Audition Requirements

All applicants to the Contemporary Commercial Music program must submit an electronic “portfolio” via getacceptd.com, and must also complete an in-person or zoom interview.

Portfolio Requirements:

• List of original songs, performances, and/or recording projects (upload a word document or pdf)
• Sample recordings of your music (1-5 Tracks) 
  • Upload files to the "Sample Recordings" question of your application

                                                     OR

• • Include links to recordings in your document (above)
• Personal Statement: Please describe your journey as a musician and tell us why you are interested in pursuing a Bachelor of Music degree with a specialization in Contemporary Commercial Music
• 2 Letters of Recommendation
• Interview with a USF Contemporary Commercial Music faculty member
  • For part of your interview, choose between the following questions:

1. 1. 1.  What would you do if you were given a solid gold tuba on your way to school today?
      2. What would you talk to Beyoncé about if she came to your house tonight?

Questions regarding a DAW (Digital Audio Workstations), CDJ/DDJ (Digital Turntables), and Voice (Rap/R&B/Pop) focus in the program should be sent to Kenrick Wagner. All other questions should be sent to Clint Randles.

A successful portfolio submission to the USF composition program includes the following items. 

• Sample Notated Scores (with optional recordings). Undergraduate Applicants: 1-5 Score(s). Masters Applicants: 3-5 Scores
• List of works and performances
• Personal Statement describing your experience as a musician/composer
• Curriculum Vitae or Resume
• 2-3 Letters of Recommendation
• Interview with USF composition faculty (all undergraduate applicants, selected graduate applicants)

In addition to the above items, undergraduate applicants must take an instrumental audition. An undergraduate application to the composition program will only be fully considered after the applicant IS ACCEPTED into an instrumental studio. Graduate students are admitted based on their portfolios only - MM applicants do not have to take an instrumental audition. Due to the high volume and quality of MM applicants, only a select number of applicants will be invited for an interview with the composition faculty.

Questions should be sent to Paul Reller.

Students interested in Music Education must also submit a separate Music Education video.  Requirements for the Music Education video are below.

We are very interested in seeing your personality come through in this video! Please spend some time preparing the following and include ALL THREE in your music education video:

1. Sing and/or rap a verse or chorus from a favorite popular song. Make sure to practice your song before recording!

2. Tell a joke. Prepare ahead of time and tell it with gusto! Imagine you are a comedian on a stage!

3. Then briefly discuss ALL the following:

a. Tell us what instruments you play (or would like to play) outside of the traditional band/orchestra instruments in what musical styles you sing (or would like to sing) outside of the traditional choral repertoire.        

b. Tell us about any teaching opportunities of which you have taken advantage.

c. Pick one of the following and give us your best creative answer:

1. Pretend you’re a high school principal. What is a concern (other than money) that keeps you up at night?

2. What would you do if there was a zombie apocalypse?

(NOTE: video requirements can be submitted either as separate videos or as one video - your choice)

Undergraduate and Graduate Bassoon Audition Requirements

Introduction Video:
Introduce yourself and briefly talk about your creative activities and journey as a musician.

Audition Video: 
Perform two contrasting pieces (or movements) that best showcase your technical and musical abilities in contrasting styles and tempos.

Examples of appropriate repertoire are listed below. Please note that you do not have to necessarily select these pieces; any other works of the bassoon repertoire are also acceptable.

Examples of appropriate repertoire that you may select from:

• Any of the 50 Concert Studies Op 26 by Ludwig Milde
• Any Bassoon Concerti by: Vivaldi, Mozart, Hummel, Kozeluh, Jolivet, C. M. von Weber, Villa-Lobos, etc.
• Any Sonata for Bassoon and Piano by: Fasch, Galliard, Telemann, Tansman, Saint-Saens, Sluka. Schreck, etc.

Optional Video: In addition to audition requirements listed above, we invite you to submit a video where you reveal another way you express yourself, and your personal music style, through any form of music engagement. While this in encouraged, it is optional and not required. 

Questions should be sent to Fernando Traba.

