Audition & Portfolio Requirements

Major Requirements

• All major scales
• A complete etude from a standard collection such as Milde or Weissenborn
• Two contrasting selections (one technical, one lyrical) from the solo literature (sonatas, concerti, and/or solo pieces)
• Sight reading and rhythm skills may be assessed at the audition

Minor Requirements

• All major scales
• Two contrasting selections (one technical, one lyrical) from a standard etude collection and/or the solo literature (sonatas, concerti, and/or solo pieces)

Major Requirements

• Two contrasting selections (one technical, one lyrical) from a standard etude collection (such as Polatschek, Cavallini, Rose, Jettle, Kovacs, etc.) and/or solo literature (sonatas, concerti, and/or solo pieces).
• Memorization of all major and chromatic scales is assumed and may be assessed at the audition.
• Aural skills (such as sight reading and rhythm skills) may be assessed at the audition.

Minor & Transfer Requirements

• All major scales (memorization is not required)
• Two contrasting selections (one technical, one lyrical) from a standard etude collection (such as Rubank, Melodious & Progressive Studies, etc.) and/or solo literature (sonatas, concerti, and/or solo pieces).
• Persons wishing to transfer at advanced levels or minor should contact Cecilia Kang directly for requirements.

Major and Minor Requirements

• First movements of a Mozart Concert OR two contrasting movements (slow, fast) from a Bach Sonata
• One contrasting piece of your choice from the standard flute repertoire
• Prepare a chromatic scale (three octaves); and all major scales (minor scales are recommended but not required)

Major Requirements

• Two contrasting movements from standard solo literature (sonatas, concerti, and/or solo pieces), including a Baroque piece or movement.
• One etude by Ferling or Barrett (40 Progressive Melodies)
• All major scales.

Minor Requirements

• One movement from standard solo literature (sonatas, concerti, or solo works).
• One etude by Ferling or Barrett (40 Progressive Melodies)
• All major scales.

Major and Minor Requirements

• Two contrasting works (one more technical, one more lyrical). These could be Ferling études, individual short pieces, or movements of a sonata or concerto.
• Prepare all major and chromatic scales. The audition will also include sight-reading.
• Persons wishing to transfer at advanced levels should contact the instructor for requirements.

Major and Minor Requirements

• The first movement exposition from two contrasting major horn concerti or major work for horn and piano
• 3 orchestral excerpts of your choice that demonstrate high, low and lyrical playing
  OR the following three orchestral excerpts:
  • Tchaikovsky Symphony #5 Mvmt. 2
  • Shostakovitch Symphony #5 Mvmt. 1 (low tutti section)
  • Wagner Short Call from Siegfried
• Sight reading may be included as part of the audition.
• Transfer students will be tested in their ability of transposition

Major Requirements

• A solo with contrasting stylistic selections, or two contrasting études (the Louisiana All-State études can count if the entire etude is prepared). These should be of sufficient difficulty to show your capabilities in each style of playing.
• Prepare all major scales throughout your practical range.
• The audition may include sight-reading.
• Applicants may choose to perform extra material, including orchestral excerpts.

Minor Requirements

• One etude or solo movement
• Prepare scales for range

Major and Minor Requirements

• A solo with contrasting stylistic selections, or two contrasting études. These should be of sufficient difficulty to show your capabilities in each style of playing.
• Prepare all major scales throughout your practical range.
• The audition may include sight-reading.

Major and Minor Requirements

• A solo with contrasting stylistic sections (technical and lyrical), or two contrasting études of sufficient difficulty to show your capabilities in each style of playing.
• Prepare all major scales throughout your practical range.

Major Requirements

• A movement from a standard concerto of your choice
• A movement from a Suite by J.S. Bach
• An étude by David Popper

Minor Requirements

• 2 contrasting movements from a standard work, concerto, or sonata.
• A scale in 3 octaves and a study.

