Undergraduate Admissions

We're so excited that you're interested in applying to the School of Music!

Just follow these steps to begin the process:

  1. Apply for admission to the School of Music and for music scholarships
  2. Request that one reference complete the online reference form
  3. Prepare for your in-person audition 

If you haven't already, please also be sure to complete the UNI application and UNI Scholarship Application: 

  1. Apply for admission to the university
  2. To apply for additional university scholarships complete the UNI Scholarship Application

If you cannot audition in person, we will accept a video audition. Submit your audition video by clicking here and completing the form. 

Other helpful things to do: 

School of Music
vocalists and musicians perform together on stage

Audition dates for 2026 admissions

While we will continue to accept online video submissions, we will host in-person auditions in spring 2026.

Saturday, Feb. 21
Friday, Feb. 27
Saturday, March 7 - voice only 

Prospective students should contact Melinda Boyd (melinda.boyd@uni.edu) with any questions.

Prepare for your in-person visit

UNI School of Music - Audition Day Guide
UNI School of Music - Audition Day Guide

School of Music Repertoire Lists

Below are the School of Music's repertoire lists. You may use selections from one of these for your audition or use it as a guideline in selecting your pieces:

Please note: the listed repertoire and audition information listed here is specifically for students planning to major or minor in music, and for students wishing to audition for non-major scholarships.

Ensemble auditions are a separate process. Please click here for that information.

‌Learn More

 

Brass Repertoire

students playing brass instruments

Prospective students should choose contrasting selections in order to demonstrate musicianship, tone quality, technical ability, and range. This can be accomplished through two separate movements of the same or different compositions. It is possible that one movement will demonstrate all that is needed.

Please consider the following compositions as a general guide. Works similar in style to those listed below may be substituted. Select pieces with which you are comfortable and that portray your playing at its very best! Etudes can also be considered.

Trumpet/Cornet

Requirements - Examples of overall abilities on the instrument, to include musicianship, sound quality, lyricism, technique and range. This will be in the form of 1) a required etude from Voxman's Selected Studies (pg 28 - A Major; Trio to the end, D.C. to beginning and stop at the end of 12; no repeats) and 2) one solo piece from the list below. Play three (3) two-octave scales at quarter note = 60  1) F-sharp, 2) B, and 3) player's choice. Sight-reading will also be included in your audition. [Substitutions to the following list must be approved by the trumpet professor]

Solo List
Arutunian - Concerto
Barat - Andante et Scherzo
Bozza - Rustiques
Corelli - Sonata VIII
Handel/Fitzgerald - Aria con Variazioni
Haydn - Concerto
Hummel - Concerto
Kennan - Sonata
Peeters - Sonata
Ropartz - Andante et Allegro

Horn

Requirements - Examples of overall abilities on the instrument, to include musicianship, sound quality, lyricism, technique and range. This will be in the form of 1) a required etude (see attachment below), 2) one solo piece from the list outlined on the attachment below, 3) scales - three major scales (two chosen at random, one player’s choice), and 4) sight-reading. [Substitutions to the following list must be approved by the horn professor]

Click here to view the required etude and the list of approved solo pieces. 

Trombone

Requirements - Examples of overall abilities on the instrument, to include musicianship, sound quality, lyricism, technique and range. This will be in the form of a required excerpt(tenor trombone: measures 1-16 on page 11 in Selected Studies for Trombone by H. Voxman, bass trombone: measures 1-32 of etude #18 on page 19 in 50 Etudes for Bass Trombone by Grigoriev arr. Hawes) and a solo from the list below. Scales will also be required. Please perform the following two-octave scales no faster than quarter-note = 60: Eb-major, C-major, A-major. Sight-reading will also be included in your audition. [Substitutions to the following list must be approved by the trombone professor]

Tenor Trombone Solo List
Barat - Andante et Allegro
Blazhevich - Concert Piece No. 5
De La Nux - Concert Piece
Galliard - Any Sonata
Guilmant - Morceau Symphonique (Concert Piece)
Jacob - Concerto
Larsson - Concertino (Mvt. 1 or 3)
Marcello - Any Sonata
Pryor - Annie Laurie
Ropartz - Andante et Allegro
Saint-Saens - Cavatine
Telemann - Sonata in f minor

Bass Trombone Solo List
Tcherepnin – Andante
Lebedev – Concerto in One Movement
Galliard – Sonata (Any) Bass Trombone Edition
Barat – Introduction and Dance
Defaye – Deux Danses (bass trombone edition)
Vaughn Williams – Six Studies in English Folksong
Richard Lieb - Concertino Basso
Ernst Sachse – Concertino
Gordon Jacob – Cameos (mvts. 1,2, and 3)

