Bassoon

Master's Level:

Screening Audition Video Requirements:

1. A 3-4 minutes spoken introduction including descriptions of your interest, both music and non-musical, recent creative projects undertaken, future goals, and reasons for applying to UNT. 
2. Milde Scale Studio No. 1
3. Mozart Concerto in Bb major, K. 191/186e - 1st and 2nd movements (expositions only)
4. Two of the following orchestral excerpts:

• Beethoven - Symphony No. 4 (mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Mozart - Marriage of Figaro Overture (mm. 139-171)
• Ravel - Bolero (Solo)
• Rimsky-Korsakov - Scheherazade (mvt. 2, solo and cadenzas)
• Shostakovich - Symphony No. 9 (solo from mvts. 4 - 5)
• Stravinsky - Firebird (Berceuse solo)
• Stravinsky - Rite of Spring (opening solos)
• Tchaikovsky - Symphony No. 4 (mvt. 2, solo to end)

Each element (Introduction/Milde/Mozart/Excerpts) may be recorded separately.

In-Person Audition Requirements:

1. One of the following:

• Hummel - Concerto in F Major
• Mozart - Concerto in B-Flat Major K. 191/186e
• Saint-Saëns - Sonata in G major
• Tansman - Sonatine or Suite
• Vivaldi -  Concerto of your choice
• Weber - Andante and Hungarian Rondo
• Weber - Concerto in F

2. One complete etude from the 50 Concert Studies by Ludwig Milde
3. At least a movement from one of the following:

• Jenni Brandon - Colored Stones
• Nancy Galbraith - Sonata
• William Grant Still - Three Songs
• Adolphus Hailstork - Bassoon Set
• Ulysses Kay - Sonata
• Jose Siquieira - Three Etudes
• Margie Giebling-Haigh - Sortilège
• Libby Larsen - Concert Piece
• Francisco Mignone - Waltzes
• Jeff Scott - Elegy for Innocence
• Natalie Moller - Translations

4. One selection by a composer of your choice that represents your interests as an artist. The composer should be outside the traditional canon and comparable to those listed above. 
5. Four the following orchestral excerpts from memory:

• Beethoven - Symphony No. 4 (mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
• Mozart - Marriage of Figaro Overture (mm. 139 - 171)
• Ravel - Bolero (Solo)
• Rimsky-Korsakov - Scheherazade (mvt. 2, solo and cadenzas)
• Shostakovich - Symphony No. 9 (solo from mvts. 4 - 5)
• Stravinsky - Firebird (Berceuse solo)
• Stravinsky - Rite of Spring (opening solos)
• Tchaikovsky - Symphony No. 4 (mvt. 2, solo to end)

A 30-minute lesson during your auditions visit is available upon request. Please contact Dr. Darrel Hale (Darrel.Hale@unt.edu) ahead of your visit to schedule a lesson time. 

Doctoral Level: 

Screening Audition Video Requirements:

1. A 3-4-minute spoken introduction including descriptions of your interest, both musical and non-musical, recent creative projects undertaken, future goals, and reasons for applying to UNT. 
2. Milde  - Scale Studio No. 1
3. Mozart - Concerto in Bb major, K. 191/186e - 1st and 2nd movement - expositions only
4. Two of the following orchestral excerpts:

• Ravel - Piano Concerto (Mvt. 1, rhl. 9-10, and Mvt. 3, rhl. 14-16)
• Shostakovich - Symphony No. 9 (solo from Mvts. 4-5)
• Stravinsky - Firebird (Berceuse solo)
• Beethoven - Symphony No. 4 (Mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Rimsky-Korsakov - Scheherazade (Mvt. 2, solo and cadenzas)
• Stravinsky - Rite of Spring (opening solos)
• Ravel - Bolero (solo)
• Tchaikovsky - Symphony No. 6 (Mvt. 1, opening solo)
• Tchaikovsky - Symphony No. 4 (Mvt. 2, solo to end)
• Mozart - Marriage of Figaro Overture (mm. 139-171)

Each element (Introduction/Milde/Mozart/Excerpts) may be recorded separately.

In-Person Audition Requirements:

A 25-minute recital featuring contrasting styles. This recital should include the following elements:

• A movement from a major concerto or sonata
• Repertoire reflecting your interest as an artist and teacher
• A movement from at least one of the following works:

• • Margie Giebling-Haigh - Sortilège
  • Nancy Galbraith - Sonata
  • Libby Larsen - Concert Piece
  • Francisco Mignone - Waltzes
  • Jeff Scott - Elegy for Innocence
  • Natalie Moller - Translations
  • JOSE SIQUEIRA: Three Etudes
• A selection by composer of your choice outside the traditional canon that is similar those listed above that represents your interest as an artist.
• Four of the following orchestral excepts from memory:
  • Beethoven - Symphony No. 4 (mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
  • Mozart - Marriage of Figaro Overture (mm. 139 - 171)
  • Ravel - Bolero (Solo)
  • Rimsky-Korsakov - Scheherazade (mvt. 2, solo and cadenzas)
  • Shostakovich - Symphony No. 9 (solo from mvts. 4 - 5)
  • Stravinsky - Firebird (Berceuse solo)
  • Stravinsky - Rite Of Spring (opening solos)
  • Tchaikovsky - Symphony No. 4 (mvt. 2, solo to end)

Auditions are 30 minutes in length. A 30-minute lesson during your auditions visit is available upon request. Please contact Dr. Darrel Hale (Darrel.Hale@unt.edu) ahead of your visit to schedule a lesson time.

Cello

Screening requirements: submit two contrasting selections such as: the exposition of a concerto and a movement of solo Bach, totaling 5-8 minutes, without piano.

Live audition requirements:
Master's Level: A recital of approximately 30 minutes duration is required. Single movements of works may be played. Three contrasting styles of music should be represented. Suggested Repertoire: Any Bach or Reger Suite, several movements; any movement of a concerto, such as: Haydn, D major; Schumann; Dvorak; Barber; Bloch, Schelomo; Tchaikovsky, Rococo Variations; or equivalent. Virtuoso pieces such as: Dvorak, Rondo op. 94; Bruch, kol Nidre; Hindemith, Capriccio, etc.

Doctoral Level: One full recital demonstrating different styles. An unaccompanied work or movement of your choice should be included and a portion of the program should be memorized.

DMA applicants will be required to submit a 3-5-minute video in which you discuss your desire to pursue a doctorate in music and your career goals.

Clarinet

Screening Audition Requirements; to be submitted through the online music application:

1. Statement of purpose: an approximate 500-word essay outlining your objectives for graduate study, career plans, and reasons for applying to our program specifically.
2. CV or resume
3. Mozart: Concerto in A Major, KV. 622, movement 1, exposition.
4. Movement of a contrasting solo work of your choice.
5. Orchestral Excerpts
           a.   Beethoven: Symphony #6, mvt. 1  (2 before K to m. 492)
           b.   Mendelssohn: Scherzo from "A Midsummer Night's Dream" (beginning through B)
*Piano accompaniment is not required for any of the items listed above.

Master's Level Audition Requirements: 

1. Mozart: Concerto in A Major, KV. 622, movement 1, exposition
2. Original work for clarinet written before 1950
3. Work written after 1950 
4. Orchestral Excerpts
          a.   Beethoven: Symphony #6, mvt. 1  (2 before K to m. 492)
          b.   Beethoven: Symphony #6, mvt. 2 (D through end of m. 77)
          c.   Mendelssohn: Scherzo from "A Midsummer Night's Dream" (beginning through B)
          d.   Brahms: Symphony #3, mvt. 2 (beginning through B)

The clarinet faculty always encourages the performance of repertoire from outside the traditional canon that is of comparable quality. 

Doctoral Level Audition Requirements:

1. Mozart: Concerto (mvts. 1 and 2)
2. Stravinsky: Three Pieces, (mvt. 2)
3. Contrasting work of your choice written before 1950
4. Contemporary work of your choice
5. Five Orchestral Excerpts of your choice including at least one excerpt from the Following List:
   1. Ravel: Daphnis et Chloé (Reh 155-162 and Reh. 212 to the end)
   2. Stravinsky: Firebird [1919 edition] "Variation de l'oiseau de feu"

The clarinet faculty always encourages the performance of repertoire from outside the traditional canon that is of comparable quality. 

Graduate Artist Certificate in Music Performance (GAC) Requirements: The requirements for the GAC are the same as listed above for the DMA. 

Final Video Auditions:
The clarinet faculty strongly encourages all applicants to audition in person. We recognize; however, this is not always possible and will accept a final video audition in these cases. Please note that only those clarinetists applying in-person will be considered for the teaching fellowship and woodwind quintet fellowship. Video auditionees will still be eligible for all other merit-based clarinet scholarships. If applying by final video, please upload separate, single take, unedited video recordings of the following:
 1. Required Orchestral Excerpts. This should include all of the required excerpts from the pre-screening round with two additional standard orchestral excerpts of your choice. All excerpts need to be performed live, together, in one single video take.
 2. Solo Selections. Please record each of the pieces you have prepared. These should be done in one take for each piece. (Please record multi-movement selections together in one single take.)
 3. Personal introduction (maximum length: two minutes). Please take a moment to tell us a little bit about yourself. Why would you like to study at UNT? What are your career goals? Can you tell us something interesting about yourself?

