Brass + percussion audition info
All undergraduate applicants must apply to the University of Colorado Boulder and complete a College of Music admission application. Undergraduate auditions will not be scheduled until both applications have been received. Graduate students need only complete the graduate application.
Undergraduate brass + percussion
Undergraduate application instructions
Graduate application instructions
Audition requirements
Audition material is flexible and—while there is no required repertory list—candidates should choose works that demonstrate their very best in both technical and lyrical playing.
- Scale: C chromatic scale (two octaves)
- Solo: Two contrasting solos or movements from major solo literature (i.e. Haydn, Hummel, Arutunian, Hindemith, Kennan, Stevens, Enesco, etc.)
- Etudes: One to two etudes from Charlier, Arban, Bousquet, Brandt, Goldman, Bitsch, etc.
- Excerpts: Three to four standard orchestral excerpts
- It is strongly discouraged that candidates perform any region/all-state etudes.
If you have any questions about repertoire, please contact Ryan Gardner.
Applicants may choose to audition in-person or remotely. To audition remotely, applicants must complete both of the following:
- Submit a recording
- Register for a Zoom interview with faculty.
More information about the audition process and recording specifications can be found here.
Essay prompt
A short music essay is required with your application. Upload the essay on your status page. Please choose one of the following prompts:
- Tell us why you would like to be a music major, describe your most powerful musical experience and list your future goals as a musician. Comment on your musical background and share anything else you would like us to know.
- “Music lets you rediscover your humanity, and your connection to humanity.” -Hans Zimmer. In what ways do you believe music can or should connect people across difference?
Degree sheets
Undergraduate application instructions
Graduate application instructions .
Audition requirements
Trombone
- Major sacles in 2 octaves
- Two contrasting etudes to be selected from Bordogni, Blazhevich, Fink, Kopprasch, etc. One etude should demonstrate technical ability and the other should demonstrate lyrical and expressive qualities. A technical and lyrical standard orchestral excerpt may be substituted for required etudes. Applicants who are interested in the Jazz Emphasis should submit a jazz etude or improvisation.
- Solo or single movement of student’s choice, to be selected from:
Barat—Andante et Allegro
Blazhevich—Concert Piece No. 5
Grondahl—Concerto (mvt. 1)
Guilmant—Morceau Symphonique
The above list demonstrates the performance level expected for undergraduate study; other works of similar difficulty may be substituted. Applicants are encouraged to include works by under-represented, diverse composers as appropriate.
Bass trombone
- Major scales in 2 octaves
- Two contrasting etudes to be selected from Bordogni, Blazhevich, Fink, Kopprasch, etc. One etude should demonstrate technical ability and the other should demonstrate lyrical and expressive qualities. A technical and lyrical standard orchestral excerpt may be substituted for required etudes. Applicants who are interested in the Jazz Emphasis should submit a jazz etude or improvisation.
- Solo or single movement of student’s choice, to be selected from:
Galliard—Six Sonatas (contrasting movements from one sonata)
Jacob—Cameos (selected movements)
Lebedev—Concerto in One Movement
Marcello—Sonatas (contrasting movements from one sonata)
McCarty—Sonata
The above list demonstrates the performance level expected for undergraduate study; other works of similar difficulty may be substituted. Applicants are encouraged to include works by under-represented, diverse composers.
Piano accompaniment is optional.
Applicants may choose to audition in-person or remotely. To audition remotely, applicants must complete both of the following:
- Submit a recording
- Register for a Zoom interview with faculty.
More information about the audition process and recording specifications can be found here.
Essay prompt
A short music essay is required with your application. Upload the essay on your status page. Please choose one of the following prompts:
- Tell us why you would like to be a music major, describe your most powerful musical experience and list your future goals as a musician. Comment on your musical background and share anything else you would like us to know.
- “Music lets you rediscover your humanity, and your connection to humanity.” -Hans Zimmer. In what ways do you believe music can or should connect people across difference?