Major and Minor Requirements

• A Renaissance OR Baroque work such as Dowland, Milan, J.S. Bach, Weiss
• An Etude by Sor, Giuliani or Carcassi
• An Etude or Prelude by Villa-lobos, Brouwer or Ponce

Major Requirements

One or more of these selections should be performed from memory.

• One movement from the Baroque period or Bach’s Unaccompanied Cello Suite.

• The first or last movement of a major concerto; They may include, but are not limited to: Bottesini, Koussevitzky, Nino Rota, Vanhal, Dragonetti, etc. Or one other work from any period.

• Two contrasting orchestral excerpts from: Mozart Symphony (No. 35, 39, 40); Brahms Symphony (No. 1, 2); Beethoven Symphony (No. 5, 9)

Minor Requirements

• Your choice of two two-octave scales and arpeggios.
• A solo of your choice.

Major and Minor Requirements

• Two contrasting works from the standard solo or etude literature
• One orchestral excerpt or cadenza

Major Requirements

• A movement from any major viola concerto or sonata.
• Two contrasting movements from the Bach solo suites.
• A caprice, études, or any short piece demonstrating your technical abilities.

Minor Requirements

• Any piece of your choice.

Major and Minor Requirements

• A movement of a 19th or 20th century concerto.
• Two contrasting movements of solo Bach.
• One étude from Rode, Kreutzer or Dont.
• Prepare three octave scales and arpeggios.

Major and Minor Requirements

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

• A prelude and fugue by J.S. Bach OR 2-3 movements of a dance suite by J.S. Bach
• A movement of a sonata by Haydn, Mozart, or Beethoven

One additional work of the applicant’s choice.

Major and Minor Requirements

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

• A prelude and fugue by J.S. Bach OR 2-3 movements of a dance suite by J.S. Bach
• A movement of a sonata by Haydn, Mozart, or Beethoven

One additional work of the applicant’s choice.

Major and Minor Requirements

Snare Drum

• 1 Etude (i.e., Peters, Cirone)
• Rudiments
• Sight Reading

Marimba

• One work for Two or Four Mallets (e.g., Masterpieces for Marimba by McMillan, Yellow After The Rain by Peters)
• Major Scales
• Sight Reading

Timpani

• 1 Piece (i.e., Peters, Firth, Carroll)

Major and Minor Requirements

An accompanist will be provided for the audition.

• Two memorized selections, contrasting in style (Italian/English; slow/fast tempos, etc.)
• Sight reading a brief musical excerpt

• Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
• Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
• Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
• Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
• Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
• Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
• Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
• You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.

• Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
•  Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
• Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
• Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
• Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
• Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
• Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
• You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
• Pianists and guitarists must "comp" chords for at least one chorus on each of their 3 tunes.

• Play the melody, 2 choruses of a bass line, and 1 chorus of an improvised solo on 3 jazz tunes of varying styles.
• Perform a medium swing jazz tune
  • Examples include but are not limited to: Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates, Perdido, Take the A Train
• Perform a straight eighth jazz tune
  • Examples include but are not limited to: Blue Bossa, Recordame, Black Orpheus, Meditation, Triste, Softly as in a Morning Sunrise
• Perform a blues or "Rhythm Changes" tune
  • Examples include but are not limited to: Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche, Sonnymoon for Two, Blues in the Closet, Blue Monk
• Recommended: Perform 2 two octave major scales
• You may bring your own accompaniment (Aebersold play-along, Learn Jazz Standards YouTube play-along, iRealPro play-along); however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty

• Perform a medium swing jazz tune or bossa nova jazz tune with 1 chorus of setting up the melody, 1 chorus of comping behind a soloist, and 2 choruses of an improvised solo either trading 4s or 8s.
  • Examples of swing tunes include but are not limited to: Solar, Doxy, Second Balcony Jump, Lady Bird, Tune Up, Groovin' High, Take the A Train, Girl
  • Examples of Bossa Nova tunes include but are not limited to: Blue Bossa, Recordame, Black Orpheus, Meditation, Triste, Softly as in a Morning Sunrise
• Demonstrate Swing feel at several tempos.
  • Reference recordings:
    • Miles Davis - "Freddie Freeloader"
    • Sonny Rollins - "Tenor Madness"
    • Count Basie - "Magic Flea"
• Demonstrate Afro-Cuban feel.
  • Reference recording:
    • Chucho Valdez - "Mambo Influenciado"
• Demonstrate Bossa Nova feel.
  • Reference recording:
    • Antonio Carlos - "Jobim Wave"
• Demonstrate Brushes playing.
  • Reference recording:
    • Neal Hefti - "Cute"
• Demonstrate Funk feel.
  • Reference recording:
    • Herbie Hancock - Chameleon
• Recommended: perform a jazz solo you have transcribed or otherwise learned. Options would be solos by Max Roach, Art Blakey, Billy Higgins, Philly Joe Jones, etc.

Area Requirements

• Submit examples of your complete compositions to the College of Music & Dramatic Arts by January 15 (original manuscripts will not be returned).  For questions, contact Brian Nabors.
• Composition applicants are also required to audition on a primary instrument (voice, piano, violin, trumpet, classical guitar, etc.).
• Composition applicants will have an interview with the composition faculty to discuss musical skills and experience after a review of their portfolio. For full consideration, submit materials by January 15.

***Live auditions/interviews for this area will be held virtually.

Area Requirements

• Instead of auditioning for a musical instrument studio, applicants should instead prepare a portfolio of pertinent work to submit to the Experimental Music & Digital Media (EMDM) studio. (If applicants intend to additionally pursue an instrument, they should nonetheless set up an audition through the School of Music.)
• The EMDM portfolio can take the form of a physical artifact of CD/DVD/documents, or preferably, a link to an e-portfolio consisting of examples of work that have been created within the Computer Music, Experimental Music, Music Technology, or Digital Media sphere.
• As the program focuses on teaching computer music technology and aesthetics, composition, programming and/or engineering in a musical context (e.g. instrument design), and performance with technology, anything that might fit in would be good to see/hear.
• Previous applications have consisted of: recordings, performances, pieces they’ve produced or mastered, animations, video art, sonic art, compositions, scores, websites, program code examples, Arduino hardware, or instruments they’ve made, and so on.
• The portfolio is used as an admission mechanism and more importantly, to gauge where/how the student would fit into the program.
• We encourage prospective EMDM students to attend an official audition day to meet the EMDM faculty.

Area Requirements

Students interested in Music Education must complete a Music Education interview in addition to an audition on their primary instrument / voice.

Be prepared to discuss your musical experiences, and reasons for pursuing a music education degree at LSU. Include anything about your background and/or musical interests and skill set. The Music Education department is particularly interested in why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice.

B.M.E applicants are encouraged to submit an optional 5-7 minute video to [email protected] that highlights skills you believe to be associated with music education. The requested format is an Unlisted YouTube or Vimeo link. Please submit this before the completion of your audition and interview to ensure its consideration towards the B.M.E program.

MORE ABOUT THIS AREA

Area Requirements

Students interested in Music Therapy must complete an interview in addition to an audition on their primary instrument / voice. In the interview, please be prepared to

• Discuss your interest in the music therapy field and in pursuing this degree.
• Describe your experiences (if any) volunteering with communities served by music therapy, and
• Demonstrate your ability to sing and transpose a well-known song selected by the Music Therapy faculty

As part of the music application, students who wish to have music therapy as their major must also submit a writing sample answering several questions regarding music therapy.