Collaborative Piano

We encourage you to review our website to learn more about the collaborative piano program: https://music.unt.edu/keyboard/collaborativepiano/index.html.

Candidacy  

MM applicants should hold a bachelor’s degree in piano performance, collaborative piano, or the equivalent, and possess the appropriate ensemble instincts, technical skills and performance experience to suggest the potential and possibility of successfully completing the degree requirements.  

DMA applicants should hold a master’s degree in collaborative piano, chamber music, piano performance, or the equivalent; possess sufficient skills and previous experience as a performer to suggest the probability of successfully fulfilling the degree requirements; demonstrate an ability to accurately pronounce at least two languages from French, German and Italian at the time of admission; and possess a significant amount of documented previous experience with substantial amounts of both instrumental and vocal repertoire appropriate for admissions at the doctoral level. 

Screening Requirements

To be considered for a live audition, applicants must submit a completed online application that includes a comprehensive repertoire list (all genres). The audition will not be scheduled until all materials are received. Collaborative piano performance applicants will also submit screening recordings in the categories as outlined below.

At the beginning of the screening recording, state your name and the degree you seek, or embed the information in the video itself. Check both the quality and playability of your recording before you upload it. All recordings should be unedited, reflecting one “take,” as in a live performance, and should be no more than one year old at the time of submission. 

Recordings are to be submitted on or before December 1st. and will be reviewed by the collaborative piano faculty. Those applying for live audition will be notified before the end of December of the result of your screening. 

Master's Level Screening Materials

• 15-30 minutes of instrumental duo repertoire
• 10-20 minutes of vocal repertoire representing several styles and languages
• One solo work (memorized, 5-10 minutes in length)
• A video in which you introduce yourself and discuss your collaborative experience and professional goals
• Optional: Videos of coaching, conducting, or teaching are welcome. Additional performance recordings (individual selections, recital sets or complete performances) may be submitted as supplementary material to give the fullest picture of your artistry and accomplishments

Doctoral Level Screening Materials

• 40-50 minutes of instrumental repertoire (including an orchestral reduction)
• 30-40 minutes of vocal repertoire representing contrasting styles and a minimum of three languages
• One solo work (memorized, 5-10 minutes in length)
• A video in which you introduce yourself and discuss your collaborative experience and professional goals
• Optional: Videos of coaching, conducting, or teaching are welcome. Additional performance recordings (individual selections, recital sets or complete performances) may be submitted as supplementary material to give the fullest picture of your artistry and accomplishments.

 Please note:  It is expected that DMA applicants possess substantial previous experience with both instrumental and vocal repertoire at levels appropriate for doctoral admissions.

Live Audition Requirements

UNT will provide partners for all in-person auditions and the repertoire below is required. Applicants are encouraged to arrive one or more days before their audition, when possible, in order to observe classes, lessons, and performances, and to interact with our collaborative community. We are eager to welcome you here.

Master's Level

• Beethoven Cello Sonata Op. 69 in A major, first movement, until recapitulation 
• Strauss Allerseelen (E flat)
• Fauré Mandoline (A flat)
• Sing and play: Barber The Daisies (any key; sing in any octave you prefer)
• One solo work (memorized, 5-10 minutes in length)
• Sightreading
• Discussion of past work and future goals.

Doctoral Level

• Beethoven Violin Sonata Op 30 No 2 in C minor, first movement
• Brahms either Op. 120 #1 in f minor fourth movement OR Op. 120 # 2 in E flat first movement
• Debussy C’est l’extase OR Il pleure dans mon coeur (original key)
• Sing and play (sing in any octave):

• Barber: St. Ita’s Vision (original key)

• Strauss: Allerseelen (original key)
• One solo work (memorized, 5-10 minutes in length)
• Sightreading and reading of short text samples in foreign languages
• Discuss past work, future goals and scholarly interests

Auditioning via Recording 

Live audition is strongly recommended but we understand that the complexity and expense of travel may not always make that possible. 

If you wish to present your final audition via recording, at the beginning of the recordings please state your name, the degree and major you seek, and that this is your “final audition.” 

Please note: To be considered, the live audition repertoire listed above must be included as part of the total recordings submitted. UNT is unable to provide partners in the case of auditioning via recording. 

You may submit these recordings any time before February 15th by attaching them to a message in Acceptd. Additionally, candidates auditioning via recording may be requested to interview via zoom. 

Please note: If, at the time of submitting your application, you indicate that you will be auditioning via recording, you may not receive notification of a screening result. Do not worry about this. Please proceed to make and send the recordings as instructed above.

Teaching Assistantships

Collaborative piano applicants who audition live are automatically considered for scholarships and a TA in collaborative piano. No additional application is required.

Auditions for choral and opera piano TA lines are a separate audition process. For these applications, as well as for those not auditioning for a collaborative piano degree but interested in a collaborative piano TA, please see the collaborative piano entry listing at https://app.getacceptd.com/untmusic for information specifying the assistantship you are seeking. 

Current piano performance majors and applicants who possess significant previous collaborative experience may also be considered for a collaborative piano TA. Please include at least 30 minutes of video recording of previous collaborative work (including both instrumental and vocal collaboration) and documentation (in CV resume or as separate narrative) of previous collaborative work. Those who pass the screening will be invited for a live audition on or before the day of their admissions  audition. Current students will audition by arrangement with Dr. Puccinelli in January.

Applicants will play the following repertoire: 

• Beethoven: Violin Sonata Op 30 No 2 in C minor, first movement with a partner we provide,
• Strauss: Allerseelen (original key)
• Sing and play (in any octave) Barber: St. Ita’s Vision (original key)

English Language Proficiency 

We welcome and encourage applications from all interested students, and we look forward to getting to know each applicant personally: we are here to help you achieve your goals. 

Because of the demands of this program and because of the critical importance of effective communication in the educational process, UNT requires that all applicants (MM and DMA) must submit proof of English Language Proficiency - either a standardized language test, or an official transcript of a US degree (completed or in progress) - before they can be scheduled for a live audition. 

Decisions regarding admission and music awards will be based on applicants meeting all UNT Admission criteria and submitting all required materials. No admission or music award offer can be made until this information is provided, so your attention to this is in your best interest. Please note that music awards are not available for students who choose to attend IELI. 

For any questions, please contact Professor Elvia Puccinelli, Coordinator of Collaborative Piano at elvia.puccinelli@unt.edu at least two weeks before any deadlines to discuss your individual circumstances. 

Conducting

Screening:

• Face-to-the-camera, high-quality video recording of the applicant conducting; that includes excerpts from both rehearsal and performance

Live audition: 

• Applicants invited for a live audition will be notified of the exact repertoire/excepts they are expected to prepare in advance

Applicants should contact individual areas of specialization (i.e., choral studies, orchestral studies, wind studies), to obtain additional details regarding audition requirements

Double Bass

Master's Level:

• Two movements from any Bach cello suite
• Two movements from the standard solo literature, demonstrating the range and diversity of the applicant's abilities
• Three standard orchestral excerpts

At least one solo work should be memorized

Doctoral Level: One full recital demonstrating the range and diversity of the applicant's abilities and repertoire. An unaccompanied work of Bach should be included as well as one virtuosic concert piece. A portion of the program should be memorized.

DMA applicants will be required to submit a 3-5-minute video in which you discuss your desire to pursue a doctorate in music and your career goals.

Euphonium

There will be no euphonium auditions available on December 5, 2025. 

Prescreening Audition Requirements:

1. Statement of purpose: an approximate 500-word essay outlining objectives for graduate study, career plans, and reasoning for applying to our program specifically.
2. CV or resume
3. Horovitz: Concerto (mvt. 3)
4. A contrasting lyrical solo work of your choice
5. Excerpts:
   1. Holst: First Suite in E flat
   2. Sousa: Stars and Stripes
   3. Grainger: Tune from County Derry

Piano accompaniment is not required for any of the prescreening items.

Live Audition Requirements:

Master's Level:

1. Horovitz: Concerto (complete)
2. An original euphonium work of applicant's choice
3. A contrasting classical transcription of applicant's choice
4. Excerpts:
   1. Holst: Mars from the orchestral suite: The Planets
   2. Mussorgsky: Bydlo from Ravel's orchestral setting of 'Pictures'
   3. Two contrasting wind band excerpts of applicant's choice
5. Sight-reading. To be provided at the audition.

Doctoral Level:

1. Cosma: Concerto (complete)
2. An original euphonium work of applicant's choice
3. A contrasting classical transcription of applicant's choice
4. Excerpts:
   1. Strauss: Ein Heldenleben
   2. Schönberg: Theme and Variations
   3. Three additional wind band excerpts of applicant's choice
5. Sight-reading. To be provided at the audition.

