Bassoon

Cello

Review the UNT String Audition Requirements prior to submitting your application. 

First movement of a standard concerto (Dvorak, Schumann, Tchaikovsky, etc.), and a movement of a solo Bach suite. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Clarinet

Concentration (Education, Composition, B.A. majors): 
1. Solo selection of the applicant's choice. This can be a complete work from the standard repertoire, or a single movement from a larger work. Appropriate selections include: Weber Concertino, Hailstork Three Smiles for Tracy, Messager Solo de Concours, Tailleferre Sonata, Osborne Rhapsody, as well as the concerti by Weber, Mozart and Krommer. Please note that the works listed are merely suggestions. Any work of comparable quality and difficulty is acceptable. There is no need to memorize the solo selection.
2. All Major Scales. Three octaves for E, F, F# and G; two octaves for all others.
3. Sight-reading. To be provided at the audition.

Performance Major: 
1.  Mozart: Concerto in A Major, KV. 622, movement 1, exposition.
2.  A movement of a contrasting work (such as Weber Concerto No. 1,  Hailstork Three Smiles for Tracy,  Saint-Saens Sonata, Poulenc Sonata, Tailleferre Sonata, Stravinsky Three Pieces) or a complete work (such as Weber Concertino, Messager Solo de Concours, Osborne Rhapsody). There is no need to memorize the solo selection.  
3. 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.    Brahms Symphony #3, mvt. 2 (beginning through B)
4. All Major and Minor Scales. Three octaves for E, F, F# and G; two octaves for all others.
5. Sight-reading. To be provided at the audition.

Final Video Auditions: 
Applicants living within 150 miles from campus are expected to audition live unless prior approval has been granted by the faculty. The clarinet faculty strongly encourages all applicants living more than 150 miles away from campus to audition in person. We recognize, however, this is not always possible. If applying by final video, please upload separate, single take, video recordings of the following:
1. All required scales. Please check the scale requirements for the specific degree(s) you are applying for, and play each scale slurred, in as many octaves as possible. 
2. All prepared pieces. Please record each of the pieces you have prepared together in a single, unedited continuous video 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?

Commercial Music

Bachelor of Arts in Commercial Music

Please note, there are four requirements shared between all commercial music tracks as well as additional requirements for each track. You must submit both the four shared requirements and the requirements specific to your intended track.

Requirements for all Tracks:

• Introduction Video (60 seconds)
  • Create a brief video in which you share something (or things) about yourself and/or your work. What you choose to share is up to you. You can make your own creative decisions regarding the format – and you can have fun! Make us part of your own creative imagination for 1 minute.
  • We won’t be judging this video for its production quality. You can make this with your cell phone – or however you decide to do it.
  • We acknowledge that applications are usually heavily structured and are looking to learn something about you that can’t be captured by other parts of the application.
• Capstone Project Pitch (250 words or less)
  • As a culmination of our four-year program, you will work with guidance from our faculty on a Capstone Project, which you would conceptualize and design to fit your career goals. If you had to pitch an idea for your Capstone next week, let us know what that would be.
• Comprehensive Resume
  • Include any information you wish to share specific to your academic and personal/professional background, work experience, and/or achievements in addition to speaking to your musical expertise. We encourage you to include any relevant artist/personal websites, social media profiles, music streaming service profiles, etc. at the top of your resume.
• Personal Statement (250 words or less)
  • Discuss your career goals, your reasons for applying to our program and how these align with your experience and learning objectives. 

Business of Commercial Music Track:

• Music Business Portfolio
  • Submit a music business portfolio showcasing your work in music business (e.g., concert flyer created for a local event, tour schedule, website, merchandise designs, etc.). This should be submitted as one pdf document. 
• Music Business Video (60 seconds)
  • Create a 1-minute video on how you plan to use your UNT music business education to be an agent of positive change for the music industry. 

Commercial Music and Production Track:

• Production Track
  • One mp3 file containing a 2-minute excerpt of a produced piece of music for which you provided all (or most) of the recording, programming, production, and mixing. 
• Production Track Creation
  • To display and document your role in creating the music you uploaded as your Production Track mp3, please provide one of the two options below:
    • Option 1 - A short unedited video no more than 60 seconds of you at your workstation where you demonstrate your process of using a DAW to create the music in the mp3 upload. Candidates must be clearly visible. Videos do not need to be highly produced. 
    • Option 2 - A one-page writing submission, no more than 250 words, describing your process of using a DAW to create the music in the mp3 upload.