Master of Music

• The first movement of one of the following standard concerti (including cadenzas)
  • Mozart
  • Weber
  • Hummel
• Two additional contrasting selections (one technical, one lyrical) from the solo literature, one of which should be written by a BIPOC/traditionally underrepresented composer. - One of these selections should also be written after 1980.
• Choose three of the following excerpts:
  • Marriage of Figaro Overture (mm. 139 - 171)
  • Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
  • Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
  • Bolero (solo)
  • Rite of Spring (opening solos)
  • Scheherazade (Mvt. 2, solo and cadenzas)
  • Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
  • Firebird (Berceuse solo)
  • Shostakovich, Symphony No. 9 (solo from Mvts. 4 - 5)
  • Ravel, Piano Concerto (Mvt. 1, rhl. 9 - 10, and Mvt. 3, rhl. 14 - 16)
• Sight reading and rhythm skills may be assessed at the audition

DMA

• One of the following concerti (complete, including cadenzas)
  • Mozart
  • Weber
  • Hummel
• Two additional contrasting selections (one technical, one lyrical) from the solo literature, one of which should be written by a BIPOC/traditionally underrepresented composer. - One of these selections should also be written after 1980.
• Choose five of the following excerpts:
  • Marriage of Figaro Overture (mm. 139 - 171)
  • Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
  • Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
  • Bolero (solo)
  • Rite of Spring (opening solos)
  • Scheherazade (Mvt. 2, solo and cadenzas)
  • Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
  • Firebird (Berceuse solo)
  • Shostakovich, Symphony No. 9 (solo from Mvts. 4 - 5)
  • Ravel, Piano Concerto (Mvt. 1, rhl. 9 - 10, and Mvt. 3, rhl. 14 - 16)
• Prepare a spoken statement to deliver at your audition on your musical background, future career goals, and musical/research interests.

Master of Music

(memorization of repertoire is not required)

• Mozart Clarinet Concerto (Movement I - Exposition)
• Two selections from a diverse and varied repertoire from the clarinet literature. One of the pieces should be composed by an underrepresented composer (BIPOC, LGBTQ+, AAPI, Fem, Disabled, etc.) written over the past 50 years.
• Three contrasting orchestral excerpts that represent your highest level of proficiency.
• Aural skills (such as sight reading and rhythm skills) may be assessed at the audition
• Be prepared to discuss your musical background and future career goals.

DMA

(at least one work or movement must be performed from memory)

• Mozart Clarinet Concerto (All movements)
• Three selections from a diverse and varied repertoire from the clarinet literature. One of the pieces should be composed by an underrepresented composer (BIPOC, LGBTQ+, AAPI, Fem, Disabled, etc.) written over the past 25 years. (At least one of these selections must be performed from memory.)
• Five contrasting orchestral excerpts that represent your highest level of proficiency.
• Aural skills (such as sight reading and rhythm skills) may be assessed at the audition
• Be prepared to discuss your musical background, research interests, and future career goals.

• Mozart Concerto
• A Bach Sonata
• Two additional contrasting works from the standard flute repertoire
• Four standard orchestral excerpts of your choice

Master of Music

• At least two contrasting solo works from standard solo literature (sonatas, concerti, and/or solo pieces)
• A Baroque piece or movement
• One etude by Ferling or Barrett (Grand Study)
• Three orchestral excerpts of your choice

DMA

• Three contrasting solo works from standard literature (sonatas, concerti, and/or solo pieces)
• Five orchestral excerpts of your choice
• Please bring three copies of your audition program
• Submit a writing sample

Master of Music

Audition requirements: Curate a 30-minute recital program demonstrating a high level of musicianship and technical command of the instrument. The recital must include:

• Pieces from different periods, styles, and music tempi.
• One core piece of the saxophone repertory.
• Diverse composer representation.
• Brief oral program notes for each piece  (be prepared to talk about each work)
• One work from memory is highly encouraged but not required
• Please note: selections will be heard in your chosen recital order, but not all music prepared will be played in its entirety.

Audition Format

• Recital: 20 minutes of music, 5-minute discussion of the music;  
• Prepared statement: prepare a written or spoken statement outlining your musical background, future career goals, and musical and research interests;
• Sight reading.

DMA

Pre-screening materials should be submitted via your myLSU application portal; due December 1.

Pre-screening requirements:
two contrasting works. The quality must be sufficient to make a reasonable judgment of ability. Recordings will be reviewed beginning the week following the December 1 deadline. You will be notified via email whether you have been invited for a live audition. Recordings received after December 1 will be considered on a case-by-case basis.