Final Video Auditions:

We encourage all applicants to audition in person. However, we recognize this is not always possible and will accept a final video audition in these cases. Please note that only those euphonium players applying in-person will be considered for teaching fellowship positions. If applying by final video, please upload separate, single take, unedited video recordings of the following:

1. Required Excerpts. All excerpts need to be performed live, together, in one single video take.
2. Solo Selections. Please record each of the pieces you have prepared. These should be done in one take for each piece. (Please record multi-movement selections together in one single take.)
3. Personal introduction (maximum length: two minutes). Please take a moment to tell us a little bit about yourself. Why would you like to study at UNT? What are your career goals? Can you tell us something interesting about yourself?

Flute

 Screening:

1.  Mozart - Exposition of 1st and 2nd movements of Concerto in G Major or D Major with keyboard accompaniment*
2. Two contrasting works with keyboard accompaniment* (only two movements required in multi-movement works) OR one solo work and one accompanied* work
3. Three contrasting orchestral excerpts

*If live accompaniment cannot happen safely due to COVID-19, pre-recorded accompaniment is acceptable.

Live audition requirements:

Master's Level: 

• The MM audition is 15 minutes in length and includes significant repertoire in contrasting styles. 
• There is no memorization requirement.

Doctoral Level: 

• The DMA audition is 20 minutes in length and includes significant repertoire in contrasting styles and periods. 
• There is no memorization requirement.

Suggested repertoire: The following repertoire is acceptable as audition material. Other works of equal significance may be substituted.

• Flute: Sonata No. 11 in Eb - J.S. Bach; Concerto in G Major - Mozart; Sonata in D Major - Prokofiev

Classical Guitar

Master's (MM):

Screening requirements:

Choose two contrasting pieces from the audition requirements listed below.

Live audition requirements:

• Choose one piece each from any three of the following categories:
  • One major work by J.S. Bach
  • One 19th century work
  • One 20th century composition of any style
  • One work by a living composer

All auditions must be performed from memory.

Due to time constraints, the audition panel will hear only selected portions of your audition program.

Doctoral (DMA):

Screening requirements:

Choose two contrasting pieces from the audition requirements listed below.

Live audition requirements:

Choose one piece each from any four of the following categories:

• • One major work by J.S. Bach
  • One classical or 19th century work
  • One 20th century composition of any style
  • One work by a living composer
  • One selection representing your musical interests.

All auditions must be performed from memory.

Due to time constraints, the audition panel will hear only selected portions of your audition program.

DMA applicants will be required to submit a 3-5-minute video in which you discuss your desire to pursue a doctorate in music and your career goals.

Harp

Contact Dr. Haefner (jaymee.haefner@unt.edu) for any questions about repertoire requirements. Note: memorization of solo audition repertoire is required.  Graduate-level students must display evidence that they have given a 45-minute to one-hour recital or the equivalent.

Screening Requirements:

1. One solo of the harpist's choice, performed from memory (see below for guidelines).
2. One orchestral cadenza of the harpist's choice (music may be used).

Master's Level: 

1. A large harp solo performed from memory (such as Grandjany Rhapsodie, Faure Impromptu or Trneck/Smetana, Die Moldau) showing technical mastery.  Other works of similar difficulty may be substituted.
2. One 20th century harp sonata (such as Hindemith, Houdy, Flagello, Glanville-Hicks, Krenek, Tailleferre), or another multi-movement work from the 20th century (such Brittin's Suite for Harp).
3. Two virtuosic orchestral cadenzas of the harpist's choice (such as Ravel’s Tzigane or Britten’s Young Person’s Guide to the Orchestra). Other cadenzas of similar difficulty may be substituted. Music may be used.

Doctorate (DMA) or Graduate Artist Certificate (GAC) in Music Performance:

1. A memorized recital of approximately 30 minutes is required, representing at least three contrasting style periods, including at least one movement of a standard concerto (Ginastera, Boildieu, Gliere, Rodrigo, etc.). Accompaniment is not required for the live audition.
2. DMA applicants will be required to submit a 3-5-minute video in which they discuss the desire to pursue a doctorate in music and their career goals.

Harpsichord

Students should contact the coordinator to arrange for practice on the audition instrument prior to the audition.

Master's Level (Performance): Provide evidence of a senior recital, equivalent to the standards for Senior Recitals at UNT. The entrance audition should include a suite, toccata, or prelude and fugue by J.S. Bach; a group of pieces from either the French Clavecin or the English Virginal School; a Toccata by Girolamo Frescobaldi or Johann Jakob Froberger. The student should be prepared to play 30 minutes.

Doctoral Level: Provide evidence of a master's recital equivalent to the standards for graduate recitals at UNT. The entrance audition should include major works from at least four of the categories listed below. The student should be prepared to play for 30 minutes.

1. Dance suites by Bach and Handel.
2. Bach preludes and fugues, sinfonias and toccatas.
3. Sonatas and concertos of the Iberian school.
4. English: Byrd, Bull, Farnaby, etc.
5. 17th and early 18th century French Clavencinists: Chambonniere, L. Couperin, d'Anglebert, etc.
6. 18th century French Clavencinists: Rameau, F. Couperin, Duphly, Balbastre, etc.
7. Italian Renaissance and Baroque: A. Gabrielli, Merulo, Mayone, Trabaci, Frescobaldi, Rossi, Pasquini.
8. German Baroque: Froberger, Buxtehude, Fischer.
9. Late 18th century repertoire: Bach's sons, Martini, early Mozart, and Haydn.

Horn

Master's Level:

Screening Requirements:

• Unedited video recordings of at least two contrasting pieces. (Movements of larger works are acceptable.)
• Three standard orchestral excerpts displaying contrasting skills and musicality.

Live Audition Requirements:

• One complete sonata or concerto (all three movements). Suggestions include (but not limited to): Mozart - Concertos 2, 3, or 4; Strauss, R. - Concertos 1 or 2; Strauss, F. - Concerto; Beethoven - Sonata; Bozza - En Foret; Dukas - Villanelle; Hindemith - Sonata; Heiden - Sonata. Works by composers outisde  the traditional canon are welcomed. No memorization or accompaniment required.
• Five standard orchestral excerpts displaying contrasting skills and musicality.
• Major and minor scales, two octaves, memorized. Chromatic scale, full range of instrument.
• Sight-reading

Video Audition Requirements:

If auditioning by Video Audition instead of a Live Audition, please submit the following:

• Unedited recordings of all your solo selections
• Excerpt selections
• All twelve major scales, harmonic minor scales, and melodic minor scales
• A chromatic scale beginning on middle C going up two octaves (or as high as you can play) and back to middle C.
• A chromatic scale beginning on middle C and going down to pedal F (or as low as you can play) and back up to middle C.

No specific articulation or rhythm pattern is required for the scales.

Doctoral and Graduate Artist Certificate Level:

Screening Requirements:

• Unedited video recordings of at least two contrasting pieces. (Movements of larger works are acceptable.)
• Three standard orchestral excerpts displaying contrasting skills and musicality.

Live Audition Requirements:

• One complete sonata or concerto (all three movements). Suggestions include (but not limited to): Mozart - Concertos 2, 3, or 4; Strauss, R. - Concertos 1 or 2; Strauss, F. - Concerto; Beethoven - Sonata; Bozza - En Foret; Dukas - Villanelle; Hindemith - Sonata; Heiden - Sonata. Works by composers outside the traditional canon are welcomed. No memorization or accompaniment required.
• One single-movement solo (examples: Schumann - Adagio and Allegro; Dukas - Villanelle; etc.) or piece for solo horn (examples: Krol - Laudatio; Berge - Horn Lokk; etc.)
• Five standard orchestral excerpts displaying contrasting skills and musicality.
• Major and minor scales, two octaves, memorized. Chromatic scale, full range of instrument.
• Sight-reading.

Video Audition Requirements:

If auditioning by Video Audition instead of a Live Audition, please submit the following:

• Unedited recordings of all your solo selections
• Excerpt selections
• All twelve major scales, harmonic minor scales, and melodic minor scales
• A chromatic scale beginning on middle C going up two octaves (or as high as you can play) and back to middle C.
• A chromatic scale beginning on middle C and going down to pedal F (or as low as you can play) and back up to middle C.

No specific articulation or rhythm pattern is required for the scales.

Jazz Bass

We require that you do your audition in two parts: a screening video that shows what you can do with advance preparation and a live audition which covers sight-reading, scales, etc., as explained below. We do not admit by video alone. If you are an international student or coming in person is a hardship, please select audition by recording to upload your screening videos. If you pass the screening, you will be contacted to schedule a virtual audition.  

Master's:

Screening:

Your recording should be no longer than 15 or 20 minutes and include the following: 

1. Medium tempo standard
2. Jazz Blues 
3. Jazz Ballad
4. Fusion, Latin or Funk
5. Play the melody, improvise a walking bass line, and solo on an up-tempo version of "Confirmation" from memory.

The medium tempo standard and jazz blues should include both a walking bass line and a solo. The others may also contain a solo. Use the bow on one or more of the upright tunes. All selections should show your ability to function in a rhythm section. (For example, you could record yourself while making an audio demo at home, school, a concert, in a studio, etc.) You can record something with a rhythm section (preferred), or record yourself playing with a Jamey Aebersold play-along recording or the equivalent. It is not necessary to record in a professional studio, however, please ensure you can be seen and heard fully in your screening video.