General Track:

• Performance Video
  • One unedited live performance video in which you perform a song in any contemporary style that best demonstrates your musical preparation, talents, creativity and style. For songwriters, originals are highly encouraged. If submitting a cover, creative re-interpretations are encouraged. 
  • The performance should be accompanied.
  • The applicant may be singing, playing an instrument, or both. Electronic instrumentation – e.g. manipulation of performance-based software using controllers, DJing, etc. – is an acceptable instrument if it is the applicant’s strength.
  • If submitting an original song with lyrics, include a separate pdf with song title, lyrics and songwriting credits.

Music for Media Track:

• Media Video
  • One video file containing a 2-minute excerpt of a scene for which the applicant has composed an original score. (For this purpose, your video can be sourced from any resource you have. Faculty will focus on the music you create rather than the quality of the video you are providing.)
• Media Video Creation
  • To display and document your role in creating the music you uploaded as your Media Video, please provide one of the two options below:
    • Option 1 - A short unedited video no more than 60 seconds of you at your workstation where you demonstrate your process of using a DAW to create the music in the mp3 upload. Candidates must be clearly visible. Videos do not need to be highly produced. 
    • Option 2 - A one-page writing submission, no more than 250 words, describing your process of using a DAW to create the music in the mp3 upload.

Applicants are strongly encouraged to complete this application, along with all required materials, on or before the first Monday in December. The faculty plan to review completed applications the first week in December and invite qualified prospects to complete the interview process during our scheduled January and February interview dates. Applications received after the preferred deadline and before the final deadline of February 1st will be reviewed in early February to determine interview invitations for the final interview day. 

The requirements for the live audition/interview will differ by track and will be communicated to applicants two weeks prior to their scheduled date.

Critical Studies in Music and Society

The following supplemental materials are required and will be uploaded directly to the music application: 

• Personal Statement: Describe your academic and musical backgrounds as well as your career goals. What motivated you to apply to the BA-CSMS? Include any additional information that you believe would help us in making our admissions decision. Word limit: 500 words. 

• Writing Sample: An original report, paper, or essay that you wrote for an academic class, preferably in the last year. The writing sample need not concern music. 

• CV/Resume: Should include academic awards, honors, and other achievements; extracurricular activities; community service; work experience: hobbies; and special skills (e.g., fluency in languages other than English) 

• Three Letters of Recommendation: Request letters from two recommenders familiar with your academic background. One may be an academic counselor. Your third recommender will be familiar with your extracurricular activities, hobbies, or interests. 

Double Bass

Review the UNT String Audition Requirements prior to submitting your application. 

First movement from any of the standard double bass concertos or equivalent single-movement works, e.g., Bottesini, Dragonetti, Dittersdorf, Koussevitzky, etc., and two standard orchestral excerpts. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Electronics

Undergraduate applicants may audition with Electronics as their musical instrument concentration for the Bachelor of Arts and Bachelor of Music Degree in Music Composition. The audition consists of the submission of a pre-screening portfolio as well as a live audition and interview (on-campus or virtually). 

The pre-screening portfolio will consist of a video (up to 7 minutes) and audio examples (up to 2 tracks, 5 minutes each) that demonstrate your use of technological tools in your creative process. The video and audio files will be submitted through the Acceptd application portal.

Faculty will evaluate the creative breadth and imagination as well as the technical skill of the pre-screening portfolios. Finalists will be invited to campus for a live audition that will include both an interview with faculty and a timed creative project.

Click here for more information about the live audition and tips about creating your pre-screening portfolio.

Euphonium

There will NOT be any Euphonium auditions available on January 25th, 2025.

