Breadcrumb
Audition days Recorded auditions Study area requirements
Auditions are required for all College of Music degree programs. In-person, virtual-live and recorded auditions are available. We strongly suggest completing a live audition, if possible. Voice and composition applicants have an additional pre-screening requirement which must be submitted before the live audition is confirmed.
Note: If you’re already a CU Boulder student and wish to audition for one of our ensembles, visit our ensembles page.
Audition days
Auditions for the fall semester occur over three live audition weekends in January-February. You will be asked for your audition date preference within the College of Music application for our planning purposes; you will select your audition time in December.
Live audition dates
- Jan. 20, 2024 (in person on campus): Audition schedule
- Feb. 3, 2024 (in person on campus): Audition schedule
- Feb. 10, 2024 (virtual live via Zoom): Audition schedule
Musical theatre auditions are a two-day process. Voice and monologue auditions are on Friday afternoon and dance auditions are on Saturday morning:
- Jan. 19 + 20, 2023 (in person on campus): Audition schedule
- Feb. 2 + 3, 2023 (in person on campus): Audition schedule
- Feb. 9 + 10, 2023 (virtual live via Zoom): Audition schedule
Accommodations
Need a place to stay in Boulder? We’re pleased to partner with the Hiltons of Boulder to provide room discounts, dining discounts and practice space at three hotels conveniently located near campus. Learn more + reserve your room!
Recorded auditions
If you are a composition or voice student submitting a pre-screening, or if you choose to submit a recording in place of a live audition, please review these guidelines. Each studio has preferences for separate or single, continuous recordings. Please see your study area requirements in the next section for specific guidance.
- Deadlines
- Pre-screening recordings (voice and composition only) must be submitted by Dec. 1.
- All other recorded auditions must be submitted by Feb. 1.
- We accept the following (please do not send DVDs or CDs):
- Video: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mpeg, .mpg, .mp4, .webm, .wmv
- Links: You may upload links to YouTube videos under “Upload Recordings—Upload Link.” Please only upload links to YouTube, not to SoundCloud, Google Drive or Vimeo.
- You must submit your recording via your CU Boulder Application Status page.
- After submitting the CU Boulder application, you will receive an email from Undergraduate Admissions with your login information.
- Log in and view your Application Status page. From this portal, you may upload recordings via the music application tab (tab 2). If you’re having trouble with this process, please reach out to Undergraduate Admissions.
Audition requirements
Undergraduate brass + percussion
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 choose to submit a recorded audition, submit separate and unedited recordings for each requirement. Please see the recorded audition guidelines for more information on submitting a recording. If you have any questions about repertoire, please contact Ryan Gardner.
Degree sheets
Contact the trumpet studio Visit the brass + percussion page
Please check the auditions page for updates.
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.
If you choose to submit a recorded audition, then you can submit either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for specific information on submitting a recording. Please note that if you plan to sign up for the virtual live audition date, we strongly recommend submitting a recording to ensure a quality review of your audition.
Review degree sheets >>
Contact the trombone studio Visit the brass + percussion page
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
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.
Audition requirements
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Solo work (accompaniment optional)
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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).
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This repertoire may be selected from the following list (but is not limited to):
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Tuba
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Arnold, Malcolm - Fantasy, Op. 102
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Hartley, Walter S. – Suite for Unaccompanied Tuba
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Bach, J.S., arr. Wm. Bell - Air and Bouree
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Hindemith, Paul - Sonata for Bass Tuba
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Barat, J. Edouard, arr. Glen Smith- Introduction & Dance
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Lebedev, Alexi; arr. Allen Ostrander - Concerto in One Movement
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Broughton, Bruce - Sonata (Concerto)
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Marcello, Benedetto; trans. Little/Nelson – Sonata No. I in F
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Capuzzi, Antonio; trans. Catelinet - Andante and Rondo
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Marcello, Benedetto; trans. Little/Nelson – Sonata No. V in C
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Gregson, Edward - Concerto, mvt. 1
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Nelhybel, Vaclav – Suite for Tuba and Piano
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Haddad, Don – Suite for Tuba
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Vaughan Williams, Ralph - Concerto for Tuba
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Euphonium
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Barat, Ed. - Andante and Allegro
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Guillmant, A. - Morceau Symphonique
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Capuzzi, A. - Andante and Rondo
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Marcello, B. - Sonata in F Major
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Curnow, J. - Rhapsody for Euphonium
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Mozart, W. - Bassoon Concerto
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Etude
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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
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Euphonium
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Bordogni/Rochut
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Slama
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Kopprasch
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Voxman
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- Tuba
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If you choose to submit a recorded audition, then you can submit a single recording, unedited; but may pause between selections. Please see the Recorded Audition Guidelines for specific information on submitting a recording.