OPTIONAL: In addition to the video, you may also submit a supplemental commercially released audio or video recording on which you play. If you have a recording on Spotify or other streaming media, please email Prof. Seaton a link AND put the link in your resume/personal statement in the Acceptd application.

Live Audition:

• All of the required skills at the undergraduate level
• Ability to play the melody, improvise a walking bass line, and solo on "Confirmation" from memory
• Ability to improvise a walking or appropriate style bass line on a chart of complex jazz harmony (e.g. Wayne Shorter or Thelonious Monk tunes, etc.)
• Ability to improvise a walking bass line on common jazz variations on a 12 bar blues progression in all 12 keys
• Ability to improvise a walking bass line on the progression to "I Got Rhythm" (Rhythm Changes) in at least three keys including Bb
• Ability to sight read walking bass lines, notes (some melodies), and improvise bass lines and solos on big band and lead sheet charts.
• Some jazz soloing ability at least appropriate for second year improvisation classes at UNT (basic jazz standards and blues in several keys)
• Ability to play: the melody, an improvised bass line, and solo on at least ten jazz standards from memory. Have a list with you.
• Ability to play at least two contrasting pieces in the classical style is recommended. At least two years of college-level classical double bass lessons experience is highly recommended.

Attention will be paid to time feel, stylistic authenticity, technical proficiency, tone, musical background, overall musicianship, and potential for development.

UNT is an upright bass oriented program. The ability to play both acoustic and electric basses is not required for entrance into the master's jazz performance program but is part of placement auditions into lab bands. The typical applicant does most of the video and live audition on upright and one tune on electric. Placement into most lab bands requires the ability to play upright and electric well. The greater the student's experience on both instruments upon entering the program, the easier the process will be.

Most prospects do most of the audition on upright bass and part of it on electric. If your training on the acoustic bass is limited, you may be required to pass the classical upper division exam. This may occur after some classical study at UNT. It will be considered a deficiency requirement until completed. The exam consists of playing a classical concerto on the level of the Dragonnetti for the classical faculty.

Doctoral:

UNT is an upright oriented program.  Placement into most lab bands does require ability to play upright and electric well.   A typical DMA applicant has a very high degree of proficiency on the double bass, a clear command of the jazz language, and the ability to use the bow.   The most qualified candidate has spent time after MM graduation gaining professional experience, has a history of being active in the ISB and JEN, has made recordings, and is an active player at a high level in addition to academic study.

Screening:

Each selection on the video recording should be an uninterrupted, unedited, continuous performance.

• Up to five tunes of contrasting tempo and style.
  • One of the selections should include a portion that demonstrates your ability to play something with a bow.
  • Include groups of different sizes (from duo, trio, to big band) to demonstrate a variety of performance capabilities.
  • These must be with a live ensemble, playing with tracks is not acceptable.

Live Audition:

• All of the required skills at the Master's
• Ability to improvise a stylistically appropriate bass line and solo on a chart of complex jazz harmony (e.g. Wayne Shorter or Thelonious Monk tunes, etc.)

• Ability to solo and improvise a walking bass line on common jazz variations on a 12 bar blues progression in all 12 keys

• Ability to solo and improvise a walking bass line on the progression to "I Got Rhythm" (Rhythm Changes) in all 12 keys
• Ability to play: the melody, an improvised bass line, and solo on several jazz tunes/standards from memory.
 Please bring a two-part list of songs that you know from memory. One section of that list will be ten (or more) tunes you know with the melody and chords. The second will be a section of fifteen (or more) tunes that you know only the chords. Please bring 4 copies of lead sheets for all the tunes on your list from both sections. There will be a live rhythm section of talented students that will accompany you in your live audition. You will perform selected tunes from both sections.
• Ability to sight-read bass line charts with written lines in several different rhythmic styles (swing, bossa nova, rock, funk, etc.)

• Ability to sight-read an improvised walking bass line on a chart of a jazz chord progression
• Ability to play at least two contrasting pieces in the classical style is recommended. At least two years of college-level classical double bass lessons experience is highly recommended.  Attention will be paid to time feel, stylistic authenticity, technical proficiency, tone, musical background, overall musicianship, and potential for development. Even if you do a live audition for admission, submitting a video is still necessary for scholarship consideration.

You will participate in an interview where you may be asked to discuss your academic writing sample, jazz bass history, describe your research interests, career goals, and preferred teaching assignments.  There will be time to answer questions.

Jazz Composition and Arranging

 

The aesthetic for admission into the graduate jazz composition/arranging track is built around a demonstration of competence in writing and orchestrating for modern jazz. This includes a strong understanding of the modern large jazz ensemble as well as various small group formats. Applicants with experience in writing for orchestral instruments or vocal ensembles are encouraged to include those pieces in the submitted portfolio of compositions and arrangements.

Though many acclaimed jazz composers are accomplished instrumentalists or vocalists, some are not. The applicant is requested to submit a performance video but it will be considered solely as an indicator of comprehensive musicianship. The music performance can be within a personal composition or arrangement as well as a standard tune or blues form. Admitted students will be assigned to an ensemble each semester. Their primary obligation is to compose or arrange music as requested by the faculty director. As an option, the applicant may make a request to also perform in an ensemble. The faculty director makes the decision based on performance ability and available space within the ensemble.

Before applying, please consider the course of study: the student will learn how to write in multiple styles for various ensembles and be required to produce music within a digital audio workstation (Logic Audio, Cubase, Ableton, etc.) for purposes of commercial music production in film, TV, theater, and a quality virtual demo for general purposes within the profession. In all cases, the applicant must be capable of producing music in a prolific manner: at least two pieces per semester. The graduate recital culminates with 45 minutes (approx. 6-7 pieces) of music that feature works for big band, orchestra, small groups, vocal ensemble or vocal soloist with an instrumental group. The student must also conduct at least two pieces and performance on one piece is encouraged. Additional music writing requires composing several projects within the Composition for the Media class (in DAW format only) and at least one piece for the assigned ensemble per semester.

The required application materials for prospective students in the Jazz Composition/Arranging track are:

Jazz Composition Portfolio: All representative work must be prepared in computer notation format then exported to PDF to avoid problems with software versions, accompanied by a recording (audio of live performance in mp3, wav, or aiff format, filesize limited to 8MB; or a link to a video on youtube or another public site) submitted in electronic format via the UNT College of Music application website. If you need to submit a MIDI file of your work, please send that as an email attachment to Prof. DeRosa richard.derosa@unt.edu.

a. two orchestrated compositions or arrangements for modern jazz big band in two different styles
b. two orchestrated compositions or arrangements for rhythm section and at least three horns.
c. one orchestrated composition or arrangement for rhythm section and more than three horns/voice, vocal ensemble, or orchestral writing (strings, orch winds, etc.)

2. A video of your ability to perform on a chosen instrument or several if capable. Improvisation is encouraged but not required. Follow the directions on the College of Music application to submit a high-quality recorded video. 

An on-campus audition is not required. If a campus visit is otherwise planned, Professor DeRosa will be happy to meet with the applicant to answer questions. 

Jazz Drumset

Please note a screening (preliminary audition video) is required for all applicants.

Screening:

• Five selections in a small group setting, covering various styles and tempos
  • Solo on each selection, demonstrating ability to trade and solo over a song form in different styles
  • Must perform with a live group
  • Video should display most of the student's body throughout the recording for assessment of technique
  • Audio quality does not need to be studio quality, but it should clearly capture the student's playing
  • Recommended duration of about 5-8 minutes
  • If possible, please upload each selection as a separate video file

Live Audition:

• Playing rudiments
• Sight-reading big band-like charts
• Playing melodies and grooves in various styles and tempos
• Soloing in different styles and grooves
• Playing with drummer-less tracks
• Basic understanding of harmony on piano
• Short interview

Jazz Guitar

Please note a screening (preliminary audition video) is required for all applicants.

MM Screening and Live Audition:
Prepare three jazz standards of varying tempos and styles. One must be a ballad chord solo without accompaniment. The other two choices could be a blues, medium tempo standard, up tempo standard, bebop, bossa nova, or samba performed with a pre-recorded track (Jamey Aebersold recordings or the equivalent).

Examples of possible tune choices might be: Billie's Bounce, Oleo, Round Midnight, Yesterdays, You Stepped Out of a Dream, How Deep is the Ocean?, All the Things You Are, etc.

Please bring your accompaniment tracks with you to the audition, if invited. 

DMA Screening:

• 40-minute high-quality video of a live performance/concert with a group
• Play-along tracks are not acceptable for this audition.
• Include a cover letter, which addresses your career history, present and future artistic aspirations, and reasons for pursuing this degree.

DMA Live Audition:

• 30-minute performance with rhythm section followed by a meeting with Dr. Mooney and Robert Parton (the division chair) to discuss their research interests and participate in a Q&A. This process usually takes about 50 minutes.
• You will play with a rhythm section, demonstrate sight-reading skills and be interviewed by faculty. Knowledge of the guitar in jazz history and a variety of jazz styles is recommended.

