Undergraduate Audition Requirements
Acceptance to the undergraduate music major or minor at UMass Amherst is determined in part by an audition.
Pieces selected for the audition should demonstrate technical facility and musicality.
If you have any questions, please contact the appropriate faculty member for your instrument/voice before the audition.
Music Department Travel Directions & Map (pdf)
Sight Reading will be required at all auditions.
SUBMITTING A RECORDED AUDITION
Participating in an on-campus audition is highly recommended, especially if a student wishes to be considered for a scholarship. If a student is unable to attend a regularly scheduled audition, it is possible to request a Special Audition (see Application/Audition Request Form). If distance prohibits a student from coming to campus for a live audition, a CD or DVD may be submitted by mail in addition to the online Application/Audition Request Form.
All CDs (or DVD's) should be submitted by mail, with a listing of the program performed, in addition to a completed online Music Application/Audition Request Form. Please send the CD or DVD to Christopher Thornley, Director of Admissions, Music & Dance Dept., 271 Fine Arts Center, UMass Amherst, Amherst MA 01003. Call 413-545-6048 with any questions.
The Department reserves the right to require a live audition in addition to a recording before granting final admission to any degree program.
Voice
Professor William Hite, williamhite@music.umass.edu, (413) 545-6049
For Voice applicants: A pre-audition screening CD must be sent to the Department (Chris Thornley, Director of Admissions, 271 Fine Arts Center, UMass Amherst, Amherst MA 01003) at least 3 weeks prior to your requested audition date for review by the voice faculty. You will then be notified as to whether the faculty would like you to perform a live audition.
Vocal Pre-Audition Recording Requirements: Two songs (both with piano accompaniment), one of which should be sung in a foreign language (i.e. French, German, Italian, etc.)
REGULAR AUDITION REQUIREMENTS:
A - Repertoire
Three (3) songs memorized, selected from the art song, Lieder, oratorio, opera or folk ballad literature demonstrating more than one language. (An accompanist will be provided.)
B - Aural Skills
Students will be asked to perform melodic and rhythmic sight reading as well as tonal memory exercises.
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Piano
Professor Nadine Shank, shank@nadineshank.com, (413) 545-0053
If applying for the Jazz Piano program, click here. Jazz Piano applicants are not required to perform a classical piano audition.
A - Repertoire
- A representative piece from the Baroque period such as an Invention by Bach.The first movement of a sonata such as those by Haydn, Mozart (excluding K. 202 and 545) or Beethoven (excluding Op. 49, Nos. 1 and 2, and Op. 79).
- A piece from the Romantic Era or modern literature.
B - Technique
- Major and minor scales (two octaves/two hands).
- Major and minor arpeggios played two octaves, two hands. A simple ear-training test will be administered to each student.
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Organ
Professor Ernest May, emay@music.umass.edu, (413) 545-0624
A - Repertoire
- A prelude and fugue from Bach's Well-Tempered Clavier (on the piano), or an Invention.
- A Bach fugue, chorale trio, or trio sonata movement for organ.
- An organ piece of the applicant's choosing.
B - Technique
Major and minor scales and arpeggios (two octaves) for both keyboard and pedals.
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Flute
Professor Christopher Krueger, krueger@music.umass.edu, (413) 545-2918
A - Repertoire
One or more movements each, from three different works demonstrating fast playing, slow playing, and articulation abilities. These works should be in different historical styles. For example: a fast movement from a Mozart Concerto, a slow movement from a Bach Sonata, and a modern work such as Varèse, Density 21.5. One of these movements may be an etude.
B - Technique
Major and minor scales, arpeggios and chromatic scales throughout the practical range of the instrument.
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Oboe
Professor Fredric T. Cohen, fcohen@music.umass.edu, (413) 545-4688
A - Repertoire
- A piece such as Vivaldi's Concerto in A Minor, Mozart's Concerto in C Major K314, Schumann's Drei Romanzen or Hindemith's Sonata for Oboe & Piano.
- An etude by Barrett or Ferling which demonstrates technical ability.
B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.
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Clarinet
Professor Michael Sussman, msussma@music.umass.edu, (413) 545-4776
A - Repertoire
- A movement from the standard literature for clarinet, such as the Mozart or von Weber concertos or the sonatas of Hindemith or Saint-Saëns.
- Two (2) etudes, one fast and one slow, selected from Rose 32 Etudes or the equivalent.
B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.
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Bassoon
Professor Stephen Walt, swalt@music.umass.edu, (413) 577-2347
A - Repertoire
- Two (2) contrasting movements from Mozart's Concerto for Bassoon or Telemann's Sonata in F Minor.
- Two (2) etudes, one fast and one slow, selected, from Milde's Scale and Arpeggio, Concert Studies, or similar studies.
B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.