Degree sheets
Undergraduate application instructions
Graduate application instructions .
Audition requirements
Where possible, you are encouraged to include works by historically underrepresented composers in your audition repertoire. Find compendiums and resources from the League of American Orchestras, Juilliard and CU Boulder’s very own American Music Research Center.
- Mozart—concerto of choice (K. 412, K. 417, K. 447 or K.495), mvmt. 1 exposition
- Contrasting solo work of choice
- Orchestral excerpts (please choose three excerpts from the list below. Excerpts may be downloaded from the International Horn Society website):
- Beethoven—Symphony No. 3, Mvmt. 3 Trio, Hn. 2
- Beethoven—Symphony No. 7, Mvmt. 1
- Brahms—Symphony No. 3, Mvmt. 3 Hn. 1
- Mussorgsky/Ravel—Pictures at an Exhibition, Promenade, Hn. 1
- Price—Symphony No. 1, Mvmt. 3 (Juba Dance) Hn. 1
- Ravel—Pavane for a Dead Princess, Hn. 1
- Shostakovich—Symphony 5, Mvmt. 1 Hn. 1
- R. Strauss—Don Juan, Hn. 1
- Tchaikovsky—Symphony No. 4, Mvmt. 1 Hn. 1 and 2
- Williams—Star Wars Suite: 2. Princess Leia’s Theme
Applicants may choose to audition in-person or remotely. To audition remotely, applicants must complete both of the following:
- Submit a recording
- Register for a Zoom interview with faculty.
If you choose to submit a recorded audition, please complete the requirements for the live audition above. Each component of the recording should be unedited, but the final recording may be a compilation of your best version of each requirement.
More information about the audition process and recording specifications can be found here.
Essay prompt
A short music essay is required with your application. Upload the essay on your status page. Please choose one of the following prompts:
- Tell us why you would like to be a music major, describe your most powerful musical experience and list your future goals as a musician. Comment on your musical background and share anything else you would like us to know.
- “Music lets you rediscover your humanity, and your connection to humanity.” -Hans Zimmer. In what ways do you believe music can or should connect people across difference?
Degree sheets
Undergraduate application instructions
Graduate application instructions .
Audition requirements
- Solo work (accompaniment optional)
- Two contrasting solos or etudes, or one piece with contrasting sections. One piece should demonstrate technical ability and the other should highlight lyrical and expressive qualities. Solos should be performed with piano accompaniment if possible (An accompanist can be provided with adequate notice for live auditions by contacting Professor Dunn).
- This repertoire may be selected from the following list (but is not limited to):
- Tuba
- Arnold, Malcolm —Fantasy, Op. 102
- Hartley, Walter S.—Suite for Unaccompanied Tuba
- Bach, J.S., arr. Wm. Bell—Air and Bouree
- Hindemith, Paul—Sonata for Bass Tuba
- Barat, J. Edouard, arr. Glen Smith—Introduction + Dance
- Lebedev, Alexi; arr. Allen Ostrander—Concerto in One Movement
- Broughton, Bruce—Sonata (Concerto)
- Marcello, Benedetto; trans. Little/Nelson—Sonata No. I in F
- Capuzzi, Antonio; trans. Catelinet—Andante and Rondo
- Marcello, Benedetto; trans. Little/Nelson—Sonata No. V in C
- Gregson, Edward—Concerto, mvt. 1
- Nelhybel, Vaclav—Suite for Tuba and Piano
- Haddad, Don—Suite for Tuba
- Vaughan Williams, Ralph—Concerto for Tuba
- Euphonium
- Barat, Ed.—Andante and Allegro
- Guillmant, A.—Morceau Symphonique
- Capuzzi, A.—Andante and Rondo
- Marcello, B.—Sonata in F Major
- Curnow, J.—Rhapsody for Euphonium
- Mozart, W.—Bassoon Concerto
- Tuba
- Etude
- An etude of your choice that demonstrates tone, musicianship and technique. The etude may be selected from the following list (but is not limited to):
- Tuba
- Blazhevich
- Kopprasch
- Bordogni/Rochut
- Shoemaker
- Fink
- Tyrell
- Gregoriev
- Euphonium
- Bordogni/Rochut
- Slama
- Kopprasch
- Voxman
- Tuba
Applicants may choose to audition in-person or remotely. To audition remotely, applicants must complete both of the following:
- Submit a recording
- Register for a Zoom interview with faculty.