Review degree sheets >>
Contact the tuba + euphonium Studio Visit the brass + percussion page
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. 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.
If you have questions, please don't hesitate to email us.
Live auditions (in-person and virtual) may include reading music and playing along with the instructors.
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: https://www.youtube.com/watch?v=5xK2seFUuyA&list=RD5xK2seFUuyA&index=1, https://www.youtube.com/watch?v=ONTwonwbnNA
- 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
Review 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
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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.).
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In a medium swing style, "trade fours with yourself" (OPTIONAL: A short written-out, improvised or transcribed solo.)
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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.
Review degree sheets >>
Contact the percussion studio Visit the brass + percussion page
Undergraduate composition
Audition requirements
Undergraduate jazz studies
Audition requirements
In-person live: Prepare at least 3 selections of your choice from the styles and recommended songs listed below.
- 12-bar blues: Play the melody and then improvise over the form over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium up-tempo swing: Play the melody and then improvise over the form of a jazz “standard” tune of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody and improvise over the form on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo Latin/Bossa:Play the melody and improvise over the form on a tune such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play the melody and improvise over the form on a tune such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Play the melody and improvise over the form on a tune such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
Review degree sheets >>
Audition requirements
In-person live: Prepare at least 3 selections of your choice from the styles and recommended songs listed below.
- 12-bar blues: Play the melody and then improvise over the form over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium up-tempo swing: Play the melody and then improvise over the form of a jazz “standard” tune of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody and improvise over the form on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo Latin/Bossa:Play the melody and improvise over the form on a tune such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play the melody and improvise over the form on a tune such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Play the melody and improvise over the form on a tune such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
Review degree sheets >>
Audition requirements
In-person live: Prepare at least 3 selections of your choice from the styles and recommended songs listed below.
- 12-bar blues: Play the melody and then improvise over the form over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium up-tempo swing: Play the melody and then improvise over the form of a jazz “standard” tune of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody and improvise over the form on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo Latin/Bossa:Play the melody and improvise over the form on a tune such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play the melody and improvise over the form on a tune such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Play the melody and improvise over the form on a tune such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
Review degree sheets >>
Audition requirements
In-person live: Prepare at least 3 selections of your choice from the styles and recommended songs listed below.
- 12-Bar Blues: Play the melody, improvise over the form, and demonstrate comping (i.e., chords) over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium Up-Tempo Swing: Play the melody, improvise over the form, and demonstrate comping over a jazz tunes of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody, improvise over the form, and demonstrate comping on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo
- Latin/Bossa: Play the chords to a Latin tune (or chord melody arrangement) of your choice such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play a ballad of your choice in chord melody style, such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz Waltz: Play the melody, improvise over the form, and demonstrate comping on a jazz waltz such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
In addition to the jazz requirements listed above, jazz piano applicants must also play one classical excerpt (three minutes in length)
- The classical piece can be of a style period of your choice (Baroque, Classical, or Romantic for example). Additionally, please provide a list of any other classical repertoire you have studied or performed.
Some suggestions for appropriate audition repertoire include:
- Invention in A minor, No. 13 by J.S. Bach
- Sonatina in C Major, Op. 55, No. 1 by F. Kuhlau
- "Venetian Gondolier," Op. 19, No. 6 by F. Mendelssohn
- Prelude in E minor, Op. 28, No. 4 by F. Chopin
- Sonatina Op. 13, No. 1 by D. Kabalevsky
Review degree sheets >>
Audition requirements
In-person live: Students will be asked to play music meeting the repertoire requirements listed below.