LIVE AUDITION requirements: Curate a 30-minute recital program demonstrating a high level of musicianship and technical command of the instrument. The recital must include:

• Pieces from different periods, styles, and music tempi;
• One core piece of the saxophone repertory;
• Diverse composer representation;
• One memorized work;
• Oral Program notes (demonstrate the ability to discuss each work and why you programmed it);
• Please note: selections will be heard in your chosen recital order, but all not all music prepared will be played in its entirety.

Audition Format:

•  Recital: 20 minutes of music, 10 minutes discussing the music;
• Prepared statement: Prepare a written or spoken statement outlining your musical background, future career goals, musical and research interests, and secondary area interests.

Sight reading and transposition will be included as part of the audition.

• The first movement exposition from two contrasting major horn concerti or major work for horn and piano
• 5 orchestral excerpts of your choice that demonstrate high, low and lyrical playing

Applicants must prepare two contrasting solo works (or two contrasting movements of a larger work) and a minimum of five standard orchestral excerpts. Below you will find sample repertoire to choose from. If you wish to perform something other than what is listed, please confirm with the instructor prior to your audition.

Tenor Trombone Solos

• Albrechtsberger: Concerto (Alto Required)
• Casterede: Sonatine
• Creston: Fantasy
• DeFaye: Deux Danses
• Dutilleux: Chorale Cadence and Fugue
• Grøndahl: Concerto
• Jongen: Aria et Polonaise
• Martin: Ballade
• Leopold Mozart: Concerto (Alto Required)
• Ropartz: Piece in E flat Minor
• Salzedo: Piece Concertante
• Scelsi: Three Pieces
• Tomasi: Concerto

Tenor Trombone Excerpts

• Berlioz: Hungarian March, Symphonie Fantastique, Romeo & Juliet
• Brahms: Symphony No. 2 & 4
• Hindemith: Symphonic Metamorphosis
• Mahler: Symphony No. 3 (solos), Symphony No. 5 (2nd Trombone)
• Mozart Requiem: Tuba Mirum, Kyrie (Alto Required for 1st part)
• Ravel: Bolero
• Rossini: La Gazza Ladra, William Tell Overture
• Saint-Saens: Symphony No. 3, "Organ"
• Schumann: Symphony No. 3, "Rhenish" (Alto Required)
• Strauss: Ein Heldenleben, Til Eulenspiegel, Also Sprach Zarathustra
• Stravinsky: Pulcinella (Duetto)
• Verdi: Forza del Destino Overture, Otello
• Wagner: Ride of the Valkyries, Tannhauser Overture, Lohengrin Prelude to Act 3

Bass Trombone Solos

• Bozza: New Orleans
• Brubeck: Concerto
• Casterede: Fantasie Concertante
• Hartley: Sonata Breve
• Lantier: Introduction, Romance et Allegro
• Lebedev: Concerto in One Movement, Konzertantes Allegro
• Naulais: Etoile des Profundeurs, Monologues
• Ritter-George: Concerto
• Schnyder: subZero Concerto
• Spillman: Concerto
• Stevens: Kleinhammer Sonata
• White: Tetra Ergon
• Williams, J.: Concerto

Bass Trombone Excerpts

• Bach: Sarabande from C minor Cello Suite
• Berlioz: Hungarian March
• Beethoven: Symphony No. 9
• Brahms: Symphony No. 1, 2, & 4
• Franck: Symphony in D minor
• Haydn: Creation
• Hindemith: Symphonic Metamorphosis
• Kodaly: Hary Janos
• Respighi: Fountains of Rome, Pines of Rome
• Schumann: Symphony No. 3, "Rhenish"
• Strauss: Ein Heldenleben, Til Eulenspiegel
• Wagner: Die Walkure, Das Rheingold, Lohengrin Prelude to Act 3

