Audition & Portfolio Requirements

Below are the entry requirements for each instrument or area within the LSU School of Music, sorted by level of degree. If you have any questions about any of the requirements listed here, please contact the faculty member for that instrument or area.

 

Audition Dates

For Fall 2023 major entry into the School of Music:

On-Campus Audition Dates:

  • January 28, 2023
  • February 18, 2023

Recorded Audition Window (Priority):

  • August 1, 2022 - February 15, 2023*

*Recorded auditions are accepted continuously, but we recommend submitting recorded auditions before Feb. 15 for scholarship consideration and a timely admissions decision.

Music Minor: Please note that students seeking a minor in music do not need to audition through this process.

Auditions for music minors can be completed one of two ways: submit a recording OR audition in-person the week before the first week of classes. To submit a recorded audition, we recommend sending an Unlisted YouTube link of your video audition to musicadmissions@lsu.edu with the subject line “Minor Audition - <your full name>.” To arrange an in-person audition before the first week of classes, please contact the appropriate faculty member of your area/ instrument directly via email. View requirements below for detailed information regarding minor audition repertoire.

 

Undergraduate

Unless otherwise noted below, the audition requirements for the Minor in Music are the same as the requirements given for full degrees.

Recorded video auditions may be submitted via your myLSU application portal. It is recommended that recorded video auditions are filmed as one take, i.e. a single video. If you encounter accessibilty issues, technical difficulties, or other problems with your recorded submission, please contact us at musicadmissions@lsu.edu

Students interested in Music Education must complete an interview in addition to an audition on their primary instrument / voice.

Brass & Percussion

Major and Minor Requirements

  • The first movement exposition from two contrasting major horn concerti or major work for horn and piano
  • 3 orchestral excerpts of your choice that demonstrate high, low and lyrical playing
    OR the following three orchestral excerpts:
    • Tchaikovsky Symphony #5 Mvmt. 2
    • Shostakovitch Symphony #5 Mvmt. 1 (low tutti section)
    • Wagner Short Call from Siegfried
  • Sight reading may be included as part of the audition.
  • Transfer students will be tested in their ability of transposition

Major Requirements

  • A solo with contrasting stylistic selections, or two contrasting études (the Louisiana All-State études can count if the entire etude is prepared). These should be of sufficient difficulty to show your capabilities in each style of playing.
  • Prepare all major scales throughout your practical range.
  • The audition may include sight-reading.
  • Applicants may choose to perform extra material, including orchestral excerpts.

Minor Requirements

  • One etude or solo movement
  • Prepare scales for range

Major and Minor Requirements

  • A solo with contrasting stylistic selections, or two contrasting études. These should be of sufficient difficulty to show your capabilities in each style of playing.
  • Prepare all major scales throughout your practical range.
  • The audition may include sight-reading.

Major and Minor Requirements

  • A solo with contrasting stylistic sections (technical and lyrical), or two contrasting études of sufficient difficulty to show your capabilities in each style of playing.
  • Prepare all major scales throughout your practical range.

Major and Minor Requirements

Snare Drum

  • 1 Etude (i.e., Peters, Cirone)
  • Rudiments
  • Sight Reading

Marimba

  • One work for Two or Four Mallets (e.g., Masterpieces for Marimba by McMillan, Yellow After The Rain by Peters)
  • Major Scales
  • Sight Reading

Timpani

  • 1 Piece (i.e., Peters, Firth, Carroll)

Woodwinds

Major Requirements

  • All major scales
  • A complete etude from a standard collection such as Milde or Weissenborn
  • Two contrasting selections (one technical, one lyrical) from the solo literature (sonatas, concerti, and/or solo pieces)
  • Sight reading and rhythm skills may be assessed at the audition

Minor Requirements

  • All major scales
  • Two contrasting selections (one technical, one lyrical) from a standard etude collection and/or the solo literature (sonatas, concerti, and/or solo pieces)

Major Requirements

  • Two contrasting works (one technical, one lyrical). These could be Rose études, individual short pieces, or contrasting movements of a sonata or concerto.
  • Memorization of all major and chromatic scales is assumed and may be assessed at the audition. Sight-reading may also be assessed at the audition.