- 12-bar blues: Play the melody, improvise over the form, and demonstrate comping (i.e., chords) over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium up-tempo swing: Play the melody, improvise over the form, and demonstrate comping over a jazz tunes of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody, improvise over the form, and demonstrate comping on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo
- Latin/Bossa: Play the chords to a Latin tune (or chord melody arrangement) of your choice such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play a ballad of your choice in chord melody style, such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Play the melody, improvise over the form, and demonstrate comping on a jazz waltz such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
Review degree sheets >>
Audition requirements
In-person live: Prepare at least 3 selections of your choice from the styles and recommended songs listed below.
- 12-bar blues: Play the melody, improvise over the form, and demonstrate walking a bass line over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time
- Medium up-tempo swing: Play the melody, improvise over the form, and demonstrate walking a bass line over a jazz tunes of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Play the melody, improvise over the form, and demonstrate walking a bass line on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo
- Latin/Bossa: Play the melody, improvise over the form, and demonstrate walking a bass line on a tune such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Play the melody, improvise over the form, and demonstrate walking a bass line on a tune such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Play the melody, improvise over the form, and demonstrate walking a bass line on a jazz waltz such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette.
Recorded:
If you choose to submit a recorded audition, then record at least 3 selections of your choice from the styles listed below. You can submit more than 3 if you like. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
Review degree sheets >>
Audition requirements
In-person live: Students will be asked to play music meeting the rep. requirements listed below.
- Med. swing: metronome marking (mm)=140
- Bright/fast wwing: mm=240+
- Samba, Bossa, or salsa groove: mm=your choice
- Jazz waltz: mm=130
- 12/8 Afro Cuban groove: mm=120
- Funk or hip hop groove: mm = your choice
- “Straight No Chaser” (blues by Thelonious Monk): mm=140
- For this selection, you’ll play the melody 2x; play two 12-bar chorus of time; play two 12-bar choruses of a solo; and finish with one chorus of the melody again for a total of seven continuous 12-bar choruses. When playing the melody, you’ll play the rhythm of the melody along with outlining the melodic shape on the drums as best you can. (Low notes on lower sounding drums, high notes on higher sounding drums and cymbals.)
Recorded:
If you choose to submit a recorded audition, then record an example of all the grooves/styles listed above. You may submit separate recordings or a single continuous recording.
Note: For accompaniment on your recorded audition, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
Virtual-live:
Students participating in virtual live jazz auditions can expect to use this as an opportunity to ask/answer questions; jazz auditions will be 15 minutes each. Additionally, students should prepare a jazz etude or transcription 3-5 minutes in length to perform. No accompaniment is needed.
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Audition requirements
Pre-screening: Please note: NO pre-screening is required for jazz voice. (A pre-screening IS required for opera or musical theatre. Please see separate sections.)
Audition Requirements: Prepare at least 3 selections of your choice from the styles and recommended songs listed below. Lyrics/ words optional. You are welcome to write your own lyrics if you wish to songs that don’t have lyrics. Improvise in a jazz/scat singing style that demonstrates your knowledge of the form and harmony of the song.
- 12-bar blues: Sing the melody and then improvise over the form over a jazz blues of your choice such as: Blues for Alice, Au Privave, Blues Walk, Now’s The Time.
- Medium up-tempo swing: Sing the melody and then improvise over the form of a jazz “standard” tune of your choice such as: Green Dolphin Street, All the Things You Are, Have You Met Miss Jones?, Lady Bird, Autumn Leaves, My Romance, Stella by Starlight, Days of Wine and Roses
- Bebop: Sing the melody and improvise over the form on a bop tune such as Donna Lee, Confirmation, Ornithology, Oleo Latin/Bossa:Play the melody and improvise over the form on a tune such as: Black Orpheus, Blue Bossa, Girl From Impanema, Triste, Wave
- Ballad: Sing the melody and improvise over the form on a tune such as: In a Sentimental Mood, Body and Soul, What’s New?, My One and Only Love, Misty, My Foolish Heart
- Jazz waltz: Sing the melody and improvise over the form on a tune such as: Someday My Prince Will Come, Up Jumped Spring, All Blues, Bluesette
Note: For accompaniment on your recording, students can record with a live band or use play-along tracks such as iReal Pro, Aebersold recordings or “Learn Jazz Standards” on YouTube.
For questions please contact: John.gunther@colorado.edu
Undergraduate music education
For prospective music education majors, the audition and interview process has three parts:
Audition
You must pass an audition with a classical instrument, jazz saxophone, jazz trumpet, jazz trombone, percussion or voice. For specific repertoire recommendations, please review the section for your instrument requirements. Note that some instruments require pre-screening to be submitted by Dec. 1.
