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Repertoire for Auditions

The information below will help you prepare for your Crane School of Music audition. The works listed below are examples of acceptable repertoire. Prospective students are encouraged to consult with their instructors to select works that best represent your level of achievement. Additional questions should be directed to the relevant faculty member(s) for your area of study. Students wishing to audition must register for an audition ahead of time.

REGISTER FOR AUDITION Auditions FAQs

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include, but are not limited to:

  • Jerome Besozzi, Sonata
  • Johann Ernst Galliard, Six Sonatas
  • Johann Friedrich Fasch, Sonata
  • Georg Philipp Telemann, Sonata in F Minor
  • William Hurlstone, Sonata in F
  • Wolfgang Amadeus Mozart, Concerto
  • Antonio Rosetti, Concerto in B Flat
  • Camille Saint-Saëns, Sonata in G
  • Antonio Vivaldi, Concerti
  • Carl Maria von Weber, Concerto in F
  • Carl Maria von Weber, Hungarian Fantasy
  • Johann Nepomuk Hummel, Concerto

 

For Music Performance majors:
Please prepare two contrasting works (one lyrical in style, showing legato playing, and one faster piece, showing your technical abilities), including one movement of a concerto. A sight-reading excerpt may be asked. 

For all other degrees (Music Education, Music Business, Musical Studies, or the Bachelor of Arts in Music):
Please prepare two contrasting works. These can be from any style (not just Classical) but should provide a good example of your musicality, tone, and intonation. Your audition will also include an interview about your career goals and your commitment to personal excellence. 

If you choose to apply for any double majors including Music Performance, please follow the music performance audition requirements. 

Appropriate repertoire examples include, but are not limited to:

  • Concerti:
    • Luigi Boccherini, Concerto in B-Flat Major
    • Léon Boëllmann, Symphonic Variations
    • Franz Joseph Haydn, Concerto in C
    • Geor Goltermann, Concerto No. 5
    • Dmitri Kabalevsky, Concerto No. 1, or Concerto No. 2  
    • Édouard Lalo, Cello Concerto 
    • Bernhard Romberg, Cello Concerto No. 2 
    • Camille Saint-Saëns, Cello Concerto No. 1
  • Sonatas by
    • Luigi Boccherini
    • Johannes Brahms, Sonata in E Minor 
    • Sergei Prokofiev
    • Dmitri Shostakovich 
    • Antonio Vivaldi

Contrasting piece examples include, but are not limited to: 

  • Camille Saint-Saëns, The Swan
  • Sergei Rachmaninoff, Vocalise
  • Ernest Bloch, Prayer
  • Mark Summer,  Julie-O
  • Enrique Granados, Intermezzo 
  • David Popper, any of the “showpieces” 
  • J. S. Bach, Solo Cello Suites I, II, or III only (Prelude, Allemande, Courante, or Gigue preferred)
     

For questions about repertoire, please contact Dr. Marie-Élaine Gagnon at gagnonmc@potsdam.edu.

 

Clarinet candidates should prepare:

Bb Clarinet:

  • Two Contrasting Selections from the following (Please contact clarinet faculty if you have questions)*
    • Solo works or movements (such as standard Concertos, Carl Maria von Weber Concertino, Francis Poulenc Sonata, Henri Rabaud, André Messager, Willson Osborne or equivalent solo repertoire)
    • Contrasting etudes (Cyrille Rose: 32 Etudes recommended)
  • Scales:

Bass clarinet:

  • Two Contrasting Selections from the following (Please contact clarinet faculty if you have questions)*
    • Solo works or movements (such as Michael Kibbe Sonata, Eugence Bozza Ballade, David Bennett Deepwood or similar; B-flat works played on bass are also acceptable)
    • Contrasting etudes (Cyrille Rose: 32 Etudes recommended)
  • Scales:

Auditionees may play either all solo repertoire, all etudes or a combination of the two. Sight reading may be asked in live auditions. If you have any questions about repertoire selections, please contact the clarinet studio faculty at kirkj@potsdam.edu and hoernice@potsdam.edu.

For Music Performance majors:
Please prepare two contrasting works; one should showcase your expressive legato playing, while one should demonstrate your ability to play faster passages.  

All other degrees (Music Education, Music Business, Musical Studies, or Bachelor of Arts in Music):
Please prepare two contrasting works. These can be from any style (not just Classical), but should provide a good example of your musicality, tone, and intonation. 