• 2 major solo movements from different time periods in contrasting styles
• A solo with contrasting stylistic sections, or two contrasting études that display your highest level of playing (Charlier, Bitsch, Brandt, Longinotti, etc.)
• 5 standard orchestral excerpts (varying styles)
• Sight-reading

Master of Music

• Minimum of 5 standard orchestral/band excerpts
• 30 minutes of contrasting solo and/or etude repertoire appropriate for students at the graduate level
• Sightreading

DMA

• Minimum of 5 standard orchestral/band excerpts
• 45 minutes of contrasting solo and/or etude repertoire appropriate for students at the graduate level
• Sightreading

• A movement from a standard concerto of your choice
• A movement from a Suite by J.S. Bach
• An étude by David Popper 

• Two contrasting movements from your choice of Bach Cello Suite
• Solo of your choice
• Two contrasting orchestra excerpts of your choice

Applicants should prepare three memorized compositions from the following musical periods:

• Baroque or Classical
• Romantic
• Contemporary

Master of Music

• Two contrasting movements of unaccompanied Bach
• First movement of a standard 20th Century concerto (Walton, Bartok, Hindemith, etc.)
• One short work of your choice

DMA

• Two contrasting movements of unaccompanied Bach
• First movement of a standard 20th Century concerto (Walton, Bartok, Hindemith, etc.)
• Two additional contrasting short works (i.e. études, a slow movement, a sonata movement, or standard orchestral excerpts)
• A short work for viola composed after 1945

• Two contrasting movements of ANY unaccompanied work by J.S. Bach
• The first movement of ANY 19th or 20th Century concerto
• The first movement of ANY concerto by Mozart (cadenza required)
• A piece of your choice

Pre-Screening Requirements

Pre-screening materials should be submitted via your myLSU application portal; due December 1.

• Two collaborative selections: one vocal and one instrumental (with partners). Styles should be contrasting.
• One solo piece.

Audition

A live audition is preferred, but Zoom auditions will be considered. Please contact Prof. Turbessi directly at [email protected]

Master of Music

Partners will be provided for live auditions.

Please choose four songs from the list below:

• Wie Melodien zieht es mir (C), (A) - Brahms
• St. Ita's Vision (original key) - Barber
• Meine Liebe ist grün (F#) - Brahms
• Liebesbotschaft (G) - Schubert
• Il pleure dans mon coeur (G#) - Debussy
• Green (A-flat) - Debussy
• Ganymed (A-flat) - Schubert
• Botschaft, op. 47 (original key) - Brahms
• C'est l'extase (E) - Debussy
• Allerseelen (E-flat), (D-flat) - Strauss

Prepare a fast movement from one of the following sonatas:

• Any of the Brahms violin sonatas
• Franck violin sonata
• Any of the Brahms cello sonatas
• Rachmaninoff cello sonata
• Beethoven cello sonatas No. 3, 4, or 5
• Beethoven violin sonatas No. 1, 5, 7, 8 or 9

Substitutions for vocal and instrumental repertoire can be accepted, please email Prof. Turbessi at [email protected]

Prepare one solo piece of your choice.

DMA

Please choose six songs from the list below:

• Wie Melodien zieht es mir (C), (A) - Brahms
• St. Ita's Vision (original key) - Barber
• Meine Liebe ist grün (F#) - Brahms
• Liebesbotschaft (G) - Schubert
• Il pleure dans mon coeur (G#) - Debussy
• Green (A-flat) - Debussy
• Ganymed (A-flat) - Schubert
• Botschaft, op. 47 (original key) - Brahms
• C'est l'extase (E) - Debussy
• Allerseelen (E-flat), (D-flat) - Strauss

Prepare a complete sonata from the following list:

• Any of the Brahms violin sonatas
• Franck violin sonata
• Any of the Brahms cello sonatas
• Rachmaninoff cello sonata
• Beethoven cello sonatas No. 3, 4, or 5
• Beethoven violin sonatas No. 1, 5, 7, 8 or 9

Substitutions for vocal and instrumental repertoire can be accepted, please email Prof. Turbessi at [email protected]

Prepare one solo piece of your choice.