More information about the audition process and recording specifications can be found here.
Essay prompt
A short music essay is required with your application. Upload the essay on your status page. Please choose one of the following prompts:
- Tell us why you would like to be a music major, describe your most powerful musical experience and list your future goals as a musician. Comment on your musical background and share anything else you would like us to know.
- “Music lets you rediscover your humanity, and your connection to humanity.” -Hans Zimmer. In what ways do you believe music can or should connect people across difference?
Degree sheets
Undergraduate application instructions
Graduate application instructions .
Audition requirements for performance (BM) + music education (BME) majors
All auditionees are required to audition on Snare Drum and Mallets and match pitches by singing. You do not have to be an expert on all percussion but must demonstrate a strong musical background on both snare drum and mallets. However, the more instruments you play well, the higher we will rank you. If you have questions, please don't hesitate to email us.
In-person percussion auditions are typically 20 minutes. During that time you must play the three required areas (noted below) and read music. You may also play along with the instructors. Please prepare music accordingly.
Applicants may choose to audition in-person or remotely. To audition remotely, applicants must complete both of the following:
- Submit a recording
- Register for a Zoom interview with faculty.
More information about the audition process and recording specifications can be found here.
Snare drum - REQUIRED* It has four components: rudiments, a rudimental solo, a concert etude and the concert roll
- Play these rudiments in a slow-fast-slow fashion: Single paradiddles, double paradiddles, nine stroke rolls, seven stroke rolls and alternating flams. Start at a slow tempo, then accelerate the rudiment to your fastest speed, hold it for five seconds and then decelerate to the original speed. Each rudiment lasts around 25-30 seconds. Smoothly flowing motion and accents are important.
These sites may help:
- One rudimental solo from these books by Charles Wilcoxon: The All-American Drummer or Modern Rudimental Swing Solos. They do not have to be fast, but they should be smooth, without stopping.
- One concert snare drum etude, including multiple-bounce rolls & dynamic control from Anthony Cirone’s Portraits in Rhythm.
- Demonstrate a concert (multiple bounce) roll--start softly, crescendo to forte, then decrescendo to a soft, smooth roll. This process should last around 20 seconds.
Mallets - REQUIRED* Marimba and/or vibraphone is fine. Both components are required.
- Play the Eb, Ab, A and E major scales for one octave, up and down. You may also play chord arpeggios or minor scales if you want, but these are not required.
- Play solo(s) OR etude(s) from a book for at least three minutes in total length which demonstrate your expressive musicianship.
- You can play two or four mallet pieces, accompanied or unaccompanied, --or a combination! We listen above all for your intelligent musical expression.
Your teacher can help choose solos. Consider works by Mitchell Peters, Bill Molenhof, J.S. Bach, Earl Hatch, G. F Handel, G. H. Green, Bart Quartier or Dale Anderson. Steve Weiss Music or your local music dealer has these and other good mallet works.
Timpani - You must match pitch by singing but the etude is optional. Both components are required.
- Demonstrate the ability to match pitch with your voice by playing the note Eb on a piano or marimba or vibes and then singing it. Then play G and sing it. Then play and sing the note A.
- Play a two-drum etude from the Goodman, Delecluse or Peters timpani methods (or similar material). Please tune the drums while recording. You may play a three or four drum etude if you wish. Please "lift" the tone out of the drums.
If you do not have access to timpani for a recorded audition, that's OK. You do not have to play timpani for your audition (but you will sing for us).
