HORN

*Prescreening not required.

Please prepare 2 significant compositions for Horn of contrasting styles AND 5 standard orchestral excerpts.

TROMBONE

*Prescreening not required.

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

TRUMPET
Graduate - (MM & DMA)

Graduate Trumpet auditions are to be prescreened for the USC Trumpet studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

*Prescreening not required.

TUBA/EUPHONIUM

*Prescreening not required.

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

Graduate Cello auditions are to be prescreened for the USC Cello studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.*Prescreening not required.
Please contact Claire Bryant with any questions regarding audition repertoire.

The pre-screen video should include:

• Two contrasting movements from a Bach suite for solo cello
• One movement from a major cello Concerto
• One work written after 1980 for solo cello or cello/piano 

Master of Music – live audition requirements

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a concerto 
• One movement of a solo or collaborative sonata
• One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group, such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+ and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement.
• Performances from memory are encouraged for solo and concerto repertoire. Please be prepared to introduce your selections to the jury in a thoughtful and engaging way.

Doctor of Musical Arts – live audition requirements

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto such as Haydn C or D, Tchaikovsky Rococo Variations, Elgar, Dvorak, Schumann, Shostakovich
• One movement of a standard sonata
• One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group, such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+, and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement. 
• Unaccompanied movements by Bach and the concerto must be performed from memory. Please be prepared to speak about your selections.

No in-person or instrumental audition is required for MM or DMA composition applications. Please see information on the Graduate Admissions page for specific MM and DMA composition application requirements.  Scores and recordings should be submitted to Traci Hair at thair@mozart.sc.edu. 

COMPOSITION
a.  Bachelor's degree for Master's admission; Master's degree for DMA admission. Applicants must demonstrate experience and promise as a composer through the submission of scores, recordings, and a list of performances.
b.  Two or three compositions that display an understanding of different media; if possible, include complete recordings (CD or DVD preferred; MIDI realizations discouraged).
c.  A resume or curriculum vitae that includes a typed summary of educational and professional experience.
d.  A list of completed compositions that includes the following information: date of composition, duration, instrumentation, and a list of all performances.
e.  A sample of your writing in the form of a published article or term paper.
f.  A brief, 1-2 page essay outlining your goals, ambitions, and interests as a composer, as well as what you hope to accomplish while at USC.

Note for Master's Applicants
Applicants without a Bachelor's degree in music must take either the Music GRE or Graduate Music Diagnostic Examination before admission. Applicants with deficiencies in music theory, orchestration, score reading, counterpoint, keyboard skills, or conducting will be required to remedy those deficiencies. Necessary courses will be determined by the student's academic advisor before the student enters the program via the results of the Graduate Music Diagnostic Examination. It is important to understand that these courses must be completed in addition to the normal requirements for the degree, and that all such courses must be completed before the student registers for MUSC 799. (For example, a student required to take basic orchestration may not count that course toward the completion of the music theory or free electives requirement.) In the event that a necessary course is not offered before the end of a candidate's second year, additional arrangements must be made with the candidate's academic and thesis advisors.

CONDUCTING

Certificate, Master's and Doctoral CHORAL CONDUCTING applicants:
Pre-screening video (due by December 1): All choral conducting applicants must submit a pre-screening video of at least 20 minutes which includes conducting in both rehearsal and performance. The camera should be placed facing the conductor.  Selected applicants will be invited to an on-campus audition and interview (TBA). 
 

Certificate, Master's and Doctoral INSTRUMENTAL (WIND AND ORCHESTRAL) applicants:
Pre-screening video (due by December 1): All instrumental conducting applicants must submit a pre-screening video of at least 20 minutes, which, if possible, includes conducting in both rehearsal and performance. If possible, the camera should be placed at the back of the ensemble with the focus on the front of the conductor. Include the date(s) and name of the performing ensemble(s). Selected applicants will be invited to an on-campus audition and interview (TBA).

Pre-screening link should be registered through the Audition/Pre-Screen registration system on this page. 

