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Student playing trumpet

Auditions

Any student who has fulfilled university admission requirements may register as a music major providing that he or she has passed an audition. 

  1. All prospective music students, new and transfer, are required to perform an audition to be accepted into the UNF School of Music.
  2. Dates for auditions are advertised well in advance through local print, electronic media and university correspondence.
  3. Prospective students must submit the UNF School of Music admission application to schedule an audition time on the desired audition date. Once the School of Music admission application has been received, prospective students will receive an email from the Admissions Coordinator with an audition time, 3-4 weeks prior to the audition date selected on their application. An audition date requested aside from those advertised must be arranged well in advance with the professor coordinating auditions in his/her area of specialty. 
  4. CDs or tapes are accepted on case-by-case basis, although live auditions are preferred. 
  5. The audition panel will provide the school director with recommendations as to an accepted/not-accepted status for each auditionee. In addition, a scholarship stipend range recommendation will be provided if the auditionee is also pursuing a music scholarship.
  6. Auditionees will receive notification of the audition panel’s recommendations within 6-8 weeks following the audition.

For audition requirements by degree, see below.

 

Accompaniment at Voice Auditions:

 

Generally, UNF School of Music does not provide an accompanist for voice auditions. This service is available for a fee of $25 per audition. Accompaniment for instrumental auditions is not required. All costs associated with piano accompaniment for vocal auditions are the responsibility of the prospective student. 

 

Audition by Mail: A live audition is highly recommended, however, a CD or DVD is permitted on a case-by-case basis, although live auditions are preferred. All recorded material must be playable on standard audio/video equipment and will not be returned after the audition process has ended.

Bachelor of Music Performance in Jazz Studies applicants:

  1. Sight-reading is required for live auditions only.
  2. Students submitting a taped audition should include a performance as a part of a jazz ensemble, either big band or combo (preferably both).
  3. The faculty reserves the right to decline any application if the auditionee is not prepared in the specified requirements.

Audition requirements are as follows:

  1. Demonstrate ability to improvise and play with a rhythm section. 
  2. Three different selections (one must be a ballad) in different jazz styles, moods and tempos.
  3. Sight-reading.

Bass, Saxophone, Trombone and Trumpet

  1. Auditionees should prepare as many of the following scales as possible: Major, Minor (natural, harmonic, melodic), and Jazz (modes, diminished scales, whole tone scales, blues scales, etc.).
  2. Auditionees should prepare two transcriptions or etudes in contrasting jazz styles. Vocalists should prepare two contrasting tunes. It is helpful to demonstrate ability at faster and slower tempos. 
  3. Auditionees may be asked to improvise on Blues (F, Bb, or other keys), Rhythm Changes (F, Bb, or other keys), and/or Jazz Standards. Auditionees should bring their own play-a-long CDs.
  4. Students who play multiple instruments should demonstrate their proficiency on the secondary instrument. One brief prepared piece or étude on each secondary instrument is sufficient.
  5. Piano and guitar players should demonstrate their ability to use various chord voicings.

Jazz Drumset

  1. Auditionees should be prepared to demonstrate time keeping and improvisation in the following styles: Swing (slow and fast, brushes and sticks), Bossa Nova, Jazz Waltz, Samba, Funk/Rock, and Contemporary. 
  2. Sight-reading is required for live auditions only. 

Jazz Guitar

All jazz guitar applicants are required to submit a video recording for prescreening purposes in order to receive an invitation to a live audition in Jacksonville. The recording must include all of the repertoire as listed below. Recordings may be mailed or uploaded to DropBox or an equivalent cloud sharing platform. It is not required that the format be a professional or studio recording, but the sound quality must be as good as possible. Repertoire for the prescreening recording must demonstrate the ability to improvise and play with a rhythm section, using a live band or play-along recording.

  1. Required piece (must be first on the recording): the 12-Bar Blues piece, Billie’s Bounce in medium tempo (minimum of four improvised choruses).
  2. Perform three other selections (one must be a ballad) in different jazz styles, moods and tempos (minimum of two improvised choruses for each selection).
  3. Demonstrate “comping” on a standard song of your choice.
  4. Original compositions should not be included.