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Saxophone
Studio Site
Professor Lynn Klock, lklock@music.umass.edu, (413) 545-2810
A - Repertoire
- A fast and slow movement from works such as the Creston's Sonata, Lunde's Sonata, Eccles' Sonata or the Ibert Concertino Da Camera
- An etude from Ferling's 48 Etudes or similar studies.
B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.
If applying for the Jazz program, click here for additional requirements.
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Horn (French Horn)
Studio Site
Professor Laura Klock, laklock@music.umass.edu, (413) 545-6052
A - Repertoire
- A fast and a slow movement chosen from works such as the Mozart horn concertos, the Haydn concertos, the Strauss Concerto Op. 11, the Beethoven Sonata, the Dukas Villanelle, and the Bernard Heiden Sonata.
- An etude such as those by Gallay, Kopprasch and Kling.
B - Technique
Major and chromatic scales throughout the practical range of the instrument.
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Trumpet
Professor Eric Berlin, berlin@music.umass.edu, (413) 577-1582
- Etude 1 from Vassily Brandt's 34 Etudes (edited by Robert Nagel) published by International Music Co., Catalog #1391
- Two contrasting movements (in their entirety) from one of the following:
- 1) Kent Kennan Sonata
- 2) Paul Hindemith Sonata
- 3) Flor Peeters Sonata
- 4) Halsey Stevens Sonata
- 5) Eric Ewazen Sonata
- 6) Alexander Arutiunian Concerto (play beginning to letter L)
- 7) Franz Joseph Haydn Concerto in Eb
- 8) Johann Nepomuk Hummel Concerto in E or Eb
- c. Scales
- Major Scales up two four sharps and flats - tongued and slurred (one or two octaves covering the practical range of the instrument)
- Two octave C Chromatic Scale (slurred in triplets, quarter note = 100)
If applying for the Jazz program, click here for additional requirements.
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Trombone
Professor Norman Bolter, nbolter@music.umass.edu, (413) 545-6059
A - Repertoire
A piece such as Barat's Andante et Allegro, a sonata by Galliard, Marcello's Sonata in G Minor or Ropartz' Andante and Allegro.
B - Technique
Major and chromatic scales, played to demonstrate the candidate's range on the instrument.
If applying for the Jazz program, click here for additional requirements.
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Euphonium
Professor John Bottomley, jbottoml@music.umass.edu, (413) 577-2346
A - Repertoire
A piece such as Cohen's Concert Piece, Haydn's Aria and Allegro or Marcello's Adagio and Allegro.
B - Technique
Major and chromatic scales throughout the practical range of the instrument.
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Tuba
Professor John Bottomley, jbottoml@music.umass.edu, (413) 577-2346
A - Repertoire
A piece such as Bach-Bell's Air and Bourree, Cohen's Romance and Scherzo, Handel's Honor and Arms or Painpare's Concert-Piece.
B - Technique
Major and chromatic scales throughout the practical range of the instrument.
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Percussion
Professors Ayano Kataoka, ayano@music.umass.edu, (413) 545-3258 and
Thomas Hannum, hannum@music.umass.edu, (413) 545-6060
If applying for the Jazz Drum Set program, click here. Jazz Drum set applicants are encouraged to, but are not required to perform a classical percussion audition.
A - Repertoire
- Etudes performed on the three (3) basic instruments by such composers as: Snare drum - Cirone, Albright, Firth or Goldenberg; Timpani - Firth, Carter, Goodman or Whaley; Marimba - Goldenberg or Gardner.
- Compositions such as: Snare drum - any Grade 5-6 contest solo; Timpani - Tcherepnin's Sonatina; Marimba - Handel's Violin Sonata in F Major.
B - Technique
Snare drum, rudiments and all major and minor scales on marimba.
Note: Applicants may also present a multiple percussion solo and/or demonstrate proficiency on the drum set
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Violin
Professor Elizabeth Chang, echang@music.umass.edu, (413) 545-0023
A - Repertoire
- A movement from a concerto or a short piece demonstrating the level of technical proficiency in both hands
- A contrasting work in another style
- An etude from Kreutzer, Dont, Fiorillo, Rode, Mazas or comparable study
B - Technique
A three-octave scale in any key
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Viola
Professor Kathryn Lockwood, kathlock@aol.com, (413) 545-9457
A - Repertoire
- Two (2) contrasting movements from a Bach solo suite or similar work
- A contrasting work in another style; a movement from a sonata or a concerto
B - Technique
- A three-octave scale in any key
- A three-octave arpeggio in any key
- An etude selected from the studies of Kreutzer, Fiorillo, Dancla or Don’t
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Cello
Professor Astrid Schween, aschween@music.umass.edu, (413) 545-9457
A – Repertoire
Two (2) contrasting selections that best represent your level of performance. One selection should demonstrate tone quality and control; the other should feature left hand technical facility.