OPTIONAL CHOICES: Playing one or more of these options will show us your personal skills. Play one, none, or as many as you wish.
Drum set (optional)
- Play drum patterns or beats, with some 'fills" (Choose from these styles: swing, samba, bossa-nova, rock, funk, waltz, praise band, shuffle, etc.).
- In a medium swing style, "trade fours with yourself" (also possible: A short written-out or transcribed solo.)
Jazz vibes (optional)
- Demonstrate knowledge of basic jazz scales and 7th chords or chord progressions
Degree sheets
Audition requirements for Bachelor of Arts majors (BA)
You may audition on just one instrument or several instruments.
Choose from any combination of these instruments: Marching Percussion, Concert Snare Drum, Drum Set, Marimba/Vibraphone, Timpani and/or Jazz Vibraphone.
Percussion auditions are typically 20 minutes. During that time you must play your selected area(s) and read music. Live auditions (in-person and virtual) may also include playing along with the instructors.
A. Marching percussion—all components
- If you played snare, timpani, quints (quads) marimba or vibraphone in a high school, DCI, WGI or other marching group, send us a copy of your best recorded performance with them. Be sure to tell us where you are in the video. You must be audible.
- Play your show's marching solo (or group solo part) for us in either a live audition or in a video recording.
- Do an interview with the percussion faculty (in person or virtual) about your musical activities and plans.
B. Concert snare drum—both components: Rudiments + a concert etude
- Play these rudiments in a slow-fast-slow fashion: single paradiddles, nine stroke rolls, alternating flams. Start at a slow tempo, then accelerate the rudiment to your fastest speed, hold it there for five seconds and then decelerate to the original speed. Each rudiment lasts around 20-25 seconds. Smoothly flowing motion and accents are important.
https://www.youtube.com/watch?v=5xK2seFUuyA&list=RD5xK2seFUuyA&index=1
https://www.youtube.com/watch?v=ONTwonwbnNA - One concert snare drum etude that includes multiple-bounce rolls, flams & dynamic control from Anthony Cirone’s Portraits in Rhythm.
C. Drum set—all components
- Play at least four drum patterns or beats, with some 'fills" (Choose from these styles: swing, samba, bossa-nova, rock, funk, waltz, praise band, shuffle, etc.).
- In a medium swing style, "trade fours with yourself" (OPTIONAL: A short written-out, improvised or transcribed solo.)
- Send us a recording or several recordings of you playing drum set in a live group performance. It can be a school jazz band or combo, a church praise band, any group you've played with, even a marching band. BUT you must be clearly seen, heard and identified in the recording.
D. Classical marimba and/or vibraphone—both components
- Play four major scales with at least 2 sharps or flats for one octave, up and down. You may also play chord arpeggios or minor scales if you want, but these are not required.
- Play solo(s) or etude(s) for at least two minutes in total length which demonstrate your expressive musicianship and accuracy. These may include popular songs or even concert band, percussion ensemble or orchestra parts
A teacher can help choose solos. Steve Weiss Music or a local music store has good mallet solos. If you wish, you may play music written for other instruments like flute or oboe.
You can play two-mallet or four-mallet pieces, accompanied or unaccompanied, or a combination! We listen most for your intelligent musical expression.
E. Timpani—both components
- Demonstrate pitch matching with your voice by playing the note Eb on a piano or marimba or vibes and then singing it. Then play G and sing it. Then play and sing the note A.
- Play a two-drum etude from the Goodman, Delecluse or Peters timpani methods (or similar material).You will tune the drums yourself. Please "lift" the tone out of the drums. You may play a three or four drum etude if you wish.
F. Jazz vibes—both components
- Demonstrate knowledge of basic jazz scales up and down AND 7th chords and chord progressions from standard tunes by playing them in arpeggios or block, four-mallet chords.