Pre-interview form
The purpose of this interview is to further acquaint students with the music education program, and to provide the music education faculty with additional information about applicants. This information is used, in conjunction with academic criteria and audition results, to determine admissions to the program. The interview is designed for faculty to learn more about your prior teaching/leadership experiences and career goals. Once you have applied to the College of Music, you’ll be given access to sign up for an interview and audition via your application portal. You’ll also be emailed a pre-interview form to fill out and submit; we ask that all BME applicants complete this short form that helps us gather some information to learn more about you. Please complete that form prior to your scheduled interview. Additionally, we strongly encourage applicants to visit the department page and read about our faculty.
Interview
Interviews may be completed in-person or virtually. We do strongly recommend you complete your BME interview on the day of your audition. Interviews will be no more than 15 minutes and will be conducted by our music education faculty.
Please see the auditions page for information on submitting a recording. For further information about the music education program, contact department chair Leila Heil via email or phone at 303-735-2879.
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Undergraduate musicology
Application requirements
For prospective majors in musicology (including Western music history and world music), the audition process has two parts:
- You must submit a short research paper (7-12 pages double-spaced) no later than Feb. 1 via your applicant portal. This paper will be evaluated for clarity, accuracy, and critical acuity. It need not be on music but should rather represent your best work in any field and show your ability to research a topic and evaluate information critically.
- You must pass an audition on an orchestral instrument, piano, organ, voice, or classical guitar, at the appropriate level. The audition will be evaluated jointly by a minimum of two musicologists and two applied faculty in relevant performance area or areas.
Students who are unable to complete a live audition may submit a high-quality recorded audition. Please see the Recorded Audition Guidelines for information on submitting a recording.
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.
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Undergraduate piano + keyboard
Audition requirements
Applicants should be prepared to play 15 minutes of music consisting of three or more contrasting pieces. Applicants are strongly encouraged to include repertoire by composers from historically underrepresented groups (including women), and to demonstrate their personal strengths and interests in their repertoire choices.
- Students applying for a BM degree (other than composition):
- A work by J.S. Bach, at the level of a suite or prelude and fugue
- A sonata-allegro form movement from a Classical period sonata
- One or two pieces of your choice
- At least two works must be memorized
- The audition committee is looking for well-prepared, technically sound, confident, musical, and stylistically appropriate performances
- Students applying for a BM-Composition, BME or BA degree:
- Three works, two of which must be classical genre representing two different periods (Baroque, Classical, Romantic, Contemporary).
- The third work is free choice, including: an original composition, an improvisation, a work in a non-classical genre, or another classical work.
- At least one of the classical works must be performed from memory.
There are two options to audition to be a piano major, which are different than other studios. You can choose to audition live for the piano faculty at CU Boulder OR submit a recorded audition in conjunction with a scheduled virtual interview. If you choose the virtual option, you will be required to submit a video recording of your audition repertoire by Feb. 1 and schedule a virtual interview. The piano faculty will not be hearing live virtual performances on Feb. 10. Playing will be evaluated from the submitted recording and a virtual interview will be scheduled during that day. Recorded auditions will only be considered for acceptance to the piano program following a live virtual interview.
Audition requirements
Applicants for a BM in harpsichord performance should be prepared to play 15 minutes of music consisting of three or more contrasting pieces. Memorization is not required. One of the selections should be a work by J.S. Bach, at the level of a suite or prelude and fugue. The audition committee is looking for well-prepared, technically sound, confident, musical, and stylistically appropriate performances. Students can submit either one unedited file or multiple files (unedited within each file).
Please see the recorded audition guidelines for specific information on submitting a recording. Please note that in addition to recorded auditions, virtual live auditions are strongly encouraged.
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Contact the organ + harpsichord program Visit the keyboard page
Undergraduate strings
Audition requirements
Three contrasting works (or movements from works) demonstrating different music styles. Works by female composers and BIPOC composers are strongly encouraged.
For example:
- One movement from a violin concerto
- One movement from a solo violin work
- One work (or movement) from a piece of your choosing
Repertoire may be chosen from any era and may include works such as:
- Concerto: One movement of a concerto from the standard repertoire, such as Barber, Beethoven, Brahms, Dvorak, Elgar, Haydn, Higdon, Korngold, Lalo, Mozart, Price, Prokofiev, Saint-Saëns, Schumann, Shostakovich, Sibelius, Tchaikovsky or Wieniawski.
