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Bloomington, IN 47405

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Hours: 8 am–12 pm, 1–5 pm
Phone: 812-855-1738Phone

E-mail: musgrad [at] indiana [dot] edu

musicdgs [at] indiana [dot] edu (Prof. Eric Isaacson), Director
serbes [at] indiana [dot] edu (Sara Erbes), Academic Advisor
anmiller [at] indiana [dot] edu (Angie Miller), Recorder
musgrad [at] indiana [dot] edu (Victoria Wheeler), Secretary
musdoc [at] indiana [dot] edu (John Porter), Doctoral Clerk

More Information

Performance Proficiency Audition Procedures

This page summarizes by area how each performance area assesses the performance proficiency requirement when met by audition. Students should review this information in the context of the full performance proficiency policy.

It is the student's responsibility to inform their own department of the scheduled exam, so that a faculty member in that department can be present for the exam if desired.

Brass

What to prepare
  • A piece from the repertoire (One concerto movement, unaccompanied piece, substantial etude, etc.) performed with or without piano
  • Two or three samples of orchestral, band, or jazz literature of contrasting styles
  • Major and minor scales of two octaves (natural, harmonic, and melodic forms of minor scales)

Check with a faculty member of your instrument for specific suggestions.

Estimated audition length

Approximately 10-15 minutes.

When auditions are held

Usually scheduled on a jury date sometime in the last two weeks of the semester but may be arranged with faculty of your instrument

Who hears the audition

At least two members of your instrument faculty

How to schedule the audition

Contact any faculty member of your instrument (contact information is here)


Early Music

What to prepare

Students may audition on any appropriate instrument. Contact the Early Music Institute Office (emi@indiana.edu or 5-4088)

The student should prepare, from memory, the melody (only) and three variations, in any key, on either:

(a) Greensleeves

(b) The Pachelbel Canon

Note: The faculty will consider requests to substitute alternative pieces. No technical exercises shall be required, and sight reading is unnecessary. Students may find the authentic, historic performances (c.1976) on many early music instruments to be helpful in preparing for the audition. The performances may be viewed on the 6-part DVD "Early Musical Instruments" (Music Library Call #: 9676849). Some instruments cited may be found in the EMI's Oliver Brookes Collection, and may be checked out from MA410 for use in the audition. A list, and pictures, of the instruments is obtainable from the Director of the EMI (playable condition is not guaranteed).

Additional note: Special attention will be paid by the audition committee to tuning, temperament and mode and, in the case of the voice, to the absence of vibrato.

Estimated audition length

5 minutes

When auditions are held

On jury dates in the last week of classes, in MU204 or MU205

Who hears the audition

An EMI audition committee consisting of three full-time faculty (if available)

How to schedule the audition

Contact the Early Music Institute Office (emi@indiana.edu or 812-855-4088)


Guitar

What to prepare
  • One Study by Fernando Sor
  • Any of the 5 Preludes by Villa Lobos
  • Bouree by Bach or works of similar difficulty in arrangement with Prof. Petar Jankovic, who hears the exam.
Estimated audition length

10-15 minutes

When auditions are held

By appointment

Who hears the audition

Faculty member

How to schedule the audition

Contact Professor Petar Jankovic


Harp

What to prepare

Pieces of the level of a Pozzoli or Bochsa Etude, 1-2 Graded Recital Pieces (McDonald-Wood), Naderman Sonatinas, Grandjany 3 Pieces

Estimated audition length

About 10 minutes

When auditions are held

By appointment on Wednesdays beginning at 3:00 p.m., MA 003

Who hears the audition

The harp faculty

How to schedule the audition

Sign up outside MA 003


Jazz Studies

What to prepare

(1) Three tunes. For each tune be prepared to play the melodies and improvise over the chord changes from memory.

  • Anthropology (Bb) 
  • Two from the following list:
    • Joy Spring (F)
    • Hot House (C)
    • Donna Lee (Ab)
    • Confirmation (F)

(2) Be prepared to play the following arpeggios and scales in all keys. For these there will be a sheet with chord symbols. You will be asked to arpeggiate the chord up and down and then play the scale. One good way to practice this is to make flash cards--one set with each of the 12 roots, another set with each of the chord symbols.

Arpeggio Scale
(none) Chromatic
major 9 Major
major 13 #11 Lydian
major 7 #5 Lydian Augmented
minor 9 (or 13) Dorian
minor-major 9 (or 11) Ascending Melodic Minor
half-diminished 7 Locrian
half-diminished 7 maj 9 (add 11) Locrian #2
dominant 9 Mixolydian
dominant 13 #11 Lydian Dominant
dominant 9 #5 Whole Tone
dominant 13 #11 b9 Diminished (HW)
dominant 7 #9 #5 Diminished-Whole Tone
root and triad a half step above the root (C/B) Phrygian
diminished 7 Diminished (WH)
(none) Major Bebop Scale
(none) Dominant Bebop Scale
(none) Major Pentatonic
(none) Minor Pentatonic
(none) Blues Scale
Estimated audition length

about 20 minutes

When auditions are held

By appointment

Who hears the audition

One or more members of the jazz studies faculty

How to schedule the audition

Contact Professor Thomas Walsh.