Minor & Transfer Requirements

  • Persons wishing to transfer at advanced levels or minor should contact Cecilia Kang directly for requirements.

Major and Minor Requirements

  • First movements of a Mozart Concert OR two contrasting movements (slow, fast) from a Bach Sonata
  • One contrasting piece of your choice from the standard flute repertoire
  • Prepare a chromatic scale (three octaves); and all major scales (minor scales are recommended but not required)

Major Requirements

  • Two contrasting movements from standard solo literature (sonatas, concerti, and/or solo pieces), including a Baroque piece or movement.
  • One etude by Ferling or Barrett (40 Progressive Melodies)
  • All major scales.

Minor Requirements

  • One movement from standard solo literature (sonatas, concerti, or solo works).
  • One etude by Ferling or Barrett (40 Progressive Melodies)
  • All major scales.

Major and Minor Requirements

  • Two contrasting works (one more technical, one more lyrical). These could be Ferling études, individual short pieces, or movements of a sonata or concerto.
  • Prepare all major and chromatic scales. The audition will also include sight-reading.
  • Persons wishing to transfer at advanced levels should contact the instructor for requirements.

 

Strings

Major Requirements

  • A movement from a standard concerto of your choice
  • A movement from a Suite by J.S. Bach
  • An étude by David Popper

Minor Requirements

  • 2 contrasting movements from a standard work, concerto, or sonata.
  • A scale in 3 octaves and a study.

Major and Minor Requirements

  • A Renaissance OR Baroque work such as Dowland, Milan, J.S. Bach, Weiss
  • An Etude by Sor, Giuliani or Carcassi
  • An Etude or Prelude by Villa-lobos, Brouwer or Ponce

Major Requirements

One or more of these selections should be performed from memory.

  • One movement from the Baroque period or Bach’s Unaccompanied Cello Suite.

  • The first or last movement of a major concerto; They may include, but are not limited to: Bottesini, Koussevitzky, Nino Rota, Vanhal, Dragonetti, etc. Or one other work from any period.

  • Two contrasting orchestral excerpts from: Mozart Symphony (No. 35, 39, 40); Brahms Symphony (No. 1, 2); Beethoven Symphony (No. 5, 9)

Minor Requirements

  • Your choice of two two-octave scales and arpeggios.
  • A solo of your choice.

Major and Minor Requirements

  • Two contrasting works from the standard solo or etude literature
  • One orchestral excerpt or cadenza

Major Requirements

  • A movement from any major viola concerto (excluding the Baroque period).
  • A movement from any sonata or a movement from the Bach solo suites.
  • A caprice, études, or any short piece demonstrating your technical abilities.

Minor Requirements

  • Any piece of your choice.

Major and Minor Requirements

  • A movement of a 19th or 20th century concerto.
  • Two contrasting movements of solo Bach.
  • One étude from Rode, Kreutzer or Dont.
  • Prepare three octave scales and arpeggios.

Piano / Voice

Major and Minor Requirements

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

  • A prelude and fugue by J.S. Bach OR 2-3 movements of a dance suite by J.S. Bach
  • A movement of a sonata by Haydn, Mozart, or Beethoven

One additional work of the applicant’s choice.

Major and Minor Requirements

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

  • A prelude and fugue by J.S. Bach OR 2-3 movements of a dance suite by J.S. Bach
  • A movement of a sonata by Haydn, Mozart, or Beethoven

One additional work of the applicant’s choice.

Major and Minor Requirements

An accompanist will be provided for the audition.

  • Two memorized selections, contrasting in style (Italian/English; slow/fast tempos, etc.)
  • Sight reading a brief musical excerpt

 

Music Studies

Area Requirements

  • Submit examples of your complete compositions to the College of Music & Dramatic Arts by January 15 (original manuscripts will not be returned).  For questions, contact Mara Gibson.
  • Composition applicants are also required to audition on a primary instrument (voice, piano, violin, trumpet, classical guitar, etc.). In addition, composition applicants will have an interview with Coordinator of Composition to discuss musical skills and experience.