- Solo work: One movement from: the Bach Sonatas and Partitas, Ysaye Sonatas, Hindemith or Porkofiev Solo Sonatas, or Etudes/Caprices by Dont, Rode, Fiorillo, Paganini, Wieniawski or Vieuxtemps.
- Free Choice work: Standard encore type work by composers like Sarasate, Wieniawski, Kreisler, Heifetz, Kroll, Achron, Paganini, Brahms or Beethoven, and/or contemporary works such as Schnittke Fuga, Tower Platinum Spirals, Auerbach Preludes, Pärt Fratres.
The above works are only examples, if you have repertoire not on the list it is entirely acceptable, please contact us with any questions about specific repertoire choices.
If you choose to submit a recorded audition, you should include the repertoire listed and each work should be recorded in one continuous, unedited clip. You may use any equipment at your disposal, including smartphones, but please make every attempt to submit the highest quality video possible. The camera should be positioned so that both hands and full range of bowing can be visible. Please see the recorded audition guidelines for information on submitting a recording.
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Audition requirements
Please prepare the repertoire listed below for viola auditions. Including works by female composers and BIPOC composers is encouraged.
- One movement from a viola concerto
- One movement from a Bach Solo Suite
- One work or movement from a piece of your choosing
If you choose to submit a recorded audition, you should include the repertoire listed above. You may submit multiple clips, but they should be unedited. You may use any equipment at your disposal, including smartphones, but please make every attempt to submit the highest quality video possible. The camera should be positioned so that both hands and full range of bowing can be visible. Please see the recorded audition guidelines for information on submitting a recordin. If you choose to also do a live in person or live virtual audition, please be prepared to perform the repertoire listed above. While we may move to an interview format, all students should be prepared to play.
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Audition requirements
Three contrasting works (or movements from works) demonstrating different music styles. Works by female composers and BIPOC composers are strongly encouraged.
- One movement from a cello concerto
- One movement from a solo cello work
- One work (or movement) from a piece of your choosing
Repertoire may be chosen from any era and may include works such as:
- Concerto: One movement of a concerto from the cello repertoire, such as Barber, Bloch, Boccherini, Dvorak, Elgar, Haydn, Herbert, Lalo, Mumford, Prokofiev, Saint-Saëns, Schumann, Shostakovich, or Tchaikovsky.
- Solo cello: One movement from the Bach Suites for Solo Cello, Dutilleux Trois Strophes, Lutoslawski Sacher Variation, Cassadó Suite, Golijov Omaramor, Leon Four Pieces, Ligeti Sonata, Mayuzumi Bunraku, Piatti Caprices, Perkinson Lamentations Black/Folk Song Suite (1973), Popper Etudes, Schuller Fantasy, Shaw In manus tuas, or Sheng Seven Tunes Heard in China
- Free choice piece: Bloch Nigun, Cassadó Requiebros, Cassadó Danse du Diable Vert, Chopin Polonaise Brilliante, Chopin/Popper Nocturne No. 2 in E flat major, Op. 9, No. 2, Coleridge-Taylor Variations, Fauré Après un Rêve, Faure Papillons, Grant Still Summerland, Mendelssohn Songs Without Words, Popper Spinning Song or Elfentanz, Paganini Moses Variations, Schumann Adagio and Allegro Op. 70, Simon Lickety Split, Tchaikovsky Pezzo Capriccioso, Wallen Dervish, or Yun Espace I (1992)
If you choose to submit a recorded audition, you should include the repertoire listed above. You may use any equipment at your disposal, including smartphones, but please make every attempt to submit the highest quality video possible. The camera should be positioned so that both hands and full range of bowing can be visible. Please see the recorded audition guidelines for information on submitting a recording.
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Audition requirements
Three contrasting works (or movements from works) demonstrating different music styles. Works by female composers and BIPOC composers are strongly encouraged.
- One movement from a sonata or concerto
- One movement from a solo double bass work
- An orchestral excerpt
Repertoire may be chosen from any era and may include works such as:
- Sonata or Concerto: One movement of a sonata (Marcello, Schubert, Sperger, Vivaldi, etc.) or concerto (Bottesini, Capuzzi, Dittersdorf, Dragonetti, Koussevitsky, etc.) from the double repertoire.