Bachelor of Music Performance and Music Education

• Outer movement from standard concerto repertoire (or equivalent)
• One movement from solo Bach Suite or solo Domenico Gabrielli Ricercar
• One etude or caprice
• Major and Minor Scales and Arpeggios

Bachelor of Arts

• 2 contrasting works from standard repertoire (examples may include, but are not limited to, a movement from a concerto and solo Bach Suite, as well as standard solo works)
• Representative 3 Octave scales and arpeggios

Master of Music Performance

• 2 contrasting movements from a standard concerto
• 2 contrasting movements of solo Bach Suite, or 2 contrasting from a pre-classical sonata
• Additional work of applicant’s choice written since 1940.

Master of Music in Chamber Music

In addition to MM requirements above, include 2 contrasting recordings of chamber music performances (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Professor Scott Kluksdahl.

Undergraduate Level Audition Requirements (B.M., B.S. and B.A. majors): 

• Two contrasting etudes from the Rose 32 Etudes for Clarinet.
• Solo selection of the applicant’s choice. This can be a complete work from the standard repertoire, or a single movement from a larger work. Please note that the works listed are merely suggestions. Any work of comparable quality and difficulty is acceptable.  There is no need to memorize the solo selection.
  
  • Appropriate selections include (but are not limited to): Weber “Concertino,” Hailstork” Three Smiles for Tracy,” Messager “Solo de Concours,” Tailleferre Sonata, Osborne Rhapsody, as well as the concerti by Weber, Mozart and Krommer.
  • Suggested solos for Bass Clarinet applicants include Bozza “Ballade,” Kibbe Sonata or any of the Bach Cello Suites.
• All Major Scales. Three octaves for E, F, F# and G; two octaves for all others.
• Sight-reading. To be provided at the audition.
   

Graduate Level Audition Requirements (M.M and PhD): 

• Statement of purpose: an approximate 500-word essay outlining objectives for graduate study and career plans
• CV or resume
• Audition Requirements:
  • • Mozart: Concerto in A Major, KV. 622, movement 1, exposition
    • Original work for clarinet written before 1950
    • Work written after 1950 
    • Orchestral Excerpts
      • • Beethoven Symphony #6, mvt. 1  (2 before K to m. 492)
        • Beethoven Symphony #6, mvt. 2 (D through end of m. 77)
        • Mendelssohn Scherzo from "A Midsummer Night's Dream" (beginning through B)
        • Brahms Symphony #3, mvt. 2 (beginning through B)

Questions should be sent to Calvin Falwell.

Graduate Only

Conducting auditions are required for admission and must be arranged by contacting the appropriate faculty coordinator directly:

• Wind Band: Matthew McCutchen
• Vocal: Allyssa Jones
• Orchestra: Matthew Wardell

BM

• A movement from the standard solo literature, OR the 1st Movement from a standard bass concerto, including the published cadenza
• Two (2) standard orchestral excerpts.

MM

• A movement from the standard solo literature
• The 1st Movement from a standard bass concerto, including the published cadenza
• Three (3) standard orchestral excerpts.

DM

• A complete standard concerto.
• A complete sonata.
• Standard orchestral excerpts of contrasting styles

Questions should be sent to Gil Katz. 

Undergraduate Euphonium Auditions

Live Auditions

• Major Scales: At least two octaves and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities. Examples include (but are not limited to):
  • Curnow: Rhapsody for Euphonium
  • Barnes: Yorkshire Ballad
  • York: Euphonium Concerto “Creative States” (selections)
  • Lyrical and technical studies from Bordogni, Blazhevich, or Kopprasch etude books.
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).

Video Auditions

• Major Scales: Three chromatically consecutive two-octave major scales (e.g., F, Gb, G or Ab, A, Bb) and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities (see Live Auditions for examples).
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).
• Optional: Share a video of yourself engaging with music in a way that reflects your unique style and personality.

Graduate Euphonium Auditions

Live Auditions

• Solo Pieces: Two complete works from different styles and genres.
• Concerto: Exposition of the first movement of a major concerto for your instrument (e.g., Horovitz: Euphonium Concerto).
• Wind Band Excerpts: Three contrasting wind band excerpts of your choice.