***Live auditions for this area will be held virtually.

Area Requirements

  • Instead of auditioning for a musical instrument studio, applicants should instead prepare a portfolio of pertinent work to submit to the Experimental Music & Digital Media (EMDM) studio. (If applicants intend to additionally pursue an instrument, they should nonetheless set up an audition through the School of Music.)
  • The EMDM portfolio can take the form of a physical artifact of CD/DVD/documents, or preferably, a link to an e-portfolio consisting of examples of work that have been created within the Computer Music, Experimental Music, Music Technology, or Digital Media sphere.
  • As the program focuses on teaching computer music technology and aesthetics, composition, programming and/or engineering in a musical context (e.g. instrument design), and performance with technology, anything that might fit in would be good to see/hear.
  • Previous applications have consisted of: recordings, performances, pieces they’ve produced or mastered, animations, video art, sonic art, compositions, scores, websites, program code examples, Arduino hardware, or instruments they’ve made, and so on.
  • The portfolio is used as an admission mechanism and more importantly, to gauge where/how the student would fit into the program.
  • We encourage prospective EMDM students to attend an official audition day to meet the EMDM faculty.

Jazz Saxophone, Trumpet, Trombone

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  • Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.

Jazz Piano or Guitar

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  •  Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
  • Pianists and guitarists must "comp" chords for at least one chorus on each of their 3 tunes.

Jazz Bass

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  • Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (there are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (there are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
  • Bassists must play bass lines for at least two choruses of each of their 3 tunes.  

Jazz Drum Set

  • Use the following recordings as reference points:
    • Miles Davis - Freddie Freeloader
    • Sonny Rollins - Tenor Madness
    • Count Basie - Magic Flea
  • Demonstrate Swing feel at several tempos.
  • Demonstrate Afro-Cuban feel.
  • Use the following recording as a reference point:
    • Chucho Valdez - Mambo Influenciado
  • Demonstrate Bossa Nova feel.
  • Use the following recording as a reference point:
    • Antonio Carlos - Jobim Wave
  • Demonstrate Brushes playing.
  • Use the following recording as a reference point:
    • Neal Hefti - Cute
  • Demonstrate Funk feel.
  • Use the following recording as a reference point:
    • Herbie Hancock - Chameleon
  • In addition, we would love to hear any jazz solos you have transcribed or otherwise learned. Options would be solos by Max Roach, Art Blakey, Billy Higgins, Philly Joe Jones, or anything you have worked on.

Students interested in Music Education must complete a Music Education interview in addition to an audition on their primary instrument / voice.

Be prepared to discuss your musical experiences, and reasons for pursuing a music education degree at LSU. Include anything about your background and/or musical interests and skill set. The Music Education department is particularly interested in why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice.

B.M.E applicants are encouraged to submit an optional 5-7 minute video to musicadmissions@lsu.edu that highlights skills you believe to be associated with music education. The requested format is an Unlisted YouTube or Vimeo link. Please submit this before the completion of your audition and interview to ensure its consideration towards the B.M.E program.

MORE ABOUT THIS AREA

 

Graduate

The audition or portfolio requirements for graduate students are listed below. Please note that auditionees in all areas may be asked to sight-read. Accompanists are not necessary for instrumental auditions.

Note: Applicants are automatically considered for Teaching Assistantships and Graduate School Tuition Awards.

Master of Music

  • The first movement of one of the following standard concerti (including cadenzas)
    • Mozart
    • Weber
    • Hummel
  • Two additional contrasting selections (one technical, one lyrical) from the solo literature, one of which should be written by a BIPOC/traditionally underrepresented composer. - One of these selections should also be written after 1980.
  • Choose three of the following excerpts:
    • Marriage of Figaro Overture (mm. 139 - 171)
    • Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
    • Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
    • Bolero (solo)
    • Rite of Spring (opening solos)
    • Scheherazade (Mvt. 2, solo and cadenzas)
    • Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
    • Firebird (Berceuse solo)
    • Shostakovich, Symphony No. 9 (solo from Mvts. 4 - 5)
    • Ravel, Piano Concerto (Mvt. 1, rhl. 9 - 10, and Mvt. 3, rhl. 14 - 16)
  • Sight reading and rhythm skills may be assessed at the audition