- Solo Double Bass One movement from a Bach Cello Suite, Dragonetti Waltz, David Ellis Sonata, Xavier Foley solo bass piece (Cranberry Lake), Miloslav Gajdos solo works, or other work.
- Orchestral Excerpt: Beethoven Symphony 5 or 9, Brahms Symphony 1 or 2, Florence Price Symphony No.1, Wagner Mesitersinger, or other work.
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Audition requirements
Please note that Associate Professor of Guitar Nicolò Spera will be in Italy during auditions for fall 2023. He will join auditions virtually rather than in-person to hear you play. The audition consists of classical music played on a classical guitar (nylon strings, fingerstyle, no pick).
- Repertoire: You should be able to play at least three pieces from the standard classical repertoire. Repertoire for the audition must include three pieces from different historical periods. One of the pieces will be a study by Sor, Carcassi, Aguado or Giuliani; the other two will be your own choice (selections could include a prelude by Manuel Ponce, a short dance by Francisco Tárrega, a dance or prelude by J.S. Bach, etc).
You are encouraged, but not required, to present works by composers of varying backgrounds and stories. You may perform from music or from memory.
The above requirements also apply if you are applying to transfer from another institution at junior or senior level.
If you choose to submit a recorded audition, please notice that repertoire requirements are the same for a recorded audition and live audition. Please see the recorded audition guidelines for information on submitting a recording. While a single, continuous take is preferred, separate, unedited recordings will also be accepted. Only video recordings will be accepted. Please announce your name and repertoire selections at the beginning of the recording. View tips for the audition here.
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Contact the Ritter Family Classical Guitar Program Visit the strings page
Audition requirements
Please prepare the following repertoire for harp auditions:
- Two contrasting pieces
- One orchestral excerpt
If you choose to submit a recorded audition, then you may submit either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for specific information on submitting a recording.
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Undergraduate voice + opera + musical theatre
To apply, you must submit a high-quality video pre-screening recording, without reverb. Prepare this as well as you possibly can. If we need additional material from you, we may invite you to a live audition (in-person or virtual).
Pre-screening
All applicants are required to submit recorded materials. Due to high applicant numbers, we strongly recommend that you choose to submit on or before Dec. 1. Recordings received after Dec. 1 will be considered based on space availability. Once recordings have been reviewed, applicants will be notified, and instructions will be sent if a live audition (in-person or virtual) is required. Please note that the recording and live audition requirements are the same and all requirements listed below must be met in the recording.
Audition requirements (first year)
Please prepare two contrasting songs that best display your vocal talent.
- One of the selections must be from the classical repertoire, which can include a folk song or a spiritual; the other can be either a second classical song, a musical theater number, or a jazz standard with fully-realized piano accompaniment (no lead sheets or chord symbols).
- Please note that we center our vocal training around the classical and musical theater singing styles. We are not, at the moment, able to offer training in commercial music, solo vocal jazz, or contemporary pop singing.
- If you have a background in a language other than English, please feel free to offer a selection in that language.
- All selections must be performed from memory. For the video recording and virtual-live audition, full body must be shown. You may be disqualified if your video submission is too close-up for us to evaluate whether your songs are memorized.
- Sight-singing and pitch-matching may be tested at the live audition.
If you have a repertoire list of previously studied songs, feel free to share it with us. Please choose music that shows your voice to its best advantage; something you like to sing and that you feel comfortable performing. We are listening for vocal quality, expressiveness, musical competence and, above all, potential. Excessively advanced repertoire is neither expected nor desired. Opera arias written after 1800 are discouraged.
Note: If you sign up for a virtual-live (Zoom) audition, please be ready to use your own backing track. A pianist will be provided for all in-person auditions.
Audition requirements (transfer students)
You should prepare a brief program of 3-4 songs; the majority of these should be from the classical repertoire. Please also submit a copy of your repertoire list.
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Pre-screening
All voice applicants are required to submit a pre-screening video recording. The deadline for pre-screening submissions is Dec. 1. Once pre-screening videos have been reviewed, applicants will be notified if they are invited to the live audition round. The recording and live audition requirements are the same and all requirements listed below must be met in the recording.