Concentration (Education, Composition, B.A. majors):

1. Solo selection of the applicant’s choice. This can be a complete work from the standard repertoire, or a single movement from a larger work. Appropriate selections include: Curnow’s Rhapsody for Euphonium, Falcone’s Mazurka, Marcello’s Sonata in F Major, Capuzzi’s Andante and Rondo.Please note that the works listed are merely suggestions. Any work of comparable quality and difficulty is acceptable. There is no need to memorize the solo selection.
2. Chromatic scale starting on F (two octaves), major and minor scales and arpeggios up to 4 sharps and 4 flats.
3. Sight-reading. To be provided at the audition.

Performance Major:

1. Arban's Grand Study No.1 or No. 6 
2. Bordogni Melodious Etude: No. 2 or No. 5
3. Solo selection of the applicant’s choice. This can be a complete work from the standard repertoire, or a single movement from a larger work. Appropriate selections include: Curnow’s Rhapsody for Euphonium, Falcone’s Mazurka, Marcello’s Sonata in F Major, Capuzzi’s Andante and Rondo.Please note that the works listed are merely suggestions. Any work of comparable quality and difficulty is acceptable.
4. Excerpts:
   a.    Holst: First Suite in E-flat
   b.    Sousa: Stars and Stripes
   c.    Grainger: Tune from County Derry
5. Chromatic scale starting on F (two octaves), major and minor scales and arpeggios up to 4 sharps and 4 flats.
6. Sight-reading. To be provided at the audition.

 Final Video Auditions:

Applicants living within 150 miles from campus are expected to audition live unless prior approval has been granted by Dr Childs. Although we encourage all applicants living more than 150 miles away from campus to audition in person, we recognize that this is not always possible. If applying by final video, please upload separate, single take, video recordings of the following:

1. All required scales. Please check the scale requirements for the specific degree(s) you are applying for.
2. All prepared pieces. Please record each of the pieces you have prepared together in a single, unedited continuous video 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

J. S. Bach - any sonata; Poulenc - Sonata; Hindemith - Sonata; Mozart - Concerto in G or D; Griffes - Poem; any Paris Conservatory piece. All major and minor scales. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Classical Guitar

Concentration (BA, Composition, Music Education):

• All auditions must be performed from memory and on Classical Guitar (Nylon String).
• Due to time constraints, the audition panel will hear only selected portions of your audition program.
• Audition Requirements
  1. Two major and minor scales from Andres Segovia's "Diatonic Major and Minor Scales" using given fingerings.
  2. Two contrasting etudes by composers from the 19th or 20th century (e.g. Sor, Carcassi, Brouwer).
  3. A brief sightreading test (single melody line).

Performance (BM):

• All auditions must be performed from memory and on Classical Guitar (Nylon String).
• Due to time constraints, the audition panel will hear only selected portions of your audition program.
• Audition Requirements:
  1. One piece by Villa-Lobos
  2. Two additional contrasting solo works from different styles/periods.
  3. A brief sightreading test (level equivalent to RCM Pre-Level book).

Harp

Review the UNT String Audition Requirements prior to submitting your application. Contact Jaymee.Haefner@unt.edu for any questions about repertoire requirements.

1. A solo performed from memory, showing technical proficiency and musicianship. The solo should display a minimum difficulty level represented by the suggested repertoire. Any repertoire from the American Harp Society (AHS) National Competition Intermediate 2 level may be substituted.

• Andres, Absidioles
• S. Bach/Grandjany, Etudes for Harp (choose one)
• Bochsa, 50 Advanced Etudes, #1 or #10
• Debussy, 1st and 2nd Arabesques (any edition) or Danses (accompaniment not required)
• Dussek, any of the Six Sonatinas
• Glinka, Variations on a Theme of Mozart
• Godefroid, Etude de Concert
• Grandjany, Fantasie sur un thème de Haydn or Children's Hour Suite
• Handel, Concerto in Bb, first movement (any edition)
• Hasselmans, La Source
• J. Naderman,Sept Sonates Progressives (choose one)
• Parry, any Sonatas
• Pierne, Impromptu-Caprice
• Ravel, Introduction et Allegro
• Rota, Sarabanda e Toccata
• Saint-Saëns, Fantasie
• Salzedo, Chanson dans la nuit (Song in the Night), selection from Suite of 8
• Dances
• Tournier, 6 Noels, Etude de concert “Au matin”, Féerie, Vers la source dans le bois, Images Suite No. 1: Lolita la danseuse

2. A second solo of your choice. The work should be from a contrasting style and period, compared to the first solo.

3. One cadenza from an orchestral work such as: Waltz of the Flowers or Swan Lake (Tchaikovsky), Young Person's Guide to the Orchestra (Britten), or Capriccio Espagnol (Rimsky-Korsakov).