If you choose to apply for any double majors including Music Performance, please follow the music performance audition requirements. 

Your audition will also include an interview about your career goals and your commitment to personal excellence. 

 If you have any questions about the audition process, please contact Professor John Geggie at geggiejd@potsdam.edu

Students in the Bachelor of Arts (BA) Music degree (only) can opt to have Electronic Digital Instruments as their primary instrument. Electronic Digital Instruments (EDI) can include — but are not limited to — computers with or without MIDI control surfaces (such as Ableton Push or instruments from Novation, Akai, Native Instruments, Arturia, ROLI, or others), digital and analog synthesizers, iOS/Android devices, and other technology-centric instruments.  

Students auditioning to the Crane School of Music on electronic digital instruments (EDI) are encouraged to attend an on-campus in-person audition day. 

Audition Requirements 

Prepare a live performance of up to five minutes in length demonstrating your musicality and showcasing your ability to cogently utilize your EDI, with no restrictions on genre, style, or mood. While it might include backing tracks that are pre-composed in a digital audio workstation, the performance must include an unequivocally live component, such as real-time recording and looping of layered tracks, playing bass or lead lines on a MIDI controller, tweaking effects parameters on a controller surface, or other musical adaptations that are performed in the moment.

For on-campus auditions, the Crane School of Music will provide a stereo PA system (loudspeakers, mixer, and power strip). All other hardware used in the performance must be provided by the auditioning student. Software used in the performance must either be free/open source or have been legally purchased by the performer: Under no circumstances can proprietary software be pirated, cracked, or obtained using means other than legal transaction. 

Video Auditions: Prospective students who are unable to attend an on-campus in-person audition should prepare one (1) unedited video of their performance materials. Videos should not have edits. Videos should be uploaded to Acceptd when you are completing your audition registration form on that platform. Students submitting a video audition should also upload one (1) text document (Word, PDF, etc.) that lists all software and specialized hardware used in the creation of the video performance. (You do not need to list information about basic hardware such as your laptop, camera, and microphone.)

For more information or questions regarding audition requirements or any related matters, please contact Dr. Jerod Sommerfeldt. 

Euphonium: Please prepare two contrasting movements, pieces, or etudes one fast/technical and the other slow/lyrical. 


Representative works include but are not limited to:

  • Joseph Edouard Barat, Andante and Allegro 
  • Anthony Barfield, Heritage
  • Marco Bordogni/ Joannes Rochut, Vocalise
  • Antonio Capuzzi, Andante and Rondo
  • Fred Clinard, Sonata
  • Ferdinand David, Concertino
  • Kevin Day, Concerto
  • Eric Ewazen, Sonata
  • Arthur Frackenpohl, Sonata
  • Ida Gotkovsky, Concerto 
  • Alexandre Guilmant, Morceau Symphonique
  • Benjamin Horne, Stutter Step
  • Joseph Horovitz, Concerto
  • Gordon Jacob, Fantasia
  • Elizabeth Raum, Romance
  • Philip Sparke, Fantasy
  • Georg Philipp Telemann, Fantasies or Sonatas
  • H. W. Tyrell, Etudes
  • Donald White, Lyric Suite
  • Barbara York, Sonatas

Please contact Dr. Charles Guy for more information about repertoire choices.

Please prepare two contrasting sections or movements from two contrasting styles or periods of music. In addition, students may be asked major and chromatic scales, as well as an example of sightreading. Example works include:

Sonatas: J.S. Bach,  George Frederic Handel, Paul Hindemith, Benedetto Marcello, Francis Poulenc, Georg Philipp Telemann.

Concerti: Luigi Boccherini, François Devienne, Joseph Haydn, Jacques Ibert, Wolfgang Amadeus Mozart, Carl Nielsen, Giovanni Battista Pergolesi, Johann Joachim Quantz, Philipp Telemann.

Other solo pieces: 

  • Ernest Bloch, Suite Modale 
  • Cécile Chaminade, Concertino
  • Claude Debussy, Syrinx
  • Johannes Donjon, Offertoire
  • Franz Doppler, Hungarian Fantasie
  • Gabriel Fauré, Fantasie (or other French Conservatory pieces)
  • Arthur Honegger, Danse de la Chèvre
  • Georges Hüe, Serenade
  • Kent Kennan, Night Soliloquy

Suites and fantasies: Philipp Telemann, J.S. Bach. Other pieces of comparable difficulty also are acceptable.