Euphonium/Baritone

Requirements - Examples of overall abilities on the instrument, to include musicianship, sound quality, lyricism, technique and range. This will be in the form of 1) a required etude from Melodious Etudes for Trombone by Rochut: Etude no. 2, ‘Andantino’ in F major, and 2) one solo piece from the list below. Please perform the following two-octave scales no faster than quarter note= 60: F major, G major, A major. No sight-reading. [Substitutions to the following list must be approved by the euphonium professor]

Euphonium Solo List
Barat - Introduction & Dance
Capuzzi - Andante and Rondo
Curnow - Rhapsody
Galliard - Sonatas 1-6
Guilmant - Morceau Symphonique
Handel/Fitzgerald - Aria con Variazioni
Marcello - Sonata in F
Ropartz - Andante et Allegro
Schuman/Droste - 5 Pieces in Folk Style
Vaughan Williams - 6 Studies in English Folksong
White - Lyric Suite

Tuba

Requirements - Examples of overall abilities on the instrument, to include musicianship, sound quality, lyricism, technique and range. This will be in the form of 1) a required etude from 70 Studies for Tuba vol. I by Blazhevich: Etude no. 9, ‘Andante cantabile’ in D minor, and 2) one solo piece from the list below. Please perform the following two-octave scales no faster than quarter note= 60: F major, G major, A major. No sight-reading. [Substitutions to the following list must be approved by the tuba professor]

Tuba Solo List
Bach/Bell - Air and Bourree
Barat - Introduction and Dance
Capuzzi - Andante and Rondo
Curnow - Concertino
Haddad - Suite
Handel/R. Winston Morris - Sonata no. 6
Holmes - Lento
Marcello/Little - Sonata No. 1 or 5
Nelhybel - Suite
Rachmaninoff - Vocalise
Vaughan - Concert Piece no. 1

Jazz Repertoire

student playing jazz instruments

All live auditions will include appropriate sight reading. 

Drum Set

Auditioners must provide the following groove demonstrations (live or video recording):

1. Medium tempo swing (Q=132), alternating 4 measures of time with 4 bars of solo, for 32 measures
2. Up tempo swing (Q=200), alternating 4 measures of time with 4 bars of solo, for 32 measures
3. Jazz waltz, 32 measures of interactive timekeeping
4. Bossa Nova, 32 measures of interactive timekeeping
5. Samba, 32 measures of interactive timekeeping
6. 12/8 Afro-Cuban, 32 measures of interactive timekeeping
7. Mambo or other Cuban groove, 32 measures
8. Brushes:

  • Medium tempo swing (Q=132), 16 measures
  • Up tempo swing (Q=200), 16 measures
  • Ballad tempo (Q=60), 4 measures, doubling up to medium swing (Q=120) for 8 measures

9. Back to sticks: play a form that consists of 10 measures of 4/4 Latin (bossa nova or similar), followed by 8 bars of swing. Repeat this form 3 times without stopping.

Saxophone, Trombone, Trumpet

Live performance (or video recording) of 3 selections of your choice, at least one of which must be a swing selection. Each must include an opening statement of the melody, followed by improvisation on the form.

Perform or prepare your recording using a backing track such as iReal Pro, Jamey Aebersold or Learn Jazz Standards. Limit each tune to a maximum of 3 minutes (no need to restate the melody at the end).

Guitar, Bass, Piano

In addition to the above, include one chorus of accompaniment techniques on each selection (comping for guitar and piano, walking or other appropriate technique for bass). Please substitute a selection in a Latin style (Bossa Nova, samba, or mambo) for the ballad.

 

Keyboard Repertoire

hands playing piano

Organ

Two works from different historical periods, as follows:

  • A toccata or prelude and fugue by Bach, Buxtehude or one of their Baroque contemporaries
  • A work from the 19th or 20th century.

These works need not be memorized. The applicant will also be expected to play a hymn (which may be prepared in advance) and to demonstrate sight-reading ability.

Piano

Applicants must perform three works in contrasting styles from three different historical periods of music (Baroque, Classical, Romantic, Impressionist, and Contemporary), at least two of which must be memorized. Single movements of a multi-movement piece are acceptable. Students will also be asked to sight-read and play major/minor scales and arpeggios at their audition.