Video Auditions

• All Requirements: Perform all the above requirements without editing between movements or excerpts.
• Accompanied Piece: One complete work must be performed with accompaniment.

Questions may be sent directly to Professor Alvarez.

Flute Audition:

Undergraduate Flute Audition Requirements

Live auditions:

• Major scales (at least two octaves) and full-range chromatic scale (articulated ascending, slurred descending)
• Two pieces that best showcase your technical and musical abilities in contrasting styles and tempos
• Sing one major scale (unaccompanied) beginning on the note of your choice (ascending and descending)
• Sight-reading (live auditions) may be asked

Video auditions: (NOTE: video requirements can be submitted either as separate videos or as one video - your choice)

• Three consecutive two-octave major scales (in order of the sharps/flats; example: D, A, E or F, Bb, Eb)
• Full range chromatic scale (articulated ascending, slurred descending)
• Two pieces that best showcase your technical and musical abilities in contrasting styles and tempos
• Sing one major scale (unaccompanied) beginning on the note of your choice (ascending and descending)
• Optional: you may also submit a video where you reveal another way you express yourself, and your personal music style, through any form of music engagement.

Graduate Flute Audition Requirements

Live auditions:

• Two complete works from different styles and genres
• Exposition of a Mozart concerto, first movement
• 3 contrasting orchestral excerpts of your choice

A three- to five-sentence original artist statement demonstrating how you personally connect to music and music-making.

Video auditions:

The above requirements, unedited between movements or excerpts. Additionally, one complete work must be performed with accompaniment.

Questions may be sent directly to Dr. Francesca Arnone.

BM Performance or BA (Guitar):

Guitarists in this track must audition on a nylon-string instrument.

Audition Requirements (5-8 minutes):

Prepare three contrasting solo works from the classical guitar canon that best demonstrate your technical and musical proficiency. Suggested composers include:

- Carcassi

- Sor

- Giuliani

- Bach

- Brouwer

- Aguado

- Tárrega

- Milan

- Villa-Lobos

Optional (BA applicants or entering freshman BM only):

If your primary experience is in a genre other than classical, you may substitute one classical selection with a free-choice piece or solo that best exemplifies your technical or musical skills. This could be performed on classical, acoustic, or electric guitar (amplifier available for live auditions). Selections may be unaccompanied or performed with a backing track.

If auditioning by video, please include an introduction covering:

1. How long you’ve been playing guitar.

2. Any previous training and experience (classes, private lessons, ensembles, etc.).
3. Your professional interests and career goals.
4. Any experience with genres beyond classical.
5. Any other relevant information about your musical background.

Graduate Auditions

Present a 10-15 minute program that includes:

- At least one movement from a Bach suite or partita.

- At least one substantial Classical or Romantic era concert work by Sor, Giuliani, Mertz, Legnani, etc. (e.g., sonata movements, theme and variations, fantasies).

- One or two movements or works chosen from the 20th or 21st century (e.g., Tedesco, Ponce, Barrios, Dyens, Rodrigo, Koshkin, Walton, Berkeley, Villa-Lobos).

Your program should reflect contrast in tempi and include at least one work that highlights slower, more lyrical playing.

Questions should be sent to Dr. Jonathan Godfrey.

Undergraduate and Graduate

• Major scales, at an even tempo, any speed or articulation, two octaves where possible.
• Chromatic scale, full range of the instrument, at an even tempo, any speed or articulation.
• A major solo work written for your instrument chosen to demonstrate the ability to play an expressive phrase musically and a technical passage handily. Separate movements, or even works, may be employed to accomplish this. Select music that will show you at your best, not simply the most difficult piece you know.
• Sight-reading may be asked

Questions should be sent to Professor Andrew Karr.

Jazz Auditions will consist of:

A.  A technically challenging exercise
B.  Display of Technical Proficiency 
C.  Musical Performances

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 Jazz Audition Requirements - Horns, Guitar, Piano, Bass

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A.  A technically challenging exercise: a jazz etude or a transcribed solo by a Jazz Master.
There are a number of good jazz etude books and lots of famous solos by jazz greats available (or you can transcribe a solo yourself !) Ask your teacher and/or see the list of a few options.