Jazz Piano

Please note a screening (preliminary audition video) is required for all applicants. All applicants are expected to upload a typed repertoire list of all jazz standards known from memory to the music application. You are not being assessed strictly on the quantity of tunes you know, so make sure you are comfortable with everything on your list. 

Screening:
Upload three separate video files of contrasting jazz standards (e.g. blues, bossa, up-tempo, ballad). You may use any small ensemble instrumentation (duo, trio, quartet), but please ensure that you are prominently featured in whatever configuration you choose. You may also play your selections solo with a metronome or backing track. There is no preference or higher score given for recordings with live rhythm section accompaniment. Choose the option best suited for your situation.

Each selection must include improvisation. Ideally, at least one selection will also include comping/accompaniment. Do not submit transcriptions, fully scored pieces, or similar materials. Your videos should be uploaded as separate files. They should have a decent sound quality and they must clearly display your hands, but they do not need to be professional quality videos. Phone or tablet videos are accepted. There is no preference or higher score given for professionally produced recordings. Choose the recording technique best suited for your situation.

Live Audition:

If you are invited to a live audition (either in-person or virtually), please find the requirements below. In general, the live audition is more comprehensive and open-ended. In this round, we make a more holistic assessment of musical strengths and weaknesses. MM auditions typically last 20-30 minutes, and DMA auditions last around an hour.

During the audition, you will choose the first piece and play it as you like. A live rhythm section is available only for in-person DMA applicants. MM applicants may use the accompaniment of their choice or play solo, as in the prescreening round. A Bluetooth-capable speaker system is available for in-person applicants. If you wish to use a backing track in your in-person audition, please bring a mobile device to connect. It is best to download any backing tracks beforehand, as WiFi may not be available. In-person applicants may also choose to play duo with Prof. Meder providing a bassline on a second piano.

After the first piece, Prof. Meder will call at least two other repertoire selections at random (more for DMA applicants). All applicants may also be asked to give a basic harmonic analysis, transpose, change the meter, or otherwise alter the style/arrangement of a tune from your list. It is best to have a variety of styles and tempi represented.

Your audition will conclude with a brief sight-reading exercise (more extensive for DMA applicants), as well as a general interview about your musical goals and influences. DMA applicants should be prepared to discuss their research agenda and their academic writing samples submitted in the prescreening round. During this portion, you may also ask Prof. Meder any questions you have about the degree program. For those auditioning virtually, please ensure that you have access to email during your audition. The sight-reading excerpt will be sent via email, and you may print it out quickly or read it on a laptop or tablet. Sight reading on your mobile device is possible but not recommended.

Jazz Saxophone

For each song, all applicants are required to play the entire melody once, then improvise for four choruses only. The melody should only be played at the beginning of each selection, not after solos.

Screening:

• Dolphin Dance (Hancock), Medium Swing 120 bpm
• Con Alma (Gillespie), Medium Latin 110 bpm

Live Audition:

• Charlie Parker's "Confirmation"
• Two additional selections you choose to be presented with prerecorded tracks. Styles should be selected from the following;
  • Ballad
  • Blues
  • Medium tempo standard
  • Up-tempo standard
  • Bebop
  • Fusion
  • Funk
• Perform one selection from the Charlie Parker Omnibook

Saxophonists who cannot perform a scholarship/entrance audition at the University of North Texas College of Music must follow the directions on the College of Music application to submit a high-quality recorded video audition. 

Jazz Trombone

Please note a screening (preliminary audition video) is required for all applicants. 

There will not be any jazz trombone auditions available on December 5, 2025. 

Master's:

Screening & Live Audition:

• One (1) Bordogni (Rochut) Etude; Unaccompanied from selected numbers 1-60.
• Confirmation (Charlie Parker) instead of the Bebop melodies listed above.
• One Medium or Medium-Up Swing tune from the American Songbook (i.e. composed by Cole Porter, Jerome Kern, George Gershwin, etc. The original version of the tune should have lyrics.)
• One jazz ballad performed at a ballad tempo (Quarter note = 60 or slower)
• One tune with straight eighth-note feel. (i.e. Bossa Nova, Mambo, Jazz-latin, etc.)
• A jazz transcription of your choice (at least 32 bars, not to exceed 64 bars, this can be an excerpt from a solo) by one of the following soloists: JJ Johnson, Curtis Fuller, Slide Hampton, Frank Rosolino, or Carl Fontana. Students may perform this with our without written music, unaccompanied. Please bring copies for the audition panel.
• Optional: one original composition

Each jazz selection should include the melody, at least 2 choruses of improvisation, and the melody out. The ballad should not exceed two choruses total.

For video auditions, there should be no other soloists on each recording. Recordings need not be of professional quality, but should clearly demonstrate the player's musical abilities. Play-along tracks are acceptable for the jazz improvisation portions, but live musicians are preferred. If neither are available, a metronome marking half-notes (sounding on beats 1 and 3 or 2 and 4) is acceptable.

Doctoral:

Prescreening:

• One (1) Bordogni (Rochut) Etude; Unaccompanied from selected numbers 1-60.
• Confirmation, at a comfortable tempo for the applicant.
• One Medium or Medium-Up Swing tune from the American Songbook (i.e. composed by Cole Porter, Jerome Kern, George Gershwin, etc. The original version of the tune should have lyrics.)
• One jazz ballad performed at a ballad tempo (Quarter note = 60 or slower)
• One tune with straight eighth-note feel. (i.e. Bossa Nova, Mambo, Jazz-latin, etc.)
• Optional: one original composition

Live Audition:

• Provide a Repertoire List of 10 selections covering a broad range of styles, tempos, and historical jazz periods (i.e. bebop, hard bop, modal, modern, etc)
• Provide sight-readable lead sheets for the rhythm section for any and all compositions
• Bring at least one original composition, with lead sheets for the panel and rhythm section

The audition will also include an interview that will address your career plans, research interests, and preferred teaching assignment(s) and how you would approach them.

Jazz Trumpet

Please note a screening (preliminary audition video) is required for all applicants.

Screening and Live Audition:

Part 1 - Prepared Transcription: Prepare a transcription of your choice (at least 32 bars, not to exceed 80 bars). This can be an excerpt from a solo by one of the following soloists: Lee Morgan, Freddie Hubbard, Miles Davis, Louis Armstrong, Woody Shaw, Dizzy Gillespie, Kenny Dorham, Clifford Brown, Fats Navarro, Chet Baker, Nat Adderly or Blue Mitchell. Students are encouraged to perform this from memory and should play along with the recording.

Lead trumpeters will perform an additional lead trumpet part from the following:

• Switch in Time (Nestico) - Letter "B to C", and Letter "G" through the end. Quarter=168
• Magic Flea (Nestico) - Letter "I" to through the end. Half=144
• Fun Time (Nestico) - Letter "B to E", and letter "F" through the end. Quarter=126

Note: These lead trumpet parts can be found in the Basie-Nestico Lead Trumpet Book, Kendor Music, Inc. (found at SheetMusicPlus and other music sources)

Part 2 - Improvisation: Applicants will demonstrate improvisational skills by performing one chorus of melody and two improvised choruses on the following two pieces: 

• “Confirmation” (Play along track Aebersold Volume 6, Track 4)
• “What Is This Thing Called Love?” (Play along track Aebersold Volume 15, Track 5)

Note: Play along tracks are available at the following link: JazzBooks

Part 3 - Sight-Reading: Applicants will demonstrate sight-reading skill by performing one written jazz etude at sight. Lead trumpeters will perform a lead trumpet part.

Additional material: Students may submit additional recordings that demonstrate expertise in jazz performance by uploading the videos in the College of Music online application. These recordings may be of live or studio performances.

Recorded Audition:

For those unable to audition live, please include BOTH Part 1 and Part 2 from above in your recorded audition video. Do not edit the individual performances but feel free to use "takes" that demonstrate your best work. Make sure that the camera is 10 to 12 feet from you and that the balance between your instrument and the play-along track/metronome is appropriate. When performing your transcription, play with the original recording. Students who audition by recording may submit additional recordings that demonstrate expertise in jazz performance by uploading the videos in the College of Music online application. These recordings may be of live or studio performances.

Jazz and Commercial Strings

The Jazz and Commercial Strings program at UNT provides students with a solid foundation in acoustic jazz and commercial playing. The curriculum includes amplified playing and the use of electric instruments. Students will also have the opportunity to work in popular and alternative styles. Applicants may audition on violin, viola, or cello. All auditions will be on an acoustic instrument without amplification. For further information, contact Prof. Scott Tixier.

Master's:

Screening and Live Audition:

1. Play the melody and improvise on “Confirmation” by Charlie Parker;
2. Play the melody and improvise on "All the Things You Are" by Jerome Kern or "What is This Thing Called Love?" by Cole Porter
3. A non-classical piece in a style of the applicant’s choice
4. An improvisation based on a chord progression that the applicant will listen to and then improvise on
5. A movement from a Bach Partita/Sonata or Suite;
6. The live audition will also include:

• • A sightreading example
  • A brief interview

Recorded Audition:

Jazz Voice

Vocal jazz auditions will not be available on January 31, 2026. 

