The following dress code is encouraged for your audition.
Women - Dress, Dress shoes (character shoes are acceptable), or a skirt and blouse, or slacks and a blouse, both with dress shoes.
Men - Slacks, Belt, Dress Shoes, colored socks that match your belt, button down shirt, tie, and a jacket is optional.
Audition Requirements
The performance audition is only required for prospective graduate students electing the Applied Studies Concentration of the Master of Music Education degree. The Research and Pedagogy Concentrations do not require a performance audition.
All incoming students, regardless of background, must take theory and ear training placement exams. The results of these exams determine the level you will enter. Click here to view the placement levels...
Your audition should display a level of development in embouchure, articulation, range, tone, flexibility and musicality that generally allows you to start with repertoire comparable to that listed here. Piano accompaniment is not required for brass auditions.
- Several contrasting styles from the standard trumpet repertoire that demonstrate all facets of your playing.
- Transposing at sight.
- Orchestra calls from standard audition materials.
- Transposing at sight
- Pick one of the following from J.F. Gallay Twelve Studies Op.57: No.3, 8 or 9
- Two works comparable in difficulty to the following and in contrasting styles (lyrical/technical):
- Dukas: Vilanelle
- Gliere: Concerto
- Haydn:Concerto No.1
- Jacob: Concerto
- Mozart: Concerto No.2 or 4
- Schumann: Adagio and Allegro
- R. Strauss: Concerto Nos.1 or 2
Orchestral Excerpts:
- Strauss: Opening solo from Til Eulenspiegel
- Tchaikovsky: Symphony No. 5, 2nd Movement solo
- Shostakovich: Symphony No. 5, 1st Movement, Horn 1, Rehearsal 17-21
Graduate Tenor Trombone
Two works comparable in difficulty to the following:
- Casterede: Sonatine
- Grondahl: Concerto
- Larsson: Concertino
- Martin: Ballade
- Tomasi: Concerto
Graduate Bass Trombone
Two works comparable in difficulty to the following:
- Bozza: New Orleans
- C. Brubeck: Bass Trombone Concerto
- Hartley: Sonata Breve
- R. Vaughan Williams: Tuba Concerto
- Eric Ewazen: Rhapsody or Concerto
Two selections comparable in difficulty to the following:
- Charlier: 36 Etudes: Transcendantes
- Arban: Characteristic Studies
- Joseph Horovitz: Concerto for Euphonium
- James Curnow: Symphonic Variants
- Jan Bach: Concert Variations
- David R. Gillingham: Blue Lake Fantasie
- Simone Mantia: All Those Endearing Young Charms
Two selections comparable in difficulty to the following:
- Charlier: Transcendantes from 36 Etudes
- Arban: Characteristic Studies
- Vaughn Williams: Concerto for Bass Tuba
- Penderecki: Capriccio
- Plog: Three Miniatures
- Gregson: Concerto for Tuba
- Roland Szentpali: Concerto for Tuba
Submit a portfolio of at least three substantial works in varied instrumental and vocal media. Electroacoustic works are welcome. Portfolio should be submitted directly to Dr. Andrey Kasparov.
Graduate Piano
Solo recital program of 30 minutes, representing at least three contrasting styles. Memorization is required, except in compositions that involve advanced contemporary techniques.
Graduate Organ
Your audition program should include 15 minutes of music comparable to the following:
- Some pre-Bach.
- A work by Bach.
- A later work.
- You may be asked to sight read a hymn or to provide a simple analysis of an organ score during the audition.
The following is a list of audition requirements and repertoire recommendations. Prepare these works or works of comparable difficulty. The audition will last approximately 15 minutes. Should you have questions, contact Prof. David Walker for more information.