DMA

  • One of the following concerti (complete, including cadenzas)
    • Mozart
    • Weber
    • Hummel
  • Two additional contrasting selections (one technical, one lyrical) from the solo literature, one of which should be written by a BIPOC/traditionally underrepresented composer. - One of these selections should also be written after 1980.
  • Choose five of the following excerpts:
    • Marriage of Figaro Overture (mm. 139 - 171)
    • Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
    • Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
    • Bolero (solo)
    • Rite of Spring (opening solos)
    • Scheherazade (Mvt. 2, solo and cadenzas)
    • Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 - 25, 184 - 188, 300 - 303, 348 - end)
    • Firebird (Berceuse solo)
    • Shostakovich, Symphony No. 9 (solo from Mvts. 4 - 5)
    • Ravel, Piano Concerto (Mvt. 1, rhl. 9 - 10, and Mvt. 3, rhl. 14 - 16)
  • Prepare a spoken statement to deliver at your audition on your musical background, future career goals, and musical/research interests.

  • A movement from a standard concerto of your choice
  • A movement from a Suite by J.S. Bach
  • An étude by David Popper 

  • Pre-Screening (submitted via the portfolio section of your application portal): Video recordings reflecting both rehearsal and performance conducting.
  • Live Audition
    • 10 -15 minute rehearsal with one of the LSU choirs on literature that is provided for advance preparation by the applicant (the choir is prepared so that the student may spend the rehearsal time working on musical and expressive issues)
    • Musicianship testing
    • Vocal solo and additional performance of other major instruments
    • An interview with the choral professors

Master of Music

(memorization of repertoire is not required)

  • Mozart Clarinet Concerto (All)
  • Two selections from a diverse and varied repertoire from the clarinet literature. One of the pieces should be composed by either a BIPOC, or underrepresented composer.
  • Two orchestral excerpts that represent your highest level of proficiency.
  • Sight-reading may be assessed.
  • At the audition, there may be a discussion on your previous training and future career goals.

DMA

(at least one work or movement must be performed from memory)

  • Mozart Clarinet Concerto (All)
  • Three selections from a diverse and varied repertoire from the clarinet literature. One of the pieces should be composed by either a BIPOC, or underrepresented composer.
  • Five orchestral excerpts that represent your highest level of proficiency.
  • Sight-reading may be assessed.
  • At the audition, there may be a discussion on your previous training, future career goals, and research interests.

Pre-Screening Requirements

Pre-screening materials should be submitted via your myLSU application portal; due December 1.

  • Two collaborative selections: one vocal and one instrumental (with partners). Styles should be contrasting.
  • One solo piece.

Audition

A live audition is preferred, but Zoom auditions will be considered. Please contact Dr. Otamendi directly at otamendi1@lsu.edu

Master of Music

Partners will be provided for live auditions.

Please choose four songs from the list below:

  • Wie Melodien zieht es mir (C), (A) - Brahms
  • St. Ita's Vision (original key) - Barber
  • Meine Liebe ist grün (F#) - Brahms
  • Liebesbotschaft (G) - Schubert
  • Il pleure dans mon coeur (G#) - Debussy
  • Green (A-flat) - Debussy
  • Ganymed (A-flat) - Schubert
  • Botschaft, op. 47 (original key) - Brahms
  • C'est l'extase (E) - Debussy
  • Allerseelen (E-flat), (D-flat) - Strauss

Prepare a fast movement from one of the following sonatas:

  • Any of the Brahms violin sonatas
  • Franck violin sonata
  • Any of the Brahms cello sonatas
  • Rachmaninoff cello sonata
  • Beethoven cello sonatas No. 3, 4, or 5
  • Beethoven violin sonatas No. 1, 5, 7, 8 or 9

Substitutions for vocal and instrumental repertoire can be accepted, please email Dr. Otamendi at otamendi1@lsu.edu

Prepare one solo piece of your choice.

