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Undergraduate Audition Requirements - Woodwinds

 

Flute

Professor Cobus du Toit, cdutoit@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 movement from a Mozart Concerto or Bach Sonata, a composition by Reinecke, Schubert, Prokofiev, Widor, Gaubert, Taffanel or Chaminade, and a modern work by composers such as Varèse, Takemitsu, Berio or Clarke. One of these movements may be an etude.

B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.


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.


Clarinet

Professor Romie de Guise-Langlois, rdeguiselang@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.


Bassoon

Instructor Rémy Taghavi, (413) 577-2347

A - Repertoire

  • Two (2) contrasting movements from standard concertos or sonatas, such as Mozart's Concerto for Bassoon or Telemann's Sonata in F Minor. The movements need not come from the same piece.
  • An etude 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.


Saxophone

Professor Jonathan Hulting-Cohen, hultingcohen@music.umass.edu, (413) 545-2810
Jazz: Professor Felipe Salles, fsalles@music.umass.edu, (413) 545-6051

For all undergraduate saxophone auditions, please prepare the following:

  • All major, harmonic and chromatic scales, full range (from low Bb to high F or F#, ideally using both side and front fingerings for high E, F, and F#)
  • To demonstrate your intonation capabilities by playing roots, fifths and thirds in all keys and registers against a drone
  • Two contrasting movements of a standard classical work, such as:
    • Alexander Glazunov – Concerto
    • Paul Creston – Sonata
    • Alfred Desenclos – Prelude, cadence et finale
    • William Albright – Sonata
    • Paule Maurice – Tableaux de Provence
    • Jacques Ibert – Concertino da camera
    • Warren Benson – Aeolian Song
    • Bernard Heiden – Sonata
    • Eugène Bozza – Aria
    • Others possible – Inquire with Professor Jonathan Hulting-Cohen
  • Two contrasting Ferling or comparable études
  • To discuss your musical and academic history and possible future goals
  • To give Professors Hulting-Cohen and Salles a hard-copy list of your classical, jazz and other repertoire to date, as well as the years you studied them

Flute

Professor Cobus du Toit, cdutoit@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 movement from a Mozart Concerto or Bach Sonata, a composition by Reinecke, Schubert, Prokofiev, Widor, Gaubert, Taffanel or Chaminade, and a modern work by composers such as Varèse, Takemitsu, Berio or Clarke. One of these movements may be an etude.

B - Technique
Major and minor scales, arpeggios and chromatic scales slurred and with standard articulation throughout the practical range of the instrument.

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.

Clarinet

Professor Romie de Guise-Langlois, rdeguiselang@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.

Bassoon

Instructor Rémy Taghavi, (413) 577-2347

A - Repertoire

  • Two (2) contrasting movements from standard concertos or sonatas, such as Mozart's Concerto for Bassoon or Telemann's Sonata in F Minor. The movements need not come from the same piece.
  • An etude 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.

Saxophone

Professor Jonathan Hulting-Cohen, hultingcohen@music.umass.edu, (413) 545-2810
Jazz: Professor Felipe Salles, fsalles@music.umass.edu, (413) 545-6051

For all undergraduate saxophone auditions, please prepare the following:

  • All major, harmonic and chromatic scales, full range (from low Bb to high F or F#, ideally using both side and front fingerings for high E, F, and F#)
  • To demonstrate your intonation capabilities by playing roots, fifths and thirds in all keys and registers against a drone
  • Two contrasting movements of a standard classical work, such as:
    • Alexander Glazunov – Concerto
    • Paul Creston – Sonata
    • Alfred Desenclos – Prelude, cadence et finale
    • William Albright – Sonata
    • Paule Maurice – Tableaux de Provence
    • Jacques Ibert – Concertino da camera
    • Warren Benson – Aeolian Song
    • Bernard Heiden – Sonata
    • Eugène Bozza – Aria
    • Others possible – Inquire with Professor Jonathan Hulting-Cohen
  • Two contrasting Ferling or comparable études
  • To discuss your musical and academic history and possible future goals
  • To give Professors Hulting-Cohen and Salles a hard-copy list of your classical, jazz and other repertoire to date, as well as the years you studied them