GUITAR

At least four compositions from different style periods (Renaissance, Baroque, Classical, Romantic, Contemporary) that demonstrate tone, technique, and musical proficiency. Considerable flexibility will be permitted in the choice of literature when stylistic areas seem to overlap. The following may serve as a guide:

• A work by J.S. Bach
• A multi-movement sonata or major one-movement sonata
• A major 20th- or 21st-century work
• One composition of the applicant's choice, preferably one representing a composer from an underserved background or an otherwise underrepresented demographic

Except for an avant-garde works, all compositions should be performed from memory.

*Prescreening not required.

 

JAZZ PERFORMANCE

Play and improvise in at least three different jazz idioms (Swing, BeBop, Cool, Fusion, etc.) and perform one work from the “classical” repertory.

ORGAN

• One major work by J.S. Bach (such as a Prelude and Fugue or a trio sonata)
• One work each from the 19th and 20th centuries
• One work of the applicant's choice

OPERA PERFORMANCE

Graduate auditions for Opera Theater are to be prescreened for the USC Opera studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. In addition, finalists must also schedule an interview with Professor Ellen Schlaefer for the day of the scheduled live audition. 

• A minimum of five selections in English, French, German, and Italian.  
• Two of the selections must be arias.  
• At least 3 musical periods (Baroque, Classical, Romantic, 1900-1950, post 1950) should be represented. 
• At least one art song in French, German or Italian.  
• All repertoire should be performed from memory.  

 

OPERA STAGE DIRECTING

Graduate auditions for Opera Theater are to be prescreened for the USC Opera studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. In addition, finalists must also schedule an interview with Professor Ellen Schlaefer for the day of the scheduled live audition. 

By invitation only, an analytical presentation of an opera for production that includes information on the composer and librettist, with period and historical references, character analysis, set and costume concepts, and comments on the musical style; presentation of an impromptu movement audition.

 

PERCUSSION

Graduate Percussion auditions are to be prescreened for the USC Percussion studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.

Prescreen requirements for prospective MM and DMA students:

Snare Drum:  A solo from Douze Etudes by Jaques Delecluse, Etudes for Snare Drum (purple book) by Mitchell Peters, or The Solo Snare Drummer by Vic Firth.  One orchestral except - examples may include Scheherazade (III and IV), Lt. Kije, Shostakovich #10

Marimba:  A movement of a Bach Cello Suite or a movement from the Sonatas and Partitas for Violin and an advanced work by composers including Burritt, Kopetzki, Schwantner, Mackey, Maslanka, among others.  

Xylophone:  One orchestral excerpt - examples may include Porgy and Bess, Harry Janos, Appalachian Spring, Polka, Colas Breugnon

Timpani:  A solo or Etude from Hochrainer, K. Gay, Lepak, etc.  Also, an orchestral excerpt from Beethoven, Tchaikovsky, Brahms

Sightreading will be asked on marimba and snare drum.

Doctor of Musical Arts
If you have questions about your audition repertoire, please contact Dr. Scott Herring

Snare Drum:  A solo from Douze Etudes by Jaques Delecluse, Keiskleiriana by Jaques Delecluse, or The Solo Snare Drummer by Vic Firth.  Two orchestral excepts - examples may include Scheherazade (III and IV), Lt. Kije, Shostakovich #10, etc.

Marimba:  A movement of a Bach Cello Suite or a movement from the Sonatas and Partitas for Violin and an advanced work by composers including Burritt, Viñao, Schwantner, Klatzow, Mackey, Maslanka, among others. 

Xylophone:  Two orchestral excerpts - examples may include Porgy and Bess, Harry Janos, Appalachian Spring, Polka, Colas Breugnon

Timpani:  A solo or Etude from Hochrainer, K. Gay, Lepak, etc.  Also, an orchestral excerpt from Beethoven, Tchaikovsky, Brahms

Sightreading will be asked on marimba and snare drum.

 

PIANO AND PIANO PEDAGOGY

Graduate Piano auditions are to be prescreened for the USC Piano and Piano Pedagogy studios with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. Applicants for MM degrees should prepare a program 30 minutes in length; for DMA degrees, 45 minutes is needed. The audition program should feature works in contrasting styles from the standard literature. Except for avant-garde works, all compositions should be performed from memory.