Most of the audition must be played on a nylon-string classical guitar (see below for the exception). Good music reading skills are essential, not just for your audition, but for success in all your classes as a college music major. You will be asked to sightread single-line melodies up through the fifth position. In addition to the sightreading, students should prepare the following: 

  • One major scale and one minor scale, three octaves, plucked fingerstyle.
  • Two solo works that contrast in style, tempo, and musical period.
    • One work must be from the standard classical guitar repertoire. 
    • The other work may be (but is not required to be) in a non-classical style. It should be played fingerstyle and be a good representation of your facility on the guitar and your overall musicianship. This second work need not be played on nylon-string classical guitar.
    • Works from the standard classical guitar repertoire must be learned from standard music notation; “classical” works learned from tablature or by ear will not be accepted.
    • Works by women and BIPOC composers are particularly encouraged.

If you have any questions about the audition process or repertoire selections, please contact Dr. Douglas Rubio at rubiod@potsdam.edu.

 

Harp candidates should prepare:

  • A representative etude such as R. Nicholas-Charles Bochsa, Quarante Etudes Faciles, Op. 318
  • Two contrasting solo works, illustrating different styles and techniques
  • Students applying for the degree in Performance must perform at least one of the works from memory
  • Sight reading is also a required part of all harp auditions

 

Please prepare two contrasting etudes, movements, and/or pieces, one fast/technical and the other slow/lyrical, that best represents your playing and musicianship. Example works include, but are not limited to:

  • Ludwig van Beethoven, Sonata, Op. 17 
  • Edith Borroff, Sonata 
  • Paul Dukas, Villanelle 
  • Gina Gillie, Reverie or Sonata 
  • Bernhard Heiden, Sonata 
  • Paul Hindemith, Sonata 
  • W.A. Mozart, Concertos Nos. 1, 2, 3, or 4 
  • Edna Pietsch, Canzonetta 
  • Elizabeth Raum, Romance 
  • Camille Saint-Saëns, Morceau de Concert, Op. 94 
  • Franz Strauss, Concerto, Op. 8 or Nocturno, Op. 7 
  • Richard Strauss, Concerto No. 1, Op. 11 
  • Jane Vignery, Sonata, Op. 7 
  • Alec Wilder, Sonata No. 3 
     

Works by historically underrepresented composers are encouraged of all candidates. Please contact Dr. Lauren Becker for more information about repertoire choices. 

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

  • Domenico Cimarosa, Concerto 
  • George Frideric Handel, Sonatas and Concertos
  • Joseph Haydn, Concerto 
  • Paul Hindemith, Sonata
  • Benedetto Marcello, Concerto in C Minor
  • Wolfgang Amadeus Mozart, Concerto
  • Carl Nielsen, Romance
  • Robert Schumann, Three Romances 
  • Georg Philipp Telemann, Six Partitas or Concerto in D Major

 

All percussion candidates should prepare all of the following:

  • Snare Drum 
    • Anthony J. Cirone Etude Study from Portraits in Rhythm, or Jacques Delécluse, No.1 from 12 Etudes, or equivalent; and
    • Demonstrate rudiments; and
    • Rudimental solo: John Pratt, Charley Wilcoxon, or equivalent
  • Keyboard
    • Mitchell Peters, Keiko Abe, Gordon Stout, Michael Burritt solo, or equivalent, and
    • an Etude from Morris Goldenberg Modern School Method, or equivalent, and
    • Demonstrate major Scales and arpeggios
  • Timpani
    • John Beck, Vic Firth, Richard Hochrainer, Saul Goodman, Elliott Carter solo, or equivalent.

Your audition will also include an interview portion, at the time of your audition, with the Professor.  

For questions about the audition process, access to instruments, or repertoire requirements, please contract Dr. Emma Gierszal.

Note that works by historically underrepresented composers are encouraged of all candidates.

