Potential voice majors must present a memorized performance of two or three art songs in contrasting styles and from different historical periods. These works should reflect the student's level of technical and interpretive skill. If previous study has included significant repertoire in a language other than English, one piece performed in the audition should be representative of the singer's competence in that language.
Students may wish to select repertoire from such collections as:
- Italian Songs of the 17th and 18th Centuries, (G. Schirmer or International Music Company)
- A Heritage of 20th-Century British Song, Vols. I and II (Boosey & Hawkes)
- The Art Song (Music for Millions Series) (Consolidated Music)
- 20th Century Art Songs (G. Schirmer)
- Contemporary Art Songs, 28 Songs by American and British Composers (G. Schirmer)
- Classic Songs: Italian, French and English (Frangipani Press)
Students requiring a Bucknell accompanist for their audition must make arrangements with the music department well in advance of the audition date.
Violin: An etude from one of the standard etude books, such as Kreutzer, Fiorillo, Rode, or Dont; two contrasting movements from an unaccompanied sonata or partita of J.S. Bach, or two contrasting movements from a Baroque sonata by a composer such as Handel or Corelli; a movement of a concerto from the standard repertory by a composer such as Mozart, Mendelssohn, or Bruch; three-octave scales and arpeggios.
Viola: An etude from Kreutzer, Fiorillo, Campagnoli (Op. 22), or Fuchs; a movement from one of the unaccompanied works by Bach for cello or violin; a concerto by Telemann, J.C. Bach, or Stamitz; all major and minor scales and arpeggios. Applicants whose achievement level so qualifies them may also prepare one of the following: Block Suite for Viola and Orchestra; concertos by Bartók, Handel, Hindemith, Piston, Walton, or works of comparable difficulty.
Cello: One movement of a standard concerto of moderate difficulty, such as those by Saint-Saëns, Lalo, or Romberg; two movements of a standard sonata, such as Sammartini G Major, Francoeur E Major, or Boccherini A Major; two contrasting movements from a Bach suite; two contrasting etudes, such as Popper Nos. 6 and 8, or Duport Nos. 1 and 7; major and minor scales and arpeggios in three or four octaves.
Bass: Two movements from a Baroque sonata by a composer such as Eccles or Antoniotti; excerpt from etudes by Simandl or Bille; orchestral excerpts from a symphony by Beethoven, Mozart, or Haydn; two-octave major and minor scales.
Applicants for a piano major will be expected to play two or three works in contrasting styles from the Baroque, Classical, Romantic, or 20th-century literature. Students will be expected to sight-read and candidates for the Bachelor of Music degree will also be asked to play scales and arpeggios.
Winds: ascending and descending chromatic scale in eighth notes demonstrating entire range; quarter note equals 120 beats per minute
Mallets: ascending and descending chromatic scale (eighth notes) in parallel octaves and parallel major thirds; quarter note equals 120 beats per minute
Proficiency in major scales is recommended.
The following repertoire is not required. It is offered to illustrate works or types of works that are suitable for use in auditions. Select two contrasting works, movements, or etudes that are demonstrative of your technical facility and your musical sensitivity.
Flute: Bach sonata, Mozart concerto, Hindemith's Eight Pieces for Flute Alone; studies by Anderson, Berbiguier, and Moyse
Oboe: Handel sonata, Vivaldi concerto, Schumann's Three Romances, studies by Ferling (Book 1), Andraud, and Barret
Clarinet: Weber concerto, Mozart concerto, Poulenc's Sonata; studies by Jean-Jean, Rose, Klose
Bassoon: Bach concerto, Mozart's Concerto, K. 191, works by Weissenborn; excerpts from Weissenborn's 50 Advanced Studies (Book 1 or 2), Milde's Concert Studies
Saxophone: works by Bozza, Handel (arranged by Mule), Creston's Sonata, Glazounov's Concerto; studies by Mule, Klose
Horn: Mozart concerto, Strauss concerto, Saint-Saens's Morceau de Concert; studies by Kopprasch, Maxime-Alphonse
Trumpet: Haydn and Hummel concerti; studies by Arban, Saxe, Brandt
Trombone: Bach suites, Weber's Concertino, Op. 45 (arranged by Westphal), Hindemith's Sonata; studies by Rachut, Stoneberg
Euphonium: works by Baratt, Bozza, Jacob's Fantasia; studies by Rochut (Book 1), Blazhevich
Tuba: Hindemith's Sonata for Tuba, works by Hartley, Wilder; studies by Blazhevich, Kopprasch
Percussionists should audition on as many instruments as possible to demonstrate their background and versatility.
Snare drum: works by Goldenberg, Schinstine; studies by Cirone, Albright, Firth, Peters; selected rudiments (open-close-open)
Timpani: works by Fink, Leonard; studies by Firth, Hinger, Lepak, Begun
Mallets: solo material displaying two and/or four-mallet technique: Stout, Bach, Peters, Musser, Creston, Kurka
Multiple percussion: solos by Kraft, Schinstine
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