 

Percussion Repertoire

students playing percussion instruments

Please prepare a minimum of one etude, excerpt, or solo on the following three instruments: concert snare drum, two-mallet keyboard (marimba, vibes, or xylophone), and timpani. Auditionees are encouraged to prepare additional repertoire such as rudimental snare and four-mallet marimba for full music scholarship eligibility. Please reach out to the percussion faculty at percussion@uni.edu for further guidance regarding audition repertoire.

Suggested/Sample audition repertoire:

Snare Drum:

Concert Etude/Solo 
(optional: additional Rudimental solo)

Examples:
Cirone - Portraits in Rhythm
Wilcoxen - All-American Drummer
Pratt - 14 Modern Contest Solos

Timpani: 

Etude or solo which demonstrates proper tone, rolls, and tuning (preferably for 3-4 drums)

Examples:
Beck - Sonata for Timpani (any movement)
Peters - Fundamental Method for Timpani
Kirk Gay - Peddle to the Kettle 

Keyboard:

Two-mallet solo or 4 mallet solo 
(4 mallet preferred, but not required)

Examples:
Any Solos/etudes by G.H. Green, McMillan, Gottlieb
Zivkovic - Funny Mallets
Quartier - Image
Smadbeck - Rhythm Song, Virginia Tate, Etude 1
Gomez - Rain Dance, Mbira Song or similar

String Repertoire

students playing string instruments

The audition should consist of:

  • Scales - two octaves (bass) or three octaves (violin, viola, cello).
  • Any etude of the student's choice.
  • Two contrasting short pieces or movements from sonatas or concertos.

Consider the following lists as a general guide. Works similar in style to those listed may be substituted.

Violin

Concertos: Seitz, Accolay, Viotti, Vivaldi, Mozart, Mendelssohn or Bruch
Sonatas: Handel, Le Clair, Corelli or Telemann
Etude Studies: Kreutzer, Dont or Mazas

Viola

Prepare one movement from a Bach cello suite (transcribed for viola), plus one or two movements from the following:

Sonatas/works with piano: Schumann Fairy Tales, Schubert Sonatina, Brahms Sonatas, Weber Andante and Hungarian Rondo, Bruch Romanze or similar.

Concertos: Hoffmeister, Vanhal, Stamitz, Schubert Concerto in C, Handel/Casadesus, J.C. Bach/Casadesus or similar.

Cello

Bach - Cello Suites
Bruch - Kol Nidre
Faure - Elegie
Haydn - Concerto in C (1st mvt.)
Lalo - Concerto (Intermezzo)
Saint-Saens - Concerto in a minor (1st mvt.)
Vivaldi - Sonatas (3rd mvt.)

String Bass

Bottesini - Reverie
Capuzzi - Concerto (1st mvt.)
Ciordano - Larghetto
Halsey Stevens - Arioso
Marcello - Sonata in G (1st & 4th mvts.)
Ratez - Menuet Varie
Saint-Saiens - The Elephant
Simandl/Durkee - Larghetto

Guitar

All Undergraduate Guitar Auditionees:

  • G major scale in three octaves, ascending and descending.
  • C#/Db major scale in two octaves, ascending and descending.

Guitarists Pursuing a BA or Music Minor (includes Music General, Music Technology, Performing Arts Management, Music History):

  • Two (2) contrasting pieces of substantial quality in the classical, folk, world music, pop/rock, or other genres. Please contact Prof. Luke Sanders at luke.sanders@uni.edu to determine suitable repertoire based on your experiences and degree of choice.

Guitarists Pursuing a BM (Performance track a) who are NOT auditioning for the Jazz Program:

  • Two (2) pieces of contrasting classical guitar repertoire. Suggestions include:
    • Allegro Op. 40 No. 6 - Mauro Giuliani
    • Andante Op. 60 No. 14 - Fernando Sor
    • Andantino Op. 60 No. 3 - Matteo Carcassi
    • Bouree in E minor from BWV 996 - J.S. Bach
    • Lagrima - Francisco Tarrega
    • Prelude in D minor for Lute from BWV 999 - J.S. Bach
    • Spanish Romanza
    • Trois Gymnopedies Mvt. 1 - Erik Satie

Guitarists Pursuing a BM in Jazz Studies (Performance track c):

  • One (1) piece or etude of classical repertoire off of the above list (or comparable classical repertoire chosen by the auditionee and approved by Prof. Luke Sanders)
  • Auditionees will sight read short melodic and chordal excerpts
  • Three (3) selections from the jazz standard canon demonstrating the student’s ability to play the melody, comp chords, and improvise. Auditionees are encouraged to utilize a backing track. Suggestions of jazz standards include:
    • All the Things You Are
    • Alone Together
    • Blue Bossa
    • Four
    • Just Friends
    • On Green Dolphin Street
    • On the Sunny Side of the Street
    • Recordame
    • Solar
    • There Will Never Be Another You

Non-majors who want to audition for jazz scholarships, review the information found here. 

