Prospective students in performance and conducting must complete an audition in order to be accepted into the School of Music.

Auditions at the graduate level may be scheduled individually with the applied performance or conducting instructor of your desired area of study.

For students presenting live auditions, we encourage you to take your placement exams on the same day. Placement exams can be arranged through the graduate music office. See the Graduate Student Handbook for specific information regarding application procedures.

Audition Requirements

Woodwinds

The following are audition requirements for our master of music (MM), artist diploma, or doctor of arts in flute performance:

  • Mozart Flute Concerto, K. 313, or Mvts. I (exposition, development, and cadenza) and II
  • a modern work (20th or 21st century piece) of your choice
  • a baroque work of your choice (a couple of contrasting movements, if a multi-movement piece)

Orchestral Excerpts 

  • Ravel “Daphnis et Chloé Suite No. 2,” flute solo—3 mm after [176] to 2 mm after [179]
  • Brahms Symphony No. 4, Op.98, Mvt. IV, flute solo— mm 93-105
  • Hindemith Symphonic Metamorphosis, Mvt. III, Andantino flute solo
  • Mendelssohn Scherzo from “Midsummer Night’s Dream”—2 mm before [P] to the end
  • Beethoven Leonore Overture No. 3, flute solo—29th m of [E] for 33 bars

Contact Mihoko Watanabe, associate professor of flute, for the audition date and time.

Bring a resume detailing your performing and teaching experience, as well as a current repertoire list (including studies/etudes, solos, orchestral excerpts, and chamber music).

    The following are audition requirements for our master of music (MM), artist diploma, or doctor of arts in oboe performance:

  • Mozart Concerto for Oboe, KV 314, Mvt. I, with cadenza;
  • a solo piece of your choice from the baroque, romantic, or contemporary period
  • two contrasting etudes from Barret, Grand Etudes from “A Complete Method for the Oboe,” or Ferling “48 Famous Studies”
  • four orchestral first oboe parts (complete): Beethoven Symphony No. 3, Brahms Violin Concerto, Rossini “La scala di seta,” and Strauss “Don Juan”

The following are audition requirements for our master of music (MM), artist diploma, or doctor of arts in clarinet performance:

  • Mozart Clarinet Concerto, K. 622, Mvt. 1 exposition
  • one movement from a 20th century (or later) work
  • orchestral excerpts (all parts are for first clarinet): Beethoven Symphony 6, Mvt. 1, mm. 474-492; Mvt. 2, mm.68-77; Berlioz “Symphonie Fantastique,” Mvt. 3, three measures after 43-44; Mendelssohn Scherzo from “A Midsummer Night's Dream,” opening through letter B; Rimsky-Korsakov Capriccio Espagnol, Mvt. 1

The following are audition requirements for our master of music (MM), artist diploma, or doctor of arts in bassoon performance:

  • Mozart Concerto, K. 191, Mvts. I and II (entire movements)
  • a contrasting work (entire work if multiple movements)
  • one melodic etude (from Milde, Jancourt, Orefici, or equivalent)
  • orchestral excerpts: Ravel “Bolero”; Rimsky-Korsakov “Scheherazade,” Mvt. 2, solo and cadenzas; Tchaikovsky Symphony No. 4, Mvt. 2 solo; Mozart “Marriage of Figaro,” mm. 1-24
See brass.
  • Scales: All major and minor scales full normal range
  • Intervals: Major scales in thirds and fourths
  • 7th Chords: Major, minor, dominant, half-diminished, fully diminished
  • Selections of concert saxophone repertoire that display the candidate's abilities

    Suggestions:

    "Sonata en Ut#" by Fernande Decruck
    Sonata by Jindrich Feld
    Concerto by Henri Tomasi
    Concerto by Lars-Erik Larsson
    "Concertino da Camera" by Jacques Ibert
    "Legende," Op. 66 by Florent Schmitt
    Concert Suite by William Bolcom
    "Prelude, Cadence et Finale" by Alfred Desenclos
    "Klonos" by Piet Swerts

Preliminary hearings are required. Please contact Stephen Campbell, assistant professor of trumpet.

If you are invited for a live audition after your preliminary hearing and are seeking a graduate assistantship in trumpet (regardless of your degree type), your audition requirements are listed below:

  • two contrasting solo works of your choice
  • Honegger “Intrada” from the opening to the allegro
  • Charlier Etude No. 2 performed on B-flat trumpet
  • “Ballerina’s Dance” from “Petrouchka” (1947 or 1911 version)
  • opening solo from Mahler’s Fifth Symphony
  • two additional orchestral excerpts of your choice
  • first movement of Malcolm Arnold’s Quintet, to be performed with members of the Ball State Da Camera Brass Quintet
  • sample teaching session with a volunteer from Ball State’s trumpet studio

If you are invited for a live audition after your preliminary hearing and are not seeking a graduate assistantship in trumpet, your audition requirements are listed below.