Perform one 2 Mallet Solo comparable to:
- J.S. Bach: Suites, Preludes, Partitas, Sonatas
- Green: Xylo Rag (no repeats)
- Abe: Prism
Creston: Concertino for Marimba and Orchestra
Perform one 4 Mallet Solo on Marimba or Vibraphone comparable to:
- Abe: Cherry Blossoms, Wind in the Bamboo Grove, Michi, Memories of the Seashore
- Molenhoff: Music of the Day
- Stout: Two Mexican Dances, Astral Dance, Rumble Strips
Tanaka: Two Movements for Marimba
Perform one Concert Snare Solo comparable to :
- Delecluse: Douze Etudes
- Colgrass: Six Unaccompanied Solos
Standard Orchestral Excerpts
Perform a Solo comparable to:
- Cahn: Raga No. 1
- Carter: Eight Pieces for Four Timpani
- Hinger: Solos for the Virtuoso Tympanist
OR
2 Standard Orchestral Excerpts
Candidates must also upload a video recording playing an advanced Multiple Percussion solo comparable to:
- Burrit: Sticks of Eloquence
- Hasenpflug: South of Jupiter
Hollinden: Cold Pressed
Choose one of the following:
Auxiliary Instruments:
- Tambourine - Dvorak Carnival Overture
- Cymbals - Symphony No. 4 / Mv't IV - Tchaikovsky
Hand Drum Solo comparable to:
- Casella: Prime Ordinals
Williams: Suite for Djembe; Four Solos for Frame Drums; Tiriba Kan
Piano accompaniment is welcome but not required for the audition.
- An outer movement of a standard concerto from the Classical period or later.
- J.S. Bach: Two contrasting movements from any of the unaccompanied violin sonatas or partitas.
- An additional work of contrasting period and style.
- Two of the above four selections must be played from memory.
- J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
- First movement from one of the major viola concertos, such as Bartók, Walton, Schnittke, or Hindemith: Der Schwanendreher.
- An additional work of contrasting style.
- All major and melodic minor scales with arpeggios, three octaves.
- An outer movement of a standard concerto.
- J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
- An étude by Popper or Piatti.
- Major and minor scales and arpeggios up to four sharps and four flats
- Two contrasting movements of a standard concerto OR sonata
- A shorter work from an additional style period
All solo literature is to be performed from memory.
- J.S. Bach: A movement transcribed from any of the unaccompanied violin partitas and sonatas (any edition).
- One orchestral cadenza.
- One of the following:
- Two movements from contrasting sonatas such as C.P.E. Bach, Casella, Dussek, Flagello, Hindemith, Houdy, Tailleferre
- One sonata and one movement of a concerto.
- One programmatic work from the standard harp repertory.
Three contrasting works such as selected movements from a multi-movement work (a suite, sonata, or concerto), a theme with variations, a modern work, etc.
An accompanist will be provided, upon request. There is no fee for the accompanist, but you must send copies of the music to the F. Ludwig Diehn School of Music at least one week before your audition. You can FAX your music to: 757-683-5056, or email to music@odu.edu All selections must be presented with accompaniment. Recorded accompaniment is not permitted, nor is singing a capella. Students are expected to dress appropriately.
- Women: Dresses, skirts or dress pants and blouses
- Men: Dress slacks and buttoned-down shirt, dress shoes, tie and jacket optional
Applicants are required to sing, from memory, five contrasting vocal selections from the classical genre, covering at least three of the four standard languages: English, Italian, French, and German; one selection must be in English. Please direct questions about appropriate repertoire to Dr. Brian Nedvin.
- Mozart: One movement from either the G Major or D Major Concerto
- Two 20th-century works for solo flute or flute and piano
All Major and minor scales, two octaves up to high f
Chromatic Scale from low b-flat to high f
Two Contrasting studies from Barret Oboe Method or Ferling Studies
Two contrasting movements from:
- Mozart Oboe Concerto or Quartet
- Bach: Cantata Sinfonia, Solo Aria, Sonata or Concerto
- Any major concerto or sonata
Prepare a 15 minute audition including the following:
- Two or three movements from solo works of contrasting periods: Baroque, Classical/Romantic, and 20th Century
- Two études chosen from the following or comparable collections:
- Milde
- Bozza
- Dubois
- Bianchi
- Bertoni
- Boutry
- Bitsch
- A standard classical piece for clarinet such as a movement from Mozart: Concerto, K.622
- A Romantic era work such as one or two movements of a Brahms sonata
- A 20th-century work with piano accompaniment such as Berg: Four Pieces or Berry: Fantasy in Five Statements
- A 20th-century unaccompanied work such as Stravinsky: Three Pieces for Solo Clarinet
- 15 minutes of alto saxophone literature representing your highest proficiency. Suggested literature includes:
- Ibert: Concertino da Camera
- Larsson: Concerto
- Schmitt: Légende
- Dressel: Partita
- Denisov: Sonata
- Gotkovsky: Brillance
- 4 copies of all solo parts should be provided for the audition panel.
