timpani

• Demonstrate tuning ability
• Etude/Solo required (Lepak, Vic Firth, Goodman, Carroll, or equivalent)

Optional

• Drumset (Styles: Rock, Funk, Swing, Latin)
• World Percussion (congas, djembe, frame drum, steel pan, etc…)
• Orchestral Excerpts on Snare Drum, Timpani, Xylophone, Glockenspiel, Crash Cymbals, Tambourine, and/or Triangle

 

Music Education, Commercial Music, and BA/BS

Snare Drum

• Concert etude/solo required (Peters, Cirone, Vic Firth, Delecluse, or equivalent)
• Rudimental etude/solo recommended (Wilcoxon, Pratt, or equivalent)
• Sight reading

Keyboard (marimba, xylophone, or vibraphone)

• 2 mallet solo/etude required (Zivkovic, Goldenberg, Hatch, Koshinski, Green, JS Bach, or equivalent) memorized
• 4 mallet solo recommended (Abe, Sammut, Peters, Smadbeck, Schmitt, Stout, or equivalent) memorized
• 2 mallet sight reading

Choose at least ONE of the following

• Timpani (Lepak, Vic Firth, Goodman, Carroll, or equivalent)
• Drumset (Styles: Rock, Funk, Swing, Latin)
• World Percussion (congas, djembe, frame drum, steel pan, etc…)

Associates in Music and Music Minor

• One solo or etude on each of the following instruments you are comfortable on: snare drum, marimba, timpani, and/or drumset styles demonstration
• Sight reading
• Players at all levels are welcome to audition

Shane Jones, Percussion, NC 722, 801-863-5408, [email protected]

Commercial Music Entrance Requirements

Students applying for the B.M. in Commercial Music at UVU must submit a portfolio in addition to their performance audition. Portfolios should include 1-2 examples of materials that represent your work/interest in the commercial music field.

Portfolio submissions could include original songs (notated with melody and chords), original scores (notated on staff paper), a demo of work in a digital audio workstation (final mix or mockup), a CV, and/or accompanying audio or explanations when appropriate.

Other materials that will be considered, but are weighted less would include recordings/videos of you performing in a contemporary genre, chord charts without notation, or recordings/mixes produced outside of a digital audio workstation.

Proficiency in a notation software/digital audio workstation is preferred but not required. All applications will be reviewed. Experience on a primary instrument is also considered for acceptance.

Our Music Technology Certificate is available to all incoming students and does not require an audition or portfolio review.

David Baker, Jazz Performance, NC 720, 801-863-5643, [email protected] 

Commercial Music Portfolio Submission Form

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Scholarship Audition Repertoire Requirements

Piano

• One major or minor Baroque work (such as Bach or Scarlatti), demonstrating memorization, appropriate style and tempo
• One movement from any Classical Sonata (such as Beethoven, Haydn, Mozart, Schubert), demonstrating memorization, appropriate style and tempo
• One major or minor work from the Romantic Era (such as Brahms, Debussy, Chopin, Mendelssohn, Schumann, Ravel), demonstrating memorization, appropriate style and tempo
• Four octave Major and harmonic minor scales played at MM=96, demonstrating technical proficiency and correct fingering
• Sight-reading demonstrating rhythmic and note accuracy

Piano (Commercial Music)

• Two pieces from different classical style periods
• One jazz transcription or improvisation
• Sight-reading in classical and contemporary music styles (including chord charts)
• One octave, hands together Major, minor (all forms), and modal scales
• Composition (Composition emphasis only--may be a performance, recording and/or score in any instrumentation)

Strings

• One slow piece or etude demonstrating tone quality and vibrato
• One fast piece or etude demonstrating technical ability, proficiency with higher positions and standard bowing techniques (spiccato, martelé, etc.)
• One major and one minor 3-octave scale, student's choice
• A jazz improvisation or transcription (optional – recommended for bass players)
  (applicant must supply backtrack for audition)
• Sight-reading of an orchestral excerpt (live audition) – Additional etude or short piece (recorded audition)

