1. Medium-tempo blues
2. Up-tempo rhythm changes tune
3. Latin, rock or funk tune
4. Ballad

For live auditions: you will be playing with a combo. Please bring three concert key copies of your selections. Auditions will also involve sight-reading and scales.
For recorded auditions: you may use a live combo or backing tracks.

1. Two contrasting solo selections such as individual movements from sonatas, concertos or other solo works. Works should represent the applicant’s current level of development via contrasting styles, technical demands and time periods. One selection can be an étude.
2. Excerpt from Florence Price's Symphony No. 1 in E Minor (bars 1-22)
3. Scales: 3 major, 3 minor scales of the applicant’s choice and a chromatic scale displaying full range.
4. Sight reading will be included.

For questions regarding audition preparation, please contact Professor Nicolasa Kuster at nkuster@pacific.edu.

Music Performance

Concerto and solo work should be memorized.

1. One movement of a standard concerto such as Saint Saëns, Elgar, Haydn, Schumann, Lalo, Shostakovich, Kabalevsky or Dvorák
2. One movement of a Bach Cello Suite
3. One étude (ie., Popper, Duport, Dotzauer, Greutzmacher, Lee)
4. One major or minor scale and corresponding arpeggio, 3–4 octaves

All Other Majors

1. One piece/movement; concerto and solo work should be memorized
2. One étude (ie. Schroeder, Popper, Duport, Dotzauer, Greutzmacher, Lee)
3. One major or minor scale and corresponding arpeggio, 2–4 octaves
4. A second piece in contrasting style is optional but recommended

A second piece in contrasting style is optional but recommended. 
An étude from Popper op. 73, op. 76, Duport 21 Études or Schroeder Foundation Studies. 
A major or minor scale and corresponding arpeggio, 2–4 octaves.

Possible works to include in the audition repertoire:

• J.S. Bach: Suite for Cello Solo
• David Baker: Sonata for Cello and Piano
• Nadia Boulanger: 3 pieces for Cello and Piano
• Yi Chen: Memory for Solo Cello
• Rebecca Clark: Epilogue, Rhapsody for Cello and Piano
• Gabriel Fauré: any piece
• Louise Farrenc: Cello sonata, Op. 46
• Sofia Gubaidulina: Ten Cello Preludes
• Fanny Mendelssohn: Fantasie in g minor for Cello and Piano
• Astor Piazzolla: Le Grand Tango
• David Popper: any piece
• Saint Saëns: Allegro Appassionato, Swan
• Robert Schumann: Fantasiestücke, Op. 73
• Bright Sheng: Seven Tunes Heard in China
• Dimitry Shostakovich: Cello Sonata
• Mark Summer: Julie - O

1. Two contrasting solo selections from standard repertoire such as individual movements from sonatas, concertos or other solo works. One selection can be an étude. Works should represent the applicant’s current level of development via contrasting styles, technical demands, tempo and time period. Possible works to include in the audition repertoire:

• Wolfgang Amadeus Mozart—Concerto for Clarinet, K. 622
• Carl Maria von Weber—Concertino, Concerto 1 and 2, Grand Duo
• Camille Saint Saëns—Sonata for Clarinet and Piano
• Paul Hindemith—Sonata for Clarinet and Piano
• Cyrille Rose—32 Etudes, any etude
• Gordon Jacob—Five Pieces for Clarinet Solo
• Willson Osborne—Rhapsody for Clarinet Solo
• Heinrich J Baermann—Adagio for Clarinet and Piano
• Gerald Finzi—Five Bagatelles for Clarinet and Piano
• Germaine Tailleferre—Arabesque for Clarinet and Piano
• Tartini (arr. Jacob)—Concertino for Clarinet and Piano
• Ralph Vaughan Williams—Six Studies in English Folk Song
• Robert Schumann: Fantasiestücke, Op. 73 or Three Romances, Op. 94
• Bernhard Henrik Crusell—any piece
• Augusta Holmes—Fantasie for Clarinet and Piano
• Darius Milhaud—Duo Concertante or Caprice for Clarinet and Piano
• Marie Sachsen-Meiningen—Romanze for Clarinet and Piano
• Carl Stamitz—any concerto
• Miguel Aguila—Pacific Serenade for Clarinet and Piano
• Johannes Brahms—Sonatas op. 120, no. 1 or 2

2. Excerpt from Samuel Coleridge Taylor’s Quintet for Clarinet and String Quartet, Movement II (opening phrase, measures 2-11). If you do not have an A clarinet, you may play as written on the Bb.