Recording tips
- Avoid extreme close-ups and be sure to include waist-up shots. Try to balance the volume of the piano with your singing, but do not sing with a microphone or extra amplification.
- Say your name and the name of the song, monologue or dance before you begin each section.
- Upload your audition requirements as SEPARATE video files. Videos should be uploaded via the Application Status Page.
Live audition
Those who pass the pre-screening round will be invited to a live audition in January-February. Live audition information. If you are unavailable for one of these audition weekends, please email ugradmus@colorado.edu.
Audition requirements
These requirements apply to both the pre-screening and live audition. Without all four components, your audition will be considered incomplete and you will not be considered for admission.
If you’re invited to perform an in-person or a virtual live audition, please be prepared to sing two full songs of your choice under 3 minutes in length and also present a 60 second monologue (please stick to monologues in the musical comedy vein). If you choose a virtual live audition, please be ready to use your own backing tracks. A pianist will be provided for all in-person auditions.
- Resumé: Upload a pdf of your full resumé, which includes any training and experience you have had in music, theatre, and dance.
- Voice Video (pre-screening): Prepare two selections of musical theatre repertoire that contrast in style and decade of composition. Each cut may be up to 32 bars each, but should not exceed 60 seconds in length and must be memorized. In addition, please have the entire song available in addition to the 32 bar preparations in case faulty wishes to hear the song in its entirety.
- Monologue Video: Prepare one short monologue. The monologue must be memorized and should be performed in the context of the entire play. The monologue should be no longer than 90 seconds. Choose a monologue that is appropriate for your age and experience. (Be able to discuss the play or material as a whole. You may want to select a monologue from a play, monologue books or other material.
- Dance Video*: Required of all submissions, present a 30-60 second clip of yourself moving/dancing. Your full body should be in view at all times. You may choose a cut from a musical or a dance performance in which you participated, or record something original. Any style is acceptable: musical theatre, ballet, jazz, tap, hip-hop, etc. Wear appropriate dance attire that will show clean line. Dance music may be live or recorded. Optional, for applicants with dance training: Execute a set of plies, tendues, grand battements, and pirouettes. Straightforward, simple exercises are preferred. (side view is best). Note that we will use this dance video as your final audition if you sign up for the virtual live audition date. If you sign up for an in-person date, you will dance live in front of our faculty.
*We are committed to finding a diverse group of individuals of varying skill levels in different areas. Some of you may be strong singer/actors who move well, while others may bring extensive dance training. The movement/dance portion of your audition should reflect who you are as a performer. We will accept a wide array of presentations.
Degree programs
Please note: The University of Colorado Bouder is fortunate to offer two different musical theatre degrees. These two degrees are the Bachelor of Music in Musical Theatre (BM/MT) through the College of Music (which you are now investigating), and the Bachelor of Fine Arts with a concentration in Musical Theatre (BFA/MT through the College of Arts and Sciences. Both programs work closely together in course offerings and season productions. Additionally, you may be considered for both degree programs at the same audition.
Full description of the BM/MT degree program
Full description of the BFA/MT degree program
Differences between BM/MT and BFA/MT degrees
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Undergraduate woodwinds
Audition requirements
- No pre-screening required for undergraduate flutists
Fall 2023 auditions
Required repertoire:
- Mozart: Concerto in G Major, K. 313 or D Major, K. 314 (first movement plus cadenza)
- Two contrasting pieces [we strongly suggest selecting a piece by a diverse BIPOC (Black, Indigenous, people of color) composer*]
- Two standard orchestral excerpts of your choice
*These two lists contain many options for students to choose from:
- Flute music by Black composers
- Flute music by Black composers (compiled by Savannah Rose Ridley)
Please see the Recorded Audition Guidelines for information on submitting a recording.
Review degree sheets
Audition requirements
Audition repertoire should include at least two selections of contrasting style, for example: one selection could be slow and melodic and the other could be more technically oriented. You are encouraged to include 2-3 short orchestral excerpts as well.
Possible selections include portions of the following:
- Etudes from the Rose 32 or 40 Etudes
- Standard older works such as the Concertino of Weber, Mozart Concerto, Stravinsky Pieces, etc.
- Shorter new works which may show yet another musical style. Here, you may wish to perform works of underrepresented composers, often non-male or BIPOC composers.