The live audition for applicants for the DMA will also include a 30-minute writing assessment. 

 

CELLO

*Prescreening not required.
Please contact Claire Bryant with any questions regarding audition repertoire.

Master of Music

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a concerto 
• One movement of a solo or collaborative sonata
• One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+, and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement. 

Performances from memory are encouraged for solo and concerto repertoire. Please be prepared to introduce your selections to the jury in a thoughtful and engaging way.

Doctor of Musical Arts

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto such as Haydn C or D, Tchaikovsky Rococo Variations, Elgar, Dvorak, Schumann, Shostakovich
• One movement of a standard sonata
• One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+, and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement. 

Unaccompanied movements by Bach and the concerto must be performed from memory. Please be prepared to speak about your selections.


DOUBLE BASS

*Prescreening not required.

Graduate Degrees

• First movement from a standard double bass concerto – Bottesini, Vanhal, Dittersdorf, or similar
• A movement from the Bach suites for solo cello.

These are suggested pieces only-any standard work of comparable quality is acceptable.


VIOLA

*Prescreening not required.
***Alternative repertoire will be approved on a case by case basis.***

Master of Music and Graduate Certificate

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto such as Bartok, Walton, Hindemith, Schnittke, or Penderecki
• One movement of a standard sonata

Unaccompanied movements by Bach must be performed from memory.  The String Faculty recommends that the concerto be memorized.

Doctor of Musical Arts

• Two contrasting movements from any of the Six Cello Suites by J.S. Bach
• One movement of a standard concerto such as Bartok, Walton, Hindemith, Schnittke, or Penderecki
• One movement of a standard sonata
• A 20th or 21st century work of the applicant's choice

Unaccompanied movements by Bach and the concerto must be memorized.


VIOLIN

Graduate Violin auditions are to be prescreened for the USC Violin studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.

***Alternative repertoire will be approved on a case by case basis.***

Master of Music

• Two contrasting movements from a solo sonata or partita by J.S. Bach
• One movement of a standard concerto such as Bruch, Barber, Mendelssohn, Saint-Saëns, Sibelius, Vieuxtemps, Tchaikovsky, Prokofiev, or Brahms
• One movement of a standard sonata

Unaccompanied movements by Bach must be performed from memory.  It is highly recommended that the concerto also be performed from memory.

Doctor of Musical Arts

• Two contrasting movements from a solo sonata or partita by J.S. Bach
• One movement of a standard concerto such as Bruch, Barber, Mendelssohn, Saint-Saëns, Sibelius, Vieuxtemps, Tchaikovsky, Prokofiev, or Brahms
• One movement of a standard sonata
• A 20th or 21st century work of the applicant's choice

Unaccompanied movements by Bach and the concerto must be memorized.

VOICE

Graduate Voice auditions are to be prescreened for the USC Voice studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.

• Masters of Music in Performance 
  • A minimum of five selections representing compositions from at least three of the following periods: Baroque, Classical, Romantic, 1900-1950, post 1950.  
  • Of those five selections, at least three should be art songs and one must be an aria performed in the original language.  
  • The following languages should be represented: English, French, German, and Italian.  
  • All repertoire should be performed from memory.  

• • A minimum of five selections in English, French, German, and Italian.  
  • Two of the selections must be arias.  
  • At least three musical periods (Baroque, Classical, Romantic, 1900-1950, post 1950) should be represented. 
  • At least one art song in French, German or Italian.  
  • All repertoire should be performed from memory.  

• • A minimum of five selections representing compositions from at least three of the following periods: Baroque, Classical, Romantic, 1900-1950, post 1950.  
  • Of those five selections, four should be art songs and one must be an aria performed in the original language.  
  • The following languages should be represented: English, French, German, and Italian.  
  • All repertoire should be performed from memory.  

• Doctor of Musical Arts On-Site Audition 
  • Art songs from multiple stylistic periods (Baroque, Classical, Romantic, 1900-1950, post 1950) 
  • At least one operatic aria performed in the original language. 
  • The following languages should be represented: English, French, German, and Italian.  
  • All repertoire should be performed from memory. 
  • If invited to an on-site audition, all candidates should prepare 30 minutes of repertoire. 
  • The audition will also include a 30-minute writing assessment. 

