Undergraduate Studies Audition Requirements
Students intending to major in Music at SMU Meadows School of the Arts must perform an audition on their principal instrument (includes Voice).
Applicants may audition in person on campus, at select Regional auditions or by uploading an audition video to the Meadows website or on getacceptd.com ($25 fee, but allows submission to multiple schools).
In-person auditions are preferred.
Admission to an undergraduate Music program at the Meadows School of the Arts requires acceptance to SMU and a successful audition.
Audition requirements are listed alphabetically by instrument further below.
Bachelor of Music in Performance candidates: Students intending to major in the Music Performance program must perform an audition on their principal instrument as outlined below.
Bachelor of Music in Composition candidates: In addition to performing an audition on your principal instrument as outlined below, candidates must upload examples of original compositions in the form of PDF scores and/or midi recordings or recordings of live performances. An original composition may be performed as part of your audition.
Bachelor of Music in Music Education candidates: In addition to performing an audition on their principal instrument as outlined below, an interview must be completed with the music education faculty.
Bachelor of Music in Music Therapy candidates: In addition to performing an audition on their principal instrument as outlined below, an interview must be completed with the music therapy faculty.
Bachelor of Arts in Music candidates: Students intending to major in the Bachelor of Arts program must perform an audition on their principal instrument as outlined below.
Minor in Music candidates: Students intending to minor in Music must perform an audition on their principal instrument as outlined below.
Instruments arranged alphabetically.
A movement from a standard concerto or recital piece that will demonstrate the candidate's technical proficiency; any slow movement from a standard concerto (candidate may substitute any slow study from Milde Concert Studies or Study #21 from Weissenborn Daily Studies).
One etude of Popper, Piatti, Duport, or equivalent work; two movements from a Bach suite; and one movement of a standard concerto.
All major and minor scales; one etude from the Rose 32 Etudes (applicant's choice); Concertino by C.M. Von Weber; and the Concerto by Mozart.
Two contrasting movements from a concerto or sonata OR two contrasting etudes; two orchestral excerpts.
Solo of choice; two contrasting etudes (i.e. one melodic, one technical); major scales and arpeggios.
1st movement of the Mozart Concerto in G Major; a second piece of your choice that contrasts stylistically with the Mozart concerto; all major and minor scales.
GUITAR (Classical Guitar)
Three pieces chosen from differing style periods: one Renaissance or Baroque piece, one classic or romantic-era piece, and one modern piece. Recommended: 6 Renaissance Lute Pieces (ed. Chilesotti); Bach suites; Sor 20 Studies (ed. Segovia); Ponce preludes; Brouwer etudes; Villa-Lobos preludes.
Two contrasting solos of choice and one orchestra excerpt of choice.
Two contrasting etudes (such as Kopprasch, Kling, or Maxine Alphonse); all major and melodic minor scales; two to four contrasting orchestral excerpts; and one of the following: 1st movement of one of the Mozart Horn Concerti (1-4); 1st movement of the Strauss Horn Concerto No. 1; 1st movement of a Beethoven sonata, or 1st movement of the Hindemith Sonata.
One Barret Grand Study; two movements of contrasting style from a concerto, sonata, etc.; one orchestral excerpt.
Auditions for entering first year organ majors should include a representative selection of repertoire from various periods illustrating the candidate's level of preparation and expertise at the instrument. All freshman organ majors must also audition on piano.
Transfer students should include a Baroque piece, a major Bach work, a piece in the romantic style, and a contemporary piece, preferably one demonstrating technical dexterity.
All auditioning organ students must include a complete repertoire list, specification of the organ on which the audition was recorded, when applicable, and a listing of the dates when each work was begun. Bring these to the audition or submit them with the recording.
A short sight reading exercise will be administered at the audition.
PERCUSSION — audition on all of the following:
All major and minor scales and arpeggios (two octaves); one two-mallet etude or solo; one four-mallet etude or solo.
Any etude by Goodman, Hochrainer, or Delecluse using three or four drums.
One etude from 14 Modern Contest Solos by John S. Pratt; one etude by Cirone, Delecluse or comparable.
Audition repertoire should include music from three stylistic periods. The following list is designed to help prospective pianists select appropriate repertoire:
- Baroque: A Bach prelude and fugue from the Well-Tempered Clavier, Volume One or Two; a two-part or three-part invention; a French or English suite or partita; or two or three Scarlatti sonatas (Undergrad = one mvt; M.M./PD = all mvts)
- Classical: A sonata by Haydn, Mozart, or Beethoven (Undergrad = one mvt; M.M./PD = all mvts)
- Romantic: A composition by Chopin, Schubert, Schumann, Brahms, Liszt, or Rachmaninoff
- Impressionistic: A work by Debussy or Ravel
- Contemporary: A composition by Bartok, Prokofiev, Shostakovich, Kabelevsky, Copland, Persichetti, Dello Joio, Gershwin or any other recognized twentieth-century composer
A short sight reading exercise will be administered at the audition.
Any major concerto OR movements 1 & 2 or movements 2 & 3 of the Creston Saxophone Sonata; and major and minor scales.
Solo of choice; two contrasting etudes (i.e. one melodic, one technical); two orchestral excerpts; and major scales and arpeggios.
Two contrasting etudes from the following: Arban’s Characteristic Etudes or Brandt’s 34 Studies; two to four orchestral excerpts; all major and minor scales; and one of the following: 1st or 3rd movement of the Haydn Concerto; 1st or 3rd movement of the Hummel Concerto; 1st or 3rd movement of the Kennan Sonata.
All major scales; two contrasting etudes from either Blazevich (Book I), Kopprasch or Bordogni (Rochut); three to five contrasting orchestral excerpts of an applicant's choice; and one of the following: Hindemith Tuba Sonata or 1st movement of the Vaughn Williams Concerto.
Two contrasting movements of Bach; one movement of a concerto; and three orchestral excerpts—one that includes spiccato. No etudes.
Three pieces of different styles. One piece may be a caprice or etude.
VOICE (Requires submission of a “pre-screening” video by December 1st)
Applicants must perform two songs from memory: One art song in English, and one aria or art song in a language other than English.