Play Along/Etudes for various instruments:
Jazz Conception etudes by Jim Snidero
Essential Etudes: The Blues - Mel Bay
Gordon Goodwin Play Alongs
Oscar Peterson - Jazz Exercises, Minuets, Etudes & Pieces for Piano
Bud Powell Omnibook

B. Technical Proficiency:

Play the following scales in the keys listed (on YOUR instrument, no need to transpose for Bb and Eb instruments)

Eb, A, Db major scales with arpeggios (to the 9th is preferred)

C, F, E harmonic minor scales with arpeggios (to the 9th is preferred)

Ab, B dorian modes with arpeggios (to the 9th is preferred)

Bb, D mixolydian modes with arpeggios (to the 9th is preferred)

** If you know other jazz scales, include examples. (bebop scale, altered dominant, diminished, whole tone, lydian dominant, etc.)

C. Performance of Music (4-5 selections)

Choose your audition music from the jazz repertoire (well known jazz tunes and standards) in contrasting styles and tempos, i.e., ballad, different jazz standards, blues or rhythm changes, straight 8th feel, etc.

Choose from the suggested tune list below and/or choose other jazz standards you are familiar with.  NOTE: be sure the 4-5 tunes you choose include contrasting styles and tempos.

The jazz repertoire performance needs to be in a group format, recorded with live musicians or recorded accompaniment tracks. You are expected to play the melody and improvise on your instrument.

Play the Melody, then improvise one or two choruses and play the melody to end.

Pianists and Guitarists will need to "comp" the chord changes for one chorus as well.  If you are playing with a play along, just “comp” as if a soloist was playing.

Bassists need to “walk” bass lines which outline the harmony for the swing tunes and play appropriate bass lines for other styles. Bassists also need to play the melody to some (if not all) of the tunes and improvise on most (if not all) of the tunes.

Suggested Tune List:

Blues:  
Billie’s Bounce (F), Tenor Madness (Bb), Sandu (Eb), Things Ain’t What the Used to be. (Bb)

 Swing Standards:
Autumn Leaves, Take the A Train, Four, Ornithology, Lester Leaps In, Softly as in a Morning Sunrise, Afternoon in Paris, All the Things You Are.

 Other Feels:

Bossa: 
Blue Bossa, Wave, Girl from Ipanema

Jazz Waltz: 
Someday my Prince Will Come,  Bluesette

Ballad:
Body and Soul, Peace, In a Sentimental Mood                

NOTE:  email Professor Tom Brantley if you have other tracks you’d like to submit (live recordings with a group, etc..)

DRUMS Audition requirements

A.  A technically challenging exercise:

A jazz etude or a transcribed solo by a Jazz Master.
There are a number of good jazz etude books and lots of famous solos by jazz greats available (or you can transcribe a solo yourself !) Ask your teacher and/or see the list of a few options.

Gordon Goodwin Play Alongs
Jazz Essentials Volume 1
Jazz Essentials Volume 2
The Art of Bop Drumming 

B.  Technical Proficiency:

Drummers need to show technique through snare rudiments and full set stylistic patterns (various grooves: Swing, Samba, Afro-Cuban, Latin-Bossa Nova, etc.)

1. Play the written exercises provided. (USF Jazz Drum exercise)

2. Play the following styles/feels, as directed:

• Medium Swing (mm 120)
  Play swing feel for 12 measures, then “trade 4’s” with yourself, play 4 bars of swing feel followed by 4 bars of improvised solo in the style, repeat.  Do this for 24 measures.
• Fast Swing. (mm 260)
  Play for 36 measures (3 choruses of a 12 bar tune, like a Blues). Mark the form, (splash at the beginning of each 12 bars) and build each chorus as if you are playing behind a soloist. Be sure to “comp” on snare in a swing style as part of your performance.
• Bossa Nova (mm140-160)
  Play for 24-36 mesaures demonstrating at least 2 Bossa patterns.
• Samba (mm220-260)
  Play for 24 measures and the switch to another samba variation for 24 more measures.
• Funky, Modern Groove
  Play a Funky, Modern Groove that you like for 16-32 measures, then play a short solo in that style  (8-16 measures).