Harpsichord

Performance of works from the standard repertoire: Bach inventions, Scarlatti sonatas, Couperin, etc. Students with little or no harpsichord experience will be considered for major if there are equivalent skills on organ or piano.

Horn

Two contrasting selections of complete movements or pieces from standard solo repertoire. Suggestions include (but not limited to): Mozart – Concerto Nos. 2, 3, or 4; Strauss, R. – Concerto No. 1; Strauss, F. – Concerto; Strauss, F. – Nocturno; Beethoven – Sonata; Bozza – En Foret; Dukas – Villanelle; Hindemith – Sonata; Heiden – Sonata. Works by diverse composers are welcomed. No memorization or accompaniment required.

You may substitute an etude by one of the following composers for one of your selections if it as at least one page in length: Barboteu, Gallay, Hackleman, Kling, Maxime-Alphonse, Neuling, Reynolds, Schuller, Shoemaker.

In addition to the repertoire requirements listed above, applicants should be prepared for the following:

• Major scales, two octaves, memorized
• Chromatic scale, full range of instrument
• Sight-reading

Video Audition Requirements:

If auditioning by video, please submit unedited recordings of your two contrasting selections, all twelve major scales, a chromatic scale beginning on middle C going up two octaves (or as high as you can play) and back to middle C, and 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.

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

1. Medium tempo standard
2. Jazz Blues
3. Jazz Ballad
4. Fusion, Latin or Funk
5. Up-tempo standard or rhythm changes
   

The medium tempo standard and jazz blues should include both a walking bass line and a solo. The others may also contain a solo. All selections should show your ability to function in a rhythm section. (For example, 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:

• One octave major, harmonic minor, and melodic minor scales at least two fingerings for each scale
• Ability to read basic bass line charts with written lines in several different rhythmic styles (swing, bossa nova, rock, funk, etc.)
• Ability to improvise a walking bass line on a chart of a basic jazz chord progression
• Ability to improvise a walking bass line on a jazz version of 12-bar blues progressions in at least the keys of G, C, F, Bb, Eb, and Ab
• Ability to sight read walking bass lines, notes (some melodies), and improvise bass lines and some soloing on big band and lead sheet charts.
• Ability to play all pieces in audition with a good, even time feel (unaccompanied) and a minimum of hesitations when sight-reading (ability to keep going).
  

UNT is an upright oriented program with required classical and jazz bass lessons. Ability to play both acoustic and electric basses is not required for entrance into the bachelor's in jazz performance program but is part of the requisites for completing the degree. 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.

Jazz Drumset

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

Screening:

1. Drum Set Selections:

• Two selections of varying styles and tempos
  • Choose songs that showcase technical skills, creativity, and musicality.
• Display proficiency in accompanying soloists and improvisational skills.
• Video performances with an ensemble is preferred, but if necessary, play-along track or solo drum set performances are acceptable.
• Live gig or performance footage is acceptable.
• May include portions of a performance to stay within a reasonable video length

2. Snare Drum:

• One snare drum selection
• Common books for finding a snare solo to play include:
  • Modern Swing Solos (Charlie Wilcoxon)
  • 14 Modern Contest Solos (John S. Pratt)
  • Intermediate Snare Drum Studies (Mitchell Peters)

3. Marimba/Vibes Solo *:

• One mallet selection
• Common books for finding a mallet solo to play include:
  • Mallets for Drummers (Lynn Glassrock)
  • Modern School for Xylophone, Marimba and Vibraphone (Morris Goldenberg)
  • Marimba: Technique Through Music (Mark Ford)

*You can omit this from your screening video if you prefer, but you will be required to submit your mallet video prior to the live audition.

Video Requirements

• The video should clearly 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 each selection is around 5-8 minutes.
• It is best to upload each selection as a separate video file.