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal

• Prelude and Fugue or other complete work by J.S. Bach (toccata, dance suite, etc.)
• A full sonata by Haydn, Mozart or Beethoven
• Two contrasting works from different periods (Romantic, Impressionist, Contemporary)Alternate repertoire choices must be approved in advance by piano faculty.
• Audition must be performed from memory. Exceptions must be approved by piano faculty. 

Live Audition (by invitation)

• Same requirements as pre-screening
• Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal

• A Prelude and Fugue by J.S. Bach
• A full sonata by Haydn, Mozart or Beethoven
• One contrasting work

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

Live Audition (by invitation)

• Same requirements as pre-screening
• Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met

Memorization is not required.

Snare Drum

• One Etude (e.g., Delecluse, Peters, Cirone)
• Two Orchestral Excerpts
• Rudiments
• Sight Reading

Marimba

• One advanced work (e.g., Time for Marimba by Miki, Dances of Earth and Fire by Klatzow)
• Scales
• Sight Reading

Xylophone and/or Glockenspie

• Two orchestral excerpts

Timpani

• One advanced work (e.g., Eight Pieces for Four Timpani by Carter)
• Two orchestral excerpts

Pre-Screening

• Pre-screenings are submitted via the portfolio section of your application portal.
• 4-6 memorized selections must be presented utilizing French, German, Italian, and English languages.
• One selection MUST BE an operatic aria (no more than two arias.)

Live Audition

• By invitation only. Held on an Audition Day.
• Same requirements as pre-screening
• Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met.
• Voice applicants are provided a staff accompanist, but are welcome to use a personal accompanist for the live audition.

• Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
• Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
• Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
• Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
• Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
• Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
• Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
• You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.

• Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
•  Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
• Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
• Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
• Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
• Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
• Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
• You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
• Pianists and guitarists must "comp" chords for at least one chorus on each of their 3 tunes.

• Play the melody, 2 choruses of a bass line, and 1 chorus of an improvised solo on 3 jazz tunes of varying styles.
• Perform a medium swing jazz tune
  • Examples include but are not limited to: Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates, Perdido, Take the A Train
• Perform a straight eighth jazz tune
  • Examples include but are not limited to: Blue Bossa, Recordame, Black Orpheus, Meditation, Triste, Softly as in a Morning Sunrise
• Perform a blues or "Rhythm Changes" tune
  • Examples include but are not limited to: Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche, Sonnymoon for Two, Blues in the Closet, Blue Monk
• Recommended: Perform 2 two octave major scales
• You may bring your own accompaniment (Aebersold play-along, Learn Jazz Standards YouTube play-along, iRealPro play-along); however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty

• Perform a medium swing jazz tune or bossa nova jazz tune with 1 chorus of setting up the melody, 1 chorus of comping behind a soloist, and 2 choruses of an improvised solo either trading 4s or 8s.
  • Examples of swing tunes include but are not limited to: Solar, Doxy, Second Balcony Jump, Lady Bird, Tune Up, Groovin' High, Take the A Train, Girl
  • Examples of Bossa Nova tunes include but are not limited to: Blue Bossa, Recordame, Black Orpheus, Meditation, Triste, Softly as in a Morning Sunrise
• Demonstrate Swing feel at several tempos.
  • Reference recordings:
    • Miles Davis - "Freddie Freeloader"
    • Sonny Rollins - "Tenor Madness"
    • Count Basie - "Magic Flea"
• Demonstrate Afro-Cuban feel.
  • Reference recording:
    • Chucho Valdez - "Mambo Influenciado"
• Demonstrate Bossa Nova feel.
  • Reference recording:
    • Antonio Carlos - "Jobim Wave"
• Demonstrate Brushes playing.
  • Reference recording:
    • Neal Hefti - "Cute"
• Demonstrate Funk feel.
  • Reference recording:
    • Herbie Hancock - Chameleon
• Recommended: perform a jazz solo you have transcribed or otherwise learned. Options would be solos by Max Roach, Art Blakey, Billy Higgins, Philly Joe Jones, etc.

