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String Quartet
Undergraduate Audition Guidelines
The following are suggested works for freshman auditions at East Carolina University. For all instruments and voice parts, you may select compositions other than those listed. However, in every case, repertoire must reflect musical and technical proficiency expected of an incoming freshman student. Consultation with a private teacher is strongly encouraged if not expected. Specific questions about the appropriateness of musical selections may be directed to the applied instructor of the specific instrument or the director of undergraduate admissions. See the faculty directory for contact information. Memorization is not required, except for voice and piano. Sight-reading will be requested.



Voice
Two songs in contrasting styles. We suggest that one be in English and one be in a foreign language, preferably Italian. Both songs must be performed from memory. Suggested sources are Twenty-Six Italian Songs and Arias (Alfred Publishing Company), Twenty-Four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries (Schirmer's Library of Musical Classics), Contemporary Art Songs, 20th Century Art Songs, Songs by 22 Americans (Schirmer), and Art Songs from the Modern Repertory. 

Keyboard Instruments

Piano

Works from three of the four style periods are required. Portions or movements of longer works, such as sonatas or suites, may be considered as one composition. The audition must reflect acceptable technical and musical standards of performance (i.e., accuracy, style, and musical interpretation). At least two of the three compositions must be performed from memory.

The auditioning committee will make requests from the following technical areas: all major and minor scales and all major and minor triad arpeggios in root position. Scales and arpeggios should be hands together, four octaves, at a moderate tempo. (If you submit tapes, select a major and minor scale and a major and minor arpeggio.)

Suggested Repertoire:

Baroque
Scarlatti: Sonatas; Bach: two-part or three-part invention or selection from The Well-Tempered Clavier

Classic
Haydn: Sonata in C Major (Hob. XVI/35) or Sonata in D Major (Hob. XVI/37); Mozart: Fantasy in D Minor, K.397; Sonata in G Major, K.283; or Sonata in C Major, K.545; Beethoven: Variations and Bagatelles: Sonata in G Minor, Op. 49, No. 1; Sonata in G Major, Op. 14, No. 2; or Rondo in C Major, Op. 51, No. 1

Romantic
Mendelssohn: Songs Without Words; Schumann: Scenes from Childhood; Chopin: nocturnes, waltzes, mazurkas, or preludes

Contemporary
Kabelevsky: Variations, Op. 40; Bartok: Rumanian Folk Dances, Sonatine, or Mikro-kosmos, Vol. V; Tcherepnin: Bagatelles, Op. 5. Scales and Arpeggios.

Organ
Works from three style periods (Baroque, Romantic, and Contemporary) and one hymn are required. The hymn may incorporate a free introduction and/or reharmonized verse(s). For prospective performance majors, memorization is encouraged.

Suggested Repertoire:

Baroque
Bach: Chorale Preludes from the Orgelbüchlein or one of the Eight “Little” Preludes and Fugues; Couperin: Pieces d’Orgue

Romantic
Selected movements from the Mendelssohn Sonatas; Vierne: 24 Pieces en Style Libre; Brahms: Chorale Preludes, Op. 122

Contemporary
Langlais: Organ Book; Dupré: Fifteen Antiphons for Organ; Schroeder: Kleine Präludien und Intermezzi, Op. 9

Woodwind Instruments
Two works contrasting in style or tempo are desirable. All major and minor scales should be prepared in at least two octaves and the chromatic scale in the full range of the instrument.

Flute
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Telemann, Handel, and Bach. One etude from Andersen, Gariboldi, Karg-Elert, or similar may be chosen to replace one of the standard works.

Clarinet
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Mozart, Weber, Schumann, and Stamitz. One etude may be chosen to replace one of the standard works.

Oboe
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Handel, Marcello, Cimarosa, Hanson, Albinoni, and Telemann. One etude may be chosen to replace one of the standard works.

Bassoon
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Mozart and Weber. One etude from Ferling: 48 Famous Studies, Weissenborn: Fifty Advanced Studies, or similar may be chosen to replace one of the standard works.

Saxophone (alto or tenor)
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Handel and Eccles (arr. Rascher). One etude from Voxman, Ferling, or similar may be chosen to replace one of the standard works.

Brass Instruments

Two works contrasting in style or tempo are desirable. All major and minor scales should be prepared in at least two octaves and the chromatic scale in the full range of the instrument.

Trumpet
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Haydn, Corelli, Purcell, Handel, Bernstein, and Balay. One etude from Arban: 14 Characteristic Studies or similar may be chosen to replace one of the standard works.

Horn
At least two contrasting works and/or movements from the standard literature including, but not limited to, works by Mozart, Gliere, Saint-Saens, Strauss, or Dukas. One etude may be chosen to replace one of the standard works.

Trombone
At least two contrasting works and/or movements from the standard literature including, but not limited to, Guilmant, Marcello, Barat, or Morel. One etude from Bordogni: Melodious Etudes ed. Rochut or similar may be chosen to replace one of the standard works.

Euphonium
At least two contrasting works and/or movements from the standard literature including, but not limited to, Guilmant, Marcello, Barat, or Morel. One etude from Bordogni: Melodious Etudes ed. Rochut or similar may be chosen to replace one of the standard works.

Tuba
At least two contrasting works and/or movements from the standard literature including, but not limited to, Handel, Tcherepnin, Bach, or Holmes. One etude may be chosen to replace one of the standard works.

Percussion
Students auditioning for consideration as a major in percussion performance must perform in all four areas. All others must audition on any three of the areas. Visit the percussion audition page for complete percussion audition details. What follows is an abbreviated version of the percussion audition recommendations.

Snare Drum
Rudiments #1–26 from PAS list of 40 SD rudiments. A prepared solo/etude. (Etudes from Cirone: Portraits in Rhythm or similar).

Mallets
All major scales two octaves leading with either hand. All major triad arpeggios 2 octaves leading with either hand. Prepared solo for two mallets. (Selection from McMillan: Masterpieces for Marimba or similar).

Timpani
Tune the timpani to a given pitch. Tune to a P4 or P5 above or below a given pitch. Long roll, ppp to fff. Prepared solo. (Selection from Firth: The Solo Timpanist or similar).

Drum Set
Be prepared to play time and trade 4s in the following styles: rock, funk, swing, samba, mambo. Read a big-band chart with accompaniment.

String Instruments
Two works contrasting in style or tempo are desirable. All major and minor scales should be prepared in three octaves (two octaves for bass) and the chromatic scale in the full range of the instrument (both slurred and single bows).


Violin and Viola
At least two contrasting works and/or movements from the standard literature. One etude from Kreutzer, Dont, or similar may be chosen to replace one of the standard works.

Cello
One or two movements from Bach: Suites for the Unaccompanied Cello and one movement of a concerto from the standard repertoire.

String Bass
At least two contrasting works and/or movements from the standard literature. One etude may be chosen to replace one of the standard works.

Guitar
Any study by Sor, Carcassi, or Aguado from Shearer: Classic Guitar Technique, Vol. II; Hirsch: Chanson (p. 121) or Reverie (p. 188) from Shearer: Learning the Classic Guitar, Part 2; any solo after p. 131 in Noad: Solo Guitar Playing, Book One; Brouwer: Etudes Simples 1–10. Scales: Major scales, two and three octaves, four notes per beat at M.M. 60.