Master’s Applicants

Prepare an in-person audition (when possible) consisting of 20–30 minutes of repertoire encompassing a diverse variety of musical styles. We encourage you to demonstrate proficiency on piccolo trumpet, if possible. Alternatively, you may submit an mp3 format, a YouTube link, or a DVD recording of a live performance to Stephen Campbell, assistant professor of trumpet. You must first contact professor Campbell in advance to approve and arrange this form of audition.

Doctoral Applicants

Prepare an in-person audition consisting of 30–45 minutes of repertoire encompassing a diverse variety of musical styles. You should include piccolo trumpet as a portion of this program and should be prepared to present an impromptu teaching demonstration with a volunteer from the Ball State University Trumpet Studio. Alternatively, you may perform your in-person audition via Skype.  You must first contact Stephen Campbell, assistant professor of trumpet in advance to approve and arrange this form of audition.

Artist Diploma Applicants

Prepare an in-person audition (when possible) consisting of 30–45 minutes of repertoire encompassing a diverse variety of musical styles. You should include piccolo trumpet and orchestral excerpts as a portion of this program and should treat the audition as a mini-recital, including brief spoken remarks about each piece. Alternatively, you may submit the in-person audition in an mp3 format, a YouTube link, or a DVD recording to Stephen Campbell, assistant professor of trumpet. You must first contact professor Campbell in advance to approve and arrange this form of audition.

  • Mozart Concerto No. 4, 1st Mvt. with cadenza
  • romantic-era work (one movement if a multimovement piece)
  • one movement from a 20th century (or later) work
  • orchestral excerpts: Tchaikovsky Symphony No. 5—slow movement solo; Shostakovich Symphony No. 5—low tutti solo; Beethoven Symphony No. 3—Scherzo (Trio), second horn; Till Eulenspiegel— first horn opening call

MASTER'S AND ARTIST DIPLOMA APPLICANTS


Tenor Trombone
  • One complete standard work specifically written for trombone (a complete concerto or sonata), no piano required
  • The following orchestral excerpts:
    - 2nd trombone solo from "Tuba Mirum" in Mozart's Requiem
    - Wagner Ride of the Valkyries 1st trombone part, pickups to rehearsal 4 to rehearsal 5, pickups to rehearsal 6 to downbeat of third measure after rehearsal 7
    - Berlioz "Hungarian March" from Damnation of Faust 2nd trombone part, six measures before rehearsal 4 to two measures after rehearsal 5
    - Ravel Bolero 1st trombone solo, second measure of rehearsal 10 to the downbeat of rehearsal 11
    - Saint Saens 3rd "Organ" Symphony, 1st trombone solo in first movement, rehearsal Q to three measures before rehearsal R, and nine measure before rehearsal S to two measures after rehearsal S

Bass Trombone
  • One complete standard work specifically written for bass trombone (a complete concerto or sonata), no piano required. 
  • The following orchestral excerpts:
    - Wagner Ride of the Valkyries, pickups to rehearsal 4 to rehearsal 5, pickups to rehearsal 6 - downbeat of third measure after rehearsal 7
    - Berlioz "Hungarian March" from Damnation of Faust, six measures before rehearsal 4 to two measures after rehearsal 5
    - Franck Symphony in D Minor, 3rd movement (standard excerpt)
    - Haydn The Creation, No. 26 "Achieved is the Glorious Work"
    - Schumann Symphony No. 3, Final movement (standard excerpt)

DOCTORAL APPLICANTS


NOTE:
While Dr. Van Hof prefers doctoral candidates to have had experience as a professional musician outside of being a student, it is possible to begin a doctorate immediately following your Master’s program. But note that preference is given to those with non-student experience.