- Jury style pieces such as the Cavallini Adagio and Tarantella, Rabaud Solo de Concours, Finzi Bagatelles, etc.
- Other works you feel demonstrate your best playing
If you cannot complete a live audition, then you may submit a recorded audition. Please see the recorded audition guidelines for information on submitting a recording.
Recorded auditions should include some of the repertoire listed above and should be recorded in one continuous, unedited clip. You may use any equipment at your disposal, including smartphones, but please make every attempt to submit the highest quality video possible. The camera should be positioned so that you and the clarinet are fully visible, from the bell of the instrument to the top of your head. Typically, if you are looking at music on a stand while recording, this will mean the best camera angle is an oblique side angle, where your face and the instrument are visible. The total length of your recorded audition should be approximately 6-12 minutes, so make cuts accordingly. Piano accompaniment is not required, but if you record with piano, please credit the pianist. If you play E-flat or Bass Clarinet, you may record something on those instruments if you feel it shows you off well, but the regular clarinet should be the main focus.
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Audition requirements
Students can submit either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for specific information on submitting a recording. Please note that in addition to recorded auditions, live auditions (in-person or virtual) are strongly encouraged. The repertoire listed below is to be used for both the recording and also a live audition.
The repertoire listed below is to be used for both the recording and also a live audition. Please prepared and play 10 minutes of music from among the following:
- Repertoire
- Two selections in contrasting styles, chosen to best demonstrate the ability of the student. These selections should be from different pieces with one slow and the other fast.
- One selection may be from a standard etude book or method, such as Barret, Ferling, Sellner, Rubank, Brod, etc.
If you cannot complete a live audition, then you may submit a recording. Students can submit either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for information on submitting a recording.
Audition requirements
The repertoire list below contains examples appropriate for both the recording and live auditions. Other compositions from 1600 - to recently composed or discovered works may be performed. Please contact Dr. Ishikawa (ishikawa@colorado.edu) for questions regarding audition repertoire. Piano accompaniment is not required. The total duration of the audition is 10 minutes.
Repertoire
- Two selections in contrasting styles and from different compositions are required. One selection may be a standard etude. A wide range of solo repertoire is available for the bassoon from standard to newly written works. Consult with your lesson instructor and select the most appropriate works to demonstrate your musicianship and proficiency.
- The following are examples (not limited to the list) of standard repertoire. A movement from one composition may be combined with a movement from a different work.
- Études
- Ludwig Milde, Concert Studies Op. 26 Books I and II
- Alberto Orefici, 20 Melodic Studies
- Eugène Jancourt 26 Melodi Studies
- Solos
- Antonio Vivaldi, bassoon concerto
- Antonio Vivaldi, sonata for cello
- Jerome Besozzi, Sonata for Bassoon
- G.P. Telemann, Sonata in F minor
- Bach Cello Suites Nos 1-4
- François Devienne, Sonata for Bassoon, Op. 24, No. 3 or No. 4
- W. A. Mozart, Concerto for Bassoon and Orchestra
- Carl Maria von Weber, Concerto for Bassoon and Orchestra
- Carl Maria von Weber, Andante and Hungarian Rondo
- Francisco Mignone – Concerto for Bassoon and Orchestra
- Eugene Bozza, Recit Scicilienne et Rondo
- Burrell Phillipps, Concert Piece for Bassoon and Orchestra
- Alec Wilder, Sonata No. 1 or No. 2 for Bassoon and Piano
- Études
If you cannot complete a live audition, then you may submit a recorded audition. The recording may have either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for information about submitting a recording.
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Audition requirements
No pre-screening required for undergraduate saxophonists.
Fall 2023 auditions
Scales
All 12 major scales and a full-range chromatic scale.
Repertoire
-
Two contrasting selections from the saxophone repertoire.
-
One selection may be from a standard etude book, such as Ferling, Lacour, Voxman, etc.
All selections are to be chosen to best demonstrate the ability of the student. If you have any questions regarding audition repertoire, contact Nathan Mertens, nathan.mertens@colorado.edu.
The total duration of the audition is 10 minutes and piano accompaniment is not required.
If you cannot complete a live audition, you may submit a recorded audition. The recording may have either one unedited file or multiple files (unedited within each file). Please see the recorded audition guidelines for information about submitting a recording.