BASSOON

Graduate bassoon auditions are to be prescreened for the USC Bassoon Studio with a YouTube video link. The selections on the video do not need to be recorded in one continuous take, and may be taken from separate performances. Recordings may not be edited. The deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. If one of these dates is not possible, special arrangements can be made for alternative audition dates. All finalists are considered for the bassoon GA position if one is available. Contact Professor Harley to see if an assistantship is available in bassoon, or visit Graduate Assistantships. Applicants are also encouraged to apply for other assistantships in the music school according to their areas of interest and experience, including positions with Spark, The Collective, music entrepreneurship, music history and music theory.

Materials for video recording must contain the following:  
Record two to three significant compositions (or movements) of contrasting styles for bassoon and/or bassoon and piano; and at least two contrasting orchestral excerpts. The recordings should demonstrate a mature grasp of phrasing, tone, articulation, and general technique. Masters and Graduate Certificate pre-screening videos should include at least 12 minutes of material; DMA pre-screening videos should include at least 15 minutes. When applicable, selections should include piano accompaniment.

MASTERS AND GRADUATE CERTIFICATE DEGREE  – BASSOON LIVE AUDITIONS 

• Prepare three contrasting solo selections, such as individual movements from sonatas, concertos or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color).
• One of these selections can be an etude.
• One of these selections must have been written in the last 50 years.
• Accompaniment is not required.
• Three standard orchestral excerpts, contrasting in style and technical/lyrical demands.
• Major, minor, and chromatic scales and sight reading may be requested.
• For questions regarding audition repertoire or to set up a lesson either on or in advance of your audition day, please contact Michael Harley, mharley@mozart.sc.edu

DOCTORAL DEGREE  – BASSOON LIVE AUDITIONS

• Prepare four contrasting selections, such as individual movements from sonatas, concertos or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color).
• One of these selections can be an etude.
• One of these selections must have been written in the last 50 years.
• Accompaniment is not required.
• Four standard orchestral excerpts, contrasting in style and technical/lyrical demands.
• Major, minor, and chromatic scales and sight reading may be requested.
• For questions regarding audition repertoire or to set up a lesson on or in advance of your audition day, please contact Michael Harley, mharley@mozart.sc.edu

CLARINET

Graduate clarinet auditions are to be prescreened for the USC Clarinet Studio with a YouTube video link. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. If one of these dates are not possible, special arrangements can be made for alternative audition dates. All finalist are considered for the GA position, if a GA position is available. Contact Professor Eller to see if a GA position is available in clarinet, or visit Graduate Assistantships.

Materials for video recording must contain the following:  
At least two to three significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Also, at least two standard orchestral excerpts demonstrating articulation skills, technical and lyrical abilities and cadenza-like material.  Memorization is not required.  Masters candidates should upload at least 15 minutes worth of material and Doctoral candidates should upload at least 20 minutes of material.

Materials for the live/final round audition must contain the following:
At least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Also, at least four standard orchestral excerpts demonstrating articulation skills, technical and lyrical abilities and cadenza-like material.  Memorization is not required.  Masters candidates should prepare at least 20 minutes worth of material and Doctoral candidates should prepare at least 30 minutes of material.

FLUTE

Graduate Flute auditions are to be prescreened for the USC Flute studio with a YouTube video link. Selections do not need to be recorded in a continuous take, but may be taken from separate performances. Please submit all videos as one YouTube playlist link.  When applicable, selections should include piano accompaniment. Deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February.

MASTERS AND GRADUATE CERTIFICATE DEGREE AUDITIONS

OBOE

Graduate oboe auditions for the USC Oboe Studio are prescreened by YouTube video link. Selections do not need to be recorded in one continuous take and may be drawn from separate performances. Recordings may not be edited. The deadline for prescreening submissions is December 1.

Finalists will be selected and approved to register for a live audition on one of the scheduled audition dates in December, January or February. If none of these dates are possible, special arrangements may be made for an alternative audition date.

