Graduate Woodwind Audition Repertoire

Both MM and DMA flute applicants must submit pre-screening materials, including unedited recordings of performances of at least three contrasting pieces. Movements of larger works are acceptable. Selected applicants will be invited for an on-site audition.

MM clarinet applicants must submit pre-screening materials, including unedited recordings of performances of at least three contrasting pieces. Movements of larger works are acceptable. Selected applicants will be invited for an on-site audition.

DMA clarinet applicants must submit pre-screening materials, including unedited recordings (live performances are fine) of the exposition to the first movement of the Mozart Concerto, K. 622, plus two additional movements/pieces from the clarinet repertoire. Selected applicants will be invited for an on-site audition.

MM saxophone applicants must submit pre-screening materials, including unedited recordings of performances of at least three contrasting pieces, one of which must demonstrate extended techniques.  Movements of larger works are acceptable. Selected applicants will be invited for an on-site audition.

DMA saxophone applicants must submit pre-screening materials, including unedited recordings of performances of at least three contrasting pieces, one of which must demonstrate extended techniques, and one of which must be a transcription.  Movements of larger works are acceptable. Selected applicants will be invited for an on-site audition.

MM flute applicants must submit pre-screening materials (see above).

For the live audition, applicants should prepare:

• Two contrasting movements from one of the following:
  ◦  A sonata by J.S. Bach (E major, E minor, B minor, A major, or the Partita in A minor)
  ◦  A sonata by C.P.E. Bach (Hamburg Sonata or the Solo Sonata in A minor)
• Movements one and two of the Mozart Concerto in G major, K. 313, or Concerto in D major, K. 314
• One work in a contrasting style from the above (you may choose to play only one movement from a composition with multiple movements)
• Three contrasting orchestral excerpts
• Scales: 
  ◦  Major scales (major, minor, whole-tone) and arpeggios (diminished, minor, major, and augmented triads) may be required.
• Sight-reading

Applicants must be prepared to perform chosen works in their entirety. However, the auditioning committee may elect to hear only certain portions.

DMA flute applicants must submit pre-screening materials (see above).

For the live audition, applicants should prepare:

• One of the following:
  ◦  A sonata by J.S. Bach (E major, E minor, B minor, A major, or the Partita in A minor) 
  ◦  A sonata by C.P.E. Bach (Hamburg Sonata or the Solo Sonata in A minor)
• Mozart Concerto in G major, K. 313, or Concerto in D minor, K. 314
• One substantial twentieth-century concerto or sonata
• One work in a contrasting style from the above
• Four contrasting orchestral excerpts

Applicants must be prepared to perform chosen works in their entirety. However, the auditioning committee may elect to hear only certain portions.

• A slow aria/cantata by J.S. Bach
• A fast etude by Ferling
• Mozart Oboe Quartet, K. 370 (Mvmt I)
• Three orchestral excerpts displaying fast, slow, and articulated passages

• A slow aria/cantata by J.S. Bach
• Mozart Oboe Concerto in C, K. 314 (entire piece, cadenzas not required)
• A sonata/concerto prepared in its entirety, from a style period other than Classical
• Three orchestral excerpts displaying fast, slow, and articulated passages.

MM saxophone applicants must submit pre-screening materials (see above).

For the live 30-minute audition, applicants should prepare four works, in the following categories:

• one work written before 1980
• one work written after 1980
• one concerto 
• one movement from a transcription written before 1900, any style period
• NOTE: at least 1 work from the above categories must be by a composer from an underrepresented group 
• possible sightreading and scales may be asked.

Applicants should be prepared to discuss career goals.  Auditions in saxophone include a lesson with Dr. Frigo.

DMA saxophone applicants must submit pre-screening materials (see above).

For the live 30-minute audition, applicants should prepare a total of five works, in the following categories:

• one substantial work written before 1980
• one substantial work written after 1980
• one concerto
• one movement of a Baroque sonata or partita
• one vocal transcription
• NOTE: at least 1-2 works from the above categories must be by composers from underrepresented groups 
• possible sightreading and scales may be asked

Applicants must be prepared to perform chosen works in their entirety. However, the auditioning committee may elect to hear only certain portions.  Applicants should be prepared to discuss research interests and career goals. Auditions in saxophone include a lesson with Dr. Frigo.

• Three contrasting selections from standard repertoire, such as individual movements from sonatas, concertos, or other solo works.
• One of these selections can be an etude.
• Each work should be by a different composer and represent a variety of musical styles, technical demands, tempos, and compositional periods.
• Three standard orchestral excerpts
• Sightreading

M clarinet applicants must submit pre-screening materials (see above).

For the live audition, applicants should prepare:

• Movements one and two of the Mozart’s Concerto for Clarinet in A Major
• Two works in a contrasting style from the above (you may choose to play movements from a composition with multiple movements)
• Three contrasting orchestral excerpts

In addition, sight-reading, C transposition and major and minor scales may be required.

DMA clarinet applicants must submit pre-screening materials (see above).

For the live audition, applicants should prepare:

• Mozart Concerto, K. 622 (complete)
• Two additional complete works from the clarinet repertoire, one work being a major twentieth-century work
• Five orchestral excerpts representing a variety of styles

The audition may require sight-reading, including C transposition.

The use of an accompanist is optional for pre-screening and live auditions. If desired, audition pianists are obtained and paid by the applicant.

Questions about the program in Multiple Woodwinds should be directed to the area chair, Reid Messich (rmessich@uga.edu).