Undergraduate music performance* candidates must perform four solo works from memory, including:

  • A three-part invention or a prelude and fugue from the Well-Tempered Klavier of J.S. Bach
  • The first movement of a classical sonata by Joseph Haydn, Wolfgang Amadeus Mozart, or Ludwig van Beethoven, or the first movement of a sonata by another Classical-era composer. Works by historically underrepresented composers, such as Maria Hester Park or Hélène de Montgeroultare, are welcomed.
  • A Romantic or Post Romantic work. Possible composers include, but are not limited to, Frédéric Chopin, Robert Schumann, Felix Mendelssohn, Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, or Alexander Scriabin. Works by historically underrepresented composers are encouraged; examples of such composers include, but are not limited to, Scott Joplin, Florence Price, and Clara Schumann.
  • An Impressionistic, Modern, or Post-Modern work. Possible composer include, but are limited to, Isaac Albeniz, Samuel Barber, Lili Boulanger, Connor Chee, Aaron Copland, Claude Debussy, Maurice Emmanuel, Gabriella Lena Frank, Texu Kim, Maurice Ravel, Bright Sheng, William Grant Still, Toru Takemitsu, Chen Yi, Isang Yun, & Judith Zaimont.

All other undergraduate program candidates must perform three solo works from memory, including:

  • A work by J.S. Bach
  • The first movement of a classical sonata by Joseph Haydn, Wolfgang Amadeus Mozart, or Ludwig van Beethoven, or the first movement of a sonata by another Classical-era composer. Works by historically underrepresented composers, such as Maria Hester Park or Hélène de Montgeroultare, are welcomed. ​​​​​​​
  • One of the following:
    1. A Romantic or Post Romantic work. Possible composers include, but are not limited to, Frédéric Chopin, Robert Schumann, Felix Mendelssohn, Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, or Alexander Scriabin. Works by historically underrepresented composers are encouraged; examples of such composers include, but are not limited to, Scott Joplin, Florence Price, and Clara Schumann.
    - OR -
    2. An Impressionistic, Modern, or Post-Modern work. Possible composer include, but are limited to, Isaac Albeniz, Samuel Barber, Lili Boulanger, Connor Chee, Aaron Copland, Claude Debussy, Maurice Emmanuel, Gabriella Lena Frank, Texu Kim, Maurice Ravel, Bright Sheng, William Grant Still, Toru Takemitsu, Chen Yi, Isang Yun, & Judith Zaimont.

 

* Piano students who are auditioning for two or more majors, one of which is the Bachelor of Music degree in musical performance, should prepare only the undergraduate performance-level audition.

 

Students should prepare two selections that exhibit both technical and lyrical playing, in the style(s) they feel most comfortable.

Students should also prepare all major, harmonic minor and chromatic scales from memory. For scale expectations, please see here.

Candidates should play their audition on the saxophone they are most comfortable with, but understand that they will be expected to play alto saxophone for at least the first four semesters of study at Crane.

Please prepare two contrasting musical selections. These may take the form of single solo pieces, movements from solo pieces, etudes, transcriptions, improvisation, or anything that best showcases your playing.

Examples for tenor trombone include (but are not limited to):

  • Marco Bordogni/Joannes Rochut, “Melodious Etudes” Book 1
  • Alexandre Guilmant, Morceau Symphonique
  •  J.J. Johnson Solos, improvisations by J.J. Johnson as transcribed by David Baker
  • Georg Kopprasch, Sixty Selected Studies
  • Jan Sandström, Sång till Lotta
  • William Grant Still, Romance
  • Barbara York, A Caged Bird
  • Improvisation on the Blues form.

Examples for bass trombone include (but are not limited to):

  • Marco Bordogni/Joannes Rochut, “Melodious Etudes” Book 1
  • Daniela Candillari, Extremely Close
  • Lew Gillis, 20 Etudes for Bass Trombone
  • Alexey Lebedev, Concerto in One Movement
  • Richard Lieb, Concertino Basso
  • Patrick McCarty, Sonata for Bass Trombone
  • Jim Snidero,  Jazz Conception: Bass Trombone
  • Improvisation on the Blues form.

For any questions about the trombone audition process, please feel free to reach out to Dr. Christopher Hernacki at hernaccf@potsdam.edu

Please prepare two or three contrasting movements, pieces, or etudes by different composers that best showcase your playing. 

Example works include but are not limited to: 

  • Guillaume Balay, Prelude et Ballade
  • Arcangelo Corelli, Sonata No. 8
  • Joseph Haydn, Concerto
  • Jennifer Higdon, Trumpet Songs
  • Paul Hindemith, Sonata
  • Johann Nepomuk Hummel, Concerto 
  • Ulysses Kay, Tromba
  • Kent Kennan, Sonata
  • Libby Larsen, Fanfare for the Women
  • Halsey Stevens, Sonata

For any questions or clarifications on the audition process, please contact Dr. Luke Spence.