Organ

What to prepare

Music representing a minimum of two stylistic periods; one piece must come from the Baroque period and the other a work should be in a contrasting style from either the Romantic or Contemporary repertoire. Memorization is not required but accomplishing one's own registration is. The minimum standard of difficulty should be commensurate with the following repertoire: one of the Eight "Little" Preludes and Fugues or representative chorale preludes from the Orgelbüchlein of Johann Sebastian Bach, a free work from the North German repertoire or group of French Classical versets in contrasting styles; one movement from a Mendelssohn Prelude and Fugue or Sonata, Brahms Chorale Prelude or Vierne Piece in the Free Style; "The Peace may be exchanged" by Dan Locklair, Mvt. II from Hindemith Sonate II or Ned Rorem "There is a spirit that delights to do no evil," from A Quaker Reader.

Candidates should submit their repertoire for consideration to the Chair well in advance of the audition.

Practice in MA 407 will be arranged through the Curator of Organs.

Estimated audition length

12 to 15 minutes.

When auditions are held

Ad hoc with preference given to Mondays at 12:30 pm in MA 407.

Who hears the audition

The organ faculty.

How to schedule the audition

Contact department chair, Professor Janette Fishell 


Percussion

What to prepare

Each of the following

  • Snare Drum: Delecluse or similar advanced etude for snare drum
  • Timpani: an advanced level etude (Vic Firth or Saul Goodman)
  • Marimba/Keyboard Percussion: 5 minutes of a solo work; 4 mallets preferred
  • If the candidate would like to demonstrate basic drum set styles (swing, Bossa Nova, rock, etc.) that is fine, but not mandatory
Estimated audition length

10 minutes

When auditions are held

May be scheduled at any time.

Who hears the audition

Two percussion faculty members. The candidate is also encouraged to bring a professor of their choice.

How to schedule the audition

Contact Professor John Tafoya, chair of the percussion department.


Piano

What to prepare

Two or three substantial movements or pieces from distinct stylistic periods. An example of minimally acceptable repertoire would be:

  • A Clementi Sonatina Allegro movement (for example from Op. 36)
  • A Chopin prelude
  • A Debussy Arabesque

Other repertoire may be acceptable—it is advisable to contact the department chair by email to determine whether the intended repertoire is appropriate.

It is recommended that students memorize their performance material. While memorization is not required, to perform at least part of the program from memory will reflect positively upon the performance.

Estimated audition length

Approximately 10 minutes

When auditions are held

Once each semester. The date (typically a Saturday close to the end of the semester) will be posted at the beginning of each semester outside MA010.

Who hears the audition

A faculty committtee

How to schedule the audition

Contact Professor David Cartledge before the beginning of the eighth week of the semester to request an examination and to discuss appropriate repertoire.  This page has more details about this semester's procedure and dates.


Strings

What to prepare

Pieces similar to those listed below. Memorization is not required.

Violin: Vivaldi A Minor Concerto; Haydn G Major Concerto; Viotti Concerto No. 23

Viola: Telemann G Major Concerto; Marcello Sonatas

Cello: Bach, Arioso; Squire, Tarantella or Bourree; Bruch, Kol Nidre; Saint-Saens, The Swan or Allegro Appasionato; Vivaldi, Sonatas, Eccles, Sonata; Golterman, Concerto; Romberg, Concerto

Double Bass: Sonatas, like those of Vivaldi (originally for cello), Marcello (originally for cello), or Eccles; Concerti of Capuzzi, Dragonetti, or Dittersdorf; any movement from any of the Bach Unaccompanied Suites (originally for cello), in any key.

Estimated audition length

Approximately 10 minutes

When auditions are held

Generally in MU204 on Wednesdays and Thursdays, between 4:15 and 6:30 p.m. A second attempt must be made within four weeks, though is subject to departmental scheduling practices.

Who hears the audition

Two members of the string department faculty.

How to schedule the audition

Contact Prof. Stephen Wyrczynski.


Voice

The voice faculty expects that anyone who chooses to demonstrate performance proficiency in voice has had formal one-on-one voice lessons for at least a year. If you have never take voice lessons, you should enroll in V700 for two semesters.

What to prepare

Four memorized pieces:

  • At least one should be in English
  • One should be in Italian, French, or German
  • One may be from musical theater repertoire

These need not be difficult pieces.  You can find suitable songs in the Boytim series of “First Book of Soprano (Alto, Tenor, Baritone) Solos” series (any volume). These can be found in the Music Library Reserves M1619.F515 B69 (etc.).

Estimated audition length

The audition will take less than ten minutes. You will start with the piece of your choice, and the faculty will choose a second piece. You must provide your own pianist for the audition. Be sure that you have practiced together before your audition.

When auditions are held

During the last week of classes each semester, added onto the end of a group of freshman juries in the studio of one of the voice faculty.

Who hears the audition

A panel of three voice faculty.

How to schedule the audition

Contact Professor Mary Ann Hart early in the semester you wish to take the exam (no later than November. 1/April 1). Committees are formed about two weeks before the end of the semester. You will be notified of the exact time and place as soon as possible.


Woodwinds

What to prepare
  • A piece from the repertoire (One concerto movement, unaccompanied piece, substantial etude, etc.) performed with or without piano
  • Major and minor scales of two octaves (harmonic, and melodic forms of minor scales).

Check with a faculty member of your instrument for specific suggestions.

Estimated audition length

Approximately 10 minutes.

When auditions are held

Usually scheduled on a jury date sometime in the last two weeks of the semester but may be arranged ad hoc with faculty of your instrument

Who hears the audition

At least two members of your instrument faculty.

How to schedule the audition

Contact any faculty member of your instrument (contact information can be found here).