Jazz Piano

  1. Auditionees should prepare a 12-Bar Blues such as Now’s The Time or Billie’s Bounce; medium tempo; play the melody and improvise over the chord changes. 
  2. Perform two other selections from the jazz repertoire; such as Solar, Blue Bossa, All The Things You Are or other jazz standards; play the melody and improvise over the chord changes. The tunes should be contrasting in tempo and feel. 
  3. Demonstrate “comping” on a standard song of your choice. 
  4. Auditionees should prepare as many of the following scales as possible: Major, Minor (natural, harmonic, melodic) and Jazz (modes, diminished scales, whole tone scales, blues scales, etc. 
  5. Auditionees will be asked to sight read a jazz chart, including notes and chord symbols. 

Applicants who pass the prescreening portion of the audition will be invited for a live audition in Jacksonville. All auditions are approximately 10 minutes in length. Each applicant chooses his/her first work, and the faculty will choose a second and possibly third work from the audition repertoire list provided by the applicant. In addition to the audition tune list that applicants will submit to the panel (three tunes for undergraduates, ten tunes for graduates), all applicants must bring an additional typed list of their entire jazz repertoire to the panel. One copy is sufficient.

  1. Rhythm section and amplifiers will be provided. Applicants must provide music for the rhythm section. 
  2. Play-along recordings are not acceptable for a live audition.

Bachelor of Music Performance and Bachelor of Music Education applicants:

Clarinet

  1. Two movements from the following list of solos, preferably from two different solos:
    • Weber Concerto No. 1
    • Mozart Clarinet Concerto 
    • Weber Concertino 
    • Poulenc Sonata
     

OR

  1. One movement from above list and one contrasting Rose 32 etude. 

All major scales and arpeggios. 

Percussion

Repertoire should include keyboard percussion, snare drum, and timpani.

  1. Keyboard:
    • 2 Mallet solo from Koshinski, Becker or G.H. Green Xylophone Solos or 2 mallet Bach suite movement 
    • Representative/Suggested 4 mallet Marimba solos: Abe Michi or Wind in the Bamboo Groves, Burritt October Night or Preludes, Musser Etudes, Sammut Rotations, Tanaka Two Movements for Marimba, Rosauro Concerto for Marimba, Trevino Song Book or Strive to Be Happy
     
  2. Snare Drum
    • Cirone Portraits in Rhythm, Delecluse Etude no. 1 or 6 from Douze Etudes, Peters Intermediate or Advanced Snare Drum Studies
    • Wilcoxon The All American Drummer or Modern Swing Solos
     
  3. Timpani
    • Beck Sonata for Timpani, Firth The Solo Timpanist, Hochrainer Etudes for Timpani, Peters Etudes  
     

Sight reading required.

Piano/Piano Pedagogy

  1. A work from the Baroque style period (i.e. a Two- or Three-Part Inversion or Prelude and Fugue by J.S. Bach, a dance movement or suite, etc.)
  2. A movement from a Classical sonata (i.e. Haydn, Mozart, Beethoven, Schubert) 
  3. A work from either the 19th, 20th, or 21st century
  4. 4-octave scales and arpeggios in all major and minor keys
  5. Sight reading

Audition material must be performed from memory. Auditionees who submit CDs or videos must demonstrate abilities required by items 4 and 5 above upon their arrival to UNF.

Woodwinds, Brass and Strings

  1. Prepare a solo of appropriate difficulty. Auditions should display musical maturity through expression, technique and stylistic interpretation. Solos need not be memorized but should reflect a high degree of familiarity and careful preparation by the performer. The use of an accompanist is optional, but recommended.*
  2. Auditionees will be asked to perform major and minor scales and arpeggios in various keys. 
  3. Auditionees will be required to sight-read.
  4. Auditionees will be expected to demonstrate knowledge of common musical terms and symbols, keys, and time signatures.
  5. Upon arrival to UNF, accepted auditionees who submitted recordings must demonstrate abilities required by items 2, 3 and 4 above.

Violin

  1. One movement from an unaccompanied Bach sonata or partita. No repeats.
  2. One movement from a standard violin concerto
  3. Sight-reading
 

Voice

  1. Please prepare three classical selections in contrasting styles. Stylistic preference should be given to standard art songs and/or arias from the baroque, classical, romantic, and 20th century classical repertoire. Musical Theater and folk song selections sung in English are also acceptable.
  2. At least one selection must be in a language other than English with linguistic preference given to Italian, German, French, Latin or Spanish. Classical selections in Portuguese, Russian, Czech, or Polish are also acceptable.
  3. The entire audition should be memorized and performed with live piano accompaniment*.
  4. Applicants will also be required to sing short sight-singing excerpts and vocal exercises led by the faculty.
  5. Applicants are required to wear appropriate and professional audition attire.