 

Tuba: Please prepare two contrasting movements, pieces or etudes; one fast/technical and the other slow/lyrical. 

Representative works include but are not limited to:

  • Kimberly Archer, Multiple Personalities
  • Marco Bordogni/ Joannes Rochut, Vocalise
  • Antonio Capuzzi, Andante and Rondo
  • Edward Gregson, Concerto
  • Walter Hartley, Suite
  • Paul Hindemith, Sonata
  • Vera Kistler, Trilogy
  • Libby Larsen, Concert Piece
  • Alexander Lebedev, Concerto in One Movement
  • Benedetto Marcello, Sonatas
  • Quinn Mason, Sonata ‘Darkplace’
  • Vincent Persichetti, Serenade No. 12
  • Elizabeth Raum, Ballad and Burlesque
  • H. W. Tyrell, Etudes
  • Ralph Vaughan Williams, Concerto
  • Antonio Vivaldi, Sonatas
  • Alec Wilder, Suite No. 1
  • Barbara York, Romances for Susie or Concerto

Please contact Dr. Charles Guy for more information about repertoire choices.

For Music Performance majors:
Please prepare two contrasting works; one should showcase your expressive legato playing, while one should demonstrate your ability to play faster passages.   

For all other degrees (Music Education, Music Business, Musical Studies, or the Bachelor of Arts in Music):
Please prepare two contrasting works. These can be from any style (not just Classical), but should provide a good example of your musicality, tone, and intonation.  
 
Your audition will also include an interview about your career goals and your commitment to personal excellence. 

For questions about the audition process, please contact Dr. Shelly Tramposh at tramposh@potsdam.edu.

For Music Performance majors:
Please prepare two contrasting works; one should showcase your expressive legato playing, while one should demonstrate your ability to play faster passages.  
 
For all other degrees (Music Education, Music Business, Musical Studies, or the Bachelor of Arts in Music):
Please prepare two contrasting works. These can be from any style (not just Classical), but should provide a good example of your musicality, tone, and intonation.  
 
Your audition will also include an interview about your career goals and your commitment to personal excellence.  If you have any  questions, please contact Prof. Liesl Schoenberger Doty at dotyls@potsdam.edu.

Undergraduate music performance candidates must perform four memorized pieces, including:

  • Pieces in English and at least one other language
  • Pieces in additional languages are encouraged but not required
  • Age-appropriate pieces of varying styles and tempi
  • A minimum of two pieces should be from the categories of art song and arias
  • Up to two pieces may be from other styles and genres, including but not limited to Blues, Cabaret, Country, Disney, Film Scores, Folk, Gospel, Jazz, Latin, Musical Theater, Original compositions, Pop, Rock, R&B, Soul, Spirituals, World Music, and Worship Music of any origin. 
  • For those doing a live audition, music for accompanist must be written out; lead sheets are not permitted. 
  • Please choose pieces that you're comfortable with and show you at your best!

All other undergraduate program candidates must perform three memorized pieces, including:

  • Pieces in English 
  • A piece in at least one other language is encouraged but not required
  • Age-appropriate pieces of varying styles and tempi
  • A minimum of one piece should be from the categories of art song and arias
  • Up to two pieces may be from other styles and genres, including but not limited to Blues, Cabaret, Country, Disney, Film Scores, Folk, Gospel, Jazz, Latin, Musical Theater, Original compositions, Pop, Rock, R&B, Soul, Spirituals, World Music, and Worship Music of any origin. 
  • For those doing a live audition, music for accompanist must be written out; lead sheets are not permitted. 
  • Please choose pieces that you're comfortable with and show you at your best!

NOTE: Voice students who are auditioning for two or more majors, one of which is the Bachelor of Music degree in musical performance, should prepare only the undergraduate performance-level audition.

 

Sight-singing/Interview:

Voice auditions, for all majors, both in-person and by video, will contain a brief interview and a sight-singing/aural skills component.  Students auditioning by video will be notified about the process.

 

Accompanist information:

All in-person vocal auditions will have piano accompaniment. Accompanists will be provided for both on- and off-Campus voice auditions; a $30 non-refundable fee will charged for this when the audition is scheduled. For recommendations about providing music for our accompanists, please click here.