C. Performance of Music

Drummer Play Along Tracks – choose at least two tracks from each group to include with your audition submission.

NOTE:  email Professor Tom Brantley if you have other tracks you’d like to submit (live recordings with a group, etc..)

 

Group I – Swing 8ths:

Count Bubba’s Revenge – Gordon Goodwin Big Phat Band Playalong

Whodunnit? - Gordon Goodwin Big Phat Band Playalong

Swinging for the Fences - Gordon Goodwin Big Phat Band Playalong

High Maintenance - Gordon Goodwin Big Phat Band Playalong

Twelve – Peter Erskine Playalong vol. 2

Summer Waltz - Peter Erskine Playalong vol. 2

Boogie Shuttle Stop - Peter Erskine Playalong vol. 2

Journey to the Center of the Blues - Peter Erskine Playalong vol. 1

School Days – John Riley the Art of Bop Drumming

Last Week - John Riley the Art of Bop Drumming

Miles – Jazz Conception by Jim Snidero

Group II – Straight 8ths:

Badlands - Peter Erskine Playalong vol. 1

La Almeja Pequena - Gordon Goodwin Big Phat Band Playalong

Horn of Puente - Gordon Goodwin Big Phat Band Playalong

Father Song – Jazz Conception by Jim Snidero

Or any of the Brazilian Grooves from Peter Erskine’s BRS application (with drum track muted)

 Questions should be sent to Professor Tom Brantley.

Undergraduate and Graduate Oboe Audition Requirements

Perform two contrasting pieces that best showcase your technical and musical abilities in contrasting styles and tempos. Any Grade 5 or above (from the FBA Solo and Ensemble list at www.flmusiced.org) would be considered appropriate.

Appropriate examples include (but are not limited to):

Britten Six Metamorphoses After Ovid, op. 49, movement I – Pan

Handel g minor, movement I

Haydn C major Concerto, movement I with cadenza

Hindemith Oboe Sonata, movement I

Marcello c minor oboe concerto, movement I

Saint Saens Sonata op. 166, movement II

Ferling exercise page 2, #4

Ferling exercise, page 4, #7 

If you have any questions concerning your chosen pieces, please feel free to reach out to Professor Collins at acollins@oboe.net.

Undergraduate

• Snare Drum: Prepare a solo from a state contest list (i.e. Florida Bandmasters Solo and Ensemble list) or from any of the major snare books such as Cirone, Delecluse and Peters. Sight reading and demonstration of rudiments may also be asked.
• Keyboard Percussion: Prepare at least one solo from a state contest list (i.e. Florida Bandmasters Solo and Ensemble list) or any literature that you feel demonstrates your skills on marimba, vibes or xylophone. Sight reading, scales etc. may be asked.
• Timpani: Prepare to sing intervals and tune pitches. Solos on timpani are optional for incoming Freshman.

Graduate

• Prepare a solo of your choice for snare, keyboard percussion and timpani.
• Sight reading, tuning, hand instruments, standard orchestral excerpts may also be asked.

Questions should be sent to Kevin Von Kampen.

Bachelor of Music in Performance

• Prepare three pieces, each from a different time period (baroque, classical, romantic, 20th century, 21st century). Works from before 1950 should be performed from memory. Sight-reading may also be requested at the audition.

Bachelor of Science in Music Education and Bachelor of Arts

• Prepare two contrasting works, each from a different time period. One of the two works should be performed from memory. Sight-reading will also be requested at the audition.

Graduate Applicants

• Three complete works from the standard concert/recital repertory, each from a different time period (baroque, classical, romantic, 20th century, 21st century). y
• Works from before 1950 should be performed from memory.

Questions should be sent to Professor Svetozar Ivanov.