Bachelor of Music Technology and Production applicants:

For students whose primary instrument isnotpiano (brass, woodwinds, percussion, strings, guitar and voice): 

Faculty members will assess your musical skills to ensure that you can pass the core music courses (music theory, ear training, class piano). These classes require Music Technology and Production students to develop strong musical skills in addition to expertise in technology. The audition requirements are:

  1. One or two pieces of your choice, in the styles of your choice. 
  2. Sight reading 
  3. Major Scales 

For students whose primary instrument is piano: 

There are two tracks in piano. The audition option you choose makes a potential impact on how many piano-related courses you will take as part of the program. The audition requirements for both tracks require two repertoire pieces of contrasting style. Both should be based on printed sheet music (please bring a copy with you to the audition). At least one should be classical music.

 

Audition Option A:

  1. Two contrasting solos (min. 1 classical) at a Level 2 or higher - i.e. Works by Gurlitt, Kabalevsky, etc, or comparable to Bartok's First Term at the Piano or Mikrokosmos, Book 2. 
  2. Prepare scales in all major keys, 1 octave, hands together 

If admitted via Audition Option A, to meet the Applied Piano requirement you would take Class Piano 3 and 4 your first year, and two years of applied (private) piano in your second and third years.

 

OR

 

Audition Option B:

  1. Two classical solos in contrasting styles comparable (or more difficult) to Clementi's Op. 36 Sonatinas, the Anna Magdalena Bach Notebook, or the Burgmuller Arabesque. 
  2. All scales (major and harmonic minor) 2 octaves, hands together.

If admitted via Audition Option B, to meet the Applied Piano requirement you would take two years of private piano lessons.

Master of Music Performance in Conducting applicants: 

Preliminary Application for Master of Music Conducting (Choral and Instrumental): 

  1. Submit video excerpts of rehearsals (max 10 minutes) and performances (max 10 minutes). Diverse repertoire selections are encouraged. 
  2. Submit three selections on your major instrument.

Master of Music Performance in Jazz Studies applicants: 

Audition requirements are as follows:

  1. Demonstrate ability to improvise and play with a rhythm section at a graduate level of advancement. 
  2. Ten selections (including two ballads) in different jazz styles, moods and tempos performed from memory.
  3. Sight-reading.

Piano

  1. Auditionees should prepare as many of the following scales as possible: Major, Minor (natural, harmonic, melodic) and Jazz (modes, diminished scales, whole tone scales, blues scales), Bebop scales (major, minor, dominant, dominant b9b13)
  2. Auditionees will be asked to improvise on a Blues (F, Bb), Rhythm Changes (Bb) and prepare one Jazz Standard (such as Solar, Confirmation, Oleo, All the Things You Are).
  3. Auditionees who play multiple instruments should demonstrate their proficiency on the secondary instrument. In addition to scales, one Jazz Standard (melody and improvisation, if possible) is sufficient.
  4. Auditionees should demonstrate their ability to use various chord voicings and comp. They will also be given a piece to sight-read at their audition. They will be given written music as well as chord changes to comp and solo over.

Drumset

  1. Auditionees should be prepared to demonstrate time keeping and improvisation in the following styles: Swing (slow and fast, brushes and sticks), Bossa Nova, Jazz Waltz, Samba, Funk/Rock, and Contemporary. 
  2. Sight-reading is required for live auditions only. 
  3. Students who are comfortable with mallet instruments should demonstrate that ability. One brief prepared piece or étude on each secondary instrument is sufficient.

Voice

  1. Please prepare three jazz selections in contrasting style and tempo.
  2. Selections must be performed from memory with piano accompaniment* or pre-recorded accompaniment track.
  3. Applicants may also be required to sing short sight-singing excerpts and vocal exercises led by the faculty. 

Master of Music Performance in Piano applicants:

  1. Applicants must perform from memory three works from different stylistic periods. One of the three works must be a complete sonata by Haydn, Mozart, Schubert, or Beethoven (Excluding Op. 14, Op. 49, and Op. 79)

Master of Music Performance in Strings applicants:

  1. One movement from a major concerto.
  2. Two contrasting movements of solo Bach.
  3. Another selection of choice.

Memorization is not required but preferred for the concerto and Bach.

