Audition Information

The suggested audition repertoire for graduate students is listed below. Please note that auditionees in all areas may be asked to sightread.

Accompanists are not necessary for instrumental auditions. Voice auditionees will be provided with an accompanist, or you may bring your own if you choose.

If you wish to submit repertoire lists and letters of reference from private teachers, LSU-School of Music, 102 New Music Building, Baton Rouge, LA 70803. Some areas encourage an interview with the appropriate faculty member and/or an essay describing your musical aspirations. Please contact the individual teacher if you have any questions about the audition process or repertoire requirement.

Other Graduate Audition Information
→ General Audition Information
→ Audition Dates
→ Schedule an Audition/Faculty Contacts


Suggested Repertoire by Instrument


Bassoon Mr. Gabriel Beavers

Cello Mr. Dennis Parker

Choral Conducting Dr. Kenneth Fulton
The Graduate Audition in Choral Conducting consists of a 10 -15 minute rehearsal with one of the LSU choirs on literature that is provided for advance preparation by the student auditionee. The choir is fully prepared so that the student may spend the rehearsal time working on musical and expressive issues. In addition, an interview with each of the choral professor (Kenneth Futlon, Barineau Professor of Choral Studies and Chair of Ensembles and Conducting) is required.

Students who are interested in auditioning for the graduate program (either MM or DMA) in choral conducting should contact Dr. Fulton to: 1) schedule an audition/interview date and 2) get specific information on the music used for the audition. These auditions are usually conducted early in the Spring semester and should be scheduled prior to March 20, 2012.

Clarinet Mr. Robert DiLutis
Prepare 3 contrasting pieces from the clarinet repertoire including the Mozart Clarinet Concerto. Prepare 3 orchestral excerpts from the following list of orchestral excerpts: Beethoven Symphony #6, mvt. 1 and 2; Mendelssohn Scherzo from Midsummer Night's Dream; Brahms Symphony #3, mvt. 2; Rimsky Korsakoff- Capriccio Espagnol, mvt. 1 and 3; Stravinsky - Firebird Suite, Variation mvt.; Beethoven Symphony #8, mvt. 3; Ravel- Daphnis and Chloe Suite 2, opening and final dance; Respighi-Pines of Rome

Collaborative Piano Ms. Jan Grimes
A live audition is required which will include two contrasting movements on an instrumental sonata, six songs representing at least three languages, and one aria or movement of an instrumental concerto. Sight reading will also be required. In addition, applicants may be asked to present one solo piano work from memory. Auditionees must contact Jan Grimes for approval of audition repertoire and to schedule an audition.

Composition Dr. Dinos Constantinides
Submit works for solo, chamber and ensemble music. Also send tapes of performances if available. Schedule an interview with Coordinator of Composition to discuss musical skills, styles and experience.

Double Bass Ms. Yung-chaio Wei

Flute Dr. Katherine Kemler
Prepare a Mozart Concerto, a Bach Sonata, plus one or two other contrasting works from the standard flute repertoire. Also, prepare three or four standard orchestral excerpts of your choice.
Harp Dr. Kimberly Houser
Prepare two contrasting works from the solo harp repertoire and two standard orchestral excerpts.

Horn Mr. Seth Orgel
Prepare one movement from two contrasting major horn concerti or from two major works for horn and piano; all major and minor scales (at least two octaves); Tchaikovsky's Symphony #5, 2nd movement; Shostakovitch Symphony #5, low tutti section; Strauss opening calls from Til Eulenspiegel; opening from Ein Heldenleben; Wagner Short Call; sight reading and transposition may be asked.

Jazz Dr. Brian Shaw

Oboe Johanna Cox



Orchestral Conducting Carlos Riazuelo

Percussion Dr. Brett Dietz
Represent yourself in the following areas:
→ Snare Drum:
1) concert (difficulty level of Cirone/Delecluse etude or higher)
2) rudimental solos and skill demonstrations are also welcome
3) orchestral excerpts may also be included
4) sight-reading
→ Mallets:
1) demonstrate two and four mallet skills
2) standard marimba repertoire expected (solos from senior recitals are acceptable)
3) performance on marimba and/or vibraphone is welcome, as are xylophone
→ Rags:
1) xylophone and bell orchestral excerpts may be included
2) sight-reading
→ Timpani:
1) Select standard solo repertoire or etudes that demonstrates your skills to do the following: -tone production -rolls -muffling -ability to solve sticking passages
2) tuning
You also have the option to demonstrate your skills in the following areas:
→ Orchestral Accessories: cymbals, triangle, tambourine, etc.
→ Drumset: styles, chart reading, soloing, etc.
→ World Percussion: steel drums, Latin Percussion, etc.


Piano Mr. Michael Gurt
→ MM/DMA Piano Performance:
1) Prelude and Fugue or other complete work by J.S. Bach (toccata, dance suite, etc)
2) A full sonata by Haydn, Mozart or Beethoven
3) TWO contrasting works from different periods (Romantic, Impressionist, Contemporary)
→ MM Piano Pedagogy:
1) A Prelude and Fugue by J.S. Bach
2) A full sonata by Haydn, Mozart or Beethoven; 3) One contrasting work

Saxophone Dr. Griffin Campbell
Students auditioning for graduate work should prepare 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. As a suggestion, one might present a transcription, a core piece of the saxophone repertory, and a piece exhibiting the auditionee's control of extended techniques.

Trombone visiting Professor Steven Menard
Solos could be chosen from Tomasi, Concerto; David, Concertino; Albrechtsberger, Concerto; either Frank Martin, Ballade or Eugene Bozza, Ballade; Creston, Fantasy. Etudes could be from Marcel Bitsch, 15 Etudes de Rythme; or Kauko Kahila, Advanced Studies.

Trumpet Mr. James West & Dr. Brian Shaw
· 2 major solo movements from different time periods in contrasting styles
· at least 4 standard orchestral excerpts
· possible sightreading

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

Contact Brian Shaw (bshaw@lsu.edu) or James West (jwest@lsu.edu) if you would like to discuss your choices for this material and if you need suggestions of repertoire.

Tuba/Euphonium Dr. Joseph Skillen

Viola Espen Lilleslatten
MM Viola Performance
1) Two contrasting movements of unaccompanied Bach.
2) The first movement of a standard 20th Century concerto (Example: Walton, Bartok, Hindemith, etc.)
3) Two other short works of contrasting nature and style (Example: etudes, a slow movement, a sonata movement, or standard orchestral excerpts).

Violin Mr. Lin He & Espen Lilleslatten
→ MM Violin Performance
1) Two contrasting movements of ANY unaccompanied work by J.S.Bach.
2) The first movement of ANY 19th or 20th Century concerto.
3) The first movement of ANY Mozart concerto. 4) A piece of auditionee's choice.
→ DMA Violin Performance
1) Any Fugue or Chaconne by J.S.Bach.
2) The first movement of ANY concerto by Mozart WITH cadenza.
3) ANY complete 19th or 20th century concerto.
4) A piece of auditionee's choice.

Voice Dr. Loraine Sims
4-6 selections must be presented utilizing French, German, Italian, and English languages; one selection MUST BE an operatic aria but no more than two should be. The requirements for the prescreening CD and live audition are the same, the same repertoire may be used for both or applicant may select new repertoire as long as the basic requirements are met.

Wind Conducting Donald McKinney

Interested applicants for LSU Graduate Wind Conducting Program: Click here