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Woodwind Audition Requirements

Students auditioning for admission to the woodwind studios at Virginia Tech should demonstrate strong fundamentals, musical curiosity, technical proficiency, and expressive versatility across styles. Auditions are intended to assess overall musical potential rather than polished perfection.

Applicants pursuing degrees in Music Performance, Music Teacher Preparation (Music Education), Music Composition, or Music Production must complete a live or recorded audition.

Applicants interested in pursuing the Applied Music Minor must first be accepted to the university in their home program. Auditions for the major ensembles (Wind Ensemble, VT Philharmonic, or Jazz Ensemble) and a meeting with the professor are required for admission to the minor and studio. 

Pre-recorded Auditions

Recorded auditions are accepted for students unable to attend a live audition.
Video recordings should:

  • Be unedited
  • Clearly show the performer and instrument
  • Use good audio quality
  • Include all required materials

What We Look For

Successful applicants typically demonstrate:

  • Characteristic tone quality
  • Rhythmic accuracy
  • Musical phrasing and expression
  • Technical control
  • Preparation and professionalism
  • Openness to diverse musical experiences and collaborative work

The woodwind studios at Virginia Tech School of Performing Arts emphasize contemporary performance, chamber music, improvisation, entrepreneurial thinking, and creative artistic practice alongside strong traditional training. Students gain performing experience in a wide range of styles and settings, including experience on all auxiliary woodwinds. 

Applicants should prepare:

1. Two contrasting works or movements

Selections should demonstrate both lyrical and technical playing. Oboe applicants may audition on oboe and/or English horn if desired. Repertoire may include standard classical literature, contemporary works, etudes, or other musically substantial works appropriate to the applicant’s level. 

Suggested oboe repertoire may include but are not limited to:

  • Saint Saens, Sonata for oboe
  • Telemann, Sonata in A minor
  • Nielsen, Fantasy Pieces
  • Robert Schumman, Three Romances
  • Alyssa Morris, Four Personalities
  • Handel, Concerto in F minor
  • Poulenc, Sonata for oboe
  • Colin, 1st Solo de Concours
  • Britten, Six Metamorphoses after Ovid
  • Vivaldi, Concerto in C major
  • Ferling, 48 Etudes
  • Barrett, 40 Progressive Studies

2. Major scales

Applicants should perform:

  • All 12 major scales from memory
  • Full range preferred when possible
  • Chromatic scale demonstrating practical range and fluency

3. Sight-reading

A brief sight-reading excerpt may be requested at the audition.

Applicants should prepare:

1. Two contrasting works or movements

Selections should demonstrate both lyrical and technical playing. Clarinet applicants may audition on clarinet and/or bass clarinet. Repertoire may include standard classical literature, contemporary works, etudes, or other musically substantial works appropriate to the applicant’s level. 

Suggested clarinet repertoire may include but are not limited to:

  • Ferguson, Four Short Pieces
  • Finzi, Five Bagatelles
  • Gordon, Sonatina
  • Jacob, Five Pieces
  • Lutosławski, Five Dance Preludes
  • Rabaud, Solo de Concours
  • Saint-Saëns, Sonata
  • Schumann, Fantasiestücke, Op. 73
  • Vaughan Williams, Six Studies in English Folk Song
  • Weber, Concertino
  • Weber, Concerto No. 1 or No. 2
  • Denny Chambers, Finger Fitness Etudes Book 1 or 2
  • Rose, 32 or 40 etudes
  • Other All State/All District Etudes

Suggested bass clarinet repertoire may include but are not limited to:

  • Bach, Cello Suites (Transcription) 
  • Bennet, Deepwood
  • Brahms, Cello Sonata (Transcription)
  • Bozza, Ballade 
  • Gipps, Prelude for Solo Bass Clarinet
  • Harberg, Tango
  • Mangani, Bass Clarinet Concerto
  • Osborne, Rhapsody for Bass Clarinet
  • Saint-Saens “The Swan” from Carnival of the Animals
  • Silverman, Through the Motions
  • Denny Chambers, Finger Fitness Etudes Book 1 or 2
  • Weissenborn, Advanced Studies for Alto or Bass Clarinet
  • Other All State/All District Etudes

2. Major scales

Applicants should perform:

  • All 12 major scales from memory
  • Full range preferred when possible
  • Chromatic scale demonstrating practical range and fluency

3. Sight-reading

A brief sight-reading excerpt may be requested at the audition.

Applicants should prepare:

1. Two contrasting works or movements

Selections should demonstrate both lyrical and technical playing. Repertoire may include standard classical literature, contemporary works, etudes, or other musically substantial works appropriate to the applicant’s level. 

Suggested bassoon repertoire may include but are not limited to:

  • Mozart, Concerto for bassoon
  • Jenni Brandon, Colored Stones
  • Adolphus Hailstork, Bassoon Set
  • William Grant Still, Three Songs
  • Francisco Mignone, Sixteen Waltzes
  • Telemann, Sonata
  • Concertos by Vivaldi or Weber
  • Johann Galliard, Sonatas 1-6
  • Weissenborn Advanced Studies
  • Milde 50 Concert Studies

2. Major scales

Applicants should perform:

  • All 12 major scales from memory
  • Full range preferred when possible
  • Chromatic scale demonstrating practical range and fluency

3. Sight-reading

A brief sight-reading excerpt may be requested at the audition.

Applicants should prepare:

1. Two contrasting works or movements

Selections should demonstrate both lyrical and technical playing. Repertoire may include standard classical saxophone literature, contemporary works, etudes, jazz repertoire, or other musically substantial works appropriate to the applicant’s level.

Suggested repertoire may include but are not limited to:

  • Creston, Sonata
  • Glazunov, Concerto
  • Ibert, Concertino da camera
  • Heiden, Sonata
  • Eccles, Sonata
  • Bozza, Aria
  • Desenclos, Prelude, Cadence et Finale
  • Maurice, Tableaux de Provence
  • Milhaud, Scaramouche
  • Ferling, 48 Famous Studies
  • All state/district etudes

2. Major scales

Applicants should perform:

  • All 12 major scales from memory
  • Full range preferred when possible
  • Chromatic scale demonstrating practical range and fluency

3. Sight-reading

A brief sight-reading excerpt may be requested at the audition.

Students with experience or interest in jazz studies are encouraged to include one of the following as part of their audition:

  • A transcription or prepared selection from the Charlie Parker Omnibook
  • A transcription of a recorded solo by a jazz artist of the applicant’s choice
  • Improvisation over a standard jazz tune
  • A blues in any key

Applicants choosing to improvise may perform with backing track or play unaccompanied.

Suggested jazz standards include:

  • Autumn Leaves
  • Blue Bossa
  • All the Things You Are
  • There Will Never Be Another You

Jazz submissions are not required for admission, but they may help demonstrate creativity, stylistic versatility, ear training, and improvisational ability.

***Most students audition on alto saxophone. Although you may submit an audition on any saxophone of your choice, all accepted students must enter the studio with a personal professional alto saxophone.  

Woodwind Faculty