Live Audition:

• Sight-reading 1 chart and 1 snare etude
• Performance of play along tracks provided 2-3 weeks before audition
• Brazilian samba groove and solo demonstration
• Short interview

Jazz Guitar

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

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. 

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:

During the audition, you will choose the first piece and play it as you like. 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. 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, as well as a general interview about your musical goals and influences. 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.

Undergraduate  applicants will also complete a piano department audition (“classical audition”). The classical audition is only diagnostic in nature. It does not have a significant weighting on your admission decision to the jazz division. It serves to guide and inform your applied teacher in making repertoire recommendations should you be admitted to the College of Music. Therefore, your choice of repertoire should reflect the music that you feel best represents your current ability. Simply do your best.

Please prepare:

• All major and minor scales (natural minor only), hands together at the interval of an octave, at quarter note = 72 bpm, in 16th notes. Memorization REQUIRED.
• A Two-Part Invention, Three-Part Invention, or Prelude and Fugue of J.S. Bach performed at a comfortable tempo. In the case of a Prelude and Fugue, the Fugue is mandatory. Memorization is NOT required.

For those with limited experience practicing Bach, we recommend using the Alfred Masterworks Editions of the above pieces, which will provide fingerings and performance guidelines.

• A technical study by Czerny, Cramer, Duvernoy, or the equivalent, OR for those with more classical training, a concert etude of either Burgmüller, Moszkowski, or Chopin. Memorization is not required.

For those with limited classical training, below are some recommended technical studies available for free download:

• Duvernoy op. 17
• Czerny op. 299
• Cramer 60 Selected Studies

Jazz Saxophone

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

Screening:

• Lady Bird (Dameron), Medium Swing 170 bpm
• Caravan (Ellington/ Tizol), Medium Latin 90 bpm at the half-note (For "Caravan", solos can be 2 choruses only).

Live Audition/Final Video Auditions:
Students performing live or video jazz saxophone auditions at The North Texas College of Music are expected to furnish their own play-along CD’s or smart phones, sheet music and Omnibooks.

• The improvisational part of the audition should include a performance of three jazz standards of various tempos and styles.
  • One requirement of these three jazz standards will be “There Will Never Be Another You” (Warren/Gordon).
  • The remaining two are your choice.
• Students are also required to read one unaccompanied transcription from the Charlie Parker Omnibook. This should include both the melody and solo. Eb saxophonists should use the Eb Omnibook and Bb saxophonists should use the Bb Omnibook. Bb saxophonists should change octaves for all notes that are out of your natural range.
• Classical Audition (refer to the "saxophone" listing to review the requirement

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. Live performances and video performances are judged on an equal basis. Scholarship/entrance audition deadlines are published on the College of Music website. Undergraduate jazz saxophone majors are required to study classical and jazz saxophone in private lessons and must have appropriate equipment (mouthpiece and reed setups for each).

Jazz Trombone

Please note a screening (preliminary audition video) is required for all applicants. Prospective Jazz Studies majors whose principal instrument is trombone will play one audition, with the Jazz Studies faculty. A classical audition will not be necessary.

Screening and Live Audition:

• One (1) Bordogni (Rochut) Etude; Unaccompanied from selected numbers 1-60.
• One selection from the following bebop melodies, at a comfortable tempo for the applicant: Billie's Bounce, Ornithology, Anthropology, Bebop
• 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.

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.

Those invited for the live audition will perform with live rhythm section (piano bass drums). Please bring hard copies of the sheet music for your tunes to the audition. 

Jazz Trumpet

Please note a screening (preliminary audition video) is required for all applicants. Prospective Jazz Studies majors whose principal instrument is trumpet will play one audition, with the Jazz Studies trumpet faculty. A classical audition will not be necessary.

Screening:

• Prepared Transcription: Prepare a 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: Lee Morgan, Freddie Hubbard, Miles Davis, Woody Shaw, Dizzy Gillespie, Kenny Dorham, Clifford Brown or Blue Mitchell. Students may perform this with our without written music, unaccompanied. If written out, please bring 3 copies for the audition panel for the live audition. 
•  Improvisation: Applicants will demonstrate improvisational skills by performing one chorus of melody and two improvised choruses on the following two pieces: 
  • “There Will Never Be Another You” (Play along track Aebersold Volume 15, Track 2)
  • “I Got Rhythm” (Play along track Aebersold Volume 51, Track 4)
  • Note: Play along tracks are available at the following link: JazzBooks
• Lead trumpeters will perform one 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)

Live Audition:

• Prepared Transcription (same as screening above)
• Improvisation (same as screening above)
• 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.