B – Technique
Major scales in three (3) octaves
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Double Bass
Professor Salvatore Macchia, smacchia@music.umass.edu, (413) 545-6053
If applying for the Jazz Bass program, click here. Jazz Bass applicants are not required to perform a classical bass audition, but are required to study on upright bass for two years.
A - Repertoire
- A sonata such as those by Marcello, Telemann, Eccles or the first movement of the Dragonetti Concerto
- An etude from Simandl 30 Etudes, Storch-Hrabe 57 Etudes, or another etude of comparable difficulty
B - Technique
Two- and three-octave major and minor scales
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Vocal Jazz
Professor Catherine Jensen-Hole, cathyhole@hotmail.com, (413) 577-2459
A - Repertoire
Three (3) songs selected from the standard vocal jazz repertoire. Selections should include a slow ballad such as Body and Soul, a moderately fast or up-tempo standard like Satin Doll or Fascinating Rhythm, and a blues. At least one of the audition pieces should demonstrate vocal jazz improvisation ability.
B - Technique
Student will sing melodic and rhythmic patterns in a jazz style dictated at the audition.
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Jazz Guitar/Piano
Professor Jeffrey W. Holmes, jwholmes@music.umass.edu, (413) 545-6046
- Three stylistically different tunes from the standard Jazz repertoire. These should include a medium tempo jazz selection such as Out Of Nowhere, Just Friends, or Joy Spring, a blues such as Billie's Bounce or Straight No Chaser (not Blue Monk), and, a contrasting up tempo jazz, jazz waltz, Latin, or contemporary jazz piece (no ballads). Performance of the melody, comping and a minimum of two improvised choruses per tune will be required (4 improvised choruses for blues). Bring four copies of each lead sheet.
Non-jazz pieces may be prepared in addition to the above requirements (bring lead sheets as applicable).
- Students will be asked to demonstrate “comping” styles over blues, rhythm changes (like “Oleo”), and a more contemporary “vamp” sequence.
Scales: all major and minor two octaves ascending and descending (piano both hands).
ii V I's in all major and minor keys: comp and improvise in 2 and 4 measure increments.
Sight Reading: single lines, rhythmic sequences and chord changes in jazz and related styles such as Latin and rock/funk.
Instrument and/or voice pitch matching may also be administered.
- Guitarists must bring their own patch cords. An amp will be provided.
- An accompanist (piano and/or bass) will be provided.
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Jazz Bass
Professor Jeffrey W. Holmes, jwholmes@music.umass.edu, (413) 545-6046
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See 1. Jazz Guitar/Piano above
- See 2. Jazz Guitar/Piano above (Bass players will "walk" over directives)
- Jazz bassists will be required to study acoustic bass for a minimum of two years (Classical audition materials may be part of the audition - see Double Bass requirements if applicable)
- Amplified bassists must bring their own patch cords. An amp will be provided.
- An accompanist (piano or guitar) will be provided.
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Jazz Drum Set
Professor Jeffrey W. Holmes, jwholmes@music.umass.edu, (413) 545-6046
- Students will demonstrate the following styles: swing (moderate, moderate trading 4's between time and solo; and up-tempo), Latin (bossa and samba), Jazz waltz, funk, moderate rock, ballad w/brushes, Afro-Cuban, and an odd meter (5/4 or 7/4)
Performance of a jazz or straight-8 th tune selected form the standard jazz repertoire.
An accompanist (piano or guitar, with or without bass) will be provided. Bring 4 copies of the lead sheet for this tune.
Students will also play a prepared drum set solo of their choice – bring 4 copies of the piece.
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Students will be required to sight read a big-band chart, a rhythm sheet and/or a lead sheet.
Voice pitch matching may also be administered.
- A drum-set will be provided for the audition. However, please bring your own cymbals (including high hats), snare drum, bass drum pedal and sticks/brushes/mallets.
Please note: All Drum Set auditionees may also prepare a percussion audition to include snare drum and mallet selections. Please see Percussion requirements above. Make sure you identify on your audition application whether you will be preparing a percussion component.
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All Non-Rhythm Section Jazz Auditions
Professor Jeffrey Holmes, jwholmes@music.umass.edu, (413) 545-6046
- See “1.” Jazz Guitar/Piano above (delete “comping” component). Make sure you bring 4 copies of each lead sheet—rhythm section lead sheets must be in concert pitch.
- See “2.” Jazz Guitar/Piano above (delete “comping” component, scales through 4 sharps and 4 flats).
- An accompanist (piano or guitar, with or without bass) will be provided.
- See Saxophone, Trumpet and Trombone audition requirements above for non-jazz audition repertoire, and/or contact the studio Professors.
Any further JAAMS instrumental audition questions, contact Professor Holmes, Director of Jazz and African-American Music Studies: jwholmes@music.umass.edu .
For Vocal Jazz audition questions, contact Professor Jensen-Hole cathyhole@hotmail.com .
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