Tenor Trombone
  • Two complete standard works specifically written for trombone (a complete concerto or sonata), no piano required. Doubling on alto trombone or bass trombone is strongly encouraged, but not required.
  • The following orchestral excerpts:
    - 2nd trombone solo from "Tuba Mirum" in Mozart's Requiem
    - Wagner Ride of the Valkyries 1st trombone part, pickups to rehearsal 4 to rehearsal 5, pickups to rehearsal 6 to downbeat of third measure after rehearsal 7
    - Berlioz "Hungarian March" from Damnation of Faust 2nd trombone part, six measures before rehearsal 4 to two measures after rehearsal 5
    - Ravel Bolero 1st trombone solo, second measure of rehearsal 10 to the downbeat of rehearsal 11
    - Saint Saens 3rd "Organ" Symphony, 1st trombone solo in first movement, rehearsal Q to three measures before rehearsal R, and nine measure before rehearsal S to two measures after rehearsal S
    - Strauss Ein Heldenleben 1st trombone part, second measure of rehearsal 62 through downbeat of three measures before rehearsal 66
    - Rossini Overture to William Tell 1st trombone part, rehearsal C through 9 after rehearsal D 
  • You will be asked to present a live teaching demonstration in a master class style setting, teaching a current undergraduate student at Ball State. It should last approximately 15 minutes, no more. In-person teaching is far preferable, but a pre-recorded sample is acceptable with consent from Dr. Van Hof.

Bass Trombone
  • Two complete standard works specifically written for bass trombone (a complete concerto or sonata), no piano required. Doubling on alto or tenor trombone is desirable but not required.
  • The following orchestral excerpts:
    - Wagner Ride of the Valkyries, pickups to rehearsal 4 to rehearsal 5, pickups to rehearsal 6 to downbeat of third measure after rehearsal 7
    - Berlioz "Hungarian March" from Damnation of Faust, six measures before rehearsal 4 to two measures after rehearsal 5
    - Franck Symphony in D Minor, 3rd movements (standard excerpt)
    - Haydn The Creation, No. 26 "Achieved is the Glorious Work"
    - Schumann Symphony No. 3, Final movement (standard excerpt)
    - Nielsen Flute Concerto, 2 after rehearsal 80 to rehearsal D
    - Strauss Ein Heldenleben, rehearsal 55 through rehearsal 65
  • You will be asked to present a live teaching demonstration in a master class style setting, teaching a current undergraduate student at BSU. It should last approximately 15 minutes, no more. In-person teaching is far preferable, but a pre-recorded sample is acceptable with consent from Dr. Van Hof.

For master's applicants—a live audition consisting of 20-30 minutes of music is encouraged, with at least two contrasting works from different style periods.

For doctoral applicants—a live audition consisting of 30-45 minutes of music is preferred, with at least three contrasting works from different style periods.

For artist diploma applicants—a live audition consisting of 30-45 minutes of music is preferred, with at least three contrasting works from different style periods.

Solos

  • a Delecluse snare drum etude or advanced level etude/solo of your choice
  • an advanced-level marimba solo suitable for a senior recital
  • an advanced-level timpani solo or advanced etude

Orchestral Excerpts

Timpani

  • Beethoven Symphony No.9, Mvt. I, coda and Mvt. IV, 7 measures after letter T to the end

Snare Drum

  • Prokofiev “Lt. Kije,” Mvt. I, rehearsal 1 to measure before rehearsal 2
  • Rimsky-Korsakov “Scheherazade,” Mvt. IV, P-U

Xylophone

  • Gershwin “Porgy and Bess” (opening measures)

Glockenspiel

  • Dukas “Sorcerer's Apprentice,” rehearsal 17 to 4 measures after rehearsal 19; rehearsal 22 to rehearsal 24
  • Mozart “Magic Flute”

Vibes

  • “West Side Story”
  • technique—scales and arpeggios
  • repertoire (select from the following): Berkeley Sonatina; Ponce Sonata, Variations on Folia de Espana; Villa-lobos complete etudes; Henze Drei Tentos; Britten Nocturnal; Martin Four Short Pieces; Rodrigo Concierto

For master’s applicants—Prepare a 30-minute program, with at least two contrasting works from different style periods. All works must be performed from memory.

For doctoral applicants—Prepare a 45-minute program, with at least three contrasting works from different style periods. All works must be performed from memory.

For artist diploma applicants—Prepare a 45-minute program, with at least three contrasting works from different style periods. All works must be performed from memory.

For all degree programs, we highly encourage a live audition, but we will accept recorded auditions. 