Guidelines for Recorded Auditions: Follow the directions on the College of Music application to submit a high quality recorded video audition. The recorded audition must include both the prepared transcription and Improvisation. 

Preparing the transcription and improvisation: 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, use a metronome or play with the original recording.

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. Applicants may audition on violin, viola, or cello. All auditions will be on an acoustic instrument without amplification. 

Please note a screening (preliminary audition video) is required for all applicants. A classical audition will not be necessary.

Screening and Live Audition:

• Play the melody and improvise on "Pent-Up House" by Sonny Rollins
• A non-classical piece in a style of the applicant’s choice
• An improvisation based on a chord progression that the applicant will listen to and then improvise on
• A movement from a Bach Partita/Sonata or Suite

Thos invited to audition live with also complete a sightreading example and a brief interview.

On-campus auditions are preferred. Video auditions may be accepted if an applicant is unable to travel to the UNT campus for the audition; in this case, the video recording will be supplemented by a videoconference component.

Jazz Voice

Please note a screening (preliminary audition video) is required for all applicants. A classical audition will not be necessary. See the Vocal Jazz at UNT page for more information about Jazz Voice Studies at UNT.

Screening:
Two jazz song selections of contrasting tempo (one slow, one fast or medium-tempo).  Please sing the first 8 measures of your ballad unaccompanied (a cappella), and only go through the form of the song one time. For your medium or fast song you may include vocal improvisation if you wish, but it's not required. No instrumental solos, please!  See the FAQ section below for more details on the pre-screening recordings.

Live Audition:

• Sing one medium swing tempo song, preferably from the standard jazz repertoire -- see this site for ideas:  https://www.jazzstandards.com/compositions/index.htm  You will either perform this with a backing track of some kind (pre-recorded accompaniment or iRealPro, for example) or you may have live accompaniment if you prefer (audio levels must be thoroughly checked to favor the voice), no more than twice through the form of the song, please! Again, wordless improvisation isn't required, but you may if you wish, just limit it to half a chorus and sing the melody for the remainder of the form so you still end up with only 2 total choruses.
• Sing one ballad (jazz straight 8th ballad, slow bossa nova, very slow swing feel, etc.), with the first 8 measures of the song performed unaccompanied (a cappella), and one time through the form of the song ONLY
• Sight read short rhythmic and melodic examples
• Respond to aural testing (tonal memory, chord tone recognition, etc.)
• Vocalize through your full vocal range and demonstrate proficient vocal technique

FAQ (Frequently Asked Questions) About the Application & Audition Process:

Someone told me that for my pre-screening recordings, I had to prepare classical songs to sing in addition to jazz songs; is that true?
No! Classical repertoire is not required at any stage of our audition process, since all voice study in this major is done with jazz voice instructors, including in-depth voice technique study.

For my pre-screening recordings, can I just send audio from a live concert?
No. We absolutely require a video recording, and your application may be delayed while we contact you to submit video, so please don’t submit audio recordings!

Can you help advise me on what songs should I sing on the pre-screening video?
No, we don’t give advice on what songs to sing! The requirement is that you have two pieces of contrasting tempo, one slow and one medium to fast, and we would prefer to hear standard jazz song selections, for example: a jazz ballad and a medium swing selection. Again, this link is helpful for many people who are unsure about song choice: jazzstandards.com   You should choose a song you really love, since we’re looking to see your style and your personality in your delivery, which usually happens most naturally on a song that you really enjoy singing and with which you’re very comfortable.

Can I just send the video (or links) directly to Professor Barnes to watch, since I already have a lot of videos uploaded on YouTube?
No! Please follow the directions online WITHIN the College of Music application to upload your videos.

Can I sing with pre-recorded (karaoke) tracks for my pre-screening video or does it have to be a live accompanist?
Yes, you may use pre-recorded tracks for a pre-screening video, and if you do, please try to cut the track (using software like Transcribe or Audacity) to eliminate any long spaces where you DON’T sing, such as where there might be space for an improvised solo.