Undergraduate Music Majors and Music Minors:

Major Scales/Arpeggios

• F, B-flat, B, D-flat, F-sharp; minimum of 2 octaves where possible
• *For performance majors only: Addition of minor scales and arpeggios - E-flat, F, D, B, A; minimum of 2 octaves where possible
• FBA All-State Style
• Minimum tempo of 120 bpm
• Scales are NOT listed as concert key

Chromatic scale

• 2 octaves from F
• Performance majors only: full range
• All eighth notes
• Minimum tempo of 120 bpm
• Tongued ascending, slurred descending

1 piece (or movement from a full-length work) from the standard repertoire for classical saxophone. The following repertoire is recommended, but similar works may be substituted:

1. Paul Creston “Sonata”
2. Paule Maurice “Tableaux de Provence”
3. Alexander Glazunov “Concerto”
4. Jeanine Rueff “Chanson et Passepied”

1 contrasting etude (Ex: Ferling, Hite, Voxman, or equivalent)

*Auditions may be performed on the instrument (alto, tenor, baritone) on which the student is most comfortable and which best exemplifies the student’s strengths.

Graduate (MM) Requirements:

• All 12 major scales: Full range
• All 12 minor scales (harmonic only): Full range
• 1-2 pieces/movements, or excepts from 1-2 full-length pieces of repertoire totalling a maximum of 15 minutes
• 1 contrasting etude (Ferling, Karg-Elert, Bozza, Koechlin, or similar)

All questions regarding auditions should be directed to Dr. Weintraub at kmweintraub@usf.edu.

Undergraduate and Graduate

• Major scales, slurred and musically, two octaves where possible.
• Chromatic scale, full range of the instrument, slurred and musically.
• A major solo work written for your instrument (no transcriptions) chosen to demonstrate the ability to play an expressive phrase musically and a technical passage handily. Separate movements, or even works, may be employed to accomplish this. Select music that will show you at your best, not simply the most difficult piece you know.
• Sight-reading will be asked

Questions should be sent to Professor Tom Brantley.

Undergraduate

• Major scales slurred, two octaves where possible.
• Chromatic scale full range of the instrument.
• Sight reading
• Charlier Etude #2 and pick two (all first movements) from: Kennan Sonata, Stevens Sonata, Haydn Concerto, Hummel Concerto, Tomasi Concerto, Chaynes Concerto, Hindemith Sonate, Goedicke Concert Etude (complete) or solos of your choice at a comparable level.

Graduate

• Undergraduate requirements plus 5 orchestral excerpts.

Questions should be sent to Professor Jay Coble.

Undergraduate Tuba Auditions

Live Auditions

• Major Scales: At least two octaves and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities. Examples include (but are not limited to):
  • Haddad: Suite for Tuba
  • Hersey: Convent Window
  • Vaughan Williams (Wagner): Six Studies in English Folksong (selections)
  • Lyrical and technical studies from Bordogni, Blazhevich, or Kopprasch etude books.
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).

Video Auditions

• Major Scales: Three chromatically consecutive two-octave major scales (e.g., F, Gb, G or Ab, A, Bb) and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities (see Live Auditions for examples).
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).
• Optional: Share a video of yourself engaging with music in a way that reflects your unique style and personality.

Graduate Tuba Auditions

Live Auditions

• Solo Pieces: Two complete works from different styles and genres.
• Concerto: Exposition of the first movement of a major concerto for your instrument (e.g., Vaughan Williams: Tuba Concerto).
• Orchestral/Wind Band Excerpts: Three contrasting orchestral and/or wind band excerpts of your choice.

Video Auditions

• All Requirements: Perform all the above requirements without editing between movements or excerpts.
• Accompanied Piece: One complete work must be performed with accompaniment.

Questions may be sent directly to Professor Alvarez.

Bachelor of Music Performance and Music Education

• One movement from standard concerto repertoire (or equivalent)
• At least one movement from solo Bach Cello Suite or from a Violin Sonata or Partita
• One etude of the candidate's choice

• Sight reading may also be required. 

Bachelor of Arts

• 2 contrasting works from standard repertoire
• Representative 2 or 3 Octave scales and arpeggios

• Sight reading may also be required. 

Master of Music Performance

• One concerto movement
• 2 contrasting movements of solo Bach
• Work of applicant’s choice (may include a sonata movement, a modern work, standard orchestral excerpts, etc.)