- Play an improvised solo (of at least one chorus) on a jazz tune. This may be a live performance for or with us, a studio or live recording with a group, or an unaccompanied solo.
Essay prompt
A short music essay is required with your application. Upload the essay on your status page. Please choose one of the following prompts:
- Tell us why you would like to be a music major, describe your most powerful musical experience and list your future goals as a musician. Comment on your musical background and share anything else you would like us to know.
- “Music lets you rediscover your humanity, and your connection to humanity.” -Hans Zimmer. In what ways do you believe music can or should connect people across difference?
Degree sheets
Brass + percussion–Graduate
Graduate trumpet applicant requirements
Pre-screening recording
A pre-screening video is required for all graduate trumpet applicants.
Required repertoire (pre-screening recording only)
- One movement of a standard concerto or sonata or five to eight minutes from a single-movement work
- One contrasting piece (solo or etude) from the trumpet literature
- Two standard orchestral excerpts
It is important that you record these selections with a high-quality microphone. If you would like to include other pieces of your choice, these will be listened to. Please feel free to submit supporting materials such as a resume or biography but these are not required.
All pre-screening recordings must be submitted online to the Graduate Application on or before December 1. Students are encouraged to upload supporting materials along with their recordings.
Live auditions
Students invited to the in-person auditions will be notified of their acceptance to the auditions by late December.
For the most part, audition material is flexible. Candidates should choose works that demonstrate their very best in both technical and lyrical playing. Works by diverse composers are encouraged.
Required repertoire (live auditions only)
- Honegger Intrada (MM and DMA applicants), and one contrasting solo from the trumpet literature (MM applicants) or two additional contrasting works including a full concerto (DMA applicants)
- Two etudes–select from Charlier, Bitsch, Smith Top Tones, etc.
- Three standard excerpts
- One excerpt from the following: Bach B Minor Mass (Credo, m. 29-47), Bach Christmas Oratorio (No. 64, m. 1-12), Bach Magnificat (opening) or Mussorgsky/Ravel Pictures at an Exhibition (Goldenberg and Schmuyle)
- Sight reading: Technical (no transposition) and Lyrical (with transposition)
- DMA candidates should be prepared to play for 30 minutes.
Live auditions are strongly preferred. Students who are unable to travel to Boulder for a live audition may submit a high-quality recorded audition. Please see the recorded audition guidelines for information on submitting a recording.
A live audition is required to qualify for Teaching Assistantships. Applicants unable to travel for a live audition should contact Dr. Ryan Gardner. Requirements for a recorded audition are identical to a live audition. Editing within a movement is prohibited. Any indication of editing may disqualify the candidate from admission. The recording (audio/video) must be in a digital format with high quality audio. Please note that while recorded auditions will be given consideration, the best demonstration of your musical ability is through a live audition. Recorded auditions will not be considered for merit-based financial aid.
If the candidate has any questions about repertoire, please contact Dr. Ryan Gardner.
Artist Diploma auditions
For information on auditioning on trumpet for the Artist Diploma program, see the documents below
- Artist Diploma in Solo Performance
- Artist Diploma in Chamber Music Performance
- Artist Diploma in Orchestral Performance
Graduate degree sheets
Graduate trombone audition requirements
A pre-screening recording is required for all graduate trombone applicants.
Pre-screening repertoire
10-15 minutes of music (solo, excerpts, and/or etudes). Pre-screening material can be from the live audition lists, or material of equivalent difficulty.
Live auditions
Tenor trombone
- Solo work(s)
- Two contrasting etudes from the trombone literature (Bordogni, Blazhevich, Kopprash, etc.)
- Three contrasting orchestral excerpts
- Sight reading
- DMA candidates should be prepared to perform 30 minutes of music.
The following list demonstrates the performance level expected for graduate study. Other works of similar difficulty may be substituted. Applicants are encouraged to select repertoire from under-represented composers as appropriate.