3. Scales: three major and three minor scales of the applicant’s choice and chromatic scale displaying full range.

Music Performance (first-year and transfer)

1. One two-octave major scale of the applicant’s choice.
2. Two contrasting solo selections such as individual movements from sonatas, concertos or any other solo works. One selection can be a technical study or standard orchestral excerpt. Works by underrepresented and/or living composers are encouraged.

All other majors (first-year and transfer)

1. One two-octave major scale of the applicant’s choice.
2. One solo selection of the applicant’s choice such as an individual movement from a sonata, concerto, technical study, orchestral excerpt or any other solo work. Works by underrepresented and/or living composers are encouraged.

Examples of audition repertoire:

• J.S. Bach's Solo Cello Suites, choose one movement
• Amy Beach's Romance, op. 23 for double bass and piano (arr. Nina DeCesare)
• Bottesini's Concerto No. 2, choose one movement
• Dittersdorf's Concerto, choose one movement
• Dragonetti's (Nanny) Concerto for Double Bass, choose one movement
• Eccles's Sonata (G minor), choose one movement
• Xavier Foley's Etudes 1-12 for solo double bass, choose one etude
• Koussevitzky's Concerto, choose one movement
• Marcello's Sonata (E minor), choose one movement
• Francois Rabbath, any solo work for double bass
• Vanhal's Concerto, choose one movement
• Vivaldi's Sonata No. 3 (A minor), choose one movement

1. Solo: one selection from standard euphonium solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work
2. One etude
3. Major scales two octaves and chromatic scale for entire range

For questions regarding audition preparation, please contact Professor Brian Kemble.

1. Two contrasting solo selections such as individual movements from sonatas, concertos or other solo works. One selection can be an étude. Works should represent contrasting styles, technical demands, tempos and time periods. Suggested audition repertoire.
2. Excerpt from Gabriela Lena Frank’s Elegía Andina for Orchestra ([A]—two measures after [B]).
3. Scales: three major and three minor scales of the applicant’s choice and chromatic scale displaying the applicant’s current full range.
4. Sight reading will be included. 

For questions regarding audition preparation, please contact Professor Brittany Trotter at btrotter@pacific.edu.

NOTE: Be prepared to answer the following questions at your live audition. If submitting a recorded audition, please record yourself answering these questions:

1. How would you define success for your collegiate career in music?
2. What are your goals and aspirations as a musician?

Music Performance 

Perform from memory, two pieces from two of the groups listed below. If you have other repertoire that is similar in technical and musical difficulties to the pieces shown below, it may be substituted for any of the examples listed below.

• Choose a piece that best showcases your musical strengths and style, and best represents you as an artist. Work by underrepresented composers are strongly encouraged. Examples of repertoire.
• Demonstrate the ability to play a three-octave major and melodic minor scale, both ascending and descending.

First-year and sophomore transfer applicants

• A pavane or elementary fantasia by Milan, Dowland or Narvaez
• A movement from a suite by Visee or Roncalli
• A study or movement from a sonatine by Sor, Carcassi, Giuliani, Aguado or Carulli
• A study from 20 Estudios Sencillos by Leo Brouwer, or a prelude from 24 Preludios Para Guitarra by Manuel Ponce

Junior transfer applicants

• A more advanced fantasia by Dowland or da Milano
• Two movements from a lute suite or sonata by Bach or Weiss
• A movement from a work by Villa Lobos, Ponce, Brouwer or other contemporary composers
• An arrangement of a piece of music from any genre that matches the level of theexamples listed above.

All other applicants

Perform from memory, one solo piece of music from any genre that showcases your musical strengths and style best.

• The piece must be a solo guitar performance. (EXCEPTION: music therapy applicants may accompany themselves singing with the guitar so long as the other requirements are met)
• The piece must be played fingerstyle, not just strumming chords.
• The piece must be more fleshed out than just a single line of melody.

Perform from memory any chord progression (minimum of four different chords) using bar chords only. The progression must include at least:

• One major chord with the root on the 6th and 5th string
• One minor chord with the root on the 6th and 5th string
• One dominant 7 chord with the root on the 6th and 5th string

For questions regarding audition preparation, please contact Professor Guy Powell at gpowell1@pacific.edu.