Pre-Screening

Deadline - December 1*

Pre-screening materials should be submitted via your myLSU application portal.

• Video of 15 - 20 minutes in length featuring rehearsal and performance.
• A statement of interest and goals.
• Curriculum Vitae.

_{*pre-screening materials will be reviewed on a case-by-case basis after December 1}

 

Live Audition

• By invitation only.
• Rehearsal of the LSU choirs on repertoire selected by choral faculty.
  • Repertoire selections will be communicated in advance. (The choir will be prepared to allow the applicant rehearsal time to focus on musical and expressive issues.)
• An interview with the choral conducting faculty

Testing of Musicianship

Vocal solo performance and performance of any additional major instruments.

Live round auditions begin early spring upon invitation. Pre-screening auditions are accepted continuously, with recommended submission timeline fall - early spring.

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal.

• Video of 15 - 20 minutes in length featuring rehearsal and performance.
• Video of 5 - 10 minutes showcasing performance on a primary instrument.
• A statement of interest and goals.
• Curriculum Vitae.

Live Audition

• By invitation only.
• Conduct LSU Symphony Orchestra or Concert Orchestra on repertoire selected by the Director of Orchestral Studies.
  • Repertoire selections will be communicated in advance.
• An interview with the conducting faculty

Live round auditions begin early spring upon invitation. Pre-screening auditions are accepted continuously, with recommended submission timeline fall - early spring.

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal.

• Video of 15 - 20 minutes in length featuring rehearsal and performance.
• A statement of interest and goals.
• Curriculum Vitae.

Live Audition

• By invitation only.
• Conduct LSU Wind Ensemble on repertoire selected by band faculty.
  • Repertoire selections will be communicated in advance.
• An interview with the conducting faculty

Master of Music

• Resume/vita
• Copy of teaching certificate (if not certified, you must complete Alternate Certification Program simultaneous with the MM degree)
• Interview with at least one faculty member
• Please write a brief (ca. 500 word) statement that will enable us to know more about you and your reasons for applying for a graduate degree in music education at LSU. Include anything relevant about your background, research and/or musical interests and skill set. The information you provide will support both your application for admission and a possible financial award/assistantship. We are particularly interested why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice. This personal statement of purpose will serve as an additional writing sample, so please edit carefully.

PhD

• Resume/vita
• 3+ years of successful, full-time teaching in K-12 schools (valid teaching certificate) or an equivalent
• Evidence of teaching ability/musicianship:
  
  • A video of class teaching, ensemble rehearsal, or ensemble performance for which you are solely responsible (submitted via Acceptd)
  • Any other relevant examples / evidence of your choice.
• Interview with faculty
• Please write a brief (ca. 500 word) statement that will enable us to know more about you and your reasons for applying for a graduate degree in music education at LSU. Include anything relevant about your background, research and/or musical interests and skill set. The information you provide will support both your application for admission and a possible financial award/assistantship. We are particularly interested why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice. This personal statement of purpose will serve as an additional writing sample, so please edit carefully.

GRE Optional.

As part of your online application, you will be asked to provide the following:

• Scholarly writing sample specific to Musicology
• Statement of Purpose
• Resume or Curriculum Vitae
• Three letters of recommendation
• Complete transcripts

• Submit examples of your written work, such as copies of essays, term papers, and/or a thesis, for evaluation.
• Examples should be uploaded online with your LSU online application.

Submit 3-5 of your top works that are representative of your compositional form via your myLSU application portal. Materials may include scores and performances, featuring various solo and ensembles works. 

***Live auditions for this area will be conducted virtually.

Submit an e-portfolio consisting of examples of work that have been created within the Computer Music, Experimental Music, Music Technology, or Digital Media sphere.

The portfolio should demonstrate your experience within this broad field: performance video, compositions, programming examples, hardware documentation, art installations, academic writing, etc.

Use this portfolio to show us what you are passionate about and what kind of contribution you are preparing to make to the discipline.