We do not anticipate offering any new graduate teaching assistantships or fellowships for Fall 2026. 

Master's:

All applicants must submit video screening recordings of a live accompanied performance (with accompanying instruments visible).

Screening:

• A medium or up-tempo swing tune (including one chorus of wordless improvisation)
• A jazz ballad, with at least 8 measures sung a cappella and rubato
• Based on your pre-screening video, you may be invited to perform a live audition.

Live Audition:

If you are invited to perform a live audition, you will be expected to perform the following (using different song selections than you used for your pre-screening recording, since we will have already heard those!).  You will either perform these songs with a backing track of some kind (pre-recorded accompaniment or iRealPro, for example) or you may have live accompaniment if you prefer (pianist will be provided).

1. One swing selection (180 bpm or faster) with one chorus of wordless improvisation (scat singing)
2. One ballad (60 - 80 bpm), once through the form only, with the first 8 measures in an a cappella rubato delivery.
3. One song in an alternate jazz style (bossa nova, samba, afro-cuban, funk, etc.)
4. At the piano, play the chord changes with a swing feel for one of the following songs: All of Me, Bye Bye Blackbird, Satin Doll or Take the A Train (Singing while playing is optional but encouraged). Please go through the form no MORE than twice.  Once down is fine if only playing.
5. Sight read several musical examples in different tempi and styles to demonstrate a competent level of sight-reading proficiency.
6. Aural skill evaluation in jazz contexts

Doctoral:

All pre-screening DMA auditions for jazz voice must be in digital video format, and each selection on the video recording should be an unedited, continuous performance. All of the recorded music must be with a live band (no play-along tracks).  Please upload each piece as a separate video file with the filename “FirstNameLastName_PieceTitle”.

Screening:

1. High-quality recordings of studio and/or live performances (preferably a mix of both), totaling approximately thirty (30) minutes and displaying a broad spectrum of styles and tempos, from ballads to very up-tempo tunes (1/4 note = 240+). At least two selections with contrasting styles should contain demonstrations of syllabic (wordless) improvisation over musical selections with advanced harmonic language.
2. At least one example of academic writing in English, e.g. a Master’s thesis or course paper with a works cited
3. OPTIONAL: Original compositions, videos or creative projects to round out your prescreening application

Live Audition:

If you are notified that you have passed the prescreening round, you will be asked to do a live audition. All DMA auditions must be in-person, not remote (even for international applicants). You are encouraged to arrange a multi-day visit, allowing you sit in on classes, lessons, ensemble rehearsals, meet students and faculty, and check out our local music scene. Sign up for the specific audition date designated for DMA Jazz Applicants in Acceptd. Each DMA audition lasts approximately one hour. If this date is not possible due to a documented schedule conflict, please email Prof. Jennifer Barnes to schedule a different date, and select “Arranged Audition” in the Acceptd portal.  The applicant's sight-reading, vocal technique and pianistic skills will be assessed along with an additional live performance. The applicant's knowledge of the evolution of jazz singing tradition will also be examined in the format of a verbal presentation.

Please prepare a program of no more than thirty (30) minutes, to include at least the following:

1. An up-tempo piece (240 bpm or more)
2. A ballad (rubato, in-time, or a mix of both)
3. A medium tempo jazz standard (not a blues or rhythm changes piece)
4. A straight-eighth piece (if not covered by the original composition)
5. An odd meter piece
6. (optional, but desired) An original composition (please also upload a PDF of the score or lead sheet)

You will have a live rhythm section available to accompany you. Please bring all necessary music. 

You will also be asked to:

1. Discuss your academic writing sample (submitted in the prescreening)
2. Describe your research interests, career goals, and preferred teaching assignments
3. Analyze a jazz standard in terms of harmonic functions.

Graduate Teaching Assistantships and Fellowships:

The vocal jazz area has four positions for graduate students who teach or assist professors in their teaching. Due to the rotating nature of our enrollment, the number of available teaching positions changes from year to year. If you would like to express your interest in being considered for one of those teaching positions, please e-mail Professor Barnes (jennifer.barnes@unt.edu) right away once you’ve been invited to perform a live audition and let her know. Next you will please prepare the following materials:

1. A resume of all music teaching experience
2. Vocal arrangements you've written (if you have any), with recordings if available
3. Recordings of any groups you have directed (audio or video)
4. A brief written statement regarding your background and understanding of vocal pedagogy as it pertains to singing jazz, and the ways that it is similar to or distinct from classical voice pedagogy.
5. A brief written statement related to non-performance-related skills or expertise that you possess, i.e. sound reinforcement, office software, computer music notation, graphic design, social media. 

NOTE: Please put the supporting materials listed above in an online location (Dropbox, Google Drive, or another cloud-based site) with a document that includes an index and description of the materials. Hard copies (CD, DVD, printed pages) will be not be accepted.

Based on the review of materials, selected applicants will be invited to engage in teaching activities during their live audition weekend to be considered as Teaching Fellows.

Multiple Woodwind Performance

Screening:

Multiple Woodwind Applicants are required to submit a screening recording only for their primary instrument. If the applicant would like to submit short playing examples on the other instruments they may, but it is not required.

Live Auditions:

• An audition is required on three separate woodwind instruments
• Please refer to the listing for each instrument to review the audition material

Oboe

Screening Requirements (master's and doctoral):

1.    Two contrasting movements of standard repertoire. They can be from the same work or from two individual works.
2.    Two contrasting excerpts from the standard orchestral repertoire.

Live Audition Requirements:

Master's Level: 

• The MM audition is 15 minutes in length and includes one slow and one fast from the collection of 48 etudes, Op. 31 by W. Ferling, two contrasting movements of standard repertoire, and four contrasting excerpts from the standard orchestral repertoire. There is no memorization requirement.

Doctoral Level: 

• The DMA audition is 30 minutes in length and includes one slow and one fast from the collection of 48 etudes, Op. 31 by W. Ferling, two contrasting movements of standard repertoire, 1 piece of your choice from the list below, and four contrasting excerpts from the standard orchestral repertoire. There is no memorization requirement.
  • Jean Ahn "Blush" for Solo Oboe
  • Mario Lavista "Marsias" Oboe and Water Glasses
  • Richard Dubugnon "Cinq Masques" for Solo Oboe
  • Jeff Scott "Of Good and Evil" for Oboe and Piano
  • Diana Syrse "Asylum" for Oboe/English Horn and Electronics
  • Viet Cuong Six Canadian Scenes for Solo Oboe
  • Gilles Silvestrini 5 Études Russes
  • Alyssa Morris "Collision" Etudes
• Sightreading will be provided at the audition.

Opera Coaching

Graduate Artist Certificate in Music Performance (GAC) - Opera Coaching
 
Application materials:

• Resume
• Repertoire List
• Statement of Purpose: outlining objectives for graduate study, career plans, and reasons for applying to our program specifically

Screening/Audition materials: 

• Video of piano solo piece of applicant's choosing that exhibits their technical command of the instrument as well as musicianship (examples: 1 movement of a Classical piano sonata, a piece by Brahms, Chopin, Schuman, Schubert, etc.)
• Video of playing The Composer's Aria from Strauss's Ariadne auf Naxos, with or without a singer
• Video of playing the orchestral reduction AND singing the vocal parts for the men of the first 15 pages of Puccini's La Boheme (any edition)

Interested applicants will apply by selecting the Graduate Opera Coaching program in Acceptd - https://app.getacceptd.com/untmusic. Following review of application and audition materials, qualified candidates will be scheduled to interview with the opera faculty. 
 
Specific questions regarding the program should be directed to Dr. Stephanie Rhodes Russell - stephanie.russell@unt.edu. 

Opera Directing

Graduate Artist Certificate in Music Performance (GAC) - Opera Directing
 
Application materials:

• Resume
• Statement of Purpose: outlining objectives for graduate study, career plans, and reasons for applying to our program specifically
• Portfolio of images from past productions and explanations of production concepts
• Video of past production (at least 20 minutes)

Interested applicants will apply by selecting the Opera Coaching/Directing then the Graduate Opera Directing program within Acceptd - https://app.getacceptd.com/untmusic. Following review of application and audition materials, qualified candidates will be scheduled to interview with the opera faculty. 
 
Specific questions regarding the program should be directed to Professor Jonathan Eaton - Jonathan.Eaton@unt.edu. 

Organ

 

A screening is required for live audition consideration. The repertoire requirements for the screening are the same requirements listed below for the live audition.

Master's Level (Performance): Provide evidence of a senior recital equivalent to the standards for senior recitals at UNT and a complete list of all repertoire studied previously. The entrance audition should include a major contrapuntal work from the Baroque period and major works from the 19th and 20th centuries. The student should be prepared to play for 30 minutes. Sightreading will be required at all auditions.