All finalists will be considered for the oboe Graduate Assistantship, if one is available. To inquire about assistantship availability in oboe, please contact Professor Anderson or visit Graduate Assistantships. Applicants are also encouraged to apply for other assistantships in the School of Music according to their areas of interest and experience, including positions with Spark, The Collective, music entrepreneurship, music history and music theory.

Video recording materials must include the following:

• Applicants should record two to three significant compositions, or movements, in contrasting styles for oboe and/or oboe and piano, as well as three contrasting orchestral excerpts. The recordings should demonstrate a mature command of phrasing, tone, articulation, and general technique.
• Master’s and Graduate Certificate prescreening videos should include at least 12 minutes of material. DMA prescreening videos should include at least 15 minutes. When applicable, selections should include piano accompaniment.

For live audition, applicants must prepare the following repertoire. Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

1. Two etudes showing the applicant’s level of technical and musical ability.
2. A slow and fast pair of movements or a complete shorter work from any Baroque or Classical piece. This selection must be at least 8 minutes in length and may include repeats.
3. A sonata or concerto movement, a pair of movements or a short work, or a pair of short works in a style other than Baroque or Classical. This selection must be at least 6 minutes in length.
4. William Grant Still’s “Incantation and Dance” for oboe and piano.
5. Three orchestral excerpts demonstrating slow, fast and articulated playing.

For questions regarding audition repertoire or to set up a lesson in advance of your audition day, please contact Professor Hassan Anderson.

SAXOPHONE

Graduate Saxophone auditions are to be prescreened for the USC Saxophone studio with a YouTube video link. Recordings may not be edited. The deadline for pre-screening submissions is December 1. Finalists will be chosen and approved to register for a live audition at one of the scheduled audition dates in December, January or February. All finalists are considered for the saxophone GA position if one is available.

Contact Clifford Leaman to see if an assistantship is available in saxophone or visit Graduate Assistantships. Applicants are also encouraged to apply for other assistantships in the music school according to their areas of interest and experience, including positions with Spark, The Collective, music entrepreneurship, music history and music theory.

MASTERS AND GRADUATE CERTIFICATE DEGREE – SAXOPHONE LIVE AUDITIONS 

• Please prepare a minimum of three or four significant compositions (or movements) of contrasting styles, such as individual movements from sonatas, concertos or other solo works. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique.  
• One of these selections must have been written in the last 50 years.
• Memorization is not required.
• Accompaniment is not required.
• Candidates should prepare at least 20 minutes of material.

DOCTORAL DEGREE – SAXOPHONE LIVE AUDITIONS

• Please prepare a minimum of four significant compositions (or movements) of contrasting styles, such as individual movements from sonatas, concertos or other solo works. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique.  
• One of these selections must have been written in the last 50 years.
• Memorization is not required.
• Accompaniment is not required.
• Candidates should upload at least 30 minutes of material.

For questions regarding audition repertoire or to schedule a lesson either on or in advance of your audition day, please contact Clifford Leaman, cleaman@mozart.sc.edu.

MULTIPLE WOODWINDS

Prescreening will follow the prescreening requirements for the applicant’s primary instrument at the Master of Music in Performance level. Secondary instruments do not require prescreening.

Final auditions should be conducted in person (preferred) or submitted as a high-quality video recording. Audition requirements for the primary instrument should follow those for the Master of Music in Performance degree.

Because not all instruments require prescreening and audition details may vary, applicants should contact the appropriate faculty members for specific information regarding time limits and repertoire for both prescreening and final auditions.

Applicants must demonstrate performance ability on their primary instrument (flute, clarinet, oboe, bassoon, or saxophone) at a level equivalent to that of an incoming Master of Music Performance student. They must also perform on at least two secondary woodwind instruments at a level equivalent to that of an incoming Bachelor of Music Performance student. With faculty approval, applicants may audition on up to four secondary instruments.

For each secondary instrument, applicants should prepare two contrasting selections, such as movements from sonatas, concertos, or other solo works; one selection may be an etude. Sight-reading may be required on all instruments.