- Accompanists are not required for the audition.
- Scales (from Kynaston's Daily Studies for All Saxophones): Full-range scale types selected by panel during the audition.
- Be prepared to demonstrate altissimo skills, overtones, and/or altissimo scales. Tuning/pitch matching will also be assessed.
- Sight reading
- A sample video (approximately 10 minutes) of your conducting in either a rehearsal or performance setting in front of a live ensemble (full or chamber orchestra is preferable, although a string or laboratory orchestra is acceptable). Repertoire should be standard classical repertoire but can be of any period, preferably including examples of contrasting styles. Excerpts are allowable.
- An interview with Dr. Kim to discuss long-term goals as well as to assess understanding of theory/formal structure and basic score reading ability on the piano (advanced piano proficiency is a plus but NOT a requirement).
Your audition should display a level of development in embouchure, articulation, range, tone, flexibility and musicality that generally allows you to start with repertoire comparable to that listed here. Piano accompaniment is not required for brass auditions.
- Several contrasting styles from the standard trumpet repertoire that demonstrate all facets of your playing.
- Transposing at sight.
- Orchestra calls from standard audition materials.
- Transposing at sight
- Pick one of the following from J.F. Gallay Twelve Studies Op.57: No.3, 8 or 9
- Two works comparable in difficulty to the following and in contrasting styles (lyrical/technical):
- Dukas: Vilanelle
- Gliere: Concerto
- Haydn:Concerto No.1
- Jacob: Concerto
- Mozart: Concerto No.2 or 4
- Schumann: Adagio and Allegro
- R. Strauss: Concerto Nos.1 or 2
Orchestral Excerpts:
- Strauss: Opening solo from Til Eulenspiegel
- Tchaikovsky: Symphony No. 5, 2nd Movement solo
- Shostakovich: Symphony No. 5, 1st Movement, Horn 1, Rehearsal 17-21
Graduate Tenor Trombone
Two works comparable in difficulty to the following:
- Casterede: Sonatine
- Grondahl: Concerto
- Larsson: Concertino
- Martin: Ballade
- Tomasi: Concerto
Graduate Bass Trombone
Two works comparable in difficulty to the following:
- Bozza: New Orleans
- C. Brubeck: Bass Trombone Concerto
- Hartley: Sonata Breve
- R. Vaughan Williams: Tuba Concerto
- Eric Ewazen: Rhapsody or Concerto
Two selections comparable in difficulty to the following:
- Charlier: 36 Etudes: Transcendantes
- Arban: Characteristic Studies
- Joseph Horovitz: Concerto for Euphonium
- James Curnow: Symphonic Variants
- Jan Bach: Concert Variations
- David R. Gillingham: Blue Lake Fantasie
- Simone Mantia: All Those Endearing Young Charms
Two selections comparable in difficulty to the following:
- Charlier: Transcendantes from 36 Etudes
- Arban: Characteristic Studies
- Vaughn Williams: Concerto for Bass Tuba
- Penderecki: Capriccio
- Plog: Three Miniatures
- Gregson: Concerto for Tuba
- Roland Szentpali: Concerto for Tuba
Submit a portfolio of at least three substantial works in varied instrumental and vocal media. Electroacoustic works are welcome. Portfolio should be submitted directly to Dr. Andrey Kasparov.
Graduate Piano
Solo recital program of 30 minutes, representing at least three contrasting styles. Memorization is required, except in compositions that involve advanced contemporary techniques.
Graduate Organ
Your audition program should include 15 minutes of music comparable to the following:
- Some pre-Bach.