Can I sing the same songs at the live audition that I sang on the pre-screening video?
No. We ask that you perform different selections at the live audition from the selections you submit on your screening recording, since we've already heard those and are trying to learn more about you in the live audition that we DON'T already know.

Do I need to bring my own accompanist for my live audition?
Our recommendation is that you bring lead sheets for your songs, and we will have an accompanist who can play for you in the audition room. However, if you wish, you may bring an accompanist or digital recorded accompaniment (on phone or other digital player that can be plugged in to an external speaker system).

Do I need to be an great “scatter” to get into your program?
No. Vocal improvisation is part of our curriculum, but is not something that we use to determine admission status. At the live audition, you may either prepare to improvise within one of your songs or we’ll ask you to do so over a 12-bar blues chord progression. If you plan to submit only recorded video for your final audition, improvisation is strongly encouraged.

Can I apply to begin in the second (spring) semester instead of fall?
No. New students may ONLY begin their degree program in the Fall semester (not Spring or Summer) each year, due to the curricular and private lesson assignment flow from one semester to the next.

If I send you links to my YouTube videos, can you please watch them and give me feedback as to whether I would be likely to be admitted to your program?
Due to the number of students who apply to our program each year, we cannot provide evaluations of audition materials outside of the yearly audition process.

How many people apply and how many do you admit?
We usually have approximately 40 - 50 applicants every year for our program (all levels), and we admit an average of 4 - 6 undergraduate and 2 - 3 graduate students each year. Our program is obviously highly competitive for admissions, and we consider many different factors in order to determine whether our program is a good fit for each applicant and whether we can foresee their success in our program.

Do you only accept a certain number of [sopranos], [altos], etc.?
We do not have any kind of a "quota" for admittance on any particular vocal range.

For additional questions not addressed here, you may e-mail Professor Barnes at Jennifer.Barnes@unt.edu.

Oboe

One slow and one fast etude from the collection of 48 Etudes, Op. 31 by W. Ferling, and two contrasting movements of major repertoire, in addition to major and minor scales. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music. Possible sight reading and pitch matching. Sight reading will be provided at the audition. 

Organ

Performance of organ music from the standard repertoire (Bach, Buxtehude, Brahms, Franck, Reger, Vierne, Dupre, Langlais, etc.) of approximately twenty minutes in length. Memorization is not required. Applicants will be asked to perform one hymn of their choice at the beginning of the audition. An improvised or otherwise creative introduction is at the discretion of the applicant. Sight reading material to be specified by the jury. Students should present repertoire list of all works studied in high school.

Percussion

See https://percussion.music.unt.edu/percussion-auditions for additional details.

All Classical Percussion Degrees: Mallets, Snare Drum and Timpani: Percussion Concentrations include degrees such as Music Education, Composition, and BA. If you are applying for a Percussion Performance degree (orchestral player, solo performer, etc.) the expectations are higher and you should be able to perform more advanced literature. You should select pieces that best showcase your ability level. Final acceptance as a music major with a percussion emphasis will be determined by an audition consisting of:

• Prepared solos or etudes on mallets (2 and 4 mallets), timpani, and snare drum
• Sightreading on snare drum and marimba
• Scales on marimba and rolls, flams, and associated rudiments on snare drum

Jazz Studies Degree (drum set primary instrument): Drum Set, Mallets and Snare Drum: All applicants for Jazz drum set must perform the following as 3 separate auditions:

• A snare drum solo or etude and sight reading
• A marimba or vibraphone solo (can be a jazz or classical selection), sight reading and scales
• Drum set audition - See jazz drumset listing above

Piano

The two categories of classical piano study are Performance and Concentration.