Prepare one piece for each of the I–IV sections below. If you have any questions about horn audition preparation, please contact Professor Sadie Glass at sglass@pacific.edu.

I. Performance introduction: Select a piece that represents you (e.g., original composition, jazz piece, arrangement, piece written by a DEI composer, etc.). Choose a piece that reflects your interests and personality.

II. Mozart's exposition of your choice (Concerto No. 2, 3 or 4). You can find free sheet music on the International Music Score Library Project (IMSLP) website.

III. Excerpts: choose one (1) from the list below (pay attention to the transposition):

• Beethoven's Symphony No. 3, Mvt. II, Trio: Allegro Vivace, Horn 2 in E-flat
  a. Dotted half = 116 bpm
  b. (Measures 171-205)
  Link to recording
• Richard Strauss's Don Juan, Allegro molto con brio, Horn 1 in F
  a. Half = 84
  b. (11 after N – 3 after P)
  Link to recording
• Dame Ethel Smyth's overture to The Wreckers, Horn 2 in F (not horn 1)
  a. (Measure 1-33)
  Link to recording

IV. Chromatic scale to show range: Start on horn middle C and play slurred as high as possible to as low as possible.

• Bpm 70-90 (playing eighth notes).
• Focus on playing clean, clear and musically.

Be prepared to answer the following questions at your live audition. For a video audition, submit a recording of yourself answering these questions:

1. How would you define success for your collegiate career in music?
2. What are your goals and aspirations as a musician?

1. Two contrasting solo selections such as individual movements from sonatas, concertos or other solo works. One selection can be an étude Works should represent contrasting styles, technical demands, tempos and time periods.
2. Excerpt from Valerie Coleman’s Roma (measures 88-117)
3. Scales: 3 major and 3 minor scales of the applicant’s choice and chromatic scale displaying the applicant’s current full range.
4. Sight reading will be included.

For questions regarding audition preparation, please contact Professor Kyle Bruckmann at kbruckmann@pacific.edu.

1. Concert snare drum solo or étude. 
   Examples: Portraits in Rhythm by Anthony J. Cirone, Advanced Etudes for Snare Drum by Mitchell Peter, Intermediate Snare Drum Solos by Patrick Moore.
2. Two-mallet and/or four-mallet keyboard solo, transcription or étude. 
   Examples: Impressions in Wood by Julie Davila, Book of Shorter Pieces by Julie Spencer, Marimba: Technique through Music by Mark Ford, Masterpieces for Marimba arr. by Thomas MacMillan, Song Book Vol. 1 by Ivan Trevino.
3. Timpani solo or étude. 
   Examples: Exercises, Etudes, and Solos for Timpani by Raynor Carroll, Sonata for Timpani by John Beck, International Style Etudes II by Alice Gomez, Eight Solos for Two Timpani by Patrick Moore.

For questions regarding audition preparation, please contact Professor Jonathan Latta at jlatta@pacific.edu.

For first-year applicants

Music performance

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as Bach's Prelude and Fugue or similar.
• Classical: An Allegro movement from a sonata of at least moderately advanced difficulty (e.g., Beethoven op. 13 or Mozart K. 332)
• Romantic: A work of moderate or advanced difficulty (e.g., Chopin's Scherzo, Clara Schumann's Variations on a Theme of Robert Schumann)
• Impressionistic or contemporary work (e.g., Ravel’s Jeux d’eau or Takemitsu’s Rain Tree Sketch)

Works by underrepresented composers are strongly encouraged.*

Music education

Select one work from each period listed below. All must be memorized.

• Baroque: A work such as Bach's two-part or three-part invention.
• Classical: An allegro movement of a sonata (e.g., Beethoven op. 2, No.1)
• Romantic or contemporary work of moderate difficulty (e.g., Chopin's waltz or nocturne, Debussy's prelude, Coleridge-Taylor's Three-Fours Suite (one mvt), Fanny Mendelssohn's op. 6 (one mvt))

Works by underrepresented composers are strongly encouraged.*

All other majors

Be prepared to play at least two pieces in contrasting styles (Baroque, Classical, Romantic, Contemporary). Memorization is preferred. Works by underrepresented composers are strongly encouraged.

