Brass, Woodwinds and Percussion:
● Only one musical selection is needed, though you may prepare more than one provided it fits into the 5 minute audition time. Your selection(s) should show your best tone quality and demonstrate both lyrical and technical playing.
● Acceptable repertoire includes a movement (or portion of a movement) from a sonata or concerto, a solo etude for your instrument, a small selection of orchestral excerpts for your instrument, or some combination of the above.
● Percussionists should perform on at least two different instruments.

If you have any questions regarding brass, woodwinds and percussion audition repertoire, please contact:
Dr. Zach Lyman at lymanzt@plu.edu.

Composition: Those interested in studying in composition are asked to perform on their primary instrument or voice using the guidelines given on this page. They should also bring a portfolio of original works to discuss with the composition faculty. Bring both printed scores and recordings if available.

If you have any questions regarding composition auditions, please contact: Dr. Greg Youtz at youtzgl@plu.edu.

Jazz: If you are performing a jazz piece at your scholarship audition, here are some guidelines:
● Whether you are a jazz vocalist or instrumentalist, you should prepare a jazz “standard,” defined as a jazz composition (ex.: “Blues Bossa”) or a piece from the Great American Songbook commonly used as a vehicle for jazz (ex.: “All of Me”). These are readily available in commercially sold jazz “fake books” such as The New Real Book, published by Sher Music Co.
● Sing or play through the composed melody for one chorus, then improvise for a chorus if you are able.
● Do not use as your audition piece a portion of your part from a big band arrangement (ex.: Letter B from the third trumpet part).
● Jazz pianists should either present an unaccompanied jazz solo piece or you may bring a playback device with an accompaniment track, such as an mp3 player or a device with iReal Pro software.
● Jazz bassists should play a chorus of melody, play an accompanying bass line for a chorus, then improvise for a chorus.
● Drummers, rather than playing a jazz piece, should be prepared to demonstrate a few bars of different styles: swing, Latin (samba, bossa nova, Afro-Cuban 6/8), ballad (using brushes), and funk/rock styles. You will also be asked to improvise a brief solo in a style of your choice.

If you have any questions regarding jazz audition repertoire, please contact:
Dr. Jared Hall at hallju@plu.edu.

Organ:  Prepare two contrasting works from different periods and regions.

If you have any questions regarding organ audition repertoire, please contact: Dr. Paul Tegels at tegelspa@plu.edu.

Piano: Prepare two contrasting pieces, one being from Baroque or Classical era (e.g., a piece by Bach OR a movement from a sonata by Haydn/Mozart/Beethoven). Second piece can be a Romantic or 20th century work.

If you have any questions regarding piano audition repertoire, please contact:
Dr. Oksana Ejhokina at ejokinoa@plu.edu.

Strings:
Violin
● Major and minor scales and arpeggios in three octaves with various bowings
● A movement of unaccompanied Bach
OR
An etude from the standard repertoire for violin: Mazas, Dont, Rode or similar study

If you have any questions regarding violin audition repertoire, please contact: Svend Ronning at ronninsj@plu.edu

Viola
● Major and minor scales and arpeggios in three octaves with various bowings
● A movement of unaccompanied Bach
OR
An etude from the standard repertoire for viola: Mazas, Rode, Campagnoli, Fuchs, or similar study

If you have any questions regarding viola audition repertoire, please contact: Betty Agent at agentbl@plu.edu

Cello
● Major and minor scales and arpeggios in three octaves with various bowings
● A movement of unaccompanied Bach
OR
An etude from the standard repertoire for cello: Popper, Du Port, Klengel, or similar study

If you have any questions regarding cello audition repertoire, please contact:Richard Treat at treatra@plu.edu

Double Bass (orchestra)
● Major and minor scales and arpeggios in two octaves with various bowings
● Two Contrasting Movements (slow and fast) from a Sonata by: Vivaldi, Marcello, Eccles, Hindemith, etc.
OR
A movement from a standard concerto by: Capuzzi, Dragonetti, Dittersdorf, Koussevitzky, Bottesini, Vanhal, etc.

If you have any questions regarding double bass audition repertoire, please contact Dr. Anna Jensen at jensenak@plu.edu.

Double Bass / Electric Bass (jazz)
● Major and minor scales and arpeggios in two octaves with various bowings
● Prepare a jazz “standard,” defined as a jazz composition (ex.: “Blues Bossa”) or a piece from the Great American   Songbook commonly used as a vehicle for jazz (ex.: “All of Me”). These are readily available in commercially sold jazz “fake books” such as The New Real Book, published by Sher Music Co.
Play a chorus of melody, play an accompanying bass line for a chorus, then improvise for a chorus.

For further information about jazz bass auditions, see the Jazz Studies audition guidelines in this document, or visit https://www.plu.edu/jazz/faq/ or contact Clipper Anderson at anderscr@plu.edu.

Harp
● An etude: Pozzoli, Bochsa or LaRiviere, or similar study
OR
A section of the Level 2 or 3 warm up from “On Playing the Harp” by Yolanda Kondonassis
● A standard solo of student’s choice

If you have any questions regarding harp audition repertoire, please contact Catherine Case at casecb@plu.edu.

Guitar (Classical Emphasis)
● Major and minor scales in two octaves.
● Two contrasting movements of pieces from the solo repertoire that demonstrate the student’s current performance level. The following pieces are suggested:
Milan: 6 Pavanas
Sor: Twenty Studies
Carcassi: 25 Melodious Studies
Tarrega: Adelita, Lagrima or Capricho Arabe
Villa-Lobos: Preludes and Etudes
Leo Brouwer: Estudios Sencillos

If you have any questions regarding classical guitar audition repertoire, please contact:
Elizabeth Brown at brownec@plu.edu.

Guitar (Jazz Emphasis)
● Major and minor scales in two octaves.
● Prepare a jazz “standard,” defined as a jazz composition (ex.: “Blues Bossa”) or a piece from the Great American Songbook commonly used as a vehicle for jazz (ex.: “All of Me”). These are readily available in commercially sold jazz “fake books” such as The New Real Book, published by Sher Music Co.

If you have any questions regarding jazz guitar audition repertoire, please contact Stephen Howland at howlansn@plu.edu or visit https://www.plu.edu/jazz/faq/.

Voice:
● 1 or 2 (if time permits) solo art songs in any language.
● Suggested Repertoire: songs presented at Solo/Ensemble, foreign language art song, or English folk song for which you have sheet music.

If you have any questions regarding voice audition repertoire, please contact:
Dr. James Brown at brownja@plu.edu.