• For acceptance as a Piano Performance Major a live audition is preferred. All selections must be memorized. A screening recording is required for piano performance applicants. View screening and final video recording information here. All candidates should prepare as a minimum level:
  • Prelude and Fugue of Bach OR a complete Partita, Toccata or Suite of Bach, from which the faculty will select a few movements
  • COMPLETE Classical-era sonata (Haydn, Mozart, Beethoven) from which the faculty will select a movement
  • Third piece in contrasting style.
• For Piano Concentration (composition, music education, BA in Music) a live audition is preferred. All recorded auditions must be video (see College of Music application for details). The concentration audition must include the following:  
  
  • Prelude and Fugue by J.S. Bach OR a THREE-PART Invention by J.S. Bach
  • One fast movement of a Classical-era Sonata or Sonatina by Clementi, Haydn or Mozart
  • A work in a contrasting style (NOT from the Baroque or Classical era) which is performed from memory
• For Jazz Studies Piano Applicants, a classical audition is also required. Information regarding the jazz audition can be found by selecting the "Jazz Piano" listing above. The classical requirements should include:
  
  • All major and minor scales (natural minor only), hands together at the interval of an octave, at quarter note = 72 bpm, in 16th notes. Memorization REQUIRED.
  • A Two-Part Invention, Three-Part Invention, or Prelude and Fugue of J.S. Bach* performed at a comfortable tempo. In the case of a Prelude and Fugue, the Fugue is mandatory. Memorization is not required.
    *For those with limited experience practicing Bach, we recommend using the Alfred Masterworks Editions of the above pieces, which will provide fingerings and performance guidelines.
  • A technical study by Czerny, Cramer, Duvernoy, or the equivalent, OR a concert etude of either Burgmüller, Moszkowski, or Chopin. Memorization is not required.
    For those with limited classical training, below are some recommended technical studies available for free download:
    Duvernoy op. 17
    Czerny op. 299
    Cramer 60 Selected Studies

Saxophone

Boutry - Divertimento; Orrego - Salas - Quattro Liriche; Muczynski - Concerto; Ibert - Concertino da Camera. Recorded auditions submitted for saxophone must be video. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Trombone (Bass)

Concentration (Education, Composition, B.A. majors): 

Select one solo from the Performance Major list OR one of the following list (there is no memory requirement):

• Jacob: Cameos (any 3 mvts.)
• Telemann: Sonata in F minor (mvts. 1 & 2)
• Lebedev: Concert Allegro

Performance Major:

Select one solo from this list (there is no memory requirement):

• Koetsier: Allegro Maestoso
• Wilborn: Concertino
• Sachse: Konzert

Trombone (Tenor)

Concentration (Education, Composition, B.A. majors): 

Select one solo from the Performance Major list OR one of the following list (there is no memory requirement):

• Saint-Saëns: Cavatine
• Sehested: Morceau Pathetique
• Barat: Andante et Allegro

Performance Major:

Select one solo from this list (there is no memory requirement):

• David: Concertino (mvts. 1 & 2)
• Hindemith Sonata (mvts. 1 & 3)
• Serocki: Sonatina

Trumpet

Concentration (Education, Composition, and BA majors):

• All 12 Major scales - 2 Octaves when possible
• One Solo or Movement from a Solo such as: Arutunian - Concerto; Hummel - Concerto (1st Movement); Goedicke - Concert Etude; Ropartz - Andante et Allegro; Kennan - Sonata (1st Movement); Halsey Stevens - Sonata (1st Movement), Ewazen - Sonata (1st Movement); Brandt - Concertpiece (either one) or Solo of similar difficulty. 

Performance Major: 

• All 12 Major Scales - 2 octaves when possible 
• Etude: One from Charlier, Arban, Bousquet, Brandt, Goldman, Bitsch, etc. (It is strongly discouraged to play any all-state etudes).
• Solo: Choose one solo or movement from a solo such as: Arutunian - Concerto; Hummel - Concerto (1st Movement); Kennan - Sonata (1st Movement); Halsey Stevens - Sonata (1st Movement), Ewazen - Sonata (1st Movement); Brandt - Concertpiece or a solo of similar difficulty (no Goedicke - Concert Etude or Ropartz - Andante et Allegro).

Tuba

Viola

Review the UNT String Audition Requirements prior to submitting your application. 

A movement from a standard viola concerto and a pair of movements from a Bach solo suite. Please note that the works listed are only suggested pieces; any standard work of comparable quality is acceptable. There is no memory requirement. The instrumentalist should prepare 10-15 minutes of music.

Violin

Voice