- Barfield–Red Sky
- Bernofsky–Two Latin Dances
- Bozza–Ballade
- Casterede–Sonatine
- Ewazen–Sonata
- Grondahl–Concerto
- Jacob–Concerto
- Mills–Red Dragonfly
- Peaslee–Arrows of Time
- Ropartz–Piece in E-flat minor
Orchestral excerpts: Please select three excerpts from the following list:
- Mozart–Tuba Mirum from Requiem
- Berlioz–Hungarian March
- Wagner–Ride of the Valkyries
- Ravel–Bolero
- Rossini–La gazza ladra
- Rossini–William Tell
- Saint–Saens–Symphony No. 3 (organ)
- Mahler–Symphony No. 3
- Brahms–Symphony No. 1 or No. 4
Optional material: Please feel free to include other material that demonstrates your performance abilities–jazz, contrasting etudes, unaccompanied literature, etc.
Bass trombone
- Solo work(s)
- Two contrasting etudes from the trombone literature (Bordogni, Blazhevich, Kopprash, etc.)
- Three contrasting orchestral excerpts
- Sight reading
- DMA candidates should be prepared to perform 30 minutes of music.
The following list demonstrates the performance level expected for graduate study (other works of similar difficulty may be substituted).
- Bozza–New Orleans
- Candillari–Extremely Close
- Casterede–Fantasie Concertante
- Defaye/Knaub–Deux Danses
- Koetsier–Allegro Maestoso
- Lebedev–Concerto in One Movement
- Mills–Catharsis
- Spillman–Concerto
- White–Tetra Ergon
- Wilborn–Jazz Triptych
Orchestral Excerpts: Please select three from the following list:
- Beethoven–Symphony No. 9
- Haydn–The Creation
- Berlioz–Hungarian March
- Wagner–Ride of the Valkyries
- Wagner–Entry of the Gods into Valhalla
- Schumann–Symphony No. 3 (Rhenish)
- Respighi–Fountains of Rome
- Rossini–William Tell
Optional material: Please feel free to include other material that demonstrates your performance abilities–jazz, contrasting etudes, unaccompanied literature etc.
Recorded auditions
Live auditions are strongly preferred. A recorded audition (live performance or studio recording) may be submitted in place of a live audition. Please see the recorded audition guidelines for information on submitting a recording.
A live audition is required to qualify for Teaching Assistantships. Applicants unable to travel for a live audition should contact their respective faculty member directly. Requirements for a recorded audition are identical to a live audition. Editing within a movement is prohibited. Any indication of editing may disqualify the candidate from admission. The recording (audio/video) must be in a digital format with high quality audio. Please note that while recorded auditions will be given full consideration, the best demonstration of your musical ability is through a live audition.
Artist Diploma auditions
For information on auditioning on trombone or bass trombone for the Artist Diploma program, see the documents below:
- Artist Diploma in Chamber Music Performance (tenor trombone)
- Artist Diploma in Orchestral Performance (tenor trombone and bass trombone)
Graduate degree sheets
Graduate horn applicant requirements
A pre-screening recording is required for all graduate horn applicants
Pre-screening recording requirements
Repertoire
- Mozart—Concerto K.419 or K.495 (exposition only)
- Contrasting solo or etude of choice
- The following orchestral excerpts (in the following order in one continuous take):
- R. Strauss—Till Eulenspiegel, opening horn 1
- Brahms—Symphony 3, mvmt. 3, horn 1
- Shostakovich—Symphony 5, mvmt., horn 1—low tutti
- Wagner—Short call from Gotterdammerung
Note: Each component of the recording should be without edit, but the final recording may be a compilation of your best version of each requirement
Live auditions
Materials from pre-screening may be replicated for the live audition.
Repertoire
- Mozart Concerto of your choice (movement 1). Please be prepared to explain a connection between your Mozart selection and your solo work of choice.