Harp
  • Etude of your choice (Kastner, Pozzoli or similar)
  • Two contrasting solos
  • Scales are not necessary

Voice Repertoire

students singing

Undergraduate voice audition repertoire requirements

Two memorized songs of contrasting style selected from the classical vocal repertoire (both selections may be in English). Audition selections should not include musical theater, choral, hymns, popular music, jazz, or selections outside of "classical" vocal literature. An accompanist will be provided. Please bring a clean, legible copy of your music.

Performance of repertoire is followed by a brief interview with the voice faculty, and a diagnostic exam to assess general aural and sight-reading skills.

Video submissions

While in-person auditions are encouraged, for those who cannot come to campus please use the following guidelines for video submission:

Repertoire: Two memorized songs of contrasting style selected from the classical vocal repertoire (both selections may be in English).  Audition selections should not include musical theater, choral, hymns, popular music, jazz, or selections outside of "classical" vocal literature. Though recordings with ‘live’ accompaniments are preferred when possible, the use of pre-recorded accompaniment tracks are permitted. Submitted audition videos should be of high audio and video quality and representative of the singer’s genuine vocal ability. The use of audio editing or enhancement is strongly discouraged.

Zoom Interviews

After successful completion and submission of all requisite application materials, each auditionee will be scheduled an interview with the voice faculty via Zoom. During the interview the auditionee will be administered a diagnostic to assess general aural and music-reading skills.

Woodwind Repertoire

students playing woodwind instruments

Prospective students should choose two contrasting selections (or one longer piece with contrasting sections) in order to demonstrate musicianship, tone quality, and technical ability. Please consider the following compositions as a general guide. Works similar in style to those listed below may be substituted. Select pieces that portray your playing at its very best.

Flute

Prospective students should prepare two contrasting selections from the categories below, or substitute works similar in style, in order to demonstrate musicianship, tone quality, and technical ability. Portions of works (single movements, concerto expositions, etc.) are acceptable and sufficient. Select material that portrays your playing at its very best. Please contact Dr. Porter-Occeña at hannah.porter-occena@uni.edu for further guidance regarding audition repertoire.

Suggested Repertoire: 

Category 1:
Sonatas by Marcello, Handel, Telemann, Blavet, or Bach
Mozart Concerto in G Major, K. 313
Mozart Concerto in D Major, K. 314
Quantz Concerto in G Major
Vivaldi Concerto in C Major

Category 2:
Bloch Suite Modale
Chamberlain Unity
Chaminade Concertino
Coleman Legends
Debussy Syrinx
Hindemith Sonata
Honegger Danse de la Chèvre
Hoover Kokopeli
Hue Fantaisie
Nielsen The Children Are Playing
Poulenc Sonata
Taffanel Nocturne et Allegro Scherzando
Taktakishvili Sonata

Oboe

Prospective students should prepare two contrasting selections (or one longer piece with contrasting sections) in order to demonstrate musicianship, tone quality, and technical ability. Please consider the following compositions as a general guide. Works similar in style to those listed below may be substituted. Select pieces that portray your playing at its very best. Please email Dr. Peyton at heather.peyton@uni.edu for further guidance regarding audition repertoire.

Suggested Repertoire: 

Cimarosa - Concerto in C Major
Hindemith - Sonata in C Major
Marcello - Concerto in C minor 
Saint-Saens - Sonata
Britten - Six Metamorphoses After Ovid 
Telemann - Sonata in A minor
Mozart - Quartet, KV 370 (sometimes called Sonata or Concertino)
Paladilhe - Concertino

Clarinet

B-flat Clarinet:

Prospective students should prepare two contrasting selections (or one longer piece with contrasting sections) in order to demonstrate musicianship, tone quality, and technical ability. One of these selections may come from the Voxman Selected Studies etude book. Please consider the following compositions as a general guide. Works similar in style to those listed below may be substituted. Select pieces that portray your playing at its very best. PIANO ACCOMPANIMENT IS NOT REQUIRED. Please email Dr. McCandless at amanda.mccandless@uni.edu for further guidance regarding audition repertoire.