Violin

  1. Two contrasting movements from an unaccompanied Bach sonata or partita performed from memory. No repeats.
  2. A slow and fast movements from a standard violin concerto.
  3. Sight-reading

Master of Music Performance in Voice applicants:

  1. Sing four Art Songs (representing Italian, French, German and English) and two Arias from the standard opera and/or oratorio repertoire.
  2. The above selections should demonstrate contrasting styles and historical time periods. 
  3. One selection should be composed between 1950 and the present. 
  4. All selections must be performed from memory with piano accompaniment.

Master of Music Performance in Woodwinds, Brass, Percussion applicants:

Flute

  1. CPE Bach Hamburger Sonata, 1st section (no rondo).
  2. Mozart Concerto in G Major, 1st movement ( no cadenza required), 2nd movement exposition.
  3. 1 piece of your choice in a different style from above.
  4. Orchestra excerpts: Beethoven Leonore Overture #3, solo / Ravel Daphnis and Chloe, solo.

Clarinet

  1. Mozart Clarinet Concerto. 
  2. Two additional works from the standard repertoire demonstrating contrasting styles. One of the works must be written after 1945.
  3. Three standard orchestral excerpts.

Horn

  1. Major Concerto (all mts) Strauss 1 or 2. Mozart 2, 3 or 4. Haydn 1 or 2. 
  2. Gliere Etude showing technical playing. ex. Kling, Gallay, Maxime-Alphonse, etc.
  3. Sight reading in keys of F, E, E-flat, D, C and B basso.

Low Brass

Trumpet

  1. Two etudes showing the applicant’s level of technical and musical advancement.
  2. At least one major solo of the applicant’s choice.
  3. A complete concerto from the standard repertoire.
  4. Three to five standard orchestral excerpts.

Trombone

  1. Any graduate level solo of your choice.
  2. Blazhevich Etude # 24. 
  3. Bordogni vocalize # 16.
  4. Sight reading.

Bass-Trombone

  1. Any graduate level solo of your choice.
  2. Blazhevich Etude # 11. 
  3. Bordogni vocalize # 10 from Ostrander book.
  4. Sight reading

Jazz Trombone

  1. Oleo by Sonny Rollins, All the Things You Are by Jerome Kern
  2. Ballad of your choice
  3. Sight reading.

Euphonium

  1. Any graduate level solo of your choice.
  2. Blazhevich Etude # 24. 
  3. Bordogni vocalize # 16.
  4. Sight reading.

Tuba

  1. Any graduate level solo of your choice.
  2. Blazhevich Etude # 11. 
  3. Bordogni vocalize # 10 from Ostrander book.
  4. Sight reading.

Percussion

Suggested repertoire:

  1. Keyboard:
    • Bach: A movement from the Sonatas and Partitas for Solo Violin or from Six Suites for solo Cello
    • Representative Marimba Solo Repertoire: Klatzow Dances of Earth and Fire, Burritt Scirroco or Caritas, Druckman Reflections on the Nature of Water, Stout Rumble Strips or Sedimental Structures, Sueyoshi Mirage, Sammut Cameleon, Abe Japanese Children’s Songs, Lansky Idle Fancies
    • 3 Excerpts each from standard orchestral repertoire on Xylophone and Glockenspiel  
     
  2. Snare Drum:
    • Delecluse: Douze Etudes, Peters Etudes for solo Snare Drum (purple book)
    • Tompkins: Nine French-American Rudimental Solos
    • 3 Excerpts from standard orchestral repertoire
      • Prokofiev- Lt. Kije
      • Rimsky-Korsakov - Scheherazade Mvt. 3 and 4
      • Capriccio  
       
     
  3. Timpani:
    • One solo from the following:
      • Carter: Eight Pieces for Four Timpani
      • Hochrainer Etudes for Timpani Vol.3
      • Delecluse 20 Studies for Timpani  
       
    • 2 Contrasting orchestral excerpts (such as):
      • Beethoven 9 - 20 before letter S in 1st Mvt.
      • Tchaikovsky 4 – 1st Mvt. 4 before Letter S to V (includes roll)
      • Schuman, William - New England Triptych Be Glad Then, America - mvt. 1 - mm.1-14; 122-152
      • Mozart Sym 39 - Mvt. 1 meas. 1 – 21
      • Strauss Burlesque - meas 1 – 20
       
     

Sight reading required.

Saxophone

  1. A piece of standard French repertoire by a prominent saxophone composer (Ex: Desenclos, Dubois, Boutry, Ibert, etc.)
  2. A saxophone piece of contrasting style to #1, possibly more contemporary or displaying extended techniques.
  3. Major and Minor Scales, full range.