For transfer applicants

Music performance

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as Bach's Prelude and Fugue
• Classical: One of the easier complete sonatas (Beethoven op. 49 excepted)
• A composition from the Romantic, Impressionist or Contemporary repertoire 
  (e.g., Brahms' Rhapsody, Debussy's Images (one mvt), Margaret Bonds' Troubled Waters) 

Works by underrepresented composers are strongly encouraged.*

Music education

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as Bach 3-part Invention or Prelude and Fugue
• Classical: An allegro movement (first or last movement) of a sonata
• Romantic, Impressionist or Contemporary: A work of moderate difficulty 
  (e.g., Chopin's nocturne, Florence Price's On a Quiet Lake or Ravel's Sonatine (1st mvt)) 

Works by underrepresented composers are strongly encouraged.*

All other majors

Be prepared to play at least two pieces in contrasting styles (Baroque, Classical, Romantic, Contemporary). Memorization is preferred.

Works by underrepresented composers are strongly encouraged.*

*Works by underrepresented composers

Examples include (but are not limited to): Tan Dun, Toru Takemitsu, Clara Schumann, Fanny Mendelssohn-Hensel, William Grant Still, Samuel Coleridge Taylor, Florence Price, Margaret Bonds, George Walker, Zenobia Powell Perry, Grażyna Bacewicz, Amy Beach, Lili Boulanger.

1. Two contrasting solo selections such as individual movements from sonatas, concertos, or other solo pieces such as works by Ferling, Creston, Still, Maurice, Glazunov, Piazzolla, Ibert and Tomasi. One selection can be an étude. Works should represent contrasting styles, technical demands, tempos and time periods.
2. Excerpt from Valerie Coleman Roma, mm. 19–44
3. Scales: 3 major and 3 harmonic minor full range scales with corresponding arpeggios of the applicant’s choice and chromatic scale displaying the applicant’s current full range.
4. Sight reading will be included. 

For questions regarding audition preparation, please contact Professor Ricardo Martinez at rmartinez1@pacific.edu.

Tenor trombone

1. Solo: One selection from standard tenor trombone solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work.
2. Rochut Melodious Etudes: One etude from book 1
3. Major scales two octaves and chromatic scale for entire range

Bass trombone

1. Solo: One selection from standard bass trombone solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work
2. Rochut Melodious Etudes: One etude from book 1 down a 4th or down an octave
3. Major scales two octaves and chromatic scale for entire range

For questions regarding audition preparation, please contact Professor Bruce Chrisp at bchrisp@pacific.edu.

Music Performance (first-year and transfer students)

1. Scales: three major and three minor scales of the applicant’s choice and chromatic scale displaying the applicant’s current full range.
2. Two contrasting solo selections such as individual movements from sonatas, concertos or other solo works. One selection can be an étude. Works should represent contrasting styles, technical demands, and tempos. Works by underrepresented and/or living composers are encouraged. Suggested material.
3. Pick one excerpt from this collection:

• Ives: Variations on America
• Gershwin: An American in Paris
• Grainger: Lincolnshire Posey “Horkstow Grange”
• Moussorgsky: Pictures at an Exhibition - opening solo
• Tchaikovsky: Swan Lake (trumpet in A)

4. Sight reading will be included.

All other majors (first-year and transfer students)

1. Scales: three major and three minor scales of the applicant’s choice and chromatic scale displaying the applicant’s current full range.
2. One solo selection of the applicant’s choice such as an individual movement from a sonata, concerto, technical study, orchestral excerpt or any other solo work. Works should represent contrasting styles, technical demands, tempos and time periods. Works by underrepresented and/or living composers are encouraged. Suggested material.
3. Sight reading will be included. 

For questions regarding audition preparation, please contact Professor Alia Kuhnert at akuhnert@pacific.edu.

1. All major scales, two octaves, chromatic scale or entire range
2. One etude
3. One movement from a concerto, sonata, or similar type of work

For questions regarding audition preparation, please contact Professor Brian Kemble.

1. Play two pieces of contrasting style; one from memory. Ideally, one should be a movement of a concerto or a single-movement work for viola and orchestra.
2. Also, choose one major and minor scale with corresponding arpeggio to prepare for the audition.

We highly encourage choosing a work by a composer from an underrepresented group. Lists of possible works are below. Feel free to substitute a work of similar technical and musical difficulty.