Suggested Repertoire:

Finzi – Five Bagatelles
Mozart – Concerto
Any work from the Voxman Concert and Contest solo book for B-flat clarinet
Any work from the Bonade 16 Grands Solos de Concert
Saint-Saens – Sonata
Any work by Weber
Sonatas by Lefevre
Any work by Stamitz
Jacob – Five Pieces for Solo Clarinet

Bass Clarinet:

Students who played bass clarinet in high school may audition for the School of Music on bass clarinet, provided that they understand that a complete education in clarinet requires mastery of the B-flat clarinet. All clarinet majors will learn to play all types of clarinet, including bass, but the B-flat clarinet is the primary instrument played in clarinet lessons. You must own a B-flat clarinet for study as a clarinet student. Students may play one of the following works, or something similar, for their audition on bass clarinet, along with a short etude on B-flat clarinet from the Hite Melodious and Progressive book or something similar. Please email Dr. McCandless at amanda.mccandless@uni.edu for further guidance regarding audition repertoire.

Suggested Repertoire:

Any solo from the Voxman Concert and Contest solo book for bass clarinet
Bozza: Ballade
Bennett: Deepwood
Desportes: Andante and Allegro
Eccles: Sonata

Please note that students must provide their own bass clarinet for School of Music auditions. 

Bassoon

Prospective students should prepare two scales of their choice (one major and one minor), and two contrasting musical selections in order to demonstrate musicianship, tone quality, and technical ability. Please consider the following compositions as a general guide. Works similar in style to those listed below may be substituted. Select pieces that portray your playing at its very best. Please email Dr. Ransom at matthew.ransom@uni.edu with any questions regarding audition repertoire.

Suggested Repertoire:

Eugène Bourdeau: First, Second or Third Solos for Bassoon and Piano
Johann Ernst Galliard: 6 Sonatas for Bassoon and Basso Continuo 
François René Gebauer: 6 Caprices for Solo Unaccompanied Bassoon
Paul Hindemith: Sonata for Bassoon and Piano
Osvaldo Lacerda: Suite for Bassoon and Piano
Ludwig Milde: 50 Concert Studies, Op. 26.6
Georg Philipp Telemann: Sonata in F Minor for Bassoon and Basso Continuo, TWV 41:F1 Antonio Vivaldi: Concerti for Bassoon and Orchestra (any)
Carl Maria von Weber: Concerto for Bassoon and Orchestra in F Major, Op. 75
Julius Weissenborn: 50 Advanced Studies, Op. 8, No. 2

Saxophone

Prospective students should prepare two contrasting selections in order to demonstrate musicianship, tone quality, and technical ability. Portions of works (single movements, concerto expositions, etc.) are acceptable and sufficient. This music is not all inclusive. Pieces of similar quality and difficulty may be substituted for compositions on this list. Select material that showcases your strengths and portrays your playing at its very best. Please email Dr. Bradfield at ann.bradield@uni.edu if further guidance is needed regarding audition repertoire.

Alto Saxophone Suggested Repertoire:

Eugene Bozza, Improvisation and Caprice
Henri Eccles, Sonata
Alexander Glazunov, Concerto
G.F. Handel, Sonata No. 3 (Arr. Rascher)
Bernard Heiden, Sonata
Lawson Lunde, Sonata
Paule Maurice, Tableaux de Provence
Jeanine Rueff, Chanson et Passepied
William Grant Still, Romance

Tenor Saxophone Suggested Repertoire:

Denis Bedard, Fantaisie
Andy Scott, And Everything is Still
James Dipasquale, Sonata
Larry Teal, Solos for the Tenor Saxophone
William Schmidt, Sonatina
Florent Schmitt, Songe de Coppelius
Vivaldi, Sonata in G minor (Arr. Racher)

Additional Information

Please note: the listed repertoire and audition information listed here is specifically for students planning to major or minor in music, and for students wishing to audition for non-major scholarships.

In cases of departmental need, certain non-major instrumentalists may be considered for scholarship. Students wishing to be non-music majors who are interested in taking lessons and/or auditioning for scholarship should fill out the music supplement application above, and should select NON-MUSIC MAJOR in the drop-down menu.

Vocal students interested in non-major lessons may contact the vocal division chair, Dr. Suzanne Hendrix-Case (suzanne.hendrix@uni.edu), regarding placement in non-major lessons; please note, there are currently no voice scholarships for non-major students.

Students wishing to be non-music majors who are interested in being a part of ensembles only (not taking lessons and not auditioning for scholarship) should contact: Dr. Danny Galyen (winds, brass, percussion) - danny.galyen@uni.edu or Dr. Erik Rohde (strings) - erik.rohde@uni.edu or visit the Ensembles Auditions page for more information.