DMA

Please choose six songs from the list below:

  • Wie Melodien zieht es mir (C), (A) - Brahms
  • St. Ita's Vision (original key) - Barber
  • Meine Liebe ist grün (F#) - Brahms
  • Liebesbotschaft (G) - Schubert
  • Il pleure dans mon coeur (G#) - Debussy
  • Green (A-flat) - Debussy
  • Ganymed (A-flat) - Schubert
  • Botschaft, op. 47 (original key) - Brahms
  • C'est l'extase (E) - Debussy
  • Allerseelen (E-flat), (D-flat) - Strauss

Prepare a complete sonata from the following list:

  • Any of the Brahms violin sonatas
  • Franck violin sonata
  • Any of the Brahms cello sonatas
  • Rachmaninoff cello sonata
  • Beethoven cello sonatas No. 3, 4, or 5
  • Beethoven violin sonatas No. 1, 5, 7, 8 or 9

Substitutions for vocal and instrumental repertoire can be accepted, please email Dr. Otamendi at otamendi1@lsu.edu

Prepare one solo piece of your choice.

Submit 3-5 of your top works that are representative of your compositional form via your myLSU application portal. Materials may include scores and performances, featuring various solo and ensembles works. 

***Live auditions for this area will be conducted virtually.

  • Two contrasting movements from your choice of Bach Cello Suite
  • Solo of your choice
  • Two contrasting orchestra excerpts of your choice

Submit an e-portfolio consisting of examples of work that have been created within the Computer Music, Experimental Music, Music Technology, or Digital Media sphere.

The portfolio should demonstrate your experience within this broad field: performance video, compositions, programming examples, hardware documentation, art installations, academic writing, etc.

Use this portfolio to show us what you are passionate about and what kind of contribution you are preparing to make to the discipline.

  • Mozart Concerto
  • A Bach Sonata
  • Two additional contrasting works from the standard flute repertoire
  • Four standard orchestral excerpts of your choice

LSU is not accepting any guitar graduate students at this time.

Applicants should prepare three memorized compositions from the following musical periods:

  • Baroque or Classical
  • Romantic
  • Contemporary

Sight reading and transposition will be included as part of the audition.

  • The first movement exposition from two contrasting major horn concerti or major work for horn and piano
  • 5 orchestral excerpts of your choice that demonstrate high, low and lyrical playing

Jazz Saxophone, Trumpet, Trombone

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  • Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.

Jazz Piano or Guitar

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  •  Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (these are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
  • Pianists and guitarists must "comp" chords for at least one chorus on each of their 3 tunes.

Jazz Bass

  • Play the melody and 2 choruses of improvisation on 3 jazz tunes of varying styles.
  • Sample medium swing jazz tunes (these are just ideas, there are many tunes that fit this category)
  • Solar, Doxy, Lady Bird, Tune Up, Groovin' High, Have You Met Miss Jones, There Will Never Be Another You, Stablemates
  • Sample straight eighth jazz tunes (there are just ideas, there are many tunes that fit this category)
  • Blue Bossa, Recordame, Black Orpheus, Meditation, Triste
  • Sample blues or "Rhythm Changes" tunes (there are just ideas, there are many tunes that fit this category)
  • Billie's Bounce, Au Privave, Now's The Time, Lester Leaps In, Rhythm-in-ing, Moose The Mooche
  • You may bring your own accompaniment (Aebersold Play-Alongs, Learn Jazz Standards YouTube Play-Along, IRealPro Play-Along), however, live piano accompaniment will be available in each audition, provided by LSU jazz faculty.  
  • Bassists must play bass lines for at least two choruses of each of their 3 tunes.  

Jazz Drum Set

  • Use the following recordings as reference points:
    • Miles Davis - Freddie Freeloader
    • Sonny Rollins - Tenor Madness
    • Count Basie - Magic Flea
  • Demonstrate Swing feel at several tempos.
  • Demonstrate Afro-Cuban feel.
  • Use the following recording as a reference point:
    • Chucho Valdez - Mambo Influenciado
  • Demonstrate Bossa Nova feel.
  • Use the following recording as a reference point:
    • Antonio Carlos - Jobim Wave
  • Demonstrate Brushes playing.
  • Use the following recording as a reference point:
    • Neal Hefti - Cute
  • Demonstrate Funk feel.
  • Use the following recording as a reference point:
    • Herbie Hancock - Chameleon
  • In addition, we would love to hear any jazz solos you have transcribed or otherwise learned. Options would be solos by Max Roach, Art Blakey, Billy Higgins, Philly Joe Jones, or anything you have worked on.