Master of Music in Chamber Music

• In addition to MM requirements above, include 2 contrasting recordings of chamber music performances (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Dr. Christina Adams.

Bachelor of Music Performance and Music Education

• One movement of a concerto (or equivalent) from the violin repertoire

• One movement from an unaccompanied baroque work (i.e., Bach or Telemann)

• One caprice or etude from any era

• Representative 3 Octave scales and arpeggios

• Sight reading may also be required

Bachelor of Arts

• 2 contrasting works from the violin repertoire (examples may include, but are not limited to, a movement from a concerto and an unaccompanied work from the baroque era

• Representative 3 Octave scales and arpeggios

• Sight reading may also be required

Master of Music Performance

• One movement of a concerto (or equivalent) from the violin repertoire 

• 2 contrasting movements of solo Bach
• Work of applicant’s choice from any era

Master of Music in Chamber Music

• In addition to MM requirements above, include performance recordings of 2 contrasting chamber music works (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Professor Carolyn Stuart.

"Joining our esteemed voice program offers a unique opportunity to achieve your musical aspirations, though it is competitive. Scholarships are available for those who demonstrate exceptional talent and potential during their audition. To help you succeed, we encourage you to work with an experienced voice teacher—preferably one with a proven track record of preparing students for college voice auditions. Whether your preparation takes weeks, months, or even years, this guidance will help you present your best self and maximize your chances of success at the audition."

UNDERGRADUATE APPLICANTS

Recommended and acceptable vocal repertoire for Undergraduate applicants:

- Art Songs

- Opera/Operetta/Oratorio Arias

- Musical Theater Songs, including selections from film musicals (excluding belting or commercial styles)

- Arranged Folk Songs (IE: Spirituals)

- Hymns (Melody)

- Patriotic Songs

Suggested resources for audition song selection:

- 24/26/28 Italian Art Songs and Arias

- The First/Second Book of SATB Solos

- Florida Vocal Association Vocal Solo List

VIDEO AUDITION:

- If you're auditioning by submitting videos, please ensure they are recorded with either a live pianist or pre-recorded piano accompaniment.

- Your audition videos do not need to be professional or studio recordings, but the sound and video quality should be as good as possible to capture and demonstrate your vocal tone, facial expressions, and body gestures.

UNDERGRADUATE AUDITION REPERTOIRE REQUIREMENTS:

Freshmen Applicants:

• Please prepare TWO solo songs of contrasting style or tempo.
• One selection must be in English.
• Second piece must be in a foreign language (Italian, Spanish, Latin, German, French, or any other language).
• Pieces must be performed from memory and with piano accompaniment (A cappella is not accepted).
• If you perform an on-campus live audition, a USF staff pianist will be available to accompany you at no charge (please bring your sheet music). Alternatively, you may choose to bring your own pianist.

Transfer Student Applicants:
If you have taken Applied Voice Lessons for college credit

Please prepare THREE solo songs of contrasting style or tempo

• One selection must be in English.
• Two selections must be in foreign language(s)
• Pieces must be performed from memory and with piano accompaniment (A cappella is not accepted)
• If you perform an on-campus live audition, a USF staff pianist will be available to accompany you at no charge (please bring your sheet music). Alternatively, you may choose to bring your own pianist.

** If you have not completed college-level Applied Voice Lessons for credit prior to your audition, you will be considered a freshman and should audition as such. Should you be accepted into our program as a transfer voice major, your placement in the applied voice year/level will be determined based on the strength and merits of your audition.

GRADUATE APPLICANTS

• Five Solo Vocal pieces from the Standard Classical Vocal Repertoire such as Art Song, Arranged Folk Songs, or Aria from Oratorio or Opera.
• One Aria: One of the five pieces must be an Aria from Opera or Oratorio.
• Other selections may be any combination of Art Songs, Arias, or Folk Songs.
• Language Requirements: Five pieces should cover at least four major languages.

- One in English

- One in Italian

- One in French

- One in German

- The 5th may be in any language.

Please direct any questions regarding vocal auditions to Dr. Kyoung Cho, Professor of Voice & Head of USF Voice Program