Music performance
Concerto (choose one movement):

• Bloch Suite Hebraique
• Gražyna Bacewicz Viola Concerto J.C. Bach-Casadesus Concerto in C Minor, First Movement
• Handel-Casadesus Concerto in B Minor, First Movement
• Stamitz Concerto in D Minor, First Movement
• Vaughan Williams Suite (Select from Group 1, 2, or 3)

All other majors
Concerto (choose one movement):

• All concertos listed above plus:
• Telemann Concerto in G Major
• Seitz Student Concerto No. 2, (Trans. For Viola, First Movement)
• Accolay-Doty Concerto No. 1, (Trans. for Viola, First Movement)
• Pleyel Concerto in D, Op. 31, First Movement
• Handel-Barbirolli Concerto for Viola, First Movement

Contrasting work:
(Possible works to consider for all majors)

• J.S. Bach 6 Cello Suites (arranged for viola); choose one movement
• Rachmaninov Vocalise
• One of Two Romances by A. Hailstork
• One of Three Romances by Clara Schumann, Op. 22
• One étude by Bruni, Characteristic studies by Lillian Fuchs, Kreutzer, Dont, Mazas, Campagnoli

1. Play two pieces of contrasting style; one from memory. Ideally, one should be a movement of a concerto or a single-movement work for violin and orchestra.
2. Also, choose one major and minor scale with corresponding arpeggio to prepare for the audition.

We highly encourage choosing a work by a composer from an underrepresented group. Lists of possible works are below. Feel free to substitute a work of similar technical and musical difficulty.

Music performance
Concerto (choose one movement):

• Samuel Barber Violin Concerto
• Joseph Bologne de Saint-Georges Concerto for Violin Op. 7, No. 1 or No. 2
• Max Bruch Concerto in G Minor
• Ernest Chausson Poeme
• Edouard Lalo Symphonie Espagnole
• Felix Mendelssohn Concerto
• W. A. Mozart Concerto No. 3, 4 or 5
• Florence Price Violin Concerto No. 1 or No. 2
• Camille Saint-Saens Introduction and Rondo Capriciosso
• Pablo de Sarasate Ziguenerweisen
• Henri Vieuxtemps Concerto 4 or 5
• Henryk Wieniawski Concerto No. 2

All other majors
Concerto (choose one movement):

• Concertos listed above
• Jean-Baptiste Accolay Concerto
• J. S. Bach Concerto in A Minor
• Joseph Bologne de Saint-Georges Concerto for Violin Op. 7, No. 1 or No. 2
• Antonio Vivaldi Concerto in A Minor

Contrasting work for all majors:

• Bach Solo Sonatas and Partitas: choose one movement
• Amy Beach Romance for Violin and Piano
• Beethoven Sonata or Mozart Sonata: choose one movement
• Scott Joplin: 6 rags (choose one) arranged by Itzhak Perlman
• Fritz Kreisler: any piece
• Massenet Meditation from Thais
• Any Paganini caprice
• Florence Price Andante Con Espressione for Violin and Piano
• Bright Sheng The Stream Flows
• William Grant Still Suite for Violin and Piano
• Ellen Taaffe Zwilich Sonata in 3 movements or Fantasy for Solo Violin

Please note: All voice auditions, live and video-recorded, must include live or a pre-recorded piano accompaniment. A pianist will be provided, but you are also welcome to bring your own. Please bring a copy of all your music, preferably neatly organized in a three ring binder.

For first-year applicants

Music performance and music education

Prepare two selections from memory, choosing repertoire in contrasting tempi/styles from the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period - Choose from composers such as, but not limited to, Handel, Duke, Head, Haydn, Barber, Copland, Purcell, Rorem, Britten, Vaughan Williams, Carpenter or Quilter.
• Song of America - Choose from composers such as, but not limited to, Roland Marvin Carter, Jacqueline Hairston, Talib Rasul Hakim (Stephen Chambers), Carman Moore, Dorothy Rudd Moore, James Furman, Adolphus Hailstork, Wendell Logan, Olly Wilson, Hall Johnson, Florence Price.

All other majors

Prepare two selections from memory, choosing repertoire in contrasting tempi/styles from two of the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period (See list above)
• Jazz standard
• Musical theater
• Song of America (see suggestions above)

Tonal memory evaluation

At the end of your audition, you will be given a tonal memory exercise. This exercise consists of a series of five pitches, which you will hear played on the piano twice. You will then be expected to sing those pitches back to us.