Master of Music

  • Resume/vita
  • Copy of teaching certificate (if not certified, you must complete Alternate Certification Program simultaneous with the MM degree)
  • Interview with faculty, if graduate teaching assistantship is desired.
  • Please write a brief (ca. 500 word) statement that will enable us to know more about you and your reasons for applying for a graduate degree in music education at LSU. Include anything relevant about your background, research and/or musical interests and skill set. The information you provide will support both your application for admission and a possible financial award/assistantship. We are particularly interested why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice. This personal statement of purpose will serve as an additional writing sample, so please edit carefully.

PhD

  • Resume/vita
  • 3+ years of successful, full-time teaching in K-12 schools (valid teaching certificate) or an equivalent
  • Evidence of teaching ability/musicianship:
    • A video of class teaching, ensemble rehearsal, or ensemble performance for which you are solely responsible (submitted via Acceptd)
    • Any other relevant examples / evidence of your choice.
  • Interview with faculty
  • Please write a brief (ca. 500 word) statement that will enable us to know more about you and your reasons for applying for a graduate degree in music education at LSU. Include anything relevant about your background, research and/or musical interests and skill set. The information you provide will support both your application for admission and a possible financial award/assistantship. We are particularly interested why you are interested in pursuing this degree at this time, your opinions of music teaching and learning, and why LSU is one of your schools of choice. This personal statement of purpose will serve as an additional writing sample, so please edit carefully.

As part of your online application, you will be asked to provide the following:

  • Scholarly writing sample specific to Musicology
  • Statement of Purpose
  • Resume or Curriculum Vitae
  • Three letters of recommendation
  • Complete transcripts
  • GRE score

  • Submit examples of your written work, such as copies of essays, term papers, and/or a thesis, for evaluation.
  • Examples should be uploaded online with your LSU online application.

Master of Music

  • At least two contrasting solo works from standard solo literature (sonatas, concerti, and/or solo pieces)
  • A Baroque piece or movement
  • One etude by Ferling or Barrett (Grand Study)
  • Three orchestral excerpts of your choice

DMA

  • Three contrasting solo works from standard literature (sonatas, concerti, and/or solo pieces)
  • Five orchestral excerpts of your choice
  • Please bring three copies of your audition program
  • Submit a writing sample

  • Pre-Screening (submitted via the portfolio section of your application portal): orchestral conducting applicants must submit a video recording of a rehearsal and performance.
  • Live Audition: on-campus interview

Memorization is not required.

Snare Drum

  • One Etude (e.g., Delecluse, Peters, Cirone)
  • Two Orchestral Excerpts
  • Rudiments
  • Sight Reading

Marimba

  • One advanced work (e.g., Time for Marimba by Miki, Dances of Earth and Fire by Klatzow)
  • Scales
  • Sight Reading

Xylophone and/or Glockenspie

  • Two orchestral excerpts

Timpani

  • One advanced work (e.g., Eight Pieces for Four Timpani by Carter)
  • Two orchestral excerpts

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal

  • Prelude and Fugue or other complete work by J.S. Bach (toccata, dance suite, etc.)
  • A full sonata by Haydn, Mozart or Beethoven
  • Two contrasting works from different periods (Romantic, Impressionist, Contemporary)Alternate repertoire choices must be approved in advance by piano faculty.
  • Audition must be performed from memory. Exceptions must be approved by piano faculty. 

Live Audition (by invitation)

  • Same requirements as pre-screening
  • Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal

  • A Prelude and Fugue by J.S. Bach
  • A full sonata by Haydn, Mozart or Beethoven
  • One contrasting work

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

Live Audition (by invitation)

  • Same requirements as pre-screening
  • Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met

An audition consisting of 45-60 minutes of music, representing a variety of styles and demonstrating a high level of musicianship and technical command of the instrument, that includes:

  • A transcription
  • A core piece of the saxophone repertory
  • A piece exhibiting your control of extended techniques

Applicants should prepare a standard concerto, and 5 standard orchestral excerpts, chosen from the following: 