Harp

• Two selections from different style periods, demonstrating appropriate tempo and technical ability
• Harpists may use a UVU harp for the audition or bring their own harp

Guitar

• An etude or piece from any period/composer
• Basic sight-reading
• Major and Minor scales (any fingering)

Electric Bass

• One piece from the Victor Wooten collection, Gary Willis collection, Jaco Pastorius collection, or other formidable contemporary bassist
• One movement from a Cello Suite by Bach (1, 2, or 3)
• Sight-reading standard notation
• Improvisation over standard harmonic progressions from the contemporary idiom. Proficient bass line construction in swing and straight 8th styles (Latin, rock, etc.)

Woodwinds

• One slow piece or etude demonstrating tone quality and expression
• One fast piece or etude demonstrating technical ability and proficiency with articulation
• Sight-reading of a standard excerpt

Brass

• One lyrical solo or etude demonstrating tone quality, phrasing, and musicianship
• One fast piece or etude demonstrating technical ability
• Sight-reading

Voice

• Two contrasting, memorized, art songs, one of which may be an aria. One must be in French, German, or Italian. You must provide your own accompanist.

Voice (Commercial Music)

• Two contrasting, memorized selections in at least two different genres. One of the selections may be your own composition.
• You must bring your own pre-recorded track, accompanist, or be prepared to accompany yourself.

Percussion

Performance Major

Snare Drum

• Concert etude/solo required (Peters, Cirone, Vic Firth, Delecluse, or equivalent)
• Rudimental etude/solo required (Wilcoxon, Pratt, or equivalent)
• Sight reading

Keyboard (marimba, xylophone, or vibraphone)

• 2 mallet solo/etude required (Zivkovic, Goldenberg, Hatch, Koshinski, Green, JS Bach, or equivalent) memorized
• 4 mallet solo required (Abe, Sammut, Peters, Smadbeck, Schmitt, Stout, or equivalent) memorized
• 2 mallet sight reading

Timpani

• Demonstrate tuning ability
• Etude/Solo required (Lepak, Vic Firth, Goodman, Carroll, or equivalent)

Optional

• Drumset (Styles: Rock, Funk, Swing, Latin)
• World Percussion (congas, djembe, frame drum, steel pan, etc…)
• Orchestral Excerpts on Snare Drum, Timpani, Xylophone, Glockenspiel, Crash Cymbals, Tambourine, and/or Triangle

 

Music Education, Commercial Music, and BA/BS

Snare Drum

• Concert etude/solo required (Peters, Cirone, Vic Firth, Delecluse, or equivalent)
• Rudimental etude/solo recommended (Wilcoxon, Pratt, or equivalent)
• Sight reading

Keyboard (marimba, xylophone, or vibraphone)

• 2 mallet solo/etude required (Zivkovic, Goldenberg, Hatch, Koshinski, Green, JS Bach, or equivalent) memorized
• 4 mallet solo recommended (Abe, Sammut, Peters, Smadbeck, Schmitt, Stout, or equivalent) memorized
• 2 mallet sight reading

Choose at least ONE of the following

• Timpani (Lepak, Vic Firth, Goodman, Carroll, or equivalent)
• Drumset (Styles: Rock, Funk, Swing, Latin)
• World Percussion (congas, djembe, frame drum, steel pan, etc…)

Associates in Music and Music Minor

• One solo or etude on each of the following instruments you are comfortable on: snare drum, marimba, timpani, and/or drumset styles demonstration
• Sight reading
• Players at all levels are welcome to audition

Shane Jones, Percussion, NC 722, 801-863-5408, [email protected]

Commercial Music

Students should prepare two contrasting pieces in any of the following formats:

• An original composition score in PDF format and MP3 sound recording
• Final mix of a Pro Tools or Digital Performer file
• Final mix in a MP3, MP4, WAV, or AIFF format