Doctoral Level: Provide evidence of a Graduate Recital equivalent to the standards of Graduate Recitals at UNT and a complete list of all repertoire studied previously. The entrance audition will include major works from the seventeenth through the twentieth centuries. The student should be prepared to play for 30 minutes. Sightreading will be required at all auditions.

Suggested Repertoire:

• Bach trio sonatas and major preludes and fugues.
• Major Bach chorale settings.
• Works by Dutch and German Baroque composers.
• Works by French Baroque composers.
• Major works by nineteenth-century French composers, Franck Chorales and larger pieces, Widor, Vierne, and Guilmant movements, etc.
• Major works by nineteenth-century German composers: Liszt, Mendelssohn, Reger, Reubke, Rheinberger, etc.
• Major works by twentieth-century composers: Dupré, Alain, Duruflé, Messiaen, Hindemith, Distler, Albright, Demessieux, Eben, etc.

Percussion

Visit the percussion website to learn more about the program: https://music.unt.edu/percussion/percussion-auditions.html.

The screening and live audition requirements are the same. Percussion application should submit all the requirements listed below:

Keyboard

• One or two major keyboard mallet works of sufficient length and difficulty that demonstrates 2 and 4 mallet ability, suitable for applied music recitals (Senior, Masters). The video should contain an 8-minute excerpt of this music in addition to the orchestral excerpts below.
• Orchestral Excerpts
  • Xylophone: Gershwin - Porgy and Bess
  • Glockenspiel: Mozart - Magic Flute

Snare Drum

• A snare drum solo or advanced etude demonstrating musical and technical proficiency by composers such as Delecluse, and Macarez, etc. with the following excerpts:
• Prokofiev: Lt. Kije:
  • I. Birth of Kije rehearsal number 1 to 3
  • V. The Burial of Kije rehearsal number 54-55
• Rimsky-Korsakov: Scheherazade:
  • • III. Letter D-E 5 after F, for four measures
    • IV. one measure before C to D, Letter P-R, Letter T-U

Timpani

• A timpani solo or advanced etude (including tuning) demonstrating musical and technical proficiency
• Beethoven: Symphony No. 9
  • Mvt. I – Measure 513 to the end of the movement (18 bars before letter "S" to the end of the movement)
  • Mvt. II – Letter "F" to Letter "H" (measure 248 to 296)
  • Mvt. IV – Coda – Measure 849 to the end of the movement.

Multi-Percussion

• Multi-percussion solos are not required but may be submitted as part of the Video Audition.

Piano

All graduate piano applicants are required to submit a video screening recording to determine advancement in the audition process. The repertoire for the screening is the same as listed below for the live audition. Both on-campus auditions and off-campus auditions are scheduled in January and February of each year. A live audition is recommended for entering graduate performance students. All movements of a multi-movement work should be submitted in one continuous take.

Master's Level: comprises a fifteen-minute program from memory, including:

• A prelude and Fugue of J. S. Bach or a complete Toccata, Suite, or Partita from which the faculty will choose a few movements.
• A complete Classical-era sonata.
• A work from the Romantic, Impressionistic, or Contemporary periods.

Doctoral Level: Candidates for the DMA in Piano Performance should prepare a 45-minute program of repertoire from memory that best represents their artistic personality. Twenty minutes of this program will be selected by the faculty at the time of the audition. 

Graduate Artist Certificate in Music Performance (GAC): Applicants to the GAC will prepare a 60-minute recital demonstrating their highest artistic level. At the audition, the faculty will select 20 minutes of music from the program. 
Candidates for the GAC in piano are artists of outstanding artistic and virtuosic talent who seek to spend 2 years preparing for and entering major national and international piano competitions. They should submit a resume/CV that includes evidence of participation and/or prizes won in national or international competition, as well as solo recitals and appearances with orchestra. Postdoctoral candidates are discouraged from applying unless they are still eligible for major international competitions or can provide documentation proving that they have significant concert engagements for the next two seasons.

Option in Collaborative Piano: If collaborative piano as related field is desired, the applicant will present a screening audition for the collaborative faculty once coursework has begun.

We welcome and encourage applications from all interested students, and we look forward to getting to know each applicant.

Because of the demands of this program and because of the primary importance of effective communication in the educational process, all applicants (MM and DMA) must submit proof of English Language Proficiency - either a standardized language test, or an official transcript of a US degree (completed or in progress) to be scheduled for an audition or have their final video audition reviewed. Additionally, until an applicant demonstrates UNT English Language Proficiency, no admission or music award offer can be made.

All new MM and DMA students who do not hold a BM in Performance from UNT must take the Graduate Piano Literature Examination. This exam is administered during new graduate orientation. 

Piano Pedagogy

Applicants to the DMA in Performance with a concentration in Piano Pedagogy will follow the same repertoire requirements as outlined for DMA Piano Performance applicants, including both the screening and live audition or final audition recording.

Specific application materials for Piano Pedagogy are listed below:

• 20-30 minute video of a private lesson you are teaching (teaching intermediate to advanced repertoire).
• Example of scholarly writing
• Statement of teaching philosophy
• Topic(s) of pedagogical interest for dissertation

Based on initial review of both the performance screening audition and pedagogy materials submitted, applicants will be invited to participate in an in-person audition or virtual interview.

Saxophone

A screening is required for live audition consideration. The repertoire requirements for the screening are the same requirements listed below for the live audition.

Master's Level:

• Single Instrument Major: The MM audition is 15 minutes in length and includes significant repertoire in contrasting styles.
• There is no memorization requirement.

Doctoral Level:

• The DMA audition is 30 minutes in length and includes significant repertoire in contrasting styles and periods.
• There is no memorization requirement.

Suggested repertoire: The following repertoire is acceptable as audition material. Other works of equal significance may be substituted.

• Ibert - Concertino da camera
• Dahl - Concerto
• Desenclos - Prelude, Cadence, et Finale
• Tomasi - Concerto
• Shrude, Renewing the Myth

Trombone (Bass)

Substitutions are subject to prior approval by the trombone faculty. Memorization is not required.

Master's Level: (select one solo and all excerpts)

• Solos:
  • Ewazen: Concerto
  • Spillman: Concerto
  • Vaughan Williams: Tuba Concerto
  • Raum: Concerto
• Excerpts:
  • Berlioz: Hungarian March
  • Haydn: Creation
  • Wagner: Das Rheingold
  • Wagner: Ride of the Valkyries
  • Schumann: Symphony No. 3
  • Kodaly: Hary Janos

Doctoral Level: (select one solo and all excerpts)

• Solos:
  • Bozza: New Orleans
  • Gillingham: Sonata
  • Day: Fantasia IV
  • Reuff: Concertstuck
• Excerpts:
  • Berlioz: Hungarian March
  • Haydn: Creation
  • Wagner: Das Rheingold
  • Wagner: Ride of the Valkyries
  • Schumann: Symphony No. 3
  • Strauss: Ein Heldenleben
  • Rossini: William Tell Overture
  • Respighi: Fountains of Rome
  • Kodaly: Hary Janos

Trombone (Tenor)

Substitutions are subject to prior approval by the trombone faculty. Memorization is not required.

Master's Level: (select one solo and all excerpts)

• Solos:
  • Martin: Ballade
  • Ewazen: Sonata
  • Castérède: Sonatine
  • Raum: Fantasy
• Excerpts:
  • Mozart: Requiem (Tuba Mirum)
  • Berlioz: Hungarian March
  • Saint-Saëns: Symphony No.3
  • Mahler: Symphony No. 3 (1st mvt.)
  • Wagner: Ride of the Valkyries

Doctoral Level: (select one solo and all excerpts)

• Solos:
  • Tomasi: Concerto
  • Creston: Fantasy
  • Bourgeois: Concerto, Op. 114
  • Gotkosvky: Concerto
• Excerpts:
  • Mozart: Requiem (Tuba Mirum)
  • Berlioz: Hungarian March
  • Wagner: Ride of the Valkyries
  • Schumann: Symphony No. 3
  • Strauss: Ein Heldenleben
  • Rossini: William Tell Overture
  • Saint-Saëns: Symphony No.3
  • Ravek: Bolero
  • Mahler: Symphony No. 3 (1st mvt.)

Trumpet

All applicants are welcome to communicate directly with the faculty with any questions regarding the application, repertoire, etc.

Screening Repertoire Requirements (M.M. and D.M.A.):

• Solo work (one movement from a multi-movement work is acceptable)
• Contrasting solo work or etude
• Work(s) that reflect applicant's strengths and artistry (e.g., piccolo trumpet, orchestral excerpts, chamber music selection(s), contemporary literature, etc.)