For transfer applicants

Music performance and music education

Prepare three selections from memory, choosing repertoire in contrasting tempi/styles from the following categories. One selection must be from category #1: Italian; no more than one selection per category.

1. Italian song or aria from the 17th or 18th centuries
2. German Lied or French Chanson
3. English or American art song from any period Choose from composers such as, but not limited to, Handel, Duke, Head, Haydn, Barber, Copland, Purcell, Rorem, Britten, Vaughan Williams, Carpenter, or Quilter)
4. Song of America - Choose from composers such as, but not limited to, Roland Marvin Carter, Jacqueline Hairston, Talib Rasul Hakim (Stephen Chambers), Carman Moore, Dorothy Rudd Moore, James Furman, Adolphus Hailstork, Wendell Logan, Olly Wilson, Hall Johnson or Florence Price.

All other majors

Prepare two selections from memory, choosing repertoire in contrasting tempi/styles from two of the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period
• Jazz standard
• Musical theater
• Song of America (see suggestions above)

Tonal memory evaluation

At the end of your audition, you will be given a tonal memory exercise. This exercise consists of a series of five pitches, which you will hear played on the piano twice. You will then be expected to sing those pitches back to us.

Pre-Screening Video Audition Requirements

Each pre-screening video requirement listed below should be slated: clearly state your name, the title of the piece and the author/composer while looking directly at the camera.

1. Song requirement (60-90 seconds per piece)

• One musical theater song from any time period. Students may elect to sing with piano accompaniment or with a recorded track. Some form of accompaniment is required. 
• One song of your choice from any time period and in any style that best suits you (musical theater, pop, hip-hop, folk, rock, rap, soul, country, punk, gospel, etc.). This song should contrast the style of the first selection.

2. Monologue requirement (60-90 seconds)

One monologue from a published play or written by a professional writer. (A professional writer is someone whose plays have been produced, but may not have been professionally published.)

3. Dance requirement (60-90 seconds)

Record your best version of dancing or moving, preferably with musical accompaniment.

4. Optional “wild card” video (60-90 seconds)

Think about the “wild card” section as an opportunity to show your personality or share something about you. This video can be ANYTHING you want—“What do you want us to know about you?”—a special skill, an interesting story about yourself, a passion speech, an instrument you play, etc. Below is a list of ideas that have been successful in the past:

• Singing or playing an original composition/song/poem or choreographed dance.
• Performing your own skit where you create a comedic character.
• Sharing a hobby or activity that means something to you.
• Performing in a language other than English in which you are fluent.
• Playing an instrument.
• Making a “how-to” video on something you are good at, baking, calligraphy, gymnastics.
• If you are a dancer and want to show us a different style you excel in (i.e., tap, hip-hop, ballet, etc.)

In-Person Audition Requirements 

Invitations for a live audition will be distributed within 4 weeks of the pre-screening deadline.

1. Song requirement

Three song selections total are required for the in-person audition (each selection should be between 60 and 90 seconds in length). Only one selection may be used from the screening audition:

• One song written before 1970.
• The second selection should be written after 1970 and contrast the style of the first piece (musical theater, Golden Age, pop, hip-hop, folk, rock, rap, soul, country, punk, gospel, etc.).
• The third selection should further contrast the first two pieces.

Excerpts from longer pieces are acceptable. Students should provide sheet music in the appropriate key with any cuts or alterations clearly marked and presented in a binder.

2. Monologue requirement

• One monologue from a published play or written by a professional writer. A professional writer is someone whose plays have been produced but may not have been professionally published. The monologue should be between sixty and ninety seconds in length.  While the monologue can be the same selection performed in the pre-screen audition, students are encouraged to present a second contrasting piece.
• When choosing a monologue, aim for something that’s age-appropriate—generally within about five to ten years of your own age—and that genuinely feels like you. The best pieces usually align with your culture, background, and lived experience, so you’re not forcing something that doesn’t quite fit.
• For auditions, active monologues tend to work better. An active monologue happens in real time: you want something specific, and you’re speaking directly to an imagined scene partner. These are often more effective than monologues that are primarily storytelling or reflective. It’s also usually a good idea to steer clear of pieces that rely on extreme emotional states, since those reactions can be difficult to fully and believably justify in such a short amount of time.

3. Dance requirement

All auditionees will be called for a dance audition. During the dance call, a short combination will be taught to the group. No prepared materials are required, however, auditioners should plan to bring a change of clothes suitable for movement.