Doctor of Arts in Piano Performance; Artist Diploma in Music Performance

a solo program (memorized) of approximately 60 minutes in length with at least three contrasting styles represented

Doctor of Arts in Piano Chamber Music and Accompanying

  • a 45-minute program containing any combination of chamber music/accompanying and 20 minutes of solo repertoire
  • a recording of collaborative playing which is at least 15 minutes in length

Doctor of Arts Secondary Area in Piano Performance

  • a solo program (memorized) of approximately 30 minutes in length with at least three contrasting styles represented
  • sight-reading

Doctor of Arts Secondary Area in Piano Chamber Music and Accompanying

  • a program consisting of solo (memorized) and/or chamber music of approximately 30 minutes in length with at least 3 contrasting styles represented
  • sight-reading

Master of Music in Piano Performance

  • a solo program of approximately 60 minutes in length with at least three contrasting styles represented
  • sight-reading

Master of Music in Piano Chamber Music and Accompanying

  • a 45-minute program containing any combination of chamber music/accompanying literature and 20 minutes of solo repertoire
  • sight-reading
  • a recording of collaborative playing which is at least 15 minutes in length

Master of Music in Piano Performance and Pedagogy

  • a solo program (memorized) of approximately 30 minutes in length with at least three contrasting styles represented
  • sight-reading
  • a one-hour DVD of a teaching demonstration of private and/or group piano instruction; the recording may include one class/lesson or it may be multiple teaching experiences
  • a program of approximately 30 minutes including a major work by J.S. Bach, a work from the 19th century, and a work from the 20th century
  • an assessment will be made of sight-reading and service-playing skills
  • movement of a standard concerto
  • two movements of unaccompanied Bach
  • a contrasting selection of choice
  • movement of a standard concerto
  • two movements of unaccompanied Bach
  • a contrasting selection of choice
  • movement of a standard concerto (if Elgar is chosen, second or fourth movements only)
  • two movements of unaccompanied Bach
  • a contrasting selection of choice
  • two movements from a Bach unaccompanied suite
  • movement of a standard bass concerto or sonata
  • free choice of two orchestral excerpts
  • major or minor scales and arpeggios in three octaves

Voice

Repertoire must include selections representing different musical styles and four languages (English, French, German, and Italian) and include at least one aria from an opera or oratorio.

All audition repertoire must be memorized, with a total length of approximately 20 minutes for the MM program and 30 minutes for the DA and artist diploma programs. All audition repertoire should be listed on the audition evaluation form.

You may bring your own pianist. Please set up a rehearsal time with the music graduate office if you need to have a pianist provided. The accompanying fee is $35, payable to the pianist at the time of the audition.

Arrangements for the live audition are made with the assistance of the band conducting faculty and the graduate coordinator. The piece, chosen by the faculty, is usually a work currently being worked on by the ensemble.

In preparation for the live audition the following items should be submitted:

  • Submit a DVD or a YouTube link of approximately 20-30 minutes in length of a rehearsal. The video should be taped so that a frontal view of the conductor is visible and verbal instructions are audible.
  • Submit a DVD or a YouTube link of a recent performance that includes contrasting music selections. The video should be taped so that a frontal view of the conductor is visible.
  • Submit a repertoire list of works conducted in performance or in rehearsal, and/or studied.

Both videos may be combined into one DVD.  

If the pre-audition conducting tapes are acceptable, a live audition with the Ball State Wind Ensemble or Symphony Band on the BSU campus will be scheduled. The on-campus audition/interview is required for doctoral applicants and preferred for master's applicants.  

Contact Dr. Thomas Caneva for more information regarding the Wind Band Graduate Conducting Program.

Students hoping to matriculate in the fall semester should apply in December or January of the preceding academic year. Auditions for consideration of a graduate assistantship will occur in February. Send pre-screening materials directly to the director of choral activities.

Contact the School of Music Graduate Office for instructions to apply to the university.

Applicants to the choral area will prepare a preliminary screening:

Video footage of the conductor in rehearsal and performance (approximately 15 minutes total) must be sent. The camera should show the conductor from the front. Please provide titles of repertoire and a brief description of the ensemble(s) conducted. Acceptable formats:  DVD, YouTube video (preferred; send link). Based on this screening, applicants may be invited to campus to audition.

A sample of academic writing, likely a term paper from prior course work or a published article if available. For further information, contact Andrew Crow, director of choral activities.

Invitations to audition in person will be extended based on the pre-screening materials. Arrangements for a live audition are made with the director of choral activities in consultation with the graduate secretary.

Audition Components

  • Conduct assigned repertoire with one of our choral ensembles (approximately 20 minutes). The music selected is typically repertoire currently being rehearsed by the choir.
  • An interview with choral faculty (30-45 minutes) is likely to include:
    • vocalizing
    • assessment of aural skills
    • assessment of piano skills experience or aptitude in foreign languages
    • knowledge of choral repertoire

Arrangements for the live audition are made with the assistance of the orchestra conducting faculty and the graduate coordinator in music. The piece, chosen by the faculty, is usually a work currently being worked on by the orchestra.

In preparation for the live audition the following items should be submitted:

  • a 15-20 minute video tape of the conductor, filmed from the back or side of the stage, with an unobstructed view and the camera stationary
  • list of works performed