Master's Level - Live Audition:

• Select one of the following Charlier Etudes: 2, 4, 6, 8, 10, or 13
• Blitsch etude of your choice (not lyrical) or a Smith Top Tunes etude of your choice
• Solo: Honegger - Intrada OR solo work of comparable difficulty (single movement is fine)
• Three Standard Orchestral or Band Excerpts

Doctoral Level - Live Audition:

• Select one of the following Charlier Etudes: 2, 4, 6, 8, 10, or 13
• Blitsch etude of your choice (not lyrical) or a Smith Top Tunes etude of your choice
• Solo: Honegger - Intrada OR solo work of comparable difficulty (single movement is fine)
• Contrasting solo of your choice
• Three Standard Orchestral or Band Excerpts
• One piccolo trumpet excerpt from the following:
  • Bach B Minor Mass (Credo, m. 29-47)
  • Bach Christmas Oratorio (N0. 64, m. 1-12)
  • Bach Magnificat (opening)
  • Mussorgsky/Ravel Pictures at an Exhibition (Goldenberg and Schmuyle)
• Possible Sight-transposition

Tuba

A screening is required for live audition consideration. The repertoire requirements for the screening are the same requirements listed below for the live audition.

Master's Level: (select one solo and all excerpts)

• Solos:
  • Bach - Sonata No. II in E-flat
  • Broughton - Concerto
  • Vaughan Williams - Concerto.
• Excerpts:
  • Prokofiev - Symphony No. 5
  • Wagner - Die Meistersinger
  • Wagner - Ride of the Valkyries
  • Berlioz - Hungarian March
  • Strauss - Til Eulenspiegel

Doctoral Level: (select one solo and all excerpts)

• Solos:
  • Arutunian - Concerto
  • Ewazen - Concerto
  • John Williams - Concerto
  • Broughton - Concerto.
• Excerpts:
  • Prokofiev - Symphony No. 5
  • Wagner - Die Meistersinger
  • Wagner - Ride of the Valkyries
  • Berlioz - Hungarian March
  • Strauss - Til Eulenspiegel
  • Berlioz - Symphonie Fantastique
  • Respighi - Fountains of Rome.

Viola

Screening requirements (for all levels): Two contrasting selections such as the exposition of a concerto, a sonata movement, a movement of solo Bach, a caprice, or a contemporary piece, totaling 5-8 minutes, without piano.

Live audition requirements by level:
Master's Level: A recital of approximately 30 minutes duration is required. Single movements of works may be played. At least two contrasting styles of music should be represented.
Doctoral Level: One full recital demonstrating different styles. An unaccompanied work or movement of your choice should be included, and a portion of the program should be memorized.

DMA applicants will be required to submit a 3-5-minute video in which you discuss your desire to pursue a doctorate in music and your career goals.

Violin

Screening requirements (for all levels):
1. Bach Violin Sonatas and Partitas (BWV 1001-1006): one movement 
2.1^st or 3^rd movement from a Romantic or Post-Romantic concerto (written after 1800)

Live audition requirements by level:

Master's Level: 
1. Bach Violin Sonatas and Partitas (BWV 1001-1006): two contrasting movements from the same sonata or partita or Chaconne
2.1^st or 3^rd movement from a Romantic or Post-Romantic concerto (written after 1800)   
(Exceptions: Bruch No. 1 or Wieniawski No. 2: the 1^st movement must be supplemented with the 3^rd movement; Lalo Symphonie Espagnole: the 1^st movement must be supplemented with the 2^nd or 3^rd movement.
3. A concert piece of your choice 
At least two selections must be memorized
Auditions, both live or recorded, must be without accompaniment of any kind.

Doctoral Level:
1. Bach Violin Sonatas and Partitas (BWV 1001-1006) - one of the following: 
All movements of Partita in E Major or
At least two movements (with the Doubles) from Partita in B minor or
Chaconne from Partita in D minor or
Adagio and Fugue from Sonata in G minor or
Grave and Fugue from Sonata in A minor or
Adagio and Fugue from Sonata in C Major
2. 1^st or 3^rd movement from a Romantic or Post-Romantic concerto (written after 1800)   
(Exceptions: Bruch No. 1, Wieniawski No. 2, Saint-Saëns No. 3: all movements must be prepared; Mendelssohn E minor and Barber: both 1st and 3rd movements must be prepared 
3. One virtuosic work by Paganini, Sarasate, Wieniawski, Ernst, Ysaye, Ravel, Saint-Saens, or an equivalent
OR 
One caprice by Paganini (exclusions: No. 13, 16) 
4.  A work of your choice composed after 1970.

Bach, Concerto, and a virtuosic piece/caprice to be performed from memory.
Auditions, both live or recorded, must be without accompaniment of any kind.

DMA applicants will be required to submit a 3-5-minute video in which you discuss your desire to pursue a doctorate in music and your career goals.

Graduate Artist Certificate in Music Performance:
1. Bach Violin Sonatas and Partitas (BWV 1001-1006) - one of the following: 
All movements of Partita in E Major or
At least two movements (with the Doubles) from Partita in B minor or
Chaconne from Partita in D minor or
Adagio and Fugue from Sonata in G minor or
Grave and Fugue from Sonata in A minor or
Adagio and Fugue from Sonata in C Major
2. 1^st or 3^rd movement from a Romantic or Post-Romantic concerto (written after 1800)   
(Exceptions: Bruch No. 1, Wieniawski No. 2, Saint-Saëns No. 3: all movements must be prepared; Mendelssohn E minor and Barber: both 1st and 3rd movements must be prepared 
3. One virtuosic work by Paganini, Sarasate, Wieniawski, Ernst, Ysaye, Ravel, Saint-Saens, or an equivalent
OR 
One caprice by Paganini (exclusions: No. 13, 16) 
4. A work of your choice preferably composed after 1970. 

Bach, Concerto, and a virtuosic piece/caprice to be performed from memory.
Auditions, both live or recorded, must be without accompaniment of any kind.

Voice

A video screening is required to determine advancement in the audition process. Audition repertoire requirements for the screening recording are the same as the audition. The screening recording will be uploaded as part of your College of Music application. A live audition is recommended for entering graduate performance students. 

All repertoire should be memorized with the exception of oratorio arias, if applicable.  
All videos, whether screenings or final audition videos, should be submitted as individual video files in Acceptd. 
For the screening, applicants may utilize either pre-recorded piano tracks or live piano accompaniment. 

All applicants must include a separate introduction video containing the following:

• • A verbal introduction of yourself.
  • State where you are currently studying or the school from which you most recently graduated.
  • Announce the degree you are seeking.
  • Announce the title and composer of the works to be performed.

Screening and Live Audition Requirements:

Master of Music Performance Level: Repertoire prepared should include five selections, with at least one selection in each of the following languages: English, French, German, and Italian. Two selections must be arias (one may be from an oratorio), and three must be art songs.   

Doctoral Level: To be accepted into the Doctor of Musical Arts program in Voice Performance, students must prepare six pieces. Faculty will hear a minimum of two selections. Selections should be made in a variety of styles, and include songs and arias in English, French, Italian, and German. At least one opera or oratorio aria, but no more than a total of three arias should be included.

During the audition, in addition to singing, applicants to the DMA program will be asked to discuss in 2-3 minutes their research interests.

Following the audition, applicants will also be asked to go to a separate room to recite a short sample of poetry, which will be provided at that time. This will be roughly 4-5 lines of text in French, German, and Italian to assess your ability to read and enunciate those languages. Those who are applying for teaching fellowships should show an advanced level of recitation. You will not be asked to translate any part of the texts. If you have a documented reading disability, please inform the admissions office at least one week prior to your scheduled audition to discuss appropriate accommodations.

Graduate Artist Certificate in Music Performance: 6 pieces, representing at least four different languages. Students must have at least one piece from the following three genres: art song, concert/oratorio, opera.

English Language Proficiency:  To be scheduled for a live audition all applicants (MM and DMA) must submit proof of English Language Proficiency - either a standardized language test, or an official transcript of a US degree completed or in progress. (Artist Diploma or Artist Certificate excluded.).

Teaching Fellows Application and Awarding Process - Available for DMA applicants only

• DMA applicants interested in being considered for a Teaching Fellowship have the opportunity to submit materials directly through Acceptd at time of application submission OR to send materials directly to admission on or before February 1st (email collegeofmusic@unt.edu with any questions).
• If  wishing to submit at time of application through Acceptd, on the "Assistantship and Fellowship" page, select TF-Applied Music, Teaching Voice from the Position 1 dropdown menu. This will prompt you to submit the follolwing materials. 
  
  • A 750 - 900 word teaching philosophy.
  • A video recording of a lesson (25-35 minutes long), including both vocal exercises and the coaching of repertoire. Videos shorter than 25 minutes or longer than 35 minutes will not be considered.
  • A cover letter which includes the following information as applicable:
    • reason for interest in this position
    • teaching experience
    • language classes taken
    • diction classes taken
    • pedagogy classes taken
    • other relevant skills including, but not limited to: instruments played and level of proficiency, languages spoken, experience in theatre craft
• Applicants are strongly encouraged to work with an advanced high school senior or first or second-year undergraduate student for their sample lesson. 
• DMA applicants who are awarded a TF will be eligible to retain the fellowship for a maximum of the first three years* of their doctoral study. 
• Current DMA students who are awarded a TF, will be eligible to retain the fellowship up through their third year* of doctoral study, i.e., one or two years.
• The final deadline to submit the Acceptd application, including your audition videos and all required materials for the TF application is February 1st. 

*It is assumed these will be consecutive years.