Tenor Excerpts

  • Berlioz: Hungarian March, Symphonie Fantastique
  • Brahms: Symphony No. 2 & 4
  • Hindemith: Symphonic Metamorphasis
  • Mahler: Symphony No. 3
  • Mozart Requiem: Tuba Mirum, Kyrie
  • Ravel: Bolero
  • Rossini: La Gazza Ladra, William Tell Overture
  • Saint-Saens: Organ Symphony (No. 3)
  • Schumann: Symphony No. 3
  • Strauss: Ein Heldenleben, Til Eulenspiegel
  • Wagner: Ride of the Valkyries, Tannhauser, Lohengrin Act 3

Tenor Solos

  • Albrechtsberger: Concerto
  • Casterede: Sonatine
  • Crespo: Improvisation No. 1
  • Creston: Fantasy
  • David: Concertino
  • Dutilleux: Chorale Cadence and Fugue
  • Grøndahl: Concerto
  • Hindemith: Sonata for trombone and piano
    Martin: Ballade
  • Leopold Mozart: Concerto
  • Tomasi: Concerto
  • Wagenseil: Concerto

Bass Trombone Solos

  • Bozza: New Orleans
  • Lebedev: Concert Allegro
  • Spillman: Concerto
  • Vaughn Williams: Concerto for Tuba
  • Ritter-George: Concerto

Bass Trombone Excerpt

  • Berlioz: Hungarian March
  • Beethoven: Symphony No. 9
  • Brahms: Symphony No. 1 & 4
  • Franck: Symphony in D minor
  • Haydn: Creation
  • Kodaly: Hary Janos
  • Respighi: Fountains of Rome, Pines of Rome
  • Schumann: Symphony No. 3
  • Strauss: Ein Heldenleben
  • Wagner: Die Walkure, Das Rheingold

We strongly encourage you to perform at least one piece/excerpt on a trumpet other than the B-flat (such as C, E-flat, or piccolo).

  • 2 major solo movements from different time periods in contrasting styles
  • 4 standard orchestral excerpts
  • Sight-reading
  • A solo with contrasting stylistic selections, or two contrasting études (these should be of sufficient difficulty to show your capabilities in each style of playing)
  • All major scales throughout your practical range

Master of Music

  • Minimum of 5 standard orchestral/band excerpts
  • 30 minutes of contrasting solo and/or etude repertoire appropriate for students at the graduate level
  • Sightreading

DMA

  • Minimum of 5 standard orchestral/band excerpts
  • 45 minutes of contrasting solo and/or etude repertoire appropriate for students at the graduate level
  • Sightreading

Master of Music

  • Two contrasting movements of unaccompanied Bach
  • First movement of a standard 20th Century concerto (Walton, Bartok, Hindemith, etc.)
  • One short work of your choice

DMA

  • Two contrasting movements of unaccompanied Bach
  • First movement of a standard 20th Century concerto (Walton, Bartok, Hindemith, etc.)
  • Two additional contrasting short works (i.e. études, a slow movement, a sonata movement, or standard orchestral excerpts)

  • Two contrasting movements of ANY unaccompanied work by J.S. Bach
  • The first movement of ANY 19th or 20th Century concerto
  • The first movement of ANY concerto by Mozart (cadenza required)
  • A piece of your choice

Pre-Screening

  • Pre-screenings are submitted via the portfolio section of your application portal.
  • 4-6 memorized selections must be presented utilizing French, German, Italian, and English languages.
  • One selection MUST BE an operatic aria (no more than two arias.)

Live Audition

  • By invitation only. Held on an Audition Day.
  • Same requirements as pre-screening
  • Same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met.
  • Voice applicants are provided a staff accompanist, but are welcome to use a personal accompanist for the live audition.

Pre-Screening

Pre-screening materials should be submitted via your myLSU application portal

  • A face to the camera video.
  • The video should be approximately 30 minutes in length and include 15 minutes of rehearsal and 15 minutes of performance.
  • The repertoire is the applicant’s choice, but should represent a variety of styles.
  • A repertoire list of pieces conducted in performance
  • Curriculum Vitae

Live Audition

  • By invitation only.
  • Invited applicants will complete a 20-minute audition with the LSU Wind Ensemble or Symphonic Winds.
  • The audition repertoire will be chosen in consultation with the candidate and the wind conducting faculty.
  • An interview with the Department of Bands faculty.