- A work by Bach.
- A later work.
- You may be asked to sight read a hymn or to provide a simple analysis of an organ score during the audition.
The following is a list of audition requirements and repertoire recommendations. Prepare these works or works of comparable difficulty. The audition will last approximately 15 minutes. Should you have questions, contact Prof. David Walker for more information.
Perform one 2 Mallet Solo comparable to:
- J.S. Bach: Suites, Preludes, Partitas, Sonatas
- Green: Xylo Rag (no repeats)
- Abe: Prism
Creston: Concertino for Marimba and Orchestra
Perform one 4 Mallet Solo on Marimba or Vibraphone comparable to:
- Abe: Cherry Blossoms, Wind in the Bamboo Grove, Michi, Memories of the Seashore
- Molenhoff: Music of the Day
- Stout: Two Mexican Dances, Astral Dance, Rumble Strips
Tanaka: Two Movements for Marimba
Perform one Concert Snare Solo comparable to :
- Delecluse: Douze Etudes
- Colgrass: Six Unaccompanied Solos
Standard Orchestral Excerpts
Perform a Solo comparable to:
- Cahn: Raga No. 1
- Carter: Eight Pieces for Four Timpani
- Hinger: Solos for the Virtuoso Tympanist
OR
2 Standard Orchestral Excerpts
Candidates must also upload a video recording playing an advanced Multiple Percussion solo comparable to:
- Burrit: Sticks of Eloquence
- Hasenpflug: South of Jupiter
Hollinden: Cold Pressed
Choose one of the following:
Auxiliary Instruments:
- Tambourine - Dvorak Carnival Overture
- Cymbals - Symphony No. 4 / Mv't IV - Tchaikovsky
Hand Drum Solo comparable to:
- Casella: Prime Ordinals
Williams: Suite for Djembe; Four Solos for Frame Drums; Tiriba Kan
Piano accompaniment is welcome but not required for the audition.
- An outer movement of a standard concerto from the Classical period or later.
- J.S. Bach: Two contrasting movements from any of the unaccompanied violin sonatas or partitas.
- An additional work of contrasting period and style.
- Two of the above four selections must be played from memory.
- J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
- First movement from one of the major viola concertos, such as Bartók, Walton, Schnittke, or Hindemith: Der Schwanendreher.
- An additional work of contrasting style.
- All major and melodic minor scales with arpeggios, three octaves.
- An outer movement of a standard concerto.
- J.S. Bach: Two contrasting movements from any of the unaccompanied cello suites.
- An étude by Popper or Piatti.
- Major and minor scales and arpeggios up to four sharps and four flats
- Two contrasting movements of a standard concerto OR sonata
- A shorter work from an additional style period
All solo literature is to be performed from memory.
- J.S. Bach: A movement transcribed from any of the unaccompanied violin partitas and sonatas (any edition).
- One orchestral cadenza.
- One of the following:
- Two movements from contrasting sonatas such as C.P.E. Bach, Casella, Dussek, Flagello, Hindemith, Houdy, Tailleferre
- One sonata and one movement of a concerto.
- One programmatic work from the standard harp repertory.
Three contrasting works such as selected movements from a multi-movement work (a suite, sonata, or concerto), a theme with variations, a modern work, etc.
An accompanist will be provided, upon request. There is no fee for the accompanist, but you must send copies of the music to the F. Ludwig Diehn School of Music at least one week before your audition. You can FAX your music to: 757-683-5056, or email to music@odu.edu All selections must be presented with accompaniment. Recorded accompaniment is not permitted, nor is singing a capella. Students are expected to dress appropriately.
- Women: Dresses, skirts or dress pants and blouses
- Men: Dress slacks and buttoned-down shirt, dress shoes, tie and jacket optional
Applicants are required to sing, from memory, five contrasting vocal selections from the classical genre, covering at least three of the four standard languages: English, Italian, French, and German; one selection must be in English. Please direct questions about appropriate repertoire to Dr. Brian Nedvin.