- A contrasting solo work of the applicant’s choice
- The following excerpts:
- Beethoven—Symphony 6, movement 3, horn 1
- Brahms—Symphony 3, movement 3, horn 1
- Shostakovich—Symphony 5, mvmt. 1 (horn 1—low tutti)
- R. Strauss—Ein Heldenleben, opening, horn 1
- Three additional excerpts of the applicant’s choice
Where possible, you are encouraged to include works by historically underrepresented composers in your audition repertoire. Find compendiums and resources from the League of American Orchestras, Juilliard and CU Boulder’s very own American Music Research Center.
A live audition is required to qualify for Teaching Assistantships.
Graduate degree sheets
Graduate tuba + euphonium applicants audition requirements
Pre-screening recording
Pre-screening recordings are not required for all graduate tuba/euphonium applicants.
Live auditions
Applicants should prepare a full recital. Recital repertoire should represent multiple styles (i.e. Baroque transcriptions, Classical Period, any appropriate sonatas and/or concerti from the 20th/21st centuries, unaccompanied work). All literature should be well considered for the particular degree plan you wish to enter. The audition selections will be chosen from the recital repertoire.
Four or five excerpts from the major orchestral and band literature. Typical first and/or second round selections are acceptable for both tubists and euphoniumists. Please have at least four or five ready to go. Tubists should demonstrate their proficiency on both the bass and contrabass tubas. If the applicant doubles on euphonium and wishes to include it as part of their audition, the applicant should select repertoire based on experience.
Most graduate-level auditions will have a sight-reading component as well. The literature will be selected from both familiar and unfamiliar repertoire.
Recorded auditions
Live auditions are strongly preferred. A recorded audition (live performance or studio recording) may be submitted in place of a live audition. Please see the recorded audition guidelines for information on submitting a recording.
A live audition is required to qualify for Teaching Assistantships. Applicants unable to travel for a live audition should contact their respective faculty member directly. Requirements for a recorded audition are identical to a live audition. Editing within a movement is prohibited. Any indication of editing may disqualify the candidate from admission. The recording (audio/video) must be in a digital format with high quality audio.
Please note that while recorded auditions will be given full consideration, the best demonstration of your musical ability is through a live audition.
Graduate degree sheets
Graduate percussion applicants audition requirements
A pre-screening recording is required for all graduate percussion applicants.
MM pre-screening repertoire
Repertoire will be updated by August 2025. For questions, please contact Associate Teaching Professor Michael Tetrault.
A cumulative 3.0 GPA in undergraduate work is required for Merit Based Aid consideration for MM Percussion applicants
DMA suggested pre-screening repertoire
Repertoire will be updated by August 2025. For questions, please contact Associate Teaching Professor Michael Tetrault.
Live auditions
Students invited to the in-person auditions will be notified of their acceptance to the auditions on or before Jan. 15. Auditions are held in 30-minute time slots, accommodating time for the formal audition, a follow-up interview and a mini-lesson.
Because the audition time is short, you should prepare your selections extremely well, rather than prepare a complete recital program. Memorization is encouraged, but auditions will include sight-reading on snare drum and marimba.
We want to see how musically and confidently you can play. The live auditions do not have specific repertoire requirements. Please play snare drum, mallets (marimba, vibes, and/or xylophone) and more. Show us your best performance of music to your taste. You may play drum set, jazz improv., orchestral excerpts, multi-perc. set-ups, timpani, hand drums, and jazz or classical transcriptions, etc.
Recorded auditions
Live auditions are strongly preferred. A high quality recording may be substituted if travel distance/cost is prohibitive. Please announce at the beginning of the recording your name and repertoire selections. Please see the recorded audition guidelines for information on submitting a recording.
A live audition is required to qualify for merit based aid.
Requirements for a recorded audition are identical to a live audition. Editing within a movement is prohibited. Any indication of editing may disqualify the candidate from admission. The recording must be in a digital format with high quality audio. Please note that while recorded auditions will be given full consideration, the best demonstration of your musical ability is through a live audition.