- Mozart: One movement from either the G Major or D Major Concerto
- Two 20th-century works for solo flute or flute and piano
All Major and minor scales, two octaves up to high f
Chromatic Scale from low b-flat to high f
Two Contrasting studies from Barret Oboe Method or Ferling Studies
Two contrasting movements from:
- Mozart Oboe Concerto or Quartet
- Bach: Cantata Sinfonia, Solo Aria, Sonata or Concerto
- Any major concerto or sonata
Prepare a 15 minute audition including the following:
- Two or three movements from solo works of contrasting periods: Baroque, Classical/Romantic, and 20th Century
- Two études chosen from the following or comparable collections:
- Milde
- Bozza
- Dubois
- Bianchi
- Bertoni
- Boutry
- Bitsch
- A standard classical piece for clarinet such as a movement from Mozart: Concerto, K.622
- A Romantic era work such as one or two movements of a Brahms sonata
- A 20th-century work with piano accompaniment such as Berg: Four Pieces or Berry: Fantasy in Five Statements
- A 20th-century unaccompanied work such as Stravinsky: Three Pieces for Solo Clarinet
- 15 minutes of alto saxophone literature representing your highest proficiency. Suggested literature includes:
- Ibert: Concertino da Camera
- Larsson: Concerto
- Schmitt: Légende
- Dressel: Partita
- Denisov: Sonata
- Gotkovsky: Brillance
- 4 copies of all solo parts should be provided for the audition panel.
- Accompanists are not required for the audition.
- Scales (from Kynaston's Daily Studies for All Saxophones): Full-range scale types selected by panel during the audition.
- Be prepared to demonstrate altissimo skills, overtones, and/or altissimo scales. Tuning/pitch matching will also be assessed.
- Sight reading
- A sample video (approximately 10 minutes) of your conducting in either a rehearsal or performance setting in front of a live ensemble (full or chamber orchestra is preferable, although a string or laboratory orchestra is acceptable). Repertoire should be standard classical repertoire but can be of any period, preferably including examples of contrasting styles. Excerpts are allowable.
- An interview with Dr. Kim to discuss long-term goals as well as to assess understanding of theory/formal structure and basic score reading ability on the piano (advanced piano proficiency is a plus but NOT a requirement).
If you are unable to attend one of the scheduled audition dates offered by the F. Ludwig Diehn School of Music, but wish to come to Old Dominion University for a live audition, it may be possible to arrange an ad hoc audition with faculty from your performance area on another date. Ad hoc audition requests are made directly to the faculty. Once the faculty has granted the ad hoc audition, submit the F. Ludwig Diehn School of Music application with the Ad Hoc Audition section completed. Note that faculty members are not obligated to grant ad hoc auditions. All F. Ludwig Diehn School of Music application materials must be received at least one week prior to the ad hoc audition date.
Those who are unable to visit the campus for a live audition may upload a recorded video audition as part of the F. Ludwig Diehn School of Music application. Scholarship consideration is prioritized to applicants who perform on-campus auditions instead of recorded auditions. Audition recordings must conform to the same audition requirements as an on-campus audition unless otherwise noted. Contact Graduate Program Director Dr. Douglas Owens for recorded audition submission instructions.
If you are unable to attend one of the scheduled audition dates offered by the F. Ludwig Diehn School of Music, but wish to come to Old Dominion University for a live audition, it may be possible to arrange an ad hoc audition with faculty from your performance area on another date. Ad hoc audition requests are made directly to the faculty. Once the faculty has granted the ad hoc audition, submit the F. Ludwig Diehn School of Music application with the Ad Hoc Audition section completed. Note that faculty members are not obligated to grant ad hoc auditions. All F. Ludwig Diehn School of Music application materials must be received at least one week prior to the ad hoc audition date.
Those who are unable to visit the campus for a live audition may upload a recorded video audition as part of the F. Ludwig Diehn School of Music application. Scholarship consideration is prioritized to applicants who perform on-campus auditions instead of recorded auditions. Audition recordings must conform to the same audition requirements as an on-campus audition unless otherwise noted. Contact Graduate Program Director Dr. Douglas Owens for recorded audition submission instructions.